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ADM 2400 Series II Console

ADM understands how critical it is for professionals to be assuredof unfaltering performance under the most demanding conditions.That's why everything we do at ADM-from initial concept to final pro-duction-is geared to providing consoles of unexcelled quality and reliability.The finest of components are used in ADM consoles to assure long lifeand trouble -free operation. Our exclusive five-year warranty, the mostgenerous in the industry, attests to this fact. Service-if you ever need it-is prompt and professional. Contact ADM Technology, Inc.

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UNPREPAREDSometimes success can be a mixed blessing.Because as your business grows, it usually out-

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MANAGEMENTBROADCAST MANAGEMENT ENGINEERING

PublisherCharles C. Lenz, Jr.Editorial DirectorGerald M. WalkerEditor EmeritusJames A. Lippke

EditorRobert RiviinSenior EditorRobin LanierSenior Associate EditorEva J. BlinderAssociate EditorTim E. WetmoreAssistant to the EditorDouglas DamothEditorial Production AssistantAllene J. RobertsEditorial AssistantToria Smith

FCC CounselFarmer, Wells, McGuinn, Flood & BechtelBroadcast Financial ConsultantMark E. BattersbySpecial Projects EditorC. Robert Paulson

Associate Publishers

Neal WilderProduction DirectorJanet E. SmithArt DirectorSalja AutrandAdvertising CoordinatorDana L. KurtzMarketing AssistantElaine AlimontiReader ServiceSharon Porges

ControllerMichael J. Lanni

BROADBAND INFORMATION SERVICES, INC.295 Madison Ave., New York, N.Y. 10017212-685-5320, Telex: 64-4001Publishers of:BM/E-Broadcast ManagemenVEngineeringBM/E's World Broadcast News

IfABPBM/E BROADCAST MANAGEMENT ENG,-

VBPA NEERING (ISSN 0005-3201) is publishedmonthly by Broadband Information Services

Inc. All notices pertaining to undeliverable mail or subscrip-tions should be addressed to 295 Madison Ave., New York,NY 10017. BM/E is circulated without charge to those re-sponsible for station operation and for specifying andauthorizing the purchase of equipment used in broadcastfacilities in the U.S. and Canada. These facilities includeAM, FM and TV broadcast stations, CATV systems, ENstations, networks and studios, audio and video recordingstudios, telecine facilities, consultants, etc. Subscriptionprices to others $24.00 one year, $36.00 two years. Foreign$36.00 one year, $60.00 two years. Air Mail rates on re-quest. Copyright 1983 by Broadband Information Services,Inc., New York City. Second class postage paid N.Y., N.Y.and additional mailing offices.

4 BM/E JANUARY, 1983

NEWSMAKERtA"..therConter 6

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113IBROADCAST MANAGEMENT ENGINEERING

JANUARY 1983 VOLUME 19/NUMBER 1

EDITORIAL: Our 1983 Wish List 8BROADCAST INDUSTRY NEWS: Motorola AM Stereo Gets Delco's Nod for GM Cars; Harris, Chyron AnnounceMajor Graphics Agreement; Three -Year Rule Dropped As FCC Scans Ownership Regs. 12

RADIO PROGRAMMING AND PRODUCTION: Alaskan RENG Adventure 23TELEVISION PROGRAMMING AND PRODUCTION: Cable Programming on the Assembly Line 27

leaders

in-dustry executives still see a good year ahead.

Barna-than, Joseph Flaherty, Michael Sherlock, Mar-tin Rubinstein plus seven other industry

Everyone, including the broadcast industry, islooking at the bottom line these days, though

BM/E's exclusive interviews with Julie

35 Industry Leaders Examine 1983:A Tightrope to Prosperity

show you why.

SPECIAL REPORT: SPECIAL EFFECTS-THE NEW LOOK,THE NEW SOUND FOR THE 80s!

56 Part I: A New Dimension to Digital Video EffectsZ-axis control is being incorporated in the latestgeneration of digital video effects processors, withvery dramatic results.

62 Part II: Audio Effects Get DigitizedDigital audio processing adds everything fromsimple delay to computer -accessed effectsbanks to the audio engineer's palette-and it'spaying off.

73 SMPTE 1982: Broadcasters Discover a New Sense of RealityThe all -digital TV plant seemed to be just around the corner last year, butthis year's SMPTE Show revealed a renewed interest in analog compo-nents. A new reality is shaping the leading edge.

91 Industry Needs Survey Indicates a Close -to -the -VestYear in StoreLast year's spending exceeded that of 1981; TV stationsmay be spending more on expansion than replacement;and for radio stations, that split may be essentially even.BM/E's annual survey of industry needs finds out whatare the must buys. 0 \6

i',1*.o6N)6.

ect e*_,4.<-,':e4N

99 BROADCAST EQUIPMENT: BM/E's survey of new products e-- e,913e0 c1/4C, .,,, \\Pop 9cor


At Half the Price Let's face it, thesecret to better cartmachine performancefThe

new generation of imIts Nearest misnac'thiinnethe cartridge, it's in the

proved cartridges and tapes aloneCom e "tor cbailnit,ty saonidv thei sesperroi obuiesmp sha sereh t a -

plastic cart and its guiding systemare highly imprecise, at best. The new "hot" tapesbring a slight decrease in audible noise, which isnot terribly significant considering the noisebase. The maintenance of precise machine -to -machine head phase alignment has been practicallyimpossible in even the best installations.

The solution to the problem?PhaseMaster. The industry's most advanced

broadcast reproduction system. In the stereounits, our exclusive electronic solution utilizesvariable delays in each of the output channels. Asample of the left program channel is encoded onthe cue track (without interfering with the cueinformation), and upon decoding in the playbackcycle is compared to its upper track (left program)mate. Thus, an apples -to -apples comparisonwhich is used to correct for the time (phasing)differences due to head misalignment, tape skew-ing and jitter. It works flawlessly with any car-tridge. It eliminates the compromise of unreliableand inconsistent electromechanical schemes; thetradeoffs imposed by noise -inducing and non -compatible matrixing approaches; the complexand inexact cross -correlation methods.

PhaseMaster gives you compatability with allyour present, previously recorded carts too. Aneasy transition can be made at your own pacewithout having to immediately rerecord your


PhaseMaster's NumbersWow & Flutter:

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+25 dBm0.3% max. (amplifier)$1,091 Model PM -1Mono Playback$2,600 Model RPS-1Stereo-Record/Play$2,000 Model RPM -1Mono Record/Play$1,399 Model PS -1Stereo Playback

0 1982 Ramko Research

station's entire library. Interestingly, even thesecarts will sound better due to our new noise -reduction circuitry.

Add to this the performance specifications thatrival open -reel recorders and the best mechan-ical design you've ever seen in a cart machine.

Here's the best news yet: PhaseMaster can beperforming in your studios for as little as $1,091!At $2,600, our Stereo R/P is about half the priceof the ITC/3M Series 99B. And the margin's evenwider with Tomcat?* If you've given thought toadding the Phasechaser, you're now up to, orover the price of a new PhaseMaster with all ofits inherent advantages.

Feature for feature, spec' to spec ', dollar fordollar-the Phasemaster comes out on top.

The only way to fully appreciate a PhaseMasteris to get your hands (and ears) on one. To proveto yourself that PhaseMaster really has the per-formance of an open -reel recorder, that once andfor all phase stability, noise and fidelity problemsare a thing of the past, that there's a cart machinetruly ready for FM & AM Mono or Stereo-writeor call us now. We'll loan you a PhaseMaster at noobligation. Free, for two weeks.

Like we said, try it with anybody's cart.You'll discover performance of an open -reel

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EDITORIOL

Our 1983 Wish List

JANUARY IS USUALLY THE MONTH for examining the coming year and outlining thecritical challenges and problems ahead. And BM/E is no exception. If there is asingle theme that emerges from the interviews comprising this month's cover arti-cle, it seems to be that 1983 is going to be a difficult year-a year for testing theskills and creativity of management and engineering. On the whole the feelings ex-pressed by the industry leaders are upbeat, indicating that broadcasters will make itthrough the recession in good shape.

But there are nagging problems besides the economy that could hamper industryperformance. If we had a New Year's wish list, here are a few of the problems wewould like cleared up. We wish that: Somehow the competing manufacturers would settle through SMPTE a standardsmall -format ENG recorder -camera format and the major potential users would cutout playing politics with this issue. The FCC would modify its rigid dedication to "the marketplace" and recognizeits responsibility in setting technical standards. Multichannel television would become a reality, with the EIA committee finallyhammering out a transmission standard. A single worldwide digital audio format would be decided upon. The industry would define high definition TV so that orderly development andimplementation can go forward. Congress would take the bull by the horns and rewrite the Communications Act of1934 to reflect the profound changes in the industry and the need to legislatederegulation. The uses and impact of DBS would be sorted out so that broadcasters, cable oper-ators, and the public could get a clear picture of what this service promises. Television broadcasters and teleproduction facilities would speed up their move-ment toward higher -quality audio. Costs of satellite delivery systems would decline to the point thatevery broadcast-er can afford to install an earth station. The many groups that run trade shows would critically evaluate, first, if attendeeswho attract the exhibitors get adequate access to the displays and, second, if theexhibitors who pay the freight get even-handed treatment. For AM stereo, we wish that BM/E could this year report a marketplace decision.

How much of this wish list will come to pass? The answer to this question is whatmakes covering this industry continuously fascinating.

8 BM E JANUARY, 1983

Di Harrison

TV -3STEREO TELEVISION CONSOLE

TV -3 is the only television audio console that provides production facilities andsignal -performance specifications which match your high standards of video production.It incorporates virtually every function and feature requested by a wide range ofsurveyed teleproduction clients.

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If yo nd pictures, we have what you need.

HARRISON SYSTEMS, INC./P.O. Box 22964, Nashville. Tennessee 37202/(615i 834-1184. Telex 555133Circle 104 on Reader Service Card

THE ULTIMATE VTR.FAST, YET GENTLE.

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More Features For Your MoneyVPR-3 gives you a tremendous array of

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shuttle in just one second withone -hour reels, "fail-safe"dynamic braking, fast (fourfields maximum) synchro-nous lockup, flexibility tooperate with three-hour toone -minute "spot" reels

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VTR. It's all you ever wanted. In a singlemachine. For the compelling details, contactyour local Ampex sales representative, orwrite Willie Scullion, National Sales Mgr.,Ampex Corporation, Audio -Video SystemsDivision, 401 Broadway, Redwood City, CA94063. Sales, spares and service worldwide.

AM PEXAmpex Corporation One of The Signal Companies So_

SETTINGTHE FASHION

IN BROADCASTVIDEO


broadcast industry nEWSHarris, Chyron AnnounceMajor Graphics AgreementReflecting the continuing demandamong TV broadcasters to increase theversatility of existing graphics systemsrather than adding new hardware, a ma-jor agreement between Harris VideoCorp. and Chyron Corp. will make theHarris IRIS II digital still store avail-able with an internal Chyron charactergenerator/graphics package.

The add-on module, priced at only$12,500, converts the IRIS keyboardinto a character generator mode andconverts the IRIS computer for charac-ter generator use; no extra hardware atall is required for the Chyron addition.

Information on the stills for both on -air captioning and library storage isfiled on a separate computer disk, then

accessed simultaneously with the pic-ture. In another mode, the system canbe set to automatically format data suchas player names and states; the operatorsimply compiles a list of data, which isinserted into the correct format whenpicture and caption are called up. Inessence, a station or facility with thenew system can completely free an ex-isting character generator from on -airor post -production captioning tasks.

In a related move, Harris announcedthe sale of four still store systems to theABC network-two intended for WLS,Chicago, and two for KABC, Los An-geles. The deal, valued at $500,000("with more to come," according to aHarris spokesman), includes two of thebrand-new IRIS/Chyron combinationunits.

Motorola AM Stereo Gets Delco'sAfter analyzing the results of morethan two months of tests, auto radioreceiver manufacturer Delco hascounseled General Motors' car divi-sions to install Motorola AM stereoreceivers in their new cars.

AM stereo contender Harris Corp.,which had participated in the Delcotests, said it was "disappointed" atthe Delco move, but claimed, "Al-though it is important, the Delco an-nouncement is not a decisive factorin the AM stereo marketplace and willnot cause Harris to alter its plans."Harris suggested that the wide band-width of the Motorola system couldrequire broadcasters "to eliminate orseverely limit the use of preemphasisto stay within the FCC limits on radia-tion" and could cause distortion incurrent AM receivers.

Although GM had not issued an of-ficial reaction at press time, DavidHudgens, news relations managerfor the company's Buick division,said, "Our position has been that weare going to offer what the customerswant, just as we did years ago" whenFM's popularity grew.

Three AM stereo proponents-Motorola, Harris, and Magnavox-participated in the Delco tests, whichtook place at WIRE, Indianapolis,from August 2 to October 10. Eachsystem was bench- and field-testedfor three weeks, with representativesof each company invited to witness

Nod for GM Carl

Engineer Keith Schultz installs Delco-GMreceivers and AM stereo decoders (onseat) in 1982 Cadillac Seville for AMstereo field tests.

their systems' trials. Three othercompanies with AM stereo systems,Kahn, Belar, and Fisher, chose not toparticipate.

"We clearly believe Motorola is thepreferential system," Delco spokes-person Marilyn Grant said. Final de-cision on whether the stereo systemswill go into GM cars will await theresults of marketing surveys, Grantexplained.

Copyright CompromiseBill May Lose Senate BattleAs the 1982 Congressional sessiondrew to a close, chances looked slimthat the cable copyright bill passed bythe House, HR 5949, would clear itshurdles in the Senate.

The bill, a compromise worked outprimarily by NAB, NCTA, andMPAA, put no limit on importation ofdistant signals by cable systems. Itcodified the FCC's must -carry rules,with the provision that signals not cov-ered in the current rules-includingLPTV stations, drop -ins, and DBSsignals-may not be included in themust -carry list.

Smaller cable systems, those with 36or fewer channels, would have had relieffrom must -carry pressure under a pro-vision allowing them to delete any sta-tion that does not receive a one percentshare of local noncable homes or a twopercent share of all local homes. Anexception-designed to placate re-ligious broadcasters-required thesmaller systems to carry up to three ed-ucational stations, allowing the sys-tems to delete duplicated networksignals if necessary to squeeze in thenoncommercials.

Meanwhile, the NAB praised theCopyright Royalty Tribunal's decisionto raise cablers' copyright fees for dis-tant television signals. As a result of thedecision, said NAB president EddieFritts, "stations will be compensatedmore in line with what our pro-gramming is worth for at least some ofthe distant signals being imported bycable systems." The higher fees, how-ever, may result in some multiple sys-tem operators dropping some of theirdistant figures to keep costs down, andNAB and NCTA have asked the Senateto amend HR 5949 to stay the CRTruling.

Western Cable ShowOutlook: Back to EarthA downbeat cable industry gathered inAnaheim, CA, for the recent WesternCable Show, November 17 to 19. Whatexcitement there was centered notaround programming, as is usual for theshow, but around hardware. The con-vention followed immediately after theannual meeting of the National CableTelevision Association, leaving cablerstired after a busy "cable week."

After returning from the show, thecable industry was caught by surprisewhen Gustave Hauser, chairman andchief executive officer of WarnerAmex Cable Communications, an-


"In a little over a year,we've made 24 albums directfrom digital. And like anythingelse, a proven track record isthe best reason to buy:'

Roy SegalExecutive Vice President

Fantasy Studios

Foy Segal did not ar cept a iy compensation for this endorsement.

c 1982 Mitsubishi Electric Sales of America, Inc.

"We chose the X-80 because it's anatural extension of the analog record-ing system" It uses 114 inch tape. Ithas a traditional open reel format. Andit's the only digital machine that'sdesigned for good old razor blademechanical editing.

But what Roy likes best about theX-80 is this: "When you consider thequality, the reliability and the priceof this machine, it's totally cost effective."

When Fantasy Studios producesa digital master on the X-80, the recordcompanies can make disc lacquersdirectly from it, and make as many firstgeneration analog masters as theyrequire. The end product sounds better.It sells better. And the artists comeback to Fantasy Studios.

Call or write us for more information.Because as Roy Segal told us, "... theMitsubishi X-80 not only sounds good,it's good for business."

MITSUBISHIDIGITAL AUDIO SYSTEMSEI00-631-5377 (Outside New Jersey)231-981-1414 (With n New Jersey)

WHYM TSUBISHNo noise and perfect reproduction areexpected from a digital recorder. Butthe performance of the Mitsubishi X-80digital recorder at Fantasy Studiosis why you should investigate owningthis one.

As you've already heard, digital isbig news. In fact, Roy Segal comparesdigital with the introduction of magnetictape, and the advent of the transistor.And that's pretty good company.

Roy puts it this way. "Digital willsupplant analog, period. It's simply aquestion of when. Recently, I AB'd theMitsubishi X-80 in my own studio andfor me the time is now."

No wonder. With a 35 db increasein S/N ratio, the total absence of hissand added noise, and an uncannyability to reproduce the dynamics oforiginal performance, the MitsubishiX-80 comes about as close to perfectionas our greatest minds can take us.

But there's more to this machinethan meets the ears, and that's why wewent to a man who has been in theaudio engineering business for 34 years.

110rdiTHE PORTABLE X-80

.4194rtilliWO"

2 -Channel Digital Audio Recordet.

NEWS

nounced his intention to step down.Hauser's stated objective was to followsome private business opportunities inelectronic communications, and thecompany has denied that its financialsituation-in the red and still losing-had anything to do with the move.

Reasons for the less lively atmos-phere at the show varied with theobserver, with many citing the slug-gish economy and others the dearth ofof programming. The large exhibitspace-over 50 percent larger than theprevious year-made the floor traffic

seem lighter than it actually was, someargued.

Still, it was the exhibit floor that pro-vided the real news of the convention.General Electric's display centeredaround Comband, its system for com-pressing two TV signals onto a singlecable channel, effectively doubling acable system's channel capacity. To thedisappointment of cable engineers,however, the company didn't have aworking system at the show, andComband won't be ready for industryuse until next year.

The Most ImitatedCompressor/Limiter

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For over 20 years, UREI electro-optical limiters have set thestandard for automatic gainreduction. From the original LA -1and the LA -2 vacuum tube "levelingamplifiers" to today's LA -4, theseUREI compressor/limiters havegiven thousands of users the mostmusical and natural soundingresults around.

The "soft -knee" compressioncurve, which eases the signal intocontrol, is only one of the "LA"Series' features which have becomemodels for the industry. The LA -4,like its illustrious predecessors,employs gain reduction circuits whichrespond much like your ears do.

These features, coupled withtraditional UREI quality, make anunbeatable combination.

Insure the quality of your signalwith the LA -4. It's the original, notan imitation. For more informationon the LA -4 and other UREI signalprocessing equipment, see yourauthorized UREI dealer or contact:

g 11 From One Pro to AnotherUnited Recording Electronics Industriesa URC Company8460 San Fernando RoadSun Valley, California 91352(213) 767-1000 Telex: 65-1289 UREI SNVYCanada: E.S. Gould Marketing, Montreal


Zenith Radio, another exhibitor,showed its Z-TAC addressable con-verters, which the company says can beadapted for teletext reception with anadd-on decoder. Other exhibitors fa-miliar to the broadcast market includedScientific-Atlanta, Microdyne, HughesCommunications, and Blonder -TongueLaboratories.

Cable systems looking for survival ina tough market must emphasize solidlocal service to customers, warnedDaniel Ritchie, head of WestinghouseBroadcasting and Cable, Inc. Cautionwas also the keystone of an address byAnne Marie Hutchison, chairman ofthe show's host organization, theCalifornia Cable Television Associa-tion. Hutchison warned her colleaguesthat they must develop "some restraintand a sense of reality" if they want toavoid the full impact of the recession.

Three -Year Rule DroppedIn Ownership ReviewStating that a free-market environmentfor station sales will promote broad-casting in the public interest, the FCChas repealed its 20 -year -old "three-year rule" and trafficking policies. Therule, originally intended to preventspeculation, had required broadcast li-censees to hold a station for at leastthree years before seeking to sell ortransfer the license.

In lifting the restriction, however,the Commission mandated that the ini-tial licensee of a new station must oper-ate the station for at least one year, ifthe license has been granted through acomparative hearing. The Commissionalso retained rules prohibiting the trans-fer or assignment of a construction per-mit for profit.

The move is a significant step in theFCC's review of its ownership policies,adopted at a time when scarcity ofavailable spectrum was taken forgranted. Shifts in viewpoint over thepast year, spearheaded by commissionchairman Mark Fowler and otherReagan administration appointees tothe FCC, have led to a marketplace -oriented philosophy that has shaken theFCC's entrenched regulatory stance.

Fowler was jubilant at the action,which he termed "a true blockbuster inthe unregulation process." Commis-sioner Mimi Weyforth Dawson con-curred in most aspects of the decision,but disagreed with the one-year holdingrequirement, which she called "addi-tional regulatory baggage" that "sim-ply bears no relationship to thetheoretical promises exacted from acomparative winner in the hearingprocess."

14 BM E JANUARY. 1983

CEI 310SP:Innovation by Panavision

The 310SP represents a new generation of electronicfeatures that provide both the "film look" of electroniccinematography while delivering unmatched performancein a video production camera. All this at a purchaseprice that's very easy on your budget.

Recessed prism mounted preamps provide unprece-dented signal-to-noise ratio Soft Clip "Film Look" increases the dynamic rangeand simulates the exposure range of film. In -band and out -of -band detail enhancement providesfiner detail without signal-to-noise loss Detail Blanker defeats enhancement in peak whitesthereby eliminating unnatural black outlines

Microprocessor featuring automatic pedestal, center-ing, size, white and black balance, interactive viewfinderdisplayed adjustment procedures

Saticon* II pickup tubes

SP performance package is retrofitable to all310's

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Manufactured in Mountain View, CA U.SA.GSA approved contract number GS -00C-90148 TM Hitachi


MEWSCNN Leads Nets in News,Turner Tells Agency Reps"We have taken news leadership awayfrom the other three news networks,"crowed a jubilant Ted Turner, ad-dressing an audience of several hun-dred ad agency executives at a recentNew York luncheon. Turner based hisclaim on the result of a survey, con-ducted for Turner Broadcasting Systemby Burke Marketing Research, that in-dicated cable viewers preferred CNNHeadline News over other newssources.

When Turner tried to duplicate thesurvey results with an informal hand -count of luncheon attendees, however,hardly anyone in the audience claimedto like CNN better than network news.Turner's explanation was quick:"You're trying to justify your ineffi-cient buying," he told the laughingagency personnel.

The Burke survey, conducted lastOctober, was designed to measure ca-ble subscribers' perception of CNNHeadline News in relation to thecompeting Satellite NewsChannels, a

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joint venture of ABC and Group W.When asked which service they wouldmost like to receive, 64 percent of the371 subscribers polled named CNNHeadline News and 36 percent namedSNC, according to Turner. In anotherquestion, the respondents were asked tocompare CNN Headline News andSNC to network news programs. CNNwas rated better than the nets by 55 per-cent of the sample, with only 35 percentconsidering SNC better.

Two other Turner-commissoned sur-veys, conducted by Opinion ResearchCorp. of Princeton, NJ, showed cablesubscribers rating Turner superstationWTBS and CNN as "very valuable" or"somewhat valuable" more often thanHBO, WGN, or ESPN. According toTurner, current Nielsen reports showCNN in 20 percent of all U.S. house-holds. The headline service now boasts130 TV station affiliates and 50 radioaffiliates, Turner said.

Turner talked briefly about his pro-posed "fourth network,- which hesaid won't be launched before spring of1984 at the earliest. Early meetingswith program suppliers have gotten a"pretty good reception," Turnerclaimed, and the company is now in-volved in one-on-one negotiations withfilm companies.negotiating for the entire rights forbaseball-the whole thing," Turnerboasted.

Another Digital FormatHeard from at AESMassachussetts audio manufacturerdbx has thrown its hat into the digitalaudio ring with the introduction of anew, low-cost processor. Unveiled atthe AES Convention in Anaheim, CA,the Model 700 Digital Audio Processorwill sell for under $5000 a price dbxbelieves will make digital technologyaffordable for virtually any recordingstudio.

Instead of the linear pulse code mod-ulation technique espoused by Sonyand others, the dbx processor usescompanded predictive delta modula-tion (CPDM), which accounts for thelow price tag. The CPDM processorpromises a dynamic range of 110 dB orbetter, compared with 90 dB for the16 -bit PCM processors, says dbx.

In delta modulation, the numbersproduced by the analog -to -digital dataconverter represent differences be-tween successive sampled voltages,rather than the instantaneous voltage ofthe input signal at each point of time, asused by a conventional PCM audio pro-cessor. However, delta modulation hasa dynamic range of only about 55 dB.


Now getting the hot story liveis as easy as calling home.

The SM82.Sometimes a story breaks so fast there's practically no time toset up lines of communication. Knowing that, Shure has de-veloped a microphone to keep both you and the story wellcovered.

The Shure SM82 Cardioid Condenser Microphone. It's theonly line -level microphone tough enough for the rigors of dayto day remote ENG broadcast assignments. And all your crewhas to do is just patch it straight into the transmitter connec-tion of the nearest telephone ... call your station, and they'rehome free. Or, it can be connected directly across a dialed -up'phone line. No separate amplifiers, limiters, or line -leveladapters are necessary.

Just as important, the SM82 is ideal for assignments involv-ing very long cable runs (up to one mile without equalization)typically encountered when covering sporting events,parades, and political rallies.

While electronic news journalists will appreciate theSM82's extended reach and exceptional bal-ance in hand-held situations you'll loveits low mechanical handling noise, ruggedconstruction and reliable operation over a

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The SM82 utilizes an internal battery or it can beexternally powered by an optional PSI powersupply or equivalent. For added security, it auto-matically switches to battery, power if its simplexsource should ever fail.

If you're in the broadcast operations ENG/EFP business, you know there are lots of waysto get a live story-even more ways to missone. Now, with the SM82 on the scene. it issimply a matter of calling home.

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To eliminate this shortcoming, seniorproject engineer Robert Adams and histeam came up with two unique cir-cuits-linear prediction and precisioncompanding.

"The linear prediction circuit esti-mates a signal's future by monitoringits recent past history," Adams ex-plains. "It does this 700,000 times asecond. In addition to avoiding audiblenoise modulation effects, the circuit isresponsible for increasing the dynamicrange of the basic delta modulator from55 dB to 70 dB."

The remaining dynamic range in-crease results from the precision com-panding circuit, which features a directdigital link between encoder and de-coder, thus eliminating any possibilityof mistracking. The dbx system differsfrom adaptive delta modulation (ADM)in two ways. In ADM, step size isvaried to follow the signal. The dbxconverter uses a precision companderin which the signal itself is varied with avoltage -controlled amplifier to avoidoverloading a fixed delta modulator.And the dbx delta modulator has thelinear -prediction filter, which relies onthe history of the audio signal to predictthe future.

Teletext Systems Moveto Satellite DeliverySatellite technology met teletext head-on in two recent developments in thetext delivery area. Launched late lastfall, the Keyfax National Teletext Mag-azine is billed as the first nationalteletext service in the U.S. Keyfax, ajoint venture of Keycom ElectronicPublishing and Satellite SyndicatedSystems, Inc. , started as an experimentover WFLD-TV, Chicago, more than ayear ago. The service is delivered in thevertical blanking interval of super -station WTBS and distributed to cableoperators over Westar 5. Officials forthe venture say almost 70 cable systemshad signed up at the launch date.

The second development is the for-mation of Satellite Network DeliveryCorp. (SND), funded by the TribuneCo. SND, which will use broadcastteletext technology to distribute infor-mation to business users, plans to sell100 channels on its satellite -based sys-tem to information providers such asbrokerage firms and publishers of fi-nancial newsletters. The informationproviders, in turn, will sell their ser-vices to end users. Information will besent by satellite to a network of approx-

imately 150 receive only earth stationsin the continental U.S.; "last mile"distribution will be over televisiontransmitters.

A second venture of SND will beT -SAT, a transmission service that willdeliver spot TV commercials and syn-dicated programs in digital form to sta-tions and cable systems in the top 100markets. Material will be converted todigital at a control center, transmittedto a selected station in the destinationmarket, and there reconverted to analogform and delivered to the end user onvideotape. A computer at the controlcenter will give advertising agencies-T-SAT's customers-full control overthe routing of their material.

According to the company, both ser-vices will begin test operations thisspring. Full operation is expected inabout another year.

In another teletext development, anewly formed French company, VS-Videographie Systeme, has announcedits intention to seek a foothold in theU.S. videotex/teletext market. Thecompany, 51 percent owned by Thom-son-CSF, will also operate a U.S. sub-sidiary, Videographic Systems ofAmerica, headquartered in New York.

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EFFECTS DEPARTMENTThe Eventide H949 Harmonizer,,,special effects unit gives you an al-most endless variety of effects.There's variable delay, echo and re -verb. Feedback level and equalizationcontrols let you "custom -tune" the au-dio. Pitch change capability can create new voices. Mixinput with pitch -changed output for chorus and harmonyeffects. Want the distinctive sound of flanging? The H949offers the best flanging ever. There's time reversal and re-peat too. For even more versatility, many more effects canbe created from combinations of the basic effects.WHAT CAN THIS MEAN FOR YOUR STATION?

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IF IT WERE IMUR JOBTO GET THIS ON TAPE,WHAT TAPE WOULDYOU GET IT ON?

It's a complete mismatch. A collection ofcollege amateurs together for only a couple ofmonths against the equivalent of the Russianprofessional all-stars, a team that has dominatedworld hockey for a decade or more, a teamthat has recently embarrassed the NHL All -Starswith a 7-2 exhibition victory. But in the end, theamateurs win in a dramatic showdown for all theworld to see at a time in world politics when avictory really counts.

America, like most of the world, will see thegame on tape, recorded and broadcast by ABC-TV.In fact, many of the events at Lake Placid willbe broadcast and rebroadcast to the world on tapeunder the most demanding time and temperatureconditions. It's a one -chance situation all theway and the stakes are always high.

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RODIOprogramming fi production

Alaskan RENG AdventureTHE BROADCASTER who undertakes tocover live the Iditarod Dog -Sled Race,run each year in March from Anchor-age to Nome, AK, needs a crew withphysical stamina and plenty of Arctic -style clothing, in addition to technicalproficiency with RENG equipment.The trail is 1049 miles long, and goodaverage time for the trip is two to threeweeks.

KNOM-AM, in Nome, has coveredthe race for ten years, lately feeding thelive account to 36 other stationsthroughout Alaska and western Cana-da. Tom Busch, general manager ofKNOM and president of the AlaskaBroadcasters Association, says the firstproblem is to get to Nome a running ac-count of the start near Anchorage, 500airline miles away. But then reportershave to get out on the route, and giveinterim reports with the actuality andcolor of the event. This could be cov-ered comfortably from aircraft flyingoverhead, but it would not satisfy theneed for close-up eyewitness and ver-bal contact with the participants, tocapture the reality and excitement ofthe race.

Ten years ago, Busch points out, theroute was considerably more primitivethan it is today. Ham radio and widelyscattered and unreliable telephones insome villages were the only links fromthe route to KNOM's studios in Nome.

Back then the remote crew had oldVHF radio equipment for shorter haulsnear the end of the route, but had to per-form feats of tenacity and ingenuity toget their reports back from the earlierstages. KNOM became famous in thearea because of this coverage.

Today, says Busch, thanks to satel-lites, there is high -quality long-distancetelephone service in many villages nottoo far from most sections of the race.There are no roads linking Anchorageand Nome, but there is plenty of airtraffic.

"Today, all one needs to cover thewilderness part of the race is a ruggedreporter, a cassette recorder with clipleads, and plenty of Arctic -style under-wear," Busch says.

The reporter goes by plane to a land-ing as close as possible to one of thecheckpoints (if the weather is fit for fly-ing) and gets two- and three -minute in-terviews with the "mushers" who

Two teams in race "mush" through vast emptiness of trail. Damien Berger, KNOM newsdirector, equipped for RENG in Alaskan winter (inset).

come through. Then he gets as best hecan to the nearest town to telephone hisstory and the "actualities" back toNome. Obviously, this is all easy onlyby comparison with the earlier, moreprimitive days; nothing is easy out-doors in Alaskan winter temperatures.

The KNOM crew has developedsuch skill in the enterprise that their re-ports in recent years have been pickedup by Mutual and AP radio, as well asmany other stations in the area.

The race start in Anchorage hasproblems of its own. Because of last-minute alterations in snow conditions,the actual start must often be shiftedfrom the originally chosen spot with aslittle as two days' notice.

At the startIn Anchorage, KNOM ordinarily re-

serves a special line from the local tele-phone company a month or so ahead toget the signal from the starting scene toNome. If there is a last-minute shift, thephone company must move very fast,and Busch emphasizes that maintainingexcellent telco relations has been im-portant.

Another variable is the talkbackroute. Close to the city, it can be estab-

lished through a local station that car-ries the race. Further out, however, theKNOM crew must rearrange its equip-ment to make a talkback channel.

Overall, stresses Busch, carefulplanning and flexibility are essential:"It really pays to develop a clear over-all concept of what you are trying toaccomplish . . . think it through to con-clusion and put all your ideas on paper.Make flow charts-examine your op-tions

Starting lineupThe basic plan at the start is usually

for a remote master control point, withroving RENG-equipped reporters. Forthis the station has four VHF trans-ceivers on 153.230 and 161.760 MHz:three Regency voice -grade units and aMarti broadcast -quality RPT-40. Onebase receiver, powered by ac or a12 -volt battery, serves all.

There are also two handheld trans-mitters, a Marti RPT-1 and an RPT-2,on 450.050 and 450.250 MHz. Otherunits are a Shure mixer, a handful ofRE -16 Electro-Voice mics, and a pairof Bearcat scanners. Although it hasn'tbeen necessary so far, the crew, saysBusch, could quickly put together a re-

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RADIO PROGRAMMINGpeater to get the UHF or VHF signalback.

The crew's checklist for the job in-cludes every conceivable piece ofequipment and connecting gear. "Over-plan," say Busch. "If you forget animportant connecting cable, you havehad it!"

Master control has lately been in aheated building, Settler's Bay Lodge,about a half mile from the start. UHFand VHF whips and Yagis are taped toupstairs porches, poles, and tree limbs.Outside, the starting line reporter is onfoot (with the temperature likely to be20 degrees below zero or worse), carry-ing the 1 W UHF transmitter and apocket scanner. A second roving re-porter is in the dog -handling area, in agood position to interview the mushersbefore they go over the starting line.

The two reporters transmit to the an-chor on different frequencies. The UHFreceiver is normally used at the startingline, at the frequency of 450.050 MHz.A scanner receiver is set to the otherfrequency, 450.250 MHz. It alerts theoperator that the second reporter isready to talk. The anchor waits for apause in the action, tosses in a little col-or information, pots down the first re-porter, and cues the second one in.

Environmental extremesKeeping equipment warm is one of

the special requirements of the opera-tion. "In the past," says Busch, "wehave found battery life to be a real prob-lem. For example, the batteries in the 1W UHF units are rated for two to threehours at room temperatures. Drop to 20below, and you can count useful trans-mission time in tens of minutes."

KNOM tried for years to beef up bat-tery life with heavy auxiliaries, for ex-ample by putting 4.5 amp -hour gel cellsinside the operator's parka. But thecold, says Busch, makes the manage-ment of heavy outrigger batteries andcables very difficult.

A solution was found: styrofoam-insulated boots for the Marti transmit-ters, complete with inside pockets thatare tailor-made for catalytic hand -warmers. The boots are sealed withVelcro, to form simple wrap -aroundcoats.

"With the boots on, the front panelsof the transmitters may get frosty coldbut it's above freezing where thebatteries sit," says Busch. "The resulthas been full battery life, even in thecoldest weather the Alaskan bush hasthrown at us."

Busch concludes: "Modem gear ismaking this kind of coverage increas-ingly easy. Accomplishing a remotelike the Iditarod gives you a satisfactionyou can taste. And it makes everythingyou do at home seem easy. BM/E



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TELEVISI011programming & production

Cable Programming on the Assembly Line

MOVE OVER, HENRY FORD -mass pro-duction is about to hit the televisionprogramming industry. The ProgramFactory, a soon -to -be -built facility inNashville, TN, is designed with the aimof turning out 1500 shows a year for thecable TV market.

The Program Factory is the brain-child of F. Roger Muir, president ofNicholson -Muir Productions, Inc., ateleproduction company based in NewYork City. (Muir describes his partner,Nick Nicholson, as "the creative headof the company. I'm the nuts and boltsman.") Muir' s long experience inproducing cable programming, muchof it for the less affluent Canadian mar-ket, taught him the benefits of cost-effective operations.

The idea for The Program Factorytook root a year and a half ago whenContinental Broadcasting Network, thesecular arm of the Christian Broad-casting Network, asked Nicholson -Muir to develop some game show ideasto run alongside Continental's soap op-era, Another Life.

"Down at CBN," Muir relates, "wedeveloped the idea of producing differ-ent shows in the same studio. We'd dosoap operas for half a day. Then, in theafternoon they'd roll in the game setand we'd produce the game show with aseparate audience. The game show waseventually dropped, but the idea tickedaway in my mind."

No overtime

Muir decided it would be a good ideato set up a well -designed production fa-cility, with all technical and programpersonnel (except for major talent) onstraight salary year-round, working a40 -hour week with no overtime. Setswould be built on casters so they couldbe rolled in and out for different shows,and lighting would be computerized forquick setup.

"Building from scratch and settingup an ideal facility," Muir continues,"we found that we could turn out some-thing in the vicinity of 1500 shows ayear. Even with a multimillion dollaroperation, the cost per show wouldcome in well within the reach of cablepeople."

Basically, the Program Factory planis to produce "formula" shows, suchas game shows (an N -M specialty), on a

mass production basis, with a differentaudience each morning and afternoon.An average of three shows will be pro-duced in front of each audience. MarkBall of Scene Three, Inc., the Nashvilleproduction company that is Nicholson-Muir's partner in the Program Factoryjoint venture, explains the setup:

"One unique element of The Pro-gram Factory," says Ball, "is that itwill be designed so the general publicwill have free access to the seating towatch a show, but not to the technicalareas." Poor audience access has beena problem in several facilities Nichol-son -Muir has used. To encourage audi-ences to attend and enjoy the shows, theplant, scheduled for September 1 oper-ation, will be equipped with good park-ing facilities and comfortable seating.It will also include areas set aside for in-terviewing potential contestants.

Two production areasAlthough final design must wait for

the land acquisition to be completed,Ball is able to give a good idea of whatthe facility will be like. The buildingwill have two stage areas-a principalstage 100 feet square, where the showprogramming will take place, and asecondary production area, 60 by 40feet, for production of inserts and othersmaller -scale items.

A particularly important feature ofthe new facility is the prop storage area,which will measure 80 by 60 feet. Tospeed set changes, the sets will nevercome down-they'll just roll in 'andout. "It will be handled in such a waythat it's almost like filing file folders,"Ball explains. "The sets will go intotheir places and wait, and when theirtime comes they'll be rolled in and putin position."

After a search that took him to suchlocales as Miami, Dallas/Ft. Worth,Omaha, and Chicago, Muir settled onNashville as the site for The ProgramFactory. One reason was the steadyflow of people from all over the coun-try, essential for producing shows infront of audiences. Besides, Nashvillewas the home of Scene Three, whichhad collaborated with Nicholson -Muiron a previous project, The ShoppingGame.

In order to get up and running as soonas possible, the first stage in estab-lishing the new Nashville facility wasto acquire a $1.5 million tractor -trailerput together by Scene Three. Accord-ing to Mike Arnold, Scene Three'schief engineer, the 45 -foot semi wasbuilt by Matlock Trailers in Nashville,with interior work done by a number oflocal subcontractors. All the engineer-ing, however, was performed by Scene

At Scene Three's current facility, one -inch video edit suit features a CMX 340X editing systemand two -channel Vital SqueeZoom.

BM E JANUARY, 1983 27

TELEVISION PROGROMMINGCE Mike Arnoldoperates one of

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tape room.

Three's staff. The six -camera truck isset up for all one -inch production, asthe permanent facility will be. Its flexi-ble setup allows the exact complementof cameras and VTRs to vary accordingto need.

The four VTRs, Arnold says, are acombination of Sony BVH-1100As andBVH-500s. Cameras are Ikegami HL -79s and HK -302 studio types.

Graphics come from Scene Three'sChryon RGU-1 graphics unit, whichwas recently updated to the RGU-2, in-troduced at the last NAB show. Theproduction switcher in the truck is anew Grass Valley 1680, also newly in-troduced at the 1982 NAB. Arnold saysScene Three is "really excited" aboutbeing one of the first to have a 1680,which features such capabilities as

downstream keying on each mix/effects unit and an improved effectspackage including soft bordered wipes.

Routing equipment will be by UtahScientific, with 30x20 routers (the ini-tial configuration will be 20x10) givingthe director the capability of simultane-ously feeding the VTRs switched pro-gram feed and up to three switchedisos.

Stereo audio capabilityA major design consideration in the

truck, Arnold points out, was fullstereo audio capability. "I think that'ssomething that really is important toconsider with the advent of multi-channel audio for television, particular-ly in light of the fact that the programswe'll be producing will be targeted to-

ward cable," Arnold asserts. "It's verylikely that a lot of the cable facilitieswill have stereo capabilities before theFCC approves stereo audio for broad-cast."

To that end, Scene Three specifiedsome sophisticated audio equipmentfor the truck. The console, built byHarrison Systems, was exhibited at therecent AES show before delivery toScene Three. It is, of course, fullyready for stereo. Its 28 inputs, accord-ing to Arnold, can be any combinationof mics or stereo line level inputs, andunlike the typical television console, ithas eight stereo groups. Signal-to-noisespecs and overall performance are"close to state-of-the-art," Arnoldglows.

Another advantage of the board,Arnold says, is its exclusive use ofvoltage -controlled amplifiers instead ofconventional faders, a boon if SceneThree decides-as it may in thefuture-to equip the console with anautomation system.

Normally, the truck doesn't carry amultitrack recorder, but if one is re-quired Scene Three rolls in its StuderA80 eight -track, which is configured soit is expandable to 24 tracks. Thetruck's usual ATR collection includes a

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When the action'shard-hitting,Midwest andPanasonic VideoSystems willput you there!

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Panasonic Gives You The Performance AndReliability You Need. Midwest Gives ThemTo You Fast ... And At A Super Price!You can depend on Panasonic Industrialvideo equipment to give you the perfor-mance you want and to take the hard-hittingaction of mobile unit installations. That's whyso many mobile production companieschoose them.

If you need a mobile unit that can take inall the action ... and take all the punishmenton -location shots hand out ... you need totalk to Midwest about their complete line ofPanasonic -equipped mobile units. Midwestmaintains a solid inventory of the completePanasonic Industrial video line. The newWV -777 Camera shown here is but one of awide range of components from thePanasonic Video Systems Division.

Let Midwest put you there when theaction's best, with dependable Panasonicequipment in an Ml or M20 mobile unit.For information on the complete line ofproducts at MAwest, call toll -free today.1-800-543-1584

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TELEVISION PROGRAMMINGRevox PR99 two -track machine andthree ITC stereo cart machines.

"The cart machines are really a ne-cessity for game show production,"Arnold explains, "because you've gota lot of sound effects, laughter andthings like that, which have to be rolledin on cue. About the only effective wayof doing that is with an audio cart ma-chine. The truck is set up with threededicated units available and we haveanother three units in-house that can goin if need be."

Other audio gear includes a smallecho unit (the company hadn't deter-mined what kind at press time). A pairof dbx 165 limiters provide protectivelimiting of the output. ("The headroomand dynamic range of the console are somuch greater than one -inch tape,"Arnold says, "that we like to havesomething to protect us from thescreamers.")

Setting up the audio side of the truck,Arnold admits, "is a real task for some-one who's involved in the video end ofthings a hundred percent of the time.For us, audio on this scale is somethingwe hadn't handled in the past. So it'sbeen a real learning process."

Shows produced in the Program Fac-tory truck will be edited back at Scene

Three's post -production facility,equipped with a CMX 340X editingsystem interfaced to BVH-1100A one -inch machines and RCA TR-600 quadVTRs.

Emphasizing pictures

Scene Three's Mark Ball, chairmanof the Program Factory enterprise, saysthe layout of the truck fits in with SceneThree's philosophy of operations.

"We place a lot of emphasis on thepictures, and we have a way of de-emphasizing the technical part of pro-ducing video," Ball comments. "In alot of editing rooms you feel like you'rein the cockpit of an aircraft or a space-ship. The pictures are almost lost in allof the buttons and electronic gear. Wehave tried to create an environmentwhere we're comfortable and wherewe're primarily aware of the pictures."

Elaborating on the layout of thetruck, Arnold explains that "it's not byany stretch of the imagination radicallydifferent. But I think we've allocated alittle more space for the producer anddirector and client than is typical in thepopular sports -type trucks. We've beenable to take advantage of the fact thatwe don't intend to do sports productionand optimize it for the program produc-

tion and multi -camera to multi -tapemachine situation."

The truck was scheduled to be com-pleted in December, but Ball says itwon't go into commercial use until thismonth. First, he says, it will go on sev-eral music -related shoots on a sort ofshakedown cruise.

Once the truck is fully tested, pro-duction will begin on the first ProgramFactory show-a 90 -minute specialspun off from the old Howdy Doodyseries. If the special is a success, it mayturn into a series; in any case, Muir andNicholson have a number of gameshow and other format ideas up theirsleeves.

Muir expects a good response to Pro-gram Factory product. The ShoppingGame, designed for a Nashville compa-ny called American Video Shopper tosell products over the air, got an excel-lent response from cable systems, ac-cording to Muir. His advance testing ofthe market-not only cable, but alsosatellite networks, independent sta-tions, LPTV operators, and DBSoperators-has demonstrated plenty ofinterest, he says. Once The ProgramFactory gets rolling, it should be able toprovide plenty of fodder for a product-hungry industry. BMX

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THREE MIX EFFECTS SYSTEMS

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The most advanced editornow costs less thanstripped -down units.

Mach One,-) Series II fromBosch-Fernseh. The fastest, easiest -to -use, and most powerful videotapeeditor on the market.

Now, we're making it the mostaffordable editor.

Less is more.Series II is our second generation

Mach One system-with a combina-tion of advanced features no othercomputer -assisted editor can match.Regardless of cost.

Features like dual -channel audiocontrol to give you independentcontrol over two separate audio tracksplus the video channel.

Variable speed control to letyou select any of 16 shuttle -jogspeeds in either direction.

©1982 Fernseh Inc. All rights reserved.

Programmable slow motion tolet you program your selected speedsin the edit list-with the sequencescompletely repeatable.

Updated edit list formatting togive you 6 -digit alphanumeric reelnumbers and various other edit listfeatures.

Cluster -event programming tolet you program complicated multipleevents in a "cluster" treated as asingle event-and preview or record inone pass rather than event -at -a -time.

Screen highlighting to brightenthe edit line you're working on whiledimming the rest of the screen-soyou'll never strain your eyes or yournerves, and never lose your place.

There's no comparison.Despite all its power, all its speed,

all its capability, Mach One Series IIcosts less than many stripped -downeditors. And far less than any remotelycomparable system.

Second best-orsecond generation?

Now you don't have to settle forless editing power than you needbecause your budget can't handleyour first choice. We're making thechoice easy. You can have the secondgeneration instead of the second best.

Your local Bosch-Fernseh officehas full details. Call them. Or get intouch with us directly: Fernseh Inc.,P.C. Box 31816, Salt Lake City, UT84131, (801) 972-8000.

BOSCH


VERIfitITALFOR PRUDENT

Camera/RecorderDrawn In Scale

WeightIn Pounds*

LengthIn Inchest

One Tube

Three Tube

Three Tube

Three Tube

14.9

24.7 115

27.6 21.5'Includes camera, lens, viewfinder, recorder, ba tery.' Lens excluded. "Camera, lens, battery, battery charger, recorder, playback unit,

Logic dictates that before you invest in a camera andle recorder system you should shop around. Carefullycomparing such criteria as size, weight, image -makingcapability and price.

So we arranged a little shopping guide based onspecifications from our competitors'1982 brochures andour own. The results are quite revealing.

For news -gathering, the Sony Betacam'" one -tube with400 resolution lines has striking advantages over the

alternatives. While for field production the Sony Betacamthree -tube with 650 resolution lines and 58dB signal-to-noise is superior to them all.

Of course, both Betacams have still more advantagesthat have not been included in the chart.

Physical advantages like the removal of most of thetroublesome cables from the viewfinder, lens, mic to cameraand camera to recorder.

Technical advantages like a recording format with bothSony and U-matic are registered trademarks and Betacam is a trademark of the Sony Corp. Dolby is a registered trademark of Dolby Labs.

STATISTICSCAMERAMEN.

Power ConsumptionIn Watts*

Signal ToNoise Camera dB

Signal ToNoise Recorder dB

22 54

31 58

48/50

Lum Chrom

48/50

27 58 47/48

40

Price**

$38,500

$51,500

$62,000+

55 47/48 $70,000+timebase corrector, carrying case. Based on estimated suggested manufacturer's retail price. All figures based on Saticon* Tubes.

a chrominance bandwidth and signal-to-noise performancegreater than the competitions'; wideband chrominancecomponents with no crosstalk or other artifacts; built-inDolby® C noise reduction for high -quality audio; and mostimportant, the playback unit has built-in TBC (anoption on the competitions'units) providing full broadcast -quality output.

Betacam also offers major financial advantagesbeyond those shown. Namely, sparing you from having to@1982 Sony Corp. of America, 9 W. 57th St., New York, NY 10019.

invest in a whole new editing suite. It interfaces perfectlywith the Sony U-matic® and one -inch suites you use now.

Betacam was planned as the logical progression of thetotal Sony Broadcast system. To find out just how logical,contact your Sony representative in New York/NewJersey at (201) 368-5085; in Chicago at (312) 860-7800;in Los Angeles at (213)841-8711; s y-in Atlanta at (404) 451-7671;or in Dallas at (214) 659-3600. Broadcast

A DIGITAL EFFECTS SYSTEM SO ADVANCED,EVEN WE DON'T KNOW ALL IT CAN DO.

Maybe we'd better explain.We do know the limits of our new E -FLEX DYE

system.It's just that those limits are so theoretical, they have

almost no impact on what E -FLEX can do in the studio.And what it can do in the studio is virtually limitless.lb start with, E -FLEX has some of the most sophisti-

cated effects ever offered in a digital video system. Like anew, two -channel reciprocal function. Our mosaic andposteiization effects. Multi -move, so you can put up to 16copies of a moving image on the same screen. And atrajectory function that lets you control themovement of an image along a curved path.

But E -FLEX is so advanced, you canalso combine our "basic" effects in new, NEC

unheard-of ways. And this is where the theoretical limitscome in. There are so many possible combinations, no onewill ever know what they all look like.

That makes E -FLEX the most potent creative videotool ever. Every time you turn it on, you can create an effectno one has ever dreamed of. And when you've got whatyou want, you can store it permanently on a bubble mem-ory cartridge that never wears out.

Yet while E-FLEX's capabilities may approach infinity,the price doesn't. It'll fit comfortably into your studio budget.

And that's all the more reason to callfora demonstration tape today. Becauseonce you've seen a little of what E -FLEXcan do, nothing will stop you fromdiscovering the rest on your own.

IMAGINE WHAT WE'LL DO NEXTNEC America, Inc. Broadcast Equipment Division, 130 Martin Lane, Elk Grove Village, IL 60007. Call toll -free 1-800-323-6656. In Illinois, 312-640-3792.

Circle 122 on Reader Service card

Industry LeadersExamine 1983:

A Tightrope to Prosperity

The pressure is on broadcasters to walk a tightrope over the recession while at the same

time they must juggle the problems and opportunities presented by new competition and new

technology. It's a tough act, but industry Ieaders interviewed for BM/E's annual outlook feel

confident that broadcasters will make it.With much more attention being paid to the bottom line, industry executives look ahead

with "cautious optimism." Tighter management, however, will not necessarily interfere with

expansion or renewal plans. In fact, the top brass often sees investment in new technology as a

means of reducing costs.

What kind of a year is it going to be? Perhaps unremarkable externally, but significant forwhat goes on behind the scenes. For example, ABC is rapidly gearing up for the 1984 Olympic

Games. Radio networks are moving into more and more satellite distribution. Cable operators are

getting ready for the impact of DBS. And the FCC will continue on its deregulation course.

Nineteen eighty-three, then, may be a year of getting ready for the next boom. And that

next boom could be in 1984.

Martin RubinsteinPresident,

Mutual Broadcasting System

Nineteen eighty-three, like the second half of 1982,will be a test of financial management, determi-nation, and leadership for network radio. Those

with a firm hand on expenses and the direction of a net-work's operations will steer a clear course through a peri-od of economic turbulence. Those seeking to create ormaintain new network services for radio stations will suc-ceed or fail on the depth and strength of their financial re-sources. So says Martin Rubinstein, president of MutualBroadcasting System.

Network radio will continue its battle to be recognizedas a primary advertising vehicle, but network revenuegrowth may taper off as a general, national economic re-trenchment makes itself felt across the industry. "In spiteof general economic trends, the marketplace will still sup-port all kinds of programming, albeit with a greater em-

Mutual's Rubinstein

phasis on target demographics and increasing requests forpost -buy analyses and audits," Rubinstein points out.

The pace of new networks entering the marketplacewill come to a virtual halt and the long -predicted "shake-


"1\Tineteen eighty-three will be a test of financial- management, determination, and leadership fornetwork radio. -Rubinstein

out" will take place in direct proportion to the generaleconomic climate. Traditional networks and instant satel-lite networks will be forced to examine each service withan eye to the bottom line, he adds. In a tight economymarked by rugged competition for network radio dollarsmarginal program services and excess overhead costs willbe routinely dropped.

Some of the impetus for new programs on the networklevel will be in the ad dollars targeted at crucial 18-34 and25-54 demographics. To a certain extent networks willbuild programming to meet a sponsor's marketingspecifications-giving the client wholesale program IDand countless marketing and merchandising advantages.In addition, the Mutual executive predicts, "look for a re-newed emphasis on live concerts, breaking news andplay-by-play sports coverage made possible simultane-ously by satellite multicasting. Look for at least one radionetwork to link up with a national cable TV program pro-ducer to simulcast live rock concerts."

As for program distribution, Rubinstein states, "I ex-pect that by the end of 1983 we will see the beginning ofthe end for the old-fashioned use of tapes and discs as amethod of distributing network programming. Using sat-ellites, networks will feature more live events and a muchgreater range of program options fed numerous times bysatellites.

"Multicasting will become firmly established as theexpected industry standard. The leading networks will be-gin to experiment with multiplexing, evolving sidebandtechnology and new refinements in high-powered ampli-fication equipment. In a number of cases, broadcasterswill look to the skies to create nonbroadcast revenue cen-ters which may ultimately support radio networks."

Joseph FlahertyVP Engineering, CBS Television

For Joe Flaherty, VP of engineering for the CBS net-work, several areas of "new technology" are analmost daily concern. One of the most important is

HDTV. For Flaherty, high fidelty TV (as he prefers to callit) "is certainly not just a lot of lines. I think a very impor-tant part is the wide screen -aspect ratio. Just imagine whatordinary 525 -line TV would look like on a wide screen-Ithink that would be worth doing all by itself. The secondmost important part of HDTV is improved chroma band-width, particularly urgent as the picture grows larger andlarger. Third is the actual number of lines. And fourth isthe extremely important area of stereophonic sound,which more and more is coming to mean high -quality dig-ital audio.

"We've got to distinguish between high definition pro-duction and high definition distribution," Flaherty em-

phasizes. "At CBS we've been most concerned abouttrying to achieve a single worldwide standard for high def-inition production. We'd like to think that's not anunattainable goal. Because we've always had a singlestandard for high definition production -35 mm film, onwhich we can sell and exchange programs produced thatway anywhere in the world. Prime time programs on allnetworks are produced 80 percent on 35 mm film, andthat's likely to continue. But when it changes from film toelectronic media, we want to preserve the high quality sothat the residual value of the program is there for the pro-ducer.

"If you're going to make a major change like this, youwant to be sure it will last for at least the next 25 years, soit's worth going as far as we can. I'm not sure what the

CBS' Flaherty

standard HDTV system is going to be-probably some-where between twice 525 -line and twice 625 -line resolu-tion. We have never supported an 1125 -line system. Infact, we've been extremely cautious about not supportingany system. We've demonstrated the 1125 -line systembecause it's the one that's available to show people what aversion of high definition looks like. But I don't think thatall the best ideas have surfaced yet.

"On the distribution side, we're anxious to see astandard that will be as widespread as possible-to pre-vent each of the distribution media from developing itsown HDTV system. Some media are more flexible thanothers-cable, for example, and videodiscs, because theyhave no spectrum limitations. I wouldn't be surprised ifthe first HDTV application wasn't in the disc area-theycould do it today if they could get consumer acceptance,because HDTV encoding equipment is already a realityand disc companies are also those which make the receiv-ers and the large -screen projection systems. They haveevery positive interest in making this thing go."

Another area of vital concern to Flaherty is the digital


HAVE ITYOUR WAY

WITHHAWKEYE

itfor analog components, this certainly

wasn't something which the broadcast communityasked for. ,9 -Flaherty

studio. "We've put forth through Frank Davidoff severalscenarios on how we think we could progress in an orderlyfashion from the composite analog to the component digi-tal environment. It will probably begin where digital tech-nology gives the most gain-in post -production suites,which are the heart of program production these days.This is where you build up multiple generations of tape,and where, because the suite is like an island unto itself,the flexibility of the digits buys you something. After thatwe can begin building back to the camera and forward tothe transmitter so that eventually the lens will be theanalog input device and the transmitter encoder will put itback into analog again, and everything else in betweenwill be digital.

"So there really is no danger in introducing digital sys-tems into the analog world, particularly in the post -production environment. But as for analog components,this certainly wasn't something which the broadcast com-munity asked for, and I'm not sure how analog componentrecorders fit in. The concept was handed to us by theman-ufacturers who suddenly woke up one day with a solutionto a problem which didn't exist before.

"If analog component systems are going to proliferate,certainly it makes sense that the components be the sameas those that will eventually be used in digital coding. Butit's not all clear that there is a need or a market for an inter-im between analog composite or digital components.We're studying this very problem now, trying to decide ifthe sizeable investment in equipment will be worth the an-ticipated gains."

As for teletext, "we only went into it because wethought it was a good business facility to be able to add toour program," Flaherty insists. "We've finished our au-dience tests in Los Angeles. We've announced the initia-tion of a national teletext service-which is only waitingfor FCC approval. Most significant of all, CBS has placeda senior executive in charge of this new service. So weobviously mean business.

"I see our job in all these things as providing the toolswhich the creative community thinks are useful. Not all ofthese ideas are going to be successful, not all are going tobe extremely important. But some of them are."

Julie BarnathanPresident, BO&E Div., ABC Television

ulie Barnathan, president of ABC's BO&E division,s spending a lot of time these days preparing for the

network's 200 hours of coverage of the 1984 summerOlympics in Los Angeles-much of the coverage live."There's nothing like it in the world," he comments."It's like a continual three-ring circus with sometimes 14

events going on at once. We're only broadcasting one im-age, and so one of our major priorities is communicationsamong all the different sites. That and an extensive RF mi-crowave system that will let our producers and directorssee what's going on all over the place so they can maketheir split-second coverage decisions.

"This is the first time the summer Olympics have beenin the U.S. in 52 years. Things have really changed. In1932 there wasn't any television, radio was just beingborn, and the whole Olympics movement was questiona-ble. In 1984 there will be eight to ten thousand athletesfrom 123 countries around the world participating in 22 to24 events for 16 consecutive days. And this is our chanceto show the television audience just what it's all about-

ABC's Barnathan

because television is largely responsible for having madethe Games so popular in the first place. Just for openerswe'll be using over 200 cameras, 279 one -inch VTRs,over 100 3/4 -inch VCRs, and 35 mobile units-staffed byover 1500 technicians."

Olympics coverage ABC -style is concerned with morethan events reporting, however. "We're going to treat theOlympics as a human event, not a sports show. That'swhy it's particularly important for us to have close-up ma-terial. You'll see a huge amount of information in advanceof the Olympics on the athletes so people get to know whothey are as human beings, not just as athletes. They be-come part of your family and you invite them into yourhome. To do all this we have to be extremely technicallyproficient-getting the close-ups, the tight shots, ratherthan just sticking to the safe route and staying back."

But Barnathan is concerned about other major issues,too-such as half -inch recorder/cameras. "We askedthem to set a standard, and told them we wouldn't buywithout one. And frankly I think the SMPTE committeehas abdicated its responsibilities by throwing up its handsrather than keeping these guys talking. Unfortunately this


A CAMERA...

HAWKEYE'S HC -1DOES IT YOUR WAY

in the field...or in your studio.with your recorders...3/4" or 1".in triax, multicore and genlock operations.but, most importantly, the HC -1 becomes...

(turn page)

don't care which half -inch format ends up thewinner . . . but until there's one, we're not evenInterested in which is preferable.,/ _Barnathan

half -inch thing has become a political battle between Betaand VHS, and we're not going to let ourselves get caughtin the middle of it. I don't care which format ends up thewinner-VHS or Beta-that's for the engineer to decideas a practical operating manager. But until there's a for-mat, we're not even interested in talking about which ispreferable. The only exception might be for very unusualapplications-such as giving a guy a unit to use whileparachuting.

"We must have standards. I want to know that I canoperate anywhere in the world with other broadcasters andknow that if we don't all have access and only one of uscan tape, all of us can use the material. "

Another area of major importance to Barnathan is in-creased electronic graphics capability-anticipating, ashe puts it, the needs of ABC's extensive news, sports, andprogramming production areas. "We want to work withanyone who has a new idea. We have 10 Dubner systems.We've bought an MCl/Quantel Mirage. We're workingwith an Ampex ADO and Chyron and Aurora. And we'restill wide open for innovations-like the new Bosch 3Dsystem that is supposed to be coming along.

"Our prime criterion is the look on the air. I won't saythat money is no object in this area, but it's certainly notour prime concern when it comes to devices that create it.We're definitely going to continue our push to be the mostvisually exciting image around. People have learned thatthey can get a large amount of information in a relativelyshort period of time visually, and that's what we're doing.Newscasters can talk and we can display images at thesame time, and in a minute and a half or even thirty sec-onds you can get a full story across.

"The main role of engineering is to support productionof all our different divisions-including entertainment,sports, and newsgathering. But we do more than justsupport-we try to anticipate the needs of our users. Weknow what they need; we know what they haven't got; weknow what they would like to have. And we try to workwith them in the development of the products they need orto suggest things when we come up with them first. Engi-neering is still basically a service function. But we also tryand lead production whenever it's desirable. But you needto have a brave group on both sides."

One thing Barnathan is insistent on: engineering andmaintenance of ENG equipment falls under the jurisdic-tion of his engineering supervisors, not the news direc-tors. "Having the full resources of the engineeringdepartment provides the news people with their best pos-sible alternatives. When a special event comes along, en-gineering is already committed to news rather than havingto bring people in just for that event. There's no sacrificeor handout-our people are always there. When the newspeople were using film, they could always go outside andget freelance help. But in today's electronic operationthere's got to be support from inside the operation if thingsare going to run smoothly. "

Michael SherlockExecutive VP, Technical Operations

and ServicesNBC Television Network

Mike Sherlock, who has been heading up tech-nical operations at NBC only since last March,is a man posessed with an almost passionate

devotion to a single idea: "improving network quality forboth us and our affiliates. Trying to improve the quality ofthe picture our affiliates get is something we spend a lot oftime on.

"There's no question that NBC needs some new EJequipment, and we are going to be buying some this yearpending the outcome of our current evaluations. We're se-riously looking at recorder/cameras, but the decision

NBC's Sherlock

hasn't yet been made as to which way we'll go. We haveto be very careful. Our engineering sense says that if weare going to go into new equipment, part of the changemust lead to better quality-I think we differ from ABChere in that we'd like to improve the quality of ournewsgathering images. The half -inch recording technolo-gy does that, and also offers equipment that is more porta-ble than the current 3/4 -inch. But unless someone comes upwith a standard before we make our purchase, it's going tobe made with risks.

"Clearly if I am to give my news division-both thenetwork and local stations-a piece of equipment thatthey are going to use as their lifeline, I have to take into


A RECORDING CAMERAWHEN YOU CHOOSE

HAWKEYE YOUR WAYThink about it.

A tough, lightweight camera that delivers the perfor-mance and features you demand. That works with yourpresent cameras and recorders. That adapts to yourtriax, multicore and genlock applications with a simplechange of adaptors. Plus, o rs you all the advantagesof the HCR-1 recording camera system... mobility,reliability and the superior iiideo quality of theChromaTrak recording format. Advantages you choose

when you want.

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Doesn't such versatility deserve further investigation? OR \\ RITE RCA. BLDG. 2 2. CAMDEN. NJ. 08E02


la=911"K-tt

Wbroadcasters will have to bite the bulletand prepare ourselves to live in one way or anotherwith DBS. 1, -Hubbard

account where they do their business. If they're inWashington covering a plane crash, they have to be ableto run into the local affiliate and play back what they haverecorded. If that affiliate doesn't have compatible equip-ment we're dead. Somehow I can't see a system where wehave two or possibly three different formats in the U.S.alone."

Asked what NBC's primary technological concern forthe coming year will be, Sherlock replies that the network"plans to begin satellite telecasting of its video signalssometime in 1984. It seems to us that with the rising costsof the terrestrial system and with the new technology wecan get a more flexible control system and perhaps aneven more reliable distribution system through satellites.We've spent a lot of time over the past nine months learn-ing about this area.

"The only question that remains is that if we commitourselves to going to satellite, do we go with the existing,proven technology of the C -band or do we go with the Ku -

band. Ku has its advantages because there's no interfer-ence with terrestrial microwave and you can locate thedishes almost anywhere, which means you can save a lotin costs, worry, local hookups, and so on. On the otherhand, Ku is perceived to have the disadvantage of notworking well in heavy rain. We're going to be testingthree- and six -meter dishes in Port Arthur, TX, PalmBeach, FL, and New York City early this year to see ex-actly what this interference means and how to combat it ina cost-effective manner."

Not all Sherlock's interests are with future technolo-gies, however. Improvements in day-to-day operationsare also of immediate concern. "We've got to make sureour current engineering and operations efforts are organ-ized before we go leaping into the future," he insists."For instance, we've just brought a brand-new editingroom on line for our sports department and we're follow-ing it up with one for news next year. We're talking aboutsuites that are second to none in the U.S.

"Technology isn't everything, of course, and there isno substitute for content. But on something like the Todayshow bumpers, we've added a new excitement to thedisplay of information-the presentation of upcomingstories in a bordered box with an image behind them. It'slike what we did with the three next batters up in ourWorld Series coverage-it provides the viewer with moreinformation, using the latest technology to present it."

But there is still more to do. "Our priorities are prettyclear," concludes Sherlock. "We need some new light-ing systems in our studios, some new studio cameras forour news operation, a news control room this comingyear, improvements in our current switching central oper-ation in Burbank, and probably some more new mobileunits like `Van -Go,' the 45 -foot truck with extension thatwent out on the road for the first time last December.We've always claimed that we're the innovative leader insports programming . . . it's going to be truer than ever.

Stanley S. HubbardPresident, Hubbard Broadcasting Co.,

United States SatelliteBroadcasting Corp.

44 see 1983 as a very strong year for broadcasting.But I think some of the shine will be off cable TV,because the competition is getting heavier, the

profits lower," predicts Stanley S. Hubbard, president ofHubbard Broadcasting Co. "Some big operations willnotbe able to stand the pressure and there will be a shake -outbecause the national advertisers are becoming aware thatcable cannot deliver the large, definable audiences," headds.

But Hubbard, who is also president of U.S. SatelliteBroadcasting Corp. , believes 1983 may be the year inwhich large sections of the industry come to understandthe promise inherent in DBS. "I know that I am sailing

Hubbard Broadcasting's Hubbard

into stormy waters with this statement, since large inter-ests in the industry will be subject to change if DBS be-comes a full-scale operation."

Hubbard Broadcasting was one of the first organiza-tions to get a license and, very recently, a constructionpermit for a DBS system. Here is how Hubbard viewsDBS: "The total cost of the DBS network we envisage hasbeen estimated to be about $380 million. This includesthree satellites in orbit, to supply three channels each ineach of the four time zones, with one six -channel satelliteas a spare. The satellites should perform for 10 years, sothe cost can be amortized at $38 million a year. With threeactive channels, the cost per channel will be about $13


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think we made a very right decision on AMstereo and I don't think this Commission wascapable of choosing which was best,' _Harris

million a year." Hubbard thinks this is by far the leastexpensive way to send a program to every part of thecountry.

"We broadcasters, before too long, will have to bite thebullet and prepare ourselves to live in one way or anotherwith DBS. I predict that in about 10 years networking ofaffiliated broadcast stations, as we know it today, will nolonger exist. The broadcaster will have to join with DBS,and there will be ways to do this. The networks them-selves will come to DBS because the higher profits will bethere."

Larry HarrisMass Media Bureau Chief,

Federal Communications Commission

Broadcast deregulation has been a success so far andwill continue in both technical and nontechnicalareas, according to Larry Harris, chief of the

FCC's Mass Media Bureau. Harris disagrees hotly withthose who say the Commission should continue to regu-late technical matters.

"Where else are you going to deregulate?" he de-mands. "The marketplace is quite capable of choosingwhich system it wants. Why should this agency put its ar-bitrary judgment on what the public wants?"

Despite the controversy over the FCC's AM stereo de-cision, Harris stands firm. "I think we made a very rightdecision on AM stereo," he insists, "and I don't thinkthis Commission was capable of choosing which was thebest system."

Even if the FCC had selected a single system, Harrissays, litigation could have delayed AM stereo by three orfour years. He points to the AM stations already broad-casting in stereo as proof that the marketplace decision hasnot slowed the advent of AM stereo. Technical deregula-tion does not imply any abdication of responsibility on thepart of the Commission, Harris claims, because the Com-mission still outlines technical requirements for anybroadcast service.

"We don't just say we don't care, you can put out any-thing you want," he explains. "There are basic technicalrequirements that every system must meet. It's the oldAT&T argument. Suppose we said only one kind of tele-phone was acceptable? This country tried that for 60 yearsand didn't like it."

Ownership rules are another deregulatory priority forthis year, Harris says. Crossownership rules will be re-considered, perhaps giving broadcasters an opportunity toget involved in the new technologies. TV deregulation isalso high on the list. In addition, Harris says that the Com-mission will look at the operating maintenance logs "with

FCC's Harris

an idea of either modifying them or getting rid of them."Relief for daytimers is another priority. "Hopefully,"Harris explains, "we'll be able to find a way to extendtheir operating day. I'm not sure how we're going to do ityet, but we are looking at it carefully."

On the legislative front, Harris sees little impetus inCongress for repeal of Section 315 and the Fairness Doc-trine, despite FCC requests that Congress remove thoserestrictions.

Commenting on another Congressional move, Harrisadmits he would have preferred to see the FCC remain atseven members. "I think seven commissioners made a lotof sense," Harris argues. "It spread the workload, and asa bureau chief I found it very workable. "

Even with authorization of new technologies, broad-casting should continue to be healthy. Says Harris, "I stillthink over -the -air broadcasting as we know it today is go-ing to continue to grow and be a very viable service."

Edward 0. FrittsPresident,

National Association of Broadcasters

AB will be "a major player" in developing therules and regulations that will define the newcommunications technologies, asserts Eddie

Fritts, president of the National Association of Broadcast-ers. The association will not wait on the sidelines, but willmove to expand its influence at the FCC and in Congress,Fritts says.

"We certainly hope we are able to make sure thatbroadcasters can participate in the new technologies with-out being penalized for having been broadcasters," Frittscomments. "In many communities, the broadcaster is the


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it 71iechnical standards and the integrity of the

spectrum are just far too serious to turn over to the`marketplace' to decide. -Fritts

only one willing to take the risk and provide the necessaryprogramming and other expertise. To preclude broadcast-ers from participating would certainly be an error."

Other areas for NAB lobbying efforts will be deregula-tion and First Amendment rights, Fritts says. The associa-tion's First Amendment Committee, he notes, "will betaking a very aggressive posture on behalf of broadcastersfor full First Amendment freedoms." In terms ofderegulation, Fritts says, "Broadcasters are the mostoverburdened with paperwork of any industry in the coun-try. Radio has been released from some of those shackles,and we would like to see the same take place for televi-sion."

NAB's Fritts

Technical issues are another matter, however. As Frittssees it, "The whole reason for being of the FCC originallywas to make sure that the spectrum was utilized efficientlyand that interference was kept to a minimum. . . . Wethink it's absolutely ridiculous to let the marketplace de-cide technical standards." Such issues, Fritts feels, stillrequire the supervision of the Commission. "Technicalstandards and the integrity of the spectrum are just far tooserious to turn over to the 'marketplace' to decide," heasserts.

Despite FCC chairman Mark Fowler's repeated urgingof a spectrum fee as a fair price for broadcast deregu-lation, Fritts thinks broadcasters can have deregulationand avoid the fee, too. "If it's the sentiment of broadcast-ers to oppose a spectrum fee," he says, "I think they cankeep one from happening." More lobbying is needed toinsure favorable action in Congress, however.

What about recent reports that some in the NAB want tomerge with the NRBA? "That may have been erroneouslyreported," Fritts replies, but adds in the same breath thatthe existence of two associations offers "some degree ofconfusion" on Capitol Hill. "I would like to, if possible,

explore what common ground we might be able to findwith NRBA," Fritts suggests, "and if a merger happens,I think that would be great."

Fritts says broadcasters will see no sudden changes atthe NAB now that he has taken over the helm from formerpresident Vincent Wasilewski. "There may be a newslant in some areas," he admits, "but basically it's thesame team with a new coach."

David HendersonPresident, Outlet Broadcasting

44 T he over -the -air system is quite healthy, thankyou," says David Henderson, president ofOutlet Broadcasting. Henderson feels cable

will pose little more of a threat in 1983 than it did in 1982."We operate in both Orlando and Columbus, OH,

which boast extensive cable penetration," Hendersonnotes. "But we don't see that that penetration is affectingus economically at this time, and we don't perceive that itwill in 1983."

Outlet's Henderson

Further down the road, Henderson says, "the name ofthe game is programming." Cable hasn't proved able todevelop programming that can attract large numbers ofviewers, Henderson contends, pointing out, "The singlemost attractive feature that's delivered by cable is distant -signal over -the -air television, which tends to suggest thatthe public wants more of what it's had." Even a popularservice such as HBO, which may fragment viewershipsomewhat, leaves the economics of the broadcastmarketplace intact because it doesn't compete for adver-tisers, according to Henderson.


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ur major effort . . . is to continue to developour newsgathering capability . . . a responsibilitythat cannot be transferred. -Henderson

Rather than threatening local television broadcasters,DBS will prove a threat to cable, Henderson believes."The copper -wire technology of cable is on the verge ofobsolescence," he points out, noting that satellite deliv-ery is a more efficient and cost-effective method of signaldelivery than cable.

To be positioned to compete well in the marketplace,however, broadcasters must pay close attention to their lo-cal audiences.

"I think our major effort as station operators,"Henderson reveals, "is to continue to develop ournewsgathering capability. That's a responsibility that can-not be transferred to someone outside of the market, suchas a cable network or imported signal. Information is avery fundamental part of the local service that we provide.It may very well be the lynchpin." The second priority, hecontinues, is to develop a high -quality entertainmentpackage with an emphasis on original, local pro-gramming.

On the national level, deregulation continues to be ahigh priority for broadcasters. Henderson is apprehen-sive, however, about technical deregulation.

"Spectrum management is obviously necessary be-cause of the competing interests involved," he insists."I'm not interested in seeing the sound engineering judg-ments that have been incorporated into the rules dismissedor put away." A better target for deregulation, inHenderson's book, would be the prime time access andfinancial interest rules, as well as the ownership limita-tions. He suggests a quid pro quo whereby the Commis-sion might rescind the financial interest rule in return for apromise by the networks not to program prime time accessin the absence of PTAR.

James N. PerkinsPresident, Hearst/ABC

Nineteen eighty-three will not be a milestone year,according to Jim Perkins, president and chiefoperating officer for Hearst/ABC, the cable TV

program service. It will not compare with 1976, a banneryear for cable in the use of satellites and the beginning ofsignificant cable deregulation, he adds.

Nevertheless, Perkins is bullish about 1983 and that initself is significant, considering that cable programmingservices came under a cloud last year when CBS Cablethrew in the towel, triggering all sorts of shake -out jitters.The Hearst/ABC executive believes that the mediaoverreacted to the cancellation of CBS's ambitious artscablecasting venture. In addition, industry analysts haveset arbitrary goals that get a lot of attention, but don'tmean much.

"Nobody said we had to be profitable by 1984 or else,"

Perkins states. "We were told by the pundits that whencable reaches 30 percent household penetration, advertis-ing would take off. Well, the 30 percent came and wentand nothing happened. Now the analysts need to createnew benchmarks."

The Hearst/ABC response to the CBS postmortems wasto "put our money where our analysis is" and announcethe expansion of its popular Daytime women's program.Despite the interest by cable operators in pay tiers andpay -per -view, Perkins remains confident that advertiser -supported cable networks can and will succeed-on theirown schedule.

Taking a broader view of cable TV than the next 12months, Perkins states that two-way systems are the onlyoperations with a future. Of the metro markets only sixneed cable to remove interference, so "improving the sig-nal can no longer support cable." As for diversity ofprogramming, with LPTV and DBS on the way, cablemay be challenged.

Hearst/ABC's Perkins

So what does cable have to offer? "The basic changewill be in the use of information and the speed of informa-tion transfer, the more immediate the better," Perkinspredicts. Interactive TV then is the key to get informationand the next generation of cable operators will be dealingin data bases as well as entertainment and news.

What this means to the cable network companies is theneed for two forms of information-entertainment ser-vices and data base services. And just as cable operatorshave set up local origination programming, they will alsoset up local information sources, such as universities. Ifthis projection sounds far-fetched, Perkins points to to-day's video games as an example of human -computer in-teraction that could not have been perceived 20 or 30 yearsago.

"There are lots of uses of cable that even the most far-seeing of us cannot perceive now," he notes.


1here are lots of uses of cable that even themost far-seeing of us cannot perceivenow.

Andrew F. InglisPresident,

RCA American Communications, Inc.

44 ntil recently, and with certain exceptions, thebroadcast industry generally has not madewidespread use of communications satellites

for program distribution to affiliates," comments AndrewF. Inglis, president of RCA American Communications,Inc. The reasons for this, he explains, are: an extensive,in -place terrestrial distribution system that predates satel-lite distribution; and highly complex distribution require-ments that require major switching centers and thenecessity for two-way telecommunications capability.

An exception has been the Public Broadcasting Ser-vice, which has successfully employed satellite distribu-tion of programming. Also, ABC has begun to use

Americom's Inglis

satellites for distribution of programs to some of itsaffiliates.

"Today, however, the television networks are serious-ly studying the use of satellite systems as the primarymode of program distribution. This new interest is basedon a growing recognition of the advantages of satellite dis-tribution and steady advances in satellite technology andcost effectiveness," says Inglis.

The broadcast radio industry has been in the forefrontof adopting satellites as a means of program distribution.In 1982, RCA Americom signed contracts with ABC,NBC and RKO radio networks to provide its Audio Digi-tal Distribution Service (ADDS) to several thousand affil-iates. Service will start early in 1983.

The timing and ultimate configuration of television net-work distribution systems have not been fully determined."We expect that satellites will play an increasingly im-

-Perkins

portant role in these systems and that over a period of sev-eral years they will become dominant as compared withterrestrial microwave systems," he predicts. The ultimatesystems will be hybrid, that is, they will employ both ter-restrial and satellite transmission facilities with the satel-lite portion being composed of both C -band and Ku -band.The end result will be an improvement in the quality, flex-ibility, and cost effectiveness of the service.

Alan HenryPresident, Gulf Broadcast GroupA lan Henry, president of Gulf Broadcast Group

(owner of five FM, one AM, one AM/FM andthree TV stations including KTSP-TV, Phoenix,

and WTSP-TV, Tampa/St. Pete), looks for three thingswhen evaluating a station: the facility, the market, and themanagement. It's in the latter area that he sees the mostneed for industry -wide improvement: "Broadcasting isstill a labor-intensive industry in which good manage-ment-people management-is becoming more and moreimportant. The problem is that there is a real paucity ofgood managers available. People come out of trainingprograms thinking they can just step into a career in broad-cast management. But they don't know about people, andthat's the key."

On the other hand Henry is quick to point out that "it istime for broadcasting to become more of a business andless of a show. If you can't read a financial statement, yousimply don't know how to operate any business, let alonea broadcast station.

"Management's job is to make the station a profitcenter-and my job is to help each station in our group

Gulf Group's Henry


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f you can't read a financial statement, you don'tknow how to operate any business, let alonea broadcast station. /,

accomplish that. We don't have any politics aroundhere-politics takes too much time. I'm accessible to eve-ryone who needs me. My managers communicate with meat least once a day, and we keep information and concernsflowing back and forth. But as long as the station is show-ing profits, I don't interfere."

Henry has some outspoken opinions on AM Radio:"Gulf is basically done in the AM Radio market-even ifthe FCC's 7-7-7 rule is repealed. AM is going through atremendous reappraisal of who and what they are.Standalone AM stations in the larger markets-the onesgroup owners are interested in-cannot compete againstFM music programming; AM stations enjoy an average2.1 share -of -market whereas FM stations have a 4.4share. So the real place for AM is in smaller marketswhere the local entrepreneur can make a successful living.Unfortunately this is the type of operation that does not dowell in the group ownership environment."

Despite the fact that AM has seen an almost 60 percentdrop in profits recently, Henry is confident that it willmake a comeback. "The real future for AM," he asserts,

-Henry

"is in satellite -distributed programming. DJs outsidelarge markets will practically disappear in a few years,and the large programming services will tie into local op-erations through automation systems. For the group own-er, this is great-they'll pay us to carry their programs!"

As for the long-term future, Henry insists that broad-casting be viewed as a marketing effort-whetherpromoting the music format of Gulf's radio stations or theTV news of its TV operations. "The market in TV isn'treally defined yet, despite all the studies," he concludes."If we're in business to make money, we're going to haveto treat the business of broadcasting as any other business.We need in-depth marketing studies-face-to-face inter-views, focus groups with one-way mirrors, real marketingsurveys.

"At Gulf we think we have some of the answers; peopleare more aware of events these days, and local news andpublic affairs programming help fill a need that entertain-ment extravaganzas can't. But it all depends on what theresearch shows-and we're still waiting for the studies toreveal it."

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Part I: A New Dimensionto Digital Video MeetsADO, Mirage, a new system under development by Bosch-the latestgeneration of digital video effects processors incorporates z-axis controlfor real-time three-dimensional effects.

TECHNOLOGICAL LIFE CYCLES are a reality for both usersand manufacturers. A new idea is introduced in prototypeat NAB, becomes a production model the following year,is accepted by the networks and a few large teleproductionfacilities by the following NAB, becomes a "must have"item throughout the industry shortly thereafter, is subse-quently reintroduced as a slightly less versatile but moreaffordable "workhorse" system in ensuing months, andthen begins to lose interest by the next year as the manu-facturer and user start looking around for something new.

With graphics equipment, the cycle is somewherearound five years. At the 1977 NAB Show, digital effectsprocessors made their first appearance in the U.S.market-the Vital SqueeZoom and the NEC/Grass ValleyDVE, joined shortly by the MCl/Quantel DPE-5000.

Now, five years later, the technology has begunspilling down into the lower -cost systems (althoughDigital Video Systems tried the low-cost approach withadd-on processing for its framestore/synchronizer systemearly in the game, it was evidently too early for wide-spread acceptance). Today virtually any station or facilitycan afford a DCC/BIAS Digifex for only $38,000. Or theQuantel DPE-5000SP at $65,000. Or the single -channelADDA VIP for around $50,000. $126,000 will buy atwo -channel NEC E -Flex processor. But for limited ap-plications, the Harris frame synchronizer with compres-sor/positioner, priced at only $29,500, may be quiteenough. All are quite a jump from high -end digital videoeffects systems, which can run over $400,000 for fullyequipped five -channel systems.

And this year's NAB show can be expected to produceeven more low-cost systems-like the new Chyron ap-proach to digital manipulation of its character generatoroutput. It's probably safe to say that virtually every manu-facturer of digital equipment is at least seriouslycontemplating the investment of programming time

needed to make the equipment capable of digital effects(the hardware, of course, is already there).

Five years later it is also not surprising to find a certainboredom creeping in. What were once dazzling wondersof the video world have become almost commonplace-like a character generator. "The digital effects processoris used so often people sometimes don't realize it'sthere," notes George Hamilton, MCl/Quantel's VP of en-gineering. "It's just another tool which the productionpeople have available to them-the 'box that hooks up tothe switcher that lets them move things around.' "

The impetus for something new and different, for thenext brilliant step in the evolution of digital systems, isplainly at hand. And the change has been as exciting asdigital effects themselves were when first introduced. Weare speaking, of course, of three-dimensional effects.

Elements of 3D manipulation

When digital effects first came out, they offered for thefirst time the ability to escape the 4x5 ratio which, oncelaid down by the camera, had been all but inviolable forthe lifespan of the image. The next step was plainly to addthe software that would permit systems to escape the two-dimensional boundaries of the image.

If the truth be known, the impetus probably came notfrom inside the industry itself, but from the rather moreaggressive computer graphics field which had already pi-oneered the development of digital art/paint systems (thestory of how Ed Catmull, Alvy Ray Smith, and othergraduates of the Utah University Computer Graphics Pro-gram went on to develop the Ampex AVA is already quitewell known).

But while the TV industry was still catching up withthese developments of the 1960s, computer graphics itselfhad forged ahead. The same group which had written the


atm 001 mall am

SI'MAE REPORT: Special ftWiritSprogramming that led to AVA had gone on to develop 3Dmodeling programs using a Z -buffer framestore-programs that allowed representations of mathematicalmodels on the X, Y, and Z axes. Major credit must begiven here to Dr. James Blinn, who wrote many of theprograms while at the New York Institute of Technology,where he stopped over between the Utah Graphics Pro-gram and his current position developing spacecraft simu-lations for NASA's Jet Propulsion Lab.

In computer graphics, the 3D modeling is accom-plished with three sets of algorithms. One defines the ob-ject in three-dimensional space by plotting the points andlines that form its boundaries and assigning them to the x,y, and z coordinates. This provides a perspective model ofthe object in outline (wire frame) form, often displayed ona vectorgraphics terminal, which permits the model to bemanipulated in real time; this is the basis of most CAD/CAM systems. Another program is used to remove the"hidden lines"-parts of the model that would beblocked from view if the object were solid. Forms-especially polygonal building blocks-can then be com-bined to form more complex objects.

As any good Renaissance artist could have pointed out,however, perspectives and forced -line renditions are onlyhalf of what constitutes the illusion of depth; the other isthe shading and reflection caused as one part of the objectblocks another from the viewer's perspective. Again, amathematical model of light reflection was developed forthe computer, allowing not only the precise mathematicalprediction of the blocking and shading, but also predictingwhat happens when the light source is moved or the modelis rotated or the viewer's perspective changes.

No small amount of computing power is required forthe creation of these images, a typical arrangement beinga 4000x4000 element framestore arrangement yielding atotal of 16,000,000 pixels; sometimes four framestoresare used, one each for R, G, B, and Y. As the computa-tions are processed (typically in a resolution -free, floatingdecimal point basis), the pixels for each part of the high -

resolution display are fed to a film recorder. Eachframestore addresses the three color elements of the re-cording camera separately, and a high -resolution film im-age is created.

TV applications

For TV equipment manufacturers looking at the devel-opments in computer graphics systems, the broadcast ap-plications must have appeared strikingly obvious. Onlyone thing stood in the way: the TV system would have tobe able to handle images in real time-live video, the stuffof the medium. Otherwise the technology would never beable to find a place in the day-to-day news/sports produc-tion environment. CAD/CAM systems with real-timevectorgraphics displays did not offer enough visual ex-citement; but processing was much too slow on the full -color systems.

A "simple" solution was fortunately at hand, achievedby simply reprogramming the framestore. Since televi-sion doesn't need the 4000x4000 line resolution of themore extensive computer graphics systems, thought man-ufacturers, why not take the processing power and memo-ry of a three-framestore program, juggle the programmingslightly, and use the processing power and speed to create

live, 500x500 line resolution images? The essential ele-ments of 3D manipulation could thus be maintained, butaccomplished in real time.

System details

The first of the new units which broadcasters saw wasthe Ampex Digital Optics package introduced at the 1981NAB. ADO was an unusual entry-level product fromAmpex, which hadn't been in the digital effects businessbefore. But it could have been predicted based on thecompany's development work with AVA.

ADO is a completely standalone effects processor, witha maximum of four channels. A "global" combiningunit, which will allow all four processors to work on thesame effect simultaneously, or split up the processingamong different workstations, will probably be at theAmpex booth at this NAB. What makes ADO so exciting,however, is not the number of channels, but the softwareoption that gives each channel two inputs. They can befront and back, inside and outside, top and bottom-theeffect itself determines how the rotation and perspectiveare interpreted. But working together, the two inputs ofeach channel can be used to create true 3D, z-axis effects.

The front end of ADO consists of a control panel withpushbuttons for selecting operating modes and storing ef-fects, a joystick with horizontal and vertical moves as wellas a rotating knob used for controlling the third axis, and aCRT which displays the status of the effect.

Besides the basic perspective effects (the amount ofperspective is controlled by the joystick knob), ADO of-fers rotation around any axis, complete control of size andposition, variations in the viewing angle, selection of thehorizontal aspect and vertical skew, adjustment of the axisposition, and so on. All of this happens in real time as theoperator maneuvers the joystick, or the effect can bepreprogrammed and executed on command at any prede-termined speed. The net result is the dizzying array of per-spective changes which characterizes three-dimensionalmanipulation. (What ADO won't do, it should be ob-served, is handle curved surfaces; in the ADO image, alllines remain straight.)

Achieving these effects in real time is the major accom-plishment of digital effects systems. In the case of ADO,the processing is based on a 13.5 MHz sampling frequen-cy, with the video treated in component (Y, R -Y, B -Y)form. The ratio between the luminance samples and thetwo color difference samples is 4:1:1; but apart from this,ADO is fully compatible with the new international digitalstandards set by SMPTE and EBU (the internationalstandard calls for a 4:2:2 ratio).

At this sampling speed, ADO has approximately 70nanoseconds of processing time to digitize the incomingvideo, write it into the framestore, manipulate it, andwrite it back to analog again. To accomplish the task, eachfinished frame is actually computed from two separatefields, the first contributing horizontal picture informa-tion, the second, vertical information. Effects processingthus manipulates H and V components separately.

ADO, in the field the longest, has chalked up an im-pressive list of users-among them MTI in New YorkCity and The Post Group in Hollywood, bothteleproduction/post-production facilities with extensivegraphics capabilities. One of MTI' s most impressive feats


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SPECIAL REPORT: Special EffeerS

on the system is a rotating three-dimensional cube, eachface composed of live, moving video.

ADO's most significant role thus far is probably thecreation of a spinning, 3D mirror effect for the latest LeviStrauss commercials-produced by Robert Abel and As-sociates using the ADO system at Compact Video. Abelactually "cheated" and obtained the Ampex sourcecodes, then rewrote the program to handle not only thefront and back sides of the rotating pair of blue jeans, butalso the edge view. The software was then married to thefilm -created effects elements, and the images fed intoADO, which produced the finished effect; the edge seenin the commercial is unfortunately not available tostandard ADO users. Abel is thus well on his way to theperfect special effects creation of the not -too -distant fu-ture when film -created images will be married in video -generated special effects.

No mirage!

MCUQuantel's entry into the world of 3D effects camerather prematurely; at the same 1981 NAB Show whenAmpex unveiled ADO, Quantel literally reprogrammedthe DPE-5000 overnight to be able to create 3D -like ef-fects. By the 1982 show, this "dimensionalizing" optionhad been added to the basic DPE software package thatpermits rotations, flips, and tumbles.

But Quantel had something far more exciting at NAB-its entry into the highly sophisticated 3D computer graph-ics world: Mirage. Even more than ADO, and certainlymore than the dimensional effects of the DPE, Mirageadded an astonishingly real "extra dimension" to realtime effects with tricks that simply couldn't be producedby anyone else's system.

Like ADO, Mirage incorporates an A/B input into theeffects channel, so that the object being defined can beprovided with a front and back, left and right side, and soon. But the approach to image manipulation is completelydifferent. In ADO, the entire raster is treated as a whole-shrunk, resized, rotated, and so forth. To achieve thecube -like effect, for example, four separate rasters areused, each reformatted and aligned with the others to givethe cube -like appearance. But with Mirage, the system al-ready comes preprogrammed with basic shapes such ascubes and spheres. The raster image is "projected" ontothe mathematical form, and the effect is created bymanipulating the algorithms which define the shape'sboundaries; the video simply rides along.

This is where Mirage comes so close to the computergraphics programs discussed earlier. The x,y,z coordinateshapes are defined on a graphics workstation almost iden-tical with a CAD/CAM system. In addition to the cubeand sphere there are a cylinder and a "square cylinder," atwisted, Mobius-strip-like figure, a page turn, and severalothers. The enterprising user can design his own basicforms out of algorithms at the workstation, but for nowthis is mostly left to the programmers at Quantel.

With these basic shapes the graphics artist then createsthe specific effect desired on a DPE-like control panel.Taking the sphere as an example, the front and back canbe views of a world map, so that the effect is of a globe. Itcan be made any size and rotated at any speed and the op-erator can also assign transparency levels to the object-acapability that is particularly effective in doing page turns

or in using the spinning globe effect.Since the raster curves to fit the shape and the mathe-

matical model itself is manipulated, curved lines are a ba-sic part of Mirage's repertory. Transitions can also be setup between effects, with the computer interpolating thedata between the preselected model shapes, so that oneform flows into the other.

As for resolution and sampling speed, Quantel says thesystem resolution is "compatible with the 13.5 MHz digi-tal standard." Says Harrison, "Mirage is just a pixel -mapped framestore linked with some very speedyprocessing equipment."

How many of these systems will be sold at $300,000still remains to be seen. Broadway Video in New YorkCity will take delivery of the first unit later this year. ABChas been "working with Quantel" on the Mirage system,according to Julie Barnathan, presumably for use initiallywith its Olympics coverage. And the company claims abrisk business in the product line-more interest, in fact,than it can currently meet with a realistic productionschedule. "But 3D effects aren't like standard digital ef-fects," reminds Harrison. "A standard processor can doall sorts of routine tasks; 3D is something else."

A new star

Development work on real-time 3D systems for televi-sion still has some surprises in store, however, and wait-ing in the wings is a brand-new development from Bosch,the FGS-4000, that may put everything else to shame. It'snot a product yet, nor even a prototype, but it will proba-bly be introduced at this year's NAB. Its impact lies inhaving abandoned pixel -mapped framestore characteris-tic of other digital effects systems in favor of real-timevectorgraphics-a breakthrough not only for the televi-sion industry but even for computer graphics.

Vector displays, unlike conventional raster displays,do not move the electron beam over the entire surface ofthe CRT each time an image is created. Instead, the beamtraces over only those points representing the object to beformed. Other mathematical programs then remove thehidden lines of the wire frame model, as described earlier,while other programs add color and shading. The basis ofthis approach is the ubiquitous polygons which can beused to form any shape imaginable-including curvedsurfaces if enough extremely small polygons are used.

The significance of the Bosch development is that theseeffects are created in real time. This puts the Bosch sys-tem in a league with the famous Evans & Sutherlandvectorgraphics processors-originally developed to per-form military flight simulations. But only the most ad-vanced of these systems has ever been able to claimreal-time processing.

Because no framestore is being loaded, processing ofthe 16 -bit data occurs extremely fast-at a 14 kHz proc-essing speed. Only after the data has been created and ma-nipulated is it stored for later recall-in two 24 -bit deepframestores, capable of offering 1000 -line resolution ifnecessary. This enables the system to create completelysmooth, anti-aliased figures and moves as quickly as thejoystick can be moved.

This system has only been shown once-at the recentSMPTE show, in a carefully guarded suite. This is largelybecause it is still in an almost experimental stage. Images

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SPECIAL REPORT: SOPC101 Effectsconsisted primarily of 3D letters and graphics being ma-nipulated through a keyboard control and also by means ofa joystick. The images were completely three-dimen-sional as far as the hidden line perspectives were con-cerned, but work is still continuing on the color shadingprograms. Also undetermined is whether the system willultimately be able to handle live video as well as real-timemanipulation of the forms-considered by most as a"must" for a system that will cost in the neighborhood of$300,000. Otherwise FGS-4000 will simply be theworld's most sophisticated, but also most costly, charac-ter generator.

Nor will the Bosch development be the final word. Atleast one manufacturer of a high -end digital effects system

not previously in the 3D arena can be expected to show upat NAB with something "very new and exciting." Andwork has already begun on lower -cost 3D systems as well.NAB will likely see the addition of an inexpensive, line -by -line kind of 3D digital image processing added to asystem which currently has an open effects bus just wait-ing to be programmed.

In the words of Meryl Lipman of The Post Group, "ev-eryone's going to want three-dimensional effects, thesame as they want ordinary digital effects today. Firstcome the people who just want to be new and different andbe the first to try a new system. But the real work beginswhen the dust settles. That's when the creative partstarts." Certainly the technology has now come of age!

Part II: Audio [FreelsGel DigitizedDigital audio effects are becoming more and more popular in production-everything ranging from simple delay and reverb to digital time compressionto computer -accessed effects banks.

WHEN DIGITAL SPECIAL EFFECTS devices were introducedto broadcasting in the early 1970s, most broadcastersviewed them as "jazzy little extras," novelties that were-n't necessary for the continued high -quality performanceof the station.

The first systems used were basic digital delay units,and for those in radio, for many years digital delay waslittle more than a device that offered profanity protection.

In the new radio and television production environ-ment, however, the situation is now quite different. With

At the Sound Shop, ACCESS effects are retrieved from the computer at right and manipulated by the control console.


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SPECIAL Special Effects

the influx of music recording equipment and techniquesinto broadcasting, the need for more sophisticated effectshas become apparent. Multigeneration reverb, even infi-nitely repeatable reverb with absolutely no degradation inthe sound (which could not be said for analog systems), isjust one of the benefits of the new technology. Even be-yond digital delay and reverb, digital processing is addinga whole new dimension of time compression and other ef-fects to the audio engineer's palette.

Digital development

The engineering development underlying the digitalsystems is straightforward. Clearly any digital systemmust begin with an analog -to -digital converter whichtranslates analog signals into digital codes using one oftwo current encoding/decoding schemes: pulse code mod-ulation (PCM) and delta modulation. Each scheme has itsproponents in terms of cost and quality, related in part todifferences in sampling rates (the number of times the au-dio signal amplitude and frequency are read digitally eachsecond). The PCM systems sample at 38 kHz, while thedelta systems operate at a minimum of 250 kHz, 15 to 20times the highest frequency.

The digital representation of the analog signal is thensent to a digital memory for storage and manipulation ofthe digital data in various ways. The signal is then con-verted back into analog through a D/A converter that re-verses the encoding process.

Keeping all the elements of the digital processor syn-chronized also takes different approaches in different sys-tems. DeltaLab synchronizes the D/A and A/D convertersand the digital memory to a common "clock" so that thenumber of samples per second and the organization of thesamples in the memory are all geared to the same speed.And, while the PCM scheme (an absolute value systemwith a clock rate of 12x40) works on 12 -bit processing,with binary words representing the amplitude, the deltamodulation technique is a rate -of -change (or one -bit) sys-

Production roomrack at WKEE-FMincludes theDeltalab DL -2digital delay, usedfor commercialproduction andpost -production.

tem in which the sampling rate is the clock rate. In con-junction with this, a voltage -controlled oscillator is usedto set the digital bit rate and sampling clock. Different in-put voltages permit the varying of the clock in a two- orthree -octave range in delta modulation.

New digital applications

Of the new generation of digital effects devices on themarket, the most popular appear to be those that combinethe various effects capabilities once found in separateunits. Examples are Ursa Major's SST -282 Space Station,a unit which combines digital delay and reverb.

Another example, one of the digital devices used atWKEE, Huntington, WV, is Delta Lab's DL -2, which of-fels several effects in one rack unit-delay, reverb, echo,doubling, chorusing, and flanging-in addition to a digi-tal memory.

The in-house production of commercials and promo-tions has reached a level of such complexity that the digi-tal effects are a necessity. A commercial WKEE did for alocal computer store featured a computer talking to theconsumer and explaining its usefulness. This required thatWKEE take a real voice, then phase it, delay it, and addsome reverb to make it sound synthesized. Without thedigital effects there would have been no commercial.

Another popular unit for adding digital effects duringproduction is the Eventide Harmonizer, the latest genera-tion of which has a new de -glitch circuitry. SteveLushbaugh, program director at WMMR, an AOR stationin Philadelphia, is one of a growing number of innovatorsputting effects to work during production. Lushbaughuses the Eventide unit for his song parodies. "It's a funpart of our programming. I find for this kind of applicationI need the precision and ease of a digital machine that I canplug in, as opposed to messing around with a couple oftape machines."

The parodies are achieved by recording the left andright channels of an album out of phase onto a four -track


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SPECIAU SOPC101 itiverstape recorder, which usually causes the vocals to drop out,or to fade enough so that they can be covered with newvocals. What is left is essentially an instrumental track.Lushbaugh writes new lyrics and sings them to the tune ofthe original song (a current title is "Only Lunch CanBreak Your Heart" by Neal Younger, for the daily lunchtime program). The new vocals are processed through theharmonizer to match the processing (any delay reverb orflanging) done by the original artist. Or, if the vocal rangeis something that he's not comfortable with, he canchange the pitch of his voice or the instrumental track tobring them together.

This example addresses the reality that, in the highlycompetitive radio, TV, and TV commercial business, themix of creative personnel with the new technology canlead to a crucial advantage.

But though the technological development of digital ef-fects systems has been welcomed by the creative sector,this in itself will not make them widely used in the broad-cast industry; for radio and TV stations and production fa-cilities there has to be a financial payoff. Lou Mueller,chief engineer of WKEE, claims "they give us an added

Time compression at WNEW-TV is done with an EventideTimesqueeze installed in Ampex VPR-2Bs.

selling advantage over the competition. The draw to po-tential advertisers is substantial. For some, digital devicesmight still be a luxury because of the cost, but for us spe-cial effects are useful tools that provide a substantial re-turn on the investment."

Altering time with digital audio

Digital effects per se is not the only area under develop-ment in digital processing, however; time compression isunder full-scale attack. Lexicon's Model 1200, for exam-ple, allows the playback of recorded audio or videotapeand film at a faster or slower rate without altering the orig-inal pitch. The unit can compress the audio at up to 25 per-cent without signal degradation. This permits theshortening of running time to add tag lines, or simply tolend an energetic atmosphere to the presence of the showin question. Older television programs can now be shownwith more commercial time, without editing, by simplyrunning the show faster and compressing the audio. Radiodrama can benefit in a similar way with the resurgence ofsome of the old syndicated shows. A keypad is provided

for entering the original running time and the percent ofcompression or expansion desired, as well as for controlof any variable -speed tape recorder.

The way in which the 1200 accomplishes its task ifsomewhat complex. It is a result of "intelligent splicingwhich removes the redundant properties of vocal soundiby sampling the audio at a very high rate. Inside the unita Z-80 computer as a backup to the integral high-speedpitch processor. The pitch shifter maintains the relation.ship of one pitch to another so that if two pitches were oneoctave apart in the original, they would retain that rela-tionship even though their absolute pitch had changed.This is possible because the pitch processor is linear in thefrequency domain (i.e. for a given pitch change, all fre-quencies are multiplied by a constant).

The actual shifting of pitches is accomplished bystoring the information at one rate, and retrieving it at adifferent rate. The pitch -shift ratio is the difference of thepitch when there is a change from its record speed to itsplayback speed. If it is played back at twice the recordspeed, the shift ratio is two; if played back at half the re-cord speed, 0.5 is the shift ratio. The pitch -shift ratio is theconstant by which all frequencies are multiplied.

Future systems enhancement is also easier with thistechnology. There are eight audio expansion programsand eight compression programs in the standard 1200unit, with the capability of adding more if necessarythrough the installation of additional software in the formof read-only memories, or with the addition of hardwaresuch as replacement of printed circuit board modules.

Another popular time -altering device, with the additionof an outboard computer, is the Eventide H949 Harmoni-zer. Called the Timesqueeze, the system consists of theH949, Eventide's tape controller, and a Hewlett-PackardHP85 desktop computer with proprietary software. 'Thedesired play times are entered and the computer makes ailtiming, speed, and pitch ratio computations.

Computers expand audio horizons

Since computers have long been processing informa-tion digitally, and since they are fast and cost-efficient,they are naturally assuming a major role as the special ef-fects scenario is played out. The use of computers aids inthe storage and retrieval of sound effects as well as increating them. The Synclavier is a well-known deviceused for special effects in music recording and commer-cial sound effects generation. It is essentially a computer -driven synthesizer, with memory for storage and recall ofmusical passages and audio effects.

Another computerized effects system is ACCESS (Au-tomated Computer Controlled Editing Sound System).There are two in existence, the original at Neiman TillarAssociates, an audio production house in Los Angeles,and the other at the audio arm of Reeves Communica-tions, the Sound Shop, in New York City.

Neiman Tillar designed the user application softwarefor the system whose hardware was provided by MiniMicro Systems. At the Sound Shop, the computer termin-al and separate control console is interfaced to audio andvideotape machines through a BTX Shadow controller.The digitized sound data is stored in standard IBM mag-netic disk data storage packs with each pack holding 40minutes of digitized sound. The system currently accom-


You've heard the complaints a thousand times.The sound is muddy, distorted, unintelligible! Thesystem just isn't doing the job! The darn thing is introuble again! Yet these inadequate communica-tions systems are continually patched, reworked andrebuilt, running up costs and ruining schedules.

The field -proven RTS Systems'TW INTERCOM effectively solvesthese problems to deliver out-standing sound quality in any tele-production, broadcast or industrialapplication. It's a high-perfor-mance conference -line system thatoffers remarkable reliability, cou-pled with extensive capabilities.

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uncut REPORT:Special Effects

The audio time compressor/expander from Lexicon is adedicated computer with keypad control of all playbackparameters.

modates seven packs, providing four hours and 40 min-utes of digital effects on line at any time. This all adds upto something on the order of 30,000 to 40,000 stored ef-fects, which are instantly retrievable and can be modifiedin volume, intensity, length, and equalization.

The data is stored and indexed in the computer by nameand number and can be easily accessed. Once the effect isfound, the sound engineer listens to it and, if he doesn'tlike the effect, he skips over it. If he likes the sound, hepulls it out, and tells the computer to insert the effect onthe tape at the specified SMPTE time code. The durationis determined by entering time code points for the effect'sbeginning and ending.

The modification of the effect is accomplished at thecustom-built ACCESS console, which has the facility forup to 24 tracks of audio assignment, three -band equaliza-tion, and slide faders to control gain and pitch. The effectis retrieved and auditioned while the gain, pitch, and EQare adjusted. If the sound is satisfactory, the engineer laysit on tape and enters it into the computer, which locates itin the index next to the original, unmodified effect.

A list of all edits and effects executed are listed by timecode on a computer printout for easy reference. The liststates the name of the effect, its duration, and index loca-tion in the computer.

Digital effects can save money

The drawback of such sophisticated equipment is, ofcourse, the price tag. Advanced, dedicated computers areexpensive to buy, and the expense is difficult to justify un-less the facility has a heavy schedule of commercial pro-duction or other creative audio work.

There is, however, a viable alternative which puts digi-tal effects capability within range of any who work withaudio-simply the small digital effects boxes mentionedearlier. Several companies make quality units with pricesranging anywhere from $400 up. The small delay and re -verb units have many effects contained within them andoffer the fine control and reliability of digital processing.

The bottom line is that there is no excuse for claimingthe bottom line doesn't permit the purchase of digital ef-fects. With a little creative application, the devices canwork to improve the financial picture rather than be adrain on it. The investment return has proved to be there inthe form of commercial production and post -production,or simply in distinguishing one station's sound from allthe others. The potential is there for any application in anymarket. In short, digitize and be recognized. BM/E

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BM E JANUARY 1983 69

INTRODUCINGU-MATIC

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Sony, the inventor of the U-matie format, aswell as every link in the chain, has evolutionizedU-matic again.

Now, for the first time ever, you can make in-stant broadcast -quality edits of those dramaticevents which calf for freeze frame, slow motion,fast forward or reverse, without transferring to 1".

And the implications of this in terms of savingtime and money are enormous.

TWO NEW WORDS IN 3/4" VTR'S:DYNAMIC TRACKING.'

At the heart of the new, fully integrated, plug -compatible Sony editing system is the BVU-820videocassette recorder.

It retains all the outstanding qualities of theBVU-800 series. Including up to 40x play speedin shuttle, which is more than twice as fast as everbefore-to stop, instantly, without slewing orbreaking up.

But there's one brilliant addition-DynamicTracking. Which means U-matic users now havethe ability to broadcast special effects-somethingwhich, until now, has only been associated withmore expensive reel-to-reel broadcast VTR's.

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The BVE-800 is expandable and upgradeableand includes full A/B sync roll capability; timecode or CTL editing; built-in BVS-500 Audio/Video switcher control logic and something elseonly Sony can offer:

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For all the facts on the stateof the art, from the people whoinvented it, call Sony Broadcastin New York/New Jersey at(201) 368-5085; in Chicago at(312) 860-7800; in Los Angelesat (213) 537-4300; in Atlanta at(404) 451-7671; or in Dallas at LJA.

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SMPTE 1982:Broadcasters Discovera New Sense of RealityIT WAS BUT A YEAR AGO that the industry was buzzing withthe idea that an all -digital TV plant might not be that faraway. International sampling standards were in the midstof being set; digital VTR development was thought to beproceeding smoothly; manufacturers of various digital"boxes" appeared to agree that a digital interfacestandard was just around the corner. At the same time, thecourse appeared to be set for HDTV, computer graphics,broadcast teletext, and a number of other new tech-nologies discussed at the 1981 SMPTE meeting.

But a funny thing is happening on the way to the digitalstudio. The industry is apparently detouring through theanalog component route originally suggested by manufac-turers of small -format recorders (Hawkeye, Betacam,Lineplex-take your pick); and the ETA of the all -digitalplant is being delayed-five to 10 years, some fear.

Nowhere is this new thinking about digital more clearthan in ENG/EFP applications. Merrill Weiss of KPIX,San Francisco, is just one of those who is exhibiting a newsense of reality about digital. A year ago, when Weisstraced out the steps he was planning in getting to the all -digital studio, he foresaw a need for a quite separate ENGdepartment. Since then, he has revised his thinking toshow an improved interface between analog and digital,thanks to the advent of more compatible analog compo-nent equipment. Although the performance of today'sENG equipment doesn't measure up to what is to be ex-pected in the digital post -production suite, the advent ofimproved tape could satisfactorily close the gap between4:1:1 and 4:2:2 digital systems.

Nor is digital TV the only technology apparently beingdowngraded. Last year the goal for HDTV was 1125 linesof resolution-something equivalent to 35 mm film inquality. This year the target seems to have shifted tosomething far less idealistic-upgraded 525 -line compat-ible TV.

Even more telling, at last year's Los Angeles SMPTEconference, computer graphics were all set to invade TV -land. This year in New York, only a few systems that hadcrossed the border could be sighted.

A new sense of reality (or perhaps even conservatism)has emerged, and the transition to tomorrow's radicallychanged broadcast or production plant is going to be any-thing but smooth.

The analog componentsIndeed, as broadcasters began to plot the all -digital stu-

dio using the new international standard (4:2:2 componentsampling as opposed to the traditional composite signal),they recognized that when interfacing with analog equip-ment it would be desirable to work with analog compo-nent signals.

Analog components? At first the concept seemedunrealistic. But it was quickly realized that the new small -format recorders used in one-piece recorder/cameras arealready of the component type-luminance signal is re-corded on one track, chrominance signals on another.And these new recorders began to catch the attention ofall -digital planners as a necessary part of the plant of thefuture, especially for ENG and EFP applications, since noone can yet envision a compact, portable digital VTR.

So while the SMPTE committee working on half -inchtape standards failed to recommend either the Beta- or theVHS -based format for standardization, a new WorkingGroup on Component Analog Video Standards has justbeen formed to see if agreement can't be reached on thecoding scheme used in the recorders.

Despite the speed with which these developments havebeen taking place, it appears that analog component sig-nals are now part of a broadcaster's life. The question be-

of analog components isbest-frequency multiplexed components such as theYIQ frequency -modulated signals of the Matsushita(Panasonic)/RCA format, or time -multiplexed compo-nents, represented by the Sony Betacam approach (R -Yand B -Y signals). The Bosch Lineplex format, developedfor its quarter -inch recorder, uses similarly derived colorsignals, but, through expansion of the luminance signaland compression of color signals, it intermixes both on thesame track. A full picture is read out of the two lines.

The case for analog component signal processing forENG/EFP applications was spelled out by RCA'sC. Robert Thompson in the SMPTE session on small -format recorders. In the analog composite domain, re-cording is by color subcarrier, which is, of course,bandwidth limited. The secret of producing outstandingpicture quality on small -format recorders is the elimina-tion of color subcarriers. For high-grade NTSC signal re-cording, Thompson says all active lines, both luminanceand chrominance, must be recorded.

The Hawkeye approach, which records the Y FM sig-nal and the I and Q FM signal on separate tracks (see "The5 mm Difference," BM/E, March 1982, p. 191), deliv-ers full NTSC bandwidth -4.2 MHz for luminance, 1.5MHz for chrominance I, and 0.6 MHz (6 dB down as perFCC specs) for Q.

Thompson also pointed out some of the differences be-tween the RCA and Sony machines. Whereas Sony offersa higher head -to -tape speed as a result of a larger drumdiameter and thus has an edge in regard to wavelengthsrecorded and magnetization depth, RCA's wider trackwidth (on its larger cassette), which is 175 microns, com-pared to 73 for Sony, offers a larger magnetizationvolume and an inherently greater video channel capacity:


SMPTE 1982

Sony three -tube Betacam.

1.89, compared to 1.0. For audio, ChromaTrak offers aneven greater ratio of advantage, Thompson said.

T.E. Mehrens from Sony revealed, however, that thehigh head -to -tape speed of the Betacam allows the re-cording of the newly developed compressed time divisionmultiplex component recording format; luminance is re-corded on one track while R -Y and B -Y color differencesignals are compressed 2:1 in time and alternately re-corded on a second track. In the playback process, R -Yand B -Y signals are restored to their original form and de-layed 2H. The time difference is compensated by a digitalretiming built into the BVW-10 player unit.

And Sony evidently means serious business when itcomes to capturing the recorder/camera market; it showedfor the first time a working model of the BVP-3camera-a three x 2/3 -inch tube version of the Betacamcamera head fully interchangeable with the current three -stripe version. Weight of the new camera is 9.5 pounds,bringing the total system in at 17 pounds without lens.Performance specs are impressive: more than 600 linesresolution, 58 dB S/N, and sensitivity rated at 2000 lux atf/4 with 89 percent reflectance. Power consumption isonly 11 W.

The SMPTE small -format recorder session affordedattendees the opportunity to learn something about theBosch quarter -inch Lineplex system, unveiled last Aprilat the NAB convention. Henry Zahn of Bosch said Line-plex leapfrogs the confusion generated by the two incom-patible half -inch formats. According to Zahn, while theBosch recorder works with much narrower tape, it doesnot sacrifice signal-to-noise. By doubling the recordedwavelength and halving the track width, a 3 dB S/N im-provement can be achieved for a given surface area.

Taking advantage of the fact that the density of thechrominance recorded signals in NTSC is three times lessthan that of luminance, Bosch elected to use a signal ex-pansion and compression technique to record equal densi-ties by expanding luminance by a factor of 1.5 andcompressing chrominance by two.

Two tracks are used to record odd and even tracks ofmultiplexed luminance and chrominance. By displacingheads, two horizontal line intervals are located in parallelin correspondence with appropriate picture elements.

The Bosch camera/recorder became a real contender atthe SMPTE conference. Bosch had a working unit of thebelow -16 -pound complete system producing superb pic-tures in its Sheraton suite. The company also showed anedit controller for two recorder decks, indicating full sys-tem possibilities. Although Bosch wasn't taking orders, itindicated it would be ready by the next NAB.

Ninety percent single -piece by 1988

Nor were the Sony, RCA, and Bosch recorder/camerasystems the only ones on view. At Panasonic a spokesmansaid he expected that single -piece camera systems woulddominate the market-rising as high as 90 percent withinthe next five years. Naturally the company hopes to cornersome of this market with its ReCam system.

Ampex, too, has entered the field with ARC (AmpexRecording Camera), with both recorder and camera sec-tions OEM -manufactured and of no relation to the BCCcamera line or Ampex -manufactured VTRs.

Ikegami, too, is making use of the Matsushita -developed recorder, coupling it with the Ikegami HL -83single -tube lightweight ENG camera. Craig Sloss ofIkegami says the company is not permanently "married"to this recorder, however, and points out that the HL -83'sside -mounting bracket allows for the attachment of virtu-ally any small -format recorder. "Why weigh the camera-man down with half -inch?" says Sloss. Ikegami, whichhas sold 3500 HL -79s in the U.S. alone, is off to a runningstart with its small -format program, having made a majorsale to WNEV-TV along with Panasonic (see BM/E, No-vember 1982, p. 18).

Hitachi made news by showing not one but two fullyengineered recorder/camera units: the SR -10, using thehalf -inch "M" -format (Matsushita) recorder, and theSR -1, incorporating a high -quality quarter -inch format re-corder. Both units on display used the new Hitachi SK -1high resolution MOS image sensor camera head, intro-duced at NAB, but Thomas Califano said the SR -10(M -format) would also soon be available with a three x2/3 -inch tube camera. The separate recorder portion wouldbe pin -compatible with either the solid-state camera or thetube camera. Hitachi showed a complete system in theM -format, including an HR -50 standalone field recorderand a complete editing system.

The SR -1 is not the color subcarrier-under systemshown in prototype form at earlier NAB shows, but a fullprofessional -quality quarter -inch unit taking the analogcomponent foute with a luminance channel and a multi-plexed I/Q channel. Developed under a research contractto Nippon Television, sample units are being made availa-ble to the U.S. networks, and the format structure has

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SMPTE 1982

been submitted to the SMPTE, in case the formatsstandards group decides to retackle the problem ofproposing standards. Although the SR -1 has not yet beencommitted to production, that decision is not far away,Califano intimated.

Finally, as if the two half -inch and two quarter -inch for-mats just discussed did not offer enough choice, JVC hascome along with another possibility (one which JulieBarnathan at ABC says is just as interesting to him as anyof the others). The VHS -C format is a standard VHS re-corder, except scaled down so the cassette is little largerthan a pack of cigarettes. The field recorder clips onto anycamera and provides, if not full broadcast quality, then atleast ENG-acceptable signals. Then, for editing, the tapeis taken out, placed in a special adaptor, and played on astandard VHS player for editing.

JVC is offering the recorder as a package with one of itsindustrial -grade cameras, but both Frezzolini and PEPhave also jumped on the bandwagon. Available throughboth is a VHS -C recorder made to attach to ENG camerasby using the clip -on bracket which normally mounts anon -board battery.

"Ordinary" VTRs and cameras

In all the excitement over the small -format recorders itis easy to miss a major new development in one -inchVTRs-the Ampex VPR-5 . Weighing in at just 15pounds, the recorder offers full bandwidth field recordingin a package smaller and lighter than portable 3/4 -inchdecks. First shown at the IBC conference (see BM/E, No-vember 1982, p. 18), this was the VTR's U.S. debut. AnAmpex spokesman said the VPR-5 was developed in partin response to the lightweight one-piece units.

Developments were shown in cameras, too. Thoughnot in the single -piece market, CEI/Panavision Electron-ics (the newly formed merger offering film -style productsto the TV industry and TV technology to filmmaking)brought out the new 310SP, a "special performance"model of the CEI 310, featuring its microprocessor con-trol system. This camera is definitely intended for the ECmarket, according to national marketing manager AlanSheffield, but it doesn't overlook the needs of the tradi-tional EFP production. Processing is the key to achievingthe "film look," with the incorporation of four differentclip levels to achieve smoother transitions. Sheffield alsosaid the Foton studio camera-"automation that's afford-able to all stations"-is now in full production with firstdeliveries due soon.

Both RCA and Hitachi showed new portable versionsof their automated studio camera systems, designed forfull integration with master setup panels.

Among lens manufacturers, Canon led the way withtwo new models for 2/3 -inch cameras. The first, accordingto Jack Keyes, VP, is an "economical" 15:1 zoom pricedat $2100 and therefore filling a gap between low -quality/low-priced zooms and premium quality models. Maxi-mum aperture is f/1.8 from 9.5 to 112 mm, and f/2.3 outto 143 mm. Canon's other new lens is a 15X zoom for2/3 -inch studio -type cameras.

Angenieux, too, had a brand-new lens-a 10-120 mm,T/2 model designed for cine cameras. The 15x9 ENG/EFP lens and the 14x7 lens for half -inch tube cameras in-troduced at last year's NAB were also prominent.

A lively display of new camera technology at CEI/PanavisionElectronics.

Jack Dawson, VP of Fujinon, made no startling productintroductions, though he revealed that Fujinon manufac-tures close to 95 percent of all beam splitting and dichroicfilter assemblies used on every manufacturer's cameras.Dawson also promised major new developments comeNAB time, with perhaps some additions to the electroniccinematography prime lens line by then.

Among pickup tube manufacturers, EEV has a new1/2 -inch tube for the new generation of cameras such as theHawkeye, but the tube isn't in mass production yet and thecompany is taking a wait -and -see attitude as far as half -inch is concerned. Amperex, which introduced its 80XQhalf -inch tube at NAB, is also cautious about the market;spokesperson Lee Nowell doesn't see much happeningwith half -inch cameras yet.

News as king

One way of reading the increased emphasis on realismis increased attention to bottom -line profits. And withsome stations reporting 60 percent of their revenues ascoming from local news operations, manufacturers havebeen targeting newsgathering as never before; news isking when it comes to revenues, and the news director hasbecome a major station influence.

The development of single -piece recorder/cameras isonly the tip of the iceberg. Harris, for instance, brought itsline of ENG microwave gear-a rarity at SMPTE shows,with SMPTE itself confessing that transmission is not itsarea of expertise. Even rental houses with regular networknews clients may be getting into the act (it's still impossi-ble to rent a microwave system from any of the major rent -


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SMPTE 1982

al centers, including Camera Mart and Victor Duncan).The problem, according to John Sullivan, who owns arental company in Boston, is that systems are relativelyexpensive and demand for them, though heavy for occa-sions such as election night, just isn't there year-round.

Editing systems, which are traditional at SMPTEshows, also showed this trend towards the smaller systemdesigned primarily for news. Karen Mills, product spe-cialist at EECO, demonstrated EECO's brand-new entryinto the editing field (they've been OEM manufacturingfor Ampex and RCA until now). The IVES -1 (IntelligentVideo Editing System) costs only $5500 for a two -machine system (successors to the IVES line, such asIVES -2, may be available by NAB). The system has aninternal AFV switcher for split edits, a black burst genera-tor for "striping" tape, and a CRT with full informationabout the status of the edit, including time code displays,while the editing console has a unique thumbwheel-likejoystick with extremely positive response.

Meanwhile, Joseph Horning, describing the newDatatron ST -3 moderately priced editor, claimed "peopleare saying they find this system 20 percent faster becauseof the dedicated keyboard and positive keystrokes withouthaving to use a dialog with the machine." Moderatepricing in this case is under $40,000 for a basic three -machine editor plus special effects switcher interface, butthe system can be expanded to five machines plus inter-face. Perhaps best of all, says Horning, the ST -3 uses thesame interface cards as the Vanguard, so it comes onto the

market already fully interfaced with most VTRs.Still an attention -grabber among editing systems, Con-

trol Video's Lightfinger is now in a "Plus" version thatincludes list management. Its advantage lies in theoperator interface, since the editor merely touches aninteractive screen to call up the various editing capabili-ties-completely eliminating mechanical machine re-mote control.

Even Control Video, a technological innovator for thepast several years, is taking a more realistic approach.Whereas the system was being marketed to film-makersuntil fairly recently, the marketing effort in this directionhas now taken a back seat to the TV market push. WithHarris said to be experiencing some difficulties with sup-pliers of the film -rate time code generators used in itsEPIC -based film -style editor, this leaves really only Con-vergence with its ECS-104 contending for the still rathersmall number of film producers who are shooting film,transfering to tape for post -production, then going back tofilm for release using the automatic shot log generated bythe video editor.

CMX/Orrox, whose FLM-1 film editor is also beingheavily promoted by Laumic, appears to be ideally posi-tioned for those film-makers who simply want to applyelectronic technology to the editing process-especiallywith the new Kodak Datakode development (see thediscussion under "Film and tape").

Editing systems being designed more and more for theexpediencies of news operations are only half the story,

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79

Don't let yourstation sound like

a phone booth.

Every broadcaster knows the problems of on -airtelephone links. The garbling when announce -feedsgo out simultaneously through the board and thephone. Or the mysterious cutoffs in the middle of animportant interview when line noise or sibilantsgenerate 2600 Hz for a disconnect signal.

A lot of stations-network flagships andothers-who've had to face the problems have alsofound the answer: the Studer Telephone Hybrid.

With sidetone attenuation of up to 40dB, producingmaximum isolation between send and receive circuitsthrough an active self adjusting bridge network, anda 12 -Henry choke on the input to ensure positive ex-change lock -in, the Studer Telephone Hybrid is simplydesigned to do the job right. 30dB/octave receive and12dB/octave transmit filters eliminate unwantedsignals that would muddy the on -air clarity you'vebuilt into your station. All phone line requirementsare automatically matched, and a built-in limiter

and white -noise generator are included to give youadjustable overload protection and privacy.All in a 13/4 inch rack mount unit.

Studer can ensure a clean link for all your con-sole feeds. The Telephone Hybrid maintains airquality on telephone talk shows, news feeds, andphone interviews. And our active -circuit StereoBalancing Unit couples balanced ins and outsto single -ended recorders, equalizers, limiter/compressors or other unbalanced gear.

For more information on how to keep your sta-tion from sounding like a "wrong number," call orwrite today.

REVOXStuder Revox America, Inc.

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In Canada: Studer Revox Canada, Ltd.


SMPTE 1982

however. For since more and more news operations havetheir own technical areas within the station and roll theirown material to air directly from their own VCRs, severalcompanies have come onto the market with cart deck con-trollers designed not for massive program automation sys-tems but for smaller, news -style operations. One of themost prominent was the Lake Systems La -Cart, whichhandles up to 30 machines, including U-Matic and Type Cdecks-Control Video OEMs the system's finger -controlinteractive CRT.

Also eyeing this market, however, is Vital. JimMoneyhun, the automation project manager, confidedthat the SAM automation system was being seriouslythought of for post -production as well as newsroom origi-nation applications. The time code -based operation, anduse of a DEC mainframe, make tailoring to fit any appli-cations a simple task.

Videomedia, too, has a new product offering in thisarea. STC-1 is an expandable remote control systemoperating over twisted -pair wiring and capable ofcontrolling virtually any kind of tape transport. Again, theemphasis is on somewhat smaller applications than themassive station automation systems which became availa-ble a few years ago but were rejected.

Systems such as Videomedia's, almost unthinkable at aSMPTE show a few years ago, are suddenly very popular.Even Microtime, which introduced a simple videocassetteautomation controller to the cable industry last year, maybe planning to market actively to broadcasters soon. IVES, the new low-cost editing system from EECO.

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BM'E JANUARY, 1983 81

Why Beyer mics represent a viable alternativeto the usual choices in Broadcast.

a

Beyer MCM Condenser System

Now there's another high-techGerman condenser system.

Until recently, film andbroadcast engineers thought onlySennheiser and Neumann madehigh -quality condenser microphonesystems. Now the Beyer MCM Seriesoffers the same German excellencein design and construction, the samekinds of accessories (windscreens,pistol grips, shock mounts) andfacilities for 12V and 48V "phantom"powering.

And since the MCM Series studiocondenser mic is part of a systemwhich combines power modules anddifferent mic capsules (long shotgun,short shotgun, unidirectional, omni-directional and figure eight), youget more microphone potential fordollar output.

Like all Beyer microphones, theMCM Series is a truly professionalinstrument system suited tothe widest range of applicationsin Broadcast/Film and Videopost -production.

With lavalier mics,small is not enough.

Electret condenser lavaliermics like SONY's ECM -50 haveproven useful for on -camera mikingsituations because of their reducedsize. And while many of these micsoffer good performance in a compactsize, the Beyer MCE5 also providesextended frequency response (20 to20,000 Hz) and durability in an evensmaller format (diameter: 7 mm /length: 23 mm).

To optimize its compatibilitywith a variety of broadcast and filmapplications, the tiny black MCE5 isavailable in different configurationsfor powering interface and includes asystem with accessories likewindscreens, expansion mounts etc.

At Beyer Dynamic's ultra -modemmanufacturing facility in WestGermany, we hand -build virtually allof our microphones in the mostevolved state of fine Germanengineering.

Beyer MCE 5 Lavalier

Beyer M 260

There's more than one way tobring out the warmth

in an announcer's voice.

Broadcast engineers choose theE -V RE20 for many vocal announcingsituations because of its wide s.

frequency response (45-18,000 Hz)`and smooth sound. Beyer DynamicsM 260 also provides the extendedfrequency response (50-18,000 Hz),and warmth required for criticalvocal applications with one distinctadvantage: its reduced size. Itscompact and efficient ribbon elementcaptures the warmth traditionallyprovided by this type of mic. Andbecause it is considerably smallerthan a mic with a large moving-coil diaphragm, the M 260 providesa natural, balanced sound image ina portable format that won't obscurecopy or take up valuable space inthe studio.

The Beyer M 260 has its owncustom -designed ribbon element tooptimize the mic's performancebased on its Broadcast applications.

The Dynamic Decision beyerdynamia*Extracted from competitive promotional literature or advertising.'Documentation supporting specific comparative claims available upon request. Beyer Dynamic, Inc. 5-05 Bums Avenue, Hicksville, New York 11801 (516) 935-8000


SMPTE 1982

Quick and dirty graphics

As noted at the beginning of this report, even the high-priced, ultrasophisticated world of electronic graphics isfacing up to the realities of the current broadcast and pro-duction environment. Let there be no mistake, of course,that in larger markets and for networks the high -ticketgraphics devices will continue to make their impact. Unitssuch as the MCl/Quante' DPE line and the Mirage system,the Ampex ADO, Bosch's new 3D effects generator, theVital SqueeZoom, and the Grass Valley DVE are going tocontinue to draw crowds with their dazzling effects pack-ages (including the movement towards three-dimensionaleffects as an industry -wide trend-see the report else-where in this issue). And electronic still stores such as theADDA ESP, Ampex ESS, and MCl/Quantel DLS willalso continue to make inroads. But the real push istowards the low-cost systems, the systems that will inter-face immediately with current stations or facility opera-tions, systems that expand current capabilities withoutforcing a commitment to extensive new hardware.

At the top of this list of companies is Chryon, whichcontinues to expand the software of its Chyron IV-nowable to manipulate the character generator output in sim-ple digital effects patterns. "If someone already has ourcharacter generator," observes Dave Buckler, "whyshould they have to invest in a digital effects system?"Chryon's new package also includes camera -based fontcompose and the digital art/paint system first previewed atNAB. The character generator can thus become the basis

Add-on graphics module for the Chyron IV.

of a complete electronic graphics system for only an extra$6500.

Also high up on the list is Bosch, which has come outwith a graphics generator that can be used either stand-alone or tied to a character generator such as the Composi-tor I. According to president William Butler, the low-costsystem offers the artist 16 colors per image chosen from afield of 65,000. Automatic filling is offered, as is full cutand paste and a wide choice of electronic brush and penstyles. Up to 64 images can be stored on each replaceable10 -megabyte cartridge.

With the move towards lower -cost systems so preva-

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SMPTE 1982

lent, digital art/paint systems may be in for a hard time ofit-especially sophisticated units such as the QuantelPaint Box; it's still a show -stopper, since it does thingswhich no other system can, but besides networks andlarger teleproduction facilities, who will be willing (orable) to pay the price tag?

On the more affordable scale, companies such as ViaVideo are still trying to drum up interest. Via announcedat the show that Videograf, a Highland Park, NJ -basedproduction company, would become its east coast service/demonstration center.

A newcomer to computer -graphics -for -television,Online Computer brought out the Cyber-Limn system.Ten Z-80 microcomputer chips are run together in parallelarrangement to add considerable graphics depth at mini-mal cost.

Film and tape: the gap closes

With film and tape busy borrowing each other's tech-niques and technology, the once -formidable split inSMPTE's personality is closing fast. Perhaps the most -talked -about breakthrough in the film -tape area camefrom Eastman Kodak, which announced that it will soonbegin producing film stocks with a "functionally trans-parent" magnetic coating called Datakode, which coversthe entire underside of the film in a physical marriage offilm and tape technology. Kodak envisions Datakode as atool for automating those aspects of film post -productionthat it terms labor-intensive and basically uncreative, anddemonstrated its use on a film editor equipped with a mag-netic read head.

Exactly what information will go on the magnetic coat-ing and how film equipment will interface with it is notfinal, but it is certain the film industry will waste littletime in supplying the answers. The Motion Picture Asso-ciation of America (MPAA), in fact, formed an ad hoccommittee to explore the new technology's potentialshortly after Kodak first demonstrated its feasibility lastJune. Ed DiGiulio, president of Cinema Products andchairman of the committee, says equipment will be avail-able to exploit Datakode by the time Datakode is avail-able-the second quarter of 1983, according to Kodak.Users will be able to get the coating on a variety of 16 and35 mm stocks.

The most obvious application of Datakode is the re-cording of time code for ease in post -production. As Ko-dak's William Peck noted, standards will be required for

Demonstration of Kodak Datakode electronic film interfacing.

both the code format and the content. DiGuilio says themanufacturers involved in the MPAA committee have al-ready agreed that SMPTE time code is best for the pur-pose, and have also agreed to record the code at the filmstandard of 24 fps.

Kodak, which steadfastly maintains that film will re-main the production medium of choice, also introduced anew film stock at the show -5294, a 35 mm color nega-tive film rated at 320 ASA; the 16 mm version, 7294, willbe available in the second quarter of this year.

The interplay of film and video was the subject of manydiscussions at the show. Tom Mann of Image Transform,for instance, is a strong advocate of video post -productionfor film material because of the speed of the process andthe availability of broadcast -quality special effects. Heurges remaining at 24 fps for the whole process, therebyeliminating the likelihood of bad edits created by the 3:2pulldown problem. Mann is also involved in the Image -Vision "higher definition" TV system, which gives in-creased video quality with unmodified cameras andVTRs.

A major problem in film -to -tape transfers is turning outto be a lack of standards, for which Kodak has proposedtwo solutions: the use of Kodak's telecine analysis film(TAF), and the Eastman Color Monitor Analyzer(ECMA) for gray -scale alignment of telecines, which Ko-dak found highly variable in a survey of 20 transfer facili-ties. TAF is designed as a film tool for telecine alignment;ECMA is a sensitive light meter with digital readout.

On the exhibit floor, A.F. Associates, at SMPTE forthe first time, showed a Marconi B3410. Response wasreported as good, especially from film people. AFA'sRich Lunnis conceded that the Rank Cintel flying spotscanner has plenty of vitality left but asserted, "There'sno doubt that CCDs are the future technology." CCDtelecines are gaining acceptance, Lunnis said; at any rate,the telecine field provides "plenty of work for every-one."

On the other side, Rank Cintel steadfastly maintains thesuperiority of its flying spot telecine, the Mk III, which itsays avoids black stretch and noise problems found inCCD models, and gives true live -frame still images. Rankhad literature on its telecine color corrector, Amigo, ex-pected to be ready by this spring's NAB.

Across town, TVC Video was putting the solid-stateBosch FDL-60 telecine to work at its brand new post -production facility-spawned by TVC film labs and de-signed by A.F. Associates. TVC actually installed thefirst FDL-60B2 units to hit the market-capable of A/Broll transfers. The Dubner color corrector, also capable ofA/B roll operation, was being converted while the showwas in progress. Typical of today's post -production facili-ties, TVC offers full -service editing with Chyron IV +font compose graphics, an MCl/Quantel DPE-5000 digi-tal effects system, Neve audio console, and CMX 340Xediting.

Color correction was a hot topic at the Magnasync/Moviola booth, where the low-cost Videola telecine wasinterfaced with an L-100 color corrector from CorporateCommunications Consultants (which had a full color cor-rection system set up in its own booth). With the L-100,the Videola color corrects from film to video or video tovideo. Magnasync/Moviola claims to be unthreatened by

84 BM'E JANUARY, 1983

"I want the ultimate.A camera with 3 -tube picture

quality that's tubeless:'

HITACHI HEARD YOUSo we're introducing one of the most advancedand revolutionary professional cameras evermade. The Hitachi SK -1 with features and per-formance that no tube camera can match.

Because it's 100% solid-state, the SK -1 isalways in registration. Won't burn images. Panswithout lag. Gives you absolutely no geometricdistortion.

It's extremely resistant to magnetic inter-ference, shock and vibration. And it weighs only7 pounds, so you can take it anywhere.

Hitachi's unique 3 -chip MOS image sensorsand precise prism optics will give you a bright,

clear, broadcast -quality picture with colors thatstack up to the finest 3 -tube cameras. And thereare no tubes to bum out or replace.

We defy you to find another camera thatoffers the combination of features, performanceand value of the Hitachi SK-1-especially at itslow $14,500 price.

For more information, write or call HitachiDenshi America, Ltd., Broadcast and ProfessionalVideo Divisions, 175 Crossways Park West, Wood-bury, NY 11797. (516) 921-7200. Offices also inAtlanta, Chicago, Cincinnati, Dallas, Denver,Los Angeles, Seattle, and Washington D.C.


SMPTE 1982

Marconi's 83410 solid-state telecine at the A.F. Associatesbooth.

the high -end electronic telecines; it says its simplemechanical system appeals to a larger market than itscompetitors'.

Audio worthy of video

Another reality in television broadcasting is thegrowing interest in upgrading audio quality. This trendwas apparent not only at SMPTE, but at the AES conven-tion held two weeks earlier in Anaheim, CA. Two of thereasons broadcasters and teleproduction houses are mov-ing into pro audio equipment are the growing sophistica-tion of audiences and the increased availability ofso-called component TV receivers. And there is now hopethat multichannel television will eventually emerge fromthe standards -making process. Better sound will be sim-ply good business.

At the same time it's good business for the audio equip-ment makers who have seen the music recording industrygo flat to go after the video market. Finally, the technolo-gy and hardware to mate quality audio with video areavailable at increasingly lower prices.

The scenario, as SMPTE speaker Paul C. Buff of Val-ley People, Inc., outlined it, is "more for less . . . moresound/less cost, more manipulation/less operational com-plexity, more control/fewer controls. No processing func-tion need be limited by human speed or cost."

A down-to-earth design of an audio mobile van for usewith remote TV broadcasts-some broadcast live inter-nationally-was described by Steve Colby of WGBH, theBoston PBS station (see BM/E, November 1982, p. 43,for a detailed description of the WGBH bus). For a vehi-cle, the GBH engineers decided against the more -familiartruck or tractor -trailer combination in favor of a used mo-tor coach. A bus was chosen not only for the large amountof space available in the interior but for the ample storagecapacity underneath and for the more -than -adequate sus-pension system.

Another manufacturer deeply committed to the audio -for -video movement, Otari, showed its 5050B-ll quarter -

inch reel-to-reel recorder. Product manager John Careysaid the transports are specifically designed to interfacewith video editors and SMPTE code -based controllers;and he said he expected more and more business from theTV market segment, including both production housesand stations.

Audio Kinetics showed not merely the synchronizationof ATRs with VTRs but automated audio sweetening andsound effects assembly using its powerful software pro-grams, Q -Lock. AK also showed how dialogue is re-placed automatically in the popular TV program HillStreet Blues.

Dolby, too, pushes more and more towards the videoend of the marketplace with its noise reduction modulesfor both Ampex and Sony VTRs. Delivery is expected tobegin shortly on the new Ampex units which not only re-duce noise but generally improve the entire audio section.

Digital audio debate

It seems clear now that in both the television andmotion picture industries digital audio has a future for pro-gram production and post -production. The present barri-ers to wide use of digital audio-high cost, interfacingproblems, scarcity of needed equipment links, and soforth-are going to give way to the large-scale develop-ment activity now going on in production operations.Only 3M brought its digital audio recorder to the show;but several more can be expected at NAB.

Intense work on digital video will ease the coming ofdigital audio in a number of ways, says Birney Dayton ofthe Grass Valley Group, including the provision ofpathways of wide bandwidth.

David Spencer of Walt Disney Productions describedthis very elaborate plant, based on four multitrack digitalaudio machines (3M), nine videotape machines, and adistributed processing control network. Spencer empha-sizes the necessity of having SMPTE code tracks on boththe audio and the video machines, so that all could be tiedto house sync. Each frame of the code on the digital audiomachines is assigned to a specific number of samples, sothat video and audio are exactly synchronized.

Spencer also notes that the great quality improvementinherent in the digital audio, the ability to dub it as often aswanted without loss, and its time -base structure were allimportant in the digital choice.

Another large digital audio installation is at Lucasfilm,the production plant in San Rafael, CA where Star Warsepisodes are created. It was built to be an audio processingstation for all the functions of sound editing, synthesis,and mixing, for film sound production. The raw soundsare digitized and stored on computer -style discs. They arekept in digital form until they are at the output of the plant,when signals are recorded in analog form on six -trackmaster.

Again, the elimination of generation loss is very impor-tant, as is the complete automation of the mix and editprocess. The editor, by pointing to the list of segments onthe computer readout, assembles premix segments auto-matically.

Ken Davies of the Canadian Broadcasting Corporationgives a number of reasons for looking forward to the all -digital video studio: transparency, capability of manygenerations, and very sophisticated processing. He notes


"The Electro-VoiceSentry 500 is

a monitor by design:'Greg Silsby talksabout the NewSentry 500studio monitor...Everyone expects a studio monitor system toprovide a means of quality control overaudio in production.

11.ue, other audio test equipment cansupply you with valuable data. But that databy itself is incomplete and only displayed invisual form.

Only a true studio monitor speakersystem can deliver an accurate indication ofaudio quality in...audio! After all, this isthe language of the trained ear and doesn'trequire a complex interpretation process.

I believe the Electro-Voice Sentry 500Studio Monitor System will meet your everyexpectation.

What's a "studio monitor?"The term "studio monitor" is often a

misnomer. It's easy to tack a label on a boxand call it a "studio monitor" without in-cluding the best precision engineering avail-able, and careful attention to applicationdesign. Too often, these all-importantconsiderations are traded -off for suchmarketing reasons as high cosmetic appeal,a particular type of popular sound, and lowcomponent manufacturing cost. While all ofthis may translate into high profit marginsfor the manufacturer it does nothing to pro-duce a reliable standard for audio testingand evaluation.

Linear frequency responseThe Sentry 500 follows the well -

established Electro-Voice tradition of com-bining the most advanced engineering andmanufacturing technology available. TheSentry 500 has been carefully thought-outand built to meet the specific needs of theaudio professional. Like the smaller Sentry100A, the Sentry 500 provides linear re-sponse throughout its range (40-18,000 Hz± 3dB). In fact, because the two systemsshare this linearity, program material may bemixed on one, sweetened on the other, with

a oulinn company

complete confidence in quality. Acoustic"Time Coherence" (the synchronous arrivalof acoustic wave fronts from both high andlow -frequency drivers) has been maintainedthrough careful crossover design anddriver positioning.

Constant DirectivityThe Sentry 500 is a Constant Directivity

System, benefitting from years of E -V expe-rience in the design and application of con-stant directivity devices. Utilizing a uniqueE -V -exclusive high -frequency "Director", theSentry 500 provides essentially uniform cov-erage over a 110° angle from 250 Hz on upto 10kHz and 60° dispersion from 10kHzclear out to 18,000Hz! And it does thison both the vertical and horizontal axes.This means the "sweet spot': once a tightlyrestricted area large enough for only one setof ears, has been broadened to allow accu-rate monitoring by the engineer, producer,and talent-all at the same time. That's whatwe call Constant Directivity.

A monitor by designTo qualify as a truly accurate test device.

a monitor speaker system must faithfully re-produce the wide dynamic range required bytoday's music and current digital recordingtechniques, and do it with low distortion.This is no problem for the Sentry 500 whichcombines the high efficiency of an optimally -tuned Thiele -aligned cabinet to the brutepower handling of Electro-Voice Sentry com-ponents. Consider what you get with proven

E -V components in the Sentry 500: theSentry 500 will deliver 96dB at one meterwith only one watt and yet will handle100 watts continuous program material with6dB of headroom. That's 400 watts on peaks!The same Super-Dome/Director combina-tion which maintains uniform dispersion oflinear response out to 18 kHz also handles afull 25 watts of program power or 5 timesthe power handling capacity of most "highpowered" tweeters. After all, tweetersshould convert electrical energy to acous-tical energy-not to smoke and fire.

The Sentry 500 is another no-nonsenseElectro-Voice Sentry design with the incredi-ble performance and credible price you'velearned to expect from EV. I'd like to tellyou the rest of the Sentry 500 story andsend you the complete Engineering DataSheet. Write to me: Greg Silsby, MarketDevelopment Manager/Professional Markets,Electro-Voice, Inc., 600 Cecil Street,Buchanan, Michigan 49107.

Market Deve ent Manager,Professional Markets

Ey Bectro:Voice"SOUND IN ACTION'


SMPTE 1982

that the changeover would be expensive, but urges the in-dustry to begin it. On digital audio, says Davies, both thevideo and the audio can be synchronized from a common4.5 MHz clock, allowing digital audio to become a neces-sary part of the studio.

The vexing questions of standards and interface specifi-cations for digital audio are getting attention from AlistairHeaslett of Ampex Corporation, chairman of an AudioEngineering Society committee which is offering the in-dustry a forum for standards discussions. The group hascentered discussion on a proposal from Sony, Studer, andEBU for an internal interface code specification of 20 bits,with four more bits available for expansion. This wouldallow interchange of audio signals processed in the digitaldomain, which will often involve bit multiplication; with-out more capacity than the 16 -bit standard, the "round -off" necessary would be very deep. Commenting later onthe proposals for using twisted -pair cabling to link digitalaudio equipment, Heaslett said that cables with a charac-teristic impedance around 100 ohms were capable of han-dling the necessary bit rate.

Getting a grip on production

The exchange of ideas leading toward efficiency, ver-satility, and a control of production costs was the order ofthe day for makers of lighting, power, and grip equip-ment. The interplay between manufacturers and broad-casters engendered an often uneasy, but nevertheless firmeffort by both factions to meet the challenges of futureproduction needs.

Ken Licata, a leading cinematographer, agreed withmany other people when he said, "There is a need for amore intensified move to miniaturization, especially withHMIs. We need 6K and 8K luminaires that are smaller,lighter, and more efficient, both for film and television."

The manufacturers, including GE, Thorn, and Syl-vania, emphasized their efforts in that direction, as well asin incorporating "general lighting" (i.e., commercial, in-dustrial, and consumer) into the broadcast market. Anoth-er point the manufacturers stressed was that broadcasterswill begin to see an increasing number of solid-state elec-tronics in the base of light sources, especially for applica-tion as ignition devices. Through a good deal of researchand development, redirected infrared technology has beenresurrected and is undergoing current rapid changesinvolving coatings for filtering and directing lightsources.

In spite of all of the developments taking place, the

Anton Bauer "sandwich" for camera/light power distribution.

users of luminaires still had a good deal to say to the man-ufacturers about the practicality of actually using thelights. Apparently the sentiments of many were reflectedin the words of David M. Clark, an Emmy award -winninglighting designer, who said, "The HMI and CSI are stilldeveloping. Manufacturers need to be more aware of thepractical implementation in the field."

Conversely, it came out that video operators couldlearn to be more flexible in their use of lighting techniquesand could use the excellent equipment they now have togreater advantage. John Leay, a video engineer fromImero Fiorentino, suggested, "Video camera operatorsand producers need to use the potential of the new camerasmore. Let them operate at lower light levels, because theywere designed for it. Lighting for video and lighting forthe theater are the same thing. We have to learn to let thetechnology develop and help the user work."

In its booth, Anton/Bauer contributed to the inexorablemove to miniaturization with the introduction of an adap-tor plate that is sandwiched between the battery and thecamera, permitting the light and the camera to be poweredby the same battery. Along with others in the power field,the company is concerned with developing a 14 V lightthat will accept the higher voltages that cameras require,without burning up the light.

Designing equipment which is more cost effective andversatile includes fashioning new grip systems as well aslights. Pole -operated lights with tilting and panningcapabilities that are easier to use have been called for bytelevision stations, and they are beginning to appear in thenew lines of grip equipment now available.

Worthy of special notice was the new remote controlpan/tilt head from Matthews Studio Equipment-invented by the same person who devised the ContinentalCamera and Tyler rigs. It's been said that slip -rings arenot suitable for broadcast applications, but you couldn'tprove it by this system, which has a full 360 degrees ofpan and tilt by using rings. Besides this, one of the sys-tem's other special features is its truly instantaneous re-sponse to the operator's remote controls-there is nodetectable lag from any of the remote control options,including joystick and convention pedestal handcranks.To realize the system's true value, imagine it mounted onthe Matthews Tulip crane hung out over a parade routeand getting intimate POV shots without the operator everleaving the ground!

Cinema Products' Steadicam was also on display in anew, streamlined version. The company says the Steadi-cam Universal Model III will operate with any camera,video or film, with no modifications. Its integralmonitor-smaller in size but with a larger screen-is nowviewable from any angle, and adjustable angle scales onthe unit allow users to repeat shot sequences precisely.

In conclusion, looking at the SMPTE show as a whole,it reflects an industry which is more than ever aware bothof the limitations imposed by the current economic cli-mate, but also of its optimistic future. The digital VTR(subject of an upcoming special feature in BM/E) may notbe as close as many supposed, and implementation of dig-ital standards may not happen tomorrow. But the industryis keenly aware of the direction it must take, and the im-pact which today's decisions will have on the industry'sfuture. BM/E


Ampex Announcesthe Practical End of

Video Jitters.

VAC,Video Jitters can

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Send to:Ampex Corpo-ation, Magnetic Tape Division

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Industry Needs SurveyIndicates Close -to -the -VestYear in Store

COMING OFF A YEAR of increased, but cautious spending,broadcasters are likely to play their purchasing cards evencloser to the vest in 1983. According to the annual BM/ESurvey of Broadcast Industry Needs, when all the figuresare in, 1982 should show an increase over 1981, despitethe general economic recession. Some three-quarters ofthe television, radio, and teleproduction facility respond-ents reported that last year's spending exceeded that of1981, with most putting the increase under 25%.

This year appears to be more uncertain. Responses in-dicate moderate increases in TV equipment budgets, sat-isfactory gains for radio equipment purchases, and a slightincrease in teleproduction facility equipment outlays.

The ranges of dollar amounts earmarked for broadcastequipment were wide, but the mean figures provide abenchmark. For example, the 1982 television equipmentspending ranged from $10,000 to $1.5 million and themean worked out to be $300,000, although responses from

Who ParticipatedThe annual Survey of Broadcast Industry Needs wasmailed to a cross section of BM/E readers at televisionand radio stations and teleproduction facilities. One-third of the TV responses came from group stations anda quarter from independents. Half of the TV returnswere from network affiliates. For radio, not quite a fourthrepresented group stations and just under a half wereindependents. Forty-one percent were network affili-ates. Station size was evenly distributed. TV responsescame from stations employing less than 10 people allthe way up to enterprises of over 150. Radio station re-turns were bunched at places employing 30 and under.

Engineering department staffs followed the same pat-tern. TV stations ranged from departments with underfive to those operating with over 75. Most were bunchedat under 25 on the engineering staff. Radio engineeringstaffs, of course, were much smaller-virtually all hadstaffs of five or less.

small market stations predominated. The mean for 1983 is$324,000, which is an eight percent increase. In the radioresponses, the 1982 equipment purchases ranged from un-der $10,000 to $300,000, and the mean was $22,500. The1983 projection is for a 13 percent increase, to $25,500.As for the teleproduction facility figures, '83 is essentiallyflat, with a mean of $55,000, compared with $54,000 for1982.

It is difficult from the results to tell precisely whatportion of this year's spending will be for added capacityand what portion will be for replacement. Despite thesmall increase in TV budgets, it appears that these stationswill be spending more on expansion than replacement.For radio stations and teleproduction facilities, the split isessentially even between expansion and replacement.

Basics head equipment prioritiesThe table of equipment priorities depicts a year devoted

to the basics in both radio and television. Those productsthat have moved up in the ranking of priority level tend tobe bread-and-butter equipment. However, it should benoted that in previous years the survey asked for level ofinterest in the many new products to be seen at the NABShow. This year, in an effort to pinpoint real buyingtrends rather than interest in future needs, the surveyasked for ratings related to near -term purchase priorities.As a result, there were significant shifts in the order of im-portance reflecting the difference between what are frontburner purchases and what are back burner. For example,topping the list of 26 radio/audio products is cart decks,with a priority level response of 74. (Priority level is cal-culated by adding all of the checks for "high" and "mod-erate" purchase priority on the survey form, two pointsfor each high priority and one point for each moderate.)The next three products-consoles and mixers, mics andaccessories, and test equipment-all moved up theranking ladder since last year, again reflecting the differ-ence in this year's format. Rounding out the top five is au-dio processors, which was number one in interest levellast year.

In order to find out if broadcasters are ready to put their


Industry Needs Survey

Radio Equipment Needs Definite Purchases of High -Priority Radio Equipment

'83*Rank

'82** 1983 Purchase Priority ttRank

1 Consoles, Mixers1 4 Cart Decks 74 2 Microphones, Accessories2 3 Consoles, Mixers 67 3 Cart Decks3 7 Microphones, Accessories 64 4 Turntables4 5 Test Equipment 59 Remote Pickup & STL5 1 Audio Processors 51 6 Test Equipment6 14 Monitor Equipment 39 7 Audio Processors7 10 Turntables 39 8 Satellite Earth Stations8 9 Remote Pickup & STL 37 Monitor Speakers

6 Satellite Earth Stations 37 Antennas10 8 Noise Reduction Equipment 35 11 Monitor Equipment11 NLt Power Supplies, Batteries 34 Studio ATRs12 2 Studio ATRs 33 FM Transmitters

15 Monitor Speakers 33 14 Power Supplies, Batteries14 NL Time Compression Systems 31 15 Telco Interface Equipment15 23 Business Automation 29 AM Transmitters

13 Telco Interface Equipment 29 Field ATRs

17 11 Antennas 27 18 Noise Reduction Equipment18 19 Reverb & Special Effects 24 Business Automation19 14 FM Transmitters 23 20 Reverb & Special Effects20 16 AM Transmitters 21 AM Stereo Equipment21 NL Digital ATRs 18 22 Time Compression Systems22 16 Studio Automation Equipment 16 Digital ATRs23 18 Field ATRs 15 Studio Automation Equipment24 NL Mobile Vans 13 Mobile Vans25 20 AM Stereo Equipment 12 26 ATS Equipment26 22 ATS Equipment 10

* In 1983 respondents were asked for purchase priority.** In 1982 respondents were asked for new product interest.t NL means new listing from previous year.

tt Weighted total of high and moderate priority.

money where their priorities are, the survey asked re-spondents to indicate which of the "high" priority itemsthey will actually purchase in the next 12 months. Thewill -buy list is a bit different from the interest level table.

Heading the list of near -term purchases are consolesand mixers. Microphones and accessories are second, fol-lowed by cart decks. Turntables and remote pickup andSTL tied for fourth place. Test equipment wraps up thetop five.

Heading the 42 -product TV list in priority level thisyear is 3/4 -inch VTRs, followed by video monitors. Boththese products moved up five rungs on the ratings laddersince last year. The third position goes to time base cor-rectors, which is not surprising, considering that 3/4 -inchtape recorders ranked so high. ENG cameras slippedslightly, but are obviously still a high priority for TV sta-tion purchases. Test equipment, up five notches to fifth,underscores the bread-and-butter year ahead. As in the

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TV Equipment Needs

Rank

'83* '82** 1983 Purchase Priority tt

1 5 VTRs, 3/4 -Inch 742 6 Video Monitors 71

3 6 Time Base Correctors 664 2 ENG Cameras 59

5 10 Test Equipment 546 3 Studio/Field Cameras 537 14 Character Generators 51

21 Lighting Equipment 51

9 9 Digital Effects Devices 48

10 4 Satellite Earth Station Equipment 4611 Frame Synchronizers 46

NLt Power Supplies, Batteries 4618 Simple VTR Editor/Controllers 46

14 20 Production Switchers 43

21 Time Code Equipment 4316 25 Routing Switchers 42

17 1 VTRs, One -Inch 41

21 Audio Consoles, Equipment 41

19 16 Multisource Video Editors 39

15 Noise Reduction 3921 6 Electronic Still Stores 36

17 Image Enhancers 3623 11 Studio Cameras 31

30 VTRs, 1/2 -Inch 31

25 13 Microwave for ENG 3026 NL Recorder -Camera Combos 2827 25 Telecines 2728 27 Master Control Switchers 25

29 21 ENG/EFP Vehicles 2330 29 Remote Control Systems 19

NL Weather Radar, Graphics 19

32 NL Digital Art/Paint Systems 18

27 Switching Automation 18

31 Slow Motion Recorders 18

35 33 Automation Systems 17

36 31 Transmitters, VHF 13

35 VTRs, Quad 13

38 32 Transmitters, UHF 12

39 NL Teletext Equipment 11

40 35 CP Antennas 8

41 37 ATS 7

42 NL LPTV Equipment 5

* In 1983 respondents were asked for purchase priority.' In 1982 respondents were asked for new product interest.t NL means new listing from previous year.

tt Weighted Total of high and moderate priority.

radio/audio section, the emphasis on purchasing prioritiesbrought the bread-and-butter products to the top.

Like the radio responses, the line-up of video equip-ment that will actually be purchased in 1983 differs some-what from the interest level table. Video monitors beat out3/4 -inch VTRs for the top spot. Time base correctors andtest equipment tied for the number three position. Satelliteearth stations and ENG cameras round out the first five.One -inch VTRs did not rate as high on the interest leveltable this year, winding up in a tie for seventeenth, butwas sixth on the list of equipment to be purchased.

Definite Purchases of High -Priority TV Equipment

Rank

1 Video Monitors2 VTRs, 3/4 -Inch

3 Time Base Correctors4 Test Equipment5 Satellite Earth Station Equipment6 ENG Cameras7 VTRs, One -Inch

8 Lighting EquipmentPower Supplies, Batteries

9 Character GeneratorsDigital Effects DevicesFrame SynchronizersVTRs, 1/2 -Inch

14 Studio Field CamerasProduction SwitchersAudio Consoles, EquipmentElectronic Still Stores

18 Simple VTR Editor/Controllers19 Time Code Equipment

Routing Switchers21 Multisource Video Editors

Studio CamerasMicrowave for ENG

24 Recorder -Camera CombosTelecines

Master Control SwitchersENG/EFP Vehicles

28 Noise ReductionRemote Control Systems

30 Image EnhancersSlow Motion RecordersTransmitters, VHFVTRs, Quad

Transmitters, UHFTeletext EquipmentCP Antennas

37 Switching Automation


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Increased interest by TV stations and teleproduction fa-cilities in audio is reflected, to a certain extent, by the ap-pearance of audio consoles in the top 20 interest levelrating for the first time. In addition, audio consoles is tiedfor tenth place on the list of high -priority equipment thatwill actually be purchased in 1983.

What the buyers demand

Asked "What will be your main criteria whenevaluating the equipment to be purchased?" respondentsonce again put reliability at the top of their demands alongwith performance features. Even in a year of close -to -the -

vest buying, price comes in behind reliability and per-formance features.

TV station respondents gave equal weight to reliabilityand performance features-over 60 percent for each.(Readers could check more than one criterium.) Price waschecked by a fourth. A sign of the microprocessor -controltimes, ease of operation was the least important factor,getting a mention from only eight percent on the televisionreturns.

Among radio respondents, reliability just edged outperformance features, 66 percent and 62 percent, respec-tively. Fifty-two percent checked price among evaluationcriteria in radio equipment purchasing. And over a thirdput ease of maintenance as important. Since the removalof the licensed engineer requirement, the high marks forreliability becomes understandable.

Yet, teleproduction facilities also put reliability aheadof performance features 61 percent to 55 percent. Some45 percent of this group included price as important.

Impact of radio license

When the FCC eliminated the First Class Radio Opera-tor license, most radio station engineers complained,while radio station managers generally expected little im-pact. One of the special questions on this year's surveyasked radio respondents if FCC requirements and equip-ment maintenance are being handled by an outside tech-nical service. The answer to both is an overwhelming nofrom managers and engineers responding. Less than 14percent said that maintenance is partly done by outsiders.

Another radio question was "How old is your presenttransmitter?" While approximately four in ten are threeyears old or less, over half are 10 years old or more. It'snot surprising then that most of the respondents said theywill buy a new transmitter within a year.

Recorder -camera vote

Although recorder -camera purchase priority was nothigh up on the interest -level table, evaluation of thecompeting half -inch and quarter -inch formats is apparent-ly intense, judging from the high response to a set of ques-tions on this subject posed to TV respondents. Theyindicated a preference for the VHS format at present.While a fair number of the respondents said that they willbuy recorder -camera units of some type in 1983, most donot intend to take the plunge for another year or two. Anddespite all the talk in the industry about the need for astandard recorder -camera format, only a few respondentssaid that their purchases depend on setting such astandard. BM/E


96 BM'E JANUARY, 1983

broadcastEQUIPMEMImproved Lighting Console from Strand Century 250

The Mantrix lighting control consolehas greater capabilities with the addi-tion of the Mantrix 2S. Designed for thelighting of television and live perform-ance, the 2S features overlapping sub -masters to provide manual access tolighting groups. With one switch, thenew console can be operated in either atwo -scene preset mode with 56 over-lapping submasters or in a four -scenepreset with eight overlapping sub -masters. The unit features an electronicpatch module, permitting dimmers tobe assigned to channels at proportionallevels for greater control.

MCl/Sony Enters CompactConsole Market 251The JH-800 is a portable, 12 -inputmixing console with four VCA con-trolled subgroups. It is intended for lo-cation recording. Features include dualstereo mix buses, fluorescent bar graphmetering, balanced transformerless

line and microphone inputs, and three -band equalizers on each input. Multi -way and XLX connectors and twobuilt-in stereo compressor/limiters arealso standard.

The unit includes four sends for fold -back and effects in recording situa-tions, or for feeding stage monitors.The JH-800 is 9.5 inches high, 23inches wide, and 24 inches deep.

The console also offers a split cross -fader with assignable fade rates fromone second to four minutes. It can con-trol up to 288 dimmers on 12 to 48channels. Display windows previewpatch assignments and indicate thedimmer size: 2.4 K, 6 K, or the newCD80 12 K.

FOR MORE INFORMATION

circle bold face numberson reader service card

Integrated Sound SystemsOffers New Mixer 252The new Model 5990 is designed for ra-dio production work such as commer-cials, voice overs, and prerecordedprograms. It can also be used by smallradio stations as a broadcast mixer, orin mobile vehicles.

The 5990 has three modular inputsections which accept a phono and linelevel input. Each input has three bandsof equalization, and on the back panelthere are separate stereo send and re-ceive jacks. Two separate mic sectionsare provided with three -band EQ andindividual pan switches.

Frequency response is 20 Hz to 20kHz, ±0.25 dB with IM and harmonic

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Progress by Design

Videotek's state-of-the-art TSM-5A*Wave-form Monitor and VSM-5A*Vectorscope reflect this on -goingcommitment, with such innovative features as Internal Gra-ticule CRT for precise parallax -free signal analysis, and Non -Glare Shields to eliminate distracting ambient light. TSM-5Aalso includes selectable 1H mode for easy one -line viewing,and 0.5 }.1s/div. scan rate for the most accurate time -basemeasurements.

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EQUIPMENT

distortion at less than 0.01 percent. TheS/N is 80 dB for the phono and mic and90 dB for the auxiliary inputs.

Swintek OffersWireless Mics 253Swintek now offers a choice of wirelesshand-held microphones and finishes.The choices include the Beyer M500ribbon capsule, the Shure SM57, SM58,and SM78 dynamic capsules, or theSM85 electret condenser capsule. Fin-ishes can be ordered in chrome, blackchrome, or gold.

High -efficiency integral antennasare standard, although helical rubberunits are also available. All mics incor-porate the company's "dB -S" corn-panding system which delivers over 80dB dynamic range. The VHF/UHFhigh band is used to avoid interferencefrom CB and business radio, and to pre-vent the mics from interfering with vid-eo equipment. Range is 1000 feet.Battery life is typically 10 hours using a9 V alkaline battery or the THR-Bnicad.

FOR MORE INFORMATION

circle bold face numberson reader service card

Modulation Associates'Satellite Receiver 254Modulation Associates has just intro-duced what it calls an Optimized SCPCaudio satellite receiver for use in stateand regional radio networks. Desig-nated the R -SAT, the receiver is de-signed for networks of under 100affiliates.

With its "optimized" demodulatorand a 3.7 meter antenna, the R -SAT al-lows satellite power to be cut from 80W to 10 W. According to the manufac-turer, this provides space segment costreductions as well as savings on theoverall uplink costs.

Individual program channels can be


EQUIPMENT

uplinked independently from diverselocations, allowing shared use of acommon transponder with national net-works. Two SCPC satellite links can beused for stereo delivery to AM stereoaffiliates.

Numark Combines Amp,EQ, and Mixer 255The MA4700 is a sound control ampli-fier that provides 70 watts per channelat four ohms and 60 watts per channel ateight ohms, with outputs for two speak-er systems. It also has a bridging circuitthat will accommodate any externalamplifier for more power. A multicolorhigh-speed LED is used as an input lev-el meter as well as an output power me-ter, and a peak hold button holds thedisplay at peak level for reference.

The unit has a built-in low noisepreamp and features slide controls,cueing circuit for headphone moni-toring, and a talkover switch. Also builtin is a five -channel stereo equalizer. In-cluded in the 19 -inch rack -mountedunit are handles and rack adapters. Fre-quency response is 10 Hz to 30 kHz,with THD at 0.08 percent and IMD at0.3 percent. The MA4700 is priced un-der $500.

The first 9 -bit framesynchronizeris still the best.

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When we introduced the FS -16 in 1980, we expected ourcompetitors would rush to copy it.

But while all of them have copied some of the FS -16'sfeatures, none of them have matched it.

So, we still offer the orly 3'.x19" rack -mounting frame syn-chronizer with the unsurpassed clarity of 9 -bit quantization.As well as features like full proc-amp controls. Integral freeze-frame field. Data rotation and a built-in memory analyzer. tokeep you on the air. And a price that's surprisingly low.

When you want the best, call NEC.

NECNEC America, Inc.Broadcast Equipment Division130 Martin LaneElk Grove Village. IL 60007

Call toll -free: 1-800-323-6656.In Illinois. call (312) 640-3792


DIRECTOR of ENGINEERING

Audio Production Facility

Bonneville Productions is looking fora keyindividual to oversee the technical opera-tion of its Salt Lake City tape duplicationand audio recording facilities.

The successful candidate will be responsi-ble for the design, construction, mainte-nance, and enforcement of technicalstandards for 3 Gauss high-speed duplica-tor lines, 5 recording studios including24 -track, and a multi -media productioncenter.

This position has supervisory responsibili-ty for a staff of 10 Engineers and Techni-cians. The applicant must be well versed inprofessional audio production techniquesand equipment, have a BSEE or equivalenttechnical background, and have a mini-mum of 3-5 years experience in a pro-fessional audio engineering capacity toinclude some supervisory experience. Ex-cellent interpersonal skills are a must.

Please reply to Ellen Richardson, Person-nel Director, Bonneville Productions, 130Social Hall Avenue, Salt Lake City, Utah84111; (801) 237-2431.

Bonneville ProductionsA Division of Bonneville

International Corp.Equal Opportunity Employer

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ODVERTISER'S INDEXADM Technology, Inc. C-2 Comtech Data Corp 24A.F. Associates, Inc. 78 Crosspoint Latch Corp 30Agfa-Gevaert IncAmpex-AVSDAmpex-MTD

4510-11, 43

89

Elector 79,Electro-VoiceEnvironmental Satellite Data Inc

81, 838728

Beyer Dynamics, Inc 82 ESE 69Bonneville Productions 101 Eventide Clockworks, Inc. 18

Bosch (Fernseh) 31 Fujinon Optical, Inc 48Broadcast Electronics, Inc. 102 Fuji Photo Film USA, Inc 77Broadcast Microwave Services 47

Grass Valley Group, Inc 5Calaway EngineeringCamera Mart, Inc.Central Dynamics Corp.CMX/Orrox

994

261

Harris VideoHarrison SystemsHitachi Pro -Video

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Commercial Electronics, Inc. 15 Ikegami Electronics USA, Inc 19

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ELECTRONICS INC.4100 N. 24th ST P 0 BOX 3606, QUINCY. IL 62305-3606.12171224-9600. TELEX 25-0142

US JVC Corp 51

Lake Systems Corp 68Laumic Co., Inc. 100Lerro Electrical Corp. 61

3M/Magnetic Tape Div. 20-213M/Pro-AV 75Marti Electronics 53MCl/Quantel 63Merlin Engineering 16Microtime, Inc. 72Midwest Supply Corp. 29MIP-TV 95Mitsubishi Electric D.A S 13Motorola Inc 22

NEC America, Inc. 34, 101

Orban Associates, Inc 65

Potomac Instruments 24

Quanta Corp. 52

Ramko Research 7RCA Broadcast Systems 37, 39, 41RCA Recruitment 90Rees Associates 53Rohde & Schwarz 93RTS Systems 67

Sharp Electronics Corp. 54-55Shure Bros., Inc. 17Solid State Logic C-3Sony Broadcast 2-3, 32-33, 70-71Soper Sound 102Stanton Magnetics, Inc 101Studer Revox America, Inc 80

Tau-tron Inc 25Telex Communications, Inc 96

UREI

Videotek, Inc 100

Ward Beck Systems Ltd. C-4

SALES OFFICES

Broadcast Management, Engineering

295 Madison Ave.New York, New York 10017

Telex: 64-4001Vice President, National Sales

James C. MaywaltEastern & Central States

295 Madison AvenueNew York, New York 10017212-685-5320James C. MaywaltRuth A. Windsor

Western States

1021 South Wolfe Road, Suite 290Sunnyvale, CA 94086Neal Wilder

United Kingdom/EuropeChilberton HouseDoods RoadReigate, Surrey, EnglandTelephone, Reigate (7372) 43521Bronwyn HolmesDerek Hopkins

Japan/Far EastEiraku Building1-13-9, Ginza,Chuo-Ku, Tokyo 104 Japan03 (562) 4781S. YasulK. Yamamoto



Solid State Logic at BBC Maida Vale 4. London

Technology is no substitute for human experience. The complex demands of broadcast audiorequire resourceful technique and specialised skills which take years to acquire. Engineers of thisachievement need and deserve the most advanced, reliable tools available to support their artistry.Which is one of the reasons that major broadcasters and post -production houses specify Solid StateLogic.

The SSL 4000E Series Master Studio System and the new SSL 6000E Series Stereo Video System

are products of experience. Innovative human engineering provides easy use of the most com-prehensive software and hardware control systems ever offered to the audio industry. Uniquecapabilities such as Total Recall capture inspiration and eliminate drudgery, while the SSL Reallime System and Events Controller bring practical computer assistance to live broadcast, elec-

tronic dubbing and video post -production.

Write or call for complete details on Solid State Logic-The choice of experience.

UK & EuropeSolid State LogicChurchfields, StonesfieldOxford, England OX7 2PQ(099 389) 8282Telex 837 400

Solid State LogicMaster Studio Systems

North & South AmericaMusicworks International2352 Wisconsin AvenueWashington, D.C. 20007(202) 333-1500Telex 440 519

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