Nabpreviewexhibit Hall M Ards

BroadcastEr111111VPAR::H www.broadcastengineering.com

Featuring the holitt, 11:.1111/J.) luei, NABPREVIEWExhibit Hall M ards

SPECIAL REPORTS-. Troubleshooting AN networks Controlling audio loudness File format conversion 3-D editing tools

4::444 A - eA-

-..s/

ALSO INSIDE: IP-CENTRIC MEDIA CENTERS Avoii data congestion by planning 3-D 7V Are you ready?

BEYOND HD 1080P Switching to 3G -SDI seamlessly A PENTON MEDIA PUBLICATION limitedresources. unlimitedvision.

HD/SDSwitcher All -newAV-HS450 MultiViewer with built-indual screen AV-HS450 offers youmore 16+ input Panasonic's new than any otherswitcher flexibility, and agreater value in its class. of monitors,the HS450's There's no needfor a rack full 20 MultiViewer lets yousee up to exclusive dual screen Standard featuresalso windows on justtwo displays. -axis upconversion on 4inputs and 6 include switchable others, enablingseEmless color correctionon eight image control. and HD videoand precise integration of SD DSKs, dual 3D dual PIP, dual The HS450also delivers DUI -D outputs, buses, 4 HD -SDIand 2 scalable DVE, 4 AUX memories, and dualpower supplies. shot and PIP standard with allthese AV-HS450* comes The expandable and greet 10-bit HD plus the reliability features and more, Panasonic. Now you've come toexpect from video quality production. fortune to orchestratea grani it doesn't cost a Learn more atpanasonic.com/broadcast.

forlife ideas chassis (standard) notshown. HS450 rack -mount Panasonic sold separately. Shown with twoBT -U12550 monitors,

Avid Interplay' is just the Explore These 10 Ways: beginning. Be sure to check out these other Faster, smoother media access great money -saving Avid solutions: Greater output from journalists and producers Automation Keep the focus on the Easier, more error -free content transfer screens, not behind the scenes Better asset re -.use and re -purposing iNEWS" More open integration, longer gear life Connect to newsroom production, communication Simpler, less expensive support and control

Increased resource consolidation Deko" Get the graphics Lowe- storage expenditure integration, power and speed you need Reduced network costs HD News Smart move. Proven reliability, global installed base Great value.

These are just the begir fling. To get an in-depth look at our Top 0 list and to learn more about hcw Avid can save you time and money, gc to www.avid..:om/interplayvalue avid.com TABLE OF CONTENTS VOLUME 52 I NUMBER 3 I MARCH 2010

0100,000 0,010.0110000.0/ 0 ,01 01100011110 3/00,10_ 00 II/ 14 ton ,...010 OIL .100 3111010 OD Broadcast Engineering. 0100(01/110101101 "C./ I010,11,)11101110 001'0 0: i80/10,010.00,01,100 1000 001101 011 /1011101 101 110, /1091010" 010,010 010 00101 010101108 1101010, 11, 100101416K 100111 u 10 WC, )101C0 I100 0, FEATURES ,0100110101/1 11011 tit 10000011111 00 101

1010001011 40 Building IP-centric media centers , w 10, 0210C'won co.020 Priority flow control -enabled storage .001000.02, 4aa.,0 //ft C100Z110/01. 11 clusters eliminate traffic interference 0,0 1-000.14-Qtra,01'01 and support 100 -percent efficiency. k./1 46 3-D TV: Are you ready? Understanding the technology and communicating with vendors are key. 50 ATSC tackles audio loudness Adhering to new recommended practices can help you maintain audio consistency.

NAB COVERAGE 56 NAB Preview 58 Engineering Excellence Awards More than 30,000 readers voted on this year's state-of-the-art facilities. 67 Exhibit Hall Map If you're new to NAB or just plain lost, pull out our map to find your way. 92 DTV Marketplace We're only weeks away from the largest broadcast tradeshow of the year. Check out the hottest new products to be unveiled at the show. BEYOND THE HEADLINES DOWNLOAD 12 Beyond HD 1080p Switch to 3G -SDI seamlessly using existing HD cabling. FCC UPDATE 18 Operating wireless mics Regulatory framework for wireless mics is emerging.

continued on

SEE IT ONLINE!

Check out Brad On Broadcast, our editor's blog covering the latest industry news.

Learn more at www.broadcastengineering.com

4 broadcastengineering.com I March 2010 Blackmagiccesign

*,) *>,. ) 6: 6) 6i

Introducing the world's largest affordable SD, HD and 3 Gb/s SDI router!

Eliminate complicated manual video patching World's Highest Quality forever!Broadcast Videohubisa powerful With exciting new 3 Gb/s SDI connections built in, Broadcast broadcast grade routing switcher featuring a Videohub allows twice the SDI data rate than normal HD -SDI. massive 72 inputs, 144 outputs, 72 deck control Use 3 Gb/s SDI for high resolution real time 2048 x 1556 feature ports, auto switching SD, HD, and 3 Gb/s SDI, in a compact rack film editing. 3 Gb/s SDI has full compatibility with SD, HD and 2K mount chassis only a few inches thick. in 4:4:4 or 4:2:2 all with a single BNC cable.

Industrial Strength Routing Switcher Network Router Control With 72 inputs and 144 outputs, Broadcast Videohub has enough Broadcast Videohub uses software control panels that run on SDI connections for 72 edit systems or decks. With twice as many Windows' and Mac OS >C" for "routing control" right from your SDI outputs, each user can have a completely independent SDI editing system desktop! Broadcast Videohub connects to any output for monitoring. This means you can monitor direct from computer via USB and is then shared over your local network. any equipment in your building without effecting routing! 72 deck Router labels can be changed from any computer and are fully control ports are also included for a complete routing solution. unicode compatible for foreign language support.

Simultaneous SD, HD or 3 Gb/s Video Broadcast Videohub handles mixed SD, HD and Broadcast Videohub 3 Gb/s SDI connections all on the same router at the same time. Broadcast Videohub detects when an input changes, and automatically sets all the outputs $14,995 connected, to match the changed input. SDI re -clocking and output SDI slew rates will also change automatically. Learn more today atwww.blackmagic-design.com TABLE OF CONTENTS(CONTINUED) VOLUME 52 1 NUMBER 3 1 MARCH 2010

DIGITAL HANDBOOK TRANSITION TO DIGITAL 20 Digital interfaces High-speed data connections for production environments are continuing to evolve. COMPUTERS & NETWORKS 24 Networking software Understanding networking software fundamentals helps quickly identify problems in the broadcast facility. PRODUCTION CLIPS 28 3-D editing Here's a look at the new editing technology capable of handling bandwidth -hungry 3-D video. SYSTEMS INTEGRATION SHOWCASES 36 NBC Connecticut builds digital media center The new facility has helped NBC Connecticut become the only station in the state that delivers 1080i HD newscasts. DIGITALTUTORIAL 32 File format conversion Maintaining signal quality during transfer is of prime importance. NEW PRODUCTS & REVIEWS APPLIED TECHNOLOGIES 122 Omneon's Media Application Server TECHNOLOGY IN TRANSITION 124 Camera crossover Now that consumer digital SLR cameras include video capability, will news crews start using them? DEPARTMENTS 8 EDITORIAL 10 FEEDBACK 128 CLASSIFIEDS 129 ADVERTISERS INDEX 130 EOM

6 broadcastengineering.com I March 2010 Beauty on the outside. Beast on the inside.

Weir

b i.2 -Rill* Stop 'lash HO Stop

1 M- r M ctPp

,t0

It's easy to be enticed by the alluring good looks of the Niagara 7500 - the newest HD streaming solution from ViewCast. On the outside, i=s sleek, innovative design and responsive touch -control interface will e.cite you. Its brill ant high -resolution HD display will dazz e you. But on the inside, it's a bea

The Niagara 7500 devours your HD video and easily transform!. it into high - quality streams for delivery to IP and mobile networks. Its povverul video pre-processing features streamline and simplify your workflow. Inverse telecine, closed caption extraction and rerdering, de-interla ing scal ng, cropping and bitnap overlay are just a few of its standard features.

You can switch cn-the-fly between HD or SD video, and with ViewCEst's SimulStream° technology, you've got the power to stream simultaneously in multiple formats, bit rates and resolutions from a single SDI iidep source.

The Niagara 750C from ViewCast. Beauty on the outside... a beast on the inside.

Speak with one o: our streaming experts today at 800-540-4119, or vis t us on the Web at viewcast.com\be to learn more.

ViewCast°

USA 800.54C.4119 IEurope, Middle East, Africa +44 125E 345610

02009 ViewCast Corporation. Al rights reserved. Osprey". Niagara', and Aiagara SCX" (and design: . are registered trademarks of ViewCast Corporation, 3701 W Plano Parkway, Suite 300 Plano, TX 75075. Product specifications subkct to change without notice EDITORIAL DEPARTMENT Top 10 suggestions forsuccess atNAB

ou can spot an NAB Show newbie a mile away. a shoulder bag or briefcase. Please do not drag around a These are people either walking around in a roller bag; they are a pedestrian hazard. complete daze, or as hyped as a new puppy. 6. Meal time. Don't expect to eat at regular times. If you To help prevent overload, here are 10 recom-try to eat lunch at, well, lunch time, you'll waste two hours, mendations for NAB newcomers: and you'll end up paying $12 for a sandwich. Instead, ei- 10. Coffee. Starbucks always has a line. Unless you reallyther beat the crowd by going early, or wait until 2 p.m. need a $7 frappacino-mocha-latte-half-caf-decaf, then Better yet, save those calories for a great off -site evening buy your coffee in the cafeteria or from a kiosk. Becausedinner. Starbucks has the Las Vegas Convention Center franchise,5. Where to eat. The food at the convention center rates it's the same coffee! Grab your joe elsewhere and get back average. Breakfast selections are often better than lunch, to the show floor. and it's less busy. I prefer the International Food Market in the South Hall to Banners. If the weather is nice, you might try the outside barbecue. 4. Product literature. You can pick up literature as you tour the hall, but then you end up dragging around tons of paper all day. Besides, you know it'll all be thrown away in the hotel room. Ask vendors to mail it to you. 3. Transportation. Take the buses; they're free. At show closing time, the cab lines are huge. And, depending on your particular bus route, it might even be faster than by cab. 2. Session selection. This is a tough one. Balance the need for training with the need to see real products. Both are necessary to have an informed opinion about new technologies. 1. Badges. My final advice to newcomers: Be sure your show badge is prominently displayed on your chest and turned facing forward. The LVCC door Nazis will double- team smackdown anyone trying to enter without proper credentials. While sometimes unassuming, don't be fooled. These folks won't think twice before a full body tackle, taking you to the floor and ripping your eyeballs out if you 9. LVCC pastries. Just don't. First, they are little more thanattempt to enter the show floor without a badge. I would caloric stomach bombs. Second, the last time I boughtimagine stun guns to be slightly more humane. one, it cost $3.50. They are poison to both your waistline With this knowledge in hand, the NAB Show should and pocketbook. be nothing to fear. Good luck, and let me know how 8. Restrooms. I can't give you women any personal advice, you fared. BE but men, listen up. Don't use the restroom next to Ban- ners cafeteria, which is under the stairs. Also avoid the restrooms next to meeting rooms N101 /N201. Even worse, don't use any of the restrooms on the convention floor. They are crowded and smelly, to say the least. My advice is to try the restrooms on the second level of the North Hall or South Hall. Facilities near session rooms are sometimes busy, but you can stop by during lulls in traffic, and they seem cleaner than others. EaTORIALDIRECTOR 7. Clothes. Wear comfortable clothes and shoes, and carry Send comments to: [email protected]

8 broadcastengineering.comI March 2010 1-... gal- 00SO getgli 01 .0 ON ing ,f..1.... 0 _ NO ;0^...0* s ...... MO y ...AO 0. 0.0 re-ip fa. IIIMI NM . .0. 00 _, opON IMO apni"vINIMMMI III% - e 0.!....O. O. 7-.0 012

a= ,

Olt

Rethinkautomatic loudness control

Excessive loudness variationis probably the most common viewer complaint, and it's now something you can eliminate entirely. Our Automatic Loudness Control for our Densite interfaces is designed to address all typical loudnessproblems, including audio jumps between programs and commercials. To ensure effective loudness control without adversely impacting program content, we've incorporated the latest proven technologies from our partners, Linear Acoustic and Jiinger Audio. It's time to rethink what's possible.

ALC AUTOMATIC LOUDNESS CONTROL Rethink what's possible

www.miranda.com/loudness FEEDBACK DEPARTMENT

SDTV case, maybe we upgrade encod- Spectrum crisis ers and squeeze another 10 percent Dear editor: across the three MPEG-2 video ser- Thank you to Mark Hyman for his great letter in vices and gain bandwidth for a single the February issue. (You can read the letter online mobile DTV service. But if we are at http://broadcastengineering.com/viewpoint/feed- "doing" Network HD + "THIS" SD + back-0210.) The looming spectrum crisis causes one to "THECOOLTV" SD plus "some other" wonder about the hundreds of megahertz of frequen- (just for example), we have long run cies set aside for government use. If there's a spectrum out of bits. Where is the play for mo- crisis, why isn't this spectrum available? bile DTV without local bits to offer? Don't be silly, you say? Precisely. Broadcasters are looking at Sezmi and other possibilities, opportunities that Tom Norman, CPBE may represent good economics for Sr. engineer broadcasters. More bits are required Burst for that! The question clearly becomes: Centennial, CO Where do we put mobile DTV? Here's the point: We can squeeze and squeeze and squeeze, but at some point (very nearly now!) the Mobile DTV for in the decisions broadcasters arebits run out. If the content provid- wake-up call making today. Think of it this way: ers, networks, studios and others Dear editor: don't speak up now, broadcasters There is an opportunity for con- 19.4Mb/savailable(totalstream may have deals in place that preclude tent providers, networks, studios andcapacity) "doing" mobile DTV. others that may be fading away. For18Mb/s for HD + PSIP/overhead = We need answers to the question: those who wish to partner with lo- 19.4Mb/s (network HD) Where does local mobile DTV reside cal broadcasters and take advantage 15Mb/s for HD + 3.5Mb/s for SD +in your plans for the future? The time of broader reaching audiences, thePSIP/overhead = 19.4Mb/s (networkto speak up is now! capacity to provide mobile DTV isHD and one SD subchannel) Mark A. Aitken shrinking. While it occurs to most Director, Advanced Technology that local station mobile DTV simul- Many may have noticed broadcast- Sinclair Broadcast Group casting makes sense, it has not yeters are looking at and taking advan- come to pass. tage of multicast opportunities. OneGenerator search The last 10 years of cultivatingexample: Sinclair just did a deal with Dear editor: mobile and portable capabilities mayTHECOOLTV for a subchannel in all In your many travels and experi- well pass some by. That's right; the but one market. In markets where we ences, have you ever heard of the now ability to provide mobile DTV mayalready have a subchannel, the bit al- discontinued Litton InstaGas Nitro- be DOA for some because broadcast- location might look like: gen generator? We purchased one in ers are partnering to provide access 1996, and it has failed. Litton got out across all available platforms with all 12Mb/s for HDTV + 3Mb/s for SDTV of this business years ago. We want of their available bits. + 3Mb/s for SDTV + PSIP/overheadto try to fix the generator but do not Where does local mobile DTV re-= 19.4Mb/s (network HD and two SD have any schematics. side in your plans for the future? For subchannels) Maybe you could ask your readers broadcasters, this is not just about if they know of a source for repairs or "doing" mobile DTV if the answer is Bits are valuable. With the requiredmore information. Thanks! "Let's do it!" Rather, it's about makingoverhead of mobile DTV, we are Tom Bondurant sure the bandwidth to do so is avail- looking at -25 percent efficiency for Director of engineering able. Content providers, networks,mobile bits. That means that if we WA PT -TV studios and others might lack clearwant a reasonable mobile DTV ser- understanding as to the bit band-vice (350kb/s video + 48kb/s audio + ATTENTION READERS! width required to make mobile DTV 2kb/s signaling = 400kb/s per service), Sign up now for possible. Consider this wake-up callwe require 400kb/s x 4 or 1.6Mb/s per BrOadCaStEllijineefin's an invitation to come to the table formobile DTV service. lillsition to Digital discussion so that the local broadcast- Where will those additional bits e-newslett er bit capacity required is accountedcome from? For the HDTV plus two at www.broadcastengineering.corn

10 broadcastengineering.com I March 2010 Screen Service

MULTICHANNEL TRANSMITTER 7+1 channels, 1 solution

each. till 14_);e17 ,DVE -5/5-2 Zeide receiver in ( C /ziated)_ ,c'e.5erVe 77-ans5miteer 1.,_iieh Zui/e-in DV..8 -5/ 52 receiver ( C /-1 it4 ; ncthided)

eedzendane Pcitoet- Sup,a/y

/ consaniiecv7 'Or In ehe MC?-.5erieS, each eransni;efer stores elm see lip pardunefers of cill 2,, arise of Szt..6.56ei-i1Con of one of. ehe eztreceineic.a/y Sees ehecr.vei"e parrineeee.,5 ee.e nea. 75C.

SCREEN SERVICE BROADCASTING TECHNOLOGIES SpA Via G. Di Vittorio, 17 - 25125 Brescia (Italy) Tel: +39.030.3582225 - Fax: +39.030.3582226 - E-mail: [email protected] DOWNLOAD BEYONDTHE HEADLINES Beyond HD 1080p Switch to 3G -SDI seamlessly using existingHD cabling. NIGEL SFTH-SMITH

The SMPTE andITU-R tric loss are directly proportional to There are, however, informative 3Gb/s SDI standards havecable length. statements in the SDI standards for launched a new generation Fiber-optic cables are made of glass the coaxial copper interface, which of interface and processingthat is almost perfectly transparent, at are as follows: equipment. We all like the higher dataleast at the wavelengths of light used SMPTE 259M, SD -SDI standard. rate, but there is a natural nervous-for data carriage. There is, however,This standard describes a serial digital ness as to whether it will work reli-some absorption loss over long dis-interface for 525/60 and 625/50 DTV ably, particularly over infrastructure tances. This absorption is not partic- equipment operating with either 4:2:2 installed for 1.5 Gb/s HD -SDI. ularly dependent on the data rate ofcomponent signals or 4fSC composite This article shows how 3G prod- the link, because the bandwidth of the digital signals. This standard has ap- ucts can operate with existing HD data is tiny compared with the carrierplication in the TV studio over lengths cabling, and how users can ensure anfrequency. There is a second way in of coaxial cable where the signal loss error -free system. which the accurate carriage of infor- does not exceed an amount specified To guarantee reliable performancemation over fiber-optic cables isdis- by the receiver manufacturer. Typical over long cable runs, the system de- torted: dispersion. The light travellingloss amounts would be in the range signer needs to know: through the cable may take a numberof 20dB to 30dB at one-half the clock when to equalize to compensate forof different paths, all of slightly differ- frequency with appropriate receiver high -frequency loss; ent lengths. Over some distance, thisequalization. Receivers designed to when to reclock to compensate forleads to a spreading of the data, even-work with lesser signal attenuation jitter buildup; and tually leading to complete mixing ofare acceptable. when to use copper and when toadjacent bits. This effect is worse for SMPTE 292, HD -SDI standard. Re- use fiber. high data rates, because the bits are ceivers operating with input cable loss- The rules are backed up by analysis closer together. Dispersion is much es in the range of up to 20dB at one- of the sources of errors in a high-speed less of an issue with single -mode fiber, half the clock frequency are nominal; data system and descriptions of how to in which the data -carrying part of thehowever, receivers designed to work avoid errors using techniques for bud- fiber has such a small radius that thewith greater or lesser signal attenua- geting loss and jitter in the system. light can effectively only take a singletion are acceptable. path. Both absorption loss and dis- SMPTE 424M, 3G -SDI standard. Characteristics of coaxial persion are directly proportional toThis standard is a transport defining cable and optical fiber cable length. a bit -serial data structure for 3Gb/s Signals travelling over cables suffer (nominal) component digital signals losses. In the case of coaxial copperStandards or packetizeddata.This standard cables, these losses are caused by a One area of difficulty for systemspecifies a coaxial cable interface suit- combination of the resistance of thebuilders is the lack of a standard forable for applications where the sig- conductors and absorption by thethe performance of digital videonal loss does not exceed an amount insulating dielectric. Both of thesetransport interfaces. The data proto- specified by the receiver manufacturer. effects are worse at high frequencies.cols, voltages, impedances, etc., are all Typical loss amounts would be in the The resistive losses are influenced bystandardized, but the standards bod- range of up to 20dB at one-half the the "skin effect," which makes the ies, SMPTE and ITU-R, do not dic- clock frequency. losses increase in proportion to thetate the cable length for reliable oper- Note that the reference to "typi- square root of the transmitted fre- ation. This is a deliberate decision, so cal" cable losses is included within quency. Dielectric losses are directlyas technology improves, the perform- the scope of the document. This is proportional to frequency. Cablesance can improve with it rather thanthe part of the document that sets should be selected such that the di- being frozen at any particular value. Itthe scene for the standard, but does electric loss is not a significant fac-also recognizes that different applica- not include any actual standard re- tor over the frequency range to betions require different performance,quirements. However, a quick read- transported. For HD and 3G -SDI,and it makes sense to allow a mix ofing of the standard can easily lead this means the use of foam dielec-equipment with different perform-to the mistaken conclusion that a trics. Both resistive loss and dielec- ance and pricing. loss of 20dB at a frequency equal to

12 broadcastengineering.com I March 2010 How loud is it? Know for sure. NEW Dolby' Media Meter 2 software Nov with added measurement options and digital audio workstation (DAW) compatibility

Dialogue Range true Peak

Channel Configuration

Users DMehlanager/D,i omener 2398fps 00595500 L 10 00 40

DMeManager/Dw-umen et_2398fps_00595500 R wav 10 00 40

C Users/DMPManager/Do:umenei 2398fps_00595500 ( way 00:0040CI

LFE ilsers/DMPManager/Doc-Inenor .?398fps_00595500.LFE wav .20'00'40 CI

LS r__Isers/DMPManager/Occumen. er_2398fps_00595500.Ls.wav )0 00 40 15

Rs /Jsers/DMPManager/Donimen...er.2398fps00595500 Rs wav X000.40 111111

11111

1111

le Encoded

11,Specify Range Fnam 00.59:55:00 01:00:35:02

A:curate loudness measurement Dolby Media Meter 2 Features is vital to creating a quality viewer experience. And Dolby® Dialogue Intelligence technology Media Meter 2 makes it easy. It's an ideal tool for program ITU-R BS.1770-1, Leq(m), Leq(A), creation and quality control, and perfect for optimizing True Peak, and Dialogue Range Complete logging functions broadcast and disc media. MAC/WINDOWF.

Version 2 builds on :he original scftware, adding new Stand-alone application for measurement algorithms, new plug -ins for popular DAWs, file -based measurement and new features that include level meters, a high -quality Digidesign® and VST plug -ins peek limiter, and real-time graphing. MAC L. MaCAU plug-in for Apple° software For accuracy, flexibility, andease of use, Dolby Media Meter 2 oFers unbeatable value at$79D (i i J. We also offer apaid upgrade for current owners.

Dolby and the double -D symbol are registered trade-larks of Dolby Laboratories. Dialogue Inlligence is a trademark of Colby Laboratories. Al 3ther trademarks remain the property of -heir respective owners. ©'--010 Dolby Laborator es, Inc. All rights reserved. 510/22413 DOWNLOAD 0 - BEYONDTHE HEADLINES -5 - -10 - -15 - - 1694A -20 - half of the data rate should used for -25 systems budgeting. -30 - -35 Actual copper performance 40 Copper cables require special driver 45 -50 chips at the send end to generate the 55 waveforms defined in the SMPTE spec- 60 ifications and dedicated equalizer chips -65 at the receive end to compensate for 70 1.E+06 1 E+07 1.E+08 1.E+09 1.E+10 the frequency -dependent losses in the cable. SDI equalizers contain feedback Frequency (Hz) loops, so they automatically work with Figure 1. Insertion loss of Belden 1694A cable any cable length up to their particular limit. This limit is defined by the maxi- times of the transitions become dis- it means there is less jitter budget left mum gain available in the chip. torted. There are several causes of this for the remaining elements in the link. The equalizersare designed to eye closure: SMPTE 424M does make a strong rec-

compensate for skin effect loss, which Intersymbol interference (ISI), ommendation for .2UI transmit jitter, is proportional to the square root ofcaused by imperfect equalization ofand modern 3G capable SDI transmit- the frequency. This is why it is im-the attenuated signal from the long ters and receivers do achieve this figure. portant to use cables with minimalcable. Reflections due to suboptimum So when calculating a jitter budget, it dielectric loss, because the equalizertransmitter and receiver return lossis recommended to check the actual does not have the correct characteris- may also contribute to ISI. specification of 3G equipment and not

tic to compensate for this kind of loss. Duty cycle distortion (DCD), causedjust that it is SMPTE-compliant. If the equalizer is a poor match to the by differences in timing for rising In practice, this means that, to be loss, the overall frequency response isand falling edges of the signal. ISI andsafe, jitter needs to be removed from not flat, and the data symbols become DCD combine to make up determin- the signal each time a long cable has distorted (intersymbol interference), istic jitter. been traversed or a significant piece

causing a reduction in the eye height Noise generated in the receive elec- of signal processing has taken place, and eye width and leading to bit er- tronics, because it amplifies the attenu- e.g., signal selection in a crosspoint. rors. When the 3G equalizers were be- ated signals from the cable, also known Jitter is removed using a reclocker, ing designed, one of the specifications as random jitter. which regenerates the serial clock us-

was for them to work with the same Crosstalk from adjacent signals in ing a phase -locked loop (PLL) locked family of cables that are used for HD the sensitive equalizer's input. to the incoming data. The outgoing signals, so they are compatible with These jitter effects are not cor-data are resampled using the regen- the installed base. rected by the equalizers. The absoluteerated clock, and the jitter budget is Some of the latest generation of 3G value of these jitter effects, measuredthus reset. Alternatively, if the signal equalizers provide a maximum gain ofin picoseconds, is largely independenthas been transformed from the serial more than 40dB, so they can achieveof the data stream. But as the data eye to the parallel domain for processing, error -free operation on up to 140m ofbecomes narrower with higher datathe deserializer should have good tol- the appropriate cable. (See Figure 1.) rates, the relative value, measured inerance to incoming jitter and be able data periods (referred to as Unit In-to generate error -free data from the Implementation guidelines tervals [UI] ), increases. A 3G UI is half incoming stream. Similarly, the serial- for copper links the width of an HD UI, and so is twiceizer should include a serial clock gen- As has been shown, the use of high - as vulnerable to jitter. erator with low jitter, so the new serial quality transmit and receive compo- data stream is clean as it is launched. nents with adequate gain and a cor-Jitter budgeting rectly defined frequency response al- SMPTE 424M, the 3G standard,Reclockers low cable lengths of up to 140m to behas a looser specification for trans- In a reclocker, the specifications to compensated for reliably. mit jitter than SMPTE 292, the HDlook for are input jitter tolerance (IJT), specification. It specifies .3UI at thewhich specifies the amount of jitter on Jitter transmitter compared with .2UI for the incoming signal that can be toler- In addition to signal distortionHD. This recognizes the difficultyated without data errors, and output due to high -frequency loss, digitalof achieving the .2UI figure at 3G,intrinsic jitter (OIJ), which specifies errors can also be induced if the datawhere lUI is only 330ps. While thisthe amount of jitter remaining on the eye closes horizontally, because the makes things easier for the transmitter, signal at the reclocker's output. A good

14 broadcastengineering.comI March 2010 INTELSATIOne

Introducing IntelsatONE

When it comes to our new network, "One" says it all. See why ONE really is all you need. One single IP-MPLS-based global network for satellite Visit www.intelsat.com to learn more and terrestrial connectivity. One simple interface for about the benefits of IntelsatONE. multiple services and applications. One source for flexible, converged voice, video and data solutions. Stop by our booth - #SU1417 at NAB 2010 For our customers, "one" also means Intelsat's singular in Las Vegas, NV from April 12-15. commitment to reliable, quality service with a host of added benefits, including the ability to support your customers' higher -bandwidth applications. alINTELSAT. Closer, by far DOWNLOAD Coax cable up to 140m 4 BEYONDTHE HEADLINES Cable EQ Reclocker driver Caor cable up to 140m reclocker has an IJT of .7-.8UI and OIJ 4 of less than .1U1. Cable EQ Reclocker driver Deserializing receivers and serializing transmitters In the receiving deserializer, the im-

portant specification to look for is IJT. 111111. Cable In the transmitting serializer, it is OIJ. driver For 3G signals, IJT should be at least .7UI, and OIJ should be an absolute Figure 2. A multipass 3G -SDI system maximum of .2UI. This allows for a further .1UI to creep in between the clock -cleaning process is performed in 101 passes through a cable, equalizer serializer and the equipment outputboth cases by using a clock generatorand reclocker combination, with no without jeopardizing SMPTE compli- with low intrinsic jitter, combined with measured errors. ance. If a lower OIJ can be achieved, a low loop -bandwidth PLL to reject jit- then the output can better the SMPTE ter from the parallel reference clock. Low -frequency jitter specification and has the potential for reduction longer cable lengths. To achieve low OIJ, Multipass and jitter The loop bandwidth is a compro- the system designer must ensure that Jitter removal using reclockers is mise between the need to track the dy- the clock used by the serializer has loweffective for jitter at frequencies above namic characteristics of the incoming jitter, either by using a serializer with a the loop bandwidth of the reclocker'sdata stream and the need for low out- built-in clock cleaner or by cleaning upPLL. This is almost all of the jitter and put jitter. In practice, a loop bandwidth the clock used with an FPGA serializer is effective for many passes. At theof around 1MHz is used. This rejects by using a dedicated clock cleaner. The 2009 NAB Show, one vendor showedjitter at frequencies above 1MHz, but

NTT Electronics Crearor of Real High Definition Experience the real Super Low Latency with Low Bitrate!

SNG FPU Real-time Monitoring IP

14,

High Quality 4:2:2 AVC/H.264 & MPEG-2 HD/SD Encoder/Decoder [HV9100 Series] HV9100 Series has demonstrated its performance in many international sporting events.

For more information, go to www.ntt-electronics.com/be NTT Electronics Corporation NEL America, Inc. E-mail. [email protected] E-mail. [email protected]

16 broadcastengineering.com I March 2010 DOWNLOAD Coax cable up to 140m

Cable BEYONDTHE HEADLINES Pr:clocker erive

Coax cable LIQ to 140m

The signals are equalized and re - clocked after every cable run; Reclocker

The connectors are 3G -qualified; and

Wideband fvairowhund The appropriate foam dielectric PLL Direct PLL iiconnection cable is used. Or Coax cable buffer 111°' or Cable For longer links, fiber-optic cables ED processing driver block are recommended. For these:

It is important to use send and re- Figure 3 A multipass 3G -SDI system with low -frequency jitter budget reset ceive interfaces with video capability;

Single -mode fiber is required for passes on lower -frequency jitter. It is then reserialized using a PLL with a links longer than 400m;

possible in a high -complexity system, very low loop bandwidth, and the jit- For long links, ensure that the send where the signal remains in the se-ter budget is reset over the completepower and the receive sensitivity are rial domain for many cable runs, that spectrum. (See Figures 2 and 3.) correct for the fiber loss;

low -frequency jitter accumulates to a For short links, ensure that the re- point where it approaches the SMPTE Conclusion ceiver is able to accept the input power 424M specification of .2UI at 10Hz. In 3G systems can be safely imple- without overload; and

this case, the signal should be deserial- mented using coaxial cable runs of up The signals should be reclocked af- ized and reserialized. The deserializingto 140m. It is important that: ter every fiber run. BE

process transfers the data to the paral- The transmitted signals meet or exceed the SMPTE specification; lel domain, in which the .2UI at 3Gb/s Nigel Seth -Smith is a member of the

represents only .15UI at the 148.5MHz The cable equalizers are of high Strategic New Product Definition and parallel clock rate. The parallel data are quality; Business Development team at Gennum.

vf. High Definition **Ait4111 for Mid-Markar America 1.111#'4:ti4 4t 711

360 Systems' MAXX-1200HD

» Three HD -SDI Outputs » 70 Hours of RAID Storage C.111 usnow at (8181991-0360, or email [email protected] » Outstanding Slow >> 8 Audio Channels Mction Performance 720p, 1080i, 23.98 & 24 PsF Graphics with Multi -Screen & 3-D Outputs Playout >> HDMI Monitor Outputs* www.360Systems.com

March 2010 I broadcastengineering.com 17 FCC UPDATE BEYONDTHE HEADLINES Operating wireless mics Regulatory framework for wireless mics is emerging. BY HARRY C MARTIN

The FCC isclearingtheWireless rules is a potential for interference, wireless 700MHz band (TV Chan- Wireless microphones are used inmicrophones on Channels 52-69 may nels 52-69) of wireless mi-live and televised musical presenta- no longer be imported, manufac- crophones in order to maketions, and in most TV news and sports tured, sold, leased or operated in the room for new uses. At the same time, broadcasts. They are also used for live United States. ithas grandfathered previously -il-theater, opera, churches, lecture halls But until the FCC decides on per- legal use of these Part 74 devices on and anywhere else someone speaksmanent rules, both old and new users Channels 51 and below subject to ato a crowd. Even the FCC's meetingwho are currently ineligible for Part power limitation of 50mW. None ofroom uses them. 74 licenses may nonetheless operate this comes as a surprise. The FCC has Most professional wireless micro- been saying for more than a decadephones use unoccupied channels in that Channels 52-69 must be vacated. the TV bands. These do not cause in- Under the R&O, terference to TV reception because the wireless mics on large users, and the companies that Channels 52-69 Dateline sell to small users, are careful about may no longer For noncommercial TV stations avoiding TV channels in use. Even in Texas, the biennial ownership re- organizations devoted to protecting be imported, port deadline is April 1. The biennial broadcast spectrum have accepted ownership reporting date for com- wireless microphones. manufactured, mercial TV, Class A and LPTV sta- Until now, the use of wireless mi- sold, leased or tions has been suspended pending crophones required an FCC license. operated. a further redesign of FCC Form 323. Eligibility was strictly limited to ra-

April 1is the deadline for TV sta- dio, TV, cable, movie production and tions in Texas to electronically file a few other groups. All other users legally on an unlicensed basis, at up to their broadcast EEO midterm reports have been operating illegally. Such us- 50mW power, provided the frequen- (Form 397) with the FCC. ers were supposed to occupy non -TV cies used are below TV Channel 52.

April 1is the deadline for TV sta- frequencies, but the TV band micro- In its rulemaking, the FCC is likely to tions licensed in the following states phones work better and are the mostadopt final power limits for wireless to place their annual EEO reports in popular. But, because the unlicensedmicrophones, decide whether new their public files: Delaware, Indiana, use of wireless microphones caused units must be digital -only, determine Kentucky, Pennsylvania, Tennessee no trouble, the FCC left things alone. which TV channels should be avail- and Texas. This changed due to the DTV tran- able and determine the details of user

April 12 is the deadline forall sition, which involved the repacking registrations. The rules are likely to commercial TV and Class A stations of channels to free up the 700MHzforbid data transmission, intercon- tosubmit first-quarterChildren's band (the channels formerly knownnection with the telephone network, Television Programming Reports to as TV Channels 52-69) for other uses.wireless telephone headsets and after- the FCC. But some wireless microphones left market RF amplifiers.

April 12 is the deadline by which over from before the transition still Currentlicensesthatauthorize commercial TV stations must place operate in that part of the band. These 700MHz band operation will auto- children's TV -relatedcommercial may cause problems for the new usersmatically be modified to delete those compliance certifications and Web of 700MHz, primarily public safety frequencies effective June 12, 2010, but site compliance information in their and commercial wireless users. will remain valid for lower frequen- public files. The FCC has now issued a Report cies. A few licenses that are only for the

April 12 is the deadline by which and Order and Further Notice of Pro- 700MHz band will be voided. BE all posed Rulemaking that attempts both stations, commercialand non- Harry C. Martin is a member of Fletcher, commercial,must place their first- to clear the 700MHz band and, in the Heald and Hildreth, PLC. quarter issues and programs lists in process, grandfather nonlicensed us- their public files. ers. Under the R&O, as of June 12, ISend questions and comments to: 2010, and sooner in cases where there [email protected]

18 broadcastengineering.com I March 2010 planting the seed...

Outfitted with dual DM2000's, Record Plant Remote's "The Lounge" digital truck has been busy making waves at numerous live recording events across the country. We caught up with Kooster McAllister, Owner and Chef Engineer of Record Plant Remote, to gather his thoughts on h s Yamaha gear. Here's what he had to sEv... "Coming from an analog background, haring a lot of faders in front of me is comforting. All 96 tracks can be viewed and accessed on just two layers. Having the two consoles tied together make the DM2000's perform as ore large format digital desk. It also gives me the added functionality of being able to call up effects, routing, auxes, etc. from either center section making it easy to get around quickly. In my line of work where you only have one chance to capture a live moment on stage, you mast be able to count on your equipment not to fail. These consoles have withstood bsino bounced down the road from gig to gig and have always come through for me. Most importantly, they sound great. Orchestral recordings I have done with them sound simply amazing."

Mc_ 4//,',5-ziet-

When you need help, time zones shouldn't matter. Yamaha provides coast -to -coast 24..7 technical support *YAMAHA across the United States. Wish dedicated staff and regional service centers, assistance is around the corner. If we can't fix it over the phone, well put a part or a oierson on the next plane out that. simple..

Yamaha CommerciA Audio Systems, Inc. 1,20 Box 6600, Buena Park, CA 90620-6600 commercig audio 02D10 Yamaha Commercial Audio Systems, Inc.. TRANSITION TO DIGITAL DIGITAL HANDBOOK Digital interfaces High-speed data connections for production environments are continuing to evolve. BY ALDO C_UGNINI

Avideo processing pipelinenet has become as important a video Along with their numerous bene- encompasses end -to -enddistribution medium as traditional off- fits, digital 1'V and digital cinema also audio and video process- the -air, cable and satellite broadcasting. present new challenges throughout ing,commencing with A/V capture and culminating at a video display. As shown in Figure 1, this pipeline typically includes A/V capture, post processing, storage, distribution and playback. These funda- Off -the -air r 11 Satellite mental steps, in existence since the Cable early days of video processing, form IPTV the backbone of this pipeline. On the other hand, the media, methods and IIII interfaces associated with each step /\ have changed over the years. Capture Post processing Distribution Digital media: Playback and storage DVD Digital video interfaces Blu-ray Digital formats have now all but replaced analog, and hard disk drives and other digital storage media have replaced analog videotapes. Most video post processing can be handled on a Internet services standard PC, and the ubiquitous Inter - Figure 1. Digital video processing pipeline FRAME GRAB A look at tomorrow's technology More people are viewing online video the video processing pipeline, and In 2010, 78 percent of Internet users will view online video. increased video resolution dictates higher bit -rate requirements. Digital 90% 85% 82% rights management (DRM) inten- 80% 78% 75% tionally imposes limitations on digi- 72% 70% tal content usage via copy protection 70% or access control at all stages of the 59% 60% processing pipeline. Modern video 50% 50% 47% equipment needs to support both the 44% new digital, as well as legacy analog, 40% - interfaces. Professional and consumer

30% MI As percent of all Internet users digital audio and video formats afford higher resolutions, wide acceptance MI As percent of population 20% and convenience. It is only natural to

10% - see the underlying digital interfaces evolve in parallel with these formats. 0% Table 1 on page 22 summarizes the 2008 2009 2010 2011 2012 2013 key features of some of the com- Year mon digital audio and digital video Source: IDC, eMarketer www.idc.com/www.emarketercorn interfaces used inprofessional or consumer equipment.

20 broadcastengineering.com I March 2010 Inc Omneon, of trademarks are ego Omneon the and Onneon reserved. rights All Inc. Omnoon, 02008 Content- Digital for Storage Active 1-866-861-5690 at us call or OMNEON® www.omneon.com t( go information, more For

Omneon. Trust clear: is choice the platform, content digita reliable and flexible scalable a for looking you're If industry.. the across unmatched is service to commitment and innovation of heritage Omneon's And efficiencies. improving and bottlenecks eliminating - workflow your accelerate applications and storage active servers, media of portfolio comprehensive Our workflows. content digital your fo, optimized platform content complete a delivers Omneon Only Omneon. with yours is choice of power The solutions. -breed -of best enables that platform the with workflow digital your customize and Accele.ate

'10'1 the you gives company one workflow, content digital your to comes it When TRANSITION TO DIGITAL DIGITAL HANDBOOK

SD -SDIis a serial link specified by Consumer electronics equipment total upper bandwidth to nominally the ITU-R BT.656 and SMPTE 259M continues to push the envelope of data 10.2Gbs/s, with a maximum video standards. It can be used to transmit rates and usability as well. Traditionalbandwidth of 8.16Gb/s and maxi- uncompressed digital video or audio USB 2.0 (High Speed) is already enjoy- mum audio bandwidth of 36.86Mb/s. (usually up to eight channels) overing widespread use on most computer HDMI 1.4 supports the resolutions 751/ coaxial cable. Without repeaters, peripherals, including storage media,and features used in digital cinema, rates of up to 270Mb/s over 300m are and supports a maximum transfer rate such as a 4K x 2K (3840 x 2160p) vid- serviceable. Defined by the European of 480Mb/s. The new USB 3.0 (Super eo resolution at 24/25/30Hz, or 4096 Community standardEN50083-9, Speed) specification supports transfer x 2160p at 24Hz. A 100Mb/s Ethernet

Interface Standard Max bit rate (Mb/s) Examples

SMPTE 259M 360 480i video, two -channel audio SD -SDI SMPTE 344 M 540 480p video, two -channel audio

HD -SDI SMPTE 292 M 1485 720p video, 16 -channel audio

3G -SDI SMPTE 424M 2970 1080p video

AES/EBU AES3 1.5(two channel) Eight -channel audio

S/PDIF IEC 60958 type II 1.5 (two channel) Four -channel PCM

DVB-ASI EN50083-9 270 MPEG 480p TS

ADAT optical 9.2 Eight -channel PCM

MADI AES10-2003 100 64 -channel PCM

USB 2.0 480 480p video or compressed ATSC USB USB 3.0 4800 1080p video

HDMI HDMI v1.4 10,200 1080p video, 7.1 DTS-HD master audio

DisplayPort VESA 17200 (v 1.2) 1080p video

Table 1. Digital A/V interfaces

DVB-ASI (Digital Video Broadcast- rates up to 4.8Gb/s; products using the link, an audio return channel (simi- ing, Asynchronous Serial Interface)interface to carry video to PC moni- lar to S/PDIF) and 3-D video are also was defined for the transmission oftors are expected this year. supported in version 1.4. MPEG transport streams and is elec- HDMI is becoming the de -facto The DisplayPort interface, defined trically similar to SDI, with a data rate standardinconsumer electronicsby VESA and incompatible with of 270Mb/s. and seems to be replacing legacyboth DVI and HDMI, supports up HD -SDI is the second -generationdigital interfaces for short -distanceto 17.2Gb/s. Security for the interface version of SDI and allows the transmis- interconnects. HDMI supports, on ais provided by DisplayPort Content sion of HD (1080i and 720p) signalssingle cable, both an SD or HD un- Protection (DPCP), based on 128 -bit over the same 751/ cables as SD -SDI. It compressed video stream (up to 4K AES (Advanced Encryption Standard) can handle rates up to 1.485Gb/s and is x 2K resolutions with version 1.4), encryption. While it has been adopted defined by SMPTE 292M. A dual -linkup to eight channels of audio, and by Apple, Dell and other PC manufac- HD -SDI (defined by SMPTE 372M) consumer electronics control (CEC).turers for high -end monitors, the in- provides up to 2.97Gb/s and supports High bandwidthDigitalContentterface seems to be struggling to gain 1080p resolutions, but is expected toProtection (HDCP) provides a robust major acceptance in the marketplace be replaced by the single -link 3G -SDI. mechanism for authentication andwhen compared to HDMI. 3G -SDI is the third -generation version copy protection over the interface. of SDI and allows the transmission Starting with version 1.3, HDMIDigital audio interfaces of HD 1080p signals over a 7511 coax supports two other important features In a broadcast plant, increasing flex- cable. It is defined by SMPTE 424M in digital video processing: the xvYCCibility while minimizing wiring, com- and can reach a maximum bit ratecolor space and Deep Color. Aboveplexity and maintenance are strong of 2.97Gb/s. this, HDMI 1.4 brings the theoreticaldrivers to adopting new standards

22 broadcastengineering.com I March 2010 TRANSITION TO DIGITAL DIGITAL HANDBOOK and technologies, including the as- connectors, the latter commonly used 2 -channel audio, to 1080p video with sociated physical interfaces requiredfor consumer audio applications us-multichannelaudio. New display to support those technologies. Audioing a digital optical interface. Thetechnologies allow for wider color distribution over data networks, such ADAT Optical Interface uses cablinggamuts 3-D video is transitioning as Ethernet, is one example of such an similar to the optical S/PDIF. Unlike from the movie theater to the home, emerging technology. S/PDIF, ADAT was developed for the and may force the development of Mature point-to-point digital au-pro -market and can support up to new interfaces, especially on graphics dio interconnects within the videoeight 24 -bit, 48kHz uncompressedcards. As standards bodies continue processing pipelineinclude AES3,audio channels. MADI is a furtherto upgrade existing audio and video MADI and SDI. First published inenhancement to the AES/EBU in- interfaces and develop new ones, vid- 1985, the AES/EBU interface, AES3, terface that supports transmissioneo production studios need to merge wasprimarilydesignedtocarryof digital audio using both coax andtraditional video capturing and edit- 44.1kHz or 48kHz PCM audio. Itfiber-optic lines, and up to 64 uncom- ing equipment with powerful PC and supports a variety of cabling andpressed audio channels (up to 96kHzvideo servers and use a combination connectors, including 75S/ coax withand 24 bits each). MADI uses a basicof Gigabit Ethernet, HDMI, and lega- BNC or DB25 connectors; AES3 candata rate of about 100Mb/s, and en- cy audio and video interfaces, such as easily support eight channels of un-ables audio transmission using cablesSDI and HD -SDI. Count on continu- compressed PCM audio. The Sony/over 100m long and up to 3000m,ing evolution as the norm! BE Philips Digital Interconnect Format making it desirable to the professional (S/PDIF), essentially a consumer de- audio sector. Aldo Cugnini is a consultant in the digital television industry rivative of the AES/EBU specification, supports both uncompressed PCMThe ever -evolving video (up to four channels) and compressed processing pipeline audio, such as5.1 Dolby Digital. Over the past few years, video has Send questions and comments to: aido.cugnini©penton.com S/PDIF uses RCA, BNC and TOSLINK transitioned from SD, 480i video and 111

1111'frr"7- XA Small

performance -

FUJINON FUMILM Broadcast and Communications Products Division FUJINON INC. 10 High Point Dr. Wayne, NJ 07470-7434 Phone (973) 633-5600, FAX: (973) 613-5216 Find HO FUJINON INC. 12-6715 Yonge St., Suite 203, lewmarket, Ontario, Canada, L3X 1X4 Phone: (905) 398-1382,FAX: (905) 898-:350 FUJINON CORPORATION 1-324 lletate, Kita-Ku, Saitama City, Saitana 331-9624 Japan F hone: 8148-668-2152 wwvv.fujinon.com QuicKZoorn

March 2010 I broadcastengineering.com 23 COMPUTERS & NETWORKS DIGITAL HANDBOOK Networking software Understanding networking software fundamentals helps quickly identify problems in the broadcast facility. BYBRAD GII MFR

Almost all the network traf- control system (a router control pan- net is designed as a "launch and forget" fic in the world these days el) determines the AN path through proposition. It is up to higher software is Transmission Controlthe router. systems to deal with delivery issues.

Protocol/InternetProto- Packets travel independently. Once a UDP does not make any attempt to col (TCP/IP) over Ethernet. From apacket is launched onto the network,recognize and correct for lost packets. practical standpoint, this means that there is no way to know what path it TCP attempts to resend lost packets, if you are just starting to learn about will take to get to the destination (un- but if the errors are too great, TCP will networking, you should focus on this less the network is small). The specific give up entirely.

technology.However, broadcasters route may change for a number of rea- Network file transfers are an "all or may also encounter User Datagram sons, including equipment fault, con- nothing" affair. When a file is trans- Protocol (UDP)/IP over Ethernet.gestion or maintenance. Each packetferred over a network, the transfer ei- This introductory tutorial on net-is routed independently of all other ther succeeds or it fails. If a single bit working software will focus on must packets. This can lead to unexpected is corrupted during the transfer (and know items for broadcast engineers.

Fundamental principles 100101100110010110011101 Video file payload Itis important to understand the fundamental principles that affect the 1 behavior of networks within and be- 10010110 01100101 10011101 Broken into chunks tween broadcast facilities:

Ethernet is a packetized network. All 1 Source and destination Ethernet data, whether it is an automa- DEl10010110 01100101 D10011101 tion log file, a video clip or a live video El address added stream, is sent in packets. This means that the data (sometimes called the Figure 1. Packetized networks break the payloadinto chunks and add source and destination addresses in the packet headers. payload) is cut up into pieces and loaded into packets for transport across thebehavior.Forinstance,packets TCP is unable to correct it by resending network. For example, think of pack-launched in succession may arrivethe data), then the entire transfer will ets as tractor -trailer rigs; the payload is at the destination out of order; thatbe aborted. Network protocols are de- loaded into the trailer. At the receiver, is, if you launch two packets, the sec- signed in this way to ensure that errors the chunks are reassembled in the or-ond packet may arrive before the first are not propagated across the network.

der in which they were sent. packet since it may be routed across Networks are designed using layered

Packets have a source address and aa shorter path. Also, the transit timeprotocols. A long time ago, network destination address. Address informa- across the network may vary fromdesigners figured out that writing one tion is contained in a header, whichpacket to packet. huge networking application was a bad

can be quickly read by anyone who Networks lose information. Networks idea. What if the hardware changed needs to know where the packet camedrop packets. In fact, in some cases,from wire to fiber? What if people from or where it is going. Imagine that networks drop packets on purpose!needed more error protection? What the tractor -trailer has two large, easily- Packets may be lost because of equip- if chip technology changed to allow read labels on the cab, which say where ment failures, but they may also be in- faster network speeds? In one huge ap- it started from and where it is headed.tentionally dropped when the network plication, the entire thing would have (See Figure 1.) becomes congested. to be rewritten every time one of these

Packets are self -routing.Switches IP over Ethernet is not a guaranteed things changed. and routers read the addresses in each transfer mechanism. Underlying net- Instead, network designers came up packet to figure out where it needs towork mechanisms do not guarantee with a plan for a layered system; thus, go. This is contrary to the routed video that a launched packet will reach itsyou may hear that a router operates model where input from an externaldestination. At the lower level, Ether- at Layer 3, etc. Different technologies

24 broadcastengineering.com I March 2010 Be ready to compete

Speed and Reliabil Visit us at NAB 2010 without Com romise Booth C 9508 To ay the pro Live Sports is ab and delivering valuable contentinrecord time and using various media. To succeed producers count on technology that is fast and dependable. With EVS' newly developed XT[2]+ production server and its unique software suites, IPDirector and MulticamLSM, you can take full control of the action with: multiple camera recordings; Ultra Motion HD replays; integrated live graphic overlays; metadata management; non-linear and advanced real-time editing; powerful networking capabilities in addition to video transfer; synchronized playout.

EVS Instant Tapeless Technology also alows you to expand your workflow for tomorrow's production needs with Live Slow Motion replays in 3D and remote access to content via the Web.

11011//, Instant Tapeless TechnOlogy www.evs.tv \N COMPUTERS & NETWORKS DIGITAL HANDBOOK

may be substituted within a specificthese applications in mind. If you are time. Using QoS, you can guarantee layer. You can have TCP/IP over Eth-working with a network used to sup- the level of performance across a net- ernet, or you can have UDP/IP overport operations, normal business network. But you should know that QoS is Ethernet. TCP and UDP operate atworking rules apply. If you are work- not a thing; you cannot buy QoS. You the same layer, so you can change being with a video production networkalso cannot set the QoS switch on your tween TCP and UDP without havingwhere users are exchanging A/V files router and get guaranteed delivery. to make changes to IP or Ethernet. and high -resolution streams, then Instead, QoS is a framework of

Broadcasters have complex network- things may not work as expected, andpolicies and technologies that can be ing needs. On the one hand, broadcast- you may have to employ some tricksused to control the quality of service ers are just like any other business -to get your network to behave reli-to be delivered by your network. At they need networking technology toably. In some cases, you may have toa high level, QoS works by control- move files, pay bills, send e-mail, printmove away from TCP/IP over Ether-ling traffic admitted to the network, documents and do all the other thingsnet entirely. marking traffic by type (voice, video,

businesses do day in and day out. QoS is important for broadcasters.data, etc.), and establishing priorities On the other hand, broadcastersAs you can imagine, some of the fun- for traffic types so that lower prior- have a tendency to stress their net-damental characteristics of networksity traffic gets dropped first when the works,particularlytechnicalnet-mentioned above do not work out wellnetwork gets busy. (See Figure 2.) works. Increasingly, broadcasters are for broadcasters in a professional videoQoS can establish guaranteed routes moving large video files and trans-environment. Fortunately, the needs offor particular flows so that all packets mitting professional quality streams the broadcaster are lining up well with in a stream flow from source to des- across their networks both within the consumer market where being abletination via the same path, no matter and between facilities. Broadcastersto handle video is becoming a priority. what. This avoids out -of -order pack- need to realize that core networkingThis means that QoS capabilities are ets and packets with wildly varying technology was never designed withbeing built into more equipment over arrival times at the destination.

>25 years under our belt. We're here when you need to tightenyours...

n.rAp -rKo,c

UK Unit 2 Heathlands Close Twickenham TW1 4BP tel: +44 (0) 208 891 8900 +44 (0) 208 891 8901 >autoscript USA 16 Progress Drive Shelton CT 06484 USA A THE WAY... tel: (203) 926-2400. (203) 926-2405 the world's first prompting company www.autoscript to supply prompters as standard

26 broadcastengineering.com I March 2010 COMPUTERS & NETWORKS DIGITAL HANDBOOK Admission control There are virtual private networks 111,& (VPNs) as well. VPNs connect more than one facility together so that all computers look like they are in the Summing Drop same facility, even if they are physi- seirver MEMDk El 0©© El El cally located miles apart. Mail Finally, thereare virtual LANs server (VLANs), which segment network X traffic on the same physical network. Marking Switch Peer -to -peer You might put all of the traffic on one client VLAN, all of the news department on another one and the sales department Figure 2.In this illustration of QoS, policy blocks peer -to -peer traffic. Video, on a third. All three VLANs are physi- streaming and mail traffic are marked. Later, a switch may decide to dump mail cally connected to the same routers traffic if congestion occurs. and switches in the facility. To the cli-

All networks are not the same. There the public Internet, and there are pri- ents on the network, these computers are several broad classifications of net-vate managed networks. Both the pub-appear to be running on three physi- works, and it is important to know thelic Internet and private managed net- cally separate networks. BE works are WANs. (They may be com- differences between them. There are Brad Gilmer is president of Gilmer & local area networks (LANs) and wideprised of several WANS.) However, in Associates and executive director of the area networks (WANs). A LAN is usu- the case of private managed networks, Advanced Media Workflow Association. ally confined to a single facility. There QoS is carefully controlled to give us- are WANs that run between facilitiesers predictable performance. There is ISend questions and comments to: [email protected] over a wide geographical area. There is no guarantee on the public Internet.

41/

CRESCENDO DIGITAL PRODUCTION CONSOLE

Meet the newest member of the Stagetec STAGETEC DELIVERS digital console family: CRESCENDO. FAILSAFE OPERATION: Extremely reliable Designed for the Live and Broadcast markets LOGIC CONTROL: Console events and GPI/0 where space for a mixing console is often a POWERFUL PROCESSING: 40 bit floating point processing luxury, CRESCENDO is a compact yet fully loaded digital console that is a breeze to SCALABILITY: Up to 300 channel paths; max.128 buses operate. It offers unsurpassed visual feed- FLEXIBLE DIGITAL I/O: MADI, AES, DOLBY, 3GHD-SDI and more STAGETEC USA back, flexibility in console architecture and MULTI FORMAT: Up to 5.1 Surround with up and down mixing capabilities pristine workmanship. Being part of the SPEEDY RECALL: Snapshot/Cue load time max 10ms Phone +1-888-782-4391 Stagetec family, the CRESCENDO is a work- BUILT-IN SAFETY: Boot to last known state" in less than 30 seconds [email protected] horse that will not let you down. TRUE CONFIDENCE: Project load from RAM with no need for PC www.stagetec.com

March 2010 I broadcastengineering.com 27 PRODUCTION CLIPS DIGITAL HANDBOOK 3-D editing Here's a look at thenew editing technology capable of handling bandwidth -hungry 3-D video. BY L T.MARTIN

With so many predicting was premiered on Sept. 27, 1922, attheir conventional picture monitor that 3-D productionsthe Ambassador Hotel Theater inwhile making cutting decisions, and will soon move fromLos Angeles using the dual projec-then have to either turn to an ancil- fadtomainstream, tor Fairhall-Elder stereoscopic 3-Dlary 3-D monitor after they have been editors are going to need to get readyprocess, 3-D filmmakers have real-played out to evaluate the depth ef- to tackle the requirements for tellingized that the trick of creating depthfect, or wait until a post facility can stories in Z -space. Yet with less than perception relies on somehow get-composite the two eyes together for 40 films produced during the mod-ting two different images to the view- projection in a 3-D theater. ern era of 3-D, until now only a small ers' left and right eyes and letting the However, a factor found to be cru- cadre of editors have experienced thebrain assimilate them into the per-cial to the improvement of today's challenge of cutting in 3-D. But that isception of depth. 3-D presentations is controlling the all about to change. But even though today's 3-D pro-convergence of the lenses of the two Somewhat buried under the hooplaductions are usually shot with tworecording cameras, thanks to the in- surrounding 3-D theatrical featuresHD or higher resolution digicamnovative research conducted by DP such as "Avatar," with the arrival of 3-Drigs shooting through a beam splitterVince Pace, a key collaborator with TVs, the delivery of 3-D content to the instead of the old side -by -side filmJames Cameron on his underwater home is starting to attract growing in- documentaries and, of course, "Ava- terest and, more importantly, financial Cutting for the third tar." Pace is credited with developing investment. Last December, the Blu- dimension requires the convergence -adjusting FUSION ray Disc Association announced the 3-D camera used on almost all live finalization and release of its Blu-ray new thinking in action film, TV and sporting events. 3-D specification. both technology As a result, 3-D editors will have to Then at January 2010's CES Show, learn to deal with controlling the "toe several entities, including ESPN and and aesthetics. in" or "toe out" of the eyes to match Discovery Communications, unveiled the desired position of an object in plans to start generating and deliv-cameras, almost all editors on 3-llZ -space, and even the Avid systems ering 3-D to the home over satelliteproductions cut only the "left eye" im- cannot manipulate the convergence and cable later this year. In addition,ages on 2-D NLEs. That's because us- of the left and right eye images. Next3-D announced it would start aing two camera rigs shooting through Nor can any of the other laptop Web -based 1080p VOD service this a beam splitter, the "right eye" has toedit systems currently available make month. While 3-D in the cinema has be flipped either vertically or horizon-those convergence adjustments by been fed mostly by CG -dominatedtally in the lab (depending on camera themselves. To the rescue comes a material, new programming for home configuration) to be properly oriented. third -party software called Neo3-D viewing will be based on live produc- Although some very high -end systems from CineForm, a company known tion, which means editors ought to such as Quantel's Pablo can accom- for its intermediate file codecs. In its start sharpening their chops to getplish real-time stereoscopic 3-D edit- latest incarnation, Neo3-D provides ready for the onslaught. ing and mastering in a single system,full -resolution left and right eye im- their operational costs have relegated ages within a single AVI/MOV wrap- A new way of thinking them mostly to 3-D finishing. per on Apple's Final Cut Pro, Adobe's Having spoken with editors who For the rest of us involved with cre- Premier Pro, and Sony's Vegas Pro 9 worked on most of the recent 3-D ative cutting, what we used to call "of- NLEs. Because Neo3-D can output film productions, I can tell you that fline," only the Avid systems equipped in any of a number of anaglyph for- cutting for the third dimension re-with version 3.5 software or later can mats such as red/cyan, green/magenta quires new thinking in both tech-edit true stereo timelines and playor amber/blue, that means the editor nology and aesthetics. At first blush,them out directly to a full color 3-Dcan use inexpensive colored glasses the technology seems fairly famil- monitor. That means editors first seelooking at an edit room's conven- iar. Ever since "The Power of Love"the images without Z -space depth on tional 2-D monitor to evaluate and

28 broadcastengineering.comI March 2010 NA/BSHOW .Where FmR.L° Content Comes to Life'" INN DVATIONS IN VIDEO 3 Central Hall, C5219 and AUDIO TECHNOLOGY

WNW* III W AIM - MINEWIEMEE15 -

HVS-300HS: The New Standard in Small HD/SD Switchers! Unrivalled Features, Unequalled Cost Performance

0 - 1U very compact main unit (HVS-300HS) - Operate with operation unit, front/remcte panel orGJI software control via LAN HD/SD-SDI 4 input/4 output standard, Max. 12 inpuU8 ouiput www.for-a.com Frame Sync, up -scaler, and Proc Amp on each input Variety of I/O optior s such as HD/SD-SDI inputs, DVI-D, VGA, Head Office (Japan) HD/SD analog cornaonent, and analog composite Tel: +81 (0)E-3446-3936

USA Western (CA) agli. SWIM MO Built-in 16 -split multiviewer, supportinq 4, 10 or 16 -split Aew 1.11111111 011111111 OM. M I Tel: +1 714-894-3311 USA Easter & Midwest (NJ) with tally and title display Tel: +1 201-944-1120 Dual Picture -in -Picture function USA Southern (FL) 40. .2. /14.,17 Tel: +1 352-371-1505 - Up -stream Keyer (with Chroma Key) andDSK 14Par Latin Amen:..a & Caribbean (FL) both with 2D DVE Tel: +1 305-931-1700 0011111.1% Canada (To -onto) - Various 2D andD DVE transitions Tel: +1 416-977-0343 UK (London) - Over 100 wipe patrerns Tel: +44 (0)20-8391-7979 - Two channels of still stores Italy (Milan) Tel: +39 02-254-3635/6 - HVS-300RPS: Redundant power supply model also available (2U size) Korea (Seoul) Tel: +82 (0)2-2637-0761 Learn more about the HVS-300HS and all of FOR -A's !nnovative products China (Beij ng) Tel: +86 (0)10-5170-9870 at FOR -A's NAB booth (C5219) located in the central PRODUCTION CLIPS DIGITAL HANDBOOK

adjust the left/right convergence. Thiskind of technology because it doesn'tages rapidly become tiring to the eye. can save significant post -productionrequire a special high -cost presenta-This is exacerbated by rapidly cut se- lab costs during editing, and once thetion system or relatively expensivequences if the editor requires the au- picture is locked, it can subsequent-polarized or active -shutter glasses, dience's eyes to shift their convergence ly be output in either the RealD orand its images can simultaneously befrom shot to shot. So 3-D editors will Dolby 3-D polarized, full spectrum fully appreciated by most people evenhave to learn not to confuse the view- stereo presentation formats. without the special lenses. ers' minds by scatter -gunning the con- With Panasonic having presented vergence points all over the screen. A viable alternative a prototype of the first cost-effective Another rule of 3-D aesthetics that But this brings up another current3-D camera for mainstream use athas emerged is that foreground ob- in today's 3-D that is bubbling be-CES 2010, and the new content de-jects can be much more distracting neath the surface. While major pro-livery organizations hungry for 3-D when floating past the screen than ponents of 3-D insist that some form content that doesn't yet exist, there they were in 2-D. This was immedi- of full color stereoscopic 3-D is themay come a call for home 3-D sys-ately apparent during the experimen- only way to go, great advances have tems that don't require pricey screens tal 3-D broadcast of the BCS College been made in single -image streamand lenses and whose images can be Football Championship on Jan.8, 3-D that can be viewed on any nor-viewed in a pinch by people in the2009, during which the ubiquitous mal TV or computer screen. Starting room who aren't wearing those funny sideline shots did not work at all. Even off with anaglyph approaches such asglasses. These are, after all, still earlythe overheads of the field, a mainstay those mentioned above, this has beendays, and there is also going to be aof football broadcasting, appeared significantly improved by companieslot of editing needed for nonbroad-disturbingly flat. like ColorCode 3-D, which has devel- cast productions. Single -image stream Finally, editors will have to learn oped an encoding process matched3-D may become a viable alternative. to cope with the fact they are dealing to inexpensive glasses through which with a proscenium stage in 3-D. De- the color information is conveyedA great challenge ciding whether objects should come through a specially -designed amber But however it is presented, the aes- out of its volume toward the audi- filter, and the depth component is per-thetics defining the new grammar ofence, or recede into its depths away ceived through a unique blue filter. 3-D will afford the greatest challengefrom the viewers, will be a fundamen- Insisting loudly that this is not tra- to editors trying to tell visual stories in tal consideration for editors to keep ditional anaglyph, ColorCode 3-D this new medium, and by now there are in mind. It will also be just one of the provided the supporting technology enough editors with sufficient experi- new creative tools they have at their behind "3-D Week" on Channel 4 in ence wrestling with Z -space to harvest command when cutting 3-D. BE the UK last November and was used some of their lessons learned. for the 3-D ads during the 2009 Super The most important is that without L.T. Martin is a freelance writer and post - Bowl. Editors should be aware of this proper convergence control, 3-D im- production consultant.

RIIIRIEDEL Curious?See you at NAB 2010, Booth C6747 The Communications People

MEDIORNET- RE -DEFINING FIBRE -OPTIC NETWORKS The Solution for World Class Events. SNOOP

Riedel Communications Inc. 1721 Victory Bid Glendale, CA 91201 USA www.riedel.net

30 broadcastengineering.com I March 2010 www.aja.com "On every shoot, AJA helps me deliver the highest quality."

Bob Kertesz Chief Tecinical Partner, BlueScreen LLC.

With a 30 -year reputation for qLality, Bob Kertesz relies on AJA at the heart of his workflow.

As Chier Technical Partner at B ueSc-een L_C., Kertesz specializes in high -end compositing of live im ages. In fast -paced environments his array of AJA converters and the FSI ensure he can meet whatever format and equipment challenges he faces. "A client shows up with an HD tape for an SD project? No proplem," he explains. "He wants to integrate 720p footage into a 1080i show? No problem. He brings a camera with only component outputs End I need digital? No problem!'

For a recent series of promotional spot; for N3C's Amercian Gladiators, Kertesz crea:ed on -set pre -visual zation zompositing taking a feed from FS1 a Vision Research Phantom HD Carr era."Because of the tight HD/SDAI turnarounc time, and the talent ir volved, it was essential that we were SD/HD up/down conversion working with equipment that was reliable aid fast. The camera didn't SD/SD aspect rato conversion HD/HD cross conversion (720p/1080i) genlock, so we had to have an os-set solution to feed its footage into Dual HD/SD SDI Inputs and Outputs the HD Ultimatte 11. The FS1 was essential for that purpose' Component Analog HIISD Input and Outpul Find out more about ;JA products at - www.aja.com Closed Captic n Support

F Because it matters. ,AMI VIDEO SYSTEMS DIGITAL TUTORIAL SYSTEMS INTEGRATION File format conversion Maintaining signal quality during transfer is of prime importance. BY RUSSFLL BROWN

Fileformat conversion hasmedia, either film or videotape, and to be able to play them back. becomeincreasinglyim- the quality of that initial transfer will One function of the container is to portant in today's file -based determine the subsequent quality ofbe an interchange format. When this workflow environment. Infuture file conversions. type of container is used with pro- the past, file format conversion was Video file formats are called eitherfessional video systems, it is called a accomplished with dedicated servic-"lossless" or "lossy" - any file thatwrapper. Wrappers have been devel- es that provided their own software uses compression on the video is con- oped to make it easier to exchange and/or hardware to accept the filesidered lossy, because it must throwvideo files and the information as- transfer and convert it to what theaway some picture information to sociated with them between various station needed. perform the compression and, thus,systems such as nonlinear editing Today, a TV station may require reduces the file size. You always want systems, video servers and some digi- many different types of file conver-to move from lossless toward lossytal VTRs. Wrappers are data files that sions to produce media for on -airwith as little degradation to the pic-contain within them the essence, or playback, content for its Web site and ture as possible. audio and video files, and the meta - files for archival storage. While the ac- data, which is data about or related tual file type may be different, the re- Files and wrappers to the audio and video files. The need quirements are the same: high -quality When a video file is created, thefor wrappers came about due to the video and the smallest file size. raw essence file is made up of the ac- lack of information exchanged dur- tual data from the codec used to en-ing file transfers from one storage Video quality code the audio and video signals. This system to another. Without wrappers Whenever a video file is converted could be an MPEG-2 file or one of the and metadata, the receiving system from one type to another, the issue many DV formats, but when input tolacks any information about the con- of video quality must be addressed.a server or other device, the softwaretent of the files. Assuming there is no data loss, thethat accepts it needs to know certain Thebest-knownprofessional parameters of how the video was en-parameters about the actual audiowrapper is Material eXchange For- coded is the main factor in determin- and video data. to be able to play itmat (MXF), developed by SMPTE ing video quality and, thus, its abilityback. This is where the container(377M-2004). MXF was designed for to be converted to another file format.comes in, which holds the separateuse within broadcast and post -pro- Starting with acquisition, files differ in audio and video essence data togetherduction facilities, making it the first both quality and size. and provides the necessary data, in- choice for many stations. Although Much of the future media to be cluding codec used, frame rate, dataMXF has been widely adopted, it has converted will come from analog rate, number of channels, etc., needed not been fully implemented in many

Header Body Footer

Essence container c,* (video /audio file) a 0 .,&.of` e ,4- se oz.

Figure 1. MXF data structure

32 broadcastengineering.com I March 2010 411mortheIveelher uP setricejiist 10 News coon ei Vie tPapuel hurt h Aa11at

UTAH ArtffirITIMIC 2020 Series Master Control NOM st nnunna

The Power To Brand & Control When It Comes to Power and Control, Go With the Masters The U-ah Scientific MC family are the toasters of master contro. systems. Proven in all types of television applicatiols - from single channel management to commanding the conplexities of large-scale, multichannel, multformi operations - they handle SD, HA or both simultaneou.4y, while directing multiple mixed format audio souses if necessary. Utah 14aster Control systems offer sean&ss integration with Utah's iulusty-leading routing systems, full compatib_Tity with all major automation systems, and advanced intelligent hardling of EAS alerts. Add to all of that its conplete channel branding capabiLty - including multiple keys logos,squeeze-back and graphics - and you're not just in control, you rule.

The E est In The Business www.utahscientific.com

WilitIANTY AimiLNumpr I Utah Scientific DIGITAL TUTORIAL SYSTEMS INTEGRATION

Output cases, so its full capabilities have not been used by many broadcasters. (See Figure 1 on page 32.) Other containers and wrappers include QT (QuickTime), AAF (Ad- vanced Authoring Format), GXF (Gen- Input Server cluster eral eXchange Format, SMPTE 360M), OMF (Open Media Framework) and AVI (Audio Video Interleaved). The two most common video files in professional use for SD include:

D10 (SMPTE 356M): Also known as Sony's IMX, this is an MPEG-2 format using only I -frames and eight channels of AES audio.

DV/DIF (Digital Video/Digital In- File format conversion terface Format): Also known as DV, it is used in AVI-DV, QT -DV, MXF GC DV-DIF. To apply a new wrapper, the program strips off the original wrapper and creates the new wrapper around the essence data, with all the appro- Figure 2. Using server clusters for file conversion priate data and metadata included. To

Does your SDI to HDMI converter do this?

LYNXTechnik Support any SDI video format up to 3Gbit (1080p)? SDI to HDMI Converter Audio &non. Audio Lewis Display Timecode and indicate Metadata presence? Provide fiber options to receive and transmit SDI streams? 44 Provide access to all 16 channels of embedded audio? Provide an AES output which can also pass through DolbyE? Provide balanced or line level stereo analog audio outputs? 61-1 Provide video and audio presence indication? vierilcollairrilic CiVISBALLE1 ours does...

Introducing theCDH 1811yellobrik fromLYNX Technik. Simply the most versatile SDI to HDMI converter "brick" available today. From viewing an SDI signal on an HDMI display, to an integrated SDI fiber transmission system with HDMI confidence monitoring on both ends. - the possibilities are endless -

Image showing timecode and metadata overlay mode. G1 -G4 indicate $735 AES audio presence, WSS,VI, AFD and CC are present when highlighted. Inot incl. fiber option) LYNXTechnik See all the yellobriks at yellobrik EISHOWwvvvv.yellobrik.com Broadcast Television Equipment Just the first of many. ' Where Cantant to Life Booth N5011 [email protected]

34 broadcastengineering.com I March 2010 DIGITAL TUTORIAL SYSTEMS INTEGRATION convert the actual essence file type,to use multiple computers to dis-devices. Creating multiple types of or codec, the original encoded datatribute the load. A cluster of serv-files at the same time increases effi- must be unwrapped and examined,ers is used to reduce the amount ofciencies by delivering copies for the and then an algorithm is applied totime required to convert a file and/ various workflows within the station, convert the data to the new codec.or to convert multiple files at once.including proxies for viewing on the How well this is done will determineQuicker -than -real-time conversion is desktop, MXF files for distribution, the quality of the conversion and thepossible when using dedicated serversQuicklime for the video servers and quality of the video. in clusters. so on. (See Figure 2.) As of today, there is no common A typical setup would have a hot file format for HD, because most fa-folder, which resides on a server or aMetadata cilities use the format created duringstorage device attached to the server. An important point to keep in mind acquisition. Conversion programs canVia the network, any video file thatwith any file conversion is to make either change the essence file type orrequires conversion would be trans-sure the metadata makes it. Metadata the wrapper the essence data is con- ferred to this hot folder. When a fileconsists of information such as time tained within. The latter technique is appears in the folder, it is read by the code, I/O markers, closed -captioning much easier than the former. conversion software, and the processand other VBI data. Different wrap- begins. If the file is corrupt and can'tpers can hold this data in different Conversion be read, it is transferred to anotherforms and will need to be convert- Conversion of the essence data folder that contains problem files. ed during the conversion process takes time, because it uses a lot of a Once the conversions are com- as well. BE computer's processor power to per-plete, the multiple output files are form the complex equations neededtransferred to their respective fold- Russell Brown is chief engineer at KMTP- TV in San Francisco and writer of Broad- to convert from one codec to another.ers, which can be seen on the network cast Engineering's "Transition to Digital" One way to speed up the process isand transferred to the appropriate e -newsletter

More Features and Better Specs for Less. s economica Is Istn s ution Amplifiers and HD/SD Sync Generators support 3G HD & SD, and offer automatic rate detection, reclocking & equalization, ASI compliance, and a variety of enclosures.

411111112ECH=31110

Visit www.ese-web.com to find the best DV products for less.

ESE, 142 Sierra Street, El Segundo, CA 90245 USA,rei:(310) 322-2136 www.ese-web.com

See us at NAB booth #C6437 March 2010 I broadcastengineering.com 35 The NBC station's new digital media center features an open work and production environment in which everyone can literally see one another, communicate freely and collaborate on projects in an unencumbered way. NBC Connecticut builds digital media center BY MICHAFL GROTTICFL LI

NBC Connecticut,thehowever, inside there is only 25,000sq- lower level. It's also open to the stu- NBC O&O in Hartford,ft of usable space, which is tight butdio (which includes four Sony HDC- CT, has taken the concept efficiently utilized. KMH provided 1400 cameras), so the staff has a clear of a streamlined work- systems programming and commis-view of live newscasts in progress. flow and literally put it into play in sioning for all production and broad-The assignment desk is the focus of all aspects - physically and techno- cast systems in the building, as well as the newsroom, opposite the studio, logically - in its new state-of-the-artvoice and data, and cable TV. Various which is situated on a 22in riser, mak- digital media center. existing systems were relocated, with ing it easier to see where the staff is Last July, the station moved into a a series of transitions planned and co- and support them if necessary. Even new facility - built behind its exist- ordinated between NBC engineeringthe offices throughout the facility ing station and on the site of a former and KMH in order to keep the station have glass front walls and doors. parking lot - and became the firston the air throughout the entire con- The new facility is a marked depar- station in the state to broadcast its lo-struction and installation process. ture from the old building, where the cal newscasts in 1080i HD. It's still the staff felt confined by numerous walls, only station in Connecticut offeringTruly open workflow making itdifficult to find people. viewers local news in HD. The goal in the design of theDuring fate -breaking situations, this Working with Union City, NJ -digital media center was to create aoften made it difficult to communi- based system integrator KMH Audio - workplace in which everyone cancate. The new building alleviates that Video Integration, Keith Barbaria,literally see one other, communicateby opening up the entire space. director of technology and engineer-freely and collaborate on projects in Fast -paced news editing at the sta- ing at NBC Connecticut, developedan unencumbered way. tion is accomplished with four Grass a blueprint for an innovative facility The entire facility features an open Valley EDIUS workstations, located that provides easy access to all de-design. The first floor newsroom isright off the newsroom. The editing partments and staff. The 42,000sq-ftopen to the second floor, and features stations are open so anyone can see building looks large from the outside; a mezzanine that looks down to thewhat's going on. NBC Connecticut's

36 broadcastengineering.com I March 2010 Dimension -3D...

Dimension -3D is a highly versatile device that converts any standard 3D format to another.It is a useful Tool for numerous applications where content players interface Hi; ,i,.101ri71. .:ruui1CG,:, with 3D displays such as Medical/Scientific Visualization, Virtual Reality, Aerospace and Industrial Design.

It is ideal for virtually all stereoscopic workflows. Excellent bridging device for 3D displays

UNIVERSAL 3D INPUTS I UNIVERSAL 3D OUTPUTS Visit Us at NAB - Booth #C5640 Doremi Labs, Burbank, CA 818-562-1101 [email protected] dremi SYSTEM DESIGN SHOWCASE

newsgathering process was completely tape -based untilnewscast. The workflow is fast and efficient, according to 2007, when the NBC Stations Group (now called NBCBarbaria, who said that although there are often several Local Media) standardized on the EDIUS nonlinear edit- cards floating around the newsroom at any one time - ing system and Grass Valley ADVC conversion units for the station has been using P2 since January and bar-coded their field editing operations. The station purchased 21the cards for organizational purposes - it has never lost EDIUS licenses and a variety of the ADVC converters. one or had one fail. Photographers come in from the field with their laptops Once the edit is complete, most pieces are delivered and plug into any available network connection at the station.through the Internet and into a BitCentral Oasis server at This environment is complemented by three Apple Final Cut the station. From there, that piece is folded into a Grass Pro workstations, which are used for longer form pieces andValley Aurora Playout workstation in the station opera- promotional elements that can be created over time. tions control room, or it can be sent to the news editing room, where it is worked on further on another EDIUS Fast -paced editing in the field system. This gets content to air faster than was possible In the field, NBC Connecticut photographers shootwith videotape. with Panasonic P2 cameras. Once footage is captured, the Editors at the station share clips stored on a Grass Valley P2 cards from the cameras are inserted into a laptop in the K2 media server -based HD storage area network (SAN) field and edited on the spot with EDIUS software. Thiswith 5TB, which serves as the central point for all news saves time and enables the person closest to the story tocontent. Four channels of K2 client servers ingest and develop what will eventually be broadcast on that evening'sstore satellite and other feeds for editing and storage on the K2 SAN. The Final Cut Pro editors also share the SAN, via K2 FCP Connect software. Finished stories are then Design team transferred to a four -channel stand-alone K2 client, with NBC Connecticut local storage, for play -to -air under Aurora Playout and Avid iNEWS control. An additional four channels on the David Doebler, president and general manager K2 SAN clients serve as backup to the play -to -air stand- Keith Barbaria, director of technology and engineering alone K2 clients. After they have aired, finished segments Joe Dimaggio, engineer are transferred to DVD for archiving. Mark Chase, engineer Next to the production studio is a new HD control room, Ed Rankin, engineer complete with a Ross Video Vision production switcher Karen Bradshaw, IT manager KMH Audio -Video Integration and four 50in Sony flat -screen monitors running Miranda Kevin M. Henneman, president KaleidoX multiviewer software. Avid Deko SD graphics systems brought over from the old facility are used here, Adam Semcken, lead design engineer with graphic elements upconverted to widescreen HD before going to air. A Wheatstone D10 digital audio con- Technology at work sole is also used for stereo audio to accompany most lo- Apple Final Cut Pro workstations cally produced content, while true surround sound (5.1) Avid is passed through during broadcasts of NBC network HD Deko CG programming. Large windows in the control room look iNEWS newsroom computer system out onto the set, providing line of site for the control room BitCentral Oasis servers staff and an additional set background for the studio. Grass Valley Aurora playout software The entire facility is a production set EDIUS editing workstations The facility also includes 13 broadcast service panels K2 SAN (BSP) with fiber-optic, video, audio and data connections. Miranda They are fully integrated into the control room and allow Densite signal processing modules reporters to plug in and go live on camera from almost KaleidoX multiviewer software anywhere in the building. It provides the staff the ability NVISION 3Gb/s HD routing switcher to present news in new and creative ways, as opposed to Panasonic AG -170 P2 camcorders the old facility, which limited them to a single studio and Ross Video Vision 3M/E HD video production switcher a constant on -air look. Sony For example, the station's morning and evening cook- 50in flat -screen LCD monitors ing segments are shot in the staff kitchen. Both of the HDC-1400 studio cameras lobbies in the building are used for interview segments. Wheatstone D10 digital audio console There's even a BSP on the roof for weather and any type of outdoor shots. News production often takes advantage of

38 broadcastengineering.com I March 2010 of the landscaped grounds to produce outdoor cooking and other outdoor Satellite distr bution with a human touch. segments for the 11 a.m. news. The facilityis brand -agnostic, meaning there are no fixed NBC logos on the set or in the facility. All logos are generated from the control room and fed to facility and set monitors, allowing NBC Connecticut to customize the look of its broadcast or provide customized content to other O&Os and outside clients. Connecticut's digital media center The staff and station management refers to its new building as Connect- icut's digital media center because it was designed to be a content provider for not only TV but for the station's Internet site, digital channels and the mobile devices it plans to broadcast to in the near future. The new facility was nearly two years in the making. NBC Connecticut broke ground on Oct. 29, 2007, and moved into the new space in July 2009. This multiphase process gave the station time to choose the most flexible Visit us at HD technology and build a facility that reflects the changing television business. This building is not just a broad- Booth SU-6913 cast facility; it's a multiuse facility. Overseeing a facility that now produces more than 40 hours of local news per week, Barbaria and his engineering team have achieved their goals of a truly integrated workflow environment. "It was almost magical to stare at a set of drawings one day, and then walk into the facility you envisioned months For bun:ling, servicing, or expandir g a satellite network, NFRSS later," he said. "The TV business is orovides the satellite capacity - and nationwide coverage - changing, and we wanted to build a -o meet your vice°, audio, and data distribution neeis. facility that is flexible, that can serve us For con prehensiw solutions packaged with personal attention, now and can change with the times." From all appearances, the team contact NPRSS a4 linkup'@nor.org or www.lptss.orc/connect. has deployed a unified setting that the staff enjoys, and the increased productivity it is now seeing is proof that the original "future -proof" concept is working - in more ways than one. BE Michael Grotticefli regularly reports on the kaveilhavis9lution. professional video and broadcast technology industries. Ak 11 K.,11f( Space Se men Design I Enguterinijop I1p 'Services I Equipment 19

March 2010 I broadcastengineering.com 39 10.0011), 1010 010,0, 101 1 .01000010101* a 10100'1010, 000910,, 1 ,c CIO. 10/ 0, 0 .11000. 101.0,, p,10010,0 4010010010. 0101000,01, .00100 00101. ,1; 1101010101x 10111106,.. ;00000 01121110-,q, 10100/ 100100'01(1r ,/01170,00.n..1 .0101001 00013.):,-,V .11010/ 0100/100,, 1010101)1(i ..000/ s ,C101 410,, /010100 p 1 0101 01 )01.)1 4101 1r 101, .V0100, 3,001001,, 01010000 p 1010100)01)1 0010 9010,1 ,0100/0. ,.11000 '010101)01)1 1010. .0,0710, ,1101010)1010 10,1.010(0 0,011r , 0 111,013,1100 1001001)01x 10010.00.0, ?pia), l) 910000.0. 0.10 0310001(301 0030000-)1( 010,01. , owoola"). p,000 0101010100th .10011x-, %0101001,1 01C103, 0/010 h 1,310100101)1 101.0001010. 01010 -x10100'1010, 111000, 10 00010110 Is 011.007110 11012to 10100101 to' 10 /0 /0/0. 10.1110110.. 1100001 3101010101X 100 0010 31 1:1010 I .0010010 / 101C1),,,c, ,1001 01)1010.0 100 100' 01(10 10.10100 c 101//00C-1,0 a00101010 a. 1010100 0 1010101)1(1 110-100001 10/.100 0 1.0010,001 /II 1010101101,)1 10010000 0001,10000 1COS 100 010010000./, 1010100)01)1 0101C^'01, CI /,,000010/00/rm, 010001.1) 01010101130100,11 1110. 3010101)01)1 1000-0,0000-00 0 0 10/C01110 c.,00,001001000 0 ,,,, 310101011010 01000313 /1000,00301010. 101001(0:0 .1,001000.00110:, 1 )01001 K11X

10.0,0 /0011111000., 10010 010 :00 0 .1.10 010/010 01,91000, : 010001( )0100 01001010,01 1 ,/, 000 0101-.1010010/00 01010,00 7100 01 )10101( 0011 0101000 7100.10 0010 .101001100010101t 101 1. II. 10010 10101010010101010 111 '. 131010(101)1 101Y-00-.4010 01/ 0.0000 01100031011101031010 0 101( 1.010 _.1.)10 011 10100100 101001]10110001010 10'. 1010 '10100 10101 001001001010%0 010101 10101010100111011101010 110 101.

100 /1003100101011111 /1010 .0,0.0001000103,00310 010 s101, 1010010010100 1'.0.011010 0101410 011101001 -3111101110. %WM.* ler .1.1.11 191.0100. 110, 1(100101..' 1'001011100. -,1110100010)1 111 30101010101(M NAOMI - =11. ,01111103 1 1 110101 1010000 1014. .00.0 01.0, 0 001101. 10111011 160400 ii11.10N/0 1,0 00101 0001010 It3.41110...1 IC )10010100 010/010 1 01010 11011110 01100100' 010'011 0 0100101h 1)11'101 10101.. attli0,1101111101110100 Os NV -/14,1,101pro 1,01010 0010111/0:1010i0t00110 *1v 00101010' )101111 1001110101. 001011 510101010111 1.00001 10 10001 1001000101111:01710,/ 01' 300101010110101111k 101(010,01'1 11011 11 11 '0010010,0100100111010101 00111 11110000'010010 110 _T10101010(101010) 10000040 oc. 010.00040.01011003, 1010010x17 /01011 1010010 010100100100 .0101001010110101k:10111 aloo 010117' .000 1' 0101 ".01010,0o21 ?1: .411 1,0101.10100000 maim loom 101 1001000-10001%, J1()1010101010 10101,10, 0010001001 lj0.000 WIN 010,01, -10'010110101.01 .0' 00101001001 01001111010 1,1101100111011 )0..00100010001C 010010 CO,., m 104 °S°0001 00101010011001,10 .3:-...

1 o Q1111U1111010010100' 1).1.1c llT1'30110 c)\,p''':,ir::::::: k 0101-k ' 11)1 4 , '1r10131010tootototi 1 iklio 1c31°' ''°;'- ;01;) , ..,- , 1131

101 ,,J10 01010100101010 111113 03 \ Building IP-centric media centers Priority flow control -enabled storage clusters eliminate traffic interference and support 100 -percent efficiency. BY LUC ANDRIES

s broadcasters transition over several distinct storage systems..work engineersdesignascalable to file -based media pro- Because every server needs parallel storage network that can sustain the duction, large disk -based access to every storage system, media continuous throughput required by storage systems are be- storage often relies on storage clusterfile -based media production while coming the fundamental media ser- concepts typically used in high-perfor- maintaining high efficiency and net- vice of the production architecture. mance computing (HPC). These clus- work use? As this article describes, the However, media traffic presents muchters employ a large number of devices, most significant barrier is traffic in- more rigorous throughput require- leading to complex storage network ar- terference. Previously, VRT-medialab ments than classical IT solutions. chitectures. However, while HPC clus- demonstrated that a storage cluster Storage components must handle gi- ters typically exchange mostly smallarchitecture employing Cisco's Data gabyte -size files, large chunks of datamessages, media networks are contin- Center Bridging (DCB) technology in one I/O (typically up to 4MB) and uously loaded to full capacity, leadingand the PAUSE frame mechanism de- continuous streams of traffic bursts to network congestion and sustainedfined in the IEEE 802.3x standard can over the storage network. oversubscription of the switch ports. achieve higher link bandwidth use To increase throughput, media stor- Thesecircumstancespresenta and scalability than traditional Infini- age solutions distribute, or stripe, data significant challenge: How can net- Band (IB) solutions. (SeeBroadcast

40 broadcastengineering.com March 2010 IN Source Two

INC

See things differently with Harris multiviewers.

Award-winr ing multi -image processors from Harris deliver pristine pictures that will change the way you view your world. From a studio. In a master control suite. Or on a truck. Choose from the industry's \ividest range of solutions - all easily deployed into your workf ow.

Harris multiviewers...Look no further.

CHANGE vOUR VIEY Learn more at www.broadcast.harris.com/multiviewers.

ONE Company. ONE Direction. The Future.

assuredcommunicationr www.harris.com S Broadcast Communications RF Communications Governmert Communications Systems FEATURE BUILDING IP-CENTRIC MEDIA CENTERS

demonstrated that under sustained media storage traffic loads, the long traffic bursts interfere with each other in the switch buffers and create severe efficiency loss. (See Figure 1.) Traffic As shown, when multiple sources interference deliver long bursts of traffic to the samedestination,throughputof the source links is limited by the bandwidth of the aggregating link. However, when a second destination requests data from the same source storage controller (see purple traffic flow in Figure 1), the second destination server does not receive the full bandwidth available at the shared source link. Because the switch port

IMMI SIM NM Min 11111111.11111 NMI Min LUNI LUN2 LUN3 1554 UNILUN5 LUN2 1553 LUN4 buffers are filled with "blue" traffic, Figure 1. Oversubscription in a media storage environment the purple flow can only pass a data frame every time a blue packet is read Engineering, January 2010.) How-Media storage architecturesby the left destination server - a ever, the fundamental impediment of Because media storagesystems problem exacerbated by the fact that traffic interference remains for bothstripe data over several storage sys-the left destination is reading from 802.3x- and IB-based clusters. tems, every server needs parallel ac- four sources simultaneously. Traf- Our laboratory sought to addresscess to every storage system. Likefic interference occurs, and traffic this with priority flow control (PFC). classical IT storage area networksflow to the second destination slows. We performed a series of compara- (SANs), most first -generation media Extrapolating this effect to larger tive tests between 802.3x- and PFC- file systems use a single Fibre Chan- media storage network topologies, enabled storage clusters. Ultimately,nel (FC) storage network to connect efficiency severely deteriorates, lim- we found that PFC eliminates traffic every file server node with every stor- iting the scalability of any FC-based interference and supports a highly age controller. This leads to a complex media storage environment. scalable storage network that sustains network topology that is ill-suited for 100 -percent efficiency. media environments. VRT-medialabDCB-based WARP cluster network Windows Windows Linux WIN GPFS GPFS Linux GPFS These limitations can be partially NAN node NAN node NAN node PCI- overcome by splitting the storage net- DCE HCA DCE HCA DCE HCAPCI-e (10Gb/s) (10Gb/s) OGb/s) work into two separate networks. (See Figure 2.) This can be accomplished using IBM's General Parallel File Sys- 802.3x PAUSE imaiwz Nexus 802.3x PAUSE tem (GPFS) and a Workhorse Ap- link flow control guie, 5000 link flow control plication Raw Power (WARP) media storage cluster consisting of storage cluster nodes and network -attached DCE CNA 4/1DCE CNA DCE CNA DCE CNA cluster nodes (NAN). This architec- (10Gb/s) (10Gb/s) (10Gb/s) (10Gb/s1 PCI- GPFS GPFS GPFS GPFS ture has a much simpler topology. storage Lmux storage storage Linux A storage DCB transport is well -suited as the node node node ?RR ?Re node III III cluster network for this type of me- .011. 111 dia storage architecture. DCB allows flows to be tightly controlled and load -balanced over the links and uses Storage Storage Storage system system system the 802.3x PAUSE mechanism to pro- 0= 0 0 vide link -level flow control similar to 0 0 =0 003= C..0 01 10 0 FC, creating a "lossless" environment. 0 0 0 0 0 0 The result is a notable improvement Figure 2. 802.3x DCB-based WARP cluster architecture in scalability and link bandwidth use

42 broadcastengineering.comI March 2010 FEATURE BUILDING IP-CENTRIC MEDIA CENTERS

Nexus 5000

111 802.3x I PAUSE OM O. VIP NM UM NV link flow NO NO MN I= IMO NO ION NM AM OM OM OM IMO ON OM' MN control ON Oa MO Mt OM NMI MI 1111 MM.leg=111811.1 011 MN NOON MIMS

STOP IOW ,.r.MR MOP MTU: 9000B MOM NEW =NM M 91_ 41 802.3x PFC PAUSE OLt/in Out/in

2MB per flow 111 tEN2ma EPP F., TCP flow control E TCP ,m= es Media buffers n utters: per/ mg =ti%per/ =IIall traffic session Out/in session Out/in bursts I PFS-out read requests GPFS-in write requests GPFS-out read req tests GPFS-in write requests GPFS storage node GPFS storage node

Disk storage Disk storage,

Figure 3. Oversubscription in the 802.3x DCB-based Figure 4. PFC implemented in the DCB-based WARP cluster WARP cluster compared with FC or even IB; how- only 75 percent of the incoming traf-vancedflowcontrolmechanism: ever, the fundamental effects of traffic fic throughput. Hence, the buffer fillsPFC. IEEE 802.1Q defines a tag that interference remain. (See Figure 3.) up, and the PAUSE mechanism kickscontains a three -bit priority field, As shown, when multiple NANin. If, because of the bursty natureallowing engineers to assign priori- nodes read traffic from the storageof the traffic per flow, the filling ofties to different Layer 2 traffic flows. nodes, each storage node responds with the switch port buffer is not equallyWith PFC, the network can be con- large bursts of media traffic toward distributed over the three differentfigured to pause traffic labeled with each requesting NAN node (depicted "colors," one of the colors (or traffica specific priority (or "p -value") in- as different colors). At the converged flows) can be depleted by the simul-dependent of the other traffic. The network adapter (CNA) network in- taneously reading NAN nodes before mechanism works the same way as terface of the storage node, the bursts the buffer reaches its low threshold802.3x PAUSE but selectively, per are queued in the network interface and unpauses the link. When thistraffic class, instead of pausing the buffer. These frames are sent to the happens, no frame from the depletedwhole link at once. Effectively, each switch (shown here as a Cisco Nexus color is available, resulting in a "read -traffic class gains its own indepen- 5000), where they end up in a single miss" of the NAN node and a drop indent buffers and pause mechanism. ingress queue buffer. Because 802.3x efficiency. The issue continues until Whereas an 802.3x DCB WARP PAUSE link flow control is configured, the link is unpaused and frames of thecluster will have traffic interference the link sendsaPAUSE frame to the missing color are again provided outat oversubscribed ports, PFC can storage node once the high threshold of the network interface queue of thelink different priorities to the traffic of the buffer is reached, thereby avoid- storage node. This efficiency loss canflows between two specific nodes of ing frame loss. cause significant performance degra-the storage cluster, allowing engineers In this example, three differentdation in the network. Fortunately,to implement flow control for each NAN nodes are reading frames out there is a solution to this dilemma. distinctive traffic flow. (See Figure 4.) of this buffer and also from the other Ultimately, this solution eliminates storage nodes. This limits the totalPriority flow control traffic interference. reading bandwidth on this port to DCB provides another, more ad- Consider again the situation shown

March 2010 1 broadcastengineering.com 43 FEATURE BUILDING IP-CENTRIC MEDIA CENTERS Linux802.3x DCB based cluster Percent Percent in Figure 3, in which multiple NAN Read single Write single nodes read traffic from the storage nodes and each storage node re- (Gb/s) node (Gb/s)node sponds with large bursts of media OneNANnode One stream (dd) 10 100 10 100 traffic toward each requesting NAN Four streams (dd) 9.9 100 10 100 node (again depicted as different col- Two NANnodes One stream (dd) 16.3 82 17.1 86 ors). This time, however, each flow Four streams (dd) 16.3 82 17.8 89 between a distinctive source -desti- Three NAN nodes One stream (dd) 20.3 68 23.3 78 nation pair is labeled with a different Four streams (dd) 20.3 68 21 70

priority value. Four NAN nodes One stream (dd) 24.2 61 24.2 61 With PFC activated on the CNA, Four streams (ddl743 61 24 60 each p -value -labeled flow has a sepa- Table 1.Test results for Linux 802.3xenabled, DCB-based WARP cluster rate buffer in the network interface, and the bursts are queued into the Linux PFC DCB-based cluster dedicatednetworkinterfacebuf- Percent Percent fer for each respective color. On the Read single Write single other side of the link, the Nexus 5000 (Gb/s) node (Gb/s)node DCB switch port also uses dedicated OneNANnode One stream (dd) 10 100 9.9 100 queue buffers for each p -value, pro- Four streams (dd)10 100 10 100 viding for separate sending and re- Two NANnodes One stream (dd) 19.9 100 19.9 100 ceiving queue buffers at both ends Four streams (dd)19.9 100 19.9 100 of the link for each color. Frames are ThreeNANnodes One stream (dd) 29.9 100 29.8 100 picked in a round-robin fashion out Four streams (dd)29.9 100 29.8 100 of the different CNA queues and sent Four NAN nodes One stream (dd) 36.1 91 over the link, where they fill up their 39.5 99 Four streams WI37.6 respective ingress queue buffers of the 94 39.9 100 switch port. Table 2. Test results for Linux PFC-enabled, DCB-based WARP cluster In Figure 4, three different NAN Windows 802.3x DCB-based cluster nodes read frames out of the buffers Percent Percent for their respective colors, and also Read single Write single from the other storage nodes, once (Gb/s)node (Gb/s)node again filling the buffers. This time, OneNANnode One stream (dd) 10 100 9.9 the PFC PAUSE mechanism kicks in. 100 Four streams (dd) 10 Now, because each flow fills its own 100 9.9 100 Two NANnodes buffer independently, the switch can One stream (dd) 16.2 81 17.3 87 send a selective pause -frame to the Four streams (dd) 16.2 81 16.5 83 server when necessary, pausing only ThreeNANnodes One stream (dd) 19.6 65 20.8 70 one traffic flow without interfering Four streams (dd) 19.9 66 20.6 69 with others. At the same time, the Four NANnodes One stream (dd) 22.6 57 23.5 59 independent flow control mecha- Four streams (dd) 23.1 58 714 59 nisms for each flow keep enough Table 3.Test results for Windows 802.3x -enabled, DCB-based WARP cluster frames available in the independent receiving switch port buffersforTesting PFC for the Linux cluster. The "percent each color. Our laboratory performed com-single node" column compares the Hence, none of the streams are de- parative tests between 802.3x- andthroughput per NAN node with pleted by the simultaneously reading PFC-enabled WARP clusters for both the throughput obtained when us- NAN nodes, and the reading linksLinux and Windows NAN nodes.ing a single NAN node only. Tables continuously operate at maximum ef-Thetestsincludedsingle -stream 3 and 4 provide the results for the ficiency. As long as each storage-NANthroughput to/from one to four NAN Windows cluster. server pair has an independent pri- nodes and multiple (four) streams to/ ority value and queue, no traffic in-from one to four NAN nodes (for aConclusion terference occurs. Throughput scales more even saturation of the link band- These results clearly demonstrate linearly as the cluster is scaled, andwidth), independently verifying the ef- both the substantial impact of traf- the storage cluster network achieves ficiency for both reading and writing. ficinterference on media storage 100 -percent efficiency. Tables 1 and 2 provide the resultsnetworks and the extraordinary

44 broadcastengineering.com I March 2010 FEATURE BUILDING IP-CENTRIC MEDIA CENTERS

tinuously at full throttle. This effect is Windows PFC DCB-based cluster Percent Percent not observed when writing.) Read single Write single The test proved unequivocally that the PFC-enabled cluster network can (Gb/s) node (Gb/s)node sustain 100 -percent efficiency at con- One NAN node One stream (dd) 10 100 9.7 100 tinuous full throttle - demonstrat- Four streams (dd)10 100 9.8 100 ing ideal scalability and an optimal Two NAN nodes One stream (dd) 19.9 100 19.4 100 storage solution for IP media envi- Four streams (dd)20 100 19.5 100 ronments.Windowsperformance Three NAN nodesOne stream (dd) 29.9 100 28.7 99 is only marginally less than Linux Four streams (dd)29.9 100 28.8 98 performance but still displays linear Four NAN nodes One stream (dd) 36.3 91 37.3 96 scalability and almost 100 -percent use Four streams (ddl37.1 93 37.7 97 of the available bandwidth. Clearly, Table 4. Test results for Windows PFC-enabled, DCB-based WARP cluster thePFC-enabledclusternetwork outperforms similar IB-based clus- improvements in scalability and net- PFC is enabled, however, no trafficter architectures in both through- work bandwidth use when using PFC.interference is observed at all. (The put (especially for Windows) and In the 802.3x clusters, traffic interfer- small performance drop when read- linear scalability. BE ence causes a performance drop of up ing from four NAN nodes is caused to 40 percent when using four NANby the fact that the file system can't nodes simultaneously. The same traf- launch prefetches for reading requests Luc Andries is a senior infrastructure andperformanceaggressively enough to overcome the architect and storage and network expert ficinterference with VRTmedialab, the research and drop has been previously measured statistical response fluctuation of the development arm of Flemish public radio in IB-based WARP clusters. Whenstorage system when running con- and TV broadcaster VRT KinoFlo ParaBeam HD Studio Light

make HD images look ParaBeamstheir best. Soft light quality is so important we designed TrueMatch amps calibrated to match the spectral -esporse curves of HD. Parabolic reflectors intensif,, the light, while honeycomb louvers spot the light to 90°, 6.D° or 45°. Cool soft light keeps the tabnt happy, while advanced electronics deliver DMX dimming on a small energy footprint.

Please Light Responsibly.

N. www.kinoflo.com 2840 North Hollywoo y, Burbank, CA USA voice +1 818 767 6528

March 2010 I broadcastengineering.com 45 Areand communicating youare key. ready?Understandingthete,tnology with vendors CVAR'S LES broa.'IcastengTheering.corn Writing about 3-D TVs - many at relatively low incre-enjoying the uptake of the other two. is a bit like tryingmental cost to consumers over tradi- Frame -compatible approaches make todoplay-by- tional HDTVs- and you have some- sense for distribution media with lim- play commentarything that seems to have many of the ited bandwidth (our current HD dis- on a hockey game being playedingredients for success. tribution pipes). at twice normal speed. By the Frame -sequential approaches, which time you comment on one play,Content drivers are based on every other frame being the game has moved on to such Those in the TV business who spe- targeted at a different eye, offer full HD a degree that it's already irrel- cialize in sports and movie contentresolution - but at a cost. This is the evant. Maybe it's not quite thatare the first to embrace 3-D TV. Bigformat of choice for lower -cost dis- bad, but it is a challenge to talk sporting events and feature films haveplays, utilizing active shutter glasses, about a topic that's moving atappeal in 3-D that goes well beyond but doesn't make sense for early distri- unprecedentedspeed,while other TV fare. For viewers, donning bution of broadcast material. trying to ensure your com-glasses to watch special events like ments remain relevant. these seems reasonable, but expecting The main purpose of this ar-them to put on and take off glasses ticle is to help you consider yourfor everything under the sun may Today's 3-D is state of readiness for 3-D TV.be unrealistic. So, if you specialize in of far superior Even if you don't think this is going news and typical TV series, you may to affect you any time soon, it will be not have to worry as much about 3-D quality and seems helpful to have an appreciation forcontent today as others will, but never much more likely what it will take if and when your say never. boss suddenly comes to you and to succeed than says, "Tell me right now what it Let's clear up some previous attempts. would take for us to hop on this confusion 3-D bandwagon!" One of the areas of frustration for broadcasters at this point is the Brief background confusion surrounding the various An easy trap to find yourself in 3-D TV can be characterized 3-D technologies. A quick survey ofif you're a TV person trying to sort as the distribution of two sig-that landscape shows why 3-D canthrough all of this is a tendency to nals (left eye and right eye) to be bewildering. confuse the transmission and dis- the viewer, so that a stereo- The 2-D + Difference approach,play formats with the formats used scopic view of the content which has enjoyed success in gam-to handle 3-D internally in the plant. isachieved. The currenting and other areas, involves takingThe format used in production, post 3-D movement comes,a traditional 2-D picture and addingproduction and processing in your naturally, out of cinema.metadata describing the differencefacility need not match that used in The reason it's different (or depth) between the left eye andtransmission or viewing. from previous, aban-right eye view to allow TVs to render Here's an example. The view- doned attempts at 3-Dthe second eye view. Blu-ray is go-er may watch the content with a is largely due to cin-ing with MPEG's MVC (Multiviewframe -sequential display running at ema's (and TV's) moveVideo Coding) extension of H.264/ 120Hz (or faster) with active shut- to digital. Today's 3-D isMPEG-4 AVC, which supplements a ter glasses. The signal may reach him of far superior quality, lesstraditional 2-D view with metadata,via satellite in a frame -compatible, prone to audience discomfortenabling the construction of theside -by -side format. However, the and seems much more likely to second eye view. This provides full -program may have been recorded succeed than previous attempts. resolution pictures for each eye. Ofas two distinct full HD streams and With the clear ROI for 3-D re- course, bandwidth isn't as much of ahandled internally in the broadcast leases demonstrated by studios, it's consideration for Blu-ray as it is forplant as two streams. Decoding one logical that this movement wouldother distribution media. 3-D format and encoding itinto get the attention of those producing Frame -compatible approaches, such another is just as routine as mov- and distributing content to TV view- as over-under and side -by -side are fa- ing from any 2-D format to another, ers. Add to that the release of 3-Dvored by cable and satellite providers. so be careful to decouple the emis- Blu-ray players and titles to consum-There are others, such as line inter-sion and display format used from ers, upcoming cable and satellite 3-D leave, column -interleave and check-that applied in the production and offerings, and the onslaught of 3-Derboard, but those don't seem to betransmission facilities.

March 2010 broadcastengineering.com 47 FEATURE 3-DTV: ARE YOU READY?

Since many are still reeling from ation, either vertically or horizontally,thing most will try to avoid. Alterna- recent investment in a digital infra- to fit two views into a single frame),tives, such as 2-D + Difference, which structure, expecting them to undergobut these approaches allow stereo-is now touted as requiring only a another plant upgrade - replacing all scopic content to be handled by exist- 35 percent increase in bandwidth the associated gear with special 3-Ding infrastructure with mostly minorand MVC, seem to be interesting gear - is unrealistic in many cases.upgrades. And reduced resolution orapproaches to dealing with identi- It is for this same reason that cable not, it looks pretty darned good. cal 2-D and 3-D content (since 2-D and satellite operators currently favor However, these frame -compatible+ Difference and MVC are 2-D- and frame -compatible 3-D TV approach- approaches seem unlikely to be ad-3 -D -compatible in a single stream es. They may not be full HD for each opted internally by broadcasters, asand full resolution for each eye). At eye (as they must drop half the resolu- lost resolution in the plants is some- the moment, however, it would seem more likely that they'll instead use two full HD streams internally. What action is the Practically, we should think about 3-D TV in a similar fashion to SD standards world taking? and HD signals - with just a few Just as it is across the media industry in general, 3-D is a big deal these exceptions. Figure 1 shows a typical days in virtually every related standards development organization. Different 3-D workflow. organizations have different perspectives and plays in the world of 3-D, and this is reflected in their current activities. Post production There is no question that preserv- A few of interest include: ing the two streams in the highest quality possible is most important -

3D@Home Consortium. This organization has several steering teams, mezzanine I -frame compression only. focusing on everything from creation, all the way to display of 3-D content. As for monitoring the use of 3-D TV content, active shutter glasses should ATSC. Although 3-D initially fell within the scope of future work, at least be used with full -bandwidth video one ATSC country is expecting to hold trials of 3-D over -the -air broadcasting into the monitor. later this year. In plant CEA. As consumer electronics manufacturers roll out a wide array of 3-D Ideally, 3-D TV video within a TV equipment (including Blu-ray players), the CEA has been a leader in this broadcast facility will match up with area. It has led several consumer surveys and has a 3D Task Force under the HD plant format. The left eye and way. right eye streams will be 1080i or 720p on a single 3Gb/s or two 1.5Gb/s coax. DVB. With a new group recently formed, DVB is looking at 3-D potential for Certainly running on a single 3Gb/s its constituent countries. We can expect more news here very soon. coax has several advantages, similar to the change from mono into stereo ITU. This organization is looking far beyond the stereoscopic 3-D that much audio (matched timing, switching of the industry is now focused on. It considers the current work to be only the and processing). first of a three -phased implementation of 3-D TV, culminating in holographic Compression for storage is a touchy television. subject. Longer GOP compression is being used more and more for HD MPEG IF. Its new 3DTV Working Group is studying some interesting topics, quite successfully. There are always including support of 2 -D/3 -D ad insertion. compression artifacts;however, in 3-D TV, we need to ensure that the SCTE. SCTE formed a 3D Working Group that has been quite activefor artifacts are the same on both the left some time already, and is working closely with CableLabs on cable -specific and right channels. Practically speak- considerations in the area of 3-D. ing, the only way to ensure this is to use higher compression bit rates than

SMPTE. Following publication of its 3D Task Force report, SMPTE has typically used for HD. working groups studying issues in the following areas: 3-D image format, Usually, several channels are run graphics, subtitles and metadata. Output from these groups is anticipated in together within a facility, and this mid -2010. makes keeping an eye on several monitors on the same wall difficult

48 broadcastengineering.com I March 2010 FEATURE 3-D TV: ARE YOU READY?

Full resolution Full resolution L + R L + R production

High bit ate L + R Half resolution or 2-D + Cifference Remote truck Routing/distribution (3Gb/s) Dual and distribution Processing (3Gb/s - 2 x 1.5Gb/s) single streams Master control logos (2 x1.5Gb/s) Full resolution L + R with Test and monitoring (3Gb/s - 2 x 1 5Gb/s) mezzanine storage Processing Graphics(3Gb/s1 and transport Servers and storage (dual streams compressed) AO- PI,nt NIA High bit -rate Post omductinn L + R oi:

Cable/ satellite Shuttered .. glasses

Figure 1. A typical 3-D workflow shows how involved the process must be for 3-D to reach home televisions.

to impossible using active shuttered For now, however, that isn't going to Are you ready now? glasses. Monitor walls and multi - happen, as current cable and satellite We :lopethis article increased your viewers are best suited for passivepaths and STBs will be used. The bestawareness of some of the technolo- polarized glasses. approach is squeezing the video bygies being used for 3-D today, as well half and putting left and right chan-as into the future. We also hope it Contribution nel adjacent within the same stream. cleared up some misconceptions and Whether the 3-D TV content is confusion about 3-D, and its poten- backhauled from an event or being tial impact on your plant. sent out to affiliates, preserving the The main lesson here is that a 3Gb/s left and right eye channel is of prime A 3Gb/s infrastructure will be a great invest- importance. Naturally, dark fiber is infrastructure ment for your future ability to handle the best option, running at 3Gb/s. will be a great 3-D video. Talk with your primary The next best options are using two vendors and inquire about the readi- streams with a synchronized MPEG investment for your ness of the products you use to handle higher bit rate encoding process or future ability to 3-D. In some cases, they may be ready the higher bit 2-D + Difference ap- now. in others, an upgrade may be proach mentioned earlier. handle 3-D video. needed. Replacement of equipment won't be required in many cases. Distribution Key takeaways on 3-D TV? Un- Ultimately, we will see 2-D + Differ- This is most commonly done eitherderstand the technology, talk to your ence or some other full -resolution ap- side by side, or one above the other.vendors, and be ready for that day proach to 3-D for distribution in theAs this preserves the frame (and field) when the boss walks in and asks the long term. As long as the bandwidth nature of the video, it can go through dreaded 3-D question ... ! BE concerns can be dealt with, it wouldtoday's compression engines and links seem logical that most broadcastersgenerating the same artifacts on both Stan Moote is vice president of corporate development and Chris Lennon, CTO and consumers would, given a choice, channels. The aforementioned details Group, for Harris Broadcast prefer full HD for each eye. are summarized in Table 1. Communications.

Production In plant Contributior Distribution

Dual stream or Half resolution Format Dual stream Dual stream 2-D + Difference (adjacent) Today's HD to the Compression Mezzanine Mid -high bit rates Higher backhaul rates home bit rates Passive polarized Active shutter Display types Active shutter glasses glasses glasses (home)

Table 1. Format, compression and display types vary at different stages in 3-D workflow.

March 2010 I broadcastengineering.com 49 audio loudness BY JIM STAR7YNSKI AND J. PATRICK WADDELL

he ATSC has published aDTV transition, many broadcasterssignal path to manage audio loud- new Recommended Practiceand the production community haveness for broadcasts. This practice (RP) that addresses the large been slow to effectively adapt to thecompensates for limitations in the variation in loudness among changes required to transition fromdynamic range of analog equip- programs, commercials and other in- analog NTSC audio techniques toment and controls the various loud- terstitial elements. The new document contemporary digital audio practic-ness levels of audio received from is A/85, "Techniques for establishinges. With digital television's expandedsuppliers. It also helps smooth the and maintaining audio loudness foraural dynamic range (over 100dB)loudness of program -to -interstitial digital television:' A/85 covers all fac- comes the opportunity for exces-transitions. Though simple and ef- ets of the audio delivery system, from sive variation in content when DTVfective, this practice permanently implementation of the key ATSC stan- loudness is not managed properly. reduces dynamic range and changes dards to mix room monitoring and the Consumers do not expect largethe audio before it reaches the au- consumer experience. It also includeschanges in audio loudness from pro-dience. It modifies the characteris- "Quick Reference Guides" to get oper- gram to interstitials and from chan-tics of the original sound, altering it ators and content creators up to speed nel to channel. Inappropriate use offrom what the program provider in- on critical information, as well as links the available wide dynamic range hastended to fit within the limitations to audio test signals that can be usedled to consumer complaints, whichof the analog system. for monitoring environment setup. eventually reached Congress. The AC -3 audio system defined in The NTSC analog TV system uses the ATSC digital television standard Loudness variations conventional audio dynamic rangeuses metadata, or data about the data, Despitetheconclusion of theprocessing at various stages of theto control loudness and other audio

50 broadcastengineering.com I March 2010 STUDER BROADCAST CONSOLES Handle 5.1 Audio sources with ease, share I/O with other Studer consoles. and control DAW systems

WEET-1900111.1L littlAtettt.4444.111 ,TUCIEFIUISTt X.1.1104».4.74A:Celi '.11.4.41414:4'41.4.4t41 1.414ALCALL41.4:11,L4.4 NA:4A MA:4 NI* 1,41.4L4:4:4'.41-41.4.4.4 - MEE= 111 loloir Sr ir Jr ir ir Sr it it rl 11010404 it tit

.. .. IIMMV11.1%

00170N1101170 so\111111 a a a . .0- , a I(V dt(V IL - . . -, - ..

Networked I/O V DAW Integration V Multichannel Broadcasting V Unique Vistonics Interface V

Your next console V DIGITAL MIXING SYSTEMS

STUDER www. studench Harman International professional audio equipment FEATURE ATSCTACKLES AUDIO LOUDNESS

parameters more effectively withoutthe original (unprocessed) contentloudness. If all programs and com- permanently altering the dynamicat the output of the AC -3 decoder in mercials are produced with consistent range of the content. The contenta receiver, normalized to a uniformloudness - and if the loudness of the provider or DTV operator encodesloudness. It provides the ability formix is preserved through the produc- metadata along with the audio. Frombroadcasters to allow each listenertion, distribution and delivery chain the audience's perspective, the dialogthe freedom to exert some control- listeners will not be subjected to normalization (dialnorm) metadataover the degree of dynamic range re-annoying changes in loudness within parameter sets different content to duction, if any, that best suits his orand between programs. a uniform loudness transparently. It her listening conditions. When measuring audio signals, achieves results similar to a viewer us- The metadata parameter dialnormthere are two key parameters of inter- ing a remote control to set a comfort- is transmitted to the AC -3 decoderest: the true peak level of the signal able volume between disparate TValong with the encoded audio. Theand its loudness. The true peak mea- programs, commercials and channel -value of the dialnorm parameter in-surement enables the mixer to pro- changing transitions. The dialnormdicates the loudness of the anchortect the program from clipping, and and other metadata parameters areelement of the content. The dial- the loudness measurement allows integral to the AC -3 audio bit stream. norm value of a very loud program the mixer to protect the listener from It is important for the digital televi- might be 15, and of a soft one, 27.annoying variations in loudness. Al- sion system to provide uniform sub- There is an attenuator at the outputthough the mixer balances a mix jective loudness for all audio content. of the AC -3 decoder that applies ap-using his or her hearing, an objec- Consumers find it annoying whenpropriate attenuation to normalizetive loudness measurement helps to audio levels vary between channelsthe content loudness so all content ismaintain consistent loudness within and on a single channel. Dialog, thenormalized to the same level withoutand between programs. spoken word, has been identified as compromising dynamic range. The familiar VU and PPM meters the element that audiences typically If the dialnorm metadata parame- measure neither the loudness nor adjust their volume to. Achieving an ter accurately reflects the overall loud- the true peak levels of the signal. The approximate match for average dialogness of the content, then listeners willcharacteristics of many of the com- set their volume controls tomon electronic meters available are goal. While the AC -3 audio specifica- their preferred listening (loudness)unknown, and contribute to the in- tions in ATSC Standard A/52, "Digital level and will not have to change theconsistent and confusing situation Audio Compression (AC -3, E-AC3) volume when the audio changes from found in practice today. Standard," provide syntax that makes program to advertisement and back The A/85 RP provides guidance this goal achievable, system imple- again. If all broadcasters use the sys-that, if followed, will result in consis- mentation in the real world has prov-tem properly, the loudness will alsotency in loudness and avoidance of en more difficult than expected. be consistent across channels. signal clipping. The specified mea- Addressing the loudness issue en- There are three methods of usingsurement techniques are based on the compasses several elements, which audio metadata: fixed, preset and ag-loudness and true peak measurements includemixing;monitoring;andile. Any one of these approaches will defined by ITU-R Recommendation proper encoding of local and networkdeliver consistent loudness to the lis-BS.1770, "Algorithms to measure au- programs, commercials, promos andteners. A broadcaster should use thedio program loudness and true peak other content. The S6-3 study groupmethod that best suits its operationalaudio level:' explored all facets of DTV loudness,practices. Whichever approach is se- Loudness is measured by integrat- with a goal to identify problem areaslected, the system depends on trans-ing the weighted power of the audio and recommend practical solutions. mitting a value of dialnorm that cor- signals in all channels over the du- The industry has recognized thatrectly represents the loudness of theration of the content. The general a new proficiency in loudness mea-content, which depends in turn onstructure of the algorithm is shown surement, productionmonitoring, accurate measurements. in Figure 1. metadata usage and contemporary The BS.1770 method was vali- dynamic range practices is critical forLoudness measurement dated in listening tests by comparing meeting the expectations of the con- Because loudness is a subjectiveits results to the relative subjective tent supplier, the broadcaster, the au-phenomenon, human hearing is theloudness of mono, stereo and mul- dience and governing bodies. best judge of loudness. When com- tichannel program material. Mea- bined with a known mixing environ-sured loudness is reported as Loud- The AC -3 audio system ment, experienced audio mixers using ness K -weighted Full Scale (LKFS). A The ATSC AC -3 audio system in- their sense of hearing can produce aunit of LKFS is the same measure as tends to deliver a reproduction ofprogram with remarkably consistenta decibel. A -15 LKFS program can

52 broadcastengineering.com I March 2010 FEATURE ATSCTACKLES AUDIO LOUDNESS

K filter Average power Channel weighting

K filter Average power Channel weighting Measured C K filter Average power Channel weighting h-l" loudness

K filter Average power Channel weighting

Rs K filter Average power Channel weighting

Figure 1. ITU-R BS.1770 loudness algorithm

be made to match the loudness of aTarget loudness uncertainty and are acceptable. Con- quieter -22 LKFS program by attenu- With input from members repre- tent loudness should not be targeted ating it by 7dB. senting various disciplines and fol- to the high or low side of this range. The loudness of the anchor ele-lowing considerable discussion by the ment (often dialog, for long -formS6-3 committee, it was decided thatMetadata management programs, a global measure for short -for delivery or exchange of contentconsiderations form content, e.g. commercials) ofwithout metadata (and where there An AC -3 encoder allows users to set the mix is used as the proxy for theis no prior arrangement by the par-up to 28 metadata parameters con- overall loudness of the content. Ac-ties regarding loudness), the target cerning the characteristics of the accurate measurement of the loudnessloudness value should be -24 LKFS.companying audio in the bit stream. of the anchor element is necessary toMinor measurement variations of upThe parameters can be classified in allow operators to deliver content toto approximately ±2 dB of this valuethree groups:

listeners at consistent loudness levels. are anticipated due to measurement Informationalmetadata.This

mallunt ROUTE-CONVERT-TRANSPORT-SCALE-EXTEND Big Router in only 4RU The Cheetah -3 is one of the smallest and most compact 3G -SDI fiber optic routers available - °tiering an incredible 144X144 in only 4RU. Expandable in blocks of 36 inputs and 36 outputs, this frame 144X144 offers tremendous savings in rack space and power consumption. Only 4RU needed for 1441'144 Supports 720p / 1C80i / 1f 80p60 Perfect for 3D Stereoscopic applications PESA * Reclocking or bypass mooe on all outputs Ethernet connection for cc ntrol and monitoring Redundant power and cortrol available Wice range of control panels available Interface to many 3rd part control systems Accepts singlemode and nultimode fiber Visit us at Booth N4123

April 12-15, 2010

NABSHOW Call 1-800-328-1008 or visit us on the web at WWW.PESA.COM Whey Copte,nt Comes to Life

103 Quality Circle. Suite 210 Huntsville, AL USA, 35805 Tel: +1 (256) 726-9200 Fax: +1 (256) 726-9271

March 2010 I broadcastengineering.com 53 FEATURE ATSCTACKLES AUDIO LOUDNESS

a) Ensure that all content meets the target loudness and that long-term loudness matches the dialnorm value; and/or For operators using a b) Employ a file -based scaling device to match long-term loudness of nonconformant fixed dialnorm system file -based content to the target value; and/or c) Employ a real-time loudness -processing device to match the loudness of nonconformant real-time content to the target value.

a) Ensure that during program production, post production or ingest content is measured and labeled with the correct dialnorm value matching the actual loudness of the specific content; and/or For operators using an b) Employ a file -based measurement and authoring device to set dialnorm to the aver- agile dialnorm system age loudness of the specific content; and/or c) Employ a real-time processing device to match content to a specific loudness. Apply a dialnorm value, matching the loudness of all content processed by this device.

Table 1. Large loudness variation during transitions can be effectively managed by ensuring dialnorm properly reflects the dialog level of all content. includes seven optional parameterscan lead to a variation in loudness as ratesthenecessary technology to that can be used to describe the en- large as 30dB. mitigate variations in loudness during coded audio. These parameters do The requirement for accurate di- program -to -interstitial transitions. Ef- not affect encoding or the decodedalnorm, channel mode (acmod) and fective solutions are listed in Table 1. listening experience in the home. other metadata can be met in three There are notable conditions that

Basic control metadata. This in-different ways, at the discretion ofmay adversely impact program -to - cludes 19 parameters that determinethe operator: interstitialtransitionsatcontent thedynamicrangecompression, Fixed metadata. The AC -3 encoderboundaries, such as when:

downmixing, matrix decoding anddialog level is fixed to a single value, Content suppliers often increase filtering used in certain operatingand the content dialog levels are con- dramatic impact by using program modes of the professional encoderformed to that setting. dynamics and manipulating loudness

and consumer decoder.Optimiz- Preset metadata. AC -3 encoder pre-to achieve a desired audience effect. ing the setting of these parameters sets are programmed, each with differ- This is sometimes done at the end of for each program may enhance theent dialnorm values and engaged viaprogram segments going into a com- listening experience under varyinga general purpose interface (GPI) ormercial break.

listening conditions and with certain other control interface. An extreme variation outside of the

content types. However, default val- Agile metadata. The AC -3 encoder comfort zone may cause a listener to ues may be used without detriment is configured to receive external meta - adjust the volume to compensate for to the listening experience. data. An upstream agile dialnorm the large, temporary change in loud-

Critical control metadata. This metadata system may be used to de-ness. When a scheduled commercial includes two parameters that areliver dynamically changing dialnormor promo plays going into or out of critical for proper encoding and de- values to the encoder, correspondingbreaks, the listener may need to re- coding. The firstis channel modeto the changing loudness at the con-adjust the volume yet again to achieve (acmod), which should be chosen tent boundaries. an acceptable setting for the short - correctly to engage proper channel When managed properly, all three form content. This has proven to be an formatting in the decoder to match methods provide a compliant and ac-annoyance to the audience. the content. Improper use of this ceptable end result for the consumer. parameter may alter a transmission Itis also possible for the operatorDynamic range and cause the loss of dialog when en-to apply a hybrid approach, choos-management coding a 5.1 program, for example,ing one of the methods for loudness The DTV audio system is capable encoding a 5.1 channel soundtrackmanagement and a different methodof delivering wide dynamic range with 2/0 metadata. The second isfor the remainder of the metadata.(the range between the softest and dialog level (dialnorm), which the For example, the user might maintain loudest sounds.) Content produc- DTV Standard (A/53) requires to bea fixed dialnorm value but switch the ers often take advantage of dynamic set correctly to prevent potentiallychannel mode as required. range as one of the methods to con- severeloudness variationduring vey artistic intent. content transitions on a channel and Controlling program -to - However, there could be a conflict when channel changing across theinterstitial loudness between the desire of the content DTV dial. Incorrect dialnorm values "I he AC -3audio system incorpo- producer to deliver content with wide

54 broadcastengineering.com I March 2010 FEATURE ATSCTACKLES AUDIO LOUDNESS dynamic range and the audience whosome apply after decoding, and someaudio loudness is an important step, cannot, or chooses not to, enjoy thespan both domains. One approach isbut that ongoing education on the wider dynamic range. This could be traditional compression and/or limit- recommendations contained in the caused by the inability of the viewer's ing, where gain control is applied to document will be critical to effectively equipment to reproduce the desired the audio prior to encoding. Another addressing the loudness problem. Ac- range of sounds, or the lack of an en- approach is to use the AC -3 coding cordingly, the ATSC has embarked on vironment suitable to the enjoymentsystem, which generates gain controlan aggressive educational effort. This of the wide dynamic range. Thus, the words during encoding but does notarticle is one element of this work; goals of preserving the original dy-apply the gain control to the audio educational seminarsareanother. namic range of the content and satis- until after decoding. This allows a The ATSC has held two events so far, fying viewers can often be at odds. user to optionally choose how muchone on Nov. 4 in Washington, D.C., A goal of the AC -3 system is to dynamic range they desire. and another on Feb. 16 in Rancho provide content producers with the The primary difference betweenMirage, CA. The February seminar greatest freedom and flexibility inthe two approaches is that theAC -3 was timed to be adjacent to the2010 the choice of dynamic range con-approach is reversible, and the otherHollywood Post Alliance Technology trol (DRC) when producing con-approach is not. A hybrid of the twoRetreat. At the NAB convention next tent. The AC -3 system conveys thesemethods is also possible, allowing formonth, the ATSC will set up a dem- DRC options to the viewer, wheresome permanent and some reversible onstration area where loudness con- the DRC system will interact withprocessing to be combined in a bal-trol techniques can be observed. BE the viewer's input in a known andance determined by the broadcaster. repeatable fashion. Jim Starzynski is principal engineer There are several methods for con-Awareness and education and audio architect at NBC Universal, and J. Patrick Waddell is the technical market- trolling dynamic range. Some meth- The ATSC recognized that devel- ing manager, Standards & Regulatory; ods apply prior to audio encoding, oping the Recommended Practice on Harmonic.

Buy a truck, Buy Streambox Live, get a truck. get everyone.

Make your station a universal newsdesk. For a fraction of the cost of an SNG truck deployment you can implement Streambox Live into your organization. Let Streambox Live give you the abi ity to broadcast news anytime, anywhere, by everyone.

Stream LIVE

See us at NAB, Booth #SU8911 Find out more at www.streambox.com or call us today at (206) 956-3544.

March 2010 I broadcastengineering.com 55 111.

A winning combination!

Each year, theBroadcast Engineeringstaff provides a guide full of comprehensive coverage to help you make the most of the NAB Show. This manual is meant to serve as your ultimate resource for hitting the NAB jackpot! First, we announce the winners of our Excellence Awards competition. We'll recognize these facilities at the NAB Show for their achievement in each of eight categories. Next, our exhibit hall map will help you find your way through the maze of booths. And finally, browse through more than 25 pages of product descriptions and photos to build your ultimate shopping list. Whatever you're looking for at this year's show, we wish you the best of luck in finding it!

Excellence Awards 58 This year's winning facilities are state-of-the-art.

Exhibit Hall Map 67 Navigate the four halls with our detailed map.

DTV Marketplace 92 Here's an advanced look at this year's hottest new products.

56 broadcastengineering.com I March 2010 snellgroup.com 0=2 Discover the Kahunaverse

Kahuna is more than just a production switcher - it's a whole range of solutions for fast paced, live proiuction, ready to help you create the ve-y best in live TV. From Sports to News, Outside Broadcast to Studio, there's a Kahuna to suit every application and budget. Easy to ins:all, mainta n and integrate with 3rd party equipment,

Offering simultaneous SD/HD operation, a wealth of must -have oreative tools, common control surfaces across the entire range, and a powerful feature set, Kahuna delivers the ultimate in flexibil ty and a future -proof investment. Affordable and within' your reach, take a look - there's a whole Kahiunaverse out there.

snellgroup.comikahunaverse Routing Modular Infrastructure Conversion & Restoration. Production & Master Control Switching Automation & Media Management The BroadcastEngineering 9th annual Excellence Awards

III ''I I few studio or RF technology- station Staticn automation WINNER: TV Globo TVDR 60 WINNER: Jewish Life TV 64 '44 This year there Submitted by Submitted by were 40 entries GLOBO Compix Media in Broadcast Comunicacao e Engineering's Participacoes SA Excellence Awards contest. Runners-up: Oklahoma Educational TV Authority Submitted by Axcera Network automation The winning entries WINNER: Comcast Media Center 64 WLII-TV and WSUR-TV were selected based Submitted by Submitted by AZCAR on more than 30,000 Diversified Systems votes we received New studio technology- network from our readers on WINNER: CBS 60 the Web site. Submitted by Runner-up: Red Bee Media Pilat Media Submitted by TSL Congratulations to all the entrants in Newsroom technology this year's contest. WINNER: NY1 News 66 You represent the Runner-up: Trans Video Communications Studios' NET Submitted by highest quality Submitted by Broadcast Integration Services Azzurro Systems in television, Integration production and New studio technology-HD network technology. WINNER: WDSE-TV To see firsthand Submitted Runner-up: WFTV-DT by Heartland the equipment and Submitted by Grass Valley solutions used Video Systems by these leading Post & network production facilities facilities, visit the WINNER: Dome Productions 66 NAB booths of the Runner-up: HSN Submitted by vendors described Submitted by Sony Electronics AZCAR in the stories. For directions to each New studio technology-nonhroadcast vendor's booth, WINNER: Rensselaer Polytechnic 62 Submitted by check out our Runners-up: Ross Video extensive NAB Adtext, The Mill Submitted by Softel map, which begins on page 67. Golf Channel Runners-up: Submitted by Solid State Logic Transportation Security Administration Submitted by Professional Products Inc.

Brad Dick Oriole Park at Camden Yards Submitted by Communications Engineering Inc. Editorial Director

58 broadcastengineering.comI March 2010 nee ytvindeto 4141% INGKiy4s

:BroaticastEngineering; 2009 r4 -J

BrightEye Mitto' Scan Converter For Broadcasters

Do You Need to Broadcast Video Content from the Web? BrightEye Mitto offers the best way to take computer video to air. Video that once seemed constrained by your computer desktop can now be used for the most demanding broadcast and display applications. Just use a mouse to select the video you want to output to air.

Superior Quality - For the Most Demanding Broadcast Applications BrightEye Mitto' has the advantage of proprietary scaling technology and exclusive multi -tap filtering. The filters automatically adjust in accordance with the conversion being performed. The result is that the output looks as good, or better, than the original and passes the most stringent testing.

RS -232 / GPI Analog / Digital SDI Out 2 Opst / AES Out A broadcaster came to us Audio In and asked that we build an CI 1111(I) HD scan converter for them. 4 BrightEye Aft'ted'' When we brought the Use DVI / VGA Loop Out DVI/V3A Input Ref Ir. prototype to them for testing, they were ecstatic at how 11111111111111111111111 g INNIIIIIMMINIE 1111111111111111111111110 MIME EIMER good the output looked. MIE1111111

Easy -to -Use Simply use your mouse to click and drag over the specific portion of computer video that you want to output. Whether you output the entire screen or just a selected portion, you'll be able to see exactly what you are doing. And timing the video output into your system is easy, too.

See you at NAB Booth N1929

Putvey/c)t-.5 gne 11;clec) 6eat-- DiallaullIN Loved By 6.73;neet-.5 zdot-Ifitoi'de DESIGNS www.ensembledesigns.com iwitto- the Latin root word for Transmit and Uncompromising 530.478.1830 Digital terrestrial TV is being launched in Brazil TV Globo with great success, reaching more than 65 million people in less than two years. However, Brazil is a Winner of new studio or huge country, and there are rural areas that will never be covered by terrestrial TV. Aiming to better serve the RF technology-station rural communities and digitize the analog satellite signal before analog technology becomes obsolete, TV Globo decided to Submitted by develop a system targeted for rural areas based on GPS. Project planning for TV Globo's Digital Television for Rural Areas (TVDR) GLOBO Comunicacao e Participacoes SA began in 2005. Checking its location through a GPS module, the set -top box will only yield TV GLOBO's satellite signals in rural areas of Brazil. Runners-up: In November 2009, this system launched in the Rio de Janeiro ruralareaand Oklahoma Educational TV Authority will subsequently be expanded throughout Brazil. TVDR will feature only one Submitted by Axcera satellite national feed, but regional feeds will replace the national feed, region by region. A conditional -access system was developed for this project, link- WLII-TV and WSUR-TV Submitted by AZCAR ing geo-referenced maps to each regional feed. As each regional feed becomes available, the receivers located in the corresponding region will automatically choose it. If the location is outside Brazil, no signal will be decrypted. To ensure the launch of the first signal in Rio de Janeiro, the technical team designed, integrated and tested the whole system in detail. The operational team was involved and trained throughout the process to facilitate the start of this new operation. The key components of the system are a conditional -access system from Nagravision, encoders and multiplexers from Cisco, a set -top box from Thomson, and a GPS module from Prime. TVDR's project team developed a system that will benefit the population of rural areas with digital quality and lend to satellite transmissions the regional aspects of terrestrial TV, while helping to eliminate rights issues and preserve

TV GLOBO's business model.

CBS' new Media Distribution Center (MDC) in CBS New York City replaces aging, tape -based legacy equipment in the current Broadcast Origination Winner of new studio Center (BOC) with HD digital file server -based scheduling and playout technologies. The MDC handles up technology-network to 80 inbound feeds and 18 outbound network feeds for program playout to U.S. affiliates. Fiber and satellite links connect Submitted by the 19,735sq-ft facility to CBS Television City in Los Angeles, where scripted Pilat Media programs are prepared for air and disaster recovery operations are located. The MDC integrates live news and distributes live sports programs with regional- ization as required and can support content for new media platforms such as Runner-up: CBS Sportsline, mobile TV applications and VODservices. Trans Video Communications Studios' NET Key objectives focused on automating and streamlining the workflow for Submitted by Broadcast Integration Services scheduling and playout operations and minimizing the potential for errors. CBS turned to Pilat Media's Integrated Broadcast Management System (IBMS) for media management, program content scheduling and in-house technical facility scheduling. By integrating its centralized, TV network enterprise -wide database and ex- ploiting its integration capabilities with other systems, IBMS helps the MDC run at peak efficiency. Support for CBS' legacy systems enabled IBMS to provide a smooth, progressive migration path to MDC functionality. Broadcast- relevant data flows into the IBMS system from a widevarietyof interfaces. Commercial and promo information are received from the CBS sales system. Program format and timing information are entered into IBMS. The system also takes in data from a separate sales traffic system for The CW Network. Media management is helping CBS migrate to a tapeless environment. The system processes acquisitions, logging the details of material received into the system and manages ingest of that material to servers. It also manages the MDC

tape libraries within a single integrated environment.

60 broadcastengineering.com I March 2010 Field Fiber Transport. The new MultiDyne _iGHTCuBE is the most affordable, highest dersity field fiber transport system. Be sure to see it at the NAB show.

And, while you're at the M. tiDyne booth, #C7637, also take a look at

.11644411411111100141140034001

HD -4000 Fiber Transport EOS-4000 Electro-Optical DVI-6000 LiGHTBoX 3D for openGear Routing Switcher with 3G Transport Fiber Transport System

MuItiDyne® 888 332.6779 www.multidyne.com Video & Fiber Optic Systems

Fiber Optics Routing Switchers Distribution Amplifiers 1 Test & ID Generators WDSE-TV, the PBS affiliate in Duluth, MN, and WDSE-TV Heartland Video Systems started planning the rebuild of the WDSE master control Winner of new studio room in 2008. At that time, WDSE's digital broadcast stream consisted of an HD rebroadcast from PBS, technology-HD an SD rebroadcast of PBS Create, an SD channel that also fed the analog transmitter and the MN Channel. The primary goal Submitted by of the project was to provide a functional master control switcher for all four services, as well as to make all of WDSE's content available on all services. Heartland Video Systems All content is ingested into the server in 1080i, switched through all the master control channels as 1080i and then cross- or downconverted just prior Runner-up: to encoding and transmission using Miranda XVP-1801 cards. While this ap- HSN proach could have increased the cost of the project, it actually reduced the Submitted by Sony Electronics overall cost. Because a majority of the equipment already in the facility al- lowed for the output format to be set as HD regardless of the source material, the need for format conversion was greatly reduced. The Bitlink IRDs for PBS were all reconfigured at no cost, and the TANDBERG RX1290 receivers were licensed for upconversion. The remainder of the SD equipment uses a small pool of AJA FS1s for upconversion. This concept also provided a natural level of redundancy for bypass switching because everything is in one format. The existing Omneon server was upgraded with new HD media ports and a modest amount of additional storage. NVerzion's TeraStore provided 72TB of nearline storage to handle all the HD content. An Omneon ProBrowseproxy server allows remote monitoring of content, and Utah Scientific's MC -400 switchers are fully SD/HD configurable and were set up to switch in HD. All of WDSE's local programming is now being done in HD. The Snell Kahuna al- lowed for reconfiguration of its output to feed HD to WDSE. At the input side,

11111111111111111111111 it accepts SD or HD sources and transitions between the two.

ensselaer Polytechnic Institute in Troy, NY, is one Rensselaer of the nation's oldest technological universi- ties. Rensselaer founded the Curtis R. Priem Experimental Media and Performing Arts Center Polytechnic (EMPAC), a facility with next -generation presentation and Winner of new studio production capabilities for art and science. Rensselaer faced its biggest challenge by starting from a blank technology-nonbroadcast page in designing and implementing EMPAC. EMPAC's engineers, in concert with other EMPAC staff and representatives from Rensselaer, worked with team members from AZCAR, Audio -Video and product vendors. Submitted by EMPAC's space, equipment and workflow needed to be reconfigurable. With Ross Video little turnaround, the concert hall may be used for a live orchestral concert for an audience of 1200, a lecture series, recording solo piano work, architectural Runners-up: acoustic research or hosting an independent film festival. Physically, all spaces Transportation Security Administration are also designed with NC15 noise floor criteria, making them ideal for live Submitted by Professional Products Inc. performance, recording and research platforms. There were many vendors involved in the building of EMPAC, and flex- Oriole Park at Camden Yards ibility was key when it came to choosing every detail. This is the main rea- Submitted by Communications Engineering Inc. son Rensselaer chose Ross for the switcher. The Ross Video Vision 3 QMD-X multidefinition production switcher fit the budget while leaving room for features such as VTR control, aux keys and smart conversion. EMPAC's A/V infrastructure embraces the very latest in broadcast, live performance, post -production and research technologies. It installed an extensive cable plant of single -mode fiber, Cat 6A F/UTP and other traditional and non- zightTLIIr- IRINA traditional cable technologies to tie all the building's venues together. By doing \ this, any activity can be easily centralized or decentralized. at Since opening its doors in 2008, EMPAC continues to impact students, re- searchers, artists and audiences with opportunities fostered by leading -edge

science and engineering performance technology.

62 broadcastengineering.com March 2010 GaysinYour Transmission?

.even here? A Represents simulated signal loss in transmission coverage.

THE LINEAR ADVANCEDTV'" GAP -FILLER SERIES KEY BENEFITS Cover shadows and extend Improve DTV coverage in areas obstructed by terrain and buildings-or in to lost zones areas where higher signal strength is needed for indoor reception-with Recoup lost audiences gap -filling transmitters from LINEAR. & ad revenue Our on -channel repeaters are the perfect solution to fill coverage holes No need for higher power and provide seamless DTV coverage for today's-and tomorrow's- Tx to reach lost customers transmission needs. Prepare & increase density to deliver Mobile TV Features: . DTV M/H ready A Echo cancellation Automatic power limit .. Automatic gain control A Automatic linear and A Range of models and non-linear precorrection output power A Gain -margin monitoring ATG20P- 20W Gap -Filler

Linear Industries, Inc. 25 Technology Dr., Suite 310 Elgin, IL 60124, USA 1.847.428.5793www.Iinear-tv.com ewish Life TV ( JLTV) is a Los Angeles -based broad- Jewish Life TV cast channel that reaches nearly 25 million viewers in the United States. In delivering high -quality pro- Winner of Jgramming to this audience, JLTV faces two challenges: producing professional presentations for viewers and station automation offering attractive advertising opportunities and a high level of visibility for program sponsors. To meet these challenges, JLTV Submitted by worked with systems integrator and consultant Jonathan Landman of Newcast to design and implement a facility with an emphasis on reliability and func- Compix Media tionality at an affordable cost. One of the key requirements was the ability to display information from the Web as a live ticker on the screen plus the simultaneous integration of viewer and sponsor messages into these tickers. The installation features the ProTrack TV scheduling traffic system and NVerzion automation system. The ProTrack system feeds the JLTV schedule to the automation software, which then automates the control of the 360 Systems Maxx video server for continuous spot, interstitial and program playback. NVerzion also controls Compix Media's branding, logo, ticker and text overlay system, which employs template -based branding and automates data entry to provide current, targeted graphical messaging. When the system went live in October 2009, it gave JLTV a powerful tool for boosting ad sales and attracting new viewers. The Compix CynerG2 enables the JLTV staff to insert sponsor branding along with continuously updated news crawls at the bottom of the screen during regular programming, thereby bypassing the growing issue of viewers using DVR recording to skip interstitial, spot -based advertising. The facility is also using the CG system to insert custom messages from viewers in a secondary crawl, and this personalization of on -screen content along with programming and sponsor -driven content helps

to engage and build JLTV viewership.

Versus has become one of the fastest -growing sports Comcast cable networks in the country. It is the exclusive cable TV home of the NHL, IndyCar Series, Tour de France, World Extreme Cagefighting andPro- Media Center fessional Bull Riders. It also airs college football from top Winner of conferences. Growing demands pushed the legacy system to the limits. The broadcaster launched a shared HD channel with network automation sister network Golf Channel in December 2007, known as Versus/Golf HD. To accommodate its own dedicated HD Channel launched in December 2008, Versus needed its own network operations facilities.The broadcaster built its Submitted by new network operations center within the Comcast Media Center (CMC) in Diversified Systems Denver. With the amount of live events rapidly increasing, it needed a network operations and transmission facility to accommodate both HD and SD play- Runner-up: out, as well as provide for the blackout requirements of the sports franchises. Red Bee Media The project had an aggressive schedule with only a few short months to de- Submitted by TSL sign, build and cut over the master control and transmission systems within a greenfield space at CMC. After a thorough, competitive bid process, Diversified Systems was selected as the integrator for the project. Diversified was up to the challenge and brought the project in on time and on budget. The system had to tie in seamlessly with the Versus Stamford, CT, file -based production facility. Using server technology from Omneon along with automation and asset management from Avid's Sundance Digital, Diversified and the team from the CMC created an efficient and highly reliable system that leverages the workflow established in production. The flow of the space and the adjacencies of the various functions such as master control, feed coordination, I/ . ingest and media prep were primary concerns in laying out the floor plan. After several revisions, the team created an environment where the operations staff could visually monitor the aforementioned functional areas from a centralized

work area without unnecessarily disrupting the operators.

64 broadcastengineering.com March 2010 control & management

1 YEAR nevion 33 COUNTRIES 27 LIVE EVENTS 58 PRODUCTS YOU AIN'T SEEN NOTHING YET.

AT NAB, SEE WHAT YEAR TWO WILL BRING. In the year since Network Electronics/VPG became Nevion, we've developed 58 new products, transported video for more than twenty world -engaging events, provided range surveillance for six space launches, and created a real-time HD telemedicine circuit spanning three quarters of the globe. We're just getting started.

Help celebrate our first anniversary at NAB 2010, booth N4624. You'll see new solutions for IP, 3G, fiber and monitoring & management that will future -proof your network and provide unmatched value. Find out how Nevion is building the most advanced and comprehensive video contribution networks in the world.

Visit us at NABShow! nevion.com Booth #N4624 April 10 -15 Las Vegas Convention Center

BROADCAST SOLUTIONS SERVICE PROVIDER SOLUTIONS ROUTING CONTROL & MANAGEMENT NY1 News, Time Warner Cable's 24 -hour news NY1 News channel in New York City, is one of the most advanced newsgathering operations in the world. Winner of The stationrecently worked with Azzurro Systems Integration to upgrade and consolidate its master newsroom technology control environment. The consolidation allows the broadcaster to provide multiple distribution streams from a single mas- Submitted by ter control area using three master switcher systems. All feeds are distributed in both HD and analog. HD feeds are converted to ASI streams and analog Azzurro Systems Integration video and audio in the final stage prior to transmission. One feed carries normal NY1 News programming and is distributed to Manhattan, Bronx, Staten Runner-up: Island, Brooklyn and Bergen County, NJ. A second master switcher feeds a local WFTV-DT insert to Queens, and the third system provides Spanish programming. Local Submitted by Grass Valley ad insertion capability has been built into the system. Internal routing and distribution is accomplished via HD -SDI with embedded audio channels. Programming for each feed is switched with an Evertz QMC-2 HD -SDI master switcher. The master switchers each control an Evertz Topaz 16 x 16 routing switcher, which provides subswitching for the program, preset, bypass and key feeds to the master switcher. Sources feeding the Topaz switchers include Omneon server ports providing inputs and outputs to and from a central storage system. The system has 16 bidirectional channels, 32 playout channels, and storage for 1250 hours of DV50 material and four audio channels. Addition- ally, an Omneon MediaDeck provides backup, central routing switcher outputs and additional sources. The MediaGrid active storage system provides 126TB of raw capacity using high -bandwidth content servers, 57TB of available storage with a replication factor of 2:2, and storage for 2035 hours of DV50 material and four audio channels. A Dalet Enterprise Edition automation system

controls the server systems and switching.

Dome Productions demand is for HD. With the commissioning of Thunder, its fifth HD truck, Dome Productions Winner of post & network wanted to select the proper mix of equipment to yield the greatest functionality, while keeping the ve- production facilities hicle's gross weight under control. To achieve the right mix, Thunder used fiber optics to not only carry multiple signals on a Submitted by single cable but also to reduce the weight. Dome worked with AZCAR, a leader AZCAR in HD broadcast system integration and production, because it brought com- plementary management, experience and engineering expertise to the project. With a 3-D eye to the future, Dome invested in the technologies that could Runners-up: take it to 1080p60, the format necessary for live stereoscopic 3-D productions Adtext, The Mill when its clients see the need. This included the installation of an Evertz EQX Submitted by Softel 3Gb/s router and a cable infrastructure capable of handling the bandwidth Golf Channel and return loss characteristics of a 4.25GHz signal parameter. Ten switchable Submitted by Solid State Logic Sony HDC-1500R cameras allow for addressing the flexibility that sports and entertainment venue operations require. Sixteen channels provided by an EVS XT[2] LSM server complement Sony HDCAM and Sony SR high -bandwidth digital video recorders. Sound is managed with numerous Dolby E and surround encoder/decoder products, with surround mixing on a Calrec Sigma mixing deck with Bluefin, a 320 -channel processor system capable of 8 x 5.1 surround, stereo or mono audio groups. The Grass Valley Kalypso HD 4M/E production switcher, Abekas Dveous/MX dual -channel DVE and Chyron HyperX2 SD/HD graphics CG make up video production. Audio support equipment includes an RTS Adam intercom, Wohler AMP2 audio monitors, Ward Beck AMS8- IAM monitors, Crown CTs-4200 amplifiers and JBL speakers. The 53ft trailer features a 41ft by 5ft expando section that provides room for the three -deck production center and the 25ft-long transmission and video

support area. Thunder's first production, for MLB, aired May 12, 2009.

66 broadcastengineering.com I March 2010 k

Missec cues. Interrupted audio. _imited communication access. Sounds like you need to stop by the Clear -Corn booth today

At NAB 2C10, Clear-Com prasents its breadth et market -proven wired and w reless intercom systems in TDVI analog, digi:al and IP for a wide range of applcations.

Come Eee us at Booth #6025 in Hall C3 and a k for a demonstration of TempeEt'2400 Dig tal VVireess Intercom System, Hybr d Intercom Ne7work, Cancer Intercom Software System and our new beltpack and masterstalion developed on a revolutionary tecnnology p atform.

You don't want to miss us this year!

www.clearcom.com '111,'Clear-Com en 0 Viter Gro ip:,ommunications. LLC All r ghts reserved. eClear-Com i; a registered tndemark of Vitec Goup p

A Penton Media Publication www.broadcastengin'eeting.com The Most Powerful Light Throw Availa0001Wip.

41, ExceLED

Finally, an LED fixture worthy of the Videssence name! You have to see it to believe it. Come see its exclusive debut at: NAB 2010-Las Vegas April 12-15-Booth #C3144 For more information about our other products, call or visit us online: (626) 579-0943 I videssence.tv Videssence. IBroadcastEngineering® CONTENTS'

Las Vegas Convention Center, Las Vegas

EXHIBIT HALL HOURS Monday, April 12 -Wednesday, April 14 9 a.m.-6 p.m. Thursday, April 15 9 a.m.-2 p.m.

Outdoor Media & Equipment

Acquisition & Production Registration (Includes Lighting& Spp) Pro Audio Distribution &Delivery Managemen Radio & Systems (Includes Sate lite Technologies) Display System

Post -Production (Includes Sound Track Central)

Las Vegas Convention Center

Map information current as of Feb. 22, 2010

MAP INFORMATION PRODUCT CATEGORIES

The following is a brief description of what you will find in Acquisition & Production - Cameras, lenses, lighting this year's NAB map from Broadcast Engineering. and grip and ingest technologies. To the right, you will see a listing of the NAB categories and Post -Production - Video editing, graphics, animation, what products can be found in each. Next tc each listing you special effects software and hardware, audio editing and will find a color square that indicates the convention hall each music/sound libraries. category is located in. On the overview map (above) you will see each hall with its product categories. Management & Systems - Video servers, systems integration, database technologies and digital asset Our table of contents lists each hall and the pages they are management. found on. On each of these pages you will notice some booths

are highlighted with different colors. The El highlighted Distribution & Delivery - Transmitters and towers for booths are our magazine advertisers, while the I:1 highlighted TV, radio broadcasting, satellite technologies, cable, fiber, booths are our map advertisers. IPTV, mobile video and streaming products.

We thank all of our advertisers for their support of our NAB Display Systems - Projection equipment, LCD and coverage and exhibit hall map. plasma displays and digital signage.

Pro Audio - Audio recording and mixing equipment, encoding and compression technologies. TABLE OF CONTENTS Radio-The entire spectrum of products and services North Hall 4-5 for analog, digital and streaming radio. nOutdoor Media & Equipment- ENG vehicles, Central Hall 6-7 outdoor signage, satellite services, power products and South Hall, upper level 8-10 production equipment.

South Hall, lower level 11-13 Content - Owners, aggregators and producers showcase their digital content to align with broadcasters, Outside Media & Equipment 14 distributors and delivery technologies.

Meeting Rooms 15 Broadband - Broadband -enabled TVs, online video, mobile broadband networks, platforms, set -top boxes, II Map Index 16-22 gaming, IP, streaming and advertising technologies.

March 2010 I broadcastengineering.com 3 INORTH HALL AdvertisersEi Map advertisers Points of convenience tWalkwayto Hilton

Annum Corporation 5838 Resta 5337 &l38 lOblum 5835

5134

Aube. 8533 8333 T1050. 8132 6732 6832 Anion 85326432 8232 Software WideOrbit See Ensemble at booth IN1929 on page 5 0131 83318131 7029 91044. 6530 8230 5129 C400Won 1.01 8429 8129 6729 5829 Broadcast Engineers: 6529 8229

WIG 1060 PeCo40404. Mawro Woman* 6425ens DG FastChannq 7025 18M 6624 Pathfi re

8324 5823 5123

114238323

8(02 7021 6721 13821 82218121 58215821 Masstech Group 55306730 6120 6530 7019 8219 5819 armnte ens 5.19 5218

20.19900en 70128912 8.4.0.148.4 6216 5816 1016 6515 Nene° 0915 2015 5315 7214MR 11.111 Mo. 00444 Mo. Amerlea SeaChange After using LevelTrack' Audio AGC: 8212 7212MR 412 5812 internationa 5511 3 0 5311 RIMY .0 pew. 6078 6809 6609 Front Porch J Digital Omneon Trade 5806 best 5.11111. 5106 ..c Yeorn Conte Aswan U. 6806 6006'41 0 0 Q Add N to beginning of all booth numbers Entrance Keep home viewers happy and make your life easier! Correct mismatched audio levels between program L(.r...-ill:MIMI_ elements, sources and spots with LevelTrack AGC. '' TV AUTOMATION L=AIST(Olf. NAB Booth N1929 www.ensembledesigns.com (530) 478-1830

See Harris at booth #N2502 on page 5

4 broadcastengineering.com I March 2010 NAB Exhibit Hours, April 12-15, 2010 Mon. -Wed 9 a.m.-6 p.m. Thurs. 9 a.m.-2 p m.

illEILyi*Walkwayto Hilton (west WARD-BECK SYSTEMS

915039 29392839 CS Toevtolow 1036 4036 Technologies for [1836 1036 4338 2939 838 5038 Worship Pavilion 2a38 2537 14381338 swam" 29322837 1337 837 1436 4036 Broadview 3134 836 Pixel Power Software 1336 1035 1435 4334 2935 saawasa. 2034 1634 2534 2934 14341334

Technologies for Vdorship TVW4104144 732 1032 353213432 323213132 Ensemble cassa Florickl Systems 1631.1 1331 3531:3431 32313131 2530 Designs 1929 4329 namsional wawa C4,13 329 1029 729

Management & Systems

117 Wohler OrnialOus Ward Be Intel Storage PESA Technologies V.4 C Mtvion Syeterns Systems Tektronix SolutionsTheetre Snell Echolab 1026 0 4824 3425 4123 3023 1323 Peru 523 3722 2522 D.* 1023 a) Pluni U Oro4441 1820 C 3421 4821 SGL Axon Dig. V1.011 50204921 1520 Design 520 520

3719 1119 313 50184918 3418 1518 3111 1817 517 4616 817 1517 515 312 Ton Terenex 3716 ora man 1815 1516 1115 1815 815 5015 avi 1011 3415 1518 515 315 514 Utah 814 514 314 Scientific atc.4.3. 1212 Ross Video 4p4,11,esk,Sa 80. 312 811 511 311 3807 Evertz dew

Broadcast Harris 1208 8.414.1, raw Pix 800 408 4508 2502 1602

1. nus.C.181 305 mos 705 '140511305

Ff11011 Pavilion

114031303 11031003 302 14021302 11021002 702 -- Entrance Main Lobby and Central Hall I Banners Restaurant

Entrance ENSEMBLE DESIGNS

Broadcast Communications Government Communications Sys_ern , Always There. RF Communicaticns Now harris.com NAB Show, Booth #N2502 I www.HarrisNAB2310.com PIARRIS' assu communications

March 2010 I broadcastengineering.com 5 ICENTRAL HALL Advertisers Map advertisers Points of convenience

AprClear-Com

CENTRAL 1 CENTRAL 3 To Main Entrance Entrance Lobby and fl 1'1 North Hall Acquisition & Production VislInIt News Entertainment 3707 Hitachi Kokueel Ikegerni Electronics Electric 134144 .441444s, 5108 4309 411 2110 Registration

-Inc 14444 1.040

4314 FORA 6219 11440

Panasonic x.C. mere. .044er Camere. 4,0 2823 MVO 3123 SON 3712 lar4 Vitec Group Canon 40-4-1 314 Autoscript Clear -Corn F2628 XIS 4325

C6025

Electronio

2032

ftwa MO 1* 7118 030 Bowe 8.4.114 4404 ARM 8W. 4n so, 4337 8037 6737

E111_1".1 I Mbytes

C103 C104 C105

00 4.1.4 045 6.04 Tabs 84steree _-----, 1.0 2646 ROA 046 108 Communications 0044 0747 UJ .48 "7.

Lighting & Grip 142 1 - 1

To South Halls and Outdoor Media & Equipment -1811-

147

444,4 160 .11

To South 1042 Halls 46. Add C to beginning of ell booth numbers Videssence

See SGL at booth #N1520 on page 5

_L If you are looking at the most cost-efficient ARCHIVE & STORAGE MANAGEMENT solutions P You Are HERE the evolution of technology DII 20 DE

SSOFTWARE -I HALL NORTH HALL, BOOTH N1520 N 1 Further information at www.sgluk.com

6 broadcastengineering.com I March 2010 NAB Exhibit Hours, April 12-15, 2010 Mon. -Wed. 9 a.m.-6 p.m. Thurs 9 a.m.-2 p.m. Digital and Hybrid

CENTRAL 4 Wireless Entrance I A I H -I -1-H Sony 112. Pre Rm 1100.TV Ma 09999 T. Ca I ! ENG woe 12401 00.111110 10308 11001 SF I I

20.1110. 90. CI* 95119909 mai 9619 ICI 10616 .100 000/040 Tha leen Ca.. Telt 2.01002 9911 iaminam. Goan, 9918 7:1 7619 t.9919 11019 9679 cm/9re. 9911 1.21110 IICEP

Acquisition & Production I -199K0i H 31.0. 201000. Italian Trani 11126 Ctarnrnissio 11. 9535 11. 9026 . 77,

111211

=Z. 12E09 1.3 =PI

Mr 0010000 101001NAST 0333 r;"1.1 12033 1250 111 Acquisition & Production

IV 2 110000 2mM.. INS 11112 3101111010 tom 1002 020--1.

7.4477 1. "' AM CM 001101110/ .0 ON 1,00 =11E0 1.17: 774 fft 0740 1.01011 raw. an° 01002 MO. 10. ITO 17016 1.10.1 110401140E 0746 .11.01 I-1 1.10110 .1001.0111110 11.11110 11002100 12911 ,0111 WM 00 IWO ..'"*"."1 =NI NM NM lam See the latest at

To SouthSouth Halls and Outdoor Media & Equipment Booth C1717 AIL

MAP # COMPANY BOOTH

1 Videssence C3144 2 Digital Alert System C3651 3 MultiDyne C7637 LECTROSONICS 4 Fischer Connectors C11724 NEW

See Lectrosonics at booth #C1717 on page 6

See Autoscript at booth #C6025 on page 7

The First Word In Prompting Solutions: >alltOSCript Autoscript leeds the teleprompter business .vith the most complete line of innovative on -camera, executive, and software sDlutions, engineered and manufactured to exceed expectations. Perhaps that'swhymore professionals look to us... x, LI3 AI NA[ LOOM utoup

USA:(203) 926-2300 [email protected] UK: +44(0) 208 391 8900 [email protected] pyet,9, script www.autoscriFt.tv

March 2010 Ibroadcastengineering.com 7 ISOUTH HALL,upper level ri Advertisers 0 Map advertisers['Points of convenience

Bridege Corridor to Central Hall' Broadcast1/E0 Division

--TI Concessions Concessions w rn Down to Post -Production & Display System ContentCentral AIL -UMW 1702 0.81 2502 Triveni, GlobeCasi Envivio 5202 27 02 Digital tn1 TO 7. 1* 580 9902 2203 4902 6102 Avid 1703,- 1002 nal° 00 5302 5/03 1.2. 4302 1BOS 00,05 2504 3502 48,34 2304 2/04 5 . 902 2305 3705 4026 0204

1706 006- freer on. 2 30 73407 01 Grow rt=r4 Axcera 5906 6101 2100 2409 00 00 weal Sevin 2109 2908 Broadcasting Ericsson Tedweogiee 4008 Senora 20 2111. 5610 Weather Central 2012 2412 NAGRAV1510 4310 So4 Grow 00 2 2113 912 2311 2912 2013 2913 4912 5311 2114

Distribution & Delivery

CPI Rohde & 221) LARCAN 4617 817 Schwarz 4317 Intelsat 2617 5717 3317 3717 1417 515 LIVE .2=- 1920 020 1120 CK COM 4 3 2 0 4610 6020 10 eaPa I BeIIIM 00 2621 Ber Ons.18 2220 510.2.1. 3721 4911 4322 4822 3323 DVB Eon. SES WORLD SKIS 5 ELBER 5323 5723 6013 FLON 823 1424 lax. Tre 3 2624 ---- 815008651 iRrr ma 3725 4325 5025 1920 2226 5326 6016 Braihalion Add SU to beginning of all booth numbers

See Broadcast Engineering at booth #SL9123 on page 12

Tune into Az? ,o_t.e:( BroadcastBradon iv for an inside take on the industry's hottest topics Broadcast Engineering has launched an exciting new weekly dialog called Brad on Broadcast. Editorial Director, Brad Dick, hosts the blog and offers his viewpoints on key industry issues and those most affecting the magazine's readers. From technology to budgets, from competition to industry cutbacks, Brad tackles them all-and invites your feedback.

Armed with 18 years as a broadcast engineer and more than 20 years as a Broadcast Engineering editor, Brad Dick understands the challenges and needs that technical managers and engineers face. He's been on the front line, solved problems and learned from the experiences. Now he's sharing those thoughts in a weekly blog.

Tune in to become a part of this critical industry conversation. http://blog.broadcastengineering.com/brad

8 broadcastengineering.com I March 2010 NAB Exhibit Hours, April 12-15, 2010 MAP # COMPANY BOOTH Mon. -Wed. 9 a.m.-6 p.m.

1 DVE0 SU2709 Thurs 9 a.m.-2 p.m. 2 Triveni Digital SU3202 & SU5217A Sated 2, 3 NPR SU6913 2c:te 4 Junger Audio SU7206 5 Optical Cable SU8823 A WAIN OfTIC. SU6417 Streambox 6 White Sands

Concession Concessions Seating 82_

Dow to Post-Produc on & Display Systems

-op- 0,380 7302 3102 9102 1.0 1.0]11701 Venzon DESTINATID 6822 9oo 730a 7502 9103 1.0 107. BROADBANE CONCESSION 8602 8502 8932 THEATER SEATING 7306 01092 9359 060910709 8905 7281 109011070

082. 0000 93182* DESTINATION 7607 8606 1.0 4 Rhozet 8807 8907 9106 BROADBAND 7007 PAVILION 8909 .00 803. 1.07 00 80908 NeuLion 8900 20.9 108. 112 9 6609 S509 681311810 rchnoloar 9506 Harmonic 9210 7910 101 6811 6817 10311 7213 1088,1002 66,2 6612 linea9TV 0212 8812 Broadcast Streambox 08116567 0213 11013 ,96 8512 3911 10612 6613 10313 7813 0911 11213 6814 5013 DestmanonBroaband Satellite Technologies

AccuW176158 NTT Electronics 660serTv 65151 8617 9117 9717 10917 ,6 Corporation 16017121217017109 6717 Dolby 6918 7217 5219 Laboratories 9719 10719 7917 8620 10620 nab el 7 -YIPS AS 5661ing 8222 5321 6721 10722 266166% 8223 552 5523 10623 5 9222 9526 10123 7226 7826 2022 Lines 852 ATEN1E 7336 Acoustic 7226 7826 01.5 10726 6325 7126 00 7626 BIM 8525 8825 9126 9226 10126 10425 7227 7827 952

OPTICAL CABLE CORPORATION See Streambox at booth #SU8911 on page 9 110 41) NOW SHOWING Str anli"X 4. 17100THSU8911 \tivtars Nov/AT MB HD MOBILE NEWSEATHERING FROM uve A A LAPTOP

?03 SI 3G /4G BONDING SOFTWARE FEATURE StStreambox '(DOME YOUR BANDWIDTH) STREAMBOX AVENIR Stop by our booth to see (THE ULTIMATE P3RTABLE NEWSGATHERING PROOLCT) Streambox Live demos and STREAMBOX LIVE DEMOS dcwnload our new iPhone (TIRN ANYONE INTO YOUR CONTRIBUTOR) app for FREE!

March 2010 Ibroadcastengineering.com 9 ISOUTH HALL,upper level EAdvertisers E Map advertisers E Points of convenience

elemumminintummn. =mom 0 1.111111111111111111111111111111110 111111.1.10 Meeting Meeting Meeting Meeting 1111,111,1011 '11,1111 I. 011111 110111111R Room Room Room Room 1.1,1111111P ,I111111 011111 MR :WI Concession S216 5215 S214 S213

Exhibitor Meeting Rooms

eeting Meeting Room oom S208 Meeting Meeting Meeting Meeting Meeting Meeting S201 Room Room Room Room Acorn Roo Meeting S207 S206 5205 5204 S203 S202 Room S209

See Broadcast Engineering at booth #SL9123 on page 12

n AlcostEngineering subscriptions LIFETimEN Let Broadcast Engineering keep you TELEVISION CREATING up-to-date on the latest industry news, A DIGITAL WORKFLOW technology developments, new products oq and services...and more. 5' Apply for your free subscription today. II Log on to broadcastengineering.com and click on "subscribe."

And...you can also sign up for any of the industry's leading e -newsletters from Broadcast Engineering. YourName ROWS UP Here ECTIVEAND Company FORMING Address STEMS City,State ES AND ZIP NOLOGY Broadcast Engineering.

10 broadcastengineering.com I March 2010 NAB Exhibit Hours, April 12-15, 2010 Mon. -Wed 9 a.m.-6 p.m. ISOUTH HALL, lower level Thurs 9 a.m.-2 p.m.

MAP # COMPANY BOOTH 1 Analog Way SL1509 grass valley

Entrance

ci) Christie Digit DVS Digital Video Systems Isilon O Systems 1:716 01 3305 Systems 2005 - 4105 VBrick ty Systems Yobs Digital Seem Grass 17{B 00,5611,0rab 3309 Vision AB 4110 O Valley 1010 00 3709

10590,10 CD 106 2613 Oral Hi-Tec Bares Telestream Aspere Systems Eyeon 2014 569 D15 3814 4114 O 2515 Ointel 2616

co Post-Production/Display Systems Display System co ... .". cr) MOTU Adobe Systems 51.0.5 Se Microsoft Chyron 5.6,56 S O Autodesk Corporation 3920 Business 2720 1420 02 Center 220 2020 3320

00 3924 International 2725 Food Market Sisr.01 .06msSAN 527 11105.415 7*. Restaurant xar 2327 165026566505.2. 41.00415 056 FP. 2728 3329 929 1729 QO 117

Add SL to beginning of all booth numbers

See Grass Valley at booth #SL106 on page 11 K21" DYNO INSTANT REPLAY SYSTEM POWER IS NOTHING WITHOUT CONTROL.

The Grass ValleyTM K2 Dyno replay control er, coupled with tie new K2 Summit production client, gives producers the power to capture live events in crystal-clear l -D and instantly replay them at variable speeds for critical analysis. This makes the K2 Dyno the perfect solution for fast -payed events that require the finest level of control possible.

It's Gotta Be A Grass! See us at Booth SL106

For more information, please visit www.gi assva I ley.com/K2 Gergrassvalley

March 2010 I broadcastengineering.com 11 ISOUTH HALL,lower level

("Advertisers Map advertisers['Points of convenience N digital sierravideo Mrapicls

To Central Halls and Outdoor Media & Equipment

Concessions

0 33 530 1E09056 Ultimate 6001 R&D 9705 Sierra Video Quante' =C abaraWries 9000-- 53D5 Corporation 4505 9105 6005 6505 6779597 064196 Networes 4508 5 Alarrn Onnturn 19399 (4,90.46 Bu...6164 .39 9109 Digital 11469594921 E4son Vizrt 369.933 99/0 SGO Rapids 6510 4511 6460 asto 6010 613 092604 10071 5408 7612 8012 9112

3D Pavilion Sound Track Central Accenture TVLogic Meg.. 4514 16615, 8659 Production 615 Music 6014 6514 169c 503.31 ...5320,9903 7615 8013 6144 9115 9915 5116 8416

is/Post-Production Up to Con ent Centra , Destination Broadband, Distribution & Delivery Post Production/Display Systems 4.4.44 P*4 EEG Hewlett 04444 99,9 1348619 Dalet 69944 Entelre AMC 1 Packard 7920 Ted66py 4420 Digital 8220 015. 066666, 100201 Media 5220 Blackmagic 9620 4720 Design 6.ne. .669.69 Imocerst 944sson 6303 8223 C.03303 vasinc H10023 Active 9624 4424 EditShare 6020 Storage 5524 4725 5225 3.1690 1.333 0,01 8226 8526 13826 POST PIT 10026

11576 9125 56646 9.6.49.n TR. 11.10.1 5946944 NV1019 59urnoas 64946 33300 9628 5644.9 5029 5329 5626 6 8829 10029 8229 8529

BroadcastEngineering.

See Sierra Video at booth #5L4505 on page 12

Routing Switchers HD, SDI, Fiber & Wideband Video Modular Products

......

Booth SL4505April 12 - 15, 2010

N/e1EISHOWWhere ntPrt Comes to Lee I Las Vegas, Nevada, USA

12 broadcastengineering.com I March 2010 NAB Exhibit Hours, April 12-15, 2010 Mon. -Wed. 9 a.m.-6 p.m. Thurs 9 a.m.-2 p.m.

irk 1004,3 Meeting II1M lobo Room Meeting Meeting Meeting Mooting Meeting Meeting Meeting 5118 Room Room Room Room Room Room Room .3115 S114 10323 Meeting 5116 5113 S11; 6111 S110 2 Room S117 1077, INC Emarcl Exhibitor Meeting Rooms T1M6

10117,10771

10.3;71 1061()07X

MAP # COMPANY BOOTH 2 Daitron (i-Chips) SL10723

Multi -Viewer ;4" A KRAMER ELECTRCNICS COMPANY

#1°I Ilk1

VV.M1.1). THE RIGHT ROUTE TO TAKE "7"."" Ieeiteettliemi I .;,4.71PIREin Chosen for the -nost demanding video facility designs for over 25 years. Sierra Video...always the right rou-e to take.

March 2010 I broadcastengineering.com 13 !OUTDOORMEDIA & EQUIPMENT MAdvertisers ['Map advertisers Points of convenience

Central Hall Central Hall tar Air Gerling & Associates

302

opormion - I 1558 iraapereesnec Inc

Outdoor Media and Equipment 1592 S2E3g0 NEP I - I 2315 uu 2319 I Jam. 2815

-111111 Add OE to beginning of all booth numbers w South Hall South Hall

See On Call at booth #0E910 on page 14

QuickSPOT Satellite News Gathering Solutions Doing More with Less... Less money Less manpower Less time

CluickM ON CALL HD Video I SD Video I VoiceI Webcasting I Data COMMUNICATIONS On Call Communications 1949.716.3030 x25 I email [email protected] vvvvw.occsat.corn > Look for us in the Outdoor Media & Equipment area - Rot)thOF gin undertho ()tilt -1(5130T balloon!

14 broadcastengineering.com I March 2010 NAB Exhibit Hours, April 12-15, 2010 Mon. -Wed 9 a.m.-6 p.m. MEETING ROOMS Thurs 9 a.m.-2 p.m.

Entrance to North Hall Ni

Ni EMMA.

BANNERS RESTAURANT Lobby and Main Entrance (Ground Level)

Up to N231 - N2644

NAB SPORE r rMi Up to Meeting Rooms N201 - N230 e 5

Entrance

Cl C3 C3 C4 Camtral Hall REGISTRATION

Lel 4A.

-- fl Lobby and Main Entrance - l (Upper Level)

NA.

Central & North Nalls Bridge Corrielor

-- 1,i -

SCIENCE a V CONFERENCE DIGITAL GENEVA SUMMIT TECH CONTENTTNEATER MIL A. 5 OFFICE SUPER SESSIONS GOVERAN SEAMAN" Mootloo Nisoting Room 5212 5220 S221

, Cha -Ye Meeting Rooms

' r TECHNOLOGY CONFERENCE

Meotirm Mostio5 ng 'loom RoomRoom MomRoom POOm Ram S224 5226 3225 stn524 .1L.; J.L

51Ming Mowing Room Room poom S220 42, 422

South Hall (upper level)

March 2010broadcastengineering.com 15 IMAP INDEX

COMPANY BOOTH PAGE COMPANY BOOTH PAGE COMPANY BOOTH PAGE

KEY Alcorn McBride SL2605 11 AVL Technologies SU1917 8 Here is a key to help you understand the AldeaVision Solutions SU6012 8 Avocent SL8223 12 NAB's hall lettering and numbering system. Algolith N2530 5 AVP Mfg & Supply C9149 7 Allen Avionics C1428 6 AVT Audio Video Technologies.. C12238 7 C = Central Hall Alpermann + Velte N1025 5 Axcera SU2908 8 N = North Hall Altera N5015 5 Axel Technology C1654 6 OE = Outside Exhibits Altermedia SL10720 13 Axia Audio C146 6 SL = South Hall, Lower Level Alterwave C5145 6 Axon Digital Design N1119 5

SU = South Hall, Upper Level Altronic Research C1625 6 Azden C1110 6

AmberFin SU4917 8 Azzurro Systems Integration N615 5 American Cinematographer C3205 6 American Furukawa C8315 7 B American Grip C2844 6 1 Beyond SL7620 12 B&H Photo -Video -Pro Audio C11022 7 American Paper Optics SL4514C 12 21st Century 3D SL4514E 12 B&M Modern Media N838 5 Amino Communications N4019 5 25 -Seven Systems C144 6 Backchannelmedia 9 Amphenol Fiber Systems SU9056A 2s2/DIT SL7623 12 Band Pro Film & Digital C10308 7 International C6540 6 3D Co? Home Consortium SL4514D 12 Barbizon Lighting Company C5048 6 Analog Way SL1509 11 3DTV Solutions N1005 5 Barco SL3314 11 Anet C11442 7 48 Hour Film Project. SU1711V 8 Barix Technology C1139 6 Ankeena Networks SU9506EE 9 5 Alarm Music SL8209 12 Baron Services C8312 7 Antarctica Films SL1410 11 615 Music SL9115 12 Bavarian Pavilion C12538 7 Anton/Bauer C6025 6 Bazhou HongXingJieTu Studio Anystream/Grab Networks SL2010 11 A Lighting Equipment Factory C3348 6 Apace Systems SL1426 11 Beat The Traffic SU2302 8 AastroLED C3248 6 Apantac N4029 5 Beck Associates C9519 7 Aaton C8541 7 APM Music SL8609 12 Beijing BBEF Science & ABE Elettronica SU1923 8 Appear TV SU8517 9 Technology SU3725 8 Abekas C12124 7 Archiware SL8605 12 Beijing Brightcast C9548 7 Abel Cine Tech C8740 7 Argosy N4316 5 Beijing Broadcast Telecommunication Abel DRM Systems SU8806 9 Armstrong Transmitter C1420 6 Technology C9548 7 Aberdeen N6325 4 Army Reserve Communications C11737 7 Beijing Feiyashi Technology Aberdeen Captioning SL7729 12 Arrakis Systems C2007 6 Development Co C9548 7 ABX Engineering N1334 5 ARRI C6737 6 Beijing Gefei Tech N1436 5 Accenture SL6014 12 Artel Video Systems N5819 4 Beijing HualinStone-tech C11437 7 Accordent Technologies SL1814 11 Ascent Media S206LMR 10 Beijing Infomedia Digital AccuWeather SU6717 9 Aspera SL4114 11 Technology C9548 7 Acetel SU9117 9 Associated Press/ENPS S U 2002 8 Beijing Longway Shixun Acme Portable Machines SL10625 13 Astrodesign C9146 7 Electronic Technology Co. SU3725 8 Acoustical Solutions C4937 6 AT&T SU9106 9 Beijing Pavilion C9548 7 Active Circle N1005 5 ATCi SU6003 8 Beijing Pavilion SU3725 8 Active Storage SL5225 12 ATEME SU6325 9 Beijing Phylion Battery C4938 6 ADC C6744 6 Atempo N5137 4 Beijing Secnovo C8444 7 Adder SL9605 12 ATI-Audio Technologies C1720 6 Beijing Tongfang Adjuggler SU9506Y 9 Atlanta DTH S U7303 9 Gigamega Tech SU3725 8 Adobe Systems SL3320 11 Atlona SL9607 12 Beijing Topreal Technologies SU3725 8 Adrienne Electronics SL8820 12 Atto Technology SL2512 11 Beijing Vexel Software C9548 7 Adtec Digital SU3905 8 Audemat - APT C751 6 Beijing Xingguang Film&TV Advanced Fiber Products N4417 5 Audio Accessories C3847 6 Equipment Technologies Co..... C9548 7 Advanced Media Audio Plus Services C1247 6 Beijing Zhengrong Communication Technologies (AMT) SU4704 8 Audio Precision C2023 6 Networks Technology SU3725 8 Advanced Microwave Audio Video Metals N6732 4 Belar Electronics Lab C846 6 Components SU5912 8 AudioScience C1721 6 Belgian Trade Commission C4844 6 Advantech SU4322 8 Audio-Technica C1632 6 Belgian Trade Commission C4845 6 AEQ C1928 6 Autodesk SL2020 11 Belgian Trade Commission C4945 6 Aeta Audio N1002 5 Automatic Duck SL3930 11 Belgian Trade Commission C5045 6 Agence France-Presse SU2106 8 Autonomy Virage N4033 5 Bella SL5722 12 Agilent Technologies C1322 6 Autoscript C6025 6 Bestv SU6117 8 AheadTek C12126 7 Aveco Americas N2138 5 Bexel/BVG C6419 6 AIC/Xtore SL10020 12 Avenger C6019 6 Bias SL7429 12 AJA Video SL920 11 Avid SU902 8 Bird Technologies Group C454 6 Akamai Technologies SL527 11 Avitech International N1029 5 C3062MR 6 Akiwa Technology SL8905 12 Bird Technologies Group

16 broadcastengineering.com I March 2010 Color listing indicates advertiser

COMPANY BOOTHPAGE COMPANY BOOTH PAGE COMPANY BOOTH PAGE

Birns & Sawyer C7838 7 CoreEL Technologies SU7622 9 Caper C11540 7 BIRTV2010 C1122 6 CoreMelt SL4028 11 Carl Zeiss C6345 6 Bitcentral SU2312 8 Corplex 0E1738 14 Cartoni C9918 7 Bittree C4748 6 S218LMR 10 Cavena Image Products N7019 4 Coship Electronics Blackmagic Design sturzo 12 Coship Electronics SU4607 8 CCBN2011 C1605 6 Blankom SU7827 9 Counterpoint Systems N6221 4 Cedar Audio C3039 6 Blastwave FX SL8813 12 C2310 6 Ceiton Technologies SL7625 12 Countryman Associates Blonder Tongue Laboratories ....SU2702 8 CPC SL5620 12 CGS Infographics Automation ...SU2602 8 BLT Italia C11834 7 CPI C1407 6 Checkers Industrial Products C2046 6 BlueArc SL2728 11 CPI SU2617 8 Chenbro Micom S L8306 12 Bluebell Opticom N4019 5 Crawford Communications SU3025 8 Chimera C3346 6 Bluefish Technologies SL5011 12 Crews Control/Team People C12330 7 China Infomedia C7341 6 Bluetop Technology SU3725 8 Crispin N1331 5 ChinaCache North America ..SU9506CC 9 Boeckeler Instruments SL2505 11 Crown Broadcast C2632 6 Christie Digital Systems S L2005 11 Boinx Software C12240 7 Crystal Vision N820 5 Church Production Magazine..... C2954 6 Boland Communications SL5113 12 CTM/ Dabrie SL10313 13 Chyron SL1420 11 Bomar Interconnect Products C5447 6 C -T -S SL4514K 12 CineBags C5138 6 Bon Electro-Telecom SL10326 13 Cummins Onan C7542 6 Cinegy SL2725 11 Bosch Security Systems C4337 6 Cyber International Cinemills C2549 6 Boxx TV C6539 6 Technology SU8013 9 Cinetech Italiana C7240 6 Brainstorm Multimedia SL5329 12 Cinevate C5647 6 Brick House Video N4019 5 Cintel SL2816 11 Bright Systems SL8529 12 CIS Technology N2537 5 Daitros (i-Chips Technology)... SL10723 13 Brite Shot C3746 6 Cisco SU10612 9 Daktronics C12419 7 Broadcast Asia C1505 6 Civolution S U6502 9 Dalet Digital Media Systems SL4720 12 Broadcast Bionics C644 6 Clark Wire & Cable C9533 7 Da-Lite Screen SL10216 13 Broadcast Electronics C1628 6 Clear Channel Satellite SU3117 8 Darnell/ C4746 6 Broadcast Engineering S19123 12 Clear-Com Communications Dan Dugan Sound Design C1944 6 SU9313 9 Broadcast Interactive Media Systems C6025 6 Dasto C762 6 Broadcast International SU6207 8 Click Effects SL1729 11 Data Color C6019 6 Broadcast Microwave Services.. C6045 6 ClusterMedia Labs N6529 4 DataCrIrect Networks SL4508 12 Broadcast Pot N4506 5 Cmotion C11729 7 Datavideo SL3924 11 Broadcast Software Coast to Coast Tower Service C1114 6 Davicom C1124 6 International C1151 6 Coastal Media Group SU9214 9 Dawnco SU7813 9 Broadcast Traffic Systems N4019 5 Coaxial Dynamics C1310 6 Dayang Technology Broadcasters General Store C1451 6 Cobalt Digital N2830 5 Development SL9620 12 BroadcastStore.com C9733 7 Cobham SU4620 8 DaySequerra N3400 5 Broadview Software N4334 5 Cobham SatCom 14 0E1606 DB Elettronica Broadway Systems N6212 4 Cobham SatCom SU8523 9 Telecomunicazioni SU5610 8 Brother International C3436 6 Comlabs C557 6 DCA N6129 4 BTX Technologies C8537 7 Communications Research DDD SL1411 11 Building4Media-Primestream.... SL6510 12 Center Canada SU6512 9 Dedolec C2946 6 Burk Technology C1614 6 Communications Specialties SL1726 11 Dejero Labs N5020 5 Burli Software C2343 6 CompactFlash Association C12331 7 DekTec Digital Video SU6202 8 Burst C11126 Compix Media C9515 7 Delta Digital Video SL10320 13 Burst Electronics C8234 7 Comprehensive SL1417 11 Delta Meccanica C3132 6 Business Technology N1434 5 Compunicate Technologies .....SU6802 9 Deltacast SL8006 12 Comrex C1920 6 Denon & Marantz Professional... C1444 6 C Com-Tech High Freq and Dexel C2759 6 Broadcast SU5306 8 Cache -A SL7906 12 DG FastChannel/Pathfire N5123 4 Comtech Telecommunications SU5613 8 CalDigit SL8226 12 DH Satellite SU7225 9 Comvenient ....SU8821 9 Calibre UK N617 5 Dicas Digital Image Coding C11727 7 Conax SU5604 8 Calrec Audio C1746 6 Dielectric Communications C2222 6 Contemporary Research SU5702 8 Cambotics C5515 6 Digidia N1005 5 Continental Electronics C1607 6 Camera Dynamics C6025 6 Digigram C1639 6 Cooke/ZGC C5347 6 Camera Motion Research C10137 7 Digigram N1306 5 Cool -Lux C7239 6 Camera Turret C11733 7 Digimetrics N6129 4 CoolTouch Monitors C10148 7 Cammate Systems C8013 7 Digital Alert Systems C3651 6 coolux International SL10513 13 Camplex C7837 7 Digital Anarchy SL3927 11 Copper Development Camrade C12430 7 Digital Horizon C3028 6 Association C1113 6 Canon C4325 6 Digital Rapids SL6010 12

March 2010 I broadcastengineering.com 17 MAP INDEX

COMPANY BOOTH PAGE COMPANY BOOTH PAGE COMPANY BOOTHPAGE

Digital Vision S L3709 11 Envivio SU4302 8 Fuzhou F&V Photographic Dimetis SU7204 9 Equinix SU10120 9 Equipment C2952 6 Disc Makers SL8806 12 Ericsson SU3308 8 Fuzhou Sunur Electronic Discovery Sysko C11827 7 ERI-Electronics Research C2032 6 Technology SL10516 13 Display Devices SL5605 12 ESE C6437 6 C1751 6 DK Technologies Etilux C4646 6 G DMT System C1610 6 ETL Systems SU7522 9 Galaxy 1 Communications SU4604 B DNF Controls N1212 5 Euphonix SL2813 11 Gastager Systemtechnik C12440 7 Dolby Laboratories SU7917 9 EuroTel SU820 8 Gecko -Cam C12042 7 Doremi Labs C5640 6 Eutelsat America SU3721 8 Gefen SL2809 11 Dorrough Electronics C3016 6 Eventide C2634 6 GenArts SL2607 11 Dow -Key Microwave SU9223 9 Evertz N1602 5 Genelec C2239 6 DPA Microphones C3319 6 EVS C204LMR 6 General Dynamics SU3902 8 DSC Laboratories C11426 7 EVS C9508 7 General Dynamics Satcom DSI RF Systems SU5717 8 Extron Electronics SL9610 12 Technologies 0E2315 14 DTS SU8526 9 Eyeheight N4019 5 Gennum N5337 4 DTV Innovations SU2902 8 Eyeon Software SL2515 11 Geo Group, The SU1702 8 Duma Video SU6002 8 EZ FX C12422 7 Gepco C5643 6 DVB SU5323 8 EZNews N3415 5 Glensound Electronics C857 6 DVEO/Computer Modules SU2709 8 EZQuest SL8607 12 Glidecam Industries C7029 6 DVIDS SU2304 8 GlobeCast SU3502 8 DVS Digital Video Systems SL3305 11 F Globecomm Systems SU4307 8 Dynacore Technology C12028 7 Facilis Technology SL3629 11 Glookast SL1429 11 DynaScan Technology SL5305 12 Falcon Eyes C5450 6 Glue Tools C6743 6 Fast Forward Video C8016 7 Glux Tech (Shenzhen) SL10011 12 E Fastec Imaging C10049 7 GMIT C12040 7 E.L. Marsden Wireless SU2704 8 FiberPlex C1314 6 GMPCS Personal EchoStar SU6020 8 File Catalyst SL8505 12 Communications SU5602 8 Eckel Noise Control Tech C2243 6 Film and Digital Times C6843 C7519 6 Econco C1407 6 Film Gear (International) C7937 7 GotoBavaria/Invest in Bavaria... C12438 7 EDAK N6915 4 Filmotechnic C7242 6 Graphics Outfitters SL10623 13 Edgeware SU4921 8 FirstCom Music SL8715 12 Grass Valley SL106 11 EditShare SL4725 12 Fischer Connectors C11724 7 Great Lakes Cases C12737 7 EEG Enterprises SL9120 12 Fission Software N7029 4 Greatway Technology SU6811 9 Egatel SU5723 8 Flanders Scientific SL9907 12 GRID -TV C12439 7 Eizo Nanao Technologies S L8009 12 Flash Technology C3129 6 G -Technology SL5029 12 Elber SU2624 8 FLIR Systems C7237 6 Guangzhou Modern Media SU7307 9 Elecard SU7325 9 FLO TV 0E1751 14

Electronic Theatre Controls ...C203LMR 6 FLO TV SU1424 8 H Electrorack Enclosure Florical Systems N4329 5 H.C. Jeffries Tower Company C3123 6 Products C10421 7 Flying -Cam C5044 6 HaiVision Network Video SL4424 11 Electrosys SU2226 8 Focus Enhancements SL1705 11 Hamilton Metalcraft C2244 6 Element Technica C12326 7 FOR -A C5219 6 Hamlet Video International SU7507 9 Elemental Technologies SL4529 12 Forbidden Technologies SL8305 12 Hannay Reels C8415 7 Elenos C3207 6 Formatt C6019 6 Hansol2l SU4605 8 Elettronika Group SU5906 8 Foundry, The SL2805 11 Hardata N1518 5 Elrom SL1511 11 Fraunhofer Allianz Harmonic SU7213 9 Emcee Communications SU9122 9 Digital Cinema C12039 7 Harris N2502 5 e-mediavision.com SL8205 12 Fraunhofer IIS C1446 6 Harting C5449 6 Empire State Filter Company C4839 6 Fraunhofer-Gesellschaft HHI C12040 7 HD Radio C151 6 Empress Media Asset French Hub N1005 5 HDAVS C8128 7 Management N1516 5 French Pavilion N1005 5 Henry Engineering C1246 6 EMR N5821 4 Front Porch Digital N5806 4 Hewlett Packard SL5220 12 Enco Systems C3036 6 Frontline Communications C8019 7 HHB C2228 6 Endavo Media SU9506U 9 Fujifilm Recording Media C7425 6 Hi Tech Systems N3100 5 ENENSYS Technologies SU6419 9 Fujinon C7425 6 HighPoint Technologies SL8807 12 Engstler Elektronik Fujitsu Frontech Hilomast C6147 6 Entwicklung C12143 7 North America SU5607 8 H I S PASAT SU8923 9 Enhance Technology SL5109 12 Future Media Concepts SL7706 12 Hitachi Kokusai Electric Enigma Systems N1102 5 FuzeBox SL4228 11 America C4309 6 Ensemble Designs N1929 5

18 broadcastengineering.comI March 2010 Color listing indicates advertiser

COMPANY BOOTH PAGE COMPANY BOOTH PAGE COMPANY BOOTHPAGE

Hi -Tech Enterprises C11524 7 LEA International N6121 4 J.L. Fisher C6342 6 HME C8439 7 LEAD Technologies SU8906 9 J7 SL10628 13 Hoodman Corporation C10637 7 Leader Instruments C8140 7 Jampro Antennas C2607 6 Hosa Technology SL2507 11 Lectrosonics C1717 6 Jenco Technologies SU2712 8 Hotronic C12026 7 Leightronix C9015 7 Jetcast C3128 6 Hybrid MC N1302 5 Lemo USA C9012 7 JK Audio C2010 6 L -E -N N4019 5 JLCooper Electronics N1617 5 Level 3 Communications SU9506Z 9 JMA Architecture Studios C8332 7 Libec Sales of America C8532 7 JMR Electronics SL7408 12 IABM C10149 7 Linear SU7327 9 JonyJib 0E2815 14 IBC C1205 6 Linear - TV Broadcast SU8512 9 Joseph Electronics C3747 6 IBM N5823 4 Jiinger Audio Studiotechnik SU7206 9 Linear Acoustic SU8125 9 ICG Magazine/ICG Local 600 C10306 7 Link Electronics N2115 5 JVC USA Professional Products. C4314 6 ICM. C7539 6 Litepanels C6025 6 1DC Photo Video C8438 7 LiveU SU9210 9 Ideasunlimited.tv N4019 5 K Location Sound C1325 6 IDX System Technology C8419 7 K2E Tekpoint N6721 4 Lockheed Martin N4918 5 Igolgi SU7524 9 K5600 C2455 6 LogicKeyboard/BSP SL7608 12 IHSEusa SL9910 12 KAE C8510 7 Logicube N514 5 Ikan C9137 7 Kaltura SU9506W 9 Logitek Electronic Systems C2636 6 Ikegami Electronics C5108 6 KATA C6019 6 Log iways N1305 5 Image Engineering Dietmar Kathrein Mobilcom Brasil SU817 8 LP Technologies SU2904 8 Wueller C11833 7 Kathrein, Scala Division SU817 8 LSI N614 5 Image Video C5649 6 Kathrein-Werke SU817 8 Luoyang Ruiguang Movie - Imagineer Systems SL3927 11 Kay Industries C1926 6 TV Optic Electronic Tech C8808 7 Imec C11824 7 KB Covers SL7629 12 Lynn Products SL8507 12 Immersive Media SU2006 8 KCEI N1303 5 Lynx Technik AG N5011 5 C4644 6 I-Movix KD Kanopy C1134 6 Impire C12343 7 KDDI R&D Laboratories SL9105 12 M INA N1638 5 Keith Austin C12429 7 Independent Audio C2939 6 Ma esti °Vision N4921 5 KenCast. SU4905 8 Ineoquest SU5326 8 Magnum Towers C1307 6 Kern electronic C11828 7 Inlet Technologies SL929 11 SU6825 9 Key Head C5238 6 MainConcept Innovision Optics C7433 6 Mainstream Network C244 6 KGS Development C4846 6 Inovonics C1411 6 C6019 6 Killer Tracks SL7615 12 Manfrotto Intel N523 5 Manfrotto Distribution C6019 6 Kings -Winchester Electronics...SU6213 8 Intelsat SU1417 8 Manzanita Systems SU6910 9 Kino Flo Lighting Systems .. C2049 6 Inter BEE C10748 7 C6537 6 Kintronic Labs C1332 6 Mark Roberts Motion Control C12537 7 Markee 2.0 C7342 6 InterMedia Solutions KLZ Innovations C862 6 Internap SU9506AA 9 C5343 6 KOBA 2010 (Korea E&Ex) C10848 7 Markertek International Datacasting SU6321 9 C8931 7 Kobold C5437 6 Marshall Electronics International Supplies C12024 7 Konica Minolta Sensing Masstech Group N5218 4 Interra Systems N6135 4 N4621 5 Americas SL10922 13 Masterclock Intopix C5146 6 SL3920 11 KPFF Consulting Engineers C3741 6 Matrox Electronic Systems SL4514J 12 6 10 Industries Kramer Electronics SL4505 12 Matthews Studio Equipment C3251 ioko SU8520 9 Maxell C8737 7 Kroma Telecom SL10920 13 1percast N1003 5 SL5624 12 KTech Telecommunications SU9719 9 Maxon Computer Ipharro Media N6229 4 Maxx Digital SL1512 11 K-Tek C10037 7 Irdeto SU9717 9 C444 6 Kupo C6440 6 Mayah Communications Irides SL7927 12 MBT N1103 5 IRTE SU5312 8 mDialog SU9506I 9 L Isilon Systems SL4105 11 Media Links N1815 5 iStar SL10321, SL10421 13 L.T.M C7032 6 Mediaproxy SU3020 8 iStoragePro SL8822 12 L-3 Communications SU3326 8 Megatrax Production Music C757 6 ITL C1344 6 LaCie SL8526 12 Megatrax Production Music SL8013 12 IN Alliance S213LMR 10 L'aigle Paris C11739 7 Merging Technologies C3139 6 ITV Alliance SU9506E 9 Larcan SU3317 8 Metro Video Systems 0E1643 14 Izotope C1620 6 Lasergraphics SL7720 12 MGt SU9506R 9 Lawo C2217 6 Micro Communications (MCI) C2313 6 J Lawson & Associates/ Microboards Technology SL5005 12 Architects C7846 7 Microsoft SL220, S L227 11 J A Taylor & Associates 0E2330 14 LBA Technology N516 5 Microspace Communications....SU7222 9

March 2010 I broadcastengineering.com 19 IMAP INDEX

COMPANY BOOTH PAGE COMPANY BOOTH PAGE COMPANY BOOTH PAGE

Microwave & RF Resources SU3118 8 Ningbo Eimage Studio Phabrix N319 5

Microwave Service C6419 6 Equipment C9542 7 Pharos N3719 5 MikroM C11727 7 Ningbo Jinhui Photographic Phasetek C1311 6 Miller Camera Support C8125 7 Equipment C7338 6 Phillystran C1722 6 Mindspeed Technologies N408 5 Ninsight N1005 5 Photo Research SL8924 12 Minnetonka Audio Software C2037 6 NKK Switches N6425 4 Photoflex C2452 6 Miranda Technologies N2515 5 Non -Stop Music SL7612 12 Photon Beard C3246 6

MiraVid SU4602 8 Noon Technology C7639 6 Photron SL1514 11

Mirror Image Teleprompters C7337 6 Noren Products SL2506 11 Pictron SL1416 11 Miteq/MCL SU3119 8 Norpak N3418 5 Pilat Media North America N5812 4 Mitsubishi Electric -Diamond Norsat International SU3027 8 Pineapple Technology C1120 6 Vision Systems SL9616 12 North Plains Systems N1631 5 Pixel Power N2034 5 Mobiclip SU9506N 9 Novella SatComs SU3126 8 Pixelmetrix SU1120 8 Mobile Entertainment Forum SU9506M 9 NPR Satellite Services SU6913 9 Planar Systems SL8220 12

Mobile Imagination C11741 7 NTT Electronics S2O1LMR 10 Plasticase C11531 7 Mode -AL C3846 6 NTT Electronics SU7217 9 PlayBox Technology N5829 4 MOG Solutions SL1406 11 NuComm C6419 6 Plazamedia C12037 7 Mogulus SL10029 12 NVerzion N729 5 Pleora Technologies SU6810 9 Mohawk C11831 7 Nvidia SL5629 12 Plura Broadcast N3421 5 Mojo Pages SU2612 8 Plus24 C3740 6 Mole -Richardson C2546 6 0 Polecam C7933 7 Monarch Innovative Pond5.com SL1412 11 O'Connor C6025 6 Technologies SL10023 12 Porta Brace C10418 7 Octopus Newsroom Trading N5434 4 Moog-Quickset C8316 7 Porta-Jib/Losmandy C7840 7 Octoshape SL4527 12 Moseley Associates C2610 6 Potomac Instruments C1410 6 OMB Sistemas Electronicos SU5720 8 Motion Analysis SL3805 11 Power Module Technology C1623 6 Omneon N5106 4 Motion Picture Enterprises C9806 7 Praezisions-Entwicklung Denz.. C12443 7 Omnia Audio C146 6 Motorola SU2912 8 Precision Communications SU4320 8 OmniBus Systems N3722 5 Motu SL2720 11 PRG C3743 6 Omnirax MultiDyne Video & Fiber Prime Image N4036 5 OMT Technologies C1054 6 Optic Systems C7637 6 Primera Technology SL8920 12 On Call Communications 0E910 14 Myat C1317 6 Prism Media Products C944 6 On the Spot Media SL9705 12 Myers Information Systems N1615 5 Pristine Systems/Summit Traffic . C3032 6 Open Text N6509 4 Pro Cyc SL5720 12 OpenCube Technologies SU6807 9 N ProConsultant Informatique N6624 4 Optibase SL3329 11 ProductionHUB.com C8539 7 N Systems C3310 6 Optical Cable SU8823 9 Professional Sound C1118 6 NAB Public Service Initiatives N6138 4 Opticis SL10212 13 Professional Sound Services C11424 7 Nagra C1107 6 Optocore North America C459 6 Promax Electronica SU3004 8 Nagravision Kudelski Group SU4912 8 Orad Hi-Tec Systems SL2014 11 ProMax Systems SL1414 11 Narda SU7226 9 Orban C1657 6 Prompter People C9143 7 National Association of Overly Door C544 6 Prompting.com - Electronic Tower Erectors SU7202 9 Script Prompting C8437 7 National Captioning P Propagation Systems (PSI) C754 6 Institute (NCI) SL7407 12 P.I.Engineering SL7627 12 ProPrompter C5237 6 National Weather Service C3029 6 P+S Technik C5348 6 Prosonic C12437 7 Nautel C2615 6 PAG C9918 7 ProTelevision Technologies SU6506 9 ND SatCom 0E410 14 Panasonic Broadcast Group C3712 6 Provys-DCIT N6612 4 Nemal Electronics C2541 6 Panther C11726 7 PSSI Global Services SU5913 8 NEP 0E2319 14 ParaScale N6423 4 Net Insight SU3323 8 Paravel Systems C1146 6 Q NetApp N205LMR 15 Paris Chamber of Commerce N1005 5 Netia SU3502 8 QNAP Systems SL8907 12 Patchamp N1517 5 Neumann C2228 6 ODE Systems SU4514H 8 Path 1-IPVN SU7302 9 Neutrik C2336 6 QTV/Autocue C9921 7 Peak Communications SU7227 9 Never.no SL7427 12 Quadrus Technology SL5008 12 Pebble Beach Systems N6809 4 Nevion N4624 5 Qua lis Audio N3730 5 Pelican Products C10337 7 Newsroom Solutions/ Qualstar N6511 4 Penta Studiotech N1023 5 NewsTicker C4348 6 Quantel SL6505 12 Penton Media SL9123 12 Newtec SU2217 8 Quantum5X Systems C1062 6 PESA N4123 5 NewTek SL10814 13 Qube Cinema SL4514B 12 Petrol C6025 6 NextoDl C11924 7 Quest Research & Development.N3300 5

20 broadcastengineering.com I March 2010 Color listing indicates advertiser

COMPANY BOOTH PAGE COMPANY BOOTHPAGE COMPANY BOOTH PAGE

Quintech Electronics and SAN Solutions SL2327 11 SmartSound Software SL7609 12 Communications SU6613 9 SAPEC SU6513 9 SnapStream Media SU2707 8 QVS C6145 6 Satellite Engineering Group SU7825 9 Snell N1820 5 SATMEX SU8819 9 Sofradir Ec, formerly

R SatNews Publishers .SU2109 8 Electrophysics C12127 7 ScheduALL Software SL4420 11 Softel N2534 5 Radian Communication Services C1131 6 Schill & Co C5349 6 SoftNl SL4110 11 Radio Frequency Systems C2907 6 Schneider Optics C7633 6 Softron Media Services SL7606 12 Radio Systems C3013 6 Schulz Camerasupport C12142 7 Solid State Logic C3313 6 Raidon-USA Technology SL8821 12 ScoreBox/Howard Zuckerman & Sonifex C2739 6 RCS C2628 6 Associates SL10420 13 Sonnet Technologies SL7727 12 RDL Radio Design Labs C451 6 Screen Plane C11729 7 Sony Creative Software C10515 7 Re:Vision Effects SL4130 11 Screen Service Broadcasting Sony Electronics C11001 7 Red Giant Software SL4127 11 Technologies SU4908 8 SOS Global Express 0E1725 14 Redbyte Design N6323 4 Screen Subtitling Systems N6806 4 Sound Devices C1354 6 Redding Audio C1923 6 ScreenKeys N1515 5 Sound Ideas SL8416 12 Redrock Micro C10215 7 SeaChange International N5311 4 Sound4 N1403 5 Rees Associates C4837 6 SeaChanger C6844 6 Soundminer SL8512 12 Reflecmedia C7749 7 Sellner Staging N3532 5 Soundproof Windows C1844 6 Remote Audio C1457 6 Sencore SU4310 8 Spectra Logic N6216 4 Renegade Labs C6842 6 Sennheiser Electronic C2228 6 Spinner C159 6 Renewed Vision N3231 5 Sensing Systems SU6804 9 SportsDirect SU2309 8 Research Concepts SU3125 8 Seratel Technology C3316 6 Square Box Systems SL7708 12 RF Central C6419 6 Service Vision USA C4841 6 Squid.. C12329 7 RF Extreme C6419 6 SES World Skies SU823 8 SSL N808 5 RGB Spectrum SL1714 11 SGL ..N1520 5 ST Video -Film Equipment C11440 7 Rhozet SU7807 9 SGT N1402 5 Staco Energy Products C1148 6 Richardson Electronics SU6814 9 Shadowstone C2944 6 Stainless C2025 6 Richland Towers C1635 6 Shantou Nanguang Stantron C6049 6 Riedel Communications C6747 6 Photographic Equipment C2859 6 STE-MAN C9918 7 Rimage SL8523 12 Shape WLB C12128 7 Step2e C12342 7 RJS Electronics N4416 5 Shenzhen Konka Video & Stephen Arnold Music SL8513 12 RME C1320 6 Communication Systems Stereoscopic Technologies C12442 7 Rocket 011537 7 and Engineering SU9518 9 Sto re (TV N329 5 Rohde & Schwarz SU3717 8 Shenzhen Qiaohua Industries....SU7925 9 Stratacache SU4702 8 Roland Systems Group C4345 6 Shining Technology C6538 6 Stratos 0E1720 14 Root 6 Technology SL4428 11 Shively Labs C3019 6 Streambox .SU8911 9 Ross Video N3807 5 Shotoku Broadcast Systems . . C8615 7 Streaming Media/ Event DV SU7305 9 R -Quest Technologies SL5107 12 ShowMgr.com SL5007 12 Student Filmmakers Magazine.. C10106 7 RRSat-Global Communications Shure C2013 6 Studer Soundcraft C2619 6 Network SU6911 9 Shutterstock SL1716 11 Studio Technologies C10048 7 RSG Media Systems N7025 4 Sichuan Jiuzhou Sumavision Technologies SU4317 8 RTI-Research Technology Electron Group SU6518 9 Sunniwell C9548 7 International C3851 6 Sierra Automated Systems & Superior Broadcast Products ....SU2713 8 RTT News SU1802 8 Engineering C3010 6 Superior Electric C1108 6 RTW C457 6 Sierra Video SL4505 12 Sure Shot Transmissions 0E1715 14 Rushworks N705 5 Signal Telecommunications SU9212 9 SWIT Electronics C11428 7 RVR Elettronica C848 6 Signiant SL2027 11 Switchcraft C8137 7 RYMSA C2313 6 Signum Bildtechnik C12043 7 Synthax C1320 6

Singular Software SL4128 11 SysMaster SU8809 9 S SintecMedia N5816 4 Systembase C3134 6

S&T (Strategy & Technology) N4016 5 Sira S U3022 8 Systems Group, The C5115 6 SIS Live S.W.R C1126 6 SU1920 8 Systems Wireless C6419 6 Sisvel Technology 7 Sabre Towers & Poles C1925 6 C9537 Skylark Technology 4 Sachtler C6025 6 N5919 Sage Alerting Systems C1358 6 Skyline Communications SU9417 9 Tascam SL1717 11 Saicom Trade Fairs & Skymicro SL7725 12 Tata Communications N6419 4 Exhibitions C10506 7 Slatercom- WCD C1328 6 TBC Consoles C12626 7 Salzbrenner Stagetec C1057 6 Slik Broadcast C12033 7 Teac. SL1816 11 Sam Woo Electronics C1249, C6742 6 SmaIIHD C11124 7 Teamcast SmartJog SU6023 8 Samson Technologies C1422 6 SU6509 9 Tec Nec Distributing C1941 6

March 2010broadcastengineering.com 21 IMAP INDEX

COMPANY BOOTH PAGE COMPANY BOOTH PAGE COMPANY BOOTHPAGE

Techflex C8334 7 UniQoptics C10050 7 Ward -Beck Systems N3425 5 Techni-Tool C9237 7 Unique Broadband Systems SU5309 8 WASP3D SL9624 12 Technocrane C7843 7 Unitek Information Technology.. SL7423 12 Wavestream SU3002 8 Technology Exchange & Upcom Technologies SU9522 9 WCIX.Net/TotalStream SU9506V 9 Tech-ex.com SU8919 9 Utah Scientific N4511 5 Weather Central SU912 8 TechSmith SL9912 12 Weather Metrics SU2613 8 Tedial N5832 4 V WebCheckout SL7410 12 Tektronix N2522 5 Wegener SU4902 8 Vaddio C8008 7 Telairity SU7526 9 Well Buying Industrial N6233 4 Vantage Film C12237 7 Telecast Fiber Systems C8925 7 WeIIAV Technologies SU2905 8 VariZoom C7025 6 Telemetrics C8525 7 Wenger N3830 5 VASST C9906 7 Telesat SU2621 8 Wheatstone C2623 6 VBrick Systems SL3309 11 Telescopic C9545 7 Whirlwind C4342 6 VCS Engineering C3332 6 Telestream SL3614 11 WhisperRoom SL5105 12 VDS N5134 4 Telikou China C8416 7 White Sands Vector 3 N6132 4 Telly Awards SU2008 8 Eng i neering/TVC SU6417 9 Veetronix N6119 4 Telmec Broadcasting SU4617 8 WideOrbit N5129 4 VeriCorder Technology SU9506L 9 Telos Systems C146 6 Will -Burt C8333 7 Verimatrix SU1926 8 TelVue N6729 4 Winmedia N1005 5 VidCAD by CommSys Design N702 5 Tempest Fireco Towers SU9220 9 Winsted C8608 7 Vidcheck N4019 5 Teranex N1115 5 WireCAD N6219 4 Video Caption SL8805 12 TFT C2307 6 Wireworks C8612 7 Video International Thales- Angenieux C6037 6 Wohler Technologies N3023 5 Development N1435 5 Thermo Bond Buildings C1430 6 Women's Online Media & Video Stream Networks N4616 5 Thermodyne Cases C5637 6 Education Network C1133 6 VideoBank N814 5 Thinklogical SL4729 12 Wowza Media Systems SU9310 9 VideoHelper SL8012 12 Tieline Technology C157 6 WSI SL5116 12 Videssence C3144 6 Tiffen Company, The C8818 7 VidiGo SL8829 12 Tiger Technology SL7723 12 X Vidizmo SL8207 12 Tightrope Media System N811 5 ViewCast S117LMR 13 XD Production N1405 5 TitanTV N5838 4 ViewCast SL1709 11 XDT SU3019 8 TMD N3716 5 Vimsoft N520 5 XenData N6609 4 Tokina Company C8442 7 Vinpower Digital SL7412 12 Xicom Technology SU7910 9 Toner Cable Equipment SU3205 8 Vinten Radamec C6025 6 Xilinx N302 5 Tools On Air SL1516 11 Visio Light C2852 6 XOrbit N511 5 Toshiba International C11042 7 Vision Research C8049 7 Xytech Systems SL9915 12 Touchcast C4946 6 Visionary Solutions SU5902 8 Tower Consultants C2732 6 Vislink News & Entertainment C3707 6 TrafficLand SU1708 8 Vista Systems SL2005 11 TransLanTech Sound C1323 6 Yamaha Commercial Visual Research SL2510 11 Transvidoe C3841 6 Audio Systems C1336 6 Vitec Group C6019 6 Trilithic SU5704 8 Yang Ming International SL7908 12 Vitec Group C6025 6 Trinity Engineering C4944 6 Yellow Jacket C2459 6 Vitec Group C6419 6 Triton Loyalty SU9506BB 9 Yuyao Fotodiox Vitec Multimedia/Stradis SU6902 9 8 Triveni Digital SU3202 Photo Equipment C11128 7 Vitesse Semiconductor N5921 4 Troll Systems C8146 7 Vizrt SL5408 12 TRT SU6026 8 VLoop SU9506FF 9 TSL (Television Vocalbooth.com SL8510 12 Systems Limited) N6515 4 Z Reiss & Associates/Raynox C5137 6 Vocas C7537 6 TV One C3943 6 Z Technology SU3018 8 Volicon SU5302 8 T-VIPS AS SU6721 9 Z3 Technology SU6014 8 Voped SU9506DD 9 TVLogic SL6514 12 Zacuto C5041 6 V -Shine SU3725 8 TVU Networks SU9002 9 Zaxcom C154 6 VSM Control N6429 4 TWR Lighting C2136 6 Zaxwerks SL3928 11 V -Soft Communications C2734 6 Tyler Camera Systems C7238 6 Zeus Broadcast N4319 5 Zhengzhou KEMA Power Supply C11433 7 U Zhenjiang Lanjian Electron C2036 6 W B Walton Enterprises 0E1728 14 UK Group Hospitality Area N4019 5 Zippy SL10620 13 Wacom Technology SL8520 12 Ultimatte SL6005 12 Zunzheng Digital Video SL9905 12 Walde SL7910 12 Ultrium N5835 4 Zylight C2249 6 Walther Electric C11439 7 Unimar C2839 6

22 broadcastengineering.com I March 2010 yoarae. K q

BroateastEngineering,' EirightCy Ateec, -\ 2009 3G,HD/ 0 0 e ENSEMBLE 4111111111. - Mode - o E ' Cs 11 -HD For-deo-0om G N Video MINN, IMMO Audio lemem In Ref Position Aspect &older Shaiip fig BrightEye Mitto" ears Scan Converter For Broadcasters

Do You Need to Broadcast Video Content from the Web? BrightEye Mitto offers the best way to :ake computer video to air. Video that orce seemed constrained by your computer desktop can now be used for the most demanding broadcast and display applications. Just use a mouse to select the video you want to output to air.

Superior Quality - For the Most Demanding Broadcast Applications BrightEye Mitto* has the advantage of proprietary scaling technology and exclusive multi -tap filtering. The filters automatically adjust in accordance with the conversion being performed. The result is that the output looks as good, or better, than the original and passes the most stringent testing.

A broadcaster came RS -232 / GPI Analog / Digital SDI Out 2 CpstfrAES Out to us and asked that Audio In we build an HD scan

converter for them. , 4 , BrightE to frf:tee,'" When we brought the ,. USE DVI / VGA Loop Out DYI / VGA Input Ref Ire prototype to them for

j testing, they were ec- MMMMMM * ,

static at how good the output looked.

See you at NAB Booth N1929

Purveyors .c.-1 Fr-Ti76,V;(1.2c, - ENSEMBLE Loved By En9%ne&t.-5 A>cDt-/dit_);01& DESIGNS www.ensembledesigns.com 9' Mitto - the Latin root word for Transmit and Uncompromising 530.478.1833 LDK 8000 ELITE

SOME THINGS YOU HAVE TO SEE TO BELIEVE.

There's no mistaking the look produced by the Grass Valley- LDK 8000 Elite Multi Format High Definition Camera. With three 9.2 -million pixel native switching HD-DPM+- CCDs, 14 -bit A/D sampling, 34 -bit digita signal processing resolution and, with WorldCam support for 1080p50/60, this multi -purpose yet highly affordable It's Gotta Be A Grass! camera produces a picture so stunning that it will have you looking twice. Visit us at Booth SL106

For more information, please visit grass valley www.grassvalley.com/Idk8000_elite EVD1-vE-MbNIME.Kbvi.smiKrEi?...

Growth in broader -casting® is fueled by the evolution and disruptive technologies that are redefining taking place around the world right ncw. The global the viewing experience. Broadband's potential to exchange of content, technology and innovation that is revo'utionize content delivery at every turn will be driving us forward will be captured and showcased at unveiled and discussed, from Web sites, VOD and the 2010 NAB Show:" set -top boxes to adve'tising and sales.

Introducing Destination Broadband: This cutting - Join the worldwide community of content creators, edge area of the show floor focuses on broadband - producers, managers and distributors, and bring your enabled TVs, online video, mobile broadband networks, content to life at the NAB Show, the ultimate venue DESTINATION platforms, gaming, for exchanging tomorrow's solutions and today's most BROADBAND IP, streaming, successful revenue strategies. For more information, The Online Video Experience monetization visit www.nabshow.com. NI4fi, BSHOW Where Content Comes to Lifer"

Confere -ices April 10-15, 2010 :: Exhibits April 12-15 Las Vegas Convention Center :: Las Vegas, Nevada USA aFE ff_1';13

A winning combination!

94 Audio accessories 107 Production switchers, video 94 Audio mixers, on -air, portable, effects, keyers studio, playback 108 Recording media 96 Audio recording, storage, playback 109 Satellite equipment, services 96 Audio routing, distribution 110 Studio and support products, 98 Automation, including news and multi -image displays master control 113 3-D 99 Cameras, lenses, accessories 113 TBCs, frame syncs, 100 CGs, prompters, captioning conversion equipment 100 Consulting services, technical engineering 115 Telco, IPTV and mobile video equipment 100 Graphics, animation products 116 Test & measurement equipment 101 Intercom, IFB products 118 TV transmitters, feedline, antennas, 102 Lighting equipment towers, services 102 Media storage, archive systems, 120Video editing systems asset management 120 Video routing 106 New media, streaming products, 121 Weather/data services multimedia/Internet 121 Wire, cable, connectors

92 broadcastengineering.com I March 2010 AC Li POWERED BY FLORICAL SYSTEMS

Simplification made Simple'

Station -In -A -B

HD playout, Switcher, Graphics, and Effects

Automated EAS, Weather, and School Closings

AUDIO LOUDNESS CONTROL MULTICHANNEL Audio accessories Junger Audio Level Magic LEVEL CONTROLLER The automated audio loudness controlWard -Beck Systems MLCB AUDIO ANALYZER system for production and broadcast fea- Handles AES, Dolby E, Dolby AC3, ana- Audio Precision APx series tures new additions that offer an integrat- log audio or HD/SD embedded signals; The BW52 ultra -high -bandwidth 1MHz ed workflow solution for managing Dolby equipped with eight LED bar graph level FFT option for the APx525 family of au- coded 5.1 audio signals in production,displays, individual channel and master dio analyzers delivers bandwidth (DC toingest and playout; adjusts the level from level control with mute function, level sta- 1MHz) and 1 million points; offers 24 -bit any source at any time, with no pump- tus LED indicators, presets and toggling resolution when measuring out -of -band ing, breathing or distortion; based on a between 5.1 and stereo listening, and 7.1 noise in Class -D amps, sigma -delta con- simultaneous combination of an AGC, a and 5.1 to stereo mix -down capability. verters and other modern audio devices; transient processor for fast changes and a peak limiter for continuous unattended 416-335-5999; www.ward-beck.com the v2.5 software update includes custom Booth: N3425 reporting options, allowing automatic, di- control of any program material, regard- rect export of APx test and measurement less of its original source. data into customizable Word documents, +49 30 677 7210; www.junger-audio.com .wav file analysis (allowing testing of digi- Booth: SU7206 MODULAR AUDIONIDEO MONITOR tal recorders, PC sound cards, etc), and the Wohler AMP2-16V ability to stream Dolby's TrueHD lossless 3G/HD/SD-SDI 16 -channel audio/video audio compression format through the monitor is a new dual 4.3in OLED ver- APx HDMI option. sion of the company's AMP2-16 series 800-231-7350; http://ap.com/ monitor; features Dolby Zoom, which Booth: C2023 dynamically switches between the standard overview of monitored channels and monitoring of the decoded channels of an available Dolby stream without DIGITAL AUDIO PROCESSORS entering any menus; full trim, pan and Lectrosonics ASPEN routing controls of the Free Mix feature DSP matrix mixers; Ethernet, RS232 and are designed to reduce dependence on AUDIO PROCESSOR USB offer connection for control; the mixing consoles. Dolby DP600 Program Optimizer 1Gb/s port connects units over a single 510-870-0891; www.wohler.com Provides a file -based workflow solution for Cat 6 line; feature unlimited input expan- loudness correction, audio creation, con- sion, addressable TCP/IP Ethernet and Booth: N3023 version and upmixing; version 1.4 software seamless auto -mixing with PGA; offer a provides support for Dolby Pulse; version 48 -channel mix bus with full output ma- 1.5 software supports the LXF file contain- trixing; include simultaneous multipoint er format (used with Harris/Leitch serv- third -party and native control; have ul- Audio mixers, ers) and the MP4 media container format tra -low 1.33 ms near -side latency for real- (used in online applications). time audio. on -air, portable, 415-558-0200; www.dolby.com 505-892-4501; www.Iectrosonics.com studio, playback Booth: SU7917 Booth: C1717 AUDIO CONSOLE Calrec Audio A ollo

TRIAMPLIFIED DSP MONITORING SYSTEM Genelec 8260A Three-way DSP system provides more TRANSMISSION accurate imaging and improved sound LOUDNESS MANAGER quality on the acoustical axis and off -axis; Linear Acoustic AERO.air combine a coaxial driver with modernNow supports internal Dolby E/Dolby waveguide technology, ensuring drivers to Digital/Dolby Digital Plus decoding as couple coherently over their full operating well as insertion of Nielsen audience on Bluefin2for processing;at bandwidth and creating coincident mid- measurement information; utility confi- 48kHz, Bluefin2 gives Apollo up to 1020 frequency/high-frequency pointsource; dence decoding of the output signal en-channel processing paths, 128 program features signal processing responsible for sures continuous insertion of audience busses, 96 IFB/track outputs and 48 auxil- all loudspeaker functions including cross- measurement data and produces GPO iaries; at 96kHz, Apollo affords 510 chan- over filters, driver equalizers, driver posi- alarms to alert station personnel of is- nel processing paths, 64 program busses, tion alignment, room response alignment, sues; accepts any Dolby encoded or PCM 48 IFB/track outputs and 24 auxiliaries; calibration, equalization -relatedfeatures audio that provides upmixing, loudness features a second dynamics section in and distance -compensating delays; housed control, and audience measurement, and each channel, more than 70 minutes of in a die-cast aluminum Minimum Diffrac- outputs both PCM and Dolby encoding assignable delay and three independent tion Enclosure immune to vibrations. for transmission. APFL systems for multiple operator use. 508-652-0900; www.genelecusa.com 717-735-3611; www.Iinearacoustic.com +44 1422 841310; www.calrec.com Booth: C2239 Booth: SU8125 Booth: C1746

94 broadcastengineering.com I March 2010 Extend. ofqtrihuta. Innovate. Unparalled resolution with secure and reliable media distribution over fiber. Access the equipment you need to get the job done - whether you are in the editing suite, machine room, broadcast studio, or traffic center.

Thinklogicars Thinldogicars -4111hi, VelocityKVM VelocityKVM Extender FX Extender - TX

SDI 33 HD -SDI SDI Dual-Lnk 3G HD -SDI Etiktkfimicar 3G HD -SDI DVI and Dual -Link DVI Dual -Link 3G HD -SDI USB2.0, Serial Keyboard, DVI and Dual -Link DVI Mouse, Audio USB2 0, Serial, Keyboard, Mouse, Audio fro

VX 160 Router

Route and switch virtually any desktop cevice up to 40 kilometers away from the controlling computer. Thinklogical's VX Router line of products Transport every frame of a video stream with unprecedentec bandwidth - 6.25 Gbps - with NO compression or frame dropping.

Whether sour infrastructure requ rements are three floors apart or three blocks apart, Thinklogical provides innovative media distribution.

Find out more about our VelocityKVM extension line and our series of VX Routers at www.thinklogical.com or 800-291-3211.

Visit Us at NAB 2010 - tiooth 81.4, thinklogicat I ispired technology for the bro2dcast and post production industry Marketplace

AUDIO AUTOMATIC GAIN DIGITAL AUDIO MIXER Audio recording CONTROL DECODER Lawo V4.8 software Ensemble Desi i ns LevelTrack A new interface for the mc2 series and the Nova73 HD systems; the new chan- AUDIO RECORDING, nel display features additional color and STORAGE, PLAYBACK textural information for the VCA and link Zaxcom QRX100 displays; now it is possible to interconnect Inputs four channels of audio from up any number of channels, even with an al- to two Zaxcom stereo or mono digital most unlimited number of link groups; transmitters to capitalize on cameras each link group can be linked with dif- that record four or more discrete audio ferent modules, such as fader, mute orchannels; the QRX100 will then output Corrects mismatched audio EQ; a color and name can be assigned to these received audio channels as both levels be - each group, which guarantees the ability tween different program sources or seg- analog and AES digital formats; allows ments within a program, addressing the to differentiate the various link groups in broadcasters to record all channels from latest audio compliance requirementsa channel with absolute certainty; each four -channel ENG cameras quickly and for broadcasters; based upon the his-channel can even meter one of the first easily; doubles as a time code receiver, tory in each channel, gradual changes are eight linked channels, comparable to awith an optional video sync/SMPTE applied to prevent the audio level from VCA master. time code output and an optional inte- dropping below or exceeding user -pro- +49 7222 1002 0;www.Iawo.de grated IFB transmitter. grammable thresholds. Booth: C2217 973-835-5000;www.zaxcom.com 530 -478-1830 Booth: C154 www.ensembledesigns.com Booth: N1929 Audio routing, distribution COMPACT DIGITAL DIGITAL CONSOLE BROADCAST CONSOLE Salzbrenner StageTec MULTIFORMAT MODULAR ROUTER Studer Vista 5 Mediagroup CRESCENDO EvertzEMR The 32 -fader unit consists of 20 channelTargets the needs of users in broadcast Provides a unified platform for routing strips and 12 additional versatile strips for and live venues; has a depth of 530mm digital audio, analog audio, MADI au- operating output and input channels.; up and supports up to 300 audio channels, dio, data and time code; 6RU frame can to 240 channels can be accessed from the 128 summing busses and 48 channel accommodate 288 x 288 AES, 288 data desk, and the total I/O capacity may exceed strips; allows users to configure the num- ports, 288 x 288 time code signals or a 1700 inputs and outputs, depending on the ber of mono, stereo and 5.1 sums, as well mix; expansion to 4608 x 4608 can be ac- additional cards and configurations. as stereo and 5.1 input channel -linking. complished with multipleframes. 818-895-3496;www.studer.ch 888-782-4391; www.stagetec.com 905-335-3700; www.evertz.com Booth: C2619 Booth: C1057 Booth: N1602

I I:7A4f7/ digital interconnect technology

Accessories - Hybrid COU-BP' Fiber -Optic Blank Panel COU"*" Camera COP"-*** Connector Unit 31 Connector Connector Panel Panels Hybrid Comm Hybrid Camara Cable Checker Cobh Features Support 5 -Directional Wiring SM PTE 311 Standard Cabling Direction

Integrated splice enclosure caanntaa uat Easy maintenance and Installation Patented Design COP-FM3 1 Unit Terminal Panel modular system

Available in 2RU, 3RU and a (C-;,14?1 variety of Configurations ife ,aaaa Optical Splice Box canare.com973.837.0070sales©canare.comhybrid fiber -optics & EO/OE snake systems I connectors ;cable reelspatchbayscables

96 broadcastengineering.com I March 2010 Maintain Comfortable AUDIO ROUTER Loudness Miranda Technologies NVISION 8500

ee*

dr*

Features integrated audio processing, including de -embedding, Loudness Control... shuffling, break -away and re -embedding capabilities; uses new From Production to Transmission hybrid switching technology, which allows every frame in the router family to de -embed, route and re -embed up to 16 channels of mono audio per video input, and output in a completely Only Lir ear Acoustic -- the leader in television audio nonblocking audio/video switch. control 3nd QC - has the solution every step of the 514-333-1772; www.miranda.com way from content creatioi to transmission: Booth: N2515 Product on/Ingest ITU-standard Loudness FIBER-OPTIC SIGNAL TRANSPORT Metering and Correction wits Riedel MediorNet at -a -glance indication of current and program -length loudness. Upmixing to maintain surround For uncompressed multichannel HD/SD video, audio, intercom field and center channel presence and data; now available in new MADI and RockNet MediorNet with perfect downmix compatibility. cards as well as the software -based Framestore feature for U.S. markets; combines signal transport, routing, signal processing ,* and conversion into one integrated real-time network; includes s In -plant signal routing, allowing users to send any incoming signal to any a ...amatalaa.ITU Loudiess Metering and ma egrestg output or even to multiple outputs by just a mouse click or by a Aucio Mcnitoring, with flexiDle router control system; each mainframe provides a router for 32 x routing, switching,decoding 32 720p/1080i signals, 160 x 160 SD -SDI signals, 27,000 x 27,000 AES signals or any combination of these. and de-embedding. 914-819-0495; www.riedel.net Booth: C6747 Transmission * Loudness Control and Metadata * Maqagenent that stops lis:ener conplairts while maintainng BROADCAST INTERFACE CARD "Hollywood approved" Yamaha Commercial Audio Systems MY8-SDI-ED production values on the latest surround systems.

Sounding great and staying legal doesn't have to be complicated.

Nisid BSHOW Booth SU81 25 Offers from eight to 64 I/O channels, depending on the number 7 Where Corr'', Cates to Life - of consoles and cards used; provides I/O of HD -SDI embedded audio signals; features one HD/SD-SDI input, two HD/SD-SDI outputs (same signal) and one reclocked through -output; can de -embed up to two of the four audio groups (four channels per group for a total of eight channels), multiplexed in an HD -SDI signal, and can embed two audio groups into an HD/SD-SDI signal for output. 1.1LINEAR ACOUSTIC 714-522-9011; www.yamahaca.com Booth: C1336 www.linearacoustb.com 1.717.735-3611

March 2010I broadeastengineering.com 97 mein faif Marketplace

Automation, REPLAY SYSTEM AUTOMATION AND PLAYOUT Grass Valley K2 Dyno 1.5 PLATFORM including news OmniBus iTX and master control Includes more than 130 new features, such as advanced aspect ratio control with AFD insertion, BXF schedule im- NEWS PRODUCTION port, enhanced CG capability and closed - Bitcentral Precis captioningfunctionality,supportfor Open and nonproprietary news produc- copy guard data insertion, additional bit tion solution; integrates with newsroom rate support for Dolby D, and schedule computersystems,nonlineareditors, preview control; allows broadcasters to storage devices and video codecs; offers mix both media formats and resolutions a cost-effective way to migrate to a file - in the same schedule; broadcast HD, SD based, easily scalable and HD-upgradable and lower bit rates can be mixed within a play -to -air system. single schedule and are automatically up - 800-214-2828; www.bitcentral.com or downconverted by iTX; can be used for Booth: SU2312 Internet TV and streaming delivery ap- Adds an enhanced user interface with plications. updated audio meters and intuitive re- 303-237-4868;www.omnibus.tv maining storage time and remaining time Booth: N3722 indicators; offers improved (2X faster) DIGITAL CONTENT highlight and playlist creation and cue -up MANAGEMENT SYSTEM functions; fine-tuned operational control Florical Systems AssetCollector allows users to streamline production MASTER CONTROL SWITCHER Uses Rhozet's Carbon Coder to provide workflows and boost productivity; fully Utah Scientific MC -4000 a complete automated solution forall compatible with Grass Valley K2 Summit Integrated system is designed to handle digitallydeliveredcontent;loads with software release v7.1.14, I -Frame MPEG the most demanding on -air operations S.M.A.R.T. Central workflow management and AVC-Intra options now available for in live, automated or automation -assisted tool, accessed from any networked com- K2 Summit servers, and the company's K2 operating environments; features new in- puter through the Internet; enables user to Solo server, representing a low-cost single ternal squeeze and graphics capabilities, manage digital content from anywhere. input/single output channel system. as well as a new control panel option. 352-372-8326; www.florical.com 503-526-8100; www.grassvalley.com 801-575-3770; www.utahscientific.com Booth: N4329 Booth: SL106 Booth: N4511

CAA /ARE 32MD-ST-2U Mid -sized digital interconnect technology Shown Video Patchbays

Features 750 Dual Superior isolation performance up to 3.0GHz Industry standard BNC MDVJ-STS plugs can be used Straight Through shown 32 channels of I/O MDVJ-STW into 1RU and 2RU Normal Through 750 Staggered Canare original Mid -sized Video reliable rotary switch Lightweight Patchbays Available in Normal Available in & Straight Through 1RU, 1.5RU and 2RU Configurations

Featuring Canare's Exclusive Rotary Search Technology

canare.com 973.837.0070 [email protected] fiber -optics & EO/OE snake systemsconnectorscable reelspatchbayscables

98 broadcastengineering.com I March 2010 Get it Right in the Mix AUTOMATION SYSTEM Pebble Beach Systems Marina Flexible and scalable up to hundreds of channels; distributed architecture is able to use resources over multiple servers; designed to allow broadcasters to select the best underlying technology to suit their specific needs, enabling them to tackling complex, changing workflows while retaining the ability to mix basic passthrough-style channels with labor-intensive channels within a single system. 917-832-4372; www.pebble.tv N6809

AUTOMATION SYSTEM Snell Morpheus Version 2 expands the system's feature set and offers full ratifica- tion for running on a Virtual Machine environment; includes intelligent synchronization of time -delayed channels, support for triggering scripted, complex operations via simple manual in- tervention and implementation of the spot-checking capability; allows users to evolve the look, feel and content of their channels Loudness Monitoring simply and quickly, in house. 818-556-2616; www.snellgroup.com That's Truly Useful Booth: N1820 Evolved from extensive field research during high - profile events, the new Linear Acoustic LQ-1000 AUTOMATION NEWSROOM SOLUTIONS Loudness Quality Monitor shows you everything you VSN vsnmacnews need to know to nix to the new ATSC recommended The latest versions of vsnnews terminal, vsnnetsharer/macsharer practises for loudness control. Think of it like an and vsnarchive now run on MacOS and/or Windows platforms even within a single network; features like drag and drop be- audio speedometer: one quick glance and you can tween different modules, specific plug -ins to assign editing proj- get back to driving the mixing desk. ects to a playlist, and new attractive user interfaces provide users with an enhanced level of flexibility to design their production architecture. 305-331-4889; www.vsn-tv.com

Booth: N4616 -11 With -he LQ-1000, curreit loudness, Cameras, lenses, targe- loudness and accessories peak level are clearly indicated with an PL MOUNT ZOOM LENS intuitive combination Fujinon 75mm-400mm HK5.3x75 of large numbers, oargraph meters, and a loudness Offers large telephone focal range, fast T -stops and high optical performance; designed to maximize performance on either film histogram. Color is used to cisplay the loudness or digital cinematography cameras; features 136mm from -barrel comfDrt zone: blue if too quiet, green to yellow within diameter, consistent gear position and production -friendly size target and red if too load. and mass. 973-686-2405; www.fujinon.com Sounding great and staying legal Booth: C7425 doesn't have to be complicated.

1080P CAMERAS NlikABSHOW. Booth SU81 25 Where Cordon(CoMM IDLife- Grass Valley LDK 8000 Elite WorldCam Offer the capability for 1080p50 and 59.94 bandwidth; with a single fiber adaptor users can switch between 720p50/60, 1080i50/60 and now 1080p50/60; 1080p has been added without compromising any other functionality of the fiber interconnec- tion, including an HD return video path and the ability to run up to 4000m (13,100ft) on SMPTE-standard hybrid fiber. 1.1LINEAR ACOUSTIC 503-526-8100; www.grassvalley.com www.I nearacoustic.com 1.717.73E-3611

March 2010 I brcadcastengineering.com 99 Marketplace

CAMERA CGs, prompters, Consulting services Panasonic AW-HE50 captioning SYSTEMS INTEGRATIONS CHARACTER GENERATOR Burst Designs, engineers and installs integrated Compix CompactCG HD systems for video broadcast technologies; specializes in bundled solutions to complex projects, from hardware and software, to installation and training. 303-858-9848; www.burstvideo.com Booth: C11126 Available in two versions: the AW-HE5OH with an HDMI output and AW-HE50S with an HD/SD-SDI output and genlock; will be a key component in the company's Offers both HD -SDI and SD -SDI func- first complete IP and Serial -control capa- tionality, as well as the specs and feature Graphics, animation ble system; up to 100 units located in reset of a full-size system in a rugged 1RU mote locations can be operated by a new chassis; ideal for channel -branding appli- products remote camera controller, the AW-RP50. cations, with software options including 201-392-6141 NewsScroll with RSS, which provides the BRANDING SWITCHER www.panasonic.com/broadcast power of multiple crawls, logos, a real- Pixel Power BrandMaster Booth: C3712 time clock, live weather updates, ratings, Combines master control and high -end and live RSS feeds. branding graphics in a single integrated 949-585-0055; www.compix.tv system to enable channels to be efficiently Booth: C9515 branded without the need to maintain an external pool of graphics resources; puts graphics capability at the transmission point, reduces the complexity of CAPTION/SUBTITLE ENCODING the signal path, streamlines the channel SOFTWARE branding process and lowers the total Softel Swift vTX cost of channel branding; features a new Enables broadcasters to repurpose con- master control panel, designed to deliver tent regardless of file format and switch a control surface that is familiar to mas- between SD and HD formats easily to ter control operators; a new version of the facilitate multiplatform, worldwide dis- Router Control System adds the power of tribution; supports a large array of file, single -button channel assignment, with wrapper and playout formats. full router salvo control. 203-354-4602; www.softelgroup.corn 818-276-4515; www.pixelpower.com Booth: N2534 Booth: N2034

gital interconnect technology 71V1 -71=1Ed Canare Fiber 161UPSB Optics Systems Digital Audio iiiiiiiiiiiiiiiii I 11111111111 AES-3id 1 11111111111 EO/ OE Optical Video Converters. HD SDI

Key Features & Benefits Control RS -422 -/RS -232 SMPTE 259M & 292M Multi -format HD -SDI, SD -SDI & DVB-ASI Mux/Demux enables 8/16Ch in one fiber Compact Design Power supply 16 modules within 1RU Frame Passive optical splitters AES/EBU Ethanol RS 422/232 CVVI31.1 Converter FDM-2, FDM4 50-500/0E-501 TRII4 210/220 Controller AluydDernux Optical canare.com973.837.0070sales©canare.comhybrid fiber -optics & EO/OEsnake systemsconnectorscable reelspatchbayscables

100 broadcastengineering.com I March 2010 Get it Right on the Air

GRAPHICS SYSTEM Harris G5 All -in -one broadcast graphics system; can be easily incorporated into any automated, live sports broadcast environment via the industry -standard Intelligent Interface, MOS protocols, or the new Harris Direct Control 2 interface; the 3RU system delivers flawless 2-D and 3-D real-time graphics on a single channel in SD or HD, as well as 3-D scene playback capability. 800-231-9673; www.broadcast.harris.com Booth: N250" Intercom, IFB products

INTERCOM SOFTWARE Clear-Com Communication Systems a Mot il)110 .. 0 .4.. ama--/.

0 Television Audio Controlled . --I.* AERO.air or AERO.one in ycur transmission clam

-- - jus: before the ATSC encoder - automatical y mon tors loudness range. adjusting it to keep the 1 - audio comfortable for the viewers at home, not too I loud not too soft. It prevents commercials from - biasing out of the set, keeping you legal. ....WWI..._.- -.- ) ...I.. And AERO provices seamless and automatic -0 uprrixing of local plant audio from stereo to ..»»10 surround so your transitions from network to local Interfaces with external audio systems including party line systems, paging systems, program feeds and other matrix systems us- don t collapse the sound field or your viewer's ing a four -wire interface over a standard IP network; allows autho- interest. Both AERO .a r and AERO.one offer rized users with Internet access to easily communicate with other optional HD/SD-SDI support and integral Doty crew members using hard -wired panels and wireless belt packs on Digital (AC -3) encoding. the party line and/or matrix intercom circuit who are using hard- wired panels and wireless belt packs; can accept and send audio through a facility's public announcement system, program feed AERO.air -fully-foatured fo- the major local station and other four -wire audio devices via most commercially avail- or cable/satellite network. able audio interface boxes. 510-337-6600; www.clearcom.com AERO.one - simple. cost -elective solution fcr Booth: C6025 single programs or backup paths.

INTERCOM VIRTUAL KEY SOFTWARE Sounding great and staying legal Riedel Artist VCP-1004 Virtual Panel doesn't have to be complicated.

NOBSHOW Booth SU81 25 Virtual key panel software allows a regular computer to be used as an intercom control panel in combination with any Artist digital matrix intercom system; computers running the software can be integrated via a wired or a wireless Ethernet connection into the matrix; the communication between matrix and virtual panel is realized via the VoIP-108 G2 client card; features four talk -keys and a shift -key to double the number of available keys. LlLINEAR ACOUSTIC 914-819-0495; www.riedel.net Booth: C6747 www.linearacoustic.com 1.717.735-3611

March 2010 Ibroadcastengineering.com 101 Marketplace

Lighting equipment Media storage, ARCHIVE SYSTEM Cache -A Prime -Cache archive systems, Network -attached archive appliance en- LED LIGHT asset management ables users to create source masters in ac- Videssence ExceLED 100 quisition workflows when using the new 100W LED fixture provides an adjustable memory card or disk -based cameras; pro- beam -spread without lenses using only ren A Ai vides long-term archival storage with easy one set of LEDs; an adjustment knob at Alteran Technologies access at every stage of production. the back of the fixture easily rotates to ViTaDi Database move from spot through flood mode and 866-931-5560, ext.1; www.cache-a.com Works directly with pre-existing database Booth: SL7906 locks in place; can produce light levels at a infrastructures; accepts .csv and .xml files; distance of 25ft and more. data is put directly into the file as it is in- 412-384-3515; www.videssence.tv gesting to further streamline the process; Booth: C3144 controls multiple capture solutions simul- MAM APPLICATION taneously; organizes metadata and allows Dalet Digital Enterprise for automated metadata creation; manag- Edition WebSpace es and tracks videotape status throughoutAdvanced, portable Web -based MAM the capture process; organizes captured and news production application uses lat- files and the transcoding engine; monitors est Web 2.0 technologies; features profes- and reports on the final capture results. sional video and audio production tools, 818-998-9100 an enterprise search engine and user- www.a Ite ra ntec h no log i es.corn friendly interface; streams media in H.264 LIGHTING FIXTURES Booth: C9733 or MPEG-4, making remote access to the Kino Flo VistaBeam 600 and main archives simple and fast. VistaBeam 300 212-269-6700; www.dalet.com The pole yoke accessory gives the studio Booth: a4/2G DMX fixtures a welded alloy yoke bale of- PRODUCTION ASSET fering 360 degrees of fixture movement to MANAGEMENT SYSTEM focus the soft beam lighting from a studio Avid Interplay 2.1 grid; the pole/yoke system saves time and Supports enhanced media access and con-DATA STORAGE money eliminating the need for ladder trol via Interplay support for Mac -based Isilon 10. access or costly automated rigging andAvid editing systems and streamlined as- Scale -out NAS storage solutions speed hoist systems; VistaBeam 600 delivers theset ingest and metadata management ca- access to critical business information, equivalent of a 4000W Softlight, but uses pabilities; lets users manage content cre- offering an efficient, easy -to -manage stor- only nine amps of power; both fixtures ation projects by centralizing media assets age infrastructure that reduces capital and have a DMX control system and the abil-and extending access to remote users; of- operational expenditures while allowing ity to produce daylight or tungsten bal- fers Web 2.0 services, further extending users to seamlessly grow their storage as anced light from the same fixture. third -party interoperability. they grow their business. 818-767-6528; www.kinoflo.com 978-640-6789; www.avid.com 206-315-7537;www.isilon.com Booth: C2049 Booth: SU902 Booth:SL4105

RIIIRIEDEL Curious?Seeyou at NAB 2010, Booth C6747 The, Communications People

ARTIST DIGITAL MATRIX INTERCOM The Solution for World ClassEvents.

Riedel Communications Inc. 1721 Victory Blvd Glendale, CA 91201 USA www.riedel.net

102 broadcastengineering.comI March 2010 THE MOST COMPREHENSIVE LINE OF

CONTENT DELIVERY SYSTEM TELEVISION TRANSMITTERS AVAILABLE Digital Rapids MediaMesh

Designedtoprovideefficienttrans- fer of digital media between content providers;optimizesdelivery of HD, SD and digital cinema content over terrestrial IP networks and satellite; lowers the costs of delivery for content, from ad Axcera has the[-lost comprehensive lireof television transmitters spots to syndicated series and long -form features; provides integrated review, in- available for low to high power operation n bolh air and liquid -cooled ventory management, transcoding,re- models. Our prodLcts a -e designed to meet the needs of today's packaging and playout. broadcasterofferirgthehighestlevelsofquality,reliabilit7and 905-946-9666; www.digital-rapids.com performance. AllDi our transmitters are "Digital Ready" and easily Booth: S16010 upgradable allowiric you to focus on the futjre.

on-

SERVER EVS XT[2]+ Available in two-, four- or six -channel Affordable, High Quality DTV Solutions for LPTV configurations; available in SD/HD ready As LPTV transmitter and translator operators convert to dgital, n any are looking for high quality or full HD/SD mode with dual networking solutions that won't break the bank. With our LPTV transmitters aid translators, broadcas ers will capabilities; features include SAS disk con- get the highest levels of quality and performance with all of the features you have come tc expect trollers, increased internal storage of up from Axcera, all at a very attractive price. to 12 disks with compact 2.5in form factor, increased storage with external array (hot-swappable disks) with a total capacity **111.11hL- -I* * of up to 20TB per server, 30 percent more fl MR TCP F7411-Jii bandwidth and a clear upgrade path to GZ1611:1 AVC-Intra and 1080p support, expanded codec support, and improved monitoring Analog to Digital Conversion & Exciter Retrofits capabilities and SNMP communications. With most of the digra conversion complete, you may find that you want to convert Your old 973-575-7811; www.evs.tv analog transmitter to function as a backup digital transmitter With Axcera's digital conversion Booth: C9508 solutions and experie ice, you can be assured that you- "new" digital transmitter will he there when you need it most

CONTENT REPLICATION Front Porch Digital DIVAnet V6.3 Complete ATSC Mobile DTV Systems Optional addition to DIVArchivesystem; Axcera's complete A -SC Mobil DTV system combine; fixed mud mobile content intc a single automates intelligent replications and dis- transport stream feeoing an ATSC broadcast transmitteUsing our field-tested ATSC [Noble DTV tribution of content between any number Multiplexer and Axonal' Digital Modulator. Axcera can easily upgrade a broadcaster' existing of independent DIVArchive systems; new digital transmitter to 3arry Mob le DTV service. features include intelligent load balancing between DIVArchive sites, inclusion of a central distribution plan manager to implement global content distribution plans, Visit Us at NAB 2010, Axcera Booth SU2908 end -to -end tracking of content replica- April 12-15 at the Las Vegas Ccnvention Center tion commands and global object -delete to support smooth resumption of operation in the event of connectivity loss. Call Us Tcday at 1-800-215-2614 or 303-440-7930; www.fpdigital.com Email: [email protected] to Learn More! xce ra Booth: NibtiOb www.axcera.cometheexperts

March 2010 Ibroaricastengineering.com 103 Marketplace

STORAGE SYSTEM DIRECT -ATTACHED STORAGE MAM SYSTEM Omneon MediaGrid SYSTEM NETIA Manreo 2 Small Tree GraniteSTOR ST -RAID Adds featuresto streamline workflow Offers real-time editing for Final Cut us- and allow users to simply and efficiently ers while supporting 12 streams of ProRes repurpose and broadcast content assets 422HQ with no dropped frames; 2TB sys- to multiple platforms; incorporates new tem is available in eight-, 12- or 16 -drive NETIA Workflow Engineaswellas configurations; provides consistent per-NETINs Hypercast Warehouse set of ar- formance over Ethernet networks. chiving tools, a platform dedicated to media asset management. 866-782-4622; www.small-tree.com Booth: 517425 888-207-2480; www.netia.com Booth. SU3502

VIDEO SERVER LEIGHTRONIX MINENCE-HD Multichannel, HD video server featues MEDIA ASSET Integrated with a high-performance pro- H.264 encode/decode hardware that de- MANAGEMENT SYSTEM duction server to enable fast access to in- livers digital video images at extremely PlayBox Technology PlayBox Metus coming media used in live and near -live low data rates; four digital video chan- Allows users to manage and organize me- broadcast production; supports produc- nels operate as either encode or decode, dia files located on computers or storage tion tools from Adobe, Apple, Avid andoffering flexibility for demanding record devices in a network, analyze them, re- EVS; provides the processing power for or playback applications; standard fea- trieve and edit the metadata, create sub - Omneon ProXchange to repackage edited tures include a built-in TV automation items and archive them with security; fea- content for rapid delivery to other media interface and HD -SDI videoinputs/ tures fast -forward playback in asset viewer distribution outlets. outputs. with speech intelligible up to two times. 408-585-5000; www.omneon.com 800-243-5589; www.Ieightronix.com 404-424-9283; www.playbox.tv Booth: N5106 Booth: C9015 'loth- N5829

NEW TAHOMA-LX Multiviewers NA/13SHOW / Where Content Comes to Life Built-in Routing Switchers - any input source to any Multiviewer output

Built-in CATx extenders (1080p @ 115 feet) N4029 4 to 32 auto -detect HD / SD -SDI video inputs (3G Ready)

16 channels of embedded audio per video input 4 channels of discrete audio per video input

Multiple outputs in DVI, HDMI or VGA Output resolutions up to 1920 x 1200 / 1080p / 2048 x 1080 SDI Output

Skin Technology for customizable user interface Cost-effective solution with 3 -year warranty A1111.,,011111"4 18 models available -1 RU and 3 RU (depending on model) r NEW TAHOMA-LI Multiviewers Looping Video Inputs - for further distribution or

duplication of inputs - including 3G up to 140 meters 41, Cf_% Built-in CATx extenders (1080p @ 115 feet) ,) ;;;; 111111111111 4 to 16 auto -detect HD / SD -SDI video inputs (3G Ready) Sir , 4 to 16 auto -detect PAL / NTSC Composite video inputs

16 channels of embedded audio per video input

4 channels of discrete audio per video input

Multiple outputs inDVI,HDMI or VGA

Output resolutions up to 1920 x 1200 / 1080p / 2048 x 1080

SDI Output

Skin Technology for customizable user interface

Cost-effective solution with 3 -yearwarranty

12 models available -1 RU and 2 RU (depending on model) www.apantac.com 14.3711 ..intoga antac com 1=111=11-111- C

104 broadcastengineering.com I March 2010 ARCHIVE MANAGEMENT SATA STORAGE SYSTEM INGEST SOFTWARE Sonnet Technologies Fusion Video Technics VT HotFolder SGL FlashNet DX800RAID Software application imports SD/HD file - Seamlessly integrates with Avid Interplay Expandableeight -drive RAID direct - based media content from a wide variety 2.1; supports latest version of Apple's Fi- attached storage system includes PCIe of sources into the VT database for im- nal Cut Server; provides an XML-based RAID controller card; designed to pro- mediate playout on any Apella or OASYS API that allows every major broadcast vide video editors the speed required forvideo server; supports multiple codecs, vendor to create integrated applications working with uncompressed 10 -bit 1080 video standards and file containers. that can instantly access the SGL con- HD video streams. 404-327-8300; www.videotechnics.com tent storage management system; scales 949-587-3500;www.sonnettech.com Booth: N6812 to a cluster with a theoretically infinite Booth: SL7727 number of identical nodes, each of which provides high-speed access into and out of the archive; clustered architecture provides high level of reliability. +44 1489 889930; www.sgluk.com Booth: N1520

CHANNEL PLAYOUT SOLUTION Omneon MediaDeck GX 45 mrope 8 carabiners 6 energy bars MEN 1 goal Combines video server playout, graphics and audio processing, all of which can operate under the control of the user's preferred automation system; offers rich branding, real-time graphics and master controlfunctionality; simplifies workflows and makes it easier and more affordable for broadcasters to launch new services or to make incremental additions to their existing channel lineup. 408-585-5000; www.omneon.com Booth: N5106

Focus on functionality - the new mc266.

Inspired by your needs - the new mc266. Not only does this much developed mc266 stand ASSET MANAGEMENT out with proven efficiency and outstanding functionality, but also with its new features, which ViewCast Media Platform (VMp) once again make high tech equipment from Rastatt/Germany a worldwide standard for mixing A unified framework that helps organizations manage the full lifecycle of their consoles. Now you can benefit from the latest digital media content, including IP video; touch screen displays, a revised layout and supports online video, including content totally reliable control computer redundancy. acquisition,transformation,indexing, workflow and distribution; combining One of the best consoles available suddenly ViewCast's Osprey and Niagara IP video became even better. Only one thing has not encoding solutions with the capabili- changed: The mc266's outstanding usability, ties of VMp - live scheduling and event which will continue to inspire audio engineers management, VOD, digital asset management and enterprise content management in OB trucks, studios and theaters. For more infrastructure fromIBM -has created a information visit www.lawo.de comprehensive solution for driving value with digital media. 800-250-6622; www.viewcast.com Networking Audio Systems Booth: SL1709 See us at NAB booth #C2217 March 2010I broadcastengineering.com 105 Marketplace

New media, ENCODING SYSTEM TRANSCODING SYSTEM Digital Rapids StreamZHD 3.2 Harmonic Rhozet Carbon Server 4.0 streaming products, Designed to manage a network of Car- multimedia/Internet bon Coder transcoders as well as Carbon QC 1.0 quality control modules; provides complete file -based workflow manage- 11D/SE) LIVE STREAMING ENCODER mentincludingtranscoding,quality Brick House Video MiniCaster control and delivery; brings automated Designedto otter a cost-ctlective solution compliance and quality testing into the for live streaming, complete with HD - transcoding workflow; features dynamic SDI, SD -SDI and analog video inputs, and load -balancing and failover protection. embedded and discrete audio processing 408-542-2500; www.harmonicinc.com with GigE output; comes in a compact, Booth: SU7213 2RU half -rack enclosure; can record live Supports three -screen live and on -de- streams via built-inRAIDstorage. mand experiences and file -based work- 203-376-3372 flows by offering simultaneous encoding www.brickhousevideo.com to multiple formats and devices; new fea- Booth: N4019 tures include integrated segmenting for ENCODER/DECODER Apple iPhone delivery, JPEG 2000 encod- NIT Electronics HV9100 series ing and workflow integration, YouTube Supports both HD (1080i/720p) and SD Content ID fingerprinting support, Mi- (480i/576i); additionally supports, op- crosoft PlayReady digital rights manage- tionally, up to 16 channels of audio input ment support and enhanced Microsoft IIS capability and an IP interface; compatible Smooth Streaming. with the 4:2:2 profile. 905-946-9666; www.digital-rapids.com 201-556-1770; http://nel-america.com Booth: SL6010 Booth: SU7217

vis toLife C omes 14//where - so5o9 Exhibitor -Booth 3

AMNIA! J, i4',4414V1

Broad Scan Family : State of the art Computer to Video and HDTV converters

> True Broadcast analog or digital genlock (ITU, SMPTE) > Real time conversion and high performance image processing 411111,1111111111111.111 > Zoom up to1000%and easy to use new zoom finder

> Audio embedder 87:

> Computer Input format memory (up to 16 presets) > SDI connections, HD format delivery or standard conversion

> 8 Preset Memories (Unlimited by RCS) 4 > Three year warranty on parts and labor back to factory

From US. Canada, South America & the Caribbean Email : [email protected] Analog Way Inc. - NewYork Phone: +1 212 269 1902 ANALOG WAY www.analogway.com

106 broadcastengineering.com I March 2010 fischer ENCODER connectors Streambox SBT3-5300 broadcast

Ideal for live news broadcasts, distribution of video to cable headends, SNG/ENG vehicles and other video delivery applications that require high reliability and performance with minimal power consumption; delivers SD video quality and compression at data rates ranging from 64Kb/s to 15Mb/s; forward error correction and burst error protection help to mitigate packet loss and network jitter; Web interface enables seamless local or remote system management. 206-956-0544; www.streambox.com Booth: SU8911

ENCODER 1053TM HDTV ViewCast Niagara 2120 Easy termiration Fast installation Lower assembly abor costs Cable assembly services and training courses Rugged, proven and reliable SMPTE 311 cable compliant No epoxy - io po ish

A compact, low-cost streaming solution; allows even nontechni- cal personnel to stream high -quality live video in H.264 Adobe Flash format; its built-in Web interface simplifies system setup and operation, allowing complete system control from anywhere on the network; users can set streaming parameters from the intuitive Web interface and can begin streaming in multiple resolutions and bit rates with a single push of the front -panel stream button. 800-250-6622; www.viewcast.com Booth: SL1109 Production switchers, video effects, keyers

HD/SD LOGO KEYER Crystal Vision MultiLo t o Call 866.961.7926 today to speak with a product specialist about your application.

Visit Us ,t N.4B Booth # C11724 Provides three layers of keying from a variety of internal and external sources, including a 4GB or 8GB multiport, nonvolatile video store that can read six images and write two images simultaneously; new features include easy trimming of recorded clips, text labeling of presets and GPI functionality; allows three logos www.fisct ercoinectors.C3M to be faded up and down independently and makes it easy to put Fischer Connectors. Inc. together a sequence of changes using all three key levels. 1735 Founders Parkway Alpharetta. GA 30009 407-405-8644; www.crystalvision.tv Tel: 800.551.0121 Fax: 678.393.5401 Booth: N826 CONNIscher CT ORS [email protected]

March 2010 I broadcastengineering.com 107 ;Timm 16.411 Marketplace

SEAMLESS SWITCHER MULTILEVEL EFFECTS SWITCHER TRANSMISSION Analog Way Quattro Value Ross Video Vision Octane RECORDING SYSTEM Performs fast and smooth transitions Features 35 full -screen HD animation Axon Digital Design TRACS between any video or computer sources; stores, 24 channels of 3D DVE with WARP Transmission recording and compliance allows seamless switching between one capability, 96 inputs, 48 outputs and 56 system/video logger now features an HD computer input and any other video or keyers; can be loaded with any number of input, which enables compliance recording computer input; is fitted with four uni- multilevel effects from one to eight, match or video logging without the need for an versal A/V inputs, including one DVI and any application and be combined with up additional external device for downconver- three outputs - one analog, one DVI for to nine different control panels; ships with sion; input is available as an option on all the main and one analog for the preview. new 3G infrastructure as standard. single -channel TRACS recorders and does 212-269-1902; www.analogway.com 613-652-4886; www.rossvideo.com not affect the maximum storage capability. Booth: SL1509 Booth:N3807 301-854-6557;www.axon.tv Booth: N1119

PRODUCTION SWITCHER Recording media Brick House Video Callisto Micro -HD CAPTURE CARD MPEG-2 CODEC Features four asynchronous HD inputs, AJA Video KONA 3 v7.5 Canon multiple program/preview and monitor- KONA 3 card running Version 7.5 software Enables high -quality imaging and audio ing outputs, 12V operation and a small enables double -speed transfer from sup- performance with up to 50Mb/s data re- footprint; designed for mobile crews,ported VTRs, including the SonySRW- cording and twice the color data of the helicopter operators and other users for 5800; supports Apple ProRes 4444 RGB; HDV profile format as well as the re- whom space, weight and ease of use are new features include support for time lapse cording of 1920 x 1080 -pixel HD video; at a premium. and VPID as part of KONA 3 SDI output supports higher resolution and increased 203-376-3372 for support of select dual -link monitors. color data for high -quality video. www.brickhousevideo.com 530-274-2048; www.aja.com 201-807-3300; www.usa.canon.com Booth: N4019 Booth: S1920 Booth: C4325

being the industry leader in broadcast, satellite, cable, IPTV and pro NV means we have your solution

NAB 2010 products LIZservices =look

Call 605.339.0100 to schedule a time to meet with one of our professional sales engineers. Sencore booth #SU4310

108 broadcastengineering.com I March 2010 VIDEO CAPTURE CARD HD VIDEO DISK RECORDER ADAPTER Blackmagic Design Doremi Labs V1-UHD Maxell iVDR VC102 DeckLink HD Extrime Provides instant access to video, uncom- Direct -to -disk adapter provides reliability pressed recording and networkable op- and ruggedness; has a current capacity of eration; is 3RU high and available with 250GB, enough space to record 19 hours fixed or hot-swappable internal drives; of digital video, 110 hours of DVD-quali- records HD -SDI and SDI video; includes ty video or 20 hours of MPEG HD video. an external video storagechassisfor 800-533-2836; www.maxell-usa.com feature-length recording; features frame - Booth: C8137 accurate control. 818-562.1101; www.doremilabs.com Booth: C5640 Satellite equipment, Now includes dual link and 3Gb/s SDI for services 4:4:4 quality, and a new hardware down - DVR converter for simultaneous HD and SD Fast Forward Video HD3 playback; connects to SDI, HDMI, com- Designed for on -set motion picture and SATELL TE ponent analog, NTSC/PAL and S -video TV production; features JPEG 2000 com- COMMUNICATIONS SOLUTIONS equipment forcapture and playback, pression for optimal HD and SD image NPR Satellite Services while instantly switching between SD, HD quality, as well as a high -quality, third - Provides the satellite capacity for building, and 2K. party monitor; available insingle- or servicing or expanding a satellite network; 630-307-2400 dual -channel configurations; uses remov- offers nationwide coverage to meet the www.blackmagic-design.com able, hot-swappable 2.5in SATA drives video, audio and data distribution needs Booth: SL6020 that are compatible with the company's of broadcasters and network operators. complete HD line of products. 202-513-2604; www.nprss.org 949-852-8404; www.ffv.com booth:SU6913 Booth:

Fully -Featured Broadcast AorchidLCD Rack Mount Monitors OR -434 1 2RU Quad 4.3"Rack Mount Monitor 0 Real -Time Waveform Monitor g Real -Time Color Vectorscope g Auto White Balance Calibration: Works with Konica Minolta CA -210 Color Analyzer g Adjustable Clipping Indicator OR -503 I 3RU Triple 5" Rack Mount Monitor g Precision Gamma Settings g Adjustable Color Temperature g 16 Channel Audio Level Meters g Front and Rear Audio Outputs C) On -Screen Time Code g Variety of Safety Markers OR -702 I 3RU Dual 7" Rack Mount Monitor g HDSDI/SDI Inputs and Outputs Marshall hOCCIli ORlot

01 g Tri-Color Tally Indicator

g 7 Assignable GPI Inputs User -Assignable Function Keys 1111111:""" 0 Optional Input Modules L,

I! ! 0 Easy Menu Navigation .. a...... n IN CB Konica Minolta is e tradem&l or registered ((adorned( of Konica Minolta Holdings, Inc Marshall Electronics LCDracks.com Tel.: 314.333-0606 / Toll Free: 800-800-6608

March 2010 I broadcastengineering.com 109 Marketplace

SATELLITE SERVICE MODULATOR Studio and support On Call Communications Sencore TX 3453 QuickSPOT On Demand products, multi - Within minutes of deploying a QuickSPOT image displays antenna, the system is ready to begin transmitting HD/SD video feeds along with providing IFB-compatible phone lines and Delivers multiple channels of transcod- MULTI -IMAGE DISPLAY Internet access; pay -for -what -you -use bill- ing in a reliable, high -density 1RU chassis; Harris Predator II-GX ing system offers flexibility to access satel- features a configurable engine and multi- lite time per minute without prescheduling channel architecture, bidirectional video or purchasing discounted prescheduled transcoding from MPEG-2 to MPEG-4- blocks of time. /H.264 and/or H.264 to MPEG-2 in allHD control and monitoring solution; common HD or SD formats, as well as 949-707-4729, www.occsat.com available in a 1RF or 2RU frame, making ASI and IP transport stream and optional Booth: 0E910 it ideally suited to outside broadcast vans, RF interfaces; offers up to 16 channels. production centers, monitoring facilities 605-339-0100; www.sencore.com or master control rooms that require a flexible, scalable architecture; allows for the ex- MOBILE BROADBAND Booth: SU4310 pansion of inputs to match growing moni- SATELLITE SERVICE toring needs, including optional computer Stratos BGAN X -Stream graphic input cards, which allow DVI-I or Allows a guaranteed minimum sym- VGA sources to be monitored alongside metrical video streaming rate of 384kb/s, video; features low system latency and easy with up to 450kb/s expected under op- reconfigurability; offers built-in autosens- timal conditions; is supported only by ing support for multiple input video and Class 1 BGAN terminals; access to BGAN audio standards, embedded and discrete X -Stream does not require an additional audio monitoring, SNMP-based alarms external antenna or any other supplemen- and aspect ratio management. tary hardware. 800-231-9673 709-748-4226; www.stratosglobal.com www.broadcast.harris.com Booth: 0E1720 Booth: N2502 You Can Count on CEI For Award -Winning Systems Integration- Plus Sales and Service For the Industry's Best Products!

You've relied on CEI for 24 years to deliver world -class systems design, integration and service. Now, we're also applying that award -winning dedication to excellence and reliability to providing superior broadcast and multimedia solutions, such as the Grass Val- IeyTM K2 DynoTM replay controller.

This compact, cost-effective controller is designed to help sports producers and other professionals capture live events in SD and HD resolutions and instantly play them out at variable speeds for critical analysis during fast -paced events.

In addition to offering complete turnkey systems and solutions, CEI also has a comprehensive maintenance and repair center, with full-time professional broadcast end IT engineers offering on -site and in-house repair, support and training. CEI also offers training and customized maintenance contracts to fit your specific needs. We can even help with your legacy systems.

For more information,visitour Web siteat www.commeng.com, email [email protected] or call 703-550-5800.

110 broadcastengineering.com I March 2010 VIDEO PLAYBACK LCD MONITORS MONITORS DEVICE MULTIVIEWERS JVC G series Marshall Electronics Quad -Viewer Apantac Tahoma-U Features3G anddual -linkHD/SD- 3G -ready family with looping inputs auto - SDI (1080p/60 4:4:4) inputs; the 17in detects four to 32 video inputs (HD/SD- DT-V17G1Z and the 24in DT-V24G1Z SDI/composite); supports DVI, HDMI are designed for broadcast, studio, mobile and VGA outputs up to 2048 x 1080; in- and field applications that demand accu- cludes built-in video and audio alarm de- rate color reproduction for critical image tection; incorporates a built-in CATx ex- evaluation; feature a built-in waveform tender, which allows digital 1080p signals monitor with over -level function, vector - to be extended up to 115ft. scope with selectable size and position, advanced audio level meter and LTC/ 503-616-3711; www.apantac.com Full -resolution monitors with IMD; avail- VITC time code support. able in different sizes; allows viewing of Booth: N4029 800-582-5825;http://pro.jvc.com four different inputs at once with three Booth:C4314 different layouts to choose from; does not require external under monitor display; supports the following protocols: Image Video, NVISION, TSL and MEI; offers a AMOLED MONITOR full -resolution 1920 x 1200 display; new FLAT SCREENS TVLogic LEM-150L1 unique RotoMenu feature enables fast, di- Autoscript LED TFT-Plus Uses a 15in AMOLED screen at native rect andeasy menunavigation. Range includes 8-, 12-, 15- and 17in ver- 1366 x 768 resolution; features include www.Icdracks.com sions; feature an illuminated control pan- 100,000:1 contrast ratio, two 3G/HD/SD- 800-800-6608; el for easy visibility in dark studio con- SDI inputs and outputs, one DVI input, Booth: C8931 ditions; feature LED technology, which one HDMI input with HDCP, analog/ offers advantages for display longevity,component/composite/S-video/RGBin- performance, reliability and "green" en- puts, 1:1 pixel mapping modes for SD/HD ergy savings. audio disembedder and built-in speaker. 203-926-2400; www.autoscript.tv 818-567-4900;www.tvlogicusa.com Booth: C6025 Booth: SL6514

See us at NAB 2010, booth N1119

1111,141r

bus

Creating solutions. Together.

. Efficient, multi -functional 150+ modules, including dual channel cards, for a 1000 3Gb/s, HD, SD -analog audio & AES/EBU solutions it a single form factor. . Highly sophisticated embedded HD/SD audio processing and Teranex` pjwered HD format converters. . A full modular Dolby' solution. The fast track to legally required 24/7 analog and digital compliance recording.

. Control and monitoring software. --"tesiwt, . Low latency Multiviewers.

www.axon.tv AXON

March 2010 Ibroadcastengineering.com 111 toirig "All IN 1111 111111111111111 Marketplace

TECHNICAL FURNITURE SYSTEM LCD MONITOR MONITORS TBC Consoles IntelliTrac TVLogic XVM-245W Marshall Electronics ORCHID Front and rear device tracks allow un- limitedlateralpositioning of critical monitors; rack bay turrets may be easily upgraded or relocated, allowing quick, user-friendly modifications; full range of Fully -featured broadcast LCD rack -mount articulating arms for distance, height and monitors; available in different sizes; in- tilt control may be used for mounting clude a real-time waveform monitor, real- flat -panel monitors, speakers, phones and time color vectorscope, 16 64 -segment task lighting. tricolor audio meters and a tricolor tally indicator; offer on -screen time code, seven 631-293-4068; www.tbcconsoles.com assignable GPI inputs and adjustable color Booth: C12626 temperature, as well as an auto -sensing front -panel headphone jackand auto - Uses 24in1920 x 1080 color -critical sensing rear unbalanced stereo output. KVM EXTENDER monitor featuring 10 -bit LCD, RGB LED 800-800-6608; www.lcdracks.com Thinklogical VelocityKVM backlight, HD/SD input support includ- Booth: C8931 ing 2K; includes two auto -sensing HD/ Extends KVM, DVI and analog video, USB, SD -SDI, component, composite, S -video, audio and serial signals up to 350m using RGB, DVI-I and HDMI with HDCP in- standard 50um multimode fiber, 1000m using eSX+ multimode fiber and 40km puts, fully automated calibration with integrated 3D LUT, SMPTE-C, REC 709, using single -mode fiber; allows for full - DCI-P3 and EBU color -space support, in- frame -rate transmission of uncompressed ternal waveform/vectorscope, interlaced DVI with no frame dropping; features USB field mode and 3G dual -link 4:4:4 option. 1.1, USB 2.0 and DDC2B/EDID compli- ancy as well as local KVM ports; supports 818-567-4900; www.tvlogicusa.com single- and dual -link DVI signals. ,00th:SL6514 203-647-8725; www.thinklogical.com Booth: SL4729

TRH scrw nes. Creating Space for New Technology

BOOTH # C12626.

technical furniture systems for Videoproduction and broadca

112 broadcastengineering.com I March 2010 3-D TBCs, frame syncs, conversion equipment

PRODUCTION AND DUAL DE-INTERLACER/SCALER INFRASTRUCTURE PORTFOLIO Daitron i-Chips IPOOC811 Evertz Features a built-in video decoder, ADC, CPU and LVDS Tx; supports PiP, PoP with Designedtoassistbroadcasters with inputs and output up to 1080p/WUXGA/2K1K progressive or 1080i; additional features transition to 3-D broadcasting; products include MPEG noise reduction, edge enhancement, xvYCC deep color processing, high - range from contribution and acquisition color bitmap OSD, 90 -degree image rotation, mirror image, keystone correction and to distribution and multiviewing. edge blending; suited for video walls applications. 905-335-3700;www.evertz.com 503-682-7560; www.daitron.com Booth: N1602 Booth: SL10723

3-D FIELD FIBER TRANSPORT MultiDyne LiGHTBoX THINK ENTERPRISE

Cort,orak SyStill%

A 3-D field fiber transport system; features Kts ource -rrIAFP Plavinin9 more signal paths for HD video, audio and Manailottn4- data; fully customizable and offers virtually any signal configuration; can also be I linked via tactical fiber cable to the Mul- tiDyne DVM-2500, HD -1500, HD -3000 and HEMC-4000; provides a high -quality warKfiew V,vmmt signal throughput and the opportunity to integrate almost any solution from the media Rustvoistage.mevii- MultiDyne product line, including the new . DVI-6000 and COMMS-2000 products; equipped with a rugged case, making it highly weatherproof for outdoor and re- News oft mote location broadcasting. sports Pnxi oal on 516-671-7278;www.multidyne.com Pos4- Booth: C7637 ArratIves

3-D LCD MONITOR DALET SOFTWARE SOLUTIONS Panasonic BT -3012550 combine an enterprise media A 25.5in 3-D LCD production monitor with full 1920 x 1200 resolution; features asset management platform professional connectivity, including dual with a flexible workflow HD -SDI and DVI interfaces, exceptional color performance and a ruggedized engine to manage News, frame; includes two HD/SD-SDI inputs, Sports, Production component and RGB, as well as standard RS -232C (nine -pin) and GPI (nine -pin) and Archive wo-kflows. remote inputs, headphone jack and green and red tally lamps on the front panel; has an embedded audio decoder onboard (through its headphone jack), time code display, closed -captioning (through video input only) and audio level meter display of up to eight channels. dolet 201-392-6141 Digital Media Sg. ems www.panasonic.com/broadcast learn more on www.dalrbcor Booth: C3712

March 2010 broadcastengineering.com 113 rIriNrn 116.44111 MI 1111114111111 Marketplace

UP/DOWN/ SCAN CONVERTER SDI-TO-HDMI CONVERTER CROSSCONVERSION CARD Ensemble Designs BrightEye Mitt() LYNXTechnik yellobrik CDH 1811 Cobalt Digital Fusion -3G 9900 LYNXTechnik Series UDX 4B Supports 3G/HD/SD-SDI, fiber and ana- er log I/O and AES and analog I/O; takes the S input video and performs high -quality . deinterlacing and video scaling; AFD processing engine performs reliable, accurate Makes it easy to choose the desired video ARC changes with no user input; featuresoutput format, 1.5Gb/s and 3Gb/s HD - iimmommor advanced audio -processing options allow- SDI or SD -SDI; possesses proprietary Ideal for converting any SDI video signal ing routing, gain, delay and mixing as stan- scaling technology and exclusive multitap (up to 3Gb/s 1080p60) into a standard dard features; video options include color filtering; the region selected for output HDMI signal for monitoring and display; correction, wings keying, general-purpose determines if the scan converter acts as an also ideal as an integrated SDI fiber trans- keying and test signal generation; audio op- upconverter or downconverter; the filters mission system with HDMI confidence tions include Dolby E and AC -3 decoding/ automatically adjust in accordance with monitoring; an optional fiber interface al- encoding, Linear Acoustic UPMAX upmix- the conversion being performed; the in- lows the module to be used for monitoring and AEROMAX loudness processing. cluded software allows users to simply use ing fiber connections and also function as a mouse to select which part of the com- 217-344-1243; www.cobaltdigital.com a fiber converter; the HDMI output dis- puter video they want to output to HD or plays the native input resolution, so no Booth: N2830 SD video. scaling artifacts are introduced. 530-478-1830 661-251-8600; www.lynx-usa.com www.ensembledesigns.com Booth: N5011 SHORT -DELAY DOWNCONVERTER Booth: N1929 Crystal Vision Q -Down 3G Downconverts 1080p 3Gb/s, 720p HD and 1080i HD at 50Hz and 59.94Hz, with the downconverter bypassed if the input is SD; CONVERTERS STANDARDS AND provides input loop-throughs and three PESA QuadBox series FORMAT CONVERTERS downconverted feeds; HD video inputsFiber media converters with three new Snell CVR800 and TBS800 can be configured as mixtures of digital product offerings -a 4 x 4 coax switch CVR800 frame rate and format converter HD, RGB and YUV, while SD outputs can box, a 4 x 4 fiber switch box and a two - and TBS800 format converter and syn- be configured as mixtures of SDI, com- channel bidirectional fiber/coax extender; chronizer both offer a range of features posite, Y/C, YUV and RGB; features fixed supports video formats from 143Mb/s to and functionality, including support for video delay settings including minimum 3Gb/s; provide equalized and reclocked 3Gb/s operations and composite video (16 or 52 SD lines), fixed (52 SD lines) and video signals for SMPTE 259M, 292M I/O; offer user -controllable enhancement frame; can deal with any 3Gb/s or HD orand 424M or can be set to by-pass mode tools to enable users to obtain their pre- SD aspect ratio conversion requirements. if needed. ferred visual effect. 407-405-8644; www.crystalvision.tv 800-323-7372; www.pesa.com 818-556-2616; www.snellgroup.com Booth:N820 Booth: N4123 Booth: N1820

VVB <1967

+ Analog Audio / Video Distribution + AES/EBU Distribution + Analog to Digital Audio Converter + Digital to Analog Audio Converter + Muxing / Demuxing + DolbyE/AC3 Encoding & Decoding + Embedded Audio Processing + 3 Gb/s HD Distribution Visit Us At Booth N3425

f"""\ Ward -Beck , s Ltd. // 10-455 Milner AvenueToronto, OntarioMI B 264 North America800 771.2556 International416335.5999 ittowirward-beck.corn openGear m Dolby E P_A RT NI I I

114 broadcastengineering.com I March 2010 LOUDNESS CONTROL Miranda Technologies Automatic Loudness Control (ALC)

Prevents excessive jumps in program -to -program and channel -to -channel loudness levels; available for multiple Densite interfaces; three ALC solutions are available: ALC with Linear Acoustic AEROMAX processing, ALC with Junger Level Magic processing and ALC with Miranda's low-cost, high-performance wideband audio processing; operation can be based on either set -and -forget or actively managed processing modes. 514-333-1772; www.miranda.com Booth: N2515

Telco, IPTV and mobile video equipment

MPEG-2 TO H.264 TRANSCODERS/MPEG-2 Welcome to the OCC fiber TO MPEG-2 SCALERS DVEO MPEG Gearbox optic testing lab...or, as cables like to call it, HELL.

If cables cold fed, they might thick Inspector #13 was the devil iimself. He stresses, stre:nes and Tortures. innocent cables beyond reasonable imits. But h s wor; just might be the salvation of your fiber optic network. AvailableinASI-to-IP, ASI-to-ASI and IP-to-IPsystems; You see, an. -lumber of companies can make transcodes one HD (720p) stream or two SD streams into H.264 cheep cable. Orly OCC ma

MULTI -IMAGE DISPLAY/MONITORING SOLUTION C Evertz MViP Targeted at applications where simple, efficient monitoring of OPTIZAL :ABLE CORPORATION audio and video from an IP transport stream is required; devel- 800-622-7711Canada 800-443-5262 oped for digital headends, IPTV networks and sites using IP for distribution with a requirement to monitor and display audio occfibe r. corn and video along with fault information and transport details on a DVI-based monitor. 905-335-3700; www.evertz.com Unrivaled Integrated Solutions 6outh. N166,

March 2010 I broadcastengineering.com 115 Marketplace

IP VIDEO TRANSPORT IPTV DISTRIBUTION IP VIDEO PRODUCTION SYSTEM Nevion VS901-1x-GE Intelsat IPTV Service Panasonic 50 series Provides high -quality JPEG2000 com- A wholesale MPEG-4 content aggregation An IP and Serial -controlled video pro- pressed SD/HD video and transport over and delivery service for distributors and duction system; includes the AW-RP50 IP; its low latency and high visual quality integrators operating in the United States; remote camera controller, the AW-HE50 is the ideal solution for interactive or any supports delivery of a prepackaged TV multiformat HD/SD camera with an inte- delay -sensitiveapplications; guarantees programming lineup in a highly -efficient grated pan -tilt -zoom mechanism, and the the highest possible visual quality with MPEG-4 IP format to cable and telecom AW-HS50 sub -compact live switcher with absolute minimal degradation through service providers. built-in multiviewer. multiple encode/decode cycles; provides 202-944-7515;www.intelsat.com optimum source content for final encod- 201-392-6141 ing via MPEG-2/H.264 and distribution Booth: SU1417 www.panasonic.com/broadcast to the home. Booth: C3712 805-247-8560; www.nevion.com Booth: N4624 Test & measurement equipment H.264 VIDEO-OVER-IP DISTRIBUTION SOLUTION SCOPE HaiVision Network Video Video PSIP GENERATOR BLit:kindit; Desi nUILIASUU Furnace System 5.5 Triveni Digital GuideBuilder Supports MAKITO H.264 encoder to manage and distribute live video to computers and set -top boxes, to create scheduled playback channels for enterprise TV and signage, and to record content and deliver VOD; controls direct, se- Now offers new mobile services features; cure distribution of SD and HD video to provides mission -criticaloperational InStream player and STINGRAY set -top capabilities for both content providers box; Playback Manager supports sched- and network operators by generating ac- A 3Gb/s SDI and optical fiber SDI scope uled channels for IP video broadcast and curate PSIP data; enables unified fixed designed for editors and colorists; plugs signage; Media Server leverages H.264 to and mobile DTV metadata management intoany compatible Windows com- enable HD VOD; enhanced with network and generation capabilities in a singleputer with a 24in monitor; can display video recording functionalities, including platform; includes the addition of elec- six live scope views simultaneously; in- API -enabled management by third -party tronic service guide functionality to en- cludes 3Gb/s SDI plus 3Gb/s optical fi- systems, ad hoc and pause/resume record- sure up-to-date scheduling and tuning,. ber SDI; auto detects SD, HD and 3Gb/s ing, bookmark insertion with annotations managed through the operator's existing SDI inputs. and publishing. workflow components. 630-307-2400 514-334-5445; www.haivision.com 609-716-3500; www.trivenidigital.com www.blackmagic-design.com Booth: SL4424 ooth:SU3202 Booth: SL6020

NoBsHow# N2830 iiiiiiiii Now offering loudness processing.

DON'T LET THE NEXT SIGNAL TAKE YOU BY SURPRISE.

SIGNAL PROCESSING SOLUTIONS FROM COBALT DIGITAL.

THE PREFERRED 1 (800) 669-1691 / [email protected]/cobaltdigital.com ROUTE TO COBALT DIGITAL CONVERSION

116 broadcastengineering.com I March 2010 SPECTRUM ANALYZERS TS MONITCR TEST & VIEASUREMENT Bird Technologies SignalHawk Triveni Digital StreamScope EQUIPPIENT series RM-40 2 0 Cobalt Digital Audio Loudness Meter

* 1111.1Vail Provides aflexible, comprehensive solu- Now includes a dedicated rack -mounted tion for ingest or on -air loudness metering version, built using the same analysis en- and assessment; features true peak -level gine but with no display or keypad; the detection, error tracking and logging, and SH-36S-RM includes Ethernet and USB an intuitive interface with touch -screen connections for local and remote com- control; ensures thorough audio level and munication; users can remotely analyze LFKS assessmentinformation;option the radio frequency spectrum; measure is available on a number of Cobalt 9000 intended and interfering signals; remotely Series cards and is ATSC A/85 and ITU display signal amplitude versus frequen- BS.177a compliant. cy, and save traces to your PC; eliminate 217-344-1243; www.cobaltdigital.com trips to difficult remote locations; manage New features include Live Services Man- Booth N2830 multiple sites from one centralized loca-ager and thumbnail views of the RM-40 tion; verify FCC compliance via built-in real-time stream monitoring appliance emissions masks. that enable users to confirm with a quick glance that video is present; also decodes 866-695-4569 closed -captioning data with rules -based www.bird-technologies.com alerts if data should fall out of compli- Booth: C454 ance, reducing the manual workload necessary to maintain required closed - captioning information. 609-716-3500;www.trivenidigital.com Booth: SU3202

,0111 Illiiill" Ingrass valley BURST is an Authorized Business Partner of Grass Valley

Respcnsive, forward thinking and flexible, BURST sells, designs, installs and integrates creative broadcast solutions. For leacing edge technology and results that deliver, count on Grass Valley and EURST. BURST. We know what works.

See Biurst at NAB Booth C 1 1 126. BURST N4)/4SHOI1t. Sys:ems Integration Where Content Comes to Life' www.burstvideo.com 1.888.472.2820

March 2010 I broadcastengineering.com 117 nilPIM or-s minMarketplace

TV AMMV7Fr DISTRIBUTION AMPLIFIER EAS Rohde & Schwarz R&S ETL ESE DV -212 411111111111111111M A 1 x 12 3G/HD/SD SDI distribution amplifier with a loop through input; provides cable equalization, reclocking and distribution; distributes one 3G, HD or SD -SDI input signal to 12 outputs; the CAP video signal can be reclocked before dis- Enables users to perform all required mea-tribution or distributed without retim- surements on TV transmitters or cable ing the input signal; in reclocking mode, and headends; options available to measure it automatically detects and reclocks the ATSC and ATSC Mobile DTV single -fre- 270Mb/s, 1.5Gb/s, or 3Gb/s signal. quency networks and support U.S. J.83/B cable standard and Japanese ISDB-T stan- 310-322-2136;www.ese-web.com BEIFOw dard; automated software that simplifies Booth: C6437 compliance testing of ATSC transmitters is available free of charge. 410-910-7800 www.rsa.rohde-schwarz.com Booth: SU3717

vtrAvrrnPro / Digital AlErt Tektronix WFM8200 and WFM8300 SystEms SIX -WAY DIVERSITY RECEIVER RFCentralRMR X6 -II -D4 Features on -screen display of stream data, Ethernet monitoring for remote access and IP encapsulation for Internet broad- YOUR PARTNER Provide high -quality, real-time, automated cast; available as a stand-alone COFDM on the ROAD 3Gb/s SDI eye pattern display and jitter receiver with ASI output, with an MPEG-2 measurements; feature advances in color internal SD/HD or integral MPEG-4 SD/ to COMPLIANCE grading with new patented Luma Quali- HD decoder; includes compact chassis fied Vector and Spearhead Gamut displays; and OLED display. WFM8300 also provides multirate HD/ 980-852-3700; www.ricentraLcom SD -SDI and 3G -SDI color bar and patho- Booth: C6419 logical signal generation capabilities. the 800-833-9200; www.tek.com PRODUCTS Booth: N2522 the PEOPLE TV transmitters, the feedline, antennas, COMMITMENT towers, services RECEIVER/DECODER Screen Service Broadcasting ATSC MOBILE DTV TRANSMITTER Technologies XBT 704 Axcera ATSC Mobile DTV system In analog operation, receives an RF input w. www digitalalertsystemscorn signal and delivers it through its output ...... connectors; acts as a bypass for the RF an- 585-765-1155 alog signal; in digital operation, receives Combines fixed and mobile content into an RF digital input signal and decodes a division of a single transport stream feeding an ATSC the contents; extracts a program from the MONROE ELECTRONICS broadcast transmitter; using the compa- bouquet and delivers it into an ASI output est. 1954 ny's field-tested ATSC Mobile DTV Mul- signal; signal feeds a transposer; features tiplexer and Axciter ATSC Modulator, an two -channel balanced analog audio out- existing digital transmitter can be easilyput and doubled SDI interface for digital upgraded to carry mobile DTV service. video with embedded audio. 11111 7.47.4 AMIN 800-215-2614; www.axcera.com 888-522-0012; www.screen.it visit usat booth # C3651 bc,citli. Booth: SU4908

118 broadcastengineering.comI March 2010 MICROWAVE LINK SYSTEM VHF TRANSMITTERS UHFNH: LOW -POWER Nucomm ChannelMaster Lite Harris Platinum VHF transmitter TRANSMITTER Rohde & Schwarz R&S SCx8000 lattor4-, 'A t

Available in single-, dual- or tri-band configurations, using frequency bands from Supports ATSC, ATSC Mobile DTV, DVB- 1.5GHz to 15.4GHz; features adjustable T/H and MediaFLO as well as analog TV long -GOP encoding - including I, P and Available in both liquid -cooled, high - standards; implements a module -based, B frames - improving video quality as power and air-cooled low -power mod- air-cooling concept;integrates an RF well as offering a low delay mode; the en- els; feature PowerSmart technology for splitter and combiner solution in the coder can be purchased as HD/SD or SD efficiency and reliable operation; both ofamplifier modules; can be switched from only; for increased flexibility, a wide arraythese solid-state transmitters incorporate analog to digital transmission at any time of inputs are provided, including compos- the Harris Apex M2X multimedia exciter by remote or manually; power output ite video/audio, SDI (with de -embeddedto support a wide range of global digital stage comes equipped with broadband audio), AS! and 70MHz. standards - including ATSC, ATSC M/H, precorrection; features power output of DVB-T/H, ISDB-TB, FLO, DMB, DAB, up to 450W or 300W with one amplifier 800-968-2666; www.nucomm.com in UHF range, or up to 900W with second Booth: C6419 CMMB and CTTB; software upgrades allow easy migration to different modula- amplifier; amplifiers come equipped with tion requirements. two power supplies. 800-231-9673 410-910-7800 www.broadcast.harris.com www.rsaJohde-schwarz,com Booth: N2502 Booth: SU3717

Can It Be This Easy? Quality Mobile Broadcasting Yes! GuideBuilderTm Mobile allows broadcasters to introduce mobile ATSC services as an extension of their current operations. Integrated mobile DTV metadata managemert and generation enable transmission of required programming information to mobile ATSC receivers, allowing viewers to select and view channels.

0 Integrates smoothly with existing multiplexers, listing services, traffic systems, and automation Supports centralized metadata generation for terrestrial and mobile broadcasting Support for mobile signaling and ESG 0 Allows GuideBuilder users to repurpose existing investment in information and metadata management systems uideBuilder triveni For a product demo visit us at booth 5U3202 NA /B0 www.TriveniDigital.com Where C,Itt,t Comes to Life" To schedule a demo contact: [email protected]

March 2010broadcastengineering.com 119 Marketplace

Video editing systems Video routing

PCI EXPRESS EDITING SOLUTION PORTABLE VIDEO SWITCHER Blackmagic Design Multibridge Eclipse FOR -A HVS300HS series External PCI Express capture and playback solution instantlyThe newest addition to the company's Hanabi series; the sma11,1RU switches between SD, HD and 2K, in 4:2:2 or 4:4:4 video quality; main frame is packed with features including frame synchronizing connects to PC or Mac with high-speed 10Gb/s PCI Express for and resizing engine on every channel, which allow any SD equip- editing system, or use independently as a bidirectional SDI videoment to be used in full HD mode; has plenty of wipe patterns, converter; features 3Gb/s SDI, HDMI and analog editing with 16 including 2-D and 3-D DVE transitions; features a keyer with channels of audio. chroma key, DSK, dual picture in picture, 16 -channel multiviewer 630-307-2400; www.blackmagic-design.com and still stores. Booth: SL6020 352-371-1505; www.for-a.com Booth: C5219

EDITING SYSTEM VIDEO PRODUCTION SYSTEM Grass Valley EDIUS 5.5 Broadcast Pix Slate V8 PC -based nonlinear editing software; now includes real-time, Features a powerful and efficient new user interface, as well as full -resolution AVCHD editing already released for the EDIUS enhancements to its Fluent Multi -View, Clip Store and Macros Neo 2 Booster package; ideal for professional and prosumer vid- workflow tools; new options extend control to ViewCast stream- eographers who shoot and edit AVCHD video and need native ers and Telemetrics camera control systems; will run on upcom- real-time performance when editing material compressed with ing 3G systems, enabling a smooth transition to a 1080p future; the AVCHD format; is now Windows 7 compatible. Fluent Multi -View has an updated look that is easier to read 503-526-8100; www.grassvalley.com and customize; any element can now be resized; colors can be Booth:SL106 changed for window borders and backgrounds; new alignment tools make it easy to optimize across as many as four monitors. 978-600-1100; www.broadcastpix.com Booth. N4506

SWITCH Broadcastngineering Nevion VS7700 ASI/SDI intelligent slipless switch provides full transport stream protection for digital television networks; with comprehensive LIFETIME TR 101 290 real-time analysis, it can base switching decisions TELEVISION not only on disrupted signals but also on the quality of both the CRE ATING primary and backup transport streams; by performing feed -for- A DIGITAL ()miaow ward switching, TS packet alignment is guaranteed throughout the switching process. 805-247-8560; www.nevion.com

SWITCHER Panasonic AW-HS50 The IP-capable HD/SD live, portable switcher offers four HD/ SD -SDI inputs and one DVI-D input, as well as a built-in multiviewer display; features a built-in frame -synchronizer for each input, two HD/SD-SDI outputs and one scalable DVI-D output; provides IP links to the new AW-RP50 remote camera controller, enabling automatic selection of the currently controlled P/T/Z camera video on the switcher's aux bus. Let Broadcast Engineering keepyou up-to-date onthe 201-392-6141 latest industry news, technology developments, new www.panasonic.com/broadcast products and services...and more. Booth: C3712 Apply for your free subscription today. Log on to broadcastengineering.com and click on "subscribe." I/O BOARDS Utah Scientific And...you can also sign up for any of the industry's Designed for the UTAH -400 router; allow users to choose MADI leading e -newsletters fromBroadcast Engineering. audio and IP video input and output options in addition to the existing analog and digital video (up to 3G) and analog and digital audio options. broadcastengineering.com Broadcast Engineering 801-575-3770; www.utahscientific.com Booth: N4511

120 broadcastengineering.com I March 2010 3G HD/SDI ROUTING SWITCHER WEATHER GRAPHICS CONNECTORS Sierra Video openGear routing Weather Central 3D:LIVE Fischer Connectors AluLite series switcher A real-time broadcast weather platform Passes 19Mb/s SDI to 3G/s HD -SDI video; for HD and SD; integrates up -to -the - available in 8 x 4, 8 x 2, 4 x 4 and 4 x 2 I/0 second data, 3D effects, animations, high - configurations; features include reclock- resolution maps, and comprehensive sto- ing, automatic input equalization and rytelling tools that ensure a continuous dual reference inputs; compatible with supply of fresh content; new tools enable Dashboard control software; can be con- meteorologists to quickly and easily per- trolled via RS -232/422 or with a remote - sonalize forecasts, graphics and alerts for control panel. distribution to their audience across the complete spectrum of broadcast, online 530-478-1000; www.sierrayideo.com and mobile communications mediums, Booth: S14505 including social media platforms such as Twitter and Facebook. Aluminium engineeredmetal connec- 608-274-5789; www.weathercentral.tv tors; 50 percent lighter than typical metal Weather/data Booth: SU912connectors; the ultra light, compact connectors offer excellent strength -to -weight services ratio; ideal for handheld material, mobile Wire, cable, equipment, batteries and power supplies, trollies, rack -mounted units or auxilary EMERGENCY ALERT connectors equipment; easily integrate with high -pro- MANAGEMENT SYSTEM file product designs, while also offering a Digital Alert Sysmtems DASDEC-Il SMALL -DIAMETER CABLE flexible color -coding system; rugged, sealed Includes integrated support for MPEG-2 up to IP68 and operational from -50°C to or MPEG-4 outputs, a browser -based in- Optical Cable High -Density Bend - +150°C; can withstand the harsh field con- terface for remote monitoring, up to fourTolerant Cable ditions of outside broadcasting. Ethernet ports for multiple access points Designed for use in truck, LAN, data cen- within a station and automatic FCC - ter, 40/100GigE and other applications 800-551-0121 compliance logging within the system'swhere small size, light weight and small www.fischerconnectors.com non-volatile memory bank; can be used bend radii are needed; increases capacity Booth: C11724 as a drop -in replacement for any exist- in tray systems, improves cable manage- ing EAS encoder/decoder set; supports a ment, increases cooling efficiency and re- broad range of physical connection and duces cost for under -raised -floor cabling interface protocols; engineered to handle systems; offers superior performance with future emergency alert requirements with negligible loss; exceeds ITU-T-G.657.A2 software; flexible packaging allows for standards for bending performance; has various model configurations. a tighter bend performance than many Note: Booth numbers are provided by NAB and 585-765-2254 similar products. are current as of press time. Every effort has been www.digitalalertsystems.com 540-265-0690; www.occfiber.com made by Broadcast Engineering to ensure the Booth: C3651 Booth: SU8823 accuracy of these listings.

Noisy signal. RF interference. End of range drop -outs. Stop making excuses for poor performance of your wireless intercom.

Tempest 2400 2.4G-lz Digital Wireless Intercom Systems gave been proven and heard by audio experts like you. Tempest's patented wireless technology can tolerate crowded Wi-Fi environments; provide exceptional coverage and range where most other wireless intercoms fail; and combat noisy environments with high audio dynamic range.

Contact Clear-Com' today for a demonstration. our next production depenciikear com

www.clearcom.com 4 !,',11.',tof' roup brand 02010 Vitec Group Communcatiors, LLC. Al rights reserved. ®Glee-Com Is a registered trademark of Mc Group plc. Tempest Is a registered trademark at CoachC,omm LLC.

March 2010E broadcastengineering.com 121 APPLIED TECHNOLOGY NEW PRODUCTS & REVIEWS Media Application Server Omneon's server takes oncross -platform, file -based workflow integration. BY SIMON ELDRIDGF

or years, broadcast profes-be moved effectively through the process and use the media in the un- sionals have been challenged broadcast workflow? derlying systems. In media -centric with the idea that a "generic" Omneon has addressed the work-environments, the application server FIT platform could eliminate flow issue with its Media Application brings greater efficiency to funda- the integration woes and format warsServer, which is built on the genericmental processes by supporting a that complicate plant design. De- application servers that the IT worldgrowing range of automated and si- spite the promise of such platforms, uses to provide core software servicesmultaneous operations. One example the fact is that things have not gottenand infrastructure. This platform, inis the movement of files from device much simpler. turn, supports better and faster inte- to device with concurrent transcod- The ongoing complexity of plantgration - and more efficient opera-ing or generation of low -resolution design stems from two issues. Thetion - of applications and servicesproxies performed as needed. first of these is file format interop-that exchange metadata and transac- The ability to control and manage video servers, storage, transcoders Third-party applications Pro application suite Custom applications and other devices is key to broadcasters' realization of straightforward, Omneon Media Services Framework streamlinedfile -basedoperations. Web services API To this end, the server is designed around service -oriented architecture (SOA)principles.This approach provides a single enterprise platform for the control and management of these devices. It also simplifies the movement of content - delivering the right format at the right time to the right location. A collection of Web services - APIs collectively dubbed the Media Services Framework (MSF)- within the application server provides tools for controlling how content is moved, wrapped, formatted and converted. (See Figure 1.) The Omneon ProXplore interface, or any other Figure 1.Omneon's Media Application Serverisdesigned around service -oriented architecture principles. media management system compatible with the MSF Web service APIs, erability, which receives the most tion data within complex systems. Asmay be tailored to serve as a cus- attention and is partly addressed bya result, back -end applications cantom user interface and media asset useful yet imperfect standards suchbe written so that data persistence,management system. as MXF. The second issue, that ofapplication control and system status Automation is essential to effec- cross -platform, file -based workflow all can be centralized and distributed tivefile -based workflows. Built-in integration, isin some respects ato applications across the network. rules and notifications engines can thornier problem. Though this is- Applying media awareness to theguide automated events and notify sue has received substantially lessapplication server, Omneon has ad-other systems or users about sys- consideration than the first, it raisesdressed challenges specific to broad- tem activity and job status. A rules a critical question: Within new file -cast and production workflows. The engine within the Omneon platform based infrastructures that do not relyresulting integration platform sup-automates the transfer of incoming on the video router, how can mediaports all applications that manage,encoded video feeds directly from in-

122 broadcastengineering.com I March 2010 12 -bit Full -HD Processing? gest servers to central storage as soon as the feeds begin, giving editors rapid access to centrally stored content. As each new encode session begins, a notification is sent to the third -party proxy subsystem. The subsystem can in turn use MSF calls to start reading and transferring the growing file, making low -resolution video available to everyone in the enterprise. Rules also can automate conversion of files, whether from external sources or from archives, into the "house" file format. As a result, all available content It's Possible. can be used in the same way. To enable very fast conversions, the application server directs the ProX- The new IP000705 Image Processor from i-Chips change system to perform parallel transcoding across features complete internal front -to -back 12 -bit all available processors within the MediaGrid active deep processing. storage system. Working with a simple GUI, users select content using Motion -adaptive de-interlacer low-res proxy versions of media. The media asset man- 90 degree image rotation agement system uses MSF API calls to identify physical Detection of all cadences storage locations of high -resolution content. These calls also ensure that the media is automatically moved to the Learn more at: www.i-chipstech.com right place for editor access. When edited files are saved to a particular directory, additional rules ensure that those files are immediately transferred to on -air servers, making them available for transmission even as the Represented in North America and Europe by:Daitron transfer completes. If the central production and remote transmission centers are not co -located, the platform automatically calls on ProCast to enable bandwidth - optimized WAN transfer of content to the remote node, wherever in the world it may be. The transfer mechanism used depends largely on file wrapper format, environment and use case. The Media Application Server supports standard FTP transfers and tail -mode FTP for left -to -right content, when moving growing files is critical. The server also supports the Active Transfer mechanism, which allows any growing ingest format to be moved and written coherently to the destination device as recording continues. Such transfer capabilities speed user and device access to content, regardless of where it is stored. Dynamic re - wrapping of content - the conversion from one media Break th type (e.g., QuickTime or MXF) to another as part of the AnytimeAn transfer process - not only allows broadcasters to overcome compatibility issues, but also eases integration of When renowned photographer Randy Olson heads out on assignment, he always brings the essentials including best -of -breed broadcast systems. his camera gear and his BGAN from Stratos. This technology addresses the complexities of cross - With BGAN Randy stays in touch with clients and transmits large photos from the field. He can always be reached when platform,file -based media workflows in two ways. the next story breaks, even in a Mbuti hunting village deep First, it serves as a single enterprise platform for the in the Democratic Republic of Congo. control and management of broadcast devices. Sec- Randy always has access to: ) Live video and audio ond, it guides and automates the movement of content. ) Store and forward Pt -I- C=0 The server thus represents a significant step forward > Small, portable equipment an Inma rsat company > Quick set up and tear down in simplifying broadcasters' deployment of advanced Toll Free (North America): 1 800 563 2255 multiplatform systems. BE Worldwide: +1 709 748 4226 [email protected] www.stratosglobal.com Simon Eldridge is Omneon product manager, software Visit us at NAB, and applications. Outdoor Booth No. 0E1720

March 2010 I broadcastengineering.com 123 TECHNOLOGY IN TRANSITION NEW PRODUCTS & REVIEWS Cameracrossover Now that consumer digital SLR cameras include video capability, will news crews start using them? BY JOHN I UFF

- ameras can be thought ofpixels. By combining six samples whopping 7680 x 4320 pixels!A2/3in as optical analog -to -digi- vertically into one, a 720 -line formatsensor would now have pixels only a tal (A/D) converters these iscreated. Combining four verti- little over .001mm, one -quarter of the days. Photons respond incal samples into one makes a 1080 - size we have today. And the lens/cam- the lens as waves, and the sensor con-line format. The same is true in the era performance must produce nearly verts photons (arguably acting likehorizontal direction, with 1920 sam- 400 line pairs per mm to achieve the particles) into stored electrical charge.ples natively, or by combining threesame performance. That would be a That is a sampling process pure andsamples into two output samples, astunning optical system indeed, or simple. To make it more specific, it is 1280 -sample structure is achieved to the imager must become much larger a three-dimensional sampling tech- create a 1280 x 720 native image. to allow practical optics to be used. nology, with spatial samples taken at Cameras intended for digital cin- the frame (or field) rate in a succes-ema production do the same thing,Consumer crossover sion of samples that only representwith the result that varying resolu- But let's look at the other end of the original scene. tions and aspect ratios can be created the scale. Consumer camcorders have Unlike compression, the goal ofwithoutbuildingpurpose -specificmany different sensorsizes, from this kind of sampling is to reproduce cameras. It would be prohibitively ex- 1/2in on high -end crossover cameras the most accurate rendition of thepensive to create a multitude of chipsto as small as 1/6in, with many in scene as possible. MPEG is generallyfor each output format, and from athe range of 1/3in. Extrapolating the coded at 8 bits per sample, but cam-practical standpoint, an agile cameranumbers above means that on a 1/3in eras commonly sample at 10 to 14 bits per sample. This has a clear and direct effect on the capture range and In order to produce higher volumes of HD noise floor of the camera. More is content, the natural order of economics better - better contrast, detail in the light and dark areas, less noise sensi- moves people to less expensive hardware. tivity, more accurate color rendition, and more natural looking pictures. Though a camera cannot reproduceis a much smarter approach. From asensor, the pixels for 1080 images are the full range of light values possible manufacturer's perspective, it may beabout .0025mm square, and the lens (think starlight to nuclear explosion),the only way to make cost-effective system performance would also have partly because the display cannotcameras. From a user's viewpoint, it to double to achieve the same per re- accomplish the other end of the ac-allows some future flexibility in howsults. But the truth is that inexpensive quisition/display process, a camera the camera is used. cameras use inexpensive optics. Per- with more potential range goes a long It is important to realize that weformance has to suffer. The pictures way to making natural images look,have begun to approach the limitsare demonstrably better than SD well, natural. of physics in the design of practicalcameras, but cannot equal the quality In a way, many modern camera sen- HD cameras. A 2/3in sensor is actu- of a studio camera and lens. sors are similar to oversampling audioally about 11 mm diagonal, or roughly This gives rise to an interesting A/D converters. They use more pixels5.4mm x 9.6mm. On that chip, eachdynamic. In order to produce higher in the sensor than the image formatpixel is about a .005mm square. Tovolumes of HD content, the natural requires. Individual pixels are formed achieve full resolution, an HD cam-order of economics moves people by combinations of pixels, either atera system, lens and camera, mustto less expensive hardware. The re- the time of A/D conversion or in post produce about 81 lines a pair persulting content cannot be the same processing. This allows a camera with mm. Now consider the future stan- quality as that shot with more ex- more pixels to create a multitude ofdard for UHDTV, developed by NHK pensive hardware. So in the rush to scan standards. For instance, onein the last decade and standardizedget more HD content to air, we are manufacturer's sensor is 4320 x 1920by SMPTE recently. The picture is a in fact choosing often to produce less

124 broadcastengineering.com I March 2010 TECHNOLOGY IN TRANSITION NEW PRODUCTS & REVIEWS than HD performance. News camerases creates a change in quality discern- technology arises in the professional might be high quality, or they might able to average viewers. The key is that market in no small measure because be consumer crossover cameras. Oneconsumers understand not to expect it can leverage the research paid for by network recently announced it wasthe same production approach as a high -bandwidth consumer product giving reporters HD consumer cam-taken for the Super Bowl. Thus, this is delivery chain. eras that are barely bigger than a cell readily accepted. Conclusion In the last year, we have seen the advent of digital SLRs with video capture capability, extending the range of options to a new class of cameras. Most are oversampled, with some having up to 21 million pixels (single chip, not three as many video cameras have). But the range of optical choic- es is an interesting dynamic. I wonder how we will fit a 7in viewfinder to a 1.8Ib camera? Will it work on a steadycam? Production professionals have already found innovative ways to use this interesting possibility and will continue to do so. NBC's "Satur- day Night Live" shot a recent segment entirely with SLRs. Can news crews be far behind? BE

The new season of NBC's "Saturday Night Live" debuted with a new look for the John Luff is a broadcast technology opening title sequence. The entire opening montage was shot using the Canon consultant. EOS 5D Mark II and the new EOS 7D digital SLR cameras. Send questions and comments to: [email protected] phone so they can capture images Nonetheless, the importance of the111 when a crew is Not present. The im-rise of consumer crossover products ages might be720p or 1080itechni- is important to understanding the cally, but the resolution will clearly camera marketplace. It is clear that ATTENTION READERS! suffer a dramatic degradation. That is DVCPRO, which is based on the re- Eign up now for acceptable because of the possibilitysearch done for the consumer DV BigiliCaStEfiginering's that the content is more impactful camcordermarketplace,changed /1&tv.i,Technoloqylihdate and therefore worth the trade-off. In- the way camera technology is devel- e -newsletter tercutting HD and pseudo -HD imag-oped and deployed worldwide. The at wvvw.broadcastengmeenng.coni

ji_inger loudness control devices

TV Iel you must hear it to believe it 0 gEk 7 I 0 TV RADIO IPTV SAT STUDIO CABLE Level Magic Dolby Encoders & Decocers SDI Embedded Audio 5.1 & 2.0 Audio Processing Digital Matrices Digital Mixer 5.1 Upmix & Downmix

> NAB 2010, SU7206 www.junger-audio.corn

March 2010 I broadcastengineering.com 125 NAB BOOTH N4319. THE SOLUTION THAT KEEPS YOU AHEAI OF THE PROBLEM.

Built by broadcasters for broadcasters. Our 100% web -based equipment and trouble ticket system alerts you to potential problems before they arise. Zeus, already the trusted solution for some of the largest media and communications companies in the world, is ready to be yours.

ZeUS. BROADCAST zeusbroadcast.corn PRODUCTS & SERVICES SPOTLIGHT

Extra Value Age !Li! I I WI I I! I ir,1 DVE,dcast Division for the Digital PRODUCTS & SERVICES SPOTLIGHT SECTION MPEG-2 HD/SD

Your Product & Services Decoder and Spotlight ad provides you 8/16 VSB with a cost effective opportunity to: Off -Air Receiver Position your company or brand Get the best performance up Announce new products or to 6 GHz at the best price with

services BEEE Promote and drive traffic to your Radiall's "True" BNC 75 ohm 8VSB Receiver/ website HOW Connector Series! Keep your company top of mind Demodulator every month Decodes DVB-ASI and Ideal for Broadcast Transmission demodulates 8VSB RF and To advertise in the System ,applications converts it to SDI, HD -SDI, Products & Services RGB, YPrPb, or composite Spotlight section, For a FREE White Transport streams play out Paper and BNC 75 in KJ or SD format please contact: HDTV Connector, go to www.radialt.com NOBSHOW Booth SU2709 JULIE DAHLSTROM P 312.840.8436F 913.514.3684 858-613-1818 [email protected] RADIALLY www.dveo.com

CLASSIFIEDS For Sale Help Wanted

Lithium -Ion Batteries for 7IAcoustics First® Professional Video Cameras Toll -Free and Camcorders GEPCO 888.765-2900 /NI/k'/NAIC)'\1/1L

Materials to Control Sound S and Eliminate NoiseTM rIJJ JIIJJJv a General Cablecompany http://www.acousticsfirst.COM 'LE/ 1 JSi JJ1-LI LIE JJ!/.1. PRODUCT MANAGER, GEPCO H01111A hortta.com General Cable seeks self -motivated,results - Multi- Frame Rate Time Code Solutions driven professional, with 5 -years experience in 23.976, 24, 25, 29.97, & 30 FPS productmanagement/marketing/salesinthe ReadersGeneratorsTranslatorsDisplays broadcastindustry.Reportingto VP & GM, Transcode or 'Cross -Jam between frame rates Carol,Isotec & Gepco Brands,theProduct Translate LTC-to-RS422 or RS422-to-LTC Manager has overall responsibility for developing Add +/- Offset. diagnose & correct errors strategic positioning, sales, margin and inven- call (949) 489-0240 or email [email protected] tory for the domestic and international broad - oast business to grow market share and deliver oottom Vine profitability to the organization. BA/ PRODUCTS & SERVICES BS,preferably MBA, with demonstrated ex- BroadcastEngineering perience in product pricing, market position- SPOTLIGHT SECTION ing and inventory management required. Solid Your Product & Services Spotlight ad provides you with a cost effective opportunity to: analytical,mathematical and computer skills coupledwithstrongfacilitationandexcel- Position your company or brand Announce new products or services lent communication skills and overall business Promote and drive traffic to your website Keep your company top of mind every month management ability. General Cable is an equal To advertise in the Products & Services Spotlight section, please contact: opportunity employer, M/W/DN and a drug -free workplace.

JULIE DAHLSTROM Send resume to [email protected]. For more information visit our website at P 312.840.8436F 913.514.3684 [email protected] www.generalcable.com.

March 2010 I broadcastengineering.com 127 CLASSIFIEDS A PENTON MEDIA PUBLICATION BroadcastEngineering® www.broadcastengineering.com Help Wanted Editorial Director Brad Dick. [email protected] Editor World Edam David Austerberry editorgbroadcastengineeringworld.com Managing Editor. Susan Anderson, susan.andersongpenton.com Assoc. Editor. Collin LaJoie, collintajoie@pentontorn RADIO BROADCAST TECHNICIAN - Maintenance (BBG-10-005) LOCATION: Washington, DC Assoc. Editor. Angela Snell, [email protected] The Voice of America is seeking a full-time Radio Broadcast Maintenance Technician (RBT) to join our Radio Sr. An Director. Michael J. Knust, mike.knustOpenton tom Maintenance Service team in supporting radio broadcast facilities and other multi -media systems at VOA Head- Art Director. Robin Metheny, [email protected] quarters in Washington, D. C. Technical Consultants: Computers &Networking -Brad Gilmer Antennas/Radiation - Don Markley MAJOR DUTIES: Digital Video -Aldo Cugnini Troubleshoot, diagnose, repair, and perform preventative maintenance on all technical equipment in studio Transmission Facilities - Donald L Markley and production facilities, including portable audio and video multi -media devices. Legal - Harry C. Martin New Technology -John tuff Install, construct, and provide design assistance, for new broadcast engineering projects or to upgrade Industry Watcher - Anthony Gargano existing broadcast systems and equipment. New Media -Craig Ifirkmaier Prepare and process equipment and materials, and evaluate relevant equipment and tools for Radio Maintenance Service use. Preparation and timely delivery of required status information and reports including complete maintenance Group Publisher .L.'are Madden [email protected] and operation logs, and documents. Dir., Online Product Development Dean Muscio, dean.muscio@ ientoncorn QUALIFICATIONS REQUIRED: Vice President of Production: Lisa Parks, [email protected] Applicants must have technical experience in professional radio, television, and/or multi -media systems that Production Manager:Jihy Daniels, kathydaniels@penton corn clearly demonstrates the ability to troubleshoot and repair broadcast related equipment, including portable au- Classified Ad Coord.: Larch Maxey, [email protected] Audience Development Kris Cunningham Kristi.Cunningham@pentoncorn dio and video multi -media devices. The experience must have been progressively responsible and must clearly Group Show Director/LDI: Sharon Morabito, sharon.morabits@f enton.com demonstrate the applicant's competence in troubleshooting and maintaining a diverse range of broadcast related equipment manufactured by a wide range of vendors in the broadcast industry. Details about this position and how to apply can be found at: Itnton Media http://jobview.usajobs.gov/GetJob.aspx?JoblD=85469772 Penton Media, Inc. 249 West 17th Street You can mail or hand deliver your application materials to the address below: New York, NY 10011 International Broadcasting Bureau Chief Executive Officer. Sharon Rowlands, sharon rowlandsthpenton.com ATTN Office of Personnel 330 Independence Ave., SW, Rm. 1543 Washington, DC 20237 MEMBER ORGANIZATIONS _IPBP4 If you have questions regarding this position (Radio Broadcast Technician - Maintenance announcement Sustaining Member of: (BBG-10-005) please contact: Leslie Brown (202) 382-7500. Society of Broadcast Engineers mlasour aswelatIon publl.tions Member, American Business Media; Member, BPA International, The Missouri Association of Publications

Innovative Technologies is seeking a BE US/Canada SUBSCRIPTION RATES: Free and controlled circulation full time Broadcast Engineer to work in the TO REACH INDUSTRY PROFESSIONALS to qualified subscribers.Non -qualified persons may subscribe at the following rates (Prices subject to change): USA and Canada, 1 year, $99.00, Chantilly, VA office. The Broadcast Eng- 2 years, $171.00, 3 years, $242.00; Outside USA and Canada, 1 year, $116, PLACE YOUR AD TODAY! ineer will be responsible for system design 2 years, $204.00, 3 years. $292.00 surface mail 11 year, $193.00, 2 years, of broadcast facilities in Auto CAD and proj- 9347.00, 3 years, $506.00 airmail delivery). ect management. Travel is required. Seven JULIE DAHLSTROM BE World SUBSCRIPTION RATES: 'ree and controlled circulation to years experience and a BSEE is preferred. qualified subscribers, Non -qualified persons may subscribe at the follow- Candidates outside of Virginia are encour- P 312.840.8436 F 913.514.3684 ing rates (Prices subject to change): USA, 1 year, $94.00, 2 years, $160.00, aged to apply but a relocation allowance is 3 years, $226.00; Outside USA, 1year, $110, 2 years, $193.00, 3 years, [email protected] $275.00 surface mail 11 year, $182.00, 2 years, $336.00, 3 years, $490.00 not offered. A detailed job description can airmail delivery). be found at www.iti-corp.com. Please send resumes to Jennifer Lightburn at ARCHIVES AND MICROFORM: This magazine is available for research [email protected]. and retrieval of selected archived articles from leading electronic databases and online search services, including Factiva, LexisNexis and Proquest. For microform availability, contact National Archive Publishing Company at B00-521.0600 or 734-761-4700, or search the Serials in Microform listings at napubco.com.

REPRINTS: Contact Penton Reprints to purchase quality custom reprints or e -prints of articles appearing in this publication at 11; 858-8851. Website: Recruit Retain Explore www.pentonreprints.com. Email: reprintsapentonreprints.com

PHOTOCOPIES: Authorization to photocopy articles for intemal corporate, personal, or instructional use may be obtained from the Copyright Clearance %JOBzone The Industry's #1 Job Zone Center 1CCCI at 918-750-84130. Obtain further information at copyright.com. PRIVACY POLICY: Your privacy is a priority to us. For a detailed policy Finally, a job site created exclusively for the statement about privacy and information dissemination practices related to Penton Media products, please visit our Web site at www.penton.com. broadcast industry. EDITORIAL and BUSINESS OFFICE: Penton Media, 9800 Metcalf, Over- http://jobzone.broadcastengineering.com land Park, Kansas 66212 913-341-1300 penton.com Copyright 2010, Penton Media, Inc. All rights reserved.

128 broadcastengineering.com I March 2010 AD INDEX Broadcast Engineering is not responsible for errors in the Advertisers Index.

Page AdvertiserWebsite HotlineAddress SALES OFFICES AJA Video 31 800-251-4224aja.com Analog Way 106 212-269-1902analogway.com Apantac LLC 104 503-616-3711 apantac.com US/CANADA Autoscript 26, Map 7 203-926-2400autoscript.tv WEST Avid Technology 3 800 -949 -AVID avid.com/interplayvalue George Watts III Axcera 103 800-215-2614axcera.com (360) 546-0379; Fax: (360) 546-0388 [email protected] Axon Digital Design 111 301-854-6557axon.tv Blackmagic Design 5 408-954-0500blackmagic-design.corn Burst 117 888-472-2820burstvideo.com EAST Canare Cable Inc 96, 98, 100 973-837-0070canare.com Josh Gordon Clear-Com Communication Systems 121, Map 1 510-496-6600clearcom.com (7 18) 802-0488; Fax: (7 1 8) 5 2 2-475 1 Cobalt Digital 116 800-669-1691cobaltdigital.com [email protected] Communications Engineering Inc 110 703-550-5:30commeng.com Daitron Inc 123 i-chipstech.com MIDWEST Dalet Digital 113 dalet.com Emily Kalmus Digital Alert Systems 118 585-765-1155digitalalertsystems.com (3 1 2) 840-8473; Fax: (913) 514-6301 Dolby Laboratories Inc. 13 dolby.com [email protected] Doremi Labs Inc 37 818-562-1101doremilabs.com Ensemble Designs 59, Map 4, Map 23 530-478-1830ensembledesigns.com ESE 35 310-322-2136ese-web.com INTERNATIONAL Evertz Microsystems Ltd. IBC 877-995-3700evertz.com EUROPE EVS Broadcast Equipment 25 973-575-7811evs.tv Richard Woolley +44-1295-278-407 Fischer Connectors 107 800-551-0121fischerconnectors.com Fax: +44-1 2 9 5-2 7 8-408 Florical Systems Inc. 93 800-372-4613florical.com [email protected] For. A Corporation of America 29 714-894-3311for-a.com Fujinon Inc. 23 973-633-5600fujinon.com Grass Valley Map 11 grassvalley.com/k2 Israel Grass Valley Map 24 grassvalley.com/Idk3000_elite Asa Talhar Harris BC 800-231-9673broadcast.harris.com/x50 Talbar Media +97 2-3-5 6 295 6 5; Fax: +972-3-5 6 2 9 567 Harris Map 4-5 harrisNAB2010.com [email protected] Harris 41 800-231-9673broadcast.harris.com/multiviewers Intelsat 15 202-944-7025intelsat.com Isilon Systems Bellyband isilon.com JAPAN Junger Audio 125 junger-audio.com Mashy Yoshikawa Kino Flo 45 818-767-6528kinoflo.com Orient Echo, Inc. Lawo North America Corp 105 416-292-0078lawo.de +81-3-3235-5 961; Fax: +81-3-32 3 5-585 2 [email protected] Lectrosonics Map 7 lectrosonics.com Linear Acoustic 97, 99, 101 717-735-3611linearacoustic.com Linear Industries Inc 63 847-428-5793linear-tv.com CLASSIFIED ADVERTISING LYNX Technik AG 34 +49 6150 18170yellobrik.com Julie Dahlstrom Marshall Electronics Inc 109 800-800-6608lcdracks.com (31 2) 840-843 6 Miranda Technologies Inc 9 514-333-1772miranda.com/loudness Fax: (913) 514-3684 [email protected] Multidyne Electronics 61 888-332-6779multidyne.com NAB Show 2010 91 nabshow.com Nevion 65 800-515-0811nevion.com REPRINTS NPR Satellite Services 39 202-513-2626nprss.org/connect Penton Reprints NTT Electronics Corp 16 ntt-electronics.com/be 8 8 8-858-885 1 Omneon 21 866-861-5690omneon.com www.pentonreprints.com On Call Communications Map 14 949-716-3030occsat.com Optical Cable Corporation 115 800-622.7711occfiber.com LIST RENTAL SERVICES Panasonic Broadcast IFC panasonic.com/broadcast Marie Briganti, Walter Karl PESA 53 256-726-9200pesa.com (845) 6 2 0-07 0 0 Riedel Communications 30, 102 914-592-0220riedel.net (845) 620-1885 Salzbrenner-Stagetec Media Group 27 888-782-4391stagetec.com ma rie.brig a nti @walterka rl .infousa.com Screen Service Broadcasting Technologies 11 888-522-0012screen. it Sencore 108 605-339-0100sencore.com SGL Map 6 sgluk.com Sierra Video Systems Map 12-13 sierravideo.com Customer Service: Snell Group 57 snellgroup.com/kahunaverse 913-967-1707 or 800-441-0294 Stratos 123 800-563-2255stratosglobal.corn Streambox 55, Map 9 206-956-0544streambox.com Broadcast Engineering, March 2010, Vol. 52, No. 3 (ISSN Studer USA 51 866-406-2349studer.ch 0007-1994) is published monthly and mailed free to qualified persons oy Penton Media, Inc. 9800 Metcalf Ave., Overland TBC Consoles Inc 112 1 -888 -consoletbcconsoles.com Park, KS 66212-2216. Periodicals postage paid at Shawnee Thinklogical 95 800-291-3211thinklogicaLcom/products Mission, KS, and additional mailing offices. Canadian Post 119 trivenidigital.com Triveni Digital Publications Mail Agreement No. 40612608. Canada return Utah Scientific 33 800-453-8782utahscientific.com address: Bleuchip International, P.O. Box 25542, Lordon, ON Videssence Map 2 626-579-0943videssence.tv N6C 682. POSTMASTER: Send address changes to Broadcast ViewCast 7 800-543-4119viewcast.comte Engineering, P.O. Box 2100, Skokie,IL 60076-7800 USA. Ward -Beck Systems Ltd 114 800-771-2556ward-beck.com CORRESPONDENCE: Editorial and Advertising: 9800 Metcalf, Yamaha Commercial Audio 19 yamahaca.com Overland Park, KS 66212-2216 Phone: 913-341-1300; Edit. fax: Zeus Broadcast 126 407-352-6501zeusbroadcast.com 913-967-1905. Advert. fax: 913-967-1904. © 2010 by Penton Media, Inc. All rights reserved. 360 Systems 17 818-991-0360360systems.com

March 2010 I broadcastengineering.com 129 EOM DEPARTMENT What'sastereographer? You'll need one to create 3-D content. BY ANTHONY R GARGANO

Let the hype begin! The Inter- where the revenue return can support"Chuck" episode in 3-D, he shared national CES Show has come high production value content andsome of the unique 3-D production and gone, and the 3-D jug-its attendant high production cost.challenges. For example, because 3-D gernaut has now left the sta- George Lucas has recently been quot- uses twin capture lenses, his production. 3-D technology seemed to per- ed as considering rereleasing the "Star tion company, 3ality Digital, found it meate every nook and cranny at theWars" franchise in 3-D. You can bet necessary to develop software to mea- show in any vision -related consumerthat if he does, there will be untoldsure the lenses' optical centers and electronics booth. From still camerasmillions spent on delivering a view- make sure that they matched. Also, to displays and from computer gaming ing experience that technically will bewhen doing cuts between cameras to Blu-ray disks, eye -popping content as memorable as that of "Avatar." during a shoot, he needed to ensure abounded. The industry has sown the But even in a large -screen venue,that the depth planes matched one seeds of must -have technology, and3-D still has problems. A small per- another to preclude a nausea -induc- the Consumer Electronics Association centage of viewers of "Avatar" in 3-D ing artifact in the program material. - the industry's official trade organi- For 3-D production, he has found zation - is already predicting sales of it necessary to create a new position 4 million 3-D television sets in 2010. From still cameras - what he calls a stereographer. The Reigning in such unabashed en- to displays and role of the stereographer, whose main thusiasm and promotion are flipside function is the proper use of depth, comments such as that by blogger and from computer includeseverything from making freelance copywriter Otis Maxwell, gaming to Blu-ray sure there is no mismatch between who, when discussing 3-D TV said, the zoom ratios in twin lenses to "My prediction is this is like the hot disks, eye -popping measuring on -set depth levels. 3-D girl you're never going to bring home content abounded. production requires major changes in to meet mom." the creative process.

3-D content IMAX complained of headaches and What's next? As with any new visual media tech- nausea. And then there is the recent So, where does all this leave the nology, it is always all about content. debacle of 3-D football on the giantbroadcaster? Well, there are no stan- 3-D content today is essentially lim-screen at Cowboys Stadium, wheredards, and every standards body from ited to 3-D film libraries. While there it had to be turned off after justSMPTE to MPEG to the EBU all have are technologies being advertised and 10 minutes because of the headacheactive working groups and subcom- companies offering services, 2-D toand nausea complaints and the boosmittees, but they are not close to 3-D upconversion is a mixed bag. To of the fans watching it. adopting anything soon. While nei- do it effectively, it's a very expensive But back to content; the transition ther the polar opposite views of the process. Unless money is spent to do it to HD had a federally mandated tran-CEA nor Otis Maxwell may prove well, consumers will not be compelled sition to digital transmission facilitat- to be prescient, with all the elements to invest in a new display whose 3-D ing its widespread adoption. Moviesbehind this current 3-D push, we images look like the cardboard cut- and existing television series' archives are bound to land somewhere in be- outs in a child's paper popup book, also provide a wealth of content for re-tween. And even that "somewhere" is and that's what a lot of today's 2-D to spectable SD -to -HD conversion. Series a long way off. In the meantime, enjoy 3-D upconversions look like. Com- originally shot on film can readily bethat odd 3-D movie or PC game, and pare that to the 3-D IMAX experience remastered to HD. This is not the case don't worry about it until the advent presented by the movie "Avatar," and going from 2-D to 3-D, at least not for of what we know the real market driv- you will quickly conclude that there is a discernibly acceptable product. er will be: 3-D porn. BE no comparison. It's like T -ball vs. the For new content, 3-D production Anthony R. Gargano is a consultant and World Series, or school soccer vs. the has its unique challenges. In a recent former industry executive. World Cup. discussion with producer Ted Ken- That brings up the question ofney, whose credits among others in- Send questions and comments to: whether 3-D is a theater experienceclude the movie "U2 3-D" and NBC'[email protected]

130 broadcastengineering.com I March 2010 Evertz°-Adding A New Dimension to Broadcasting. As the Complete 3D Solution Provider, Evertz® offers an end -to -end production workflow, contribution, acquisition and live production of 3D. Evertz® provides the tools and products to support broadcasting's transition to 3D.

NA/BSHOWBooth #N1602 it 'WhereContent Comes to Life 1-877-995-3700 www.evertz.comeity0-2

US West Coast Sales New York Sales Washington DC Sales UK Sales South -East Europe Sales Dubai Sales Office Asia Pacific Sales 818.558.3910 [email protected] 703.330.860C +44 118 935 0200 +385-1-2059-325 011-971-50693-0204 +852 2850.7989 [email protected] [email protected] [email protected] [email protected] [email protected] [email protected] The surprisingly affordable X50TM synchronizer/converter.

The latest member of the award -winning Harris family of 1RU video/audio processors, the versatile X50 fits any production environment - and even the tightest budget. Its industry -leading features include:

SD/HD up/down/cross conversion Integrated color correction Fully adjustable aspect ratio converters 16 -channel embedded audio processing Optional 3 Gb/s and fiber I/O The X50 processor -the compact platform for any situation.

Learn more at broadcast.harris.com/X50 or contact your local Harris dealer.

ONE Company. ONE Direction. The Future.

assuredcommunicationr www.harris.com ',ARMS Broadcast Communications RF Communications Government Communications Systems