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BEW0213 Billing.Pdf www.aja.com Futureproof your workflow Unite HD, 2K, and 4K, with breakthrough features and proven quality. The jump to 4K is just around the corner. Ki Pro Quad is the premier on-set solution for direct camera recording and monitoring. Enabling the very highest quality workflows, Ki Pro Quad lets you work with 4:4:4 or 4:2:2 HD, 2K, and 4K in one compact and affordable package. Easily mounted to any compatible camera, Ki Pro Quad can simultaneously record 10-bit 4K ProRes, feed 4K and HD monitors and pass camera RAW data direct to Thunderbolt™- enabled computers or storage. No matter what format you’re shooting, you’ll already have everything you need. Powerful 4K monitoring Record ‘ready-to-edit’ Apple ProRes Capture 4K RAW via Thunderbolt™ Ki Pro Quad can work with raw sensor data Simultaneously record Apple ProRes 422 or ProRes From the new Canon C500, record pristine by debayering the image and outputting to 444 files directly to rugged yet compact SSD modules uncompressed RAW camera data to a drive array, SDI, HDMI or 4K monitors, all in real time. - ready for use immediately in post-production. the ultimate in image quality. Find out more information at www.aja.com Because it matters.™ See us at NAB Booth C4937 WHEN IT REALLY MATTERS... Real-Time Networks for Video, Audio, Data and Communications WUPPERTAL | BEIJING | BERLIN | GLENDALE | LONDON | MOSCOW | SÃO PAULO | SINGAPORE | SYDNEY | VIENNA | ZURICH www.riedel.net TABLE OF CONTENTS VOLUME 55 | NUMBER 2 | FEBRUARY 2013 WORLD EDITION FEATURES 24 The evolution of news Newsroom computer systems must be fl exible to meet new requirements. 24 28 SPECIAL REPORT: BUILDING FOR TOMORROW ON THE COVER: 30 Managing video assets A newsroom computer system now must Growing waves of video content can cater for delivery of news to many devices wreak havoc for broadcasters if they don’t beyond the linear television model. have a sturdy DAM solution in place. 32 Broadcast storage strategy There are four essential 28 tiers to data storage. 34 IP networking Advantages are chipping away at classic fears about IP for contribution-level broadcasting. 37 The 4K picture 4K has professionals on all production levels embracing both its benefi ts and the challenge of data-intense workfl ows. BEYOND THE HEADLINES DOWNLOAD 10 Images with impact Video walls can boost the appeal and value of live programs. 34 TECHNOLOGY IN ACTION 14 Delivery to the Internet New systems ease the task of getting content online. continued on page 6 DIGITAL EDITION EXCLUSIVE FEATURES! 10 We’re adding new interactive features to our digital edition! Look for icons in the table of contents to fi nd out which articles have these special functions. 4 broadcastengineeringworld.com | February 2013 Accept nothing less Your DSNG truck deserves it Upgrade your fleet to Kyrion CM5000, the best in class contribution encoder, designed to help satellite up-link professionals navigate unexpected obstacles. • Meets all DSNG requirements: SD & HD, MPEG-2 & MPEG-4, 4:2:0 & 4:2:2, 8-bit & 10-bit, up to 1080p60 • Complete front panel access with video monitoring • Boots faster, whisper-quiet in operation, easy web graphic user interface • Modular design with optional second video channel or built-in DVB-S/S2 modulator Input TABLE OF CONTENTS (CONTINUED) Gain 18 control VOLUME 55 | NUMBER 2 | FEBRUARY 2013 Block DIGITAL HANDBOOK switching/ Coded Psycho- filterbank stream TRANSITION TO DIGITAL acoustic Bit-stream formatter 18 Next-generation broadcast model Evolving technology brings Spectral processing broadcasters better sound. COMPUTERS & NETWORKS Quantization/ 20 Ethernet and IP noiseless Both on the OSI hierarchy, their coding difference is in layers. PRODUCTION ROOM 22 Video and signal conversion, part 1 20 User applications Converters must keep pace with video format changes. Application protocols NEW PRODUCTS & REVIEWS RTP Layer 4 TCP UDP 39 TECHNOLOGY IN TRANSITION Ka-band Ka-band IP-over-satellite systems are Layer 3 Network becoming an attractive alternative to SNG. 41 NEW PRODUCTS Layer 2 Data link Broadcast Pix’s Video Control Center 3.2 and more ... Layer 1 Physical network DEPARTMENTS 8 EDITORIAL 22 42 CLASSIFIEDS 42 ADVERTISERS INDEX GET CONNECTED! Join us through social media at Facebook 39 (www.facebook.com/broadcastengineering) and Twitter (www.twitter.com/BE_magazine). Learn more at www.broadcastengineeringworld.com JUST THE FACTS! The key message from a recent meeting of the EBU’s Broadcast Technology Futures group was that broadcasters are at risk of repeating an old mistake in multiscreen and hybrid TV by making standards too complex. Learn more at www.broadcastengineeringworld.com 6 broadcastengineeringworld.com | February 2013 We focused on what a channel needs. Not on the box. We created ICE. ICE is the only channel-in-a-box designed from the point of view of the channel rather than the box. Delivering robust, scalable and affordable operation whether you have one or 100+ channels. n Advanced 3D Graphics n Format and Aspect Conversion n Multi-channel Audio n Wide Range of File Formats n Closed Captioning n Automated Quality Control & Subtitles n Integrated Delay Server Routing & Multiviewers Modular Infrastructure Conversion & Restoration Live Production Automation & Media Management snellgroup.com/ICE Control & Monitoring EDITORIAL DEPARTMENT Will 4K cut it? have just returned from the 2013 Production 10-bit rather than 8-bit cod- Technology Seminar hosted by the European ing, delivering higher dy- Broadcasting Union (EBU). The Union is an alli- namic range image (HDR). ance of public service media organizations, with the BT.2020 also allows constant Iconsequence that its members are willing to lift the lid on or nonconstant luminance their workfl ows in a way that many commercial organiza- coding, and that is another big issue. tions can prove more reluctant. The Union is also able to Broadcasters and studios have yet to fi gure out the undertake research into broadcast technology, and this is commercial advantage of using HFR, HDR and higher what particularly interested me. resolutions like 4K, and issues like constant luminance Both broadcasters and viewers are being pressured by coding, although more effi cient to compress, will cause CE vendors to embrace 4K in order to sell new displays backwards-compatibility issues. to everyone who has bought an HDTV, possibly with 3-D HFR, HDR and 4K all increase bit rates way more than support — ongoing obsolescence. During the seminar, a any gain from HEVC over AVC. viewing test was con- The CE guys are leading the ducted that compared pack, but who will follow? 3-DTV video sequences in I would call the assembled seems to have fallen below their the UHD-1 format viewers experts, yet the tests expectations, so 4K is the next fo- (3840 x 2160 pixels, cus. Ask your nontechnical neigh- 50fps, progressive) showed the advantage of 4K bor: “Would you prefer constant with HD — 1080i, over HD was marginal at a luminance coding, wider gamut, 1080p and 720p, all normal viewing distance. 10-bit 4K pictures or social media uncompressed. The apps on a second screen linked tests used the recom- to a conventional HDTV?” I mended viewing distance of 1.3 times screen height and must presume no one will turn down improved picture the typical viewing distance of 2.7m. I would call the as- quality at no extra cost for the service, but what will be sembled viewers experts, yet the tests showed the advan- the premium? I sense a lot more buzz about the release tage of 4K over HD was marginal at a normal viewing of the latest smartphone than a 4K OLED TV with 22.2 distance, and measurable, but not huge, at the 1.3 times surround sound. screen height viewing distance. Future tests will be con- I believe consumer technology is getting ahead of the ducted with compressed material, as artifacts may well business models, much as mobile TV did back around change the results. 2006. I’m sure we will get there, but not this year. It is challenging to conduct proper tests right now. Most I await the results of the projected viewing tests that the engineers outside the fi lm community accept that higher EBU is planning. They should cut through the hype of the static resolution needs a higher dynamic resolution or CE marketeers. These same guys use 4K as it is a much frame refresh rate. In other words, motion artifacts look bigger number than 1080 — no matter one is the picture bad at 4K and worse at 8K. This is why NHK has chosen width (rounded to one signifi cant fi gure), and the other is 120fps for 8K Super Hi-Vision. the picture height. BE But can you fi nd a 4K display that operates a frame rates above 30? HDMI 1.4 does not even support 60fps 4K. That awaits ratifi cation of HDMI 2.0, expected later this year. As a consequence, displays have to be kludged with tiled inputs (four quadrants) to display UHD-1 sig- nals. Any consumer who rushes out and spends huge sums on a 4K display is going to be sorely disappointed when high-frame-rate video sources become available. This is DAVID AUSTERBERRY, EDITOR defi nitely not a time to be an early adopter. Send comments to: [email protected] There are several issues beyond HFR, including the wider gamut specifi ed in BT.2020 (the ITU standard for UHDTV) which has a wider color space than Rec. 709. UHDTV could also use a greater bit depth, possibly 8 broadcastengineeringworld.com | February 2013 NOW WITH FREE UPDATE Introducing the world’s most advanced live production switcher! ATEM More Connections switchers include advanced technology and powerful features, all built ATEM includes loads of SDI and HDMI connections for into a familiar M/E design that’s fast and easy to use! With an advanced professional SDI cameras or HDMI consumer cameras! broadcast SDI based design, ATEM also includes HDMI connections for All inputs feature re-sync so you can plug in anything! connecting HDMI consumer cameras or computers! The new ATEM has You get 6 program outputs in SDI/HD-SDI, HDMI, HD been totally redesigned with Blackmagic Design technology and quality.
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