Broadcast Publication an Industrythck Website AUGUST 2001 ENGINEER!

A PRIMEDIABroadcast Publication www.broadcastenginee-ring.com, an industrythck website AUGUST 2001 ENGINEER!

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From the lens to ICs Lii WRAL-TV Raleigh, NC. The Nation's First Daily HDTV Local News Broadcasts

A pioneer in HDTV broadcast technology, WRAL-TV was the first USA station to broadcast an HDTV signal in 1996 and is the country's first news operation to present HD local news on a continuous basis. The station is committed to delivering the highest quality signal to its viewer audience. Their audio board? A WHEATSTONE TV -80 SERIES LIVETELEVISION CONSOLE. "Our operators were given ample opportunity to evaluate different consoles," says Craig Turner, chief engineer at WRAL. After an extensive assessment of competitive products "they found the TV -80 easy to operate, with a convenient design that includes all the features necessary to achieve CD -quality audio." WRAL is at the forefront of television broadcast technologies. YOUR station could be too; contact WHEATSTONE for the best in TV audio! Cor tel 252-638-7000/fax 252-635-4857/ [email protected] copyright iP 2001 by Wheatstone Corporation \_1 VA/ Vv" / r7 t Circle (101) on Free Info Card WETA, WCBS, WSB, KHOU, WFAA, KGO, WXIA, WTHR,

WPVI, WBNS, KING, WHSH, KABC, WGCL, KTVU, KCAL,

KPIX, KCBS, WUSA, WJLA, KYW, WDIV, WWJ, KTVT,

KPRC, KIRO, KMOV, KTVI, KBHK, KCTS, WMVS, WTAE,

KRIV, WFLD, W010, KCOP, KGW, WPXI, WCNC, WTVD,

KXTV, WPLG, WLS, WKYC, KICU, WFLA, KFOR, WSVN,

WBBM, KPTV, KTRK, WBAL, KARE, KPNX, WTSP, KDKA,

KMSP, WBZ, WCCO, KSDK, WSOC, KCRA, KXLY, KTVX,

WRAL, WRAZ, KOIN, KLAS, WTLV, KUTP, KTXL, KBWB,

KNTV, WJZ, WWOR, KQED, WABC, KCET, WCYB, WRDW,

KCPQ, WRLK, WHYY, WTMJ, KLFY, WENH, WISC, KTTC,

KOREAN BC, WCVB, WEWS, WSPA, KSWB,

*Due to contractual agreements, some stations not listed.

100 DTV ottaiiurn installations.* We like to think of them as letters of endorsement.

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Circle (104) on Free Info Card August 2001 Broadcast Volume 43

Number 9 ENGINEERINGTHE JOURNAL OF DIGITAL TELEVISION'"' www.broadcastengineering.com

Features 70Design for the newsroom of tomorrow By Jeff Riser and Paul Kast Stations planning a newsroom rebuild should design a flexible infrastructure to allow the introduction of future technologies. 76The science of cameras By Edward E. Williams, CSTE In today's camera market, consistent picture quality across manufacturers has put increased emphasis on camera features. 82Closed captioning for DTV By Jerry Whitaker With DTV, captioning can be customized to meet user needs. Beyond the Headlines NEWS 12 NBC begins central -casting FCC UPDATE 18 Rules for digital auxiliary services proposed BUSINESS MODELS 20 Selling TV station bandwidth By the Numbers STATE OF THE INDUSTRY UPDATE 24 Video storage systems Digital Handbook TRANSITION TO DIGITAL 30 Video resolution COMPUTERS AND NETWORKS 36 User requirements for graphics systems STREAMING MEDIA 44 Changing bit rate

ON THE COVER: WEAR -TV's new all -digital newsroom, with monitor bridge and edit bays at left. Photo courtesy Grass Valley Group. Photo by Steve Dunwell Photography.

(continued on page 6) broadcastengineering.carn August 2001 With the capability of DTV today and HDTV tomorrow, who knows how many anchors it will outlast.

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TRANSMISSION & DISTRIBUTION 58 Digital encoders

PRODUCTION CLIPS 62 DVD production

SYSTEMS INTEGRATION 66 Developing a DTV master control plan

New Products & Reviews APPLIED TECHNOLOGIES 88 Path 1/Leitch TrueCircuit QoS technology 92 Thomson Automation station control systems

FIELD REPORTS 96 WPIX-TV's digital helicopter Broadcast 102 TVA runs smoothly with help from Kaydara's mediastore

ENGINEERINGTM, JOURNAL Of DIGITAL TELEVISION TECHNOLOGY IN TRANSITION www.broadcastengineering.com 104 Audio consoles Table of Contents NEW PRODUCTS Business Announcements 108 Philips/Thomson Trinix, plus other new products Features BUSINESS WIRE Demo Room 114 Business highlights from broadcast and production Magazine Content Features Departments

Beyond the Headlines 8 Editorial Digital Handbook 10 Reader Feedback Systems Design Showcase 130 Classifieds New Products & Reviews 133 Advertisers Index Departments 134 EOM Featured links FREEZE FRAME Browse back issues A look at the technology that shaped this industry About the magazine Editorial calendar Who invented the CG? Magazine rack Name the year, model number and the famous (but long -gone) company that developed the first working "videographics" device. The device allowed the operator to correct a spelling Visit the mistake in only "40 minutes!" Hint: The device wasn't called a "CG." All correct entries will be Demo eligible for a drawing for the new Broadcast Engineering T-shirts. Enter by e-mail. Title your Room entry "Freezeframe-August"nthe subject field and send it to: [email protected]. www.broadcastengineering.com, Correct answers received by Sept. 17th, 2001, a member of IndustryClick.com are eligible towin.

August 2001 With You Every Step Of The Way To DTV!

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Circle (105) on Free Info Card Could dead birds derail DTV?

If a few bird -loving, environmental wackos have their way, you'll be broadcasting your new DTV signal from an unguyed, 100ft stick so far from your city of service you'll need a map, an ATV and two days' rations just to get to it. As if you didn't have enough DTV problems, two bird -loving organizations are now claiming that broadcast towers are killing millions of our feathered friends. The groups allege that a tower's red obstruction and beacon lights confuse birds at night, causing them to become disoriented, especially in fog or water -laden air. The tower lights refract off the water particles, creating a lit area the birds use for navigation. Keeping the light at a 90- degree angle causes the poor little things to end up flying in circles, eventually slamming themselves intoa guy wire, tower face or even other birds. They then spiral downward, smashing into the earth where they are eaten by nasty ground -based predators. Just makes you want to cry doesn't it? The two organizations joining forces to put you out of business are the Friends of the Earth and the FCC (no, not the familiar Federal bureaucrats, but the Forest Conservation Council). The groups have petitioned the real FCC to deny about 40 applications for towers until the Commission "conducts further environmental studies." They have seized on the 1918 Migratory Bird Treaty Act as reason enough for the Commission to deny the construction of almost any tower anywhere. Unfortunately, the Act makes it almost a crime to cause the death of even a single bird. Bill Evans, an ornithological consultant, claims to have witnessed bird deaths via dangerous guy wires firsthand. After recording bird distress calls at various tower sites, he said, "Those sounds just hit you inside." He now runs a website called towerkill.com. Other researchers spin similar yarns. Dr. Charles Kemper, a physician and bird enthusiast, professes to have monitored bird kills at one tower site in Eau Clair, WI, for more than 35 years. Over that time, he maintains that the tower has killed 121,560 birds. His record was 30,000 bird kills in one night. Of course I was absolutely shocked to learn of these dreadful "facts," so, I did a bit of research. It turns out that towers aren't the biggest murderers of birds, as the above experts claim - it's cats. The University of Wisconsin -Madison states that between 7.8 million and 200 million birdsare killed every year by the common house cat. Now, my math says that means cats kill 50 times as many birds as all TV towers combined. But hey, we can't let this wholesale massacre of birds by towers continue. What we need are some more Federal rules to save the little poopers. Here's my suggestion. First, all birds should be required to wear bird helmets and parachutes. That way they won't break their little scrawny necks when they bump into a tower or guy wire. Second, the other FCC must issue rules requiring padding on every tower and guy wire. Finally, all those darn red obstruction lights and beacons will have to be turned off. Oh, I realize that may result in a few airplane crashes, but we simply can't continue this bird bloodbath. After all, what's more important, a flea -infested, poop -dropping, Black -bellied Plover or a Tufted Titmouse or a few million jobs and an entire industry? ,*ei,e61 Brad Dick, editor Send comments to: direct: [email protected] website: www.broadcastengineering.com

8 broadcastengineering.com August 2001 Solving the Digital Puzzle

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Circle (106) on Free Info Card Reader Fee

Long live Heathkit Where's ATSC's 720 for- Will the May deadline be Readers will recall my fond recollec- mat? delayed? tions of Heathkit products. For those Michael, Dear Mr. Martin, of you with similar memories, check I enjoyed reading your article "Getting I read your DTV Dateline item on this out. from 4:3 to 16:9" on the Broadcastthe Broadcast Engineering website. Engineering website. You did make one My company, SignaSys, is entering Brad Dick fairly large (to some people, anyway!) the DTV market by providing a low- error though. There is no 720 horizontal cost DTV compliance package. I am format in Table 3 of the ATSC standard! curious what you hear about the issue Dear Brad, JoHN Gourrsis of smaller commercial stations (mar- My wife and I have a Heathkit TV kit MISSISSAUGA, ONTARIO, CANADA kets 100+) that are opting to "gam- of my dad's we are looking to sell. We Mr. Robin responds: ble" and miss the May 2002 deadline. tried it on eBay, but got no bids and I have several comments as follows:Some of the stations we have talked there were no other Heathkit electron- First, format conversions from 4/3with seem to think that they will be ics on the site. Do you have any otherSDTV to 16/9 HDTV use signal sourc- recommendations? Itis a Heathkit able to argue economic hardship for a es as specified by the ITU-R BT.601first extension, then order equipment GR-2000 25" color TV with all the Recommendation with a 4:2:2 sam-with a long lead time in order to be manuals. My father got it and only opened the boxes to take a look, then resealed them and they have sat ever since (1976?). Sadly, I have neither the If the May 2001 deadline sticks, you can expect time nor talent to assemble this. We'd the FCC to be liberal in appreciate any help you could give us. granting waivers. I can provide digital pictures. Sincerely, DOYLE R. HILL [email protected] strategy. Table 1 of the ATSC able to tell the Commission that they A53 lists this standard and two HDTV are attempting to comply but face standards and refers to them as "Stan- equipment shortages. Understanding CCIR 601 dardized Video Input Formats." LARRY SHENOSKY Second, the "601" signals using the SAN JOSE, CA and CCIR 656 4:2:2 sampling strategy have an active Mr. Martin responds: Dear Mr. Robin: luminance sampling grid of 720 pixels There is a good chance the May 2002 Are the horizontal and vertical syncby 483 lines. While the 720 sample date will be postponed, although noth- structures of CCIR 601 and CCIR 656structure is strictly adhered to, some ing is eminent. The Commission is similar? signal sources may change the activeaware of the economic circumstances MIKE TSINBERG KEY DIGITAL number of lines to slightly differentfacing mid- and smaller -market TV values. In my example I used thestations (ad revenue off, network rev- Mr. Robin responds: 720x480 source format. enue off, no market for stations, bank CCIR 601 and CCIR 656 are com- Finally, the change from 720 hori-credit tight, no market for IPOs). plementary standards. CCIR 601zontal pixels to 704 occurs in the If May 2002 sticks you can expect deals mainly with the sampling con-ATSC compressor. Table 3 of the ATSC the FCC to be liberal in granting waiv- cepts, while CCIR 656 deals mainlyA53 lists the allowed compressioners. Even so, an argument of economic with the parallel and serial distribu-formats. The ATSC document does hardship alone probably would fall on tion. Both standards talk about thenot explain why 720 is changed todeaf ears. Everyone can plead eco- horizontal blanking structure. The704 in the compressor. Interestingly,nomic hardship to some degree (even only difference is that CCIR 656 de-the ATSC A63 version intended for lawyers!). Past waivers have been based tails the EAV/SAV timing referencecountries using the 625/50 scanning on tower leasing problems, tower space signal and CCIR 601 doesn't. CCIRformat specifies 720 pixels instead of shortages, tower construction delays, 601 does not mention the vertical704. So this is another ATSC itemequipment availability and delivery interval structure. needing revision. problems, and zoning.

10 broadcastengineering.com August 2001 Mark SmirnoffTo The Power of Maxell

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Circle (106) on Free Info Card Beyond theHeadlines

News NBC begins central -casting BY LARRY BLOOMFIELD

With the spiraling costs of doing and played from three hub sites, Newvia FTP to the central server from on- business, facility owners areYork, Miami and Los Angeles. site video servers acting as caches. looking for new, less expensive ways The first phase of the implementa- News programs that are to be rebroad- of doing business. One such approachtion is in Miami. From there they will cast will be streamed to the hub's cen- is to co -locate facilities and personneleventually run everything but local tral servers over fiber optic landlines. while serving the needs of several markets. Although this approach is not entirely new, let one of the net-Cost savings can be achieved through the works do it and it's like Columbus discovering America; he wasn't theconsolidation of personnel from five or 10 first to do it, but he's the one who gets all the credit. stations into a single facility. Looking very much like the direct- to -home (DTH) satellite operators and the multiplicity of cable compa-news to their O&Os in Birmingham, During regional news and other local nies across the country, group ownersAL; Raleigh, NC; and Dallas. Net-live programming, the stations will big and small are moving to consol-work and syndicated programming use control panels at the regional sites idate their operations under one roof.will be transmitted to the spoke sta-to trigger the computers at the central The D11 -I and cable industries havetion sites by redundant fiber links.site to play break material. been employing the "single point ofFinal switching will occur at the The control system is completely control multichannel" configurationspoke stations to merge news, local redundant, with no single point of for many years. programming and last-minute pro- failure. Special features include han- NBC has now begun central -casting. motions produced at the station. Com-dling of multiple time zones and the The long-range plan is for NBC tomercials will originate from the hubs.ability to seamlessly mix video mate- automate allits O&Os in the U.S. The spoke stations will send localrial from the hub and spokes within a Programs and interstitials will he stored commercial material and promotions single break. News departments will """"""41F111111111011W update playlists located at the hubs FRAME GRAB using their local terminals in the Alook at the issues driving today's technology production suites or at the assign- Station consolidation isn't a new trend ment desks. Percent of stations owned by largest 25 media companies has grown According to Florical, whose soft- to almost half ware will be running the NBC hubs, cost savings can be achieved through 50% the consolidation of personnel from 45% as few as five to 10 stations into a

40% single facility, with the exception of

35% the news department, the local sales personnel and an on -call transmitter 30% engineer. We can thank modern tech- 25% nology for making this all possible, 20% specifically in the area of computer 15% control system software and hard-

10% ware, not to mention the growing availability of fiber and satellite band- 5% width. In addition to realizing sav- 0% 1996 1997 1998 1999 2000 2001 ings from centralizing its traffic and

SOURCE: FCC w n accounting departments, NBC says it

12 broadcastengineering.com August 2001 r"?

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Circle (108) on Free Info Card visual - with"Any broadcast station, regardless Eastern lots of actionof market size, will be required to Hub and little or nopass through any video description Any Hub can control any dialogue - canit receives from a programming pro- Remote Site be nearly in-vider if the broadcast station has the comprehensibletechnical capability necessary to do to someoneso." This applies to MVPD players Central Communication with impairedas well. Hub Network vision. Video The Commission also ruled that description, aany broadcast station or MVPD that narrative of theprovides local emergency informa- key visual ele-tion as part of a regularly scheduled ments in a tele-newscast, or as part of a newscast vision program,that interrupts regularly scheduled is not entirelyprogramming, "will be required to new. Both PBSmake the critical details of this in- Central -casting would take programming from one of three regional hubs and funnel it to local stations, eliminating most and the Turnerformation accessible to persons with production not associated with news. Image courtesy Florical Classic Moviesvisual disabilities in the affected Systems. channelpro-local area." This includes narration will significantly reduce the capitalvide a service though which narra-for those facilities that put up emer- expenditures for digital televisiontions for the visually impared aregency information in the form of

equipment that would be spent with-inserted at natural pauses in the dia-crawls or scrolls. out the hub/spoke concept. log of the program. Due to the infre- While the cost savings are attractive, quency of this type of programming, there are several technical challenges the FCC has placed requirements onStates garner not found in typical automated stationthe networks to address this issue. operations that must be met by theThis new rule is part of a broaderrevenue from DTH technical automation system: FCC effort to make technology more Florida is implementing a commu- Multiple time zones controlledreachable to people with disabilities. nications tax for DTH services from the hub site; On July 21, 2000, the FCC adopt-beginning on Oct. 21. North Carolina Signal path delay between the hubed video description rules that willincluded in its proposed 2001-2003 and stations; make television more accessible to state budget a provision to tax not only Zero timing to match timing be-people with visual disabilities.satellite equipment, but cable as well, tween video and audio originating atThese rules will commence withon a statewide basis. According to the different sites; the calendar quarter April to JuneSatellite Broadcasting and Communi- Master/slave operations to handle2002 (Docket 99-339). Using the cations Association, a six percent tax manual timing of common program-same logic that inspired the FCC'swould be charged on gross receipts ming and regionalized commercialplan to move from analog to digi-from the sale of cable and satellite TV breaks; tal, the law requires broadcastersservices across the state under the Multiple switchers in serial path;affiliated with the ABC, CBS, Fox legislation. and, and NBC networks in the top 25 Under the 1996 Telecommunications System recognition of location oftelevision markets (as determined Act, satellite providers are exempt from sources. by the Nielsen Designated Marketpaying any local tax, but states are Personnel costs are a heavy cost toAreas, or DMA, rankings) to pro- allowed to charge sales tax on D11-1. a TV station. Central -casting canvide a minimum of 50 hours per Currently, satellite TV is not taxed save 20 to 40 percent of total person-calendar quarter (roughly four hoursby the state, but cable is subject to nel costs by consolidating technicalper week) of described primetimelocal taxes, but the bill would allow operations, traffic, accounting, pro-and/or children's programming. cable operators to be credited for any motion, programming and shipping/ The FCC is also requiring multi-local franchise tax they pay. receiving. Note that the news depart-channel video programming distribu- Taxing satellite equipment in North ment is excluded, but there is thetors (MVPDs), such as cable systems Carolina is no trivial thing. North potential for centralizing the nation-and satellite systems, with 50,000 orCarolina ranks fourth in the country al portions of a station's news andmore subscribers to provide videowith more than 800,000 subscribers sports presentations. description for the same amount andwith Florida, California and Texas type of programming on each of anyeach having more than 1 million Television for the visually impaired of the top five national nonbroadcast DTH subscribers. People without vision impairments networks they carry, as determined by are not as apt to realize how televi-national prime time audience share. sion program material that is highly In addition, the FCC also says that

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Circle (1(s) on Free Info Card County attempts philosophyof property tax, be satellite tax it county or state, is to provide ser- Los Angeles County Tax Assessor, Rick Auerbach recently planned vices in return for the monies col- to impose property taxes on as many lected, like fire as eight satellites owned by Hughes Electronics in El Segundo - Losand police protection and safe- Angeles County, CA. Fortunately the ty, and opportu- County Board of Equalization, which nities for imposes county taxes, ruled to out- said law levies on spacecraft. growth," Attorneys for the state Board ofGeorge Jamison, Equalization, consulted by Auer-vice president of bach, came down on the countyCorporate Com- munications for assessor's side, saying in a back- Hughes Electron- ground paper; "While the satellites ic. are in Earth orbit, they nonetheless Had Auerbach have a status for tax purposes in Los been successful, Angeles County" although the sat-the effects would ellites never pass over Californiahave been felt territory. through the sat- The issue of taxing the spacecraftellite industry. first came up during a regular qua-Barbara Lam- A Hughes Satellite PAS -10 under construction. Los Angeles drennial audit of companies own-ont, president of County recently considered taxing orbiting satellites owned ing $300,000 or more in asset prop-Network Tele- by Hughes. Pioto courtesy Boeing Satellite System. erties. During the audit it was dis-ports said, "The covered that Hughes showed theFCC has ruled, definably, that 22,300 "and the County of Los Angeles will satellites on their books. Accordingfeet and up is out of local jurisdic-never be able to provide one of these to Auerbach, the satellites are notion. We have offices all over thecausation, much less all three." different from any other movableworld." If anyone is successful in a This is not the first attempt at satel- personal property that he has author -like action it could, according tolite taxation: The city of Virginia Beach, VA, was unsuccessful in Janu- Satellites are no different from any other ary of this year and ordered to refund $480,000 to Fox network, which now taxable movable personal property. owns "The Family Channel." The city stopped taxing the three transponders, valued at approximately $12 million, in 1999, after The Fam- ity to tax, i.e. boats, constructionLamont, "... bring the entire com-ily Channel was bought by Fox and equipment etc. munications industry onto its kneesmoved to California. Fox had initial- Geosynchronous satellites remainand subject to local jurisdictionsly asked for $630,000 - all taxes fixed in orbit, with occasional correc-everywhere." collected from 1993 to 1998 - but tion, for about 10 to 15 years or until The satellite industry is somewhatthe judge said Fox could go back only they run out of the fuel necessary toskeptical of anything like this actionto 1995. The spacecraft in question adjust their positions, after whichever getting off the ground. Morganwas launched in 1992. they are moved to a designated space Broman, director of Public Relations "Transponders are not cars or ships graveyard and replaced by newerat Lockheed Martin Global Telecom-or airplanes, which are covered by and more functional birds. munications says he doesn't see howVirginia tax law," said the judge in his Satellites are, after all, valuablethe County (Los Angeles) could make decision. "No state law mentions tran- bits of property, worth hundreds ofany money after backing out thesponders in space. It appears to me millions of dollars each. The LAlaunch and building costs of the sat-that the city's effort to tax these items County Assessor views them as via-ellites. "It doesn't seem logical to mecomes through analogy and implica- ble sources of revenue that will bringto consider something 22,300 milestion. The city can't tax by analogy millions of dollars annually into the away, local." and implication. It must come from County's tax coffers. "The three key issues associated withclear and specific authority." Hughes expectedly bristled at thetaxation are opportunities, benefits Send questions and comments to: SEND idea of a satellite tax. "Part of theand protection," Jamison observed, [email protected]

16 broadcastengineering.com August 2001 Dolby Digital uses metadata to change the entire television listening experience. Whether viewers have mono, stereo, or 5.1 systems, Dolby Digital provides the best audio television offers.

Dynamic range control (DRC) parameters set during program production ensure optimal DTV audio presentation in home environments, and also offer choice. Dolby Digital preserves the full dynamic range, however, consumers can apply DRC to limit dynamics for late -night viewing, turn off DRC to maintain full dynamics for home theaters, or choose a setting in between.

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Circle (110) on Free Into Card FCC Update

Rules for digital auxiliary services proposed BY HARRY C. MARTIN

In an ever -evolving effort to smooth entities, cable network entities andparties on how to achieve the follow- the transition from analog to digitallow -power television stations. Undering goals: technology, the Federal Communica-this rule, BAS licensees would need to The development of a clear substan- tions Commission is proposing to revise notify the Commission of short-term tive policy vision, consistent with the its rules to allow broadcast auxiliaryoperation for planned events, such asvarious communications statutes and services (BAS) to convert to digital tech- conventions and sporting events, but rules to guide agency deliberations; nology along with broadcast stations. not for unplanned events, such as nat- The creation of a management style BAS stations must be technologicallyural disasters. The Commission also that builds a strong team, produces a compatible with the rest of the broad-seeks comment on whether 720 hourscohesive and efficient operation, and cast industry because television andis an appropriate cap on annual short- leads to clear and timely decisions; radio stations and networks use theseterm operations. The development of independent stations to transmit program material Additionally, BAS and other radiotechnical and economic expertise from the locations of breaking newsservices currently share several fre-through recruitment, training and stories or major events to studios.quency bands and have technicallyemployee development; and However, under the current rules, dig-and operationally similar stations. A realignment of the organizational ital modulation can be used only inNonetheless, they sometimes muststructure to conform to the realities of specified BAS bands, which slows theoperate under different technical rules. a dynamic and converging marketplace. overall broadcast industry's transition These inconsistencies in the rules have In connection with the last goal, it to digital. For that reason, the Com-led to confusion when licensees inhas been informally reported that the mission is proposing rules that permitdifferent services have tried to operate Television Branch of the Mass Media TV and aural BAS stations to use anyin the same geographic area. The pro-Bureau may be merged into the Cable available digital modulation techniquesposed rules would conform technicalBureau. It also has been reported that in all BAS frequency bands. rules that are currently at odds, in-the audio services regulatory staff, The Commission also is consideringcluding transmitter power and emis-which deals with the nation's radio an expansion of its short-term opera- sion limits, for services including BAS, stations, may be moved into the Wire- tion rule. The rule currently allows Cable Television Relay Service (CARS) less Bureau. This dismantling of the AM, FM and TV broadcast stationsand Fixed Microwave Services (FS).Mass Media Bureau would likely cause including Class A stations to operateFurther, the Commission proposes toa loss of knowledgeable top-level staff, broadcast auxiliary stations up to 720require aural and TV BAS stations tosubject radio and TV to different reg- hours per year to cover events outside acoordinate shared frequency use in or- ulatory schemes (just as the TV/radio station's normal operating area withoutder to minimize instances of harmfulcross -ownership rules have been re- submitting STA requests. The proposed interference that may otherwise occur laxed), and otherwise make the FCC rule would expand the short-term oper-when a station begins transmitting. less responsive to broadcasters' needs. ation rule to include broadcast network Other proposals designed to update the BAS rules would allow film andLPTV/translator auctions planned television producers to operate wire- Some 3500 MX'd LPTV applicants Dateline less assist video devices on unused have been given until Aug. 23 to either Oct.1, 2001,is the deadline for VHF and UHF channels, permit BAS settle any mutual exclusivity problems biennial ownership reports for applicants to operate under tempo-or be put into an auction. stations in the following states and rary conditional authority after an Such applicants can avoid having territories: Alaska, Florida, Guam, application has been properly filed,to participate in the auction by elim- Hawaii, Iowa, Mariana Islands, and make BAS application rules con- inating the mutual exclusivity Missouri, Oregon, Puerto Rico, Samoa, sistent with the FCC's Universal Li- through settlements filed by the Aug. censing System (ULS). Virgin Islands and Washington. 23 deadline. By Oct. 10, issues/programs lists and Forms 398 (Children's Program- FCC may dismantle Mass Media Harry C. Martin is an attorney with Fletcher, ming Report) for the period of July 1 Bureau Heald & Hildreth PLC, Arlington, VA. to Sept. 30 must be placed in The FCC has issued a public notice

stations' public files. requesting comments from the commu- SENO Send questions and comments to: nications industry and other interested [email protected]

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Circle (111) on Free Info Card Business Models

Selling TV station bandwidth BY MARK R. SMITH

In major markets - and more than a few smaller ones, by now - digital TV has made its grand entrance. But while the industry transition is happening, it hasn't been cheap. Build- ing what amounts to a second station, which is basically the order, costs between $2 million and $12 million and doesn't generate more revenue. TV stations are searching for new streams to help pay for the digital transition, and the future is now. After all, 6MHz on the analog spectrum can only hold so much data, or program content, as the case has been. But new technology is allowing stations to fit much more data into that bandwidth and gives them more flexibility to market products that tradi- Data networks like iBlast allow broadcasters to use extra bandwidth to deliver non- traditional products like downloacable movies, video games and business -to -business tionally have not been sent along the catalogs in addition to their regular program content. Photo courtesy iBlast. same lines as a station's signal, like downloadable DVD-quality movies,90 percent of the 19.39Mb/s bit rate. them. iBlast, for instance, is a collec- software and video games. An HD movie has much less motiontion of 22 of the nation's largest own- To call the advent of data broad-and is therefore much less demand-ers of TV stations like Post -News- casting timely is an understatement,ing, employing 60 percent of the bits. week, Tribune, Cox, Gannett, etc., as it's hoped it will help offset costsAn HD news show would only de-which aggregate for data transmis- at a pivotal time in the history of themand about 30 percent of the bits. So sion in a way analogous to what NBC TV medium. It shows stations canthe encoder changes the bit rate de-does with TV programming. make those sorely needed incremen-pending on the HD broadcast, often The way these stations divvy up the tal revenue increases, since the ad-from program to program. HD pro- bits varies. Some give iBlast less bits vertisers who have always drivengram quality never suffers, and sta- during HD and more during SD trans- the business model don't pay moretions can then use the extra bits tomissions. The benefits are that sta- for HD. It's not a picture qualityprovide data in addition to their reg- tions experimenting with digital data thing for them - it's all about view-ular programming. transmission see what works and what ers. It also allows stations to com- As mentioned, the data can be many doesn't. The other advantage would pete for distribution dollars with the things: software, CAD drawings, med- be the opportunity to share any reve- likes of UUNet, AT&T and evenical images or business -to -businessnue that might be gained. Federal Express. It's right around theinformation, like catalogs. The idea is There are two tiers of capacity: base corner, too. to make money by distributing this (or fixed) level and additional incre- extra data and share it with the likes ofmental capacity. The ABCs data broadcast networks like iBlast or A defined amount of capacity, the Data broadcasting is really a way toDTV Plus. base level, is always present during allocate, and hopefully generate reve- While manufacturers like TriveniHD or SD broadcasts. If a station nue from, the bits that broadcastersand Skystream bring the technologytransmits HD programs, it overtakes are not using (see ATSC standard A/to the table, iBlast and DTV Plusthe incremental capacity and leaves 90, at atsc.org). (owned by Capitol Broadcasting) arethe base level there. The primary idea Full -motion sports in HD, like hock-networks that deliver a range of broad- would be to broadcast HD and the ey and basketball, are the most de-band content using DTV bandwidth base level of iBlast data simultaneous- manding in terms of bits, becausefor the last mile. They are not buyingly. During non -HD transmissions, sta- movement is constant - taking aboutand selling, because broadcasters own tions would broadcast more iBlast, or

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Extron® Electronics 800.633.9876 www.extron.com Circle (112) on Free Info Card

Copyright © 2001 Extron Electronics. All rights reserved. All trademarks mentioned are the property of their respective owners. SD, data (meaning program content). The goal is to transmit a certain amount of additional data over the course of a day, depending on the program content that needs to be transmitted over the base level. 4 me ell am 4. " That is quite a change from the old days, when an analog broadcaster would produce analog content: some local, some national and some syndicated. Yet it's much the same thing today, just with different content. Reporting Headline News: Today, content could be electronic books, files, en- Artistic Video Imaging and Conservation of Ener' ' crypted films, etc.

Technology is allowing stations to Making thenews market products that traditionally a little brighter. have not been sent along the same Videssence has always had the lines as a station's signal. largest selection of fluorescent fixtures for the video/broadcast industry. Lower wattage fluorescent Also, rather than distributing content on transportable lamps create accurate video images, media like DVD, in data broadcast networks it's transmit- cool talent comfort and significant ted and stored in the consumer's home on any device with energy savings. Pioneering innovative a hard drive, such as TiVo, AOL TV, Ultimate TV or even products since 1988, Videssence a PC. The user needs only to equip his appliance of choice continues to lead the industry. with an antenna and a DTV receiver, or cable. Most of what services like iBlast, DTV Plus and the late Geocast provide is downloads of products like movies, software, catalogs, electronic newspapers and games to be stored in a device of choice along with streaming video or file downloads. Hard drives also are plununeting in cost, offering users more capacity for content. Modular Series

In the end Broadcasters' perspective on the spectrum they have available has changed. Rather than looking at it as 6MHz, they think of it as 19.39Mb/s. This allows them V -Beam Series to send anything that will fit in that space, even simultaneously. No one can forecast the next decade of content distribution models, so firms are building a data Baselite Series broadcast architecture that is open to all possibilities. iBlast has been up since Jan. 1 of this year in technical trials. The commercial launch is set for the first quarter Come visit us at these trade shows: of 2002. What this new technology boils down to is managing IBC Amsterdam LDI Orlando, FL USA bandwidth. Like any business, it depends on where the Sept. 14-18 Nov. 2-4 economics lie. But the overriding factor, say insiders, is staying true to FCC and Congressional mandates to deliver HD programming, and only then for stations to accommodate commitments to data broadcasting networks. There is a budget to work with, but there also must be a balance. The economic model has to support

the stations. Videssence Mark R. Smith is a freelance writer and has covered broadcasting and 10768 Lower Asuza El Monte, CA 91731 post production for a decade. He resides in Odenton, MD, and can be (626) 579-0943 www.videssence.tv reached at msmith [email protected]. Circle (134) on Free Info Card

22 broadcastengineering.com August 2001 The new DV 15 =luid Head is the perfectton iriitti com"ina any digital ENG camcorder. Itis yet another example o' Sachtler's proven quality being used to support the new generation of cameras. And with its central locking for immediate leg release, the new Hot Poc CF is the fastest tripod in the world. Its maintenance - free pneumaic gas spring eflortessly lifts the camera over six feet high. So why wat? Optimize your equipment now. With Sachtler!

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BY BRAD DICK, EDITORIAL DIRECTOR

monthNwe look at facilities' plans for storage technology. The results show that while there is strong interest in server technology, tape is a long way from dead.

Beta SP still top house tape format Betacam SP is used most often as the TV Station/Radio Station Teleproduction & Cattle primary house tape format for all facili- Past -Production ties, except post production. Those facilities use Digital Betacam more than any other format. DVCPRO is the second leading house tape format for TV stations. Production and cable facilities have an even mix of Digital Betacam and DV as their second Bitacam Dicital 31,1CPRO S -VHS 3/4 -Inch DV Betacam 1 -loci most popular format. SP Belt cam SX

Beta SP the primary ENG/ 40%; field tape format 35% TV Station/Radio Station Teleproduction & Cable 30% Approximately one-third of all facilities Post -Production use Beta SP as the primary ENG/field tape 25% format. DVCPRO and Betacam SX are 20% used by many of the TV stations as the primary ENG/field format. For produc- 15% tion and cable facilities, DV is the second 10% most used format. Post facilities rely on a 5% mix of digital formats including DVCPRO, Betacam DVCP110 DV Betacam S -VHS Digital DV and Digital Betacam. SP SX Betacam

Few plan to change formats

Only about 14 percent of facilities 25% intend to change tape formats this year. This low number may be due in part to 20% 16°0 the change to digital operation. As was 15% reviewed in the February issue, page 30, 10% the average analog -based station does 5%. not plan to complete the digital conver- TV Station/Radio Teleproduction Post -Production Total sion of its production facilities until Station &Cable 2004.

45%1 1, Selecting ENG and house IS House Tape Format 40% ENG/Field Recording Format tape formats 35% Of the 14 percent of facilities planning to stiok. change tape formats this year, the most 25% popular house format selected will be 20%- 15% DVCPRO, with D-9 second. The most 10`k popular ENG/field recording format will

also be DVCPRO, followed by DV. DVCPRO D-9 Digital Betacam DV (Digital S) Betacam SP

24 broadcastengineering.com August 2001 Together, we capture history every day.

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Video server purchases and budgets Just over one-third of the TV stations

report they'll buy new video servers this 60° 11 TV Station/Radio Stati5n year. A slightly lower number, about 30 Teleproductiou & Cabh percent, of cable facilities and post houses 50% Post-Productic n say they'll buy new video servers. Mea- 40% sured overall segments, just over 30 per- 30% cent of facilities report they'll buy new servers in 2001. 20%

TV stations plan on spending an aver- 10% age of $241,193 for new video servers this year. That's just slightly higher than the overall average budget for all facilities of $213,441.

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Transition to Digital Video resolution BY MICHAEL ROBIN

The extent to which a picture medi-to be made as to the number of linesscanning. The early developers of um such as television can repro-that make up a picture. Too manytelevision in the 1930s determined duce fine detail is expressed in termslines would be a waste and too fewthat in an interlaced scanning sys- of resolution. The early develop-lines would make the raster linetem the vertical resolution is statis- ment of television resulted in thestructure visible. North Americatically equal to 70 percent of the two dominant SDTV scanning for-chose 525 lines and Europe chosenumber of active lines. The so-called mats, the 525/60 and the 625/50.625 lines. "Kell Factor" of 0.7 is at the origin The aim was to achieve a satisfacto- The vertical resolution: The verti-of all conventional television sys- ry picture taking as a reference thecal resolution is equal to the numbertems. Given an active number of visual acuity of the eye. The human visual system (HVS) has two main resolution characteristics namely: Format Total linesActive linesLPH (K=0.7)BandwidthLines per per pictureper picture The spatial resolution and the tem- (MHz) MHz poral resolution. 525/60 525 485 339 4.2 79.2 (CCIR M)

625/50 5 The spatial resolution concept 625 575 402 80.4 Television system design takes as a (CCIR B,G) reference the visual acuity of the Table 1. Horizontal resolution capability of the dominant SDTV formats. eye, which is of the order of one minute of arc. The eye does not perceive picture details that subtendof alternately white and black hori-lines, let's say 485, the vertical res- an angle of less than one minute ofzontal lines that can be resolvedolution is equal to 0.7x485=339.5 arc. The assumption was made thatvertically over the full height of theso let's round it up to 339 lines per the picture would be viewed at apicture. It is expressed in lines perpicture height (LPH). If the vertical distance of approximately six timespicture height. The 525/60 and 625/50 details in the picture exceed 339LPH the screen height. So a decision hadscanning standards use interlacedthey are blurred. The vertical resolution is independent of the video FRAME GRAB bandwidth. A lookat tomorrow's technology *The horizontal resolution: The Summer hits Internet Top 10 aim is to achieve an equal number Internet usage slows as schools close of picture elements per unit of distance (the picture height) horizontally as well as vertically. The sys- netScore Top 50 Properties - June 2001 tem must therefore allow for a June 2001 number of horizontally displayed June 2001 Property U.S. Unique % Change Rank May -June picture elements that is equal to Visitors (000) the picture ratio, let's say 4/3, mul- 1 Microsoft Corporation 91,341 -5.4% tiplied by LPH. So in the 525/60 2 Yahoo Inc. 86,465 -5.5% format we need to display 339x4/ 3 AOL Time Warner 80,256 -2.5% 4 Terra Lycos S.A. 49,949 -9.1% 3=452 picture elements (or 226 5 At Home Corporation 35,880 -9.4% cycles) per active picture width. 6 Amazon.com Inc. 30,118 4.1% Given an active line duration of 7 U.S. Government 29,655 25.4% 52.5 microseconds this results in a 8 InfoSpace Inc. 28,941 -12.8% cycle duration of: 9 Primedia Inc. 28,593 -9.9% T = 52.85/226 = 0.2338microseconds The associated frequency is SOURCE: comScore Networks & Diameter www.comscore.com, www.diameter net F = 1/T = 1/0.2338 » 4.28MHz

30 broadcastengineering.com August 2001 at TheJ May

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1 _I 1-4 DTV BROADCAST PRODUCTS 15501 San Fernando Mission Blvd. Ste 100 = Mission Hills, CA 91345 Phone (818) 361-2248 Fax (818) 270-2010 e-mail: [email protected] web: WWW. k tech t6lecom.com This is the bandwidth required forEurope), the early television devel-luminance) signal and 6.75MHz for equal horizontal and vertical resolu-opers adopted the interlaced scan-each of thePCB(blue color differ- tion. The horizontal resolution factorning concept, in which a picture isence) andE'CR(red color difference) for a 4.28MHz bandwidth is divided in two consecutive fieldscomponent analog signals. The sam- 339/4.28 = 79.2 lines/MHz transmitted at a frequency (nomi-pling frequencies impose Nyquist Given that the transmitted bandwidthnally) 60Hz (50Hz in Europe). Thisconstraints on the maximum sam- is 4.2MHz the transmitted horizontalallowed for the reduction of thepled analog frequency that has to be resolution is reduced to: transmission bandwidth require-lower than half the sampling fre- 4.2MHz x 79.2 lines/MHz >>333lines ments. The result is that large areasquency to avoid the occurrence of

Format 525/59.94 1111111 625/50 MI,

Component E', el8 E' , E'v E'

Sampling frequency (MHz) 13.5 6.75 6.75 13.5 6.75 6.75

Nyquist frequency (MHz) 6.75 3.375 3.375 6.75 3.375 3.375

LPF cutoff frequency (MHz) 5.75 2.75 2.75 5.75 2.75 2.75

Horizontal resolution (LPH) =455 -218 =218 =449 -215 ,,,-215

Samples per total line 858 429 429 864 432 432

Samples per active line 720 360 360 720 360 360

Table 2. 4:2:2 sampling structures and horizontal resolution.

Reducing this bandwidth reduces theof uniform color and brightnessaliasing. The standard specifies the horizontal resolution. A 2MHz band-flicker at the field rate (60Hz ortolerances of the anti-aliasing and width, typical of VHS, would result in50Hz large area flicker). This is anreconstruction filters thus implicit- a horizontal resolution of aboutacceptable compromise. When twoly specifying the analog horizontal 160LPH without affecting the verticaladjacent fields in two consecutiveresolution. resolution. Table 1 compares the reso-fields have different luminance val- In the 525/60 version the lumi- lution capabilities of the 525/60 andues the result is small area flicker,nance sampling frequency of 625/50 scanning formats. at the frame rate (30Hz or 25Hz),13.5MHz = 858 xFH,whereFHis NTSC and PAL composite signalwhich is highly objectionable. Inthe horizontal scanning frequency. encoding formats have a typical col-the 1930s this was a small price toThe resulting number of samples or difference (B -Y and R -Y) bandwidth of the order with a resulting horizontal resolution of aroundToo many lines would be a waste and too few 48LPH. lines would make the raster line structure

The temporal resolution concept visible. A decision had to be made. An important property of the eye is persistence of vision. Persistence of vision is the ability of the viewerpay to achieve restricted transmis-per total line is equal to 858. The to retain, or in some manner tosion bandwidth. digital active line accommodates remember, the impression of an im- 720 Y samples (active pixels). Un- age after it has been withdrawn The ITU-R BT.601 digital concepts der ideal conditions, given the from view. When light entering the The I 1 U -R BT.601 standard wasNyquist frequency of 6.75MHz, 720 eye is shut off, the impression ofthe first international agreement on pixels per active line is equivalent light persists for about 0.1 sec. Tenhow to migrate from two incompat-to 3/4 x 720 = 540LPH. The stan- still pictures per second is an ade-ible analog television scanning for-dard specifies an anti-aliasing and quate rate to convey the illusion ofmats to a common sampling conceptreconstruction filter bandpass of motion. The phenomenon of flick-and structure. The original analog5.75MHz resulting in an analog er, however, requires still highercomponent signals are sampled tohorizontal resolution of the order picture rates. Given the transmis-obtain three digital component sig-of 455LPH. sion spectrum conservation require-nals. The most popular sampling Given the color -difference sampling ments, which imposed a 6MHzstructure, the 4:2:2, uses a 13.5MHzfrequency of 6.75MHz, the digital channel bandwidth (7- or 8MHz insampling rate for the E'y (analogactive line accommodates 360CBand

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Circle (118) on Free Info Card I 360 CR samples (active pixels). Un-horizontal resolution ambiguities. der ideal conditions, given theHere the analog related horizontal Nyquist frequency of 3.375MHz, 360and vertical resolution concepts are pixels per active line is equivalent tocompletely ignored and the quoted 3/4 x 360 = 270LPH. The standardresolutions are the active horizon- specifies an anti-aliasing and recon-tal pixels and the number of active struction filter bandpass of 2.75MHzscanning lines. It is interesting to resulting in an analog horizontal res-note that the vertical resolution olution of the order of 218LPH. uncertainty that has produced the The analog resolution figuresKell factor is currently criticized above assume ideal brickwall low-or completely ignored. Whether the pass filters. Such filters don't existgenerally used figure of 0.7 is real-

Camera sampling and picture display suffer from vertical uncertainty irrespective of whether the scanning is interlaced or progressive.

in practice. Under the influence ofistic or not and whether it applies the computer industry, various bod-equally to interlaced and progres- ies have started referring to thesive scanning is immaterial. The number of samples (pixels) per ac-fact is that camera sampling and tive line as horizontal resolutionpicture monitor display suffer from and to the number of active linesa certain amount of vertical uncer- per picture as vertical resolution.tainty that occurs irrespective of This is misleading. Table 2 summa-whether the scanning is interlaced rizes the situation. or progressive. While the uncertainty is reduced with progressive ATSC concepts scanning the fact remains that un- The ATSC standard picks up whereless the signal source is a computer "601" left off and applies the princi-the vertical resolution is not equal ples of 4:2:2 sampling to SDTV asto the number of active lines. Also well as HDTV scanning formats. Theusing the number of samples per confusion starts with the 4:2:2 no-active line to express horizontal

menclature, which originally meantresolution is misleading. 4x3.375MHz=13.5MHz and 2x3.375MHz=6.75MHz. The nor- Michael Robin, former engineer with the Ca- malized HDTV sampling frequencies nadian Broadcasting Corporation engineering headquarters, is an independent broadcast of 74.25MHz for Y and 37.125MHz consultant in Montreal, Canada. He is co- for Cs and CR would suggest that the author of Digital Television Fundamentals, sampling structure be called 22:11:11. published by McGraw-Hill. This was however never considered. Send questions and comments to: The confusion is carried further by SEND the coexistence of two HDTV for- [email protected] mats: an interlaced scan format of 11110111111110ir 1125 lines per picture (1080 active The Second Edition lines) and a progressive scan format Digital of Michael Robin's of 750 lines (720 active lines). Com- Television book may be ordered paring the resolution capabilities of directly from the these two formats and expressing them Fundamentals DESIGN MO, AAAAAA 001 OF publisher by calling VIOSO SMO SUMO SYSTEMS in an easily interpreted number is 800-262-4729. It is quite a challenge. also available from

The specified antialiasing and re- and several booksellers. construction filters create the same

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User requirements for graphics systems BY BRAD GILMER

If you are looking at purchasing orreliability, price and so on. from yellow tablets, bar napkins and upgrading your graphics systems, The close -to -air environment is fullideas thought of in the middle of the the first question to ask is how you are of high-pressure situations. Breaking night. The post production process going to use the equipment. A mis-news, live events and weather graph- also is less stressful from a time stand- match between the job you need to doics are examples of applications inpoint, although anyone who has been and the equipment you buy could mean this area. Operators look for toolsin a production session with a de- that you spend more than you need toand techniques that reduce workload manding client can tell you that things (or less), and that you have to live with and speed in the production process. can get very stressful indeed. In this functionality that does not suit yourTemplates and pre -defined formatsenvironment, operators, clients and tasks. Graphics user requirements can be divided into several categories, butNothing will get a piece of equipment expelled perhaps not the way you might first think. User requirement categories canfrom the post environment like unstable be divided into close -to -air, non -close - to -air and post production. (Thirtysoftware. minutes before air is a good dividing line between close -to -air and non- close-to-air/desktop.) Table 1 on page are used to shorten the design pro-producers work with a critical eye to 42 shows how different applicationscess. The non -close -to -air environ-get exactly the look they want. Atten- fit into these categories. ment is usually much less stressful.tion to technical detail of the finished While some areas might overlap, Here is where the graphic design workproduct is high. User requirements there is a clear differentiation. Thisis done, and where rough drafts arefor these different areas are driven by differentiation impacts user require- kicked around. This is where the cre- the applications. Let's start with the ments for equipment performance,ative process starts once it has movedclose -to -air application. User requirements for the close -to -air application include 1) excellent ergonomics 2) sufficient tool set 3) real-time feedback 4) robust design 5) rapid fault recovery. Time constraints and the high-pressure environment drive all of these requirements. In this environment, the graphics workstation should get out of the way of the operator and let him get on with his job. This is not the place for splashy screens, complicated menus or fancy interfaces. The tool set provided should be sufficient for the operator to do his job, but it should not be overly complicated. Man- ufacturers should take the Operators in on -air graphics areas like the one at Fox (shown above) face time restrair is that make time to carefully think a simple, highly intuitive interface and real-time feedback necessary features. Photo courtesy Fox. through the tools required

36 broadcastengineering.com August 2001 Sometimesyou can have it all.

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Ei role (121) on Free Info Card International Ifitadqu tttttt /North & South American Sales -26 Peppier Street, Waterloo, 0 star Canada N21 3C4 Tol-frec .1.800.363,3400 Tel: +1.519.570.9111 Fax: +1.519.570.9140 Europa.. Sales-Zhdstraat 72, 1431 EE Aalsmeer, The Netherlands Tel: .31 297.380930 Fax: +31.297.380939 Asia -Pacific Sales-Level 9, AIC Blolc mg 1.1-3 Marunoochi. Chwoda-ko, Tokyo 100-0005, JapanTel: .431.3.5288.523 inscriber Fax: +81.33288,5111*inscriber Is a registered trademark and E-Clipi ts a trademark of Inscriber Technology Corparaoon. Other pro it.t owes menvoned may be registered trademarks or eademalksof they respective Canaan TECHNOLOGY Specifications subject to change without notice. in this environment. power glitches and software errors.Internet aware. One factor that en- Real-time feedback is critical. AnThe artist's work and machine state ters into almost every purchase deci- artist must be able to see what he isshould be preserved if at all possible. sion in the "desktop graphics" or doing as he is doing it. If he is makingReboot times must be minimized. non -close -to -air application is price. a mistake, he must know about itRemember that in some cases, theseMost users have combined the re- now, not later. A robust design also is systems are not just close -to -air, they quirements for items one and two required. The hardware must be phys-are on -air. above, asking for advanced function- ically strong, made to accept the Next, let's look at requirements inality at a reduced price (yes, users rigors of traveling in a truck. The the non -close -to -air or desktop envi- want to have their cake and eat it live sports/live event environment is ronment. Systems in this environment too). For many years, users were not brutal. Finally, rapid fault recoverymust be 1) lower in price 2) available offered that alternative. However, is a must, and is closely associatedon the desktop using conventionalwith the declining price of MACs and with a robust design. The equipmentprocessing power 3) user friendly 4)PCs and the corresponding leaps in must be able to quickly recover fromconnected with high -end systems 5) processing power, it is now possible to do some really amazing graphics work with a MAC or Intel platform. See us at IBC Hall 11.101 & Prices for well-equipped graphics sys- Hall 1.401 tems have continued to fall while functionality has increased. Along No CT:jproblem% with our,NEVIADigi Scope and LCD Scope A mismatch between Multiormat Test and Measurement the job you need to do roducts- we guarantee it! and the equipment you buy could mean living with functionality that does not suit your tasks.

with this comes the power of the consumer market, driving down prices for things like large monitors and high-speed networks, all part of a high-performance desktop graphics system. While close -to -air systems require very streamlined user interfaces, the requirements for the desktop environment are different. Desktop sys- Hamlet launch the latest Digi Scope and LCD Scope ranges. Leading the way, building on fifteen years of experience and inventive solutions, to provide top of the range production, engineering, tems should have menus that are intu- test and measurement products - of superior quality. itive and easy to navigate. They should Ideally suited for Digital, Analog, Video and Audio environments they provide two new methods of ensuring your attention to detail - including Gamut checking. With numerous add on options be self-explanatory for the first-time you can select the signal formats, facilities and functions you want, when you want them. user while not being too cumbersome These new units are easy to operate, they look good and feel good, but best of all they are Guaranteed NOT to suffer from CRT problems, High Maintenance costs and where applicable, for power users. This may result in limitations on there display outputs. user interfaces that are less stream- E-mail or call us to obtain more details. lined than the close -to -air systems. from the Innovators of superior products at sensible prices. User interface design is always a trade off between efficiency and ease of operation. BOX 6530, Malibu, CA 90264 Phone: 310-457-4090 Fax: 310-457-4494 HAmLET Web: www.hamlet.us.com E-mail: [email protected] The output from desktop systems is EXCELLENCE IN VISION frequently used as input to more expensive systems. Itis important to Circle (122) on Free Info Card

38 broadcastengineering.com August 2001 held out to the final tap

Circle (125) on Free Info Card

you are in the world. the signal automatically 8 260 1000 www.snellisilco".com consider the level of interoperabilityof Web browsers. As images become In the post production environment,

operators become annoyed with functionality that is difficult to Summary of User Requirements for Graphics Systems use because of poorly planned Close -to- Non -close -to -air Post production user interfaces. There also is a Excellent ergonomics Lower price Uncompromised image quality difference in the level of famil- Sufficient tool set Desktop platform Very complete tool set iarity and training of post graph- Real-time feedback User fr endly ics users. Most users are highly Intuitive user interface trained and do not require the Robust design Connectivity Stable software simpler interfaces of the non - Rapid fault recovery Internet aware Complex rendering close -to -air systems. Lower cost Nothing will get a piece of Table 1. Close -to -air, non -close -to -air and post production applications in graphic production equipment expelled from the Operators working on breaking news demand different functionality from their graphic systems post environment like unstable than graphic artists in a post production environment. software. It is not hard to imag- ine that a customer who is paying a lot the requirement for complete tool sets. programming time (more money). of money for the privilege of sittingThe important thing to note is thatThere is no doubt that some users will next to a graphic artist will get upset if rendering time may be allowed in thereplace low -end post systems with lockups and reboots are the order ofpost environment. It is virtually banneddesktop systems as their functionality the day. If you have ever experiencedfrom the close -to -air environment. improves. However, there will be a the frustration of losing your work in Finally, as with desktop systems, us- market for high -end systems for the the desktop environment, imagineers demand all of the above at a re- demanding post environment for some

what that is like when you have aduced cost. They see the increasing time to come. paying customer sitting next to youpower and functionality of desktop Brad Gilmer is president of Gilmer & Associ- watching the last three hours go downsystems available at a falling price and ates, executive director of the AAF Association the drain. Needless to say, stable soft-expect the same from their high -end and technical facilitator of the Video Services ware is good. systems. This may not be realistic. Forum. The ability to render complex graph-Stable software costs money. Well - Send questions and comments to: SEND ics and effects goes hand -in -hand with developed user interfaces require [email protected]

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Changing bit rate BY CHARLES CARTWRIGHT

The MPEG-2 world is made up oftransport streams. The processing was rate changing gives this choice to those highly structured and interdepen-fundamentally on the packet layer and not generating the original content. It is dent data. The data is generated andon the metadata about the composition worth noting that operators have over- packed at the source and only un- about the transport stream (MPEG PSI,come this limitation in the past by fully packed again at its final destination. DVB SI or ATSC PSIP). However, there decoding the incoming material and re- Intermediate "repacking" is not sim-was no modification of the elementsencoding it under their own control. ple but it is desirable. For the interme-that made up the stream itself. Now,This has been their only choice until diaries it is a question of freedom to using bit rate changing technology, it is now, but it is expensive in equipment choose: The freedom to choose the bitpossible to decompose the original com- terms and relatively poor in quality. Bit rate and quality that best suits yourpression a stage further to provide therate changing, without using complete business model or your channel capac-operator with even more flexibility and decoders and encoders, offers a lower - ity; to remultiplex and transmit vari-control over their transmitted streamcost and higher -quality solution to able bit rate material such as that from statistical multiplex groups; and toUntil now, the only operators who had control integrate remote and local encoding into single statistical multiplex group. over the bit rate allocation of service are the A bit rate changer product provides this freedom and control. original content generator and compressors. MPEG-2 evolution has been rapid over the past five years. First -generation systems involved compression of the orig-content. This decomposition has focused ownership of bit rate allocation. More inal signal, and formatting and modu- almost entirely on the video domain as detail on the methodology of bit rate lating the data for delivery over a chan- itis the most significant element, inchanging is available in other papers. nel (typically satellite or cable) to a terms of bit rate used, of any broadcast The most likely places to use bit rate customer receiver for decompressiontransmission. Progress here in manipu- changing are digital turnarounds (DTAs). and presentation. This was a "one -hop" lation of content will yield the most Specific examples of a DTA are: regional direct -to -home (DTH) transmission effective results for the operator. cable headends, terrestrial regional play- chain. As this did not match the com- Before effective remultiplexing the only out centers or satellite broadcasters gen- plexity of the current analog transmis- operators who had any choice over theerating their own content as well as sion systems, there was pressure to pro- composition of a multi -program streamrebroadcasting others' original content. vide more flexibility in the MPEG-2 were the original content generator and All these environments are slightly dif- chain. The next step was to allow remul- compressor. Likewise, until now the only ferent, but they will all need to redirect tiplexing of the MPEG-2 stream. Thisoperators who had control over the bit and repurpose the compressed material meant "unpacking" the originally trans- rate allocation of service (and are there-they receive into their own transmit mitted transport stream into its compo- fore allowed to make the quality -num- path. There are three key elements in nent parts and recombining them ber of channels choice) are the original such environments in which bit rate with elementary streams from other content generator and compressors. Bitchangingcan play its part: modifying compressed content band- BEFORE BIT RATE AFTER gh rd:C CHANGER Low Bit -rate width to match final delivery Transport Stream capacity; putting the owner of the final delivery in charge of Video A Service 1 the tradeoff between picture quality and the number of Video Video Service 2 channels per megabit; and re - Service 2 multiplexing of previously sta- Video V tistically multiplexed sources. Service 3 The first issue - bandwidth matching -is relevant to both terrestrial and xDSL delivery Figure 1. The process of squeezing the bit rate of material. headends. While the DTH or

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Some encod- ternatively, the opera-ers contain methods for identifying tor could reduce the bit original coding decisions and replicat- rate of each service by ing them in the subsequent re -encodes. 30 percent (or each ser- This method is effective but does not vice by varyingremove the cost element. amounts such that the If we consider complete decoding to average reduction is 30 uncompressed material and then re- percent) to squeeze the encoding as being flexible but ulti- entire original multi-mately crude video bit rate changing, plex into the new chan- then we can compare it to far more nel allocation. The pro- elegant solutions in terms of cost, size cess of squeezing theand picture quality. In a bit rate chang- Figure 2. Bit rate changing allows DTA operators to create bit rate of material iser the compressed video is only par- their own statistical multiplex services by remultiplexing the shown in Figure 1. The tially decompressed and then recom- original streams at a known rate to keep them from peaking at the same time and overloading the new multiplex. width of each arrowpressed at a lower rate. Because the indicates the magni- decompression is partial, not all of the distribution satellite system is capabletude of the bit rate for the service. options for re -compression are avail- of carrying in the region of 35- to 40Mb/ Until now full decoding back to base- able, but processing requirements, and s of content the terrestrial channel mayband video and re -encoding at a lowerthereby costs, are reduced. The tradeoff only carry 20- to 30Mb/s and each xDSL rate has accomplished this. That meth-is between equipment cost investment link as little as 2Mb/s. Taking the terres- od is expensive in space, equipmentand flexibility of implementation. trial scenario we see around 25 to 30 and maintenance costs. There also is a We have looked at the baseline rea- percent reduction in capacity between problem with quality of pictures aftersons for a bit rate changing function. the distribution link and the final chan- the decode/re-encode process. StudiesHowever it is sometimes not a matter nel. Reducing the number of serviceshave shown that concatenated encod- of choice, but a necessity. For the DTA offered on the terrestrial network or ing increases picture degradation.operators there is the increasing prob- remultiplexing onto more channels toThis degradation is mostly caused bylem of statistical multiplexing. This is when the original encoder has been Digital Video Conversion andInterfaceProducts bN NIA Video allowed to vary the data rate allocated to encode its video such that when ( 1 Cards aggregated over a group of encoders HD-NTV PCI Bus HD -SDI Video Interface/Framestore $7900 the sum of all encoded bit rates remains SD-NTV PCI Bus SDI Streaming Video Interface $2,395 constant. This technique uses the sta- Miniature Converters tistical advantage that the video sourc- HD10C HD -SDI D/A Converter w/SVGA Mode* $2,495 es are independent and the peaks and HD1OM HD Analog to NTSC Monitoring Downcnvrtr.*$ 800 troughs of bit rate requirements do not D10C SDI to Component Analog Converter, 10 -bit * $ 800 have any correlation. Only where co- D10A Component Analog to SDI Converter, 10 -bit* $1,200 herent peaks occur across several sourc- D4E Serial Encoder, SDI to NTSC/PAL or Y/C* $ 250 D5CE Serial Encoder, SDI to NTSC/PAL /w Component* $375 es are the original encoders required to D5D Decoder, 3 -line Comb Filter, NTSC/PAL to SDI* $ 595 reduce their coding quality to maintain DWP Power Supply, 110 Volt (*requires power supply)$ 40 constant group bit rate. This technique has been exploited to increase capacity Rack Mount Products R20D Decoder, 5 -line Comb, NTSC/PAL to SDI, 10 -bit$1,300 of networks by around 30 percent. R20E Encoder, SDI to NTSC/PAL or Component, 10 -bit$1,300 Naturally, more original content pro- FSG Frame Sync/Genlock Module (fits R20E/D Cards) $ 600 viders wish to take advantage of these R44E Four Channel SDI to NTSC/PAL Converter $ 990 improvements to get more services or RD5AD Dual Universal A/D Converter NTSC/PAL or Component to SDI $1,600 quality out of their current bandwidth. RD5CE Dual Universal D/A Converter The problem for the DTA operator is SDI to NTSC/PAL or Component $1,300 that when they wish to recombine sev- R5CE Universal Monitoring Distribution Amp, 1X4 $ 590 eral independent statistically multi- FR1D1 -RU, Forced -Air Cooled, 4 -Slot Frame, Dual Power Supply $ 895 plexed sources they cannot be sure that FR2D 2 -RU, Forced -Air Cooled, 10 -Slot Frame the content will fit into their new mul- Dual Power Supply $1,490 tiplex. The only guarantee is that the sum of all the data rates of the original www.aja.com group is fixed and below a certain level toll free 800-251-4224 but if they combine elements from dif- international 530-274-2048 AJAVIDEO ferent groups then all the elements may Circle (149) on Free Info Card

46 broadcastengineering.com August 2001 finishing smokeeyes rivetedfrom Discreet t3 the screen_ gives you the tools to keep Allthe environmentgivespicture,eyes powe- yo...1a -e sound,to on delver unlimited yDubased g aphics, toit. createonWith layering Discreet and stroke v effects.potential, yous Academy canSophisticated with quickly a Awardversatile and vertical -winninc easily3D ccimppsiting tinelne finish flame editing and ually-stunning work smoke gives you defineonceinferno'Visit and your wirw.discreet.comand easily own bet;ause distributestandard smoke toof or HIDTJc-eativity. iscall format 1.800.869.3504 or standard independent, definition. you Socan you produce can Circle (129) on Free Info Card

r zraee Ws belong to thee. ,,: smoke are registered trade, V sic Inc. in the USA and/or peak simultaneously and overload the customers. All of these techniques andwant to incorporate the material from multiplex. Using bit rate changes the methods may be combined to meet thethe server into a statistical multiplexing varying video rates of the statistically individual needs of each DTA operator. group with local real-time encoded sourc- multiplexed services may be capped to Servers have become a more signifi- es. In this case, the bit rate of the stored a known rate to ensure compliance cant part of the direct -to -home and con- material will need to be modified in real with the requirements of the output tribution network design because of their time to fit the statistical multiplexing stream. Some of the time this would flexibility in material management. Thealgorithm. Material stored more effi- require reducing the bit rate consider-problem is that material is compressed ciently as variable bit rate (VBR) will, on ably and at other times passing thebefore storing to the server, not at the playout, look the same as a remote video through with unchanged datatime of playout. This can be done either statistical multiplex group element. Es- rate. Further, this offers the DTA oper- in a high -quality constant bit rate or, to sentially, servers using VBR or constant ators the ability to implement theirsave further space at constant quality, bit rate (CBR) compressed storage own local statistical multiplexing. Thevariable bit rate (using "single -channelpresent the same problems as do re- variable bit rate of the original material statistical multiplexing"). Either meth-motely encoded sources to the DTA would change to a new bit rate, but the od creates problems in the delivery chain operator, and the solutions using video new bit rate need not remain constant. after the server similar to those we have bit rate changing are likewise similar. It could vary in accordance with a local seen with remote sources: If we want to We have seen a variety of applica- statistical multiplexing implementation. store material to be played out on ations for bit rate changing technology The natural extension to re -statistical variety of channels the material must be that give more choice than re -multi- multiplexing of remote sources is thestored at a suitable bit rate for theplexing and more compact and cost- option to add local service to the statis-highest quality channel, but it also needs effective solutions than full decode tical multiplex group. Now we have ato be delivered in a lower bit rate chan-and re -code design. With processing DTA with local statistical multiplexingnel. This lower bit rate delivery allowspower increasing and the cost of that of local and remote sources. The final for lower pipe capacity at the end of thepower falling, there will be more and option for operators of the DTA is todelivery chain or a different business more applications where bit rate chang- receive service from several multiplex model with higher program numbersing will offer flexibility and control at operators and recombine them each atper megabit of pipe capacity. In eitheran effective price.

a lower rate (or some at lower rates and case the material will need to be convert- Charles Cartwright is product manager of some not) such that they may provideed to a new bit rate for inclusion in the multiplexers and stream processing for more programming per megabit to theirchannel. Alternatively, providers might Tandberg Television.

Class -based queuing CBQ can be used to create different service levels that are strictly enforced. BY STEVEN M. BLUMENFELD Each class is guaranteed access to a specific amount of bandwidth -a At Lawrence Berkeley Laborato-that reflects the policies of an enter-minimum guarantee. They also can ries the idea of class -based queuing prise. It also ensures that each trafficborrow unused or idle bandwidth (CBQ) was developed to betterclass has the appropriate quality ofwhen they need to burst above their manage the growing bandwidthservice. set minimums. needs of enterprises. This band- CBQ integrates easily within an ex- Each class can have its borrowing width -management algorithm hasisting router network and providespriority set for the most important been designed to better deliver ap-more control and reduced bandwidth uses, which gives it first right to any propriate, controllable service lev-costs. Your administrator would con-excess bandwidth. The class ranges els across IP networks. figure a LAN -to -LAN network be-also can be set to maximum avail- Class -based queuing allows thetween the local network and selectedable bandwidth - thereby shutting network administrator to divide WAN routers. This minimizes costs byevery other class down to zero, in users into classes based on specificeliminating the need for any hardwarewhich case the user gets best -effort IP addresses, protocols or even ap-changes in the router network. service. plications. In a broadcast facility CBQ is an IP network layer band- You should ask your network ad- you could think of this as a classwidth management tool that providesministrator if your facility is using system for network machines, withbenefits across any Layer 2 technolo-CBQ or some variant of it. It will the highest class going to produc-gy and is effective with any IP proto-increase your network's effective- tion machines moving high -band-col, such as TCP and UDP. CBQ uses ness and help to keep your band-

width graphics and the lowest classstandard TCP/IP flow control mecha-width costs down. to e-mail and word processing. nisms to control end -to -end traffic so Steven M. Blumenfeld is currently the vice Network administrators use CBQ all TCP/IP stacks, whether client or president of advanced services for America to classify traffic into a hierarchyserver, can take advantage of it. Online.

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Circle (130) on Free Info Card BY SCOT LAIRD N.,I I

anws 'ammo The ccrip,:ct New Englanc region makes for an extremely zompetinve market. Sc V/Jia-TV Channe.1:.) must sat sfy viewers in its home state of Made Islandas well as these in Massachusetts, New Hamps tire and Connecticut- all while competing witl- the Boson stations in its own bcckyard. The station, based in Providence, offers more than 30 hour; of weeklynews programming to more than 5)0,000 viewers. With a staff of 83, three ENG tracks anc twc news bureaus, :he station produces five weekthy newscasts - three each on Satarday and Sunday and, :fire Lgha unique arrangement with Paxson Communications, a daily rebroadcast of its early and late- evening aewscasts to Paxsor cable customers. In addition, the station produces NCAA college basketball- a -id NFL football -related sports programming, public affairs shows and long-io:m regional fearires.

IIII 30 "4. gym..

WJAR-TV replaced its tape -based systems with newdlgItel newsroom systems -o facil tate xoluction on the s-ation's weekly newscasts. Photos courtesy G--ss Valley Group All These Formats...

Digital Betacam

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Circle (131) on Free Info Card Search criteria sively with tape machines. Sharing dig- the overall quality of the material to Last year, WJAR began evaluating ital assets needed to be easy, inside and degrade as it passed from editing to digital ingest, nonlinear editing (NLE), outside the newsroom. production and playback. Also opera- storage and playout solutions: technol- News ingest and editing is fast, in-tors had to constantly adjust signal ogies that could take the DVCPROtense and pushes equipment hard, es-levels as a tape moved from one ma- material shot in the field and move itpecially in cuts -only edit bays. Even chine to the next. through the story creation process rap- with high -quality machines, the sta- The all -tape editing environment also idly, eliminating the signal degradationtion was not immune to the toll day - hampered the staff's ability to pro- endemic to the station's tape -based pro- in -day -out pounding took on its tape mote its upcoming newscasts. As in cess. These solutions had to make thedecks - and on output quality. In thismany other tape -based news opera- digital transition easy, especially forall -tape news environment, it was tootions, source footage was often locked those professionals in the station's cuts - easy for a bad roller to crease a tape, up in editing bays, leaving producers only edit bays, who had worked exclu-a misaligned head to garble a signal orto pace the halls outside until it be- came available. Having already made the transition - to the DVCPRO format for newsgath- ey0 --lr og Q0 ering, WJAR wanted to utilize digital 4No ,00 ingest, NLE, storage and playback technologies to increase efficiency HDTV without disrupting the station's existing workflows. For example, the digital newsroom would allow operators Test to set a level digitally and it would stay constant from story creation to air. Also, an ingest system was needed that would handle the station's multiple

Sharing digital assets needed to be easy, inside and outside the newsroom.

daily feeds and route them to an edit bay without forcing station personnel Find the true 75 ohm to race down a hallway. Even more critical was WJAR's choice digital connector of NLE technology, as it would completely replace the tape systems with UPL2000 Return Loss Data Don't be fooled into believing that yesterday's BNC's are up which story editors were familiar and .5 3. 3.... to the demands of digital broadcasting. You need the true 75 . comfortable. Thus the station placed a ohm connection that you get with the new sleek, black high premium on systems that offered UPL2000 from Trompeter.It is the only BNC designed for high bit -rate digital video signal transmission and offers high ease -of -use, open architecture and significant performance advantages over standard BNC's seamless integration with the station's (@1.485 Gbps >8db return loss improvement). Built network. rugged to deliver reliable performance over time, the For media asset storage, sharing and UPL2000 is priced right and available today. playback, the station needed a digital Don't compromise your signal with yesterday's connectors. FrequermyinGliz server that would support the simulta- Do digital right with the sleek, black UPL2000. neous push and pull of material, such as sending a clip between edit bays, or Straight, 45' and 90° models. Various dia. cable sizes to ATROMPETER from a news editor to a promotions support broadcast, post -production and CATV headends. ELECTRONICS, INC. editor. They also needed a server that would offer an open architecture to VISIT OUR WEBSITE TODA 711 accommodate a variety of third -party www.trompeter.com.... or call: 800 982-2629 applications, including WJAR's Path - fire video -on -demand (VOD ) system. Circle (132) on Free Info Card

52 broadcastengineering.com August 2001 It Wilt Give You The Best HD Picture,

No Matter What Format You Choose.

UP -CONVERSION WITH ADVANCED NOISE REDUCTION.

If you're ready to broadcast the highest quality HD content, then make the move to Star -up, the integrated up -converter with advanced noise reduction. Star-up's patented PixelMotion de -interlacing as well as color -space conversion and variable aspect ratio control make sure you have the maximum resolution of the input signal preserved throughout the conversion process no matter what format you convert to. And, since it's based on the Teranex platform, you can easily install new formats and functions as your needs change with a simple software upgrade. To learn more about how Star -up is re -defining up -conversions, call Teranex at 407.858.6000. Or visit www.teranex.com.

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Circle (133) on Free Info Card The jelly-FishT Surround Sound Monitor

With Profiles integrated with Vibrint nonlinear editing systems, breaking news edited in WJAR's ENG trucks can be retrieved from shared storage and repurposed for later newscasts.

Digital news production WJAR uses the Crispin Dubber with Turbo -Browse and a dual -channel Vibrint for ingest on separate router feeds. The Vibrints are used to schedule, view and break down incoming footage. They let producers program and assign names to individual or recurring feeds from the three ENG trucks and the station's second news bureau in southern Massachusetts. Producers also can monitor breaking news, live events or sporting contests, marking clips on the fly MSD600MIdeal with a single keystroke and making those clips available to edit bays while recording continues. They also can drop for 5.1 Surround stories from their news production control station, and +Multichannel these are automatically dropped from the playlist. Sound The Vibrint ingest system routes the signal to the station's six edit bays, where Vibrint editors are used to assemble stories. The editors offer instant random access, multiple [...see whatyouhear] levels of undo and real-time transition effects. Profiles integrated with editing systems allow station personnel to 2 to 8 -channel In- & Output capability Phasemeter, share stories, clips and other media assets. The Vibrints Audio Oscilloscope and Multichannel PPM also can retrieve feeds stored in the Profiles to quickly Built-in 18x16 Audio Matrix Analogue and digital create new story versions for later newscasts. No pre - operation VGA output Spectrum analyser digitization is required, so story editors can record directly from tape timeline while performing insert edits, voice- overs, L-shaped cuts and three-point edits. They can view the edits as they are made, just as they did in a machine -to - machine edit bay. Two tape machines are installed in each edit bay as sources for the Vibrints -a Panasonic DVCPRO hIL machine for field acquisition tapes and a Sony Beta SP machine for use with older legacy archive material. A 1=0 K -A ILJ 1=0 Chyron iNFiNiT! character generator run separately on the iNews system supplies electronic graphics, and Mackie DK-AUDIO A/S 1404 BLZ mixer boards are used for audio. Marielundvej 37D DK-2730 Herlev Denmark Clips that are edited in WJAR's second news bureau and Phone: +45 44 85 02 55 Fax: +45 44 85 02 50 [email protected] www.dk-audio.com ENG trucks on Panasonic DVCPRO laptop editors are recorded on the Crispin Dubber. They bypass editing and Circle (135) on Free Info Card

54 broadcastengineering.com August 2001 OFF AIR

What Could Possibly Go Wrong With Your Digital Conversion?

Plenty.

When you convert to digital, it means new equipment, new technology, and new requirements. The last thing you want to worry about is whether your cable can do the job. That's where we come in. Whether your system is 27oMbs 54oMbs, or full -throttle HDTV, Belder has the precision audio and video cable products you need...and the high performance data cables to put everything together. After all, when downtime means dead air, you can'- aff3rd to choose less than the best.

From major broadcast installations to cable television networks to the mast prestigious sports, entertainment, and news venues in the world, Belden is the chcice for dependable audio, video, and data cable solutions. To find out more about how we can ielp you. contect Belden at I-800-BELDEN-4 and ask for the Digital Studio Guide, or visit us at www.belden.com.

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1-800-BELDEN-4 www.belden.com Circle (136) on Free Info Card Performance Delivers The Future- are fed directly into the Profiles over From installation to training to work- gramming to its 13 O&Os. an analog input for storage and play - flow, the transition from a tape -based out. The clips can be returned to the operation has been swift and smooth. Scot Laird is the former director of engineering Vibrints in the edit bays for later re- The edit bays were completely refitted and information technology for WJAR. purposing. with new digital equipment. A thun- Acknowledgement: Thanks also to Clark Smith, director of engineering for WJAR. For digital storage and playout, derstorm shortly after installation led WJAR chose a six -channel Profile XPthe station to add individual UPSs to provide multiformat support in the from APC to protect the editing sys- Equipment list DVCPRO-based news environment,tems. The systems' PC -based design in addition to the Media Area Net -and network compatibility allowed Dual -channel Vibrint FeedClip Crispin Dubber with TurboBrowse News editing is fast, intense and pushes Vibrint NewsEdit nonlinear editor iNews newsroom control system equipment hard, especially in cuts -only edit bays. Panasonic DVCPRO laptop editors Panasonic DVCPRO recorder work for shared storage, the Profileengineers to plug them into the sta- Sony Beta SP recorder network archive and the Content -tion's network like any other device Utah Scientific AVS-2 router Share platform. The iNews BCS auto- and have them fully up and running in Mackie mixing board mation system uses four channels ofa day. The station's existing Utah Sci- Profile XP Media Platform (six the BCS, while the Crispin software entific AVS-2 routing switcher remains channels) uses the other two for record/play-in use with the new systems. Profile PDR 324 back and a confidence record. The As a result of this digital newsroom iNews Broadcast Control System Chyron CG operator in the news pro- conversion, WJAR has increased its Chyron iNFiNiT! character duction control room triggers the play - operational efficiencies without chang- generator list and CG events on the BCS. Devel- ing its workflow. The station also is opment work is underway to inter-well positioned for integration with Grass Valley 250 switcher face the platform with Pathfire video - NBC's centralcasting topology, through backup power systems on -demand technology. which the network will distribute pro-

WJAR chose Vibrint editing systems with an eve toward ease of use, to facilitate operators' transition from familiar tape -based systems to the new digital equipment.

56 broadcastengineering.com August 2001 Looks Greaale

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Circle (137) on Free Info Card Systems Design & Integration

Transmission & Distribution Digital encoders BY DON MARKLEY

Theencoder - that magical silicon -believes television should primarily be accommodate the local studio and one filled device that makes the whole configured to replay Ben-Hur. Both or more networks. In other words, this new ATV scheme of things work. Tosides make very convincing arguments is not strictly an engineering choice. The review, essentially all of the new televi- and neither can really be considered tochoice may partly be made for the sta- sion transmitter exciters look for thebe wrong. The Federal Communica-tion by its network with the local pro- same input. To wit, a SMPTE-310Mtions Commission has taken the same duction crew using the same or a differ- input for the MPEG-2, 19.39Mb/s firm and helpful position that it did forent standard. This may be simple for Transport Layer signal. Some will ac-stereo AM broadcasting - they have many stations in the immediate future, cept two such streams and switch between them to allow switching between local and network signals with noBe very reluctant to purchase a unit that is change in the on -channel frequency. specifically designed for a narrow set of input That little feature is important to avoid the loss of lock in receivers. parameters with no expansion capability. The problem arises in selecting the input du jour. The discussion has been raging for years about just how the incoming digital or analog video signaldecided that the marketplace will be because the network feed is used all of to the encoder should be configured.the determining factor. the time with only the insertion of local That is, how many scan lines, inter- As a result, multiple standards existstation breaks. That will probably con- laced or progressive, scan rates, aspect and will probably continue to exist for tinue until the station can start selling ratios, etc. The various proponents arethe foreseeable future. Various feedslocal spots on the DTV signal. primarily divided between the comput- may be 1080i, 720p, 480p, etc. The The Chief is then left in a quandary. er camp, which sees advanced televi- director of engineering is then forced toJust what capability should be includ- sion systems as an extension of thedetermine just what the configura-ed in an encoder? The problem is Internet, and the movie crowd, whichtion should be for the encoder tocomplicated even further when the station has to determine if and/or when FRAME GRAB it will operate with high definition, A look at the consumer side of DTV standard definition, multiple standard definition, PSIP (more later) and a DVD player sales skyrocket datastream. The obvious answer is to DVD players are the fastest selling product in history of consumer buy an encoder that does it all for all of electronics Salesto Dealers the standards and formats with all of 1998 1999 2000 2001 (prof.) the additional channels. That will run 14,000 the encoder up to about the same price

12,000 as a small transmitter. A more practical solution is to en- 10,000 sure that the encoder can be modified or expanded as time passes. In other ro 8,000 words, be very reluctant to purchase a unit that is specifically designed for 6,000 a narrow set of input parameters with 4,000 no expansion capability. While the expandable versions are somewhat 2,000 more expensive, it is much cheaper to 0 plug in cards in the future than to SOURCE: CEA Market Research trash the whole thing when a new www.ce.org. signal source is added.

58 broadcastengineering.com August 2001 NATIVE 720/60

From The Number One Name In Cameras.

If you have chosen 720p as your HDTV standard, In addition to 720p, the camera simultaneously Ikegami's HDK-720/720P is the camera system for supports the 480i format through the CCU that you. Ikegami's 720p Native Camera Systems have incorporates a full broadcast quality down been engineered to deliver maximum quality images converter. (480p output is also available as an characteristic of progressive option.) Signal transmission scan technology. IKEGAMI'S HDK-7201720P and power feed between the camera head and CCU is The HDK-720/720P Cameras FEATURES AT A GLANCE communicated via SMPTE feature three 2/3 inch mega - Full Digital Processing with standard hybrid fiber/copper pixel FIT (720p) image sensors New Generation ASICs camera cable over a distance to implement direct CCD read- of up to 2000 meters. Optional out, without any converter, in 12bit A/D Conversion triax adapters support full 720p progressive. Incorporating FIT 2/3" native 720p CCD x 3 HDTV bandwidth transmission next -generation ASICs and 12 Simultaneous 720p and 4801 Outputs over a distance of up to bit A/D conversion, these High Component Serial Digital Transmission 1000 meters. Definition Studio/Field CCD with Optical Fiber Cable Camera Systems achieve If your choice is 720p, exceptional quality, reliability androck -solid stability. Ikegami is right for you! Ikegami Ikegami Electronics (U.S.A.), Inc. 37 Brook Avenue, Maywood, NJ 07607 East Coast: (201) 368-9171 West Coast: (310) 370-2400 Southeast: (954) 735.2203 Southwest: (972) 869-2363 Midwest: (630) 834-9774 Website http://www.ikegaracom

Circle (138) on Free Info Card A secondary solution is to It is difficult, in preparing convert the new standard to this column, to avoid miss- the one currently in use at ing products that should be the station. Adequate sys- included. When discussing tems are available to per- manufacturers with a solu- form that little task but tion to the N+1 combining aren't a total cure. When problem, Micro Communi- such conversions are per- cations was omitted due to formed, the resultant pic- author error. In fact, the ture may acquire problems Encoder design should be flexible in order to accommodate changes in input parameters. Photo courtesy Vela. combiner manufactured by that didn't exist previously. that company was a pick of The reader is referred to John Luff'sArthur Allison. For ATV planning,the show during NAB2000. June 2001 article on HD conversionthat issue of the magazine should be This was properly brought to the at- products. He does an excellent job ofread carefully. The configuration of antention of the author by Sam Matthews pointing out the problems that canencoder should permit the easy inser-of MCI, who also brought up a point occur which indicate that conversion, tion of the PSIP signal without inter-concerning the use of a small temporary while practical, must be done careful-ference between it and other signals. antenna during the DTV conversion ly. In addition, the cost of the format Some encoders can operate as a sim- period. If tower loading will permit, the conversion systems may well be moreple system and are field upgradeabletemporary antenna could be left on the than would be necessary to modify the as future enhancements become avail- tower to serve as a standby system when encoder. Luff also points out that con- able. It may well be advisable to buy at normal operation is shifted to a new version can cause the loss of informa-least the necessary frames and wiring permanent antenna. There are many tion such as closed -captioning data,for the more complete system initially station engineers who will attest to the VITS and embedded audio. rather than face the cost when thevalue of such a system when a fault An additional problem is the use offront office calls down to change theoccurs in the main antenna or transmis-

the Program and System Informationimage formats. In any case, the blank sion line. Protocol (PSIP), which has been foundshelf space can be used to store your to be highly desirable to viewers. Thatold magazines. No one ever looks in Don Markley is president of D.L. Markley and also was covered in June 2001 bythere anyway. Associates, Peoria, IL.

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60 broadcastengineering.com August 2001 INNOVATIONS IN VIDEO and AL/DK) TECHNOLOGY ii)iver.%iry

Frame by Frame Time Has Never Looked Better Introduc ine-up of TB

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DVD production BY BARB ROEDER

nVD is a high -density optical stor- MPEG-2 format, which offers high qual- media options for the DVD specifica- age technology for video, audio ity through an efficient coding process. tion but, again, the driving force was and data. The application of DVD-For broadcasters this translates to easythe quality and amount of video that Video, as developed by a consortiumrepurposing of digital television content the disc could hold. Most DVDs toof manufacturers now known as the as the DTV standard is rolled out. Typ-day use the DVD-5 format, which DVD Forum (www.dvdforum.org),ical average data rates for video areoffers a capacity of 4.7GB and has allows the storage and playback of4Mb/s, but can go as high as 10Mb/s. become relatively inexpensive to pro- feature length films and long -form The process of determining the target bitduce and duplicate for widespread video content on set -top boxes and rate and achieving a high -quality encod- distribution of feature length movies. computer DVD drives. The interactive component of the standard also extends its functionality well beyondBit budgeting allows the developer to plan for standard linear tape formats such as VHS. Adoption of the standard hasthe video and audio content, and the client to grown steadily in applications suchbrace for the cost of the project. as entertainment, training and corporate communications.

The DVD-Video specification ed video is covered later in this article. A capacity of 8.5GB is achieved on a With influences from Hollywood Standard digital audio formats also single -sided disc using the DVD-9 for- and broadcasters, targets for the have been included in the DVD-Videomat. This is manufactured as a dual DVD-Video specification includedspecification. They include Dolby Dig- layer, so the laser that reads the disc high -resolution, full -motion video andital Sound (DDS), MPEG and pulsecan reach both layers without turning CD -quality audio. They adopted stan- code modulation (PCM). The formatit over. The density of a DVD-9 disc is dard compression technologies suchdeveloped by Dolby Laboratories canslightly less than twice that of DVD-5 as MPEG for better compatibilitybe produced as stereo or as surroundbecause the pits and bumps that are across platforms. Video formats cansound for a true "theater experience."placed on the disc as data on the be in NTSC or PAL and maintain a bottom layer need to be slightly more 4:3 or 16:9 aspect ratio. DVD media options spread out in order for the laser to read DVD-Video is most often found in the Manufacturers helped to define thethrough to the top layer. Higher -capacity discs, like the DVD-10 with 9.4GB, are double - sided, meaning the disc needs to be turned over in the player in order to access information on both sides. Programming interactivity between the sides is difficult, so DVD-10 is most often used for recording the same content in two different formats, one on each side - for instance, a widescreen and a standard 4:3 version of a program. Manufacturing of DVD-18 discs is still somewhat imprecise. The drive to improve this process may yet come from the high -definition television market, where four times the capacity will be required just to get a feature- DVD production studios like the one at Cine Magnetics Video and Digital Laboratories length HD film onto one disc. DVD-18 in Armonk, NY, utilize sophisticated suites of equipment for authoring, MPEG encoding, noise reduction and audio processing. would provide 17GB.

62 broadcastengineering.com August 2001 UNIVERSEPARALLEL ArcOCONNORBESTFILM und the TO world, OR BOTH BRINGS the award HDTV, WORLDS winning THE now,productsfor()Connor high with quality nameinthe the advancements remains camerafilm indust-y. the support standard into And high OurchallengesOConnordefinition Ultimate meetstelevision of 2575 this the excitingfluid needsbroadcasting, heads andmedium. provide sliding p15tforib,SystemUlrinate zs75B-IF 120t1711 .2575B Includes. eero. fuid head, aresmoothperfect strong, counterbalance pan rugged & tilt. andOur have155B and extremelyquick tripods - h1;::hellr)Mtktersscopic base,release handte, tiedown, camera eyevie.ae iSaim piste, uiiversemoreacting that lever you sets locks.shoot us apart.Andin, film there's So or whicheverHDTV, a lot leuelermount,win above 1558btacket, ground aluminum front spreaaer. to; tripod websipport()Connor site system forhas more the for ultimateinformEtion you. Visit camera ourand now90,190controlWirld's ready cdiostment,counterbalance mostfor HDTV, popular barked featuring ignitefib% head tie dealer nearest you. tmod,IT -e1+-mi/fir of cnd accessories a complete for lightweight aluminum / Phone: (714) 979-3993Fax (714) 957-8138 E-mail:A [email protected] Of Autocue, Inc. www.ocon.com Circle (140) on Free Info Card Developing a DVD the interactive links for the project. Advanced planning can lead to a more Assets include menu screens, video and successful DVD project. Prior to encod- audio content, images, and textual in- ing and authoring, it's best to determine formation. Again it's important to plan the scope of the project. This includes this stage in order to avoid complicated how much video and audio will need to menus or navigational dead ends. fit on the disc, how much interactivity The authoring process entails creat- needs to be built in, and what the overall ing all the links between menus and look and feel of the title will be. Athe content. A front page of the title storyboard is useful for determining the contains a menu of items for the user project's complexity and hence the length to select. The Chapter sub -menu con- of development time it may take. sists of links programmed into a long With a plan in place, the assets of the video. The links are usually visual project can be assembled and a bit bud-representations that may take the form get can be determined for the disk. Bitof framegrabs from the video itself, budgeting allows the developer to plan graphics and text, or even short mo- for the video and audio content, and the tion video clips that can be looped. client to brace for the cost of the project. Other sub -menus might allow the user Generally, a five to 10 percent overheadto select language tracks for the audio is given to menus, textual content and or subtitles, actor biographies or inter- authoring requirements. If the videoviews, and other extraneous content. content is two hours or less, including The menus are often created in extraneous clips such as movie outtakes Photoshop, or After Effects if they or actor interviews, then the designer isinclude motion graphics. In most au- pretty well assured of fitting the materi-thoring programs they are considered al on a DVD-5. Anything beyond thislayered images, with a background, a will be easier to lay out on a DVD-9. Ifsubpicture overlay and a button de- cost is an issue, an experienced compres-scription layer. The subpicture overlay sionist can usually achieve high qualityconsists of the images or motion video LX -5105 at lower average bit rates in order tothat is used to portray the buttons. The LX -"5100" Series can read keep the project on a DVD-5. It's important to remember to include Time Code (ESE, SMPTE/EBU Real-time encoding of the MPEG vid-a common interface for linking back to & ASCII), as well as operate as eo is generally undertaken for medium - the main menu, or even some of the Stand -Alone or Impulse Clocks. to large-scale operations. Often this issub -menus. There are standard defini- These clocks are loaded with a two- or three -pass operation whereby tions for many of these operations in the entire video is analyzed, perhapsthe DVD specification. many features, here's just a few... preprocessed and finally encoded at a A trained compressionist/authoring variable bit rate, or a constant bit rateexpert can turn around a relatively sim- FEATURES: if the video content is an hour or less. ple title in a week or two. A DVD-R can Self -setting time code For smaller -scale projects, MPEG en- then be burned for testing. Generally, coding can be done in software. Mo- overall production will take four to six readers tion estimation operations can be weeks, resulting in a glass master and a 5", 12" & 16" models speeded up, at the expense of accura- check -disc package for final approval. Sweep & Step second cy, but this can lead to a lower -quality hand modes encode. It's best to get a good demon- The future of DVD Lighted Dial and Rack stration and understanding of a soft- Broadcast -quality video and CD - Mount options ware encoding application in order to quality audio are the most attractive Time Zone Offset determine its effectiveness. features of the DVD specification. In- The quality of the source and theteractivity extends the standard far 3 Year Warranty amount of preprocessing also can affect beyond the consumer VHS format as the quality of the encoded MPEG. Mostwell. Most believe DVD will co -exist studios will use a Digital Betacam source with other interactive video environ- and apply sophisticated noise reduction ments like the Internet because it ca- to the video prior to encoding. This step ters to high quality and ease of use for

can take more time, but also can lead to entertainment purposes. www.ese-web.com significantly higher -quality results. There are many breeds of DVD au- Barb Roeder is president of Barb Wired LLC. 310-322-2136 FAX 310-322-8127 thoring applications that allow the pro- She can be reached through her website, 142 SIERRA ST., EL SEGUNDO, CA 90245 USA ducer to assemble the assets and create www.barb-wired.net. Circle (165) on Free Info Card

64 broadcastengineering.com August 2001 Fujinon's 20X is Clearly the Affordable Choice.

When it comes to professional video lenses, the decision isasclearas20/20vision.Introducing Fujindn's .A20x8.6 lens for 2/3 -inch cameras an the S20x6.4 lens for 1/2 -inch cameras. lilach lens is available with an optional built-in 2X range extender delivering the longest zoom in the market; and focal length ranges that were previously unavailable in any professional grade lens. For added versatility, the A20x offers an 820x6.4 optional16:9-4:3front mounted ratio converter. When using the new switchable A20x8.6 format cameras, this simple device compensates for the loss in angle of view and easily attaches to the from of the lens. The A20x and S20x lenses feature our Inner Focusing system which provides the smooth and responsive control you've come to expect from Fujinon. iFUJINON The professional video market was waiting for high - Broadcast 81 Communications quality lenses like these at an affordable price, and as usual, Products Division Fujinon delivered. FUJINON INC. 10 High Point Dr., Wayne NJ 07470-7434 'hone: (973) 633-5600. FAX: (973) 633-5216 l x FOCAL 2x FOCA_ LENS APPLICATION LENGTH LENGTH(ogional) FUJI PHOTO OPTICAL CO., LTD. - -324 Uetake.

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Ci-cle (141) on Free Info Card Systems Integration

Developing a DTV master control plan BY ONALDA MARTINEZ AND TIM HUDSON

more broadcasters embark on or piece of equipment can become quite signal is converted to digital, it can then Asthe DTV transition, most stations challenging and subjective. The selectionbe fed into the encoding and multiplex- have chosen a phased approach - start- of technology will be a major factor in the ing system of choice. This solution would ing with a DTV transmission and en- growth of the station and the quality itmeet most of the FCC mandates, but coding system, along with monitoring projects. When working with a budget,issues of multiple audio channel distri- equipment, and then launching a mas- the broadcaster is challenged with invest- bution and manipulation may arise. ter control system.The last priority is ing in equipment and formats that will With some minor differences, the the studio and production facility. meet the goals of the business plan while same process holds true for the single When it's time to focus on digital not exceeding the capital allotted. Once channel HD model. (See Figure 1.) In master control, doing it effectively the technology is selected, ease of opera- this model, the existing NTSC mas- and efficiently is the issue. The key istions can be addressed. ter control video signal would be up -front facility assessment and set- If the technology selected providesconverted from analog -to -digital and ting project parameters such as capitalminimal human interaction and max-then upconverted to the proper HD available, programming and businessimum growth potential, ease of oper-format. Along with the program vid- models, consolidation or relocationation issues will be laid to rest. Onceeo, the closed captioning EIA 608 considerations, and project timeline.these considerations are addressed,standard would need to be upcon- This will drive major considerations. the question of how to implement the verted to the EIA 708 standard and buildout can be answered. To date, reinserted into the upconverted mas- Considerations broadcasters have taken three ap-ter control stream. Investment and The first consideration is the stationproaches to feed their DTV transmit- physical impact to the station would owner's business plan. Short-termter: the Legacy Switching approach, be relatively minimal. goals would involve meeting the min- the Mini Master Control approach In both cases, the amount of audio imum requirements associated withand the Full Master Control approach. and video monitoring would be the the FCC mandates. These require- same. A DTV receiver, an SD or HD ments involve EAS, station branding Approaches monitor and appropriate audio mon- and closed captioning. Of the four Legacy switching consists of broad- itor would fill the need. When re- requirements listed, PSIP is the onlycasting either one SD channel or one HD searching the equipment, the broad- one that is not truly mandatory. How- channel. In the single SD channel model, caster should be aware that manu- ever, ratings, multichannel operation the broadcaster would make a minimum facturers exist who provide modu- and newer receivers will be depen-investment in the technology selected. larized single channel encoding as dent on having proper PSIP informa-The single SD channel model wouldwell as "off -air " prepackaged stu- tion. Long-term goals would include involve feeding the existing NTSC mas- dio -monitoring solutions that would the business plans of the station andter control signal into an analog -to -dig- allow them to grow into multichan- network. The network may plan to ital converter and logo inserter. Once the nel programming. distribute prime time programming in HD while the station may opt to provide either single or multiple SD channels during non -prime time hours. _ At this point, many station managers -

EXISTING are asking themselves, "Will the ad- J I/ASTER CONTROL ENCOCe. FACILITY dition of more channels develop oth- SYSTEM er revenue streams?" Regardless of the route chosen, the goal of meeting FCC mandates will directly impact the second consideration, the budget. ADVANTAGES pisADVANTAGES

The budget will influence the imple- MEETS FCC MANDATES LOCAL SIGNAL WILL STILL CONTAIN NTSC ARTIFACTS

mentation plan for master control. RELATIVELYLOW INVESTMENT - CUTS ONLY HD SNITCHING Whether the capital is provided all at BASIC IMPLEMENTATION - ADDMONAL EQUIPMENT COST LOW FACILITY DISRUPTION SELECTION OF WRONG EQUIPMENT once or in increments, the task of select- MAY LEAD TO ADDITIONAL FUTURE COSTS ing which is the most important feature Figure 1. Legacy approach for single -channel HD.

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Engineering Excellence Since 1942 Mini Master Control model In order to take full advantage of network HD content, two combina- tions would be available. The first involves the seamless switching of HD programming between the local station and network. HD content is received and decoded into its baseband form. Local programming is digitized and upconverted to the HD format as shown in Figure 2 and, with a simple two- or three -input HD switching system, the broadcaster would now switch between the local and network signals seamlessly. This simple switching idea has driven some manufacturers to introduce integrated solutions that offer upcon- Figure 2. One HD/SD mini master control. version, test generation, frame synchro-and multiple SD channel programming. yet flexible monitoring solution is nization and audio format conversion (See Figure 3.) Implementation of this needed in this model. Some compa- to the marketplace. model would consist of a major invest- nies have developed multiplexed mon- The second involves broadcasting ofment in conversion, branding, switch- itoring solutions to drive down cost one HD and one SD channel simulta-ing, encoding and monitoring equip-and space considerations. These sys- neously. In total, the broadcaster would ment. It would require a stand-alonetems offer the ability to display mul- provide two separate outbound chan-digital master control switcher for SD, tiple pictures on the same large -screen nels. The investment would require, in as well as an HD master control switch- display device. They not only display addition to the HD switching and up - er. With multiple channels and complexseveral channels of video on one screen conversion gear, an additional switch- switching involved, a sophisticated au-but also up to four AES or eight ana- ing system for the SD portion of thetomation system would be required to log channels of audio per video. Com- programming. This model would drive operate the systems. bining this solution with remote de- the need for versatile automation, traf- To ensure adequate conversion andvices for streaming encoding creates fic and "off -air" monitoring systems. distribution equipment, the broad-an ideal monitoring solution for those caster would need to take into con-operations that control a group of Full Master Control model sideration the audio format receivedremote transmission channels. In situations where multichannel oper- as well as the local production for- Many new devices on the market can ation and/or consolidation is in the fu- mat. In most cases, four levels ofbe controlled over TCP/IP -based net- ture, broadcasters would benefit from AES audio would be enough to coverworks. This makes possible the con- the Full Master Control model. In this both 5.1 channel surround operationstruction of distributed networks of model, the station or group can choose and a secondary language service. devices controlled from a central auto- to broadcast multiple SD channels with Because of the multiple audio andmation server. One large automation no HD content or alternate between HD video streams involved an integratedmanufacturer has led an effort to standardize device control over LAN and WAN. The protocol, called Network Device Control Protocol (NDCP), is an open standard for wide area automation control and is supported by a growing group of equipment manufacturers. Today, solutions exist that can handle anything from conventional, manual master control equipment to fully automated equipment. As stations develop and grow, the broadcaster must be aware and take advantage of the modularized solutions that simplify both single- and multichannel digital broadcasting.

Onalda Martinez and Tim Hudson are application engineers at Harris Corp.'s Broadcast Figure 3. Full Master Control. Communications Division.

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CALREC AUDIO LIMITED Nutclough IV ill, Hebden Bridge, West Yorkshire, H X7 3EZ, UK CALREC Telephone : +44 (0) 1422 842159, Fax : +44 (0) 1422 845244 E-mail: [email protected] Website : www.calrec.com mostWith itslarge combined nemsrooms workstation/studio being des ic--ned amoience, today. ABCPhotos Newsroo by Riker -a ftililazzo/ABC TV -3 fits the mold of 70 broadcastengineering.::om F ugust 2001 ie television newsroom of tomorrow will not resemble that of today. It will De closer in character to a mission -critical data or telecommunications center with a hardened infrastructure and the same facilities, system redundancy and skilled maintenance requirements. Today's newsroom systems were designed .lased on technology of the mid -nineties -:hat did not take advantage cf the new methodologies available to computer sciences. Among ;these ate data warehousing and meta- , data aging o; content for tracking and repurposing to print or other media; new "enterprise application interfaces," whch can tie the traffic system to the newsroom. rundown list and -o automation playback systems; advances in network protocols and design that allow high -bandwidth file exchange; desktop PCs whose capabilities have been extended from simple scriptwriting to viewing and editing of video and audio content, and more powerful servers, hich can become a common storage poc, for the station's rnatenal with great redundancy. For a station engineer or news director who is approaching a newsroom rebuild, it is essential to look at the big picture - to look beyond the new technologies themselves and to fully consider the planning and design of the station's infrastructure.

broadcastengimeering.com 71 Islands of technology ,4 A look at the current layout 4.-raigmegm"- torAiiir awl% -damre ariessums dt A AM= PIP 1111111111111111Mma,,, of the typical television news- :NOW 111011111111111111111111111r room suggests the challenges associated with integrating ABCNE-WS these new technologies. Typi- NEW cally, newsrooms today are laid out simply, with an area for the acquisition of news materials from satellite feeds, signals from ENG trucks, video wire services and field -acquired video. Reporters and editors work in another area, generating stories and scripts on some form of word processor. There is the traditional area for editing videotape, usually in a linear edit mode, with most edit bays laid out as stand-alone islands. There might be router I/O ports in each room and an area to do minimal processing to the video and audio. Playback of ed- Good infrastructure decisions will enable today's newsrooms to stay current well into the future. ited material typically is accomplished either at playout stationsare not or cannot be integrated. Ma- Indeed the newer technologies have in the newsroom or from the produc-terial is exchanged in an analog modegreater operating features and quality tion control videotape area. In thein real time, requiring several stagesthan their analog predecessors, but event of server playback, a computerof encoding. these advantages come at a price that station is required in production con- One reason for the difficulty in inte-includes necessary adaptations of their trol for the director to queue and play grating new technology is that manyoperating environment. back files that have been preloadedstations today still see their news as a New technologies As noted above, advanced newsroom technologies take advantage of the Can a facility be future -proofed? new methodologies made available by computer sciences. Take the desktop Absolutely not. But it is possible to plan for the PC, for example. A much more powerful tool than in the past, today's desk- changes the future will bring. top PC has extended its capabilities to include the viewing and simple editing of video and audio content - per- and encoded elsewhere, such as in theseparate operation from the station as forming offline editing functions such acquisition area of the newsroom ora whole. The operating budget, engi- as marking in and out points, generat- an encoding station. Finally, there is neering personnel and equipment are ing edit lists for later execution and an area in the newsroom to archive separate from the core operations ofrecording the track from the reporter. file footage for later use. While there the station. When new editing bays are All of the new technologies are de- have been great advances in news-required, for example, an area of thependent on a place for storage of the room systems, which are becoming newsroom is simply "carved out" for content. The server -based technology more affordable, most stations do nottheir installation, usually with little of today has come a long way since the have elaborate systems in place, and thought given to allowing the systems to late 1990s. Servers today can become existing systems are unable to com- integrate fully throughout the station. a common storage pool for the sta- municate with the station's traffic The most obvious questions may betion's material, including commercial systems or automation controls. Inoverlooked: Are there I/O ports to the spots and raw news footage as well as fact, most of the activities in a news-router available? Is there sufficient edited reports and recorded shows for room, as well as the station as aelectric power to handle the equip- playback. They also can act as a time - whole, take place in islands of tech-ment load? Is there sufficient HVAC shift device for multichannel playback nology. Most of these technologiesfor the new digital equipment? or network program delay.

72 broadcastengineering.com August 2001 Another new technology is the stor- technology improves. When Fibredifferent story or show requirements. age area network. When running sev-Channel is utilized on a storage areaThe amount of overall storage space eral video applications in a stationnetwork, many users in work groups required grows only minimally as new or newsroom, a storage area net-located throughout a facility can si-versions of the packages are edited, work provides the ability to transfer multaneously access the same databecause only a new edit decision list blocks of video for production or and files. needs to be stored. editing between storage devices and All of these new technologies permit With all of the new data being re- other equipment such as servers andfaster preparation of news products.corded and stored comes the need for desktop workstations on a high -When nonlinear editing is used, a sto-asset management, sometimes called bandwidth network. There are sev- ry can walk in the back door and begin media asset management or content eral network protocols available forto be encoded into the storage devices.management. Asset management is the design of the station's network toAlmost immediately, the reporter can the systematic cataloging and man- handle this transfer of video files: start to screen the raw footage on hisagement of digital rich media - text, FTP over a 100Base-T network, Gi-or her desktop workstation. After the images, video and audio - so that gabit Ethernet or Fibre Channel andreporter has made some edit com-they can be reused and/or repurposed SDTI. One manufacturer has adopt- ments, the editor can immediately start at a later time. These assets can be as ed IEEE -1394 (Firewire) as theirto edit the package - all sharing the simple as a 15 -second sound bite or as transport standard. Isochronoussame data file from the same central extensive as multiple versions of the transfer modes ensure sufficient, un-storage location. same commercial. interrupted assignment of bandwidth The inherent advantage of this type Asset management requires data for video delivery tasks over the net-of editing system is that the raw con- warehousing, in which large databas- work. While Firewire, which is alsotent remains unchanged as the story is es of stored content are established used to connect digital camcordersbeing pieced together. Finished stories and indexed for easy retrieval of the to PCs, has received negative reviews exist as a series of pointers that iden- files at a later time. The most impor- because of its length limitation, cur-tify in and out points of the originaltant task of the asset manager is to rent and future versions of the stan-footage. In this manner, the same orig-keep track of the content. Because dard eliminate those problems asinal material can be repurposed for different server manufacturers choose to handle file redundancy in different ways, there may be more than one copy of each asset on the server. Couple this with the frequency at which some commercial ad agencies send spot updates, and you will quickly begin to appreciate your asset manager's ability to keep track of it all. Asset management will play a large role in services such as the convergence of the print and electronic media. Now that all of this content has been established and stored, what do you do with it? With the introduction of the standard definition digital television format, a television station has the option to deliver several different SDTV program services in its digital stream. A news director now has the ability to choose among alternative news feeds from the same material stored in the station - separate feeds such as a zoned newscast Ithawarrinm tartinnInnu annum enntant and infnrrnatinn aharinnz between nannies working face to face as well as around the world. tailoring the news like a

August 2001 broadcastengineering.com 73 newspaper to a local area, a secondwill need to examine its current sitecooler to generate the cooled air, where language newscast in Spanish or anyfrom an architectural perspective. the new condenser units will be placed, other language important to the com-This evaluation should include secu-and what special cooling will be re- munity, a local 24 -hour news feedrity, the potential for flooding andquired for the servers and racks. It also modeled after the traditional 24 -hourother natural disasters, and adjacentwill determine whether the fire protec- news channel, or a time -shifted news properties whose uses might interfere tion system should use a wet or dry pipe. program. This option repeats the seg- with the new technologies being in- Electrical power requirements will ments stored on servers at scheduledstalled. The building envelope should probably have the greatest impact on times throughout the day. be examined, including the roof's in-facility planning for new technology Along with the multichannel digital tegrity, capacity of load -bearing walls, in the newsroom. Consider the situa- stream comes the option for viewer and floor -to -ceiling height. Consider-tion in California. With the current interaction. A news director or showing the enormous capital investmentpower blackouts, how can a station producer will be able to encode into a in new technology, the site evalua- cover the news if it is in the dark itself? story more information about it, al-tion should also look at risk mitiga-The issues around the electrical re- lowing the viewer to simply click withtion, including the ability to com-quirements for today's technology are a remote control to see more details aspartmentalize or suppress fire, pre-backup generator power, uninterrupt- it is being aired on the TV or, in thevention or containment of roof leaksed power systems (UPS) and battery future, directly access the station'sthat could take a station off the airsupplies. (For more on UPS systems, website. by damaging equipment, and pre-see the July 2001 issue.) vention of infiltration from envi- New into old ronmental pollutants that could shut Common problems When new equipment is put into andown operations. This evaluation yields valuable in- existing facility, it is usually placed The mechanical, or HVAC systemsights into some of the common prob- wherever there is space. New editshould be evaluated for proper size lems of integrating new technologies bays are carved out of an old office. and type of cooling source. The evalu-into an older newsroom facility. For A feed rack is stuck in the corner. Aation must determine whether it willexample, it may not be cost-effec- newsroom computer system is put use chilled water cooling source or drytive, or even possible, to redesign the next to the assignment desk. Issues of integration usually center on the obvious problems of cabling and connectors. However, the new technologies raise questions and issues of a different order of magni- tude: First, will the station attempt the delivery of news in HD or multiple SD channels? What aspect ratio will the programming use - 4:3 or 16:9? And if 16:9, how will the existing sets, newsroom and newsroom infrastructure look in a wider aspect ratio? How will the acquisition of field material be handled- digital or analog? What screen format will it be in? Integration of new television broadcast news technology into an old facility also raises many issues and questions related to the existing facility's site, architecture, mechanical and electrical systems. The answers to all these questions are site specific and budget driven. A television station that in- Through the use of new technologies and careful planning. an on -air newsroom like ABC's TV -3 tegrates new technologies can undergo reconfiguration with minimal impact.

74 broadcastengineering.com August 2001 newsroom in its current location fortechnology into a fully improved fa-budget leads to failure. Budget for the a 16:9 aspect ratio. cility - or, better yet, new construc-removal of everything that is no longer The functional integrity of the news- tion - is the flexibility that can be needed, including abandoned cable. room, technical plant and broadcastdesigned into a new system. Develop a realistic timeline. Deter- functions may be sacrificed. Many With a new facility, one can plan for mine the amount of time it will take to times one ends up with a technical future expansion and new technology in design and execute the plan and revise plant or edit bay that requires longa manner that allows for minimal dis- it as necessary. Communicate the time- cable runs, or departments thatruption. The digital broadcasting indus- line to everyone involved in the project. Expect the unexpected. Allow for contingencies in the budget and The advantages of new technologies come at a timeline. Know your limitations. Determine price that includes the adaptations of their which elements in-house staff can carry out and which require the services operating environment. of professionals, and at what cost. Develop a plan of evolution. This does not mean predetermining what should be adjacent to each other but try is characterized by rapid change, and the facility will look and work ten are not. it demands flexibility from its opera- years from now. Rather, have in place Cabling is a major concern. General- tions and facilities. Flexibility correlates a methodology for the infusion of ly new types of cable need to be run to directly to competitive advantage. new technology yet to be developed. interconnect the new equipment. There In either case, the key is planning. A For example, employ a hub -and - often is not easy access to all the areas station must design and document an spoke approach to cable build. Wire requiring interconnection, and it mayintegrated system of technology thatand terminate all the spokes at least or may not be feasible to install a works both for existing and new com- partially, whether or not they are raised floor to handle cable manage-ponents. The documentation must in- needed today. Leave room for new ment in the newsroom. clude network -layering schematics that and different types of cable. Use dif- There also is the problem of migra-specify all necessary wiring, comput- ferent color cables for different pur- tion - whether all the work can beers, monitors, servers and other broad-poses and develop a standard for the accomplished over a weekend or must cast hardware. Conceptual system lay- facility. Plan cable paths and project be staged over a longer period of time. outs and room and equipment floorphysical bottlenecks. Employ path Staging can be disruptive to news-plans must be generated. A specificdiversity to safeguard signals and room operations and end up beingequipment list must be generated forspread the load. more costly than a clean start. verification of bids and receiving of Develop standards and documen- Another common problem encoun- new equipment. All of this must taketation. Use existing standards wherev- tered when integrating new news-place before the detailed design of theer possible and practical. Document room technology into an existing fa-systems can even begin. every cable and connector. Leave room cility is that the upgrade of the station in the documentation for more racks, and newsroom ends up rigid and tight, Getting there equipment and cables. with few options for future change. We've looked at the present and Budget for the annual expense of This happens because existing build- future state of newsrooms, as well asmaintaining the facility and documen- ings were not designed for the re-some of the major issues, questionstation. This includes regular equip- quirements of digital technology. Inand challenges of integrating new ment maintenance, as well as updates fact, digital technology's requirementstechnology. How can a broadcastto drawings and run lists as cables for mechanical systems, electrical sys- news organization get from here tochange or are added. tems, RF, broadcast cabling, ground- there? The newsroom of the future will be a ing, UPS and acoustics can overwhelm Plan for change and build in flexi-newsroom connected by wireless voice an existing building. bility. Nobody likes to think that aand Internet technologies and will be costly rebuild will be torn out in a fewheavily dependent on the Internet. It A solution for new and old? short years. But that happens morewill be both a place where technology - Given these challenging issues, itoften than most people think. Why? smart personnel will have greater re- may not be possible for stations toLack of planning. Can a facility besponsibility than today and a center in bring all of the exciting newsroomfuture -proofed? Absolutely not. But it which technology will be used to inter- technology that is showing up onis possible to plan for the changes the connect workers in many remote loca- convention floors into their currentfuture will bring in newsroom tech- tions across a region. broadcast newsroom operations with-nology, infrastructure, space require- out some major infrastructure im- ments and signal environment. Jeff Riser and Paul Kast are broadcasting and provements. One of the most impor- Develop an accurate, realistic bud- media technical specialists at Carlson, an ar- tant advantages of integrating newget. Failing to develop an accurate chitectural and systems integration company.

August 2001 brcadcastengineering.com 75 The science BY EDWARD E. WILLIAMS, CSTE There was a time when selecting a broadcast camera for your studio or the field was a major process. In the early days of CCD technology, there was a real and noticeable difference between different cameras. An in -studio shootout immediately showed whose cameras met your requirements. In addition to poring over hundreds of pages of specs, a wise chief engineer or news director would make sure to personally view the pictures from each camera that was being considered to see it was sufficient for the task. Advances in imaging and digital processing over the last few years have made it harder to distinguish the pictures made by one company's camera versus another. Over the years, the marketplace has simply demanded better and better imaging, so CCD makers have responded. Hold a shootout today and it's a challenge to pick out the best picture - your choice usually comes down to user features and fancy things like ultra -low -light capability. The task now is to work your way through various available DSP functions, CCD resolution and overall camera form factor. Which lenses match up with the camera has become a much more important consideration as well. According to SCRI International (2001-2003 U.S. TV Station H/DTV Product Report - available at www.scri.com/sc_reprt.html), of the current installed base of broadcast cameras, only 0.04 percent is made up of HD models. Because most people Informed decisions recarding cameras Fe1p end are still buying SD cameras, we're users to supply top mtch services to clierts. Fere going to look at the available technol- a crew from Century Ill filers 3 augment for Ron Hazelton's HouseCalis. Pholocourtesy Ceitury III. ogies and features in SD cameras. If you're buying cameras today, right now, what do you look at? What tech- The CCD is not a digital device, asdigital processing camera to work, nologies best fit your needs? odd as that may sound. The outputthese discrete voltages must be digi- from the CCD is a string of discretetized so they can be processed, buff- CCD basics analog voltages that represent theered and output from the camera. (See Before discussing the various fea-amount of light falling on the photo -Figure 1.) tures available on current cameras, wediodes on the face of the array One The charge from each photodiode is should go through a quick refresher onelectron flows from the photodiode stored in a capacitor adjacent to it, the CCD technology. for each photon that hits it. For a vertical transfer register. These charges

76 broadcastengineering.ccm August 2001 ofcameras readout a charge, can go to a maximum of 1130second. There really is no practical minimum integration time, except for the fact that you need enough time for enough photons to hit the imager to create a useable charge. Manipulation of integration time is what allows the electronic shutter. Current CCDs are so good that in some cameras, the electronic shutter can go down to 1/2500 second and still produce a beautiful picture. Understanding how the photodiode array itself is set up is critical to an understanding of how some of the most desirable features of the camera work. The number of pixels on a particular CCD does not equal the number of photodiodes on the face of the chip. Each pixel on the imager is made up of a number of photodiodes. (See Figure 2.) A broadcast imager that has 650,000 pixels may have as many as 2.5 million individual photodiodes. The power of the photodiode/CCD imager is in the ability to clock out a variable number of photodiodes to make up one pixel, thus creating "virtual" pixels and enabling the camera software to manipulate pixel size.

MD imagers Two broadcast camera vendors make use exclusively of chips manufactured by an in-house electronics division.. Others purchase CCDs on the open market from one of several vendors in addition to using their own. CCDs available now have similar noise specs and pixel counts. They have overload and vertical smear characteristics that only five years ago would have seemed impossible. Typical CCD features include microlenses, high capacity anti - bloom drains and the 2/3 -inch form are shifted to a horizontal transfer from adjacent pixels in overload canfactor in 4:3,16:9 and switchable chips. register and sent out of the device. cause vertical smear. Initially, the FIT Only a few years ago, most engineers This is where the differences between chip reduced this problem by better would have recommended an IT chip IT (interline transfer)and FIT (framelight shielding of the vertical transfercamera only in cases of extremely lim- interline transfer) imagers come intoregisters. ited budget or for a light -duty camera. play. In an IT chip, there is less protec- Integration time is another impor-First -generation IT imagers were tion for the vertical transfer registers,tant item for the CCD. Integrationprone to overload problems that cre- so light leakage or leakage currenttime, or the time it takes to store andated vertical smear in even moderate

August 2001 broadcastengineering.com 77 native 16:9 CCD with between CPU & Controllers 500,000 and 750,000 pixels. All use the full number of vertical pixels available on the image area of the chip for both modes. In from The first method clocks the CCD lens --> at a different rate depending on the ratio desired. This has the r effect of "slicing" the middle Pre -amps & 400,000 or so pixels from the Pre-proc middle of the chip. Only the data from the pixels in the 4:3 section rigure i. Generic DIOCK aiagram or a typical di gitai signal processing uuu camera. of the chip is sent to the DSP. This highlights. The FIT helped reduce this problem, but at the cost PIXELS of being a more complicated and of various expensive device to manufacture. kinds IT chips are simpler and less expensive to manufacture, and manufacturers are working to improve them. Vertical smear specifications are now running in the range of -120dB or better while maintaining excellent low light sensitivity. FITs still offer a slightly better spec in the range of -140dB Individual Photodiodes to -145dB. For all but the most on face of a CCD chip demanding applications, the IT imager now will produce accept- Figure 2. Pixels don't equal photodiodes. Each pixel is made up of a variable number of sensor able pictures. elements depending on the mode of the chip. Some CCD arrays now use the Hole Accumulated Diode (HAD), a Sony trademarks as the "Hyper- method has the advantage of a simpler voltage pinned photodiode that offersHAD." Other vendors offer this tech- DSP design, but requires a selectable better blue response and reduced lag.nology, though they don't use the trade- optical diopter be added to the lens in Add optical "micro -lenses" to the chip marked name. order to maintain the proper horizon- to focus light on the photodiodes and tal field of view for each aspect ratio. away from the readout section and Aspect ratio switching (See Figure 3.) transfer registers and you have what One of the most popular features on The second method is similar in that cameras sold in the last it uses a portion of the 16:9 image area two or three years is as- for 4:3. In this case, however, the CCD pect ratio switching. The 16:9 CCD chip is always clocked at the same rate and capacity to move be-all the data from all the pixels is al- tween 4:3 and 16:9ways sent to the DSP. The change of brings a whole new lev-ratio is accomplished in the DSP stag- field of view el of functionality to thees. The data from the "side panels" to 4:3 field of view cameras. Understandingthe left and right of the 4:3 image area aspect ratio switchingis simply discarded in the first data requires that you under- stage of the processor. This design has r ,v Camera lens body stand the basic discus-the advantage of simpler CCD man- sion above. The process agement but requires a DSP with a bit of how individual pho-more horsepower. It also allows some todiodes are assigned to cameras to simultaneously output 4:3 pixels is the basis of this and 16:9 versions of the signal. This Aspect ratio diopter feature. o design also requires the use of an opti- Three methods arecal adapter to maintain the correct L J used to enable the switch horizontal field of view in single -mode between 4:3 and 16:9operation. Figure 3. When a 4:3 slice is used from the middle of the imager. an optical diopter is needed to mainta n the aspect ratios. All have The third method uses all the pixels correct horizontal field of view. in common the use of afrom the 16:9 image area for both

78 broadcastengineering.com August 2001 aspect ratios. For 4:3, however, 3 -Phase readout 4 -Ph ise readout individual pixels are made wider -ONE PIXEL - yield!. 4:3 display by altering the readout phase of yields 16:9 display the chip. (See Figure 4.) When ICI II 171 ILI 111 reading out the individual photo - 111 -11 -1 -11 - diodes in three-phase mode, few- Er7 MOM er photodiodes are used to make up a pixel. When reading the chip I 1 Portion of 16:9 in four -phase mode, more photo - I I Photodiode array diodes are used for each pixel. (simplified) Downstream DSP handles the task of image stretching and/or letter - boxing if needed. The advantage offered by this method is that no Figure 4. CCD imac ers that use the en -ire 16:9 disp ay for both aspect ratios increase or aspect ratio lens diopter is re- decrease the horizontal size of each pixel by reading out individual photodiodes in one of two quired to maintain horizontal field different phase modes. of view. These cameras also can produce dual aspect ratio outputby In addition to progressive mode, newlarge-scale ASIC design and advances taking a 4:3 slice out in DSP. features such as vertical resolution en- in DSP firmware have enabled camera hancement are possible. In vertical res- designers to advance today's cameras Progressive scan and other tricks olution enhancement, once again indi- with full -function controls for all cam- A CCD is not actually "scanned" vidual photodiode rows are manipulat- era functions. like an image pickup tube is. In anyed by clocking the chip at different Advances in DSP design also have particular mode, all the pixels in usefrequencies and with specific wave-allowed high -end features formerly on the chip are active all the time.forms. With this feature, rows of sen-found only in high -end cameras to Once you understand this, you see thatsors can be added or subtracted frommigrate down to less -expensive cam- image manipulation on the CCD itselfindividual rows of pixels (see Figure 6) eras and camcorders. One example is is possible. We've already seen how ato cause an increase, or decrease, in detail control and enhancement. Once chip can make both 4:3 and 16:9 pic- perceived vertical resolution. you get to the point where you're tures. Progressive image mode is an- processing the data from each pixel other desirable feature. The DSP makes the picture separately, you can do almost any- In effect, the "native" mode for a Some form of DSP has been used forthing to any portion of the signal. This CCD would be progressive output. The things like black stretch, auto kneetype of processing allows detail to be simplest way to read voltages out from correction, chroma balance, etc., sincecontrolled in horizontal, vertical and individual photodiodes is one after an - the late 1980s. It is only recently thateven diagonal spatial domains, and dynamically controlled from field maiLimoCEIEIMEIDEC to field using predictive data. Line 1minsimMECEMED With dynamic detail control operating in the time domain, a NINE MIIIMMODE= Line 2 somewhat basic function like skin Frame readout 1/30th sec iniLIDEIMOWI II r Portion of 16:9 tone detail control gets a new Line 3 onsiumalLal . mommlalEli Photodiode arra/ feature - the ability to adjust ImsEffili (simplified) itself based on lens settings. At Line 4 mP"-Eur least two camera manufacturers le4.1W currently offer an automatic and dynamic skin tone detail adjustment function and others are Figure 5a. Progressive array readout. other serially, moving from one - Field 1Line 1unumiNOMEOLIMEI line to the next, to the next and so Odd field readout on. To output interlaced pictures, 1/60th sec -- Field 2 Line 1 ili mom[111111= CCD cameras have to do a little E inis111110[1100 EimimeDIEJET Portion of 16.9 fancy clocking. Two methods of Field 1Line 2 interlace output are used in most Even field readout Photodiode array 1/60th se: 7 Mr IIMEEDE (simplified) CCDs - alternate row output - Field 2 Line 2 sa"Nur and "pseudo -interlace," where the Er bottom row of photodiodes for one line becomes the top row for Figure 5b. One method of interlaced readout - results in goodgain.but slightly reduced the next line. (See Figure 5.) vertical resolution.

August 2001 broadcastengineering.com 79 one bright red apple in a bowl of Field 1 Line 1 HUMELir] Li II fruit. This may not be something you will use every day, but it Field 2 Line 1 111111111111111 I I r illustrates the power of the mod- --1F1H11 I ID Field 1 Line 2 ern DSP camera. MN 7 Field 2 Line 2 iii What about changing photog- Field 1 Line 3 Portion of 16:9 raphers? Some vendors offer IIII I Photodiode array Field 2 Line 3 111111 camcorders that have hard II I -III (simplified) switches on the front of the cam- Field 1 Line 4 111 Ill ""' era that can be assigned to a long list of functions. This means that *kt-T:jr :4 even features that may be buried deep down in a menu tree can be Figure 5c. Alternate method of interlace readout - results in higher vertical resolution, but slightly reduced gain. accessed quickly when needed. The function of these "soft" working on it. By reading the zoom Do you change lenses often? Do you switches is also stored on the camera and focus settings of the lens, the DSPsometimes have a prompter on thesmart cards. calculates whether the camera is on acamera and sometimes not? If you run Being able to set up the camera so tight shot or pulled out wide. Thean OB truck, this kind of thing may be video looks like film is popular with system can then adjust skin tone detaila daily routine. Several cameras now some. One vendor offers five different to be at maximum softness whenoffer pre -corrected setups for specific cameras in its line that have specific zoomed in and minimum softness when lenses. One vendor even offers thesetups for the filmlike look. The fea- zoomed out. This helps to reduce the ability to store user -defined opticalture uses the DSP to manipulate a host "plastic mask" effect that can occur with talent when skin tone ormal detail is applied at a fairly aggres- pixel "

I I sive level while zoomed out on a Ii I I

wide shot. L I III Vertically enhancedL.i" j" LJ Lit] I I What features would you like? pixel I I The decision to purchase a cam- II Portion of 16:9 era rests now as much with avail- L_I LJ L_J Photodiode array (simplified) able features as with the deep technology on the circuit boards. Your II shooters need to be able to make changes on the fly and access need- 'kC117/ ed functions quickly and easily. Are the features in the camera Figure 6. Vertical resolution is enhanced in higher -end cameras by using a smaller number of photodiodes per pixel vertically, then performing line doubling and tripling in DSP. accessible by buttons and switches or do you have to drill down through information in an automated fashion.of parameters from gamma and knee three menus to find what you need? The This allows auto setup to be run and on each channel to individual pixel various manufacturers approach thisstored when the prompter mirror isgain, integration time, etc. point quite differently - what seems like placed in front of the lens, thus cor- a very basic function on one camerarecting for the extra piece of glass. Your decision may be considered "engineering only"When the prompter comes off, you The camera market now offers prod- on another. just revert back to the non -prompteructs to meet pretty much any need. If you run a newsroom, one featurefile. This feature also can be used forThere is no longer any reason to com- typically considered vital is the abili- storing setups related to specific fil-promise on one set of features to get ty to make all your field cameras lookters, lighting, etc. another. It is truly an impressive crop of the same. Gone are the days when How about product shots and studiogear. The in -studio shootout? Yes, it's only the chief photog had the bestwork? Do you want to be able to do still probably necessary. Picture quality camera setup. Now, with smart stor-some fancy things in the camera di- won't be as much of an issue, but with age cards and the DSP, almost all rectly and not have to post? One of the the advanced feature sets available on camera functions and parameters canthings high -end DSP offers is the abil- some cameras, you still need to put be stored and copied between camer- ity to manipulate color. Several of theyour hands on the equipment to know

as. Unless a shooter really screws up high -end studio cameras offer the abil-what you want to buy. the settings, all of your cameras canity to affect every portion of the color look the same from story to story and signal. You can even go as far as Edward E. Williams is director of engineering night to night. producing a monochrome scene with for KPDX Engineering.

80 broadcastengineering.com August 2001 GRASS VALLEY GROUP

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T t has long been as- distribution facilities sumed that closed for and to reflect the chang- captioning would be an es in Part 15. The R&O important element of the also clarified the com- transition to digital tele- BY JERRY WHITAKER pliance date for includ- vision for the United ing closed captions in States. Itis only recently, however, people in the U.S. are regular users ofdigital programming. that all of the components - includ-closed captioning services. One of the In 1990, Congress passed the Tele- ing standards, rules and technologiesbenefits of DTV captioning is that the communications Decoder Circuitry - necessary to make DTV captioningdisplay of captioning information can be Act (TDCA), which required televi- practical have come together. This past customized to user needs. Features such sion receivers with picture screen di- March marked a bit of a watershed for as altering the size, color and type of the agonals of 13 inches or larger to con- DTV closed captioning with a DTV font used for display, necessary for certain built-in closed -captioning decod- Caption Summit, sponsored by thetain age groups, are all possible with ers and have the ability to display Advanced Television Systems Com- digital systems. New captioning features closed -captioned television transmis- mittee (ATSC), the Corporation foravailable for the ATSC DTV system sions. The Act also required the FCC include a level of con- to take appropriate action to ensure trol over the transpar- that closed -captioning services con- ency of the captioningtinue to be available to consumers as block of text, rather new technologies were developed. In than the common white 1991, the FCC amended its rules to text on a black back-include standards for the display of ground. (See Figure 1) closed -captioned text on analog NTSC Program producersreceivers. The FCC said that with the do not want to pay foradvent of DTV broadcasting, it would .oar above your couvetition.. N with ProCAP, captioning of a givenagain update its rules to fulfill its program more than obligations under the TDCA. once, so the preserva- The R&O adopted Section 9 of EIA- tion of current caption-708-B, which specifies the methods ing services in the NTSC- for encoding, delivery and display of to-DTV conversion pro- DTVCC. Section 9 recommends a min- cess is important for con- imum set of display and performance tinuity. The migration tostandards for DTVCC decoders. How- native DTVprogramming ever, based on comments filed by nu- is the long-term goal and, merous consumer advocacy groups, therefore, any solutionsthe FCC decided to require DTV re- Closed caption image implemented now mustceivers to support display features courtesy Evertz. Digital TV image courtesy RCA. take this objective intobeyond those contained in Section 9. consideration. In addition, the FCC incorporated by Public Broadcasting (CPB) and the reference the remaining sections of WGBH National Center for Accessi- FCC actions EIA-708-B into its rules for informa- ble Media (NCAM), held in Arling- For television stations, the core re- tional purposes only. ton, VA. The summit conference sponsibilities of broadcasters have been Manufacturers must begin to include brought together leaders from the FCC, defined by the FCC. On July 31, 2000, DTVCC functionality, in accordance captioning organizations, the ATSCthe FCC issued a Report and Orderwith the rules adopted in the R&O, in and equipment manufacturers to ex-(R&O) in ET Docket No. 99-254 re- DTV devices manufactured as of July change ideas and chart a course forgarding DTV Closed Captions 1, 2002. Specifically: moving forward with the rollout of(DTVCC). The R&O amended Part All digital television receivers with captioning services on DTV. 15 of the FCC Rules, adopting techni- picture screens in the 4:3 aspect ratio cal standards for the display of closedmeasuring at least 13 inches diagonally. The need for closed captioning captions on digital television receiv- Digital television receivers with pic- his estimated that half of the 28 ers. It also amended Part 79 to require allture screens in the 16:9 aspect ratio million deaf or hard -of -hearing (D/HofH) captions to be passed through programmeasuring 7.8 inches or larger vertically

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Folsom Research, Europe Folsom Research, USA Het eenspan 16, 8332 JG Steenwijk The Netherlands 11181-A Trade Center Drive. Rancho Cordova, CA 95670 Folsom 1.888.414 7226 916.859 2505 Fax: 916.859.2515 +31 521 522737 Fax: +31 521 522775 RESEARCH Circle (145) on Free Info Card (this size corresponds to the verticalreceive to digital television sets. Also, layer and routed to a separate NTSC height of an analog receiver with a 13 -they must transmit those captions in a device equipped with an EIA-608 cap- inch diagonal screen). format that will be understandable to tion decoder (if present). This allows All DTV tuners shipped in inter- DTVCC decoders. for simpler closed -caption decoder state commerce or manufactured in Regarding DTV set -top boxes, con-implementations for DTV-to-NTSC the United States. This rule applies toverter boxes and stand-alone tuners, if set -top transcoders because the entire DTV tuners whether or not they arethese devices have outputs that are DTVCC packet layer datastream does marketed with display screens. intended to be used to display digitalnot have to be parsed to find a few The R&O further stated that pro- programming on analog receivers, then bytes of NTSC caption data. EIA-708 gramming prepared or formatted forthe device must deliver the encoded provides a simple mechanism to deliv- display on digital television receivers "analog" caption information on thoseer appropriate caption data to DTV before the July 1, 2002, date that outputs to the attached analog receiver. and NTSC devices alike. digital television decoders are required Native DTV closed captions (with to be included in digital television de- Understanding EIA 608/708 advanced features) are included in the vices is considered "pre -rule" program- Much of the captioning standard de- DTVCC caption channel, within the ming (as defined in the FCC's existing scribed by EIA-708 includes terminolo- DTVCC protocol stack, and are in- the closed captioning rules). There-gy and concepts unique to digital cap- tended for full decode by an EIA-708 fore, programming prepared or for-tioning, often with no direct corollary compliant decoder. To further under- matted for display on digital televisionto NTSC captions. The full standard stand this process, the following defi- after that date will be considered newincludes normative and informational nitions of terms are offered. programming. The existing rules re-references that are essential to under- EIA-608 ("native 608") closed cap- quire an increasing amount of cap- standing digital captioning, and the full tions are captions formatted and present- tioned new programming over a multi-text - particularly in Sections 4 ed in the current analog television system year transition period, with 100 per- (DTVCC Transport Layer) and 6 (Cap- and carried on the two fields of line 21 of cent of all new non-exempt program-tion Service Layer) - includes detailed the vertical blanking interval. Field one ming captioned as a requirement bydefinitions and discussion found no-contains CC1, CC2, T1, and T2 (the Jan. 1, 2006. This means that as of July where else. Particularly helpful are dis- latter being text services). Field 2 contains 1, 2002, DTV services have the samecussions of inclusion of EIA-608-type CC3, CC4, T3, and T4. CC1 is most often hourly captioning requirement ascaption data in the ATSC (DTV) cap- used to carry verbatim English captions NTSC services. The average amounttion transport layer. required per day in 2002 is nearly 10 EIA/CEA-608 hours (900 hours/quarter). Those sta-data can be embed- tions operating for part of a quarterded within the vid- are expected to meet the prorated oreo user data of an average daily amount. ATSC compliant There are three ways that the sta-MPEG-2 video ele- tions can originate DTVCC: mentary stream. If the DTV captions arrive alreadyThis exists primari- formatted and embedded in an MPEG-ly to facilitate de- 2 video stream, then the broadcaster iscoding and encod- required to insure they are passeding processes re- through and transmitted to receivers.quired to convert Blending their stonework into the natural landscape If the DTV program is being up -the DTV video - converted from an NTSC source, thenstreamintoan the caption data in the NTSC programNTSC compliant Figure 1. Sample of 708 -style closed captioning. Note the must, at a minimum, be encapsulated video output for use variable transparency of the text block. Courtesy of WGBH. into EIA-708-B format captions (us-with NTSC receivers and peripherals.and CC3 is increasingly being used for ing CC types 00 or 01) and broadcastSuch devices include not only 13 -inch Spanish -language captions and captions with the DTV program. or larger receivers manufactured since edited for young children ("Easy Reader" If the program is locally originated 1993, but also VCRs and the increas-or "Beginning Reader" captions). The (and not exempt) and captions areingly popular TV tuner cards for per-common look and feel of native 608 being locally created but are not insonal computers, many of which in- captions is limited to white block letters DTVCC, then again-at a minimum-clude caption -decoding circuitry. within a box -like black background field. the caption information must be en- EIA-708 states that the EIA-608 data Color (non-white) characters, while pos- capsulated into the EIA-708-B format. bytes are not embedded within the sible, are only occasionally used due to the In the R&O, the FCC also stated thatDTV closed -caption protocol stack. 13 -year legacy of set -top decoders that in order for cable providers to meetThat is, they are not passed onto the cannot display colored captions. their closed -captioned obligations, theyDTVCC packet layer; rather, they are EIA-708B is the standard for convey- must pass through closed captions they extracted at the DTVCC transporting caption data in a digital television

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Circle (146) on Free info ward signal. Because the DTV signal does case of analog, there are practical limi- Transitioning from 608 to 708 not have a vertical blanking interval, tations on the number of services that The chain of closed captioning in- EIA-708B provides an alternate meth-can be offered simultaneously. In thecludes the following elements: pro- od of maintaining existing captioned case of DTV, the ATSC A/65 (PSIP) duction, contribution, distribution, programming services by allowing specification limits the number of si- emission, reception, decoding and dis- for the inclusion of "native 608" multaneous caption services to 16. play. An important part of this "food caption data directly in the digital chain" is the network distribution sys- bitstream. This method provides one SMPTE 333M tem used to deliver programming to solution to the concerns about hav- To facilitate the implementation oflocal stations. The interrelation of ing to recaption all analog (NTSC)closed captioning for DTV facilities,DTVCC services in the ATSC trans- programming destined for conver-the SMPTE developed SMPTE 333M, port stream is illustrated in Figure 2 sion for DTV distribution. which defines rules for interoperation An important component of current Transcoded 608 data is intended toof DTVCC data server devices and efforts to move closed captioning for- be delivered to a conventional EIA- video encoders. The caption data serv- ward is an educational effort on the 608 caption decoder, either within a er device provides partially -formatted part of the ATSC, specifically, the Im- DTV receiver device, or through its EIA-708A data to the DTV video en- plementation Subcommittee Closed analog video output to a conventionalcoder using a requestlresponse proto- Captioning Working Group (CCWG). television and its built-in EIA-608 cap-col and interface, as defined in theThe Consumer Electronics Associa- tion decoder circuitry. Transcoded 608 document. The video encoder completes tion (CEA) has also launched an initia- captions presented in this fashion lookthe formatting and includes the EIA-tive in this area under R4.3, Working and perform identically to traditional708A data in the video elementary Group 1. Although the essential ele- analog captions (native 608). stream. ments are all in place for DTV closed Itis also possible to upconvert 608 Other SMPTE standards documents captioning, additional operational and caption data to true 708 format, in effect working within the realm of closedinteroperability issues remain to be using the original 608 data as source captioning include SMPTE 334M-2000, addressed, including a standard au- material and employing a limited set of "Vertical Ancillary Data Map- thoring format for interchange. EIA-708 features to present the captions to an EIA-708 decoder. These upconvert- AC3 Audio ed 608 captions also maintain the look NTCS Captions (608) and feel of traditional analog captions, DTVCC but are presented and decoded using the MPEG 2 Picture Transport ,,..,DTVCC true digital construct. This upconversion ATSC DTV Video User Caption ,,Now Data Bi-s Channel Channel 708 occurs at the origination point of video Transport program distribution, not in any form of Stream Service Information digital set -top box or receiver. MPEG - 2 Typically, both transcoding and up - Control converting are performed by a caption data server, a device suggested in the EIA-708 specification and now Figure 2. The structure of the ATSC transport stream and the relationship of closed commonly available and being used captioning to the overall system. on the air by a growing number of DTV stations. Likewise, caption pro-ping for Bit -Serial Interface," and More information viders in a competitive environment SMPTE 341M-2000, "Format for non- For additional information on closed will have incentives to support outputPCM Audio and Data in an AES3 Cap- captioning, consider the following re- of multiple caption formats from a tioning Data Type." SMPTE 291M spec- sources: single source file. ifies a method for embedding data in a DTV Access Project, www.dtvac- The EIA-708 standard also allowsserial digital video signal. VANC is cess.org for considerably more bandwidth toanalogous to VBI in analog video. It is A. G. Bell Center, www.agbell.org accommodate new caption features usable in SDI (SMPTE 259M) and HD - ATSC Standards A/53, the "Digital and services (native 708 captions) thatSDI (SMPTE 292M). VANC data isTelevision Standard," and A/65, the will require a new generation of cap-sticky in that it accompanies and re- "Program and System Information and tion decoders as well as new caption mains synchronized with the baseband Protocol," available from the ATSC authoring tools and upgrades of exist-video and audio signals as they arewebsite, www.atsc.org ing authoring software. routed, recorded and switched. So-called CEA standards EIA-608B and EIA- While the analog captioning stan-"sticky data" is content that needs to708B, available on the Web from

dard is limited to four caption services stay with the video and audio as itwww.ce.org. and four text services (plus XDS), thetravels through multiple plants on its digital captioning standard allows asway from the creator to the broadcast Jerry Whitaker is technical director of the many as 63 caption services. As in the facility. Advanced Television Systems Committee. He is based in Morgan Hill, CA.

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Applied Technology Path 1/Leitch TrueCircuit QoS technology BY DOUGLAS A. PALMER, RONALD D. FELLMAN AND STAN MOOTE

Thegeneral utility of IP and Ether- looking at how to change the deliveryprovide the dedicated real-time data net networks is well-known. IP/of broadcast and TV content, thepaths or circuits that are essential to Ethernet is the backbone of the In-question is, "Will there ever be a live broadcast video applications such ternet and is at the core of conver-means to reconcile the dedicated cir-as synchronizing voice and audio. gence - the blending of telecom-cuits used in television distributionGuaranteeing Quality of Service munications with real-time voice,and the broadcast studio with IP net- (QoS) is key to overcoming the short- video and data. Despite its success-works?" The answer is yes. This arti- comings of IP. es, however, IP/Ethernet also is thecle will look at the unique require- source of delays, lost data and best -ments for broadcast -video network- Current approaches to QoS for IP effort transport. ing, problems associated with real- Various methods have been adopt- Within the broadcast industry, ded-time content delivery over IP anded to tie the advantages of isochro- icated circuits are used to guaranteesolutions to these difficulties, includ- nous (dedicated) links with the ad- the delivery of content from the ini-ing Ethernet. vantages of IP networking. One meth- tial source to the final destination. od is to utilize a hybrid system such This guarantee of delivery does not Broadcast -video networking as IP over ATM, Fibre Channel or currently exist within the IP/Ethernet IP protocol is by far the most com-IEEE -1394. circuit technology. Therefore, whenmon networking protocol in use by ATM and SONET were developed any computer or LAN due to its for backbone transport of data. They low cost, widespread installa-establish a logical circuit from end tion, and ease of use. to end, which guarantees quality of Network services includingservice (QoS). They are expensive networking of audio/video/solutions, however, and unwieldy in metadata content, control, mon- a rapid setup or take -down mode itoring, interactivity and statis-such as that often found in a TV tics gathering, have differingstudio or broadcast environment. requirements for speed (dataFor the foreseeable future, ATM throughput) and latency (de-and SONET will be utilized in the lay). Each function has its ownWAN environment coexisting with requirements, but the one areaEthernet IP. placing the greatest demand on Another method for adding a guar- the network is live audio andanteed quality of service element to video delivery. IP/Ethernet is to utilize large amounts Live interactive video servic-of bandwidth and keep the data -trans- es and video teleconferencingport rate within reasonable bounds to are intolerant of the bufferingavoid data collisions, traffic jams and that is commonly used in to-lost data.On a small LAN with tight- day's Internet video applica-ly controlled transmission rates, this tions. Networks can avoidqueuing is reasonable. On a larger buffering delays by creating aLAN, instabilities quickly develop and virtual circuit (channel) that "pile-ups" occur at contention points, dedicates a portion of a net-with unforeseen results. work link to a video stream. Fortunately these problems are be- Such a dedicated virtual chan-ing addressed with the next genera- nel, that guarantees the regu-tion of switches and routers. These Broadcasters must develop new methods of main- lar and periodic delivery ofevolving QoS protocols and mecha- taining QoS over IP networks. Technology fromdata and signals, is called annisms include: Leitch/Pathl has allowed coast -to -coast broadcasts "isochronous channel." RSVP/SBM: Part of the IntSery over IP with quality comparable to satellite or ATM. Traditional IP is unable tosignaling protocol for requesting QoS

88 broadcastengineering.com August 2001 SELL BUY TRADE

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Circle (148) on Free Info Card 1.80t.2.' www.broadcastvideogear.com guarantees on a per -flow basis. Oftentual isochronous channels at Layers DiffServ, RSVP/SBM, COPS and SIP. used in conjunction with a designated1, 2 and 3 under the management ofNetworks with TrueCircuit allow sim- Subnet Bandwidth Manager (DSBM) a network operating system. TrueCir- ple net management functions, with to control admissions. cuit interacts with all the protocolsexpanding capabilities and a compre- DiffServ: Protocol for offeringlisted above to actually implementhensive control toolset expected soon. differentiated services categorizesQoS guarantees across a network. The cost of the network is expected to and prioritizes network traffic by tagging IP packet headers. In con-In five years or so, the Internet will probably trast with Intserv, DiffSery provides a means for simplifying QoS man- carry the majority of video programming. agement on a bulk basis through aggregation. MPLS: Multi -Protocol Labeling This system was demonstrated atfall to normal Ethernet/IP prices in a Switching is a protocol for specifying a the NAB and Networld/Interop trade few years. fixed route through an IP network. shows, where an Ethernet LAN and COPS: Common Open Policy Ser-wide -area network (WAN) with Where the industry is headed vice for managing admission policyTrueCircuit moved multiple, simulta- Today, the bulk of video content across networks. COPS is becomingneous streams of MPEG-2 compressed moves from the producer to the con- the higher -level network policy man-and 270Mb/s uncompressed digitalsumer via storage media (tape for- agement protocol from which a local video. One of the benefits of the mech- mats such as VHS, DVD, etc.), radio RSVP/SBM would obtain networkanism is that it interfaces seamlesslyfrequency, cable, satellite downlink policy and admissions information. with SONET/ATM. TrueCircuit over or microwave link. In five years or so, The latest technology to enable guar- Gigabit Ethernet is so powerful that itthe Internet will probably carry the anteed Quality of Service over IP/is capable of precisely synchronizingmajority of video programming. Be- Ethernet is TrueCircuit from Path 1 video equipment to the level that gen- cause of the huge bandwidths involved Network Technologies, Inc. TrueCir- locks can be distributed throughoutin transmitting audio and video, vid- cuit gives IP/Ethernets ATM -level the network domain. eo content will dominate all other Quality of Service by allocating vir- Path 1, in conjunction with LeitchInternet traffic volumes. Also, be- Technology, iscause of new interactive broadcast- developinging services and the ever-present equipment such"channel surfer" sitting at the receiv- as switches, routing end, rapid delivery will be crucial ers, gateways,to user acceptance. SYSTEr. THE NEW STANDARD BATTERY SYSTEM network appli- IP/Ethernet is an evolving standard Together with the latest improvements in digital ENG cameras, high capacity and lighter weight batteries have been eagerly awaited. Portability. extra power, ease of operation, ances, embeddedthat is rapidly moving into every and reliability arc a must with any battery. IDX has encompassed all these points with the launch of our innovative battery system. Endure offers a totally new approach to the controllers, andindustry, at higher speeds and lower way broadcast batteries are used. Endue is the power solution for the 21st century! control/monitor- costs. Gigabit Ethernet is already The Eadura battery The built-in 5 LED array The Endure Digi-View feature system is available ingsoftwareavailable over ordinary CAT -5 ca- displays a quick and precise displays accurate binary capacity with energy saving indication of the remaining In the camera viewfinder of many Syncron technology with thebling as well as single- and multimo- that automatically battery capacity. These accurate new moans. neathngs arc dinemlined by the nay.. on -amore TrueCircuitde fiber and coax. New standards - on -board microprocessor that lights when recording calculates the subsequent is engaged. technology em-compliant QoS mechanisms are to discharge conditions. bedded.be released this year to ensure low - TrueCircuit net- latency, low -jitter channel transport works offer in-of real-time data - with guaranteed herently secureQoS standards comparable to ATM. virtual circuitsAs shown at NAB, IP/Ethernet will Every F.ndura battery contains High Power, and synchroni-soon become the de facto standard Lightweight. No Mentor) Lithium ion technology. zation to allowwithin the broadcast industry to bring UDC has been providing this powerful and safe battery technology to the professional products to bequality content delivery at an afford- video industry for over 6 yea's. video phaseable price. aware. The net- For more information about the Path C=D Endure batteries will Cu directly on Powertin The Endure E-50 battery works are com- 1/Leitch TrueCircuit QoS technology, new cameras. which have the wedge comes standard with the style V -Mount already built-tn. PowerLink system that patiblewithcircle (450) on Free Info Card. Including Digiu0 Mauna allows two batteries to he tletacam SX , and DVCAM they stacked together for en arc also adaptable to other mounting extra boost of power. standard and systems. or may be affixed directly Powertmked Endure E-50 to other cameras by adding the IDX bantam output up to 96 evolving IETF Dr. Douglas Palmer is the chief scientist and P-V/P-VS Plate. watts of power. and IEEE QoS Dr. Ronald Penman is the CTO of Path 1 Network Technologies, Inc., San Diego, CA. protocols, such Stan Moote is CTO of Leitch Technology as, IEEE 802.1D, Corp., Toronto. 22889 tartness MINIM Tama. CA 90501. Till (3101091-2800 Fax. (310)891.3600 Email- idt.usaaich tv Web Sac: sumsich.tv 802.1Q, IETF Circle (176) on Free Info Card

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Thomson Automation station control systems BY DAVE STUART

No single opportunity has everseamlessly and synchronously. the automation computer and held presented broadcasters with as Thomson Automation utilizes dis-by the device controllers until it is much potential as centralcasting. Astributed network architecture and thetime to execute them. The entire FCC rules have relaxed, permittingQNX multi -tasking, real-time operat- system is locked to house timecode, organizations to aggressively pur-ing system to offer custom solutionsensuring that all levels of processing chase and consolidate broadcast prop-for automation and control in multi-are working from the same time base erties, the need to combine the oper-channel playout environments, wheth-and all commands are synchronous. ations of these stations has becomeer through centralcasting or terrestrialThe third layer of processing resides paramount with station ownership and management. Similar to Local Marketing Agree- The challenge has been how to control this ments (LMAs), where one station is responsible for technical operations of multichannel network of stations seamlessly a second station in the same market, centralcasting uses a centralized "hub" and synchronously. station to control the operations of multiple stations in multiple markets. With the driving force of economics, centralcasting's main goal is to reducedigital television multicasting. within the device processor on de- both the workflow and the workforce Since the automation system wasvice serial control cards, each capa- of individual stations where most tasks originally designed as a multichan- ble of controlling four devices. Each are redundant, while providing secure nel system, the decision was madecontrol port has its own Z180 pro- operational control from a centralearly in the design process to use acessor for communicating directly point - the hub. distributed intelligence architecturewith the target device. From the hub, various levels of con- - multiple levels of processors in Unlike systems that were first de- trol of the satellite stations can beconjunction with a deferred com- signed as single -channel playout sys- accomplished. Since control and me-mand structure. Distributed intelli-tems and later modified to become dia play -to -air comes from the hubgence was required to provide framemultichannel systems, Thomson Au- station, costly satellite feeds fromaccuracy for multiple on -air chan-tomation's three layers of automation within a station group or network arenels, anticipating the need to sendprocessing work together to provide eliminated. Distribution is accom-multiple frame -accurate commandsthe ability to issue multiple simulta- plished via a wide area networkto multiple devices simultaneouslyneous frame -accurate control com- (WAN) interconnecting the stations.during a single frame of time. mands to multiple devices. Other au- The challenge has been how to control The top-level processor is the auto-tomation systems cannot provide this this multichannel network of stations mation computer itself, which manag-multi -layered processing power be- es the mediacause their design is based on single - database, de-channel playout, where commands is- vice databasessued on a per -frame basis cannot pro- and all playl- vide frame accuracy on multiple events ists. The auto-per frame. mation com- To ensure reliability, the local area puter issuesnetworks (LANs) used for data and commands tocontrol in the system are physically device control- isolated. By utilizing two distinct lers, the sec-LANs, data collision between simple ond processordata traffic and control command traf- layer. All com- fic is prevented, thus minimizing in- mands at thisstances when the system bogs down Thomson Automation's rundown list on MC View. one of the three level are time - due to LAN traffic. The use of dual available remotely run Java applications, which also include MC Live stamped fromLANs avoids performance issues as and MC Remote.

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Circle (151) on Free Info Card system size increases and the number QNX, a robust, true real-time oper-keystroke procedure, a separate com- of channels controlled multiplies. ating system designed to run in aputer system in the Thomson automa- At heart of any automation systemmission -critical, fault -tolerant, re- tion system continuously monitors the is its computer operating system -adundant environment, was selectedstatus of the entire system and seam- system that has to be mission criti-for use in the system. lessly issues takeover commands if cal. While Windows NT may have a In a multichannel play environment, needed. recognizable user interface, it is not it is critical to have backup processors To ensure that commands are al- designed for use in an environment "shadowing" the main computer at allways executed, even in the event of a where uninterrupted revenue streams times. In the event of the main com-computer switchover to backup, a are mandatory and multichannel, puter being taken off-line for any rea-deferred command structure issues multi -tasking operations require in-son, the backup is always hot, mean-all commands to the device control stant command execution and frameing it knows where in the event list tolevel in advance of their execution. accuracy. Based on the real -world begin issuing commands when it takesDeferred commands are commands needs of an automation system,over. While manual takeover is a two-that are sent from the automation computer level in advance of air- time. How far in advance these commands are sent is user definable but uinriarMULTIVIEWERS typically ranges from two to five TECHNOLOGIES minutes. Once a deferred command is stored in the device control level, the command will execute even if the MX/DX Series automation computer is offline. This 4 - 16 Analog/SDI inputs in 1RU ability to issue deferred commands Pre-set Displays and the hot backup functionality of Autodetect PAL/NTSC/SDI the automation computer level en- Composite, Y -V, YUV or SDI out sures timecode accuracy. III AM Line doubled VGA out In multichannel environments, the OmniVideo Series traffic system plays a key role. Thom- Analog Systems or Cards son Automation provides a bi-direc- User Customizable Displays tional interface that converts the traf- PIP Re -Size, Move, Overlap fic file into a form that the automa- VU Meters, Logos, Graphics tion system can use and also provides LAN Control, Sequencer one or more reconciliation files to be exported back to the traffic system for billing. This is done in real time, Fusion Series vastly speeding up the reconciliation Mix of Analog, Digital or process and reducing billing time from Computer Sources User Customizable Displays days to hours. Programmable Output to SXGA Whether in group centralcasting en- Modular Architecture - up to 26 vironments or single station digital inputs in 3RU television multicasting master control, Thomson Automation systems stress Benefits versatility and LAN/WAN ability in Optimize Use of Large Displays control of all devices, for multichan- Cost-effective Virtual Monitor Wall nel playout management and frame- Save on Space, Power, Cooling accurate control of resources. Dynamic, Controllable Displays For more information on Thomson automation systems, circle (451) on Free Info Card.

Dave Stuart is the manager of sales and mar- A Solution for Every Need keting for Thomson Automation.

IRELAND: TrioTech House, Abbey Road, Deansgrange, Co. Dublin, Ireland. Tel: +353 1 2808945Fax: +353 1 2808956 E-mail: [email protected] View an online USA: product demo Tel: 408 782 9725 E-mail: [email protected] whenever you Website: www.zandar.com see this logo. IBC Stand #7.321 Circle (152) on Free Info Card

94 broadcastengineering.com August 2001 ram *D1 SYNC' Digital in. Digital out. Digital all thewaythrough.

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Digital frame synchronizers from Prime Image arz nothing new. Engineers worldwide know the clean, stable, high -quality signals we produce. What is new is that now you can get a Prime Image frame synchronizer with a Serial Digital Interface input and four Serial Digital Interface outputs. It's called the model D1 SYNC. Among the many features in its space -saving 1U rack -mounted box are full ProcAmp control, freeze frame or field, 10 -bit performance, and automatic selection of 525 or 625 lines. Controls include video, color, and setup levels. And you can control them from optional rack -mounted or hand- held remote controls. With the Model D1 SYNC your pictares start digital and stay digital every frame, every field, every bit of the way. Call for complete specs and technical information. Pri SeeUs at IBC at Booth # ZUID Hall 2.148 The Digital Video People Circle (153) on Free Info Card Tel (403) 867-6519 Fax (408) 926-7294 www.primeimageinc.com Field Report

WPIX-TV's digital helicopter BY RALPH AUGENFELD

It sounds too good to be true: a noise - bouncing off reflective surfaces like reduction in the 2GHz microwave news free digital microwave link for au- buildings or mountains cause multi - band currently used by broadcasters. dio and video transmission, using less path problems that come in two fla- Looking forward to this eventuality, than half the bandwidth and power of vors: static and dynamic. Static multi - digital COFDM microwave radios may current analog FM technology. How path interference can be observed when provide us with a technology that would about increased range, an extra stereo transmitting from a fixed location; at least equal the performance of ana- audio and data channel, and the trans- bounced signals arrive at the receive log systems in this regard. This was an port of digital signals without passing through an NTSC conversion? Even better, almost complete immunity from A helicopter is a hostile environment for COFDM multipath distortion, with a transmission scheme that seems to thrive ontransmission. random, reflected bits of signal bounce. For WPIX-TV, in the heart of New York City, the last consideration is an antenna a little later than the main important consideration for us, as was important one; live shots bounce like signal. This often causes video ghost- the concept of delivering SDI (and HD billiard balls cascading their way to our ing, chroma smear, changing hues and in the future) digital streams intact receive antennas. Now add features audio buzz that can seriously degrade back to the studio. Of course, with such as stable mobile transmission even live shots. Microwave transmission these benefits there is the downside of while driving through (or flying above) from a moving source can be particu- significant processing delay. the deep RF canyons of Manhattan. larly susceptible to dynamic multipath After leasing a Bell "Long Ranger" This is a news director's dream. interference, characterized by signal helicopter from HelMet, Inc., in Los So when it was time for a news dropouts, moving multiple ghosts, and Angeles, we sent it to Wysong Enter- helicopter for our new morning show, severe chroma and audio noise fluctu- prises in Tennessee for integration. the WB11 Morning News, we chose a ations. COFDM systems thrive on Although the avionics package was digital COFDM system. Convention- these reflections, adding thousands of fairly standard, there was special con- al news helicopters are outfitted with QPSK carrier signals back together, sideration for our all -digital design a standard FM analog microwaveutilizing sophisticated forward error - plans. Early on we realized that one of transmitter. Fading, breakup, audio correction algorithms. They basically the main disadvantages of both the and video noise, limited picture qual- "eat" the reflections and spit out good compression and modulation schemes ity and multipath reception problems signal. Also, current plans by theused in digital microwave is its inher- (ghosting) are all too common. Signals FCC call for a substantial bandwidth ent latency. The digital stream may exhibit a delay of anywhere from 20 milliseconds up to two seconds. This means that the talent needs a "mix minus" IFB system; returning program audio should omit the talent's voice to enable chatter with the studio anchors. First, we installed a Modulation Sci- \At'cWiii!b. ences Pro Channel audio modulator NEWS into our VHF channel 11 transmitter atop the World Trade Center, enabling the broadcasting of a discrete audio r subcarrier to Pro Channel receivers. We then purchased their receive system, which includes reception of conventional off -air video and audio, and installed it in the helicopter for monitoring and IFB. Although talking back The WPIX-TV news helicopter used for the WB11 Morning News. and forth to the studio still presents a

96 broadcastengineering.com August 2001 swi-racHaFt

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Tel: (613) 652-4886 Fax: (613) 652-4425 Circle (154) of Free Info Card switcher. The addi- been experienced. The Tandberg mod- tion of two Toshi- ulator has a 70MHz IF output that goes ba talent camerasto the digital input of the transmitter. inside, three Sony The microwave transmitter chosen was POV cameras out- the Nucomm PT -6 digital radio. It is a side the craft and a compact, high-powered unit that provides portable Sony Dig- a full 12W in analog mode, or approxi- ital Betacam VCR mately 8W in digital. The remote control rounded out our unit offers a choice of analog or digital major video system modulation, channel assignment and acquisitions. Thepower level. A Nucomm microwave smaller cameras are receiver and downlook antenna also converted to SDI were added for receiving ground -based The middle section of the console of WPIX-TV's new helicopter. and routed to the signals. A helicopter is a hostile environ- switcher. ment for COFDM transmission. Vibra- challenge to the talent, it is somewhat Tandberg was our choice for MPEGtion alone is a major problem for attain- mitigated by this technique. compression and COFDM modula-ing the degree of stability required to Next was our choice of a camera. A tion hardware. Its 5100 encoder sys-pass the digital signal through the front long lens, a stable gyro system and SDItem, soon to be upgraded to the small- end of the radio. Phase noise and even output were all specified and resulted er model 6100, provides source and very slight frequency instabilities are the in the purchase of an Ultramedia channel coding in one DC -powered bane of COFDM transmission. The same camera ball from Ffir Systems. It com- device. The SDI digital signal is fed is true at the receiving end, where combines a Sony BVP-570 camera with ainto the Tandberg, where different pletely redesigned ultra -stable Nucomm Canon 1000mm lens and has the op-compression algorithms may be se- CR-6 digital central receivers were in- tics and imaging devices mounted in alected, giving the ability to trade offstalled. Each receiver feeds a 70MHz IF remote -controlled pod under the nosedelay for robustness. This needs to besignal into a Tandberg Alteia COFDM of the helicopter. The CCU has an SDItweaked for best signal stability vs. decoder and, from there, both SDI and output that goes directly into a custom -noticeable audio/video time delay, butanalog NTSC signals are fed back to designed Sony serial digital programno actual lip sync problems have ever the station.

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98 broadcastengineering.com August 2001 BTSC stereo sound may disappear someday... but today there's Modulation Sciences.

Are We understand that although you are responsible for making the future dicital transition happen, you also have a station to run today.

Whether you are using Modulation Sciences stereo equipment or upgrading your stereo, Modulation You Sciences will be there to support you until the final digital transition.

Having introduced the very first television stereo generator in 1985 we are firmly committed to supporting all of our analog stereo TV products for as long as a need exists. And, we will continue to Still manufacture and supply analog products as long as you need them. Broadcasting

Our innovative engineers are working on leading edge products to take 11.1.1..,1 1 in 11. you into the digital future. As DTV emerges, you can count on Modulation Sciences to offer products that will help you profit from it.But unlike some ether stereo TV suppliers, until the last NTSC station signs off, you can also count on us to Alialloga? fully support our installed analog base. And that's not just a promise. It's a guarantee.

Inamodulation Consider some of the specifications of the S4 sciences Model STV-784: III inc. STV-784WB Contact Modulation Sciences, your stereo authority at: 12A World's Fair Drive, Somerset, NJ 08873 Set up Accuracy: ±0.02 dB Phone: 732-302-3090 Fax: 732-302-0206 Stereo Separation: > 40 dB Or visit our website at http://www.modsci.com SNR: >80 dB below ±25 kHz deviation M channel E:mail: [email protected]

Circle (156) on Free Info Card OUTDOOR ENCLOSURES A NEMA 4 RATED(4X available) * MADE OUT OF ALUMINUM Powder Coating Available 20D-78DD OD-30DX (78"H x 48"W x 48"D) (30"H x 25"W x 25"D)

The Ultramedia III camera from Flir Systems is equipped with a Sony BVP-570 camera and a Canon 1000mm lens, all contained in the "ball" located underneath the WPIX-TV helicopter.

A Powdered textured finish Available in: four heights... available 30", 50", 62" & 78" and three The transmit antenna system is from N Systems (NSI) and A Adjustable rails (front to rear) depths ... 25", 34" and 42" consists of a steerable high -gain pod antenna or an omni 4 sets of rails -19" EIA (23" ALUMISHIELD-Top cover available) protects cabinet from the sun's antenna, switchable from the transmitter remote control. A Four doors heat and falling ice A Available in: two heights... tf Rails-Fully adjustable and A GPS satellite receiver with our receive sites programmed 50" and 78" alodine coated A Doors-Front and rear door into it, and a flux gate compass to determine heading of the secured with stainless steel pad- craft, each pass their signals to an onboard computer. The locking handles D.D.B. Vents-Front and rear, top and signals are compared and the Superpod is driven to auto- UNLIMITED INC. bottom with filtered panels (included) 19" EIA (23" matically point at the chosen receive site. In addition, the available) NSI computer sends telemetry signals to the Superquad 800-753-8459 receive antenna system, pointing the dish at the receive site (Fans, A/C Units & automatically at the helicopter. This is all tied into the NSI www.ddbunlimited.com Heaters Available MC5 Pro control system, so once the microwave receive technician in the studio begins to acquire a signal from the Circle (170) on Free Info Card helicopter, both antennas "lock" on to each other. This works well in both analog and digital modes of operation. The results? The helicopter was finished just in time for WORKING YOUR SIM the debut of our morning news show in June 2000 and we flew it from Tennessee to New York. It took until February IN ANY OTHER CHAIR MAY 2001, however, for full-time digital transmission to begin. When the final bugs were fixed, and the latest versions of CONSUME A MEDICAL equipment were installed, we flew a test flight during the morning show. We expected some improvements, but EMERGENCY. nothing prepared us for the outcome. The camera produced Designed to achieve maximum user comfort and digital pictures that were clear even to the untrained eye. long-term reliability Domore sets the standard for I joined the crew for the final test flight to the south to see your industry... with a history to prove it, 24 hours what our final range would really be. We headed past a day, 7 days a week. Most notably, Domore 24-7s Atlantic City, about 90 miles out, and continued south. At exceed the specifications for the only test of 110 miles, we climbed to 2500 feet, and the pictures back Intensive Use accepted by the U.S. Govt., still looked perfect. Finally, at an altitude of 3000 feet we and it's all achieved in high style and sent back pictures of the Cape May water tower from a superior ergonomic comfort. distance of 125 statute miles before running out of signal. Finally, while the digital COFDM system requires less bandwidth than the current analog one (8MHz vs. 17MHz), we look forward to further refinements that will alleviate the shrinking of an already congested ENG band. Future channel bandwidths of as little as 6MHz will help maintain parity with the current allotment of news microwave frequencies, while retaining the spacing between them. These improvements, along with reducedsize,weight and, IntensiveI Ise

Seating Series of course price, will be the icing on the digital cake. The 3312 HB for Intensive Use. 2400 Sterling Avenue, Elkhart, Indiana 46516 219.293.0621 Fax:219.294.6176 Ralph Augenfeld is the engineering manager for WPIX-TV, WB11, in domoredo3.com email:[email protected] New York, NY. Circle (171) on Free Info Card

100 broadcastengineering.com August 2001 Endless BOXabilities

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TVA runs smoothly with help from Kaydara's mediastore BY GUY BEAUDOIN

TvA is a French -language television and its use of standardized compo-it to air. We created content in pack- network in North America, broad-nents meant that we avoided compat- ages like Photoshop, Lightwave, Il- casting from its headquarters in Mon-ibility issues and easily integrated thelustrator, Speed Razor and Premiere. treal to five regional stations, in addi- equipment into our existing productionWe then transferred the material to tion to two international broadcastsnetwork. The fact that it supportedthe media servers feeding to the live for both the Eastern and Western parts of Canada. TVA produces programming for three major channels: TVAWith programming demanding an increasing (the main channel), LCN (a 24 -hour news channel) and TV-Achat (a 24 -amount of graphics and animation, we needed hour infomercial channel). to replace our aging still stores. With programming demanding an increasing amount of graphics and animation, we needed to replace our aging still stores with more modern and capableboth analog and digital I/O and Ether- program, saving time and money. equipment. Our equipment was becom- net networking was a plus, as the These tools and functionality can be ing unreliable, did not support anima-whole industry is moving towards dig- accessed through a drag -and -drop GUI. tion, and forced us to import imagesital and this helped to future -proof our The speed with which you can manip- through a video grabbing process. Weinvestment. ulate media using the drag -and -drop could buy a Kaydara mediastore unit for The system is based on the Windows interface and keyboard shortcuts be- the same price as other still stores with-NT file system, so there is no need to comes a key factor in crunch times out clip capability. The still store would import and catalog the media before when a mistake on -air needs to be enhance the quality of our production,use or deal with proprietary file types. fixed. This is an easy process using the ensuring our ability to develop strongThis allowed us to reorganize our system, as soon as your corrected con- content for the future, while simulta-workflow to use a more distributedtent is ready, you can instantly reload neously saving us time and money. networked approach. Being able to the media directly from the paint sys- The media -server system provideddirectly read multiple native file for- tem via the network. support for stills, audio/video clips,mats helped us to speed up the pro- In total, we use 10 Kaydara medias- animation and CG. Its modular naturecess of creating content and bringingtores at TVA. Three are integrated into the broadcasting center, used as servers and automated with a Florical system. One is used for content creation and as a backup in case one of the other units fails. The other six units are being used to develop content and serve programming for live news reports, various TV shows, quiz shows, and for creating CG and animation for all these programs. The Kaydara mediastore has been a reliable solution for us, meeting the strenuous demands of the broadcast studio environment head-on, forming a robust backbone for our studio, and

the studio of the future. For more information on the Kay- dara mediastore, circle (452) on Free Info Card.

Guy Beaudoin is the director of engineering at Thc. Kaltrla ra rrmrliactnrc. in iIca at TVA hrnartractinn cfiirlinc TVA.

1 02 broadcastengineering.com August 2001 IBC200 Iis the event youcan't afford to miss

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Audio consoles BY JOHN LUFF

When television first erupted As in all things, consider the intendedmanufacturer if the inputs use a com- from the radio only landscapeuse first. Many times the project is a mon circuit board for a group of faders audio mixing consoles used rotary at-renovation of an existing system. This (often about four to six inputs), and add tenuators to adjust the level of the often includes goals such as improvingtwo modules beyond what you think is audio. Filtering and other modifica- reliability for the old console for whichthe minimum needed. One module gets tions were most often done with out-parts are no longer available. If theyou some growth, the other maintains board devices. Stereo was barely aneed is to build a new facility that willsome redundancy with that growth. thought-recording was on1/4-inch (or last 15 years until a replacement can be Consider features that are unusual to larger) audio tape recorders at 15 inch-justified (which is not unusual in thisbroadcast (radio and television), like es per second or more. Ah, progress! Today a console in a news production studio may have threeAlways include extra inputs. Eventually new to six times the number of faders, built- in EQ, high and low pass filters, dy-consoles will be old and dead inputs will happen. namics (compression and limiting), multiple stereo busses, perhaps surround sound, mix -minus outputs forbusiness) then perhaps digital optionsmix -minus outputs. Any console can IFB, complex monitoring matrices, an- should be thoroughly and thoughtfullymix mikes and recorded clips. Today, alog and digital I/O, digital memory,evaluated. The march of mixing con- outside of radio on -air consoles, virtu- perhaps even digital mixing. Complex soles into the digital era has been quite ally all consoles have EQ features. But systems of auxiliary devices can pro-rapid, and modest digital consoles canmix minus is heavily used in many vide effects - reverb, specialized dy-be purchased for well under $10,000.broadcast applications where talent namics processing, patching, audio rout-Let's look first at applications in televi- needs to receive the mix for monitoring switchers, analog and digital con-sion and how they might set the direc-ing. By the time the video system is verters, and plenty of other peripheraltion for a console evaluation plan. done processing the picture you often devices are often part of the mixing At the top of the list is to set the need to delay the audio to match. Just environment. If you don't have a well - physical scale of the product you are wait till the news anchor hears his own trained audio expert on staff the task ofseeking. Is this no more than a minor voice four frames out of sync - best to planning a new mixing room, or justaudio production room, or does theconsider building mix -minus outputs. console need to be capable Some television consoles can provide a of both news and entertain- mix -minus output for every fader posi- ment uses? A studio thattion. Most also allow for delay adjust- does only heavily formattedments on each fader, permitting more news might need fewer than flexibility when matching the delays in 24 inputs on the audio con-a complex video system. sole, with perhaps six to Think carefully before rejecting a dig- eight microphones, capaci- ital console. Digital consoles in modest ty for feeding pre-recorded sizes do not have to cost more than clips (stories and bumpers),analog consoles these days, nor are signature music, ENG feeds they inherently more complex to in- and maybe a handful of rout- stall. Manufacturers in North Ameri- Video engineers planning a mixing room should take into consideration the intended use of the room, both for the ing switcher outputs forca, the Pacific Rim and Europe have all near term and in the future. Photo courtesy AMS Neve. sources that are less fre-designed consoles with both analog quently needed. How manyand AES inputs. They also can provide revamping a worn-out control room,inputs are used simultaneously for the the analog monitoring and program can be quite daunting. Even with antypical productions will set a minimum outputs needed for many installations. expert along many video engineers feel size, but always include extra inputs. If the console is to be useful as produc- considerable trepidation when consid-Eventually this new console will be old tion technology continues to become ering audio consoles that can easilyand dead inputs will happen. Leavingmore and more digital it is wise to cost over $100,000 and much more for room for growth now will protectcarefully look at the costs for a digital the highest -quality digital consoles. you against future failures. Ask thesolution now. That may well prevent

104 broadcastengineering.com August 2001 EEVIOTs from Marconi

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Circle (113) on Frey lido Card another rebuild in just a few years when the rest of the system is fundamentally digital. HIRE THE The key to this important development in audio mixing is the rapid progress in DSP technology and specialized silicon implementations for both professional and consumer audio equipment. Take a look at the audio card in a modern computer. Not many parts there, but it allows mixing in the digital environment for a number of real and virtual inputs, #1 for less than the cost of one rotary fader. It is likely that the DIGITAL TV progression of digital mixing will continue, with more capabilities and lower cost. However as the complexity rises ENGINEER the cost of developing software goes up dramatically, and it IN AMERICA is not likely that high -end consoles to reduce in price as rapidly as modest consoles. One could expect that digital DIRECTNOW. consoles will be less expensive in modest sizes, partly Install.Test.Service.Train.Support. Remote and On -Site because the fabrication and checkout of each console is Maintenance. The DTV transmitter experience and expertise of considerably less expensive for the manufacturer. Mark Hills is unrivaled. Do digital right the first time. Get Mark Hills to keep your DTV downtime to the minimum. Call today It also is valuable to look at the growth in the industry and at(509) 891-7362or refer to our website for testimonials how it might affect the expectations for consoles in the future. and further information. Represented exclusively by stone. One of the key dynamics in the broadcast industry is the

V1704V4 Just wait till the news anchor hears L his own voice four frames out of s 20NE sync - best to consider building www.s2one.com mix -minus outputs.

Circle (160) on Free Info Card repurposing of media. Many local TV stations are running a Webcast live or perhaps even a 24 -hour news channel. A What Makes RTNDA2001 console that has the ability to mix for several simultaneous the #1 Exhibition for News uses of the basic program may well be an important consid- Engineers? eration. While simple stereo consoles suffice for today's environment, perhaps two or three stereo outputs may be required (without giving up precious sub mix groups). Don't Keep up-to-date on new forget the slow but important deployment of surround sound "The exhibition floor is products and services. either: While you don't have to have a surround sound console a must to keep up with Meet top manufacturers and to create the effects and surround channels, panning in the the rapidly changing leading service providers in surround is difficult without the proper features. technology in the news the electronic news industry. business. It would be Finally, look long and hard at consoles with full Forge new bonds in an memory. If the audio console is going to be used for awful to walk into a intimate setting. corporate meeting not more than one program it is highly useful to be able to having walked around For three full days, see set up the inputs, EQ, routing and panning, monitoring, the products and services the exhibition floor and that can make you more and outputs and then store it to memory for the next not having talked to the competitive this year and production. This also allows multiple operators to have vendors." in the future. a setup that matches their own style better. Needless to -Roger Gadly, News say it also allows rapid reconfiguration if, perhaps, one Director, KMPH, Fresno, CA Join suppliers and your peers as they talk about console is used to mix two back-to-back programs from their success stories with two studios, as is often the case. As in all things this RTNDA2001 products at our new and capability comes with drawbacks. Complex consoles September 12-15, 2001 improved Exhibition with memory often don't wake up quickly from a power Opryland Hotel and Showcase. Convention Center off reset. Consider using a UPS to keep the console from Nashville, TN Exhibits: September 12-14, 2001 becoming a liability when the unexpected lightning

storm causes the lights to flash! 2001 For more information r to register, visit RT1IDA vvw.rtnda.org 'convention, John Luff is vice president of business development for AZCAR. IMMUNATIONAL COMMENCE & IMISMON 1.shtml. Circle (161) on Free Info Card

1 06 broadcastengineering.com August 2001 0

The new face on the horizon, ROHN 2000'. As the demands of the broadcast industry soar to unprecedented heichts, ROHN Industries, Inc. respords by creating new solutions designed for the digital age. Since 1948 ROHN has J nderstood Phone: 309.697.4400 Fax: 309.633.2695 the special requirements of the communications industry, and now we're building on that heritage to include customized tower solutions up to 2000'. We have the people, tools and experience. Let us show you the possibilities. www.rohnnet.com Circle (162) on Free Info Card New Products

BROADCAST PRODUCTION CONSOLE Solid State Logic Aysis Air Plus: new version of the Aysis Air digital console; features HSX Control Processor, a high-speed computer offering fast, flexible and intuitive control and recall of mixing situations; status information is seen through the new TFT LCD display; hot-swappable INFO Faders, available as factory option, provide visual and mechanical feedback to the operator; an alphanumeric display presents at -a -glance confirmation of grouping and system status; 212-315-1111; fax: ROUTER 212-315-0251; www.solid-state-logic.com. Philips/Thomson Trinix: offers standard - Circle (404) on Free Info Card and high -definition routing in configurations of up to 512x512 without distribution amplifiers; modules are hot-swappable for INTERACTIVE TV easy upgrade; network -based status and PROGRAMMING control via SNMP allows for remote monitor- LiveWave Remote Studio: ing; 800-962-4287; 818-729-7700; fax: 818- allows companies 729-7710; www.broadcast.philips.com. to produce live Circle (402) on Free Info Card two-way broadcasts from REFERENCE IMAGE remote locations using fiber optic Video Instruments V.I. Combination: is effective for SDTV lines to deliver and HDTV of all types - direct view or projection; composed of uncompressed bars, dots, circles, resolution; the background is provided video and audio; various luminance levels; 800-962-8905; fax: 937-376-2802; 401-848-7678; fax: 401-846-7077; www.videoinstruments.com. www.livewave.tv Circle (401) on Free Info Card Circle (405) on Free Info Card MODULAR FRAME Videoframe Systems VF200: designed for reliable 24 -hour unattended operation; systems can be created limited only by the underlying 100 Base -T LAN technology; used as a stand-alone platform for smaller - scale products; includes 100 Base -T Ethernet, VITC and longitudinal timecode, and video reference for vertical interval timing; 530- 477-2000; fax: 530-477-7599; www.videoframesystems.com. UPCONVERSION AND NOISE Circle (406) on Free Info Card REDUCTION PLATFORM Teranex Star -up: combines the upconversion of Teranex's MULTIPLEXER Xantus format converter with advanced noise reduction from Thomcast Topaz: operators can manage up to two transport the company's Starfront pre -compression processor; features streams at the input with a total of 80Mb/s to an IP network; PixelMotion de -interlacing, advanced noise reduction, color - can stream 25 video services; based on Thomcast's OpenMux space conversion, 32 -point optimal interpolation, 3:2 inverse multiplexing technology, which enables MPEG-2 data to be telecine, detail enhancement and timecode conversion; 407- broadcast into Internet Protocol; 413-569-0116; fax: 858-6000; fax: 407-858-6001; www.teranex.com. www.thomcast.com Circle (400) on Free Info Card Circle (407) on Free Info Card

108 broadcastengineering.com August 2001 TELEVISION AUDIO PRODUCTION CONSOLE

"From The Manufacturer Of The Finest Live Perfcrmance Consoles For Theatre And Sound Reinforcement, Comes The Midas Broadcast 2000" "One Less Thing To Worry About When On Air"

Circle (163) on Free Info Card Mark Teknik Group Mark Teknik Building, Walter Nash Road, Kidderminster, Worcestershire, DY11 7H1 England. Tel: +44 (0) (1562) 741515 Fax: +44 (0) (1562) 745371 FRAME AND CARD DIGITAL VIDEO ROUTING SYSTEM MEM SWITCHER Videotek UNIFRAME: Datatek D-3000: accommodates all data rates from 30MB/s includes the DL -810U to 1.5GB/s in a compact rack mounting frame; equipped for serial digital legalizer, 128x128 serial digital video; mounts in only 9RU with a depth of the MADA-110U 15 inches; two outputs per destination are included; 908-654- monaural audio 8100; fax: 908-232-6381; www.datateknj.com. distribution amplifier, the Circle (410) on Free Info Card SADA-205U stereo audio distribution amplifier and the UDA-110U video distribution amplifier; offers a single 2RU HD/SDI WAVEFORM/ frame that can simultaneously accommodate analog and digital VECTORSCOPE MONITOR Leader Instruments video, analog and digital audio, analog and digital processing, Corporation LV 5170D: and distribution choices; 800-800-5719; 610-327-2292; fax: 610- features dual CRTs; can 327-9295; www.videotek.com. Circle (408) on Free Info Card handle 14 HDTV formats as well as optional SD- SDI DISTRIBUTED BROADCAST and 480p analog; format SOLUTIONS selection is automatic, with Pinnacle Systems Mediastream: features solutions for auto adoption of colorime- centralcasting, content distribution and network localization; try to match the selected provide end -to -end solutions for multi -cast content distribution as system; monitoring functions include waveform,vector, picture well as remote control and remote monitoring of the entire content and stereo monitoring; 800-645-5104; 714-527-9300; fax: 714- delivery and playback process; features VBase network software 527-7490; www.LeaderUSA.com. that manages the distribution to and from remotely installed edge Circle (411) on Free Info Card servers that can be used to customize a network feed to a local market; 650-526-1600; fax: 650-526-1601; www.pinnaclesys.com. Circle (409) on Free Info Card

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1 1 0 broadcastengineering.com August 2001 Leader Does It Better!

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Circle (175) on Free Info Card DIGITAL PHOSPHOR DIGITAL BROADCAST CAMERA OSCILLOSCOPES Hitachi SK -555: features 16:9/4:3 switchable, digital camera Tektronix TDS3000B: Offering six new models to the and a 640,000 pixel (NTSC) and 740,000 pixel (PAL) 2/3 -inch IT established TDS3000 series DPO; offers two optional video CCD with micro lens; provides a horizontal resolution of 850 TV modules that add easy -to -use, video -specific measurement and lines; a 12 -bit ND converter contributes to a high signal to display tools to the series; 800-426-2200; fax: 503-627-3678; noise ration of 63db and a wide dynamic range; 516-921-7200; www.tektronix.com. fax: 516-496-3718; www.hdal.com. Circle (412) on Free Info Card Circle (413) on Free Info Card

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Since Designed, 1979 Mager Fabricated, Systems has been designing and Delivered fabricating exquisite customstudiofurniture for the broa cast in ustry nationwide. and Installed Our unique award winning furniture offers true solid wood premium construction, 3D drawings and design, delivery and installation. Of course, we still offer our 10 year warranty on solid surface tops exclusively, that will long out last wood edges and laminates. Our quality furniture is very 602 N. Central Ave., Suite 1 affordable, and can accommodate every budget from economy to showplace. We Phoenix, Arizona 85024 know the broadcast industry is changing TEL 623-780-0045 everyday, so, if you haven't looked at Mager Systems lately, its time you checked to see what we have new to offer likeTurnkey Prewiring. Callus today and find out why Mager Systems is the best in sound furniture. Circle (166) on Free Info Card

112 broadcastengineering.com August 2001 network ihipplise ,, nno v a t or ALL-IN-ONE BROADCASTING SOLUTIONS GlobalStreams GlobeCaster Live and GlobeCaster Post: designed to produce television -quality broadcasts affordably and easily for delivery over virtually any medium; Live seamlessly integrates all the functions of a live broadcast including user -selected, 4-input/3-output multi -format digital component production switcher, real-time character generation, paint, animation, compositing and digital video effects generation; 800-788-7205; 510-596-0660; fax: 510- 596-0674; www.globalstreams.com.

Circle (414) on Free Info Card NONLINEAR COMPOSITING SYSTEM Nothing Real Tremor: features real-time I/O in 601 and HDTV, timeline and edit decision list support, true resolution independence, keying technology, asset management, color correction tools, tracking and stabilization capabilities, vector - based procedural paint and much more; 310-664-6152; fax: 310-664-6157; www.nothingreal.com

Circle (415) on Free Info Card MPEG ENCODING MODULE Canopus StormEncoder: encodes footage in real-time using Main Profile at Mail Level MPEG-2; with variable and constant bit rate options (from 1Mb/s and 15 Mb/s); supports PCM and MPEG Layer I and Layer II formats up to 48khz at 16 bits; 888 -899 -edit; 408-954-4500; fax: (408) 954-4504; FlashlinkJStuter Kit www.justedit.com. Circle (416) on Free Info Card NONLINEAR EDITING SYSTEM Avid NewsCutter Effects 2.5: now shipping worldwide; conforms to D10 and Sony's MPEG IMX format; supports most digital acquisition formats including DV25 and DV50; features auto voiceover and script -based In/Out; 800 -949 - AVID; fax: 978-640-1366; www.avid.com. For multimode or si iglemode applkafr Circle (417) on Free Info Card up b 30 km (20 miles) without repeater Supports %mots up to 540 Mbps PROGRAM QUALITY OF SERVICE SDI DVB-ASI5071 SMPTE 310M HDTV MONITOR Fully upgndable to 32 Channel DWDliA and GUM Mon' ' and Control System Tektronix PQM100: features a single -channel, real-time, monitoring solution; provides automated continuous monitoring of video signals to detect video quality problems in the distribution of compressed digital video information; notifies operators of problems with the Visit us at I BC, Amsterdam video and helps engineers diagnose and Boots 8.418, Hall 8 document picture quality by detecting picture defects; now shipping; 800-426- www.network-electronics.com

2200 code 1229; fax: 503-222-1542; WORI.D1HQ, NORWA1. Network Electronics ASA www.tektronix.com. Phone: 47 33 48 99 9' Emsil. [email protected] ThE AMIRICA° HQ. Network Plectra-0Es US Inc Circle (418) on Free Info Card Phone 631 928.4433 E.mail: [email protected] WEST 90AST US: Network Electronic'. US West Phene1 866 87: 74 94 Eanail, [email protected]

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August 2001 broadcastengineering.com 113 Business Wire

Business highlights from broadcast and production BY NANCY INWOOD

NBC has made a three-year strategic viewers throughout south Florida. newscasts. WRAL-TV was the first technology agreement estimated up to station in the United States to broad- $25 million to deploy Grass Valley Quantel has moved its North Ameri- cast an HDTV signal in 1996 and is the Group solutions in support of the net-can headquarters to New Canaan, CT. world's first news operation to present work's companywide central -casting,The company's new address is 199 Elm HD local news on a continuous basis. news production, media asset man-Street, New Canaan, CT, 06840. The agement and high -definition playback. new telephone number is 203- 972- 3199 and fax number is 203-972-3189. Thomson Multimedia has made an agreement with Royal Philips Elec- The New York Times Company will tronics for the purchase by Thomson standardize on Grass Valley Group dig- of Philips' Content Creation activity ital switchers, deploying Kalypso Vid- for professional broadcast markets, as eo Production Center and Zodiak sys- part of Philips Digital Networks'tems across its broadcast properties. MP4Net Group. The New York Times will deploy the systems across its entire station group, ABC Television has purchased a Pa- which includes WHNT-TV, Huntsville, nasonic DVCPRO HD production sys-AL.; KFSM-TV, Fort Smith, AR.; tem comprised of an AJ-HDC27A and WHO -TV, Des Moines, IA; WQAD- Two Solid State Logic consoles were an AJ-HD150 studio VTR. The Pana-TV, Moline, IL.; KFOR-TV, Oklahoma recently added to the National Mobile sonic camcorder and recorder will be City; WNEP-TV, Scranton, PA; WREG- Television fleet of trucks. The 48 -fad- primarily used to capture and editTV, Memphis, TN; and WTKR-TV,er SSL Axiom -MT digital broadcast high -profile programming. Norfolk, VA. console will be installed in a new all- digital truck that will be used for FOX WTBS, Turner Broadcasting System WRAL-TV, Raleigh, NC, has chosen Sports NFL broadcasts in Dolby Dig- selected Thomcast's DCX Millennium a Wheatstone TV -80 series audio con-ital surround sound. transmitter system for its digital con-sole to produce the audio for its HD version. In addition to TBS' purchases, the DCX Millennium was the transmitter of choice for two PBS member Clarification stations, WEDN in Norwich, CT, and WHRO, the public telecommunica- 6 MHz tions center for Hampton Roads, VA. RF Channel MPEG-2 Video MPEG-2 Bltstream The nation's smallest market station one of 18 Encoder formats SP on the air with a digital channel, AC -3 Transport WBOC-TV, Salisbury, MD, has pur- Audio AC -3 Bitstrearno. 2 Stream(s) up to 5.1 Encoder 3 - 18 Mbis chased Panasonic's AJ-HDC20A channels DTV C Transmitter DVCPROHD camcorder and AJ- Data HD150 DVCPRO HD studio VTR. 0 MP Transport Stream(s) Channel WHDT-TV has purchased six AJ- PMT Coder and IP 8-VSB Transport 19.4 Mb/s Modulator HD2700 1080i/720p switchable VTRs Stream and has three AJ-HD3700H D-5 HD multiformat mastering VTRs from Pa- PAT PSI and nasonic. The station will initiate over - PSI!) the -air HD broadcasting in late July PSIP Generator and will be carried by the Adelphia and Time Warner cable system, with a com- Figure 2 in PSIP 101 Uune,2001) was incorrectly labelled. The corrected bined potential reach of six million version is above.

1 14 broadcastengineering.com August 2001 Scptember , Audio 21-24 2001 "iNV Ili) Engineering 212-661-85288C0-541-7299Society NewConventionJacob York, K. Javits Center NY, USA workshops toursexhiotstechnical events capers www.aes.orgvisto register t the \ivcositc online at Communications Engineering, Inc. A 20 -year software development vet- has appointed Bill Beckner as integra-eran Stephen Chalkley has been ap- tion manager and Joe Strobel as projectpointed the engineering development

manager. manager at ANT Limited.

Videotek has pro- moted Polo Recuay to vice president of Screen Shot engineering. Recuay's Panasonic cameras used in Bexel Corporation has purchased primary responsibil- productions 10 LDK 23HS MKII super slow mo- ities will include di - Colossalvision director David Niles tion cameras from THOMSON Mul- Polo Recuay recting new product recently has shot two assignments timedia Broadcast & Network Solu- development in engi- with two acquired Panasonic AJ- tions. The cameras will be available neering as well as supporting the exist- HDC27V variable frame rate progres- from Bexel's headquarters in Bur- ing product line. In addition to Recuay, sive HD Cinema cameras. In addition bank and their rental locations inVidetek appointed Jochen Kuhnen as to Niles' work the Panasonic Al- New York, Miami, Atlanta, Dallas,the International Sales Manager. HDC20A DVCPRO HD 2/3 -inch 2.2 Seattle, Washington DC and Orange million pixel FIT 3CCD camcorder was County, CA. Scopus has appointed Steven Bonica used by South Carolina Educational as president. He will have full respon- Television (SCETV) to produce the 23 -year - FloriCal has been awarded the con-sibility of Scopus marketing and sales old NatureScene natural history series. tract by NBC to automate all of theactivities in North America. The SCETV purchased the family of NBC -owned -and -operated TV stations Panasonic DVCPRO equipment to in the United States. Don Bird has accepted the position support its statewide educational of vice president of sales and market- mandate. The network uses a Fox Digital has purchased four Philips' ing for both U.S. and international combination of 11 NTSC TV transmit- LDK 7000 Digital Cinematography cam- operations at Avica Technology. ters, one (soon to be three) digital eras for use in television productions by transmitter, digital satellite, Instruc- the FOX group of companies. Jerry Gepner has tional Television Fixed Service, fiber been appointed pres- optic and microwave systems to cover TANDBERG Television has acquired ident of National all 46 South Carolina counties with AVS. The AVS' RF technology will en- Mobile Television. open and closed circuit service. Every able TANDBERG Television to maxi- As president Gepner school in the state has a downlink mize on Digital Electronic Newsgath- will be responsible dish and at least three receivers to ering global market opportunities. for all aspects of sales access ETV's 32 -channel digital and technology. His Jerry Gepner satellite system. People prior position was as Niles' assignments with the cameras executive vice president, operations and have included music videos for the rock Encoda Systems has appointedengineering, FOX Sports Networks. band R.E.M, all -female classical music Greg M. Jacobsen as chief executive group BOND, and an industrial video for officer. His most recent position was Noah Meiri has filled the position of telecommunications supplier Marconi as president and CEO of XOR, Inc.,president at Orad Hi-Tec Systems. featuring Deborah Norville of "Inside an Internet integration company. Meiri was previously the managing Edition." director at Orad. 111111=11111111"7".

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OuIC DIAL GY-DV500U 14 SONYJVC 1/2 -inch 3-CCD Professional DV Camcorder The GY-DV500 combines the convenience and cost-effective- DSR-250 3-CCD DV & DVCAM ness of Mini DV with the performance and features yob need. Incorporate three 1/2 -inch 380,000 pixel IT CCDs for superior Introducing everything you need in an event camera and more. The new picture performance (equivalent to 750 lines of resolution) completely digital DSR-250 from Sony is a high image quality reduced superb sensitivity of F11 at 2000 lux and minimum illumination size camcorder which has been optimized for shooting events and of 0.75 lux (LoLux mode). Rugged construction with a rigid parties. Every feature you could want is included in this revolutionary diecast magnesium housing, Extremely portable. compact and acquisition tool. light weight (lesss than 11 lbs. fully loaded). Additional features Flip out 2.5" 200,000 dot LCD monitor, finally available on a like the menu dial and Super Scene Finder assure ease -of -use professional camera Time date stamp.. Soft shoulder pad. and shooting flexibility, while the IEEE1394 and RS -232 Advanced optical stabilization allowing for a high quality digi- interface allow integration into various non-linear and post - 1/3 inch x three 3800 pixel (effective 340.000 pixels) CCO's tal zoom out to 24x, with a maximum digital zoom out to 48x production systems. A professional camcorder in eve y sense. the compact, lightweight GY-DV500 redefines acquisition for allow two scanning modes. 480 progressive (still) or interlaced Assignable time code (Rec Run. Free -run, User -bit) corporate, educational, cable and broadcast production, as well as wedding videography and multimedia applications. (for video) One touch auto focusing in manual focus mode. 16 bit 2 channel audio recording. or 12 bit 4 channel. 530 lines of horizontal resolution. Digital in/out (IEEE1394) and analog in/out. Switchable aspect ratio 4:3 (TV mode) or 16:9 (Movie mode) Still Image capture onto memory stick - Upload graphics DXF-801 high resolution 1.5" black 8 white viewfinder (same from memory stick or USB adapter. software included GY-DV550U as on DSR500/1 8 DXC-D35) enables easier focusing. Automat- Phantom 48V power Built in speaker Directional micro- ically switches from 4:3 aspect to 16:9. phone in pro mic holder. 2 XLR audio inputs 1/2" 3-CCD DV Camcorder 58mm lens with 12x optical zoom. Wireless remote Records In DVCAM or DV, standard tapes or mini. Up to 270 Built in edit controller. Equipped with an i.LINk interlace. al- Introducing the Versatile GY-DV550 from JVC. Designed by minute recordeding in DV mode onto a 184 min. DVCAM tape. lowing camcorder to serve as edit player or recorder. professionals, for professionals, the GY-DV550 is the world's Manual or automatic functioning: Focus, Iris. Shutter -speed. External 12V supply/Connection for light. The DSR-250 is first DV camcorder to otter studio camera capability. Thanks to Zoom, Gain (3 positions and memory). equipped with light output (DC 12 V. maximum 30 watts) the built-in 26 -pin interface. you can connect the GY-DV550 to a CCU for remote -controlled studio operation or backup recorder in the field. But that's not all.It also comes with pool feed input/output, so you can transfer image data back and DSR-300A forth to another camera or cameras. making it ideal for special 3-CCD Digital (DVCAM) Camcorder shooting situations such as press conferences, exclusive interviews, and sporting events. Record isolated camera views (ISO -Cam) during a live multi -camera shoot. making it ideal for parallel shooting at live concerts and other events. The affordable DSR-300A actually extends operational convenience Naturally, we've made sure the GY-DV550 is equiped with all the other capabilities you need. including a standard 1/2 -inch with a range of new features and peripheral products. Remarkably bayonet mount for use with a great diversity of prclessional lenses, bidirectional IEEE 1394 (NTSC), two 48 kHz 16 -bit compact and lightweight. the improved DSR-300A provides high digital PCM audio channels, and a built-in SMPTE or EBU timecode reader/generator. as well as XLR microphone inputs, mobility without compromising picture quality and can be held audio outputs. headphones output, and both composite and Y/C outputs. Maximum versatility, top-level performance, and comfortably on your shoulder through the longest shoots and gives superior cost -efficiency make the GY-DV550 the smart solution for producers who need a camcorder capable of doing videographers the ability re acquire their footage quickly and easily. double -duty in both the studio and the field. Ready for EFP remote control (RM-LP57/LP55) The ')FP Statmof-the-ar11/7 3-CCD image pickup Incorporates three remote connects directly to the GY-DV550 for preciseantrol 1/2' 380.000 (NTSC)/440,000 (PAL) pixel interline -transfer The DSR-300A has three 1/2- IT Power HAD CCDs to deliver series) can be used with the DSR-300A. With PDV-184ME 800 lines of horizontal resolution, 62d8 S/N ratio and high (standard), a maximum recording time of 184 minutes can be over the video parameters. CCD's. Each CCD is equipped with highly advanced circuitry tha' sensitivity of F/11 at 2000 lux acheived. They can also play back tapes recorded in the Return video output for Tele-Prompter Tele-Prompter eliminates vertical smear when shooting bright lights in a dark With built-in 26 -pin VCR Interface, they can feed composite or consumer DV format capability assures full support for studio grogram production. room. Lag and image burn are also reduced to indiscernible S -Video output signals to an external recorder for parallel or For operational convenience while shooting, the Time Code is Genlocking function To meet the demand for systemization, the levels, while high sensitivity of F11 at 2000 lux assures creative back-up recordings. VCR recording modes including Parallel, superimposed on the viewfinder screen or MONITOR OUT GY-50550 is equipped with a genlocking function that includes flexibility and simplifies lighting requirements. Internal (only) and External (only) are selected via the trigger screen, even during playback SC lock to assure high -resolution pictures. switch positioned on the operational panel DXF-801 viewfinder featuring variable peaking 3 level tally light LSI Digital Signal Processor (the very same one used by the and a white LED light with 2 levels 01 intensity to illuminate the

DXC-D30 cameras) for a high signal-to-noise ratio of 62 dB. lens setting IEEE -in,' i.Link (out only) Both mini cassettes (PDVM series) and standard cassettes (PDV Panasonic DSR-500WSL AJ -D6 1 OWA 2/3" 19:9 CCD (DVCAM) Camcorder 2/3" 16:9 IT-3CCD DVCPRO Camcorder The DSR-500WS camcorder gives the video journalists the ability to acquire The AJ-0610WA is an affordable DVCPRO camcorder footage quickly and easily because the required functionality and performance which combines three high sensitivity 2/3' IT COT s was packed into this camcorder. In the meantime. the next generation with digital component technology, to create a true widescreen TV's have been introduced and the demand for vdeo material in broadcast recording. The AJ-D610WA is switchalle widescreen (16:9) has greatly increased not only in broadcasting. but also in between 16:9 and 4:3 aspect ratios. A built-in PCMCIA the event production and corporate communications market. To meet this demand . Sony offers this Widescreen Digital Camcorder. The DSR-500WS card slot makes it quick and easy to adapt the camera offers outstanding picture quality by adopting full Digital Signal Processing and to different shooting conditions. Features Super Gain, The optional AJ-YAP900P Picture Link Board is part of an three 2/3 -inch (520k) Power HAD WS (Wide Screen) CCDs which are Super Iris, and Digital Signal Processing (DSP). The AJ- exclusive Panasonic production data information system specifically designed for a 16:9 aspect ratio, switchable to 4:3 full screen. The camcorder 0610WA can operate with a minimum illumination of 0.5 lux which stores shot logging in camera memory and records extends the mobility, operational convenience and system flexibility with a range of peripheral products. Built-in digital output of the (F1.4. k36 dB Gain). and resolves 750 lines of resolution. it on tape during the eject cycle. The logging information i.LINK interface for backup and simple field editing is just one example. Technological advances in Sony DSP and MD Technologies, The AJ-0610WA has three high density (520.000 pixels) can be read by Panasonic's newsBYTE DVCPRO native many powerful options and a convenient low price -point make the DSR500WS a formidable tool for a wide range of applications. 2/3" CCD's. The CCD's feature a large light collecting area nonlinear news editing system. that gives toe camera a S/N ratio of 63 dB, plus a Exceptional resolution of 750 horizontal lines. sensitivity of f 11.0 @ 2000 lux. A Super Gain feature is available to boost gain by a full +30 DXC-D35/D35WS The Digital Signal Processing (DSP) helps to deliver a very dB or +36 dB for high quality shooting in low light, making high quality picture. The user has the ability to adjust different it possible to shoot as low as 0.5 lux (f1.4. +36 dB). Dockable (DVCAM) Camcorder parameters of the camera to accomodate any siltation. An optional Digital Triax for studio or mobile use is available. A six speed electronic shutter (1/100 to 1/2000 The DXC-D35/ D35WS cameras are designed to the highest A PCMCIA card slot is built into the operator side of the sec) features Synchro Scan to match the frequency of specifications, providing unprecedented video qualey in this puce camera, allowing the set-up (DSP) data to be saved. The saved range. The DXC-D35 is at home in the studio or field, docking directly set-up data can be used to reset the camera parameters. comuter monitor. to a host of backs including Betacam SP and DVCAM. as well as studio backs and viewfinders. The highly adjustable picture means that these cameras are ideal for capturing detail in low or chaiging light, as well as compensating for peoples skin flaws while keeping the rest of the image sharp. DXC-D35WS is switchable 4:3 to wide screen 16:9 ratio. SONY The DXC-D35WS camera is the latest Sony digital camera BVV-5 Betacam SP recorders for analog recording. designed to the highest technological standards. With the 880 TV lines of resolution for DXC-D35 DNW-9WS proven Sony DSP technology combined with Sony high 850/800 P/ lines for D-35WS Two REC tally lamps performance 16:9 CCD's. This high standard was previously DXF-601W New Viewfinder Switchable T6:9 to 4:3 2/3" 16:9 IT-3CCD held by the DXC-D30 series now being replaced by the NEW VF lens light with on/off switch 3 level Tally light DXC-D35 series; DXC-D35 series feature a new Prism Display characters on/off switch Take Tally Betacam SX Camcorder Assembly. new Pre Amplifiers, new DSP Software and a new Horizontal and Vertical peaking Die cast aluminum Equipped with three 2/3 inch 16:9/4:3 switchable Powei Digital Encoder resulting in astounding performance. The DXC- Better flare compenstation DynaFit shoulder pad HAD 1000 16:9 IT CCD's. D35WS camera fully interfaces with Sony's CCU-TX7 Lower minimum illumination (0.25 lux with HyperGain) Designed as a cost effective camcorder to help bridge Wideband Component Triax System. It provides 8 set-up files Better color reproduction at high gain the transition from 16:9 to 4:3, yet it still maintains a 13 user) as a stand alone. 16 additional scene files (all user Improved dark detail and contrast New preamplifier, prism (mable)are available when combined with the RCP-TX7 and encoder Better performance at overloads high performance and high mobility. note control panel. The DXC-D35WS is equiped with three Reduced noise at Gain Up Variable coot temperature adjust The DNW-9WS weighs less than 14 lbs. including a 3 IT Power HAD CCD's switchable between 16:9 and 4:3 Adjustable 4:3 safety zone when at 16:9 Pickup Device: 2/3' IT Power HAD 1000 11:9 x 3 battery, tape, viewfinder and lens. Includes an ,,,ect ratio's. The camera docks to DSR-1 DVCAM and DNV-5 New HyperGain mode of 42dB gain Picture Elements: 1038 (H) x 504 (V) integrated slot for the optional WRR-855A wireless !nem SO recorders for digital video recording. or PVV3 and Aspect ratio select from Main Menu Filters- Ciear. 5600K + 1/8 ND. 5600K. 5600K + 1/64 ND audio receiver

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SONY PROFESSIONAL VIDEO TAPES DSR-1500 DSR- 11 P DVCAM Studio Editing Recorder Compact DVCAM VTR Professional Grade VHS PG -30...... 2.29 PG -60 2.39 PG -120 2.5! Compact desktop DVCAM recorder. This VTR provides a Broadcast Grade VHS Box powerful and cost-effective option for NLE editing systems. BGR-30.... 3.49 BGR-60 3.99 BGR-120 . 4.6! Provides basic VTR features, along with an i.LINK (IEEE1394) H471S S -VHS Double Coated interface and is compatibile with both NTSC and PAL color ST -30 ..._...... 6.99 ST -60 7.49 systems. Designed to be used in either a horizontal or vertical ST -120 7.9! position: A footprint of only 2 3/4' in the vertical position. M221 Hi 8 Double Coated Metal Particles Metal Evaporated The DVCAM format uses 8 -bit component digital recording Play or record in either the NTSC or PAL color systems. P630HMP .4.49 E630HME 7.6! at 25 Mbps, with Intro -frame 5:1 compression, 500 lines of Equipped with a 4 -pin i-LINK (IEEE -1394) interface, for P660HMP 6.29 E660HME 10.4! resolution and 4:1:1 color sampling. A 15 micron track lossless transfer of digital videoand audio information with P6120HMP 8.49 E6120HME . 13.9! pitch provides superior picture quality, superb multi - other IEEE -1394 equipped devices. The single 4 -pin (.LINK generation capability and production flexibility. Two 1/4' ME cable can be connected to MAC or PC based NLE systems or M321SP Metal Betacam (Box) cassette sizes are available: Standard and Mini. to another VTR for degradation -free editing. 05S...... _....10.99 10S._..._.._.11.99 200 12.9! 30S 1199 60L 20.99 DVCAM ,ind more flexible with the intro- Plays and records either a DVCAM format signal or a DV DV EE (electronics to electronics) Out: Analog input signals 90L...... _..32.9! duction of this brand new, half -rack width studio editing format signal. . Both Mini and Standard size cassettes can can be converted into digital signals, and can be DP121 OVC PRO deck. The DSR-1500 boasts studio editing function be used with the DSR-11 without the need of an adaptor simultaneously output from the aINK interface. 12M (Med. )..7.49 23M 8.79 33M 10.9! capability in a compact size. The new DSR-1500 22.5( incorporates the same innovative, high standard 94L 30.99 126E . 39.9E technology featured in the DSR-2000. The space -saving size makes the DSR-1500 ideal for UVW-1200/UVW-1400A installations in OB vehicles and desktop editing systems. Betacam SP Player Player/Recorder maxell Broadcast Quality NIB Metal Particle SDI interface ensures a migration path to Digital P6-30 HM BO 5.39 P6-60 HM BO RIP Betacam", Betacam SX" and SDI -based systems. The UVW-1200 and UVW-1400A are non -editing VCRs which deliver P6-120 HM 80 7.90 SDTI(OSDI) and i.LINK IEEE -1394 interfaces enable a Betacam SP quality and offer features for a wide range of playback and PA PLUS VHS high quality, virtually lossless transfer with DV recording applications. RGB and RS -232 interface make them T-30 Plus 1.69 1-60 Plus 1.99 T-90 Plus 2.05 compression based systems. especially ideal for large screen, high quality video presentation, T-120 Plus 2.19 T-160 Plus 2.69 Compatibility to consumer DV (SP mode only) and scientific research and digital video environments. HGX-PLUS VHS (Box) DVCPRO 25 format recordings in addition to DVCAM, Ideally suited for work in computer environments, Auto repeat of entire or a specific portion of the tape. HGXT-60 Plus 2.69 HGXT-120 Plus 2.99 automatically accommodate all cassette sizes without because RGB signals can be converted into component Built-in character generator can display VTR status, HGXT-160 Plus 3.99 the need for an adapter. signals and vice versa with minimum picture time code, self -diagnostic messages, set-up menu, etc. Analog input interface board which includes component, degradation. Both read LTC Time Code) and UB (User Bits). The B11 Broadcast Quality VHS (Box) 1-30 BO composite and S -Video is also available as an option. 25 -pin serial interface allows external computer control of UVW-1400A also generates LTC and UB ( Free- 3.89 T-60 BO 3.99 T-120 BO 5.99 all VCR functions based on time code information. Baud Run/Rec-Run). BQ Professional S -VHS (In Box) rate can be selected from between 1200 to 38,400 bps. Control of jog, shuttle, playback, record, pause, FF and S1-31 BO 6.79 ST 62 BO 6.93 DSR-1600/1800 Built-in Time Base Stabilizer (TBS) locks sync and subcarrier REW with the optional SVRM-100A Remote Control Unit. ST -126 (90 7.45 ST 182 BO.....13.99 DVCAM Studio Editing Player/ to an external reference signal as well as providing stable Composite and S -Video as wet) as component via BNCs Betacam SP pictures. High quality digital dropout compensator further which are switchable to RGB aotput. The UVW-1400A has 1330MSP 13.49 BCOMLSP 19.99 990MLSP 27.95 Player Recorder ensures consistent picture performance. two switchable sync connectors and a Sync on Green. Equipped with two longitudinal audio channels. Built-in diagnostic function and hour meter. Panasonic. Mini ER( Tape UVW-1600/UVW-1800 AY DVM-30 6.49 AY DVM-30 (10 Pack) ea. 5.99 Betacam SP Editing Player Betacam SP Editing Recorder AY DVM-60 6.99 AY DVM-60 (10 Pack)..ea. 6.49 AY-DVM80 12.99 AY-DV123EB 20.95 The UVW-t600 and UVW-1800 are the other half of the UVW series. They offer the superiority of Betacam SP with INCP111) sophisticated editing features. They feature an RS -422 9 -pin interface, built-in TBC5 and Time Code operation. AJ-P12M (Media, 7.99 AJ-P24M 9.99 Inputs/outputs include component, composite and S -Video. All the features of the UVW-1200/1400A PLUS- AJ-P33M 11.49 AJ-P66M 19.49 AJ-P66L (Large) 20.99 AJ-P94L 29.99 Optional BVR-50 allows remote TBC adjustment. RS -422 interface for editing system expansion. 38.95 Two types of component output: via three BNC connectors Frame accurate editing is assured, thanks to sophisticated The DSR-1600 is a studio editing player, and the or a Betacam 12 -pin dub connector. servo control and built-in time code operation. DSR-1800 is a studio editing recorder. SONY - Both incorporates innovative technology at an affordable Hi -8 Professional Metal Video Cassettes price. Excellent playback of all DV based (25 Mbps) PVM-14M2U/14M4U & 20M2U/20M4U P6-30 HMPX. 4.79 E6-30 HMEAD 6.99 formats and cassette sizes is possible without the need 13 -inch and 19 -inch Production Monitors P6-60 HMPX. 6.79 E6-60 HMEAD 9.99 of an adaptor. A jog/search dial is standard, including P6-120HMPX L99 E6-1201-IMEAD . 13.99 jog audio. A variety of option boards are available for Sony's best production monitors ever. the PVM-M Series provide stunning picture quality, ease of use and a range of PR Series Professional Grade VHS SDI, SDTI, and i.Link outputs. optional functions. They are identical except that the "M4" models incorporate Sony's state-of-the-art HR Trinitron CRT T-30PR 2.39 T-60PR 2.59 T-120PR.. 2.79 display technology and have SMPTE C phosphours instead of P22. They both provide two selectable audio channel modes: BA Series Premier Hi -Grade Broadcast VHS (In Box) Two channels of 16 -bit (48 kHz) Four channels of 12 -bit HR Trinitron CRT enables the PVM-14M4U and 4:3/16:9 switchable T-30BA ...... 3.69 T -6013A.... 4.19 T-120BA.. 4.99 (32 kHz), PCM Digital Stereo recording is used in both 20M4U to display an incredible 800 lines of aspect ratio. MO Master Quality S -VHS (In Box) modes to ensure superb audio performance with a wide horizontal resolution. The PVM-14M2U and 20M2U True multi -system MOST -30...... 7.49 MOST -60 .. 7.69 MOST -120-....7.99 dynamic range and excellent signal-to-noise ratio. offer 600 lines of resolution. M4 models also use monitors they handle BRS 3/4" U-matic Broadcast Standard (In Box) Automatically adjust for playback of any DV based SMPTE C phosphours for the most critical evaluation four color system KCS-10 BRS (mini)...... 8.99 KCS-20 RS (mini) ...... 9.99 format, including DV (SP only), DVCAM or DVCPRO 25. of any color subject. signals: NTSC. NTSC KCA-10 BRS . 8.99 KCA-20 BRS .9.49 Dark tint for a higher contrast ratio (black to white) 4.43. PAL & SECAM KCA-30 ORS... 10.69 KCA-60 14.99 and crisper, sharper looking edges. External sync input and XBR 3/4" U-matic Broadcast Master (In Box) DSR-2000 Each has two composite, S -Video and component outputcan be set so KCS-10 XBR (min. 9.79 KCS-20 XBR (mini)... _11.29 input (R-Y/B-Y, analog RGB).For more accurate color that it will automatically KCA-10 XBR ... 10.29 KCA-20 XBR. 11.79 DVCAM Editing Recorder reproduction, the component level can be adjusted switch according to the KCA-30 XBR 13.29 KCA-60 XBR 17.39 according to the input system. Optional BKM-101C input selected. BCT Metal Betacam SP Broadcast Master (In Box) (video) and BKM-102 (audio) for SMPTE 259M serial Switchable color temp: 6500K (broadcast), 9300K Snubs 10 Pak/Ea. 50 Pak/Ea. digital input. (pleasing picture), User preset. (3200K to 10000K). BCT-5M (small) 10.99 9.99 .9.19 Beam Current Feadback Circuit Blue gun. underscan and HN delay capability BCT-10M (small) 11.49 10.29 .9.79 BCT-20M (small) 12.99 11.49 10.99 BCT-30M (small) 13.49 12.49 11.99 PFM-42B1 BCT-30ML. 13.49 11.89 BCT-60ML. 20.99 19.99 18.99 Flat Panel Plasma Display Monitor BCT-90ML 30.99 28.99 27.99 PDV Mini Series Professional DVCAM Tape (w/memory chip) Flat Panel AC plasma display monitors are used where (1)(101 Ea. (1) (10) Ea. space and aesthetics are a major consideration. They The DSR-2000 is a highly flexible DVCAM studio deck PDVM-12ME .14.49..13.49 PDVM-22ME ...... 15.19 .14.49 PDVM-32ME ...15.49...14.99 PDVM-40ME ...... 16.99..16.49 designed for demanding ENG editing. It can playback all accept and automatically detect computer and video DV (25 Mbps) based formats, including two consumer signals ranging from NTSC to HDTV and VGA to UXGA. PDVSeries (Standard) Professional DVCAM Tape PDV-34ME .....24.99 _23.99 F'DV-34N 20.99 19.49 DV formats (Standard and Long Play), as well as all 42 -inch screen PDV-64ME ...... 27.99...26.99 PDV-64N. 24.99 26.99 types of DVCPRO tape as an editing source, without any 1024 x 1024 pixel display, with a 160° viewing angle PDV-94ME ....32.99...31.49 POV-94N...... 29.99 28.49 mechanical tape adapters. Equipped with audio/video Aspect ratios from standard 4:3 to widescreen 16:9 PDV-124ME .....38.49..37.49 PDV-124N 32.99 31.99 pre -read editing and includes a Jog/Shuttle dial that Accommodate DVD presentations and widescreen PDV-184ME ....46.49...44.49 PDV-1849 39.99 38.99 allows two -machine editing. A SMPTE standard MPEG broadcasts Mini DV Tape SDTI-CP interface option is available for the DSR-2000 Advanced scan converter reproduces digital video DVM-30EXM w/Chip.. 12.79 DVM-6OEXM w/Chip 16.99 to output an MPEG stream in addition to the optional signals (including SOW, and HDTV) & UXGA DVM-30EX "No Chip" .11.99 DVM-60EX "No Chip"..12.99 LINK interface. This allows the DSR-2000 to seam- DVM-30PR "No Chip".. 7.99 computer signals DVM-60PR "No Chip" .9.75 lessly link to Betacam SX and other MPEG-based video 3.25" thick & weighs 65.5 lbs. Full Size DV Tape with Memory Chip equipment by means of SDI. i.LINK and MPEG SDTI-CP. DV-120MEM 24.99 DV-180MEM 26.99

P 3 ITEMS C l TEWITH ACCE ORIES SUPPLIED BY MANUFACTURER Aniv05- VIDEO and PRO AUDIO mwro! TO INQUIRE ABOUT YOUR ORDER - 420 Ninth Ave. k 800 221-5743 212 239-7765 (Bet. 33rd & 34th St.) OR FAX 24 HOURS: soo 947-2215 212 239-7549 New York, N.Y. 10001 PHOTO - VIDEO - PRO AUDIO

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In . DigiSuite LX MAX DigiSuite Max Turnkey System ( Digital Video Solutions important benefits to streamline editing workflow and let users deliver in Dual Pentium III 1 GHz processor 300 watt Full tower record time on tape, CD, DUD, and the web. Asus CUSL2 motherboard 3.5" floppy Advanced Realtime Features Advanced realtime effects layering on video and graphics 48X CD ROM Drive DigiSuite LX Max The DO/Suite LX MAX platform Realtime broadcast-qualRy 3D digital video effects powered by Matrox IBM 40GB System drive Windows 2000 delivers maximum editing power and Flex 3D curls, distortions, and perspective effects with drop shadows, soft PNY 512MB SDRAM memory creative freedom with more realtime edges and borders. features than any other on the market. Matrox G450 Dual Display Card Native -DV and 50-Mbps MPEG-2 editing It features fully keyframable realtime Adaptec 29160 LVD-160 SCSI Card 30 effects and transitions, an DV (IEEE -1394 component), Y/C and composite support Seagate 73GB LVD-160 SCSI Drive 9' additional 2D effects channel, two Optional SDI and AES/EBU add on module 102 Button Keyboard Realtime MPEG-2 encoding for DVD authoring VUV color correction channels, Microsoft Trackball mouse independent transparency control on Accelerated MPEG-1 encoding for multimedia and Adobe Premiere 6.0 Editing Software all layers, 32 bit animated graphics, Video CD authoring two advanced chroma/luma/matte Includes: Adobe premiere, Inscriber Character 19" Mitsubishi Diamond Plus Monitor keyers, and a customizable wipe/tile Generator, Ligos LSX MPEG, Pixelan Video SP Lite, 90 day Free Tech Support generator DigiSuite LX MAX also brings other and Sonic Solutions DVDit! SE Fully assembled and tested 57,995.00

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Minimum shipping USA (Except AK & HI) $6.95 up to 1 lb. Add 856 for each additional lb. For ins. add 509 per $100. Pricesvalid settled to supplier prices. Not responsible for typographical errors. 0 2001 B&H Photo -Video BAN PAGII 4 The Knowled e You Need For The Tools You Use Introducing Including Mindshare Ventures & Future Media Concepts present: Pro Tools Avid world CONFERENCE WHERE CREATIVITY MEETS TECHNOLOGY

October 7-10, 2001 New Yorker Hotel, NYC The Education and Networking Mecca for Editors and Sound Pros Hone your skills and enhance your creativity by utilizing Avid technology. Learn to unleash the full potential of Avid's tools- Media Composer, Symphony, Avid I DS, Xpress DV, Unity, AvidProNet Review & Approval and Digidesign's Pro Tools. Sessions presented by the nation's leading Avid Certified Instructors and Avid editors- featuring Guest Celebrity Editors from film, TV and music industries. 70 Sessions in All: Media Composer power techniques Video compression and streaming Pro Tools power techniques DVD authoring Finishing techniques for DS editing and compositing Composer and Symphony Editing and shooting HD Technical troubleshooting Bluescreen and tracking techniques for editors Working with After Effects, Photoshop, Graphics and special effects Boris FX and various plug -ins DV Format and its uses Digital HD and Digital Cinematography Production Summit Interactive TV New workflows in a connected world 'The Next Gig" Soiree - A networking and career night for digital media pros

Produced by: In co-operation with: Future Media Concepts 4=11 g i Avid. Avid. esig rib

For more info and to register- www.avidworldeast.com Limited sponsorships available - call Guy Epstein at 212.645.8140 x24.

Primary Media Sponsors: Post prosound Media Sponsors: MIX E. AUDIO MEDIA strpoupo Electronic Musiciao BO=b-o-ams_creativg2_,.ANLI,5'I -Y..)()7. _I RES TV,weNrgor' Producer FILM VIDEO GOVEZE1011,10ENGINEERING 111474 millimeter DIGITALTV When you're delivering a marketing message, success depends on hitting your target audience.

With over 4.5 million subscriber names from 83 trade specific publications, Primedia Business Direct lists offer targeted audiences with detailed consumer information. The majority of our lists are BPA or ABC audited, providing you with the most current data available.

Find out how Primedia Business Direct can meet your mailing and e - messaging needs, to make your next promotion a success. PRIMEDIA Business Direct 866-226-4018 www.primediabusinessdirect.com 7zGALLERy Everything Depeli-4. HORITA" ci.ri the Sure, we could build a sunroof OTL ighting Intoour SCT-50, but do you Tower Lighting Specialists really need one? www.oti.yhting.com So start celivering affordable, reliabe r video content with the PowerVu Pius ' OTL HORITA Originator" Encoder SCT-50 EXTRA LONG LIFE Secure broadcast appl.cations - TOWERS LAMPS 14:12:25 03-17-01 PowerVu' CA and BISS Multichannel systems - On -board mux GUARANTEED The Simple Way to Add Data broadcasting FOR Titles/Captions & Time/Date to O Video - SCT-50 - $329 Built-in color video monitor 50,000 HOURS. Stand alone or RS232 controlled "Industrial 2U profile - ideal for SN ilCG" adds up to 9 lines of 20 characters or Contribution Feeds each of text/symbols. Change size, THE LAMPS contrast, background, position. etc. More affordable. More reliaple. iJTime display can include tenths of seconds. More powerful. Easy to use. CAN SAVE YOU Individual or group control of up to 99 units YJusing a single RS232 port. Includes easy to use DOS "pop-up" screen THOUSANDS editor that maintains 100 separate screens. Battery backed -up internal clock -calendar. OF DOLLARS. Unconditionally Guaranteed 1-800-647-9110 HORITA® Want MORE? I 43, Durkee Street, Office 719 Stuff You Can Use Scientific Plattsburg, N.Y., 12901 Call 770.236.6190 Atlanta Einnging the Interactive Developed in conjunction with www.scientfficatianta.com Experlen.e Home. 11222112=21112611 OSR., Contact your local video dealer or call (949)489-0240 www.horita.com Circle (181) on Free Info Card Circle (180) on Free Info Card Circle (182) on Free Info Card

August 2001 Broadcast Engineering 127 Optical Transport of All your Signals on ONE PLATFORM! TALLY Evertz's fiber product line consists of a comprehensive set of fiber optic conversion and transport products for video, audio, control, datacom and telecom signals. A new Facility Link Platform has been designed to MAPPERTM handle the complex requirements of current and future fiber optic transport for professional video applicatiions. Tally Routing & Mapping One Button Operation

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LTC 4*, Auxiliary GPI/GPO Reference ' Optical Opticalto A Compact Solution, SONE 0.5.111.51 FCn Chan', Ideal for Mobile Units and Multiple Production Setups.

Evertz 7700 Facility Link Platform

Video r Audio r Control ir Telly -u LTC r Datacom r Telecom ' Analog (NTSC.PAL) or Digital Video (SDI,HD-SDLDVB-ASI,310M) ' Embedded or Separate Analog or AES Audio Short Haul and Long Haut Optics Multi -Wavelength (up to 8) on One Fiber or Multiple Fibers Economic expansion with TOM or CWDM (up to 32 SDI on 1 fiber) Videoframe- ' Um -directional or Bi-din3ctiorsal Video and Audio Fully Bi-directional RS -232/422, Datacom and Telecom Signals ' All cards 100% hot swappable Control System Solutions Broadcast Quality VistaLINK". Remote Monitoring and Control (SNMP Compliant) Tel: 530-477-2000 5288 John Lucas grim Burlington. Ont Canada L7L 529 www.videoframesystems.com m Tel: 1 -905-335-3700 Fax, 1.905-335-3573 www.evertz.cont eVertz Circle (183) on Free Info Card Circle (184) on Free Info Card

Broadcast Connectors No Minimums Interested in No Waiting Nonlinear Editing? ICC is an authorized distributor for the worlds finest audio & video For FREE access to highly valuable information simply broadcast connectors. visit TheNLEBuyers Guide atwww.NLEguide.com Order on-line at www.broadcastconnectors.com The NLEBuyers Guide still offers comprehensive technical and operational information on turnkey nonlinear Ib4 conmiernwo itta, editors, stand alone NLE appliances, card and/or software packages, and disk recorders/servers aimed at editing, but now you can: BROWSE our database of over 200 NLE products. SEARCH for specific products by application, type, host platform, video input/output, cost range, manufacturer or name. KEEP UP TO DATE via our free monthly newsletter. Call 800-795-7689 today or The NLE Buyers Guide @ NLEguide.com is a fax your request to 856-722-9425. SYPHA publication. Simply visit http://wwwNLEguide.com

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1 28 Broadcast Engineering August 2001 74eGALLERY

Twinrnatch is the "one-way Matchbox" that's perfect for matching unbalanced CD players and other "play -only" devices. MATCH There are four channels of -10 to +4 DUAL STEREO LEVEL A IMPEDANCE INTERFACE conversion, so you can match two stereo CD players with one IT!! Twinmatch! Direct -coupled circuitry and lots of headroom for absolute sonic transparency. HENRY ENGINEERING 503 Key Vista Drive NY IVKv ^,1,..,NE LRINO Sierra Madre, CA 91024 USA HENRY TEL (626) 355-3656 FAX (626) 355-0077 FEENGINEERING FAX -on -Demand Doc #102 (626) 355-4210 http://www.henryeng.com We Build Solutions.

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ClassifiedsServices

Reflections IN Video

411111111111111.m. RIV ENGINEERING WWW.RIVENSINEERING.COM [email protected] SYSTEMS 111TEBRATIOf1 EFIGMEERIFIO Et SEPOJICE SIFICE 1918 6910 HAYVEN-1UR5T AVE, SUITE 100 VAN NUYS, CA 91406 1 8.787.45, in inn virl P,r

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August 2001 broadcastengineering.com 129 Professional Services

JOHN H. BATTISON P.E. NETCOM Why not run your CONSULTING BROADCAST ENGINEER, STATE OF THE ART ENGINEERING business card here? FCC APPLICATIONS AM, FM, TV, LPTV FOR AUDIO AND VIDEO Antenna Design, Proofs, Fieldwork ENGINEERING DESIGN CAD DRAFTING SERVICES Only $in per insertion. CABLE FABRICATION PRE -WIRED PATCH PANEL RACKS 2684 State Route 60 RD '1 SYSTEM INSTALLATIONS EQUIPMENT SALES Frequency discounts available. Loudonville, OH 44842 (201) 837-8424 419-994-3849 FAX 419-994-5419 FAX) (201)837-8384 Call 800-896-9939 1465 PALISADE AVE. TEANECK NJ 07666 GILMER & ASSOCIATES, INC. D.L. MARKLEY TECHNOLOGY/MANAGEMENT CONSULTANTS & Associates, Inc. Want more information CONSULTING ENGINEERS on advertised products? 2104 West Moss Ave. BRAD GILMER PRESIDENT 2207 RINGSMiTH DR Peoria, Illinois 61604 ATLANTA. GA 30345 Use the Reader TEL 17701414-9952 Phone (309) 673-7511 FAX (309) 673-8128 FAX 17701493-7421 www.dlmarkley.com Service Card. EMAIL Njilmer@atInet corn Member AFCCE

For Sale

Advertising rates in Broadcast En- gineering are $152°° per column inch, www.bcsav Mc PH: 423-585-5827 per insertion, with frequency dis- M FAX: 423-585-5831 SOUND ISOLATION ENCLOSURES counts available. There is a one inch E-MAIL: whisperalcs.ccm We Buy Vocal Booths WEB SITE: minimum. Broadcast Booths www.whisperroom.con Ads may also be purchased By - etc... 116 S. Sugar Hollow Road Trade Morristown, Tennessee 3781: - The -Word for $2.35 per word, per insertion.Initials and abbreviations Consign count as full words. Minimum charge is $50°° per insertion. Frequency dis- & Sell AcousticsFirst counts and reader service numbers not available for by -the -word classi- The Best New & vbr:888-765-2900 fied space. Full product line for sound control Used Broadcast and noise elimination. To reserve your classified ad Web: http://www.acousticsfirst.com space, call Jennifer Shafer at Video Equipment 1-800-896-9939 or 913-967-1732 Fax: 913-967-1735 In The World e-mail: [email protected]

Most Equipment is Warranted, Parts & Labor LOS ANGELES Invest your 818.551.5858 advertising dollars NEW YORK Services 212.268.8800 where your MIAMI ROHDE &SCHWARZ Go With The Best 305.266.2112 Service & calibration of broadcast test prospects invest e-mail: [email protected] & measurement equipment, analog & their time... digital. For information call our toll free Circle (188) on Free Info Card number:1-877-438-2880

Broadcast

High Quality

LOW Cost mini Pack . mounting Ears Jennifer Shafer $285.00 1-800-896-9939 Classified Advertising Manager GMZ Electronics.corn 866 269.8142 mAoLa vureltrmc m

130 broadcastengineering.com August 2001 Equipment Rental

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MEDIA COMPOSER* Maximum Flexibility in a Compact Unit & DRIVE RENTALS MOVING DSR-1500 800. 800 .1361 PICTURE

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H el Help Wanted Broadcast Video Equipment-New & Used

BROADCAST MAINTENANCE ENGINEER: On-line Broadcast Engineer needed for National News TradeList Service NetworkinWashington DC. Extensive BuySell store background in broadcast equipment maintenance. Team leader, minimal supervision, good communication skills, min Phone -018-540-1351 5 yrs experience.Digital knowledge a plus. SONY Fax -515-840-1354 Competitive salary and excellent Benefits. Fax resume, letter c/o Eng. Manager 202-515- www.studio-exchange.com Specilistsa 2217. Email [email protected] Circle (189) on Free Info Card

ClassifiedsHelp Wanted

BROADCAST MAINTENANCE ENGINEERS NOW IS YOUR CHANCE TO WORK WITH THE LATEST TECHNOLOGY IN THE INDUSTRY! CNN has an excellent opportunity for you to take your career to the next level. We are in search of Broadcast Maintenance Engineers with experience in digital audio and video production systems. You will play an integral role in the engineering of our 24 -hour Cable News Networks. CNN is a worker friendly environment that of- Candidate should have an Associate fers a competitive salary, continuing education degree (or equiv.) in electronics and 4 and training. We offer excellent 401K match- years minimum experience as a Maintenance ing, Braves/Hawks/Thrashers tickets, free AOL Engineer working in television. Computer and account, etc. Casual dress, 24 X 7 shift work, Networking skills, and a strong knowledge opportunities for advancement. Chance to train of TV systems are highly desirable. Must be and work on the newest technology. A great able to perform electronic repair and company and a tremendous opportunity to work THE WORLD'S maintenance to the component level. SBE in the technology capital of the South! NEWS LEADER Certification a plus! Send Resumes to: David Costar, Technical Recruiter,cnn.engrfobs@turnercom: 250 Williams St., Ste.1250, Atlanta, GA 30303 EMAIL PREFERRED, no phone calls please!

August 2001 broadcastenglneering.com 131 Broadcast

Help Wanted www.broadcastengineering.com

DIRECTOR OF ENGINEERING: KVBC-TV, Las EDITORIAL Brad Dick, Editorial Director Vegas is just completing an all -digital, fully WE PLACE Jerry Walker, International Editor automatedfacilityandisseekingan Jim Saladin, Senior Associate Editor experienced technical manager to oversee all ENGINEERS TECHNICIANS Laura Collins, Associate Editor Nancy Inwood, Assistant Editor broadcastoperationsandmaintenance. Employer Paid Fees - Confidential Applicantsshouldpossesssubstantial 20 Years Personal Service locations in the Robin Morsbach, Art Director experience in broadcast engineering USA, Canada and Mexico Michael J. Knust, Senior Art Director including maintenance, production, TECHNICAL CONSULTANTS operations, design, and installation. KEYSTONE INT'L., INC. Brad Gilmer, Computers & Networking Knowledge of physical plant construction and Dime Bank , 49 S. Main St., Pittston, PA 18640 USA John H. Battison, P.E., Antennas/Radiation systems as well as applicable laws and Michael Robin, Digital Video Phone (570) 655-7143 Fax (570) 654-5765 Donald L. Markley, Transmission Facilities regulations necessary. Interested applicants e-mail: [email protected] Harry C. Martin, Legal should possess excellent verbal and written website: keystonei nt.com Larry Bloomfield, News Technology Editor communications sills and should have prior We respond to all Paul McGoldrick, Industry Watcher experience in budgeting and capital planning. Employee &Employer Inquiries BUSINESS We offer a competitive wage and a benefits ALAN CORNISH / MARK KELLY ova, John Torrey, V.P. Entertainment Division package. Apply in person at, mail resume to, Dennis Triola, Group Publisher WPLG/TV 10is looking for a television Jennifer Weir, Publishing Director or e-mail resume: KVBC, Channel 3, 1500 Sonja Shaffer, Sr. Advertising Coordinator Foremaster Lane, Las Vegas, NV 89101. NO broadcastengineerwithfiveyears Mary Mitchell, Classified Adv. Coordinator PHONE CALLS PLEASE [email protected] E.O.E. experience to supervise it's engineering Sherri Gronli, Corporate Circulation Director maintenance department. Experience Gayle Hutchens, Circulation Manager 1V ASSISTANT CHIEF ENGINEER: Immediate with studio RF and computer systems are PRIMEDIABusiness Magazines & Media Timothy M. Andrews, Chief Executive Officer openingforanexperiencedBroadcast essential. Send resume to D. Alline, WPLG Ron Wall, President Engineer.Minimum of five years hands-on - 3900 Biscayne Blvd, Miami, FL33137 or Jack Condon, Chief Operating Officer experience. FCC license. Must have strong email [email protected]. M/F/V/D. John Skeels, President, Corporate Services Stephanie Hanaway, Div. Dir. of Marketing electronic and mechanical troubleshooting NEWSROOM ENGINEERING TECHNICIAN: PRIMEDIA Business to Business Group skills. Knowledge shouldinclude UHF David G. Ferm, President/CEO transmitters and studio equipment including Seeking versatile technician with experience in component level maintenance and RF Craig Reiss, Chief Creative Officer switchers, cameras, audio boards, and U- PRIMEDIA Inc. signal coordination. Responsibilities include matic, Betacam, 1 -inch and DVCPro videotape Tom Rogers, Chairman and CEO repair of entire range of ENG equipment from Charles McCurdy, President recorders. Experienced in audio, video and Beverly C. Chell, Vice Chairman network wiring and equipment installation. cameras, recorders and transmitters, to van electronics, as well as coordination of live Show have Windows PC hardware and MEMBER ORGANIZATIONS microwave signals for newscasts. Successful software knowledge. Send resume with salary Sustaining Members of: candidate will have several years experience Acoustical Society of America requirements to: Chief Engineer, WTVZ -WB in broadcastengineeringenvironment. Society of Broadcast Engineers 33, 900 Granby Street, Norfolk, VA23510. Society of Motion Picture and TV En) Experience in TV news and technical degree WTVZ is an Equal Opportunity Employer and Member, American Business Media Member, BPA International --- Drug -Free Workplace preferred. Shift will encompass nights and weekends. Mail resume and cover letter (no Affiliate Member, ra International Teleproduction Society V 11.1 MAINTENANCE ENGINEER/SNV: Ability to calls/faxes) to Brian C. Smith, Director of News Engineering & Technology, WPVI-'IV, maintain studio and transmitter electronic BROADCAST ENGINEERINGis edited for cor- equipmentaccordingtomanufactures 4100 City Ave., Suite 800, Philadelphia, PA porate management, engineers/technicians and specifications,stationpolicyand FCC 19131 EOE other management personnel at commercial and regulations, and perform repairsto the public TV stations, post -production and recording CHIEF ENGINEER: Trinity Broadcasting studios, broadcast networks, cable, telephone component level, inspections, calibrations and satellite production centers and networks. and adjustments so astoassure high station. Experienced in maintenance of standards of all audio and video signals. UHF transmitter, studio systems as well SUBSCRIPTIONS:Non -qualified persons may as personnel supervision and training. subscribe at the following rates: United States Ability to operate Satellite News Gathering and Canada; one year, $65.00. Qualified and Unit a must. Knowledge of FCC Regulations SBE certification a plus. Send resumes to non -qualified persons in all other countries; one Ben Miller.Mail: P. required. Valid Oklahoma Driver's License and 0. Box C-11949, year, $80.00 (surface mail); $145.00 (air mail). Santa Ana, CA 92711; E-mail: Subscription information: P.O. Box 12937, FCC General Class license required. Send Overland Park, KS 66282-2937. resume with salary history to: Kay Ashley, [email protected];Fax:714/665-2101. Photocopy authorization for internal or per- M/F EOE. sonal use is granted by Primedia Business, pro- KFOR-TV, 444 E. Britton Rd., Oklahoma City, vided that the base fee of U.S. $2.25 per copy, OK 73114. EOE plus U.S. $00.00 per page is paid directly to WTXL-1V (ABC) has an immediate Copyright Clearance Center, 222 Rosewood Dr., VVTIC,Fox 61 and WTXX-WB 20, a Tribune opportunity for a "CAN DO" Chief Engineer. Danvers, MA 01923. The fee code for users of the Broadcasting Company, hasanexciting Transactional Reporting Service is ISSN 0361- The qualified candidate must have great 0942/2001$2.25+00.00. For those organizations opportunity for a TRANSMITTER/RF communication skills and the ability to work that have been granted a photocopy license by MANAGER: Requires 3-5 years hands-on with other departments. This individual must CCC, a separate system of payment has been maintenanceof VHF/UHF arranged. Prior to photocopying items for class- transmitters, posses an FCC License. Our Station is headed room use, contact CCC at (978)750-8400. For microwave, andbuildingsystems.This into the Digital Phase and we need someone large quantity photocopy or reprint requirements position is responsible for the day-to-day to lead the way. Our format is DVC-Pro and contact Reprint Management Services, ( 717)399- 1900. For microfilm copies call or write Bell & transmitter, microwave, and building we're firing commercials from a new Digital Howell Info., 300 N. Zeeb Rd., P.O. Box 1346, maintenance, and compliance with FCC and ASC/Leitch video server. If you want to live in Ann Arbor, MI 48106-1346. Phone: (313)761- OSHA rules. FCC General Class license and/or Sunny Florida, this could be your chance. 4700 or (800)521-0600. SBE Certification required. Please forward Please rush your resume to Denis LeClair VP/ PRIMEDIA resume and salary requirements to: Human GM WTXL-TV7927ThomasvilleRoad Business Magazines & Media Resources, WTIC TV, One Corporate Center, Tallahassee, FL 32312 fax (850)668-0423, e- ©2001, PRIMEDIA Business Magazines & Hartford, CT 06103 EOE M/F/V/D mail [email protected] EOE Media Inc. All rights reserved.

132 broadcastengineering.com August 2001 Broadcast Engineering is not responsible Ad Index for errors in the Advertisers Index Sales Offices

Page Reader Advertiser Website WEST Serviette Hotline Address Duane Hefner AJA Video 90 149530-274-2048aja.corn 5236 Colodny Ave., Suite 108 Anton/Bauer 51 131 800-422-3473antonbauer.com Audio Engineering Society 119 212-661-8528 Agoura Hills, CA 91301 Avid Technology 45 128800-949-2843avid.com (818) 707-6476 Avid World Trade Show 126 212-645-8140 Fax: (818) 707-2313 Axon Digital Design 43 127314-241-4500 axon.n1 [email protected] Barconet 35 120770-590-3600barconet.com Belden 55 136 800-BEL-DEN4belden.com Bexel Corp. 89 148800-842-5111 broadcastvideogear.com EAST B&H Photo -Video 122-125 168212-239-7500bnhphotovideo.com Josh Gordon Broadcast Microwave Services 60 172619-560-8601 bms-inc.com 335 Court Street, Suite #9 Broadcast Store 130 188818-551-5858broadcaststore.com Brooklyn, NY 11231 Calrec Audio Ltd. 69 143 142-284-2159calrec.com (718) 802-0488 Charter/ABS 85 146404-351-9545www.absvideo.com Fax: (718) 522-4751 Ciprico 33 118763-551-4000ciprico.com DDB 100 170580-444-2684ddbunlimited.com Dielectric 67 142207-655-4555dielectric.com EAST/MIDWEST Digital Vision 98 155 digitalvision.se Joanne Melton Discreet Logic 47 129800-869-3504discreet.com 5 Penn Plaza, 13th Floor DK Audio 54 135+454485 0255dk-audio.com New York, NY 10001 17 110415-645-5000dolby.com Dolby Labs Inc. (212) 613-9709 Domore, Inc. 100 171 219-293-0621 domoredo3.com DTV 110 800-453-9621 dtvconference.com Fax: (212) 563-3025 ESE 64 165310-322-2136ese-web.com [email protected] Euphonix 15 109650-855-0400euphonix.com Evertz Microsystems Ltd. 128 183905-335-3700evertz.com INTERNATIONAL Extron Electronics 21 112714-491-1500extron.com Richard Woolley Folsom Research, Inc. 83 145888-414-7226folsom.com For.A Corporation of America 61 139212-861-2758for-a.com Tony Chapman Fujinon, Inc. 65 141 973-633-5600fujinon.com P.O. Box 250 Grass Valley 81 144800-998-3588grassvalleygroup.com Banbury, Oxon OX16 8YJ U.K. Hamlet Video Int. Ltd. 38 122310-457-4090hamlet.us.com +44 (0) 1295 278407 Harris Corp./Broadcast Div. 3 104800-4HARR1Sharris.com Fm: +44 (0) 1295 278408 henryeng.com Henry Engineering 129 186626-355-3656 [email protected] Horita 127 182949-489-0240horita.com BC 103 158 ibc.org Bus 93 151 888-307-7892ibus-phoenix.com REPRINTS kegami 59 138201-368-9171 ikegami.com Reprint Management Resources DX Technologies 46 176310-891-2800idxtek.com (717)399-1900 nscriber Technology 37 121 800-363-3400inscriber.com Fax: (717)399-8900 ntelligent Paradigm 91 150847-413-1808intelligentparadigm.com nterstate Connecting 128 185856-722-5535 telco 59 138303-464-8000itelco-usa.com JAPAN Keywest Technologies 34 119800-331-2019keywesttechnology.com Orient Echo, Inc. KTech Telecommunications 31 117818-361-2248ktechtelecom.com Mashy Yoshikawa Leader Instruments Corp. 111 175800-645-5104leaderusa.com 1101 Grand Maison leitchinc.com Leitch Incorporated BC 103800-231-9673 Shimomiyabi-Cho 2-18 Mackie Designs Inc. 7 105800-258-6883mackie.com Mager Systems 112 166623-780-0045magersystems.com Shinjuku-ku, Tokyo 162, Japan Marconi Applied Tech. Inc. 105 113914-592-6050marconitech.com (3) +81 3235-5961 Marcell Corp. of America 11 107800-533-2836maxellpromedia.com Fax: (3) +81 3235-5852 Midas, An EVI Audio Co. 109 163 156-274-1515 Miranda Tech. Inc. 9,87-106,147514-333-1772miranda.com CLASSIFIED ADVERTISING Modulation Sciences 99 156800-826-2603modsci.com NetWork 113 167631-928-4433networkelectronics.com OVERLAND PARK, KS O'Connor Engineering 63 140714-979-3993ocon.com Jennifer Shafer OTL 127 180450-444-7009otlighting.com P.O. Box 12901 Panasonic Broadcast & Digital 5 800-528-8601 panasonic.com/broadcast Overland Park, KS 66282 Prime Image Inc. 95 153408-867-6519www.primeimageinc.com (800) 896-9939(913) 967-1732 Radio TV News Dir. Assoc. 106 161 202-659-6510 rInda.org/conventIonP2001.shmtl Fax: (913) 967-1735 Reflections in Video 129 187818-787-4552 Rohde & Schwartz 42 126301-459-8800rsd.de Rohn 107 162309-697-4400rohnnet.com LIST RENTAL SERVICES Ross Video Ltd 97 154613-652-4886rossvideo.com Lisa Majewski Sachtler Corp. 23 173516-867-4900sachtler.de 9800 Metcalf Scientific-Atlanta, Inc. 127 181 770-236-6189sciatl.com Overland Park, KS 66212-2215 49 130858-618-1600scopususa.com Scopus Network Technologies (913) 967-1872 SeaChange 13 108978-897-0100schange.com Sigma Electronics, Inc. 101 157717-569-2681 sigmaelectronics.com Fax: (913) 967-1897 Snell & Wilcox Ltd. 28-29 408-260-1000snellwilcox.com Snell & Wilcox Ltd. 39 116408-260-1000snellwilcox.com Snell & Wilcox Ltd. 41 125408-260-1000snellwilcox.com CUSTOMER SERVICE: Sony Recording Media 25 114 800-439 -SONYmediasony.com 913-967-7107 OR 800-441-0294 Stagetec GMBH 27 115+49 954 5 440300 stagetec.com 131 189818-840-1351 www.studio-exchange.com Studio Exchange BROADCAST ENGINEERING (ISSN 0007-1994) is 120 164972-444-8442SundanceDigital.com Sundance Digital published monthly (except semi-monthly in May and Sypha 128 www.NLEguide.com S 2 One, Inc. 106 160509-891-7362s2one.com December) and mailed free to qualified persons by Telecast Fiber Systems Inc. 26 169508-754-4858telecast-fiber.com Intertec Publishing, 9800 Metcalf, Overland Park, KS Telemetrics, Inc. 40 124201-848-9818telemetricsinc.com 66212-2216. Periodicals with Ride -Along Enclosure Telex 19 111 877-863-4169telex.com postage paid at Shawnee Mission, KS, and additional TeraNex 53 133407-517-1086teranex.com mailing offices. Canada Post International Publications Trompeter Electronics 52 132805-497-6400www.trompeter.com Mail (Canadian Distribution) Sales Agreement No. VideoFrame 128 184530-477-2000videoframesystems.com 0956295. POSTMASTER: Send address changesto Broad- Videssence 22 134626-579-0943videssence.tv cast Engineering, P.O. Box 12902, Overland Park, KS VideoTek, Inc. IBC 102800-800-5719videotek.com 66282-2902. CORRESPONDENCE: Editorial and Ad- Wheatstone Corporation I FC 101 252-638-7000wheatstone.com vertising: 9800 Metcalf, Overland Park, KS 66212- Winsted Corporation 57 137800-559-6691 winsted.com 2216 Phone: 913-341-1300; Edit. fax: 913-967-1905. Zandar Technologies 94 152+353 1 2808945zandar.com Advert. fax: 913-967-1904. ©2001 by Intertec Publish- ing. All rights reserved.

August 2001 broadcastengineering.com 133 Branding irons BY PAUL MCGOLDRICK

putting brand marks on products isthe company's URL. But in 1987 (April threats. That didn't work, what with as old as the complete history of30) the company changed its name tothe expenses of expanding, and two manufacturing. Makers' marks haveAllegis. Whatever that name was sup-players have become dominant - Car- been added to just about everythingposed to mean (and at the time thelton and Granada. Those are both high- that has involved humans; they havecompany boasted that the name wasly recognized brand names. been carved into the beams of the roof-invented by a computer) it was certain- Advertising revenues have plummeted ing in homes and the edges of drawersly not obvious to its customers. Thein recent years and the expenses of DTV in furniture, they have been signaturesname stuck for just over a year beforehave been dramatic. A little known and on pictures, and they have graced finethe company regained its senses. singularly unsuccessful digital entertain- jewelry in the form of hallmarks. Even today we them: semiconductor designWe have gone through some really silly engineers add caricatures in silicon and automotive engineers placing text be-corporate name changes that have thrown hind the seat cushions of a hand -made cars. But most brand marks are meant away branding efforts. to be visible - they are boost ymarket recognition, making you better known. When you see the name "General Elec- In electronics we have the same inexpli- ment channel was branded as ITV2 at its tric" you understand that the business, cable changes being made. When Hewlett- launch. Now the mainstream indepen- at least initially, has something to doPackard decided to make the printer dent channels are being re -branded as with electrical products. Some of the manufacturing and sales part of its busi- ITV1, which will confuse a lot of people company's related operations also have ness a different entity to the rest of the who have no knowledge of ITV2. To add names that are obvious in their activi-company, it didn't re -brand that remain- to the pile of confusion, the digital DTV ty, like the National Broadcasting Com- ing business with something obvious. No, service, ONdigital, (owned by Carlton/ pany (NBC). But what does a companyit gave the HP name away to the printers Granada) will throw away the market- like Avaya do? Has it built a brand nameeven though the company was founded ing it took to create that brand by renam- with a word that is apparently mean- on its test and measurement roots. I still ing it ITV Digital. And its Internet on TV ingless? If you are a customer of the twitch on hearing the Agilent name. service will throw away its ONnet name company's communications products Or how about Agere? What is it? to become ITV Active. The ITV Digital you are probably aware of the name, but Why, it's Lucent's Microelectronicsproduct name sounds like a DTV re- if you are not it is probably unknownspin-off. It seemed bad enough losing broadcast of ITV (1 or 2?), while the ITV and completely non -descriptive. the Bell Labs name to Lucent in theActive product name sound more like an The word "branding" has beenfirst place, but then you throw awayinteractive service of some kind. coined, and there are now brandingthose years of branding again? Bi- But while the public in the UK is being managers whose job itis to focuszarre. The crown jewels of Motorolaconfused by those name changes, the advertising to make their brand bet-- its semiconductor product sector - British Post Office renames itself Consi- ter known and recognized. But dur- spun off as ON Semiconductor. Why?gna. Yes, branding created with the in- ing the years that brand has been Broadcasters also have begun namevention of the Penny Post is to become understood for its importance, wechanging. Independent Television (ITV) history. Why don't you Consigna (or, also have gone through some reallystarted in competition with the BBC in better yet, e-Consigna) me with your silly corporate name changes that1955; under the authority of the Inde- worst examples of re -branding, and may- have thrown away the efforts of thependent Television Association (ITA), be we'll revisit the topic in the future. few who focused on branding. franchises were awarded by geograph- The rot started with United Airlinesical territory, with two franchises for Paul McGoldrick is a freelance industry con- which started off as a three word com-London (one for weekdays, one for the sultant based on the West Coast. pany - United Air Lines (UAL) -aweekend) so that the wealth would be style that is still used internally for the St ND Send questions and comments to: spread about. Franchise renewal times [email protected] parent corporation and on things likewere fraught with deals, lobbying and

134 broadcastengineering.com August 2001 Thankyou to all of our friends in the Television Industry!

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