Beijing

Transcription

Beijing

content
technology
VOLUME 5 > ISSUE 5
SEPTEMBER/OCTOBER 2008
PP: 255003/06831
MAGAZINE
An Industry “Plus” Since 2003
Media Management Production Distribution
Hot FX from the Lab
Cross Platform Production
Comes of age
FEATURE POST PRODUCTION
Plus Acquisition, Sportscasting, Radio, Audio, Transmission
Beijing
c+t Awards Broadcast.com
the Winners
ISSN 1448-9554
PREVIEW
www.content-technology.com
AJA makes the most innovative, reliable and proven video and audio desktop and converter solutions
for the post-production and broadcast industry. Whether you need an SD/HD solution for your Mac or
Windows system, or stand-alone conversion gear, AJA’s got you covered.
For the Mac.
For the Rack.
CONTENT+TECHNOLOGY
ISSN 1448-9554
PP:255003/06831
Broadcastpapers Pty Ltd
(ABN: 34 095 653 277)
PO Box 259
Darlinghurst
NSW 1300
Australia
www.broadcastpapers.com
Publisher: Phil Sandberg
Tel: +61-(0)2-9332 2221
Fax: +61-(0)2-9332 2280
Mob: +61-(0)414-671-811
Email: [email protected]
Technology Editor: Brett Smith
Tel: +61-(0)41 766 3803
Subeditor: Scott Lehane
Design & Layout: Crunch Design
Tel: +61-2-9310 5393
Email: greenroom@crunchdesign.
com.au
Printing: Pegasus Print Group
Copyright Notice
All material in Broadcastpapers’
Content+Technology Magazine
is protected under Australian
Commonwealth Copyright Laws. No
material may be reproduced in part
or whole in any manner without
prior consent of the Publisher and/or
copyright holder.
Disclaimer
Broadcastpapers Pty Ltd accepts
no responsibility for omissions or
mistakes made within, claims made or
information provided by advertisers.
Production Manager: Lucy Salmon
Also see C+T in PDF at
www.content-technology.com
VOLUME 3 > ISSUE 5
<< 20
IoHD—Capture & Play HD and SD in Final Cut Studio 2—with Hardware
Support for Apple ProRes 422
FS1 — Universal SD/HD Audio/Video Frame Synchronizer and Converter.
(front and rear panels)
CONTENTS
>04 NEWS
Prime Chooses Mediaware for HD
Commercials, Harris Rebuild SBS, Global Takes
on the Pope, Bawden for CBAA, Ginnane for
SPAA, Harley for Screen Australia.
>10 MEDIA MANAGEMENT
Not AC/DC! …
>12 C+T AWARDS 2008 – WINNERS
Those who in the Judges view …
Desktop Solutions
Converter Solutions
Imagine true broadcast-level HD editing in places you never
It’s a multiformat world, and the new FS1 brings it all
thought possible.
together... at a breakthrough price.
Io HD, paired up with Apple’s MacBook Pro and Final Cut Studio
Turn SD into HD, HD into SD, or HD 1080 into 720 (and vice versa),
2, gets you a no-compromises HD editing suite wherever you
with FS1’s hardware-based 10-bit up/down/cross-conversion.
want to work.
<< 32
>18 THE WORD FROM WIFT
Women in Film and Television
>20 BEIJING BROADCAST
Olympic Broadcasting and Lighter Moments,
plus Fibre to the Venue and Analysing Golf!
Embed and disembed audio.
One FireWire cable to the Mac is all you need to work with
full-resolution 10-bit 4:2:2 HD and SD video, using the powerful new ProRes 422 codec from Apple, uniquely integrated
directly into Io HD’s hardware.
Add in Io HD’s 10-bit up/down/cross conversion and
unmatched video and audio connectivity, and you’re
seamlessly working in any format you want, anywhere you
need it... in a portable, professional package.
Mate analog and digital. Video. Audio. HD captioning.
Whatever.
FS1 not only interfaces to all of your equipment, but also with
your facility via its LAN-based web-server and SNMP monitoring.
Push a button, or talk to it from across the web. Put FS1 in the
>16 TECHNICAL STANDARDS
MPEG Multiplies Views of Video, SMPTE to
Establish 3D Taskforce, DVB Ratifies DVB-T2.
<< 38
middle of your facility, and see how it makes nice with your gear,
>52 AUDIO
MPEG Works on Advanced Coding, SAE
Goes Online for Learning, 22.2 Surround
Sound.
>58 RADIO
CRA Talks DAB+ in China, Manufacturers/
Retailers Join Forces on Digital Radio, New
Digital Radio Models.
>62 TRANSMISSION, SIGNAL
DISTRIBUTION, T&M
Australia’s Biggest HD Server Order, New
Radiofrequency Plan, UK DVB-T2 Trials
>71 IBC2008 PREVIEW
c+t
>32 ACQUISITION
Children’s Show Sees XDCAM HD Mow Down
Competition, HD ‘Politically Incorrect’ in NZ,
Ben Nott ACS in Profile, Classic Cameras: Bell
and Howell 70DR, Panavision’s Solid State
Recorder, Independents Awaken to JVC.
>40 BROADBAND, IPTV & INTERACTIVE
Downloads - Behind ABC Commercial’s Next
Online Step.
your multiformat needs, your engineers... and your budget.
>49 STORAGE & ASSET MANAGEMENT
Ansearch the Answer for Video Search;
Interoperability for Pinnacle and Omneon
Files
>76 EVENTS/ESP – EQUIPMENT,
SERVICES, PRODUCTS, JOBS
>78 OFF-AIR
What Happens on Tour … gets Printed
Right Here.
>80 BABBLING BROOKS
Gerry Brooks – Early Telly from Down
Under!
>42 POST-PRODUCTION
Scorched! Telemovie Takes it to so Many Levels;
Technicolour Thailand Takes da Vinci
Check out www.adimex.com.au/wheretobuy or give us a call
to find an authorised AJA Dealer near you.
5-7 cleg street artarmon nsw 2064 australia
p: +61 (0)2 9906 4556 [email protected]
www.adimex.com.au
Back to Contents Page
CINEMA TECHNOLOGY - NEW MAGAZINE
Visit www.cinematechnology.info
c+t
Over IP
Editor’s Welcome
We just can’t contain ourselves
so we have to go online.
Visit the following C+T web sites.
Free Run for Freeview?
C+T Corporate
C+T in pdf for download, features, deadlines, it’s all here.
Visit www.content-technology.com
By Phil Sandberg
It wasn’t so long ago that I asked
a technical someone from the free-to-air TV fraternity
if it made sense to adopt the Freeview DTV model
from the UK and New Zealand. A harrumphing
‘No’ was the response. But, it seems that adopting
the name makes sense.
Since our last issue, Australia’s free-to-air
commercial television networks together with the
nation’s public broadcasters have announced the
establishment of Freeview. The consortium has been
formed to help drive take-up of the free-to-air digital
television platform.
Where the UK and NZ versions are about
making sure the means of viewing digital free-toair programming is cheaply available to as many
viewers as possible (even via satellite), the Australian
Freeview seems to differs in that it is a badging
exercise designed to hopefully redress eight years of
ineffective marketing and coordination on the part
of all stakeholders in the digital TV transition.
It is only this year that retailers have reported a
‘tipping point’ on digital uptake with the majority of
digital purchases taking the form of high definition
receivers and displays.
Harvey Norman’s venerable Gerry Harvey
was recently quoted in The Australian newspaper,
“It’s almost not worth putting standard definition
televisions on the floor. Even at $89, people are just
not interested.”
In addition, figures from retail sales tracker GFK
have sales of HDTVs in June at 31 per cent higher
than for the same period last year, and that HDTV
sales accounted for 85 per cent of all flat-panel
television sales.
Meanwhile, Freeview shareholders - the ABC,
SBS, the Seven Network, the Nine Network,
Network Ten, Prime, WIN and Southern Cross
– have pledged to work to ensure all Australians
continue to enjoy the great range of programming
offered by free-to-air broadcasters as the nation
transitions from the analogue to the digital platform.
The ABC’s Director of Television, Kim Dalton, will
Chair the not-for-profit organisation.
“This is an extraordinary step forward for the freeto-air broadcasters. Together we have pioneered
digital television in Australia, investing millions in
infrastructure and converting our equipment and
studios accordingly. Now it’s time for Australians to
reap the rewards; Freeview will offer viewers more
channels, great content and the very best quality
picture and sound,” Mr Dalton said.
But, aside from new channels, will there be
anything new?
Editor’s Welcome
Next year will see Government legislation come
into effect which will allow the commercial free-toair networks to broadcast an additional standard
definition (SD) channel each, in addition to their
primary SD channels, and their recently added
high definition (HD) channels. Freeview says the
three new channels, together with the two ABC
and two SBS channels and their respective HD
channels, will bring to 15 the suite of channels to
be marketed under the Freeview umbrella.
To receive all the Freeview channels, consumers
will need an HD digital-set-top box, digital video
recorder or an integrated digital television. Freeview
will be launching an awareness campaign in the
coming months to ensure consumers are ready.
Ahead of the launch, Freeview says “it is working
with manufacturers to ensure appropriate technical
standards are met on all television or digital set-topbox equipment that will carry the Freeview badge.
Freeview will work closely with all relevant areas
of Government to ensure consistent messaging.”
FACTS? FreeTV? Freeview? Badges? Umbrellas?
What about the content?
We’ll have to wait and see.
Thanks again for reading
Regards
Phil Sandberg
Editor/Publisher
[email protected]
T: +61-(0)2-9332 2221
September 2008
ASIA-PACIFIC LAUNCH ISSUE
&UTURESSOBRIGHT
WEVEGOTTOWEARSHADES
D-Cinema - the
Word from Atlab
AIMC 2008
Preview Inside
The Asia-Pacific Publication for Cinema Industry Professionals
cinema technology asia pacific - september 2008
C
M
Y
CM
MY
CY
Olympics 2008
Olympic Sportscasting News
CMY
K
Visit www.beijingbroadcast.com
Technical and business
whitepapers, free and online.
Visit www.broadcastpapers.com
the cathay organisation
Singapore’s Cathay
Gives 4K the OK
All the product releases from the magazine, plus
those we couldn’t fit in.
Visit www.content-technology.info
Whitepapers
1st Issue Out Now
B•K•S•T•S The Moving Image Society
C+T Tools
page 1
www.cinematechnology.info
Up Coming Features
For Nov/Dec Vol 5, Issue 6
DEADLINES
Editorial/Ad Bookings – October 13th, 2008
CONTENT
• Acquisition • Post-Production • VFX & Graphics
• Sportscasting • Production Snapshot
TECHNOLOGY
• IPTV/Broadband • News Operations
• Mobile Media • Digital Asset Management
• Storage/Networking • Transmission
BUSINESS
• Takin’ Stock
SHOW COVERAGE
• IBC Review
REGULARS
• News • Technical Standards
• Receivers/D-Cinema • Babbling Brooks
• Recruiting/Staff Management
For more information, visit
www.content-technology.com or call
+61-(0)2-9332 2221 or +61-(0)414 671 811.
Sales enquiries: [email protected]
or call +61-(0)41 766 3803
{NeWS
+ people
Prime Chooses
Mediaware for
Commercial
Delivery
Mediaware International has
announced has been chosen by
Prime Television to provide the HD
digital commercial content delivery
system for its Australian television
operations. The system will be
deployed across Prime’s East Coast
Network to provide higher picture
quality and greater operational
efficiency.
The HD system - developed, supplied
and commissioned by Mediaware
International’s local Australian
engineering team - includes
Mediaware International’s latest
InStream Insertion Server, a real time,
frame accurate, long GOP native
MPEG compressed domain splicer
and file-based MPEG insertion
server. InStream provides seamless
transitions between programmed
events, without needing complex
network timing systems or interstitial
boundary intervention.
Accurate MPEG stream splicing is
fast becoming an essential element of
file-based ad insertion or replacement
for digital television, and is, therefore
a basic but critical component of
targeted advertising. InStream greatly
simplifies the process of commercial
insertion for broadcasters. It increases
operational efficiency by reducing
network complexity and bandwidth
requirements, allowing broadcasters
to more cost effectively address
existing and new markets and
generate new revenue streams.
As part of the upgrade, Mediaware
InStream Conversion Servers will also
be provided to manage the transition
from Prime Television’s existing
baseband commercial library system.
Prime chose Mediaware’s InStream
solution as it was the only product
with significantly advanced
functionality that met the criteria of
the Prime engineering team who
also played a significant role in
News
Media Industry Technologist Certification - www.mitc.tv
For the latest news, visit www.smpte.org.au
the development of the functional
specification of the product.
“As a leading regional commercial
television broadcaster in Australia,
we’ve found Mediaware International
to be far more than just a supplier,”
says Gerry Smith, Chief Technical
Officer for the Prime Media Group.
“Their innovative and technically
superior approach to compressed
domain interstitial insertion led us to
choose the Mediaware solution over
a number of international and betterknown contenders. We have known
for some time the technical approach
we wanted to take, but until now
no one had been able to deliver the
goods. We are confident that, in
Mediaware, we have a partner that
truly understands our needs, both
commercially and technically, and
has the expertise in native digital
video processing to support our
complex network requirements.”
Visit: http://www.mediaware.com.au
Harris Rebuilding
SBS Australia
Following its flirtation with
outsourcing, the Special
Broadcasting Service (SBS),
Australia’s multicultural and
multilingual public broadcaster, has
brought it all back home again and
engaged Harris Corporation to
supply a fully integrated broadcast
solution for the comprehensive
rebuild of SBS Australia’s playout
facility in Sydney. The SBS playout facility will illustrate
a real-world Harris ONE installation,
comprising integrated products
from its H-Class software suite and
broadcast infrastructure and server
product lines. Harris D-Series playout automation
will be combined with the company’s
Invenio digital asset management
and content workflow management
to manage ingest, preparation and
playout using many of the products
from across the integrated Harris
portfolio, including NEXIO AMP
servers and a Harris/Isilon systems
clustered storage solution.
“The Harris ONE approach of
integrating its products along the
workflow chain was a key factor
in our decision and will be a key
element in the successful rebuild
of our playout facility,” said Shaun
Brown, managing director, SBS
Australia. “Harris has taken many
steps to show its strong commitment
to broadcasters in Australia — from
the staffing of local service and
support personnel to its investment in
research and development to meet
local market requirements. These
factors make us very comfortable
in placing our trust in Harris for this
important upgrade project.”
The Holy CG:
Global, Chyron
Take on Youth Day
The recent Catholic World Youth
Day (WYD) celebrations in Sydney
presented an interesting challenge
for Global Television with several
Chyron Hyper X character
generators installed in its OB vans
and at the International Media
Centre (IMC) in Darling Harbour.
Global Television General Manager
(Global Services) Marc Segar said,
“We really put the Hyper X’s through
their paces. WYD was one of
the largest events staged in 2008 so
far and the Hyper Xs were used to
create all of the world feed and
SBS graphics. Over 30 hours of
live television was broadcast to a
world audience and the Chyron kit’s
functionality and ease of use helped
produce excellent results.”
Supplied by Magna Systems and
Engineering, Chyron’s Hyper X is
HD/SD-switchable and scalable with
up to two independent HD/SD
channels, optional DVE, eFX Clips
and Lyric® PRO advanced creation
and playout.
Segar added, “Global is the
leading service provider to the
Australian television industry and
we expect the best from all the
equipment we use. The success of
the Hyper X CGs at World Youth
Day is a good example of Chyron
equipment demonstrating its true
value in the most demanding
broadcasting environments. We are
delighted it all performed so well.” Also in the youth arena, the Global
Television-backed Television
Technical Operators College
(TTOC) approached Magna
Systems and Chyron when
furthering its pursuit of companies
to be an integral part of its training
programme.
TTOC offers a one-year traineeship
for up to 25 University and TAFE
graduates each year. Training is
received from some of the industry’s
most experienced operators
combined with opportunities to
take active roles and gain valuable
infield experience on Australia’s top
programmes and live broadcasts.
Peter Musgrove General Manager
at TTOC said, “Our courses
are practical, accredited by the
University of Western Sydney and
are based on industry requirements.
To ensure the Australian television
industry maintains its world-class
reputation, we are committed to
developing new courses using
innovative technology. This is why
we approached Magna as we
wanted to enrich our freelance
pool by having a high-end Chyron
operators course.”
A decision was made to integrate
an advanced level DA Chyron
course that will involve Chyron’s
visual sophistication software,
Lyric Pro. The course will begin in
September 2008 and will then be
included in advanced certificates.
Visit www.ttoc.com.au
NeWS
The world around
us changes
constantly, so knowing what has changed is an
important part of our lives. For businesses, recognizing
changes is also crucial. It allows businesses to adapt
themselves to the changing market needs.
As mentioned in my last C&T editorial in the July/
August edition we spoke of hot spots around the world
that are creating a need for talent within the broadcast
community based upon the potential driving revenue
into the networks.
Well, if you remain inquisitive into the region’s
activities, let’s now take the discussion down into the
level of Multinational Corporations (or MNCs for those
abbreviatorists).
What changes are occurring within MNCs within
the region that will influence your salary?
+ people
DB vs DC (Not AC/DC)
The first and most obvious is that of a definite shift
away from DB (Defined Benefits) to DC (Defined
Contributions). Changing to DC shifts the risk from the
employer to the employee.
Okay, if you are an Australian resident you are
certainly familiar with the standard, and mandatory, 9%
Superannuation contribution plan for employees. This
“DC” component is an integral part of our package
outlined by our employer that provides us with an
income at a time when we retire.
In comparison a DB plan is a retirement benefit,
sponsored by your employer, that pays a defined
amount upon retirement based upon length of service
by final average salary times a retirement multiplier. The
retirement benefit is permanent and guaranteed, and
most will adjust automatically to periodic cost of living
increases and protect from inflation. It will more than
likely have a survivor’s benefit and a disability benefit
to it as well.
FYI. More than two thirds of all public employees in
the United States participate in a DB plan.
With the Asia-Pacific region there is an emerging
trend towards a DC plan. Eliminate complicated manual video patching
China for example leads
the trend.
In 2004
forever!
Broadcast
Videohub is a powerful
supplementary pension plans
(DCs) were
introduced
broadcast
grade
routing switcher featuring a
and we believe that within
the next
3 years 144
that outputs, 72 deck control
massive
72 inputs,
more
than
half
of
the
multinationals
will
introduce
a SDI, in a compact rack
ports, auto switching SD, HD, and 3 Gb/s
supplementary
pension
plan
or change
existing
mount chassis
only
a few
inchestheir
thick.
plan. It’s interesting to note that by the end of 2008 all
social
security bureaus
that Routing
have held Switcher
pension funds
Industrial
Strength
to date will need to transfer them into a more secure
With 72 inputs and 144 outputs, Broadcast Videohub has enough
licensed annuity provider. This is a government driven
SDI connections for 72 edit systems or decks. With twice as many
initiative.
SDI outputs, each user can have a completely independent SDI
Other driving countries to varying degree are South
output
monitoring.
This itmeans
you can monitor direct from
Korea,
Hongfor
Kong,
and India where
is seen initially
any
equipment
in
your
building
without
effecting routing! 72 deck
as an attraction and retention tool. The next tier of
control
included
for a complete
routing solution.
change
will ports
come are
fromalso
within
Japan, Singapore
&
Malaysia, Indonesia and Thailand. Taiwan in 2005
Simultaneous SD, HD or 3 Gb/s Video
had started to work to similar commitments.
Broadcast
mixed SD, HD and
Behind these countries, will
be MacauVideohub
(introducinghandles
it
3 Gb/s
SDI connections
this year, 2008), with Vietnam
and Philippines
following all on the same router
thereafter 2009.
at the same time. Broadcast Videohub detects
Introducing the world’s largest affordable
SD, HD and 3 Gb/s SDI router!
when an input changes, and automatically
setsaall the outputs connected, to match the
So Why is There
changed input.
SDI re-clocking and output SDI slew rates will also
Change
to DC?
change
Besides
a shiftautomatically.
from countries already with DB carrying
World’s Highest Quality
With exciting new 3 Gb/s SDI connections built in, Broadcast
Videohub allows twice the SDI data rate than normal HD-SDI.
Use 3 Gb/s SDI for high resolution real time 2048 x 1556 feature
film editing. 3 Gb/s SDI has full compatibility with SD, HD and 2K
in 4:4:4 or 4:2:2 all with a single BNC cable.
Network Router Control
Broadcast Videohub uses software control panels that run on
Windows™ and Mac OS X™ for “routing control” right from your
editing system desktop! Broadcast Videohub connects to any
computer via USB and is then shared over your local network.
Router labels can be changed from any computer and are fully
unicode compatible for foreign language support.
Broadcast Videohub
Learn more today at www.blackmagic-design.com/au
News {NeWS
+ people
Bawden GM
for CBAA
Ginnane New
Head for SPAA
The Community Broadcasting
Association of Australia (CBAA)
has announced the appointment
of Michele Bawden as General
Manager.
Michele has over 20 years of
experience in the community
broadcasting sector starting as a
volunteer at 3BBB and training as
a journalist at the Victorian Public
Broadcasting Association. She has
since worked in programming and
management for 3CR Melbourne,
2SER Sydney and 8KIN Alice
Springs alongside extensive national
experience through her involvement
with the CBAA Board and the
Community Broadcasting Foundation.
The CBAA is the national peak
body for community broadcasting
stations. Community Broadcasting
encompasses over 400 stations in
metropolitan, regional and remote
parts of the Australia. Michele
Bawden takes up her position on
September 29.
Visit www.cbaa.org.au
The Screen Producers Association of
Australia has announced that Antony
I. Ginnane has been elected SPAA
President for 2008/09. Antony will
take over the mantle from incumbent
Trish Lake following the SPAA AGM on
25 September 2008.
Antony (Tony) will bring a range of
skills and broad experience to the
role. The Producer of such 1970s
‘classics’ as Fantasm and Patrick,
Tony has worked extensively in film
and television production, distribution
and financing for over 30 years and
is one of only a few Australians to
have successfully established a film
business (IFM) out of LA.
Trish Lake (Freshwater Productions) has
served as SPAA President for the last
three years with distinction. Trish has
seen SPAA and the broader industry
through the period of adjustment from
10BA to the Producer Offset and the
formation of the new federal agency
Screen Australia. Screentime Executive
Director, Bob Campbell has been
elected unopposed to the position of
SPAA Vice President for 2008/09.
Visit www.spaa.org.au
MediaCorp
Consults with
Ascent
Ascent Media Consulting Services, a
provider of strategic and technology
consulting for the electronic media
and entertainment industry, has
been selected as a strategic and
technology consultant to MediaCorp
Pte Ltd., Singapore’s leading media
company. The agreement calls for Ascent
Media to assist MediaCorp in
aligning future business strategy
and technology requirements with
MediaCorp’s anticipated move
to new facilities in the future. The facility is expected to house
MediaCorp’s current digital multiservice radio, television broadcast,
production operations, as well as its
print and publishing entities. News
TEN Ramps Up
News with Sony
Network Ten (TEN) has enhanced
its capability for timely broadcasts
of breaking news stories with the
deployment of a network of Sony
XDCAM cameras. Working with an
IT-based system, the new cameras
will allow speedy transfer of footage
from the news vehicles back to the
station.
The partnership with Sony is part of
a replacement program for all the
network’s electronic news gathering
cameras. The contract includes a
roll-out of more than 50 Sony PDW700 cameras, as well as a number
of drives.
The cameras will be used initially to
capture news in standard definition,
but will eventually allow TEN to shoot
and transmit news in high definition.
TEN’s head of network technology,
Jeff Yeates, said, “The Sony cameras
will provide a high quality look for
TEN’s News, documentary and
entertainment programs, which
is great for our viewers. From an
integration perspective, they provide
a natural extension to TEN’s content
management system – which is being
rolled out across the network’s five
stations – and will adapt well with its
existing infrastructure.”
Global Patches
with ADC
ADC reports that the first 20 of its
Super High Density Pro-Patch panels
for Australia are to be installed into
Global TV’s new state of the art
OB Vans by Global Engineers. The
panels are suited to OB or remote
vans as they are small, light weight
and the one panel can be used for
analogue audio through to Digital
audio and right up to HDTV 1080P
data rates.
At less than 1Kg/RU, versions are
available for AES audio, as well as
SMPTE 424 HD video. The ProPatch
Miniature Series panels (PPM) with
DHDC jacks are available in both 1
and 1.5 rack unit configurations.
Visit www.adc.com
SMPTE Provides
Assistance for
Rising Talent
The 2009 SMPTE Conference &
Exhibition (SMPTE09) will again
foster the future of the motion
imaging industry with the Young
Industry Person’s Award (YIPA). The
award will offer young members of
the industry, living outside the greater
Sydney area, the opportunity to
receive financial assistance to attend
SMPTE09, July 21 – 24 2009,
Sydney Conference & Exhibition
Centre, Darling Harbour.
NeWS
+ people
people
+
By investing in the future of the
industry, YIPA complements SMPTE’s
theme for 2009, ‘Empowering the
next generation’. YIPA will provide
free admission to the conference
and financial assistance towards
travel and accommodation costs
while attending SMPTE09. The
amount of funding an applicant
receives will be based on the
individual’s living location from
the official point, Martin Place
in Sydney – AU$500 for travel
distances from 100km up to 999km
and AU$1,000 for distances over
1000km. To qualify for this award,
applicants must be Australian
or New Zealand residents and
less than 30 years of age on the
opening day of the conference.
To apply, tell us in approximately
400 words why you should be
selected to receive financial
assistance to attend SMPTE09.
Entries should be emailed to
smpteconference@expertiseevents.
com.au or posted to: SMPTE Young
Person’s Award, c/o Expertise
Events, PO Box 6053, Frenchs
Forest NSW 2086 AUSTRALIA.
Entries close on Thursday, April 9
2009, with successful applicants
advised by Friday, April 17 2009.
BROADCAST
AND PRODUCTION
Australia’s – PREMIER
Broadcast and Production Dealer
- Broadcast and Professional – Sales, Hire and Showroom
- Avid and Apple workflow specialists, including Collaborative Storage
and Archive Solutions
- Authorised Broadcast Service Centre and Onsite Support.
- Accredited Training Centre
- Dedicated sales and support team with 27 years industry experience
SBS Signs with
Fujufilm for
DVC Pro
New Sony PDW700 XDCAM Camcorder,
Viewfinder and HD Lens packages
Now available from under $60K!
Multi-cultural broadcaster SBS has
chosen Fujifilm as the exclusive
supplier for its requirement of DVC
Pro tapes over the next 12 months.
Fujifilm Australia Library Supervisor
of the SBS-TV Program Library Kelli
Mark said, “We chose Fujifilm to
exclusively supply our DVC Pro
tapes as we have found them to
be reliable and always able to do
a fast turnaround. SBS has a great
deal of programming that critically
relies on the media being readily
available and robust. Fujifilm are
able to take care of both criteria.”
Visit www.fujifilm.com.au
Acquisition
1300 794 355
Showroom - Level 1 Citygate, 1062 Ann Street,
Fortitude Valley Queensland 4006 Australia
www.videopro.com.au
[email protected]
News 7
News
{NeWS
+ people
NZ’s Harley for
Screen Australia CEO
Arts Minister
Peter Garrett
has announced
the appointment of Dr
Ruth Harley as
the first Chief
Executive
Officer of the government’s new film
agency, Screen Australia. Dr Harley
has been the CEO of the New
Zealand Film Commission since
1997 and has more than 20 years
experience in the film and television
industries. During her tenure as New
Zealand Film Commission CEO, Dr
Harley has overseen the transformation of the commission and has been
part of a strengthening of support
and resourcing for New Zealand
filmmaking. The international profile
and domestic audiences for New
Zealand filmmaking have grown during
this time. Dr Harley has held other
important roles in the sector including
the Executive Director of New Zealand
On Air, Commissioning Editor at
Television New Zealand Ltd (TVNZ)
and the National Media Director of
Saatchi and Saatchi in New Zealand.
She holds a PhD from the University of
Auckland, is a former Fulbright Scholar
and is currently Chair of Fulbright NZ.
Her commitment to broadcasting and
the arts was recognised in 1996 with
an OBE and in 2006 she received
a Companion of the New Zealand
Order of Merit for her services to film.
Dr Harley has accepted a five year
term as CEO of Screen Australia and
will take up her appointment by 15
November 2008. Ms Lyn Maddock
will continue in the Acting CEO role
and will be in ongoing contact with Dr
Harley on major decisions as required.
Lopuszanski
Rejoins Cinevex
Stanley Lopuszanski has joined the
team at Cinevex Digital as a digital
colourist. It’s a homecoming for Stanley,
who started his career back in the late
70’s and early 80’s with Cinevex and
the Colorfilm Group as a film grader.
He left Cinevex labs in 1983 in the
early days of telecine colour correction,
and has worked on many Australian
and international production – as a
rushes colourist and through to full
Digital Intermediate grades. Some of
Stanley’s recent credits include: Not
Quite Hollywood (feature film, dir:
Mark Hartley); Underbelly (TV series);
Satisfaction (TV series); and The King
(TV, dir: Matthew Saville).
Murray Forrest
Retires from Atlab
Atlab’s managing Director Mr Murray
Forrest will retire on Friday September
12th, after 43 years of service to the
Australian film industry. Atlab has been
extraordinarily fortunate to have had
Murray Forrest at the helm for so much
of his distinguished career.
Under his stewardship, the business
has undergone massive transformation
and expansion from a small black
and white lab operation servicing
newsreels, television and Film Australia
documentaries, to the broad-based
creative services and distribution
business it is today. Murray’s ability to
foster industry relationships globally
is legendary, and this has been
fundamental to Atlab’s success in
achieving world-wide recognition in
spite of our relatively small scale. He
built up a level of release printing work
with the major Hollywood film studios
that has given the lab a secure basis
on which to weather the fluctuations
in the local industry, and to expand
into the newer technologies of digital
postproduction. Murray was the
founding Chair of Ausfilm - the body
set up by the industry some 15 years
ago to market Australian film industry
services overseas. He has been a
Director of SPAA (Screen Producers’
Association of Australia), a Past
President of the Australian Cinema
Pioneers and a past Board Member
of the Federation of Producers of Asia.
He is a former Chair of the Society
of Motion Picture and Television
Engineers (SMPTE) based in the USA,
and was the first Australian to be
appointed to its Board of Governors.
He was also the first Australian to be
elected to Fellowship of the SMPTE,
and also of the British Kinematograph
Sound & Television Society (BKSTS).
Both Fellowships were awarded “in
recognition of his service to the film
industry on an international scale”.
Murray is currently the Chair of the
Motion Picture Industry Benevolent
Society. In 2001 he was the recipient
of the AFI’s Ken G Hall Award, in
recognition of his contribution to the
preservation of Australia’s film heritage,
and in the same year he was named
Australian Cinema Pioneer of the Year.
In 2004 he was honoured with a
Lifetime Achievement Award by the
Motion Picture Exhibitors Association.
Kodak Takes Hill
David L. Hill has been appointed
to the position of National Sales &
Marketing Manager, with Kodak’s
Entertainment Imaging group, Australia.
Based in Sydney, Hill joined Kodak in
2005 and has held positions within
the Consumer Digital Group (CDG).
Most recently he was responsible
for the On Site Specialty, Grocery
and Professional channels across
Australia and New Zealand as well
as having overall responsibility for
CDG in New Zealand. With over 25
years experience in the photographic
industry, Hill looks forward to his
new role. Hill will report to Greg
McKibbin, General Manager,
Entertainment Imaging, Australia &
New Zealand and Regional Business
General Manager & Vice President
Entertainment Imaging, Eastman Kodak
Asia Pacific Region. Visit www.kodak.
com.au/go/motion
NeWS
Acquisition
+ people
Critelli Joins JVC
JVC Professional has announced that
Nick Critelli has joined its team. Based
in Melbourne, Critelli joins as Senior
Account Manager for the Victorian,
Tasmanian and South Australian
markets. Critelli will focus primarily on
working with existing clients, distributors
and new business development
alongside National Sales and
Marketing Manager Noel Oakes.
Critelli brings extensive industry
experience with him to JVC Professional
having been most recently with
Panasonic At Work as Account
Manager/Sales Agent where he
was responsible for selling directly to
business sectors including broadcast
SME, Government, Education and
Retail. Critelli has also been MD of
Mode Video productions, Senior
Sales Consultant at Michael’s Camera
Video Digital and started his career as
a cameraman at Video Classique in
Melbourne. Visit www.jvcpro.com.au
Tieline Develops
Business with Gawley
Australian codec manufacturer
Tieline Technology has announced
the appointment of Charlie Gawley
to direct Australasian Business
Development for the company.
Charlie will be responsible for
Australasian sales and he will be the
first point of contact for dealers of
Tieline codecs throughout the region.
Visit www.tieline.com
News
Acquistion
9
News Ê-ÌÀ>}iÊEÊÃÃiÌÊ>>}iiÌÊÊ{£ÊÊ
media MANAGEMENT
- STRATEGY, STAFF, STUFF
by Karl Jansson*
Not AC/DC!
The world around
us changes
constantly, so knowing what has changed is an
important part of our lives. For businesses, recognizing
changes is also crucial. It allows businesses to adapt
themselves to the changing market needs.
As mentioned in my last C&T editorial in the July/
August edition we spoke of hot spots around the world
that are creating a need for talent within the broadcast
community based upon the potential driving revenue
into the networks.
Well, if you remain inquisitive into the region’s
activities, let’s now take the discussion down into the
level of Multinational Corporations (or MNCs for those
abbreviatorists).
What changes are occurring within MNCs within
the region that will influence your salary?
DB vs DC (Not AC/DC)
The first and most obvious is that of a definite shift
away from DB (Defined Benefits) to DC (Defined
Contributions). Changing to DC shifts the risk from the
employer to the employee.
Okay, if you are an Australian resident you are
certainly familiar with the standard, and mandatory, 9%
Superannuation contribution plan for employees. This
“DC” component is an integral part of our package
outlined by our employer that provides us with an
income at a time when we retire.
In comparison a DB plan is a retirement benefit,
sponsored by your employer, that pays a defined
amount upon retirement based upon length of service
by final average salary times a retirement multiplier. The
retirement benefit is permanent and guaranteed, and
most will adjust automatically to periodic cost of living
increases and protect from inflation. It will more than
likely have a survivor’s benefit and a disability benefit
to it as well.
FYI. More than two thirds of all public employees in
the United States participate in a DB plan.
With the Asia-Pacific region there is an emerging
trend towards a DC plan.
China for example leads the trend. In 2004
supplementary pension plans (DCs) were introduced
and we believe that within the next 3 years that
more than half of the multinationals will introduce a
supplementary pension plan or change their existing
plan. It’s interesting to note that by the end of 2008 all
social security bureaus that have held pension funds
10 Media Management
to date will need to transfer them into a more secure
licensed annuity provider. This is a government driven
initiative.
Other driving countries to varying degree are South
Korea, Hong Kong, and India where it is seen initially
as an attraction and retention tool. The next tier of
change will come from within Japan, Singapore &
Malaysia, Indonesia and Thailand. Taiwan in 2005
had started to work to similar commitments.
Behind these countries, will be Macau (introducing it
this year, 2008), with Vietnam and Philippines following
thereafter 2009.
So Why is There a
Change to DC?
Besides a shift from countries already with DB carrying
responsibilities, there is an interest in International plans
to be adopted due to increased mobility of employees
in the region. Also there are an increased number of
locally hired foreigners.
As a foreigner working in Singapore, China or
Taiwan you cannot participate in local statutory plans,
so your retirement contributions are not addressed. This
will of course have long term financial implications
unless you make alternative contributions elsewhere.
The support to DC will continue to roll-out within the
region, but the challenge even for some Multinationals
in smaller locations is simply economies of scale that
are brought about by limited HR and finance support.
To address this, there are plans within the MNCs to
bring them in to a region stand alone vehicle.
Remuneration packages
Due to changes in the world today that bring
financial demands and subsequent increased costs on
MNCs the focus is now on the value of employees,
and how to recognise and remunerate them.
Whether it’s common knowledge or not, there is a
grading system that most employers use to assess top
performers. In short, the grades are categorised as
high, medium and low performers.
The employee’s remuneration package is therefore a
reflection of their value to the company.
Now, this is not a revelation, however the way in
which packages are constructed may well create a
tighter definition.
One trend that is moving across Europe is that
although benchmarking has and will remain a popular
guide for remunerating staff and executives, it is now
moving towards benchmarking with International Peer
groups rather than to country specific groups.
This trend serves well for the employee by creating
a level playing field, whilst providing employers a
standard by which to invite International applicants to
join them.
However, outside the Asia-Pacific region the pace
of salary increases has significantly slowed in 2008
in Eastern Europe as companies seek to control their
fixed costs and focus their remuneration spend on high
performers.
The interesting point is that Continental Europe have
significantly increased target and maximum annual
bonus levels which have now caught up or surpassing
bonus levels in the UK and the US.
So, in a similar move within Asia in terms of DC,
what is evolving is now an emergence of a PanEuropean bonus plan with uniform bonus levels.
It’s forecast that a similar mind-set will flow though
Asia.
So, where will these changes occur? Mostly at the
Executive level where Share options and performance
shares are more popular these days than a cash plan.
As a matter of interest most CEOs are on a base
salary of a third of their expected packages with the
remainder made up of target bonus and LTI (Long Term
Investment), and in most cases the LTI component is
greater by percentage than the target bonus.
As expected, KPIs at a senior level are cascaded
down to departmental KPIs and individuals objectives,
where a line of sight is established. Whether it’s a
Business unit or team it’s linked to corporate portions.
Changes to Executive remuneration structures will
be reflected through the company’s objectives, so,
depending upon what part of the globe your financial
year ends, most MNCs will filter through changes to
individual bonuses.
Karl Jansson is General Manager of ‘J-Curve
Broadcast Recruitment Consultants’.
Email: [email protected] Web: www.jcurve.tv &
www.broadcastjobz.tv
Conference Preview/IBC2008
C+T Awards 2008
t
+
c
Awards
C+T Awards – the Results
Winter warmed up during ABE2008 as Sydney’s Manly Shore Club played host to the 2nd
Annual C+T Awards for Innovation.
>> Recognition of Innovation in Television Production. Cutting
Edge/Lateral Linking for AFL Specialty Camera Engineering.
>> Recognition of Innovation Technology
Development. Mediaware for Mediaware
inStream Insertion Server.
>> Recognition of Innovation Rich
Media Production. Firelight Productions Development. FairlightAU Pty Ltd for
for Scorched.
Xynergi Media Production Centre
>> Recognition of Innovation Project
/Facility Roll-Out Film. Park Road Post
Production for Development of RED
Camera Post Workflow.
>> Innovation Hall of Fame: Robert Clemesha/Magna
Systems & Engineering.
Other Winners
Recognition of Innovation Project/Facility Roll-Out TV. TVNZ/Freeview NZ for
Deployment of Statistical Multiplexed MPEG-4 SD/HD with EPG.
*
Recognition of Innovation Project/Facility Roll-Out Rich Media. Australian
Broadcasting Corporation for ABC Now.
Development. Ruzz TV for Quentin QA Workstation.
12 C+T Awards 2008
Conference Preview/IBC2008 13
C+T Awards 2008
Where Are They now?
What’s Happened to Just Some of Our Winners from 2007.
The Grading Sweet
“After receiving a 2007
C+T Award we began
work developing Version2 of the Grading Sweet
package.
Version-2
is a vastly expanded
collection of filters with
a more streamlined
interface and more
creative options.
“One of the highlights of The Grading Sweet 2 is the
Color Sweet filters which make it possible to create a
complete, graded look within a single easy to use filter.
The Pro versions of these filters allow for manual trims
on all main aspects of an image after the basic look
has been applied.
“These corrections also have no detrimental on picture
quality as they are all calculated and then applied as
a single layer of correction to give the operator full
creative freedom. The Grading Sweet 2 is now in use
in dozens of countries.” - Ben Allan ACS
ABC ISLAND
“ABC Island opened its doors to the virtual community in
3D world, Second Life in March 2007. It very quickly
built a strong and loyal community from Australian
and international visitors and over a year later is still
consistently ranked in the top ten of all globally branded
destinations in Second Life.
“The ABC experimented with various ways of using the
island to connect with audiences, through competitions,
treasure hunts, forums, classes and talks, realising fairly
quickly that events were the key driver to drawing in
visitors. These ranged from sophisticated scientific talks
by CSIRO scientist avatars, to experimental virtual artists
through the Australia Council.
“Often the most popular events are those organised
by the community itself – master classes in virtual
building, music quizzes and gatherings based on
calendar highlights, like Christmas, Australia Day etc.
There was even an election party which had a live feed
of the vote count. The most popular destination on the
island is the Sandbox where visitors are free to build
their own objects and create their own atmosphere.
“A year on, the community has become even more
proactive at customising the island, suggesting new
ideas and running their own events. Virtual worlds
have their own rules and etiquette and exploring this
bizarre environment has been, and continues to be, a
fascinating learning experience for the ABC.”
- Abigail E Thomas, ABC Innovation
14 C+T Awards 2008
Cutting Edge & EditShare
– Big Brother Workflow
Since winning an award for Innovation in Project
Rollout at the inaugural C&T Technology Awards,
both Cutting Edge and Editshare have progressed
the development of their workflow tools.
The Big Brother project proved the requirement for
high bandwidth, high availability storage as critical
to emerging “tapeless” work environments. Editshare
have responded to this need with the release of the
XStream server product, a natural development of the
Editshare family, which offers ultra high-performance
shared storage for most broadcast workflows.
Cutting Edge continued development of their
“Select” content management system to include
direct import from XDCAM and P2 cameras.
Combined with a portable system for laptop use that
allows logging on the road, “Select” offers a unique
workflow solution for any size production. “select”
has since been utilised on Granada production “I’m
a Celebrity…Get Me Out of Here” and is currently
in use on Series 8 of “Big Brother”.
Europa Australia
“Since the inaugural C & T Awards on the 18th July
2007 Europa Australia has advanced to become
the pre-eminent manufacturer of Closed Caption
solutions in the Australian & international markets.
“Notching up sales with all major broadcasters
in Australia during the past year Europa Australia
also managed some impressive wins overseas.
Major sales have been won to end users such
Canal+ in France and also to original equipment
manufacturers that need to make sure their products
adhere to OP47 specifications. Australian sales
included TEN, Nine, Seven, Southern Cross, WIN,
ABC, Post Production facilities & various systems
integrators.
“October 2007 also saw a deal struck between
Europa Australia &
Wohler Technologies,
Inc. giving Wholer
responsibility
for
sales & support for
Europa products in
overseas markets. This
relationship gave birth
to the Ross OpenGear
compatible 4D Broadcast Platform (4DBP) card
series that offers the same legendary closed caption
options for the North American market that is
available locally. Functionality also includes all other
solutions available on the 4DBP card for the IRT &
Codan Broadcast frames.
“The Antidote range of DACs & ADCs are now
being built to cater for both HD & SD video and
the well known Automated Cable Number Extractor
program (A.C.N.E.) has been enhanced & refined.
“With strong demand for an Evertz card
solution, Europa Australia stepped up to the plate
& developed the EAM-EVZ-E backplane interface,
now the 4DBP card can be plugged directly into an
Evertz 7000 series card frame.- Elio de Luca
Innes Corporation
“Innes Corporation has experienced a huge growth
in Radcap sales over the past year, not only at home
but also abroad. We have supplied Radcaps to
South Africa, South America, Greece, the U.K, Italy,
Denmark, Poland, Singapore, Malaysia and Turkey.
Even to this day, there is no product to rival the 24
channel FM Radcap anywhere in the world.
“With DAB+ digital radio soon to be introduced
into Australia, we are hard at work developing a
DAB version of the Radcap card. Like the analogue
AM and FM cards, this will capture all the stations
on a DAB+ ensemble, rendering them as separate
wave input devices under Windows. Again like
its analogue counterparts, this new card will be
based on hardware down-conversion followed by
signal processing software utilising the host PC’s
multimedia streaming instruction set. The driver
will also decode the ancillary text and graphical
information transmitted along with the audio, for
display by suitable application software.” - Deborah
Ford, Innes Corporation Pty Ltd.
www.fxphd.com
“In the last year fxphd has grown quarter on quarter
dramatically, the organization now works with
people in 65 countries and produces approximately
15 hours a week of content. On average we
download to members 8.5 Terrabytes a month of
content and we have minimal downtime as our US
team has managed scalability without fault.
“In the last year we have had two of our projects
In the Sundance film festival in the USA and we
have been also nominated for an AFI. The company
has had to grow in staff to meet its objectives with
new offices and studios opened successfully in
Chicago within the last 6 weeks. Currently the team
is working on expanding into China where we have
signed a partnership agreement recently.”
- Mike Seymour
Amber Technology Limited
ABN 86 003 231 187
SYDNEY (02) 9452 8600
WWW.AMBERTECH.COM.AU
MELBOURNE (03) 9815 2710
TOLL FREE CUSTOMER SERVICE 1800 251 367
BRISBANE (07) 3831 8444
[email protected]
technical
STANDARDS
MPEG Multiplies Views of Video
Multiviewing of video was a focus of the 85th
MPEG meeting held in Hannover, Germany during
July 2008. Multiview Video Coding (MVC), which
provides a compressed video format suitable for
applications such as high-quality stereo and 3D
video, has reached the Final Draft Amendment status
(ISO/IEC 14496-10:200X Ammendment 1) at the
co-located 85th MPEG and 28th Joint Video Team
(JVT) meetings. MVC enables these new applications
by exploiting the similarities between multiple-camera
video captures of a scene, a scenario becoming
more common in today’s world due to the decreasing
cost of cameras and the advent of suitable 3D
displays. By eliminating redundant information across
camera views, MVC achieves a reduction in bit rate
of approximately 20 percent on average, when
compared to the more traditional method of encoding
views from each camera separately.
The new Multiview High Profile as defined in the
MVC amendment uses the same coding tools as
supported by the previous High Profile (HP) of the
MPEG-4 AVC standard. Level constraints for this
profile have also been specified so that fixed decoder
resources of single-view AVC decoders, such as
memory, could be repurposed for decoding stereo
and multiview video bitstreams. Moreover, MVC is
backwards compatible in the sense that one view
(the so-called base-view) can be decoded from a part
of the MVC stream by using a HP decoder, which
could then be output on a conventional monoscopic
display. An MVC decoder would generate multiple
output views from the full stream and forward them to
a stereoscopic or multiscopic display.
SMPTE to Establish Home 3D Task Force
The Society of Motion Picture and Television
Engineers (SMPTE) is establishing a task force
to define the parameters of a stereoscopic 3-D
mastering standard for content viewed in the home.
Called 3-D Home Display Formats Task Force,
the project promises to propel the 3-D home
entertainment industry forward by setting the stage
for a standard that will enable 3-D feature films
and other programming to be played on all fixed
DVB Ratifies T2
The DVB Steering Board has ratified and published the
DVB-T2 specification. DVB-T2 is a second generation
transmission system for digital terrestrial television. The
specification introduces the latest modulation and
coding techniques to enable efficient use of valuable
terrestrial spectrum for the delivery of audio, video and
data services to fixed, portable and mobile devices.
Building on the foundations of the successful DVBT system, DVB-T2 promises a 30 to 50 percent
increase in capacity in equivalent reception conditions.
Polling in Palestine
devices in the home, no matter the delivery channel.
The inaugural meeting of the Task Force took place
in August and was hosted by the Entertainment
Technology Center (ETC) at the University of
Southern California, near downtown Los Angeles.
The gathering featured demonstrations of 3-D
technologies.
The 3-D Home Display Formats Task Force will
explore the standards that need to be set for 3-D
content distributed via broadcast, cable, satellite,
packaged media and the Internet and playedout on televisions, computer screens and other
tethered displays. After six months, the committee
will produce a report that defines the issues and
challenges, minimum standards, evaluation criteria
and more, which will serve as a working document
for SMPTE 3-D standards efforts to follow.
Visit www.smpte.org
Broadcasters deploying DVB-T2 will be able to roll out
new multiplexes that could offer multi-channel HDTV
services and create datacasting opportunities.
DBT2 uses OFDM (orthogonal frequency division
multiplex) modulation to deliver a robust signal and
offers a range of different modes making it highly
flexible. It employs the same LDPC (Low Density Parity
Check) error correcting codes used in DVB-S2 for
excellent performance in the presence of high noise
levels and interference. A number of innovative features
such as Physical Layer Pipes, support of Multiple-InputSingle-Output (MISO) and Rotated Constellations are
also included. DVB-T2 has been defined so that the
standard can be enhanced in the future through the use
of Future Extension Frames.
The specification will now be submitted to ETSI
(European Telecommunications Standards Institute) for
standardisation and has been published on DVB’s
website as BlueBook A122.
Visit www.dvb.org
Offering the best
solutions…
…end-to-end solutions from proven and reputable suppliers. Our diverse
product range and experienced broadcast professionals ensure you the most
relevant solution for your needs.
Etere - A new breed of broadcast automation and
management. Everything from ‘bookings to billings’ in a
single system.
Orad - Offers the most sophisticated, technologically
advanced and integrated graphics system for all broadcasting
applications.
NVision - Multiviewer solutions integrated into their new
‘rectangular’ router matrix. Now shipping 3Gb/s for your
future high bandwidth requirements.
SintecMedia - SintecMedia’s “OnAir” is the media industry’s
most comprehensive system for managing airtime sales,
traffic, programming, and promotion campaigns.
Ross Video - Ross ‘Vision’, a brilliant new vision of the next
generation in production switchers.
Video Signatures, Animation Compression Tools
At its 85th meeting, MPEG issued a Call for Proposals
for a new amendment to the MPEG-7 Visual standard
(ISO/IEC 15938-3), for the purpose of standardising
the description of video data by very compact, unique
and quickly searchable signature description tools.
This technology is expected to support the finding of
identical video content, even when a copy has been
modified, for example, by re-encoding of the content,
colour change or filtering manipulations, and other
common editing operations such as changing time
bases, cutting in a timeline or changing the frame size
or viewing window. Potential user scenarios include
finding duplicate video content across databases,
16 Standards
associating modified video content with metadata of
its origin, monitoring of usage, and identifying lost or
stolen items by photographs. To start an evaluation
based on rigorous testing, a large dataset of video
clips has been collected. Responses to the CfP are
expected prior to the 87th MPEG meeting (February
2009), and will be evaluated during that meeting.
The new MPEG Call for Proposals for video signature
tools be found at http://www.chiariglione.org/
mpeg/hot_news.htm.
Other notable accomplishments of the 85th
Meeting included the standardisation of a new
compression tool, called Frame Based Animation
Mesh Compression (FAMC) has been finalised
by MPEG. In contrast with existing MPEG-4 3D
animation tools that are based on high level control
mechanisms such as the human skeleton, this new
tool may be used for representing the result of any
type of 3D deformation in a compressed manner.
Content creators may use any technique proposed
by their authoring tools for deforming 3D meshes.
FAMC directly encodes the vertex positions and
attributes over time. Analogous to video coding
when compression is performed on pixel colour,
FAMC encodes displacements and attributes (such as
colours) of the vertices in the mesh.
Isilon - Delivers unprecedented levels of performance,
scalability and value. Scalable beyond 1.6 petabytes.
Outperform others to a blistering 10gB/s…that’s 10 gigabytes
per second in a single file system and single volume, wow!
SYDNEY
www.techtel.com.au
+61 (0)2 9906 1488
MELBOURNE
www.techtel.com.au
+61 (0)3 9899 3032
NEW ZEALAND
www.techtel.co.nz
0800 832 485
WIFT
“ inspiration. partnership. support ”
Empowering the Future of the Film & Television Industry
By Heidi Tobin, Stephanie Mazzotta and Ana Tiwary
2008 is proving to be a year
of innovative transformation for Women
In Film and Television NSW. A fresh
committee was elected in June and exciting
new developments are well underway. The
rollout of a number of WIFT NSW events is
marked by the 15th Annual WOW (World
of Women) Film Festival, at the Chauvel
Cinema from 1st October.
Established in 1982, WIFT NSW seeks
to provide both recognition and a voice
to women filmmakers in a male orientated
domain. Membership based and not for
profit, WIFT NSW has continued to commit
to improving the status of women, both on
and off screen, for 26 years.
Driven to develop the future of the industry,
one initiative from WIFT NSW provides its
members with more opportunities for career
development. With the launch of the new
Media Mentorship for Women (MMW)
on the Opening Night of the WOW
festival members will have the opportunity
to be aligned with an established industry
professional.
WIFT NSW’s MMW will facilitate a mentoring
relationship between two people involved in key
technical areas of screen production, such as
Cinematography, Script Writing, Editing and Sound
Design, over a period of six months. The Mentoring
Committee will match mentees with suitable mentors
and provide avenues and advice to assist in building
the relationship.
Women are significantly under-represented in key
creative roles in the screen industry, and this affects the
industry as a whole.
Statistics on the Screen Australia website show that
there remains a great gender imbalance in the screen
industry workforce and in some ‘technical’ occupations,
the imbalance has increased. For example, the 2001
figures show that after 1996 the number of women
Film and Video Editors decreased 5% to 21%, women
Directors of Photography were at a low 4%, and only
28% of Australian Directors were women. Screen
Australia plans to renew the statistics in late 2008.
President of WIFT NSW, Lindy Monson says “These
statistics remain not only a matter of equal employment
opportunity, but also impact on the way stories are told
on screen.” Lindy is hopeful when she adds, “WIFT
NSW’s MMW program will help redress the gender
imbalance in key creative areas, by contributing to the
skill set of mentees who will then go on to present more
screen stories `through the eyes of women’.”
18 WIFT
One role of the mentor is to act as a sounding board
for mentees. The mentor can help with career direction,
advice on how the mentee can strengthen their skills, relate
to their clients & peers and achieve their career goals.
The MMW will provide opportunities for both mentees
and mentors to develop their professional skills. It’s also
a chance for mentors to give something back to the
industry by empowering its future.
Mentorship can prove to be a valuable experience
in all industry areas.
Sonia Borella, Media and Corporate Partner of law
firm Holding Redlich, is excited about being the legal
sponsor for the WIFT NSW MMW.
“In the last eight years I have gained enormous
benefits from being mentored by Ian Robertson, the
Managing Partner of Holding Redlich, Sydney office.
Ian has always been available to offer advice, discuss
any problems I encountered, comment on my progress
and help me decide on the direction of my career. I’m
convinced that mentoring played a significant role in
my appointment of Partner of Holding Redlich, shortly
after my 30th Birthday.
Heaven Muecke, applicant for the MMW describes
the Film & Television industry as being very competitive.
She says, “The MMW is a rare opportunity for the
gap between professionals and aspiring professionals
to be bridged; in bringing these two together in an
atmosphere of support, WIFT NSW can provide me
Your global partner in media technology solutions, providing
you with product, design and full integration services.
with an incomparable stepping stone
to achieving my goal. I have a thirst for
knowledge from professionals who are
working at the level that I aspire to reach.
WIFT NSW’s MMW will not only prove
to be of great benefit to me, but also act
as a proactive means of furthering the
development of the Australian screen
industry.”
“The Mentorship committee is working
hard to design a very flexible program that
matches applicants with suitable mentors
and extends to women filmmakers in
regional areas. Two key facets of the
program are i-mentoring, an online forum,
and podcasts of our Sydney events for
WIFT NSW members which act as a
resource for women to seek answers to
daily technical or career development
advice,” said Ana Tiwary, Mentorship
Co-ordinator and Vice President of WIFT
NSW.
Tiwary adds, “At the end of the day,
our commitment is to improve the status
of women both on and off screen.
We provide support to all of our members and the
MMW is a new incentive to generate growth in the
Film & Television industry.”
Not only does WIFT NSW aim to help its members
grow through the MMW program, it also assists by
providing some fantastic networking opportunities.
`Café Connections’ is held regularly giving members
a chance to network with their industry peers and
learn about specialist aspects of screen production.
Recent events focussed on cinematography and the
role of the colourist in post-production.
Additionally, as part of the launch of the WIFT
NSW MMW program, a Mentorship Forum
covering the topic ‘Work-Life Balance’, with Guest
Speaker Alison Nancye from The Life Kitchen, will
be held on Sunday 5th October 2008, 1pm-3pm
at Greenknowe Room in the Rex Centre, Potts Point.
This Forum is FREE for all Mentorship Applicants,
$5 for WIFT NSW and $15 Non-members. Limited
seating is available and RSVP is required. Please email
[email protected]
For further information about the launch of WIFT
NSW’s Media Mentorship for Women program
please visit www.nsw.wift.org/mentor
For further information on the other WIFT NSW
activities, or to become a member, please visit
www.nsw.wift.org
WIFT NSW is supported by the City of Sydney
genCom TeChnology - supplier of QualiTy eQuipmenT inCluding
BroadCasT servers & sTorage
Channel Branding & graphiCs
Omneon - Your Digital Content Platform: Robust
integrated and modular (scalable) media servers and active
storage systems for news & production, transmission & post
production.
Pixel Power - Broadcast Graphics Solutions:
Innovative, powerful, award winning graphics & branding
products for the video broadcasting & post production
industries.
rouTing, disTriBuTion and presenTaTion
videoWall & CapTure Cards
Evertz - Complete Broadcast Infrastructure: An
integrated family of products for all broadcast infrastructure
requirements including routing, distribution, conversion,
transport, display & presentation.
Datapath - The Big Picture: Enabling you to build
simple to highly complex data walls. Capture VGA/DVI for
remote display and /or recording.
digiTal reCording
digiTal audio proCessing
DOREMI - Tapeless Digital Recording: Cost effective
solutions for digital recording & playback from analog SD
to digital HD video, compressed or un-compressed.
Linear Acoustic - Loudness Problems Solved:
Innovative, sophisticated solutions for managing multichannel surround sound audio loudness issues in digital
broadcast.
Camera poWer sysTems
video TeChnology
Anton Bauer - From Mini to Cine: Intelligent power
systems for professional, broadcast and digital cinema
acquisition. In the field your camera is only as good as the
battery powering it.
IPV - Empowering your Content: Management, serving
& browsing of low bit-rate, frame-accurate video over
the internet (or any network) with VTR–like transport
controls enabling the optimisation of video assets.
australia tel | +61 2 9888 8208
nZ/asia/sth africa tel | +64 9 913 7500
email | [email protected]
www.gencom.com
Beijing Broadcast
SPORTSCASTING
- OLYMPIC SPORTSCASTING NEWS
Panasonic Performs in Beijing
Panasonic has set new standards
in technology at the Beijing 2008
Olympic Games, with the total
equipment being delivered to all 37
venues in Beijing and the other six
cities holding Olympic events the
largest-ever – 1.7 times greater in
scale than the Athens 2004 Olympic
Games.
Spectators at the Beijing 2008
Olympic Games caught all the action
with around 1,291 square metres
of giant Panasonic ASTROVISION
large screen display systems at
Olympic venues throughout the
Games. Throughout 18 venues, a
‘trackside’ view was delivered with
25 ASTROVISION screens.
In the vast space of the National Stadium – the
‘Birds Nest’ – twin screens were installed for the
Opening and Closing Ceremonies and other events
- each with a total display area of 152 sq m. The
Stadium was complemented with sound from 264
RAMSA all-weather loudspeakers. In total, 284 entire
professional audio systems were installed across 41
venues. The ASTROVISION screens consist of hundreds of
LED (Light-Emitting-Diode) units. Each unit contains a
layer of LEDs, many times brighter than a home TV, in
a grid of red, blue and green.
By blending red, green and blue (RGB) and
controlling their brightness at 1,024 different
levels, ASTROVISION screens can achieve more
than one billion colour variations to produce high
quality images. With a brightness of 5,000 cd/m²,
ASTROVISION delivers high quality images even
outdoors in natural light. A 140-degree horizontal
viewing angle ensures there is no colour distortion.
High-intensity LEDs replace the previous fluorescent
tube in the ASTROVISION panel, reducing
power consumption by more than 75 per
cent and weight by more than 50 per cent
compared with the model used in Atlanta
1996.
Panasonic also ensured that across
the world, viewers of the Beijing 2008
Olympic Games TV broadcast did not
miss a stride, stroke, or jump of the Games
– with every moment captured entirely in
High Definition – a first for the Olympic
Games. The Beijing Olympic Broadcasting Co.,
Ltd. (BOB) used Panasonic P2 HD series
with solid-state memory and newsgathering
systems for broadcasting as the official
recording equipment for the Beijing 2008
Olympic Games. Panasonic provided around 250 recorders, 100
camcorders, and 1,500 monitors for the 2008
Beijing Olympic Games. Panasonic’s professional edit
controllers and digital AV mixers at the International
Broadcast Centre (IBC) facilitated live broadcasts or
highlights packages for the world’s broadcasters. Panasonic recently renewed its partnership with
the International Olympic Committee for a further
eight years to 2016. Visit: http://panasonic.net/olympic/
Non-Linear Olympic Viewing Goes ‘Live’ in Austria
The creation of non-linear, multi-stream and realtime content formats related to major media
events, which adapt to the interests of the
consumer. That is the aim of LIVE, a research
project partially funded under the European
Union’s IST Sixth Framework Programme.
Launched in January 2006 and running for 45
months, the LIVE Consortium used the Games in
Beijing to trial a new service, the “LIVE Olympic
Games Show”.
The 500 Austrian households that
participated in the trial were given a set-top
box to access the service. The LIVE service gave
viewers the choice of which sporting events to
watch when several different competitions are
taking place simultaneously, as often the case
during the Olympic Games. Viewers also had
the option to switch between sports, as well
as access additional information such as athletes’
biographies.
The Live Service was tested by the ORF (Austrian
Public Television), together with the Telekom Austria
Aon.TV platform. Over the two-week period of
the Beijing 2008 Olympic Games, a total of four
interconnected channels were produced. This
allowed the LIVE Consortium to test a series of new
TV production tools and content formats, which
enable the production of a TV programme within
different interconnected related sub-channels to be
produced “on demand”, according to viewers’
feedback and the development of the live action.
The innovation behind LIVE is the ability to
analyse, link and recommend content from multiple
content sources in the spontaneous and fast moving
environment of the live broadcast. The LIVE system
during the live broadcast automatically analyses
and aligns content coming in from the multiple
incoming streams and available archive material.
For the Olympic Games, it supplemented this
video content with detailed information about
the athletes, sports and real-time results from the
information management system run by Atos
Origin, an international information technology
services company and the Worldwide IT Partner
of the Olympic Games.
Additionally, feedback coming in from the TV
viewers (switching behaviour and on-screen polls)
is also analysed. The meaningful connections
between viewer preferences, event information
and analysed video material are then processed
in real-time and fed into the control room to guide
the production process.
Visit the Live Consortium web site at
www.ist-live.org
E N T E R T H E TA P E L E S S A G E
The SDHC/SD memory card is revolutionising high-definition video production.
High-speed data transfer makes possible highly efficient video
production.
7JEFPEBUBJTTUPSFEPOUIF4%)$4%NFNPSZDBSEBTmMFTFMJNJOBUJOHUIFEJHJUJTJOH
TUFQSFRVJSFEXJUIUBQFT5IJTTJNQMJmFTUSBOTGFSSJOHPGWJEFPDPOUFOUUPB1$BOE
OPOMJOFBSFEJUJOH
The SDHC/SD memory card delivers excellent reliability.
4%)$4%NFNPSZDBSETIBWFOPNPWJOHQBSUTTPUIFZIBWFBIJHIUPMFSBODFGPS
QIZTJDBMWJCSBUJPOTBOEJNQBDUTBTXFMMBTIJHIMPX
UFNQFSBUVSFT5IFSFJTOPOFFEUPXPSSZBCPVUNPJTUVSFDPOEFOTBUJPOPSESPQPVUT
"RVJDLTUBSUVQNFBOTZPVhSFSFBEZUPSFDPSEBOZUJNF
AVCHD with excellent picture quality through newly developed PH
recording mode.*2
5IF"7$)%GPSNBUFNQMPZTUIFOFX.1&("7$)DPEFDUPEFMJWFS
BQQSPYJNBUFMZUXJDFUIFDPNQSFTTJPOPGUIF)%7GPSNBUXIJDI
FNQMPZT.1&("().$TVQQPSUIJHIFSCJUSBUFSFDPSEJOHNPEF1)NPEF
XIJDISFBMJTFTIJHIFSRVBMJUZPGWJEFPJNBHFTGPSQSPGFTTJPOBMT
"7$)%DPNQBUJCMFTPGUXBSFJTSFRVJSFE5IFIBSEXBSFSFRVJSFNFOUTSFDPNNFOEFEGPSUIFTPGUXBSFNVTUBMTPCFTBUJTmFE3FDPSEJOH
JO1)NPEFSFRVJSFTBO4%4%)$NFNPSZDBSEPG4QFFE$MBTTPSIJHIFSt"7$)%BOE"7$)%MPHPBSFUSBEFNBSLTPG.BUTVTIJUB&MFDUSJD
*OEVTUSJBM$P-UEBOE4POZ$PSQPSBUJPOt7JEFPTSFDPSEFECZUIF"7$)%DBNFSBDBOCFQMBZFECZ"7$)%DPNQBUJCMFQMBZFSTPOMZ'PS
NPSFEFUBJMTSFBEUIFJOTUSVDUJPONBOVBMPGZPVSQMBZFS*GZPVBSFVOBCMFUPQMBZWJEFPTXJUIBO"7$)%DPNQBUJCMFQMBZFSUIFOQMFBTFVTF
UIJTQSPEVDUt"O4%)$DBSESFBEFSJTSFRVJSFEJGUIF4%)$DBSEJTOPUSFDPHOJ[FECZUIF1$t5IF4%MPHPJTBSFHJTUFSFEUSBEFNBSL
t5IF4%)$MPHPJTBSFHJTUFSFEUSBEFNBSL4%)$NFNPSZDBSETDBOCFVTFEJO4%)$DPNQBUJCMFFRVJQNFOUPOMZt$BSFGVMMZSFBEUIF
JOTUSVDUJPONBOVBMCFGPSFVTJOHUIJTQSPEVDUUPFOTVSFDPSSFDUVTFt8IFOQVSDIBTJOHUIJTQSPEVDUDPOmSNUIFEFTDSJQUJPOTJOUIFXBSSBOUZ
DBSEBOESFUBJOJUGPSGVUVSFSFGFSFODF
Memory Card Camera-Recorder
AG-HMC152
AG-HMC72
Ecological Benefits -Thanks to Solid-State Technology,
AVCCAM Can Support You Help Conservation.
Because SDHC/SD memory cards are re-usable and no moving parts are required.
AVCCAM is an environmentally-friendly technology.
3 Ye a r W a r r a n t y R e p a i r P r o g r a m
Customers who register as users on the website will receive a
extended warranty repair valid for up to three years.
t"QQMJDBCMFNPEFM"().$TFSJFTt4PNFSFQBJSTTVDIBT$$%SFQMBDF
NFOU
BSFOPUDPWFSFEVOEFSUIJTXBSSBOUZt5IFNBYJNVNGSFFXBSSBOUZQFSJPE
NBZCFTVCKFDUUPDIBOHFEFQFOEJOHPOUIFVTBHFEVSBUJPOPGUIFQSPEVDU
Details about user registration an d t h e ex t e n d e d w a r r a n t y :
Panasonic Australia
20 Sportscasting
Economical shoulder mounted type
http://panasonic.biz/sav/pass_e
1 I P O F t & N B J M C SP B E D B T U T B M F T ! Q B O B T P O J D D P N B V t 8F C X X X Q BOBTPOJDCSPBEDBTUDPNBV
Sportscasting
CCTV Boosts Games Coverage with RFS
SPORTSCASTING
With the installation of a new UHF combining system
from Radio Frequency Systems (RFS), China Central
TV (CCTV) treated Beijing viewers to the latest in highdefinition digital television (HDTV). In May this year,
CCTV went to air with two new digital channels,
including one HDTV channel dedicated to world-class
sports broadcasting.
According to Norm Franke, RFS Broadcast Sales
Manager Asia, RFS supplied a three-channel directional
waveguide combiner in support of the new digital
services, for installation at CCTV’s landmark television
tower–the tallest structure in Beijing. The RFS combiner
allows CCTV to combine an existing analogue channel
(Ch 27) with the new HDTV sports channel (Ch 32)
and standard-definition digital channel (Ch 33).
“The combined signals are broadcast through a
single existing broadband antenna, thereby achieving
optimum utilisation of the site’s available infrastructure,”
Franke said.
Specially designed for high-power UHF combining
applications, the RFS CW-series directional waveguide
combiner leverages careful design of the wideband
path and the application of cross couplings to achieve
a high-performance and compact solution. This permits
high-performance adjacent-channel combining of the
two 10kW digital channels (Ch 32 and 33), and
the 30kW analogue channel (Ch 27). Moreover, the
combiner’s sophisticated filtering capability provides
the transmission mask filtering that is so essential for
digital broadcasting.
“The combiner technology from RFS supports CCTV
as it moves into a new era of HDTV. This will build
on CCTV’s world-class reputation and ensures that we
remain at the forefront of sports broadcasting, both
in China and internationally,” said Zhang Xiaoliang,
Chief Engineer at CCTV Tower in Beijing.
Norway Customises Media Management with OmniBus
OmniBus Systems reports that Norwegian national
broadcaster NRK (Norsk Rikskringkasting) created
a customised asset management and logging
operation for its Olympics coverage which used
a customised schema based on the metadata
functionality of OmniBus’ OPUS media asset
management system. It enabled NRK’s 12 regional
production centres to rapidly locate clips with
detailed search criteria in more than 140 data
categories, and gain instant access to material as it
was logged in Oslo.
Up to 15 simultaneous Olympic feeds were
recorded using OmniBus Ingest Manager at NRK’s
main Oslo site, with a team of eight loggers working
in shifts to add metadata. Using OPUS search tools,
staff at NRK’s 12 regional production centres could
immediately access the material and view copies
of required clips. Logged events were used for shot
selection to build highlights packages quickly or to
trigger media transfers to any of the NRK sites across
Norway. NRK’s separate HD Olympic production
team also used the metadata system for quick
identification of required material from each feed.
To ensure operators would be able to keep
abreast of the workflow, NRK’s technical staff
devised a custom metadata schema with advice
from OmniBus specialists. The custom metadata
schema allowed NRK operators to define material
by each event classification and by key points of
interest within the event, such as break points in a
tennis match. Each event had its own further level of
specific, custom data.
To speed the logging process, the metadata fields
were linked to a database of keywords, providing
automatic completion of frequently used names and
terms. OPUS G3 technology allowed NRK to create
tailored interfaces for each event and, as a result,
increase the efficiency of data entry. An additional
“Kuriosa” event feature allowed operators and
producers to identify amusing or odd moments
in the action that did not fit into any of the other
categories.
OPUS made system-wide searches available to
users across all 12 of NRK’s regions, using either the
OmniBus SmartClient, a Web-based technology, or
the OmniBus G3 desktop applications for intranet
searching, browse and keyframe viewing across
the varied platforms comprising NRK’s installations.
In addition, staff at an OmniBus G3 Desktop
could control routing and machine operation via
a consistent and unified user interface, whether
ingesting, browsing the archive, or making shot
selections and exporting content to a craft editor. Visit www.omnibus.tv Miranda Monitors Olympics
Miranda Technologies was selected to provide
signal processing and monitoring equipment to
US network NBC during its coverage of the 2008
Olympic Games.
NBC’s signal processing infrastructure at the
Beijing Olympics used more than 200 Densite
frames to provide the full breadth of interfacing
functions. Over 80 of the new XVP-1801/DAP1781 signal processing card combinations were
used to deliver up/down/cross conversion plus
high performance Dolby decoding/encoding.
Primary monitoring and control during the
network’s 3600 hours of coverage at Beijing
was performed using four Kaleido-X multi-image
display systems. To streamline signal quality
control, Kaleido-X processors were integrated
with an iControl QC monitoring system. When an
operator selected a video signal on the monitoring
wall, it would be automatically routed to a wave
form monitor embedded in the monitoring display
for detailed analysis. The monitor wall also
22 Sportscasting
automatically presented the proc-amp control panel
for the selected signal to enable rapid adjustment if
required.
CCTV Monitors with Miranda
Host broadcaster Chinese Central Television
(CCTV) also installed Kaleido multi-image display
processors from Miranda, 50 in all, for monitoring
two channels dedicated to the Beijing Olympics.
During the Beijing Olympics, CCTV-HD was
broadcast as the ‘Olympic HD Channel’, and
offered live coverage of all the events. Eight cities in
China were able to receive HD programmes, namely
Beijing, Tianjin, Shanghai, Shenyang, Qingdao,
Qinhuangdao, Guangzhou, and Shenzhen.
At CCTV’s International Broadcast Centre, two
Kaleido-X processors and 17 smaller Kaleido-Alto-HD
and Kaleido-Quad multi-viewers were installed for
master control monitoring. Additionally, 25 Kaleido
multi-image processors were used across the Olympic
Stadiums for production monitoring.
CCTV’s new Television Cultural Centre, located in
Beijing’s Central Business District, also installed two
Kaleido-X processors, which can display up to 160
feeds across eight plasma displays in the master
control room. These multi-image outputs are also
displayed across 32 monitors in four studios.
Two new HD OB trucks operated by CCTV were
also equipped with multiple Kaleido multi-viewers.
One of the trucks is amongst the largest in Asia,
at 14.6 meters in length, and is fitted with 20
cameras.
The Kaleido monitoring systems were used to
monitor external signals from Beijing Olympic
Broadcasting (BOB). The multi-image processors
allowed easy monitoring of multi-channel audio,
with extraction of six channels of audio from
embedded signals during the Beijing Olympics.
Miranda’s Kaleido-X multi-viewer offers the ability
to display signals freely across multiple displays,
without restrictions on signal position, repetition,
format or aspect ratio.
Visit www.miranda.com.
Sportscasting
The International Olympic Committee (IOC)
has announced agreements with the Asian Broadcasting Union (ABU) and
ESPN STAR Sports (ESS) for the broadcast rights within certain territories in
Asia for the Vancouver 2010 and London 2012 Olympic Games. The agreements include Afghanistan, Bangladesh, Brunei, Bhutan,
Cambodia, East Timor, India, Indonesia, Iran, Laos, Malaysia, Maldives,
Mauritius, Mongolia, Myanmar, Nepal, Pakistan, Papua New Guinea,
Singapore, Sri Lanka, Thailand and Vietnam.
As part of the agreements, the ABU has acquired terrestrial over-theair television and radio broadcast rights within the region, and ESS
has acquired non-standard television rights including cable and satellite
television platforms. In addition, both organisations will have certain
simultaneous unaltered retransmission rights on other media platforms.
The members of the ABU have committed to a total of 200 hours
minimum exposure for the London 2012 Olympic Games and to a daily
52-minute highlights programme in prime time for the Vancouver 2010
Olympic Games on terrestrial, over-the-air television. ESPN STAR Sports,
meanwhile, has committed to deliver comprehensive coverage across
cable and satellite television platforms of over 200 hours of coverage for
the London 2012 Olympic Games, and over 60 hours of coverage for the
2010 Winter Games. In addition, ESS will also be broadcasting Olympic
Games programming showcasing golden moments from the history of the
Olympic Games.
Kiwi sports fans
were able to keep tabs on their Olympians
via video clips streamed direct to their mobile phones free of charge, thanks
to a partnership between Television New Zealand and Telecom.
In what was first for New Zealand, Telecom customers with videoenabled mobiles will be able to view the best of TVNZ’s Olympic coverage
from almost anywhere.
The TVNZ clips, up to three minutes long, featured the best of the
broadcaster’s Games coverage including Kiwi performances, athlete
interviews, and key events of the day from Beijing. Telecom customers
were able to stream up to 20 clips per day free of charge.
IMG Worldwide, Inc., the global sports and entertainment
company, and China Central Television (CCTV) have announced the
formation of a ground-breaking joint venture to create, develop and
promote world-class sporting events and sports programming across China,
including Taiwan, Hong Kong and Macau. The joint venture has a 20-year
term and is exclusive to IMG and CCTV. The historic partnership, ‘CCTV-IMG Sports Management Company,’
will be headquartered in Beijing, and will own and produce a series of
live sporting events and television/multimedia programming that will serve
as a completely new platform for a broad range of corporate sponsors in
the region following the Beijing 2008 Olympic Games. Visit www.imgworld.com
3G Wireless LLC and Bexel Broadcast
Services used six of Nucomm’s CamPac 2 wireless camera
transmitters and six of its Newscaster DR diversity receivers to provide HDRF coverage for the host world feed. Stationed at the Hong Kong-based
Sha Tin competition venue and Beijing-based Workers’ Stadium, the
Nucomm systems were used during portions of the opening ceremony as
well as during several competitions including the Keirin Track Bike racing
event, where one of the CamPac 2s transmitted via a camera-back system
for a follow camera, and the equestrian event, in which the other CamPac
2s linked back to POV shots during the event’s featured “jumps”.
Visit www.nucomm.com. Back to Contents Page
Sportscasting
NBC Backed by Avid
US NBC was looking for a solution to deliver more
than 3600 hours of HD programming over a 17-day
period. In order to fulfil this task, NBC opted for 224TB
of Avid Unity ISIS shared storage to be dispersed
across four systems, including an Avid Interplay system,
which enabled scalability, vast client connectivity,
resiliency, and a facility-wide workflow. NBC also
deployed approximately 34 Avid systems for editing,
ingest, capture, and play-out, and used Avid’s DNxHD
codec to significantly reduce storage and bandwidth
requirements, while providing mastering-quality HD
media. The 75,000-square-foot International Broadcast
Center (IBC) in Beijing, China had a number of HD
nonlinear edit suites outfitted with both Avid Symphony
Nitris and Media Composer systems, connected
to Avid Unity ISIS and Avid Interplay systems. Avid
DNxchange systems integrated with an EVS XT[2]
system to enable the real-time conversion of EVS HD
TANDBERG Television was selected
media to the Avid DNxHD 120 format – to facilitate
HD production at 1080i/50 resolutions within the
Avid shared storage environment. Because Avid
DNxHD files support full raster 8- and 10-bit media,
they deliver the 10-bit uncompressed HD images – at
reduced file sizes. When fully operational, the NBC’s
IBC area was equipped to handle more than 160TB of
HD media in a shared-storage environment – or 1250
hours of HD footage.
Meyer Sounds Out Opening Ceremony
Few live events have the power to draw
an audience of billions, but the opening
ceremony of the Beijing Olympics easily
surpassed that landmark. The largest
international sporting event of the 21st
century was also the most technically
complex Olympics ceremony ever,
broadcast for the first time in High
Definition and surround sound. At the
heart of it all was Meyer Sound’s Matrix3
audio show control system, which
managed all technical aspects of the
performance, including audio, motion
control, pyrotechnics, and lighting.
The audience of nearly 95,000 in
National Stadium (widely known as
the “Bird’s Nest”) included over 80 heads of state,
international celebrities and VIPs, along with more than
17,000 performers. The crowd and viewers around the
world were treated to an event like no other, including
audio from a stunning Meyer Sound system designed
by event technology specialist Gary Hardesty of Sound
Media Fusion LLC (SMF).
As Beijing Olympic Ceremonies Chief Designer
of Audio Systems and Technology Consultant to Top
Olympic Partner Panasonic, Hardesty explains that
the venue’s complex acoustics were rife with potential
reflectivity issues.
“This was the stadium’s first event, so the acoustics
were a complete unknown,” he observes, adding that
the large stage compromised potential loudspeaker
locations, making it virtually impossible to use
conventional non-powered systems. “With more than
56 high-definition TV cameras in the venue, I needed
to design a system that was low visibility, kept as
much energy off the field as possible, and yet would
deliver the kind of sound you’d expect for an event of
this magnitude.”
Hardesty called for a distributed system comprising
multiple stacks of three Meyer Sound MILO line array
loudspeakers on the field of play to cover the two
lower levels, and to augment the new Panasonic LA3
line array speakers covering the upper
level seating. Hardesty took special care
to ensure the systems would integrate
successfully. Providing powerful low end were 700HP subwoofers, arranged in cardioid
pairs and topped with an additional
MILO cabinet focused on the lower level
audience. Hardesty reports the system’s
relatively diminutive size belied its power.
For Hardesty, one of the most critical
aspects of the system was the performance
and reliability of Meyer Sound’s Matrix3
audio show control system, which was
not only used for virtually all audio
outputs, but provided the time code for
the entire event.
“It’s hard to overstate the importance of Matrix3 in
the system,” he says. “All the audio, from the console
outputs to the WildTracks hard disk playback, was
routed through the Matrix3. But even more importantly,
time code from the Matrix3 triggered the entire event
– sound, lighting, projections, pyrotechnics, video
– every aspect of the show was dependent on the
Matrix3.”
SMF also called on Meyer Sound for the Olympics
closing ceremony on August 24, as well as the
opening and closing ceremonies for the Beijing
Paralympic Games, held on September 6-17.
Radio Broadcasters Tap Tieline
Australian codec manufacturer Tieline Technology has reported that a number of high profile broadcasters used its Commander and i-Mix audio codecs to
broadcast live from the Olympic Games in Beijing. Broadcasters such as the BBC, NBC, Fox News, NPR, Corus Radio in Canada, and various People’s
Broadcasting Stations throughout China, are using Tieline codecs.
“Our codecs have a track record of success broadcasting from major sporting events,” said Darren Levy, Tieline’s International Marketing Manager. ”i-Mix
codecs are extremely well suited to sports broadcasting and were first used at the Olympic Games in Athens. Tieline codecs have been used extensively by
both radio and television networks to broadcast from major sporting events since then.”
Tieline’s i-Mix and Commander codecs have also been used by broadcasters to stream live audio from the 2006 Winter Olympics in Torino, the 2006
Commonwealth Games in Melbourne and the 2008 UEFA Champions League football competition.
“At the Games in Athens our codecs primarily connected over ISDN and POTS lines. These days, our codecs are increasingly being used over IP and 3GIP
wireless networks,” said Levy. “The i-Mix contains all the tools found in a remote sports broadcasting studio. It has a mixer, matrix router, relays, communications
and talkback facilities as well as codecs and remote control functionality.”
Visit www.tieline.com
24 Sportscasting
to provide MPEG-4 AVC video processing solutions
to NBC during the network’s coverage of the Games.
This was the first Olympics where MPEG-4 AVC was
used for HD content contribution. NBC deployed
a variety of TANDBERG Television products at the
International Broadcast Centre in Beijing and in the
US including HD encoders, professional receiver/
decoders, multiplexers, modulators, IP adapters
and other control equipment. NBC’s HD coverage, sent to the United States
via NBC’s contribution network, was be encoded
by TANDBERG Television EN8090 HD MPEG-4
AVC encoders. The raw video and audio feeds
captured at the events were transported from the
IBC to the NBC studios for US Distribution, before
post-production. The contribution feeds sent
from NBC Universal to its cable affiliates were
compressed by TANDBERG Television encoders
and delivered via MPEG-2 to the cable headends.
HVX201 high-definition (HD) cameras for coverage
of the Olympic Games.
Eurosport also deployed high-definition (HD)
MPEG-4 ViBE encoders from Thomson.
Thomson’s ViBE encoders enable Eurosport to
deliver HD video, even where bandwidth is limited.
Thomson’s ViBE encoders, which feature Dolby
Surround Sound, also provide top-of-the-range
audio quality. Eurosport, based in Paris, added
HD capabilities to an existing standard definition
Thomson infrastructure which includes Thomson ViBE
equipment, and a production centre fitted with a K2
storage area network (SAN) with 1000 hours of
on-line storage.
Sportscasting
broadcasting locations in and around the city.
Global Vision also provided integrated live standup and playout services for the “first mile” of video
delivery out of Beijing. Genesis Networks then
picked up the feeds for delivery over the Genesis
terrestrial fibre network to major media hubs on
all other continents beyond Asia.
Visit www.globalvisionnetworks.net and www.gen-networks.com Thomson
Grass
Valley
reported its equipment used for the Summer
Games included:
• More than 425 Thomson Grass Valley
LDK 8000 mk II WorldCam cameras
During the 2008 Olympic
supplemented with LDK 6000 cameras;
Games, Genesis Networks fibre infrastructure • More than 100 super slo-mo cameras
delivered broadcast news feeds to global audiences
including 42 LDK 8300 3X HD Super SloMo
from key Beijing landmarks as part of a service
cameras and more than 60 2X slo-mo
offered to news teams by Global Vision, a leading
camera systems — including the LDK 8000
provider of broadcasting and transmission services
SportCam 2X HD Super SloMo camera;
in the Asia/Pacific region. • Several HD wireless camera systems;
Global Vision offered transmission services from
• A total of 47 Kayak HD, Kalypso HD, and
Panasonic Electronics and
XtenDD HD production switchers;
the Eurosport Group announced two iconic locations in Beijing: a site overlooking
the Olympic Green with views of Olympic Games
• A total of 18 Trinix and Concerto Series HD
a Europe-wide partnership — with Panasonic as
venues such as the Bird’s Nest and Water Cube,
routers alongside Apex audio routers;
the Official Partner to Eurosport’s high-definition
and the Ancient Observatory, built in 1442
• Encore and Jupiter routing control software;
television (HDTV) simulcast service, Eurosport HD.
during the Ming Dynasty and offering sweeping
• and Hundreds of Thomson Grass Valley
The deal was timed to coincide with the recent
views of downtown Beijing. Global Vision also
GeckoFlex signal processing modular
Eurosport HD channel launch. As part of the
provided
satellite
news
gathering
(SNG)
vehicles
products 12647GENN
190mmx127.qxd:Content+Techonology
1/2PgTabHoriz
8/20/08
5:25
PM
Page
1
deal, Eurosport used Panasonic HPX2100 and
A proven network that
enables you to get
your signal out there
from anywhere.
• Superior video / audio broadcast services – in all transmission formats
• Specialized on-demand video-centric solutions – real-time servicing and troubleshooting
• Global, proprietary and fully meshed end-to-end video network – fiber and
satellite based (SABER)
• Multipoint connections to worldwide switching hubs and media points of interest –
in all major markets
• Easy, customer-controlled, remote ordering / scheduling
• Expert video-centric NOC – monitoring, reporting and calibrating 24-7-365
www.gen-networks.com
Corporate US: +1 212 962 1776 | 24/7 NOC: +1 212 962 1722 | UK: +44 (0) 208 899 6464
EMEA: +33 (0) 4 67 69 74 76 | Latin America: +1 305 728 7150 | Asia Pacific: +1 646 216 5740
©2008 Genesis Networks. All rights reserved.
Sportscasting 25
Sportscasting
Installing Fibre Infrastructure in Sports Venues
by Telecast Fiber Systems
Broadcasters’ adoption of fibre optic
technologies has changed not only the
way television sports programming is
produced, but also the quality and content
of that programming. Whether it’s PAL for a
high school, HD for the football, or 3D HD
for some of the most exciting entertainment
on the planet, lightweight fibre cable
is providing a superior alternative to
conventional copper cabling. Using fibre
and the associated transmission hardware
to carry signals from remote positions,
television production teams can maintain
image quality and retain critical camera
control and functionality necessary to
bring the audience a unique and exciting
perspective on the live action.
Fibre’s outstanding performance is the
key reason that it is rapidly replacing triax, coax,
and audio mults in permanent installations at sports
venues including arenas, stadiums and racetracks.
For decades, coax cable has been the workhorse for
signal transport in sports venues, but each cable can
only carry only a single source feed and only at a
fraction of fibre’s bandwidth. Fibre, however, weighs
significantly less and is capable of carrying a great
number of high-quality broadcast signals – video,
audio, intercom, tally, Ethernet, and data – over long
distances in a single, compact jacket no larger than
a coax cable. Furthermore, fibre is immune to RFI and
EMI, which eliminates noise and hum in the signal.
The convenience of fibre is another reason it is
becoming the standard for sports venues. Broadcasters
can instantly connect to a facility’s existing fibre
network to move video, audio, and data signals.
For any major sports event, today’s production crews
expect this type of plug-and-play functionality. When a
facility commits to hosting home games for a football,
baseball, soccer, or hockey team, it is making a
commitment to the networks that cover those sports.
Each network has specific requirements with respect
to cabling, including where it’s installed and what type
of signals it can carry without compromising picture
quality. Fibre offers the flexibility and scalability to
meet the demands of broadcasters today and in the
future, as they find new ways of incorporating unique
perspectives into their productions.
A well thought-out fibre infrastructure represents a
sound long-term financial investment, since singlemode fibre installations can be up to 90 percent
less expensive than those involving an equivalent
amount of SMPTE-311 cabling. Whereas SMPTE311 hybrid fibre/wire camera cables serve only
one purpose, a fibre infrastructure can be leveraged
to transport a wide variety of signals and support
multiple applications such as security systems, pointof-sale locations, and internal video feeds. Fibre also
can be used to link separate sports facilities and to
26 Sportscasting
enable use of a single control room for events held
at multiple venues. By spreading the cost of installing
and maintaining the fibre infrastructure over these
various interests within the facility, the investment is
easily justified.
The reasons to work with fibre are clear, and
with broadcasters’ shift toward HD production, there
really is no justification for installing a less-capable
infrastructure. As HD becomes more mainstream,
there is much more reliance on fibre transport and a
greater demand for application-specific fibre solutions.
Whether broadcasters need an HD fly-pack or a fully
functioning announce booth thousands of feet away
from the truck compound, equipment vendors such
as Telecast Fibre Systems are delivering the gear to
transport these signals onto a single, tough cable.
Once the decision to go with fibre has been made,
facility owners must adhere to four fundamental rules
in designing their new fibre infrastructures.
The first rule is simple: Install enough fibre to support
the highest imaginable demand. As more and more
applications within the facility begin to rely on fibre,
the number of available fibre cores will quickly
diminish. It is far less expensive to install higher corecounts now than to go back and do it later. While the
HD production demands of professional sports may
seem high now, technological advances continue.
Overhead cameras and goalpost cameras are just
examples of how flexible fibre installations support
new innovations in sports broadcasts. A venue well
equipped with fibre will support future technical
advances as networks seek to add even greater
interest to sports coverage on all levels.
The second rule in designing a fibre infrastructure is
to make access to the fibre easy and intuitive. The use
of industry-standard, single-point terminations such as
ST-type connectors allows visiting networks and their
production crews to tap into the existing network
quickly and set up with a minimum of fuss. What they
choose to plug into the facility’s fibre is up to them,
and it should be easy if the infrastructure has been
designed and documented with plenty of drop
points, located appropriately for the different
types of competition and events that take place
within the venue.
While the major networks dictate how sports
are produced and thus put the largest demands
on a facility and its fibre infrastructure, internal
production for the big-screen display and closedcircuit TV network also relies on fibre to move
signals. Fibre delivers audio to the screen control
centre and to the PA system, moves video to
luxury boxes, and transports video, stats, and
data across the facility.
Like the first two rules, the third rule in
installing fibre in a facility is a straightforward
proposition: Provide protected AC power at
each fibre access point. It’s useless to spend
money on a fibre installation if the quality of
signals being transported is compromised by a noisy
or unreliable power source. Professional installation
of dedicated power alongside each drop point
ensures that systems will run on clean and reliable
power. When an AC outlet being used to support
a camera is also available to a popcorn vendor, for
example, the risk of a blown breaker becomes much
greater. Because considerations in installing power
are much different than in installing fibre, the safest
choice is to work with the facility’s electrician to build
in these dedicated power sources.
The fourth and final rule in planning a fibre
installation is to make one person responsible for
the fibre network. With a knowledgeable person
maintaining fibre access points and the patch closet,
it’s easier for visiting production crews to get their
equipment set up quickly. By giving one person
oversight of the fibre network, the facility manager
can better ensure the security and continued health
and maintenance of the network. This staff member
should not only understand the layout of the entire
network, but also dedicate time to proper labelling of
cables and periodic testing of the network.
Single-mode fibre can be leveraged across a
broad range of applications, and a smart installation
and implementation of fibre across multiple
applications can help the facility realize a fast return
on its investment. Fibre is a proven solution for highquality signal transport even in the most challenging
of environments, and today there are fibre-linking
solutions available to make use of fibre easy in any
production scheme.
Broadcasters regularly use Telecast Fibre Systems’
SHED, CopperHead, Cobra, DiamondBack, Viper
and Adder systems to simplify production and take
advantage of the cost, quality and convenience
offered by fibre infrastructures. It falls to the venue
owner or designer to guarantee the health and
availability of that infrastructure.
Visit www.telecast-fiber.com
Scoring a Singaporean
first
this Olympics was the high-definition broadcast
of the games on channel HD5. MediaCorp,
Singapore’s official Olympics broadcaster,
launched the full HD Olympics channel (HD5) to
provide up to 19 hours of action daily with Dolby
surround 5.1 sound.
MediaCorp’s TV Mobile carried 13.5 hours of
Olympics action daily, while Mandarin Channel
U carried up to 15 hours of Olympics coverage
daily. Reports, updates and highlights were also
carried on 10 MediaCorp radio stations.
Harris Corporation
supplied
a wide range of high-definition and standarddefinition (HD/SD) broadcast equipment to
support some of the world’s leading broadcasters
during their live coverage of the 2008 Beijing
Summer Games.
Japan Consortium — an association
representing Japanese broadcasters for broadcast
coverage of the 2008 Beijing Games, selected a
variety of Harris video processing and distribution
products, including Integrator and Panacea
routers, 6800+ HD conversion equipment, frame
synchronisers, distribution amplifiers (including 3
Gb/s), multiplexers and de-multiplexers. CCTV purchased a range of Harris video
processing and distribution products, multi-viewers
and test and measurement solutions, which were
used in CCTV’s master control facility. Gearhouse Broadcast purchased an array of
6800+ HD core processing products, as well
as a range of multiviewers, including the Zandar
Predator II multiviewer and the Zandar QS100HD
Quad “multiviewer in a card.” Alfacam — the Belgium-based TV facilities and
services company sent 18 TV trucks to Beijing,
each of which had between 14 and 28 Zandar
Predator HD8 multi-viewers. CBC — Canada’s national public broadcaster
used two Inscriber G7 HD/SD broadcast graphics
systems, which deliver 2D and 3D real-time graphics
flawlessly over two channels, during its coverage of
the games.
The BBC used Scopus Video
Networks’ MPEG-4 encoders at the Beijing
Summer Olympic Games for transmission of highquality video feeds from the Olympics to the BBC’s
London offices for the logging of scores and statistics
used for monitoring purposes. The UE-9420 is able
to distinguish granular picture details, and offers two
H.264 channels in a 1RU chassis. The UE-9420’s
unique IP output design enables BBC to transmit
its feeds over an IP infrastructure across continents
without compromising picture excellence.
Visit www.scopus.net
Thirteen
of China’s leading
broadcasters selected Clear-Com products for use
within 14 OB vans including two that belong to
China Beijing TV (BTV), during this year’s Beijing
Olympic Games.
While each of the 14 OB vans relied on different
combinations of equipment to broadcast the games,
all are depending on Clear-Com’s Eclipse Digital
Matrix to act as the heart of their communications
systems. In addition, many of the broadcasters opted
to add FreeSpeak10 digital wireless beltpacks
to provide fully integrated communications for the
production teams that move throughout the broadcast
centres and sporting stadiums. Based on a cellular
architecture, the 1.9 GHz system operates on DECT
technology that allows up to 10 beltpacks to roam
seamlessly between remote active antennas.
Visit www.clearcom.com
With the aim
of limiting the risk of piracy
infringements, the IOC provided an online Channel
to broadcast the Beijing 2008 Olympic Games in
77 territories across Africa, Asia and the Middle
Sportscasting
East, including India, Republic of Korea, Nigeria
and Indonesia.
The IOC broadcast a selection of Beijing 2008
Olympic Games clips as Video On Demand
(VOD). The IOC’s Channel was available on
YouTube, geo-blocked within each territory, at:
www.youtube.com/beijing2008
The IOC’s Channel was accessible in territories
where digital VOD rights had not been sold or
been acquired on a non-exclusive basis. Olympic Broadcasting Services (OBS), a
wholly owned subsidiary of the IOC, produced
regularly updated Olympic content. The package
included highlights, news and daily clips of the
competitions, available throughout the 17-day
period of the Games.
After online broadcast coverage was made
available in a handful of territories for Athens
2004, and in 23 territories for Turin, Beijing 2008
marks the first time that digital media coverage will
be freely available across the world provided by
the rights-holding broadcasters and/or directly via
the IOC’s Channel.
China
Central
Television
(CCTV) used 15 of Thomson’s Infinity Series digital
media camcorders, along with EDIUS nonlinear
editing (NLE) software to bring the Olympics into
the homes of viewers in the host country. CCTV’s
news production department, located in Beijing,
provided live coverage of the Games in HD from
numerous venues. CCTV used the Infinity’s built-in
JPEG 2000 codec to streamline their HD workflow
and bring finished segments to air faster.
Clips captured with the Infinity during the Games
were off-lined in the field on EDIUS laptops using
an external USB REV PRO drive. Edit lists created
from the laptops were then transferred to EDIUS
NLE workstations for online finishing. The finished
program files were then delivered to CCTV’s news
network for storage, sharing, and management.
New Australian Office!
For career opportunities please visit www.riedel.net
WORLD-CLASS COMMUNICATIONS
RENTAL • SALES • SUPPORT
Digital Matrix Intercom
Digital Partyline Intercom
Professional Mobile Radios
Riedel Communications Australia Pty Ltd. • South Sydney Technology Park • 68/45-51 Huntley Street • Alexandria 2015 • Australia • www.riedel.net
Sportscasting 27
Sportscasting
Sportscasting
Postcards from Beijing
>>
>> >>
>>
GlobeCast Beijing crew at the Broadcast Base.
Bowers on the Tower. Magna GM atop Flycam rig
Close-up (and long shot). Journalist reporting from one of GlobeCast’s live positions.
>> >>
The IBC (International Broadcast Centre) satellite dish farm.
>>
The men’s jumping castle venue?
Temporary structure in place for installation of Meyer sound system.
GlobeCast Beaming in Beijing
Transmission services company GlobeCast
provided an array of services to Olympic rights
holders and non-rights holders for worldwide
distribution.
For rights holding broadcasters, dedicated HD
and SD uplink paths were available from the
IBC satellite dish farm, for end-to-end delivery of
the ABU (Asia-Pacific Broadcasting Union) sport
pool’s World Feed. GlobeCast also provided
multiple unilateral feeds (including two in HD)
for clients including ATV (Hong Kong), I-Cable
(Hong Kong), Solar Entertainment (Philippines),
TV Globo (Brazil). Using HD in MPEG-4 and DVB
S2 modulation, GlobeCast had the largest share
of outward transmissions from the IBC.
Outside the IBC, GlobeCast and Seven
Network joint venture 7BMC offered services to
28 Sportscasting
non-rightsholding broadcasters, including play-out
and international delivery via satellite and fibre in
partnership with local authorised Chinese service
providers. Clients included CNN, ESPN, France
24, Orange, TV Asahi, TV Tokyo, Nippon TV,
Rede Record (Brazil), KBS (Korea), Reuters, TV3
(Malaysia) and ETV (South Africa).
GlobeCast also secured live stand-up positions
at Pangu Plaza and Crouching Dragon Market,
with one of the best views of the national stadium
(Bird’s Nest) and the aquatic centre (Water Cube)
in the background.
GlobeCast, which has offices across the
region, including Beijing and Hong Kong,
provided coverage and highlights of the torch
relay and will be covering the Paralympics in
September.
>>
Big in China. C+T above the rowing with
Flycam’s Damien Doucette
>>
Boat mounted camera at Olympic Rowing
>>
[L-R] Magna’s David Bowers, Flycam’s Dane Clark and Robert de
Marinis with members of the Australian Women’s Rowing Team
Sportscasting 29
Sportscasting
Golf Gets Into Swing with Thomson
Gasp Systems is the market
leader in golf analysis tools. Its
sophisticated software brings
together multiple camera views
of a golfer’s action, allowing
coaches to study it frame by
frame to achieve the best possible
performance.
The people behind the system
are themselves golf experts:
the three founders are all PGA
professionals, and managing
director Steve Gould is the senior
swing consultant to the Danish
Professional Golfers’ Association.
So they knew what they wanted to
achieve when they set out to build
the technology. The result is now in
use with coaches worldwide, and
UK viewers can see the system in
regular action on the Golf Extra
programme on Sky Sports.
MULTIPLE VIEWS
The strength of the system lies in its multiple views
– Gasp can build systems with as many as eight
cameras - so player and coach can see the same
swing from different angles, and the software can
track the precise path of the club. Along with other
hardware like force plates to measure how the
player’s balance changes during the swing and even
body vests to measure movement, the video analysis
makes it obvious where the faults in body position
and action lie, and improvements can be measured
over time.
But multiple cameras around a golfer represent a
technical challenge. The easiest way for the computer
to accept the video signals is as DV digital video over
FireWire. But DV cables are limited to less than five
metres, an impractical restriction when building a golf
analysis studio.
The solution is to use good quality industrial video
cameras, outputting analogue composite video
over co-ax cables, which can be very much longer
without affecting the signal quality, so can be routed
tidily back to the central processing centre. Here the
images from each camera need to be converted from
analogue to digital to feed into the computer.
CONVERSION SUCCESS
“We looked around at what was available on the
market for converters,” said Gasp’s Steve Gould.
“We found the Thomson Grass Valley ADVC55,
which did precisely what we needed: prime quality
analogue to digital conversion to take our high-end
industrial cameras into the computers with no fuss
and no unnecessary bells and whistles. They work,
they are reliable, and they meet our
budget.”
The ADVC55 converters – part
of the digital video converter range
from Grass Valley – are supplied
to Gasp Systems by distributor AM
Micro, also based in the southwest of England. Sales manager
Jean Voorjans said “The ADVC55
is perfect for this application
because it is so simple. There are
no adjustments to make, it needs
no special driver on the host
computer, it does not even need a
power supply as it is driven over the
FireWire cable.
“The whole ADVC family is
really useful in systems work, as
there is always a box that does just
what you need, at the right price,”
Voorjans added. “With the range
now moving into HD as well as
standard definition video, we see continuing growth
in sales.”
Gasp Systems is not the only sports specialist using
the ADVC55 to bring video into analysis computer
systems. In the USA, RightView Pro specialises in
baseball and softball, with sales to major league
teams and hundreds of colleges. It, too, is moving from
digital camcorders to multiple high quality industrial
cameras, and has identified the ADVC55 as the right
solution for the analogue to digital conversion.
Meanwhile, Gasp is building on its success in
golf to develop analysis tools for other sports, from
snooker and cricket to skiing and athletics. It recently
completed its biggest analysis studio implementation
at Millfield School in the UK, installing in the
gymnasium a massive 16 camera system, all using
the ADVC55 interface.
Kordia, Sky Sports Link HD with Advent
New
Zealand
broadcast
and
telecommunications network provider, Kordia,
company recently purchased two 1.9m Mantis
Antenna Systems and an electronics package,
including the new state of the art DVE5000 HD
& SD L Band Digital Video Exciter from Advent
Communications distributor in New Zealand,
The Bridge Networks.
Kordia purchased the two 1.9m Mantis’ in
the first instance to support a significant contract
it has recently won to provide coverage of Sky
Sports in High Definition. Kordia is the first
company in New Zealand and the Pacific Islands
to utilise satellite uplinks in High Definition.
30 Sportscasting
The equipment was used for the first time during
June in Christchurch for a test transmission at the
2008 IVECO Series rugby match, All Blacks vs
England. Then, in July, the equipment broadcast live
from the New Zealand vs South Africa, Phillips Tri
Nations Rugby Test Match in Wellington.
“We looked at several options and selected
Advent’s Mantis Flyaways because it is the only
system with all cases weighing in under 32kgs.
This allows us to carry the equipment with us as
checked-in luggage which is a real advantage as it
arrives on the ground at the same time as the crew,”
said Merv Brooks, Field Services and Operations
Business Development Manager at Kordia.
“No other satellite manufacturers could meet
the configuration and flexibility of the Advent
equipment. We will also be offering the new
HD uplinks to other broadcasters around the Asia
Pacific region,” he said.
Phil Cooke, Managing Director of The Bridge
Networks, said “Sport is driving the take-up of High
Definition everywhere, the HD sports coverage
carried by the Mantis Flyaways will be seen by
millions of viewers and will be a milestone in New
Zealand’s broadcast history. The configuration The
Bridge Networks is providing from Advent is the
perfect solution for Kordia’s requirement.”
Visit www.the-bridge.net.nz
Available N
W!
The NEW Sony PDW700 XDCAM HD Camcorder
Camera + VF + HD wide
angle lens packages
from under $60K
RENT-TRY-BUY
options
EXCLUSIVE
Videocraft Platinum Support
and free operational training
Canon or Fujinon lenses
Apple & Avid
Workflow Specialists
CONTACT US NOW FOR A QUOTE.
Acquisition
720p
ACQUISITION
XDCAM HD Cuts it with Larry the Lawnmower
Broadcast equipment sales and rental company
Videocraft has provided a Sony XDCAM HD
acquisition and workflow solution to Ambience
Entertainment for its new children’s TV series Larry the
Lawnmower.
Glenn Fraser, one of the three directors on the Larry
the Lawnmower series explained Ambience’s decision
to use the new equipment and workflow.
“We knew there was going to be a developing
requirement for HD content for children’s series like Larry,
and the existing HD acquisition strategies were either
too expensive or weren’t fully developing the rounded
look we thought could be achieved. This XDCAM HD
solution came along at just the right time.
“It might feel like there’s a new flavour of HD
turning out every six months, but when it comes
to practicalities, there are really only a few things
to consider. Number one being, ‘is your acquired
picture considered real HD by the partners to
whom you’re looking to deliver your deliverables?’
The pinnacle of HD delivery is still pretty much
the BBC standard - most of the other broadcasters
take their lead from them, so if you can tick the
acceptable acquisition criteria that they demand,
you’re pretty much safe.
“Secondly, you’ve got to ensure that the uplift
to HD isn’t going to outweigh the programme’s
delivery opportunities. It’s not much good feeling
sexy about having HD at the front end if you don’t
have the processing power or storage to run the
extent of your series without burning drive space.
It’s a false economy. The PDW-700’s clever
compression algorithm means that it’s possible
to get your pictures travelling back and forth in a
good stream at 50Mbs. And all that in full raster
1920x1080.”
Videocraft’s involvement began even before the
project had been green lit with NSW State Manager
Andy Liell consulting to the Ambience team and
suggesting a package that included the PDWHD1500
Sony Professional Disc Recorder, PDW700 Sony
Professional XDCAM HD Camcorders and PDWU1
Professional Disc Drive Units. Once the package
was agreed Liell and colleague Rob Floro conducted
extensive testing on the kit with Fraser, cameramen
Brad Smith and Richard Rowley, Series Producer
Monica O’Brien and Senior Production Manager Kate
Cooper.
Smith added, “The progressive pictures the PDW700
delivers are without doubt, the knockout clincher. These
cameras and this workflow bring HD back to levels
that, although slightly more than Digibeta, are very
affordable and give all the advantages of tape and
non-linear. It’s the top of the line in XD evolution.”
32 Acquisition
(l-r) Jay Laga’aia (narrator),
Brad Smith, Richard Rowley,
Monica O’Brien.
With Ambience’s budget having to cover 65 halfhour programmes for Channel Seven, editing and
storage also became key deciding factors.
“We investigated a variety of platforms for
editing,” explained O’Brien. “Omnilab Media’s
CornerPost facility provided the ultimate post
production workflow by embracing the Final Cut
Pro-ProRes offline path utilising the elegant file-based
workflow directly off the XDCAM Professional Disc
media. This allowed us to work in ProRes reducing
our storage requirements but without compromising
the image quality. As the schedule is tight the only
way for us to get through 65 half hours was for us
to further utilise the XDCAM workflow in a way that
we haven’t been able to do previously due to cost
and time constraints.
“We did this by using a media manager on
set who, with a running knowledge of the scripts
and the series’ goals, would be the first pair of
eyes across the footage being delivered by two
camera units every day. Her job, to collate the
good, the bad and the very useful, into a bank
of reusable locations, and character expressions.
Then employing Sony’s XDCAM transfer application,
transfer the files 1.5 times faster than real time into
Final Cut Pro to deliver a fast-turnaround offline cut.
Instead of re-ingesting all tapes at conform, we do
a picture lock-off in FCP and playout to the AVID DS
HD Nitris suite for grading and titles.”
Adam Spendlove, CornerPost’s technical engineer
said, “After extensive testing this was by far the most
efficient workflow taking into account the time issues
we were challenged with.”
Larry the Lawnmower is shot in a visualised studio
space created by veteran designer Michael Bridges
and imaginatively light-sculpted by Peter Borosh,
ACS, and gaffer Graham Dickson. The Directors
and the LARRY crew deal with a child’s eye view of
Larry the Lawnmower that is a hyper-realised world
and exists within the backyard of a large suburban
garden. Similar to Doctor Who’s Tardis, it is a
place of seemingly infinite size and opportunity for
the characters. Due to the fast turnaround schedule
for episodes, the team decided most efficiency
was gained by doing 95 percent of their effect/
textural scale work in camera. Everything is bright,
and richly detailed - grand, green lawns and azure
skies - it is something like leafy, suburban Australia
in miniature with puppets.
“With such a huge amount of work to be
undertaken, the Videocraft team, led by Andy Liell,
have truly been pivotal to the success of the project
thus far.” Fraser continued, “Videocraft’s services and
assistance have been nothing short of exceptional.
In testing workflows via their Final Cut Pro setups
they were always quick to initiate solutions, not
sales. As a reasonably confident technician at this
level myself, it would have been easy to see through
a sales patter, but the experiential wealth they
were able to honestly share meant that they were
genuinely interested in the truth of the tests. The level
of Rob and Andy’s technical and hands-on expertise
meant that I never felt compromised and always felt
supported.”
Acquisition
Acquisition
HD Politically Incorrect in New Zealand
By Peter Parnham
The publicity for New Zealand’s “The Politically
Incorrect Parenting Show” describes it as a “range
of no-nonsense, down-to-earth advice for parents
raising children”. Producer Mark McNeill and
Director Rupert MacKenzie have a more earthy and
irreverent take on it as they recall shooting during
June.
Although it was not a contractual requirement for
broadcast on Television New Zealand’s TV One
channel, the pair from Razor Films in Auckland
decided it would be worthwhile to make the
programme in HD, making the series more saleable
overseas and to give it a longer shelf life.
With only an SD budget, it was a lucky break that
Television New Zealand was about to take delivery
of two new Sony 2/3” XDCAM HD cameras
(PDW700) – the first to arrive in New Zealand. To
put them on the show worked for both parties.
“We talked to quite a few people about HD
cameras and we just walked away with technical
stuff coming out our ears - it’s pretty hard to
understand,” McNeill says as he explains why
they made this choice. “In the end it is usability,
convenience, something that works seamlessly, is
straight forward, and gives us the final thing we
want, I don’t really care what codec or compression
or whatever - the less problems the better.”
The shift to a 2/3” CCD sensor in the PDW700
provides relief to broadcasters, professional video
freelancers and rental companies. They found the
previous XDCAM HD cameras with 1/2” sensors
did not fit easily into their 2/3” HD camera
inventory - due to the different lenses required. This
is one of the reasons why arrival of PDW700 was
anticipated in the video community.
But this camera is not just about sensor sizes;
Sony has used the opportunity to beef up the other
specifications. While the camera uses familiar
XDCAM optical discs, it has an upgraded 14-bit
A/D converter and MPEG-2 4:2:2P@HL (“MPEG
HD422”) recording codec that increases the data
rate from 35Mb/s to 50 Mb/s. This means it will
not automatically replay on earlier replay machines
and edit suites will need updates to handle the
footage.
The editor on the show is Francis Glenday who
says he used the opportunity to get a new Final
Cut Pro editing system, and with a Kona LHe video
card the system “eats it all up” with no digestion
problems.
Glenday says the colour is much better on the new
camera and the images seem to have more depth.
He notes that the tradition of familiarising himself
with the footage by watching it during ingestion has
gone with the simple PDW-U1 optical disk drive that
he used to ingest the material into his editing system
through a USB 2 port. He is convinced he does
not need to purchase a higher cost, studio quality,
playback machine. However, the clip database did
34 Acquisition
not work out for them due to the
difficulty they had naming the discs
in camera.
In contrast to cameras
that record on memory
cards,
XDCAM
is an optical disc
format using similar
technology to Sony
developed Blue-Ray
discs.
McNeill
agrees
that the next generation
of younger industry
people may be used
to wiping their camera
memory sticks as they transfer
digital pictures onto their computers, and he says
they have probably had the experience of losing
them. But the same experience for a producer could
cost several hundred thousand dollars as they recreate what they lost. This is why McNeill and
MacKenzie prefer XDCAM discs.
He explains that on a documentary they might
be in a hurry to get to the next place, “People are
pulling out discs or tapes and throwing them in bags
and grabbing the next one. When you have got
cards or drives, it’s where did I put that card? Was
that the one I used? Did you leave it in that café?”
>> >>
Politically incorrect Director Rupert
MacKenzie.
Auckland camera operator Murray Milne,
Director of Photography for the show, agrees with
that sentiment, especially for freelancers. He says
he has just done a typical day’s shoot on equivalent
of eight XDCAM discs. “Who wants to transfer that
much material off cards at the end of the day? I want
to go home, so I just hand over the discs and say
goodbye.” He points out that the long archive life of
optical discs means footage is effectively archived
on the original camera disc.
Milne said the pictures from the new 2/3”
>> >>
Sony’s PDW-700 XDCAM HD camcorder.
Man of the Year
camera are far superior. Remembering one shot
of a Truck Grille, he says increased sharpness
was obvious. He says this camera is more than a
documentary camera, as it has the kind of quality
level used for high-end drama shoots. He senses that
the system has proven itself in tough conditions after
it was announced that Survivor switched to using
the cameras.
Both Milne and MacKenzie commented on how
easy it is to line up a matching shot. The technique
is to select the previous shot from thumbnails stored
on the camera’s XDCAM disc, and display it for
matching with the live action – without the danger
of overwriting the previously shot footage.
For the operator there were some small things
that took a bit of getting used to. Milne found the
traditional filter wheel has been replaced by an
electronic colour correction button. If you change
presets, you have to check you still have it set
correctly. “And as an operator I have to work harder
on the focus than I used to,” he says, although he
points out this just like working with any top range
camera.
He also has some practical tips for potential
purchasers. He warns to check the implementation
of functionality because functions are introduced and
improved over time - either as software upgrades or
option boards. At 40 watts power consumption he
points out you need good supply of batteries.
Nevertheless, Milne sums the experience with the
new camera, “We were impressed and happy. I
think it measured up to what everyone had been
looking for,” he says.
The Politically Incorrect Parenting Show is currently
in post-production in Auckland.
Peter Parnham is technology writer and consultant
based in Auckland. He spent 25 years in New
Zealand film industry and is a former Managing
Director of Panavision New Zealand. Email: peter.
[email protected]
Name: Ben Nott, ACS.
Recent projects and work in progress:
Pre-production on ‘Accidents Happen’. Director
- Andrew Lancaster, Writer - Brian Carbee, starring
Geena Davis.
Recent Awards: 2008 Milli Award for ‘The
Company’ (Produced by Ridley and Tony Scott).
Relevant society memberships: Australian Society of
Cinematographers (ACS).
On Being an ACS member: “The Queensland
ACS provides a wonderful educational platform
for emerging cinematographers. Through its tireless
efforts, the Queensland ACS has nurtured the careers
of some of Australia’s best photographic talents.
Personally, the Queensland ACS family have been
my biggest supporters.”
Inspirations: “Dick Marks, David Burr, Andrew Lesnie,
Caravaggio and, of course, my family.”
Advice for future cinematographers: “The quality of
the script is paramount – if you are lucky enough to
be in a position to choose, then choose carefully.
Don’t be afraid to take a risk as long as the results
remain faithful to the narrative.”
Management: Australia - Top Technicians
Management. Tel: +61 2 9958 1611. Email:
[email protected]. USA - Jon
Furie, Montana Artists. Tel: +1 323 8454144.
Acquistion 35
Acquisition
Acquisition
The Power of Uncompressed Footage
By Peter Parnham
Compress to save bandwidth,
Sometimes little things go a long way. With
uncompressed for quality. That’s pretty
film there is a delay on set after the “roll camera”
much the rule. So it may come as
call while speed is confirmed. With tape based
a surprise that quality was not the
cameras there is pre-roll, but recording on solid
driver behind Panavision’s choice of
state is instant. In New Zealand this feature of
uncompressed storage in their new
the SSR-1s gained favour immediately among
Solid State Recorder SSR-1.
the wider crew. Crew also like the ability to
The recorder is a new option for the
recall shots for checking without danger of
Panavision Genesis camera system. It
overwrite.
is an alternative for the Sony SRWLike the SRW-1 the SSR-1 can be separated
1 HDCAM SR video tape recorders
from the camera body for recording at a
widely used on the camera in the
distance over an active dual HD-SDI link.
past. The Panavision Genesis camera
Shooting solid state has drawbacks. There
system is a well established, super
remains the need to ingest the data promptly
35mm sized, single CCD camera.
so that the SSR-1s can be re-used. Typically that
Since its introduction in 2004 it has
means transporting the units to a post house
been used to replace 35mm film
for transfer overnight. In the morning the units
acquisition on a significant number of << <<Andrew Timlin of Panavision Australia with an SSR-1
must be returned to set ready for shooting
equipped Genesis camera.
productions.
again. An alternative is to take an ingestion
Because the SSR-1 mimics the SRW-1 recorder it can
workstation on to location, with the logistics and
the reason we didn’t do it was power consumption,
also be used on Sony F35 and F23 cameras, although
labour this implies.
because the compression engine would have cost us
it doubtful they will be used on privately owned cameras
For this reason, as exciting as the new technology
another 10 or 12 watts, we think. One of the bizarre
because Panavision equipment is not for sale and is
is, HDCAM SR tape is far from dead media for
things about programmed electronics is that you don’t
typically rented in packages of equipment.
the Panavision Genesis and the Sony F35/F23
actually know the power consumption until you finish
With a 21 minute capacity at 24fps in 4:4:4 mode,
cameras. A lot of data is packed onto a 50 minute
the firmware.
the recording time is almost the same as two 1000ft
tape and it is a one way trip to the post house.
“So we were aiming for 20 watts, and it ended up
35mm film rolls. This means a typical feature shoot only
Productions can find a certain comfort and security
being 30 watts and we knew a compression engine
needs a few SSR-1s to anticipate a full day’s shooting
knowing the original camera master is stored in a vault
would have added 50 percent to our estimate, maybe
needs. Recording at 4:2:2 uncompressed at 24 fps
and not a hard drive.
more – who knows, so we made it uncompressed to
extends the record time to 42 minutes.
Peter Parnham is technology writer and consultant
keep the power consumption down.
“Everything I have done with Sony on electronic
based in Auckland. He spent 25 years in New
“Personally I have no problem with compression,”
cinematography and then within Panavision we have
Zealand film industry and is a former Managing
says Galt, “if it is the right compression algorithm looked at film cameras as the model,” explains John
Director of Panavision New Zealand. Email: peter.
maybe up to even 5 to 1, but others in the production
Galt, the Los Angeles based leader of the design team.
[email protected]
and post community feel otherwise.”
“So the idea was to create something that the size and
weight would be equivalent to a 400ft magazine.”
The company started the design process with the
size and weight as the foremost consideration. With
the SRW-1 mounted on the camera body the size and
Following on from the announcement made at this year’s NAB, Fujifilm has introduced the P2 format memory
weight of the camera rig is a daunting prospect for the
cards in Australia with the first sale of 32Gb cards to Lemac Film and Digital.
operator shooting hand held or Steadicam. The original
Fujifilm Australia General Manager Recording Media / Motion Picture Film Marc Van Agten said, “The
design goal was for 5 minutes of uncompressed record
reaction from the market has been excellent. We only just received the initial stock when Lemac placed the first
time.
order. The fact that we now carry P2 cards cements our position as a true independent media supplier.
But as the price of flash memory fell, the design
The P2 media card was developed for professional broadcasting and production use and is resistant to
philosophy evolved and the recording time increased,
shock, vibration, and harsh environments (temperature and humidity) while offering high-capacity storage of
until the SSR-1 is now seen as a viable all-day shooting
broadcast-quality digital HD video with fast data transfer speed.
alternative to HDCAM-SR tape.
64GB P2 cards provide more than four hours of DVCPRO footage (64 GB X 4 minutes per GB); more
“The reason we chose flash memory was size,
than two hours of DVCPRO50, AVC-Intra 50 (64 GB X 2 minutes per GB) or 64 minutes of AVC-Intra 100
weight, and power consumption. A lot of people are
or DVCPRO HD.
using flash with massive amounts of compression, I
Van Agten concluded, “Fujifilm now offers the largest product line for the professional and broadcast market
don’t think that is a good idea, not for motion picture
in Australia including Blu Ray, XD Cam, P2, Digi Beta Cam and DVC Pro. Feedback from our clients is that
applications,” Galt says. “We could have done mild
we are very much seen as a one-stop media shop and that the P2 cards are a very welcome addition to our
compression and no one would have ever have known
range.” Visit www.fujifilm.com.au
about it, and it would have saved on memory but
Bell and Howell
70DR
difference
CLASSIC
CAMERA
S
The original Bell and Howell ‘Eyemo’ series was introduced in the 1920s and developed gradually over
many years. They were so robust that for a while Bell and Howell sold them with a lifetime warranty.
The 70DR was the last model of this fine clockwork masterpiece to be produced shortly after WWII. It
remained unchanged until production ceased in the late 1970s although they were still sold new into
the 1980s.
The ‘70’ series was the camera of choice for decades of combat cameramen the world over for its
simplicity and reliability. It was the ideal tool in an era when capturing the action, not the sound, was
the over-riding concern.
This camera belongs to Butch Calderwood OAM, ACS and has seen service in the Vietnam War and
many other trouble spots. Visit www.cinematographer.org.au
“
shooting on location with
the arrow 55 and sprinter legs
gave me the performance and
stability I was looking for in
”
a light weight 100mm bowl
package.
Calvin Gardiner ACS
on location shooting
scenes for a documentary.
arrow
<<
camera support systems
Bell-and-Howell-70DR-06
NEW Arrow fluid heads,
feature-filled for
performance news gathering
Fujifilm Rolls Out P2
36 Acquisition
Acquisition
a point of
3 models with payloads
designed to suit a
wide range of camcorders
Available in system
combinations that
offer Sprinter II,
HD or Solo Tripods
>>
Bell-and-Howell-70DR-02
www.millertripods.com
Acquistion 37
Acquisition
Acquisition
Independents Awaken to JVC
Firestore external hard drives, the entire shoot was
made technically easier by negating the use of any
tape media.
Sleeper was shot entirely in six weeks, shooting
six days per week. The rugged schedule and tight
deadlines were challenging, but with an extremely
competent and professional crew, the film was
finished on time.
Creatively, the cameras allowed for Dru Brown to
film the way he wanted – fast and accurate.
“My style of shooting is quite quick, and sometimes
even on the day decisions stand out to me more
than the storyboards I had done before we started
shooting,” he said. “Thankfully the JVC cameras were
able to keep up with my style. There was no need
for massive change of setups. They are light enough
to comfortably rest on your shoulder for extended
periods, and their custom functions gave myself and
Dan a wide range of creative options.”
>> >> Wakey, wakey! Raven as
Adam Resnik in Sleeper.
‘Sleeper’
is the new action feature film
production from Brisbane-based Seven8 Media.
Starring Scott Levy, aka Raven, from WWE and TNA
wrestling fame, and also Bruce Hopkins from Peter
Jackson’s Lord of the Rings trilogy, Sleeper follows
the story of escaped and heavily disturbed convict,
Adam Resnik, as he attempts to acquire the object of
his addiction – a girl named Kelly.
Sleeper first started in late 2007 with a simple
idea of creating a low budget film by using the JVC
GY series of ProHD cameras. After an initial concept
was created, the script started to take shape under
the watchful eye of Director, Dru Brown and Producer,
Judd Tilyard. Moulding the scenes, characters and
atmosphere of the film to their liking, the go-ahead
was given to begin pre-production in December of
2007.
In pre-production, the heads of production
searched feverishly for someone to play the strong
role of Detective Raynor – an older detective on the
road to retirement. Not long after the search began,
they were able to contact Bruce Hopkins. Bruce had
made his name is Peter Jackson’s masterpiece’s, The
Lord of The Rings, playing Gamling.
Based on the impact of the script, Seven8 Media
was also able to attract the interest of Raven, who was
in the country for a wrestling match. Impressed by the
engaging storyline and depth of the character, Raven
came onboard the production as Adam Resnik.
Shot on the JVC ProHD series of cameras in
true 24p, the film’s high definition footage was
remarkable, and mated with the Focus Enhancements
38 Acquisition
PAWN MOVIE
The Pawn is a gritty noir-style thriller about an
emotionally bankrupt businessman who suspects he
may have murdered his estranged wife.
Currently being shot in Melbourne with ProHD
cameras, the movie’s DOP Eddie Beyrouthy gave
feedback on the production.
“We chose the JVC ProHD camera because it is
compact, lightweight and offered flexible features for
our movie. We were searching for a camera that
offered HDV progressive recording and was small
enough for comfortable handheld shooting. The
capabilities that this camera has achieved on set
have been amazing. We have combined it with a
Red Rock M2 Cinema adapter with Nikon Lens kit
and it has made on-set shooting a breeze,” he said.
Shooting in real 24p and making use of
interchangeable lenses, Eddie and his crew have put
the ProHD through its paces.
Director David Brand added, “We have been
tailoring our shot composition and subsequent camera
moves to suit the drama and tone of the scene. As our
story commences, we have been using more locked
off shots. When the action and drama kicks in, the
camera is more fluid and hence we are using more
handheld movements, focusing on close ups and
extreme close ups - these also suit the psychological
state of the main character. Furthermore, we have
used tripods, a jib, a car mount, steadicam and a
dolly and achieved excellent results every time.”
Commenting on the current state of the Australian
film industry Brand concluded, “It’s tougher than ever
to make movies in Australia. You really need as much
help as you can. With a savvy camera operator, the
JVC makes realising your vision a reality, both from
a creative and financial point of view. Coupled with
a 35mm lens adaptor and some good lenses, the
JVC is a great way to start seeing your film unfold
before your very eyes. On top of that, the JVC has
enabled us to capture shot ideas as they come up
on set. With a little lighting prep and a quick chat to
the actors, we’ve been able to shoot heaps of extra
cutaways and pick up that normally would be out of
the question if we were shooting film. Our editor is
very thankful for the extra options.”
The Pawn is currently in production.
shot entirely with JVC ProHD cameras. The film won
the 2007 SPAARTAN Award for Best Australian
Digital Film of the Year, Digispaa 2007 and was
officially selected at the Rotterdam 2008, Sydney
2008, Copenhagen 2008 and Warsaw 2008
film festivals.
The result of a creative collaboration between
Director Michael Joy and Creative Producer John
L. Simpson, Men’s Group has been described as
a ‘must see’ and as Simpson attests, with good
reason. Speaking of the film’s background he said,
“As a team we wanted to explore some of the
unspoken fears and vulnerabilities that many men
face, but are unable to voice. Michael and I both
had dear friends who tragically took their own lives,
we began to recognise that many Australian men
were in crisis. As artists, we wanted to give voice
to the many dilemmas and situations men face,
particularly in their relationships as partners, son’s
and fathers.”
As the idea for the film took shape Simpson
and Joy decided that they wanted to add an extra
element of realism. He continued, “We wanted the
audience to feel empathy for the characters, so it
was crucial that the performances were truthful. We
also wanted the audience to feel as if they were
in the room with them men, not merely observers
but participants in the group. Michael worked with
each of the actor’s workshopping in isolation over
two months; developing their characters from birth
>> William Zappa as Anthony in Men’s Group
till the day they join the Men’s Group.”
With this unique approach to the making of the
film Joy immersed himself fully into the project. He
added, “We crafted a script that was only given
to the heads of departments. The actors were not
allowed to see the script, as we wanted to capture
their first responses to their lives as they unfolded in
real time as the cameras were rolling. We had three
cameras rolling during most scenes and everything
that you see in the film is the first and only take.”
When choosing the cameras to record this
extraordinary piece of filmmaking Simpson and Joy
only had one choice, JVC’s ProHD range.
As Joy explained it was a more straightforward
decision than they had anticipated. “We looked
around for cameras that suited our needs in terms
of size, image resolution, sound quality, and price.
We were working in locations with limited space
and we wanted the camera to be as unobtrusive
as possible. Resolution was crucial, as we were
making our film for the cinema so we need to be
able to have enough resolution to work with during
the grade and knowing it was going to end up on
40-foot screens, it had to be HD. We were capturing
sound straight to the camera tape (via booms) so it
need to be sharp. All of this on a tight budget.”
Simpson, Joy and DOP Geoffrey Wharton ACS
used the ProHD cameras in a wide variety of
locations including under water in spa baths, onto
the Anzac Bridge, a massage centre cubical, and
sex booth interior.
Simpson commented, “You name it, we dragged
those cameras into spaces big, bright, dark and
tiny! We used the cameras as a one-stop feature
filmmaking shop recording 16-bit sound and hi-res
images with a variety of lenses. Considering the strain
we put them under, the ProHD cameras performed
very well indeed. We didn’t lose any shots or scenes
amassing over 69 hours of footage.”
Summing up his experience with the ProHD
cameras John Simpson concluded, “The JVC
cameras really have been an integral part of the
film’s success. We had a rule that we would never
stop for technicals, the cameras had to be ready
and fully functional … and guess what, we never
had a hair in the gate!”
MEN’S GROUP
Men’s Group, one of the most successful multi-award
winning Australian films of the last 12 months, was
The Pawn, a gritty thriller.
Acquistion 39
Broadband & IPTV
Broadband & IPTV
Broadband
IP & INTERACTIVE
Building the ‘Motherload’
- Behind ABC Commercial’s Next Online Step
ABC Commercial,
the
commercial arm of the Australian
Broadcasting Corporation, recently
launched its ABC Shop Downloads
service. Video content that was
previously only available on DVD
– and soon music and audio-book
content too – can now be previewed,
bought and downloaded directly
from ABC Shop Online.
Single episodes will be available
to rent from as little as AUD$2.95.
Rented programming can be viewed
an unlimited number of times for 7
days.
The Downloads service is based on
a media player the ABC developed
in conjunction with local technology
company Hyro in just eight months
and is based on Microsoft’s Silverlight
technology and the Kontiki peerto-peer distribution system. In the
coming months, the player will be
enhanced to offer new services such
as the ability to rate online clips, send
clips to a friend, comment, bundling << << Robert Hutchinson, General Manager, Digital Content
of episodes in a series and search Development, ABC Commercial.
within the player itself.
rather than later because in the eCommerce world
According to Robert Hutchinson, General Manager,
you are known for what’s available on your store.
Digital Content Development, ABC Commercial, the
“Because it’s so heavily driven by search, the fact
web site is the next evolutionary step for an 8-year
that there’s a download section full of a very rich
old eCommerce offering that has been a substantial
catalogue of content being indexed by the search
business in its own right.
engines from now for ever gives us an advantage
“What we have identified though is that there is a
when it comes to actual search engine optimisation
whole new consumer demand for digital content and
and search engine marketing. And really taking
obviously you know the most I guess sophisticated
advantage of the fact that the ABC is a broadcaster
demand is around music,” says Hutchison. “And on
and therefore we’ve got a wealth of video and audio
an even more important scale really with regards to
content, a lot of it is digitised and we have the inyoung people is the fact that the MP3 and sharing
house skills and ability to turn it into a product.
the MP3 is a crucial part of knowing ... building your
“And that range is quite simply from the fact that the
music taste and building your identity.
master for the DVD we’ve just released is sitting right
“I think not offering digital content is simply not
here. So making a digital version of that is very easy
being part of what will be a really, really important
because all the assets are here right now, but even
format in the future. So we looked at that. Not to
more importantly, the knowledge of how to deliver
say that DVD isn’t strong, DVD sales improved last
content over the internet, in particular, a rich media
year and I don’t see the DVD disappearing in the
content has been here for many, many years.
near future but I do see the download becoming a
“We launched one of the earliest broadband
mainstream product over the next few years. And
offerings in Australia and the people involved in that
we wanted to position ourselves in that space earlier
40 Broadband & IPTV
By Phil Sandberg
are also involved in this initiative. So,
in other words, there’s years and years
of knowledge about how to distribute
video and audio online been applied
to this project.”
C+T: What are your expectations?
RH: “It’s not going to be a huge
money-spinner for the first year. But as
more and more people hook up their
computers to media extenders and
plug that into their television and really
start keeping catalogues of content
on their computers that is available
to various devices, be it a mobile
device or be it the television, we see
that as being a really, really important
part the ABC shop customer base.
So it’s really like a very pragmatic
decision and we were in the really
fortunate position that we had a very,
very robust eCommerce engine in
place already. So we didn’t have to
spend any of the money that a lot of
our competitors had to do building
transactions. We had transactions, we
actually just exposed the transaction
engine as a web service to a media
player and that meant we were immediately able to
transact digital content.”
C+T: Is it mainly ABC product you’re offering?
RH: “It’s actually easiest to secure a library or a
catalogue from someone who’s gone and done all
the clearing themselves. So essentially, we’re saying
we will stock your catalogue in our shop and they
deliver it to us rights unencumbered. That’s the easiest
product to carry. The ABC owned product we have
to go back and clear and there you’re clearing for a
new format.
“I mean if you go into the deep archive, you’re
clearing content, the contract of which was written
20 years ago, and obviously the internet existed then
but not as a content delivery platform for television,
for program makers for example. The shop itself
doesn’t actually deal with that so we actually deal
with distributors and so they go and clear their
archives or their catalogues for digital distribution and
then we acquire that from them, basically it’s a pure
retail relationship, we sell a copy, they get they get a
percentage just as they would with a DVD.”
C+T: So how does the Download service work?
RH: We’ve got a media player and that essentially
enables us to preview the video and audio content,
so whether it’s a DVD or a download you can click
on the link and up comes a player and it will play
a two minute clip from that ... maybe the audio or
the video.
“Then, from inside that media ... from inside that
video you can actually do your transaction right there.
So, really what we’re working towards is the idea that
a group of customers who are really in that media
world will want to browse in a rich environment,
through a whole lot of different previous of various
programs and just add those to their shopping cart.
They might watch 30, 40 clips and only buy three,
but at the end of that process they simply check out
and the DVD products arrive by courier two days later
but the downloads start immediately.
“The very first time you shop you will be asked
to install a player. And that happens in the space
of 30 seconds to a minute depending on how fast
your connection is, and then when you make your
very first download purchase you’re actually asked to
install a download manager and that’s going to look
after your media on your computer from us. That’s a
one off download, comes down to your computer
and from then on any time you purchase a download
product it will immediately start pulling that down and
storing it.
“That application you download is a player as well,
so you can watch content inside it, you can actually
also just watch the content inside a Windows Media
Player as well. It’s quite agnostic in that sense.”
C+T: Seven has the TIVO box and Foxtel the IQ2.
Have you spoken to them about getting onto their
platform?
RH: “We’re always in conversation with the other
media players, so I mean obviously TIVO is a
free to air box so it will play what’s on free to air
television and record what’s on free to air television.
So, obviously, ABC content will be recordable on
the TVO box. I mean the director of TV’s kind of
spoken a little bit about TIVO but I am not aware of
any kind of transactional capability at this stage, but
obviously, we’d be more than happy to discuss that
in the future.
“And likewise with Foxtel, I mean you know we’re
carried under retransmission on Foxtel, but you know
we catch up with them on a semi-regular basis around
their initiatives and we were very interested in their
trials of their broadband - Foxtel by broadband. That
actually helped us with some of our thinking around
this service in terms of how it functioned and how to
install a download manager and the complexity and
ease and things like that.
“So, I mean I guess we kind of watch what
<< << ABC Downloads Web Site
everyone’s doing. We’ve been obviously paying
close attention to what Channel Nine’s been doing
as well, experimenting with the idea of having content
that’s fed out into the open networks and I think that’s
a really interesting idea as well.
“I mean I guess the common theme is everyone’s
trying stuff. The PVR boxes of the Foxtel and the TIVO
are quite sophisticated and I guess more consumer
ready because they’re a box, you plug it into your TV,
it’s very, very comfortable. I think PC-orientated content
still is more focused on the early adopters and our goal
is to build something easy enough to take it past the
early adopters. And there’s a lot more work, there’s a
whole other phase to come shortly on this project but
our goal really is to make the core ABC shop customer,
like our eCommerce customer is probably older than
most other people’s eCommerce customers.
“We might be the first place they ever bought
something online and we’re hoping to be the first
place they download something online as well. And
I think that that’s a key part of our planning here has
been about something that’s quite mainstream on the
PC because obviously we weren’t going to go out
and you know subsidise a set top box or anything
like that.
C+T: What about cross-promotional opportunities?
For example, something like a gardening
program, you get the download and can then
buy complimentary products such as seeds or
implements.
RH: “Yes, we can cross-promote and I think that’s
kind of important. I mean maybe not the seeds, the
subscription to the magazine, definitely. The sound
track to certain things, so for example you can see
the related products. So if you’re looking at a specific
show that also has a soundtrack. A drama series
that was on recently, East of Everything, is available
as a download, but we also promote the DVD and
the soundtrack. And I think that there are always
extensions. I mean, some product has merchandise,
not all merchandise works that well in an eCommerce
sense, but I think that there’s definitely opportunities
around branded product associated with really
successful TV shows.
C+T: What are the business limitations on the
system in terms of geography, for instance?
RH: At the moment it’s Australia only, although that
said, that is a limitation on a product-by-product
basis. In other words, some products where we
have international rights to we would sell anywhere.
While other products that we only have the rights to
sell in Australia obviously, we geo-block and there’s a
couple of layers of geo-blocking as well.
“Then there’s two sets of products, one is a rental
product, which is available for seven days. And
essentially, you purchase it, download it to your
machine and you’ve got seven days to watch it and
if you don’t watch it in that time it’ll stop working
basically and you can delete it off your system.
“And a download to own product and that is you
download it and we issue you with a licence which
means you can use it forever and if you change
computers you can get a new licence issued to you,
so we’re keeping a data base of all the transactions
that have occurred. And essentially that’s your digital
download, it’s still limited in the sense that you can’t
move it to a mobile device yet, but in the future and
obviously, we’re looking at that.
“I also think the technology we’ve developed isn’t
just about downloads, it’s a full streaming system. So
I mean we have the ability to look at other business
models as well, like subscribe and watch as much
as you like. I think downloads are very important to
every content maker in the video space and therefore
they’re very engaged.”
Visit http://shop.abc.net.au/downloads
Broadband & IPTV 41
Post Production
post
PRODUCTION
Scorched on Fire with The Lab
Scorched
is a 90-minute telemovie screened
on the Nine Network which is complemented by the
most sophisticated and innovative wrap-around online
experience yet devised for an Australian drama.
Scorched is set in Sydney in the near future at a time
when there’s been no rainfall for over 600 days. The
city has run out of water and become completely reliant
on its desalination plant. During a severe heatwave the
city becomes ringed by bushfires which simultaneously
break their containment lines leaving Sydney under
siege and without sufficient water to defend itself. It’s
Australia’s first what-if disaster telemovie.
According to The Lab Sydney, the work recently
completed on Scorched is some of the best ever to
come out of the creative post house.
Senior Producer at The Lab Sydney, Prue Fletcher,
says the challenges set by the project and the results
achieved were nothing short of spectacular.
“From a production and post-production standpoint
we had to create all of these Scorched effects when, in
reality, Sydney had just experienced the most consistent
two months of rain on record and was looking
particularly lush and green,” says Fletcher.
Scorched brings together an exciting team on a tense
drama that provides an entertaining and innovative
approach to the pressing issues of water scarcity and
climate change.
Scorched is a Goalpost Pictures Australia/Essential
Media and Entertainment production, in association
with Firelight Productions. Executive Producers are
Rosemary Blight and Chris Hilton, Producers are Kylie
du Fresne and Ellenor Cox, Writer is Tim Pye and
Director is Tony Tilse.
Fletcher continued, “With such a dramatic set of
effects needed we approached things in a different
fashion than we normally would. Our Senior
Compositor, Bertrand Polivka, did a pre-comp of some
high quality fire shots that we presented to Tony and the
production team. Our aim was to show that we could
capture and produce photo realism in this project.”
With the tests a success the Lab set about
producing over 110 VFX shots that would transform
Sydney’s green grass to desolate and burnt
landscapes.
“We worked closely with DOP, Mark Wareham,
to get the exact look he wanted,” said Fletcher. “There
were camera acquisition and moving tests done to get
the right hand-held feel and we played out all the worst
case scenarios to get the best reference points.”
Scorched was shot with Sony’s HDW-F900R
camera, the flagship model within its HDCAM line-up
that has been designed for productions such as drama,
commercials and feature films where a prestige 24P
look is required. As Fletcher explained there were other
considerations too.
“In addition to the HDW-F900R, some footage
was even shot using mobile phones to give a real
organic look. So we set up with the cameraman
very early in the piece for all the tests and keying
work. There was a lot of input from us at the front
end and this included applying a look to the digital
rushes, a technique usually reserved for film but very
necessary on this project.”
The rushes were treated by The Lab’s Head of
DI, Al Hansen, who explained, “We created the
Scorched look on the HD footage so that all the
editors and crew could see exactly the way it was
going to look – fully saturated and with all the flare
outs. It was quite extreme to say the least.”
The grade for Scorched was completed by Hansen
and Senior Colourist/Head of Telecine, Dwaine Hyde,
in one of The Lab’s new Baselight suites. According to
Hyde this non-linear approach was necessary because
of the complexities involved.
“The amount of keying needed to pull the green
back meant the best place for Scorched was in
Baselight so we could grade through Alpha Mattes,”
he said. “As the first long-form project in the suite it
was a real success in terms of Baselight workflows
integrating with VFX and the online internally. This
was a massive project to put through the Baselight
desk. A feature length telemovie with VFX and an
extreme look is just as complex as a movie.”
The VFX shots for Scorched were completed
under the direction of VFX Supervisor, Soren Jensen,
who added, “I worked on the pre-production with
Mark and Tony to agree on the style of shots and
effects that they wanted. This included being on set
and advising how far to ‘push’ a shot. It was a great
process.”
Jensen would then view the shots with the
production team in Fire before passing them to
Senior Compositor, Bertrand Polivka and VFX
Assistant, Maddi Milasas, who would complete
them before dropping them back into the offline.
Polivka added, “This was an 8-week process for
Maddi and I was mainly using Nuke for comping,
tracking and its impressive 3D capabilities for
camera mapping. We also created 3D tracks for
volumetric smoke in Maya and replaced a lot of
healthy looking ground with fire using Roto.”
Scorched was edited at The Lab by Geoff Lam on
Avid Media Composer and the final titles created
by The Lab’s design team.
Producer Kylie du Fresne said, “I was very
impressed, as was director Tony Tilse, with all the
post and VFX work The Lab did on Scorched. The
VFX in particular have added enormous production
value to the look of this telemovie.”
Prue Fletcher concluded, “All-in-all Scorched was
an amazing effort that really paid off. Everyone at
the production companies, the producers, director,
DOP and all at the Lab had to pull together and
work as a team. The results are really hot!”
(More Scorched Page 44)
42 Post Production
Introducing Avid DS v10
Spend less time conforming. More time performing.
Inspire your creative side with an integrated, sophisticated toolset and resolution
independent architecture. Inspire your business side with efficiency-increasing
workflows and a new price point that makes DS a smart choice.
Take a closer look at avid-australia.com.au/DS
© 2008 Avid Technology, Inc. All rights reserved. Avid is a registered trademark of Avid Technology, Inc. or its subsidiaries in the United States and/or other countries.
Post Production
The Scorched Cross-Platform Universe
Argon Energy ‘corporate’ web site.
Cassie Hoffman’s ‘video blog’.
In the two months leading up to the broadcast of
Scorched and in the month after the telemovie’s
transmission the audience are invited into this future
world without water through www.scorched.tv
(promoted and co-located at ninemsn). Once they
enter this online world our audience can follow
a serialised drama (60 minutes of 2-3 minute
webisodes) which unfolds on a daily basis and
takes the viewer right up to the very first scene of the
telemovie; they can correspond and receive emails
back from characters set in the future, watch faux
news reports which involve many of our telemovie
cast and read numerous stories which set the scene
on not just a National, but also a Global level.
For our web enthusiasts we also have an
interactive conspiracy style investigation which will arm
them with bonus material to enjoy one of the unfolding
storylines in the telemovie. After the broadcast they can
participate in forums to discuss how realistic were the
scenarios being presented to them in the telemovie or
enjoy the prequel drama.
Throughout the whole engagement with www.
scorched.tv our audience can at any time use the site
as a portal to other sites and forums where the themes
and topics such as global warming, environmental
sustainability, water scarcity, etc., are discussed.
The production of the telemovie and the online
sequel/prequel were seamlessly integrated in their
development and production. The call sheets for the
telemovie often integrated online shoot components
and several cast from both the telemovie and the
online drama appear in both platforms.
The choice for acquisition formats for Scorched
in fascinating. The telemovie DOP Mark Wareham
chose to shoot on the Sony F900 HD cameras
for the main unit. Simultaneously to the main unit
shoot, Marcus Gillezeau was directing the online
prequel and sequel drama which contains 25 X 2
min drama, 10 X 2min faux news stories and faux
user generated content. Marcus chose to shoot on
the XDCam EX and XDCam HD because they had
the right visual look and because of the post pipe.
Technologically, the acquisition of all Scorched
footage involved 6 different HD formats and in the
case of the online drama was tape free (the Sony XD
Scorched on the Web
‘Future News’, bulletin from the Cross
Platform Network.
•Main web site: www.scorched.tv
•Residents Against Water Theft: www.rawt.org.au
•NSW Premier (2012): http://angelaboardman.com
•Cassie Hoffman Video Blog: www.cassiehoffman.com
•Argon Energy web site: http://argon-energy.com
•Making of video: http://dp.tv/channels/channel47/?pg=2488
Cam EX and XD Cam HD were the main cameras).
Scorched has been extremely innovative in its use
of archive footage and VFX. The Lab created over
100 VFX shots for the film but many of these shots
are embedded to appear as captured footage or
have been shot in a documentary style rather than
via traditional coverage.
Marcus Gillezeau is the director of all things
Scorched online and is the co-founder of Firelight
Productions, a multi award-winning production
company based in Sydney that specialises in multi
platform delivery of drama and documentary. They
have delivered over thirty high-end productions to
broadcasters around the world including Discovery,
National Geographic, Ch4 UK and all the Australian
Free to Air networks.
- Ellenor Cox, Producer – Scorched, Firelight
Productions.
Scorched Credits:
Executive Producer, Goalpost Pictures Australia Rosemary Blight
Executive Producer, Essential Media and Entertainment: Chris Hilton
Executive Producer, Nine Network Australia: Jo Horsburgh
Producer, Goalpost Pictures Australia: Kylie Du Fresne
Producer, Firelight Productions: Ellenor Cox
Co-Producer, Firelight Productions: Marcus Gillezeau
Director: Tony Tilse
Writer: Tim Pye
D.O.P. Mark Wareham
Production Designer: Nell Hanson
Art Director: Alex Holmes
Costume Designer: Louise Wakefield
Makeup/Hair Artist: Sheldon Wade
Casting Director: Nikki Barrett
Editor: Geoff Lamb
Sound Recordist: Mark Cornish
Post Production: The Lab Sydney
Post Producer: Prue Fletcher
VFX Supervisor: Soren Jensen
HD Online Editor: William O’Connell
Digital intermediate Colourists: Alan Hansen, Dwaine Hyde
VFX Compositors: Bertrand Polivka, Maddi Milasas, William O’Connell
Matte Painter: Thomas Kayser
Title Design: Daniel Bavell
COMPLETE INTEGRATED SOLUTIONS.
Digistor combines all the right pieces
into turn-key solutions matching your
exact needs; whether setting up a single
rig or complete studio.
For integrated systems to suit editing,
post-production and media/facilities
management— with all of the support
you’ll need ...
Call Digistor’s experts today. Sydney 02 9906 4556. Melbourne 03 9645 5000.
or visit our website: www.digistor.com.au/solutions
4
solutionstrip C+T Aug08.indd 1
44 Post Production
high performance storage solutions
with
4/8/08 1:41:13 PM
Post Production
Post Production
Technicolor Asia Selects
da Vinci Resolve
IRIDAS recently announced that it is now offering
its DualStream stereo technology as a standard
feature on the 2008 releases of SpeedGrade
HD, SpeedGrade XR and SpeedGrade DI. The
stereoscopic post-production tools are now included
at no additional cost in the Mac OS X and Windows
versions of SpeedGrade. It will also be offered as
an optional module for IRIDAS FrameCycler playback
systems.
SpeedGrade with DualStream provides full
stereoscopic functionality allowing colourists to apply
inter-ocular adjustments, primary and secondary
grading, reframing, and mask animation in a realtime stereo viewing environment.
DualStream’s new stereoscopic features include the
ability to flip or flop each eye horizontally or vertically,
and fine-tune the rotation of either eye to correct
camera alignment or adjust the parallax of a shot.
Changes made with any of the SpeedGrade grading
and finishing tools can be applied to the combined
stereo image or to individual eyes, allowing artists to
match left and right. All work is saved automatically
as non-destructive scripts and can be copied or
edited at any time.
For stereo display DualStream supports dual SDI,
dual DVI, shutter glasses, anaglyph and pattern
mode for new DLP televisions such as the Samsung
stereoscopic TV line.
For final output SpeedGrade supports stereo
rendering to any industry standard format as left and
right eye, or combined for stereo mesh television
displays.
“With a whole wave of new stereo work fast
approaching, we want our customers to be able to
bid on stereo projects whenever they come up,” said
Steve Crouch, director of IRIDAS USA. “By making
the technology standard across the SpeedGrade
line, we’re making it easier for artists and facilities to
get on the stereo train right now.”
Visit www.speedgrade.com
Mammoth HD Stock Footage
Library Expands its RED
Footage Galleries
Mammoth HD has expanded its RED 4K stock footage
library with the addition of several new offerings shot
with the RED ONE 4K camera.
The company recently added “clean energy
source” footage, including 4K footage of Iceland’s
geothermal power plant, (which generates electrical
energy from volcanic steam vents). Also new to
the Mammoth HD RED Libraries are new sections
covering San Francisco and the Golden Gate Bridge,
Icelandic scenic clips, spring flowers, Rwanda,
modern dance, Washington D.C., Italy, the Oregon
coast and club disc jockeys.
The company also recently launched the RED
Vertical Gallery, which offers vertical 4K footage for
the digital display and signage industry.
Visit www.mammothhd.com
46 Post Production
The Foundry’s New Ocula Plug-Ins
Remove Headaches from 3D Stereo
Visual effects software developer, The Foundry,
recently unveiled Ocula – a collection of plugins designed to address some of the common
challenges of working with 3D stereoscopic
imagery in post production.
The Ocula tools are based on new disparitymapping algorithms, created by The Foundry’s
Academy Award-winning R&D team. Disparity maps
track and correlate the differences in positional
space and movement between corresponding
pixels in the left and right cameras, and then deliver
pixel-level control over images. Knowing where
disparities occur, Ocula tools apply corrections
by warping, stretching and squeezing only those
areas of an image that require treatment. Image
manipulation using disparity maps is different to the
X, Y or Z-axis shifting of images, where the whole
image plane is being shifted.
Ocula plug-ins allow artists to apply numerous
adjustments to stereo image pairs. All corrections
can be made to the left and right eye channels,
either together or separately.
Users can correct horizontal alignment issues
with Ocula’s Interocular Distance Shifter. Using
disparity map data, a new ‘virtual’ view is created
between the original left and right eye positions,
giving a more accurate resolution of objects on
different foreground, midground and background
planes. The process is different to an X-axis shift
where only the image plane is moved.
Ocula’s Vertical Aligner will automatically
attempt to vertically align corresponding image
features in each view, to minimise or eliminate
the effect known as “key-stoning.” This is not a
single Y-shift for the whole image. With disparity
mapping the correction varies across the entire
image.
A key feature of Ocula plug-ins is the reduction
in the amount of manual labour required when
artists undertake rotoscoping work, paint effects
or other operations dependent on image locality.
Many position-dependent image manipulations
can now be applied to just one eye with effects
like paint strokes or keyframed roto masks being
automatically generated for the other eye.
“Our new Ocula tools are designed to make
the post production of 3D-steroscopic imagery
easier and much more efficient than before,”
said Dr. Bill Collis, CEO, The Foundry. “Along
with boosting productivity, and enabling precise
manipulation of 3D stereoscopic imagery, Ocula
plug-ins will ultimately help artists to refine footage
to new levels. This means fewer headaches in
post, and fewer headaches at the cinema.”
Ocula plug-ins will be available for the next
point release of Nuke, version 5.1, expected to
be released in July.
Visit www.thefoundry.co.uk
Upgrades for Cintel diTTo
Cintel’s diTTo pin-registered film scanner has new features , including new waveform, histogram and
vectorscope monitoring. Other new features will include the ability to simultaneously generate an SD or
HD data file at the same time as the master 2K or 4K files are produced. This enables a new workflow
where the film only needs to be scanned once on diTTo. SD or HD files are produced for offline editing
or dailies use, while the 2K or 4K files are stored for the master online work.
In addition, diTTo can be equipped with D/SCO – the company’s Dust/Scratch Concealment Option.
D/SCO uses real-time optical correction as opposed to other systems which use infrared to create a
defect map for downstream electronic correction.
Visit www.cintel.co.uk
da Vinci Systems has announced that Technicolor
Asia, part of the services division of Thomson S.A.
has selected two of the company’s highly advanced
Resolve R350 digital mastering suites to provide
colour grading and digital intermediate (DI) finishing
for feature films made throughout Asia. Technicolor
Asia is a full-service post-production facility located in
Bangkok, Thailand.
“Technicolor Asia has long been in both the film
post-production and digital sound businesses, but
is now adding digital image post-production,” said
Ian Maycock, managing director of the facility in
Thailand. “Now Technicolor Asia also offers DI
services, providing filmmakers with a comprehensive
range of creative options for post-production,
regardless of how or on what medium content was
originated. Technicolor’s facilities worldwide rely
on the best, most efficient tools for the job, and we
believe that means deploying the new da Vinci Rseries systems.”
The da Vinci Resolve suite offers flexible, real-time
throughput of nonlinear images in film, television,
and commercial applications. The da Vinci R-series
is based on an innovative new processing engine,
C.O.R.E. (CUDA Optimized Resolve Engine), that
leverages the power and efficiency of GPUs not
merely for graphics display, but also for processing,
which enables it to work faster than any system da
Vinci has ever delivered. The R-series is available in
eight configurations, with the top-of-the-line Resolve
R350 incorporating four C.O.R.E.s and two da
Vinci Transformer boards, which provide hardware
acceleration for image processing.
At Technicolor Asia, content is digitised on an
IMAGICA scanner and then ingested into a Bright
Systems SAN. A unique contribution to workflow
efficiency which was pioneered by da Vinci is the
Resolve’s ability to share simultaneous access to
SAN content with other Resolve suites and with the
da Vinci Revival image restoration system used by
Technicolor.
Visit www.davsys.com.
The Director™
MOTION PICTURE FILM SCANNING SYSTEM
Advancing the art of Digital Compositing
High Performance Workstation
R.A.I.D. designed for the AV Market
Lasergraphics Records with Bright
Bright Systems recently announced that Lasergraphics is now supporting its new BrightClip intelligent data
recording technology in its range of high-resolution, high-speed film scanning and recording systems.
BrightClip is designed to overcome the need for disk optimisation in recording and playback applications.
As media is moved between the different processes of a post-production workflow, BrightClip employs highly
sophisticated technology to ensure that it is laid out logically on to the disks, maximising performance.
Designed specifically for digital post-production and DI workflows where multiple processes are the norm,
BrightClip enables customers to achieve increased stability, better use of resources and faster project turn-around
times.
BrightClip can be set up for use with applications either directly through an API, or indirectly through an
administrative interface. With the API, an application developer has full access to the dynamic pre-allocation
functionality within the application. Alternatively, if an application is not BrightClip-enabled, an administrator can
set up a watch folder to utilise the BrightClip recording technology.
Visit www.lasergraphics.com or www.4bright.com
Cintel Goes Faster with 4K
Cintel International is demonstrating a new, faster,
4K workflow for its dataMill film scanner at IBC. The
company will demonstrate its dataMill connected to
a DVS Clipster via an HSDL interface, running at
speeds of 5 fps (frames per second).
Simon Clark, Cintel’s business development
manager said, “There are a number of fast 4K
scanning speeds being suggested but we are able to
achieve a sustained five frames per second without
the need for expensive, and almost proprietary,
interfaces or any specialised equipment.”
The company will also be showing its new XSpeed digital servo system for the Millennium family
of film scanners. This in-field upgrade consists of
hardware and software to provide vertical and
horizontal stability.
The X-Speed system is now standard on all
new MillenniumHD and dataMill machines and is
available as an upgrade to Millennium, MillenniumII,
MillenniumHD and dataMill machines.
The company will also introduce a number of
new features for its diTTo pin registered scanner, like
the ability to simultaneously provide either SD or HD
output to coincide with the 2K or 4K scans. This new
feature will allow video output for offline editing at
the same time as the master 2K or 4K scans.
Visit www.cintel.co.uk
The Leader in Digital Media Management
vStor
Apace
IRIDAS Introduces New
Stereoscopic Tools for
SpeedGrade
Managed Dataflow and
Storage for Film & Video
Post Production
storage &
da Vinci Systems Collaborates with Gamma & Density
to Deliver Integrated On-Set Colour Correction System
da Vinci Systems recently announced that it
has been collaborating with Los Angeles-based
Gamma & Density to integrate that company’s 3cP
(Cinematographer’s Colour Correction Process)
with da Vinci’s Resolve and 2K Plus systems, giving
cinematographers an on-set colour correction
and calibration system that is compatible with
downstream colour correction systems.
3cP is a laptop-based system that allows the
cinematographer to make colour grading decisions
on-set using the new ASC CDL (American Society
of Cinematographers Colour Decision List) protocol.
These settings are then saved to a USB memory
stick as XML files, which are easily transferred to the
Resolve suite for finishing.
The ASC CDL protocol was developed by
members of the ASC Technology Committee,
(including Gamma & Density Co. and da Vinci),
to provide an industry standard for cross-platform
exchange of primary RGB colour correction
data using settings that have been familiar to
cinematographers for many years - offset (lift), slope
(gain), and power (gamma), as well as saturation,
printing lights, curves, and other utilities that will be
added in the future.
“There is often a disconnect between what a
cinematographer expects and what actually occurs
during the final colour correction process, a
problem our two companies have worked together
to eliminate,” explains Yuri Neyman, DP and CEO
of Gamma & Density. “3cP’s tight integration with
the Resolve and 2K systems makes it an even
more useful tool to solve the problem of colour
consistency in today’s post-production environment,
particularly when it comes to DI work.”
Using 3cP, colour decisions can be accurately
communicated from the cinematographer to the
dailies timer and to the colourist.
3cP is being deployed by some of the world’s
top cinematographers on major motion pictures,
including 2008’s first summer blockbuster, Iron
Man, as well as The Tudors, The Kite Runner,
10,000, B.C. and State of Play.
“More and more, 3cP is becoming a lifesaver
for DPs who want to communicate their vision
accurately into the DI world,” says Dean Lyon,
marketing director at da Vinci Systems. “The
perfect communication between the 3cP system
and the Resolve and 2K that’s enabled by the
ASC CDL promotes workflow efficiency, technical
accuracy, and perhaps most importantly, artistic
quality.”
Visit http://gammaanddensity.com or
http://davsys.com
storage &
Gee Broadcast Adds Sony
XDCAM EX Support
ASSET MANAGEMENT
Gee Broadcast has implemented support for
the Sony XDCAM EX format to its Geevs Server
and Lightworks Editors. Files from the new
Sony XDCAM EX cameras can be imported
directly in to Geevs Servers for Playout or into
the Lightworks Softworks and Alacrity Editors,
keeping the clip’s original timecode and 1920
x 1080 format intact.
Material from XDCAM EX can be freely mixed
with other material for editing on Lightworks or
playout on Geevs Servers.
Geevs and Lightworks have always supported
the XDCAM file format and the company reports
that it was a relatively simple step to add the EX
version support.
“It was a natural extension to our family of
products to add the XDCAM EX support,” said
Keith Gee managing director of Gee Broadcast
Systems. “We have seen substantial interest in
this format since its introduction and already have
several customers using it in production.”
Sony’s XDCAM EX, which records to solidstate memory, offers 1920 x 1080 resolution
throughout the production chain starting from the
imaging chip in the camera.
Visit www.geebroadcast.co.uk
EditShare creates central storage solutions that not only
ingest, protect, archive, and intelligently share your valuable
media assets in real-time, they release you from the normal
hassles of managing all that technology. Designed for teams
of creative editors and artists, our systems and tools work
seamlessly in the background while you work at your peak.
That’s the power of Complete Collaboration
48 Post Production
Ansearch the Answer for Video Search
Melbourne-based company Ansearch Limited says it
has set a new standard for video search in Australia,
catering to the booming demand for online video
content.
This is the first execution of a quality video search
engine in Australia.
As part of a major website redesign, the “ansearch
wheel” displayed on www.ansearch.com.au now
allows users to choose their preferred search channel,
whether video, image, web or directory.
This unique approach to a search engine interface
makes it easier than ever for users to customise or
refine their search query.
Ansearch users receive an instant preview of the
type of image or video results they can expect on a
search results page, featuring a popular “video wall”
preview below the search box.
The new search engine was designed and
developed entirely in Australia by Ansearch.
The new-look ansearch.com.au becomes Asia
Pacific’s only search engine providing users with video
search results from the internet’s largest commercial
and professional video library: blinkx.
XDT Catapults Workflow
Your job is to be creative,
so leave the science to us
Workflow-Engineered Video and Data Storage
for the Content Creation Industries
ASSET MANAGEMENT
For a free workflow and storage consultation, please contact us
on: +61 7 3890 0450 email: [email protected]
or visit: www.editshare.com
Melbourne-based XDT will demonstrate its
Catapult content delivery system for the first time
at IBC 2008.
Catapult is an integrated hardware and
software system. The hardware consists of a 3RU,
enterprise-grade server that delivers a maximum
data rate of more than 1 GBps second read
or write via a local RAID5 protected array (up
to an 11TB capacity). This hardware platform
is then exposed to the LAN or Switched Fabric
with XDT’s Catapult software component.
XDT’s
cross-platform
Slingshot
client
software provides an intuitive interface for
transferring frame data to and from Catapult.
Point-to-point data rates of 600 MBps are
achievable over 6 Gb ethernet interfaces. XDT’s
Flipstream application enables customers with
uncompressed film frames to review them from
any standard workstation accessing a networkattached Catapult system.
Saving countless hours of network transfers,
Catapult systems are capable of playing back
two concurrent, uncompressed 2K (10-bit dpx
log 1.85:1) streams over a 4Gb ethernet
connection, giving users a cost-effective way to
review stereoscopic material.
Visit www.xdt.com.au
Boasting more than 26 million hours of video
content – and growing – the blinkx video index has
more rich content from a broader range of sources
than either Google or Yahoo. Unlike user generated
content video sites like YouTube, blinkx specialises in
providing users with relevant content from professional
online media sources such as Reuters, BBC, National
Geographic and ESPN. The blinkx index also indexes
YouTube content, so people can access just about
any video content made available online.
ansearch.com.au also offers dynamic previews
of each video, an innovation on the traditional static
“thumbnail” image.
In addition, a “video wall” of up to eight preview
videos allows users to immerse themselves in multiple
streams simultaneously:
Ansearch chief executive officer, David Burden,
says: “With the redesign of ansearch.com.au we
have achieved in three months what some companies
would consider almost impossible: we’ve completely
reinvented the wheel of our owned and operated
search engines to service four different countries.
“It is a particularly pleasing achievement for a
proudly Australian-owned and managed company
carving out our own unique position in the global
search and online media marketplace.”
A USA local site (www.ansearch.com), UK local
site (www.ansearch.co.uk) and New Zealand
local site (www.ansearch.co.nz) have also been relaunched and customised to better serve Ansearch
customers in these markets.
Mr Burden added additional features would be
progressively introduced, with local map search and
other search channels to be made available in the
near future.
Visit www.ansearch.com.au
IBIS iFinds it at IBC
IPV Enhances Curator
At its IBC booth, IBIS (Integrated Broadcast Information
Systems) will demonstrate several real workflows from
recent worldwide installations. All IBIS solutions run
on the IBIS Media Asset Management platform iFind. Integrated production and playout capabilities
combined with iFind, enable broadcasters such as
the BBC and content producers like ITN to optimise
their media.
IBIS iFind Enterprise edition captures, creates,
manages, distributes and stores metadata and media
across the broadcast workflow. The company also
offers a web-services API to integrate third-party
applications.
New at the show will be iFind v3, which has a
new look and feel, offering more efficient search and
browse features at the desktop.
New search capabilities will be demonstrated
using Video and Audio Mining technologies from
IBIS partner Aurix. Additional media management
functionality is provided with new Broadcast Rights
information obtained via a link to IBIS Channel
Management, which contains all media contract
information and is scalable from IPTV through to full
multi-channel environments.
Another new addition is iCode, which provides
simultaneous transcoding and transfer of material into
multiple formats.
Visit www.ibistv.com
IPV will introduce the latest version of its Curator
system at IBC 2008.
Running on both PC and Apple Mac platforms,
the Curator system gives communities of media
professionals a proxy-based system for tasks like
desktop editing, media annotation and review and
approval.
Curator uses the Windows Media 9 VC-1 format
for its browse-resolution content. This can be ingested
directly from SDI video or transcoded from other file
formats. Whatever the source of the material, Curator
is guaranteed to be frame accurate at all times.
Enhancements to the Curator system will include
the ability to capture third-party event metadata for the
live generation of sub-clips. The new version can also
ingest graphics, audio files and associated metadata
into the Curator library. Additional independent
audio tracks allow for elements such as voiceovers
and different language tracks to be created.
It can also integrate with craft editing systems,
ensuring that both the rough-cut EDL and the correct
high-resolution assets are transferred to the required
craft editing system, while automating the process of
file re-wrapping and EDL translation. In addition, the
new version supports Contour Design’s ShuttlePro 2
hardware controller, enabling Curator Media Desktop
users to jog, shuttle, edit and annotate media.
Visit www.ipv.com
Storage & Asset Management 49
Storage & Asset Management
Storage & Asset Management
Interoperability for Pinnacle and Omneon Files
by AmberFin
Many large
broadcasters are currently
going through a major transition in playout server
technology, from the ‘black box’ units that dominated
the market in the early part of the decade to more
modular platforms such as Omneon’s Spectrum.
This transition, however, poses a challenge
for those companies which have made large
investments in content housed on the earlier servers,
as the proprietary file formats they use are not fully
interchangeable with newer technologies.
This paper looks at options for accurately and
cost-effectively transferring files between one of
most widely-used legacy systems, the Pinnacle
MediaStream media server, and Omneon’s
Spectrum server.
Re-ingesting Pinnacle files directly into Omneon
is not considered cost-effective or practical for large
file repositories. And most transcoding systems
adequately convert video but fail to handle audio
and metadata conversion satisfactorily.
A conversion process using the AmberFin iCR
software platform, however, is able to provide
flawless conversion of video, audio and metadata
at wire-line speeds.
This process involves the creation of a platformagnostic constrained Material eXchange Format
(MXF) application specification, potentially paving
the way for anything-to-anything conversion
workflows.
From black and white to color, analog to digital
or digital to file-based technologies, it has never
been easy for the broadcast industry to stay afloat
in an ever-changing sea of technical requirements.
And the playout side of the business is no exception,
with the last decade in particular having witnessed
a number of significant changes. At the end of the
1990s, digital media servers began to take over
from traditional video tape recorder playout systems
because of the ease with which they could handle
advertisement insertions. A burgeoning market
for this kind of technology led to the proliferation
of vendors, to the extent that by 2002 there were
no less than 19 major competing video server
companies operating in the United States, with
11 providing products specifically aimed at the
broadcast industryi.
One of the most successful of these was Pinnacle
Systems, which acquired Hewlett-Packard’s
broadcast video server business in 1999 and by
2002 was one of the three top vendors in the United
States, along with Thomson Grass Valley and Leitchii.
In 2005, however, Pinnacle itself was bought by
Avid Technology Inc. Avid maintained Pinnacle’s
MediaStream server in its product portfolio, possibly
50 Storage & Asset Management
Table 1: Audio and VBI/VANC treatment in
Pinnacle and Omneon systems.
AUDIO
Pinnacle
• Up to eight channels of audio.
• Dolby E compression at 16 and 20 bits.
• Fixed audio storage structure.
• Audio interleaved with video.
Omneon
• More than eight channels.
• Dolby E compression at 16 and 24 bits.
• Flexible audio storage structure with track stacking.
• Audio can be stored separately for easier
management.
VBI/VANC
Pinnacle
• Proprietary system.
• Time code stored in VBI/VANC in MPEG Program
Stream.
• Closed captions stored in line 21 inside MPEG
Program Stream.
Omneon
• Proprietary system or MXF 436M standard.
• Time code in VBI/VANC in MPEG User Data or
SMPTE 436M (MXF).
• Closed captions stored in VBI/VANC in MPEG
User Data or SMPTE 436M (MXF).
because of the large number of customers using the
technology at the time of the purchase, but has now
announced it will end production in 2008.
Meanwhile, a new generation of servers has
made an appearance. Unlike many of their early
predecessors, which were essentially black boxes
with a fixed number of inputs and outputs and a
fixed amount of storage, the newer servers are built
on a modular basis so customers can easily add
input or output channels and storage independently.
This new, more flexible and cost-effective approach
is typified by Omneon and its Spectrum system.
Omneon, which was not even listed in Frost &
Sullivan’s 2002 report on the U.S. media server
marketiv, has enjoyed major success in the last halfdecade, not least because of promotional activities
aimed directly at Pinnacle customersv. It currently
has customers in 45 countries on six continents,
including major broadcasters such as BBC, Canal+,
NBC and Turner Broadcastingvi. The effective
demise of Pinnacle and subsequent rise of Omneon
in barely half a decade means many broadcast
industry customers now use both platforms side by
side. However, this poses something of a problem,
because the file formats used by the two platforms
are not compatible.
With Pinnacle having been a server vendor
of choice for the best part of a decade, but
broadcasters increasingly relying on Omneon
systems for playout, there is clearly an important
requirement to ensure interoperability between the
two. Many broadcasters have several years’ worth
of material stored on Pinnacle servers and are keen
to ensure it does not become obsolete and that all
the time, money and effort spent on ingesting that
media is not wasted.
Unfortunately, however, while many transcoding
system vendors claim to be able to handle file
conversions between Pinnacle and Omneon, the
reality is that only the video portion of files can be
exchanged with any ease; conversion of audio and
Vertical Blanking Interval (VBI) or Vertical Ancillary
(VANC) information is almost invariably prone to
errors, due to a number of important differences in
file format. (See Table 1)
Owing to Table 1 and other differences in file
format and structure, converting Pinnacle content for
use with Omneon systems will typically lead to one
or more of the following issues:
• Files will not load.
• Files will load but not play.
• Audio ‘popping’.
• Lack of audio-visual synchronization.
• No closed captions.
• Closed caption synchronization problems.
• Time code non-existent or not synchronized to
video.
These problems are potentially more difficult
to solve in certain lesser-used formats, such as
uncompressed audio in standard definition or high
definition sources. And incompatibilities exist in both
transcoding directions; in other words, it is as difficult
to get a Pinnacle server to work with Omneon files
as it is to do the reverse.
To compound the issue, there are interoperability
problems within the Pinnacle product range itself, so
that files created with one version of MediaStream
might not always work with another version.
As stated above, the amount of content that a
broadcaster might hold in Pinnacle format can be
quite significant: for example, Turner Broadcasting
holds about 2,200 hours of programming that
needs to be converted. Assuming the broadcaster
does not simply want to let this content become
obsolete along with the Pinnacle platforms that it
uses, there are three options for conversion:
• Playing out the content to baseband from Pinnacle
servers and re-ingesting it directly into Omneon
systems in real-time. Apart from drawbacks such
as loss of metadata, it is fair to say that this
approach is simply not cost-effective for any but
the smallest of archives.
• Carrying out conversions using traditional
transcoding systems. As noted above, this
would inevitably lead to a loss of metadata and
audio information, and a consequent reduction
in quality. There may be some situations where
such a reduction is bearable although, again,
this is only likely to be so in very small number of
situations.
• Implementing a workflow that can offer industryleading video transcoding and at the same time
handle the conversion of audio and metadata in
a robust, automated and, ideally, faster-than-realtime fashion.
AmberFin has achieved flawless conversion between
Pinnacle and Omneon video, audio and metadata
using standard iCR software and a constrained
application specification of MXF. This process also
addresses incompatibility issues on the Pinnacle
platform itself.
MXF provides a universal open-standard wrapper
which can take care of the ‘heavy lifting’ of essences
from one platform to another. The constrained
specification, called MXF AS02, is being developed
by a joint team of users and vendors within the
Advanced Media Workflow Association (www.
amwa.tv) for submission to the Society of Motion
Picture and Television Engineers (SMPTE) in 2008,
with AmberFin, a member, playing a key role.
MXF AS02 has been designed to get around the
incompatibilities that have arisen as different parts of
the generic MXF standard have been implemented
in practice.
MXF was chosen over QuickTime as the conversion
medium between Pinnacle and Omneon because
it is more suited to integration into automated
workflows. For example, MXF’s structure includes a
program version file which references the program
contents. In a situation where, for example, a Web
service application has to query an MXF file before
processing it, the application need only check the
version file, which usually has an average payload
of about 20 kilobytes per asset. With QuickTime, in
contrast, the application would need to be sent either
the entire asset or a reference movie with weak links
to the content. Sending the entire file could require a
copy of 5 to 50 Gigabytes, increasing bandwidth
requirements by a factor of 100,000. Sending
the reference movie, meanwhile, does not transmit
enough information for the Web service to know
everything about the asset. Only MXF provides this
level of detail.
Because of its non-proprietary nature, MXF AS02
offers a number of benefits as a generic medium for
media servers. To take just one example, it is based
on the SMPTE 436M standard to store VBI/VANC
packets, rather than the proprietary mappings for
VBI/VANC data lines, including closed captions,
still used by many systems today. This greatly simplifies
captioning, as all data can simply be provided in
the standard 436M format instead of having to be
adapted to the proprietary requirements of different
types of server.
Similarly, because SMPTE 436M VBI/VANC data
can be decoupled from and re-coupled to the MXF
wrapper, there is no need to send the entire MXF
file through for captioning; instead, the work can be
carried out just on the 436M file, again reducing the
bandwidth requirements of the workflow.
The paper specification for MXF AS02 is now fairly
robust and furthermore is oriented towards decision
makers who have to write and respond to Requests
For Information (RFIs), making it a highly accessible
standard. A number of vendors, including AmberFin,
Omneon, Marquis Broadcast, TransMedia Dynamics
(TMD), EMC and Pro-Bel, already have working MXF
AS02-based systems and Turner Broadcast is using it
to convert between Pinnacle and Omneon directly on
demand.
While the MXF AS02 specification provides a
convenient wrapper for file transport between Pinnacle
and Omneon, the critical conversion functions are
down to AmberFin iCR. The iCR system is designed
for maximum automation and interoperability so that
once a conversion profile has been set by an operator
the system can reproduce it exactly on request without
further intervention.
Furthermore, the system is capable of carrying out
flawless conversions between Pinnacle and Omneon
files at four times faster than real-time and without any
additional bandwidth requirements, effectively making
it possible to mix and match Pinnacle and Omneon
servers indiscriminately with iCR acting as universal
translator. The speed of conversion means Pinnacle files
can be called up and played out on Omneon servers
on the fly. Similarly, Pinnacle archives can be updated
to Omneon-friendly MXF format in the background
during periods of low server utilization.
The conversion can be carried out in both
directions, too, so that for example material can be
ingested on an Omneon platform and then played
out on Pinnacle, or even stored on Pinnacle and
played out again on Omneon.
Last but not least, as indicated above MXF AS02
has the potential to become a universal format for
different server platforms and iCR offers unrivalled
automation and integration possibilities, both
of which mean the iCR/MXF combination have
benefits far beyond simple transcoding between
Pinnacle and Omneon systems.
Converting Pinnacle files into a format useable by
Omneon servers, and other versions of Pinnacle, is
a growing problem in the broadcast industry and
one that is related to a wider issue of server platform
incompatibility. Using MXF AS02 as a universal
wrapper and iCR as a conversion engine makes
it possible to overcome the issue of interoperability
between Pinnacle and Omneon, and at the same
time points the way to a much wider level of
compatibility between server vendors.
Visit www.amberfin.com An electronic version of this
whitepaper can be found at www.broadcastpapers.com
SAS Cube HD
with
Outstanding performance
at a breakthrough price
With the new SANman SAS Cube|HD, you can
work with HD uncompressed content without
fear of dropping even a single frame.
SAS is the next generation interface,
delivering up to 3Gb/sec over a single SAS
cable.
With read speeds
up to 485MB/s* and
write speeds up to
426MB/s*, SANman
SAS Cube|HD
handles even the
most demanding
high definition tasks.
500
400
300
Read
485MB/s
Write
426MB/s
Supporting RAID
levels 0, 1, 3, 5, 6, 10, 30, 50 and 60, and
with 8TB for only $9995 inc GST, SANman
SAS Cube|HD is the perfect compliment to
your Final Cut, Avid or other post-production
studio.
Bundled with
the best controller
All SANman SAS Cubes
include an ATTO controller
delivering a complete
storage solution with the
ultimate in performance and
reliability.
* Based in Adimex internal benchmark tests. Speeds will vary
depending on configuration and application.
Contact Adimex for more details.
Check out
www.adimex.com.au/wheretobuy
or give us a call to find an authorised SANman
dealer near you.
p: +61 (0)2 9906 4556
[email protected]
www.adimex.com.au
Audio
AUDIO
MPEG Works on Enhanced Audio Coding
At its 85th meeting, the Motion Picture Experts
Group (MPEG) issued the Verification Test Report
for MPEG-4 Enhanced Low Delay AAC (AACELD, ISO/IEC 14496:2005/AMD 9), the newest
MPEG standard for high quality conversational
applications. Test results showed that the AAC-ELD
provides quality and compression performance that
is superior to all competing technologies.
AAC-ELD is based on MPEG-4 AAC Low Delay
(AAC-LD, ISO/IEC 14496:2005) audio coding
tools and adds recently developed MPEG-4 coding
tools.
Most notably, it incorporates the Spectral Band
Replication tool (SBR), but in a form that provides
significantly reduced algorithmic delay, thus
delivering excellent compression with a low latency
that supports conversational applications. At low
bit rates (~32kbps), the test results showed that the
AAC-ELD technology offers significantly better audio
quality when compared to both AAC-LD and ITU
communication codec G.722.1-C. At higher bitrates
(~64kbps), AAC-ELD performed at the same quality
level as its predecessor, AAC-LD, while offering a
25 percent lower algorithmic delay of just 15ms.
The immediate applications of this standard are
foreseen to be in high quality conferencing systems
as well as in professional broadcasting equipment,
where the MPEG-4 AAC-LD codec is already
established.
The verification test report for Advanced Audio
Coding – Enhanced Low Delay can be found at
http://www.chiariglione.org/mpeg/hot_news.
htm.
Also at the 85th meeting, responses to the Call
for Proposals on Unified Speech and Audio Coding
were evaluated.
The goal of this work is to achieve, across a range
of bitrates for speech, music, and mixed speech and
music content types, performance which is as good
as or better than the best state-of-the-art codecs and
also to have consistently high performance across
content types.
Evaluation was based on a comprehensive set of
nine listening tests assessing audio quality for mono
and stereo signals at bitrates ranging from 64 kb/s
for stereo to 12 kb/s for mono. Many submissions
SAE, Audiocourses Partner for On-Line Learning
SAE Institute have teamed up with Audiocourses.
com to launch a new distance learning education
division. Audiocourses has become a leading
location for distance learning with several courses
available in areas such as music technology,
recording techniques, digital audio and audio for
video.
Audiocourses’ Chris Hambly says: “The merging
of SAE Institute, with its world leading face-to-face
brand identity, and AC, with its pioneering methods
and credibility for early adoption of online delivery,
is a mouth-watering prospect. Bringing together
these dominant brands really does provide a
win- win situation for students globally, whereby
regardless of location the student is able to immerse
herself in the world’s best solution for media related
education both offline and online. It’s perfect!”
“As well as the unique partnership, AC is bringing
some serious educational tools and channels to the
SAE table that have been operational with AC for
many years and proven to engage the students
remotely. In addition we will now be able to offer
the student not only highly immersive learning
programs online but also be able to offer them reallife hands-on equipment in any SAE Institute school
worldwide, which are the best learning studios in
the world.”
52 Audio
SAE’s Tom Misner adds: “This merger strengthens
SAE’s already strong on-line presence and simply
means that anyone with on-line access will soon be
able to take advantage of SAE’s superb education
packages. It will take on-line distance learning
for multimedia and audio production to another
level entirely and is yet another example of SAE’s
incredible forward-thinking philosophy. 2008 has
been quite a year for SAE already, and there’s plenty
more to come!”
Visit http://sae.edu/ and www.audiocourses.com
achieved very high performance, with five of these
submissions scoring within 4 points of the best
system on the 100-point MUSHRA subjective quality
scale. The technology selected as the Reference
Model had performance better than either of two
state-of-the-art codecs (AMR-WB+ and HE-AAC V2)
at every operating point tested.
The Working Draft text, normative decoder source
code and informative encoder source code for the
Unified Speech and Audio Coding specification will
be available at the 86th MPEG meeting, at which
point the collaborative phase of standardization will
begin.
Finally, two new profiles for the MPEG lossless
audio coding standards have been proposed as a
response to strong request by the industry. The ALS
Baseline Profile incorporates Audio Lossless Coding
(ALS), while the High Definition AAC (HD-AAC)
Profile is a combination of AAC LC and Scalable
Lossless Coding (SLS). The profiles will facilitate
commercialisation and expand market share of
these MPEG technologies.
Visit www.chiariglione.org/mpeg/hot_news.htm
NHK Pursues 22.2
Surround Sound
Fairlight has supplied a six-hundred channel mega
mixer to support Japanese Broadcaster NHK in
the development of 22.2 surround sound.
Powered by three powerful CC-1 cards,
the system features a unique three dimensional
automated panning system capable of supporting
22.2 surround sound. NHK Science & Technical
Research Laboratories (NHK STRL) centre took
delivery of a custom 600 Channel Constellation
system to support the development of its three
dimensional surround sound system. The unique
surround sound format is deployed as part of NHK
STRL’s Ultra High Vision (UHDTV) TV format which
features 22.2 speaker placements in conjunction
with super high resolution video. The massive Constellation system is configured
with three of Fairlight’s powerful CC-1 engines.
Using latest generation FPGA technology each
engine is capable of delivering in excess of 200
audio channels. Every channel in the system
is supported with a full complement of audio
processing including six bands of EQ and three
stages of Dynamics. A three dimensional panning
system provides automated panning control in
three dimensions to provide precise placement of
audio within the 22.2 sound field. Back to Contents Page
For more information on Neumann contact:
Syntec International Pty Ltd
Australia: Free Call 1800 648 628 | email [email protected]
New Zealand: Free Call 0800 100 755 | email [email protected]
Audio
Professional DVD/CD Player
At IBC 2008, HHB will introduce its new UDP89 Professional Universal DVD/CD Player, which
combines high-end digital video performance with
audiophile sound quality to provide broadcasters and
system integrators with feature-packed disc player
engineered specifically for professional applications.
Housed in a 1U rack-mounting chassis, the UDP-89
features a digital HDMI output alongside composite,
S-Video, component and RGB outputs, RS232 serial
control, balanced and unbalanced stereo and
surround sound analogue audio outputs and AES/
EBU and S/PDIF digital audio outputs.
With a long heritage in CD recording, HHB has
also launched the CDR-882 DualBurn, which features
dual-recordable, dual-drive configuration. It features
simultaneous recording of two discs, high-speed
duplication and intelligent disc management.
It offers balanced XLR analogue I/O, unbalanced
phono analogue I/O, balanced XLR AES/EBU
digital I/O, coaxial and optical S/PDIF digital I/O,
external word clock input, RS232 remote control and
parallel control interface.
The company also announced that its popular
FlashMic range will now include cardioid and
omnidirectional models both with and without line
inputs.Visit www.hhb.co.uk
Clear-Com Adds Ethernet
Connectivity
Clear-Com Communication Systems will introduce
its new IP-enabled V-Series user control panels at
IBC 2008, enhancing the performance of its
Eclipse Digital Matrix Intercom System.
The new IP connectivity will allow users to
connect their Eclipse V-Series user control panels
to the Eclipse Matrix frame over their existing
WAN or LAN ethernet infrastructure. This new
application expands the range and mobility of the
Eclipse system, both in-house and remotely.
Using a new matrix IP card, E-Que IP users can
easily integrate their individual V-Series panels by
establishing an IP link back to the Eclipse Matrix
frame.
All that is needed to ensure connection on
the Eclipse Matrix side is an ethernet switch or
router linked to the IT network. No other devices
are needed to secure the connection, making it
economical to deliver intercom access into local
or remote locations. The E-Que IP card supports
up to 32 V-Series IP panels.
All panels in the V-Series line feature ClearCom’s “Listen Again” technology, which employs
digital audio memory to allow the user to
replay 30 seconds of received incoming calls,
aiding communication in noisy and demanding
environments.
Advanced digital signal processing (DSP)
gives operators control over their panel’s audio,
including routing, EQ, mic limiting, headset
sidetone, as well as intelligent dimming and local
Interrupted Feedback (IFB).
Visit www.clearcom.com
HD Tone Generator
Sonifex will be at IBC 2008 showing new
products for radio and TV broadcast stations
together with its customary array of Redbox audio
products. The company’s main release is a new
line identification originator - the Redbox RBTGHD multi-channel HD tone generator.
The RB-TGHD is an 8-channel audio tone
generator that provides line identification for multichannel audio systems, including BLITS 5.1 and
7.1 surround sound typically used in HD television
broadcasts. By using a range of widely accepted
industry standard tone sequences, channel
identification and associated levels can be
determined easily. Correct channel configuration
in fold-down mixes can also be highlighted when
a broadcaster needs to mix several audio channels
into a stereo feed. Available tone sequences
include EBU R49, GLITS and BLITS stereo lineup, EBU R49 and BLITS channel identification as
well as a standard Phase check.
GLITS is an acronym for “Graham’s Line
Identification Tone System” - a test signal for stereo
systems devised by BBC TV sound supervisor
Graham Haines in the mid-1980s. BLITS stands
for “Black and Lane’s Ident Tones for Surround,”
developed by Sky Television Sound Supervisors
Martin Black and Keith Lane to provide a
standardised form of channel identification and
alignment for surround sound material.
The RB-TGHD caters to 2-, 4-, 6- and 8-channel
configurations and all of the available audio
tone sequences for each channel configuration
can be cycled through automatically or selected
manually. A loop mode allows patterns of tones
to be repeated. A bank of 4 pushbuttons on the
front panel sets these options and the associated
LEDs indicate the current setting. A set of 8 LEDs on
the front panel indicate audio presence for each
output channel.
The RB-TGHD is available in two versions - one
with balanced AES/EBU digital audio outputs on 3
pin XLR connectors and the other with unbalanced
digital audio outputs on BNC connectors.
These new products will be displayed with
the full range of Redbox digital audio converters,
word-clock, audio and headphone distribution
amplifiers, microphone amplifiers, matching
amplifiers, mixers, source select units, silence
detect unit, limiters, a power controller and stereo
to mono converters.
The Reference Monitor range of 1U rackmount audio monitors will also be introduced at
the show. Each unit offers quality loudspeaker
monitoring and high-resolution metering of up to
four stereo audio sources (or ten with the addition
of an optional expansion card). Sources may be
in any mixture of analogue and AES/EBU digital
formats, with sample rates up to 192kHz accepted
and a 5-band parametric EQ can be used to tailor
the unit for the room it is mounted in.
Visit www.sonifex.co.uk
Revolutionary
Introducing the LSR4300 Series Studio Monitors, revolutionary
technology designed for your workspace with computer
recording in mind. The next-generation automated version
of JBL’s RMC Room Mode Correction technology and builtin analyser, automatically calibrate each speaker to ensure
accurate response at the mix position, in any work environment.
The LSR4300 Series is the first studio monitor that incorporates
the Harman HiQnet™ network protocol, enabling system-wide
intelligence and synchronised control of all speakers in the system
from the mix position. Control system level, individual speaker
solo, input source selection, high and low frequency EQ settings,
and adjustment of all parameters from the speaker’s front panel,
infrared remote control or your desktop with the LSR4300
Control Center Software. With automatic room compensation,
centralised system control, and high-resolution digital inputs, the
LSR4300 Series is the most elegant advancement of technology
on behalf of better mixes ever offered in a studio monitor.
Windshields and Suspension
UK-based Rycote will be demonstrating its full range
of windshields and microphone suspension systems
at IBC, including the InVision range of noise-reducing
suspension systems.
Two new InVision models will make their debut at
IBC 2008 - INV-9 and INV-10.
With a 30mm Lyre support clip at the front of
its support assembly and a 19-25mm clip at the
back, the INV-9 is designed to hold mics such as
Shure’s SM57 and SM58, as well as Neumann’s
KMS105.
INV-10 is designed specifically for Sennheiser’s
popular MKH range of mics, with two specially
designed flat-sided clips (to accommodate the flatedged mic barrel of the MKH range) on a 70mm
support bar.
IBC will also see the introduction of the innovative
Lyre suspension clips used in the InVision range into
many other Rycote products, including the company’s
Modular Suspension System.
Visit www.rycote.com
Stunning sound and revolutionary intelligence
to analyse and correct the problems in any room.
Distributed by JANDS • 40 Kent Rd. Mascot NSW 2020 • Ph:(02) 9582 0909 • Fax:(02) 9582 0999 • www.jands.com.au
54 Audio
Audio
Audio
Sennheiser
Clip-On Mic
We’ve got
the Awards...
Now it’s
your turn.
Sennheiser will introduce its
latest professional clip-on
microphone – the MKE 1
– at IBC. The MKE 1 comes
complete with a multi-purpose
cap, which protects the
microphone from moisture and
also serves as a windshield
(with a treble boost of 1.5
dB). Also included is a small frequency response cap, which ensures
a treble boost of 2.5 dB for applications where the microphone is
hidden within the costume. Three make-up protection caps and several
thin plastic tubes for shielding the cable when attaching it with clips or
adhesive tape are also included.
Despite its tiny size - the microphone measures just 3.3 mm across
- the MKE 1 offers outstanding sound quality; plenty of lower midrange
and excellent presence with good speech intelligibility. It has a userfriendly omni-directional pick-up pattern and the microphone picks up
predominantly direct sound with relatively little ambient noise; a real
advantage for many applications from broadcasting to theatre and
musicals.
The MKE 1 is now available in beige and black and comes
with a special 3-pin plug for the Sennheiser bodypack transmitters
including the SK 5212, SK 5012, SK 250, SK 50 and SK
3063 or with an unterminated cable for other transmitters.
Visit www.sennheiser.com
SSL Expands Broadcast Portfolio
TLM103
TEC Award
1998*
TLM127
TEC Award
2004*
M149
TEC Award
1997*
* Awarded annually by readers of the renowned US
publication MIX MAGAZINE. The TEC Awards honor
Technical Excellence & Creativity and outstanding
achievement in audio technology.
www.neumannaustralia.com.au
For your nearest authorised dealer in
Australia: Free Call 1800 648 628
email [email protected]
New Zealand: Free Call 0800 100 755
56 Audio
Solid State Logic (SSL) will use IBC to highlight its expanding broadcast business,
featuring new developments in both audio and video.
The company will showcase its Gravity content control system for news
production editing and media asset management. Gravity is a comprehensive
tool set for acquisition, preparation, production, media management and
monitoring. In addition to being fully scalable, Gravity provides a formatand codec-independent platform that allows users to work in any format, or if
required, in multiple formats simultaneously.
Over the years, the company’s Newsroom Systems development team has
earned three Emmys and a Technical Oscar for advancements in these fields.
At the show, SSL will introduce the new C100 HD-L digital broadcast console.
The new addition to the range joins the C100 HD digital audio console for
on-air broadcast and the C100 HD-S slimline control interface, designed for
space-limited applications. The C100 HD-L offers a new pre-configured control
surface, and a new processing and I/O package designed for a range of
broadcast applications, including news, sport, outside broadcast and post.
The company will also be showing the C300 HD multi-format stem-based
mixing console. In today’s world of multi-format audio production, the C300
HD is designed to serve as the ‘nerve centre’ for commercial post facilities.
It combines the audio fidelity and processing of an SSL digital audio console
with comprehensive multi-format monitoring, multi-system machine control and
hardware control of the modern studio environment.
IBC attendees will also have the opportunity to experience Matrix. Designed
for small production suites, Matrix is a 16-channel, 40-input SuperAnalogue
mixing console with an integrated software-controlled analogue routing matrix
that enables external analogue processors to be neatly incorporated into the
DAW environment. Matrix is also a sophisticated hardware control surface
offering advanced control of up to four DAW’s simultaneously.
Also available for demonstration will be SSL’s Duality, the large scale
SuperAnalogue console with integrated DAW control. Since its launch 18
months ago, Duality has gained widespread acceptance for music production
and has also proven popular with broadcasters, (including ABC Australia and
KBS Korea). Visit www.solid-state-logic.com
Yamaha Commercial Audio has announced its 2008 Training Tour, a major initiative
which will feature three training courses conducted in various venues throughout
Australia. From September to December 2008, attendees in several Australian cities
will be able to gain hands-on tuition from Yamaha’s Commercial Audio trainers on
the principles of digital mixing, constructing audio networks or expanding a PM5D
console, depending on their choice of session.
The Training Tour will comprise a total of 18 training sessions held across 15 days
of training, in a total of 12 Australian cities spanning seven states and territories.
The tour is the largest of its kind ever conducted by Yamaha Commercial Audio in
Australia and is a testament to Yamaha’s enduring motto of “Local Service, Global
Support”.
Digital Mixing 101 ($100 inc. GST) runs for a full day and will be conducted in
all twelve of the Training Tour’s host cities including Rockhampton, Mackay, Townsville
and Cairns. In this one-day course, attendees will learn the fundamentals of analogue
and digital audio systems. They will have the opportunity to mix on a multi-track
and become more familiar with signal flow, hardware and software while receiving
hands-on training on Yamaha’s LS9, M7CL and PM5D digital mixing consoles. The
Digital Mixing 101 course is suitable for any audio engineer interested in learning the
fundamental skills of basic analogue and digital audio systems. Lunch is included.
Audio Networking ($50 inc. GST) runs for 3 hours and will be conducted in
Melbourne, Sydney and Brisbane. The course will give attendees the chance to learn
the fundamentals of creating audio networks using CobraNet and EtherSound, the
digital transmission protocols that have revolutionised the design and construction of
distributed audio systems.
Participants in the Audio Networking course will have the opportunity to build
simple networks that transport audio via Ethernet infrastructure while learning about
the operation of Yamaha’s DME Series programmable DSP range and network
audio interfaces. The course is suitable for any system designer, integrator or installer
interested in upgrading their skills or seeking an introduction to digital distribution
protocols. The PM5D V2 and DSP5D course ($50 inc. GST) is 3 hours in duration
and will give attendees in Melbourne, Sydney and Brisbane the opportunity to learn
the operation and new features of Version 2 of one of the world’s most popular digital
mixing consoles, the PM5D, and its new expansion unit, the DSP5D.
The PM5D V2 and DSP5D course’s topics will include how to expand a PM5D’s
mono input channel count to 144, as well as using a DSP5D as a remote stage box
and digital multicore, connected to FOH by a single piece of Cat5.
Admission is via pre-booking only - attendees will need to book online for each
session via Yamaha’s website: www.yamahamusic.com.au
Interested attendees can contact Yamaha Commercial Audio on (03) 9693
5272 or email [email protected] for more details on venues,
registration and course topics.
DIGITAL MIXING 101 SCHEDULE:
Rockhampton, QLD: Thursday 11 September, 9am-4pm
Mackay, QLD: Saturday 13 September, 9am-4pm
Townsville, QLD: Monday 15 September, 9am-4pm
Cairns, QLD: Wednesday 17 September, 9am-4pm
Brisbane, QLD: Tuesday 7 October, 9am-4pm
Newcastle, NSW: Tuesday 14 October, 9am-4pm
Sydney, NSW: Tuesday 21 October, 9am-4pm
Canberra, ACT: Tuesday 28 October, 9am-4pm
Melbourne, VIC: Tuesday 11 November, 9am-4pm
Perth, WA: Thursday 20 November, 9am-4pm
Adelaide, SA: Friday 28 November, 9am-4pm
Hobart, TAS: Tuesday 9 December, 9am-4pm
AUDIO NETWORKING SCHEDULE:
Brisbane, QLD: Wednesday 8 October, 9am-12pm
Sydney, NSW: Wednesday 22 October, 9am-12pm
Melbourne, VIC: Wedndesday 12 November, 9am-12pm
PM5DV2 AND DSP5D SCHEDULE:
Brisbane, QLD: Wednesday 8 October, 1pm-4pm
Sydney, NSW: Wednesday 22 October, 1pm-4pm
Melbourne, VIC: Wedndesday 12 November, 1pm-4pm
Nelly Furtado
Yamaha Announces 2008 Training Tour
Magic in
the Air
50 years of Sennheiser
Wireless Microphones
There’s nothing more exciting than the magic of an
electrifying performance - and nothing harder to capture.
50 years ago, Sennheiser’s engineers designed their first
bulletproof wireless systems to grab that magic and transmit
it with flawless fidelity.
Today, top artists like award winning vocal sensation Nelly
Furtado insist on Sennheiser wireless for the freedom to
deliver their magic.
Coming soon: News on Award winning Australian acts using
Sennheiser microphones.
Whether it’s microphone or monitor systems for broadcast,
theater or stage, Sennheiser sets standards for wireless
quality and sound.
www.sennheiser.com.au
For your nearest authorised dealer in
Australia: Free Call 1800 648 628
New Zealand: Free Call 0800 100 755
Audio 57
Not just Consoles and Routers...
Radio
THE ORIGINAL BROADCAST MEDIA
RADIO
CRA Talks DAB+ in China
Chief executive officer of Commercial Radio Australia,
Joan Warner has met with Chinese broadcast
regulator, SARFT, and major Chinese broadcasters in
Beijing to discuss Australia’s plans for the switch-on of
digital radio next year.
Australia is leading countries like Germany, Italy,
Switzerland and many in the Asia Pacific region in the
adoption of the DAB+ digital format, and has gained
international recognition for being at the forefront of
digital radio innovation and policy development.
Ms Warner said the Chinese regulator, which has
currently only approved the more basic, older DAB
digital format, was interested in learning more about
Australia’s rationale for the adoption of DAB+
“Australia is leading the world in the development
of multi-media applications and also broadcasting
the DAB+ standard on air in preparation for switch-on
. The Australian trial is also assisting leading receiver
manufacturers in the UK and Asia in DAB+ product
development,” Ms Warner said.
Whilst in Beijing, Ms Warner also met with two
major Chinese broadcasters, Beijing Jolon and
Shanghai OPG.
Ms Warner also met with Chinese receiver
manufacturers in Shanghai. Digital radio will be
free-to-air in Australia, but listeners will need a
new digital radio receiver to take advantage of
the service. Commercial Radio Australia has been
working with leading radio receiver manufacturers,
suppliers and retailers to encourage a full range of
DAB+ products to be offered in the lead-up to Xmas
2008.
“Digital radios will come in all shapes and sizes to
suit the individual listener. Some very thin and light with
a screen to display images, others will take the form
of a very simple clock radio, Hi-Fi or MP3 device. I
am keen to see what the Chinese manufacturers have
available,” said Ms Warner.
Free-to-air digital radio services are scheduled to
begin in Sydney, Melbourne, Brisbane, Adelaide
and Perth on 1 January 2009.
Visit www.digitalradioaustralia.com.au
ABC ChannelsPolling
for VIC, in
QLDPalestine
The Australian Communications and Media Authority
is seeking written submissions from the public on
proposals to make channels available for ABC radio
services in the Bendigo, Colac and Geelong areas of
Victoria and the Townsville area of Queensland.
ACMA is proposing to make channel capacity
available in Bendigo, Colac and Townsville to enable
the ABC to provide its NewsRadio service. In Geelong
ACMA proposes to make channel capacity available
for an extension of the ABC’s Local Radio service.
“The proposed changes are part of a broader plan
58 Radio
M
Y
to extend these ABC services to all transmission areas
of Australia with a population of 10,000 or more,”
said Chris Chapman, ACMA Chairman.
Spectrum is congested for high power services
in each of these regions and ACMA was unable to
identify any vacant FM frequencies that could be used
for the ABC services. ACMA is therefore proposing to
vary the frequency of various existing services in the
radio markets for the introduction of these services.
“The proposals to make frequencies available for ABC
radio services would require changes to the transmission
Manufacturers, Retailers Join Forces on Digital Radio
Many of Australia’s leading retailers and manufacturers
of digital radio products have joined forces to ensure
a united effort in launching digital radio onto the
Australian commercial market later this year.
Australia’s leading retailers and manufacturers
have formed the Broadcasters, Retailers and Receiver
Manufacturers Digital Radio Advisory Group, which
will meet on a monthly basis to discuss strategy for the
launch of digital radio.
The group includes senior representatives from
retailers Harvey Norman, Domayne, Clive Peeters,
Dick Smith and manufacturers like Philips, Samsung,
Yamaha, Revo, Bush Australia and Pure Australasia.
Other leading retailers such as Bing Lee, Target,
Myer, David Jones, Strathfield Group and JB HiFi have also been invited to join the group as have
other manufacturers including Panasonic, TEAC, Sony,
Pioneer and JVC.
Broadcasters from the major networks involved in the
launch including Austereo, DMG, ARN and Sky Racing
also attended to outline the broadcasters’ position.
C
Chief executive officer of Commercial Radio Australia,
Joan Warner said discussions at the inaugural meeting
focussed on the marketing and communications plan
for digital radio, information on training and education
for retailers as well as product availability and price.
Ms Warner said the industry wanted to communicate
with all stakeholders in the lead-up to the digital switchon date, but manufacturers and retailers were essential
for a successful start.
“This is essentially the launch of a new technology
so there is lots to be discussed both now and in
coming months – training for retailers is vital and we
are well underway in developing training modules
and content for retailers’ own training programs.
Equally how everyone fits in the overall launch of
the technology and ensuring we all work together is
crucial,” Ms Warner said.
She said an important issue discussed at the meeting
was the tracking of receiver sales to provide critical
feedback to all those involved in the launch of digital
radio.
arrangements of some existing broadcasting servicesCM
and ACMA is keen to receive community feedback onMY
this issue,” Mr Chapman said.
CY
Details of the proposed changes are contained
in the explanatory papers and draft variations to theCMY
Bendigo, Colac, Geelong, Charters Towers andK
Townsville radio licence area plans released on the
ACMA website www.acma.gov.au, or by calling
1300 850 115. The closing date for comments on
these proposals is 5:00pm, Friday 19 September
2008.
WorldDMB at IBC
At IBC this year, WorldDMB will be on Stand
No 10.D21 in the EBU pavilion. Attendees
will be able to watch and listen to live onair demonstrations of DAB, DAB+, DMB
and learn more about the applications for
interactive digital radio and mobile TV; EPG,
DLS, Journaline, Slideshow/visual radio,
Surround sound, TPEG, Intellitext, and MOT.
A demonstrarion of BIFS will be available at
the ETRI stand - 12E.A31a.
WorldDMB will also be presenting a free
confervence in association with The Institution
of Engineering and Technology titled “Digital
Delivery: Getting Content to the Consumer”
on Monday 15th September 2008, 11.30
- 13.00, in Room A. This session will be
chaired by Mr Leonardo Chiariglione, Chief
Executive Officer of CEDEO.net
Visit www.worlddab.org
Logitek Australia can design
and build your whole facility.
Call Paul or Keith on
02 8882 7777
or contact [email protected]
Logitek Australia
www.logitek.com.au
Console Router Systems
We could have also called it the StandardFast-Operating-Ultimate-Matrix-CapacityDSP-Core-HDTV-OB-Van Mixing Console.
Radio
Hybrid DAB/DAB+,
Wi-Fi Internet
Radio
Solid-State Player for
Audio over IP
UK-based
Revo
Tech
nologies Ltd has released
what it says is the world’s first
portable ‘hybrid’ DAB/DAB+
and internet radio.
PICO RadioStation combines
DAB and DAB+ reception with wi-fi
internet radio technology in a compact, highly portable form factor.
Thanks to its splashproof construction
and 12 hour lithium-ion rechargeable battery, PICO RadioStation can be used just
about anywhere.
PICO RadioStation features full DAB and DAB+
digital radio reception, FM radio coverage with RDS, Wi-Fi
internet radio,
wireless MP3 media streaming from PC or Mac, and the ability to serve as a
portable sound system for any MP3 player.
PICO RadioStation is one of only two commercially available digital radios in
the UK (the other one being REVO’s BLIK RadioStation model) that are ready to receive next-generation DAB+ broadcasts without the necessity for paid-for software
upgrades or downloads.
PICO RadioStation is the result of a collaboration between Revo Technologies
and Frontier Silicon. At the heart of PICO RadioStation is Frontier Silicon’s new
multi-standard Venice 6 module.
PICO RadioStation is retailing in the UK for £169.95 from the 15th of
September, or directly from www.revo.co.uk
Barix AG, a pioneer in IP-based
audio, intercom, control, and
monitoring, has developed
new
solid-state
player
functionality for its range of
Audio over IP devices using
Barix’s open source BCL (Barix
Coding Language) software. Broadcasters
can now use Barix Exstreamer audio decoders and Annuncicom
intercom/VoIP devices in the studio or at a receive point as a cost-effective
solution for reliable, high-quality audio playback.
The solid state player includes the capability to update audio content over a
network connection. The source code of the applications is delivered with the
firmware and allows engineers and consultants to customise their Barix Audio
over IP solutions to meet specific technical requirements.
Barix devices and Barix OEM products are now installed and active in
thousands of locations around the world within the radio broadcast industry
for STL connectivity, remote pick-ups, confidence monitoring, and internet radio
program distribution, among other applications. In the studio, Barix Exstreamer
and Annuncicom devices now also serve as ideal digital message repeaters
for scheduled playback of station IDs, promos, EAS tones and other audio
content. Messages are triggered using integrated contact closures, serial or
web interfaces, and all Barix devices are interoperable with digital and analog
studio equipment, including consoles and audio networking equipment.
Barix devices recognise playlist updates, download new content, and update
the local USB media storage, adding new songs, promos and other messages
to the playback. Content can be encrypted right to the exact point of play-out to
comply with potential strict copyright requirements.
The new BCL applications for solid-state functionality can also be applied
to music-on-hold applications for businesses, and besides the analogue audio
output, the Barix devices can also interface to IP and SIP based phone systems,
providing the on hold audio as a unicast or multicast RTP stream.
Visit www.barix.com
EGD?:8I:C<>C::G
@adio9^\îVa6h^VEVX^[^X]VhVkVXVcXn[dgVEgd_ZXi:c\^cZZgVii]Z^gAVcZ8dkZegZb^hZh#I]Z
^YZVaXVcY^YViZ]VhV* nZVghd[ilVgZVcY]VgYlVgZZc\^cZZg^c\WVX`\gdjcY^ci]ZWgdVYXVhi
VcY$dgegd[Zhh^dcVaVjY^d^cYjhignlî]V9Z\gZZdg9êadbV^c:aZXig^XVa$:aZXigdc^X:c\^cZZg^c\#
I]ZhjXXZhh[jaVeea^XVcilâaWZXdbZVc^bedgiVcibZbWZgd[@adio9^\îVa6jhigVa^VÉhEgd_ZXi
9ZeVgibZci#
J^[AbejpFhe`[Yji:[fWhjc[dj^Wij^h[[fh_cWho\kdYj_edi0
' Fhe`[Yj:[i_]dWdZ?dijWbbWj_ed
( Fhe`[Yj:eYkc[djWj_edWdZJhW_d_d]
) 7\j[hIWb[i9kijec[hI[hl_Y[WdZIkffehj
I]ZEgd_ZXi:c\^cZZglâaiV`ZgZhedch^Wâîn[dgVaad[i]ZhZ[jcXi^dchlî]^c6jhigVa^VVcYCZl
OZVaVcY VcY gZedgi Y^gZXian id i]Z Egd_ZXi BVcV\Zg 6jhigVa^V# 6 ÈXVc"YdÉ ViiîjYZ VcY i]Z
lâa^c\cZhhid\di]ZZmigVbâZ^hZhhZci^Va^ci]^hedhî^dc!VhndjlâacZZYidYZValâabjaiêaZ
YZVYa^cZhVcYi]ZVWâînidldg`jcYZgegZhhjgZ^h^beZgVi^kZ#
@eXH[ifedi_X_b_j_[i
9ZkZadeEgd_ZXi9Zh^\ch
EgZeVgZ8699gVl^c\h
6hh^hiHVaZhYZeVgibZci^cegd_ZXi YZh^\cegdedhVahVcYegZhZciVi^dch
LgîZHnhiZbHeZX^[^XVi^dch
EgZeVgZegd_ZXiheZX^[^XXjhidb
hd[ilVgZXdc[^\jgVi^dch
HnhiZbiZhi^c\VcY[VXidgnVXXZeiVcXZ
HnhiZbXdbb^hh^dc^c\
EgZeVgZ[^cVaegd_ZXiYdXjbZciVi^dc
9ZkZadeVcYYZa^kZgXjhidbZgiZX]c^XVaVcYdeZgVi^dcVaigV^c^c\
Egdk^YZV[iZghVaZhZc\^cZZg^c\hjeedgi]VgYlVgZVcYhd[ilVgZid6jhigVa^VcXjhidbZgh#
BV^ciV^cYdXjbZciVi^dca^WgVgn
BVcV\Zad\^hi^Xhd[ZfjêbZcigZeV^ghVcYZmX]Vc\Z
HnhiZbhîZgZeV^ghVhgZfj^gZY
8dchjailî]gZaZkVci@adioZc\^cZZg^c\XdcigVXidghVhgZfj^gZY
8jhidbZgV[iZghVaZhhZgk^XZVcYhjeedgi
>cgZijgc[dgndjgZ[[dgihndjlâaWZgZlVgYZYlî]hVaVgneVX`V\Zi]VigZ[aZXihndjgZmeZg^ZcXZ
VcY Zci]jh^Vhb# Ndj lâa WZXdbZ V kVajZY bZbWZg d[ V hbVaa iZVb d[ ]^\] VX]^ZkZgh ^c i]Z
WgdVYXVhi VcY egd"VjY^d ^cYjhign VcY ndj lâa VYY h`âah id ndjg Xjgg^Xjajb kîVZ i]Vi lâa
VXXZaZgViZndjgXVgZZgegd\gZhh^dc#DXXVh^dcVacVi^dcVadg^ciZgcVi^dcVaigVkZab^\]iWZgZfj^gZY
[gdbi^bZidi^bZ#
Id Veean eaZVhZ hZcY ndjg gZhjbZ ^cXajY^c\ V dcZ eV\Z aZiiZg djia^c^c\ l]n ndj VgZ i]Z g^\]i
eZghdc[dgi]Z_dWid_dWh5àdioY^\îVa#Xdb#Vj#NdjgVeea^XVi^dclâaWZ]VcYaZYlî]i]Zjibdhi
Xdc[^YZci^Vaîn#CD6<:CIHCD86AAHEA:6H:#Dcanh]dgia^hiZYXVcY^YViZhlâaWZXdciVXiZY#
60 Radio
Mini IP Audio Router
Logitek Electronic Systems has unveiled the JetStream series, IP-based audio routers
that provide audio I/O, mixing, processing and audio distribution needs for radio
applications. The first in the series, the JetStream Mini, provides enough capacity
for one 24 channel radio console. Logitek’s existing control surfaces – Mosaic,
Artisan, and Remora – provide the user interface to the JetStream.
One JetStream Mini unit provides eight I/O card slots that accommodate five
types of I/O cards: four mic preamps (with phantom power); four stereo analog
line inputs; four stereo analog line outputs; four stereo AES or S/PDIF digital
inputs and four stereo AES or S/PDIF digital outputs. All I/O connections use
StudioHub+® compatible RJ-45 connectors. Also included are 12 GPI and 16
GPO contacts; four RS-485 ports with AES cue audio; 2 GbE ethernet ports and
redundant power supplies in a single two rack unit enclosure. The unit’s 24 stereo
channels of mixing can be shared by one to four control surfaces. A DVI connector
provides connection of a video monitor for operating Logitek’s vScreen application
(meters, router controls, and system information; user-configurable).
The JetStream’s auto configuring mix includes VLAN tagging, DHCP, DNS,
MADCAP, AutoIP, MDNS, DIFFSERV, SIP and SDP. Optional codecs offer choice
of VoIP telephony, MPEG2, AAC, or APT-X access. External network sync may be
connected to one JetStream unit; other units in the network will automatically lock
to the sync signal.
Contact [email protected] or visit www.logitekaudio.com
mc266. More Power. More Speed. More Flexibility. The toughest boxers, the fastest skiers, the most
brilliant opera singers – when the best in the world line up to compete, the mc2 66 must not be missed out. Its plus points:
the largest audio matrix, the most powerful DSP core, and fast and efficient operation. No wonder that, within a short time, the
mc2 66 has established itself as the new reference console for OB vans. The best thing to convince yourself is what is one of
the most successful mixing consoles in Europe: The mc2 66, made by Lawo. Lawo AG, Germany | www.lawo.de
Visit Lawo at IBC2008 in Amsterdam
12th – 16th September, Hall 8, Booth 8.C71
GLOBAL PROVIDER OF MPEG SOLUTIONS
TO THE BROADCAST INDUSTRY
Transmission
transmission
SIGNAL DISTRIBUTION, TEST & MEASUREMENT
Australia’s Biggest HD Server Order from Sth Cross
Magna Systems and Engineering has announced
details of new SeaChange servers it has sold
to Macquarie Southern Cross Media (MSCM)
in Canberra. In the biggest deal of its kind in
Australia, MSCM have purchased four SeaChange
Broadcast MediaLibrary BML24000EX servers, two
for programming and two for commercials.
The deal was driven by MSCM’s demand for
a robust HD platform according to Director of
Engineering & Technology Raoul Prideaux who said,
“This is a significant project for Macquarie Southern
Cross Media. We are adding 28 channels of
independent HD services to our existing 35 channel
SD facility in Canberra. The SeaChange servers will
be used for programme playout, turnaround delay
and commercial replay.”
The BML24000EX is a high-performance, faultresilient digital media library that can scale from a
single, 2.9TB node up to a 9-node cluster providing
over 43TB of capacity. Nodes are equipped with
four (4) GigE IP accelerator cards.
The MSCM system consists of 4 separate servers,
two for programming and two for commercials.
There are 60 ingest and play-out channels (30 x
2) on the programme servers which are 3-node
and 80 channels of ingest and play-out (40 x 2)
>> >> MSCM’s Director of Engineering &
Technology Raoul Prideaux.
on the commercial servers which are 4-node, with
over fifteen mcl6000 (media client) series in varying
configurations on each server. With 140 channels
of HD on servers, this is a first in terms of size and
efficiency for any broadcaster in Australia.
The criteria for the new server system were unique
to MSCM and included being able to playback
legacy files transferred from their current Pinnacle
SD playout platform.
According to Magna Systems Group Manager
for Systems & Digital Media Craig Armsworth, The
SeaChange servers can take an SD Pinnacle file and
replay it back out as HD, thereby upconverting it.
“This was a particular advantage when we took
part in the server ‘shoot out’,” he said. “One of the
other big wins for the SeaChange servers was that
they could demonstrate maintaining Teletext caption
data in SD or HD and the conversion between both.
To be more precise, the SeaChange BML24000EX
can take an SD file with OP42 caption information
and replay it as an HD file with OP47 caption
information and vice versa.”
Raoul Prideaux concluded, “The HD/SD and
up/down convert capabilities were key for us but
equally the servers had to be fault resilient. We
are very happy that this requirement is assured
with SeaChange’s RAID squared architecture. The
final piece of the puzzle came with the fact that
the SeaChange system also handles our time delay
needs and allows us to adjust time delay on the fly.
This removes the need to buy standalone delay units
for HD. We are looking forward to commissioning
these new HD services in the coming months and
thank Magna Systems’ for their high standard of
sales, service and support during this project.”
PRIME_MEDIA_
GROUP_CHOOSES
MEDIAWARE_
INSTREAM
“Their innovative and technically superior approach led us to choose the
Mediaware solution over a number of international and better-known contenders.
In Mediaware, we have a partner that truly understands our needs, and
has the expertise to support our complex network requirements.”
Gerry Smith, Chief Technical Officer for the Prime Media Group.
ACMA Releases New Radiofrequency Plan
The Australian Communications and Media Authority
has released a draft of a new Australian Radiofrequency
Spectrum Plan (the Spectrum Plan) for public comment.
The proposed changes in the draft Spectrum Plan
provide new spectrum opportunities for international
mobile telecommunication, space research activities,
radio astronomy, mobile-satellite services and
harmonisation between space and future terrestrial
services. The changes were agreed internationally
at the International Telecommunication Union World
Radiocommunication Conference held in 2007.
The proposed changes to the plan will provide:
•protection of space research activities while allowing
the use of new high data-rate meteorology satellite
services;
•upgrade of the radiolocation service to primary and
allocating additional spectrum to the existing space
research activities;
•sharing between the mobile-satellite service and
space research services and between the mobilesatellite service and mobile service;
•improvements to the satellite coordination and
notification procedures;
•spectrum harmonisation between space services and
future terrestrial services;
•sharing arrangements between the fixed service and
satellite systems using highly inclined orbits; and
•spectrum compatibility between the radio astronomy
service and the active space services.
Comments on the draft plan should be received by
ACMA by Friday, 3 October 2008. The proposed
changes are scheduled to take effect on 1 January
2009. Copies of the draft plan are available from
the ACMA website or by contacting Stewart White
at [email protected] or via telephone:
(02) 6219 5345.
UK DVB-T2 Trial Terms Published
UK regulator Ofcom has published Terms of Reference
for a technical pilot to trial DVB-T2 transmissions. The
pilot will help to establish the technical standards
for the delivery of high definition services on
digital terrestrial television. This pilot has been set
up to facilitate the launch of services using DVB-T2
transmissions in the UK in line with switchover for the
Granada region (expected to be towards the end
62 Transmission
of 2009), in accordance with proposals set out by
Ofcom in the statement of 3rd April 2008.
The Pilot will be overseen by a steering group
made up of parties with a direct stake in the launch
of DVB-T2 services and those actively engaged in
day to day work of the Pilot.
The Pilot will validate implementation of DVB-T2
on the UK DTT platform and provide information on
INSTREAM OVERVIEW
candidate UK transmission modes to Ofcom and
others as soon as is possible with the objective of
enabling services to launch in line with switchover for
the Granada region. The specific deliverables and
associated activities include validation of candidate
DVB-T2 transmission modes to be employed in the
UK through laboratory tests, outdoor and in-home
measurements. Visit www.ofcom.org.uk
The HD system - developed, supplied and commissioned by
InStream provides seamless, frame accurate, transitions
Mediaware International’s local Australian engineering team
between programmed events, without needing complex
- includes Mediaware International’s latest InStream Insertion
network timing systems or interstitial boundary intervention.
Server, a real time, long GOP native MPEG compressed
For more info contact Ian Fellows +61 2 9562 9403
or email [email protected]
domain splicer and file-based MPEG insertion server.
SYDNEY + 61 2 9562 9400 CANBERRA + 61 2 6163 8700
MEDIAWARE.COM.AU
Meet the next-generation video server.
Transmission/IBC 2008
Single-card 3Gbps Video/Audio Processor
The new Densite Series XVP-3901.
Miranda Technologies will be highlighting multiple
new HD products at IBC, including a singlecard Densite Series 3Gbps, HD and SD video
and audio processor, new expansion options for
the Kaleido-X multi-viewer, and new audio and
graphics capabilities for the Imagestore 750
master control and branding processor.
The new Densite Series XVP-3901 offers
advanced 3Gbps, HD and SD video and audio
processing on a single card, and is suitable for
incoming/outgoing feed applications. The module
accepts 3Gbps, HD and SD signals via BNC
or fibre, and provides simultaneous 3Gbps, HD
and SD outputs. Signals can be up/down/cross
converted and frame synchronized. Black side
panels introduced during up/down conversion
can be filled using an integral background keyer.
The XVP-3901 provides 16 channels of
embedded audio processing, with four AES
inputs and outputs. Advanced audio functions
include compressor/limiter/expander capabilities,
and 5.1-to-stereo downmixing. The XVP-3901 is
designed for the new Densite Series 3RU frame,
which can combine both 2RU and 3RU cards.
Miranda also announced that its Kaleido-X
multi-image display system can now be integrated
with Pro-bel’s Sirius routers. This integration offers
a flexible expansion path for the Kaleido-X multiviewer. The system also offers intuitive on-screen
router control, and dynamic source text tracking.
The new Intuition XG co-processor extends the
graphics capabilities of the company’s Imagestore
750 HD/SD master control and channel branding
system. Intuition XG is ideal for complex, datadriven graphics, including in-show and interstitial
promos. The co-processor offers multi-level character
generation, animation and clip playout, and can
be readily controlled by Miranda’s Xmedia Suite
graphics and voice-over automation.
The company will also introduce new audio
capabilities for the Imagestore 750, including
support for Dolby E decoding/encoding, Dolby
Digital encoding, and stereo-to-5.1 upmixing using
Linear Acoustic technology.
Visit www.miranda.com
OmniBus Partners
with HP
OmniBus Systems announced that it is
working with HP to develop systems for
IT broadcasting based on OmniBus’s iTX
production, master control and automation
software and HP server hardware.
Under the HP Developer and Solution
Partner Program (DSPP), both companies will
collaborate on sales, marketing and support
programs for the products. In addition,
OmniBus will work with HP to design and
deliver a complete, ready-to-run iTX system via
HP Factory Express, the company’s portfolio
of customised, factory-integrated systems.
OmniBus iTX software will be supplied
on HP BladeSystem c-Class servers and HP
ProLiant servers, and will be scalable to meet
customer requirements.
OmniBus iTX combines all the functions of a
conventional transmission chain into a single,
integrated suite of software applications,
including automation, master control and
playout features. iTX can be configured for
a wide range of operating environments.
The company is also entering HP’s hardware
beta program.
Visit www.omnibus.tv or
www.hp.com/go/itx
TSL Adds 3Gbps Support
UK-based, TSL will use IBC 2008 to introduce its latest audio video monitor - the AVMU2-3G. The new unit is capable of decoding all standards up to and
including 3 Gbps, 1080p 60, 59.94 and 50Hz. Features include precision HD-SDI audio metering with an integrated 4.5-inch, 16.9 LCD screen to provide
an efficient audio and video monitoring system for professional broadcast facilities.
In addition, the company’s well-established AMU2-8HD-3G 8-channel HD-SDI and Dolby decoding rack audio monitor has also been updated to support
the new 3 Gbps standard, providing a complete HD monitoring solution for master control rooms, play-out, production and outside broadcast installations. The
AMU-8HD-3G also features high-resolution bar graph displays, AES and analogue audio inputs and an intuitive, easy-to-use interface.
TSL will also be demonstrating four rack-mount confidence monitors with passive, active, analogue and AES digital options, as well as its intelligent power
distribution systems - the award-winning Power Manager MDU series.
Visit www.tsl.co.uk
POWER UP WITH NEXIO AMP™ — THE ADVANCED MEDIA PLATFORM.
NEXIO AMP™ is here ... and all the rules have changed.
System Highlights:
Featuring the industry’s most advanced HD / SD server architecture, best-in-class
•
Exceptional fault tolerance — Complete I/O, data path and
storage redundancy available
•
I/O flexibility — Software-configurable HD, SD and mixed
HD/SD modes come standard
•
High-performance architecture — Real-time, multistream,
64-bit processing
•
Built-in scalability — Upgrade path from 3.6 TB of integrated
server storage to the true shared storage NEXIO™ SAN
•
Integrated media services — Designed to support softwareenabled Harris broadcast applications, including media
analysis, channel branding, automation and multiviewer I/O
monitoring
storage protection, integrated software codecs and automatic up / down / cross
conversion for complete format transparency, NEXIO AMP™ does much more
than simplify your workflow. It provides higher availability to your content and
are you ready for the next step?
www.omnibus.tv
speeds up the deployment of new channels.
Take on broadcasting’s toughest challenges and change the way you think
about video servers — with NEXIO AMP™.
iTX - a totally new approach to playout
for broadcast, cable and IP streams
To learn more, visit www.broadcast.harris.com/nexioamp.
A fully-featured, highly-scalable and resilient system that runs
on standard IT hardware and allows channels to be launched
in a matter of days. With reduced capital expenditure and low
cost of ownership, iTX radically changes the business model
for launching new channels and services.
Hong Kong +852 2776 0628 | China +86 10 5172 2920 | Singapore +65 6358 1315 | Japan +813 3526 8500 | Sydney +612 9975 9700
Harris is the ONE company delivering interoperable workflow solutions across the entire broadcast delivery chain with a single, integrated approach.
Business Operations • Media Management • NEWSROOMS & EDITING • Core Processing • CHANNEL RELEASE • Media Transport • Transmission
the future starts here…
®
Broadcast Communications • Defense Communications Systems • Government Communication Systems • Harris Stratex Networks
64 Transmission/IBC 2008
Nucomm Introduces
Analog Coder 2 Modems
Utah Scientific’s UTAH-400/XL routing switcher.
Routing Switcher and
Master Control
IBC will see the European unveiling of Utah
Scientific’s UTAH-400/XL - a new routing switcher
that can scale up to 1056×1056 in a single rack.
Designed specifically for large-scale routing capacity
in limited physical space, the UTAH-400/XL has an
innovative matrix architecture that is readily scalable
from 288×288 to 1056×1056 using a single family
of matrix building blocks.
The company will also present a new frame for
large routers up to 528×528 with fully automatic
internal cross-point redundancy. The new UTAH400/528R frame gives users the ability to install a
full 528×528 router in just 20 RU. It uses standard
75-ohm BNC coaxial connectors, and offers the
option of a redundant crosspoint module for missioncritical applications.
Two extensions to Utah Scientific’s master control
family will also be introduced to the European market
for the first time.
The MC-4000 delivers two complete signalprocessing channels in a 3-RU package, offering
larger broadcasters an integrated system for the most
demanding on-air operations.
For smaller applications, the MC-40 provides a
stand-alone package that integrates the company’s
MC-400 channel-branding board along with an
8-input board that allows the MC-40 to be used
separately from the UTAH-400 routing switcher.
The MC-4000 features switchable HD/SD
operation. Each processor channel has four keyers
that can be fed with internal logos or external key
signals, a built-in two-window squeeze-back effects
generator, and internal audio and video clip stores.
The MC-40, with two keyers, internal logo
generator, and audio clip store, can be used as a
stand-alone master control switcher with four sources,
or downstreamed from a router to get additional
sources on-air.
Visit www.utahscientific.com
Nucomm is introducing its upgraded Analog
Coder 2 modulator at IBC 2008. The
company’s original Analog Coder, which saw
its debut in 2001, had a maximum data rate of
19.39 Mbps. The Analog Coder 2 is capable
of accepting input data rates from 1 to 25 Mbps
along with a T1 Data Pack.
Using existing analogue infrastructures, the
Analog Coder 2 allows signals such as the
ATSC 19.39 Mbps data stream plus a full T1
Data Pack to be transmitted without any loss in
signal quality. The device can accommodate
DVB-ASI and SMPTE-310M as either input or
output formats.
The Analog Coder 2 is ideal for single or multihop links. Field tests have shown that transporting
HDTV through a 24-hop repeater system results
in no degradation in signal or picture quality.
Additionally, features like automatic forward
error correction using Reed Solomon, Viterbi
and Interleaving methods, and efficient adaptive
equalisation, are provided to overcome
frequency-selective multi-path and adverse
environments.
Visit www.nucomm.com
Harris SPies TX Sites Via IP
At IBC, Harris Corporation will demonstrate a
complete video surveillance system for radio
and TV stations interested in upgrading to IPbased security at transmission facilities. The demonstration, featuring the Harris
Intraplex NetXpress audio over IP platform,
allows broadcasters and engineers to bolster
security by taking advantage of a new Intraplex
video module that can be added to new or
existing NetXpress systems at the studio or
transmitter sites. The system allows engineers
and studio personnel to monitor the transmitter
site from the studio with the same NetXpress
platform used to transport AES and analog
audio, data and voice from studio to transmitter.
Both live surveillance and alarm-based
monitoring are possible using the NetXpress
platform.
The new video surveillance application uses
low bit-rate MPEG-4/H.264 video compression
to send multicast or unicast video, which can
be viewed on one or more PCs anywhere on
the IP network. Video analytics software in the
new video encoding module for the Intraplex
NetXpress chassis automatically detects people
entering designated areas, or objects taken or
left behind, and sends alerts complete with still
images or full-motion video over the IP network
to alert personnel at the studio or security office.
Alarm logs maintain records of these events
along with associated images.
Visit www.harris.com Telestream Offers Flash
Support
Telestream has announced it will offer comprehensive
encode and decode support for Flash 7, 8 and 9
video formats as a standard feature in its flagship
FlipFactory transcoding applications and Episode
batch encoding applications. Telestream is one of
the first companies in the industry to include On2
Technologies’ VP6 Flash decoding and encoding as
a standard feature in its products.
Telestream also recently released version 6.1
software release for its FlipFactory transcoding
workflow automation product line. Codec optimisation
in FlipFactory now makes it possible for users to
achieve HD encoding speeds that were previously
only attainable using multiple servers. FlipFactory
6.1 delivers HD-to-HD transcoding speeds up to 15
percent faster than real-time on a single server for
edit-to-broadcast workflows, including DNxHD and
DVCPRO HD formats.
Version 6.1 software is available as a free
upgrade to existing users. It offers several new
features including an intelligent job routing and
queuing feature in FactoryArray, which allows users
to configure and dedicate servers to specialised
tasks and specify high-priority processing, as well
as FlipScan - an option that automatically scans and
analyses uploaded video, audio and metadata, to
ensure that meets specified parameters like screen
size, format, bit rate and aspect ratio.
Version 6.1 also adds the ability to transcode media
files while they are being ingested from Telestream’s
Pipeline network video capture device. Transcoding
begins immediately during media capture, which
speeds up throughput.
Visit www.telestream.net
DTV
HDTV
VOD
IPTV
Digital Microwave Link
RF Central will unveil a newly-improved NLL-II 5.8 GHz
portable digital microwave link at IBC. The updated
NLL-II now offers both balanced microphone and line
level inputs via switch-selectable XLR connectors on
both the transmitter and receiver.
This makes the NLL-II ideal for use by roaming
news and sports crews. As part of its new release,
the redesigned NLL-II is now equipped with phantom
power for microphones.
The NLL-II transmit and receive system can distribute
high-quality wireless digital video and audio at a
range of 1,500 feet, (about 450m).
Visit www.rfcentral.com
Whether it’s advanced compression, on-demand or content distribution, we deliver the multimedia
technology that’s moving digital video forward.
See us at IBC 2008, Booth #1.D61a
www.tandbergtv.com
Rohde & Schwarz Goes
Green and Handy
At IBC 2008, Rohde & Schwarz will introduce
an innovative new test and measurement device the ETH handheld TV analyser for DVB-T/H. This
portable instrument offers TV and spectrum analysis
for mobile applications.
Its ability to run for up to 4.5 hours on battery
power and its high-contrast colour display make it
suitable for outdoor use. But it can also be used for
indoor coverage measurements, and the installation
and maintenance of low-power transmitters. It is
ideal for TV network operators who broadcast in
DVB-T, and providers who operate a mobile TV
network using DVB-H.
On the transmitter side, Rohde & Schwarz has
developed an innovative energy concept that
increases the efficiency of its transmitters by up to 20
percent and reduces operating costs. This concept
has already been implemented in the NX8600 and
NX8300 high-power and medium-power transmitters.
Now the company’s new NA8200 family of highpower transmitters (for DAB and T-DMB) offer the same
energy-efficient design. The core of this innovation
is a new amplifier technology. The new NA8200
transmitters are suitable for VHF band III and output
DAB and T-DMB signals in the high-power range.
Visit www.rohde-schwarz.com Transmission/IBC 2008
Gefen Video Scalers
3.2Tbps Networking System
Handheld Reciever
At IBC, Media Links will debut its new integrated transport and switching system - the 3.2 Tbps
MD-MAX. Able to handle any type of video or data signal, MD-MAX has been designed for largescale operations to combine all the traffic that normally flows over separate cables and networks
in a single, high-capacity backbone that can be extended to reach every corner of a facility or
between facilities.
IBC will also see the European debut of the MD8000. The MD8000 offers high-performance
video, audio and data transport over a wide variety of core network infrastructures. With 480 Gb
of redundant switching capacity on a single shelf, more than enough bandwidth is available to
support a wide range of video and data interfaces, as well as a variety of network interfaces and
topologies, including dark fibre, metro/long-haul CWDM and DWDM systems, SONET/SDH
and ethernet. Visit www.medialinks.com
RF Central is rolling out its new RFX-PRX-II portable
handheld COFDM monitor/receiver at IBC. Ideal
for a wide range of applications including ENG
confidence monitoring and security surveillance, this
lightweight palm-sized receiver is packaged in a
ruggedised, compact housing.
The PRX-II is equipped with a 5.6-inch high-resolution
screen, offering record and playback capabilities
via a flash memory card. The unit receives COFDM
DVB-T modulation in modes QPSK, 16QAM and
64 QAM. It is available in 2 GHz and 5.8 GHz
frequency bands, and other frequency bands can be
furnished upon request. Visit www.rfcentral.com Nucomm is HD-Ready
Nucomm’s entire ENG/OB product line now supports HD using built-in encoding/decoding
technology. All of the company’s new 7 Series products, which will be unveiled for the first time at IBC,
can be delivered with HD capability turned on, or in an SD configuration with a future field upgrade
to HD via a software key.
Prior to this announcement Nucomm’s only HD-capable products were the CamPac 2 HD/SD
wireless camera transmitter and the Newscaster DR HD/SD diversity receiver. But the 7 Series product
line replaces all of Nucomm’s SD products with new offerings like the Channel Master TX7 Portable
Transmitter, the Channel Master RX7 Portable Receiver, the Newscaster VT7 ENG/OB Van Transmitter
and the Newscaster CR7 Central Receiver.
The 7 Series products still contain the features and capabilities of their predecessors, such as multiple
modulation modes (VSB, COFDM, DVB-S, FM), as well as dual- and tri-band RF outputs.
Nucomm products are distributed in Australia and New Zealand by Quinto Communications. Visit
www.quinto.com.au or www.nucomm.com Web-based System Control
Eyeheight announced that it will introduce eyeCon at IBC 2008 - the company’s new web-based system controller.
eyeCon allows PC-based control of any module in the company’s FB-9E Ether-Box platform including, the
company’s AR-2MD and AR-2SD aspect ratio converters, AS-2MD audio shufflers, BA-2 and BB-2 logo inserters,
DK-2 downstream keyers, LI-1DM compact multi-definition logo inserters, LK-2 bug inserters, mw-2 mix/wipe
modules and SA-2U 4:4:4 dual-link safe-area generators. Integral diagnostics provide instant assurance that the
module under interrogation is fully operational. If an error is detected, holding the cursor over the red status light
reveals more detailed information.
The system can be run on any computer with Java installed, including Apple OS-X, Linux or Microsoft Windows
operating platforms. An ethernet interface allows device communication and control via intranet or internet, giving
users the ability to check a compatible Eyeheight products anywhere in the world via a TCP/IP link.
Visit www.eyeheight.com
At IBC 2008, Gefen will be showing its newest video
scalers, designed to offer simple connections between
different audio/video formats, as well as a high-quality
method of outputting scalable video resolutions with
support for 1080p HD. Each new scaler comes with a
selection of audio/video inputs and outputs letting users
select the system most applicable to their needs.
The Audio/Video Scaler Pro is the company’s
professional video scaler. It supports one DVI input with
analog audio, two HDMI inputs with digital audio, one
composite input with analog audio, one component
input with analog audio and one s-video input with
analog audio. It converts all non-compatible video
formats to the HDMI format before outputting scalable
video with audio delivered alongside in both S/PDIF
and TOSlink formats. It also offers optional 30 watts
per channel audio amplification with volume control for
anyone who wants to integrate high-end audio systems
with new HDMI displays and projectors.
The company’s new 3G-SDI to HDMI Scaler is
targeted at the broadcast market, allowing a direct
connection between next generation 3G-SDI sources
and consumer HDMI displays. Ideal for evaluating
broadcast quality video on consumer displays, this
scaler supports all resolutions up to 1080p HD and
allows users to refine their video using a simple onscreen display.
Visit www.gefen.com integration support
MICRO
FL
ors
rs
Monito style LCD Monit .
es LCD
s
t
RM Seri e of rack moun ler Technologie
uad
w rang
& Woh
Q
Ne
dtv
ple 5.7”,
norama
& 9”, Tri
from Pa
”
7
l
a
u
sizes: D
pport,
Screen
udio Su
4.3”
&
”
edded A ANC Time
3.5
b
m
E
:
PPM),
atures*
Main fe
rs (VU &
ur Tally
io Mete MD & Tri Colo
d
rea
u
A
H
8C
rU
afe & A
S
o
,
it
n
n
a
o
M
r Sc
Code, In /V Delay, Unde e only support
H
Blu
Display, pect Ratio &
)
As
features
Marker, s contain all
odel
lm
(*Not al
+ TSG in
put mod
ule)
tform
igital Pla
locked
ith re-c
erter w
v
n
o
c
n
ow
2SD-R D ut
rsion
D conve
odel HD
New m I & SD-SDI outp ndard 3G/HD/S rm
a
o
D
S
latf
st st
HD/SD
nGear p
broadca
g and
D
ting the
Integra
ope
alo
ective
ne and
DI to An
Cost eff
standalo rsion, HD/SD-S dio.
in
ts
c
u
u
e
prod
conv
ded a
udio.
-embed
edded a
D Down
HD to S Analog with de -SDI with emb
D
S
to
SD-SDI
audio to
video &
Analog
EX
HD/SD
&S
held, W D/CST hand
av
Vector a eform,
nd Aud
io
NOW W
ITH Test Monitor AND
Signal G
(*only w
ith OPT
eneratio
ION 3:
n*
HD/SD
Clipstore
M
Xc
HD/SD
Vid
HD Vide eo+ Key+Audio
o+
recordin
compre Key recorded
g & play
u
ssion w
hilst SD sing JPEG2000 back
is uncom
pressed
.
www.avgroup.com.au
02 9764 5911
Transmission/IBC 2008 69
manageme
delivery
IBC 2006
Frame Rate Converter and “Ginga” Switcher
FOR-A’s FRC-3000 Frame Rate Converter.
FOR-A will be demonstrating its new FRC-3000
Frame Rate Converter and a new audio card for the
FRC-7000 - the FRC-70DA16.
With a compact 1RU design, (making it ideal for
news applications) the FRC-3000 was developed
to meet the demands and price concerns of smaller
operators.
It features text field automatic detection, which
automatically recognises scrolling text superimposed
on video. This provides optimal frame rate conversion.
A manual setting can be chosen for static fields such
as date, time and program titles and logos, allowing
for those portions to be treated separately without
performing motion compensation processing.
The FRC-3000 and FRC-7000 can perform
conversions between 1080/59.94i and 1080/50i,
and between 720/59.94p and 720/50p HD
frame rates in real-time.
The FRC-3000 includes an 8-channel digital audio
‘‘
multiplexer/demultiplexer card, enabling signals
of different frequencies to be transmitted within a
single channel. It supports the FRC-70D-D Dolby E/
AC-3 decoder option and the FRC-70DE-E Dolby E
encoder option.
The new FRC-70DA16 audio option card for the
FRC-7000 supports an increased number of channels
(up to 16) for digital audio input and output. Delay
compensation can now be performed on all audio
channels, which is ideal for international sporting
events where many audio channels are required,
or when HDCAM SR 12-channel audio is being
used for recording. The FRC-70DA16 can also be
equipped with Dolby E encoding and decoding as
an option.
The FRC-7000 and FRC-3000 use vector motion
compensation processing to analyse and determine
the pixel movement in each image frame. Both
models feature advanced scene cut detection that
automatically detects scene changes and turns off
motion compensation processing so not affect the
scenes before and after the cut. A completely new
set of frames is then created. Because the frame rate
converters automatically recognise similar scene cuts
involving the same subject or similar visual content,
the resulting frame rate conversion contains minimal
judder or artifacts.
FOR-A will also introduce expanded input/output
options for its VPS series of digital “Ginga” switchers
- the VPS-700 and brand new VPS-715.
The VPS-715 GINGA switcher is a 1.5 M/E SD
switcher that is slightly larger than the VPS-700. The
VPS-715 includes a VPS-70FR Flash Recorder Option,
which provide 120 seconds of uncompressed
video recording and two channels (Key/Fill) with
simultaneous playback for video insert, CG wipe or
slow-motion playback.
The company’s new HD I/O options include the
VPS-70HDI - a four-input HD-SDI expansion card
available for both switchers. It incorporates a frame
synchroniser, still store, process amplifier functions and
a down-converter. Up to two VPS-70HDI cards can
be installed per switcher, with a maximum expansion
of 8 inputs.
The VPS-70HDO is a four-output HD-SDI expansion
card that enables up-converted HD or SD-SDI outputs.
It also enables free assignment of outputs. One VPS70HDO card can be installed per switcher.
Visit www.for-a.com
Gencom was happy to work with us on a substantial digital conversion...
Your global partner in media
technology solutions, providing
you with product, design and full
integration services.
Australia tel | +61 2 9888 8208
NZ/Asia/Sth Africa tel | +64 9 913 7500
email | [email protected]
John Smithers, Director of Network Broadcast Engineering, WIN Corporation
‘‘
... a system integration with minimal fuss and interruption
www.gencom.com
conference
Introd
PREVIEW IBC 2008
IBC Takes 3D to the World more
at IBC
IBC 2008 will be used to Deliver the first Transatlantic
High Definition Stereoscopic 3D broadcast using
technology enabled by 3Ality Digital. The show will be
delivered by Arqiva, Real D and Christie to Amsterdam,
Holland.
On Sunday 14th September more than 1000
delegates will witness a historic interview conducted
in Los Angeles with DreamWorks Animation SKG CEO
Jeffrey Katzenberg. He will be interviewed by Elizabeth
Daley, Professor and Dean of the USC School of
Cinematic Arts. Thanks to 3Ality Digital, based in LA,
the interview will be photographed on multi-camera
Stereoscopic equipment and packaged for delivery
by satellite service company Arqiva to Amsterdam,
Holland.
3D movies have been taking the cinema world
by storm and multiplying box office revenues in 3D
equipped theatres but live transmissions have been
more challenging.
“Stereo 3D is still in it’s infancy in many ways,”
says 3Ality’s CEO Steven Schklair. “We have been
making impressive 3D movies but live transmissions
bring their own unique challenges. Like every live show
there’s less time to make corrections and no room for
error. One of the big challenges has also been how
to keep the parallel signals in perfect synchronisation.
That’s a special challenge over satellite links where
atmospheric conditions can be problematic. To do this,
we have developed a solution where we multiplex the
Digital Signage Zone
Recent predictions are expecting to see the number of
Digital Signage sites to grow from 210,000 in 2007
to 850,000 by 2010, attracting advertising revenues
of around US$2.7 billion.
The all-new Digital Signage Zone at IBC willl feature
technology from Sony, Panasonic, Harris, Matrox,
Future Software: DigiSHOW, Thomson and Kinoton.
The D-Signage Zone will also play host to free IBC
Business Briefings:
• Digital Signage – the use of IP-networked flat screens
to distribute information, advertising, multimedia and
TV content in retail environments, transport hubs
and stadia – launches the 2008 Business Briefing
programme on Friday 12 September. Digital
Signage – an introduction starts at 11.30.
• Over lunch, a networking reception will be held in
the new Digital Signage Zone that has been set up
just outside the Business Briefing venue in Room A.
• After lunch, the Briefings continue with Deploying
Digital Signage at 14:00.
3D signals into a single 2D signal for transmission. At
the receiving end we then un-wrap the 2D signal back
into a 3D picture. We have done this before but not
over such a long link and Internationally. We have
also developed the twin camera systems that will be
capturing the images. In this case we will be using two
camera rigs to show that 3D pictures can be cut and
mixed live.”
Phil White, IBC’s Director of Technology, said “This is
a natural progression from last year’s Live HD interview
with Robert Zemeckis. We are working with a group of
technology partners who are at the cutting edge of 3D
imaging and transmission.”
Communication specialists Arqiva were called on
to carry the signals across the Atlantic. George Eyles,
head of Digital Media Networks for Arqiva Satellite
Media Solutions said, “Arqiva is delighted to have
been asked to provide the communications technology
and expertise behind this important and high-profile
3D event. Our interest and experience in the Digital
Cinema market means we are very happy to use our
global assets to showcase the exciting opportunities
that new technology is bringing to live event organisers
and exhibitors.”
Inside the Conference’s RAI Auditorium the 3Ality
decoder will pass the left and right eye signals to two
more key technology providers: projection company
Christie and 3D presentation specialists RealD.
Viewers will be asked to put on a pair of Real D’s
specially polarised over-glasses to view the stereoscopic
image.
“We manage the separate images with a special
adapter that fits on the projector which then transmits
the left and right eye images through the glasses to the
viewer,” said Real D’s President Joshua Greer. “The vast
majority of 3D equipped theatres around the world are
IBC Aldwych House 81 Aldwych
using Real D because it’s not onlyLondon
simple
to4ELinstall
but
WC2B
United Kingdom
Tel: +44
(0) 20users
7611 7500
easy to operate with our very low cost glasses
that
Fax: +44 (0) 20 7611 7530
can keep. It avoids a lot of staff intensive handling
and
the picture quality is truly awesome.”
On the Monday (18:15pm), courtesy of Warner
Bros International, Walden Media
& New
Line netw
Meet
and
Cinema, the IBC D-Cinema will be showing Journey
from more than
to the Center of the Earth - in 3D, the first live action,
narrative motion picture to be shot in digital 3D.
See state-of-th
Starring Brendan Fraser (Crash, The Mummy films),
Josh Hutcherson (Bridge to Terabithia) and Anita Briem
Take part in the
(The Tudors).
It is the big screen directorial debut of Academy
Award-winning visual effects veteran Eric Brevig. Eric
will introduce the movie and lead a question and
Free entry to t
answer session after the screening.
August
Journey to the Center of the Earth
– in 3D puts a
contemporary twist on Jules Verne’s original novel.
Free
In this version three explorers plunge
into a entry
strange to t
new realm deep beneath the earth’s
surface
where
developments
they embark on an amazing voyage and find awelatest innovatio
inspiring sights amidst grave danger.
Free access to
cutting edge de
presentations
MPEGIF Master Class
The Transition to a New Television Experience is something that will be free to all IBC attendeesFree
with the MPEG
entry to t
Industry Forum Masterclass (Room A, RAI, Thursday, 11 September 2008, 10:00 a.m. – 5:30 p.m.)
commercially
m
As with past years during IBC, the MPEG Industry Forum, the largest advocacy group for MPEG
technologies in the world, is presenting a full day session bringing together industry experts representing
Free training a
the most influential players in next generation video entertainment, multimedia and standards-based
products in the
video delivery.
In this Master Class, produced by the MPEG Industry Forum (MPEGIF) in cooperation with the Open
IPTV Forum, television service providers, network operators and content owners will exchange
their views
Free
entry to t
on the progress and evolution in technologies and business models (including an insight into IP delivered
experts explore
personalized video and the latest trends for targeted, perfect profile advertising) that are fundamentally
changing the way digital Television is created, delivered and monetized.
Free entry to t
Speakers include:
• Roderick Snell, Founder, Snell & Wilcox
• Yun Chao Hu, Chairman Open IPTV Forum
• Thomas Staneker, Executive VP, T-COM
IBC Aldwych
Aldwych
• Luca Pesando, Standard
Manager,House
Telecom81
Italia
Visit http://www.mpegif.org
London WC2B 4EL United Kingdom
Tel: +44 (0) 20 7611 7500
Fax: +44 (0) 20 7611 7530
register
Email: [email protected] Conference Preview/IBC2008 71
IBC2008
the world of content
creation • management • delivery
IBC2008 – Session Picks
Thursday 11 September
TIME
09:30 - 11:00 hrs
10:00 - 13:00 hrs
11:30 - 13:00 hrs
14:00 - 15:30 hrs
14:00 - 17:30 hrs
14:00 - 15:45 hrs
16:00 - 18:00 hrs
16:00 - 17:45 hrs
SESSION TITLE
Quality issues in IPTV, part one - in association with IEEE BTS
THEME: Content access via the web - Quality of delivery, selection of content, evolution of services
FREE SESSION: The transition to a new television experience - hosted by MPEG Industry Forum Quality issues in IPTV, part two - in association with IEEE BTS
Content over the web - some case studies
FREE SESSION: The transition to a new television experience - hosted by MPEG Industry Forum IPTV and the networked home, part one
The future outlook for content over the web
IPTV and the networked home, part two
Friday 12 September
TIME
09:30 - 11:00 hrs
09:30 - 11:00 hrs
11:30 - 13:00 hrs
14:00 - 15:45 hrs
16:00 - 17:30 hrs
16:00 - 17:30 hrs
16:00 - 17:30 hrs
SESSION TITLE
FREE SESSION: Technology and capital investments driving future business successes?
THEME: Future Broadcast Business - Shaping the product environment
FREE SESSION: Entertaining the mobile audience: games and rich media content production and distribution FREE SESSION: An introduction to digital signage
News and sport Rapidly emerging economies - China
THEME: Future Broadcast Business - Shaping the product environment
FREE SESSION: Business briefings - digital signage
Radio Saturday 13 September
TIME
08:30 - 09:15 hrs
09:30 - 11:00 hrs
09:30 - 11:00 hrs
11:00 - 14:00 hrs
11:30 - 13:00 hrs
11:30 - 13:00 hrs
14:00 - 15:30 hrs
14:00 - 15:45 hrs
14:30 - 16:30 hrs
16:00 - 17:30 hrs
16:00 - 17:45 hrs
SESSION TITLE
The beginner’s (read manager’s) guide to spectrum management
THEME: The Digital Dividend: HD, Mobile, Broadband or New Media?
The great spectrum land rush
FREE SESSION: IPTV and standards FREE SESSION: Delivery and associated issues FREE SESSION: IPTV: enabling the individual TV experience - are you my televisionary? FREE SESSION: Masterclass - out on the dynamic range: why has digital not killed film off yet? Great idea for the digital dividend, but what is the business plan?
Production matters: onwards and upwards FREE SESSION: Practicalities of IPTV deployment Content mania: who will feed the digital dividend with programmes?
Assets and workflows Sunday 14 September
TIME
09:30 - 11:00 hrs
09:30 - 11:00 hrs
11:00 - 14:00 hrs
11:30 - 13:00 hrs
11:30 - 13:00 hrs
14:00 - 15:30 hrs
14:00 - 15:30 hrs
16:00 - 18:00 hrs
18:10 - 19:30 hrs
SESSION TITLE
Creativity in the digital age
THEME: Content Production: Technology, Creativity & Business in an era of headlong change
FREE SESSION: Mobile TV business models FREE SESSION: New engineering techniques Tapeless infrastructures
FREE SESSION: Masterclass: a production language for 3D Are we live?
Synchronisation and timing for the 21st century - in association with SMPTE and EBU FREE SESSION: Digital cinema post production workshop - in association with EDCF/SMPTE FREE SESSION: Jeffrey Katzenberg - LIVE in 3D HD from LA
Monday 15 September
TIME
09:30 - 11:00 hrs
09:30 - 11:00 hrs
09:30 - 11:00 hrs
10:00 - 11:00 hrs
11:30 - 13:00 hrs
11:30 - 13:00 hrs
11:30 - 13:00 hrs
11:30 - 13:00 hrs
14:00 - 15:30 hrs
14:00 - 15:30 hrs
14:00 - 17:00 hrs
16:00 - 17:30 hrs
18:15 - 20.00 hrs
SESSION TITLE
Open standards, technology and implementation - in association with DVB FREE SESSION: Back to the future: archiving and restoration - in association with FIAT Capturing and creating stereoscopic 3D content
THEME: New Dimensions For The Big Screen
FREE SESSION: What caught my eye: workflow revolutions Putting it all together
Open standards, technology and implementation - in association with DVB FREE SESSION: Digital delivery: getting content to the consumer - IET tutorial in association with WorldDMB FREE SESSION: Personalisation in a broadband world: advertising you want to watch The presentation alternatives, and considerations for exhibitors
Images of tomorrow - will the world demand more than HD? FREE SESSION: Challenges for cable in the broadband era Unique to cinema - but for how long?
FREE SESSION: Monday Night Movie - Journey to the Center of the Earth 3D 72 Conference Preview/IBC2008
ROOM
Forum
Room A
Forum
Forum
Room A
Room L
Forum
Room L
ROOM
Forum
Room L
Room A
Room L
Forum
Room A
Room L
ROOM
Forum
Forum
Room A
Forum Lounge
Room A
Room L
Forum
Room L
Room A
Forum
Room L
Register Now
for IBC2008
•
•
•
•
•
•
•
•
•
•
•
See 1,300+ exhibitors showcasing their latest capabilities
Network with over 46,000 key players from over 130 countries
Attend the world’s best opinion forming conference
FREE access to the IBC Big Screen Experience - watch and discuss cutting edge
demonstrations and feature film presentations
FREE entry to the Mobile Zone - showcasing TV and video on the move
FREE entry to the IPTV Zone - reflecting the way consumers receive and interact with
broadcast content
FREE entry to the Digital Signage Zone - gain valuable hands-on experience with the latest
technology
FREE entry to the IBC Business Briefings - take part in live debates, case studies and business
analysis
FREE entry to the IBC What Caught My Eye, where experts explore the best of IBC
FREE entry to the prestigious IBC Awards Ceremony
Experience the latest developments in broadcast technology at the New Technology Campus
ROOM
Forum
Room A
Forum Lounge
IBC2008 Conference Themes
Forum
Room L
Thursday 11th
Sunday 14th
Content access via the web - quality
of delivery, selection of content,
evolution of services
Content production - technology,
creativity and business in an era of
headlong change
Friday 12th
Monday 15th
Future broadcast business - shaping
the product environment
New dimensions for the big screen
Forum
Room L
Room L
Auditorium
ROOM
Forum
Room A
Auditorium
Room L
Auditorium
Forum
Room A
Room L
Auditorium
Forum
Room A
Auditorium
Auditorium
Saturday 13th
The digital dividend - HD, mobile,
broadband or new media?
To get the most up-to-date information about the
Conference Programme, who's exhibiting at IBC
and all of the latest attractions, check out :
www.ibc.org
Gold Pass
Introducing the latest must-have addition to the
registration package, GOLD PASS
With a Gold Pass you can relax, indulge and explore
more, receiving first-class treatment wherever you go.
Be the first to enjoy a host of new privileges with extraspecial VIP treatment.
For full information visit: www.ibc.org/goldpass
Conference 11 - 15 September
Exhibition
12 - 16 September
RAI Amsterdam
IBC Fifth Floor International Press Centre 76 Shoe Lane London EC4A 3JB UK
Tel: +44 (0) 20 7832 4100 Fax: +44 (0) 20 7832 4130 Email: [email protected]
EMPOWERING THE
NEXT GENERATION
D8I&hi
GdjcY&
A6JC8=
Vii]Z8]VjkZa8^cZbV
D8I*i]
Promoting growth of the industry through engagement and education
B:CIDGH=>E
;DGJB
It’s an exciting and dynamic time in the film
and television industry. Focus on the latest
technology, creative tools and education
is essential.
Vii]ZG:M8:CIG:
a^`ZidWZV
B:CIDG4
ZbVâ/
^c[d5chl#l^[i#dg\
On show at SMPTE09 will be solutions,
services and suppliers to the motion imaging,
media technology and sound industries, all
under one roof.
^"bZcidg^c\
dca^cZ[dgjb
idaVjcX]
^cDXidWZg
Attend the event to experience:
NEW PRODUCTS & SERVICES to Australia
SOLUTIONS for your business
VIEWING more than 200 exhibits
LIVE demonstrations
ANSWERS from the experts
BUYING the latest equipment
NETWORKING with industry colleagues
WORLD CLASS papers
EXHIBITION SPACE SELLING FAST.
LIMITED SPACE AVAILABLE. BOOK NOW!
CALL FOR PAPERS NOW OPEN.
BBL
ED986HIH
Xdb^c\dca^cZ
Exhibition and Conference enquiries:
T: +61 2 9452 7575
F: +61 2 9975 3707
E: [email protected]
[email protected]
8>C:B6ID<G6E=N
:9>I>C<
HDJC99:H><C
9>G:8I>C<
6C>B6I>DC
6EEAN
)GdjcY'
wiftnsw
events
^cCdkZbWZg%-
21 - 24 July 2009
Sydney Convention & Exhibition Centre, Darling Harbour
hZZ^c\i]ZldgaY
Æ
i]gdj\]i]ZZnZhd[ldbZcÇ
HJC96N6;I:GCDDC
8D;;::C:ILDG@>C<
6jhigVa^Vc;ZVijgZEgZb^ZgZd[
ÆGZhZgkVi^dchÇ
hiVgg^c\@Zggn6gbhigdc\
6AAL:A8DB:
6jhigVa^Vc>ciZgcVi^dcVaH]dgi;âb8dbeZiî^dc
C:MIDCD8I*I=
HXgZZc^c\Vii]Z8]VjkZaEVYY^c\idc
^cYjhign[dgjbhVcYZkZcih
>C9JHIGN<J:HIHE:6@:GH
I>8@:IH6K6>A67A:CDL
;dgbdgZ^c[dgbVi^dcVWdjidjgL>;ICHLZkZcihVcYegd\gVbheaZVhZk^hîlll#chl#l^[i#dg\
REGISTER NOW for FREE visitor exhibition entry
Motion Imaging &
Sound Technology
www.smpte.com.au
Presented by:
Organised by:
ESP Directory
Equipment
Events
>
Services
>
Products
UPCOMING EVENTS >>
IBC 2008
Sep 11 - 16
RAI Exhibition Centre, Amsterdam
www.ibc.org
Broadcast India 2008
Wed, 15 Oct 2008
Bombay Exhibition Centre, Goregaon,
Mumbai, India
www.broadcastindiashow.com
Asia-Pacific Satellite Communication,
Broadcasting and Space Conference and
Exhibition
Tue, 23 Sep 2008
Jeju Island, Korea
www.apscc.or.kr/event/apscc2008.asp
Communications Policy & Research Forum 2008
Mon, 29 Sep 2008
Guthrie Theatre and precinct, University of
Technology, Sydney, Australia
www.networkinsight.org
ADVERTISER INDEX
ADC.................................................. 68
AVID.................................................. 43
Amber Broadcast . .............................. 15
ARRI .................................................IBC
Australian Tel Tec ................................ 68
Black Magic Design ..............................5
CASBAA . ......................................... 77
Digistor (Adimex) ......................IFC,44,51
Editshare ........................................... 48
Fujifilm,Fujinon . ............................. 78,79
GDB International ............................... 13
Gencom ................................. 19,70,76
Genesis Networks .............................. 25
JVC .................................................. 33
Harris ............................................... 65
H-Digital . .......................................... 47
IBC .................................................. 73
Jands ................................................ 55
Lateral Linking . ................................... 76
Lawo ................................................ 61
CASBAA08 Convention
Tue, 28 Oct 2008
POPTV Arena, Tsim Sha Tsui,
Kowloon, Hong Kong
www.casbaaconvention.com
BIRTV 2008
Nov 5 – 8
CIEC China International Exhibition Centre
www.birtv.com
for all your
wireless needs…
s2&3YSTEMS4URNKEY$ESIGN
2ENTAL4ESTING2EPAIRS
s3$($-ICROWAVE,INKS
0OINTTO0OINT!IRBORNE
-OBILE#AMERA"ACK
s#OMMUNICATIONS
2ADIOS2EPEATERS3ATELLITE
$ATA)NTERNET
+61 2 9939 9911
[email protected]
www.lateral-linking.com.au
Lemac . .......................................... OBC
Logitek .............................................. 59
Magna Systems Eng. .......................... 11
Mediaware ....................................... 63
Miller ................................................ 37
Murray Tregonning & Assoc ............ 23,76
Omneon ..............................................3
Omnibus ........................................... 64
Panasonic ......................................... 21
Quinto .................................................9
Riedel ............................................... 27
SMPTE............................................... 75
Syntec...................................... 53,56,57
Tandberg .......................................... 67
Techtel .............................................. 17
The AV Group .................................... 69
VideoCraft ......................................... 31
VideoGuys ........................................ 39
VideoPro ..............................................7
WIFT ................................................ 74
Xenon XDT . ....................................... 45
C
M
Y
CM
MY
CY
CMY
K
Position AvAilAble
broAdcAst sAles ProfessionAl
Gencom Technology requires the services of an experienced
Broadcast Sales Professional in order to expand its operations in the
Australian market.
The position is Sydney based, and would suit someone who already
has a proven record in selling or designing broadcast technical
solutions within Australia.
It is important that potential candidates have up-to-date knowledge
of modern television infrastructure, including Media Management and
file based operations.
A competitive remuneration package is offered, including a
company vehicle.
Please respond in the first instance,
including resume, to [email protected]
76 Events
Off-Air
www.fujifilm.com.au
Off-Air
Let Us Remember for YOU!
www.fujifilm.com.au
Off-Air
Sponsored by
>> >> ABE 2008
>> >> ABE 2008
>> >> C+T Awards 2008
>> >> C+T Awards 2008
>> >> ABE 2008
>> >> ABE 2008
>> >> ABE 2008
>> >> ABE 2008
>> >> ABE 2008
>> >> C+T Awards 2008
>> >> ABE 2008
>> >> ABE 2008
>> >> C+T Awards 2008
>> >> ABE 2008
>> >> ABE 2008
>> >> C+T Awards 2008
>> >> ABE 2008
>> >> ABE 2008
>> >> ABE 2008
>> >> ABE 2008
>> >> ABE 2008
>> >> ABE 2008
>> >> ABE 2008
>> >> ABE 2008
>> >> ABE 2008
>> >> C+T Awards 2008
>> >> ABE 2008
>> >> C+T Awards 2008
>> >> ABE 2008
>> >> C+T Awards 2008
>> >> ABE 2008
>> >> C+T Awards 2008
78 Off-Air
Off-Air 79
BABBLING BROOKS
– The Last Word from Gerry Brooks
The Way We Were – Part 3
We talked of Australian pioneers Dr. Valentine
McDowall and Thomas M B Elliott in Brisbane in the
1930s in an earlier issue. They are credited with the first
television transmissions in 1934 from the Old Windmill
in Wickham Terrace, Brisbane. Russell Nunn, whom
some of you will remember from Channel 7 days, has
been doing a lot of research into this period and Dr.
McDowall in particular. Here is what he has found.
Doctor Valentine McDowall was a humane man,
highly creative and generous to the point of philanthropy.
His somewhat retiring nature and professional ethics
kept him from seeking the limelight. Another person
of similar talents, with entrepreneurial instincts, would
have unquestionably been prominent among his peers
– instead, Doctor Val preferred to pursue his experiments
without any desire for kudos.
He entered the Sydney medical school in 1900,
where he graduated in 1905 and became a resident
medical officer at the Royal Prince Alfred Hospital.
Valentine turned his attention to the X-Ray spectrum.
He successfully constructed an X-Ray machine and
associated equipment.
In 1915 he joined the first Australian Imperial Force.
His army service in both world wars was outstanding.
In the first war he saw service in Egypt and England
and in the second on the home front; apart from his
radiological work, he also commanded the 117th
Australian General Hospital in Toowoomba.
After WWI, he moved from the country town of
Laidley to Brisbane and set up a practice at Preston
House, Queen Street, Brisbane. To further his
knowledge, in 1926 he visited the USA on a six month
tour of the leading clinics. Always abreast or ahead of
modern progress, he was the first doctor in Queensland
to have his own radium supply. About 1928, the
Commonwealth Government gave the Brisbane
General Hospital some milligrams of radium and Dr.
McDowall became one of the first of his profession to
use this substance for therapeutic purposes.
His pioneering work from 1919 to 1944 at the
Brisbane General Hospital as senior radiologist and
later radiotherapist, was of the utmost value to that
institution and to the public of Queensland. He was
a member of the Cancer Trust, forerunner of the
Queensland Radium Institute, during its existence. Later,
his expert advice was sought in the establishment of the
Queensland Radium Institute.
With all this effort into his medical career, one
wonders how he made time for anything else! But in
1919, he met a young man bursting with ambition and
80 Babbling Brooks
>> Thomas M.B. Elliott televising
photographs on a wavelength of 160 metres,
in low definition, at 30 lines resolution, from
the Observatory Tower, Brisbane. ca. 1935. ©
Royal Queensland Historical Society.
>> Dr Valentine McDowall, radiologist, and
radio and television pioneer in portrait. ©
Angus W.V. McDowall, Russell Tapp & Family
Private Collection.
ideas, Thomas M.B. Elliott. The ensuing association
typifies perfectly the Doctor’s generous and supportive
nature. Thomas was full of schemes and energy, but
lacked the financial resources needed for research. Dr.
McDowall provided him with a fine place to work at
Preston House, assisted with the purchase of equipment
and employed him as a radiographer. Without his
benefactor’s help, it is quite probable that Thomas M.B.
Elliott’s name would not be remembered.
Together they successfully built Queensland’s first
Broadcast Station using the call sign 4CM, at Preston
House, Queen Street, Brisbane. The transmissions
were heard throughout Eastern Australia and out into
the Pacific. 4CM broadcast weekly live concerts from
the Exhibition Hall, His Majesty’s Theatre, Trocadero
Dansant and many other locations during the period
1920 – 1925. In August of 1923, Dr. McDowall
was elected Patron of the Queensland Division of
the Australasian Radio Relay League, for his services
to wireless. This was in addition to his medical
honours! The Premier of Queensland broadcast his
“Address to the State” in 1924 form 4CM and caused
considerable interest into the possibilities and use of
wireless in Queensland. Favourable comments were
received from the Queensland Government and over
1,000 letters were received at 4CM from listeners.
During 1927, Thomas Elliott moved 4CM from
Preston House to the Windmill, or Observatory Tower
on Wickham Terrace, which Dr. McDowall had
leased. On June 9th 1928, Dr. McDowall’s 4CM, with
operator Thomas Elliott, made the first communication
with Sir Charles Kingsford Smith and provided a much
needed radio navigational fix for the “Southern Cross”
during the epic flight from San Francisco to Brisbane.
A year later, in 1929, Dr. McDowall, now a
Specialist Radiologist, joined Thomas in experimental
work in the Tower, with the objective of setting up
a television station. This joint effort produced their
best work, climaxing in the first television pictures in
Queensland, claimed as the best in Australia and
covering the greatest distance, approximately 160Km.
This was in October 1935 and the experiments
continued until the outbreak of WWII, in 1939, when
all Commonwealth radio licences were suspended.
It was inevitable that the success of their work would
become known abroad, and anecdotal evidence
suggests they were honoured by a visit to the Tower
in 1938, from John Logie Baird, the great Scottish
television engineer, who was guest of honour at the
Sydney Radio Convention that year.
In April 1953, Dr. McDowall made submissions
to the Commonwealth Government’s Television Royal
Commission, with a view to applying for a commercial
licence. However, failing health prevented him from
fulfilling that particular dream. During his early career, he
also found time to learn to fly and was an accomplished
aviator as well as all his other achievements.
I am grateful to Russell Nunn for permission to use this
material for this article.
Gerry Brooks is an Independent Consultant. You
can reach him via email at [email protected]
K<8D
8ljkiXc`XËjEldY\i(k\Xdè[`^`kXcXZhl`j`k`fe
%%%Xe[JFEP?;:8D#?;:8DJI#O;:8D?;#?;M#M8I@:8D#AM:$?;M#8II@8M:$?;#Q8O:FD
JP;E<P
K\c%')0+*/++//
9I@J98E<
K\c%'.*),)0...
nnn%c\dXZ%Zfd%Xl
c\dXZ7c\dXZ%Zfd%Xl
D<C9FLIE<
K\c%'*0+)0/,//
I<EK8CJ%J8C<J%KI8@E@E>%J<IM@:<JLGGFIK

Beijing

Transcription

Similar documents

your report here

HD OB VAN FOR SALE - TV1 Outside Broadcasting

Vertical AVTV Develops AV Solutions for World 50`s Newly

Registration Form - New Jersey Broadcasters Association

vTuner Internet Radio Rapid Prototyping SDK USB

Bticino 334202 (5 Wire)

COMMERCIAL: Link Media - Everest Lounge, Harrow, UK

Why Aurix?

Vertical AVTV Installs Video Conferencing and Crestron Control

Halo by Parasound is the pinnacle of our 25 years` experience.