SystemsAutomation April 1994/$5.00 An INTERTEC Publication

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Page 19

ContentsApril 1994 Volume 38 Number 4

BROaDCaST_,enaneeRinG

Page 28 Page 49

Facility AutomationSpecial Report:Broadcast automation has moved well beyondthe days of "pegboard" programming steppingswitches and relays to sophisticated computer -based control systems. Today's automationsystems provide flexible control and interfacecapabilities that allow stations to operate moreefficiently- and profitably than ever before.

DEPARTMENTS:8 FCC Update

Grand Alliance chooses Zenithtransmission subsystem

10 Strictly TVCompression basics

12 ManagementBeing a balanced manager

14 ProductionCamera tips

16 TroubleshootingLAN technology

17 Technology NewsTalking chips

64 Re: RadioMeasuring NRSC compliance

66 Transmission TechnologyCombined NTSC/ATVoperation

70 SBE UpdateFrequency Coordination Committee

72 Field ReportLouth automation system

76 Field ReportSumitomo multiscreen monitor

77 New ProductsCOLUMNS:

4 News6 Editorial

84 Classifieds88 Advertisers' Index

THIS MONTH...

19 Master Control AutomationBy Brad GilmerUnderstand the problem and make sure the solution doesn't create a biggerchallenge.

28 Robotic Camera SystemsBy Curtis ChanFrom miniature models to full-size studio units, these systems areon the move.

36 Hybrid Tape and Disk Storage for On -air AutomationBy Raymond K BaldockThe next generation of automated library management will includeboth tape and disk elements.

44 Optical Disk Storage for Spot AutomationBy Barry FisherPC -based automation and optical disc technology can form a powerful alliance.

49 Disk -Based Spot Playback SystemsBy Roland BoucherThey've come a long way in a short time.

54 Computer vs. Video ResolutionBy Tom Ransom

The words may be the same, but the meanings are different.

58 "Radio in Transition:"The Changing Face of Radio AutomationBy Skip PizziThis is not your father's cartridge wheel.

ON THE COVER:New era automation systems were exhibited at this year's NAB. Shown on the cover is anOdetics TCS90 library system with a Tektronix Profile disk cache. Photo courtesy of Odetics.

2 Broadcast Engineering April 1994

The Only ThingIt Can't Do Is OpenA Bottle Of Wine.

Telex V -Series headsets do it all. Their unique modular design make them the mostversatile headsets you can buy, with interchangeable mic and cable assemblies that letyou use one headset for most any application.

Comfort and sound quality are second to none, withrevolutionary floating earcups that automatically adjust toany head size. And, like our other Telex headsets used bypilots and NFL coaches, the durability is built in. Of course,parts and accessories are easy to get and always available.

See and hear for yourself. For the Telex pro audio dealernearest you, call 1-800-392-3497 (416-431-4975 in Canada).The V -Series. Maybe we should have called it the SUISS arm bevidv,t The Merles headsets models V-220 and [-210

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News

By Dawn Hightower,senior associate editor

Senate Infohighway billoffers spectrumflexibility

New Senate legislation has given radioand TV stations greater spectrum flexi-bility to offer new broadcast services.Stations also want authorization to pro-vide non -program related services,which will give broadcasters the abilityto compete in tomorrow's marketplacewith their pay -to -use, wired and wire-less competitors.

On behalf of NAB, INTV, ABC, CBS, NBCand Fox, here is additional informationrelating to broadcasters' flexible use ofassigned spectrum:

Broadcasters are committed to main-taining free, universal, over -the -air ser-vice. A policy of flexible use of broadcastspectrum follows the policy objectivesof H.R. 3636 - the delivery of new servic-es to consumers through the promotionof vigorous competition. No new spec-trum would need to be allocated. A flexible use policy will not underminethe Federal Communications Commis-sion's (FCC) authority to make determi-nations concerning the delivery of ATV. The FCC should go forward with theprocess of assigning broadcasters addi-tional spectrum for the purpose of pro-viding ATV service. Broadcasters will usethat second channel to further the FCC'sgoals with respect to ATV. Consumers should be able to receivethe maximum benefits from the digitalbroadcasting revolution as quickly aspossible. The ability to offer these services isconsistent with the goal of efficient spec-trum use. The authorization of flexiblespectrum use for new services is neededto ensure that broadcasters have theability and incentive to develop the mostefficient spectrum use. Broadcasters expect to pay an appro-priate fee when they offer new types ofancillary and supplemental services inthe spectrum assigned to them for ATV.

SBE introduces radiostation operator course

The Society of Broadcast Engineers(SBE) has introduced the SBE Radio Op-

erators Certification Course. It is de-signed for entry-level operators at radiostations. The course is intended to re-place the former FCC Radio TelephoneThird Class Operator License.

The course will consist of the SBE Ra-dio Operators Handbook and a custom-ized 50 question examination drawn from150 questions. Candidates will be issueda certificate as a SBE Certified Radio Sta-tion Operator after successfully complet-ing the course.

The course may be ordered throughthe SBE National Office by calling 317-253-1640 or by fax 317-253-0418. The costof the course is $35, which includes theexam fee. Candidates or their employersneed not be a member of the SBE to takethe course.

International News

IBC and Montreux ITSconventionsscheduled for 1995

Previously, the Montreux InternationalTelevision Symposium and the Interna-tional Broadcasting Convention werescheduled in odd and even years respec-tively, but with IBC's decision to have anannual convention, 10 major manufac-turers say they cannot support partici-pation in both conventions taking placein 1995 and have chosen to participate inthe Montreux ITS 1995. The 10 compa-nies are: BTS, General Instrument, Na-tional Transcommunications Ltd., Pana-sonic, PESA, Philips, Rank Cintel, Sony,Thomson and Quantel.

Montreux ITS will take place June 8-13,1995. For more information contact: Mon-treux International Television Symposiumand Technical Exhibition, P.O. Box 1451,Rue du Theatre 5, 1820 Montreux/Swit-zerland; telephone 021 963 32 20 (nation-al) and +41 21 963 32 20 (international);fax 021 963 88 51 (national) and +41 21963 88 51 (international).

The IBC 1995 will take place Sept. 8-12,1995. The 1994 IBC will take place Sept.16-20, 1994 in Amsterdam. For more in-formation contact the IBC ConventionOffice; telephone 44 (0)71 240 3839; fax44 (0)71 497 3633.

BROaDCaSTenGineeRinG

EDITORIALBrad Dick, EditorSkip Pizzi, Technical EditorSteve Epstein, Technical EditorDawn Hightower, Senior Associate EditorDeanna Rood, Associate EditorTom Cook, Senior Managing EditorCarl Bentz, Directory Editor

ARTRuth Knotts, Associate Art Director

BUSINESSRaymond E. Maloney, PresidentCameron Bishop, Group Vice PresidentDennis Triola, PublisherTom Brick, Marketing DirectorStephanie Hanaway, Group Director, Special ProjectsKathryn Buckley, Promotions ManagerSandra Tomczak, Promotions CoordinatorDee Unger, Advertising Business ManagerNancy Hupp, Advertising Production SupervisorSusan Jones, Advertising CoordinatorMichelle Knobbe, List Rental RepresentativeDoug Coonrod, Corporate Art DirectorVirginia Picotte, Circulation ManagerCustomer Service: 913-967-1707 or 800-441-0294

TECHNICAL CONSULTANTSNed Soseman, Contributing EditorEric Neil Angevine, Broadcast AcousticsJohn H. Battison, Antennas/RadiationDennis Ciapura, Radio TechnologyDane E. Ericksen, P.E., Systems DesignJohn Kean, Subcarrier TechnologyDonald L Markley, Transmission FacilitiesHarry C. Martin, LegalCurtis Chan, Audio/Video Technology

MEMBER ORGANIZATIONSSustaining Members of: Acoustical Society of America Society of Broadcast Engineers Society of Motion Picture and TV Engineers

Member,American Business Press

Member,BPA International

ABP

Eif,'ISBROADCAST ENGINEERING is edited forcorporate management, engineers/technicians andother station management personnel atcommercial and educational radio and TV stations,teleproduction studios, recording studios, CATVand CCTV facilities and government agencies.Qualified persons include consulting engineers anddealer/distributors of broadcast equipment.

BROADCAST ENGINEERING (ISSN 0007-1994) ispublished monthly, except semi-monthly inNovember, and mailed free to qualified personswithin the United States and Canada in occupationsdescribed above. Second-class postage paid atShawnee Mission, KS, and additional mailingoffices. POSTMASTER: Send address changes toBroadcast Engineering, P.O. Box 12960, OverlandPark, KS 66282-2960.

SUBSCRIPTIONS: Non -qualified persons maysubscribe at the following rates: United States andCanada; one year, $50.00. Qualified and non -qualified persons in all other countries; one year,$60.00 (surface mail); $115.00 (air mail). Singlecopy sales, $5.00. Subscription information: P.O.Box 12937, Overland Park, KS 66282-2937.

Authorization to photocopy items for internal orpersonal use, or the internal or personal use ofspecific clients, is granted by intertec Publishing,provided that the base fee of U.S. $2.00 jper copy,plus U.S. $00.00 per page is paid directly toCopyright Clearance Center, 222 Rosewood Drive,Danvers, MA 01923 USA. For those organizationsthat have been granted a photocopy license byCCC, a separate system of payment has beenarranged. The fee code for users of theTransactional Reporting Service is 0007-1994 $2.00

$00.00.

CORRESPONDENCEEditorial and Advertising: 9800 Metcalf, OverlandPark, KS 66212-2215. Telephone: 913-341-1300;Editorial fax: 913-967-1905. Advt. fax: 913-967-1904.© 1994 by Intertec Publish m;All rights reserved. INTERTECPUBLISHING


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EditorialOne sizedoesn't fit all

Consumers are already becoming deaf to the thundering din of new announcementsabout the super highway, National Information Infrastructure (NII) or whateveryouwant to call the conglomeration of new media technologies. It seems not a day goesby without another company announcing some nifty, new or fantastic solution -to-everything, box or gizmo that no TV user in his right mind could live without. At timesI think the pronouncements resemble more a circus than a high-tech revolution.

Although some of us rightly remain skeptical about many of these high-tech claims,the press and news crews echo their hype while being blindly led down a techno-pathto nowhere. Hasn't anyone thought of asking the consumer (the guy and gal who'sgoing to have to pay for this) what they really want?

Finally someone has done just that. Odyssey, a researchfirm specializing in consumers' attitudes about technology,recently issued a report that provides some useful insightinto what the new media users really want. The resultssuggest that much of the ballyhoo about what consumersreally want, and will pay for, is just that - bunk.

In a study involving more than 4,000 consumers, Odysseyfound that the market for new media is not homogeneous,but actually comprised of six quite different market seg-ments. Each market segment, or user category, representsa different attitude toward new media offerings includingcable and interactive television. These attitudes suggesthow and when each group will embrace or adopt newofferings. Let's look at these six groups of consumers.

New Enthusiast, represent those on the cutting edge oftechnology. These consumers have a strong desire to learnnew things and master new technologies. They are demand-ing consumers who insist on high performance.

The Hopeful consumers are similar to the New Enthusi-asts, but they lack the economic and educational means ofthe above group. As a result, they are concerned aboutanything that sounds expensive or seems difficult to use.

The Faithful households are neutral. They are not op-posed to new technologies, but not turned on to themeither. They are satisfied with current television. Although

they are willing to pay more for new products, they see no real need for change.Oldliner households don't care. They are not interested in learning new technolo-

gies and express an above average degree of dissatisfaction with current TV program-ming. Although they are the heaviest users of television, they also are concernedabout cost and are unlikely to be motivated by any new products that appear to becutting -edge technology.

Independent households lead lives where technology and television don't play animportant role. They watch less television than any other group and have a belowaverage cable TV subscription rate. For them, television is already good enough.

Surfer households are ambivalent about technology. This group watches moretelevision than most and is generally satisfied with the offerings. However, althoughthey have an above average cable subscription rate, they are the most dissatisfiedwith their cable TV companies. They are quite cynical about big business andconcerned about privacy issues.

So there you have it. Despite what many pundits have told us, the media -buyingpublic is not of a single mind. Like everything else we buy, there are always otheroptions. The adage, "One size fits all," doesn't work with media any more than it doeswith underwear.

^40.61 #40-4-aBrad Dick, editor Editor's note: For more information on the research, contact

Odyssey in San Francisco.


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Grand Alliance choosesZenith transmissionsubsystem

By Harry C. Martin

On Feb. 16, the Grand Alliance of U.S.-sponsored all -digital advanced TV (ATV)systems selected the 8VSB (vestigial side -band scheme) transmission subsystemdeveloped by Zenith Electronics Corpo-ration as its standard. According to NAB,this decision is the final major technicalstep in the process of developing a sys-tem that will be submitted for FCC ap-proval. The decision followed tests at theATV test center, which showed that theZenith system affords a more interfer-ence -free service and one with less im-pact on the existing NTSC system thandoes the competing 32 QAM system.

On Feb. 16, the GrandAlliance selected the8VSB transmissionsubsystem as its

standard.

The Grand Alliance of HDTV proponentswas formed in 1993 to avoid duplicationof effort, expense and delay in the devel-opment of ATV. Also, it was believed thatcombining the competing technologieswould prove beneficial in developing thebest possible single system.

The FCC Advisory Committee must ap-prove and test the 8VSB subsystem be-fore an overall ATV proposal is submittedto the agency for final approval. The tar-get date for final approval is early 1995.

FCC sets tougher EEO sanctionsOn Feb. 1, the FCC adopted guidelines

that greatly increase the amounts of finesand the likelihood of short-term renewalor hearing designation for violation ofthe EEO rules. The FCC applied thoseguidelines to assess fines ranging from$18,500 to $37,500 against more than adozen licensees that made inadequaterecruitment efforts. Nearly all of thesestations were given short-term renewalswith reporting conditions.

Martin is an attorney with Reddy, Begley 8 Martin,Washington, DC.

FCC Update

Applicant "pool" requirementsThe guidelines set a base fine of $12,500

plus imposition of reporting conditionswhen a licensee fails to recruit in order toattract a pool of minority/female appli-cants for at least 66% of its vacanciesduring the license term. Inadequaterecord -keeping and/or lack of self -assess-ment throughout the license term is evi-dence of such failure. Where the percent-age drops to 33%, the fine rises to $18,750.

Assessing the penaltyThe guidelines include a complex sys-

tem of criteria for upward or downwardadjustment of the $12,500 base fine. It isbased on the percentage of minorities/women in the labor force, the number ofhiring opportunities and the station's em-ployment profile. Where a rule is violat-ed, short-term renewals will be assessedunder many circumstances. Also, if a lic-ensee had previously been assessed asanction for an EEO violation, the stakesgo higher rising to designation for a hear-ing and a possible fine of $250,000 if thelicensee's prior EEO sanctions includeda short-term renewal.

Record -keeping and self -assessmentLicensees must keep records of the race

and sex of all applicants for each positionfilled and the referral source for eachapplicant. Licensees also must assesstheir EEO programs on a regular basis,and at least annually, determine whethertheir recruitment efforts require modifi-cation. Where minority/female recruit-ment sources are not referring adequatenumbers of applicants, additional sourc-es must be used.

Political programmingrule violations

The FCC has admonished three broad-cast stations and a cable operator for thefollowing violations: Failure to maintain complete politicalfile. A cable system was admonished forfailing to include the following in its polit-ical file: information concerning requestsfor time and their disposition, schedul-ing and classes of time purchased, whenthe spots aired, and the specific rates

charged. The FCC rejected the operator'sreliance upon separate files to providerequired information. The political filemust include all required information,with the exception of the actual broad-cast (or cablecast) schedule, which maydiffer from the contracted schedule. Thatschedule doesn't need to be placed inthe political file immediately if a notationis placed in the file that schedule infor-mation will be provided upon request. Lowest unit charge/package plan rate. Astation was admonished for failing to in-clude all of its package rates in the calcu-lation of its lowest unit charge (LUC). TheLUC calculation must include individual-ly negotiated packages, as well as thoseoffered to all advertisers. The rules re-quire disclosure of all rates and value -enhancing discount privileges offered tocommercial advertisers, so the stationwas obligated to inform candidates thatthe rates in the package plans were avail-able to them on a per -spot basis withoutthe candidate having to buy the entirepackage. The station was ordered to re-bate any overcharges. Reasonable access: No flat limit on num-ber of spots. Two licensees were admon-ished for imposing a flat limit on thenumber of spots that could be purchasedby federal candidates. A station may notdecide, in advance, how much time it willsell to a federal candidate, but must con-sider each request individually. Political rate cards/incomplete informa-tion. Two stations were cited for not de-scribing and defining classes of time avail-able to commercial advertisers.

Date lineMay 31, 1994 is the filing deadline for

the FCC's 1994 Annual EmploymentReport. June 1, 1994 is the deadlinefor annual ownership reports or certi-fications for commercial broadcaststations in the following states andfederal district: Michigan, Arizona, Ida-ho, New Mexico, Nevada, Utah, Wyo-ming, Virginia, West Virginia, Mary-land, Ohio and Washington, DC.


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Compression basics

By Curtis Chan

In industry news, it was announced re-cently that General Instrument (GI) willshare its compression technology withZenith Electronics, acknowledging thatthe technology will be cross -licensed withcompetitors, with the hope that hard-ware companies are taking the industry'sinteroperability issues to heart.

The agreement allows Zenith the rightto use DigiCipher compression technolo-gy, while GI will gain access to Zenith'sVestigial Sideband (VSB) techniques,which were selected by the Grand Alli-ance (GA) as the transmission standardfor HDTV. The decision by the GA tochoose Zenith's VSB is a major boost forthe company. If the VSB modulation tech-nique proves to be a better system itcould provide major income for Zenith.

Compression made easyBecause compression is becoming a

major issue, you will be seeing it con-stantly along with references to MPEGand adaptations to the computer indus-try. Here's a quick tour on the fundamen-tals of compression.

To start, a single frame of broadcast-

quality video is comprised of 640x480pixels (computer world numbers) x 24bits of color data equaling 900kB, andthat does not include audio and ancillarydata. Just how to do this is an artformonto itself, but looking at single -image(intraframe) video compression, thereare seven basic processes involved.

The first four preprocessing steps arefiltering, color -space conversion, digitiz-ing and scaling, all of which have an effecton compression. The last three 'pure'compression steps are transforms, quan-tization and encoding. MPEG uses all ofthese steps plus predictive coding, mo-tion compensation and picture interpo-lation because it deals with moving imag-es (interframe compression). Filtering. This first process eliminateshigh -frequency noise from the signal thatcould lead to aliasing. This is usuallydone by averaging neighboring pixels orlines to produce a lower data rate.

Chan is principal of Chan and Associates, a marketing consultingservice for audio, broadcast and post -production, Fullerton, CA.

Strictly TV

Color -space conversion. In a nutshell,RGB 'color space' is converted to YUV.Converting RGB space to YUV space isdone by transforming vector compo-nents. Digitizing. Human vision is more sensi-tive to changes in luminance than tochanges in chrominance. Because of this,a typical scenario would be to sample theU and V components twice for every foursamples of Y. In converting from RGB toYUV, half the color information samplesare usually discarded yielding image filesapproximately 600kB per frame. Scaling. Scaling or subsampling reduc-es the picture data dramatically. In non -broadcast applications, scaling can beused to reduce date rates to an equiva-lent 144 -to -1 by keeping approximatelyone -sixteenth of the spatial data, one-thirdof the temporal data and one-third of thecolor bit depth data or 16x3x3. In actualuse, scaling reduces the digitized datafile from 600kB to around 110kB. Transforms. Transforms convert a sig-nal's 2-D spatial representation to a fre-quency domain representation. In DCT,which is used in JPEG and MPEG, an FFTconverts the image to frequency space(which is comprised of coordinates, di-mensions or vectors) where most of thesignal's energy is concentrated in low-frequency components (coefficients).DCT works on 8x8 blocks of pixels, whichresult in 64 coefficients. Using a matrix,the lowest -frequency term is at the upperleft, higher -frequency horizontal coeffi-cients increase from left to right and high-er -frequency vertical coefficients in-crease from top to bottom.

Wavelet compression uses image trans-forms then decomposes the image intomultiple spatial images (low-pass or av-eraged and a high-pass or differencedimage) that shows only the rapid chang-es in the image. This keeps the trans-formed information relatively local, en-abling more selective data reduction atthe quantization step while ensuring thathigh -frequency data stays where it's need-ed. The image size is still approximately110kB at this point. Quantization. In this lossy process, dig-itization is used in which fewer bits are

used to describe the same overall quan-tity of information with larger quantumsteps. JPEG and MPEG are limited to uni-form quantization where the step sizestays the same. This is in contrast tovector quantization that permits non-uniform quantization. Going back to thematrix, quantization truncates most ofthe high -frequency components to zero.This process yields approximately a 3:1compression ratio, taking the 110kB filedown to around 35kB. Compaction encoding. The final step inintraframe compression is data compac-tion. Codecs use three basic types ofcompaction schemes. Run -length encod-ing replaces consecutive identical digitswith the number and kind (222224444 is5244). Huffman coding (variable lengthor entropy coding) takes strings of oftenrepeating characters and replaces themwith variable length codes. The mostcommonly occurring strings get the short-est codes. Arithmetic coding makes com-pacted data appear as a long floatingpoint number that encodes the commonstrings with fractional bit codes. The re-sult is usually another 1.5:1 compressionbringing down the 35kB file to approxi-mately 24kB. Interframe compression. In a typical vid-eo image, the greatest amount of redun-dancy can be found in successive framesthat generally change slowly. By predict-ing a pixel will remain the same and onlyencoding differences, you can end upwith a string of zeros or small numberssuitable for efficient run -length encod-ing. In interframe encoding, an intraframecompressed frame (I frame) is used topredict another frame (P frame). The bi-directional frame (B frame) uses earlierand later frames for predictions. Motionestimation and compensation, as well aspicture interpolation, are used when ascene changes entirely. The total inter -frame, with predictive encoding, motionestimation and interpolation, results inanother 5:1 compression bringing thetotal down from 24kB to approximately5kB. Resulting in an overall 200:1 com-pression of the image.


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Departmentalmotivation

Being a balanced manager

By Rick Morris

Joe has successfully tackled the job ofimproving the motivation and morale ofhis engineering department. But he foundhimself working 12- to 14 -hour days inaddition to being on -call 24 -hours a day.His attitude toward the job and on the jobwas getting worse, even as his staff's wasimproving. At 3 a.m. one morning, he hadto take his team out to repair a section oftransmission line so the station could getback on the air. It was difficult to keep hisstaff's morale up when his was so down.Joe was gratified by the improvement inhis department, yet he feared that be-cause of the stress and the hours, hewould accidentally say something thatwould be detrimental to staff morale.

Joe had made friends with the station'ssales manager and decided that a lunchdiscussion might provide insight into howhe motivated and managed his sales staff.During lunch, the sales manager recog-nized what Joe was up against and of-fered suggestions on interpersonal man-agement and how to improve his situa-tion by becoming a balanced manager.

You are always "on"In a management situation of this type,

a chief engineer has two challenges: 1)determine and act on the concept of whatconstitutes balanced management, and2) select the tools and actions that willallow you to maintain the balance. Somemanagers find themselves at an extreme;either they are too task -oriented or theyseek authority and obedience; on theother set of extremes they pay too muchattention to the needs of relationships orthey fail to manage strongly.

These extremes are signs that a manag-er needs more balance. A balanced man-ager will consider the needs of the orga-nization for getting work done, as well asthe needs of the persons involved formaintaining morale. Many managersknow what they are supposed to do, butunder much stress, move toward beingtask -oriented and seek authority andobedience. It is then that a staff's morale

Morris is an assistant professor of radio/TV film at Northwest-ern University. He is a former TV manager at station andnetwork levels.

Management

can be affected.Part of balance is making sure that you

maintain leadership. Shifting unpredict-ably from one mode of management toanother or acting inconsistently will dam-age your credibility as a leader.

Part of balance ismaking sure that youmaintain leadership.

Some of the personality traits of a goodleader include a range of interests, emo-tional maturity in the face of failure orsuccess, self-respect, a high tolerance forfrustration, respect for others, and theability to communicate effectively. Main-taining these traits requires consistencyof actions and words. Also, interpersonalrelations with the supervisor is one of theleading factors of basic job satisfaction.In order to give out some of the mostpowerful motivators to your staff - rec-ognition and responsibility - your credi-bility must be high.

Under pressure,defuse the situation

One key aspect of a manager's job is todeal with problems. When an employeebrings you a problem, try not to reactimmediately. Sit down together and dis-cuss the problem. Discussing the possi-ble courses of action in a relaxed atmo-sphere can prevent you from moving fromthe center balance to one of the edges ofmanagement practice. Similarly, whenupper management brings a problem toyou, rather than reacting, take time toconsider your possible courses of ac-tion. If you have enough time, convenemembers of your staff to brainstorm. Com-municating the problem clearly to othersand soliciting input will help maintain arational decision -making process.

Delegation is part ofbeing a good manager

Unfortunately, delegation is one of themost difficult skills for managers to learn,but planning improves delegation. Deter-

mining who will be in charge of certainactivities before the project starts shiftsthe responsibility to the proper person.In day-to-day operations, assigning areasof responsibility and abiding by thoseassignments will help your staff developand allow you to perform your duties.

Train your replacementIt is a truism that an irreplaceable per-

son is unpromotable. An irreplaceableperson finds it difficult to get away fromthe station to recharge his batteries. Bothsituations will affect your morale, jobsatisfaction, and perhaps your interper-sonal relationships with your staff. Engi-neering is an important job. Being off theair is a serious situation that halts therest of the station until the failure can berepaired. In the 24 -hour -a -day -every -day-

of -the -year world of broadcasting, engi-neers have their evenings and weekendsinterrupted by emergencies and oftenfind it difficult to take a vacation. Identifysomeone as your replacement and trainthem with enough skills to keep the sta-tion going and the department runningsmoothly.

What about your own job security?There is no more secure person than acompetent employee who is well recog-nized. While making sure that manage-ment is knowledgeable of and comfort-able with the arrangements you make forthe station in your absence, you may takethe opportunity to communicate yourposition and value in the big picture ofthe station.

Your own time is important; it is howyou maintain your interest in the worldand reinvigorate your motivation to thejob. Do not unnecessarily postpone vaca-tions; it is easy for engineers to find rea-sons to stay on the job. In the long run,your company is more interested in yourbeing a good employee than in seeingyou working too many hours. By keepinga balanced sense of management, prop-erly delegating, and assuring that there issomeone available while you are absent,you will preserve your quality of life andlet consistency of your actions and wordskeep departmental morale intact.


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Camera tips

By Dave Dore

Keeping up with the latest gear in thebroadcast production business is likevisiting an all -you -can -eat buffet ... youkeep seeing something else you want,but your body is saying, "Hey, you wentway over budget with that raspberrychocolate truffle, put that cheesecakedown and go home!"

No matter how many tools you get thatmorph, warp or bend, you still have to goout and get original video; and that isoften what separates the video profes-sionals from the hobbyists.

A well -executed hand-held shot is a master-piece; a poor one ishideous to watch.

Today's hobbyists may have the latestvideo toaster and home Hi8 system, butcan they point a camera and take goodpictures? Years ago, when "zoom in"meant rotate the lens turret, the cameraswere set up on big pedestals, cranked upto eye level, and used to shoot the sub-ject. Film people could do hand-heldshots and creative cinematography, butthe video professionals had their tripodsand they had to make sure their shotswere rock solid. News photographerswere told that nothing airs unless it wasshot from a tripod or there was a goodreason to shoot from the shoulder.

Then along came MTV and a rash ofreality shows in which it was decidedcamera movement enhanced the dramat-ic feeling of the production. Directors ofcommercials, sports, and even news pro-grams began to add motion and non-traditional angles to their projects. Insome cases they created "looks" thatwere copied by many others, and in oth-er cases, shots ended up looking like anamateur video of a family outing.

Somewhere in between those two ex -

Dore is sports director for KSMO-TV, Kansas City, MO.

Production

tremes is where every videographer triesto be - not too stale and static, butwatchable by the majority of people whomay find MTV enough of a visual barrage.Occasionally, videographers need to findthe edge and cross it, but static, wideshots have their place as well. Knowingthe rules will allow you to learn how andwhen to break them. With that in mind,here are some of the techniques today'svideographers are using.

Shouldering the burdenToday, a large percentage of video is

shot from hand-held cameras. This canenhance the ability to move the camerain ways that are difficult or impossible ona tripod. In addition, hand-held camerascan create constant movement, such aswhat is sometimes called "jiggle cam"(AT&T commercials are a good exam-ple). A well -executed hand-held shot is amasterpiece; a poor one is hideous towatch. Here are some ways to avoid hand-held hell.

1. Don't tighten your body when shooting.It may be an intense moment during take24, but even minute quivering of tensemuscles translates to vibrating video.There is a difference between jiggling thecamera for effect and having every shotoscillating slightly. Taking a deep breathbefore beginning the shot will help.

2. Don't move too fast. The human eyecan dart around a room in seconds, butdon't do that with your hand-held cam-era because you will confuse the viewer.If you need swish pans and dramaticmovement, plan them carefully and thinkabout the editing process. (Will dynamicmotion or effects be used?)

3. Explore different angles and hand-heldpositions. A camera does not have tomerely rest on the shoulder. Most view-finders tilt up and down, and some greatshots come from cradling the cameraunder an arm or resting it on your foot,and then performing a move. Canted (ortilted) angles are becoming increasinglypopular, and it is much easier to achieve

this hand-held because most video tri-pods do not tilt to the left or right. Ratherthan holding the camera and tilting it,stand with the camera on your shoulderand tilt your whole body. This way youmaintain control over the shot as well asthe angle you want.

Techniques Snap zooms. Although most camerasare equipped with sensitive variable elec-tric zoom controls, there are times whenyou may need to take more control. Youcan create some nice effects when youmanipulate the zoom lens manually. Usu-ally lenses can be switched from "auto"to "manual" zoom control. Many pro-grams in the kids TV genre, as well ascommercials, use the technique whereyou move your shoulder -mounted cam-era quickly while at the same time "snap-ping" the zoom lens at the same rate intoor away from your subject. Manual zoomalso allows you to "bounce" your zoomlens to a beat.

Swish. "Swish pans" or any rapid cam-era movements don't have to ruin a pro-duction. If planned and executed proper-ly, they can add to the drama of a shot. Aquick pan or zoom might look horrible inreal time, but if slowed down in editing orstrobed, these snaps and swishes be-come an effect in themselves.

Let it run. Unless you have a tape short-age, let the tape run between takes (if thetime is not too long). Useful shots cancome when you're not planning them.

Not all shooting these days is rapid firewacky -cam. There are plenty of situa-tions where you will still need to set upthe tripod and shoot a sitting or standingobject nice and steady (for example, alawyer in front of his bookshelf).

There are millions of hobbyists outthere with camcorders, and slightly few-er video professionals. Look at what youdo, and see how you can improve. Exper-iment when the time is right, but knowwhen to do it by the book.


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Troubleshooting

LAN technology

LAN basics

By Kevin McNamara

If you don't have a PC -based local areanetwork (LAN) at your station, chancesare it won't be long before someone startsasking questions about the "N" word.The PC -based LAN is fast becoming an-other tool that stations can use in anincreasingly competitive environment.Unfortunately, too many operations haveimplemented a network without any realthought or planning. An improperly con-figured system will not deliver the de-sired results. This series will provide in-sight into basic network theory and somepractical information that can be used inselecting and managing a smallnetwork.

TerminologyA network is comprised of a

file server and at least one work-station (the user's PC, also re-ferred to as the "client"). Mostsmall networks contain a fileserver and several workstations.If a network uses a dedicated fileserver and some workstations,it may be called a client -servernetwork. The term dedicated re-fers to a computer controlleddirectly by the network operat-ing system that also acts as astorage device for files commonto the network. This network canhave more than one file server.

Another type of PC -based LANis called the peer -to -peer net-work. These networks allow PCsto share files, printers, or send

visible, companies such as Novell soughta way to interconnect the PC.

Networking is the ability of computersusing different hardware and/or operat-ing systems to share data seamlessly. Toaddress the problem of system interop-erability, the Open Systems Interconnect(OSI) model was developed. The Interna-tional Organization for Standardization(ISO) has been the primary body in de-veloping the OSI standard. The Institutefor Electronic and Electrical Engineers(IEEE) has defined specific data commu-nications standards to be used with OSI.

and mail delivery. This layer also inter-acts with the network operating system.2. The presentation layer is the "transla-tor" of the network world. A network canbe used to connect different types ofcomputer systems. If a PC and Macintoshare hooked to the network, the conver-sions performed at this level allow thetwo machines to exchange data. Thechores related to maintaining compati-bility between different monitor typesare handled here.3. The session layer deals with setting upa connection between communicating

applications. Once connect-ed, it provides support func-tions, such as synchroniza-tion of data and reporting oferrors.4. The transport layer main-tains the integrity of the datacommunications elements,including flow control anderror recovery.5. The network layer pro-vides the means to reliablyroute data across a networkcomprised of multiple seg-ments.6. The datalink layer packag-es the data along with theappropriate header infor-mation so that it will be rec-ognizable to other comput-ers attached to the network.7. The physical layer definesthe physical hardware thatis required to interconnect

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messages to other properly attachedcomputers.

BackgroundThe concept of networking has been

around as long as the computer. Manyestablished computer manufacturers useproprietary methods for interconnect-ing workstations and the central process-ing unit (CPU). It was clear that a stan-dard needed to be defined allowing for aseamless transfer of data between sys-tems. As the desktop PC became more

McNamara is engineering manager for WGAY/VVWRC ra-dio, Washington, DC.

The OSI modelThe OSI standard is divided into seven

layers. Each layer has a specific job andcan only communicate directly with thelayer directly above or below it, within agiven system. Between systems, layerscan only communicate with layers of anequal level. (See Figure 1.)1. The application layer handles commu-nication between the user (or the user'sprogram) and the layers below. The useof "application" is misleading because itdoes not refer to the actual program thatmay be running, such as a word proces-sor or database. The application layerprovides file transfer, terminal services

the system, including: The Network Interface Card (NIC) -acard that plugs into each PC on the net-work. It is the physical interface betweenthe PC data bus and the network cabling. Cabling and connectors -networks trans-fer data at higher speeds than the serialor parallel port on the PC. Data rates varyfrom about 2.5MB/s (MIP's in networkterminology) to about 10 MIPS. Standardsfor 100 MIPS are being developed. Net-works can also be connected by coaxialcables, twisted pair or fiber-optic cabling.

The majority of problems that are en-countered with a network can be tracedto the physical layer.


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Witt- auct 1pwari y n mind users such as ChannEl 4 in the UK, tie Futilt Bioalcasting

Sery ce anc JSA Net,vork in he U S , hn.e already placed order for D-3 equipirhant ;rd Panasonclgi:al VTRs /V II

be u.3.El ext-isival,t at the 19x6 Sumne Olympic Games in Atlanta.

In aiditicn to digital JTRs, Panasonic's full line of Digital Signal Frocessinc (DSP) caneras elves opera_ors

digital set-up capability an: ur paral ales creative fredonlo master .-3ch

shooting situaticn. The NS orial Acalemi of Te evis on Ar s and Scie ices

awa-ded Panasonic an EMMY for -his acilavemert n "sc.

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swi cher development in re airly 1980 achievenar t recognized with

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Evidence of Panasonic's commitment to a I-dCit3 video pro:i:non

is is roster of linkinc products that= fac li`ate con-itioLation betwen

ccrrposte and ximporer,t domails as well as serial and para lel :igi al s clals These p-oducts include di:1131

routs, orrnel -,myciters. serializars and decoders. Panasonic extaid 3 the digital product ci chaff h further wit- the

irloducian cf irdusty's first and only eigital professional broadcast monita.

Pagascrit cads in develop nc digital video technology in viauSly every sec or c the e eiciron cs market

inc-udirc our businesses, our Khoo's, and our homes. Through ffta parent, Matushita Eladr c Industrial Cc many,

Fanasoi c isperlof the growing allEnce of information and enter' t:chnology cornioaries that are staring

ca world f01 E iullei rider tomo-rog

Panasonic. Defining Digital Leadership In The Larger Cortext.

Panasonic stakes its claim as First In Digital Video based on the breadth of its prcdLcts, the vast scope of

its research and development, and its firm commitment to leading tie way towards the diaital future.

No other company offers a complete digital product line, ranging from Digital Signal Processing cameras

to the industry's first-and only-professional digital broadcast monitor. No other company holds so many patents

on each of its digital products. No other company has won EMMYs-the industry's highEl hono's for technology

achievement-for digital VTRs. digital cameras, digital switchers an-idigital effects equiplen:

Panasonic Broadcast & Television Systems Company measu-es its success within tie universe cf its parent,

the Matsushita Electric Industrial Company, the world's 12th largest corporation. Worldwide, Matsushita employs

more than 252,000 people in 38 count, ies. It reports sales of more then $60 billion annuall', ,Jith a $3.1 billion

investment in research and development.

In pursuit of "human electronics," which the Company defines as products that meet he genuire needs of

customers, Matsushita has been grand close to 52,000 patents fine of Matsushita's ,% p- ncipal research

laboratories are located in the United gates. The Panasonic Advanced TV -Video LaboratoTs spearhead research

in digital transmission technologies, producing advances for high definition television. Dig ta studies done at the

Matsushita Applied Research Laboratory are being steadily incorporated into the latest Panasolic broad:asting

systems. And critical research being conducted both in the U.S.and Japan is advancing the b t -rate reduct on

:BRR) technology that broadcast HDTV is expected to utilize.

Sure Steps Toward the Future.

Digital recording techniques are now recognized as offering 90 many benefits over analog recording that

virtually all future industry developmen will be in the digital domain Looking to the lesscr s :f the past, one

gleans some absolutes about the futurE That Panasonic will be first and foremost with dig ta breakthroughs.

-hat Panasonic will fulfill customers' expectations with equipment that meets their current aid emerging needs

-hat Panasonic is the unrivaled First in Digital Video.

PanasonicBroadcast &Television Systems Company

For more information call: 1-800-528-F101 (Upon request enter product code M) One Panasonic Way, SOC4LCLIZ. NJ 07094.

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Ad IndexPage

Number

ReaderServiceNumber

AdvertiserHotline

PageNumber

ReaderService AdvertiserNumber Hotline

Abekas Video Systems 45 25 415-369-5111 Louth Automation 21 12 ..... 415-329-9498ADC Telecommunications 27,48 15,27 800-726-4266 Matrox Electronic Systems 73 47 800-361-4903A.F. Associates Inc. 71 46 201-767-1200 Maxell Corp Of America 11 9 800-533-2836Alamar Electronics USA, Inc. 68 44 408-866-9373 Midwest Audio/Video Exchange 85 63 708-251-0001American Lightwave Systems 15 11 203-630-5770 Miranda Technologies Inc. 60 35 ..... 514-333-1772Antex Electronics 79 52 213-532-3092 Montreux Radio 65 42 021 963 32 20Anthro Company 38 503-241-7113 Odetics, Inc. 53 31 800-243-2001AT&T 23 800-248-3632 Opamp Labs, Inc. 34 56 213-934-3566The Broadcast Store, Inc. 85 64 818-551-5858 Orban, Div. of AKG Acoustics 7 7 510-351-3500Belar Electronics Laboratory 62 39 215-687-5550 Ortel Corporation 13 10 818-293-1140Belden Wire & Cable 56-57 33 800-235-3364 Panasonic Broadcast & TV 16 A -F,75 800-524-0864B&H Photo - Video 81,82-83 57 800-221-5662 Pioneer New Media Tech 39, 41 23 800 -LASER -ONBroadcast Video Systems Ltd. 78 50 905-764-1584 QS' Systems, Inc 68 43 603-893-7707BTS Broadcast TV Systems 47 26 800-962-4BTS Rorke Data Inc. 48 A -B 28 800-328-8147Canare Cable, Inc. 52,79 30,53 818-365-2446 Sachtler AG 9 8 32-909-150Channelmatic 74 48 619-445-2691 Sescom, Inc. 85 60 702-565-3400Cipher Digital, Inc. 85 62 301-695-0200 Shure Brothers Inc. 5 6 800-25-SHURECircuit Research Labs Inc. 62 38 602-438-0888 Sierra Video Systems 63 40 916-478-1000Clear-Com Intercom Systems 51 29 510-527-6666 Standard Communications 55 32 800-767-6695Comark Communications, Inc. 67 42 215-822-0777 Storeel 60 36 404-458-3280Conex Electro Systems 78 51 206-734-4323 Studio Audio & Video Limited 35 21 353-648-888Denon 80 54 201-575-7810 Tascam/Teac America, Inc. 59 34 213-726-0303Dynatech Video Group 29 608-273-5828 Tektronix, Inc. 31 17 800-TEK-WIDEFrezzolini Electronics Inc. 80 55 201-427-1160 Telemetrics, Inc. 32 18 201-848-9818Garner Industries 85 61 800-228-0275 Telex Communications, Inc. 3 5 800-554-0716Grass Valley Group 24-25 13 800-343-1300 USSB IFC 1

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AGOURA HILLS, CALIFORNIADuane Hefner5236 Colodny Ave., Suite 108Agoura Hills, CA 91301Telephone: (818) 707-6476FAX: (818) 707-2313

SANTA MONICA, CALIFORNIAMC2 Magazine Communications Marketing Corp.Jason PerlmanTelephone: (310) 458-9987FAX: (818) 393-2381Deborah KernPhone: 310-458-8080FAX: 310-393-2381501 Santa Monica Blvd., Suite 401Santa Monica, CA 90401

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TOKYO, JAPANOrient Echo, Inc.Mashy Yoshikawa:101 Grand MaisonShimomiyabi-Cho 2-18Shinjuku-ku, Tokyo 162, JapanTelephone: (3) 3235-5961FAX: (3) 3235-5852Telex: J-33376 MYORIENT

FREWVILLE, SOUTH AUSTRALIAHastwell, Williamson, Rep. Pty. LtdJohn Williamson109 Conyngham StreetFrewville 5063, South AustraliaTelephone: 799-522, FAX: 08 79 9522Telex: AA87113 HANDM

CLASSIFIED ADVERTISINGOVERLAND PARK, KANSASRenee HambletonP.O. Box 12901Overland Park, KS 66282(913) 967-1732 FAX: (913) 967-1735

88 Broadcast Engineering March 1994

ClassifiedHELP WANTED

DIGITALVIDEO

ENGINEERSDO YOU SPEAK CCIR 601?If so, you may qualify for one of the most excitingbusiness start-ups in the country. If you have strongtechnical knowledge of video processing, routing, andanalog -to -digital conversion, we would like to have theopportunity to talk with you about this state-of-the-artfacility and the role this business will play in therapidly unfolding area of Interactive Multimedia TV.We encourage you to send a resume or letter summa-rizing your capabilities as a first step toward learningmore about this exciting opportunity.

Paul -Tittle Associates, Inc.Attn: DPS1485 Chain Bridge Road, Ste. 304McLean, VA 22101FAX: (703) 893-3871Representing an equal opportunitycompany. All are encouraged to apply.

Pill Tillie

WASHINGTON STATE UNIVERSITY is seeking a full-time,permanent Chief Telecommunications Engineer for itspublic radio and television broadcasting and instructionalmicrowave system. Position is located at the central en-gineering support center In Richland, Washington. DutiesInclude: supervising and directing broadcast technicians;design and planning of television, radio and microwavesystems, electronic classrooms, TV and radio studios andtransmission facilities; allocating resources for installa-tion, operations and maintenance projects; budgetdevelopment; and other engineering duties. Qualifica-tions: 5 years broadcast and/or microwave/towerconstruction, maintenance and design experience. Priorexperience as Chief Engineer or Assistant Chief Engineerin public broadcasting, SBE certification and Bachelor'sDegree preferred. Salary 838,000 to $46,000 plus greatbenefits. To apply send resume, cover letter and namesand phone numbers of three professional references to:Chief Telecommunications Engineer Search, KWSU Radio -Television Services, Washington State University,Pullman, WA 99164-2530. Applications must be post-marked by May 2, 1994. WSU is an EO/AA educator andemployer. Protected group members are encouraged toapply.

MAINTENANCE ENGINEER: Top 50 Northeast Affiliateseeking a broadcast maintenance engineer. Experienceshould include Sony 1" VTR's, Sony 1/2" Beta equipment,Grass Valley production switchers and routing systems.Two (2) years previous broadcast experience preferred.Comprehensive benefits package offered. EOE. Send Re-sumes to Skeeter Lansing, WTEN-TV, 341 Northern Blvd.,Albany, NY 12204.

CLASSIFIED ADVERTISING

CLASSIFIED ADVERTISINGNOW AVAILABLE

AS CLASSIFIED DISPLAYOR BY -THE -WORD.

Classified Display: $119 per column inch, perinsertion, with frequency discounts available. 1inch minimum, 10 inches maximum per ad. Blindads $40 additional. Reader Service number $50additional or free to 4" or larger ads. Spot coloravailable for $95 (color determined by pub-lisher).

By -The -Word: $1.75 per word, per insertion.Initials and abbreviations count as full words.Blind ads $40 additional. Minimum charge $40per insertion. No agency discounts allowed forclassified ads.Contact Renee Hambleton, at (913)967-1732,

for information on frequency and pre -paymentdiscounts. To place your classified ad send yourorder and materials to Broadcast Engineering,Classified Ad Mgr., P.O. Box 12901, OverlandPark, KS 66212-2215.

TELEVISION: Engineering Maintenance Technician: Re-quirements - responsible for the repair and preventivemaintenance of the electronic studio equipment, i.e.,:VTRs, cameras, video switchers, etc. Also responsible fordocumenting work performed and assisting on -air opera-tors by performing quality control of the station's signal.Must have Associate Degree in Electronics and 2 years orrelated experience. Resumes to: David E. Smith, Engineer-ing Manager, WPHL-TV, 5001 Wynnef ield Avenue,Philadelphia, PA 19131. NO PHONE CALLS PLEASE. EOE.

TV MAINTENANCE ENGINEER opening in Upstate NewYork. Large facility loaded with state of the art equipment.Must be capable of troubleshooting studio equipment tothe component level. Experience in maintaining digitaland microprocessor -based equipment required. UHF ex-perience a plus. Send resume and salary history to:WXXI-Human Resources, PO Box 21, Rochester, NY 14601.EOE.

SERVICES

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9800 MetcalfOverland Park, KS 66212

(913) 967-1732Fax (913) 967-1735

Call Renee Hambletonfor all your advertising needs

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Advertise in BE Classifieds and see how your money speaks for you.Call Renee Hambleton TODAY! at (913) 967-1732 or fax (913) 967-1735

April 1994 Broadcast Engineering 87

ClassifiedI FOR SALE

4-11111;111111.1:111.11.112.111MTI11iVIIM* TESTS UP TO 40% BETTER THAN SONEXI *COSTS LESS BETTER COLORS & CUT. BETTER RAM SPECS

1.800 -95 -WEDGESONY 1 INCH BVH-2000, 1100A w/Warantee. Betacam,Cameras, TBCs. Decks. Monitors, or call for replacementparts. Refurbished slant guide assemblies -4150. We buyclean, late -model equipment. (609) 786-1709. (215) 836-7669.

PANASONIC/RAFASA/TECHNICS Broadcast, Professional,Industrial, CCVE Video & Audio Equipment. WholesalePrices! Sealed New - Full Warranty. Expert GuaranteedRepairs Too! Sales & Service - (607) 687-0545.

BROADCAST QUALM( SCA DECODER CARD - $20.00.Large quantity available. Contact: Background Music En-gineering, P.O. Box 2142, Springfield, MO 65801. Call800-944-0630/417-881-8401.

TRAININGFCC GENERAL CLASS LICENSE. Cassette recorded les-sons for home study. Our 30th year preparing radiotechnicians for the license. Bob Johnson Telecommu-nications. Phone (310) 379-4461.

EQUIPMENT WANTEDWANTED: USED VIDEO EQUIPMENT. Systems or compo-nents. PRO VIDEO & FILM EQUIPMENT GROUP: the largestUSED equipment dealer in the U.S.A. (214) 869-0011.

SEEKING USED AUDIO DIGITAL DELAY UNIT capable ofat least 6 seconds delay. Call Mr Allen 412-834-0600

550 FT EW-63 or 64 Standard Waveguide 1 kw Transmittertuneable to 15. Call WOWL TV 205-767-1515.

For Classified Advertising orProfessional Services informationCall Renee Hambleton at (913)

967-1732 FAX (913) 967-1735

HELP WANTEDF/T ELECTRONIC MAINTENANCE ENGINEER for televi-sion station. Individual must have electronic repairexperience, some building maintenance required. Salarycommensurate with experience, full vacation/benefitspackage. Send rca,,,,,e to. WHSV-TV, P.O. Box TV3,Harrisonburg. VA 22801. EOE

AGGRESSIVE AND GROWING Sunbelt affiliate needs anexperienced engineer to maintain studio and transmitterequipment in a brand new facility. Equipment IncludesBTS and GVG switching and graphics, 3/4" video tape,fixed and mobile uplinks, fiber optic and microwaveE.N.G. systems, redundant V.H.F. transmitters, as well asall the basics. Please mail or fax resume to: Chief Engi-neer, WCBI-TV, P.O. Box 271, Columbus, Mississippi39703, FAX 8 601-327-0020

ASSISTANT CHIEF ENGINEER: Need hands-on, takecharge manager. Able to supervise and maintain transmit-ter, production, master control, and studio equipment,microwave truck, and post production facility. Will alsosupervise regular work scheduling as well as preventivemaintenance, people skills are a must. Diploma type FirstClass radio telephone license required. Send resumes toGeneral Manager, WFMJ-TV, 101 West Boardman Street,Youngstown, Ohio 44503-1305. EOE/No phone calls please.

SELF STARTING ASSISTANT CHIEF ENGINEER for trans-mitter supervision. Must be experienced in maintenanceof RCA TTU-30 and TTU-I10 UHF television transmitters.Maintenance of Sony cameras and Beta equipment, ENGvan, along with personnel supervision will be required.Send resumes to: John Grdic, General Manager, WFMJ-TV,101 West Boardman Street, Youngstown, Ohio 44503-1305.EOE/No phone calls please.

SOUTHWEST V.H.F. NETWORK AFFILIATE seeks "handson" chief engineer. Responsibilities to include experiencein maintenance and repair of R.F. and studio equipment.Computer skills a big plus. People skills a must. Reply inconfidence to Broadcast Engineering, P.O. Box 12901,Dept 741 Overland Park, KS 66282-2901

United Nations Office ii New York

ELECTRONICS ENGINEER (P-3)

The Broadcast and Conference Engineering Unit of the BuildingsManagement Service in New York has an opening for the position ofElectronics Engineer. Reporting to the Chief of the Unit, incumbent pro-vides broadcast engineering support for desIgn, construction, logistics,training, . j . ,.itions and maintenance of radio and television facilities;evaluates technical needs and introduces new methods, equipment andsystems; writes equipment specifications, protect proposals and assists inpreparing capital equipment budget; works Closely with external broad-casters and internal clients; and participates in planning missions for over-seas conferences.Requirements: Advanced university degree _n electrical engineering orrelated field with specialty in audio and visual arts and broadcasting dis-ciplines. Six years of professional experience in broadcasting, post -produc-tion or related fields. Candidates with a first -level university degree and atleast 8 years of experience may be considered. Fluency in English.Working knowledge of French and/or Spanish desirable.QUALIFIED WOMEN ARE ENCOURAGED TO APPLYRemuneration: Depending on professional background and experience,annual net salary from US$51,291 without deFendents to US$54,992 withdependents plus corresponding entitlements. Closing date for reipt ofapplication::: April 30, 1994. Applications with full curriculum vitae,thcludi,,,4 salary history, birth date and nationality, should be sent to: Mr.Adrian T. Iso.1, Room S -2500E, Office of Human Resources Management,United Nations, New York, NY 10017, USA. Fax (212) 963-3134.

tei NitLAII ED NATIONS v%qv`;" NATIONS UNIES4.46;,A,

TECHNICIAN-Video: Installation & maintenance techneeded for growing video projection/system company.Barco-Electrohome-Esprit experience helpful, but firmelectronics background essential. System level troubleshooting useful. Send resume & salary history to; FutureView, Inc., 1250 Taylor St., NW, Washington, DC 20011ATTN: Manager.

SYSTEMS DESIGN ENGINEERSSENIOR PROJECT MANAGERS

A.F. Associates, the acknowledgedleader in the design, engineering and fabri-cation of advanced television facilities, isseeking to expand its engineering staff.

We are seeking talented and experiencedsystems engineers to join our dedicatedstaff of professionals and become involvedin some of the most challenging projects inthe broadcast, cable, post -production andcommunications industries.

You will be directly involved in consulta-tions with clients, proposal generation, de-tailed systems design and documentation,project management/supervision and com-missioning of a wide range of projects. Thisposition offers the opportunity to make asignificant and direct personal contributionon prestigious projects which often pushthe limits of current technology.

The successful candidate must have aminimum of eight years of television sys-tems design experience on a wide range ofadvanced facilities. You will have an in-depth knowledge of digital video and audiosystems, be fluent in AutoCAD and have atrack record of successfully managing com-prex projects. You will enjof the freedom ofdirecting your own project while being partof the industry's leading team. BSEEstrongly preferred.

AFA offers a dynamic yet "small com-pany" work environment with a comprehen-sive package of benefits.Send resume to:

ENGINEERING MANAGER

RP AA.F. ASSOCIATES, INC.100 STONEHURST COURT

NORTHVALE, NEW JERSEY 07647AFA is a Video Services Corporation Company an Equal

Opportunity Employer.


ClassifiedFOR SALE

STUDIO EXCHANGE BURBANK(818) 840-1351 FAX (818) 840-1354

NEW & USED VIDEO EOPMT.

BUY, SELL, CONSIGN;25 YRS. EXP.

No Sub -zero. No Aftershocks.

ABEKAS A-51 Sngl. Ch. DVE w/ warp , targetframestore & key options $28,000

GVG 110CV-525C Component Switcher with

linear borderline $12,000GVG 151 Editing system with software version

5.0 , monitor , keyboard4ogger $14,000

SONY BVE-600 A/B Roll Editor w/ composite

switcher option. $3,800

SONY BVE-600 A/B Roll Editor w/ component

switcher option. $6,000

IMICOR VIDEO EQUIPXE:r_fCHICAGO 312 334 4300

AUDIO TRANSFORMERS LOW DISTORTION < THD SIR

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DUB FRIENDLY.Make dubs on recycled videotapes. Save money, save theplanet. Every tape guaranteed. immmEmmFor more info, or to order, call: (800) 238-4300)



Continued from page 80

Computer lineBy Industrial Computer Source MIPS-Based Industrial RISC ComputerLine: increases processing power overstandard 32 -bit, 80486/50MHz systems;each system provides a 1.44MB floppydrive, XVGA 64 -bit local bus video and16MB of RAM; system boards incorpo-rate an Adaptec-compatible SCSI -2 con-troller, dual floppy controller, and ether-net network port, dual series ports, oneparallel port, a keyboard port, PS/s mouseport and up to 256MB of on -board RAM.


SoftwareBy Video Design Pro VidCAD for Windows: an engineeringtool for planning, documenting, install-ing and maintaining complex communi-cation systems; links with spreadsheets,desktop publishing, database report andproject management.


Smartphone product systemsBy Gentner Communications andArrakis Systems, Inc. Autoline: provides access to recordingaudio feeds on/from the Arrakis Digilinkwith the Gentner TC-100. PhoneLink: provides access and con-trol of multiple telephone hybrids fromArrakis equipment.

New Products

TalkLink: uses new products from Gen-tner and Arrakis to control and networkscreening of multiline talk shows from ahard disk system.


Digital audio workstationproductsBy Fairlight

MFX3: a series of products based on theindustry standard MFX digital audio work-stations; provides 24 tracks of simulta-neous playback from a single hard disk,24 inputs and outputs in digital and ana-log, and DSP functions.


Miniature computer -controlledpan -tilt unitBy Directed Perception PTU-46-17.5: unit measures 3"x5.11"x4.25" and provides a load capacity ofmore than four pounds; performs atspeeds over 300 degrees/s with preciseposition control of 3.086 arc minutes(0.051 degree) resolution; features pow-er management controls and flexible in-put power requirements; designed forbattery -powered operations; plug -andplay using an RS -232 terminal; self -cali-bration upon reset.


Heads/tripodBy OConnor Engineering Laboratories 515S Ultimate Fluid Head: accommo-dates a 36% increase in camera weight;will balance a 25 -pound camera with a 6"high center of weight. 1030S Ultimate Fluid Head: accommo-dates a 36% increase in camera weight;will balance a 45 -pound camera with a 6"center of weight. 2575V Ultimate Fluid Head: designedwith less pan fluid drag and a lightertouch. 65 Tripod: incorporates 2 -stage de-sign and tapered leg design into oneripod; operates from 16.5" to 65"; avail-

able in carbon fiber, titanium and alu-minum.


JOHN H. BATTISON PE.CONSULTING BROADCAST ENGINEER,

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ProfessionalServices

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. . . FOR PHOTO & VIDEO" V/541111111111111111 lot

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800 221-5743 212 807-7479

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RUSH OR OVERNIGHT SERVICE AVAILABLE (extra charge)PHOTO -VIDEO

MILLERFluid Heads & Tripods

The silky, smooth action ofeach Miller Fluid Head is theproduct of the finest qualitycast and machined parts func-tioning together in a fluid envi-ronment. They are engineeringmasterpieces, built to operateeven under extreme conditions.They are engineered to excep-tionally tine tolerances and theirmechanisms are protectedeffectively against ambientmoisture and dust.

Miller 20 - Series II Fluid Head Continuously adjustable fluid drag control Sliding/Ouick Release camera platform Weighs only 4 lbs. will handle cameras up to 22 lbs. Counterbalance system designed to compensate for nose

heavy or Mil heavy camera configurations, and permitsfingertip control of the camera throughout the tilt range.

Includes independent pan and tilt locks, bubble level, dualpan handle carriers and integrated 75mm ball levelling.

#440 - Lightweight Tripod Weighs only 4.5 lbs., supports up to 30 lbs. Minimum height down to 24', maximum height to 57'. Extremely portable, folds down to 33' Engineered from thermoplastic moldings, diecast alloy

and hard anodized tubular alloy. Fast one turn, captive leg locks Includes 75mm (3') ball levelling bowl

#420 - 2 -Stage Tripod Two extension sections on each leg. Operates at low levels

as well as normal heights without the use of mini legs. High torsional rigidity, no pan backlash Weighs 6.6Ibs., supports 50 lbs. Very portable, folds to 27' Includes 75mm (3') ball levelling bowl with model 420

model 402 includes 100mm (41 ball levelling bowl.

System 20 Catalog #338 Miller 20 II fluid head 440 Lightweight tripod 410 tripod spreader with foot pads .......................1549.00

System 20 ENG Cat. #339 Miller 20 11 fluid head 420 2 -stage tripod 410 tripod spreader with foot pads .......................1895.00

VintenVision SD 12 and SD 22

Pan and Tilt Heads with Serial DragThe Vision SD 12 and SD 22 are the first heads with the"Serial Drag" pan and tilt system. The system consists of aunique, permanently -sealed fluid drag and an advancedlubricated friction drag. So for the first time, one head givesyou all the advantages of both fluid (viscous) and lubricat-ed (LF) drag systems - and none of their disadvantages.Achieve the smoothest pans and tilts regardless of speed,drag setting and ambient temperature. Simple, easy -to -use external control for perfect balance. Patented spring -assisted counter -balance system permits

perfect "hands-off" camera balance over full 180° of tilt. Instant drag system breakaway and recovery overcome

inertia and friction for excellent "whip pans". Consistent drag levels in both pan and tilt axis. Flick on, flick off pan and tilt caliper disc brakes. Greater control, precision, flexibility and 'touch" than any

other head on the market. Touch activated, time delayed illuminated level bubble. Working conditions from as low as -40' up to 4.60*C. SD 12 weighs 6.6 lbs and supports up to 35 lbs. SD 22 weighs 12.7 lbs and supports up to 55 lbs.

Vision Two Stage ENG andLT Carbon Fibre ENG Tripods

The ultimate in lightweight and innovative tripods, they areavailable with durable tubular alloy (Model #3513) or thestronger and lighter, axially and spirally wound carbon fiberconstruction (Model #3523). They incorporate torque safeclamps to provide fast, safe and self-adjusting leg clamps. "Torque Safe" requires no adjustment. Its unique design

adjusts itself as and when required, eliminating the needfor manual adjustment and maintenance and making fora much more reliable clamping system.

New hip mint eliminates play and adds rigidity. They both feature 100mm levelling bowl, told down to a

compact 28", and support 45 lbs. The #3513 weighs 6.5 lbs and the #3523 CF (Carbon

Fibre) weighs 5.2 lbs.

Vision 12 SystemsAll Vision 12 systems include #33643 SD 12 dual fluid andlubricated friction drag pan/tilt head, single telescoping panbar and clamp with 100mm ball base.

SO -12A System 3364-3 SD -t2 Pan and tilt head 3518-3 Single stage ENG tripod with 100mm bowl 3363-3 Lightweight calibrated floor spreader.

SO -120 System 3364-3 SD -12 Pan and tilt head 3513-3 Two -stage ENG tripod with 100mm bowl 3314-3 Heavy-duty calibrated floor spreader

Vision 22 SystemsAll Vision 22 systems include #3386-3 SD -22 dual fluid andlubricated friction drag pan and tilt head, single telescopingpan and clamp with dual 100mm/150mm ball base.

SO -22E System 3386-3 SD -22 Pan and tilt head 3219-52 Second telescoping pan bar and clamp 3516-3 Two -stage EFP tripod with 150mm bowl. 3314-3 Heavy-duty calibrated floor spreader

SONYEVW-300Hi -8 3-CCD CAMCORDERThe EVW-300 is a complete one piece camcorder which includes avariety of innovative and advanced operational features. So, whetheryour shoots require basic recording capabilities or premier perfor-mance, the EVW-300 offers a wide range of features and remarkable recording quality to best suit your needs.

Futon: Equipped with three high density 1/2' IT Hyper HAD image sensors. Has an excellent sensitivity of F8.0 at 2,000 lux, high S/N

of 60 dB, and delivers over 700 lines of horizontal resolution. Provides high quality PCM digital stereo and single channel AFM Hi-Fi recording. Has XLR balanced audio connectors. Quick start 1.5' viewfinder with 550 lines of resolution plus Zebra pattern video level indicator and color bar generator Ouick-start recording -takes only 0.5 seconds to go from REC PAUSE to RED MODE for immediate recording in the field Built-in 8mm Time Code generator records absolute addresses. (Either non -drop frame or drop frame mode may be select-ed.) Furthermore the EVW-300 incorporates a variety of time code features such as Time Code PRESET/RESET, RECRUN/FREE RUN and User Bits.

A variety of automatic adjustment functions for different lighting conditions are incorporated into the EVW-300:ATW (Auto Trace White Balance) - when ATW is turned on optimum white balance is always ensured during recording, evenfor changes in color temperature. Conventional white balance adjustment is still provided with the Auto White Balance.AGC (Automatic Gain Control) - in addition to manual Gain Up AGC provides linear gain up in the range of 0 dB to 18 dB.Intelligent Auto Iris -for situations where the lighting between subject and background is different (subject isunderexposed) the Intelligent Auto Iris automatically examines the scene and adjusts the lens iris for proper exposure.

Selectable Gain -up from 1 dB to 18 dB in 1 dB steps for Mid 8 High positions. Clear Scan function - provides a variety of selection of shutter speeds ranging from 60-200 Hz allowing recording of

almost any computer display without flicker. Compact, lightweight (12 lbs with NP -1B) ergonomic design provides well balanced and extremely comfortable operation.

JVC GY-X23-CCD S -VHS CAMCORDER

Three 1/2" CCD image sensor delivers 650 lines of horizontal resolution New micro -lens technology provides exceptional sensitivity of F7.0 at

2000 lux and new LOLUX mode lets you shoot with almost no light!Now you can shoot superb footage with excellent color balanced at amere 3 lux illumination

Variable Scan View allows flicker -free shooting of a computer monitor. Quick Record Mode - when turned on the camera is set to the auto iris even if lens is set at manual. Also activated is (ALC)

Automatic Level Control and EEI Extended Electronic Iris which provides both variable gain and variable shutter. Now youcan shoot continuously from dark room to bright outdoors without having to adjust gain, iris or ND filter.

Full Time Auto White circuit lets you move from incandescent to fluorescent to outdoor lighting without changing white bal-ance or the filter wheel.

Genlock input allow synchronization with other cameras. Dual output system allows camera output to be connected directly to an external recorder

TOSHIBATSC-2003-CCD Hi -8 Camcorder Three 1/2" CCD chips mounted with spatial offset technology delivers superb resolution of 700 horizontal lines Low noise design provides extreme sensitivity of F8.0 et 2000 lux. MM. illumination 7.5 lux with excellent color reproduction New LNA (low noise amplifier) delivers a SIN (signal-to-noise) ratio of 62/B - the highest achieved for this type of camera 26 -pin connector outputs Y/C or component video signal allowing hook up to a portable S -VHS, MII or Betacam recorder and

simultaneously record with Hi -8. Quick -start 1.5" viewfinder needs no warm up time so you never miss a shot. Zebra pattern in the viewfinder alerts operator

to excessive video levels. Genlock capability allows synchronization with other cameras. Also full calibration functions are built-in as well as color bar generator. Variable high speed shutter from 1/60 to 1/2000 second Built-in 8mm time code generator records an absolute address to every frame. High-performance back electret condenser mic records to all three audio tracks. Low cut filter eliminates wind noise. Sports very low power consumption. The TSC-200 draws only 16 watts per hour allowing 100 minutes of recording time with

a single NP -1B battery. Camera body is made of magnesium alloy previously found only on broadcast cameras. Still, lightweight at only 13 pounds

in standard configuration.

*------HITACHIZONEC

3-CCD Dockable Camera Using three 2/3" CCD chips and high accuracy CCD technology the Z -One -C

delivers 750 lines of horizontal resolution.The 4.24d6 high gain mode and new Super High Sensitity (OHS) function provide operation down to 1.5 lux at 11.8.Permits contrast control for better reproduction of dark areas when shooting high contrast scenes.Six -memory auto white balance provides two memories for each optical filter position.Auto Knee circuity compresses extreme highlights preventing white clipping of those areas.In addition to the standard 5 -step electronic shutter, the new lockscan feature permits the continuous adjustment of theshutter speed in 1H steps to shoot a computer monitor without flicker.Four built -In scene files. Seven items memorized in these scene files including, white balance. master gain and detail level.Viewfinder display of self -diagnostics during auto white and STATUS display of operational control settings.Flare correction maintains black balance during changes in scene contrast.Very high resolution viewfinder (600 lines) allows easy, fast and accurate focusing.Displays "safe title" electronic markers which indicate the effective picture area of home televisions.Generates SMPTE color bars with 10 numbers so that when recorded the camera can be later identified.Movable shoulder mount allows camera to be correctly balanced with different docking VCRs or portable VCRs.Can be genlocked even with VCR docked to it.Real-time auto white balance continuously adjusts white balance according to the surrounding light source.Directly docks to Betacam SP (BVV-5) without need for adapters.Docks to Betacam SP (PVV-1), Panasonic MII, Sony Hi -B (EW-9000) and S -VHS (JVC and Panasonic) with adaptorWith CA -Z1 camera adaptor can be cabled to Betacam, MII, U-matic and S -VHS stand-alone portable VCRs.

Quick -Draw ProfessionalFOR CAMCORDERS OR STAND ALONE CAMERAS

Designed foi working from the hack of a van or the trunkof your car The top loading case has a wide open foldback too that stays neatly out of the way. It's lighter andmore coeTrict than r.thopina rises.thus saving valuable

storage spooe ...he' ;cproent crowded around itthe sturdy built-in trams presides added protection.

Heavy duty shounter strap & comfortable leather band grip. Carry ." r crowds - rush proof aluminum gnarl protects

JleV. tinder Fits into , 10 'asre with seat belt Holds v Sep; attached Lid close, .,ur / ;peeing or secure with

full-length ,Pr Two trim extenoi p board pocket. Dual purpose rear r spendable battery chamber

or all-purpose pm-

antosOLIEPLogic Series DIGITALGold Mount Batteries

OilThe Logic Series DIGITAL batteries are acknowledged tobe the most advanced in the rechargeable battery indus-try. In addition to the comprehensive sensors integral toall Logic Series batteries, each DIGITAL battery has abuilt-in microprocessor that communicates directly withAnton/Bauer InterActive chargers, creating significant newbenchmarks for reliability, performance, and life. Theyalso complete the communications network between bat-tery. charger and camera. With the network in place. DIGI-TAL batteries deliver the feature most requested by cam-eramen. r reliable and accurate indication of remainingTager. r "

DIGITAL PRO PACSThe Dint' F , J,2 ultimate pr.:lessional video bat-tery and r, u:,-Ireended for all applications. The premi-um heavy duty Pre Pap 's designed to deliver long lifeand high performance r:veff _^der h:gh zsirrent loads andadverse condition-; Thu size and weight of the Pro Paccreates perfect she :!tier b4ouse all romcorders

DIGITAL PRO PAC 14 LOGIC SERIES NICAD BATTERY14.4v 6C ',Volt Hours 5 1'8 !InRun time 2 ..cars @ 27 watts. 3 hrs. 18 watts

DIGITAL PRO PAC 13 LOGIC SERIES WAD BATTERY13.2v 55 Watt Hours. 4 3/4 lbsRun time' 2 hours KK 25 watts 3 hours 17 watts

DIGITAL MAGNUM COMPACSExtremely small and light weight (almost half the size andweight of a Digital Pr; Pub the powerful CompacMagnum still has more effective energy than two NP styleslide -in batteries. The high voltage design and Logic Seriestechnology eliminate all the problems that cripple conven-tional 12 void slide -in type batteries. The Compac Magnumis the professional choice for applications drawing lessthan 24 watts Not recommended when using an Uftralight.

DIGITAL COMPAC MAGNIN 14 LOGIC SERIES NICAD BATTERY

14 4 v 43 Watt Hours 2 14 lbsRun time. 2 hours rg." 20 watts 3 hours t 13 watts.

DIGITAL COMPAC MAGNUM 13 LOGIC SERIES NICAO BATTERY

13.2v 40 Watt Hours 2 12 lbsRun time' 2 hours W 18 watts. 3 hours 12 watts.

Minimum Shipping USA (Flop AK & NI) $7.00, up to 3 lbs. Add 600 for each additional lb. For ins. add 400 per $100, 0 1994 1180 Photo - Video. Not responsible for typographical errors.


"THE PROFESSIONAL'S SOURCE .

FOR ORDERS CALL: OR FAX (24 HOURS):

800-947-9928 800-947-7008212-229-1306 212-242-1400

CLOSED FROMMARCH 23 THRU APRIL 3

PROFESSIONAL VIDEO TAPE

I11471S S -VHS Double Coated

7.99 ST -60 8.49ST -120 .8.99

sin HI 8 Double CoatedMetal Particles Metal Evaporated

P630HMP 4.99 E630HME 8.79P660HMP 7.19 E66OHME 11.29P6120HMP 9.69 E6120HME 15.79

AMPEX167 KCA 3/4" U -matte Broadcast (In Bee)

KCA05. 6.49 KCATO 6.89 KCA15. 7.29KCA20 7.89 KCA30 8.49 KCA60 11.79

197 BCA 3/4" U-matic Master Broadcast (la Box)BSC10 (mini) 8.49 BCATO 8.54 BCA20......... 9.59BCS20 (mini) 9.59 BCA30 10.20 BCA60....... 14.39

297 SPA 3/4" U-matic SP Master Broadcast (In Box)

SPS10ftp,- 10.21 SPAIO 10.20SPA20 10.85 SPS20(ming 10.85SPA30 ... 12.40 SPA60.. 16.20

298 Betacam Master Broadcast (In Box)BC -SA (small) 4.89 BC -10A (small). 5.89BC -20A (small) .7.59 BC -30A (small) 9.69BC-30LA BC-60LA...23.49

386 Betacam SP Master Broadcast Os Box)BC -5A (small) 15.99 BC -10A (small) 18.49BC -20A (small, 20.49 BC -30A (smalli 22.39BC-5LA... 15.99 BC-10LA 18.49BC-20LA.. 20.49 BC-30LA 22.39BC-60LA 29.95 BC-90LA 46.95

maxell.BO Certified 8mm High -Grade

P6-60 FIG 130 4.99 P6-120 FIG BO 6.49

BO Certified HI -13 Metal GmMettes

P6-60 HM 80 6.49 P6-120 HM 80 .... .8.49

PA PLUS Expitaidal Via

T-30 Plus ... 2.591-90 Plus 2.69 T-120 Plus. 2.79

Mn-PLUS Expitaxlal VIM DPW

HGXT-60 Plus HGXT-120 Plus 3.79

la Broadcast Quality EspltaxIal VHS (Box)T-30 BO .. 5.49 1-60 80 .. 5.99T-120 BO 6.39

BO Certified Professional 9 -VIM Do Box)ST -31 60 6.49 ST -62 80 6 99ST -126 80............_.._..7.69 ST -182 B0..........._....14.99

RCA 3/4" Nigh Grade w/Albors 8. SlowsKCS-10 FIG (mini) ..... 6.99 KCS-20 FIG (mini) 7.69KCA-5 FIG 7.29 KCA-10 HG .8.29KCA-20 HG 8.99 KCA-30 HG 9.49

RCA 3/4" Broadcast WAlboat & Sleeve

KCS-10 80 (min, 7.49 KCS-20 80 In, 8.49KCA-5 BO.. 7.69 KCA-10 BO. 8.29KCA-20 BO 8.99 KCA-30 BO 9.99

SONYHI -B Professional Metal Video Cassettes

P6-30 HMPX 5.99 P6-30 HMEX 8.49P6-60 HMPX 8.59 P6-60 HMEX 11.99P6-120HMPX 11.69 P6-120HMEX 15.99

PR Series Professional Grade VHST-30PR 2.49 7-60PR 2.79 / 120PR 3.29

PM Series Premier Grade Professional VHST-30PM 3.49 2-60PM 4.09 11201'M 4.99

BA Series Premier HI -Grade Broadcast VHS (In Box)

T-30BA .. 3.79 I 60BA 4.29 1-1206A 5.29MO Master Quality S -VHS Iln Box)

MOST -60 8.19 MOST -120 8.59

MU 3/4" U.matic Broadcast Standard lie Box)KCS-10 BRS (moo 7.99 KCS-20 BRS r mini) 8.69KCA-10 BRS 7.89 KCA-20 BRS 8.39KCA-30 BRS 9.29 KCA-60 BRS 12.99

na 3/4" U-matic Broadcast Maslow Ds Bea)KCS-10 XBR (mini) 8.49 KCS-20 XBR 9.79KCA-10 XBR . 8.99 KCA-20 XBR 10.29KCA-30 XBR 11.49 KCA-60 XBR 14.99

SSP 31/4" U-matIc SP Broadcast (lie in)KSP-S10 (mino 9.19 KSP-S20 10.69KSP-10 9.69 KSP-20. 10.99KSP-30 12.49 KSP-60 16.39

KT B Betacam Broadcast Standard Do Box)BCT-5G (small) 4.99 BCT-10G (small).. 5.89BCT-200 (small 7.39 BCT-300 (small) 9.39BCT-50L. 9.29 BCT-1001... 10.39BCT-20GL 11.69 BCT-3001.... 12.89BCT-600L 23.99 BCT-90GL 30.90

OCT Metal Betacam SP Broadcast Master (Box)

BCT-5M (small)... 16.99 BCT-10M ismally. 19.29BCT-20M (small) 21.29 EICT-30M (small) .....23.29BCT-5ML 16.99 BCT-10M1 . 19.29BCT-20ML 21.39 BCT-30ML 23.49BCT-60ML 31.99 BCT-90ML......... 49.95

SA'aYO GVR-S950S -VHS Single Frame Recording VCR

Single -Frame Animation Controller eliminates the need for separate or i computer plug-in animation controllers. Industry -standard protocols, makeIt compatible with most popular granitic and animation software packages.

SMPTE Time Code Generator and Realer with Built -In Drop and Non -DropFrame Read/Write is fully programmable from an external computer andresettable from the front panel.

Video and Audio Switcher with Two independent Video and Audio Channels Each video channel contains both ccmpcsite andS -Video inputs. Each audio channel contains two linear and two Hi -Fr inputs Switching can be performed eithe- marually, orunder RS232 or RS422 control. Videoand audio channels are switched independently letting you perform break -away edits.

Auto -Sensing Single RS422/RS232 Input eliminates the need far optional extemal interfaces. Interface requirements Are automati-cally sensed and adjusted within the recorder.

Input and Playback Video Processing allows adjustments to the video level al the incoming clonal. Signal levels aid hue can beadjusted during playback.

BTSBroadcast Television Systems

Betacam SP -2000 PRO SeriesPBC 2600 Player

Superior picture quality to any other professional system. Brings virtual Betacam SP quality within the budgets of pro-

fessional users. More than 90 minutes of playback time using L -size Metal or

Oxide cassettes, High-speed picture search provides recognizable color pic-

tures at up to 10 times normal speed .n forward and reverse(24 times normal speed in monochrome)

Two longitudinal audio channels with Dolby C -type NR(Noise Reduction) system

Equipped with RS -422 9 -pin serial interface which is broad-cast standard protocol.

Buiit-in Time Base Corrector with advanced high quality digi-tal dropout compensator

Optional BYR-50 provides remote control of the TBC. Built-in LTCNITC/User Bits reader, and character generator User friendly dial menu operation, enhanced serviceability

with built-in self diagnostics Y/R - V/B-V component signal output, via BNC or 12 -pin

Betacam DUB connectors. Also has S -Video output. Optional BKW-2020 provides U-matic DUB output capability.

PBC 2650 Player withDynamic Tracking (CT)

Same as PSC-2600 plus- Dynamic Tracking (DT) provides broadcast queen, noiseless

playback within -1 to .3 times normal speed

PBC 2800 Player/RecotderSame as PSC-2600 plus- Btlt-in comprehensive editing facilities Dynamic Motion Control with memory provides dew motion

editing capability (when used with a player VTR equ ppedwith DT function)

More than 90 minutes of recording/playback time usingL -size Metal (for both recording anc playback) a Chode (forplayback only) cassettes.

Buitt-in LTCNITC/User Bits generator and reader, also built-in character generator

Y/R - V/5 -Y component signal inputs and outputs via BNC or12 -pin Beacom DUB connectors. Also has S -Video input andoutput.

SONYPROFESSIONAL S -VHS SYSTEM

SVP-9000 S -VHS Player

, 41111.4,.

SVO-9600 S -VHS Player/Recorder

.r::P511,111r

caw

The SVP-9000 S -VHS player and SVO-9600 recorder are designed as multi -purpose machines with the useof various optical interlace boards. By selecting one or more of a particular board, they become dedicatedmachines for satellite recording, office viewing, video library, sports analysis and editing. At the same time,they adhere to Sonya professional VTR concept of reliable mechanism, rigid construction and earar opera-tion, ensuring reliable and reliable operation In the industrial and professional environment.

They both feature: Automatic repeat and automatic rewind can beaccsm- Using the S -VHS format, they deliver superb picture play- plished with programmed operation.

There is a TIMER switch for either REC or PLAY (SWP-9000 PLAY only) when selected automatically executes theselected mode when the power is turned on. Ibis is veryuseful far unattended operation such as satellSa recording.

Auto head cleaner - each time a cassette is loaded orejected, a cleaning roller automatically passes overthevideo/FM audio heads removing tape residue and provid-ing preventive care of the tape heads.

The SVO-9600 features sensor recording. When video sig-

back and recording. With newly developed Digital Y/C sec -orator maintained picture quality even in composite.

Newly developed video cross talk canceller eliminates colorblur providing more accurate color and sharper images.

Four channel audio system - Two Hi-fi with a dynamicrange of 90dB and two linear channels with Dolby NR.

Two direct -drive reel motors provids rapid response andsmooth operations. Mode transitions such as STOP to REC,FAST FWD to PLAY, STOP to REWIND are instantaneous.

"Picture search from -10 to .10 times normal speed. nals are input. it automatically stain recordingSYNC IN for synchronizing with other video sources 19' EIA rack mountable plus adjustable front ctintrils.

Optional Interlace Cards:sysimoo 33 -pin interface board glows remote control of basic VTR functions. SVBK-120 RS -232 interlace board allows for machine control from a computer. SVBK-140 RS -422 interlace board allows either machine to be configured into any professional system. SVBK-150 Digital Noise Reducer board reduces jitter. noise and Y/C delay and provides clear, crisp still frames. SMIK-180 SMPTE Time Code interface board (can only be used with SVEK-140 board).

NEWTEK VIDEO TOASTER 4000

Production SwItcherLuminance InnerFrame Grabber/Frame Store

ChromaFX Color ProcessorDigital Video EffectsCharacter Generator

TosaterPalr 1Dual Frame Buffers Gannet,/*twine 20

NovaBloxVIDEO PROCESSING SYSTEM

The NomBlox Video Processing System is comprised ofindividual function modules called NovaCards. The range ofNovaCaid modules includes time base correctors, framesynchronizers, sync generators. encoders, decoders,transcoalers, distribution amplifiers and routing switchers.NovaCards have the flexibility of plugging into either a com-puter or one of four NovaChassis that hold from one to 15module,. NovaCards fit into an IBM or compatible expan-sion slot including Amiga. Most of the NovaCards utilizeRS -232 serial dale for operational control and include DOS,Windows, and Amiga software. For desktop and portableapplications. the C -2B chassis hold two cards. There is alsothe C-4 single rackmount chassis that accommodates up tofour NovaCards and the three rack C-15 NovaFrame, whichfeatures 15 slots. To provide operational control whenusing one of the NovaChassis there are two NovaTrol SerialControl Jnits to choose from. They provide LCD status dis-play with four button operation or the NovaTroV2 which hasenhanced operation with dedicated function controls andLCD stains display.

0.2/1

C-4

C-15

NOVAMATE TBC/Freme SynchronizerOne of The NovaCard modules of the NovaBlox system. theNovaMate is a unique TBC/Frame Synchronizer that satis-fies a wfte range of VCR signal correction and video inter-face requirements from desktop video to satellite systems.NovaMide plugs directly into a computer or one of severalchassis -configurations. Control is performed either by soft-ware or NovaTrol control units. The flexibility of its modulardesign and microprocessor control plus its superior qualitymake NavaMate the ideal alternative to stand-alone andcomputer based TBCs.

WE CARRY ALL OTHER NOVACARDS:

ENCODERS, DECODERS, TRMISCODERS,

DISTRIBUTION AMPLIFIERS AND ROUTING SWITCHERS

HOR5ITA0BSO-

Blackburst/Sync/Tone GeneratorThe BSC-50 provides an economical means for generatingthe moo common RS -170A video timing signals used tooperate various video switchers, effects generators, TBCs.VCRs. c.,meras and video edit controllers. 6 BNC video/pulse outputs Now available: 6 blackburst. 4 sync, 2 subcarrier Each sync output individually settable for composite sync,

composite blanking, H -drive, or V -drive. Separate buffer for each output -maximum signal isolation 1KHz, OdB sinewave audio tone output, locked to video Outputs can easily be configured to meet

specific user and equipment needs '289

CSO-50Color Bar/Sync/ Tone Generator Generates full/SMPTE color bars, blackburst and com-

posite -sync signals. Built-il timer can automatically switch video output from

color tars to color black after 30 or 60 seconds. Easy andconvenient for producing tape leaders and striping tapeswith color bars and black.

Front aanel selection of Lull -field or SMPTE color bar pat-terns rt colorblack (blackburst) video output.

Includes crystal -controlled. 1st z, OdB audio tone output. Outputs: video, sync, ref frame, 1 KHz, OdB Audio tone switches to silence and color bars change to

black when using 30/60 second timer Fully FS -170A SC/H phased and always correct.

No ad ostment required

WE STOCK THE FULL LINE OFMORITA PRODUCTS INCLUDING:

WO -SO - Window Dub InserterTo -SO - Generator/Inserter

TAG -50 - Generator/Inserter/Search Speed ReaderTRO-SOPC - Has all of the above plus RS -232 control.VO-50 -VITC Generator, LTC-VITC Translator

VL--50 - VITC-To.LTC TranslatorVLTttoPC - VITC-To-LTC Translator / 95.239 Control

- HIB (EVO.9800)9850)TC to LTC TranslatorT341-50 - NTSC Test Signal GeneratorSC7-50 - Serial Control Tiller "Industrial" CG,

Time -Date Stamp, Time Code CaptioningSAG -SO - Sale Area. Convergence Pattern and

Oscilloscope Line Trigger and Generator

ALL VIDEO COMES WITH A SEVEN-DAY SATISFACTION MONEY -BACK GUARANTEE

"THE PROFESSIONAL'S SOURCE"

TOLL -FREE ORDERS: 1-800-947-9928INFORMATION TOLL FREE FAX =AX

212229-1306 soo 947-7008 soo 221-5743

119 WEST 17TH STREET NEW YORK, N.Y. 10011

C NSA'VadaW

RUSH AND OVERNIGHTSERVICE AVILABLE

NRC4970 Power -MAX

The 970 Power -MAX isdesigned for power-hungryprofessionals who havehigh -current draw situa-tions and long run times.

-Highest capacity quick -charge capable 12 Volt 14 -AMP sin-tered nicad power pack (removable).

Rugged high-grade, black leather belt case; chassis assem-bly with dual 3 -pin XLR inputs for pack interchange withoutshutdown.

2,500 -cycle cell life provides lowest cost per cycle.Microprocessor -controlled 5 -step multi -colored powerindicator display.

Belt with cellpack weighs a comfortable 7.5 lbs.Charge in little over two hours with the optional 650 -III

Intelliquick Fast charger.Dual outputs allow simultaneous powering of two devices

leg. camera and light). Output configurations include ciga-rette lighter and 4 -pin XLR in any combination.

Includes Power -MAX belt and power chassis, 14 -amp cellpack in 12V or 13.2 volt configuration, model 600overnight charger, comprehensive owner's manual. Fitswaist size 29"-44".

VARI-LITE PROProfessional DC On -Camera Light

Thanks to on -board control IC's using NRG's Light -Gatetechnology, light intensity can be infinitely adjusted by theuser within a range of 10% to100% of the lamp's ratedpower. You can instantlyadjust light output to exactlymeet changing light require-ments, all without changinghot bulbs or fussing with powerrabbit diffusion fitters. Best of all.the Vali-Light Pro virtually eliminatescolor shift and dramatically conservesprecious battery power by using only thepower required for the selected light level.Accomodates bulbs from 20W to 100W DC. Prismatic Pyrex dispersion grid provides smooth even light

ouput and reduced glare without changing light intensity. Sturdy all -metal click

ratchet action. Eliminates shake during action shooting. Front retainer assembly pops off for instant bulb accesswithout the bother of screws.

Rugged milled aluminum light head disperses heat andprovides years of service under adverse conditions.

Power Station Series

Designed to replace expensive original -manufacture AC powersupplies, the affordable Power Stations deliver precisely -reg-ulated 12 -volt DC power from AC sources worldwide. High -current capability allows for powering not only large cam-corders. dockables, decks, and cameras, but lights, monitors,and other high draw 12 -von equipment as well.The stations provide up to 9 amps of precisely regulated DCpower eliminating the need for battery power in stationaryapplications where an AC source is available. The PowerStations exceeds all original manufacturer performance spec-ifications. Available in different configurations: The 12560 features a

single cigarette or 4 -pin output and up to 5 amps of out-put current. The 129100 features dual outputs in any com-bination of cigarette or 4 -pin and 9 amps of output currentcapability.

Festinew High -current output Worldwide voltage selection Rugged steel case

4 -pin orcigarette lighter outputs

Lighted power switch

Power Station -2 SeriesJust plug thePowerStation-2 intoany AC outlet in theworld and out comesperfectly regulated12 -volt DC powerthrough four 4 -pin XLR connectors and one cigarette lighterconnector. It uses an advanced pulse -width -modulatedpower supply which allows for ultra -light weight and smallsize . It operates with little heat even at full output. ThePowerStation-2 is the ultimate multiple -output professionalpower source for cameras, decks, lights, monitors, and ahost of other video accessories. 85-264 volts worldwide auto -adjusting input (just plug in). Supply is fully protected from overcurrent. Ultra -light weight - under 3 lb. Outstanding 300,000 hour mean time between failure is

far in excess of any other manufacturer. Ultra -efficient PWM regulation generates far less heat than

linear type supplies. Provides the ultimate in performance and reliability in a

universally compatible and compact package.

PanasonicBroadcast &Television Systems

WV -F5003-CCD Digital Processing Camera

Three 1/2" high sensitivity 380,000 pixel CCDs with on -chip optics, plusprecision f1.4 high resolution prism deliver 700 lines of horizontal resolu-tion and excellent signal-to-noise ratio of 60dB.

Achieves a sensitivity of f8.0 at 2690 lux and minimum object illuminationis 4 lux at 11.4 with +24dB gain

Emmy Award -winning Digital Signal Processing DSP technology:- Dark Detail Circuit enhances contours under varying lighting conditions.

Uses luminance sensitive algorithms to determine the optimum degree ofenhancement in dark areas of the picture without altering the brightness of other areas in the picture. Enhances contoursof objects as fine as strands of human hair, even under challenging lighting conditions.

- Chrome Detail compensates for poor resolution in high chroma areas of the picture. Provides a wide dynamic rangeimage with clear reproduction in the chroma area.

- 2 -Dimensional Low Pass Filter reduces cross -color caused by high level brightness signals mixing irto the sub -carrier.Reproduces fine stripes and lattice patterns with a minimum of color blur.

- Highlight compression circuit expands the dynamic range of highlighted areas and prevents halation. Produces detailedimages when viewed against a bright backlight or daylight.

The WV -F500 features detail enhancement through 5 stages of switching: Two levels of hand switching (High and Low)and two levels of details switching within each of the bands. And for further flexibility, the detail enhancement circuit canbe turned off when shooting dose -ups, special graphics or scenes in low light.

Switchable R -Y, B -Y, or Y/C system allows direct docking to S -VHS and MII VCRs To further enhance operational speed and flexibility, a total of five easy to use Scene File modes are available.- Scene File One is the Standard Mode which sets the WV -F500 to adjust to studio lighting.- Scene File Two is the Illuminance Mode, which provides for different shades of black to be reproduced clearly in dark

locations without requiring lighting alterations.- Scene File Three is the Fluorescent Mode, because under fluorescent lighting conditions certain color hies tend to be repro-

duced slightly in the blue spectrum. When switching on Scene File Three, these hues are adjusted while using the white bal-

ance to provide natural tones.- Scene Files Four and Five are the User Modes for flexible data setting. Twenty different digital adjustments can be set

including gamma, knee -point, chroma detail, detail, matrix and shading. Individual settings are available for 11 of the 20items at gains of OdB, +9dB, +18dB and +24dB. These digital adjustments also allow the WV -F500 to be matched toother color cameras in a studio environment for quick set-ups.

WV-P5003-CCD color cameraDS5050 WV-VF40 1S" viewfinder

S -VHS Dockable Package: Canon 13:1 servo zoom lens WV-MH500 mid holder

AG -7450A S -VHS VCR WV-OKT700S Docking Kit WV-CC500 system case WV-OT700 tripod adapter

WJ-MX50 Digital A/1/ Mixer Four Input switcher and any two sources can be routed to the

program busses Two -channel digital frame synchronization permits special effects

r in each of the NB busses. Combination of 7 basic patterns and other effects creates 287

wipe patterns. External edit control input for RS -232 or RS -422 serial controls.

Also has GPI Input. Wipe boundary effects: soft/border (bold, 8 back colors available) Digital effects including strobe, still, mosaic, negative/positive,

paint, monochrome, strobe, trail, and AV synchro Real -Time compression - the entire source image is compressed inside a wipe pattern "Scene Grabber" makes it possible to move a pattern, upholding the initially trimmed -in picture integrity. Non Additive Mix (NAM): selects between A and B sources, passing only the signal with the highest luminance value. Fade-in and fade-out video, audio, titles individually or synchronously faded. Down stream keyer with selectable sources from character generator or external camera. Incorporates 8 separate memories that enable virtually instant recall of frequently used effects 8 preset effects include: Mosaic Mix, Position Stream, Corkscrew, Bounce, Flip, Shutter, Vibrate, and Satellite. Audio mixing capability of 5 sources with 5 audio level adjustments.

AG-7650H/AG-7750HS -VHS Player / S -VHS Edit VCREditing machines truly designed for professionals 1.

Built-in Digital 3-Dimsional type, full field (262.5 line) Time tt Base Corrector eliminates even small amounts of jitter, skew, .....head impact error, and color blurring. The precise time basecorrection is invaluable for A/B roll editing, maintaining highpicture quality through multiple generations.Also provides full ......field drop -out compensation. oo Laminated amorphous video heads that provide higher magnetic 4,, ar.961_0

-coercivity than conventional ferrite heads. The expanded color -signal frequency response from the amorphous heads minimizescolor blurring and noticeably improves color reproduction.

'Logical' comb filter featuring an advanced 3 -line delay line system, enables a huge improvement in crosstalk cancel-lation during playback. The result is significantly higher picture quality, with reduced color and luminance blurting.

High -precision aluminum die-cast chassis and extra large impedance roller assures exceptionally stable transport. Advanced Al capstan servo control provides for high speed search at 32x normal speed. Built-in RS -422A 9 -pin serial interface - the standard control protocol for professional broadcast components. Both machines provide two Hi-Fi stereo audio channels with a dynamic range of 90d8 plus two linear audio channels

with Dolby NR(Noise Reduction). Each audio channel has Its own input and output with separate individual channellevel setting capability.

Professional 7 -pin dub output (AG -7650H) and 7 -pin dub input and output (AG -7750H) help to keep the quality ofyour images during editing. The AG -7750H features manual adjustment of video recording level.

Optional AG -F700 Time Code Reader/Generator Card lets you perform LTCNITC (LongitudinalNertical Interval)recording and playback for high -precision time code editing. The AG -7750H edits with VITC on one of its audiochannels.

LEADERModel 5850C

VectorseepeAn ideal companion for the 5860C Waveform Monitor,the 5850C adds simultaneous side -by -side waveformand vector monitoring. Featured is an electronically -gen-erated vector scale that precludes the need for fussycentering adjustments and eases phase adjustmentsfrom relatively long viewing distances. Provision is madefor selecting the phase reference from either (A or B)inputs or a separate external timing reference.

Model 5860CWaveform Monitor

A two -input waveform monitor, the 5860C features 1H, 10,2H, 2V, 1 us/div and 2V MAG time bases as well as verticalamplifier response choices of flat, IRE (low pass), chromaand DIF-STEP. The latter facilitates easy checks of lumi-nance linearity using the staircase signal. A PIX MON outputjack feeds observed (A or B) signals to a picture monitor,and the unit accepts an external sync reference. Built-in cali-brator and on -off control of the DC restorer is also provided.

RNA

Model 5864AWaveform Monitor

A fully portable waveform monitor for field use, theModel 5864A is a two -channel unit that provides 2H and2V sweeps with MAG, FLAT and IRE response, and nor-mal and X4 gain.

Model 5854Veeterscope

2 -channel portable vectorscope is ideal for field use andfeatures A and B phase reference, fixed and variablegain. Both units shown with optional battery holder andNP -1 type battery.

MAGNI411E1111111h

MM -400 The MM -400 is a combination waveform and vector

monitor especially configured for the cost-consciousproducer. A low-cost alternative to CRT -based wave-form monitoring the MM -400 produces a video pictureof the input signal's waveform and displays it on anyvideo monitor. It provides a simple, affordable andaccurate way to set camera levels before a shoot, or tocheck time base correctors and color fidelity in editing.Problems like hue shift, smearing, muddy contrast andloss of detail are easily identified for correction.

FEATURES: Converts waveform or vector display information into a

standard video signal which can be displayed on avideo monitor or routed around a video facility. noneed for additional expensive monitors. Switchbetween pictures and waveforms at the push of a but-ton.

Incorporates an advanced SC/H phase and color frameindicator that is a must for editing and post production.At a glance it tells you if a signal's subcarrier-to- hori-zontal phase is properly adjusted and if the signal'scolor frame matches the house black burst connectedto the MM -400 external reference input.

Works anywhere and with any analog video format-NTSC, PAL, Component or S -Video. It has automaticdetection between NTSC and PAL formats.

Three loop -through inputs can accept three compositesignals or one component, or RGB signal

No complex displays or special test signals arerequired for component video monitoring

Interchannel timing and amplitude display make com-ponent analog monitoring easy. has color bar limitmarkings for Betacam, M -I1 and SMPTE formats.

Waveform and vectorscope controls, including chan-nel, sweep speed, position control, phase rotation areon easy -to -see dedicated pushbuttons.

Besides instant toggling between picture and wave-form, a mix mode combines waveform and picture dis-plays for simultaneous viewing.

The MM -400 can be readily used by even novice opera-tors. It has easy -to- understand set-up menus for dis-play color, Interchannel timing, SC/H phase alarm.

Usable in any video facility of any size for displayingsignals. Its low cost makes it affordable by the smalleststudio, while its features and performance make It idealfor monitoring in high -end facilities as well.

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UHF wireless systemBy Telex Communications, Inc.

FMR-450: a high-performance, broad-cast -quality UHF wireless mic system thatoperates from 524MHz to 746MHz (UHFTV channels 23-60); operates up to 50simultaneous systems using hand-heldor beltpack transmitters without com-promising operating range or audio qual-ity; features Pos-i-Squelch II true diversi-ty circuitry and specially matched lb -wave collinear ground independent an-tenna system; receiver features RF, audioand diversity LED indicators.


Test instrumentsBy Leader Instrument Corporation Model 5836A: a multichannel audiomonitor that displays surround -soundimage in several formats and accepts up

New Products

to five channels for left/center/right/sur-round. and left/center/right/left-surround/right -surround systems; on -screen displaysinclude level readouts in the X -Y mode,and electronically generated graticulesfor X -Y and surround -sound imaging. Model 408: a multiformat video/synctest generator; adds 4.5MHz sound to thecomposite video outputs to simulate thecommon routing method of routing vid-eo and sound; provides baseband and RFoutputs from 30MHz to 900MHz; pro-grammed for broadcast and cable chan-nels; 27 test patterns include multiburst,video sweep, modulated stairstep andSMPTE bars.


LED light barsBy Lumex Opto/Components Inc.

LED light bars: provide near perfectuniformity of light without light leakageto adjoining bars; each bar uses two toeight individually driven chips on a PCboard; available in seven sizes rangingfrom 5x1Omm to 10x2Omm; power re-

quirements range from 10 to 20 milli -amps per chip with typical forward volt-age of 2.1V (Vf) per chip.


Disk recordersBy Recognition Concepts, Inc. RCI Video Disk Recorder a series ofdigital video disk recorders with timelinecapabilities; provides random access tovideo frames or sequences; the 24 -hourevent list is programmed with up to 64koperations, such as cue, play and record;event list is executed in synchrony with a24 -hour master timeline clock.


Solvent -filled penBy Hub Material Company TidyPen: spill -proof, felt-tip marker thatdispenses tiny, measured amounts of Bio-act EC -7M solvent, a biodegradable,ozone -safe, citrus terpene cleaner; re-moves fluxes, ionics, greases, oils andmany adhesives; leaves no residue.


Insulation displacementconnectorBy Neutrik USA Inc. XY Series: 1DC contacts are constructedas a double U -element providing four gas-tight and reliable contact points accept-ing a range of wire cross sections ofAWG24-AWG26; no soldering or tools arerequired for assembly.


Continued on page 84

The GalleryFrezzi

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The Frezzolini NP Bracket system is an externalbattery holder designed to attach to the SonyNP battery box. When the Frezzolini NPBracket is attached, it enables a second NPbattery to be mounted on the camera for pow-ering a Frezzi Mini -Fill light. The advantage ofthis system is to allow the use of NP batteriesto power both your light and camera without aside battery pack or external cables getting inthe way. NP batteries are lightweight and rela-tively inexpensive. With the NP Bracketattached, the camera will easily fit into its car-rying case. The Frezzolini NP Bracket systemis a perfect choice for camera operators to fullyutilize their originally supplied equipment byadding the Frezzi Mini -Fill quickly at mini-mum effort and cost.

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New Products

the -minute, detailed graphics with theirexisting graphics computers. UltraGraphix-32 Weather System: in-cludes full -resolution 32 -bit graphics,three digital video channels, real-timevideo playback, 2 -D/3 -D animation, loop-ing, NTSC/PAL output, 3-D font charac-ter generator, and full -featured paint/artproduction; uses Accu-Weather's pro-prietary InfoNavigation capability.


Digital video analyzing toolBy Advanced Audio Visual Systems/Sencore

S310 Digital Video Analyzer:a modulartest system that performs real-time, on-line testing of all digital video signals toensure that they conform to all interna-tional standards (CCIR 601, 656, SMPTE259M, 244M); fully compatible with serialand parallel signals and can be used with525- or 625 -line systems; some of thetests include direct read out of jitter,levels, errors in the TRS, reserved codesin active video, bit activity, clock/dataskew, presence of non -recommended vid-eo levels.


Digital compositingsystemBy Parallax Graphics Systems

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Distribution amplifier/equalizerBy MattheyElectronics CS589: com-bines a distribu-tion amplifierwith a standardvideo bandwidthcable equalizer;suitable for re-mote broadcast-ing locations.


New Products

Tower monitorBy Remote Monitoring of America RemoteLlNQ ITM 100: detects and re-sponds to tower light and site poweroutages, temperature variance in shel-ters or radio racks, and unauthorizedintrusions; based on a forward and re-flected power monitor that plugs in -lineinto a tower's antenna cable using stan-dard "N connectors"; features batterybackup and protects data and programintegrity during power outages; protect-ed operation in RF environment.


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CatalogBy SSAC Inc In Stock Controls Catalog:32 -page catalogfeaturing time de-lay relays, encap-sulated timingmodules, univer-sal timers, alter-nating relays, 3 -phase voltagemonitors, currentsensors, and ac-cessories.


Digital audio workstationBy Digital Audio Research

SoundStation Gold: a complete, inte-grated production center comprised ofan assignable, dynamic automated mixcontroller, a dedicated edit control con-sole and an enhanced processing unit,which contains both hard and opticaldisk storage facilities; available in 8- and16 -channel versions; provides a record-ing capacity of up to 22 track -hours onhard disk, with removable, dual -densityoptical disks for instant project playbackand easy media exchange between DARand other workstations.


Weather system productsBy Accu-Weather

NEXRAD Doppler Radar: 17 real-timeproducts available for each of 40 radarsites; allows TV stations to receive up -to -


Editing system and digitalvideo effects systemBy Grass Valley

Sabre 4100S: editing system that uti-lizes the Silicon Graphics Indy desktopworkstation; features Power Panel con-trol panel, a marks cache, two live videoinput windows; and the PixLine edit dis-play.

Krystal 4300: a digital video effectssystem; features partial keyframes, great-er display bandwidth, proprietary filter-ing techniques, new light sourcing capa-bilities. Owners of Kaleidoscope chan-nels will be able to extend their useful lifeby placing them in a "pool" of Krystalchannels.


Automatic feedback controllerBy Sabine

FBX-1802: two -channel upgrade of theFBX-900 Feedback Exterminator; auto-matically senses feedback, determinesits frequency, and places a narrow notchfilter to cancel only the feedback; offersnine filters per channel; user can lock thefilters to prevent the filters from goingdeeper.


New Products

Serial component digital switcherBy Thomson Broadcast 9200: a high-level component digitalswitcher with 10 -bit processing; featuresM/E or multilayer mode, key or videoframestore, double transition, level cor-rection, source memory, Mem Box withkeyframes and sequences, timeline man-agement, 6 auxiliary video or key buses,and DVE control.


Real-time digital videodisk recorderBy Sierra Design Labs

QUICK -FRAME EX: a high -end compo-nent video storage solution for produc-tion and post -production facilities andcomputer -based animation and graphicssystems; stores just under 12 minutes ofuncompressed 8 -bit 4:2:2 component dig-ital video in 5 t/4" of rack space; includesVTR -compatible RS -422 control, true real-time non-linear playback, 8/10 bit and525/625 selectable video formats, ether-net with TCP/IP, RSH and RCP supportand a multifunction SCSI port.


Virtual recorderBy ASC Audio Video Corporation

Multistandard (PAL/NTSC) Virtual Re-corder a digital, random access storageand retrieval system that provides audioand video material instantly for applica-tions designed to work with VTRs or la-serdisk machines; records and plays vid-eo2-channel audio, and EBU time code;any device that interfaces with a profes-sional VTR can use true random accessvideo via industry -standard RS -422 seriesprotocol.


Audio measurement set/Metallictime domain reflectometerBy Tektronix

AM700 audio measurement set: a fullyintegrated test instrument with on -boarddigital capability, processing power, pro-grammability, and rapid -access interface;self-contained system comes with analogand digital signal analyzers, analog anddigital generators, internal CPUs, a mono-chrome VGA display, diskette drive andmemory.

TV110 CableScout: a metallic time do-main reflectometer optimized for coaxialcable; features CATV-specific softwareand settings for cable type, waveformsand pulse widths; enhanced with a large,high -resolution display and standard se-rial RS -232 printer port and 640x200 pixelLCD.


Modular frame synchronizerBy Nova Systems, Inc. NovaSync3: a wide -band compositevideo frame synchronizer that is part ofthe NovaBlox Video Processing System;features video AGC and serial control forall operate, memory, system phase andcalibrate parameters; full broadcastspecifications include 5.5MHz band-width and drift -free digital insertion ofsync and burst; Median Filter Noise Re-ducer option eliminates noise; Four Fieldoption maintains constant picture.



Sumitomo ViewPlex-2000real-time video signalmultiplexer

By Roy Trumbull

One constant in the changing TV envi-ronment is the monitor wall. It was thereat the dawn of television and it's still inuse today. But with the proliferation ofspecialized equipment in the controlroom, the monitor wall may well be on itsway out.

Some years ago, KRON-TV needed touse venue producers during election cov-erage. An executive producer was usedto keep an overview of all sites while theprogram was under way. The problemwas there was no place to put him wherehe could get a good view of the monitorwall.

Around 1986, consumer devices capa-ble of compressing pictures became avail-able. By stacking nine of them, the exec-utive producer could be given nine pic-tures on one monitor. The size was fixedand there were no legends other thanthose supplied by pen on strips of tape.The arrangement did the job and is stillused, however, one problem exists. Youhave to pay close attention, because if ashot is lost, the unit will freeze last video.As part of the setup, an audio monitoringpanel allowed the producer to hear theaudio from each site simply to verify therewas audio to go with the picture. A multi-channel PL package allowed the produc-ers to have their own channel. This isbeing mentioned because the productbeing reviewed is only a part of the an-swer to the problem.

Unit descriptionThe Sumitomo ViewPlex-2000 is one of

several products that have addressedthe need to permit monitoring complexproductions on one monitor. It is a rack -mount unit with 16 normally bridgingvideo inputs. The input signals can beasynchronous with respect to each otherso the unit can be fed with non -frame -synced microwave signals. Unlike ourexisting system, when a signal goes awayon the ViewPlex, it really goes away. Therack -mount unit is controlled by a porta-ble DOS -type computer using a 9600 baudRS -232 port.

Trumbull is assistant chief engineer for KRON-TV, SanFrancisco.

Field Report

BOOMMINI

w INIMMINIIIIMMO

Performance at a glance: Displays up to 16 channels onone screen simultaneously

90 different displayconfigurations

Real-time picture refresh(30 frames/sec.)

&color character generator 8 -bit picture resoljtion

Multiple A/D converters and compres-sion circuits are used to pass the signalthrough to each frame memory. Thiskeeps the image as sharp as possible atdifferent compression ratios. The soft-ware supplied with the system allows avariety of options to be defined. Thereare 40 screen formats, from a single pic-ture up to 16 pictures, and many of theformats permit one or more larger pic-tures in combination with smaller pic-tures. Which picture goes where on thescreen is decided in advance by the user.The 40 screen templates, plus the possi-bility of defining any picture into anylocation, allows hundreds of possibilities.

Each of the inputs can be identifiedwith a 6 -character title entered by theuser on the computer. In addition, colorfor each title can be selected. Bordercolors on each screen can also be de-fined, which might prove a useful way tocolor code a complex event. One featureprobably not useful for broadcast appli-cations was a macro mode in which arotation of picture patterns could be setup. The time each remained on the screenwas programmable by the user.

Once the patterns and the arrangementof pictures within each pattern had beenselected, the screen was given a number,which was later used to recall the selec-tion. It was also possible to set a power -on default pattern. A primary concernwas how the images looked on a smallmonitor, often that is all we can mount ata working position in a control room. Theimages were crisp and the CG legendsreadable even on a small color monitor.Given the distance to monitors on a tradi-tional monitor wall, the trade-off was rea-sonable for someone making productiondecisions as opposed to a technicianchecking quality.

Different applicationsThe multiplexer was developed for sev-

eral different applications. Used in a se-curity system, it can be activated bymotion sensors. A terminal strip on theback permitted sensors to call up pre-defined pictures. In addition, an accesso-ry panel permitted calling up 16 pre-defined pictures. However, the accesso-ry panel was said to be as expensive asthe DOS computer that normally con-trols the system.

For a complex event, three of thesesystems would work well in a typical con-trol room, because several people wouldneed to look at different screens at thesame time. A wish list would include anaudio -follow -monitoring system activat-ed by a touchscreen, so a producer couldhear the sound to go with the picturewithout using additional pushbuttons orrotary switches. The act of selecting apicture could also set up the PL and IFBcircuits to the venue being monitored.That might be accomplished with a sim-ple tally circuit.

Getting down to specifics, the unit re-viewed was one of the first in the countryand required an external transformer toget the right voltage to operate. The com-puter was running a Japanese version ofDOS and the screen would sometimescome up in Katakanah ideographs. Giventhe lack of real estate in control rooms,being able to control the multiplexer un-der Windows would be a big improve-ment. That way a single computer couldbe used for several concurrent tasks. Inaddition, the chassis had a light rack -mount flange on the front and no provi-sion for mounting rack slides. The prob-lem was mentioned to the manufacturerbecause the chassis was heavy andshould be supported.

The system was certainly useful as pro-vided, but it brought up the possibility ofadditional tasks that could be stream-lined in a control room to provide a rad-ical departure from current practices.Currently, the ViewPlex-2000 costs aboutas much as a fully loaded monitor wall -hopefully the economies of scale willbring down the price.

Editor's note: Field Reports are an exclusive BEfeature forbroadcasters. Each report is prepared by the staff of abroadcast station, production facility or consulting company.These reports are performed by the industry and for theindustry. Manufacturer's support is limited to providing loanequipment and aiding the author if requested. It is theresponsibility of Broadcast Engineering to publish the re-sults of any device tested, positive or negative. No reportshould be considered an endorsement or disapproval byBroadcast Engineering magazine.

*For more information on the SumitomoViewplex-2000, circle (330) on Reply Card.


KHNL/KFVE master control, showing automation terminal display on monitorat bottom of center rack. Note dedicated control panel for automation systemon counter behind QWERTY keyboard and switcher.

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single list at any one time, two of each device are required toavoid conflicts if both channels call for the device simulta-neously. Editing the device assignment list adds any deviceto any list.

Accommodating last -second changes is another impor-tant feature, especially useful in KFVE's live sports events.The cut -and -paste list editing capability and the system'szero -latency allow quick changes of time and sequence.

KHNL/KFVE have been on -air since September 1993 with-out any major mishaps. The system has required someadjustments, but because it is software -based, these chang-es can be sent from the manufacturer to the station viamodem. Operations personnel felt comfortable with thesystem after only a few days of training.

It would not have been possible to meet this consolidatedoperation's business, quality and future growth obligationswithout automation. This is clearly the way of the future forbroadcasting, and experience at KHNL/KFVE has deliveredproven, positive results.

Editor's note: Field reports are an exclusive BE feature for broadcasters. Each report isprepared by the staff of a broadcast station, production facility or consulting company.

These reports are performed by the industry and for the industry. Manufacturer's support islimited to providing loan equipment and to aiding the author if requested.

It is the responsibility of Broadcast Engineering to publish the results of any device tested,positive or negative. No report should be considered an endorsement or disapproval byBroadcast Engineering magazine.

4 For more information on theLouth Automation ADC -100, circle (316)

on Reply Card.

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grade its automation tape product (toLouth's Turbotape) with minor changes.

The stations currently use the single -tape version of Turbotape, but plans callfor a switch to its multicut version soon,in order to meet tape -library growth de-mands. This product manages all themedia used in on -air presentation. Whennew commercials are dubbed, there is notyping needed to print barcode labels.Prior to CPS and Turbotape, most of thestation's label problems resulted frommistyped information. In addition to bar-code labeling, tape identification data isautomatically encoded in user bits on

each tape and logged in a database.Program material is screened at the

Turbotape station and segmented to al-low for commercial break insertion. Seg-mentation data is also included in thedubbed tape's user bits and stored in thedatabase. The screening work is done off-line by a PC workstation. Information inthe database is used by ADC -100 through-out the compiling, recording and playoutprocesses.

Multichannel operationThe station's existing ATL was not suit-

able for supporting two asynchronous

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channels direct -to -air concurrently be-cause it could only run with a single list,and the demands on the elevator, binsand VTRs in complex multichannel oper-ation would also be excessive. There-fore, it was decided to precompile breaksfor each channel and to use the ATL as alarge tape library with the added benefitof reduced tape handling.

Compiling is done bythe automation systemand is monitored bythe person handling

the dubbing.

Compiling is done by the automationsystem and is monitored by the personhandling the dubbing. Two compile listsrunning in the server precompile eachchannel's schedule one day ahead of air-ing. Each channel is compiled sequen-tially onto 30 -minute tapes. The processtakes approximately 12 -to -14 hours a dayfor both stations. The software automat-ically compiles in the background. If arequired spot is missing, the system willskip to the next spot leaving space forthe insert, and then return to record itwhen it becomes available. The com-piled tapes are recorded on external VTRsunder automation -system control. Be-cause the system is frame accurate at alltimes, in the event of a change, a com-piled tape can be insert -edited withoutrecompiling the whole tape.

In the near future, a hard disk cache orbuffer is planned for random access, real-time playout. This will reduce the tapeand VTR wear inherent in compiling. In-coming spots will then be dubbed direct-ly from their source tapes to multicuttapes in the ATL. Active spots will betransferred on demand to the cache,which will be periodically refreshed withnew spots. The ATL will then hold allcommercials and promos in an archive.(See "Disk -Based Spot Playback Systems,"p. 49.)

In addition to the two compile lists, thesystem simultaneously runs the two chan-nels' on -air playlists and an automatedsatellite record list. The latter controlsthe recording of time -shifted programmaterial to VTRs, all under control of thedevice server.

The on -air schedule logs are automati-cally translated to machine-readableplaylists. The two lists control the real-time activity of the 23 devices attachedto the server, 17 of which are VTRs.

A Chyron Codi and audio cart machinesare currently controlled by GPIs, butLouth has committed to support bothsystems serially in an upgrade. Becausethese devices can only be attached to a


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Technology News

Talking chips

By Curtis Chan

We have arrived at the age of talkinggadgets. It seems that every new toy,learning aid, electronic game, applianceand even computers, are talking back inthe language of your choice. At the heartof these devices is a new breed of afford-able speech synthesis and recognitionchips that generate speech from sam-pled data stored in memory.

The two most popularpredictive coding

algorithms forgenerating speech

are ADPCM and LPC.

AlgorithmsThe two most popular predictive cod-

ing algorithms for generating speech areadaptive differential pulse code modula-tion (ADPCM) and linear predictive cod-ing (LPC). These algorithms compressspeech samples stored in memory whileretaining reasonably good speech quali-ty. Speech synthesis chips also come indifferent quality levels and storage ca-pacities. Here's a look at what's new.

ADPCMADPCM is a variant of DPCM, which

reduces the amount of data by quantiz-ing and encoding the differential betweenspeech signal samples. ADPCM adaptive-ly changes the quantization width, de-pending on the quantization width of theprevious differential sample. For exam-ple, Oki Semiconductor uses ADPCM inits chips. These chips have internal maskROM ranging from 128kb to 1Mb andfeature one-time programmable (OTP)or external ROM memory. Although the3 -bits or 4-bits/sample and variable sam-pling rates from 4-16kHz will not sufficefor broadcast use, it is applicable to con-sumer products. The $10 (5,000 quanti-ty) 4 -bit MSM6379 has 512kb of OTPROM,an internal 12 -bit D/A with low-pass filter

Chan is principal of Chan and Associates, a marketing consultingservice for audio, broadcast and post -production, Fullerton, CA.

and stores 32 seconds of speech sam-pling at 4kHz. Other speech -processingchips, such as the Mosel-Vitelic, basedon ADPCM have as much as 256kB ofmemory and variable bit rates from 16kb/sto 32kb/s.

LPCElsewhere, companies, such as TI have

endorsed the LPC scheme of coding. LPCattempts to model the human vocal tract.Ti's TSP50C1x chip family ($0.85 to $2.30at 50k units) combines an 8 -bit micropro-cessor, a speech synthesizer, ROM, RAM,a D/A converter and I/O. In operation,parameters are extracted from sampledspeech to create two excitation genera-tors that model the vocal chord restric-tions for voiced and unvoiced sounds.The model has a gain multiplication stageto model levels of pressure from the lungsand a 12 -pole lattice filter that models theshape of the oral cavity. Because speechchanges slowly, the microprocessor ac-cesses parameter samples from memoryin frames generally 10ms to 25ms long.The device calculates the input parame-ters to the model as an average of theparameters for the entire frame. The re -suiting compressed bit rate is effectively1.5kb/s. In the case of the ADPCM pro-cess, LPC chip companies recommendthat external speech coding service com-panies perform speech development forthe speech synthesis chips.

High quality and low costESS Technology offers higher -quality

chips, such as the $12 ES1488, whichcreates all of the speech and sound (ex-cept music synthesis) for multimediaboards. Moving up, ESS's $20 ES688 is a16 -bit stereo chip featuring 44.1kHz sam-pling for recording and playback of CD -quality music. It runs on the ISA bus forPCs and is powered from 3.3VDC or 5VCD.

National Semiconductor's NS32AM160/161 chips are members of the 32 -bit se-ries 32000/EP family of embedded sys-tem processors. Designed for digital an-swering machines, the $18 (10,000) chipscan also replace microcassette dictationmachines. The chip's DSP function com-presses and decompresses data using

subband coding or LPC algorithms. Theprocessors can execute instructions fromon -chip or external ROM. In addition, thechips can detect and generate DTMFtones and provide voice recognition.

Voice recognitionNew devices coming to market can also

recognize voice commands. Becausevoice -recognition algorithms are morecomplex than synthesis algorithms, theyrequire the full power of a DSP chip.

AT&T has developed dedicated speak-er -trained voice recognizers for telecom-munication terminals. Using ADPCM orcode -excited linear predictive plus cod-ing, the recognizers can store compressedspeech that achieves bit rates of 5.2kb/s.The company's latest offering, the HVP-S,provides full -duplex operation of a cellu-lar phone with no mic suppression. Thechip, along with two codecs, memory,and a microcontroller, stores as many as64 speaker -trained utterances. The chipallows for speed dialing by voice and canalso auto -answer the phone. The price is$20 (10,000 quantity) for the HVP-S withROM -coded voice recognizer software.

Finally, Vocal Inc. adds voice -recogni-tion software to TI's TMS320C25 DSP chipor National Semiconductor's 32000/EPfamily of embedded -system processors.The company's True Word software stores100 utterances using a speaker -trainedDSP algorithm called Spectral Fit Codingand compresses sampled audio data to5kbps using a minimum squared errorfitting process.

For more information on thefollowing companies, circle the

appropriate number on Reply Card:

AT&T Microelectronics (306)ESS Technology (307)Information Storage Devices (308)National Semiconductor Corp. (309)Oki Semiconductor (310)Texas Instruments (311)Vocal Inc. (312)


Facility automationA new era of station automation focuses on flexibility and control.

When TV automation was first introduced.it was seen as a competitor for jobs. Al-though the loss of positions was seldommentioned by robotic and automation man-ufacturers, it was an unspoken opinion thatcamera and some control roan o)eratorscould lose their positions. The new technol-ogy was therefore, presented in coachedterms like, increased productivity Or im-proved on -air look.History has shown that automation was

neither the savage beast nor the savior manythought t would be. Rather, it simply be-came another tool that wise technical man-agers used to improve the profitability andon -air image of their stations.

This month's focus is on recent advancesin autoir_ation technology, especially withrespect :o spot playback. The advent ofboth °Kcal and disk -based (video servers)storage has resulted in new techniques foradvanced on -air playback system.

Tape -based automation has 'leen with usfor many years and it has proven itself to bereliable, :ost-effective and long-lived. Andthose wl:o claimed, as late as the 1993 NABConventon, that tape was deac were wrong.Tape library systems provide advantagesthat are hard to match, especially when allthe overhead, ease of operation, operatorfamiliarity, and compatibility factors areconsidered.

Also, it doesn't take a genius :o realize thatvideo servers are the "new kids on theblock," and have yet to prove themselvescapable of long-term, cost-effective. not tomention, broadcast -quality service. Somebelieve that combining a tape based librarysystem with disk- or optical -based storage iscurrent an effective solution far TV sta-tions. Although only time wil. tell. comput-er technology continues to bring excitingnew products to the broadcast industry.

This month's issue focuses en several ar-eas where stations can improve their oper-ations tirough automation. From roboticsto master control automation, there is anew era of flexibility and control that isavailable to stations that waist to invest intheir future.

"Master Control Automation" page 19 "Robotic Camera Systems" 28 "Hybrid Tape and Disk Storage for

0o -Air Automation" .36 "Optical Disk Storage for Spot

Automation" 44 "Disk -Based Spot Playback Systems" 49 "Computer vs. Video Resolution"....54

sl

so

so

II -

-

Brad Dick, editor

Master cauto

Understand the prsolution doesn't c

ntrolationlen and rake sure the

at a bigger challenge.

By Brad Gilmer

The Bottom Line

Speci6,hg, purchasing and ir.stilling a nastercontrol auomaf.:on system can be artexciting experience. When tackling a large syrern integrction task, you need toconsider several things. To get started down the road to aitoniation, iffle system thctyou buy must satisfy the needs of the station operation. The first step isstadying the existing tRa.sner c -Jr trol operation.

Any new automation must integrate smoothlywith the existing faclity. To do this effectivelyrequires an i itimate knowledge dhow the existingmash r control operation wcrks Most cf us under -shmd what tf e equipment does, hut may not under -shind how pc ople use it. A workf ow PERT diagramshows how people put together anumber of tasks toform A system. Figure 1 shows a typical workflowliagram for a simple master mond operation.rkhen you observe the operation, ycu need to

consider these areas: How are programming and com-

mercials :omi3ined to make alog? Where does program material =once from and how isit prepared for air? How is the lc g -econciledand how is billing done? How do peop e use the3aperlogs? Where and how are logs7.onvertec to :ransmissiorists?Simi le block liagrams car

make :1 easier to explain the3pera-iontoothers. In addi-ion, bey make it easier tcdentify tte problems to be

solved.

Gilmer is polect mamagar/technologyassessment tar the Tinter Entertain-ment Networks Atbrilla.

It is important for y 3u to understand the reasonsforautornating As the saying goes, "Any road willget you there f you don't .now where you'regoing."You shouldn't autorna:e simply for technol-ogy's sake. Use Lie wcrkflow diagrams and conver-sations with others tc identifs problem areas.

Ole of the main reasons stations automate s tosave money by reduc_ngstaff_reducing errorsandimproving billing accuracy. Same stations also au-ton- ate to improve tt e on -air look, or cover coin -me -vials on a fessi to a secondary market. Autcma-Om can solve some of these problems, but not all ofthe -n. It is more likely to improve the on -air Wokthai to dramatically :-educe t le staff. (What if theautomation fails?)

Whatever your reasons are for automating. take amoment to writethem down. Refer to these reasonsoften and focus on the task at hand. You may findthai automatior can lot fix the problem or thebenefits of automation do not justify the cost. If thisis tr e case, do net des? -air. Other solutions short ofautomation mai be available that can fill the sta-tion's needs.

AlternativesIf you have a :art machine. it may have all the

automation you ieed.Cart machine operating sys-tems have been gettir g more ike automation iys-temi over the .!..ears. If the pogram material isprepared prope most cart machines will 14ay-back material from a %TR outside the cart machineand seamlessly integrate it with material played bydecks inside the cart machine.

Deliver CommercialTapes to Master

Control

It is be-coming com-mon for broad-casters to sendmore than onefeed from their facil-ity. The primary feedis sent to the transmit-ter. A second feed maygo to a cable company, toa transmitter in anothermarket, or to a satellite fordistribution abroad. In mostcases, the station can gain addi-tional revenue from these second-ary feeds by substituting commer-cials in the primary feed with materi-al specific to the secondary market.Covering commercials on an outgoingfeed is a fairly complex task. Fortunately,stations can do this without purchasing afull-scale automation system. The relat-ed article, "Time -Code Automation," de-scribes a system that uses user bits tocue a cover reel for a secondary feed.

Defining the systemOnce the problems have been identi-

fied, describe what the system should doto resolve them. Try not to say how thesystem should do it, because that is thejob of the vendor. At this point, define anideal system without constraints. Later,use the list to judge products from vari-ous vendors.

Almost every automa-tion system can con-

nect to a traffic systemand control exter-nal devices. The

decision lies in thedetails.

Most automation vendors cansupply a basic system, such asthe one shown in Figure 2. Almostevery automation system can con-nect to a traffic system and con-trol external devices. The deci-sion lies in the details. Here aresome things to consider:

What is the budget? What capabilities are needed?

EnterCommercial

Order

r

EnterProgram Grids

and Timing

Edit Log

Print Log &Deliver to

Master Control

Play Programs& Commercials

On -Air

Send As -RunLog to Accountingfor Reconciliation

11111Compare Scheduled

Log to As -Run &Correct as Needed

-1111Send Invoices

411=10 Fs'

Figure 1. A simplified workflow PERT chart fora typical non -automated master control system.

DeliverProgramming toMaster Control

Are thereany require-

ments, such asautomating se-

vere weather an-nouncements or in-

tegrating with a cam-era robotics system?

How much redundan-cy is affordable?

What is the backup plan if(when) automation fails?

Is there a target delivery time? How important is it to use the

latest technology? Is expandability an issue in the

system?

Your list may be substantially differentfrom this one, which is fine. What is im-portant is that the system is designedbefore you even talk to vendors.

Work with vendorsOnce you fully understand the master

control operation, it is time to call auto-mation vendors and schedule meetingsto discuss automation. At these meet-ings, remember that you are an expert onwhat needs to be accomplished and howthe existing facility functions. It is thevendors' job to explain how their systemworks and how it will fit into the currentsystem.

Give the vendors the workflow andblock diagrams. Be open with them indescribing problems. Tell them about thethings that are important, such as deliv-ery time or use of leading -edge technolo-gy. Automation vendors will need infor-mation to design an adequate system.Get bids and proposed solutions from at

least three vendors.It is important that your pro-

posals be complete. Nothing canruin the day like going back tothe GM for another $10,000. Onetechnique is to take the vendor'sblock diagram and add to it, show-ing all the connections needed.Don't forget to also include soft-ware connections. Identify howeach connection will be made,who has responsibility for it, andwho will pay for it.

The master control area at TNT Latin America. Operation is semi -automated, with VTRs under the control of the cart machine.

Document, document,document

Once down to the last one ortwo serious contenders, you


Dana McDaniel cantell you anything youwant to know aboutbroadcast automation.But make it quick, ok?

As they say at ChicagoLand TV News,you've got five seconds. Four. Three. Two.Welcome to news when it happens, notwhen you expect it, or have the staff tohandle it. It's broadcast on double espresso.Where any second a producer can overrideyour play list and scream "Let's go live!"

So how does an Operations Supervisorkeep her sanity at 24 hour news station?Meditation? Primal screaming? Sanka? Trytotal station automation, by Louth. From themoment it hit the air-waves on January 1,1993, the entire stationhas been runningon Louth: ADC -100automation, Autoscreenmedia management, andthe Traffic InterfaceManager to tie it alltogether. All of whichgives Dana and herstaff absolute flexibilityand control under anyconditions. From mere-ly frantic to thoselast second edits to10,000 -event playlists.

If you're consideringbroadcast automation,talk to the people whouse Louth-like Dana.And don't be afraidto get right to thepoint. After all, airtime is money. Andshe doesn't have amoment to waste.

A U T O M A T I O N

545 Middlefield Road, Menlo Park, California 94025(415) 329-9498 Fax: (415) 329-9530


should closely examine the proposals.Verify that the salesperson has includedeverything discussed. Here are somethings you need to look for:

Identify how many computers are usedand who provides them. Define conversion of the current logand determine if any custom work will berequired above and beyond what is stat-ed in the proposal. Determine who will provide cable andconnectors. If the system will have as -run reconcil-iation, will a translation be required? Ifso, how much will it cost and who willprovide it? Is the traffic system ready toaccept the reconciliation data? Who will provide the computer net-working hardware, software, cabling andinstallation? What are the installation costs? Willsomeone from the factory come out toinstall the system?

Be fair and impartialas you evaluate pro-

spective vendors...andyou should only evalu-ate existing products.

Is operator and/or maintenance per-sonnel training included in the price ofthe system? What kind of warranty comes with thesystem? Are there any software maintenancefees, and if so, what do they cover? Arethese fees required? One more thing is toget the system features in writing. Identi-fy clearly what features are available nowand what features are in development(sometimes called vaporware).

Make the decisionOnce the proposals are in order, it's

time for you to select a vendor. However,there is still some work to do. Ask for aclient list - most automation vendorswill supply one. Call the people on thelist. Speak to traffic and master controlpersonnel, not just engineers. Visit anautomated station if possible.

Be fair and impartial as you evaluateprospective vendors. You should onlyevaluate existing products. Do not evalu-ate an existing system against a futureproduct because this is not a fair com-parison. It is easy for a salesperson to talkabout new features, but it is much harderfor manufacturing to implement them.This is especially the case with software -based systems. If a company promises afuture feature that is a must -have, thinkabout postponing the purchase until the

Time -code automationUsing user bits

By Tony Mancari

For the past 12 months, VITC user bitinformation has been used to signal switchclosures in custom automation systems atTurner networks. For example, domesticfeed commercials in the Cartoon LatinAmerica feed needed to be covered withother program material. By encodingbumps that play before and after a break,one operator can control two networks.

At the first video on the bump, a user bit -controlled switch closure is used to send acue tone to cable operators to break awayeight seconds later. This same closure spinsthe heads on the cover machine. Threeseconds later another user bit puts thecover machine into play mode. At the endof the bump, a bit switches opto-isolatedrouter heads to the playback crosspoint.At the end of the break, a one -second blacktape is aired containing the user bit infor-mation to switch the routers back to thedomestic feed and sending a cue tone forthe cable operators to return at the sametime. Five seconds later, a user bit record-ed on the cover reel tells the cover ma-chine to stop, leaving it cued for the next 5 -second preroll command. One user bit evensets off a sonalert in master control toalert the operator to change the cover

reel. This system is also in use at TNT andTNT Latin America to automatically sendthe data packet for cue tones.

The custom system is installed at dubquality control (QC) stations and the read-ers are fed by router outputs, which en-ables any source to be routed into theverify station. This helps verify that eachpiece on line is passing the information. Inaddition, proc amps, VITS inserters, andother equipment in the chain must be setto pass the VITC info.

The system is designed around a VITCreader and encoder. The reader has sixswitch closures available. For more thansix functions, the switches can be encod-ed to make up to 64 functions possible.Modified time -code comparators are usedto give a longer contact closure to ensurethe user bit is written where desired. Anexpander panel is used to write four userbits a frame apart if needed.

To complement the time -code readers, Idesigned and built a 2 -rack unit box withencode switches to set a code to encodethe tapes and decode circuits to verify andtrip the ground closures. This one boxcould be used to encode and decode thetapes and verify and control the switch

closures. We use multiple sys-tems at TBS for redundancy

The trick is making sure theright lines are used to write theVITC. For D-2, lines 12 and 14 areused, for Betacam, lines 16 and18 were chosen. These lines arerecoverable at jog and the userbit info can be verified by light-ing LEDs at a dub/verify QC sta-tion as the bit is read.

Once the tapes are encoded, areader installed at the output ofthe program DA allows only thetape on air to trip a switch of thecontrolled network. Whateveris needed - play, switch a rout-er, stop a machine or send a cuetone - it's possible with VITCuser bits.

The dub/verify QC station in use at 773S. The time -codeencoder is located above the tape machine, the custom2 -rack unit is below the tape machine.

Mancari is maintenance engineer for theTurner Entertainment Networks, Atlanta.

0 For more information ontime -code equipment,circle (412) on ReplyCard. Also see "Time -

Code Equipment" on p.66 of the 1994 BE

Buyers Guide.

feature is available. The hazard of this, ofcourse, is that a wait of a few months mayturn into a year or more. If you must buyvaporware, be sure to get a good con-tract. Consider including non-perfor-

mance penalties ifdeliver.

Another area to evaluate when compar-ing prospective vendors is the cost of the

Continued on page 26

the vendor fails to


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't may come as a surprise to you, but for the last35 years these visionaries and idealists have beencongregating right here. In this quaint little settingin the heart of the gold country. In droves.

They're electric. Eclectic. Even a bit eccentric.Yet these video experts share a zeal for the sub-

lime that borders on the fanatical. And, thankfully,they channel that singular conviction into everythingGrass Valley does. From digital production switchersand graphics systems to distribution systems andfiber optic transmission systems. And more.

Even the landscaping is flawless.

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Grass Valley is distinguished by,

among other things, the fact that it's hometo the nation's highest percentage

of perfectionists per capita.

The result is a family of products that are simplythe standard of the industry. Systems that exude afeeling of quality comparable only to German cars,Cuban cigars, French pastries, and Russian vodka.

It's something you can't quite define. But youknow it when you see it and feel it.

That is the perfection we strive for. Daily.So if you're in the market for the best video pro-

duction systems money can buy, you'll want to cometo Grass Valley first. Or talk to your Grass Valleyrepresentative. It's the next -best thing to being here. Grass Valley


External VTRs under curt machine control at TNT Latin America.

system. The cost of an automation system is not as easy todetermine as it seems. Hardware and software costs areobvious. But there are other hidden costs that are significant.Some less obvious costs are as follows:

Installation costs, station costs above what is paid to thevendor. Training costs, including lost time and overtime. Human systems re -engineering costs, the cost of changingthe way people work. Some of these costs will be the sameacross all vendors, others will not. Be sure to include thesecosts when evaluating prospective bids.

When you have completed the evaluation, ask one last timeif automation is really needed. Go back and look at theproblem to be solved. Will the top prospect fix it? Think aboutthe alternatives mentioned in this article. Think about the bigpicture. Ask if this particular system really fits the facility, oris it creating new problems that will be worse than theexisting problems. Finally, take five minutes at this point andwrite down why you are choosing to automate and why youare choosing this vendor. The GM may ask these questionslater. It is easier to write them down now while they are freshin your mind.

Double-check the contract and verify the salesperson hasincluded all the hardware, software, and features that werediscussed. Also, if any custom work was discussed, be sureto define it now. Take the time in this process to be thorough.Detail counts. Remember, get it in writing.

The final stepsYou now own a new automation system. The work has just

begun. Delivery, installation, training and fine-tuning are allthings to look forward to. But the most important work will

come after that. Go back once the systemis in place to see how well the systemworks and how well it fits the initial crite-ria. Also, human beings are ingeniousbeasts and the people who work with theequipment may have reinterpreted thecarefully laid plans. Don't accuse peopleof using the system "incorrectly." Theymay be using it to the best of their ability,or they may be using it in a way thatmakes the best sense in the real world. Inany case, it's a learning experience toexamine a project once it's complete.

-OILERCOMPUTER

CARTMACHINE

E ARC aDii.READER

-NEDIAEPA RAT!

ASTERONTROL

SWITCHER

LEGEND

PROGRAMOUTPUT

VIDEO & AUDIORS -422 CONTROL

ETHERNET

Figure 2. Basic block diagram of a simple automation system. Automation computer is capable ofcontrolling VTRs, call machine and the master control switcher. Media preparation computer isused to prepare commercial and program tapes for use in the system.

4 For more information on mastercontrol automation systems, circle

the following numbers on theReply Card. Also see the automa-tion section beginning on p. 71 of

the 1994 BE Buyers Guide.

Alamar Electronics (400)Ampex (401)BASYS Automation Systems (402)Channelmatic (403)Columbine Systems (404)FloriCal Systems (405)Louth Automation (406)Odetics Broadcast (407)Panasonic (408)Pro Bel (409)Sony (410)Utah Scientific/Dynatech (411)


Ea r El it El sffifW 111011110 WIIW MAW

ConstantChange.

ADC's New LightSwiter- The "Future -proof" Digital Router.

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As digital formats come and go, so does a lot of expensive equipment, But while changingformats often requires upgrading cameras, decks and other source equipment, it doesn't haveto affect your switching system.

Introducing the new LightSwitch digital router from ADC. A switching system that literallydoesn't care what format you use. By avoiding internal reclocking, the LightSwitch router isable to switch any true digital signal, regardless of format-even ones that don't exist yet! It caninterface with either coax or fiber and features on -site matrix mapping, group takes, chop modeand RS232/RS485 control panel interfaces.

So, regardless of what digital format the future holds-from DI to HDTV-turn on theLightSwitch router from ADC. For more informationabout LightSwitch or our digital video and audio fiberoptic links and DAs, call us at 1-800-726-4266 D oTelecommunicationsor circle the reader service card below.


Robotic camerasystems

The Bottom Line

Recent innovations havebrought robotic camerasystems one step closer tobecoming more affordable,cost-effective and userfriendly. These systems havea wide range of applications,from detail work to daily useon news sets. Today'ssystems allow one operatorto control several cameras,and have redundant safetysystems to prevent mishaps.

From miniature models to full-size studiounits, these systems are on the move.

By Curtis Chan and Verner Dixon

Robotic camera systems have beenhelping the movie and TV industry bringa producer's vision one step closer toreality for some time. For example, therecent VIPER series, the Intel Inside com-mercial and the Star Wars X -Wing fightertraversing the man-made canals of theDeath Star scene all have used roboticcamera systems to add realism. This arti-cle will look at some recent advance-ments in camera control technology tosee why everyone has their eye on robot-ics systems.

Different strokes for different folksRobotic camera systems come in all

shapes and sizes. They range from prod-ucts used for extreme close-up shots tolarge systems used for broadcasting. Ac-cordingly, prices range from a few thou-sand dollars for table -top systems, toseveral hundred thousand dollar broad-cast systems. Regardless of the system,some basic fundamentals apply:1) Systems must be well damped to min-imize or eliminate image vibration andbacklash.2) Systems should be capable of remotecontrol and/or have the flexibility tomemorize moves (and camera parame-ters in higher -priced models), either inreal-time or be recorded for later play-back.3) Capabilities should include pan, tilt,

Chan is principal of Chan and Associates, a marketingconsulting service for audio, broadcast and post -production, Fullerton, CA. Dixon is an associate of Chanand Associates.

zoom and elevation, plus pedestal rota-tion and movement forward or backwardand side to side.4) Control systems must be intuitive.5) The system and features should suitthe application. Areas of suitability in-clude the size of the camera and lensaccessories, fluidness of motion, speedand angle of deflection accuracy, control-lability, durability and ruggedness.

With the basic requirements naileddown, let's take a look at what's available.

Table -top technologyDesigned for primarily table -top, prod-

uct or miniature work, these systems canrange from $5,000 to $35,000. Manual andremote -controlled systems are available.Typical systems allow the operator tomanipulate objects backward, forward,side to side and in rotation. Dependingupon the setup, the camera can be movedinside, underneath, around and throughlarger objects for unusual and creativepoints -of -view. These table -top units aredesigned to include the carrying capaci-ty of extreme close-up lenses. Because ofthis, these systems tend to be extremelysmooth, which is important when shoot-ing the front of a coin or passing overminiatures.

Construction of the jib arm assembly iscritical in keeping the image free from theeffects of vibration. In the manual marketwhere the operator acts as the robot,many state-of-the-art units are construct-ed of lightweight composite materials.The counterweighted arms can rangeupward of nine feet in length and feature


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a retractable extension arm for addition-al backward and forward travel over thetable -top. Some units can extend in ex-cess of seven feet vertically. The centershaft interfaces with a Mitchell -type cam-era plate or a ball adapter and yields 360°of fluid, continuous pan. High precision

ball bearing components give smoothoperation and Teflon caliper brakes yieldprecise control over pan and tilt. In new-er designs, counterbalance is achievedwith either standard bucket weights orvia a weight bar that accepts barbell -type weights.

Taking the concept further to includelinear tables (x, y, rotation), micro -step-ping motor assemblies, intelligent con-trollers and interfaces, such as joystickcontrols, results in a mechanized robotictable -top motion control system. Systemscan support camera units of up to 80pounds and be able to perform repeat-able 4 -axis movements. The X, Y and rota-tion tables can move objects weighingseveral hundred pounds up and down,left and right as well as forward and back-ward in front of the cameras. Add a panand tilt head with a remote -controlled jibarm and you have the ability to suspendthe camera over a large set and control itremotely. Typical speeds are variable from1° to 20° per second. Some companiesopt for intelligent controllers instead ofusing PCs to control the robotics. In thiscase, joysticks may be used instead ofkeyboards. The joysticks are constantlymonitored for velocity and direction andthe memorized moves are replayed backat the push of a button.

Additional applicationsAnother growing market area is for com-

puter -controlled pan -tilt heads. Typicalapplications include computer vision,video animation, security camera con-trol, teleconferencing, tracking, photog-raphy and special effects.

For small applications, such as securitycamera control and teleconferencing,pan -tilt heads as small as 3" x 5.11" x 4.25"can provide a load capacity of more thanfour pounds. Remote control of theseunits is typically via RS -232. Self -calibra-

tion upon reset ensures reliable absolutepositioning. Many units have the capabil-ity to make on -the -fly position and speedadjustments. In addition, some units haveRS -485 multidrop network capabilitiesthat allow a single host port to control upto 30 pan -tilt devices. Accuracy plays an

important role in the move-ment of the head, one com-pany's head can attain

Az speeds of more than 300° persecond with a resolution of3.086 arc minutes.

In an example of mid -pricedrobotic camera systems ap-plications, one manufactur-er can remotely control a

camera in a rain forest inBelize from the United States,England, Bermuda and Can-ada via a satellite hook-up.Aside from the entertain-ment value of such a ven-ture, the ability to control acamera head from afar vali-dates the usefulness and ef-fectiveness of remote robot-ic camera technology.

A variety of companies ca-ter to larger applications re-quiring the use of heavier cameras. How-ever, only a few have precision motioncontrol camera mounts (pan -tilt -head)for video and film production capable ofrepeatable human -generated naturalcamera moves. These heads allow spon-taneous tracking with pan, tilt, zoom andfocus of actors or action. This is especial-ly important for 3-D graphics and DVEmoves. A more interesting benefit is thefact that aesthetic problems associatedwith mismatched effect and non -effectshots cut together are eliminated. Theheads themselves can be used for EFPand film -style productions, supportingfrom 35 pounds to 150 pounds respec-tively. The EFP mounts, the control unitand a battery beltpack can be carried byan individual.

Remote heads use a control unit of somesort, in most cases, the control unit cancontrol multiple motors. In some instanc-

es, manufacturers have integrated thecapability to accept time code or a tachpulse from a film camera motor to allowslaving to sources.Controlling heads would prove prob-

lematic if it were not for user-friendlyinterfaces. These interfaces come in twovarieties: keypad entry and interactivemode. On the manual side, the computerremembers the moves made for a partic-ular shot. Because the time -code and themove information are recorded simulta-neously, playback can be done with apush of a button. The remote side en-compasses keypad entry either througha remote unit, PC laptop or stand-alonePC. For smaller LCD -type remotes, key-

pad entry consists of 2 -posi-tion keyframe programmabil-ity and has basic motion con-trol commands, such asrecord move, playbackmove, go to position, lockposition, and program lim-its. On laptop and PC stand-alones, pull -down menus anda mouse or keypad are usedto input complex sequenc-

This series of photographs shows the view through the lens.This type of miniature work involves motorized tables andspecial lenses. (Photo courtesy of Innovision.)

es. Some examples of complex keyframemoves include translation of memoryhead moves for use with CGI and DVEs,time lapse and stop frame programming,auto scene scanning for multimedia typework and the splicing of multiple headmoves together.

Broadcast robotic productsIn larger applications where system pric-

es start at $100,000 and go up, broadcastrobotic camera systems play an impor-tant role in news, current affairs and spe-cialized programs. Expansion capabili-ties are the norm and it's not surprisingto see expansion to eight cameras withadditional control over standard param-eters, such as pan, tilt, zoom and focus toalso include iris, black level, X, Y andheight.

The new generation of robotic pedes-tals, aside from supporting studio camer-


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as, also support lightweight EFP/ENG-type cameras. The small form factor pro-vides maneuverability essential for mul-tiple camera positioning in multiset stu-dios. The pedestals are fully controllablemanually as well as having remote capa-bilities. Most pedestals have triple levelsafety systems for collision avoid-ance and intelligent navigation.These systems negate the needfor tapes or homing plates on stu-dio floors. For increased height,several companies offer verticalelevators that are clamped ontothe base of a wide range of studiopedestals. Accuracy is good, withaverage specs of ±0.59 inches forx, y positional repeatability, 9.84inches/s for drive velocity, ±0.12inches for height repeatability, andup to 56 inches for height range.Usual loads for the pedestal canbe up to 155 pounds.

The head assembly is just as so-phisticated, having the capabilityto hold from 55 to 198 pounds. This usu-ally takes care of EFP/ENG to studio cam-eras. Typical mechanical travel specs forheads are 350° for pan, ±45° tilt, 40° persecond for speed and repeatability ofthree minutes of arc.

Robotic control systemsControl systems allow the operator to

store and recall a number of shots. Previ-ous models used numbers or alphanu-meric text to store shot IDs. The newgeneration of control systems have com-prehensive operational modes to simpli-

The camera and motorized table setup used to shoot miniaturemodels. (Photo courtesy of Innouision.)

fy shot entry, making them ideal for high-pressure situations associated with livebroadcast. For instance, a typical studiomight have multiple heads but will usetwo control systems; one in the studioand the other in master control. This way,

a person in master control can cue any ofthe heads linked to the control bus net-work.

The heart of these systems is usuallythe cue computer, which forms the cen-tralized control, storage and managementsystem. When used with either a data

tablet, touchscreen or light pen,the system provides a powerful andresponsive means of control overmultiple broadcast camera instal-lations. In many cases, prepro-grammed simultaneous movementof up to eight robotically controlledcameras may be synchronized withinstructions and commands trans-mitted to peripheral equipment,such as caption generators, VTRs,lighting control systems, micro-phone selection systems, switch-ers, newsroom computers and CGs.A typical cue computer may haveup to 500 pre -programmable cues.Each cue contains a shot numberfor one or more cameras, a lighting

memory number or a video caption refer-ence and a 20 -character comment field.In addition, the use of soft keys helpsfacilitate special functions. Continuousor random mode selection of shot linkingprovides interpolation between preset

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Two recently installed robotic camera pedestals onWNYW, New York. (Photo courtesy of AF Associates.)

the news set of

shots and the creation and storage ofsimple or complex multishot sequences.Either manual or continuous replaymodes are available to operators.

There are several ways to optimize theway a shot is stored. When using a tablet,geographic studio representations, dia-grams or text depicting key shot informa-tion are placed on the tablet and pre-programmed. Frequently used shots canbe easily and quickly recalled by touch-ing the pen on the required shot.

Another method involves using a spot-

ter camera to providean overall view of thestudio or coverage area.Display of the viewedarea on a touchscreenconnected to the cuecomputer enables cam-eras to be rapidly posi-tioned onto areas of in-terest by simply touch-ing the desired area onthe touchscreen.

The new generation ofcontrol interfacesmakes it easy to pro-gram shots. One systemuses a feature called"See and Select." In thissystem, the need for la-beling shots is eliminat-

ed, because the actual video coming fromthe camera under control is frozen whena shot is stored and then displayed on amonitor for later recall. In actual prac-tice, the operator selects the camera forcontrol using camera selection keys onthe control panel. Then the camera andlens are positioned in the conventionalmanner using the control panel joysticksand encoder. When the desired shot isachieved, the action of storing the shotcauses the video to pass into the comput-er where the image is frozen and reduced

The Society of Broadcast Engineersinvites you to participate in

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HERE'S HOW IT WORKS:Every time you recruit a new member,Associate Member or Sustaining Member,your name will be entered into a specialprize barrel. Contact the SBE for mem-bership applications.Phone: 317-253-1640Fax: 317-253-0418

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('/16 original size), then 'tiled' with 15other stored shots on the monitor screen.The operator or director/producer canrecall shots by looking at the prestoredshots on the monitor and selecting therequired one via a touchscreen, mouseor light pen. The recalled shot also loadsall of the camera parameters and posi-tions. Paging of the displayed shots al-lows more than 16 shots to be displayedfor each camera and a separate pageenables a "storyboard" of shots from amixture of cameras to be constructedand made available.

As we move into the next century ofbroadcasting, expect to see new innova-tions in robotic camera systems and theircontinued integration into every facet ofbroadcast programming.

Acknowledgment: Thanks to the following for their help on thisarticle: Radamec, AF Associates, Innovision Optics, Inc.,TeleMetrics, Ultimatte, Bill Bryan, and Vinten Broadcast/TSM andDirected Perception.

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Hybrid tape and disk storagefor on-airautomation

The Bottom Line

Disk -based and tape -basedstorage systems each presentdifferent sets of strengths totheir users. Neither is ideallysuited for all of the possibleapplications that a typicalbroadcast facility mightrequire. An optimum systemapplies the best of bothtechnologies. Appropriatelycombined, such a hybridsystem can lower costs whileincreasing capacity andreliability.

S

The next generation of automated librarymanagement will include both tape anddisk elements.

By Raymond K. Baldock

Broadcast technology is an evolving sci-ence. With each turn of the calendar theindustry witnesses technical advancesthat present opportunities and challeng-es for manufacturers and users. Techni-cal advancements that truly pique ourinterest tend to have three common char-acteristics: They promise to make us moreproductive, they vow to make us morecompetitive, and they invariably pledgeto open new markets. These new techni-cal frontiers are never without their pe-culiar caveats, however. For example,becoming more productive might involvediscarding old equipment and learningnew operations, while becoming morecompetitive often requires a sizeablemonetary investment, and entering newmarkets could mean dealing with newcompetitors.

Data compression (or bit -rate reduction)is just such a technology. It will affect ourindustry as significantly as the micropro-cessor once did. In fact, the process hasalready begun.

Data compression is lowering the costof satellite distribution and has given riseto many new or revitalized services, in-cluding direct broadcast satellite (DBS),teleconferencing, regional advertisingand private video networks. Planned vid-eo -on -demand (VOD) services also relyheavily on data compression to provideadditional channels for bringing signalsinto the home. Some of these serviceswill undoubtedly compete with the broad-

Baldock is director of product development at Odetics Broadcast,Anaheim, CA. Respond via theBEFAXback line at 913-967-1905.

caster for slices of the viewership andadvertising pies, while other applicationsrepresent new markets in an expandingindustry.

New data compression applications thatuse hard disks for storage have the po-tential to provide an alternative to video-tape for some applications. The non-lin-ear access provided by disk systems is apowerful feature, and one that manybroadcasters are eager to employ. Com-panies that manufacture videocassettelibrary systems and the broadcasters whopurchase them must examine the poten-tial benefits (including cost-effectiveness)that the technology affords for differentapplications. Caution is advisable duringthis process, so that maximum benefitscan be obtained from new disk -basedstorage and existing hardware inventory.Consider also the current state of flux indata compression technology.

Complexity of cost analysisDisk -based storage is not new to televi-

sion - it is commonly used for layering inpost -production environments and instill -stores. The data -transfer rates usedin such high -quality, digital component -video recording results in expensive re-corders with short recording times.

Data compression systems are now al-lowing digital mgnetic hard disks to beconsidered for mass storage applicationsin a cost-effective manner. Assessing thiscost-effectiveness is difficult, however,because of the complexity of comparingprices between tape and disk storage.For example, a one -hour program record -


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ed at a data rate of 100Mb/s (the effectivedata rate for about 2:1 compression) con-sumes 45GB of disk storage. At currentprices, the hard disk array required forthis could cost approximately $70,000,while the same amount of video data canbe stored on a single 1/2 -inch or 19mmdigital videocassette (under $100). Ofcourse, this involves a bit of apples -and -oranges analysis between disk drives(which are hardware/media combina-tions) and tape (which is pure media).Both systems require additional hard-ware to actually record and play videoprograms, but their relative storage vs.overhead cost ratios are quite different.The typical disk array accounts for asizeable percentage (perhaps half) of acomplete disk -based storage system,while tape costs represent only a smallportion of the VCR (and, for some appli-cations, the robotic library) costs of atape -based system. Viewed incremental-ly, however, as the amount of inventoryincreases, the per -unit cost of storage fordisk media can exceed that of tape by upto 2 orders of magnitude.

Furthermore, disk -based systems canoffer random-access and multiple -outputcapabilities, whereas tape provides highreliability (Consider that when a disk -based system fails, the entire programcontents of a drive -array are at risk, whileaVCR failure only threatens a single tape'scontents.) It's clear that a large matrix ofparameters must be weighed when com-paring disk- and tape -based systems. Inthe end, a single, industry -wide answerwill remain elusive, with differing appli-cations (such as short -form vs. long -formprogramming) instead finding their ownseparate solutions to the question. Toachieve optimum balance, many applica-tions will benefit from ahybrid solution -one that combines tape and disk storage- while others may be better served byone technology or the other exclusively.

Data compression:The enabling technology

Real-time video data compression low-ers the bit -rate of digital video signals. Itis an enabling technology, which permitshigh -bandwidth video signals to be re-corded using storage systems operatingat much lower data rates.

Although data compression makes diskstorage practical, users face the difficulttask of balancing diminishing perfor-mance as the compression ratio increas-es. Engineers should be wary of compro-mising performance standards just tobring this exciting new technology with-in the range of their budget. The amountof compression acceptable for any appli-cation will ultimately depend upon thecapabilities of the distribution and dis-play system, as well as competing deliv-ery systems.

YOU CANTTURN MIS PAGE

FAST ENOUGH

Expectations for disk -based systemshave reached new heights, yet it is clearthat significant hurdles must still be over-come before these systems can moveinto high -risk applications like on -air spotreplay. Some systems do not record allactive lines, and many cannot pass datafor closed -captioning, Nielsen codes(commercial verification), or other datain the vertical blanking interval. Manu-facturers using disk -operating systemsdesigned for data rather than real-time

Disk caches vs. video serversThe market for disk storage can be sep-

arated into two significantly differentapplications: video servers and disk cachesystems.

Video servers are usually large-scalecomputers with redundant disk arrayscapable of storing hundreds or thousandsof hours of video. They often providesimultaneous access for a greater num-ber of viewers and are typically associat-

Ars.SATELLITE RECORD

ATL (SPOT ARCHIVE & PGM REC/PLAY)

Figure 1. Basic configuration of a hybrid system, implementing an automated tape library (An) anda digital disk cache. The An is used for long-term storage of all programs and playback of long -formprograms to air, while the cache is used for temporary storage and playback to air of short -formprograms (spots). A second disk cache can be added for redundant operation.

video are experiencing problems as thedata becomes fragmented over extend-ed use, or when soft errors are encoun-tered. These are not usually included inmean -time -between -failure (MTBF) fig-ures quoted by drive manufacturers, butthey can have a devastating effect onreal-time video if the data flow is so inter-rupted that the video or audio outputbuffers are emptied. To ensure reliableperformance, operating systems, and tosome extent the drives themselves, needto be developed or modified specificallyfor video applications.

Nevertheless, data compression anddisk media hold tremendous potentialfor video applications. In time, the chal-lenges identified today will be overcome.Interchange standards must be estab-lished to permit transfer of compresseddata between products from differentmanufacturers. Until then, we must lookbeyond the emotional appeal of disk stor-age, assess its current evolutionary stateand - with a specific application in mind- weigh it against other options to deter-mine real benefits, respective costs andcomparative risks.

ed with video -on -demand applications.On a much smaller scale, this same

technology has been demonstrated by anumber of manufacturers as a replace-ment for VCRs, using hard disk -basedvideo recorders. These systems providesuperior uncompressed performanceand durations measured in minutes, withprices comparable to D-1 recorders.

With the addition of data compressionand audio, these devices can maintainacceptable performance at storage timesmeasured in hours rather than minutes.When used in conjunction with a broad-cast system, the disk recorder can beused as a cache to increase the flexibilityof the system. If the required capacity ofthe cache is limited to one or two hours(instead of attempting to handle the en-tire inventory), then disk caches can beaffordable and provide the high perfor-mance broadcasters need.

For greatest flexibility the ideal cachewill be able to record and play simulta-neously. Several output channels shouldbe provided and the recorded materialshould be available to all channels simul-taneously. Because compression algo-

rithms are rapidly improving, an upgrade -able compression engine would be ad-vantageous. Because a cache is used onlyfor temporary storage, then conversionof material from one compression formatto another is not a major issue.

Video on demandVideo on demand (VOD) is the perfect

application for disk storage. Access to alarge volume of material must be provid-ed for many users on a continuous basis.

A videotape solution limits the num-ber of start times to the number ofcopies of the program available onthe system. Users must either waitfor the next start time or join inprogress. A sophisticated VOD sys-tem also offers the potential for start/stop (or even a limited amount ofrewind/fast-forward) remote controlfor each user.

Companies pursuing the VOD mar-ket are currently grappling with thecost of the disk storage and lookingto tape as an economic archival for-mat. Automated Tape Library (ATL)systems, combined with random ac-cess disk storage, increase the avail-able inventory in the most cost-effec-tive manner. This minimizes the ex-pensive disk storage and allows pro-grams to move in and out of the sys-tem as the demands for particulartitles change. As an example, US Westis planning to test such a system in itsupcoming VOD and interactive videotrials, using ATL systems with capac-ities of 2.5TB each.

Hybrid solutions for broadcastIn a traditional broadcast application,

long -form program material is playedonce and stored for an extended period.The cost and time to dub these programsto another format (tape or disk) is rarelyworth the trouble. This is why stationsprefer to air long -form programs usingthe media and format on which they arereceived or recorded. Disk storage offersno advantage for this situation.

Short -form (spot) programs are anoth-er matter, however. A disk cache can pro-vide significant advantages for manage-ment of multiple short programs withinan An context. Such a hybrid solutioncombines an ATL with a digital video diskcache as shown in Figure 1. The cache'sability to record and play simultaneouslyoptimizes the efficiency of downloadingmaterial. This arrangement reduces thenumber of VCRs required by the ATL forplaying spots - typically from four decksdown to one. Spots are downloaded fromthe library to the cache hours in advanceusing a single VCR, then aired directlyfrom the cache. The cache's non-linearnature requires that only one copy ofeach spot used in a given time period be


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downloaded.The hybrid arrangement can also serve

another timely purpose. Although auto-mated program and spot recording/re-play on ATLs is common practice aroundthe world today, this procedure can al-most fully occupy a station's VCR resourc-es playing spots and programs direct -to -air for a single channel. Meanwhile, cur-rent economic conditions are forcing sta-tions to adopt more creative businessventures, such as establishing LMAs, of-fering split regional advertising or add-ing new, separate program services for

channels.The addition of a disk cache to an ATL

includes some other advantages:

Increased capacity: With on -air replayoriginating from the cache, the need tolimit the number of spots -per -tape (be-cause of shuttle time constraints) is elim-inated. Therefore, the number of spots -

per -tape can be increased, allowing atypical station's entire spot inventory toreside within the ATL. The ATL thereforebecomes an on-line spot -archival system.

tems' redundancy schemes all involveprecompiling a spot reel for backup,which doubles wear and tear on VCRsand robotics, thereby effectively short-ening MTBF.

High -quality archive: The use of tape asthe archive medium is not only econom-ical, but the air masters are not subject tohigh compression that would otherwisebe required if the entire inventory werestored on disk. Downloads to the cachecan be accomplished via serial digitalinterfaces, thus minimizing possible qual-

ity losses.

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SWITCHER

- AUTOMATION CONTRO

Figure 2. A 2 -channel automated operation using dual -output disk cache and ATL.

cable feeds. Naturally, there is consider-able pressure on operations and engi-neering managers to run these new ser-vices without additional staffing. Theneed for automation is therefore in-creased in this environment.

A disk -cache and ATL can be configuredto feed those additional output chan-nels, as Figure 2 illustrates. When thesame material must be replayed on mul-tiple channels, it is desirable that thecache use common storage to feed alloutput channels. This allows the materi-al to be downloaded to the cache onlyonce. The cache must be capable of feed-ing the common material to multiple chan-nels either simultaneously or at staggeredstart times.

Even for a multichannel system it is stilllikely that only one VCR will be requiredfor downloading of spots to the cache.(Future tape formats may offer faster-

than -real-time transfer of compressed vid-eo to disk, further speeding and stream-lining a hybrid system's operations.) TheVCRs freed by reassigning spot playbackto the cache can be used for recordingadditional satellite feeds or for originat-ing programs for the additional program

Improved conflict resolution: Because itis a random-access device, the digitalcache also solves the challenges facedby ATLs in direct -to -air, multicut opera-tion. Traditional tape -based solutions thatuse dual recording, conflict resolution orconflict avoidance all require extra timeand/or resources, either at the recordingtime or during playback. The cache solu-tion is much simpler, more efficient andless prone to error than any method usedby cart systems today.

Increased reliability: As noted earlier,the high reliability of disk storage is de-ceptive, because of the risk ofmanyspots'loss in the event of a cache crash. Ahybrid system typically keeps backupcopies of these spots on-line, however,allowing quick recovery from a cachefailure.

Backup protection: To guard against suchfailure, two separate, redundant cachesystems can be connected in parallel atthe output of the cart system for simulta-neous downloading. This provides totalprotection against failures in the diskcache itself. In contrast, tape -based sys-

Doing more with lessNon-linear disk -based storage

makes it easier to do more with less.With the addition of disk caches, cartmachines gain increased capacity. Asingle -channel system can also gainmultichannel capability when inte-grated with a digital cache.

Reliability is also a paramount con-cern. At most TV stations, the com-mercial inventory is a most valuableasset. Any system that puts this in-ventory at greater risk also jeopardiz-es the station's financial security. Ahybrid tape/disk system maintains ahigh degree of reliability, especiallywhen a parallel backup cache is used.

As disk cache technology maturesand proves its reliability in an on -airenvironment, there will be opportu-nities to add exciting capabilities toexisting ATL systems. These hybriddevices will provide the industry withmore cost-effective storage and orig-

ination of program material, while increas-ing overall reliability. Hybrid systemstherefore provide a safe, flexible and af-fordable migration path to broadcast-ing's future.

4 For more information frommakers of automated videolibrary systems, circle the

following numbers on ReplyCard. Also see "Recorders,Video" p. 64, "Commercial

Insertion Systems" p. 71 and"Record/Playback Automa-tion" p. 72 of the 1994 BE

Buyers Guide.

Ampex (319)Odetics (320)Panasonic (321)Sony (322)


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Optical disc storagefor spotautomation

The Bottom LineBroadcasters have always

been searching for improve-ments in spot playbacksystems. Technology hascontinually evolved towardsmaller, cheaper, higher-

fidelity and more reliablesystems. Recently, magneto -optical (MO) recording hasbecome a practical option,serving all of these criteriawell. With proper interfacing,an automated array of MOrecorders can provide areliable and cost-effectivesystem for short -form storageand playback to air.

S

PC -based automation and optical disctechnology can form a powerful alliance.

By Barry N. Fisher

At the 1990 NAB Convention in Atlanta,a company called Optical Disc Corpora-tion had an interesting display. It wasshowing a $180,000 optical recording sys-tem that was as big as a large VTR. It wasdesigned for mass duplication of opticaldiscs using write -once media. More inter-esting than that was something that wastucked around the back of the booth. Itwas a little $2,000 optical player with aMacintosh computer controlling it. Forthis demonstration one optical disc withabout 15 commercials was used. Youcould select which commercials youwanted to play by clicking a mouse, thenpushing a play button. The concept wasgreat, but not practical until Pioneer in-troduced its rewritable magneto -opticaldisc in 1992.

By that time, broadcasters had begunto take notice of the technology and foundit impressive. Some were concerned withdurability of the format's hardware andmedia, but generally concluded after ex-haustive testing that the system per-formed admirably and consistently intheir facilities.

Building a systemOne such station was WFMZ-TV, Allen-

town, PA. In 1992, the station's engineersmet with American Broadcast Systems(ABS), who had just introduced the Mi-cro -Cart 100. This PC -based system pro-vided a stable commercial playback sys-

Fisher is director of Engineering Operations for Maranatha Broad-casting, Allentown, PA. Respond via the BE FAXback line, 913-967-1905.

tern using multiple tape machines withseveral spots on each tape. Certainly, if ithad the ability to do that, it could dealwith the instant search capacity of theoptical disc player. Instead of putting 60spots on a Beta tape, it seemed possibleto put 60 spots on a 32 -minute opticaldisc. ABS began working to modify itsprogramming to be able to handle whatWFMZ considered a "video hard drive" -the Pioneer VDR-V1000. These technolo-gies eventually developed into the sys-tem that the station uses on air today.

The ABS software is written in Windowsand is designed to be run on an off -the-

shelf PC. As long as the PC platform isadequate (e.g., 486DX/33), the Windowsenvironment offers the advantage of sim-ple user interface and training for non -DOS -literate operators.

The system softwareis designed to bestraightforwardand easy to use.

The system software sends its com-mands to the optical disc players throughan RS -422 card in the PC. The RS -422 busis connected to rack frames of intelligentmachine controllers called tributarycards. Each playback machine in the au-tomation system (disc or tape) has itsown tributary card, which controls themachine's transport. A separate tribu-


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tary card is assigned to an AFV switcherthat selects which of the optical discplayers or tape machines is on -air. (SeeFigure 1.) Another tributary card con-nects a dedicated remote -control panelto the system, allowing "hard" control ofany machine's start, stop and recue func-tions.

For redundancy, a second 486/33 com-puter is loaded with identical software.The RS -422 outputs of the main and stand-by computers are passed to an A/B switch,which allows the system to be switchedto backup if a failure occurs, and thesystem to be back on line within fiveseconds of changeover.

Operating the systemThe system software is designed to be

straightforward and easy to use. Color is

and can be made up until four secondsbefore air. A spot can be added by simplyentering its in-house number or by look-ing it up in the spot database. Spots canbe chained sequentially (one spot willinstantly follow another), started manu-ally via the remote -control panel, or pro-grammed to start at a specific time.

When operators add new spots to thevideo database, they are prompted toenter several items, such as spot number,start date, kill date and length. Otheroptional fields include recording media,master reel, description, subject andagency. The extra fields are provided forease in sorting. An operator could, forexample, get a printout of just the publicservice announcements available. Thesystem also keeps an as -run log on itshard drive. No changes can be made to

MAIN PCCONTROLLER

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INPUTS)

VCR'S

10X1 AFV SWITCHER(A/V OUTPUTS

FEED PROGRAM)

Figure 1. Block diagram of control functions in WFMZ-TV's automation system.

used extensively on the operator's screento provide as much feedback as possible.(See Figure 2.) The time of day appearsconstantly in the upper left of the opera-tor's screen with the current -event count-down clock in the upper right. Each ma-chine's status is constantly displayed inthe center of the screen, below which isthe playlist. An event in white has alreadyrun, yellow indicates cued and ready, andred indicates a problem. Because theWindows environment allows multipletasks to run concurrently, operators leavea playlist editing window open in addi-tion to the on -air windows. This allowsany last-minute changes to be made tothe upcoming event schedule. Becausethe on -air tasks and the editing tasks aredynamically linked, any changes to theplaylist (which are made in the edit win-dow) are immediately reflected in the on -air playlist.

Changes to the playlist are made easily

the as -run log with the exception of add-ing comments. For instance, an operatorcould add a comment explaining why aspot wasn't run.

Disc capacity and formattingEach optical disc holds 32 minutes of

video. Because the disc players offer ran-dom, single -frame access, a disc can alsobe used to hold 57,600 frames for stills orslides.

For motion -video, in order to fit as many30 -second spots as possible on a 32-

minute disc, each disc is divided into 32 -second segments. The extra two secondsallow for black on either side of the spotand help prevent accidental overdubs.With four disc players, 240 spots are avail-able on line. The timed segments existonly in the database, not on the discs. Inother words, when a spot is scheduled toplay, the computer only tells the discplayer to cue to a specific time -code loca-

tion and play for a certain length of time.The VDR-V1000 disc player has another

handy feature. It includes 99 non-volatilecue memories. Each cue memory loca-tion can be programmed for any time -code location. All the disc players used inthis automation system have had the time-

code start -points for each of the discs'32 -second segments loaded into thesememories. A 4 -digit coding scheme hasbeen established to track spots all theway through the traffic system. For exam-ple, a commercial numbered 4017 meansthat the spot is on disc 4 at cut 17. To findthe cut, cue memory 17 is simply recalledon the player holding disc 4. This makesoff-line dubbing spots easy, because thestart time of each disc segment alwaysremains the same. It also means that theperson dubbing doesn't have to worryabout the time -code start -point for thecommercial. The playback system doesn'teven need to be told which player holdsdisc 4, because individual disc -identifi-cation header information is recorded inthe first two seconds on each disc.

Another benefit is the ease of emergen-cy operation. In the unlikely event thatboth control PCs are down, an operatorcan use the printed paper log to manual-ly cue up spots from the front panel ofany disc player. If spot 3045 is schedulednext, cue memory 45 is recalled on disc 3.When the previous spot has finished play-ing on -air, the operator presses play andthen manually takes the appropriate discplayer on the air switcher. The operatorcan then go on to cue the next spot, evenif it is on the same disc. The disc playercontains two playback heads and canplay spots back-to-back instantly.The tape machines in the system are

handled in a similar fashion, except with-out random access. Each spot must havea cue header recorded before it. This 7 -second burst of data contains the spotnumber, description, spot length and oth-er information. When dubbing a spot tothe playback tape, the operator canchoose to have the tape rewound andejected immediately after it has played,or to have the tape cued forward to thenext spot. Using the "cue forward" meth-od, many spots (such as PSAs) can berecorded consecutively on one tape. Theonly drawback is that the spots will al-ways air in the same order. The systemalso allows for access to non-consecu-tive cuts on a tape with the use of timecode.Any mixture of tape or disc playback

can be sequenced in an on -air playlist. Ofcourse, the system can't play consecu-tive spots from different locations on thesame tape, but it has no problem withrandom spots from the same disc.

MaintenanceThe disc recorder hardware has been


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reliable. When a slight degradation occurred in one of theplayback heads (while still under warranty), the manufacturersent a new optical assembly to the station. The replacementtook less than 30 minutes and did not require techniciantraining or adjustments. In contrast, tape machine repairs canrequire considerably more knowledge and realignment effort.

No routine maintenance is required on the disc machines -Vacuuming the device every couple of months is all that'sneeded. The optical discs are said to be good for one millionrecording cycles. This means that if you began recording a disctoday in consecutive and continuous 32 -minute increments(around the clock), it would take more than 60 years to hit theone million -pass point. Media replacement, therefore, is not anissue - it's virtually permanent.

The system's video quality is that of Betacam SP with regard

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Figure 2. A sample of the control terminal screen showing windowused for log -comment entries at right.

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to resolution and comparable to Betafor noise. The one difference is that theplayback image does not deteriorateover repeated plays as with tape for-mats. The devices also produce low am-bient noise, and their low power con-sumption can allow smaller capacitiesto be specified for UPS systems andHVAC.

Breakthrough technologyThis system represents a significant

breakthrough in spot playback technol-ogy. It requires virtually no maintenanceand allows for multiple levels of redun-dant playback. It consumes less elec-tricity HVAC and staff time. The modu-lar, open architecture of the system al-lows changes and addition of hardware.If a 60 -minute optical disc or longer be-comes available, the system is ready forit. Magnetic hard drives can also be inte-grated for airing the shortest programelements, such as PSAs, IDs or promos.Meanwhile, tape will continue to be usedfor long -form programming and archivalstorage.

The future success of optical disc sys-tems in broadcasting will be largely de-pendent on their cost-effectiveness. Ifthe price of players were to drop, signif-icantly larger systems would becomeattractive. Meanwhile, hard disk systemsare beginning to appear, and they showpromise as well. A concern regardinghard disk systems involves their non -removable media - data is captive andunreachable if a drive should fail or asystem should lock up. For these rea-sons and others, optical and magneticrecording may coexist in future facilities,with optimum systems exploiting bothtechnologies' respective advantages.

4 For more information on thesystems mentioned in this article,circle the following numbers on

Reply Card.

ABS Micro -Cart 100 (313)Pioneer VDR-V1000 (314)



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Disk -based spotplaybacksystems

The Bottom Line1993 marked the start of anew era in broadcastingwhen tape -based librarysystems were replaced bydisk -based units. For the firsttime, broadcasters employedthe systems in applicationsas diverse as 24 -hour newsplayback and commercialinsertion. Although someearly adopters are simplyseeking to replace an auto-mated tape -based system,others see the new technol-ogy as part of a much largerdigital video productionsystem.

(- Circle (28) on Reply Card

S

They've come a long way in a short time.

By Roland J. Boucher, Jr.

he first disk -based commercial andnews playback system was demonstrat-ed at the 1992 NAB Convention. The sys-tem was made possible by a combinationof technology advancements includinggreatly improved video compressiontechniques and dramatic increases in thespeed and storage capacity of disk drives.These new technologies, combined withlower costs, enabled manufacturers tooffer affordable video library systems.These systems are practical for commer-cial insertion and news playback applica-tions. It is possible that program -lengthplayback capabilities will be added asnew compression schemes are adoptedand disk capacities grow and costs de-cline.

Carat -based systemsCart -based library systems were de-

signed to house some or all of a station'scommercial library. These systems wenta long way toward eliminating errorscaused by mix-ups in the loading andsequencing of commercials. These videocassette library systems were basicallyvideotape editing systems controllingmultiple VCRs. Additionally, a robot wasused for loading, with storage bins usedto hold the tapes. The system rolled eachmachine at the required time, with thetape queued to play back the correctcommercial. The systems could also beused to produce spot compile reels onexternal machines, affording an element

Boucher is senior product marketing manager, broadcast prod-ucts for Avid Technology, Tewksbury, MA.

of redundancy. Robotic library systemswere certainly far more efficient than themanual operations they replaced, buthad limitations because of their mechan-ical nature.

In some cases, software solutions weredevised to provide workarounds for play-back conflicts. When queuing times pre-vented the system from playing back twoadjacently scheduled spots, many sys-tems would build a special break -reel asa workaround. With cart systems, engi-neers were concerned about the short-est spot length that could be run back-to-back without interruption.

Disk -based systemsWith the development of non-linear

editing systems in the mid -1980s, the pathwas cleared for the eventual develop-ment of disk -based video playback sys-tems. Just as robotic library systems re-lied on edit controllers to schedule andoperate the systems, non-linear disk -based editing systems made possible thefirst digital disk playback systems.

Atypical multichannel, disk -based play-back system consists of one digital play-er/recorder per channel, buffer diskdrives for each channel, a central storagearchive and server, plus control worksta-tions. (See Figure 1.) The central storagearchive may be hard disk drives, magne-to optical drives, data tape or a combina-tion of these. Using hard disks as thecentral storage medium allows high-speed access.

In an effort to reduce cost and provideoff-line storage, some manufacturers have


chosen to use data tape or magneto -optical drives as thecentral storage medium. However, this approach reduces thetransfer speed to the individual channel buffers, thus creatinga potential bottleneck in high -volume applications. Although,when used in addition to a hard disk central archive, magneto -optical drives or data tape can provide backup storage.

The basic unit of these systems is the digital player, which isa software application that locates video and audio tracks onthe disk or disks and coordinates playback of those tracks so

MULTICHANNEL DISK -BASED PLAYBACK SYSTEM

CONTROLWORKSTATION

COMPRESSED DATA FLOW

RECORD/ENGINEERINGWORKSTATION

GPI :=0L.IN I-J

BUFFERDRIVES

GiTERIALCONTROL

BUFFERDRIVES

11111 I

GPI 1CONTROL

VIDEO/AUDIOCHANNEL INPUTS/OUTPUTS

be used in each channel to increase redundancy and improveoperating efficiency. These local storage buffers can be config-ured to hold anything from a few spots to a full day's schedule.

RedundancyThe reliability of disk drives used in the new playback systems

is extremely high and improving all the time. The Mean TimeBetween Failure (MTBF) for drives typically used in thesesystems has been in a range of 300,000 hours, (slightly morethan 34 years). Newly released drives are as high as 800,000hours. (Editor's note: These figures are comparable to figuresnormally specified for disk drive MTBF, however, they reflectonly the MTBF for the internal cylinder, not the entire assembly.MTBF specifications for the entire drive assembly tend to be inthe 50,000 to 150,000 hour range.) Even with those impressive

numbers, manycustomerschoose to im-plement RAIDtechnology forprotection

Figure 1. Block diagram of a multichannel disk -based video library.Information is stored in the archive area and then moved to the bufferdrives as needed. Figure 2. The GUI (graphical user interface) used in the video

librarythey appear as continuous streams. In fact, the ele-ments of any one clip may be spread across a number ofseparate disks. It's the player's job to keep track of the locationof these elements and to sequence them in the proper order forplayback. The player feeds a stream of clips into the videodecompression and audio processing system for continuousplay -out. Because of the random access nature of disk -basedsystems the problem of conflicts and "cycle time" are virtuallyeliminated.

The player or I/O module is one element in the modular videodisk -based playback system. The other major component isstorage. It ranges from a single disk drive to large RAIDedservers in excess of 100GB, supplemented by magneto -opticalor data tape storage options. These modular disk -based sys-tems can be configured in numerous ways to suit a wide varietyof applications.

In systems where Redundant Arrays of Inexpensive Disks(RAID) architecture is not used, buffer drives and I/O modulesprovide redundancy options. Two I/O modules can be used toprovide continuous redundant playback of the commercialschedule. In the event of trouble on one output, it is possible toimmediately switch over to the second output, for uninterrupt-ed playback. A third I/O module can be used for recording whilethe other two are playing back.

The buffers also provide an amount of protection from afailure in the central archive. Depending on the size of thebuffer, the operator may have hours of uninterrupted playbackbefore a central archive failure can impact the buffer channel,allowing time for system recovery.

If less redundancy is needed, instead of three I/O modules,the system can be configured with two. The schedule is playedout on the first, while the second is used for recording, and asa backup if necessary.

Storage can also be configured as needed. A large centralhard disk archive can be configured to hold all active spots. Inmultichannel applications, individual local storage buffers can

system.

from failures.Two RAID

configurationslend them-selves to broad-cast playbackapplications.The first, RAID -1, provides to-tal mirroring ofthe disk stor-age. Should adrive fail under

RAID -1, the mirrored drive automatically takes over, with noloss of information and no manual intervention. The failed driveis identified and then removed for repair and/or replacement.RAID -1 obviously requires a doubling of the cost of disk drives.

RAID -3 provides a redundancy alternative that uses fewerdrives. In RAID -3 systems, one disk is used to record parityinformation. The video and audio information is striped acrossseveral disks. In the event of failure of one of those disks, theparity information is used to reconstruct the lost information.Again, there is no loss of information and the system continuesto perform without interruption. The failed disk can be re-placed at the operator's convenience and, because of the paritydisk, a faithful copy of the failed drive information is recon-structed during normal operation on the new disk. RAID -3architecture requires an extra 20% of disk space for the parityinformation.

User interfaceThanks to graphical user interfaces (see Figure 2), today's

disk -based video playback systems provide operators withintuitive displays. Play lists include representative frames ofvideo for each event and changes can be made by clicking anddragging clips from a library to the play list. Warnings ofscheduling errors or off-line media are displayed through a pop-up list along with bright color bands across the affected events.Standby clips for emergency use are held in an on -screenwindow for immediate access.

Multiple user interfaces allow users to perform separate taskssimultaneously. Systems may have terminals located through-out the facility. In the case of video playback systems used fornews applications, links to the newsroom automation systemallow play list preparation and control to take place on any ofthe network newsroom terminals or in the studio control room.For commercial playback, links are provided to traffic, billingand automation systems.


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© 1994 Clear -Corn Intercom Systems.Matrix Plus II is a trademark of Clear -Corn.


Domestic Sales: Clear-Com Intercom Systems945 Camelia Street, Berkeley, CA 94710.Tel: (510) 527-6666, Fax: (5101 527-6699

Export Division: Clear -Corn InternationalPO Box 302, Walnut Creek, CA 94597.Tel: (510) 932-8134, Fax (510) 932-2171

The futureAs the implementation of disk -based

video storage and library systems movesforward, it is important to avoid applyingtape -type models to this new technology.These devices are not simply more flexi-ble cart machines; instead, disk -basedplayback is a significant feature of a sys-tem that can provide station -wide digitalcapture, editing and storage of video andaudio.

The benefits associated with this tech-nology become fully realized when theentire system is implemented. In a com-mercial insertion application, there is abenefit in preparing the 20 to 30 dailypromos on a non-linear disk -based editsystem networked to the library. In thisway, stored donuts or beds can be usedto wrap around recordings of show pre-views captured from satellite. Each pro-mo is available for playback quickly, with-out the need for dubbing or loading oftapes.

On the news side, the playback systembecomes the final link in the news pro-duction chain. Digital disk recorders cap-ture incoming feeds, non-linear editorsspeed the editing process, and digitalplayback occurs according to a scheduleprepared on the newsroom system and

downloaded to the disk -based playbacksystem.

This media sharing capability opens upa host of opportunities for improving thespeed and efficiency of the video produc-tion process, but the full benefits of thissystem can only be realized if the digitalmedia is stored in a standard format andall elements of the system are designedto accept this standard.As we look into the future, one sure

thing is this technology will continue tochange. Storage devices will increase incapacity and become lower in cost. Net-works with servers will provide high-speed access to stored media. It will bepossible to locate the I/O modules re-motely from the central storage. Dedicat-ed high-speed data links will provide thenecessary network communication con-nection from the central storage archiveto the remote I/O devices. Compressionstandards will improve, allowing program -length material to be stored and playedback in affordable disk -based archives.

ConclusionNew formats are the topic of discussion

in many stations today, whether it's achange in aspect ratio or the higher scanrates of ATV. Modular disk -based systems,

like much of today's equipment, can beupgraded rather than replaced. If there isa new compression standard, simply re-place the compression board. If 16x9 as-pect ratios become the rule and an ATVstandard is adopted, the I/O board ischanged and the software upgraded. In-dividual components can be easily up-graded while the rest of the system re-mains unchanged. For the user, the graph-ical user interface maintains continuitythroughout.

The computer revolution has come tobroadcasting. Performance increases pi-oneered by industry have resulted in aconvergence of technologies that nowmake disk -based video a reality. Stan-dard computer platforms, disk drives,servers and networks are now being inte-grated into fast and efficient storage andproduction systems. As disk -based tech-nology improves, the decision to imple-ment these new systems may becomemuch easier.

For more information on disk -based video systems, circle (315)

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technology. That's how we got to be the world leaderin large on -air library management systems. Sinceday one, Odetics on -air automation systems havebeen completely format -independent. This meanswe can handle any tape format from S -VHS to digi-tal Betacam. It also means we're ready to imple-

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ment e-nerging digital technologies in a seamlessevolution - not E. cos- y "siart over" process.

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Computer vs. videoresolution

The Bottom Line

Now, more than ever,economic realities force bothmanagers and engineers toconsider desktop solutions toa wide range of problems.Understanding the fundamen-tal differences will help yousee through the hype andobtain a clearer view of thetrade-offs. Here is abeginner's look at some ofthe fundamental differencesbetween video and computerimages.

S

The words may be the same, butthe meanings are different.

By Tom Ransom

Flip through the pages of computer, mul-timedia and desktop video magazinesand you'll see ad after ad screaming outthe benefits of broadcast -quality desk-top video. Is desktop video really readyfor prime time? Countless TV stations,networks and cable stations are usingthe technology right now, but realistical-ly. desktop video has a ways to go beforea Macintosh, 486 PC or Amiga is ready toserve as the heart of a broadcast videoproduction suite.

This article will address what you needto consider to integrate computer -gener-ated graphics and special effects intoprofessional broadcast video. It is doneevery day, but like any emerging technol-ogy. desktop video requires some fine-tuning before it's ready to air.

Those schooled in traditional broad-cast video often clash with the riders ofthe new desktop video frontier. There'seven a language barrier, with words likeresolution that have different meanings ina desktop context than in the world ofanalog broadcast television. Before wedelve into solutions, we will define animage from the broadcast and desktopcomputer perspectives.

Broadcast vs. desktop videoComposite video is created when a vid-

eo camera turns light into an electricalsignal. Video monitors turn those electri-cal signals back into light. Three mainvideo standards exist: NTSC, PAL and

Ransom is marketing communications manager for TruevisionIncorporated, Indianapolis.

SECAM. NTSC is used in North America,Japan and parts of South America. It wasset forth by the National Television Stan-dards Committee (NTSC) in 1953 and isbased on a black -and -white video stan-dard that dates to 1941. NTSC uses 525horizontal lines, 262.5 lines make up onefield, with 60 fields per second.

The PAL, or Phase Alternation by Line,standard, originated in Germany and issimilar to NTSC. This standard, which isused in Europe, Africa and the MiddleEast, uses 50 fields of video per second,with 625 lines, compared to the 525 linesused in NTSC.

SECAM, an acronym for Systeme Elec-tronique Pour Couleur Avec Memoire, isused primarily in France, Russia and East-ern Europe. Like PAL, SECAM has 50 fieldsof video per second and 625 vertical lines.

Today, professional video used forbroadcast tends to be mostly analog andis found in composite and componentforms. Digital video tends to be usedmostly for high -quality post -production,but is also used somewhat in broadcast.Digital video has become a bit of a gener-ic term used to describe any video thathas been digitally encoded. Strictly speak-ing that may be true. however, to videoprofessionals, the term digital video re-fers to one of several industry -wide stan-dards for digitally encoded video, includ-ing SMPTE 125M and SMPTE 259M. Whenreferring to desktop video, the term digi-tized video may be more appropriate.

Composite video is a single analog (ordigital) video signal that carries lumi-nance, chrominance and synchronization


Strongest link.Your satellite receiver is the

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A uniq _le 70 MHz I.F. spectruminversion circuit allows Ku -band toC -band or v ce versa I.F. uplink ordownlink Umarounds.

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(sync) information. Component video, onthe other hand, refers to video made upof more than one signal, carried on morethan one wire.

Several forms of componentvideo are common -S -videouses two components, lumi-nance and chrominance. Theyare carried as separate signals,with sync information carriedas part of the luminance signal.Another form of componentvideo is RGB, where the videosignal is broken down into red,green and blue with accompa-nying sync information typical-ly carried separately or on thegreen signal. n addition, Y, R -Y,B -Y is a form of component vid-eo that separates the lumi-nance (Y) from the chromi-nance signal. The chrominancesignal is then split into two col-or difference signals, R -Y andB -Y.

non -interlaced manner. Dedicated displaymemory is loaded with pixel informationstarting at the lowest address, progress-ing sequentially to the highest address.

A 640 x 480 x 24 bits/pixel image.

By comparison, the image you pixels bec

see on an Amiga, PC or a Macintosh mon-itor is not video, but computer graphics.Color, image resolution and presentationare handled differently. This is the reasondesktop computer images need to beconverted to either composite or com-ponent video before they can be viewedon a video monitor or television, and viceversa. In computers, images are repre-sented by a fixed number of pixels (pic-ture elements) - one common pixel for-mat is 640 x 480. Each pixel is assigned avalue for the amount of red, green andblue to be displayed. Sync, rather thanbeing carried with the signal, is more amatter of hardware implementation.

What makes up an image?Basically, video is made up of a series of

horizontal scan lines displayed in rapidsuccession to create an entire picture. Invideo cameras, the light and color infor-mation is converted into an electricalsignal by an electron tube or a charged -coupled device (CCD). Monitors and tele-visions display video by using an elec-tron gun to reproduce the light and colorinformation on the screen.

Each frame of NTSC video is made up of525 horizontal lines. The lines are scannedfrom the top to the bottom of the screen.One complete set of 525 horizontal linesis called a frame. In NTSC, only half of thelines are scanned each time the electronbeam moves from top to bottom of thescreen. On one pass, the odd lines arescanned, on the next pass the even linesare scanned. This type of display is calledinterlaced. Each complete pass of thebeam from top to bottom is referred to asa field, and two adjacent fields compriseone frame of video.

Computer images are refreshed in a

is displayed sequentially from top to bot-tom. Some older computer monitors, aswell as many of the less -expensive variet-ies, actually display the signal in an inter-

laced fashion, but this is be-cause of the inner workings ofthe monitor, not the signal for-mat. The reason you notice thescan line when a computerimage is shown on a TV pro-gram is because the scan fre-quencies of the computer mon-itor and TV monitor are simi-lar, but not locked together. It'smuch like the wagon wheelsapparently spinning backwardin the old westerns, because ofthe strobe effect of the filmcamera's shutter.

When it's examined closely, theome apparent.

This information is updated or refreshedregularly by the system. Pixel informa-tion is passed to the driver in the samemanner. Once it arrives at the monitor, it

Resolving resolutionResolution is measured dif-

ferently in video than it is incomputers. For video, verticalresolution is fixed because thenumber of horizontal lines is

set for NTSC, however, horizontal resolu-tion can be as high as the response of theequipment allows, typically 750 lines forbroadcast cameras and half that for a TV

The differenawith

eldenDigital is dear.

Copyright 1994, Belden Inc.


set (see "Resolution and Image Quality,"July 1993). Basically, resolution refers tothe maximum number of alternatingblack -and -white lines that can be dis-played. As the number of lines increases,they eventually blend together and ap-pear grey. When viewing a monitor tocheck resolution, the monitor must beable to display more lines than the equip-ment being tested, otherwise the test ismeaningless. Color monitors typicallydisplay only 350-450 lines, however, ahigh -quality black -and -white monitor candisplay upward of 850 TV lines.

In video, the luminance signal containspicture information as well as sync. Thissignal is basically the equivalent of black -and -white monochrome video. The rea-son for this is simple. To allow receptionof color signals on existing black -and -white sets, the color information wasadded to the signal in a way that wouldnot affect black -and -white televisions.Color or chrominance information is car-ried on a subcarrier. The amplitude andphase of the subcarrier determines howmuch of a given color is added to thepicture. Each horizontal line containsluminance and chrominance information.Combining these signals causes unwant-

ed artifacts to be generated in the video.Keeping them separate prevents the gen-eration of artifacts, but can create otherproblems. The generation of artifactstends to be cumulative, and that is whyproperly set up multigeneration compo-nent video appears cleaner and crisperthan multigeneration composite video.

Because of the largeamount of memory

required, and becauseof the time involved inaccessing that amountof memory, computerdesigners have made

compromises.

For computers, resolution is measuredin pixels. Color depth refers to the num-ber of bits used for each pixel. Becauseeach pixel is based on red, blue and greenvalues, the total number of bits used mustbe divided by three to determine howmany bits are used to describe each of

Really clear.

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Well, you don't have to, becauseBelden offers the industry's mostcomplete line of audio/videocabling options, including prod-ucts that support the latest digitaltechnologies. In fact, over 60% ofour entire line is new in just thelast few years, proving that Beldenclearly leads in innovation, too.

But that's only part of the story.We also offer the industry'slargest distributor network forlocal product availability.Plus, peace -of -mindknowing that Beldenguarantees the compatibilityof our cables with leadingbroadcast equipment.

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the three colors. Therefore, 24 -bit colortypically refers to a signal that uses 8 -bitseach to describe the red, blue and greenvalues for a given pixel. In general, 32 -bitsignals have an extra eight bits used fora key signal used to "cut a hole" for theimage when performing effects. Takingthis one step further, storing an uncom-pressed 640 x 480 24 -bit pixel image re-quires more than seven million bits,which is the equivalent of 900kB of com-puter memory.

Because of the large amount of memo-ry required, and because of the timeinvolved in accessing that amount ofmemory, computer designers have madecompromises. For instance, a standardVGA can display 640 x 480 pixels, but tosave memory space, only 256 colors canbe displayed at once. Those 256 colorsare derived from a look -up table thatcontains RGB values for each of the col-ors. Six bits each are used for the red,green and blue values. With six bits, thered, green and blue values can be as-signed any value from 0 to 63, whichallows for more than 262,000 colors, any256 of which can be displayed at onetime. This type of system is what is re-ferred to as 8 -bit color, not because eightbits describe the color of the pixels, butbecause eight bits describe the size ofthe lookup table. One feature of this meth-od is the fact that by changing the num-bers that describe a color in the look -uptable, all of the pixels assigned that colorwill be changed. Higher pixel resolutions,as well as up to 16.7 million colors (24 -bit), are available on desktop systems.The additional resolution requires addi-tional memory and system speed, butlike high -end video equipment, the re -suiting higher cost is warranted by theincreased quality.

How much is too much?So what do you need? For the most

part, more is better, but there are trade-offs. Cost is probably the most obvioustrade-off, and quality is the hardest todefine. Today, 640 x 480 pixels with 256colors (8 -bit) may be enough. HDTV ad-vocates, however, are specifying 1,920pixels by 1,080 lines interlace and 1,920pixels by 720 lines progressive scan. Thebest choice is somewhere in the middle.With hardware costs dropping, buying acutting -edge unit may not be cost-effec-tive, however, getting something slightlybetter than your current needs warrantand upgrading to stay ahead of the curveprobably makes the most sense. Carefulevaluation and a reasonable understand-ing of the fundamental differences be-tween computers and video equipmentwill lead to the best solution for yourneeds.



The changing faceof radio automation

The Bottom Line

Automation is the key to thefuture for many radio sta-tions. Once limited to"canned" -format stations, itscost-effectiveness is nowaccessible to nearly anyradio operation, thanks toincreased flexibility andreliability. Multistationfacilities can especiallybenefit from systems that canmanage multiple programservices from a singleplatform. Investment inautomation today also mayserve as an important firststep toward the LAN -basedradio station of tomorrow.

This is not your father's cartridge wheel.

By Skip Pizzi, technical editor

in the not -so -distant past, a radio stationused automation when it couldn't affordlive talent. An automated operation meantsmall -market, small -audience and low-budget. Automating a radio station was atacit admission of second-class mediacitizenship.Well, things have changed - dramati-

cally. Automation is now a cutting -edgetechnology. It's still used for many of thesame cost-effective reasons, but today itcan provide much more. The new wave ofcomputer -based automation systems al-lows a wide range of programming tech-niques to be applied with precision andreliability, while keeping costs manage-able. New systems are moving into largermarkets as they integrate more live -assistcapabilities, allowing their advantagesto be applied with rather than in place oflive talent.

Today's computer automation systemis also the kernel of tomorrow's electron-ic architecture for radio stations. It's like-ly that the future radio facility will be amultichannel, audio -plus -data, comput-er -networked operation. The launchingpoint for this transition is in the heart ofthe station - the on -air control room. Itis there that the conversion to a virtualenvironment takes root and begins itsgrowth outward to the station's otherfunctions. (See "Desktop Radio," Febru-ary 1994.)

The latest directionsComputer -based automation systems

(sometimes called audio managementsystems) have now been in use for enough

years to prove their viability, and theycan no longer be considered really new.Many systems use standard PC platforms,while others are based on proprietarydevices. Their ability to maximize a broad-caster's daypart flexibility and cost-ef-fectiveness is well -established, whetherlocal or satellite -delivered programmingis used. Their capacity to interface withtraffic systems is also well-known. Somesystems integrate familiar control sur-faces, such as push -buttons and faders,while others opt for fully virtual (on-screen) control, using mouse, trackballor touchscreen devices.

Today's computerautomation system is

the kernel oftomorrow's electronicarchitecture for radio

stations.

Today's new directions in this field takethe next step toward the future radiofacility by including networked design.This allows multiple devices to intercon-nect and share common hard disk audiofile storage and access via a local areanetwork (LAN) designed specifically forradio operations - the so-called radioLAN or R -LAN.

This trend was widely evident at the1994 NAB Convention, with most radioautomation manufacturers showing some


1 5 0 0SERIES

WHATEVER YOU DO -DON'T BUY THE WRONG MIXER.

Especially if you're doing multitrack recording-whetherdigital or analog. Fact is, a mixer that's not specifically config-

ured with the features essential for multitrack recording justisn't a recording mixer. Bottom line is, general purpose mixers

make multitrack recording a nightmare.

You see, mixers that aren't designed and engineered

for multitrack recording will torture you with the endlesshassle of patching and repatching - every time you track,

overdub or mixdown. It's frustrating, wastes valuable time

and leaves you tangled in cable.

So before you choose a mixer for your studio - besure it has the features of a dedicated recording mixer.

NOT A RECORDING MIXERDOESN'T HAVE THESE FEATURES.

(i (

)[MA IHREI

LEVEL

TASCAM,Take advantage of our experience

'MAP, OUTP,S,

MULTITRACK DECK CONFIGUFATIONIf you don't have dedicated inputs and outputs for your 8 -York deck,

where do you plug it in? Without this basic recording confipurction

you'll be repatching day and night and you won't be able

to record on 8 tracks at once. With these inputs, tape

monitoring is as simple as pressing a switch. Also,

because the TASCAM M1500 is a true 4 -buss

mixer, you can mix any combination of

your input signals to any of the 4

output busses directly to tape.

DIRECT OUTAND GROUP OUASSIGNMENTSWITCHESYou gotta have these. Because withosi Clem

you can't directly send a single input o tope,

or record several inputs to one track. gut

with them, assign your inputs anywhere

by pressing a few switches. Best part

is, you'll never have to refer to

any complex patch diagrams.

IN -LINE MONITORINGA sure sign of a recording mixer. This lets you

monitor your tape tracks at any time without

sacrificing an input channel lust press a switch.

With the M1500's dual section not only can you

monitor tape tracks, it can be used for additional

effects sends, or to double your inputs for virtual

tracking at mixdown. And do any of this by

flipping a switch.

SWEEPABLEMIDRANGE EQAsk for it. Because when it comes

time to tailor your sound, you need

the flexibility where the action is -

in the midrange. The M1500's

sweepable midrange lets you isolate

specifk mid frequencies allowing

you to make the subtle tonal

corrections you want.

ELABORATEMONITORINGIn a recording environment

you need to hear what's going

through your board at all times.

With the M1500's comprehensive

monitoring matrix you are able

to hear any sound source at any

time - inputs, tape, A U X sends,

anything - it's your choice, just

press a switch.

1/L 2/R

TRUE TRANSPARENCY AND LOW NOISEIn recording, your signal goes through the mixer several times. And each time it goes

through, it is important not to lose or gain anything. Especially an identifiable "mixer

sound." Test any mixer for its transparency. Take any usual and bounce it 3 or 4 times

on your favorite digital recorder. With the truly transparent M1500, you'd be hard

pressed to differentiate between the bounced tracks and the original signal.

At TASCAM, we've been making multitrack recording

equipment for more than 20 years. We pack that experience

into every mixer we make-and we make more recordingmixers than any other company in the world.

For our MI500 Series of recording mixers, the result is

an affordable mixing console configured for 8 -track recording.

A truly transparent mixer that makes tracking, overdubbing,and mixdowns easy. An extraordinarily flexible consoleloaded with the features and specs you'd expect on consoles

costing thousands more.

But the MI500 Series of recording mixers are priced less

than many general purpose mixers on themarket. They're available in a 16 -channel/

32 -input tabletop version (M1516) and a

compact rack mountable 8-channel/16-input 6 a, 6 9 -version (M I508). So if you're involved in digital or

analog 8 -track recording, you've just found the best

recording console value in the industry.Get your hands on a true recording mixer today: the

TASCAM MI500 Series. There's one waiting for you at your

authorized TASCAM dealer. Go ahead - test it and playwith it. It's your next recording mixer.

© 1993 TEAC America Inc 7733 Telegraph Road, Montehello, CA 90640 213) 726-0303


sort of networked product. (See BE's de-tailed NAB show coverage in next month'sissue).

The R -LAN is the next logical step inradio station evolution, allowing integra-tion of the entire process from traffic tobroadcast in a single monolithic device.

Moving to a virtualenvironment providesdefense against theconstant need to up-

grade facilities.

Although it can never replace the origi-nal (and continuing) strengths of radio -smart programming and strong talent -it can make their presentation more ef-fective and efficient. Moving from a "hard"to a virtual environment also provides atleast a partial defense against the con-stant need to upgrade and furnish facili-ties with the latest hardware.

Perhaps most important, an R -LAN en-

vironment can make the most of a consol-idated operation, allowing multiple pro-gram streams to be managed on the samesystem. This holds true for either regres-sive consolidations like the duopolies oftoday - where formerly separate sta-tions are combined into a joint facility -or potential progressive consolidations oftomorrow, in which existing stations in-augurate new or spin-off services, deliv-ered by wired or wireless means. If pro-jections about future datacasting oppor-tunities hold true, the R -LAN can alsoaccommodate flexible and cost-effectivemanagement of these revenue -produc-ing datastreams as well.

Migration pathsAn important element in today's radio

automation systems is machine control.This allows an automation system to con-trol other devices at the station, typicallyvia a serial control protocol such as RS -422. These external devices include new-er generations of DAT machines, digitalspot recorders (cart machine replace-ments), CD players and CD jukebox chang-ers, most of which feature serial control

Quartet

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capability.This approach maximizes cost-effective-

ness because it allows previously exist-ing hardware and media to be used for alonger period, and because less -expen-sive storage formats (i.e., removablemagnetic or optical media rather thanhard disk) can be used. Eventually, manyof these outboard functions may be han-dled by the R -LAN and its computersdirectly, particularly if hard disk costs

The technology de-serves serious scrutinyby broadcasters whoare concerned abouttheir future facility's

design.

become cheap enough to rival otherforms of storage.

Note also that although most automa-tion system manufacturers are develop-ing (or now offer) some sort of R -LAN

NOTHING REMAINSTHE SAME

Whatever the size . . . Worldwide,Storeel can help!

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Call Today For A Free System Design ConsultationTailored To Your Individual Requirements

60 Broadcast Engineering April 1994Circle (36) on Reply Card

Compact UHF wireless...

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A revolutionary dual -band compandorsystem eliminates pumping and breathingand keeps envelope distortion at incrediblylow levels.

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Surface mount technology is integrated withprecision mechanical assemblies to keep theoverall size to a minimum. This preserves theoverall ruggedness which is our hallmark.

Made with Pride in the USA

We urge you to directly compare this newUHF system with any other wireless system,compact or full size, at any price, from anymanufacturer. Compare RF selectivity andIM rejection, operating range or thermalstability. Compare overall audio quality.When you do, be prepared to experiencesomething clearly superior to what you havebeen using.

This is a wireless system that doesn't soundlike a wireless system. Isn't that what you'dexpect from the best in the business?

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package, most digital audio workstation(DAW) manufacturers are not moving to-ward an R -LAN goal. Therefore, althoughDAWs may work well in radio station pro-duction studios, they may not offer theideal entry point to a fully virtual futureenvironment that radio automation oraudio management systems do. MostDAWs offer no greater ability for facility -wide integration than the conventionalproduction equipment they replace.Therefore, audio management systemsmay provide a more future -minded, full -facility growth option when compared toDAWs, which are dedicated almost solelyto production duties. This may also ex-plain the currently rapid pace charted bysome audio management manufacturersin development of software and hard-ware for dedicated production -studio andnewsroom stations on their networkedsystems.

The list of radio automation and audiomanagement system manufacturers isgrowing (see Table 1), and the technolo-gy deserves some serious scrutiny bybroadcasters who are concerned abouttheir future facility's design and opera-tional philosophy. For radio stations, thenew paradigm starts here.

AEQ

AEV

ARRAKIS SYSTEMS

AUDITRONICS

BASYS

BROADCAST ELECTRONICSCOMPUTER CONCEPTS

DALET DIGITAL MEDIA SYSTEMSDHK GROUP

ELECTRIC WORKS/THE MANAGEMENT

ENCO SYSTEMSFIDELIPAC

GEFEN SYSTEMSITC

LPB

MCCURDYMEDIA TOUCH SYSTEMS

PROPHET SYSTEMS

RADIO COMPUTING SERVICES (RCS)

RADIO SYSTEMS

REGISTER DATA SYSTEMS (RDS)

SCHAFER WORLD COMMUNICATIONSSCOTT STUDIOS

SMARTS BROADCASTSTUDER DIGITECTM CENTURY

WHEATSTONE

MAR SYSTEM

DIGITAL SPOT SAMPLERDIGILINK, GEMINI

DESTINY 2000

D -CART

AUDIO VAULT, FORMAT SENTRYDCS, DCS LIVE!

DALET SOUND WORKSTATION

AUDISK

DIGITAL DJ, AXSDAD 486X

DYNAMAX AIR MARSHALCDJ PRODIGICENTER

SALSA

MCCARTMEDIA DISK II

WIZARD FOR WINDOWSMASTER CONTROL, WORKSDDS

DIGI-CODER, PHANTOMGENESIS DIGITAL AUDIO

COMPUCARTS

SMARTCASTERSNUMISYS, DIGIMEDIAULTIMATE DIGITAL STUDIO II

NOT SO HARD DISK

323

324

325

326

327

328

329

330

331

332

333

334

335

336

337

338

339

340

341

342

343

344

345

346

347

348

349

Table 1. The major players in the radio automation/audio management marketplace.

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Measuring NRSCcompliance

By John Battison, P.E.

AM stations, beware: FCC Rule No.73.44(e) will be effective June 30, 1994.This will have an important effect onmany stations. If your station compliedpresumptively with the NRSC emissionstandard (Rule No. 73.44(a)(b)) by in-stalling NRSC-1 filters in 1990, you havebeen absolved from making the periodicmeasurements required in Rule No.73.1590(a)(6) until June 30. At that time,your exemption expires, and the emis-sion standard's requirement for verifica-tion measurements takes effect.

The entire RF trans-mission system is

involved, not just thetransmitter.

The rules call for measurements to bemade at intervals of not more than 14months to show compliance with theNRSC emission standard. Some engineersfeel that this gives AM stations until Aug.30,1995 to make their first measurements,while others advise that first measure-ments should be taken before June 30,1994. In either case, the real impact tostations does not come from taking themeasurements, but from the new testequipment that may be required. Themeasurements call for a spectrum ana-lyzer or, as the rule states, specializedreceivers or monitors with appropriatecharacteristics. Disputes will be resolvedin favor of spectrum analyzer results.

Although it is probable that properlyadjusted AM transmitters using the NRSC-1 filters will continue to comply with therules, an equipment performance mea-surement must now be made and kept onfile to demonstrate this compliance.

This requirement may be a blessing tostations receiving splatter from overmod-ulated AM stations. The FCC might bemore exacting on AM stations when thenew requirements come into force.

Battison, BE's consultant on antennas and radiation, ownsJohn H. Battison and Associates, a consulting engineeringcompany in Loudonville, near Columbus, OH. Respond viathe BE FAXback line at 913-967-1905.

Re: RadioAlb Abe faa

MID MPasse auk ime

Verifying complianceSpectrum analyzers are not cheap, and

although they are nice to have on hand,few stations are likely to invest in one.Nevertheless, it's a good idea for everyAM station to make, or contract to havemade, a spectrum analyzer check as soonas possible. Stations will then be sure oftheir compliance with the FCC's rules, orthey will be able to make the necessaryadjustments to bring the bandwidth intoline. Such a measurement will also satisfythe rules for another 14 months.

Over the four years since the NRSCfilters were required to provide the pre-sumption of compliance, there may havebeen variations in performance as com-ponents aged. In many cases, preset op-erating controls have been changed as asuccession of contract engineers lookedafter the station. Probably most of theNRSC filters were properly set up duringinstallation, but as instruction manualswere misplaced, and ambitious engineersdevised ways of improving performance,it's possible that many output signals nolonger conform to NRSC-1 specification.

If stations continue to rely on presump-tive compliance, they may have a rudeawakening when the FCC walks in someday after June 30. AM stations are ad-vised to invest in a carrier check or to buyequipment to make their measurements.

An alternativeSome years ago, Delta Electronics intro-

duced the AM Splatter Monitor, whichmakes it possible to evaluate the effectsof an NRSC filter on a station's signal. Thesplatter monitor cannot take the place ofa spectrum analyzer measurement in thecommission's eyes, but the monitor's in-dication of acceptable performanceshould provide a station with peace ofmind at a substantially lower price. Itseffective indication of compliance tellsyou that if the FCC should check yoursignal, you'll have nothing to fear.

Not long after the splatter monitor wasintroduced, Tom Wright and John Bissetpresented a paper, "The Splatter Monitorand The Spectrum Analyzer: Measure-ment Comparisons" (published in theNAB's 1989 Broadcast Engineering Con-

ference Proceedings, or available fromDelta Electronics as part of its Applica-tion Bulletin No. 10). The report citescomparative, simultaneous measure-ments of stations in the Washington, DCarea, and shows agreement between spec-trum analyzer and splatter monitor.

Solving problems that may surfaceJust making the measurements may be

only part of the work. If your testing indi-cates non -compliant emissions, you'llhave to track down the problem and fix it,then make confirming measurements.

The entire RF transmission system isinvolved, not just the transmitter. Anten-nas, ATUs and phasers should not beignored. High -Q systems can make com-pliance particularly difficult. Check theplate loading on the final stage of thetransmitter. Changes in operating valuesthat result in an incorrect plate load cancause RF spectrum problems (as well aspremature tube failure). If your final andmodulator tubes have been in use forseveral years, it's a good idea to replacethem before making your spectrum mea-surements. Sometimes feedback -ladderresistance and capacitor values can alsochange over time. Unbalanced ladderscan spoil an otherwise clean spectrum.

Stations need to allow enough time todo this work should it be necessary thisyear and in subsequent years. Whatevermeasurement method is used, it is cer-tain that the FCC will insist on compli-ance and the resumption of regular mea-surements. If stations attend to this mat-ter promptly, ample time remains for mak-ing any required adjustments to trans-mitters and processing equipment.

*For more information on test equip-ment for NRSC compliance, circle thefollowing on Reply Card:

Anritsu 300Avcom 301Delta Electronics 302Hewlett-Packard 303Rohde & Schwarz 304Tektronix 305


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The professionals in MANAGEMENT,PROGRAMMING, ENGINEERING in the

Radio Business will find the answers tosuch challenging questions as: Whowill pay for new technologies? What

will DAB change in broadcasting life? How to save your job ?!? Is the format

model still valid in Europe? Is

automation killing the spirit of Radio? The Radio and Music Industries -

competitors or colleagues?Or discuss hot issues such as: Training Digital Radio The funding of Radio

Maximising advertising, sponsorship andsales income The future of speech

based Radio.

TECHNICAL EXHIBITION

Thursday 9Friday 10Saturday 11June 1994

Montreux following on from itsunqualified success in 1992 as the onlyradio -dedicated evert in Europe, will,again, at its Technical Exhibition,provide the platform where exhibitors,both European and International, willbe displaying and demonstrating theirlatest innovations.

INFORMATION AND REGISTRATION

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Transmission Technology

Combined NTSC/ATVoperation

By Martha Rapp

Transmitterdesign engineers and broad-casters are beginning to ponder the ques-tion of field -modifying NTSC transmittersfor eventual combined NTSC/ATV opera-tion. This becomes a key considerationfor those stations evaluating new trans-mitters today, for purchase and installa-tion prior to ATV conversion.

First, the traditional criteria that havealways been important to broadcasterswhen looking at UHF transmitters stillapply. At the top of this list are overallsystem efficiency, design redundancy/system reliability and signal performance.

With the United States edging closer toadoption of an HDTV/ATV standard andthe imminent, mandated transition fromNTSC, another ques-tion becomes increas-ingly important: Howpossible will it be tomodify the transmitterpurchased today forthe eventual com-bined NTSC and ATVoperation?

The short answer isthat most well -de-signed, modern UHFTV transmittersshould lend them-selves to some degreeof field upgrade,whether they use sol-id-state devices, de-pressed collector klys-trons or inductive out-put tubes (10Ts) forthe final power ampli-fier. Nevertheless, youshould keep several factors in mind ifyou are currently evaluating UHF trans-mitters for NTSC/ATV operation. Theseinclude output device technology, trans-mitter system architecture and powersupply design.

ling alio YOB

Choice of output power deviceSeveral field -proven output devices suit-

able for ATV are available. However, thedepressed collector klystron and the IOTcurrently appear to be the most practicalfor the majority of U.S. broadcasters pur-chasing a UHF transmitter for NTSC trans-mission today and NTSC/ATV transmis-sion in the future.

Like depressed collector klystrons, 10Tsoffer extremely high levels of AC-line-to-RF conversion efficiency. One transmit-ter manufacturer reports that a 60kWLOT system achieves overall efficiencyhigher than 70% (which includes powersupplies and cooling).

While individual depressed collector

OM MO 11111Il

U U

vanced significantly in recent years, orthat they offer increased reliability whenused in parallel/redundant transmitterconfigurations. Currently, however, sol-id-state tends to be most practical at UHFin the low- to mid -power ranges. At thehigh UHF power levels commonly used inthe United States, the initial purchaseprice of a solid-state transmitter may beprohibitive for many broadcasters. Be-cause solid-state UHF devices do not yetoffer comparable efficiency to depressedcollector klystrons or 10Ts, long-termelectricity costs are another concern.

Closely consider your current NTSCpower requirements as well as those youanticipate for NTSC/ATV simulcasting be-

fore you decide whattechnology is best foryour operation.

INN NM an..

I I

The Harris Sigma series UHF TV transmitter is an example of 10T design usable for redundantNTSC or combined NTSC/ATV operation.

Rapp is manager of public relations for Harris Allied, Quincy, IL.Respond via the BE FAXback line at 913-967-1905.

klystrons are limited to power levels of60kW or 70kW, 10Ts with a rated power of40kW and 60kW are available, and 20kWLOTS are in development. In addition,transmission systems using 10Ts are de-signed to allow transmitter output powerto be upgraded in the field by replacing alower -power IOT with a higher -power 10T.

Regarding solid-state designs, there'sno question that these devices have ad -

The importance ofsystem architectureWhatever output

device technologyyou choose, the over-all architecture of thetransmitter is critical-ly important. Systemarchitecture will sig-nificantly affect thecost and complexityof any required mod-ifications for NTSC/ATV operation.

Transmitters featur-ing adistributed, mod-ular architecture-inother words, a designthat logically repeats

key components throughout the air chain- should be the ideal candidates formodification. Power amplifier redundan-cy is also essential.

The distributed architecture of a multi-ple tube/combined amplification IOTtransmitter can lend itself to modifica-tion by allowing one PA to be dedicatedto ATV and the other to NTSC. If youanticipate substituting a higher -power


In 1986, Comark inventedIOT transmission technology

Eight years later, we stillset the world's standard.

Despite what you may have heard, IOT technology wasn't born yesterday. We saw its potential to change the

transmitter industry quite some time ago.We showed the first Klystrode amplifier at NAB in 1986, and put the first IOT transmitter into full-time

broadcast service in 1988. Since then, we've used more than three million hours of on -the -air experience to lead the

way in IOT research & development.

In 1991, our patented aural carrier corrector technology and advanced linearity corrector were developed tomeet today's requirements for high efficiency common amplification transmission. And in 1992 we introduced the

exclusive DUAL USES' system that lets you operate with NTSC today and, in the future, convert to D -HDTV.

But we didn't stop there. At NAB 1993, we introduced our third generation IOT system, the 10X. Its ultra linear

Class A drivers, optically -isolated solid state control logic, constant impedance output filter, leading -edge crowbar

design and IEC-215 implementation make it the most advanced UHF -TV transmitter in the world today.

So if you're looking for the most advanced, proven IOT

solution, go with the company that's been pioneering the technology COMARK 1990 Emmy

for eight years-not eight months. For more information, or toAward forEngineeringA THOMSCN-CSF COMPANY Excellence

request a set of our latest HDTV TECH BRIEFS;"'call us todayRoute 309 & Advance Lame Colmar, PA 18915

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(0 1994 Comark Communications, Inc


IOT to increase NTSC power when run-ning only one PA for each service, you'llwant to ensure that the transmitter youare considering can accommo-date this change. Beam sup-plies must be sized to handlethe upgrade as well as today'speak power requirements. Alsoverify that the transmitter'sdesign supports each IOT withsuch features as independentmonitoring and control, RF cor-rection, IPA, thyratron protec-tion, a beam supply with suffi-cient capacity, adequate cool-ing and AC -line control.

Concerning linearity, mostmodern transmitters providecomparable levels of linearity,regardless of their class of op-eration. The real issue centerson which technology and (per-haps more importantly) what

that will affect the simulcast period andbeyond. Among these are considerationsof whether one or two transmitters will

Add to these new concerns the conven-tional issues of system efficiency, redun-dancy and performance and you have a

sense of the complex deci-sions faced by those whoseek a transmitter that in-corporates state-of-the-arttechnology and easy modifi-cation for eventual com-bined NTSC/ATV operation.Although a U.S. standard

for HDTV/ATV has yet to beadopted by the FCC, broad-casters can consider sever-al key and known factors to-day if they plan to purchasea transmitter at this time.Paying proper attention tothese matters can reduce therisk associated with such adecision and can allow sig-nificant reductions in thecost and complexity of field

Your transmitter will be more easily upgradeablefor combined NTSC/ATV operation if:

1. It has multiple power amplifiers.

2. It features a distributed architecture that repeats keycomponents throughout the air chain.

3. It supports each power amplifier with RF correction, anIPA, protection, a beam supply, AC line control, cooling,control and monitoring.

4. Its power supply is sufficiently sized to allow amplifierpower to be upgraded in the field.

5. Its cooling system is sized for upgrade.

Table 1. An upgradeability checklist for UHF transmitters.

implementation of technology in an actu-al transmission system will provide thelowest cost of ownership for the longterm.

Considering the issuesMany issues are involved in a TV sta-

tion's planning for the ATV era, some ofwhich hinge upon undetermined factors

be required during the simulcast period;whether a common antenna/transmis-sion line may be used; whether an exist-ing transmitter may be used as a futurebackup for NTSC, ATV or both services;and whether a single transmitter pur-chased today can serve until, during andafter the simulcast period with minimalmodifications.

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modifications that might be performedfor future combined NTSC/ATV transmit-ter operation.

4 For more information, see"Transmitters, TV," p. 69 ofthe 1994 BE Buyers Guide.

ALAMARWith more than 250 systems in service worldwide, ALAMAR,

the leader in television facility automation, is pleased to announce

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Both units are microprocessor controlled. Thistranslates into a wide range of system tailoring tofit individual needs, while keeping front panelcontrols simple and familiar.

The vectorscope, Model 5212, features threechannel operation with overlay display of thethree signals. Automatic phase -set places burstfrom the selected reference precisely on the -(B-Y) axis, and this includes an external reference.Phase accuracy is ±10, and a digital readoutshows the phase of selected vectors with respectto the burst reference. A simple method of mea-suring differential phase and gain is provided,

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The waveform monitor, Model 5222, featureseight channel operation. Picture display is includ-ed. Line select operation offers readout in bothNTSC or PAL (SECAM Ill) notation. Selectedline(s) are highlighted in the picture display andin the combined 1V/1H display. Cursor measure-ments apply to both time and level and provide0.5% accuracy.

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Frequency coordinationcommittee

By David Carr

The Society of Broadcast Engineers isworking to keep broadcast engineeringan effective and rewarding professionby means of a variety of programs. Amajor service performed by SBE in-volves communicating concerns to theFCC about proposed rule -makings thatwould impact broadcasting. This month'sfocus is on the Frequency CoordinationCommittee, which is working to protectthe frequencies of local broadcasters.

Frequency coordinationThe Frequency Coordination Commit-

tee is made up of 145 volunteer localcoordinators. Gerry Dalton, SBE MIS di-rector, wrote the software program usedby coordinators. Paul Lentz, SBE fre-quency coordination coordinator, con-stantly updates the list of coordinators'addresses and phone numbers. Lentzalso has an extensive list of morethan 200 people, businesses andFCC offices to which he quarter-ly sends updated information.Also serving on this committeeis past SBE president, RichardRudman, chief engineer ofKFWB-AM, Los Angeles and DaneEricksen, of Hammett & Edison,Inc., San Francisco. They moni-tor the actions of the FCC and"spectrum -hungry" interests.Chris Imlay, SBE attorney, en-sures that the committee followsthe correct process.

The heart of the FCC's coordi-nation process is licensee -to -lic-ensee coordination. Because thecommittee members are alsousers of the spectrum they co-ordinate, the potential for con-flict of interest runs high. Coor-dinators must function as data-base administrators - not as entitiesthat assign frequencies. Although ex-perienced coordinators can suggestpossible interference solutions, engi-neering findings that determine if anew user can be accommodated mustultimately be made by the co -channeland adjacent -channel licensees.

SBE Update

The SBE National is active in an effortto remind broadcasters who do remotesthat the frequencies of local broadcast-ers must be protected at all costs. Theuse of Part 74 channels must be coordi-nated prior to the remotes. This makesit possible to have the live microwaveremotes often taken for granted in atime of instant news coverage. For ex-ample, the Republican and DemocraticNational Conventions, the Papal visits,the flooding in the Midwest, and thecoverage of the earthquakes in Los An-geles would have been chaos if it werenot for frequency coordination.

Guarding the spectrumGuarding spectrum on behalf of broad-

casters is another committee responsi-bility that is becoming increasingly moreimportant because of a growing need for

ing for Part 74 frequencies and is nowlocated in Gettysburg, PA. SBE Nationalhas made formal comments to PRB re-garding changes in forms that will affectPart 74. For example, at its Miami con-vention, the SBE began educating PRBon how the channels are used and howthe process works.

The SBE also acts as secretary for aspecial all -industry group called the Na-tional Frequency Coordination Council(NFCC) that includes NAB, SBE and thenational broadcast networks. Local co-ordinators get representation throughthe SBE, and the NFCC meets at leastonce a year, usually at the spring NABConvention, to discuss coordination is-sues.

Although fiber links to major FM andTV transmitter sites may relieve somepressure of studio -to -transmitter (STL)

channels, the need for moreENG and RPU spectrum isstill growing. For instance,

WESTERNSI OP

rr

PRONT-RfcNGE(Part:

Table 1. Partial frequency coordination coverage map by countyfor Colorado.

Cart is chairman of the SBE Frequency Coordination Committee.

more spectrum. This effort began in 1982and the society has engaged in a seriousand expensive educational campaign toinform the FCC that nothing currentlyexists to replace Part 74 spectrum if it istaken away.

A dramatic change is under way at theFCC. The Private Radio Bureau (PRB),longtime custodian of amateur and busi-ness radio channels, is handling licens-

helicopter video and auralplatforms can illuminate re-ceivers for hundreds ofmiles and may affect sever-al markets.

Part 74 users must learn tomake efficient use of thespectrum when new userscome along. The commis-sion says all licensees areentitled to use Part 74 chan-nels, but the laws of physicswill restrict what is techni-cally possible. Conflict is in-evitable, but through con-tinuous effort at both thelocal and national levels, itcan be minimized.

With careful planning andforesight, future problems

with the use of the spectrum can beeliminated. By educating the FCC on theramifications of proposed rulemakingson the coordination process, the SBE isworking to protect the interests of broad-cast engineering and related fields. III

Editor's note: Thanks to Richard Rudman and Paul Lentz fortheir contributions to this article.


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RADAMEC EPOThe world's best-selling robotic camera systemis sold and serviced exclusively in the U.S. by

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ADVANCED SYS-EMS AND PRODUCTS n -OR THE VIDEO INDUSTRY100 STONEHURST COURT, NORTHVALE NJ 07647 (201) 767-1200 FAX (201) 784-8637

A VIDEO SERVICES CORPORATION COMPANY

day, sever -days -a -week,no -questions -asked, to makecertain that your equipmentworks at full capacity at all times.

This is not something wethought up last week.

For more than 25 years AFAengineers and technicians havedesigned, built and servicedvideo systems of all sizes andformats for the major players inthe industry.

So, it is no wonder, thatrecently, when it came to buy-ingg a robotic camera system,WNYW, ABC,CNN and QVC,among others, chose RadamecEPO from AFA.


Louth AutomationADC -100

By Keith Aotaki

KHNL is a Fox network affiliate operat-ing 24 hours a day in the Honolulu mar-ket. In May 1993, another 24 -hour stationin the market, KFVE (an independent),relocated to the KHNL facility. Since thattime, both stations have been operatingfrom the same control room using com-mon equipment and staff.When planning for the consolidation

began in the spring of 1993, several chal-lenges immediately became apparent.The combined facility had to use alreadyinstalled equipment only, KFVE had to beconverted to KHNL's existing BIAS trafficsystem, and the stations had to functionunder a single master control operator.

Each station also had to continue tomaintain its own identity. The two sta-tions had different operating proceduresand programming - distinctions typicalbetween most network affiliates and in-dependents. Two distinct schedules withseparate as -run logs were required. Only35% of the spot commercials would becommon to both stations, requiring atape management system for the largecombined library. Hawaii's time zone lo-cation (EST -5) and its non -observance ofdaylight savings time makes time -delaymanagement an important requirementfor any system.

It was apparent that a software -basedsolution would be the only cost-efficientmethod of manag-ing these two asyn-chronous channelswhile satisfying allof the operation'sbusiness objec-tives.

Louth Automa-tion's ADC -100 waschosen after care-ful evaluation ofavailable automa-tion systems. Thissoftware -based sys-tem uses client/server computerarchitecture, ob-Aotaki is director of engineer-ing at KHNUKFVE, Honolulu.Respond via the BE FAXbackline at 913-967-1905.

Field Report

Performance at a glance:

Flexible and easily configurable soft-ware -based automation system

Capable of fully automated, multichan-nel operation

Uses client/server architecture andobject -oriented software design

Treats automated tape library systemas a single device

Integrates a wide variety of hardwaredevices and traffic software

Operates with Turbotape multispottape preparation software

Dedicated hardware control panelavailable for on -air operator

ect-oriented software design methods,and offers extensive user -configurationcapabilities. Object -oriented program-ming allows Louth to easily customize forspecific needs and respond to new re-quirements as they arise.

System layoutAlmost any number of client worksta-

tions can be easily connected to the sys-tem for control of devices. Device statusis available to all clients at a frame accu-rate rate. The clients sit on the networkand perform non -real time tasks, such asplaylist editing. Four workstations havebeen installed, including one in the engi-

neering office that is used primarily formonitoring the system and retrieval ofthe as -run files. The master control oper-ator's workstation is supplemented by aLouth control panel that allows quick,one -button control of common functions,such as freeze and skip. Any workstationcan back up the others, and all lists aredisplayed in on -screen windows.

The server is a rack -mounted 486 PCthat performs all real-time device con-trol. Each device has its own 38.4kb/sconnection to an intelligent RS -422 serialcard in the server. The server can sup-port up to 32 devices through serial con-trol, while parallel devices are interfacedby a GPI card. (See Figure 1.)

The system treats an automated tapelibrary (ATL) system (a SonyBVC-1000 atKHNL/KFVE) as a single device. The ADC -100 totally integrates the ATL as a peerwith the other devices by displacing theATL manufacturer's operating softwarewith device -control software. The ATLretains all of its functionality, but doesnot require its own playlist, thereby avoid-ing system throughput problems.

Schedule logs are sent from traffic tooperations via 3.5 -inch floppy disks, andas -run logs are returned to the account-ing department for reconciliation, pro-viding a closed loop for both stations'business operations. Traffic also creates

record (dub) listsfor tape prepara-tion and identifi-cation for the au-tomation data-base.

TAPE PREPARATION STATION0I -=-1

TEXT PRINTER

4ENGINEER'S

I

VIEWING

' \ STATION

BARCODEPRINTER

BARCODE#READER

TEXT PRINTERS

FILE CONTROLSERVER PANEL

RACK MOUNTDEVICE SERVER

101

PLAYOUTIWORKSTATION

L 1

COMPILEWORKSTATION

LIST 2

LIST 1

ARECORD

WORKSTATIONAUTOMATED MIN

TAPE AUDIOLIBRARY CART 10x1 ROUTERSYSTEM

CHARACTER GPI VTR (x2)GENERATOR (x2) (x2) (x17)

Figure I. Block diagram of automation system at KHNL/KFVE.

Tapepreparation and

identificationKHNL was al-

ready using So-ny's CassettePreparation Sys-tem (CPS) for ATLtape manage-ment. Becausethis product wasalso developed byLouth, the stationwas able to up -


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SystemsAutomation April 1994/$5.00 An INTERTEC Publication