TV Station HD Camera Flexibility: Ready for ATSC M/H & Hyperlocal

THE REPORT 2010 TV Station HD Camera Flexibility: Ready for ATSC M/H & Hyperlocal & 4G?

Affordable Investment – Low Operating Costs HD Broadcast Quality – Supports New TV Station Business Model Maximizing Market Opportunities & ROI A Win-Win JVC Broadcast Direct Relationship

HD ENG Hyperlocal Handheld

HD STUDIO

HD ENG Shoulder

Table of Content Page EXECUTIVE OVERVIEW 3 A New Local TV Business Model 3 ATSC M/H & HD ENG 4 And don’t sell your 6MHz OTA space 6 Evaluating Hyperlocal TV News? 7 Fast “Go-to-Air” Workflow - High Professional Picture Quality 8 Affordable Investment 8 Invest in HD News facilities – Dominant HDTV screen size 11 HD News Studio Camera – Low Operating Costs 12 Metro-centric Competitive Strategy 12 A New TV Broadcast Business Model – Common Sense Eng. Director 13 ProHD Super-compression at 35 Mbps VBR 14 Preserving the Ultimate Live HD Delivery Chain 16 WHAT IS ProHD? 17 ProHD On-Board Recording Exclusive 18 Professional Flash Memory Storage Media 19 Super-fast SxS is now ProHD 20 Cost-effective Memory Card Archive 21 Native File (Fast-to-Air) Acquisition 22 GY-HM790 Solid State Media Camcorder 23 A New Level of HD Camcorder Flexibility 24 TRIPLEX Offset Technology - Full resolution choice: 720p and 1080i 25 Professional Docking SxS Memory Card Media Recorder 26 GY-HM100 Solid State Media Camcorder 26 LIBRE Microwave Camera-back System 26 SxS & SDHC -- Interface to any Laptop, any Desktop 27 ProHD is: Local HD Studio Live 28 HIGHER RATINGS -- LOWER INVESTMENT 29 Smart technical choices 29 Live HD Remotes = BAS 2GHz Relocation 30 Easy Microwave = First-to-Air 31 Live HD ENG Backhaul to TV Station 32 Workflow options inside the ENG Van 34 Workflow options inside the TV Station 35 ProHD compatible Non-linear Editing Systems 36 Remote HD POV applications = ProHD 38 4G, LTE, WiMAX & Fiber IP -- Live Backhaul Options for HD ENG 39 Fiber-wired IP backhaul 43 Microwave, Fiber IP, WiMAX or 4G? 44 Lenses for HD ENG 45 SD lenses on HD Camcorders 46 CASE STUDY -- Top-20 Market -- LIVE HD ENG TRANSITION 48 3D HDTV – Broadcast Primer 52 JVC Broadcast Direct 56

IMPORTANT: This ProHD-2010 Report has been authored by nordahl.tv LLC on behalf of JVC Professional Products Group. Competitive specifications stated herein are believed to be accurate at time of writing. Readers of this Report are encouraged to contact other sources including other manufacturers to obtain the latest specifications, as well as points of view and analysis other than those presented and concluded in this Report. Trademarks: All company, product and systems names and trademarks found in this Report are the sole property of their respective owners.

EXECUTIVE

From Live HD ENG OVERVIEW to ATSC Mobile/Handheld . . A New Local TV Business Model?

Local, national, and worldwide television news must have the capability to go live on the air with late-breaking news, with live pictures from the remote site, and, when appropriate, live interviews between the news anchors and the field talent, and between the field talent and the news subjects. Whether from ENG helicopter, ENG van, handheld or shoulder- carried, instant wired or wireless delivery of news to the TV station with true HD quality on- air is an absolute necessity for local TV news market leadership.

Three years ago, we counted just 30-some TV stations around the US with significant HD local news origination (each having announced HD news), largely by converting their SD news set to HD, but with very little meaningful “breaking news” HD ENG on the air. Then, with perhaps only one TV station in each market doing HD studio news, there was a substantial competitive edge in 2007 going to a HD studio news set at the local level, even without HD ENG on-air capability.

Now, at NAB-2010, we count hundreds of TV WZVN Ft.Myers, FL (Nielsen DMA Market stations around the US already doing HD news from #62) HD News Studio is equipped with JVC a new HD news set, many equipped with HD studio GY-HD250U cameras installed with the fully cameras, switchers and support equipment at professional JVC studio camera kit. investment level of millions of dollars per TV station.

HD studio news by itself, without live HD ENG, is no longer a major competitive edge in many Top-100 Markets. Live HD ENG is now a competitive necessity.

Live HD ENG makes you highly competitive . . .

JVC ProHD is already in over 70 DMA Markets,

covering more than 80 Million Viewers

More and more television breaking news, as well as daily and prime time programming, will be accessed on portable devices with limited resolution, such as mobile In-Car and handheld TVs and on cell phones and PDAs. But TV stations’ primary outlet and revenue generator for some time will remain the millions of home viewers who demand HD quality content to be displayed on their HDTV sets. But recognize the opportunity.

Content remains king, but the audience ratings victor will be the TV station with the best live news images “first to air” day after day, as we can assume that, in the news business, the TV stations in the same market deliver more or less the same news stories each day.

Your presentation to the audience must be better than the competition, in journalistic terms as well as in HD quality terms. HD from a news studio is relatively easy these days . . . however, cost effective Live HD ENG requires smart decisions, management courage and the right technology. Differentiate your station from the others, be the first with Live HD ENG news in your market, and do it economically, preferably before the other stations do.

Scripps, Raycom Media, Newport Television, and now Nexstar Broadcasting (listed in order of adoption) are some of the Group Station Owners which have switched to JVC ProHD over the past two years, making ProHD camera-recorders the leading brand amongst Group- owned TV Stations, establishing JVC as the market leader in HD cameras and camcorders for TV news.

ATSC Mobile/Handheld . . . How does it relate to the HD ENG Camcorder? And to your HD Studio Camera?

YES, it does. Related to its capability of switchable native acquisition output of either 1080i or 720p, and, of course, by protecting your future financial flexibility and freedom by its attractive acquisition cost. The new ProHD GY-HM790 (and the GY- HM700) camera/camcorder leaves your future options open. Let’s explain.

If your TV station is currently transmitting 1080i HD format over the air, you would most likely want to have HD ENG camcorders with acquisition output of 1080i. And the GY-HM790 will give you just that. And similarly, you would want to have HD Studio cameras ATSC compressing of 720 progressive outputting 1080i over HD-SDI. Again, the GY-HM790 requires less bits than compressing in the studio configuration will provide just that. 1080 interlaced for same perceived average picture quality on home HDTV

set. That difference in the ATSC OTA And if your primary HDTV channel is currently 720p, pipe may be around 4Mbps, seriously the unique GY-HM790 and GY-HM700 will supply impeding the ability to add M/H native acquisition output in the 720p format. The services in a 1080i OTA pipe. ProHD camera system gives you switchable 1080i or 720p ultimate native acquisition flexibility.

This “native flexibility” is a very important feature for every TV station now considering or planning Mobile/Handheld local over-the-air (OTA) broadcasts.

The ATSC M/H standard document is A/153. We will not go into any great detail in here, but rather just attempt to present a simple overview which will illustrate some basics for TV Stations to consider when making early M/H decisions. Three (3) different sizes of M/H video displays are listed here associated with OTA resolution and total required bitrate (with mid-level FEC):

Total M/H Bitrate Mobile/Handheld Approx. Avg. Suitable OTA Payload + FEC Display Type Diagonal Size Resolution Approx. Avg. Very small on 416 x 240 30 fps 1.3 Mbps 3” Cell Phone/PDA Base Layer 312 Kbps + FEC 624 x 360 30 fps 2.5 Mbps Small portable TV 8” Enhancement 629 Kbps + FEC Layer 832 x 480 60 fps 6 Mbps In-Car mobile TV 15” Enhancement ~1.5 Mbps + FEC Layer

NOTE that, to assure robust ATSC M/H reception to continuously moving targets, the forward error correction (FEC) “tax” is on the average a stunning 3X the bitrate of the video/audio payload, or the efficiency factor is about 25% in the table above. Minimum program efficiency is about 17% while best case efficiency is 34%, according to A/153.

Presumably, the primary objective of any TV Station initiating M/H is to provide mobile simulcast of their primary HD OTA channel, at any time reaching a large mobile “on-the-go” audience within the DMA market. As the typical 1080i OTA TV Station has less than 3 Mbps of bandwidth available for M/H, such stations may chose to transmit two (2) different 416x240 base layer channels, one of which could be the simulcast. Or it may chose to transmit one (1) 624x360 enhancement layer (which includes the base layer) and have the simulcast being presentable with a reasonable resolution on smaller portable TVs, and on cell phones and PDAs extracting the base layer 416x240 suitable resolution of the simulcast.

On the other hand, the typical 720p OTA TV Station may have about 6 Mbps of bandwidth available for M/H, and such stations may chose to transmit a simulcast of one (1) 832x480 enhancement layer (which again includes the base layer) presenting a high quality wide SD simulcast to any In-Car mobile TV and enable cell phones and PDAs to extract the 416x240 base layer. The M/H business model seems more attractive for the 720p OTA station than for the 1080i OTA station due to the M/H bandwidth advantage.

ProHD protects your future options. The GY-HM790, HM700 and HM100 cameras are easily switchable from 1080i to 720p native acquisition output, to match your station and OTA format, should you decide to change from 1080i to 720p in the future. (BTW, all ATSC M/H video formats are progressive, encoded H.264 SVC and IP packetized.)

Get more local eyeballs . . . And don’t “sell” your 6 MHz OTA space!

The average major market network affiliated TV call letter station often covers a ground area of many thousands of square miles serving millions of persons. Take the Phoenix, Arizona market, where UHF channel 15 belong to KNXV-TV with ERP of 458 kW, serving more than 3.2 million persons in a circular coverage area exceeding 15,000 square miles!

Like so many other call letter stations all around the country, KNXV-TV is a “franchise treasure”. We can just imagine the many millions of investment dollars required today to build a wireless transmission network to cover 15,000 square miles and reaching 3.2 million people! DTV broadcasters have a tremendous opportunity to leverage their 6 MHz OTA channels into a new metro-centric business model.

The “Key Word”? Metro-centric Content

The local, regional and national news markets are becoming more competitive, as cable, web-based and mobile video news services develop, causing traditional local TV advertising dollars to consider moving to newer electronic media. Your TV stations, having done news for years, already have the necessary base infra-structure from which you can launch your HD market attack, to increase your audience share for news and, indirectly, for day-time and prime-time programs.

Just as popular network programs lead-in and help build your local news audience, great local news broadcasts will lead-in and build audience for network and syndicated programming, as your popular local news talent may promote your prime time and syndicated shows. It is a continuous positive circle, or, it Pie chart shows breakdown of 2009 revenue for a medium-size may reverse into audience loss Group TV Station Owner with 10 TV stations, several in Top-20. The largest opportunity for revenue growth is often in the local by one weak program link. market often resulting from improvements in local news quality and expansion of Metro-centric Content.

A Mid-Market TV Station typically gets about 2/3 of total revenue from local time sales, and only 1/3 from national sources. Higher ratings are driven by your station’s ability to attract additional eyeballs, a direct function of providing better and more interesting content, of which a larger part is HD News and Live HD ENG.

Your TV Station’s potential for increasing revenue and improved profitability lies largely in generating more local revenue and gaining more local eyeballs. You must deliver more HD video stories to your Metro-centric market area, and do it better and faster than your competition.

Evaluating Hyperlocal TV News? More HD & SD coverage, more HD Cameras . . .

When a TV Station enters the new business model of supporting the operation of 20 or 30 or even more metropolitan area different neighborhood “hyperlocal” websites, and perhaps directly competing with existing hyperlocal websites, it seems obvious that the TV stations competitive edge lies in its expertise in gathering, processing and disseminating video news stories. More HD camcorders are needed to shoot “hyperlocal video content” in several neighborhoods at the same time, by volunteers or by part time paid video journalists.

We have only one recommendation to make to TV Stations entering the Hyperlocal TV news gathering game: Make sure that the handheld HD camcorders provided to the hyperlocal video journalists are fully compatible in work flow and in image quality with your primary HD ENG camcorders. This will surely greatly improve the two-way timely interchange of clips, reduce operational costs and support profitability.

The objective of this Report is to give the reader, whether in engineering, news, production or executive management, a solid foundation upon which to make the best techno-financial decisions in the ongoing transition to live HD Studio and HD ENG news. And, in overview, the best HD equipment decisions are in these three areas, in this order:

#1: Fast “Go-to-Air-now” Workflow

Breaking news in the field require that your station can go on-air with Live HD ENG faster than the competition. Your station is first to break the local story, with live remote HD. Breaking the news first in SD is good, but not good enough if the station across town is on- air with live remote HD, even if a bit later than you. You may get some eyeballs for a minute, but the competition will eventually get the eyeballs owning HDTVs. And the number of HDTV set owners is still growing fast! You need the ProHD next generation Direct File Access for the fastest “Go-to-Air-now” workflow.

#2: High Professional Picture Quality

The HD picture quality from any recently installed station HD news set is stunning, watching the live studio talent through OTA (over-the-air) ATSC transmission directly to the eyeballs’ HDTVs in the home. The digital DTV ATSC delivery chain delivers spectacular HD picture quality in 99%+ of local HDTV homes, with even a marginal antenna! Cable and satellite delivery of HD? Nearly as stunning.

What is highest picture quality? It is not the picture quality demanded by the “golden eyes” in the post production suites and digital film studios in Hollywood, Burbank and Manhattan. It is not the picture quality demanded by major TV networks’ test labs on West 57, West 66, or 30 Rock in Manhattan or on Pico Blvd in LA, viewing under ideal conditions on calibrated HD monitors. WXYZ Detroit, MI (Nielsen DMA Market #11) HD ENG vans are equipped with JVC GY- The highest picture quality in Live HD ENG is HD250U camcorders, for Live HD ENG use. what appears to the home HD audience as being comparable in quality to what is presented on the home HDTV OTA from the live HD studio news set. Meaning? Your TV station’s HD newscast shall be uniform in HD picture quality whether the transmission to the home HDTV audience is live from the HD news studio or live from the remote truck. That should be the test in our opinion.

#3: Affordable Investment (5 reasons)

You may be surprised to know that there is a way to achieve the essential combination of Fastest Workflow and Highest Picture Quality in Live HD ENG through reduced investment as compared with the other currently available professional HD camcorders and formats.

JVC’s ProHD is that Low Investment approach.

There are FIVE distinct elements to the ProHD Affordable Investment promise:

AFFORDABLE ProHD “Super-Encoded” HD format at 19Mbps INVESTMENT The ProHD camcorder features a built-in broadcast quality HD Super-Encoder supplying a REASON #1 realtime “live” compressed HD stream at about 19Mbps over a widely used Firewire output port. This Reason #1 combines with Reason #2 to potentially save hundreds of thousands of dollars for the average Top-100 TV station.

AFFORDABLE The ProHD 19Mbps Live HD stream is a perfect HD ENG microwave fit INVESTMENT The FCC’s new microwave BAS (Broadcast Auxiliary Service) 2GHz relocation, currently in its REASON #2 final transition stages, re-structures the channel bandwidth from 17MHz (old analog use) to 12MHz for the new digital era. Regrettably, only 8MHz of the 12 can be reliably used for COFDM modulated RF signal, due to COFDM’s out-of-band spurious carrier generation (regrowth), thus requiring a 2MHz guard band on each side of the 8MHz primary bandwidth. Unfortunately, you can ONLY reliably transmit a maximum of 21Mbps in an 8MHz COFDM modulated microwave channel. ProHD 19Mbps is a perfect fit using the “Super- compressed” live HD output from the JVC ProHD camcorders to feed into the ENG Van’s microwave COFDM modulator, eliminating the need to buy an external $10,000+ broadcast quality 19Mbps HD encoder for each ENG Van.

AFFORDABLE The JVC ProHD ENG camcorder costs less than half INVESTMENT The complete GY-HM790 professional ENG REASON #3 camcorder kit (camera, ENG lens, built-in SDHC media recorder, memory cards, ASI encapsulation, accessories and case) cost about $15,000 compared with more than twice that price for a comparable kit from the competition. And, even at twice the price, the competition cannot compete in the Fastest Workflow arena. If we agree that the average Top- 100 TV station doing “full service news” may have 10 ENG vans, then the investment savings just from the HD camcorders may approach or even exceed $200,000.

AFFORDABLE ProHD ENG greatly reduces the cost of TV Station infra-structure INVESTMENT Transitioning from SD to HD news invariably involves the desire to eliminate video tape REASON #4 cassettes and to establish or expand a station-wide long term and archive server architecture, thereby eliminating physical storage space and “sneaker/retrieval” facilities, and greatly reducing purchases of VTRs of many format flavors for years to come. Again, the very low realtime bitrate of only 19Mbps (2.4MB/s) means that a one-minute news clip is only 150MB in storage terms, while the competitions “high end, twice the cost+” HD acquisition system requires at least 450MB and in many cases up to 900MB for a one- minute news clip. Considering a long term and archival server purchase of 5TB (5000GB) for the News Department, the ProHD format allows you to store 33,000 one-minute clips, while the mentioned competitive “high end, twice the cost+ 900MB” format will fill up the server after 5,500 one-minute clips. If your station produces an average of 20 edited clips a day or about 7,000 clips a year, your 5TB clip server will be full after only 8 short months

with the competition’s format, while it will take the ProHD format 4 years to fill up the server. And consider bandwidth access to your archive/clip server. At ProHD’s 19Mbps per stream, a Gig-E network port may simultaneously accommodate multiple write/read stream, easily allowing a large number of your newsroom staff to work on-line in realtime. The competition’s several 120Mbps streams may overload the Gig-E network and slow down realtime access, limiting the concurrent realtime access to perhaps as few as 1 or 2 news staffers. There is obvious substantial cost savings in the simplicity and lesser bandwidth requirement of any network using ProHD files and streams.

AFFORDABLE ProHD gives you maximum flexibility: 19Mbps HD ENG & 35Mbps HD Production INVESTMENT The ProHD camcorders offer as standard features the ability to instantly switch from the REASON #5 microwave BAS-friendly 19Mbps HD ENG compression mode to the HD production friendly 35Mbps mode, using the same workflow or, for local HD production for commercials or feature stories, using a more sophisticated editing work flow as the “on-air now” time constraint of HD ENG is not a consideration in local HD production and post. In addition, the maximum flexibility includes recording to professional grade consumer-priced SDHC memory cards OR/AND to professional grade super-fast SxS Express memory cards, including simultaneously! Recycle the SxS cards and put the SDHC on the shelf as archive of raw footage.

2010 HDTV Household Penetration

It is estimated conservatively that the U.S. will have a total of about 115 Million households at the end of 2010, growing from around 112 Million at the end of 2006. About 99% of all households will have one or more TVs of some type, whether old analog SD or new flat screen digital HD.

In 2010, you cannot fool all of the TV audience all of the time! They now know the difference between Live SD News and Live HD News. Your station needs Live HD ENG News to be competitive in your DMA.

The consumer transition to HDTV continues to move rapidly in 2010, as seen on the graph presented on below, sending a strong message to TV station owners that, without both HDTV programming and Live HD ENG, the station will not be competitive in the local market place.

Invest in HD news facilities while focusing on audience dominant HDTV screen size!

In 2009, about 10 million units of 32” HDTVs were sold in the U.S., being the most sold home HDTV size in 2009. It is interesting to note that about 14 million HDTV households were added in 2009 while total units of HDTVs sold exceeded 30 million.

In the prior years of 2007 and 2008, 37” to 42” were the dominant HDTV sizes sold, while 32” and 37” were the most popular in 2009.

The best selling HDTV screen size in 2010 is again expected to be 32”, as more and more lower income households buy their first HDTV choosing the highly price competitive 32” LCD flat screen.

At the same time, existing HD households are buying their second or third HDTV, often choosing the price competitive 32”.

The Bottom Line at the end of 2010: The vast majority of HD viewers are expected to be watching your TV station’s programs on HDTVs with screen sizes from 32” to 42” at home.

This supports your other important considerations in preparing for ATSC M/H and HD Hyperlocal News, where your TV station’s prime ATSC HD channel’s bandwidth share of the gross 19.39 Mbps may need to be reduced in your next decade’s TV station business model. The affluent families with 55” HDTVs are no longer your primary HD target audience. You no longer need the $35,000 HD ENG camcorders and the $200,000 HD Studio camera package!

HD News Studio Camera – Double duty . . . lower capital requirement?

If you still need to convert your station’s live news studio to HD, seriously consider using the same JVC ProHD camcorder to be installed with the fully professional studio camera kit, directly compatible with remote control standards, robotics, and teleprompter attachments. And the HD-SDI output is studio quality, full bandwidth HD video, competitive with those “high end” $100,000+ studio cameras at a fraction of the price.

Again, this promotes a high level of commonality in your HD camera/camcorder inventory and even lower initial investments and lower ongoing operating expenses, driven by your stations’ need to purchase one product line from one manufacturer, without compromising on the HD quality delivered to the home audience, and remaining highly competitive in your market.

Low Operating Costs

This is a difficult area to predict, as it involves many variables outside of equipment, systems and workflow HD News Set at WTVR Richmond, VA operations, such as union contracts and management (Nielsen DMA Market #58) equipped with approach to ENG and live news on-air. ProHD supports JVC GY-HD250U camcorders mounted in efficiency in staffing requirements, reduces ongoing highly cost effective studio configuration. consumable purchases and promotes smaller bandwidth charges, for the following reasons:

Smaller camcorder size (yet shoulder mount), simpler system approach, fewer workflow steps and realtime capability makes it possible to reduce total ENG and newsroom staffing. Reduces ongoing purchases of consumables, such as video tape cassettes and VTRs, and eliminates the need for frequent expansion of server capacities and network infra-structure. The low 19Mbps bitrate promotes a highly efficient use of any return or contribution link, enabling concurrent carriage of additional channel(s), without any increase in ongoing cost of leased fiber or microwave path.

Metro-centric Competitive Strategy . . .

You desire even higher audience share for your newscasts, your primary road to higher profitability in dollar terms. And, you want lower cost of investment and operations. A higher audience share for local newscasts is a competitive function of (i) better content, (ii) more likeable talent and (iii) higher quality presentation, let’s say, in reasonably equal measures. You miss out on one, and the excellence of the remaining two may not matter. You need all three.

The competitive advantages for the #1 TV station for news in a given market are usually small, supporting an attack (or defending an attack) using new cost effective HD technology must be considered to be part of any larger competitive strategy.

Any delay in your live HD news and ENG implementation in 2010 will cause your station to competitively fall behind the other stations in your market, causing you to be on the defensive and making it very difficult (and probably costly) to restore your competitive position. Don’t fall behind . . . you really need to make your decision now to start on the live HD news and ENG track for 2010 implementation, and do so from a fully informed Miami Dolphins using ProHD Studio position. JVC’s ProHD GY-HM790 and GY-HM700 Camera in its Game Day Live coverage, camera/camcorders will support your HD strategy for and ProHD Camcorders for roaming news, Metro-centric content and future M/H interviews. services.

A New TV Broadcast Business Model and the “common sense” Engineering Director

The NEW TV Broadcast Business Model considers:

x More local TV news in HD – Live Studio and Live ENG x Adding Hyperlocal news coverage in HD and SD x Expanding local news to Metro-centric coverage x Re-purpose all HD and SD material for ATSC M/H x Requiring more video stories from more sources x Requiring more operational HD camcorders x Requiring highly efficient work flow and news operations

Just a couple of years ago, it took real guts for a Top-100 TV station’s Director of Engineering or Chief Engineer to recommend investing in a dozen or two JVC ProHD camcorders costing just half (or even less than half) of the cost of the “high end” Ikegami, Panasonic or Sony HD camcorders. Not so today! With ProHD camcorders and studio cameras providing market leading live HD news in more and more TV stations coast-to- coast, ProHD has established itself to be the most popular HD studio camera and HD ENG camcorder system family in 2009.

And don’t forget flexibility: If your station spends millions on HD news transition and live HD ENG implementation, you probably have to live with that decision for many years before additional capital becomes available. However, as an example, if you spend “a lot less” in 2010, you may “buy” flexibility to adjust and re-direct as you experience the new realities of the local news economics as your local market dynamics change over the years.

Partnering with leading news editors and servers

The ProHD format is supported by all major suppliers of editing and server systems, including Apple, Avid, Grass Valley and Omneon. Apple? Yes, Apple has become a leading supplier of professional video editing software through their Final Cut Pro (or FCP) applications, running on Apple MacBook Pro laptops and Mac desktops, networking seamlessly between the ENG world, your news room and play-out servers utilizing the ProHD format to provide Fast Workflow, High HD Picture Apple’s MacBook Pro is an ideal HD laptop Quality, Affordable Investment and Low editor for ENG and EFP, relying on the Final Cut Operating Costs. A winning combination Pro application software and the ability to edit indeed. directly from the SDHC card, removed from the camcorder and inserted into Express Slot Once you decide to go HD news, then Adapter in the MacBook Pro, to realize the equipment selection is governed by the very fast HD ENG workflow to air. products available (and working as a system) at that time. With the ever advancing state of the consumer electronics technologies and the availability of consumer HD camcorders for less than $500, and high- end consumer models for under $1,000, it is even more essential that your local news presentation to your home audience be all HD, and very soon. But it is difficult to justify spending $40,000 or more each for professional HD ENG camcorders with lenses for the news department these days. This Report may clarify this and other choices for your management team, and, perhaps, be great news for your CFO.

ProHD Super-compression at 35 Mbps VBR: Cost Effective excellence in HD Field Production

ProHD is not only praised for its super-compressed yet exceptional full HD bandwidth ENG image quality at 19 Mbps, but now also for the EX compatible 35 Mbps super-compression, still producing small video files but with really big image performance. Whether your station format is 1080i or 720p, all of the new ProHD camcorders are the ideal HD EFP acquisition tools to produce local commercials and special interest stories in addition to shooting stunning ENG picture quality “backhauled” to the news room on SDHC or SxS memory cards.

The ProHD 19 Mbps super-compression is a CBR-based (Constant Bit Rate) stream, assigning a constant (same) bitrate to each group of pictures, while the ProHD 35 Mbps super-compression is a VBR-based (Variable Bit Rate) stream, varying the bitrate for each group of pictures according to the complexity of each group.

Compare JVC ProHD-35 with Panasonic AVC-Intra:

Video Bandwidth Compression Remarks Quantizing Type

Long GOP and VBR (Variable Bit Rate) JVC ProHD-35 (HQ) 1980x1080 compression, and full HD bandwidth, make (MPEG-2 long GOP 1280x720 ProHD-35’s encoder match if not exceed video 35 Mbps) 8-bit depth codec performance of AVC-I 100. COMPARE ProHD at 35 Mbps with Panasonic at 111 Mbps.

Same bandwidth sub-sampling as DVCPRO-HD 1440x1080 introduced in 2000. The better 10-bit depth (8- Panasonic AVC-I 50 960x720 bit for DVCPRO-HD) is not material at this (AVC Intra 54 Mbps) 10-bit depth limiting intra-frame bitrate. 10-year old video performance nearly identical to DVCPRO-HD.

Very good Intra-frame compression. Overkill for TV Station HD ENG and EFP. Compressed bitrate 1980x1080 of 111 Mbps is 3x that of ProHD-35, and too high Panasonic AVC-I 100 1280x720 for efficient and cost effective operations. P2 (AVC Intra 111 Mbps) 10-bit depth memory cards cost more than $1,000 per hour of storage compared with less than $200 per hour of ProHD-35 storage.

The Bottom (Live HD ENG) Line:

AVC-I 100 bitrate of 111 Mbps is far too high (even AVC-I 50 at 54 Mbps is too high) for any HD ENG LIVE backhaul over microwave, utilizing any AVC-I compressed stream out of the Panasonic camcorder. Such backhaul really requires a separate ENG Van-based HD encoder, accepting HD-SDI input and supplying an ASI out with a less than 20 Mbps HD stream to the microwave TX unit, or, alternative, connect the camcorder’s HD SDI directly to the microwave unit’s built-in encoder. Thus, for HD ENG LIVE applications, the AVC-I compression (whether 100 or 50) is NOT applicable.

ProHD LoLux gets the difficult night shot

LoLux is a special mode which increases the camera front end gain in selectable steps from 24dB up to 48dB, and it is enabled on both the GY-HM700 and the GY-HM790 when purchased directly from JVC’s Broadcast Sales Division. Low light performance is one of the key factors for quality video. The LoLux ensures superior sensitivity, resulting in clear images with precise colors even in low light.

Preserving the Ultimate Live HD to-the-Home Delivery Chain The shortest path between two points is a straight line! That says it all. The ATSC delivery over the air directly to the home ATSC tuner-fitted HD display is the highest quality consumer level HD delivery path available, bar none. Not even the Blue-ray Discs may be as good, with all its multi-generational authoring and processing, when compared with a TV station’s live HD studio camera shots sent over the air directly to the home viewer’s ATSC HD set.

TV News Studio Live On the Air GY-HM790 in Studio Configuration

HD-SDI

Master ATSC Encode DTV

Control 19.39 Mbps TX

Local HDTV News can bring the highest image quality of any delivery system to the home audience. The ONLY lossy stage from the live HD camera output to the home HD display input is the ATSC codec process. A great opportunity!

A live news studio HD camera supplying HD-SDI through master control directly to the ATSC encoder, then linked to the transmitter, 8VSB modulated, and beamed to the home without any server compression, with no video tape generation loss, no contribution chain artifacts. Only encoded/decoded once with ATSC!

Try shooting in the field to SDHC memory cards, using 35 Mbps ProHD HQ compression, and play back the first generation (decoded to HD-SDI) OTA over your DTV channel. You’ll be surprised of the network image quality presented to the home audience.

Compromising your great local HD news opportunity by delivering SD ENG (or mediocre HD) is a sure way to lose audience share to your competitors.

Live HD ENG makes you highly competitive . . .

ProHD makes your HD News highly cost effective . . .

What is ProHD?

GY-HM790

GY-HM700

GY-HM100

GY-HM790 Studio

GY-HM100 What is ProHD? ProHD is an integrated family of new HD cameras, camcorders and system components, designed for professional television, with emphasis on the competitive local news environment, delivering unprecedented HD format and solid state recording flexibility through a highly attractive performance-price ratio.

ProHD On-Board Recording Exclusive: HD Format AND Solid State Media Choices!

ProHD now includes the XDCAM EX HD formats . . . Record on SxS professional memory cards OR (better yet) on SDHC high grade high capacity economical memory cards

JVC and Sony have joined forces to combine the original ProHD 720p60 with the EX .MP4 18, 25 and 35Mbps in the new expanded ProHD format family, and to support Sony’s SxS solid state flash memory cards in addition to JVC’s own recently available SDHC dual-slot integrated memory card recording sub-system.

All three of the GY-HM100, GY-HM700 and GY-HM790 camcorders now support all major HD signal formats including 1920 x 1080, 1440 x 1080 and 1280 x 720.

35Mbps 25Mbps 19Mbps 1920 x 1080/60i 1440 x 1080/60i 1280 x 720/60p 1920 x 1080/50i 1440 x 1080/50i 1280 x 720/50p 1920 x 1080/30p 1280 x 720/30p

1920 x 1080/25p 1280 x 720/25p

1920 x 1080/24p 1280 x 720/24p

1440 x 1080/60i (.mov only)

1440 x 1080/50i (.mov only)

1280 x 720/60p

1280 x 720/50p

1280 x 720/30p

1280 x 720/25p

1280 x 720/24p

ProHD now means exceptional flexibility, recording any of the above HD formats in realtime on the SxS memory cards (GY-HM700 and GY-HM790 only, requires the optional SxS Docking Recorder KA-MR100G) or on the fully integrated dual slot SDHC memory card recorder, a built-in feature on all three of the GY-HM100, GY-HM700 and the GY-HM790 camcorders.

Professional Flash Memory Storage Media (And now cheaper than tape cassettes)

Secure Digital High Capacity (SDHC) memory cards are widely available around the world, currently in capacities up to 32GB. Several 64GB SDXC (X = extended) cards are now being brought to market, but, if you need 1 hour+ storage per card, then the 32GB remains the cost effective high capacity SD card in 2010. The ProHD camcorders (GY-HM100, GY-HM700 and GY-HM790) each provides 2 memory card slots, totalling 64GB of on-board removable storage for up to 6 hours of continuous recording. Unlike the purpose-designed relatively expensive SxS and P2 media, SDHC per hour cost (at 19 Mbps ProHD) is actually less than professional video tape (DVCPRO-HD), creating the first practical solid state solution to physical archive on flash RAM on-the-shelf.

Street Time Time 32GB Memory Street Price Capacity Capacity Card Type Price per Hour Hi Bitrate Lo Bitrate Sony brand SxS $500/Hi 1.6 hours 3 hours

SBP-32 $800 $267/Lo @ 35Mbps @ 19Mbps

Panasonic P2 $1,140/Hi 0.5 hour 1 hour

E-series $570 $570/Lo @ 100Mbps @ 50Mbps

JVC ProHD SDHC $150 Class 6 $94/Hi $50/Lo 1.6 hours 3 hours Class 6 & 10 $300 Class 10 $186/Hi $100/Lo @ 35Mbps @ 19Mbps Brand Name Panasonic Same as 2 hours DVCPRO-HD-LP $52 $105 Lo Bps @ 100Mbps Tape Cassette

8GB Memory

Card Type JVC ProHD $60/Hi 0.4 hours 0.75 hours Class 6 $24 SDHC $32/LO @ 35Mbps @ 19Mbps Brand Name Table compares cost per hour of storage amongst leading HD camcorder suppliers, and with a typical HD long playing tape cassette. Note that JVC ProHD beats the HD tape cassette cost per hour using 32GB SDHC Class 6 with 19Mbps compression, and “by a mile” using 8GB SDHC. JVC recommends SDHC Class 10 cards for ProHD HQ 35 Mbps recording. (Prices and performance found by internet search on March 30, 2010)

JVC is the first HD camcorder manufacturer to have offered native file professional HD format recording on SDHC memory cards.

Super-fast SxS Pro is now ProHD . . . But, when is SxS necessary?

SxS is super-fast flash memory, purpose-designed for the latest HD camcorders and the non-linear workstation-oriented environment, providing extremely fast clip transfer to any PC or Mac using the PCI-Express slot interface fitted on all newer laptops, and available by PCI-Express expansion card on desktop workstations. The PCI Express bus is the new PCI standard with a theoretical write or read speed of 250MB/s, nearly twice as fast as the older legacy PCMCIA PC card at 133MB/s.

SxS cards offer effective read and write speeds up to 800Mbps (100MB/s), about twice as fast as the competitive legacy P2 cards using the legacy PC card bus standard. The new P2 cards claim a higher maximum transfer speed, but only by using a proprietary P2 5-card docking unit.

SxS is not necessary in HD ENG applications, but, in major HD field productions where very fast transfers are time savers, SxS media is a convenience.

SxS Product Specification

Interface ExpressCard/34 PCI Express

Dimension Approx. 34 x 5 x 75 mm

Transfer Speed 800Mbps (100MB/s) Max read speed

Storage Capacities Recording Times (for SxS and for SDHC capacities)

8GB (7.4) 35Mbps/25min – 25Mbps/35min – 19Mbps/50min

16GB (14.9) 35Mbps/50min – 25Mbps/70min – 19Mbps/100min

32GB (30) 35Mbps/100min – 25Mbps/140min – 19Mbps/200min

Super-economical SDHC is also ProHD . . . which includes Super-Fast-to-Air HD ENG workflow

Where Super-Fast-Direct-to-Air is required, editing directly off the super- economical SDHC memory card without the need to transfer is the way to go. JVC calls it DFA: Direct File Access.

Cost-effective Flash Memory Card Archive

The only sensible solid state “On-the-Shelf” archive approach is with ProHD and SDHC, offering a highly cost effective approach to HD ENG raw footage archive. JVC has designed a plastic sleeve carrier which holds 3 SDHC cards with space to write details about the content. 3 of the 32GB cards (total of 96GB) stores up to 600 minutes (10 hours) of ProHD HD ENG quality (19Mbps).

Assuming a street price of $100 per 32GB brand-name SDHC card, the total cost of the 3x SDHC cards and carrier is about $300 for 96GB, for storing up to 10 hours of HD ENG raw material “On-the-Shelf”, or $30 per hour.

Compare this with 10 hours of typical HD video tape cassettes (like DVCPRO-HD Long Playing cassette), the cost “On-the-Shelf” is nearly twice at $57 per hour. And one must consider the physical space requirement of SDHC cards vs. tape cassettes. The DVCPRO- HD LP tape cassette has a physical volume of about 16 cubic inches, as compared with the plastic sleeve carrier of about 2.5 cubic inches, indicating that (physically) one can store over six (6) plastic sleeve carriers in the space of one (1) DVCPRO-HD LP tape cassette. BUT when you compare time capacities, it becomes really exciting: The LP cassette holds 2 hours of DVCPRO-HD while the six (6) plastic sleeve carriers (each with 3x SDHC cards) holds 60 hours of ProHD. That’s a physical/time capacity ratio of 30:1 in ProHD’s favor!

The plastic SDHC sleeve carrier holds 3x SDHC cards for a total of 96GB, with a capacity of up to 10 hours of HD ENG clips at ProHD 19Mbps, or up to 6 hours of HD clips at ProHD 35Mbps, at a total street price as low as about $300. That’s about $30 per hour “on the shelf” for 19Mbps material.

Use SDHC to “back up” SANs and servers. Even with TBs of SAN or server storage with a commitment to on-line disk-array long term storage, it is still essential with certain material to provide “On-the-Shelf” archive/back-up. SDHC cards are ideal for such use, in terms of both physical space and media costs. We do not mean to transfer from SANs and servers to SDHC cards, but, after any transfer from SDHC to SANs and servers for news room editing and air play, to place the recorded SDHC cards as “on-the-shelf back-up physical archive” rather than to erase and recycle the cards.

COMPARE

Same Physical Storage Volume “On-the-Shelf”

One (1) DVCPRO HD Six (6) ProHD

126 XL Tape Cassette Plastic Sleeve Carrier

About 2 Hours Holds 18x 32GB SDHC cards

HD Time Capacity About 60 Hours

ProHD Time Capacity

Native File (Fast-to-Air) Acquisition Immediate editing in Final Cut Pro without conversion

All three of the GY-HM100, GY-HM700 and GY-HM790 camcorders incorporate JVC’s ProHD Native File Recording technology, storing video in a Ready-to-Edit file format (.mov) on the SDHC memory card, which file format is used and accessed directly by Apple’s Final Cut Pro non-linear editing system.

The “.mov” file extension indicates a QuickTime container for a video clip (including audio) which is proprietary to Apple’s QuickTime. The ProHD camcorders wrap the MPEG-2 compressed video stream and the 2 channels of uncompressed digital linear PCM audio in the .mov QuickTime format. This enables immediate recognition of the format by any Final Cut Pro-based (FCP) workstation as the SDHC media is plugged into the workstation through appropriate slot or interface, and to accomplish Ready-to-Edit without lossy conversion or transcoding.

Except for complex editing of 35Mbps material requiring multiple (near-concurrent) rapid media access, editing is accomplished direct from the SDHC card without the need to file transfer. HD ENG is one application where FCP and SDHC join ProHD for Fastest-to-Air performance, with an extremely favourable ROI model.

The “.mp4” file format is a industry-wide standard developed as the MPEG-4 Part 14 by ISO/IEC, directly based upon the QuickTime container format. MPEG-4 Part 14 is essentially identical to the .mov format, but in addition specifies support for other MPEG features. Almost any kind of data can be embedded in MPEG-4 Part 14 included the widely- supported media streams of MPEG-4 AVC, MPEG-2 and even MPEG-1. The ProHD-SxS recording format is GOP-based MPEG-2 compression contained in .mp4 container file. The SxS workflow takes advantage of the very fast transfer capabilities of the SxS memory card, thus the SxS does not generally provide for Direct-to-Air editing, but recommends a transfer of all clips from the SxS to the editing workstation or server prior to editing.

GY-HM790 Solid State Media Camcorder

The NEW GY-HM790 combines JVC’s popular shoulder form factor with a new level of performance suitable for demanding applications in HD ENG and HD Studio, built on cutting edge solid state recording technology offering the choice of using the very economical and widely available SDHC memory cards or the extremely fast SxS card standard. SxS operation requires the addition of the KA-MR100 camera-back SxS Media Recorder between the camera body and the battery.

Some of the GY-HM790‘s exciting features are:

Patented 3-CCD optical system delivers full HD resolution Full in-camera 4:4:4/4:2:2 processing prior to encoding Full bandwidth 4:2:2 HD-SDI output and built-in genlock Down-converted SDI output – Live or Playback Full support of 1080i and 720p, as well as 480i Time code input/output – Pool feed input New high performance Canon 14x lens included Records to dual hot swappable SDHC memory cards in .mov or .mp4 Professional HD recording at 35, 25 or 19Mbps in .mov or .mp4 Native Final Cut Pro format – Immediate editing New HiRes LCOS ”large eye-piece” digital viewfinder (1.2 Mpixels) Patented Focus Assist function Large 4.3-inch Flip Out LCD monitor Uncompressed LPCM 2-Ch. audio recording USMSRP $11,995 including high performance Canon 14x lens

A New Level of HD Camcorder Flexibility

A new 68-pin Multi-signal Interface Connector available at the rear of the camera body provides “clutter-free” connectivity to a wide selection of optional attachments, offering the ultimate in use flexibility and versatility. Except for the studio interface module, the other three options are available for the GY-HM700 as well.

TRIPLEX Offset Technology: Full Resolution in 720p60 and 1080i60

Both the GY-HM700 and GY-HM790, by its new market-leading camera front end processing and new 3-CCD 1/3-inch optical sensor block, now output full resolution in both 720p59.94 and 1080i59.94. JVC’s new and advanced ProHD capture technology incorporating a new patent-pending Adaptive Pixel Correlation Technique (APCT), combined with TRIPLEX Offset Technology, delivers exceptional resolving power in both 720p and 1080i, comparable to cameras with larger than 1/3-inch image sensors.

The highly efficient ProHD form of H-V pixel shift, where the Blue pixels’ sensor array is shifted ½ pixel horizontally, while the Red pixels’ sensor array is shifted ½ pixel vertically (both referenced to the Green array), enables recovery of additional luminance detail between the photosites of each pixel, and, by applying the Adaptive Pixel Correlation Technique, achieves a remarkable improvement in image texture and resolving power at 1080i59.94. Extensive evaluation of the GY-HM790 proves the effectiveness of the APCT in delivering full resolution 1920x1080, through a large improvement in the MTF (modulation transfer function) at higher frequencies by the APCT determining how to best use the additional samples obtained from the pixel shift (TRIPLEX Offset Technology).

The TRIPLEX/APCT action differentiates between “object directions” in high frequency areas of the image, to the extent vertical, horizontal, diagonal (left) or diagonal (right), and then applies pixel compensation for lost pixels in high frequency areas.

See resolution chart to the left, where V = vertical object direction, D = diagonal object direction, and H = horizontal object direction.

Once captured in full resolution, whether selected 720p or 1080i, the JVC original “Super-Encoder” encodes at user selected rates at 19, 25 or 35Mbps. This JVC proprietary encoder provides recorded images of exceptional quality in MPEG-2 GOP format, the most widely accepted broadcast standard compression format, supported by all popular editing systems and broadcast servers. 19 and 25Mbps is encoded CBR (Constant Bit Rate) while 35Mbps is encoded VBR (Variable Bit Rate) as the 35Mbps video is at network quality level.

Professional Docking SxS Pro Memory Card Media Recorder

The KA-MR100 SxS Media Recorder docks directly to the GY-HM700 and GY-HM790 Camcorder, becoming a fully integrated part of the camera, recording .mp4 media files to a SxS memory card inserted into the dedicated SxS slot. Once the KA-MR100 is docked to the GY-HM790, it is possible to record simultaneously to the SDHC cards AND to the SxS card, either (1) both recording in the .mp4 file format, or (2) .mov on the SDHC and .mp4 on the SxS. This way, all raw field material is automatically backed up, enabling the erasure of the footage on the SxS card once transferred to a workstation or server without further worries about backing up, as the RAW archival back-up is automatically provided on the very economical SDHC cards ready to be filed away “On-the-Shelf”.

GY-HM100 Solid State Media Camcorder The ideal camera for News Reporters & Video Journalists

The GY-HM100 is the compact handheld smaller companion of the GY-HM700 and GY-HM790, offering features and broadcast quality performance found only in larger and more expensive models.

Seasoned shooters will find the small size convenient for work in environments where larger cameras would be impractical, while producing HD material which can be easily intercut in HD News and HD ENG programs. The capability to record to dual SDHC memory cards in the standard ProHD file formats (.mov & .mp4) in 35, 25 and 19Mbps makes this high performance HD camcorder the ideal companion to the larger shoulder-carried GY-HM700 and GY-HM790. Outputs include HDMI, easily converted to HD-SDI by external device.

LIBRE Microwave Camera-back System

JVC partnered with BMS to create the LIBRE ProHD Microwave Camera System, enabling live remote (roving) broadcasts in a wireless mode, including in the new 2GHz BAS reduced 12/8 MHz channel spectrum in full HD broadcast quality – offering freedom from cables and freedom from the “customary exorbitant pricing” normally associated with camera-back microwave systems.

The BMS CT2200 Camera-back transmitter mounts fully integrated on the back of ProHD camcorders, accepting pre-compressed HD signal from the camcorder’s built-in broadcast- quality encoder, thus eliminating the need for the microwave transmitter unit to include an expensive internal encoder. ProHD’s “microwave secret” is the HD broadcast quality super- encoder outputting full HD bandwidth compressed stream at just 19Mbps, a perfect bitrate for the COFDM modulator to fit into the 8MHz net channel bandwidth in BAS-HD.

The ultra-portable, high performance and low cost DR2100 Diversity Receiver is located in the HD ENG Van (or at other fixed or semi-fixed location) receiving the COFDM microwave signal from the camera-back transmitter with perfect HD reproduction in line-of-sight as well as in multi-path conditions. The DR2100 encapsulates the HD compressed signal in ASI and supplies the ASI directly to the ENG Van-to-TV station longer range microwave link, to a satellite uplink terminal, or to a fiber optic link.

SxS & SDHC solid state memory: Interface to any laptop, any desktop

All newer PCs and MACs offer multiple USB peripheral interface ports as standard, with laptops a minimum of two (2) ports (but often 3 or 4) and desktops a minimum of four (4) ports (but often 6 or more). Most newer laptops (especially the higher end models) offer Express Card slot, while newer desktops/towers generally offer Express Card slots as an option, available by installing a PCI Express expansion card internally and the with connectivity on the rear of the computer. Transfer speeds of USB and Express Bus are:

USB2.0 60MB/s (480Mbps) theoretical – USB practical peak is significantly less The SDHC card Class 6 has a sustained transfer speed of 6MB/s (48Mbps)

Express Bus 250MB/s theoretical – SxS Card practical peak is 800Mbps

SxS memory card only fits in Express Card slot, but yields by far the fastest sustained clip transfer speed at up to 100MB/s (800Mbps). SDHC memory card Class 6 offers a sustained transfer speed of 6MB/s (48Mbps), small in

comparison to the speeds of either Express

Card or USB2.0 interface (max. 60MB/s), thus SDHC card performs equally fast whether through Express Card Adapter or USB2.0 Adapter.

ProHD is: Local HD Studio Live! TV Stations and HD Production Facilities install ProHD in Studio Camera Configurations for broadcast quality HD on the air

The KA-790 is the sturdy (passive) mechanical studio housing which enables the GY-HM790 to be converted into a professional studio camera system. The necessary signal connections (power, genlock, intercom, prompter etc.) are routed directly through the camera body itself, through the industry standard 26-pin multi-core connector available on the optional rear-mounted studio interface module (KA-M790). Full remote control of all camera functions is available through a range of optional JVC camera remote control units, or added to an existing studio camera control system with minimum cabling.

WKRC-TV Cincinnati, OH (Nielsen DMA Market #34) opened their new HD news studio fitted with ProHD GY-HD250U cameras in full studio configuration.

Why ProHD in the TV Studio?

Full HD broadcast quality Extensive Remote Camera Control Workflow integration with HD ENG Single vendor for all cameras & camcorders Highly cost effective in acquisition and in operations

Smart technical choices: Higher Ratings Reduce costs AND Lower Investment Win more viewers

The purpose of this Report is to expose the virtues of ProHD, a highly cost effective HD ENG camcorder and acquisition system, enabling any TV station to quickly and professionally convert any current ENG work flow to HD News and live HD ENG.

Yes . . . it is indeed possible to transition to HD news including live HD ENG, achieve highest level of HD competitiveness in your local market, at lowest investment and lowest ongoing operating costs. JVC would like to show you how with ProHD.

Increase the top line, lowering investment, control expenses and increase the bottom line. With the NTSC turn off now final, and with the consumer HDTV purchases accelerating even in this tough economy, going to HD news and live HD ENG must be a major part of any TV station’s strategy in winning more viewers. The status quo is no longer acceptable.

And the in-camera processing (and output) to 1080i60 is the best in the industry, through the TRIPLEX and Adaptive Pixel Correlation Technique technology, giving you the clear choices of 720p or 1080i each with HD video quality and fast workflow second to none.

The 2010 HD news/HD ENG transition is about the realities of local news economics, the ability of seamlessly adapting HD ENG into your current work flow, and to preserve your options beyond 2010 to respond quickly to your local market dynamics and changing competition. The smart technical choices, involving lower cost acquisition and operation while maintaining broadcast quality in live HD ENG coverage, are clearly migrating to ProHD’s winning technology offering of SDHC and SxS Solid State Camcorders.

Live HD Remotes = 2GHz BAS Relocation

Local TV news success and audience growth mean Live HD Remote capability, which spells 2GHz BAS relocation. What is 2GHz BAS relocation? Simplistically, it is the FCC-mandated relocation of the current licensed broadcast microwave band from 1990 - 2110 MHz to new channels in the 2025 - 2110 MHz band. The seven current 17 and 18 MHz channels will be migrated to seven new 12 MHz channels, thereby saving about 35MHz of spectrum for other (non-broadcast) use.

But new digital microwave technology utilizes COFDM multi-carrier transmitter, which enables non-line-of-sight links (multi-path) in metro areas and in special events coverage, coupled with a QAM modulation scheme. Cable television is using 64-QAM and 256-QAM on single carriers to pack hundreds of SD & HD TV channels on one coaxial cable. The higher the QAM number, the higher the bitrate transmission capability over a given bandwidth, but, as the QAM number is increased, the receiver input requires an ever stronger signal (higher SNR) to reliably decode the modulation. It is a trade-off between higher bitrates and shorter distances in the HD ENG microwave world. 256-QAM is easily done through a fiber or coaxial cable, as it’s a controlled wired transmission medium, but 256-QAM is very difficult in HD ENG wireless applications, as microwave camera-backs don’t have enough TX power and need to use omni-directional whip antennas for the camera-back TX unit as well as for the RX unit (a requirement for dynamic multi-path “roving” performance), generally resulting in unreliable link for 256-QAM. 64-QAM is good, but 16QAM is the best compromise for BAS, which requires less than 21Mbps to work. ProHD offers 19 . . a perfect match!

From 17/18MHz channels down to 12MHz? The 2GHz BAS relocation reduces channel bandwidth to 12MHz. Can 12MHz do the job? For SD links, 12MHz is ample bandwidth, even to provide reliable two JVC’s LIBRE camera-back microwave transmitter channels of 6MHz each shown attached to a GY-HD250, the predecessor within the 12MHz channel camcorder of the GY-HM790. LIBRE also fits the less for SD service. But with expensive GY-HM700. COFDM, you run into a problem called “spectral regrowth” of the large number of carriers within a single channel with COFDM transmission, causing adjacent channel interference due to the out-of-channel spectral regrowth. The solution is to limit the actual COFDM bandwidth to 8MHz within the 12MHz channel, providing for guard bands of 2MHz on each side. Thus the effective COFDM/QAM channel bandwidth becomes only 8MHz in the relocated 2GHz band (referred to as 8MHz pedestal), with the following performance limitations:

Max Bit Max Bit Max Bit Carrier-to-Noise MODULATION Rate Rate Rate Threshold 25MHz 12MHz 8MHz QPSK 32 Mbps 17 Mbps 10 Mbps 10dB 16-QAM 64 Mbps 30 Mbps 21 Mbps 17dB 64-QAM 65 Mbps 46 Mbps 31 Mbps 23dB

Table shows approx. max bitrates for microwave channels with 25, 12 and 8MHz bandwidth, using COFDM and QPSK/QAM modulation schemes. 2GHz BAS relocation provides for new 12MHz channel width, but recommends 8MHz “pedestal” digital modulation bandwidth when using COFDM due to sideband regrowth adjacent channel interference. Note the 21Mbps in the 8MHz column. ProHD’s MPEG-2 TS (Transport Stream) over 1394 (and optional ASI) is 19.7Mbps, the only HD camcorder able to supply a TS within the 21Mbps limit for reliable 16-QAM link performance through the 8MHz pedestal bandwidth.

The table above gives typical guideline numbers. There are a number of modulation variables including Code Rate/FEC and Guard Interval, coupled with maximum transmitter output power in various modes, to ultimately determine reliable LIVE range.

Easy Microwave = First-to-Air

In addition to the HD camcorder-to-ENG Van microwave link, the TV Station must even more importantly consider how to cost effectively and easily accomplish the HD microwave link back to the TV studio from the ENG Van, as this is an essential service every day in the First-to-Air quest. Again, ProHD provides an easy solution through the ability to interface and use many existing ENG Van-to-Studio links.

The key is the presence of an existing ASI input in the current digital microwave transmitter in the ENG Van, accepting a compressed MPEG-2 digital video signal within the ASI interface format. The Super Encoder in the ProHD camcorder provides a very high quality compressed HD transport stream through the optional ASI camera output to the microwave transmitter/modulator, eliminating the need to purchase a new HD encoder or to purchase a whole new microwave transmitter with a (expensive) built-in encoder.

HD ENG microwave: Digital is in -- analog is out (No surprise there!) Under the 2GHz BAS Relocation program, the existing ENG (analog) microwave is replaced (generally) with a new digital microwave compliant with the new 2GHz BAS regulations, at little or no cost to the TV station for comparable facilities, which generally excludes HD capabilities. BUT not to worry, as the signal input options to the new ENG Van-based digital microwave transmitters include DVB-ASI, enabling the highly cost effective approach of supplying the pre-compressed 19Mbps ProHD signal over the optional ASI camera output, to the DVB-ASI input of the microwave transmitter.

The built-in HD Super Encoder performs comparable to a stand-alone broadcast quality HD MPEG-2 encoder costing upwards of $15,000, yet the complete ProHD camcorder (GY- HM700) carries a US list price of just $7,995 (with standard lens). This testifies to JVC’s broad experience in video CODEC design. Just look at JVC’s 1U stand-alone rack mountable HD MPEG-2 broadcast quality encoder DM-JV600U.

JVC’s ProHD GY-HM700 and GY-HM790 are the only HD camcorders (bar none, as of March 2010) capable of delivering a broadcast quality native full bandwidth 1280x720p60 compressed TS out over 1394 AND optional ASI at a bitrate of less than 21Mbps, enabling robust 16-QAM microwave link performance over 8MHz bandwidth.

Live HD ENG backhaul to TV Station

We have established that we can get live HD talking head or action back to the ENG Van by camera-back microwave, or, as we see below, coax wired from the camcorder back to the ENG Van. In many Top-100 Markets, backhaul from ENG Van to TV station/Studio is in some cases a “double haul” from the ENG Van (or even ENG Traffic helicopter) to one of several regional microwave receiving/relay stations, using 2GHz from the ENG Van to the receiving/relay station, and 7GHz from the relay station back to the TV Station/Studio. Alternatively, some microwave links from relay stations to TV Station/Studio are being replaced by fiber lines and (compressed) HD-over-IP links.

How do you get the LIVE 19Mbps TS from the ProHD camcorder to the ENG Van?

JVC GY-HM790 or GY-HM700

COAX WIRED

ASI Output Microwave TX or HD-SDI Output & Modulator ASI Input or HD SDI Input if built-in encoder

You just saved up to $15,000 (typical MPEG-2 HD encoder cost for the ENG Van) by using the built-in HD Super Encoder in the ProHD camcorder AND the optional ASI output camera-back module. Your newer digital-ready microwave transmitters in your ENG Vans may already provide the ASI input, and may be capable of relaying 19Mbps real-time back to the TV station. Easy microwave!

The BMS Microwave Camera-back unit (LIBRE Transmitter) accepts the 1394 output from the camcorder (MPEG-2 TS at 19Mbps), modulates 16-QAM (or 64-QAM) and transmits COFDM in the 2GHz microwave band (12MHz channel with the 8MHz pedestal and guard bands) to the ENG Van, where a matching BMS Microwave Diversity Receiver (LIBRE Receiver) decodes the modulation and formats the MPEG-2 TS at 19Mbps to ASI output, which is then supplied to your existing (or new) digital Eng Van-to-Studio microwave transmitter’s ASI input. You have eliminated the need for that $15,000 HD encoder rack unit in the ENG Van, and your news master control receives a live, broadcast quality full bandwidth native 1280x720p60 signal (or 1920x1080i60). Easy microwave!

JVC GY-HM790 or GY-HM700 Diversity Whip Antennas

IEEE-1394 (MPEG-2 TS ProHD LIBRE 19Mbps) Microwave Camera-back Microwave TX TX Unit by BMS & Modulator ASI Input

Diversity Whip ASI Output MICROWAVE Antenna Inputs ProHD LIBRE WIRELESS Microwave Diversity RX Unit by BMS

You just saved up to $15,000 again (typical HD encoder cost for the ENG Van) by using the built-in HD Super Encoder in the ProHD camcorder. The highly cost effective BMS camera-back TX unit does not need a (expensive) built-in HD encoder, as it takes in the compressed 19Mbps HD stream from the camcorder. Easy microwave!

Work flow options inside the ENG Van:

ENG VAN WORK FLOW (inside the Van)

1394-to-ASI Bridge

Microwave TX ASI Input & Modulator

Playback ASI Direct-to-Air LIBRE Microwave No editing Diversity RX Edited Delayed -to-Air from Laptop LIVE -- ASI from IEEE-1394 ProHD Camcorder (MPEG-2 TS 19Mbps)

MacBook ProHD Editing Laptop Live-to-Air is at the core of the ProHD ENG system, utilizing either wired coax or wireless microwave to the ENG Van, and of course ENG Van to TV station master control by microwave. In addition, the MacBook Pro editing laptop enables delayed cut-edited stories to be microwaved to the TV station master control for direct-to-air purposes, or for additional editing in the TV stations news edit bays.

Operational flexibility of the ProHD ENG System includes not only the ENG Van work flow, but also the work flow within TV station infra-structure, striving for an easy conversion from the SD environment to HD and for labor-saving and cost effective work flow. The ingest of ProHD from the field is uncomplicated, whether attaching field hardware or by wireless microwave, and whether going direct-to-air, to news department edit bays or to archive.

Work flow options inside the TV Station:

TV Station WORK FLOW ASI/1394-to-HD Bridge Miranda HD-Bridge DEC+ Microwave RX & Demodulator ASI HD-SDI Direct-to-Air Master Control IEEE-1394 TS 720p or 1080i

Ingest ASI News Servers News Automation News Edit Bays

Memory cards from the field ProHD On-line Archive

In the ENG-Live-to-Air work flow, the ProHD live feed comes in over microwave, gets decoded to HD-SDI in the ASI-to-HD Bridge (Miranda HD-Bridge DEC+), with the HD-SDI output going to Air through Master Control. Simultaneously, the ASI is supplied to the ASI-I/O capable News Servers for later editing, replay and archive. All ENG material is brought back to the TV station on SDHC and/or SxS memory cards for further processing and archive.

720p or 1080i TV Station? In either case, ProHD is for you. HDTV experts agree that it is considerably easier technologically (and less expensive) to cross convert from 720p (progressive) to high quality 1080i (interlaced) than the other way around. If your station is in the 1080i camp, then you have the option to (i) do all of your HD ENG acquisition and microwave transmission in the ProHD 720p format, including the ingest process at the station, and then convert to 1080i at the station, or (ii) capture and microwave in the

ProHD 1080i format. Either way, at the station, the microwave receiver will output the ASI (720p or 1080i) to the ASI-to-HD Bridge and supply a fully 1920x1080i60 or 1280x720p60 compliant HD-SDI with embedded audio and time code out of the Bridge to your existing station infra-structure. The converted or original 1080i will blend seamlessly with your HD news set’s 1080i camera acquisition in your routing and switching.

ProHD compatible TV News-oriented Non-linear Editing Systems:

ProHD Ingest-to-NLE GV EDIUS HD Editor

1394 TS

AVID NewsCutter Adrenaline

Memory Cards from HD-SDI the field in Express Card Slot or Adapter Apple MAC Final Cut Pro w/ AJA Kona HD Card

HD-SDI ASI 1394 TS

The HD ENG material arrives at the TV station 2 ways: (a) Live/ENG Van by microwave (ASI), OR (b) Recorded on SDHC and/or SxS memory cards delivered from the field. Ingest is by 1394, USB, Express Bus or by HD-SDI. The brands featured here (Grass Valley EDIUS, Avid NewsCutter and Apple FCP) are just three of a number of turnkey NLE systems delivering ProHD capable broadcast oriented workstations.

File-based work flow inside the News Automation Server System. Once your ProHD news clips (19 Mbps and/or 35 Mbps) are delivered to the TV station and ingested into the news servers and NLE workstations, the ProHD ENG system has done its job. The ProHD clips can be utilized for highly attractive low bitrate file-based work flow, but, in some transitions, it may make sense to decode ProHD to HD-SDI and then re-encode upon ingest to the native HD compressed intra-frame format of the news edit and server

system, if this will better support your existing work flow and accomplish nearly 0 latency on play-out to air. If you are currently operating NLEs and/or servers with the DVCPRO-HD format, then re-encoding to intra-frame DVCPRO-HD 720p60 when ingesting is an option, but bear in mind that the legacy DVCPRO-HD codec will limit horizontal resolution to 960 pixels luminance and 480 pixels chrominance (from ProHD’s 1280 and 640 respectively). Also, the gross real-time bitrate for DVCPRO-HD is about 120Mbps including overheads.

BITCENTRAL supplies TV News Automation Production and Play-out Systems. Bitcentral’s “No Barriers Workflow”™ delivers simplified, non-proprietary solutions to content producers. Their MOS-enabled Precis™ news production system allows JVC ProHD customers to use whichever non-linear editor they prefer to edit, publish, and play-out ProHD content quickly and efficiently. The video that is acquired in the field is the same video that is edited, played-out, archived, and shared with other stations via Oasis™. Bitcentral has integrated MAXedit™ browser-based craft editing within the Precis workflow, enabling users to immediately begin browsing, logging and editing ProHD content from any networked computer, on any platform, with any browser. Precis includes robust, redundant, native playout of nearly any popular video format, including MXF-wrapped, .MOV and .MP4 files.

OMNEON delivers a range of HD server products intended for TV broadcast news automation, offering ProHD compatible storage. OMNEON ProHD workflow is also described later in this document under Live HD ENG Transition Case Study.

TELESTREAM’s FlipFactory supports a ProHD workflow automation solution for broadcast and cable news, supporting the conversion of ProHD 720p and 1080i transport streams to several other formats upon ingest in a variety of NLEs and servers, including DVCPRO-HD.

ProHD News Archive = Lowest Cost, Fastest Retrieval

Example ProHD 19 Mbps: A 10TB (10,000GB JBOD) disk array for video applications now sell for less than $10,000 with ProHD-19 storage capacity of 60,000 minutes (or about 1,000 hours) of news clips and stories on line. If each clip is an average of 1 minute, that’s 60,000 clips on line. And at the low real time bitrate of only 19Mbps per clip enables multiple concurrent reads and writes of clips without bandwidth bottlenecks.

Example ProHD 35 Mbps: Same 1 minute average clip, at nearly twice the bitrate of 19, stores 30,000 ProHD-35 clips on line in a 10TB JBOD.

Example DVCPRO-HD (120 Mbps gross): Same 1 minute average clip, at nearly 6x the bitrate of ProHD-19, stores 10,000 clips on line in the same 10TB JBOD.

Remote HD POV applications = ProHD

More and more, remote TV cameras are an important part of local news, as a major station in a major market may operate a dozen or more fixed remote locations for traffic and weather. Do the ProHD camcorders fit that bill? Yes indeed. Although the ProHD models are camcorders and not just cameras, these models are ideally suited for POV applications, for the following reasons:

x Attractive price-performance ratio

x Full HD resolution native capture of 1280x720p OR 1920x1080i full resolution output

x Excellent capture of fast freeway traffic with 60 frame progressive

x Streaming output of compressed broadcast quality HD over ASI or 1394

x Compressed HD signal is only 19Mbps OR, if preferable, 35Mbps studio quality compressed

x HD-SDI output, into fiber optic strand, for prime uncompressed studio quality, if needed

x Remote control capability of lens and camera

x Interchangeable lenses –right lens for the application

Fig. 14. Troll Systems x Small and light weight for mounting in housing slogan is “HD at an SD x 1394-to-ASI/IP streaming gateways are available price” integrating the ProHD camcorder models with their TrollCam HD. The TrollCam HD Connection. Troll Systems, a leading JVC’s HD200, HD250 and supplier of complete camera/housing/remote control HM700 deliver full HD systems, offers the TrollCam HD system incorporating any resolution over wired or of the ProHD camcorders within their NEMA-4 rated wireless. camera enclosure, including their “all functionality” remote control unit for camera, lens, pan, tilt and more.

4G, LTE, WiMAX, & Fiber IP – Live Backhaul Options for HD ENG?

What is 4G? 4G (4th Generation of mobile wireless standard) is being implemented and advanced to support the QoS and rate requirements beyond the existing 3G services like wireless broadband access and mobile TV, but also new services like HDTV content delivery, and other services that consumes bandwidth. The 4G working group has included the following as objectives:

x A “high speed moving” data rate of up to 100 Mbit/s per client

x Up to 1 Gbit/s per client while client is in fixed or stationary locations

x A data rate of at least 100 Mbit/s between any two points in the world,

x High quality of service for next generation multimedia support (real time audio, high speed data, HDTV video content, mobile TV, etc)

x An all IP, packet switched network.

The objectives of 4G are substantially supported by both the WiMAX family and the LTE Advanced (3GPP) family, described below. The WiMAX and the LTE Advanced are the “wireless RADIO data network infrastructure” of 4G, required to meet or exceed the 4G performance objectives listed above.

Any 4G compliant mobile device (cell phone, wireless-fitted laptop, PDA, mobile TV receiver, wireless modem, etc.) must be capable of communicating over a WiMAX or LTE Advanced wireless infrastructure, or both.

This sounds very promising for live HD ENG backhaul over 4G, without having to worry about BAS microwave links . . . yes, but don’t get too excited yet. Read on.

What is LTE Advanced? LTE stands for “Long Term Evolution” (“Advanced” is the last step in LTE upgrading from 3G to 4G) and is supported by most major mobile carriers in the U.S, presumably as it is (or has been) easier to convert to 4G through “long term evolution” rather than through a perhaps difficult (and relatively fast) switch to WiMAX. LTE specifications are developed by the 3GPP Global Initiative.

AT&T is a LTE Advanced proponent, having announced that it will roll out 4G/LTE service in 2011.

Verizon is also a LTE Advanced proponent, having announced that it will launch 4G/LTE in over 25 markets this year, reaching over 100 million people by year end.

T-Mobile is a LTE proponent, but is first “reving up” their existing 3G technology both in the U.S. and in Europe, prior to any roll-out of LTE, with such “rev up” being highly competitive with the indicated LTE down-load (DL) and up-load (UL) bitrate capabilities of AT&T and Verizon.

Sprint Nextel is a major shareholder in Clear, a leading WiMAX network operator in more than 30 metropolitan areas in the U.S., thus, at least initially, Sprint is relying on WiMAX/4G.

The 3rd Generation Partnership Project (3GPP) is a collaboration between groups of telecommunications associations, originally formed to make a globally applicable third generation (3G) mobile phone system specification. Now, 3GPP is spearheading and coordinating all global LTE efforts to standardize and implement 4G/LTE. LTE Advanced specification (3GPP Release 10) is expected at the end of 2010.

The primary U.S. partner in the 3GPP is ATIS (Alliance for Telecom Industry Solutions) which membership includes nearly all telecom carriers, operators and equipment makers in the U.S.

Because LTE Advanced specification is released does NOT mean that such “advanced” broadband service is available in the field. The LTE promise of 300Mbps DL speed and 75Mbps UL speed will not be realized for several years, beyond 2011, perhaps by 2015.

LTE is a “mobile device” oriented system, with “cell phone history roots”.

What is WiMAX? WiMAX is a newer wireless digital communications system originally intended for “wireless metropolitan area networks" (W-MAN). Theoretically, WiMAX can provide broadband wireless access (BWA) up to 30 miles for fixed stations, and 3 -10 miles for mobile stations. In contrast, the older WiFi/802.11 wireless local area network standard is limited in most cases to only 100 - 300 feet. WiMAX operates on both licensed (regulated environment) and non-licensed frequencies.

WiMAX is a “stationary modem” oriented system, with “WiFi short range modem roots”, but with mobile wireless capabilities.

WiMAX is a second-generation protocol that allows for more efficient bandwidth use, interference avoidance, and is intended to allow higher data rates over longer distances. Much of the talk has been about one way delivery services to consumers (IPTV, mobile video etc.) although it is a fully two-way system. Actual implementations around the U.S. through the leading WiMAX operator Clearwire/CLEAR (Sprint owns more than 50% of CLEAR, the service provider arm of Clearwire) have been to provide consumer-based broadband internet plans for homes and mobile applications, with DL and UL speeds restricted to be at best competitive with cable broadband internet. Smaller partners in CLEAR include Comcast, Time Warner and Bright House, all large cable TV MSOs.

Smaller independent WiMAX operators, each serving one or more metropolitan areas, are promoting symmetrical WiMAX broadband internet service to businesses, generally on a 3- year contract with price indication as follows:

Unlimited 10 Mbps DL/UL $ 1,200/month

Unlimited 50 Mbps DL/UL $ 3,500/month

Unlimited 100 Mbps DL/UL $ 5,500/month

Note that these priced services are really intended for single location businesses, with stationary WiMAX antenna and modem/terminal.

Live HD ENG Backhaul . . . LTE Advanced OR WiMax in 2010?

What is the live HD ENG sustained bitrate requirement for compressed broadcast quality HD video backhaul?

Real-time Bitrate HD ENG Compressed Incl. overhead COMMENTS Video Format & audio

WiMAX technology available now JVC ProHD -720p ~19 Mbps UL speed to 25 Mbps sustained 4G/LTE UL speed NOT yet available

WiMAX technology available now JVC ProHD-1080i ~30/40 Mbps UL speed to 45 Mbps sustained Sony XDCAM EX 4G/LTE UL speed NOT yet available

WiMAX technology available now Panasonic AVC-I/50 ~60 Mbps UL speed to 70 Mbps sustained 4G/LTE UL speed NOT yet available

WiMAX technology available now? Panasonic DVCPRO-HD ~120 Mbps UL speed to 140 Mbps sustained 4G/LTE UL speed NOT yet available

As seen from the table, 4G/LTE is NOT yet available at UL (upload) speeds of 25 Mbps, and far from it. Verizon 4G/LTE service scheduled to start later this year is estimated to have average sustained UL capability between 2 to 5 Mbps, such bitrate service limited to modem subscribers (lesser bitrate for 4G cell phones and PDAs). AT&T 4G/LTE service, scheduled for 2011 start, is likely to be marginally better, if AT&T’s performance lead in 3G transfers over to 4G. However, it is likely to fall much short of the 25 Mbps sustained required for real-time upload of ProHD 19Mbps.

The author of the ProHD 2010 Report predicts that 4G/LTE Advanced is NOT likely to be able to provide sufficient sustained bandwidth (minimum 25 Mbps for the 19 Mbps LIVE ProHD) for several years (guess 2015) and it will take 5 more years (until 2020) for 50 Mbps sustained. It is unlikely that 4G/LTE will be capable of supporting LIVE HD ENG backhaul for many years to come.

WiMAX technology is generally available now, although WiMAX business/enterprise broadband internet service may not be available in your specific local market. An alternate approach is for your TV station to invest in your own WiMAX equipment and to possibly operate in the unlicensed WiMAX band. This may be a risky proposition if you operate let’s say 10 ENG Vans, as you need to investigate the likely occurrence of in-band interference from other unlicensed operators in your metropolitan area, which operators may be other competing TV stations also using WiMAX, and which ENG Van may be on location right next to your ENG Van transmitting live back to their receiving (relay) site next to your receiving site!

WiMAX offers a theoretical maximum range of 30 miles with a direct line of sight. Near- line-of-sight (NLOS) seriously limits the range.

Is WiMAX suitable for HD ENG? Most certainly, but the 2GHz BAS and 7GHz point-to-point microwave bands currently used by the TV broadcasters are likely to be the most practical solution for HD ENG LIVE wireless backhaul for several years to come. If your TV Station currently enjoys HD ENG BAS microwave, then your best choice is to stick with BAS. Going to WiMAX service will be relatively costly, whether your TV Station invests in your own WiMAX system OR subscribes through a local or regional WiMAX operator.

HD ENG LIVE vs. File-based Non-real-time Backhaul

Don’t get confused. The difficulty is LIVE HD ENG, where a sustained real-time backhaul stream of let’s say max 25Mbps is required. Delayed HD ENG (NOT LIVE) is quite possible over a 3G (soon 4G) laptop mobile wireless internet connection. In 2010, the Upload speed through a Verizon, AT&T, T-Mobile or Sprint “wireless-USB-stick-fitted” laptop will typically be less than 1 Mbps, often in the range of 0.5 Mbps. Let’s look at the likely delay from HD ENG camcorder shooting to going on air:

x Shooting a 60-second clip (Live ~20 Mbps) – Total file size ~150MB x Clip is recorded real-time onto SDHC – SDHC removed from Camcorder x SDHC is inserted in wireless laptop – Clip transferred to laptop in 30 seconds x Average transfer speed is 0.5 Mbps (Upload) to News Department x Upload is completed after 40 minutes! (40 times slower than real-time) x News Dept/Master Control can now play out 60-second clip

Later in 2010 (or let’s say 2011), 4G can possible provide Upload speed of 2 Mbps, or 4 times faster than 3G now. Upload time is reduced to 10 minutes for 60 second clip.

Your TV Station needs HD ENG LIVE to be competitive.

Fiber-wired IP backhaul

“Dark” fiber-optic cable is generally available criss-crossing metropolitan areas all over North America, which can be leased and “lit” for cost effective backhaul of HD ENG and HD POV (Point-of-View) cameras.

IEEE-1394 JVC (MPEG-2 TS GY-HM790 or 19Mbps) GY-HM700 ASI Microwave TX Camcorder WIRELESS & Modulator Output or WIRED + IP Gateway ASI Input ASI-to-IP BMS Microwave Video Gateway Diversity RX

ASI ASI

100Base-T IP Network or Gig-E

TV Station ASI

HD ENG backhaul over private IP network from ENG Van to TV station, utilizing ASI-to-IP Gateway (i.e. T-VIPS TVG420 with Forward Error Correction), using either wired or wireless connection from ProHD camcorder to ENG Van. This may become common for fixed frequent reporting locations, such as City Hall, State Capitol and other venues. NOTE that both the 19Mbps and the 35Mbps can very easily fit into 100Base network, while live DVCPRO- HD requires Gig-E.

The TV station can lease a dedicated fiber connection and just use a fiber line transmitter and receiver, or, in the event of multiple POV cameras (traffic cams) and multiple fixed ENG Van connection points (city hall, federal building, arenas etc.), IP connectivity can be leased from local private IP network operators based on bandwidth requirement. With bandwidth requirement per origination point of only 19Mbps, ProHD is ideally suited for such applications.

Microwave, Fiber IP, WiMAX or 4G?

2GHz BAS and 7GHz microwave links are here to stay for several more years, primarily because it works well and most of the capital equipment investments are already made. Fiber IP is being deployed more as you read this, for fixed remote locations. WiMAX is available but is relatively expensive, as multiple ENG Vans or “ENG Station Wagons” must be supplied with WiMAX modems and antennas, and WiMAX receiving base station must be acquired OR bandwidth and hardware leased from the local metropolitan WiMAX provider.

The potential savings are substantial if a TV Station can eliminate (or greatly reduce) the use of ENG Vans with link-to-studio microwave, perhaps replacing the majority of ENG Vans with station wagons. Perhaps by 2015, the HD ENG Station Wagon just requires the HD ENG camcorder, the MacBook FCP editor laptop, and the 4Gwireless direct IP network connection, support equipment and cables. A complete HD ENG Station Wagon for less than $100,000? With multiple HD camcorders and all support equipment?

2015: 4G Wireless ?

Tomorrow’s Today’s HD ENG Station Wagon HD ENG Van Tomorrow’s HD ENG Camcorder w/ 4G Wireless IP LIVE direct from GY-HM790 to anyplace in the world Perhaps, in less than 10 years, HD ENG backhaul may be accomplished exclusively through 4G wireless. The traditional large ENG Van, with costly microwave electronics, dish antennas and telescopic masts, may no longer be required.

The potential 4G HD ENG backhaul problems? You need real-time protocol (RTP), guaranteed bandwidth and QoS, all together requiring “business subscriber plans” to be offered by the wireless service providers. Too much to ask in 2015?

Change is inevitable – Keep your options open . . . Live HD ENG makes you highly competitive . . . ProHD makes your HD News highly cost effective . . .

Lenses for HD ENG

Professional ENG requires interchangeable lenses. The SD 4:3 experience is that the average ENG shoot requires a mild wide angle lens, while distant action may require a relatively powerful telephoto lens. The GY-HM790 NEW standard HD lens (Canon KT14x4.4KRSJ), 20% wider than the standard GY-HD250 lens, offers an exceptional good compromise between wide angle and telephoto, and it is highly cost effective when packaged with GY-HM790 camcorder at a US list of $11,995 (GY-HM790 including the lens). One of four other optional lenses is the Fujinon HTs18x4.2BRM fitted with Fujinon’s DigiPower servo system, offering outstanding HD performance at a package US list price of $11,739 (lens only), a true 2/3-inch internal design with built-in 1/3-inch mount.

CANON Fujinon US List Price GY-HM7x0 KT14x4.4KRSJ HTs18x4.2BRM & Lens Parameters Standard lens - included US List Price $11,739

GY-HM700 $ 7,995 $18,734

GY-HM790 $11,995 $22,734

Zoom Ratio 14x 18x Range Focal Length 4.4 – 61.6 mm 4.2 – 76 mm Angular Field of View ~60 x ~35 ~63 x ~37 16:9 H x V Degrees ~5 x 2.5 ~4 x ~2

Max Relative Aperture 1.6 1.4

Min Aperture f/16 f/16 MOD <1 meter 0.6 meter ½-inch & 2/3-inch Yes lens adapters (optional) Focus assist (not auto focus) Yes Built-in ND filters Yes (2 on body) This table shows the flexibility of the GY-HM790 & GY-HM700 camcorders with the NEW standard Canon lens compared with an optional high performance Fujinon lens. The standard Canon KT14x4.4KRSJ offers good HD ENG wide angle performance indicated by 4.4 mm focal length and 60 degrees horizontal angular field of view and 14x zoom. The optional Fujinon HTs18x4.2BRM is only 3 degrees wider at 63 degrees but with a more powerful 18x zoom. JVC also offers a wide angle converter (about $500) to fit most standard lenses.

Besides the two lenses listed in the above table, additional 1/3-inch lenses are available for ProHD cameras.

SD lenses on HD camcorders?

A TV station generally owns large quantities of SD lenses, some even purchased recently. However, most of these lenses are ½-inch and 2/3-inch, and thus require lens adaptors to fit on the 1/3-inch camcorders. JVC does offer both ½-inch and 2/3-inch lens adaptors for the ProHD camcorders. There are two primary problems associated with using SD lenses on HD camcorders:

Chromatic aberration in the lens is (simplistically) that a beam of light containing different colors (as any light ray is made up of the primary colors) diffract differently through a lens element, like light is split into the primary colors by a prism. In an extreme case example, a pixel-size light ray (containing red, green and blue components) going through a lens element is diffracted into three beams of red, green and blue, and thus being “out of registration” before entering the camera front end. With 1920x1080 being 6x the spatial resolution of SD (720x480), chromatic aberration (CA) is much more challenging in HD, and the lens manufacturers take great care in the design and the manufacture of HD lenses to reduce the CA to a minimum. SD lens design were of course performed to a SD standard with respect to CA, therefore the official recommendation is not to use SD lenses on HD camcorders. CA is particularly observable at object edges in the image, with perhaps a spurious color edge being visible in contrasted transition from light to dark or dark to light, due to the “out of registration” color separated pixels.

Longitudinal chromatic aberration happens as the light beams travel through the lens, and, not surprisingly, CA gets worse with longer focal lengths (at telephoto settings). Lateral chromatic aberration is measured from lens center out toward the edges, as it is impossible to maintain lens center CA performance as one approaches the lens edge. In the question of using SD lenses on HD ENG camcorders, these CA problems may not be sufficiently adverse to prevent the use of SD lenses, as most ENG stand-up remote reporting only uses the middle of the 16:9 screen for the talent and uses a wide lens setting rather than telephoto.

ProHD is SD lens (and CA) “tolerant”

The ProHD 3xCCD 1/3-inch sensors are 1280x720, with a total of 921,600 pixels in the 16x9 image area. A competitive camcorder’s 1/3-inch sensor with 1920x1080 matrix has a total of 2,073,600 pixels in the same image area. Therefore, each ProHD pixel is 2.25 times larger than the competitive 1080 pixel, which means that the ProHD acquisition has less than half the sensitivity to chromatic aberration! Considering that the 1080acquisition system is interlaced, CA may cause the light-beam to hit the wrong line (i.e. the odd line rather than the even line).

Similarly reasoned, with the 720p ProHD pixel being 2.25 times larger the 1080i competitive pixel, the ProHD pixel has 2+ times the light sensitivity of any 1080i 1/3-inch CCD competitive camcorder.

Lens adaptor multiplier effect. The ProHD camcorders use 1/3-inch imager where optimum matched lenses are also 1/3-inch. The use of lens adaptors of ½-inch-to-1/3-inch and 2/3- inch-to-1/3-inch produces the effect of “multiplying” the 1/3-inch focal length (reducing the angle of view). In the ProHD camcorders, a 1/3-inch lens with a focal length of 5mm produces a horizontal angle of view of 52 degrees (a relatively wide angle).

Using a ½-inch lens (with a native minimum focal length of 5mm) with the adaptor increases the focal length by a factor of 1.43 to 7mm, producing a horizontal angle of view of approx. 37 degrees, which may be acceptable in HD ENG.

Using a 2/3-inch lens (with a native min focal length of 5mm) with the 1/3-inch adaptor increases the focal length by a factor of 1.97 to 10mm, producing a horizontal angle of view of approx. 27 degrees, which may not be wide enough for HD ENG.

5mm – 1/3-inch lens – 52 degrees – no adapter

Lens adapter effect on Horizontal Angle of View 5mm – 1/2-inch lens 1/3-adapter – 37 degrees 5mm – 2/3-inch lens 1/3-adapter – 27 degrees

This diagram shows that the Horizontal Angle of View is reduced when using ½-inch and 2/3-inch lenses with adapter to fit 1/3-inch camcorder given the same minimum focal length (in this case 5mm). Therefore, existing inventory of wide angle (½-inch and 2/3-inch) SD lenses are of particular interest to try to work with the ProHD camcorder, particularly lenses with 4mm or lower minimum focal length, and lenses with wide angle converters.

The bottom line using SD lenses in ProHD camcorders? If you have high quality ½-inch and/or 2/3-inch SD lenses already in your inventory, then you owe it to yourself to try them out on your ProHD camcorders. The US list price for the GY-HM790 is only $11,995 with the NEW standard professional Canon HD 14x lens. Financial common sense says: Buy the GY- HM790 with the Canon HD 14x lens!

CASE STUDY Top-20 Market Ready for Live HD ENG Live HD ENG In Phoenix, Arizona Transition

ABC affiliate KNXV-TV Channel 15 in Phoenix, a Scripps TV station in the 12th largest market in the US (1,873,930 TV Homes, courtesy Nielsen DMA list), was one of the first TV stations in Phoenix to regularly broadcast live HD news from a studio set. This case study is about KNXV’s planning, engineering and testing their capability to implement full HD ENG, live and delayed, contributing to KNXV’s successful multiple daily HD newscasts.

KNXV’s Digital workflow began several years ago using portable DTE (Direct-to-Edit) hard drives, based on speed and quality, to match or better the speed of tape “butt” editing systems. DTE edit functionality allows instant access to all clips with no “flipping” or transferring of data. Using Final Cut Pro in Apple Minis in the HD ENG trucks, and Apple MAC workstations in the news edit suites, KNXV achieved every major goal. In 2009, KNXV further improved field and studio work flow by replacing DTE portable hard drives with DFA (Direct File Access) dual SDHC flash memory card fitted ProHD camcorders (GY-HM700), also achieving an even faster and cheaper way to archive news footage.

Transition Goals

Improve workflow efficiency KNXV had already established a digital news domain with SD ENG in 2005, including an extensive non-linear workflow supported by high end Ikegami SD ENG camcorders recording DV25 to removable non-linear Fieldpaks, and with “matching” Avid brand Unity networked storage, Newscutter editors and news play-out servers. It was established that the non-linear SD workflow from 2005 needed improvement, when KNXV decided in 2008 to transition to HD news and HD ENG. The part of the digital news work flow not digital in 2009 were the analog ICR (InterCity Relay) microwave fixed relay stations’ path back to the TV station and news room. The transition to HD ENG needed to significantly improve the HD digital work flow as anticipated post-ICR-digital radio installation in 2010.

Achieve “true HD” live ENG image quality As a leading TV news station in Phoenix promoted as “Your Valley News Leader”, KNXV needed to achieve TRUE HD ENG image quality, which could be intercut with their high quality HD news set without the large majority of the (HDTV set equipped) audience seeing any material difference between studio HD and field HD quality.

Quick & trouble-free cut-over from SD to HD Obviously, KNXV explored the possibility to utilize their newer existing Avid storage, servers, networked editors and graphics workstations, to achieve a quick and trouble-free cut-over from SD to HD ENG, ideally using compressed HD format which did not exceed the DV bitrate of 25Mbps. (KNXV engineering management soon realized during the HD news transition planning process that the new preferred work flow was best served by Apple’s FCP editing software combined with MAC computers and XSAN servers.)

Maintain future investment flexibility & options This was NOT to be a “low cost” compromise, but KNXV and Scripps recognized the benefit resulting from a highly cost effective total live HD ENG implementation, giving future opportunities to go back to senior management for additional funding in 2011 and beyond to respond to competitive pressures and new news delivery facilities if and when required.

Eliminate older technologies (i.e. video tape) KNXV had little interest in tape, as their newer archive is entirely server-based. At 35Mbps or lower bitrate, the news clips take up very little disk-space, making server-based archive affordable and technologically easier to accomplish.

Challenges

Explore existing work flow “compatible HD format” There are many compressed HD formats out there: Sony XDCAM EX at 18, 25 & 35Mbps, and HDV at 19 & 25 – Panasonic AVC-I at 50Mbps and 100Mbps, & DVCPRO-HD at 100Mbps – Thomson, AVID, Ikegami, Hitachi, and others. Most of these formats have excessive bitrates for KNXV purposes, as is explained below. And the ones with bitrates at or below the 25Mbps limit were not compatible with the workflow connectivity required in the field, even with new Flash RAM memory cards. KNXV closely examined JVC’s ProHD 720p60 format at 19 Mbps compressed HD stream output, and, after exhaustive test and trials, settling on ProHD as the format to be implemented. At the same time, KNXV realized that all ProHD camcorders can be very easily switched to 25 and to 35 Mbps compression and recording mode, to provide HD EFP at broadcast studio quality.

Utilize new ENG BAS microwave channels for HD? In short, the new digital 12MHz BAS 2GHz channels can really only work reliably for a maximum 21Mbps stream, thus JVC’s ProHD stream at 19Mbps is the only KNXV workflow- compatible HD format which may feed directly in to the ENG trucks’ NEW digital microwave modulators and transmitters.

Eliminate expensive HD encoders in the ENG Trucks? With most HD camcorder “built-in” compressed output bitrates being in excess of 21Mbps, the solution then is to purchase an HD Encoder for each ENG truck, supply HD-SDI from the camcorder in and get 21Mbps or less ASI wrapped stream out to the microwave modulator, at a cost of some $10,000 to $15,000 per truck. KNXV will save around $150,000 by using the built-in Super-encoder in the JVC ProHD camcorders, eliminating the need to buy new HD encoder units, or to buy new microwave modulator/transmitters, with built-in rather expensive HD encoders.

Finding Ideal Solutions

Finding the “ideal” HD camcorder: JVC GY-HM700U & GY-HM100U KNXV tested several popular models of professional HD ENG camcorders, including major brands with flash memory cards and optical disc recording, some more than twice the price of theGY-HM700U including lens. No other HD camcorder was able to match the speed of workflow of the ProHD format and the GY-HM700U camcorders, and, for the multimedia journalists, the handheld GY-HM100U hit the spot.

KNXV-TV so far has purchased 8 of the GY-HM100 Handheld and 20 of the GY-HM700 Shoulder-type Camcorders

Some key features for GY-HM700 & GY-HM790 Full HD resolution front-end Interchangeable ENG lenses Built-in Super-encoder ~19Mbps (in addition to 25 & 35Mbps modes) Native file recording .mov for instant FCP editing Records to dual hot-swappable SDHC flash memory cards (and to SxS express card in optional adapter) Live 1394 output direct to microwave modulator (ENG truck-based, through inexpensive external 1394>ASI converter) (Optional attachable ASI output converter) HDS-SDI Live & Memory Card Playback output Down-converted SD output (DV format on 1394 port) Acquires broadcast quality HD video Optional Camera-back Microwave TX Unit

Explore cost effective, fast work flow ENG Van-based editors: Apple Mac Mini with FCP Only one combination of HD NLE and HD editing software matched the speed of the workflow to be achieved: MAC computers with Final Cut Pro editing application for the ENG vans and the news editing suites. But, KNXV very craftily chose MAC Minis for the ENG Vans, rather than the MAC Book Laptops, connected to a 22-inch flat LCD editing monitor. However, the multimedia journalists are working with MAC-book laptops with FCP to complement the handheld GY-HM100U camcorders.

Full HD resolution editing (720p60 and 1080i60) NO transfer needed to edit Native ProHD stream-handling ~19, 25 and 35 Mbps Clip ASI output direct to microwave modulator Edit directly from clips on SDHC cards Produces broadcast quality HD clips MAC Mini (2.53GHz + 320GB HDD + 4GB Mem) $799 Mini + 24” Monitor + FCP + Misc = less than $3,000

Success: Ready for Live HD ENG Operation

Full HD resolution from LIVE ENG Very fast workflow No excessive CODEC cycles Greatly reduced tape handling All future archive is on-line AND . . . greatly reduced investments

LIVE HD ENG capabilities will be a reality at KNXV later in 2010, when their fixed InterCity Relay microwave locations will be converted from NTSC analog to HD digital. By investing in ProHD cameras and camcorders, KNXV is ready for LIVE HD ENG Operation.

Doing HD EFP at Studio Broadcast Quality

Full HD Studio Broadcast Quality from the field at 35 Mbps Highly convenient workflow JVC Super-Encoder compresses to 35 Mbps Records to SDHC and/or SxS in VBR with full HD – 1080i or 720p All future archive can be on-line AND . . . greatly reduced operational costs AND . . . same HD camcorder does HD ENG and HD EFP

Is 3D HDTV in your 3D HDTV OTA Broadcast Future? Broadcast Primer Probably not anytime soon. But, with the early successes of 3D in cinema theaters, and with the SMPTE and the MPEG Industry Forum working on 3D standards for the delivery of 3D television to the home, TV broadcasters need to be familiar with the basics of 3D, particularly relating to future in-home television 3D viewing which seems inevitable considering the high level of activities and the multi- billion dollar sales predictions of the CE manufacturers. The JVC-Kenwood Group is one of the early actors in both professional and consumer 3D technologies.

3D TV Broadcast Basics #1: 3D Delivery (transmission) is different from 3D Display

This is important to remember. There are many ways to deliver a 3D signal to the home audience, and few ways to display 3D in the home, and the format of delivery/ distribution may be much different from the format of display. DTV OTA broadcasters probably need a delivery system not yet conceived, to be compatible with a home 3D HDTV display system already being standardized.

DTV OTA broadcasters must comply with the ATSC specification, which currently does not allow specifically for a 3D “encoded” DTV signal to be transmitted. “To serve the public interest” would probably not be accomplished in the opinion of the FCC if your TV station’s HD channel could only be viewed by the very small percentage of HDTV homes having 3D- capable HDTV sets in 2010. But, even more critical, your audience share would reach an all time low!

The future key for OTA broadcasters is to transmit a 3D-encoded signal, which would be fully 2D compliant when the “3D add-on data” in the ATSC stream is ignored by the non-3D HDTVs, but accepted for 3D display by any 3D capable HDTV. Such “3D add-on data” can possibly be carried similar to the M/H signals, but would not require the very robust mobile FEC overhead. Another consideration is the carriage of your TV station’s 3D programs by cable TV, satellite TV and IPTV systems.

3D TV Broadcast Basics #2: Separate Left and Right Eye View required

To perceive a realistic 3D (stereoscopic) viewing experience, two sequences of images must be presented to the viewer’s visual system: one for the left eye and one for the right eye. The stereoscopic sequences of images must, of course, be of the same scene, fully synchronized, and acquired (shot) with a stereoscopic camera system with an effective distance between the left and the right image sensors approximately equal to the average distance between the center of a human’s left and right eye. Or, if not shot (acquired) in 3D, then processed and converted to 3D by electronic means.

3D TV Broadcast Basics #3: HDTV home sets require 3D display capabilities

The large CE manufacturers have embraced a home 3D display system requiring every viewer to wear “Shutter Glasses” (Active Glasses) where the 3D-HDTV home set accepts several 3D delivery formats, converts the delivery format to the sequential left-right switched full 1080p60 frame format, and synchronously switches the “Shutter Glasses” to open the left eye glass (while turning off the right eye glass) to allow the left eye to view the current full 1920x1080 left progressive frame. Left eye glass is turned off and the right eye glass turned on when the successive full 1920x1080 right frame is displayed. The “turn- on, turn-off signal” is transmitted by infrared communications from the 3D-HDTV to the Shutter Glasses to perfectly synchronize the glasses with the left and right stereoscopic images. It is interesting to note that the only 1920x1080 progressive delivery vehicle at the moment is the Blu-Ray disc able to deliver 1920x1080p24. 1280x720p60 can certainly be used, where each eye will see a resolution of 1280x720p30. The 30Hz refresh rate may be doubled or quadrupled by the HDTV for display purposes, eliminating flicker.

Another approach is the Xpol 3D patented circular polarizing system (used by JVC on first professional 3D 46” flat LCD monitor) applies a 3D optical filter to the HDTV set’s front display surface, where (a) the odd lines have (permanently applied) counter-clockwise circular polarizing (for the left eye), and (b) the even lines have (permanently applied) clockwise circular polarizing (for the right eye). This Xpol system requires “Polarized Glasses” (or passive glasses) which are inexpensive as compared with the active glasses (“Shutter Glasses”).

This Xpol system is full 1920x1080p60 3D compliant, as each eye gets 60 frames per second with full 1920 pixels across and alternating 540 lines vertically (just as a 2D HD presentation in 1920x1080i60), provided the HDTV set is capable of displaying 2D HD in 1920x1080p60 and the source is 2x (left and right) 1920x1080i60. However, if the 3D signal input is 1x 1920x1080i60, then the 3D presentation provides 30 frames per second of 1920x540, but eliminating flickering by applying a 60Hz (or higher) refresh rate.

3D TV Broadcast Basics #4: 3D viewing requires wearing 3D glasses (except for a couple of special cases)

For 3D viewing in the home, passive glasses are the most convenient, realizing that either passive or active glasses are really necessary, unless a 3D technology of “Parallax Barrier” or “Lenticular Directional” is acceptable. These “No Glasses” systems generally require the viewer to sit at a specified distance from the HDTV set and at certain narrow angles. It’s not likely Passive polarized glasses for viewing the GD-463D10, that these “No Glasses” systems will catch on in the home, but JVC’s 46” professional 3D M/H device suppliers are experimenting with “No Glasses 3D” LCD monitor display modes.

3D TV Broadcast Basics #5: What about 2D and 3D viewing at the same time?

The ideal scenario: Two people sitting comfortably in the family room sofa, one with 3D glasses and the other without, both concurrently watching the same HD program on the same large screen HDTV set, one seeing dramatic 3D and the other seeing spectacular 2D. This is not possible.

Because the HDTV set, when switched to the 3D mode, must display two (2) separate 2D image sequences in order for the (polarized or active) glasses to generate the 3D experience in the visual system of the viewer, any viewer without the appropriate glasses will see the blur of two nearly identical images displayed. For DTV ATSC broadcasters, with only one OTA primary HD channel available, which channel is already under bandwidth pressure due to ATSC M/H and secondary SD needs, it will be very difficult to “experiment” with 3D HD delivery OTA. Also, with home “2D-only” HDTVs vastly outnumbering 3D sets far into the future, any 3D OTA must be a system where the program stream is 2D/3D compatible, allowing the “2D-only” households to view perfectly good 2D HDTV from any 3D OTA program stream. (NOTE: This is not the same as watching 2D and 3D concurrently on the same HDTV set.)

3D is just for the big screen at home . . . DTV OTA Broadcast is for all the screens . . . everywhere

Cinema audiences seem to embrace 3D, although only 20 films (out of a total of 558) were released in 3D in 2009. It is still a novelty, but we can predict that 3D is here to stay, at least as a cinematic experience. We can also state with a relatively high level of confidence that the 3D viewing experience is much less impressive as the HDTV screen size is reduced.

While immersive 3D will be brought to us in cinema theaters and at home through Blue Ray 3D players displaying 3D on the larger 3D capable HDTV sets at home, the notion that network prime time and local news programming to be viewed by the home audience will be largely produced in 3D is misplaced. The requirement to constantly wear 3D glasses while watching TV is just one reason why 3D in the home (or in the car, or on the go) will not generally apply to prime time or news viewing.

BUT, the emergence of 3D sends yet another message to the DTV OTA broadcasters that investment decisions at the TV station level should address the dominant average HDTV screen size at home (expected to be 32” by end 2010) and screen sizes expected to be associated with ATSC M/H. In the HD camera domain, JVC’s cost effective ProHD studio camera and HD ENG and Hyperlocal camcorders provide the ideal solutions.

JVC first with Professional 3D Monitor

Twenty (20) 3D movie titles were released in 2009, which number is expected to increase significantly in 2010, including existing 2D titles to be converted to 3D. JVC responded to the film industry requirement for a professional grade 3D monitor with natural viewing characteristics and presence by introducing the GD-463D10, a 46” LCD flat panel monitor with full 1920x1080p60 display capabilities.

This 3D monitor is using the Xpol polarizing filter method for 3D reproduction, where the front display glass has been polarized line-by-line (all 1080 lines) by micro-striping alternating lines with counter-clockwise (odd lines) and clockwise (even lines) circular polarizing, requiring the use of matching circular polarizing glasses: CCW circular for the left eye and CW circular for the right eye. This system offers maximum flicker resistance, as both eyes see the presentation at the same time, as opposed to active shutter glasses where the view of the presentation alternates between the left and the right eye.

Multiple HDMI ports provide for up to 1920x1080p60 inputs, accepting 3D encoded signals in the side-by-side and alternating-line (line-by-line) 3D formats. As the 3D display presentation mode is always alternating-line, the monitor includes a 3D side-by-side input converter which transcodes side-by-side format to alternating-line format for display purposes.

JVC first with Realtime 2D-to-3D Converter

JVC’s new IF-2D3D1 3D Image Processor offers real-time 2D to 3D conversion, allowing live (and pre-recorded) HD material to be converted to 3D HD on-the-fly.

Additionally, the IF-2D3D1 converts separate left-right (dual) HD-SDI stereoscopic signals into a 3D mixed format (a) for acquisition on-location QC or (b) for 3D deliverables and distribution. Any of the four popular 3D mixed formats are available as outputs: Line-by- line, Side-by-side, Above-below, or Checkerboard.

JVC Broadcast Direct

A Sales & Support Organization dedicated to TV Broadcasters

JVC Broadcast Direct is a new program offered largely to Group Station Owners to achieve successful transitioning at their local TV station properties to full and highly competitive HD news operations through the adoption of cost effective ProHD acquisition systems, and, as importantly, to assure the ongoing uninterrupted daily operation of ProHD equipment at the highest possible level. JVC’s core commitments under a Broadcast Direct group adoption agreement include:

x Direct buying from JVC under net-30 or capital lease x Purchase at substantial discounts (Adoption pricing) x Direct station-level support by JVC technical/operations staff x Depot service and product loaner program (Immediate turn-around) x Exclusive performance and features (i.e. LoLux and Metadata) x JVC Support Web Portal (Repair, purchase history, manuals, pricing)

JVC Broadcast Direct simplifies the ongoing purchasing and transition process, and includes initial setup of cameras and lenses, an exclusive depot service support program, and the very important training for technical and production staff by JVC product experts. All this to assure a highly successful ownership experience on a daily basis, including JVC placing ProHD camera/recorders at strategic locations as backup equipment when a TV station’s equipment is sent to our depot for repair. Such gear is owned by JVC but available to the TV stations for the life of the adoption agreement. JVC’s endeavor is to generate a win-win situation that will benefit all parties for now and the future. The success of ProHD will assure longevity and continued product developments to the benefit of the Group Station Owners through product continuum.

Please contact JVC Professional for additional information and product demonstrations:

JVC Headquarters & East Coast Sales (973) 317-5000 JVC West Coast Sales (714) 527-7500 http://pro.jvc.com