Content+Technology ASIA Feb-March 2013

MEDIACORP ‘TOGGLES’ OTT TV WITH TVINCI

ROUND-UP Channel-In-A-Box

VOLUME 1 ISSUE 2 FEBRUARY/MARCH 2013

PP: 255003/06831

ISSN 1448-9554

www.content-technology.comMEDIA + PRODUCTION + MANAGEMENT + DELIVERY

ASIA

Park Road, 48fps 3D & SGO MistikaPreview

3056.23 C&TAsia_Mar_COVER.indd 2 7/02/13 12:05 PM

LAUNCHING A CHANNEL REALLY IS THIS SIMPLE.

Power up and broadcast on. Introducing Versio™, a single platform solution that can launch a channel, expand existing channels, or provide critical disaster recovery. With legendary Harris video server, automation and branding and graphics capabilities all in one, it’s everything you need to cost-effectively streamline operations and reduce the time required to get on air and stay there.

broadcast.harris.com/versio

harris.com

Hong Kong+852 2776 0628

China+86 10 5795 1300

Singapore+65 6595 4600

Japan+813 6721 5720

Sydney+61 2 9479 4900


Also see C+T in PDF at www.content-technology.com

REGULARS

20

31

34

Cover Story – MediaCorp ‘Toggles’ OTT

22

VOLUME 1 ISSUE 2 FEBRUARY/MARCH 2013

CONTENT+TECHNOLOGY: ISSN 1448-9554 PP:255003/06831Broadcastpapers Pty Ltd (ABN: 34 095 653 277) PO Box 259, Darlinghurst, NSW 1300 Australiawww.broadcastpapers.com

PUBLISHER: Phil Sandberg Tel: +61-(0)2-9211 8205 Fax: +61-(0)2-9211 8208 Mob: +61-(0)414-671-811 [email protected]

SUB-EDITOR: Keith Ford PRODUCTION MANAGER: Lucy Salmon Tel: +61-(0)2-9211 8205 [email protected] & LAYOUT: Wide Open Media Tel: +61-2-9690 2835 [email protected]: DAI Rubicon, Singapore

COPYRIGHT NOTICE: All material in Broadcastpapers’ Content+Technology Magazine is protected under

Australian Commonwealth Copyright Laws. No material may be reproduced in part or whole in any manner without prior consent of the Publisher and/or copyright holder.DISCLAIMER: Broadcastpapers Pty Ltd accepts no responsibility for omissions or mistakes made within, claims made or information provided by advertisers.

02 EDITOR’S WELCOME03 NEWS Hunan TV Goes S3D with Quantel,

Sion Media Helps SBS, AsiaSat Adds Zhwandoon TV, Farewell to Alex Chelleri

10 TAKING STOCK Christie Acquiring VR Solutions, Sintec Buys StorerTV and Argo Systems, Grass Valley CTO Looks Ahead

47 CLASSIFIEDS AND EVENTS48 TIME SHIFTER

FEATURES

16 ABU PREVIEW Exhibition Preview

20 THIRD DIMENSION The Hobbit in 3D at 48FPS, Single Lens 3D DSLR, Active to Passive Conversion

22 CONNECTED MEDIA MediaCorp ‘Toggles’ OTT

24 ACQUISITION New Camcorders from Panasonic and JVC, 4K Monitoring in the Field from Sony

28 SPORTSCASTING 20 Years for IBM at Oz Open, Chapter 1 of The Glasgow Diaries, Snell at the Hong Kong Jockey Club

32 NEWS OPERATIONS ‘Moto Cross’ for Metro News, Bloomberg TV in Indonesia, Etere at Kompas TV, Ross and Crispin Partner

34 POST-PRODUCTION Teranex Reaches ‘Vanishing Point’, Colorfront 4K HFR Workfl ow, Fusion Reaction

37 STORAGE AND ASSET MANAGEMENT PPTV in the Cloud with Microsoft, Dalet Xtend for CS6, Aspera in Singapore

39 RADIO DAB+ Technology Workshop in Bangkok, NETIA for AIR and RTM, Suspension for DBC

41 TRANSMISSION Harris Supplies GSTV and ABC Sri Lanka, Magna Partners with ThomsonAdsett, Channel-in-a-Box Roundup

IMAGE TOP LEFT & COVER: Gollum, performed by ANDY SERKIS in the fantasy adventure “THE HOBBIT: AN UNEXPECTED JOURNEY” a production of New Line Cinema and Metro-Goldwyn-Mayer Pictures (MGM), released by Warner Bros. Pictures and MGM. Photo courtesy of Warner Bros. Pictures

3056.23 C&TAsia_Mar_pp1-23_FRONT.indd 1 8/02/13 12:34 PM

2

EDIT

OR

’S W

ELCO

ME

EDITOR’S WELCOME

Connecting the Dots

THE EMERGENCE Of IP-enabled devices such as phones, tablets and smart TVs is cultivating a new media eco-system of connected media. It is an ecosystem that not only allows a greater selection of content at a time of one’s choosing, but also allows consumption of that same content across multiple devices, as well as the ability to consume and interact with that content across multiple screens. In short, greater fl exibility and a more enhanced experience for the consumer.

The launch of MediaCorp’s Toggle service in Singapore is a great example of this trend (see page 22), as is Foxtel’s viewer applications for iPad and through Xbox in Australia.

However, the idea of ‘connected entertainment’ is still a work in progress and one that will depend on a mix of available devices, standards, broadband rollout, content producers, manufacturer priorities and consumer adaptability.

For example, Evan Manolis, Group Manager AV at Samsung Electronics Australia, recently told C+T that ‘Connected Entertainment links’ more than just audio and video content.

“It’s health, it can be home monitoring, it can be in your backyard and bringing down a screen via your tablet, which then streams content from your capture TV service from your TV via the cloud onto your screen in the backyard,” he says. “It’s about those diff erent pillars, and then looking at the devices that are together, smartphones, tablets, separate boxes, service gateways, video gateways, and then cloud, and then TV.”

Sally O’Donoghue, Manager, iView and Internet Broadcasting with the Australian Broadcasting Corporation, agrees “If you were to go by a generic defi nition provided by Google, entertainment is something that provides enjoyment or amusement. But, I think that’s quite limiting in the term of connected space because it excludes things like entertainment, commerce, education, information, local services, and communication services. And, I think the lines are being blurred between entertainment services and all of those other add-ons really.”

Meanwhile, as a reality check, Paul Collie of Sony Network Services told us, “My view of connected entertainment is that it means nothing, it

means nothing to a customer. It’s an industry term that we get lost in. We miss the customer in the discussion. I’ve never ever heard a customer talk about, ‘check out my connected TV’, it’s ‘hey I can get Facebook, I can get Twitter, I can get ABC’ or whatever it might be, but they don’t say check out my connected TV. I think it’s important for the industry not to get lost in ‘connected entertainment’, rather let’s get lost in what the customer wants to do.”

Negotiating this minefi eld is the Asia Pacifi c Broadcasting Union’s Digital Broadcasting Symposium 2013. With a theme of Next-Gen Media Space and the Connected World, these issues will be top of mind (see page 16).

SNAKING ALONG THROUGH 2013This being our second issue of C+T Asia, we’d like to thank all those who have supported us and have given us feedback on our fi rst issue. Like Connected Entertainment, we view the magazine as a work in progress, as well as something to consume across the platform and time of your choosing. We welcome always your comments.

Finally, whatever your choice of calendar/s, we wish you much happiness and prosperity for the New Year ahead.

Thanks for reading

Phil SandbergEditor/Publisher

[email protected]: +61-(0)2-9211 8205

By Phil Sandberg

Mumbai

ehran

Bangkok

Tokyo

Hong Kong

Jakarta

Sydney

Shanghai

Beijing

Seoul

ASIA-PACIFIC EDITIONAPRIL 2013 VOL 1 ISSUE 2Bookings: March 15, 2013Ad Artwork: March 18, 2013

AUSTRALIA/NEW ZEALAND EDITIONMARCH 2013 VOL 10 ISSUE 2Bookings: March 01, 2013Ad Artwork: March 04, 2013

FOR MORE INFORMATIONwww.content-technology.com +61-(0)2-9211 8205 or +61-(0)414 671 811Email: [email protected] Sales enquiries: [email protected] +61-(0)2 9211 8205

2013 C+T DEADLINES24:0

The C+T (Time) Zone.

16:00 18:00 20:00 22:0017:00 19:00 21:00 23:00

ASIA

‘ASIAPAC’

3056.23 C&TAsia_Mar_pp1-23_FRONT.indd 2 8/02/13 11:20 AM

NEWS + PEOPLE

For the latest news visit www.content-technology.com

Vietnam TV to Make Digital Switch by 2020VIETNAM’S PRIME MINISTER has signed off on a nationwide analogue to digital migration plan which will see the country’s television stations broadcasting completely in digital by 2020.

Speaking at a press conference in late January, Mr. Le Nam Thang, Deputy Minister of Information and Communication said the digitalisation scheme also aims to gradually expand digital terrestrial television (DTT) coverage to serve the economic development , culture, society, and off er a variety of high-quality TV services (such as HDTV, 3DTV, etc.).

Specifi c objectives of the digital terrestrial television project include:

By 2015 to ensure 80% of households with television sets across the country to view digital television by diff erent methods, and that digital terrestrial TV serves up to 60% of the population.

By 2020, ensure that 100% of households with television sets across the country view digital television by diff erent methods, and that digital terrestrial television coverage takes in up to 80% of the population.

Under the scheme approved by the Prime Minister, the DVB-T2 DTT standard was selected. The Vietnamese Government plans to subsidise poor households to enable them to purchase DTT receivers.

The switchover will take place in four stages:

PHASE I : Implementation of DTT in the fi ve cities directly under the Central Government: Ho Chi Minh City, Hai Phong, Da Nang, Can Tho are expected to move completely to DTT before December 31, 2015.

PHASE II: The next 26 provinces, including Hanoi (open), Vinh Phuc, Bac Ninh, Hai Duong, Hung Yen, Quang Ninh, Thai Nguyen, Thai Binh, Ha Nam, Nam Dinh, Ninh Binh, Bac Giang, Phu Tho, Khanh Hoa Binh Thuan, Ninh Thuan, Binh Duong, Dong Nai and Ba Ria-Vung Tau, Long An, Tien Giang, Ben Tre, Vinh Long, Dong Thap, An Giang , and Hau Giang before December 31, 2016.

PHASE III: The next 18 provinces of Thanh Hoa, Nghe An, Ha Tinh, Quang Binh, Quang Tri and Thua Thien-Hue, Quang Nam, Quang Ngai and Binh Dinh, Phu Yen , Lam Dong, Binh Phuoc, Tay Ninh, Tra Vinh, Soc Trang, Bac Lieu, Ca Mau and Kien Giang by December 31, 2018.

PHASE IV: Remaining provinces and areas of Ha Giang, Cao Bang, Bac Kan and Tuyen Quang, Lao Cai, Yen Bai, Lang Son, Dien Bien, Lai Chau, Son La, Hoa Binh, Kon Tum, Gia Lai, Dak Lak, and Dak Nong before December 31, 2020.

Digital by 2020 - Vietnam’s Deputy Minister of Information and Communication, Mr. Le Nam Thang.


4

NEW

S +

PEO

PLE

NEWS + PEOPLE

AsiaSat 3S Adds Afghanistan-based Zhwandoon TV

ASIA SATELLITE Telecommunications Company Limited (AsiaSat) has announced that Zhwandoon Radio Television Network of Afghanistan has signed a lease agreement for C-band capacity on AsiaSat 3S to distribute the Afghan channel ‘Zhwandoon TV’.

Zhwandoon Radio Television Network, an independent and impartial network, works for national interest, national heritage, religious values, democracy and reintegration.

Through AsiaSat 3S’s powerful access across the Asia Pacifi c, Zhwandoon TV reaches not only all broadcast networks and audiences in Afghanistan but also Central Asia, Middle East, South Asia and other parts of Asia Pacifi c.

Zhwandoon TV has commenced free-to-air broadcasting on AsiaSat 3S, off ering programming in the Pashto and Dari languages, with content ranging from news, entertainment, sports, music, religious to social, educational and political programmes.

“We are excited to put our service on AsiaSat 3S that delivers our programming eff ectively to the entire country and takes our services abroad, serving overseas audience in more 50 countries and regions across the Asia Pacifi c,” said Professor Mohammad Ismael Yoon, Chief Executive of Zhwandoon TV.

“We are very pleased to announce the addition of Zhwandoon TV to AsiaSat 3S’s exciting portfolio of Pashto and Dari language programming. AsiaSat 3S’s leading position in distributing a wide range of programming to an audience of diff erent cultures in Asia is well recognised and appreciated by broadcasters from all over the world,” said William Wade, President and Chief Executive Offi cer of AsiaSat.

Visit www.asiasat.com

China’s Hunan TV Goes S3D with Quantel

HUNAN TV HAS PURCHASED a third Quantel Enterprise sQ fast-turnaround production system for its Stereo3D program production. Hunan TV, a division of the Hunan Broadcasting Group, has been a Quantel customer since 2008 when the broadcaster chose two Quantel Enterprise sQ systems for the production of entertainment programming. Hunan TV later upgraded to a full HD workfl ow in 2010.

The new Enterprise sQ system handles ingest, editing and output of S3D media within a totally integrated S3D workfl ow. The fast-turnaround production system will be used in Hunan TV’s new studio to produce 3D content in line with new regulations for China’s top broadcasters.

Director of Hunan TV, Mr Gong Rulin, said, “The broadcast industry in China is very competitive, so we needed a high quality and reliable broadcast system to deliver excellent results to our wide audience. We chose Quantel Enterprise sQ because its video quality is much better than other systems. The Enterprise sQ workfl ow is much quicker, with an excellent time-to-air.”

Quantel Sales Director, Martin Mulligan, said, “Hunan TV delivers high quality entertainment programs to an audience of over 880 million. We are delighted that Hunan TV has again chosen Quantel to deliver stunning content to this huge audience.”

Visit www.quantel.com

LiveAsia & Samsung to Market for Indian AudienceLIVEASIA, a developer and operator of a proprietary Over-the-Top (OTT) Video solution for streaming live/linear and On-demand video content, has announced the launch of their latest App, WatchIndia.TV, which will enable Samsung Smart TV viewers to access over 70 HD quality Indian channels.

Eric Anderson of Samsung Electronics America, Inc. said, “Our vision is to bring a complete and unique high quality TV directly to our viewers. LiveAsia.TV corresponds to this strategy with 70 Indian channels and total of over 100 live and on demand Asian channels you can enjoy on our TV’s and on the go.”

WatchIndia.TV’s VP Commercial, Yaron Shilat said, “We believe the market is shifting from traditional TV to new experience of pay TV. Customers who value high quality content at maximum convenience remain our primary market.”

Visit www.liveasia.tv

Gazi TV Bangladesh Creates VisionGAZI SATELLLITE TELEVISION LTD (GTV), a private TV channel in Bangladesh has turned to Ross Video for two Vision Multi-Defi nition Production Switchers for its news and program studios. With the addition of two new HD studios, GTV required reliable switchers to meet the demands of everyday entertainment such as Bangla drama, talk shows, movies, documentaries, music and the latest news from Bangladesh and around the world.

“GTV produces many types of shows and we needed a switcher that could meet those high expectations,” said Mr. A K Ferdaus Ahmed, Head of Broadcast & Engineering, GTV. “Ross’ Vision switchers off er the HD capabilities that we are looking for, a sleek modular design and high quality of outputs. From an operational perspective, Vision has proven easy to use plus our operators seem to thoroughly enjoy the Squeeze and Tease feature.”

Visit www.rossvideo.com

Sion Media Solves Challenges at New SBS FacilityBITTREE, a manufacturer of audio and video patching systems, announced that its South Korean partner, Sion Media, has been contracted by Seoul Broadcasting System (SBS) to supply Bittree patchbays for its new facility, the SBS Prism Tower. SBS, one of South Korea’s largest broadcasters, purchased more than 400 Bittree video and audio patchbays for two of its channels, SBS Plus and SBS Golf. The SBS Prism Tower will support a total of six new HD channels.

“Systems designers overwhelmingly choose Bittree patching as a backup routing method for both studio and outside broadcasting use in Korea,” said Glenn Garrard, CEO of Bittree. “Sion’s customer relationships and marketing strategies are the reason for our success there. In fact, Sion has done an outstanding job of representing Bittree’s brand to the Korean broadcasting industry for more than 10 years. The SBS project is the latest example of Sion’s ability to devise solutions for prominent Korean broadcasters using the Bittree product line.”

For its facility upgrade, SBS Plus is currently installing 313 Bittree E-series HD-SDI video patch panels and 80 additional TT (Bantam) audio patchbays. Custom-designed for simplifying the installation process, E-series video patchbays feature front-mounted jacks that simplify the rewiring task for install technicians.

“Integrators and systems designers alike specify Bittree because they trust the high quality of Bittree patchbays as a reliable backup system for signal routing,” said Johnny Lim, sales manager at Sion Media.

Visit www.sbs.co.kr and www.bittree.com


5

NEW

S +

PEO

PLE

Ideal Role for ChorIDEAL SYSTEMS SINGAPORE, part of Ideal Systems Group, has announced the appointment of Stephen Chor as Vice President of Technology for Southeast Asia. Stephen will join the Singapore based management team with responsibility for managing delivery and support of Ideal’s broadcast systems and solutions.

“Having over 30 years solid broadcast and engineering experience, we are thrilled to have an engineer with Stephen’s qualifi cations and wealth of experience come aboard. Stephen is a welcome addition to our growing systems integration team in Singapore,” said Fintan Mc Kiernan, CEO Ideal Systems Singapore.

Prior to joining Ideal, Stephen was Chief Engineer at Walt Disney

Television International, Japan, for two years and Executive Director of

Engineering at Walt Disney Television International, Singapore, for over

12 years. Prior to Disney, Stephen had 11 years at Singapore Broadcasting

Corporation (now MediaCorp) with multiple engineering roles including

Manager of Radio and Television Transmissions.

Stephen has First Class Honours and I.E.E and did post graduate research

into Microwave Pulse Signals at University of Cambridge, UK.

Visit www.idealsys.com

PIXEL POWER, a supplier of broadcast playout solutions with integrated graphics, has announced the appointment of two key executives as it continues to develop its sales and service proposition.

Chris Billington joins as Regional Sales Manager, APAC. He will be handling sales across the Asia-Pacifi c region where Pixel Power has achieved considerable success. Billington is a highly experienced broadcast solutions architect with over 25 years of practical experience of systems architecture and design.

Imad Albaja’a has joined Pixel Power as Technical and Sales Support Manager for the Middle East, based in the company’s Dubai offi ce. Albaja’a has held key positions in the region including roles with MBC

Group, Arab Media Group and Pro-Media International.

James Gilbert, Joint MD, Pixel Power, says, “As the role of a manufacturer blurs, with the need to off er customers additional services to support their projects – the range and depth of skills Chris and Imad bring to Pixel Power off ers customers access to a tremendous range of expertise and experience.”

Visit www.pixelpower.com

Pixel Power Appoints Chris Billington and Imad Albaja’a


6

NEW

S +

PEO

PLE

NEWS + PEOPLE

ASIA NEWS

QUICKPLAY MEDIA has announced continued global expansion with the addition of a new offi ce in Singapore. The offi ce will be managed by Tash Stamatelos, QuickPlay’s newly appointed Vice President of Sales for the Asia Pacifi c region.

“There is a massive opportunity for QuickPlay’s cloud-based multiscreen services in Asia and we are excited to establish a home base for the region in Singapore,” said Wayne Purboo, President and CEO of QuickPlay Media.

Visit www.quickplay.com

SINGAPORE

NETIA HAS ANNOUNCED that Radio Televisyen Malaysia (RTM) has upgraded its regional station in Ipoh to Radio-Assist 8.1. NETIA’s Radio-Assist family of digital audio software programs has been in use at RTM for more than a decade, and the Ipoh-based station worked with Broadcast Communications International (BCI) to transition to the latest software release and begin working with new features, including the Activity Watcher module.

With its Radio-Assist 8.1 upgrade, RTM in Ipoh will gain a variety of added features. Radio-Assist 8.1’s new audit module, also called Activity Watcher, enables administrators at RTM to trace and check all modifi cations made on the playlist and across the entire Radio Assist 8.1 system.

Visit www.netia.com

MALAYSIA

IN A NEW SALE for Interra Systems, CTH Thailand (Cable Thai Holding Public Company Limited) has decided to use Baton as their primary File based QC solution.

CTH, established in 2009, provides services for 100 Cable TV companies in Thailand with the main goal to receive and rebroadcast all high quality TV channels containing Sport, News, Entertainment, Movies, Documentaries etc. and deliver this programming to all regions in Thailand.

Visit www.interrasystems.com

THAILAND

AFFLE, an international smart-media company, has announced its partnership with the India Today Group to exclusively power all video and rich media advertising for the India Today Group through its recently launched rich media and video ad network – ‘Ripple’.

As a part of this partnership the India Today Group would employ Affl e’s ‘Ripple’ ad network to serve all video ads on its online properties and to serve video and rich media ads across India Today Group’s properties on the iPad/Tablet platforms.

Visit www.affl e.com

INDIA


7

NEW

S +

PEO

PLE

THE MINISTER for Broadband, Communications and the Digital Economy, Senator Stephen Conroy, has issued directions to the Australian Communications and Media Authority (ACMA) to set the reserve price for 700 MHz spectrum at $1.36 per megahertz (MHz) per population. The Minister also issued an amending direction to increase the competition limits from 2×20 Mhz to 2×25 MHz for spectrum in the 700MHz band. The amended competition limits remain consistent with advice provided by the ACCC.

Visit www.comlaw.gov.au

AUSTRALIA

VERIMATRIX has announced that Hong Kong-based PCCW Limited’s now TV is securing its over-the-top (OTT) video-on-demand (VoD) service with the Verimatrix Video Content Authority System (VCAS) for Internet TV. now TV is Hong Kong’s largest quad-play pay-TV provider and has one of the world’s largest commercial deployments of IPTV.

now TV leverages VCAS for Internet TV to provide revenue security for its now Video Express First, a pay-per-view movie on-de-mand service that off ers subscribers access to the latest blockbuster movies in rich options of 3D, high defi nition (HD) and standard defi -nition (SD) formats, and now Video Express Unlimited, a subscription-based movie and drama on-demand service.

Visit www.verimatrix.com

HONG KONG

TVRI has chosen Etere MERP and MTX to manage its second channel. Television Republik Indonesia (TVRI) is a state-owned television station with national coverage. It is based in Senayan, Central Jakarta, and it has 22 regional stations.

The MERP system manages Air Sales, Scheduling and Automation, an integration of all processes to save time and money. The software solution streamlines media operations and to manage the complete lifecycle of TVRI generating processes and sharing information between all departments.

Visit www.etere.eu

INDONESIA

DECEMBER 31, 2012, saw the end of analogue TV broadcasting in South Korea with the fi nal switchover to digital-only services.

In 1997, South Korea became the second country globally, after the United States, to broadcast regular high defi nition services us-ing the ATSC transmission standard.

Some 15 years later, the Korea Communications Commission estimates more than 99.7% of the national television audi-ence now have access to terrestrial digital TV broadcasts, however, information and government-funded receiver campaigns will continue until March.

KOREA

SES AND O3B NETWORKS have announced that Digicel has contracted capacity on SES’ NSS-9 satellite and O3b’s Medium Earth Orbit fl eet to provide high quality internet bandwidth for their cellular network in Papua New Guinea.

Under the multi-year agreement, the fast growing mobile phone network provider will use the C-band capacity on the NSS-9 satellite at 183 degrees East and the O3bTrunk service to continue to deliver high-quality voice and high-speed mobile data services to its customers across Papua New Guinea.

Visit www.ses.com and www.o3bnetworks.com

PAPUA NEW GUINEA

SKY NZ HAS SIGNED A DEAL with Jim Blackman, founder and chief executive of community broadcaster Triangle TV, giving access to bandwidth on SKY channel 89 which will be known as Face TV.

“Under the agreement, we’re giving Triangle TV access to a channel on which they will screen their content,” says SKY TV spokes-person Kirsty Way. “The deal means they will also provide access to other regional broad-casters to show their programmes.”

Visit www.skytv.co.nz

NEW ZEALAND


8

NEW

S +

PEO

PLE

NEWS + PEOPLE

Oasys Boosts APAC with NgOASYS, a developer of IT-based automated playout solutions, has appointed James Ng as Sales Director for the Asia Pacifi c region. Based in Singapore, he is responsible for strengthening the company’s regional focus by providing OASYS’ local partners and resellers with commercial support directly from within the Asia-Pacifi c region.

James Ng joins OASYS with 23 years of experience in digital media and production, technical sales, pre-sales and business development roles. He has built a wealth of expertise in system design, high speed storage architecture and converged workfl ow environment, having led and managed Technical Media Services for over 10 years.

Visit www.oasys.com

Atlona Taps Meyer for BDM in EMEA, Asia Pacifi cATLONA, a leading digital connectivity solutions provider, has announced that it has appointed Jeff Meyer as the company’s director of business development for the EMEA and Asia Pacifi c regions. In his new role, Meyer is responsible for Atlona’s sales in these territories, and will be instrumental in shaping the company’s international business strategy. Prior to joining Atlona, Meyer’s company AV Consulting International (AVCI) worked in partnership with Global AV Network to manage Atlona’s international sales.

Meyer is an accomplished international business professional with more than 18 years of experience managing business development, sales, and marketing for leading A/V and IT companies.

Visit www.atlona.com

Farewell Alex ChelleriTHE NEW YEAR BROUGHT with it the sad news that veteran industry personality Alex Chelleri had passed away after collapsing while hiking near his Discovery Bay residence on Hong Kong’s Lantau Island. The Australian-born Chelleri had apparently fallen behind while hiking with his sons Nicholas, Thomas and Benjamin who found him lying on the track, with no apparent injuries. Alex was airlifted to hospital, but medical personnel were unable to resuscitate him.

Alex was most recently employed by camera accessory manufacturer Tiff en as its North Asian Director.

According to Tiff en International colleague, Brett Smith, “Having observed Alex and enjoyed his company over the last 18 years, since our fi rst meeting in Seoul, he clearly took his skills and Asia knowledge in his stride, making his eff orts look relatively easy. Having worked with Alex at Tiff en for the last 12 months, I saw fi rst-hand how his congenial approach to business belied his diligence and determination. He was tough and savvy in any business situation.

“Always the raconteur, his legendary tales became anticipated ice-breakers amongst the many races in the many countries Alex shared a taxi, booth, beer, wine or boardroom. I believe Alex is the character in quite a few of the tales of Stuart Lloyd in Volumes 1, 2 and 3 of the best-seller Hardship Posting. Like Lloyd’s stories, there was always the right balance of fact and fi ction to protect the innocent in all Alex’s yarns. He has been my social lifesaver more times than I can count, and introduced me to countless folk who have since become lifelong friends. Every time I jump on a plane or arrive at a show, I will think of, and sadly miss, a great mate and colleague.”

Throughout his career, proven leadership skills, along with that strong

understanding of the Asian market, its culture and people saw Alex take on key regional positions with a number of high profi le companies, including: President, Asia Pacifi c, Pebble Beach Systems UK; Director of Automation, APAC region, Snell; President, Asia Pacifi c, Pro-bel; Sales Manager, Asia, Quantel; Regional Sales Manager, Asia Pacifi c, Leitch Technology; Sales Director Asia Pacifi c, Accom; Regional Sales Manager, Asia Pacifi c, Scitex Digital Video; and Regional Sales Director, APAC Post Production, Dynatech International.

Before leaving Australia at the end of the 1980s, Alex held sales positions with Ampex and was a studio engineer at Amstrong Studio (formerly AAV Australia) where he was responsible for the day to day running of two major recording studios, three radio studios, and a sound to fi lm studio under the management of Roger Savage.

Alex held a degree in Electronics from RMIT University, along with a certifi cate in Broadcast Electronics, and was a member of the Society of Motion Picture & Television Engineers (SMPTE).

As well as his three sons, he is survived by his partner Karen, his parents and a sister.

Jünger Audio Appoints Harms for Asia

DYNAMICS PROCESSING SPECIALIST Jünger Audio has announced the appointment of Oliver Harms, who has joined the company to handle Technical Sales for the Asia region.

Harms has extensive experience in audio and hardware development, having previously worked for Native Instruments, GSP-Audiotechnologies and Formac. He also speaks and writes fl uent Putonghua (Mandarin).

Harms will primarily be based in Jünger Audio’s head offi ce in Berlin but will be making regular trips to the Asia to support sales activity in the region.

Visit www.junger-audio.com

Exset Appoints Ulhaq for AsiaEXSET HAS ANNOUNCED the appointment of Mr. Mahmood Ulhaq as

Director Business Development Asia. Central to his role is the ongoing

deployment of Exset’s Digital Monetisation System (DMS).

Mr. Ulhaq brings with him over 20 years of experience in broadcast,

information and strategic planning space. He has held positions

at various senior levels at MJF Media, Univision Networks, AMZ

Technologies, MicroTech Networks and Vanik Telecommunications.

Mr. Ulhaq will work directly with customers and local partners across

territories in Asia, ensuring Exset solutions are successfully deployed.

Visit www.exset.com


9

NEW

S +

PEO

PLE

CLEAR-COM, a global leader in critical voice communication systems, is providing greater fl exibility and mobility to broadcast production communications at Bhutan Broadcasting Service (BBS), the national TV and radio station of Bhutan. Clear-Com is also helping support the diverse communications requirements of the Associated Broadcasting Company, also known as TV5, at its two Quezon City facilities in the Philippines.

BBS is employing Clear-Com’s FreeSpeak and Tempest2400 digital wireless systems to ensure that the critical production cues for its daily news, documentaries and entertainment programs are heard without interference or dropout. By exploiting the wireless and grouping capabilities of both systems, the staff members have also made signifi cant progress to enhance mobility and coordinate their productions more effi ciently.

Prior to the addition of the FreeSpeak and Tempest2400 wireless systems, the station’s communications backbone consisted of a wired matrix intercom and a partyline system. While these systems were reliable, the crew needed the additional mobility and fl exibility that only a wireless system could provide.

“Prior to adding the wireless systems, the wired system hampered the movement of the on-line editor, cameramen, fl oor manager and anchors, especially during the panel discussion, reality shows and talk shows in the production studio. We would migrate to diff erent parts of the studios with the wired beltpacks, but sometimes the cables would extend so far that the beltpacks would get unplugged, cutting off our communications,” says Sherub Tharchen, Head of the Technical Department for BBS. “Now with FreeSpeak and Tempest, everybody can move freely in the studios and stay connected without worrying.”

BBS has two FreeSpeak systems, one in the news studio and the other in one of its production studios. Active antennas are also distributed throughout the production areas to maximise wireless coverage.

The Tempest system is installed at a second production studio in a separate building. Tempest2400, which operates in the 80 MHz of spectrum in the 2.4 GHz ISM frequency band, where it does not interfere with the studios’ wireless microphone or in-ear monitor systems, which utilise the UHF band. Further, because of its Frequency Hopping Spread Spectrum (FHSS) technology, the Tempest system does not compete with signals from other 2.4 GHz wireless devices in the vicinity as well.

In the Philippines, TV5 staff members employ Clear-Com’s Eclipse-Omega digital matrix intercom, V-Series IP-enabled user control panels, Concert intercom-over-IP software, Encore partyline intercom, FreeSpeak Integra and Tempest 2400 digital wireless intercoms.

The comprehensive Eclipse-Omega, Median and FreeSpeak Integra systems can adapt to any type of production setup required by TV5. This is especially

Clear Communications From Bhutan to the Philippines critical for the network, one of the Philippines’ major national broadcasters, as it produces and broadcasts a diverse array of programs. With their IP capabilities and ability to interface with telephone hybrids, two-way radios, two-wire and other systems, Clear-Com intercoms off er TV5 a wide variety of communications options.

For remote productions, TV5 crew members use the Eclipse and FreeSpeak in the studio to collaborate with those in the fi eld on the Tempest2400. For those productions in more distant regions, the Tempest2400 system is employed in the station’s fl ypacks. TV5 fi nds

the Tempest2400 to be especially useful in these situations, as the intercom’s Frequency Hopping Spread Spectrum (FHSS) technology ensures interference-free communications in regions that are RF hostile.

The Eclipse-Omega and Eclipse-Median systems are located in the central equipment room at TV5’s Novaliches and Broadway facilities, respectively. Via an E-Que card installed in the Eclipse frames, FreeSpeak is in use at both locations on multiple studio fl oors and in the newsrooms. With six antennas installed per studio, FreeSpeak off ers wireless mobility across the TV5 complexes. If for some reason, an intercom panel or system is not working, TV5 has Clear-Com Concert, an intercom-over-IP conferencing software, as a secure communications backup.

Currently, the Novaliches and Broadway facilities’ intercoms are only connected via IP within each site, but TV5 has plans to link both matrix frames via fi bre in the future.

Visit www.clearcom.com


10

TAK

ING

STO

CK

TAKING STOCKMoves in the business of content + technology www.content-technology.com/mediabusiness

Tim Thorsteinson Rejoins Grass Valley as President and CEO

GRASS VALLEY HAS ANNOUNCED the appointment of Tim Thorsteinson as President and CEO, eff ective immediately. Tim has held numerous senior roles in the broadcast technology industry, including a previous stint as the President and CEO of Grass Valley, President of the Broadcast Communications division of Harris Corp., and President and CEO of Leitch. Most recently Tim was President and CEO of Enablence Technologies Inc.

Having led the successful acquisition and carve out of Grass Valley from Technicolor two years ago, Alain Andreoli has stepped down and will leave the business at the end of January.

“We are pleased to have Tim Thorsteinson join Grass Valley at this pivotal point in the company’s transformation. Tim’s in-depth industry knowledge and his proven track record of value creation will ensure Grass Valley’s continued success as an independent leader in the rapidly evolving broadcast infrastructure market,” said David Golob, partner at Francisco Partners and Chairman of the Board of Grass Valley. “I would also like to thank Alain for all of his contributions in helping to re-establish Grass Valley as an independent company.”

“Grass Valley is uniquely positioned to help lead the broadcast industry into the multi-platform era and I am excited to be joining the team. I know fi rst-hand of the rich history of technical innovation that our customers around the world have come to expect from Grass Valley and I intend to continue that tradition through our powerful product portfolio and best in class solutions,” said Thorsteinson.

Visit www.grassvalley.com

Christie to Acquire APAC IntegratorCHRISTIE DIGITAL SYSTEMS USA, Inc. has announced that it has entered into an agreement to acquire VR Solutions Pty. Ltd. (Australia) and VR Solutions (India) Private Limited, subject to completion of certain conditions. These acquisitions will provide Christie with subsidiaries and offi ces in Australia and India – markets that are witnessing increased demand for Christie’s products and solutions. After closing, Christie intends to rebrand both companies under the Christie name.

“We’re excited by the potential of this acquisition,” said Jack Kline, president and chief operating offi cer, Christie Digital Systems USA, Inc. “VR Solutions is a natural fi t with Christie, having been a valued partner and integrator of Christie products for several years. The team at VR Solutions also brings a

wealth of expertise in design, sales and service of visual technology solutions to expanding markets for Christie.”

The new Australian subsidiary of Christie will become the main sales and support entity in Australia and New Zealand and the new Indian subsidiary of Christie will be integrated with Christie’s existing Indian operations.

“In becoming part of the Christie brand, it allows us the natural progression to further support our partners, expanding our presence to supply one of the world’s most respected projection product lines to Australia, New Zealand and India,” explains Michael Bosworth, president, VR Solutions.

Lin Yu, vice president, Christie Asia Pacifi c, will oversee the new Christie operations.

Visit www.christiedigital.com

SintecMedia Acquires Argo Systems and StorerTVSINTECMEDIA, a leading broadcast management software provider, announced the acquisition of Argo Systems, a provider of business solutions to the cable network and operators industry, and StorerTV, the top North American provider of media program and contract rights management software solutions for the television broadcast and cable industry.

“SintecMedia’s acquisition of Argo Systems will further augment our local activities in the North American cable television and MSO markets,” stated SintecMedia CEO, Amotz Yarden. “Its team and suite of products have gained the respect of every television executive in the industry.”

Argo Systems’ President, Doug Calahan, affi rmed, “Merging with SintecMedia is a testament to our solutions’ strengths, opens new international

markets and spurs further growth in North America.”

Yarden added, “The opportunity to acquire StorerTV, one of the industry’s most recognised names in the United States, bolsters SintecMedia’s North American presence. The acquisition enables us to extend our product line and eff ectively makes SintecMedia one of the most powerful vendors in the global media business solutions market.”

StorerTV Chief Operating Offi cer, Jay Batista, stated, “Merging with SintecMedia will maintain the intellectual leadership that has been fundamental to our growth and success. We could not fi nd a better partner to lead our technologies for the next 25 years.”

Visit www.sintecmedia.com

KIT digital Sacks Auditors, Delists from NASDAQVIDEO MANAGEMENT SOFTWARE and services company KIT digital, Inc. has announced it has dismissed Grant Thornton LLP as the Company’s independent auditor. The Company is in the process of engaging a new audit fi rm.

As previously disclosed, KIT digital is undertaking a restatement of the Company’s historical fi nancial statements for the years ended December 31, 2009, 2010 and 2011, each of the three quarters in 2009, 2010 and 2011, and each of the quarters ended March 31, 2012 and June 30, 2012. The restatement, once completed,

will be subject to audit by the Company’s independent public accounting fi rm.

Additionally, the Company’s common stock was delisted from The NASDAQ Stock Market eff ective at the opening of business on December 21, 2012. The Company says the delisting is precipitated by its determination not to pay certain fees based on its current circumstances and outlook. The Company does not intend to request an appeal hearing regarding NASDAQ’s delisting determination.

Visit www.kitd.com



TAKING STOCK

12

TAK

ING

STO

CK

“However, as the CPUs and GPUs get faster, it creates room for us to move today’s requirements to software and perform more advanced processing in hardware. I think there will be a continual movement of function to the CPU/GPU combination platform.”

For Grass Valley, software-based products are faster to bring to market and can be enhanced with new versions on a continual basis, all to the benefi t of the customer. Once a product line has been established in software, it’s also more cost-eff ective, in the long run.

“In our goal of getting closer to realising what creatives want to do, Grass Valley will be moving, and has already started to move, from using only traditional tools to a combination of traditional tools and software interfaces that control those tools,” says Schubert. “What we’re working on now at Grass Valley are product lines that don’t require huge infrastructure commitments. Our customers say they want technology whereby the infrastructure – having to deploy multiple servers, for example – does not get in the way, but is actually an enabler to do a specifi c task you’re trying to accomplish.”

Schubert said he’s focused on bringing the same fl exibility that virtualisa-tion has brought to the IT world. He refers to it as an “abstracted infrastruc-ture,” whereby the user does not care where their video server, or router, or video switcher is located, as long as they have access to the content.

“If you are able to run that function anywhere in your network,” Schubert continues, “you now have an enormous amount of fl exibility. The infra-

structure [physical systems] shouldn’t be the thing that is stopping you from doing the work you need to accomplish.”

IT BRINGS NEW FREEDOM

In 2013 Grass Valley is bringing this IT-centric concept to its current portfolio of solutions, at every level, from cameras to switchers to servers to edit systems and signal management and distribution. This includes the ability to “send back to the camera what the camera is sending in to us,” Schubert said. “We can use fi bre and IP networks to locate cameras remotely. This approach will allow creative to have an evolving vision of what they would like to see – and have us as viewers see – and realise it just moments after. We also see, over time, OB (Outside Broadcast) vans being built smaller; to accommodate smaller spaces and more limited budgets. This means a production company could send a smaller truck on site but have many of the production tools located remotely, yet accessible and controlled from inside the truck.

“This mobility is critical to providing creatives with new ways to accomplish the same thing they have been doing for many years,” he said.

The company’s new LDX Series cameras are designed to accommodate continual software upgrades. The company is preparing to launch a new service that will see Grass Valley license specifi c capabilities on a basis of user need: per feature, timed, or pool of cameras. This central service would allow a customer to turn on a feature for a specifi c event while in the fi eld, and then turn it off when fi nished.

“This is very powerful and is all made possible by Grass Valley’s new focus on a software-centric model,” said Schubert.

Grass Valley on a Mission to Expand CreativityBy Michael Grotticelli

WHEN KARL SCHUBERT, the chief technology offi cer at Grass Valley, looks into his crystal ball for this year and beyond, he sees broadcasters and media companies around the world continuing an industry-wide migration to fi le-based and Internet Protocol (IP) infrastructures, and manufacturers supporting that initiative with an increasing amount of software and networked platforms that allow users to work collaboratively and a lot more effi ciently. The coming year will be fi lled with signifi cant innovations at Grass Valley and a focus on connected workfl ow optimisation.

“THE ADVANTAGE OF SOFTWARE is that it allows us to get closer to realising what the creatives want to do,” he said. “At the end of the day, that’s what it’s all about for a technology vendor. The closer you are to hardware, the farther you are from the creative process. When we speak to customers about their creative goals, we can show them how we can help do the same current work with less physical technology in front of them. They immediately become interested. Who wouldn’t? As a company, Grass Valley is working hard to enable creativity. So, the tools do not defi ne the task, but the other way around. That’s how we’ll keep our customers and help them migrate to the next best thing to allow them to increase their productivity and realise their business and creative objectives.”

Getting there in the next few years is a challenge that Schubert has taken on with enthusiasm and an understanding that budgets are limited in many cases, so the digital workfl ow transition might happen slower than some might expect. This is especially true, he said, in emerging countries like China and South America, where many broadcast and production facilities are just now being converted from standard defi nition to high defi nition operations.

“There’s still a lot of opportunity to move customers through the digital transition as painlessly as possible,” he said. “Our goal in 2013 is to accelerate that transition as much as we can by making it aff ordable and future proof.”

To this end, Schubert is currently leading several R&D teams at Grass Valley that are focused on adding new levels of capability, in the form of software applications, across Grass Valley’s live production solutions and networked nonlinear editing platforms.

“I think we’ve reached a point where the costs are right and the performance is there, so you can use off -the-shelf hardware and take application-specifi c software to do most of the things that we used to do in custom hardware and proprietary gateware,” Schubert said. “However, there is a limit to this. There will always be a need for specialised hardware in some parts of a facility and the live production chain; where FPGA chips and real-time processing cannot be substituted. But the amount of dedicated hardware required is getting less and less all the time. That’s good news for our customers.”

Yet, he cautions that software can’t do it all.

“There will always be something that creatives want to do that we can’t accomplish fast enough on the CPU/GPU combination,” Schubert said.

“ ...Schubert is currently leading several R&D teams at Grass Valley that are focused on adding new levels of capability, in the form of software applications, across Grass Valley’s live production solutions and

networked nonlinear editing platforms.”


TAKING STOCK

13

TAK

ING

STO

CK

There’s a new feature button on the LDX cameras called “PickMe” that allows a camera operator to tell the director that they have a shot that is important. The feature allows the camera operator to tag their shot so that the director is alerted in the production truck, but the tagging metadata can also stay with the recorded content after the event is over. The camera operator can also mark clips that can be sent directly to the Internet to give viewers at home an alternate view of the action (or a diff erent take on a news story). Again, it expands the creativity of the operator.

“We’re designing the next generation of systems for mobile production, based on where we see the industry going,” said Schubert. “With distributed, nonlinear production, people working on a particular project don’t have to all be in the same place. In another fi ve years, when cloud computing becomes truly useful for our industry, this will be the common way to do remote production. It makes both practical and business sense to do it.”

REDEFINING THE WAY WE DO TELEVISION WITH NONLINEAR PRODUCTION

Then there’s the Grass Valley STRATUS Media Workfl ow Application platform that acts like a workfl ow manager and provides a common interface for creative people that don’t want to be encumbered by technology. This platform is helping to change the way people think about nonlinear production by facilitating the idea that content can be developed and distributed by multiple people simultaneously working from diff erent locations. This allows collaborative teams to create all kinds of content for diff erent distribution platforms.

“In the old days, linear production required a single person to custom edit everything,” Schubert continues. “That was time-consuming and resource-intensive. Now content is stored digitally and made available to many people on a network. They can collaborate on that same fi le and be much more productive. There really are no limits as to how a program or single piece of content is put together or distributed.”

“In the past 50 years, Grass Valley has developed and marketed a wide variety of new technologies, but television programs are still generally made in the same way they always have been,” he said. “What we’re talking about today at Grass Valley is changing the way TV is made. This goes back to what we call the ‘new era of nonlinear production.’ Today’s professionals are coming from a wide variety of backgrounds, not just traditional broadcast, so the tools they require have to be fl exible.”

MAKING A (CONNECTED) DIFFERENCE

In 2013, Grass Valley will continue to develop the same robust, reliable systems that the industry has come to depend on, said Schubert, but he’s also trying to shift mindsets away from what has always been done.

“We want people to envision a future where they have more freedom and can launch new services and more channels quickly and cost-eff ectively,” he said. “We’ll still make great production switchers and routers and the rest, but these traditional tools will be tightly integrated with newer software tools that bring more capability in the same or even smaller amount of space. It has taken (and will continue to involve) a lot of research and development investment on Grass Valley’s part to make this system-wide, product re-tooling move, but we know it’s worth it to preserve our customers’ future.”

“The whole idea of this new path that we are on is that we need to connect the newer things we’re developing to our existing systems,” he said. “You can buy a basic-level Kayenne switcher today, for example, and then add new features and capabilities in software to enhance that product and preserve your investment. It’s really about giving customers more for their money and allowing them to decide when to upgrade. That’s how you stay competitive as a technology vendor.”

Karl Schubert took up the role of CTO at Grass Valley in April 2012, after joining the company in July 2011.

In 1992, working at IBM, Schubert led a team that created and delivered one of the fi rst video server systems: the IBM MediaStreamer. In 2002, at Austin Ventures, he created a group to replace standalone digital video recorders (DVRs) used by the cable companies. Schubert and his team fi gured out a way to replace DVRs with centralised servers for large metropolitan areas.

Assimilate Boosts Asia PresenceASSIMILATE HAS ANNOUNCED the appointment of Whiteways Holdings Pte, Ltd as exclusive distributor for its SCRATCH and SCRATCH Lab product lines in South Asia and South East Asia. Whiteways will work with ASSIMILATE’s existing resellers and will also appoint new resellers in areas where needed.

Prasenjit Sengupta, now director at Whiteways, will manage sales, services, and support across South Asia and South East Asia. A highly successful media and entertainment software and hardware executive, Sengupta brings over 25 years experience and an intimate knowledge of fi le-based workfl ows to ASSIMILATE. He was most recently director of sales for ASSIMILATE India.

“We are very pleased to be selected as ASSIMILATE’s distribution partner in advancing digital fi lm technology and workfl ows in the region,” said Prasenjit Sengupta, director at Whiteways Holdings. “We understand the needs of this market, which include post-production companies, and studio and independent production companies.”

Visit www.assimilateinc.com

Cinegy Expands with Grape MediaCINEGY HAS ANNOUNCED its expansion in Korea with new partner Grape Media, a team of industry professionals providing system integration, consulting, and products and solution Sales to the broadcast and media industry across South Korea.

Since its establishment, Grape Media has been searching for an innovative software solution that would provide its customers with a modular and scalable automation and complete media asset management solution.

“Many of our customers in Korea prefer open platform architecture and as Cinegy consists of modular, open APIs and open platforms, we believe that the solutions off ered by Cinegy are exactly what our customers require,” said JK Yang, Owner and CEO of Grape Media.

“Working closely with Grape Media in South Korea will provide Cinegy with another well-known and respected partner who can further launch Cinegy into one of Asia’s largest broadcast and media markets. We are very excited to have formed our partnership with Grape Media and look forward to a successful, long term relationship,” said Daniella Weigner, Managing Director of Cinegy.

Visit www.cinegy.com and www.grpm.co.kr

Brainstorm Appoints Indian ResellerBRAINSTORM MULTIMEDIA, a 3D real-time graphics and virtual set solutions provider, has appointed of AVTECH as its new value-added exclusive reseller in India, covering Brainstorm’s whole range of products. The appointment is eff ective starting this BES Show and intends to further strengthen Brainstorm’s presence in India.

With headquarters at New Delhi and branch offi ces in Bengaluru, Chennai, Gurgaon, Hyderabad, Kolkata, Mumbai and Noida, AVTECH provides recognised service and sales support all across India.

According to David Alexander, Brainstorm’s Commercial Director, “We are delighted to partner with AVTECH in India, where its prestige and experience are a major strength to promote our real-time 3D graphics and virtual set solutions, especially EasySet 3D and the new Aston 3D. Their experience as systems integrator also fi ts perfectly in our strategy to cover the expanding broadcast, entertainment and corporate markets in India.”

“We are sure the agreement between Brainstorm and AVTECH will be very signifi cant for the Indian broadcast market, and at the same time Brainstorm’s applications and solutions will complement our product portfolio,” states Rajiv Puri, Managing Director of AVTECH.

Visit www.brainstorm.es and http://avtech-india.com


14

TEC

HN

ICA

L ST

AN

DA

RDS

TECHNICAL STANDARDSwww.content-technology.com/standards

14

TEC

HN

ICA

L ST

AN

DA

RD

S

TECHNICAL STANDARDSwww.content-technology.com/standards

briefsSMART TV ALLIANCE EXPANDSThe Smart TV Alliance has announced that six new manufacturers and solution provid-ers have joined the Alliance to stimulate cross-platform Smart TV applications and services. New Smart TV Alliance members include manufacturers Panasonic, ABOX42, and TechniSat, and solution providers IBM and Specifi c Media. They join Alliance found-ers LG Electronics, TP Vision and Toshiba, as well as YuMe, Obigo and Qualcomm.

Visit www.smarttv-alliance.org

OCTV SPECIFICATIONThe Digital Media Project (DMP) has an-nounced the development of the Open Connected TV (OCTV) specifi cation, which has been designed to enable a broad market of products, content, services and applica-tions. The source code is available to DMP members only.

Visit http://octv.dmpf.org

AVNU ALLIANCE ADDS AXONAVnu Alliance, an industry forum that certifi es Audio Video Bridging (AVB) products for interoperability, has added broadcast infrastructure equipment developer Axon Digital Design to its membership roster. In addition, Jan Eveleens, CEO of Axon, will serve as chairman of the newly-formed AVnu Alliance Pro Video Subgroup.

Visit www.avnu.org

SET-TOP ENERGY SAVINGSThe U.S. Consumer Electronics Association (CEA) and National Cable & Telecommunications Association (NCTA) have announced that 15 leading multichannel video providers and device manufacturers are launching a Set-Top Box Energy Conservation Agreement that will result in annual residen-tial electricity savings of US$1.5 billion.

Visit www.ce.org and www.ncta.com

Prototypes for White Space BroadbandJAPAN’S NATIONAL INSTITUTE of Information and Communications Technology (NICT), Hitachi Kokusai Electric Inc. and ISB Corporation have developed what they claim are the world’s fi rst prototypes of base station (BS) and consumer premise equipment (CPE) based on the IEEE 802.22 standard operating in TV White Spaces (TVWS) (470 MHz – 710 MHz).

The IEEE 802.22 Working Group has published the IEEE 802.22-2011 standard for TVWS broadband wireless access to regional areas where it is most needed and where the TV spectrum is least used. In particular, the IEEE

802.22 systems off er around 10 times the coverage of Wi-Fi and enable reliable backup broadband communications in an emergency.

The NICT and Hitachi Kokusai Electric Inc. have developed prototype devices of BS and CPE verifying the physical layer (PHY) and the medium access control (MAC) layer design based on the IEEE 802.22 standard in the TVWS. The NICT, Hitachi Kokusai Electric Inc. and ISB Corporation plan to work closely with WhiteSpace Alliance (WSA) to provide products for worldwide markets.

Visit www2.nict.go.jp/wireless/smartlab/index.html

High Effi ciency Video Coding Reaches Final DraftTHE MOTION PICTURE EXPERTS GROUP (MPEG) has announced the completion of the new High Effi ciency Video Coding (HEVC) standard, which has been promoted to Final Draft International Standard (FDIS) status. The new MPEG HEVC standard reduces by half the bit rate needed to deliver high-quality video for a broad variety of applications. Developed jointly with the Video Coding Experts Group (VCEG) of ITU-T WP 3/16, the HEVC standard will be formally referenced as ISO/IEC 23008-2 in ISO/IEC and as a new addition to the H series

of Recommendations in ITU-T.

The MPEG HEVC standard specifi es three important profi les including the “Main Profi le”, “Main 10 Profi le”, and “Main Still Picture Profi le”. Mass-market consumer video products that historically require only 8 bits of precision in their processing will be based primarily on the “Main Profi le” while the “Main 10 Profi le” will support up to 10 bits of processing precision for applications with higher quality demands.

Visit http://mpeg.chiariglione.org

SMPTE, VSF Unveil HBRMT Standards

THE SOCIETY OF MOTION PICTURE AND TELEVISION ENGINEERS (SMPTE) and the Video Services Forum (VSF) have announced the latest two standards in a series that creates a standardised framework for the transport of video over Internet Protocol (IP) networks. The documents, SMPTE ST 2022-5:2012 and SMPTE ST 2022-6:2012,are now available via the SMPTE digital library.

SMPTE ST 2022-5:2012 defi nes a methodology that can be used to provide forward error correction for the recovery from network transmission errors. The methods used have

been specifi cally selected to perform well

for high bit rate video signals that operate

at speeds up to the Gb/s range and beyond.

SMPTE ST 2022-6:2012 defi nes a uniform data

mapping format that supports a wide variety

of HD-SDI and 3G-SDI video signal formats.

Using this standard, products from diff erent

manufacturers can, for the fi rst time, send and

receive high bit rate video signals that are

being delivered over

IP networks.

Visit http://standards.smpte.org


23–26 July 2013SYDNEY EXHIBITION CENTREDARLING HARBOURwww.smpte.com.au

DELIVERING THE PERSONALISED

CONTENT EXPERIENCE


16

ABU

201

3 PR

EVIE

W

PREVIEWAsia-Pacifi c Broadcasting Union presents

We Are All Connected NEXT-GEN MEDIA SPACE and the Connected World is the theme of the ABU Digital Broadcasting Symposium 2013, organised by the Asia-Pacifi c Broadcasting Union and scheduled for March 5-8 at Kuala Lumpur’s Hotel Istana in Malaysia.

THE EVENT IS THE NINTH in a series of annual symposiums staged by the ABU to help radio and television broadcasters and the industry to make the digital transition. The 2012 symposium attracted more than 1000 participants from the Asia-Pacifi c region and beyond.

In the connected world, Connected TV, enhanced OTT, use of 3G for video, mobile broadcasting and content via Smart Apps have put new devices in the hands of the consumers, generating demand for innovative services. Some of the new system standards are now being set by the manufacturers or by closed groups of industry players. Arguably, the most profound infl uence that broadcasters will witness is the use of Smart Apps to “capture” content of choice on Smart display devices.

The symposium will also address developments such as UHDTV, high scan rate TV and 3DTV, and feature presentations by experts, panel discussion and workshops, as well as an exhibition showcasing the latest broadcasting products and services. Several side-events will provide opportunities to industry leaders to convey their message to broadcasters and the industry at large.

These include the ITU-ABU-AIBD Workshop on Digital Migration, IPPTARABU Workshop on HDTV Operations, DRM Workshop, ABU Workshop on Implications of Broadcasters’ Treaty, ABU Workshop on Olympic Sports Coverage and Production of Sporting Events and UNESCAP Workshop on EWB-Implementation and Operations.

The Digital Radio Mondiale Consortium (DRM) is the Principal Sponsor of the Symposium. Harris, WorldDMB Forum, Sony, the Malaysian Communications and Multimedia Commission, Grass Valley and Snell are the Major Sponsors of the event.

In addition, the Institut Penyiaran dan Penerangan Tun Abdul Razak (IPPTAR), the media training institute of the Ministry of Information, Communication and Culture, Government of Malaysia, is a Co-Sponsor of the Symposium.

The event will have an equipment exhibition with participation from Harris, WorldDMB, Sony, Grass Valley, Ideal Systems, Playbox Technology, Nevion, Conax, Front Porch Digital, Tektronix, Nautel, Measat, Rohde & Schwarz, Net Insight, Miranda, Kathrein, LS telcom, Asia-Pacifi c Broadcasting, Mahajak, Salzbrenner Stagetec Mediagroup, Exir Broadcasting, EMS Test Measurement, Gencom Technology, MediaCorp, VSN, RFS, SM CNS, Enensys, Lemo, Orban, Radio Television Malaysia and Asia Media, and more.

Sharad Sadhu, ABU’s Director Technology, said, “We are proud to have these leading industry players supporting the 2013 edition of the ABU DB Symposium. We highly value their long standing partnership with the ABU and we welcome their support to this major industry event.”

Visit www.abu.org.my

Assurance of Quality from Tektronix Gencom Partners for DVB-T2

GENCOM TECHNOLOGY and some key partners including media and transport services provider, Kordia and compressed domain processing specialists, General Dynamics Mediaware will be sharing a booth at ABU this year.

In addition Gencom will be participating in a DVB-T2 related workshop with TVips and Kordia and a Gencom representative will also be giving a one hour presentation on HDTV.

With the rollout of DTT in Asia, Gencom and its partners have a strong focus on assisting customers with their DVBT2 projects incorporating their previous experience in this fi eld.

As Gencom plays a signifi cant role in design, system integration and supply in the region they are looking forward to talking to partners and potential partners alike at the show.

Visit www.gencom.com

ABU DBS WORKSHOP SESSION 11 at 9-10:30am on Thursday 7th March, 2013, will see Tektronix address the issue of Quality Assurance and Monitoring in Broadcast Chain.

Digital technology is quickly replacing analogue technology at every level in the video industry, enabling entirely new classes of products and services. The digital video ecosystem is comprised of companies in the business of creating and distributing content as well as the designers and manufacturers of professional and consumer electronics.

To gain 100% confi dence level to content delivery and quality assurance to viewers in the video broadcast industry, Tektronix says it it is imperative for broadcasters, content providers and service providers to be on 24x7 QoS(Quality of Service) and QoE(Quality of Experience) monitoring from Content acquisition, encoding to delivery chain. Attending this workshop will help you gain knowledge on where to monitor your signal and content from diff erent locations, why is it important to do Video health checks, and how Tektronix varieties of solutions off ers

the performance needed to detect, validate and qualify your contents for your TV viewers.

You will also learn how to isolate, identify, and characterise elusive and hard-to-fi nd problems on uncompressed and compressed Video content quickly, allowing you to enhance the functionality of your digital content delivery. Last but not least, discover the method to do compression bitrate optimisation and audio loudness correction.

Visit www.tek.com/industry/video-test-network-monitoring


17

ABU

201

3 PR

EVIE

W

ABU DIGITAL BROADCASTING UNION SYMPOSIUM 2013 PREVIEW

Grass Valley Brings Innovations in Cameras and the Live Production Ecosystem

LIVE EVENTS still drive a premium value when it comes to programming and demand is increasing, but their production is increas-ingly coming under economic pressure as broadcasters and rights owners want more live content at a lower cost. Since non-linear workfl ows revolutionised the economics of post-production, are these kind of changes overdue in the live production environment? Instead of a single linear feed, events now have to produce feeds for in-venue monitors, streaming multi-screen feeds, highlight packages as well as the main linear TV feed. What impact is this having on workfl ows; is remote, centralised production an option; how are metadata and statistics changing the game; and what will the ‘live event’ of the future look like?

Charlie Dunn, Executive Vice President of Products at Grass Valley will be presenting at

the ABU Symposium 2013 covering trends in the live production eco-system and strategies on how to simplify the complexities in production. He will also discuss the emergence and impact of non-linear workfl ows and how to optimise workfl ows.

GRASS VALLEY ON SHOWGrass Valley will showcase at ABU DBS 2013 (Booth #2) its latest range of next generation CMOs camera will showcase the LDX Series of Xensium FT cameras.

In addition to the LDX Series, Grass Valley will also display the latest technologies in live production, including K2 Dyno replay system, the Karrera Video Production Center switcher and the GV STRATUS media workfl ow application framework.

Broadcasters, service providers, and video professionals all face challenges

that encompass creativity, operational workfl ow, and business goals. By providing a comprehensive portfolio spanning a wide range of sophisticated imaging, video and media solutions, Grass Valley can help answer those challenges while delivering the value, fl exibility, and adaptability needed to succeed. When you’re watching news, sports, or entertainment programming – whether on a TV, the web, or a mobile device – you’re watching Grass Valley at work in today’s connected world.

Visit www.grassvalley.com

AUDIENCES EVERYWHERE are demanding multimedia content of ever-higher quality. The speed of consumption is quickening, and more innovative methods of content delivery are being called for. It is against this backdrop that Sony is bringing intelligently-designed products, easy fi le-based workfl ows and high quality industry solutions and services to broadcasters and content creators everywhere.

Under the theme “Believe HD and Beyond”, Sony will be at the ABU DB Symposium 2013 (Booth

#40) to demonstrate how its latest products and solutions support on-going migrations to HD and fi le based operations, plus build a world “Beyond HD” through an accessible 4K ecosystem that simplifi es the creation of a wide variety of 4k productions. Sony will also present new archive media solutions.

Sony will be showcasing new products built on its well-known XDCAM format, including the versatile PMW-200 HD422 (50Mbps) camcorder equipped with 1/2-inch-type Full-HD Exmor Sony’s PMW-200 HD422 (50Mbps) camcorder.

Grass Valley’s LDX Series of Xensium FT cameras.

Sony: To HD and Beyond!

SONY PRODUCT AND SOLUTIONS WORKSHOP

Sony’s latest products and solutions in 4K Ultra HD, Archiving, Delivery and more!

Date: Mar 5, 2013 (Tuesday)Time: 11:00am-12:30pm

SONY @ HD SHOOTING SEMINAR: HDTV IMAGING & CAMERA SYSTEMS WORKSHOP

Covers diff erences and enhancements in HD Camera Systems, important points when moving from SD to HD Camera operations, Framing, Depth and Focus when operating HD Cameras, Colour Perception and Sensitivity of HD Cameras, Alignment and Tweaking and examples of good and bad HD Camera shots.

Date: Mar 5, 2013 (Tuesday)Time: 2:00pm-3:30pm (Sony’s session)

CONFERENCE SESSION 7: ENHANCEMENTS IN IMAGING AND CONTENT CREATION

Date: Mar 7, 2013 (Thursday)Topic: Enhancements in Imaging and

Content CreationSpeaker: Mr. Norihiko NoguchiSony’s presentation: 4K: Available, Aff ordable,

Ahead of schedule

CONFERENCE SESSION 10: MEDIA MANAGEMENT – WORKFLOW TECHNOLOGIES FOR IMPROVING EFFICIENCY

Date: Mar 8, 2013 (Friday)Topic: Media Management – Workfl ow

Technologies for Improving Effi ciencySony’s presentation: Archiving: A future-proof media solutionSpeaker: Mr. Genya Kamada

CMOS sensors. Its compactness, versatility and advantages in low-light make the PMW-200 extremely useful in applications like news gathering and documentary productions.

Sony will also introduce to exhibition visitors its new Optical Disc Archive solutions built to create a complete archiving solution for broadcasters, motion picture companies and production houses. These Optical Disc Archive storage systems provide guaranteed intergenerational compatibility and ultra-reliable long-term storage, and users can ensure the long-term preservation of their valuable media assets. The Optical Disc format is kept as an open platform, Sony having established alliances with other industry partners to promote better usability of the system.

Sony’s MVS-3000 multi-format production switcher will also have a presence at Sony’s exhibit. The MVS-3000 has sophisticated capabilities such as two mix eff ects (M/Es), four keyers per M/E and many more.

Visit http://pro.sony-asia.com


18

ABU

201

3 PR

EVIE

W

ABU DIGITAL BROADCASTING UNION SYMPOSIUM 2013 PREVIEW

Orban Gets a Grip on Loudness

AT ABU DBS, Orban will be exhibiting the NEW OPTIMOD TV 6585 2:0 - 5:1 Loudness controller which provides audibly transparent automatic loudness control and dialog intelligibility control for one surround program (up to 7.1) or four stereo (stereo) programs. The stereo processing can operate in dual-mono mode, so it can process four sub-channels in stereo or eight sub-channels in mono. Put in-line and operated correctly, the 6585 will ensure that loudness meets the requirements of the CALM Act and EBU R-128.

The 6585 features 3G HD-SDI and AES3id input/output, plus comprehensive handling of metadata. The 6585 is Dialnorm-aware and can re-author metadata as needed. Seamless switching between processing and pass-through modes (where both audio and metadata are passed through without further processing) allows the 6585 to pass pre-qualifi ed material without modifi cation—you can use the 6585’s transparent-sounding loudness control only when needed. This makes it easy to comply with the requirements of network program providers who pre-process their audio feeds to comply with Recommendations A/85 and R-128.

For each logical processing channel (surround or stereo), the 6585 has one loudness controller and two loudness meters. The short-term meter uses second-generation CBS Technology Center loudness metering technology with an integration time of 200 ms, which is slightly faster than a standard VU meter. The long-term meter, which has an integration time of several seconds, is switchable between the ITU-R BS.1770-1 and 1770-2 standards (i.e. ungated or gated). Its readings can be logged for up to a week in the 6585’s internal memory and for an essentially unlimited time via the included 6585 PC Remote Software for Windows. This allows you to retain proof that your transmissions have complied with the CALM Act.

Visit www.orban.com

BOOTH NO COMPANY

2 Grass Valley

3 WorldDMB

4 & 5 Harris Broadcast

6 & 11 Playbox Technology

7 & 12 Rohde & Schwarz

BOOTH NO COMPANY

8 Conax

9 Nevion

10 & 15 Ideal Systems

13 MEASAT

14 Miranda

BOOTH NO COMPANY

16 Tektronix

17 Asia-Pacifi c Broadcasting

18 Net Insight

19 Nautel

20 Front Porch Digital

BOOTH NO COMPANY

21 Kathrein

22 LS telcom

23 & 24 Stagetec

25 EnenSYS

26 & 27 Orban

30 RTM

31 RFS

32 VSN

33 Exir Broadcasting

35 ABU

36 LEMO

37 & 38 Gencom

39 MediaCorp

40 Sony

41 & 42 EMS Test Measurement

43 NERA

44 & 45 STMicroelectronics

48 & 49 Appear TV

50 Mobile Viewpoint

51 & 52 SM CNS

53 & 54 Mahajak

55 & 56 Asia Media

ENENSYS Opens the Door to DVB-T2

ENENSYS WILL BE DEMONSTRATING its range of products for DVB-T2 including the NN6-T2Gateway, T2Edge (for local content insertion) and NetMod DTTV modulator. Also on display will be EdgeProbe for DVB-T2 off -air RF and ETR290 monitoring as well as the well-established Referee T2 portable analyser.

Colin Prior (APAC Sales Manager) and Bernard Pichot (Partnership Manager) of ENENSYS will run a workshop explaining how ENENSYS can help optimise distribution technology in DVB-T2 networks on Wednesday 6 March 14:00 – 15:30.

Visit www.enensys.com

Harris Delivering ABU WorkshopsHARRIS BROADCAST, a Gores Portfolio Company, is a co-sponsor for the forthcoming ABU Digital Broadcasting Symposium 2013.

At this year’s symposium, Harris Broadcast will off er a mix of conference papers, value-add workshop and booth exhibition stand (No.4&5), in support of meetings conducted at the Symposium, with industry participants likely to exceed 1,000 visiting the event.

Richard Redmond, Vice President of Product Management and Strategy for Harris Broadcast’s Transmission Business, will be delivering workshops and conference papers on Mar 5 & 7th, focused on Terrestrial Broadcasting For the Future, Digital Migration, Enhanced Platforms and Green Technologies.

Visit www.orban.com



20

THE

3RD

DIM

ENSI

ON

THE 3RD DIMENSIONStereoscopic production & exhibition www.3d-day.tv

Park Road Uses Mistika for World-First Workfl ow on The HobbitIT TOOK A WORLD FIRST behind the scenes workfl ow in order for The Hobbit – An Unexpected Journey to become the fi rst large scale wide release feature fi lm to be exhibited in 48 frames per second.

Park Road Post General Manager Cameron Harland says, together with SGO Mistika, it took two and a half years of research, development, testing and refi nement to create the unique workfl ow.

“From on-set services, grading and exhibiting HFR digital dailies through to the DI online, stereoscopic work and fi nal colour grading, it was a massive undertaking.”

Utilising SGO’s Mistika platform as the hub of its large DI infrastructure, Park Road in partnership with SGO, co-developed tools across the entire pipeline. SGO worked in parallel with the Park Road team in Wellington from pre-production through to fi nal delivery of the fi lm developing the tools and inbuilt-HFR featureset needed to meet the demands of this complicated production.

Dave Hollingsworth, Park Road’s Head of Picture and Supervising Digital Colourist for The Hobbit says when Park Road discovered the Mistika they knew they had found their solution.

“When the decision was made to fi lm and post The Hobbit in 48fps 3D, there wasn’t any one product on the market capable of delivering what was needed. SGO had by far the best stereo toolset available and equally importantly, they had a passionate and highly skilled development team that demonstrated an absolute commitment to developing everything else we needed to deliver this fi lm.”

Park Road’s Head of Technology Phil Oatley adds, “We wanted to create a complete pipeline, based on one platform, from dailies work and dailies screenings right through to fi nal online, stereo and colour grading. The Mistika provided a platform that was fl exible and robust, gave us even greater speed than what is normally required for your average 2D 24fps project and was so good that the fi lmmakers never noticed that we were dealing with four times the data of a normal feature.”

Dave Hollingsworth substantiates, “What I am most proud of is that, whilst this was potentially the most complex post ever carried out on a feature fi lm, the technology never got in the way of what the fi lmmaker wanted. It is safe to say that we could not have done it without SGO.”

According to SGO’s Director of Global Sales and Operations, Geoff Mills, “It has been a truly meaningful journey since Park Road fi rst saw Mistika, and recognised the potential in the technology and the team at SGO, to deliver a workfl ow and creative solution, which stretches the boundaries of fi lm production.”

CEO of SGO, Miguel Angel Doncel asserts, “At SGO we recognise each new Mistika installation as the beginning of an exciting partnership between those that create technology and those that use technology to tell stories. We are extremely proud to work closely with Park Road’s exceptionally creative and brilliant technical team, who are constantly pushing the limits of what is possible, relying on game-changing technology that grows with them.”

Geoff Mills concludes, “Our close relationship with Park Road, at all levels, has been instrumental in making HFR Stereo 3D a reality and has demonstrated that above all, it is the people who unlock dreams through passionate determination and ground-breaking development.”

Visit www.parkroad.co.nz and www.sgomistika.com

(L–R) Martin Freeman and director Peter Jackson on the set of the fantasy adventure “The Hobbit: An Unexpected Journey,” a production of New Line Cinema and Metro-Goldwyn-Mayer Pictures (MGM), released by Warner Bros. Pictures and MGM. Photo by Todd Eyre

PARK ROAD POST had been using the CLIPSTER DI workstation for many years for DCI mastering. For the 48 fps 3D version of The.Hobbit – An Unexpected Journey, DVS developed a high frame rate package, as well as additional parameters in CLIPSTER which allow precise JPEG2000 adjust-ment for DCP generation.

The high frame rate of 48 fps eliminates critical image issues that are annoying to the eye such as shaking or judder caused by the lack of continuity between consecutive frames. As such, the results at 48 fps are much more realistic than at the standard rate of 24 fps, especially in 3D. Park Road’s aim was to off er an even more immersive experience for the cinema-goer.

In parallel to the high frame rate, a higher bit rate was important to Park Road. The DCI standard limits the bit rate to 250 Mbit/s to prevent any projector failures in traditional 2D cinema. For this project, CLIPSTER exceeds this bit rate, thereby delivering high image quality, even at 48

fps. In discussion with various Integrated Media Block manufacturers, the projectors were upgraded to handle the new bit rate of up to 500 Mbit/s.

As a high number of language versions are planned for several large New Zealand fi lm projects, Park Road needed an extremely powerful feature set: CLIPSTER performed the calculation for this variety of versions within a short timeframe thanks to its DCI Mastering performance of 96 fps, achieving a time saving of multiple hours per encoding process.

The specially developed CLIPSTER version introduces 3D subtitles which are also animated along the depth axis, leading to continual depth-adjustment of the subtitles to the stereoscopic situation of the image.

Ian Bidgood, Technical Director at Park Road, said, “DVS developed the CLIPSTER to be able to encode 48 fps 3D for DCI mastering, with the in-crease in bit rate and proprietary encoding hardware the quality and speed of the fi nal output of JPEG2000 is unprecedented.”

Visit www.parkroad.co.nz and www.dvs.de

CLIPSTER Masters Middle-Earth


21

THE

3RD

DIM

ENSI

ON

THE 3RD DIMENSION

THIS YEAR’S CONSUMER ELECTRONICS SHOW (CES) in Las Vegas saw Samsung Electronics announce the launch of the NX300, along with the new NX 45mm F1.8 2D/3D lens, a “one-lens” 3D system capable of capturing both still images and full HD movies in 3D.

The NX300 features a 20.3 Megapixel APS-CMOS sensor, wide ISO range (ISO100-25600) and a Hybrid Auto Focus (AF) system, 1/6000 sec shutter speed and 9fps continuous shooting mode.

The NX300’s 84mm (3.31”) AMOLED screen enables reviewing of images, while a hybrid touch screen and 5-way manual key interface is simple and intuitive to use. The tilt display makes it easier to take high and low angle shots.

The camera also features Samsung’s in-house developed DRIMe IV imaging engine, designed to enable better colour reproduction and greater noise reduction, as well as support for full 1080p HD video capture in both 2D and 3D (when combined with Samsung’s new 45mm 2D/3D lens).

The Samsung 45mm 2D/3D lens (sold separately) is said to be the world’s fi rst one-lens 3D system for a consumer camera. Capable of capturing both still pictures and full 1080p HD video, the Samsung NX300 and 45mm 2D/3D lens kit have become the only compact system camera supporting both 3D still and 3D movie.

The camera’s stills functionality includes a Smart Mode allowing users can choose from 14 diff erent settings, such as Creative Shot, Landscape, Light Trace or Action Freeze which will automatically adjust parameters such as aperture and shutter speed in order to obtain the best shot possible for the desired situation. The NX300 also includes i-Depth, an easy and simple way to adjust the depth of an image using the NX Series’ unique i-Function system which enables users to modify camera parameters using the lens itself, adjusting the image without ever having to move off target.

The NX300’s Wi-Fi connectivity of SMART CAMERA allows users to share photos instantly and securely between their camera and smartphone (or tablet). To connect a smartphone to the camera, users simply need to download the Samsung SMART CAMERA App., which is available for both Android and iOS based application markets, onto their smartphone or tablet

and follow the steps to create a secure connection with the camera.

The NX300 will be able to detect and auto-connect to the smartphone wirelessly whenever any of the SMART CAMERA features are activated. These include AutoShare; which automatically sends every high-quality photos to your smart phone for safe keeping, and Mobile Link; which allows users to select and transfer images or album from the camera directly to a smartphone.

The SMART CAMERA App. also features a Remote Viewfi nder function for the NX300.

The NX300’s enhanced Wi-Fi connectivity also lets users share images with friends and family directly from the camera via social networking sites using the cameras one-touch DIRECT LINK hot key. Alternatively, images can be automatically backed up or stored in the cloud through AllShare Play ensuring they are always safe and easily accessible.

Visit www.samsung.com.

Active to Passive and 2D to 3D ConversionCES 2013 saw Stream TV Networks debut its proprietary Ultra-D 2160p technology which features the Ultra-D 2160p powered display, delivering glasses-free 3D. The technology also incorporates the new Ultra-D2160p SeeCube real-time conversion set top box, which provides 2D to 3D-without-glasses and 3D-with-glasses to 3D-without-glasses content conversion in resolutions up to 2160p.

At CES, Stream TV debuted 31.5-inch and 60-inch Ultra-D 2160p displays for the consumer market with Ultra-D glasses-free 3D content demos showcasing movies, sports, animation, digital signage and video game applications.

“Response to the literally breakthrough, scalable 3D viewing experience made possible with our new Ultra-D 2160p technology, which until now, has only been shown in private road show meetings, has been incredible,” said Stream TV Networks CEO, Mathu Rajan. “We are excited about the fi rst public showing and are ready to help usher in the next evolution in television.”

Stream TV Networks fi rst announced it had developed an algorithm, which boosts existing content to deliver heightened resolution to between 1080p and 2160p, at the IFA Trade Show in Berlin in August 2012. The Ultra-D 2160p technology integrates a proprietary hardware optical system to a 4K display allowing greater clarity and resolution. Ultra-D 2160p uses the disparity between images to produce a higher resolution output than the source. This allows for glasses-free 3D without any viewing angles, distortion or other restrictions using the Ultra-D 2160p 4K display. Consumers can use any type of source content and convert it into customized 3D without glasses – Cable and Satellite TV Channels, Blu-ray, Xbox, iTunes, Apple TV, Google TV, YouTube, Netfl ix and other feeds.

Visit www.ultra-d.com

3D Split-Image Converter

DIGITAL CONNECTIVITY SOLUTIONS PROVIDER Gefen showed its new 3D Split-Image Converter at CES. The converter enables users to view 3D content from any HDMI source, such as a Blu-ray, using any 3D-enabled projector equipped with two DVI inputs (A/B) and split-image capability. The resulting 3D images can be viewed using passive, polarised 3D glasses.

The 3D Split Image Converter can also deliver 3D video when its two DVI outputs are connected to two stacked projectors at the same time. Imagery can be confi gured as left eye/right eye or as identical 2D signals, depending on your preference. 3D content can be viewed using standard, polarised 3D glasses.

“In both cases, the 3D Split-Image Converter will also extract digital audio from the HDMI source and deliver it as a separate optical audio output to feed an audio amplifi er and increase your sound, making it great for home theaters,” said Hagai Gefen, president, Gefen.

Increased brightness adjustments on the 3D Split Image Converter enable a high quality picture. High defi nition resolutions up to 1080p full HD are supported.

The 3D Split-Image Converter works with all hi-def video sources capable of producing 3DTV content including Blu-rays, set-top boxes and gaming consoles. It off ers control through front panel buttons, IR remote or RS-232 interface.

Visit www.gefen.com

Samsung DSLR with “One-Lens” 3D System


CONNECTED MEDIA

22

CON

NEC

TED

MED

IA

MediaCorp ‘Toggles’ OTT TV

With many consumers becoming increasingly time-poor, the idea of being able to not only watch VOD and catch-up programming, but also watch the same content across diff erent platforms and interact with other viewers via social networks shines by comparison to ‘appointment TV’.ACKNOWLEDGING THIS TREND, Singapore broadcaster MediaCorp has launched Toggle, an over-the- top IP service which off ers entertainment, information and news to viewers online, on smart phones, tablets and smart TV, making content-viewing an uninterrupted and engaging experience.

Toggle viewers can choose to buy content on an a la carte basis, without having to subscribe to a basic bundle of programmes beforehand. Secondly, to ensure easy access, its over-the-top delivery allows viewers to access Toggle’s content via any internet service provider. Lastly, unlike other video services that only off er video on demand (VOD), Toggle also off ers linear channels so viewers can still enjoy a lean-back experience of its content.

Toggle will also off er local content free of charge to registered users, subject to rights availability. Such content will include programmes from the Free-to-air channels (for example Channel 8, Channel 5, Suria, Vasantham) in the form of Catch-up, as well as the linear streaming of our Channel NewsAsia. By mid-2013, Toggle plans to off er local content to Singaporeans residing overseas.

“Consumers are increasingly using connected devices both as companion devices and as second screens, and so we made a strategic decision to make Toggle not only a direct way for them to watch MediaCorp content anytime and anywhere, but also a gateway to a brand new TV experience,” said Philip Koh, Managing Director, Convergent Media Division, MediaCorp. “Toggle off ers this experience by allowing you to choose the content you want, plus where and how you want to consume it. It is that personal.

“This means Toggle’s content goes where you go, allowing you to switch from watching on your PC to your mobile phone when you leave home. And with the wide range of content off ered, from diff erent channels and movies to original productions, viewers will have a lot to keep them toggling.”

TVINCI CODE!

Pay-OTT Platform provider Tvinci was selected by MediaCorp Toggle. The deployment is Tvinci’s fi rst in the Asia Pacifi c market as it looks towards expansion in the region.

“We’re happy to have Toggle powered by Tvinci’s OTT 2.0 backend,” said MediaCorp’s Philip Koh, “and confi dent in the way that our users’ devices and content are managed and delivered. Tvinci’s team demonstrated great technical acumen through the quality and speed at which Toggle has been developed and launched.”

Toggle content is rights protected across iOS, Android and Windows devices using Tvinci’s multi-DRM capabilities: supporting Microsoft PlayReady and Google’s Widevine DRM simultaneously, depending on the device. Tvinci also allows Toggle users to rate, share and interact around TV shows, with

Twitter and Facebook integrated into the service from the backend level to the interface.

“Toggle is the perfect example of a leading media company setting the standard in its local market,” said Ofer Shayo, CEO of Tvinci. “The amount of content consumed via connected devices is increasing steadily every month. Leading operators and media companies such as MediaCorp understand the need to introduce an OTT off ering in order to meet viewers’ need to access content on any of their devices, whilst also enjoying an immersive social experience. We are excited to have launched Toggle with MediaCorp as our fi rst project in the pan-Asian region, and we are looking forward to deploying our platform in other territories in 2013.”

According to Ido Wiesenberg, co-founder of Tvinci, the Toggle platform will allow users to register in a conventional manner or via submission of their Facebook login details.

After selecting a subscription package, the next step is to register the devices through which they wish to access the service.

When the consumer selects a piece of content, the system will check for both a valid subscription and whether the device is registered and then allow viewing.

“Once you get the right ‘licence’ for the content you can stream it and you can play it,” says Wiesenberg. “Now assuming that you watch 20 minutes and then you want to continue with another device, you can just go, for example, to the connected TV and it will then ask you would you like to continue from this point or you want to start from scratch.”

The Tvinci platform manages the ‘hand over’ of content between devices taking into account diff erent versions of the content fi les being encoded for those diff erent devices as well as diff erences in the DRM systems applied to those fi les. To the consumer, the transition is seamless.

Streaming for the service is undertaken via Akamai while the encoding of content is being done in-house by MediaCorp. For the user interfaces, the web portal is hosted by Tvinci while the interfaces for various mobile devices are downloaded from respective manufacturers’ app stores.

Visit www.toggle.sg and www.tvinci.com


23

CON

NEC

TED

MED

IA

CONNECTED MEDIA

Foxtel on the Go with iPadFOLLOWING THE SUCCESSFUL DEVELOPMENT OF a LONDON 2012 Olympic Games App for Australian pay TV operator Foxtel, multi-platform video specialist Switch Media has gone on to develop and integrate the new Foxtel Go service for iPad.

The Foxtel Go App now allows residential Foxtel customers to watch over 20 Foxtel live channels and hundreds of catch up TV hours on up to two iPads, as part of their Foxtel subscription.

Foxtel’s Executive Director of Product, Jim Rudder said, “Foxtel Go is one of the many new innovative products we have in place for Foxtel customers and it has been incredibly well received since launch. The App uses the same system infrastructure and architecture Switch Media developed for the Foxtel LONDON 2012 Olympic Games App. Switch’s Video Content Management System (VCMS) engine is at the heart of the service and integrates well with our existing broadcast and customer management systems. ”

Many of the innovations from the Foxtel LONDON 2012 Olympic Games App were included when developing the new Foxtel Go App. Foxtel saw the popularity of the 8 channel viewing mosaic on the LONDON 2012 Olympic Games App and that people often used this mosaic as a live program guide, toggling between channels whilst watching the coverage on their televisions. With that in mind, Foxtel and Switch Media developed functionality as part of the ‘Show Guide’ and Electronic Program Guide (EPG) within Foxtel Go allowing customers to easily choose and change channels by viewing live thumbnails on their iPad screen.

Rudder continued, “It was important the Foxtel Go App had the same simple and friendly user experience off ered by the LONDON 2012 App as our research showed this was highly valued by our customers. We are delighted with the level of innovation, professionalism and dedication that Switch Media has demonstrated in the development of Foxtel Go.”

In addition to building the Foxtel Go App, Switch Media’s VCMS engine manages the workfl ow live and catch-up video content on Foxtel Go.

SMOOTH SAILING WITH DIGITAL RAPIDS

Foxtel Go uses adaptive bitrate streaming to adjust resolution based on download speeds available, and can be used over a 3G/4G network or WiFi. A rollout onto further devices, including PC, Mac, Android tablets, and mobile devices are planned, as is the addition of more channels to the platform.

Digital Rapids was chosen by Foxtel to provide encoding and streaming solutions to underpin its new video initiatives. Foxtel has purchased StreamZ Live adaptive streaming encoders and the Digital Rapids Broadcast Manager multi-encoder management system to power the new Foxtel Go App.

The Digital Rapids encoders and management software are being used to provide IP streams for Foxtel on Xbox 360, Foxtel on Connected TV, and the Foxtel Go App. They were also used to provide IP streams for the hugely successful Foxtel LONDON 2012 Olympic Games App.

“Foxtel Go is an exciting new way for our customers to watch our premium TV shows, series and sport on the go, and it was imperative the service be built on a technical foundation that delivers the superior quality and reliability that our customers demand,” said Foxtel’s Jim Rudder. “Digital Rapids solutions met our stringent criteria, and their outstanding support is also a critical factor to our success.”

“We’re excited that Foxtel has chosen our solutions to power their innovative Foxtel Go App,” said Neville Paterson, Sales Manager, Asia Pacifi c at Digital Rapids. “Our encoding and streaming solutions deliver exceptional quality and performance for service providers expanding their reach to new platforms ranging from game consoles to mobile devices, and we look forward to working closely with Foxtel in the future as their services continue to grow.”

Visit www.switch.tv, www.digitalrapids.com and www.foxtel.com.au

TVNZ Teams with Brightcove for onDemand App

BRIGHTCOVE (NASDAQ: BCOV), a global provider of cloud content services, announced that TVNZ, New Zealand’s national broadcaster, will launch a new TVNZ onDemand catch-up TV app for Apple iOS and Google Android devices using the Brightcove App Cloud mobile app platform. With App Cloud, TVNZ will be able to deliver rich, long-form advertising-supported content experiences to viewers across devices, while also ensuring its content is protected with digital rights management (DRM) technology. The new mobile app will also leverage App Cloud’s integration with the Brightcove Video Cloud online video platform, which is currently used to power video content across TVNZ’s Web properties and for the desktop version of TVNZ onDemand.

“Like many broadcasters, we have had to redefi ne the way we deliver video to devices to ensure we are reaching our full audience with secure, high quality content experiences,” said Tom Cotter, general manager of digital media at TVNZ. “By partnering with Brightcove, we are able to expand the success of our onDemand desktop viewing experiences to smartphones and tablets with a completely cloud-based and DRM-supported platform. Now we’re able to deploy world-class video experiences across new devices to consumers at a cost that makes sense for our organisation and our market.”

TVNZ’s new onDemand smartphone and tablet app will allow viewers

to easily watch full, advertising-supported episodes of popular TVNZ programming, such as “Grey’s Anatomy,” “One Born Every Minute,” “The Mentalist,” and “The Amazing Race Australia”, while also ensuring the content is protected thanks to Brightcove’s support for DRM technologies like Google Widevine and Adobe Access.

“We are thrilled to expand our partnership with TVNZ and to help open the door to a new kind of content experience for TVNZ’s mobile consumers,” said Chris Johnston, director of digital media solutions at Brightcove. “By taking advantage of our cloud-based platform and App Cloud’s hybrid app development model, TVNZ is able to securely off er its content portfolio on smartphones and tablets and mirror the rich diverse experience TVNZ onDemand provides on the desktop.”

With App Cloud, TVNZ will be able to quickly build and roll out a native app for Apple iOS and Google Android devices. App Cloud’s hybrid app development model enables TVNZ to provide the best user experience and functionality by fusing HTML5 and native code, providing maximum cross-platform leverage and taking advantage of the power and performance of native features at the same time.

Visit www.brightcove.com


24

ACQ

UIS

ITIO

N

ACQUISITIONwww.content-technology.com/acquisition

Questacon Buys Sony F65 4K Camera SolutionRECENTLY QUESTACON, The Australian National Science and Technology Centre created to promote greater understanding and awareness of science and technology within the community, purchased a Sony F65 4K digital cinematography camera solution to help create and distribute high end content via its media production and distribution centre.

The purchase was made through Sony Content Creation Dealer Lemac and the sale process taken care of by Lemac’s Business Development Manager Stuart Pointon who explained, “A tender was issued through AUS Tender for the supply of a 4K digital camera. It was an interesting tender as we believed the only credible camera that could be presented was the Sony F65 and as we had purchased several F65s and knew a lot about them, we decided to submit an off er.”

Questacon had developed a fully functional in-house media production and distribution system and wanted to augment this system with the capability to distribute high-resolution video for remote viewing. Their requirements were very precise and called for a high-resolution, minimum 4K, camera, playback facility, training and maintenance. In addition the camera had to be compatible with Final Cut Pro, After Eff ects and QuickTime Pro, have HDSDI outputs and SSD memory.

The playback system was required to be compatible with and play back all media recorded by the high-resolution camera and needed to operate independently of the camera. Finally Questacon required the provision of comprehensive training and support for the initial implementation period and ongoing support and operator training post implementation.

Sony Senior Product Marketing Manager – Content Creation, Nick Buchner, said, “Sony worked very closely with Lemac to ensure the off er met the tender requirements. During the tender process Questacon also wanted to know about the best lenses, tripods and production kits for the F65. It was a very comprehensive tender process and Questacon were particularly professional throughout.”

Sony and Lemac’s off er was evaluated to ensure that it complied fully with the tender. When the evaluation process was complete Questacon assessed that the proposal met their needs and as a result, purchased a Sony F65 digital camera, SR-R4 Recorder, SR-PC4 Transfer Unit and SR Memory.

Buchner added, “Once the tender had been won Sony and Lemac supplied a complete working system along with comprehensive

technical knowledge and knowhow about the F65 and data handling. Post purchase we have also been proactive in ensuring Questacon’s F65 camera and systems are up to date with the latest software and hardware revisions. Questacon’s decision to equip themselves with the industry’s only true 4K solution now also off ers them possibilities for even higher resolution capture via the F65’s unique 8K sensor.”

Questacon Digital Communications Offi cer Multimedia Production, Alex Chapman, said, “We chose the Sony F65 because it met our spec and off ered value for money. We use the F65 to shoot content for our 4K Christie Micro Tile Wall at Questacon and also to shoot and produce very high quality material for various government departments and external stakeholders. We found their onsite training valuable as it included explanations of the diff erent post options available for 4K and RAW such as DaVinci Resolve, Smoke and others. Since delivery Sony and Lemac have upgraded our F65 to the new version 2.0 software and provided onsite training on the new features.”


Thales Angénieux Shines in Singapore

THALES ANGÉNIEUX has repeated the honour of being the offi cial fi lm industry sponsor for the 2nd RENDEZVOUS WITH FRENCH CINEMA Film Festival in Singapore on December 5-9, 2012.

“We are supporting the art of fi lmmaking and, as a French manufacturer, we are always very pleased to contribute to the promotion and understanding of French culture through our cinema,” said Pierre Andurand, CEO of Thales Angénieux. “We are particularly proud of the movies presented this year at the Singapore Festival and shot with our Optimo lenses.”

Throughout many meetings held during the festival, conversation centred on the defence of image quality in fi lms. The celebrated French actress Sophie Marceau, who led the artistic delegation for 2012, openly expressed concerns about the risks of movies becoming more standardised and uniform.

Similar concerns were voiced at a masterclass organised by Angénieux for the cinema students of Singapore on December 6 at the Ngee Ann Polytechnic. Speaking in support was a production team from My Lucky Star, a fi lm screened at the festival, including Director Anne Fassio, Actress Fleur-Lise Heuet, and DoP Antoine Roch AFC, who used an Optimo 24-290 zoom lens.

Before a group of about thirty students, the My Lucky Star team also discussed the importance of sharing and understanding points of view between the fi lm director, the actors and the director of photography on a fi lm set. In creating the fi lm, the group agreed, it is the responsibility of the DoP to translate the director’s intentions into images – and the responsibility of the actors to express these intentions through their craft. By nature of its quality, the lens is an essential element in achieving this vision.

Visit www.angenieux.com

3056.23 C&TAsia_Mar_p24-48_BACK.indd 24 8/02/13 2:35 PM

25

ACQ

UIS

ITIO

N

ACQUISITION

Portable 20x HD Zoom LensCANON HAS INTRODUCED the KJ20x8.2B KRSD 20x portable HD zoom lens, which is designed to support the new generation of professional 2/3-inch HD acquisition systems. The KJ20x8.2B KRSD is suitable for wedding videography, corporate and educational production, and broadcast ENG. The newest model in Canon’s cost-eff ective HDgc Series of portable HD lenses, the KJ20x8.2B KRSD provides sharp, clear optical performance and operator-convenience features designed to rival those of “packaged lens” systems.

Features of the Canon KJ20x8.2B KRSD include its 8.2mm wide-angle of view, 20x zoom range, and distortion-free peripheral brightness and peripheral resolution from intermediate zoom to telephoto. Weighing only 2.75 lbs. (1.25 kg), the KJ20x8.2B KRSD also features Canon Advanced Drive Unit technology for fast 1.0 second zooms, quiet operation, and other enhanced shooting capabilities.

The lens has minimised axial and lateral chromatic aberrations, coma aberrations, and geometric distortion. Chromatic aberration is suppressed across the entire lens surface, enabling sharp images with minimal distortion at any object distance. An optimal balance of resolution and contrast in peripheral areas of the image enables users to achieve crisp, clear pictures. Unique Canon optical materials and multilayer optical coatings used for the KJ20x8.2B KRSD eff ectively attenuate optical artifacts such as ghosting, fl are, and veiling glare that might be stimulated by strong light sources (for example, sun in daytime and car headlights at night time). The KJ20x8.2B KRSD exhibits a high MTF (modulation transfer function) at picture centre and features a focal length of 8.2-164 mm.

Various companies have introduced portable HD cameras with lens-aberration correction functions. The KJ20x8.2B KRSD portable HD zoom lens is fi tted with a camera-communication interface to support these separate aberration correction functions.

The new KJ20x8.2B KRSD portable HD zoom lens also features Canon’s improved Advanced Drive Unit technology. This includes Shuttle Shot, a Canon-exclusive technology that enhances production capabilities. At the touch of a button, Shuttle Shot allows the operator to rapidly zoom back and forth between any two positions. Shuttle Shot can be used to zoom to the telephoto position to check focus and almost instantly return to the original position, or users can “shuttle” between any two zoom-positions at any time. The KJ20x8.2B KRSD’s zoom can travel end-to-end in as little as 1.0 second, an improvement over the speed of previous models.

The KJ20x8.2B KRSD Advanced Drive Unit also features an ergonomically re-designed, tilted shape for user comfort, convenience, and balance. The operator’s tactile connection with the lens is enhanced by a ribbed surface on the bottom of the Drive Unit to ensure a fi rmer grip and better overall operational control. A new grip support allows users to fi rmly grasp the drive Unit without inadvertently pressing on the VTR or Shuttle Shot buttons.

Visit www.canon.com/bctv/

Redrock Micro Launches Enhanced Support Rigs

Remote Control of GoPro Cameras – UnderwaterHYDREMOTE.COM HAS ANNOUNCED the launch of its HydRemote Remote Cable System. This product allows the waterproof connection of hundreds of remote controllers to GoPro HD Hero and Hero2 cameras. This system allows photographers to start recording video or photographs with the shutter release on their wired or wireless controllers, including crowd favourites like Pocket Wizards.

According to photographer and HydRemote’s creator, Ethan Janson, “This new system leaves the GoPro powered off until triggered, thus extending battery life by many hours or even days. Now you are only restricted by the battery life in your remote or receiver.”

The camera must be in “One Button Mode” for this system to work properly. Optional waterproof functionality requires modifi cation to an existing GoPro housing BacPac door.

Visit www.hydremote.com

REDROCK MICRO, a provider of professional-grade cinema accessories, has announced the immediate availability of enhanced camera support rigs that improve p erformance, comfort and reliability for camera operators. Among these upgrades are the microShoulderPad with FieldTech, tool-less microBalance QR counterweights, and improved hand grips. The new improvements now come standard on all Redrock rigs, and are available as upgrades to existing customers.

The completely redesigned camera shoulder pad improves comfort and balance, critical requirements for long shooting days. The new microShoulderPad uses super-tough Cordura and breathable 3D mesh, and is fi lled with soft free-forming microPoly beads that actively adapt to each shoulder’s shape and slope. The microShoulderPad promotes proper alignment and better stability with this balanced pressure distribution, and ensures a new level of comfort and support.

Building on Redrock’s microBalance weights, the newly designed microBalance QR rig counterweight speeds rig balance and stability with one-of-a-kind features.

Weights can be added or removed just by pushing a button, and without any tools. Multiple weights can be added or removed at once. Battery mounting patterns on each weight enable brick batteries (such as Anton Bauer, Switronix, Sony, etc.) to be attached directly to the microBalance QR, making the battery mount quick release as well.

microBalance QR can be set up horizontally or vertically, and can be adjusted for left-right balance in the vertical setup, a capability unique to Redrock.

Redrock’s rig hand grips have also been updated with improved design and features. The new diamond pattern reduces potential for moisture build-up while the soft rubber surface keeps things comfortable. The added double-lock on each grip end off ers an additional option for adding mounting points or rig extensions. A popular use of this feature is attaching the microRemote fi ngerwheel to the grip when grips are inverted, such as on the ManCam rig.

Visit http://redrockmicro.com

3056.23 C&TAsia_Mar_p24-48_BACK.indd 25 8/02/13 11:29 AM

26

ACQ

UIS

ITIO

NACQUISITION

Blackmagic Updates Cinema CameraBLACKMAGIC DESIGN has announced a new software update version 1.2 for the Blackmagic Cinema Camera which adds new features including time lapse recording, aperture indicator when using compatible EF lenses, as well as ExFAT formatting for SSD disks. The Blackmagic Cinema Camera has now been certifi ed by Intel for capture and playback with Thunderbolt computer hardware operating under Windows. Blackmagic Cinema Camera 1.2 software update is available to download now free of charge from the Blackmagic Design Website.

The new time-lapse recording feature allows customers to capture time-lapse video in CinemaDNG RAW 2.5K, Apple ProRes or Avid DNxHD. Customers have an extremely wide selection of capture rates with this new time lapse recording feature as they can select from every second frame all the way up to one frame per 10 minutes.

The addition of the new aperture indicator on the status strip and SDI output overlay for EF compatible lenses allows customers to easily check F stop settings on the LCD display screen.

With the addition of Windows for Thunderbolt, users with certifi ed Thunderbolt hardware will now be able to use a wide range of Windows based software as well as Blackmagic Design’s UltraScope and Media Express software over Thunderbolt with the Blackmagic Cinema Camera.

Support for Windows formatted ExFAT SSD disk adds fl exibility for customers to use either HFS+ or ExFAT formats. ExFAT is a Windows based operating fi le

system that features state of the art technology, including large sized disk and fi le support, wide compatibility and high performance. In addition, Mac OS X also supports ExFAT disks, so ExFAT formatted disks can be plugged into both Windows and Mac OS X machines without any third party software required. Simply insert the formatted disk and the camera will automatically detect format, ready for recording.

Blackmagic Cinema Camera includes a super wide 13 stops of dynamic range, large 2.5K sensor, a built in SSD recorder that has the bandwidth to capture open standard CinemaDNG RAW, ProRes and DNxHD fi les, a built in capacitive touch screen LCD for direct metadata entry, standard jack audio connections, built in high-speed Thunderbolt connection, 3 Gb/s SDI output, a refrigerated sensor for low noise, and has a choice of two models for either EF or Micro Four Thirds compatible lenses.

Blackmagic Cinema Camera has been designed as a companion to Final Cut Pro X and Avid Media Composer NLE software. Unlike other cameras, which require the use of custom video fi le formats that are not compatible with popular NLE software, the Blackmagic Cinema Camera includes no custom video fi le formats, and every fi le type included is open standard. It records into CinemaDNG format for RAW fi les, ProRes and DNxHD for HD resolution fi les compatible with Final Cut Pro X and Avid Media Composer.

Visit www.blackmagicdesign.com

FujiFilm Unveils Two New Lenses FUJIFILM’S OPTICAL DEVICES DIVISION is introducing two new high-performance FUJINON lenses: the PL 85-300 lightweight zoom lens (model ZK3.5×85) and the XA99x8.4BESM ultra-wide fi eld production lens. The PL 85-300, a PL Mount zoom lens in the Premier PL digital cinematography family, capitalises on the popularity and success of its predecessor, the PL19-90mm Compact zoom (Model ZK4.7×19). The new XA99x8.4 is a box style HD lens, ideal for producing live sports and entertainment events.

While the PL 85-300 is similar in size and weight as the PL 19-90, its longer lens makes it ideal for shooting documentaries, nature and wildlife, and car commercials, among other demanding production scenarios. The PL 85-300 off ers a focal length of 85-220mm at T2.9 and 300mm at T4.0, with 200-degree focus rotation.

Designed using the latest optical simulation technology, the PL 85-300 compact zoom not only off ers exceptional optical performance in the centre of the image but in the corners of the frame as well. Like the highly acclaimed PL 19-90 compact zoom, the PL 85-300 is equipped with the same features including fl ange focal distance adjustment, a MOD of 1.2m, a macro function for objects as close as 97mm (3.8-inches), and covers a 31.5mm sensor size.

The digital servo’s 16-bit encoding assures operators that all lens data output – such as the position of the zoom, iris, and focus – is extremely accurate and the lens supports Lens Data System (LDS) and /i metadata formats. Like the PL 19-90 Compact zoom, the new PL 85-300 features an exclusive detachable servo drive unit, making it suitable for use as a standard PL lens or as an ENG-style lens. And the PL 85-300 can be controlled using cinema industry standard wireless controllers as well as existing FUJINON wired and wireless units.

Meanwhile, the new XA99x8.4 ultra-wide fi eld production lens off ers a zoom range of 99x, a focal length of 8.4 to 832mm, and MOD of 2.9m. The XA99x is f1.7 to 341mm and f4.2 at 832mm. Like other lenses in this product line, the XA99x8.4 off ers FUJINON’s DIGI POWER digital controls (featuring F number limit), Quick Zoom, two-shot presets, a 2X extender, and other precision digital functions increasing production fl exibility.

The XA99x8.4 features a newly developed patented image stabilisation technology for rock-steady performance, which is especially critical for

long-distance HD shots. High-resolution 16-bit encoders are standard, making it suitable to virtual, robotic, and digital signage, among other applications. FUJINON’s exclusive GO-Technology improves image resolution and chromatic aberrations at all focal lengths.

This 2/3-inch telephoto fi eld lens employs the latest High Transmittance Electron Beam Coating (HT-EBC) resulting in richer colors and greatly improved blue response and transmittance. HT-EBC coupled with FUJINON’s exclusive Aspheric Technology reduce ghost and fl are and increase light transmission. A proprietary anti-fogging design minimises lens fogging and reduces downtime due to moisture.

Visit www.fujifi lm.com.sg

The XA99x8.4BESM ultra-wide fi eld production lens.

The PL 85-300 lightweight zoom lens


27

ACQ

UIS

ITIO

N

ACQUISITION

Panasonic Introduces the AG-AF102AENPANASONIC has released the new AG-AF102AEN Memory Card Camcorder. The AG-AF102AEN is a professional HD camcorder with a large Four Thirds MOS Sensor that replaces the AG-AF102EN camcorder. Originally conceived so that cinematographers could achieve maximum creative expression, the AG-AF100 Series combines the artistic aspects of fi lming with a large sensor with the ease of operation of an HD camcorder.

The AG-AF102AEN shares the functions of its predecessor such as a High-Performance 18-bit DSP that is optimised for video processing, a Low-Pass Filter to minimise aliasing, internal Optical ND Filters, Two-Channel XLR Audio inputs and most importantly, an interchangeable Micro Four Thirds Lens mount as well as many other functions to meet professional needs. A Micro Four Thirds Lens mount means that the AG-AF102AEN is compatible with one of the widest ranges of lenses available. Native Micro Four Thirds Lenses compatible with DSLR cameras can be fi tted directly while Cinema lenses and others can be fi tted with adapters.

In addition to the professional high quality PH mode (average approx. 21Mbps, maximum 24Mbps), the AG-AF102AEN incorporates AVCHD ver. 2.0 (AVCHD Progressive) standard in its new PS mode (average approx. 25Mbps, maximum 28Mbps) for recording, playing and outputting (via HDMI only) Full-HD progressive (1080/59.94p, 1080/50p) images.

The AG-AF102AEN also features an enhanced HD-SDI output with 10-bit 4:2:2 quality via the camera’s live output. This function is ideal for recording onto ex-ternal devices, such as a P2 Recorder, that are compatible with 10-bit recording.

The AG-AF100AEN Series is newly equipped with the expand focus assist function, which enlarges the centre of the displayed image, and a 2.39:1 (cinema scope size) safety zone marker.

Visit www.panasonic.com.sg

More Outputs for Camera Accessories from PAGPAG HAS INTRODUCED a new device for powering camera accessories from its PAGlink system of intelligent, high-power, linking batteries.

The PAGlink battery system is designed for high load camera set-ups; the linked batteries provide up to 12A, enabling simultaneous powering of the camera and multiple 12V accessories, such as a camera light, a monitor, and audio or transmission devices. PowerHub incorporates four D-Tap output connector units, which have been designed to be interchangeable with other connectors, such as PP90 or Hirose.

The PowerHub draws power from contacts on the face of the PAGlink battery. PAGlink is the only battery system that provides power for accessories from its linking contacts. The PowerHub can be used sandwiched between two batteries or connected to the rear battery, where an accessory bracket can be mounted to the unit’s face. A USB module has also been incorporated.

Visit www.paguk.com

Anton/Bauer Introduces New AB Direct VU HD MonitorBUILDING UPON THE SUCCESS of the company’s AB-HDRF 5.8 GHz COFDM RF system, Anton/Bauer has introduced the new AB Direct VU COFDM diversity receiver/monitor. A collaboration between Anton/Bauer and Vitec Group sister company, Integrated Microwave Technologies, LLC (IMT), Anton/Bauer’s AB Direct VU off ers a compact, portable system that includes a hand-held monitor plus receiver – all powered using Anton/Bauer Gold Mounts and batteries.

AB Direct VU is a handheld diversity confi dence receiver/monitor that displays COFDM video transmissions using a built-in internal nine-inch 16:9 format screen. The bright, high-resolution 1200-NIT, 1080i HD LCD screen makes the unit suitable for a variety of uses, including ENG/EFP, cine and fi lm production and sporting events.

“We are very much looking forward to introducing the AB Direct VU as part of our new AB-HDRF packages,” says Paul Dudeck, Anton/Bauer vice president of sales, the Americas. “It features a screen that utilises law enforcement-quality glass and requires minimal setup, so users can easily incorporate it into their portable workfl ows.”

Combined with ease of operation and MPEG-2/MPEG-4 auto-detect decoding, AB Direct VU is more than a COFDM handheld receiver. It can receive up to 12 camera positions and send video over Ethernet to remote software or hardware decoders as well as stream shots live over the Internet via IP. This allows multiple remote viewers to monitor the same video simultaneously. What’s more, it features audio connections as well as two speakers.

Visit www.antonbauer.com

Sony PVM-X300 Supporting 4K Monitoring in the FieldSONY HAS ANNOUNCED the new PVM-X300, a 30-inch 4096 x 2160 resolution monitor for support of 4K monitoring in the fi eld. The PVM-X300 incorporates Sony’s TRIMASTER technology architecture, achieving excellent colour and picture quality reproduction which makes this monitor ideal for 4K cinema production, 4K live production, and real-time 4K presentation.

“The evolution of professional monitors is essential for 4K production in the fi eld to make greater inroads in the industry, as existing 4K monitors are heavy and unsuitable for fi eld work,” said Anthony Kable, Senior Product Manager Australia and New Zealand at Sony. “We’ve designed the PVM-X300 to off er high performance and versatility in terms of the interfaces, controls and compatibility with production cameras and media.”

This new professional video monitor incorporates an RGB 10 bit panel, uniformity control and can accurately display industry standard colour space of ITU-R BT.709. Moreover, the PVM-X300 features IPS (In Plane Switching) technology for a wider viewing angle.

A wide array of interfaces makes the PVM-X300 able to connect to almost any 4K imaging equipment and support various display modes. Other functions include Auto White Adjustment, Camera Assist Functions and Stereo Audio.

Supporting 4096×2160/24p and 3840×2160/24,25,30p with one single HDMI cable, the PVM-X300 is also equipped with a unique feature for evaluating video signals at 4096×2160/60p with one single HDMI cable when connected to Sony’s new F55 4K camera system.

The PVM-X300 can also incorporate an optional 4K player, which is capable of playback of 4K content. The newly-developed “SxS PRO+” high speed memory media, which supports XAVC 4K and XAVC HD high frame rate recording, can be inserted into the player providing quick viewing of 4K camera images and 4K programs.



28

SPO

RTSC

AST

ING

SPORTSCASTINGSport coverage worldwide www.content-technology.com/sportscasting

FOLLOWING NEWS CORPORATION’S successful acquisition of ESPN’s partnership interest in ESPN STAR Sports (ESS) in November last year, all ESPN networks have been renamed as FOX SPORTS networks.

The name change was eff ected across multiple platforms including television, broadband, mobile and online in Singapore (SingTel mio TV and StarHub TV) and in various countries across Asia on January 28. In Singapore, the changes included:

ESPN to FOX SPORTS, the fl agship sports channel, available on SingTel mio TV Ch 114 and StarHub TV Ch 208

ESPN HD to FOX SPORTS PLUS (HD), the high-defi nition channel, available on SingTel mio TV Ch 117 and StarHub TV Ch 210

ESPNEWS to FOX SPORTS NEWS, the 24-7 sports news channel, available on SingTel mio TV Ch 116 and StarHub TV Ch 207

ESPN PLAYER to FOX SPORTS PLAY, the LIVE and on-demand broadband network

Mobile ESPN to FOX SPORTS MOBILE, the complete live sports news, information and TV streaming application

STAR Sports, STAR Cricket and STAR Cricket HD channels remain unchanged while online foxsportsasia.com has replaced espnstar.com.

In addition to a variety of content from international sports competitions, the broadcaster has said it will continue building upon the recently launched ‘Friday Night Basketball’ featuring the ASEAN Basketball League (ABL).

“It is exciting to be launching in Asia the leading brand that has changed the sports experience for fans across the world,” said Peter Hutton, Senior Vice President, Sports, FOX International Channels.

Visit www.foxsportsasia.com

ESPN Networks Renamed as FOX SPORTS

IBM (NYSE: IBM) HAS ANNOUNCED new technologies that have enhanced the Australian Open experience for fans, players and coaches. Marking 20 years of technology innovation at the Australian Open, predictive cloud provisioning technology was used in production at the Australian Open 2013, the fi rst Grand Slam to deploy the solution. IBM also combined sophisticated analytics software and natural language processing to gauge positive, negative and neutral opinions shared across hundreds of thousands of social media posts on Twitter, Facebook, news sites, blogs and videos.

IBM’s real-time data analytics software examined the tournament schedule of play, tennis player popularity, historical data logs and volume of social media conversations and predicted the data demands from fans viewing the Australian Open website. Based on the demand forecast, IBM’s predictive cloud provisioning technology automatically assigns the appropriate level of computing power required ahead of time.

IBM’s analysis of the Australian Open 2013 action extended from the courts to the social media arena, looking at the topics that get fans talking online and which players become the social media champions. IBM also provided the technology for the Social Leaderboard on the Australian Open website that will follow the most popular players and the percentage of positive and negative social sentiment from fans.

“With analytics we can help predict when demand is expected to spike, such as when a crowd favourite goes on court to compete. Predicting the australianopen.com demand from fans ahead of time and automatically provisioning capacity, means we have a highly effi cient solution that ensures our interactive tournament website is available for all our fans even during the peaks of our busiest periods,” said Samir Mahir, CIO, Tennis Australia.

Visit www.ibm.com/australianopen

IBM and the Australian Open Mark 20 Years

EVS Shows Off Sports360°at BES 2013AT THIS YEAR’S BES (Broadcast Engineering Society) show, which took place in New Delhi on January 29-31, EVS has showcased its all-encompassing sports solution, Sports360° – with a live production workfl ow between New Delhi and Hong Kong – as well as Breaking News, its new toolset for newsroom operations. They also demonstrated full integration between its high-speed production servers and editing and newsroom tools.

Relying on the high-performance XT3 live production server, EVS Sports360° helps broadcasters, producers and rights-holders to maximise content value and prepare for the future of sports broadcast and media delivery. Exclusively at BES, EVS presented a live connected production workfl ow between New Delhi and Hong Kong, showcasing the power of EVS’ C-Cast solution in enabling immediate media sharing for remote production and instant content delivery to viewing audiences.

Visit www.evs.tv

Goal-line Tech for Next FIFA World CupGOAL-LINE TECHNOLOGY was used for the fi rst time at the recent FIFA Club World Cup, and while no specifi c case arose for its intervention, FIFA President Joseph S. Blatter sees the step as an important one for refereeing.

“Referees have said it is a big help for them,” said Blatter. “This is the solution to say whether the ball is in the goal or not. By television cameras you cannot see it, because the ball is too fast and also human eyes cannot do it. We now have a system, we have to use it.

“I took this decision at the time when I saw the 2010 FIFA World Cup, when [Frank] Lampard scored a goal and everybody on television saw it but the offi cials could not. So, I said if we have adequate systems, we have to use them for the next FIFA World Cup. If we do not use them and a similar situation happened then we really would look like fools.

“We now have the systems, we have used them in the Club World Cup, we will now use one in the Confederations Cup – it is a step forward. It is just a question of time until the big leagues use them as it is a big help for the referees but also it will give, I would say, the best judgment as to whether a goal is scored or not.”

Visit www.fi fa.com


WHEN IT REALLY MATTERS...Real-Time Networks for Video, Audio, Data and Communications

See us at NAB Stand C4937

WUPPERTAL | BEIJING | BERLIN | GLENDALE | LONDON | MOSCOW | SÃO PAULO | SINGAPORE | SYDNEY | VIENNA | ZURICH www.riedel.net


30

SPO

RTSC

AST

ING

SPORTSCASTING

FORMER MAGNA GROUP CEO and Nine Network Australia executive David Bowers has just landed in Glasgow for his new role as head of engineering and technical operations for the Glasgow 2014 Commonwealth Games Host Broadcaster contract.

HE JOINS THE TEAM AT SVGTV – the joint venture between Australia’s Global Television and UK-based Sunset+ Vine, which was appointed as the Glasgow 2014 Host Broadcaster in July of last year. In the fi rst of a series of reports for Content + Technology, Bowers outlines the massive project’s mission, critical path and his fi rst day on the ground in Glasgow.

Destination Glasgow > Glasgow International Airport, 1130 GMT, February 1, 2013, direct from Sydney via Dubai thanks to Emirates.

Stepping off the plane, it’s a bracing 3 degrees C. The crisp Scottish air is an instant wake-up call after 24 hours in a metal tube and very diff erent to the ‘balmy’ summer weather I have left behind in Sydney.

This is my second trip to Glasgow since the London Olympics and the available daylight hours have reduced signifi cantly as we move into the Northern Hemisphere winter and begin phase two of one of Scotland’s largest-ever projects.

My role is to oversee the planning, design, engineering and installation for the Host Broadcaster sport venues and International Broadcast Centre (IBC) requirements for the Glasgow 2014 Commonwealth Games.

Delivery of Host Broadcaster services is based on a 121-week project schedule spanning June, 2012 through September, 2014 in fi ve main stages: Start-up, Planning, Operational, Games-time and Pack-up.

Not surprisingly, given the magnitude of the task, phase one began as soon as the Host Broadcaster commenced on the project in July of last year. Led by project director Andrew Quinn, our small team is growing steadily as we move along the critical path.

Andrew has been involved with the Host Broadcaster contract since the bid’s inception and brings a wealth of experience from previous international events, including Delhi 2010 and Melbourne 2006.

My Australian winter wardrobe is no defence against the Glasgow winter temperatures and fi rst item on the agenda is to purchase a thick coat. Andrew directs me where to go: having arrived from Sydney with his in family late December, he’s had time to acclimatise, get the lay of the land, sample the local hospitality and celebrate Hogmanay*.

From the shops it’s a brisk 500 metre walk to the project offi ce, which is located in the centre of town and close to the Organising Committee’s administration offi ce and all the major amenities (i.e., pubs). A winter’s day in no way chills the vibrant energy or – especially after Sydney’s scorching summer – extraordinarily green urban environment as I look to the south over Glasgow Green.

The colour is a fi tting backdrop for the extensive development underway, not just towards Glasgow 2014 but the city’s growing importance as a cultural centre and ‘happening’ place for the

The Glasgow Diaries: Chapter 1By David Bowers

thousands of people who work, play and live here.

In addition to the anticipated halo eff ect of a successful Games, the Host Broadcaster will create another positive legacy: at least 120 graduates from Scotland will work with us during the Games, deepening the local pool of capable television technical people and creating a stronger future employment path for them.

It’s a series of quick, hello-how-was-your-fl ights and then I’m at my desk, setting up my laptop and getting ready to work.

Far from an unceremonious welcome, I’ve met the dozen-strong team already and the last 26 hours aside am fully up to speed thanks to daily Skype calls and constant emails between Sydney and Glasgow. I’d also had a quick tour in November to survey the local venues, get to know my new colleagues and also meet many of the key Glasgow 2014 Organising Committee functional area managers – important, especially as the Host Broadcaster contract is the largest the Organisers will award.

Everyone is in good spirits after Christmas and New Year’s Eve celebrations and eager to get on with it. We are currently beginning project phase two – the venue overlay planning stage, which involves fi ne-tuning the compound layouts and establishing access, power and security requirements: normal big event matters that are essential to get right from the start.

Dating back to the 15th century, Glasgow Green is the city’s oldest park. Chilling Out – Andrew Quinn and David Bowers on the wintery streets of Glasgow.


31

SPO

RTSC

AST

ING

SPORTSCASTING

Snell at the Centre of HKJC’s HD Operations SNELL HAS ANNOUNCED that the Hong Kong Jockey Club (HKJC), one of the world’s largest horse racing organisations, has chosen Snell Kahuna 360 multi-format SD/HD production switchers as part of a major, multi-phase upgrade of its broadcasting centre to support HD operations. The HKJC, which produces a total of 9,600 hours of TV programming every year, selected the Kahuna 360 switchers to replace an array of aging vision mixers.

After an evaluation and procurement process, Kahuna 360 scored highest in technology and price/performance, as well as its ability to provide multi-format inputs and outputs for both SD and HD. Another critical factor in the HKJC’s selection of Kahuna 360 was its resilience and ability to auto-fallback with no visible interruption in service — a major consideration for live racing coverage that is watched by millions of viewers. Also, the system’s ease of use and eff ortlessness customisation are important in the HKJC’s compact production environment.

“With such a busy programming and production schedule, reliable and state-of-the-art production switchers are a critical element in the HKJC broadcast environment. Kahuna 360 is truly an all-in-one solution, with the scalability we need to evolve our operation into the future,” said Mrs. Oonagh Chan, head of broadcasting services for the Hong Kong Jockey Club. “As a longtime user of Snell switching, conversion, and playout equipment, we are keen to acquire solutions that off er high quality and reliability as well

as value — and we know we can depend on Snell’s fi rst-rate support organisation.”

In phase one of the switcher upgrade, two Kahuna 360 4 M/E mainframes were integrated with HKJC’s existing multi-viewer and TSL tally control systems. Since each Kahuna 360 mainframe can support two or more control panels, four separate programs are produced simultaneously.

One mainframe serves as the fi eld program mixer to produce a clean TV feed from over 40 HD cameras plus playout sources during the live race coverage. The other Kahuna 360 is the master program mixer, combining the clean feed output with playout and bilingual data superimpositions to deliver the program feed in both Chinese and English for the ATV Home Channel.

Visit www.snellgroup.com

ABU Seeks New Head of SportTHE ASIA-PACIFIC BROADCASTING UNION (ABU) is on the hunt for a new Director for its Sports Department.

“Sport is dear to the hearts of most of our members,” says ABU Secretary-General Dr Javad Mottaghi. “The ABU plays a crucial role in representing the interests of our members and the new Director ABU Sports will need to bring important qualities to the job.”

The successful candidate will take over one of the ABU’s key departments, coordinating sports issues for the Union’s more than 230 members across the Asia-Pacifi c, especially arranging broadcasting rights and coverage of major regional and global events such as the Olympics, the Football World Cup and the Asian Games.

The new Director ABU Sports will be responsible for all of the ABU’s activities related to sports, including acquisition of media rights and sports coverage, working under the Secretary-General at the ABU

Secretariat in Kuala Lumpur. They will run the day-to-day activities of the department, manage its staff and assist the Secretary-General in developing the strategy of the Union in the world of sports.

Dr Mottaghi says he is looking for someone with a minimum 15 years experience in sports programming and sports coverage and at least fi ve years in sports management.

“They will also need experience in negotiating fi nancial deals and sporting rights, especially at the international level,” he says. “And, of course, they must have a thorough knowledge of, and a genuine interest in, a wide range of sports and major sporting events.”

There is more information on the job and how to apply on the ABU website. Applications close on 31 March 2013.

Visit www.abu.org.my

Host Broadcaster staff , along with a number of consultants, are working on production and technical details for the broadcast infrastructure and coverage, as well as spectrum planning for both traditional two-way radio communications and microwave for the specialty RF cameras to be deployed at various venues.

Meanwhile, another group is working on transport logistics, security and the like. There will be hundreds of millions of Pounds of broadcast gear deployed, and 1000+ broadcast professionals working from the IBC and venues during the Games, which will run from 23 July – 3 August, 2014. We need to protect not just property but people, and ensure they can do their jobs safely and without any issues.

As Host Broadcaster, over 11 days of competition, including the Opening and Closing Ceremonies, we’ll provide high defi nition coverage from 19 venues encompassing 26 diff erent sporting disciplines. In addition, 22 Para Sport medal events will take place – more than any Commonwealth Games to date.

The Host Broadcaster is also responsible for the IBC, which is the hub for all Games broadcasting activity, handling incoming television pictures and sound from the venues and distributing that footage to international television and radio rights holders’ home countries. The IBC will also manage outgoing worldwide transmissions from rights holding broadcasters working at the IBC and Games venues.

Liaison with rights holding broadcasters is a key focus in the coming months ahead of the fi rst world broadcasters’ meeting. We are identifying their needs with a view to locking down commitments by August. Many of the larger broadcasters are well advanced in planning and others are just beginning. Each will nominate how many square meters of IBC space is needed, how they would like to customise their space and what broadcast services are required to facilitate their coverage of the Games.

Discussions with rights holding broadcasters reinforce the overall project goals which the Organising Committee have set and which guide every aspect of the Host Broadcaster project.

Aside from the obvious KPIs to play a lead role in delivering a successful Commonwealth Games and to meet all key dates, milestones and deliverables on time and within budget, the Organising Committee have charged us to help deliver their mission, vision and values.

That includes increasing the participation of rights holder broadcasters to maximise the reach of the ‘People’s Games’ and to also showcase our collaborative business model as a template for future Games.

At the end of a busy fi rst day sleep is far from my mind, and we are all abuzz with the job ahead, so Andrew, Caroline Ramsay (head of broadcast venue management), Ian Hirst (head of production) and I head off to the nearby Molly Malone’s Bar to continue our discussions over a wee pint.

* Hogmanay is the Scots word for the last day of the year and is synonymous with the celebration of the New Year (Gregorian calendar) in the Scottish manner.


32

NEW

S O

PERA

TIO

NS

NEWS OPERATIONSwww.content-technology.com/newsoperations

FRANCE 24 Expands Distribution in Asia Pacifi cFRENCH INTERNATIONAL NEWS channel FRANCE 24 has concluded a series of new distribution agreements, allowing the channel to strengthen its worldwide distribution in Myanmar, Singapore, Indonesia, Thailand and Australia.

In Myanmar, FRANCE 24 English version has just launched on the new IPTV network Skynet (channel 45), allowing the channel to be available to 50 000 subscribers across the country.

Thanks to an agreement with Telkom Vision, FRANCE 24 English version, is now available 24/7 in Indonesia on the operator’s cable, IPTV and DTH off ers. FRANCE 24 is now accessible to an additional 100,000 subscribers in major Indonesian cities.

FRANCE 24 has extended its agreement with SINGTEL, the largest telecommunications company in Singapore, allowing its English version to be available on the operator mobile off er to 90,000 Mobile TV subscribers.

In Thailand, FRANCE 24 is now available on major IPTV operator ME TV. FRANCE 24 English version is now available 24/7 in the basic off er, while the French version will be available “à-la-carte” for 220 Bahts (5,5 Euros) per month.

In Australia, FRANCE 24 has partnered with SBS, allowing its English version to be broad-cast 30mn per day at 3pm on SBS ONE.

Visit www.france24.com

Kompas TV Takes Etere for News Workfl owETERE, a developer of software solutions for media producers, has announced that Kompas TV, the Indonesian television network, has chosen the Etere MERP system to improve the existing news workfl ow for its channel.

Etere integrates Kompas news workfl ow with its ENPS system via MOS protocol with a MAM-based platform and comprehensive newsroom computer system that includes fully integrated video production tools and playout control. The Playout system is based on Etere MTX which is able to play ProRes Files natively and this allows faster news processing.

Etere News suite implementation provides advanced and reliable production, from ingest to delivery of news, and playout capabilities with IT-based centralised storage, server and database. The Etere workfl ow system automates and streamlines many processes in the background to facilitate distribution.

Content can be captured via SDI or through fi le transfer. The tapeless workfl ow system interconnects the various station departments including the Archive, Studios, Post-Production, Media Management, Traffi c, Newsroom and Playout under only one framework. Etere Ingest captures and edits SDI stream while ingesting.

“This integration will advance workfl ow operations into a better management. Etere ENPS system gives Kompas the fl exibility and functionality in terms of asset, data and content management along with the level of reliability, fault tolerance and intuitive interface,” says Fabio Gattari, Asia Pacifi c Sales.

Visit www.etere.eu

Bloomberg TV Forms Partnership in IndonesiaBLOOMBERG TELEVISION announced the formation of a partnership in Indonesia with the Idea Group, a Jakarta-based media and strategic communication holding company, that will see the launch of Bloomberg Television Indonesia in early 2013.

Presented in the local language Bahasa Indonesia, Bloomberg Television Indonesia will bring Bloomberg’s news, alongside locally-produced content, to the world’s fourth most populous country and Southeast Asia’s largest economy. Bloomberg TV Indonesia will partner with existing broadcast entities and air on Free to Air, Pay TV, internet and mobile platforms.

“Indonesia is not just one of the largest consumer markets in Asia, it also has one of the fastest growing economies and rising investor classes,” said Gary Groenheim, Commercial Director of Bloomberg Television, Asia-Pacifi c. “We have long identifi ed Indonesia as a strategic emerging market to take Bloomberg Television’s global experience and translating that into a meaningful local TV proposition. With the Idea Group, we have found a partner with the vision and passion to take business news from its traditionally narrow and specialist confi nes to a broader, mainstream audience.”

“We are very pleased to partner with such a reputable institution like Bloomberg, and believe that the transfer of skills, experience, and journalism ethics will truly benefi t the local market,” said Ziva Narendra Arifi n, Chief Executive Offi cer of Idea Group Indonesia.

Visit www.bloomberg.com/tv

It’s a ‘Moto Cross’ for Indonesia’s Metro TV NewsTAKING A DETOUR around Jakarta’s traffi c congestion, Indonesian 24-hour news channel Metro TV has launched a fl eet of motorcycle newsgathering teams employing several TVUPack TM8100 3G/4G mobile broadcasting backpacks from Magna Systems and Engineering..

Magna Systems and Engineering Indonesia Sales Manager, Awan Setiawan, said, “Metro TV is a news broadcaster with many live events, interviews and on-site production requirements all of which require considerable satellite uplink bandwidth and satellite uplink mobile equipment or the use of an SNG van. In Jakarta these days, using an SNG van to respond to breaking news is sometimes simply not fast enough due to the city’s traffi c

congestion.”

Setiawan continued, “Metro TV specifi cally wanted a lightweight live reporting tool to help deliver footage to their news studio. We suggested the TVUPack and performed several demonstrations of its capabilities. Essentially Metro TV’s key requirements for their new mobile solution was for it to be faster, more fl exible and easier to use than their traditional SNG van. After a two-month assessment period of all the options available in the market, Metro TV concluded the TVUPack was the solution that best met all their requirements. They particularly liked the TVUPack’s 3G/4G newsgathering and recording capabilities, hot swappable battery system, video quality, fl exibility in operation and that it is light enough

to be carried whilst riding a motor cycle.”

Once the assessment was complete and the order placed Magna systems supplied four TVUPack TM8100 backpacks, a TVUPack TR3100 receiver and comprehensive installation, set up and training for Metro TV’s new two-man motorcycle newsgathering teams.

Setiawan concluded, “Metro TV particularly appreciated Magna Systems’ extensive training and quick response times throughout. This combined with our proactive approach to ensuring they always had the latest software upgrades in order to use the TVUPack’s new functions and capabilities, was also very welcomed by the Metro TV team.”

Visit www.magnasys.tv


33

NEW

S O

PERA

TIO

NS

NEWS OPERATIONS

Tieline Adds OPUS Coding to NewsgatheringTIELINE HAS ADDED the OPUS coding algorithm to its Report-IT newsgathering application, as well as Tieline Genie and Merlin IP audio codecs. Tieline is the fi rst major IP audio codec manufacturer to release OPUS and make it available to customers.

OPUS incorporates technology from the well-known SILK and CELT codecs to create a low latency speech and audio codec. It is a variable bit-rate algorithm ideal for live broadcast situations because of its capacity to deliver high quality, real-time Audio over IP (AoIP) at low bit-rates.

“Following the recent addition of OPUS to the EBU 3326 interoperability standard for Audio Contribution over IP, a number of large European broadcasters requested Tieline integrate OPUS into Tieline’s codec products,” said Charlie Gawley, VP Sales APAC & EMEA.

Tieline has integrated OPUS into the Report-IT application and optimised it to deliver high quality speech at bit-rates from 14.4Kbps up to 64Kbps over Wi-Fi and cellular wireless networks. In Genie and Merlin IP audio codecs the algorithm is optimised for more complex audio signals such as music at higher bit-rates.

OPUS is available now in the Report-IT Lite application, Report-IT Live and Report-IT Enterprise from the iTunes App Store.

Visit www.tieline.com

Real-Time Chroma Keyer

CRYSTAL VISION’S SAFIRE 3 is a real-time chroma keyer suitable for all live virtual productions from studio to sport. The enhanced chroma keying uses a sophisticated algorithm, giving excellent results with minimal sensitivity to camera noise.

New key processing features include blacks, whites and greys reject for realistic shadows and a solid key, edge shaping to eliminate hard outlines, key noise reduction through the application of various fi lters and two-dimensional compensation for uneven illumination of the backdrop.

Working with 3Gb/s, HD and SD sources, Safi re 3 makes it easy to generate a realistic chroma key by using up to 12 points on the backdrop as well as four points on the Foreground object to automatically set up the optimised processing.

It includes Foreground colour correction and Background video adjustments to help create a natural-looking composite picture as well as up to ten frames of video delay adjustment for off setting the delay caused by the graphics generators.

Visit www.crystalvision.tv

Improving the UplinkHILTRON HAS ANNOUNCED two major additions to its product range: the HMAM-IOT advanced satellite antenna mount and the HCS4 satellite communication controller. The two products complement Hiltron’s HMCS D-SNG satellite-link monitor and control system.

Based on Hiltron’s HMAM motorised antenna mount, the HMAM-IOT incorporates inclined-orbit tracking. To conserve guidance propellant, older satellites are allowed to drift from their nominal target position during their main service life. Operators therefore off er greatly reduced transponder capacity pricing. The HMAM-IOT’s advanced tracking capabilities enable the antenna to follow these variations in position. It is the ideal solution for cost-effi cient uplinks on inclined-orbit satellites.

Meanwhile, the Hiltron Control System version 4 (HCS4) is a highly versatile controller with a wide range of applications in satellite communication. It allows easy switchover between main and backup devices such as downconverters, high-power amplifi ers, waveguide switching systems, MPEG digital video broadcast encoders/modulators and integrated receiver/decoders. The HCS4 can also be used to power, control and monitor optical-fi bre transceivers.

Lastly, Hiltron’s HMCS is a software-based compact monitor and control system which enables the digital satellite newsgathering truck staff to operate a complete satellite link and achieve fast lineup. Integral auto-pointing capabilities allow a satellite feed between two ground locations to be established quickly and easily.

Visit www.hiltron.de

ROSS VIDEO HAS PARTNERED with Crispin Corporation to implement a full news workfl ow designed to satisfy the requirements for a customer account.

The integration of products between Crispin and Ross Video allow both companies to achieve together what they could not have off ered separately. The integration consists of Crispin’s NewsCat Media Asset Management System with Ross’ OverDrive Automated Production Control System and BlackStorm Playout Servers.

“Having a solution for every customer requirement is impossible to predict,” said Todd Robinson, Marketing Product Manager, Video Servers, Ross Video. “However, having a partner company to rely on to fi ll in the gaps is key to successful solutions.”

“Working with partners like Crispin and the BlackStorm team to create an end-to-end solution for the customer has been a pleasure,” said Allan Pepper, Marketing Product Manager, Technical, OverDrive, Ross Video. “The fi nal integration provides complete transparency between the

systems involved when coding server clips in the newsroom and has received great feedback from the customer.”

Crispin’s NewsCat Media Asset Management System allows editors, producers, and directors the ability to submit edited content to the Ross’ BlackStorm Playout Servers using a copy of the rundown. It creates low resolution proxies of the material upon submission so newsroom users can confi rm the video has been successfully submitted and is correctly assigned to the right story where it can be sent live to air with OverDrive.

“One of the primary goals of most news operations is to become fully digital. This demands sophisticated technology and tools to manage the fi le-based workfl ows. The combination of Crispin and Ross technologies delivers that end-to-end solution news organisations demand,” said Rodney Mood, Chief Operating Offi cer, Crispin Corporation.

Visit www.crispincorp.com and www.rossvideo.com

Lotus Communication Releases Instant Translation PhoneLOTUS COMMUNICATION LIMITED has released a telephone service called Instant Translation Phone, ITP for short. The service is currently available on an IP phone supplied by the Company. However, users can also download VoIP mobile app, INAtalk, to use the free beta version of ITP.

Through the service, you can communicate confi dently with someone who doesn’t speak your language. You only need to speak in your language and your colleague at the other end will hear you in their language.

Lotus are currently doing a beta test version for INAtalk users. Users are required to fi ll in the ITP beta registration form online, and will then receive instructions via SMS and email.

Visit www.inatalk.com

Ross and Crispin Partner to Implement News Workfl ow


34

POST

PRO

DU

CTI

ON

POST PRODUCTIONwww.content-technology.com/postproduction

DaVinci Resolve 9.1BLACKMAGIC DESIGN HAS ANNOUNCED a major release of DaVinci Resolve 9.1, the latest update to the colour correction tool. DaVinci Resolve 9.1 enables customers to use Resolve with Apple’s Macbook Retina technology, the world’s highest resolution notebook display. Retina based notebooks have quickly become one of the most popular tools in the post production world, and with 9.1, DaVinci Resolve will be able to run on the 15” Retina MacBook Pro at the best image quality setting.

DaVinci Resolve 9.1 also features support in XML for FCP X Audition, a popular feature in FCP X which provides the ability to stack and scroll through multiple shots in a single location in a timeline, allowing Resolve users to easily transfer fi les between the systems for an effi cient workfl ow. Improvements in mixed frame rate XML integration will allow better workfl ows between Resolve, FCP X and Final Cut Pro 7 projects. DaVinci Resolve 9.1 also supports improvements for Avid AAF, Sony XAVC and AVC-Intra fi les and a number of audio and performance improvements.

The new DaVinci Resolve 9.1 also includes an enhancement for the CinemaDNG fi le format, as used by cameras such as the Blackmagic Cinema Camera. DaVinci Resolve now includes a CinemaDNG Input Device Transform (IDT) for grading RAW images in full ACES workfl ows.

DaVinci Resolve 9.1 can also now be used with the DeckLink 4K Extreme, Blackmagic Design’s newest addition to the DeckLink family of PCI Express capture cards. DeckLink 4K Extreme includes all the features of the popular DeckLink HD Extreme 3D card, plus UltraHD 4K playback, which is four times the resolution of 1080HD video.

DaVinci Resolve 9.1 for Mac, Windows and Linux is now available for download from the Blackmagic Design website free of charge for all existing full feature DaVinci Resolve customers. DaVinci Resolve Lite 9.1 public beta is available for both Mac OS X and Windows and is free to all users.


VFC Archives with MasstechMASSTECH HAS EXPANDED its reach into Asia with the signing of its fi rst deal in Vietnam with the Vietnam Television Film Center (VFC) to digitally archive all its fi lm productions. The installation of Masstech’s Emerald LE solution with integration to Avid’s Interplay ISIS is currently underway at VFC’s Hanoi facility.

VFC, a fi lm production company owned by Vietnam Television, the national television broadcaster for Vietnam, produces made-for-television movies and miniseries. Only about 30 percent of the entertainment programming shown on VTV is made locally, the rest is imported and dubbed in Vietnamese.

Currently, VFC has in place an Avid Interplay production system for its drama television series productions. Masstech integrates to Avid Interplay to provide digital archiving for their ever growing storage demands and preserves VFC’s DV50 (Standard Defi nition) and DNxHD120 (High Defi nition) content on LTO-5 data tape. The new system features Emerald’s mini-MAM content management and broadcast hierarchical storage management (HSM) to control dual (two) Spectra T50e libraries, each with 50 slots. This unique solution is powered by an IBM x3650 M3 server platform with internal cache and high performance fi bre channel connectivity to the libraries.

Brad Redwood, Vice President of International Sales and Marketing at Masstech, said, “We congratulate the Vietnam Television Film Centre and look forward to enhancing their workfl ow with advanced digital archiving. Masstech’s ownership of the entire solution delivers sophisticated Avid integration on an aff ordable integrated platform. Broadcasters, Editors, music production and other creative professionals can utilise Emerald to enhance their workfl ow and output.”

Digitcast, a dealer for Masstech operating out of Singapore, closed the deal with VFC.

“Combined with our local knowledge and technical expertise, products like Emerald enable the burgeoning Vietnamese fi lm industry to preserve their local productions and compete on a global scale,” said Anthony Vu, Operations Manager at Digicast.

Visit www.masstech.com

“VANISHING POINT” IS A DOCUMENTARY about the iconic Japanese rock/rockabilly band Blankey Jet City. Directed by Yutaka Onaga, a photographer and video artist, the fi lm follows the band’s last tour in 2000 through 12 cities and 17 concerts. Though the fi lm was initially not released, more than 50 hours of footage was fi nally edited and completed recently,

and the fi lm hit theatres in January 2013, with dramatically improved video and audio.

The job of up converting footage to be able to be shown in HD was given to Kanagawa, Japan-based E-head Production. Provided with original footage all shot in SD and 60i, E-head was required to quickly up convert all footage to HD and 24p in time for a January 26th premier. E-head used Blackmagic Design’s Teranex 2D Processor for all conversions on the fi lm.

Yasuo Egashira from E-head Production, who owns the Teranex 2D Processor, said, “When I had heard about ‘Teranex 2D Processor Used for ‘Vanishing Point’ from Mr. Onaga, I had just purchased the Teranex 2D Processor so suggested that he use it to complete all of the conversions. It worked out great for this fi lm. It is very user friendly. I did not even read the user manual but could fi gure out how to use it. It was great on both functionality and usability.”

“In particular, I really liked that frame rate conversion created a more fi lmic look, rather than a video. Also, the audience’s faces in the up converted version looked clearer than that of the original SD version, which makes the scene more alive,” said Onaga. “I am very happy that I could re-experience what I saw and felt 13 years ago, in a movie theatre with fans who jump around in the scene once again.”


Japanese Rockabilly Band Revived with Teranex


35

POST

PRO

DU

CTI

ON

POST PRODUCTION

BCC 8 FxPlug NowAvailable for FCP XBLACKMAGIC DESIGN HAS ANNOUNCED DBoris FX has announced that Boris Continuum Complete 8 FxPlug (BCC 8 FxPlug) is now available for Apple Final Cut Pro (FCP) X and Motion 5 in addition to FCP 7.

BCC gives editors and motion graphics artists the power to create high-quality broadcast graphics and perform project-saving image restorations within FCP. 200+ fi lters include extruded text, 3D particle eff ects, image restoration and touchup tools, true 3D lens fl ares and volumetric lighting eff ects, keys and mattes, colour grading tools, and more.

New FCP X Templates allow editors to quickly achieve powerful VFX with easy-to-use Glows, Lights, Particles, and Tilt-Shift eff ects. In addition to taking advantage of the FCP X templates included with BCC 8 FxPlug, editors are able to create their own templates with BCC FxPlug in Motion 5, and access these templates in FCP X without going back to Motion 5.

BCC FxPlug gives FCP X users fi rst-ever access to powerful extrusion fi lters to create 3D objects using text and shapes. Type-on Text creates animated text type-ons that fl y in from behind or toward the camera or slide into view from the top, left, bottom, or right of the screen. Layer Deformer generates useful 3D shapes and deforms these objects using built-in vertex and pixel shaders.

New to BCC 8 FxPlug, the BCC Film Glow fi lter off ers precise threshold control, glow colour control, individual X and Y glow width control for vertical or horizontal glows, and even individual glow scale for each colour in the image.

Visit www.borisfx.com

Colorfront Pioneers 4K HFR Workfl owCOLORFRONT ON-SET DAILIES delivers an all-embracing approach to digital dailies workfl ow. It integrates production-proven tools for dailies work – including playback and sync, QC, colour grading, audio and metadata management, plus checksum-verifi ed copying and LTO-5 archival – with colour and image science, and the delivery of simultaneous faster-than-realtime deliverables in all common fi le formats.

On-Set Dailies runs on HP’s Z820 16-core workstation, with CUDA processing running on multiple GPUs using the latest NVidia ‘Kepler’ technology, which raises the performance of on-set imaging to new levels.

This includes: rendering performance at over 100FPS; parallel background rendering; faster-than-realtime JPEG2000 encoding for DCP and IMF deliverables; realtime RED R3D playback in HD/2K, with CPU decoding, without the need for RED Rocket cards; 60+FPS ARRIRAW 4K de-Bayer, 4K F65RAW and 4K Canon C500 processing.

IBC 2012 saw Colorfront demonstrating realtime 4K at 60P playback of Sony F65RAW, Canon C500 RAW and Alexa ARRIRAW camera footage from On-Set Dailies, via HD-SDI with AJA’s Corvid Ultra video technology, at AJA’s booth.

The new release of On-Set Dailies comes with On-Set Live!, a grading capability which uses the live HD-SDI feed to enable ACS-CDL or ARRI Look-compliant colour corrections on a broadcast monitor.

It also features support for Blackmagic Cinema Camera DNG fi les, Avid DNxHD 444 support and Sony SRFile (SStP) playback and encoding. On-Set Dailies features end-to-end real-time 4K ACES workfl ow, with IDT, RRT and ODT functions. It also delivers support for On-Set Colour 2K resolution full-latitude (ACES) grading tool on the iPad.

Visit www.colorfront.com

Sony Upgrades Vegas Pro SoftwareSONY CREATIVE SOFTWARE has announced the latest upgrade to its Vegas editing technology. Combining a familiar track-based editing interface with a fl uid, interactive approach to media production, workfl ow improvements in Vegas Pro 12 include Project Interchange with popular editing platforms including Adobe Premiere Pro CS6, Avid Pro Tools 10 and Apple Final Cut Pro 7; Expanded Edit Mode, for fi ne-tuning the timing of a project using an interactive “A-B roll” paradigm; Colour Match, for quickly matching the colour characteristics of diff erent video clips; and Smart Proxy editing, which automatically replaces clips on the timeline with edit-friendly HD proxies.

On the format front, Vegas Pro 12 can now ingest Panasonic P2 DVCPRO and AVC-Intra content, and encode to all fl avours of the HDCAM SR mastering format including the 220 Mb/s SR Lite and the 880 Mb/s SR 444.

There are new Masking Tools in Vegas Pro 12, including Eff ects Masking for quickly obscuring a face or logo. Updates to the Project Media and Explorer windows improve the ability to fi nd and organise content, thanks to a redesigned Thumbnail View along with optimised Media Tagging capabilities and automated Smart Bin search tools.

Vegas Pro 12 is available in two confi gurations. The Vegas Pro 12 collection follows previous versions by including the Vegas Pro 12 editing application along with DVD Architect Pro 5.2 and Dolby Digital Professional Encoder, for DVD and Blu-ray Disc authoring. Vegas Pro 12 Edit is a new, lower cost package featuring all of the editing capabilities of Vegas Pro 12, without DVD Architect and the Dolby Encoder software.

For Sony PMW-F3, F23, F35 and F65 shooters looking to maintain the full dy-namic range of their images in post, Vegas Pro 12 uses OpenColourIO technol-ogy from Sony Pictures Imageworks and the Academy Colour Encoding System (ACES) colour space standard to build a comprehensive S-log workfl ow solution. Vegas Pro 12 editors can apply the appropriate LUT (Look-up Table) to the S-log source material from a list of built-in templates during the post-production process. The fi nished project can be encoded to a wide range of formats using the ACES colour space standard as well as other popular non-ACES standards.

Visit www.sonycreativesoftware.com

Shot Management, Conform and ReviewTHE FOUNDRY HAS ANNOUNCED its latest version of HIERO, a shot management, conform and review tool, as well as HIEROPLAYER which will give artists the ability to view their VFX shots in the context of a timeline – ideal for collaborating and critiquing shots at a workstation.

Windows OS support in version 1.5 brings HIERO onto all three platforms. HIERO users will now be able to utilise a broadcast monitor to review footage on compatible Blackmagic and AJA SDI-Out Hardware. The Broadcast Monitor Out functionality will give HIERO operators the ability to accurately check that the colour space and aspect ratio is exactly the same as it would be when the footage is broadcast.

With the addition of Multi-Channel Image Support, users will now also be able to view all the image layers of multi-channel EXRs for CG passes. Operators will have access to more than just the RGBA pass and view all of the image passes that EXR fi les can contain, just as they can in NUKE. HIERO 1.5 also adds support for playback of native ARRIRAW camera footage. Users can either edit directly with the raw footage or transcode out to other image formats using HIERO’s export system.

HIEROPLAYER can open HIERO projects, allowing artists to see their shots in context of a conformed, multi-track timeline and seamlessly critique versions of their renders. Artists will be able to playback the same formats that NUKE knows about (including multi-channel EXRs, and audio), organise and tag their comp elements into Clip Bins, and even knock together basic ‘scratch edits’. HIEROPLAYER is a VFX timeline tool built for artists. It works seamlessly with NUKE and HIERO out of the box and via Python scripting, can also be integrated into other apps in the pipeline.

Visit www.thefoundry.co.uk


36

POST

PRO

DU

CTI

ON

POST PRODUCTION

Fusion ReactionBy Keith Ford

Founded in 2006, Fusion-io is a company focused on accelerating data. The Utah-based start-up has utilised what they refer to as data decentralisation to run some huge infrastructures, mainly in the server space. These include: Facebook, Pandora, Polaris, New York Stock Exchange, and Xbox Live. Fusion-io also gained notoriety in 2009 when The Great and Powerful Woz, Steve Wozniak, joined the company as Chief Scientist.

THEIR LATEST PRODUCT, the Fusion ioFX, was launched earlier this year at NAB. Fusion ioFX is a fl ash-based workstation memory tier that seeks to accelerate the rate at which fi les can make it to and from the workstation. Based on a NAND fl ash and connecting through via a PCI Express bus, the ioFX can read fi les at 1.4 GB/s. One of the key benefi ts of the high read speed is the ability to work on fi les as high as 5K in full resolution, as well as working with stereoscopic content in real-time.

“We are the fi rst to market with a native NAND fl ash device. So by that, what we mean is that this is NAND fl ash, just like an SSD, but an SSD has a controller chip built into it that basically manages the memory,” explains Vincent Brisebois, Solutions Architect at Fusion-io. “What we do with the hardware is actually very simple. It’s NAND fl ash in a programmable FPGA. So all we are really doing with this is connecting the NAND fl ash to the system bus and this is not actually doing most of the logic. The logic and intelligence comes from a big software suite.

“So what’s unique about Fusion IO is we actually developed a memory subsystem extension for the operating system. So we add to the OS the ability to not only address RAM, but also address NAND fl ash like a memory tier addition. So now you end up with an operating system that has RAM, NAND fl ash, which we call IO memory, and storage. So it doesn’t actually connect through the storage bus and the benefi t of that is, because it’s NAND fl ash, you get very high bandwidth. An SSD takes about one millisecond to respond with the data you request. This actually takes 0.06 milliseconds to respond. So you can get 20 fi les off one of these in the time that an SSD gives you one.”

The ioFX can drastically change how large post-production houses, small studios, and freelancers working remotely, operate. High-end post facilities will primarily benefi t from the ease of scalability that the ioFX provides.

“For high end users that are using very high quality or high bandwidth, doing stereoscopic 4K, like The Hobbit, stereoscopic 5K at 48 fps, you get to a point where the bandwidth is one thing that’s diffi cult to get very fast. So this is 1.4 GB/s read, which you can do with SSD’s in a RAID, but if you put two of these you get 3 GB/s, if you put four you get 6 GB/s,” said Brisebois. “The problem with SSD’s is the more you add, the less increase in performance you gain. So two SSD’s double the speed, add two more, you get 60% more; add two more, you get 40%. You get to a point where getting to 3 GB/s and 6 GB/s becomes unreasonable, becomes a big chassis with 32 SSD’s and all this management. It starts bogging down with storage infrastructure before actually giving you performance.”

Small facilities and freelancers can benefi t from the ioFX, as it signifi cantly lowers the entry level for eff ects work. Freelancers can reasonably work on 4K, IMAX, or stereoscopic shots from a home workstation with the sub-$3,000 device added on.

“It actually makes the freelancers kind of relevant again. They can now bid on stereoscopic fi lm shots. They can bid on IMAX. They can get up to the requirements of the industry without having to be part of a big studio,” said Brisebois. “Smaller studios as well that don’t have the big infrastructures and the Infi niBand and the SANs and all that stuff can now do things and bid on shots where they would never have

even dreamt of being able to. It does kind of level the playing fi eld in allowing the smaller guys to do more, but also the big guys to be more effi cient at what they do.”

One of the most unique features of the ioFX is the combination of software and hardware. The company wanted to stray from the conventional workfl ow of creating hardware that conforms to the current standards, or software to manage the standard hardware. Instead they opted to create a hybrid solution in which both hardware and software are equally important.

“For Fusion IO it was sort of this idea of saying well, let’s build new hardware that requires all new software or new software that requires all new hardware,” Brisebois explained. “Basically a hybrid where we have as many software developers as we have hardware developers and the hardware itself is not really the product, the software itself is not just the product, it’s really the combination of the two. It took a company to say no, let’s not just be a storage company and not just be a management software company and build something new and using a medium the right way.”

The addition of Steve Wozniak onto the Fusion-io team has brought a lot more than just the positive PR. The Woz certainly adds to the already strong engineering background of the company, but can also be a draw for other talented individuals, such as Jens Axboe who wrote the memory subsystem for Linux, to join the organisation. Having been a driving force at a company as successful as Apple gives him a unique business insight too.

“On the company side, he does bring this parallel between Fusion-io and Apple where he’s also helping our company go through rapid growth in our fi rst year as a public company and on the corporate side of things. A company growing into billions of dollars of valuation within a year of being public is something that Woz has gone through before,” concluded Brisebois.

Visit www.fusionio.com


STORAGE + ASSET MANAGEMENTwww.content-technology.com/mediamanagement

37

STO

RA

GE

+ A

SSET

MA

NAG

EMEN

T

Microsoft and PPTV Deliver Cloud-Based, Online TV ServiceMICROSOFT AND PPTV, China’s leading Internet TV service provider, have signed a strategic partnership memorandum to launch PPTV Asia TV Networks (ATN) platform on Windows Azure. PPTV ATN is the fi rst to deliver a complete video cloud service on Azure. This agreement also marks Microsoft’s fi rst cloud-based collaboration with a local Chinese new media company.

According to the memorandum, PPTV will adopt Windows Azure as the core infrastructure platform for PPTV ATN. PPTV

will also continue to explore the collaboration opportunities with Microsoft on online TV, media service platform and Content Delivery Network (CDN) for its next generation domestic market needs.

According to Chuang Tao, CEO of PPTV, the company provides an ecosystem for global content providers to upload content to the library, and to license to service providers through revenue sharing.

Visit www.pptv.com and www.microsoft.com/china

Aspera Opens Singapore Offi ceASPERA, INC. has announced the opening of an Asian regional offi ce in Singapore. The new offi ce will serve Aspera’s rapidly growing base of high-speed fi le transfer software users across Asia Pacifi c and further drive business expansion in the region.

Aspera says it has seen triple-digit revenue growth across media and entertainment, engineering, telecommunications, life sciences and government as more and more industries adopt Aspera’s high-speed fi le transfer software for high-performance movement of ‘big data’.

Visit www.asperasoft.com

Kodak Adds Digital Separation FilmKODAK HAS ADDED another product to its portfolio of asset protection fi lms. KODAK VISION3 Digital Separation Film 2237 is a black-and-white separation fi lm for preserving images from colour digital masters.

This archival fi lm is optimised for laser, CRT and LED light sources utilised by digital recorders in the marketplace. Providing high image quality including fi ne detail, tight grain, optimal resolution, and excellent fl are characteristics, KODAK VISION3 2237 Film is off ered on an ESTAR base for premier physical performance and long-term stability that lasts centuries in recommended conditions.

Visit www.kodak.com

New DFT Owners Focus on Archive Market

INDIA-BASED PRASAD CORPORATION has announced the acquisition of the “Scanity & Flexxity” product manufacturing company Precision Mechatronics GmbH based in Weiterstadt – Germany and its sister Sales & Marketing subsidiary DFT Munich GmbH.

PrecisionMechatronics and DFT Munich will be merged into a new company called Digital Film Technologies GmbH which will continue with research and development; new equipment manufacturing, sales and on-going service support for its large installed client base of legacy products and new sales.

The company’s technology origins stem back to Robert Bosch GmbH, Fernseh Div., which later became BTS inc. - Philips Digital Video Systems,

then part of Thomson Grass Valley and, now, DFT Digital Film Technology

Prasad Corporation, which has offi ces in Mumbai, Chennai, Los Angeles and London, says the traditional fi lm scanning market is changing and becoming more about historical ingest; restoration and archive management. DFT’s Scanity product is a real-time 2K and 4K capstan driven ingest scanner designed to meet these evolving Archival Market conditions.

Stefan Kramper will be the operational Managing Director within the new company structure, working closely with the both the existing management team and the new owners, Prasad Corporation.

Visit www.dft-fi lm.com

Harris Reselling SpectraSPECTRA LOGIC has announced a worldwide relationship with Harris Broadcast Communications to provide broadcast and media customers with storage archival solutions. The relationship allows Harris to resell Spectra Logic’s T-Series LTO tape libraries as part of its new Invenio Archive solution, and provide its customers with a complete end-to-end solution.

Harris will resell Spectra Logic’s complete family of T-Series tape libraries, from its smallest Spectra T50e tape library, which scales to a native capacity of 75TB, to its enterprise-class T-Finity, which supports a native capacity of 600 petabytes or more than 25 million hours of video content.

Visit www.spectralogic.com and www.broadcast.harris.com

Dalet Releases Xtend for CS6DALET DIGITAL MEDIA SYSTEMS has announced the Dalet Xtend module for Adobe Premiere Pro CS6 software which provides workfl ow collaboration between the Dalet Media Asset Management (MAM) platform and Adobe Premiere Pro CS6

Using the Xtend Panel, Adobe Premiere Pro users can connect directly to the Dalet database to view available content. Dalet users can also push material, such as EDLs and clips created in Dalet, directly to Adobe Premiere Pro CS6 editor for fi nishing. The fi nished piece can then be exported back to Dalet as a new title or saved against a placeholder.

The Dalet collaboration with Adobe is a long-term relationship, and additional feature enhancements are expected. For instance, when material is opened into the NLE, the diff erent locators (QC information, sports logs, rights metadata, etc.) are visible to the users. The craft editors can also add additional metadata as they work. Essential information, such as descriptive locators and usage rights, fl ows back and forth and – thanks to the intelligent genealogy – is tracked by the Dalet content catalogue.

The Dalet MAM engine manages all metadata and media processes. Genealogy metadata linking the editor’s material to the original sources can be preserved and content is better referenced throughout, making searches of the content catalogue and archives more effi cient.

Visit www.dalet.com


38

STO

RA

GE

+ A

SSET

MA

NAG

EMEN

TSTORAGE + ASSET MANAGEMENT

MediaCorp Chooses Dalet for File-Based Workfl owDALET DIGITAL MEDIA SYSTEMS HAS ANNOUNCED that Singapore national broadcaster, MediaCorp, has chosen Dalet Media Life as the enterprise Media Asset Management (MAM) platform for the migration of its entire operation to a fully fi le-based workfl ow, including the digitisation of its archive. Dalet Media Life will provide end-to-end, integrated management for program preparation, production, and the distribution workfl ow. Dalet Media Life is the central hub of the best-of-breed solution prepared by system integrator TSL, which was awarded the MediaCorp contract for the Integrated Content-centric fi le-based Exchange System (ICE) after an extensive tender process.

Dalet Media Life off ers sophisticated content lifecycle and workfl ow management within a fully integrated, SOA-based architecture that will unify the many diff erent IT and broadcast systems at MediaCorp’s Caldecott Broadcast Centre. The result will be a more fl uid and effi cient workfl ow with increased output. At the same time, MediaCorp will be able to leverage the investments already made in its existing systems, including the IBS traffi c and playout system, Harris automation, EVS production and studio servers, and many others.

“Dalet is very pleased to have been selected by MediaCorp for this important project. Our experience with MAM best practices in program preparation, promo production, compliance editing, news library, and archiving environments melds perfectly with the stringent requirements for MediaCorp’s broadcast and multiplatform production and distribution needs,” says Arnaud Elnecave, director of Asia Pacifi c, Dalet.

“We evaluated all the key players during our evaluation process and we were very impressed with Dalet’s expertise and with the fl exibility of the Dalet off ering. Even during the pilot, we saw how easy it was to confi gure workfl ows and create metadata sets on the fl y that exactly met our operational and data model requirements,” says Kelvin Ma, vice president, Media Technology, Architecture and Support at Media Corp Technologies.

“Dalet’s open architecture with SOA-based integration was particularly important, as it allows us to maximise our expenditures in existing systems while moving to this more fl exible fi le-based workfl ow. With all the content, metadata, and processes managed by the Dalet MAM, we expect to increase output and realise dramatic workfl ow improvements. We especially look forward to the second phase of the plan, when we will upgrade to the new Dalet Galaxy MAM platform

with its powerful Business Process Management capabilities, which will add even greater effi ciencies to our operations.”

In addition to its MAM capabilities, Dalet Media Life provides a wide range of Dalet tools that will be used in conjunction with existing systems at MediaCorp. Dalet ingest tools will be used for live feed scheduled ingest, Flexicart ingest, VTR crash recoding, dedicated P2 and XDCam imports, watch folder-based imports, and web-client fi le uploads. Metadata exchanges and updates will be provided between several systems including the traffi c planning and playout systems and Over-the-Top (OTT) systems.

In the program prep workfl ow, quality control results from Interra Systems Baton will be viewable in the Dalet Media Logger where users can see timecode-based locators and add the manual locators and comments needed for compliance review and approvals. Dalet Media Cutter enables proxy editing with the ability to add voiceovers, graphics, and eff ects onto the timeline. Content is prepared in multiple languages with 5.1 audio tracks and diff erent languages for subtitles. Storyboarding and shared shotlists can also be prepared in Dalet.

Integrations via Dalet Xtend for craft editors like Apple Final Cut Pro and Avid Media Composer provide Edit Decision List (EDL) and non-destructive metadata exchanges. Sound is fi nished using Fairlight and Avid Pro Tools. The integrations at MediaCorp include IBS traffi c and playout, Harris automation, Omneon Spectrum and Omneon Mediagrid servers, EVS production and studio servers, the FrontPorch DIVA archive system, Telestream transcoding, the Grass Valley Aurora News Production Suite, Swift subtitling, Softel subtitling converters, and an in-house rights management system. At any point in the workfl ow, users can execute fast, drill-down metadata queries in multiple languages (English, Mandarin, Tamil, and Malay) using the powerful Dalet search engine to search and browse content.

The fi rst phase of the project will integrate the fi le-based systems with existing studios, video and audio post, and transmission systems. It will also involve digitising MediaCorp’s 60,000-hour archive. The company expects to transmit all free-to-air-channels in HD digital format by December 2013 under the DVB-T2 television standard.

Visit www.mediacorp.sg and www.dalet.com

KGTF PBS Guam Goes File-Based with NVerzion

PBS GUAM OPERATES TWO BROADCAST CHANNELS, both of which deliver customised educational and cultural programming to the Western Pacifi c island of Guam. NVerzion NControl Lite enables the station to control both channels independently as well as provide engineers with real-time access to fi le-based video assets. Leveraging NVerzion’s intuitive asset management software — called XPANSION — and an 8TB TeraStore nearline/archive storage system, the station is able to realise total redundancy of its valuable fi le-based assets as well as effi ciently preserve and manage the on-air video server storage.

“Prior to deploying NControl Lite, we were using DVDs to broadcast programs. This workfl ow was extremely cost-prohibitive and time-consuming,” said Jason J. Fernandez, technical resource support, operations department, PBS Guam. “NVerzion fi le-based automation dramatically reduces the amount of personnel and equipment required to maintain both of our broadcast channels, increasing the effi ciency of our workfl ow by an estimated 80 to 90 percent. The cost and workfl ow savings aff orded by NControl Lite allow us to deliver additional content, leading to a greater viewer satisfaction.”

The NControl Lite hardware package features an industrial rackmount PC with eight serial device control connections to NVerzion’s Ethernet Machine Control (EMC), which is being used to seamlessly control two

VTRs, fi ve video server ports, and the main house video/audio router. Also included in the package are a variety of software systems, including NVerzion’s NGest professional dubbing and recording application, NPoint video preparation software for segmenting and trimming, NControl transmission playlists, NBase SQL media database manager, and NView media database viewer.

At PBS Guam, scheduling logs are transferred from a Myers Traffi c system using the CPIM/BXF traffi c interface of NControl’s scheduling software. During the course of each day, if the schedule changes, the NControl on-air playlist helps streamline changes to the event order, including deletions and additions to the original schedule. A Time Calculation function recalculates the time of day that each event is expected to start, from the current on-air event to the next manual or absolute event, to ensure a seamless, confl ict-free broadcast schedule.

PBS Guam’s engineer can also adjust the fi le-based schedule through an intuitive, software-based user interface that can be customised to account for user and station preferences. NControl Lite’s highly scalable infrastructure will continue to support PBS Guam in the future as viewer demand for content increases.

Visit www.nverzion.com


39

RA

DIO

RADIOThe original broadcast media www.content-technology.com/radio

LATE LAST YEAR saw Joan Warner, Chief Executive Offi cer of Commercial Radio Australia, Chairperson of the WorldDMB Asia Pacifi c Committee and WorldDMB Steering Board member, awarded the WorldDMB 2012 Award for Outstanding Service.

According to a WorldDMB statement, “In receiving this award, Joan Warner has been recognised as a change agent who has made a signifi cant contribu-tion to the development of digital radio broadcast-ing in the Asia-Pacifi c region and globally.”

Today, Australia has a thriving digital radio broad-casting industry with all the major commercial networks and stations airing a variety of stations on digital radio along with national public broad-casters ABC and SBS stations. Over a million DAB+ receivers have been sold and over 1.3 million people tune into a DAB+ device each week.

Visit www.worlddab.org and www.commercialradio.com.au

DAB+ Workshop and Transmission Demonstration for BangkokNATIONAL BROADCASTING and Telecommunications Commission (NBTC) of Thailand is the host organisation of the DAB+ Technology Workshop and Transmission Demonstration, to be held 1-3 March in Bangkok. NBTC and International Telecommunications Union (Asia Pacifi c) are joint organisers.

WorldDMB, in collaboration with Commercial Radio Australia (CRA), will present at the workshop and are planning to conduct the transmission demonstration, similar to the Jakarta demonstration in October 2012. WorldDMB project offi ce staff , Joan Warner, CEO of CRA and WorldDMB Asia Pacifi c Committee Chairperson have had several meetings with the Thai regulator to discuss digital radio.

These meetings were followed by Colonel Dr

Natee Sukonrat the Chairman of the NBTC and Vice Chair of the National Broadcasting and Telecommunications Commission of Thailand, bringing a delegation to Sydney in August 2012 for technical, policy and broadcaster meetings with key DAB+ digital radio stakeholders. While in Sydney the Colonel expressed interest in a workshop being organised in Thailand and trials going on air in 2013.

Workshop presentations will include a DAB+ International Update, the Business Case Study for DAB+ – structure and regulatory considerations, network planning, DAB+ content generation, coverage planning and implementation.

Following the Thai Workshop, an overview will be presented along with other developments in the DAB+ platform at the WorldDMB Workshop

at the ABU’s Digital Broadcasting Symposium on Tuesday 5 February 4-5.30pm in Kula Lumpur.

Visit www.nbtc.go.thand www.commercialradio.com.au

Colonel Dr Natee Sukonrat, Chairman of Thailand’s National Broadcasting and Telecommunications Commission.

WorldDMB Service Award for Joan Warner

AIR and RTM Installing NETIA’s Radio-Assist 8.1NETIA’S FOOTPRINT through the region is steadily increasing with installations of its Radio-Assist 8.1 gaining traction in India and Malaysia.

The company has announced that All India Radio (AIR), the national radio broadcaster of Indiap, is replacing its existing news and radio automation system with the Radio-Assist 8.1 family of digital audio software programs. The installation at AIR’s national broadcast station and across 48 local stations comprises more than 1000 workstations, and is being coordinated by Delhi-based systems integrator Progressive Infotech.

NETIA’s Radio-Assist covers each part of the pro-duction and broadcast workfl ow, allowing users to record, edit, or prepare a playlist. In addition to browse and publishing tools for full multi-media functionality, the software features tools for acquisition, archiving, audio editing, commercial and music production, newsroom systems, sched-uling, broadcasting, and administration. Thanks to its Unicode compatibility, the NETIA software will enable AIR to broadcast in 17 diff erent languages and dialects.

For the installation at AIR, NETIA will work with Progressive Infotech to provide not only Radio-Assist software installation and licenses, but also server infrastructure, audio boards, encoder, hardware, training, and local support.

AIR, the sister service to national television broadcaster Doordarshan, is one of the largest radio networks in the world in terms of the number of broadcast languages and the socio-economic and cultural diversity of its audience.

From its headquarters in New Delhi, AIR off ers many services in a number of languages, each serving diff erent regions across India.

Meanwhile, Radio Televisyen Malaysia (RTM) has upgraded its regional station in Ipoh to Radio-Assist 8.1. NETIA’s Radio-Assist family of digital audio software programs has been in use at RTM for more than a decade, and the Ipoh-based station worked with Broadcast Communications International (BCI) to transition to the latest software release and begin working with new features, including the Activity Watcher module.

“This upgrade to Radio-Assist 8.1 will introduce greater effi ciency and productivity while requiring very little training,” said Benjamin Schvent, NETIA’s APAC operations manager. “Radio-Assist’s ease of use and performance will support even the most complex operations and streamline RTM’s workfl ow for multiplatform media delivery.”

As well as four television channels, RTM operates six national radio stations, two international sta-tions, and 16 regional stations. Today, 13 of those regional centres are digitised, thanks to installa-tions of Radio-Assist software, which covers each part of the production and broadcast workfl ow.

With its Radio-Assist 8.1 upgrade, RTM in Ipoh will gain a variety of added features. Radio-Assist 8.1’s new audit module, also called Activity Watcher, enables administrators at RTM to trace and check all modifi cations made on the playlist and across the entire Radio Assist 8.1 system.

Visit www.netia.com


RADIO

40

RA

DIO

Suspension for Troubled HK DAB StationHONG KONG DAB+ OPERATOR Digital Broadcasting Corporation (DBC) is again facing regulatory ire with the SAR’s Communications Authority considering a suspension of its sound broadcasting licence over disruptions to its service which followed a shareholder dispute and withdrawal of station funding.

The HKCA is looking to suspend the licence of Digital Broadcasting Corporation Hong Kong Limited for a period of 30 days as a sanction for the breaches by DBC of its licence arising from the disruptions to/cessation of its broadcasting service from 21 October 2012 onwards.

Under its licence, DBC is required to broadcast each day seven 24-hour sound broadcasting service channels of specifi ed genres, announce-ments in the public interest and a specifi ed number of hours of non-Cantonese programmes. It is also required to provide a specifi ed number of hours of fi rst-run and repeated programmes in accordance with the proposal it submitted when applying for the licence.

During 11:30 pm on 21 October 2012 to midnight on 31 October 2012, DBC broadcast only music and re-runs, and from midnight on 31 October 2012, DBC ceased to provide service altogether.

Having considered the circumstances of the case and the representations of DBC, the CA has decid-ed that “the service disruptions/cessation of DBC in the period concerned amounted to contraventions of a serious nature of its licence and that a sanction that commensurate with the severity, nature and duration of the breach should be imposed.”

The range of sanctions that may be imposed by the CA against a contravention includes administrative sanctions (i.e. advice and warning), fi nancial penalty and, in case of a most serious breach, a suspension of licence. The powers to revoke a licence rest with the HK Government’s Chief Executive in Council.

In a statement, the Authority said, “Despite the consideration of suspension of the licence by the CA, DBC should as soon as possible resolve its fi nancial problem and resume a full-fl edged service at the earliest possible time and, in any event, before the expiry of the proposed suspen-sion period. In the event that DBC is able to resume its broadcasting service any time before or during the licence suspension period, the CA would consider whether an alternative sanction should be imposed in lieu of licence suspension.”

Visit www.coms-auth.hk

HARRIS BROADCAST and Geo-Broadcast Solutions (GBS) are touting a solution based on GBS’ ZoneCasting strategy that will allow FM radio broadcasters to improve coverage.

The MaxxCasting solution uses a network topology similar to the GBS’ ZoneCasting architecture for targeted, over-the-air radio broadcasting, but instead focuses on simulcasting content to improve coverage. It can be deployed today under existing regulations, expanding market coverage in a more eff ective way than traditional signal booster technologies.

“We often hear from broadcasters looking to take advantage of this network topology as our ZoneCasting petition to deliver targeted content moves through FCC approval,” said Peter Handy, CEO of Geo-Broadcast Systems. “The FCC rules currently allow FM stations to deploy boosters to fi ll in signal coverage gaps, broadcasting identical content on every booster. We have discovered that adding boosters to simulcast across the typical ZoneCasting topology can help broadcasters improve coverage. And the ability to reach more listeners opens new revenue opportunities through advertising.”

The MaxxCasting approach essentially maximises market coverage today to attract more listeners and advertisers, and paves the way for the unique targeted radio advertising

opportunities for which ZoneCasting exists.

“ZoneCasting was created to bring hyper-localisation to over-the-air radio, bringing new advertising opportunities to local businesses and to allow stations of any size to better compete in a challenging landscape,” said Richard Redmond, vice president of product management and strategy, transmission systems, Harris Broadcast. “But a high percentage of radio stations today would like to improve their reach. MaxxCasting allows them to fi ll out the signal area that they originally purchased, to the maximum of what the FCC allows through their broadcast licenses.”

Harris has an exclusive, worldwide license to use and incorporate the GBS ZoneCasting software and hardware design into its Flexiva transmitters and Intraplex SynchroCast systems for deployment in ZoneCasting systems. Broadcasters would use these same tested and proven technologies for MaxxCasting systems.

The overall solution improves over existing signal booster technologies by minimising interference while fi lling in the gaps of a broadcaster’s market coverage — in many cases working in areas where conventional boosters were not successful.

“Your investment is secure because everything you have done today provides a seamless upgrade path to ZoneCasting tomorrow,” said

Redmond. “The payoff is clear, as MaxxCasting can help stations grow revenue today by maximising signal coverage. Once ZoneCasting is approved, broadcasters can use these same boosters within targeted content insertion applications.”

Visit www.broadcast.harris.com

Boosting FM Radio Signal Coverage

Community Broadcasting Boost for Hong KongTHE GOVERNMENT of the Hong Kong Special Administrative Region is moving forward with a three-year Pilot Project for Community Involvement Broadcasting Service (CIBS).

Radio Television Hong Kong (RTHK) has been tasked to devote part of its airtime and resources within the development of digital services to provide a platform for the community, non-governmental organisations and the underprivileged to participate in broadcasting. RTHK will also administer the Community Involvement Broadcasting Fund (CIBF), in which the Government has allocated HK$45 million to provide funding for joining the CIBS project.

Radio programme production is the fi rst test-ing ground for the CIBS scheme. The aim is “to embrace the promotion of a wider range of social gains to the community, such as to encourage plurality, diversity, social inclusion; to cultivate so-cial empathy and civic mindedness, and to inspire creativity, uniqueness and talent nurturing”.

The programme themes for the fi rst round of applications include education, arts & culture and ethnic minorities.

Visit http://cibs.rthk.hk


41

TRA

NSM

ISSI

ON

TRANSMISSIONSignal distribution, test & measurement www.content-technology.com/transmission

HD Playboy Hops into AsiaWITH WHAT IS THE FIRST HD ADULT CHANNEL ever unveiled in Asia, Playboy Plus Entertainment Inc., managed by Manwin Media S.A.R.L., has announced the launch of encrypted HD Playboy Asia Channel on AsiaSat 5 in the Asia Pacifi c.

Lanny Huang, General Manager – Asia Pacifi c, Playboy Plus Entertainment Inc. said, “We are proud to launch HD Playboy Asia, the fi rst channel targeting the adult audience in Asia. The 24/7 linear HD channel will include a unique blend of content including Playboy originals and the addition of our highly-acclaimed Digital Playground movies, off ering extreme cinematic experience to our viewers.” William Wade, President and CEO of AsiaSat said, “We are pleased that Playboy Plus chose AsiaSat 5 for the launch of its fi rst HD Playboy channel in the Asia Pacifi c. We are proud to meet the increased demand of international broadcasters who expect comprehensive and cost effi cient transmission solutions while at the same time appreciate the benefi t of AsiaSat 5’s excellent access to Asian pay TV platforms.”

AsiaSat 5 is a Space Systems/Loral’s 1300 satellite launched in August 2009, operating at the orbital location of 100.5 degrees East. AsiaSat 5 carries 26 C-band and 14 Ku-band transponders, and has a design life of 15 years. Its powerful C-band footprint covers over 50 countries and regions spanning from Russia to New Zealand and from Japan to the Middle East and parts of Africa. The Ku-band coverage consists of two high powered fi xed beams serving East Asia and South Asia, as well as a steerable beam.

From AsiaSat Tai Po Earth Station in Hong Kong, the HD Playboy Asia Channel is uplinked to AsiaSat 5 (100.5 degrees East), through a C-band DVB-S2 MCPC platform for delivery to over 50 countries across Asia, the Middle East, Australasia and CIS. AsiaSat also provides encryption service to the channel from its teleport.

Visit www.playboytv.com and www.asiasat.com

Australia Launches National Indigenous TV NetworkLATE DECEMBER 2012 saw the launch of Australia’s fi rst dedicated national Indigenous free-to-air digital television service. All Australians can now access the free-to-air National Indigenous Television (NITV) service on digital channel SBS4 (operated by SBS Australia), and through the Viewer Access Satellite Television (VAST) service.

To celebrate the free-to-air launch, NITV aired a day of special programming live from Uluru (Ayers Rock). Highlights included special editions of programs Living Black and NITV News and a two-hour concert featuring some of Australia’s Indigenous talent including Christine Anu, Casey Donovan, Troy Cassar Daley and Ernie Dingo.

The Australian Government provided funding to multicultural broadcaster SBS to develop a new, national digital free-to-air channel dedicated to Aboriginal and Torres Strait Islander content. The new channel was developed in collaboration with the former NITV service, which fi rst went to air in July 2007.

The new NITV service realises the Australian Government’s aim of increasing the amount and overall quality of original Australian Indigenous content on free-to-air television. With the launch of NITV, plus a new satellite channel for Indigenous Community Television (ICTV), remote communities will now have access to two 24/7 Indigenous television services for the fi rst time.

SBS assumed management control of NITV’s operations on 1 July 2012, but the channel has maintained its own editorial responsibility. The new NITV service has a majority of Indigenous staff and will continue to use the talents of Indigenous writers, directors and journalists.

Visit http://www.nitv.org.au

TBS Goes HD with ATEMEATEME HAS ANNOUNCED that Taiwan Broadcasting System (TBS) selected

ATEME’s Kyrion encoders to rollout HD for digital terrestrial television.

“We pack one HD MPEG-4 and 3 SD MPEG-2 channels in less than 15 Mbps,

and yet the video quality is superb,” added Mr. Chao-I Lee, who supervised

the deployment of the system at the broadcasting centre in Taipei on behalf

of the Engineering Department of TBS. “We were also quite impressed with

the fast response of ATEME’s support every time we needed their help

during launch.”

Visit www.ateme.com

Shandong TV Lands in Hong KongHONG KONG’S i-Cable Communications has announced that CABLE TV

has started carrying Shandong TV exclusively on Channel 96 on its basic

programming platform. Launched in 1994, Shandong TV is China’s fi rst

round-the-clock satellite channel serving not only viewers across Mainland

China, but also those overseas presently totaling over 800 million.

Shandong TV off ers a wide range of programme genres including news and

current aff airs, variety, entertainment and drama series catering for viewers

of diff erent age groups.

Visit www.i-cablecomm.com

AsiaSat Pulls Plug on Iranian BroadcastersASIA SATELLITE Telecommunications Co. Ltd. (AsiaSat) has confi rmed to Content+Technology that, eff ective 15 November, 2012, it ceased providing services to Islamic Republic of Iran Broadcasting (IRIB) following petitioning by lobby group United Against Nuclear Iran (UANI).

In a November 9 letter to AsiaSat, UANI’s CEO, former George W. Bush-era diplomat Mark D. Wallace, called on AsiaSat to “end all business activities in Iran and specifi cally cease the broadcast of all Iranian regime transmissions via the AsiaSat 3S and AsiaSat 5 satellites, including that of the Islamic Republic of Iran Broadcasting (IRIB), the Islamic Republic of Iran News Network (IRINN) and their affi liates such as Press TV.”

In the letter, Wallace stated that “Iran has been pursuing an illegal nuclear weapons program in defi ance of the international community. In addition to its nuclear activities, Iran remains the world’s leading state sponsor of terrorism and has sponsored well-known terrorist groups.”

Wallace went on to point out that, in dealing with IRIB and conducting business in Iran, AsiaSat was in contravention of U.S. Government legislation, including The Comprehensive Iran Sanctions Accountability and Divestment Act of 2010 (“CISADA”) and the Iran Threat Reduction and Syria Human Rights Act of 2012.

Visit www.asiasat.com and www.uani.com


42

TRA

NSM

ISSI

ON

TRANSMISSION

While far from a one-size fi ts all solution, the channel-in-a-box category of playout platforms has been an enabler for start-ups and traditional broadcasters alike.

WHETHER YOUR GOAL is an inexpensive launch into the content delivery world or equally inexpensive additional channels to your existing service, Channel-in-a-Box platforms off er the potential of getting new services to air with speed and within a budget.

While CiaB solutions issue lend themselves very well to simplistic and themat-ic channels that do not have complex branding requirements, require little or no regionalisation at playout and are unreactive (i.e little live content and the schedules are known well in advance), one criticism is that they are too limited to meet the requirements of major broadcasters with complex workfl ows.

Be that as it may, CiaB platforms have not only had an impact on the traditional broadcast market, but opened up new markets as well. Here, without fear, favour, a ratings or recommendations system – and far from exhaustive – is our “in no particular order” round-up of some of the CiaB options currently available.

ITX FROM MIRANDADeveloped under the auspices of the former OmniBus company before its acquisition by Miranda, the iTX integrated playout platform has been a trailblazer for the category and currently has more than 1000 channels operating on-air.

The IP-based architecture of iTX makes it easily scalable, providing enormous fl exibility to add new channels, facilities or services. An integrated, end-to-end workfl ow streamlines all the core playout processes, including ingest, content management, transmission control, interfacing to traffi c, archiving, and monitoring.

Features include:

Easily mix formats in a single workfl ow;

Flexible audio handling;

Advanced graphics options featuring Miranda’s Vertigo and Adobe After Eff ects;

Hybrid, live-playout capabilities using iTX Master Control;

Fully integrated with traffi c systems using any method, including BXF; and

Dramatically reduces power consumption, space requirements and time required to deploy new channels.

ICE FROM SNELLCurrently in version 3.0, Snell’s ICE Channel-in-a-Box includes integrated 3D and 2D graphics and CG functionality with timeline editing control and the ability to populate fi elds automatically with graphics from Morpheus automation schedule events, as well as from external data sources such as RSS feeds and Web-based news and weather services.

To complement ICE’s HD and SD simulcast capabilities, as well as the system’s ability to provide a clean output, Snell added a delay server that enables users to record the output of a channel for delayed play-out services. Audio features include multiple audio voiceovers, full Dolby E processing within the system as well as mono/stereo audio shuffl ing and audio clip playout.

The system also features integration with the Quantum StorNext File System and StorNext Q-series disk arrays, enabling up to 10 ICE units to share 36TB of storage. High-performance SAN technology allows content ingested on any ICE to be available for playout instantly on any of the other ICE units, providing fl exibility for multi-channel environments.

ICE also manages all of the processes required to prepare pictures, sound, and ancillary data — including captions and subtitles — for frame-accurate, secure, high-quality SD/HD playout.

Visit www.snellgroup.com/ice.

VERSIO FROM HARRIS

Harris Versio is a channel-in-a-box design for broadcasters that combines baseband video, channel branding and automated workfl ow capabilities in an easy-to-deploy, software-based, single-rack-unit (RU) solution.

Versio is designed to reduce the cost and time to launch broadcast, cable and other TV channels and services while off ering simple integration with production, traffi c and billing, scheduling, asset management, content playout and master control functions — taking advantage of existing facility workfl ows.

The initial release compresses multiple single-channel workfl ows into the 1RU platform, incorporating Harris video server, channel branding and graphics, and optional on-board automation components. Flexible software-based confi gurations range from single-channel launches — independently or within an existing system — to multi-channel distribution, expansion and disaster recovery systems.


CHANNELPORT FROM HARMONIC

The ChannelPort integrated channel playout device for Spectrum media server systems combines channel branding and master control switching with clip playout.

Recent enhancements to the system include new capabilities and advanced onboard features that further simplify channel playout. The addition of DVE functionality enables more sophisticated, high-end graphics presentations, while support for AVC-Intra playout aids in accelerating the production-to-playout workfl ow. The system’s dynamic subtitle insertion capability supports just-in-time playout of multilingual content. Traffi c-driven onboard playout control with automatic media fetch facilitates remote “lights-out” operation without the need for legacy automation software.

Because ChannelPort modules fi t seamlessly into existing Spectrum media server systems and can be added incrementally at a very competitive price, broadcasters can extend their channel lineups quickly.

Visit www.harmonicinc.com

STINGRAY FROM PEBBLE BEACH SYSTEMS

Stingray is a standalone solution optimised for playout or ingest, and is suitable for any system from one to over 50 channels.

Stingray’s full client server architecture enables multi-channel control from a single operator position, with visibility of multiple timelines for effi cient channel management. It is available in two dedicated confi gurations, optimised for either playout or ingest applications, and systems are scalable.

Pebble Beach Systems also off ers Dolphin which is designed to deliver automated, frame-accurate multi-channel channel playout and ingest capability, and operate as a standalone system under its Marina or Neptune control platforms, or as part of a complex mixed network of equipment and functionality.

Visit www.pebble.tv

Snell’s ICE channel-in-box solution.

Product Round-Up: Channel-In-A-Box


43

TRA

NSM

ISSI

ON

TRANSMISSION

ICE is the only channel-in-a-box designed from the point of view of the channel rather than the box. Delivering robust, scalable and affordable operation whether you have one or 100+ channels.

Advanced 3D GraphicsMulti-channel AudioClosed Captioning

& Subtitles

snellgroup.com/ICE

Routing & MultiviewersModular InfrastructureConversion & RestorationLive ProductionAutomation & Media ManagementControl & Monitoring

We focused on what a channel needs.Not on the box. We created ICE.

snelllgroup.ccom/I

Format and Aspect ConversionWide Range of File FormatsAutomated Quality ControlIntegrated Delay Server

Skyline Launches DataMiner 7.5SKYLINE COMMUNICATIONS, a leader in end-to-end multi-vendor network management solutions for the IPTV, HFC broadband, broadcast and satellite industry, has announced the launch of DataMiner 7.5.

Amongst the enhancements, DataMiner 7.5 will bring its users a new, user-centric approach on notifi cations, an enhanced service management layer, the introduction of DataMiner Applications that will empower out-of-the-box solutions for a wealth of popular products and technologies, new add-ons for the correlation engine, a complete suite of mobile applications, and much more.

“As you roam between work stations and mobile devices, DataMiner 7.5 will off er you a seamless experience. In other words, whatever mobile device you are working with, you will be able to monitor any active device in your operational system, irrespective what vendor it is from. And even control those devices, view performance graphs, manage alerts and much more. Apple, Microsoft, Google or Research in Motion, we have you fully covered for any of the mobile phones or tablets you use,” commented Ben Vandenberghe, Sales & Marketing Director at Skyline Communications.

DataMiner Applications is an entirely new framework within the DataMiner network management system, which will enable designing out-of-the-box product- or technology-specifi c applications. These DataMiner Applications will be designed by Subject Matter Expert teams, composed by both Skyline’s DataMiner experts and product experts from various vendors.

Also, the DataMiner Service Management gets a complete overhaul in DataMiner 7.5, with a large number of advanced new capabilities. DataMiner Service Management is responsible for the run-time aggregation and translation of device information into service-oriented information. The technology is used to manage a wide variety of services in IPTV, satellite, broadcast and HFC broadband environments. It enables operators to instantly see the impact of infrastructure incidents on a service level, and to take the appropriate actions to safeguard their revenues.

Visit www.skyline.be

Video Routing, Switching and ConversionTHE C3-340 FROM TV ONE is a fi rmware based platform. Sixteen AV universal module slots are available and TV One’s CORIO matrix automatically recognises the modules inserted as an input or output module. There is no dedicated input or output slots when using 2-Channel DVI-U or 3G-SDI modules. It can be confi gured with up to 64 x 64 input/output 3G-SDI/DVI-U connection combinations. This fl exibility allows end user confi gurations to be based on their own needs instead of the router forcing a certain setup and limited confi guration.

The CORIO matrix also provides Up, Down and Cross conversion between a variety of analogue and digital video formats through 3G-SDI. The modules selected determine what format will be accommodated and the matrix size. Signal parameters of the incoming video may be adjusted. All settings are stored in non-volatile memory and are retained even when power is switched off .

All the functions can be controlled via serial connection via RS-232/422/485, USB or IP. Windows software is provided. A front panel LCD option makes direct setup easy and third party controllers permit a wide choice of control options. The unit is housed in a standard 4RU rackmount case and features an optional redundant hot swappable internal PSU and power inlet.

The CORIO matrix includes Digital Flicker Elimination circuitry and high 4:4:4 full bandwidth sampling rate ensures crisp, clear images, while full bandwidth chroma sampling ensures faithfully reproduced, high resolution colours. Pixel Level Motion Adaptive Diagonal Interpolation and Noise Reduction ensures high quality de-interlacing of PAL, NTSC and 1080i signals.

Visit www.tvone.co.uk


44

TRA

NSM

ISSI

ON

TRANSMISSION

THE TERM ‘CHANNEL-IN-A-BOX’ is typically used for products which integrate playout server, master control switching, and graphics functionality; all in a single device. The latest variants are designed for highly automated, IT-based playout, with content often fed from low cost, archival storage. This integration of functionality has been shown to reduce purchase costs, while also simplifying installation, systems integration and maintenance.

The more streamlined architecture of channel-in-a-box systems is especially benefi cial for multi-channel playout. Whenever an additional channel is required, the facility can be quickly expanded by increasing the number of channel-in-a-box devices on the network. Naturally, with larger systems, the time and cost savings inherent with a simplifi ed playout path are even more signifi cant. This lower cost for additional channels is a critical issue when revenues per channel are generally falling, and it can make the diff erence between a new channel being viable or otherwise in a tight market.

Whenever more functionality is packed into a single box, there is often some concern about reliability because a failure is potentially more catastrophic. In reality, feature-rich designs often work in favour of resiliency because critical products are generally designed with exceptional levels of redundancy. Perhaps more importantly, the cost effi ciency of these highly integrated products makes it much easier for facilities to add additional levels of redundancy to their system. This can be done by adding extra ‘channel-in-a-box’ devices to the system to create full back-up channels.

Recent technical advances that have helped popularize channel-in-a-box systems have included more mature server functionality, and more tightly integrated ingest. These devices now provide a very complete server off ering, with eff ective support for all the key clip formats for true interoperability with existing content storage systems. Content ingest can be highly automated by media management, with fi les pushed to the right playout device according the traffi c schedule, all with minimal operator intervention.

The traditional master control type functions integrated in these systems are also uncompromised, with clean switching between stored and live feeds. Advanced audio capabilities include multi-channel audio mixing and track shuffl ing.

The graphics playout capabilities and workfl ows of channel-in-a-box systems now rival those of high-end, dedicated graphics processors. For instance, multi-level branding and promo graphics can be played out in real time, with template population driven by the playout automation. The net eff ect is highly streamlined operations without impacting the quality of the viewer`s experience.

However, probably the most important factor behind the uptake of

channel-in-a-box systems is the much improved integration with existing playout systems. For many facilities, the real need is for a development path that enables them to move towards IT-based playout, without abandoning all their existing investment in hardware and business systems. It takes years for a station to develop eff ective processes across media management, traffi c and sales, with this task made more complex because key systems, like automation and media management, tend to come from separate vendors specializing in these disciplines. Hence, many broadcasters need something quite diff erent from the fi rst approaches to IT-based playout, which were focused primarily on green fi eld site operations, where there is more scope to install completely new hardware and software systems.

With the emerging `hybrid model`, traditional playout chains can co-exist with new channels equipped with channel-in-a-box systems. This allows new channels to be added which operate with IT-based playout, while the existing channels are unaff ected. The important thing about this approach is that it allows a phased migration path towards new technology, without the high level of disruption caused by a complete technology shift. With a hybrid model, broadcasters can leave their critical business systems alone until they are ready to make changes.

The key to successful hybrid operation is the ability of the IT-based playout devices to operate under the same playout automation as the traditional playout chain. For instance, the server portion of a channel-in-a-box device can be controlled by the widely adopted VDCP protocol, while the switching and branding functions are controlled by established switching and branding protocols. While this is an unremarkable concept, the impact is far reaching in terms of enabling the adoption of new technology among broadcasters.

To be a practical proposition, the automation integration to these ‘channel-in-a-box’ systems needs to be richly featured. For instance, the control of switching and branding should include full control of secondary events, with graphic template population directly from the playout automation. Ideally, the graphics workfl ows should also be integrated across the traditional and IT-based elements in a hybrid system, with common workfl ows across work order management, graphics preparation, data-interfacing and playout.

Looking ahead, as channel-in-a-box systems develop further, it`s likely that we`ll see an even higher level of integration of playout functionality, with more advanced metadata handling, along with further strides in cost reduction and space effi ciency. It`s the way the television equipment market is going in general, and it may soon demand that we come up with a new name for these devices, as more channels are inevitably delivered from a single box.

Visit www.miranda.com

Channel-in-a-Box Solutions Join the mainstreamBy Boromy Ung, Director, Strategic Marketing, Miranda Technologies

‘Channel-in-a-box’ products have moved into the mainstream, and have gained acceptance for a wide spectrum of playout applications. This increased popularity has been driven by technical advances, which have eliminated key performance diff erentials with more traditional equipment, as well as improved integration with existing equipment in facilities. Undoubtedly, the recent tough business climate has also done much to encourage broadcasters to consider lower cost hardware solutions, and their more productive, IT-based workfl ows.


45

TRA

NSM

ISSI

ON

TRANSMISSION

Gujarati News Channel Taps Harris for Workfl owHARRIS BROADCAST HAS ANNOUNCED that GSTV has selected its interoperable, end-to-end broadcast workfl ow solution to enable the playout of India’s new Gujarati-language news channel.

Gujarat Samachar, the largest-read Gujarati daily newspaper, recently entered the regional-language news business by launching GSTV. The channel was created to build a stronger connection with the regional audience and will initially focus on news, with entertainment programming to follow.

The news production and playout facility will incorporate a range of Harris integrated broadcast products, including the scalable ADC automated content management and distribution system. The ADC system will manage content control from the media ingest point through delivery.

The media ingest and playout operation includes Harris NEXIO AMP servers and the latest NEXIO Farad online storage system, specifi cally designed for news broadcast and production facilities. The system will provide GSTV real-time access to content and integrate with the facility’s newsroom system. This allows journalists to quickly create and edit content while providing the highest level of digital asset protection.

“The modularity and fl exibility of the Harris integrated broadcast solution will allow us to deliver programs to air quickly and eff ectively,” said Shreyans Shah, chairman, Gujarat Samachar group. “We have worked with Harris for a number of years, so they understand our business model and we trust their technology. They also have excellent local service and support, which provides easy access to engineers and fast service response times — a key requirement for us.”

The Harris workfl ow also supports the Final Cut Pro editing system used for television news. GSTV operators will access material on the NEXIO Farad storage system allowing them immediate access to content in a shared and collaborative working environment.


Magna Systems Partners with ThomsonAdsettMAGNA SYSTEMS AND ENGINEERING has announced an Asia Pacifi c-wide partnership with internationally renowned architects ThomsonAdsett. The partnership sees Magna Systems now off ering all of its clients across the Asia Pacifi c region a full 3D visual approach for all systems integration proposals and projects.

Magna Systems executive chairman, Robert Clemesha, said, “ThomsonAdsett are a perfect fi t for Magna Systems and bring a valuable new level to our systems integration off ering. Their signifi cant experience and proven track record in creating innovative interior designs now enables Magna Systems to off er a full range of 2D, technical and 3D system design visuals for all our clients. The fact that ThomsonAdsett also has offi ces in Sydney, Auckland, Singapore, Hong Kong and Jakarta as we do, also means we can off er a truly local service.”

ThomsonAdsett is a specialist design practice that combines architects, urban designers and interior designers with a commitment to creating world-class designs for their clients.

ThomsonAdsett Partner, Charles Granville, said, “We are delighted to be partners with Magna Systems in servicing their broadcast industry clients with clever 3D visual concepts across the Asia Pacifi c region. Our real focus when designing any space whether it be a master control room, edit suite or entire studio is on adding value to the organisation and the people who work there.”

Robert Clemesha concluded, “We have recognised that many of the system integration projects we are asked to quote and tender for have an increasing requirement for the provision of architecturally smart 3D design. As businesses become more competitive and more visually attractive, a good system engineering design must be complemented by a good environmental design – hence our partnership with ThomsonAdsett.”

The Magna Systems and Engineering architectural design and 3D visuals service is available now.

Visit www.magnasys.tv

HARRIS BROADCAST HAS SUPPLIED a range of integrated broadcast solutions to systems integrator and service provider, Essel Shyam, for setting up a new general entertainment and news channel for Asia Broadcasting Corporation (ABC) in Sri Lanka. The TV channel facility, integrated by Essel Shyam, recently went live from its base in Colombo.

Providing the content workfl ow management at the ABC facility is a Harris ADC automated content management and distribution system. ADC incorporates the benefi ts of asset management with the effi ciencies of automated operations, making it a platform suited for content control and delivery. The facility also incorporates a range of interoperable solutions from Harris, including NEXIO AMP servers, the IconStation advanced channel branding system and HView Predator-II GX multiviewers for signal monitoring.

“We were looking for a proven solution from a reputable manufacturer, and Essel Shyam was able to deliver a complete workfl ow solution from Harris

that is not only cost-eff ective but also robust and reliable,” said Nilupa Ranaweera, head of TV engineering, ABC.

Essel Shyam’s decision to propose a Harris solution was infl uenced by their experience with the technology at its own playout centre in Noida, India. They also knew that, as a remote site, ABC required a robust solution and worldwide product support.

“We recommended an integrated broadcast solution from Harris because we have personal experience using their technology and were confi dent in their abilities to provide a fl exible and effi cient solution,” said Sanjay Duda, executive vice president, sales and marketing, Essel Shyam.

Essel Shyam has also taken delivery of the Harris NEXIO Farad, a high-performance online storage system suited to ABC Sri Lanka’s large-scale playout application.

Visit www.esselshyam.net and www.broadcast.harris.com

ABC Sri Lanka Powers News Channel with Harris

ROSS VIDEO HAS ADDED to its expanding Carbonite switcher lineup. Called Carbonite 2, this new 2 MLE switcher includes all of the powerful standard features of the Carbonite family. Carbonite 2 is a new 2 MLE control panel based on its bigger brothers, the Carbonite 2M and 2X, off ering 16 source select buttons instead of 24 or 32.

Like the other switchers in the Carbonite range, the Carbonite 2 is available with 16 or 24 Multi-Defi nition SDI inputs and 9 internally generated

sources. Carbonite 2 can also be confi gured with the new Carbonite+ and MultiMedia processing engines, and includes the new ViewControl touchscreen production controller and LiveAssist Graphical User Interfaces. When purchased as a Studio System Package with the BlackStorm playout server and XPression motion graphics system, it becomes a complete production powerhouse.

Visit www.rossvideo.com

Ross Video Launches Carbonite 2 Switcher


46

TRA

NSM

ISSI

ON

TRANSMISSION

T-VIPS Simplifi es IP Video TransportTHIS YEAR’S IBC saw T-VIPS demonstrate its Connect5 video-centric network management solution which allows broadcasters and network operato rs to monitor, control and expand their video services.

Connect5 provides comprehensive monitoring, management and reporting capabilities in an easy to use framework. It can be combined with products in the T-VIPS Video Gateway, cProcessor and nSure ranges and integrated with other network management solutions.

Also showcased was the CP524 TS Adapter, the latest addition to the cProcessor toolbox. The T-VIPS CP524 enables operators and service providers to repackage and deliver content to multiple end points. The CP524 TS Adapter provides a single-box solution that takes the pain out of remultiplexing, fi ltering and mixing & matching services from multiple inputs to multiple outputs.

Another major new product to launch at IBC was the TNS460 HD/SD-SDI Monitor, which ensures the effi cient and continuous monitoring of HD and SD-SDI video signals allowing operators to better manage and deliver high quality content. Adding to the nSure product portfolio, the TNS460 is a compact and cost eff ective real-time solution intended to monitor video signal at central head-ends and at hand-over points in the broadcast value chain.

Visit www.t-vips.com

Flanders Monitors Support 12-bit Signals FLANDERS SCIENTIFIC has announced that the latest monitor fi rmware version (9.47-1830) is now shipping on all its units and is also available as a free fi rmware download to all FSI customers. This new release includes the offi cial addition of the 12 bit signal support and processing announced at IBC, as well as other useful updates, including:

+ 12 bit RGB & YCbCr signal support & 12 bit processing

Record Status Tally Feature that allows the monitor to read Start/Stop Record Flags in the SDI ancillary data of compatible cameras and to indicate when the camera is recording by activating the monitor’s red tally light. ARRI Alexa and Sony cameras with this feature enabled are currently supported

New function button access to Log monitoring modes for faster single button press activation of Log monitoring modes introduced in the previous fi rmware release

+ BETA support of 12 bit XYZ format signals

Current owners of FSI monitors can download the latest fi rmware from the update site where more detailed release notes can also be found. An updated user manual is also available.

Visit www.fl andersscientifi c.com

Rohde & Schwarz Closes Transmission Power GapsDESIGNED FOR the lowest power classes (up to 10 W), the R&S MLx UHF low-power transmitter from Rohde & Schwarz integrates up to six transmit channels in one system. The transmitter boasts fl exible confi guration options for various applications and receiving conditions and, with a depth of just 250 mm, the R&S MLx is the most compact transmitter on the market. All interfaces can be accessed on the transmitter’s front panel, the transport stream can be fed via coaxial cable or satellite and the R&S MLx supports UMTS for monitoring broadcast operations.

The autonomous transmitter unit is ideal for rural areas with poor reception such as mountain valleys and islands, as well as for small private networks at trade fairs, shopping centres or universities. Even in city centres with many high-rise buildings, the R&S MLx can bolster network coverage. The R&S MLx supports echo cancellation with levels that are up to 24 dB higher than the input signal. With three echo windows and seven echo detection speeds, it provides a diverse range of optimisation options to improve digital TV reception.

The compact, 5 HU cabinet accommodates any combination of transmitters, gap fi llers and re-transmitters with power classes of 1 W, 5 W or 10 W and allows them to be operated simultaneously, off ering fl exibility for any application. The redundancy concept is both fail-safe and customisable, from 5+1 redundancy all the way to three individual modules in passive standby. Mixed DVB-T/H and DVB-T2 N+1 systems are also supported.

Visit www.rohde-schwarz.com

RF Over FibreDEV SYSTEMTECHNIK’S new OPTRIBUTION Desktop Modules transmits Radio Frequency (RF) signals over fi bre optic links of up to 5 km over the Extended L-band. The new products off er advantages for use in cable TV heads, as well as satellite newsgathering (SNG) vehicles. With options for low-budget applications and test setups, the new modules are a low-cost alternative to standard OPTRIBUTION models.

The fi rst OPTRIBUTION Desktop Modules are the DEV 7285 transmitter and DEV 7385 receiver, which are stand-alone modules for optical transmission of RF signals in the 700 to 2300 MHz range. Measuring just 138 x 42 x 23 mm, the Desktop Modules are suited for space-limited applications, such as in TV news gathering vehicles. For satellite antenna hook-ups, the transmitter modules off er an output port for LNB bias current supply.

In addition to saving physical space, the new Desktop Modules off er signifi cant cost-savings. For example, a link established with four DEV 7285/7385 costs about 25% less than a comparable confi guration using two DEV 4111s, which are larger, more feature-rich units.

Visit www.dev-systemtechnik.com

New KVM Extenders from Gefen GEFEN’S NEXT GENERATION KVM (Keyboard, Video, Mouse) extenders are ideal for post-production professionals using a LAN in the studio. The HD KVM over IP, DVI KVM over IP and VGA KVM over IP can all be interchanged on the same network, supporting HDMI, DVI and VGA computers and displays. All three extenders support audio, video, USB, RS-232 and IR connections in addition to DVI, HDMI or VGA.

Each KVM extender supplies a sender and receiver unit that connect through Ethernet, allowing up to 660 feet (200m) of signal extension using a single CAT-5 cable. Each receiver unit supplies two Ethernet connections for additional senders, receivers or Ethernet-based equipment, and two USB for peripheral connectivity at the display side.

The HD KVM over IP delivers HDMI at 1080p full HD with 3D pass-through, USB, audio, RS-232 and IR remote control. The DVI KVM over IP sends DVI at 1920x1200 resolutions with USB, stereo audio, RS-232 and IR remote control. The VGA KVM over IP extends VGA at 1920x1200 resolutions with USB, stereo audio, RS-232 and IR remote control.

All three KVM over IP extenders can be intermixed to satisfy cross-platform requirements among DVI, HDMI and VGA computers and displays. A total of 16 sender and receiver pairs (HDMI, DVI or VGA) can be connected in one system. Sender and receiver units can be confi gured to unique IP addresses and when combined, can be matrix switched for improved productivity.

Visit www.gefen.com


CLASSIFIEDS

47

CLA

SSIF

IED

S

what’s onMARCHABU DIGITAL BROADCAST SYMPOSIUMMarch 05-08Kuala Lumpur, Malaysiawww.abu.org.my

DVB WORLD 2013March 11-13 Melia Madrid Princesa HotelMadrid, Spainwww.dvbworld.org

ASTRA 2013 CONFERENCEMarch 14Sydney Convention and Exhibition CentreDarling Harbour, Sydneywww.astra.org.au

FILMART 18 Feb – 02 MarchHong Kong Convention & Exhibition Centrewww.hkfi lmart.com/fi lmart/index.htm

CHINA CONTENT BROADCASTING NETWORK (CCBN)21-23 MarchChina International Exhibition Center (CIEC)Beijing, China www.ccbn.tv

APRILVIBA - VIETNAM INT’L BROADCAST & AV SHOW 2013April 4-7Saigon Exhibition & Convention CenterHo Chi Minh, Vietnamwww.vibashow.com

NABSHOW 2013April 6-11Las Vegas Convention CenterLas Vegas, USAwww.nabshow.com

CONNECT 2013April 9-11Karachi Expo CentrePakistanwww.connectit.com.pk

IBC LONDON TECHNOLOGY BOOSTERApril 24-25Dexter HouseNo. 2 Royal Mint CourtLondon, UKwww.ibc.org

MAYKOBA May 13-16Seoul, Koreawww.kobashow.com

Advertiser Index

BroadcastONE ................................ 5

Ericsson ..................................... OBC

Harris .............................................IFC

Ideal Systems ................................. 3

Miller Camera Support .............. 25

Riedel ............................................. 29

Snell .................................................43

BroadcastAsia2013, CommunicAsia2013 Set to Return

BROADCASTASIA, COMMUNICASIA, and EnterpriseIT – Asia’s largest and most established media communications and information communications technology (ICT) events – are set to return this year to showcase the latest technologies and trends for the entire communications ecosystem.

To be held at the Marina Bay Sands Singapore from 18 – 21 June, the 2013 edition of the shows will have a special emphasis on content, as they bring together experts and exhibitors from around the world to showcase and share the latest technology developments and insights.

BROADCASTASIA2013: INTEGRATING TECHNOLOGIES, EXPERIENCING CONTENTBroadcastAsia2013, Asia’s authoritative integrated tradeshow for the professional audio, fi lm and TV industries will feature groundbreaking technologies and products that keep pace with the evolving technology trends for the industry. The Cinematography/Film/Production Zone will return this year to provide visitors with comprehensive updates on featured technologies such as Animation and Video Eff ects, Motion and Film Production, Camera, Lenses and Tripods and beyond.

With the rise of Smart TVs and the blurring of the boundaries between TV and social networks, consumers will be watching TV within social networks and vice versa, impacting the way they engage with TV. BroadcastAsia2013 will be addressing this latest phenomenon with showcases from leading industry bigwigs, as well as up-to-date conference topics.

New and returning companies include Axon, Dalet, Envivo, Evertz, GoPro, GrassValley, Harmonic, Harris, Hitachi, Miranda, Orad, PCCW, Playbox Technology, Quantel, Sennheiser, Snell, Quantel, Wasp3D and more.

These exhibitors will showcase the latest key technologies, including: Future TV (OTT / Cloud Broadcasting); Multi-Screen Streaming; DVB-T2; Satellite/Terrestrial/Cable Broadcasting; Production and Post-Production Software; and many more at the four-day event.

To complete the entire broadcasting and fi lm ecosystem, ProfessionalAudio-Technology2013 will see professional audio companies showcasing the latest audio products and services for the broadcasting and fi lm ecosystem.

CONFERENCES TO EXPECT AT BROADCASTASIA2013As Asia’s fi lm and TV industry continues to fl ourish, the BroadcastAsia2013 International Conference, themed “Enhancing User Experience, Monetising Content” will highlight critical issues faced by the broadcast industry. Focused on the shift in consumer demand for next-generation services, this conference will also feature nine specialised business and technology tracks including a series of sessions covering the hottest topics, such as OTT Opportunities in Asia, The New Content Experience, Next-Gen Innovation and Technology in TV, Multi-Platform Content and much more.

Key confi rmed speakers include Astro, BBC Worldwide, ESPN Star Sports, Huawei, LG Electronics, Media Prima Berhad and YouTube.

The Creative Content Production Conference, back for its fourth successful year, is themed “Producing and Distributing Successful Content in Asia.” The conference will address the challenge of producing appealing and high-quality content for global audiences. Numerous industry stalwarts will provide their insights on the future of the industry at the two-day conference.

Visit www.broadcast-asia.com and www.communicasia.com


48

TIM

E SH

IFTE

R

TIME shifter

ABS-CBN: Six Decades of Broadcasting Service

ABS-CBN was the fi rst to broadcast in full colour in Southeast Asia and its programs such “You’re Evening with Pilita”, “Tawag ng Tanghalan”, and “Buhay Artista” are popular in the pan-region.

Its broadcast centre, which was inaugurated in 1968, was considered second only to NHK of Japan in terms of technical capability.

The network was closed in 1972 after the declaration of the Martial Law, but was returned back to operations in 1986 after the historic People Power revolution.

ABS-CBN started from scratch again but through the eff orts of Eugenio “Kapitan” Lopez Jr., Freddie M. Garcia, and Atty. Jake Lopez, ABS-CBN became number one again in 1988.

The network kicked off its 60 years celebration with a broadcast special hosted by “TV Patrol” anchors Noli De Castro and Korina Sanchez. Filipino stars such as Gary Valenciano, Kuh Ledesma, Jed Madela, Erik Santos, Yeng Constantino, Jovit Baldivino, Marcelito Pomoy, and KZ Tandingan performed musical numbers with accompaniment by the ABS-CBN Philharmonic Orchestra.

Speaking on the occasion of the Anniversary, ABS-CBN Chairman and CEO Eugenio “Gabby” Lopez III, said, “ABS-CBN is living institution composed of you, me and every employee that has dedicated himself or herself to be in the service of the Filipino. That’s what we have been doing for the past 60 years and that is what ABS-CBN will continue to do for all its existence.”

Lopez told ABS-CBN employees at a recent gathering that ABS-CBN will continue to undertake pioneering projects and introduce innovations starting this year. He said, “Many radical and trailblazing strategies will be launched that will redefi ne the way we do business.”

He added, “You will see an ABS-CBN that uses the foundation of content to mould itself into a company that off ers consumer solutions that has never been seen before. It a result of listening to our consumers and responding to them in ways they want and desire. It is about creating one-on-one relationships with each Filipino that we serve. This is what our mission is all about.”

As part of the year-long celebration, 60 employees will share their stories on-air as to how ABS-CBN has become part of their lives. The fi rst eight stories were premiered in the event that includes the stories of cameraman Val Cuenca, promo specialist Christine Estabillo, program executive Riza Ebriega, news bureau chief Dindo Amparo, regional news reporter Joan Panopio, sales executive Herman Pablico, radio supervisor Aris Jurado, and Manila Radio Division head Peter Musngi.

ABS-CBN Chairman and CEO Eugenio “Gabby” Lopez III said he was moved with the stories he witnessed and referred to it as “living reminders of why ABS-CBN was built.”

ABS-CBN Chairman and CEO Eugenio Lopez III

2013 is a milestone year for Filipino broadcaster ABS-CBN as it celebrates its 60th Anniversary.

ABS-CBN, which stands for Alto Broadcasting System Chronicles Broadcasting Network, has truly played a major role in the broadcasting history of the Philippines. The TV network was born back in the 1950s when CBS, owned by Eugenio Lopez Sr., bought ABS, then owned by Antonio Quirino.


in North Hall:

www.nabshow.com

CONFERENCES April 6–11, 2013 / EXHIBITS April 8–11Las Vegas Convention Center / Las Vegas, Nevada USA

Use Code PA06

It’s all about ME, and how the Mobile Experience is energizing the transformation of Media & Entertainment. Second screens enhance fi lm and television with interactive content and applications — adding a new dimension to the art of storytelling and reshaping opportunities for viewer engagement.

Meeting Expectations to deliver fresh programming that thrives in Multiple Environments will depend on how well you integrate new players, strategies and technologies into your development plan. NAB Show® is a Marketplace Energized…where the ideas fueling the future of fi lmmaking are revealed as creative masters, network and studio executives connect, collaborate and refi ne their craft. Give yourself something to smile about. Register today!


Today video is everywhere – on every device, website and street corner. But where is Television? Once it was a box. Then a flat screen. Now TV is a service, on the move, on every device and getting connected. The game is changing. At Ericsson we're ready. Are you?


Documents

Content+Technology ASIA Feb-March 2013