J %I J 01.1 10.d 4.111111 itaetAtt* 4114, 1110Aaii system 541 : ALSO U.S. HDTV STANDARD 11,1O19 A look at how w2 got here co,.1., 'berT:::1tts ol .109 HDoo rE DmIoTrIeN sG Po At BM Cr.dr.gp. RorTisiireviewed 'Bro.c1cm.'g ARCHIVING NETWORKS 0 Understanding the differences

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BroadcastEngineering FEATURES 44 The end of television as we know it Broadcasters must make structural changes in order to attract future viewers. 54 The American DTV platform The path to an accepted ATSC-approved DTV standard was not a smooth one. 62 HD in post, part 2 A look at four workflows designed for ON THE COVER: high -definition editing and finishing. Today's TV experience, with HD pictures and multichannel sound, seems light SPECIAL REPORT years from yesterday's technology. 70 MPEG-2 to H.264 transcoding Coexistence of various coding standards drives the need for efficient, high -density transcoding. BEYOND THE HEADLINES DOWNLOAD 14 Urban renewel Digital LPTV could create a whole new ball game.

FCC UPDATE 18 White space use OK'd Low -power devices can operate in the band in 2009. DIGITAL HANDBOOK TRANSITION TO DIGITAL 20 Digital conversion Retaining high -quality video and audio requires a well -designed, integrated format converter. COMPUTERS & NETWORKS 28 Modern archives The repository moves to the front of the workflow. PRODUCTION CLIPS 32 HD editing on the go Powerful new laptops enable editors to perform nonlinear editing.

t tttlIIIIHt'd on page 8

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'L. 2006 Panas,Drilc Broadcast TABLE OF CONTENTS(CONTINUED) VOLUME 48 I NUMBER 12 I DECEMBER 2006

SYSTEMS INTEGRATION TRANSMISSION & DISTRIBUTION current mean 38 Distorted 3GHz 15ettre(c4) 480 Ps 457.5 as -olltire(c0 676 ps 496.9 DP High frequency does not guarantee high tter p-p(cg) 382 ps 489.7 Ds performance. Time domain parameters could be slowing you down. NEW PRODUCTS & REVIEWS APPLIED TECHNOLOGIES 111 Obor Digital's Zeus management system 112 Belden Brilliance A/V cabling FIELD REPORT 116 SoundField's DSF-2 microphone TECHNOLOGY IN TRANSITION 118 Camera support The sucess of today's systems relies on a balance of technology and physics. NEW PRODUCTS 120 Scientific Atlanta's Prisma II HD-RXR and more... DEPARTMENTS 10 EDITORIAL 12 FEEDBACK 122 CLASSIFIEDS 125 ADVERTISERS INDEX 126 EOM

THIS MONTH'S FREEZEFRAME QUESTION

Complete the following definitions: The acronym BNC stands for

Cross luminance is sometimes called

is a picture defect typically caused by insufficient sampling or poor filtering of the digital video. The scanning format that captures in one top -to -bottom scan is called

The frequency is defined as the sampling frequency of a discrete signal processing system. These questions are from Tektronix's "Digital Video Measurements."

Readers submitting winning entries will be entered into a drawing for Broadcast Engineering T-shirts. Enter by e-mail. Title your entry "Freeze- frame -December" in the subject field, and send it to: editor@prismb2b. corn. Correct answers received by Feb. 1, 2007, are eligible to win.

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3 i0 0 EDITORIAL DEPARTMENT Is television making youfat?

The problem with television is it's too [fill in the blank]. Maybe you think that televi- By the time a student graduates sion is too liberal, too conservative or too vio- from school, the child will have lent. But, have you ever considered that it is too fattening? spent between 15,000 and 18,000 In September, FCC Chairman Kevin Martin, Com- hours watching television, but missioner Deborah Taylor Tate and Kansas Republican Senator Sam Brownback announced the formation of the only 12,000 hours in school. Media and Childhood Obesity: Today and Tomorrow task force. Brownback said, "Judging by the sheer volume of54 percent in children ages 5 to 11 and by 40 percent in media and advertising that children consume on a daily adolescents. basis, and given alarming trends in childhood obesity, Unfortunately, we adults aren't setting a good example we're facing a public health problem that will only get either because nearly one-third of American adults, close worse unless we take action." to 59 million, are obese. So what does television have to do At first, one might think this was just political hot airwith all this? to start another government -funded program. Unfortu- Researchers claim that children need to stop watching so much television and play more. A study at the Johns Hopkins University School of Medicine along with the CDC and NIH found that as children increased their con- sumption of television, their weight increased as well. More than one-fourth of American children watch at least four hours of television a day. By the time a student graduates from school, the child will have spent between 15,000 and 18,000 hours watching television, but only 12,000 hours in school. The study also shows that 42 percent of school children eat their dinner while watching television. Overweight children consumed 50 percent of their dinners in front of the television. Only 35 percent of normal -weight children ate while watching television. The research indicates that if you're watching television, you aren't paying attention to what, or how much, you're eating. At last spring's NAB convention, Jim Davidson, execu- tive director of the Advertising Coalition, said advertising wasn't the cause of children being overweight. If so, how nately, there's some serious truth behind the issue. does he explain the fact that the more television you watch Nearly one-third of American children between the agesthe fatter you are? of 5 and 14 are obese, compared with one in six 30 years While there is no reason to kill the messenger (televi- ago. (People are considered obese if their BMI is greatersion), we do need to get our kids - and ourselves - off than 30. They are considered overweight if their BMI is 25 the couch and exercise more. We'll all pay a price in higher to 30. BMI is calculated by dividing a person's weight byhealth insurance and increased illnesses if we don't. the square of their height (w/h2), all expressed in meters and kilograms. Use this site to calculate your BMI: www. nhlbisupport.com/bmi/bmicalc.htm.) Fifteen percent of today's children aged 6 to 9 are con- sidered overweight, 4 percent more than in the previ- EDITORIAL DIRECTOR ous study. Even worse, since 1960, obesity has grown by Senc comments to: ethtor©prismb2b.com

10 broadcastengineering.com I December 2006 Multi-room,multi -imageprocessor + router

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exactly am I seeing on the screen? Do Display differences any displays show all 1080 active lines Dear editor: of a 1920 x 1080i signal? I know that many broadcast Name withheld by request JL. control rooms and mobile units _i. 111 1_ _1 xi are converting from CRTs to LCDs, John Luff responds: .1 X i1 .L lbw LEDs and plasmas. I am interested Your question is timely as the in- :Lill -3- in learning more robust informa- terest in 1080p displays is rising in A x tion on the topic. Specifically, I'm consumer circles. Resolution in lines 1i -" looking for any information on the per picture height is measured on the size of the market; market growth; basis of alternating lines of black and what features, functions and in- white. puts are important to this market; The Kell factor is certainly impor- and how LCD, LED and plasmas tant. With 1080 active lines, the Kell differ between control rooms and factor reduces the maximum resolu- mobile units. tion for interlaced pictures to about Elizabeth Wolff 70 percent, or about 756 lines. Pro- Turner Studios' PCR-22 studio production con- NEC Display Solutions gressive scan does not suffer because trol room features NEC color LCD displays. Photo every line is present on every frame. courtesy AZCAR. One could argue that 720p is about John Luff responds: the same perceived vertical resolu- The main issues in broadcast -quality monitoring environmentsare col- tion as 1080i. Horizontally, there is orimetry and stability, motion portrayal, contrast, image cut off light leakage a huge difference, in theory at least, (black level), aspect ratio, HD/SD compatibility, input options, calibration with 720p having two-thirds of the strategy, and cost. CRT broadcast monitors (called grade 1) historically have resolution. In practice, most com- had highly repeatable colorimetry and the ability to be finely calibrated. pression systems subsample all inputs Other monitoring methods, including front projection, and emissive and to about 1440 pixels, making the two transmissive displays, must be measured in comparison to the capabilities standards essentially identical at the of CRTs. The feature set of current CRT monitors for professionaluse is home receiver. However, 720p has likely to be replicated in any solution accepted as a true replacement. better temporal resolution, with 60fps A few manufacturers have begun to attempt to satisfy this market with compared to 30fps for 1080i. non -CRT hardware, but not without resistance and skepticism in the market Progressive scan images are easier because of the technical capabilities of alternative technologies. I suspect that to compress, leading to better pictures little public research has been done on the market issues you raise. for the same data rate. 1080p displays Features and controls should not be the primary concern. Mobile units have interpolated the missing picture and even some video control rooms are not the issue, either. I strongly be- data because consumer interlace pic- lieve that in sensitive markets, performance is the main issue. This includes tures don't contain the full produc- camera shading, telecine operations and quality control. The disappear- tion aperture of 1080p through DTV ance of CRTs will be a major issue confronting the industry during the next systems. I suggest producing in 1080p several years. Most control rooms, trucks and fixed facilities aremore con- and keeping it that way if you want to cerned with picture composition and approximation of the image received see all 1080 lines. BE by home viewers. In this regard, it is particularly difficult to makea selec- tion, because home viewers today have a spectrum of choices, all of which create a matrix of production and viewing conditions that makes a single ATTENTION READERS! Sign up now for technology choice difficult to justify. BE BroaticastEfigineering,s OV%Vechnology Upda A resolution = e -newsletter Dear editor: at wwwbroadcastengllieenng.coni The data sheet for my Sony BVM-nal, will I only be able to see 700 lines A2OF1U monitor says that with a 16:9 of resolution? What about the other Test Your Knowledge! picture, the raster will display 700 1'V380 lines? If I then give the monitor a See the Freezeframe question of the lines. If I install one of these moni- 1280 x 720/59.94/1:1 progressive scan month on page 8 and enter to win a tors with the HD module and give it asignal, will I see more of the picture? Broadcast Engineering T-shirt. 1920 x 1080/59.94/2:1 interlaced sig-Does the Kell factor affect this? What Send answers to [email protected]

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For a free copy of ADC's 13th edition broadcast product catalog, call 1.800.366.3891 ext. 20000. Or visit adc.com/broadcast. DOWNLOAD BEYONDTHE HEADLINES Urban renewal Digital LPTV could create a whole new ball game. BY CRAIG BIRKMAILk

It was all supposed to be overees, and opened an application win-return one of the two channels to the soon. As America celebrated the dow for new digital licenses. The newcommission and operate the station arrival of 2007 in Times Square, rules provide that existing permit - only in digital mode. potentially millions of televisions tees and licensees in these services be In recent months, the FCC began would go dark at the stroke of mid-given the flexibility to choose one ofprocessing thousands of applications night when more than 1000 full -pow-two methods to convert existing ana- for digital Class A, LPTV and transla- er NTSC transmitters were turned offlog stations to digital. Stations can ei- tor licenses. The agency is expected to forever. Instead, the nation's full -pow-ther implement an on -channel digitalbegin issuing these licenses in 2007. ered broadcasters will be celebrating yet another year of milking that old Many Class A licensees have been NTSC cash cow, flush with more than $1.5 billion in political advertising acquiring multiple licenses in major revenues from the midterm elections. markets in hopes that these licenses will Last month in this column, I sug- gested that there might be a lot of old become more valuable through the use televisions sitting on the curb when of digital broadcasting techniques. the NTSC plug is finally pulled on Feb. 17, 2009. But this may not be the conversion of their analog channel (a After these licenses are issued, li- case. flash cut) or seek a (second) digitalcensees will have three years to com- While full -powered broadcasterscompanion channel that may be op-mence digital operations. Thus, low - are a decade into the DTV transition, erated simultaneously with their ana-power NTSC broadcasts will continue the nation's Class A and LPTV broad-log channel. for an indefinite period, perhaps last- casters are just starting the process. According to the FCC order, analoging well into the next decade. And viewers in many markets, espe- licensees are not guaranteed a digital cially those in the more densely pop- companion channel and must iden-Do nothing ulated areas, may still receive NTSCtify a channel that can be operated The demise of full -powered NTSC broadcasts from these stations longconsistently with the commission'sbroadcasts has been viewed asa after the full -powered NTSC trans- interference protection rules. The or-short-term opportunity for some in mitters go offline. der went on to say that at a date to bethe low -power segment of the indus- Earlierthisyear, the FCC an- determined in the future, the commis- try. As the only analog game in town, nounced DTV transition rules forsion will require that the permittee orClass A and LPTV stations will con- Class A, LPTV and translator licens-licensee terminate analog operation,tinue to serve the large, installed base of NTSC receivers. Some licensees have suggested that the low -power service could carry FRAM E G RAB A lookat the issues driving today's technology analog versions of the signals of full - DVR penetration in the United States powered DTV broadcasters. But this DVR installations have been steadily increasing point of view has not gained much industry support. Percent of total Percent of total Many Class A licensees have been Dates households with persons 18-49 acquiring multiple licenses in major a DVR with a DVR markets in hopes that these licenses May 1-7, 2006 5.5% 7.3% will become more valuable through the use of digital broadcasting tech- July 10-16, 2006 7.2% 9.3% niques. The most obvious benefit is Sept. 25 - Oct.1, 2006 8.9% 11.5% the ability to deliver multicasts. With multiple licenses, it would be

Source: Nielsen Media Research wwwnielsenmedia corn possible to offer a multichannel ser- vice without subscription fees. Many

14 broadcastengineering.com I December 2006 For the full impact viewers expect, nothing delivers surround sound like Dolby E.

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LPTV operators have been develop-power levels. At power levels aroundBuffalo, NY, market. They were able ing carriage arrangements with con- 15kW, a LPTV broadcaster may be to achieve solid reception at speeds tent providers who cannot get clear- able to cover 85 percent of the market up to 80mph. ance via cable or broadcast stations.area of a high -power broadcaster. Further testing is currently under- The proponents of a rapid transition The prospect of building single - way at the Communications Research to digital broadcasting techniques arefrequency networks offers Class A Centre in Ottawa. It is anticipated that also interested in the ability to de-and LPTV stations the potential to the ATSC will complete standardiza- liver new services using IP multicastbe highly competitive in terms of thetion of some elements of the A-VSB techniques. ability to receive over -the -air broad- proposals in 2007. The Community Broadcasters As-casts. If portability and mobility were As with the digital video broadcast sociation (CBA), which representsenabled, entirely new markets couldsystem, improved robustness, porta- Class A and LPTV broadcasters, hasbe developed. bility and mobility come with a price. been highly proactive in lobbying Also noteworthy is the FCC's au- In a presentation by the A-VSB pro- for and promoting the transition tothorizationfor DVB modulation ponents at the Iowa DTV Symposium digital for its members. The organi-techniques in spectrum that is beingheld in October, showed one example zation's official Web site works under the banner of DTVNow.org. There is strong interest in A-VSB. The CBA has been lobbying the FCC to grant Class A and LPTV li- With A-VSB, it might be possible to censees greater flexibility in the tech- serve portable and mobile receivers, nologies used with these new digital licenses. There is strong interest in and to create single -frequency networks the A-VSB proposals now being de- to expand market coverage. veloped and tested by the ATSC. With A-VSB, it might be possible to serverecovered from analog broadcasters.that trading 5Mb/s of the 19.2Mb/s portable and mobile receivers, and toCompanies such as Aloha Partners 8-VSB payload added training signals create single -frequency networks toand QUALCOMM are developingfor advanced equalizers to deliver a expand market coverage. mobile TV services by using OFDM robust 1.5Mb/s bit stream. It is important to note that opera- modulation in the 700MHz spectrum There are many variables in the tion at lower power levels is not asthat was acquired at auction. proposal. At this point,itisnot large a disadvantage with DTV as it The CBA is asking the FCC if it too clear what the actual tradeoffs will is with analog broadcasts. Many full -can have the flexibility to choose anbe or how A-VSB will compare with power broadcasters have been operat-alternative to ATSC modulation. AtDVB-H. ing their DTV transmitters at reducedthe same time, the CBA is asking the What is clear is that the future may power levels with good results. AndNTIA to consider the possibility of anbe filled with opportunities for a seg- early ATSC receivers often suffered upgrade path for the digital -to -analog ment of the OTA broadcast industry from overload in the analog frontconverter boxes for which the agencythat has struggled to compete with ends when in the presence of high willbeissuing$40subsidy coupons. full -powered broadcasters. Given the high price that spectrum is bringing A-VSB developments at auction, Class A and LPTV licenses Web links Members of the CBA have notedmay well be worth more than the pa-

Community Broadcasters A-VSB's potential to add value to theper they're printed on. Association digital LPTV franchise. The ATSC According to Greg Herman, presi- http://communitybroadcasters. is in the process of testing and stan-dent of WatchTV in Portland, OR, com/new.php dardizing A-VSB. Several elementsand vice-president of the CBA, this

"Mobile madness," Broadcast of the backward -compatible A-VSBis an important time for Class A and Engineering, July 2006 proposals will make it possible toLPTV licensees to stay the course. He http://broadcastengineering. improve reception for fixed receiverssays, "How do you stay in the game? com/news/broadcasting_mobile_ using low complexity antennas and Go digital!" BE madness/index.html to enable walkabout portability and possibly mobile reception. Craig Birkmaier is a technology consultant A-VSB presentation at the at Pcube Labs, and he hosts and moder- Iowa DTV Symposium The A-VSB proponents - Rohde & ates the OpenDTV forum. www. i ptv. org/dtv/2006/m e dia_ Schwarz and Samsung, with support pres.cfm?ses=5&id=7&Tra ck=T from the Sinclair Broadcast Group - IISend questions and comments to: recently tested these techniques in the [email protected]

16 broadcastengineering.com I December 2006

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13Y f i IN

imarmi he FCC has released a reportcomment on this issue. broadcast a signal providing a list of ' and proposed rule making The commission has also prohibit- channels available to devices, and Iin its 2004 proceeding deal- ed low -power devices from operatinglimiting the device to operate only on ing with the authorizationon Channel 37 (to protect the radioone of those channels. of unlicensed devices to operate inastronomy services) and Channels There isonly one other sens- the spectrum currently set aside for 52 to 69 (to protect the wireless anding system currently authorized for TV broadcasting. public safety services authorized touse in the 5GHz band, but there are operate on these channels). substantial differences between that Low -power devices And the FCC has prohibited, un-already authorized use and the use In the report, The FCC authorizedtil the end of the DTV transition inunder consideration. Therefore, the low -power devices to operate in theFebruary 2009, the marketing ofFCC is asking for testing to show that TV band, but only after the end of the portable or fixed devices. It wants toa sensing system could work in the DTV transition in 2009. The agencyprotect TV stations finalizing theirTV band. will not authorize the use of person-DTV transition as well as allow itself The commission isalso seeking al portable devices at this juncture.time to adopt the technical rules un- comment on the best method for Only fixed, or stationary, low -power der which the new unlicensed service making these systems work. The FCC operations will be permitted. The usewill operate. The marketing of thesewants comments on the appropriate of personal portable devices woulddevices will ultimately be covered bythreshold for sensing devices and on likely pose a greater risk of interfer- the new rules. whether to protect TV channels that ence, so the FCC is seeking further The commission questions wheth- are adjacent to the spectrum to be er the use of the TV spectrum for used for the unlicensed devices. Also, these fixed low -power devices should the FCC is considering whether these Dateline be on a licensed or unlicensed basis.unlicensed devices will be required to The FCC prefers the unlicensed use of use transmit power controls that will Jan. 10 is the deadline for plac- the spectrum, given the wide range oflimit the transmit power to the mini- ing children's TV programming re- the spectrum's availability (rural vs. mum necessary. ports (Form 398) in the public files urban) and the difficulty that would The FCC is also considering ex- of all full -power and Class A TV be involved in creating priority rightscluding the devices from operating stations. Also, on Jan. 10, all com- to the spectrum among licensees. on Channels 2 to 4. With respect to mercial TV and Class A stations possible standards and limits for out- must place in their public files Use of unlicensed devices of -band emission levels, the FCC has their certifications with respect to Additionally, the commissionis asked whether it would be appropriate compliance with commercial limits seeking comment on the appropriateto use the same standards currently during programming for children method for determining whether aapplied to other unlicensed devices. ages 12 and under. particular swath of spectrum is avail- The commission is also asking the Jan. 10 also is the date by which able for use and whether unlicensedpublic to substantiate its claims of in- all TV and Class A stations must devices would cause harmful use to terference or no interference with data place their quarterly issues and TV stations in the vicinity. and test results. While the FCC will be program lists in their public files. The commission has proposedconducting tests to determine whether Feb. 1 is the deadline for renew- three possible solutions: any of the methods for avoiding harm- al applications for TV, TV transla- enablingthedevicestosense ful interference will work, it is also tor, LPTV and Class A stations in whether the spectrum is available; seeking studies from the public. BE New Jersey and New York. TV professionally installing the de- stations in those states also must vices, equipping them with GPS, and Harry C. Martin is the past president of file biennial ownership reports by the Federal Communications Bar guiding them by a database of exist- Association and a member of Fletcher, Feb. 1. TV stations, LPTV stations ing TV stations; or Heald and Hildreth PLC. that originate programming and establishing a control signal pro- Class A stations must file EEO gram in which existing FM, TV and Send questions and comments to: program reports by Feb. 1. CMRS providers would [email protected]

18 broadcastengineering.com I December 2006 "Sony was the only supplier to step up to the plate." - Jason Taubman and Paul Bonar, Game Creek Video HDemanding Jason Taubman, VP of design for mobile production company Game Creek Video, faced contradictory demands. He tells us, "Some clients required the highest quality in io8oi and others demanded the same in 72op. Some venues only had fiber and some strictly triax. Sony was the only supplier to meet all these requirements in a single camera." "We committed to the HDC-1.5oo, Sony's io8o/6op camera before it was even a model number," says Paul Bonar, VP of engineering. "And Sony committed to us. Their engineers heard our input on the large lens 'sled,' which works like a charm. We gave them distressed cable to help design the triax adaptor, which is brilliant. And in service and support, Sony has risen to every challenge and met every need. We're now on our fifth consecutive truck with the HDC-i5oo, the best HD camera we've ever seen."

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2cm6 Sony Electronics Inc All rights reserved Features and specif ications are subject to change without notice Ref/Induction in whole or In part without written permission s prohibited Sorry and NIXAM are trademarks of Sow The New Way of Business is a service mark of Sony TRANSITION TO DIGITAL DIGITAL HANDBOOK Digital conversion Retaining high -quality video and audio requiresa well -designed, integrated format converter. BY AI DO CUGNINI

Aspects of format conver-This element trio essentially defines In principle, this would seem to be sion have been knownthe pixel rate of the system. There- the same as a change in spatial resolu- and appreciated for somefore, in order to convert between twotion, which would involve spatial in- time, due to the frequentdifferent standards, it's necessary to terpolation between adjacent spatial need to convert between different vid-do the appropriate sample rate con-pixels, in order to create new pixels. eo standards. Many of the same tech- version both spatially and temporally,However, the time dimension must niques that were developed for ana-meaning within a field or frame and log systems apply in the digital world.between the fields or frames. However, additional techniques are Mathematically,theappropriate needed, some of which are not alwaysinterpolations or decimations need to appreciated. To understand the basisbe done in both the spatial and tem- of digital conversion techniques, let'sporal directions. In practice, the situ- look at the analog situation first. ation is more complex because of the use of interlaced scan. Analog conversion For simplicity, let's first consider When converting between twoa fictional case, with two systems at A analog television systems, several el- 30Hz and 60Hz frame rates and both ements must be changed, includingusing progressive scanning. Let's also frame rate, line rate, scan methodassume that both systems have the Figure 1. Frame X shows proper temporal and signal encoding. In effect, thesame vertical line rate. Converting interpolation of the movement of the first three elements are changed by anfrom the 30Hz system to the 60Hz object from Frame A to Frame B. interrelated form of sample rate con-requires interpolation between the account for objects in the picture that version, which was the subject of last30Hz frames and the creation of newcan move from one frame to the next. month's Transition to Digital column. frames. This creates a new requirement. Now, it's necessary to predict the motion of these objects to faithfully reproduce FRAME GRAB A look at tomorrow's technology their motion in a new frame. Total cable VOD households Kagan Research forecasts 65.9 million VOD homes in U.S. by 2016 Intermediate images By illustration, let's assume an ob- 70 64.6 65.9 ject is moving horizontally, such that 63.2 61.6 59.4 it appears at the locations shown in 60 - Figure 1 at the times A and B. (The translation is exaggerated here for 50 clarity.) Logically, an interpolator should 40 - produce an image as shown in the intermediate frame X. However, a 30 - straight pixel -by -pixel temporal in- terpolation by averaging the succes- 20 - sive frames would actually produce the result shown in Figure 2 on page 10 22. Obviously, this is not the correct 2005 2006 2007 2008 2009 2010 2011 2012 2013 2014 2015 2016 way to create the new frame. Year In fact, using a more sophisticated

Source: Kagan Research www.kagan.com filter to reconstruct the intermediate image, such as a (sin x)/x, creates an

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even worse situation. Such a filter re- The difference is that objects hav-But the introduction of new stan- quires many taps, or coefficients, in theing a vertical component to their dards, such as MPEG-4, keeps things frame -to -frame time direction. Thetranslation should be processed us- interesting. 'result of such a filter is that the mov-ing a different algorithm than objects ing objects would become smeared with a purely horizontal motion. De -Image compression over the same number of frames. interlacing, that is conversion from The astute reader may have de- interlace to progressive, often entailsduced that image compression may Motion estimation maintaining the same image resolu- offera shortcutto motion -com- An intelligent motion estimator tion. Fully generalized conversion, on pensated scan conversion, as MPEG is needed to determine the motionthe other hand, adds the element ofencoding already performs motion of objects within the picture and tospatial resolution to the process. Fi- estimation. However, this process in nally, the different analog standardsan encoder is aimed at lowering the require a conversion of the signal en- energy in the frame -to -frame differ- coding techniques, such as luminanceence of images, and this is done on a levels, chrominance encoding andblock -by -block basis, without regard blanking signals. to visual objects in the image. (While certain parts of MPEG-4 actually do Digital conversion code visual objects within pictures, X In the digital world, the conversionthe more frequently used MPEG- between different scanning systems4 Part 10, also called AVC or H.264, and resolutions is based on the same does not.) analog conversion techniques. How- Therefore, a motion -compensated ever, the overall encoding is quite dif- scan converter cannot base its con- ferent when considering compression.version exclusively on the MPEG mo- Figure 2. Frame X shows the result of poor A full digital standards converter thus tion vectors within the stream. But temporalinterpolation from Frame A to Frame B. adds the burden of conversion be- it can use these as a starting point to tween different compression systems. arrive more efficiently at the needed create new pixels based on this mo- With MPEG-2 now a ubiquitousinformation. tion. Before the advent of high-speedworld standard, conversion between digital processing, this was impossibledifferent compressed sources seemedDCT and quantization to do. And format conversion inevi-to be straightforward, or even trivial. In order to transcode between tably resulted in serious conversion artifacts when rendering sequences of Line 1 x moving objects. Extending the principle to conver- Line 2 X sions between field rates of 50Hz and Line 3 X x 60Hz (or 59.94Hz), the difference is that it may be necessary to alter each x frame to smoothly transition from X groups of five frames to groups of six. Conversions in the reverse direction X Vertical can also involve motion estimation, X X as the mere dropping of one out of X every six frames would result in jerky Time video. X X

Interlaced scan x Adding interlaced scan to the situ- ation further complicates matters. In- terlace can be thought of as a vertical - temporal image sampling that alter- Field 1 Field 3 nates phase every field. (See Figure 3.) By further extension of the motion Field 2 estimation technique, this sampling can be taken into account. Figure 3. Interlaced scan in a vertical -temporal image sampling scheme.

22 broadcastengineering.comI December 2006 Field

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compressed signals, such as between each block of pixels. It also creates vi- and MPEG, a better result should MPEG-2 and MPEG-4, the brutesual artifacts and limits the numberoccur when the hardware takes into force method is to completely decode of successive encode/decode cyclesaccount the previously applied en- the source and then re -encode thethat are tolerable. coding and only partially decodes the signal. However, this can often result For this reason, successive recoding signal. in a substantial degradation of videoof pictures will result in fewer artifacts quality, especially if the compressionif the previous information on quan-Multiple generations ratio is high. tization is preserved as much as pos- Always expect artifacts to become A better conversion technique is to sible. In fact, even if this informationmore apparent when multiple gen- partially decode the source, and then is not used - if all the pixel blockserations of encoding and decoding re -encode from this point, while pay-line up exactly where they were in theare applied. A recent widely broad- ing special attention to certain codingprevious encoding - a subsequentcast sports even unfortunately dem- elements, namely, Discrete Cosine encoder will often process the imagesonstrated the results of a poor con- Transform (DCT) and quantization.in the same manner as the previous.catenation of standards converters. (DCT is essentially a way of convert- This will cause fewer artifacts than aChoosingappropriateequipment, ing the spatial information in a blockcompletely independent recoding. based on knowledge of how these of pixels to an array of frequency in- Combining these effects, a well -conversions work, can go a long way formation.) After this process is per- designed integrated format converterto maintaining the highest quality formed, the resulting coefficients can should always yield better resultantvideo and audio. B be quantized, or lowered in amplitudevideo than the brute force method. Aldo Cugnini is a consultant in the digital resolution. Some of these same considerations television industry. This step actually performs theapply to audio. For example, when signal compression by reducing theconverting between different percep- ISend questions and comments to: number of bits required to representtual coding systems, such as Dolby [email protected]

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24 broadcastengineering.com I December 2006 System 5-B Control Surface Max Air Control Surface The most advanced digital broadcast mixing system A more compact control s irface with 4 knobs per chan- available, designed for more complex productions. With 8 nel, a central SuperChanne ,and a central touch screen knobs per channel and TFT displays for metering, routing interface making it very easy to learn and use. Max Air and parameter display, System 5 is built for the r ltimatein is ideal for one operator to handle everything from on -air operational flexibility and visual feedback. news to production and outside broadcasts.

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COMPUTERS & NETWORKS DIGITAL HANDBOOK Modern archives The repository moves to the front of the workflow. BY BRAD GILMEI \

Ican remember walking throughsystems have long-term storage as-lowing innovative changes in work- the MGM film archives shortly sociated with them. In this configura- flow. An archivist looks through the after Turner acquired the library. tion, these devices become an impor- content, determining what content The archive is in a warehousetant archive for the organization. should be retained and what should not far from the La Brea Tar Pits in Shared storage systems can turnbe discarded. In this way, the archive Los Angeles. It consists of row uponinto archives. We are rapidly ap- functions as a triage system. (See Fig- row of shelves with just about everyproaching the point where disk stor-ure 1.)It enables ubiquitous access film and tape format you can imag-age is so inexpensive that it is notto content while simultaneously al- ine (except nitrate, which had beenworth the time and effort to deletelowing the organization to determine removed for safety reasons). The dif- completed projects. As this shift takes what to keep for the long-term. ferent videotape formats read like an

artifact listing from a museum: 2in News quad, lin Type B and Type C, 3/4in, Incoming editor U-matic, various 1/2in formats, and feeds News so on. Video \ /Audio editor As movie studios, broadcasters and editor editor post houses move from tape to digital \\( facilities, the nature of their archives _ is changing. Modern archives house /Archive\ On -air systems legacy film and videotape formats, Archive but they are also repositories for new

file -based content, much of which has DVD Graphics never been copied onto tape. What is creation the meaning of an archive in a net- (a) (b) Archivist work -based facility? What is the role workstation of an archive? The traditional archive is an end - Figure 1. Archives are no longer end -of -pipe systems. Instead, they act as (a) shared of -pipe process, meaning that it is a storage for workgroups and as (b) triage systems in newsrooms. repository for finished content. The function of an archive has changed as place, the shared storage system natu- All of this is possible with conven- new technologies have brought newrally becomes an archive. Managingtional analog video or SDI. But these possibilities. this stored content effectively is an-workflows are really optimized for In some facilities, the archive is the other issue. network -based technology because hub of a larger workflow. In others, it the centralized archive is closely re- serves as the input source for subse-Triage systems lated to the computer client server quent processing. Both of these con- Placing the archive at the start ofmodel. In this model, multiple cli- figurations depart dramatically fromthe workflow allows incoming news ents connect to a central server to the traditional view of the archive asfeeds, for example, to go directly into access desired content on the server. a repository. the archive. Once the content hits the Content is automatically routed to archive, one editor may begin work- and from the central archive using Shared storage ing on a rough cut for a breaking the self -routing nature of packetized Positioning the archive as the cen- news story. In parallel, another editorcomputer networks. tral point in the workflow transformsmay be working on a longer version it to shared storage, where users can of the story for the evening news. Per- Deep archive gain access to content concurrently.haps a little later, a third editor may In Figure 1, the archive is shown ( See Figure 1.) While one person isaccess the same content for use in aas a single storage device. But this is editing content, another may be dub- magazine show that will air over thebecause Figure 1is a 2-D drawing. bing some of the same content toweekend. Again, content is availableWhen you look at the archive in 3-D, DVD. Some of these shared storageto several users at the same time, al -you can see that it consists of several

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different layers. (See Figure 2.) These Disk was so much more expensiveThe migration issue layers are divided according to stor- than tape that systems were designed One issue with any archive is how age cost and access time. There is al- with a minimum of disk and a largeto migrate the content from one me- most always an inverse relationship amount of tape. But that has changed, dia type to another. The Hollywood between these two components. and disk now occupies a much larger crowd likes to point out, and right- RAM storage is the top layer. Clear- portion of the overall archive. Gen-fully so, that one answer is to elimi- ly, if video is cached in RAM, accesserally, the archive requires remov-nate obsolete media. An excellent times are extremely short. But whileable media at some point, and thatarchive format is 35mm film. How- memory costs have dropped pre-is almost always tape. Large systemsever, analog videotape has presented cipitously over the last few years, itfrequently employ robots to transferserious challenges. Generation loss is still expensive. In systems that re-tapes to and from drives. renders some material useless after quire fast access times and that have a The fourth layer is what most peo- only two or three migrations. The small number of popular items, RAM ple would think of as a traditional ar- situation is better with data. chive - removable media on shelves. Digital storage, particularly com- Faster The media is typically film, videotape puter data storage, allows the infor- access or data tape. At this layer, cost sav- mation on the media to be separated A ings is the primary concern. The of- from the media itself. After all, when fline archive should be stable, and itit comes to content, saving the media should have good storage density at a is not important. low cost. Some time ago, a member of the Society of Motion Picture and Tele- Lower Archiving in the vision Engineers, Dr. Juergen Heit- cost per networked environment mann, proposed systems that would megabyte Networked archives require spe- automatically migrate content in ar- cific design considerations. The ar- chives from old media to new media. Figure2. The four common storage chive is accessed through a dedicated Dr. Heitmann recognized the discon- in an archive system are RAM memory, hard disk, tape and offline file server over high-speed networknect between media and the content storage. connections. This server is optimizedstored on the media. He proposed to serve large files. File systems, bussa data tape robot system that could cache can be the best way to achievestructures and other internal com-accommodate different -sized tapes high system performance. RAM isponents are all designed to maximize and different tape decks. The archive always the first component in any ar- throughput. In the past, little process-would copy content from old tapes chive system, even if it is not explicitly ing would occur in the server. Theseto new ones in background when the called out. days, itis not uncommon for the system was not busy retrieving con- The second layer of the archive isserver to perform file conversion ontent for users. hard disk. Several years ago, somethe fly, flipping the content into the Archiving in the networked world industry pundits said that disk tech-appropriate format for the destina-has the power to change workflows, nology had reached the end of the tion device. increase access to content and allow road. Despite these predictions, per- With the advent of AAF and MXF,broadcasters to get the most out of formance continues to increase, and there is the potential to greatly in-their content. BE prices continue to fall. It is not un-crease the intelligence of the content Brad Gilmer is president of Gilmer & As- common to find disks spinning atstored in these archives at all levels. sociates, executive director of the Video more than 10,000rpm, which wasThe metadata associated with an Services Forum and executive director of considered a high speed several yearsAAF or MXF file can stay with the the AAF Association. ago. This high rotational rate allowsfile throughout the archive process. DSend questions and comments to: the head to pass over the desired dataShould the database for the archive [email protected] much more quickly, decreasing access be lost, the database can be at least times. It also allows the data to come partially recovered using the meta - off the head much faster, allowingdata stored with the content. Also, as video to be read and written in real AAF and MXF content arrives at one time. of these systems, the metadata can be The third layer in these systemsread from the file and used to popu- usually consists of tape. There was alate the database so that preliminary time when the difference in price be-data is available on every asset in the tween disk and tape was about 100:1. system. at www.broadcastengineering.corn

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oday, DV and DVCPROlearn later, new laptops that incorpo- ating an NTSC DVD will soon be re- (25Mb/s, 50Mb/s and rate powerful processors will enable aplaced by an overnight encode job. 100Mb/s) are routinely ed- greater number of HDV streams to be ited on laptops. Depend-handled. This, in turn, will increaseHD hardware solutions ing on your perspective, this eitherthe requirement for higher band- Moving the entire HD production increases the pressure to edit 24/7width hard disks, including RAID 0. process to a laptop will require signifi- or affords you the luxury of working The more significant issue is thecantly more powerful laptops. Almost at a location of your choosing. Withprocessing load required whenevera year ago, Intel introduced a power- the dramatic increase in the use ofthe HD signal must be encoded us- ful chip called Core Duo, which fea- MPEG-2-based HD, many editors are ing an interframe codec. Obviously,tures 151 million transistors, a 2MB now looking for laptops that provide one such codec is HDV (or XDCAML2 cache and two CPUs on one chip the performance necessary for por-HD), but there are others. In my ex- (dual cores). All Core Duos are 32 -bit table nonlinear editing. perience, Microsoft's VC -1 codec de-processors. livers the highest quality at the lowest Apple recently moved toIntel - HD challenges bit rate. Although strongly supportedbased processing using Duo chips. There two types of MPEG-2 HD: by Apple, AVC has not yet been usedThe 65nm chip offers optimized per - HDV (either 720p or 1080i) and XDCAM HD. HDV is available in a range of frame rates and is relatively simple to support. The 1080i version (HD2) literally has the same data rate as DV. Therefore, storage require- ments and disk bandwidth are iden- tical to DV, DVCAM and DVCPRO. However, because of the nature of long -GOP MPEG-2 media, the re- quirement for processing power is significantly greater than that re- quired by intraframe codecs - no matter their bit rate. The increased computational load is required at two points in the editing process. Whenever na- tive HDV is viewed or processed byspecialeffects, the MPEG-2 datastream must be decoded. In the case of multistream ef- fects, all streams must be New, powerful laptops, like this Apple MacBookPro, which includes Intel Core 2 decoded. With the current generation Duo chips for 64 -bit operation, offer more NLE ability when on remote. of computers, multistream long -GOP for commercial HD DVD or Blu-rayformance per clock cycle, while draw- editing has been computation bound discs. But like VC -1, AVC requiresing no more power than a Pentium so there has not been a concern about enormous number crunching capa-M. There are multiple versions of the laptop disk performance. bility during the encoding process. Core Duo: T2300 (1.66GHz), T2400 When, however, intermediate co- As many of us know, exporting a (1.83GHz), T2500(2.0GHz)and decs are used, because HDV is recom-timeline to HDV can require a pain-T2600 (2.16GHz). pressed to a far less efficient codec,fully long encode time. With Blu-ray The chip's front side bus (FSB) the requirement for RAID 0 has ruledburners already on the market, theclock speed is 533MHz or 667MHz. out the use of most laptops. As we willcurrent near -real-time process of cre-Maximum FSB bandwidth is

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5.3GB/s, which means DDR2-533 change, data without having to access are modified bythe same streaming RAM (PC2-4200/4300) will be fastthe FSB or RAM. SIMD extensions(SSE) operation. In -

enough, unless the laptop has an In- Smart Memory Access. Thisal- tel has extendedthe SSE instruction tel GMA950 graphics performancelows each core to obtain or exchangedata width to 128-bits. accelerator (GPA). Ifithas one,data without having to access FSB There are three high -power DDR2-667 RAM (PC2-5300/5400) or RAM. A core processor has eightversions:T7200(2GHz),T7400 should be installed. "prefetcher" units: two data and one(2.16GHz) and T7600 (2.33GHz). Manufacturers are already upgrad- instruction prefetcher per core plusThe Core 2 Duo's FSB clock speed ing laptops to include the secondtwo prefetchers as part of the sharedis 533MHz or 667MHz. Core 2 pro- generation of the chip, called Core cessors can shut down unnecessary 2 Duo. It has 291 million transistors parts of a processor. According to and is also built using a 65nm pro- Intel, Core 2 Duo offers more cess. It features an FSB bandwidth than a 20 percent performance of8.5GB/s.AlthoughDDR2- increase for processor -intensive 533 RAM has a bandwidth of tasks as compared to previous- 8.5GB/s, it may introduce "wait" generation laptops with Core Duo states,soDDR2-667 RAM processors. (PC2-5300/5400) should ide- Of course, CPUs alone do not ally be installed when using make a computer. Every laptop is built this processor. around a chipset that glues the pro- Except for the entry-level cessor components together. Intel now versions,which you should offers the 945GM and 945PM (part of avoid, all models have a 4MB L2 cache the current Napa platform) and will and support Intel's 64 -bit instruction soon offer the 965GM and 965PM set (EM64T) plus SSE3. EM64 sup- Northbridge chip. (The 945GM and port enables Apple's OS X to return New processors, such as those in Intel's Core series, offer the increased ability 965GM include the Intel GPA.) to 64 -bit operation. to expand NLE abilities on a laptop and The newer 965 (part of the Santa You may wonder why Intel released include functions once only possible Rosa platform coming out early next two seemingly identical processors in from a desktop computer. year) offers the ability to run DDR2 a little over six months. The answer RAM at 800MHz (for the coming lies in Intel's goal to design proces-L2 cache. A prefetcher obtains data2.4GHz T7700 Core 2 Duo that will sors that can manage the maximumthat might be needed using specula- have an 800MHz FSB), support for possible number of instructions per tive algorithms. 2GB memory chips (allowing 4GB

clock cycle while using the minimum Intelligent Power Capability. Thisusing two SO-DIMMs), DirectX 10 energy consumed per instruction.turns off unused processing unitscompatible graphics, and up to a 50 percent increase in video perfor- In the next nine months, laptop computers mance over the 945. Support for 4GB of RAM in a lap- will undergo RAID technology advances top is going to remove one of the last that will further improve their performance, obstacles to moving compositing ap- plications from a desktop to a laptop. allowing them to support not only The Santa Rosa platform's South- MPEG-2, but also AVCHD and AVC-I. bridge (ICH8M chip) will support three Serial ATA II (3Gb/s data rate) ports and 10 USB 2.0 ports. This required five architectural ad-and even single transistors. Another vances to the way a processor handleskey to reducing consumption powerIt's more than the CPU instructions and data: is Intel's Enhanced SpeedStep, which In the next nine months, laptop com-

Wide Dynamic Execution. This en-reduces the clock speed when the sys- puters will undergo RAID technology ables a processor to perform four par-tem is idle or under a low load. advances that will further improve their

allel processes simultaneously. Advanced Digital Media Boost. Theperformance, allowing them to support

Advanced Smart Cache. This means most important to video production, not only MPEG-2, but also AVCHD that both cores can access the hugethis supports encoding, transcoding and AVC-I. In addition, both Blu-ray 4MB L2 cache where data in use is and compression. These functions alland HD DVD burners will become a stored. Each core can obtain, or ex - use vectors - a series of values thatcritical component of laptops.

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Sony is now shipping its second -of 120GB 5400rpm SATA drives in a DVD±RW, DVD-RAM write, CD -R generation Blu-ray equipped laptopRAID 0 configuration. (Those withand CD-RW) operation. The abil- - the8.41b, 2GHz T7200 -based,extreme power lust can purchase a ity to burn red -laser DVDs with AVC $3550 VAIO VGN-AR270 CTO. It2.33GHz T7600 equipped AR270 for and VC -1 encoded content should features 2GB of 533MHz (PC2-4200) $4100. RAID 0 storage options go up RAM, 17in WUXGA (1920 x 1200), to 400GB.) GeForce Go 7600GT with 256MB Blu-ray drives support blue -laser It seems inevitable VRAM, and a PCMCIA slot that will (BD -ROM, BD -R and BD -RE) that... oneof these accept P2 cards. The AR270 has a pair andred -laser(DVD-R, DVD+R, chips will find its way into a laptop.

enable one to create high -definition fischer SL/DL DVDs that can be played on te. r% lq an HD DVD player. Likewise, the AR270 should be able to play these discs. However, Sony does note that connectors high bit -rate AVC and VC -1 encod- \soNoFn ed DVDs cannot be played on the TOP machines. AWARD 2005 The Sony laptop can be ordered with Windows XP Professional and supports Blu-ray using InterVideo's WinDVD BD and Ulead's BD Disc Recorder. It can drive HDTVs and 5.1 audio systems using its HDMI and Triax 1051/1052 SP/DIF ports. For American and International Standards Compatible with Our future 3/8" and 1/2" cables Intelhasalreadyannounced Superior shielding a Core 2 Quadro that packs two Waterproof rugged 2.66GHz Core 2 Duo chips with design with corrosion resistant finish 8MB L2 cache. The four cores are Ideal for multiplex packed inside a single package. Re- signal transmission ports claim H.264 and WMV-HD Precision self-locking encoding performance increased up connector for low contact resistance and to 80 percent when compared to the long life 2.66GHz Core 2 Duo. When 45nm and 32nm technology is implemented, the four (or more) HDTV 1053'" cores can be placed on a single die. It No Epoxy - No Polish Truly field install -able should then be possible to manufac- Incorporates Corning° Outstanding increase ture a "mobile" version. UniCam° Fiber -Optic in connector simplicity ti technology and convenience Where is Intel going? Work is al- Fast and easy cable Significant decrease in ready being done on an 80 -core de- termination assembly labor costs sign. Its projected performance is ex- pected to hit one teraFLOP. It seems inevitable that someday, one of these plus chips will find its way into a laptop. I 1735 Founders Parkway r-CORNTNC; Alpharetta, GA 30004 can't wait. BE Tel: 800.551.0121 WW Fax: 678.393.5401 [email protected] Steve Mullen is owner of Digital Video www.fischerconnectors.corn C her Consulting, which provides consulting and conducts seminars on digital video technology.

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ou'vejust hooked up newof the digital data rate will ensurethat representsatrue on/off pulsed SMPTE 292 -ratedcableHDTV signal quality. digital signal. Why does this occur? assemblies between your When the transition to digital be- What else should broadcast engineers HDTV cameras and con-gan, there was a good reason to em- be looking and testing for? trol surface. You fire everything upphasizefrequency. The scrambled and experience tiling, slow motionNRZI encoding scheme implementedWhat goes out must and skipped frames - anything but afor SD digital video (and carried over not come back high -definition image. But the cablesto HD) uses voltage transitions (1Hz After frequency, the next charac- and connectors exceeded the spec.= 1 bit) to represent the zeroes andteristic that needs to be tested is in- They were supposed to be capable ofones. As data rates increased, so did the sertion loss - the total amount by beyond 3GHz. So, what happened? fundamental frequency; the 1.485Gb/which power receivedisless than Evaluating the transmission com-s data rate for uncompressed HD thuspower transmitted after a device has ponents based only on suppliers'requires a fundamental frequency ofbeen inserted. Insertion loss applies claimsof high -frequencyperfor-750MHz. But it's more difficult toto the entire connector/cable system mance omits several critical signalpass digital signals than analog ones,and manifests as a decrease in ampli- characterization factors. These fac-so testing signal transmissions to thetude. Measured in dB, the sources of tors, in combination with frequency,third harmonic of the fundamental insertion loss include the connector/ will determine whether or not an HDfrequency (2.25GHz) became com- cable's conductor, the dielectric mate- transmission system delivers on -specmonplace as a way to ensure output rial, signal reflection within the con- performance. quality. nector/cable and radiation external to SMPTE realizedit had a prob- the connector/cable. The data rate race lem with harmonics. The 750MHz The next characteristic that must The wireline and connector busi-specification does not deal with howbe evaluated is return loss, for which ness has, until recently, fueled a fre-large a pipe needs to be to carry thethe primary culprit is impedance mis- quency race. The more -is -better phi-signal. When testing an HD signal at match. Unlike analog transmission, the losophy is that designing cable andthe 750MHz fundamental frequency, margin of error in digital transmission connectors to transmit at frequencieswhat comes out of the scope looks like is a razor -thin 1dB. The good news is that provide headroom well in excessa sine wave - not the square wavethat it's easier to recover a missed zero or one than to recover a waveform. The bad news is that if you go outside that range, you've fallen off the digital cliff. A look at the consumer side of DTV FRAME GRAB Inside that 1dB margin is where Worldwide cable TV households the digital artifacts, such as tiling, pix- Out of 1.2 billionTV households, 355 million subscribe to cable elating and arrested/retarded motion, arise. That's why it's absolutely criti- TV households MI Cable TV households cal for HD transmission that cable assemblies deliver a return loss per- formance of -20dB or better. (Note: SMPTE recommends the return loss 355 1: million billio for cables to be better than -15dB from 5MHz to 1.5GHz, with the up- per frequency limit raised to at least 3GHz for HD.) 200 400 600 800 1000 1200 1400 The problem is return loss cre- Number of households around the world (million) ates standing waves within the wire - Source: In-Stat www.in-stat.com line. The voltage standing wave ratio (VSWR) indicates the presence of

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4-One-bit length-. Noise stead of plastic, beinglittle if any distortion, wide noise mar- careful not to distortgin or narrow jitter overlaps. Figure I thecablejacketing. 3 illustrates an unacceptable eye test. And, second, randomlyNoise and waveform distortion cause space the wireline tiesthe system to be incapable of telling Noise to eliminate the pos-the zeroes from the ones. Figure 4 Signal with margin noise sibility of induced har-shows a better eye pattern, but there monic reflections. is still too much noise and jitter to deliverconsistentbroadcast -quality A clear eye for HD video. This is the state in which a clear image excessive digital artifacts, such as tiling 4-Good sampling period Cablemanufactur- Jitter and motion stops, would occur. Fig- ers'specifications areure 5 shows an acceptable - but not generally missing the Figure 1. Eye test components ideal - eye pattern. There is enough distanceoverwhich the cables will meet the SMPTE 292 spec.Similarly, understanding the active electronics' responsibility in delivering clean signal to spec vs. the connector/cablesystemfrequently isn't dealt with thoroughly. Of great- est concern, though, is that there are parameters usually left out altogether that, within the frequency require- ments of SMPTE 292, will indicate Figure 2. Ideal eye pattern test whether or not an HD transmission willdeliver. Time domain factors Figure 3. An example of a poor eye test standing waves. VSWR is a unitlessinclude rise/fall time, amplitude, jit- ratio relating reflected voltage to in- ter, DC offset, overshoot and noise. cident voltage. VSWR is most pro- Of these time domain parameters, nounced at impedance mismatches.rise/fall time and jitter are the most In a worse case scenario, the reflectedcritical to digital transmission, in ad- wave is equal to the incident wave and dition to where significant variation 180 degrees out of phase, resulting in in performance within and between a perfect standing wave in which no systems can occur. signal passes through. Using an eye chart test is the best way to measure how clean a digital signal is Manufacturing cable that is true Current std 08. ,isetrOetc4) 698 05 184.8 90 7511 impedance across the full runwhen it passes through a component -411time(c41 671 05 180.2 05 cr p-p(c4) length is difficult, which limits howor an integrated system. As shown in 264 05 40.0 05 much consistency can be engineered Figure 1, the eye chart gives a visual Figure 4.This eye test is better than Figure 3, bur in. In practice, though, how that ca-depiction of one -bit length, and the itstill contains too much noise and jitter. ble is deployed and handled has a loteye pattern is created by the overlap- more to do with the actual return lossping waveforms in opposite polarity. than what's designed in. The perfor-The width of the displayed waveform mance of a perfectly good cable canindicates the level of noise in the sig- be severely denigrated if it's installednal. And the width of the intersection incorrectly, stepped on, run over orpoints of the waveforms represent the overbent. Many users introduce dis-amount of jitter present in the signal. tortion into the wireline simply byThe distance between the bottom and tightening wire ties with a gun around top of the eye represents the noise

cable bundles or raceways at preciselymargin; the greater the distance, the cucrent Risctiae(cg) 151 05 spaced intervals, which introduceslower the noise level. ,C111tIme(C4) 112 DS J-t,cr p-p(cg) 194 05 predictable harmonic distortion. The eye pattern displayed on the There are two easy ways to avoidtest equipment in Figure 2 represents Figure 5.While not ideal, this eye test is this problem. First, use Velcro ties in -an ideal eye - clean waveforms with acceptable for broadcast -quality video.

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separation betweenthe waveformup manufacturers' claims. In particu- Don't just look at frequency. Rise/ overlaps to indicate that the system islar, ask for eye diagrams, rise/fall timesfall time, jitter and noise are critical able to clearly distinguish the zeroes and noise levels. Understand the con-performance factors unique to digital and ones, but the visual indication isditions under which manufacturers'signal transmission. This is especially that the jitter (the overlap areas) is per- testing is done. Do side -by -side testingtrue for HD transmission because it's ilously close to the point at which theof components and systems to elimi- done in real time, unlike packet -data HD image would be of unacceptablenate variations - controlling for testIP transmission over Ethernet. If you quality. methods as well as test conditions. lose packets because of errors, you are This doesn't mean components andguaranteed to get them back, but in It's aquestion of balance equipment rated above1.5GHzhave no HD, if you lose data, it's gone. Emphasizing frequency capacity asvalue. Digital signals are harder to pass The good news is that it is possible to the primary HD engineering criteri- than pure RF, which is probably why the know what your current components on without considering the time do- third harmonic rule came into practice. and active electronics deliver in the main parameters increases the chanceCables rated at 2GHz with -20dB re-time domain today - and what you of over -engineering or under -engi- turn loss are in common use, and bet- will need to acquire in the future to get neering. This can make the differenceter cables can deliver up to 3GHz withthe results you need. In HD transmis- between consistent, clear signal trans- -22dB/-23dB return loss. Some high - sion, the path to consistent, crystal clear mission and endless workarounds. frequency connectors will deliver 3GHz picture quality is a clear eye. HE When considering alternative com-at -30dB return loss, which is better ponents and sources for yourHDnet- than most video cables. Cable assem- Steve Lampen is multimedia technology work, ask the supplier for information blies and active electronics that have manager for Belden, Sudheendra Prasad on time domain performance as wellheadroom to accommodate potential is engineering manager for 360 Systems and Dale Reed is senior vice president of as frequency domain. Be discriminat- changes in standards is a comfort factor marketing and sales for Stratos ing, and ask for specific data that backsthat engineers appreciate. International.

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42 broadcastengineering.com I December 2006 Talk about intelligent design...

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44 broadcastengineering.com I December 2006 BY BRAD DICK, '148EDITORIAL DIRECTOR orthosebit whoexpe-/rivo rienced the early days of 11110 television withitsblack - and -white images, limited channels and snowy pictures, today's television resembles "Star Wars" tech- nology. Black -and -white shows like terday's technology. Yet, even "Hopilong Cassidy," "Sky King" and brighter days may be ahead. To "The Ed Sullivan Show" were hits. understand how this industry will get Sometimes the picture was snowy,there, it's worth examining the struc- but that was normal and expected.tural changes that broadcasters will Viewers were satisfied with three need to make. In most com- channels, with maybe only one being munities, the com- in color. Stations stopped broadcast- Institutional changes petitionis between cable ing at midnight because, after all, who Today's viewers expect 100 TVand satellite. Broadcasters used watched television overnight? charnels, all in color, some in HD.to deliver 100 percent of the view- Today's television experience, with In addition, viewers expect their en- ing audience OTA. Today, less than high -definition pictures, multichan- tertainment centers to provide spe- 15 million TV homes use an OTA sig- nel sound, sports, prime -time serials, cial features, including pay -per -view, nal. The rest connect by cable, satel- documentaries and even HD local video -on -demand, exclusive sporting lite and, soon, IPTV. (See Figure 1 on newscasts, seems light years from yes- events and even caller ID. page 46.)

December 2006 I broadcastengineering.com 45 FEATURE THE END OF TELEVISION AS WE KNOW IT -ABC -CBS -NBC 22

21 20 Satellite 20°0 19 OTA 13% 18

17 16 15 14 Figure 1. Americans receive their tele- vision from one of three sources; OTA 13 local stations, cable or satellite. Fortu- 1997 1998 1999 2000 2001 2002 2003 2004 2005 nately for broadcasters, the number of viewers moving to cable has stabilized. Year Figure courtesy "Television Disrupted." Figure 2.The big three broadcast networks continue to lose viewers to cable news networks and broadband. Figure courtesy The State of the News Media 2006. Why have broadcasters moved from the driver's seat to the back seat? What 73 million are connected to cable, gladly supply hundreds of video and can be done to maintain or improve22 million use satellite, and the restaudio channels into the home - if station revenue? Will cable, satellite, receive OTA transmission. It's any- you can pay for it. When that happens, telco and broadband relegate broad- one's guess how IPTV from the telcos the local station is no longer one-third cast television to the equivalent tech- will affect these numbers. or one -fifth of the viewer's options; it's nological status of AM radio? The average cable viewer receivesoften less than one -one -hundredth. 91 channels of programming. Most ofIt's pretty hard to maintain visibility in Today's demanding viewer the larger multiple systems operators such a crowded field. There are an estimated 110 million (MSOs) and multichannel video pro- Today's viewers no longer tune to total TV households. Out of those, gramming distributors (MVPDs) will broadcasters' programming like they mailowoos

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used to. Last year, 57 percent of TV viewing was from cable networks, not broadcast networks. Original content is moving to cable. For example, the NFL sold the hit program "Mon- day Night Football" to ESPN. Those games are now shown only on cable, 15 with home team OTA exceptions. 1997 1998 1999 2000 2001 2002 2003 2004 2005 Fortunately for broadcasters, even Year as the number of content channels Figure 3. LocalTV station newscasts continue to lose market share, primarily to the has increased, so has viewing time. cable news networks. The mobile audience could help recoup these lost viewers. Last year, the average home watched Figure courtesy The State of the News Media 2006. more than five hours of television per day. That represents a 2.5 percent in- cent of the audience 10 years ago, butcable audiences have hovered around crease over the previous year. Experts today, that advertiser reaches onlythe 68 percent penetration level, with say that even with the draw of alterna- about 15 percent - and at highly in-only a 2 percent change. Last year, pen- tive entertainment platforms, such as creased prices. etration clipped by 0.5 percent. mobile video, IPTV and broadband, Localnewscastshaven'tfared TV viewership will continue to grow much better. (See Figure 3.) Note the Meet the new viewer at about 2 percent per year throughprecipitous drop in viewership start- Is there opportunity for broadcast- 2008. Despite all the media options, ing in 1999. While the rate of loss hasers in all this gloom and doom? The viewers still use their televisions three diminished in recent years, local TVsimple answer is yes, but realizing the to four times as much as they do com-viewership is still declining. potential revenue will require a dif- puters or video games. Cable has an audience almost twiceferent kind of station operation and the size of broadcast, yet it collectsnew workflows. (See "Equipment list" Advertiser expectations only 30 percent of today's advertisingon page 50.) The keys to success are As broadcasters lose viewership,revenue. Advertising executives say advertisersincreasinglycomplainthat this difference between perfor- management's willingness to try dif- about paying more for less. Figure 2 mance and revenues makes the mar- ferent ideas. on page 46 shows the average earlyket prime for significant change. Younger audiences are increasingly evening news share for the three On the upside for broadcasters, ca- media savvy. They want more control broadcast networks. An advertiserble penetration has reached saturation. over what they watch. They are the first may have been able to reach 20 per- (See Table 1.) For the past five years, to use PVRs, portable media players and

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48 broadcastengineering.comI December 2006 Percent FEATURE Cable of U.S. THE END OFTELEVISION AS WE KNOW IT Year households households (in thousands) that own to understanding the rolefor walking: How will mobile televi- televisions of broadcasters. Yet, newsion transform viewers' experience 2001 69,490 68.0 information indicates thatand change advertising?" The report 2002 73,230 69.4 broadcasters can play a keyshows that broadcasters can become an integral part of this service. Spe- 2003 74,430 69.8 role in the deployment of mobile television. cifically, it says: 2004 73,860 68.1 Last month, Nokia re- By 2011 mobile television will have 2005 73,930 67.5 leased an in-depth reportmore than 500 million subscribers.

called "This box was made Mobile television will complement, Table 1.The number of cable households in the United States has not changed greatly in the last five years, fluctuating between 67.5 percent and 69.8 percent since 2001. Figure courtesy The State of the News Media 2006. broadband television, selecting content and scheduling it for delivery according to their needs. (See Figure 4.) Clearly Different At the recentBroadcast Engineer- ingNews Technology Summit, Da- High Resolution Meets vid Payne, senior vice president and Easy Installation! general manager for CNN.com said, "Younger audiences demand a differ- ent experience. Give them what they want on the schedule they want." Mobile gold mine One interesting broadcast oppor- tunity may exist in serving mobile viewers.Mobile televisionisfre- quently discussed, but rarely under- stood - especially when it comes

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December 2006 I broadcastengineering.com 49 FEATURE THE END OFTELEVISION AS WE KNOW IT Equipment list Broadcastersneedtomodify expect more air channels to be add- needs. Just be sure you can add their workflow to provide view- ed later. capacity in modular chunks. Don't ers with mobile television. Using a Be sure the automation system settle for a server that can only be sneakernet and linear editing tech- can ingest multiple feeds, perform upgraded with a forklift. niques are neither fast or efficient QC, and stage them for play without enoughtoenablemultichannel, operator intervention. You will also Format conversion mobile and streaming technologies. need to build an as run log for billing The streaming and mobile chan- Let's look at some of the equipment on each channel. nels will need format and scan con- that will be needed. Don't forget that sometimes the version. Again, these functions must station will broadcast in HD, and be automatic and foolproof. Automation other times in SD, with additional The images may also need to be A multichannel, building block au- channels. The automation system groomed for proper display on small tomation design is a must. Another must be able to make the proper screens. Several companies have option may be theone -box -per - multiplexer switches without visual demonstrated equipment that has channel solution. The system must or audio impairments. This can be the intelligence to identify key im- accept business office drivers for more difficult than it may seem if the age features and perform real-time scheduling and output commands to initial planning isn't done correctly. zoom to them. servers, for play -to -air, play -to -Web This type of function is key in light and play -to -mobile channels. Storage of mobile viewers' needs. Images Allow for multiple play to air chan- Buy only what you need today. must be properly groomed for dis- nels. While the station may only need Storage costs are dropping, so don't play on small screens. an analog and digital channel now, pay today's prices for tomorrow's innovat

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50 broadcastengineering.com I December 2006 Broadcasters Trust Telecast Fiber for ALL not replace, traditional television. their Fiber Optic Needs.

Local content will be the most -watched type of mobile a program. era - 111 These three points should catch the attention of broad- cast general managers and engineers. They show that mo- bile television may be an opportunity rather than a threat. The report says that consumers will use their mobile de- vices to watch familiar content, such as news, weather, en- ADDER and ADDER II tertainment and sports. After local news, the second most CC Whe'her you need analog audio, IES, intercom popular programs are likely to be network newscasts or even A -D and D -A signal conversion, there Prime time for mobile viewing will be 6 a.m. to 9 a.m. is ar Adder system ready to hande any audio chalenge. Up to 256 channels per fiber, at 24 -bit and 6 p.m. to 8 p.m. Stations supplying news to a mobile reso'ution, with optical redundancy for quiet, deliverer will have to package and turn around newscasts reliable sound. quickly. There won't be time for lengthy post production. SHED/HDX and COBRA Viewers will use their mobile devices while they com- For 'Wax and hybrid cabled came -as, we have soli/Ions to liberate you from your heavy copper. mute (not drive) or have wait time. Studies also show that SHOs eliminate your costly hybrd cables on HD up to one-half of the users will watch mobile television at cameras, while Cobras replace trax on HD or SD home. Lunch breaks also proved to be a popular viewing carrera systems... with ten times the distance. time. VIPER I / SIDEWINDER For 14 years the Viper and Sidatinder have sup- Viewers will snack on video for short periods rather pord ENG/SNG applications aroind the globe. than watch full-length programs. Content for small screens The reel -mounted Sidewinder arri Viper Mussel Sheff are immediately familiar as the workhorse must be packaged for proper display. Simply shrinking your sysems that have proven themselves in the most wide-screen HD image to fit a 2in x 4in screen isn't suffi- extreme conditions...day in and c'ay out. cient. Such packaging would be easy but worthless because VIPER II the focal points would remain too small for mobile viewing. Wita small "throw down" modules that can be converted to rack mount, the Viler 11 is an expand- (See Table 2.) able system that grows with year facility. Instead, mobile content must be reformatted for smaller Modules range from video/audio to Ethemet to screens. Newscasts must focus on talking heads and close- rob)tic HD/POV, for incredible flexibility using simple building blocks. ups, not widescreen or studio two -head shots. Graphics need to be short, snappy and large. COPPERHEAD HD/SDI Our camera -mounted CopperHead makes light wo-k of a wide range of applicaions, from Current news coverage to digital cinematography. al" New TV Prime Turn your ENG camera into a remote production television that camera, and avoid the cumbersome, expensive content times Max backs and base stations. is repackaged DIAMONDBACK II Much shorter, Talking 6 a.m Piddng up where its predecessor left off, the concise news heads, DEMI now offers 8 channels of b.oadcast- - 9 a.m quality NTSC/PAL video on each wavelength. briefs close-ups Wi'h optional audio and CWDM 'echnology a 11114.-: huge backbone can be implemnted on a User interactivity sirgle optical core. of reality Snackable Midday television and content prime Save time on your event production schedule. On a single game shows lightweight cable we support all your broadcast signals from User -generated the field and the booth to the truck. From Telecast, the leader Mobisodes Middai content in fiber for television broadcast production. Segmented Visual 6 p.rr. programs spectacle - 8 VII Telecast (508) 754-4858 Fiber Systems, Inc. Local

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Table 2. What will people watch? Peop ewill watch a combination of original broadcast content, plus new content www.telecast-fiber.com specifically made for mobile consumption.This content must be supplied in snack -sized segments. Figure courtesy Nokia.

December 2006 1 broadcastengineering.com 51 FEATURE THE END OFTELEVISION AS WE KNOW IT

Mobile viewers also want custom- graphics and get to the point quicker. of analog as an opportunity to recap- ization, much like they get from TV One upside is that content can beture their lost audience. It represents Web sites. Viewers who don't care forinteractive. Consumer -initiated ads a once -in -a -lifetime chance for TV sports might be intolerant of havingwill be popular with both viewers and stations to give viewers a free OTA to watch 30 seconds of last night's advertisers. Also, location -dependent multichannelexperience.Viewers game. Let viewers choose what theyads will be possible, as two-way me-will be excited to learn that their fa- want to see, and then deliver it. dia players will be equipped with GPSvorite OTA station can now provide Mobile television will require short- positioning. them with up to six programs simul- er ads, typically five or seven seconds. An issue that is sometimes over-taneously - in addition to prime This will necessitate new productionlooked is the two-way video nature time HD. techniques. Copywriters will have to of the mobile platform. Expect view- Right now, OTA audiences are min- shorten copy, use larger, easy -to -read ers to not only view your content, butiscule, so the next two years are the also to be willing to supply you withperfect time to try new ideas. There Resources content. Mobile players will comearen't 500,000 viewers watching Chan- equipped with high -resolution cam- nel 4.3, so if it crashes, big deal. Palmer, Shelly, "Television Dis- eras and video transmission capabil- Experiment. See what works in rupted," Focal Press. ity. Technology already exists to auto-your community. Look for partners. Orgad, Dr. Shani, "This box was matically ingest mobile phone newsDevelop video podcasts. Soon cell made for walking: How will mobile clips. Think of the news possibilities. phones will be able to capture and television transform viewers' Finally, while these viewer needsstore both streaming and video clips. experience and change advertis- may sound like challenges, the benefitViewers will charge their cell phones ing?," Department of Media and is the first-rate audience they bring.overnight, and when they wake up, Communications London School of Research shows that the 18- to 34- the phones will have already have Economics and Political Science, year -old mobile audience is a highlydownloaded the morning news and commissioned by Nokia. desired demographic by advertisers. other personalized content. "The end of television as we This audience tends to be tech savvy; This is an exciting time in our in- know it: A future industry perspec- they're the ones driving YouTube anddustry. While some complain, "It's the tive," IBM Business Consulting other personal video Web sites. These worst of times," others see just the op- Services, 2006. folks are ready to spend money and posite. To them, the challenges are ex- The State of the News Media aren't intimidated by technology. hilarating and will lead to a successful 2006, Project for Excellence in future. One thing is for sure: The end of Journalism, www.stateofthenews The analog turn off television as we know it is truly at hand. media.com/2006. Broadcasters should view the death Martha would say, it's a good thing.BE

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©2006 Quantum is a trademark of Quantum Corporation in the United States and other countries. All other trademadks are the property of their respective companies. The American DTV PLATFORM BY PHILIP J. CIANCI

This month marks the 10th anniversary of the FCC's formal adoption of the American DTV standard. For those of us who work in this in- dustry, this anniversary represents a good point to look back at the technological journey that brought us to this solution.

The beginning The genesis of high -definition television (HDTV) is generally attributed to NHK. At the 1981 SMPTE Confer- ence in San Francisco, NHK demonstrated what it called a Hi -Vision analog HDTV transmission system. The tech- nology was initially designed not for home reception but as a satellite link. The system was based on an analog PAL composite video signal that had been scaled up to 1125 lines with 60 fields. The transmission link required 20MHz of bandwidth. SMPTE attendees were stunned by the high -resolution images. Some recognized that they were viewing the future of over -the -air television. For them, this was an exciting development. Others were less enthusiastic. Some saw the demonstration as an attempt by the Japanese to set stan- dards for the U.S. The U.S. effort to establish an HD transmission standard began with the creation of the ATSC in 1982. The com- mittee was initiated at the direction of the Joint Commit- tee on Inter -Society Coordination (JCIC). The ATSC was given the task to develop voluntary technical standards to replace the 50 -year old NTSC standard. The initial ATSC The Grand Alliance HDTV systeminthe David Sarnoff committee included members from the EIA, IEEE, NAB, Research Center Field Lab in early 1995. Images courtesy Glenn Reitmeier Collection, David Sarnoff Library. NCTA and SMPTE. In September 1984, the State Department submitted anport for the 1125/60 Japanese standard, U.S. broadcasters ATSC-recommended 1125/60 proposal to the CCIR for awere turning their attention to over -the -air transmission worldwide HDTV production standard. Motivating the of HDTV. action was the feeling that a global HD production stan- dard would benefit the U.S. TV industry for internationalWhy develop a U.S. HD standard? program distribution. The motivation to develop an American HDTV transmis- This proposal was adopted in 1985 by Study Group 11sion standard was influenced by many factors, including the and was passed on to the plenary assembly for further potential loss of TV spectrum to mobile services. Local sta- consideration. With heavy resistance from Thomson andtions were certainly less interested in providing HD services Philips in particular, in 1986 the CCIR postponed any at this point than just protecting their future spectrum. action on the proposal until 1990. Some feared that an Certainly the U.S. consumer electronics industry under the NHK-based proposal would kill the MAC systems widerleadership of the Consumer Electronics Association (CEA) development. It was also seen as an attempt by Japan towas keen to see a new entertainment technology develop. dominate the consumer electronics economy. While the CEA was publicly supportive from a U.S. perspec- While the ATSC persisted and attempted to gain sup- tive, the reality was that America had little entertainment

54 broadcastengineering.com I December 2006 &dertAy mak

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manufacturing left in this country.As manding (MAC) technology. Both it had built an all -digital HD system. the HD standard was debated, virtuallysystems provided NTSC compatiblyGI also claimed that its system could all television set manufacturing was be- that met the FCC's NTSC compatibil- compress HDTV into a 6MHz signal. ing moved outside U.S. borders. ity requirement, but required moreNow that was something significant. There was also a pride issue. Amer- than a standard 6MHz transmission Not only could an all -digital system be ican engineers were loath to have Ja-channel. built, it would also fit within the cur- pan set the standards for the key U.S. Two of the proponents, MIT andrent NTSC channel allocations. entertainment industry. In addition,Zenith, advocated an alternative called By 1990, broadcasters, the NAB, broadcasters thought that broadcast- simulcasting. In a simulcast approach, the consumer industry and the FCC ing HD might also help stem the loss ofa channel is used to convey an indepen- were pushing for a working solution. viewers to cable. NTSC was technologi- dent advanced television signal thatThe proponent HDTV systems were cally antiquated, as the high -definitionis not NTSC-compatible. To receiveonly in the R&D prototype stage. demonstrations clearly showed. Finally,advanced television, only the simul- Demonstrations were under limited, broadcasters, NAB and the CEA recog- cast channel needs to be received. Thecontrolled conditions. Confirmation nized that the NTSC standard was oldconcern was whether HDTV could bethat one of these systems could suc- and needed to be replaced. achieved within a single TV channel. cessfully be deployed nationally was The initial 23 systems were reducedstill to be estblished. The FCC starts the process to six during "Hell Week" in Novem- By now, the players realized there In July 1987, the FCC issued its ber 1988. ACATS now realized a labo- were only two possible outcomes First Notice of Inquiry on Advancedratory was necessary to properly testfrom the current battle for suprema- Television Service. Later that year, the the surviving proposed HDTV sys- cy. First, a company's proposal might commission appointed a 25 -membertems. With the broadcasters' backing,be selected as the winning design, and advisory panel, calling it the Advisorythe committee built the Advancedthe company would reap billions in Committee on Advanced Television Television Test Center (ATTC). licensing fees. Service (ACATS). Chaired by former In March 1990, the FCC ruled in The second, and more likely sce- FCC Chairman Richard E. Wiley, thefavor of simulcast HDTV. Broadcast-nario, was that a company's proposal panel, which included Joe Flaherty ofers would be granted a second 6MHzwould be rejected. Not only would CBS, was charged with reviewing thechannel for HDTV broadcasts. Atthe company's R&D money already technical issues and then recommend- some time in the future, NTSC trans- spent be lost, but more importantly, ing an advanced television system tomission would cease and the secondthe billions in licensing fees they the FCC. Twenty-three systems, manychannel would be returned for reusehoped to reap would be forever lost. only existing in simulations, were sub- and auction. So, when faced with getting all of mitted and competed for the blessing the pie or none of the pie, seven of of the FCC and adoption as the U.S.The switch to digital the companies decided to cooperate. standard. Some of the engineers involvedThrough a combined approach, they One proposal, Sarnoff's Advancedwith these early systems realized thatwould hedge their costs and increase Compatible Television (ACTV) sys- an analog transmission scheme wouldthe odds of getting at least something tem, required a two-step approachnot meet the FCC's interference re- for their efforts. to HD. Another came from the Phil- quirements, especially when scaled Four groups resulted and devel- ips laboratory and was called Highto national proportions. They beganoped digital systems. (See Table 1.) Definition System - North Americalooking at a digital solution. NHKalso submitted its analog system (HDS-NA). This represented an ad- General Instrument (GI) beat ev- for consideration. Proponent testing aptation of Multiple Analog Com-eryone to the punch and announced was scheduled.

Scanning Source Proponent Members Proposed system Modulation format coding Advanced Television Research Philips/Thomson/ AD -HDTV Consortium (ATRC) Sarnoff/CLI 1050/59.94/2:1 MC-DCT AA-QAM

DSC-HDTV Digital Zenith/AT&T 787.5/59.94/1:1 Spectrum Compatible MC-DCT 4-Level-VSB

American Television Alliance GI/MIT DigiCipher 1050/59.94/2:1 MC-DCT 16/32-QAM

American Television Alliance MIT/GI CC-DigiCipher 787.5/59.94/1:1 MC-DCT 16/32-QAM

Table 1. ATTC Round 1 proponent systems

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The tests begin After the first round of proponent tests were completed, the NHK ana- log system was eliminated. The ACATS decided that only digi- tal systems would remain under con- sideration. It also decided that no one system was sufficiently satisfactory. The four groups of players were asked to submit proposed system improve- The technical leaders of the Grand Alliance are shown here on March 31, 1995, ments and undergo another round of in the David Sarnoff Research Center Field Lab. Front row: Ralph Cerbone, AT&T; tests. Jae Lim, MIT; and Aldo Cugnini, Philips. Back row: Wayne Luplow, Zenith; Glenn Reitmeier, DSRC; Bob Rast, General Instruments; and Terry Smith, DSRC. The Grand Alliance for a repeat of its embarrassing 1953other systems. In many respects, the By late 1992, as improvements color standard reversal and 1982 AMATSC transport system became the made each system virtually indistin- stereo fiasco. This became the politi-core platform and helped extend ser- guishable from each other, it seemed cians' win -win scenario. vices beyond audio and video. A/65 likely that the ACATS was going to be For engineers, the GA became a logi- PSIP, the A/90 Data Broadcast Standard unable to select a winning proposal cal, technically sound architecture thatand A/9x data services standards series from the four remaining players. Atincorporated the best features from have resulted from this capability. this point, the players recognized that each of the four proponent prototypes. The GA spent much of 1994 de- the only way each could be guaran- The remainder of 1993 was spent veloping a working prototype. AT&T teed to receive a portion of futuredefining system architecture and di-and GI developed the MPEG video licensing revenues was for them toviding the design and construction encoder, and Philips the MPEG video. cooperate and form a single entity toof sub systems among GA members. Sarnoff built the transport encoder finish the project. Thus, the Grand Al- Once the system's specifications were and Thomson the transport decoder. liance (GA) was formally establishedestablished, ACATS approved them,Zenith built the modulation/demod- in May 1993. The seven members ofand a prototype was built. ulation system. the Grand Alliance were AT&T, Gen- eral Instrument, MIT, Philips, Sarnoff, National Information Key solutions still needed Thomson and Zenith. Infrastructure Performingformatconversion This arrangement solved two is- Often lost in the telling of HD's proved to be an early issue. Converting sues. The first was that sharing pat-developmentisthe influence thebetween 1080i and 720p in real time ents between Grand Alliance mem-National Information Infrastructurehad never been done before, but it was bers ensured that everyone would(NII) initiative had on prototype sys- also an important aspect of the final test receive at least a share of the profits.tem design. The NII was Washington - procedure. This required the design and From the FCC's viewpoint, with onlyspeak for what would later becomeconstruction of a format converter. one system to consider, the commis- the World Wide Web. Two format converters were avail- sion was provided with political cover. Key among the NII's requirements able. The first was developed during the The commission wanted no potential was high -digital interoperability withcompetition phase by the ATTC and The Clock is Running Out! Make Your Move to DTV With An ERI Broadcast System

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18 1920 1080 16:9 30 Interlaced

built by Tektronix. It was expensive, 17 1920 1080 16:9 30 Progressive having cost approximately $600,000. 16 1920 1080 16:9 24 Progressive The second was developed by the Grand Alliance, with the design and construc- 15 1280 720 16:9 60 Progressive tion shared across companies. 14 1280 720 16:9 30 Progressive

The battle for 13 1280 720 16:9 24 Progressive progressive scan 12 704 480 16:9 30 Interlaced In November 1995, the ACATS rec- ommended the ATSC Grand Alliance 11 704 480 16:9 60 Progressive system be accepted by the FCC. While 10 704 480 16:9 30 Progressive broadcasters thought the path was now clear, the computer industry had not 9 704 480 16:9 24 Progressive

yet begun to fight. Scheming behind the 8 704 480 4:3 30 Interlaced scenes were two groups, the PC folks and the film industry. The computer 7 704 480 4:3 60 Progressive

industry contended that to promote 6 704 480 4:3 30 Progressive interoperability between DTV and PC devices, any ATSC standard should rely 5 704 480 4:3 24 Progressive exclusively on progressive displays. The 4 640 480 4:3 30 Interlaced film industry demanded that movies be broadcast in their original aspect ra- 3 640 480 4:3 60 Progressive tio. Thus, just at the point broadcasters 2 640 480 4:3 30 Progressive thought the issues were almost resolved, two outsiders began to throw stones on 1 640 480 4:3 24 Progressive the entire process. Table 2. 18 ATSC video presentation formats Reed Hundt, FCC chairmanwas sympathetic to the computer indus-as part of anystandard.TheresultElectronics Manufacturers Association try's position. The Computer Indus-was that the FCC refused to act onand Film Coalition - enter negotia- try Coalition on Advanced TelevisionACATS' proposed DTV standard. tions to resolve the remaining conten- Service (CICATS) had not partici- tious issues. pated in the formal standards devel-Final agreement Once again, politics came to the res- opment process. But that didn't stop Inlate 1996,FCC Commissioner cue. The ATSC initially developed the it from lobbying hard through 1996 Susan Ness demanded that the warring infamous Table 3 with 18 different res- to get progressive scanning adoptedgroups - the GA, CICATS, Consumer olution and scan rates. (See Table 2.)

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60 broadcastengineering.com I December 2006 FEATURE THE AMERICAN DTV PLATFORM

However, in an effort to streamline thenewer technologies. Because the U.S. business for 21 years and has done circuit standard and simplify displays, it hadDTV system is so flexible, Americans design in the Grand Alliance ATSC prototype system. He is seeking first - been removed from the final ATSCcan expect it to continue to take advan- person memories from engineers and proposal. Commissioner Ness got thetage of new developments and provide technical personnel who participated in committee to add the table back intoa long-lived service to viewers, which any phase of HDTV R & D, early broadcasts, standards committees, the standard. This change resolved thewill help ensure that it has a long and facility construction and equipment concerns from the computer industry. successful life. 1E manufacture for an insider's view book. The Film Coalition held steadfast, For more information about this effort, to contribute or comment about this article, demanding that a film's original aspect Philip J. Cianci has been in the TV visit www.HDTVArchivePtoject.com. ratio be protected. However, being a small group without lobbying funds and big names, its opinion got little at- tention. Its concerns were steamrolled by the Ness -forced negotiations. So, after a long and arduous HDTV standards quest, on Christmas Eve 1996, the FCC adopted the proposed ATSC digitaltelevisionterrestrial broadcast standard. Key provisions of the adopted stan- dard include: MPEG- 2 video com- pression; ATRC derived packetized transport; Dolby's AC -3 multichan- nel audio; and Zenith's 8-VSB trans- mission system.

Into the analog sunset In the 10 years that have passed since the standard's adoption, DTV transmissions now cover the U.S. Ca- ble operators offer HDTV services on virtually every system, and HD satellite broadcasts have a national footprint. The final step in this transformation is scheduled for February 17, 2009. On that day, broadcasters will turn off their analog transmitters for the last time. With Sundance Digital, good brcadcasting and good business go Today, most prime -time program- hand in hand. Using our automation software, you can improve the efficiency accuracy, productivity and profitability of your broadcast ming is produced in HD. DTV has and news operations. By integrating digital television and information reached 30 percent household pene- technologies, we give yoi the capability to manage your entire broadcast tration and is predicted to top 80 per- workflow. As a result, you'll get greater control, more flexibility and cent by 2009. Vouchers for digital -to - unprecedented speed. That's what we mean when we say we'll improve analog converter boxes will be subsi- your on -air product - and your bottom line. dized by the government to enable ev- ery household in America to continue And speaking of great ideas, we'ie combined everything you expect to receive over -the -air broadcasts af- from Surdance Digital - excepional service, open technology, reliable ter the analog shutdown. products - and added the power of an industry leader. Now, as part Beyond the commercial success and of Avid, we have even more resources to serve your business. DTV's rapid market penetration, the fact that the system has a layered ar- chitecture may be the most important www.sundancedigital.com aspect of platform. Each of the layers 972.444.8442 - presentation, compression, trans- port and transmission - has already been augmented or replaced by other,

December 2006 I broadcastengineering.com 61 D inpostpart 2 - BY L.T. MARTIN

A look at four workflows designed for high -definition editing and finishing. ne of the reasons manyCinergy Creative Audition 2.0, is being replaced by the consider post production At the beginning of this year, Ado-beta version of Soundbooth, an audio the most exciting arenabe Systems released Adobe Produc-tool for soundtrack creation. (Audi- for high -definition con- tion Studio (part of its Creative Suitetion will continue to be developed tent0 creation is the burgeoning num-family). The bundle includes Afterseparately from Production Studio.) ber of choices for editing and master- Effects 7.0 for effects creation, AdobeFor pure editing, the key component ing HD projects. Last month's "Pro- Photoshop CS2 for image manipula-of the software bundle is the Premiere duction Clips" column ("HD in post, tion, Adobe Encore DVD 2.0 for au- Pro 2.0 NLE application, which gives part1," November 2006) depicted thoring, and Adobe Illustrator CS2, afull control over HD mastering. case studies at three high -definitionvector -art creation software for paint Adobe software is at the heart of the editing and finishing facilities. Below and rotoscoping. Recently, Adobe an-Hollywoodvisualeffects/post-pro- are four more facility case studies,nounced that the bundle's audio tool,duction company Cinergy Creative. each using a different software -based system to complete its high -defini- Visual effects and post -production company Cinergy Creative mastered the HD tion project. elements of the film "Phat Girlz" using Adobe Premier Pro 2.0.

62 broadcastengineering.com I December 2006 11111111111111111111111111111111111 11111111111111111111111111111111111

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gabb,0.1...... V1...chbose.enaral tl.t.,tarArta* um gt now I - p jor reason KRON-TV, the PBS affiliate in San Francisco, has selected EDIUS as its primary editing software. In fact, Jim Swanson, director of KRON's lo- cal programming, oversees 60 edit systems using EDIUS Pro software for the station's remote productions. In addition to all of the station's SD news packages, KRON has five EDIUS sys- oopx.t. 414042211,. 414010;4111 001421111. tems dedicated to HD projects, includ-

1 - c - 4. 4. gn ing "Henry's Garden," "Bay Café" and -.sun 4.4sr 116 "Bay Area Backroads." Most of these are shot with Sony HDV-Z1U cameras

....4;1111011111111111111111111111110 recording the long -GOP HDV format ti on mini -DV cassettes. - But for a new home show called

SIB110.1 "Bay Area Living," Swanson's produc- tion team has also recently introduced a Panasonic AG-HVX200 camera that records 110Mb/s DVCPRO HD video Adobe Premiere Pro 2.0 is part of the Adobe Production Studio. The bundle's on 8GB P2 cards at about one minute Dynamic Link feature allows users to move content easily between programs. of HD material per gigabyte. Several Creative director Leslie Allen says his ily at hand, Allen says that Premiere of the EDIUS Pro laptop systems have Adobe Production Studio applications Pro lets him master HD and even 2Kbeen upgraded to the broadcast ver- and Premiere Pro editing software sat- projects with the same flexibility hesion so they can ingest the MXF files isfies his client's needs from commer- used to expect in standard definition. recorded by the AG-HVX200 directly cials to theatrical films. Four years ago, from its P2 cards without any trans- Allen chose the editor because it was KRON-TV coding. To start posting "Bay Area one of the first software -based editing One of the key attractions that led Living" in HD with this system, his applications that could create 5.1 sur-Grass Valley Group to acquire Cano- editors take their laptops into the field round mixes. Now he is using versionpus at the beginning of 2005 was theloaded with EDIUS Pro software and 2.0 to master HD elements for such TVacclaimed quality of its HD codecs de- transfer HD video from the P2 cards projects as CBS' "The Amazing Race"veloped by Canopus' founder Hiroshithe laptop's hard drive at over 2X and the Sci Fi's "The Outer Limits," as (Hiro) Yamada. Those codecs are a ma- speed as soon as each card's capacity well as current feature films, including "Phat Girlz" and "El Muerto." The Adobe Dynamic Link feature - shared by all Production Studio modules - allows Allen to move ele- ments from one application to anoth- er without rendering. For example, during previsualization on "Ameri- can East," Allen's client watched as he quickly brought in sketches from Photoshop and used Dynamic Link to fine tune them in After Effects. Allen has found that today's NLE offerings provide more options for a fraction of the cost of Cinergy Cre- ative's legacy hardware -based post systems. Of course, it helps that his facility is using 2.5TB of fiber-optic RAID storage to move files between workstations. With that much materi- Joey Altman (left) is the host of KRON-TV's "Bay Café," one of the San Francisco al dedicated to his film projects read- station's HD projects that relies on five dedicated Grass Valley EDIUS systems.

64 broadcastengineering.com I December 2006 Sound gives pictures an emotional dimension that movement alone can't convey. The increasing use of surround sound adds even greater impact to the viewing experience. But it calls for much greater console capacity.

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Sounds exciting? Find out more at calrec.com Putting Sound in the Picture FEATURE HD IN POST, PART 2

and Bedell has the ability to post an entire show in HD without any ren- dering delays. With its Altitude hardware, the sys- tem has a three -wheel key -frameable color corrector (primary and second- ary) and, thanks to an intuitive soft- ware interface, presents thumbnail "EyeCons" representingallvisible layers in an edited sequence based on the current play head position. This gives Bedell a constant visual refer- ence along with associated SMPTE time code for all elements in the To take its monthly magazine show from HD to SD, WEDU-TV upgraded its Harris timeline, making the alignment of VelocityQ NLE to the VelocityHD system. specific frames across multiple lay- ers especially easy. In addition, audio EyeCons display a close-up view of isfilled. With two cards in eachWEDU-TV the audio waveform at the play head's AG-HVX200, the off-loaded card then In Tampa, FL,at PBS station current frame. rotates back into the camera, and theWEDU-TV, Dax Bedell has been ed- Bedell has also just started posting editor can begin logging and cuttingiting the monthly magazine show "A "Small Business Academy" -a show the footage on the laptop. Gulf Coast Journal with Jack Perkins"structured around interviews inter- Back in the studio, editors finish "Bayfor two years in standard definition. spersed by roll -in packages- on the Area Living" in high definition and out- But this season the show switchedVelocityHD. Until the station's full put it to the station's on -air server. The to high definition. The show is shothigh -definition control room can be station currently uses EDIUS Pro ver- in the Sony HDCAM format. Bedellfinished, Bedell uses the multicam ca- sion 3.6, but Swanson plans to upgradenow uses a Harris VelocityHD sys-pability of the NLE to simulate a live to the latest version 4.0 software soon. tem, an upgrade from WEDU's pre-line cut of each episode. He digitizes Using all off -the -shelf equipment, thisvious SD VelocityQ NLE, to post theall the iso camera footage into the NLE software lets KRON finish a grow- show for broadcast on the station'ssystem and simply switches back and ing number of HD programs at a costHD channel. The system is capableforth between cameras. The show can level that would have been impossible of handling two streams of 10 -bitthen be mastered to HDCAM in real just a few years ago. high -definition video in real time,time for air.

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66 broadcastengineering.corn I December 2006 Iike.no.other

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-.14102 A come CCC102 HD IN POST, PART 2 'Un 1900942 LOO126 jRae Sian 1403 194304 62,SWn m L00127 004422 06 Proxy C00206 19 - L001211 L00130 43771600932805C 00007 COON GG00-1 AK Shirt 6103 4244 12 Ree Start et 0 Zoe Creative Services source material. When finished, he GG0133 00400200 Prary 00 03 1008 - 8CC4118/064 Although Sony introduced its turn- simply writes the project back to the 30PGneenSaAen 064F1X/IX71805C key XPRI high -definition editing system XDCAM disk to create an HD master. GG00.2 Ct.C.113 CCP14 -1' P . Sten 4, 03 55 4? (4 Rs -SW Mn in 2001, it's the software -based Vegas Vegas even has a "Takes" function ,x -D3'43 21 Pr. W030912

NLE system that Sony purchased from that adds all associated alternate takes C0019 Roc Start al 04 1132 06

Sonic Foundry in 2004 that has created to each clip on the timeline so if sub- . 00:03 14 16 Proxy

a buzz for HD finishing. Having started stitutions need to be accessed during 152210.32 23 976 1p6 progressive. 0110348 26 ProxyG1PEG4 00 VG 1680 8069.1. 00034826. Proxy,6-16A, as an audio -only tool, the recently re- mastering, every available option can leased version 7 can print multichannel be displayed with a single click. To see The XDCAM Explorer window in Sony 60i, 50i and 24p masters to HDCAM if it could be done, Duncan pushed the Vegas allows Zoe Creative Services to tape over HD -SDI using the support- system to display 1000 takes with the quickly choose files to import. ed AJA or Black Magic Design cards.help of some third -party plug -ins butcablecasting and also an HD master In addition, it allows users to create he usually limits it to a couple of dozen on XDCAM disc for the MHD, a new high -definition Windows Media files layers to prevent confusing his clients. high -definition music channel from for computer playback and MPEG-2 Duncan recently mastered an HDMTV Networks. About the only fea- compliant files for the Sony Blu-print music video by country star Mar-ture Duncan values as much as Vegas authoring system for Blu-ray discs. ty Raybon. The video was shot in 7's high -definition video format flex- Tim Duncan, senior editor at ZoeXDCAM and edited completely in Ve- ibility, including native HDV render- Creative Services in Nashville, TN, uses gas. Duncan shot the video in multipleing to disc, is its ability to import and the XDCAM Explorer function built takes and was able to set up a 25 angle export 5.1 ATRAC audio files as well into Vegas to import all the proxies multicam configuration in a 5 x 5 splitas up to 32 WAV channels as a single from a complete 23GB XDCAM discscreen with an on -screen tally lightfile. That's enough to keep this Nash- for what used to be called offline edit- identifying the selected window. ville editor singing. BE ing and then re -conform an entire proj- When done, he output a standard - L.T. Martin is a freelance writer and post - ect from the full -resolution XDCAMdefinition version for DVD and VH1 production consultant.

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MPEG-2toH.204 TRANSCODING:

BY SANTHANA KRISHNAMACHARI AND KYEONG HO YANG

he MPEG-2 compression standard has been widely deployed in video distribution infrastructures, such as cable and satellite networks, as well as in several consumer applications, such as TDVDs and DVRs. For more than 10 years, end -to -end systems have existed, with several million interoperable encoders, multiplexers and set- top boxes deployed. The need to transcode to and from the MPEG-2 format has arisen.

70 broadcastengineering.com December 2006 WE CHANGED THE WAY YOU WILL THINK ABOUT ROUTINGAUDWFOREVER

inimmumelow 4.4.44.47 Distributed Thinking, One Solution The Cheetah DRS, PESA's newest multi -format audio router, uses patent pending distribution technology to route audio over Gigabit Ethernet with either a single CAT -5 or Fiber cable for multi -frame connectivity. This creates a Distributed Routing System (DRS) scalable from 64X64 (occupying 1RU frame in one location) up to 2048X2048 (in 36RU of space in one or many locations). veSION SR 0400 Cheetah DRS allows broadcasters to place input frames in equipment TOP INNOVATION racks near satellite ingest from receivers, VTRs, or servers, while AWARD 2006 placing output frames closer to studio gear for distribution into audio consoles, or master control. This keeps cable runs extremely short, preserves signal quality and reduces cable costs, time of installation Winner of Winner of TV Technology's Television Broadcast's and maintenance. Additional inputs or outputs can be added by 2006 MB Award 2006 Tog changing cards or increasing frames in any location. Format flexibility Innovation Award in the Cheetah DRS allows a mix of AES and Analog, Synchronous and Asynchronous audio, with support for Dolby -E. IPESA Simple, Fast, Reliable SwItching Cheetah DRS frames supports redundant power, redundant control, iQSystems and quick access front-loadable, hot-swappable matrix cards. 24 Woodbine Ave Suite 16 Versatile Connectivity Northport, NY, USA 11768 Frames are available with a wide variety of interconnect options. Tel: +1(631) 912.1301 Choose from BNCs for 75 ohm AES, as well as ELCO or DB-50 connectors for analog audio or timecode. RJ-45 connectors are used Fax: +1(631) 912.1302 for optional RS -422 machine control. A 6 -pin terminal strip version Toll Free USA: 800.328.1008 is also available. www.pesa.com The Clear Path for Clean Audio Distribution: www.pesa.com/drs SPECIAL REPORT MPEG-2TO H.264TRANSCODING

The need for transcoding mable processor technologies, suchTranscoding challenges The following three scenarios de- as the DSPs and FPGAs, have made it This article primarily focuses on the scribe the need for transcoding. possible for video processing vendorsissues and challenges associated with First, improvements in compres- to field products that can handle mul-format transcoding from MPEG-2 to siontechniques haveresultedin tiple existing formats and field -up-H.264. Although MPEG-2 and H.264 mature new standards that offer sig- grade the products for future emerg-use similar techniques of motion nificant bit rate gains of 30 percent to ing standards. compensation, transformation, quan- 50 percent over MPEG-2. Invest- tization and entropy coding, there are ments made in legacy devices that canTypes of transcoding several basic differences between the only handle the MPEG-2 format and Several forms of transcoding aretwo standards that make the trans - the existence of large amounts of con-possible, depending on the specific coding operation challenging. tent that was created using MPEG-2parameters of the compressed bit Several new features available in necessitate that multiple standardsstream that are modified during theH.264, such asmultiple reference will coexist for several years before transcoding process. They include: frames, smaller block shapes and spa-

the eventual conversion to a single Bit rate transcoding. This processtial intra prediction, have no corre- standard. changes the bit rate of the compressedsponding information in the MPEG-2 Second, emerging IPTV deploy-bit stream while keeping the resolu-bit stream. The use of spatial predic- ments of video over bandwidth con-tion, frame rate and the encodingtion in I -slices in H.264 makes the strained last mile will result in part offormat the same. MPEG-2 bit ratetranscoding of the MPEG-2 I -frame

MPEG-2 reciever 16:9

I' I Transcode- Uplink Downlink MPEG service

)I I

ono Transcoder Figure2.Resolution transcoding to ------Headend ' - support multiple display devices MPEG 2 H.264 substantially more complex than the simple re -quantization techniques that Figure 1. Format transcoding for IPTV architectures have been used by the MPEG-2 rate transcoders. The approach to trans- the content distribution chain migrat- transcoders, also called rateshapers,coding MPEG-2 to H.264 is expected ing to H.264, thereby creating a need have been widely deployed today, and to progressively follow three approach- for efficient transcoders. (See Figure 1.) they employ efficient, high -densityes, which are presented below. Third, new applications, such asrateshaping by primarily operating in high -definition video and real-timethe discrete cosine transform (DCT)Decode and re -encode broadcast video over handheld mobile domain. The simplest approach to trans -

devices, require that the same content Format transcoding. This entailscoding is to completely decode the be made available in several spatialconverting the compression format -MPEG-2 bit stream and then re -en- resolutions and frame rate formats. for example, converting an MPEG-2code it with an H.264 encoder. The This can be achieved by recreating thebit stream to an H.264 bit stream. decode operation can be performed

same content in several formats. Al- Resolutiontranscoding.Thisin-either externally or as a part of the ternatively, it will be more efficient tovolves the conversion of coded spatialH.264 encoder. System issues, such create the content once and transcode resolution - for example, convertingas handling SCTE-35 digital pro- it to different formats and resolutions a standard -resolution bit stream togram insertion (DPI) messages, will as needed. (See Figure 2.) common intermediate format (CIF)require that the decode and encode Finally, improvements in program - resolution for a mobile application. operations be tightly coupled.

72 broadcastengineering.comI December 2006 SPECIAL REPORT MPEG-2T0 H.264TRANSCODING

The quality of transcoding with this Encoding vs. transcoding 33 simple approach will not be high. Figure -u-H.264 encoding 3 shows a comparison between direct --*-MPEG-2 -> H.264 transcoding encoding and transcoding. The figure 32 shows the PSNR (a measure of mean square error between the input and 31 decoded output) values computed at different bit rates. The PSNR numbers 30 are obtained by averaging the results over 18 different sequences of varying content type and complexities. The top cc 29 plot shows the performance of direct encoding using an H.264 encoder. The 28 bottom plot shows the performance of transcoding where the video is origi- 27 nally coded with MPEG-2 at 4Mb/s, decoded and then re -encoded with the same encoder used for direct encoding. 26 Transcoding can result in up to 20 per- cent loss in compression efficiency. 25 0.4 0.4 0.8 1 1.2 1.4 1.6 1.8 2 Decode and Bit rate (Mb/s) information reuse Similar to the previous approach, Figure 3. Performance comparison between direct encoding and transcoding eis Infinite -^.4111:k

"411100.-

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December 2006 I broadcastengineering.com 73 SPECIAL REPORT MPEG-2T0 H.264TRANSCODING

the incoming MPEG-2 stream is de-ing quality and reduce computational sions can be reused to reduce com- coded and then re -encoded using an complexity. plexity of transcoding. The H.264 en- H.264 encoder. However, here the rel- Reusing the picture type (I, P or coder can use the quantizer values and evant information available from the B) information from the MPEG-2the number of bits used to encode a MPEG-2 bit stream is reused. bit stream can provide substantialgiven picture obtained from the input Althoughtherearesignificantimprovement in transcoding qual- MPEG-2 stream for bit allocation and differences between MPEG-2 andity. Because MPEG-2 encoders coderate control decisions. Reuse of infor- H.264, including block shapes for I- and P -pictures at a higher qualitymation as described here can be similar to two -pass encoding, where the results of the first pass of encoding are used to Coexistence of various coding standards, drive the decisions in the second pass. and the requirement for multiple resolutions and frame rates for new Transform domain processing emerging applications, will drive the need Transform domain processing is for efficient, high -density transcoding. commonly used in the MPEG-2 bit rate transcoding applications mainly to reduce computational complexity motion compensation, block sizes for than B -pictures, better transcodingand to avoid the loss of accuracy due transformation and motion searchefficiency can be achievedif theto repeated DCT and inverse DCT ranges, there is still useful informa- H.264 encoder can align the pictureoperation. tion available in the input MPEG-2 type with that of the input stream. With the use of integer trans- bit stream that can be exploited by the Other information such as motionforms in H.264, there is no penalty H.264 encoder to improve transcod-vector values and coding mode deci- because of repeated forward and inversetransformationoperations. Performing complete transcoding in the transform domain may be unreal- BroadcastEngineering istic because of the substantial differ- _ ences between MPEG-2 and H.264. LIFETIME" However, computational complexity TELEVISION reduction can be achieved in certain operations, such as the I -slice trans - c EAT NC A G TAL W"KFL°W subscriptions coding in the transform domain by combining the inverse DCT opera-

--- - .tic tion in MPEG-2 with the forward in- teger transform of H.264.

Conclusion YourHereName ROWS UP ECTIVE AND Company FORMING Coexistenceof variouscoding Address STEMS standards, and the requirement for City, StateTIP ES AND NOLOGY multiple resolutions and frame rates for new emerging applications, will drive the need for efficient, high - density transcoding. Transcoders are Let Broadcast Engineering keep you up-to-date on the expected to progress from simple de- latest industry news, technology developments, new code/re-encode devices to more com- products and services...and more. plex integrated systems that reuse in- formation in the input bit stream and Apply for your free subscription today. Log on to broadcastengineering.com and click on "subscribe." achieve higher density by employing selective transform domain process- And...you can also sign up for any of the industry's ing techniques. leading e -newsletters from Broadcast Engineering. BE Santhana Krishnamachari is vice president of advanced engineering and Kyeong Ho broadcastengineering.com BroadcastEngineering Yang is technical manager of video algo- A Prism Business Media Publication rithms group for EGT

74 broadcastengineering.com I December 2006 BroadcastEngineering 4th ANNUAL HIGH DEFINITION SUVIVIT December 5111 -51112006 HOLLYWOOD CA

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onsumers are flocking to HD. Nearly 20 million HD television sets were Csold this year. The CEA says that this year, HDTV will have outsold Avid. aalog sets by more than 89 percent. In addition, nearly 47 percent of all TV households (TVHH) in the United States plan to buy an HDTV in the next 12 months. The overall market value for HD sets will reach $65 million by 2009. Kagan Research says that of all digital TV sets sold this year, 85 percent will be HD. FUJWILM Cable HD subscriptions will soon reach 6.6 million. By the time analog goes dark in 2009, the number of cable HD subscriptions is predicted to exceed 30 million. Satellite HD consumption is also growing. Last year, there were 1.8 mil- lion HD satellite subscribers. With the increased HD programming being ?1?1S® rovided by broadcasters and satellite vendors such as DirecTV, the num- er of satellite HD subscribers will reach 19 million by 2010. Broadcasters' content is what's driving this rapid HD growth. With more than 1500 stations broadcasting digitally, consumers can now "see" the HD difference. SESAAMERICOM With all this positive news on HD, ask yourself: What is your station An SES GLOBAL Company doing to drive the wave of HD? Have you implemented an HD workflow? Are you planning now for local HD newscasts, HD local commercials and even HD weather? The solutions you'll need are being shown now at this year's High Defi- SILVER SPONSOR nition Summit.

anystream. Jonathan Chalon Larry Oliver Group Publisher Vice President Broadcast Engineering and General Manager Radio magazines Reed Television Group

-

111- 11MINI HD Production

-

INTELSAT HD News Closer, by far

UNIVERSAL HD HO Post NBC,i HDTV

HD Distribution

S2 HD SummitI December 5-6 A sponsored supplement to Broadcast Engineering, Broadcasting & Cable and Multichannel News < HD Production

HD production has exploded on the produc- tion scene with full -on capabilities for motion picture, sports and independent video appli- cations.

HD: Changing the productionscene

Movie producer, director andof HD Vision Studios in Los Ange- HD pioneer Randall Darkles. "But we've got so many com- says it's arrived. Sports tele-panies that have come to the table. "I don't think production service providers con-It's not just Sony; it's Panavision, cur. Even those who shoot and edit Panasonic, Arri and (Grass Valley's) anybody music videos and TV shows agree. Viper. You've got an incredible va- HD production has hit its prime. riety of state-of-the-art cameras now can In the past, producers had tofrom cutting -edge companies.I make compromises because thedon't think anybody now can look look at the high -definitionequipmenttheyat the technology and say it's not needed wasn't available. But to- prime time, and it's not affordable." technology day, with high -definition cameras small enough to mount behindImpact on movies and say atransparent backboard, matte While movies with broad distri- boxes designed to mount on thebution and large budgets, such as ...it's not front of an HDV camcorder and producer George Lucas' "Revenge prime lenses for the highest cin- of the Sith," garner much of the affordable." ema -quality HD cameras, the stage attention given to high -definition issetfor uncompromised HDand electronic cinematography, it's Randall Dark, production - regardless of theat the other end of the spectrum HD Vision Studios application. that HD's greatest impact on mov- "Three years ago, I would haveiemaking may be felt. said there were still missing pieces," "High definition is one of the said Dark, president and cofoundermost important technologies to

A sponsored supplement to Broadcast Engineering, Broadcasting & Cable and Multichannel News December 5-6 I HD Summit S3 Legal department clears content of interviews

a.m 10:06 on -camera Assistantannotates - they arecaptured interviews as

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High -definition production is offering motion pic- ture producers a filmic look that viewers cannot distinguish from productions shot on film.

come along because it helps level "I'm not saying that high defi- the playing field," Dark said. "Be-nition is perfect for every type of cause of the cost structure of highfeature film, but we had to pull the definition,you'regoingtosee trigger because we were doing a lot many new voices being able to ex- of improv comedy," Dark said. "I press themselves because they canfirmly believe film is an art form, get into the game at a much lowerand high definition is an art form, price point. I think that's going toand to compare the two at a sub- change and improve the quality ofjective, creative level does each art "We've had storytelling?' form an injustice. Freed from the heavy financial "It is apples to oranges. When you a complete burden that shooting in film placestalk about an artist painting with a on a movie's production budget,paintbrush, he decides whether he front -to -back producers with low budgets canwants oil, acrylic or charcoal. That now turn to HD as an affordablebeing said, I find as an artist I use high -definition alternative. high definition because I'm also a "Numbers don't Dark said.businessman, and I know that by solution for "I shot 57 hours of HD footage inusing high definition, I can get a 14 days for my independent moviemuch better, cost-effective finished about the past `Closing Escrow. When you com-product, and the consumer cannot pare the HD tape I used to the costtell what paintbrush I used." 18 months." of the raw film stock, developing, processing and transferring, theSports production - Jeffrey Joslin, numbers are staggering." For the most part, all of the tech- NEP Supershooters For a movie with a $100 millionnology needed to teleproduce a budget, film charges may only ac-sporting event in high definition is count for 5 percent of the total available. budget. But for features that cost "We've had a complete front - less than $1 million to make, theto -back high -definitionsolution cost of film can amount to 30 per- for sports for about the past 18 cent of the overall budget, he said. months?" said Jeffrey Joslin, chief

S6HO Summit December 5-6 A sponsored supplement to Broadcast Engineering, Broadcasting & Cable and Multichannel News HD Production )

engineer for NEP Supershooters. RF camera latency is generally the NEP Supershooters is a mobileresult of delays from compressing facilities company that suppliesand encoding video before trans- broadcast and cable networks with mission. It can be as much eight some of the largest, most advancedframes or more, he said. teleproduction trucks in the indus- Such delayscanlimitdirec- try. For example, ESPN contractstors'creative choices - particu- with the company for all of thelarly when covering a sport such production capabilities needed toas golf, where long fiber-optic or present "Monday Night Football"Triax cable runs connecting camera in HD and SD. positions at distant holes with the Over the past couple of years, HDteleproduction truck are frequently production and sports have becomeimpractical. nearly synonymous at most high - According to Joslin, other chal- profile sporting events. Televisedlenges are coming into focus as HD sports, which typically attract asports production becomes more large number of viewers, havepervasive. Among the most notable helped popularize high definition. are the best ways to mic and mix 5.1 Sports shot in high definition pro-surround sound for various sports; vide viewers with sharp images, athe recent availability of no -fea- wide aspect ratio and 5.1 surroundture -compromise HD graphics and sound, all which make them feelhow to integrate them into the SD like they're at the game. feed most viewers see; and build- But along with the great produc- ing a comfort level among camera tion values of high -definition sports operators and the production crew come a unique set of challenges. For with using 16:9 viewfinders and example, while all of the pieces are monitors. in place to produce sports in high definition, it's important for theOther productions industry to address latency in wire- High definition may be rework- less HD cameras, Joslin said. HDing the math of motion picture

HD origination of sporting events has become far more common over the past 18 months as the few missing high -definition production tools have fallen into place.

A sponsored supplement to Broadcast Engineering, Broadcasting & Cable and Multichannel News December 5-6 HD Summit S7 HD Production

run-ehd-gun news and documentaries shot style take on a true-to-life appearance in definition.

production, butit's HDV that'sthis project offers a competitive transforming the economics for advantage. thousands of independent produc- "It gives us an edge ers and video professionals. shooting in NTSC," he said. "For a Typically based on 1/3in imagers,long time, I shot on the Sony DSR- these camcorders support a wide 130 DVCAM in NTSC. It has a great variety of frame rates (23.876fps,picture, but the Canon XL H1 HD 29.97fpsor59.94fps),scanninggives us the ability to go either way. types (interlaced and progressive) We can go HD or NTSC." "[HDVI gives and resolutions(1080 and 720 Shaw said using the HDV cam- lines). Many even offer HD -SDIcorder delivers the performance us an edge output to allow recording to devic-necessary to please clients and at- es other than HDV format VTRs. tract new business. over just Competitively priced, HDV cam- It's often said that HD is the big- corders makeitmore practicalgest technological change in tele- shooting in for producers on tight budgets tovision since the introduction of achieve a filmic look. color. The same could be said of its NTSC." One such producer is Rick Shaw, impact on production - not just president of Pinlight in Hollywood,in how television and movies are Rick Shaw, CA. Since acquiring the Canon XLbeing made, but also what can be H1 HD, Shaw's production com- made and how it will look. pany has shot several projects in "We were shocked last night when the HDV format, including a musicwe were looking at some of the old- video for singer Rickie Lee Jones. er NTSC footage we had shot and His most recent work with thecomparing it with HDV footage we camcorder is a development proj-just shot," Shaw said. "It looked so ect about Bigg Slice, a custom carold next to the HDV images. The builder who regularly creates spe-NTSC pictures were one -quarter cialty vehicles for rapper Snoopthe resolution of HDV. It was an Dogg and the L.A. Lakers. Shaweye opener, and I never want to go

said using the HDV camcorder on back go NTSC." END

S8 HD Summit I December 5-6 A sponsored supplement to Broadcast Engineering, Broadcasting & Cable and Multichannel News HD -PRIME ROCKS.

HD -PRIME rocks, with exciting the entire U.S., including Alaska and availability rates make HD -PRIME the new channels like MHD, MTV Networks' Hawaii, with our high level of reliability. perfect neighborhood for all your cable new high -definition And with the scheduled distribution. music channel joining December launch of AMC - When you're ready to rock with our HD neighborhood. HD -PRIME AMLRICAS CABLE NEIOFIWOR11001) 18 into 105 degrees West, your high -definition channel, roll with HD -PRIME is we'll have more HDTV the leader. America's leading cable neighborhood capacity than ever before. Bring your signal to America's cable for HDTV. That's why so many top As the leader in HDTV, we carry neighborhood, HD -PRIME, and we'll programmers must have our satellites signals for all of the leading HDTV deliver every neighborhood and TV to deliver all their high -definition producers, from Discovery to NBC, from address in North America. For details on broadcasts. iNDemand to Comcast and MTV HD -PRIME, please contact Steve Bunke SES AMERICOM was the first Networks. As our client list continues to at 1.609.987.4353 or visit our website at satellite company to carry HDTV expand, HD -PRIME reaches the most vwvw.ses-americom.com signals. With SES AMERICOM's AMC -10 HDTV cable households in the USA. Our and AMC -11 satellites, HD -PRIME covers reliability, service and high circuit SESAAMERICOM An SES GLOBAL Company

SES AMERICOM, Princeton, N.J. USA infaamencom©ses-americom.com ©2006 SES AMERICOM. All rights reserved. HD News

For Voom HD Network's 24 -hour HDNews chan- nel, the 2006 elections were the second nation- al election covered in high definition.

Going HD with local newscasts

Slowly momentum is building Given new HDTV viewers' pro- for HD news on the local level.clivity to switch the channel to HD "There's a Every few weeks, another lo-programming rather than watch cal station goes on -air with a high -old SD favorites, it's understand- hunger and definition newscast. Major stationable why launching HD news lo- groups such as Gannett and Coxcally is becoming a priority. a need out Television, as well as some net- "There's a hunger and a need out work -owned stations, have led thethere for this high -definition con- there for this most recent push. tent," said Milan Krainchich, direc- While the specific reasons fortor of operations for HDNews. high -definition launching HD news vary, it's easy HDNews, distributed as part of to see why many stations believethe VoomHD high -definition pro- content" now is the time. gramming lineup, has delivered Forexample,LeichtmanRe- high -definition news 24 hours a - Milan search Group has reported that oneday since its launch in 2003. In Krainchich, in six U.S. households has at least Krainchich's view, a "critical mass is HDNews one HDTV compared with twoforming" for HD among viewers. years ago, when this figure was one "I believe that critical mass is in 14. essentially there or is about to be Kagan Research has predictedthere now," he said, "and it's strong that by 2010, 180 million HDTVenough for stations to start making sets will have been sold to U.S. con-this transition." sumers, accounting for 81 percent The good newsforstations of all TV households. switching to local HD news today

SiO HD Summit I December 5-6 A sponsored supplement to Broadcast Engineering, Broadcasting & Cable and Multichannel News HD -PRIME. NOW WE'RE COOKIN'.

HD -PRIME adds sizzle to your HDTV entire U.S., including Alaska and Hawaii, perfect neighborhood for all your cable coverage, with exciting new channels with our high level of reliability. And distribution. like Food Network HD-from America's with the scheduled December launch of When you're ready to serve up leader in home and AMC -18 into 105 degrees HDTV offerings, get cookin' with the lifestyle programming HD -PRIME West, we'll have more leader and one of cable's top - AMI-RICA'S CARLE NEICII-11, ',11) HDTV capacity than ever Bring your signal to America's cable rated networks-joining before. neighborhood, HD -PRIME, and we'll our industry -leading HDTV cable As the leader in HDTV, we carry deliver every neighborhood and TV neighborhood. signals for all of the leading HDTV address in North America. For details on That's why so many programmers producers, from Discovery to NBC, from HD -PRIME, please contact Steve Bunke are hungry for HD -PRIME to deliver their iNDemand to Comcast and MTV at 1.609.987.4353 or visit our website at high -definition broadcasts. Networks. As our client list continues to www.ses-americom.com. SES AMERICOM was the first grow, HD -PRIME reaches the most HDTV satellite company to carry HDTV signals. cable households in the USA. Our With SES AMERICOM's AMC -10 and reliability, service and high circuit SESI&AMERICOM AMC -11 satellites, HD -PRIME covers the availability rates make HD -PRIME the An SES GLOBAL Company

SES AMERICOM. Princeton. N.J. USA [email protected] 02006 SES AMERICOM. All rights reserved. 4 HD News

Reporters can use the Avid NewsCutter Adren- aline to edit news in high definition

is that the premium vendors haveing to be that big of difference be- charged for HD acquisition, pro-tween delivering FED and SD news duction and playout equipmentversus SD anyway." is giving way to more mainstream Added Bryan McGuirk, presi- pricing, said Bill Thompson, di-dent of Enterprise Services for SES rector of broadband products forAMERICOM, "It is driven by capi- Anystream. tal expenditure cycles. News organi- "In the early '90s, [if] you decid-zations reinvest in equipment from ed you wanted to implement anytime to time. If that time comes up "The premium kind of HD workflow, on a piece -right now, you'd be crazy not to put by -piecebasis,eachfunctionalHD gear out there." for HD block that you were going to buy Even for stations not yet ready to for your production chain and yourreplace their entire news infrastruc- capability has air chain would cost X if it were SD, ture, there are affordable strategies. and if it were HD, it would cost 2X," "Frankly, we've seen a lot of sta- really come Thompson said. "So, we see acrosstions do it in a cost-effective way nearly every product category thatby switching to 16:9 in SD and up- down to... the premium for HD capabilityresing their content successfully so has really come down to the pointthat they have the benefits of that only a 5-, 10 - where maybe it's only a 5-, 10- orfootprint on the HD side," said Da- 15 -percent premium." vid Schleifer, Avid Technology vice or 15 -percent For stations due to replace ag-president of broadcast and work - ing equipment in the news depart-groups. "There are a lot of ways to premium." ment, that's not too heavy a burdenskin this cat, and stations are taking to bear. different approaches." dlll lliompsoii, "Some stations have to replace Anystream equipment anyway," said AndrewServing two audiences Warman, Harris product market- Despite the rosy picture for HD ing manager, servers. "They look athouseholds, there will remain mil- HD and realize that if it's done in alions of television viewers whose particular way, there's really not go -only way to watch is via free, over -

S12 HD Summit I December 5-6 A sponsored supplement to Broadcast Engineering, Broadcasting & Cable and Multichannel News HD News

the -air television. "and tnen, try to introduce the The Government Accountabil-standard definition at the very end ity Office is one of several entitiesas a downconvert in your master supplying information toguidecontrol." the National Telecommunications Not only willthisapproach and Information Administration maximize quality for both the HD as it works out the specifics of itsand the SD audience, but it will digital -to -analog converter box re- also maintain efficiency in news imbursement coupon program. Itproduction. has estimated that there are 45 mil- "Put as much as possible into lion broadcast -only sets in homesone consistent HD workflow," he "There are a relying exclusively on over -the -airsaid. "It is when you are mixing television and another 28 millionand matching that you run into lot of ways to such sets in homes with satellite orthe most problems and complica- cable. tions - whether they're operator skin this cat, Clearly, that means local stationsproblems, production problems or will have to deliver SD and HDmaintenance problems:' and stations news to serve both audiences for Regardless of the approach, con- the foreseeable future. version will be necessary, and that are taking In general, stations could ap-has a little known consequence: a proach the challenge in one of three slowdown. different ways: produce in SD and upconvert Avid's Schleifer said, "The process for their HD audience; produce in does introduce added time into the approaches." HD and downconvert for their SDworkflow because you are asking audience; or create separate work-the system to change the media. - David Schleifer, flows for both, which is the mostQuite frankly, a lot of other solu- Avid Technology approach and, therefore,tions don't highlight this, leaving the least likely to happen. customers to realize later on that To HDNews' Krainchich,thethere will be some big transcoding choice is clear. and conversion steps to tackle." "Do everything in HD," he said, Transcoding aside, stations that

CTV relies on NEXIO NX3600 HD/SD transmis- sion servers and integrated delocityNX craft 'systems for Thigh-cefinition sports highlight editing at its TSN HD network in Toronto. Viro

A sponsored supplement to Broadcast Engineering, Broadcasting & Cable and Multichannel News December 5-6 I HD Summit S13 Ourtechnologygets youfromhere

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In building its HD infrastructure for news, HDNews enjoyed a luxury most broadcasters don't have - not having to serve an SD audi- ence as well.

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are looking to launch HD news must continue to grow it and not build determine whether or not theiran HD operation that can't be ex- existing infrastructure will supportpanded," he said. "My perspective is high -definition news production. to build the right infrastructure at "Stations that use SD file -basedthe outset so you have head room." newsroom systems are probably in reasonable shape depending on the HD acquisition system," Warman said. "Certainly, News starts in the field, and that's if they have GigE infrastructure,exactly where stations should begin "... it is pretty then they are going to be in good their HD news transition, Krainch- shape." ich said. slim pickings He continued, "A lot of HD ma- "My approach, having thought chines are in the bit rate rangethrough it in various scenarios, is for ENG of SD anyway. So, IMX HD fallsto start in the field with newsgath- right into the HDV/IMX SD rangeering," he said. "Buy HD cameras. cameras that in terms of its bit rate. From thatBuy HD editing. This will also en- point of view, if people are alreadyable a station to begin to build an do HD and on the bandwagon of using IMXHD video archive." or HDV or DV25 as file -based, ev- Warman said, "On the camera SD." erything is in the same ballpark on side of things, it is pretty slim pick- the file -based side of things any-ings for ENG cameras that do HD Andy Warman, way if they choose IMX or similarand SD, but they are there, and they Harris technologies:' work very well. You can pick up a However, HDNews' Krainchich$4000 or $5000 camera that does cautioned that stations should fullySD and HD, depending on what assesstheirexistinginfrastruc- you need at the time, and in a lot of ture for HD before committing tocases, it's probably OK for news." using it. Added Krainchich, "Givenits "You need to build an up-to-dateextreme low cost, HDV definitely and robust infrastructure opera-has a place. However, for the larg- tion from the start so that you caner markets, it is not the format of

S16 HD Summit I December 5-6 A sponsored supplement to Broadcast Engineering, Broadcasting & Cable and Multichannel News HD News

choice for newsgathering." Does HD news matter? In his view, HDNews, and other At a recent industry gathering, larger market stations launchingthere was a noticable urgent tone HD news operations will seek outas news technologists and execu- ENG formats with larger imagingtives discussed the presence of new chips. competitors vying for news viewers "We still want 2/3in broadcast -and how television stations should quality cameras going out with thecompete. In talking out how sta- crews so they can get the best per-tions could contend with these new formance and results," he said. "But competitors,little emphasis was if you get HDV video, you're notgiven to high definition. That begs "Going to going to turn it down." the question: Does HD news mat- With several competing formatster in light of new competitors? HD is one available for acquisition - each of "The viewer values high -quality which comes from manufacturersproduction, quality journalism and of the steps with superb reputations - howa quality presentation with high should a station choose? journalistic standards, including all stations can "The key is for the station to ana- of the production elements that the lyze its workflow, analyze and un- best of news broadcasting has to of- use to draw derstand how it wants to edit andfer," Krainchich said. with what equipment it wants to "In turn, that quality news pro- in and retain edit, including in the field in ENGduction is not going to be hurt by and SNG trucks, in a bureau, or onthese competing outlets, at least viewers." the road," Krainchich said. not in the near future. But, stations "I think all those factors shouldare going to have to work hard to - Milan be weighed when deciding on what stay in the game, even reinvent Krainchich, camera format a station adopts be- themselves to some degree. Go- HDNews cause it's not just about the cameraing to HD is one of the steps sta- technology; this decision ripplestions can use to draw in and retain

throughout the operation," he said. viewers." END

.4,1.. p.

WFTV,ger .t.'he Cox Televiiiim statiodIiOrlando, FL, uses 'an Avid end -to -end workflow for'HD news production.

A sponsored supplement to Broadcast Engineering, Broadcasting & Cable and Multid annel News December 5-6 HD Summit S17 High -definition viewing appears to be entering the mainstream of American liv- ing rooms, with one in six TV households owning an HDTV.

Stats point to HO strength

The transition to HDTV growth of plasma panel sales as during November and December among U.S. viewers iswell. In the third quarter of 2006, 2005 topped $2.2billion, with in full swing, and along plasma shipments reached 2.8 more than 1.4 million units sold. withconsumer adop- million units, 17 percent higherThe NPD Group expects 2006 to tion of high -definition television than the same quarter last year. Ifsee continued HD holiday shop- comes a dizzying array of re- forecasts for plasma panel sales ping growth. search and forecasts. for the fourth quarter are met, Repeat HDTV buyers are be- While it's difficult to know with 2006 plasma panel shipmentscoming more common, too. Ac- certainty exactly what consum- will rise 49 percent year -over -year cording to LRG, 26 percent of ers intend to do, it appears clear to 10.7 million units. HDTV owners now have more from the research that HDTV is HDTV continues to drive plas- thanone HDTV - up from inits ascendancy in the United ma panel shipments, with the 11 percent last year - and 29 per- States.Accordingtoresearch HD share rising from 73 percentcent of HDTV owners are likely fromtheLeichtmanResearch in the second quarter to 79 per-to get another HDTV in the next Group (LRG), oneinsixU.S. cent in the third on 28 percent year, compared with 18 percent households now has at least onegrowth.The HD share is expected last year. HDTV compared with one out ofto reach 86 percent in the fourth While the growing adoption every 14 two years ago. quarter on 23 percent growth, ac- of HDTV is impressive, LRG also Consumerattractiontoflat cording to DisplaySearch. finds high definition still remains panel plasma and LCD displays Demand for high -definition to a large extent, the province of is contributing to the switch towill be high this holiday shop- higher income households. Re- HDTV. A recent report from tech ping season, according to Thecent LRG findings show only 6 researcheriSupplisaysthe NPD Group. The research group percent of households with an- market for LCD TVs will growsays HDTV sales have increased nual incomes under $30,000 have worldwide by 27.5 percent a year 52 percent inunit volume and HDTVs compared with 38 percent until 2010, when it will be worth39 percent in dollar volume from of households where yearly in-

$84 billion. January through September this come exceeds $100,000. END The latest statistics from Dis-year compared with the same playSearch show continued period in 2005. Sales of HDTVs

S18 HD Summit I December 5-6 A sponsored supplement to Broadcast Engineering, Broadcasting & Cable and Multichannel News PROFESSIONAL DISC DYNAMO. Introducing Fujifilm PD711 for the XDCAM® Professional Disc System. Broadcasters and video professionals trust the Fujifilm name when choosing media for their most important projects. So it's no surprise that they're celebrating the arrival of Fujifilm's latest addition to the company's professional video line - Fujifilm PD711. Designed exclusively for XDCAM and XDCAM HD systems, the Fujifilm PD711 features a specially designed phase change material for low error rates and stable rewrites. A highly durable hard coating and precision cartridge provide outstanding protection, even when used under adverse field conditions. And, as with all Fujifilm professional video products, you get high quality and consistency from disc to disc and case to case. Think of it this way: Your work is demanding and dynamic - shoubdn't your video media be the same? To find out more about our complete line of high -quality professional videotape, visit us at: www.fujifilmusa.com/proay.

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Avid's DNxHD codec delivers HD quality over SD bandwband idth. (Image courtesy of PostWorks in New York City.)

HD post: Challenges and opportunities

HD post production presents newpost production to the field. challenges and opportunities For example, Randall Dark, pres- "By doing for efficiency and workflow. ident and cofounder of HD Vision How to integrate HD solutionsStudios in Los Angeles, took advan- a rough cut for editing, graphics and effectstage of the immediacy of monitor- into an SD facility to avoid creat- ing scenes shot in HD for his inde- [in] real-time ing "HD islands," what to do withpendent feature "Closing Escrow" finished material and assets long to minimize post expenses. when we term, and how to make the most "We were feeding an Apple G4 of existing infrastructure to sup- as we were shooting," he said. "We were shooting, port new HD business are the mainwere doing a rough cut as we were challenges. The opportunties ofshooting the scenes. By doing a ...not only did working with HD include the abil- rough cut [in] real time when we ity to fix material before post andwere shooting, when we wrapped we know what improved efficiencies in ways thatthat set, not only did we know what were never possible with film. we had in the can, we had it se- we had in the quentially, and we were able to fine Post begins in the field tweak it." can, we had it While shooting movies and other The process improved Dark's ef- programming in HD can produceficiency during editing and provid- sequentially" significant savings in film -relateded a way to reduce the hours spent expenses, it also can create savingscolor correcting his movie. - Randall Dark, and efficiencies in post by trans- "We were color timing in the HD Vision Studios ferring functions typically done infield," he said. "Even though for

S20HD Summit I December 5-6 A sponsored supplement to Broadcast Engineering, Broadcasting & Cable and Multichannel News HIGH DEF NOR ROLL. Four important reasons to trust your HD production to Fujifilm. When it comes to professional videotape, Fujifilm sits at the front of the class. With magnetic tape coating innovations such as ATOMM*, we became trendsetters. We then introduced the first commercially produced tape using nano -scale magnetic particles - NANOCUBIC - bringing us top honors. But we've earned the Highest Distinction for the four products in our High Definition lineup. From acquisition to mastering, editing to archiving, Fujifilm HD videocassettes always get top grades. And our product quality, reliability and customer support help us retain a regular spot on the Honor Roll. When your production calls for high quality High Definition, call for the brand with the best report card in town: Fujifilm. To find out more about our complete line of high -quality professional videotape, visit us at: www.fujifilmusa.com/proay.

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As workflows transition in post, magnetic media remains an essential element, partic- ularly in the form of data tape for archiving content.

the last 20 years I've always hadpost, especially when downcoverted my own cameras and post produc-SD material with a 4:3 aspect ratio tion [equipment], which makes itis used for offfine editing, and the is very easy for me to go into post,final project is conformed for an you want to save money:' HD master with a 16:9 aspect ratio, Comparingscenesonvideohe said. monitors in the field and adjusting Compression also presents chal- camera setup to match colors re-lenges. In post, there's a desire to duced the time Dark had to spendoperate in creative workgroups and "The primary color timing in post. share large HD files among mem- bers of that group. But moving issue in post HD post challenges large HD files among members of HD also presents its own set ofthe group can be difficult, thus the is how to challenges in post. For example, in- need for compression. tegrating HD capability into an SD "A key part of working with HD manage HD facility can be expensive and pre-is how efficiently you are able to sent workflow issues, according tocompress signals so that they are content." Matt Feury, Avid Technology seniormanageable in a workgroup setting, product marketing manager. yet still deliver images that could - Matt Feury, "The primary issue in post isbe considered mastering quality," Avid Technology how to manage HD content," FeuryFeury said. said. "With post facilities already Avid's solution is its DNxHD co- outfitted with storage and networkdec, which Feury said provides HD infrastructurestosupport stan-quality at SD bandwidth. dard -definition work, making a "Using this codec, production wholesale jump to HD can be tooteams can grow into HD workflows costly, and the result is that HDwithout having to over -burden or post production becomes an island overhaul their existing storage in- within the facility." frastructure, all without sacrificing Likewise, managing different as- image quality," he said. pect ratios presents a challenge in While the Avid DNxHD codec

S22 HD Summit I December 5-6 A sponsored supplement to Broadcast Engineering, Broadcasting & Cable and Multichannel News HD Post

is widely used inside post housestimes faster than real time. Doing and broadcast post facilities, it can so required Anystream to develop present broadcasters, who can facea new "grid -scalable processor" ar- severe time constraints, with some chitecture that chops DNX mate- challenges,saidBill Thompson,rial into short segments, sends each Anystream director of broadbandto one of several computers on the products. grid working in parallel on trans - Pointing to NBC's HD produc-coding, and then seamlessly splices tion of the 2006 Winter Olympicsthe pieces back together. from Torino, Italy, Thompson said "By implementing it in this kind the amount of time between when of approach, our users can scale and the network received HD files forachieve whatever throughput they implementing posting in New York City and whenwant based on how many comput- it broadcast its evening coverageers they want to apply to the prob- it in this kind was so short that using the typicallem," he said. DNxHD setup presented an unac- of approach, ceptable bottleneck. Post archiving "Taking Avid DNxHD files and Given the influence of IT in post, our users playing them to air through a Grassit would be easy to think that tape's Valley or Omneon server is a com-role is diminishing. Nothing could can scale putationallyintensiveprocess,"be further from the truth, said Toni Thompson said. "It involves decod-Daly, Fujifilm Recording Media Di- and achieve ing the DNX codec, which is pro-vision director of marketing. prietary, and re -encoding it to high "Tape usage as we go forward is whatever definition MPEG-2 files. That is agoing to actually increase," he said. pretty slow process, and in many That's because while file -based throughput cases, it's slower than real-time." workflows may diminish the need To overcome the hurdle, Any -for videotape, they increase the they want.' stream worked closely with Avidneed for data tape for archiving to transcode DNxHD filesintocontent, said Jim Hegadorn, Fu- - Bill Thompson, MPEG-2 files at a rate two to threejifilm Recording Media Division Anystream

S

Bill Admans, director of creative editorial, works on the Avid DS Nitris digital non- linear editing system. (Image courtesy of FotoKem Film & Video, Burbank, CA.)

A sponsored supplement to Broadcast Engineering, Broadcasting & Cable and Multichannel News December 5-6 HD Summit S23 HD Post >

Post facilities supporting SD work can re financial challenges to make a Wholesale switch to an HD infrastructure, but there are alternatives.

director of technical services. when the transport stream is re- "The end result is your finishedcalled from disk or tape. piece, and where is that going to re- "We have side?" he asked. transfer stream data mover between Hegadorn thinks data tape is thedisk and data tape over fiber," ex- clear answer because it's the leastplained Hoehn, "so the only thing expensive long-term storage me-that is really throttling the transfer dium available. rate is the number of tape drives:' A unique example of the value of At FOX, eight IBM servers are "We have data tape storage for archiving ma- connected to four tape drives. terial is the IBM ASI Solution. Since "That works well in an archive what amounts April 2005, FOX Networks has usedsense for moving off all the high - the solution primarily to archivedefinition NFL games, NASCAR, to a transfer 720p HD feeds for FOX Sports`American Idol' and MLB by 6 p.m. coming from an ASI router. To the the day of broadcast," he said. stream router, the IBM server in use looks Beyond the archive, tape still has like ports. a place in post. data mover "When the feeds reach our serv- "Since the dawn of nonlinear ers, we start recording to disk,"editing, tape has played a role in between disk explained John Hoehn, senior con- film offline," said Feury. "Now, with sultant/senior IT architect for IBM. the increasing affordability of HD, and data tape "We take the payloads out of the filmmakers can still take advantage ASI streams - the MPEG-2 trans- of the relative low-cost and flexibil- over fiber." port streams - and we're actuallyity of tape as a workprint but with storing those bits on disk." a high -quality image that allows for --- John Hoehn, For FOX, 73Mb/s, which includesactual dailies to be viewed out of IBM the MPEG-2 payload of 64Mb/sthe offline editing system. They can and 9Mb/s for control, are stored.do this without worrying that any The extra bits keep track of changesproblems within the images cap- in the bit rate and let the system re-tured to film are being masked by construct the original ASI stream the offline videotape:' END

S24HD Summit December 5-6 A sponsored supplement to Broadcast Engineering, Broadcasting & Cable and Multichannel News 610" azillr'1111°""le.41114.61 eimulidA,AISCRiafl gm--;411x. assiseteitticartaNilitiN I.

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MPEG-4 AVC's Whetherdistributingpro-harming viewer -perceived quality. gramming via satellite to The pace at which new algorithms ascendency headends, transmitting pro- emerge to allow greater compres- gramming via direct broadcast sat-sion without harming quality sets won't be ellite to viewers, or sending contentup other business choices, such as down fiber, coax or twisted pair towhen to scrap the old in favor of fully realized the home, there is an interesting setthe new. of choices when it comes to trans- For example, MPEG-4 AVC can until "people porting HD video and audio. achieve significantly greater com- The sender of the digital high - pression and bandwidth efficiency write off... definition program wants to deliverthan MPEG-2, but because of in- the quality of the image needed tovestments, the latterisn't going the MPEG-2 satisfy the receiver's expectation away anytime soon. about what a high -definition im- "The MPEG-2 investment is not investment age should look like. However, theto be underestimated," said Kurt sender must find efficient ways toRiegelman, senior vice president of they've made." do so that minimize bandwidthsales, Americas, for Intelsat. There's to keep costs in check - and ina large amount of capital that's Kurt Reigelman, the case of IPTV distribution, it'sbeen spent and is still being spent Intelsat a challenge to deliver high -qualityon MPEG-2," HD images at all. MPEG-4 AVC's ascendancy won't This exercise in balance requiresbe fully realized until "people write the sender to choose how much dig- off or amortize the MPEG-2 invest- ital compression to apply withoutment they've made," he said.

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Including what it acquired when it bought Pan- AmSat, Intelsat distributes the HD programming of three of five lettered networks and 12 HD chan- nels on its Galaxy 13 satellite.

Competitive compression tech-year," he said. "We've been doing nologyaside,thefundamentaltrials, and we're expanding toward choice for HD program distribu- the end of the year." tors remains: How much compres- Currently, SES AMERICOM de- sion is too much? Or, how far can livers 290 channels as part of its IP- MPEG-4 AVC distributors push the compressionPrime service to satellite subscrib- envelope until viewers push back? ers and IPTV headends using the is a driver "The market is going to take careadvanced codec technology. of this," Riegelman said. "When you But MPEG-4 AVC is still in its for "creating enter your high-def tier and look atearly days, and it shows, said An- the quality of the different chan-drew Warman, product marketing space for HD nel offerings, I think over time, the manager, servers, for Harris. quality of the channel is going to "A lot of the AVC encoding sys- in the near drive the viewership. So really, it'stems we've seen aren't actually that up to each individual programmergood in quality at the 10Mb/s or future." to assess what kind of quality prod- 12Mb/s range," he said. "It's fairly uct he or she wants to deliver." disappointing." -- Bryan McGuirk, However, MPEG-4 AVC is still SES AMERICOM New kid in town a young technology, having made MPEG-4 AVC, which promises its first appearance in spring 2004. significant improvements in com- To put that in perspective, MPEG- pression and bandwidth use over2, which is largely responsible for MPEG-2, is emerging as an impor-ushering in what is now a mature tant player on the HD landscape. DVD movie market, was estab- MPEG-4 AVC isa driver forlished in 1994. "creating space for HD in the near "I can say there is a lot of improve- future," said Bryan McGuirk, presi- ment that can be made," Warman dent of enterprise services for SES said. "We see the same sort of thing AMERICOM. "We've been deliver- when we work on the software - ing to Bell South encoded (MPEG-based encoding side, taking raw 4) H.264 Part 10 video for the pastcoding algorithms and doing a lot

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Althlough broadcasters will be called upon to serve two audiences for the forseenble future, they should only store the essence of mate- rial once and convert as necessary to serve their SD and HD audiences. Shown here are Harris NEXIO servers in equipment racks at Sahara TV in NoidA, India.

of optimization on our own to im- atelecommunications company prove speed and image quality. Ourbanking on using a legacy network experience so far tells us that there'sof twisted copper pairs to deliver still room for further optimization,HD programming as part of a tri- so it's going to get better." ple -play service offering, including Quality vs. bit tate isn't the onlyvoice, data and video. issue that needs to be resolved, "IPTV operators certainlyare Riegelman said. looking at MPEG-4 as a way to be "I think MPEG-4 over time hascompetitive," said Bill Thompson, "IPTV tremendous advantages," he said.director of broadband products "A lot of programmers now arefor Anystream. "It allows them to operators sort of hesitating to implement it.deliver one or more HD streams Many are holding off until theyinabandwidthequivalentto :ertainly are understand the licensing situationwhat's consumed by MPEG-2 HD better." streams." looking at According to Riegelman, some With MPEG-4 AVC, IPTV op- programmers fear that all of theerators could support two simul- MPEG-4 as entities that had a hand in creatingtaneous HD program streams to MPEG-4 are not fully representedthe home as well as SD channels, a way to be in the licensing agreement andvoice and data, without rebuilding could show up at a later date asking theirentire network infrastruc- competitive.' for money. ture. Thus, the incentive for IPTV operators to distribute MPEG-4 - Bill Thompson, Critical to the future AVC is strong. One sign of strong Anystream To a certain degree, the quest to MPEG-4 demand is Turner Broad- solve the compression vs. qualitycasting System's decision to encode equation is complex. If too muchits program networks as MPEG-4 compression beginsmanifestingfor delivery to IPTV operators. as blocky pictures, frozen frames Throughout the industry, play - or signals lost, it's easy enough toout servers reside at the source back off. Unless of course, you'reof this MPEG-2 and MPEG-4

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Satellite communications is playing a major role in the distribution of HDTV channels, regardless of how they are encoded.

encoded material. Often called toalready have a lot of the features playout HD and SD at the sameyou need to serve multiple layers of time, these servers should storedistribution?' the essence of a particular piece of media and convert to the rightFade to black format and aspect ratio as needed, As HDTV becomes the format Warman said. of choice for viewers, the volume "We tend to direct customers toof HD programming will increase. use shared storage," he said. "At theWith that comes the need to dis- "The end of the day, the SAN helps be-tribute the growing amount of HD cause there's only one pot to put shows over today's infrastructure. broadcast everything in." Today's widely used compression According to Warman, the colortechnologies are meeting the cur- server of that pot is changing. rent need even as MPEG-4 AVC "The broadcast server businessbegins to improve and thrive. The business is is becoming more enterprise ITadvanced codec, particularly when and less traditional broadcast, and used to compress HD, is heavily de- becoming I think that will continue. The pendent on the power of the proces- whole issue of repurposing SD, sor in use, according to Warman. more HD, mobile television and IPTV "So obviously improvement in will move use more into an enter-processing power is huge because enterprise prise infrastructure than a broad-it will make the job of dealing with cast one," he said. "Today, youMPEG-4 and MPEG-4 AVC a lot IT and less look around, and you see a lot ofeasier down the road," he said. separate pieces glued together. It's Given Moore's Law, it's easy to traditional complicated, and it'sexpensive,predict that MPEG-4 AVC's per- but as we push more toward an ITformancewilladvancesignifi- broadcast." infrastructure, the number of in-cantly by 2008. The only question dividual systems will drop because is whether or not it will be enough -- Andrew you can roll a lot of the infrastruc-to handle the number of HD net- Warman, Harris ture into integrated systems thatworks at that point. END

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At this very moment, Moyer,generalmanagerfor That's great news for Moyer. HDTV may betran- Voom HD Networks. "Now we "Voom isin the business of sitioningfromwhat are deeply involved in produc- producingchannelsthatare marketing gurus like to ing and coproducing many more built for the high -definition era," call the "early adopter phase" to series and specials that are greathe said. "We are available only the "early mass adoption phase" television, regardless of the fact in HD, and we take that freedom in the United States. Rainbowthat they've been designed toto really maximize the impact of Media'sVoom HD Networks maximize the impact of HD." our programming for the high- is aiming to make its brand of Offering a wide range of chan-def medium!' HDTV meaningful to the millions nels - from Animania HD to As the HD network is position- of new HD viewers who are com- Worldsport HD - Voom HD Net- ing itself for the mass adoption ing online. works is positioning itself to win of HDTV among U.S. consumers, Initially, Voom HD focused on a fair share of the new high -defi- it hopes to capitalize on increas- filling the voidin HD contentnition viewers who are expect- ing demand for high -definition during high definition's earliest ed to buy an HDTV this holiday programming abroad. days, when there were few other season. "We are seeing the exciting pervasive sources of HDTV pro- NDP Group, which tracks re-beginnings of HD television in gramming. Today, the network tail sales, recently reported thatmany areas around the world," delivers 15editorially -relevant it expects sales of HDTVs thisMoyer said, "and the relevance HD channels to viewers via satel- holiday season to outpace thosefor us is we are both providing lite and its MSO partners. from last year's holiday season,the programming and in some "You know, in the early days, it when 1.4 million HDTV sets were instances providing full 24 -hour was almost enough to be able to sold. channels. As countries open up supply beautiful images and not With Black Friday (the Friday platforms for HD, Voom pro- worry so much about the story- after Thanksgiving) sale pricesgramming orVoom channels will telling or the depth of the content of less than $1000 for a 32in LCD be among the first expressions becausepeople were wowed HDTV, and $1800 for a 50in HD of high definition that people in

by how clear the picture was plasma, such optimism may be other countries will see!' ENO on their HDTV sets," said Gregwarranted.

S34 HD Summit I December 5-6 A sponsored supplement to Broadcast Engineering, Broadcasting & Cable and Multichannel News OOOOO CASTINBIICABLI rimdcastEngineeringJOURYAL OF DIGITAL TELEVISION

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(FEBRUARY 27-28, 2007ORLANDO) SAVE THE DATE KEYNOTE SPEAKERS Be our guest or this exclusive, invitation only, gathering o' television industry executives -o discuss Tom Kane how technology advances and business practice President and CEO, changes will impact your stations' competitiveness. CDS Television Stations Don Perry The 6th annual Competitive President & CEO, Television Summit Clear Channel Television is a great networking event, designed -o explore key issues with case studies, high-level keynotes Kathy McCauley and in-depth analysis. Managing Director, GMPlonworks Our private summits are excellent opportunities to interact with other b-oadcasrers and leading Dates: Tuesday/Wednesday vendors, to share your experiences and learn February 27-28, 2007 from colleagues, peer5. and industry experts. Summit begins with Luncheon Keynote on Network and Station Group Owners, Fresidents, Tuesday and ends with Luncheon Keynote CEOs, VPs of Technolocy, CFOs, News on Wednesday. Group Dinner with Keynote Management and Station Executives ire on Tuesday evening included. encouraged ro attend. Plus: Early Arrival Cocktail Reception, Monday, February 26th, 8:00 - 10:00 Summit registration, meals and hotel Location: Orlando Airport accommodations are free. Crowne Plaza Hotel You pay only for trove . Want to bring the family and spend the prior weekend in Orlando at Summit room rotes? FREESRegistration (Your expense.) Contact Sandy Friedman for derails Meals, Hotel Attendance is limited Please register by Nov. 17th, 2006 TO QUALIFY FOR AN INVITATION This is an exclusive, invitation - only event, with 80 -100 of the top broadcast industry Please contact Sandy Friedman at executives expected to attend. Please plan 646.746.6740 or [email protected] your departure no earlier than 4:00pm on or, fax bock your registration form to 646.746.6520. Feb. 28th. BROADCASTING S CABLE We would like to thank the following sponsors for their support of our High Definition Summit and supplement:

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INTELSAT Closer, by far APPLIED TECHNOLOGY NEW PRODUCTS & REVIEWS Obor Digital's Zeus The system provides control over your broadcast engineering and IT services. BY ROB CALDWEL L

very broadcaster has unique tory tracking, and SNMP integration. equipment and program- Zeus was developed using Micro- mingrequirements,andsoft .NET, and SQL server. The Web obviously unique content.application eliminates the hassle and However, the engineering, IT and op-headaches associated with traditional erations groups all share complex yetdesktopclient/serverapplications. common operating challenges. The platform requires minimal cli- Those operatingchallengesin- ent hardware. Web applications allow clude tracking and managing mil-functions to seamlessly open up to lions of dollars worth of equipment,multiple departments from locations Designed specifically for broadcasters, determining how long that equip-around the world. Internet Explorer Obor Digital's Zeus is a practical and ment will last and how much it will is the client. intelligent fully integrated management cost, managing the maintenance and The system was designed from the tool that provides full control over your servicing of that equipment, and pro-ground up to be robust, scalable and, broadcast engineering and IT services. viding help desk communications to most importantly, modifiable by the the staff that uses those devices. Addi- customer. The software is user -con-A work request function allows en- tionally, broadcast and IT equipmentfigurable; there is no need to hire angineers to record tasks they've per- have unique complexities, including outside integrator or vendor. formed, as well as lists parts pulled software versions, options, plug -ins, It is role -based, allowing different from inventory for repair. Parts are systems, and document and drawingusers to have different privileges. The automatically decremented from in- management. system's lifecycle matrix allows every- ventory, and status reports are always Designed specifically for broad-thing in the system to be tailored to fitavailable to be sure critical parts are casters, Obor Digital's Zeus is an en-the exact workflow of any facility. The always in stock. terprise -wide centralized technologyuser workflow is logical and intuitive. Few broadcast purchases can show management system. It is a practicalNew service requests can be routedpositive ROI. Using average salaries and intelligent fully integrated man-to a supervisor for assignment to anfor a service requester, an engineer agement tool that provides full con-engineer, or they can go into a pool and an engineering supervisor, with- trol over your broadcast engineeringof service requests that engineers canout a computer -based solution, the and IT services. The system allows agrab. There are no complicated pro- cost of a typical work order is $72. facility manager to always know ex- cedures associated with adding users.With Zeus, that same process costs less actly where equipment is located, who Just like any smart Web application,than $8 per work order. In addition, has worked on it and its complete ser- new users can register themselves andthe system can reduce repair time by vice history. view the status of submitted tickets. providing the engineer a knowledge It also will help manage inventory The fully integrated, physical assetbase of previous work. and parts, determine which software management functions are equally OborDigital'sZeusseamlessly versions and components arein- strong. Broadcasters and IT profes- integrates a facility's physical assets, stalled on any device, and how much sionals require more than just basicinventory, and work request manage- each device is really costing you. The asset information; they need to knowment into a single, powerful, flexible, SNMP interface has the ability to au- the current value and warranty infor-Web -based solution. It was designed tomatically generate work requestsmation, track what components areand built by broadcasters for broad- from equipment self diagnostics, be- installed, manage the installed soft- casters.Powerful component and fore an engineer even knows a prob- ware, track software keys, and be ableversion controls, custom fields, a con- lem exists. to see the complete history of each as- figurable lifecycle matrix, and many The system is a powerful Web - set, including labor and parts used. other user -configurable features are based application that provides phys- The system does more than just included. BE ical asset management, software andmanage assets and workflow; it also hardware tracking, help desk, inven-provides inventory management. Rob Caldwell is president of Obor Digital.

December 2006 I broadcastengineering.com 111 APPLIED TECHNOLOGY NEW PRODUCTS & REVIEWS Belden Brilliance The A/V cabling provides reliability and weight savings in a new HD truck. BY KIP COATFS AND DAVE KENNEDY

Dome Productions in To- ronto recently launched Trillium, a new mobile productionstudio. The truck is equipped to provide com- plete turnkey HDTV production and transmission services on a contract basis to clients covering professional sporting events, as well as concerts, awards shows and other high -profile public performances. Trillium is the eighth mobile in Dome's fleet and the thirdhigh -definition,multiformat mobile production studio designed by the company in the past three years. Dome Productions in Toronto recently launched Trillium, the eighth in its fleet of Inside the truck mobile production studios and the third mobile truck equipped for turnkey HTDV Building and equipping the trailer production and transmission services. took nine months, with three monthswidescreen 16:9 or traditional4:3for the cabling, production and trans- of that devoted to cable installationstandard definition. In addition, Tril- mission equipment, a high-powered and a final month for systems configu- lium is fully equipped to provide 5.1 air-conditioning system, and work- ration and testing. When the designsurround sound. space for a crew of up to 25 people. and engineering plans were complet- The trailer's layout includes a backEverything must be well -thought out ed, Dome selected Toronto -based FCI deck in the audio room for easy add-to be clean, compact and efficient. Technical Installations for the broad- on of additional gear required forAccomplishing this requires ingenu- cast system installation. Over the pastlarger productions. Functional spacesity and creativity. For example, in this decade, the company has installed all of inside the trailer include distinct ar-truck, the AC return air ducts act as a Dome's production fleet and also pro-eas for audio, production, VTR andconduit for some of the cabling. vided prebuilt and on -site installationVIDEO/TX. Equipped with rack -mounted HD services for the Bell ExpressVu satellite The mobile has a production mon- transmission encoders, decoders and network and for various broadcasters itor wall with an Evertz 10 outputmodulators, the mobile is typically at the past six Olympic games. virtual monitor driver system and 47used by clients providing their own When it came to the hundreds ofconventional color monitors. A mul- production and transmission crews. thousands of feet of A/V cabling re-tiformat HDTV digital mobile facilitySome clients ask Dome to source quired to support the truck's complexrequires an extensive array of elec-camera and production crews. The applications, Dome wanted a thor-tronic equipment, including videoneed for HD trucks is growing, espe- oughly tested product with consistenttape recorders, cameras and lenses,cially for sporting events. To ensure quality and reliability. The companyaudio console, intercom/communi- reliable performance, Dome conducts chose Belden Brilliance cables. cations equipment, routers, servers,extensive testing of the system and The entire digital production andswitchers, microphones, interconnect performs its own certification before transmission studio is housed withinand other system equipment. contracting the unit out to clients. an over -the -road trailer truck that The biggest challenges in design- measures 53ft long by 8ft 6in wideing and installing a full -service mo- Cabling the mobile and 13ft 2in high. A 5ft expansion sidebile production truck are the interiorbroadcast infrastructure extends over nearly its entire length.space limitations and the over -the - Approximately 371,000ft of Belden The truck is capable of supportingroad weight constraint of 80,0001bs. Brilliance A/V cables have been in- 1080i, 720p and 24p HD formats in The space has to accommodate all ofstalled in the Trillium mobile digital

112 broadcastengineering.com I December 2006 POST. SEARCH. CONNECT. COLLABORATE.

_ millimetercontpntc' '`n SONY Proucer I don and Vodroo Plood000 loon on e Mull, Mattoon, World APPLIED TECHNOLOGY NEW PRODUCTS & REVIEWS

production truck. Specifically: are prime concerns. The cables deliver

150,000ft of miniature coaxial vid-high -quality performance in analog, eo cable (1855A) SDI, HDTV and AES/EBU digital au-

57,000ft of precision video coaxial dio transmissions. Because of the sheer cable (1505A) volume of audio cable in and out of the

35,000ft of DigiTruck subminia- patchfields, and the physical limitations ture coax for broadcast mobile trucks of the cable pathways, this tiny coax in- (179DT) creased capacity, in addition to provid-

78,000ft of line level analog audio ing weight savings. cable (9451)

14,000ft of RG-11/U type videoMobiles keep busy triax cable (1857A) After the truck's inaugural event 1000ft of shielded multipair snakecovering NBA Toronto Raptors bas- cable (8777) ketball, Trillium was contracted to 36,000ft of Cat 5e UTP cable for cover a variety of high -profile events data transmission (1583R) in a wide range of locations, including Belden sweep tests and certifies these NHL hockey in Montreal and Ottawa; video coax cables to 4.5GHz to ensure Major League Baseball in New York, A totalof 371,000ft of Belden Brilliance superior return loss performance, evenToronto and Chicago; and a Coldplay A/V cables were deployed in Dome's at higher frequencies. And the DigiTruck mobile production studio. The blue, concert in Toronto. (179DT) cables are lightweight, crush - BE yellow and green cables shown here resistant precision video coax designed Kip Coates is marketing manager of en- are Belden 1505A precision video coax tertainment products and Dave Kennedy, cables. The purple cables are Belden specifically for use in mobile broadcast project manager for the Dome Production 1855A miniature video coaxes. trucks where load -weight and space project at Belden.

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114 broadcastengineering.com I December 2006 SCORE.

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cant millimeterthehol,slimal Rosin. WI V.41. luatt and IN oI at dm and V.fpo Ptodiaclion at a Mull, Plalloem Wolk' FIELD REPORT NEW PRODUCTS & REVIEWS SoundField's DSF-2 HD broadcasters transmit froma single mic in multiformat surround andstereo. BY PIETER SCHILLEBEECKX

To help HD broadcasters meetthe four constituent channels of the the challenge of producingB -Format signal, and is central to the audio in 5.1, SoundField in- SoundField concept, as it allows them troduced the DSF-2 digitalto be combined without any unpleas- microphone system. It offers a means ant -sounding phaseartifacts,the of creating surround in a variety ofusual drawback of multimicrophone formats with a simultaneous, phase- or other multicapsule systems. coherent stereo feed for SD transmis- Simultaneous decoding into differ- sion. The DSF-2 digitally processes ent formats is also possible. The B -For- audio for outputting phase -coherentmat signal can even be recorded to a audio in simultaneous mono, stereo,suitable four -channel storage medium mid -side and surround formats. and decoded later. This allows broad- casters to determine the precise out- How it works put format at a later date, and leaves SoundField microphone systems all the door open for future broadcasting comprise a multicapsule microphonestandards by decoding into new sur- and associated decoder, and outputround formats such as 7.1. audio as a proprietary four -channel By altering the balance of the four signal known as SoundField B -For-channels in the B -Format signal, it is The DSF-2 captured sound at Dortmund mat. Three of these channels describealso possible to change the mic's effec- stadium in Germany during the 2006 the space around the mic in three di- tive pickup pattern continuously from World Cup. mensions, as though recorded by three omnidirectional through cardioid tosignal quality. Moreover, the decoder figure eight microphones placed at figure eight, and to change the virtualcan be up to 1 km from its associated right angles to one another. The fourthorientation of the mic. Thus, for ex-broadcast vehicle, which is particular- provides an overall reference signal forample, a mic may have its pickup pat-ly useful at some sports venues, where the others, as though recorded by antern tailored to become more or lessthe trucks can never get very close to omnidirectional capsule. directional, and shut out or admit morethe events themselves. The four channels in the B -Format background noise, or it may be virtually are phase coherent. This is achieved bymoved or rotated without requiring theRecent projects mounting the four matched capsules operator to touch the mic itself. The DSF-2 first saw use at the 2006 in the microphone head as closely These options are easily accessedWorld Cup. It was installed by Host together as possible in a tetrahedralfrom controls on the microphone's Broadcast Services at the 12 German array. Of course, the capsules cannotassociated decoder and are useful in stadiums involved in the tournament be located at precisely the same pointoutside broadcast situations, where and provided crowd and venue ambi- in space, which is ideally what is re-the mic often cannot be accessed orence in 5.1 and stereo, respectively, quired to create point source phase- adjusted once broadcasting has be-for HBS' HD and SD coverage. The coherent output signals. gun. Interestingly, this audio zooming stereo SD output was taken straight However, because the distance ofand virtual rotation of the mic can from the outputs on the mic's proces- the four capsules from the center ofstill be carried out by post processingsor, while the mic's digital B -Format the tetrahedral array is small, knowna stored four -channel B -Format sig-signal was routed to the International and constant, it is possible to postnal with a SoundField hardware pro- Broadcast Centre in Munich, passed process the output of each capsule,cessor or software plug-in long afterthrough a SoundField SP451 decoder generating four signals that corre- the recording has been made. there to convert it into5.1,and then spond to those that would be cre- Another advantage of the designdistributed worldwide as part of the ated by recording at exactly the same is that the microphone head can beHD transmission. BE point at the center of the array. This placed at distances of up to 300m Pieter Schillebeeckx is the head designer eliminates phase problems between from its decoder without a drop in for SoundField.

116 broadcastengineering.com I December 2006 Register Now and Save! Broadcast. ges2orls*

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SATELLITE 2007 )) REGISTER TODAY (C a...... at www.SATELLITE2007.com using your VIP Code: BroadEng and save February 19-22, 2007 more than $400! Plus, you'll be entered to win the VIP Attendee Washington Convention Center Package. For details and to register Washington, DC visit www.SATELLITE2007.com www.SATELLITE2007.com TECHNOLOGY IN TRANSITION NEW PRODUCTS & REVIEWS Camera support The success of today's systems relieson a balance of technology and physics. BY JOHN I UFF

Mechanically mountingSprings for balance progressive in action, a feature com- a camera to a support Other approaches to the issue of mon in high -end pan heads for large device and controllingtilt over center are equally effective. and heavy field/studio cameras. overpointingseems Adding springs to the tilt mechanism like a relatively easy task. The cameracan provide resistance that is propor- Choosing the right needs to be securely fastened, and thetional to the angle. In effect, this cre- combination support needs to be stable with theates a balancing force that precisely Technology does not completely weight applied. But as with all things,compensates for the force of gravity. overcome physics. Large and heavy this concept becomes more complicat- This approach has been used for cameras often cannot be balanced at ed when the details are considered. To- decades to allow pan heads to adaptall tilt angles. Review the specifics of day, modern technology and thought- to cameras of varying sizes by adjust- the intended application to ensure ful engineering have considerably ad- ing the spring tension. that the pan head chosen will ad- vanced camera support. In the most modern designs, the tilt equately accommodate the combina- and pan have an adjustable friction,tion of lens and camera. Friction which is often modified by a viscous Most manufacturers can provide A tripod and pan head work to-fluid acting on the axis of rotation.charts that assist in evaluating the gether to allow the camera operatorThis creates a smooth action, which suitability of the pan head to the cho- to accurately point the lens at a scenehas an adjustable resistance. In some sen camera/lens combination. How- while facilitating smooth movement.sophisticated pan heads, the amountever, these charts are often hard to Zero friction would create a disas- of friction and the balancing force are obtain, so it's a good idea to talk with ter. The lack of human muscle con- shown in a digital readout, so setting aa technical representative from the trol would cause unstable operation, pan head for a specific camera is much support equipment manufacturer to particularly when wind or other fac- easier. By combining the springs withmake sure suitable choices are made. tors add mechanical loads to the as- a camera mechanism, the counterbal- Figure 1 shows the ability of one sembled mechanical system. Instead,ance can be much more accurate andpan head to accommodate full tilt a degree of controlled friction must be applied if physics and physiology are to cooperate successfully. 250 This friction is accomplished in the pan head. Camera support systems must be designed so that the center of gravity of the camera is allowed to 200 maintain the appearance of perfect balance at all tilt angles. 4._±90---_ tir -z+70 ±60 In a post head, the camera's center of 150 gravity is placed precisely on the center of rotation of the tilt mechanism. By / doing this, as the camera tilts, gravity acts precisely the same at all angles, 100 allowing the camera to remain stable in any position. Further, the force that must be applied to move the camera is 50 0 20 40 60 80 100 120 consistent at all times. 140 160 180 210 Post heads were once quite popu- Total payload (kg) lar for production use. However, they tend to be large and expensive. Today, Figure 1. An illustration of the relationship between tilt range, center of gravity they are commonly used in robotics. and weight

118 broadcastengineering.com I December 2006 rangeonlywithcertain combinations of total weight and height of the center of 0 gravity. Choose a pan head that ,, I

is intended for the weight ea,/

range. Again, Figure 1 shows Figure2. An example ofthat lightweight cameras are a Mitchell Mount for pan 4111. heads not suitable. With the ad- vent of lightweight consum- er crossover cameras, such as HDV camcorders, choose explore the Weatherproof Pan/Tilt System much lighter duty pan heads to ensure a good match be- great outdoors System includes Pan/Tilt head, weatherproof housing tween camera size, weight and the pan head. with wiper, washer, fan/heater, mounting base; and a unique cable management system Structure Military grade connectors The structure under the pan head is another important Serial control via RS -232/422 element of camera support. The studio pedestals of the and Ethernet connectivity 1950s were often nearly the weight of the camera. Lead Smooth PTZ performance for "manual camera operator" weights on complicated pulleys provided counterbalanc- like movements ing to the camera mass. This of course meant that the Supports broadcast cameras camera/pedestal combination weighed about half a ton. and lenses One time while I was taping, the cables on my camera/ Telemetrics Inc. pedestal combination snapped. CAMERA CONTROL SYSTEMS As cameras got smaller and lighter, air balancing was www.telemetricsinc.com introduced. This incredibly smooth process allowed for a wide range of weights. Air -balanced systems are still the Mercedes of the industry, with costs to match. Some man- ufacturers offer up to four -stage lift columns, along with models that can be folded up for field use. Field tripods must be extremely strong and light enough to be carried. The high end of the camera weight scale includes heavy steel or aluminum tripods suitable for heavy-duty use. Modern material science has provided more lightweight options, including alloys and carbon fi- Leading News ber, which provide the strength of steel without the mass. Carbon fiber, though light, strong and durable, is expen- Organizations sive. Like pan heads, tripods must be chosen for the weight range of the intended camera. Finally, make sure the pan head and tripod have the Rely On Streambox correct mating surface. Heavy-duty tripods for field Benefits: cameras often have a Mitchell Mount, which is a carry- over from cinematography. (See Figure 2.) Usually the Complete news gathering solution Unrivaled video compression mounting is a bowl that allows the pan head to be lev- High quality video transport at low data rates eled independently from the tripod. Bowl sizes range Real-time broadcast video over IP from 75mm to 150mm, requiring careful planning for Low end -to -end latency the complete system. Top perfcrmance and reliability Lastly, it is valuable to note that the group Vitec Group in Accelerated return on investment the UK owns several of the manufacturers of both tripods and pan heads. There are many products available that cross brand boundaries, giving you the freedom to choose the So Can You. brand you prefer and still get the product you desire. BE John Luff is a television technology consultant. www.streambox.com [email protected] `Streambox IISend questions and comments to: [email protected] +1 206 956 0644 Ext 222

December 2006 broadcastengineering.com 119 NEW PRODUCTS NEW PRODUCTS & REVIEWS

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Medway Marquis Server eliminates file compatibility issues Stereo Compressor DakingPlus that occur when media and its associated System features dual monochrome LCD metadata move between target devices; 2 x 1 HD/SD/ASI change -over offers silent displays with LED backlighting in 2RU; uses an intuitive drag and drop interface switching capabilities, and is operated by displays parameters on -screen in text and that allows users to browse and select clips an electronic switch backed up by a latch- graphic form; displays metering on the from a server, and drag them into an edit- ing relay in the event of power failure; LCD screens as well, with six meters si- ing/finishing program; allows EDLs from supports 16 channels of embedded audio multaneously showing the input, output browse editing applications to be import- and metadata, and provides streaming and gain reduction of both channels; can ed directly onto the NLE timeline along video and audio level metering; features store and retrieve presets from built-in with all associated media files; supports two source inputs and two outputs; allows Web server; allows users to display and DV, DVCPRO 25 and IMX at 30Mb/s, change-overs to be performed manually or change settings of the selected channel, 40Mb/s and 50Mb/s in both NTSC and by automation, with the switching driven download/upload the presets and e-mail PAL media formats. by signal analysis, alarm parameters and or store the settings for future use through +44 118 984 4111 input status. any Web browser. www.marquisbroadcast.com 514-333-1772; www.miranda.com 302-658-7003; www.daking.com

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For subscriber services or to order single copies, SHFoutput for redundancy; operates at and SDI output; operates at 12V DC via write to Broadcast Engineering, 2104 Harvell Circle, Bellevue, NE 68005 USA; call 866-505-11731USA(or 402-505-7173 (outside USA); or visit www. low power levels and gives low spurious either the built-in battery V -plate or the broadcastengineering.com. signals, variable gain and high stability. four -pin XLR input;featuresinclude BNCs for genlock, time code in/out, SDI 978-671-5700 and HD -SDI out, and a six -pin connector ARCHIVES AND MICROFORM: This magazine is available for research www.adventcomms.com anctretrieval of selected archived articles from leading electronic databases for remote control; comes equipped with andonline search services, including Factiva, texisNexis and Proquest. For dynamic shading compensation to mini- microform availability, contact National Archive Publishing Company at mize lens aberrations. 80G-521-0600 or 734.161-4700, or search the Serials in Microform listings ProBrowse 2.0 Omneon at rapubco.com. 973-317-5000; www.jvc.com New version on the proxy generation and management system contains advanced REPRINTS: Contact FosteReprints to purchase quality custom reprints or management and video processing fea- e -pints of articles appearing in this publication at' 436-8366 (219-879- SAFARI L-3 Streamer Metric Systems tures to facilitate material research, story - 8366 outside the U.S. and Canada).Instant reprints and permissions may Network appliance protects digital IP vid- be purchased directly from our Web site; look for the RSiCopyright tag ap- board development, offline shot trimming needed to the end of each article. and media management across multiple eo, audio and large data files from com- Omneon storage systems; incorporatesmon network transport -induced impair- intelligent scene -change detection, au- ments such as random and burst packet PHOTOCOPIES: Authorization to photocopy articles for internal corporate, tomatically creating key frames at each loss, latency and jitter; ensures content de- personal, or instructional use may be obtained from the Copyright Clearance Center (CCC) at 978-750-8400. 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CORPORATE OFFICE: Prism Business Media, 9300 Metcag, Overland Park, Kansas 66212.913-341-1300 prismb2b.com less of its location in the system. 760-560-0348 408-585-5109; www.omneon.com www.metricsystems.com Copyright 2006, Prism Business Media Inc. All rights resented.

December 2006 broadcastengineering.com 121 CLASSIFIEDS

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1 22 broadcastengineering.com I December 2006 CLASSIFIEDS Help Wanted Help Wanted Help Wanted DIRECTOR OF ENGINEERING AND OPERATIONS ACCOUNT MANGER Headquartered in Madison, WI, the capitol city, home of the UW-Madison, and consistentlyProfessional Products, Inc. (PPI), a technol- rated as one of the best places to live. The State of WI Educational Communications Board ogy -driven design -build company devoted (ECB) has an immediate opening for a Director of Engineering and Operations. ECB is to excellence in sales and long-term service licensee of 5 Wisconsin Public Television and 16 Wisconsin Public Radio stations, operatesis looking for an energetic Account Manager 26 All-Hazards/NOAA transmitters statewide, holds 35 EBS/ITFS licenses, and is the statewide responsible for cultivating new business and backbone for EAS and Amber Alert system. ECB is a partner with the University of Wisconsinmanaging existing business.Must be well - Regents in Wisconsin Public Television and Wisconsin Public Radio. This working manager is networked, focused, capable of developing a responsible for the planning, development, and management of statewide delivery engineeringclient base, and have the ability to work with for Wisconsin Public Broadcasting. elite and demanding clientele.Competitive A successful candidate will have 3+ years of recent experience in, and be thoroughly familiarsalary and excellent benefits.Please send with, complex organizations, project management, contemporary broadcast and multi -media resume to [email protected] or apply online technology (including, but not limited to: master control through antenna systems for analog at www.professionalproducts.com. and digital radio and television, internet-based applications, and other innovative uses of technology), supervision of staff, and partnership development. Must possess superior oral and written communications, negotiations, and team -building skills. Salary up to the mid 90's FIELD SERVICE ENGINEER commensurate with qualifications and experience. Excellent benefit package. Send detailed Professional Products, Inc. (PPI), a technol- resume, salary history and 3 references in confidence to: Personnel, Mr. Larry Dokken -Director ogy -driven design -build company devoted to of Engineering Search, The Wisconsin Public Broadcasting Center, 3319 West Beltline Highway, excellence in sales and long-term service is Madison, WI 53713. Phone: 608.264.9669. Include a letter describing how your experience looking for an experienced Field Service En- will contribute to the Wisconsin Public Broadcasting. Initial screening of application materials gineer to troubleshoot, repair and maintain begins January 10, 2006, with preference given to applications filed by that date.Position audio and video equipment throughout the remains open until filled. Website: http://www.ecb.org. Washington area and other locations on oc- AN EQUAL OPPORTUNITY EMPLOYER casion. The engineer must fully understand the fundamentals of video, audio, and digital signals, their unique distribution consider- HARRIS CORPORATION SYSTEMS TEST ENGINEER ations, and be able to troubleshoot entire systems based on this knowledge. Competi- Broadust WUVG-TV Univision Atlanta seeks a Main- Communications Division tenance Engineer to perform routine pre- tive salary and excellent benefits. Please send ventative maintenance and repair duties resume to [email protected] or apply online atwww.professionalproducts.com. HarrisCorporation'sBroadcast on the broadcast equipment infrastructure associated with a 24/7/365 operation.The Communications Division is theglobal candidate must be able to lift 50 lbs., work leaderintotalcontentdelivery on ladders when necessary, and assist with EIC II solutions for existing and evolving transmitter repairs when needed. Familiar- MTV Networks/Nashville seeks EICIIfor broadcast markets delivered locally ity with automation systems, routers, SDI mobile television production. Must have while surrounded by a world class video standards, Microsoft Office, and FCC strong knowledge of various formatsof service and support team. rules required. Candidate must possess ex- multitrack audio recorders and know basic cellent communication skills and be a team principlesofbroadcast communications. Must have experience in electronics including We are currently seeking bright and player.Minimum 2 years experience in an existing broadcast facility required; 5 years reading patchfields, wiring diagrams, circuits innovative individuals for our US experience preferred. Minimum education: and flow charts. Position requires irregular and Canadian operations: HS graduate with SBE certification; prefer schedule, long days, late nights, and extensive A.A.S. in Electronic or Electrical Engineer- travel. Candidates must be willing to relocate FPGA Designer ing Technology. Bilingual Spanish/English a to Nashville, TN. Apply online, http://www. Hardware Designer - PC/Graphics plus.Please send cover letter and resume mtvncareers.com, search on city - Nashville or send fax to: 615-335-8614. Product Manager to: Human Resources - Fax # 404-926-2303 or Senior Hardware Designer email to [email protected]. Reference Job # 2006-07. EOE. Senior Software Designer HELP WANTED TV Magic, a broadcast and professional sys- Join us, and Create the Future. tems integrator, is seeking qualified people SYSTEMS TEST ENGINEER for the following positions: Project Managers, Harris offers a competitive salary and benefits package. Professional Products, Inc. (PPI), a technol- CAD/Drafters, Broadcast Design Engineers, Please visit www.broadcast.harris.com/Ieitch ogy -driven design -build company devoted AV Design Engineers, Project Engineers and for position details and/or send your resume to to excellence in sales and long-term serviceInstallation Technicians. bcdhrtorontoeharris.com. is looking for an experienced Systems TestEmail resume to [email protected] or fax assuredrommunications- Engineer to perform thorough operational information to 858-650-3158 attention HR. checks and some equipment configuration to certify proper functionality of audiovisual and broadcast systems prior to client accep- tance. The engineer should fully understand For digital ad requirements, advanced principles of digital and analog NEP Broadcasting is seeking video and audio, computer networking, and nepMobile Unit Engineers of all specifications, and guidelines system control platforms. Competitive sal- experience levels to manage visit the "Ad Production Website" ary and excellent benefits. Please send re- and monitor mobile unit broadcast opera- sume to [email protected] or apply online at tions at remote sites, perform preventative WWW.PRISMB2BADS.COM www.professionalproducts.com. maintenance, trouble -shoot, execute chang- es and engineering updates on the mobile unit. Degree, training, 3+ years experience in TELEVISION AV Sls11 \Is TV SNSIE\ls broadcast technology, equipment, facilities, Coast -to -Coast Staffing & Job Service and production or any combination consid- ered. Maintenance engineering background NZ" www.KeystoneAmerica.com a plus. Please send resume and salary histo- TECHNICAL ENGINEERING SALES/Mgnt VPGM ry to NEP Broadcasting LLC, [email protected], Fax: 412-820-6045, 2 Beta Drive, Pittsburgh, THE EMPLOYEE & EMPLOYER CONNECTION PA 15238.

December2006 I broadcastengineering.com 123 CLASSIFIEDS Help Wanted Help Wanted Help Wanted TELEVISION CHIEF ENGINEER MAINTENANCE TECHNICIAN SOUTHERN ILLINOIS UNIVERSITY At least four years as assistant chief or chief; WJHL Newschannel 11 in the beautiful moun- CARBONDALE FCC General Class license and/or SBE certi- tains of East Tennessee is seeking a Trans- ASSOCIATE DIRECTOR, WSIU BROADCAST- fication desired; At least two years basic mitter/Studio Maintenance Technician. Ap- ING SERVICE (TECHNOLOGY & PLANNING) electronics theory schooling or equivalent; plicant will perform the repair, replacement, AssociateDirector,BroadcastingService Manufacturer's trade schools a plus; Good modification, installation, removal, adjust- (Technology & Planning), record of project and personnel management ment and integration of all technical equip- WSIU/WUSI-TV skills a plus; Should have good Microsoft (PBS) WSIU/WUSI/WVSI-FM (NPR), Southern ment, related to the operation of WJHL News - Illinois University Carbondale: As 'tech- Windows skills and be functional in MS Word, channel 11's Transmitter and Studio. This nology officer' responsible for planning & MS Excel, Visio, MS PowerPoint, MS Project; individual must have a working knowledge managing all technological aspects of SIUC AutoCad / VidCad a plus; Network basics a and the ability to test, repair and operate Broadcasting Service including overseeing plus; Can prepare and work with expense and UHF/VHF transmitters, as well as microwave capital budgets; Should be knowledgeable in daily technical operations, technology staff, STL/TSL links and facilities. The position will planning for and specifying equipment pur- most broadcast studio equipment as well as perform required FCC monitoring and docu- chases, FCC compliance and planning for high power RF transmitters and microwave. mentation, installation, testing, evaluation, future uses of communications technology. This is a "hands on" position. Must be willing repair, calibration and properly operate and Required:Bachelor's degree required in to "get dirty" be able to lift 50 lbs. and work safely maintain UHF and VHF transmitters, as Electronic/Electrical Engineering, Communi- odd hours when needed. well as various ENG receive sites. The candi- cations Technology, or related field, Master's date must have at least 5 years experience as Send resume with salary requirements to Degree preferred. Five years of Communica- a Broadcast Maintenance Technician. Good tions Technology Management experience Montecito Broadcast Group, LLC, 315 High communication, writing, and computer skills Point Crossing, Huffman TX 77336 or e mall and demonstration of knowledge and profi- are a must. Must be a team player and be ciency with broadcast and other high-tech [email protected]. No phonecalls available to work nights and weekends. Ex- please. EOE communications required.Also required: cellent benefits package. Send resume to Hu- excellent time management, teamwork, the man Resources, P.O Box 1130, Johnson City, DIRECTOR OF ENGINEERING ability to work under pressure and handle TN 37605 or [email protected]. Newschannel 11 is multiple projects simultaneously, well -devel- Meredith's KCTV-5 & My KSMO-TV is looking an EEO Employer M/F, pre -employment drug oped leadership and management skills, and for a Director of Engineering. This position testing and background screen required. valid driver's license.Experience in public is responsible for ensuring that all FCC rules broadcasting preferred. and regulations are observed and that the station is in full technical compliance with MAINTENANCE/SYSTEMS ENGINEER Southern Illinois University Carbondale is a them. Personnel under the direction of this Bay News 9, Bright House Networks' 24 -hour comprehensive university with an enrollment position are involved in nearly all revenue news operation in Tampa Bay, seeks a Main- of 21,000+ students.Carbondale, a univer- producing business of the station and this tenance/Systems Engineer. Work in a new sity -centered community of 25,000 residents, position is responsible for ensuring that the facility with state -of -the art equipment in a is located 100 miles southeast of St. Louis, loss of airtime within the technical depart- beautiful location. Enjoy great benefits, com- MO, on the edge of the Shawnee National For- ments control is minimized. Position is re- petitive salary, awesome co-workers and the est, famous for its rugged, hilly terrain and sponsible for smooth, clean operation and latest technology. If you can repair broad- natural beauty.A liberal benefits package maintenance of station technical facilities. cast equipment, support and troubleshoot includes 28 days vacation, sick leave, medi- Position is responsible for ensuring that the PC hardware/software, provide system & cal and dental insurance, and free tuition at broadcast plant is technically sound, in good application support for operators, are famil- the University. iar with server/network administration and working order and right sized in terms of Application Deadline: December 8, 2006 or staffing. This position prepares and adminis- don't mind getting your hands dirty, this job until filled). could be for you! Send letter of application, re- ters engineering department capital and op- sume", & three (3) letters of professional ref- erating budgets. Position plans and oversees Applicants must have an AS degree or equiv- erence to: Delores Kerstein, Chair, equipment acquisitions and installations as alent technical training in equipment mainte- Associate Director, Technology and Planning well as evaluates all plant upgrades to ensure nance and repair. Technical background with Search, WSIU Broadcasting Service, Com- a state-of-the-art and cost efficient operation. PC's, software and networking expected. This munication Building 1003 - Mail Code 6602, Broadcast station technical department su- is not an entry-level position. Three years Southern Illinois University Carbondale, 1100 pervisory experience and broad based op- or more experience in the installation and Lincoln Drive, Carbondale, IL 62901 erating and maintenance background. R.F. maintenance of analog and digital television SIUC is an affirmative action/equal opportu- experience is preferred.Submit resume to HR systems required.Strong background in Manager, PO Box 5555, KCMO 64109 E-mail, ENG/DSNG trucks, microwave systems, sat- nity employer that strives to enhance its abil- [email protected] AN EQUAL OPPORTUNITY ellite systems, fiber networks and studio au- ity to develop a diverse faculty and staff and EMPLOYER, M/F/D to increase its potential to serve a diverse tomation required. Take the studio tour on student population. www.baynews9.com. Click the Jobs page to All applicants are wel- VIDEO SYSTEMS INTEGRATION apply on-line. comed and encourage and will receive con- sideration. PROJECT ENGINEER Learn, grow and be a part of the future in the communications industry with a world lead- MOBILE UNIT ENGINEERS / DRIVERS er in systems installation and integration. TRIO VIDEO, the Midwest's leading mobile television production company, is seeking qualified applicants fon ROSCOR Corporation has openings for expe- Mobile Unit Engineers to operate and maintain its standard and high definition mobile unit fleet rienced, highly motivated, and goal -oriented from its base of operations In Chicago. Responsibilities include coordinating, troubleshooting and communications systems engineers. The po- maintaining on -site mobile unit operations and equipment. All experience levels considered with: sition includes system design, checkout and engineering degree, technical training, multiple years of hands-on broadcast experience or any commissioning of media based integrated combination. solutions, including broadcast and corpo- rate communication customers. Solid back- Drivers for long -haul and local tractor/trailer transport from its base of operations in Chicago. ground in television systems, transmissions Current CDL Class A license required with minimum of 3 years tractor/trailer experience. systems and satellite communications sys- Qualified candidates should send their resume to: Trio Video, 2132 West Hubbard, Chicago, tem design preferred. Apply immediately for IL 60612; [email protected]; fax 312-421-0361 this challenging and exciting career oppor- tunity within a growing company. Excellent compensation and benefits package.Send resume by email to opportunities@roscor. TO REAM INDUSTRY PROFISSIONALS PIACI YOUR AD TODAY! com or by fax to (847) 803-8089 or by mail SUSAN SCHAEFER to 1061 Feehanville Drive, Mount Prospect, IL 60056. P 484.478.0154 I F484.478.0179 I [email protected]

124 broadcastengineering.com I December 2006 AD INDEX Broadcast Engineering is not responsible for errors in the Advertisers Index.

Page Advertiser Website Hotline Address SALES OFFICES

ADC Telecommunications Inc. 13 800-366-3891adc.com/broadcast AJA Video 29 800-251-4224aja.com US/CANADA Anystream Inc. S27 anystream.com/ WEST solvethepuzzle George Watts Ill (360) 546-0379; Fax: (360) 546-0388 Avid Technology 4, 5 800 -949 -AVIDavid.com/interplay [email protected] Avid Technology S4, S5 800 -949 -AVIDavid.com/interplay Belden 49 800-BELDEN1belden.com Blackmagic Design 17 blackmagic-design.com EAST bms-inc.com Josh Gordon Broadcast Microwave Services 46 800-669-9667 (718) 802-0488; Fax: (718) 522-4751 Calrec Audio Ltd 65+44(0)1422842159calrec.com [email protected] Canare Cable Inc. 24 818-365-2446canare.com Canon USA Broadcast Lens 23 800 -321 -HDTVcanonbroadcast.com MIDWEST CES International 2007 69 cesweb.org Emily Kalmus Competitive Television Summit 2007 S35 646-746-6740 (312) 840-8492; Fax: (913) 514-6301 Crispin Corporation 52 919-845-7744crispincorp.com ekalmus@ prismb2b.com Dielectric 50 888 -DIELECTRICdielectric.com DMT USA 41 888-912-8326dmtonline.us Dolby Labs Inc. 15 dolby.com/tvaudio INTERNATIONAL ERI Electronics Research Inc 58 877-ERI-LONEeriinc.com EUROPE ese-web.com Richard Woolley ESE 73 310-322-2136 +44-1295-278-407 Euphonix 25 650-855-0400euphonix.com Fax: +44-1295-278-408 Evertz Microsystems Ltd. IBC 877-995-3700evertz.com [email protected] Fischer Connectors 36 800-551-0121fischerconnectors.com Florical Systems Inc 47 352-372-8326florical.com Israel Fujifilm USA S19, S21 fujifilmusa.com/proav Asa Talbar Harris Broadcast 3 800-4HARRISharris.com/h-class Talbar Media Harris BC 800-800-5719broadcast.harris.com/ +972-3-5629565; Fax: +972-3-5629567 videotek [email protected] Harris S14, S15 888-843-7004broadcast.harris.com IBM S31 ibm.com/media JAPAN Inc. 33 800-783-1080iconixvideo.com Mashy Yoshikawa Intelsat S25 310-525-5830intelsat.com Orient Echo, Inc. +81-3-3235-5961; Fax: +81-3-3235-5852 68 818-767-6528kinoflo.com Kino Flo [email protected] Marshall Electronics Inc. 42 800-800-6608Icdracks.com Maxell Corp. of America 9 maxell.com Middle Atlantic Products Inc. 37 800-266-7225middleatlantic.com CLASSIFIED ADVERTISING Susan Schaefer Miranda Technologies Inc 11 514-333-1772miranda.com (484) 478-0154 MITEQ 55 631-436-7400miteq.com Fax: (484) 478-0179 NBC Universal HD S33 201-735-3600nbcunicable.com [email protected] Network Electronics 66 800-420-5909network-electronics.com OBOR Digital 114 407-352-6501obordigital.com REPRINTS Omneon 21 866-861-5690omneon.com FosteReprints Omnibus Systems Inc 48 omnibus.tv (866) 436-8366; Panasonic Broadcast 7 800-528-8601panasonic.com/p2 International inquiries,(219) 879-8366 PESA Switching Systems 71 800-328-1008pesa.com/drs Pro -Bel 35 pro-bel.com LIST RENTAL SERVICES Quantum Corporation 53 quantum.com/ Marie Briganti, Walter Karl tape4tapelessworld (845) 620-0700 Radyne Corporation 39 602-437-9620radn.com (845) 620-1885 Riedel Communications 60 914-592-0220riedel.net [email protected] Rohde & Schwarz 57 888-837-8772test-rsa.com/fsh3tv/be2 Sachtler Corp. of America 59 845-268-2113sachtler.com Satellite 2007 117 satellite2007.com Customer Service: SES Americom S9, S11 609-987-4353ses-americom.com 913-967-1707 or 800-441-0294 Sony Electronics Inc. 26, 27 201-930-6519sony.com/xdcam

Sony Electronics Inc. 19 sony.com/hdselectl December 2006,Vol.48,No.12 (ISSN 0007-1994)is Sony Pictures Digital Media 67 sony.com/betterway published monthly and mailed free to qualified persons by Stratos International 31 708-867-9600stratosoptical.com Prism Business Media, 9800 Metcalf Ave., Overland Park, KS Streambox 119 206-956-0544streambox.com 66212-2216. Periodicals postage paid at Shawnee Mission, KS, and additional mailing offices. Canadian Post Publications Sundance Digital 61 972-444-8442sundancedigital.com Mail Agreement No. 40597023. Canada retum address: DHL Telecast Fiber Systems Inc 51 508-754-4858telecast-fiber.com Global Mail, 7496 Bath Road, Unit 2, Mississauga, ON L4T Telemetrics 119 telemetricsinc.com 1L2. POSTMASTER: Send address changes to Broadcast Utah Scientific 63 801-575-8801 utahscientific.com Engineering, P.O. Box 2100, Skokie,IL 50076-7800 USA. Voom HD Networks S29 voom.tv CORRESPONDENCE: Editorial and Advertising: 9800 Metcalf, Overland Park, KS 66212-2216 Phone: 913-341-1300; Edit. fax: Wheatstone Corporation IFC 252-638-7000wheatstone.com 913-967-1905. Advert. fax: 913-967-1904. © 2006 by Prism 360 Systems 43 818-735-8223360systems.com Business Media. All rights reserved.

December 2006) broadcastengineering.com 125 EOM DEPARTMENT A wholenewworld An evolution causes engineers to learnnew tricks. BY PAUL MCGOLDRICK

using the nine years thatley that don't know - nor seem tolive production of the original "Doc- this column has run inneed to know - what luminance andtor Who" or losing a UHF transmit- Broadcasting Engineering, chrominance are. ter's final stage power amplifier dur- the video world has sig- ing peak viewing hours, it was all very nificantly changed. The engineers of yesteryear real. Broadcast engineers used to be And it was time -controlled. Once Old technology patient people who could tinker andthe event was over, it was done with. Nine years ago, the studio was still maintain, find solutions, keep ma-There was no "fix it in post" mental- basically analog. Programs were made chines running with duct tape, un-ity, because there was no post. using cameras that had first -genera- derstand and set levels, see degrada- tion CCD pickup devices, recordings tion in images, and answer any tech-An expanding industry were still all tape, desk controls were nical questions. They were respected, The changes that have occurred analog and tactile, and editing wasbut underpaid. during the last nine years are momen- entering new nonlinear arenas. The Now, those same engineers runtous. For example, events such as the digital world included expensive spe- several call letter stations, look afterannual NAB conference are really no cial effects units. And in the world ofcable headends, are on call 24/7 forlonger about broadcasting. They are standards converters, the few playersthe transmitters, are looked down onabout a huge blanket media that I am that existed were regarded in awe be-by management and are still under- not at all sure I want to completely cause of the seeming magic involved. The companies that exhibited that magic then haven't come very far No one person can understand the whole now. The imagination has dried up. gamut of the industry- perhaps because Some companies have gone away be- cause they could not accept that their it is clearly no longer a single industry. $50,000 box could be replaced with $500 software. paid. If station engineers are lucky,understand in the future. And no one they might have a couple of freshperson can understand the gamut of Back to the future graduates who betterunderstandthe industry - perhaps because it is Today, it is extremely difficult tothe digital stuff so they can focus onclearly no longer a single industry. buy an SD, studio -quality camera.maintaining the last shreds of analog, I write extensively on the Internet. They exist, but broadcasters are en-especially the transmitters. Embracing that new medium has couraged to buy HD cameras us- Today, it seems we no longer train been one of the new tricks that this ing 1/2in CCDs. And as always afterbroadcast engineers to know the en- old dog has learned successfully. To- an Olympics year, there are manytire industry. Little work today isday, that is bringing me the adrenaline "only used once in Torino" bargainshands-on. I remember from those earlier days of available. Many of the engineers in my gen- broadcasting. And I've realized I need Few operations use tape. Serverseration have retired, become consul-to spend my time in the studio. distribute the content. Linear editingtants or accepted that the only role So, after nine years, this is my last has gone the way of the dodo. Con- they have left is in a management"EOM" column for Broadcast Engi- tinuity of program and commercialsposition. But I don't accept that I am neering. This is my end of message. is now done with preprogrammedready to be put out to pasture. I haveThank you, readers, for your many re- switches. And the digital elements of tried to maintain a working under-sponses and comments over the years. operations are now completely em- standing and overview of our chang- Take care out there. BE bedded in products. ing industry. Paul McGoldrick is an industry consultant Standards conversion consists of I am of the era when engineers on the West Coast. a world of network processors withexperienced adrenaline at least once massive, multiple -watt burning ICsduring a work shift. Whether it was that have hundreds of pins and comereplacing an image orthicon tube in ISend questions and comments to: from startup vendors in Silicon Val- a camera on the studio floor during a [email protected]

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