tvbe february 2012 digital edition

xBy Fergal RingroseTVBEurope’s first Fast TurnaroundTV conference will be keynoted byAndrew Ioannou, strategy director,ITV and will see in-depth case stud-ies from Mediaset Italy and NRKNorway along with European casestudies involving workflows fromsponsors Dalet, Quantel and Sony.

Andrew Ioannou, director ofStrategy for Technology, Platforms& Business Delivery at ITV, willexplain how live event-driven televi-sion programming has become the cornerstone of a broadcaster’sschedule. He will tell our audiencehow ITV is harnessing PC/TV con-vergence, mobile devices, socialmedia and micropayment to addvalue to must-watch televisionevents, with reference to the final ofThe X Factor 2011.

Mediaset is Italy’s largest com-mercial broadcaster and in 2011 itinitiated a project to centralise andstreamline all TV news operationsincluding a 24/7 news channel that

launched last year. The Fast Turn -around TV case study will explainhow Mediaset adopted Dalet news-room, production and playout toolsin Milan for Studio Aperto and a hub for newsgathering for the 24/7 channel including all 10 ofMediaset’s regional stations.

NRK Norway set a GuinnessWorld Record in Summer 2011 bybroadcasting a programme lastingfor 134:42:45 hours — the world’s

longest-ever live television docu-mentary. The Hurtigruten sea journey took over 65% of Norway’spopulation with it across TV andweb coverage. Thomas Hellum,project manager, will explain howNRK produced a five-day event,from a moving vessel at sea, live onTV that received 12 millionFacebook views and 22,000,000impressions on Twitter – and wasstreamed in 179 countries.

Fast Turnaround TV takes placeat The Soho Hotel on Tuesday 13March and will be chaired by leading industry consultant JohnIve, principal of IveTech.www.fastturnaroundtv.com

Among the case studies examined will be the final of The X Factor 2011

By Philip StevensWhen production of Sky SportsNews moved into the broadcast-er’s new facility in west Londonlast July, it marked the start of asix-month migration of other in-house departments.

Last month saw the comple-tion of that move, and Sky hasbeen keen to point out the bene-fits of its new £233 million mediacentre – formerly known asHarlequin 1 and now called, notsurprisingly, Sky Studios.

“When we broke ground forthe new building in 2007, itmeant that our growth as abroadcaster had achieved a newperspective,” said John Lennon,Sky’s director of BroadcastOperations and Strategy.“Previously, we had developed in

a fast and dynamic way, but itwas somewhat piecemeal. Nowour efforts have been directedinto a facility that can house 1300personnel and will enable us to befar more efficient.”

He says that the new buildingis designed to Make, Shape andShare broadcast productions. Toachieve that end there are eightstudios to make the programmes,45 edit suites to shape them and aformidable array of connectivitysystems to share the material.

“When it comes to making, allof the studios are equipped forboth HD and 3D,” he said. “Wecan combine studios where audi-ence participation is involved orthere is a need for large scale pro-ductions. There is no disputingthat we can offer world-class facil-ities to our production partners.”

Lennon says the extra capaci-ty will enable Sky to increase its

creation of home grown pro-grammes. “Our production budg-et for 2011 was £380 million, butthis is due to increase to £600 mil-lion over the next few years.”

He points out that GrassValley has provided the LDKcameras and Kayak vision mixersfor all the studios. With theexception of strategic keysources, all the lighting is basedon LED technology.

“We want to get the local com-munity involved where it is appro-priate, so we have built viewinggalleries in some studios that willenable visitors to see what is goingon – but without disrupting workon the production floor,” he said.

Turn to page 34 for Philip Stevensfull report and discussion withSky’s John Lennon on the newbuilding in West London and itscompletely tapeless environment.

TVBEUROPEEurope’s television technology business magazine www.tvbeurope.com £5.00/€8.00/$10.00

To learn more, please visit www.broadcast.harris.com/Selenio.

Global Award Winner

Inside: BVE Preview, Channel in a Box, Inside Disney Benelux

Studio Production

Conference Preview

Broadcasters preparefor Fast Turnaround TV

Inside Sky Studios:The factory of ideas

Sports News studio: LED lighting throughout the Sky Sports News studio cuts down on heat and energy costs

FEBRUARY 2012

TVBE_Feb, P1 News_TVBE_July_P_news 08/02/2012 11:53

See Digital Rapids and Thameside at BVE ,

( Broadcast Video Expo ) 14th – 16th February 2012,

Earls Court 2, London,Booth K44

By Adrian PenningtonThe first large screen OLED consumer display panels will shiplater this year, but Sony demon-strated at CES what it believes isits successor — Crystal LED.

There is no doubt about theflagship products from Samsungand LG: both presented 55-inch3D 1080p OLED TVs to ship during 2012, with prices to bedetermined (though they won’t becheap — the nearest ballpark I gotwas from LG’s Dave Harmon, whosaid it would be significantly lessthan $23,000). LG’s model weighedin at 7.5kg and is just 4mm thinmaking it the thinnest, largest andlightest such panel around.

Sony, however, seems to bemanoeuvring toward CrystalLED, a technology of its owndevising in which a thin layer ofsix million LEDs is mounted on

the display itself. This technique,says Sony, results in greater lightefficiency and higher contrastimages in both light and darkviewing conditions.

The C-LED screen also pro-duces a wider colour gamutbecause of the way the system usesthe red, green and blue lights to cre-ate colour. The new screen also has

wider viewing angles compared toLCD and plasma displays.

The company was showing twoprototype 55-inch C-LEDs andcomparing the picture quality,favourably it has to be said, againstits top of the range LCD panel.

According to Harold Neal,regional sales manager, NorthAmerica, “C-LED will have alonger life span than [phosphor-based] OLED. We can also manufacture screens larger than 55 inches, which just now is thelimit for OLED. And it will havefaster response times.”

When asked why Sony turned toCrystal LED vs OLED in flatscreens, at a QA session following thepress conference at CES, Sony CorpChairman Sir Howard Stringer said:“It is the best TV out there and it isour technology. We are proud of it —it is the high end where we will leadthe [category’s] recovery.”

Sony Executive DeputyPresident Kazuo Hirai added thatSony has OLED on the pro sideand that “as much as we areproud of the Crystal screen, weare not out of OLED. We willcontinue to look at it, but there isnothing to talk about now.” Sonysaid it would work conscientiouslyto bring the Crystal LED to mar-ket (full CES report on page 8).

www.tvbeurope.com FEBRUARY 2012 3

News & AnalysisMeet the new TVThe new smart TV is part of awider connected home wheredevices are linked together.Adrian Pennington reportsfrom CES 2012 in Las VegasMENOS expands to AfricaChris Forrester delves intothe Arab world’s MENOS(Multimedia ExchangeNetwork Over Satellite)system, which has been ahuge success

The Business CaseForbidden cloudfloats offForbidden Technologies hasseen impressive growthwith broadcast post sales ofits cloud video platformincreasing by 94% in thefirst half of 2011. MelanieDayasena-Lowe reports

News & AnalysisMaking fibre connectAs broadcastinfrastructures have gotmore demanding, so theinterest in fibre has grown.Guest Opinion by MikePurnell, Argosy

Channel in a BoxIs there still a gap betweenoptimal scheduling andplayout processintegration? Is contentvalidation sufficient inexisting CiaB systems?Read our all-new vendor-driven Channel in a Boxspecial debate

The WorkflowA new media centreSky’s new building is designedto Make, Shape and Sharebroadcast productions, forboth 2D and 3D. Philip Stevenstalked to Sky’s Director ofBroadcast Operations &Strategy John LennonAlways aiming for the TopPhilip Stevens talks to an OBprovider setting pace with3D facilitiesChanging DisneyworkflowsDisney has abandoned thetraditional approach of linearbroadcast workflows to adopta centralised integratedapproach for multiple linearand nonlinear workflows.David Stewart reports

BVE Preview 2012A guide to what’s new andimproved at BroadcastVideo Expo in London,compiled by MelanieDayasena-Lowe

News & AnalysisIs the traditionalpost house dead?Julie Sangan, resourcemanager, post production atBBC Studios and PostProduction, examines theremaining relevance of thepost house in the tapelessor file-based world

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CONTENTS

TVBEUROPE NEWS & ANALYSIS

Sony sees future inCrystal, not OLED

Sony moves to Crystal LED, a technology of its own devising

By Fergal RingroseAs a recently appointed member ofthe committee of General Membersof the AMWA (Advanced MediaWorkflow Association), Spanishcompany VSN has joined the FIMSproject’s work team (Framework for Interoperable Media Services).Other manufacturers like Sony,Avid, IBM, Harris, Harmonic,BBC or Quantel also participate inthe same team.

VSN will actively collaborate,along with the principal manu-facturers of the sector, in definingthe new FIMS specification. Theproject is an AMWA-EBU jointinitiative for the development ofa technology framework thatenables greater interoperability ofsystems and components.

As the market moves awayfrom traditional video technolo-gies to embrace IT-based tech-nologies, the design and manage-ment of production systemsbecomes a challenge for most TVbroadcasters. Due to the lack ofstandard interfaces among the dif-ferent components and systems,integrators must devote increasingresources and efforts in the devel-opment of customised adapters tointegrate the technologies fromdifferent manufacturers.

The future FIMS specificationhas been designed from scratch forgreater interoperability and stan-dardisation to production, postproduction, distribution and mediaarchive applications. www.vsn.es

VSN joins FIMS forstandardisation push

Celebrating 40 years: ”With the technology of television productiondeveloping very rapidly, the GTC’s role in communication and informationexchange is now more important than ever.” That is the comment of DickHibberd (pictured), founding member and now president of The Guild ofTelevision Cameramen. The GTC will celebrate its 40th anniversary at theIET Birmingham: Austin Court conference centre on 11-12 May. Themeeting, held in conjunction with GTC Awards 2012, will include masterclasses with expert tutors and a display of new and historical productionequipment. — Jake Youngwww.gtc.org.uk

By Jake YoungAnalog Way has appointedJérôme Tancray as global cus-tomer service and after sales sup-port director. Adrian Corso,Analog Way’s CEO, said: “Hisexpertise in B2B customer sup-port management will be instru-mental in the development ofimproved customer service.”

Rainer Hercher has taken onthe job of managing director atBand Pro Munich. Hercher wasformerly business developmentmanager of the Band Pro Film &Digital subsidiary. OutgoingManaging Director, GerhardBaier, has stepped down at hisown request after nearly 10 yearsas head of the equipment provider.

Bexel, a unit of the VitecGroup’s services division, hasappointed Matt Danilowicz to the position of president. JerryGepner, chief executive officer,said: “I believe his leadership willhave a powerful and positiveinfluence and help Bexel furthersecure its position as the premierequipment rental and engineeringsolutions provider.”

Bridge Technologies hasemployed Olli Tuomela asregional manager for EMEA.

Reporting to Sales DirectorPhilip Burnham, Tuomelaassumes overall responsibilityfor sales activities in the region,with resource and logistical sup-port for business partner sales.“Olli’s technical knowledge andcommercial acumen offer anexcellent combination of skillsto help provide the best guidanceto our business partners, and heis a key appointment as BridgeTechnologies scales up anddiversifies its markets in theregion,” said Burnham.

Dawn Egerton has joinedBubble & Squeak as both a senioraccount director and partner inthe business. Egerton joins thePR, marketing and events serviceafter spending 10 years at Avid.

Capture developer Cinedeckhas announced changes and addi-tions to its personnel. Co-founderCTO Charles Dautremont has tak-en the role of acting CEO, withRobert Stacy, Cinedeck LLC’scollaborator and supporter atAsia Media Products, promotedto vice president. Jane Sung is pro-moted to director of operations,while Alan Hoff, Cinedeck’s

former CEO, will remain as acompany board member.

DEV Systemtechnik, an RF signal handling company, hasappointed Stefan Philipps as areasales manager for Germany,Austria and Switzerland. RainerLorger, head of sales and mar ket -ing commented: “The combinationof his technical and sales expertiseensures that he will recommend thebest problem solution to customersand prospects.”

Emmy award winner DigitalProjection (DP) has assignedCiaran Doran as head of interna-tional sales and marketing. In abroadcast and pro AV career span-ning more than 20 years, he hasalso held senior management rolesin Harris and Sony Corporation.

Carter Holland has beenrecruited by NewTek as executivevice president of worldwide mar-keting. Prior to joining theportable live production company,Holland held a range of market-ing leadership positions at Avid,leading the consolidation of thePro Tools, M-Audio, Sibelius,Pinnacle and Avid brands.

Oasys, the automated playoutdeveloper, has hired Ed Calverley

as solutions design manager. “Ihave been aware of Oasys forsome time, but when I actuallysaw the Oasys software in actionit was a real eye opener to thetrue power of IT-based playout,”said Calverley.

Kate Robson has been pro-moted to head of broadcastoperations at Prime Focus.Robson, who joined the visualentertainment services companyin June 2011, has already workedon the series’ of Spooks, Sherlockand Hustle.

Audio console manufacturerSolid State Logic has recruitedBella McAvoy as marketing communications manager. DanDuffell, marketing director forSSL, said: “The creation of thisnew senior role within our mar-keting team is a sign of the com-pany’s continued expansion andis driven by the success the com-pany is enjoying worldwide.”

TC Group has appointedKevin Alexander, CEO of sub-sidiary TC-Helicon, as vice presi-dent of business management MI& HD. David Hilderman, COO ofTC-Helicon, will take over day-to-day operations of the compa-nies’ vocal focused development.

The Telos Alliance has takenon Christina Carroll and KirkHarnack in new positions. Carrollhas been named senior vice presi-dent of global sales for all fourTelos Alliance companies, whileHarnack steps up from his posi-tion as executive director of salesand marketing to the role of vicepresident, Telos Products.

Content solutions providerVolicon has named JenniferKnutel as senior director of mar-keting. The company’s new hirebrings extensive marketing experi-ence for technology-driven firms.

Wall Street Communicationshas promoted Susan Warren to therole of agency president, whileCaryn Cohen, the agency’s formerpresident, takes on the role offounding partner. Said Cohen:“Wall Street Commu nica tions isagain focused on its founding corein broadcast, and Susan is the nat-ural fit to lead the team forward.”

Wohler Technologies hashired Craig Newbury as seniorsales executive, EMEA. Prior tojoining Wohler, Newbury servedas UK area sales manager forAxon Digital Design, a manufac-turer of modular audio and videosignal processing platforms.

Lester Cobrin has joined XL Video UK, the live musicvideo rental operator, as seniorproject manager. “With the ever-increasing crossover betweenvideo and lighting, I can use myunderstanding and educationfrom one medium in new, different and inventive ways,”said Cobrin.

4 www.tvbeurope.com FEBRUARY 2012

Matt Danilowicz, Bexel

Lester Cobrin, XL Video UK

Craig Newbury, Wohler

Jérôme Tancray, Analog Way Ed Calverley, Oasys

Kate Robson, Prime Focus

Kevin Alexander, TC Group

Rainer Hercher, Band Pro Munich

Bella McAvoy, Solid State Logic

Susan Warren, Wall StreetCommunications

People on the move


Editorial expansion at TVBEurope: Jake Young has joined broadcasttechnology market leader TVBEurope as staff writer, working withEditorial Director Fergal Ringrose and Deputy Editor Melanie Dayasena-Lowe across all print, online and live content at the Intent Media Londontitle. Young has most recently worked as UK online content manager atAction Cameras and since leaving college has also had professionalattachments with TVBEurope’s sister title Pro Sound News Europe, as wellas Sky Movies HD and Feature Story News.

“We’re delighted to welcome Jake on board as we expand our teamand activities in 2012,” said Ringrose. “We have an exciting and busy yearahead of us, right across TVBEurope magazine and its website andenewsletters as well as our three conferences — Fast Turnaround TV, 3DMasters and The IT Broadcast Workflow — and of course The IBC Daily andeDailies. We’re confident Jake is going to make a big impact onTVBEurope’s content offering across all platforms.” Jake Young, TVBEurope

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By Jake YoungCamera operator Johnnie Behiri has usedLitepanels LED lighting as part of his newproject entitled Just Ballet. The 1x1 Serieslights were especially important as most ofthe filming took place in ballet studios withplain white walls.

“The combination of modern HD-DSLR film equipment and the versatile1x1 enabled me to create the shots withoutexaggeration and to portray the protago-nists in a very personal way,” said Behiri.“The light was often used as a direct light.However, it was also used with the filters

included in the kit to adjust the colour tem-perature or to spread the light.”

Behiri also appreciates the characteris-tics of robustness and durability. “Withthe 1x1 fixture, I don’t have to thinkabout whether the equipment will weighmy luggage down too much or whetherthe light will survive the trip,” heexplained. “I also know I can quicklyassemble it on the set.”

In total, Behiri spent a year working onthe two 56-minute parts of the documen-tary about a unique ballet class from theVienna State Opera Ballet School. Hefilmed eight dancers between the ages of 14 and 15 years old during rehearsals, performances and interviews.www.litepanels.com

EDITORIALEditorial Director Fergal [email protected] House, South County Business Park,Leopardstown, Dublin 18, Ireland+3531 294 7783 Fax: +3531 294 7799

Deputy Editor Melanie [email protected]

Staff Writer Jake [email protected] Media London, 1st Floor, Suncourt House, 18-26 Essex Road, London N1 8LN, England +44 207 226 7246

Editorial Consultant Adrian Pennington

Associate Editor David Fox

USA Correspondent Carolyn Giardina

Contributors Mike Clark, Richard Dean, Chris Forrester, Jonathan Higgins, Mark Hill, Dick Hobbs, John Ive, George Jarrett, Heather McLean, Bob Pank, Nick Radlo, Neal Romanek, Philip Stevens, Reinhard E Wagner

Digital Content Manager Tim Frost

Managing Director Stuart Dinsey

ART & PRODUCTIONHead of Production Adam ButlerEditorial Production Manager Dawn BoultwoodSenior Production Executive Alistair Taylor

SALESPublisher Steve [email protected]+44 207 354 6000 Fax:+44 207 354 6049Sales Manager Ben [email protected]+44 207 354 6000 Fax:+44 207 354 6049

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JAPAN AND KOREA SALESSho HariharaSales & Project, Yukari Media [email protected]+81 6 4790 2222 Fax: +81 6 4793 0800

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© Intent Media 2012. All rights reserved. No part of this publication may be reproduced or transmitted in any form without theprior permission of the copyright owner. TVB Europe is mailed to qualifiedpersons residing on the European continent. Subscription rates £64/€96/$120.Allow 8 weeks for new subscriptions and change of address delivery. Send subscription inquiries to: Subscription Dept, Intent Media, Sovereign Park, Lathkill Street, Market Harborough LE16 7BR, England. ISSN 1461-4197



By Fergal RingroseWhy do we keep coming back to the ‘Channel in a Box’area of the broadcast chain? (See our CiaB section,starting page 18). In reality it’s not to do with the commoditisation of hardware used in the televisionbroadcast chain, or whether the infrastructure youdeploy is off-the-shelf or a locked-in proprietary system.

It’s to do with the simplification of broadcast technology. Why is simplification important? Becauseevery content provider in this business is now requiredto deliver more content to more platforms than ever before.

This multiplication of channels and platforms isspeeding up all the time, across regions, countries andcontinents. And the playout area is one of the few inthe broadcast chain where there exists the possibility to simplifyand streamline, so that you can reduce operational costs allowingalready stretched budgets to go a bit further — and create the abil-ity to launch new services on new platforms without recruitingmore staff. Simple!

That’s what it’s about, and that’s why we’re very pleased tobring you the views of the world’s leading specialist vendors in thearea this issue. From a solutions architecture viewpoint, there is no‘correct’ way to approach playout process integration. But each ofthese vendors believes passionately in their own direction and typically have spent many, many years developing new systemsand iterations for broadcast users.

As Oasys CEO Mark Errington observes, “comparing productstitled ‘Channel in a Box’ or ‘IT-based Playout’ is a thankless task, asvendors take different approaches to solving the workflow challengeand there is no clearly defined technical definition of the product sets.”

Errington touches on the old chestnut that each broadcaster hasspecial needs — at least that’s the way many broadcasters still viewthe world — and even that each channel they broadcast has specialneeds. He concludes, “instead of asking ‘should I get a Channel in aBox?’, you should be asking, ‘what are my channel’s requirementsfrom the box?’ In that way it is the functional requirement that isspecified, rather than the technical specification of the hardware.”

Alison Pavitt at Pebble Beach Systems says, “despite havingfirst emerged as a concept several years ago, Channel in a Boxtechnology continues to cause controversy and debate. The advan-tages of the approach seem clear in terms of cost, space, powerand simplicity of installation.

“But replacing all of the specialist technology in the traditionalplayout chain is a big ask, and the lukewarm reception that somesolutions are getting in the field is not surprising when vendors’claims are exceeding what the kit can deliver in this mission-critical space.”

James Gilbert, Pixel Power, sounds another warning note.“There’s a key area that has seen many broadcasters shy awayfrom CiaB solutions: automation. Until recently, CiaB techno -logies have been tied to the automation system that they are supplied with: automation lock-in. This is an important consider-ation for a broadcaster whose needs may change over time. CiaBtechnologies that benefit from this can integrate with manyautomation and MAM systems by way of an open XML protocolor legacy industry standard protocols.”

The last wordThe real breakthroughs have been commodity hardware (not bespoke)and file freedom (not proprietary), according to Don Ash of PlayBox.“New technology should not just replace the old. It should do more.Making use of the biggest of all file-based systems — the internet —has enabled new workflows and opportunities for broadcasters.”

What works for self-contained broadcast facilities such asmajor financial institutions, worship organisations and municipalservices may not work for ‘disconnected’ broadcasters ingestingnumerous sources in order to broadcast multiple channels acrossmultiple platforms

Gilbert Leb, ToolsOnAir, says “with Apple’s recent integrationof Thunderbolt technology and increased processing power,ToolsOnAir introduced at IBC2011 the concept of a ‘TV Stationin a Mac Mini’. Utilising video hardware such as BlackmagicDesigns’ Ultrastudio 3D or AJA’s IO XT Box, it is now possible toimplement a truly professional-grade broadcast facility, deliveringplayout automation, video server and realtime graphics, in a single Mac Mini with a mere 85 Watts of power consumption.”

Has Grass Valley’s acquisition of PubliTronic given an officialhigh-end broadcast blessing to the Channel in a Box sector? Or is that the wrong way to look at GV’s strategic motives and marketdirections? The last word in our CiaB section goes to HaroldVermuelen, formerly principal of PubliTronic and now vice presidentMedia Playout Solutions at Grass Valley.

“While every television channel has its unique challenges, thereare some things that are common,” says Vermuelen. “The natureof television is unforgiving: we have come to expect a smoothstream of high-quality pictures and sound, with no glitches,freezes, blacks, or silence. That puts a very stringent demand onthe idea of ‘realtime’ processing. Even today, the IT industrygiants struggle to achieve anywhere near the levels of reliabilitythat we expect from broadcast equipment as a matter of course.”

That always-on ‘unforgiving’ nature of television means that pre-mium channels may continue to rely on specialist hardware for sometime to come. As Vermuelen says, “The integrated playout system isnot the solution for every broadcaster, but it is appropriate for many,and it allows new services to be launched quickly and extremely costeffectively. With this modern architecture, you can realise the costbenefits without compromising on functionality or on-air quality.”

TVBEUROPEEurope’s television technology business magazine

Playout Management

Litepanels takes centre stage

Click to deliver: Comparing products in the CiaB sector is ‘a thankless task’

Johnnie Behiri, DP and co-producer of thedocumentary Just Ballet, relied on the 1x1 LEDlights from Litepanels Photo: Stefan Nutz

Graphic changes in playout

iTX delivers the scalability, resilience and agility we need

Tomaz Lovsin, Managing Director, STN

As a playout service provider for more than 300 television channels,

STN requires highly scalable and resilient operations, with a low cost of

ownership. That’s why it relies on iTX, the world’s most advanced IT-based

automation and playout platform.

By tightly integrating iTX with Miranda’s infrastructure and monitoring

solutions, STN has streamlined its content delivery workflows, all the way

from ingest to transmission. The result is a highly agile media business,

which responds rapidly to new opportunities.

Watch our STN facility tour: www.miranda.com/STN

LET’S GO THERE.

No longer dumb, the new smart TV is part of a wider connected homewhere devices are linked together forthe streaming, upload and sharing ofprofessional and personal media. It’s a massive change impacting programme creation, distributionstrategy and vendor R&D, reportsAdrian Pennington

Over 153,000 punters poured intothe Las Vegas Convention Centrefor January’s Consumer Elec -tronics Show to gauge the future of home entertainment. The over-riding goal of exhibiting consumerelectronics manufacturers was topromote the virtues of connectingan array of devices together via thecloud, Wi-Fi or home networkslike DLNA.

“The average household hasabout 25 CE products — the nextstep is taking advantage of thosedevices with interconnectivity,” saidShawn DuBravac, research directorfor the Consumer Electronics Asso -ciation (CEA). “This means startingto capture the vast volume of digi-tal assets we have created, whetherprofessional or self-generated, andbeginning to organise them forsearch and discovery.”

Or as Boo-Kuen Yoon, presi-dent of Samsung’s CE division, putit, “We must break down barriersthat exist between devices.”

The global demand for newgadgets (20,000 of which werereleased at CES) will drive con-sumer spend over $1 trillion in2012, predicts the CEA, and whilesmartphones and tablet PCs arethe hottest products, the main hubfor interconnectivity is the TV.

Getting smarter every yearSamsung promised the world’sfirst future-proofed smart TV.Slots built into the back of select

sets will be able to accommodatecards which will allow the TV tobe upgraded with new features,boosts in computing power andpicture performance.

At stake is a growing world mar-ket for web TVs forecast to nearlydouble from $68 billion in 2011 to$122 billion in 2016, according toIMS Research. “Samsung TVs willget smarter every year withoutrequiring you to purchase an entirenew set,” said Tim Baxter, presidentSamsung America, though detailswere vague.

The fight is on to secure moreand better content delivered overthe top of traditional cable andsatellite carriage for rental or purchase from online stores hostedby the TV makers themselves.Samsung’s Media Hub has beenaugmented with MGO, a moviestreaming app from Technicolor;Panasonic’s Viera Connect plat-form will include MySpace TV andFlixter; while the Sony Enter -tainment Network (SEN) — anextension of the PlaystationNetwork — streams on-demandvideo and music services for playback on Sony’s own devices.

CES also saw a second launchfor Google TV which needs hard-ware manufacturers to partnerwith at the same time as being apotential competitor to them.Android-powered sets are beingbuilt by Sony, LG, Vizio andSamsung (though it did notdemonstrate this). LG is hedgingits bets by allowing users to switchbetween the LG Smart TV plat-form and the Google TV interface.

Google’s UI is similar to thelook of Android on smartphones,and features apps from a range ofcontent providers. Google has had150 apps specifically built for itsTV service — a fraction of thehundreds of thousands availablefor phones. Samsung, by contrast,already offers 2500 TV apps.

The elephant in the room isApple, not exhibiting at CES, butwidely expected to be launching intothe TV market later this year. Apartfrom iTunes and a ready-madecloud platform, Apple’s relation-ships with record labels and moviestudios could give it the edge inoffering consumers the widest rangeof on-demand content they desire.

Equally important is Apple’strack record in user experiencedesign, another CES theme ascompanies seek to reduce the com-plexity of potentially unlimitedsearch and discovery with a sim-plicity of experience. A key prod-uct here is LG’s Magic Motionremote which uses hand gesture tocontrol the interface and even fullbody gesture for gaming. Lenovointroduced an Android-poweredTV with facial recognition andvoice control. Sony’s Google TValso has voice control and Apple ishinted to be incorporating its ownvoice recognition technology Siriinto iTV.

A slow burn for 3DTVNeedless to say, all smart TVs arealso 3D TVs with the format tak-ing a back seat but continuing as astandard feature. Manufacturersare playing a long game until morecompelling content and advancesin technology make 3D a con-sumer must-have.

LG for one declared it wouldcombine its Cinema 3D brand withsmart TV functions in half of its2012 product line and 3D was a con-sistent theme across Samsung andSony’s product portfolio but with nobreakthroughs to shout about.

Glasses-free technology remainsseveral years from maturing withviewing currently restricted to a fewsweet spots and suitable only forpersonal devices, however the firstcommercial screens are emerging.Toshiba’s glasses-free 55-inch3DTV will launch in the US priced$11,000. It splits its 4K resolutioninto 9 frames — or 9 views — of720p HD with a face-tracker fol-lowing the viewer’s gaze. Since thetracking system only detects oneperson’s face it means that, shouldthat person move, everyone else hasto shift position also.

It would not be a surprise to seeanother big name brand sportingautostereo R&D at CES 2013(Sony showed a glasses-free LCDprototype but kept specs underwraps) with a decent version avail-able in 2014 and an affordable onesometime after that.

In the interim the industry mustwork out how to produce 3D con-tent at a cost comparable to 2DHD. Speaking at a CES panel ses-sion on the topic, Tom Cosgrove,president and CEO, 3net said:

“There was considerable hypethree years ago that 3D would takeover HD. That was never going tohappen but by the end of this year10-14 million households in the USwill have 3DTVs. The reality is thatthis is a business that is going tostay but we have to narrow the eco-nomics between 2D and 3D.”

Bob Zeitter, executive VP andCTO, HBO said the broadcasterhad been investigating the produc-tion of 3D series drama and train-ing producers in the format. “Weare currently running about 12 3D movies a year — that volumeclearly needs to grow — but thereis not a cost effective way to goback and convert 2D content,” hesaid. “The key thing is to drivedown the incremental cost of pro-ducing programming in 3D.”

Also on the panel was VincePace, who was supervising ESPN’sfirst live studio show shot in 5D(joint 2D and 3D production) from aboxing ring located on the CESshow floor. “One of the new tech-nologies you will see from CPG this

year is Smart Rig which is a ‘thinktank’ in a camera,” Pace revealed.“Similar to the way we can designlighting settings for a show and applythat lighting design in a consistentmanner Smart Rig is a system thatwill develop that look for 3D.

“We have shot demos where theDP, director and first assistanthave gone out and shot HD in 2Dand in 3D but without the addedlayers of a stereographer and thewhole 3D entourage. We are start-ing to reduce the amount of crewrequired by making 3D a hardwareplay. The hardware will be intelli-gent enough to develop a style foran HBO show or another forESPN, and to repeat that style dur-ing production.”

OLED, Crystal LED and 80 inchesThe arrival of new HD technologyhas also helped push 3D to oneside. Thinner, crisper- OLEDs were

given centre stage at Samsung andLG where 55-inch 3D HD OLEDs(LG’s was just 4mm thin) wereshowcased. Both are available laterthis year, though they could cost$15k or more.

Sony meanwhile seems to bemanoeuvring toward CrystalLED, a technology of its owndevising in which a thin layer of 6 million LEDs is mounted on(rather than behind) the display.This technique, says Sony, resultsin greater light efficiency, a higherimage contrast and wider colourgamut because of the way the system uses the red, green and blue lights to create colour. Twoprototype 55-inch C-LEDs werecompared, favourably it has to besaid, against its top of the rangeLCD panel. There are no releaseplans as yet.

According to Harold Neal,regional sales manager, NorthAmerica, “C-LED will have alonger life span than [phosphorbased] OLED. We can also manu-facture screens larger than 55 inches,which just now is the limit forOLED. And it will have fasterresponse times.”

Sony executive DeputyPresident Kazuo Hirai added thatSony retained OLED on the pro-fessional side and that “as much aswe are proud of the Crystal screen,we are not out of OLED. We willcontinue to look at it.”

Sharp contended that consumerswant 80-inch screens in their home,even if they are watching from 10ftaway. It unveiled an 85-inch proto-type of an 8K screen based onNHK’s Super-HiVision and offering16 times HD resolution.

A number of 4K technologieswere presented as the successorformat to HD. LG’s 4K 84-inchflagship (also 3D and MagicRemote controlled) will upres HDcontent and Sharp will ship a 4Kmodel later this year. The higherresolution of 4K would seemessential in any autosterescopictechnology which will inevitablychop the resolution into multi-views. Sony showed a Blu-ray playercapable of upgrading HD to 4Kand its new 4K home cinema pro-jection system while JVC choseCES to launch the 4K camcorderGY-HMQ10 costing £4,300 — atechnology it first previewed atNAB 2010.



Connected, voice controlled, 3D,OLED and big: meet the new TV

CES Show Analysis

Now that’s a trade show crowd: jostling for position outside LVCC Central

Demo time: Overall theme was connection of devices via networks or the cloud

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By Chris ForresterThe Arab world’s MENOS(Multimedia Exchange NetworkOver Satellite) system has been ahuge success. Operated in con-junction with the Arab StatesBroadcasting Union (ASBU),Arabsat and using equipmentfrom Belgium-based Newtec, thetechnology has won the unequiv-ocal support of the ITU andWorld Broadcasting Union for itssimplicity and efficiency.

MENOS has now been adopt-ed by the African Union ofBroadcasters (AUB) to establishits own content exchange net-work. A deal was signed in Accra,Ghana, in November 2011,potentially extending MENOS tothe rest of Africa.

European broadcasters havehad Eurovision for decades, butthe concept of common sharing isnew, especially for some sub-Saharan broadcasters who havelong wished to see an inexpensive,

but reliable, system available forcontent sharing. In essenceMENOS is a simple system thatallows — and encourages —member broadcasters to send andreceive news, sports reports, cul-tural packages and programmingvia low-cost dedicated IP-basedsatellite links.

MENOS enables fully auto-mated and sharing of video (andradio) content from scatteredsource sites to often equally scat-tered recipients. Arab broadcast-ers have been using MENOS since June 2009, and while it wasoriginally intended for public

broadcasters, many of whom arecash-strapped, the system hassince been adopted by many pri-vate TV broadcasters. Indeed, lastAutumn Al Jazeera, the Qatar-based news broadcaster, joinedthe scheme for its Al JazeeraSports channels.

MENOS cost some $4 millionto develop and implement, andthe African extension has beenpart-funded by the AfricanDevelopment Bank. Other fundswill help secure the first threeyears of operations and see it tocommercial viability.

MENOS allows digital SNG/ENG content to be exchangedusing the satellite return channelDVB-RCS system. It can even beused within a country as an inter-nal file exchange system and as a Virtual Network. Initially, theMENOS system depended on a single Arabsat transponder,

responding and transmitting toFlyaway stations as well as dedicat-ed uplink Earth stations.

The new AUB MENOS systemis aimed primarily at enabling pro-fessional broadcasters to sharevideo and audio material across theAfrican continent. It will eventuallyenable the exchanges between the48 active member broadcasters ofthe AUB and also exchangesbetween African broadcasters(both public & private) and the restof the world of news, culture,sports and other programmes.

Simon Pryor, who leadsNewtec’s MENOS team, explains:

“MENOS is a star-based satellitesystem, and the terminals can bemobile or fixed. The user has asimple web interface where theybook a time (start and end) andtype of session that they need.The actual content can be live orrecorded, TV or radio.

“Users can specify who isallowed to view or use the material,and whether the access is auto-matic. Potential users can also saythey want to see the content evenif they are not part of the initialdistribution, and the sender canconfirm that request. The materialcan also be specified for archivingeither centrally or locally. Thisallows the content to be playedout at a later date.”

“The cost to broadcasters isaccording to a published ratecard,” he adds. “Members of thesystem get a preferential discountedrate for their usage, and this permits

a certain amount of transmissiontime within their annual commit-ment and this can include unilater-als or wider multilaterals and willdepend on their package and theirown probable needs.”

“We have seen the demonstra-ble benefits of the MENOS plat-form to our members in theMENA region and are committedto providing our operationalcapability, expertise and contentto assist the AUB in its aspira-tions,” said Slaheddine Maaoui,director-general of ASBU.

“The creation of an Africanexchange of news and program-ming will bring Africa back intothe world network of satelliteexchanges,” said EBU DirectorGeneral Ingrid Deltenre. “It willenable the African continent to beseen and heard by the world, and welook forward to working with theAUB as it enters the digital era.”

Simon Pryor: “Cost to broadcasters isaccording to a published Rate Card”

“MENOS is a star-based satellite system, and theterminals can be mobile or fixed. The user has asimple web interface where they book a time(start and end) and type of session that they need”

ASBU’s MENOS systemexpands to all of Africa

Africa comes back into world network of satellite exchanges with MENOS


� Fully automated radio andTV exchange sessions� Store and Forward FileTransfer� VoIP Voice CoordinationChannels� Secure Virtual PrivateNetworks� Archiving of audio andvideo content� Internet/intranet access� Video and Audio conferencing� Distance learning and training� Automated billing of consumed services

The MENOSoffering

AJA Io XT shippingAJA Video Systems is shipping theIo XT Thunderbolt-enabled videodevice. An additional Thunderboltport is provided, enabling the Io XT to be attached to otherThunderbolt peripherals includinghigh bandwidth storage and highresolution displays through asingle interface. The portabledevice supports capture andplayback of 4:2:2 and 4:4:4 HD andSD formats and can unify disparateformats via its 10-bit realtimeUp/Down/Cross conversioncapability. Io XT also providescompatibility with NLE programs,codecs, video formats andstereoscopic 3D workflows.

Archion shows project sharingArchion Technologies has offeredAvid project sharing on its EditStorES shared storage system. Thesystem enables collaborationbetween editors and on the flyvolume expansion. “EditStor ES nowoffers the native Avid projectsharing that once only existed whenusing Avid shared storagesolutions,” said James Tucci, chief technology officer atArchion. “We’ve now made itpossible for Avid users to realise the benefits of this feature whilealso enjoying greater mediamanagement tools.”www.archion.com

Spectra to LTO-6Data storage innovator Spectra haslaunched its LTO-6 tape driven prepurchase programme, providinginvestment protection andguaranteed access to first availableshipments. Customers can nowreceive LTO-5 drives for use untilLTO-6 drives become available.Keith Warburton, director, GlobalDistribution, said: “Our customerswill have the libraries andinfrastructure already in place, andwill immediately recognise dramaticcapacity and performance increasesfrom this new technology within the same data centre footprint theyuse today.”www.spectralogic.com

NEWS IN BRIEF


TVBEUROPE THE BUSINESS CASE

Forbidden Technologies has seenimpressive growth with broadcastpost sales of its cloud video platformincreasing by 94% in the first halfof 2011. Melanie Dayasena-Lowemet with CEO Stephen Streater tofind out what has driven the company’s rapid success rate

The path to success for ForbiddenTechnologies has been a rocky onebut the company’s determinationhas seen it through. BeforeForbidden Technologies, CEOStephen Streater started off in thebusiness world with an invention formoving video editing off tape andonto computers. With the help of aventure capitalist, Streater decidedto develop his idea into a businessand set up a company called Eidos.

The venture capitalist invested£20,000 in the company but asStreater was a PhD student hisinitial share capital was just £4.Within a year, the company hadraised £1 million on the stockmarket. The company grew itscustomer base with the likes ofthe BBC and ITV signing up.

Eidos made editing software forbroadcast, and Streater explainswhy this system stood out againstthe competitors: “The unusual thingwas that the editing was done entire-ly in software. All the other editingsystems like Avid needed hardware,such as JPEG cards, to do the videobecause computers weren’t fastenough to handle video directly.

“We ran our software onAcorn machines, which used theARM chip. ARM now outsellsIntel in number of units shippedeach year. We were lucky to havesuch early access to that design.The problem was that Acornstopped making computers so wecouldn’t base our business ontheir platform any more.”

During the 1999-2000 internetexplosion, he decided to set up acompany to move everything to theweb. “We had a big advantage overall the other professional products

around in that my compression, andthe handling of the video, all ran insoftware. Java was just coming out,allowing people to run software onthe web —including, in principle,video playback software. So wecould now make a video editing sys-tem run entirely on the web. None ofour professional competitors wereequipped to do that because theyrelied on hardware and you couldn’trun the hardware on the web.”

Forbidden is bornStreater went on to foundForbidden Technologies, whichstarted off working on video play-back for web browsers, with no install -ation or configuration required.When, in 2001, Forbidden launchedits first video player, there was noth-ing like it on the market.

“That was partly the problem —no-one had video on their webpages. So we couldn’t go to compa-nies and say ‘this is how to do yourvideo’. They all used Flash — whichdidn’t support video,” explainsStreater. A stumbling block was thesophisticated nature of making avideo as you needed people to film,edit and script it but the web design-ers didn’t know how to make videos.

Next, Forbidden approachedmobile phone companies with theidea of playing full screen, full motionvideo on mobile phones withoutneeding 3G. However, the mobileoperators had just heavily invested in3G: “The ones who did talk to us hadjust spent billions of pounds on 3Glicences and the only thing they couldthink of that needed 3G was video.So doing full screen, full motionvideo on 2.5G might have forcedthem to write down their 3G invest-ment. They weren’t too keen on our2.5G solution, so we didn’t havemuch luck there!”

In 2003 the company launchedlive video over the web — againwithout the need for any installationto play it back. “We put a live videodemo on our website and we weregetting 1 million hits a month.”

Forbidden presented this solution tobroadcasters at IBC in 2003.

“They thought it was amazingbut they didn’t have the internetrights to the video, or the non-UKrights if they were a UK broadcast-er, so they couldn’t put anything outon the web because they didn’t ownthe web rights to their TV content.So we had this amazing technologybut there was no legal way to use itbecause the world wasn’t ready.”

Ahead of the gameForbidden continued pushing aheadin convincing the broadcast industryof its solutions. “We had this amaz-

ing technology years ahead of every-one else but no customers for it.” In2004 at IBC, Forbidden launched itsframe-accurate professional editingsystem, FORscene, based on the sys-tem Eidos had made in the 1990s. “Itwas before Flash video caught on and before YouTube waslaunched. No one believed youcould do professional video editingon the web,” Streater explains.

In 2004 GMTV was the firstbroadcast customer to sign up to thecloud editing system. Next the BBCinvited Forbidden to give a demo toDigiLab in 2005. Streater explainswhat happened: “We borrowed acameraphone from a BBC person inthe audience, filmed a video, uploadedit over a 2.5G connection, got one oftheir BBC desktops and went to ourwebsite through their firewall.

“We edited the video through aweb browser on their computer —again with no installation. We pub-lished it and got someone with a dif-ferent phone to download the editedversion and play it back. They couldalso Bluetooth it to other phones. Itwas end to end from filming, editing,publishing, distribution and viewing— all entirely on BBC kit. They said‘it will never work in practice’. Butwe had just shown it to them — thewhole workflow, all entirely on theweb — all working in practice!”

Streater explains how difficultit is to convince users of new tech-nology until you have customerssigned up. “No one in this indus-try wants to be the first to try newtechnology, no one wants to takethe risk. Broadcast is very conser-vative. The flip side is that as soonas it’s proven that it works theydon’t want to be left behind.”

Despite the caution in the mar-ket, by the next year Forbidden hadsecured its first broadcast produc-tion. Channel 5 needed an excep-tionally efficient system to meet

budget constraints. It used For bidden’stechnology to log the 12-part seriesCelebrity Holiday Reps.

Early adoptersIn 2006 more customers followedand the BBC started using it. “Wesaw our first trickle of earlyadopters coming through. Earlyadopters will try anything butexpect you to redesign it for them.They don’t buy off the shelf. Wespent all this time adding extrafeatures that people wanted — forexample supporting video shot inmore tape formats. Our systemhas always been entirely tapeless.”

A year later, Forbidden hadincreased its staff and had more pro-ductions on its books. “We had thissystem running in the cloud — nomanufacture costs, easy to maintainand upgrade because it is just a web-page you update and everyone in theworld has the latest version. A userdoesn’t need to configure it on each

machine — their configuration fol-lows them around. Any machine,anywhere in the world — PC or Mac— you’ve got your keyboard config-uration and shortcuts. It makes itmuch easier to move around,” saysStreater on the benefits of FORscene.

When the credit crunch hit in2008, the company really startedto see a pick up in interest in itssystem as people started movingtheir viewing to the internet.Money was tight and people need-ed more efficient workflows.

In 2009-2010 there was rapidgrowth and in the first half of2011 the company’s broadcastsales grew by 94% from the previ-ous year. Streater attributes thisgrowth to a “switch market wherethere are enough people who havejumped in so if you don’t jump inyou’re going to miss your chance.These switches can be very fast.

“Advertising is still movingonto the web because people nowspend more time watching videoon the web and phones than onbroadcast TV. Recently, half ourturnover has come from video forthe web, mainly re-versioning ofbroadcast American TV pro-grammes. The other half has beenfrom UK broadcast post pro -duction. In the web they finisheverything in FORscene — colour correction, audio levels, transi-tions etc. In broadcast the loggersgenerally log everything and thedirector does a rough cut andsends it off to the craft editor tofinish on Avid.”

Now that technology hasimproved and evolved, the costshave come right down. Streatercomments: “The internet is 100times faster than when we launchedFORscene and 1,000 times fasterthan when we launched Forbidden.

Forbidden cloud floats off

“We introduced FORscene before Flash videocaught on and before YouTube was launched. No one believed you could do professional videoediting on the web” — Stephen Streater

With FORscene a user doesn’t need to configure it on each machine — the configuration follows them around

Forbidden launched FORscene at IBC in 2004, based on a system Eidos had made in the 1990s

Stephen Streater: “We have 12,000 hours a week ofprofessionally shot content throughthe system and have handled nearly 2 million hours of professionallyshot content in total”

How a web-based edit system became a hit in broadcast, post and production

Continued on page 14

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Disk storage is 100 times biggerthan when we launched FORsceneand 1,000 times bigger than whenwe launched Forbidden.

“Storing video in the cloud is1,000 times cheaper. The costs arekept low as we have much higherutilisation of the system and wecan re-use the cloud storage forone customer after another.Everyone has broadband now.Machines are a lot faster too.”

Another factor behind itsgrowth in sales is the take up ofFORscene by facilities houses.“These days, an offline room inSoho costs more than they get —they make a loss because Soho isexpensive. They realise that if they

use FORscene they don’t have toprovide the room because peoplecan use their own rooms. Suddenlythey haven’t got these rooms full ofhigh volume loss-making activities.Now they have huge amounts ofmaterial and people spend a lot oftime organising it all, especiallywith reality TV. The facilities hous-es don’t have to use expensive spacefor low cost services any more.They can put expensive kit in thereinstead ie. grading tools etc.”

Testament to this is the numberof facilities houses that have signedup to use FORscene within the lastyear alone. “They are doing itbecause their clients have asked forit. Clients have suddenly realisedthey don’t have to commute for anhour to a facilities house – they can

actually do it in their own offices,at home or on location.” Clientscan access FORscene through aweb browser from any computer.

Through word of mouth,FORscene has grown in popularityamong facilities houses. “Their pro-duction company clients want it. Itis quite a good fit for facilities. Wesell a box and you plug it into yourAvid system. Everything that goesinto the Avid goes into FORscene.

“A FORscene server box is quitepowerful so you can ingest up to1000 hours a week with just one box.If you are a production companyyou don’t necessarily want to buyyour own box for one production. Abig production company will use it alot, but if you are just doing a pro-duction from time to time, it is much

better for a facilities company to buythe box and you just rent it when youneed it. As the facilities company hasloads of productions going through,it is worthwhile to buy.

“We’re at that point now whereit seems everyone wants to useFORscene and it’s getting easierbecause a lot of facilities housesalready have it and many produc-tion companies know how itworks. We’ve reached a tippingpoint, which is why the number ofsales is increasing so quickly.”

Growing partnershipsJust last December, Forbiddenannounced it has licensed FORsceneto YouTube. As is usual in biggerprojects, FORscene will provide thecloud editing element in a largerintegrated system. YouTube will useForbidden Technologies’ FORsceneplatform to support remote videoediting and publishing for web andbroadcast delivery.

Going forward, the company islooking to expand its work in newareas such as news and sports.Forbidden has partnerships withEVS for live sports and TheAssociated Press and its ENPS sys-tem for news. FORscene editing isintegrated into The AssociatedPress ENPS system. “You canshoot on your camera, upload itinto FORscene on your laptop,edit, approve it, push a button andout it goes into your playoutservers and on to TV.

“Our next big job is to discusswith the ENPS distributors how tosell FORscene as an upgrade fortheir customers. You can do liveediting of sport — edit out the goalsas soon as they happen, put themon the website in full 1080p HD asit happens. You don’t have to waitfor the match to be digitised first.

“Because it runs in the cloud,you can do things remotely. Youeven don’t have to upload the HDfor the bits you didn’t need. Youcan make a real story, use libraryfootage, and it is all accessible fromthe same interface,” he explains.



By Mike Purnell, business development director, ArgosyAs broadcast infrastructures havegot more demanding, so the inter-est in fibre has grown. Most engi-neers now demand 3Gbps capa-bilities in any new architectures,to be ready for 1080p ‘full HD’ orfor stereoscopic 3D channels.

It should be emphasised that3Gbps infrastructures can be sup-ported by good copper installa-tions, using the latest cables andwell-matched connectors. Butthere is no doubt that the use offibre is moving from long-dis-tance interconnections into themachine room.

No-one wants technology tomove backwards, though, sofibre has to be as practical to use as copper co-ax has tradi-tionally been. It has to be simpleto install and to connect. It hasto be rugged and reliable. And it has to be capable of simplerouting through patch panelswhere necessary.

Indeed, there is an argumentthat fibre needs patch panelsmore than co-ax does.Remember that while you cansend a signal down a piece offibre there are, to date, no opticalprocessors, so every piece ofequipment needs an optical toelectrical converter at the inputand an electrical to optical con-verter at the output, both devicesneeding power supplies. For con-nections that rarely change, apatch panel saves not just arouter path but two extra piecesof powered processing so is anenvironmentally better solution.

The good news is that the lat-est developments in fibre havebeen addressing these issues.Fibre is inherently a fragile mate-rial. The core is a strand of glass,drawn out to a diameter of just 9microns, or around a tenth the

thickness of a human hair. It canbend to a certain degree, but coilit too tightly and it will break andfail. This has limited its use inracks, unless it could be installedto length (coils in the bottom ofthe cabinet were not a good idea)and meant that rough handlingwas a bad idea.

We worked with one of ourcable suppliers, Draka, to devel-op the first ‘bend insensitive’fibre. BendBright uses a specialcoating on the inside of the cablejacket that not only cushions theglass but reflects light back intothe fibre, greatly reducing losses.It really works: we demonstrateBendBright by coiling it arounda pencil.

Inevitably this product comesat a premium price, but for appli-cations where cables are going tobe bent sharply and possibly sub-jected to rough treatment it is cer-tainly worth considering. Itmakes patch panels practical, andindeed we offer a range of patchpanels for fibre. This is a majorstep towards making fibre a prac-tical broadcast solution.

The other major obstacle lim-iting the use of fibre is the per-ception that it is difficult to ter-minate. In the past, to install fibrein a broadcast facility the jobtended to be handed to a special-ist contractor, usually from the ITworld rather than broadcast, whowould have the necessary termi-nation equipment.

Now there are practical solu-tions that can be used by any wire-man. One uses terminations madeby the supplier in a clean room, ontoshort tails of fibre. In the field aportable machine is used which pre-cisely aligns the end of the cable withthe terminated tail, makes clean cutsin each, polishes the exposed endsand fuses them together.

The resulting splice is strong,with virtually no signal attenua-tion. Fibres can be repaired usingthe same splicing machine if nec-essary. This is the best solutionfor heavily used multi-mode cir-cuits because there is no constric-tion of bandwidth.

An even more practical solu-tion, particularly for less criticalapplications, uses snap-on con-nections. One of our suppliers,Belden, has developed this sys-tem. The kit comes with a simpletool that strips 8mm of the fibrejacket. Then you simply put theprepared end of the fibre into theconnector and close the clip. Ifthe termination is not perfect, theclip can be opened and adjusted acouple of times. BendBright canbe used with the connector, sothis is a great way to make uppatch cords quickly.

The advantages of fibre arehigh bandwidth and low atten -uation. With the latest develop-ments in termination and bend intolerance, it is now apractical solution for everydaybroadcast applications.

Fibre paths: One obstacle limiting use of fibre is the perception that it’s difficult to terminate. In the field a portable machine is used

Making fibre connect forevery day broadcastingGuest Opinion

“Clients have suddenly realised they don’t haveto commute for an hour to a facilities house —they can actually do it in their own offices, athome or on location”

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By Jake YoungCalifornian antenna companyJampro has acquired the AlanDick Broadcast (ADBL) divisionof ADC UK as part of an expand-ed offering. The combined compa-ny is to offer global engineeringsolutions for digital TV products.

Alex Perchevitch, Jampro’s pres-ident, said stronger research anddevelopment, improved deliverycapabilities and reduced shippingcosts will benefit customers. “Wecouldn’t be happier to welcome theentire staff into the Jampro familyand look forward to a successfulfuture filled with expanded opportu-nities for our combined client base.”

Rob Fisher, CEO of ADC UK,commented: “I am pleased thatJampro will take the Alan Dickbroadcast products into its portfo-lio and continue to market them asa part of an expanded Jamprooffering. Jampro will work closelywith a number of Alan Dick com-panies, including Alan Dick MiddleEast, to ensure that their local prod-uct and service capabilities can pro-vide an outstanding turnkey solu-tion for broadcast customers.”

Jampro is known for its antennatechnology, combiners/filters, tow-ers, and radio frequency compo-nents. The company is the oldestbroadcast antenna company in theUS, and has installed thousands ofsystems since its inception in 1954.Alan Dick has won multipleQueen’s Awards for its stationequipment, towers, and antennas.Its credits include supplying a largenumber of broadband multi-chan-nel systems to the BBC and Arqivafor the UK’s digital switchover.www.jampro.com

Jampro welcomesADBL to portfolio



By Jake YoungSwedish software developerCantemo has unveiled MediaBox, adigital asset management systempriced at less than £10,000. The soft-ware offers the same functionality

and quality as its enterprise levelprecursor, but is available in pack-ages for five, 10 or 20 users with upto 300,000 assets and upgrade paths.

“In today’s fast moving mediamarket there is an increasing need

for small and medium sized com-panies to effectively manage theirever expanding number of richmedia assets,” said CantemoChief Executive Parham Azimi.“Many of these companies will

have the same critical demands asmuch larger organisations.”

MediaBox features tools fortranscoding, managing, searchingand governing data and for addingmetadata. It comes complete with

up to eight storage areas and acodec package. The OEM productis available via specialist resellersand third party systems integrators,who will be able to re-package andre-skin the technology, create appsand integrate it into systems.

To make this possible,MediaBox has been designed as anopen-ended integration platformconsisting of two parts: ‘Apps’,which allows for the addition ofnew functionalities, the modifica-tion of existing ones and the inte-gration of third-party systems and‘Themes’. The latter is for fine-tun-ing or completely rebranding theinterface on a user or group level.www.cantemo.com

Cantemo releases MediaBox DAM

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FS2 features comprehensive analog and digital I/O, withfull input and output mapping allowing any I/O port tobe assigned to either processing channel.

FS2 can also be expanded with Dolby E Encoder, Decoderand Fiber I/O options.

FS2. One box that does it all.FS2 Dual-channel Universal Video/Audio Frame Synchronizer and Format Converter

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TVBEUROPE CHANNEL IN A BOX

From a solutions architectureviewpoint, everyone was hopingfor a self-contained playout build-ing block. One that replaced theappropriate broadcast server(s)and signal path(s) and that comprised the automation; or, areliable and self-contained add-on to the mam workflow — a‘Channel in a Box’, in fact.

This is now working well formany types of channel. Notwith -standing the complexities of channelbranding, graphics and subtitlingworkflow, many CiaB solutions arenow cost effectively and reliablyplaying out multilingual long-formand commercials, adding goodiessuch as high quality SD upconver-sion and aspect ratio conversion, etc,where required. So far so good.

As long as all the content andthe schedule are accurate, valid anddelivered on time, every time, theneverything is ‘tickety boo’ (Britishfor acceptable performance...).Often however, this is not the case.

Key scheduling and contentpreparation processes are usuallymanaged by departments up -stream of playout or, in the case ofa service provider, by the clientthemselves. And so are any errors;individually or systemic. It’s noteasy to improve and streamlinethese processes and many reportthat there is still a huge gapbetween optimal scheduling andplayout process integration.

Maksim Butsenko at LeviraAS manages 21 channels from itsmedia centre in Tallinn, Estonia.“Using a software-based channelin a box, we offer a streamlinedplatform. Some clients haveworked closely with us and wecan now trust them to deliver reliable schedules and content.Others require us to do morework checking their contentagainst the schedule, often at thelast minute,” he says.

Computer says NoAccurate content validation isnow a key issue in deploying CiaBsuccessfully from an operationalpoint of view — particularly whenworking on a larger scale, wheredramatically increased contentthroughput is required to servemore platforms and territories.

Content validation means allthe upstream planning, schedul-ing and content preparationprocesses ensure that TX can becertain that programmes, ads,promos and graphics are correctand ready for air. Whether mate-rial and its metadata is changed a lot or just a little, secure valid -ation is crucial. Seeing red inplaylists, or the wrong graphics orsubtitles coming-up-next, is stillnot the preferred way to managemultichannel playout.

Even when content has beensafely ingested and has passed amanual or automatic file-basedtechnical QC, cleared for compli-ance and parted for commercials,further on air problems are

common. These are caused byschedule to playlist errors such asincorrect transmission timecodeand segmentation, incorrect programme titles and graphicstemplate errors.

Monitoring playout ‘by excep-tion’ is now the future for manychannels or certainly parts of theschedule. It helps if playout staffcan be sure that all incoming mate-rial is valid and can be trustedwithout further routine checking,while they attend to more complexlive events and unexpected pro -blems — as they simultaneouslymanage 10 or more channels.

Simplified transferprocesses Most frequently though, it’s errorsduring file transfers that are themost difficult to manage; such asfrom archive to TX via transcod-ing for example. Usually, acquiredcontent recently ingested/uploadedor from the library is transcoded to the transmission standard.Inter estingly there is an opportunity

here to dispense with unnecessaryintermediate transcode processes,possibly avoid unnecessary archiveuse, and play content as ingestedusing the library master format.HD is an interesting example.

Richard Allingham at IMGexplains how its HD football production workflow and library,managed by Ardendo, uses materialencoded using Avid’s DNxHD at120Mbps. To launch a new HD UKPremier Football League playoutservice in 2011 and simplify the TX workflow TWI selected an

‘integrated channel device’ thatcould natively play DNx. This meantthat no additional content transcodingor checking was required. For sometypes of channel it is now cost effec-tive to manage content at 120Mbpsand higher in a playout subsystem.

So what’s the secret?Channel in a Box is finding its placeless as a standalone device and more asa high performance edge device orapplication, plugged into the coremedia management ecosystem.However, it’s not always designed to

work ‘out of the box’ and to get thebest results, careful end-to-end ITbroadcast workflow design is required.

Summarised nicely by PeterElvidge at GlobeCast, “to stream-line workflow and gain operationaladvantage with Channel in a Box,content preparation and validationprocesses have to be improved, inorder to make them highly robustand reliable. Otherwise, the addi-tional checking and interventionrequired by playout staff wouldsometimes negate the potentialbenefits and cost savings.

“It remains our strategy to ensurethat the core media management(MAM) architecture and workfloware correct so that we can choosewhichever Channel in a Box suitsour clients’ on-air requirements.”

As the proposition stabilises,it’s what happens with people andprocesses around that box that hasthe greatest effect on success. A‘Kaizen’ type approach, continu-ously improving the schedulingand content preparation workflowupstream and working ‘outsidethe box’, is perhaps the secret.


Russell Grute: Seeing red in playlists, or the wrong graphics/subtitles coming-up-next, is not the preferred way to manage multichannel playout

Richard Allingham at IMG explains how its HDfootball production workflow and library, managed by Ardendo, uses material encodedusing Avid’s DNxHD at 120Mbps

By 2012 a growing community is recognising the potential of the Channel in a Box concept. So how is it really workingin action? This year our Media Asset Management Columnist Russell Grute talks to heads of operations and engineering at broadcaster and service providers to find out how it is going and the secret behind a successful system

Is there still a gap between optimal scheduling and playoutprocess integration? Is content validation sufficient inexisting CiaB systems? How do you eradicate errors duringfile transfers? How much ‘outside the box’ thinking is still required? This issue we’re delighted to bring you anall-new vendor-driven Channel in a Box special debate,running over the next 16 pages — Fergal Ringrose

Channel in a Box

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By Gilbert LebVP sales, ToolsOnAirSince 2008, ToolsOnAir has beenproviding our Broadcast Suite‘TV Station in a Mac’ solution tobroadcast professionals rangingfrom high-end networks toregional broadcasters. Our clientsinclude such well-known namesas Home Shopping Network,MTV Europe, Swiss TV, FranceTelevision and more, as well asthe self-contained broadcastfacilities of major financial insti-tutions, worship organisationsand municipal services.

These users all share a common thread — the need for a dependable, easy-to-usesolution based on a solid,proven platform.

While recent acquisitions suchas Grass Valley’s purchase ofPubliTronic have been hailed as lending legitimacy to the‘Channel in a Box’ movement, inreality these events do little toalter the current landscape. Theend-user is still relegated to a pro-prietary black box system, at themercy of a single manufacturer.

By contrast, ToolsOnAir’sTV Station in a Mac solution

has, from the beginning, beenbased on off-the-shelf Applehardware, coupled with easilyavailable video cards from estab-lished manufacturers like AJAand Blackmagic Design. Theresult is an easy-to-find, easy-to-assemble system based on a proven, robust technology.

A channel can be built andbrought online within a singleday, and easily maintained bylocal technical personnel.

We don’t focus on hardware.Rather, we believe our strength is inour engineers’ ability to be fast andinnovative in software development.

ToolsOnAir’s Broadcast Suiteoffers a complete solution formulti-camera ingest, editing andautomated playout, integratinglive graphics feed and more.

With Apple’s recent integra-tion of Thunderbolt technology

and increased processing power,ToolsOnAir introduced atIBC2011 the concept of a ‘TVStation in a Mac Mini’. Utilisingvideo hardware such as Black -magic Designs’ Ultra studio 3D orAJA’s IO XT Box, it is now possible to imple ment a truly professional-grade broadcast

facility, delivering play outautomation, video server andrealtime graphics, in a single Mac Mini with a mere 85W ofpower consumption.

Our customers are now look-ing at implementing literallydozens of channels — withredundant backups — in a closet-sized space. The concept is equallygroundbreaking for mobile ENGfacilities, where space is always ata premium.

ToolsOnAir’s Broadcast Suitehas opened a world of possibili-

ties for not only larger broadcastfacilities, but also for dedicatedniche broadcasters, IPTV andweb-based channels. While muchhas been made of the ‘con-sumerisation’ of the video indus-try, ToolsOnAir is focused on the‘computerisation’ of the broad-cast industry.

TV consumerisation and computerisation

Gilbert Leb: At IBC2011 weintroduced the concept of a ‘TVStation in a Mac Mini’

Working with Apple, AJA and Blackmagic Design to deliver a robust suite

It is now possible to implement a truly professional-grade broadcast facility, delivering playoutautomation, video server and realtime graphics,in a single Mac Mini with a mere 85W of power

dB PIE contract Systems integrator andmanufacturer dB Broadcast is closeto completing a major programmeinput equipment contract. Thecontract, awarded by Arqiva, is tosupply and install products at 90 UKtelevision transmitter sites as partof the digital switchover. Tom Swan,sales and marketing director at dB,said: “dB Broadcast is pleased to bepart of such a large and prestigiousproject which is testimony to dB’sexpertise in providing PIE systems.”The contract is due for completionin mid 2012.www.dbbroadcast.co.uk

JCA goes transatlanticContent service provider JCA hasformed a partnership with LA-basedpost production media managers SMVComplete Media. The joint venture willallow global clients access to servicecentres in LA and London for both tapeand file-based solutions. Simon Kay,managing director at JCA, commented:“We are pleased to be joining forceswith SMV Complete Media as it too isdedicated to providing quality andflexible media solutions with apersonal touch and fast turn-around.”www.jca.tv

NEWS IN BRIEF



By Mark Errington, chief executive, OasysOver the last few years manymanufacturers have joined thepioneers in presenting Channel ina Box technology to the market.Discussion has centred around IThardware, minimising cost andrack space, determining howmany ‘boxes’ you actually need,suitability of non-specialisedequipment, functional limitationsand scalability.

Comparing products titled‘Channel in a Box’ or ‘IT-basedPlayout’ is a thankless task, as ven-dors take different approaches tosolving the workflow challengeand there is no clearly defined tech-nical definition of the product sets.

In the previous two TVBEuropefeatures on the review of this tech-nology, the focus has been as much

on the perceived limitations of thesolutions, rather than how todeploy and use them effectively.Quotes like “you shouldn’t trustyour income to a PC with a videocard”, “engineering challenges inspecialist equipment”, “only fit forpurpose for channels with pre-recorded content”, “don’t scalewell” and “lack of integration withexisting equipment” abounded.

The reality is that whether youhave a green field site with a clean

sheet, or whether you have exist-ing broadcasting facilities, the versatility and flexibility of Auto -mated Playout solutions makethem an ideal way to bring chan-nels to air. With engineeringfocused on software, specialdevelop ments and features can bedeployed rapidly whether it is foradd-on channels, disaster recovery

sites, advertising insertion, multichannel playout facilities, or nichechannel requirements.

Software evolutionAt Oasys we focus our develop-ments around what broadcasterssay they need to broadcast. We average over three feature releasesevery year, each time adding to theversatility of the software for differ-ent deployments — and each timetaking the concepts of AutomatedPlayout one step further.

We add feature after featurethat can be switched on or offdepending on the customer needs,so that with a standard set of software tools, each broadcastercan have a customised playoutsolution, whether for a range ofchannels or a single channel. Wecan, on a single system, with asingle piece of software, createmultiple custom configurations,without having any custom soft-ware code — and whether it is asingle ‘Channel in a Box’, multiple

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Mark Errington: At Oasys we focus our developments around what broadcasters say they need to broadcast

Specify the functional requirement, rather than the technical specification of the hardware

Comparing products titled ‘Channel in a Box’ or‘IT-based Playout’ is a thankless task, as vendors take different approaches to solving theworkflow challenge


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channels from a box, time delay,local insertion, baseband andstreaming, simulcasting SD andHD, or live and near live playout.

The type of channel that canbe played out is not limited,whether news, entertainment, or sport. Playlists can be trig-gered by a human operator, an

automation system, an inboundsignal, and embedded command,or just left to continue playingwithout intervention.

Import and export, most likelyusing XML, allows integration toexisting facilities, and media shar-ing using common file formats

allows not only traditional andAutomated Playout solutions toco-exist, but also for differentlybranded Automated Playout solu-tions to co-exist — meaning thatyou are not locked into one vendor once you have made yourinitial choice.

I have heard at conferencesseveral times that each broadcasterhas special needs, and sometimes

that each channel they broadcasthas special needs. It used to bethat these special needs were metby dedicated hardware solutions,and sometimes dedicated auto -mation solutions. Using anAutomated Playout software solu-tion, you can use a building blockapproach, and if the custom con-figuration doesn’t fit, a featuredevelopment can be deployed inthe standard software code. Thismeans that supporting the broad-caster is a standard process anddoesn’t require dedicated person-nel who only understand theneeds of that broadcaster.

Positive IT playoutSo, how have Oasys AutomatedPlayout solutions been deployed?Over the last 20 years we haveimplemented many single channelplayout systems containing a mixof pre-recorded and live feedevents, including in news, sport,music and film channels.

We have installed multichan-nel playout centres where ourplayout software is integratedinto an IT workflow. We’veinstalled multi-channel playoutcentres where our playout soft-ware runs alongside other ITbased playout systems. We haveinstalled single and multi-chan-nel playout centres where ourplayout software runs alongsidetraditional automation playoutsystems. And we’ve providedcustom configurations forBarker Channels displaying EPGinformation and special graphicspromo tions; music channels withschedules generated by SMS vot-ing; news channels integratedinto a journalist web portal;sports channels with last minutedrag-and-drop advert insertion;and variable time-delayed adver-tising insertion for entertain-ment channels.

Our latest solutions allow youto have up to eight live inputsdirectly into each channel, up tofour picture in picture (DVE) witheither live or pre-recorded content,up to four time delayed inputs forinstant replay, multiple channelsin a single system, multiple brand-ed outputs of the same channelfrom a single system with a singleplaylist, and a variety of enrichedadvertising insertion solutions.

So, rather than looking uponIT playout technology negatively,we prefer to embrace the versatil-ity it provides. Whether your needis simple or unique, whether youhave existing facilities or not,whether you tried the technologyalready but didn’t find the rightsolution, or whether you want toprotect yourself from a site failuremore cost-effectively – there is anAutomated Playout solution thatcan handle all of this.

So instead of asking “should Iget a Channel in a Box?”, youshould be asking, “what are mychannel’s requirements from thebox?” In that way it is the func-tional requirement that is speci-fied, rather than the technicalspecification of the hardware.

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I have heard at conferences several times that each broadcaster has special needs, andsometimes that each channel they broadcast has special needs…



By Don Ash, director Sales, PlayBox TechnologyThere have been huge changesafoot. The traditional technolo-gies employed for the playout ofvideo material to air have beenchallenged. Broadcast video play-out has evolved with availabletechnology that is today tradi-tional all-digital workflowsincluding video servers, stillsstores, graphics, QC, monitoringand automation.

It works, but is, compared tothe Channel in a Box, costly inequipment, infrastructure, rackspace and operation. That’s notall, it leaves a big question; howdoes it fit into file-based work-flows? Also how can it increasethe reach of services?

Today’s Channel in a Box cando all that in what is basically aPC platform with added hard-ware inside for baseband and ASIoutputs (not required for IP), andthe rest is just software. Right?

There are myths and mis -understandings about the ‘suppos-edly new’ Channel in a Box. First,it is not new; PlayBox Technologyhas been delivering it since 2000.

Recently some traditionalplayout system suppliers haveawakened to the idea and startedoffering their version of ‘box’

playout. This may look like atechnological breakthrough butfor us it has been a 12 year de velopment programme thatcontinues today.

We have now delivered over10,500 playout and brandingchannels, the product has grownin capabilities, reliability and the available platform, nowWindows7-based, is vastly morepowerful. Also we now havemajor national broadcastersamong our clients.

Second, when you see an instal-lation, there is normally more thanjust one box. So clearly ‘Channelin a Box’ is, a misnomer but therewill be a bundle of functions within one box that’s based on acomputer platform. These caninclude automation, playout,interactive graphics and text, QC,subtitling and more. Also two boxes could be running four fullyredundant playout channels, soless boxes than channels.

The headline change from tradition is the use of commodityPC platforms’ commercial-off-the-shelf (COTS) hardware, IT infra-structure and storage rather thanbespoke hardware. This means the

cost can be greatly reduced withperformance very much driven bythe quality of the software.

Today’s Intel Core i7 proces-sor technology has taken PlayBoxbeyond a tipping point, supplyinghuge processing power that nowenables running not just 1:1 play-out, but performing many otherlive operations at the same time.This means other hardwarerequirements beyond the stan-dard PC platform amount to theabsolute minimum of only basicI/O cards for video or ASI.

Intel’s hardware accelerationallows more channels per server andcreating more features in all our prod-ucts. For example, our new playoutserver, AirBox MPO (MultipleParallel Outputs), can simultaneously

scale several video streams to outputdifferent formats (SD, HD, 25fps,30fps) and outputs (SDI, analogue, IPstreaming, etc.). It can run multipleoutputs to provide parallel outputs inany required combination, eg, SDI inHD and SD, and IP streaming.

Invisible conversionsA standard platform is file-basedand so can connect directly into afile-based environment. Startingwith a green-field operation thefile system can be chosen to suitthe equipment.

However, most new installa-tions add to existing workflowswith an existing preferred file format. Back in 2000 the start-upPlayBox was in no position toimpose its own ‘pet’ video file for-mat onto the established industryand so had to develop formatcodecs to work with others.

This apparent problem hasturned 180˚ to become a hugebenefit. Following a commitmentto work directly with any requiredvideo file format, it can now dojust that. The conversions takeplace invisibly in software.

As this can now run in realtimethere is no need to rely on conver-

sion hardware, typically a part ofthe video I/O card. There is aknock-on benefit of freeing-upthe choice of I/O card, as only itsbasic functions now are needed.

Such file freedom allowsstraightforward plug-and-playinstallation into any existing file-based system, while also oftenstreamlining operational areaswhere format disparities hadblocked the file flow. It alsoallows it to be a plug-in replace-ment for aging file-based equip-ment, with the ability to directlyaccess the existing archives, soavoiding the time, cost and gener-ation losses of re-formatting.

Going furtherSo far so good, but new technol-ogy should not just replace theold. It should do more. Makinguse of the biggest of all file-basedsystems — the internet — hasenabled new workflows andopportunities for broadcasters.

One is 24/7 remote technicalsupport monitoring and control.This fits well with another;EdgeBox is a playout system thatcan operate anywhere with inter-net as its only connection to adistant host broadcaster. Beyondlow running costs, benefitsinclude almost instant set-up asno fibres or traditional feedshave to be ordered. Rather thanreplaying generic ‘global’ out-put, it can be fed with appropri-ate, up-to-date local program-ming, IDs, commercials and havefull local branding.

As channel numbers expandand budgets contract, the deployment of very cost-effective‘Channel in a Box’ playout solu-tions will continue to increase.The truth is, Channel in a Box isalready mainstream.

PlayBox Technology: The company has delivered over 10,500 playout and branding channels and the product has grown in capabilities

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New technology should not just replace the old – it should do more







There’s no doubt we’ve reached atipping point in the world ofintegrated playout devices — orChannel in a Box (CiaB). Thenumber of companies entering themarket and the column inchesbeing written are testimony to thatand broadcasters are taking note.But there’s an increasing level ofconfusion in the market too,reports James Gilbert, jointmanaging director, Pixel Power

Some see the CiaB technologiesas only useful for basic channels,those that are thematic in nature.On the other hand, there’s agroundswell of opinion thatwithin only a few years, CiaBtechnologies will dominate themarket at the expense of the tra-ditional approach.

What must be clearly stated is that in some cases CiaB technologies are now highlyadvanced, complex solutionsthat in turn facilitate the playoutof highly advanced, sophistica -ted channels and the concernsmany broadcasters had are nowbeing addressed.

Before we look at the capabil-ities of CiaB systems, there’s onefundamental misconception thathas to be dismissed: Channel in aBox does not have to equal com-moditised IT hardware.

This is in fact the conflation oftwo separate, yet in reality, verydistinct trends. While there are ofcourse many CiaB solutions thattake this route, there are also trueintegrated playout devices thatcombine the benefits of bespokehardware and software.

Many of today’s convergedsystems do utilise standard PCswith video cards that purport todo almost anything a broadcasterwill require. Although it’s per-fectly possible to carry out mostfunctions of a high-end integratedchannel playout device on thepowerful CPUs/GPUs now available,

it may well not be possible to dothem all at the same time. It’s far from unusual to install aCiaB system and then to add adownstream device to providehigh-end branding graphics that cannot be performed on the inte-grated system.

Full of choicesToday’s equipment designerstypically have a choice when itcomes to implementing a par -ticular function — and thatchoice can radically affect powerconsumption. Code can run on ageneral-purpose processor suchas a CPU or GPU. It can also be implemented in ‘virtual hardware’ within programmabledevices such as FPGAs. A third

choice is to run on fully customdevices. Typically the flexibilityis greatest with the general-purpose processor, but so is thepower consumption.

The key point that any broad-caster has to keep in mind is that it’s function and not formthat defines the output: whatdoes a broadcaster want thetechnology to achieve? The sec-ond is that CiaB systems aren’tabout compromising, they areabout efficiency.

To succeed in today’s worldbroadcasters must find ways tocontrol the operating costs ofeach individual channel withoutdiminishing the channel’s qualityor impact. This requires moreaffordable and more efficient

equipment, hence the growinginterest in CiaB.

The sheer number of channelscurrently being launched alsoleads broadcasters to CiaB solu-tions: playing all these out usingtraditional methods is simply tooexpensive. But there’s a crucialflip side: the sheer size of the multi -channel world means that chan-nel branding becomes ever moreimportant in the race to win and

hold audiences. The look and feelof channels — the overall qualityof output — is vital.

Some broadcasters haveaccepted a stopgap — using onlya router and video server to simply play out the channelwithout the addition of appeal-ing, tailored transitions, promo-tional graphics and logos thatmake a channel memorable.That approach belies the need toeffectively brand channels inorder to foster a rapport with theviewing audience.

Creating an identity for achannel is critical to enticingadvertisers who want to targetclearly defined demographics:graphics are the fundamental toolavailable to differentiate, presenta consistent brand image and promote content. Having a robustgraphics platform as part of anintegrated playout system alsomakes it easier to reuse graphicsproduced in other functionalareas of a media company.

Automation integrationThere’s a second key area that hasseen many broadcasters shy awayfrom CiaB solutions: automation.Until recently, CiaB technologieshave been tied to the automationsystem that they are supplied with:automation lock-in.

This automation lock-in is animportant consideration for abroadcaster whose needs maychange over time. CiaB technolo-gies that benefit from this canintegrate with many automationand MAM systems by way of an

open XML protocol or legacyindustry standard protocols.

This means that it’s far easierto integrate a CiaB system with an already-installed automation system, or indeed MAM, greatlyenhancing the flexibility of thetechnology. The optimal solution,therefore, is an integrated playoutsystem that’s adaptable and workswith a variety of automation sys-tems so as a broadcaster’s use ofCiaB grows, an already installedautomation system can continueto be used across a facility.

There has also been some, per-haps misplaced, concern amongsome broadcasters that CiaB sys-tems have not been powerful orflexible enough — or haven’t hadthe requisite number of inputs,upstream router control or pre-view capabilities, all essential withlive content — to effectively handlethe challenges that live contentprovides: that’s simply not thecase. Again, broadcasters need todefine as clearly as possible whatchannels they will want the tech-nology to handle and then look atthe options in the market.

Boxing clever in the newworld of Channel in a Box

James Gilbert: Channel in a Box does not have to equal commoditised IT hardware

The key point is that it’s function and not formthat defines the output: what does a broadcasterwant the technology to achieve? The second isthat CiaB systems aren’t about compromising,they are about efficiency

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By Goce Zdravkoski,chief executive officer, StrymeA few years ago, no one would havethought it possible that one day televisionswould be small enough to fit inside apocket. Nowadays, we don’t think twiceabout using our mobile phone to watchTV while we’re on the move. User benefitsspeak for themselves.

Similarly, broadcasters benefit from thegiant leaps with which IT has advanced in recent years. Gone are the days wheremultichannel playouts had to rely solely onlarge and expensive black box systems.Based on standard IT and technologies,highly advanced and innovative solutionshave opened up new opportunities. Theyset the trend for smaller, faster and betterbroadcasting IT.

Customer demands for increased flexibility and improved benefits packed intop-quality yet affordable solutions addedimpetus to these market developments.Increasingly, markets in Asia, Russia orIndia demand reliable and flexible multi-channel broadcasting solutions at reason-able prices.

Multichannel Genesix VideoServerStryme experts have long since taken heedof these changes and decided on two new products: a high-class multichannelsolution fulfilling exacting requirements,and a single channel Small Business TVStation, offering complete functionalityfor a 24/7 operation.

Located in Vienna, Stryme has beenproviding professional broadcast andautomation solutions for over 10 years. It

has specialised in out-of-the-box broad-cast solutions that simplify, speed up andoptimise daily workflows. In the broad-casting industry, the company has made a name for itself as an expert for top-quality developments.

Dedicated also to programming andtailoring project-specific software, Stryme



Goce Zdravkoski: Stryme wanted to offer customersthe best money can buy — and stay affordable

Genesix playouttakes step forward


By David StewartStryme has made best use of theGenesix VideoServer benefits by team-ing up with Austrian BroadcastingServices (ORS) to develop and launch anovel business model which can handlethe entire workflow: the Playout Farm.

The idea is simple as well as effective:in the Playout Farm, ORS combines acentral storage with a number of flexiblemultichannel playouts (each serving upto eight channels simultaneously) basedon the Genesix VideoServer and rentsthese out to private TV stations, com-plete with a planning tool and the possi-bility to simply upload files via FTP.

In other words, the Playout Farmallows TV stations to outsource theirentire playout system. ORS takes careof the rest and guarantees a tailored,realtime and failsafe broadcasting serv-ice, via satellite or terrestrial broadcast-ing, DVB, etc. TV stations enjoyunprecedented benefits.

The Playout Farm fully replaces highinvestment costs and, given the fact thatthe Genesix VideoServer supports allcodecs and formats, another costadvantage derives from the flexibility ofcustomised services: TV stations onlypay for the services they need.

Playout Farm services are also avail-able immediately. Even smaller TV sta-tions can thus be up and running in notime. Anton Zodl, ORS head of DVBOperations, emphasises: “Genesix hasproven its flexibility and cost-effective-ness time and again. We therefore hadno second thoughts about choosingStryme as a reliable partner to launchand realise this innovative project.”

By opening up the opportunity forplayout outsourcing to a provider, Strymehas also opened its doors to an entirelynew customer base. CEO GoceZdravkoski points out, “We are fullyaware of the fact that outsourcing one’splayout means outsourcing the very coreof one’s system. Therefore, and to removeany doubt, we have made double sure thatthe Playout Farm provides a more reliableand failsafe service for playout systems.Naturally, we will present all these fea-tures and benefits at NAB in Las Vegas.”

ORS provides solutions acrossEurope for encrypted and unencryptedsatellite services in collaboration withASTRA as its partner for leading satel-lite operations. In Vienna, ORS alsooperates its own Broadcast Centre withEurope-wide coverage. www.ors.at

Outsourcing in a Playout Farm


is a long-term supplier to theAustrian Broadcast Corporation(ORF). The company handlesprojects for well-known custo -mers, such as WDR, Sky, CenterSystems, SBS, Sony DADC, ORSand Vitec.

With the new GenesixVideoServer, a multichannel

ingest, graphic and playout solu-tion, Stryme has taken its earlierGenesix Playout version one stepfurther. The fully-fledged GenesixVideoServer provides everythingneeded to simply and flexiblyoperate a failsafe TV station on aPC basis — from ingest and plan-ning to playout.

It builds on proven playoutfeatures (playout automation,

overlay graphics, character gener-ator, traffic management, assetmanagement, programme sched-uling, etc) and ensures reliableoperation as well as integrationinto existing infrastructures andworkflows. In addition, it isequipped with topnotch IT com-ponents and video boards thatfulfill even the most demandingrequirements.

Just like its predecessor, theGenesix VideoServer supports allindustry-standard codecs and for-mats (DV, DVCPRO, MPEG-2,D10, Sony XDCAM, P2, AppleProRes, Avid DNxHD, etc.), thusguaranteeing maximum compati-bility and flexibility.

Stryme’s Genesix VideoServeris more than just a Channel in aBox. With standard, yet reliableand top quality IT componentssuch as HP DL370 and a power-ful video board such as theMatrox X.MIO2, it can supportup to eight SD/HD channelssimultaneously.

Furthermore, all commoncodecs and broadcasting for-mats are taken care of. Thisoffers customers an enormousflexibility. They can choose the components that best suittheir needs.

More and more broadcastersare facing stringent budgetrestrictions and many have tograpple with declining advertis-ing revenue. Despite that,Stryme wanted to offer custo -mers the best money can buy —and stay affordable.

From multichannel to singlechannel for small TV stationssuch multi-channel solutions arestill beyond reach. They requirea small budget alternative, without having to compromisequality. Stryme has thereforedeveloped an all-in-one smallBusiness TV solution that islimited to one input and oneoutput channel.

The beauty: even the tightestbudgets can afford its unbeatableprice of less than €10k. Stilluncertain as to what a Channel ina Box can do for you? Convinceyourself at NAB!


More and more broadcasters arefacing stringentbudget restrictionsand many have tograpple with decliningadvertising revenue


The full Genesix VideoServer provides everything needed to simply and flexibly operate a failsafe television station — from ingest and planning to playout, building on proven playout features



By Alison Pavitt, Pebble Beach SystemsDespite having first emerged as a concept several years ago,Channel in a Box technologycontinues to cause controversyand debate. The advantages ofthe approach seem clear in termsof cost, space, power and sim-plicity of installation.

But replacing all of the spe-cialist technology in the tradi-tional playout chain is a big ask,and the lukewarm reception thatsome solutions are getting in thefield is not surprising when vendors’ claims are exceedingwhat the kit can deliver in thismission-critical space.

The truth is that ‘Channel in aBox’ is not a one-size-fits-all tech-nology: there is already a hugerange of offerings suitable for anequally large range of budgetsand technical requirements, andas more vendors enter the space,this is set to increase.

Dolphin enters the Channel ina Box debate with a more holisticapproach. Operated under thecontrol of the Pebble BeachSystems’ automation solution,Dolphin channels are integratedinto the control system simply as another channel, under theumbrella of a unified media man-agement system. With no newuser interface to master, separateoperational silos do not need tobe created, and the addition ofDolphin channels into the widerchannel bouquet is swift andstraightforward.

In reality the majority of end-user requirements actually fallsomewhere between the tradi-tional device output chain andthe self-contained Channel in aBox concept. Few broadcasterseither want or are able to simplymothball all of their legacy best-of-breed technology in favour ofone or several self-containedsolutions, and the media manage-ment, content validation andfuture-proofing issues whichexclusive Channel in a Box solu-tions raise are not insignificant.

To help shed some light on thekey considerations of adopting thistechnology, we explore the ques-tions that a broadcaster or serviceprovider needs to address whenevaluating and assessing the suit-ability of Channel in a Box solu-tions for their specific requirements.

Will the solution fit into yourexisting graphics workflows with-out causing bottlenecks?When the functionality of eachdevice in the output chain is incorporated into a singleprocessor-based platform, thelimiting factor in terms of display

capability will be the power ofthat processor. Solutions whichlock the user into a proprietarygraphics or subtitling feature set can seriously limit options, so an offering which can acc -ommodate the established graph-ics workflow yet maintain theintegrity of a channel’s onscreenlook by incorporating the in -cumbent graphics device for complex channels will give great erdisplay flexibility.

This also future-proofs thesolution if requirements changeafter the original installation,such as the need for more com-plex graphics which can meanthat the processing power neededexceeds what is possible on thebox. A solution that can be recon-figured to use external devices asand when requirements changeprovides ultimate flexibility andprotects investment.

How do you check file integrity?While many solutions offerexpansive claims as to the file for-mats and compression systemsthat can be handled, it is vital tobe able to verify that the contentreceived as a file from externalthird parties will playout success-fully. There is a clear case for file

compatibility to be verifiedupstream to ensure that theChannel in a Box will be able toplayout the material, so anyworkflow design needs to takethis requirement into account.

Do you need to interface to legacy equipment?Greenfield sites are a rarity.More commonly, a broadcasteror service provider has an abun-dance of equipment already in

place, so installing self-containedChannel in a Box devices intothis scenario will lead to separatesilos of operation. A solutionwhich operates under an auto -mation control layer means thatall channel types share a com-mon media management andoperator interface, and will beintegrated more readily into theworking practices and operatorconventions already in place.

Will your choice of Channel in aBox now restrict your choices in future?Self-contained Channel in a Boxsolutions generally offer a fixedfeature set that may meet currentrequirements in terms of, forexample, graphics. But a systemthat permits the separate functions

of the various devices in the output chain to be handled byspecialist devices, if requirementschange in the future, will be amore flexible longterm solution.

For example, the channel thatonly needs a static logo on launchbut that evolves into a more com-plex channel with sophisticatedgraphics may necessitate thereplacement of the entire CiaBsolution in some cases. For serv-ice providers this can be key: ifthe requirements for a simplechannel change and become morecomplex, can the solution accom-modate additional complexity?

How does it scale? How do youoperate it as it scales?In many instances an additionalchannel means an additional box,with an additional control inter-face. If the Channel in a Boxforms part of a larger, more holis-tically designed system under thecontrol of an automation layer —such as that offered by PebbleBeach Systems — multiple chan-nels can easily be controlled by asingle operator via a commonuser interface.

How static or dynamic are the channels? It is important to consider how farin advance it is likely that the chan-nels can be locked down in terms oftheir schedules. If all of the require-ments for video clips, graphics elements and subtitling are goingto be known days ahead of thescheduled playout, such channelswould lend themselves readily tobeing handled by a straightforwardChannel in a Box solution.

However, where there are likelyto be late breaking changes to theschedules, with multiple liveevents that may result in havingto drop or insert new events atshort notice or where dynamicgraphics control is required, aconventional Channel in a Boxsolution may be more of a chal-lenge to implement.

How open is the solution to thirdparty integration through APIs?The term Channel in a Box cantend to infer that the channelexists as a playout island, withoutany way for transmission opera-tors to know the status ofupstream media preparation.They simply know media does notyet exist in the playout storage.

A system that offers an inter-face to monitor media preparationstatus information via dynamicallyupdated APIs can save an operatorchanging schedules and substitut-ing media unnecessarily. Havingthis intelligence at the playoutoperator layer allows for a widerrange of options when handlinglate arriving content.

How agile is the solution?While it is a given that broadcastersand service providers will seek outa Channel in a Box platform whichcan play out the file formats andcompression systems they requiretoday, the savvy buyer needs toconsider how future-proof thatsolution will be. A device whichuses software-based codecs willhave the agility to accommodatefuture formats and compressionsystems as the requirements arise,without the need for the funda-mental hardware to be changed.

In summaryWhile ‘Channel in a Box’ is nowthe accepted terminology for thistechnology has Pebble BeachSystems have taken more of a‘thinking outside the box’approach with our DolphinChannel in a Box solution. Thisoperates under control of ourown automation techno logyand, far from being restricted toreplacing each device in the play-out chain, it can integrate along-side best-of-breed video server,graphics and captioning devicesfor prime channels.

Equally, systems can bedeployed as hybrid channels, mix-ing Dolphin with best-of-breeddiscreet devices. All devices,regardless of the vendor, arebrought together under a commonunified user interface within theautomation system. Best-of-breedand Channel in a Box need not bemutually exclusive concepts. Sowhile there are horses for courses itis always important to study theform before placing your bets!

Channel in a Box television: Considering the bigger picture

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Dolphin channels are integrated into the control system simply as anotherchannel, under the umbrella of a unified media management system

By David StewartAutocue is a company synonymouswith teleprompting, but its productrange has long included end-to-end newsroom, automation andvideo server systems. The compa-ny’s solutions and price points aredesigned to appeal to major networks and smaller broadcast

stations alike, including a numberof UK colleges and universitiesthat specialise in broadcast jour-nalism media training.

Most recently, the University ofBedfordshire’s Luton campusbecame the first site to deployAutocue’s new video server ‘pro-duction suite’ functionality. At the

core of the production suite isAutocue’s Linux-based video server,which provides the usual ingest,storage and playout functionalitybut also includes a vision mixerwith simple transition effects; anaudio mixer with manual andaudio-follows-video fades; simplecaption generation and a still store.

When combined with any ofAutocue’s scripting, newsroom,media management and auto -mation elements, the video serverprovides the ability to create a com-prehensive studio system withoutthe additional broadcast hardwareand associated costs normallyrequired to achieve a similar result.

Because the Autocue system isalmost entirely software-based, itis typically more cost-effectivethan Channel in a Box systemsthat predominantly rely on hard-ware components. Moreover,each function within the news-room or production workflowcan easily be split into multipleclient/workstations, thereby cre-ating a true multi-user environ-ment for simultaneous learningrather than forcing students tocrowd around a single piece ofhardware for instruction.

Autocue meets the University Challenge with first full production suite functionality



By Scott Rose, senior product manager, Miranda TechnologiesChannel in a Box systems, alsoknown as integrated or IT-basedplayout systems, have been widelydeployed over recent years by all types of broadcasters andservice providers. The key driverbehind integrated playout sys-tems has been the requirement tomake facilities scale more effec-tively, as they have sought to handle more channels and deliverto new platforms.

Highly integrated playout sys-tems have made this scaling muchsimpler by requiring significantlyfewer components for the playoutchain. This has made growthmore linear, and without thepainful step-changes commonlyassociated with large server andautomation systems.

For instance, the most highlyintegrated playout devices com-bine powerful playout auto -mation, video/audio processing,content playout, master controlswitching and rich graphicsbranding systems. This simplifica-tion of broadcast technology hasdirectly led to reduced operationalcosts for broadcasters and serviceproviders, allowing already stretchedbudgets to go further and enablingthe launch of new services to newplatforms without having torecruit more staff.

Another key factor in achiev-ing more scalable, lower operating

cost playout with Channel in aBox style systems is the level ofintegration with other core sys-tems, like traffic, archive and mon-itoring. Content monitoring isgenerally one of the most opera-tor-intensive tasks, and thereforesteps towards greater automationand workflow simplification in thecontrol room can realise signifi-cant operating cost reductions.

With the latest generation of inte-grated playout systems, this isaddressed by deep integration withthe primary monitoring systems,including SNMP-based facility monitoring and multi-viewers. Forexample, monitoring walls used to be a sea of pictures in which the oper-ator had to hunt for errors. Now,using video probes and fingerprint-ing technology, facility-wide moni-toring can be proactively used to bringerrors to the operator’s attention.

By incorporating an on-screen‘penalty box’ to highlight prob-lematic channels, operators canfocus on the most importantmonitoring issues. In turn, thisreduces the duration of incidents,and makes it easier to meet orexceed service level agreements.

A highly integrated playoutsolution can provide alerts for awide range of Quality of Serviceissues, like excessive loudness,which is rapidly becoming a regula-tory issue that all broadcasters willbe mandated to address as part oftheir license to operate. By increas-ing operator effectiveness with this

type of deep integration betweenmonitoring and playout systems,it’s possible to raise the channelcount per operator, and therebyfurther lower operator costs whilealso maintaining quality.

Content normalisationOver the last few years, an enor-mous amount of work has beendone to squeeze the complexity outof the playout chain. By addinggreater functionality to Channel ina Box systems, the playout processcan now be handled entirely by theintegrated playout device.

Even complex television play-out, with rich graphics, multi-lingual audio and a combinationof live and pre-prepared content,can be readily delivered by these

systems. Further development isdelivering even more functionalitywithin the integrated solutionthat would have been unthink-able, even a few years ago.

For instance, these systemscan have internal branding capa-bilities rivaling high-end systems,costing $60,000 or more, for afraction of the price. It is ongoingdevelopments such as these thatare persuading broadcasters andservice providers to embrace thechange and gain the benefits ofan integrated playout solution.

As playout is becoming evermore integrated, the focus is startingto shift to upstream processes, withcontent reception and preparationrepresenting some of the biggestchallenges facing broadcasterstoday. The need to deliver content tothe ever-increasing range of VoD,catch-up and over the top televisionservices is stretching broadcastersand service providers, who often donot have the budget to increase man-ning to address the problem.

Instead, using automated contentnormalisation, VoD preparation andcross-platform branding are the onlyviable solutions to this critical prob-lem. While revenue streams fromthese new platforms are low, there isoften a corporate goal to ensure thatcontent is available on multiple platforms. Some broadcasters areable to claim advertising credit forcatch-up content to bolster theirincome on linear TV services, and weare seeing this as a key driver for aVoD capability that is intrinsicallylinked to the playout schedule.

Normalising incoming con-tent using file-based processing isa natural progression for broad-casters. By conforming arrivingmedia to a house format, it de-risks the critical processes, such asVoD publishing and playout, anderrors can be spotted much earli-er and corrected (normalised),including loudness correction.

Branding in the VoD and catch-up TV world is as important toaudience retention as branding on a

traditional linear playout channel.However, the complexity of tack-ling this challenge without an auto-mated solution has led to broad-casters publishing VoD contentwith minimal or zero branding.

With new tools which allow theplayout schedule to automaticallydrive the creation of rich branding,broadcasters can meet their deliv-ery commitments without hiring anew team of operators, while alsoensuring all content maximisescross promotion opportunities.

However, perhaps the biggestfactors in determining the success of an integrated playoutsystem are the expertise andcapabilities of the solutionprovider. It requires a tremen-dous depth and breadth ofknowledge to make the deliveryof linear and nonlinear televi-sion both simpler and more costeffective. This demands experi-ence across live operations,automation, signal processing,routing and system monitoring,as well as an understanding ofhow to best integrate linear andnonlinear television workflows.

So in the end, to meet the everincreasing challenges of modernbroadcasting, what’s outside thebox matters just as much as whatgoes into it.

Meeting your delivery commitmentsWith Channel in a Box systems, it’s what’s outside the box that really counts for broadcasting

Miranda’s iTX integrated playout offers tight integration with end-to-end monitoring

Enterprise Suite offers automated content preparation and VoD publishing for iTX


As playout is becoming ever more integrated,the focus is starting to shift to upstreamprocesses with content reception and preparationrepresenting some of the biggest challenges facing broadcasters today

By Neil Maycock,chief architect, SnellThese are challenging times formedia and broadcasting compa-nies. More and more of today’sconsumers are expecting to viewcontent when and where it’s con-venient and on the device of theirchoosing — meaning that servicessuch as video-on-demand, multi-platform delivery, and internet-connected TV are no longer optionsfor a competitive media enterprise.

These market dynamics areturning traditional media opera-tions on their heads, forcingbroadcasters to offer a broaderrange of services without a com-mensurate increase in revenue perservice to finance the supportinginfrastructure. For broadcasters,the expression ‘doing more withless’ has never been more apt.

Out of these requirements has emerged the concept of a‘Channel in a Box,’ a turnkeybroadcast production system thatcombines several key master con-trol and playout functions into asingle, compact unit. By reducingthe number of complex, high-maintenance systems in a produc-tion workflow, a Channel in a Boxsolution offers great potential forreducing capital and operatingexpenses and helping broadcastersrun a leaner, meaner, and morenimble operation. But not allCiaBs are up to the task.

Reduced complexity for lower CAPEX and OPEXBy including as much of thetransmission chain as possible ina single device, a CiaB can offer apowerful tool for a broadcastoperation to lower the capital andoperating expenses required tosupport new multi-platformdelivery channels and services.With less complexity and fewerdevices to manage in the opera-tion, installation costs are lowerand there is less wiring to contendwith, which translates into fewerpoints of failure.

Service costs are reducedbecause there are fewer equip-ment vendors involved and fewersystems to integrate. Runningcosts are lower because fewerboxes mean reduced power con-sumption, reduced space andcooling requirements, and lowermaintenance and upgradingcosts. Plus, the reduced carbonfootprint is good for the planet.

Focus on the channel needs not the platformIn the broadcast technology mar-ket, solutions labeled ‘Channel ina Box’ are beginning to pop up like

mushrooms — but many of theseproducts consist of not muchmore than a video server packagedwith some graphics or channel

branding capabilities. Of course,the modern, IT-based digitalbroadcast operation is much morecomplex, with a requirement formany more functions including:subtitles, aspect ratio signaling,multi-channel audio, SD-HD up-and down-conversion, and voice-overs, just to name a few.

Snell’s ICE Channel in a Box,for instance, combines a compre-hensive range of these features ina single IT platform. Most impor-tantly, the system addresses thetrue nature of a channel; in otherwords, the breadth of functionsrequired and the varied ways inwhich they are used, includinggraphics DVE keyers, a router andmultiple mixers, up/down/afd for-mat conversion, audio processingincluding voiceover and multi-language, captioning includingclosed captions, subtitles, andmulti-format video servers.

It is this philosophy of focus-ing on what the channel needs,rather than what’s in the box, thatseparates a best-of-breed CiaBsolution from the rest of the pack.To put this in more concreteterms, take the example of inputand output handling. While manyCiaB systems provide only oneinput and one output, Snell’s ICEsupports multiple inputs and

outputs to allow mixing of live andpre-recorded content, and also toenable external key and fill to befed into the system. In addition,ICE offers a low and constantlatency from input to output.

Since each playout operation is different, the CiaB solutionshould be able to dynamicallyadapt to the broadcaster’s estab-lished workflows. The FlexiCoretechnology within Snell’s ICE, forinstance, is able to accuratelyemulate a master control environ-ment, enabling the resources with-in ICE to be dynamically allocatedto specific channels based on thebroadcaster’s requirements.

Reliability for primetimeOften, broadcasters are eager toaccess the savings and efficienciespromised by CiaB but they’reheld back by the perceived risk ofbringing new playout technologyinto their environment. After all,automation and playout of con-tent represents the main revenuegenerator for any station, and

many broadcasters are reluctantto fix what’s not broken.Therefore, any effective CiaBsolution must have built-in engi-neering to ensure that it isresilient and fit for the purpose ofprime-time TV broadcasting.

One example Snell has intro-duced is content pre-validation,which automatically analyseseach content file to ensure thatthe file wrapper contains accurateinformation about the file’s con-tents; even the slightest inconsis-tency can cause the file to beplayed out incorrectly and pro-duce an air-time error. Other features that ensure ultra-reliable24/7 playout in a CiaB systeminclude dual redundant powersupplies, RAID media storage,and N+1 redundancy.

Scalability from 1 to 100A true CiaB solution adapts tothe changing requirements ofthe broadcaster, making it easyto bring new revenue-generatingchannels and services onlinequickly without disrupting oper-ations. The system should beequally at home in a single-channel operation or a complexmultichannel playout environ-ment, with a user interface thatremains consistent as the opera-tion grows.

To summarise, the ideal CiaB isone that delivers on its promise toenable broadcasters to bring newchannels to air as quickly and ascost-effectively as possible. Withthe proper architecture and fea-ture set, a CiaB can add tremen-dous value in a wide range ofbroadcasting environments inclu -ding station master control,regional broadcasters, corporateand government broadcasters,religious and educational chan-nels, and community television.

Market forces are turning traditional media operations on their heads



Neil Maycock: “Not all CiaBs are up to the task”

ICE as pie: The system addresses the true nature of a channel; in other words, the breadth of functions required

With its teleprompting, script-ing and newsroom productionheritage, Autocue can also offer a broad production workflow, as Richard Satchell, Autocuebusiness development director,explains, “We are the only manu-facturer to provide a single solu-tion for newsroom, scripting,automation, media management,video servers, broadcast moni-tors and teleprompters with complete, scalable local TV pack-ages,” he says.

“In this case, the university alsoinstalled a 46-inch S-series broad-cast monitor, a 24-inch E-seriesmonitor, and two Professional-series 12-inch teleprompters, allfrom Autocue. It’s not surprisingthat academic centres are findingour solutions so appealing oncethey learn that the successful sys-tems already implemented bymainstream broadcasters, corpo-rate entities and other academicinstitutions can be obtained from asingle supplier.”

The installation at Luton wasled by Autocue reseller and sys-tems integrator Digital Garage.The Autocue system at the univer-sity is specifically designed to support the university’s broadcastjournalism degree course, whichprovides an opportunity to gainexperience in television productionand journalism within a dedicat-ed newsroom.

According to Digital GarageManaging Director MichaelWhelan, “We looked at systemsfrom a range of well-known news-room computer system manufac-turers. What clearly set Autocueapart was that it did not offer thenewsroom system in isolation, italso offered all of the componentsnecessary to create a comprehen-sive workflow. And because all ofthe elements came from a singlemanufacturer, it met the universi-ty’s requirement for a low costsolution from a single provider.”

The university’s multi-discipli-nary broadcast journalism coursesinclude those designed to provide acomplete understanding of therequirements for multiplatformdelivery. The Autocue system’s vastnumber of configurable optionsenables the system to be cus-tomised to suit specific environ-ments, including radio, and anynumber of production workflowstyles, which provides practicalmultiplatform experience across abroad range of contemporarydelivery platforms.

Part of the University of Bedfordshiregallery and newsroom system byDigital Garage and Autocue

31 Continued from page 30

It is this philosophy of focusing on what thechannel needs, rather than what’s in the box,that separates a best-of-breed CiaB solutionfrom the rest of the pack

Important characteristics of a true Channel in a Box solution



The continued effect of Moore’sLaw allows many to argue that off-the-shelf hardware has enoughbrute strength to run a televisionchannel — the so-called Channel in a Box solution. In truth it is notquite as simple as that. The CiaBperspective of Harold Vermeulen,vice president Media PlayoutSolutions at Grass Valley

While every television channelhas its unique challenges, thereare some things that are common.The nature of television is unfor-giving: we have come to expect asmooth stream of high-qualitypictures and sound, with noglitches, freezes, blacks, or silence.That puts a very stringentdemand on the idea of ‘realtime’processing. Even today, the ITindustry giants struggle toachieve anywhere near the levelsof reliability that we expect frombroadcast equipment as a matterof course.

For that reason, most accept,for now and the foreseeablefuture, that premium channelswill be broadcast from specialisthardware: the sort of servers andswitchers that are core GrassValley products. There are a num-ber of vendors worldwide whospecialise in developing systemsto bring together — under com-mon control — servers, switchers,graphics, and all the other elements necessary to deliver thepremium channel experience,usually across a number of out-puts. These companies are ourpartners, and we continue to workwith them.

But there are a growing num-ber of channels whose businessmodel needs a low cost, simple —but reliable to broadcast stan-dards — playout solution. Theseinclude small thematic channels,secondary and incremental chan-nels, +1 services, and more. Largeplayout centres might choose toplace their disaster recovery in asimpler installation which can beon-air very quickly.

This is where the integratedplayout device is best suited. Buteven though such a system isoften called ‘channel-in-a-box’, itneeds to be part of a larger inte-grated playout installation. Inturn, the playout managementdevice can exist as a node in alarger, automated centre for thosechannels that are best suited to it.

At Grass Valley, our approachis to look at the requirement asthree elements. The most obvious isthe playout node, which draws infiles to its local storage, adds graph-ics and other content, and deliversthe video output. The graphics arebased on stored templates that arepopulated at runtime.

The playout node sits on a network. There’s one node foreach channel to be transmitted.Redundancy can be added to the

network on an N+1 basis, or fully mirrored.

Each playout node is based onstandard, commoditised hardware,for economy. IT manufacturershave huge R&D budgets and it

seems stupid not to take advantageof that. But this is not just any oldPC. It needs to be a purpose-builtdevice with multi-core processing,running very sophisticated multi-threaded software, to provide the

resilience as well as the perform-ance that television professionalsexpect and audiences demand.

That takes just a few words todescribe, but it is the absolutekey to success: without thatinvestment in extremely resilientarchitecture, you cannot rely onthe system.

Also sitting on the network isa database server. This is not assetmanagement in the extendedsense, but functional targetedasset management in that it

knows where the content is andensures that it arrives at the play-out node in plenty of time fortransmission. And, as you mightexpect, all content moves aroundthe network as files.

The third element is a creativetool, to design the look and feel ofthe channel. This can be run on a conventional Mac or PC, and itcan use content created by thegraphics authoring package ofchoice, such as Adobe CreativeSuite or 3ds Max.

What makes all this possible is the use of open standards andsimple, service oriented inter-faces. OpenGL makes forsophisticated graphics process-ing, FTP to move contentaround, and XML for meta -data. For most interfaces, youcan write a simple translationscript in XML — somethingthat is readily done and up dated by an in-house engin -eer, giving the architecture com-plete flexibility.

The integrated playout systemis not the solution for everybroadcaster, but it is appropriatefor many, and it allows new serv-ices to be launched quickly andextremely cost effectively. Withthis modern architecture, you canrealise the cost benefits withoutcompromising on functionality oron-air quality.

New developments in playout management

Harold Vermeulen: Without investment in extremely resilient architecture, you cannot rely on the system

Grass Valley K2 Edge: Redundancy can be added to the network on an N+1 basis, or fully mirrored

Shaping the Future of Sports

Sp

orts

Pro

du

ctio

n

www.evs.tv

Designed to Perform

Even today, the IT industry giants struggle toachieve anywhere near the levels of reliabilitythat we expect from broadcast equipment as amatter of course





TVBEUROPE THE WORKFLOW


When production of Sky SportsNews moved into the broadcaster’snew facility in west London lastJuly, it marked the start of a six-month migration of other in-house departments. Last monthsaw the completion of that move,and Sky has been keen to point outthe benefits of its new £233 millionmedia centre — formerly knownas Harlequin 1, now called, notsurprisingly, Sky Studios.

“When we broke ground forthe new building in 2007, itmeant that our growth as abroadcaster had achieved a newperspective,” says John Lennon,Sky’s director of BroadcastOperations and Strategy.“Previously, we had developed ina fast and dynamic way, but itwas somewhat piecemeal. Nowour efforts have been directedinto a facility that can house1,300 personnel and will enableus to be far more efficient.”

He says the new building isdesigned to Make, Shape andShare broadcast productions. Toachieve that end there are eightstudios to make the programmes,45 edit suites to shape them and aformidable array of connectivitysystems to share the material.

“When it comes to making, allof the studios are equipped forboth HD and 3D,” he says. “Wecan combine studios where audi-ence participation is involved orthere is a need for large scale pro-ductions. There is no disputingthat we can offer world class facil-ities to our production partners.”

He says the extra capacity willenable Sky to increase its creationof home-grown programmes.“Our production budget for 2011was £380 million, but this is due toincrease to £600 million over thenext few years.”

Lennon points out that GrassValley has provided the LDKcameras and Kayak vision mixersfor all the studios. With theexception of strategic keysources, all the lighting is basedon LED technology. “We want toget the local community involvedwhere it is appropriate, so wehave built viewing galleries insome studios that will enable vis-itors to see what is going on —but without disrupting work onthe production floor.”

Tapeless from the startJohn Lennon is excited about oneof its main production features— a completely tapeless environ-ment. Having said that, he doesconcede that there are two tape

machines in the building, just incase the need arises!

“I am very enthusiastic aboutthis aspect of the studios.Previously, on average, we had4,500 movements of tape eachday, and that is hardly efficient.We have had no resistance to thenew technology, although I sup-pose there was some trepidationwhen the day for changeover wasnearing. However, once it wasused in a production situation,we found people were veryrelaxed about it and enjoyed thenew technology.”

Alongside the ability to edit attheir desks, production staff haveseveral ‘soft’ areas where they cantake laptops to carry out the samefunction. Those areas can also beused for meetings and writing. Toensure these additional areas arefully efficient, the building hasinstalled a robust Wi-Fi system.

Lennon emphasises that train-ing of staff is a priority and hewill always make services availableto ensure everyone is fully conver-sant with the technology changes.

The move to a completely tape-less setting has seen Sky News andSky Sports use Panasonic P2 as a

standard for its single camerashooting. When the materialarrives at the Sky Studios, both lowand high resolution copies aremade at the time of initial ingest-ing. The low res versions are thenused for initial logging and editing.

“The systems we use in the newfacility include AVC-Intra, IMX50, IBM disks and LTO-5 datatapes,” reports Lennon.

Online editors have the use of45 suites equipped with Avid systems, with some being com-plemented with EVS units wherefast turnaround packages areneeded. In addition, there are 12 international commentarybooths and an associated controlroom that can handle eight liveevents simultaneously.

For sharing Sky has developed acomprehensive network of commu-nication around the building. At theheart of the tapeless operation areOmneon servers for both ingest andplayout. “We can accommodate 160feeds coming into the building fromall over the world. We used to haveline up in one building and the videotape recording in another. That wasnot very efficient. Now all ingest andoutgest facilities are co-located onone floor,” says Lennon.

The feeds are directed into theArdendo Media Asset Man age -ment system supplied by VizRTand are instantly available to therelevant departments. Editing can

begin within moments of thematerial arriving.

“We are more interested in qual-ity than quantity,” Lennon empha-sises. “Our feeds are set at 100MB,and we made a decision some timeago that we would only operatethree channels on one transponder— and with Sky Sports this isreduced to two channels.”

He continues, “Our tapelesssystem has Quality Controlchecks built in using a Cerify byTektronix system. However, wealso carry out some traditionalQC checks so that our quality issecond to none.”

Environmental equationsBeyond the technical specificationof the new building, Lennonexplains that the design has also

taken into account the actualworking environment — and, ofcourse, ‘green’ considerations.“We spent a great deal of timeevaluating workflows, so that people’s working conditions arethe most efficient. We have doneaway with the concept, ‘this is atechnical area and this is an officespace’. They are all integrated tomake life easier.

“Generally speaking, the areaswhere people are working are onthe outside of the building,enabling them to have windows tosee what is going on outside.Today’s viewing screens are such

that you no longer have to work ina darkened room.”

Lennon says that creating asustainable environment was apriority. “We don’t just pay lipservice to these considerations.When companies were bidding toprovide goods and services, theyhad to show they had thoughtabout the question of sustain-ability. Woven into every aspectof the facility are sustainable ele-ments — right down to the carpettiles and windows.”

Through the use of 13 ‘chim-neys’ in the stairwells, natural ventilation for 65% of the buildinghas been achieved. Other ‘green’factors include recycled rain -water being used to flush toilets.

Located close to the buildingis a wind vane that producesenough electricity to light thewhole facility with the exceptionof the studio lighting grids. Infact, the building has achievedan A Star rating for its energyefficiency.

“We believe this is the mostsustainable broadcast facility inEurope,” states Lennon. “We havetried to be progressive so we canproduce the very best output forour viewers.”

He concludes, “It is an impor-tant factor that we do not justthink about clever technical inno-vations, although we do have that,of course. Rather what we do isdeliver creative content from thisnew building. I like to think aboutit as a factory of ideas.”www.sky.comwww.grassvalley.comwww.tek.comwww.panasonic-broadcast.euwww.avid.comwww.omneon.comwww.vizrt.com

A new media centre

“We are more interested in quality than quantity. Our feeds are set at 100MB, and wemade a decision some time ago that we wouldonly operate three channels on one transponder”– John Lennon

John Lennon is excited about the move to a tapeless setting

New studio block in west London that cost £233 million to constructand equip

TX area at Sky Studios: modern screens allow use of windows in theseproduction areas. Creating a sustainable environment was a priority

Sky’s new building is designed to make, shape and share broadcast productions, for both 2D and 3D. Capacity forhome-grown programmes is increased. The new tapeless environment does away from the previous 4,500movements of tape per day. Philip Stevens talked to Sky Studios Operations & Strategy head John Lennon

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Innovation in the Multi-Screen World



There can’t be many outside broadcast pro-duction facilities companies that can list aformer professional footballer among itsfounders. Yet in 1993, former BayernMünchen goalkeeper Manfred Müller,along with broadcast professional AchimJendges joined forces to create Berlin-based TopVision Telekommunikation. Ayear later, the company offered the servicesof the first fully digital SDI OB truck inGermany. Over the following decade, thefleet list grew with TopVision providing thefirst digital vehicles with expanding sides inthe country.

In 2005, the first HD football matchwas covered for Sky Germany, and within12 months the company had its full HD1080i25 or 720p50 OB van on the road.

Although sports coverage plays a majorpart of the company’s activities, the portfolio includes high profile concerts and other events. Besides Sky Germany,the client list includes ARD, ZDF,Sportcast, Plazamedia, Swiss Television,Austrian Television ORF, DFB, Infront,Kentaro, and Music Delight Concert.Outside of its native Germany, TopVisionoperates in countries as far apart as Japan,the US, Korea, Greece, Russia and the UK.

“We have always seen ourselves astrendsetters,” states Eduard Palasan,TopVision’s chief operating officer. “Sevenyears ago, we started to invest heavily inhigh defintition and for some considerabletime now 100% of our work has been in theformat. In fact, we no longer operate anySD vehicles.”

Now, that commitment to high def -inition is being complemented by anincreasing amount of 3D production

working alongside HD simulcasts. And tomeet that requirement, TopVision commis-sioned unit OB1.3D, the first dedicated 3Dtruck in Germany.

“We had input from many differentsources when it came to the design of theinterior,” emphasises Palasan. “We wereasked to ensure there were facilities formore 3D cameras than normal, includingthose with slow-motion capabilities. Toaccommodate that, there had to be inputsfor many signals from numerous sources.The engineers, of course, wanted morespace. But there was also a call for a second production room for unilateraloutput, for editing, the creation of high-lights, virtual enhancements or graphicsand so on.”

He adds that room was found in themain production gallery for the client’sproducer, lighting cameraman, editor inchief, and other executive personnel. Allthose needs were met in a truck which is16.5m long and has an expanded width ofup to 4.6m. It was built in Germany byBFE of Mainz. “Obviously, the truck canalso be used for HD production,” declaresPalasan, “but there is an increasing call forits 3D capabilities.”

Commitment to camerasIn HD mode, this truck (indeed all ofTopVision’s OB vehicles) can accommo-date up to 34 cameras — a mixture of SonyHDC1000, 1500 and 1550, with HDC3300being used for SuperSloMo. “We also useup to 10 LMP HD 1200 mini-cameraswhere space is very limited. They have theadvantage of being remotely controlledover long distances and can support 1080p,1080i and 720p formats.”

The LMP HD 1200 cameras also figure inthe 3D specification, along with 10HDC1500R and four Sony HDC-P1 cam-eras. Palasan believes that the narrow body ofthe P1 — it is just 86mm — makes it ideal for3D requirements. The camera has three 2.2-million pixel 2/3-inch type Power HADFX CCDs and a 14-bit A/D con verter thatproduces a sensitivity of F11 at 1080/50i.

All the cameras are fitted with Canonlenses. The truck is equipped with sevenElement Technica Quasar, Pulsar andLMP 3D rigs.

Just as the main cameras come fromSony, so the vision mixers (there are twoMVS-8000G with 4M/E) originate fromthe same source. Palasan is lavish in hispraise for that manufacturer. “As far as weare concerned they always provide the bestand most modern equipment with the mostup-to-date software and innovations. Inparticular, they offer special solutions andenable us to capture quickly those ‘surpris-ing moments’ during a live event. Oh yes,they also provide the best price when itcomes to value for money!”

Sony, along with Panasonic, providesthe VTRs in the form of Sony HDCAMand XDCAM HD, Panasonic DVC Pro50,AJ1800 and P2 AJ2500. “We also have AvidSports editing fully networked to eight EVSHD XT [2] and XT [3] on each OB Van.”

Graphics parametersOn board graphics is supplied by a Vizrt 3DHD Trio character generator and Viz Enginerendering system. From the vision mixer, theright and left eye images are streamed in fullHD 1920 x 1080 to the 3D monitors. Thecrew can then view flicker-free images usingcircular-polarised 3D glasses.

Palasan makes the point that live produc-tion graphics needs are quite different fromrecorded programmes. “Obviously, you needto utilise realtime tools like the Viz Engine, sothat operators can modify every parameterand see those changes right away.”

Audio mixing is handled by a 40-faderAurus digital mixing console. This systemis based on Stagetec technology whichincludes EBU-R128-compliant loudnessmetering, a spectrum analyser and true-peak metering. The TFT screens on theunit can be switched between showing theRTW meter and the Aurus display.

Always aiming for the Top

TopVision commissioned the first 3D-enabled OB vehicle in Germany built by BFE of Mainz

Philip Stevens talks to an OB provider setting pace with 3D facilities, complementing its HD commitment

“The engineers, of course, wanted more space. But there was also a call for a second production room for unilateraloutput, editing, creation of highlights, virtual enhancementsand so on” — Eduard Palasan

� TVBEurope is the proven European market leader intelevision broadcasting technology analysis. Through ourmonthly magazine, electronic newsletters and constantnews presence at www.tvbeurope.com we publish moreoriginal, journalist-written content every month than allour competitors combined.

� TVBEurope leads the market in discussion of digitalworkflows for acquisition, operations, post, playout anddelivery – with a business-led approach that is insightful,readable and relevant.

� In addition to the Issue Specials outlined, in everyissue our three established core sections anchor TVBEurope’s reporting of the television broadcast workflow. News & Analysis delivers headlines, context andexplanation of the big stories. The Workflow is ourbedrock coverage of end-user moves to HD, tapeless operation, an IT infrastructure and multi-platform delivery. And The Business Case is still unique to TVBEurope: every issue, an examination of a vendor’sbusiness and how it impacts the European marketplace.

MONTH ISSUE FOCUS ISSUE SPECIAL

March NAB Product Preview Graphics & Subtitling

April NAB Show Issue Media Asset Management

May London Olympics Countdown Broadcasting in the Cloud

June NAB Wrap-Up Archiving & Storage

July London Olympics Issue Reference Monitor Shoot-Out

August IBC Product Preview IT Broadcast Workflow Wrap-Up

September IBC Show Issue 3D Production Close-Up

October Best of IBC Editors’ Awards Audio For Broadcast

November IBC Wrap-Up Tapeless Video Recording

December Media Asset Management News Broadcast Workflows

EDITORIAL CALENDAR 2012� �

For all advertising and sponsorship opportunities, contact the sales team: Europe Steve Connolly: +44 (0) 20 7354 6000, [email protected] Ben Ewles: +44 (0) 20 7354 6000, [email protected], USA Mike Mitchell +1 631 673 3199, [email protected]



“Because TopVision transmitsnot only sports fixtures, but alsoconcerts and other musicalevents, we feel that StagetecAurus is the best and most com-pact unit with more features andeffects than any other live OBconsole,” declares Palasan.

Major musical eventThe audio capabilities — alongwith other technological innova-tions in TopVision’s 3D truck —were put to a demanding test during a 2011 event of the HeavyMetal group The Scorpions. Theshow was recorded as live inSaarbrücken for a 3D Blu-ray disk.

“We had to use 10 3D camerasfor this production,” explainsPalasan. “This was more camerasthan had ever been previously usedfor a 3D concert, and included aSteadicam, a Polecam, Supertecno -Crane, a panther and a DollyCruiseCam PMT. Not only that,we utilised a 3D ENG camera forgathering audience shots and othermaterial relevant to the bonus trackon the Blu-ray. It was a challenge,but everyone worked very hard andmade it a superb success.”

About 20% of TopVision’s cur-rent work is produced in 3D, andPalasan is determined that willincrease in the coming months. “I amvery optimistic. With an increasingnumber of 3D channels, there will bea need for content, content, content!

However, to be honest, I cannot seetoo many new developments in 3Dtechnology in the near future.Everything is far too expensive andgetting finance for anything new willbe difficult in the present climate.”

“But,” he concludes, “if thereis to be progress I would like tosee enhanced lenses, improved 3Dediting software and the intro-duction of better and integratedanalysis software.”www.topvision.tvwww.bfe-systemhaus.dewww.sony.co.ukwww.elementtechnica.comwww.stagetec.comwww.panasonic-broadcast.euwww.avid.comwww.vizrt.comwww.supertechno.comwww.mypmt.de

TopVision supplied 3D coverage for Scorpions concert using a variety of mounts

3D coverage provided for the German Bundesliga matches using Sony cameras

“With an increasingnumber of 3D channels,there will be a needfor content, content, content! However, I cannot see too many newdevelopments in 3Dtechnology in the nearfuture. Everything is far too expensive” —Eduard Palasan

Blackmagic shipsHyperDeck Shuttle 2Blackmagic Design has released itsHyperDeck Shuttle 2 with Avid DNxHDrecording and playback. The productallows uncompressed video byrecording from SDI and HDMI directly to10-bit QuickTime or Avid DNxHD MXFformat. “Recording DNxHD files straightto disk now costs less per minute thanrecording to professional tape,” saidGrant Petty, CEO, Blackmagic Design.“It’s the most efficient workflowpossible.” HyperDeck Shuttle 2 isshipping now and available fromBlackmagic Design resellers worldwide.www.blackmagic-design.com

French rep forObject MatrixData storage expert Object Matrix haspartnered with IVORY in the Frenchterritories. Founded in September byJulien Gachot, IVORY helps companies todefine and execute their sales strategy.“Julien has outstanding experiencewithin the international creative videomarket,” stated Nick Pearce, co-founder,Object Matrix. “We intend to fully benefitfrom his strong domain expertise andextensive network which spans allelements of content production workflow.”www.object-matrix.com

NEWS IN BRIEF



By abandoning the traditionalapproach of linear broadcastworkflows and adopting acentralised integrated approach formultiple linear and nonlinearworkflows, Disney has maintainedhigh service levels, reduced costand improved its ability to changein a fast-moving media world. By David Stewart

Disney Channels Benelux, a divi-sion of the Walt Disney Company,was one of the first media compa-nies to understand the benefits ofusing a web-based user interface toschedule and control a completenational TV channel. In 2006,Disney selected media businessand content management soft -ware company Vivesta, andNetherlands network serviceprovider KPN Broadcast Services,to design an end-to-end playoutsolution for the Dutch nationalJetix channel (now Disney).

The designed workflow wascompletely file-based and alloperations were done in a web-based user interface. The projectwas successful and since then Disney has expanded the platform with more channels

and cable VoD services in theNetherlands and Belgium.

In 2011, Disney ChannelBenelux issued a new Request forProposal. Key objective was to pro-pose a unique solution that presentscost advantages and enables Disneyto adapt to a rapidly changingmedia industry, while maintaining ahigh service level of 99.99%.

Managing content and rights intoday’s multiplatform era hasbecome an increasingly complextask as broadcasters are faced withdifferent distribution deals, con-tent formats, rights and metadataspecifications for multiple linearand nonlinear distribution outlets.

After a careful selectionprocess, Disney selected theapproach proposed by KPN andSGT Vivesta. In this approach,the benefits of a reliable andscalable playout solution, basedon VEDA automation andOmneon servers, are combinedwith the flexibility and efficiencyof a centralised and fully integrated MediaFlow business and content management system. With VEDA andMediaFlow, SGT Vivesta pro-vides a modular end-to-end

solution for media businessmanagement, content manage-ment and broadcast automation.

The benefitsImproved flexibility and time-to-market: The solution automatesand simplifies the workflows dras-tically as all business and contentprocesses for multiple outlets arecentralised and integrated in a single MediaFlow platform.MediaFlow manages all tasksrelated to scheduling, rights man-agement, programme management,

QC, file movements, archiving andtranscoding for all linear and non-linear outlets.

It also allows Disney to trackevery step in the business and con-tent workflow better. By movingaway the intelligence and informa-tion from the distribution outlet,flexibility is greatly improved andnew services can be introducedmuch faster.

Automated validation of con-tent and schedules: To simplify andreduce manual operation further, aninnovative template-based schedul-ing feature has been introduced.When Disney creates a new packageof VoD items, templates can beapplied which predefine publishconditions, categories, prices, publi-cation periods and other parametersfor one or more distribution outlets.

In a matter of seconds, com-plete series can be scheduled andpublished across multiple outletswithout the need for technicalknowledge. MediaFlow automati-cally validates all content andschedules and adapts the contentto the requirements of each specificoutlet. Only the exceptions aremade visible to operators whichreduces checking time drastically.

Meeting a service level of99.99%: Another challenge tomeet was the scalable transmissionarchitecture. Engineers of KPN

and SGT Vivesta worked closelytogether and designed a highlyredundant transmission archi -tecture based on a reliable andscalable VEDA playout automa-tion system controlling OmneonSpectrum servers.

The VEDA transmissionautomation controls all trans -mission components, includingScreen Subtitle and Pixel Powergraphic systems and provides anActive-Active fail-over function-ality to automatically switch fromthe primary to the secondaryplayout transmission chain.

Open, web-services based archi-tecture: The web services basedarchitecture is designed for threefull redundant channels with futureexpansion in mind. Playlists aredelivered from the MediaFlowscheduling system to VEDA in theBXF format to ensure open stan-dards and interoperability with other systems. Web service API’sallow for integration with third-party systems and processes.

Full web-based, centralisedoperation: all scheduling andMAM operations are done inMediaFlow in a single web-baseduser interface. Depending on therole and user, information andfunctionality can be made accessi-ble. New features or changes areimplemented centrally at KPNBroadcast, eliminating the need forsoftware updates and maintenancecost at Disney premises.

Transmission operation is pro-vided by KPN Broadcast, basedon the VEDA automation soft-ware. As Disney prepares completeframe-accurate schedules remotelyin the central business system, lastminute changes are decreased andservice levels can be improved.

The Disney approach: Managing content and rights in a multiplatform era

Changing Disney workflows in Netherlands and Belgium

www.stryme.com

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New technologies and workflows behind big live/as-live TV productions

Who should attend?

Chief Operating Officer; Directors of

Operations; HHead of Outside Broadcasts;

Head of Production; PProduction

Resources Manager; Senior Sound

Supervisor; SSenior Director; Head of

Cameras; CChief Engineer; Programme

Operations Manager; PProducer; Director

of Broadcasting; HHead of TechnologyTUESDAY 13MARCH 2012

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big live/as-live productions and is

chaired by John Ive, currently director of

Business Development & Technology at the IABM. Ive is a consultant and

technologist at IveTech and formerly Director of StrategicPlanning at Sony Broadcast. Ive also chairs TVBEurope’s annual 3D Masters conference and his experience spanssenior management, technology, operations, marketing,training and research & development.

Chairman- John Ive, Principal, IveTech

Keynote Address- Andrew Ioannou, Director of Strategy

Technology, Platforms & Business Delivery at ITV

Case Studies- Mario Giodano, Chief Editor TGcom24.

Mediaset - Raoul Cospen, Director of Marketing,

Dalet Digital Media Systems- Sony Professional- Thomas Hellum, Project Manager, NRK

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WHAT’S NEW FOR BVE

TVBEUROPE BVE 2012 PREVIEW

By David FoxSony has shipped its first con-signment of F65 CineAlta cam-eras into Europe, with UK dealersCVP and Top-Teks receiving thefirst units of the high-resolution,large-sensor camera.

So far, there have been about400 pre-orders worldwide for the4K camera, which uses a new 8KCMOS image sensor with approx-imately 20 megapixels and 16-bitlinear raw file output capability.

“Sony was committed tobringing the F65 CineAlta cam-era to market before the springshooting season began,” saidDave Cheesman, UK MediaChannel manager at SonyProfessional Solutions Europe.

“The fact we have alreadyreceived such a high volume oforders is a testament to the F65’soutstanding performance andsuperb value for money. Clearlythe industry has gained a signifi-cant appetite for 4K technologyand we are proud that dealerssuch as CVP and Top-Teks havechosen to work with us.”

Phil Baxter, CEO of CVPgroup, commented: “The F65 isthe most exciting camera toemerge from Sony over the last 10years and as such we’ve alreadyreceived substantial interest andmany advanced orders. Like us,our clients recognise that theF65’s outstanding 4K image

quality combined with CVP’sengineering investment and totalcommitment to customer supportwill provide them with the un -paralleled ownership experiencethe highest echelon of DigitalCinematography productiondeserves.”

Mike Thomas, sales director ofTop-Teks, added: “The launch ofthe F65 signals a new era in digi-tal cinematography and as suchwe’ve invested heavily to ensurewe can deliver Sony’s state of theart camera alongside Top-Tek’strademark top quality service.”

A basic F65 package costsabout £60,000 (€72,000), andincludes the camera, SonyHDVF-C30WR Colour HDViewfinder and Sony SR-R4SRMASTER Memory Recorder.

The Sony stand I20 at BVEhas been designed with customerneeds in mind, and will have fourspecific areas covering corporateand live event production, ENGand EFP, live production, anddigital cinematography.

By David DaviesVitec Group brand Sachtler willpresent its new Ace fluid head andtripod system, described as theperfect camera support for thegrowing market of videographersand DSLR filmmakers.

Designed for a variety of proapplications, Ace offers a payloadof up to 4kg, making it ideal forsmaller HDV camcorders andvideo-enabled DSLR cameras.Features include a special compos-ite material that makes the systemvery lightweight, and a 5-stepcounterbalance that makes fastcounterbalancing of the cameraset-up very simple. Also included is

the new, patented drag, SA drag(Synchronised Actuated Drag).

Sachtler will also show its Cinecamera support as well as the Video18 S1 and the Video 20 S1, the lat-est models of the Video 18 andVideo 20 ENG/EFP heads. Bothproducts have a 16-step counter -balance. The Video 18 S1 has a pay-load range of 2-18kg, while the pay-load range of the Video 20 S1 is 2-25 kg. Both heads provide theSachtler Speedbalance Technologyand a Touch & Go plate.

The artemis modular camerastabiliser system will also be onshow. artemis Cine HD Pro fea-tures modular construction, dualvideo processing, HiCap wiringand HotSwap technology.I30

By David DaviesThe Belgian maker of live broad-cast and media production sys-tems will introduce a set of all-round solutions for sports broad-casting and fast turnaround stu-dio productions.

C-Cast is a new cloud castingapplication designed to give mul-titaskers instant access to comple-mentary or exclusive content oflive and near-live broadcast pro-grammes on connected devices,such as tablets, smartphones andlaptops. It is a simple add-on solu-tion to any existing EVS live pro-duction infrastructure and offersa fully open architecture based onAPI, allowing broadcasters andmedia distributors to build theirown web interface. As a result,clips created during a live produc-tion can be instantly available onany connected device.

Also at BVE, EVS will unveilInsio ProNotes, a new softwareapplication designed to help assis-tants log footage with keywordsand take notes on a PC or tabletduring a shoot. The notes are auto-matically linked to the footage andcan be displayed as markers in thetimeline of third-party craft edi-tors. All notes and keywords arestored on the Insio database, wherethey can easily be transferred to

post production. ProNotes alsoallows producers to subsequentlyadd comments, which increases theaccuracy of the notes and savestime when editing.

EVS will also showcaseSports360°, which helps broad-casters, producers and rights-holders to maximise content valuewith: extended multicam record-ing capabilities and new 3G con-nectivity; ‘breathtaking’ actionreplays based on Live SlowMotion and unique Ultra Motionlive replay systems; rapid packageproductions performed duringlive recordings; instant access tolive media and archives due toadvanced connectivity betweenremote and studio operations(including remote access to con-tent via extended web browsing);from venue to multiplatformdelivery; and complementaryand/or exclusive content on webconnected devices.E30


Keep connected withC-Cast second screen

First Sony F65 4Kcameras shipping

Iconic images: 64-bit Phoenix improves speed and performance

C-Cast is a new cloud castingapplication designed to give multitaskers instant access tocomplementary or exclusive content

F65 “the most exciting Sonycamera over the last 10 years”

Ace offers a payload of up to 4kg,ideal for smaller HDV camcordersand video-enabled DSLR cameras

The Broadcast Video Expo show continues to grow and manynew products now receive key UK previews ahead of worldlaunch at NAB. Our writing team — David Davies, MelanieDayasena-Lowe, Fergal Ringrose and Jake Young — presenthere a focused guide to the best broadcast and productionproduct innovations at BVE 2012 — Fergal Ringrose

EVS

Sony

Restoration with PhoenixImage Systems

Sachtler

Have we got camera supports for you

By Jake YoungDemonstrations of Nevion’s newVideoIPath solution for IP and opti-cal networks will take place at BVE.The provider of managed video serv-ices for broadcasters, serviceproviders and government entitiesworldwide will showcase its integrat-ed hardware and software platformfor delivering managed video servic-es in any network infrastructure. Thisincludes delivery over an IP-basedmedia network of a telecommunica-

tions service provider or a broadcast-er’s fully redundant optical network.

“Professional video transport ischanging dramatically and creating acompletely new approach to videonetworking,” said Nick Pywell, MDUK operations at Nevion. “With the introduction of our VideoIPathmanaged video services platformand the other solutions we’ll be high-lighting, we can provide efficient andcost-effective solutions for broad-casters to meet these changes.”

VideoIPath provides video trans-port with end-to-end control, moni-toring and management and featurescomprehensive services includingprovisioning, connection manage-ment, bandwidth optimisation, ana-lytics and network inventory. G46

By David DaviesProducts on show will include a 2 x2 switch with full framestore syn-chroniser on each input, along withan audio/video delay designed forcorrecting large lip-sync errors.

Making its UK exhibitiondebut, the Safe Switch 3G pro-vides clean and intelligent 2 x 2switching between two 3Gbps,HD or SD sources, with a fullframestore synchroniser on eachinput, allowing it to correct forany timing difference between thetwo inputs. It can be switched

manually or 16 different faultconditions can automaticallytrigger a switch, while loss of ref-erence protection keeps the out-put valid at all times even on aloss of reference.

AVDELAY 3G is an audio/videodelay designed for correcting largelip-sync errors by eye on incoming3Gbps, HD or SD signals. Theaudio and video delay are adjustableindependently, allowing the user tochange the relative audio/video tim-ing in either direction, with up to 10seconds of video delay available inSD, five seconds in HD and two sec-onds in 3Gbps, along with 10 sec-onds of AES audio delay.

The video delay is adjustable inframes, while four delay controls canbe assigned to the audio on a monochannel basis. Up-Down-AS 3G is asynchronising up/down/cross con-verter which takes all the project-winning features of the popular Up-Down-3G and adds signal timingfunctionality. Available in five ver-sions to suit a variety of applica-tions, Up-Down-AS 3G allows flex-ible up, down and cross conversionsbetween 3Gbps, HD and SDsources and provides an output pic-ture quality that broadcasters stan-dardise on.

BVE will also see furtherenhancements to Crystal Vision’sMultiLogo logo keyer. New to theMultiLogo specification is thePreset Import/Export feature, whichallows the operator to easily copysettings from one board to anotherand is suitable for those systemsinvolving multiple logo keyers. E56


Key enhanced technology


Safe Switch 3G provides intelligent 2x2 switching between two 3Gbps, HD or SD

UK debut for Safe Switch 3G with full framestore synchroniser on each input

Nevion will showcase componentsof the VideoIPath system at BVE

Crystal Vision

By David DaviesRiedel Communications willpresent MediorNet – described asthe cost-effective entry into theRiedel MediorNet world of inte-grated media signal distributionand processing – at BVE 2012.

MediorNet Compact is said toprovide the flexibility of a truerealtime media network, includ-ing integrated signal processing,at the cost of simple multiplexingpoint-to-point products. With anetwork bandwidth of 50 Gbps

MediorNet Compact providessufficient capacity for bi-direc-tional transport of 12 HD-SDIsignals, dozens of MADI streamsand hundreds of audio channels.

Also on display will be Riedel’sAVB product line, designed to pro-vide a realtime solution for profes-sional intercom users. The Riedelsuite of AVB products includes theAVB-108 G2 Client, the ConnectAVB and Connect AVBx8 panelinterfaces. They offer intercomapplications over LAN infrastruc-tures such as matrix-to-controlpanel connections, audio distribu-tion, matrix-to-matrix trunking

connections or distribution of dig-ital partylines.

Riedel will also highlight theRiLink solution, a global fibreservice for long-distance HDvideo, audio and data transport.Based on Riedel’s own globalbackbone, the RiLink Global

Fiber Service provides bidirection-al links between distant locations,allowing not only the transport of3G/HD/SD-SDI broadcast sig-nals, but also return video feeds,full-duplex communications, VoIPtelephony and IP data.H60

RiedelNevion

A networking showcaseTaking theright path

MediorNet Compact provides capacity for bi-directional transport of 12 HD-SDI signals

Global leaders inbroadcast audio technology

From acquisition and production, through post to transmission, HHB’s Sales andTechnical Support teams have unrivalled experience in broadcast audio technology.

No wonder leading Broadcasters and Systems Integrators worldwide rely on HHB to achieve maximum returns on their investments in audio equipment.

Contact the HHB Broadcast Sales Team at: E: [email protected] / T: +44 (0)20 8962 5000

www.hhb.co.ukSee us at Stand C40

By Melanie Dayasena-LoweThe new Observer TS loggingsystem gives broadcasters, net-works, and cable operators the ability to handle MPEG-2 and MPEG-4 transport streamsnatively and efficiently over theWAN with a low-resolutionproxy, retaining the content and associated metadata withinthe stream.

Complementing the existingObserver Enterprise analogue,SD-SDI, and HD-SDI systems,this new interface simplifies sig-nal flow, allows for greater signaldensity and flexibility, andenables full-quality content log-ging. It opens the door to new use cases — such as rebroadcast-ing high-resolution data, inter -active content, and dialnorm

reporting — for logged content.Using Observer TS for compli-ance logging and air checks, oper-ators can easily extract MPEGmetadata and troubleshoot theMPEG transport stream live orfrom the Observer log.

The new release of ObserverEnterprise version 6.0 includesseveral new features, includingfully ITU-R BS.1770 compliantLoudness Monitoring, AC-3(Dolby Digital) decoding, andadditional updates.

Based on Microsoft Silverlight,the Observer Professional includesan intuitive, streamlined user interface for both Mac and PC platforms that supportsInternet Explorer, Safari, GoogleChrome, and Firefox browsers, as well as integrated export functionality to H.264, Flash,MPEG-2, or MPEG-4. H42

Observer showcase for BVE


By David DaviesTC Electronic’s LM6 RadarLoudness Meter (pictured) will bepart of a comprehensive showcaseof professional audio loudnesstools proffered by HHBCommunications at BVE.

As new loudness standardsgain traction in Europe those inthe media supply chain are adopt-ing a mix of hardware and software loudness technologiesfor both linear and nonlinear

environments. HHB will be focus-ing on four loudness applications:OB and live production, post production, playout and archivewith technologies from DK-Technologies, Dolby, Nugen,RTW, TC Electronic and Wohler.HHB product specialists will beon hand to discuss the latest inloudness technology.

Alongside Scrub, its Soho-based subsidiary specialising inserving the post production indus-try, HHB will also be demonstrat-ing Avid’s new Pro Tools 10 soft-ware and HDX hardware.

In addition, visitors are invited tostop by the HHB stand to collect afree copy of the new HHB 2012Catalogue and to enter a free prizedraw to win an Olympus LS-20MPortable Audio and Video Recorder.

The HHB stand will also fea-ture new portable recorders fromOlympus (2-Ch LS-100) andRoland (6-Ch R-26), new consolesfrom Studer (OnAir 1500) andYamaha (01V96i) and the latest inaudio technology from other lead-ing brands including Dynaudio,Genelec, Mogami, Neyrinck,RØDE and Soundfield. HHB isalso sponsoring the show’s AudioRoom, where industry-leadingaudio and broadcast profession-als host seminars on the latestindustry topics. C40

Audio loudness in focus

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Stand J42

HHB Communications

By David DaviesA presentation by BSkyB and acase study based around theBlackpool Tower 4D Experiencefilm will be part of the line-up at the 3D Revolution Theatre, of which SGO is againa key sponsor.

This year, the SGO Mistikasessions will feature two strikingpresentations. The first by BSkyBon the Continuing Developmentsfor 3D in broadcast by onlinestereographer Francisco Ramoswill include BSkyB’s new Stereo3D test card and various newprojects for television. The sec-ond will be a case study of theBlackpool Tower 4D Experiencefilm, courtesy of productioncompany Sharp Cookies. Allaspects of the 4D film, from

production through to post, andhow Mistika was used at the heartof the post production process,will be presented.

The Francisco Ramos sessiontakes place on 14 February at 1pm,while the Mistika case study com-mences at 4pm on 15 February.

Mistika makes 4D magic for Blackpool TowerSGO


Mistika was used at the heart of the post production process on Blackpool Tower 4DExperience, Sharp Cookies Ltd (Photo: courtesy of Merlin Entertainments Group

Volicon

By Melanie Dayasena-LoweThe newest member of Calrec’sArtemis family of Bluefin2/ Hydra2audio consoles, Artemis Light, intro-duces a new compact processing rackdedicated to delivering DSP androuting capabilities in a 4U enclosure.

Like all Artemis consoles,Artemis Light incorporates

Bluefin2 High Density SignalProcessing and Hydra2 network-ing technologies in the samecompact yet scalable control sur-face used by Artemis Shine andBeam. Employing the same hard-ware and software architecture,the Artemis Light can be fullyintegrated with any existingHydra2 network.

“No sacrifice has been made toquality, reliability or specifica-

tion. This is a powerful, full-featured broadcast-productionaudio console with full redundan-cy, designed to be an integral partof the Bluefin2/Hydra2 family,”said Henry Goodman, head ofsales and marketing at Calrec.“Full compatibility with otherHydra2 networks means theArtemis Light is scalable beyondits standalone capabilities, provid-ing a cost-effective platform thatcan be easily expanded if produc-tion environments become moredemanding of resources.”

The Artemis Light router has 8x Hydra2 ports for interfacingwith the extensive Hydra2 I/Orange, as well as other Hydra2routers and their I/O. The flexibil-ity of the Hydra2 I/O rangemeans a large amount of I/O canbe connected in various formats,tailored to the specific needs ofeach environment.

Like the rest of the productrange, Artemis Light also sup-ports point to multipoint routing,the Calrec H2O router controlGUI, and third-party remote con-trol protocols SW-P-08 andEMBER, allowing remote controlof router and console functions.C4


UK launch of Artemis Light


Artemis Light has Bluefin2 high density signal processing and Hydra2 networking

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Mobile apps: Next-generationSigniant Media Exchange (MX) isa private cloud solution for fast,secure file transfer designedspecifically for the businessneeds of media content providers— from major studios and globalbroadcasters to regional postproduction houses. In addition toa browser-based client forsharing large files more

efficiently, MX 9.5 expands user access options with powerfully simple clients thatautomate the unattended delivery of content to any desktop or mobile device. Oncecontent is downloaded, MX users can log in with the same credentials they usewith their browser client and then select the channels of content to which theywish to subscribe. Users receive unattended updates as they become available —without having to check for new content or wait for downloads — and they canquickly upload content to users or preselected channels. - Melanie Dayasena-LoweL54

By Melanie Dayasena-LoweDFT Digital Film Technology,provider of high-end film and digi-tal post production solutions thatpreserve, manage, and deliver yourpictures, will showcase version 1.2of its FLEXXITY post productionsoftware suite.

Visitors can receive a demon-stration of the new FLEXXITY1.2, and receive a hands-on experi-ence for how it can apply to their

specific post production workflow.Whether working with film or digi-tal, on-set dailies, post dailies, play-out and mastering, or archive work-flows, FLEXXITY offers a spe-cialised software suite that aggre-gates a number of key functions inone software interface.

It helps facilities maximise thevalue and delivery of content bystreamlining audio ingest, imageingest, audio/video synchronisa-tion, metadata logging, grading,and playout/file generation. M13

Digital Film Technology

Flexibility in post



By Fergal RingroseChyron’s Paul Glasgow, vicepresident of EMEA sales, andTodd Martin, senior vice presi-dent, Strategic Solutions Group,will present ‘Cloud 2.0’ at BVE.The featured presentation is partof a one-day BVE event entitled,‘Demystifying the Cloud,’ whichwill examine today’s cloud-based technologies.

The Chyron session willexplore the use of cloud-basedtechnologies across the broadcastand post production communi-ties and provide a detailed dis-cussion of how such technologycan integrate with users’ ground-based software applications toimprove efficiency in qualitygraphics production.

“The many benefits of work-ing with a cloud-based graphicscreation platform include thesharing and repurposing ofgraphics within an organisation,which in turn allows reporters andnews producers to access the samecontent and take timely stories toair more quickly,” said Glasgow.

“During our BVE presenta-tion, we’ll outline this model andthen venture into how integrationof the cloud-based platform withleading applications such as

Apple Final Cut Pro, AdobePremiere Pro, Adobe Photoshop,and ENPS publishing softwarewithin a cloud-based workflowcan enable greater operationalefficiency.” Glasgow and Martinare slated to present ‘Cloud 2.0’at 12pm on 15 February.

At its stand, Chyron will beshowcasing its range of productsincluding BlueNet for graphicsworkflows, Channel Box2, AxisWorld Graphics and HyperX3.1.E14

By Jake YoungIn the wake of new promptingapps that support both Apple’siOS and Google’s Android oper-ating systems, Datavideo hasunveiled a prompter rig thatextends hardware support toAndroid tablets as well as the iPadand iPad 2.

Demonstrated for the firsttime at BVE in London, theDatavideo TP-300 Prompter Kitfeatures a new adaptable mount-ing bracket that can be adjustedto receive virtually any 5 inch to10.1 inch tablet.

According to AllanLeonhardsen of the distributorHoldan: “There are over 100

tablet designs currently in themarket and the already diverserange of screen sizes is only likelyto increase over the coming year.Datavideo’s latest prompter kitmeets this challenge with a verycost-effective new system.”

Like its sister product, theiPad-only TP-200 kit, the new TP-300 comes complete with a quickrelease camera plate, tabletmounting bracket, two-wayreflective glass and black camerasnood for a light and flexible pro-duction tool.

The TP-300 is quick and sim-ple to use: prepared scripts or cuesheets can be transferred into thefree DV prompter app softwareon the tablet and scrolled auto-matically or controlled by a userwith the wired or wireless remote

according to the producer’s wish-es. A number of clear fonts,colours and text sizes are availablemaking reading comfortable froma variety of distances. It is idealfor use in either a theatre settingor a video studio.I10

Prompter rig for tablets

The Datavideo TP-300 PrompterKit extends hardware support to Android tablets as wellas the iPad and iPad 2

Datavideo

Chyron

Graphics creation enters the Cloud

By David DaviesPaul Nicholls, Phabrix’s head ofsales and marketing, said thatinterest in the new modular Rxrackmount products has been“outstanding”, with demand “lit-erally outstripping production”.

The company recentlyannounced the sale of 27 of theRx rack-mount instruments in theUK. The major new product suitewas initiated last year with theintroduction of the Rx2000 mod-ular T&M instrument.

Nicholls commented: “Theinterest in our new modularPhabrix Rx rackmount productshas been outstanding and nowwith full production in place,demand is literally outstrippingproduction. Our major focus is therelease of the second stage of ourdevelopments on the Phabrix Rx

platform, including the ground-breaking rasterisers with full SDIand HDMI layered instrumenta-tion at 1920 x 1080 output. Asconcerns over investment costsbecome polarised, the valueproposition and the technologicalinnovation these products repre-sent is outstanding.”

As well as the Rx, BVE willalso find Phabrix showcasing afull suite of modular cards,including multiple analyser andgenerator cards, as well as the lat-est eye and jitter technology.

Portable test and measurementsolutions from the Sx range will also be on display, whilePhabrix will also highlight ‘ano -ther world first’ evident across the product range: a dedicatedDolby closed loop testing solu -tion allowing engineers to both generate Dolby streams andanalyse them. H46

Rx centre-stage at BVEPhabrix

Paul Glasgow: “Benefits include the sharing and repurposing of graphics”

UK launch as prompting apps for Apple, Android accelerate

Smart size for audio: The DK Meter, a highly portableCompact Audio Loudness Meter that retails at€995.00 in Europe, will be on show at BVE, writesJake Young. Richard Kelley, sales and marketingdirector for DK-Technologies, said: “We have neverseen anything like this before. The new DK meter hasreceived more enquiries per week than any otherproduct we have sold in the past, proving that thereis huge demand from the industry for an affordableaudio metering solution that not only deliversconventional metering but also ITU, EBU R128 and

ATSC-compliant loudness metering at the same time,on the same display and in a single box.” No bigger than a

smartphone, the DK Meter has no interface box to hide behind the equipmentor in the console and comes in two versions – the stereo DK1 and the 5.1surround sound DK2. Both versions are easy to use, easy to install and can bepowered from a computer USB port, making it ideal for location recording. E15

broadcastloudnesscontroland more...

www.junger-audio.comSee us! NAB 2012, SU3406

ATSC A/85EBU R128ITU.1770/-2

First time for automated playout: Oasys, which is celebrating 20 years ofpioneering IT-based automated playout systems, will showcase its modularsoftware solutions at BVE for the first time, writes Melanie Dayasena-Lowe. Visitors can see demonstrations of the wide variety of ways in whichto set up solutions for different channel requirements, including liveevents, advertising insertion, single and multiple channels and redundancymanagement. Mark Errington, CEO, Oasys, said, “We’re delighted to bringour automated playout systems to BVE for the first time. Our knowledgeand experience, accumulated over 20 years, have given us a deepunderstanding of our clients’ key requirements – reliability and flexibilitywith a highly professional on-screen look – and that’s what we deliver.”L15

By David DaviesThe LE-3D dual-channel stereo-scopic 3D video legaliser wasdeveloped in co-operation withone of London’s leading broad-cast production, post productionand distribution facilities.

The new launch allows legali-sation parameters for left andright video channels to be adjust-ed from a single operating panelto ensure precise compliance.

User-adjustable settings includeRGB, YUV or composite modeselection, clipping level, soft clip-ping knee, luma and chroma gain,black level, and hue rotation. Sixuser memories are available tostore group settings. EBU 2003

standard legalisation presets arealso provided.

Based on Eyeheight’s geNETicsplatform, the LE-3D has twoindependent HD-SDI inputs andoutputs. Processing is to full 10-bit depth throughout.

Multiple LE-3D modules can beaccommodated in a 1 RU 19-inch chassis for operation underlocal control from an EyeheightFP-9 generic control panel. AllgeNETics products are drivenvia a unified hardware or software menu system giving fast and easy access to all rele-vant parameters.

Video legalisers are a simpleway of helping edited programmespass broadcasters’ technical quali-ty-assurance requirements. Theyautomatically detect and correct

any parts of a video signal that donot conform to industry-agreedcomponent RGB, YUV or com-posite colour space levels.

Also on show at BVE will bethe CC-3D, described as theworld’s first multi-rate stereoscop-ic 3D colour corrector. Designedfor use in broadcast production,post production and playout cen-tres, the Eyeheight CC-3D allowsboth channels of a stereoscopic 3Dpair to be corrected under com-mon single control.A1



By Melanie Dayasena-LoweThe new HVS-4000 HANABImulti-format vision mixer is avail-able as 2 M/E, 2.5 M/E, or 3 M/E.Features include support formixed SD, HD and 3 Gbps inputs,video files and stereoscopic 3D. Italso offers 2.5D and 3D DVE, abuilt-in 4/10/16-split multiviewerand external device control –making it a useful core device in avideo production system. Across

the range there is a choice of fourcontrol panels, a maximum of 48inputs and 24 outputs and anup/down/cross converter allowingcutting between most asynchro-nous SD and HD input formats.

BVE 2012 provides anotheropportunity to see the HVS-350HS 1.5M/E vision mixer. Thishas become a popular choice for awide range of applications includ-ing broadcast OB vans, at eventsand in studios. It can operate inSD, HD and 3D and can inputdirectly from a PC.

The standard package provideseight inputs and outputs that areexpandable to 24 and 12 respective-ly. Other standard features includetwo keyer and four DSK channels,four stills stores, dual-channel 16-split multiviewer, two channels ofdedicated picture-in-picture, andmore than 100 2D and 3D transi-tions and effects. The latest versionincludes a clip store, animationplayback, CG wipe and enhancedcontrol of external devices.

In addition, FOR-A will dis-play its FA-9500 multi-purposesignal processor, LTR-120HSLTO-5 Video Archiving Recorderand LTR-100HS.I50

Vision mixer unveiled

By Melanie Dayasena-LoweMiller Camera Support’sCompass range of fluid heads hasbeen extended with the release ofthe new Compass 12 system pack-ages. The Compass 12’s easy touse design incorporates featureslike a wide payload range, selec-table pan and tilt drag settings,illuminated bubble level in a com-pact and lightweight 75mm balllevelling fluid head.

The Compass range nowincludes the Compass 12,Compass 15, Compass 20 and the100mm ball based Compass 25fluid heads, ideal for the latest

generation HDV, DVCAM,XDCAM, P2HD, ENG and high-ly accessorised DSLR cameras.

The Compass range includesthe same fluid drag system compo-nents used in the Arrow range. Thisresults in soft take offs, super stablepan/tilt moves and smooth stops inaddition to several settings of dis-tinct levels of drag resistance.

The 75mm Compass 12,Compass 15 and Compass 20 flu-id heads provide professional per-formance for the latest light-weight cameras and camera con-figurations with a payload rangebetween 2-10kg (4-22 lbs) forCompass 12 and Compass 15models and 2-12kg (4-26 lbs) forCompass 20.

The 100mm Compass 25 fluidhead has a selectable 4-14kg (8-30lbs) payload range which pro-vides for a variety of camera con-figurations to be used, both fieldbased or studio-based cameras. F28

Compass takes new directionThe new HVS-4000 HANABI multi-format vision mixer

Claimed to be world’s first dual-channel stereoscopic 3D video legaliser

FOR-A

Miller Camera Support

Legal parameters in dual-channel LE-3DEyeheight

Compass 12Solo DV twostage carbonfibre tripodsystem

By Melanie Dayasena-LoweFor the first time in the UK,Pixel Power is exhibiting its inte-grated playout technologyChannelMaster. The fully inte-grated playout solution freesbroadcasters from compromise.It incorporates all the function-ality to deliver a channel to airbut with playout capabilities thatmake Channel in a Box an excit-ing choice for broadcastersacross the region.

The need for sophisticatedintegrated playout systems con-tinues to grow as the number ofchannels being launchedrequires a new level of playoutefficiency and this technologymeets that need. It integratesstorage, graphics, DVE, audio,subtitling, master control, livefeed and long-form video play-out within a single dedicatedhardware platform.

By placing Pixel Power’sgraphics engine at its core,ChannelMaster includes dedicat-ed processing for the full range ofsophisticated graphics includingrealtime 3D, multichannel clipswith alpha and unlimited layers.A single ChannelMaster unit canbe configured as one complex

channel with preview or two sim-pler channels.

One of the key benefits of thistechnology is no automationlock-in: ChannelMaster canintegrate with many automationand MAM systems by way of anopen XML protocol or legacy

industry standard protocols providing a level of flexibilitynot always previously seen.Alternatively it can be controlledby Pixel Power’s new Galliumscheduling, asset managementand automation solution.H6

By Melanie Dayasena-LoweBVE 2012 will mark the UKlaunch of Camera Corps’ Q-BallPre-Set compact remotely con-trolled pan/tilt/zoom HD/SD cam-era. Shown at IBC2011 and now infull production, Q-Ball Pre-Set wasdeveloped in response to demandfrom clients who want to be able tostore and rapidly recall pan, tilt,zoom and focus data.

“Q-Ball robotic camera systemsare being used increasingly to cap-ture content that would be impossi-ble to deliver in any other way,”commented Camera Corps Tech -nical Director Jim Daniels. “Fullycompatible with our PTZF switch-er and joystick control unit, each Q-Ball Pre-Set can store up to 18 sys-tem configurations, enabling anoperator to switch the head quicklyfrom one setting to another.”

Used for reality shows, sportsbroadcasting and televised stageevents, Q-Ball is an ultra-com-pact remotely-controlled camerawith integral 10-times zoom opti-cal lens and smooth-acceleratingpan/tilt motors. Housed in arobust 115 mm diameter alu -minium sphere, Q-Ball is compat-ible with all existing CameraCorps robotic control systemsand CCU panels.B10

Q-Ball bouncesinto UK at BVE


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By Melanie Dayasena-LoweVisitors to the root6 stand atBVE will experience the latesttechnologies from leading ven-dors integrated in workflows forfile-based broadcast deliverablesusing the new standard definedby the Digital ProductionPartnership (DPP.) This indus-try-wide collaboration is led bythe UK broadcast communitywith technological expertisedrawn from the production andpost production sectors to determine a standard for stan-dard and high definition file-

based deliverables, including aminimum requirement for edito-rial and technical metadata.

File-based capture, manage-ment, editing, storage and archivewill be demonstrated using tech-nologies from DVS, Cinegy, Avid,Apple, XenData and ObjectMatrix with secure and accelerat-ed delivery from Aspera.

Transcoding to the new stan-dard, based on the MXF formatwith AVC Intra for high defini-tion, will be handled by the lat-est iteration of ContentAgent,the file-based management plat-form from root6 Technology.The system will also be used toinsert the required metadata

fields as defined by the AMWA-AS11 standard.

Seen with the latest software,ContentAgent is now integrated withautomated file-based QC systemsfrom Tektronix and Vidchecker, discpublishing from Rimage and Pro-Res transcoding from Telestream,introducing and automating proventhird-party technologies within end-to-end workflows.

In addition to root6 technicaland commercial staff, visitors tothe stand will also be able to meetrepresentatives from leading ven-dors including Avid, Gallery,XenData, Vidchecker, Rimage,Aspera and Cinegy. G30

A new HD voice: As part of theseminar programme on 16 February,Glensound’s Chief Designer PaulGrant will present a session headed‘HD Voice – Your new secretweapon’, writes David Davies. Anew technological approach that isstill to be discovered by broadcasters,HD Voice (AMR-WB) allows anycompatible phone to connectautomatically and provide 7khzaudio bandwidth via Orange or 3 Networks. Apart from probroadcasters’ phones manufacturedby Glensound, this includes manycurrently available smartphones.Although 3G is required, it is seenby the phone network as a voice

call – not data – meaning no set-up requirements or data charges. In hissession – which will take place in the Audio Room at 3pm – Grant will explainthe technology involved, demonstrate how it works and sounds, and explain thepotential benefits to the sports and news reporting worlds.F46

By David DaviesFirst previewed at IBC, ProjectParking is now available andoffers a fast, cost-effective archiveand restore process by creating acomplete copy of any Avid projectonto any storage device.

The solution will be shown onboth the Disk Archive (L18) andGlobal Distribution (C26) stands.

“Project Parking provides asimple vehicle for archiving allmedia associated with a project,

enabling Avid users to archivecomplete projects safely, quicklyand easily between systems withinthe same facility or between sites,” said Chris Steele, productmanager, Marquis Broadcast.“The portable nature of parkedprojects also makes them ideal for disaster recovery procedures,business continuity and inter-site workflows.

“Project Parking takes an Avidproject and collates a complete listof all the media that that projecthas used, whether in a timeline, or simply in a bin and then

searches all the attached work-spaces for that media. At the endof this analysis, Project Parkingcan tell you whether all the mediais online, or if not, where it waslast located, eliminating the needto search for media across differ-ent workstations.

“Project Parking then goes onto copy all the project files and allthe media that it references to anew location, checking all the files(with MD5 checksums) to ensurethey are faithful copies.

“File-based workflows havemany benefits. However, keeping

track of media files is one of themain challenges associated withdigitalisation. In this way, ProjectParking is particularly relevant for

HD and 3D production where thelarger file sizes impact on limitededit resources.”L18/C26



Streamlining workflowsand managing more data

Project Parking provides a simple vehicle for archiving all media associated with a project, ideal for disaster recovery procedures

New London Parking archiveinitiative safeguards files

root6

By Melanie Dayasena-LoweShowing for the first time is thenew Lynx Technik yellobrikCHD 1812, a self-containedHDMI to SDI converterwith integrated frame syn-chroniser. With this brick,facilities can convertHDMI to HD or SD-SDIsuch as sources comingfrom broadcast video cameras. A key feature of thisyellobrik is the built-in framesynchroniser, which eliminatesthe need to purchase a separateand expensive frame sync unit.It is an ideal solution for anyapplication that requires a fully synchronised SDI input

from an external asynchronousHDMI source.

A flexible reference inputallows the unit to be cross-lockedbetween formats. It also includes

full audio support and embedsaudio from the HDMI streaminto the SDI outputs with twoexternal analogue audio inputs.The audio inputs can be embed-

ded if required.Lynx Technik will also show

its new PVD 5840 FlexCard‘one module-many solu-tions’ card, which is partof the Series 5000 prod-

uct line. The PVD 5840FlexCard is a 3G/HD/SD dualchannel frame synchroniserwith up/down/cross converterthat also includes image pro-cessing functions for aspectratio conversion, noise reduc-

tion, and RGB gain and lifecolour correction. It also includesaudio processing functionality.D56

Affordable building blocks

The new yellobrik CHD 1812: a self-contained HDMI to SDI converterwith integrated frame synchroniser

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root6 to highlight contribution to Digital Production Partnership

By Melanie Dayasena-LoweERA, an IT infrastructure andapplication reseller specialising inpost production, broadcast andmedia, will showcase its latest multi-client workflow automation solutionand launch a new cost-effective plat-form for secure collaborative editing.

ERA MediaFlow is an enter-prise-class multi-client workflowautomation solution that allowsbroadcasters and post productioncompanies to effectively controlmedia assets, projects andresources, both technical andhuman – all through a single plat-form. At BVE 2012, the team willdemonstrate how ERA Media -Flow, through a web-based interface, lets users access andcolla borate on their content,

invoke workflows and interactwith clients in reviews andapprovals from wherever they are.

Also on show will be ERAMediaEdit, the company’s new

platform for secure collaborativeediting. It is designed to enableediting workgroups to share andmanage virtualised project filessecurely, with guaranteed high per-formance and minimal infrastruc-ture costs. K54

By Fergal RingroseScreen will be exhibiting Screen -Connect, its new connected TVpublishing tool at this year’s BVEin London. The show will also beScreen’s first industry exhibitionincorporating its extended prod-uct range following the acquisi-tion of SysMedia.

Despite the significant revenue-generating opportunities present-ed by connected TV, GordonMaynard, Screen’s product manag-er for connected TV, suggests thatpick-up is generally slow due todeployment barriers — obstaclesthat are alleviated by ScreenConnect.

Maynard said: “The benefits ofconnected TV are very clear but thechallenges faced by service providers

in producing content for the profu-sion of different connected TV plat-forms is proving to be prohibitive.”

Because an application has tobe written and then updated foreach and every platform it is driv-ing many companies away from

the market, even though the fun-damental desire to enter is there.”

ScreenConnect allows mediacompanies to access and deliverservices to the maximum number ofconnected TV and tablet outletswithout having to devote the signif-icant time and cost associated withwriting applications for each of themany platforms available.

ScreenConnect provides the plat-form to build a service for connectedTV platforms, including the naviga-tion structure and the definition ofcontent panels across that service. Abrowser-based tool is used to editand manage content with flexiblecontrol of content display. That con-tent can be global or platform-spe-cific, with sites generated in a plat-form-neutral format for delivery todisplay applications. K56

By Melanie Dayasena-LoweNew from Snell is Vega, a routingplatform that allows users to con-figure any signal port independent-ly for fibre and/or coax (copper),easing a mixed connectivity envi-ronment. Its unique design alsoenables any port to be configuredas either an input or output, pro-viding the industry’s most flexibleasymmetric routing solution withina space-saving 2RU 96-port router.

Vega uses proprietary algo-rithms to monitor every sub-assembly continuously and offersa full range of options for maxi-mum redundancy: dual cross-points, dual controllers, dual pow-er supplies, and dual fans. All are‘hot’ pluggable or replaceable.

Vega is a single solution for a hugerange of standard and non-stan-dard routing applications with 50percent more inputs and outputsthan a traditional 2RU router.

The Sirius 830 routing switcheris the smallest in the state-of-the-art Sirius 800 range of multi-for-mat, expandable, hybrid routers. Itoffers a compact 15RU, 288 x 288frame, with the ability to add anadditional 140 independently con-trollable multi-viewer outputs,

without compromising crosspointredundancy, making it ideal forstudio or OB productions. New tothe Sirius 830 — and to the entireSirius 800 Series router line — issupport for embedded audio rout-ing and for audio track swappingon inputs and outputs. Unlikemany routers with embeddedaudio, users don’t lose video I/Oby adding embedded audio cards— 1152 remains 1152. G20



Vega is a single solution for standard and non-standard routing apps with 50% more inputs and outputs than a traditional 2RU router

Gordon Maynard will lead a ConnectedTV seminar in the Content Room on15 February at 5pm at BVE

Snell

Snell’s route to Vega

Screen

ERA

By David DaviesProducts on show will include theAG-AF101EJ, the compact cameradesigned to enable straightforwardproduction of ‘cinema-like’ footagein HD. The AG-AF101 4/3 HDcamcorder is described as theworld’s first professional HD cam-era recorder to come equipped witha four-thirds MOS image sensor andis the first model in the PanasonicAVCCAM series to offer the possi-bility of exchangeable lenses.

Optimised for high-definitionvideo recording, the large imagesensor on the AF101 enables pro-fessional users to achieve cinema-like wide-angle footage with shal-low depth of field.

Also on show at the Panasonicstand will be the P2 format AG-HPX250EJ, the first 10 bit hand-heldmodel to feature the AVC-Intra 100codec. The specification includesprogressive-compatible ULT (UltraLuminance Technology), 1/3-type2.2-megapixel 3MOS sensor and 22xzoom lens with wide coverage fromwide-angle to telephoto.

In addition, Panasonic willshowcase its AG-AC130EJ andAG-AC160EJ AVCCAM cam-corders, as well as new profes-sional plasma monitors like theBT-300 series.

In addition, official Panasonicdistributor Holdan will demon-strate a variety of Panasonic prod-ucts on its own stand, including theHDC-Z10000, the first integratedtwin-lens 2D/3D camcorder compatible with the AVCHD3D/Progressive standard. K30

New cameras in the framePanasonic

Dedicated desks:UK-basedconsolemanufacturerDiGiCo will showthe newbroadcast-specific SD7B,SD10B andSD11B from itslatest SD seriesof consoles,writes DavidDavies. The SDSeries is based on the power of FPGA technology and Stealth DigitalProcessing, and adopts a multi-application approach. It is this that hasenabled it to develop application specific- feature sets, resulting indedicated broadcast versions of its SD7, SD10 and SD11 consoles. “We havea heritage within the broadcast industry from our Soundtracs days,” saidDiGiCo’s Managing Director James Gordon. “It’s exciting to be back with aset of consoles that address the entire scope of the broadcast market’sneeds.” New for 2012, and making its debut at BVE will be the SD11B.Designed to be equally at home as a desktop console or mounted in a 19”rack, it is set to be the most powerful broadcast console yet for its size.All consoles are compatible with DiGiCo’s SD Rack, which serves as amulti-sample rate signal splitter that also allows the ‘ultra-smooth’ DiGiComicrophone preamps to replace the standard mic preamps of an analogueor other digital console. C2

The AG-AF101 4/3 HD camcordercomes equipped with a four-thirdsMOS image sensor

Screen is connected at BVE 2012

New ERA for flow and edit

By Julie Sangan,resource managerpost production at BBC Studios & Post ProductionBilled for many years as the great-est thing since sliced bread, tape-less or file-based workflows weretouted as making TV programmeproductions much cheaper, easierand faster. And to an extent, theyhave. But on the flipside, they’vebrought a whole bunch of extralogistical and financial issues tothe fore.

But whose fault is that? Theclient? The post house? A bit ofboth? And how can and shouldwe work together to get the bestpossible results?

The problem is that there are a lot of industry people — manu-facturers, DoPs and data wran-glers — with vested interests. For example, a DoP who has justbought a particular tapeless camera may ‘force’ this on theproduction, even though it maynot be the best tool for the job.This causes issues further downthe production chain.

Much of it is about educa-tion. While post houses can’texpect clients to lovinglyembrace codecs, metadata, highdefinition compression formatsor shooting ratios, they do need

to have a basic understanding ofwhat these things mean, andimportantly, their impact on theend programme.

Bottom line…the client needsto be secure enough to ask foradvice on how to plan their shoot,and the post house sufficientlyconfident and know ledge able togive that advice on how to shoot

and how to capture. Quite oftenthe client is wary because of apost house misadvising them inthe past. Trust is the key.

To work, both clients andpost houses need to move awayfrom a silo mentality — tapelessproductions will all too easilyhighlight the failings of this traditional approach, where a

producer would deliver a bunchof tapes to the post house at theend of the day. In today’s file-based world, there needs to bejoined-up thinking, planning,implementation and delivery —from shoot to screen. Otherwiseit’s going to take more time, costmore money and end up a badlymanaged mess.

Planning is everything. Aclose working relationship iscrucial. The role of the posthouse is changing. The facilitiesof today are more like produc-tion workflow consultants, notjust the guys you come to at theend of the project for polishing.We should be there to adviseclients on everything from how to shoot and transfer forfile-based productions, and theimpact of file structure andmetadata naming conventionson their production.

A decent post house will beadvising the client long before the first frame is shot. Typically,with a tapeless production, we’respending three or four timeslonger in pre-planning meetingsthan we used to. But it’s worth itin the long run, and ultimatelymeans the results will be betterand often cheaper. Recent proj-ects we’ve been involved in — likeBBC’s Watchdog consumer show,with its huge volumes of hiddencamera footage, and Endemol’s I Can Cook — are living proof ofthe benefits of going tapeless.

Especially today, wherebudgets and margins are beingsqueezed ever tighter, post facil-ities need to adapt to survive.The days of the big budgets are gone. On the one hand weneed to improve efficiencies tostreamline processes and cutcosts but we also need to sell ourworkflow expertise as an addedvalue service.

Rather than being tacked onat the end of a project, we shouldbe seen as a safe pair of hands toguide clients through this ever-changing and complex tapelessworld we now live in. In fact theterm ‘post’ house is probablyredundant…we’re much morethan that and should be seen asintegral to the whole production.

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The facilities of today are more like productionworkflow consultants, not just the guys youcome to at the end of the project for polishing

‘Projects like Endemol’s I Can Cook are proof of the benefits of going tapeless – planning is everything

Julie Sangan: Both clients and post houses need to move away from a silo mentality

Is the traditionalpost house dead?

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tvbe february 2012 digital edition

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