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TABLE OF CONTENTSVOLUME 53 1 NUMBER 6 I JUNE 2011

BroadcastEngineering,

FEATURESNAB REPLAY

36 Product JackpotIf you missed the NAB Show, check out thisroundup of new technologies.

62 Pick Hit AwardsOur panel of independent judges pickedthe top products from this year's NAB.

FEATURE68 Choosing the right battery

Quality varies, and price shouldn'tbe the only consideration.

BEYOND THE HEADLINESDOWNLOAD

12 MultiviewersSystem requirements vary across differentapplications and environments.

FCC UPDATE17 Broadcast tower rules

New rules would allow a publiccomment period before constructionif there is an environmental issue.

DIGITAL HANDBOOKTRANSITION TO DIGITAL

18 Media systems integrationUnderstand the role media wrappers playin extending the life of your content.

COMPUTERS & NETWORKS22 Metadata

As facilities move to file -based workflows,understanding metadata is important.

PRODUCTION ROOM28 Audio in post

As the audio post industry moves towardall -digital 5.1, sync issues still exist.

continued on page 6

4 broadcastengineering.com I June 2011

ON THE COVER:With so many new technologies announced at NAB, it'simpossible to see it all. Cur Product Jackpot covers the hotnew products Broadcast Engineering editors discovered atthe show, and the Pick Hit Awards honor the top productschosen by an independent panel of your peers.

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TABLE OF CONTENTS (CONTINUED)

VOLUME 53 1 NUMBER 61JUNE 2011

SYSTEMS INTEGRATIONNEW MEDIA NETWORKS

30 LTFS and LTO-5The open file standard supports workflowsfor broadcast organizations.

NEW PRODUCTS & REVIEWSAPPLIED TECHNOLOGY

74 Snell Centre control andmonitoring platform

TECHNOLOGY IN TRANSITION78 Monitoring video in new ways

OLEDs are the future of broadcast monitoring.

DEPARTMENTS8 EDITORIAL

80 CLASSIFIEDS81 ADVERTISERS INDEX82 EOM

SEE IT ONLINE!Register for upcoming webcasts, anddownload past events on -demand.

Learn more at http://broadcastengineering.com/webcast

JUST THE FACTS!The FCC recently said that the United States remainsbehind other nations in the download speeds and adoptionof broadband technology. The United States rankedninth out of 29 countries for mobile broadband adoptionon a per capita basis, and 12th out of 33 countries forpercentage of households with fixed broadband.

Learn more at www.broadcastengineering.com

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EDITORIALDEPARTMENT

Frequenciesfor sale

ust over a year ago, the FCC released its long-awaited National Broadband Plan (NBP). Forbroadcasters, the plan means losing 120MHz,or 20 channels, of UHF spectrum. After all,

Genachowski needs two things: billions of dollars andmegahertz of spectrum. Without both, his tenure as chair-man will be seen as a failure.

While one might think the idea of losing more spectrumwould be loudly discussed between broadcasters, that doesnot appear to be the case.

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FCCSure, the NAB has issued press releases. And, one could

argue, it has said a lot of the right things. But overall,broadcasters themselves seem surprisingly quiet on an is-sue that could require 50 percent of today's UHF stationsto either relocate or go off the air!

While pondering my perception of the industry's mutedresponse, my friend Tore Nordahl provided an interestingtechnical discussion on how the FCC's frequency clawbackmight work. His excellent treatise on the FCC's spectrumgrab is available on the NC ProHD Executive Report blog(www.usjvc.com/blog/?p=132). Much of what follows isbased on Nordahl's paper.

Nordahl says that should the FCC be successful in tak-ing back another 120MHz of spectrum, it means that since1982 broadcasters will have given up 312MHz or 75 per-cent of their UHF spectrum. Furthermore, the FCC's planwill require 682 currently operating full -power DTV sta-tions to be relocated or shut down. Says Nordahl, "This is

more than 50 percent of all operating UHF stations?'The report predicts that only about 1100 out of today's

approximately 1784 DTV stations will be able to remainon the air after the proposed transition. This is becauseunder current regulations, it is impossible to cram almost700 TV stations into the remaining spectrum.

For the larger stations, having fewer competitors may begood. However, for those employed at the other stations, thesituation may seem not so rosy. Equally important, viewerswill have fewer station choices, and Nordahl argues thosestations' signals could be of lower visual quality.

Assuming the FCC gets its desired 120MHz of spectrum,the issue then becomes deciding who gets to remain in busi-ness. What will be the criteria for selecting winners and los-ers? Nordahl suggests that one way to select the winners is tomeasure a station's effect on the local economy.

Under his scenario, survival depends primarily on thestation's annual local payroll. The bigger the station pay-roll, the better. A major -market TV station with whatNordahl calls a "large-scale" HD news operation could con-tribute as much as $20 million to the local economy, justin payroll. Conversely, an "infomercial-rerun/non-news"station might have a payroll of one -tenth that amount.Nordahl suggests that "large-scale HD news stations aremuch more essential in protecting and growing the localeconomy than the infomercial-rerun/non-news stations?'

This is where Nordahl and I depart. No politician or bu-reaucrat is going to let the noncommercial stations, whichtypically have smaller staffs, be squeezed out by those bigmean and greedy broadcast groups. One can hear the PBScry now, "Big business is trying to kill Cookie Monsterand Big Bird." Genachowski's crew will ensure that tax-payer -funded stations remain on the air, no matter theirstaff size.

Nordahl's paper is worthy of a read and discussion atyour next state broadcast group, SBE or SMPTE meeting.Without an open dialog and a search for reasonable alter-natives, we can expect the FCC to impose a solution with-out our participation. BE

`*41 4-4-`41EDITORIAL DIRECTOR

Send comments to: editorgbroadcastengineering.com


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DOWNLOADBEYONDTHE HEADLINES

MultiviewersSystem requirements vary across different

applications and environments.

It's hard to think of a broadcasttechnology that has changedmore in the last decade thanmulti -image display systems.

Even several years ago, the most com-mon question was, "What's wrongwith my good old CRT stack?"

Within a few short years, the mul-tiviewer became a standard piece ofequipment in the broadcast workflow.The multiviewer today has evolvedinto a platform that comes in vary-ing sizes and capabilities, from sim-ple quad -split systems to large-scale,full -facility systems that consolidaterouting and monitoring functions.Making the right choice can quicklybecome overwhelming.

There are many angles to considerwhen evaluating the choices. Themost popular multiviewer require-ment is calculation of the number ofmonitored sources and the required

BY KFVIN JACKSON

The multiviewer today has evolved into a platform that comes in varying sizesand capabilities, from simple quad -split systems to large-scale, full -facility systemsthat consolidate routing and monitoring functions.

amount of displays. The number ofinputs and outputs becomes the keydriver. Future I/O expansion, redun-dancy levels and ease of installation,operation, and maintenance are sig-nificant parts of the picture.

FRAM E G RAB A look at the issues driving today's technology

TV station revenues increase in 2010Last year, local TV station revenues rose 23.2 percent.

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Source: BIA/Kelsey www.biakelsey.com

Architectural approachThere are two architectural ap-

proaches to multiviewer deploy-ments: single frame and distributed.Both approaches are valid, each hav-ing specific benefits and challenges.

The integrated single -frame sys-tem supports migration to one boxassociated with routing capabilitiesthat support every input and output.These frames consume less space, of-fer simplified control and reduce ca-bling and installation costs. They typ-ically also have fewer points of failure.(See Figure 1 on page 14.)

A larger up -front investment in thearchitecture may be required. This ispartially related to the need for dis-crete I/O stages in the signal flow.This requires additional flexibility toscale for future requirements withan understanding of the cost to addmore inputs or outputs.

The distributed architecture is analternative approach. This system usesdiscrete multiviewer systems to drivea small number of displays, spreadingthe load to lessen the possibility of asingle point of failure. (See Figure 2

on page 14.)

12 broadcastengineering.com June 2011

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The distributed approachsupports the assignments ofindividual multiviewers tospecific control room func-tions, minimizing interferencefrom other operators. Audiocontrol, for example, mightbe assigned to the productionswitcher output or the graph-ics system. This naturally sepa-rates the control and operationof these systems to the control-lers in that area.

The addition of more in-puts or outputs is normally assimple as adding another unit.However, control challengesmay increase with an expand-ed architecture, and costs maybe higher compared with anintegrated approach.

Application overviewThe intended applications

will likely influence the choiceof an integrated or distributedarchitecture. Although usecases vary from site to site, andunique requirements exist foreach application, the majorityof broadcast applications fallunder four categories:

Production control rooms;Outside broadcast vehicles;Master control rooms; andTransmission/cable headend

monitoring facilities.

Production controlroom

The studio director in theproduction control room uses themultiviewer to create live content.The director, always the demand-ing artistic individual, is tasked withsplit-second decisions on cameraangles and shots. There must be con-fidence that what is seen on the multi -

viewer will be transmitted correctly tothe viewer.

This has a large influence in howthe production gallery operates. Pic-ture quality must be pristine enoughfor obvious recognition of fine detail,and the director will normally insist

Figure 1. The integrated single -frame system supportsmigration to one box associated with routing capabilitiesthat support every input and output.

Figure 2. The distributed architecture uses discretemultiviewer systems to drive a small number of displays,spreading the load.

on fewer sources per display to main-tain resolution. This is usually ac-complished by adding more displaysinstead of more PiPs to a display. Thereal-time nature of live productionmeans that the processing delay (orlatency) through the multiviewer anddisplay is a key metric.

Picture quality is often assumedand not evaluated, but quality canvary hugely across models. Videosources must endure two main pro-cessing stages - scaling and deinter-lacing - to become part of a multi-

image display. Both stageswill reduce picture quality ifnot correctly designed.

Scaling decreases the pic-ture size to fit on the multi -image display. This processrequires intelligent scalingsoftware to understand whatpixels maintain the imagequality at any size. It alsouses large dynamic horizon-tal and vertical filters to re-move scaling artifacts with-out reducing picture detail.

Deinterlacing combinesthe two fields into a single,progressive frame for inter-laced sources. If performedincorrectly, artifacts will ap-pear due to interfield mo-tion or a reduction in pic-ture resolution. Side -by -sidecomparisons of the two tech-niques will reveal the qualityvariations.

Simple control and con-figuration software is a mustas different directors andshows require a variety ofsetups. Engineers will fre-quently make last-minutechanges to the setup. Thiscan include the incorpora-tion of more cameras, sizechanges to PiPs, and varia-tions in the UMD and tallystyles - all to meet an indi-vidual's preference.

Outside broadcastvehicles

The outside broadcast environ-ment echoes many of the same re-quirements as the production controlroom, while introducing some uniqueconsiderations. The most obvious arethe space, weight and power limita-tions of OB trucks.

OB environments benefit greatlyfrom the integrated approach, com-bining the multiviewer with the rout-er and other signal processing equip-ment. This translates to enormous re-ductions in footprint and power use.The single -frame design also reduces


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the number of spare parts and redun-dancy options within the truck.

Quad -split solutions are a popularchoice in the OB environment. Thelimited number of inputs typically re-duces power consumption, and reso-lution is maintained by requiring fouror fewer sources per display. This alsoeasily accommodates the monitoringof just one source at full screen -acommon request for outside produc-tion events.

Master control roomsThe master control room is the last

stop before transmission. Operatorshere are responsible for monitoringthe outgoing signals and ensuring theyconform to all regulations, includingdecency ratings, teletext/captioningrequirements and station ID insertion.The process also ensures that audiotracks, aspect ratio data and channelbranding are correctly encoded.

Multiviewers in the master controlcenter must offer options to decodeand display the relevant data. Thisincludes decoding the closed -captiondata and its subsequent display on thevideo as it would appear to viewers.Automatic display of the source as-pect ratio data in its native format isalso helpful.

A sophisticated monitoring systemwill automate much of the monitor-ing, flagging errors on screen. Thesame system will likely generate mes-sages over SNMP to control software.Some top -end devices will send e-mailand/or SMS text messages to alert en-gineers of potential problems.

Transmission andcable headends

Cable and other transmissionheadend environments typically re-quire monitoring of a large num-ber of sources. The purpose is toensure that the signals are valid andtransmission is taking place with-out error. It also confirms that audiosignals and required metadata arebeing transmitted.

The multi -image display in this ap-plication focuses on high PiP densityas presence is more important thanpicture quality, which is monitoredprior to transmission. These facilitiesare highly automated, so alarmingoptions and rules -based responses areextremely desirable features.

The transmission chain has evolvedto mirror the changes in how con-sumers access content today. IP-basedtransmission has become as impor-tant as traditional RF transmission,

and most broadcasters are dealingwith hybrid signal environments forbaseband and broadband.

The monitoring of IP signals rep-resents a new shift in multiviewerarchitecture design. The majority ofapplications require IP-to-basebandconversion for signal monitoring. Thisadds cost and introduces unnecessaryprocessing and another potential pointof failure. New discrete IP and hybridmonitoring systems have appeared onthe market, offering direct IP moni-toring, simplifying the workflow, andreducing cost and complexity.

The various requirements anddemands in signal monitoring andprocessing stipulate that differentarchitectures are necessary to matchthe environment. No single systemwill cover everything. Therefore, it'spertinent to prioritize requirementswhen evaluating monitoring op-tions and remain open to differentapproaches to finding the optimumsystem. Vendors should offer a rangeof options to suit the architecturechosen, with an application -tailoredsystem to best match the require-ments of today and tomorrow. BE

Kevin Jackson is product manager,multiviewers, at Harris BroadcastCommunications.

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FCC UPDATEBEYONDTHE HEADLINES

Broadcast tower rulesNew rules would allow a public comment period

before construction if there is an environmental issue.

The FCC is proposing newprocessing rules and in-terim procedures designedto give the public an op-

portunity to comment on proposedASR -dependent towers and proposedchanges to existing towers.

The new rules and procedures aredesigned to:

address a court finding that thecommission's existing ASR approvalprocess fails to provide an opportunityfor public comment on environmen-tal issues raised by the proposed con-struction; and

implement certain provisions of aprivate agreement reached last year bya number of tower -related and envi-ronmental groups. Comments on theFCC's proposals were due May 5.

A look at the proposedtower rules

Under the proposed rules, obtainingapproval to construct any new towersubject to registration in the ASR sys-tem would become more complicated,particularly for towers over 450ft.(Most towers up to 200ft tall and notin the glide slope of an airport can bebuilt without an ASR.) The proposednew rules would require a period forpublic comment on tower construc-tion or modifications before a formalproposal is filed with the FCC. Afterthe comment period, the FCC woulddetermine whether an environmentalassessment (EA) is required before ap-proving the tower. Until the commis-sion separately completes its underly-ing Programmatic Environmental As-sessment of the entire ASR program,individual EAs will automatically berequired for any proposed tower ormodification over 450ft.

Anyone intending to register anew or substantially changed tower

BY HARRY C MARTIN

subject to ASR requirements wouldcommence the process by provid-ing the commission with the detailsof the construction. The public no-tice does not say exactly how the in-formation is to be submitted - byletter, electronically or some otherway. It does suggest that proponentsmight file a "partially completed"Form 854 ASR form.

The information to be submit-ted must include, "at a minimum,"all of the information required byForm 854 relative to ownership andcontact information, geographic lo-cation, height, type of structure andanticipated lighting. Applicants alsomust provide local public notice ofthe to -be -proposed tower construc-tion, either in a local newspaper orthrough "other appropriate means."This local notice must provide thedetails of the to -be -proposed con-struction as well as instructions onhow to file comments about it withthe commission.

Meanwhile, using the informationsubmitted to it, the commission willpost on its website a national noticeof the to -be -proposed tower con-struction. That national notice willinclude the information filed by theprospective proponent, together withthe date of the local public notice.If the prospective proponent has al-ready determined that the tower re-quires an EA (based on the commis-sion's existing rules, or the presump-tion associated with 450ft-plus tow-ers), that EA must also be submittedto the FCC at this time.

Once the national notice does ap-pear, interested parties will have 30days to file a Request for Environ-mental Processing, asking the com-mission to require the prospectiveapplicant to prepare an EA. Any

party making such a request wouldhave to explain why the to -be -pro-posed construction would have sucha significant environmental impactthat an EA should be required. Thenthe FCC will decide whether an EA isrequired or, if one already has beensubmitted, whether the constructionwill have an environmental impact.Only after the FCC determines thatthe proposed construction will nothave an adverse impact can an appli-cant file its Form 854 and register itsproposed tower. BE

Harry C. Martin is a member of Fletcher,Heald and Hildreth, PLC.

liSend questions and comments to:[email protected]

DatelineNoncommercial TV stations in

Illinois and Wisconsin must file theirbiennial ownership reports by Aug. 1.

By Aug. 1, TV and Class A TVstations in the following locationsmust place their 2011 EEO reportsin their public files and post themon their websites: California, Illinois,North Carolina, South Carolina andWisconsin.

The license renewal cycle beginsJune 1, 2012, for TV, Class A TV,TV translators and LPTV stationsin Maryland; Virginia; Washington,D.C.; and West Virginia. In thesestates, on April 1, 2012, TV, Class ATV and LPTVs that originate pro-gramming must begin their prefil-ing renewal announcements. Therenewal cycle continues region byregion until April 1, 2014, when sta-tions in Delaware and Pennsylvaniawill be the last to file for renewal.

June 2011 I broaticastengineering.com 17

TRANSITION TO DIGITALDIGITAL HANDBOOK

Media wrappersUnderstand the role media wrappers play in

extending the life of your content.

Broadcasting today relies onthe ingest, storage and play -out of content involvingmany different tape- and

file -based media. With the migrationtoward digital media, numerous me-dia container systems are now in useas well. An overview of these differentmedia packaging standards will makerepurposing of content to differentfixed, mobile and Web -based devicesa more manageable task.

Containers facilitatehandling of multipurposedcontent

A media container is essentially a"wrapper" that contains video, audioand data elements, and can function as afile entity or as an encapsulation meth-od for a live stream. Each of the variouscontainers used today is based on a par-ticular specification that describes howthe media elements are defined withinit. While containers usually do not de-scribe how data or metadata is encoded,specific containers will often constrain

BY ALDO CUGNINI

the types of video and audio containedwithin, often excluding other types.Containers can be assembled offlineand then stored as finite computer files.They can also be generated on the flyand transmitted to real-time receivingdevices. A real-time container is thusan open-ended stream, not necessarilyintended for storage. Receiving devices,however, can capture such a stream andstore it as a file.

The most familiar container todigital broadcasters is the MPEGtransport stream, which almost al-ways contains an MPEG video streamand some form of audio stream,such as Dolby Digital in ATSC sys-tems and MPEG audio in DVB sys-tems. The MPEG transport stream iscomprised of various layers, enablingmedia players (i.e., TVs, etc.) to quick-ly parse the stream and select the de-sired elements. This enables decodersto easily separate out video and au-dio, and data elements such as EPG.Transport streams are also assembledin such a way that multiple programs

FRAME GRAB A look at tomorrow's technology

Top three mobile video revenue content ownersESPN is projected to make $53.6 million from mobile video in 2011.

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can be easily and separately accessed.Specific elements of the transportstream include packets, containing theelementary data; PIDs (packet IDs),which can address elements such as el-ementary streams; programs; and pro-gram specific information (PSI). Nullpackets are also inserted into transportstreams to satisfy bit rate requirementsof the stream.

Alternate containers emergeWhen digital video became vi-

able on consumer devices, the rapidavailability of sizeable storage on PCsmeant that media could be stored lo-cally within files. Various containerproviders thus emerged in a competi-tive fashion, each with its own set ofcompatibilities (or not).

Microsoft Advanced Systems For-mat (ASF) is an extensible file formatcomprising one or more digital mediastreams; the most common file typescontained within an ASF file are Win-dows Media Audio (WMA) and Win-dows Media Video (WMV). ASF filesare logically composed of three typesof top-level objects: a header object,a data object and the index object(s).The header object contains a recog-nizable start sequence identifying thefile (or stream) and generally containsmetadata about the file. The data ob-ject contains all of the digital mediadata, which can be defined as havinga stream property or a file property.The index object can contain time -

and/or frame -based content indicespointing to locations within the digi-tal media. Although ASF files may beedited, ASF is specifically designed forstreaming and/or local playback.

Apple QuickTime (QT or MOV) isa container format that encapsulatesone or more tracks, each of whichstores audio, video, effects or text.


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TRANSITION TO DIGITALDIGITAL HANDBOOK

Each track contains either a mediastream or a data reference to a mediastream located in another file, andthese tracks are arranged in a hierar-chical data structure consisting of ob-jects called "atoms." One advantage ofthis track structure is that it enablesin -place editing of the files withoutrequiring rewriting after editing. Thevarious video codecs that can be en-capsulated in QuickTime includeMPEG-4 Part 2, H.264 (MPEG-4Part-10/AVC), DivX, 3ivx, H.263 andFLV1 (Sorenson H.263). The MPEG-4Part 14 (MP4) multimedia containerformat is essentially an extensionof the ISO base media file format(MPEG-4 Part 12), which was basedon the QuickTime file format.

Adobe Flash (FLU), which has be-come popular on the Internet, mostoften contains video encoded using So-renson Spark, On2 Technologies' VP6compression, or H.264. (0n2 claimsthat VP6 offers better image qual-ity and faster decoding performancethan other codecs, including WindowsMedia Video, Real Media, H.264 andQuickTime MPEG-4.) A different ver-sion of the Flash container format isF4V, which is based on MPEG-4 Part12, and supports H.264.

RealMedia (RM) carries the proprie-tary RealVideo and RealAudio streams.

RealVideo was originally based onH.263, but is now a proprietary videocodec. A RealMedia file consists of aseries of chunks, each of which carriesinformation on data type, size, ver-sion, and of course, the video and au-dio payload. Content description andmetadata can be carried as well.

The Material eXchange Format(MXF), defined by SMPTE-377M, isa file format that encapsulates video,audio, metadata and other bit streams("essences"). MXF was initially tar-geted to production, as a middle -state format for content exchangeand archiving; the container formatis specifically called MXF_GC, forMXF Generic Container. MXF_GCis "fully streamable," i.e., A/V contentcan be continuously decoded throughmechanisms such as interleaving es-sence components with stream -basedmetadata. The benefits of MXF in-clude interoperability, a high level ofsophistication and the use of interna-tional standards.

Structurally, MXF is comprised of afile header, file body and file footer. Theheader contains file identification andmetadata, the latter including timingand synchronization parameters. Thefile body incorporates the data essence,i.e., video, audio and other media. Thefooter closes out the MXF file.

MXF also shares a common objectmodel with the Advanced AuthoringFormat (AAF), a sophisticated datamodel and software toolset that al-lows post -production devices to shareessence data and metadata. MXF cantherefore store completed works withmetadata, allowing for a viable meansof tape replacement. It can also pack-age together a playlist of files and storethe synchronization information, aswell as store cuts -only EDLs and thematerial they affect. Another strengthof MXF is that it can encapsulate au-dio and video of any compressionformat, making it truly universal.

ConclusionWith the continuing evolution of

container formats and storage media,content archiving is increasingly sus-ceptible to "data rot," where an origi-nal version of material will eventuallyrequire migration to various (newer)storage means. As if efficient work-flow wasn't enough of a challenge,short- and long-term planning (andbudgets) must consider the growingissue of content permanence. BE

Aldo Cugnini is a consultant in the digitaltelevision industry.

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COMPUTERS & NETWORKSDIGITAL HANDBOOK

MetadataAs facilities move to file -based workflows,

understanding metadata is important.

By now, most engineers haveheard that metadata refersto data about data. As fa-cilities move from tape to

files, and from tight integration toservice oriented -media workflows, itbecomes critical for engineers to havea solid understanding of this impor-tant topic.

The definition of metadata as "dataabout data" may be accurate, but itis perhaps not entirely useful. Revis-ing the definition a bit, in our indus-try, metadata typically refers to dataabout the video and audio - the es-sence of the program. System design-ers have found it useful to distinguishbetween essence and metadata. Butjust as things are starting to becomeclear, someone may ask, "What aboutclosed captioning? Surely that is data- right? How about time code?"

When talking about data in relationto video and audio, it is important toask yourself whether the data you aretalking about is part of the program(essence), or whether it is descrip-tive information about the program(metadata). Using this as a guide,

BY BRAD GILMER

we can classify different elements ofa program as either essence or meta -data. (See Table 1.)

Essential metadata vs.descriptive metadata

The types of metadata are practi-cally limitless. Metadata can includeidentifiers, time code, geospatial dataand even free -form user metadatasuch as field notes entered by a cameraperson. That said, there are two mainclassifications of metadata that can

metadata describes the essence. Ex-amples include house number, title,program length, sponsor or adver-tiser, and ISCI code.

It is useful to divide metadata intothese two classifications because, incases where data storage space is se-verely limited, it may be that onlyessential metadata is stored with thecontent. As we move further awayfrom legacy videotape -oriented sys-tems, storage space for metadata be-comes less of a problem.

As facilities move from tape to files,and from tight integration to service -

oriented media workflows, it becomescritical for engineers to have a solid

understanding of this important topic.

be useful. The first is essential meta -data. Essential metadata is data thatis critical in order to play the content.Examples include unique identifier,frame rate, compression coding pa-rameters and time code. The secondis descriptive metadata. Descriptive

Essence data Metadata

Video Identifier

Audio Time code

Descriptive video Video frame rate

Captioning Audio sample rate

Subtitling Video compression parameters

Graphics overlays Audio compression parameters

Title

Program length

Sponsor or advertiser

Table 1. This table contrasts essence with metadata. Note that not all essence isvideo or audio. Closed captioning is considered essence as well.

In Table 1, some of these classifi-cations may seem arbitrary. To someextent, this is true. Is AFD essencedata or metadata? Is a house num-ber essential metadata or descriptivemetadata? It may depend upon thesystems involved. While there is nodefinitive answer to these questions,the concepts of essence, metadata,essential metadata and descriptivemetadata can be helpful as you learnmore about this topic.

Media identificationOne can argue that the most critical

metadata component is the identifierassigned to the essence. After all, oncethe tape is converted to a file, thereare only two ways to identify the con-tent - either by the file name or byan identifier that is closely associatedwith the content. Gone is the trustylabel stuck to the cassette.

In many facilities, file names areused to identify the content of a file,


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and this can work very well. Butthere are some problems with thisapproach. First, in many cases, noth-ing enforces file naming conven-tions beyond a policy that has beenestablished by the company. This isgood because changing your namingconvention is as simple as sending amemo or an e-mail. But this is badbecause you are tied to the file namelimitations of the operating system.Another issue is that the file name can

always 50555. This system workedwell until we accidently promoted lastweek's Friday night movie because noone had replaced the old promo withthe new one. Even though we knewthere was a problem with our num-bering system, we continued to use ituntil we accidently played a nationalautomobile commercial during thewrong week. I do not remember theparticulars, but I do remember somevery uncomfortable meetings over

As you transition to file -based workflows,it is a good idea to spend time with yourvendors, understanding how metadatais treated in a wide variety of scenarios.

be easily changed. Again, this can be agood thing because some workflowsmay rely on the name of the file be-ing changed once a QC check or someother step has been performed onthe file. But this could be a problembecause the workflow process relieson humans to correctly type the filename and to correctly change the filename as the work progresses throughyour system.

Finally, the strongest argument fornot using file names for identificationis that there is no guarantee that thefile name is unique. This can causesome major headaches, which I willget to later.

In many master control operations,content is identified by a house num-ber. House numbers are typically as-signed by the traffic or programmingdepartments, they are internally gen-erated, and they are used by variouscomputer systems to identify contentin the facility. House numbers may beincorporated into file names, and theymay also appear within the metadataof the file itself. Unfortunately, mosthouse number systems suffer fromthe same limitations as file name sys-tems previously discussed. In fact,a long time ago, a station where Iworked used the same house num-bers over and over. The promo for theFriday night movie, for example, was

the issue. Finally, we stopped reusinghouse numbers and went to a differ-ent system.

The MXF standard specifies thatunique media identifiers (UMIDs)be used as labels within the MXFfile to uniquely identify the content.UMIDs are computer -generated 16 -byte strings that can be locally gener-ated, meaning that you do not needany outside references to create theUMID. Statistically, UMIDs are al-most guaranteed to be unique. Thismeans that it is possible to uniquelyidentify a piece of media no matterwhere that content came from. Onerub is that UMIDs are not meant toconvey any information at all in andof themselves. For many media com-panies, it can be challenging to stoprelying on the media ID as a way toconvey information about the con-tent. But file -based workflows relyon unique identifiers. In fact, it is akey assumption that the identifiersare unique.

The topic of media identificationin metadata is an important one, andI expect you will see more on thistopic as more companies move to file -based workflows.

Metadata synchronizationRecently, the industry has spent

a lot of time focusing on metadata

contained in file wrappers. This isgreat, because without some consis-tency in how we treat metadata, in-teroperability at the file level is impos-sible. But one question facing systemarchitects is how we can ensure meta -data synchronization. Remember thatmetadata is not only contained in filewrappers, but it is also contained indatabases that are used in many plac-es in our facility. What should we dowhen metadata is modified? Shouldwe always strive to ensure that themetadata in the file header matcheswhat is contained in the database?Since it takes time to modify metadatain file headers, should we only modifythe file header metadata to match thedatabase when we export the file? Per-haps the best approach would be towrite the minimum metadata to thefile header and keep all the rest of thenonessential metadata in the database.This is fine, but some media facilitieswant to be able to rebuild metadatacontained in databases from the meta -data contained in the files in the caseof a database failure.

There are no easy answers. Metada-ta is a complex topic, and thinking onthis topic is evolving. As you transitionto file -based workflows, it is a goodidea to spend time with your vendors,understanding how metadata is treat-ed in a wide variety of scenarios. BE

Brad Gilmer is president of Gilmer &Associates, executive director of theAdvanced Media Workflow Associationand executive director of the VideoServices Forum.

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PRODUCTION ROOMDIGITAL HANDBOOK

Audio in postAs the audio post industry moves toward

all -digital 5.1, sync issues still exist.

Audio post has gonethrough some significantchanges over the years.Once upon a time, the

technologies used to create video andaudio were separate and distinct, andthe process of marrying audio to afinished picture involved synchro-nization and format problems thatcould be harrowing. The maturationof digital recording and the marketdomination of ProTools have madethe process more routine. But havethe problems disappeared? Or, havethey morphed into issues that makeaudio post production in 2011 aspressured an industry as it ever was?

The home studio revolutionFor starters, let's consider the home

studio revolution that fundamen-tally altered the way records - atleast most of them, including majorstudio releases - are produced andrecorded. The Alesis ADAT broughthigh -quality digital recording equip-ment into the price range of everyworking musician on the planet, orso it seemed. One by one, studiosthat relied on soup to nuts trackingand mixing to meet payroll began tostruggle. Many, including a numberof the most highly regarded facilitiesin the business, went under.

Audio post remained largely unaf-fected at first because multiple ana-log and digital formats (high pricedfor the most part) kept fighting withone another. When Avid purchasedDigiDesign, the deal was essentiallysealed, but it took another decadeor so for things to shake out and forPro Tools to climb the throne anddeclare itself the king of all recordingformats for all applications, includingaudio post. Assured that the equip-ment they invested in would allow for

BY GARY FSKOW

seamless transitions from homes tomajor post facilities, audio post spe-cialists began beefing up their projectstudios, just as their recording breth-ren had done a few years earlier.

Skills that don'tcome in a box

According to Ren Klyce, who mixedthe music to "The Social Network"(for which composers Trent Reznorand Atticus Ross won Oscars), majorrecording studios, like Plant Studios

the still developing state of digital re-cording technologies. Manchester hasengineered scores for three AcademyAward -winning films ("The Depart-ed," "Frida" and "The Red Violin").He's also a music mixer for NBC's"Late Night with Jimmy Fallon:'

He says the line between the pro-sumer and pro markets has mud-died things up, and budget -consciousproducers often hire inexperiencedaudio engineers, causing quality con-trol to suffer.

This Touring Video entertainment truck features a Stagetec 32 -fader, 110 -channelCRESCENDO digital audio mixing console.

where Stevie Wonder once recorded,are closing down. He says the dangeris that the next generation won't beaware of the possibilities that high -end recording studios bring.

Looking to work on the cheap canforce producers into a corner as well.Klyce says some aspects of the processhave gotten easier as the technologyhas developed, but that turning out aquality product involves a certain skilllevel that can't be put into a box.

Lawrence Manchester seconds whatKlyce has to say about the relation-ship between budgetary pressure and

It's one thing for a picture editor touse the audio tools that are packagedwith Avid, Final Cut Pro or severalof the other prominent picture edit-ing software packages. Some of theseproducts are very good, and high -quality music libraries are availableon CDs and as downloads that makeit very easy to match sound to pic-ture. Some products - Sonicfire Pro5 comes to mind - are available asplug -ins, and the best of them makeit remarkably easy to tailor prere-corded music tracks to the needs ofyour video.

28 broadcastengineering.com J June 2011

PRODUCTION ROOMDIGITAL HANDBOOK

If your picture editor is pickingmusic beds and cutting them to pic-ture but by default becomes the finalstop on the train, be careful. Accord-ing to Manchester, the layback pro-cess has become a huge issue. Forexample, channels are misassignedor discarded altogether, particu-larly when a project has been mixedin 5.1.

As the industry moves down theroad to an all -digital, 5.1 pathway,producers have to make some keychoices. It's not much more expensiveto mix in 5.1 than stereo. All of themajor DAWs have routing matricesthat handle the task routinely. Thelarger question involves the operatorand how skilled he or she is at han-dling the creative and technical issuesthat multichannel formats present.

Sync issues still thriveWith the ascension of a single au-

dio format (for the most part), youmight have thought that synchroni-zation issues were a thing of the past.They're not.

Klyce says filmmakers used toshoot on film, and audio was trackedon a separate tape machine. Therewere slates that let everyone through-out the process know the details of ascene. Today, people believe that digi-tal solves all problems, and it doesn't.Sync issues can occur due to satel-lite, cable broadcasting and plasmascreens, which introduce latency dif-ferently than other digital screens.

"Many young filmmakers are un-aware of the fact that drift occurs indigital media. And there is what I callthe 'ProTools dilemma' - the variouspull up and pull down menus, samplerate conversions - all designed to fixproblems that should have been sortedout prior to production," Klyce says.

Today, peoplebelieve that digitalsolves all problems,and it doesn't. Sync

issues can occurdue to satellite,

cable broadcastingand plasma screens.

According to Manchester, syncproblems are not going away. "Thingsget hairy in post production," he says.

For example, a singer will performover a prerecorded track, which isthen played back on set during a filmshoot. It's critical that the picture edi-tor understands how to sync that au-dio to video. The editor should knowthe sample rate of the recording andat what speed it was played back onset. A major source of difficulty stemsfrom of the fact that post productionis all done in video formats even if theoriginal material was shot on film.

Automation is a blessing, but it canbe a curse for both video and audioeditors. Along with the digitization of

source material, it's led producers tobelieve that changes can be made upto the last minute. Young assistantsare often tasked with conformingwork "prints" (what an antiquatedterm!) and delivering them to audiospecialists. This is often where syncproblems arise.

The audio apprenticeThe apprentice phase used to last

longer, in large part because the tech-nology was expensive and not manypeople had access to it at any onepoint. The democratization of au-dio and video technology has been amixed bag; it's allowed more peopleto experience the creative process, butthey climb into the arena with lesstraining than ever before.

The lesson? If you're thinkingabout entering the audio post indus-try, do your homework. If you're aproducer in the process of selectingan audio post house or independentprofessional to work with, make surethat person is on top of his game. BE

Gary Eskow is a composer and journalistwho reports on the audio post industry.

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NEW MEDIA NETWORKSSYSTEMS INTEGRATION

LTFS and LTO-5The open file standard supports workflows for

broadcast organizations.

LTO -5 is the fifth generationof LTO tape, a tape formatdeveloped over the last de-cade by the LTO Program,

a consortium of manufacturers con-sisting of HP, IBM and Quantum.Since its inception, LTO has grownto become one of the de facto tapeformats installed in tape libraries bybroadcast -centric organizations im-plementing tape- and disk -based ar-chives. LTO-5 media can store 1.5TBof uncompressed material and writeat a speed of up to 140MB/s.

What is the LinearTape FileSystem (LTFS)?

Is LTFS yet another file formatthat broadcasters should try to un-derstand, or is it genuinely going toadd value to the way we work in theindustry? Perhaps the first consider-ation is that LTFS is truly not a fileformat, nor even a wrapper. It's anew way of writing data to standard,off-the-peg IT storage media. Moreimportantly, for the first time it pres-ents an open standard for broadcast-ers that can provide real interoper-ability between systems.

Open standardinteroperability

LTFS is an open standard. Any tapewritten according to the LTFS specifi-cation can be read by any other sys-tem using the same specification. (SeeFigures 1 and 2 on page 32.) This en-ables true interoperability and pres-ents several implications. Not onlydoes this suggest the evolution ofnew workflows, but once -proprietarydata is now opened up to be availableacross different vendors. This elimi-nates issues surrounding material vi-ability in the event of irretrievable sys-tem damage, or even business -level,

BY HOWARD TWINF

On location rawfeed capture

1111!".cilIngest

Archive managementsystem (Vendor A)

Media assetmanagement

system

Nearline Tape librarydisk storage

Non-LTFStape

(proprietary)

Secondary archivemanagement system(same Vendor A)

Non-LTFStape

(proprietary)

Tapelmetadafexport process

Figure 1. In non-LTFS workflows, media can only be exported to same -vendorproprietary systems, often using an additional export process that may bechargeable.

vendor -specific failures. This interop-erability was demonstrated by mul-tiple vendors at the 2011 NAB Show.

Simple transfers usingstandard device drivers

Those in the business of managingLTO drives can download the LTFSspecification and develop their codeto that standard at a base level. How-ever, not everyone is in a position or

to be directly connected to PCs, Macsand Linux machines, operating ata much higher level than base -levelSCSI commands.

The simplicity of this means thatusers (and not developers) can add asingle tape drive to a small-scale sys-tem in the same way they would add aUSB hard drive, for example. Simplybuy the drive, download the appropri-ate drivers, install them and connect

Any tape written according to the LTFSspecification can be read by any othersystem using the same specification.This enables true interoperability and

presents several implications.

has a requirement to deal with low-level SCSI commands to write a fewmedia files to backup tape. One ofthe real advantages of LTFS is that themajor drive manufacturers (HP andIBM) also provide operating systemdrivers that allow LTO-5 tape drives

the drive. This then provides the userwith the ability to use any operatingsystem file management tool to movecontent into previously locked -down,high -capacity LTO storage. UsingWindows Explorer, for example, filescan be simply dragged and dropped

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from the server to the tape. Thelong-term gain for this is the abilityto store large amounts of data (1.5TBper cartridge) for long periods of timewithout the power considerations ofdisk. Tracking tapes on the shelf withthe content they contain becomes aconsideration, but it's no more an is-sue than it was with videotape.

Structure ofLTFS-formatted tapes

Traditionally, data tape formatshave not suited the stand-alone ap-plications as described above verywell because of the distributed na-ture of data on the physical tape. Forthe first time, LTFS provides an areaon tape that is specifically designedto describe the contents. This is

achieved by dividing, or partitioning,the tape into two areas: the data par-tition for the raw data and the indexpartition for this descriptive data.The function of the index partitionis to provide faster access to the rawdata; think of it as a lookup table thatpoints to the data.

Before the advent of this on -tapeindex information, any controllingsystem would need to scan the wholetape at read speed to extract the posi-tion of the raw data into its own indexformat. For an entire LTO-5 tape, thiscould take about three hours. Howev-er, time taken for data cataloguing isnot the only issue. Once the position-ing information has been extracted,it has to be stored somewhere. Tradi-tionally, this would be a database thatforms the heart of a content manage-ment system. Of course, the additionof a content management system in-creases the price and complexity ofthe system considerably. LTFS negatesthe requirement for this complexity.

LTFS and contentmanagement systems

LTFS clearly has a place for small-scale applications, but what about en-terprise -level systems that have com-plex workflows, media asset manage-ment platforms and cavernous tapelibraries with thousands of tapes?

Perhaps the most obvious applicationfor LTFS here is the ability to protectthe assets over a long period of time.The open standard approach of LTFSmeans that the intellectual propertyrequired to access media can now behanded back to the content owner.This raises the question: Why wouldanyone need a content managementsystem to control an archive?

types of systems and the archive stillhave to be used, along with a databaseat the core to track assets.

Content deliveryWhere LTFS really comes into its

own is the ability to deliver contentdirectly into the archive, bypassingthe need to ingest from videotape,etc. Intelligent archive systems can

On location rawfeed capture

Portable Clihard disk

LTFS tape IF

PC, Mac, Linux usingLTFS driver (HP, IBM)

Tapelibrary

LTFSstandalone

drive

Secondary archivemanagement system(same Vendor B)

Archive managementsystem (Vendor Al

Nearlinedisk storage

Metadata/UIDpublished to

MAM Media assetmanagement

system

Figure 2. LTFS enables new workflows making full use of the interoperability thatis key to the technology, allowing free exchange of material between disparatesystems.

The answer lies in the integra-tion to other essential business sys-tems (sales, billing, playout and assetmanagement, for example). There is,

quickly read the index informationfrom an LTFS-formatted tape (thatmay, for example, have been used onlocation to capture material directly

Where LTFS really comes into its ownis the ability to deliver content directlyinto the archive, bypassing the need

to ingest from videotape, etc.

however, a technical disadvantage toLTFS in these larger -scale environ-ments, and that lies with its inability totrack and identify content. Any MAM,billing or automation system uses aunique identifier (UID) and a data-base to track and identify individualclips and content. LTFS does not sup-port this concept of UIDs, nor does ithave the ability to a hold a UID in itsnative metadata structure. Therefore,the existing interfaces between these

from HD cameras or intermediatedisks) and directly assign UIDs to thecontent, populate the archive databaseand generate a low -resolution proxy(used for editing). Once the materialis safely held in the archive, the man-agement system can publish notifica-tion back to any external system tobegin the synchronization process.

A master MAM system that wouldnormally push content into thearchive may use place holders for this


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newly arrived material. In this sce-nario, the filename may have to be thesame as the UID (or temporary UID)from the archive management sys-tem, assigned and either adopted bythe MAM system or changed in thearchive to match. Either way, only mi-nor changes to connecting APIs needto be made to adopt this approach.

An additional application forLTFS with a larger archive repositoryis the export of content for other ex-ternal systems. It is quite likely thatwe're going to see the adoption ofvideotape -like workflows with LTOdata tapes, and files replacing con-ventional videotape.

LTFS vs. AXF7The interoperability of LTFS has

already drawn comparison with theArchive Exchange Format (AXF),which is under design by SMPTE incollaboration with major broadcast

archive vendors. It's designed to offeran archive format that can be freelywritten and interpreted by multiplevendors, thereby providing interoper-ability between previously disparatesystems. The open standard nature ofLTFS also allows this interoperability:Tapes written in LTFS format can beexchanged between systems and thedata populated into the outlying de-partments. However, where AXF is abroadcast -only format, the IT natureof LTFS presents a format that oper-ates within the broadcast arena whilebeing accessible to nonbroadcast de-partments. Additionally, AXF maynot become a ratified standard untillater in 2012.

ConclusionSome of the benefits of LTFS include:

Tape content can be written to anLTFS archive group and exported toother systems;

The exported tape, containing up to1.5TB of data, can be transported toanother LTFS-compatible system andimported, populating MAM or othersystems;

LTFS enables a single tape drive tobe connected to a workstation (run-ning Windows, Linux or Mac), withdata accessible in a Windows -styledrag -and -drop interface;

LTFS provides an index partition al-lowing the archive to write file meta-

data, including positional informationfor rapid access.

LTFS is not simply another solu-tion looking for a problem. Thereare certainly several genuine ap-plications in the broadcast, mediaand entertainment industry, and asthe technology is adopted, more arelikely to become apparent. BE

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VIDEO-OVER-IPCONTRIBUTION SYSTEMStreambox Live Pro

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DI WORKSTATIONDVS CLIPSTER

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MULTICHANNEL MEDIA SERVER

Harmonic Omneon Spectrum MediaCenter

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Portable and compact playback device based on the newIntel Thunderbolt; provides full -resolution, dual -stream3-D performance; has a 12 -bit hardware architecture; fea-tures dual -link 3Gb/s SDI, support for up to 1080p60 inSDI and component analog and HDMI 1.4a, as well as fullSD, HD and 2K support; provides AES/EBU digital audiocapture and playback.

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ROUTER CONTROL PANELS

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FILE -BASED NEWSROOM SOLUTION PORTABLE MEDIA STORAGEAvid NewsVision 2.0 EVS Xfly

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DataDirect Networks NAS Scaler

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MONITORING AND CONTROLSYSTEM

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WEATHER AND NEWS PLATFORMBaron Omni 3

Features PowerSuite, which supportsfaster and easier use; additional featuresinclude keyframe animations and camerasystem supporting full 3D movement;offers customizable animations for 3Dgraphic panels and models, includingseven-day forecasts and city models; hasmirrored planes and multisource 3Dlighting; includes social media tools, 2Dand 3D graphics, and animations.

256-881-8811www.baronservices.com

1 1111 3GSIGNAL ENGLowest end to end delay:2-4 seconds in full D1 or HD video mode

Weight of Backpack Model: 3.5kg (7.5Lbs)

Longest Battery life:2-3 hours with internal battery (Optional external battery)

Fastest start-up time:2-3 mm from cold -start

Many inputs to choose from:Composite, Fire -wire or SDI

One touch operation

Fastest return On investment (ROI):Most competitive price in the market

Highest picture quality:H.264 High Profile AVC hardware encoding

Any data platform:2G, 3G, 4G (E.Edge, HSPDA, CDMA, Wimax, LTE)

Can be used in a vehicle moving up to 80 km/hour speed

Signal Telecommunications, Inc.274 East Center St.Wind Gap, PA 18091Phone 1-212-2171900Fax 1-484 292 1055irdo(esignal3g.cornWWW s!gnal3g.com

Signal 3G Back Pack Model

46 broadcastengineering.comlJune 2011

Always the Best.Now Even More Choices.

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Broadcasters have been relying on Utah Scientific Master Control Switchers for more than

thirty years. From major national networks to local market stations, they have all sharedthe rock solid performance and reliability and the peace of mind that comes from trusting

your station's revenue stream to a Utah Master Control Switcher.

Now this amazingly flexible family of switchers offers an even wider range of exciting new

models and options to address today's demanding on -air environment:

Internal and External Squeeze Options for all models.

Powerful graphics solutions for snipes, logos, and automated display of external data.

A new multi -channel control panel with advanced control features.

A new plug-in channel processor with even more power.

When you put these new switchers together with the industry's most experienced systemdesign and tech support personnel, you are guaranteed to have an on -air system thatis perfectly suited to your requirements - and still flexible enough to adapt to the ever-changing requirements of the on -a r world.

Utah Scientific is the worldwide leader in routing and master control systems.Contact us today for full details on how we can help you solve your master control problems.

The Best in the Businesslai-7-7 Utah Scientific

NAB REPLAY

PRODUCTJACKPOT

SPORTS PRODUCTION SUITE

Dalet Digital Media Systems Dalet Sports Factory

Offers new, fast sports production tools fully integrated within an enterprise MAMplatform; highlights and replay components cover logging, play-by-play highlightsand playback, and instant replay with multiple camera angles and slow motion; logsmedia once and makes it immediately available for use in programs and packages;designed on the open Dalet MAM platform; integrates with industry -standard broad-cast systems.

212-269-6700; www.dalet.com

RF Signal GeneratorsThere's always room for improvement

The Agilent N5181A-503 is an excellent 100 kHz to 3 GHz signal generator.

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Still, we saw room for improvement ... S/V. 7/9

Extending the frequency range to 4GHz Going all the way down to DC

Adding a low -noise OCXO timebaseMaking AM, FM, OM & PM all standardAnd, cutting the price (about in half)

Introducing the SG384 RF Signal Generator ...

1)C to 4 611:

$4,600

STANFORD RESEARCH SYSTEMS I MODEL 56384 05 GHT SIGNAL GENERATOR

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You'll even like the fine print: Standard features: DC to 4.05 GHz with 1 µHz resolution. Outputpower from +13 dBm to -110 dBm. Phase noise of -116 dBc/Hz at 20 kHz offset from I GHz.10 MHz timebase input and output. AM, FM, OM, pulse modulation and sweeps from internalor external sources. Ethernet, GPIB, and RS -232 interfaces. Option 1: Differential clock outputs($750). Option 2: 8 GHz output doubler ($750). Option 3: I/Q modulation inputs ($750).Option 4: Rubidium timebase for 0.001 ppm/yr aging ($1500).

4 SRS Stanford Research Systems Tel: 408-744-9040www.thinkSRS.com

REMOTE CAMERA CONTROLLER

Azzurro AzzurroCam - RemoteVersion

Provides sports leagues and news net-works the ability to centrally managemultiple remote sites equipped withsingle or multiple cameras; features asimple GUI that can be modified to runon touch -screen applications; package in-cludes a Sony robotic HD/SD camera plusremotely -controllable audio mixing, IFBand four -outlet DMX lighting dimmer.

201-767-0850; www.azzurrosi.com

MULTIFORMAT SWITCHERBarco FSN

Combines advanced multiformat pro-duction and presentation switching ofmultiple video and graphics inputs in onecommon, integrated unit; a new remotecontrol panel (RCP -120) enables usersto remotely route sources to the FSN auxoutputs; the RCP -120 is fully integratedwith the FSN system through dedicatedsetup and configuration menus.

678-475-8000; www.barco.com

FILE SOFTWARE

Aspera Sync 1.0

Multidirectional file replication and syn-chronization software engine; supportsthe largest file stores with millions ofindividual files and the largest file sizes;designed to overcome the bottlenecks ofconventional synchronization tools; scalesup for maximum speed replication andsynchronization over WANs ; can be con-figured to run continuously for real-timesynchronization or trigger replicationsmanually or automatically.

510-849-2386; http://asperasoft.com


CIGITAL EXCITER

Introducing the AT8001 Digitai ExciterMOBILE DTV READY FLASH -CUT CAPABLE SFN COMPATIBLE

Packed with features and options sobroadcasters can do more with less!

Linear's new 8001 series of Exciters are

feature -rich with options based key code

programming that puts you in the driver's

seat to deploy what you want-when you

want it. Its unparalleled Non -Linear Pre -

Correction capabilities deliver Memory

Effects Compensation and Crest Factor

Reduction, providing maximum amplifier

efficiency and more Watts per Dollar.

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FEATURE AND OPTION HIGHLIGHTS

A Linear pre -correction with 4 ps peak -peak

group delay capability

A Scheduler software to run corrections/

measurements at scheduled times

A Internal GPS receiver

A Internal OCXO with +-50 ppb frequency

stability

A Selectable Timebase reference: Free run,

Internal GPS, External 10 MHz, External 1

PPS, or Incoming Transport Stream.

A Proprietary Bandwidth Reduction Technology

A Use of Non-linear Pre -correction with Crest

Factor Reduction leads to a 1.9dB analog

peak sync/8VSB average power ratio

A Operates in VHF (BI-BIII) & UHF

Igital. Be er

Linear Industries, Inc. 2531 Technology Dr., Suite 310 A Elgin, IL 60124, USA A 1.847.428.5793 A www.Iinear-tv.com

©2011 Linear Industries. All rights reserved. Linear Industries Inc. strives to present accurate product data but reserves the right to change specifications without prior notice.LINEAR products, features arid

technology may be covered by one or more U.S. or foreign patents.

JACKPO1

NAB REP L,

TPRODUCT

PRODUCTION SWITCHER

Broadcast Pix Granite

1M/E control panel provides faster accessto Granite's video and file -based content;features 16 input buttons, six keyer but-tons and key priority controls with mne-monics for output assignments; whencombined with Granite's Fluent file -basedworkflow software, a single operator caneasily create highly compelling live video.

978-600-1100www.broadcastpix.com

TELEPROMPTER

Autocue Master Series

LED -backlit, 12in teleprompter monitordelivers significant weight and volumereductions; features in -board cable man-agement and a dimmable tally light; pack-aged with a robust bracket set, flexiblemounting plate and a new version of thewide-angle hood as standard; hood holdsthe glass in a separate hinged frame to al-low instant access for maintenance andreplacement, as well as a hidden compart-ment for cleaning cloth and solution.

212-929-7755; www.autocue.com

NETWORK MEDIA PROCESSOR

Envivio Halo

Distributed content packaging and deliv-ery solution encrypts, packages and dis-tributes video streams for TV everywhereservices; supports Smooth Streaming andHTTP Live streaming; can process up to50 live multirate channels in Genesis for-mat; interfaces to leading DRM vendors;can be installed centrally or distributed inthe network.

650-243-2700; www.envivio.com

3-D/HD-SDI COAX CABLEClark Wire & Cable CD7506D

Core comprises two RG6 HD -SDI coaxialelements, each of which meets or exceedsSMPTE 292M and 424M specifications;features a durable, round constructionthat can be easily flexed, coiled or storedon cable reelers; outer jacket is extrudedfrom a low -temperature, abrasion -resis-tant TPE compound that is flexible instudio environments and rugged in hos-tile environments.

847-949-9944; www.clarkwire.com

High -Speed Recording in HD FormatVariable Frame Rate Camera: VFC-7000 Flash EYE

of

Continuous Innovation

riot!

FOR.INNOVATIONS IN VIDEOand AUDIO TECHNOLOGY

- Variable frame rate camera capable of high-speed recording in HD format

- Recording smed: High -Speed Shooting in HD full frame at 700 fps

- Recording set can be varied from 24 to 700 fps

- High-sensithrty :MOS color sensor

- Lens mount: = mount (PL mount option will be available)

- Electronic hich-speed shutter: Up to 1/200.000 second for recording fast subjects

without blur

- Recording time: Standard 9.8 sec.. Maximum 39.2 sec.

- Recording method. Endless recording with built-in memory. saved video can be

linked to an external trigger (start. center or end trigger style can be selected)

- Video output: Eq Upped with 2 channels of HD -SDI output (720p or 1080i)

Simultaneous output of live and recorded video

- Genlock capibiley (BB or Tri-level sync)

- Camera head nein body and recording component all in one

integrated stucture

- Also supports DC drive. makirg it optimal for

shooting out000s and in other environments

with no pow% source

www.for-a.com Head Office (Japan) Tel: +81 (0)3-3446-3936 USA Western (CA) Tel: +1 714-894-3311 USA Eastern & Midwest (NJ) Tel: +1 201-944-1120 USA Southern (FL) Tel: +1 305-931-1700 Latin America & Caribbean (FL) Tel: +1 305-931-1700 Canada (Toronto) Tel: +1 416-977-0343


NAB REPLAY

PRODUCTJACKPO

BRANDING FEATUREChyron Channel Box'

Channel branding system featuring2D/3D design with a complete data ac-quisition toolset; with Lyric technology,users can access any data - such as RSSfeeds, traffic, financial, weather, elections,closing tickets, promos and snipes - andpublish it on -air anywhere; has two SDIvideo inputs, one SDI video output plusone key; supports up to 32 channels ofembedded SDI.

631-845-2000; www.chyron.com

VIDEO ENCODER

Evertz 9782ENC

High -quality professional 8 -bit 4:2:0/4:2:2and 10 -bit 4:2:2 H.264 and MPEG-2 en-coder provides HD/SD encoding in a1RU frame; also available in multichannelencoding models that provide up to fourchannels of HD MPEG-2 or SD H.264encoding; feature -rich platform includeslow latency, noise reduction and scene cutdetection, eight pairs of MPEG-1 Layer IIencoding, VANC extraction and dual IP/ASI outputs.

905-335-3700; www.evertz.com

HD MIGRATION SOLUTIONFront Parch Digital SAMMAsoIo HD

Enables users to customize output mi-gration templates by specifying storageformats and usage goals, as well as thequality -control requirements of theirtape library; output files are stored lo-cally on the SAMMAsolo cache disk orcan be passed to any destination usingthe FTP gateway, or transferred to FrontPorch Digital's DIVArchive content stor-age management system.

303-440-7930; www.fpdigital.com

EAS SOFTWARE

Grass Valley Maestro

New software option for the Maestro sys-tem helps operators generate EAS textcrawls in either SD or HD; simple software(v2.4) upgrade for existing users with theGrass Valley Maestro Enhanced Brandingoption; tightly interfaces with a facility'sexisting EAS system while providing HDtext crawl capabilities; interfaces with alltypes of SAGE, TFT and DASDEC EASalerting systems.

503-526-8100; www.grassvalley.com

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HMSO SDI TIME CODEGENERATOR /CV

7hre ESE HD -488/17) Timt6 Code Reade,r, ltitet buerter

ESE introduces a new world of flexibility and features or time codewith the HD-488/SD Time Code Reader, Generator and Inserter forHD and SD Serial Digital Interface vide).

eiteratts/Irt,serts 77444.e. Code. US8 Setup- Atterface- User Pr.

Uffivers-ai Power Suppiy (90-264 VAC) Aeeept3- Maitipiz

Tapte,Zorte, Offset LCD ietuft-/Statu,s Dis NAG atiutt

142 Sierra StreetEl Segundo, CA 90245 USATel: (310) 322-2136

www.ese-web.com


WIRELESS LENS SERVO CONTROLFujinon WL-325A DigiPower servo

EiJ,A1111i.

Servo provides wireless control over Selectand Premier Series 2-D and 3-D lenses;features improved space for finger place-ment, a wider hand strap for increasedsupport, and reduced backlash for preciseand steady zoom movement; servo de-signed for Fujinon's Select Series of 2/3inand 1/tin lenses and Premier Series of2/3in and 1/tin HDTV lenses.

973-633-5600; www.fujinon.com

TRI-AMPLIFIED DSPMONITORING SYSTEMGenelec 1238CF

Compact three-way DSP monitoringloudspeaker includes a slim speaker en-closure, two 8in long -throw bass drivers,a 5in Genelec midrange driver and a linmetal dome tweeter, multiple power am-plifiers, digital signal processing circuitry,and active low-level crossovers; designedfor medium -size control rooms; capableof delivering sound pressure levels of upto 117dB maximum peak acoustic outputper pair, at a distance of 39.37in.

508-652-0900; www.genelecusa.com

SLOW-MOTION SYSTEMNewTek 3PIay 820

10 -channel slow-motion system (8x2);supports simultaneous display, recordingand instant replay of up to eight videostreams, each with up to four audio chan-nels; interpolated slow motion deliverssmooth playback; easily imports and ex-ports a wide variety of media file types;supports multiple playlists, includingtransitions and sound tracks along withlinear time code.

210-370-8220; www.newtek.com

livtouchBROADCAST SOLUTIONS

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AUTO -FILL

AUTO -BUG

LIVE PASS -THROUGH

MPEG-2, H.264 QUICKTIME, AVI

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RESUME IN PROGRESS

MULTIPLE OVERLAYS

EAS CRAWL

BXF IMPORT

AS -RUN EXPORT

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GRUSHWORKS.tvAUTOMATION & PRODUCTION SYSTEMS

www.RUSHWORKS.tv 888.894.7874


SOLID-STATE P2 RECORDER

Panasonic AG-HPD24 P2 deck

Features 3-D synchro-nized record/playback;provides native 24p re-cording with variableframe rates; has a super-fast USB 3.0 interface;features 24 -bit, four -channel audio recordingin AVC-Intra 100/50; en-ables playback and reviewof P2 cards on 3.5in, 16:9 LCD screen; offers an HD -SDI input; canbe synchronized for master -quality, full -resolution isolated left/rightchannel 3-D recording.

877-803-8492www.panasonic.com/business-solutions

TEST AND MEASUREMENT PLATFORMHamlet DigiScope DS900

Allows users to monitormultiple simultaneoustests on up to four signalson the same display; in-cludes an optional built-in test signal generatorand space for up to fourinput modules, whichcan be of mixed formats:analog and digital, com-posite or component, SD, HD or 3G; embedded audio can be de-coded from any input; an option is available for surround -soundmonitoring; housed in a compact, half -width IU cabinet.

866-442-6538; www.hamlet.co.uk

H.264 ENCODER

Haivision Makito 1.5

MaKtto

Supports constant bit -rate encoding to assure transport and sys-temwide compatibilities, and optionally real-time metadata capa-bilities; metadata option allows users to incorporate KLV metadatainto the compressed video stream with the data obtained fromthe serial port, from auxiliary data fields within the digital videostream, or from UDP network sources; provides H.264 encodingat up to 1080p60 with low end -to -end latencies.

514-334-5445; www.haivision.com

AUDIO PROCESSORJiinger T*AP

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A wide -band eight -than 'lel processor (8x1, 4x2, or 5.1+2) for TVplayout, studio and ingest facilities; provides two levels of audioprocessing; features flinger Audio's LEVEL MAGIC algorithm(ITU compliant), which is designed to adjust the level from anysource without pumping, breathing or distortion; also featuresSpectral Signature, which offers dynamic filters so that the soundcan be colored as desired.

+49 30 677 7210; www.junger-audio.com

Powering High -Performance

Audio &VideoWorkflows

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From capture through distribution, ATTO powers

high-performance audio & video workflows. Leading

industry solutions relly on ATTO to provide reliable

connectivity that is trusted by top audio & video

professionals. You can now have the same technology

that drives their success.

Experie/nce, fie. Solui-ionATTO -cep 'ttive to

716.691.1999 ext. 241

AT TOwww.attotech.com


NAB REPLAY

CAPRODUCTJACKPOTMULTIVIEWERSHarris HView

An IP multiviewer built for networkedenvironments; supports compressedvideo and audio feeds, as well as multiplecompression formats and resolutions; in-cludes support for virtual network con-trol with RSS display and multiformat IPstream decoding with visual alarming;also available as an HView Hybrid SXmultiviewer, which combines basebandand broadband monitoring with inte-grated test and measurement and VNCremote desktop control.

800-231-9673www.broadcast.harris.com

MOBILE WORKSTATIONHP EliteBook 8760W

Options include choice of Intel i5 and i7processors; offers up to 32GB of RAM onquad -core models; features a 17.3in screenand various hard disk options, includingSSD; ATI and NVIDIA ISV-certified work-station graphics available; supports up tofive displays simultaneously with certainATI graphics cards; weight starts at 7.661b.

866-625-0242; www.hp.com

AUDIO PROCESSORLinear Acoustic AERO.one

NI '-= 40 11111111 1:# -P7'" 11

Designed to provide a simple, cost-effec-tive solution to manage loudness, upmix-ing, metadata, signal routing and audiocoding; ideal for affiliate stations that needto match local and network content andprovide a seamless surround -sound expe-rience for viewers; available in three ver-sions: dual stereo (2+2), surround sound(5.1) and both (5.1+2); HD/SD-SDI I/Oand dual -power supplies are standard.

717-735-3611www.linearacoustic.com

SYSTEM MANAGEMENTTelestream Vantage Enterprise

Workflow products unify video capture,transcoding, analysis, metadata process-ing, delivery and notification into a single,managed, futureproof, workflow frame-work; available in two configurations:Vantage Enterprise Control and Van-tage Master Control; Vantage EnterpriseControl is a workflow management layerand suite of tools that maximizes work-flow capacity, resiliency, throughput andreliability for large-scale or mission -crit-ical applications; Vantage Master Controlis a higher -tier workflow managementlayer that adds visibility and manage-ment of complex video workflows andallows a unified ecosystem for multiven-dor products with centralized processcontrol and monitoring.

530-470-1300; www.telestream.net

HD STUDIO CAMERAIkegami HDK-97A

16 -bit portable companion -camera em-ploys new AIT CCD imagers and an all -new digital video processing system forhigh -quality picture detail and accuraterendition of color gradations; delivers achoice of 1080/60p 4:2:2 or 1080/60i 4:4:4color sampling; features a 3G fiber trans-mission system from the camera head toits CCU; transmission options include anHD -SDI QTV signal for teleprompter useand an HD -SDI trunk channel, which al-lows for connection of a second camerathat doesn't have its own built-in fibertransmission system.

201-368-9171; www.ikegami.com

SCALABLE STORAGE

Isilon X-200 series

Powerful yet simple scale -out storagearchitecture designed to speed accessto massive amounts of data; uses SSDtechnology; scales from a few terabytesto multiple petabytes and over 30Gb/sof throughput, all within a single filesystem; system cluster provides a singlepool of storage with a global namespace,eliminating the need to support multiplevolumes and file systems.

206-315-7500; www.isilon.com

IIIIIIIIIIAVITECH

One of a kind multiviewing.The Sequoia 4H.

Four HDMI inputs with mouse/keyboard control and touchscreen functionality.


PROHD CAMCORDERJVC GY-HM750U

Compact shoulder -mount camcorder,ideal for ENG news and sports; has three1920 x 1080 CCD imagers; includes Canon14:1 zoom lens; accommodates 1/3in bayo-net -mount lenses; records at up to 35Mb/s;supports HD in 720p, 1080p and 1080i;native file recording for Apple Final CutPro, Adobe Premiere and other major NLEsystems; records Sony XDCAM EX files.

800-582-5825; http://pro.jvc.com

SOFTWARE UPDATELawo V4.12 software

Adds support for Lawo's Remote App forApple's iPhone, iPod touch and iPad; addsAMBIT, a new upmix algorithm that offersautomatic high -quality stereo -to -5.1 con-version; adds support for a new 3G -SDIcard and a new GUI page for control of themxDSP card 64x64 summing matrix.

+49 7222 1002 0; www.Iawo.de

NAB REPLAY

PRODUCTJACKPO

FRESNELS

Litepanels Sole 6, Sole ENG

Capable of focusing output from a 70° to10° beam and dimming from 100 percentto zero with no color shift; Sola 6 has a 6inFresnel lens and draws 75W while pro-viding light output equivalent to a 650Wtungsten Fresnel; Sola ENG has a 3inFresnel lens, and is small and lightweightenough (just over 11b) for on -camera usein an ENG or remote application.

818-752-7009; www.Iitepanels.com

DIVASolutionsMigrate Manage Market your media

Media puzzles solved,Puzzled by media systems integration and workflow solutions?

Front Porch Digital brings you DIVASolutions, the world leader in integrated,video migration, management, and online publishing.

Our team of experienced video specialists is dedicated to supporting you24x7 in the design, delivery and implementation of modular, scalable solutionsthat ensure your success.

Solutions that work the way you do. It's that simple.

visit [email protected]

ni FRONT PORCH DIGITAL

June 2011 broadcastengineering.com 55

NAB REPLAY

-JACKPOT

CAMERA -TOP MONITOR

Marshall Electronics OR-901-3GSDI

Portable field/camera-top monitor; hasnine user -assignable function keys anda rotary menu system; video can be dis-played in three different aspect ratios; hasa built-in vectorscope; offers auto -sensing3G -SDI inputs and reclocked output; willde -embed and display up to 16 channelsof audio and allow the user to monitorany two channels at once.

310-333-0606; www.lcdracks.com

REMOTE PLAYOUT SYSTEM

PlayBox Technology Remote Playout

Provides a tapeless, file -based operationthat has two parts: one integrated with thebroadcast center and the other at the re-mote site; at the broadcast center, it is fullyintegrated into the current or preferredsystems including traffic, storage, MAM,ingest, transcoding and file transfer sys-tems; connects to the remote site's playoutequipment via the public Internet.

404-424-9283; www.playbox.tv

SATCOM TERMINALVISLINK News and EntertainmentAdvent NewsLite

Designed for use with current and newlightweight antenna systems; combinesthe performance of high -bandwidthbroadcast contribution feeds with theflexibility of BGAN-type newsgathering;creates new remote connectivity applica-tions; features ergonomic, IATA weight -compliant design for airport baggagehandling; modular electronics supporta broad range of satellite antennas; usestraditional satellite technology, WiFi and3G/ 4G networks, with the option of VIS-LINK's gateway functionality.

978-671-5700; www.vislink.com

MODULAR PROCESSORS

Snell IQ Modular 3G series

DIGITAL BROADCAST CONSOLE

Solid State Logic C100 HDS v4

Update enhances compatibility with ex-ternal studio systems, integration withMosart Medialab, support for Sony ELCand Ross OverDrive, and full -duplex con-nectivity with Riedel RockNet; featuresC -Play, which integrates a professionalaudio playout system into the consolesurface, delivering superior ergonomicsfor the operator and integrated recall ofplaylists with console projects; loop re-dundancy mode reduces the number ofcables required for redundant fiber systeminstallation and doubles the amount ofaudio signals that can be passed betweenthe console and the modular B -RIO I/Ounit; additionally features several sur-round production enhancements.

212-315-1111www.solidstatelogic.com

Provide flexible solutions for multiformat and HD facilities; processing IQUAV10 en-gine doubles as audio processor; fiber-optic interface modules support both coax andfiber; individual cards include format conversion, synchronization, audio embedding,de -embedding, aspect ratio conversion, video enhancement, legalization, audio gain,delay, mixing and channel routing.

818-556-2616; www.snellgroup.com

WWurner

Pre 1: 10Ptt NewsOW Preset I /0 MADI-8

64 CHANNELS OFAUDIO AT THE TWIST OF A KNOB

There are a lot of MADI products out there. Only one actually letsyou monitor your MADI, right in the rack. Introducing the MADI-8.

Monitor any 8 channels at a time from coax or optical inputs «Name channels and save presets for instant recall «

WWohler I ICONFIDENCE

I VIDEO

infoldwohlercom

Iwww.wohler.com

AUDIO I+1 888 5 WOHLER

CAPTIONING LOUDNESS

56 broadcastengineering.com 1June 2011

ON -CAMERA MONTIOR

TVLogic LVM-074W

Features a 1024 x 600 7in LED -backlitLCD panel housed in lightweight magne-sium alloy case; ideal for latest compactcinema cameras; offers waveform/vector-scope, built-in HDMI-to-SDI conversionoutput, horizontal and vertical image flip,focus assist, and studio level metering/monitoring; ColorFast Sensor adjusts lu-minance and color automatically as LCDpanel temperature changes so that chro-ma and luma drift does not occur.

818-567-4900; www.tvlogicusa.com

ROUTER SIGNAL PROCESSING

Utah Scientific UTAH -400

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New feature adds embedded audio signalprocessing to UTAH -400 series routers;uses advanced FPGA technology to per-form signal processing; audio channelscan be shuffled automatically without anoutboard device or manual intervention;virtual control panel provides an easy -to -read display of the video signals and theirassociated audio positions.

801-575-3770www.utahscientific.com

AUDIO TESTER

Prism Sound DSA-1

A portable, battery -powered instrumentfor electrical, timing and data analysis ofdigital audio signals; has a built-in signalgenerator for extended analysis and log-ging functions; features XLR, coaxial oroptical inputs with loop -through andswitchable termination; displays samplerate, word length, channel status, carrierfailure, biphase or parity violation, blockerrors and more.

+44 1353 648 888

www.prismsound.com

3-D TOOK1T

Teranex VC1-3DTK

NAB REPLAY

PRODUCTJACKPO

GLOBAL MEDIA WORKFLOWQuantel Qtube

Links remote studios to headquarters tosupport frame -accurate editing over theInternet - all with low latency and fullsecurity; supports SD and HD; local andremote media can be mixed on the sametimeline; indudes three key components:QTube Browser for content viewing,QTube Transformer interface for betweenthe sQ system and the QTube Web, andQTube Edit Internet -enabled version ofthe sQ desktop editor.

212-944-6820; www.quantel.com

3-D software application runs on the company's dual -channel VC100s; can flip the rightor left eye horizontally and vertically, adjust for Inter -Axial Distance with separate hori-zontal and vertical adjustments, change the axial and toe -in rotation angles, and zoomor crop and adjust all video parameters to accurately match right- and left -eye camerastreams; includes all the features of the VC1-3D-SYNC with +/-1 frame synchronizingcapability, frame rate conversion and the ability to reference R/L eye signals to an exter-nal source or to the left -eye signal.

407-858-6000; www.teranex.com

PrestoGET IN TOUCH WITH YOUR VIDEO

The Presto is a 16x1 3G switcher that ingeniously putsvideo screens in every button, so you'll never have to cross your fingers again.

Low cost, and shallow depth perfect for all applications «Auto -detects and supports 3G/HD/SD formats «

W/Wohler iICONFIDENCE.

I VIDEO AUDIO

infolawohler.com www.wohler.com

CAPTIONING

*1 888 5 WOHLER

LOUDNESS


\1AB REPLAY

PRODUCTJACKPOT

CAPTURE CARDMatrox MX0, Mini

Provides HD capture, monitor and out-put functions for Avid's Media Composer5.5; offers fast H.264 encoding; providesHDMI, analog component, S -Video, andcomposite output and cross -platformsupport for Macs and PCs, laptops, andworkstations; Vetura Capture applicationprovides quick and easy capture to AvidDNxHD or other Avid -supported codecs.

800-361-4903; www.matrox.com

TRANSCODERSencore TXS 3453

4111111111116Delivers up to 16 channels of high-per-formance, reliable transcoding and tran-srating in a high -density 1RU chassis;performs MPEG-2 to H.264 and H.264to MPEG-2 SD and HD transcoding andtransrating of MPEG-2 or H.264 streams;includes ASI and MPEGoIP transportstream inputs and outputs.

605-978-4600; www.sencore.com

VOD PUBLISHING SOLUTIONMiranda iTX

Tightly integrated with Miranda's iTXIT -based automation and playout system;simplifies on -demand content generationsignificantly by allowing the same assets,workflow and scheduling to be used forboth linear playout and VOD file cre-ation; tightly integrates linear televisionplayout with on -demand content cre-ation workflows to streamline operations;linear playout schedules can be quicklyconverted to produce C3, C7, Premiumand other VOD variants; supports Nielsenwatermarking, closed captions, AFD andV -chip metadata.

514-333-1772; www.miranda.com

ROBOTIC HEADVinten Radamec Fusion FHR-35

Compact, lightweight robotic pan and tilthead designed to support broadcast cam-era and lens packages up to 351b in remotelocations where the pan and tilt headneeds to be as unobtrusive as possible, in-cluding parliaments, legislative buildings,live conferences and houses of worship.

845-268-0100

www.vintenradamec.com

DIGITAL MIXING CONSOLEStuder Vista 5 M2

Vista 5 digital mixing console now has anupgraded M2 version with the optionaladdition of a new, integrated TFT meter-ing system introduced on the Vista 9 con-sole; when the TFT meter bridge is fitted,the console's external GC screen becomesan integral part of the chassis; availablein two frame sizes, 32 and 42 faders wide;new metering option can display signallevels from mono through to 5.1 chan-nels on each input, with a configurablelower area that can be used to display busassignments, surround images or the his-tory mode.

818-895-3496; www.studer.ch

NIELSEN WATERMARKS ENCODERRoss Video NWE-3G

MEMComprises a 16 audio channel, 3Gb/sprocessing core incorporating the newNielsen Watermarks; as an openGear so-lution, the unit is designed for the trans-mission path with relay bypass on therear module, redundant power, remotecontrol with DashBoard, SNMP anddatasafe; the openGear platform sup-ports up to five NWE-3G units to sup-port environments where multiple chan-nels are being released.

613-652-4886; www.rossvideo.com

A HANDLE ON YOUR LOUDNESSBEFORE IT'S OUT OF THE BOX

With a price right for everyone in theproduction chain, Pandora helps you keep

loudness contained before it's ever a problem.

Monitors and Logs up to 8 channels of SDI or AES audio «One -button setup supports both ATSC and EBU standards «

Easy to use iPod touch based interface «

WWohlerCONFIDENCE:

I VIDEO

infolawohler.com

I AUDIO ICAPTIONING

www.wohlercom .1 888 5 WOHLER

LOUDNESS


AUDIO CONSOLEWheatstone Dimension One

Mixing console supports 1024 channels ofdigital signal processing; has 72 faders, all5.1 -enabled; motorized faders with lay-ered surface enable each fader to controltwo sources, each of which can be mono,stereo or full 5.1; faders can be paged to-gether or separately; accepts up to 3072audio inputs.

252-638-7000www.wheatstone.com

NONLINEAR EDITORSony Creative SoftwareVegas Pro 10.0d

Enhanced closed -captioning supportprovides broadcast editors with the abil-ity to read and write closed captioningembedded in MPEG-2, enabling a unifiedworkflow for EIA-608, EIA-708 and MXFdelivery options; incorporates timelineburning to full -frame 3-D Blu-ray Discs.

608-203-2300www.sonycreativesoftware.com

AUDIO METERING MONITORSRTW TouchMonitor TM7/1M9 v.1.14

Combine flexibility and modularity withan intuitive user interface; offer built-in,online help function; allow for monitor-ing separate signal groups using multipleinstruments at the same time; up to 16analog and/or digital signals can be dis-played; can be used as desktop units or inflush -mount installation; feature 7in and9in touch screens, respectively.

+49 221 709 130; www.rtw.de

SERVER

Rushworks StreamSource

Robust 1U server class computer usessolid-state hard drive technology; fea-tures a dual GigE interface, allowing us-ers to separate their local networking andstreaming domains for enhanced secu-rity and quality of service; supports bothWindows Media and Flash file creationand management; features virtually nomoving parts, protecting from traditionalhard -drive failure and ensuring uninter-rupted reliability.

888-894-7874; www.rushworks.tv

NAB REPLAY

PRODUCTJACKPO

CAMERA SUPPORT HEADSachtler FSB heads

The FSB family consists of three different-ly -sized 75mm heads that provide robust,stable mounts for every HDV camera, aswell as for DSLR cameras with video func-tion; heads work with the Sachtler Speed -balance technology, enabling a fast andtarget -oriented counterbalance; offers no -compromise vibration damping, which isextremely subtle and finely graded.

845-268-0100; www.sachtler.us

ATSC PROCESSORT-VIPS CP505

Integrates a network adapter with anadvanced transport stream processor ina unit designed to be cost-effective andcompact; is ATSC-compliant with nativesupport for SMPTE 310 MPEG-2 ATSCtransmission streams and ATSC PSIP ta-bles; intended for real-time backhaul, dis-tribution and digital television transmis-sion of MPEG-2 transport streams overSMPTE 310, ASI and IP networks.

973-376-8282; www.t-vips.com

AMP2-16VJUST BECAUSE IT'S THE

BEST, DOESN'T MEAN WECAN'T MAKE IT BETTER.

SMPTE2020, new I/O and a even easier, more powerful interface are just a few new additions.Because 16 channels, industry awards, audio mixing and routing aren't enough for us.

Use two OLED screens to monitor any combo of video, audio metadataHotkeys can recall presets, assicn I/O, mix Eudio, switch to Dolby analysis «

Modular I/O available with SDI, analog, AES, Dolby, and TOSLINK «

WWohler I I I VIDEO I AUDIO CAPTIONING LOUDNESS

CONFIDENCE. infolawohtercori www.wohter.com 888 5 WOHLER


NAB REPLAY

PRODUCTJACKPOT

SHOTGUN MICROPHONES

Sennheiser MKH 8060/8070

Use radio -frequency principle to resist theeffects of cold and moisture; suppress off -axis sound without coloration; feature ex-tremely low self -noise and low distortionwith relatively high output signal voltages;can transform into AES42 digital micro-phones with the addition of the MZD8000 digital module; 8060 has lightweightand compact size for camera -mountingand boom pole applications; 8070 is along shotgun ideal for sports broadastand nature recording applications that re-quire high sensitivity

860-434-9190www.sennheiserusa.com

IMAGE PROCESSOR/CONVERTER

Thinklogical ImageEvolution X3

Equipped with full breadth of video -processing capabilities such as per -pixelmotion -adaptive video noise reduction,content -adaptive block and mosquito noisereduction, natural depth expansion, andadaptive scaling; converts and scales SD, HD,dual -link HD and 3G; provides up to 20 us-er -programmable presets; includes supportfor eight channels of embedded audio andancillary data; controllable via front -panelmultifunction selector and LCD display orRS -232 port for remote control.

203-647-8725www.thinklogical.com

IP MEDIA NETWORK

Net Insight Nimbra platform

TEST AND MEASUREMENTVideo Clarity RTM Manager

Web server, event logger, archive andplayer with a Web browser dashboard forinstant remote status of one or more RTMunits; RTM systems are used in a televi-sion network to monitor a channel's out-bound A/V quality, lip sync and verticalancillary data against a distributed signalvia return path in a 24/7 operation; RTMalso records all events that break user setquality thresholds in uncompressed au-dio and video; features over -the -networkmultichannel status dashboard and cen-tral playback capabilities.

408-379-6952www.videoclarity.com

Channelized IP trunk module provides a transport solution featuring multiservice op-eration, optional intermediate switching and signal regeneration for enhanced QoS;enables scalable, cost-efficient IP media networks over IP, or in combined IP and SDH/SONET or WDM networks; optimizes the use of the network infrastructure, enablingcontrolled bandwidth and network management.

973-241-5969; www.netinsight.net

D made by

2 line Pro Penta Stud otechnik

Penta Studiotech, LLC13050 Wood HarbourMontgomery, TX 77356USAPhone: +1 936 828 6830Fax: +1 936 582 0341www.penta-web.comemail: [email protected]

High Performance Broadcast LCD MonitorsHD2 line PRO represents the newest generation Broadcast LCD Monito-s from Penta, utilizing state-of-the-artvideo/audio processing hardware combined with the most precise LC Display Technology available today.

IID2 line PIO Poeta Stuchotechruk

Displays 17" to 47"

NAB REPLAY

PRODUCTJACKPOT

MADI CONVERTER ANDROUTING SWITCHERSierra Video MADI-xx

A 128 x 128 MADI routing switcher withintegral multichannel audio metering andsignal fault alarms for up to 128 channels;ideal for both fixed and mobile environ-ments; allows users to monitor and in-teract with each audio signal within two64 -channel MADI feeds; designed forlive sound, theaters and TV, where MADIsignals are increasingly employed; allowsusers to view and interact independentlywith each audio channel on a 64 -chan-nel MADI feed, moving any input audiochannel to any output.

530-478-1000; www.sierravideo.com

CONTENT MANAGEMENT

Signiant Media Exchange

Browser -based application enables IT andnon -IT managers and staff to send con-tent bier than e-mail to where it needsto be faster and more easily than before;users can exchange content with others,regardless of location and size of digi-tal assets; media and project files can bemoved across WAN, DSL or cable; newnotification features allow users to trackworkflow benchmarks, confirmations andalerts for other departments.

781-221-4000; www.signiant.com

AUDIO MONITORWohler I'M/ALA-8

Enables broadcasters to implement theMultiple Audio Digital Interface (MADI orAES10) in their production workflows; canbe connected in series within a 64 -channelMADI stream to audibly monitor up toeight channels; has a 16 -character by two-line LCD display; features coax and opti-cal MADI I/O, channel presence indicatorsand eight user -nameable presets.

510-870-0210; www.wohler.com

NEURAL LOUDNESS CONTROL

Ward Beck DTS Neural Audio NLC

Allows broadcasters to control loudness problems encountered during program ingest,production, post production and playout; can be used to eliminate excessive audio leveljumps that occur between different sources such as program and commercial material;loudness control algorithms operate on a plug -on card that is hosted on the M6205 -3GopenGear embedded audio processor; includes the NLC4, which provides level controlof four independent stereo channels, and the NLC5.1+, which provides level control of5.1 surround sound and one stereo channel.

416-335-5999; www.ward-heck.com

Now ShippingThe first LED Fresnel that's ideally suited fortcziay's cutting edge t roadcast work. The revo-lutionary daylight-babanced Sola 6" providesthe controllability and light -shaping propertiesinherent in a Fresne light, but utilizes just afraction of the power of conventional fixtures.

Versatile Solo 6 oft.ers variable beam controlfrom 10° to 70° and u11 -range dimming. Plus,the lightweigh , user-friendlyfixture is optimized to lightwhen using digital ccmeras.

818 752 7009 intoallippane.s conLitepanelswww.litepanels.:om -.,

11

A Viler; Group brand

a Litepanels"ig Earth -Friendly

LED technology

June 2011 I bro9dcastengineering.com 61

Y: PICK HITSNAB REPLA

/yj is

Broadcast Engineering's Pick Hit Awards are the industry's longest -running

product technology awards for broadcast and production. With a 27 -year

history, Pick Hits are the most prestigious techni-

cal awards given at NAB. Here are the top

products selected from the show by our

panel of independent judges.ING K

,BroadcaslEngineering

1:41, 2011

Creative Suite5.5 ProductionPremiumAdobe Systems408-536-6000www.adobe.com

Software solution for videoand post production features

productivity enhancements thataccelerate workflow; the Adobe

Mercury Playback Engine broadens its graphics processing unithardware support to include laptops and more supported cards,and allows users to open projects faster, get real-time feedbackwith more GPU-accelerated features and work more smoothly at4K and higher resolutions; new trimming and editing tools pro-vide more precision and control; now includes Adobe Auditionfor both Mac and Windows platform, as well as expanded AfterEffects capabilities.

Portable touchscreen10 -bit HD recorder,

monitor and playback devicecaptures video and audio di-rectly from any camera withHD/SD-SDI; encodes in realtime to the Apple ProResformat and records ontolow-cost, removable 2.5inhard disks; features a high -resolution 5in HD/SD-SDImonitor; provides all of thefeatures of the company'sNinja 10 -bit field recorder, monitor and playback device, aswell as time code, genlock, screen flipping, 3-D support (withtwo genlocked Samurais), 14.4V compatibility and the abilityto work with multiple synchronized units; offers 24psf sup-port with 24/60i 3:2 pull -down removal on capture and SDIloop through.

SamuraiATOMOS

+61 3 92520605

www.atomos.com

C14310001. 0000100101.


ATEM Television StudioBlackmagic Design408-954-0500

www.blackmagic-design.com

Live production switch-er combines a pro-

fessional switcher with abroadcast -quality H.264encoder so users can per-

form live multicamera production and broadcast encoding forthe Internet in one product; includes six video inputs with bothbroadcast SDI and consumer HDMI inputs for cameras andcomputers; all inputs feature auto resync; is a 1RU chassis withsoftware -based control panel for Mac OS X or Windows; fea-tures include upstream chroma keyer, two media player framestores, downstream keyers, full transitions and fade to black;built-in Multi View allows 10 channels of video with customlabels and tally indicators to be displayed on a single HDMItelevision or monitor.

'4 000 CI

uncompressed10 -bit broadcastrecorder for solid-statedisks; features dual slotsto allow automatic re-cording onto the next disk when one record disk fills, allowingunlimited duration recording; features a VTR -style design withfunction buttons, a jog wheel for jog and shuttle, and externalRS -422 control; high -resolution LCD screen displays time codeand transport information as well as a full -color thumbnail pre-view of the current clip in record and playback; fits easily into anOB truck or master control room; with 3Gb/s SDI and HDMIinputs and outputs, the unit works with most cameras, decks andmonitors; comes standard with a USB connection for softwareupdates and settings.

HyperDeck StudioBlackmagic Design408-954-0500

www.blackmagic-design.com

Gemini 4:4:4Convergent Design

720-221-3861

www.convergent-design.com

video recorder records10 -bit uncompressed

4:4:4/4:2:2 video in most pop-ular HD/2K/3G formats, including 1080p24 and 1080p50/60,with up to 16 channels of embedded audio and time code; hasslots for two removable 1.8in solid-state drives, enabling record-ing in either parallel mode (instant backup) or spanning mode(longer record times); includes recording, playback, image pro-cessing, dual HD/3G SDI I/Os, HDMI-out and consumer -levelaudio I/O; consumes 8W to 15W of power; features S -Log sup-port, with user -programmable viewing LUTs that can be enabledselectively for either HD -SDI output.

Multidefinition down/ MD-DUCCup/crossconverter is Decimator Design

designed to be a low-cost solu- +61 2 9011 1035tion to convert any video for- www.decimator.commat/frame rate to any videoformat/frame rate; auto detects 3G,HD or SD (26 formats in total); fea-tures include 10 -bit data path andmultipoint interpolation, motion -

adaptive deinterlacing, text overlaysand adjustable graticules generator;provides 16:9, 14:9 and 4:3 aspect ra-tio conversion support, with individual selection for HD to HD,HD to SD, SD to HD and SD to SD conversions; offers 16 -chan-nel audio metering, with any of the four audio groups individu-ally selectable; includes power supply, HDMI cable, USB cableand mounting bracket.

Compact Audio Loudness Meter(CALM) is no bigger than a smart -

phone; designed to meet increasing de-mands from the market for cost-effec-tive stereo and 5.1 metering, includingloudness; two versions are available: theDK1, which is ideal for users workingin stereo, and the DK2, which is aimedat the burgeoning 5.1 surround -soundmarket; comes withits own desk mount; DK Meterdigital audio inputs; DK-Technologiesis supplied with ITU, 602-748-4299EBU and ATSC loud- www.dk-technologies.comness measurement rec-ommendations, as well as the standard DK-Technologies meterscales; is USB-powered; features selectable reference frequencies,adjustable reference level and variable gate settings.

Router is made of ahighly flexible matrix

that allows users to config-ure the number of inputsand outputs that areneeded for the instal-lation; the basic sizeis 8 x 2; user -configu-

rable input or outputports can be added;any size from 8 x 2 up to 28 x 2 or 8 x 22, or any sizes in between,such as 10 x 5 or 15 x 15, can be configured; supports SD, HDand 3Gb/s SDI, DVB-ASI and 310M signals; includes a real-time,thumbnail display for use in broadcast television and post -pro-duction applications; optional Clean Switch provides full framesynchronization, allowing the router to switch cleanly betweenasynchronous sources.

AvenueEnsemble Designs530-478-1830

www.ensembledesigns.com

June 2011 I broadcastenaineering.com 63

c.G K

BroalcasihmineerinC

-- :20 I I s-OvertureRT LIVEEvertz905-335-3700www.evertz.com

Channel-in-a-box is anHD/SD multi -input

switching device that offers advanced branding capabilities,including character generation for real-time updating of text;features an internal H.264/MPEG-2 video playout server, DVEeffects for squeezeback and reveals, partitioned storage for on-line video playout and animated graphics playout, simultaneousplayout of HD and SD content with internal conversion; redun-dant power supplies; provides hot-swappable 1TB of local stor-age for video and graphics content, upgradable to 2TB.

MediaFUSE 2.0Grass Valley530-478-3000

www.grassvalley.com

Automated content re -

purposing and multi -distribution system is a hard-

TV broadcasters and allmultiplatform content providers to automatically convert linearcontent and stream it live using Flash, HLS-5 (for HTML-5) andWindows Media formats; each format can feed multiple streamsthat can contain unique ads and content, replaced automatically,on the fly; devices such as the Apple iPad, iPhone and GoogleAndroid can all have their own customized stream; MediaFUSEShowBUILDER feature enables users to assemble individualclips or files into highlight montage shows with pre- and post -rolls, interstitial ads and other content.

Ruggedized, steel -plated,SDHC card line is de-

signed to withstand the rigorsof the professional photog-raphy/videography environ-ment; based on the company'schip on board technology,which provides extra room fora reinforced internal housingstructure and protects sensi-tive flash components fromharm; offers Class 10 speed;an Epoxy assembly adds strengwaterproof; available in four32GB capacities.

RAW SteelHoodman310-220-8608

www.HoodmanUSA.com

RAW STEEL

gm -1463 2GB

th while making the enclosuremodels: 4GB, 8GB, 16GB and

File system directly ac-

cesses and manages LTOUltrium 5 tape drives, tape li-braries and their data; enablestagging of files with any text,allowing for moreintuitive searches ofcartridge and librarycontent; built on theLTO-5 tape formatstandard; features 1:1mapping of tape cartridges to file folders and tape libraries; pro-vides the ability to create a single file system mount point for alogical library managed by a single instance of LTFS, running ona single computer system; provides for caching of tape indices.

Linear TapeFile SystemIBM914-499-1900

www.ibm.com/media

17, D 67,

NucommNewscoder 4Integrated MicrowaveTechnologies908-852-3700

www.imt-broadcast.com

Compact, low -power, HD/SD video/audio encoder;

MPEG-4 H.264 SD and HD encoding, enabling broadcast-ers to transmit HD content efficiently over the same infrastruc-ture used to transmit SD content; can attach to a broadcaster'slegacy BAS equipment, whether in an ENG/OB truck, helicopteror camera back transmitter; accepts either SD -SDI or HD -SDIinputs, plus embedded audio; features two RS -232 ports, one forremote control and a second for user data; employs AES encryp-tion, preventing unauthorized viewing of the signal; includes avideo test pattern generator.

RF CentralmicroLite HD EliteIntegrated MicrowaveTechnologies908-852-3700

www.imt-broadcast.com

Complete video RF link in

a portable package; includes the company's microLite HDtransmitter and microLite HD receiver; receiver and transmitterare available in both the 5.8GHz unlicensed or 2GHz licensedbands; features ergonomic mounting; a configurable DC powercabling system and AC power supply gives users many optionswhen connecting the system in the field; adapters and cables canbe mixed and matched between the receiver and transmitter forflexiblity; is packaged in a waterproof Pelican case that is cus-tom -fitted for all the accessories.

ri


c, K oty1i1,

BroadcastEngineeripg

LV5770Leader

714-527-9300

www.LeaderAmerica.com

Multimonitor simulta-neously monitors two

3G/HD/SD-SDI sources anddisplays picture, waveform,

vector, 5 -Bar, Cinelite and sta-

tus individually or in variousscreen combinations; featuresinclude a built-in XGA dis-play, as well as autonomousmonitoring and error detec-tion; a USB connector allowsthe use of a jump -drive for

storing captured screens, presets and software/firmware updates;Ethernet connectivity enables remote control over the Web; op-tional digital and analog I/O provides for built-in de -embed anddigital -to -analog audio conversion.

Touch -screen hardwareuses an advanced multi -

touch sensing display that cansense up to 32 points of simul-taneous touches with accuracyand precision; applicationsinclude news, sports, maps,traffic, elections, newspaperreview, business or any inter-active TV show; for electioncoverage, the system receivesreal-time polling results fromleading news agencies and isfully customizable to workwith any country's map and election system; brings graphics andanimation control into the studio, with real-time updates fromindexes such as NASDAQ and Dow Jones.

AG-AF100Panasonic

877-803-8492

www.panasonic.com/broadcast

AVCCAM video cameraincorporates a 4/3in, 16:9

MOS imager; records 1080/60i, 50i, 30p, 25p and 24p (native)and 720/60p, 50p, 30p, 25p and 24p (native) in AVCHD's highest -quality PH mode (maximum 24Mb/s); is 60Hz and 50Hz switch -able; maximizes the potential of its high -resolution image withbuilt-in ND filtering and dramatically reduced video aliasing;standard professional interfaces include HD -SDI out, HDMI,time code recording, built-in stereo microphone and USB 2.0;features two XLR inputs with +48V Phantom Power capabilityand 48kHz/16-bit two -channel digital audio recording; supportsLPCM/Dolby-AC3; offers SDXC media card compatibility.

LiveTouchLiveTouch BroadcastSolutions732-560-3928

www.livetouch.tv

?touch

ultiformat HDTV/SDTV LCD monitor is

part of the HD2line Pro line;24in monitor is based on thecompany's high -precision 16 -

bit display engine and 10 -bitfull HD panels; uses a modularslot design; inputs and outputscan be configured according toindividual needs; three boardslots are available; optionalinput/output boards can beinstalled in any board slot, and in almost any combination; usesa unique 1-D and 3-D LUT to reproduce precise color gamuts toconform to SMPTE and ITU standards; features include multi -format signal support, split-screen display, time code display and

a 16 -channel audio level meter.

Product range includes the

Rx2000 2U dual screentest and measurement sys-tem, Rx1000 1U rasterizer and

Rx500 1U half -rack rasterizer;

allows engineers to add dif-ferent modules to personalizethe company's new technol-ogy to suit different broadcastenvironments; modules caninclude analyzers with physi-cal functions (eye and jitter),separate generator modulesand Dolby-, each module has its own

PDP 24WPenta Studiotech936-828-6830

www.penta-web.com

Rx rangePhabrix+44 1635 276302

www.phabrix.com

FPGA, so it's not sloweddown by needing a separate motherboard; the Rx chassis itselfdefines the standard of either SD/HD or 3G -SDI; any modulesadded later assume the supported standard.

New media automationplatform addresses

the growing demand for file -based workflow in automa-tion and distribution; plat-form now links NLE systems,archive servers, and playoutservers and other content dis-tribution servers; integrates

with business systems such asbroadcast trafficking systems;integrates critical productionand distribution processingcomponents under one simpleuser interface, which executesworkflow requirements in parallel; includes livequality analysis, and video and audio processing.

RadiantGridPlatform 6.5RadiantGrid Technologies877-828-0094

www.radiantgrid.com

SDI capture,


44NOK 1i))1

.N,BroadcastEngineering;

201 1

CarboniteRoss Video

613-652-4886

www.rossvideo.com

Pproduction switcher is based on the same multidefinitionproduction engine used in the company's Vision Octane;

series includes two choices of panel size combined with a 16- or24 -input chassis; Carbonite 1 is a 1MLE panel with 16 direct ac-cess source buttons, full panel mnemonics and Ross PanelglowRGB buttons; the control surface has direct access to two fullMLEs; the switcher's ergonomic panel offers 24 direct access but-tons, full mnemonics, PanelGlow, three -axis joystick and Rossfaders; also includes a browser -based, multiuser GUI that can beinstantly accessed from a Mac, PC or a Apple iPad.

ArtiSAN DR -4100SAN Solutions775-745-8734

www.sansolutions.com

Dual-channel digital disk recorder features a video server forpost -production, quality control and broadcast environ-

ments; offers ingest and playback direct to and from Avid MediaComposer and Apple final Cut Pro nonlinear editing systems,high -quality content delivery, simultaneous video capture andplayout, video proxy generation on ingest, two independent vid-eo channels, closed -capture decoding and playout option, andVTR machine control via RS -422 9 -pin or remote user interface

application; supports uncompressed file sequences and a mul-titude of codecs and file formats; offers variable rate play, loopplay, clip and playlists; provides up to 20TB 6Gb SAS, RAID 5protected storage or SAN attached option.

Signal-RapidFlSignal Telecommunications212-217-1900

www.signal3g.com

Satellite-uplink-truck replacement systemenables live electronic newsgathering to

be achieved from anywhere a wireless signal isavailable; the system consists of three devices: a camera mountvideo -audio encoder with WiFi output antenna, a relay unit anda receiver unit; the relay unit receives the WiFi live feed and for-wards it to five cellular GSM/CDMA modems: 2G, 3G and 4G(LTE and WiMAX); the receiver unit stays in the 1'V headendand outputs the live feeds via SDI/composite ports; features in-clude one -touch operation, forward error correction, jitter can-cellation, multilevel redundancy and hot standby.

Master monitor employs

Sony's Super Top

Emission OLED technologyto deliver deep black with highdynamic range, quick responsewith virtually no motion blur,and a wide color gamut andaccurate picture reproduction;24.5in monitor offers full HD1920 x 1080 resoluton, 100cd/m2 brightness and 89/89 -de-gree viewing angle; a dedicated

12 -bit output accuracy digital signal processing engine features anonlinear cubic conversion color -management system designedto provide uniformity, smooth gamma performance and picturequality consistency; inputs include two 3G -SDI one HDMI andDisplayPort, plus four option slots.

Compact camcorder is

equipped with a Super35mm sensor, which is thesame size as Super 35mmfilm and has been specificallydeveloped for digital cinema-tography; comes with threelenses: 35mm, 50mm and85mm, and T2.0; a PL mountadapter provides compatibil-ity with 35mm lenses, includ-

BVM-E250Sony

201-930-1000

sony.com/professional

PMW-F3KSony

201-930-1000


ing prime, digital cinematog-raphy and still lenses; offers native 23.98p recording; can captureimages at frame rates from lfps to 60fps in 720p, in incrementsof lfps, onto a single card; features compatibility with SxS PROand SxS-1A memory cards; includes a 3.5in color 1920 x 480pixel LCD viewer.

Storage unit is the firstmemory -based studio

deck from the SRMASTERproduct family; has four slotsfor SRMemory cards, whichcan record at sustained datarates up to SGb/s; can beconfigured with up to fourinput/output ports, each ofwhich can handle a 3-D feed;provides 4K recording andplayback, 16 -channel audio, 4TB removable storage, networkcapability, and format converter and multimonitor output; si-multaneous recoiling and playback of multiple streams from asingle SR -R1000 makes it ideal for a range of studio, live andpost -production applications.

SR -R1000Sony201-930-1000



USBPre 2Sound Devices

608-524-0625

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New version of the USBPre; two -channel USBPre 2 is ahigh -resolution, portable hardware interface for Mac-

and Windows -based digital audio; interfaces professional mi-crophones, line -level sources, consumer audio electronics anddigital sources with Mac OS and Windows computers via USB;features discrete -transistor microphone preamps with 24 -bitconverters and sampling rates up to 192kHz; peak limiters, high-pass filters and a 15dB pad add overload protection; all analog -to -digital and digital -to -analog conversion is done outside of thecomputer, in the USBPre 2.

Observer TSVolicon781-221-7400

www.volicon.com

NAPEG (ASI/IP) transport stream logging system givesbroadcasters, networks and cable operators the ability

to capture full -resolution MPEG transport streams and gener-ate low -resolution proxy content and accompanying metadata;incorporates complete stream, search, analyze, clip and publishfunctionality, all from within a Web -based user interface; com-plements Volicon's existing Observer Enterprise systems; enablesnetworks and broadcasters to increase logging density, accom-modate high -resolution content repurposing, directly monitornative MPEG ASI/IP handoffs, and inspect and export transportstreams, all while operating over a LAN or WAN.

In 1741 1410.01111111 1111.110111.

WO MasterControlWideOrbit415-675-6700

www.wideorbit.com

IT -based system offers an alternative to traditional master con-trol equipment; fully integrates IT and DTV hardware and

software into a single -rack solution; its streamlined architectureenables the system to feed and control up to four channels perserver of HD/SD, including master control switching, graphicsand automation per server; each server has automation and con-tent storage onboard along with live master control switching,picture -in -picture and branding graphics; uses low-cost, off -the -shelf servers and provides direct -to -storage file transfer fromedge servers with no transcoding required.

AMP2-16V seriesWohler510-870-0310

www.wohler.com

`i4:1 /1%

BroadcastEngineering;

-_,2x71.1/vs

Audio/video workstation offers simultaneous multiformataudio metering and management, quick program listen se-

lection, loudness metering of the selected program, mixing androuting freedom; features such as downmixing provide compat-ibility with external surround -sound systems; enhancementsto the platform include easily customizable displays of SMPTE2020 metadata, flexible channel phase monitoring and the abil-ity to store 32 complete system configurations for instant recall;enables users to mix, sum and route program audio live withoutthe need for a separate audio console; multiple card slots allowfor flexible and cost-effective configuration.

video switcher accepts

up to 16 3G/HD/SD-SDI signals in a compact1RU frame; displays video onscreens that are themselvesbuttons; pressing one button switches that input, both video andassociated audio, to a pair of reclocked outputs for routing and/or monitoring on a larger device; because each button is a minivideo screen, users don't have to worry about switching to thewrong source; LED indicators identify currently selected source;high -quality OLED screens enable easy identification of content;features rear -panel inputs to activate front -panel dimming and/or lockout; designed to provide affordable confidence monitor-ing for server and IT -based playout systems.

Software solution allowsbroadcasters to trans-

mit video in full HD to mul-tiple end -to -end locationsglobally over the Internet;enables a limitless spectrumof broadcast applications forcontent contribution, dis-tribution, playout services,

newsgathering, and live andon -demand multimedia de-livery; transmits securely andflawlessly while enabling networks to extend their reach and flex-ibly at anytime from anywhere, by bringing video signals to theheadend inception points of any distributor; designed to enablebroadcasters to reduce costs by replacing expensive trunk linesand increase revenue by offering new services.

PrestoWohler510-870-0810

www.wohler.com

Video deliverycloudZiXi877-494-9426

www.zixi.com

June 2011 broadcastengineering.com 67

Choosingthe right

battery

'44416%116

Quality varies, and price shouldn'tbe the only consideration.

BY JOE MURTHA

of so long ago, choosinga battery for your camerawas a fairly simple processinvolving a few offerings

from a small number of manufactur-ers. Today, with new technologies, dif-ferent chemistries and varying priceranges, selecting a power system foryour camera is more complex. It takessome research to find the battery that

is not only the best fit for your needs,but also includes the highest quality,reliability and safety features available.Assessing the capacity, load -carryingabilities, charger options and safetymechanisms of today's two main bat-tery varieties, nickel -metal hydride(NiMH) and lithium -ion (Li -ion),will help make this process easier.

Today's batteries vary widely in

quality. Therefore, it's important tounderstand a bit about the manufac-turing process so you can weed outthe poorly made batteries early inyour research. Ask the manufacturerhow it obtains its battery cells andbuilds the battery itself. If the makeris buying standard cells in bulk fromwholesalers, chances are its batteriesare not well -made, using inexpensive


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FEATURECHOOSING THE RIGHT BATTERY

Batteries and air travel

Passenger carry -on

Under 100Wh:

Between 101Wh-160Wh.

160Wh or more:

Passenger checked bagged:

Under 160Wh:

160Wh or more:

Unlimited (attachment on device notrequired)

Limit two batteries uninstalled*;additional batteries must be installedon a device

Forbidden

Must be installed on device

Forbidden

'Batteries not installed on equipment must be individually protected to prevent shcircuits by placement in the original packaging or by otherwise insulating terminals(tape over terminals, each battery in a separate plastic bag, etc.)

Note: These are Anton/Bauer's recommendations based on IATA regulations. Itrecommended that travelers consult the IATA and DOT websites. Li -ion carry -on aiccheck -in are ultimately subject to individual airline and TSA approvals

housings and rudimentary electron-ics. The cost of these batteries may below, but chances are so will the quality.You have to ask yourself if it is worthit to save a few dollars at the risk ofthe safety and performance issues youmay run into with these batteries.

In contrast, there are other manu-facturers of batteries that take morecare in their creation, purchasing pre-mium cells directly from well-knowncell makers. These cells often comepretested and matched for balance,allowing for longer life. The batter-ies themselves are precisely crafted inclean rooms, with housings developedto spread impact. Their onboard elec-tronics are of considerably greater so-phistication and quality. These tend tocost more but are generally of higherquality and last longer, making themthe better investment in the long run.

A battery's capacity, or run time, isa major indicator of quality. Though

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FEATURECHOOSINGTHE RIGHT BATTERY

no battery, even a top one, is im-mortal, it is fair to say that the betterquality the battery, the longer it willlast. Look for a battery that includesan indicator depicting remaining runtime at a current run load in hoursand minutes. The better batterieshave these along with access to a testcharger, which can cycle the batteryand document the results, allowingprecise indications of life expectancy.

When reviewing the capacity op-tions of batteries, keep in mind a sol-id estimate of the average load yourequipment and applications draw. Forexample, if your camera carries 45Wand your light 35W, the load will bearound 57W. (Fill lights are typicallyused a third of the time.) Lights feedoff power taps, and if your cameracannot regulate this, you should addabout 25 percent to your estimate,changing your light load from 35W to43W. Add into the estimate any other

piece of equipment that will need bat-tery power, such as onboard monitorsand wireless transmitters. In general,you'll want an average run time of atleast two hours so that you don't haveto contend with multiple unplannedbattery changes, especially in ENGand production applications.

With batteries, the initial start-upcreates a spike in power. If, for example,you run a 45W camcorder, a 35W lightand IOW accessories, your continuousload is 90W. Check the specs of thebattery you are researching to find themaximum continuous load it will sup-port. If this number is 73W, you'll needa battery that can handle a higher load.Some battery manufacturers do notprovide these specifications, leavingyour power supply to chance. If this isthe case, move on to a manufacturerthat does have the specs.

The charger should be among thebiggest considerations you make when

choosing a battery. Look for ones thatcan last up to 20 years, as these tendto be of better design. If the manufac-turer of the battery you're consideringclaims that it can be used with anytype of charger, it's unlikely the designis sophisticated enough for long-termprofessional use. The battery may evenpose a safety hazard. Look for a char-ger that has two-way communicationswith the battery and the ability to testand calibrate. It should also have tem-perature channels and the ability to beupgraded with future algorithms astechnology develops.

Safety is the ultimate bottom linewhen it comes to choosing the bestbattery for your operations. WhileNiMH batteries are generally safe,

Li -ion batteries are another matter. TheLi -ion electrolyte has a low flashpointand a low tolerance to overcharge, and itcan become volatile if over -discharged.Poorly made batteries have a greater

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chance of one bad cell igniting the en-tire pack. In the United States, fromMarch 1991 to August 2010, there weremore than 100 air incidents recordedinvolving batteries. Those occurrencesprompted the government to issue a to-tal ban on transporting Li -ion batteriesover 300Wh and limitations on handluggage and check -in for Li -ion batter-ies between 100Wh and 300Wh.

A well -designed Li -ion -based batterywill have built-in safety mechanisms.One such example is the honeycombdesign, where the individual battery cellis contained in its own housing. Thisprevents cells that are damaged from af-fecting undamaged cells, as the thermalheat transfer is minimized. It also pro-tects the person handling the batteryby preventing fuel leakage. A beneficialside effect of this design is that it alsoincreases the battery life.

In conclusion, don't choose a bat-tery simply because of its lower cost.

FEATURECHOOSINGTHE RIGHT BATTERY

As has been noted, manufacturers oflow -quality batteries often scrimp onfeatures required for safe and reliableoperation. You may end up having tobuy more batteries, as poorly designedones malfunction or don't last nearlyas long as their higher -priced, higher -quality counterparts. Also make sureto buy batteries that adequately sup-port your power load. You don't wantto lose a crucial shot just because youunderestimated the power load.

Choosing a battery for your cam-era has become a bit more complexdue to the wide array of offerings onthe market. To take some of the guess-work out of this process, assess the ca-pacity, load -carrying abilities, chargeroptions and safety mechanisms ofpotential batteries. The more of thesefeatures that are present in the bat-tery, the better the battery. BE

Joe Murtha is the engineering managerfor Anton/Bauer.

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APPLIED TECHNOLOGYNEW PRODUCTS & REVIEWS

Snell's CentraThe control and monitoring system reduces cost of

ownership while increasing productivity.

Significant economic pres-sures to reduce costs andto do more with less havepushed broadcasters to es-

tablish centralized multichannel fa-cilities with an increased channel countper operator. To institute control andmonitoring that covers the entire work-flow and effectively reduces on -air er-rors, broadcasters traditionally haveinvested heavily in ongoing customizeddevelopment. Shrinking budgets, how-ever, are demanding that broadcastersnow consider off -the -shelf packages ca-pable of approaching a similar level ofintegration at a reduced cost.

Ideally, a single control and moni-toring system gives operators thehighly customized tools they need forscheduling day-to-day tasks - as wellas for rapid identification and resolu-tion of unexpected issues - while re-maining simple to maintain and con-figure in house. Snell's Centra controland monitoring system takes advan-tage of today's technologies to makethis possible and offers operators thefunctionality they need, when they

BY KIRSTY AI DRIDGF

need it, regardless of where the broad-cast systems involved are located.

A comprehensive suite of tools thattogether comprise a vendor -agnos-tic control and monitoring system,the system represents many years ofdevelopment of broadcast systemcontrol and network managementmonitoring systems, covering the fullspectrum of broadcast and IT devic-es. The suite delivers systems coveringfour critical areas: configuration, sys-tem monitoring, system control andcontent monitoring. (See Figure 1.)

Integration andinteroperability

A comprehensive control andmonitoring system demands that afull -featured system interface direct-ly with third -party vendor -specificprotocols over serial and IP links, aswell as allow more traditional moni-toring via SNMP and GPI/Os. Thisapproach is critical because, thoughit has been widely adopted as the wayto achieve third -party integration,SNMP was never designed to be a

control protocol. Even for monitor-ing purposes (as with broadcast),there remain issues in that key typesof status extraction are still uniqueto each manufacturer - and evenunique among different productlines from a single manufacturer.

The system solves this challengethrough a combination of genericconfigurable translators that can bescripted to work with a wide rangeof protocols and full -featured imple-mentations of native protocols. Thesystem's resulting scalability and itsability to integrate with broadcast, ITand other key devices allow it not onlyto grow incrementally along with thetechnical and business needs of thebroadcaster, but also to present theinformation in a broadcast -centricway to suit the particular user.

The system can be completelyconfigured and delivered either bySnell staff, a systems integrator or bythe user. A combination of an initialdeliverable, engineered by Snell orthe systems integrator, with ongoingmaintenance by the user is often the

Centra clientcontrol and

configuration

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Figure 2. The interface for lines -in management illustrates controls and features thatmay be used in an MCR.

ideal. This approach provides a bal-ance that offers initial efficiency andthe reduction of ongoing customiza-tion costs by giving the user the abilityto upgrade and modify the system.

Flexible control andmonitoring interface

The interface can be configured toshow the same information to dif-ferent users in different ways thatare specific to their tasks. Whereasan in-house engineer may be relayedfull system information in a physi-cal rack layout with functional con-nections, playout operators will beprovided with just the channels andthe parameters (e.g., specific routerdestinations, aspect ratio converter,etc.) over which they actually havecontrol. The system allows combina-tions of controls to be grouped onto asingle screen. Without this capability,the operator frequently has to switchapplications or PCs to achieve thesame result.

Through this interface, it is possibleto configure the satellite positioningto point the dish to the correct signal,and then process the feed throughthe correct channels of an IRD beforerouting the SDI signal through the fa-cility. (See Figure 2.)

One of the features of the systemis its ability to hide the complexity ofrouting from an operator. Typically,a user must know the source and

destination numbers of a given deviceto route it into the signal path. Thesystem, however, allows some back -end configuration of the system to beprogrammed in at the configurationstage (using a graphical representa-tion of the system). The operator GUIthen presents the devices in groupings(e.g., upconversion, ARC, logo inser-tion) determined at the configura-tion stage so that the user can quicklysearch through and find an unuseddevice and complete the routing pathin a simple operation. This relies onthe devices being connected to therouter from both input and output.

Single button presses can replace onedevice in the chain with another. Thesame screen can be set up to provideaccess to a subset of full controls for theactual devices that have been routed,allowing the user to set his or her pa-rameters. Together, the simplicity andfunctionality of the user interface savetime and reduce the risk of error.

Extended control andmonitoring capabilities

While many other systems monitoronly the health of power supplies ortally information, Centra can look atthe actual content of the picture andthe metadata, in turn providing theuser with much more powerful feed-back. By using information availablefrom a playout schedule such as theexpected genre of program content,

RIIIRIEDEL

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APPLIED TECHNOLOGYNEW PRODUCTS & REVIEWS

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Figure 3. Hyperion cards allow regional selection for dark and still detection. Using thesecards in carefully selected positions throughout the signal chain allows for completeconfidence monitoring of multiple channels by a single operator.

number or type of audio channels,aspect ratio, and presence and loca-tion of logo, different settings may beapplied at different times to ensurethe correct settings are applied forprocessing devices and that optimalmonitoring can be enabled at eachpoint in the schedule. This approachcan significantly reduce false alarmsand improve notification of genuine

problems, preventing costly mistakesfrom being aired.

The system allows the user to pro-gram powerful rules that enable theautomatic setting or correction ofconditions. In many broadcast chains,the final point of the trasmission pathconsists of a failover 2 x 1 switch. WithCentra, there are different ways of en-suring the signal continuity including

intelligent rules within the hardwaremodule itself, using the Hyperion orintelligent Snell router inputs to detectthe signal content through any device.Hyperion can be configured to detectand alarm on a number of differentfailure modes, induding completeblack and picture too dark, full freezeor motion level too low, loss of audio,or wrongly assigned tracks. (See Figure3.) When incorporated into Centra,this information will not only alarmand indicate the error, but also auto-matically switch to the backup sig-nal path. This reduces the time spenttransmitting corrupted or missing in-formation to viewers, thus minimizingpenalties and providing time for reso-lution of the problem.

The rules engine may be configuredfor any number of simple or morecomplex operations depending on acombination of conditions. For exam-ple, if a router input is required to beHD, but the external modular device(or the router itself) finds the input tobe SD, the system - if it is connectedto known inputs and outputs of therouter - can automatically insert anupconverter into the path and adjustvideo input parameters to the correctvalues. This can ensure optimal usageof expensive converters in a system byusing them when they are required

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76 broadcastengineering.com June 2011

rather than requiring their permanentinstallation on every chain.

To aid remote and/or centralizedanalysis, using the combination ofHyperion and Centra allows low -res-olution streaming of video and audioproxies - along with the metadatameasured from the remote signals -across WANs and LANs. The videowith the error status allows the opera-tor to see both the control settings andthe impact of those settings within asingle view. The system serves as theprimary and, ultimately, the only oper-ator interface with equipment. It alertsthe operator of any problems acrossthe broadcast chain immediately andprovides the interface through whichto put things right.

ConclusionCentra's intelligent control and

monitoring capabilities reduce the to-tal cost of ownership and downtime

while increasing productivity. It al-lows more channels to be monitored,focusing operators' efforts on true ar-eas of concern. The real-time systemdoes so by addressing and simplify-ing not only configuration of Snelldevices across the workflow, but alsooperational control of the broadcastchain and enterprisewide monitor-ing of signal paths and all equipment.Providing a comprehensive third -party driver library, the system bringsa new unified approach to controllingmedia technology. BE

Kirsty Aldridge is product manager forcontrol and monitoring at Snell.

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TECHNOLOGY IN TRANSITIONNEW PRODUCTS & REVIEWS

Monitoring videoin new ways

OLEDs are the future of broadcast monitoring.BY JOHN LUFF

In the grand scheme of technol-ogy, how we monitor televisionin professional facilities seemslike a rather trivial, obvious mat-

ter, but it's actually quite the opposite.Our television system was designedaround the physics of cathode-raydisplay tubes, particularly the nonlin-ear response of the cathode to voltage,which gives rise to gamma correc-tion. The colorimetry of imagery was

the sole purpose of watching mov-ing images, and home displays andstudio displays shared much in tech-nology. That's not the case these days.As the computer display market hasmatured, it has become perhaps moreeconomically important than themarket for consumer televisions, butat the least the computer display mar-ketplace is orders of magnitude largerthan the professional precision video

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Figure 1. The black level performance of anplasma display. Courtesy Sony.

controlled by the chemistry of displayphosphors for many years, beginningwith some of the very earliest success-ful professional displays. CRTs are aprecision device, particularly so whenbuilt to tight tolerances needed to actas reference displays for creating andevaluating the quality of video images.

But two factors have conspired toturn the professional monitor mar-ketplace on its head. The first is thesame economic motivation manufac-turers have always faced, which putspressure on the development of pointsource products for our industryalone. When color television was firstused commercially, the only marketsfor television displays were in fact for

OLED can be truly black, unlike a

monitor industry. Thus, we have littleeconomic clout to drive the develop-ment of products that have very smallpotential numbers.

The second important factor inthe changing monitoring landscapeis driven by the pace of innovation,pushed by the desire of consumerelectronics to sell new products. Twotypes of CRTs essentially owned theprecision market for about two gen-erations: dot triad delta gun modelsand stripe tube "Trinitron" models.But innovation in flat -panel displays,which initially were made only forlaptop displays, has exploded into arich mix of monitoring choices, manyof which can and have been adapted

for professional use. When HDTVfirst became a viable market, the nat-ural choice was flat panels, which bythe late 1990s were available in sizesthat CRTs could not match. Flat -panelmonitors provided good performanceat steadily dropping prices, fueled notby the professional market, but ratherby the consumer market. Studio CRTswere on their last legs.

Those innovative technologiesinclude plasma and other emissivedisplays, and many variants of LCDtransmissive displays. None of thenew display technologies inherentlyneed gamma correction, but it is afact woven into all of our system stan-dards and is hard if not impossible toremove in the short term.

This fact gives us fits. Since flat -pan-el displays dominate the world mar-ket today, we must use sophisticatedtechnology solutions to render videoimages correctly. From all indicationsI see we have done a pretty phenom-enal job. Pictures are stable, repeat-able and of generally good to excellentquality. But the imaging artifacts wefight, notably the lack of true blacks intransmissive displays, make adaptingconsumer products to the professionalmarket at best problematic unlessnearly heroic levels of technology arethrown at the problem.

By using arrays of LED backlightsinstead of cold cathode light sourc-es, or LED edge -lit displays, we canachieve contrast similar to CRTs. Infact, with sophisticated image pro-cessing and wide gamut display/backlight combinations, we can ex-ceed the color gamut of essentiallyall professional monitors of the past.The trade-off is that LCD "grade one"monitors with complicated backlightstrategies are expensive. Transmissive


displays just have different physics atwork. It is hard to completely cut offthe light unless the source itself can beextinguished by local dimming, as inLED array backlight units. Secondly,small, rack -mountable, high -qualitydisplays are not very profitable due tothe low piece count that comes withthe video monitoring in our indus-try. The best LCD monitors are above40in in size, and they can producegreat pictures, though I can't remem-ber seeing a rack big enough for a42in LCD in a production truck.

The EBU produced a documentdefining the features and perfor-mance that a professional CRT re-placement should exhibit if it is totruly supersede the CRT in capability.Some of the stipulated requirementsare relatively easy to understand andachieve without designing new phys-ics for the display itself, but some likeblack level performance and off -axisperformance are harder to do nearlyas well as a CRT. Some features re-quired in the document seem a bitanachronistic, like blue -only mode(used for NTSC and PAL lineup), andpulse cross (useful in analog trans-mission, but I think of less relevancewith digitally sampled and transmit-ted pictures).

OLEDs are on the riseThe industry is ripe for a totally

different technological approach tomonitoring. Many proposed tech-nologies have been shown in smalldevices that are custom built in labs.Fewer have made it as far as deliveryof real products. This year, OLED-based monitors have begun to showup after years of promises aboutperformance rivaling or surpassingCRT. Two manufacturers are deliver-ing products, and the performanceis as good or better than any otherflat -panel technology. As one mightexpect, the prices are high since thereare not many on the market. OLEDsare not only used for video monitor-ing, and in fact first showed up inportable devices where their excep-tional power efficiency is valuable.

OLED offers several potential ad-vantages. Since it is emissive, nottransmissive, like plasma, black canindeed be truly black, even betterthan CRT performance when prop-erly set up. (See Figure 1.) The OLEDtriads can be packed into small spaces,making large, exceptionally high -res-olution displays possible. One manu-facturer has built in a self -correctionloop that measures the light output ofthe panel and continually adjusts thedrive to each color to keep colorime-try consistent with little maintenanceintervention over the life of the panel.The bad news is that the blue OLEDsage at a different rate than the greenand red, and when the self adjustmentruns out of range, the panel must bereplaced. It is unclear what the panelreplacement cost will be, but onemanufacturer estimates that its pan-els should last several years in heavyuse before that threshold is passed,comparable to the life of a CRT.

Currently, OLED monitors areavailable in a small range of sizes forprofessional use and are priced on thehigh end. Sizes range from 7in, likelyfor field monitor use, to 15in and 24insizes for conventional precision mon-itor applications. Consumer -scalelarge OLED displays are rumored tobe on track for late 2011 or 2012.

We have arrived at the end of theCRT's useful life in this industry,but unfortunately the options, LCD/plasma/OLED, are just achieving theprice and performance we are usedto. For the short term, expect CRT re-placements in precision monitoringapplications to be pricey and limitedto a small number of sizes. BE

John Luff is a broadcast technologyconsultant.

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EOMDEPARTMENT

Threats vs. opportunitiesBroadcasters better know the difference!

The history of entertainmentmedia is rife with portentsof gloom upon the adventof the next newest entertain-

ment delivery technology. Sixty yearsago, the rise of television gave fodderto the Hollywood doomsayers. Thefact that consumers no longer had toleave their homes and could now sit intheir living rooms (in front of a 10inscreen, no less!) and be entertained bytelevision was going to be the end ofthe Hollywood movie studios and theentire film theater industry. Except itdidn't quite happen that way.

Ultimately, television proved tobe a huge new revenue generator forHollywood. With the discovery thatbroadcasters would pay for the rightsto show movies, television becamean important and profitable segmentof the Hollywood film release cycle.Later, the studios recognized anotherbusiness opportunity: marrying tele-vision's insatiable appetite for contentwith Hollywood's own unique pro-duction capabilities. What film studiotoday does not have a television pro-duction division?

With the application of MP3 to thedigitization of music, the develop-ment of portable MP3 players and theviral spread of illegal file sharing, themusic industry actually came close toa doomsday scenario. It took Apple todemonstrate that by facilitating easeof purchase with appropriate pricing,there was still a multibillion -dollarmusic business to be had. By embrac-ing the technology, understandingnew concepts of monetization anddiscontinuing the idiocy of suing itscustomer base, the music industrysurvived. But this was a case of com-ing dangerously close to the doom-

sayers' prognostication of disaster forthe then existing industry.

The broadcast 1'V industry wentfrom being a threat to being threat-

BY ANTHONY R GARGANO

ened. Initially, cable television wasa boon to broadcasters. It deliveredadditional eyeballs that broadcast-ers' signals could not reach becauseof intervening mountains, valleysthat were shaded or homes locatedsimply beyond a station's viewablefield strength contours. But that booncame in the form of a Trojan horse.Little did broadcasters of the time re-alize that those heady days of having acaptive prime -time viewing audience,essentially a total share of TV house-holds, would quickly end.

The broadcast industry of the time,by pushing to collect fees for car-riage and retransmission rights, gavethe then nascent cable industry theimpetus to develop its own channelsand programming. By the end of the1984-1985 TV season, The NielsonCompany reported a 57.1 primetimeviewing share for broadcast and a 7.6share for cable. And, by the end of the2008-2009 season, those numbers hadflipped to a 27.7 share for broadcastand a 42.9 share for cable.

Survival of the fittestYet, broadcast has survived. It has

a much smaller share but of a muchlarger revenue pie. In the tradition of"if you can't beat 'em ..." broadcastnetworks and station groups nowown cable networks and cable chan-nels. Lastly, and perhaps most im-portantly, only broadcast televisionhas time and again demonstrated toadvertisers the unique ability to con-verge truly massive audiences at givenpoints in time. If an advertiser has amass message that it wants deliveredto a huge audience, broadcast televi-sion cannot be beaten.

The fractionalization of viewershiphas continued over the past severalyears. Online media has begun to im-pact audience share, particularly asnewer television sets and DVD and

Blu-ray players began to sport Ether-net connections, which facilitate thedelivery of online content directly tothe TV screen.

Recent announcements now haveonline media taking competition forviewership to the next level. Netflixwill now produce its own originalcontent. The star of its new dramawill be Academy Award winner KevinSpacey. Hulu, another Internet mediaventure, has already launched its ownoriginal series, "The Confession," star-ring Kiefer Sutherland of "24" fame.Yahoo has announced that it too islooking into doing scripted program-ming. There is speculation in thebusiness community that Dish Net-work's recent acquisition of the shellthat was once Blockbuster will be touse Blockbuster as its vehicle for entryinto the battle for online viewers.

So, now the question for broad-casters: Is this newest vehicle for thedelivery of entertainment content athreat or an opportunity? At first it iseasy to fall into the threat camp. Butbroadcasters themselves are launchinga new entertainment delivery vehicle- mobile DTV. Mobile DTV requirescontent. Local news and weather willcarry it just so far. Some of the new on-line programming is being developedfor Internet -sized appetites, i.e., five -

to -10 -minute bites - interestingly,the same bite size as some studies haverevealed for mobile DTV. So, perhapsit is not a threat but an opportunity.Are augmenting online distributionwith dedicated mobile distribution, oragreements with online programmersfor mobile content rights farfetched? Idon't think so, but we'll see. It's a bravenew world out there. BE

Anthony R. Gargano is a consultant andformer industry executive.

ElSend questions and comments to:[email protected]


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