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ALSO INSIDE: SOLVING AUDIO PROBLEMS Prevert lip -sync and

loudness complaints

PROTECTING YOUR VIDEO NETWORKS

Start with a written securiTy policy

AUTOMA-ING GRAPHICS

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\A* *Discover the Kahuna 360

A Revolution In Live ProductionKahuna 360 is the brand new additionto the Kahunaverse. It brings majornew functionality and flexibility tomeet the most demanding productionrequirements. Kahuna 360 creaks thetradition of fixed M/Es, fixed resourcesand fixed formats, and supports manysimultaneous productions that wouldrequire multiple switchers horn anyother provider.

Efficient Operations Creative Freedom Reduced Costs

Creativity Unmatched freedom in combining

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TABLE OF CONTENTSVOLUME 52 1 NUMBER 6 1JUNE 2010

BroadcastEngineeringe

FEATURESNAB REPLAY

45 Pick Hit AwardsCheck out the 20 most excitingproducts from the 2010 NAB Show,chosen by a group of your peers.

52 Technology seminar3-D was arguably thebiggest buzz at this year's NAB.

54 Product JackpotThese don't -miss technologies couldmake your facility state of the art.

BEYOND THE HEADLINESDOWNLOAD

12 Access and control of digital assetsGovernance tools are often overlookedin digital asset management systems.

FCC UPDATE16 FCC to consolidate data

A new electronic filing system willhelp the FCC go wireless.

DIGITAL HANDBOOKTRANSITION TO DIGITAL

18 Interactive servicesATSC standards support interactivity athome and for mobile applications.

COMPUTERS & NETWORKS22 Video network security

A security policy should drive the designand implementation of critical networks.

PRODUCTION CLIPS26 Automating graphics

Automated promo and branding systemscan respond quickly to schedule changes.

continued on page o

4 broadcastengineering.com I June 2010

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TABLE OF CONTENTSVOLUME 52 1 NUMBER 6 'JUNE 2010

SYSTEMS INTEGRATIONDIGITAL TUTORIAL

30 Practical audio solutionsLip -sync errors, 5.1 continuity andvariable loudness levels can be addressedwith the latest technology.

SHOWCASES36 CNN puts a new spin on

HD studio in AtlantaA rotating anchor desk allows the crew to shootinterviews with different backdrops or minisets.

NEW PRODUCTS & REVIEWSAPPLIED TECHNOLOGIES

84 Front Porch Digital DIVAsolo

TECHNOLOGY IN TRANSITION85 Display technology

Displays are changing fast; don't be left behind.

DEPARTMENTS8 EDITORIAL

10 FEEDBACK88 CLASSIFIEDS89 ADVERTISERS INDEX90 EOM

SEE IT ONLINE!Register for upcoming training series webcasts,and download past events on -demand.

Learn more at http://broadcastengineering.com/webcast/

GET CONNECTED! tyJHave a burning question? Go to Broadcast Engineering'sForum and ask questions of fellow experts. Orjoin our online community on Facebook.

Learn more at http://community.broadcastengineering.com/forums


ON THE COVER:The rotating anchor desk in CNN's new studio can move270 degrees. Photo courtesyTed Pio Roda/CNN.

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EDITORIALDEPARTMENT

FCC ignoresthe rules

The FCC has seemingly ignored a recent Wash-ington, D.C., Circuit Court ruling that says ithas no power to regulate broadband and will at-tempt to further insert government into private

enterprise under the guise of preserving something called"net neutrality?'

Net neutrality is one of those PC social phrases thatsounds good. After all, what could be bad about beingneutral? However, a closer examination shows that thereal implications of imposing neutrality on communica-tion companies may produce disastrous effects, especiallyfor broadcasters.

As a part of the 1996 Communications Act,defined two types of services: communications and in-formation, each subject to different types of regulation.Congress said the FCC should regulate Title II communi-cations (phone) services, but it gave no such authority tothe FCC to regulate Title I information (Internet) services.In addition, Congress did not give FCC bureaucrats thepower to change these definitions.

In fact, even the FCC agreed with these separate defini-tions and regulations when it argued to support that pre-cise interpretation to the U.S. Supreme Court in 2005 inthe "Brand X" case and won. So by 2005, all three branchesof government had agreed that information services in-cluded broadband Internet.

Congress has tried three times to give the FCC thepower to micromanage the Internet, much like it manages

Congress

broadcasters. Twice the Supreme Court voided those at-tempts on First Amendment grounds, and the third time,the justices scaled back the FCC's authority over the Inter-net to practically nothing. Basically, the court has told theFCC to leave the Internet alone.

Despite these facts, FCC Chairman Julius Genachowskihas decided his commission will use a third way to regulateInternet services. He has proposed to move them under thesame Title II regulatory framework as phone companies byusing a bureaucratic trick called "forbearance authority?'

Forbearance authority would let the FCC declare whatparts of Title II regulations it would not impose on broad-band, leaving the commission to fully regulate all otheraspects of broadband delivery. However, the result of thissleight of hand would not have the weight of law, merelyoperations. A future FCC could change any or all of thoserestrictions at any time.

Genachowski is supported in his efforts for increasedregulation by a Democrat Congress, the likes of which in-clude Henry Waxman, D -CA, and John (Jay) Rockefeller,D -WV. These congressmen had this to say in a letter tothe FCC: "To accomplish these objectives (regulation ofbroadband), the commission should consider all viableoptions. This includes a change in classification, providedthat doing so entails a light regulatory touch, with appro-priate use of forbearance authority (emphasis added)."In other words, these Democrats told Genachowski, "Wedon't like the rules either, so ignore them."

The effect on businesses of the FCC imposing broadbandregulations was summarized in a research note publishedby Stanford Bernstein analyst Craig Moffett. He states in ablog post called "The FCC Goes Nuclear;' "We would expecta profound negative impact on capital investment?'

Why should broadcasters care? Because without capital,no company will invest in new or improved broadbandconnectivity. Broadcasters' future may depend on hav-ing access to new and wider pipes into viewers' homes fornext -generation services.

So much for neutrality.

EDITORIAL DIRECTORSend comments to: [email protected]

BE


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FEEDBACKDEPARTMENT

Life in the fast laneBrad Dick's blog entry "Do you

have a right to fast Internet? Whenis fast, fast enough?" on May 7 gen-erated several interesting comments.Here are a few of them.

Dear editor:Universal broadband availability

is a cyberwar national security issue.Think about this the next time you arespammed or your computer is infectedwith nasty and destructive spyware orbot. In my state of Florida, the PublicService Commission allows the phonecompanies to offer a badly crippledform of dialup service in areas thatare broadband deprived. At crippleddialup speeds as low as 19.6kb/s (with28.8kb/s typical), forget about beingable to download large security -relat-ed critical updates from the likes ofMicrosoft or Symantec. Even at full di-alup speeds of 53.3kb/s, most essentialwebsites are marginally usable. Forgetabout multimedia distance learning.Moreover, copper dialup lines todayare extremely poor values comparedwith VoIP offerings from the cablecompany. Up in Maryland, my sis-ter's copper -based dialup service fromVerizon became staticky and died.Verizon was going to take over a week

before it would schedule a repair trip.Fortunately, she had cable modem ser-vice from Comcast and finally decidedto take the plunge and switch phoneservice to Comcast, which was out thevery next day to install it.

Without broadband availability,she would have been really stuck. Itis the only meaningful competitionto old-fashioned phone company of-ferings. For the same $30 -per -monthservice, the standard feature list wouldhave raised her phone bill to as muchas $80!

Louis Carliner

Dear editor:First, why does broadband access

automatically mean wireless? Wire-less broadband, like more and widerinterstates, is a bottomless pit. Theactual highways and the informationhighway both fill up to and beyond ca-pacity very shortly after they are con-structed, and we are back to where westarted except for our pocketbooks.We may find enough spectrum forwireless for two to five years, but whenevery Internet page has 3-D high-resvideo from corner to corner, each ele-ment changes every time the mouseis moved even one pixel and every-body is watching video on demand,

then 100Mb/s will be totally slowand completely unsustainable. Andwe will then need ... what, Gb/s ac-cess, Tb/s access? Where does the nextbatch of spectrum come from, theX-ray region? Do we then grab spec-trum from the doctors' and hospitals'X-ray machines?

I see no harm in most comput-ers being tied to land lines, optical ofcourse, but land lines. You can alwaysrun more. Thousands of optical cableswill fit in a square inch, and each willhave far more spectrum than wirelesswill ever have. Wire (with fiber) thestudents' desks. Wire every room inthe house. Wire any place where a per-son can sit down: restaurants, theaters,waiting rooms, bus benches, even re-strooms; fiber jacks everywhere. Thiswould be a far better and lasting solu-tion. Leave the wireless for truly mo-bile situations such as airplanes, buses,autos, space shuttles, etc.

As for paying for it, why shouldn'tthe folks who are responsible for andwho benefit from the increased Inter-net usage pay? I am talking about theInternet advertisers who force everyspectrum -gobbling gimmick you canthink of on us. Perhaps if they paidby the actual spectrum usage of theirpages they would suddenly decide thata simple text page would work insteadof tons of videos and pop -ups.

And what's wrong with TV adver-tising anyway?

Paul Alciatore

Dear editor:Remember the [baloney] we got

when 56kb/s was an amazing devel-opment only possible in a lab? Eventhough, if I remember, the basis forthe T1 carrier concept was 24 65kb/slines or 25 64kb/s lines? 56kb/s shouldhave been easy. Next, only large com-panies could afford DSL. Hmm. Thosebums at the phone company will doas little as possible. It stunk then andwill do the same in the future unlessthe infrastructure is modernized. Ifnot, we will have high speed feedinglow speed.

Robert Brooks


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Managing digital assetsGovernance is often overlooked in DAM systems.

0 K, so you finally haveyour logos, images, mes-sage documents and casestudies all organized in

your new digital asset management(DAM) system, and all is right withthe world. Then it happens.

You suddenly start getting e -mailsfrom your sales team that old logosare being used on spec sheets. Some-one added a new product box of un-released software into your homepageimage. One of your distributors is onthe phone wanting to know why hiscompetitor has your new marketingmaterial and he doesn't.

Yikes. Instead of solving a problem,have you just created a digital assetmonster?

Every DAM service promises toimprove access to assets. Less dis-cussed but more important are thecontrols available to govern access tothose assets. Improper governancecontrols can cause digital assets to belost, deleted, stolen, modified or usedin ways that work against a company'sbusiness objectives or brand.

BY MATTHEW GONNERING

For example, if an outdated logo isused in your channel, confused con-sumers could ignore new products,undermining months of product de-velopment and launch efforts. Usingdated images or old product references

L

in new campaigns could set back yourbranding efforts severely. Informationmade public prematurely will givecompetitors an unfair jump on yourinnovative product differentiators,harming financial performance.

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In the administrative view of the Widen Media Collective Web -based DAM system,asset group permissions are applied to control the user access and administrativefunctions available to assets within a set group.

FRAM E G RAB A look at the issues driving today's technology

Types of news consumers access on mobile phonesTwenty-six percent of people seek out weather information.

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wwwpewintemetorg

It might make you wonder why youwent to a DAM system in the first place.Stop wondering. DAM systems are oneof the best ways for large creative opera-tions to compete in the digital age. Thekey to doing more good than harm isto find a DAM solution that providesthe levels of granular control yourorganization needs.

To avoid these problems, manyDAM systems offer workflow toolsthat allow different classes of users tohave different levels of access to assets.This includes the rights to view, com-ment, edit, download and forward ma-terials. Also required are features thatallow rights to be triggered by otherrights. For example, Group B shouldbe restricted from downloading anasset until User A has approved it.


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These capabilities are essential fora DAM system to become a tool formanaging workflow rather than asimply digital repository.

I grant thee accessGovernance tools ensure that only

current and approved assets are usedby those with the responsibility andauthority to access them. Generally,companies deploy DAM with threebuckets of users: administrators, in-ternal users and external users.

Administrators: Typically in mar-keting, these folks are the "GrandPoobahs" of rights. They can viewall assets, users and features of thesystem. They can upload and down-load files, add metadata, and edit andchange version numbers. Administra-tors can delete, view and order all as-sets, as well as create users and roles,and run reports.

Internal users: Typically in sales,Web and product teams (among oth-ers), this group has selective access toview or order particular groups of as-sets or all approved assets. Also, theyhave controlled access to various sys-tem features. Some may have access toupload assets and add metadata. Gen-erally, internal users would not havethe ability to delete or overwrite as-sets or administer the system (includ-ing creating users or defining roles).

External users: This group-whichmay include outside agencies, media,partners and sales channel partnersamong others - has selective accessto view or order particular groups ofapproved assets. Rarely would theyhave permission to upload assets oradd metadata unless they were withan agency or photographer that is re-sponsible for creating digital assets.

Relationships arecomplicated

It seems simple on the surface,but when it comes to governing yourDAM users, there are many types offiles that can be owned by differentpeople. To manage this requires es-tablishing a set of relationships thatcan be complicated if your DAM

solution is not up to the task.To illustrate, externally you could

have multiple groups, multiplebrands, multiple agencies, photog-raphers, videographers, consultingfirms, PR firms and other technologyproviders all needing to touch yourdigital assets. Even some of your sup-pliers could need to interact with yourdigital assets, and those suppliers mayor may not need to see what the otheris doing or what they have as far asinventory. Internally, you have a cor-porate communications team, mar-keting teams and brand teams. All ofthese groups probably need access todigital assets, though they may notneed access to the same ones.

Your assets can have multiple clas-sifications too. Approved or releasedassets are current and available for use.Unreleased assets could include thoseon hold for a future product launch,campaign, promotion or event. Ex-pired or archived assets are often keptin the system for reference in repur-posing opportunities or tracking, butare unavailable to general users.

Your DAM systemshould be easy

Any reliable DAM provider shouldhave technologies in place that willembrace and enforce the governanceyou want to apply, especially whenit comes to permissioning assets forgroups of users to see or manipulate.In general, most DAMs offer somegovernance over rights management,but fall short in areas of tracking,alerts and rights management fea-tures that take advantage of an enter-prise environment.

The beauty of many enterprise -class and work -group DAM solu-tions (versus out -of -the -box DAMsoftware) is that they allow organi-zations to designate several differentgroups or tiers of users. For example,an organization could have a groupof "super-admins" that can see ev-erything but also grant administra-tive -level consent to users responsiblefor Brand A vs. Brand B. Below thatlevel of access are user groups with

permission to search and retrieve cer-tain approved and current assets.

Keeping all of this straight is criti-cal but difficult. Internal and externalroles and a corresponding permis-sions structure can become extremelycomplicated if not handled correctly.It all works better when the roles,permissions and rights managementprocess are configured and controlledby the DAM client. But this knowl-edge just doesn't drop from the sky.

If possible, it's a good idea to seehow other global brands have de-ployed their digital asset manage-ment systems and strategies throughphases. Ask about the roles they've setup initially and how they determinedappropriate groups of digital assets toimplement. The first thing you shoulddo is talk with your DAM provider,because there's a possibility that whatyou want to accomplish may be dif-ferent from what has previously beendone. A solid DAM partner will helpyou find the best way to get there,provide exactly what you need for setup and ensure you are enforcing thepermissions structure that you'd liketo implement.

It's empowering when it is donecorrectly. And it is rewarding whenyou can freely allow outside agenciesto contribute to the DAM system byadding new digital assets at the sametime they may be inserting metadataor transferring a digital asset to an in-ternal stakeholder to move it forwardfor approval. The good news is you'lleventually be able to maintain what-ever governance configuration youwant, and a service -minded DAMprovider will ideally be there with youevery step of the way. BE

Matthew Gonnering is CEO of WidenEnterprises, a provider of digital assetmanagement software and services.

STORAGE&NETWORKINGONESTOPat www.broadcastengineering.com

For more news and articles on storage& networking, visit our Web site andclick on the Storage & Networking

link at the top of the page


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FCC UPDATEBEYONDTHE HEADLINES

FCC to consolidate dataA new electronic filing system will help

the FCC go paperless.

The FCC plans to improveits electronic filing systemsby combining them into asingle consolidated licens-

ing system (CLS). A roundtable pan-el of industry experts participatedin a workshop in May to help thecommission through that process.The panel addressed such issues as:industry- and user -specific electron-ic filing issues; data availability andsearching; consistent terminology;functionality features; error checking;

DatelineAll TV licensees who have not

already done so must file their 2009biennial ownership reports by July 8using the FCC's new Form 323.

By July 12, all commercial TV andClass A TV stations must electroni-cally file their children's programsreports (Forms 398). Also by July 12,a certification of compliance withcommercial limits during children'sprograms must be placed in stations'public files. Material to substantiatecompliance with restrictions on thedisplay of website addresses duringchildren's programming must alsobe placed in the file by July 12.

Noncommercial TV stations in

California, North Carolina and SouthCarolina must file their biennialownership reports by August 2.

August 2 is the deadline for TVstations in California to electronical-ly file their broadcast EEO midtermreports (Form 397) with the FCC.

August 2 is the deadline for TVstations licensed in the followingstates to place their annual EEO re-ports in their public files: California,Illinois, North Carolina, South Caro-lina and Wisconsin.

BY HARRY C. MARTIN

notifications; system deployment;and any exceptions.

The systems currently includedin the review are: the antenna struc-ture registration system (ASR); cableoperations and licensing systems(COALS); consolidated database sys-tem (CDBS); experimental licensingsystem (ELS); international bureaufiling system (IBFS); and universallicensing system (ULS). The GeneralMenu Reports System (GENMEN) isalso expected to be included in theCLS, as well as the Wireline Compe-tition Bureau's manual filing system.Currently, these systems are main-tained separately by the various bu-reaus but have common data points.

The CLS will streamline accessto electronic filing and underlyingdata. Potential new features includea single sign -on, a CLS manager andconsolidated commission forms.It is also expected to be a "green"system with improved applicationprocessing time.

The single sign -on (SS -0) designwill provide access to all applications,licenses and authorizations associatedwith an FCC registration number. Itwill also enable access to a manager,which could display application- andauthorization -related alerts. Ad-ditionally, the feature will providecourtesy reminders, notifications andalerts regarding all of a licensee's au-thorizations and applications.

The FCC envisions a consolidatedcommission form to streamline vir-tually all application processes. Thiswould include a main form to collectinformation applicable to all licenseand application types, followed bysubforms to collect bureau -specificinformation. This is an expansion ofthe approach currently used by theWireless Bureau in its Form 601.

Implementing such an approachwill be a complicated effort, includ-ing consolidation of many forms andadjustments of rules and procedures.Because of the massive amount ofwork involved, the FCC expects theimplementation to occur graduallyover the course of years, with newfeatures added on as elements of thesystem are deployed. Implementationwill occur in phases; CDBS is expect-ed to be dealt with in the first phase.

The end of the CLS path would sig-nify the end of paper filings. The FCChas already reduced the number ofpaper filings to a relative minimum,but the official end of paper will marka significant milestone in the evolu-tion of the commission's processes.

A CLS page has been established onthe FCC's reboot page (reboot.fcc.gov/reform/systems/cis) through which itis collecting ideas and questions fromthe public. Further, the FCC has es-tablished a docket (MD Docket 10-73) in which it intends to release anotice of proposed rulemaking invit-ing additional comment.

Regulatory fee proposalThe FCC has asked for comments

on proposed 2010 annual regulatoryfees. Fees for UHF digital stationswill increase vis-a-vis 2009, when feeswere based on a station's pretransitionanalog facilities. The increases rangefrom $3325 for stations in markets11-25, $400 for stations in markets26-50, and $1050 to $25,300 for sta-tions in markets 1-10. These changescould be modified based on the com-ments the FCC receives. BE

Harry C. Martin is a member of Fletcher,Heald and Hildreth, PLC.

IISend questions and comments to:[email protected]


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TRANSITION TO DIGITALDIGITAL HANDBOOK

Interactive servicesATSC standards support interactivityat home and for mobile applications.

In 1953, children could interactwith the "Winky Dink and You"program by drawing on a pieceof clear plastic affixed to the TV

screen. Kids would be asked to drawitems on the screen that would helptheir hero, Winky, during his adven-tures. For many, it is considered thefirst interactive TV show. InteractiveTV has progressed significantly sincethen. In the early '70s, interactive ser-vices such as Teletext used the VBI ofan analog TV signal to transmit aux-iliary data during a regular broadcast.Today, new DTV services offer viewersVOD or instant access to the scores oftheir favorite teams, all by using theTV remote control. This month, wereview some of the existing interac-tive TV services and examine howcurrent ATSC standards will supportinteractive services in the home oron the road.

FRAME GRAB

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Internet

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Figure 1. Interactive TV includes a back channel for communication with acontent provider.

Defining interactive TVThere are multiple levels of inter-

active TV. At the lowest level, view-ers interact with the TV by using aremote control to change the volumeor channel. At a medium level of in-teractivity, users can actually selectthe desired program to watch, inde-pendent of a fixed broadcast schedule,

A look at tomorrow's technology

Free video -on -demand use is increasing25.7 million households watch free on -demand content per month.

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and can control how the program isbeing viewed. For example, DVR func-tionality allows users to rewind, pauseor fast -forward, on demand. In addi-tion, Internet applications (or wid-gets) may overlay on top of standardTV programming and allow users toaccess user -defined data (such as gamescores) in parallel with regular pro-gramming. All of these are local inter-activity functions in that users' feed-back directly affects only the behaviorof the local device. At the highest levelof interactivity, users (audiences) trulyinteract with a program and can affecthow the show continues. For example,in a game show, the audience can votein real time and help (or trick) contes-tants with multiple-choice questions.In that case, the interactivity operatesat a system or network level.

For our discussion, we define inter-active TV as any TV with a back chan-nel. This back channel can be a dedi-cated uplink channel in a wired dis-tribution system (e.g., cable or IPTV)or a separate connection to a serviceprovider via a telephone modemor broadband connection. Figure 1shows an example of such a system.A content provider broadcasts a TVprogram through any of the availablebroadcast media: satellite, cable, OTA


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or IPTV. Users receive the programeither directly to their TV or throughan STB. The TV or the STB is alsoconnected to the user's home networkvia a wired or wireless connection. Byconnecting their TV receiver to theInternet via the home network, userscan interact with the TV program.

Current interactiveTV services

Cable and IPTV services can im-plement a return channel without aseparate broadband connection. Somecable operators combine traditionalTV programming with a variety ofInternet -based features, including ac-cess to VOD, local weather and sportsresults. While these services are usuallyimplemented by means of a commonset of standards that allow for harmo-nized services and interoperability, theextent of full interactivity is usually inthe ordering of VOD content.

Cable operators are also movingtoward tru2way, a Java -based soft-ware platform that allows contentproviders to integrate a variety of newfeatures, including interactive guides,services and VOD. Tru2way definestwo types of applications: bound andunbound. Bound applications are tiedto a specific channel and are deliveredas part of the channel's video stream.Unbound applications allow users tointeract with multiple channels andset -top applications.

Satellite operators also provide in-teractivity to subscribers, but a telco orbroadband connection is needed. On-screen widgets that allow users instantaccess to a variety of Internet -basedservices, such as local weather, scoresand image collections, are now emerg-ing, and customized mixes allow usersto view multiple sports and news pro-grams on one screen. Also, on -demandprogramming can be downloaded us-

ing a home network and broadband(Internet) connection. Other interac-tive TV services allow users to custom-ize how to view scores and statisticsfrom their favorite teams. Similarly,users of the latest Internet -connectedTV or Blu-ray player models can accessa variety of Internet -based services, in-cluding VOD, regardless of how theyreceive their main TV broadcasts.

Broadcast nowsupports interactivity

Because of the one-way nature ofbroadcast, a return channel to pro-vide full interactivity must depend ona separate, out -of -band mechanism.Two ATSC standards form the basisfor how interactivity can be integratedwith broadcast services: ATSC A/96Interaction Channel Protocols andA/101 Advanced Common Applica-tion Platform (ACAP). In the ATSCA/96 specification, ATSC provides

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guidelines and specifications for inter-active services using an ATSC broad-cast. A/96 uses a five -layer referencemodel that includes a data -link layer,a network layer, a transport layer andan application protocol layer. In addi-tion, network layer -related protocolsare all standards -based, using TCP/IPand UDP. At the application level, A/96uses standard HTTP 1.1 protocols. TheA/96 specification does not define thephysical and data -link layers.

The ACAP standard was developedas a harmonization effort betweenthe ATSC DTV Application SoftwareEnvironment (DASE) and CableLabs'Open Cable Application Platformspecifications. The standard givescontent providers, broadcasters, cableand satellite operators, and consumerelectronics manufacturers the tech-nical details necessary to develop in-teroperable services and products bydefining a set of standard APIs.

Mobile DTV is builtaround interactivity

The ATSC A/153 Mobile DTVstandard enables local TV stations todeliver live TV broadcasts to a varietyof emerging ATSC-capable mobiledevices. Part 3 of A/153 defines thesystem service multiplex and trans-port subsystem characteristics, whichinclude the definition of an optional"interaction (return) channel" for in-teractive TV services. Mobile DTV isagnostic to the type of return chan-nel, which could be a local Wi-Finetwork or other wireless service.Although optional, this interactionchannel most conform to the ATSCA/96 specification discussed earlier.Because the primary objective of theATSC Mobile standard is to define thedelivery of :video and audio services,a specific method or middleware forhandling applications is not currentlydescribed. The A/153 standard does,

however, provide a framework for thedelivery of auxiliary (graphical) com-ponents, based on the Open MobileAlliance Rich Media Environment(OMA-RME) specification, writtenspecifically for mobile devices.

In its report on mobile TV usecases, the Open Mobile VideoCoalition (OMVC) envisions a va-riety of interactive TV features, in-cluding: interactive polling, inter-active overlays, chat sessions andE -commerce.

As mobile devices become morecommon, interactive TV services willmigrate from the home TV to mo-bile platforms, with a seamless inte-gration 3f broadcasting and Internetapplicat ons. BE

Aldo Cuoini s a consultant in the digitaltef9vision industry.

ISeni questions and comments to:[email protected]

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June 2010 II broadcastengineering.com 21

COMPUTERS & NETWORKSDIGITAL HANDBOOK

Video network securityA security policy should drive the design and

implementation of critical networks.

Now more than ever, com-puter networks are a crit-ical component of ourfacilities, and the security

of these networks is paramount. Forthe next two months, this column willfocus on this important topic. Thismonth will look at how to develop asecurity policy that drives design andbuilds decisions for secure IT net-works. Next month, we'll look moredeeply into firewalls, virtual privatenetworks and other technologies thatcan enhance network security.

What is yoursecurity policy?

If you were going to build an editsuite, how would you go about it?You would collect user requirements,develop design documentation, pur-chase the equipment, install and testthe facility, and then hand it over topost production. You would thenmonitor the suite and fix any issuesthat come up. When you think aboutit, to design and build a secure com-puter network, you follow much thesame process. But before you invokethis process, I strongly suggest askinga few questions and then using theanswers to develop a security policy.This security policy will drive manyfundamental decisions about yournetwork design. Do you have an existing corporateIT security policy? I know that manyof you struggle with corporate ITsupport, and this is understandable.Frequently, corporate IT people donot understand the intricacies of vid-eo networks. That said, perhaps thereare parts of your corporate IT policythat can be adapted to the technicalfacility. An ideal situation would be tofind the person who wrote the policyand ask him or her candid questions

BY BRAD GILMER

about each element in the policy. Treatthis as a learning opportunity. At theend of the day, there may not be any-thing useful in a corporationwide ITpolicy written for the office environ-ment. On the other hand, there maybe some vital information that shouldbe included in a policy for a technical

redundant? On the other hand, is itimportant to know who is logged onto the system at any given time? Willyou use logs and audit trails to researchfailures or mistakes after the fact? Ifthis is the case, think again about howyou see authentication actually beingused in the facility. For example, does

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When developing your security policy, consider whether automatic softwareupdates should be permitted. Automatic updates can create instability in thecomputing environment.

area. Besides, if you work in a corpo-rate environment, it is likely you willneed to operate within that corporateIT policy or know how to get excep-tions to it when needed.

Are you going to require user au-thentication to use computers on thenetwork? Your first inclination mightbe to say, "Of course!" But take amoment to contemplate this issue.Any security measure comes with aburden. Remember that every timesomeone logs on to a system, it takestime to validate that log -on request.In an on -air environment, would thatlog -on time cost you money? Do youalready have physical security in placewhere a log -on requirement would be

everyone in your master control areause the log -on name "master" and thesame password? If so, is there really abenefit in having the authenticationrequirement at all?

Are you going to allow access to theInternet from your media facility net-work? Are there technical reasons whyyou will be forced to allow this access?Again, the answer may seem obvi-ous - either yes or no. But carefullyconsider your answer. If you decide todisallow Internet access, people will belining up at your door asking for ex-ceptions before the network installa-tion is complete.

Will you allow automatic updates ofsoftware? I believe that you should not


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permit automatic updates of softwarein a technical environment. Why? Be-cause automatic updates create insta-bility. That said, many times softwareupdates are released to address securityissues, so this is a double-edged sword.On one hand, you want to ensurethat systems are patched to the latestlevel for security reasons. On the otherhand, you do not want to have a systemauto -update and then quit working.So I believe the best way forward fortechnical platforms is to disable auto-matic updating, but make updates partof a regular maintenance plan. Bear inmind that it is wise to thoroughly testupdated systems to ensure that theyare working properly before returningthem to service.

Will clients be allowed to bring inlaptops that they can use to access themedia facility network? This is a criti-cal decision. In a master control envi-ronment, the answer is likely to be no.

In fact, you can use MAC addressingon the routers to keep people fromplugging in a rogue computer. How-ever, in a post environment, it is cus-tomary for clients to want to bringin their own laptops. These peoplespend a significant part of their dayaway from their desks. Not allowingthem network access is impractical,especially if these clients are out -of -house. Establish a separate cli-ent wireless network in your facility,granting them access to the Internetbut prohibiting them from accessingyour core technical network.

How many networks do you antici-pate having in the facility, and what willthey be used for? While it is nice to talkin theory about a single technical net-work and a single business network,anyone who has worked in a facilityknows that real life is not like that atall. No one may actually know howmany networks are in the facility. As

you develop the security policy, it canbe helpful to have a good idea of howmany networks there are and to thinkabout how and where these networkswill be joined. Clearly, implementingsecurity at the point where networksjoin is a key concept and should be ad-dressed in the security policy.

Will you allow clients to use USBdrives or other removable media? Didyou hear about the company whosesecurity was hacked by someone wholeft USB drives scattered in the park-ing lot? The hacker was clever enoughto know that people would pick upthe drives and use them, and also wasclever enough to infect the USB driveswith a virus that allowed the hackerto take control of the computers fromoutside the company. USB drives area great convenience, but in a mission -critical environment, it may be best todisable them.

Are there network protocols that

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you will specifically not allow on thenetwork for security reasons? Certainprotocols such as telnet, FTP andHTTP are inherently insecure. Doesit matter to you that someone witha packet sniffer can see what you aresending across the network? If it does,then you may want to insist on us-ing secure versions of these protocols(SSH, SFTP, SHTTP) and to block thetransmission of unsecure protocolsacross the network. But beware: Manymanufacturers assume that com-mon protocols will be supported onthe network. Certain products maynot function if these protocols areblocked. A better approach may be toblock these protocols at the firewall.

Will you employ monitoring and log-ging on the network for security pur-poses? If so, what level of monitoringis appropriate? Intrusion protectionsystems (IPS) can be used to monitornetwork traffic for behaviors that are

typical of a security breach. While IPSis a great tool, it requires configurationand maintenance to be successful. Apolicy that includes the inspection ofall server and router logs on a daily ba-sis is an extremely good idea. Not onlywill this alert you of security issues, butit will also allow you to see problems asthey are developing, frequently beforea fault occurs.

Are you concerned solely about ex-ternal threats, or are you also protectingthe facility from internal threats? This ispretty simple: If you are only consider-ing external security threats, then youhave an insecure system. As you devel-op the policy, consider the impact ofinternal security threats as well.

What are the ongoing training,maintenance and administration im-pacts of decisions you make regardingnetwork security? There are a varietyof security systems out there, many ofwhich impose a substantial burden on

the organization in terms of ongoingtraining, maintenance and adminis-tration. Be sure to consider the costsof security technologies and policiesas well as the benefits when develop-ing the security policy.

ConclusionI hope that this column gets you

thinking about how important a secu-rity policy can be as you contemplatethe design and construction of a newnetwork. It is imperative to have a se-curity policy. Don't just think aboutdeveloping a policy; write it down,share it with your colleagues, modifyit as you see fit, and then publish itwidely within your organization. BE

Brad Gilmer is president of Gilmer &Associates and executive director of theAdvanced Media Workflow Association.

ISend questions and comments to:[email protected]

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June 2010 I broadcastengineering.com 25

PRODUCTION CLIPSDIGITAL HANDBOOK

Automating graphicsAutomated branding and promo systems can respond

quickly to schedule changes.

Effective branding and pro-motion graphics are vitalto channel differentiation.These days, however, they

present a real challenge. Typicallysuch graphics are prepared manuallyand then submitted to the transmis-sion chain. Items such as promos arebuilt in a nonlinear editor and thenloaded onto the video server for play -out. These approaches are laborious,time-consuming and costly. Withtight budgets for promotions depart-ments, managers find themselves in atough spot.

We can, however, take advantageof the data available across the net-work to create an automated systemfor producing and playing interstitial,branding and promo graphics. (See

BY PFTF CHALLINGFR

Figure 1.) Three core sources of in-formation are available as a startingpoint:

The "live schedule" from automa-tion that details the next 24 hours ofplayout;

The "day schedule" from traffic thatlooks two to three days ahead;

The "listing schedule" from trafficthat is used for EPG, print and onlineschedules.

A server -based automated systemreads the metadata from these sys-tems to create its own consolidateddatabase of the upcoming schedule.In addition to schedules, findingmore information related to pro-grams, events, sponsors, etc., canlend greater flexibility for populatinggraphics. Simple data entry would

enable the additional information tobe made available.

An automated promo system willuse this, for example, to see the nextprogram coming up. It identifies theprogram via metadata, such as mate-rial ID, and searches its database forthe correct title it needs to put to air.

In addition to metadata, assem-bling graphics requires the integra-tion of several components includinga set of graphics templates, preparedforms that have fields for text, im-ages, logos and video clips. Those ele-ments will be filled in by the graphicssystem based on the decisions takenby the automated promo system. Theautomated promo system will have acontrol link to the graphics system toenable it to build graphics using the

Schedulingsystem

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Figure 1. In this figure, the blue elements represent a traditional broadcast workflow. The red elements represent new partsintroduced with an automated promo and branding graphics system.


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template. The system will also need aset of governing rules.

For example, consider a typical in -program pointer (IPP) such as a low-er -third "Next Up" snipe, which we'llcall IPP1. IPP1 is listed in the sched-uling system for playout at the appro-priate time. The automated promosystem sees that, and then looks intothe automation schedule to see thenext program and checks its own da-tabase for the full title information.The system uses its rules to populatethe fields in the template, such as titleand time. At air time, the automationsystem will call for that automaticallyproduced graphic from the graphicssystem, and the system will overlaythe snipe on the program stream andplay out.

An operator is no longer requiredto piece together the graphic. By elim-inating the manual labor, broadcasters

have gained the flexibility to makechanges to the promo graphics rightup to playout time because a changein the schedule automatically updatesthe graphic.

We can go beyond program datawith interfaces to any number of ad-ditional sources of data: news andsports, weather forecasts, stock andexchange rate data, SMS messages,RSS feeds, e -mails, etc. These sourcescan be polled regularly by the promosystem, or they can push their data towatch folders. This flexibility lendsitself to the creation of sophisticatedgraphics that can give a channel a dis-tinct character.

This setup also lends itself to mul-tilingual promo requirements. Simplyadd fields to the metadata databasefor each language. The same ID onthe scheduling system will then trig-ger multiple versions of the graphic

for each language, including the ap-propriate country voice-over.

The program metadata databasecan be expanded further with thingssuch as video clips to create upcomingprogram menus with moving video.In the past, assets such as clips werestored on the main video server andplayed into an auxiliary input on thegraphics system with a squeezeback toopen the clip in a window. This wouldrequire an additional, expensive portfor each desired simultaneous outputfrom the video server. It also requiresa secondary video event in the sched-ule for the server, increasing work forthe scheduling staff and adding con-siderable complexity.

Instead, we can use a clip player onthe graphics system. Those assets canbe stored on a low-cost central SAN,NAS, server or even on the same serverthat runs the automated promo system.

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The scheduling system need only issuea single instruction for the predefinedgraphic. The automated promo systemwill use the information it has in itsdatabase, gather the appropriate meta -data from its metadata store, get thetimes from the scheduling system andpopulate the template on the graphicssystem, which will be recalled by theautomation system at the correct play -out time.

Watch folders on the central store aremonitored by the automated promosystem, which then matches it to itsmetadata database and can manage themovement and life cycle of those assets.The same system should manage thedeletion of assets that are no longer im-mediately needed from the clip player.An advantage is that if a system needsto be swapped for any reason, the auto-mated promo system can automaticallyrepopulate the replacement clip player.

So who benefits from an automat-ed promo system? Stations that havea stable schedule with few last-minutechanges, such as movie and themat-ic channels, can deploy a relativelysimple system that builds automatedgraphics sequences based on sched-ule analysis and file processing. Sucha system would support the needfor automated "Next up" graphics,menus, lineups and automated ver-sioning of audio and video assets.

If a broadcaster needs to makechanges close to or at air, it is neces-sary for the system to maintain a liveconnection to both master controlautomation and a central store for as-sets. This system would build graph-ics within seconds of air, so it can alsoinclude up-to-the-minute informa-tion from a variety of data sources.

In its most advanced implementa-tion, an automated promo system is

capable of running a complete channelwith the ability to create interstitialson the fly based on rules to evaluatecontext and using an extensive rangeof data sources both internal and ex-ternal. This solution has no impact onstation automation. Instead, it moni-tors the live automation schedule andautomatically generates a sequence ofsufficient duration to match a givengap in the schedule.

Deploying an intelligent automat-ed promo system that collects datafrom numerous sources and uses thatinformation to populate templateson a modern graphics device is anelegant solution that meets today'sbranding requirements with com-plete sequences, created on demandand in real time, with minimal or nohuman involvement. BE

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DIGITAL TUTORIALSYSTEMS INTEGRATION

Practical audio solutionsLip -sync errors, 5.1 continuity and variable loudnesslevels can be addressed with the latest technology.

When you ask stationengineers about thetechnical issues theyface on a day-to-day

basis, it seems that the same bunchof audio problems keep cropping up.The top three problems will typicallybe lip -sync errors, maintaining thecontinuity of 5.1 and stereo audio andexcessively variable loudness levels.The good news is that these annoyingand recurrent audio issues can nowbe convincingly tamed using a mixof highly practical, new technologiesthat are readily deployed.

BY GUY MARQUIS

Measuring and addressinglip -sync issues

Lip -sync issues are common inbroadcast and have their roots in thedifferent processing time required forvideo and audio content. This differ-ence is even more pronounced withthe move to HD and 3Gb/s. Althoughvideo equipment is designed to man-age the different video and audio de-lays, lip -sync problems can emergedown the playout chain as signalspass through various devices fromdifferent vendors.

Traditionally, it has been difficult to

HD/SD-SDIin 1

HDSD-SDIin 2

Lip -syncerror

detectionand measure

HD/SD-SDIout

Figure 1. A digital fingerprinting probe allows content comparison across two points.

IRD

SNMP-based facility monitoring

Fingerprint correlation and lip -sync detection

Primary path

CCNBIencoder

Secondary path

CCNBIencoder

Distributionencoder

Network main broadcast c

Uplinkreturn

Uplink

Figure 2. Shown here is an example of end -to -end lip -sync monitoring using digitalfingerprinting.

trace the emergence of lip -sync errorsduring TV playout, and subsequentlyat the set -top box, while a channel ison -air. Digital fingerprinting, how-ever, now offers an elegant solution toidentify, measure and trace lip -syncerrors. The technology is based on acomparison of the video between areference source without any lip -syncproblems and other points in theplayout chain, where lip -sync prob-lems may emerge due to processingdelays. For example, lip -sync test-ing points may be established at anincoming feed, after branding andclosed-captioning/VBI insertion, atthe exit of master control and whenchecking off -air feeds.

Typically, the process is performedusing a probing module, which ana-lyzes signals at both points using a non -intrusive fingerprint generator engine.This operates on a field -by -field basisto generate a number that is unique tothe video or audio content for that field.With this numeric data, the probe canthen make sure that the content is thesame at the source and destination. Thisallows the system to check for contentmismatches, such as video and trackswaps, as well as pure lip -sync errors. Aprobe can check all 16 audio channelsand report any lip -sync errors withinplus or minus 1 ms. Every channel willget its own fingerprint to allow mea-surement of any phase shift betweenthe audio channels. (See Figure 1.)

A key advantage of this digital fin-gerprinting technology is that it allowscontent comparison across differentvideo and audio formats. For exam-ple, it can compare an HD 1080i or720p signal with audio from a broad-cast facility's master control room toa signal received in the home using anSD set -top box. (See Figure 2.)

These lip -sync measurements can


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Receiver/decode

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Digital fingerprinting is still in theearly roll -out stage, and it is currentlybased on proprietary solutions; how-ever, SMPTE has taken note of theconsiderable potential of the technol-ogy and is investigating the possibilityof producing a SMPTE standard forthe fingerprint signal and the methodsof metadata carriage, with the review

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being performed by the SMPTE TC-22TV-01 AHG Lip Sync Committee.

Maintaining the continuityof 5.1 and stereo

Traditionally, delivering both 5.1and stereo programming simultane-ously has proven problematic. A typi-cal viewer complaint is inconsistent5.1 delivery to the surround speak-ers, which is often caused by inef-fective upmixing when moving froma 5.1 to 2.0 signal This can happen

emergency, it's certainly not the high -quality acoustic experience broad-casters strive for.

Fortunately, this can now be ad-dressed with a simple, and relativelylow-cost, set -and -forget modificationto the playout chain. The latest gen-eration of signal processor modulesis equipped with integrated up- anddownmixing capabilities, and thesecan be configured to automaticallyrespond to the incoming signal.Whenever a 2.0 signal is received, it

The dialnorm route to loudness controlis not practical for many broadcastersbecause they cannot reliably pass the

metadata to their AC -3 encoders.

when broadcasters are playing out amix of newer 5.1 content and legacy2.0 content. While this type of prob-lem may not be a full -on broadcast

can be passed and also upmixed to5.1. Similarly, when a 5.1 signal isreceived, it can be passed and alsodownmixed to 2.0. These automatic

responses prevent problems like in-consistent 5.1 and 2.0 audio.

Loudness controlThe last of the three audio prob-

lems, controlling excessive loudnessvariation between channels and be-tween program segments, is perhapsthe most high -profile issue at themoment. Loudness variation is es-pecially evident during commercialsand promos and quickly gets tire-some fof viewers.

This situation has been around fora long time, and you may recall thatdialnorm was created to prevent thisproblem. Dialnorm metadata is de-signed to allow content to be mixed todifferent loudness levels and for theaudio receivers to compensate for thedifferences by applying a normaliza-tion based on the metadata. Unfor-tunately, the dialnorm route to loud-ness control is not practical for many

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broadcasters because they cannot re-liably pass the dialnorm metadata totheir AC -3 encoders. This sometimes

arises because metadata is missing inthe content they receive or becausetheir playout chains incorporate

Video withembedded

audio

Audio processing

Dynamicaudio processor

and limiter

Loudnessmeasu ement Actual Target

Video withembeddedprocessedaudio

Automationand/orcontrolsystem

Figure 4. Core functions of a signal processor module with integrated loudnesscontrol include loudness measurement and dynamic processing.

Networkfeed

Specialevent feed

/I\

IRD

IRD

Newsproduction

Processedaudio withcontrolledloudness

Uncontrolledloudness

Uncontrolledloudness

Controlledloudness+

Automation system

V

Bypass commandfrom automation

Loudness processor module

Bypass

Audio levelprocessor

Loudnessmeasurement

Transmissionwith controlled

loudness

Figure 5. Loudness processing can be bypassed by a network affiliate, using segmentchange cues from playout automation, to process audio with uncontrolled loudness.

many different generations of equip-ment, and metadata transmis-sion issues can lead to missing orincorrect values. These metadata er-rors can make loudness jumps at thehome even worse than they wouldhave otherwise been.

There's real impetus now to fixthis problem. The ATSC has pub-lished the A/85 recommended prac-tice, which proposes as an alternativeto agile metadata the use of a fixeddialnorm value, set at the encoder,to ensure that all content matchesthat target loudness. However, whilethis is great for content produced inhouse, broadcasters tend to receive alot of their content from third parties,and they need new tools to ensure itmatches their target loudness.

To meet this requirement, a numberof equipment vendors are now offeringloudness control processors, and thereare multiple approaches available in-volving multiband and wideband au-dio processing solutions. This technol-ogy can be delivered as dedicated boxesor as space -efficient options for signal -processing modules. The best solutionsnow offer very smooth loudness tran-sitions, without sudden dips in level,or pumping effects, which have tradi-tionally been prevalent with automaticgain solutions.

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Signal processors with loudness control include fea-tures like loudness measurement using ITU-R BS.1770 toassess any deviation from the target loudness, as well as adynamic processor that can adjust levels on the fly, anda controller that is much more sophisticated than tradi-tional gain control. (See Figure 4.)

The most common way to implement loudness pro-cessing has been to use a set -and forget -mode of loudnesscontrol, with the loudness processor maintaining a targetloudness without any ongoing operator involvement. Tooptimize the processing, facilities can choose a process-ing profile that's the best match for their type of content.Profiles are available for music, talk and many other typesof programming.

Set -and -forget operation can deliver great results, andit's easy to install and use on a daily basis. However, forsome specific types of channels, a more active style ofcontrol can work even better. This is especially true forchannels that air movies and drama programs, wherelarge and rapid loudness changes contribute to the dra-matic effect. With set -and -forget operation, the loudnessprocessor has no way of knowing the difference betweena sudden audio transition within a program and an au-dio transition caused by a change of segment, such as acommercial break.

In these situations, it can be beneficial to use segment -aware processing with the loudness processing profilecontrolled by a simple segment change cue from playoutautomation. For known segments with the correct loud-ness level, the loudness processing can act in a bypass orlight processing mode, which can help protect againstdownstream clipping. For commercials, live segments andfeeds from outside the facility, the loudness processing canact in a faster -reacting correction mode.

Playout automation -driven loudness processing canalso be advantageous for network affiliates, which need topass preprocessed network content as well as locally cre-ated news content and commercials. In this case, the loud-ness processing can be bypassed when the network feedis passed to avoid any changes to the content, and it canbe engaged for the local content with uncontrolled loud-ness levels. The net result can be a natural, high -qualityaudio experience free from excessive loudness variation.(See Figure 5.)

ConclusionAll those pesky lip -sync, loudness and 5.1 continuity

issues can now be addressed effectively using relativelysimple fixes and without too much investment. All theseaudio issues should become a thing of the past beforetoo long. BE

Guy Marquis is infrastructure senior product manager forMiranda Technologies.

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After systematicallybuildingstate-of-the-art HD pro-duction facilities in NewYork City; Los Angeles;

and Washington, D.C., over the pastthree years, CNN has turned its at-tention to its original home and mainheadquarters at CNN Center in At-lanta. On May 3, the all -news network

unveiled a new studio with all of thetraditional HD production equip-ment one might expect, as well as afew technical surprises.

Now all of CNN's domestic pro-gramming (as well as some program-ming on HLN) will be distributed -via cable, satellite and telco televisionservice - in the 1080i HD format. The

new studio and the associated tapelessnewsgathering operations at all of itsfacilities will be supported in the fieldby nearly 20 HD microwave trucks andmore than 100 photojournalists, who allshoot in HD. (There will still be a lot ofSD material from international bureausand archived material used that will beupconverted before going to air.)


The new 5000sq-ft studio in At-lanta is more than three times the sizeof the network's existing anchor deskand weather set combined, making itthe largest studio to date for CNN. Itincludes a rotating anchor desk thatallows the crew to use Sony HDC-1400 HD studio cameras with FujinonHD lenses to shoot various interviews

with different backdrops or minisetsinstalled around the four walls of thestudio. There are five cameras in thestudio on Vinten Radamec roboticpedestals, as well as one handheld ona steadycam rig and another on a me-chanical jib camera. Sony XDCAMHD cameras with Canon lenses areused in the field.

The main studio features a rotating anchor deskthat moves 270 degrees and allows the talent toshoot var ous interviews with different backdropsor minisets installed around the four walls of thestudio. Al photos courtesy Ted Pio Roda/CNN

Flexiblity to do moreThe nain design concept was to

make the studio as flexible as pos-sible to accommodate a wide varietyof news segments and individual pro-grams. One large wall features two103in Panasonic HD plasma screenson a motorized track suspendedfrom above that can be moved toserve as a background as the rotatingdesk moves. One screen is equippedwith a -ouch-screen overlay called"UTouch," which allows the on -air tal-ent to rranipulate graphic elements.The weather center set features aseparate _arge screen running Percep-tive Pixel software that allows the on-screen ta_ent to expand an image with

One screen is equippedwith a touch -screen

overlay called "UTouch,"which allows the on -air

talent to manipulategraphic elements.

their fingers (which CNN pioneeredon -air for the 2004 presidential elec-tion). There's also a Christie DigitalHD projector for some weather seg-ments, used to display WSI weathergraphics, and three other Christie HDprojectors blended together to displayanimations, live video and graphicsbehind the main set.

The main set itself includes morethan two miles of LED lighting (madeby NileStrip and Boca Flasher in Flor-ida), which can be used in a varietyof ways to create alternate moods and


SYSTEM DESIGNSHOWCASE

All new segments for HLN and other programs shot in the new studio will come out ofControl B, complete with a Sony MVS-8000G HD production switcher and a multiscreenmonitor wall running Evertz MVP multiviewer software.

ambiance. The crew can also projectall types of animations across the en-tire backdrop or focus on specific sec-tions of the stage.

The engineering department hasalso made it possible for the an-chors' laptops to be taken directly toair, so they can support their storieswith social media and the Internetwhen necessary.

Reporting in the roundThe innovative anchor desk rotates

270 degrees. It was designed by CNN'sin-house engineering group with help

from theatrical scenic design companyClickspring and engineering designassistance from BEST. It's poweredby a series of chains, high -intensitycable and gears that can be rotatedduring commercial breaks to changethe on -screen look. The stage movesto a series of predetermined lockingpoints for each individual segment.The design facilitates a variety of dif-ferent camera angles and backdrops,but it was technically challengingto implement.

The real challenge was to figure outa way to move all of that chain and

set cabling without it getting pinchedor crimped every time the stage isrotated. In early tests, the system hasworked perfectly.

Solid foundationfor HD news

In 2007, when CNN launched HDoperations in New York, the Atlantafacility was also equipped with a newmaster control system to handle theextra -bandwidth HD programs andsend them out to viewers with HDTVsets. In 2008, new Grass Valley TrinixHD routers (one central router fea-tures a 1024 x 1024 matrix) and HDservers were installed in Atlanta, andin October 2009, the first HD controlroom ("B") went on -air for a smallamount of programming.

All new segments for HLN andother programs shot in the new stu-dio on the seventh floor will comeout of Control B on the fifth floor,complete with a Sony MVS-8000GHD production switcher and a mul-tiscreen monitor wall running EvertzMVP multiviewer software.

When the new digital record andedit system launches later this year,everything will be captured and dis-tributed in native 1920 x 1080i HDresolution, with a 16:9 widescreenaspect ratio. Some SD content willappear with sidebars to fill the screenwhen necessary.

The entire facility is supported byan internal IPTV network that allowsproducers, journalists, editors and

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An internal IPTV network allows producers, journalists, editors and engineers to view avariety of live TV channels and incoming feeds from any computer in the building.

engineers to view a variety of live TVchannels and incoming feeds fromany computer in the building. AnEnseo decoder box sits on every desk-top to display the channels.

Audio gone MADIAll the Sennheiser microphone

and IFB sources are transferred be-tween the seventh floor studio andthe control room on the fifth floor viathe MADI protocol over coax cables,which reduced installation costs. Sur-round sound is synthesized for someprograms before final broadcast, butall audio is handled as stereo internal-ly. Programs are mixed on a EuphonixMax Air digital audio console.

A new era for CNNThe new studio is a departure from

the single, large anchor desks of oldand moves CNN into a new era thatincorporates new media technologyto tell the story in more interestingways. It also targets a younger audi-ence whenever appropriate by allow-ing the talent to roam around the set.

There was a time when some ques-tioned the need for newscasts to goHD. At CNN, there's no question it isa critical part of staying competitive.It now has the space and the technol-ogy in Atlanta to do it right. BE

Michael Grotticelli regularly reports on theprofessional video and broadcasttechnology industries.

Design teamCNN:Bob Hesskamp , SVP, engineeringMatthew Holcombe, VP of networksupport, engineeringJeff Paquin, dir., proj. managementofficeGuy Pepper, exec. dir., productiondesignDave Slack, VP, proj. managementand ops.Jack Womack, SVP, ops. andadmin.

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HP offers collaboration

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With the amount of dis-tribution platformsincreasing and staffconsolidation a pres-

ent day reality, Stephen McKenna, vicepresident of HP's Media & Entertain-ment division, is focused on servingthe growing need for more simplistic(cost-effective) and industry stan-dard (open) approaches to complexworkflow problems. He's now helpingsome of the world's largest produc-tion companies and highest profilecontent owners to design and buildflexible, file -based infrastructuresthat can adapt to changing businessmodels while bringing customers afast return on their investment.

Q: What challenges does the marketface and how is HP equipped to over-come them?

A: Everything has moved to a file -based workflow and this somethingHP understands implicitly. Large or-ganizations have to distribute contentto many platforms simultaneously inorder to keep their businesses com-petitive and successful. We have tomake the processes more non-linearand more automatic. We need tostreamline the business processes thathelp drive revenue.

I think HP is uniquely qualified inthis new world of file -based mediato help media professionals becausewe have a vast collection of resourceswithin our company that offer real -world experience to get the job done.They've completed a lot of differentkinds of media projects, so they knowwhat they are doing and can advisecustomers accordingly.

When it makes sense, we're alsoforming strategic partnerships withvenders that have expertise in a spe-cific area or understand a piece ofthe overall puzzle. HP is open and

HP's Stephen McKenna is helping media organizations large and small managetheir data and increase productivity.

welcomes collaboration. We wel-come customer suggestions, as far asthe types of tools they want to workwith, and we're doing our best toimplement those tools into an overallworkflow that helps improve produc-tivity for our customers.

We understand file -based work-flows and we also know that to besuccessful, we have to be a good lis-tener and design systems that solvethe individual problems a customerhas. At the end of the day that's one ofthe things that's what's most impor-tant to our customers.

Q: Beyond the hundreds of indi-vidual products (workstations, servers,storage, etc.), HP offers a number ofservices that can be used to host contentoff -site or deliver multiple streams todifferent platforms without the client'shelp. Explain why this is important toyour business.

A: With its product lines and com-puter networking experience, HPhas assumed a larger role in all typesof media production installations.We're talking about non-proprietary

platforms and off -the -shelf hardwarethat allow users to work the way theywant to work.

The industry has seen a lot ofcontraction and downsizing of staffin recent years, yet media compa-nies still have to produce a lot ofcontent and distribute it to the enduser quickly or they are out of busi-ness. Many customers are askingHP to help them with off -site ser-vices such as cloud -based storage,media management and even pro-tecting copyrighted material againstpiracy, and we are working togetherwith them to this end. These are justsome of the areas where traditionalmedia companies have reached outto HP as a trusted partner for theseservices, so they can focus on thecreative side of their business.

We like to say that our goal is to helpout customers migrate from 'mediachaos to clarity through collaboration:

At the end of the day the industryunderstands that we're more than justa technology solutions provider, weare a long-term business partner.

Advertisement I June 2010 broadcastengineering.com 41

Navigate today's competitive

media waters with HPIn their effort to be success-

ful in an ever-changing andhighly competitive environ-ment, broadcasters and profes-

sional media companies are facedwith more challenges than ever be-fore. This includes having to sortthrough a variety of digital file for-mats, distribution platforms andconsumer viewing habits that every

most efficient (and quickest) way.HP has been helping media com-

panies realize their goals for morethan 70 years by providing its ex-pertise and best in class IT solutionsthat offer flexibility to adapt to cus-tomers' unique requirements and thereliability that media companies de-mand to keep their businesses run-ning smoothly.

The HP Proliant DL370 G7 server features room for several GPU cards, to imprcvea variety of image data processing tasks.

content provider must take into ac-count when planning and imple-menting an efficient workflow thatmakes the most of available toolsand manpower.

The days of unlimited budgets,proprietary technology and largestaff sizes are over. Companies bigand small are now faced with havingto do more with less.

Navigating this sea of seeminglyunpredictable production variablescan be time-consuming and expen-sive without a carefully executedplan and an experienced technologysolutions partner that understandsthe unique needs of the media andentertainment industry and can pro-vide cost-effective solutions to getthe job at hand accomplished in the

Through a variety of high-perfor-mance content digitization solutionsand services designed for highly col-laborative, heterogeneous and con-tent -rich environments, HP solutionsaddress the various processes andtasks involved in content creation,ingestion, digital asset managementand content workflows. This allowsusers to support traditional produc-tion and distribution environmentswhile also helping them to developnew business models that incorpo-rate user generated content and so-cial networking. HP's low-cost andeasy -to -operate network -attachedstorage solutions are highly scalableand can grow as necessary. This waycustomers get the most value with-out overspending.

In addition, HP makes it easy formedia organizations to deliver greatservice with its proven security solu-tions and strategies that reduce riskwhile maintaining easy access to de-sired content and mission -criticalsystems. The company also offersmulti -layered and highly redundantsolutions for the end -to -end man-agement of a wide range of rich me-dia archiving and IT infrastructure,as well as traffic and billing services.

More Than Just TechnologySolutions: A Partner

Yet HP is more than just a technol-ogy solutions company. It also hasworked hard to develop and main-tain strategic relationships with well-known software providers that ad-dress specific parts of a collaborative,file -base workflow in the most inno-vative way. This is due to the uniqueflexibility of the HP platform, whichprovides the computing power to eas-ily host complex applications.

At the NAB 2010 Show, HP's ex-hibit booth was filled with a varietyof strategic ISV partner solutionsthat are helping customers imple-ment their best chance for success.One such company is ElementalTechnologies, based in Portland,Ore., whose GPU accelerated El-emental Server and Elemental Livevideo processing systems helps me-dia companies automatically convertand distribute digital files in a widevariety of digital file formats, simul-taneously and in real time.

The company's software takesadvantage of NVIDIA GPUs todramatically decrease the time ittakes to encode and transcode filesfrom one format to another. These

42 broadcastengineering.com I June 2010 I Advertisement

Sam Blackman, CEO of Elemental

Technologies

next -generation GPU cards are in-stalled inside a new HP Proliantserver such as the DL370 G7, provid-ing content owners and distributorswith the easy accessibility and Dualor Quad core architecture necessaryto make it happen. These users in-clude broadcasters, online video plat-forms and digital media companies;who all use Elemental technologiessoftware to reformat (encode) audioand video files for online and mobiledistribution. It could be viewed ona cable set top box, a Flash -enabledWeb site, an Apple iPad/iPhone orother smart phones.

The nice thing about the ProliantDL370 G7 server is that is has roomfor several GPU cards, so that El-emental Technologies' software is

able to take advantage of multipleGPUs at the same time, significantlyincreasing processing speed. At thebooth a single high -definition filewas ingested into the HP server, us-ing the Elemental software, and ninedifferent digital formats (SD, HD,.mov, Flash, Windows Media, etc.)were output in real time.

"The key to the HP platform isthat it offers really flexible chassisthat have good support and sufficient

power to drive multiple GPUs," saidSam Blackman, CEO of ElementalTechnologies. "A lot of our customershave strong relationships with HP, sobecause our software is now certifiedto run on HP systems, it gives them alot of confidence that the system willrun smoothly and reliably. At the endof the day that's critical to broadcast-ers and HP's platforms deliver whatthey promise."

Because of the impressive resultsthey have seen, Elemental Technolo-gies has entered into a technologypartnership with HP and has certi-fied HP as a pre -configured hard-ware solutions provider for all of itscustomer installations. An example isNews -Press & Gazette Company sta-tions KESQ-DT, the ABC affiliate inPalm Springs, Calif. and KTVZ-DT,the NBC affiliate in Bend Ore., whichincorporate a file -based workflowthat includes the Elemental Serversolution to transcode incoming sat-ellite and Internet feeds for laterplayout to air. Multiple programs arehandled simultaneously, increasingproductivity and time to air.

"We like HP because the technolo-gy is easily deployed and very config-urable, relative to the competition,"said Blackman, "so it allows softwareapplications like ours to work ina variety of ways to accommodatethe many digital media distributionbusiness models that exist today."

Collaborative WorkflowsNeed Flexible Storage

Another key technology partner isDalet Digital Media Systems, a pro-vider of news production and assetmanagement systems. Dalet and HPhave supplied the main productiontechnology for Warner Bros. Tele-vision's syndicated TMZ televisionshow, airing on Fox affiliates acrossthe country.

TMZ offers numerous short videoclips during its half-hour program,and represents the new generation ofTV newsgathering. One of the chal-lenges of designing and installing asystem robust and flexible enough toproduce the pioneering rich mediaTV show was to devise a way to al-low the staff to leverage the same fast,

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Elemental Technologies' Server and Live video processing software takes advantage ofmultiple GPU cards to dramatically decrease encode and transcode times.

Advertisement June 2010 broadcastengineering.com 43

flexible, and lean production pro-cesses it uses to put together contentfor the TMZ.com website. This had tobe a collaborative environment thatcould recognize any incoming formatand allow the editors to search and

The XML EDL instructs the Fi-nal Cut Pro editor where to find theoriginal material stored on the HPSAN. Once files are finished, theyare sent back through the Dalet sys-tem where the show rundown is

At KESQ, the ABC affiliate in Palm Springs, CA., Director of Technical OperationsJim DeChant (left) and IT Director BJ Daup have streamlined the workflowfor both TV and Web -based programming with HP servers running ElementalTechnologies' software.

retrieve clips from a large database,then turn around packages some-times minutes before they go to air.

The show's management chose anewsgathering and production sys-tem based on Dalet Enterprise Edi-tion and several standard HP ProLiant

created and constantly updated be-fore being played out from an Om -neon Spectrum server.

"What makes this type of system in-teresting is the high level of flexibilityand the ability to handle bandwidthintensive HD content quickly," said

As stations begin to think of themselves as"Broadercasters," HP is proving that the best strategy

is to offer open and industry -standard solutions.

servers along with a HP storage areanetwork (SAN) and a HP tape libraryfor archiving. Each day content is in-gested, and then later quickly locatedand retrieved from the centralized HPstorage array. A rough -cut edit deci-sion list (EDL) is generated on oneof the 90 Dalet workstations before itgoes onto to a Final Cut Pro editor forHD finishing.

Benjamin Desbois, general managerof Dalet U.S. "The Dalet platformrunning on HP servers allows editorsand producers to concentrate on thecontent itself and not the tools usedto create that content. They can workas quickly as they want, which has al-lowed TMZ to run a very tight shipand produce content before manyothers in the market."

Warner Bros. also employed theDalet/HP combination with AvidNLEs for "The Ellen DeGeneresShow" which leverages HP ProLiantservers and HP storage.

It's All AboutBroadercasting

With competition coming from awider variety of sources virtually ev-ery day, media companies have to getsmart about the technology they useand how they choose to implementit. The continued use of off -the -shelfIT solutions like those from HP areclearly critical to success, resultingin better performance at much lowercosts points. Another advantage ofworking with standard platformsand pre -certified software in pre -configured bundles is that installa-tion of the equipment usually goesa lot smoother than when outfittingtraditional baseband video facilities.

HP has a complete suite of servicesto help with any implementationproject, from start to finish. They'lleven run the facility for you. The com-pany's high -availability hosting solu-tions keep media companies focusedon their core business, not the techni-cal challenges behind the scenes. HPdigital rights management solutionshelp to address legal and regulatoryconcerns. And HP online contentdigital repository solutions supportthe massive volumes of interactive,user -generated content that can noweasily grow with the business.

So, as broadcasters begin to thinkof themselves as "broadercasters," HPis ready with the technology, expertiseand human resources to help everystep of the way. File -based mediaworkflows are the future of profes-sional production and distribution,and with its converged infrastructureand strategic software media part-ners, HP is proving on every projectit supports that the best strategy fora technology and services provider isto be inclusive, not proprietary.

For more information please visit:www.hp.com/media/entertainment

44 broadcastengineering.com I June 2010 I Advertisement

elcome to Broadcast Engineering's NAB Replay. Here we

provide in-depth coverage of products and technology

from the 2010 NAB Show, including:

Pick Hits Broadcast Engineering's Pick Hit Awards are the

industry's longest -running product technology awards

for broadcast and production. With a 26 -year history,

Pick Hits are the most prestigious technical awards given

at NAB. Here are the top 20 products selected from the

show by our panel of independent judges.

qC, K III

linAcastEngineerin

TANDEM 150Anton/Bauer203-929-1100www.antonhauer.com

Modular power systemis designed to bring

users more power supply op-tions during on -location oroutdoor shoots; functions by

separating the Gold Mount device (QR-TM) from the powersupply (PSU-150), allowing a user to simultaneously charge abattery and power a camera; when a 75W draw is exceeded, thesystem stops charging and performs solely as a 150W power sup-ply; when the camera is turned off or the load is reduced below75W, the system instantly resumes normal operation, as a simul-taneous charger/power supply.

Technology Seminar New stereoscopic 3-D innovations

made this one of the most ir teresting NAB conven-

tions in history. Read on fir 3:-D highlights from the

show floor.

Product Jackpot Here we'v. compiled more than 100

hot new products shown at this year's NAB. Want

more product coverage? Coed out the NAB Special

Report packaged with this issue, where you'll find more

than 30 pages of additional products.

PICK HITSNAB REPLA''

High-speed editing software ideal for offline, file -based andmobile editing; allows users to directly access and edit

RED files through the newly improved Avid Media Access with-out transcoding, work natively with QuickTime video formats,edit video and audio by dragging and dropping elements inthe timeline, get full -quality HD-RG13 processing, and mix andmatch frame sizes and aspect ratios in the same timeline; e -mailsusers when long renders are done.

MediaComposer 5Avid978-640-6789

www.avid.corn

June 2010 I broadcasiengineering.com 45

FiberExpressBrillianceConnectorBelden514-822-7579www.belden.com

Field-installable con-nector features a

tool -less design to makefiber termination simpleand fast; takes just five seconds and three steps to field termi-nate a fiber: insert the fiber in the connector, slide the connec-tor's switch -like activator tab toward the fiber to be terminated tobring about the splice crimp, and slide the boot on the connectorbody; reduces out-of-pocket costs because there are no special/proprietary tools to purchase; can be re -terminated up to fivetimes, resulting in improved connector termination yields.

UltraStudio ProBlackmagic Design630-307-2400

www.blackmagic-design.com

SD/HD capture and playback so-lution for USB 3.0 computers;

combines the speed of USB 3.0 run-ning at 4.8Gb/s, providing enoughspeed for the highest quality uncom-pressed 10 -bit HD video wit the max-

imum possible real-time effects; features dozens of audio andvideo connections built-in; includes audio level meters; built-inup-, down- and crossconverter lets users edit in one format andthen output to any HD or SD format.

Professional camcorder employs an MPEG-2 4:2:2 50Mb/scodec - Canon XF Codec - for capturing and recording

native 1920 x 1080 video onto affordable, universally availablecompact flash cards; unites video, audio and metadata into asingle file; uses an MXF file wrapper to maximize compatibil-ity with existing industry infrastructure and nonlinear editingsystems; includes a Canon 18x HD L -series lens to provide newscamera operators with the focal -range versatility required in thefield; features industry -standard HD -SDI output, genlock and

SMPTE time code (in/out)terminals for multicameraor 3-D productions.

XF305Canon201-807-3300

www.usa.canon.com

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BroalcastEngifteering;-

20 ] 0

CompactCG HDCompix Media949-585-0055www.compix.tv

HD character gener-

ator offers the richfeature set of a full-sizesystem in a rugged 1RUchassis; supports HD -SDI and SD -SDI operations; enables pro-

fessional -grade graphics creation when time and space are at apremium; software options include NewsScroll with RSS, whichprovides the power of multiple crawls, logos, a real-time clock,live weather updates, ratings and live RSS feeds; ideal for mobilebroadcast and OB vans, flypack systems and multivenue use.

Dejero LIVEPlatformDejero866-808-3665

www.dejero.com

Newsgatheringsystem offers a

new way to broadcastlive high -quality videowithout the high cost or complexity of satellite or microwavetransmission; with the system, one cameraperson and the De-jero LIVE Mobile Transmitter can transmit from any locationin cell -phone range; using patent -pending technology, the plat-form improves live interview talkback, transmitting with onlyone -second latency.

DTC-720 XpectDekTec Digital Video+31 35 6469210www.dektec.com

2 4/7 transport streammonitoring software

package continuously checks transport stream for compliance toTR 101 290 and compares each stream to a user -created template(defining the expected properties of the transport stream); anyviolations of the TR 101 290 rules or mismatches to the tem-plate are logged in a database and can be signalled to an NMSthrough SNMP traps or as an IP/UDS-based message; keeps logsof statistical information (such as bit rates, number of CC errorsand scrambled status), tables and individual components in themonitored stream; monitors multiple transport streams simulta-neously, applying different test criteria to each stream.

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Upgrading your video broadcast infrastructure to HD, 3G or IP? Nevion, formerly Network/VPG,

has what you need. With our modular, state-of-the-art technology, it's surprisingly easy to make

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where video is moving

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2010 AlGenlockable sync gen-

erator and test sig-nal generator can be usedas either a slave or masterreference generator; can

lock to house reference orto its own internal precision standard; suited for remote trucks,post, helicopters and flypacks; 1.5Gb/s HD, 3Gb/s HD or SD SDI

test signals or black with embedded audio is output on the SDIBNCs; 3G Level A and Level B are supported; composite, HDtri-level sync and AES digital audio outputs also are provided;

three user -programmable

BrightEye 57Ensemble Designs530-478-1830

www.ensembledesigns.com

LTR-1 OOHSFOR -A

201-944-1120

www.for-a.com

video archive recordersupports LTO-5 tech-

nology, the latest standardin long-term, high -capacity

tape storage; makes file ingest workflow more efficient; reducesarchive space requirements; equipped with an MPEG-2 codec,the LTR-100HS includes an MXF wrapper/unwrapper, so MXFfiles (XDCAM HD/HD422/IMX) recorded to LTO-5 tape can beused directly by many NLE systems.

outputs are selectable be-tween AES, LTC, Word -clock or 6Hz Pulse; analogaudio and AES outputsprovide tone or silence.

Ignite KonnectGrass Valley503-526-8100

www.grassvalley.com

Provides automation control of the Grass Valley Kalypso andKayenne video production switchers; designed to provide

an easy, flexible transition to live production automation; for liveproduction automation applications where a user already has aKalypso or Kayenne switcher in place; allows users to automateas much or as little of their workflow as they need; requires littleor no change to existing switcher effects.

OP+TDMT/R+8Harris800-231-9673

www.broadcast.harris.corn

Fiber-optic products cantransport up to four 3Gb/s,

eight HD -SDI or eight SD/ASI signals, or any combina-tion equal to 12Gb/s of transport signals, over a single opticalfiber; allow for up to 24 independent 3Gb/s or 48 independentHD/SD/ASI signals in a single 2RU frame; TDM, CWDM andDWDM are implemented in the line; using CWDM or DWDM,several signals can be combined into single wavelengths to pro-vide a cost-effective and expandable design.

BlueSetJK Audio815-786-2929

www.jkaudio.com

series of intercom headset adapters uses Bluetooth wire-less technology; headset interfaces plug directly into most

party -line beltpacks, replacing wired headsets; a 3.5mm stereoheadset jack contains a mic level output signal suitable for re-cording, with the beltpack headphone signal on the left chan-nel and the Bluetooth return signal on the right; a switch selectsbetween connection to a third -party Bluetooth headset or acell phone.

Kahuna 360Snell818-556-2616

www.snellgroup.com

Production switcher plat-form supports 16 simul-

taneous broadcast produc-tions in single mainframe;engineered for the mostdemanding production requirements; employs live assistworkflow tools to streamline operations; features Snell's FormatFusion' technology, which supports any combination of SD, HDand 3G/1080p inputs and outputs, and seamlessly converts themto and from the required standards; designed to handle 3-D con-tent with ease.

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Do You Need to Broadcast Video Content from the Web?BrightEye Mitto offers the best way to take computer video to air. Video that once seemed constrained byyour computer desktop can now be used for the most demanding broadcast and display applications. Justuse a mouse to select the video you want to output to air.

Superior Quality - For the Most Demanding Broadcast ApplicationsBrightEye Mitto* has the advantage of proprietary scaling technology and exclusive multi -tap filtering.The filters automatically adjust in accordance with the conversion being performed. The result is that theoutput looks as good, or better, than the original and passes the most stringent testing.

A broadcaster came to usand asked that we build anHD scan converter for them.When we brought theprototype to them for testing,they were ecstatic at howgood the output looked.

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Easy -to -UseSimply use your mouse to click and drag over the specific portion of computer video that you want tooutput. Whether you output the entire screen or just a selected portion, you'll be able to see exactly whatyou are doing. And timing the video output into your system is easy, too.

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ENSEMBLEDESIGNS

www.ensembledesigns.com530.478.1830

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NAB REPLAY

ALCautomatic loudness control

Neo3DCineForm858-345-2645

www.cineform.com

ci Delivers a real-time 3-D editing

workflow compatiblewith Premiere Pro, After Effects, Final Cut Pro, Media Composer,Vegas and other editorial and effects tools in a manner similar toediting any CineForm 2D file; at the heart of the system is FirstLight 3D; all 2D and 3-D adjustments are implemented as activemetadata under control of First Light; features display supportfor most 3-D monitors, keyframable 3-D adjustments (all real-time), individual eye adjustments for color and image flip, andkeystoning adjustment.

Automatic Loudness ControlMiranda514-333-1772

www.miranda.com

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Automatic Loudness Control (ALC) solution prevents excessive jumps in program -to -pro-gram and channel -to -channel loudness levels; available for multiple Densite interfaces; de-

signed to address all typical loudness problems including audio level changes between programsand commercials, without adversely impacting program content; three ALC solutions are available:ALC with Linear Acoustic AEROMAX processing, ALC with Junger Audio Level Magic processing,and ALC with Miranda's low-cost, high-performance wideband audio processing.

GD-463D10JVC

973-317-5000

www.jvc.com/pro

AG-3DA1Panasonic201-392-6141

www.panasonic.com/broadcast

Fully integrated HD 3-D solid-state camcorder is equipped

with dual lenses and two full 1920x 1080 2.07 megapixel 3MOS imag-ers to record 1080/60i, 50i, 30p, 25pand 24p (native) and 720/60p and 50p in AVCHD; can recordfor up to 108 minutes on dual 32GB SD cards in AVCHD PHmode; offers professional interfaces, including dual HD -SDI out,HDMI (version 1.4), two XLR connectors, built-in stereo micro-phone and twin-lens camera remotes; weighs less than 6.61bs.

3 -D LCD monitor features a large 46in screen and cabinetdepth of 1.5in; compatible with line -by-line and side -by -

side 3-D input methods, both of which are used for 3-D con-tent production; employs the Xpol circular polarizing methodto ensure natural 3-D reproduction; equipped with three HDMIterminals compatible with 3-D input signals; 3-D images can beviewed by wearing a pair of lightweight circular polarizing glass-es that do not require a power source; conventional 2-D imagesalso can be viewed without special equipment.

3 -D format converter allows the conversion of any standard3-D format to another, including changing of the frame rate;

standard video formats are supported from high definition to 2K;accepts both dual- and single -stream, as well as HDMI inputs and

outputs; enables double -stack 3-D projection; by encoding the left

Dimension -3DDoremi Labs818-562-1101

www.doremilabs.com

and right eye streams into a singleHD -SDI stream and back again,the unit becomes ideal for record-ing 3-D content on standard HD

tape and servertechnologies.

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TDM-150WTV Logic818-567-4900

www.tvlogicusa.com

3 -D OLED monitor is de-signed for stereoscopic

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15in (16:9) 120Hz Active Ma-trix Organic Light Emitting Diode Display at native 1366 x 768resolution combined with active shutter glasses for vivid 3-Dvideo experience; provides full HD/SDI input and output sup-port, including 3G and dual -link.


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k :

3-D highlights3-D was arguably the biggest buzz at the NAB Show.BY I T MARTIN

This year, the broadcast in-dustry aimed to makestereoscopic 3-D a main-stream medium for home -

delivered entertainment, in hopesthat it would become as successful anintroduction as high definition. Butif you read my blog from the floorof the Las Vegas Convention Center(blog.broadcastengineering.com/3-D),you know I maintain a healthy skep-ticism over whether stereoscopic 3-Dwill ever rise above being a tantalizing,but limited, event experience. There'sa big difference between paying a pre-mium ticket price to see stereo 3-D ina theater and trying to watch it on adaily basis in the living room.

However, it is always exciting tofeel the electricity in the air when newideas rise up to challenge the exist-ing broadcasting landscape, and newstereoscopic 3-D innovations madethis one of the most interesting NABconventions ever. (For simplicity,I'm going to drop the "stereoscopic"modifier from now on since single -stream, or "anaglyph," 3-D has rightlybecome a poor stepchild in the mindsof NAB exhibitors enthusiastic overthe possibilities of home -delivered3-D entertainment.)

3-D industryannouncements

There have been interesting experi-ments in over -the -air 3-D broadcast-ing in Japan, Holland, Korea and theUK using various formats, and justbefore the 2010 NAB Show, a slew ofannouncements were made regarding3-D delivery to U. S. homes. ESPNwill start 3-D broadcasting with theWorld Cup games this month, MarkCuban declared that most of theprime time and weekend shows for hisHDNet will be shot in 3-D, Next3D isgearing up for 3-D VOD channels in

This year's NAB trade show featured a 3-D Pavilion, where companies showed off thenewest 3-D technologies for software, editing, display, video production and more.

conjunction with Turner Broadcasting,and the Discovery Channel revealed ajoint venture with Sony and IMAX tolaunch a 24/7 3-D network later thisyear. Even during the NAB 2010 Showitself, Comcast presented select cover-age of the Masters Golf Tournament in3-D, seen at several exhibits.

While roaming the halls of theconvention center, concerns over thepublic's acceptance of this new me-dium started to arise. First, only JVCand Hyundai have plans to markethome 3-D TVs that can be seen usingcheap, passive polarized glasses - thekind you get in most movie theaters.All of the rest - including Panasonic,Samsung, Sony, Mitsubishi and Vizio- will require active shutter glasses tosee Z -space on their home screens be-cause those displays are less expensiveto manufacture. However, those "flick-er" glasses are costly, easily breakable,require charged batteries and, mostsignificantly, are in large part incom-patible with competing brands.

But these concerns don't show upin public opinion surveys about thedesire for home 3-D. After all, Blu-ray has released its specs for 3-Ddiscs and expects robust sales. In fact,Futuresource Consulting, a marketresearch firm, has predicted that70 percent of U. S. households willhave a 3 -D -ready home display by2015. The question is whether view-ers will use them enough to supportaround -the -clock 3-D entertainmentdelivery, or if these pricey sets will beswitched to their 3-D modes only forspecial occasions.

3-D technology at NABAt the NAB Show, many companies

created a buzz over their new 3-D gear.Crowds gathered at the Panasonicbooth to see its AG-3DA1 single -body3-D camera fitted with twin lensesand two 1920 x 1080 2.07-megapixel3MOS imagers that can record up to180 minutes on dual 32GB SD cardsin AVCHD PH mode.


Panasonic also showed depth -en-hanced images on its new 25.5in BT -3D12550 3-D monitor, which can beconnected directly to the AG-3DA1and other 3-D cameras via HD -SDIinputs. The BT -3D12550 is designed asa production monitor, so it uses Xpolpolarizing that enables engineers toview it with passive 3-D glasses.

That phenomenon was also on dis-play in Sony's 3-D technology installedin the 53ft double Expando 3 -D -en-abled HD production truck built by AllMovie Video. The remote vehicle wasequipped with an MVS-8000G multi -format switcher that can combine twocamera inputs into a single 3-D source.All of the screens at the engineeringstations used polarized displays so theengineers could watch multiple screensin sync with each other.

One of the most impressive 3-Ddisplays was TVLogic's TDM-150W.It's one of the first 3-D organic light -emitting diode (OLED) monitors,boasting a 100,000:1 contrast ratio.The display is only 15in in size, anddue to limited production runs, it willbe relegated to broadcast productionuse for the time being.

Grass Valley disavowed the needfor 3 -D -specific equipment, claimingall its existing gear is 3-D ready today.The company underlined this with a3-D camera demo by linking two LDK8000 cameras side -by -side, introducedthe latest version of its K2 Dyno replaysystem with the ability to handle superslo-mo and 3-D projects, and detaileda 3-D workflow through a Kayennevideo production center.

For 3-D format conversion, Mirandashowed off its Densite 3DX-3901 signalprocessor capable of converting mul-tiple 3-D formats, and brought out anew 3-D option for its Imagestore 750channel -branding processor capable ofproviding up to four 3-D keying layersand offering a variable "Z -plane" forgraphics depth control. To see thosesignals, Miranda had its Kaleido-X16,a 16 -input, dual output multiviewer for3Gb/s/HD/SD/analog 3-D monitoring.

Post production remains the bud-get sinkhole for anything but live

3-D production, and few NLE manu-facturers have addressed it directly.Avid offers dual timeline mainstream3-D editing with direct output to full3-D displays.

Adobe Systems unveiled its Cre-ative Suite 5 product family. However,its editing component, Premiere Pro,can handle 3-D projects only with thehelp of CineForm plug -ins, despitethe boost it gets from the remarkablenew GPU-accelerated Adobe MercuryPlayback Engine.

Autodesk gave 2011 labels to itsNAB 2010 releases of Flame, Flare,Flint, Smoke and Lustre and claimedmany had enhanced 3-D capabilitieseven though that usually referred to3D graphics, character animationor compositing.

Quantel trumpeted its 3-D post -production products, although un-less you have the budget of "Avatar,"it's hard to afford them. There is little

that you can't do in 3-D with thecompany's new version 5 software foreQ, iQ and Pablo systems.

ConclusionEven this skeptic recognizes there

is gold in them there 3-D hills: goldfor special events, gold for theatricalblockbusters, and by all means goldfor home video game players who canvegetate for hours under those 3-Dglasses. With all the ballyhoo at NAB2010 over home -delivered 3-D enter-tainment, time will tell if it can be-come a mainstream medium capableof being popular enough to support24/7 delivery channels. BE

L.T. Martin is a freelance writer and post -production consultant.

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PRODUCT JACKPOT

AUTOMATION ANDPLAYOUT PLATFORM

OmniBus iTX

Includes more than 130 new features,including advanced aspect ratio con-trol with AFD insertion, BXF scheduleimport, enhanced CG capability andclosed -captioning functionality, supportfor copy guard data insertion, additionalbit rate support for Dolby D, and sched-ule preview control; allows broadcastersto mix both media formats and resolu-tions in the same schedule; broadcastHD, SD and lower bit rates can be mixedwithin a single schedule and are auto-matically up- or downconverted by iTX;can be used for Internet TV and stream-ing delivery applications.

303-237-4868; www.omnibus.tv

FILE -BASED WORKFLOW

RadiantGrid StationReady

Platform includes transcoding, transfor-mation templates, archive and resourcemanagement, CC and ancillary data man-agement, and BXF integration module;also features optional loudness control,transwrapping and upmixing support.

877-828-0094; www.radiantgrid.com

FIBER-OPTIC TRANSCEIVER

Telecast Fiber SystemsCopperHead 3200

Provides a robust fiber-optic link betweenany professional camera or camcorderand the broadcaster's truck, control roomor broadcasting center position; over asingle fiber connection, transports bidi-rectional digital (SDI or HD/SDI) andanalog (NTSC or PAL) video as well asall two-way camera control, audio, video,data, sync, tally/call, prompter and inter-com signals between the camera and basestation; features a 10/100 Ethernet path;camera unit mounts directly to any pro-fessional camera's battery interface sys-tem; base station provides plug -and -playoperation without any front -panel adjust-ments in a lightweight, 1RU frame.

508-754-4858www.telecast-fiber.com

CONTENT MANAGEMENTSigniant contentmanagement system

Allows organizations to exchange contentquickly, securely and cost-effectively; keycomponents include content transporter,content point and content transfer en-gine; collectively supports five to 15 nodesof internal and external sites, creating amanaged network with automated move-ment; provides single -node management.

781-221-4000; www.signiant.com

FIBER-OPTIC TRANSPORT

MultiDyne HD-4400-CWDM

High -density, multirate, 3G HD -SDISMPTE FO transport system with a 4x4matrix on both the transmitter and re-ceiver; transports four 3G, HD -SDI signalsover one fiber; openGear-compatible.

888-332-6779; www.multidyne.com

REFERENCE RECORDER

360 Systems MAXX-2020HD

Provides lossless recording and playbackof many HD video formats, includingpaired channels for 3-D; accepts imagesin any color space with 8, 10 or 12 bits;doesn't compress the image; includes twochannels, which can be used for indepen-dent HD -SDI streams, as a 3-D pair or asa single 3G channel; two recorders can besynchronized for dual -3G operation; SASdrive enclosures attach with a single cable;features HD MI monitor outputs, 16 chan-nels of 24 -bit audio, slow motion, nine-pin control, LTC time code, file trimmingand playlisting.

818-735-8221; www.360systems.com

LOUDNESS MONITORWohler Pandora

Desktop or rack -mountable loudnessmonitor and measurement (LKFS) ofany SDI video signal with audio; handlesAES, PCM, Dolby, stereo or multichannelaudio; graphic display shows changes inloudness over time and real-time loud-ness (LU) levels at a glance; offers user -adjustable loudness measurement param-eters, including reference level, gating andintegration time; handles two-, four-, six -or eight -channel (AES or SDI) operation.

510-870-0810; www.wohler.com

INTERCOM VIRTUAL KEYSOFTWARE

Riedel Artist VCP-1004 Virtual Panel

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Allows a regular computer to be used asan intercom control panel in combinationwith any Artist digital matrix intercomsystem; computers running the softwarecan be integrated via a wired or a wire-less Ethernet connection into the matrix;the communication between matrix andvirtual panel is realized via the VoIP-108G2 client card; features four talk -keys anda shift -key to double the number of avail-able keys.

914-819-0495; www.riedel.net

DIGITAL MIXING CONSOLEYamaha CommercialAudio Systems M7CL V3

,OF

Includes an updated control interfacein-depth access management facilitiesand a range of built-in functions formedium-sized live sound applications;new features include sends on fader func-tionality for remote, console -indepen-dent sends on fader operation, as well asadditional input patch, output patch, di-rect out patch and insert out patch recallsafe parameters for setup flexibility andcontrol.714-522-9011; www.yamahaca.com

MEDIA ASSET MANAGEMENTDalet Enterprise Edition

Customizable platform enables broad-casters and content producers to integratemultiple workflows and formats - news,sports, programs, VOD, archives in SD andHD - under one fluid system; built-inproduction tools manage ingest, logging,production, distribution and archivingacross systems and workgroups.

212-269-6700; www.dalet.com


CONVERTER

AJA FiDO

Family of SDI/optical fiber converters forthe transport of SDI, HD -SDI and 3G SDIover distances of up to 10km; designedfor outdoor or indoor use; converters passthe complete SDI signal (including au-dio and/or meta data); meets all relevantSMPTE specifications; low profile enclo-sure enables use in tight spaces.

800-251-4224; www.aja.com

8VSB TO DVB-ASI CONVERTER

Nevion VS198

Allows carriers to take off -air video intotheir cable or IPTV distribution net-works and directly service end users; si-multaneously receives up to four off -air8VSB ATSC RF channels and maps themdirectly to DVB-ASI electrical outputsusing a single antenna source; can beused to aggregate off -air transmissionsonto any ASI network, including IP, fiberand SONET/SDH.

805-247-8560; www.nevion.com

FIBER-OPTIC DISTRIBUTION PANELGepco HMS

Provides on -site termination solution forSMPTE 304M format camera connec-tors; features an internal cable manage-ment design with configurable ports formultiple cable formats, including 9.2mmSMPTE hybrid cable and discrete electri-cal and fiber cables.

847-795-9555; www.gepco.com

ROBOTIC PEDESTAL

Vinten Ruda -nec Fusion FP-188VR

Can be used in both fully robotic andmanual modes; in automated studiooperation, it allows precise positioninganywhere on the studio floor without theneed for complex set-ups or visible mar-ket systems; in manual mode, it tracksand uses the same location system tostream precise positional data to a virtualgraphics system; has a payload capacityof 1801bs.

845-268-0100www.uintenradamec.corn

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NAB REPLAY

TRI-AMPLIFIEDMONITORING SYSTEMGenelec 1038CF

Features loudspeaker drivers, slim speakerenclosure, dual 8in-long throw bass driv-ers and multiple power amplifiers, as wellas active, low-level crossovers; designedfor medium -size control rooms; usesGenelec's advanced Directivity ControlledWaveguide technology, which is designedto provide excellent stereo imaging andfrequency balance - even in difficultacoustic environments.

508-652-0900; www.genelecusa.com

3-D TV SET -TOP BOXES FOR CABLE

Motorola DCX

Software enhancements enable 3-D con-tent to be processed in the set -top boxesbefore delivery to 3 -D -capable TVs in thehome; this enables consumers to seam-lessly switch between 2-D and 3-D chan-nels; support 3-D TV over MPEG-4 andMPEG-2; capable of 1080p24/30 output;new software supports all on -screen dis-plays, such as closed -captioning, emer-gency alerts, and application graphics andtext overlays.

215-323-2194; www.motorola.com

DISTRIBUTION AMPLIFIERESE DV -212

1 x 12 3G/HD/SD-SDI distribution ampli-fier provides cable equalization, reclock-ing and distribution; distributes one 3G,HD or SD -SDI input signal to 12 outputs;video signal can be reclocked before dis-tribution or distributed without retimingthe input signal; in reclocking mode, theunit automatically detects and reclocksthe 270Mb/s, 1.5Gb/s or 3Gb/s signal.

310-322-2136; www.ese-web.com

INGEST SYSTEM

AmberFin iCR Smart Ingest

Combines high -quality HD/SD ingestwith automatic assisted QC in a singlesystem; allows tape content to be efficient-ly and reliably used in workflows based oncentral storage solutions, including SAN -and NAS-based architectures; performsa wide range of automatic quality testson video, audio and time code; provideseasy -to -read reports that detail the natureand position of an error with a thumbnailof the frame where it occurred.

818-768-8948; www.amberfin.com

WORKFLOW ENGINE

Harmonic Rhozet Workflow System

Task -based workflow engine for automat-ed management of the video asset trans-formation process improves scalability,efficiency and reliability for media com-panies' transcoding needs with an open,distributed workflow; manages large-scalenetworks of Carbon Coder transcodernodes in a distributed farm configura-tion; allows for automated processing ofhigh -volume transcoding tasks, failoversupport, job distribution, prioritizationand notification, dynamic load balancing,file transfer and status monitoring.

408-542-2500www.harmonicinc.com

CONVERTER

Ensemble Designs BrightEye 72

Allows broadcasters to use off -the -shelfmonitors for high -end broadcast applications; converts a 3Gb/s, HD or SD -SDIvideo signal into an HDMI signal that candrive most consumer monitors; converterprovides color correction and caption de-coding; features supplemental onscreensignal display of time code burn -in andAFD, up to 16 channels of onscreen audiometering, and built-in color corrector forstudio applications where onset monitorsare used and need to be color balanced forstudio lighting.

530-478-1830www.ensembledesigns.com

3D GRAPHICS ANDANIMATION SYSTEMVizrt Viz Trio One -Box

Latest version of the Viz Trio real-time 3Dgraphics and animation system; insteadof requiring a PC as well as an additionalrendering engine, Viz Trio One -Box com-bines the Viz Trio client and Viz Engineon a single PC with two internal graph-ics cards; both the VGA preview and finalprogram signals can be viewed on one PCwith no negative impact on graphics qual-ity or rendering speed.

212-560-0708; www.vizrt.com

VIDEO SWITCHER

Barco FSN Series

3Gb/s multiformat video switcher featuresa new Universal Output Card (UOC),built-in 16 -channel multiviewer with fullUMD, a two -channel 2D DVE card andnew software capable of controlling 2.5M/Es; each dual -channel UOC allows anyaux bus to output DVI, analog or SMPTESDI signals at any format.

916-859-2500; www.barco.com

FIBER-OPTIC INTERFACE

Extron FOX 3G DVC

Receives fiber-optic SDI, HD -SDI and3G -SDI signals over a single fiber andconverts them to DVI-D and analog RGBor component video; compatible with theFOX HD -SDI Fiber Optic Extender, dis-tribution amplifiers, switchers and matrixswitchers; ideal for television productionand applications that require long-dis-tance transmission of SDI signals frombroadcast -type sources, and interfacingthem with professional/consumer-leveldisplays and other products.

714-491-1500; www.extron.com

56 broadcastengineering.com June 2010

PRODUCTION SOFTWARE

Quantel V5

Applies to eQ, iQ and Pablo; delivers ma-jor advances in color correction, RED andstereo 3-D workflows; supports multilay-er color correction, real-time color cor-rection on Pablo, new stereo 3-D timelineand 3-D tools; features a new soft mounttool for RED r3D media.

212-944-6820; www.quantel.com

AUTOMATIC MIC MIXERDugan E-1

MP

Irm

Automatic mixing controller downloadsa Java -driven remote control panel to theuser's Web browser; provides eight chan-nels of signal processing; patches intothe input insert points of an audio mix-ing console; includes analog I/O plus twopairs of ADAT connectors - one pair fordigital I/O and one pair for linking.

415-821-9776; www.dandugan.com

11

TELESCOPING JIB ARM

Telescopic TechnoJib

Ability to maneuver into inaccessible ar-eas and to smoothly, silently and quicklymove in and out of a shot; comes in 15ftand 24ft telescoping arms with single -operator control; equipped with a Mitch-ell Mount adapter; can easily accom-modate most remote heads underslungor overslung.

818-917-5677www.telescopicjib.com

ETHERNET IP ROUTER

Utah Scientific 400iP

24 -port GigE workgroup router providesreal-time control of port priority, securitygroups and port speed on Ethernet net-works; can dramatically increase work-flow and efficiency in applications wherelarge video files or high bitrate streamingvideo are transferred over Ethernet; per-mits operators to instantly change param-eters, including allocated bandwidth, QoSand VLAN assignments.

801-575-3770www.utahscientific.com

AUTOMATED AD INSERTIONInlet Spinnaker

For live video streaming; provides sup-port for second -generation adaptivestreaming, including support for AppleiPad, Blackberry, Android and the other3GPP devices; uses SCTE-35 signaling toautomate the insertion of video -based adsinto live video streams; regional ad inser-tion is also available.

919-856-1080; www.inlethd.com

AUDIO CONSOLE

Salzbren ler Stagetec AURATUSvirtual control panel

New virtual control panel software simu-lates additional control panels for theconsole, which are not physically built in;the GUI software runs on any standardPC linked via Ethernet to the new TREMcontroller unit mounted in the console'sframe; once set up and running, the GUIsimulates all the control elements so op-erators have full access to every controlthat is found on the hardware console'scontrol surface normally - including allmetering, faders and encoders.

888-782-4391; www.stagetec corn

Can It Be This Easy?Unified Mobile and PSIP Metadata Workflows

Yes! GuideBuilder Mobile allows broadcasters to introduce mobile ATSC services asan extension of their current operations. Integrated mobile DTV metadata managementand generation enable transmission of required programming informationto mobile ATSC receivers, allowing viewers to select and view channels.

Integrates smoothly with existing multiplexers, listing services,traffic systems, and automation

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June 2010 I broad::astengineering.com 57

Mk OP al EnMP IP

NAB REPLAY

A

3-D LCD MONITOR MODULAR I/O BOXMarshall Electronics 3D-241-HDSDI Calrec Audio Artemis

New 24in, 1920 x 1200 monitor uses ad-vanced engineering to deliver a natural,flicker -free 3-D image using a circularpolarizing filter method, which employsa 3-D optical filter applied to the surfaceof a flat -panel display; includes four HD -SDI input, which enables the monitoringof two 3-D (left eye, right eye) HD -SDIsignals; supports IMD functions throughRS -422/485 connections.

310-333-0688; www.lcdracks.com

ENERGY MANAGEMENT SYSTEM

TSL MDU12-PMi

Provides users with total control over andvisibility of equipment racks, no matterhow geographically spread their locations;features remotely switchable outputs;designed to play a central role in systemmanagement and conservation of energyin major new broadcast installations.

+44 1628 676 200; www.tsl.co.uk

VOD APPLICATION

Strategy & Technology S&T Player

Designed for MHEG-enabled integrateddigital TVs or set -top boxes; allows view-ers to navigate a broadcaster's VOD cata-log and select individual titles for viewingusing the remote control; video is deliv-ered via DVB-C or IP; once playback hasstarted, the player offers viewers full play-back control; dynamic playlist supportenables additional revenues to operatorsthrough ad insertion, while comprehen-sive playback reporting provides impor-tant measurement data and reporting forthe operator.

303-926-4933; www.s-and-t.com

Fully customizable 3U I/O interface boxfits into the Hydra2 network system; de-signed to meet the rigors of live produc-tion, whether in an OB truck or on astudio floor; contributes to fast and easysignal routing among devices on an au-dio network; its mix of audio interfacesand high -density connections supportcost-effectiveness while at the same timereducing size.

+44 1422 842159; www.calrec.com

LIP SYNC CORRECTION

Miranda iControl

iControl lip -sync monitor option allowslip -sync error detection and measure-ment to be performed across broad sig-nal distribution networks; unique signalfingerprint comparison technology al-lows detection of conditions where thesynchronization between audio and videohas been severed; can collect fingerprintdata over IP networks and perform detec-tion of lip -sync errors of up to several sec-onds; provides reports and graphs to helpoperators better understand the operationof complex signal distribution networks.

973-379-0089; www.miranda.com

AUTOMATIONSnell Morpheus

Morpheus version 2 capable of running ina virtual machine environment; enhancedjoin -in -progress feature; new configura-tion tool for Media Ball allows multiplehierarchically -linked events to be groupedtogether and managed as a single entity.

818-556-2616www.snellgroup.com

STATION -IN -A -BOX

Florical Acuitas

Eliminates the traditional, serial -based,proprietary boxes within the broadcastchain by using all off -the -shelf, IT -basedcomponents to provide reliable and af-fordable HD playout, graphics, effectsand switching; powered by Florical's Air -Boss; provides a feature -rich, flexible andreliable IT -based playout system; creates aservice -oriented architecture; can be usedfor simple commercial insertion opera-tion or to run multichannels.

352-372-8326; www.florical.com

PRODUCTION AUTOMATIONAzzurro AzzurroCam

Fully -integrated, compact productionsystem and high -quality HD video trans-mission solution is ideal for sports arenasor any facility requiring a robotically-controlled single or multiple pan/tilt andzoom camera application.

201-767-0850; www.azzurrosi.com

PRODUCTION SWITCHERCONTROL PANELS

Ross Video Vision Series

Control panels are modular; now have theability to add extra MLE and crosspointcontrol into open module slots on thecontrol surface, thus adding control foradditional MLEs; dedicated simultaneouscontrol of up to five MLEs is possible inthe largest Vision Series control panel.

613-652-4886; www.rossvideo.com

ADVANCED SOFT PANELS

Pixel Power Management Console

Supports the creation of custom soft pan-els for BrandMaster; includes a built-inlayout editor supporting drag -and -dropsimplicity to the process of laying out ormodifying a panel design; enables uncon-strained panel designs to suit any require-ment; provides novel control possibilitiessuch as the use of touch screens, includingmultitouch and gestures, to add flexibilityin master control environments.

818-276-4515; www.pixelpower.com


COLOR CORRECTOR

Blackmagic DesignDaVinci Resolve 7.0

Features include support for Mac OS Xplatform, upgraded user interface, im-proved video field support, a new EDLlibrary and improved shared databasesupport; three models of DaVinci Resolveareavailable: a Mac -based software -onlyversion, a Mac -based version that in-cludes the DaVinci Resolve control sur-face, and a high -end Linux version thatsupports multiple GP U supercomputerbased systems.

408-954-0500www.blackmagic-design.com

3G FIBER TRANSMITTER

Lynx Technik OTX 1840

11 11444 3Gbit 4444 .40Km

SDI to Fiber OpticTransmitter

LYNX ' ,

FIalill

-4.--

Supports all SDI video standards, in-cluding 3G 1080p for transmission upto 24.8mi at a wavelength of 1550nm;includes an SDI input and fiber outputfor single -mode transmission of videosignals; when paired with the fiber -optic -to -SDI receiver (Yellobrik ORX 1800), theresulting solution is an optical transmis-sion/receiver system.

661-251-8600www.Iynx-technik.com

PORTABLE HD ZOOM LENS

Canon KT17ex4.3B

Designed to support both HD ENG andgeneral HD production requirements;1/3in lens is ideal for shooting assign-ments that require flexible creative con-trol and a generous focal range; featuresa 17X zoom ratio and minimum focallength of 4.3mm, which provides a 62.6 -degree angular field of view in the 16:9HDTV image format; its built-in 2X ex-tender increases the focal -length rangefrom 8.6mm to 146mm.

800-321-4388www.canonbroadcast.com

DVI SWITCHER

PESA PRO 8X8-DVI

1RU rack -mountable frame assembly witheight DVI-D input ports and eight DVI-Doutput ports; provides single -link, DVI-Doperations up to 1920 x 1200@60Hz(WUXGA) resolutions plus 480p to 1080pvideo formats; control via local push but-ton selector, IR remote, USB local inter-face or via an RS -232 connection; has anEDID learning function, reducing switch-ing speed while maintaining bi-direction-al communications between the switcherframe and connected devices.

800-323-7372; www.pesa.com

3G/HD/SD CABLE EQUALIZERS

Gennum GS2993/GS2994

Features include a wider output DC cou-pling range, optional intelligent powerdown/power up to allow the chip to enterpower -savings mode when not in use andoutput de -emphasis to drive longer tracesbetween chips; offer full -swing (800mV)and half -swing (400mV) options to pro-vide equipment designers with a flexible,lower -power solution; GS2993 integratesindependent dual outputs to drive twodevices with different input requirementsand trace lengths and includes a cablelength indicator.

905-632-2999; www.gennum.com

CAMERA CARRIER

Petrol Bags Cambio

Carry -on size, smooth -rolling cameracarrier transforms into a lightweight sup-port system for small video camcordersweighing up to 9.91bs; allows users to trav-el lighter, avoid waiting for baggage andset up quickly once they've arrived at theirlocation; optional lightweight micro -fluidhead allows for quick attachment andconventional pan -and -tilt movements.

845-268-0100; www.petrolbags.com

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PRODUCT JACKPOT

COAX/FIBER LINK

Telemetrics 55D-CAU

Affordable camera control system withincreased operating distance; ideallysuited for both permanently installed ormobile applications; eliminates the needfor video equalizers, frame synchronizers,intercom adapters, microphone phantompower and remote power supplies; offersa convenient and cost-effective means oftransmitting HD/SD SDI video from thecamera to the base station.

201-848-9818www.telemetricsinc.com

VIDEO SERVERS

EVS XT[2]+ and XS

Provide full native support of PanasonicAVC-Intra video coding; are fully compli-ant with both H264/MPEG-4 AVC stan-dard and SMPTE specifications; providefull 10 -bit HD resolution at ENG bit ratesand intra-frame compression.

973-575-7811; www.evs.tv

MEDIA ARCHIVING SYSTEMEditShare Ark 2.0

Fully integrated with EditShare's sharedstorage solutions; offers media file pro-tection for broadcast and post; providesdigital and tape -based options for creat-ing backups and archives; enhancementsinclude integration with Flow for com-plete backup, integration with Flow forcomplete restoration of files, new supportfor multidrive tape libraries and a new ac-tivation feature for Ark Disk.

617-782-0479; www.editshare.com

CONTROL INTERFACE

Pixel Power VSP

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VSP for BrandMaster features TFT switch-es that can display full -color static imagesor moving video of graphic and video as-sets; switches can be configured with im-ages that show the exact effect or associat-ed move; features well -proven tactile feelswitches for source selection; available inI9in width and 3RU form factor.

818-276-4515; www.pixelpowercom

REPLAY SYSTEM

Grass Valley K2 Dyno

Can handle super slow-motion and 3-Dprojects, instant replay with slow-motionand super slow-motion; transferred filesare wrapped with MXF or MOV; offersbuilt-in VGA multi -viewer and SDI videomonitoring, as well as GigE connectivity.

503-526-8100; www.grassvalley.com

PSIP GENERATOR

Triveni Digital GuideBuilder

Provides mission -critical operational ca-pabilities for both content providers andnetwork operators by generating PSIPdata; enables unified fixed and mobileDTV metadata management and gen-eration capabilities in a single platform;includes the addition of ESG functional-ity to ensure up-to-date scheduling andtuning, managed through the operator'sexisting workflow components.

609-716-3500www.trivenidigital.com

BROADBAND VIDEOCONTRIBUTION FOR !PHONE

Streambox Live

Enables iPhone users to upload high -quality video using the AT&T 3G network;allows broadcasters to enhance breakingnews stories with ad hoc content sup-plied by a variety of contributors, includ-ing video journalists, stringers and citizenreporters; the Streambox Live encoder ismade available at no cost; the encodermay be easily downloaded to the contrib-utor's laptop or mobile phone to enabletransmission of live video with minimallatency; at the back end, broadcasters sub-scribing to the service can manage, track,archive and view unlimited amounts ofvideo uploads from contributors.

206-956-0544; www.streambox.com

LOUDNESS MONITOR

Linear Acoustic LQ-1000

0.01

Provides critical loudness information ina simple, colorful and easy -to interpretmanner; shows LKFS current loudness,target loudness and current true peak lev-el; has both large numbers and a dual bargraph display; color is used to display theloudness comfort zones - green, blue,yellow and red; provides VGA output forexternal displays.

717-735-3611www.linearacoustic.com

MEDIA ASSET MANAGEMENTNetia Manreo 2

Offers an open, scalable architecturealong with all the tools needed to simplifythe cataloging, indexing, accessing anddistribution of media; designed to maxi-mize productivity gains in asset manage-ment and the use of rich media, which inturn can be repurposed and published toplatforms such as Web portals and mobiledevices; supports all industry -standardformats, ingesting content, generatingbrowse proxies, enriching media throughspeech -to -text functionality, and provid-ing easy access to media; incorporatesnew Workflow Engine and HypercastWarehouse set of archiving tools.

+33 467 590 807; www.netia.com


AUDIO CONSOLE GUI

Stagetec virtual control panel

Virtual control panel software for AU-RATUS broadcast console; provides ad-ditional software -based control panels;GUI -software runs on standard PC linkedvia Ethernet to the console's TREM con-troller; GUI simulates all the control ele-ments, providing operators with full ac-cess to every control that is found on thehardware console's control surface.

888-782-4391; www.stagetec.com

CONVERTER/EXTENDER MODULE

PESA VidBlox

Accepts computer graphic input signal andconverts it to one of several user -selectedSMPTE output formats; input pixel for-mats up to 2560 x 1600@60Hz are scaledto produce a selectable SMPTE 292M-,372M- or 424M -compliant video outputsource on one or two BNC connectors,or a duplex SFP fiber module supportingeither multimode or single -mode cabling;output formats include 1080p, 1080i or720p and can be adjusted for standard 4:3or widescreen 16:9 displays using AFD.

800-323-7372www.pesa.com/vidblox

DIRECT ATTACHEDSHARED STORAGE

Small Tree GraniteSTOR ST -RAID XL

Ethernet -based direct attached storageis scalable up to 64 drives and 128TB;provides real-time, multiclip editingfor Final Cut users while supporting 36streams of ProRes 422HQ concurrentlywith no dropped frames; easy to installand manage; enables instant availabilityand background initialization along withautomatic insertion/removal detectionand rebuild.

866-782-4622; www.small-tree.com

RECEIVER/DECODER

Sencore IRD 3000 series

10111111111110Receiver/decoder line fits easily into ex-isting SD infrastructure; cost-effective,field-upgradable upgrade path to HD;features satellite RF, MPEG over [P andASI transport stream inputs; outputsinclude digital SDI or analog compos-ite video; decodes both MPEG-4/H.264and MPEG-2; compliant with DVB andATSC standards.

800-736-2673; www.sencore.com

DIGITAL AUDIO MIXING SYSTEMEuphonix Max Air

Designed for on -air and live -to -tapebroadcast production applications; fea-tures include a modular surface design,touch screen with high-res metering, upto 48 multiformat fader strips, four knobsper channel, master module with Super -Channel and eight assignable faders, lay-outs for recalling assignments, N-1 mix -minus system, and 100 -percent redundantDSP SuperCore.

818-766.1666; www.euphonix.com

STREAMING ENCODER

ViewCastt Niagara GoStream SURF

Features simple A,B,C button selectionof encoder profiles; features a stream-lined chassis with intuitive front -panelcontrols and EASE control menu; simul-taneously streams multiple resolutionsat multiple data rates in multiple stream-ing formats, including MPEG-4 , AdobeFlash H.264 and Windows Media (Sil-verlight compatible); captures, encodes,streams and archives digital video andaudio in full resolution.

800-540-4119; www.viewcast.com

WB

mp smrimsIMPEDANCE CONVERTERS

IMP Series Impedance Convertersallow you to connect with confidence.

+ 75 to 110 Ohms, 110 to 75 Ohms

+ High density increases cost benefit

+ Organized installatio

+ Rugged construction

IMP20A 9 10 11 It Is

Tff TffMB Tff TM T5 -T! Tff /5 TM -TM Rfl !!

riI-iDWORL

ward -Beck Systems Lni // 10-455 Milner Avenue,Toronto, Ontario M1B 2K4 North America 800 771.2556 International 416.335.5999 www.ward-Oeck.com openGear =DashBoank-_- on Dolby ET'ARTNI ER


NAB REPLAY

MOBILE BROADBANDVIDEO WORKFLOW SOFTWARE

Telestream Vantage

Combines media capture, transcoding,clip management, analysis, QC and meta -data processing into one unified workflowdesign and automation framework; inte-grates with all the major broadcast servers,edit systems, streaming servers, cable VODservers, SANs and virtually any networkdigital device in your facility; allows usersto design and automate video workflows;the modular nature allows enterprises tosimplify the migration to IT workflows,improve video operations and more easilyaddress new multiplatform business op-portunities and revenue streams.

530-470-1331; www.telestream.net

MULTI -IMAGE DISPLAYAND MONITOR

Evertz MViP

Targeted at applications where simple andefficient monitoring of audio and videofrom an IP transport stream is required;supports both Unicast and Multicast net-work topologies; supports all major videocompression standards: MPEG 2, H.264 /MPEG 4 AVC, MPEG 4 Part 2, VC1; sup-ports all major audio compression stan-dards: MPEG1L2, AC3, AAC; has alarmsfor loss of video, black, freeze and macroblock detection.

905-335-3700; www.evertz.com

BROADCAST MONITORPlura PBM-S

1.485Gb/s/270Mb/s-dual-input HDbroadcast monitor provides a Grade ALCD panel; supports digital video for-mats, including HD and SD -SDI andanalog video formats like RGB, compo-nent and composite; includes waveform/vectorscope, VPID, IMD and audio me-tering scales with digital audio decoding;supports underscan/zeroscan/overscan/zoom, 1:1 pixel mode and PIP and PAP;available in 17in to 46in sizes.

602-944-1044www.plurabroadcast.com

VIDEO SERVER

Harris NEXIO Volt

a112131111111111Mon

Integrated storage server with small form -factor; supports up to four mixed SD/HDor SD -only baseband channels in 1RUpackage; provides 1TB of RAID -3 pro-tected internal media storage; comes stan-dard with the NEXIO Playlist and NEXIORemote application for ingest, playoutand media management.

800-231-9673www.broadcast.harris.com

MULTIVIEWER

Snell MV-Series

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-Iiiiiiiiiiiimilliiiiiiiiiiiiimilimuliliiiiiiiiimin -

Flexible and cost-effective monitoringsolution; up to 64 analog and digitalvideo inputs, including 1080p; can dis-play inputs of differing frame rates si-multaneously; optional input cards forfiber connectivity for 270Mb/s, 1.5Gb/sand 3Gb/s SDI/HD-SDI; meters up to 16channels of audio.

818-556-2626www.snellgroup.com

WEB -BASEDCOLLABORATION PLATFORM

ScheduALL AVvA

Connects media and broadcast compa-nies for collaboration; enables freelancers,equipment providers, truck companiesand others to make their services, resourc-es and specific pricing available selectivelyor to the entire AVvA partner network atno cost; users can identify resources byspecialty, location and price, and any-one in the industry can connect with anyother party; available via any Internetconnection; built on Microsoft.NET andSilverlight to deliver an RIA experience; asa hosted service, backups and updates aremanaged centrally.

954-334-5406; www.scheduall.com

COBALT DIGITAL PRESENTS THE COMPLETEAUDIO LOUDNESS SOLUTION.

LOUDNESS PROCESSINLinear Acoustic AEROMAX Processing (5.1, Stereo, or Dual Stereo)LOUDNESS METERINGATSC A/85 and ITU BS.1770 Compliant, True Peak Level Detection,Error Tracking and Logging, Easy Interface w/ Touch Screen Control

1 (800) 6 6 9-1 6 9 1 [email protected] cobaltdigital.comCOBALT

THE PREFERREDROUTE TODIGITALCONVERSION

62 broadcastengineering.com J June 2010

JON

MEDIA SERVER

Omneon MediaGridContentServer 2124

Combined with the latest release of Me-diaGrid software, V2.3, system delivershigh performance and cost -efficiency forhigh -bandwidth production workflows;smallest MediaGrid system with just threeContentServer 2124 systems provides upto 1GB/sec in bandwidth and can supportup to 100 simultaneous Final Cut Pro edi-tors, as well as natively host transcodingand QC applications.

408-585-5000; www.omneon.com

PROFESSIONAL LCD MONITOR

JVC Verite G

Features 3G and DualLink HD/SD-SDI(1080p/60 4:4:4) inputs; comes in both17in and 24in sizes; designed for broad-cast, studio, mobile and field applicationsthat demand accurate color rendition forcritical image evaluation; offers built-inwaveform monitor with overlevel func-tion, vectorscope with selectable size andposition, advanced audio level meter, andLTC/VITC time code support; non -glossyLCD panel provides improved picturequality and maintains accurate colorat wide viewing angles; provides 10 -bit1080p processing with less than one frameof latency.

800-582-5825; http://pro.jvc.com

MEDIA WORKFLOWSony Media Backbone

Suite of products and planned technolo-gies supporting networked content work-flow; includes Media Backbone Conduc-tor, which manages media workflowsbetween content production servicesand business processes; Media BackboneEnsemble manages ingest and archiveworkflows, and connects to the MediaBackbone Conductor, which interfaceswith third -party platforms; system builton SOA techniques.

201-930-1000; http://pro.sony.com

HD CAMERAPanasonic AG-AF100

4/ 3ffi video camcorder is optimized forHE) applications; offers native 1080/24precording, full 1080 and 720 production,variable frame rates, professional audiocapabilities; compatible with SDHC andSDXC media; two SD slots allow up to12 hours on two 64GB SDXC cards inPH mode

877-803-8492www.panasonic.com/

business -solutions

Clear-Com has done it again. After setting the standard for outstanding party -I lecommunication, Clear -Corn makes history with its all -digital main station and beltpack

systems, designed from the ground up on its most innovative Unified Intercom Platform.

HelixNetThe HelixNet platform of intercom products isunprecedented for its audio clarity, networkingflexibility, cabling simplicity and its plug -and -go setup.

The HelixNet audio experience delivers enhanceddigital precision to the Clear -Corn Sound that audioprofessionals have depended on for decades: highsignal-to-noise audio performance, optimized forwhisper -soft communication. The platform shortens

set-up time and reduces overall cost by utilizingstandard cables (nicrophone cabling, CA --5 orfibre), or by connting directly into a star dard ITnetwork. Wth HelixNet, setting up, connecting,managing, and us ng your intercom system hasnever been easier.

Visit www. :-.1earc om.com for more information.


PRODUCT JACK OT

WIDE ANGLEANGLE LENS

Thales Angenieux 14 x 4.5

Offers a focal range of 4.5mm to 63mmand an aperture of f/1.8; weighs 4.6Ibs;available in semi -servo and full servoversions, as well as with 16 -bit digitalconnection for zoom and handle con-nection; complements the 19X ENG and26X telephoto HD video lens as all threeoffer the longest zoom range in their re-spective categories.

973-812-3858; www.angenieux.com

IMAGE PROCESSOR, CONVERTER

Thinklogical ImageEvolution X3Real-time video processing capabilitiesinclude per -pixel, motion -adaptive noisereduction, content -adaptive block andmosquito noise reduction, natural depthexpansion and adaptive scaling, amongothers; converts and scales SD, HD, dual -link HD and 3G; provides up to 20 user -programmable presets; supports eightchannels of embedded audio and ancil-lary data; user control is via RS -232Cport for remote control or through itsfront -panel, multifunction selector andLCD display; can be used in stand-aloneor rack -mount configurations.

203-647-8725; www.thinklogical.com

SATELLITE SERVICE

Stratos BGAN X -Stream

Allows a guaranteed minimum sym-metrical video streaming rate of 384kb/s,with up to 450kb/s expected under op-timal conditions; is supported only byClass 1 BGAN terminals; access to BGANX -Stream does not require an additionalexternal antenna or any other supplemen-tary hardware.

709-748-4226www.stratosglobal.com

NETWORK MANAGEMENTSOFTWARE

Rohde & Schwarz TS4570

Can be installed on a standard industrialcomputer and perform all the operationsat remote site; communicates with all SN-MP-capable transmitters and monitoringequipment independent of the manufac-turer; non-SNMP equipment like coolingsystems, emergency power supplies andother site components are monitored viaa parallel I/O port or SNMP converter;can also integrate numerous transmittersites into a single unified system.

410-910-7800www.rohde-schwarz.com

SPECIAL VENUE PLAYBACK SERVER

Doremi DSV-J2

2D, 3D and stereoscopic digital playbackdevice is designed for large -screen ven-ues; supports resolutions up to 4K; fea-tures MPEG-2 MXF and visually losslessJPEG2000 MXF file playback; offers eightchannels of high -quality uncompressedaudio via balanced digital AES/EBU oroptional analog audio; provides frame -accurate LTC time code output to syn-chronize external equipment.

818-562-1101; www.doremilabs.com

MULTICHANNEL LEVEL CONTROL

Ward -Beck Systems MLC8

Handles AES, Dolby E, Dolby AC3, ana-log audio or HD/SD embedded signals;equipped with eight LED bargraph leveldisplays, individual channel and masterlevel control with mute function, level sta-tus LED indicators, presets and togglingbetween 5.1 and stereo listening, and 7.1and 5.1 to stereo mix -down capability.

416-335-5999; www.ward-beck.com

CAMERA -SWITCHING UNITIkegami CSU-3D

Supports up to four pairs of HD camerasfor use in shooting stereoscopic 3-D tele-vision productions; working together witha maintenance control panel and four op-eration control panels, the unit providesextensive set-up control for optimizationof each camera and subsequent paralleloperational control for the four pairs ofHD cameras; ensures that any subsequentcamera adjustments are shared preciselyby each camera pair, thus maintainingmatched camera settings for optimum3-D HD image capture.

201-368-9171; www.ikegami.com

MULTIVIEWERS

Apantac Tahoma DE series

Each input can be configured to auto -detect four, eight, 12 or 16 HDMI/DVI/VGA/YPbPr/YC/composite sources oran optional HD/SD-SDI source; supporteight high -resolution inputs in 1RU or16 high -resolution inputs in 2RU; seriesincludes four models and an integratedCATx extender for extending sources upto 115ft.

503-616-3711; www.apantac.com

BROADCAST STEREO HEADSET

Audio-Technica BPHS1

Created especially for on -air news andsports applications; cardioid microphonepattern provides maximum voice intelli-gibility; closed -back circumaural ear cupsreduces crowd noise; neodymium mag-nets in microphone and headphones pro-vide high output; boom mic can be posi-tioned either right or left; user -replaceablecable and ear pads.

330-686-2600www.audiotechnica.com

INTEGR ATEDLooking to beat the budget crunch? Need moreinnovative ways to produce news and manageyour content? Want more efficient workflows?


Number of EyesHistograms Filters

FRESNEL LIGHTS

Litepanels Sole series

Offer beam control of 70° to 10°; featureinstant dimming from 100 percent to 0with no noticeable color shift; provide thecontrol and single -shadow properties in-herent in a Fresnel light but use a fractionof the power of conventional fixtures; So-laENG provides manual focus and dim-ming control via camera lens style ergo-nomic controls; Sola6 and Solal2 provideon -fixture motorized control of focus andlocal dimming via a touch -screen and arealso remote -controllable via their inte-grated DMX interface.

818-752-7009; www.litepanels.com

CHARACTER GENERATOR

Brainstorm Aston 7

Provides real-time 3D preview and play -out, as well as easy editing and previewon a PC or laptop; integrates with exter-nal systems such as newsrooms, automa-tion controllers, asset management serv-ers and external content feeds; system iscomprised of an edit workstation and oneTX playout unit; is fully scalable; featuresinclude timeline view and simultaneouspre -buffering of multiple pages.

646-688-4493www.brainstormamerica.com

SCAN CONVERTER

Analog Way TetraVIO

Universal A./V computer and HD cross -conversion with digital audio de/embed-der features a built-in TBC, switcher andinterface; handles up to 2K images; HDCP-compliant; output provides the same di-versity of formats, signals and connectors.

212 269 1902; wwvv.analogway.com

RECORDING CONTROL

Haivision Video VFiControl

Application for the iPhone/iPad plat-form allows users to initiate recordingsand add metadata (HotMarks) on the flyduring a recording session; users can in-stantly review the recording directly ontheir mobile device prior to publishingthe recording directly to the Furnace IPVideo System.

847-362-6800; www.haivision.com

GAP FILLER

Linear Industries ATG2OP

Can be used as a distributed translatornetwork on the same channel and can im-prove signal levels for mobile ATSC needs;features 20W RF output, echo cancella-tion, automatic gain control, one -clicklinear and nonlinear precorrection, auto-matic power limit, gain -margin monitor-ing, front -panel four -line by 40 -columndigital display, RF I/O UHF frequencyrange (Channels 14-69) and active band-width of 6MHz.

847-428-5793; www.linear-tvrcom

YES - EYE AND JITTER WITH AUTOMATEDMEASUREMENTS ON A HAND HELD PLATFORM AT

SD -SDI, HD -SDI & 3G -SDI PHABRIX SxEJitter alignment Jitter timingthermometer thermometer

ilerps nless r 0 110 ,0.11%

Amplitude Rise time Fall time Rise/Fall Rising edge Falling edge Cabledifference overshoot overshoot length

, 11111119111r

TrOPHABRIXbroadcast excellence

email: [email protected] www.leaderUSA.com

93.00Tel 1 (800) 645 5104 (USA only)


MPEG-2 HD/SDMULTICHANNEL ENCODER

NTT Electronics MPC1010

Can be installed with multiple MPEG-2HDTV/SDTV encoders, which allows forhigh image quality and high reliability;supports both HDTV (1080i and 720p)and SDTV (480i) standards with encoderIC that provides high -quality MPEG-2videos; complies with ATSC standard,including TS mux and PSIP generationfeatures; features maximum four -channelencoder and DVB-ASL SMPTE-310Mand IP output.

+81 45 414 9130www.ntt-electronics.com

BEND -TOLERANT CABLE

Optical Cable High -DensityBend -Tolerant Cable

Designed for use in truck, LAN, data cen-ter, 40/100GigE and other applicationswhere small size, light weight and smallbend radii are needed; increases capacityin tray systems, improves cable manage-ment, increases cooling efficiency and re-duces cost for under -raised -floor cablingsystems; offers negligible loss, exceedsITU-T-G.657.A2 standards for bendingperformance and has a tighter bend per-formance than many similar products.

540-265-0690; www.occfi be r.com

MODULAR FIBER RACK SYSTEM

Clark Wire & Cable ModBox

!Skeion kti

Configurable, field -deployable solutionfor SMPTE 304M hybrid fiber connec-tors; available in self-contained breakoutmodules or flat -panel bulkhead mountconnectors; up to eight different connec-tor modules can be mixed and matchedwithin a single 2RU frame; features a fullcable management system at the rear ofthe chassis for securing component andhybrid cables.

847-949-9944; www.clarkwire.com

DIGITAL DISPLAY TILES INTERVIEW MICSChristie Digital Systems MicroTiles Audio-Technica BP4001 and BP4002

Can be stacked and clustered like build-ing blocks to create display walls of anyshape or scale; offer superior color andimage reproduction, wide viewing anglesand only 1 mm gap between tiles; basedon LED and DLP technologies; rated at65,000 hours to half brightness usage ornearly 7.5 years of continuous operation;feature a screen size of 16in x 12in x 10in;require 2in of minimal clearance for rearventilation; include built-in sensors thatautomatically perform color calibration.

866-880-4462www.christiedigital.com

VIDEO CAPTURE,PREPROCESSING HARDWARE

Digital Rapids Flux HD

Advanced, onboard, real-time video pre-processing features including motion -adaptive deinterlacing with pixel -levelanalysis and video noise reduction groomthe input signal to be more compression -friendly, enabling the most efficient useof bandwidth in the compressed output;integrated up/down/crossconversion pro-vides high -quality conversion betweenSD, HD and 3G -SDI formats and framerates; additional features include videoadjustments, color space conversion andgraphic overlay.

905-946-9666www.digital-rapids.com

BP4001 cardioid dynamic interview micand BP4002 omnidirectional dynamicinterview mic are designed for all aspectsof broadcast and remote newsgathering,such as on -location interviews, ENG, EFPand sports applications; feature extended -length handles and an integral windscreenthat protects against wind and breathnoise; their rugged housing with hard-ened -steel grille stands up to field use.

330-686-2600www.audio-technica.com

METADATA PACKAGING ANDDISTRIBUTION SYSTEMAnystream Avalon

Provides seamless integration with ex-isting metadata sources, as well as com-prehensive metadata enhancement andvalidation; offers distribution to mobile,Internet and VOD destinations; supportsmost popular distribution outlets throughits flexible ADM framework, which sup-ports many standard specification for-mats and outlet -specific formats such asiTunes, Hulu and YouTube.

703-450-7030; www.a nystre a m.c o m

AUTOMATION SOLUTIONPebble Beach DeckChair

Compact 3RU automation solution hostsdevice control, database and a client; pro-vides up to three fully featured on -airchannels; available in six preconfiguredoptions; users can expand their systems ata fixed cost, in line with the capabilities oftheir video servers; systems are providedpreloaded with a full set of device drivers,allowing future expansion using a simpleupgrade package.

917-832-4372; www.pebble.tv

Continued on page 83


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16 ChannelCWDM

Whether you're looking for 'glue' or a lot more, AXON isyour partner of choice. Check out our web -site and see the

depth and breadth of our solutions in this demanding area ofbroadcast interoperability and compliance.

Select AXON as your technology partner and you will be in goodcompany. Many major broadcasting companies around the world

have made the same choice, and they also discovered that AXONis really all about 'glue and beyond'.www.axon.tv

AXON

CONTENTS2010 FIFAWorld Cup S4

Broadcasters rally topull off this logistical feat.

Covering 2010World Cup S11

Q&A with Francis Tellier

2010 FIFAWorld Cuptechnology S12

EVS and HBS collaboratefrom ingest to playout.

The FIFA World Cup will un-doLbtedly be a showcase ofsports production techniques.

As one of the most -watched interna-tional events on the sporting calendar,the expectations from fans are high.South Africa was not well -endowedwith suitable venues, because existingfacilities were designed more for rug-by and cricket, but the World Cup hasbrought with it excellent, purpose -designed football stadiums.

The country also did not have thetechnical resources for such a mam-moth event, so a veritable army ofproduction personnel and technicianshave travelled, largely from WesternEurope, to the southern hemisphereto provide coverage of the month-long event.

Up-and-coming broadcast tech-nology is sure to provide compellingcoverage, as well as - for the firsttime for some lucky viewers - cover-

DUSK

age in 3-D. The 3-D coverage shouldprove to be a milestone. In the lastyear, production techniques havebeen honed and new equipment de-veloped to process the stereo signals.These techniques and technologieswill surely be tested, with 25 consec-utive matches being covered in 3-D.Those in charge of the 3-D broadcastsare looking for the World Cup to es-tablish the technology as a normal (ifexpensive) way to cover major events,and prove that it is no longer just anexperiment.

For most fans, however, the mostuseful innovation will be the mobileTV coverage; the event will surely testthe capacity of 3G networks world-wide. Detailed mobile coverage willnot only stream the matches, but alsoit will provide around -the -clock cov-erage of training camps, team inter-views and all of the background in-formation that the fans live for.

A Special Report by Broadcast Engineering June 2010 I 2010 FIFA World Cup S3

ThE AMP Cur 8 mobile truck provides facilities for 3-D coverage of the World Cup. The-ruck suppc rts 16 cameras

S4 2010 FIFA World Cup I June 2010 A Special Report by Broadcast Engineering

BY DAVID AUSTERBERRY

BROADCASTERS PLAN TOPULL OFF A LOGISTICAL FEAT.

Every four years, football teams from 32 nations compete for theFederation Internationale de Football Association (FIFA) World Cup.This major sporting tournament has always attracted comprehensive

television coverage, and this year promises to be even better withsome matches shot in 3-D, a special feed for mobile devices and

the standard HD feeds.Behind the scenes, the big innovation is the enhancedworkflow made possible by a large media server at the

International Broadcast Center (IBC), which makesall the feeds and clips available immediately so broad-casters can create their own programming.

The 32 teams competing for the World Cup Finalsplay from kickoff on Friday, 11 June, to the final onSunday, 11 July. These teams have reached the finalsthrough a series of qualifying rounds, which 204nations played in over the last three years, andwere selected in a final draw that took place inSouth Africa last December.

The first round is in groups of four, eliminat-ing teams down to a second round of 16 teams.Eight teams then compete in the quarterfinals,followed by semifinals. The final round decides

the winner as well as third and fourth places,and the entire final comprises 64 matches. Thegames are played in 10 stadiums in nine citiesspread across the host nation of South Africa.

Football has always been a huge draw forTV viewers, and the statistics for the 2006

event confirm the huge global following.The estimated audience for the 2006 final was

715 million, and the total cumulative television audi-ence for the tournament was 26.29 billion, making it the world's most pop-ular television event. The rights are expected to generate revenue of at least$1.6 billion for FIFA.


Host Broadcast ServicesThe organizing body, FIFA, ap-

pointed Host Broadcast Services(HBS) to be the host broadcaster forthe World Cup tournament. HBSwas previously the host broadcasterof the 2002 and 2006 FIFA WorldCup tournaments, and has also beenappointed as host broadcaster forthe 2014 FIFA World Cup in Brazil.HBS is owned by sports marketingcompany Infront Sports and Media,based in Switzerland.

Cape Town

the finished show feed (ESF or EBIF).Many national broadcasters havetheir own production facilities at thevenues. They can take the clean feedfrom the production switcher to addtheir own graphics plus ISO feeds ofthe cameras, so they can feature theirhome team.

The big advantage of having a hostbroadcaster is that high -quality cov-erage is maintained throughout thetournament. Although many nationalbroadcasters want to fully cover the

ustenburgNelspruit

swane/ Pretoria

Johannesburg

Bloemfontein

South Africa

Port Elizabeth

Durban

0 200 400km

Figure 1.The World Cup Finals are played at 10 venues across South Africa.

As host broadcaster, HBS is re-sponsible for production of eachmatch, for facilities at the venues forother broadcasters and for the IBC inJohannesburg, the nerve center of theoperation.

The coverage has to cater to awide range of media rights licensees(MRLs), which is FIFA's term for me-dia organizations that have licenses toair the matches. MRLs include broad-casters, new media platforms andmobile network operators (MNOs).

MLRs have a choice of using feedsat the venue for a bespoke produc-tion, feeds at the IBC or just taking

event, any investment must take intoaccount the risk that their nationalteam falls out at the first round andreturns home early.

All production is 1080i25, but rec-ognizing that the largest number ofviewers will be watching analog 4:3,the production is designed to protecta 4:3 aspect ratio.

This year there will be innovations.After visiting IBC in 2009, HBS de-cided that it was feasible to cover theWorld Cup in 3-D. It has not beenpossible to cover all 64 matches asthere is worldwide shortage of 3-Dequipment and experienced stereog-

raphers, but 25 of the matches will beshot in 3-D. Two broadcasters, ESPNis the USA and Sogecable in Spain,have become MRLs for the 3-D cov-erage, with TF1 in France making alate announcement of the intentionto license coverage. As of press time,ESPN was aiming to debut its 3-Dnetwork with the South Africa versusMexico match 11 June.

Mobile coverage is also getting anupgrade with a dedicated camera anda separate feed featuring tighter shotsmore suited to the small screen. Mo-bile coverage is important, as mostfans will not be near a TV receiverduring working hours but can keepin touch with all the news via theirphones.

At the venueAt each of the 10 stadium (see Fig-

ure 1), HBS has built a full OB facilityusing flyaways. Grass Valley is provid-ing facilities through partners suchas production companies Alfacam,CTV, Mediapro, Studio Berlin andVCF France. Alfacam alone is provid-ing 170 cameras and 155 techniciansto help cover the event for HBS andfor MRLs. The technical operationscenters (TOC) at the venues are againsupplied by Grass Valley throughpartner Gearhouse Broadcast.

Expensive equipment, such as cam-eras and lenses, is shared and movedbetween the venues as needed. Thecamera plan has been extended be-yond the 2006 event, where 26 cam-eras were used. (See Figure 2 on pageS8.) The primary cameras are GrassValley LDK 6000/8000 WorldCams.A total of six Grass Valley LDK 8300Super SloMo 3X cameras and twoultra -motion cameras provide forplayback of players and goals.

The main camera platform in thestadium has the cameras for wide,medium close-up and close-up shots,plus the A and B player cameras. Anadditional camera will be dedicatedto the mobile TV coverage.

Behind each goal line is a wide-an-gle box camera (goalcam), a crane, a

S6 2010 FIFA World Cup June 2010 A Special Report by Broadcast Engineering

super -slow-motion and an ultra -mo-tion camera. In line with the goals arebox cameras and super -slow-motioncameras. With eight high-speed cam-eras available, there should be everyopportunity to analyze the play indetail.

For general pitch coverage, thereare two steadicams, a close-up cameraand a minicrane, which is used beforethe match for interviews.

Other cameras cover tactics, a

beauty shot of the stadium and viewsof the benches. Selected matches haveaerial coverage before the match and aSpidercam cable camera for use dur-ing the game.For some matches, thereare additional stereoscopic camerarigs for the special 3-D coverage.

In addition to the extended sta-dium feed (ESF), a clean feed, themobile feed and a beauty shot of thestadium are all fed back to the media

The AMP 3-D truck uses Sony HDC-1500 cameras with Element Technica rigs, which canbe set up in side -by -side or beam-splitter configurations.

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A Special Report by Broadcast Engineering June 2010 12010 FIFA World Cup S7

w

server at the IBC. The team A and Band player A and B camera feeds alsoare returned to the IBC for record-ing on the media server and for useby MRLs that are at the IBC but don'thave facilities at the venue. (See Fig-ure 3 on page S10.)

The OBs use a variety of GrassValley switchers, including Kayenne4M/E and Kayak 1M/E units. A totalof 10 Kayenne HD and 30 Kayak HDunits are used across the venues forthe broadcast feeds and to feed thestadium display screens.

HBS aims to produce each matchwith a neutral style, favoring neitherteam. One rule is live coverage onlywhen the ball is in play, with slow-motion replay only when pertinent.The production is delivered to audi-ences with different expectations -football experts and ordinary view-ers - plus different nations deliverfootball in different ways. Some stilluse only five cameras to cover a game.In addition, viewers are watching ona wide variety of devices, includingsmall analog portables and PCs.

Many leading broadcasters haveOB facilities at the stadiums to covertheir national teams and can producemore partisan coverage.

For HBS production, the directorat each venue uses a production crewof 50, including cameramen, produc-tion switching and EVS operators.There are additional HBS technicalcrew at each venue.

Camera feeds are recorded to EVSproduction servers at the venue. Thebest clips and sequences are trans-ferred from the TOC to the FIFAMAX media server at the IBC inJohannesburg.

Mediabroadcast provides backhaulservices from the venues to the IBC.The company is a partnership betweenMedia Broadcast and local systems in-tegrator Telecom 180. Mediabroadcastuses the infrastructure and networkof South African telco Telkom, whichprovides the high -bandwidth fiber cir-cuits for the IP-based broadcast con-tribution network.

NNE

Minicrane (MC)Super slowmo (SSM)Steadicam (SC)Ultramotion (UM)

I II

Figure 2. The camera plan for HDand mobile coverage uses 33 cameras.

GraphicsSports graphics specialist Delta Tre

is providing the graphics for the mainfeed. To allow broadcasters to addtheir own graphics, only the lowerhalf of the frame is used for Delta Tregraphics.

Players and the ball are tracked tocreate stats for MRLs to use in theiranalysis of games using statistical an-alytics software MAGMA Pro (MatchAnalysis Graphics Machine) fromDelta Tre, powered by Piero. HBSproduction teams are able to replaypictures integrated with MAGMAPro data from the FIFA MAX serverto create analysis of key momentssuch as goals and the position of ev-ery player on the pitch.

The software identifies patterns,categorizes them and grades them.Producers can search the database tofind the key moments and previewrelevant clips from their desktops.The data can be output as statistics onscreen or can be fused with the clipsand pushed to Piero, which automati-cally adds the virtual graphics effects.

As part of the production philoso-phy to create clean coverage follow -

X

Main camera platform

ing the main action, graphics effectslike virtual offside lines are usedsparingly.

Audio and commentaryHBS must cater to viewers listening

in mono all the way through to 5.1audio on a home theater system. Tomeet varying requirements, a TV ste-reo mix, a radio stereo mix and a 5.1mix (encoded Dolby E) are createdby HBS. Twelve pitch microphones,some surround, pick up crowd soundand atmosphere. The basic commen-tary is in English and is provided asan extra channel.

At each venue, a commentarycontrol room provides all the fa-cilities for the commentators fromthe MRLs. HBS uses its stock ofGlensound commentary boxes thatwere specially customized to itsrequirements.

ENGFor this World Cup, HBS has ex-

panded the number of ENG crewscovering the teams and added crewsto shoot general supporting fea-tures. At the 2006 event in Germany,

UM

Soca

NNE


14 crews covered the teams.This time there are 32 ENG

crews, equal to the numberof competing teams, thatfilm teams the day priorto a match (MD -1) andcover team press con-ferences. An additionaleight crews shoot featurematerial for use in the"world package" for theEBIF feed. The crews use

Panasonic P2 HD camcord-ers, with Mediabroadcast

providing DSNG facilitiesfor backhaul to the IBC.GlobeCast is providing 12

HD/SD SNG uplinks at venuesand training camps for many of theinternational broadcasters that arecovering the tournament.

International BroadcastCenter

The hub of the broadcast opera-tions is the IBC at the JohannesburgExpo Center. The IBC has areas forHBS facilities, including the mastercontrol room (MCR) and the centralequipment room (CER). Other areasare available for the MRLs to set uptheir own facilities. To cope with thevagaries of local power, the centerhas dual redundant power generationwith a generous over capacity.

Adjacent to the Expo Center is a5000sq-m dish farm for the contribu-tion and distribution links.

At the heart of the IBC is the FIFAMedia Asset Exchange (MAX) server.HBS loads match feeds, clips, high-lights, city profiles, ENG material andany other material that is needed bythe MRLs to create their own pack-ages. During each match, the serverscapture nine feeds per venue. In all,3000 hours of HD material will beavailable to broadcasters. The materi-al is stored as DVCPRO HD format at100Mb/s, but clips also are availablein SD as DVCPRO 25.

Many MRLs shoot their own mate-rial, and they can load clips that theywish to offer to other MRLs in a "me-

dia stock exchange," also hosted onthe MAX server cluster.

As material is ingested, HBS log-gers add descriptive metadata to theclips. The tagging operators haveeight workstations.

DistributionDistribution of the matches and

associated reporting are over a com-bination of satellite and fiber. Onesupplier alone is providing 1300Mb/sof fiber capacity out of South Africawith full redundancy. Mediabroadcastis providing links from the IBC backto Frankfurt and Paris using underseafiber to feed European broadcasters.

Net Insight is supporting a widerange of contributions to Northand South American and Europeanbroadcasters from South Africa witha video-over-IP transport infra-structure. The company has beencontracted by EPSN to manage the

pacity of 40Gb/s and will be used afterthe World Cup to provide broadbandservices to South Africa.

Eutelsat has four satellites - W2A,W3A, W4 and W7 - covering Europe,Africa and the Middle East that areavailable for use by MRLs to distrib-ute the tournament to their viewers.The EBU has added two transpon-ders on W2A to bring back matches,reports and highlights to its HQ inGeneva for distribution via W2Aand W3A to its 75 members. Nimbratransports the host feed to Eurovision,the terrestrial network services wingof the EBU, which acts on behalf ofEurope's public broadcasters.

Other clients providing services forthe tournament include GlobeCast,APTN, Arqiva, Telenor and TV.

Although the matches must belive, much of the background cov-erage is not so time -sensitive. Somebroadcasters are using WAN accel-

Inside the AMP 3-D truck, Sony MPE200 stereo processors are used to control the stereoimages.

distribution of feeds from SouthAfrica along undersea fiber-optic ca-bles into the broadcaster's New Yorkhub. ESPN then routes on to affiliatesin South America.

The satellite teleport and telecom-munications infrastructure for theWorld Cup supports transmission ca-

eration techniques to deliver coveragelike clips of training sessions and teaminterviews as files using the public In-ternet. This method can represent abig cost saving over satellite circuitsand fiber.

Although 3-D may catch the head-lines, 2010 is going to be the year for

A Special Report by Broadcast Engineering June 2010 12010 FIFA World Cup S9

CO0C/)CO

Venue

Figure 3

111R Ls' OB facilities)

1 IBC '\production

center

Mobile TV

EBIF show

ESF

Clean stadium feed

Tactical feed

IBC

Satellitedistribution

CC

mom Player A and B feedsTeam A and B feeds

Stadium beauty shot

Venue ISO feeds

Permanent highlightsfeed

Nine contribution feeds are returned from each stadium to the IBC

mobile coverage. With a speciallyproduced mobile feed rather than atranscode of the primary HD signals,mobile viewers are able to keep trackof their teams' fortunes throughoutthe day. FIFA has partnered withEricsson to provide content manage-ment and distribution to MNOs forwhat will be the most comprehensivemobile coverage of the World Cuptournament so far.

FIFA has worked with MNOs andMRLs to create content for users ona nation -by -nation basis. The focus islive match feeds composed for mobilescreens and daily news and featurecontent based around individual na-tional teams. This includes team ar-rivals, dressing room coverage, teamlineups, goals, action, highlights andinterviews.

3-DThis year marks the beginning

of regular 3-D broadcasts. ESPNlaunched its 3-D network with theopening game of the tournament,South Africa versus Mexico. FIFAsigned the rights agreement withSony (also an official FIFA partner)in December 2009. HBS has taken theprecaution of trialing 3-D produc-tions with eight broadcasts of French

Ligue 1 football.The 3-D coverage is a separate

production from the regular HDcoverage. The 25 3-D matches areshot at five of the 10 stadiums. TheSony production uses two 3-D OBtrucks from French operator AMPVisual TV and Telegenic from theUK. Both companies have consider-able experience shooting 3-D events,including tennis and football.

The AMP Car 8 covers theJohannesburg matches. It is equippedwith a Sony MVS 8000 switcherand the Sony MPE200 multi -im-age processor. In addition to theusual crew, the truck is mannedby eight convergence technicians(stereographers).

At every stadium, seven or eightpairs of Sony HDC-1500s mountedon Element Technica Quasar stereorigs are used to shoot the 3-D cov-erage. The cameras are fitted withCanon lenses. The rigs can be usedas beam-splitter rigs for close-ups orside -by -side for long shots.

The convergence techniciansmanage the stereo images using themulti -image processor with MPS -3D01 stereo processing software. Theprocessor can perform color match-ing, image alignment and conver-

gence adjustment, includingtoe -in correction. Data is

exchanged between the pro-cessors, the CCUs and theCanon digital lens servos,which enables the 3-D boxto correct lens misalignmentover the zoom range anddrive some aspects of therig, including the interaxialspacing.

Not many viewers out ofthe 750 million expected towatch the final will actuallysee the live 3-D. Acknowl-edging this reality, SonyPictures will release the of-ficial FIFA film on 3-D Blu-ray later this year, by whichtime there will be many morehome theater systems ca-

pable of displaying 3-D. FIFA, HBSand Sony hope that the 3-D cover-age of the tournament will kick-startthe industry and open up productionacross the world as broadcasters seewhat is done at the World Cup.

SummaryThe World Cup regularly gets

higher global viewing figures thanany other sporting event, so coveringthis monthlong event calls for a logis-tical feat equaled only by covering theSummer Olympics.

The host broadcaster, HBS, has2500 staff in South Africa for theevent and has called on the services ofmany systems integrators and rentalfacilities to assist in the provision ofthe temporary facilities for the cover-age of the World Cup.

The main coverage is HD, but forthe first time, a mobile feed framedfor the small screen with its owndedicated camera provides around -the -clock coverage of match prepara-tions, comment, highlights and newsfor fans to watch from "breakfast tobedtime?'

Viewers will not be disappointedby the coverage; whether their teamsmeet their expectations is anothermatter. BE


WORLD CUP

Coverage of FIFA 20110Broadcast Engineering recently talk-

ed to Francis Tellier, the CEO of HostBrpaicast Services (FIBS), fie hostbroadcaster for the 2(10 FIFA Wcrld

HBS is responsible for the yrc-duction, broadcast venue operationsand the provision of the Ir_te :motionalBroadcast Center (IBC).

Broadcast Engineering: Which :smere d_Ficult: supporting, the. latesttechnology, like stereo 3-B, or provid-ing affordaDle coverage tc 1es= deve-_-oped nations?

Francis Tellier: It's not which :smere difficDlt, because we tra.+e to doboth We must provide state -of -theart coverage for the most advancedbroadcasters and new media opera-tcrs]. but there are other less-deve:-°pad countries that cannot affOrdattend the IBC, and simply take theworld feed by satellite. The wcrldfeed is a turnkey editorial packagethat starts one hour before the matchand runs 30 minutes beyond the firialwhistle. At the same time, we have thehigh -profile coverage. For this] weput all the material on a giant mediaserver, and they just take what theywait We produce edited features,but the Brazilians or French -fcrexample - can re-ed_t the footap :fthey want.

Broadcast Engineering: ikt eachtournament, you add new technology.Over the years, what has repnesenteithe greatest leap forward?

Francis Tellier: The biggest chal-lenge in 20)2 was to deliver the cm-erage from two host muntrie Koreaan3 Japan. For 2006 [in Gerrr_my , themcve tc HD for such a big event wasalso a challenge, bur it was decided ii20,_13. so there were three years toplan.This year we wanted to dc 3-D, but :tis going to be an additional 'Tod...te-flon, and it is not going to impact themain prediction. Perhaps _his time3-D will be remembered. It is machearlier fix 3-D today than i: was forHI) in 200f. 3-D is still experimental,

especially for sports.Broadcast Ergineering: At there

any special cha_enges for FIFA 20110?Francis Tellier: For 2010, there are

new challenges_ They include a largecountry, with -wo hours flight be-tween venues.

Another yrdblem is that the coun-try does not generate enough electric -ay for all its needs, so there is oftenload shedding leading to outages.The broadcast facilities will all reedlocal generators to ensure continuity.And accommodation- is a chaLenge-he smaller cities.

All the tedir:kal facilities are goingto De imported. For 2-D, there will be

yaways - 3m- at each stadium. Wewill move tie expensive equipmentlikes lenses and cameras between Sta-Ziums. Because each venue has a flya-way setup, tree is a comfort in the'security of transmission.

3-D is micre complicated; we haveto rent Anatav freighter aircraft tole -liver two 03 tucks to South Aff.ca.There is a shortage of productionfacilities that are available in time forthe tournament, so flying in trucks atthe last minute was the only Dptonfor HBS.

Broadcast Engineering: How do7ou rate the canplex_ty of cnveringthe World Cup versus :he Olympics?

Francis Tel.:en Cur di .Ficuidesare that we oily know the qui_ify-

Mg countries the November before,SD a lot of preparation has to be last-minute. The Olympic; has years t3prepare.

There are nine host cities with upto 1800km between the most distant,SD the World Cup is all over one coun-try, whereas [the] Olympics is mainlyin one place.

Although the [Olympics] openingceremony has a large audience, theexposure of the World Cup is muchhigher than the Oh.mpics. Thewis pressure during each [football]match; for the Olympic it is just theopening ceremony.

Broadcast Engineeri Where wiwe see the greatest innovation?

Francis Tellier: Leav ng 3-D aside,Iwould say the workflow, which we tipfor just one month. That is, makingavailable material on the FIFA mediaserver, files to transfer and edited ma-terial for use by new media.

Some broadcasters have taken oneyear to get a large media server work-ing. We don't have that time; it has t3work the first time.

We have a long relitimship [withFVS]; we brainstorm with them. Wesaggest new products, and they won(with us to develop them.

Broadcast Engineering: What aboutmobile TV?

Francis Tellier: We -have developedseveral new packages for mobile net-work operators (MNO:`, for a "break-fast to bedtime" experience. It was de-cided by HBS and FIFA to outsour.the delivery to MNOs m Ericcson.

Mobile users will be aole to receivefeatures and information throughoutthe day, which comple:rents live W.There will be team -oriented pack-ages offering features on your favoriteteam. An ENG team will follow eachof the 32 qualifying teams. This will bemade available to the broadcasters andMNOs. Material collected at the basecamps is returned to the IBC for postproduction and repurposing. II

A Special RepDrt by Broadc9si Engir eering Jure 2010 1 2010 FIFA Wo,-h Cup Sll

11)114)) 61TrA

TECHNOLOGY BY SFRGIO NAPOLITANO

EVS AND HBS COLLABORATE FROM INGEST TO PLAYOUT.

ppointed as the host broad-caster for the 2010 FIFAWorld Cup in South Africa,

Host Broadcast Services (HBS) re-newed its partnership with EVS toprovide instant tapeless technologyand support services for the produc-tion of this world -class event.

EVS technologies are in-volved at different levels of thehost broadcast production,including the live produc-tion of the 64 matches. TheOB facilities use these systemsfor the production of liveslow-, super slow- and ultra -slow motion replays, best clipcompilations, and creation ofhighlights packages.

EVS also provides a full HDmultiple feed ingest and mediaexchange using a large me-dia server based on networkXT [2] servers. This offers in-stant access to any content re-corded during the competitionwith enhanced search and low -resolution browsing systems,allowing broadcasters to inter-change media content.

The media recorded andlogged into the media serverincludes nine different feedsfrom the pitch, plus ENG filesfrom the 40 field reportingcrews.

To maximize the remote access tothe content, the broadcaster uses Webserver systems already operated byHBS for the Ligue 1 Football produc-tion in France. The system enablesbroadcasters to access, browse andreview the edited sequences producedby the ENG team at the different

venues on a Web -based solution fordownload in SD or HD.

EVS' Xedio editing solution is be-ing used for the production of 24/7news programs, as well as to pro-vide remote access to file -based ENGthrough the Web production system.

Different broadcasters, known as

EVS operators at the 2006 World Cup operate the slow-motion capture and replay.


media rights licensees (MRLs), areprovided with browsing tools to ac-cess, review, clip and import materialfor their own production crews.

Last but not least, EVS systemsmanage the ingest of dedicatedmobile feeds with live streaming ontoApple Xsan and FCP editor for instantdelivery to mobile network operators(MNOs).

Production at venuesWhile traditional league matches are

shot with an average of 12 to 18 cam-eras, 30 cameras are being used for theFIFA World Cup matches, plus an ad-ditional aerial camera and cable cam-era over the pitch for some matches.

In addition to standard cameras,HBS is operating a series of super slow -and ultra -motion cameras. To ensurethe production of live replays, slow-motion action replays, highlights andclosers during a live football match,all cameras are recorded on EVS videoproduction servers installed in the out-

side broadcast facilities locatedin the broadcast compound, atthe venue, during the event.

Multi camerarecording

About 130 XT[2] serversare deployed in the fleet ofOB trucks working at the dif-ferent venues in South Africa.These digital video record-ers manage the acquisitionof all cameras surroundingthe pitch. They are based ona loop recording process sothat not even a single shot ismissed. Their live -orientedarchitecture (with a highlevel of redundancy andfault tolerance, ensuring thatno failure can interrupt theworkflow) guarantees thelevel of control needed forinstant replays, highlights ed-iting, clips compilations andgraphics overlay managed bythe OB production team dur-ing the matches. Each server

can simultaneously ingest and con-trol up to six feeds per server.

During the production of a match,all the XT servers installed in the OBsare linked together, allowing operatorsand production teams to share contentand control media recorded on theXT[2] network. The servers are gangedtogether through a dual media sharingnetwork consisting of an XNet [2] net-work based on high -bandwidth SDTIand a standard GigE network.

Any feed recorded on one servercan be reviewed, converted to a clipand played out from any other server.This allows operators to exchangeclips and highlights with other opera-tors gathering all the best sequencesand actions that will then be trans-ferred to the International BroadcastCenter (IBC) in Johannesburg.

During the production of thematches in the OB trucks, the largenumber of I/O XT channels are con-trolled by multiple systems, including

The MulticamLSM remote con-troller is used for all live slow-mo-tion, super- and ultra -motion replays,multicamera actions clipping, andquick highlight or closer creations. Inaddition, LSM controllers point outthe offside positions of the playersthrough the insert of a virtual offsideline graphic overlay recently integrat-ed onto the system.

The IPDirector is used for the mul-ticamera ingest and server networkcontrol, browsing and logging opera-tions. In addition, a timeline editingmodule of IPDirector, called IPEdit,will create highlights and clip compi-lations. With IPEdit, HBS editors ben-efit from instant access and controlover the XT[2] recording channels,with no need for media transfer, en-coding and decoding processes. TheIPDirector is also used to manage thetransfer of clips and sequences ontothird -party post -production tools.

Live editing operationsA total of 150 MulticamLSM sys-

tems are used at the different venues

for all live replays, including slow-motion, super -motion (three-phasecameras) and ultra -motion camerareplays. EVS is used for all replayactions of ultra -motion camera se-quences managing up to 1000 framesper second. In addition, HBS LSMoperators use the system for the cre-ation of on -the -fly highlights andclosers played during slack periodsor to illustrate interesting actionshappening during the game, such asa goal, penalties and crowd reaction.

Clip compilation andnear -live timeline editing

HBS production at the venuescompiles all the best sequences andreplays occurring during the matches.These sequences combined as onesingle feed are transferred to the IBCand ingested to the media server tobe available to all HBS and MRL pro-duction teams.

The creation and gathering of clipsby the HBS teams in the OB trucksat each venue is managed usingMulticamLSM and IPDirector clipand playlist management tools. Theclip compilation gathers all the bestaction recorded on the servers dur-ing the match, such as multicameraangles of goals, public reaction, andsuper -motion and ultra -motion se-quences. To facilitate the compilationof all the best action replays, as wellas player and crowd reaction clips, anHBS team working in the OBs on theIPDirector has real-time access to alllogs created by another HBS team inthe IBC in Johannesburg using theIPlogger interface.

IPEdit (the new timeline editor forIPDirector) is used by the OB teamfor the production of highlights andpregame sequences, complete withtransition effects using the full time-line editing solution. Editors can ac-cess multicamera feeds instantly andadd sequences and clips on theirtimelines with simple drag and dropactions. IPEdit is operated for short -form editing such as highlights andcloser creation.

A Special Report by Broadcast Engineering June 2010 p 2010 FIFA World Cup S13

Virtual offside line creationduring live production

For the first time, HBS is creatingvirtual offside line graphics for theinternational feed. The offside linegraphic overlay creation is managedusing an EVS Epsio. This allows LSMoperators to instantly generate a vir-tual graphic overlay with automaticrecognition of the pitch boundary.The operator only has to manuallytrigger the offside line with the jogwheel of the LSM remote to adjustit properly. Using a one -time -per -event calibration wizard, where each

IBC remote browsing andtransfer

Additional IPDirector brows-ing stations (IPBrowser) have beenadded to increase the availability ofmulticamera angles to the produc-tion teams in the IBC. They also allowunseen camera angle browsing andreviewing right after each match.

The IPBrowser in the IBC is con-nected to the IPDirector database inthe OB truck at the venues throughan Ethernet network. Operators inthe IBC are able to review each clip,as well as its related, unseen camera

EVS is providing the host broadcaster, HBS, with HD multiple feed ingest and media exchangeusing a media server based on a network of XT[2] servers.

camera sends images of the playingfield with predefined angles into thesystem, Epsio can instantly and auto-matically recognize the playing fieldduring actions and virtually draw theoffside line along the borders of theplaying field. This one -second opera-tion is selectable with the touch of abutton.

The special preview of the graphicoverlay guarantees the availability ofthe offside line effects when the direc-tor decides to replay the action.

angles. Operators can transfer thehigh -resolution clip back to the IBCfor the preparation of news cut andedits.

The media serverHBS introduced the EVS media

server in 2006 during the FIFA WorldCup to expand broadcasters' creativecapabilities during major sport-ing events. It offers the productionteam, as well as broadcasters aroundthe clock, access to all the recorded

media, including the director's cut,multiple camera angles, ISO cam-era and best clip compilation. ENGfootage was made instantly availablefor production and post -productionoperations.

The media server is a fully inte-grated cluster of production servers.Built on instant tapeless technology,the media server combines hardware(XT[2] servers) and software solu-tions optimized to manage exchangeand distribution of media with themaximum guarantee of speed andsecurity, including indexing (based

on intelligent logging sys-tems) of incoming feedsand content, media backup,and archive.

For the World Cup, themedia server - known asthe FIFA MAX (Media As-set Exchange) - managesthe ingest and the exchangeof about 3000 hours of

During thecompetition, HBS produc-tion teams and MRLs (thebroadcasters) can access awide range of A/V mate-rial, including match feeds,clips compilations, matchhighlights, and the ENGclips and rushes. To assistMRLs with backgroundcoverage, HBS has its ownfeatures, the FIFA tool kit,music sequences and cityprofiles.

Also on the server areanalysis and stats, selected

ISO camera recordings, team train-ing, interviews and press conferences,plus the match day minus one high-lights (MD -1).

During each match, 11 HD XT[2]servers record the nine different feedsproduced by HBS, including a: broadcast international feed; clean stadium feed; tactical feed; player A camera feed; player B camera feed; team A feed;


team B feed; clip compilation; and mobile live feed.

Logging operationsThe content recorded on the media

server is logged using IPDirector sys-tems. In total, eight logging stationsare used to add descriptive tags (logs)to the A/V feeds recorded on the FIFAMAX media server.

Two loggers per match (four in to-tal, in the case of two simultaneousmatches) are dedicated to logging theclean stadium feed as well as to theclip compilation feed. Three stationsare dedicated to the logging of ENGmaterial and the MRL content con-tributions imported onto the system.One additional station is used forsupervision.

ENG operations, ingest,Web browsing

HBS deployed 40 ENG crews, with32 crews following each playing teamand eight crews spread throughoutthe host country gathering WorldCup -related features about matches,fans, South African culture, sightsand on -site events.

All crews working with PanasonicP2 camcorders send their rough cutedits and rushes to the IBC on a dailybasis. These are immediately loggedand made available on the mediaserver for HBS production teamsand MRLs to browse and downloadlocally.

The rough cut operations are man-aged using an EVS Xedio media dis-patcher system to select, group, clip,log and export P2 files - in the ap-propriate format - onto the me-dia server in Johannesburg. In total,about 20 to 25 hours of content areproduced and shared every day.

To increase the availability of ENGcuts to MRLs, HBS developed a newWeb -based solution offering Webbrowsing and download capabilitiesto broadcasters based on the XT [21Web systems.

The MRLs use services based on

XT121Web technology already imple-mented for the Ligue 1 Football pro-duction in France. The system offersremote video and audio Web brows-ing and download capabilities of theENG edits to broadcast-ers that opted for MRLservices.

Once ingested ontothe media server, ENGedits and their relatedmetadata logs are au-tomatically sent onto asecured Web server inproxy format (MPEG-4H.264). MRLs at theirown studios abroad canbrowse among the hoursof edited ENG contentusing the keywordsand descriptive meta -data to facilitate theirsearch. Once they havefound and selected me-dia (A/V or audio only)and dropped it into theirbaskets, MRLs can thenrequest the high-res fileeither in SD or HD.

The transfer operationis automatically man-aged using the Smart -Jog system linked to theEVS database and mediaserver. High-res audiofiles can simply be im-ported locally throughthe XT l2 'Web solution.

Mobile production includes a

clean feed produced at the venuefrom the dedicated mobile cameramixed with other shots composedfor the small mobile screen. A feed

Shown here are EVS servers forming the original mediaserver concept developed for the 2006 World Cup inGermany.

Mobile live feed ingest andstreaming

HBS is managing the productionof a mobile feed delivered to FIFAmobile subscribers through telco net-works. To offer high -quality footage,HBS is providing a dedicated mobilefeed. A production team works onthe mobile feed production; a spe-cial mobile production substitutesthe main camera feed with a dedi-cated camera - also filming from themain platform - to provide closershots and action that offer bettervisibility on mobile devices.

is sent to the IBC for the dedicatedproduction of mobile packages, witha version produced for distributionwith mobile -specific graphics forthe distribution to mobile networkoperators.

The dedicated mobile feedproduced at the venue is ingested intothe media server with live streamingfrom an Apple Xsan server, allowinga FCP editor working on the mobilecontent production (voice-over, edit-ing, specific team presentation, etc.)to edit it live. BE

Sergio Napolitano is solution marketingofficer at EVS.


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HEADSETS

Sennheiser HMD 26 and HMDC 26

Have a frequency response of 20Hz to18,000Hz; sound pressure level of up to105dB offers sufficient reserves for eventhe noisiest environments; closed designeffectively attenuates external noise by upto 25dB; HMDC 26 is equipped with Sen-nheiser's NoiseGard function, which, atthe push of a button, reduces backgroundnoise by a further 18dB.

860-434-9190www.sennheiserusa.com

VIDEO PRODUCTION SYSTEM

Broadcast Pix Granite

Native HD, 1080p -ready live video pro-duction system combines the company'sFluent workflow software with a new HDswitcher and HD server; enables usersto create live HD video cost-effectively;available in three models: 1M/E Granite100 and 1000, and the 2M/E Granite 5000;provides simultaneous multidefinitionSDI I/O for 1080i, 720p and SD sources.

978-600-1100www.broadcastpix.corn

ARCHIVE MANAGEMENTTMD i-mediaflex Pro Client

Extension to Mediaflex architecture; en-ables users to carry out a rough cut proxyedit on a standard web browser desktopand then submit the EDL to the craft edit-ing system, such as Final Cut Pro or Avid.

+44 1296 745 080; www.tmd.tv

3-D DELIVERY

Ericsson 3D ContentDelivery Solution

Delivers 3-D content from venue toviewers at home; includes the CExH42MPEG-4 AVC HD contribution encoder,RX8200 receiver and EN8190 HD encod-er; CExH42 encoder ensures full controlof encoding parameters, exact synchro-nization and time -stamping of the un-compressed frames, and the generation ofa fully packaged 3-D simulcast; RX8200ensures the temporal and spatial relation-ship between left and right feeds is main-tained at the receive end.

678-812-6300www.ericsson.com/television

WORKSTATION OUTLET SYSTEM

Belden KeyConnect

Provides high -density, flexibility and rug-gedness for high-performance copper,fiber and multimedia applications at thework area outlet; comprised of faceplates,adapters, boxes and modules; each modu-lar component seamlessly fits together tosuit any data, voice, video or multimediaapplication, including all levels of datanetworking, CCTV and HD video, fiber -to -the -desk, and AV applications; featuresa wide range of UPT, coax, fiber and AVmodules with a smaller footprint for high -density use in patch panels and outlets.

514-822-7579; www.belden.com

POINT -OF -VIEW CAMERAS

Hitachi DK-H100 & DK-Z50 cameras

The cameras share physical design, chas-sis, lenses and accessories; both have2/3 -in IT CCDs, switchable 59.94/50Hzoperation, simultaneous SMPTE-292M1920x1080i, SMPTE-259M SD -SDI andanalog (Y,Pb,Pr/ RGBS) HD outputs,TCP/IP network control, motorized five -position filter wheel, variable shutter to1/10,000sec., and full integration/com-patibility with existing SK-HD1000/ Z-HD5000 control panels; DK-H100 has 2.3million pixel IT-CCDs; DK-Z50 employsthe same sensor as the existing Z-HD500HDTV camera.

516-921-7200www.h itach i kokusai.us

BROADBAND UHF SLOT ANTENNAJampro Prostar JA/MS-BB

Provides a compact solution that con-serves tower space and minimizes windloading; designed for multichannel/combined -channel operations in an-alog -analog, analog-digital or digital -digital TV applications; can be config-ured for horizontal, circular or ellipticalpolarization; beam tilt and null fill areavailable; the handles power rangingfrom 2kW to 10 kW.

916-383-1177; www.jampro com

MONITOR MOUNTING SYSTEMMode -AL Speed Rack 19

Provides a way to mount 19in rack equip-ment into 19in rack cabinets with asimple adapter designed to improve thespeed and ease with which rack -mountedequipment can be installed or serviced; allequipment can be released in seconds andwithout tools; all mounting support andguidance occurs to the side of the equip-ment, eliminating the need for supportangles, rails, slides or brackets.

860-805-4515; www.mode-al.com

GRAPHICS SOLUTIONS

NVIDIA Ouadro

Graphics boards, visual computing sys-tems and software development tools;certified for Adobe Creative Suite 5 soft-ware to enable real-time video editing andeffects processing capabilities of AdobePremiere Pro CS5; allows users to createcompelling, multilayer projects with a vir-tually limitless number of HD or higherresolution video clips, and then applysophisticated visual effects and color cor-rection, while still being able to view theoutput instantly.

408-486-7387; www.nvidia.com


APPLIED TECHNOLOGYNEW PRODUCTS & REVIEWS

Front Porch DIVAsoloThe system provides turnkey digitization of videotape.

An enterprise with a signifi-cant media archive storedon videotapes has an ur-gent problem. Not only

do videotapes deteriorate over time,but the equipment required to playthem is increasingly becoming ob-solete. There is a real risk that thosetape -based media assets will soonbe worthless.

In most organizations, it is likelythat the decision -makers recognizethis, but videotapes decay in silenceand crying needs take priority. Addto that the perception that digitiz-ing video assets will be disruptive,expensive and difficult, and you havea recipe for procrastination. In addi-tion to the silent degradation of thesevaluable assets, overall accessibility tothese aging assets is a predictable andsignificant barrier to effective reuseand repurposing.

To preserve and assure access tovaluable media for the future, thereare a couple of potential strategies.One is for the enterprise to developits own digitization solution relyingon VTRs connected to a generic en-coding device controlled by a videoprofessional. But digitizing is morecomplicated than mere dubbing,and unless an organization's videocollection is tiny, a homegrownsolution will be extremely time-consuming and may even createunforeseen problems. For example,running a VTR requires some tech-nical training, and even then thereis the risk of human error. In theworst case, a technical glitch intro-duced to the media in the digitiza-tion process may remain undiscov-ered until some future date whenurgently needed content is foundto be unavailable. Add to this thechoice of encoding format, bit rate,file wrapper, etc., and it can becomean ominous challenge.

BY BRIAN CAMPANOTTI

Even for content that is digitizedwith errors, challenges remain. Ar-chiving is a discipline unto itself, re-quiring thorough consideration ofhow files and their component partsought to be labeled, categorized andidentified so that the appropriate peo-ple will always have access to them.

Given the pitfalls of developinga homegrown digitization solu-tion, an enterprise is likely to seeksomething off the shelf. Front Porch

at media enterprises as varied asbroadcasters, government agenciesand regional nonprofit museums.

The system combines three com-ponents: a professional migration ap-pliance that performs real-time, par-allel-multiformat and multiwrapperencoding of content stored on vid-eotape; an advanced content storagemanagement (CSM) system to handlethe storage, archive and protection ofencoded files; and a browser -based

11111W7EMtleottem masters Solo migraton engineI DIVArchhro CSM

MO wrappedIMXSO

MPEG 21

UT wrappedDV25

High

wsolution

Preservatior package

Frame --tte sedmigration netadata

ProxyFOSOIOtio,

Date tape

Figure 1. The Front Porch Digital DIVAsolo system simplifies the digitizationof videotapes.

Digital offers this technology in itsDIVAsolo system. This semiauto-mated, end -to -end solution speeds,simplifies and lowers the cost ofanalog -to -digital media migration.In addition, it provides a well -

thought -out path whereby the me -

media asset manager that affordsdistributed desktop access to the con-tent, proxies and metadata now andin the future.

This turnkey solution surmountsthe challenges an enterprise wouldencounter in trying to develop

A semiautomated, end -to -end solutionspeeds, simplifies and lowers the costof analog -to -digital media migration.

dia flows in quality -controlled forminto a tracked management systemfrom which it can be easily found,retrieved and repurposed. This so-lution has proven its effectiveness

its own solution. For example, itautomates quality control by relyingon advanced signal analysis to per-form all but the preliminary evalua-tion of the videotape, and monitors


APPLIED TECHNOLOGYNEW PRODUCTS & REVIEWS

the digitization process itself so anyproblems are flagged and can be fixed.Likewise, the system associates notonly technical but cataloging meta -data to each file at the time of ingestso that once the files are in digitalform they can be identified, retrievedand even browsed from the user'sdesktop.

The migration process is straight-forward. The system automates thecueing, migration, storage, preser-vation and controlled access to allmigrated content. As migration pro-gresses, comprehensive frame -accu-rate metadata detailing quality is cap-tured and stored for later referencealong with automatically generatedshot lists identifying cuts containedon the original videotape assets, sim-plifying later repurposing.

Within the system, multiple high -resolution versions of the contentare automatically moved to nearline

spinning disk and then on to high -density LTO data tapes. The low -resolution proxy versions and as-sociated metadata are passed to themedia asset management system fordesktop access.

minimizes labor expense because itcan be run by nontechnical personnelsuch as student interns.

As evolving technology and con-sumer tastes create an unprecedentedmarket for repurposed content, the

The system automates the cueing,migration, storage, preservation and

controlled access to all migrated content.

A system that simultaneously gener-ates multiple essence formats - suchas mathematically lossless JPEG2000

for preservation; MPEG-2 and DVfor editing; and WMV, H.264 andFlash for proxy viewing - in a sin-gle real-time pass affords significanttime -saving advantages. Relying onthis technology, organizations canmigrate content at speeds 10 timesfaster than manual methods. Besidesspeeding the process, the system

potential value of archival videotapesoars. So does the potential loss if thatvideotape is allowed to decay. Fortu-nately, integrated end -to -end migra-tion systems make preserving contentin digital format faster, easier and lessexpensive than ever, rendering yester-day's recipe for procrastination to-day's call to action. BE

Brian Campanotti is chief technical officerof Front Parch Digital.

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TECHNOLOGY IN TRANSITIONNEW PRODUCTS & REVIEWS

Display technologyDisplays are changing fast; don't be left behind.

Some of us remember Con-rac monitors in broadcaststations being the cremede la creme. Conrac still

manufactures CRTs for broadcast use(4:3 only), but along with many othermanufacturers, it will soon be out ofthe broadcast CRT monitor businesswhen new and replacement CRTs areno longer available because of envi-ronmental issues. How soon will thishappen? This year - now. Not readyfor change? Let me try to illuminateyour options.

Replacementdisplay options

With CRTs disappearing, we'releft with variants of flat -panel dis-plays. Consumer products based on

BY JOHN WFF

ready for commercial production insizes applicable to most professionaluses. Organic LED (OLED) technol-ogy falls into this category.

In general, the closest technology toCRTs (in terms of contrast ratio andcolorimetry) is plasma. Both use phos-phors and are emissive technology, butplasmas have some drawbacks. Theydo not modulate an electron beamper se, but rather modulate the "dwell"time for each pixel to effect amplitudemodulation of the light. This meansthat the pixels must be flashed at arate considerably faster than the framerate. Brighter simply means it is onlonger. Early plasmas suffered fromcontouring because of the appearanceof insufficient pixel depth, though itwas simply an artifact of the speed of

250

200 -

150 -

100 -

50 -

0

2008

LCD TV (units) 101.5

ME LED LCD TV (units) 0.2

LED TV penetration (%) 0.2%

2009 2010 2011 2012 2013

138.3 170.0 195.4 213.5 224.9

3.6 32.0 76.0 119.0 155.5

2.6% 18.8% 38.9% 55.7% 69.1%

100%

90%

-80%

70%

-60%

50%

-40%

30%

-20%

10%

0%

Figure 1. LED backlit LCDTV penetration (Courtesy Displaybank)

both LCD and plasma technology arereadily available and of good quality.Some manufacturers buy panels fromthe "fab" factories in the Far East andmodify the electronics to make theperformance more precise, repeatableand closer in results to CRT moni-tors. Emerging technologies holdgreat promise, though they are not yet

modulation and number of bits usedin the temporal modulation. Morerecent designs have largely eliminatedthis effect by improving the modula-tion near black and number of bitsused to represent the pixel.

LCD monitors are transmissive,i.e. they require illumination frombehind. (See Figure 1.) The ability of

LCDs to make deep blacks is limitedby the ability of the panel to com-pletely cut off the backlight. They alsosuffer from "lag," which is the decayof pixels slower than the frame rate.Both artifacts can be ameliorated bytechnology. Lag can be reduced by up-dating the panel much faster than theframe rate, with some panels flashedat up to 480Hz in consumer displays.With arrays of LEDs in the backlightunit (BLU) behind the panel insteadof continuous illumination from coldcathode light units, it is possible toturn off the light behind dark regions,improving black level substantially. Atthe same time, it is possible to extendcolor gamut to digital cinema specsand beyond by managing the color ofthe backlight in regions. At NAB, onemanufacturer of digital cinema hard-ware introduced an excellent 42inpanel with this technology, using allof these techniques.

OLED technology is also emis-sive and has been touted for yearsas the logical replacement for CRTs.Because OLEDs are emissive, andbecause the pixel sites can be quitesmall, OLED displays could scale tolarge arrays with almost unlimitedresolution. Power consumption is

low as well. When cells are turnedoff, they produce inky blacks. Thissounds promising.

The problem is that volume pro-duction for either professional orconsumer use in large sizes is still aways off. Also, the state of the art stillhas less than satisfactory aging char-acteristics, though that is improving.When I asked one manufacturer ofsmall OLED panels why it doesn'tscale production up considering itssuperior performance, I was told theanswer was economic, not techni-cal. The same company had built afab factory for LCDs at a cost of bil-lions (with a "b") of dollars. I was told


OLED production would be delayeduntil that factory produced a suffi-cient LCD product. Case closed, fornow at least.

Consumer displaytechnology

If you are getting the impressionthat future professional monitors willbe based, at least in part, on consum-er technology, I think you are right.Simply put, there are not enoughprofessional monitors to make itworth the investment to develop pri-mary technology that cannot also beeffective in consumer distributionchannels. But that does not mean that

If you are gettingthe impression thatfuture professional

monitors will bebased, at least inpart, on consumertechnology, I think

you are right.

CRT replacements are not going to beas good, or delayed, until consumersets are as good as professional sets.Let us not forget that consumer setscan already display the same resolu-tion as professional monitors and areimproving rapidly in other respects.For instance, LED BLUs for LCDs arein general distribution for consumeruse now. A monitor with calibrationfeatures appropriate for professionaluse is not a daunting task. There aremainline manufacturers of monitorsthat participate in the professionalmarketplace as well, and they havea vested interest in providing high -profit, high-performance monitors tothe professional marketplace.

At the same time, there are inter-esting technologies in developmentand deployment. You can now buya consumer set with a four-colorBLU, which can produce an extendedgamut. Research on this was demon-strated at the 2006 Hollywood Post

Alliance Technology Retreat in theUnited States and received consider-able interest - so much interest thata patent infringement suit was filedthe next year against consumer man-ufacturers using what was alleged tobe the same approach.

ConclusionAll of this display upheaval has pro-

duced interesting effects. We used to beable to color correct to a known stan-dard, the repeatable performance of aCRT monitor. But now film work hasto use DCI color specs, often on pro-jectors, and video production has toguess what the dominant display tech-nology will be. Let's say the four-colordisplay becomes dominant becauseof consumer interest in what mightappear to be better pictures. Does apost company switch to displays rep-licating that approach? When can wesay we know what the dominant con-sumer display has become? Or do weuse tools that produce repeatable andscientifically correct output?

For instance, transmissive displayshave a map built in to correctly dis-play the content, knowing that thesignal may have gamma assumptionsthat do not apply to the physics oftheir operation. Plasma monitors areinherently similar in physics to CRTsand don't need that correction. Canwe assume that the displays have cor-rectly adapted to the input, or has themanufacturer decided to make thepicture more pleasing at the expenseof accuracy? While not a scientific an-swer, I would opine a guess that themultitude of options available to con-sumers ("cinema mode," "standard"and other menu selections) meansthat we have to assume the worst.The only realistic answer is to pro-duce standardized images and edu-cate consumers and CE companiesto make sure the whole distributionsystem permits holistic results. BE

John Luff is a broadcast technologyconsultant.

ElSend questions and comments to:[email protected]

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Senior Systems Engineer: Degree in Broadcast Engineering, Electrical Engineering orrelated field or equivalent industry training and experience is required. 5 years experience in aposition of responsibility regarding broadcast systems design, documentation and testing. 3+years experience in a position of complete responsibility regarding advanced broadcast systemsdesign, documentation and testing. Specialty in certain technology applications recommended.Able to learn new and department -specific software independently with average level training;intermediate or better with AutoCAD, Excel, Word and Microsoft Office.

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EOMDEPARTMENT

The mother of inventionMozaik creates monetization nirvana for advertising.

BY ANTHONY R GARGANO

s it really that old? Actually, it is.That oft -used phrase referring tonecessity as the mother of inven-tion has its derivation in Book 2

of "Plato's Republic," which incred-ibly dates back to the fourth centuryB.C. The actual original phrase was:" ... and yet the true creator is neces-sity, who is the mother of our inven-tion." Fast -forward two dozen centu-ries, and there's a unique applicationof that long -guiding tenet developedby a little-known startup calledMozaik Multimedia.

The DVR effectIn this era of TiVo devices and ca-

ble set -top boxes with built-in DVRs,does anyone really watch commer-cials anymore? Clearly, the broadcastcommunity can ill afford to stick afork in that advertising golden gooseknown as the commercial spot. Thereality, though, is that DVR technol-ogy in its various forms is increas-ingly penetrating viewer homes, andwith that time -shifting technologyalso comes the ability to fast -forwardthrough commercials. Many viewerstake pride in the fact that they no lon-ger watch their favorite shows in realtime; DVR viewing now allows themto watch a one -hour TV program injust 40 minutes by zipping throughthe ads. The DVR impact to commer-cial viewing is a verboten topic thatis seldom discussed above whispersin the broadcast community, but itscrescendoing impact is only gettinglouder. In April, Nielsen reported that34 percent of TV households nowhave DVRs, up from just 24 percenta year earlier.

One answer to the DVR phenom-enon is product placement, i.e. havingidentifiable products in use as part ofthe content storyline. This has becomea widespread advertising practice butopens an interesting can of worms

with regard to claims of false advertis-ing. For example, in the recent movie"Date Night," Steve Carell's characterneeds to check some photos. His ac-commodating cab driver produces anAmazon -placed Kindle, which allowshim to view the pictures. There's oneminor problem. The real -life Kindlecan't read flash drives, the media that's

Wireless Microphone

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Will.i.am 0fortmummrao

Mozaik's !Content technology providesan interactive, end -to -end e -commercesystem for consumers.

holding Carell's photos. So, does aviewer who was influenced by thisscene to purchase a Kindle on which toview his flash drive photos have a falseadvertising claim against Amazon?We'll have to leave that one for the le-gal minds, but you get the idea.

Another anti-DVR scheme hasbeen to do live commercials withinthe program prior to a normal com-mercial break. "The Tonight Showwith Jay Leno" has been a pioneerwith that approach.

But, let's get back to Mozaik. Its ap-proach is to author a layer of interac-tivity on program content that embedshot buttons associated with a specificproduct and/or talent. Thus, by click-ing the appropriate hot button, the

viewer can obtain further informa-tion, for example, about a particu-lar location, item, person, service orsoundtrack in the content he or she iscurrently watching.

What is exciting is the transactionopportunity presented when thatviewer clicks on a product hot button.Mozaik's !Content technology takesthis process to monetization nirvana.It creates an actionable environmentbetween viewer and product, thus el-evating product placement to a levelof interactivity that is both measur-able and transactionable. With justa few clicks, the viewer can place anorder and make an actual purchase.Uniquely, !Content provides an end -to -end, consumer through advertiserto retail e -commerce system that offersthe potential of a new revenue streamto the broadcaster. Fundamental tothe process is delivery of this interac-tive content to the consumer. Recog-nizing this factor, Mozaik's businessmodel provides for a form of revenuesharing with whoever is deliveringthe content.

For the viewer, the system could notbe any simpler. The entire interactiveportion of the experience is enabledvia a standard remote control usingthe left/right, up/down and enter but-tons, or through smart mobile devicessuch as Apple's iPhone or iPad.

Mozaik is already in negotiationsto begin initial delivery of this newe -commerce experience. For broad-casters who have seen affiliate revenueturn into affiliate fees and whose bot-tom line pressures have driven signifi-cant operational retrenchment, this isclearly a Silicon Valley company tokeep an eye on. BE

Anthony R. Gargano is a consultant andformer industry executive.

11Send questions and comments to:[email protected]


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