ibc daily 2009 day three

theibcdailyThe official newspaper of IBC

And the winner is…Tonight sees the IBC Awards Ceremonyin the Auditorium and all are welcome. 0

Digital cinematographyA unique opportunity to hear about thelatest research by the world’s leadingpractitionersPage 12

Allocating spectrumBroadcasters may lose out onspectrum to other services. Aconference today adresses how toachieve a fair allocation for all.Page 14

D-cinema developmentsToday at 15:45, the European DigitalCinema Forum (EDCF) and the Societyof Motion Picture and TelevisionEngineers (SMPTE) will look at some ofthe technical challenges of d-cinema inpost production Page 16

Riders on the stormHow are UK post production and studiobusinesses adapting in the face ofrecession, dwindling advertisingrevenues and smaller productionbudgets? Discover the results of a pollPage 18

Is it easy being green?How realistic are the G8 targets of an80% reduction in CO2 by 2050 – andwhat are the implications for thebroadcast industry?Page 20

Can you see the ball?Issues regarding HD on a mobilePage 22

Exhibitor listingComplete with stand numbers and floorplans for the entire RAI CentrePage 33

SUNDAY 10 SEPTEMBER 2006

Published on behalf of the IBC Partnershipby United Business Media Limited

www.ibc.org

SUNDAY 13 SEPTEMBER 2009

Insideby David FoxFor the first time, sales of non-tapecameras have taken a majority ofcamcorder sales in the Europeanprofessional and broadcast marketwith sensors of 1/3-inch or larger.

The latest figures, for the quar-ter from April to June 2009, revealthat 50.84% of sales from all man-ufacturers selling in the EU wentto tapeless systems. This included7.29% of hybrid camcorders thatcould record tape and tapeless(although sales of such camerashave been declining steadily sincelast year when they reached apeak of 24.23% of the market).Sales of fully tapeless systemshave trebled over the same period,according to figures from Future-source Consulting.

Panasonic appears to havebeen the biggest winner from this.Its HPX301 camcorder, intro-duced at NAB, has taken onethird of the market for tapelessshoulder-mounted, 1/3-inch or 1/2-inch sensors under €10,000, injust one quarter. It already has an85% share of broadcasters thathave gone tapeless.

“Everybody in the industryknows that solid state is the future.There is no question about it,” saidJaume Rey, its director, Provideo &Broadcast IT Systems, Europe.

He bel ieves that the rapidchange in broadcasters’ purchaserequirement is largely due to therecession. “People are very carefulabout spending money and areworried that if they don’t buy

solid state they will be left behind.Because access to finance is sohard, investments must last longer.So, what’s the point in choosing a

tape-based format when I knowtape is declining?”

He talked to a broadcasterlast year that had just invested ina lot of SD camcorders, who jus-tified the purchase by the factthat they would be replaced inthree years; now he doubts thatany CFO would allow such ashort-term choice.

Hybrid systems may haveseemed a good interim measure, buthe believes that their rapid decline isbecause broadcasters no longer wantto “stay on a bridge. They eitherstay tape or go tapeless.”

By going tapeless he maintainsthat broadcasters will benefit notonly from a faster, more efficientworkflow, but also help the envi-ronment through lower powerconsumption – Rey will deliver thekeynote at today’s session: ‘What is the cost of not being green?’Room L, 15.30.9.D18

by Adrian PenningtonThe IABM has announced thewinners of its Design and Inno-vation Awards for 2009, includ-ing the coveted IABM PeterWayne Award for Design andInnovation. Winchester Electron-

ics collected this accolade for itsFiber Optic Video Jack.

“We are excited and honouredto have won this prest ig iousaward and the opportunity tosubstantiate our leadership in the design, development anddeployment of interconnect tech-nology globally,” said MichaelDriscoll, CEO and President,Winchester Electronics.

The four IABM Awards forExcel lence were awarded toAppear TV, JVC, Ocean BlueSoftware and Phabrix.

With almost 80 entrants, thecompetition for the awards ismounting year-on-year and is an indication of the growingimportance of the IABM to thebroadcast and media technologyindustry. The IABM has nearly300 member companies, who col-lectively represent more than 80%of the global revenue for thebroadcast and media technologyproduct business.

IABM rewards Innovation

Huge Studer order: Studer has received its largest ever single order, the consolemanufacturer announced yesterday. The BBC will take delivery of around 85Studer OnAir digital audio mixing consoles – different configurations of themodular 3000 system, in fact – over the next two years. Some will be deployed inthe second phase of the rebuilding of the Portland Place London HQ, where morethan 50 studios are to be built for use by the BBC’s World Service and Newsdivisions. In addition, at the new MediaCityUK broadcast centre in Manchester,the BBC will be installing 25 OnAir consoles to provide state-of-the-art digitalstudios for the Corporation’s domestic radio services such as BBC 5 Live.Pictured: Studer Professional Audio Sales Director, Andrew Hills (left) and ProductManager, Axel Kern. – Dave Robinson8.D60

Jaume Rey: “Everybody in the industryknows that solid state is the future”

Centre: Michael Driscoll, CEO, WinchesterElectronics, accepts the IABM award

Sky 3D’s Gerry O’Sullivan – See page 8

Tapeless takes charge

IBC09 D3 p1.qxp 12/9/09 19:25 Page 1

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IE/OTO/PSN/TVBE Page Template 25/8/09 15:54 Page 1

theibcdaily

THE IBC DAILY SUNDAY 13 SEPTEMBER 2009 3

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by George JarrettThe pre-eminence of the DVB in theart of setting standards is in evidenceon three fronts at IBC – DVB-T2, thearrival of DVB-C2 as the technicalsaviour of the cable business, and thesensible decision to give GEM prior-ity over the original MHP document.

Peter Siebert, executive directorof the DVB Project Office, startedwith DVB-T2. “The standard is nowone year old, and we have the com-plete equipment chain of gateways,modulators and de-modulators,measurement kit and set-top boxes,”he said. “We have the chip sets fromSony for the de-modulator, andbroadcasters have definite plans forrolling T2 out. The UK will havedone so by the end of the year.

“The licence scheme has alsobeen finalised, so vendors knowprecisely how much they have topay for implementing T2. TheETSI standard has also been pub-lished, so everything is there for asuccessful roll out,” he added.

The spec for DVB-C2 wasfinalised in mid April, and it gives

cable companies so much moreflexibility regarding the data rateper channel, plus services with dif-ferent protection levels within asingle channel.

“DVB-C was published back in1994, and it still works very nicely.Having a second generation doesnot mean it is defunct,” saidSiebert. “The spec for DVB-C2 hasbeen finalised and the validation of the standard is being tested,

checking that what is written isunique, and there are no hidden flaws.

“In parallel we are working on the implementation guidelines, andthe chip set vendors are starting tofacilitate it. Within the last week, nineof Europe’s top cable operators,covering 35 million homes, signed awelcoming document,” he added.“Those cable operators have oneproblem – they are running out ofcapacity. Within five years they areexpected to choke for it – and it is theirHD services that are testing them.”

GEM (Globally ExecutableMHP) has been extended to coverIPTV. “MHP came first, and thenGEM only referenced part of thestandard,” said Siebert. “Wereversed the priority of the docu-ments so that GEM is now themaster. This makes it easier forother groups to use what they wantfrom the feature set of MHP.

“There are about 40 millionMHP GEM enabled devices inthe market , and for the t imebeing we have a complete stan-dard,” he added.

DVB Project stresses itsstandards pre-eminence

by Adrian PenningtonTelevision New Zealand (TVNZ),the country’s largest media organisa-tion, has contracted TSL to design,procure and install a new file-basedworkflow and media asset manage-ment system at its broadcast facilityin Auckland. “This agreement is the

latest step in our journey to becomefully digitised,”explained Peter Ennis,broadcast technology manager,TVNZ. “Following an extensivereview of the technical infrastructurerequired to accelerate our move to afully digital broadcast operation, wehave embarked on a major infra-structure transition programme.

“Because of the multiple plat-forms we are required to address,it’s essential to move to a modernfile-based workflow and assetmanagement system that candeliver the efficiencies required inthis new environment. We believeTSL’s expertise will ensure the suc-cessful delivery of this complexintegration project on time and onbudget, that will allow us to trans-form our work practices andworkflows throughout TVNZ.”

The TSL-designed system

includes technology from Vizrt,Harris, Snell, Omneon, Mirandaand Axon. The ability to interfacewith, and migrate from, legacyequipment is also a significantaspect of the overall transformation.

TSL CEO David Phillips added:“What makes this project differentthan most is that we have alsoassumed the role of risk manager,which is a significant step-change tothe traditional responsibilities of asystems integrator. This approachenables the client to focus itsresources on day-to-day operationswhile the SI assumes full responsi-bility for any potential liability in thetransition to a new way of working.It is important to point out that thisis a collaborative effort with third-party suppliers in whom we haveplaced our confidence and trust.”10.B41

Peter Siebert: “Cable operators have aproblem: they are running out of capacity”

TVNZ transitions with TSL

TSL CEO David Phillips (left) and Peter Ennis,Broadcast Technology Manager, TVNZ

by Carolyn GiardinaDigital Rapids has announced twobig deals at IBC. In the first, Lanlink,a Swedish systems integrator for theTV broadcast industry, revealed thatit is installing Digital Rapids technol-ogy as part of a complete compliancemonitoring and archiving system forSweden’s public broadcaster SVT.

This includes 27 channels of Dig-ital Rapids’ StreamZ Encoders and20 channels of Broadcast Managerlive streaming encoding manage-ment tool, along with a custom man-agement system from Lanlink.“They are currently sending VHStapes to the Royal Library for archiv-ing. Now they will be using files,”said Lanlink manager Peter Lilja(pictured left with Digial RapidsProduct Manager, Peter Kavanagh),reporting that installation is under-way and SVT is expected to beginusing the new workflow in January.

Separately, Digital Rapids VPAsia, Nick Fitzgerald, reported thatDigital Rapids technology was chosen as part of a deal to deployBeijing telco miniV.tv’s mobile net-work. The company will provide theheadend for streaming live contentto mobile devices and encoding thefilms to uplink to the VoD services.That includes four channels andVoD of StreamZ Live Encoderswith Broadcast Manager for moni-toring of streams and redundancy.

The mobile content will includenews, sports and entertainment.The network launches in October,and is expected to quickly grow toreach one million subscribers.

“We have done 100 channels ofstreaming of the Olympics inChina, but this involves use in themobile market and strengthens ourmarket position,” Fitzgerald said.7.G41

Rapid deals on stream

Virgin signs with Bridge: The VideoBridge system has been selected to providethe monitoring solution for Virgin Media’s digital broadcast TV platform. VirginMedia will roll out an all-IP broadcast installation at its 54 headends and fourcore IP sites to complement its existing VoD IP infrastructure. BridgeTechnologies will provide the VideoBridge IP probes, servers, and software toensure comprehensive continuous remote monitoring and fault analysisthroughout Virgin Media’s broadcast TV IP infrastructure. Pictured on Stand1.A30, Bridge Technologies Chairman Simen Frostad (left) and Alistair Crook,head of TV operations, Virgin Media.

IBC09 D3 p3 12/9/09 17:30

by Farah JifriOmneon has inked a strategicpartnership agreement with Russ-ian State Television and RadioCompany (VGTRK) that will seeOmneon nominated as the broad-caster’s preferred Media Serverand Active Storage vendor. Theagreement follows on from andbuilds on multiple installations of

Omneon’s Spectrum server atVGTRK’s main playout facility, aswell as at a number of its stationsincluding RTR Sports and Cul-tura TV. Omneon has also sup-plied Media Servers to 11 of thebroadcaster’s regional stations.

“We have a long-standing rela-tionship with Omneon and theyhave proved their reliability with

the exist ing systems we haveinstalled. This deal takes our rela-tionship one step further,” saidAlexey Zemskiy, deputy generaldirector and head of productionand technology at VGTRK. “Thepresence of local support wasanother important factor for us.”

Under the terms of the agree-ment, Omneon will provide extrasupport and services, technologytransfer and product roadmap vis-ibility to enable VGTRK to roll-out Omneon products across theirregional studios.8.B60

IBC visitors can get training forfree at the Production Village inHall 9, with hourly seminars inthe main training room, as well asclinics for smaller groups andeven one-to-one sessions with allthe trainers.

Today ’s se s s ions : LargeGroup Training – 10.00 Lightingon the run; 12.00 Picking theright high-end camera for thejob; 13.00 Audio – Simple SoundAdvice; 14.00 The Art of SoftLighting; 15.00 Workflows onlocation; 16.00 What we see:Foundations of Colour Science;17 .00 Camera suppor t forbudget shooting.

Small Groups On Set – 13.00Practical Operational Tricks;14.00 Film vs HD; 15.00 Practi-cal Shooting Interviews; 16.00Lighting solutions clinic; 17.00Technical Clinic.

“There will also be plenty ofopportunity to get a one-to-onesession with any of the trainers(bookable at the reception desk in

Hall 9, as all of our sessions are),and we are more than happy tocontinue answering questionsafter our sessions – especially if itinvolves a drink at the bar in theVillage,” said Christina Fox, whospecialises in training video jour-nalists, researchers and others onlow budget cameras for Urban-Fox.TV.

There are also manufacturer-specific training sessions fromArri, Clear-Com, JVC, Litepanels,P+S Technik, Panasonic. Phabrix,and Sachtler.Hall 9

by David FoxA pseudo-3D image can be cre-ated using a unique lens system. Itcan offer broadcasters a way ofgiving a more dimensional, almost3D look, to their conventional 2Dbroadcasts, making the picturereally stand out.

“It’s all done in the lens,”explained Chris Mayhew, presidentVision III Imaging. “It doesn’trequire anything special to look atit. It is a dimensionally enhancedimage, but it can be distributed byany medium that can show video.”It works very well on a mobile likethe iPhone. Even out of focus shotsappear to have a dimension.

“We are exploiting a phenom-ena in our optical system, whichtakes parallax information andpresents it over time, in a man-ner that is perceived by the brainas dimensional.” True 3D pres-ents the parallax informationsimultaneously.

The lens has a special iris thatmoves in a circle, giving a differ-ent point of view on the plane offocus, pre-formatting the lightbefore it hits the sensor, so thatrecording and post can be doneas usual.

Vision III has partnered withThales Angenieux to offer ENGlenses that can produce the effect,and is also selling its own PL-mount MOE lenses for Red andsimilar cameras.

“You can turn the effect up ordown, or off. We see it as a cre-ative tool, as it can be different forevery shot. The idea is to make avery appealing, realistic picture.”A commercial shot with it will“look distinctly different fromeverything either side of it, with-out viewers realising why”.11.F40

Triple Vision gives 3D in 2D

From another dimension: Mayhew with the V3 Thales Angenieux lens

The American Society of Cine-matographers (ASC) and TheBritish Society of Cinematogra-phers (BSC) will both release Blu-ray copies of their respective cameratest projects before Christmas. Bothsocieties share the full morning inthe Auditorium today in whatamounts to the most definitive pic-ture assessment opportunity camerausers will get in many years.

The principal BSC speakers will

be president Sue Gibson and free-lance DOP John Daly, and they willshow less than 60 minutes of the 90minutes of material seen in Londonand Bristol. “To do that we havehad to cut out the exteriors, butthey are done and available,” saidBSC team member Martin Ham-mond. “A lot of people werepleased that the BSC did the fullrange of cameras (and stock) downto the EX3, and we have had a lot

of praise for the planning andthought put into our purpose-builtsets, and the fact we shot across allthe camera formats.”

The ASC speaking team willbe ASC president Michael Goi,project producer Lori McCreary,co-founder of Revelations Enter-tainment, and David Stump,chairman of the ASC’s camerasub committee.

The ASC used ready-made sets

used for shooting DesperateHousewives, and only used Kodakstock. Its film camera was the Arri435, and the digital contenderswere the Arri D21, Panasonic3700, Sony F35 and F23, the RedOne and the Viper. These had tobe 4:4:4 colour capable. The ASCwaived the requirement forrecording uncompressed toaccommodate the Red One.

“We have distilled it down tothe four most telling set-ups,” saidStump. “So we have arranged thefilm elements to come first andthen each digital camera by itself.

Then we will show a split screenwith the film shots.

“Our purpose was to take asnap shot of how all these cam-eras fit into the de facto commonmotion picture workf low oftoday,” he added.

A follow up panel session willfeature all the above speakersplus moderator Howard Lukk,director of media systems withPixar. “Having been involved inthe STEM and Disney’s TheOther Project, I am interested tosee this next snap shot of the dig-ital cameras,” he said. “It is notabout fi lm versus digital anymore. Digital is a tool in the tool-box. The more tools the better.”

theibcdaily

THE IBC DAILY SUNDAY 13 SEPTEMBER 20094

EDITORIALEditorFergal Ringrose

Managing EditorsAdrian Pennington, Andy Stout

Production EditorSimon Croft

ReportersKate Bulkley, Bob Charlton, David Davies, ChrisForrester, David Fox, Carolyn Giardina, Dick Hobbs,George Jarrett, Farah Jifri, Ken Kerschbaumer,Heather McLean, Ian McMurray, David Robinson

PhotographersJames Cumpsty, Richard Ecclestone, Chris Taylor

IBC Chief Operating OfficerMichael Crimp

IBC Audience Marketing ManagerSaima Parviez

SALESGroup Sales Manager Steve Grice Tel: +44 (0)20 7921 8307Email: [email protected]

Business Development Manager Alex Hall Tel: +44 (0)20 7921 8305

US Sales Michael Mitchell Tel: +1 (631) 673 3199Email: [email protected]

ART & PRODUCTIONProduction Manager Stephen MillerAd Production Christopher GardnerPage Design Avant Garde (Croydon) LtdAt the Show Dawn Boultwood, Hazel Croft,Tanya Warren

Publisher Joe Hosken

Printed by PartnionMarc van Riet0031 61362 4321

Published on behalf of the IBC Partnership byUnited Business Media Ltd, Ludgate House245 Blackfriars Road, London SE1 9URTel: +44 (0)20 7921 8000

© The International Broadcasting Convention 2009.All rights reserved. No part of this publication may bereproduced or transmitted in any form or by anymeans, electronic or mechanical includingphotocopying, recording or any information storageor retrieval system without the express prior writtenconsent of the publisher.

New camera tests on Blu-rayBest picture assessment opportunity for years by George Jarrett

Conference Today

Omneon partners VGTRK

Left to right: Igor Orlov, VGTRK; Alexey Zemskiy, VGTRK; Dennis Maynard, Omeon;Suresh Vasudevan, Omneon; and Reiner Frenken, Omneon Russia sales manager

Priceless chance to learnProduction Village

Frack Voiffray, SCV Audio France, andPeter Brinkman, Karakter.tv, Holland,take an audio clinic with Christina Fox

Best stand design winners: With 1200 exhibitors all clamouring for thevisitors’ attention, attractive stand design is important. IBC traditionallyhonours the best of the best with its Exhibition Design Awards. The pictureshows Tangent Devices (8.B11), this year’s winner in the small/mediumcategory. Winner of the best large stand for 2009 was Humax Electronics(5.B41), and the shell scheme winner was Broadcast Bionics (8.A20).

IBC09 D3 p4 12/9/09 19:38

by Farah JifriOmneon has inked a strategicpartnership agreement with Russ-ian State Television and RadioCompany (VGTRK) that will seeOmneon nominated as the broad-caster’s preferred Media Serverand Active Storage vendor. Theagreement follows on from andbuilds on multiple installations of

Omneon’s Spectrum server atVGTRK’s main playout facility, aswell as at a number of its stationsincluding RTR Sports and Cul-tura TV. Omneon has also sup-plied Media Servers to 11 of thebroadcaster’s regional stations.

“We have a long-standing rela-tionship with Omneon and theyhave proved their reliability with

the exist ing systems we haveinstalled. This deal takes our rela-tionship one step further,” saidAlexey Zemskiy, deputy generaldirector and head of productionand technology at VGTRK. “Thepresence of local support wasanother important factor for us.”

Under the terms of the agree-ment, Omneon will provide extrasupport and services, technologytransfer and product roadmap vis-ibility to enable VGTRK to roll-out Omneon products across theirregional studios.8.B60

IBC visitors can get training forfree at the Production Village inHall 9, with hourly seminars inthe main training room, as well asclinics for smaller groups andeven one-to-one sessions with allthe trainers.

Today ’s se s s ions : LargeGroup Training – 10.00 Lightingon the run; 12.00 Picking theright high-end camera for thejob; 13.00 Audio – Simple SoundAdvice; 14.00 The Art of SoftLighting; 15.00 Workflows onlocation; 16.00 What we see:Foundations of Colour Science;17 .00 Camera suppor t forbudget shooting.

Small Groups On Set – 13.00Practical Operational Tricks;14.00 Film vs HD; 15.00 Practi-cal Shooting Interviews; 16.00Lighting solutions clinic; 17.00Technical Clinic.

“There will also be plenty ofopportunity to get a one-to-onesession with any of the trainers(bookable at the reception desk in

Hall 9, as all of our sessions are),and we are more than happy tocontinue answering questionsafter our sessions – especially if itinvolves a drink at the bar in theVillage,” said Christina Fox, whospecialises in training video jour-nalists, researchers and others onlow budget cameras for Urban-Fox.TV.

There are also manufacturer-specific training sessions fromArri, Clear-Com, JVC, Litepanels,P+S Technik, Panasonic. Phabrix,and Sachtler.Hall 9

by David FoxA pseudo-3D image can be cre-ated using a unique lens system. Itcan offer broadcasters a way ofgiving a more dimensional, almost3D look, to their conventional 2Dbroadcasts, making the picturereally stand out.

“It’s all done in the lens,”explained Chris Mayhew, presidentVision III Imaging. “It doesn’trequire anything special to look atit. It is a dimensionally enhancedimage, but it can be distributed byany medium that can show video.”It works very well on a mobile likethe iPhone. Even out of focus shotsappear to have a dimension.

“We are exploiting a phenom-ena in our optical system, whichtakes parallax information andpresents it over time, in a man-ner that is perceived by the brainas dimensional.” True 3D pres-ents the parallax informationsimultaneously.

The lens has a special iris thatmoves in a circle, giving a differ-ent point of view on the plane offocus, pre-formatting the lightbefore it hits the sensor, so thatrecording and post can be doneas usual.

Vision III has partnered withThales Angenieux to offer ENGlenses that can produce the effect,and is also selling its own PL-mount MOE lenses for Red andsimilar cameras.

“You can turn the effect up ordown, or off. We see it as a cre-ative tool, as it can be different forevery shot. The idea is to make avery appealing, realistic picture.”A commercial shot with it will“look distinctly different fromeverything either side of it, with-out viewers realising why”.11.F40

Triple Vision gives 3D in 2D

From another dimension: Mayhew with the V3 Thales Angenieux lens

The American Society of Cine-matographers (ASC) and TheBritish Society of Cinematogra-phers (BSC) will both release Blu-ray copies of their respective cameratest projects before Christmas. Bothsocieties share the full morning inthe Auditorium today in whatamounts to the most definitive pic-ture assessment opportunity camerausers will get in many years.

The principal BSC speakers will

be president Sue Gibson and free-lance DOP John Daly, and they willshow less than 60 minutes of the 90minutes of material seen in Londonand Bristol. “To do that we havehad to cut out the exteriors, butthey are done and available,” saidBSC team member Martin Ham-mond. “A lot of people werepleased that the BSC did the fullrange of cameras (and stock) downto the EX3, and we have had a lot

of praise for the planning andthought put into our purpose-builtsets, and the fact we shot across allthe camera formats.”

The ASC speaking team willbe ASC president Michael Goi,project producer Lori McCreary,co-founder of Revelations Enter-tainment, and David Stump,chairman of the ASC’s camerasub committee.

The ASC used ready-made sets

used for shooting DesperateHousewives, and only used Kodakstock. Its film camera was the Arri435, and the digital contenderswere the Arri D21, Panasonic3700, Sony F35 and F23, the RedOne and the Viper. These had tobe 4:4:4 colour capable. The ASCwaived the requirement forrecording uncompressed toaccommodate the Red One.

“We have distilled it down tothe four most telling set-ups,” saidStump. “So we have arranged thefilm elements to come first andthen each digital camera by itself.

Then we will show a split screenwith the film shots.

“Our purpose was to take asnap shot of how all these cam-eras fit into the de facto commonmotion picture workf low oftoday,” he added.

A follow up panel session willfeature all the above speakersplus moderator Howard Lukk,director of media systems withPixar. “Having been involved inthe STEM and Disney’s TheOther Project, I am interested tosee this next snap shot of the dig-ital cameras,” he said. “It is notabout fi lm versus digital anymore. Digital is a tool in the tool-box. The more tools the better.”

theibcdaily


EDITORIALEditorFergal Ringrose

Managing EditorsAdrian Pennington, Andy Stout

Production EditorSimon Croft

ReportersKate Bulkley, Bob Charlton, David Davies, ChrisForrester, David Fox, Carolyn Giardina, Dick Hobbs,George Jarrett, Farah Jifri, Ken Kerschbaumer,Heather McLean, Ian McMurray, David Robinson

PhotographersJames Cumpsty, Richard Ecclestone, Chris Taylor

IBC Chief Operating OfficerMichael Crimp

IBC Audience Marketing ManagerSaima Parviez

SALESGroup Sales Manager Steve Grice Tel: +44 (0)20 7921 8307Email: [email protected]

Business Development Manager Alex Hall Tel: +44 (0)20 7921 8305

US Sales Michael Mitchell Tel: +1 (631) 673 3199Email: [email protected]

ART & PRODUCTIONProduction Manager Stephen MillerAd Production Christopher GardnerPage Design Avant Garde (Croydon) LtdAt the Show Dawn Boultwood, Hazel Croft,Tanya Warren

Publisher Joe Hosken

Printed by PartnionMarc van Riet0031 61362 4321

Published on behalf of the IBC Partnership byUnited Business Media Ltd, Ludgate House245 Blackfriars Road, London SE1 9URTel: +44 (0)20 7921 8000

© The International Broadcasting Convention 2009.All rights reserved. No part of this publication may bereproduced or transmitted in any form or by anymeans, electronic or mechanical includingphotocopying, recording or any information storageor retrieval system without the express prior writtenconsent of the publisher.

New camera tests on Blu-rayBest picture assessment opportunity for years by George Jarrett

Conference Today

Omneon partners VGTRK

Left to right: Igor Orlov, VGTRK; Alexey Zemskiy, VGTRK; Dennis Maynard, Omeon;Suresh Vasudevan, Omneon; and Reiner Frenken, Omneon Russia sales manager

Priceless chance to learnProduction Village

Frack Voiffray, SCV Audio France, andPeter Brinkman, Karakter.tv, Holland,take an audio clinic with Christina Fox

Best stand design winners: With 1200 exhibitors all clamouring for thevisitors’ attention, attractive stand design is important. IBC traditionallyhonours the best of the best with its Exhibition Design Awards. The pictureshows Tangent Devices (8.B11), this year’s winner in the small/mediumcategory. Winner of the best large stand for 2009 was Humax Electronics(5.B41), and the shell scheme winner was Broadcast Bionics (8.A20).

IBC09 D3 p4 12/9/09 19:38 Page 4

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www.grassvalley.com/ldk8000_elite

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LDK 8000 ELITE

Visit us at IBC 2009 1.D11


theibcdaily


by Heather McLeanThe FLO Forum is more confi-dent than ever before that mobileTV will take the bull by the hornsover the next 12 months. DrKamil Grajski, president of theFLO Forum, stated with confi-dence at the IBC FLO Forumroundtable that he expectedmobile TV to make more progressthis year, based on the growingconsumption of mobile video byusers in markets where it hasalready been deployed.

This fact alone strengthensthe business case that Europeanmobi le operators have beenlooking for, Grajski explained,both in t e r ms o f increaseddemand for the services, andmonetisation issues. Addition-ally, the service has evolved tothe point where countries suchas the US, where mobile TV isnow commonplace, are seeingmobile TV technology such asMediaFLO evolving to use in

other areas, from mobiles, to sig-nage on buses and in-car TVs.

“The ecosystem is broaden-ing,” said Grajski. “We’re nowlooking at digital signage usingthe mobile TV network to deliverover a distributed network, andoff of these additional serviceswe are see ing other types ofdevice come into play. We aremore bullish on mobile TV thanwe ever have been.”

Gert-Jan Panken, director ofmobile alliance at Irdeto, added:“We are convinced there is goingto be a strong consumption ofmobile TV content on mobiledevices in Europe, as that’s whatwe’re seeing in markets where thisis already deployed.

“Everyone’s talking about TV,but particularly in Asia we’re see-ing this technology used for trafficservices; MediaFLO is very goodfor getting large amounts of infor-mation out to vast numbers ofpeople,” continued Panken.

Thanasis Iatroiu, president andco-founder at Media Excel, stated:“MediaFLO has interactivity andnetworking built in, and now we’restarting to see these aspects comingout. I think we’re going to see atremendous expansion in areas wehaven’t even yet thought about;more and more applications willgrow as we think of mobile TV.”

FLO Forum ‘bullish’ onprospects for mobile TV

Gert-Jan Panken: “We are convincedthere is going to be strong consumption”

by Ian McMurray & Dave RobinsonJünger Audio is taking its LevelMagic automated audio level con-trol technology to broadcast, cable,satel l ite and telco customersthrough a unique integration withHarmonic’s Divicom Electra andIon encoders. What’s more,

Miranda Technologies haslaunched ALC – Automatic Loud-ness Control – to eliminate loud-ness variation between programmesegments (typically in commercialbreaks), which also incorporatesLevel Magic technology.

By using Level Magic technol-ogy within Harmonic’s encoder,

service providers do not need toinvest in a separate chassis foraudio levelling, and can moreeasily scale their services. Thiscombined architecture eliminatesthe need to process audio chan-nels at the baseband level, meet-ing the needs of the lates tIP-centric headends, and reduc-ing capi ta l and operat ionalexpenditures for operators.

“Jünger Audio sets the qualitybenchmark in audio levelling tech-nology, and together we are ableto more cost-effectively addressthis very challenging issue forservice providers,” said PatrickHarshman, CEO of Harmonic.

Meanwhile, the first Mirandaproducts available with ALC arethe Densité XVP family of3Gbps/HD/SD signal processors.“There’s a big demand worldwidefor much more effective loudnesscontrol,” said Jean-Marc d’Anjou,VP of infrastructure at Miranda.“By partnering with JüngerAudio, our Automatic LoudnessControl can eradicate loudnessproblems, [especially] annoyingloudness jumps during commer-cials, very convincingly.”1.C61.

Audio annoyance addressed

Patrick Harshman (L) and Peter Poers, Junger: Setting the quality benchmark

by Adrian PenningtonITN Source, the world’s largesteditorial archive, is embarking ona significant project to digitise40,000 hours of mainly filmedmaterials with Ascent Media. ITNSource has already digitised over10,000 hours over the last fewyears and in doing so realised thatcontent was “five or six timesmore likely to be used if digitised”rather than sitting on the shelf.

The footage dates from 1955 to1985 and includes reels of theVietnam War and The Beatles. “Ifwe performed the digitisation ofthe 40,000 hours ourselves itwould take six years,” said AshaOberoi, content director, ITNSource (pictured, centre, withAscent Media’s Adrian Bull andRoger Harlow). “With the modelAscent have devised it will take 18months to two years.”

Footage will be telecined atAscent using Flashscan and afterrestoration will be made immedi-

ately available for browse online inproxy form. An order for specificfootage will automatically generatea high-res digital version to be sentdirectly to the customer and a file toreplace the proxy in the archive.

The project will integrate assetmanagement systems at ITNSource, ITV and Ascent Mediaand begins in two weeks. “This isabout getting return on invest-ment from our greatest asset,” saidOberoi. “We need to commer-cialise our content and if we don’tdo it now for some of our archive– it will disappear for ever.”

Ascent tackles ITN archive

by David FoxWireless specialist Gigawave hasadded to its motorsport packagewith a tiny, new on-board HD 1080icamera, with a 2/3-inch sensor andvery wide angle lens (3.5mm), plus ahand-held controller.

“This is the first time Gigawavehas produced its own cameras,”explained marcoms manager DavidEarl, and it has tried to make it aseasy as possible to control withoutdisturbing the race team.

The new Gigascope handheldtelemetry unit that goes with itallows users to set up each camerawithout having to plug in to makechanges. It includes a low-powermicrowave transmitter/receiver, sothat users can check the pictures.A racing car can have two or threecameras, so the unit allows you toswitch them remotely.

Gigawave systems are beingused for Moto GP motorcycle rac-ing, A1 GP, FAI GT and the

Superleague Formula, for which ithas instal led a new portablereceive unit that can access up toeight antennae and combine theSD or HD signals from each tocreate the best possible pictures.

There can be 20-plus channelsin one unit (as it uses for MotoGP). “This is pretty much state ofthe art. It’s essentially a diversityreceiver, but with maximum ratiocombining,” Earl explained.Outside Exhibits (near Hall 1)

Gigawave in pole position

David Earl: “The first time we haveproduced our own cameras”

Third C100 HD-S for TF1: Solid State Logic (SSL) announced the sale of a thirdC100 HD-S digital broadcast audio console to prestigious French Broadcaster TF1at IBC (Philippe Guerinet SSL (left) and Herve Pavard TF1), writes Dave Robinson.With two SSL C100 HD-S consoles delivered in January 2009 the selection of athird C100 as part of the refurbishment project of Regie 2 at TF1 Boulogne was a‘natural choice’ for TF1, says SSL. The new 40-fader console joins the existingdesks in a multi-studio facility that will see all three consoles linked by TF1’salready installed SSL MORSE asset sharing system. Director of International Salesat SSL, Philippe Guerinet, commented, “We are very proud to be the preferredconsole supplier for this project and look forward to a long and close relationshipwith the team at TF1.” 8.D83

Ian Jones (centre) and hisHHB team are focusing onnewcomers to his UKdistribution portfolio at IBC– specifically Wohler audiomonitoring systems, and theSoundField UPM-15 5.1surround processor – as wellas familiar names includingDolby, Digidesign, Roland,Genelec and HHB’s ownlines of media recorders andplayers, writes DaveRobinson. 8.E54

IBC09 D3 p6 12/9/09 18:20

Strength and stability let you deploy Harris technology with confidence.

For nearly a century, Harris has pioneered the technologies that drive the world’s leading television and radio broadcast operations.

Today, our unique ability to merge traditional broadcast and IT systems enables an advanced media workflow that allows you to work more efficiently, save money and profit from new revenue streams.

Where are we headed in the coming decades? Wherever you — and your audience — want to go.

ONE Company. ONE Direction. The Future.

Always innovating. Always there.

Europe+44 118 964 [email protected]

Southern Europe+33 1 42 87 09 [email protected]

North, Central, Eastern Europe+49 89 149 049 [email protected]

Middle East+971 4 433 [email protected]

UK, Israel, Africa+44 118 964 [email protected]

Hall 7 Stand G20Or visit us at www.HarrisIBC2009.com


theibcdaily


Avatar at IBCThere is a unique opportunity tonight to geta preview of the most eagerly awaited moviefor years. As part of tonight’s IBC AwardsCeremony, 16 minutes of extracts fromAvatar will be shown, in stereoscopic 3D.This stunning movie, set to be releasedin December, is the latest project fromJames Cameron, who won the IBCInternational Honour for Excellence in2003. As a remarkable pioneer oftechnique and technology, Camerontakes us to a new world beyondimagination, creating a remarkableexperience for any audience.This screening is courtesy of 20thCentury Fox Film Corporation.

Nagravision securesAbertis AccessJust ahead of IBC, Nagravision announcedthat its Nagra Media Access conditionalaccess (CA) system had been selected tosecure the TDT Premium payTV digitalterrestrial television (DTT) horizontalplatform operated by Spain’s leadingaudiovisual network operator, AbertisTelecom. Nagra Media Access is beingintegrated into TDT Premium set-top boxesand conditional access modules (CAMs) tosupport the new platform. The certifiedDTT set-top boxes and CAM modules willbe compliant with the technicalspecifications for DTT CA-enabled receiversagreed within the Spanish Digital TV Forumby the main industry stakeholders tocreate an open platform for allbroadcasters. The set-top boxes andCAMs will be sold to consumers via retailchannels as well as through TV installers.The first set-top boxes and CAMsintegrated with Nagra Media Access will beavailable on retail shelves by the beginningof September. In order to assure theavailability of these devices in the marketby that date, Nagravision says that it hasclosely collaborated with numerous iDTV,set-top boxes and CAM manufacturers. 1D69

OpenTV Core3Engineered to enable technology choice byoperators, OpenTV Core3 is said to combinea top-to-bottom open architecture with aunique design that simplifies the integrationand deployment of everything from complexuser interfaces to consumer services andapplication widgets. “Core3 is not justanother middleware platform – it is agenerational shift in middleware innovation,”said Ben Bennett, OpenTV’s chief executiveofficer. “With Core3, OpenTV is reassertingits commitment to operator choice byproviding a unique middleware architecturethat is not only the most open and modular,but also embraces the latest industrystandard for application development.”According to the company, OpenTV Core3addresses the new challenges brought on bythe explosion of digital content. OpenTV saysthat Core3’s open authoring environmentbuilds on the reliability and experience ofprevious OpenTV middleware releases,developed over the last 13 years, by furtheraccelerating the deployment of third-partyapplications and support for HTML/JavaScriptand Adobe Flash as well as industrystandards demanded by the marketplace. 1.C81

In Brief

by Chris ForresterBSkyB will launch its dedicated3D channel next year, and GerryO’Sull ivan, Sky’s director ofstrategic product development,asked delegates to IBC to stopreading about TV and to startwatching. He urged delegates tosee the special BSkyB demo, whichshowcased opera, ballet, and moremodern music as well as documen-tary, movies and sport.

“But let me immediately dispela few urban myths that have beenthrown up about 3D,” he said, dur-ing the ‘Who pays? Winners andlosers in the new broadcast econ-omy’ session. “You don’t have tostand on your head, or be exactly1.2m away from the screen. Nor isit the old Hollywood movies of 30or 40 years ago. It does not giveyou a headache.

“Our HD transmissions requireno new technology. The SKY+HD

infrastructure carries the signalend-to-end, and we simply piggy-back 3D onto our HD investment.Stop reading about 3D, and startwatching,” O’Sullivan advised.

“The winners in this businessare those who invest in content andcontinue to invest in innovation.The only way you can do both is tohave a sustainable business model.If you don’t have a sustainablemodel and you cannot fund inno-vation then you are going to findlife can be very difficult.”

O’Sullivan said that 2009,despite all the doom and gloom,would see UK pay-TV subscriberstop 50% of all TV homes.

“Remember the sceptics whosaid pay-TV wouldn’t last?” O’Sul-livan asked. “Well, to get to 12.5million pay-TV viewers in the UKis a massive achievement. Sub-scription revenues are now largerthan the total TV advertising rev-enues. That tells a story on its own.The problem is with broadcasterswho are totally reliant on advertis-ing income, and they undoubtedlyhave some challenges ahead.”

O’Sullivan said that for pay-TV broadcasters it was crucial tohave a one-to-one relationshipwith the customer. “We are not abroadcaster who simply sends sig-nals out. We have very direct rela-tionships with our viewer. We havemillions of conversations withthem every year, and they have avery good way of tel l ing uswhether they are satisfied with usor not!”

by George JarrettP/Loud, the EBU’s largest projectgroup, is expected to finish its workearly in 2010 with the publication offive documents covering its full loud-ness spec, practical guidelines, meter-ing, loudness range, and distribution.

“Our main goal is to switch theparadigm from peak to loudness,”said group chairman FlorianCamerer from ORF.

“It is important to switchbecause of all the differences inbroadcasting, both within channelsduring commercials playout andbetween channels,” he added.

“There are similar groups toP/Loud in the US, Australia andJapan, and we have representativesfrom all three within our member-ship of over 100 broadcasters andvendors,” Camerer added.

P/Loud has based its work onthe ITU loudness measurementstandard 1770, which came intoeffect three years ago. The key ele-ments are R2LB and K-Weighting.

“It is a very simple weighingcurve. It is just a high pass with alittle shelving curve,” said Camerer.“There are new issues coming outunder the heading of LKFS –Loudness, K-Weighting, and FullScale. Sound designers will be talk-ing in future of ‘minis LKFS’.”

The promise is of a new stan-dard and a relative element, butwhat guideline does P/Loud follow?

“We look at the average loud-ness of one programme. It has to beone number,” said Camerer. “Andthe same number for every pro-gramme in the future.

“Why did the peak crisis hap-pen? In Europe we had peak nor-malisation as standard, and we hadpermitted a maximum level,” headded. “We still have peak and thestandard quasi peak meter has areaction time of 10ms. This meansit misses many peaks.”

At the same time peak has ruled,we have had an understanding of FMmodulation with the equivalent of30kHz of FM deviation. “The maxi-mum on a TV channel is 50kHz, andsuddenly commercial broadcasterscut off the transients and shifted from30kHz to the top of the range, mak-ing them 4db louder,” said Camerer.“Then all the competition switchedup to 50kHz and the loudness warstarted. The situation is now unbear-able for the consumer, so the only wayout is to abandon peak and go toloudness. Multiple vendors haveimplemented 1770.10.D21

EBU switch frompeak to loudness

by Carolyn GiardinaEditShare has bought Geevsbroadcast servers and the Light-works nonlinear editing family.The privately-owned companiesdid not reveal the details of thetransaction. “EditShare is growingrapidly and to meet the needs ofour expanding customer base, weneed to broaden our offering,”said Tara Montford, co-managingdirector of EditShare EMEA.“Acquiring this technologyenables us to bring mature andproven technology into the Edit-Share Complete Collaboration

product line very quickly. We arelooking forward to integratingthese new assets with EditSharetechnology, further advancing ourworkflow engineered systems.”

Co-managing director JamesRichings said customers couldexpect to see more closely integratedproducts and a more collaborativeworkflow within six months.

Geevs servers offer broadcast-ers, post production facilities andcontent producers a range ofcapabilities including SD/HDmultichannel ingest, playoutautomation and file server man-

agement for largescale deploy-ments. Lightworks is one of theearliest nonlinear editing plat-for ms and has gone through several acquisitions over the years.Its most well known user is Acad-emy Award-winning editorThelma Schoonmaker.

EditShare Complete Collabora-tion products include shared stor-age, its storage series and XStremeseries, all of which enable editorsand compositors to share mediaand work collaboratively regardlessof platform or application.

Richings said all Geevs andLightworks products wouldremain on the market, andemployees will also stay with thecompany, including Gee Broad-cast leader, Keith Gee.EditShare 7.D22Gee Broadcast Systems 7.A39

EditShare acquiresGeevs and Lightworks

by Farah JifriCelebrating 10 years in the broadcastbusiness, Playbox Technology is show-ing Digital Signage the company’s new platform which provides a path in digital signage for broadcasters.

With straightforward multiscreenHD playout, as well as broadcastquality graphics and an easy-to-use interface, PlayBox DS comes 3D-ready. It offers system-widesynchronisation to enable playback ofstereoscopic files for 3D displays. Play-Box DS software can host 3D objectscreated on a 3D graphics package fordetailed interactive displays.

Also on view is Playbox’s entry-level µPlay video and graphics playout

package. The all-in-one software isaimed at smaller channels, and app-lications such as IPTV, local cable TV, on-campus applications and corporate TV.

PlayBox is also showing its EdgeServer automated remote playoutoffering that enables the full opera-tion and monitoring of remotebroadcast playout. The system canmake use of the public internet as thelink for all content delivery, controland monitoring. Edge Server is fullycustomisable and offers a choice ofsingle and multi-channel operation aswell as full equipment redundancy.

The remote system alsoenables the complete localisation

of content branding, includingcommercials, station IDs, multi-l ingual audio, subt i t les andgraphics.

PlayBox is showing demos of itsMetus MAM system. It can organ-ise and manage the assets of singleor multichannel operations, and isavailable as a stand-alone solutionor integrated with PlayBox ingest,playout and branding systems.

The new NewsAir newsroomcomputer system integrates withPlayBox Technology playout capa-bilities to offer a high cost-perform-ance ratio and is geared up fornewsroom operations.8.B31

Playbox makes Digital Signage play

Gerry O’Sullivan: “Let me immediatelydispel a few urban myths about 3D”

Florian Camerer: “The situation is nowunbearable for the consumer”Conference Analysis

BSkyB: “Stop readingabout 3D, and watch it!”

IBC09 D3 p8 12/9/09 13:02

by Carolyn GiardinaDatavideo is expanding its line ofdigital switchers and mobile videostudios products.

The new Datavideo HS-2000 isa compact, 1920 x 1080 broadcastquality HD-SDI mobile video stu-dio, which can be used as a fly-away kit. It is designed around thealso new Datavideo SE-2000 fivechannel 10-bit HD-SDI, HD com-ponent and DVI video and audioswitcher. Features include 14 pre-stored logos, digital clock display,

five user set-up, title overlay andDVI-D connection for presenta-tion software. The integratedaudio mixer with balanced XLRconnectors allows up to fourchannels microphone or l ineaudio inputs.

The HS-2000 also includes amulti-image video output viaDatavideo’s TLM-1700, a 17-inchHD/SD monitor; and a six wayITC-100 Intercom System withfive ITC-100SL belt pack units.

Datavideo HS-2000 comes

with an integrated PD-1 powerdistribution centre for connect-ing all the integrated equipmentfrom a s ing le socket . I t i sdesigned for use in a studio, onlocation or in the field where onecan use the technology with a12V generator or battery.

The Datavideo SE-2000 videoand audio switcher is designed toenable the user to switch between

video and audio sources and blenddigital content on the fly, evenwithout external genlock, thanksto the built in time base corrector.

The Datavideo HS-2000Mobile Video Studio will be avail-able next month with a list priceof €7,200. The SE-2000, alsoavailable in the same time-frame,will list for €4,300.7.E29

theibcdaily


Datavideo intros new switcher

Beswitched: the HS-2000 switcher

by David FoxUtrecht-based ASL Intercom hasadded four new tabletop-formatspeaker stations to its expandingDigital Intercom line.

The DS 830 Speaker Station,an eight-channel unit mounted ina 3RU cabinet, will be the first toship, following its introduction atIBC, with the other three (16, 24and 32 channel uni t s ) be ingintroduced over the next s ixmonths or so.

“Many theatres and concerthalls have expressed a strong pref-erence for the groundbreakingtechnologies in our new digitalsystem,” claimed Susan McLo-hon, ASL’s director of sales andmarketing. “They are pleased thatthey can specify either tabletopenclosures or 1RU rack mountunits, or even select optional 19-inch rack mounting of the new3RU tabletop versions.”

DS 830 features include:instant talk and listen access foreight user groups; and customisa-tion via the eight soft functionkeys (programmable functionsinclude cal l to ta lk, speakeron/off, remote mic kill (all orgroup), PTP receive disable, andstage announce). Users can alsodo text messaging and person-to-person calling to any speaker sta-t ion or bel t pack unit in thesystem. The four speaker stationsalso have adjustable button illu-mination, GPIO connections,programme input, and an exten-sion speaker jack.11.F58

ASL bringsintercom tothe tabletop

IBC09 D3 p9 25/8/09 10:18

theibcdaily


Avatar at IBCThere is a unique opportunity tonight to geta preview of the most eagerly awaited moviefor years. As part of tonight’s IBC AwardsCeremony, 16 minutes of extracts fromAvatar will be shown, in stereoscopic 3D.This stunning movie, set to be releasedin December, is the latest project fromJames Cameron, who won the IBCInternational Honour for Excellence in2003. As a remarkable pioneer oftechnique and technology, Camerontakes us to a new world beyondimagination, creating a remarkableexperience for any audience.This screening is courtesy of 20thCentury Fox Film Corporation.

Nagravision securesAbertis AccessJust ahead of IBC, Nagravision announcedthat its Nagra Media Access conditionalaccess (CA) system had been selected tosecure the TDT Premium payTV digitalterrestrial television (DTT) horizontalplatform operated by Spain’s leadingaudiovisual network operator, AbertisTelecom. Nagra Media Access is beingintegrated into TDT Premium set-top boxesand conditional access modules (CAMs) tosupport the new platform. The certifiedDTT set-top boxes and CAM modules willbe compliant with the technicalspecifications for DTT CA-enabled receiversagreed within the Spanish Digital TV Forumby the main industry stakeholders tocreate an open platform for allbroadcasters. The set-top boxes andCAMs will be sold to consumers via retailchannels as well as through TV installers.The first set-top boxes and CAMsintegrated with Nagra Media Access will beavailable on retail shelves by the beginningof September. In order to assure theavailability of these devices in the marketby that date, Nagravision says that it hasclosely collaborated with numerous iDTV,set-top boxes and CAM manufacturers. 1D69

OpenTV Core3Engineered to enable technology choice byoperators, OpenTV Core3 is said to combinea top-to-bottom open architecture with aunique design that simplifies the integrationand deployment of everything from complexuser interfaces to consumer services andapplication widgets. “Core3 is not justanother middleware platform – it is agenerational shift in middleware innovation,”said Ben Bennett, OpenTV’s chief executiveofficer. “With Core3, OpenTV is reassertingits commitment to operator choice byproviding a unique middleware architecturethat is not only the most open and modular,but also embraces the latest industrystandard for application development.”According to the company, OpenTV Core3addresses the new challenges brought on bythe explosion of digital content. OpenTV saysthat Core3’s open authoring environmentbuilds on the reliability and experience ofprevious OpenTV middleware releases,developed over the last 13 years, by furtheraccelerating the deployment of third-partyapplications and support for HTML/JavaScriptand Adobe Flash as well as industrystandards demanded by the marketplace. 1.C81

In Brief

by Chris ForresterBSkyB will launch its dedicated3D channel next year, and GerryO’Sull ivan, Sky’s director ofstrategic product development,asked delegates to IBC to stopreading about TV and to startwatching. He urged delegates tosee the special BSkyB demo, whichshowcased opera, ballet, and moremodern music as well as documen-tary, movies and sport.

“But let me immediately dispela few urban myths that have beenthrown up about 3D,” he said, dur-ing the ‘Who pays? Winners andlosers in the new broadcast econ-omy’ session. “You don’t have tostand on your head, or be exactly1.2m away from the screen. Nor isit the old Hollywood movies of 30or 40 years ago. It does not giveyou a headache.

“Our HD transmissions requireno new technology. The SKY+HD

infrastructure carries the signalend-to-end, and we simply piggy-back 3D onto our HD investment.Stop reading about 3D, and startwatching,” O’Sullivan advised.

“The winners in this businessare those who invest in content andcontinue to invest in innovation.The only way you can do both is tohave a sustainable business model.If you don’t have a sustainablemodel and you cannot fund inno-vation then you are going to findlife can be very difficult.”

O’Sullivan said that 2009,despite all the doom and gloom,would see UK pay-TV subscriberstop 50% of all TV homes.

“Remember the sceptics whosaid pay-TV wouldn’t last?” O’Sul-livan asked. “Well, to get to 12.5million pay-TV viewers in the UKis a massive achievement. Sub-scription revenues are now largerthan the total TV advertising rev-enues. That tells a story on its own.The problem is with broadcasterswho are totally reliant on advertis-ing income, and they undoubtedlyhave some challenges ahead.”

O’Sullivan said that for pay-TV broadcasters it was crucial tohave a one-to-one relationshipwith the customer. “We are not abroadcaster who simply sends sig-nals out. We have very direct rela-tionships with our viewer. We havemillions of conversations withthem every year, and they have avery good way of tel l ing uswhether they are satisfied with usor not!”

by George JarrettP/Loud, the EBU’s largest projectgroup, is expected to finish its workearly in 2010 with the publication offive documents covering its full loud-ness spec, practical guidelines, meter-ing, loudness range, and distribution.

“Our main goal is to switch theparadigm from peak to loudness,”said group chairman FlorianCamerer from ORF.

“It is important to switchbecause of all the differences inbroadcasting, both within channelsduring commercials playout andbetween channels,” he added.

“There are similar groups toP/Loud in the US, Australia andJapan, and we have representativesfrom all three within our member-ship of over 100 broadcasters andvendors,” Camerer added.

P/Loud has based its work onthe ITU loudness measurementstandard 1770, which came intoeffect three years ago. The key ele-ments are R2LB and K-Weighting.

“It is a very simple weighingcurve. It is just a high pass with alittle shelving curve,” said Camerer.“There are new issues coming outunder the heading of LKFS –Loudness, K-Weighting, and FullScale. Sound designers will be talk-ing in future of ‘minis LKFS’.”

The promise is of a new stan-dard and a relative element, butwhat guideline does P/Loud follow?

“We look at the average loud-ness of one programme. It has to beone number,” said Camerer. “Andthe same number for every pro-gramme in the future.

“Why did the peak crisis hap-pen? In Europe we had peak nor-malisation as standard, and we hadpermitted a maximum level,” headded. “We still have peak and thestandard quasi peak meter has areaction time of 10ms. This meansit misses many peaks.”

At the same time peak has ruled,we have had an understanding of FMmodulation with the equivalent of30kHz of FM deviation. “The maxi-mum on a TV channel is 50kHz, andsuddenly commercial broadcasterscut off the transients and shifted from30kHz to the top of the range, mak-ing them 4db louder,” said Camerer.“Then all the competition switchedup to 50kHz and the loudness warstarted. The situation is now unbear-able for the consumer, so the only wayout is to abandon peak and go toloudness. Multiple vendors haveimplemented 1770.10.D21

EBU switch frompeak to loudness

by Carolyn GiardinaEditShare has bought Geevsbroadcast servers and the Light-works nonlinear editing family.The privately-owned companiesdid not reveal the details of thetransaction. “EditShare is growingrapidly and to meet the needs ofour expanding customer base, weneed to broaden our offering,”said Tara Montford, co-managingdirector of EditShare EMEA.“Acquiring this technologyenables us to bring mature andproven technology into the Edit-Share Complete Collaboration

product line very quickly. We arelooking forward to integratingthese new assets with EditSharetechnology, further advancing ourworkflow engineered systems.”

Co-managing director JamesRichings said customers couldexpect to see more closely integratedproducts and a more collaborativeworkflow within six months.

Geevs servers offer broadcast-ers, post production facilities andcontent producers a range ofcapabilities including SD/HDmultichannel ingest, playoutautomation and file server man-

agement for largescale deploy-ments. Lightworks is one of theearliest nonlinear editing plat-for ms and has gone through several acquisitions over the years.Its most well known user is Acad-emy Award-winning editorThelma Schoonmaker.

EditShare Complete Collabora-tion products include shared stor-age, its storage series and XStremeseries, all of which enable editorsand compositors to share mediaand work collaboratively regardlessof platform or application.

Richings said all Geevs andLightworks products wouldremain on the market, andemployees will also stay with thecompany, including Gee Broad-cast leader, Keith Gee.EditShare 7.D22Gee Broadcast Systems 7.A39

EditShare acquiresGeevs and Lightworks

by Farah JifriCelebrating 10 years in the broadcastbusiness, Playbox Technology is show-ing Digital Signage the company’s new platform which provides a path in digital signage for broadcasters.

With straightforward multiscreenHD playout, as well as broadcastquality graphics and an easy-to-use interface, PlayBox DS comes 3D-ready. It offers system-widesynchronisation to enable playback ofstereoscopic files for 3D displays. Play-Box DS software can host 3D objectscreated on a 3D graphics package fordetailed interactive displays.

Also on view is Playbox’s entry-level µPlay video and graphics playout

package. The all-in-one software isaimed at smaller channels, and app-lications such as IPTV, local cable TV, on-campus applications and corporate TV.

PlayBox is also showing its EdgeServer automated remote playoutoffering that enables the full opera-tion and monitoring of remotebroadcast playout. The system canmake use of the public internet as thelink for all content delivery, controland monitoring. Edge Server is fullycustomisable and offers a choice ofsingle and multi-channel operation aswell as full equipment redundancy.

The remote system alsoenables the complete localisation

of content branding, includingcommercials, station IDs, multi-l ingual audio, subt i t les andgraphics.

PlayBox is showing demos of itsMetus MAM system. It can organ-ise and manage the assets of singleor multichannel operations, and isavailable as a stand-alone solutionor integrated with PlayBox ingest,playout and branding systems.

The new NewsAir newsroomcomputer system integrates withPlayBox Technology playout capa-bilities to offer a high cost-perform-ance ratio and is geared up fornewsroom operations.8.B31

Playbox makes Digital Signage play

Gerry O’Sullivan: “Let me immediatelydispel a few urban myths about 3D”

Florian Camerer: “The situation is nowunbearable for the consumer”Conference Analysis

BSkyB: “Stop readingabout 3D, and watch it!”

IBC09 D3 p8 12/9/09 13:02 Page 8

ARG launches MediaCombiner 1900EARG ElectroDesign is presenting theMedia Combiner 1900E multi-programme transport stream and datanetwork adapter with a new IP networkinterface. The technology is designedfor signal distribution, includingsatellite back-haul and DTTapplications, for broadcasters andcontent distributors.Shown for the first time at IBC, the IPnetwork interface was developed toprovide transparent DVB-ASI signaldistribution over Fast Ethernet or GigEIP networks. The Media Combiner1900E also features an E1 accesscard for DAB distribution, and supportsnetwork interfaces including E3, DS3and STM-1. Existing users would beable to change their current networkinterface to Fast Ethernet or GigE.“Our customers demand cost-effective,transparent technology that providesoutstanding sustainable performanceand ease of use,” said Mike Footer,ARG’s director of sales and marketing.6.C28f

MBT gives Liberty Media Broadcast Technologies hasgiven graphics professionals morefreedom with the Liberty suite. Thesystem builds a comprehensivegraphic workflow for any production ortransmission scheme. For news and sports applications,Liberty is interfaced via MOS 2.8.3 topotentially any NRCS. For mastercontrol room applications, Liberty isinterfaced to most of today automationsystems from dedicated API to VDCP.‘Live auto-promos’ is achieved with theintegration of MBT’s PhoenixAutomation suite to Liberty. A key feature is the SG panel, allowingusers to manually proceed latechanges or nominal workflows. A wideoption of custom panels such as SMScrawls, information tickers, votingresults, table are available. Thesystem also has templates designedon graphic devices. A templatecorresponds to any combination from asingle logo to complex scenes withmultiple objects.2.B19

theibcdaily


I’M A SKY VIEWER. I CAN WATCH TV ON MY PC,MOBILE, SONY PSP AND XBOX.Give your viewers access to your content across multiple devices. Visit ioko in Hall 1stand D26 to find out how you can have the same capability as Sky, one of the leading pay TV operators in Europe, and deliver premium linear and on-demand content to your audience over multiple devices.

Digital Vision. Delivered.

In Brief

Tonight sees the IBC Awards Cer-emony – and all are welcome. Theshow starts at 18:15 in the Audi-torium.

In a packed and exciting pro-gramme, one of the highlights willsurely be a live link to New Yorkto see the International Honourfor Excellence, IBC’s highestaward, presented to the Metro-politan Opera. We will also getthe chance to see excerpts fromsome of the stunning productionswhich have gained the Met thishonour.

Centrepiece of the ceremonywill be the presentation of the fourIBC Innovation Awards: for themost innovative use of technologyin content creation, managementand delivery, plus the Judge’sPrize.

These are the awards which cel-ebrate the collaboration betweenequipment suppliers and their cus-tomers, and it is the end users whowill be called on stage to collectthe trophies.

Another technological innova-tion to be celebrated tonight willbe the Amber Alert system now inuse by the Netherlands Police(Klpd) to help them track lost andkidnapped children. Together withthe system’s developer Netpresen-ter, the Klpd is receiving a specialaward from IBC.

The three awards for best standdesign and the prize for the moststimulating conference paperround out the ceremony.

Al l v is i tors are invi ted toattend the IBC Awards Cere-mony. Space is limited, so pleasetake your seats in plenty of time:the action starts at 18.15 in theAuditorium.

IBC Awards

And the winner is...

The Amber Alert system now in use by the Netherlands Police helps them track lost children

by Adrian PenningtonMTV Networks Europe North(MTVN) has relocated to a newfacility at Amsterdam’s Medi-awharf, creating an integratedinfrastructure and workflow todrastically reduce the cost of endto end channel management.

To improve productivity inchannel presentation and to man-age operations from the desktop,MTVN selected the three-wayintegration of MediaGenix’sWhat’sOn for scheduling andchannel management; Pharos’Mediator for content managementand workflow; and PubliTronic’sNEXUS/Cobalt for automatedplayout, graphics and channelbranding.

Better technology integrationfrom Publitronic and processimprovement by Pharos hasreduced MTVN’s multi-languagecontent preparation by days. Tightintegration between processes andsubsystems now allows automatedvalidation of scheduling and con-tent, with only the exceptionsraised automatically to channelmanagers. This has significantlyreduced the turnaround times forprogramme changes.

“Rather than assembling tele-vision as a last minute technicalexercise in playout, MTVN’sscheduling and material prepara-tion is now at a more productiveplace upstream in the workflow,”said Pharos marketing director,Russell Grute.

“Channel operations are nolonger just a virtual planningprocess – they now have full own-

ership of content preparation tocreate and drive their channels.Pharos Mediator brings channelmanagers closer to their content.It includes desktop search andbrowse tools, so that they can besure what they are seeing is thecorrect programme, promo orcommercial version for Pub-litronic Nexus to deliver safely.”10.D31

MTV’s new Amsterdam workflow

Publitronic and Pharos technologies have reduced MTVN’s multi-language contentpreparation by days in its newly-opened facility at Amsterdam’s Mediawharf

K-Tek’s new Kwiksock is much smallerthan a traditional, bulky, full-sizewindscreen for reducing microphone windnoise, writes David Fox. It can also fitinside an existing Zeppelin to provide anadditional layer of wind protection forreally stormy conditions. It is fleece linedwith a short-hair faux fur exterior, androlls up tightly to pack into a small bagor pocket. Each one comes with acarrying pouch. It is available in short,medium and long sizes, and either 21mmor 19mm diameters to fit most shotgunmicrophones. It costs about $55. 11.C71

IBC09 D3 p10 24/8/09 18:22

Comprehensive and

to any devicefor video delivery

innovative solutions

Contribution & distributionLow latency newsgathering and event coverage with the Ellipsecontribution encoders and ProView IRDs

Compression & multiplexingNew, ground-breaking Electra 8000 HD/SD MPEG-2/MPEG-4 AVC encoder improves performance by 20%, supports multi-rate outputs and integrated up/down conversion

Multi-screen video deliveryMediaPrism live and on-demand converged video solution suite including StreamLiner video/ad servers, ProStream 4000 and Rhozet Carbon Coder transcoding, Armada intelligent asset distribution

© 2009 Harmonic Inc. All rights reserved. www.harmonicinc.com

IBC stand #1.C61


Primera’s SDK for MacThe new SDK can be used with any ofPrimera’s DP- or XR-series DiscPublishers, which automate theprocess of burning and printing CDs,DVDs and Blu-ray Discs. The PTBurnSDK for Mac includes the ability toburn and print natively on Mac OS X10.5 or higher; a bundled print layoutapplication that allows merged text andother data; native Mac frameworks thatcan be linked in to new or existing Macapplication; and source code for aCocoa-based burn and print application.“Mac users represent a large andgrowing segment of our customerbase,” said Mark D. Strobel, VP ofsales and marketing at Primera. “OurSDK provides all the tools necessaryfor developers to support our award-winning Disc Publishers natively fromMac applications.” PTBurn for Mac isavailable now for download.7.H05

EditShare, AutomaticDuck shared launch EditShare and Automatic Duck haveteamed up in an effort to improveworkflow for post production facilitiesand editing workgroups that want tocollaborate on shared media filesacross disparate editing platforms.Time saving and convenience were thekey drivers for the new system.EditShare’s Universal Media Filetechnology – a feature in the company’sFlow system – allows a single mediafile to be used simultaneously by Appleand Avid editors, while AutomaticDuck’s Pro Import FCP and Pro ExportFCP allow editors to translate bi-directionally between Avid and Final CutPro sequences. With the newpartnership, the companies will createa method for Automatic Duck tounderstand EditShare’s UniversalMedia Files and retrieve informationfrom the Flow database. The userwould require the new version 1.5 ofEditShare Flow and the AutomaticDuck’s Pro Import FCP and Pro ExportFCP. This will make it possible foreditors in a mixed Avid and Final Cutenvironment to seamlessly switch backand forth between the two applications,using a common pool of media files,with timelines intact. This techniquewill eliminate processes such asexporting and transcoding.7.D22 & 7.K21

theibcdaily


In Brief

IBC has always been at the fore-front of the debate on how digitaltechnology is transforming thebusiness of making movies.Today’s conference session at09:30 provides a unique opportu-nity to hear about the latestresearch by the world’s leadingpractitioners.

Both the American Society ofCinematographers (ASC) and theBritish Society of Cinematogra-phers (BSC) have recently com-pleted major projects to review allof the acquisition tools availableto movie-makers. And while eachhas reported on the results oftheir work, never before haveboth bodies come together in oneplace.

Where once there was film nowthere is a multitude of camera for-mats. The ASC used all its Holly-wood experience to create somechallenging set-ups at which themerits and limitations of each

could be compared with the goldstandard of film. What are thetechnical and creative strengths ofeach? Can general conclusions bereached?

Rather than repeat the effort,the BSC developed a complemen-tary programme that also lookedat the workflows involved in each

format, to reach an over-archingview on the way in which they fitinto a practical production work-flow. Do the different workflowsfor long-form projects like movies,high intensity jobs like televisiondrama or short-form commercialsaffect the choice?

The experts behind both the

ASC and BSC projects are bring-ing their results to this very specialdouble conference session. It isbeing held in the Auditorium,which means they will be demon-strating their results on the state-of-the-art IBC Big Screen,probably the finest large screendigital cinema display around.

It’s an opportunity to under-stand not just the relative merits ofimage capture at the leading edge,but also all the implications ofworkflow from raw digital cameraimages to finished post.

All this makes the session amust-see for anyone interested inthe future of movies and high-quality television production. Andto encourage as many people aspossible to attend, IBC is offeringthis double session for the price ofjust one. So if you have a Flexi-book Pass the whole morning willcost you one coupon. If you havean exhibition only pass, you canbuy a session ticket at the confer-ence registration area.

The session runs from 09:30 to13:00 in the Auditorium.

Conference Today

Charting a course through digital cinematography

A must-see for anyone interested in the future of high-quality TV production

by Adrian PenningtonFlexiscope, the first portable testand measurement device at 3Gbpsto be shipped, is the centre ofattention on the Hamlet booth atIBC. The latest module, whichincludes crucial eye pattern dis-play, is already in use by engineersacross the globe.

“Our customers, in the tele-coms industry as well as broad-cast , told us they neededeye-pattern monitoring as it is thequickest way to see how stable adigital circuit is, and they told usthat they needed to build 3Gbps-ready infrastructures today,”explained Hamlet director SteveNunney. “Our flexible platformmeant we could add both thefunctionality and the 3Gbpsbandwidth far faster than manu-facturers who had to develop itfrom scratch.”

The Hamlet test and measure-ment system is based around acommon digital platform used inFlexiscope, its smaller cousinMicroFlex, the on-screen display

MonitorScope and the fixedinstallation appliance LCD-Scope. A number of identitymodules are now available, whichcan be used in any of thetools, to provide specifictest capability and signalgeneration.

MatchCam, anotherhighly practical option isbeing demonstrated. It’sdescribed as a simple andfast way to align camerasby capturing a vector dis-play from the referencecamera inside the Flexis-cope or other device, andthen matching other cam-eras to it.

“It provides a foolproof wayto set up multiple cameras,” saidNunney. “As broadcasters andproduction companies begin toexperiment with stereoscopic 3D,Hamlet has tools available toensure that the two streams areprecisely matched throughout thechain from camera to delivery.”9.E13/9.E21

Hamlet looks 3Gbps in the eye

by David FoxLitepanels’ new MicroPro on-camera light fixture, outputs twicethe light as its previous Micro. Italso provides a broader source,giving it a more HD-friendly qual-ity of light.

The compact MicroPro offers“luminous, soft, directional light-ing” and produces about 1.5 hoursof continuous output from sixstandard or rechargeable AA bat-teries or more than five hoursusing Lithium Ion AA cells. Powercan be supplied optional lythrough a 5-12v input jack.9.D28i

Quantity andquality: moreequals betterfor MicroPro

MicroPro hastwice the light

The Hamletsystem is based

on a commondigital platform

IBC09 D3 p12 24/8/09 15:33

www.aja.com

One workflow.From Lens to Post.

Ki Pro is an all newway of connecting production and post.Finally, shoot on the same codec as you edit with, Apple ProRes 422,built natively into Ki Pro’s stand-alone, portable hardware.

With its extensive analog and digital connectivity, virtually any video and audio source can be fed into Ki Pro.It also includes AJA’s powerful 10-bit realtime up/down/cross-conversion, enabling instantaneous recordingof SD or HD from any camera format.

Record pristine ProResmedia to a removable StorageModule with built-in FireWire 800, or to34mmExpressCard Flash—both instantlymount on your OSX desktop for immediate editing and file access.

Ki Pro is tough and rugged, yet small and portable, designed for real production environments.Powered through an industry standard 4-pin XLR, you have flexible AC and battery options. Use Ki Pro on atable, ormate it between your camera and tripod via a bulletproof optional aluminum cage, complete withsliding baseplate and accomodation for 15mm rods.

Visit ourwebsite to discover the full details of howKi Prowill change yourworld.

K i P r o . B e c a u s e i t m a t t e r s .

Record natively to Apple’s ProRes 422 codecfor full raster 10-bit 4:2:2 HD and SD.

Record to a removable Storage Modulewith built-in FireWire 800 or 34mmExpressCard Flash.

Built-inWiFi and Ethernet for completecontrol via a web-browser, or your iPhone.

Connect any digital camera via SDI or HDMI,or any analog camera. Convert in realtimefrom SD to HD, or 720 to/from 1080.Ki Pro is your hub for all types of sources,regardless of format or connectivity.

Ki

Visit AJA Stand 7.F11, IBC 2009


Clipster supports REDMunich-based camera equipment rentalcompany Ludwig Kameraverleih and itsaffiliate, soundLab Postproduktion, arethe first German companies to install arealtime file-based RED workflow withDVS’ Clipster. Ludwig Kameraverleihuses the RED data for TV productionand employs Clipster for realtimeprocessing of RED Raw. RED data istransferred directly on set via USB toClipster, enabling the crew to view theimages for instance in RGB 4:4:4 12bit, and run instant quality control. Thedailies are generated as DnxHD220Mbps 10-bit 4:4:4 in realtime.SoundLab Postproduktion generatesbroadcast material out of the Rawmaterial. Finished TV projects arerecorded from Clipster directly onto anHDCAM SR. The DVS system isdesigned to allow the user to adjustRED camera parameters and colourcorrect in realtime. For filmapplications, once the EDL (ALE/XML)is created in offline editing, it can betransferred to Clipster for onlineconforming of the Raw data. A splitscreen allows the operators tocompare the 4k Raw 12-bit materialwith the offline editing. Within Clipster,primary colour correction as well asscaling are processed in realtime.7.E21

iPhone programs PVRAn example of the hundreds of newuses being found for the iPhone can befound on the stand of Belgian companyZappware, which is taking theopportunity presented by IBC to launcha ‘Remote TV’ iPhone application thatallows viewers to remotely programmetheir personal video recorder andconsult the EPG or VoD catalogue.Visitors are being treated to ademonstration that shows how theiPhone can enable programming of aPVR; building lists of favouriteprogrammes or VoD assets; consultingthe EPG; schedule reminders; browsingthe VoD catalogue; and ordering VoDassets. The iPhone add-on is part ofZappware’s iView for Operatorsservices suite. This suite containsservices such as VoD, EPG, and hard-disk or network-based PVR. Theseservices are targeted at operators, whocan enrich the media experience ofviewers and generate new revenues.4.B51

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In Brief

Sunday Sept 13,11.00-12.30by Chris ForresterDigital broadcasting and the real-location of broadcasting spectrumis a major issue for many countriesaround the world. The next ITUWorld Radio Congress will beheld in 2011. Broadcasters maylose out on spectrum to otherservices with considerable pressurefrom governments to price this re-allocation of bandwidth beyondthe pockets of many broadcasters.

During the transition, broad-casters must support analogueand digital transmissions. Whatwill happen when analogue isswitched off and consumers clam-our for more HD channels? DVB-T2 might be an answer for some,while others – especially in someemerging markets – are lookingcarefully at adopting MPEG-4

compression and leap-froggingMPEG-2 for transmission. Theseplans need careful cross-borderco-ordination, not always easyunder today’s economic pressures.

This IBC panel, part of TheBusiness of Broadcasting stream,is chaired by Alan Downie, a UK-based consulting engineer withthan 30 years experience in broad-cast engineering, 20 of those beingwith the BBC, covering radio, tel-evision and transmission. Downieworks with the CommonwealthBroadcasting Association and hasrun many training courses onbroadcast engineering in Africa,India, the Caribbean and SouthAmerica.

Downie’s panel is drawn fromthe regulatory side of the fence aswell as from users. Greg Bensberg,a highly-regarded principal advi-sor on broadcasting at the UK’sOfcom, which has managed theanalogue switch-off in the UK,but not without a degree of con-troversy. He is joined by Gregory

Francis, MD at Access Partner-ship, which supports some of theworld’s largest network operators,governments, and equipmentmanufacturers in developing andexecuting market access strategies.Active in policy forums across fivecontinents, he has assembled aninternationally recognised teamwith a track record of changingtelecommunications law and regu-lation. Francis has also success-fully obtained spectrum accessand telecommunications operat-ing licences on business-friendlyterms in some of the world’s mostchallenging jurisdictions, and hassecured international spectrumrights from the ITU.

Lis Grete Moller is a seniorconsultant for the Danish Broad-casting Corp (DR Medler). Hermain activities include distribu-tion and spectrum strategy andplanning and implementation ofDAB and DVB-T networks. She isactive in various EBU groups andis vice chairman of the Spectrum

Management Committee. Duringthe development of DVB-T Gretewas involved in European andNordic research projects andchaired the DVB group that wrotethe DVB-T specification. LisGrete has been a member of theDVB Steering Board since 2007.

Darko Ratkaj, a senior engi-neer at the EBU, represents theEBU. For more than 16 years hehas been active in the area ofradio spectrum management. Heworked for several years as a sen-ior advisor in the national telecomadministration in Croatia. There-after, Darko spent eight years as amember of the European Radio-communications Office (ERO) inCopenhagen where his responsi-bilities included frequency man-agement and spectrumengineering in support toCEPT/ECC.

Darko was deeply involved inthe CEPT activities concerningthe introduction of digital broad-casting in Europe. He took anactive part in the CEPT and ITU-R broadcast planning conferences(Maastricht 2002, RRC-04 andRRC-06).

Allocating Spectrum: Fair access for allConference Today

When economies are hard it is thecompany who becomes morethoughtful about their operation,their customers’ satisfaction, andtheir ability to take on more proj-ects more profitably that catchesnew wind and sails to victory. Thisis why so many organisations arebetting on ScheduALL.

With a 20 year track record asthe leading Enterprise ResourceManagement (ERM) solutionprovider to broadcast and mediacompanies around the world,ScheduALL delivers comprehen-sive resource utilisation, marginanalysis, and reporting tools thatstreamline operations, drive greaterefficiencies and improve ROI.

ScheduALL sits at the intersec-tion of personnel, facilities, equip-

ment, and media assets providinggreater visibility and control ofyour overall operation. Interactingwith file based workflows, Sched-uALL is the mission critical appli-cation for effective managementwhen content requires humanintervention to shape, manipulate,or edit prior to distribution. Itprovides intuitive quoting, projectplanning, resource allocation, costand margin analysis, invoicing,and realtime reporting functional-ity; ensuring projects are engagedwith the right resources at theright margins every time.

Connecting disparate work-groups and reducing human error,managers can easily track resourceavailability, bookings, personnelshifts, and maintenance schedulesto enable appropriate staff to con-tribute to project bidding, invoic-ing, promotions, and media

management within a single appli-cation. This approach significantlyreduces overtime costs, schedulingconflicts, double bookings, andthe infamous double entry.

ScheduALL’s open architec-ture also works with largeraccounting, ERP, HR systems,and third party applications, togain even greater efficienciesacross the enterprise. Speed, preci-sion, and interoperability are key

differentiators in highly competi-tive markets.

ScheduALL’s business processesdeliver consistent wins by maximis-ing resource utilisation, providingrobust margin and project report-ing, and accelerating revenuestreams across the enterprise. Tolearn more about our winning for-mula at IBC, stop by to schedule anappointment or demo.1.B39

Setting the sails for success

Exhibitor Opinion

The workflow: ‘speed, precision, and interoperability are key differentiators’

When economies are tough, it is the innovativeplayers that emerge successfully to forge thefuture says Joel Ledlow, CEO ScheduALL

IBC09 D3 p14 24/8/09 15:58

by David FoxGekko Technology is showingits new kelvin TILE LED lightsat IBC, fo l lowing i t s recentacquisition of the business fromElement Labs.

The TILE is an LED-basedlighting system using a combi-nation of red, green, blue, cyan,amber and white LED elementsin a 16x15 matrix to generatefull-spectrum white light specif-ically for film and video pro-duct ion. Unl ike t radi t ionalluminaires, the colour tempera-ture of of the kelvin TILE isclaimed to remain consistentthroughout the ful l range ofintensity variation.

“The kelvin TILE is a compactsoft light giving directors or cam-eramen total control over colourtemperature from 2200 to 6500Kelvin with resets at 3000 and5500K,” explained Gekko Tech-nology founder and MD, DavidAmphlett.

“It is a soft-light companion tothe focusable Gekko kedo whichwe showed in prototype at theNAB 2009 convention. BeingLED-based, it is highly robust,has a long working life and willnot cook the performers. It isdesigned for general soft-lightapplications including conceal-

ment of wrinkles and shadows.”Measuring 301x301x99mm

(WHD), each TILE delivers up to419 Lux at 5500K or 273 Lux at3000K (at 1m) with a power con-sumption of 85W. Beam angle is108ß at 50% intensity. The TILEweighs about 4kg and can be sup-plied with an omni mount, singleor double yoke mount, andremovable barndoors.

The TILE can be controlledlocally, via DMX or using thekelvin Paintbox control software.In addition to complete calibratedcontrol of white light, the Paint-box provides independent controlof up to eight individual tiles,allowing lighting parameters to besaved, recalled and cloned.

In RGB mode, the Paintboxprovides access to a wide paletteof colour lighting effects includedwashes, sweeps and strobes, as wellas adjustable green biasing. Light-ing parameters can be saved,recalled and cloned.11.F75

theibcdaily


IBC has always been at the fore-front of debating 3D as part of itshighly regarded digital cinemathread. Today at 15:45, the Euro-pean Digital Cinema Forum(EDCF) and the Society ofMotion Picture and TelevisionEngineers (SMPTE) will look atsome of the technical challengesof d-cinema in post production.

SMPTE is already working onstandards for digital 3D HD deliv-ery. In today’s free session it willreflect on this work as part ofdeveloping the case for how itmight be broadcast, as well as sug-gesting what stereoscopic technol-

ogy might work in the home.David Monk, CEO of the

European Digital Cinema Forum,will chair the session. He is a reg-ular contributor to conferencesaround the world on the topics ofVisual Perception 3D Imaging andDigital Cinema Deployment.

Meanwhile, Oscar-winningengineer Ray Feeney, a SMPTEfellow and co-chairman of theAcademy of Motion Picture Artsand Sciences’ Science and Tech-nology Council, will discuss thework of The Academy’s ‘ImageInterchange Format’.

This topic covers many aspectsof standardised digital workflowincluding metadata, colour encod-ing and archival requirements.

Contributing to the discussion onmetadata will be Andy Maltz,director at The Academy Scienceand Technology Council, andDavid Stump, chairman of theCamera Subcommittee of theAmerican Society of Cinematog-raphers Technical Committee.

This must-attend session willalso look at some of the latestdevelopments in the field of Sub-titles for 3D Movies, with contri-butions from Doremi’s businessdevelopment executive, PatrickZucchetta and Philippe Gerard,CTO of 3Dlized.

The EDCF/SMPTE D-CinemaTechnical and Post ProductionWorkshop takes place today from15:45 to 17:15 in Room L.

Conference Today

Developments in d-cinema

Cinematographer David Stump has insight from the coal face

Thorsten Vogel, sales andmarketing managerChina/Russia, Spinner

Has IBC come at a good timefor the electronic mediaindustry? Why?Yes. IBC is a key event for show-casing new products and gettingbackground information aboutthe technologies and markets ofthe broadcast industry. Althoughthe sector faces hardship at themoment, it is essential to be up-to-date with the latest technolo-gies. Many broadcast projectshave passed the planning phaseand are ready for roll out.

What do you think are the keydevelopments in, or threats to,your market sector at thecurrent time?Mobile TV has arrived. Especiallyin China and other Asian coun-tries it is growing at a breath-tak-ing speed. We are looking forwardto consolidating our leading mar-

ket share in China’s broadcastindustry through the national rollout of CMMB and DMB-THcoverage this year. MediaFLO ispursuing the UK market. Spinneris ready to provide the sector withthe suitable RF products.

Why should delegates visit yourstand at IBC?Spinner is presenting two brand-new L-band mask filters withdielectric resonators. This tech-nology permits a very compactdesign with superb electrical val-ues. One of these filters is suit-able for MediaFLO, the otherone is designed for the DAB andT-DMB standard. In addition,Spinner is showcasing a selectionof its sophisticated products forRF combining, filtering andswitching.8.B27

Exhibitor Q&A

Gefen is suggesting a way to eliminate messy power cords behind an audio/video rack, using its Power Rack 54 and 58products, writes Carolyn Giardina. Both come in a rack mountable enclosure equipped with four or eight 5-volt power supplies.Each product uses one 24-volt power supply to streamline cords and centralise power distribution. “The Power Rack 54 and 58 are designed to complement Gefen’s HD video extension systems over Cat5 and Cat6 cables,”said Hagai Gefen, president and CEO of Gefen. “Both alleviate cable congestion in the rack area.” In addition, both Power Racks offer a grounding wire for safety. 7.B31

The matrix: Gekko’s new kelvin TILEwhite light is made up of a 16x15 matrixof different coloured LEDs

A light on the TILEs

IBC09 D3 p16 24/8/09 18:07

Ikegami and Toshiba’s GFseries optimizes HD workflow for news, sports, and entertainment.

Learn more about GF series at www.ikegami.co.jp/en/gf

Ikegami and Toshiba have teamed up for one incredible tapeless HD ENG system. The GF seriesfeatures fast, innovative workfl ow, superb open-architecture HD quality, and Flash memorytechnology. These advantages provide broadcast HD news and digital media professionalswith unprecedented fi le-based HD effi ciencies from video capture, to fast editing, to instant IT networking, to content delivery. The GF series includes the rugged GFCAMTM HDS-V10Tapeless Camcorder, the GFSTATIONTM GFS-V10 Multi-Format Studio Recorder, and GFPAKTM

high-capacity Flash media to record more than two hours of HD video. The race is on foraffordable tapeless HD ENG solutions, and Ikegami leads the way.

Finally, a Tapeless HD Flash Memory Systemthat understands the pace of newsgathering.

Tapeless • Wireless • Seamless

Ikegami Electronics (Europe) GmbHHQ : Ikegami Strasse 1, 41460, Neuss, GERMANY

[email protected] Tel.+49-(0)2131 1230UK Branch : [email protected] Tel.+44-(0)1932-769700

Denmark Offi ce : Tel.+45-(0)3880-9903


Crystal Vision’s smart3G HD switch rangeCrystal Vision has released its 3G HDmodular switching range of products,with three routing switches eachdesigned to provide a space-savingsolution to three different applicationsand available at a price to also justifyuse with HD and SD sources.The SW803 3G is an 8x3 crosspointrouting switch that works with 3Gbps,HD and SDI and is perfect as asecondary matrix for small studiouses, and is particularly suited to anysmall routing applications alreadyusing other Crystal Vision boards,such as providing a selection ofbackgrounds for a chroma keyer.The SW221 3G provides simple andaffordable 2x2 switching between two3Gbps, HD or SDI signals and is idealfor use either as an emergencytransmission switch to avoid brokenequipment or to manually bypassproducts requiring maintenance on a24-hour station. An automatic switchaway from a faulty source is triggeredon loss of input or invalid video, whilethere is the choice of switchingbetween the two feeds eitherimmediately or in the vertical blankingperiod to enable a clean switch.Lastly, Smart Switch 3G is ideal forsecuring the video output in systemsthat need high reliability. It providesintelligent 2x2 switching to a backupsignal source by monitoring two3Gbps, HD or SDI video inputs with upto four groups of embedded audio andswitching between the sources if aspecified fault condition arises.2.B11

theibcdaily


In Brief

How are UK post production andstudio businesses adapting their inthe face of recession, dwindlingadvertising revenues and smallerproduction budgets? On thewhole, better than you’d thinkwith a remarkably pragmatic andpositive attitude

“The usual time and budget-ary constraints have becometighter and clients are looking formore economical ways to fulfiltheir post production needs with-out the loss of quality – it’s a hardbrief to fill,” says Adam Luck-well, MD of Unit.

Luckwell is upbeat, believingthe answer l ies in eff icientprocesses and newer technology.“Final Cut Pro and other softwarebased post production tools com-bined with a modern digital infra-structure and workflow, providetime and cost improvements andenable forward thinking compa-nies like Unit to operate withinrecent budgetary constraints, with-out impacting on quality,” he says.

Bryn Roberts, MD of BarcudDerwen is also optimistic: “Bud-gets are really tight but there’s amove towards more productionout of London. Our post produc-tion company ARC in Glasgow isattracting more interest from pro-duction companies traditionallybased in London.”

Interestingly, Sohonet CEODave Scammell has noticed thedesire to drive costs savings “hastranslated to moving work aroundmuch more and a surge in distrib-uted and collaborative working”.

Nicky Sargent, MD of TheFarm Group agrees that this is away forward. “Manipulation ofmedia is where it’s at and we havebrilliant staff who are involvedwith producers at the pre-produc-tion stage who write code to meetthe needs of the job.”

But how are the facility com-panies dealing with reduced rates?

“Blue has taken a differentapproach to business this year,”says the facility’s broadcast com-mercial director, Sara Hil l .“We’ve been more focused on bulkdeals with clients, rather than thetraditional model of a deal foreach production. It helps us to sta-bilise our business and plan for thefuture, if we have guaranteedwork for the year ahead. Likewiseclients benefit from more flexiblerates and building closer relation-ships with the creative teams.”

Envy MD Dave Cadle believes‘traditional’ values are still appli-cable: “To be successful, you haveto be out there, you have to hit theground running, you have to havea great brand, serious talent andachieve the best performance foryour clients, then you can makesomething happen.”

Nicky Sargent has alwaysbelieved in people: “We’re asbusy as ever to be honest buttellingly, we are turning awaymore work than we’d like to. It’sheartbreaking but people don’talways have the budgets to payfor proper facilities. The usual

comment is that we should comedown because technology i scheaper but my wage bill is threetimes more than my kit repay-ments. We are and always will bea people business and this is whatthe rates are for.”

So, while post productionseems to be adapting to thesechallenging times, how are othersectors of the industry getting on?

“We’ve had an outstandingyear,” enthuses the MD of Hire-works, Lawrie Read. “People areusing the flexibility of hire com-panies to put kit into cheaper dryhire premises, rather than payingfor a post production facility andwith wider and faster broadbandavailable, images and audio can beshared more easily.”

“Fountain Studios has contin-ued to invest during the past 18months,” states MD Mariana Spa-ter. “We’ve made the studios fullyHD capable in that period, includ-ing a state of the art Calrec 5.1sound desk. This enables us toreach new customers, and our lev-els of business continue to grow.”

Read is equally enthusiastic

about spending: “We invested over£1m in the latest HD capable kitand this combined with a qualityof service that stands up in thegood financial times as well as thebad has seen us go from strengthto strength.”

Technology is moving forwardquickly and many are committingto tapeless workflows. “We’veincreased the number of our Base-light suites and upgraded our editsuites to cope with new formats,”says Hill. “It means more capitalinvestment, but the returns comein. Developing the expertise aheadof our competitors means clientsturn to us for help with new tech-nology as we try to stay ahead ofthe game.”

So, across the sector compa-nies are adjusting pretty well, butwhat about the future? Sargent isbullish: “Significantly, a lot offacilities will survive because theyhave assets and they can borrowon these. Some production com-panies are realising this and wehear that a few are being linkedwith facilities in order to growtheir own assets.”

Scammell believes that ourfacilities can be stronger: “Greateremphasis on transferring materialaround the world means that Lon-don facilities are in a good posi-tion to capture more high profileoverseas work.”

Others sense that the strongestcompanies emerging from the cur-rent economic climate will be theones that can be flexible and lighton their feet. But it is Cadle whohas one of the most inventiveapproaches for the future of facil-ities. “Envy has taken the postproduction industry on andturned it on its head by nature ofits shareholding workforce,” hesays. “We are not beholden toinvestors and venture capital,which wouldn’t recognise a posthouse from a post office.”

It would be foolish to presumethat the unwelcome times arebehind us, but it seems that ourindustry as a whole is equippedand ready to remain the best in theworld. “The work’s still out therebut it’s cheaper and UK facilitieswill adapt, with imagination andstoicism, as they have alwaysdone,” says Sargant. “As an indus-try, we’re always changing andevolving so this is just anotherphase to us.”

Riders on the stormPoliticians and various financial experts continue to tell us that we areover the worst and the international economy is showing signs ofrecovery. But what do members of post production body UK Screen think?Gaynor Davenport, chief executive, UK Screen Association has polled them

Gaynor Davenport: ‘Our industry is equipped and ready to remain the best in the world’

Sara Hill: ‘We’ve been more focused onbulk deals… rather than the traditionalmodel of a deal for each production’

IBC09 D3 p18 24/8/09 15:54

Hall 10Booth D 15

IBC 2009Amsterdam11–15 Sept.

EventCalendarStoryBin4More – Video Content Management

WebDistribution

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www.annova.tv

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IBC09 D3 p19 25/8/09 10:37 Page 1

SatLink expands HD TXSatLink Communications hasannounced that it has expanded itshigh definition transmission capabilitiesto up to 12 simultaneous HD streamsincluding encoding, decoding andmultiplexing the feeds. The companysays that this investment makesSatLink the first operator in the regionto possess complete end-to-end HDteleport facilities with 12 simultaneousfeeds. According to SatLink, the newHD systems comply with the standardsof top global sports rights holders andadd a new layer of technologicallyadvanced services for occasional andpermanent users of SatLink’sstrategically positioned teleport thatconnects Asia, Europe, Africa and theMiddle East. SatLink’s expandedcapabilities include the encoding,encrypting and multiplexing of themultiple HD feeds. The system alsoenables the insertion of differentlanguages into the streams prior to re-transmission and distribution, as wellas down conversion of high definitionto standard definition and vice versa. 4.C40

Orbiter goes flat outTK-3’s latest camera seat, the Orbiter750 hybrid, is the synthesis of twoexisting lowshooters, the Orbiter 500superflat and the Orbiter 500 ultraflat,combining the benefits of both in oneunit. The user’s working position can beswitched in height from ultraflat tosuperflat. It can be used in criticalcamera positions, such as beside thenet in a tennis court or as the centrepitch camera for soccer, where space islimited and views must be unrestricted.It is an all-in-one device, but themounting height of the camera and theswivelling seat can be quickly adaptedfrom the lowest possible height aboveground to the comfortable andergonomic working position of the Orbiter500 superflat. It has a full 360° range,and allows trouble-free movement due toits central cable feed. Both camera andseat can move independently. Horizontalpan and tilt are not mechanical but onthe same axis. The seat is not directlyconnected to the camera column, so novibrations are transmitted from theoperator to the camera. It is also quickerto set up than the 500 models, as it onlyneeds to be positioned and levelled. 11.A51

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MediaGeniX

Telco’s & Platform Operators

Hall 3

Booth C59

In BriefAt the recent G8 Summit the lead-ers of the most economically sig-nificant nations of the world allagreed to reduce CO2 emissionsby 80% by 2050. If we are to meetthis hugely challenging target weare all going to have to push envi-ronmental considerations to thetop of our list of priorities.

For many businesses this isalready happening. Energy effi-ciency is an important part ofdesigning and selecting new prod-ucts. Big power consuming deviceslike transmitters have seen dra-matic improvements in opera-tional performance recently. At

the other extreme, set-top boxdevelopers have recognised thatthe saving of just a watt or two byturning off parts of the circuitrywhen not in use can pay real divi-dends across an installed base ofmillions of units.

Of course, reducing energyconsumption reduces energycosts. But are green productsmore costly to develop and manu-facture? Do the energy implica-t ions of new mater ia ls andmanufacturing methods offset thesavings in operation?

Apart from being seen to bedoing the right thing, are there

commercial benefits in beinggreen or is it just a cost centre?

Can we be kind to the planet andkind to our balance sheet at thesame time?

To debate the issues IBC hasbrought together a panel fromacross the industry, including ITand broadcast equipment vendors,professional users and environ-mental experts. Following akeynote address from Jaume Reyof Panasonic, the panel will talkabout some of the successfulstrategic initiatives that havealready been implemented.

If you want to find out how toachieve environmentally responsi-ble practices without compromis-ing qual i ty – or losing thecompetitive edge – then this ses-sion at 15:30 in Room O, will haveat least some of the answers.

Is it easy being green?

Jaume Rey, Panasonic: ‘Is being seen to be green good enough?’

by Adrian PenningtonIn business since 1980 – whichmeans they must be doing a lotright – the UK’s Bryant Broadcastis now manufacturing f ibreHDTV camera cables designed tocompete with lower cost imports.

The firm’s commercial gradecomposite SMPTE 311M, single-mode f ibre optic and copperhybrid camera cables can multi-plex audio and video signals andpower and are manufacturedusing Furukawa TV-OM-AMSSMPTE specification cable, termi-nated with Lemo SMPTE 304Mconnectors.

The Lemo 3K.93C connectorhas been fully tested, is TUVapproved and is used in interna-

tional events transmissions and inapplications such as the SonyBVP9500 super slow motion cam-era to CCU.

“The face of each F2 fibre con-tact in the connector goes througha precise, multi-stage, laboratorystandard polishing process in ourfactory,” explained Bryant’s BobHart. “This process achieves excel-lent optical clarity and alignment,thereby reducing return loss andminimising insertion loss.”

Furakawa’s TV-OM-AMScable is manufactured to theAmerican SMPTE standard “asopposed to their more expensiveJapanese ARIB version which wealso stock,” said Hart.

The Bryant Broadcast/

Furakawa SMPTE terminatedcamera cable’s performance “isproven superior to most other sup-plier’s standard SMPTE offerings,”noted Hart. “It exceeds the physi-

cal, electrical and optical require-ments of the specification whilestill providing a considerable costsaving over their ARIB cables.”

Every Bryant UK-built cablecomes complete with rubberboots, gaiters, dust caps and clearheat shrink for identification andcan be supplied reeled on theBryant SCD-FO skeleton drum ifrequired.

As a Lemo UK, Fischer andNeutrik Opticalcon approvedoptical termination house, Bryantcan not only manufacture but alsorebuild most makes of SMPTEcamera cables avoiding the costsof sending imported cables backto the USA or Asia for repair.9.D55

by David FoxKupo Grip has a comprehensiverange of new products on showat this IBC, including: a HandyStand; Toothy convi clamp withHalf Coupler; Grip head withHalf Coupler; K-lok; B&B CEEform connector; Rubber Distrib-ution Box; Gattle Leather heatresistance glove; and more. Ofparticular interest are its SnakeArm series products and theMax Arm.

The Snake Arm is a new 39cmgrip extension for mounting cam-eras or lights. The ends come

with 16mm studs with 3/8-inchand 1/4-inch threads. It is madewith 99.7% pure aluminium rodwith a soft covering, which allowsconsiderable flexibility (bendingto any position you want), whilemainta in ing s tabi l i ty whi lemounting.Kupo Grip’s Max Arm is a newdesign with many uses. It has aquick, large lock knob that is eas-ier to grip. The longer (19cm)arms are designed for a wide rangeof conditions. The system hasteeth to stop it rotating and com-ing loose.

The pins at the end of the armscome with multi milling flats thatavoid rotating and fit quickly. It

weighs 1kg and can take a maxi-mum load of 5kg.11.G71

Maximising potential: Kupo’s new Max Arm

A range of gripping possibilities from Kupo

Every Bryant UK-built cable can be supplied reeled on the SCD-FOskeleton drum, if required

Bryant shows its fibre and clarity at IBC09

IBC09 D3 p20,21 24/8/09 18:14

by Adrian PenningtonFor high-end recording and play-back, Fast Forward Video’sOmega HD DVR, showing today,can record either SD or HD videowith JPEG2000 compression andup to 100Mbps.

“Using the Omega HDrecorder, users can simultaneouslyrecord, play, and store multiple SDand HD video files and createvideo clips, loops, and playlistsusing the simple-touch front-panelor RS-422 controls,” said the com-pany. “These features make theOmega HD an ideal solution forgraphics, key and fill, stationautomation, commercial insertion,and instant replay applications.”

A common fixture in mobilebroadcasting vehicles for key and

fill applications, the device can alsoprovide a powerful alternative tohigh-end instant replay servers suchas the EVS XT[2], says FFV.

“It is fully compatible with EVScontrollers, providing exceptionalimage quality at less than half the

cost per channel,” it claims.Because FFV’s Elite HD and

Omega HD drives are removableand interchangeable, operatorscan incorporate camera footagecaptured by the Elite HD into keyand fill and other applications forplayout by the Omega HD – sim-ply swapping the standard 2.5-inch drives between the two units.10.F35

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Ask your customers. Ask their kids. They want VOD, and they won’t take no for an answer.Viaccess provides a powerful range of flexible and secure solutions for user-friendly VOD servicesin a multi-network environment. //www.viaccess.com

Visit us at IBCStand A51 Hall 1Ph

oto:PeterMuller-GettyImages

VUDUTOIT

It’s VOD time.

GlobalInvacomin radicalchangesby Ian McMurrayAccording to Global Invacom, theGI FibreMDU optical outputLNB radically changes how satel-lite signals are dealt with comparedwith conventional Universal LNBs.

Able to convert all four univer-sal IF bands (H/H, H/L, V/H,V/L) to a single optical output andwith its optical output of +7 dBmmaking it capable of supplying allconverted signals to 32 distribu-tion points over a 10 kilometreradius, the unit uses patented tech-nology to frequency-stack bothhorizontal and vertical polarities,creating a single IF frequencyrange of 950MHz-5.45GHz. Thenewly-created single band is thenfrequency modulated optically andoutput using a 1310nm laser inter-nal to the optical output LNB.

Powered separately, the OpticalLNB takes the required <450mAfrom a standard 12v supply utilis-ing a standard female F type con-nector. Fibre connection is madevia a standard FC/PC connectorfeeding the distribution networkon single mode fibre optic cable.4.B61

FFV joins the HD elite

FFV’s Omega HD DVR is packed with features

32 distribution points over 10km radiusare possible with GI FibreMDU LNB

IBC09 D3 p20,21 25/8/09 11:16

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Scheduling & content lifecyclefor linear & VOD broadcasters,

Telco’s & Platform OperatorsThere are many waysto communicate

last-minuteschedule changes

Scheduling & content lifecycle

Telco’s & Platform OperatorsThere are many ways

Hall 3Booth C59

Sunday Sept 13,11.00-12.30by Chris ForresterThis IBC session (‘Can you see theball: HD content on a handheldscreen?’) is not just about puttingsoccer onto handhelds, but prom-ises to take an up-to-date look atall that’s happening in broadbandwireless transmission of program-ming as far as TV and other videocontent is concerned. The sessionis produced by the Broadband

Wireless Association (BWA) andis chaired by Stephen Lowe, theBWA’s chairman.

Everyone agrees that sportlooks wonderful in high definition– but sports fans want to see liveimages wherever they are, and thatmay mean catching content onour handheld screens. How can wereconcile these two? Indeed, willwe be able to see the ball?

This panel session will debatesome of the critical questions, notleast the enthusiasm – or other-wise – of telcos to carry this pro-gramming. The experts wi l ldebate which scalable compres-

sion technology wil l be mostappropriate? Or does the rightscheme not exist and we have to

develop a new one? Can we matchthe HD approach – wide views,letting the viewer’s eyes roam –

the tight close-up demanded by apalm-sized screen? What meta-data might we need to ensure safepassage of content through net-works of mixed technology?

These are issues which affectproducers and directors of con-tent every bit as much as the engi-neers designing the networks tocarry them. This debate is an idealopportunity to ensure that thesolution answers everyone’srequirements.

Lowe’s panel l i s t s inc ludeSimon Fell, formerly ITV’s Direc-tor of Future Technologies, andan acknowledged expert on highdefinition. He will be joined byMike Short, O2’s VP-Technology,and chairman of the MobileData Assoc.

Can you see the ball?Conference Today

Squeezing an HD Superbowl onto mobile requires cunning compression

With much broader content offer-ings and so many different viewingand listening tools (from TV andinternet to mobile devices and

DVDs), what used to be seen as anannoying side effect has become amajor concern. Audiences arecomplaining, to the extent thateven governments are gettinginvolved by bringing in guidelinesto control audio loudness.

Even without complaints, thereare strong commercial reasons(heavy content and technologycompetition) why broadcasters,and re-broadcasters, should begiving customers good qualityaudio and an overall pleasantviewing experience in order tostop viewers from simply switch-ing channel or – much worse –providers.

As the production and broad-cast industries start to embraceloudness control they are going toface some important challenges.

The industry knows how to dealwith level control because it hasbeen doing it for years, but it willnow have to learn to control audiomaterial by using loudness meas-urement. Engineers have to under-stand that loudness and level aretwo different things. If the audiomaterial is aligned to equivalentloudness, the level might vary wildly– and that’s going to really confuseall those people who have beentrained to look for proper levelling.

The newly defined ITU BS1770 norm is a first step towardsLoudness normalisation andATSC in the US and the PLOUDgroup hosted by the EBU inEurope are both working on rec-ommendations for loudness con-trol. However, given the politicsinvolved, one does wonder if we’llever reach a consensus here. Inany case loudness topics will defi-

nitely be debated during IBC’svarious conferences.

At Jünger Audio for manyyears we were well aware of thoseissues, and have been developingour own solution. Level Magic is asophisticated adaptive loudnesscontrol algorithm that is incorpo-rated into a number of differentproducts matching all major AVformats (analogue, digital, SD andHD/SDI) and applications (TV,ingest, production, transmission,radio, IPTV, sat, cable etc.) . Theserange from stand-alone units fortwo or four channels, through toour C8000 modular fame-basedsystem targeted at larger broad-casters and play out centres.

The Level Magic Processorresponsible for this AutomaticNon Destructive Normalisationprocess works with a Multi-Loopsimultaneous combination of slowchanges (AGC), fast changes(Transient Processing) and LookAhead peak limiter management.

With the migration to HDTVservices the problem of loudnessbecomes even more relevant as the

audio for most digital HD servicesis transmitted in multichannelcoded format; and today we oftensee a remarkable difference in loud-ness between PCM stereo tracksand related 5.1 coded AC-3 streams.

The C8000 frame based LevelMagic solution has received aseries of new additions whichoffer an integrated workflow solu-tion for managing Dolby coded5.1 audio signals in production,ingest and playout.

Jünger Audio’s aim at IBC is tooffer broadcasters and all types ofcontent providers, the keys tounderstand and control the loud-ness issues ahead. This is espe-cially the case with 5.1 and Dolbyprocessing where they will berequired to understand integratedworkflow solutions incorporatingadequate format conversions, sig-nal monitoring, processing includ-ing programme metadatamanagement, up and downmixand smart 5.1/2.0 fail over switch-ing. All of which will of course beshown on our booth.2C49

Loudness control need not be a pitchSurprise audio level changes are an issue forall broadcasters and but Peter Poers, managingdirector Jünger Audio, proposes a solution

Peter Poers: ‘Loudness and level are two different things’

Exhibitor Opinion

by Ian McMurrayGetting your entertainment fromany source in the world and deliv-ering it to any room in your homeis, it is widely believed, the ulti-mate goal for consumers – andmanufacturers believe it’s the nextsignificant trend in television.The requirement, of course, is to

bring together the wide area net-work – the web, broadcast TVand so on – with a local area net-work (wired or wireless) and todo so in a way that is not onlysimple and intuitive for con-sumers, but is also reliable – espe-cially as upgrades and additionschange the software mix.

Exhibitor Advanced DigitalBroadcast (ADB) is talking to vis-itors about its vision of what ittakes to rise to these challenges.There is a need, says the company,to merge networks into hybridplatforms that enable true two-wayinteraction with the home – butthis convergence must be seamless:

consumers want the simplicity andreliability of the TV, and thereforethe technology and network com-plexity must be hidden from them.

ADB also points out thathybrid technology is complexfrom a software management per-spective. The IP software stackhas to be implemented in parallelwith other software such as MHPmiddleware, DRMs and DLNAimplementation of home network-ing. The company says that one of

its strengths is managing this com-plex group of software compo-nents to ensure the set-top-box isoptimised for the growing range oftasks it has to perform.

ADB is also cognisant of thefact that the set-top box of thefuture needs to be more powerful -yet consume less power. Consumers,it is argued, are increasingly sensi-tive to both cost of ownership andminimising their carbon footprint.5.B48

Hybrid networks a focus for ADB

IBC09 D3 p22 24/8/09 16:09

Wireless video links have becomewidely accepted as a critical part oflive event productions. Having atleast one wireless camera link avail-able is essential for major sports,news and entertainment events.Wireless camera links provide stun-ning pictures and a special perspec-tive for directors and their audience.

The technical challenges thatwere overcome to enable the trans-mission of standard definitionwireless video have now success-fully been transitioned to high def-inition systems, enabling robusttransmission of wireless HD videofrom untethered cameras. Thebiggest hurdle to overcome for HDvideo is how to transmit high datarate HD video signals through lim-ited RF bandwidth. BMS commit-ted to staying within an 8MHzchannel for HD transmission andhas achieved this difficult goal. Ourtransmitters and receivers use opti-mised RF designs which allow theuse of higher modulation modes totransmit a higher data rate.

BMS has maintained the abil-ity to service customers’ worldwide needs by making these prod-ucts at frequencies between400MHz and 7500 MHz. Thisallows our customers a selectionof frequencies that are available inmost countries as well as alterna-

tives to the congested 2GHz band.The production industry called

for smaller, lighter, low current,energy efficient video transmitters,requiring the latest technologies.The newest transmitters are singlechip solutions utilising state of theart low power FPGA’s (Field Pro-grammable Gate Arrays). FPGAsolutions also allow us the flexibilityto tailor certain parameters to cus-tomers needs. Software basedencoders can be reprogrammed tobe a decoder; compression algo-rithms can be switched; monitoringis made easier; custom changerequests can be implemented bysoftware. MPEG-2 algorithms arecurrently the preferred compressionmethod, but expect video produc-tion to switch to H.264 over the nextfew years. The change to H.264 willbe supported through firmwareupgrades to BMS products.

Other applications, such as thefilm industry, have an increasingdemand for small, lightweight andcost efficient monitor transmitters.BMS has released the NT2423HD,currently the smallest HD trans-mitter available in the world.

BMS provides complete solu-tions for microwave systems froma single wireless link to full city-wide coverage using microwavereceiver diversity networks viaASI switching, plus the ability tocustomise products for specialisedapplications.

Our systems are designed andmanufactured at factories in Ger-many and US and are sold directfrom the factory or through aworldwide network of businesspartners. Customer and market ori-entated research and development,in house manufacturing and morethan 25 years of experience gives usthe opportunity to react quicklyand be flexible to the demands ofspecial TV productions. This is thethird year we will be exhibiting asBMS Europe since the acquisitionof Tandberg AVS by BMS fromTandberg Television in 2007.5.B30

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Booth11.F31

TitanHDHD Wireless system

10 bits uncompressedAnalog and embedded audio

MiMo OFDMNo latency

[email protected]

2009

CineMonitorHD evolution

��

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A HD wireless breakthroughTransmitting high data rate HD video signalsthrough limited RF bandwidth is being overcomeexplains Rainer Horn, managing director,Broadcast Microwave Services (BMS) Europe

Exhibitor Opinion

Rainer Horn: ‘wireless video links are acritical part of live event productions’

by Carolyn GiardinaHigh definition versions of Lucimobile broadcast software arebeing launched at this IBC.

Luci software provides record-ing and delivery of audio andvideo. With increased hardwarecapabil i t ies from a range ofmobile smartphones, includingpicture quality enhancement,Technica del Arte has developedHD versions of Luci AV and LuciLive Two packages.

Luci AV is designed so thatreporters can shoot audio andvideo in studio quality on a mobiledevice. The programme’s splitscreen interface enables simultane-ous, non-destructive editing of theaudio and video content, beforeclips are assembled into a list foruploading to a studio FTP site or

website. The HD version offers480p 30fps picture quality.

Luci Live Two is developed forradio reporting by offering two-way live, broadcast quality audiostreaming to any professional IPcodec. The software is designed toallow recording, or playback ofpre-recorded wav files during alive broadcast and supports out-put codecs including MP2, AACand AAC-HE/Hev2, as well asuncompressed 24-bit/96kHz.

“We’re delighted to be bringingnext-generation Luci technologyto IBC,” said Luci Sales Director,Paul Wishart. “Since last year’sshow, both Luci AV and Luci LiveTwo have begun to seriously estab-lish themselves in the market. Theaddition of HD capability nowoffers even more potential for

journalists to send the highestquality news content from any-where in the world, howeverremote the location.”7.G35

Luci software for mobile goes HD

Luci AV allows reporters to shoot audioand video on a mobile device

by Ian McMurrayDescribed by the company as thenext generation of automatedvideo production and manage-ment solutions for digital videomedia, Agility 2G enhancementsinclude increased reliability withno single point of failure, withautomated fail-over and recoverysafeguards, while improved scala-bility is said to deliver two to threetimes more throughput.

Grab Networks says thatAgility 2G’s usability and flexibil-ity has also been further improvedthrough a new consolidated UIthat can easi ly to adapt todynamic business requirements.

Also on show on the GrabNetworks stand is Anystream

Velocity’s Modular BusinessWorkflow and Distribution Con-nectors, which the company saysenable content providers and own-

ers to customise their on-demandworkflows with a la carte optionsto further automate the creationand distribution of content.

Based on rules for contentrights, Anystream Velocity dynam-ically automates the production,packaging and publishing of videoand metadata assets to mobile,web and TV platforms. Respond-ing to the need for fast and securecontent delivery, Grab Networks isshowing how the Olympics werepowered, how Anystream Velocityallows customers to control what,when and how content packagesare delivered and tracked to serv-ice operators and digital storefrontpartners.1.C31

Anystream Agility2G is used for onlinevideo publishing by media companies

Anystream Agility 2G makes Euro debut

IBC09 D3 p24 24/8/09 16:12

The first choice for digital 35mm cameras.The Fujinon PL-Mount Zoom Lens for the highest resolution.

IBC 2009, AmsterdamSeptember 11–15, 2009Booth 11-C20

FUJINON (EUROPE) GMBH, HALSKESTRASSE 4, 47877 WILLICH, GERMANY, TEL.: +49 (0) 21 54 9 24-0, FAX: +49 (0) 21 54 9 24-290, www.fujinon.deFUJINON CORPORATION, 1-324 UETAKE, KITAKU, SAITAMA CITY, 331-9624 SAITAMA, JAPAN, TEL.: +81 (0) 48 668 21 52, FAX: +81 (0) 48 651 85 17, www.fujinon.co.jp


theibcdaily


Spinal Tap – the acclaimed spoofdocumentary of a rock band ontour – is such a popular cult moviethat it may come as a surprise toknow that it was first released 25years ago. To mark the anniver-sary, the band got back togetherto tour, and of course create a newfilm, Unwigged & Unplugged. Soto mark the occasion of 25 yearsof Spinal Tap, IBC is showing avery special masterclass.

Live on stage at IBC will beproducer/director of the newmovie Jim Gabour, and also oneof its stars, Harry Shearer. Hemay have first come to fame asSpinal Tap bass player DerekSmalls, but Shearer is now per-

haps best known as the multi-voiced mainstay of The Simpsons.Mr Burns, Ned Flanders, Princi-pal Skinner and Scratchy are justsome of the 21 (at the last count)Shearer characters.

Like the original Spinal Tapmovie, Unwigged & Unplugged is adocumentary focusing on theonstage and offstage life of theband. It was shot at a real concertin Milwaukee, the last gig of theband’s recent three month tour.

Jim Gabour shot the musicwith eight HD cameras – all thetheatre would allow – and finishedthe film and audio remix at Craw-ford Communications in Atlanta,while the band was on the UK legof its tour. “Everything is a com-plete send-up done with a totallystraight face,” Gabour is reported

to have said.Keeping a straight face: the

making of Unwigged & Unplugged,Spinal Tap’s 25th anniversarymovie is at 13:30 in the Forum.This is sure to be an extremelypopular session, so make sure youare there early to get your seat.

IBC Masterclass

Turn it up to 11!

Harry Shearer – setting off metaldetectors at IBC. Possibly.

Wifi access in the e-ZoneNew to IBC2009 is the helpful e-Zone. Providing WiFi access for atten-dees and their laptops, the zone comprises seven computer stationsalong with a lounge area with tables and chairs. Located in Hall 10, nextto the JVC Professional’s stand, the e-Zone is sure to be a busy and pop-ular attraction.

by Ian McMurrayOne of the key drivers behind dig-ital cinema was unquestionablythe ability to make distributionfaster, more secure and less expen-sive because i t provided theopportunity to avoid the use ofphysical media such as tape.

The cost for each celluloid tapewas around $1,500 – and a copywas needed for each cinema. Theestimated annual saving to themovie industry in moving awayfrom tape distr ibution andtowards digital distribution hasbeen put at between $900 millionand $2.8bn.

Of course, it’s not just the

movie industry that needs to movecontent quickly, securely andcheaply. Here at IBC, Broadcast-ing Center Europe (BCE) is talk-ing to visitors about the broadrange of services the company canoffer to companies looking tostreamline their content distribu-tion operations. BCE says that itwas first to create a digital contenthub in Europe – a hub to whichdistributors 20th Century Fox,Sony and CBS are now connected.Channels, broadcasters and VoDplatforms can connect to BCE’shub and, says the company, obtaintheir content immediately.

BCE points out that being

tapeless improves companies’ abil-ity to react quickly in a marketthat is constantly and rapidlyevolving: that it improves work-flow between companies; that itreduces infrastructure costs; andthat it delivers greater security.

Security is, of course, a key cus-tomer concern, and BCE addressesthis with its ‘Movie2Me’ service.Movie2Me splits content into anunlimited number of files and eachof these files is sent in separatedencrypted virtual tracks: each partof the content is unusable alone,and a private key is needed torecompose the file on receipt.5.C41

by Ian McMurrayIt is, without a doubt, a mobileworld – and that applies equally tosatellite terminals. At IBC, SWE-DISH – now Rockwell CollinsSweden – is taking the opportu-nity to show off the CCT120 satel-l ite terminal it launched lastquarter.

Capable of delivering high def-inition, broadcast quality videofrom the field, the Drive-AwayCCT120 delivers up to 17MbpsMPEG-4 AVC HD with only a50W transceiver.

This high performance isachieved via SWE-DISH’s high-gain, dual-optics Gregorianantenna. System performance isalso enhanced by a high linearpower SSPA and the low feedlosses achieved by SWE-DISH’santenna design. The system allowsfor a higher-powered 180W con-figuration that can achieve evengreater throughput throughout awider footprint.

According to the company, theDrive-Away CCT120 enablesmobile news gathering teams tobroadcast from anywhere in theworld using Ku band, transmit-ting live news, sports and otherevents in HD format. The systemprovides a flexible solution that,due to its specialised design, small

s ize and low weight, can bemounted on any vehicle in abroadcaster’s fleet, says SWE-DISH. The Drive-Away CCT120is fully enclosed during transport,and is designed to deploy quicklywith a point-and-shoot antennacontrol that enables transmissionto begin within minutes.

As with all SWE-DISH’s Com-muniCase Technology (CCT)products, the Drive-AwayCCT120 features multiple mod-ules, a plug-in modem, an antennasystem, a controller, and a trans-ceiver, all of which can easily beconfigured and used with currentand future SWE-DISH CCTproducts, says the company.1.A39

CCT120 is dish of the day

SWE-DISH’s CCT120 is designed to beoperational within minutes

BCE encourages tapelessness

MAX roomby David FoxMatthews Studio Equipment hasadded to its MAX and Mini-MAX ranges of lighting standswith MAXine. Like its predeces-sors, it uses a patented design thatget the fixtures up and out fromthe main supporting column.

The lightweight aluminiumstructure (6kg) will support a4.5kg fixture at a height of 2.1mand a horizontal reach of 1.8m.MAXine can go as high as 3.9mand will drop to 40cm below thehorizontal. As there are no tubesprotruding at the rear, MAXinecan be set up very close to a wall.

Also new are Matthews’ Moni-tor Mounts. These are CNCmachined from 6061T-6 aluminiumbillet, which is claimed to makethem the strongest, most versatileand compact monitor mount. Thismount will apparently support anysize monitor to a maximum weightof 30kg. They can be used withlight stands, C-stands, or any othermounting device with a 5/8-inchbaby pin, and will fold flat to themonitor for storage and trans-portation.11.A70

IBC09 D3 p26 25/8/09 10:43

1 . D E V I C E S E L E C T I O N 2 . G U I D E D A D J U S T M E N T

www.miranda.com/RCP-200

Rethink infrastructure controlNow you can have instant control of complex routing and signal processinginfrastructures from a single panel. Our RCP-200 allows much faster and more accurate control of key tasks, like incoming feed processing. Its rich, graphical interface features two touch screens for rapid device selection,and guided adjustment. It’s time to rethink what’s possible.

Rethink what’s possible

See us in Hall 8, B80


theibcdaily


Making its debut at this year’s IBC is the compact 2k & HD SSD Boxxster LERecorder from DVC, writes Farah Jifri. Boxxster LE is the first model of DVC’s newLinux-based uncompressed disc recorder and HD server product line with Solid StateDisk (SSD ) technology and is, the company says, a reliable option for large screenand multiscreen projection. As Boxxster LE supports all common broadcast protocolsas Sony 9pin, Louth and Odetics it is also an affordable solution for 720p or 1080ibroadcast playout. The product is being exhibited at the MikroM stand. 8.E02

The compact new Lowel Blender is anon-camera/portable light thatcombines two sets of LED lights(daylight and tungsten), allowingusers to blend between them to getthe right colour temperature insituations where there are multiplelight sources writes David Fox. Thereare two rotary controls, so that youcan have lighting that is all tungsten,all daylight, or a mix of the two tomake your shot look more naturallylit. The compact lamphead is10x7.5x7.5cm and can be poweredby camera batteries or its own ACsupply. It comes with a selection offront diffusers for softening theblended output. 11.E30

by Farah JifriUK playout automation companyAbit is showing its new, compactautomation system for the firsttime at IBC this year.

The cost-effective system iscapable of providing workflowand playout automation for up tothree transmission channels. Itoffers the same application soft-ware in a much smaller, non-redundant platform.

Richard Thomas, softwaredevelopment director, Abit, said:“The main benefit of thisapproach is that Abit will continueto develop and maintain a singlesource of software configured torun on its existing systems, whichallows customers for the new com-

pact system to take advantage offuture product enhancements ifrequired. This includes access toour latest Linux-based dual redun-dant automation system for clientsinterested in the compact plat-form.”

Abit is demonstrating softwarewith a range of features such aslogical linkage of channels, mediatransfer from file servers and con-trol of transmission servers in par-allel with branding equipment.

According to the company, theapproach of controlling diverseworkflow paths in parallel allowseasy last minute changes to theplayout schedule. Algorithmsensure that the changes can besuccessfully implemented after or

during the material transfer froma storage device to the transmis-sion system. The placement ofbranding and infill material is alsoautomatically recalculated on aframe-accurate basis in accor-dance with the new schedule.

“Our investment in the newsystem underlines our ongoingcommitment to create the mostflexible automation solutions pos-sible for both our high-profile andsmaller broadcast clients acrossEurope,” added Thomas. “Weanticipate the system power, sizeand cost are matched to the futureneeds of broadcasters and willprove a popular addition to ourproduct offering at IBC.”8.A28a

by Heather McLeanAt a time when questions relatingto the deployment of new broad-casting services are on everyone’slips, DiBcom has lifted the veil onthe availability of its multi-stan-dard chipsets.

“As a market leader, we owe itto ourselves to be extremely reac-tive and 100% prepared for thefuture deployments of broadcastmobile TV or digital radiothroughout Europe. Combiningseveral standards on the samechipset enables manufacturers tooffer totally multi-functionalmobile devices, which are becom-ing more and more open to all on-air signals,” declared YannickLévy, CEO of DiBcom.

Mobile phone operators in theUK have been looking to mobileTV as a new way of generating rev-enue in the face of fierce competi-tion within their core markets ofvoice calls and text messaging. Cer-tain operators have been using theirexisting 3G mobile networks totransmit video to individual hand-sets. Ultimately, however, the indus-try wants to broadcast apared-down version of traditionalTV through one nationwide net-work that any handset with the rightequipment can receive, said Lévy.

In 2005, O2 carried out a trial

using the DVB-H standard. Whilethere is currently no spectrum in theUK that could be used to broadcastthe signal, the five major UK net-works are looking to form a consor-tium to bid for part of the airwavesto be freed up by the switch off ofthe analogue TV signal.

Having originated in Europe,DVB is a set of internationallyaccepted standards for digital tel-evision. Since July 2007, the Euro-pean Commission has beenencouraging member states andkey players within the sector tosupport and accelerate the deploy-ment of mobile TV throughoutEurope and advocates the use ofDVB-H and DVB-SH as a Euro-pean norm for the reception ofbroadcast mobile TV. The tech-nology lets mobiles, which havespecial requirements because ofscreen size and battery life, handleTV signals in realtime. It alsoallows broadcasters to send thesame signals to multiple handsets.

However, as an emergingindustry, Lévy claimed mobile TVin the UK will require a willing-ness of operators, regulators,broadcasters and handset suppli-ers to strike new deals and there-fore faces the same dilemmas asother countries such as Francewhere, despite political mobilisa-

tion, the key players have, as yet,been unable to agree on a viablebusiness model.

The alternative DVB-SH stan-dard, which is also supported byDiBcom’s chipsets, is currentlyunder consideration as it providesa cheaper alternative to DVB-Hnetwork costs and offers universalsatellite coverage. The DVB-SHstandard also has the advantage ofcomplementing the other DVBstandards because new powerfulsatellite technologies represent anideal way of broadcasting videomedia. DVB-SH therefore fills acurrent void in the marketplace.

DAB, DAB+ and T-DMBenable the reception of digitalradio At present, there is arenewed momentum behind digi-tal radio throughout Europe duemainly to considerable supportamongst public broadcasters,radio broadcasters, regulators andgovernments. The UK hasadopted DAB for commercialpurposes, but a new and moreinteractive format featuring writ-ten information, images or videosbroadcast on the screen of amobile phone for example asplanned by DAB+ and T-DMB,could enrich the audio content oftraditional radios, stated Lévy.M251

by Ian McMurrayVisitors to IBC looking for satel-lite capacity will almost certainlybe heading to the stand ofGazprom Space Systems. For-merly Gascom, the non-govern-mental satellite operator wasestablished in 1992 by Gazprom,Energia and Gazprombank, andnow has a fleet of three satellitesin orbit.

Yamal 100 and Yamal 201 areboth located in 90E and primarilyserve the Russia/CIS market. Thehigh capacity Yamal 202 satelliteoperates in 49E with a semi-globalservice zone, and is dedicated toGazprom’s international business.

The company says that it hasmore than 200 clients in Russiaand abroad, with a quarter of itsprofit coming from the interna-tional market. The Yamal satel-

lites carry some 90 TV channels.Gazprom is talking to IBC visitorsabout the services it can offer, aswell as outlining its plans through2015, by which time the companyexpects to have quadrupled itsavailable capacity.

New Yamal 300 and Yamal400 satellites are under construc-tion, and these feature more pow-erful transponders which willallow Gazprom to provide newservices including DTH.4.C51

by Ian McMurrayAudiovisual content interactionspecialist Mirada is promoting thecompany’s Wapping Broadcastbroadcast and studio facilities.Launched in April , WappingBroadcast offers three studios, twogalleries, two edit suites, MasterControl Room transmission, aswell as return path and playoutfacilities. In addition to the facili-

ties, Mirada says that content pro-ducers also benefit from compre-hensive 24/7 support by fullyqualified operational staff alongwith in-house transmission andtransfer facilities.

The company has alreadyannounced deals with TwoWayMedia, Gala and the BBC, forwhom the company is the pre-ferred partner to provide return

path (interactive) services for BBCinteractive campaigns for ComicRelief, Sports Relief and ChildrenIn Need l ive shows. WappingBroadcast has so far handled over£4 million worth of donations.Other customers include industryheavyweights such as ITV, Chan-nel 4, UKTV, BBC and othermajor UK broadcasters4.C74

Gazprom satellite capacity

Yamal 202

is Gazprom’s

international satellite

DiBcom’s chipset readyfor multi-standards now

Automation gets Abit more compact

Mirada promotes London facilities

IBC09 D3 p28 24/8/09 16:14

theibcdaily


Delivering next-generation audio for HD,online and on-the-go.Find us at IBC 2009, Hall 2, Booth B28Dolby and the double-D symbol are registered trademarks of Dolby Laboratories. All other trademarks remain the property of their respective owners.© 2009 Dolby Laboratories, Inc. All rights reserved. W09/21715

Sunday Sept 13,09.00-10.30by Chris ForresterContent is the media you own,whether in splendid HD orreduced and compressed in a fileformat suitable for reception on ahandheld device. Broadcastersneed to identify their content withenough metadata tags to make itsearchable, identifiable and useful.But that content only becomes atrue asset when you can locate itand offer i t to others, withabsolute security over the rights.

Without all these technologyfundamentals in place there is nobusiness value. But beyond this,once the asset is distributed to thepublic, how can rights be pro-tected. Or does it matter? ThisIBC session, part of The Businessof Broadcasting stream, looksclosely at the techniques nowavailable as part of the overall

requirement to mark and identifycontent.

Chaired by Keith Nicholas,now an independent consultant,but with a long track record ofworking with some of the bestnames in the business (includingthe BBC, TVI, and more recentlyat the Walt Disney Co as director

of broadcast operations). Latterlyhe has been acting as head ofBroadcast Technology at MTV.

Nicholas’ panel includesJeremy Bancroft, a director ofMedia Asset Capital, a specialistconsulting practice providing pro-fessional advice to media compa-nies, in the areas of technology

strategy, business transformationand mergers and acquisitionsactivities. Previously, he was MDat OmniBus Systems, president ofUS subsidiary OmniBus SystemsInc, and marketing director atbroadcast MAM vendor, BlueOrder.

Joining Bancroft will be Asha

Oberoi, content director at ITNSource, described as the gatewayto the largest collection of movingimage libraries in the world, andhousing one million hours oficonic video content captured overthree centuries.

Ved Sen is also on the panel. Aconsultant and entrepreneurworking in the area of DigitalConvergence, Media and Technol-ogy Sen is a founder of Think-PLANK and an associateconsultant at CVL. He spent eightyears in Bangalore, working onweb applications and offshoreapplications, mostly with publish-ing, broadcast and retail clients,before moving to London in 2003.After an 18 month sting as VPstrategy of an interactive televi-sion services firm which was soldin 2006, he set up ThinkPLANKto bridge the gap between businessand technology within the mediaand entertainment business.

Simon Fell will also participate.Formerly director of future tech-nologies for ITV he worked at ITVsince 1991, and during his time atthe network saw the merger ofCarlton and Granada franchises,as well as the introduction ofHDTV onto the ITV system.

Securing assets: Hold onto your rightsConference Today

Regardless of whether it’s HD or compressed, content is money, delegates will be reminded

by Carolyn GiardinaCache-A Corp is introducing itsPrime-Cache and Pro-Cachearchiving appliances on GlobalDistribution’s stand. Global Dis-tribution is Cache-A’s Europeandistributor in every county exceptFrance, where AV2P distributes.

Both new products weredesigned so that professionals cancreate ‘source masters’ in acquisi-tion workflows when using mem-ory card or disk-based cameras.They also provide storage withaccess during production.

Both Cache-A’s Prime-Cache

and rack-mountable Pro-Cacheproducts write data on LTO-4tape cartridges using the TAR for-mat. The cost per GB is approxi-mately €0.04, and the archive lifeis estimated to be 30 years. Thecompany says a single Prime-Cache or Pro-Cache system canmanage a 200TB archive withmedia for less than €15,000.

Operating system-independent,

both Prime-Cache and Pro-Cachecan be deployed into Windows,MacOS and Unix environments toprovide direct access to data withsimultaneous multi-user accessand volume sharing. They pluginto a standard Ethernet networkand the company reported thatthey provide high speed archivingat greater than 50MBps.7.C29

by David FoxQVC, the UK’s largest shoppingchannel, has extended its roboticcontrolled camera operationwith equipment from ShotokuBroadcast Systems.

Its customised multi-cameracontro l pane l s, pan and t i l theads and height drives havebeen integrated into QVC UK’sBattersea Broadcast Centrewi thout hav ing to go to theexpense of replac ing legacyequipment.

“Having investigated a num-ber of solutions, I was satisfied

that Shotoku’s robotic systemswere accurate enough for ourextremely f ine moves, toughenough for our 17-hour-a-daylive environment, and intuitiveenough for our busy operators touse without trouble,” explainedDavid Tidd, QVC UK’s Broad-cast Project Leader.

QVC has been using remote-controlled cameras as an exten-sion of its manual operation formany years, but Shotoku’s tech-no logy has a l lowed QVC tomove to robotic-based opera-t ion, and retain one manual

camera in each studio, withoutany loss of existing equipment.The upgrade included the instal-lation of two Shotoku TR-16Ttouch-screen panels in QVC’sproduction galleries.

The TR-T enables a singleoperator to control up to 16cameras, and can be used withShotoku and third-party roboticcameras. In add i t ion , s ixShotoku T1-12 height drive unitswere mounted on QVC’s manualpedestals to extend the range ofshots available.11.G30

Cache-A addresses archiving

Cache me if you can: the Pro-Cachearchiving appliance uses LTO-4 tape

QVC UK makes money-saving robotic upgrade

Shop tactics: QVC’s newly installed robotics systems from Shotoku

IBC09 D3 p30 24/8/09 16:16

theibcdaily


Today, in the second of threeWhat Caught My Eye sessions,multimedia, multicultural journal-ist Marlene Edmunds will explorethe innovations shaping multime-dia content (09:30 to 10:30 inRoom O).

Today’s technology bringswonderful opportunities but stillhas some limitations, and thesmart producer will take creativeadvantage of both. What is goingto lead to new creativity, new mar-kets and new revenue opportuni-ties? Edmunds will be casting hereye around IBC’s exhibition floorto see what innovations will helpyou answer these questions.

With more than 25 years’ expe-rience in reporting on all aspectsof the global media landscape,Edmunds is also an expert inemergent cutting-edge media terri-tories such as Korea. She is anexperienced lecturer in the areas of

writing and communications andhas taught at the University ofAmsterdam and at the Oslo Busi-ness School.

The free What Caught My Eyesessions recruit industry experts to

canvass innovative products andtechnology from the show floorand present their findings in alively, jargon-free session – and ifyou’re pushed for time, it’s only anhour long.

Multimedia maestro conducts session

A prized jargon-free session, What Caught My Eye is free

Patrick Zucchetta, EMEA busi-ness development, DoremiTechnologies

Has IBC come at a good timefor the electronic mediaindustry? Why?IBC is a great meeting place fornew and existing customers fromthe d-cinema and broadcast andprofessional/AV markets to seeour latest developments and dis-cuss future needs. We developand manufacture compressedand uncompressed video serversand players operating up to 4k,as well as converters for base-band and file-based content. D-cinema products feature themarket-leading DCI player andmastering systems.

What do you think are the keydevelopments in, or threats to,your market sector at thecurrent time?There are no threats, only oppor-tunities. 3D is becoming main-stream, not only in d-cinema butbroadcast, gaming and scientificapplications. Our cinema playersare 3D capable and our new

series of 3D video players goes upto 4k. Also budgets are squeezed,crunch or no crunch, so deliver-ing affordability, including run-ning 3D on 2D equipment, isalways important. No one canexist by standing still – otherwisewe’d all be watching 30-line blackand white TV!

Why should delegates visit yourstand at IBC?Doremi is a leader in practicaland affordable SD, HD andlarge format video and digitalcinema 3D recorders, playersand converters (hardware andsoftware). This is the place to seethe future in action – including4k at 1:1 on a 4k screen and theGHX-3D that allows 3D record-ing and playback on 2Dmachines.10.B10

Exhibitor Q&A

by Ian McMurrayJohn Wanamaker, the founder ofone of the first department storesin the USA, lives in history as theman who said “I know that half ofwhat I spend on advertising iswasted. The trouble is, I don’tknow which half.” The betterequipped a broadcaster is toaddress that issue, the more likelyit is to win business.

NDS is demonstrating its solu-tion for addressable advertising,which it describes as the science ofdelivering the right ad to the rightTV screen at the right time and inthe right context.

This end-to-end system, whichutilises a digital video recorder(DVR) to store and deliver adver-tising inventory, is said by thecompany to increase per-spot adrevenues and, for the first time,links advertisers directly with thepeople most likely to be interested

in the specific products or servicesthey are promoting. NDS is alsodemonstrating its Audience Mea-surement System, which the com-pany describes as a sophisticatedtool that ensures verifiable adver-tising accountability and appliesusage statistics to the creation ofsuccessful ad campaigns.

Also a focus for NDS is userinterfaces. According to the com-pany, operators are offer ingincreased numbers of channelsand services to attract subscribers,with the result that user interfacesare becoming increasingly com-plex to build, deploy and manage.Two new products, NDS EPGFramework and NDS EPGDesigner, not only simplify EPGcreation and management, saysthe company but put the power toadapt the EPG firmly in the handsof the operator.1.A71

by Ian McMurrayMiteq is showcasing the com-pany’s new medium power X-band antenna-mount solid statepower amplifier (SSPA) and trans-mitter product line. The PA-HModel series was designed for out-

door SSPA applications typical ofsatellite uplink applications.

The company says that theserugged i sed antenna-mountSSPA systems were built andtes ted to meet the r igorousrequirements of extreme out-

door environmental conditions.They incorporate amplifier mod-u le s eng ineered us ing whatMiteq describes as state-of-the-art GaAs FET technology, ahigh efficiency power supply anda microprocessor-based monitorand control system.

The systems provide for over-temperature, over-current andhigh output VSWR safety protec-

t ion. Status and control isachieved via the remoteRS422/485 bus or Ethernet inter-face port. An event log is continu-ously updated with time-stampedrecords of significant events.

At IBC, Miteq is offering solid-state power amplifiers in C- andKu-bands, as wel l as rackmounted configurations.1.A18

Brussels-based Fx-Motion is offering extended trials of its Furio remote controlleddolly, which has been widely used on such hit music shows as Star Academy inFrance, Serbia and elsewhere, Britain’s Got Talent and the X-Factor, writes David Fox.The trial system comes with the dolly, a touchscreen controlled joystick desk, 20mstraight track, a pan/tilt remote head, a telescopic lift system, flight cases andcables. The compact Furio offers up to five degrees of freedom (track, lift, tilt, pan,and roll), has servo controlled motors for smooth operation, full digital networkedcontrol, and all moves are fully programmable and repeatable. 11.G78

NDS focuses on adsaccurately targeted

X marks the spot for Miteq

The PA-H series SSPA has beenruggedised for extreme environments

IBC09 D3 p32 24/8/09 18:16

theibcdaily

THE IBC DAILY 2009 I

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THE IBC DAILY 2009II

Halls 1, 2, 3, 4, 5 & 6

IBC09 D1-5 CentreV5 13/8/09 17:09 Page II

theibcdaily

THE IBC DAILY 2009 III

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STAND 3:B67

IBC09 D1-5 CentreV5 17/8/09 17:29 Page III

theibcdaily

THE IBC DAILY 2009IV

1080DOTS.COM DS122020 3D MEDIA 3.D0327M 3.C202connect – IT 4.C752WCOM 8.E78360 Systems Broadcast 10.A38

AA & C 11.E10Aastrolight 11.G61Aaton 6.A18Abakus 11.G29ABE Elettronica 8.D23Abel DRM Systems 1.E95Abit 8.A28aAccedo Broadband IP621Ace Marketing 6.A29Acetel Co 3.C41Acorde 3.A40ACS France OE104Actia Sodielec 8.E43Activa Multimedia 2.A50ACTIVE CIRCLE 2.B39cActus 2.A20ADB Lighting Technologies 11.B68Adder Technology 7.B33ADI Video Technologies 5.A03Adobe Systems 7.H23Adtec Digital 1.D01Advanced Broadcast Components 8.A19Advanced Digital Broadcast – ADB 5.B48Advantech Wireless Broadband 1.A11AEQ 8.C53Aeta Audio Systems 8.D70Agama Technologies 4.A55AIB (Association for International Broadcasting)

11.F02Air Sea Land Gear 11.B89AirTies Wireless Networks IP303AJA Video 7.F11Ajimi 5.B17aAkamai Technologies 7.K10Alan Dick Europe 5.C02Albiral Display Solutions 9.E35Albis Technologies IP612Albrecht Elektronik 10.A40ALFACAM Group OE401Allegro DVT 1.F90Alpermann+Velte 9.E28Altech UEC 4.B50Altera 10.A10Altermedia 9.C44Alticast Corp 1.C35Amberfin 7.A08fAmbient Recording 8.D79AMD 7.H32Amino Technologies 5.B40Amos – Spacecom 1.C36AnaCom 1.F41Ancor 2.B31hAnevia 4.C56ANNOVA Systems 10.D15Anritsu 1.F29ANT Group 8.C16Antenna Research Associates (ARA) 9.E14Antik Technology IP632Anton/Bauer 9.D28bAnystream 1.C31AP ENPS 7.D31Apace Systems 7.K27APANTAC 8.A98APEXSAT 2.C59Appear TV 1.A59APRICO Solutions/My Personal TV DIGITAL by Philips and Axel Springer 2.C58APTX 8.A28bArabSat 5.A19Arbor Media 7.G15bArdis Technologies 7.D12

ARET video and audio engineering10.D51/OE409

ARG 6.C28fArgosy 10.D55Arion Technology 4.A79arqiva 1.B61ARRI 11.F21ARRIS 1.F40Artel Video Systems 8.E37ASC Signal 1.E80ASL Intercom 11.F58Aspera 7.G11ASSIMILATE 7.K01ASTRA (SES ASTRA) 1.B51ASTRO Design 11.D45ATEME 1.D70Atempo 7.K25ATTO Technology 7.F41Audemat 8.B58Audio Developments 8.E87Audio Ltd 8.D97Audio-Technica 8.D78Autocue 11.F71Autodesk 7.D21Autonomy Virage 1.A74Autoscript 9.D28eAvanti Communications Group 3.C31Avatar-M 7.A08eAveco 3.B50Avid 7.J20Avinity Systems (Active Video Networks) 5.B46Avitech International Corporation 11.E78Aviwest 5.C25AVL Technologies 5.A49AVP Europa 10.E59AVT Audio Video Technologies 8.E91AWEX-Wallonia Foreign Trade and Investment Agency 10.D29AWOX 2.C25Axcera 5.C44Axel Technology 8.E16Axon Digital Design 10.A21/10.B21Azden Corporation 8.B92Azure Shine International 6.A29d

BB&H Photo Video, Pro Audio 10.A01B21C 3.D06Barco 1.B33Barix 8.A38BBC Research & Development 3.D09BCE – Broadcasting Center Europe 5.C41beeTV IP603Beijing Feiyashi Technology Development

11.B53Beijing Gefei Tech Co 8.A86Beijing Phylion Battery Co 11.B12Beijing Secnovo Co 11.A61Bel Digital Audio 9.A59Belco 8.A72Belden 1.C21BES and Media Products 10.C51Best Boy 11.G35BESTV 4.C50beyerdynamic 8.D61BFE Studio und Medien Systeme 9.E30Bigband Networks 3.A25Binocle 11.C60bBlack Box Network Services 7.A11Blackmagic Design 7.B21BLANKOM Digital 1.F51BLT Italia 8.A68/OE165Blue Order Solutions 3.C40BlueArc Corporation 7.C11Bluebell Opticom 3.A68Bluefish 444 6.A19BlueShape 9.D50Bluestreak Technology (Canada) IP613bmcoforum M101

BNT Priboy 1.A97BON ELECTRO-TELECOM 11.A60Boom Audio & Video 11.C60aBOSCH Communications Systems 10.F38Bradley Engineering 11.B39Breeze Technologies 4.B79dBretagne International 5.B17/8.E29Brick House Video 8.B61Bridge Technologies 1.A30Bright Systems 7.J39BrightSign DS5British Kinematograph Sound & TelevisionSociety (BKSTS) 8.B95Broad Telecom (BTESA) 8.D20Broadata Communications 8.E79Broadband Network Systems IP712Broadcast Bionics 8.A20Broadcast Electronics 8.C91Broadcast India 2010 8.F58Broadcast International 1.F59Broadcast Microwave Services Europe 5.B30Broadcast Pix 7.A15Broadcast RF 1.F73Broadcast Solutions 8.A22Broadcast Solutions OE130Broadcast Traffic Systems 3.B21Broadcast-Associes 2.B31cBroadcom Corporation 5.A10Bron Elektronik 11.G58Bryant Broadcast 9.D55Building4media 7.J30Bulcrypt 4.C98BW Broadcast 8.E71

CC & E Cast Co 3.A39/5.A31/5.B19/11.B70Cabot Communications 1.F48Caldigit 7.D03Calibre UK 8.A28cCalrec Audio 8.B81Cambo 11.E51camRade 11.B40Canford 9.E10Canon Europe 11.E50Carl Zeiss 11.C67Cartoni 11.C30Castis Co 2.C24aCavena Image Products 2.A49CCBN2010 8.F56CCG 7.H47Cedax 2.B31lCEITON technologies 3.A60Celco 7.F45Celeno IP551eCentron Communication (Xiamen) Co 6.A29bCET Teleport 3.C51Chengdu KingType (KT) New Hi-tech 5.C49Chenzhou GOSPELL Digital Technology Co 3.A30China Farseeing Co 11.F83China Ruige 9.C50Christie 11.F61Christy Media Solutions – BroadcastRecruitment Specialists 6.B22Chyron 7.D11Cine 60 11.B31Cine Power International 11.F11Cinegy 7.A31Cinegy 7.A43Cinetech Italiana 11.D41CINE-TV broadcast systems 10.D28Cintel International 7.B35Cisco 1.D71CityTek Co 11.A20Civolution 5.B18Clear-Com 9.E20bClipway 7.G49Clonwerk OE164Clyde Broadcast Products 8.C01CM M111

Cmotion 11.C25aCobalt Digital 8.A94Cobham Broadcast 1.F71Cobham Satcom 4.C55Codan 5.C29Colem 6.C28aCommonwealth Broadcasting Association

10.A02Communications Research Centre 3.D02Compunicate Technologies 4.B71Comrex 8.A17Comtech EF Data 1.B11COM-TECH High Freq and Broadcast 8.C25Comtrend Corporation 4.C89comvenient & Co KG 4.A57Conax 1.A31Concurrent 5.B16Conducfil 8.E77Cooke Optics 11.D10Coolux 11.E80Coreel Technologies 2.C39Coretrust 5.B19bCoship Electronics Co 3.C35Cotech 11.A54Courtyard 8.E49CP Cases 9.E41CPAC Imaging 6.C22CPI International 1.B41Createcna 7.G47Crystal Vision 2.B11CSTB Russia 10.A03CTE Digital Broadcast 8.C38CTM Debrie 7.F30Custom Consoles 8.B15CYGNUS SYSTEMS 1.F15CYTAGlobal 5.A41

DD&R 8.C70D.I.P. 7.D01da Vinci 7.D08Daktronics 11.E81Dalet Digital Media Systems 8.B77Dan Technologies Group 8.B51Darim Vision 3.A51DataDirect Networks 7.J19Datavideo Technologies Europe 7.E29DAVID Systems 7.G33Dawson OE142dB Broadcast 10.A28DB Elettronica Telecomunicazioni 8.D17DCA 7.D07De Sisti Lighting 11.D50decontis GmbH M201Dedo Weigert Film 11.F30Dega Broadcast Systems 7.G09Denoo Technology Co 3.A01DekTec (Dektec Digital Video) 2.A41Delec Audio und Videotechnik 10.B31Delta Meccanica 8.E47Deltacast 10.D10DEV Systemtechnik 1.D91devolo IP311DFT Digital Film Technology 7.E39DHD 8.A50DiBcom M251dicas 1.A80Dielectric 8.D73Digidia 8.E29aDigigram 8.C52Digisoft.TV IP522Digital Rapids 7.G41/IP511Digital TV Group 5.A45Digital TV Labs 2.C29Digital Vision 7.A23Digital Zone Co 5.B19fDimetis 3.B41Discovery Reply 10.C41DiscVision 4.C81

DK-Technologies 8.E60DMT 8.C49DNF Controls 11.F80Dolby 2.B28Doremi Technologies 10.B10Double D Electronics 1.F58aDoughty Engineering 11.C58DPA Microphones 8.C90Draka 11.B50Dreampark 4.B70DSPECIALIST 8.E69DTS Licensing 8.D91Dtv group, University of Turku 2.A24Duplidata 7.J03Dutch Media Hub 3.B13DVB 1.D81DVC Digitalvideo Computing 6.A14DVEO division of Computer Modules 2.C33DVLab 5.C06DVS Digital Video Systems 7.E21Dynacore Technology Co + DST TL 11.C74

Ee2v 1.A78EBH Radio Software 8.C10Echolab 10.D30EchoStar Europe 4.B54ECRIN Systems 5.C23Eddystone Broadcast 8.B28bEdgeware 4.A59Edirol Europe 7.K30Editshare 7.D22Eela Audio 8.D71Egatel 8.D11Egripment B 11.D20Elber 8.C11aElecard 7.D20Electronics Research Inc (ERI) 8.E27Electrosonic 3.B19Electrosys 8.C37Element Technica 11.A52Elettronika 8.D27Elgato 7.J05elQuip AVM Advies BV/Boxx/GlobalStreams/ Camlinx 10.F33ELTI 8.C30Elvia – Pro 9.D40eMotion Engines 8.A28dEMS Technical Personnel 1.B09Enco Systems 8.B28aENENSYS Technologies 5.B17bEngstler Elektronik Entwicklung 11.G89Ensemble Designs 8.B91EnterpriseData Technologies 4.C58Entone IP701Envivio 1.D72EPAK 2.C37Ericsson/Tandberg Television 1.D61Espial 5.A18Etere 8.B89ETI Software Solutions IP421ETL Systems 4.B60ETSI 2.C15Euphonix 7.G34Eurogrip Technics 11.D80European Broadcasting Union (EBU) 10.D21European Reseller 8.A28fEurotek 1.C33EuroTel 8.B30Eutelsat 1.D59eventIS 4.B80Eversat 1.A52Evertz Microsystems 8.B40Evoxe – Newsroom 3.B05EVS 8.B90Exanet IP551dExir Broadcasting 8.D90Explorer Cases by GT Line 11.A15Expway M204

ibc2009exhibitorlisting

IBC09 D1-5 CentreV5 13/8/09 18:02 Page IV

theibcdaily

THE IBC DAILY 2009 V

Exterity IP622Eyeheight 2.C48eyeon Software Inc. 7.C21EZ FX 11.A32

FF.A.Bernhardt, FAB 2.A21Facilis Technology 3.B03Factum Electronics 8.C92Fairlight 7.D10Falcon Eyes 9.C42Fast Forward Video 10.F35Fiberfox 11.G59FileCatalyst 7.J41FILMGEAR (International) 11.F50Filmlight 7.F31Filmtechnic Europe Camera Support 11.E87Fischer Connectors 11.E40Focal Press 5.C11Focal Professional 8.A02Focus Enhancements 9.D41For-A 2.A51/2.B59Fora d.o.o. M222/IP314Forbidden Technologies 7.A08cFORTIS 5.A31e/5.C12Foxcom 1.B90Fraunhofer Alliance Digital Cinema 8.C81Front Porch Digital 7.B15FujiFilm Recording Media 11.A21Fujinon (Europe) 11.C20Funke Digital TV 3.C46Furukawa 11.A38Fuzhou F & V photographic Equipment Co 6.A29eFX-Motion 11.G78

GG&G Tape Check 9.E29Gazprom Space Systems 4.C51GD YIYING (HONG KONG) Co 11.B81Gearhouse Broadcast 10.B29Gee Broadcast Systems 7.A39Gefen 7.B31Gekko Technology 11.F75Gemalto M211Genelec 8.C58General Dynamics SATCOM Technologies 1.A41Geritel Giomar 8.A44Ghielmetti 8.C79Giga Communications 1.D41Gigawave OE100GkWare 2.C51Glensound Electronics 8.E89Glidecam Industries 11.G45Global Distribution 7.C29Global Invacom 4.B61Global VSAT Forum 1.A76Globalsat International Technology 3.A21cGlobaltt.com 1.F33GlobeCast 1.B40Globecomm 5.B11GoBackTV IP401Goldsmiths, University of London 3.D04GooMe Interactive 5.A01Grass Valley 1.E02/1.D11Guntermann & Drunck 5.C30Guramex 9.A51

HHaivision Systems IP702Hamlet 9.E13/9.E21Hans H. Plisch & Co 8.B37Harmonic 1.C61Harris 7.G20/7.G23/OE330Hawkeye 5.C21Hawk-Woods 11.A76Headroom Broadcast 2.C57Hego Group 6.C19Hellas Sat Consortium 4.A71HFR 5.A31bHHB Communications 8.E54Hi Tech Systems 10.A49Hiltron 4.B89Himega Information Technology Co 3.A21bHispasat 1.A34Hitachi Kokusai Electric Europe 11.E79

Hitron Technologies (SIP) IP722HME 8.E99HMS 8.B11Homecast 4.A61HoseoTelecom Co 3.B59HTTV 1.C93Hualin Broadcast System Engineering Co11.D11Humax Electronics Co 5.B41

II.S.P.A. – Group 9.E12IABM 8.F50/8.F51a/8.F52/8.F54IBC Partnership Village 8.F51IBC Production Village 9.A14IBC Training Zone 7.A19IBC TV News 9.A13IBM 2.A30/2.A31IdeasUnlimited.TV 8.C97iDirect 5.A11IDX Technology 9.E48IEEE Broadcast Technology Society 8.F51bIET – The Institution of Engineering andTechnology 8.F51cIGP 1.F58d/OE140IHSE 8.C50ikan Corp 9.C48Ikegami Electronics (Europe) 11.A31Image Engineering 10.A30Image Systems 7.G07IMP TELEKOM 8.E17Impeq 3.B31INA – Institut National Audiovisuel 10.F21INCOM Storage 5.B14IneoQuest 1.F52Inlet Technologies IP513Inmarsat 4.B58INNODIGITAL CO 5.A31aInstitut für Rundfunktechnik 10.F51Integral Systems 1.A01Intek Digital 5.B10Intellect 8.A28eIntelsat Corporation 1.C71Inter BEE/Japan Electronics Show Association 8.B97International Datacasting 1.C29Interra Systems 8.E24INTOREL 4.B68ioko 1.D26iPharro Media 7.B01IPV 8.B67Irdeto 1.D51Iridas 7.H11IRTE 8.B38Isilon Systems 7.H10Isoft Yazkim 2.A10IT Innovation Centre 3.D05ItalTelec 8.A13Itelsis 8.A03ITS Electronics 4.C87Ivivo IP551f

JJ.L. Fisher 11.C51Jampro Antennas 8.B96Jiade Energy Technology 11.C80Jiangsu ASD Electronics Co 6.A29cJK Audio 8.E85JMR Electronics 7.G14JOANNEUM RESEARCH Forschungsgesellschaft 3.D08Jünger Audio – Studiotechnik 2.C49Jutel 8.A26JVC Professional Europe 10.D41

KK5600 Lighting 11.C31Kaczek Visuals Trading 11.C25bKaonMedia 1.B10KATHREIN-Werke 8.C29Kings-Winchester Electronics 11.D79Kino Flo/Cirro-Lite (Europe) 11.D63Kinoton 6.A10Kintronic Labs 8.E35Kiryung Electronics Co 5.B19cKIT Digital 3.B60

Korea Digital Convergence Association (KODICA) 5.A31gKroma Telecom 10.A20Kronomav 11.G70Ksoft IP641K-Tek 11.C71Kupo Co 11.G71Kvant-Efir 8.E74

LLabwise 5.B38L’Aigle Paris 11.C11LARCAN M213Lasergraphics 7.F01Latens 4.B56LAWO 8.C71LCD Solution 11.C60cLEA 4.C70Lead Tech Design 5.B17cLeader Electronics Corporation 10.F28Lectrosonics 8.A84LEDstorm & Polystorm 11.B58LEMO Connectors 11.C45Level 421 IP.SNG 4.B81Libec Europe 11.C50LiberoVision 3.B01Liberty Global Europe 1.D39Linear – Italy 8.E19Linotype 4.C53Litepanels 9.D28iLiveu 2.C23LMP Lux Media Plan 10.F29LogicKeyboard 7.F49Logiways 2.B31kLS telcom 8.E39L-S-B Broadcast Technologies 10.A45LSI Projects 11.G64aLUCI 7.G35Luggy 11.C72Lumantek IP304Lund Halsey (Console Systems) 2.B10Lupo SNC 11.G41Luso Electronic Products 4.C59

MMacrovision 5.B49Magix 8.A18Magnum Semiconductor 11.G79MainConcept 2.C50Maluna Lighting 11.G77Mandozzi 8.A48Manzanita Systems 3.A24Marian OHG 8.C03Mariner 1.F50Mark Roberts Motion Control 11.G21Marko Pfaff & Co Spezialfahrzeugbau OE184Marquis Broadcast 2.A58Marshall Electronics 9.E40Mart, JSC 5.C45Marusys Co 5.B19eMasstech Group 8.B73Masterclock 9.E16Masterplay 8.A59Matrox Video 7.B29Matthews Studio Equipment 11.A70Maxon Computer 7.G30Mayah Communications 8.A74MCI Studio Hamburg/Studio Hamburg MCI 11.C40Media & Broadcast Technologies 2.B19MEDIA BROADCAST 1.B79Media Links 1.D38Media Logic Gesellschaft fuer Medien Systeme 7.D14Media-Alliance 8.B71MediaGeniX 3.C59MediaTVcom 2.B31dMegahertz Broadcast Systems 11.F20Merging Technologies 6.C29MeteoGraphics 2.C28MICORA 2.B31mMICRODOLLY HOLLYWOOD 11.A40Microfilms 11.E54Micron by Audio Engineering 8.E81Microsoft Corporation TopazMier Comunicaciones 8.B59

MikroM 8.E02Miller Camera Support 11.D31Mindspeed 10.F39Miniweb Interactive IP512Minnetonka Audio Software Europe 7.J01Mirada 4.C74Miranda Technologies 8.B80MiraVid IP604Mirifice 2.C21MIS 3.A18Mitec Telecom 1.F31MITEQ/MCL 1.A18MIT-xperts 3.A28Mixed Signals 2.C19MOBICLIP IP321Mode-AL 10.F30aMOG 7.G39Mole – Richardson Co 11.G50Monarch Innovative Technologies 7.K36Mosart 2.C42Moseley 3.C03MO-SYS 11.G48Motorola 1.F30MovieTech – ABC-Products 11.E20MSA Focus International 3.B40M-Three Satcom 8.C11cMultidyne Video & Fiber Optic Systems 2.A54Murraypro Electronics 10.F23MW Video Systems 8.E05MWA Nova 7.J31

NNAB Show 7.B40Nagravision – Kudelski Group 1.D69National Instruments 10.A24National Semiconductor 10.B28Nautel 8.C61ND SatCom OE320NDS 1.A71NEC Electronics (Europe) 1.C27i/1.C27NEC Microwave Tube 1.C95Neotion 4.B53Neptuny IP403Net Gem IP521NET INSIGHT 1.B27Netris 5.C47NetUP IP402NeuLion IP614NeuroTV 10.B15Neutrik 8.C94never.no 2.A40Nevion 8.B70New Times Overseas Exhibition Co 3.A21Newtec 1.A49NewTek 7.K11NHK 3.D10NICT 3.D01Nihon Koshuha Co 8.A60Ningbo Eimage Studio Equipment Co 11.D60Ninsight 8.C21bNKK Switches 8.A70NOA Audio Solutions 8.E30Nokia Siemens Networks M153NorCom Information Technology 3.C50Nordija IP502Novay 3.D07Novella SatComs 1.F58bNovotronik 1.A54NTSI 2.B31eNTT Electronics Corporation 1.D35Nucomm/RF Central 1.B31Nufront Mobile Multimedia Tech M112Numedia 4.B75NVIDIA 7.H37NXP Semiconductors 1.F11NyeTec 2.C31

OOcean Blue Software 5.A12Ocilion IPTV Technologies IP711Oconnor 9.D28fOCTOPUS Newsroom 3.B58Octoshape 1.A10OMB 8.C74Omneon 8.B60

IBC09 D1-5 CentreV5 13/8/09 18:03 Page V

OmniBus Systems 8.D41Omniglobe Networks 4.B79aOmnitek 6.C10Onair Medya 8.A16On-Air Systems 7.A08aOne4Power 1.A03One-Sat 4.B79cOpen IPTV Forum IP501Open Text 7.F07OpenCube Technologies 7.J49Opentech 5.B19dOpenTV 1.C81Opera Software 3.C11Optical Cable Corporation 3.A36Opticomm – Emcore 2.C53Optocore 8.D03Optoway Technology 8.B12Opvision 8.A40Oracle Corporation 3.A65Orad Hi Tec Systems 7.H21Orban Europe 8.D93Orca Interactive 2.B40Orckit Networks 4.B91OSEE Technology International 9.A57Osmosys 5.A21Outside Broadcast MV 9.C40OVERLINE – Systems 10.A32

PP+S Technik 11.E28/7.H01Pace 1.B19Pals Electronics Co 4.A51Panasonic Broadcast & IT Systems Europe – by invitation only 9.D18Panasonic Professional Displays Europe DS14Pandora International 6.A11Panther 11.F35Paradise Datacom 1.B35Paris Chamber Of Commerce and Industry(CCIP) 2.B39/2.B31/11.C60/8.C21Partners in Enterprise 6.C28bPeak Communications 1.E34Pebble Beach Systems 8.B50PeerTV IP551cPekingstone (Deutschland) 7.F05Peli Products, 9.D44Penta Studiotechnik 8.B47Percon 10.E51Petrol Bags 9.D28dPhabrix 8.E23Pharos 10.D31Philips Home Control 1.A81Phoenix 7 3.C21Phonak Communications 8.A92Photomec (London) 6.A20

Photon Beard 11.F51Pilat Media 3.B20Pirelli Broadband Solutions 5.A35Pixel Power 7.B30Pixelmetrix Corporation 1.B24PIXTREE 5.B19gplasticase 11.G31PlayBox Technology 8.B31Playcast Media IP551aPlugin Pavilion 7.K21PnpNetwork Technologies 5.A31dPolecam 10.C49Portaprompt 8.A90Power Plus Studio Works 11.B60Poznan Supercomputing and Networking Center 3.D12Preco Broadcast Systems 8.B16Preview GM System 8.C60Primera Technology Europe 7.H05PrimeTel IP601Prism Sound 8.E98ProConsultant Informatique 2.B21Prodys 1.C30Professional Show 8.B02Professional Sound Corp 8.D95Professional Videotapes 9.D59Progira Radio Communication 4.A91projectiondesign 2.C18Promax Electronica 8.A31Promise Technology 7.K18Prompter People Europe 11.G69

ProSKope M224ProTelevision Technologies 8.B41Provys 2.B49Pro-X 11.G40Publitronic 2.B18

QQbit 1.F55QP Reflectors 4.B79bQuad Logic Systems 7.A08gQuadrus Technology 7.J43QUALCOMM – MediaFLO 3.B30Quantel 7.A21Quantum 7.G29Qube Cinema 7.J07Quicklink Video Distribution Services 7.A08dQuintech Electronics 1.F85

RR.V.R. Elettronica 8.C20Radica Broadcast Systems 8.B28aiRadio Frequency Systems 8.A11Radioscape Broadcast 8.A04RaLex Solutions 8.D75Rascular Technology 8.B94Red Bee Media 3.B51Redbyte Design 7.K29Reflecmedia 11.A41Reinhardt 8.E73Rescue Tape – Harbor Products 11.G51Research Concepts 1.F58c

RGB Networks 5.C14Rhozet, a business unit of Harmonic 7.J11Riedel Communications 10.A41Rimage Europe 7.G15aRIZ – Transmitters Co 8.D24RO.VE.R 8.D28Rohde & Schwarz 8.D35Root6 Technology 7.C10Rorke Data/Bell Micro 8.A39Rosenberger – OSI Fiber-Optics 11.D73Ross Video 9.D30Rovi Corporation formerly known asMagravision 5.B49RRSat Global Communications Network 1.A40RSG Media Systems 2.C41RT Software 3.A59RTI/Lipsner Smith 6.A21RTS 10.F38aRTS (Royal Television Society) 8.F51dRTW 8.E76Rubberduck Media Lab M221Ruckus Wireless IP322Russian House 11.A71Russian Satellite Communications Co 10.A37Ruwido Austria 1.D68Rycote Microphone Windshields 8.E93RYMSA 8.E26

SS3 Satcom 1.A99S4M – Solutions for Media 3.A41

ibc2009exhibitorlisting(starts on page iv)

theibcdaily

THE IBC DAILY 2009VI

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State-of-the-art Video Fingerprinting Technology

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Hall 7

IBC09 D1-5 CentreV5 14/8/09 16:29 Page VI

theibcdaily

THE IBC DAILY 2009 VII

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Invisible IFB systemFlexible mobile communicationLightweight microphoneGuiding system

Stand Nr. 8.A92

[email protected]

Hall 8

IBC09 D1-5 CentreV5 14/8/09 11:20 Page VII

theibcdaily

THE IBC DAILY 2009THE IBC DAILY 2009VIII

The Leader in Systems Integration and Professional Audio, Monitoring and Power

Management Products

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Visit us @ Stand no. 11.E28Stand no. 7.H01

[email protected] | www.pstechnik.de

Visit us @ Stand no. 11.E28Stand no. 7.H01

Product Shows at IBC Big ScreenStand No.

11.E287.H01

SI-2K and WEISSCAM HS-2

Review and discuss projectsshot with the past year

Friday Sept.11that 17:00 pm

3D Stereo Rigs Review project shot on P+S Technik 3D Stereo Rigs

Saturday Sept.12that 17:00 pm

Sachtler 9.D28hSADiE 8.E96SAGEM COMMUNICATIONS 4.A80SALZBRENNER STAGETEC MEDIAGROUP 8.C80Sam Woo Electronics Co 8.E97/11.G33Samsung Electronics Co 1.B81San Solutions 3.A09SAPEC 1.F21Sat-Comm 1.B71Satlink Communications 4.C60Satlynx 4.B55Satmission OE134ScheduALL 1.B39Schill & Co 11.C61Schneider Optics 11.A28Schoeps Mikrofone 8.E90Schulze-Brakel 8.D77Screen Service 8.C41Screen Subtitling Systems 1.C49Screenkeys 8.A80SCTE 8.F51eSeaChange International 1.E30SELECOM 8.C21aSematron 1.A62Sencore 1.C51Sennheiser Electronic 8.C51Service2Media M113Servicevision BIS 11.E57SGL 8.B28cSGO 7.C30SGT 2.B31aShantou Nanguang Photographic Equipment Co

11.B57Sharpstream 8.B28aiiShenick Network Systems IP312Shenzhen Advanced Video Info-Tech Co (AVIT)

1.F89Shenzhen MTC Co 5.C19Shenzhen Skyworth Digital Technology Co 4.C79Shenzhen Sowell Technology 3.A54Shenzhen State Micro Technology Co (SMiT)

1.A50Shenzhen Tiger Information TechnologyExploitation Co 3.A58SHOOT THE BOSS 2.B31iShotoku Broadcast Systems 11.G30SI media 8.B93Sichuan Changhong Network Technologies Co

6.A29aSichuan Jiuzhou Electric Group Co 3.C10Siemens 7.J18Signiant IP741Signum Bildtechnik 7.E31Silicon Philosophies – CINEMA CRAFT 7.H09Silverstone Technology 7.G16Sintec Media 2.B41

SIRA Sistemi Radio 8.C31SIS LIVE 1.C55/OE300Skyline Communications 1.A25Slik Corporation 11.A30SMART COM IP704SmartLabs IP332SmartWi 5.C39SMPTE 8.F51fSnap TV IP434Softel 1.A29Softlab – NSK 7.K41Softlights 11.C77SoftNI Corporation 1.A19Softron Media Services 3.A48Solid State Logic 8.D83Sonic Solutions 7.J38Sonifex 8.E61Sonnet Technologies 7.G01sono Studiotechnik 8.C76Sonodyne International 8.B63Sound Devices 8.E72Soundfield 8.A30Soundminer 6.C20Spectra Specialist Engineering 11.E31Spectracom 8.A54Spice Design Consultants 6.C28aiSpinetiX DS2Spinner 8.B27Square Box Media Solutions 7.A08giST Electronics (Satcom & Sensor systems) 5.C17ST Video-Film Equipment 11.D70aStardom Storage Solutions 8.A15Starfish Technologies 2.A28Starline Computer 7.G03Steenbeck 7.H40STMicroelectronics 1.E36STP SA System Technology Partner 8.C78Strategy & Technology 1.A21Stream Labs 8.A21Streambox 7.J40Streamcity 4.B79fStreamezzo M202Streamit 5.A14Studer/Harman Pro 8.D60Studio Plus 11.A10Suitcase TV 2.C10Sumavision Technologies Co 5.C48Superior Electric 8.B18Surface Heating Systems (Kirkcaldy) 1.F49SVS Satellite Systems 4.C85Swedish Microwave 1.A91SWE-DISH Satellite Systems 1.A39SWIT Electronics Co 11.F59Switchcraft 9.E50Symmetricom 5.C15SysMedia 3.B67

TTAC Systems 8.E13TAMUZ Monitors 10.B48Tangent Devices 7.B11Tata Elxsi 1.E90TeamCast 2.B51Technisat Digital 1.A44Technocrane 11.F41Technodigital Technologies 1.A46TechnoTrend Goerler 1.A58Technovia 6.C28biTedial 8.C28Tektronix 8.C75Telecast Fiber Systems 10.B39Telemetrics 11.D71Telenor Satellite Broadcasting 1.C41Telergy 4.C67Telesat 1.C39Telescopic – Techno-Jib 11.E83Telespazio 4.C88Telestream 7.C19Television Research Institute 5.C37Telex 10.F38bTelikou China 11.C78Telmaco 8.E41TELMEC BROADCASTING 8.B21Telos Systems 8.D29Telsat 8.C11bTEMIX 1.B20Tera DP 3.A05Teranex Systems 8.B10Terrasat Communications 1.F81Thales Angenieux 11.F40The Foundry 7.F28The Harding FPA 6.C28bThe Israel Export & International Corporation Institute IP551The Pixel Farm 6.C18ThinkAnalytics 1.D93Tiffen International 11.E30Tiger Technology 7.G05TK-3 11.A51TMD Ltd 2.A19Toner Cable Equipment UK 1.A32ToolsOnAir 7.J47TRANSRADIO SenderSysteme Berlin 8.D30Transtel Communication 7.A08bTransvideo 11.F31Tredess 2010 8.E10Triada-TV 8.D31Trilogy Communications 10.A29Trinnov Audio 8.B14Tripleplay Services IP411TriVis Weather Graphix 3.A50

Troll Systems Corporation 1.C90True Lens Services 11.G65TSL 10.B41Turksat 5.C35TV Genius IP611TV ONE 7.F10TV1.EU 7.G21TVBEurope 11.F04TVC (TV and Communication Systems) OE124Tvinci IP551bT-VIPS 1.B28TVLogic Co 11.B70aTV Skyline 11.C21TXT Polymedia IP301

UUBIT Co 5.A31cUDcast 2.B31bUK Pavilion c/o Tradefair 4.B79/6.C28/7.A08/

8.A28/8.B28/10.F30/11.G64Ultimatte Corporation 7.B10Unique Broadband Systems M232Universal Electronics 1.B21Utah Scientific 2.B20

VV4X 2.B31jVAD Video-Audio-Design 8.D94Vaddio 11.E59Van Oostvoorn & Zn 5.B05VariZoom 11.C70VCS 10.D20VDL 8.A96Vecima Networks 1.D95Vect Technology (Nanjing Etai Trading Co) 11.C75Vector 3 7.C01Verimatrix 5.B45Veritair Aviation 8.E11Vestel 2.C40Viaccess 1.A51Vialite by PPM 4.C63Vianeos 2.B31fVIDEAUDI SYNCHRONOS 2.B31gVideo Rescue 6.C28dVideoPropulsion 1.B91/IP531Videssence 11.A78Vidiator Technology M122VidiGo – Delta Solutions 7.H30vidIP 2.B39bViewcast IP323Vigintos Elektronika 8.E21Vinten Radamec 9.E20aVisio Light 11.G75Vision Research 11.G74VISIWARE IP721

Vislink News and Entertainment 1.A61Visual Research I 3.A39aVitec Group 9.D28/9.E20Vitec Multimedia 2.A18Vivesta 2.A48VIXS Systems 5.B29Vocas Systems 11.D30Volicon 7.H35Vortex Communications 11.G11V-shine Co 6.C11VSN (VIDEO STREAM NETWORKS) 7.J10

WWard-Beck Systems 8.E31WASP3D 3.B62Wave Science Technology 8.A42WaveStream Corporation 1.B01WB Walton Enterprises 1.F47Weather Central 3.B61WeatherOne 2.C11weComm M133Well Buying Industrial Co 8.D01WellAV Technologies 4.C71Wellen & Noethen 10.A31Westcountry Broadcast 8.C05Wheatstone Corporation 8.E20Whisper Power OE166Widevine Technologies IP313WIGE MEDIA 11.C81Wind River 6.B20Wisi Communications GmbH & Co IP503Wisycom 8.D89WIZnet 5.A31fWork Microwave 5.B15Working Easy 11.A50Wowza Media Systems IP331wTVision – Software for TV 3.C61Wuxi Huaxin Radar Engineering Co 3.A20Wyplay IP404

XYZX Frame Software 7.D05XCRYPT INC 5.B19aXD Productions 2.B39aXenData 9.E31Xform Systems 3.B11Xilinx 10.B30Xytech Systems 7.A41Yellowtec 8.A51Yifang Digital Technology Co 3.A21aYou/Com Audio BV 8.E75Zappware 4.B51Zero Creative DS6Zhengzhou KEMA Power Supply Co 11.A81Zunzheng Digital Video Technology Co 11.A79

IBC09 D1-5 CentreV5 13/8/09 18:04 Page VIII

theibcdaily

THE IBC DAILY 2009 IX

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autoscript.tvUK: +44 (0)20 8891 8900USA: +1 (203) 926 2400

Words are all we needto make it happen for youPlease visit us at stand 9.D28eto find out more

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IBC09 D1-5 CentreV5 17/8/09 18:08 Page IX

Consumers are demanding newways to enjoy video. Where oncethey would watch linear channelson a television receiver, now theywant to shift the content to a timeto that suits them, and to a devicethat is convenient at that time.

Conversely, there is an expecta-tion that they will be able to pullcontent from a range of sourcesonto the television screen: theyexpect a rich media experience. Ifthey can take a video on a mobilephone and with a single click pub-lish it on YouTube, why can they

not watch YouTube – or iPlayer,or a Hollywood archive, or AlJazeera online – on their televisionscreen with the same single clickof a button.

So much of the talk at IBC thisyear is about creating the seamlessexperience, of delivering multipleservices onto multiple devices.Cable operators migrating to digi-tal platforms, and to IP delivery,are in an ideal position to deliverit, pushing direct broadcast, mul-ticast and unicast services across acommon network.

BigBand Networks has beenworking on a converged videodelivery platform. We call it Con-

verged Video Exchange or CVExwhich is designed to provide theservice provider with a way ofbringing multicast and unicastservices together.

Such a video unification strat-egy gives operators a commoninterface, allowing them to rapidlyroll out services to traditionalMPEG set-top boxes and nextgeneration IP devices, includingPCs, TVs and ultimately mobiledevices. While maintaining qualityof service, this will allow band-width across the networks to bepooled and reallocated dynami-cally as needed.

One of the important benefitsof IP-linked services is the abilityto know your audience, providingtargeted content and much moreaccurate demographics to adver-tisers. So this new converged plat-form has to include subscriber andvideo service measurement toolswhich again cross platforms toprovide a common overview.

The result should be a platformfor service providers with a singlecontrol plane managing multipleservices including video ondemand, switched digital videoand IPTV as well as linear trans-mission. By eliminating the siloapproach it should ensure greatlysimplified operation, better band-width and spectrum use, and amore compelling service.

From the consumer’s point ofview, it will allow the seamlessexperience where a single, net-work-based service guide takesthem to the content they wantwithout troubling them aboutwhere it comes from.

Making the transition to nextgeneration networks capable ofseamless video delivery to multiplenetworks opens up tremendouscomplexity. It is only by unifyingthe approach, through an intelli-gent software control plane, thatyou can create a true convergedvideo solution.

And it is only through such aconverged solution that users willhave a practical and agile solutionthat consistently delivers a qualityvideo experience to multipledevices, whether wired or wireless,legacy or next generation IP, fixedor mobile. Come along to BigBandNetworks and see CVEx in action.3.A19

theibcdaily


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OCTOPUS6 GUI has been modified and redesigned with

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The seamless experienceOnly by using intelligent software control can you can create a true converged video solutionexplains Rick Ford, vice president Europeanoperations, BigBand Networks

Exhibitor Opinion

by Ken KerschbaumerMarquis Broadcast is offering arange of media integration prod-ucts designed for the data-intensiveand challenging requirements oftoday’s fast-paced environments.

Marquis ’ interoperabi l i tyengine is known as Medway, asophisticated media transfer andformat conversion tool that deliv-ers a transparent and cost-effec-

tive connection between multiplebroadcast content platforms.

Medway transfers media andmetadata at faster than realtimespeeds, transcoding if required,enabling the whole productionprocess to be maintained in a dig-ital environment. It also improvesthe production quality and effi-ciency of workflows.2.A58

by Ian McMurrayThe focus for Austrian companyruwido at this years’ IBC is on thenew forms of interaction tech-niques that will be used in the liv-ing room in the near future andthe company is presenting solu-tions and products that it says willbe closer to the user.

Ruwido has several goals – amore intuitive approach to theIPTV system; bringing peoplecloser to the product; and bringingpeople closer together – and isdemonstrating a social communica-tion solution that allows people tocommunicate while watching TV.

Ruwido provides a usability labwhich is devoted to the develop-ment of interaction solutions withan excellent user experience. Fol-lowing user-centred design anddevelopment, ruwido says that theuser experience lab helps cus-tomers to develop their interactionsolutions in an iterative process.Individually adapted methodsallow the company to understandthe real needs of the users and helpto understand the usage of thefinal product.

The user experience lab atruwido is currently investigatingthe latest trends in the IPTV mar-ket including cross-media usage,especially the combination ofhome and car entertainment. Thecompany is investigating newforms of interaction technologiesthat it says will be beyond a simplekey-press on a traditional remotecontrol: new forms of entertain-ment will tie together home enter-tainment and IPTV.1.D68

ruwido’s tau remotecombines intuitive useand aesthetic appeal

Ruwido focuses on user

Marquis Medway integrates

by Adrian PenningtonFollowing the acquisit ion ofHardigg Industries last December,Spain’s protective case and light-ing accessory supplier Peli Prod-ucts, is presenting a diverseportfolio of battle-hardened kit.

Built with engineering-gradepolymers, Peli Cases are, says themanufacturer, ‘the toughest on themarket’. There are over 40 modelsfor the protection of sensitiveequipment. They are watertightand also feature an automatic

pressure equalisation valve thatkeeps moisture out and preventsvacuum lock so the case is easierto open at altitude.

Engineered for extreme indus-trial applications, its Storm Casesare built from Pelican’s patentedHPX high performance resinwhich makes them lightweight,and virtually indestructible.

New this year are Peli Hardiggrack mount cases which offer lightto medium duty protection forhard drives and servers. “They havesignificantly better shock perform-ance than the competition,” claimsPeli. Removable lids on both endsallow rapid access to rear connec-tions and front controls.9.D44

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theibcdaily


What's on the IBC Big Screen2008For the latest visit:- www.ibc.orgTHESE EVENTS ARE FREE TO ALL

Friday 11th Sept

14.00-15.00CHRISTIECome and see the latest in controlroom displays.

15.30-16.30ARRIPresents examples of where and howit’s state of the art technology hasbeen applied.

17.00-18.00 PS TECHNIKDigital Capturing with WEISSCAM HS-2 and SI-2K Digital Cinema CameraSystem

Enjoy the latest productions with theadvanced WEISSCAM HS-2 and the“Slumdog Cam” SI-2K on IBC’s BigScreen during this session.

Saturday 12th Sept

12.00-12.30EUTELSATA “best-of” including extracts fromthe Julien Clerc concert, broadcastlive to cinemas across France.

13.00-14.30 ROCKET SCIENCE:ASSIMILATE & RED.

15.00-16.30ARRIPresents examples of where and howit’s state of the art technology hasbeen applied.

17.00-18.00 PS TECHNIKDeveloping the 3rd Dimension

International stereographers sharetheir experiences and philosophieswith you in the ‘show and tell’environment of the IBC Big ScreenCinema during this session.

18.30 (doors open at 18.15)SPECIAL SCREENINGMonsters vs Aliens – in Stereoscopic 3D

‘Courtesy of Dreamworks Animation’

Monday 14th Sept

18.30 (doors open at 18.15) SPECIAL SCREENINGIce Age: Dawn of the Dinosaurs – in Stereoscopic 3D

‘Courtesy of 20th Century Fox’

Giovanni Soldi, managing director, Media-Alliance

Has IBC come at a good timefor the electronic media industry?Why?Yes, it is definitively good time.Content management is becominga crucial aspect for television andthis year finally it is possible foreveryone to see the first workingsolutions. This is also the perfecttime for the introduction of newstorage technologies which willboost a true migration to tapelessdigital television. We shall intro-duce the first tape archive replace-

ment based on hard disk(DiskArchive). This technologywill have a great impact on futurearchiving systems for any broad-caster or any company managingmedia in the world.

What do you think are the keydevelopments in, or threats to,your market sector at the currenttime?Our sector is media managementand we are a software house. Webelieve that the main focus is nowon workflow and metadata man-agement, content and storageprocessing and life-cycle. Anadditional very important threadis language: many TV stationsare broadcasting to variousmulti-racial and multi-languageaudiences; therefore i t wi l lbecome increasingly importantto have software solutions able torun in multiple languages.

Why should delegates visit yourstand at IBC?Because we are introducing avery innovative solution formedia management, called Medi-aXplorer. This is the first solu-t ion where i t i s possible tocompletely customise the data-base framework and metadataschema as well as the language.MediaXplorer easily enablesworkflow management, contentprocessing and life-cycle. Medi-aXplorer is unique and we hopethat many potential clients willhave the chance to see it. Last,but not least, we are the firstcompany in the world to show aDiskArchive solution.8.D91

Exhibitor Q&A

by David FoxP+S Technik is demonstrating therecently released Weisscam HS-2high-speed camera. It can shoot atup to 4,000 frames per second,using a full-size Super35 CMOSSensor with a global shutter, andrecord uncompressed.

Users can shoot in HD orRAW modes, or both. The HDstream offers YcbCr in 4:2:2 or4:4:4, and users can choosebetween linear standard curves likeITU-R 709 or a log curve for ahigher contrast range within theHD-SDI image. The RAW streamis a 12-bit uncompressed WeisscamRAW file and offers the freedom todebayer in post. It has a fast boot-up time that makes it ready toshoot in less than seven seconds.

For recording, the add-onDigiMag DM-2 is an uncom-

pressed, compact HD-SDI singleand dual-link recorder, which canalso work with other digital cin-ema cameras such as the ArriflexD20/21, Sony F35, Grass ValleyViper, Phantom HD or standardHDTV cameras ( l ike Sony’sF900). The external WeisscamDeBayerBox can do realtimedebayering of the stored RAWdata on the DM-2, outputting astandard HD YcbCr.

The camera, which was devel-oped by DoP Stefan Weiss, usesP+S Technik’s InterchangeableMount System, which allows usersto attach almost any lens (PLmount, Nikon F, Panavision, etc).The optional Weisscam HandUnitHU-2 can fully control the cameraand image processing and can beconnected by cable or wireless.11.E28 Up to speed: the Weisscam with its inventor, Stefan Weiss

Weisscam offers RAW speed of up to 4,000fps Pace makesrecord salesby Ian McMurrayGood news all round for Pace.The company said that, in the firsthalf of 2009, it achieved recordfinancial performance, with unitshipments more than tripling andrevenue more than doubling to£526.5 million.

At the same time, Paceannounced that German pay-TVoperator Sky had selected Pace’sHD technology for its set-top boxdeployments in Germany and Aus-tria. This deployment of Pace set-top boxes, rolling out from August2009, will support Sky’s HD expan-sion plans across its territories. Pacehas been a set-top box technologypartner of Sky, formerly Premiere,for a number of years and Pace saysthat the new DS830 gives Sky thefull flexibility to roll-out HD serv-ices with support for both MPEG-2 and MPEG-4.

At the front-end, and demon-strated on the stand today, is thefully DVB-compliant DS830NP,which includes one DVB-S2 tunerand a demodulator.1B19

Waterfront:Bright, DFTby Carolyn GiardinaBright Systems and DFT DigitalFilm Technology have reportedthat Waterfront Studios’Capetown headquarters hasinstalled a BrightDrive recordingsystem and two Bones Dailies sys-tems. Together, the new systemsoffer a collaborative dailies man-agement and transfer process.

Waterfront Studios’ Bright-Drive is specified for 3 x 2k orHD4:4:4 streams from one 14.4TBonline workspace. Operators areable to scan film via a Spirit Dat-aCine and Bones Dailies directlyonto the BrightDrive. The mediais then available to all operatorsfor best light colour correction,audio syncing, logging and layingoff to SD tape, DVD, file-basedvideo (Avid DNXHD or FCPQuickTime) and HD master tapesimultaneously as digital dailies.

“At Waterfront Studios, weacknowledge that South Africa hasbecome a destination preferred bymany international filmmakers byensuring we provide our clientswith world-class tools for their cre-ative projects,” said Paul Merring-ton, facility manager at Waterfront.“The combination of BrightDrivewith Bones Dailies and Spirit Dat-aCine allows us to offer a reliableand powerful digital workflow thatuses the most advanced digitaltechnology designed specifically forthe challenges of the film andvideo industry.”7.J39/7.E390

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theibcdaily


In today’s multiplatform worldeverything is changing. The terms‘broadcaster’, ‘viewer’ and ‘con-tent’ no longer have their tradi-tional meanings: instead,originators seek to entice con-sumers with a commodity that isbecoming ever more diverse.What’s more, the devices on whichthat commodity is consumedthemselves vary enormously interms of portability and capability.A TV, a PC and a mobile phoneare three quite different ‘screens’used in three quite different waysby different audience subsets fordifferent purposes. This causes thefirst dilemma – how to make sure

that the delivered package hits theright device in the right way with-out making costs prohibitive.

The second dilemma is this: ofwhat should the delivered packageconsist? In the words of Data-monitor, ‘The global broadcastmarket is expected to experiencesignificant revenue growth fromUS$284.1 bi l l ion in 2007 toUS$326.2bn by 2010. Howevergrowth is only expected to besecured through revenue diversifi-cation from value-add and bun-dled services, including internetservice provision, HD content, on-demand solutions, interactiveapplications and multiplatformdistribution.’

It’s clear that to secure rev-enue, the mix must be right – and

the mix has to be targeted forboth the device and the intendedconsumer.

The world’s most successful TVplatforms like BSkyB and PCCW –as well as over-the-top video serv-ices like the BBC’s iPlayer andHulu – have long since proven thebusiness case for launching interac-tive services and online video con-

tent. As consumers interact withdifferent media and consume con-tent in new ways, the future lies inreaching audiences over all devices– and this is dramatically changingthe way content is produced, howadvertising budgets are spent andhow content is monetised.

The problem until now has beendelivering multiplatform, three-screen content provision – TV, PCand mobile – as there have been sig-nificant technical challenges in unit-ing disparate content managementand production engines.

Making three-screen contentgeneration a reality, SysMedia hasextended its successful and glob-ally deployed Plasma Gold inter-active platform from DTT, cable,satellite and IPTV set-top boxes,to mobile phones and PCs in onehighly cost effective solution. AtIBC09, SysMedia is highlighting abrand new concept in the manage-ment of interactive content thatbreaks down the technology barri-ers that have impeded launchingservices for operators and contentowners over the last decade.

Operators are no longer

restricted to having to select tech-nology compatible with their ownplatform infrastructure – PlasmaGold’s technology enables inter-activity on virtually all middle-ware browsers, IP-set-top boxesand mobile browsers – includingSmartphones and iPhones. In thisway it allows for the widest distri-bution of content, includingstreaming video on all devices. Atits core, it has always had the con-cept of a story-based paradigm:gather the multimedia objects thata particular story requires intotal, and deliver subsets to dif-ferent device types as need andcapability requires.

To remain competitive, compa-nies need to utilise effective technol-ogy to aid in production andmultiplatform distribution of value-add services. Content providers cannow launch new differentiatingservices with widest audience reachover all devices, and deliver com-pelling revenue generating servicesin fastest time. Cutting productioncosts with tools like Plasma Goldmakes this easy and affordable.3.B67

Converging on divergenceThe technical challenges in uniting disparatecontent management and production engines formultiplatform delivery are being solved saysAndrew Lambourne, CEO, SysMedia

Exhibitor Opinion

Andrew Lambourne: ‘The future lies inreaching audiences over all devices’

by Ian McMurrayTandberg Television is debutingwhat it describes as the cableindustry’s first one-way VoD sys-tem at IBC.

Aimed at cable operators whoeither have a one-way HFC net-work or a deployed population ofone-way set top boxes (STBs), thenew Tandberg platform enablesthe introduction of on-demandservices, without the additionalinvestment in new STBs.

The new one-way system uses aconsumer mobile phone to firstprovision and then order on-demand assets such as movies andcatch up TV content. The infor-mation on available content canbe communicated to consumersvia multiple routes, most obvi-

ously using an onscreen catalogue,but for STBs which might noteven have a middleware, barkerchannels, SMS adverts and even aprinted magazine can be used.

Operators wishing to work in aone-way environment have beentraditionally been limited to a pay-per-view system, says Tandberg,with perhaps only 20 assets avail-able at any one time, and withfixed starting times.

The company says that thisnew platform means that anunlimited number of assets can beoffered, as well as adding innova-tive applications such as StartoverTV, Network PVR and targetedad-insertion on even the most lim-ited set-top box.1.D61

by Ken KerschbaumerOn show from Orca is RiGHTv, aleading IPTV middleware plat-form for delivering interactive TVservices. RiGHTv empowers oper-ators to offer a full array of IPTVservices, including live TV, VoD,

PVR and content discovery, thatdrive new revenues and increasesubscriber loyalty.

Successful ly deployed bydiverse broadband network oper-ators and tr iple-play serviceproviders worldwide, from green-

f ie ld players to establ ishednational te lcos, Orca saysRiGHTv is an innovative, flexibleand robust middleware solutionfor building, managing and main-taining IPTV services. Advancedfunctions can be implementedacross a wide range of set-topboxes and RiGHTv features ahighly customisable, scalable and

open architecture. With a robustset of documented APIs and aplug-in architecture for externalinterfaces, RiGHTv providesoperators and their preferred sys-tems integrators enhanced flexibil-ity and control over the design,installation and integration of acomplete IPTV solution.2.B40

New Tandberg platform enables new services without investment in STBs

One-way VoD system from Tandberg ‘is industry first’ Actus displaysnew AdWatch by Ken KerschbaumerAttendees looking for mediarecording and analysis tools –including detection of repeatingcontent, and converting linearbroadcast into VoD clips in multi-ple frame sizes for web and mobileuses – should visit Actus Digital.

The company’s stand featuresAdWatch, a system that automat-ically detects recurring contentincluding ads and promotionswhile keeping track of the qualityof video and audio levels. The sys-tem works by tracking video andaudio sequences in the TV andradio signal and custom reportscan be generated for each adver-tising client’s needs.

Also on display is TvWebber, asystem that automatically trans-form linear broadcasts into VideoOn Demand clips for the web andmobile use. Using an integratedEPG, the system uploads pro-grammes to any location with non-localised commercials removedand new ones inserted.2.A20

Orca delivers for IPTV

IBC09 D3 p46,47 24/8/09 19:06

theibcdaily


ATG Broadcast is an independent broadcastsystem integrator supplying functional and cost-effective media technology solutions from initialproject consultancy and design through toinstallation and post-installation support.

• Consultancy

• Workflow Design

• Project Planning

• Systems Installation

• Commissioning

• Documentation

• Training

• Systems Support

www.atgbroadcast.co.uk

InternationalSystems Integration

Meet us atStand8.B51

ATG Broadcast is part of Dan Technologies’ Systems Integration Division (Danmon Systems Group, ATG Broadcast and Hiltron Communications)

by Ian McMurrayWith the launch of the new SAS250IP-audio transmitter, Streamit saysthat it is meeting increasing demandfrom many radio stations for stableand reliable low cost internet trans-mitters. It is, according to the com-pany, the world’s first embeddedencoder that uses the open sourceOgg Vorbis codec.

Streamit bel ieves that thebroadcast industry is finally realis-ing that standard internet connec-tions can be a valuable add-on toexisting infrastructure. To meet

quality levels, the company says, aPC with a software encoder is sim-ply not reliable and stable enough.The SAS250 is designed toaddress this requirement: it is,according to Streamit, easy toinstall, flexible to use and costs afraction of traditional solutions.

To maximise audio quality, theSAS250 offers XLR inputs andencodes in Ogg Vorbis. This opensource codec gives an excellentaudio quality, says the company,with low bandwidth consumption.A rack mount kit is available, as is a

stereo headphone output. The RS-232 port is used to transmit RDSdata in parallel to the audio stream.

Streamit says that the SAS250is an ideal solution for small localradio stations that have just onestream to the internet or for larger

stations that want to encode theirprogrammes and transmit them totransmitter sites. Streamit cus-tomers include Diesel, GANT,Tally Weijl, Burger King, Triumphand NedTrain.5.A14

by Carolyn GiardinaBlackmagic Design is offering sixnew optical fibre products as partof its IBC lineup.

Ultrascope, a PC-based 3GbpsSDI and optical fibre SDI wave-form monitor scope is designedfor editors and colourists and listsfor €535.

DeckLink Optical Fibre is a10-bit SD/HD broadcast capturecard with both optical fibre SDIand regular SDI. It switchesbetween SD and HD, includesRS-422, an internal SD keyer, ref-erence and eight channels of

audio. This lists for €385.HDLink Optical Fibre is a

3Gbps optical fibre SDI and con-ventional SDI monitoring systemfor SDI, HD and 2k monitors,with 3D LUTs and six channels ofanalogue audio out. Blackmagicrecommends this product forlarge television stations and postproduction houses, as well asDSNG trucks for live shots. It ispriced at €615.

The new Mini Converter Opti-cal Fibre is a bi-directional con-verter that s imultaneouslyconverts from SDI to optical fibre,

and vice versa. It lists for €385.Blackmagic has eight new

card-based converter products,including two new optical fibrecards. All OpenGear Converterssell for €385.

Also at its IBC stand, Black-magic is showing its new DVIExtender, designed to extend acomputer’s video monitor via anSDI connection so computer reso-lution monitoring can be routedand distributed in television andpost production facilities usingSDI BNC cables.

This allows more than one

monitor to be connected to thecomputer and – if used with aSDI router such as the Black-magic’s Enterprise Videohub –up to 288 computer monitorscould all connected to the onecomputer. DVI Extender listsfor €305.

Two new Videohub routerscomplete Blackmagic’s IBC lineup.They are Studio Videohub, a com-pact 16x32 model for �3845; andthe Enterprise Videohub, a144x288 model for large broadcastand post facilities that lists for€22,995. Both have 3Gbps SDI,built-in deck control routing,redundant power, switchable SD,HD, and re-clocking.7.B21

The SAS250 encodes in Ogg Vorbis for optimum audio quality

Streamit couples stability with low cost

It’s six of the best from Blackmagic

AmberFinpreviewsiCR v5.0by Carolyn GiardinaAmberFin iCR v5.0 is a new soft-ware release that introducesJPEG2000 workflow and enablesthe application of closed caption-ing for US and European broad-cast delivery requirements duringthe transcoding process. There isalso support for MXF AS02.

The technology offers HD/SDingest, video conversion, transcod-ing, integrated quality control,automation and asset manage-ment integration, and the ability towork with standard storage.

“We have seen increaseddemand for AmberFin iCR soft-ware, based on the quality of theimages produced and the assur-ance that AmberFin’s automaticQC removes human error, there-fore reducing the need for contentto be reworked,” said JeremyDeaner, CEO of AmberFin. “Byworking closely with our customerbase, we have the foresightrequired to update AmberFin iCRin line with market requirements.”7.A08F

IBC09 D3 p46,47 24/8/09 19:07

by Ken KerschbaumerMultiDyne Video & Fiber OpticSystems has introduced its DVI-6000, designed for the transport ofDVI-I, RGB-HV and DVI-D overone fibre.

Multidyne says a key break-

through for the DVI-6000 lies in itsability to offer SMPTE compliantdata transport, converting all for-mats into a SMPTE compliant3Gbps optical and electrical trans-port stream.

This 3G data stream can be dis-tributed through any standard3Gbps HD/SDI routing switcher.

The DVI-6000 also enablescross-conversion from RGB, DVIand VGA to a 3G HD-SDI trans-port, with loop-through DVI-Iinputs and dual DVI-I outputs fea-turing a throughput bandwidth of3.75Gbps for non-SMPTE or2.97Gbps for SMPTE.

With an operating distance ofup to 40k, the DVI-6000 givesusers the freedom of moving amonitor away from a source. It alsoconnects video walls and controlrooms with remote video process-ing equipment while continuing tomaintain the highest video quality.2.A54

theibcdaily


I N N O V A T I O N

Let's talk about 3 G! You will find us in Hall 11 at Booth B50

PS: Don´t forget Draka´s Happy Hour, from 17.00 every day of the IBC

I

What is the next major technologyinnovation that will reshape theindustry? What will happen whenthe line between TV entertainmentand the internet disappears? And,how will service providers trans-form a service model that wasdesigned for static, one-way videodelivery into a platform for deliver-ing rich, personalised, social, andinteractive media experiences? Ana-lysts can debate these questions, butservice providers must answer them– and answer them now.

Here is what we know: Thebasic delivery of TV services is nolonger enough. Today’s consumerswant a richer, higher-qualitymedia experience, and they wantaccess to more kinds of content

than ever before. They want toenjoy the same kind of interactiv-ity, personalisation, mobility, andcontrol with their video entertain-ment that they have come toexpect from the internet. And theywant the ability to access any typeof content they choose, wheneverand wherever they choose, over avariety of devices and screens.

They want the ‘ConnectedLife’, but delivering the ‘ConnectedLife’ is challenging. It requires aworld of new technological capa-bilities, and a re-architecting of theservice network to accommodateexponential traffic growth and spe-cial demands of video. At Cisco,we defined a new class of network,one that is not only video-ready

but video and device-aware – this iswhat we call a medianet.

Experts predict that more than4 billion video streams per monthwill be delivered through internet-enabled set-top boxes by 2012.Video is integral to almost everymajor service offering today – dig-ital cable, IPTV, video communi-cations, or viewing television on ahandset. Service providers need todeal with the huge demand forbandwidth as people watch videoson YouTube and BBC iPlayer.

Broadcasters, telcos and cableoperators alike need to address theproduction, contribution and dis-tribution of high-definition videoprogramming over their networkinfrastructures as well as dealing

with the new competitive land-scape that has emerged.

Those service providers thatcan meet these challenges – bymaking the transition from con-ventional service provider to true‘experience provider’ throughevolving their network into amedianet – stand to grow marketshare, increase average revenue per

user, improve customer loyalty,and stand out from their competi-tors. We believe that these true‘experience providers’ have anunprecedented opportunity tocement their place as market lead-ers in the next generation ofgroundbreaking media services. Inthe long run, with the increasingloads on networks and the expand-ing role of video, and other web2.0 technologies in both the busi-ness and entertainment segment ofthe industry, service providers will,in our opinion, return to being avery solid growth market.

There are many options openfor multi-channel service providers,content producers, broadcastersand satellite operators and IBC isthe ideal venue to discuss withindustry peers the complexities ofvideo services and architecturalimplications to make decisions onwhat technology to choose. It cer-tainly is the biggest industry eventspanning the full value chain fromcontent production over contentcontribution to content distribu-tion to the home.1.D71

Nick Fielibert: ‘Service providers need todeal with the huge demand for bandwidth’

The appliance of scienceService providers must answer key questions like ‘what happens when TV and internet finally merge’ now urges Nick Fielibert, CTO & principalengineer, Cisco Service Provider Video Technology Group

Exhibitor Opinion

by Ian McMurraySome day, it would be nice tothink we might have power overwireless. In the meantime, we’vegot Power over Ethernet. We’vegot voice – and video – over IP.We’ve got PowerLine, which sees ahome’s electricity infrastructureused as a network carrier. Couldthe next big thing be MoCA?

MoCA – the alliance formed in2004 to promote the use of coaxas a transmission medium formultimedia – is a focus for Broad-com at this year’s IBC.

Earlier this year, the companyannounced the industry’s firstMoCA-integrated SoC solutionsfor HD STB and gateway applica-tions, and Broadcom’s home net-working reference design platformfor STB and broadband accessproducts has now received MoCACertification.

The company says that, asMoCA becomes more integratedinto a wide variety of devicesincluding STBs, TVs, Blu-rayplayers, broadband access solu-tions and beyond, its diverse prod-

uct l ine wil l pave the way forbroad deployment with multiplesilicon solutions.

Broadcom says that its MoCA-integrated solutions provide a verypower-efficient home networkingecosystem, capable of shuttingdown unused system componentsin realtime while remaining awareof network events.

According to the company,there are several operators in theUSA who are on record as deploy-

ing MoCA-enabled networks in2009 including Verizon, TimeWarner Cable, Cox Communica-tions and Bright House Networks.These deployments are testimony,says Broadcom, to the advantagesof MoCA – namely performanceand reliability.

Broadcom also includes sup-port for DLNA to facilitate theeasy sharing of digital contentbetween DLNA-enabled devices.5.A10

MoCA promotes the use of coax for multimedia

MoCA is the focus for Broadcom

Multidyne DVI-I transport

by Farah JifriSI media is showing off two newproducts in the form of its Medi-aCG and MediaStation systems.

MediaCG is a new integratedsystem for graphics creation andplayout. The system comprisestwo software modules: MediaCG-Edit and MediaCG-Play. The for-mer is an editing package allowingusers to create graphics such asidents and ‘coming next’ events,while MediaCG-Play is a softwareengine that enables the graphicsfiles to be played out to air.

Both these modules are closelyintegrated with the SI media plat-form and allow users to easilymanage the creation and playout

of graphics without adding addi-tional hardware devices.

MediaStation is what the com-pany refers to as an ‘all-in-one’software module that bringstogether the various functionsneeded to oversee a completebroadcasting workflow; from con-tent capture and manage throughto transmission. Media Station ispitched as an entry-level solutiondesigned to meet the needs ofsmall to sized broadcasters.

SI media is also showingenhancements to some of its exist-ing products including MediaList,Media Play, MAM-Mediastoreand MediaNewsPlay.8.B9

Graphics playout in a flash

IBC09 D3 p48,49 24/8/09 19:09

theibcdaily


In a world getting more and more interconnected, Arabsat is helping make the world a smaller place. As the largest satellite operator in the Arab world covering the Middle East andAfrica—as well as Europe and beyond—only Arabsat offers the full spectrum of broadcast, telecommunications and broadband services. With the youngest satellites in the region,plus more satellites launching every year until 2012, this capacity will continue to grow and provide unprecedented reach, superior reliability and unmatched flexibility for broadcastand telecom operators. Indeed, Arabsat gives you the most powerful way to reach the largest Arab community in the sky, and much more. Join our premium neighborhood now!

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www.arabsat.com

Our world. Now closer to your heart than ever

Despite the international reces-sion, the transition to terrestrialdigital television is growing. Somecountries in Europe or the USAare going to complete their ana-logue to digital transition whileother countries in Asia or LatinAmerica, which are just beginninga phase of tests on digital tech-nologies, could also experimentwith hybrid solutions combiningsatellite and terrestrial, and takeinto account new usage models,and new services, such as the newservices defined by IPTV, mobileTV and internet download.

This, combined with the eco-nomic crisis, generates a certaindelay in the decision-making onthe digital deployment of somecountries, because broadcastersare sometimes reluctant to investmassively in this period of doubt.This delay should be eliminated bythe benefit that governmentsshould take from the release ofsome national frequency bandsand the digital dividend: as forcolour television, the transition todigital is inevitable.

DTT is without question, thelargest vector of transition. The

first generation of standards (DVB-T, ISDBT, ATSC and DTMB) willbe deployed even if we can expect alonger period of deployment toimplement them. However, we canidentify new trends in infrastructuresharing between operators, newapplications of technology migra-tion and new financial rules inorder to establish smooth transi-tions and to minimise the Capexand Opex of some operators.

Paradoxically, the demand willincrease for low cost solutions incountries starting deployment orcompleting their geographic cov-erage of digital low power, or forinquiries about second generationstandards such as DVB T2, incor-porating HDTV and ‘In band’mobile TV to minimise infrastruc-ture costs.

In this spirit, TeamCast isclearly establishing itself as a solu-tion provider, not just an OEMmodulator provider, of new cost-effective and technological archi-tectures. Indeed, it is no longerenough to offer our universal mod-ules but also to help our partnersand customers build solutions for asustainable upward compatibility

between technical, economic imper-atives and new usages models.

TeamCast continues its techno-logical innovation and offers facil-ities providing native transitionsfrom the analogue world to thedigital world with its dual (PAL /DVBT) technology, but also fromthe world’s first digital generationto the second generation throughmixed technologies (DVB T/T2 orCMMB / DTMB).

A major player in the promo-tion of digital standards at theinternational level, TeamCast plansto strengthens its actions amongstandardisation bodies. We aim tomultiply our international technol-ogy partnerships and builds newsolutions with leaders in networktechnologies to complete their IPtechnologies. In other words: Team-Cast – Modulation and Beyond.2.B51

Exhibitor OpinionOf modulation and beyondThe transition to digital terrestrial television isunstoppable says Serge Mal, executive vicepresident and general manager, Teamcast

Serge Mal: ‘TeamCast is establishingitself as a solutions provider’

by Ken KerschbaumerDynamics processing specialistJünger Audio is displaying a com-plete suite of DSP and interfacecards for its ground-breakingC8000 Level Magic automatedaudio loudness control system forproduction and broadcast.

The company is showing LevelMagic in a complete set-up thatoffers a fully integrated workflowsolution for managing surroundsound and Dolby coded 5.1 audiosignals in production, ingest andplayout.

Peter Pörs, managing directorof Jünger Audio, said: “Our aim isto offer an outstanding integratedworkflow solution that incorpo-rates signal acquisition, monitor-ing, processing and smart 5.1/2.0

fail over switching, including pro-gramme metadata management.These new additions to the C8000Level Magic system will provideour customers with a solution formanaging 5.1 audio and Dolbycoded streaming that is far moreeffective than anything else on themarket.”

The latest addition to the rangeis the C8086-8, an 8-channel DSPcard that incorporates a newDolby Metadata Generatoroption. This is designed for usewith the modular frame C8000system, which provides audio pro-cessing for a wide variety of appli-cation including audio production,broadcasting, distribution, re-broadcasting and audio for video.2.C49

Jünger Audio’s new control suite for Dolby 5.1 manages surround sound audio streams

Jünger Audio in Dolby 5.1

IBC09 D3 p48,49 24/8/09 19:10

theibcdaily


IBC2009 Training Zones

the content creation • management • deliveryIBC2009

Conference 10 - 14 SeptemberExhibition 11 - 15 SeptemberRAI Amsterdam

experience

Post Production TrainingHall 7, Friday 11 to Tuesday 15 September

Cutting edge, hands-on training from industry professionals

Latest video products from Adobe to Apple, including Final Cut Pro, Motion and Color

Get real, hands-on experience with the latest tools under the watchful gaze of expert trainers

Schedule of exhibitor led sessions

Production TrainingHall 9, Friday 11 to Tuesday 15 September

Training led by experienced professionals

Comprehensive display of broadcast and digital cinema cameras

Focal point of the village is a hands-on studio where youcan touch, feel and experience the state-of-the-art technology

Engage and network with potential buyers and users in a highquality environment


To find out more about the sessions available go to:

••••

•••••www.ibc.org/training

by David FoxThe Mobile Television Group,which operates one of America’slargest HD OB fleets, recentlybecame the first to use the newGrass Valley Kayenne multifor-mat Video Production Centreswitcher on air for live sports pro-duction. The company installedone of the first Kayenne produc-t ion models in i ts new 16mexpanding 25HDX truck, whichproduced its first Major LeagueBaseball game in HD in late July.

The truck also carries tenGrass Valley LDK 8000 Elite HDcameras, which can operate inboth the 720p and 1080i.

“We have always rel ied onGrass Valley production switchersfor our mobile trucks because

they perform better than anyother switcher on the market andour operators are very familiarwith how they work. And theGrass Valley LDK 8000 Elite HDcamera is second to none in termsof image quality,” said PhilipGarvin, owner/manager ofMobile TV Group.

The new Kayenne Series offersa wide range of configurablemainframes that can include from1.5 to 4.5 mix/effects ; plus anewly-designed panel with defin-able colour change RGB buttonsand a menu navigation systemoptimised for touchscreen use. Allthe frame and panel modules,including the redundant powersupplies, are hot-swappable.1.D11

MTG mobilises with Kayenne

Mobile production centre: Grass Valley’s new Kayenne switcher

by Ken KerschbaumerBigBand Networks has its new IPvideo delivery product suite forthe cable industry, vIP Pass, on itss tand. The vIP Pass su i te i sdesigned to capitalise on existinginfrastructure and deliver a smartthree screen solution via DOCSIS3.0 modems.

Big Band says vIP Pass‘wraps’ video in DOCSIS, theindustry’s signaling standard, todeliver quality video streams toIP-enabled cable modems with-out transit ing a CMTS. This

allows service providers to delivervideo to the ‘three screens’ con-sumers want most – TVs, PCsand mobile devices – while savingvaluable CMTS bandwidth forvoice and data.

“We created vIP Pass in directresponse to our customers’ needto meet the huge demand forhigh quality video services, whichare growing at unprecedentedrates across the network,” saidDavid Heard, BigBand’s chiefoperating officer.

“The suite enables our digital

video networking platforms tobecome an efficient DOCSIS 3.0standards-based IP video deliv-ery system,” Heard continued.

“Operators can now deliverquality video experiences to awide var ie ty of consumerdevices, generate new revenuestreams, and be more competitivewith a solution that could savethem hundreds of millions ofdollars in capital expenditureswhich is especially important inthe current economic climate.”3.A19

BigBand vIP Pass makes a cable smarter

by Ken KerschbaumerEarly this year, Vitec Multimediaacquired world wide exclusivemanufacturing, marketing anddistribution rights of media con-verter MC-2E from FOCUSEnhancements. At the same timeVitec Multimedia is developing anew product line of HD convert-ers with its new flagship productExtensor HDMI2SDI.

The MediaConverter MC-2Emakes advanced, bidirectionalvideo conversion affordable, reli-able and easy, according to Vitec. Itconverts DV to analogue, analogueto DV, and analogue or DV toSDI. Additional features includeNLE system compatibility, audioconversion, time base corrector,and timecode conversion and con-trol along with genlock.

The two HD-SDI out-puts can be simultane-ously used with the sameor different resolution (ie1080p and 720p) andOSD Status provides allstatus information ( ie

video signal detected, resolution,etc.) which are overlaid on theoutput signal.

Additional features includeupgradability through USB con-nector, a power supply with lock-able connector, HD& SDauto-adaptation video formats,and 3Gb/s HD-SDI output onBNC connector.2A18

Vitec Multimedia adds to converter range

Vitec Multimedia’s MC-2E converter is said to make video conversion reliable and easy

IBC09 D3 p50,51 24/8/09 19:13

theibcdaily


IBC2009 Training Zones

the content creation • management • deliveryIBC2009


experience

Post Production TrainingHall 7, Friday 11 to Tuesday 15 September

Cutting edge, hands-on training from industry professionals

Latest video products from Adobe to Apple, including Final Cut Pro, Motion and Color

Get real, hands-on experience with the latest tools under the watchful gaze of expert trainers


Production TrainingHall 9, Friday 11 to Tuesday 15 September

Training led by experienced professionals

Comprehensive display of broadcast and digital cinema cameras

Focal point of the village is a hands-on studio where youcan touch, feel and experience the state-of-the-art technology

Engage and network with potential buyers and users in a highquality environment


To find out more about the sessions available go to:

••••

•••••www.ibc.org/training

by David FoxThe Mobile Television Group,which operates one of America’slargest HD OB fleets, recentlybecame the first to use the newGrass Valley Kayenne multifor-mat Video Production Centreswitcher on air for live sports pro-duction. The company installedone of the first Kayenne produc-t ion models in i ts new 16mexpanding 25HDX truck, whichproduced its first Major LeagueBaseball game in HD in late July.

The truck also carries tenGrass Valley LDK 8000 Elite HDcameras, which can operate inboth the 720p and 1080i.

“We have always rel ied onGrass Valley production switchersfor our mobile trucks because

they perform better than anyother switcher on the market andour operators are very familiarwith how they work. And theGrass Valley LDK 8000 Elite HDcamera is second to none in termsof image quality,” said PhilipGarvin, owner/manager ofMobile TV Group.

The new Kayenne Series offersa wide range of configurablemainframes that can include from1.5 to 4.5 mix/effects ; plus anewly-designed panel with defin-able colour change RGB buttonsand a menu navigation systemoptimised for touchscreen use. Allthe frame and panel modules,including the redundant powersupplies, are hot-swappable.1.D11

MTG mobilises with Kayenne

Mobile production centre: Grass Valley’s new Kayenne switcher

by Ken KerschbaumerBigBand Networks has its new IPvideo delivery product suite forthe cable industry, vIP Pass, on itss tand. The vIP Pass su i te i sdesigned to capitalise on existinginfrastructure and deliver a smartthree screen solution via DOCSIS3.0 modems.

Big Band says vIP Pass‘wraps’ video in DOCSIS, theindustry’s signaling standard, todeliver quality video streams toIP-enabled cable modems with-out transit ing a CMTS. This

allows service providers to delivervideo to the ‘three screens’ con-sumers want most – TVs, PCsand mobile devices – while savingvaluable CMTS bandwidth forvoice and data.

“We created vIP Pass in directresponse to our customers’ needto meet the huge demand forhigh quality video services, whichare growing at unprecedentedrates across the network,” saidDavid Heard, BigBand’s chiefoperating officer.

“The suite enables our digital

video networking platforms tobecome an efficient DOCSIS 3.0standards-based IP video deliv-ery system,” Heard continued.

“Operators can now deliverquality video experiences to awide var ie ty of consumerdevices, generate new revenuestreams, and be more competitivewith a solution that could savethem hundreds of millions ofdollars in capital expenditureswhich is especially important inthe current economic climate.”3.A19

BigBand vIP Pass makes a cable smarter

by Ken KerschbaumerEarly this year, Vitec Multimediaacquired world wide exclusivemanufacturing, marketing anddistribution rights of media con-verter MC-2E from FOCUSEnhancements. At the same timeVitec Multimedia is developing anew product line of HD convert-ers with its new flagship productExtensor HDMI2SDI.

The MediaConverter MC-2Emakes advanced, bidirectionalvideo conversion affordable, reli-able and easy, according to Vitec. Itconverts DV to analogue, analogueto DV, and analogue or DV toSDI. Additional features includeNLE system compatibility, audioconversion, time base corrector,and timecode conversion and con-trol along with genlock.

The two HD-SDI out-puts can be simultane-ously used with the sameor different resolution (ie1080p and 720p) andOSD Status provides allstatus information ( ie

video signal detected, resolution,etc.) which are overlaid on theoutput signal.

Additional features includeupgradability through USB con-nector, a power supply with lock-able connector, HD& SDauto-adaptation video formats,and 3Gb/s HD-SDI output onBNC connector.2A18

Vitec Multimedia adds to converter range

Vitec Multimedia’s MC-2E converter is said to make video conversion reliable and easy

IBC09 D3 p50,51 24/8/09 19:13 Page 50

In The IBC Daily you’ll read a greatdeal about the better broadcastmousetraps on show that promisean almost infinite number of ‘solu-tions’ to the complex interoperabil-ity and delivery problems ofmodern broadcast systems – manyof them are definitely very fineinnovations indeed. In fact, with somany solutions blanketing the showfloor, it’s a wonder anyone admits tohaving any problems at all.

However, a better mousetrap islittle more than an LED-festoonedcheese tray if what you’re reallytrying to catch is not a mouse, buta bear. So with the increasing com-plexities and interdependencies ofsystem devices, most of whichclaim to be the most elegant wayto feed the hungry jaws of ever-diverse delivery channels, how doyou know what actually works?

It’s a paradox that as multi-channel end users become moresophisticated in their require-ments, the traditional abundanceof broadcast industry skills hasdiminished, so TSL’s position as ahighly experienced consultant,from first enquiry to finished proj-ect and beyond is in high demand– both in terms of acting as a totalsystem consultant and integrator,as well as an educator on the capa-bilities and suitability of newproducts and technologies.

But that also means that we haveredoubled our already industry-leading programme of training andeducation to stay across current andemerging technology developments.This is essential to the beating heartof any Systems Integrator and it’s aresponsibility that TSL takes veryseriously indeed. We have a rigor-ous programme of not only evalu-ating new and emergingtechnologies, but of nurturing newtalent in the form of budding engi-neers who have often been educatedon technologies that only a fewyears ago were considered sophisti-cated to the point of being arcane,but are now seen as standard.

We were recently pleased tohave been chosen to design a newbroadcast system at Ravensbourne

College that will be used by traineebroadcast engineers to acquire anddevelop the aforementioned cre-

ative and technical skills necessaryto flourish in the industry. Ravens-bourne is recognised as one of theUK’s premier training grounds forthe next generation of broadcasttechnology talent, who will notonly learn by using the systems wedesign but no doubt developingenious new ways to performwhat are already complex tasks.

TSL is also the Technical

Design Consultant for MediaCi-tyUK, one of the largest mediaand creative industry projects inEurope and the UK’s first pur-pose-built, HD-based media cityon a 200 acre site at Salford Quays.

So, while promoting our ownSI expertise at IBC as well as ourprofessional products range, we’llbe spending almost as much timescouring the exhibition halls for

viable technology; and we’ll bedoing that with the wisdom ofexperience coupled with the fresh,hungry eyes of new talent.

After all , in the event thatsomeone has come up with a‘unique, streamlined, cost-effectivebear-catching mousetrap solution’,we owe it to our clients to evaluateit. We’ll even bring the bear!10.B41

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Do mousetraps catch bears?Only a fresh injection of engineering skills willultimately make your innovative technology workobserves David Phillips, CEO, TSL

Exhibitor Opinion

David Phillips: ‘How do you know what actually works?’

IBC09 D3 p50,51 24/8/09 19:14

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The development of the DVB-T2specification demonstrates thebroadcast industry’s confidencein the terrestrial television plat-form. Constrained by limited fre-quency capacity, the terrestrialtelevision platform needed a new,more efficient, transmission stan-dard to meet the demands of thefuture and to a l low for thelaunch of new services. The DVBProject responded in June 2008with the publication of the DVB-T2 specification.

The DVB-T2 specificationapproaches the information the-ory l imits defined by ClaudeShannon in 1948 and can thusallow for the introduction ofspectrum intensive services for thefurther development of the terres-trial platform. Two countries, Fin-land and the United Kingdom,have already announced DVB-T2launch plans while manufacturersare ready to introduce products inearly 2010.

Improved efficiencyBuilding on the success of DVB-T, the new specification incorpo-rates the latest developments inmodulation and error-protectionto increase the bit-rate capacityand improve signal robustness. Toachieve these improvements andto optimise performance to matchthe propagation characteristics ofthe radio frequency channel,detailed changes have been madeto the physical layer features andto the network configuration.

The exact capacity gain thatcan be achieved using the DVB-T2specification in comparison withthe DVB-T standard is still thesubject of field testing. The initialcommercial requirements calledfor a minimum capacity gain of30% in comparison with DVB-Tin equivalent reception conditions.However, current trials in the UKhave shown the capacity gain to becloser to 50%. If a single fre-

quency network (SFN) configura-tion is used, a potential capacitygain of 67% is achieved in com-parison with DVB-T using thesame absolute guard interval. Butit is not until widespread experi-ence is gained with DVB-T2 thatthe full extent of its beneficialcapacity gain will be known.

Receiver commonality A large number of options andcombinations are possible with theDVB-T2 specification. Flexibilityhas been a key element of thespecification to allow for optimi-sation as experience is gained.However, flexibility can also leadto market fragmentation shouldnational variants of the DVB-T2specification emerge.

To be able to benefit fromeconomies of scale throughoutEurope, manufacturers haveundertaken an initiative withinDigital Europe (formerly EICTA)to incorporate the DVB-T2 spec-ification into the HD version ofthe E-Book. The aim is to definethe requirements for DVB-T2receivers that can be used allacross Europe. Digital Europehas benefitted from the workunderway in the UK in prepara-tion for the launch of DVB-T2services to take place at the endof the year. The updated versionof the DTG’s D-Book thatencompasses the DVB-T2 specifi-cation will be incorporated intothe updated E-Book.

In the Nordic region, a DVB-T2 rece iver prof i le has beenissued by NorDig. Unlike therequirements developed by Digi-tal Europe, the NorDig DVB-T2rece iver prof i le ca l l s for theimplementation of Time Fre-quency Slicing (TFS) which, atthis stage, is a possible futureextension of the DVB-T2 specifi-cation but has not yet been fullyspecified or tested. In anticipat-ing this advanced feature of

DVB-T2, the Nordic region hasparted with the mainstreamimplementation of DVB-T2 cur-rently underway in other parts ofEurope. This may result in onlylimited support from manufac-turers in the immediate futuregiven the potential sales volumein the region and the supplemen-tary cost required for TFS.

It can be expected that mostmajor consumer electronics man-ufacturers will launch DVB-T2receivers in early 2010 to meet theUK’s DVB-T2 receiver require-ments. Next summer’s FIFAWorld Cup is expected to serve asa key driver in the uptake of HDservices and manufacturers will

make iDTVs available with DVB-T2 capabilities. However, the mar-ket for DVB-T2 set-top boxesshould also be significant giventhe existing penetration of HD-ready displays in homes.

Launching servicesAt this stage, the UK and Finlandhave announced plans to launchHDTV services on the terrestrialtelevision platform using theDVB-T2 specification. DVB-T2trials are currently underway inthe UK and Italy while a trial isplanned to begin at the end of theyear in Germany.

In the UK, communicationsregulator OFCOM has allocatedcapacity in one multiplex for theprovision of four free-to-air HD

services using the DVB-T2 speci-fication in combination withMPEG-4 AVC. These servicesare set to launch in December2009 from the Winter Hill trans-mitter site serving the cities ofManchester and Liverpool .However, it is expected that byJune 2010, DVB-T2 coverage willbe augmented by addit ionaltransmitter sites to reach up tohalf of the population.

In Finland, the telecom opera-tor DNA Oy has been allocated alicense to operate two DVB-T2multiplexes offering mostly payHD services. The launch of serv-ices is expected to take place in2010 with coverage of 60% of the

population to be reached by theend of 2011.

Markets having completedanalogue switch-off are in a strongposition to launch a DVB-T2 plat-form. Frequencies are likely to beavailable to launch new servicesand viewers should be sufficientlyconfident with existing DVB-Tservices to be receptive to newservice launches on the DTT plat-form. In contrast, markets in theprocess of digital switchover areunlikely to have sufficient frequen-cies avai lable for a DVB-T2launch while markets that havenot yet launched DTT serviceswill have difficulty completing dig-ital switchover using DVB-T2 bythe European Commission’s rec-ommended 2012 deadline. It will

take a certain amount of timebefore the cost of receivers hassufficiently decreased to justifymass penetration and, in the caseof DVB-T2 receivers, this will nothave occurred prior to 2012.

While the technical character-istics of DVB-T2 bring unques-tionable benefits, the commerciallaunch of services will require awell-conceived business strategythat takes account of the needs ofall parts of the broadcast industry.For a successful deployment, serv-ice operators will need to considerthe potential size of the market,the service requirements of thedifferent market segments, and theabi l i ty to generate revenue,whether from free-to-air or payservices. Pay operators may wantto exploit the increased capacityavailable with DVB-T2 to increasetheir competitiveness vis-a-visother television platforms whilenew services on the free-to-airplatform may be necessary toretain existing advertising revenue.

Spectrum capacityThe DVB-T2 specification cur-rently promises the most efficientuse of spectrum capacity on theterrestrial platform. This willenable broadcasters to launchspectrum intensive services, suchas HDTV and potentially 3DTV,which will be important to main-tain the competitiveness of theterrestrial platform. It is likely thatsuch services will be accessed fromthe primary te levis ion set inhouseholds while secondary tele-vision sets will continue to relyupon the services available on theDVB-T platform.

In many cases, therefore, theDVB-T2 platform will likely offercomplementary services to theexisting DVB-T platform. Andgiven the cost and effort alreadyexpended in converting house-holds from analogue to digital, itwill take a significant amount oftime before the broadcast industryis ready to undertake the task ofreplacing DVB-T with DVB-T2.Natalie Mouyal is responsible forresearch and analysing thedevelopments of DTT platforms inEurope. She provides informationto both members and non-membersthrough the DigiTAG website,workshops, presentations and themonthly DigiTAG web letter onkey DTT issues.

T2 ready for launchAs DVB-T2 begins roll-out across Europe DigiTAGcommunications officer Natalie Mouyal offers atimely summary of advances so far and how theproject can meet future business plans

Natalie Mouyal: ‘The commercial launch of DVB-T2 services will require a well-conceived business strategy’

IBC09 D3 p52 24/8/09 19:22

The video industry has been in anexciting period of transition overthe past several years with theadoption of a number of newtechnologies and introduction ofnew services. One of the big buzz-words that has re-emerged is con-vergence. Video delivery to the TV,PC and mobile devices. Any con-tent, anytime, anywhere.

We know that this is the servicedelivery model of the future, butwhat does it take to actually pro-vide the right solutions – systemsthat enable operators to truly offera converged multi-screen and reli-able experience to their subscribers?Flexibility is one key. Experience isanother. The user experience mustbe simple, seamless and flawless.

The iPhone and other con-nected media players are changingthe game for mobile video. Opera-

tors need to support a multitude ofviewing options, and consequentlysolution providers need to make iteasy to dynamically and flexiblyaddress these requirements.

For more than twenty yearsHarmonic has been a technologyinnovator and pioneer in digitalvideo, and this focus continues.We have been hard at work devel-oping technologies for both linearbroadcast TV and the new con-verged video service deliverymodel, and have recently intro-duced a number of new solutions.

These include a comprehensivesoftware suite for both time-shifted and place-shifted videodelivery, which allows service

providers to bring game-changingfeatures to their offerings and gainincremental revenue streams.MediaPrism al lows serviceproviders to serve the growingdesire for ultra-high quality videoto the TV, PC and mobile devices.

At IBC2009, we are introduc-ing enhancements to the contentpreparation software, video serversand transcoding components ofMediaPrism, including support foriPhone video formats. We are alsoin trials with major operators fornew video to the mobile services.

At the same time, Harmonic’sfocus on linear and on-demand TVremains strong. We recently intro-duced a new universal broadcastencoder – the Electra 8000 – with20 percent bandwidth efficiencyimprovements, and the ability toserve multiple delivery formats.

This platform is becomingmore and more sophisticated inthe number of functions it cansupport, giving service providersunparalleled flexibility. Operatorsnow can invest in a single solutionthat can perform all the functionsthat previously required severaldifferent discrete system elements– providing significant CAPEXand OPEX savings.

Harmonic bel ieves in thisapproach of increasing the func-tionality of key products and haveapplied this strategy to other solu-tions as well. In the internet space,our Rhozet Carbon Coder univer-sal transcoder, is the engine thatpowers leading names such asAmazon.com, Ascent Media, theBBC and Yahoo! Recently is hasworked with You Tube, Arbitron,Vobile and Audio Magic to imple-ment fingerprinting and water-marking technologies that canhelp content owners protect andmonetise their assets deliveredover the internet and ensure adrevenues are driven from fullylegitimate content.

The future of video will beone in which consumers can eas-ily access both time- and place-shifted content on any device. Weare focused on prov id ingenabling technologies that makeit possible for service providers tooffer these services, withoutadding complexity to the net-work architecture.1.C61

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Harry Kanters, director marketing and sales, AxonDigital Design

Has IBC come at a good timefor the electronic mediaindustry? Why?The broadcast supplying indus-try has always been an innova-tive source and eager to show thenew developments. Everyoneworks towards introductions atthe major shows. Innovation iscurrently in the area of 3Gbps,where suppliers should show atIBC that they have all the com-ponents available. Another inno-vation is towards 3D, partly as afurther development from3Gbps. Clients are increasingly

looking to implement either ofthese innovations and IBC istimed well to provide them theanswers.

What do you think are the keydevelopments in, or threats to,your market sector at thecurrent time?

The current economic environ-ment has proved a threat that noone had envisioned. But it alsohas provided opportunities forsome players, who now havebeen able to embrace the newtechnological developments.

Why should delegates visit yourstand at IBC?Axon is introducing the fastestmultiviewer available: SynView isideal for live production environ-ment with a delay of only 1 fieldfor any number of inputs.Another world introduction isan ultra-density fibre system,which allows 144 fibre channelsin 4RU. Further, Axon is show-ing its huge Synapse feature setnow ready in 3Gbps, includingthe above!10.A.21

Exhibitor Q&A

Delivering ‘any-to-any’ video promiseWhat does it take to truly deliver convergenceasks Tom Lattie, director of broadcast and newmedia solutions, Harmonic Inc

Exhibitor Opinion

Tom Lattie: ‘We believe in increasing thefunctionality of key products’

by Adrian PenningtonEcholab is showing Conductor, itscontrol integration system thatautomates complex tasks and pro-gramme elements.

In pre-production mode, Con-ductor allows the operator to con-figure the switcher, create complexsequences, and assign functions

such as M/E presets to soft but-tons. In on-air mode, it becomesan extension of the control panel -a touchscreen interface that canexecute sequences, recall M/E pre-sets, and control third-partydevices. In some applications,Conductor may be used to replacea dedicated still store.

The US developer also has aRemote AUX panel which usesTCP/IP to communicate with anEcholab switcher and modify thesources assigned to a particularauxiliary output. The RemoteAUX allows simple cuts fromsource to source from any locationwith an Ethernet connection backto the switcher and can be used tocontrol sources that are routed tolarge video screens or projectors.10.D30

Echolab gets a Conductor

Next stop please: the Conductor’stouchscreen interface

IBC09 D3 p54,55 25/8/09 10:33

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by Carolyn GiardinaAJA Video Systems is showing itsnew software for its Kona line ofvideo playback and capture cards:Kona Lse, Lhe, Lhi and Kona 3.

The Kona family is AJA’s 10-bit uncompressed capture andplayback cards for video andaudio input and output on theMac platform. The version 6.5software provides support for thenew Final Cut Studio and FinalCut Pro 7 as well as Apple’s newProRes 422 (LT), ProRes 422(Proxy), and ProRes 4444 formats.

“We are incredibly pleased tobe able to offer this new softwareupgrade to Kona users,” said NickRashby, president of AJA Video.

“AJA’s collaborative partnershipwith Apple has allowed the com-pany to keep up with customerdemands for support for thenewest creative tools and digitalfile formats.”

Kona 6.5 software additionallyincludes: closed captioning sup-port for Final Cut Pro 7, Mac-Caption, VTR Xchange and AJATV via QuickTime closed caption-ing tracks; and full VANC datacapture and playback support ona per-frame basis for all AppleProRes formats.

With version 6.5, Kona 3 alsosupports a 10-bit RGB/dual-linkcapture and playback path usingApple ProRes 4444. New for the

Kona Lhi is display of timecode inthe control panel, HDMI/DVIdetection of colourspace/protocol,a downstream keyer, analogueaudio output monitoring selec-tion, HDMI audio input channelselection, HDMI input/outputauto-detection, and eight-channelHDMI audio output.

Kona 3, Lhi and Lhe gain sup-port for Avid DnxHD and AVC-Intra QuickTime file playbackand video output. Kona 3 addi-tionally supports Cineform 3DQuickTime.

Version 6.5 software is avail-able for download free of chargeto current Kona users.7.F11

AJA Kona supports Final Cutby David FoxGlidecam Industries has intro-duced a range of stabilisers forhandheld camera use that i sclaimed to offer ‘advanced fea-tures and a degree of sophistica-tion never before seen in a line ofhandheld camera stabilisers’.

The new, tota l ly re -engi -neered, Glidecam HD-series willallow your camcorder “to float,always balanced, isolated fromyour hand’s undesirable motions.Now you are free to move withyour camera – panning, tilting,booming or running without anycamera instability or shake,” thecompany claims.

There are three models: theGlidecam HD-1000, HD-2000and HD-4000. Each has an off-set, foam-cushioned, handle gripattached to a free-floating, three-axis g imbal . Unusual ly, thisallows the user’s hand to move upand down, as well as side-to-side,isolating unwanted motions fromthe camera.

Other features include fineadjustment camera balance plat-form; integrated quick-releasecamera plate; no-tools telescop-ing centra l post ; adjustabledynamic balance and inertialcontrol base platform.11.G45

35mm HD on a budget: the HD-2000 issuited to a Canon 5D markII HD DSLR

Shake out for Glidecam

by David FoxVinten Radamec has introduced anew control system for robotics inconference centres, parliamentsand other legislative buildings.The Legislative Control System isa multiuser, multi-facility cameracontrol system designed to sup-port complex operations withrequirements from manual to fullyautomated operation.

It boasts a ‘uniquely powerfuluser interface’ that allows manual

operation through a touchscreento target cameras as well as selectshots. A joystick can also be addedfor precision control. The com-plete system configuration as wellas the user interface can be cus-tomised to suit the needs of eachjob, and the whole system is mod-ular allowing it to be continuouslyscalable as the application grows.

“Our products are alreadywidely used in assemblies and leg-islatures in the UK, Netherlands,

Belgium, Scandinavia and manymore,” said Karen Walker, prod-uct manager for robotics at VintenRadamec.

“The aim is always to provide aflexible and scalable system, whichusers can tailor to their own spe-cific requirements. So the newLCS control system is equallysuited to a few cameras in a con-ference centre as it is for a multi-chamber parliamentary building.”9.D28c

Vinten Radamec courts new markets

IBC09 D3 p54,55 25/8/09 10:31

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Some parts of the home entertain-ment industry seem to be counter-cyclic. As people work less andspend more time at home theydefer major investments in newcars or expensive holidays, theyhave a little disposable income leftand a lot of time to spend it. Thissounds great and has been a com-mon view within our industry.

The latest figures show other-wise for many at IBC and it looksas though now the recession andchanging purchase patterns havehit our sector. Economic down-

turns generate two very differentreactions within companies. Spon-taneously, they will streamlinetheir business in a back-to-basicsand risk-reduction approach, allthe while realising that they mustalso innovate to survive.

Although this seems incom-patible, we should all be lookingfor ideas to do both at IBC thisyear. For many stakeholders atIBC, back-to-basics means sim-pler and more robust ways todeliver content.

However carefully you planmedia delivery all the way to con-nected homes, subscribers willalways find some new way of con-

suming media-based services thathasn’t been anticipated. When wedon’t move fast enough, usersdevelop their own access over-the-top (OTT).

As we don’t know in advancewhat will be required, media hasto be repurposed specifically for

different devices on-the-fly. This iswhat we have embraced atEchoStar through the integrationof SlingLoaded functionality.

We must also bring the powerand reach of the internet to theliving room and combine this withthe simplicity of the TV. An Eth-ernet enabled STB/DVR opens theliving room to OTT services origi-nally designed for the internet likeYouTube and iPlayer.

At one t ime the industryassumed that digital TV operatorswould reject OTT, now they areembracing it as being complemen-tary to their existing and tradi-tional methods and offering adifferent way of reaching an audi-ence, or to be more specific, reach-ing the same audience, with thesame content at a different time.Operators are adjusting to theircustomers’ habits.

A DVR with these featuresassumes the role of a home hubenabling the free flow of media todevices, which can seamlessly be

elsewhere in the home or on theother side of the world. For oper-ators to answer users’ unpre-dictable needs, they must enabletruly ubiquitous media.

Devices communicate betweenthemselves in simpler and betterways all the time. Digital LivingNetwork Alliance (DLNA) willnot be the end of the road, but isalready a major step in the rightdirection. However there willalways be times when users needto access media that is storedlocally on a device. Portable mediaplayer makers like the Frenchcompany Archos are at the fore-front of this.

So technologies enabl ingmedia to freely move around thehome are amongst those to watchout for this year. The internet mayhave brought a sense that whilst alot of content and service is forfree, it is also unreliable and ofvariable quality. People will pay toget the best of all worlds.4.B54

Introducing content ubiquityThe business opportunity lies in embracing andmonetising the extra ease of use that trulyubiquitous content delivers believes Rick Smith,VP sales and marketing, EchoStar Europe

Exhibitor Opinion

Rick Smith: ‘At first the industryassumed digital TV operators wouldreject OTT, now they are embracing it’

by David FoxThe new BRIC Reliable UDPTransmission Enhancement(Brute) has been introduced atIBC for Comrex’s Access-IP inter-net audio codec family.

The upgrade also includessupport for more 3G dongles and

WiFi interfaces (including N-WiFi) the addition of FLAC loss-less audio coding, G.722, SIP andother algorithms to ensure com-pat ib i l i ty, p lus web browserimprovements and otherenhancements.

Comrex introduced BRIC in

2005 to provide reliable audiotransmission over the public inter-net. However, IP networks such asWi-Fi, Satellite and 3G/UMTSare becoming congested, whichcan cause streaming applicationssuch as IP audio transmission tosuffer. This is why it added a relia-

bility layer and intelligent conges-tion avoidance to BRIC. It claimsthat Brute “delivers the best possi-ble user experience over modernnetworks, especially those plaguedby over-utilisation and marginalcoverage”.

The Access 2.7 update withBrute is available free to existingAccess customers.11.G11

Clearing congestion: theComrex AccessPortable IP Codec has beenupgraded to put audio in the clear

Comrex Brute beats IP reliability issues

IBC09 D3 p56.57 25/8/09 16:20

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by David FoxSlovak television station TV Markiza hasmoved to Panasonic’s P2 HD format for itsforeign news reporting team and its internetdivision. It has initially bought four AG-HPX171E P2 HD camcorders and E-seriesP2 memory cards. This follows a successfultrial of the equipment during castings forthe popular show Czech & Slovak Super-star, which will be broadcast in both Slova-kia and the Czech Republic this month.

“Changing to P2 technology is a long-term strategic move toward a new formatand our first practical experience has shownthat it was the right choice, reflecting ourrequirements as they are now and alsomeeting the conditions necessary for switch-ing over to HD-quality broadcasting. Sincewe cooperate closely with other TV stationsin the CME group it is likely that our refer-ence will send a positive signal also to other

members,” said Vladimir Spacek, TVMarkiza’s director of technology.

The channel, which has the country’sbiggest market share, was looking for a for-mat that would ensure quicker and moreflexible workflow, and to increase videoquality and ease of handling. It also likedthe camcorder’s wide-angle lens for shoot-ing in confined areas; its ergonomic featuresand low weight; its integrated HD-SDI out-put and its design and warranty conditions.

“TV Markiza’s strategic decision toadopt the P2 format is an important valida-tion for Panasonic. We believe that thequality and reliability of the P2 format willbecome a deciding factor in the adoption ofP2 by other TV stations in the CME groupin the future,” added Branislav Simkanin,country manager Panasonic PBITS for theCzech and Slovak Republics.9.D18

Hawk-Woods’ Hot-Bloc, which adds three additional hot-shoe mounts to a camera’s standard hot shoe, isnow available with power input and output options, writes David Fox. The new HB-B1 Hot-Bloc is compatiblewith Sony NP-F type batteries and the new HB-C1 with Sony BPU type batteries. The batteries clip to therear of the adaptors and both Hot-Blocs feature Hirose and D-Tap power output sockets, so that users canmount and power multiple equipment on a single camera hot-shoe. A DC input also allows equipmentattached to these adaptors to be run from an alternative power source. 11.A76

TV Markiza picks P2 format

by Ian McMurrayThere was a time when a TV programmecould unite an entire nation. With a limitednumber of channels, and no chance of see-ing a programme again, a whole countrywould tune in. In 1966, for example, an all-time UK record was set when 32.3m view-ers tuned in to watch the final of the WorldCup – surprising, given that at the time only15m households had TVs. In the 1980s,more than 30m tuned in to watch anepisode of the soap East Enders. In thesedays of PVRs, VoD, web-TV, timeshift TVand so on, it seems unlikely we will ever seesuch figures again.

Now, we want to be freed of the con-straints of time and location – to watchwhat we want, when we want, where wewant – and it ’s that aspiration that’saddressed by Anevia.

Anevia is presenting a full range of liveTV and VoD solutions at IBC with a num-ber of demonstrations.

Start Over on Mobile is a feature thatenables consumers to view live broadcast

programmes from the beginning after theprogramme has already begun, without los-ing any content.

Subscribers are liberated from the con-straints of programme schedules, saysAnevia, and, using their mobile phone, canwatch their favourite programmes wheneverthey wish, wherever they are, without miss-ing any of the action. This is complementedby Pause & Call on Mobile, a feature forlive mobile TV services that automaticallypauses viewing when a call arrives, asks ifthe subscriber wishes to take the call andresumes the programme, with no loss ofcontent, when the call is finished.

3Screens allows operators to deliver thesame content, regardless of origin, tomobile phones, PC or TV complete withtime-shifting viewing features. Anevia’sdemonstrations are using Videotree’s water-proof IP-enabled screens with an Aminoset-top box and Anevia access technologiespre-integrated inside the screen for simpli-fied installation and use.4.C56

Anevia: anytime, anyplace, anywhere

IBC09 D3 p56.57 25/8/09 10:52

Monday Sept 14,11.00-12.30 by Fergal RingroseThe Digital TV Group (DTG) isthe industry association for digitalTV in the UK and has beeninstrumental in the developmentof the detailed specification for aDVB-T2 platform (D-Book 6) andthe establishment of a robust andrigorous test and conformanceregime for DVB-T2 receivers.

The introduction of DVB-T2-MPEG-4 services offers the latestmodulation and coding tech-niques to ensure highly efficientdelivery of audio, video and datacontent. The 30-50% efficiencyimprovements that become avail-able on adoption of DVB-T2 pro-vide the capacity for HD andother advanced services to bedelivered via DTT. This improve-ment comes on top of the 50%capacity saving that comes fromthe adoption of MPEG-4 in placeof MPEG-2.

The DTG was founded by theindustry over a decade ago to pro-tect consumers and safeguard thereputation of digital television dis-tribution platforms and receivermanufacturers. Initially the Groupachieved this by writing and main-taining the interoperability speci-fication for UK digital terrestrialtelevision (the ‘D-Book’), andlater by developing and imple-menting test specifications andregimes to measure conformanceagainst brand requirementsthrough our test house: DTGTesting. Today, DTG confor-mance regimes underpin the Digi-tal Tick, Freeview, Freesat, andFreeview New Zealand logos.

D-Book step changeIn March this year the DTG pub-lished the 6th edition of the D-

Book. This new edition includedthe technical specification for highdefinition services via DTT (Free-view HD) enabling manufacturersto design and make productscapable of receiving DVB-T2 sig-nals in the home.

D-Book 6 is the product of over5000 man hours of effort from theDTG’s Working Groups comprisedof leading industry experts fromthe DTG’s staff and membershipof over 125 broadcasters, receivermanufacturers, middlewareproviders and other organisationswho continually update and peer-review the specification.

D-Book 6 will also mark a stepchange in the compliance ofreceivers to the specification. DTGTesting can utilise eight years oftest suite development to ensurethat Freeview HD receiversachieve levels of compliance previ-ously associated with vertical mar-kets or lower-volume platforms.

DVB-T2 trials are currentlyunderway in the UK and Italy. Inthe UK industry regulator Ofcomhas allocated Multiplex B in theUHF frequency band for the pro-vision of HD services using thenew DVB-T2 modulation stan-

dard and the video compressionstandard: MPEG-4 AVC. TheBBC and ITV together with UTV,STV and Channel TV, Channel 4and S4C, and Five have all beenawarded channel slots on the Free-view HD service.

Broadcasting landmarkThe UK will be the first countryin the world to deploy DVB-T2when a region by region launch ofthe Freeview HD service begins on2 December 2009. On this date theWinter Hill transmitter, servingthe cities of Manchester and Liv-erpool will be the first region tostart transmitting DVB-T2 sig-nals, enabling residents to haveaccess to an initial three HD chan-nels on Freeview for the first time.

This landmark in UK broad-casting is the culmination of manyyears of industry research anddevelopment and this conferencesession will outline the potentialfor the development of HDTV on

DTT in Europe, drawing on theexperience gained during thedeployment of DVB-T2 servicesin the UK. The session will informdelegates, of the benefits and chal-lenges of implementing DVB-T2

in Europe from business, technicaland viewer perspectives.

Over 10.2 million homes in theUK currently have Freeview ontheir main TV set. However, theservice faces stiff competition frompay TV DTT, cable and satelliteservices. Richard Lindsay Davies,director-general of the DTG willoutline how DVB-T2 enables DTTto meet the challenge of an increas-ingly competitive marketplace.

An overview of the DVB-T2receiver and the implications forreceiver manufacturers will beprovided by Nigel Prankard fromPanasonic. Prankard will focus onthe drivers for development of thetechnology, communicating thetechnology to the consumer andkey issues and concerns.

Graham Plumb, head of distri-bution technology, BBC, willfocus on the technical challenge ofimplementing DVB-T2 and theservice proposition. As the UK iscurrently in the midst of digitalswitchover, queries have beenraised concerning how the launchof Freeview HD services willoperate during a separate nation-wide switch to digital television.Tony Mattera, DSO networkdesign director at Arqiva will dis-cuss the challenges of implement-ing DVB-T2 in tandem withDigital Switchover.

The launch of Freeview HDservices will correspond with theswitchover timetable. As a regionswitches off its analogue signal, HDservices will be prepared for launch.

The deployment of DVB-T2will require consumers to pur-chase Freeview HD set-top boxesor recorders or integrated Free-view HD TVs in addition to theirHD Ready TVs A panel discus-sion at the end of the conferencesession will allow the audience toask questions regarding the devel-opment of new receiver equip-ment and its functionality as wellas touching on the Freeview HDconsumer proposition.

By the time of the World Cupin June 2010 free-to-air HD DVB-T2 services will be available to 40-50% of the UK population withcoverage rising to 60% later thatyear and to 98.5% whenswitchover is completed in 2012.Following the UK’s lead, othercountries in Europe are known tobe researching the possibility ofthe integration of the DVB-T2model into their own televisioninfrastructures.

Consumer electronics manu-facturers, along with DigitalEurope are working together todevelop a DVB-T2 version of theE-Book. NorDig, which specifiesthe common platforms for digitaltelevision to be used in the Nordicregion has specified the minimumrequirements for receivers that canaccess NorDig compliant signalsbased on the DVB-T2 specifica-tion. The DTG’s session aims toinform such countries and otherEuropean territories of the UK’sexperience and provide advice onhow the model can be replicatedelsewhere.

Eyeon releases SDK/LEEyeon Software has released the Fusion6.0 Software Developer’s Kit, as well asa new Learning Edition. The SDK foreyeon’s Fusion compositing applicationassists users with pipeline integrations,new plug-in designs or other extensions.Eyeon founder and CEO, Steve Roberts,said that with the new 3D and GPUshader capabilities in Fusion 6 “multipleaspects of the 3D system will beavailable for developers. This includesthe stereo 3D functionality – an areawhere so many facilities are starting towork. We’ve had numerous requests foran open-architecture 3D SDK for Fusion6, and we expect a strong response anda lot of development from the plug-incommunity,” Roberts added.Advancements in GPU shadertechnology from the game developerarena are now available for high-endfeature film work through the Fusion 63D SDK. “$500 GPUs with 480 corescan now be exploited to the extremewith the new architecture,” said Roberts.“This will certainly allow artists andfacilities to get their money’s worth outof the new hardware.” Fusion 6.0 wasdesigned to offer visual effects artistsimproved performance, full stereoscopic3D support, Region Of Interest/Domainof Definition, interface refinements,expanded 2D and 3D toolsets, and userinterface enhancements.7.C21

Adtec gets to the hubAdtec Digital is showcasing its newmediaHUB-HD 422 High Definitionencoder. The company says that themediaHUB-HD 422 supports the mostdemanding MPEG-2 and MPEG-4 AVCcontribution, distribution and studioencoding applications, with the abilityto encode any combination of HD andSD, MPEG-2 and MPEG-4 AVC with4:2:0 and 4:2:2 colour space.1.D01

Coship/Qingyuan team Coship Electronics, China’s largest STBprovider and one of the leading globalSTB providers, has signed a formalcontract with Qingyuan Cable Networks.Coship Electronics will provide its E2ETotal Solution and services to the cityand promote the TV culture andinformation industry development inQingyuan with a long-term partnership.3.C35

theibcdaily


In Brief Planning and developing DVB-T2For anyone interested in how the new digital terrestrial television standardwill impact the business the DTG’s conference session tomorrow is amust. The session is billed ‘Multichannel HDTV without a dish – planningand developing DVB-T2 on DTT for European viewers’

Conference Tomorrow

DTB director-general Richard Lindsay Davies

Graham Plumb, head of distribution technology, BBC

IBC09 D3 p58,59 25/8/09 10:56

theibcdaily


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by Ian McMurrayMiteq is introducing a new rangeof medium power X-band rack-mount solid state power amplifier(SSPA) and transmitter systems.

The PA-R model series is anSSPA rack-mounted systemdesigned using a modularapproach to provide flexible solu-tions to meet a variety of applica-tions, says the company, allowingfor simple redundant configura-tions, as well as higher-powerphase combined configurations.

These SSPA systems providefor over-temperature, over-currentand high output VSWR safetyprotection. Status and control isachieved via the remoteRS422/485 bus or Ethernet inter-face port. An event log is continu-ously updated with time-stampedrecords of significant events.

Miteq offers solid-state poweramplifiers in C- and Ku-bands, aswell as antenna-mounted outdoorconfigurations.1.A18

by Ian McMurrayCentre stage on the Nucomm standis the company’s second generationlightweight CamPac 2 HD/SDCOFDM microwave transmitter.

Intended for wireless cameraapplications such as sports cover-age and ENG, the CamPac2 isdesigned to be rugged, reliable andhave the exceptional thermal char-acteristics necessary for operationin the harshest of conditions. Thesecond generation unit responds tothe specif ic requirements ofR&TTE and RoHS, and incorpo-rates features such as direct IQmodulation and enhanced opera-tor menus.

Available in popular bandsbetween 2GHz and 7.5GHz, theCamPac 2 can be mounted to pro-fessional cameras via Anton/Bauerbatteries or integrated adapter

plates for Sony ‘V lock’ batterytypes. It is equipped with a vari-able bandwidth COFDM modula-tor and a high-quality MPEG-2encoder that can be configured foreither HD or SD, both of whichdeliver ultra-low latency.

While its encoder can beupgraded to MPEG4/H.264, itsvariable bandwidth modulator(between 5 MHz and 16 MHz)allows high data rates in the 20Mbsto 30Mbs region using robustQPSK or 16QAM formats. Toensure compatibility with anyDVB-T standard system, its 6/7/8MHz bandwidth modes are DVB-Tcompliant. In addition, the Cam-Pac 2 accepts various video formatsfrom SDI and HD-SDI, both com-ponent and composite, to DVB-ASI for repeating applications.1.B31

by Ken KerschbaumerNorcom Information TechnologyAG has NCPower Compact ondisplay at IBC.

The end-to-end media assetmanagement system is designedfor TV, special-interest and inter-net broadcasters as well as corpo-rate TV and post productioncompanies.

The system provides all func-tions from ingest to playout in asingle appliance. Pre-installedand fully equipped with hard-ware and software, the systemcan be put into operation withminimum effort, according tothe company.

The system is based on IBMBladeCenter technology, currently

the world’s most modern comput-ing system.

As a result, NCPower Compactis highly available, scalable and low-maintenance. The user interfacealso conveniently integrates all nec-essary information and tools, allow-ing you to concentrate on whatreally counts in media production.3.C50

The CamPac 2is intended forwireless cameraapplicationssuch as sports

The PA-R range isdesigned to be flexible

PA-R score from Miteq

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NCPower Compact manages end-to-end

IBC09 D3 p58,59 25/8/09 11:00

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by Ken KerschbaumerFOR-A is showing its cost-effec-tive 3Gbps upgradable UFM-30series modular frame systemtoday. The line-up features a vari-ety of options and choices tomeet nearly every 3Gbps trans-port need.

For example, the UFM-30UDC up/down/cross-converterfeatures an up/down/cross con-verter equipped with 3G/HD/SD-SDI input/output and ananalogue composite input andanalogue composite output formonitoring purposes. It supports

3G levels A and B and up to eightchannels of embedded audioinput/output and features a built-in frame synchroniser and aspectrat io converter. The UFM-30UDC provides on-screen dis-play (OSD) on preview output.

Meanwhile the UFM-30DDAvideo distribution amplifier allowsfor a single input to be distributedup to eleven ways through the useof the UFM-3DDAEX. It sup-ports data rates of SDI 270Mbps,1.5Gbps and 3Gbps and reclocksand equalises 3G/HD/SD-SDIsignals reducing noise and inter-

ference. The UFM-30DDA sup-ports a DVB-ASI bit-rate of270Mbps.

Also look for the UFM-30FSwith automatic changeoverswitching that can work in tradi-tional frame sync or line syncmode for minimum delay. TheUFM-30FSR, available withbypass relay, will also be shown.

And lastly the UFM-30DCCdigital colour corrector offers bal-anced mode and is ideal for RGBsignals. It also features a differen-tial mode for colour correctionwithout affecting white balancesettings, and sepia mode for work-ing with colour in monotone.2.A51/B59

by David DaviesWohler Technologies – which isco-exhibiting at IBC with HHB –is showcasing a range of productsoffering ‘flexible, state-of-the-artprocessing and monitoring in con-venient and compact designs’.

Featuring dual se lectableSD/HD/3G inputs, the AMP1-E16-3G is Wohler’s first 1RU 16-channel 3G audio/video monitorthat is Dolby E-capable andDolby Digital Plus-ready. Thestraightforward control interface

and overall look and feel of theunit mirrors that of Wohler’s newAMP2-16-3G 16 channel audiomonitor.

Like the AMP2-16-3G, the newAMP1-E16-3G provides monitor-ing for up to 16 channels of

embedded audio within a singlemultirate SDI signal, making it an‘ideal solution’ for multichanneland surround applications. Two ofthe three OLED screens can mon-itor 16 channels of audio simulta-neously with flexible options forhigh-resolution 180-segment audiometering, while the third OLEDscreen can display video or data.

The screens also support thesystems’ interface for set-up andconfiguration. Integrated loudnessmeasurement and dialnorm dataare displayed to alert the operatorif signals fall out of compliancewith ITU-1770/1771 standards.

Wohler is also showcasing theAMP2-16-3G 16 channel 3G audiomonitor, which provides simultane-

ous display for up to 16 channels ofembedded audio within a singlemulti-rate 3G signal. Equippedwith five card slots, users can ‘pickand mix’ their inputs and adapt theunit as their needs evolve. Thissame functionality also enablesusers of Wohler’s AMP2-16M sys-tem, available with AES and DolbyE options, to upgrade their systems

Other new products being exhib-ited by Wohler include the RMTrange of single-screen SD/HD LCDmonitors; three new models in theRM LCD video monitoring series;and the HDCC-200A HD/SD-SDIdual-channel, closed-captionencoder/decoder bridge with EIA-608/EIA-708 support.8.E54

The AMP1-E16-3G is Wohler’s first 1RU 16-channel 3G, Dolby E-capable, Dolby Digital Plus-ready audio/video monitor

Wohler in A/V monitor launch

FOR-A expands 3Gbps range

by Ken KerschbaumerIBM’s stand features overviews ofways the company is helping cus-tomers analyse everything frombusiness efficiencies to cross-plat-form advertising.

IBM says that IBM businessintelligence and analytics solu-tions are designed to integrate alldata providers and in-housesources to reveal t imely andactionable business insights. Thecompany also promises it will help

customers reveal advertising val-ues and performance with a 360degree view of the business andgain a strategic view that quanti-fies the value of multiple platform.

At the operational level thatmeans creating a robust view ofcross-platform advertising cam-paign management and inventorymanagement, along with salesforce performance, to integrate theentire advertising process.2.A31

IBM feeling analytical aboutthe business of broadcast

IBC09 D3 p60,61 25/8/09 11:04

by Caroyn GiardinaThe Pixel Farm is showing itsworkflow enhancement softwarePFPipe at its IBC stand.

The technology was designedto improve workflow efficiency byintegrating PFTrack and the datait generates into third-party appli-cations. More specifically, PFPipeis a C API for reading PFTrackprojects and obtaining the datacontained therein, allowing usersto establ ish integration ofPFTrack data into third-partyapplicat ions and in-housepipelines. The first release ofPFPipe is developed to provideaccess to PFTrack’s camera dataand distortion models, as well asprovide project links to footageand clips used in the project file.

To provide a working exampleof how PFPipe could provide use-ful tools, developers at The PixelFarm have ported PFBarrel ,PFCameraImport and PFData-Combiner to a plug-in set forshake 4.1. The API includes sam-ple C code for applications and aPFTrack project to enable devel-opers and TD’s to develop toolsbased on this new technology.

“As with all of our productsour aim is to create tools thatmake production easier and morecost-effective. PFPipe was devel-oped after spending time with ourcustomers, seeing their workflowsand thus creating a tool that theyneeded,” explained Michael Lan-caster, product director, The PixelFarm.

In related news, London-head-quartered Double Negative haspurchased an addit ional 10licenses of PFTrack for use in itsnew facility in Singapore.

Explained DNeg matchmove

supervisor, Sam Schwier:“PFTrack is widely used in theLondon office and we have foundthe latest version (v5) to be a hugeimprovement for problem solvingshots we undertake.

“The interface improvementsin this version allow us to see thestatus of a track much moreclearly, and it is now also mucheasier to feature track.”6.C18

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Media companies know they haveto change their existing businessmodels to meet the demands of anever changing digital marketplace.In the current economic climate,they need to show a rapid returnon any new investment. As a sys-tems integrator recognised for itstechnical versatility, ATG Broad-cast is fully aware that commercialsuccess depends on determiningwhich combinations of technol-ogy will deliver the greatest bene-f i ts to each cl ient’s specif icrequirements. The digital revolu-tion is of course still in progress sofurther change will be inevitable.How do you choose which is theright technology for today whileensuring that your investment isfuture proof?

Broadcast technology is con-tinuously sprouting new offshootslike the branches of a tree. Eachoffshoot has the potential todevelop strongly and divide intofurther subsets. So what buddingoffshoots do we see at themoment? File-based acquisitionincluding some fantastically low-cost capture devices, miniaturerobotic cameras, multicolour LEDstudio lighting, solid-state-storage,ultra-high-capacity disk servers,3D-HD, pseudo-3D, IP-based sys-tem control, LED-illuminatedmonitor screens, IP-TV delivery,mobile television viewing, and soit goes on.

Part of our activity at ATG isto evaluate opportunities andchallenges made possible by eachnew technical development, notjust in its own right but in the waythat it interacts with existing solu-tions. A well-defined implementa-t ion plan and successful lyexecuted project is the key to thisbusiness transformation.

A major trade exhibition andconference like IBC providesmany opportunities to explore thelatest broadcast-specific hardwareand software and to evaluate theirprospects both in isolation and inthe context of existing markets.

When I first began attendingIBC back in the mid 1980, it pro-vided a useful way to rechargeone’s filing cabinets with the latestproduct catalogues and spec-sheets. The internet has largelyblown that away; in today’s wiredworld, an informative and attrac-tively produced PDF on practi-cally every new piece of kit isavailable (or should be) evenbefore the solder has dried on thefirst prototype. What has notchanged is the opportunity offeredby major exhibitions to meet face-to-face with delegates, colleaguesand fellow exhibitors, to exchangeideas, to discuss the engineeringchallenges and to identify practi-cal solutions. Such meetingsenable the mix of new ideas to gelfar more quickly than through the

traditional channels of telephonediscussions and emails.

The downside of trade shows isthe ever-present temptation toinflate the size and complexity ofyour exhibit when trade is good,only to have to cut back if businessbecomes tighter. Our own sector ofthe industry, systems integration,remains healthy because broad-casters in every country recognisethe advantages of outsourcing sys-tems design and installation toexperienced specialists rather thandistracting their own technical stafffrom their normal daily duties.

Today more than ever, broad-casters are looking to the inde-pendent systems integrators suchas ATG Broadcast to provide bestof breed products capable ofdelivering not just a solution fortoday but one which can easily beexpanded to meet future demands.8.B51

The knowledge of secure investmentsATG Broadcast managing director Guy Elliottoffers guidance on how to choose the righttechnology for today while ensuring yourinvestment is sound for tomorrow

Exhibitor Opinion

Guy Elliot: ‘A well-defined implementationplan is key to business transformation’

by David DaviesThe DPA 4017-R Shotgun Micro-phone with Rycote Windshield,created in conjunction withRycote, is making i ts f irsttradeshow appearance.

The new strong suspension andwindshield has been designedspecifically to take the DPA 4017shotgun mic’s compact size andlight weight into consideration. Itconsists of the 4017 shotgun micwith XLR cable and DPA wind-screen; the distinctive Rycote Wind-shield 2, measuring just 330mm; theRycote fur windjammer; Rycotesuspension mount in vibrant red,and Rycote XLR holder.

The DPA 4017-R is said toprovide everything an outsidebroadcaster, journalist or locationfilmmaker could need for clear,directional sound, regardless ofthe weather and environmentalconditions. Moreover, IBC visitorsare being given the opportunity towin one. To enter the draw, partic-ipants need to visit the DPA standand have their badges scanned.The winner will be contacteddirectly after the show.

Other notable features of theDPA stand include a journalistmaking hourly broadcasts from thestand using a range of DPA mics.8.C90

The DPA 4017-R shotgun microphone with Rycote Windshield debuts

DPA shotgun on target

Pixel Farm PFPipe is open

IBC09 D3 p60,61 25/8/09 11:06

theibcdaily


Don Hoeler, VP sales & market-ing, RF Extreme, a Vitec Groupcompany

Has IBC come at a good time forthe electronic media industry?Why? We always look forward toexhibiting at IBC 2009 to show-case our latest products and meetwith both existing and potentialnew customers. Nucomm Inc.,along with sister companies RFCentral and Microwave Service

Company, form the Vitec Group’sRF Extreme business unit. It is aleading global provider of digitaland analogue microwave systems(temporary and fixed) to interna-

tional broadcast, government andmilitary markets.

What do you think are the keydevelopments in, or threats to,your market sector at the currenttime? Our industry has been affected byspectrum auctions and frequencyre-allocation. Globally there iscontinued pressure to reduce chan-nel bandwidths and/or shift tohigher frequency bands, where RFpropagation is poorer. Fortunately,RF Extreme’s resources under theVitec Group have enabled us tospearhead development in all key

disciplines – encoding, modula-tion, RF and antenna design.

The internet has emerged as aviable platform for TV distribu-tion, and interest in using it as amedium for contribution contin-ues to grow. However, the need tobe able to guarantee the availabil-ity of a major broadcast, and con-tribute with minimum latency, hasso far ensured that technologiessuch as licensed microwave linksstill have a major part to play inlive programme contribution.

Why should delegates visit yourstand at IBC?

RF Extreme prides itself onproduct innovation and contin-ual product improvement .Among a host of productupdates and new product devel-opments, this year will be intro-ducing to IBC the award-winningProQ Digital IFB (InterruptibleFeedback) sys tem, whichaddresses the difficult require-ment of providing a low latencyIFB audio path for ENG/OBoperators.

Plus, we always enjoy meet-ing our old friends and hope-fully making some new ones.1.B31

Exhibitor Q&A

by Ken KerschbaumerVisual Research brings more than15 years of professional on-airgraphics development experienceto IBC in the form of Visual C,CG Tools, and more.

VisualCG 3D is a realtimeHD/SD 3D character generatorused to create 2D/3D titling andmotion graphics effects for broad-casters, content creators and TVservice providers. With VisualCG3D, text and shapes can be modi-fied to 3D object with a few simpleoperations, and displayed withover 200 realtime transition effects.

Keyframe object and timeline

animation control providersextensive multi-layer control overthe display of all graphic elements.

CG Tools is a developmenttool for creating custom broadcastgraphic applications such as livesports, stock tickers, live elections,weather forecasts and more.

The company addresses foot-ball broadcasters with V-Soccer, arealtime HD/SD soccer broadcastapplication customised to on-airevery incident of rapidly develop-ing soccer matches. Linking V-Soccer and VisualCG 3D, makesimmediate response possible.3.A39a

by Ian McMurrayWalton De-Ice offers a range ofproducts designed to mitigate thepotentially transmission-stoppingeffects of snow and ice.

The company has a range ofsatellite dish covers such as theSnow Shield, which is manufac-tured from a PTFE-coated Gore-Tex material. The material has avery low coefficient of friction,meaning that most snow and icewill simply slide off. Walton De-Ice also offers a range of heatingsystems that can be used in con-junction with its other products tomaximise their effectiveness.

New for IBC this year is the IceQuake. The Ice Quake works withthe Snow Shield cover by vibrat-ing the Snow Shield cover toremove any water, ice or snow.From a 0.60m to a 2.0m antenna,the Ice Quake requires only 40watts at 24VAC .

From 2.1m to a 2.4m antenna,the equivalent power consumptionis 45 watts. The Ice Quake can beinstalled on some antennas aslarge as 6.3m and these wouldrequire just 300 watts of power tooperate, says the company.

According to Walton De-Ice,the device offers a huge saving for

the end user – and there is virtu-ally no maintenance for this sys-tem. The company goes on toclaim that this is the first true‘green de-icing system’ in theindustry.1.F47

Walton offers a range of products thatcan mitigate the effect of snow and ice

Walton says ‘Let it snow...’Visual Research gets graphic

IBC09 D3 p62,63 25/8/09 11:09

by Ken KerschbaumerRed Bee Media has continued itsglobal expansion with the acquisi-tion of Mundovisión, the largestindependent subtitling and audiodescription company in Spain.Following the acquisition of Titel-bild in Germany in early 2008, the

addition of Mundovisión consoli-dates Red Bee Media’s position asEurope’s largest supplier of subti-tling, signing and audio descrip-tion services to the media industry.Mundovisión, headquartered inSeville, was established in 1996.

With approximately 50 staff thecompany also has small teams inMadrid, Valencia and Las Palmas,and a subsidiary in Tétouan,Morocco. Clients include Disney(Spain), state broadcaster TVE,Canal Sur, Canal Nou, TV

Canarias and national broadcast-ers La Sexta and Antena 3.

Toby Blizard, head of businessdevelopment, Access Services, RedBee Media commented: “This is asignificant step in our expansionand adds further subtitling capa-bility to our product suite. We wel-come the staff from Mundovisiónto Red Bee Media.”

Mundovisión’s José Maria

Zafra said the investment fromRed Bee Media means that thecompany’s subtitling technologycan be further developed.

“We are now moving onto ournext stage of growth by joiningthe Red Bee Media family, givingus access to global broadcastclients and new markets,” Zafraexplained.3.B51

theibcdaily


IBC2009

SupportersIBC thanks our supporters for providing the technology that powers the IBC experience

Conference: 10 – 14 September Exhibition: 11 – 15 September RAI, Amsterdam www.ibc.org

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Red Bee acquires Mundovisión Spain

Never.no tapsinto Twitterby Ken KerschbaumerAt this IBC, never.no is showcasingenhancements to the InteractivitySuite’s Auto Dialogue System(ADS) to enable interaction withTwitter and other social network-ing applications so that on-air jour-nalists or hosts instantaneously canshare their thoughts and incorpo-rate audience buzz about musical,sporting, or other live events.

Also on display is the DynamicContent Scheduler (DCS), a Win-dows-based GUI for configuring,deploying, and scheduling interac-t ive automated TV graphics.IBC2009 upgrades include HarrisIconMaster support, allowing con-trol of an IconMaster over a serialconnection using the M2100 pro-tocol. DCS now also includesexpanded flexibility when workingwith Vizrt, Harris RTX, AdobeFlash, and Microsoft Silverlight.2.A40

Encoders forDMB go OTTby Ian McMurrayOTT is offering products includ-ing the OTT7700VR, a DMBvisual radio encoder designed toallow broadcasters to enhancetheir existing DAB radio service,enabling new interactive servicesas well as associating visual datawith radio programming.

The OTT8800 is described byOTT as a low bitrate, high qualityCMMB encoder, using theMPEG-4 AVC Part 10 algorithm.Features include multi-pass lookahead constant bitrate (CBR),variable bitrate (VBR) or averagebitrate (ABR) encoding, monitor-ing via a web browser and exten-sive video pre-processing includingimage resizing, noise filtering,frame rate subsampling and bright-ness/contrast adjustment.

Also being presented on theOTT stand is DS-1100 ISDB-Tb(the Brazilian implementation ofthe standard) SEG monitoringdecoder, supporting the MPEG-4AVC/H.264 baseline simple profilefor video decoding and MPEG-2MPEG-4 AAC+ AAC+ V2 audiodecoding. The company says thatthe DS-100’s intelligent decodingenables broadcasters to achieveunrivalled performance.5.C38

IBC09 D3 p62,63 25/8/09 11:11

Every organisation in the broad-cast world is facing the economiccrisis in its own way. Most are

looking for ways to reduce costs,invest wisely and prepare for thefuture. All are looking around at

what others are doing. In Europe,we’ve seen some broadcastersreduce their activities and others

flounder. Yet there are positivesigns as well. Channels are stilllaunching every day, content isstill booming, especially throughalternative platforms, which arealso growing.

So what are the business driverstoday? Outsourcing technical serv-

ices: While individual channels,especially new ones, are havingincreasing difficulty ‘going italone,’ the broadcast serviceproviders of the world are in thefortunate position of having thetechnical infrastructure to supportthe growth of multiple broadcast-ers. This means less investmentand risk on the part of the chan-nel, and more chance of successfor the service provider. The deliv-ery aspect can take the form of aflexible IP-based application or themore traditional but higher qualitysatellite and fibre contribution.

Another driver, when tied intoplayout and delivery, makes mediaasset management a powerfulservice. The ability to index, cata-logue and transcode content formultiple platforms to create adynamic, sharable library is onethat we see as a major value-addedservice for customers looking tonot only outsource but make theirworkflow more intelligent. Goingtapeless has been a trend for years.People are looking to go furtherwith their tapeless content andrepurpose every bit of content forevery type of platform.

We have also been seeing con-tinued growth of HD contribu-tion, and we have had to make lotsof equipment investments to stayahead of the curve on this. Thisincrease in HD delivery is espe-cially pronounced leading into2010 with all the events on theway, such as the World Cup inSouth Africa and the WinterOlympics in Vancouver.

Another surprisingly populartrend is the growth that we’re see-ing in live 3D delivery of events tocinemas and other venues. It’s stillvery much in the experimentalphase, but in France we’verecently been involved with deliv-ering the French Tennis Open in3D HD, as well as an Opera. Thisopens up opportunities for reach-ing a more engaged audience, byhelping viewers really feel like theyare part of the action.

At IBC we’re expecting a lot ofactivity – after all, there may be aneconomic crisis, but the broadcastworld has not stopped turning. Ifanything it’s meant that serviceproviders have to be creative intheir solutions and invest to keepup with technology. The only wayout... is up!1.B40

theibcdaily


the contentcreation • management • delivery

experience

www.ibc.org

IBC2009

IBC2009 Awards Sunday night at IBC and the RAI Centre is abuzz withone of the event's highlights: the annual IBC Awardsceremony. Starting with a champagne reception, thisfast-paced event recognises those who have made areal contribution to the industry in 2009.

The IBC Awards is made up of four categories:IBC Innovation AwardsIBC International Honour of ExcellenceIBC Exhibition Design AwardsIBC Conference Award

Roll out the red carpet!


This year's awards event takes place on:

Sunday, 13 September at 18.30 in the Auditorium

••••

Exhibitor OpinionA crisis that forces creativityMedia asset management and 3D satellite delivery are two key business drivers identified by GlobeCast CEO Christian Pinon

Christian Pinon: ‘The increase in HD delivery is especially pronounced leading into 2010’

IBC09 D3 p64 25/8/09 11:21

theibcdaily


The adoption of new media isspeeding up and broadcasters needto adapt or be left with a dominantshare of a dying business, SaulBerman, global strategy and serv-ices leader at IBM Global BusinessServices, told a packed Forumaudience for Growth Opportuni-ties in Media and Broadcasting.

“I’m here to tell you that theadoption of new media is speedingup,” said Berman. TV set cannibal-isation is well underway with con-sumers in the UK and Australiaamong the highest scoring countrieswith 36% of respondents sayingthey watch less ‘traditional’ TV.

The greatest cannibalisation isamong 18- to 21-year olds, butalthough interestingly TV viewing isincreasing, a lot of the growth ishappening on devices other than thetraditional television.

New media may be on a growthcurve, but understanding how con-sumers will react and what theywill pay for becomes even moreconfusing in the digital space, saidRory Sutherland, vice chairman ofthe Ogilvy Group UK. “Conven-tional economics break down in aworld of ideas and abundance,which is what the internet is,” saidSutherland. “People are strange,especially in what they are willingto pay for. On one hand, they won’tpay for access to the website but

call it an iPhone application andpeople will pay for it.”

Sutherland explained that peo-ple typically attach more impor-tance to how they access a productor service than to what they pay forit. For example, it has been assumedthat younger people would not giveto charities, but once some charitiesoffered donation by texting, this agegroup was seen to give generously.“The purest economics schools haveto take a back seat. Platform choicecomes easier than anything else,”said Sutherland.

A revolution is needed in TVs sothat consumers can have a unifieduser experience across platforms,said Erik Huggers, director ofFuture Media & Technology for

the BBC. “There needs to be a rev-olution in the TV receiver platformsto give consumers a unified experi-ence.” The BBC’s answer to theproblem is its Canvas propositionthat seeks to create one system thatwill allow various broadcasters tooffer on-demand programmingusing one technology platform.

Huggers, who announced thatthe BBC will licence its iPlayercatch-up TV technology to interna-tional broadcasters in the new OpeniPlayer programme, said that therewill likely be a big fallout among theonline video aggregators (Joost hasalready stepped back from trying tobe a consumer online video portal)and possibly a ‘device play’ – ashappened with the iPod and music –in the online video space. Accordingto Huggers: “The internet rule isthat one winner takes all. It hap-pened that way in the search space,with online commerce and withsocial nets. So will it happen withonline video?”

Adapt or watch business die

by Adrian PenningtonEcholab is showing its ‘paradigm-busting’ video switcher Atem for thefirst time in Europe at IBC.

“While other video switchingdevices claim to be 3Gbps-ready,Atem, supports 3Gbps 1080p60right out of the box, meaningoperators can produce images inthe highest resolution possibletoday, or be ready for it tomor-row,” said Nigel Spratling, CEOof Echolab.

“We have called upon our 35years of experience to build aproduct that combines every fea-ture our customers have told usthey want in a 1 M/E switcher,including the ability to input andoutput any kind of signal. Yetwe have remained mindful of

cost and are shipping Atem forunder $20,000.”10.D30

by Heather McLeanDigital signage industry giants areset to fight for dominance based onwho takes the outdoor market first,stated Christian Sokcevic, generalmanager of marketing for projec-tors and displays at Panasonic.

The key to the future of largescreen digital signage (50 inches andabove) will be about which companyis able to offer real outdoor signagesolutions, claimed Sokcevic. “This isnot only about the technology itself,”he explained, “but also how to makethe solution work in the middle of acity, not just at an airport.”

Currently, LED screens providethe right brightness for outdoor digi-tal signage, but at ranges of less thanaround 6m the picture resolutionquality is too poor to work. There-fore, said Sokcevic, plasma screens arerequired. “The 84-inch plasma is theright size for bus stop light boxes cur-rently using rotating paper adverts.”

However, this idea is currentlybeing pilot tested as there are a num-ber of issues in taking plasma intoan outside environment, he added.

“The beta testing is about CO2emissions, although digital signagehas lower emissions than usingpaper according to research we car-ried out earlier this year, that showedthat the carbon consumption of aprojected display is 7.5% lower thana traditional poster package.

“Also, the testing is about see-ing what the justification is formoving from paper to digital, andabout how a plasma screen couldwork from outdoors thinking aboutfactors such as weather and vandal-ism,” Sokcevic said.DS14

Echolab switches Atem to Europe

Digital signage goes outdoors

Christian Sokcevic: “The carbon consumptionof a projected display is 7.5% lower”

Nigel Spratling: “Atem supports 3Gbps1080p60 right out of the box

by Ian McMurrayOne of the great things about IBCis the opportunity to talk withthose responsible for helpingshape the future of broadcasting,and to find out how they’re think-ing. “Pacing is everything in thisindustry,” said Charles Cheevers,CTO of Arris. “We’ve been talk-ing about a broadcasting revolu-tion for so many years now, it’sbecome clear that it’s not a revolu-tion – it’s an evolution, a periodof transition.”

Colleague Paul Delzio, directorof business development, pointedout that no-one could possiblyknow what the future holds. “Inthis business, as in any other,” hesaid, “there is no substitute forbeing in tune with market dynam-ics – and, more importantly, lis-tening to customers.”

Discussion turned to howmanufacturers like Arris react inthe face of uncertainty. “Take thehome gateway, for example,” saidCheevers. “There’s no agreement

whether it should be thick and theclient should be thin or vice versa– or whether it should have stor-age or not have storage. Ourresponse to that has been toensure that we have a productoffering what’s appropriate to thewidest range of scenarios.”

But if there’s uncertainty inthat area, there are some areasthat are clearer. “We know forsure that IP is coming to thehome,” said Delzio, “and now thefoundations are in place to makethat possible.”

Delzio also noted how thetechnology is becoming available –by analysing viewer habits andputting that information togetherwith information already heldabout the viewer and informationthat is publically available – to cre-ate new generations of advertisingthat are non-intrusive – ‘con-sumers won’t want to fast forwardthrough them’ – because they areso precisely targeted.1.F40

Advanced router controlEvertz has introduced two new advancedrouter control panels for IBC2009.The CP-2116 and CP-2232 complement anycontrol panels to the company’s existingCP-2200E product.The CP-2116 offers a 4.3” LCD screenwith 16 programmable LCD buttons. TheCP-2232 offers two 4.3” LCD screensand 32 programmable LCD buttons. Aswith the CP-2200E, these two controlpanels go beyond simple router control,says Evertz. Both panels offer a versatile option that allows broadcastersto control equipment throughout thefacility (from terminal equipment to multi-viewers). As a result, says thecompany, operators now have a singleeasy to use interface to manage andcontrol devices, outside of the router.8.B40

Entone and Agama: fast deployment of IPTV Entone and Agama Technologies haveannounced the integration of Agama’sIPTV monitoring solution with Entone’snext generation IP video gateways andmedia hubs.The integrated Entone-Agama productenables service operators to extend theirAgama realtime, 24/7 analysis andmonitoring into the subscriber’sconnected Entone devices within thehome, to ensure service qualitythroughout the entire video delivery chain,from the head-end to the STB.“As the availability of content increases andsubscribers find more ways to access theircontent, it becomes a challenge for operatorsto successfully and cost effectively maintainquality assurance,” said Mark Evensen, VPof product development at Entone. “Byintegrating our field proven IP video gatewaysand media hubs with Agama’s QoS monitoringsolution,we are able to support our customerswho need to get to market quickly.”With Entone’s IP video gateway platform,operators can increase customer loyaltyby maximising the quality of the userexperience, as well as furtherdifferentiate themselves by offering moreadvanced services such as VoD, whole-home DVR, and online video services. The Agama monitoring solution isintegrated with system integrators IPTVsolutions and is widely deployed at over50 operator sites.Entone IP701 Agama 4.A55

Holy Grail for IPTVVideo compression standard H.264 is thestandard set to unify the IPTV deliveryworld, according to Peter Maag, senior vicepresident of marketing at HaiVision. Maagcommented: “What people are looking foris a system based on the most ubiquitousstandard, which is H.264, that can codevideo in a controlled fashion to differentsized bitstreams, to different end points, toget the right quality required. H.264 is thestandard that’s been accepted for all thesechallenges. It’s pretty cool; if enterpriseschoose H.264, they can do live encoding,deliver to different consumers, and pick asystem that can deliver to all thesedifferent consumers with all these differentencoding weights and restrictions.”IP702

In Brief

Television set cannibalisation is well underway by Kate Bulkley

Conference Analysis

Paul Delzio, director business development and Charles Cheevers, European CTO of Arris

Arris sees evolution,not revolution in IP

IBC09 D3 p65 12/9/09 12:52

by David FoxAutoscript has become the firstprompter company to fit its dis-plays with LED back lights. Thebright, TFT-Plus flat screens aremore costly to manufacture, butwon’t result in any price increasesfor broadcasters.

“LEDs bring a whole wealthof different improvements, notjust new features, but added reli-abil ity as they can cope withbeing knocked about, and you getperfect coverage of l ight ,”explained Autoscript’s MD, BrianLarter. He has wanted to move toLEDs for some time, but whenthey first considered them, threeyears ago, suitable screens weren’tavailable. Now its complete range– from 5.6- to 19-inch displays –is LED driven.

Power consumption is animportant consideration, and pre-vious Cold Cathode FluorescentTube prompters needed a lot ofpower (especially on start up –

where they also needed some min-utes to reach full brightness), butLEDs cause no power spikes anduse about half the power on eventhe brightest units. The l ightspread is also better and blacksare blacker – “the contrast level isabsolutely fantastic. Presentersfind them easier to read and itcauses less fatigue,” he said.

The units will also last a lotlonger. “LEDs have eight timesthe life span of CCFLs. The out-put of CCFLs diminishes overtime and they need replacing.LEDS produce very little heatand that’s a big factor in compo-nent failure. There are still fans toregulate heat, but they only comeon if it is in a hot studio or out-side in the sun.”

Even though LEDs are moreexpensive, Autoscript has taken ahit on its margins to offer them atthe same price as CCFLs. The oldertechnology will still be available forcustomers who want to match newunits to old – as LEDs can look abit odd next to CCFLS).9.D28

by Heather McLeanToday’s digital signage is not spec-tacular enough to attract viewers,claimed Jean Pierre van Maasakker,head of 3D marketing and commsfirm, Zero Creative. He said the dig-ital signage industry needs to paymore attention to developing andusing 3D, interactive, intuitive digi-tal signage and content.

Maasakker told The IBCDaily: “In my opinion using 3Ddigital signage attracts three timesmore attention than normal digi-tal signage.” He added that thatthere are a number of issues withdigital s ignage that must beaddressed if it is to work in its roleof attracting attention.

In IBC’s Business Briefing, Dig-ital Signage Trends, Maasakkerclaimed the problems with digital

signage begin with an overbearingfocus on the technology, whichtakes up the majority of the adver-tising budget, rather than market-ing concepts. Content used is oftentoo simple and tends to look like itwas made in only a few minutes, hesaid, plus there is a tendency to usepoor quality automated informa-tion. Also, all communication isone way with no interaction for theviewer, if indeed, he said, anyonecan be bothered to look at theresulting advertisement.

However, the biggest bugbearfor Maasakker was undoubtedly theuse of RSS feeds on digital signagescreens in a bid to make peoplelook. RSS news consists of 51%bad news, 39% sports news, and amere 10% good news on average, heclaimed. “This creates completely

the wrong ambience to sell,”he said.“I have nothing against RSS feeds,but they should at least be filtered toget the bad news out,” he stated.

Maasakker outlined his solu-tion: “We think it’s time for digitalsignage 3.0, combining Web 2.0,3D and interaction. This is feasibleright now, the elements are there,but they need to be combined. Inabout a year we should start to seemore of this on the high street.

“We need to implementstereoscopic 3D technology,which will increase attention sig-nificantly as people won’t need towear glasses to experience 3D. Weneed to make digital signage real-time, as one of the biggest prob-lems with d ig i ta l s ignage i scontent is expensive to produce;our brand promise should be that

everyone who can send an emailfrom Outlook can also create 3Dcontent for digital signage as itwill be that easy. And we need to

make digital signage intuitive,interactive and of course, fun,”explained Maasakker.DS6

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The IBC Daily’s web manager Tim Frost interviews Autoscript’s Managing DirectorBrian Larter on the show floor for the Daily’s web site (www.showdaily.biz/IBC)

Digital signage must go 3D or fail

by Farah JifriTektronix has unvei led i tsWFM8200 and WFM8300advanced waveform monitors withsupport for 3Gbps SDI. The twonew monitors deliver realtime,automated 3Gbps SDI Eye pat-tern display and jitter measure-ments to help broadcasters andnetwork operators effectively diag-nose signal problems and helpequipment designers and manu-facturers reduce time to market.

According to Tektronix, this is

made possible by its comprehen-sive physical layer measurementsincluding automated 3Gbps SDIsignal eye pattern parameters andjitter measurements which sitsalongside the company’s jitterwavefor m display and cablelength measurement. The systemalso features alarm information tohelp identify and diagnose videoand audio content quality, andpotent ia l vert ical anci l lary(VANC) data problems.

Additional features of theWFM8300 (with Option PHY)include multi-rate HD/SD-SDIand 3Gbps SDI (with Option3G) colour bar and pathologi-cal signal generation capabili-t ies ; and advanced colourgrading with new Luma Quali-fied Vector (LQV) and Spear-head Gamut displays.8.C75

Tektronix shows 3G monitors

Jean Pierre van Maasakker: “We need to implement stereoscopic 3D technology”

by Ian McMurray“What we’re doing with VoD istaking it and moving it on,” saidEdward Allfrey, business develop-ment director, cable at Tandberg.His company is showcasing thebreadth of its capabilities at IBC,and one of its areas of focus isunderstanding what it is that con-sumers really want. “We’ve sur-veyed 37,000 users, and they werepretty much unanimous,” contin-ued Allfrey. “They want to watchprogramming where they want to– and when they want to.”

What that means is that con-tent may be viewed on a TV, on aPC, or on a mobile phone – and itmay be the same content. “Whena consumer rents an asset – amovie, for example – he doesn’twant to be limited as to when hecan watch i t , or what he canwatch it on,” said Allfrey. Thecompany has an impress ivedemonstration in which a movie isstarted on an iPhone, stopped –and restarted from the same pointon a PC. The movie is stoppedagain – and then played from thatpoint on the TV.

“Operators are breaking awayfrom the set-top box,” said Allfrey.“The important thing is to createa single, horizontal service layer –and not to create silos.”1.D61

Edward Allfrey: “Operators are breaking away from the set-top box”

Tandberg movesVoD ahead at IBC

IBC09 D3 p66 12/9/09 12:54

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Sky News is HyperSky News is investing in 11 ChyronHyperX3 graphics systems, together with aCamio Cluster Server and OMS (OrderManagement System) for Sky News HD,which will launch in 2010. Simon Buglione,creative director Sky News explained:“Chyron offered us the mostcomprehensive combination of designcapability coupled with the flexibility indesign and playout stages to cope with thehigh demands Sky News has for speed toair and adaptability of its primary platform.”The HyperX3’s will be operationalthroughout the Sky News Channelarchitecture and provide full framegraphics. “Our relationship with Sky startedback in August 2007 when we became thelead graphic partner for Sky Sports News,”explained Michael Wellesley-Wesley, CEO,Chyron. “Many major networks andaffiliations throughout the world enjoy thebenefit of the Chyron system and Sky Newswas keen to be the first in the UK to offersuch a compelling viewer experience, whilstgiving their operators the most intuitivetechnology to work with.” 7.D11

Broadcast intelligenceCivolution’s Teletrax broadcast monitoringservice is now capable of providingbroadcast intelligence using itswatermarking and fingerprintingtechnologies. The flexibility of using bothtechnologies, says the company, providesidentification suitable for long-form contentsuch as movies and short-form contentsuch as advertisements, as well asproviding monitoring and encoding optionsthat directly support client usage modelsand address content workflow preferences.Civolution says that this is an importantstrategic development for the company andits clients, because offering bothwatermarking and fingerprintingtechnologies in a combined service allowsCivolution to propose solutions even moreclosely tailored to its customers’ needs andcontent. Fingerprinting works by extractingthe specific features of the video andstoring them in a reference database. Thenetwork of detectors performs a constantmatching of content aired against thereference database and, upon identification,details are sent to the Teletrax database foranalysis and reporting. 5.B18

Artel VP SalesArtel Video Systems has appointed GarySchutte to the position of vice president ofsales. He brings more than 20 years’ ofindustry experience and will be responsiblefor building on existing customerrelationships and fostering new partnershipswith systems integrators and resellers. Inaddition, Schutte will take charge of theproduct development roadmap for thecompany’s DL4000 Video Transportplatform. “Gary is an extraordinary additionto the Artel executive team as we focus ongrowing beyond our traditional customerbase,” said Richard Dellacanonica, presidentof Artel Video Systems. Schutte joins Artelfrom Harris where he held the post of VP ofSales for the Central US with HarrisCorporation Broadcast Division.8.E37

In Brief

by Kate Bulkley It will take this generation of com-missioning editors to retire beforebroadcasters really start to embracedigital and online in a wholeheartedway, agreed a panel of broadcastersand a producer at the session ‘DoesTV Speak Digital?’.

“It will change over a generationand these people will be pushed outbecause of their age quite quickly,”said Bruno Felix, founding directorof Submarine, a multiplatform pro-ducer based in the Netherlands. “Andif people step in who are a little bityounger and understand these thingsa bit better we should see change overthe next five to 10 years.”

Tom Koch, vice president ofPBS Distribution, agreed, sayingthat most broadcasters are stillstuck in the traditional TV para-digm in some cases to do with tra-ditional fiefdoms, and there is nocommon language between “newmedia people and TV commis-sioners and producer pride. Hesaid that it is very difficult to getTV and radio producers to collab-

orate but that this is starting tohappen around investigative newsat PBS.

“Most broadcasters look to theweb as merely an extension of broad-cast today so the new popular thing iseveryone wants a catch-up window,which is a way of saying give me moreruns but I am going to put them on theinternet,” said Koch. “Using the webfor tune-in ads or for catch-up rights isabout as far as they have gone.”

Felix says that dealing with broad-casters can be a “Kafkaesque experi-ence” where “the website gets lostbetween broadcaster’s departments”and where different parts of thebroadcaster don’t talk to each other.

There is still a lot of “patchiness”at broadcasters at how they deal withthe digital elements of a commission,but PBS’s Koch says that the com-mission has to be approached differ-ently with the idea at the centrerather than the audience or the tech-nology platform. He says the futureis about looking at the overall audi-ence for a project that has a TV, anonline and a DVD component.

by Ian McMurrayArqiva is providing DVB-T2 testtransmissions at IBC to facilitatethe demonstration of high defini-tion terrestrial TV throughoutthe exhibition centre, includingthe DVB s tand. Four h igh definition services are accommo-dated in one DVB-T2 multiplexwithin a standard 8MHz trans-mission channel.

In providing the transmissions onbehalf of the IBC organisers, Arqivawas supported by a range of partnersincluding the BBC (HD content),Tandberg Television (HD MPEG-4AVC statistical VBR encoding andmultiplexing), Enensys (DVB-T2modulator), Harris Corporation(DVB-T2 transmitter) and dB Broad-cast (professional satellite IRDs andASI distribution equipment).

The facilities in the AmsterdamTower, just south of the RAI Cen-tre, were courtesy of Alticom whohas provided accommodation forthe racks of equipment and anten-nas as well as feeder and powerinstallation services. Arqiva hasprovided transmission antennasand combiners, satellite receptionfor content and project manage-ment for the whole installation.

A separate Arqiva installationalso provided MediaFlo mobile TVtransmissions as part of an end-to-end system from Qualcomm, withcontent courtesy of the BBC,Channel Four and CSC Media.1.B61

Retiring types turn TV digital

by Ian McMurrayPeak Communications, whichdesigns, manufactures and suppliessatellite communications equipment,has announced the formation of anAmerican subsidiary – Peak Com-munications Inc. – and the opening ofa new US office in Atlanta, Georgia.

“This is an important milestonefor Peak and an ideal opportunity

for our company to demonstrate ourongoing commitment to our over-seas customers,”said Michael Kitson,managing director for Peak Com-munications. “We are now ideallypositioned to offer local logisticsandtechnical support to our cus-tomers, representatives and end usersalike in North and South America.”1.E34

Peak opens US office

Test transmissions: The Amsterdam Tower

For Yuto Maruyama, a Japanesegraduate student, the internet ispreferable to the TV set for watch-ing football. “I prefer the internetto watch TV. It helps me to con-trol my experience. I search what Iam interested in.”

Maruyama, who loves to cookand is part of a group of similarly-minded Japanese students whoupload cooking videos onto theweb so they can compare recipes,was part of a panel of universitystudents who came to IBC to talkabout how they use digital mediato consume entertainment andinformation in the Youth Con-sumption Trends panel.

“I hardly watch TV exceptonline,” said Chinwe Abosi, aNigerian who is studying for a PhDat the University of Essex. “It’s

easier to watch on computer. I canwatch part-way through and thencome back later rather than havingto stick to the TV schedule.”

The students, quizzed byJeremy Barr, professor of broad-casting and convergent media atthe Ravensbourne College of

Design and Communication, saidthat although they used digitaltechnology somewhat differently,they were all dependent on theirbroadband and digital devices. “Idon’t do Facebook anymorebecause my Mom is on it now,”said Abosi . But she says she

couldn’t live without her broad-band connection. ”I think broad-band is a right. To me it is likewater. I couldn’t live without it.”

Evgenia Lysova, a student at thePetersburg State University of Filmand Television, agreed that broad-band is essential. “I only have 2Mbwhich is not very much but when Iget a good job I will get more speed.”Lysova says she listens to the radioto get her news in the morning andshe sits on the sofa at night to watchTV news, but generally she prefersthe PC and mobile to a TV. “I lookon YouTube for football,” she said.

Abosi said she doesn’t trustbrand advertising, preferring toget a recommendation from a“real person” on YouTube. Lysovaadded that she sometimes liked“well-made advertisements” butthat she doesn’t pay attention toadverts for cheap flights anymore.

And the students favourite digi-tal device? Maruyama said theiPhone is his favourite. Yysova saysthat the internet and especially IM(messaging) is her favourite. Abosisays that having the internet on hermobile phone is her favourite. “Idon’t know how I lived without it,”she said.

The kids are on-line

Yuto Maruyama said, “I prefer the internet to watch TV”

Hi Tech Systems is showing the Comptometer – a jaw-droppingly gorgeous,fully-featured server controller whose Victorian, steampunk-inspired exterior hidessome seriously clever electronics underneath its polished wooden surface.Beautiful – as demonstrated by Hi Tech’s Martin Cook. 10.A49

Arqiva provides IBC withDVB-T2 test transmission

Conference Analysis

Broadband ‘is a right … it is like water’ by Kate Bulkley

IBC09 D3 p68 12/9/09 15:27

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theibcdaily


by Kate Bulkley With 70% of the world’s economiesin recession, total TV ad spend hasbeen hit hard and the immediatefuture does not look good. Bud-gets for programmes and for tech-nology wil l be hit but theimplications for technologyproviders are the most stark.

“The impact of the fall in adspend is on technology spendmore than on programmingspend,” said Tom Morrod, a sen-ior analyst at Screen Digest at thesession ‘Who Pays – Winners andLosers in the New Economy’.

Global TV ad spend is down9% and the US looks to start a

TV ad recovery next year, mean-while Russia will go into an adspend downturn in 2010. Euro-pean TV ad spend will not recoverin four of the five biggest Euro-pean TV markets until after 2010,according to Screen Digest. OnlyFrance of the big five (France,Italy, Germany, Spain and UK) isexpected to post positive TV adspend growth in 2010.

The trend is for subscriptionrevenue to outpace TV ad spend.In 2009 subscription revenueovertook advertising spend forthe f i r s t t ime g lobal ly. Thismeans that pay-TV companieswill likely be spending more onnew technology.

For free-to-air broadcasters theones likely to recover the fastest willbe the ones with stronger digitalstrategies, says Morrod. “For exam-ple M6 in France is being redefinedas a sum of the devices and theplatforms on which is appears.”

But online revenues will onlytruly begin to impact broadcast-ers’ bottom lines in 2012, forecastsScreen Digest . In the UShulu.com already has 10% of USadvertising and broadcaster web-sites will help bring viewers backinto the broadcast world, wherethey can earn broadcasters money.“Traditional business models arestarting to falter,” said Morrod.“There needs to be another way ofmaking money and online is thebest route and we are starting tosee the money coming in.”

Subs revenue to outpace TV ads Conference Analysis

by Heather McLeanBroadcasters and content ownerslooking to reach multiple screenswith their content can now do soin one platform. Launched atIBC2009, the Xenon InternetPack from Vidiator is bringingtogether live HTTP streaming tothe Apple’s iPhone 3.0 OS andFlash streaming for web devices inone unified, integrated platform.

Connie Wong, CEO at Vidia-

tor commented: “This is a pio-neering system that delivers tomobile and internet devices via asingle platform, simplifying thesolution architecture and reducingtotal deployment costs for opera-tors. Currently, operators needthree separate systems to delivertheir content to customers’devices. Xenon streamlines thesesilo systems into one simple, effec-tive streamlined process, making it

easier to deliver, and monetise, amobile video service.”

Across the world, the iPhoneand other large screen devices aremaking viewing content on amobile a far more compellingproposition. In response, opera-tors and content owners areinvesting in iPhone propositionsto ensure effect ive customerreach. In particular they are look-ing to launch live streaming serv-ices for the iPhone.

“Vidiator was one of the firstto market with iPhone 3.0 sup-port,” added Wong. “We decidedto incorporate iPhone OS 3.0support in our mobile TV plat-

form, as well as Flash streaming,to ensure our customers were ableto benefit from this technologyand achieve greater revenue gen-eration potential.

“Flash streaming is equallyimportant as consumers want totake their online TV players, suchas the BBC iPlayer, which usesFlash to provide a web TV andcatch-up service on the movewith them. Mobile operators inparticular have also expressedinterest in a dual 3G and Flashservice to reach standard hand-sets and laptops via 3G USBmodems,” she said.M122

New mobile platform tooffer iPhone 3.0 and Flash

by Farah JifriOmniBus Systems has launchediTX 1.3, which comes with over130 feature enhancements. Thislatest version of OmniBus’ pro-duction, automation and playoutsys tem sees a s ign i f i cantincrease in functionality, accord-ing to the company.

New features inc ludeincreased support for third-partyschedule imports from systemssuch as Pilat Media and Snell,with automated backup schedule

substitution capability. There isalso support for external HSMarchives (DIVA, SuitcaseTV) anda range of enhancements foriTX’s full-featured graphics func-tionality, including dynamicallyupdating multiple crawls anddatafeeds from external sources,mult ip le animated TARGAsequences and logos and ani-mated in/out transitions for eachgraphic element.

Other additions include a newaudio processing engine which

enables multi-stream PCM andAC3 capability, remapping andprocessing of streams with full16-channel embedded output,automatic multilanguage map-ping us ing language tags inOmneon MOV files and desktoppreview monitoring of multi-channel audio streams. iTX 1.3also allows monitoring of com-mercial minutes against a definedvalue in the schedule, VANCdata handling, automatic mirror-ing of a parent channel scheduleand increased support for hardpanels and external graphicsdevices and video servers.

Third-party plug-ins continueto be licensed by Dolby Digital,Nielsen, rtSoftware and IdeasUnlimited.tv to deliver integratedaudio processing, digital water-marking, realtime graphics andcompliance monitoring.

“The range of functionality ofthe iTX platform puts it far beyondthe capabilities of any alternativefor a fully-fledged transmissionsolution,” said Ian Fletcher, CTO,OmniBus Systems. “ iTX is not tobe confused with a limited channel-in-a-box product.” OmniBus iTX1.3 will ship this month.8.D41

by Farah JifriNevion is demonstrating its newVS901 family of Ventura com-pression and decompressionJPEG2000 solutions, said to pro-vide broadcasters with the lowestlatency, highest quality and mostpowerful signal transport overany network. Three Ventura 901solutions (the VS901-SED-12,VS901-TAED-27, and VS901-IED-GE) provide visually loss-less compression for contributionand distribution to any network,using video transport streamtechnology.

“This means that broadcasterscan re-use their existing infrastruc-ture and grow with the technologyfrom fibre to SDH/SONET to IP,”said Nevion CEO OddbjornBergem. “We remove the challengethat our customers face when tran-sitioning to IP.”

With JPEG2000 compression atthe contribution level, downstreamdistribution quality encoders withlow bit rate outputs are now fedwith the highest quality video sig-nals for increased compression effi-ciency. VS901 modules providemaximum integration and fewercomponents through use ofNevion’s FPGAs, to give low powerconsumption and high port density.

The technology is already in useby a major US broadcaster that isusing it to transport live video con-tribution (including primetimeshows such as EntertainmentTonight) to and from Miami.8.B70

by Farah JifriMiranda is showing its newKaleido-Modular multiviewer sys-tem that offers both space andenergy saving, with up to 20 multi-viewer outputs per 3RU frame andconsuming 300 Watts. “With thecurrent economic climate everyoneis very sensitive about the resourcesthey use, so energy and space effi-ciency is key,” said Marco Lopez,senior VP interfacing, monitoringand control, Miranda.

Kaleido-Modular makes use ofa card-based design, with eachmodule providing eight3Gbps/HD/SD video inputs (with3D support), and two multivieweroutputs. Up to 10 multiviewermodules can be housed in a 3RUDensite 3 frame, which weighs just

8.6kg when fully populated.According to Lopez, the

Kaleido-Modular offers the sameperformance as the rest of thekaleido range. “We have takenthe same technology and thesame funct ional i ty as theKaleido-X,” he said.

Each multiviewer module canbe configured to provide eitherdual quad-split outputs, or a sin-gle multiviewer output which candisplay up to e ight pictures.Miranda has also worked todeliver tight integration betweenthe Kaleido-Modular and Nvi-s ion, and other third partyrouters, which can support up to1152 video inputs and up to 288multi-viewer outputs.

Kaleido-Modular cards can be

installed in a 3RU Densite 3 framealongside any of the other mod-ules in the comprehensive Densiterange, which includes s ignal

processors, DAs, switches, moni-toring probes, IRDs, and channelbranding processors.8.B80

Tom Morrod: “There needs to be another way of making money”

Nevion’s newcompression

Oddbjorn Bergem: “We remove thechallenge that our customers face”

Miranda goes Modular

OmniBus iTX goes beyond

Marco Lopez: “Everyone is very sensitive about the resources they use”

IBC09 D3 p70 12/9/09 15:25

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