TVTE Oct-Nov 2013 digital edition

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BROADCAST • PRODUCTION • BROADBAND • SATELLITE • MOBILE£3.80 I Volume 31 I Issue 6 I October/November 2013

See Professional Video and Audio MonitoringSolutions from Decimator Design on page 7

The Best of IBC

Buyers Guide on ENG/EFPIn the Field …

IBC: 25 More Things to seeMichael Goring: From Runner to Cameraman

CONTENTS ///EDITORIAL

Editor Mark HallingerTel: 1 301 467 1695 Email: [email protected]

Executive Editor Marguerite ClarkEditorial Director Paul McLane

Tech Editor Craig NorrisContributing Editor James Careless

Contributors Ann-Marie Corvin, Kevin Hilton, Phil Reed

NEWBAY MEDIA LLC CORPORATE

President and CEO Steve PalmChief Financial Officer Paul Mastronardi

Controller Jack LiedkeGroup Circulation Director Denise Robbins

Vice President of Web Development Joe Ferrick

PUBLISHER

Steve ConnollyTel: +44 (0) 20 7354 6000

Email: [email protected]

ADVERTISING

Sales Executive Sharifa MarshallTel: +44 (0) 20 7354 6000


European Sales Director Graham Kirk Tel: +44 (0)1223 911224


U.S. Midwest, New England & Canada Vytas UrbonasEmail: [email protected]

U.S. West Pete SemblerEmail: [email protected]

U.S. Southeast and Mid-Atlantic, US Classifieds &Product Showcase Michele Inderrieden


Hong Kong, China, Asia/Pacific Wengong Wang Email: [email protected]

Italy Raffaella Calabrese Email: [email protected]

Latin America Susana Saibene Email: [email protected]

TV Technology EuropeISSN 2053-6674 (Print)ISSN 2053-6682 (Online)

is published seven times annually by Intent Media. ©2013 by Intent Media. All rights reserved.

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Free subscriptions are available to professionalbroadcasting and audio visual equipment users.

Unsolicited manuscripts are welcome for review – send to Mark Hallinger at the feedback address.

PRODUCTION

Production Director Davis White

Design & Production Manager Adam Butler Email: [email protected]

Production Executive Jason [email protected]

Designer Jat [email protected]

Again this year I rode my bicycle to IBC forcharity–raising money for blind and partiallysighted children. All 15 riders who started theevent held up well on the 3-day journey fromthe IBC offices in London to the IBC showvenue at the RAI in Amsterdam. We had somerain to say the least, and around two dozenpunctures across the group, but we made it. See ibc2ibc.com for slideshow videos from thisand past rides, and consider joining us next year. We had a mix of industry people and a few fromoutside our industry this time, and it’s open toall fit enough to complete the task.

Special thanks to event sponsors JCA, Liberty Global, SIS Live, Quantel and 202

Communications. F13 Events was the organiser(www.f13events.co.uk), and sponsors and ridersare needed for next year. Other than the rain, itis not that hard of a ride, as the last two-thirds isquite flat of course.Mark Hallinger, Editor

October/November 2013 I TV Technology Europe 3////////////////

Charity Ride Success

4 ERRATA Setting the Record Straight on DMI & More

6 IBC 2013: STAR AWARDSTV Technology Europe picked 25 interestingproducts that solve problems, fill gaps, orenhance your content

12 IBC 2013: 25 THINGS

We preview a few of the ‘25 Things You MightHave Missed’ at IBC, and point you to thewebsite where the remaining items are archived

20 SPECIAL REPORT: BMSB CONFERENCE

TV’s future was examined at this internationalIEEE conference …

22 OPINION: TV APPSWhy TV Apps Should Differ From Mobile Apps,according to Terry Hughes

24 BUYERS GUIDE: ENG & EFPA user report on field loudness, and productinformation on some of the new ENG/EFP kitlaunched at IBC

30 SHARPSHOOTER

A chat with Michael Goring on his experiences, from runner to stand-in to actor, and cameraman

Cover image courtesy of Petrol Bags, and showsDP Sebastian Wiegärtner in action with Petrol Bags' Dr. DSLR Camera Bag (PD443) and the Digiback DSLR Backpack (PD331). © Sebastian Wiegärtner. www.petrolbags.com

Setting the RecordStraight on DMI & More

n the September edition of TVTechnology Europe magazine we printedan article "DMI in the Reuters Bin," anopinion piece about the BBC's failed

Digital Media Initiative. Since publication wehave been made aware of a number ofinaccuracies in the article and would like totake this opportunity to update ourreadership. In the story it was claimed thatBill Garrett, the former Head of Technologyof Vision Productions, the BBC'sprogramme making arm, had written aletter to the Chairman of the BBC TrustLord Patten and that this had triggered thesubsequent National Audit Officeinvestigation. We now understand that Mr.Garrett's letter was written two years afterthe NAO review, a review that had beeninitiated by the BBC Trust itself back in2010.

TV Technology Europe did not mean to imply that Mr. Garrett's letter hadbeen the event that exposed the project'sfailings, matters which we understand hadactually come to light in April, 2013, afterprogramme makers had struggled toproduce content in the wake of the deathof Lady Thatcher. TV Technology Europehas also learned that Mr. Garrett's letterwas commenting on the NAO's review andhe did not name or imply any specificindividual as responsible. We accept thatMr. Garrett had no mal intent in his actionsand TV Technology Europe would like toapologise if our original article implied anymotivation in Mr. Garrett's actions.

It has also come to our attention that

the representation of Mediasmiths’involvement in DMI was inaccurate. Whenthe BBC took the DMI project back fromSiemens they built their own team, and didnot call in Mediasmiths as part of arealisation that they couldn't deliver assuggested by the article.

The BBC team retained responsibility foroverall design, integration and delivery for the programme, developing a largeproportion of the software internally,including desktop production tools and a metadata repository. To complementthis, the BBC went to market to contract for an infrastructure packagecovering hardware and software for the backend management, movement and transformation of content.Mediasmiths’ involvement was as part ofthe winning consortium and its specific rolewas to take over the development of anessence manager from the BBC, which was linked to the metadatarepository developed by the programme,and to provide integration wrappers for a component developed bysubcontractor Vidispine.

The article also contained inaccuraciesabout Sky’s Tapeless Project, which thearticle suggested was not fullyimplemented. The Tapeless Project was one of the most successful projects of its type in Europe. The systemsdelivered by Tapeless have been live forsome time, and were part of Sky’s buildingof Sky Studios, its substantial productioncentre in London. Sky was the overall

Systems Integrator and used Mediasmithsas a specialist contractor in the systemdesign, development, and implementationof the Vizrt MAM system; the developmentof an integration platform and workflowtool for the tapeless system; and insubsequent staff training as part of theadoption of the system. The systemtransformed the way that content ismanaged, and has delivered substantialbenefits.

The Project entered operational usagefor a set of sports departments before theSky Studios build was complete, and therewas a staged rollout of all departments inphase with the migration into Sky Studios.By the time Sky Studios was complete andpopulated, all Sky sports and trafficdepartments were using the system. SonyFlexicarts were used for batch ingest oftapes into the MAM, as was always part ofthe programme plan, and were not"secreted somewhere on the campus," asthe article states.

This article referred to issues related toFlexicart integration and the difficultiesinvolved in any such integration work wereoverstated in the article, and thecontention that Mediasmiths wasunfamiliar with Flexicarts was completelyunfounded.

TV Technology Europe deeply regrets theinaccuracies and misrepresentations in theoriginal piece.

---Mark Hallinger, Editor

ERRATA ///

TV Technology Europe I October/November 20134

What Did you Miss at IBC?With well over 1000 exhibitors, hours of conferencesessions and more making up the IBC experience,it’s easy to miss something. With that thought inmind, we produced a webinar on 25 ‘things’ from IBC that you should see. These were profiled in anOctober 10 webinar, which is now archived on theTV Technology homepage atwww.tvtechnology.com, under the resources tab.

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Solving Problems,Filling Gaps, EnhancingContent

Darim Vision is a Korean vendorthat has been making virtualsets for more than a decade,with varieties of product aimedat corporate and universitycustomers as well asbroadcasters. Its VS1000portable virtual set features anintuitive interface and multilayer2D and full, real-time 3D virtualset production without authoringtools. We’ll likely see at least onebroadcaster using one in Sochi atthe Winter Olympics, and there’scurrently at least one inoperation at a London rental

studio. Also of interest are the pole-like LED lights that canaccompany the set, which Darim has patents on. www.darim.tv

OASYS Chameleon is a new product line that consolidatesrelevant OASYS software into a single optimal configuration for avariety of channel playout requirements. It aims to adapt to abroadcaster’s workflow, and this flexibility also means that OASYSservers can be quickly reconfigured as workflows evolve.www.oasys.com

I don’t think many in the broadcast industry had heard of Nexidiabefore NAB this year, a company with a background in call centres.The developer of dialogue and audio analysis products andtechnologies nevertheless won an impressive five awards at IBC,including the Best of IBC award from the editors of TVBEurope andthe IBC Daily for both Nexidia Dialogue Search and Nexidia QC, andagain, both products received Design and Innovation Awards fromthe IABM. At TVT Europe we thought long and hard about which ofthe two products to give a STAR to, and settled on Nexidia QC, asoftware tool for automating closed caption and video descriptionverification, closed-caption alignment, and language identificationfor broadcast and IP workflows. www.nexidia.tv

Colour grading----once the domain of digital intermediate andfinishing studios----is a skill that has become more common acrossthe production process. Filmlight’s compact Slate uses the sametechnological advances available on Filmlight’s Blackboard 2 controlsurface, but in a size perfect for a more multi-purpose post facility.Its size and simple USB connectivity make it suitable for use on setand beyond. www.filmlight.ltd.uk

One category of kit that we’ve started to look for in STARwinners is the completed product----a product that has added afeature that the industry clearly needs, or even just a product thathas significantly upgraded capabilities. BHV’s Syntax Bridge is anexample from this year. It now integrates the Syntax upscaler with

Microvideo’s HDB 300 bridge to provide simultaneous datamanagement of control signals, transcoding, decoding, bridging andcopying. The lack of metadata processing in prior Syntax Bridges wasan issue, and it’s been addressed. www.bhvbroadcast.com

There are certainproducts we see that have abroad enough range offeatures that they belong inany engineer’s toolbox,whether in a country thatstill has a lot of analogueequipment or a place where3G infrastructures arecoming online. The handheldTAG from Phabrix is anexample. This low cost(about £2000) analyser/monitor offers a range of interfaces fromcomposite up to SD-SDI, HD-SDI, 3G-SDI and optical support via abuilt-in SFP cage. With SFPs becoming common, the TAG will be greatfor engineers testing broadcast infrastructures whether they becopper or fibre.

On the audio side the TAG provides a D connector providing bothbalanced analogue audio and AES I/O. AES waveform display allowsvisual check for levels and reference lock. PHABRIX has workedclosely with Dolby to provide support for Dolby E, Dolby D and Dolby Dplus for the TAG. TAG also features a TCP/IP remote controlconnection, allowing the instrument to be controlled via anystandard web browser. Additional data such as screen grab (bmp)and advanced logging can be easily transferred from the instrumentsituated anywhere within a facility connected by Ethernet.www.phabrix.com

Forbidden Technologies’ FORScene wins a STAR for a fewsoftware enhancements and, notably, EVS Integration that fills a gapin EVS’ end-to-end news production in terms of remote connectivityfor journalists in the field.

Basic enhancements include two additional timeline video trackswith support for animated alpha channels, which can be used asoverlays for cut-aways, creating picture-in-picture effects, logoplacement or voice-over recording directly onto the FORscenetimeline. Forbidden also worked with EVS to integrate FORscene withEVS’ IPDirector and Xedio Dispatcher. The integration with IPDirectorenables remote, browser-based editing of footage in sports centresor newsrooms. The integration with Xedio Dispatcher supportsremote news-editing. www.forscene.co.uk; www.forbidden.co.uk

And now we finally get to a 4K product. 4K and UltraHD seem‘real.’ There was a sense at IBC that it was still early days, but thiswas not the trendy splash 3D had made a few years ago that many

THE STAR AWARD ///

/// Editor’s Note: TV Technology Europe has announced the recipients for its STAR Awards, presented at the 2013 IBC Show. The STARAward (Superior Technology Award Recipient) is designed to celebrate and showcase the preeminent technological innovations availableto the broadcast industry. TV Technology Europe’s editor and writers reviewed a variety of products, examined the technical applicationsand their overall contribution to the industry, and then chose the winners, presented in random order below.By Mark Hallinger

TV Technology Europe I October/November 2013//////////////// 6

THE STAR AWARD ///

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knew would not have legsAbout a decade ago, there were a lot of headlines related to the

‘HD Premium,’ the extra costs required to move from SD to HD,whether in production or within a facility infrastructure. Theconversations between vendors and end users regarding 4Kinfrastructures have just begun, and one company that’s helpingearly adopters keep expenses down is Archimedia. This companyalso has the distinction of only having launched in June of this year.

Archimedia products will give users a way to work with,interchange, and deliver copies of master files directly from theiroriginals while eliminating the need to store multiple formats. Thecompany’s Power Workstations are built around Archimedia'sUniversal Master Media Player software, which supports multiplevendors' JPEG 2000 and MXF formats. It allows users to view, test,and measure archival-quality files on a standard HDTV and traditionalSDI equipment. www.archimediatech.com

4K is at its core about reallygood images on large displays.It’s also about some specialtyuses in sport, such as taking‘Region of Interest’ selections forHD broadcasts from a 4K image.AJA’s TruZoom product does justthat, adding the company’sCorvid Ultra hardware to producea system adept at recording,scaling and playback of 4K

imagery at up to 60fps, adding timeline-based keyframe control inthe bargain.

The ROI element is controlled by a joystick and mouse control,and is bolstered by software that allows users to create virtualcamera presets for quick recall of common regions for fastinteraction in live environments. Recorded files can be played backfrom the local drive array and an ROI can be selected just like a livefeed, but with the ability to create keyframed variable speedplayback and holds of the footage to highlight a particular event.

It enables broadcasters to reframe shots for replay if the mainaction has been missed, and could possibly even save on cameradeployments in some cases. It’s already seeing action with the MLBNetwork in the US. www.aja.com

At NAB in April BlackmagicDesign introduced the ATEMProduction Studio 4K, an UltraHD live production switcher. AtIBC Blackmagic introduced a highend model featuring all SDIinputs, designed specifically forbroadcasters and professionalswho are building all SDI-basedsystems.

The new ATEM 1 M/EProduction Studio 4K includesfeatures such as 10 independent6G-SDI inputs each with framesync, built in DVE with zoom,scale and rotate, 4 upstreamchroma keyers, 3 independentaux outputs with front panel

control and a larger media pool that holds both still frame graphicsas well as motion video clips.

These new switchers feature built-in 6G-SDI and HDMIconnections that allow Ultra HD connections with a single cable, andthese SDI and HDMI connections instantly switch between SD and HDas well. So even if you don't ever think you’re going to need Ultra HD,these switchers still have an impressive feature set in regular SD andHD live production. The price is about US$2,495, which sayssomething about keeping that ‘4K premium’ in check.www.blackmagicdesign.com

At IBC 2013, Ensemble Designs made it easier to switchbetween HDMI and SDI signals. The new BrightEye NXT 410 Clean

HDMI Router has built-in clean switches that provide seamless videoand audio switching of all sources, including those that areasynchronous. This new router provides a clean way to integrate amix of SDI and HDMI cameras and other sources in a live event.Switches are instantaneous, even when using HDMI sources. Pops,glitches and flashes are eliminated with the router’s built-in framesyncs. The router’s outputs can be fed to projectors, flat screens andproduction equipment.

It accepts 3G, HD and SD signals. A signal can come in as HDMIand be output as SDI, and vice versa. The output format follows theinputs. The flexible I/O configuration allows changes to the numberof router inputs and outputs providing flexibility that saves time forengineers when setting up a job. www.ensembledesigns.com

Back to 4K, and here’s a piece of the puzzle that is required if 4Kin sport is to move forward. EVS Sports unveiled a 4K version of itsXT3 production server, and these units were actually deployed forthe live coverage of the Confed Cup in Brazil. This technology alsowas used in the successful transmission of live 4KTV replays inMunich during the Champions League Semi-Final between Bayern

Munich and FC Barcelona.The new version offers flexibility and advanced workflow options

of course, and also allows instant delivery of multicam footage tosecond-screens and Live Slow Motion in UHDTV. www.evs.tv

Not every bit of big news reflecting industry trends was about4K, or ‘the Cloud,’ or OTT. There was also a bit of talk on finding an SDIreplacement in the evolving IT/open standards world. Some sayAudio Video Bridging (AVB) is destined to play a significant role inbroadcasting, given its ease of deployment, high quality and costefficiency. At IBC Axon launched Neuron, a video product based onAVB that helps broadcasters create a live end-to-end audio and videoproduction system with monitoring, management and protection.Neuron features both hardware and software and offers significantcost savings, reliability, increased flexibility for instant networkaccess and multi-switching between live content such as a footballmatch or game show. www.axon.tv

Not every STAR is a big productreflecting a major technical trend. Someare small, cool products. An example isMiranda’s M3 Integration Cable, a uniquecable bundle that simplifies theconnection between router andmultiviewer. The M3 combines 16 coaxconnections into a single cable structure,requiring only a single connection step.This timesaver also reduces the chancesof improper or mismatched connections.www.miranda.com

We also like to give awards to things that directly save energy,and thus cut costs. A visitor to Photon Beard’s stand would surelynotice the Square One, a one-foot square fluorescent lighting panelthat produces a lot of light economically. But we’ve given the STARto the company’s DMX-controlled Non-Dim Switcher, designed toenable devices that only have standby modes to be remotelydisconnected so they won’t drain power when not in use.www.photonbeard.com

TV Logic’s VFM-058W field monitor is an ergonomic 5.5-inch LCDmonitor with full HD resolution of 1920 x 1080 and support forseveral formats, including 3G/HD/SD-SDI and HDMI. Additionalfeatures include a Max Brightness function, Temperature AdaptiveColour; HDMI-to-SDI conversion output; 1:1 pixel mode; Luma(Y’) Zone

TV Technology Europe I October/November 2013

THE STAR AWARD ///

TV Technology Europe I October/November 2013//////////////// 10

Check function; DSLR Scale; Waveform; Vectorscope; Range Error;Focus Assist; Markers; and Audio Level Meter with speaker and timecode display. www.tvlogic.tv

We always pick a few products that extend an establishedproduct’s capabilities----and Clear-Com’s remote transceiver lineextender does just that. The product accomplished the simple yetimportant task of increasing the maximum distance between aTempest BaseStation and the Remote Antenna Transceiver. One unitincreases the systems’ cable run by 3,000 feet, while two or morecan increase it by 2,000 feet per extender. A total of three can beconnected to provide coverage of up to 7,500 feet. Thanks for asimple product that provides some great flexibility in the alwaysvarying EFP world. www.clearcom.com

The Zylight F8 is a wireless and rugged Fresnel featuring low-power consumption LED lights. Available in tungsten (3200K) ordaylight (5600K) versions, the compact F8 folds flat – collapsing toless than four inches thick – for easy transport and storage. It is fullydimmable and offers an adjustable beam spread (16-70 degrees) foreven coverage for widescreen productions. It can be powered by aworldwide AC adapter or standard 14.4V camera battery, so it’ssuitable for a variety of applications. Wireless technology makes iteasy to link multiple Zylights for simultaneous remote control, and itcan also be controlled via DMX. www.zylight.com

Wohler Technologies just started shipping its MPEG Seriesbroadcast-quality MPEG video monitor line around IBC time. Theseuniversal MPEG digital broadcast confidence monitors come in threeconfigurations: four 4.3-inch screens, two 7-inch screens, or two 9-inch screens. They can decode and display MPEG-2 and MPEG-4, DVB-ASI, and IPTV multicast transport streams, as well as3G/HD/SD-SDI/HDMI video. Add I embedded audio capabilities andMPEG PID tables, and one unit can replace what might have taken afew pieces of kit before. www.wohler.com

The Hamlet DigiScope DS9006 is a multiformat measurementdevice with integral monitoring, and the electronics take up just 1Uof rack space with a high resolution 7-inch IPS monitor on agooseneck for easy, flexible positioning that still allows visibility.

It accepts up to six Hamlet 900 series modules, built on abespoke digital platform developed. Modules include analogue anddigital input, SD, HD and 3G with looping SDI connections, and up to16 channels of AES audio. Some modules include the ability togenerate EYE displays and precision test signals. www.hamlet.co.uk

OTT, and multiscreen or ‘companion screen’ or whatever we willend up calling tablets and phones and computers, was another bigindustry trend. In at least some situations OTT is occupying much ofa broadcaster’s engineering effort, yet it delivers a fraction of theincome of the traditional video output. But there’s a certainty thatthese income levels will start to even out----broadcast and OTT onparity.

With this thought in mind Digital Rapids announced theimmediate availability of its new StreamZ Live 4000EX encoder foradvanced live and linear multiscreen applications----delivering abroadcast quality experience in an OTT situation was a goal. The

product featuresfault-tolerantredundancy,increasedperformance andexpanded controlcapabilities for

premium live and linear multiscreen encoding applications from OTTservices and IPTV head-ends to high-profile live event streaming.

It offers rich adaptive streaming format support to reachaudiences across a broad range of devices and platforms, andmultiple StreamZ Live encoders can be combined with the scalableDigital Rapids Broadcast Manager management software for multi-channel automation, scheduling, monitoring and failover.www.digitalrapids.com

A veteran in the industry, Italy-based MediaPower is established asan SI, carrying and deployingdifferent brands and using itsexpertise in engineering workflowsolutions. Recently the companyhas started to manufacture (anddeploy) its very own line of mediatechnology offerings, turnkeysolutions that are pre-configuredplatforms for simplicity, flexibility, ease-of-use, and hassle-freemaintenance.

At IBC the company had a few products on stand, including Arkki,a media asset management solution-in-a-box; AirGo, an all-in-oneproduction and play-to-air system; and STAR winner NewsTouch, atouch-based, live presentation standalone appliance. This is a toolthat transforms the news anchor from someone who simply reads aprompter into a moderator of information from sources includingpress clippings, images, online resources, media files and live feed. Itfeatures scroll, zoom, rotate, and interactive drawing tools, controlledby easy-to-master and intuitive gestures. www.media-power.it

One product category that has expanded its usefulness over thelast decade is compliance recording. What was once a VHS-tapebased expense for a broadcaster is now a disk-based tool with usesin many departments within a broadcaster. The Media IntelligencePlatform (MIP) from Volicon reflects this ---- this product is built onthe company’s Observer video monitoring and logging product line.The solution streams live and logged video, complemented byvaluable metadata, to any device at any time. This allows mediacompanies to use video, audio, and data for critical applications inareas ranging from engineering to the executive suite.www.volicon.com

Fibre has made many field productions easier, and MultiDyne’sBullDog field fibre transport system deals with harsh, real-worldenvironments well. It can transmit any camera signal, including HD-SDI video, audio, intercom, control data, GPIOs, tally, and power, aswell as eight HD-SDI signals in any direction — all from a single fibrecable. www.multidyne.com

Sometimes it’s part ofa larger product thatreally attracts attention.Bridge Technologies’Objective QoE conceptuses a new approach thatrelies only on criteria thatare appropriate tobroadcast and digitalmedia delivery. ObjectiveQoE monitors a range oferrors that typically occurin media delivery,including audio silence,colour freezes, colourblack, and freeze frames,to detect failuresaffecting quality ofexperience. This contrasts with the traditional approach taken inmany QoE systems, which are based on criteria derived fromtelephony and more arbitrary values.

Objective QoE is itself an interesting concept, but what caughtour eye was a component of the system----the new VB288 ContentExtraction System, a server-based system for confidenceverification and monitoring of QoE that drives virtual videowalls thatcan be accessed and viewed from any location via an ordinary webbrowser.

The VB288 delivers visual content extraction, status displaysand alerts via IP to the virtual videowall display to provide a highlyeffective validation tool that is easily adaptable to any monitoringstrategy, and readily usable by busy engineers on the move, usingdesk-based or mobile devices. www.bridgetech.tv

25 Things You MightHave Missed at IBC

EXHIBITIONS ///

/// Editor’s Note: The contributors and editor of TV Technology Europe and the editors of sisterpublication TV Technology selected 25 ‘things’ from IBC that you might have missed. These wereprofiled in an October 10 webinar. We’ve featured several of the 25 ‘things’ here, and if you want to seethe remaining items, the webinar is archived on the TV Technology homepage atwww.tvtechnology.com, under the resources tab.

TV Technology Europe I October/November 2013////////////////12

BBC R&D IP STUDIOAn unseen benefit of the forced regionalisation of the BBC hasbeen the development of the IP Studio concept, worked on overthe past two years by BBC R&D in an effort split betweenLondon and Manchester.

The project investigates how IP can move up the chain andhave an impact on live production workflows (or, in BBCmanagement speak, “how data can be treated as a first classcitizen in TV production") and the demo in the IBC Future Zonefocused on a multi-resolution workflow working at 4K and HD,along with content from mobile.

According to the BBC, the requirements in replacing thededicated Serial Digital Interface link are demanding: amongthem are high bitrate low delay streaming, timing andsynchronization; distributed configuration and control; real-timedata; flexible reuse of processing; and access to productioncontent and information. But the IP Studio makes clever use oftechnologies such as Precision Time Protocol to distribute timeand is even edging into properly disruptive territory with itsdevelopment of 'grains', whereby events, and frames orsections of video and audio, are all treated as individuallyidentifiable elements.

To quote a BBC white paper on the project; "These data allowcomplex queries to be constructed. As an example, a usermight want to view what was recorded from each camera whena particular line of dialogue was spoken. This could be achievedby: querying a database to find a particular (speech recognition)event grain; finding its corresponding source; finding relatedsources; and finding video grains with matching timestamps."

It's intriguing stuff and it will be interesting to see exactlywhere it will be at IBC2014.

HIGH END REFERENCE RF GENERATORS, REINVENTEDAt trade fairs, laboratory Test and Measurement equipmentusually stays out of the buzz: RF lab jockeys are discreetpeople, not used to getting visibly excited even about stunninginnovations, while other attendees are commonly unable torealize what they are looking at.

The new Broadcast Test Center (BTC) by Rohde & Schwarz wasno exception, despite its groundbreaking features. Thismultistandard test platform is based on a fully modularconcept: everyone can design his very own RF test platformaccording to his specific needs, ranging from automatedcertification and logo tests to realtime video and audio streamgeneration, simulation of transmission channels, real-timereference signal generation, support to chip design withconfigurable I/Q sample rates, etc.

The R&S BTC also features analysis functions and automatedtests for audio, video and multimedia applications. It cangenerate RF signals for all global broadcasting standards,performing a huge variety of transmission simulation, includingmultiple echo patterns and SFN interference. Applicationsinclude development, certification and quality assurance forchipset and receiver manufacturers as well as test houses.Manufacturers of professional satellite equipment, networkoperators, rental companies and regulatory authorities will alsobenefit from this scalable test solution.

The R&S BTC signal generator has two separate realtimesignal paths, each with a modulation bandwidth of 160 MHz. Itis a unique combination of outstanding technical features and amodular, flexible design to meet the highest demands.

EXHIBITIONS ///


FAREWELL TO THE BNC CONNECTOR?The BNC connector (Bayonet Neill–Concelman) is a miniaturequick connect/disconnect RF connector used for coaxial cableand dating back to the late 1940s. It was named after itsbayonet mount locking mechanism and its inventors, Paul Neilland Carl Concelman. It features two bayonet lugs to ensurepositive mating with only a quarter turn of the coupling nut.BNCs are used with radio, television, radio-frequency electronicequipment, test instruments and video signals, for frequenciesbelow 4 GHz and voltages below 500 Volt.

The BNC is robust and reliable and proudly crossed throughthe analogue to the digital television era. It’s also survived(with minor cosmetics) into digital HD, but it’s going tosurrender to 4K video. 4K data flow needs much morebandwidth. Added to the higher resolution will also likely be ahigher frame rate, which will drive the data rate passingthrough cables even further, thus forcing the SDI interface outof contention.

At IBC 2013, the discussion was about what could replace SDIdelivered via BNC connectors. Some favoured an evolvedversion of HDMI. However, others claim that the HDMI is a“consumer” standard, and is thus unsuitable for professionaluse.

Others suggested IP technology for hauling about theseextremely wide bandwidth / high data rate signals.

It just may be IP’s time in the spotlight. Some time ago theIEEE and SMPTE both standardized a way for transmitting digitalvideo signals via an Ethernet switch. The implementationprocess has taken a bit more time—about 10 years. But herewe are—virtually all manufacturers of systems for transporting,managing or routing digital video were displaying productsperfectly suited to handle IP in the world of high-end videoproduction.

IP in broadcast would probably have a bright future, evenoutside of production facilities: many manufacturersshowcased their solution to achieve a fully IP infrastructureend-to –end. The overall target is to develop a solid A/Vinfrastructure based on “CAT” cables, due to their cost-effectiveness and ease of installation.

Is this the end of SDI and BNCs? We don’t know yet. Certainly,IP is coming, and it could also open the door to companies thathave never had to deal with BNC connectors.

An increasing number of potential customers will be digitalnatives, born with a network cable under their arms. And thepossibility of having a simple connection for routing livemultiple video and audio streams in a single cable, capable ofcarrying control signals and metadata too, may be the ace inthe hole of the IP interface.

ULTRA GOES LIVEThere just must be something about the sport of rugby ... chosento be the first live 3D transmission to a test audience severalyears ago, at IBC this year the Gloucester vs. Saracens AvivaPremiership game became the first-ever live sport event carriedvia fibre and satellite for international transmission in true 4K.

The effort involved several companies. BT captured the gameusing three 4K Sony cameras and mixers, a far cry from the usual20 or so HD units, where it was then encoded into MPEG-4 AVC viaEricsson AVP 2000 encoders. The signal was then transmitted asa 100Mbps video by BT’s outside broadcast unit over the BTGlobal Media Network to Intelsat in London, where it was thencarried via the company’s terrestrial network to Germany beforebeing uplinked to satellite using Newtec kit and then decoded inreal time in Amsterdam using Ericsson RX8200 modular receivers.

The resulting 4:2:2, 10-bit, 4K UHDTV signal at 60 frames persecond was then displayed in the Intelsat, Ericsson and Sony booths at IBC2013, allowing attendees to view the rugbymatch live.

TINY TRANSMITTER

This ‘thing’ can be filed under the “definitely cool” label. It’s theSOLO7 Nano TX from Cobham, a UK-based communicationscompany, which claims that it’s the world’s smallest HD COFDM-based transmitter.

The device - which measures just 55mm x 36mm and weighsjust 36 grams - consumes only 3.5 watts. It has severalincarnations, including “tactical communications andsurveillance,” but at the IBC Show, the company was showing avariant that was engineered for broadcast applications.

Cobham was showing the SOLO7 Nano TX working with aGoPro camera, but it can work with virtually any otherprofessional camera as well. The SD version of the transmitteris currently available with the HD version expected to beavailable by the next NAB Show. Interestingly enough, despiteits small size and greatly reduced power consumption there’sno compromise in range.

EXHIBITIONS ///SONY BRINGS Ci CLOUD TO EUROPESony Media Cloud Services has seen The Cloud move fromstorage resource to a fully-fledged production platform and at IBCthis year Sony’s Ci Cloud Services platform introduced newapplications and wireless camera integration. On the productionside there is Ci Rough Cut, a browser-based editing applicationthat enables thesourcing, stitchingand lighting ofmultiple clips.

Ci ReviewApprove allowsframe accuratethreadedcommenting andannotation, realtime groupdiscussions andon screennotifications, andthe ability to export EDL markers.

Now complemented by wireless camera-to-cloud connectivity,the Ci platform uses Sony’s wireless adapter to collect footagefrom Sony professional camcorders, enabling transmission overnetworks and efficient Wi-Fi operation. Users can transmit hi-resfiles via 3G, 4G, LTE or Wi-Fi to a broadcast station or upload themdirectly to CI’s cloud.

Sony Ci offers a variety of subscriptions and packages to suitproduction budgets and workflow requirements. Introduced at IBCin beta, Ci’s new self-service model will allow creativeprofessionals to sign up online for free. Ci will also preview newarchive capabilities.

ARRI’S NEW DOCUMENTARY STYLE CAMERAThere weren’t a huge number of camera introductions at theshow, but venerable camera maker ARRI made a splash with thedocumentary crowd with the introduction of its Amira camera,which targets the doc market.

The versatile camera combines ARRI’s well known andexceptional image quality with affordable CFast 2.0 workflowswith an ergonomic design optimised for single operator use andextended shoulder mounted operation.

Amira features the same sensor and image quality as the ARRIAlexa, recording 1080 or 2K pictures suitable for anydistribution format. It has a dynamic range of more than 14stops, low noise levels, subtle highlight handling, natural colourrendering, impressive skin tones and speeds of up to 200 fps.

The camera is designed to boot up quickly, with no setting up,no rigging and no delays, paramount features for the run andgun documentary and independent shooter. Incidentally, thecompany has not indicated yet when it will ship or a price yet.


EXHIBITIONS ///

ALDENA: TURNSTILE, WITH STYLEDeploying country-wide coverage for digital terrestrial televisionsignals typically requires massive efforts on the part of thebroadcasters involved. On top of the technology-relatedconstraints, challenging and not-negotiable time schedules haveto be complied with. When simulcasting is required (at least forsome time) or when digital emissions have to be aired on adifferent frequency with respect to the former analoguetransmissions, a new antenna system is likely part of the scopeof things. Building a brand new antenna system on abroadcasting tower in regular operation, with no discontinuationof the relevant emissions, is usually a real headache. When aquick rollout is required, a turn-key antenna could be the solution.

Turnstile antennas are made of a set of dipole antennasaligned at right angles to each other and fed 90 degrees out ofphase. When mounted with its axis vertical, the antenna isomnidirectional, radiating horizontally-polarized radio waves. Atbroadcasting sites where no special radiation patterns arerequired, turnstile antennas can really be a plug-and-playsolution. Aldena ATS turnstile antennas feature anomnidirectional pattern over the entire UHF band; they are top-mounted and really plug-and-play with low VSWR, weight andwindload.

The new Aldena ATS 1607928 is rated at 5 kW (single carrier).It’s made of aluminium with a hot-dip galvanized steel bracketand it is directly mounted on a supporting mast with safety hoisthook. The ABS radome ensures icing protection and wind load isjust 77.18 Kg front and side, with 160 km/h winds. ATS antennasare available with a range of rated power and gains (power from 1KW up to 10 KW and gain from 5.5 dB up to 11 dB).

EC’S VISION CLOUD RESEARCH PROJECTVision Cloud won a special award at IBC this year in recognitionof the project’s important focus on the future prospects of TheCloud’s potential to deliver cost effective delivery of data-intensive media-rich services.

The international project, which started in 2010 and is due toend this month, is spearheaded by IBM’s research labs in Israeland organised under the European Commission’s FP7 researchand innovation programme.

At a cost of 15.7 M euros, it brought together a total of 14partners, comprised of users, vendors and academics as well asbroadcasters, including Italy’s RAI and Germany’s DeutscheWelle. At IBC delegates saw a live, interactive demonstration,where users could actually go through the steps involved inproducing a video, going from content search, to contentannotation and edit to exporting the produced video.

Vision Cloud’s advanced functionality, such as support for richmetadata and the ability to select and execute computationalmodules (storlets) near where the data is stored without havingto incur network transfer costs and latency delays,demonstrated how a media organisation could use such asystem for nimble, cost efficient, cloud-based collaborationacross geographies.

At IBC, IBM also announced that, as part of the project, it isdeveloping Active Media Store, a scalable, cloud object storewith powerful native metadata support.

Digital information from diverse sources can be ingested,classified, cross-related, and used for production. Teammembers working in parallel can create formats for diversebroadcast media such as television, webcasts or mobile devices.

CALREC AUDIO SOCCER SIDEKICK AND CALLISTO CONSOLEIt's not uncommon for a manufacturer launching an importantnew product at a major trade show to be upstaged by a

competitor. Less usual is for a company to upstage itself.Calrec managed to do that by giving its Soccer Sidekick audiomixing tool a big build-up and then, at the last minutedeciding to bring along a new console as well.

In spite of this, Soccer Sidekick is still worthy of attention.It's a patented iPad app to assist sound engineers working onTV coverage of football matches by simplifying the task ofkeeping up with which microphones need to be faded upduring the action.

Soccer Sidekick gives a visual display of where the mics areand the operator can touch a specific area corresponding towhere play is at any one time. The app computes the optimalcontribution from each mic and raises the relevant faders onthe mixing console, although the engineer has the option totake control if desired. Calrec says Soccer Sidekick isdesigned to help both experienced and less proficientoperators. This latter user group is the target of the newCallisto audio desk, which was conceived specifically for livebroadcast situations where a sound engineer is not alwaysavailable. The Callisto has DSP that is compatible withCalrec's fuller spec-ed Artemis and Apollo consoles but thelayout and function routing has been simplified so it can berun by a lighting person or member of the production team.


EXHIBITIONS ///

EUTELSAT SMART LNBSatellites are a unique source of bandwidth in today’s digitalenvironment, offering universal coverage of all territories,delivering content to terrestrial networks, and enablingcomplete communications networks to be rapidly set up inthe most remote areas, as well as delivering content direct to

users. One of the major drawbacks of satellite DTHbroadcasting has always been the lack of an “easy” returnchannel, possibly managed by the satellite operator or by thebroadcasters themselves, in order to keep a direct eye ontheir customers and their relevant habits.

Up to now, the return channel has not been an issue.Nowadays, instead, the continuing expansion of the digitalcommunications universe, and user expectation to accessand share digital services irrespective of their location isdramatically changing the game. Eutelsat, one of the satellitebig bosses, is trying to address this need with their SmartLNB, whose world-first live demo took place at the IBC.

The Smart LNB is a new-generation electronic feedconnected to an antenna with an embedded transmitter,acting as an effective return channel to provide services suchas Hybrid Broadcast Broadband TV (HBBTV), pay-per-view,social networking, live show participation, personalsubscription management and audience measurement.

The smart LNB opens the door to a new satellitebroadcasting ecosystem, also enabling broadcasters tooperate their own ecosystem of linear television andconnected TV services directly by satellite, without relying onor sending their customers’ valuable data on mobile or homephone lines operated by some of broadcasters’ fiercestcompetitors: telecom operators.

SRYP GENIE: CHEAP PANNINGProof that Kickstarter is useful to the broadcast industry forsomething other than simply raising funds to make more teenvampire shows, the Genie has been developed by NewZealand-based filmmaker Ben Ryan and designer ChrisThomson. It is billed as a cheap way to produce panning or linear movement, either for realtime video or – and this iswhere it really comes into its own – motion control or time-lapse.

The key to its success – and the pre-orders ran into fourfigures – is that it can be used with any existing film kit. As the company says: “If your camera has a remote inputsuch as for a timer remote then it will be compatible with the Genie.”

Basically it’s a small box that can be set-up for panning orlinear motion. In linear motion it moves under its own powerusing a simple rope attachment (boasting lengths up to100m) and it can pull up to 20 kilograms along a track. Put it on a slider and you have the capability to do veryprecise tracking shots. It even features a move/shoot/move mode for time lapse to make sure that it’s rock solid

before exposure.It’s neat, it’s simple, and it ships with a sub $1000 price tag.

No wonder it’s popular.

VISION RESEARCH’S FLEX4KOne of the big holes in the 4K production chain that needs to

be plugged rapidly lies with the specialized equipmentbeloved by sports broadcasters, especially given sports' likelyrole in driving 4K adoption. So, all the broadcasters thinkingahead to the 4K future will be very pleased to know that thePhantom Flex4K from Vision Research appeared on the IBCshow floor, after its NAB preview and a busy summer oftesting.

The new unit is capable of 1000fps at 4096 x 2160, andcurrently delivers footage in the Cine raw format, though in-camera compression is slated for early 2014. Three 3G HD-SDIvideo outputs are available and compatible with the industry’slatest external field recorders, while it also features the newhot-swappable Phantom CineMag IV storage in sizes up to2TB. Internal memory is 64GB.

Also new is a full-featured on-camera control interface. Allcamera parameters can be set from the built in menu on theright side of the camera body, eliminating the need forsoftware connection on set. Controls for capture, playback,save and monitoring can be found on both sides of thecamera. Limited quantities of the super 35mm sensor cameraare slated to start shipping this month. All in all in plenty oftime for next year’s FIFA World Cup.

October/November 2013 I TV Technology Europe 19////////////////

EXHIBITIONS ///

5.1 Surround Mic SystemSpatial sound, giving a sense of height and depth as well as

length and width, is a shadowy but important discussion pointin TV today as broadcasters consider Ultra HD and its naturalaudio companion. Dolby now promotes 7.1 as its flagshipsystem but 5.1 continues to be a solid foundation for manySurround Sound transmissions.

Sennheiser's new multichannel mic system recognises thatand also offers an alternative to specialised all-in-oneSurround devices based on complex mathematics, like theSoundField. The Esfera is a stereo mic that features RFcondenser technology. It works in conjunction with a 19-inchrack-mounted processor, which converts stereo signals intofull 5.1. This can be done in real time on site or in post-production. Esfera can be permanently mounted in the gantryof a sports stadium, as is usual with other surround mics, butit is also claimed to be the first mic of its kind that can workalongside wireless cameras. Sport in particular is seen as aprimary area for the new product as it can be easily andquickly installed. The Esfera system is due to ship by the NABShow next year.

IP & LINEAR AUDIO A manufacturer might believe in a new technology but not

always be in a position to implement it in new productswithout collaborating with a third party. In an interview a fewyears ago Gareth Davis, managing director of codec andcommentary system company Glensound Electronics, calledIP the future for carrying linear audio.

Customers and the market in general anticipatedGlensound's move into IP-based technology but had to waituntil this year's IBC, when it introduced the result of anassociation with Technica Del Arte. The Dutch softwarecompany is developer of the Luci Live IP codec forsmartphones and PCs and this has been incorporated into theGS-GC5 USB commentary unit. This variation on anestablished ISDN model offers IP coding together with otherformats, including MP2, AAC, AAC-HE, G711 and G722. Itfeatures a four-channel mixer and four headphoneconnections, with all audio I/O on USB ports.

Glensound sales and marketing manager Marc Wilsoncommented that the decision was taken to use Luci Liverather than developing IP software in-house and insteadconcentrate on designing a hardware interface thatcommentators would find easy to use.

HIGH DYNAMIC RANGE IMAGING?For all the concentration on 4K at the IBC Show this year, High

Dynamic Range (HDR) imaging definitely qualifies as the sortof technology that could spring a surprise on the industry inthe future. Whether it will truly ‘bring a revolution in imagingequivalent in impact to the change from black and white tocolour,’ as Future Zone inhabitant goHDR claims is open toquestion, but it is certainly impressive.

Essentially it just involves widening the range of colours andlighting detail available in an image, but there's a whole loadof issues packed up in that 'just.' One is size - withuncompressed footage a shade over four times the size ofconventional HD - while the other is finding a technique whichis fully reversible, and the currently often-used techniquetone-mapping (which merges a series of different exposuresinto a single image) isn't.

Spun out of Warwick University's Digital Technologydepartment, goHDR aims to capture footage at 20 f-stops and30fps, and indeed has done so using a couple of low-costDSLRs. It uses a patented approach which sees it undertakerealtime compression of the light and colour informationseparately, and was at IBC with a free app that allowed FutureZone visitors to watch a live HDR video stream.

What Did you Miss at IBC?25 ‘things’ from IBC that you should see. These were profiled in an October 10 webinar, which is now archived on the TV Technology homepage at www.tvtechnology.com, under the resources tab.

IEEE Summit: TV’sFuture Examined

ome of the world’sforemost televisionengineering experts

assembled in the quietWest London suburb of UxbridgeJune 5-7, 2013 to offer their takeon where the medium is headingin the next few years, and tooffer technological assessmentsand suggestions for making itmore accessible and userfriendly.

The Institute of Electricaland Electronic Engineers (IEEE)Symposium on BroadbandMultimedia Systems andBroadcasting (BMSB) eventhosted by London’s BrunelUniversity attracted some 160broadcasters, researchers,consultants, manufacturers,standards group members andengineering students from 25countries, representing mostregions of the world.

Agenda topics included thenearly universal tightening ofspectrum available forbroadcasting, new and evolvingTV standards, ultra and superhigh-definition television, thelatest developments in high-efficiency coding, 3D andholographic imaging, increasingthe robustness of transmissionsystems, spectral conservation,consideration of human factorsin television viewing, and more.

LOOKING AT TOMORROW’S TV SETThe BMSB conference offeredseveral peeks into television’sfuture, with James Walker,technical director in the NewInitiatives division at NDS-Cisco,providing one of the morerevealing of these in his “Wall-to-Wall TV” presentation.

Mindful of the present-daypush for larger and larger screensizes and higher pictureresolutions, Walker speculatedthat the manufacture anddistribution of gurgitationplasma, LCD, and LED displayswould eventually end and a “one-size-fits-all” display element

would become standardized. “We think that the key to

large TV is to take small regularscreen elements [tiles] and put

them together onto the wall tomake a large display,” saidWalker. “This has a lot ofpractical advantages. It gives us

flexibility of size, so I couldcreate a display to fill the spacethat would be appropriate in myroom.”

Walker cited an example ofthe impractically of constructingbigger and bigger integrateddisplay devices. “A colleague ofmine has a friend who bought a105-inch plasma TV. The costwas about £80,000; however,part of that cost was forremoving some of the roof of hishouse and hiring a crane to lowerthe TV into the house.”

Walker offered that a “tiled”display approach would be a lotmore practical and will probablybe the direction that hometelevision viewing takes. Hestated that once the displayindustry had reached a “sweetspot” in terms of optimumdisplay “tile” size andmanufacturing costs, these size-standardized panels would beavailable in a price range thatwould allow a consumer toliterally fill up a wall with theseborderless and seamless tiles tocreate a display as large asdesired. The composite displayscreen could even turn cornersand spread onto adjacent walls.

Walker predicted too thatthe number of tiles activated forviewing might vary, dependingon content.

SPECIAL REPORT ///

////////////////20

/// Broadband Multimedia Systems and Broadcasting gathering draws participants from 25 nations. James E. O’Neal reports.

Bill Meintel, broadcast consultant and president of the IEEE’sBroadcast Technology Society

Andy Quested, head of technology for BBC HD and 3D

Some 160 delegates representing 25 countries and most regions of the world attended the 2013Broadband Multimedia Systems conference.

TV Technology Asia-Pacific I October/November 2013

“[Historically] we always fillthe frame regardless of thecontent—it doesn’t matterwhether we’re watching a movie,sports, a drama, or even if the TVis switched off and we’re justwatching black, we always seethe same size pictures,” Walkersaid. “But we maybe shouldn’t beso constrained and have picturesthat are an appropriate size forthe content that we’rewatching.”

Walker also thought that thehome TV screen of the futuremight not remain a non-entitywhen television shows weren’tbeing viewed.

“With the TV today, there’s anatural antagonism betweenwhat the TV looks like when it’sdisplaying beautiful pictures andthen when it’s switched off andthe screen turns black. Thelarger the TV the stronger thatantagonistic tension is,” saidWalker. “There are a lot of peoplewho are not prepared to have alarge black object on the wall oftheir living space when they’renot watching TV.

“So we think that if there’sgoing to be a very large display, itreally ought to blend into theenvironment. These systems—when you’re not activelywatching television content—willbe able to have personalinformation, personal contentdisplaying on the room surfaces.Not necessarily something thatyou’d sit down to watch with acup of tea or a beer, but possibleinformation about … your dailylife at home or something youmight find of interest.”

Walker further illustratedthis point by stating that suchtiled displays might be designedto achieve a transparency ofsorts, displaying the room’swallpaper behind them when notin use so as to be less obtrusive.

THE CHALLENGE OFSHRINKING BROADCASTSPECTRUM An issue common to many of theBMSB delegates is thecompetition for UHF televisionspectrum by wireless broadbandproviders and the effect thismay have on television’s future.

Bill Meintel, a U.S. broadcastconsultant and president of theIEEE’s Broadcast TechnologySociety, described the impact ofthe impending federally-mandated “incentive” auctioningof a large portion of theremaining U.S. televisionbroadcasting spectrum.

“We’ve got 294 MHz ofspectrum altogether andbroadband wants to take away120 MHz of that,” said Meintel.“We’ve got a problem.”

The auction referred to byMeintel would not forcebroadcasters to abandon their

television channels, but ratherwould allow them to offerfrequencies up on a freewill basisfor auction on a televisionmarket-by-market basis. Thiscould prove profitable for someowners, especially those who arecurrently operating with small, orno, profit margins. The intent isto turn off a sufficient number ofstations so as to provide aworthwhile block of spectrum fortelecom use. However, due tothe number of markets involvedin the United States, thefrequencies in the cleared blocksof spectrum may not beuniversal.

Meintel forecast someproblems with this scenario.

“If you’re not going to havethe same spectrum availablethroughout the country, you’regoing to have the situationwhere you have broadband andtelevision sharing channels,”Meintel said. “You can separatethem a good ways apart and thisworks until you have ducting.Then for several hours thesethings that were spaced farenough apart aren’t far enough

apart anymore. You’ve got thishigh-power television station outthere with its signals booming in

hundreds of miles away wipingout all of your broadband servicefor maybe two or three hours. Itdoesn’t happen very often, butit’s going to happen.”

Concerns about the ever-shrinking amount of spectrumallocated for televisionbroadcasting purposes were alsovoiced in a panel discussion—“The Future of BroadcastTelevision” which was held nearthe end of the BMSB event, andfeatured participants from theUnited Kingdom, Japan, China,Korea, and the United States.

“There is never going to beenough spectrum [for] theoutput and quality of what wewant to put out, and with theoptions that we want to add tothat,” said Andy Quested, headof technology for BBC HD and3D. “My gut reaction—and this isalmost heresy to some people inhere—is I think we should give upall of it to telcos and say youmust carry us, slide us up thefrequency band—because theyare desperate for our lowfrequencies that go throughwalls and into basements, but

there’s plenty of room further upthat they’re afraid to use. Makethem carry us to mobiles and tomain televisions and to whateverwe want. I think that they shouldstart to deal with the 99.8percent coverage that we’resupposed to deliver, [and with]mobile connectivity to placeswith very poor televisionconnectivity. I think that thewhole usage thing…has to beabout how we get more content,better content, higher qualitycontent to more devices.”

SMALL SCREENS PREDICTEDTO DOMINATEIn addressing a question fromthe floor about the possibility ofbroadcasters setting up theirown wireless networks, Meinteloffered the following:

“The answer is yes [forbroadcasters] who reallyunderstand where the future is.The future is not in television tothe home. It’s portable andmobile devices. The homes aremainly being served by cablenow and [by] satellite service.The future is [television] to iPadsand cell phones. That’s wherethe forward thinkingbroadcasters are going. That’swhere the future is.”

Despite some reports to thecontrary, three-dimensionaltelevision is still holding its ownas witnessed by several BMSBpresentations. Chief amongthese was a look at the way 3Dwas used in coverage of the2012 London Olympics by theBBC’s Andy Quested. BrunelUniversity’s Amar Aggounoffered his thoughts on 3D’sfuture in his presentation “Future3D Video Technologies,” andHosein Asjadi of Sony Europeprognosticated as to where 3Dwill land in connection with theemergence of super high-definition television. Three-dimensional television was alsoaddressed in at least five othertechnical presentations.

All in all more than 100papers were presented at the2013 BMSB conference, theeighth such convening of thatgroup. The event wascoordinated by John Cosmas,multimedia systems engineeringprofessor at Brunel University,and Yiyan Wu, principal researchscientist at Canada’sCommunications ResearchCentre (CRC). In past years theUnited States, Germany, China,and South Korea have hostedthe group’s meetings. ///The 2014 BMSB meeting willtake place in Beijing, China.

A “tiled” display approach will probably be the directionthat home television viewing takes.

James Walker, technical director in the New Initiatives divisionat NDS-Cisco

October/November 2013 I TV Technology Asia-Pacific 21////////////////

Yiyan Wu, co-organizer of the BMSB London conference andprincipal research scientist at Communications Research Centre Canada.

See http://bts.ieee.org/ for more.

OPINION ///

Why TV AppsShould Differ FromMobile Apps

ith hundreds ofthousands of

apps alreadyavailable in the

Apple App Storeand in Google Play, the mobilelandscape continues to create agrowth industry for apps. Everybrand, every company, everywannabe has an app -- and it’sfast becoming the primary waythat users interact withorganizations.

As users demand that theirfavourite apps work acrossmultiple platforms, the lack ofapps for TV means that cableand TV service providers are leftplaying catch-up. As apps beginto emerge on TV, those in ourindustry who are scrambling tomake the app experienceidentical to mobile should stopto consider why apps on TVshould be very different.

Apps on mobile devices arefunctional. A person can open abanking app to check a balance,go to YouTube to watch a videoand then open a browser tocheck a Web page.

Those practices won’t workon TV. Apps will need to bethreaded into the fabric of theviewing experience. For example,apps should be an integral andenhanced part of the TVchannel being watched, with those most relevant to the viewing experienceshowcased first.

Apps shouldn’t be hidden inthe silo of an app store or menusystem. If broadcasters get thisright, viewers won’t even knowthat they’re engaging with apps,and instead will see it as astandard part of the nextgeneration TV experience.

Apps present newopportunities for thebroadcasting industry to deliver

unique and personalized unicastprogramming and advertising tousers, especially as our industrymoves away from a dependenceon linear broadcasttechnologies. As apps evolveand continue to proliferate in theTV realm, we will see TVchannels, content andadvertising delivered inside ofapps, which will then provide areturn path for interactivity andconversion.

As a result, apps will enableprogrammers to engage theiraudiences in entirely new ways,

serving as a supplement toconventional shows in order tocreate a whole new dimensionof engagement. Just as appshave transformed the book andmusic industries, apps on TV willdisintermediate the value chain,enabling local and independentpublishers of TV content toreach audiences withoutdepending on a network dealwith broadcasters.

More often than not, people are watching TV with a companion device ontheir laps. Therefore, offeringcompanion apps thatcomplement broadcasts will be key, as will leveraging the companion device as thepoint of interactivity with the first screen.

There is a proven desireamong consumers to interactwith shows or ads that they see

on the television screen. If ourindustry leverages companionapps on those smart devices, wecan deliver a superior userexperience while leaving the TVto continue its main purpose ofproviding leanbackentertainment.

We also need to considerwhere these apps for TV willreside. It's easier in mobile sinceapps have to run on asmartphone or tablet. In theliving room, however, there are awhole host of smart devicesincluding the set-top box, the TVitself, the games console, andover-the-top boxes includingApple and Roku.

Some systems run Androidapps, which need to beoptimized for the 10 footexperience, and some boxes runproprietary native apps that arehard to develop, and manyboxes have non-standardbrowsers that run HTML5 appsdeveloped for TV. As a result,this fragmentation will serve asa roadblock and cause appdevelopers to pause until a clearwinner emerges.

With so much conversationfocused on “cord cutters” and“cord shavers” (the newgeneration of consumers whoeither discontinue theirtraditional TV service or trim itback), apps will allow thebroadcast industry to remaincurrent and relevant with thisnew type of audience.

The “cord ignorer” simplydoesn’t watch TV anymore, soreaching that user viacompanion apps is essential forthe broadcasting industry. The“cord absorber” lives for TVprogramming, and our industryneeds to deliver world-class appexperiences to these people sothat they can get their fix long

after the show has aired,whether they are in front of theTV or not.

Overall, apps in the TVenvironment presentunparalleled opportunities.However, unlike in mobile, atAppCarousel we don’t seehundreds of thousands of appsor app developers. We see appsas an essential extension to thebrand of every programmer,broadcaster, publisher and cable operator.

Apps will allow them todeliver content in totally newways, and will enable them toengage with their users. Appswill also present newopportunities for monetizationvia merchandising and premiumcontent, and as part of IPTV, willoffer up whole new technicalparadigms for service deliveryand unicast programming. ///

/// By Terry Hughes

Viewers won’t evenknow that they’reengaging with apps, andinstead will see it as astandard part of thenex-gen TV experience.

Terry Hughes

Terry Hughes is Managing Director ofAppCarousel

Contacts:www.appcarousel.tv

TV Technology Asia-Pacific I October/November 2013////////////////22

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‘We Did It!’

Loudness at the Sourcelemish Radio andTelevision Network

Organization, or VRT, is theFlemish public broadcaster

for the Dutch-speaking portionof Belgium. We aim to reach themaximum number of mediausers with a wide range ofquality programs that exciteand satisfy them, so we provideprograms and services on allplatforms in an array of genres,from information and culture toeducation and entertainment.

Because we have such awide range of programming,VRT program engineers work onall sorts of projects with varyingamounts of audio content, all ofwhich must follow the EBUR128 standard for broadcastloudness. In order to complywith the standard, which wentinto effect on Jan. 9, we neededtools that would help usmonitor loudness. One of thosetools is the VisLM-H, NUGENAudio’s visual loudnessmonitoring tool with historyview (H) and a data-logging

option. We use VisLM-H mostlyfor on-location news stories andhigh-level audio post-production.

VisLM-H is a software plug-in that we can insert into ourworkflow whenever andwherever we need it. Ourediting suites are equipped withphysical loudness meters, butfor our news department,where space is limited and mostpeople work on their laptops,it’s not possible to install aphysical meter. For example,foreign correspondents workingin other countries or otherreporters working in remotelocations might do some oftheir own editing on theirlaptops before submitting theirreports. Often they’re using aPanasonic P2 camera tocapture video and audio andingest it into the PC, where theyuse Avid NewsCutter to preparethe package. In situations like those, VisLM-H easilydisplaces a physical meter at a lower cost.

Audio level on locations hasalways been a problem, and thenature of a location shootmeans audio is tricky to beginwith, so it is helpful to havesomething that allows remotereporters to watch the levels inthe field before sending thepiece back to the station.Because it’s a plug-in, VisLM-Hrepresents the ultimate inportability. The visual metersimply appears on the screenalongside other editing toolswithout the inconvenience of aphysical box.

The meter’s history featureis helpful because when wecreate or edit a piece, it’simportant to see if there areloudness jumps or drops in anypart of the edit to ensureloudness for the entire programis at a reasonable andconsistent level — especially ifwe’re combining archivematerial with new material.

VisLM-H gives us an easy-to-use, EBU-compliant way tomeasure, compare, and

contrast loudness for entiresections of audio. With theVisLM-H plug-in, our remotereporters have a unique tool foraccurately measuring theloudness of a piece right therein the field, which ultimatelyhelps VRT comply with the rulesand deliver better-soundingprogramming to viewers.

VisLM-H is just one piece ofNUGEN Audio’s product line,which offers a number of toolsfor audio analysis, loudnessmetering, mixing/mastering,and tracking. Besides VisLM-H,to some extent we also useNUGEN Audio’s LM-Correctautomatic loudness analysisand correction tool, and the Visualizer audio analysissuite. ///

USER REPORT /// BUYERS GUIDE: FIELD PRODUCTION

/// Hendrik Simoens on how VRT’s reporters achieve simple, accurate loudness measures in the field


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Petrol Bags has introduced a newtransparent rain cover to providewaterproof protection for the Canon EOSC100 DSLR camera. Specially fashioned tofit over the C100, even while the flip outscreen is open, the cover allows for fastand easy setup, while keeping all cameracontrols fully accessible. This all-weatheraccessory is constructed of transparentwaterproof polyurethane that doesn'tobscure the camera’s view. The smartdesign makes the Rain Cover extremelyeasy to install while shooting.www.petrolbags.com

LOCATION LIGHTINGPOWER, MORE

Cineo DC150 is a a DC/battery powermodule for TruColor LS. It is ideal forlocation lighting where AC is unavailable. It operates on 24-36VDC and for up to 3hours on Li-Ion batteries.Cineo used IBC toshow new mounting options for both itsTruColor HS and LS lights, including doubleyokes, pole-op yokes and spacelighthangers. Performance Dimming was alsoshown-TruColor systems now support atungsten-emulating dimming curve withfull-range dimming from 0-100%.www.cineolighting.com

Hendrik Simoensis Project Engineer at VRT

CONTACTSwww.nugenaudio.com

Litepanels Inca 12 (tungsten balanced)and Sola 12 (daylight balanced) Fresnelfixtures combine the performance oflarge Fresnel fixtures with theadvantages of LED technology. Bothversions supply powerful and controllableillumination comparable to a 2K whileusing just a small fraction of the energyrequired by traditional tungsten ordaylight Fresnel fixtures. With customdesigned, lightweight Fresnel lenses,they emit even, collimated light that iseasily controlled manually or via anintegrated DMX module to facilitateremote dimming and flood-spot focusingsimultaneously. Litepanels has three newtraveling kits featuring the company’snew cost-effective 1x1 LS fixtures.www.litepanels.com

October/November 2013 I TV Technology Europe ////////////////

MARKETPLACE ///

25

At IBC 2013, Dejero demonstrated itslatest bonded cellular technology, usingmobile wireless networks to transmithigh-quality ENG video. The Dejero LIVE+Platform includes the LIVE+ 20/20transmitter, a portable and ruggedbonded cellular transmitter for a widevariety of ENG applications. It alsoincludes the LIVE+ NewsBook softwarethat brings cellular transmission capabilities to laptop or personalcomputers, and the LIVE+ Mobile App for popular smartphones. www.dejero.com

ENG OVER CELLULAR

BONDED 3G/4GLiveU offers a range of bonded3G/4G uplink solutions forbroadcast and online media,offering a one-stop-shop for livenews, sports and eventcoverage. This includes thelatest mobile application, thehandheld Smart Grip.

The company’s LU-Smart mobile app solutions bringing bondedtransmission to mobile phones and tablets (iPhone, iPad andAndroid devices), and include the patent-pending Smart Gripdevice with its chargeable battery and MiFi channel (or any othermobile hotspot) in a handheld monopod (see picture).www.liveu.tv

4K HANDHELD

LOW LIGHT BOX CAMERAThe HDL-4500 is a 3CMOS multi-purpose HDTV camera fromIkegami that achieves super high sensitivity. Under star brightconditions (0.001lx), it can produce colour video. With its compactone-piece form factor, this camera is suitable for variousapplications such as a weather camera, POV camera, etc. Featuresinclude 2/3 inch 1.3M high speed multi sampling3xCMOS; frame rates of 59.94fps or 50fps; aminimum illumination of lower than0.001lx; S/N of 56dB; auto videolevel control function;auto tracking whitebalance; a Viewfinder,Handle & Shoulder PadOption; and more. www.ikegami.com

The Sony PXW-Z100 is aprofessional 4K handheldXDCAM camcorder that cancapture stunning 4Kcontent at 50p or 60p. ThePXW-Z100, together with itsfixed 4K-compatible high-performance G Lens, weighsless than 3kg and uses theXAVC recording format firstused in the PMW-F55CineAlta camera. The PXW-Z100 is based on the same shootingergonomics as a conventional handheld professional camcorder, soit is possible to capture 4K content without extra equipment andwith a minimal crew. In addition, during post production, downscalingfrom 4K to HD provides new possibilities for HD content production. www.sony.co.uk

MARKETPLACE ///


HIGH-CURRENT POWERThe DIONIC HD Logic Series battery fromAnton/Bauer is suitable for poweringhigh-current digital cinema cameras in alightweight and robust package. TheDIONIC HD is a 183 Wh Li-Ion battery thatincorporates sixth-generation celltechnology and the company’s latestsoftware architecture. Weighing 40percent less than a NiCad or NiMHbattery, the DIONIC HD has 25 percentmore capacity and will run a 30-wattcamera, monitors and multipleaccessories for more than six hours.www.antonbauer.comv

LED FRESNEL This Vidnel 50 Fresnel from Videssence delivers tungstenperformance in a powerful LED package with colour at 96+ CRI. Thenew 50 watt Vidnel provides the single shadow and focusingcharacteristics essential to Fresnel fixtures while using a fraction ofthe power. It delivers a soft directional beam of adjustable light andhas flicker-free dimming without colour shift. Manual slide bar at theside of the fixture focuses the beam and locks in place. Passive heatdissipation design avoids the noise and failure of internal fans.Available with On Board and DMX control and dimming. Compact266mm x 290mm housing is great for location shooting. The fixturesutilize standard 4-inch Gel Frame and Barn Doors. Units are availablein tungsten and daylight. www.videssence.tv

SX-300 PAN & TILT HEADOne of Shotoku’s latest mid-weight EFP pan & tilt fluidheads, the SX-300 featuresoutstanding balance, a robustbuild and ergonomic design.With a high capacity 40kg (88 lbs) payload and wide-balance capability, the SX-300supports an array of cameras,lenses and accessories, makingit perfectly suited for fieldproduction, OB and studio use. The 300 head accommodates flatbase or 150mm ball. Operators can not only expect top-classperformance and reliability from the SX300’s VISCAM technologyfor smooth and adjustable pan & tilt drag with reinforced torque,but a continuously adjustable balance system.www.Shotoku.co.uk

LED FRESNELSAll Lupolux fixtures feature highquality LED arrays of the latestgeneration, with high output andhigh CRI value. Plus, Lupolux’background in the photographicmarket has always set a highstandard of quality of light. Lupoluxcontinues to offer the whole rangeof lights equipped with HMI lampsand compact fluorescent lamps, andall lights are made in carbon fibre for

weight savings, toughness and portability. Pictured is a daylightFresnel, equipped with a discharge lamp and an integratedelectronic power supply. It features extremely low powerconsumption (150 W) and high light efficiency (800 W). www.lupolux.com

MARKETPLACE ///


4K PRODUCTION, DSLR ADVANCEMENT

Reflecting the current industry interest in acquiring content at higherresolutions, demonstrations on the Canon stand at IBC were heavilyfocussed on bringing 4K production to life, and featured a live 4Kproduction workflow using Canon’s latest products. Ahead of the show Canon made several announcements includingthe launch of its new CN-E35mm T1.5 L F Cinema prime lens, and ahost of feature updates to its existing range of Cinema EOS cameras.Amongst the many updates a new maximum ISO setting (ISO 80000)was announced for the EOS C500, EOS C300 and EOS C100, allowingcreative content makers to shoot in even more extreme low lightconditions. During the show Canon announced that its EOS-1D C had becomethe first ever DSLR to meet the European Broadcasting Union (EBU)Tech 3335 requirements. Making the camera the first ever DSLR tobe considered capable of providing an image of high enough qualityfor use as a broadcast production tool.www.canon-europe.com

LED PANELThe LUPOLED 1120 DMX DUAL-COLOR series are LEDpanels with 1120 High CRI LEDs (CRI>94), madeespecially for photography, video and TV studios.These panels can be set to any colour temperaturefrom 5600°K to 3200°K, by rotating the knob on theback of the fixture. Additionally the colourtemperature can be visualized on the digital display onthe back of the fixture. The luminous intensity levelcan be adjusted from 0 to 100% using the secondknob on the back of the fixture. These can also becontrolled via integrated DMX. The unit’s light (600gram) battery can provide about 3 hours ofillumination at full power.www.lupolight.it

ACCESSORY POWERPAG has introduced a range ofnew plug-in output connectorsfor its PAGlink PowerHub,thereby increasing the type ofcamera accessories that can bepowered via this device, usingPAGlink batteries. The newoutput connectors are Hirose (4-pin) and 2.1mm socket (PP90),designed for 12V DC cameraaccessories. The PAGlinkPowerHub, Model 9709, isprovided including four D-Tapoutput connectors, which havebeen designed to beinterchangeable with the

new variants. The D-Tapconnector is now also availableto buy as a separate item.

PAGlink batteries have a 12Acurrent capability, when linked,enabling a user to powersimultaneously the camera and multiple 12V accessories,such as: camera lighting,monitoring, audio, andtransmission devices. A USB module (1A, 5V) has also been incorporated in the PowerHub, for charging avariety of devices.www.paguk.com

© Emmy de Graaf

NAME: Michael Goring

AGE: 32

STAR SIGN:Capricorn.

HOMETOWN: Reading, UK.

CURRENT LOCATION:Tufnell Park, near Camden inLondon. Lovely area. Many

actors and photographers liveround here for some reason.

OCCUPATION: Cameraman, editor and director.

YOU'VE BEEN AN ACTOR,AD, AND NOW ACAMERAMAN. HOW HAVETHESE HELPED YOU INYOUR PRESENT ROLE?

I started as a runner/stand-in onfilms and dramas. The directorsoften used to say I should take

up acting so I did a course andgot an agent. Not muchhappened after that, although Irecently acted in a short film, somaybe it’s not totally over. It'sdefinitely helped being an AD.I've met some of the best Britishdirectors and you kind of soakup all the creativity and the waythings are done, how to getround problems and treat talent.

I do direct half the time but it's really up to the clientthat calls me. I'm just a man with a camera.

I think if you're not using thecamera you can be clearer aboutwhat sort of vision you had forthe project. It's so easy to getdistracted by a plethora of whitebalances, histograms, focus andsound, but I like that all jobs aredifferent.

I recently bought an old 5DIIso that I can make use of all thelovely lenses I have for my maincamera. It's nice to be free totake the cheaper camera aroundwith me to do photography or abit of filming.

SHARPSHOOTER ///


A Man with aCamera …

>

SHARPSHOOTER ///


WHAT IS YOUR EDITINGHARD/SOFTWARE SETUP?I use FCPX which was kind offorced upon me when I did asoftware update and my FCP 7stopped working!

I hate FCPX. I always findmyself saying 'if I can just sortthat out then I will love it', but Idon't know — it's endless. I dolike the fact it's easy to makesomething look good quickly.

WHAT IS YOUR ACADEMICBACKGROUND?I'm a bit overqualified, really. Iwas a bit confused because Ilove science and art, so I wenttravelling for a year; cyclingacross China for charity andthen did an art foundationcourse. I then went the otherway and did a degree inenvironmental science. I lovedthat too but ended up doing anMA at Bournemouth Universityin Film and TV production. It wasvery good, very focused.

CURRENT ASSIGNMENTS.WHERE, DOING WHAT,SHOOTING FOR WHOM?

A few weeks ago I was filmingfor Dior at Harrods, then filmingat a conference, a gig and amusic video. I just had somemeetings, one with the V&Amuseum to make a video andanother with an actress whostarted her own app aboutgraphology.

I'm penciled in next week tofilm all over the country with theWater Board and I just had an e-mail about some TV workThursday. So it’s extremelyvaried.

HAVE YOU BEEN BUSY?Yes, I’ve been very busy. It helpshaving the latest camera, butcertainly the economic mess ismeasurable. I hear it all the time:‘there's just no money anymore’.

FIRST-EVER SHOOTING JOB?I shot hundreds of front doorsfor a Royal Mail commercialyears ago as a runner. But Isuppose really, when I got myfirst camera -- the EX3 -- I wasphoned up from New York and

asked to film an interview with awell-known Voguephotographer, Tim Walker.

I was very excited. Hisphotographs are incredible. Thedirector was a rather grumpyman. But we got on well andthey've always asked me to filmhis interviews in London viaSkype.

CURRENT EQUIPMENT YOUUSE?I use a Canon C300 which I love.I'm tempted to buy the C500 but >

I don't think my credit cardcompany would appreciate that— hang on, they would love it! Ihave lights, a tripod, a slider,radio mics; 24-70mm L seriesCanon lens, 2.8/70-200mm Lseries, and lots of old Nikonlenses.

I can always hire from a localhire company and a friend ofmine has an F55. I've not heardgood reviews about it yet, butI'm sure the 4K revolution isabout to begin!

EQUIPMENT "WISH LIST"?WHAT WOULD YOU IDEALLYLIKE TO HAVE?Oh yes: I need some Dedos,maybe a Kino, anotherlightweight tripod and maybe areally nice heavy one. I could dowith a really good slider. I wouldlike a focus-pulling kit and someprime lenses and maybe somekind of Steadicam-like set up.The list is endless, really.

WHAT'S THE BIGGESTHASSLE IN YOUR CURRENTWORKING LIFE?I get a lot of people asking me tofilm and 'just edit a little' for free.I love editing, but it's not like Icharge much for it, I often sayyes and end up editing for weekswith them barking orders at meover the phone or hundreds of

texts. Free should be stress-free.

BEST THING ABOUT YOURJOB?The best thing is just meeting allsorts of people from all walks oflife and all sorts of places. Itmakes you feel quite privileged. Ihear many actors say, “it beatsworking for a living,” (and) it'skind of similar.

HAIRIEST/SCARIESTASSIGNMENTS AND WHY?I once had to film adocumentary about a womanwho had been badly abused as achild. She had had all her owndaughters taken away from herby the state. In turn, one wasabused badly in care andbecame a heroin addict.

We filmed all around Scotlandin some pretty scary estates.She really let loose on some ofthe people she blamed for herlife, one being a man who hadpreviously been put in jail forattempted murder (allegedly). Icame pretty close to a run-inwith him.

WHICH IS YOUR FAVOURITEPLACE TO SHOOT IN?I love the countryside or anexotic location. I love travelling,anywhere I need my passport is

nice. Practically: studios arealways good.

FAVOURITE FOOD?I love Japanese food but I likeany good food really. Right nowroast chicken would be nice, andtiramisu or Banoffee pie!

FAVOURITE DRINK?I really like Belgian beer in thoselittle stubby bottles made by

monks; St Feuillien Blonde orTripel Karmeliet or somethinglike that. Very strong too! but Ionly drink at the weekend, really.

SHARPSHOOTER ///


Adder 26 www.adder.com

AJA Video 5 www.aja.com

B&H 35 www.bandh.com

Blackmagic Design 9, 13 www.blackmagicdesign.com

Bridge Technologies 3 www.bridge.tv

Canon 33 www.canon-europe.com

CES 31 www.cesweb.org

Cobalt 28 www.cobaltdigital.com

Decimator 7 www.decimator.com

Digital Rapids 32 www.digitalrapids.com

Hamlet 29 www.hamlet.co.uk

IBC 23 www.ibc2ibc.com

Lite Panels 27 www.litepanels.com

Lupo Light 15 www.lupolight.it

Lupolux 30 www.lupolux.com

Media Power 11 www.media-power.it

Miranda 2 www.miranda.com

Mirror Image 34 www.teleprompters.comTeleprompters

Oasys 17 www.oasys.com

Phabrix 25 www.phabrix.com

Wheatstone 36 www.wheatstone.com

ADVERTISING INDEX ///////////////////

Advertising Sales Representatives ///////////////////Publisher Steve Connolly +44 (0)207 354 6000 [email protected]

Europe Sharifa Marshall +44 (0)207 354 6000 [email protected]

Europe Graham Kirk +44 (0)1223 911153 [email protected]

Italy Raffaella Calabrese +39 02 92884940 [email protected]

Latin America Susana Saibene +34 607 314071 [email protected]

Hong Kong, China, Asia/Pacific Wengong Wang +86 755 5785161 [email protected]

Australia/New Zealand Eric Trabb +1 212 378 0400 x532 [email protected]

US Central, New England & Canada Vytas Urbonas +1 212 378 0400 x533 [email protected]

US West Pete Sembler +1 212 378 0400 x324 [email protected]

US Classifieds & Product Showcase/ Michele Inderrieden +1 212 378 0400 x523 [email protected] Southeast and Mid-Atlantic

COMPANY PAGE WEBSITE COMPANY PAGE WEBSITE

Contact:W: http://michaelgoring.comE: [email protected]

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TVTE Oct-Nov 2013 digital edition