ibc2015 daily d5 tuesday 15 september

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THE OFFICIAL NEWSPAPER OF IBCTUESDAY 15.09.2015

Inside

Published on behalf of the IBC Partnership by

Taking IBC round the clockThe Touch & Connect portal is essentially a virtual IBC featuring a variety of powerful networking tools0

We are all ScreenagersSpeakers urge the media industry to move to a

Page 57

Breaking the codecPanellists discuss the merits of some recent ‘free’ codec suggestionsPage 58

The answer is to innovate Broadcast vendors NewTek and Vitec say they are radically rethinking a market that has seen the price of kit fall and the number of units go upPage 61

Read our IBC news stories on the move…

Sparkle in your eyesBy Adrian Pennington

Delegates to IBC’s Big Screen keynote ‘Extending the creative palette’ were urged to think of High Dynamic Range (HDR) as an equally important experience as the introduction of colour 80 years ago.

“It’s hard to believe unless you experience it,” said Dominic Glynn, Pixar’s senior scientist. “HDR enables filmmakers to deliver a version of the film as originally conceived but which they were unable to do before. We can show the audience colours they’ve never seen before as a result of mixing the RGB primaries in

the laser projectors.”To illustrate this creative

impact, Glynn presented clips from Inside Out, the first feature released in the Dolby Cinema HDR format. The two worlds of the film – outside the mind and inside the mind of the protagonist – were rendered more distinctive by using luminance of 48 nits (the current exhibition light standard) and 62 nits, respectively, even pushing up to 108 nits for certain effects.

“We exploited black reproductions to get to a velvet painting idea, as if the world were lit by fluorescent and ultra violet light,” said Glynn.

The first live action film to be mastered with an HDR and rec.2020 finish is Tomorrowland, a post production collaboration between ILM and Pixar (both Walt Disney companies). “We began by drawing up a schema of what happens to a single pixel as it is acquired on set through dailies and into the post pipeline,” explained Jeroen Schulte, Image Pipeline lead, ILM.

“With this new canvas you can see a sparkle in the actor’s eyes that you have literally never seen before,” said Rick Sayre, Pixar supervising technical director.

IABM exchanges with Brazil: At a reception to mark closer collaboration on training and market data/expansion between the IABM and the Brazilian Society of Television Engineering (SET) plus Brazil’s SBTVD Forum, the delegations were led by IABM CEO Peter White (far right) and SET president Olimpio Jose Franco (second right). Fernando Bittencourt, the VP of SET and IABM CTO Stan Moote, stand fifth and sixth right. Both Franco and Bittencourt, formerly the director of Technology at TV Globo who now runs FB Consulting, are long-standing members of the IBC Council. – George Jarrett

IBC delivers audience expectations: With one day still to go, IBC remains the industry’s meeting place for discussions, networking and doing business. IBC’s CEO Michael Crimp is confident that the final attendance will exceed the 2014 record. “IBC delivers a unique experience for everyone who attends, from the innovative Touch & Connect social networking to the agenda-setting conference,” Crimp said. “On behalf of the whole team, thanks to everyone – visitors, exhibitors and contributors – for making this a great show. I look forward to welcoming everyone back in Amsterdam, 8 to 13 September 2016.”

Rick Sayre: “We have yet to fully explore what it means to light for HDR”

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By George Jarrett

Founded in 1916 by Charles Francis Jenkins, an Edison contemporary who registered 400 patents including the milk carton still used in the US, SMPTE will celebrate its centenary next October.

It has a membership of 6200 and 250 corporate members. Its digital library is live with all magazine issues back to 1916, and Phil Cianci is editing a retrospective book with profiles of honorary members, including Edison and Baird.

How would Barbara Lange, executive director and Peter Symes, director of engineering and standards, discuss with Jenkins the battle with proprietary technology we see now?

“It is more intense, but not new,” said Lange. “Everything

is changing so fast there is the perception that standards bodies are slow. We need to promote the benefits of standardisation because the due diligence is so crucially important.”

Symes extolled the virtues of SMPTE 2084 (Dolby the proponent): “We got it out early. The colourists who are starting to deploy it are saying it is so easy

to work with. It is a perceptually quantised system. We have always known the more you screw up the signal in acquisition, the more difficult it is to deal with later,” he said.

“The 2084 stuff looks like we have done the job right. It will make post so easy, but you now have to do things at the other end. How can you avoid too much

reliance on metadata to get a picture on different displays?”

Lange sees SMPTE as a ‘100-year old start up’. “The whole business is new – this whole push to OTT and the interest in HDR. Just six years ago Netflix was still doing DVDs. Prominent new members like Netflix, Cisco and BT reflect the changes we see happening.”

SMPTE set to celebrate founder Jenkins

DPP joins call for one HDR standardBy George Jarrett

The Digital Production Partnership (DPP), which originated as a consortium of British broadcasters, has become a significant international player during 2015. A not for profit membership body for six months, and now 115 strong with recent newcomers including SMPTE and Arqiva, it has announced partnerships with the North American Broadcast Association (NABA) and AMWA.

Managing director Mark Harrison, director of the BBC Technology futures group, lit up its annual IBC gathering with the

news: “8000 programmes in the UK have delivered successfully on file since last October.”

His colleague Dan Cherowbrier said: “What we have now is an evolving business model – changing the way we work and changing the way audiences respond. It is becoming quite seismic. What we need to do is to come together in collective intelligence.”

DPP has published a guide to digital archiving, taking a longer-term view than its earlier 10 things to know about digital storage. This is about a principle of digital preservation and the commonly used NASA standard.

New 10 Things to Know booklets cover connectivity, UHD, and IP. The big news hung on a coming DPP spec for producers to deliver HDR content to broadcasters. It has shied away from HEVC and stayed with the AVC H.264 family of codecs. Expect an upgraded AS-11.

It will use Rec. 2020 for colour space and support 50p frame rate. “HDR is the area with the least agreement across the board for a single standard,” said Rowan de Pomerai. “We will support SMPTE PQ and the BBC/NHK Gamma HDR systems, but would very much like to get to a single standard.”

Mediatec buys LDX cameras: Mediatec Broadcast, part of the NEP Group, has signed a deal at IBC to buy 16 Grass Valley LDX SMPTE Lemo fibre camera chains, all with EyeCatcher 744 OLED viewfinders. The full package includes 14 LDX 80 Première cameras, one LDX 86 XtremeSpeed (6x) camera, one LDX 86 HiSpeed (3x) camera, four RefleX SuperXpander Kits, plus another 10 EyeCatcher OLED VFs to replace older viewfinders. The systems will be part of a new OB to be built by Broadcast Solutions as well as adding new cameras to existing OB vans in operation across Europe. Pictured (left to

right) are: Said Bacho, senior VP, EMEA, Grass Valley; Scott Rothenberg, VP of technology & asset management, NEP Group; and Paul Henriksen, CEO, NEP Europe. - David Fox 1.D11

VR partnership augmented

By David Fox

Vizrt has signed a partnership agreement with Ncam and Vitec to sell and support fully combined systems using technology from each company for augmented reality production. “Ncam’s technology offers a lot of potential, especially for sports events,” said Francois Laborie, Vizrt’s CCO. “We are working now on even tighter integration, and will be showing some very nice things at NAB.”

Vizrt has been working with Ncam systems since 2013, when after customers requested

augmented reality systems. Vitec signed a global distribution agreement for Ncam’s broadcast tracking product at NAB this year. “We’d been looking for an elegant tracking solution without any external sensors that would fit with our equipment in a virtual set environment,” said Graham Ramsey, senior VP, business development, Vitec Group.

“We think it’s the best tracking product on the market. It’s brand agnostic, so it will work with any camera and support system. You can bolt it on to the front of the camera. It is very simple to set up, and it moves with the camera so it will work on jibs, Steadicams, or handheld.”11.E55/7.A20

Ncam Technologies/Vitec/Vizrt

By Anne Morris

Hosting company LeaseWeb and media analytics specialist Nice People At Work (NPAW) have formed a partnership that is designed to help broadcasters optimise their IT

infrastructure configuration. The partnership combines over-the-top (OTT) reporting and analytics data provided by NPAW’s Youbora Analytics tool with the LeaseWeb CDN platform, customer portal and API solutions.

The companies said the expanded service would enable LeaseWeb CDN customers to enhance

Nice People are hostedLeaseWeb Global Services

their end-user experience by delivering TV-quality viewing through the internet. Customers can also analyse key data from end-users to optimise their IT infrastructure configuration and improve customer engagement.

Julien Lehmann, manager of LeaseWeb CDN, said the company’s CDN service is optimised for large volume files and videos, as well as website acceleration. 14.K18

FS5 goes north: Specialist imaging dealer Scandinavian Photo is ordering 50 units of the Sony’s new PXW-FS5 4K camcorder. “The FS5 will bring a high-end cinematographic feel within reach of even more of our customers,” commented Anders Nordgren (middle) from Scandinavian Photo, pictured with Sony head of sales North Europe David Nortier (left). “The flexibility and creative control that this new camera provides will enable them to capture compelling HD and 4K footage in a broad range of applications.” – Adrian Pennington Hall 12

Pictured (l-r): Gerhard Lang, chief engineer, Vizrt; Nick Hatch, CEO, Ncam Technologies; Ncam’s system (on the camera); Ramsey and Laborie.

04 For the latest show news and updates follow #IBCShow

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EDITORIALEditorial Director Fergal Ringrose

Managing Editors Michael Burns, Melanie Dayasena-Lowe, Adrian Pennington, Catherine Wright

Head of DesignJat Garcha

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Photographers James Cumpsty, Sander Ruijg, Chris Taylor

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theibcdaily

BBC and Al Jazeera use VR to cover crises

By Ann-Marie Corvin

News crews are experimenting with virtual reality (VR) applications to hammer home conditions in refugee camps and humanatarian crises, it was revealed in Monday’s ‘Blue Sky Thinking What Caught My Eye’ session.

Principal technologist BBC R&D Professor Graham Thomas told delegates how the corporation took a virtual rig into Calais recently to report on the

refugee crisis, while Al Jazeera content producer Ousama Itani added that the network is currently “diving headfirst into VR. Certain news content benefits from VR coverage -- it can be used to help audiences get a real sense of what’s happening,” Itani said.

Itani, who is at IBC to demonstrate VR footage that he shot for Al Jazeera current affairs show 101East, added that the broadcaster is fully committed to exploring VR’s potential. “To fill in the gaps we’re designing and 3D printing camera holders and accessories to allow news crews

to capture a fully immersive experience.”

Itani added that because many of the network’s viewers consume content via mobile, the VR footage has been made with smartphone users in mind. One of the most challenging decisions for VR crews will be editorial rather than technical, according to Itani: “Idenfying when to use it and when you think viewers need to be there.”

Other practical VR issues in news production include how to hide off-screen crew in a 360 environment and where to place the presenter, Thomas added.

Conference Analysis

By David Fox

Atomos has halved the prices of its HD recorders, with its Ninja 2 now starting at €/$295 or £209, while both its Ninja Blade and Samurai Blade are €/$495 (£349), down from €995. “People are wondering if they should keep their HD cameras, but this effectively extends their life. They can still use them if they record at higher quality,” said Atomos CEO Jeromy Young.

“We’ve got our return on investment as a company and they still sell well, and hopefully users will buy a 4K model later.”

Atomos, which is moving more into mainstream broadcast at IBC with the new Shogun Studio, has already sold 30,000 of its Shogun 4K systems in the first seven months, “about three times what we thought,” said Young.

Now the camera makers are beginning to work with it before new cameras are released. Atomos developed its latest Ninja Assassin alongside Sony’s development of its new FS5 and A7S Mark II cameras, “which shows we are beginning to become a bit of a standard in the industry,” added Young. It means the recorder can take advantage of the cameras’ S Log, timecode, start/stop trigger and other features, because Atomos was involved so early in the development.9.D25

Half price HD as 4K storms aheadAtomos

Young: Ninja Assassin was developed alongside Sony’s new cameras

By Carolyn Giardina

At IBC Rohde & Schwarz DVS is previewing a ‘next generation’ version of its R&S Clipster mastering station, which is scheduled to be available in the coming weeks.

Based on an entirely new hardware platform, it includes new features for high-end post production including HDR, HFR and 4K UHD.

For HDR, Clipster completed its planned support for Dolby Vision, the format used for the HDR releases of several titles including Tomorrowland and Inside Out.

HDR, HFR for ClipsterRohde & Schwarz

It also supports mastering formats that support 4K HDR such as IMF.

Clipster will additionally support high frame rates up to 120 fps in 4K and 12-bit.

The company is also highlighting new features for its ingest and production server R&S Venice. That includes direct recording in 4K without any stitching processes.7.E25

Swedish Radio’s IP future

By Mark Hallinger

Swedish Radio (SR) has a mandate to “meet listeners where the listeners are, and broadcast from where the action is,” and the organisation has started a complete modernisation of its infrastructure using IP technology.

SR issued an EU tender for this project, and it has been announced that German

manufacturer Lawo won the business. For the overall control system, Lawo will use products and services from L-S-B Broadcast as well.

The pilot project comprises the regional studio of Uddevalla and the close-by Gothenburg HUB, the latter to serve as control centre for Uddevalla and – in a later step – for other regional studios around Gothenburg. All companies participating for this pilot installation – SR, Lawo, L-S-B – have been involved in all aspects of the project.8.B50

Lawo

Swedish Radio’s Lars Hedh, head of R&D, and Lawo’s Jarle Felin, also representing L-S-B, shake on the contract

By Carolyn Giardina

BCE (Broadcasting Center Europe), Streambox and ENEX (The European News Exchange) signed an agreement Monday at IBC, with a goal of deploying new live features to more than 50 ENEX member broadcasters using the enhanced BCE Newslink platform.

Newslink’s initial platform, built to only offer video file sharing, will now have the capabilities to share realtime HD content from any ENEX broadcast member to another using cloud streaming technology. For the past months, BCE and Streambox have been in collaboration to establish an open design that will allow for new features to be incorporated in the future.

As this new feature sends live video content via IP instead of the traditional satellite, it’s expected to greatly reduce operation costs and open the door to increase live feed video exchange. “This latest iteration of the Newslink server from BCE and Streambox really gives us a fantastic opportunity to connect with our partners and provide them with a much better and a greater diversity of service,” said Adrian Wells, managing director of ENEX. The effort began two years ago when the three companies met and came up with this strategy at IBC.7.G15 (BCE), 5.A09

(Streambox)

Live ENEX dealBCE, Streambox

Eyes down on the deal: (from left) Tun Van Rijswijck, COO of BCE; Alex Telitsine, CTO/co-founder, Streambox; and Adrian Wells, CEO of ENEX


Deal for newsatellites signedThe launch of its Badr-7 satellite – scheduled for the end of the year – is the focus for Arabsat at IBC. Also featuring heavily in discussions with visitors are the three new satellites it has planned, contracts for which were signed earlier this year. The first of these is Hellsat-3 at orbital position 39° East, and the second is Hellas-Sat-4/SaudiGeoSat-1, a joint satellite with King Abdul Aziz City for Science and Technology ,that will operate at the same orbital position. The third satellite is 6-A at 30.5° East which is designed to support the competitive position of Arabsat as the premier satellite provider of satellite services and capacity in the Arab and African market and neighbourhood.

At IBC, Fibersat announced that it has signed a framework agreement with Arabsat for the acquisition of an HTS-hosted payload in Ka Band on these upcoming Arabsat satellites, with extensive coverage over African Markets. Fibersat is expected to commence operation in 2018.1.B38

Mate for AdobeFor the first time at IBC, Arvato Systems is showing EditMate, a workflow plugin for Adobe Premiere Pro. EditMate consists of three modules: EditMate projects, EditMate media and EditMate proxy.

With EditMate projects, editors can access and use projects from all edit stations on a network.

Projects in use by one editor are locked, and other users can access them as read-only without putting the finished work at risk.

EditMate media integrates VPMS, Arvato’s MAM system, into Premiere for automated, project driven media housekeeping. MAM objects, including bins, descriptive metadata, logsheets and subtitle files can easily be imported.

EditMate Proxy, a new feature, allows users to work on projects remotely even when there is limited bandwidth. Finished sequences are then automatically finished in high resolution at a central facility. 3.B38

In Brief HDR is the new blackBy Kate Bulkley

The ‘Outlook for Broadcast and Media – IBC2015 Wrap Up’ session underlined several big trends at IBC, the consensus being that HDR is winning versus UHD and that it is the next big thing on which broadcasters should focus. “Even your grandmother can see HDR,” quipped Phil Laven, DVB chairman. “And I don’t have anything against grandmothers.”

“HDR is the new black,” added Simon Fell, director of technology

and innovation at the EBU. “HDR is much more applicable today and it is really astonishing,” said Marco Pellegrinato, director of research and development RTI Mediaset Group in Italy. “To move to UHD will take until the next decade because of all the costs but we can do this much more quickly.”

But Fernanado Bittencourt from Society of TV Engineers (SET) in Brazil warned the broadcasting industry that with the moves towards higher resolution formats they must look to protect their spectrum capacity. “Broadcasters have always had the highest quality of

video but I am worried that in five years it will be the worst quality. If you don’t have the spectrum to broadcast new technology there is a big risk of losing the market,” said Bittencourt. “Nothing is as profitable as over the air broadcasting but to keep the high percentage of viewers we need to keep the best quality.”

There was also agreement that IP is the future but less assent about how new devices like Apple TV and internet content are going to affect the industry. Richard Friedel, executive VP and GM Fox Networks, believes that the linear TV system will still be in place in

Conference Analysis

10 years because people will still want “curated streams of content” but it won’t be from “big TV transmitters on mountaintops.”

Aspera CEO Michelle Munson added that the rate of growth in internet delivery systems means that it will be less than 10 years until the dominant delivery will be non-linear.

Fernando Bittencourt: “Nothing is as

By David Fox

Live monitoring of high dynamic range, a working 8K prototype camera, and a wide range of new options are amongst Red’s latest introductions. The cameras can now also record Apple’s ProRes, up to 4K 4:2:2 HQ 60fps or 2K 4:4:4 XQ, as well as simultaneously recording Redcode Raw. WiFi has been added in the camera body, to use either Red or third-party apps to control the camera.

The first 8K Weapon, with

the lightest, strongest forged carbon fibre body, is on the Zeiss stand (11.F50), fitted with a 70-200mm Zeiss Compact Zoom, which gives the most complete coverage of the Weapon’s 8K sensor. It uses the small new Weapon body (also available in magnesium and woven carbon fibre), but with a new sensor, and should ship by the end of the year.

Unlike the Dragon, which had its fan inlet at the front (which could cause noise on set), the Weapon has its fan inlet at the back, using the front to house two on-board microphones, so

HDR and 8K WeaponRed Digital Cinema

users always have a reference audio track.

The camera comes with no connections, but users can now choose a very lightweight new Jetpack, designed for use on drones, or the high-end Weapon Redvolt Expander, with a wide array of I/O connectors plus space for a single Redvolt battery for hot-swap support.

“One of the weak points of our system has been the EVF,” admitted Michael Rintoul, senior technical product specialist. However, its new EVF is much more compact, “and one of the brightest viewfinders on the

market.” There is also a new, smaller fold-down 4.7-inch LCD monitor.

The HDR-2084 option uses the quad outputs of the Redcast module (developed for live broadcast use) to offer four different LUTs at once, and supports HDR monitors, such as Dolby, on whose stand (2.A11) it is also being shown.11.C70

Digital content Paragon: ERA has been appointed as the first distributor of TMD’s new archive system Paragon. The media IT technology provider, will be responsible for selling, installing and supporting Paragon in the UK. Based on the Linear Tape File System (LTFS) and TMD’s Mediaflex MAM platform, Paragon is a device-independent digital content store for LTO tapes. ERA have years of experience in the definition and design of complex workflows. – Will Strauss 2.B59

Dark fi bre lowers transmission cost

By David Fox

Ikegami has developed a new lower-cost camera transmission system using single, dark fibre cables, which can carry multiple uncompressed HD signals, or 4K, over distances of up to 40km.

“The signal is packetised at a very fast speed, less than 200 microseconds (0.2 milliseconds), point-to-point, based on a new type of SFP module,” a small form-factor pluggable transceiver, said Masanori Kondo, president, Ikegami Europe.

The new HTR-100 Multi-video Fibre Optic Transmission unit, which will ship after IBC,

can stream up to eight HD-SDI channels (it can also be configured 4-in/4-out, or 6+2). The dark fibre cables are much thinner, lighter and less expensive than SMPTE cable (although the unit can also use SMPTE Hybrid fibre to carry power as well as signals, but the power transmission distance is only about 1km). It can also

multiplex data, CCU controls and tally.

It can transmit up to 10Gbps in both directions, but can also be fitted with a less expensive SFP that is only unidirectional (10Gbps per fibre).11.A31

Ikegami Electronics (Europe)

AoIPA: Calrec’s AoIPA is a light and hoppy pale ale, and a clever way to remind the industry that the West Yorkshire audio specialist embraces all members of the AoIP community, sometimes over a brew. Cheers! 8.C61a

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Historical and culinary For walking enthusiasts, head off on the Hap and Stap tour. Take a walking tour of Amsterdam while experiencing culinary dishes. Discover all the beautiful things this city has to offer combined with all things delicious in the best restaurants.

If you fancy exploring further afield, you can visit two beautiful cities to experience Dutch history in one day. Delft is the city most closely connected with Dutch Royal history while the Hague is the pulsating heart of Dutch politics: the seat of the Dutch government.

For more information, visit www.iamsterdam.com

Commercial NukodecDubai-based broadcast technology and service provider Selevision said its Nukodec compression tool is now in commercial use by Bahraini telco Batelco following the completion of the testing phase for the HEVC codec. The codec, which was first unveiled earlier this year, is designed to reincode HD and UHD (4K) channels on both IP and satellite, enabling them to run on 1 Mbps and 4 Mbps respectively.

Selevision CEO Dr. Raed Khusheim said he believes it will soon become the new industry standard. “Nukodec offers broadcasters the opportunity to increase the number of channels per satellite transponder, and while doing so, simultaneously enables them to improve the viewing experience of end-users using internet, with the highest quality content available at the lowest bandwidth possible.” 14.J03

In Brief

Sunday’s Touch & Connect

Leaderboard winner was Eileen Barnes

from Activideo. To participate and be in to

win an iPod Nano for yourself, download the

IBC Connect App now and start networking!

Visit www.ibc.org/tcapp to download.

WINNER

OBA offers extra personalisation

By Chris Forrester

IBC’s annual ‘Loudness Breakfast’, chaired by the always-excellent Florian Camerer (ORF), heard a fascinating preview of how 21st Century Fox sees the future for Object Based Audio. Steven Silva (VP/technology & strategy) said that personalisation – and to every device – was a key part of

“keeping viewers happy”.Silva anticipated ATSC’s 2016

decision on which codec to implement would almost certainly see multi-channel audio included in the spec, and permit OBA to play a major role. Camerer reminded delegates that the ITU’s 1770-3 standard also covered higher channel counts.

Silva explained that while most broadcasters were looking ahead to HDR and perhaps even 8K down the line, the audio engineers

could then deliver a number of fascinating options to the user. As well as simply improving fidelity overall, he cited sporting events where one channel could be devoted to the ‘home’ team’s commentator while the ‘visitors’ could have their own. There could also then be a dedicated audio track for the hearing impaired.

“Sport will be an early adopter,” he added. “While it may present a few challenges to the stadiums and the OB crew, I can see this

gaining immediate consumer acceptance. We have to crawl first, then walk and eventually run as we gain a better understanding. But OBA and the extra dimensions of multiple tracks will give amazing flexibility.”

Conference Analysis

Steven Silva: “Sport will be an early adopter”

By David Fox

German facilities company rt1.tv production has taken delivery of a compact new OB, HD 7, that packs a lot of capability in a small space. “We wanted a compact truck that has a lot of video and audio capabilities. We have a compact OB van with an uplink that makes it really unique,” said Michael

Jaworski, team management, outside broadcasting and SNG, rt1.tv. “We don’t need an extra uplink truck and there are many productions where there isn’t so much space for bigger trucks,” particularly where it is doing the national presentation of a football match where there are big trucks from the host broadcaster.

It will start work after IBC for use on Champions League games as well as talk shows, debates, concerts and other

sports, such as basketball, and has seven Grass Valley LDX 80 cameras, with an LDX 86 high-speed camera, plus EVS and Avid highlight compilation and Dolby surround sound.

Up to three on-air signals

can be uplinked at once via its 2.4m Vislink antenna, specially built for this, “without any foldable ears, because it wasn’t necessary for the size of truck, and because it will be doing winter sports and we didn’t want to risk ice in the folding mechanism,” said Christian Putz, senior solutions architect, Qvest Media.

The truck design was done by Wellen+Nöthen (now Qvest Media). “They really did it in a new way, with wood and contemporary design,” said Jaworski. 0.G03

Qvest Media

RT1.TV’s big new small OB

On the up(link): Putz and Jaworski with rt1.tv’s compact new HD 7

By David Fox

New software that turns the colour-tuneable Rotolight Neo into a lighting effects machine and a three-light Neo kit are on show.

The software upgrade includes such features as: Designer Fade, for programmable custom fades (up/down); True Aperture

Dimming, which calculates the correct aperture (f-stop) at a given distance, shutter speed and ISO, and is useful for both stills and video; and CineSFX, a quickly-accessible menu that turns the 91 TLCI Neo into a versatile effects light. Rotolight’s CEO, Rod Gammons, demonstrated strobe effects that can be adjusted to synch with the camera’s shutter speed, lightning

flashes, throbbing, colour cycling, emergency vehicle lights, and fire effects, which can be adjusted to replicate candles or camp fires (and even flares where the flame changes from red to blue),

as well as a television effect that randomly changes colour and intensity as if someone is lit by a TV screen.

The £1,080/€1,485 kit comes in a waterproof, cabin baggage-sized case and includes newly designed military-grade barn doors, plus power adapters – although the lights can run for 3.5 hours on six rechargeable AA batteries or from a camera battery via D-Tap. Rotolight also has a new 12v car cigarette lighter adapter, with 5m cable.11. G77

Rotolight

Neo feels effects of upgrade

Gammons adjusts Neo’s new barn doors, lit by the new Chimera Soft Box

By Carolyn Giardina

Blackmagic Design has three new Teranex Mini video converter models on display. Teranex Mini 12G-SDI to Quad SDI converts 12G-SDI to Quad Link SDI so customers can connect 12G-SDI UHD equipment with Quad Link UHD equipment.

Teranex Mini Quad SDI to 12G-SDI converts Quad Link SDI to 12G-SDI so customers can connect Quad Link UHD equipment to 12G-SDI UHD equipment. Teranex Mini SDI Distribution distributes a single SDI video input to up to eight SDI outputs. “Customers love 12G-SDI because it works with everything from SD all the way up to high frame rate UHD 2160p60 over a single BNC connection,” said Grant Petty, CEO, Blackmagic Design. 7.H20

Blackmagic Design

Quad Link UHD

By Ian McMurray

There is a rapid change taking place in how end consumers are controlling their media equipment. Recently in Europe, infra-red remote control technology has been the accepted norm for controlling most AV devices. When there

were only a few channels and inputs, this satisfied the needs of the consumer. But with the rapid increase of content available, the need for fast, accurate searching via the remote control is vital.While a conventional up, down, left, right and select, process can still satisfy most “zapper” applications, when searching for desired content, a better user experience is needed: voice control. 4.B63

TW Electronics

Voice control is the future

IBC template.indd 1 20/08/2015 13:39


Taking IBC round the clockWhile Touch & Connect will undoubtedly make your experience at IBC easier and richer, its true power lies in being able to extend the IBC experience far beyond the confines of the RAI and a single week in September. Via the Touch & Connect Portal, IBC truly becomes a 365 day event. The portal is essentially a virtual IBC, and features a variety of powerful networking tools to ensure that all the relationships that IBC is justifiably famous for enabling can be maintained and enhanced online.

The networking opportunities start as soon as a user logs on in the run up to the show. Threaded discussion groups allow the debates about industry developments that energise the conference and the show floor to be picked up and continued— and in fact started way before the show opens its doors. There are already active communities and discussions talking about everything, from travel arrangements from far-flung corners of the globe, to Amsterdam, to advice on presentation skills. Users can also create discussion groups of their own, initiate private conversations and more.

The dedicated networking section allows you to browse exhibitors, and, if you are a

conference delegate, other delegates. You can also chose to import all of your LinkedIn, Twitter or Facebook contacts into the portal and interact with those attending the show directly in ‘My Contacts’. The options available are similar to other

social networks, with the added bonus that you can request a meeting with your contacts while at the show.

Importantly, given the sheer volume of meetings that many attendees find in their diaries at IBC, there is also a ‘My Schedule’

component to Touch & Connect. This allows you to keep track of all your scheduled meetings at IBC2015— both the people you’re meeting and where you’re meeting them, which is handy given the sheer size of the exhibition.

An ‘Exhibitors’ section allows you to browse the participating exhibitors, searching either by company name or by associated metadata in a large number of different categories. As well as research, it also allows you to proactively contact representatives of individual companies directly, download product details from their entire ranges, and link directly to their news stories and social feeds.

There is a lot of exclusive content available via the portal, meaning you have access before everyone else. Not only is it one of the best ways to keep up with all the news before and during the show, but you can also access all the extensive Video on Demand content available from the conference and elsewhere through the portal once the show has finished. This includes influential IBC2015 keynote addresses, as well as sessions taking place in the Forum Lounge and the Hub panel sessions that form an integral part of IBC Content Everywhere Europe.

An essential part of the build up to the show, an invaluable tool onsite, and an indispensable record of it afterwards, Touch & Connect truly reinvents IBC2015.

To access your Touch & Connect Portal, simply visit www.ibc.org/portal now.

Touch & Connect: a virtual IBC

10 IBC D5 2015 Issue v1MDL.indd 1 25/08/2015 10:51

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A New PTC cameraBy Carolyn Giardina

Datavideo is showing its PTC-150 HD/SD video camera, a PTZ unit that can be mounted on a wall, ceiling, floor, or a

tabletop, and which includes an IR remote control.

The camera is equipped with a 1/2.8-inch image sensor with 1080p output resolution at 60 frames per second. It sports a 30x optical zoom lens and an IP protocol gives users control over the camera

through a LAN connection.The PTC-150 is designed

specifically for lecture recording, conference meetings, religious events and automated studios. According to Datavideo, the position tracking function is able to output frame accurate PTZ

position in real time. With a big tally light, 3G 1080p50/60 resolution, and 2m pixels, the company claimed the PTC-150 could satisfy applications that require high image quality”.

The camera lists for $3000.7.D39

Datavideo

Datavideo’s PTC-150

By Anne Morris

By Anne Morris

A new version of DDVTech’s media server software,

MistServer 2.4, has been released at IBC. It adds a variety of fixes, improvements and new features.

Most importantly, this release marks the addition of the new HTML5 ‘MP4 live’ output

support, which offers app-less, plugin-free and script-free live streaming to practically any device/player available today, with no setup or installation required on the end consumer hardware.

Adding ‘MP4 live’ output support DDVTech

This is not new technology – live support has in fact been part of the MP4 standard since the very beginning – but the company claims that MistServer is the first streaming media server to offer the ability to make use of this widely supported live

video delivery method.MP4 live complements the

support in MistServer for other delivery methods, including high-performance versions of DASH, HLS, HSS, HDS, FLV, RTMP and RTSP.14.K13

Q&A

Has IBC come at a good time for the electronic media industry? Why? This year we are promoting Spacecom’s role as an emerging global satellite operator. In early 2016, AMOS-6 is scheduled to launch to the 4W orbital position with HTS capabilities for broadband internet in Africa and Europe, including Western Europe, a new market for us. AMOS-5 offers coverage over Africa, while AMOS-4 provides services to Asia and Africa. The AMOS 4W ‘hot-spot’ covers Eastern/Central Europe and the Middle East providing

clients with multi-regional coverage and multi-beam services.

What do you think are the key developments in, or threats to, your market sector at the current time? On the broadcast side, we are expanding services to meet our DTH customers’ needs for more HDTV and increasing sports broadcasting. Our broadband and telecom customers are also growing via more backhaul services alongside our new hybrid cellular-satellite solution. The AMOS brand is meeting

customers’ needs around the globe as the industry continues pushing ahead with new technologies and services. Our close cooperation with DTH, broadcasters and telecom and communications operators ensures that their services are top notch. We are continuing to capitalise on new trends, like UHD TV, by expanding our offerings to enhance our clients’ values.

Why should delegates visit your stand at IBC? Delegates will hear about the AMOS brand, Spacecom’s strategic programme and

news about AMOS-6. Larger than AMOS-2 and AMOS-3 combined, AMOS-6’s new technologies will allow broadcasters and service providers to re-imagine business opportunities in data and broadcast services,

including mass market broadband services (via HTS). As an emerging global satellite operator, we find that IBC is the place to meet existing and potential clients to further our connections. 1.C65

David PollackPresident & CEO, Spacecom

12 IBC D5 2015 Issue v3.indd 1 17/08/2015 13:14

Don't miss

our

IP and 4K live

demonstratio

ns!



OPINION

Shedding light on real world IP

The industry is positioned at the cusp of an inevitable migration toward the use of full IP infrastructure. IP-based solutions for the broadcast industry simply offer too many benefits — flexibility, productivity, and security — in professional A/V applications to be ignored. Nevertheless, we have a long way to go before significant numbers of broadcasters make the shift to IP. Once they do, they stand to be much better prepared to address some of the most critical challenges facing them.

The demand for simple, user-friendly media-consumption applications is also influencing the industry. In this respect, IP infrastructure and IT technology offer valuable new capabilities in linking demanding broadcast specifications to consumer expectations.

As growing numbers of radio and TV broadcasters extend into multiplatform media delivery, consumers are growing accustomed to anytime, anywhere availability of content. At the same time, the demand for simple, highquality live web streaming is pushing the industry toward acceptance of IP- and IT-based solutions.

Intuitive, flexible, and cost-effective IP audio and video solutions stand to play a central role in any future migration. In addition to enabling more efficient delivery of content to meet both professional applications and consumer demand, IP-based A/V processing and transport also gives organisations the opportunity to shift their operations from CAPEX to OPEX. At Digigram we’re supporting this by delivering

more vertical solutions, the ultimate goal being to supply them as cloud-based applications operated in a SaaS model.

Another major technology driver for the industry is IP audio networking, and particularly AES67 interoperability, which promises massive gains with new audio production workflows that leverage IT to enable higher levels of productivity, cost-effectiveness, flexibility, and security.

IBC2015 will shed light on the new levels of performance and flexibility that RAVENNA/AES67 connectivity brings to real-world IP audio transport applications, with demonstrations of this major technological advance for massive low-latency synchronous audio distribution over IP. Even more important, perhaps, is how RAVENNA/

AES67 connectivity eases broadcasters’ migration toward the use of IP audio within their studios. At IBC2015, we are featuring RAVENNA/AES67 connectivity across our IQOYA AoIP codec and sound card range.

High-efficiency video coding (HEVC) is emerging as a powerful enabler of IP video delivery and our AQORD HEVC encoder helps production operations reduce the cost of high-volume data transport by encoding either one UHD signal or multiple HD raw video signals in real time with

up to 50% lower bandwidth compared with H.264 for the same quality.

IBC2015 gives broadcasters the chance to see just how far video over IP has come, as we feature powerful, technologically advanced products for a variety of users and applications. The versatile Digigram AQILIM and AQORD video encoder ranges provide exceptional quality and value for money, facilitating not only the transition to IP but also the realisation of a rapid return on that investment.8.C51

Pressures to realise ROI quickly are driving deep and rapid change – and IP can help broadcasters meet this challenge says Philippe Delacroix, CEO at Digigram

By Ian McMurray

IBC2015 sees the first major public appearance of the new EMEA operation of Media Links and its new head, John Smith, who was previously with Sony, Logica, Saudi Telecoms, OKI Systems, Feltech and IVC Media.

Media Links develops broadcast network infrastructure technologies to transport content over IP contribution and primary distribution networks. Smith said that the company was demonstrating some of its realtime video transfer solutions at the show.

“Media Links is driving change in the realtime video contribution space and has set new standards in developing

advanced video technology and is a leader in Ethernet and SONET based solutions for contribution video,” added Smith. “Over the years our global clients have relied on our video over IP and switching solutions to deliver pixel perfect video throughout the duration of some of the most widely viewed events in the world. Now our accumulated expertise in broadcast and telecommunications will be available to EMEA customers from our UK base through design and OEM services, to create innovative technological solutions to enable the video experience of a connected world.

“In addition, we are rolling out a partner programme in the region to build links with key telecommunications and broadcast organisations to

support customers in EMEA and are meeting with potential partners at IBC.”1.C31

IBC debut for EMEA operation Media Links

Big switch: The MD-MAX, a major component of the Media Links studio

Setting the SceneGate

By Anne Morris

New SceneGate set-top boxes are being showcased in Hall 14, as manufacturer Albis Elcon demonstrates how the next-generation kit can be used to launch new TV services to subscribers.

The newest SceneGate Flex STB model is based on an ARM CPU and GPU architecture that supports broadcast, broadband and over-the-top services, combined with the latest STB middleware and broadband software solutions.

ARM’s ‘system on a chip’

(SoC) is designed to help service providers deliver 3D graphics in order to enhance the user experience. The SoC features HEVC decoding, enabling service providers to deliver HD-quality content at low bitrates.

Overall, the SceneGate STB is positioned as an affordable and low-maintenance carrier-grade STB solution that enables operators to introduce new revenue-generating offerings within a very short time to market – or around 14 days.

The turnkey solution offers a ‘pay-as-you-grow’ approach to scalability in order to reduce capex for service providers14.C11

Albis Elcon



Q&A

Rich Redmond, chief product officer, GatesAir

Has IBC come at a good time for the electronic media industry? Why?Broadcasters are working through the challenges of many transitions from the analogue world, notably digital television, digital radio and IP transport and networking. With these conversions, broadcasters are tasked with more channels and delivery platforms to manage. From a cost management perspective, rising energy costs are bringing new financial challenges. IBC

is an excellent opportunity for broadcasters to discover the latest in technology and workflow solutions to address these challenges and solve problems.

What do you think are the key developments in, or threats to, your market sector at the current time?Advances in energy and efficiency top the list. These are a number of contributing factors to rising energy costs worldwide, include carbon

footprint taxes in many of the larger energy-consuming countries. Furthermore, the technical support base for broadcasters is changing, as is their required skillset. Engineers are now multitasking across RF and IT. As a result, people are looking for tools that lower network operating costs and simplify its operation and management.

Why should delegates visit your stand at IBC?We have exciting solutions to

solve problems. Innovation in low power consumption and total cost of ownership is at the core of our Flexiva AM/FM/digital radio – including new high-efficiency liquid cooling – and Maxiva TV/DAB Radio transmitters. Our Intraplex transport solutions leverage the latest in robust IP capability for advanced networking, contribution and distribution. Beyond these technologies, we’re moving into advanced confidence monitoring for the user

experience across all of these platforms. If you are trying to deliver content, we have solutions to help you do it cost-efficiently.8.B20

From graphics to robotics

By Heather McLean

In Hall 9 you’ll find Ross Video presenting a plethora of graphics kit, including the XPression Studio 4K and BlueBox 4K. These bring UHD video and key graphics into

production components such as switchers.

Clips and realtime graphics come together in XPression Clips, an advanced IT technology production clip server. This has instant recall times and back to back transitions from an intuitive user interface or via automation triggers from other devices.

Users can simultaneously ingest multiple channels of baseband video and output multiple channels of clips to air.

A useful companion product from Ross is XPression INcoder for file-based ingest and transcoding of material delivered for playout using multi-target publishing capability.

Ross Video

By Carolyn Giardina

Media logistics platform provider Nativ has launched a cloud-based MAM system. Based on MioEverywhere, Nativ’s media management, workflow and

collaboration product suite, the new system is aimed at content owners who want to take advantage of the modular components of MioEverywhere using cloud-based technology.

MioEverywhere is designed to help content owners to create, manage and monetise their content, and provides

composable and pluggable components.

Plug-in modules for MioEverywhere include Mio Objects, which allows content owners to model and track their wider business data and share it with individuals, third party systems and feed it into their own workflows. Another module

is Mio Screener, designed to allow users to securely review, approve, and submit time-coded comments on selected content from anywhere, at

Cloud-based MAM launchedNativ

Square eyes: Browsing with Nativ technology

The latest XPression features include Transition Logic, Avid Command Version 3+ Plug-in, MOS Plug-in enhancements, native Ncam and Stype Grip integration for augmented reality and virtual sets. There is also GV EDIUS NLE integration and QuickTime export.

In robotics, Ross is showcasing its SmartShell 4, a single, unified control system for both CamBot and Furio pedestals, lifts, and heads. It

comes with a new USB-based joystick panel to trigger robotic movements.

SmartShell 4 now permits both CamBots and Furios to be controlled from a common interface, so studios can combine dollies on tracks, manual and free-roaming pedestals, and standalone PT heads to create the most comprehensive studio robotics solutions possible, it claims.9.C10

any time. Mio Analytics is a realtime

analytics and business activity monitoring platform. It stores and processes event data generated from every MioEverywhere module and also gathers data from external systems. Content owners can track assets, workflows, tasks, playbacks and user activity.7.KO1b


www.asperasoft.commoving the world’s data at maximum speed

Hall 7 | Stand # B27

September 11 - 15, 2015Amsterdam RAI



Looping the loopBy Anne Morris

Remote control specialist 4MOD has launched a new product called the Loop at IBC.

It uses gestures to enable users to access their desired content more quickly and easily by creating shortcuts.

The main idea of the Loop is to render shortcuts more natural. Rather than navigating through several menus, users can quickly switch between music, a latest VoD purchase or current news.

In fact, 4MOD believes that remotes can be used as a central element in every home to harmonise daily activities, multimedia equipment and the new expanding online world.14.C15

4MOD Technology

The new Loop remote control cuts through the content navigation maze

By Ian McMurray

Having successfully relocated the Yamal-300K satellite into the 183 degrees east orbital position, Gazprom Space Systems (GSS) has initiated a cooperation with US Electrodynamics (USEI) for teleport services.

Based in Washington state, USA, the USEI Brewster teleport has been operating since 1966, serving the US domestic market along with the South America and the Asia Pacific markets. It has pointed one of its 9m antennas towards the Yamal-300K to operate in the satellite’s Northern Beam 1, in support of one of the world biggest communication service providers in the aeronautic industry.

The Yamal-300K Northern Beam 1 covers part of Eastern Russia, the northern part of the Pacific Ocean and the western

part of North America. GSS described this as a perfect communications services solution for the aeronautics and maritime sectors to meet the growing demand across these areas. With the joint effort between GSS and USEI, the company said that this will now allow GSS to meet both current and future service demands.

Dmitriy Sevastiyanov, director general, GSS, said, “We are happy that Gazprom Space Systems is entering the new geographical markets

of the western hemisphere in cooperation with USEI. Provision of the high quality services from Brewster teleport based on Yamal-300K satellite capacity will allow us to expand the client base and benefit together.”

“So far, we have observed a shortage of Ku-band satellite capacity in the Pacific,” said David Grooms, USEI executive, business development. “The Yamal-300 footprint will give customers a new option for this bandwidth.”4.B85

Teleport link with USEI BeamGazprom Space Systems

Big Dish: A USEI Brewster teleport antenna is pointed towards Yamal-300K



OPINION

Last-mile localisation and monetisation for DTT delivery

In today’s ultra-competitive media landscape, monetising content and generating new revenue from existing content assets is something every broadcaster must consider. Television remains the most effective means of engaging audiences and DTT free-to-air still dominates the broadcast and content delivery landscape. According to the recent Global TV Advertising Survey from PWC, “Terrestrial TV is the primary contributor to advertising revenues.”

There’s no doubt that the world of content delivery is now a rapidly shifting landscape. IP, OTT, DTO (download-to-own) and mobile content access are pushing into the mainstream in developed markets and a growing option across many

other regions. However, before we write off traditional broadcast television, it’s worth remembering that for the vast majority around the world, IP is still at best another part of our fragmented delivery world and not the primary way that television content is received.

Tried and trusted broadcast delivery – whether that be analogue or digital satellite, cable or terrestrial – continues to dominate in large swathes of the world. In the free-to-air arena, digital terrestrial stands alone as the most effective delivery method now and moving forwards, especially when regional content is required. This offers a powerful opportunity for broadcasters to generate additional revenues.

According to a July

2013 report from Digital TV Research, the number of homes receiving DTT signals will more than double between 2013 and 2018 to 553 million globally. The number of primary DTT homes (those not subscribing to cable, IPTV or satellite and using DTT on their main set) will also double over that period to 380 million. And half of the content is coming from regional TV channels.

Enensys has responded to this opportunity with its new AdsEdge solution. It has been designed from the ground up to enable broadcasters to maximise this opportunity and more effectively monetise their content.

An innovative approach to local video content management, it allows additional revenue to be

generated via the insertion of local content, (adverts, news and weather forecasts, etc.) at the final stage of DTT delivery. These services can then be better monetised by targeting specific regional audiences and enables the step-by-step regional deployment of local ads and content.

AdsEdge is based on SCTE 35 markers and enables locally targeted content to be inserted at the edge of the content delivery process – at the transmitter site – within a DTT Single Frequency Network (SFN) environment. The system is fully deterministic,

which means it can handle the usual constraints of having the same content on the same frequency at the same time, vital with the predominance of SFN networks.

SFN services have to be byte-accurate to prevent interference – exactly the same content at exactly the same time on exactly the same frequency. The system can be used with any terrestrial network, including DVB-T, DVB-T2, ISDB-T. It is supported by Enensys’ HDc chassis platform.2.A31

IP is still at best another part of our fragmented delivery world says Richard Lhermitte, vice president of sales and marketing, Enensys

‘Smooth continuous’ large area coverage

By Ian McMurray

Designed for coverage of massive areas and multiple venues, ABonAir’s AB-MultiZone technology is claimed to provide continuous, unlimited coverage with a single receiver connecting up to 250 MIMO antennas.

It enables roaming from

one coverage zone to another seamlessly and automatically without dropping a single pixel, according to the company.

ABonAir further claimed that AB-MultiZone perfectly addresses the coverage challenges of dispersed locations like golf courses, race tracks or separate venues – for example, multi-venue productions in colleges, covering both football arenas and

basketball fields.The coverage of standard

wireless transmission is limited to six or eight antenna beams with restricted range. Problems may come to light when covering an area with a broad spread such as a golf course, or the need to move with the camera outside the stadium to dressing rooms or even parking lot.

Eran Igler, ABonAir CEO, explained that traditionally

in large area coverage, the transition from one zone to the next was not smooth, requiring a complex antenna and cable installation, or even a second receiver.

“Broadcast productions had to carefully plan the camera path in advance, as they rarely moved from one zone to another during broadcast,” he said. “One of the primary issues was the risk of link drop and broadcast

discontinuity as the camera transitioned between zones. With ABonAir’s revolutionary AB-MultiZone for large, seamless roaming coverage, production teams can connect as many as 250 antennas in any desired topology. The transmitter connects automatically to the nearest antenna without dropping the link, ensuring smooth continuous coverage.”3.A29k

ABonAir

By Will Strauss

A multiscreen pay-TV platform that runs in the cloud and provides viewer personalisation options and advanced social media capabilities is the main

focus for Comigo at IBC.The back-end offering, which

is based on the company’s ‘Experience Engines’, can be integrated with an operator’s

Business Support Systems and Operations Support Systems such as provisioning, billing, CRM, CDN and CMS.

Comigo is also showing its

mobile apps for smartphones and tablets and an Android-based set-top box offering that supports HEVC and 4K. 3.B52

Customised cloud options for pay-TV Comigo



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‘Price perfect’ audio processingBy Mark Hallinger

The AERO.10 DTV Audio Processor has launched. Linear Acoustic said the AERO.10 was designed for any cost-sensitive application that requires uncompromising audio processing features like loudness control and logging.

“Linear Acoustic Intelligent Dynamics with Advanced ITU (AI) Limiter enables a simple loudness target to be set, and the AERO.10 does the rest to assure compliance and quality,” said Chris Shaw, VP of Global Sales. “This new product delivers the features and audio quality at a price perfect for users and applications that previously may not have been able to consider the AERO family.”

AERO.10 is a fully-featured audio processor supporting up to 10 channels of PCM audio via AES, SDI, or stereo analogue I/O. The AERO.10 comes equipped with a processing engine identical to those in the established AERO.100/1000/2000 products. Tools such as Aeromax loudness and dynamics control, Upmax II automatic upmixing and downmixing algorithms, along with ITU and EBU compliant loudness metering and logging are included. Downloadable 7.5 day rolling and event-based logs include multiple ITU-R BS.1770-3 loudness measurements as well as True Peak values.

The included TCP/IP remote application provides comprehensive control and display of all AERO.10 system settings and processing parameters plus extensive metering of loudness from a PC located anywhere with a network connection. The remote also delivers up to 5.1 channels of audio, enabling users to audition signal quality anywhere link bandwidth permits. An HTTP server is included for simple get/set control of all parameters and retrieval of status and logging information.

The AERO.10 has a simple

Linear Acoustic LCD front panel GUI for local control, and a headphone output is included for checking audio and adjusting processing. New with AERO.10 are +4dBu balanced

stereo analogue inputs and outputs, useful for analogue plants or bridging between analogue and digital paths. 8.D47

Full-featured: AERO range processing delivers cost-sensitive ‘set and forget’ compliance and quality



OPINION

How senior management supports audio post production

Within broadcast production workflows, audio is often an afterthought. But a great soundtrack is one of the least expensive ways to make a film more impactful. While the new generation of audio post tools are invaluable, senior management must also give their audio teams necessary time and space to create their magic on a TV or film project.

In our user community, common work practices often require audio editors and mixers to deliver more minutes of content to a deadline than they have minutes to edit, mix, and deliver the actual content!

Ultimately, this pressure comes from the trend of reality television – and from

broadcasters and networks competing to be first to air the next big thing. The challenge becomes even more daunting when you consider the growing group of internet streaming providers who are creating and pushing out original content faster and faster.

At iZotope, we know some really talented and experienced audio editors and mixers who are finding the quality of their work diminishing simply because they don’t have sufficient time to work on the project. As audio post production teams are being downsized, remaining editors are still expected to produce more content than ever at the same level of quality.

Shrinking production times inevitably impact quality, regardless of the capability and experience of the audio post team. Yet the audio team is typically involved at the end of the production chain, so they routinely have the least amount of time.

The expectation to maintain quality standards can be oppressive on the audio team, which can generate a lot of friction within the audio post process. If audio post engineers do their job well, nobody should know they were ever there, further exacerbating the issue.

At IBC, iZotope is showcasing products designed to help audio mixers and

editors be more creative and efficient in their day-to-day operations. From advances in the iZotope RX audio repair and editing platform, to RX Loudness Control, and to the new and imaginative RX Final Mix, our technology can empower the creative community in many ways.

However, for these production tools to ensure a real benefit, it requires a certain degree of insight from facility owners and senior management. As important as new time-saving audio production technologies are, they can create a double-edged sword. When a

producer sees these new tools enabling greater efficiency within the audio team, it can create greater expectations of increased throughput.

The aim should not always be to increase output and to decrease production time. There has to be a clear focus on quality, which can be easily achievable by talented mixing and editing teams, but not if they are continually pressurised to be faster. Editing and mixing teams are among the most valuable resources – they are the ‘golden goose.’ But, without the time and space they need, the eggs will stop coming.8.D70

We need to work together with managers to help create an environment where magic can be created, explains Matt Hines, post production product manager, iZotope

By David Fox

The new Audio Tactical Vest from Porta-Brace is claimed to be ‘a first-of-its-kind product’ that combines both an audio harness and audio bag in to one cohesive military-style tactical vest.

The ATV’s lightweight, streamlined design provides users with improved stability, as the vest grips the body, providing better support and weight distribution, which should allow users to move more rapidly and freely on location.

There are custom fit models for different mixers, such as the Sound Devices 633 and 688, the Zaxcom Maxx, and the Zoom F8 (coming soon). Combined with dual wireless systems, this will create lightweight, compact

rigs capable of recording multiple tracks on the run, making it particularly suitable for ENG or fast-paced reality or documentary production.

Porta-Brace now has more than 50 products with off-road wheels in its latest line-up, which it claims is more than any other broadcast manufacturer, including wheeled backpacks, c-stand cases, and Rig cases for carrying fully assembled camera rigs.

Its off-road wheel systems use durable solid-steel

axles and solid rubber tires with off-road tire treads. The wheels have ball bearings for smoother rolling, and are able to roll over almost any surface.11.A54

Vest choice for tactical audioPorta-Brace

Playing close to the vest: Porta-Brace’s new military-style ATV

Bespoke pay-TV on Freeview HD

By Adrian Pennington

THEMA, a Canal+ group company specialising in foreign TV channel distribution, is distributing four pay TV channels on Freeview HD devices.

The channels include JSTV and JSTV2, the only Japanese channels available in Europe, and kykNET and kykNET Musiek which provide a range of Afrikaans entertainment.

In order to bring the channels onto the terrestrial platform, Arqiva’s Connected Solutions team has launched

two hybrid IP-TV portals with pay capabilities allowing a simple two minute signup process for viewers to watch premium content on Freeview HD devices.

Additional bespoke work allows THEMA to manage subscriptions effectively and get insights into subscribers’ behaviour.

Tom Cape, Arqiva director of connected solutions, said, “By creating a bespoke pay-TV capability for the THEMA channels, we’re allowing greater flexibility in the content they serve and how they engage with their audiences.”13.MS44a

Arqiva



By Ian McMurray

A new DVB-S2X wideband modulator, claimed to be perfect for wideband transponder applications – in particular, those operating in the Ka-band, single carrier mode – is being shown by Work Microwave. The DVB-S2X wideband modulator is based on DVB-S2 multistream technology and supports features such as wideband time slicing, allowing economic design of receiver chips. New features from the DVB-S2X standard extension, such as low roll-off and super frames, are also supported.

By merging transport streams and IP streams with GSE encapsulation into one multiplex, the modulator is said to allow broadcast and broadband applications to exist in parallel on the same transponder.

The company’s range of fixed frequency block converters is also being demonstrated. Based on a compact, modular design that allows operators to support up to four channels in XL outdoor housing or within indoor 19-inch housing, the multichannel block converters are said to be effective at lowering operational expenses and saving valuable space.

Leveraging the converter’s four-channel design, Work claimed that satellite operators have access to the full capacity of the Ka-band, spanning 27GHz to 31GHz. According to the company, the frequency converter series is the ideal solution for operators looking to expand their satellite capacity into next-generation spectrums like Ka-band to support high-bandwidth telecommunications and broadcast services.

WorkMicrowave’s synthesised block converters are also on display at IBC2015. Said to be block c Q-band-ready, and spanning 33GHz to 50GHz,

Focus on wideband modulatorWork Microwave the company says they allow

operators to meet the growing consumer demand for high-bandwidth telecommunications and broadcast services. 4.A77

Work claims the new DVB-S2X modulator is perfect for wideband transponder applications



VODStreamline your

from content acquisition over

scheduling to publishing and

package your content using

miniplaylists or render channels.

www.mediagenix.tv/ibc2015

OPINION

OTT is no longer an experiment

On demand TV is the core business. There is now a need to drive down the cost of producing and distributing content in a cross-platform way and to address emerging business models for monetising content. It is a reality of the media landscape today that supplier relationships, logistics networks, product design and customer service all live in a state of permanent flux. Hence, sustainable competitive advantage requires a high degree of operational adaptability. This in turn requires a new breed of technologies.

The same consumer-driven technologies which have paved the way for personalised, multi-platform TV have in turn made upstream processes in the production and post production world really show their age. Many media IT

services were built to serve static and often functionally siloed operating model which are rapidly dying out.

The incumbents are frequently weighed down with unwieldy, patched-together technology stacks. They still rely on outsourced manual labour and extensive workarounds and front offices are disjointed from their colleagues at the back. Media IT needs to become much more horizontally integrated and dynamically composable to keep pace with the speed of media businesses today.

Fortunately, new consumer technologies can be harnessed to improve the entire TV and video supply chain. This can only be brought about by removing silos and introducing new end-to-end, data-driven architectures that rely on composable, web-based technologies that can operate

cheaply at scale. It brings about the need for a new media management paradigm as drastic as the paradigm shift from linear broadcast to OTT.

The overwhelming complexity of cross-platform TV can only be managed by a completely new family of software products that replace the old on premise, monolithic MAM systems. By harnessing media logistics platforms, content owners will be unhampered by outdated IT paradigms and these new platforms will keep the wheels of the TV industry spinning freely and quickly in response to changing demands.

Just as the OVP market has seen rapid growth and an accelerated journey to maturity, so the media logistics market is now set for growth, as premium media companies look to

solve the media management and logistics challenges that are today acting as an impediment to growth.

The core drivers of growth for this market will be the expansion of multiscreen TV markets, the growing complexity of

media management, and the increasing maturity of technology and platform strategy at media companies. It will also be driven by the need for richer data about content and its usage in the marketplace.7.K01B

The overwhelming complexity of cross-platform television requires a new breed of integrated technologies, says Jon Folland, director, Nativ

By Carolyn Giardina

Actus Digital is showcasing Clip Factory, its system for recording and distributing content for OTT platforms or any other content re-purposing usage.

It includes several components that handle ingest of live feeds, through automatic or semi-automatic clips marking, editing, metadata, transcoding, and delivery of multiple profiles of clips in various bit-rates, resolutions, and for various OTT devices, all done in parallel. Actus is additionally presenting recent implementations of this technology at the show.

Actus is also showing its latest broadcast monitoring and compliance monitoring platform, Actus View. It’s designed for recording of any input, content search and retrieval, clips creation and export to any format, loudness management, metadata support such as EPG integration, multiple audio tracks, multiple subtitles, closed captioning and teletext.

The company reported that in addition to Actus View, the company’s media monitoring platform includes rating and competitive analysis tools, content re-purposing for OTT, and automatic ad detection for ads verification.7.B10

Content repurposing and compliance hits OTT platformsActus Digital



Meet us at IBCStand #10.D29

Regionalisation removes extra satellite feed needsBy Will Strauss

Broadcasters looking to insert local advertising and local content into their output, without the need for separate satellite feeds, are the target audience for Amagi’s Storm platform.

At the heart of Storm is Storm IRD, Amagi’s satellite receivers and decoders, which are capable of storing content, detecting remote-insertion triggers and inserting HD video and multiple audio tracks – including Dolby surround – as well as adding subtitles and multi-layer animated graphics.

Storm benefits from a unique content watermark-based workflow that is said to make it easy to use. A cloud-based user interface provides users with options for scheduling, controlling, and monitoring playout of local content and ads at remote head-ends.

The technology has the potential to help broadcasters to achieve a number of things including matching viewer preferences, abiding by broadcasting regulations and content rights obligations and making money from different geographical regions.

Amagi is also showcasing Cloudport 2.0, the company’s flagship cloud-based channel playout platform. This innovation provides TV networks with broadcast workflow capabilities in the cloud, including media asset management, quality control, subtitle editing and management, and automation and scheduling.

In addition, the company is displaying Cloudport OTT, a platform for creating internet-specific linear TV channels – which it claimed offer a ‘broadcast-grade playout experience’ – that are made available via network-branded apps and browsers.2.C23

Amagi

Storm spot: Amagi’s platform



Cloud with a Silver LiningBy Adrian Pennington

The MaxCore carrier cloud platform which launched just a couple of months ago is designed with such density and versatility that it enables operators to decrease the cost of OTT video in their networks. That’s the claim of developer Artesyn, whose director of server acceleration marketing Linsey Miller, tells The IBC Daily, “The modern

microserver or small-bladed high-performance computing system has been dominated by the kind of dedicated

appliances that our broadcast and networking customers have told us they are wary of being locked in to.

“The MaxCore platform brings the first open, standards-based option of its kind to developers of solutions for broadcast and content provider cloud deployments,” she added.

“Combined with Artesyn’s Silver Lining enabling software, which uses OpenFlow and OpenStack technology, this enables service providers to eliminate multiple application-specific hardware platforms and save both capital expense and operating expense.”

Housed in a single 3U MaxCore platform, the

appliance is capable of supporting up to 616 streams of 1080p HD video, which equals over 200 streams per rack unit. Comparable server platforms claim between 90 and 110 streams per rack unit, while the industry average using standard rack mount servers is 5.54 streams per rack unit.

The company claimed that while standard rack mount servers are ideal for smaller scale density requirements, MaxCore is optimised for hosted cloud and high density deployments.13.MS34

Artesyn Embedded Technologies

Server acceleration: MaxCore is optimised for hosted cloud and high

density deployments

By David Fox

LumaCon is a new test instrument for cinematographic optics from Luma Tech that uses a proprietary target-sensor and software, and the ‘peak contrast’ principle, to pinpoint optimum back focus and focus distance scale settings of lenses.

The image of a knife-edge reference object is used to generate performance curves. The software then does the interpretation, automatically locating the point of peak image quality.

Applications include general maintenance and repair of motion picture optics, as well as in-depth analysis and comparison of optical resolution and assembly

quality. It is claimed to be ‘the most powerful instrument for optical quality assessment ever offered at such an

Luma Tech/GearCam

In focus: Luma Tech’s new LumaCon linear collimator test bench

LumaCon puts lenses to the test

affordable price’. The software works together

with an optical bench with illuminated test targets and a focal-plane microscope. It is claimed to remove vagueness

from the job of judging back focus and other routine tasks, but does not totally remove human judgement from more advanced testing.11.A54

Guerilla style with SilverbackBy Heather McLean

A number of new products to help international broadcasters and video professionals acquire

high resolution video faster and send uncompressed signals farther over a single fibre optic cable are being showcased on the MultiDyne stand.

The new SilverBack-III 4K6 camera-back transceiver

provides six 3Gbps signals directly from a single camera or multiple cameras to a base station, located near the camera, or miles away. Current uses include high resolution virtual reality applications for live

sports viewing at home using specialised viewing devices.

Multidyne is also demonstrating its existing SilverBack 4K5 Camera-Back Transceiver with new feature enhancements that improve Intercom performance and other system components for the camera operator.

The MultiDyne SilverBack 4K5 system allows users to convert any quad-link camera into a fully systemised live production camera with full intercom and camera control directly to/from the CCU, which can be located virtually anywhere.

The SilverBack 4K5 provides

a full bandwidth fibre optic link between any quad-link or dual-link 4K camera and the truck, control room, or video village. Users can acquire and send all of the required signals needed for multi-camera 4K/UHD TV production over a single tactical or SMPTE hybrid fibre cable.

The company is showing another new addition to its latest generation SilverBack line, the SilverBack-III, which offers all of the system features of the SilverBack 4K5 transceiver for 4K projects, but designed for high quality, multi-camera 1080p/30/60 fps HD productions. 9.D40

MultiDyne

Go Ape: SilverBack 4K5 Camera-Back Transceiver improves intercom performance


Acquisition & Accessories

Audio & Radio Displays

Content Production

Studio Systems

Telecine & Film

Media Asset Management

Playout Automation & Server Applications

Post Production & New Media

System Integration & Consultancy

Transmitters

VFX

Workflow Solutions

Broadcast Solutions

Cable & Satellite

Home Systems & Broadband

iTV

iPTV

Mobile Systems

Service & Broadcasters

Transmitters & Set Top Boxes

Correct as of 10 August 2015


Exhibitor list and fl oor plan

27-38 IBC D5 2015 Centre Section v4.indd 1 25/08/2015 10:58


Halls 1, 2, 3, 4, 5 & 6

L

Wall Download Wall

AmtriumRestaurant(1st floor)

IBC Launch Padr Service Centre,

yer Room

Amtrium

IBC

Hackfest

Imagine

Communications

4.AMT

South Korea

Canada

France

IBC Content Everywhere Technology

In Action Theatre China

China

Great Britain

China

Cisco

Philips Home Control

KAONMEDIA

Pace plc

Harmonic Inc

ArabSat

SES

arqiva

Nevion

Humax Co. Ltd

Appear TV

Intelsat

Corporation

NAGRA

Grass Valley, a Belden

Brand

ARRIS

Samsung

Eutelsat SA

Ericsson

Dolby

Laboratories

The Israel Export &

International

Cooperation Institute

Evertz

Huawei

Technologies

Co. Ltd.

Grass Valley, a Belden

Brand

ArabSat

Eutelsat SA

Ericsson

Nevion

NAGRA

Huawei

Technologies

Co. Ltd.

South Korea



For further information or a demo please visit Hall 1, stand F41 at IBC.

If it’s live, it’s Cobham ETL SystemsExcelling in RF Engineering

Hall 1 Stand A33

www.etlsystems.com

See the NEW 64x64 Huricane L-band

Matrix

Dive in and explore a new world of 4K content

www.eutelsat.com

Meet us at IBCStand 1.D59

MAKE WAVESWITH OTT.

HALL 1, STAND F70

powered by



24i Media ...........................................14.L05 25-Seven Systems .............................8.D472CRSI ...................................................8.C152nd Screen Mini-Cluster ....................8.F032wcom Systems GmbH .....................8.E783D Storm .............................................7.K213Flex and AutoPost Projects ............8.F1342 mediatvcom ...................................2.A30422tv ..................................................9.B30a4MOD .................................................14.C159.Solutions Technology .....................9.D12

AA & C Ltd............................................11.D65A.C. Entertainment Technologies ...11.A70Aaton - Transvideo ...........................11.F31ABC Products ....................................11.D35ABE Elettronica ...................................8.A43Abekas, Inc .........................................9.B06ABonAir ............................................ 3.A29kABOX42..............................................14.J13ABS ......................................................2.A27Absen GmbH .....................................11.B63ABV International ...............................5.B20Academy of Broadcasting Science of SARFT ..............................................8.G05Accedo ...............................................14.E14ACCESS ..............................................14.D14Accusys ....................................6.C19/7.J31AccuWeather Inc. ...............................3.A68Ace Marketing Inc. .....3.B37/5.A15/5.A41/5.B03 /5.C03/6.A29/ 9.B14/11.B51Acebil .................................................11.E69Acetel Co., Ltd. ....................................2.A09Acorde .................................................5.C49Actia Telecom .....................................4.C83 Active Circle ...................................... 2.B39fActus Digital .......................................7.B10Adam studio monitors .......................8.D70ADB ......................................................4.B52Adder Technology ..............................7.C30Adobe Systems Inc. ...........................7.G27AdSparx USA Inc ..............................14.N16Adtec Digital .......................................1.D01Advanced Media Workfl ow Association (AMWA) ........................3.A19aAeta Audio Systems ...........................8.A24Advantech ...........................................9.C22Advantech Wireless ...........................1.A74AEQ.......................................................8.C55Agama Technologies .........................4.A75AheadTek ..........................................10.F35Airborne Robotics Drones & Copters 2.A14Airbus Defence and Space ............. 2.B39gAirTies Wireless Networks ................5.B05AJA Video Systems ............................7.F11AJIMI................................................. 2.B39hAkamai Technologies Limited ..........6.A15Akfa Teknoloji .....................................8.D15AKG by Harman ..................................8.D60Aladdin co., LTD ...............................11.E65AlanDick Broadcast Ltd. ....................8.B94Albis Technologies ............ 14.C04/ 14.C11Albrecht Elektronik ..........................10.A40ALC NetworX GmbH ...........................8.F57Alcatel-Lucent ....................................MS25Aldena Telecomunicazioni ................8.A40ALi Corporation ...................................4.C59Alpha Networks SA ............................5.B01Alphatron Broadcast Electronics ....11.C36Altech Multimedia ..............................1.D40Altera Europe Ltd ................................2.A50Alterpop ............................................. 2.A36fAlticast Corp. ......................................1.F36Amagi Media Labs Pvt. Ltd ...............2.C23Amazon Web Services .....................14.N29Ambient Recording GmbH ...............8.C73aAMD .....................................................7.H35AMIMON Ltd. .....................................11.C75Amino Communications ..................14.K20 Amos - Spacecom ..............................1.C65Ampegon .............................................8.D35Amptec ................................................8.D70AnaCom, Inc........................................1.A95Andra Motion Technologies Inc. .....11.C36Anevia ..................................................4.B66ANNOVA Systems GmbH ...................3.A33ANT Group SRL ...................................8.D65

Antik Technology .............................14.E05Anton Bauer ......................................11.E55Anvato ...............................................14.L20 ANYWARE VIDEO ..............................8.B36cApace Systems Corp. .........................7.K27APANTAC .............................................8.E37APEXSAT GmbH ..................................4.C80Appear TV ............................................1.C61Appiness...........................................10.F42iApplicaster ........................................3.A29oAputure Imaging Industries Co. Ltd .9.D38AQS ......................................................1.A06ArabSat ................................................1.B38Arbor Media ........................................5.B04Arcadyan Technology Corporation .14.F19 Archimedia Technology .....................7.J01Archiware GmbH ................................7.G03AREPLUS .........................................11.E40cARET video and audio engineering ..0.C01Argosy ...............................................10.C51Arion Technology Inc .........................4.A81Ariston BTS SA ...................................8.D03Arkena/TDF .........................................1.B79ARM .....................................................4.C61arqiva ...................................................1.B61ARRI ...................................................11.F21ARRIS ...................................................1.D31Arrow OCS .........................................14.D02 Artec Technologies AG ......................7.C28Artel Video Systems Inc.....................2.A20Artesyn Embedded Technologies 14.D01/MS34arvato Systems ...................................3.B38ASC Signal Corp .................................1.C51Asensetek ...........................................8.A20ASG-Atempo & ASG-Digital Archive 7.J31Askey Computer Corp ........................1.A40ASPERA, an IBM company ................7.B27Associated Press/AP ENPS ...............7.D30Astec Solutions ................................. 4.A61fAstro Strobel Kommunikationssysteme GmbH ...................................................3.C41ATCi and Studiotech ..........................1.A03ATEME .................................................1.D71Aten Infotech NV.................................8.D11ATG Danmon Ltd. .............................8.B51aATG Middle East FZ-LLC ..................8.B51aAtomos ................................................9.D25ATTO Technology, Inc. .......................7.F41ATX Networks .....................3.A29b/14.G16Audible Magic ...................................14.L04 Audio Ltd .............................................8.C97Audio Network ....................................7.H09Audio Wireless Ltd .............................8.E98Audisi / Stereo Tool / Thimeo ...........8.A15Autel Intelligent Technology Corp., Ltd. ............................................8.E30Autocue .............................................11.E55Autoscript ..........................................11.E55AV Stumpfl GmbH ..............................8.B15Avanti Communications ....................MS48Avateq Corp. ..................................... 2.A41fAveco ...................................................3.B67Avid ........................................... 7.J14/7.J20AVIION Media ....................................14.G17 Avitech International Corporation ..10.F26Aviwest ................................................2.A29AVL Technologies ...............................5.A49AVP Europa .......................................10.E52AVT Audio Video Technologies GmbH ...................................................8.E76AWOX ...................................................4.C64Axel Technology SRL .........................8.B81Axia Audio ...........................................8.D47Axinom ..............................................14.H15 Axle ......................................................7.D07Axon ..................................... 10.A21/10.B21Ayecka Communication Systems Ltd ........................................5.C05Azden Corporation .............................8.E81Azercosmos ........................................5.B23AZURE SHINE TECHNOLOGY CO., LTD. ..............................................5.C11

BB & H Photo, Video, Pro Audio ........10.A01Band Pro Munich GmbH ..................11.D21Barco Silex ..................................... 10.D31aBarnfi nd Technologies ......................3.B16

Barrowa ...............................................1.A32BBC Research & Development..8.F14/8.G08BBright...............................................2.B39aBCE - Broadcasting Center Europe ..7.G15Beamr ............................................... 3.A29hBeenius ..............................................14.C30Beijing Feiyashi Technology Development Co., Ltd .....................11.B51cBeijing Fxlion Electronic Technology Co.,Ltd................................................11.A14Beijing Huahu Senda Technology Co., Ltd............................................ 11.B51dBeijing Novel-Super Digital TV Technology Co., Ltd............................4.B51Beijing Realmagic Technology Co. Ltd..................................................2.A24Beijing United Victory Co., Ltd ........11.G73Beillen Battery - JIADE Energy Technology........................................11.B52Bel Digital Group ..............................10.A30Belgium Satellite Services s.a. .........1.F49Belden ................................................11.D11Benel BV / Falcon Eyes ....................11.A64BES .....................................................10.D57Bexel ..................................................11.E55Beye .....................................................5.C18BFE Studio und Medien Systeme GmbH ...................................................3.A63BindInc Program Data Services......14.L23 Biquad ...............................................8.C30cBIRTV ...................................................6.A04bitmovin GmbH ......................8.F14/14.H12 Black Box Network Services .............8.E32Black Unicorn (Operating Crane) Parallax Company ..............................0.E03Blackmagic Design ............................7.H20BLANKOM systems GmbH .................1.A08Blind Spot Gear Ltd ..........................9.B30aBlockBattery .....................................11.C36BLT .......................................................8.A48Blue Lucy Media .................................7.G07Bluebell Opticom Ltd ........................10.F24Bluefi sh444 .........................................7.J07Blueshape .........................................11.A20BMS Broadcast Microwave Services GmbH ...................................................1.A10Bon electronics .................................10.D20Booxmedia Inc ..................................14.G06 BorisFX ................................................7.K29Boxx TV Ltd .......................................10.C49Bradley Engineering .........................11.F41Brainstorm Multimedia ......................7.K31BRAM Technologies (Broadcast Automation Technologies) ................8.B10Brazil Pavilion PS Electro-Electronic 8.C30Bridge Technologies ..........................1.F68BRIDGET EU Project - University of Surrey .................................................8.F03Brightcove ...........................................4.B60British Kinematograph Sound & Television Society (BKSTS) ..................................6.B01Broadcast Bionics ..............................8.D71Broadcast Electronics / Commotion 8.C91Broadcast Manufactur GmbH ...........8.C60Broadcast Partners ............................8.C81Broadcast Pix......................................7.B21Broadcast RF ......................................9.D14Broadcast Solutions GmbH ... 0.B01/8.A84Broadcast Sports ..............................11.F63Broadcast Traffi c Systems ................2.C18Broadcom Corporation ......................2.C25Broadpeak ...........................................4.B78BroadStream Solutions .....................8.B29BroadView Software ....................... 2.A41nBrother, Brother & Sons ..................11.D46Bryant Unlimited ...............................10.D15BTESA (Broad Telecom S.A) ..............8.D16Bubble and Squeak PR .....................8.B38iBW Broadcast .....................................8.E73

CC2m Solutions ................................. 2.B39hCalrec Audio......................................8.C61aCambridge Electronic Industries Ltd. 9.A36Cambridge Imaging Systems ...........7.F39Camera Corps Ltd ............................11.E55Camerobot Systems GmbH .............10.D30Camgear Inc......................................11.B66

Cammotion Ltd ................................9.B30ciCanara Lighting Industries Pvt. Limited ...............................................11.B62CANARE .............................................11.A50Canford ................................................9.C01Canon Europe Ltd .............................11.E50Cantemo ............................................7.K01aCapella Systems .................................3.C31Carl Zeiss AG .....................................11.F50Cart Blanche - SmartCait-SVX ..........5.B24Cartoni ...............................................11.E30Caspian One Ltd .................................8.B38castLabs GmbH ................................14.K02 CastleNet Technology Inc. .................5.B02Castoola ............................................14.H10 CASTPAL TECHNOLOGY INC., SHENZHEN .........................................5.A15aCASTWIN .............................................2.C50Cataneo GmbH ....................................3.B19CatDV (Square Box Systems) ..........7.J15cCavena Image Products AB ..............2.C32CB Electronics.....................................7.F06CCBN2016 ...........................................6.A03CCI Paris Ile-de-France .....2.A36/2.B39/8.B36/8.D82/11.E40C-COM SATELLITE SYSTEMS INC. ....4.C53CCPIT Electronics & Information Industry Sub-Council .......................... 5.C26/10.D25Cedar Audio Ltd ..................................8.C98Cedexis .............................................14.M33 Cerevo Inc. .......................................14.M06Census Digital ...................................2.A41eChallenger Communications ............1.F59Chengdu Dexin Digital Technology Co., Ltd.............................................. 5.A41bChimera .............................................11.A55China Const Co. Ltd ..........................11.E67CHINA SUN COMMUNICATION GROUP LIMITED .............................................5.A41cChristie ................................................9.D15Christy Media Solutions - Broadcast Recruitment Specialists ....................6.C29Chrosziel ............................................11.D72CHYRO .............................................. 2.A36bChyronHego ........................................7.D11Cinedeck .............................................7.J07Cinegy ...................................... 7.A30/7.A41Cinela .................................................8.C73aCinematography Electronics ...........11.D63Cinemoves UK ...................................11.D64Cineo Lighting ...................................11.F53Cineroid .............................................11.G27Cinfo .....................................................5.B18Cires21...............................................14.K06 CirroCast .............................................7.G07Cisco ....................................................1.A71Civolution ............................................2.B41ClassX SRL ..........................................8.A74Clear-Com .........................................10.D29Clearleap ...........................................14.G10 ClearView Imaging .............................8.E17Cleversafe ..........................................8.B01Cloudian, Inc .......................................2.C11Cloundncoder.com ...........................14.K14Clyde Broadcast ...............................9.B30aCmotion GmbH..................................11.G42COAX Connectors ltd ........................10.F39Cobalt Digital Inc. .............................10.B44Cobham ....................................0.G04/1.F41Codex Digital .....................................11.G54Cogent Technologies .......................6.C28aCOM-TECH Italia SpA .........................8.A33Comigo .................................. 3.A29e/3.B52Communications Specialties/Artel...2.A20Compunicate Technologies Inc. .......1.F29Comrex ..............................................11.G11Comtech EF Data ................................1.F80Comtech Telecommunications .........1.F80Comtech Xicom Technology .............1.F80Conax ...................................................1.C81Conciety AG ..................................MS1/MS2Concurrent Computer Corporation ...2.B31ContentWise ......................................14.K05 Convergent Design ...........................11.A38Cooke Optics .....................................11.D10Corning Optical Cables ......................7.J31Corran Media ....................................9.B30aCoship Electronics Co, Ltd. ...............1.F50

Cosmolight ........................................11.C30Coveloz ............................................. 2.A41kCP Cases Ltd .....................................10.A44CPI International Inc. .........................1.B41Craftwork ............................................5.A25Craltech Electronica, S.L. ..................9.C02CreateCtrl AG ......................................3.A40Creative Network Design ...................7.F06CRENOVA MULTIMEDIA Co., Ltd. ......4.A74Cryptoguard AB ..................................3.C63Crystal Vision ......................................2.B11CSG International .............................14.L18 CSR Ltd ................................................5.C19CSTB Russia ........................................6.B06CTM Solutions .....................................7.B11CTP Systems .......................................8.E83Cube-Tec International GmbH ..........5.C41Cubiware .............................................5.B48Cuescript ...........................................11.F45Custom Consoles Ltd .......................8.B38aCV Support Limited ..........................11.B66CymTV International BV .....................5.A03CYTAGlobal .........................................4.C76

DDAC System SA ..................................8.E04daccord broadcasting solutions GmbH ...................................................8.C21Dalet Digital Media Systems .............8.B77Damery ........................................... 10.D31hDan Dugan Sound Design .................8.C94Danmon Asia Ltd. .............................8.B51aDanmon Danmark A/S .....................8.B51aDanmon Group..................................8.B51aDanmon Norge AS ...........................8.B51aDanmon Svenska AB .......................8.B51aDanmon Systems Group A/S ..........8.B51aDataDirect Networks .........................7.B33DataPath ..............................................1.F56Datavideo Technologies Europe B.V. 7.D39Datos Media Technologies S.A. ......8.B51aDavicom ........................................... 8.B38hDAVID Systems GmbH .......................3.A31Dayang Technology Development Inc. ...... ..............................................................7.B35dB Broadcast ....................................10.A28DB Elettronica Telecomunicazioni ...8.A22DCC LABS ..........................................14.L14 Decimator Design ...............................7.B40Dedo Weigert Film GmbH ................11.E31Dega Broadcast Systems Ltd ............7.D01Dejero ................................................11.C51Dek-Optics .........................................8.B10DekTec .................................................2.B40DELEC Audio- und Videotechnik GmbH ..... ..............................................................8.C80Delta Meccanica s.r.l. ........................8.E39DELTACAST developer solutions ......7.A14DELTACAST sport graphics ...............7.A14deltatres.p.a. ................................MS1/MS2Deltron Italia SRL................................8.E35DENZ ..................................................11.C88DeSisti - ILT Italy S.r.L. ....................11.B45Deutsche Telekom ..............14.L24/14.N28 DEV Systemtechnik GmbH & Co. KG 1.B31DEVA Broadcast Ltd. ..........................8.D79DEXEL Lighting .................................11.G68DGQoS SRL ........................................8.D37cDHD ......................................................8.A50DiGiCo UK Limited ............................8.C61bDiGiDiA.................................................8.E89Digigram ..............................................8.C51Digispot System GmbH ......................8.D74Digital Broadcast Inc .........................6.B03Digital Forecast CO., Ltd ..................5.C48bDigital Vision .......................................6.A14Dimetis ................................................1.B30DirectOut GmbH ..................................8.E85Disk Archive Corporation ................ 8.B38fDIVICON MEDIA HOLDING GmbH ......8.C81DJI ........................................................9.C33DK-Technologies ................................8.E60DLP - Digital Tech Co., Ltd.................9.B10DMG Lumiere ......................................9.A01DMLite ...............................................10.D20Dolby Laboratories .............................2.A11Dongguan Dishstone Electronics Co. Ltd .. ........................................................... 5.A41h



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Dot Hill .................................................6.A16Doteck Digital Technologies .............2.C49DOTSCREEN ......................................2.B39cDouble D Electronics Ltd ...................1.F58Doughty Engineering Ltd .................11.A60DPA microphones...............................8.D70DR.PENG TELECOM MEDIA GROUP CO.LTD ..............................................................5.B15DSPECIALISTS GmbH .........................8.E69DTG ......................................................5.A17DTS .......................................................2.B50Dune HD.............................................14.D07DVB ......................................................1.D81DVBControl - MediaControl ...............3.B41DVEO division of Computer Modules, Inc. . ..............................................................2.A34DVLab ..................................................5.C06DVMR ................................................. 2.A36fDynacore Technology Co., Ltd. .......11.D62Dynamic Drive Pool ............................7.H15Dynamic Perspective ... 0.G01,0.G02,8.E12DynamiCam Ltd ................................11.F41Dynaudio .............................................8.D56

EE2Work Solution .............................. 8.B30bEarda Electronics Ltd .........................4.C67Easel TV ............................................14.M25 Easy Media Suite ................................8.A25easyDCP GmbH ...................................8.B80Easyfocus ..........................................11.G42Easyrig ...............................................11.A46ebs.tv .................................................14.B01 EBU (European Broadcasting Union).......... ............................................................10.F20Eclipse Broadcast ........................... 9.B30dEddystone Broadcast ...................... 8.B38bEdgeware ..........................................14.B20Editshare .............................................7.G37EDL-REC ..............................................7.A05Egatel S.L ............................................8.D40Egripment BV ....................................11.A21EiTV ....................................................8.C30aEKT (Eagle Kingdom Technology Ltd) ........ ..............................................................5.C32Elber SRL .......................................... 8.D37aElecard .................................................3.C25Elemental Technologies ....................4.B80Elements.tv | Syslink GmbH ..............3.A27ELENOS – ITELCO - ELECTROSYS .....8.C41Elite Antennas Ltd ............................4.A61eElmo Europe SAS .............................14.M11ELTI d.o.o. ............................................8.C25Embrionix Design Inc .........................6.B02EMC ......................................................7.H10EMCORE Corporation (Opticomm-EMCORE) .............................................5.B21Emerson Network Power – Avocent 5.C14Emotion Systems .............................6.C28cEMS Technical Personnel Ltd ...........1.B09ENCO ....................................................8.A45Encompass Digital Media ..................4.B77Enensys ...............................................2.A31Ensemble Designs, Inc. .....................8.B91Entertainment Communications Ltd ......................................................14.C01Entone ................................................14.L10 Envivio, Inc. .........................................1.D73EPGdata.TV........................................14.L22 Equinix .................................................3.B13ERECA ..................................................9.C47Ericsson ...............................................1.D61ERSTREAM ........................................14.L15 Es’hailSat ............................................4.B74Espial ...................................................5.B25ETC .....................................................11.A62Etere .....................................................8.B89Etilux ............................................... 10.D31bETL Systems .......................................1.A33ETRI ......................................................8.G06Euro Light System ............................11.E38Euro Media Group...............................0.E02Eurofi ns Digital Testing .....................5.B17Eurotek S.R.L ......................................8.A59Eutelsat SA ..........................................1.D59Evertz ...................................................3.C20EVS ........................................... 8.A96/8.B90EXALUX ............................................. 8.B36d

Exir Broadcasting AB .........................8.D28expertplace solutions GmbH .............3.A60Exterity ..............................................14.H13 Extreme Reality ................................ 3.A29fExtron Electronics ..............................9.A07Eyeheight Limited ...............................8.B97eyeSight..............................................3.A29leyevis GmbH .......................................9.B24

FF&V Europe B.V. ................................11.G50F.A.Bernhardt GmbH, FAB .................2.A21Facilis Technology Inc. ......................7.C10farmerswife ........................................9.C25Farseeing Co., Ltd.............................11.D66FAST LTA AG .......................................8.A01fayteq AG ..........................................14.M24FENIX3 S.p. z o.o. S.K.A......................5.B22Fiberfox .............................................11.G59FileCatalyst .........................................7.H37fi lmfabriek...........................................6.A07Filmgear ............................................11.A28Filmlight ..............................................7.F31Filmotechnic Remote Systems B.V. 11.G72Fischer Connectors ..........................11.F32Flanders Scientifi c, Inc. ...................10.B10Flanders/ Belgium ...............10.F38/10.F42Flow Works GmbH ..............................3.C31Flowcine ..............................................9.A03FocalPoint Server .............................7.J38aFonix ..................................................10.F45Fonsview Technologies Co., Ltd .......1.F92FOR-A...................................................2.A51Forscene ............................................8.B38eFORTIS ...............................................5.C48eFraunhofer Digital Cinema Alliance .8.B80Fraunhofer FOKUS ..............................8.B80Fraunhofer Gesellschaft ....................8.B80Fraunhofer HHI ...................................8.B80Fraunhofer IDMT ................................8.B80Fraunhofer IIS .....................................8.B80Freakworks & Freak Films ..............9.B30aFreefl y Systems ..................................9.B35Friend MTS ..........................................1.A44FSUE “VGTRK” ....................................8.B10Fujian Newland Communication Science Technology Co.Ltd..............................1.C91Fujifi lm Europe GmbH ........................9.B02FujiFilm Recording Media GmbH ................................................................. 9.B04/ 11.G20Funke Digital TV .................................3.C60Furukawa ..........................................11.G25

GG. L Optics .........................................11.C80GatesAir ...............................................8.B20GATR Technologues ...........................1.A02Gazprom Space Systems ..................4.B85GB Labs .............................................7.J15bGearCam ............................................11.A54Gearhouse Broadcast ......................10.B39GenArts ................................................7.J05Genelec ................................................8.D61General Dynamics Mediaware ..........5.A26General Dynamics SATCOM Technologies ..............................................................1.A41Geniatech Inc,Ltd .............................5.A41eGenius Digital Ltd .............................14.F33Genval Les Dames ..........................10.D31iGeritel Giomar .....................................8.E33Ghielmetti AG ......................................8.C77GIGABYTE Technology .......................4.C75GigaContent A/S .................................1.B71Gigatronix Ltd .....................................9.A51GkWare e.k. .........................................2.C51Glensound ...........................................8.E72Glidecam Industries, Inc. .................10.B20Global Distribution .............................7.J31Global VSAT Forum ............................6.B05Globecast ............................................1.A29Glookast Technology .........................7.D03GODOX Photo Equipment Co.,Ltd......8.D07Gold Best Limited ...............................4.C62GoMax Electronics Inc. ......................2.C41Good Mind Industries .........................3.A52Google - Widevine ............................14.F05 GoPro ...................................................9.C40Gorgy Timing ................................... 8.D82b

GOSPELL Digital Technology Co., Ltd., ....... ..............................................................3.A61Gotech International Technology Ltd ......... ............................................................5.A41aGracenote ..........................................14.H20 Grass Valley, a Belden Brand .1.D11/1.E02GraVue Co., Ltd ...................................9.A18GREAT Britain Pavilion ..........4.A61/6.C28/........................................7.J15/8.B38/9.B30GreenPeak Technologies ...................1.C90Grip Factory Munich GmbH .............11.D64GRUS ....................................................2.C29GSERTEL .............................................8.D23GT - SAT International .......................5.B31G-Technology .....................................7.J31Guangshun Suitcase & Bag Industrial Co.,Ltd............................................. 10.D25bGuangzhou Shiyuan Electronics Co., Ltd ... ............................................................5.C03bGulfsat Communications Company ...4.B75Guntermann & Drunck GmbH ...........1.B10Guramex ............................................10.B31

HHaivision ............................................14.N26 Hangzhou Xingfa Transmission Equipment Co.,Ltd ........................... 5.A41dHarmonic Inc ......................................1.B20Harris Broadcast ............................. 4.AMTHDMI Licensing, LLC ..........................5.C33Hefei Radio Communication Technology Co., Ltd.............................................. 3.B37bHELLAS SAT ........................................1.B38HEXAGLOBE.......................................14.L25 HF Prints ..............................................8.E03HGST ....................................................7.J31HHB Communications Ltd .................8.D56Hi Tech Systems Ltd ..........................8.C92Hibox Systems ..................................14.L12 HighPoint Technologies, Inc. ............8.A68Hiltron GmbH.......................................4.B89Hisilicon Technologies co., Ltd .........2.C30Hispasat ..............................................1.A50Hitachi Data Systems.........................7.C12Hitachi Kokusai Electric Europe GmbH ...... ............................................................11.D39Hitachi Kokusai Electric Turkey Elektronik Ürünleri San. Ve Tic.A.S. .................11.D39Hive Streaming ............................MS1/MS2HMS GmbH ..........................................8.C21Homecast Co., LTD .............................1.A27Hongkong Haifei Electronic Limited..5.C24Horizon Teleports ...............................4.C65HP ........................................... 14.H05/MS21HS-Art / Diamant-Film Restoration ..5.C41HTTV.....................................................5.B35Huawei Technologies Co. Ltd............4.C70Huaxin Antenna ..................................1.C95Hubee ................................................14.M29 Humax Co. Ltd ....................................1.C27HwaCom ..............................................5.B22hybris Software - An SAP Company .......... ............................................................14.N31 Hyundai Fomex Co. Ltd ....................10.F23

IIABM ....................................... 8.F51a/8.F54IBAS - Italian Broadcasting Advanced Solutions .............................................8.A40IBC Content Everywhere Hub ..........14.J10IBC Content Everywhere Technology in Action Theatre ................................3.A19IBC Drone Zone ...................................0.CS1IBC Future Zone ..................................8.G01IBC Hackfest ......................................5.C12IBC Partners’ Pavilion ........................8.F51IBC TV ................................................12.A05IBM ................................MS22/MS40/MS41Icom Scottech Ltd ............................9.B30aICoSOLE - Immersive Coverage of Spatially Outspread Live Events .......8.F14IdeasUnlimited.TV ..............................8.A54IDX Technology.................................11.C25IEC Telecom ........................................2.B20IEEE ......................................................5.B08IEEE Broadcast Technology Society ...8.F51bIET - The Institution of Engineering and Technology........................................8.F51c

iFootage International (HK) Limited ...9.B14gIGP b.v..................................................1.F58IHSE GmbH ..........................................7.B30Ikegami Electronics (Europe) GmbH .......... ............................................................11.A31Ilionx ....................................................3.C27Image Engineering GmbH & co. KG 11.E16Image Matters ............................... 10.D31cImagine Communications ............... 4.AMTImagine Products Inc .........................7.G41Imagineer Systems ............................7.K29IMC Technologies Inc ........................8.A12iMetafi lm Ltd.....................................9.B30aiMinds ...............................................10.F42liMinds - Expertise center for Digital Media .......................................8.F14I-MOVIX .............................................11.E43In2Core ..............................................11.G41INA - Institut National de l’Audiovisuel ...... ..............................................................6.A20Indiecam GmbH ................................11.E75IneoQuest ............................................3.A23Inetsat ..................................................5.C09Infomir GmbH ...................................14.L09 Infostrada Creative Technology ......14.B36 Inmarsat ..............................................2.B19innoPia Technologies, Inc ...............5.C48cInnovative Pixel GmbH .......................7.E30Innowave Technologies, S.A ..........14.M26Inside Secure .......................... 2.A08/MS45Inspur Group Co. Ltd. .......................5.C26binstaDIGITAL ....................................14.M31 Institut für Rundfunktechnik (IRT) .10.F51Intek Digital., Inc. ...............................4.C56Intel Corporation .................................4.B72Intelsat Corporation ...........................1.C71Inter BEE ..............................................6.A06International Datacasting Corporation ...... ..............................................................1.C29Interra Systems ..................................7.B13Interxion ............................................14.L13 intoPIX SA ...................................... 10.D31dInview ................................................14.H07inXtron .................................................6.A23IO Industries Inc. ..............................11.D67IPcopter GmbH & Co. KG....................0.A01IPE Products........................................9.D18IPV Limited ..........................................8.D41Irdeto ...................................................1.D51Irom Tech inc. ...................................8.B30eISO ......................................................9.B30aItelsis ...................................................8.E19Ittiam Systems ....................................1.F61IWEDIA S.A ..........................................5.B40iZotope, Inc .........................................8.D70IZT GmbH .............................................8.A34

JJ.L. Fisher ..........................................11.C40Jampro Antennas, Inc. ......................8.B96Jaunt ....................................................8.F18Jave Yuan Electric Wire Co.Ltd .........5.A01Jinni ...................................................3.A29sJK Audio ............................................11.G11JLCooper Electronics .........................8.B92JOANNEUM RESEARCH VidiCert .......5.C41JoeCo Limited .....................................8.E97JSC Prospect.......................................8.B10Junger Audio ....................................10.A49Jutel .....................................................8.E91JVC Professional Europe Ltd. ..........11.G30

kK5600 Lighting ..................................11.E28Kabelkom SP. Z O.O. ..........................5.C15Kaltura ........................ 3.A29c/3.C67/3.C69Kantar Media ......................................2.B41KAONMEDIA ........................................1.B16KATHREIN TechnoTrend GmbH .........1.F89KATHREIN-Werke KG .........................8.C29Keepixo ................................................1.F34KenCast, Inc .....................................14.M10Kinefi nity .............................................9.A04Kino Flo/Cirro Lite (Europe) Ltd ......11.E33Klotz Communications.......................7.F07KOBA 2015 ..........................................6.B07KOBES.Co.Ltd ....................................11.E65Kobold................................................11.A61

KONOVA KOREA CO., LTD ................11.E65KONVISION ..........................................9.B10Korea Pavilion ..........................5.C48/8.B30Korusys Ltd ...................................... 4.A61hKratos Integral Systems Europe .......1.A01KUDELSKI SECURITY ..........................1.C81Kupo Grip Ltd. ...................................11.G69Kvant-Efi r ............................................8.E75KWS Electronic GmbH ........................3.C41

LL-3 Narda-MITEQ ................................1.A18Lacie ....................................................7.G17Lanparte ............................................11.A34LAON Technology .............................10.F22Lasergraphics, Inc .............................7.F01LATTO .................................................3.A29jLAWO AG .............................................8.B50LCA - Lights Camera Action ............11.F53Leader Electronics Corp-Europe .....11.A10LeaseWeb Global Services ..............14.K18 Lectrosonics, Inc. .............................8.C73bLEDGO TECHNOLOGY LIMITED ........11.C71LEDIXIS ............................................. 8.B36dLEMO Connectors .............................11.D42Lenovo .................................................5.C20LES-TV ................................................8.B10Level 3 Communications ............MS1/MS2Levels Beyond..........................5.C21/MS38Libec ..................................................11.A53Liberty Global plc. ..............................1.D39Lightcraft Technology ........................5.C01Lightstar (Beijing) Electronic Co., ltd ................................................11.A63Limecraft .........................................10.F42aLimelight Networks ............................3.C22Linear Acoustic ...................................8.D47LINK Srl ................................................9.A50LINKEDTV EU Project ..........................8.F03LiteGear .............................................11.F53 Litepanels ..........................................11.E55Lith Technology Co., LTD .............. 11.B51bLiveArena AB ...............................MS1/MS2LiveLike ...............................................8.F17Livestream ..........................................7.A10LiveU ....................................................3.B62Livewire Digital ...................................2.C27LLS BROADCASTING UNION ..............8.B10LMP Lux Media Plan ........................10.F21LogicKeyboard - BSP .........................7.F49LOOTOM TELCOVIDEO NETWORK WUXI CO.,LTD. ............................................ 3.B37dLS telcom ............................................8.E43LSB Broadcast Technologies GmbH 8.B35LSI Projects Ltd.................................11.E35LTO Program .......................................9.C35LUCI - Technica Del Arte BV ..............7.C09Lukup Technologies ...........................3.A30Luma Tech ........................................11.A54Lumantek ............................................3.B61Lumens ............................................11.E40aLund Halsey (Console Systems) Ltd .2.B10Lupo Light SRL .................................11.F59Luso Electronic Products Ltd. ...........1.F11Lynx Technik AG .................................8.C70

MM & J Comms .....................................1.F59Mac TV ...............................................9.B30aMACOM ................................................8.A19Magma ..................................... 7.F06/7.J31make.tv ................................................3.B40Malooba............................................14.M04Mandozzi .......................................... 8.D37dManfrotto ..........................................11.E55Mark Roberts Motion Control Ltd ...11.F11MarkAny, Inc.....................................11.E65MarkMonitor International ................2.B41Marquis Broadcast Limited ...............2.A58Marquis Media Partners LLP.............2.A58Marquise Technologies .....................7.H03Marshall Electronics ........................11.D20Mart, JSC .............................................8.C18Marvell .................................................5.C23Massive Interactive ..........................14.K17 Masstech .............................................8.B70Masstech Innovations Inc .................7.K28Masterclock, Inc. ..............................10.A42



Masterplay Digimedia ........................8.A16MathEmbedded Ltd ............................5.A25Matrox Electronic Systems ...............7.B29Matthews Studio Equipment Inc ....11.G71Maud Technology .............................14.N03Maxon Computer GmbH ....................7.K30MEDIA BROADCAST ...........................1.B79Media Broadcast Technologies (MBT) ................................................ 8.D82aMedia Excel .......................................14.D10 Media IT Profy .....................................7.J43Media Links EMEA .............................1.C31Media Logic ........................................7.F07Media Portal ......................................8.C30bMedia Utilities, a DNMS brand ..........8.A50Media-Alliance ...................................8.B71MediaGeniX NG ...................................3.C59MEDIAGURU ......................................10.A41Mediamano .......................................14.L03Mediamat Broadcast Services ..........8.E16Medianet Vlaanderen .....................10.F42kMediaPower ........................................7.J42Mediaproxy Pty Ltd ............................7.J07Mediascape EU Project - Vicomtech 8.F03mediatvcom ........................................2.A30Megahertz .........................................11.F20Mekall ................................................9.B30aMemnon Archiving Services .............8.C85Merging Technologies .......................8.E96MeteoGroup ........................................2.C48Metraweather ...................................14.C06Metrological ......................................14.E25 METUS .................................................7.A02MeVi Limited .....................................9.B30aMG ALBA ...........................................9.B30aMico Electric (Hong Kong) Limited ...3.A46Microsoft ......................................MS1/MS2Microtech Gefell GmbH ......................8.D77Midas Media Ltd ...............................9.B30aMier Comunicaciones S.A. ................8.E40Miller Fluid Heads (Europe) ltd .......11.D30Minerva Networks ............................14.A12miniCASTER® c/o TV1 GmbH ...........1.A80Minnetonka Audio Software .............7.J40Mirada .................................................4.C50MiraVid ..............................................14.L02 Mirror Image .......................................3.A24Mistserver.org/DDVTECH.................14.K13 MISTV ..................................................2.A16mLogic .................................................7.J31Mobibase ...........................................14.C07Mobile Viewpoint ..............................14.F21Mode-AL ............................................10.A38MOG - Technologies ...........................7.K28Mogami Cable .....................................8.D56Mole - Richardson Company ..........11.F57Moso Power ........................................8.E24Motama .............................................14.H19Motion Plus Media ...........................14.L17Motion9 ...............................................9.B12Movicom, LLC ...................................11.F73MovieTech AG ...................................11.D35MPP Global Solutions .......................14.K01MSA Focus International Ltd.............3.B56Mstar Semiconductor, Inc. ................2.C33MT-C .................................................10.D31jMTF Services LTD .............................11.C61MTS - Media Technical Systems ....11.D35MULTICAM SYSTEMS .....................11.E40aMultidyne Video & Fiber Optic Systems ...............................................9.D40Murraypro Electronics .................... 8.B38gMWA Nova GmbH ...............................7.E30Mware Solutions Ltd ........................14.F10

NNAB Show ........................................10.F34nablet GmbH .......................................7.G05nac Image Technology Inc. .............11.G75NAGRA .................................................1.C81Nagra Audio ........................................8.E96nangu.TV ...........................................14.L27Nanguang Photographic Equipment Co., Ltd...............................................11.E10Nanjing Magewell Electronics Co.Ltd...................................................8.C11Nanocosmos .......................................2.A10Nanuk By Plasticase ..........................9.A49

Narda Safety Test Solutions ..............8.E20Nativ ...................................................7.K01bNautel ..................................................8.C49Nautilus Studio ...................................7.G05ND SatCom ..........................................4.A60NEC Corporation .................................8.B37NEETRA S.r.l. .......................................8.E92Neotion ................................................4.B53Net Insight ...........................................1.B40Net Mobile AG ...................................14.L16NetApp .................................................7.J42Netco Sports .......................................8.E25Netgem ................................................5.B44NETIA ..................................... 1.A29/8.B36bNetsweeper ........................................2.A41iNetUP .................................................14.J18Network Innovations ..........................2.A46NeuLion .............................................14.F34Neutrik AG ...........................................8.C90never.no ...............................................7.A09Nevion ..................................................1.B71New Japan Radio Co., Ltd .................4.C71NewFace TV Ltd ............................... 2.A41bNewtec ................................................1.A49NewTek ...............................................7.K11NEWZULU...........................................14.C05NexGenWave Co.,Ltd .........................5.C48fNexidia ......................................7.F39/MS43Nexsan by Imation .............................6.A08Nexstreaming ...................................14.C36 NEXTO DI ...........................................11.G37NGINE NETWORKS ............................2.A36aNHK ......................................................8.G03Niagara Streaming Media ..............14.M28Nice People At Work ..........................5.C45Nila LED Lighting ..............................11.E38Nimbus, Inc. ......................................11.E65Ningbo Eimage Studio Equipment Co., Ltd ............................................................11.C50Ningbo Jie Yang Television Equipment Co., Ltd.............................................. 9.B14bNINSIGHT .............................................7.B11NKK Switches Co., Ltd .......................8.A70NOA ......................................................8.D91NoisyPeak Sarl. ................................14.H16Nordija A/S ........................................14.L06 North Telecom ....................................4.A55Northwire Inc ....................................11.D42Norwia ...............................................10.A12Novella SatComs Ltd ..........................1.F58NovelSat ...................................3.A29r/MS3Novotronik GmbH ...............................1.A54Nozon .................................................8.F20cNST&T Univers Phone - Afrikanet Oxford Consultech .................. 4.A61/8.B38NTP Technology A/S ....................... 8.B51bNTT Group ...........................................2.C58NTT Network Inovation Labs ............8.G07NUGEN Audio ......................................8.D56NWIEE ................................................5.C03aNyeTec Limited ...................................2.C31

OObh Obh .............................................9.B30aObject Matrix Ltd ..............................6.C28bOConnor .............................................11.E55OCTOPUS Newsroom .........................7.G11OKNO-TV ..............................................8.B10OMB Broadcast ...................................8.E27Omnia Audio .......................................8.D47Omnitek .............................................10.F30Onair Medya Ltd .................................8.E44ONE CONNXT .......................................1.A97One For All ...........................................1.C41Onetastic SRL .....................................8.C20Ontario, Canada ..................................2.A41OOONA .................................................2.C32OOYALA .............................................14.F32 Open Broadcast Systems Limited . 4.A61gOpen Telly........................................10.F42cOpenheadend - DVMR ..................... 2.A36fOpera Software .................................14.E20 Opic Telecom ....................................8.C30dOptical Cable Corporation ...............10.E59Optispeech .......................................14.M09Optocore GmbH ..................................8.C60Optoway Technology Inc ..................8.E34Optral, S.A. ........................................10.E50

Oracle ..................................................7.D14Orad Hi-Tec Systems .........................7.J20Orban Europe GmbH ..........................8.D93Ortana Media Group Limited ...........8.B38cOSEE TECHNOLOGY CO., LTD. ..........10.D59Osprey by Vario Systems...................3.A26OTICOM CORPORATION ...................11.E65OVERLINE - Systems ..........................8.E94Ovide Smart Assist ...........................11.G41

PP+S Technik .....................................11.G35Pace plc ...............................................1.B19Packet Ship Technologies ...............14.H11PAG Ltd. .............................................11.C36Pals Electronics Co. Ltd .....................0.F01Panaccess Systems ...........................5.C18Panasas, Inc. ......................................7.J31Panasonic Marketing Europe GmbH ..................................... 9.C45/10.D46Paneda .................................................8.E02Panther GmbH ..................................11.E20Parabola .............................................4.A61iParadigm .............................................4.C74Paralinx .............................................11.E55Pathpartner Technology Consulting PVT. Ltd ...............................................9.A06Paywizard .........................................14.G14 PBI ........................................................2.A32PCCW Global .....................................14.E10 Peak Communications Ltd. ...............1.C33Pebble Beach Systems ......................8.C71Perception TV Ltd .............................14.E09Perceptiva - Labs .............................2.A36cPercon ...............................................10.E51Perfect Memory ............................... 8.D82dPesa .....................................................8.E47Phabrix ..............................................10.B12Philips Home Control .........................1.A81Phoenix7 Ltd .......................................3.C21Phonak Communications AG ............8.E95Photon Beard Ltd ..............................11.D43Piksel .................................................14.C34 Pixagility ...........................................14.M32 Pixel Power LTD .................................7.A31Plaber S.r.l. - HPRC Cases .................9.B43PlayBox Technology Ltd. ...................8.B70Playlist Software Solutions. ............8.C30ePlisch GmbH........................................8.D32PLURA Europe GmbH .........................8.B73Pluxbox ................................................8.A14Polecam.............................................10.C49Pomfort GmbH ..................................11.A40Popyoular AB ...................................14.B01Portabrace ........................................11.A54Portaprompt Ltd ...............................11.G49Postium Korea Co., Ltd. ...................10.D20Prime Focus Technologies ................7.B12Primestream .......................................7.D21Prismahub ...........................................8.B02ProCase GmbH ..................................10.F29ProConsultant Informatique ..............2.B21Prodrone Technology Ltd ..................8.A47Prodys ..................................................1.A39Professional Sound Corp. ..................8.C96PROFITT Ltd ............................ 7.A07/8.B10Progira Radio Communication..........8.D44Projectbuilders ...................................0.E02Promax Electronica S.L. ....................8.E41ProMAX Systems ................................7.A04Promise Technology ...............6.C10/6.C11Pronology ..........................................10.A26ProSup/Casu .....................................11.E73ProTelevision Technologies AS ........8.C48Providius Corp. ................................ 2.A41pProvys ..................................................2.B49PRO-X CO., Ltd ..................................11.E42Prysmian Group (Draka Comteq Germany) ...........................................11.C31PSI Audio ............................................8.E96Psiphon Inc. ......................................2.A41cPufferfish Ltd ....................................9.B30aPush-Pull TV ......................................2.A30

QQarva .................................................14.E30 Qbit GmbH ...........................................8.E49qinematiq GmbH...............................11.E75

Qligent .................................................8.A09QTV Sports ........................................9.B30aQuadrille ........................................... 2.B39bQuadrus Technology ..........................7.K25Quales ..................................................8.A26Quantel and Snell ...............................7.G20Quantenna Communications .2.C17/MS36Quantum 5X Systems Inc. ............. 2.A41mQuantum Corporation ........................7.B26Quicklink .............................................2.B20Quickplay ..........................................14.D27 QUICtools ...........................................9.B30aQuintech Electronics and DEV Systemtechnik ....................................1.B31Qvest Media ........................................3.B40

RR.V.R Elettronica .................................8.E36Rabbit Labs .........................................3.A44Radica Broadcast Systems Ltd...... 8.B38hRadio Frequency Systems .................8.A41Radioscape .........................................8.D90RaLex Solutions ..................................8.D73Rambus Cryptography Research .....2.A49RAMI ..................................................8.B36aRapid Information & Communication ................................8.B30aRascular Technology Limited ...........5.A10RCS ......................................................8.E11Red Digital Cinema............. 11.A77/11.C70RedwoodComm Co.,Ltd .................. 8.B30dRemote Solution Co., Ltd. ................5.C48aResearch Concepts Inc ......................1.F58RF-Design ...........................................1.F45RFE Broadcast ....................................8.B23RGBlink ................................................7.B08Riedel Communications GmbH & Co.KG .................................................10.A31Ripple Networks ...............................14.N01Rip-Tie, Inc .......................................14.M22RIZ - Transmitters Co. ........................8.B03RJS Electronics Ltd ..........................6.C28dRME/Audio AG ....................................8.E05RO.VE.R Laboratories S.P.A ...............8.B67RØDE Microphones ............................8.D56Rohde & Schwarz ...............................7.E25Roku...................................................14.E14Roland ................................................8.D56Root6 Technology ..............................7.E21ROSCO ...............................................11.G21Rosenberger - OSI GmbH + Co - OHG ............................................11.E39Ross Video Ltd ............. 9.B08/9.C10/9.C23Rotolight ............................................11.G77Rovi Europe Limited ................................14.G01/14.H02/14.M16RR Media .............................................1.B24RSG Media Systems .........................14.H04 R-Style Softlab ....................................8.B10RT Software Ltd ..................................7.F33rt1.tv production GmbH .....................0.G03RTI Group ............................................7.C03RT-RK...................................................5.B32RTS .....................................................10.B48RTS (Royal Television Society) .......8.F51dRTW......................................................8.D89Ruige China .......................................11.D47Russian Satellite Communications Company (RSCC) ................................1.A58Ruwido ................................................1.D69Rycote Microphone Windshields Ltd 8.C64RYMSA RF ...........................................8.C65

SS&T (Strategy & Technology Ltd) .....1.B22S3 Group ..............................................3.B39S3 Satcom Ltd ....................................1.B91Sachtler .............................................11.E55SAF Tehnika ........................................8.A28Sagemcom ..........................................1.D41SALZBRENNER STAGETEC Audio Video Mediensysteme GmbH .......................8.C80SAM - Snell Advanced Media ...........7.G20SAM EU Project- Socialising Around Media - TIE Kinetix ............................8.F03Sam Woo Electronics Co., Ltd. ........11.G29Samjin..................................................5.C36Samsung .............................................1.D35

Sanken Microphone Co.,Ltd ..............8.C93Sans Digital .........................................7.F04SAPEC ..................................................1.F27Satellite Interference Reduction Group ...4.A61SatixFy ............................................. 3.A29mSatmission .............................. 0.D01/1.A91SatService GmbH................................1.F47ScaleEngine Inc. ................................2.A41jSCALITY ...............................................7.C29ScheduALL ..........................................1.D30Schill GmbH & Co. KG ......................11.E41Schneider Kreuznach .......................11.A41Schoeps Mikrofone ............................8.C64Schulze-Brakel Schaumstoffverarbeitungs GmbH ....8.D75SCISYS Deutschland GmbH...............8.B61Scottish Development International 9.B30aScreen Facilities Scotland ...............9.B30aScreen Subtitling Systems ................1.C49ScreenHI ............................................9.B30aSCTE ...................................................8.F51eSDN Square .....................................10.F42bSeaChange ..........................................1.F70SED Systems .......................................1.A52Seewald Solutions............................11.A48Selevision ..........................................14.J03 SELFSAT ..............................................5.B30Sematron .............................................1.A78Semtech Corporation .......................10.F46Semyung India Enterprises Pvt. Ltd...............................................8.B30aSencore ...............................................1.F76Senna Ltd. .........................................11.F71Sennheiser Electronic GmbH & Co. KG ..................................................8.D50SeoulTech Co.,Ltd ............................8.B30cServicevision.....................................11.C45SES .......................................................1.B51SGL .....................................................7.J15aSGO ......................................................6.A11SGT .......................................................8.A98Shape .................................................11.F61Shen Zhen Maiwei Broadcast Equipment Co., LTD ............................5.C25Shengzhen Yelangu Technology C.,LTD .... ............................................................9.B14cSHENZHEN AEE TECHNOLOGY CO.,LTD ...... ..............................................................8.E38Shenzhen Aoto Electronics Co., Ltd .9.B19Shenzhen BestView Electronic Co., Ltd ..... ............................................................9.B14aShenzhen C&D Electronics Co.,Ltd ...1.C93Shenzhen Crystal Video Technology Co. Ltd..................................................9.B02Shenzhen Gigalight Technology Co.Ltd...................................................5.B06Shenzhen Integration Multimedia Technology Co.,Ltd.......................... 5.B03bShenzhen Jiuxing Tianli Technology Co., Ltd.................................................8.A11Shenzhen Justek Technology Co., Ltd...............................................14.J01Shenzhen Leyard Opto-Electronics Co. Ltd. .......................................................9.C17Shenzhen Maike Industrial Co., LTD .............................................3.B37aShenzhen New Glee Technology Co., Ltd. . ..............................................................2.C45Shenzhen SDMC Technology co. Ltd ................................................14.J02Shenzhen Seneasy Industrial Co., Ltd.................................................1.F90Shenzhen Shiningworth Technology Co., Ltd...............................................3.B37eShenzhen Sunchip Technology Co.,Ltd................................................5.B03aShenzhen Wingsland Technology Co.,Ltd..................................................9.A30Shenzhen Zoomtak Electronics Co., Ltd.............................................. 5.A41gShooting Partners Group ...................9.D10Shotoku Broadcast Systems ...........11.F40SHOTOVER Camera Systems ..........11.A68SI Media ..............................................8.B93Sichuan Changhong Network Technologies Co., Ltd...................... 6.A29bSichuan Jiuzhou Electric Group Co., Ltd ... ..............................................................3.B45



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Sichuan Video Electronic Co., Ltd...3.B37cSielco SRL ...........................................8.A58Siemens .............................................14.A30Sigma Designs ....................................2.C35Signiant .............................................14.L08 Signum Bildtechnik GmbH ................7.D31Silver Brain ..........................................9.A46Silverpop - an IBM Company .........14.L30SilverStone Technology Co., Ltd. ......8.A23SintecMedia ........................................2.B32SIRA-SISTEMI RADIO .........................8.C31SIS LIVE ...............................................1.C55Skardin ................................................5.A25SKB Europe BV..................................11.F65SkyDigita .............................................3.A44Skyline Communications ..................1.A23Skyware Global ..................................4.C88Skyware Technologies ......................1.F33Skyworth Digital .................................5.A31Slik Corporation ................................11.A30Slomo.TV .............................................8.B40Small Town Heroes ........................10.F42dSmallHD .............................................11.E55SmarDTV .............................................1.C81Smart Fun ............................................8.C19SmartLabs .........................................14.C19 Smarty Life Sp. z o.o. .........................5.B22SMiT .....................................................1.F86SMK Electronics (Europe) Ltd. ..........1.A46SMPTE ................................................8.F51fSNL KAGAN .........................................4.C77SoftAtHome .........................................4.A51SoftLab - NSK .....................................7.A08SoftNI Corporation ..............................1.B28Softron Media Services .....................7.G12SOFTVALLEE........................................2.C21Solarfl are .............................................7.J31Solid State Logic.................................8.D83SOLIDANIM ......................................11.E40dSOLITON SYSTEMS K.K ......................2.A42Sommer Cable GmbH.........................9.C41Sondor Willy Hungerbuehler AG .......7.H01Sonifex Ltd ..........................................8.E61Sonnet Technologies .........................7.G02Sonosax ...............................................8.E96sonoVTS GmbH ...................................8.B68Sony ........................................12.A10/0.E01SONY Pro Audio ..................................8.D70Sound Devices, LLC............................8.B59Sound Ideas ..................................... 2.A41dSoundminer Inc. ...............................2.A41aSpacepath Communications Ltd ....4.A61cSPB TV ...............................................14.E17 Spectra Logic ......................................7.J30Spectracal Inc ...................................10.A14Sphericam .........................................8.F20bSPI International / Filmbox ..............14.H09 Spideo ................................................14.K04 Spin Digital ..........................................1.F13Spinner GmbH .....................................8.C28S-PRO SYSTEMS .................................8.B10Squadeo ........................................... 2.A36dSquid Systems ....................................7.D13SSIMWave Inc. ..................................2.A41oST Video - Film Technology Ltd ........8.C07STAGETEC Entwicklungsgesellschaft fur professionelle Audiotechnik GmbH ..8.C80Staer Sistemi ......................................8.A40Stanleys .............................................10.A05STARCOR ...........................................14.F27 Stardom storage solutions ................7.G09Starfi sh Technologies Ltd .................8.D88Starline Computer GmbH ...................7.H05Step2e Broadcast AG .........................2.B29Stirlitz Media .......................................8.E90STMicroelectronics ............................1.F40Stoneroos ..........................................14.H14 StorageDNA.........................................7.B42STORDIS GmbH ...................................7.H39STP SA System Technology Partner .. 8.C85Stream Group ....................................14.J17 Stream Labs ............................ 7.G47/8.B10Stream Owl ......................................14.M27Streambox, Inc. ..................................5.A09StreamItUp ....................................... 3.A29nStreamlyzer .......................................10.D42

Streamroot ........................................14.H17 STRYME GmbH ...................................7.J03Studer by Harman ..............................8.D60Studio Network Solutions..................7.H40Studio Technologies ..........................8.D56STV Group PLC ..................................9.B30aStypegrip ...........................................11.C65Suitcase TV Ltd. .......................2.C10/2.C15Suman Satellite Technology Company ........................................... 5.A41fSumavision Technologies Co.,Ltd ....1.C30Sundog Media Toolkit ........................6.A14Surface Heating Systems ..................1.F59SVP Broadcast Microwave ................2.C55SVS Satellite System ..........................5.C31SWE-DISH (now DataPath) ................1.F56Swedish Microwave AB .....................1.F71swissaudec .........................................8.F01SWIT Electronics Co., Ltd ................11.A39Switchcraft, Inc. .................................9.C49SYES.....................................................8.C74Synapse TV .........................................1.B22Syrp Ltd .............................................11.A71System House Business partners ....8.B10Systembase Ltd ..................................8.E93System-On-Chip Technologies Inc. .2.A41l

TTAG V.S. ...............................................4.C85TAKTIK SA ...................................... 10.D31eTalia .................................................. 4.A61dTangent Wave LTD .............................6.A21Tango Wave ........................................1.A04Tata Communications........................MS23Tata Elxsi Limited ...............................3.A48Tatung Technology Inc. ...................14.F19TC Electronic .......................................8.D56TCL Technoly Electronics (Huizhou) Co., ltd ............................................... 5.A15bTDC POLSKA sp. z o.o. .......................5.A08Teamcast.............................................2.B51TECH4HOME ........................................3.C46Techbid Auctions .............................10.A03Technicolor ...................... MS5/MS7/MS47TECHNICOLOR R&I Hannover ............8.F14Technocrane S.R.O ...........................11.D36Techwave, Inc. ..................................11.E65Tecsys Video Networks Ltd. .............3.A29iTedial ...................................................8.B41Tektronix Communications ...............2.A54Tektronix Inc. ....................................10.D41TELECAST TECHNOLOGY CO., LTD .. 3.B37fTelechips .............................................5.A28Teleidea .............................................14.J20 Telelynx Inc. ........................................6.B22Telemetrics Inc. ................................11.C21Telenor Satellite Broadcasting .........1.A59TelergyHD & Mware solutions ........14.F10 Telesat .................................................1.C39Telescript International .....................9.A44Teleste .................................................4.B61Telestream ..........................................7.G30TELETOR, LLC ......................................7.A08Television Research Institute ............5.C43TELIKOU TECHNOLOGIES CO., LTD. .11.A12Telmaco S.A. .......................................7.K40Telmec RF ...........................................8.A40Telos Alliance .....................................8.D47Telos Systems ....................................8.D47Telsat Srl .......................................... 8.D37bTelstra ................................................14.F37TEM ......................................................8.E45Teracue eyevis GmbH ........................9.B24Teradek .............................................11.E55Teris Tech Trade Co., Ltd. ................ 9.B14fTerrasat Communications, Inc. ........1.F94Testronic Laboratories ...................10.F42eThales Angenieux .............................11.F34The Electronic Lab ..............................8.A08The Good Life Co., Ltd ......................11.E65The Inmex Company ......................10.F42jThe Israel Export & International Cooperation Institute .........................3.A29The Qt Company ...............................14.H01 The Walt Disney Company (Switzerland) GmbH ...........................8.F05

TheLight ............................................11.D69thePlatform .......................................14.C20 ThinkAnalytics Ltd .............................1.D92thinklogical .......................................10.A24Thomson Broadcast ...........................8.C35Thomson Video Networks ...............14.A10Thomson Video Networks - Project H2B2VS ................................................8.F16Thum+Mahr GmbH ............................8.A50Thuraya Telecommunications Company ... ..............................................................2.B30TIANCHANG LIMING ELECTRONICS CO.,LTD. .............................................6.A29cTIE Kinetix N.V. ...................................8.F03Tieline The Codec Company ..............8.E74Tiffen ..................................................10.C49Tiger Technology .....................6.A18/7.J31Tilta Technology Co., LTD ................11.G74Timecode Systems Ltd ................... 9.B30bTimeline Television Ltd ....................11.C20TiVo ......................................................5.B48TIXEL ....................................................7.B01TMD Ltd ...............................................2.B59TMG ....................................................14.F11 Toner Cable Equipment UK Ltd. ........5.B21ToolsOnAir Broadcast Engineering GmbH ........................................7.G45/8.F14Toshiba Electronics Europe GmbH ...6.C23Total Technologies Ltd ......................5.A02TQTVD Software Ltda.. ....................8.C30gTRACT ..................................................8.D74Tract Co ...............................................8.B10TRANSRADIO SenderSysteme Berlin AG .............................................8.D35TRedess ...............................................8.D23Triada-TV.............................................8.B44Trilogy Communications Ltd ...........10.A29Trimaran Georacing ........................ 2.B39dTrinnov Audio Pro ...............................7.D12TriVis Weather Graphix ......................3.A58True Lens Services (TLS Optics) .....11.G65TSDA ...................................................8.C30fTSF.be SA ....................................... 10.D31kTSL .....................................................10.B41TTI Norte ..............................................4.C69Turbosight (TBS) Technology Co.Ltd ....5.C02Turksat A.S .........................................5.C07tv2u ...................................................14.M07TVC (TELEVIZIJOS IR RYSIO SISTEMOS, UAB) .....................................................0.B02TVIP ....................................................14.G03 TVLogic Co., Ltd ................................10.D26TVStorm ...............................................4.C82TVU Networks .....................................2.B28TW Electronics (Newbury) Ltd ..........4.B63Twist Cluster .................................. 10.D31gTwo Big Ears .....................................8.F20a

UUHD Alliance ......................................MS47UHP NETWORKS INC. (formerly Romantis Inc.) ......................................................5.A11Ultimatte Corporation ........................7.C27Ultra Electronics GigaSat ...................1.C57Unifi ed Streaming ............................14.D30 Unilumin Group Co.,Ltd ....................11.A69Unique Broadband Systems Ltd .......5.B19Unitron ..............................................10.F42fUnity Intercom ..................................11.G11Universal Electronics bv. ...................1.C41UPnP Forum ......................................14.G15 US Wondlan International Ltd .........9.B14eUtah Scientifi c ..................................10.D10Utelisys ..............................................14.C08 UXP Systems Inc. ............................ 2.A41g

VValtech ...............................................14.C02 ValueLabs ..........................................10.F37VANGUARD VIDEO .....................3.A54/MS4Vantrix ...............................................14.J06Varavon .............................................11.C11Vcodex Limited .................................9.B30aVdB Audio ............................................8.C93Vector 3 ...............................................7.C01Venera Technologies .........................7.G43

Verimatrix............................................4.A59Verizon Digital Media Services .......14.C17 Versatile Remote Heads ..................11.F41Veset ....................................................8.A21Vestel .................................................14.A20Viaccess-Orca ...................... 1.A51/3.A29dViaLite Communications ...................1.A21VIDAU SYSTEMS .................................8.B10VidCheck .............................................8.A30VIDELIO - Media ..................................8.C58Video Clarity ........................................2.C57VideoFlow ......................................... 3.A29gVideomenthe .....................................2.A36eVideoPropulsion .................................4.C73Videosolutions Group .........................7.A06Videostich ............................2.B39e/8.F20dVideostrong Technology Co.,ltd. .....6.A29aVideosys Broadcast .........................10.F45Videssence ........................................11.B12VidiGo B.V. ...........................................7.H30Viewz ...................................................9.A48Vimmi Communications Ltd............3.A29aVimond Media Solutions .................14.E26 Vimsoft ................................................9.A40Vinten.................................................11.E55Vinten Radamec ...............................11.E55Visio Light Inc. ..................................11.G45Vision III Imaging, Inc. .......................8.G04Vision Research ................................11.B42Vision247 .............................................1.B22VISLINK ................................................1.A69Visual Impact Scotland ....................9.B30aVisual Research Inc. ..........................7.D05VisualOn, Inc .....................................14.G13 Vitec .....................................................7.G16Vitec Group .......................................11.E55VIXS Systems Inc. ..............................3.A28Vizrt ......................................................7.A20VJU iTV Development GmbH .............3.C31V-Nova Ltd ..........................................5.A25Vocas .................................................11.E34Voice Technologies ..........................8.C73aVoiceBox .........................................9.B30ciiVoiceInteraction ...............................14.H18Volicon .................................................7.G23Vortex Communications Ltd ...........11.G11VRT (Vlaamse Radio- en Televisieomroeporganisatie) ............8.F14VSN (VIDEO STREAM NETWORKS, S.L.) ..... ..............................................................7.D25Vualto.................................................14.D24 VuTV .....................................................1.B22

WW.B. Walton Enterprises Inc ..............1.A62Walimex Pro ......................................11.G87Wallonia Export-Investment Agency (AWEX) ...............................................10.D31WASP3D ..............................................7.C21Wave Science Technology ................8.A44Wazee Digital ...................................14.M12Weather Metrics .................................3.A68Weather Services International ........7.A15Wedel Software BV ............................8.C04Well Buying Industrial Co., Ltd. .........8.D92WellAV Technologies Ltd ...................5.B47Wellen+Noethen ..................... 0.G03/3.B40Wheatstone Corporation....................8.A86Wide Orbit............................................8.D71wige Broadcast GmbH .......................0.G01Wildmoka ............................................5.A25WINEGARD COMPANY ........................4.C79WINJAY S.R.L. .....................................8.E92Winmedia ..........................................8.D82cWisi Communications GmbH & Co. KG ...... ..............................................................4.B50Wisycom SRL ......................................8.D78Witbe ....................................................4.A71Wiztivi ................................................14.L01 WNM SA .......................................... 10.D31fWooden Camera ...............................11.E71Woody Technologies ..........................3.C31Work Microwave GmbH .....................4.A77World DMB ..........................................9.D30WorldCast Systems ............................8.B60Wowza Media Systems ......... 3.B18/MS46

wTVision ..............................................7.A45Wyplay .................................................5.A25

XX- ARTProDivisionGmbH .............MS1/MS2XCRYPT, INC. .....................................5.C48dXD MOTION ......................................11.E40bx-dream-media GmbH .......................3.C31XenData ...............................................7.H47XeusMedia Technology .....................8.C95Xiamen Came Photographic Equipment Co., Ltd............................................ 10.D25aXilinx Inc. ...........................................10.F30XOR Media...........................................7.J42Xstream .............................................14.F15 Xylostream Technology Ltd ..............2.A48Xytech Systems ..................................6.C22

YYamaha Commercial Audio ..............8.A69Yangaroo .......................................... 2.A41hYaojin Technology (Shenzhen) Co.,Ltd ...... ..............................................................5.C13Yegrin Liteworks ..............................11.G63Yellowtec .............................................8.A51Yospace .............................................14.C18YoYotta ................................................7.J31Yuan High-Tech Development Co., LTD ..... ..............................................................8.A76YUYAO LISHUAI FILM & TELEVISION EQUIPMENT CO., LTD..................... 11.B51aYuyao Sinor International Trading Co., LTD. ......................................................9.A38

ZZacuto ................................................11.G64Zappware nv .......................................1.A81Zattoo TV Solutions ..........................14.J05Zaxcom ..............................................8.C73aZentrick ...........................................10.F42gZeticon .............................................10.F42hZHANGZHOU LILLIPUT ELECTRONIC TECHNOLOGY CO., LTD ...................11.B51eZHANGZHOU SEETEC OPTOELECTRICS TECHNOLOGY CO. LTD ........................9.B41Zhengzhou Generalink Lighting Equipment Co., Ltd. ..........................11.A75Zhengzhou Taiying Video Equipment Co,Ltd...................................................9.B49Zhongshan Kingjoy Photographic Equipment Co. Ltd ..............................9.A10Zhuhai ChuanFu Optical Technology Co.,ltd ................................................ 9.B14dZippy Technology Europe GmbH ......5.C35Zixi LLC ..............................................14.G04 Zoo Digital PLC .................................7.J38bZTE .......................................................4.B45Zylight ................................................11.E38

Correct as of 10 August 2015



The cinematography camera space gets crowded in 2015 By Douglas I Sheer

This year has seen a glut of camera brands and models proliferate and that has led to increased pressure on prices, a benefit to cinematographers and a challenge to manufacturers. The pressure which has been building for several years began to intensify at NAB with the advent of nearly a dozen new models, a number of them reaching down into some of the lowest prices we can remember for professional cameras.

This trend has resulted in an expansion of ownership in the low-end of the market and a related belt tightening at the top end. It has therefore engendered a ‘race to the bottom.’ You would wonder, who would want to win that race? Apparently, the answer is quite a few companies.

Primarily led by Blackmagic Design, whose camera prices have been breathtakingly low, others including JVC and AJA have been pushing 4K ‘cine’ capable cameras at sub-$5,000 price tags. One result of the drop in camera and camcorder prices has been the pressure on D-SLRs. Is this what has caused them to slow in the pro space recently, or could it be the rise of mirror-less models such as Sony’s increasingly popular A7 series?

This whole trend of lower and lower prices has pleased many professional end-users, particularly independents and film students putting field equipment together and now able to do so on the cheap. One question that begs an answer is just how long can a traditionally rental-oriented market absorb so many cameras and related gear?

At $995USD, and recently for a brief time discounted to $499USD, the BMD pocket-sized HD-only camera may be giving more grief to consumer-oriented GoPro than the full UHD camera companies. But, these low prices, while

attractive to customers are stressful to companies used to making a reasonable profit from pricier cameras.

Making it in HollywoodThe third edition of Digital Cinematography World 2015, a global study looking at end-user feedback about what they are buying, using and planning, was published this spring by my firm, DIS Consulting. The study focused on four market segments: Production/Post, Mobile/OB, Independents and Rental Houses.

In all,1509 responses were tallied, worldwide. Although cameras and camcorders and D-SLRs are at the core of the study, it also covers complimentary products that include: solid state recorders, flash media, lighting, lenses, graphics and editing, switchers, cinema sound, displays, tripods and supports, servers and software and storage systems. As a screen, respondents to this study had to certify that they used the equipment they reported 51% of the time for movie-making or episodic TV programme production.

The 2015 study illustrated that despite the past demand for cameras that lifted this category, a near saturation level of segments may be approaching within the cine-centric spaces, while new 4K business drifts elsewhere, like into broadcast and institutional segments as well as event video. After all who wants an HD wedding video when you can have a 4K wedding video?

D-SLRs in particular seem lacklustre, even if they remain popular among film and TV students -- a pre-professional segment we don’t regularly track. With 50,000 students graduating per year in the USA and more than 120,000 on a global scale, from the more than 1200 schools offering film programmes, they clearly remain a segment that can absorb more gear.

That’s bewildering considering the fact that so few, perhaps a few thousand, get absorbed into Hollywood and network ranks. The same core of a few thousands of cinematographers continue to lens most features that make wide distribution and no matter how big a year it might be at Sundance, that remains pretty consistent. The number of graduates that get absorbed into Hollywood ranks out of that hundred thousand students each year hovers at about two thousand.

A probably unintended consequence of catering to students and independents on a tight budget has been that less expensive camera models often side-step specifications and features that full-fledged filmmakers are demanding, such as faster frame rates, better chrominance and at times, some brands wholly ignore the most fundamental requirements.

Far be it from me to join the legions of disgruntled pros besmirching those brands who cut corners. We all know who they are. The phrase ‘you get what you pay for’ still resonates.

That said, the less expensive cameras are a boon to end-users on constricted budgets, whatever their projects, and as a result has represented a democratising movement in the industry. From the DCW-2015 technology trends section where interest in features was tested, those that were most desired in a next generation camera (camcorder or D-SLR) included as top desires: 8K, Autofocus, HDTV, 4K, High-Speed, respectively.

Saturated rental marketRental habits die hard in this market. Our data shows that cinematography professionals still utilise rentals, consistently in cameras and even more especially for lenses, as they are very costly to own. The average respondent said that he or she rented 25 or more times per year and among those answers they generally indicated renting cameras, camcorders, lenses and lighting most. Also heavily rented were lighting and grip equipment. To reinforce this fact, manufacturers have pounded the path to rental houses, virtually saturating them with cameras, lenses and

accessories of use to cine gear renters.

The purchase of cine lenses has been aided, somewhat, by the growth of digital cinematography, but that has largely been among independents and at rental houses. When independents buy a camera they often get at least one lens. But, often that lens is part of a package.

Additional lenses can demand substantial out of pocket expenditures and that has often meant to rely on rentals as lenses are required for specific programmes being produced. Another trend in lenses has been a move away from solely using prime or fixed lenses and the rise of the use of zooms, which were formerly only seen in news or general video production and rarely, if ever, in motion picture production.

Douglas I Sheer is CEO and chief analyst of

D.I.S. Consulting Corporation in

Woodstock, New York and reached at

[email protected]



TM

Quality assured by embedded TV monitoring

By Ian McMurray

Swiss triple-play service provider netplus.ch has supplemented its Agama head-end service quality assurance set-up with the company’s

Embedded Monitoring Solution. This extension from Agama enables netplus to cover the complete end-to-end hybrid IP/cable TV service distribution. The monitoring system also offers awareness and insights that the provider said has resulted in increased control and confidence in

Agama Technologies

its service operations, as well as improved customer experience and satisfaction.

In 2012, netplus deployed Agama’s TV head-end service quality monitoring solution to continuously ensure that there was no degradation in quality in any content distributed from its head-end. Up until now, however, netplus had little control over the quality of its content once it was distributed by a number of regional operators.

With Agama’s monitoring solution there is now a foundation for awareness and efficiency in processes such as fault detection, incident handling, continuous improvements and change management.

Mikael Dahlgren, CEO at Agama Technologies, said, “It’s with great pleasure we see a maintained trust from netplus, which has taken the next step in its efforts to assure optimal service quality, improve operational efficiency and increase customer understanding. Our aim is to help netplus and other video operators to streamline their processes by enabling informed decisions in anything from daily technical service operations and prioritisations, to first line customer support; and, even how to package and market services to their customers.”4.A75

Dahlgren: “Our aim is to help operators streamline their processes”




Object-based media is the concept and IP Studio the technology under development at BBC R&D which is showing practical examples of New Content Experiences in the Future Zone.

Among them is Venue Explorer which shows how audiences can carry out in-depth exploration of content using ‘as live’ footage from arts and music events using data overlays on zoomable 4K video.

While 4K allows the manipulation of images without a loss of resolution, the fact that this content is delivered

over IP also has an impact on what you can do with video images. The department is involved in experiments to see if it’s possible to overlay video images with other layers of information delivered via IP so that the experience of watching TV becomes the start of a journey rather than the end.8.G08

Object-based media control BBC R&D

Hampden rover: Venue Explorer in action at the 2014 Commonwealth Games in Glasgow

Parisian tech aids Avatar


The Paris Chamber of Commerce and Industry (CCIR) has one overriding goal – to serve 400,000 businesses as well as students and apprentices in the Paris region (which includes the adjoining Hauts-de-Seine, Seine-Saint-Denis and Val-de-Marne departments).

According to the CCIR, it is committed to generating services for businesses under its care, activating professional skills, and providing a voice for the

Parisian business community.Among the innovators it

is helping represent at IBC is SolidAnim (Hall 11 E40d), an expert in realtime camera tracking.

SolidAnim’s realtime markerless camera tracking system, SolidTrack, has already been used for a couple of notable features. It helped Joseph Gordon-Levitt, performing on a green screen, to make Philip Petit’s famous tightrope walk between New York’s Twin Towers in Robert Zemeckis’ The Walk. And it also was used to place a cast in the extensive virtual sets that make up the magical world in 2016’s Alice in Wonderland:

Through The Looking Glass.The system has also caught

the eye of director James Cameron who is including the technology in his pipeline for the Avatar sequels.

According to the company, SolidTrack was developed to give filmmakers plenty of flexibility in that it can quickly be set up and doesn’t require a greenscreen stage. It’s designed to talk with popular software such as Autodesk’s MotionBuilder and Maya, which were used on the first Avatar film.

At IBC, SolidAnim is also showing a new virtual camera dubbed SolidVCam.13.MS25a

CCI Paris Ile-de-France

SolidTrack, part of the Avatar sequel pipeline

By Mark Hallinger

A new range of control panels – Array – is being shown as a finished product fresh from manufacture. Hi Tech claimed Array brings together hardware control panels and software to deliver the most flexible and user customisable control system in the broadcast industry. Not limited to ‘traditional’ remote control (one panel per machine or software application), Array can be built to suit the exact workflow of a particular operator involving multiple devices.

This new system has a number of control surfaces mounted on a selection of base modules that can be mixed and matched to suit the requirements of a specific workflow. This includes

a touchscreen, a surface with programmable OLED keys, and a module with programmable RGB keys. Base units include a full Intel PC, a power and connection base and a satellite base.

The idea is that up to five panels can be mechanically joined and connected by a databus, and a work surface can thus be built from the available control surfaces requiring only one power and connection point.

Hi Tech’s Avita production control software can be installed in Array as can interfaces to a large range of third party software applications. The roll out of Array will include an associated comprehensive software based control system for the ultimate integration of third party equipment into one familiar set of user interfaces.8.C92

Customised control on tapHi Tech

Cut above: The Array system comprises of control surfaces on a selection of connected base modules

Broad update for LogServer By Carolyn Giardina

Version 10 software for the LogServer line of products is on display, created to provide 24/7

multi-channel recording, live monitoring and transport stream analysis of SDI, ASI/IP, and OTT broadcast sources.

LogServer Version 10 includes updated hybrid proxy, MPEG and OTT monitoring including new special panels

for TS events, and extended support for TS events including HbbTV, new watermark detection including realtime monitoring and notifications, and extended DVB subtitle monitoring including OCR.

LogServer provides

broadcasters with applications across Windows, Mac, web and mobile platforms. Supported SD and HD input formats range from baseband, ASI, IP to OTT.

LogServer users can review, extract and analyse live and recorded contents across

Mediaproxy

multiple channels via the LogPlayer interface, while TSAnalyzer provides engineers with transport stream analysis.

Mediaproxy’s LogPlayer user interface works across multiple distributed servers recording H.264 and HLS proxy media and native MPEG formats in parallel.7.J07



TV in the cloud

By Anne Morris

Live demos of IPTV and web-TV specialist Zattoo’s content discovery features can be found in the IBC Content Everywhere zone.

The company, which said it already has a number of B2B partners under its belt, supports operators by helping them to attract new customers and monetise their services

more efficiently.Zattoo offers fully hosted and

managed B2B TV solutions for network operators, ISPs and broadcasters. The services include multiscreen IPTV services both for the first screen (with an IP set-top box) and for mobile TV or web TV (iOS, Android, Windows 8).

Zattoo’s B2B customers include industry players from Switzerland, Germany and several other European countries. For these customers, many of which are network

operators, Zattoo provides a white-label TV-as-a-service solution that removes the need for operators to invest in software or hardware.

The services and applications are branded and customised for each B2B customer.

Network operators are thus able to minimise their investment risk and increase their options for launching IPTV offerings under their own brand in only a few months, according to the company.14.J05

Zattoo

Multiscreen:‘TV-as-a-service’

By Mark Hallinger

Two compact aluminium expansion units that can be used to expand and distribute a Hydra2 network have been released.

The new Fieldbox range of small-format I/O units brings the features of Calrec’s Hydra2 stagebox to OB situations and especially to areas in which rack space is at a premium.

These 1U half-rack units are intended for work in environments in which I/O must be spread over a large area, such as a golf course. Fieldboxes can be located and distributed where they

are needed using two high-capacity network cables for full redundancy. Calrec said this setup allows for significant savings on rigging time and cabling costs, and it also reduces cable storage and transport.

To add more distribution flexibility to a Hydra2 network, Calrec has also developed the H2Hub switch point. Using the same compact form factor as the Fieldbox, the H2Hub provides a hub or switch point for a Hydra2 network. A single connection from the router can then be switched via the H2Hub to multiple I/O units, or to multiple H2Hubs if further I/O distribution is required. 8.C61a

Compact audio network expansionCalrec Audio

By David Fox

The new Arina LED light fixture is claimed by Nila to be “the most powerful on the market,” offering an output similar to that of a 2500 Watt HMI while using just 800W. Nila said this means that multiple units can be powered off a single household circuit.

It uses a holographic film lens system for precise focus, and features consistent colour output local or remote (DMX) dimming and silent operation.

It also offers flicker-free operation, which has been useful for Mexican Ballistic Testing Specialist, Guillermo Vasavilbazo, who shoots at speeds in excess of 100,000 frames per second, with shutter speeds under 1/400,000 second.

Vasavilbazo said he had “amazing results” from the Arina’s illuminating capabilities, coupled with the company’s Photron Fastcam SA-Z camera.

Vasavilbazo continued, “The Arinas are also working double duty as I use them for documenting procedures with regular pro video cameras and the results have been beyond my expectations in terms of image quality.”

DP Ric Griffith used the 31.5kg Arina for an industrial shoot where he needed a night shot of a company’s headquarters.

“I used the Arina as my moonlight effect almost 400 feet [122m] from the only AC power source available to us,” explained Griffith. “The Arina gave me more light than I needed and we didn’t have to rent a generator.” 11.E38

Powerful entrant in LED ArinaNila

Innovation from HDR to IZE OTTBy Adrian Pennington

Celebrating its centenary this year, Technicolor is showcasing its latest range of ‘solution-led experiences’ at IBC2015.

These include next generation HDR immersive video technologies, from content creation to content delivery and OTT solutions and devices.

There are also new additions to its smart home solution IZE, including digital life concierge services for interconnected experiences in and out of the home.

The company is also share the latest developments in profiling and recommendation technologies that enable personalised and unified multiscreen user experiences.13.MS5

Technicolor



By Ian McMurray

The world’s first live, on-air transmission of Dolby AC-4 has been trialled for the ATSC, enabled in part by Harmonic. The new audio format is said to address the current and future needs of next-generation video and audio entertainment services including broadcast and internet streaming.

Bart Spriester, senior vice president, video products, Harmonic, explained, “Members of the ATSC audio subcommittee convened with Dolby in San Francisco to evaluate Dolby AC-4 for use within the new ATSC 3.0 broadcast standard. During the meeting, Harmonic and Dolby helped KQED become the first television station in the USA to broadcast live audio encoded with Dolby AC-4; a major, and historic, milestone for the next-generation format.”

During the trial, KQED-TV used Harmonic’s Electra X2 advanced media processor for realtime video and AC-4 audio encoding. Harmonic said that it and Dolby successfully demonstrated how the Dolby AC-4 format improves bandwidth efficiency for broadcasters to enable the delivery of enhanced audio content.

Lee Young, director of engineering and facilities for KQED TV, said, “I was impressed by the quality of the Dolby AC-4 broadcast at such a low bandwidth and see technology like this as an essential element to the future of KQED TV. We are pleased to play a central role in this historic event.” 1.B20

First live Dolby AC-4 demoHarmonic

By Ian McMurray

Syntelix has launched uSAIL, a broadband service for the maritime sector. It’s based on proprietary technology using a cloud ecosystem, on a VSAT iDirect Evolution platform operated by Hispasat.

The Spanish telecom startup claimed that the system offers a flexible, user-oriented commercial approach that is

adapted to the seasonal nature and specific demands of the nautical market. It said this would provide ‘unlimited, high-quality connectivity on demand with daily granularity’.

Oriented towards the Western European market with Ku-band capacity using the Hispasat 1E satellite, the uSAIL broadband internet access service provides different qualities of on demand service according to user profiles, ranging from a basic connection for crew, to maximum quality connections

for IPTV reception.It also includes an IP

telephone service, combined with specific solutions for crew welfare and maritime streaming, to make it a turnkey offer that covers all client needs in this sector, claimed the company.

Carlos Derqui, co-founder and CEO, Syntelix, said “The confidence and the effort Hispasat has put into this project not only make us proud and confident, but also provide a soundness that clients and actors in this sector highly

value. There has been a very positive reception.”

Ester Fernández, marketing manager, Hispasat, added, “It has been very interesting to work with Syntelix on this innovative project, which has had excellent technical results and been very well received on the market. Extending satellite broadband services to the maritime segment of the mobility market is a fundamental goal for the Hispasat Group.”1.A50

Hispasat

‘Positive reception’ for uSAIL



Probing content for errors and more

By Mark Hallinger

Contentprobe Revenue and Contentprobe Detect have been launched at IBC2015.

Contentprobe Revenue is a module that uses Ideas Unlimited’s patented, non-destructive identification and verification system, Media FingerPrinting. This system checks and verifies content, and alerts users about errors if needed. Material is automatically monitored from ingest to off air to ensure that the correct video, audio, subtitles, and access services are being delivered as agreed.

Any defects - such as sub-frame audio sync errors, transport stream data, SDI feeds, bars, tones, or silence – that

are erroneous or not required, are flagged by Contentprobe Revenue.

Contentprobe Detect is a content protection service provided from Contentprobe’s managed broadcast centre that accepts uniquely fingerprinted reference files from a content owner or advertising agency. It scans a multitude of designated channels to identify precisely when and where their licensed content has been used. In addition to confirming scheduled usage, the service is also designed to automatically search for evidence of pirating.

Contentprobe Detect also can identify and report back to online services when a particular product or service has been advertised on television so the service can instantly react to fluctuations in demand.8.A54

Ideas UnlimitedBy Anne Morris

The Knowledge Factory from ContentWise is making its IBC debut as a standalone platform designed to help operators better manage their content metadata to deliver a more personalised TV experience.

The company noted that in today’s over-the-top and digital TV landscape, catalogue complexity and metadata quality are still proving to be major challenges for operators and content providers.

Viewers have the option to watch content across linear TV, catch-up, DVR, TVOD and

SVOD. As a result, operators are struggling to understand metadata coming from several different sources. In order for service providers to deliver a seamless TV experience, content cannot live in these silos and metadata must be cleaned and harmonised in order to provide the most value.

The Knowledge Factory provides an integrated set of metadata management software and tools to help operators source, enrich, integrate and maintain better content metadata by blending, reconciling, de-duplicating and enriching data from different sources, eliminating metadata silos to deliver personalised TV

experiences.Pancrazio Auteri, CTO of

ContentWise, said delivering true personalisation and a superior user experience is only possible if the underlying data is rich, deep and understood by the personalisation system.

“Operators and content providers face enormous challenges today in handling even the simplest of metadata management tasks – and today’s technologies do not have the functionality to support them,” Auteri added. “Our Knowledge Factory is built precisely to help operators make the most of their metadata.”14.K02

Making the most of metadataContentWise


Formula One Management (FOM) has a new broadcast supplier for GP2, GP3 and Porsche Supercup racing series. It has chosen Tata Communications, with whom it already has a relationship as connectivity provider for flagship event F1.

Tata is providing a fully diverse end-to-end fibre and satellite solution to broadcasters at the 12 race locations in 2015.

The agreement enables broadcasters covering the

races to take advantage of Tata’s Race Network Operations Centre (NOC), located in the Formula 1 Technical Centre, Formula One Management’s 150 ton, 750 square metre nerve centre.

Tata Communications installs and tests its network infrastructure in two days at the 20 race locations, then dismantles it in just three hours after the races.

Vinod Kumar, Tata MD and CEO, said its work with FOM “is a testament to the diversity and versatility of our services. By consolidating fixed line connectivity needs with Tata, Formula One

Management will be able to take the greatest possible advantage of that infrastructure and tap into the versatility, on and off-site support and existing knowledge and experience of our platform and our team.”

Bernie Ecclestone, CEO of the Formula One group added in a statement, “We are always looking to help provide our partners and clients with the highest standards of support and service and our decision to appoint Tata Communications as the provider of these broadcast services is designed to deliver this.”13.MS23

Fresh engine for FOM

Tata Communications

Speed kings: Tata has the horsepower for Formula One

By Ian McMurray

Transmission and receive infrastructure from Vislink, in conjunction with Broadcast RF, was used to deliver course-wide coverage of this year’s Open Golf Championship at St Andrews.

Broadcast RF designed a compact, lightweight one-man camera transmitter for use at the Open Championship, which included Vislink’s L1700 wireless microwave transmitter and Omni antenna. Limited spectrum availability required Broadcast RF to devise a frequency plan that allowed for maximum coverage, while retaining a portion of the available RF band to share with news broadcasters and commentators. Vislink said that its technology was chosen for its video compression and efficiency benefits, making it possible to transmit seamless HD video from the field.

The receive sites, which were chosen to ensure

maximum signal integrity, included Vislink’s L3025 Down Converter. The lightweight units were used to feed the received signals back to the TV compound, using Broadcast RF’s bespoke RF-over-fibre extension systems.

Careful planning allowed Broadcast RF to minimise the number of fibre cores required, ensuring uninterrupted coverage. Engineers mapped the GPS positions of cameras in real time, enabling them to switch the appropriate receive antennas into the receiver/decoder for each camera, based on which camera would provide the best coverage at any given time.

Ali Zarkesh, Vislink’s VP of product management, said, “Vislink’s complete end-to-end solution gave Broadcast RF a platform to deliver seamless video. Our systems offered the flexibility to build a completely customised transmission and receive infrastructure to ensure uninterrupted coverage along the entire course, from opening drive to final putt.”1.A69

RF OB to a teeVislink



By Mark Hallinger

A multichannel visualisation application has been debuted that offers a new way to monitor the health and status of many channels on a single screen.

Qligent’s application is part of its flagship Vision platform and extends the depth of the company’s multisite monitoring and analysis capability. Vision is Qligent’s enterprise-level system for monitoring broadcast and

media quality through the entire delivery chain. It can be deployed on-premises, in the cloud or via Qligent’s Oversight managed monitoring-as-a-service (MaaS) plan.

Qligent’s claimed its approach to multichannel visualisation is unique as it helps engineers diagnose problems through a simple three-step workflow. Using customised video widgets (vidgets), users can combine any monitoring parameters to quickly visualise performance issues that matter most to the user, determine

impact on the viewer and drill down to the root of the problem.

This manner of correlating a variety of data with quality and performance issues allows operators to quickly filter, sort and collect evidence across multiple channels, programs and their associated terrestrial, cable, satellite and IPTV delivery platforms.

Beyond offering an overall status view, the new multichannel visualisation application crosses Qligent’s two major monitoring dimensions: Quality of Experience

(QoE) and Quality of Service (QoS). The QoE dimension provides visualisation of all audio and video streams, giving users clear insight into current and historic performance of all channels across each delivery platform.

The QoS dimension allows users to objectively measure

transport and physical layers to ensure standards are being met - legally, contractually and performance-wise. Correlating and analysing data across both QoE and QoS dimensions quickly determines if the problem can be seen by a consumer, said the company.8.A09

Vidgets to aid visualisation Qligent

RouteMaster provides Barnfi nd control

By Ian McMurray

RouteMaster, which is designed to deliver router control and emulation, is now able to

provide complete control of routers across the Barnfind range.

Rascular said Barnfind has become known for its signal-neutral platform that offers many functions and supports numerous different signal

formats in one frame.RouteMaster is a flexible PC-

based router control system based upon software modules; it can be used with a wide range of video and audio routers from all the major manufacturers. Users can control an existing

Rascular

router installation from any web browser via computer, tablet, and mobile phone using Rascular’s web panels.

The company is also talking to IBC visitors about how RouteMaster has been integrated with Blackmagic Design’s hardware router control panels, allowing users of the control panels to control

not only Blackmagic routers but any router that RouteMaster can control.

It sits between the hardware control panels and the router(s) which provides flexibility for users who can choose the same, familiar hardware interface to control routers from multiple manufacturers. 5.A10



BoomBooster boasts ‘freestyle agility’

By David Fox

The new BoomBooster is the latest addition to LockCircle’s Birdcage modular camera grip system, and is suitable for Sony’s A7 cameras and the Panasonic Lumix GH4 series.

The ‘freestyle agility’ grip

handle follows the same lightweight minimalistic design philosophy as the rest of the Birdcage range and is well matched to the compact mirrorless 4K cameras.

The BoomBooster boasts improved handling and balancing, and the possibilities of five-axis sensor stabilisation. It is CNC machined from

solid aluminium with knurled handles for enhanced grip, with 80 1/4”-20, and 34 3/8”-16 threaded holes for mounting LED lights, microphones, or accessories. All the screws are custom machined in high strength titanium.

It is available from P+S Technik, with prices starting from €239.11.G35

P+S Technik

Get a grip: The new LockCircle BoomBooster kit with a Sony A7s

By Ian McMurray

British Muslim TV has partnered with Globecast to launch a new VoD service as part of its TV Everywhere offering. This extends an existing relationship with the broadcaster now able to deliver a service covering satellite capacity, VoD and content monetisation.

It also includes live and on-demand content streaming, content and subscriber management and payment options.

Globecast has worked with British Muslim TV since June 2014, when it was chosen to help the channel launch

on the Sky platform and deliver an OTT service. British Muslim TV used to operate on a donation-only basis, but is now better able to monetise its content using Globecast tools, claimed the company.

Globecast has enabled British Muslim TV to create a monthly subscription VoD and OTT offering with unlimited access to British Muslim TV content. This can be accessed via multiple devices. Content is received once, processed by Globecast and packaged for VoD and delivered for OTT access as needed. British Muslim TV can analyse viewer habits, then update its catalogue accordingly, increasing satisfaction with, and usage of, the service.

Wasim Akhtar, director of Marketing Communications at British MuslimTV, said, “With the addition of our new VoD service, Globecast has helped us to monetise our existing content more effectively and allowed us to respond better to our viewers’ needs, thereby growing our subscriber base more efficiently. [Globecast] provided an intuitive solution, that allows us to deliver greater visibility of our content for a longer period of time. Not only are we offering our audience more ways to access content, but we can also gain additional revenue from existing assets that can then be used to deliver a more unique offering to our viewers.”1.A29

VoD delivers monetisation boost Globecast

On demand: British Muslim TV has extended its relationship with Globecast

Lollipop TV box out to lick Nexus Player

By Ian McMurray

Making its first appearance in Europe is the recently-announced ATV1900AC TV box, which manufacturer Geniatech claims is a much better specified device than the Google Nexus Player.

Powered by Android 5.0 (‘Lollipop’), it features a quad core processor operating at a frequency of 2.0GHz and 1 GB of memory, augmented by 8GB of Flash memory.

The box supports 2.4GHz/5.0GHz 802.11AC/2T2R

Wi-Fi and two external Wi-Fi antennae – giving it, according to Geniatech, three times the wireless performance of 802.11N and 150% wider coverage for larger homes and multi-floor locations with less interference. Gigabit Ethernet is also available.

Also provided is H.264 and H.265 hardware decoding for resolutions up to 3840x2160. A browser and VPN support are included with the platform. Video output is via HDMI, and four USB interfaces enable the connection of external hard drives, a mouse and keyboard and so on. A MicroSD card is also featured.

The ATV1900AC includes

support for Kodi 14.1 (formerly XBMC). The media player platform – which is pre-installed, customised and optimised for the unit - allows users to play and view most videos, music, such as podcasts from the internet, home network and all common digital media files from local and network storage media.

Voice recognition/voice search has also been implemented on the ATV1900AC by Geniatech, allowing key words to be used to search for applications and content.5.A41e

Geniatech

Android onboard: The ATV1900AC is said to support 150% greater Wi-Fi coverage than 802.11N



IP at the core By Adrian Pennington

At IBC, Sony is showcasing how IP-based technologies are opening up new possibilities for broadcasters, and how IP helps customers create, secure and distribute their content over a range of platforms.

Led by Sony, more than 30 companies are now working to develop the next generation of IP production standards based on the Networked Media Interface. This delivers low latency and noise-free switching of HD and 4K video, audio and metadata, and is a major focus for Sony at IBC2015.

Michael Harrit, marketing director, Sony Europe, said, “IP solutions enable information to be transmitted with true creative flexibility, improving efficiency and reliability across entire

workflows. Sony works with its customers to create streamlined live workflows, allowing them to get content out quickly and efficiently.”

At IBC, Sony is expanding on its ‘Beyond Definition’ theme, by showcasing a full audio visual (AV) ecosystem from acquisition to archive.

According to the firm, visitors to the stand can see how Sony’s long-term dedication to the AV industry is rooted in pushing the boundaries of image quality. This will include learning more about what Sony will do with recently acquired Belgium digital archiving service Memnon.

“This is a partnership that will deliver state-of-the-art solutions for media companies faced with growing media asset management and archiving challenges,” said Harrit.

Visitors can also experience the latest techniques for capturing, processing and

displaying 4K, HDR and HFR.“We always look forward to

IBC, and this year we have some amazing things to share with our partners and customers to help them explore the exciting new opportunities in the world

of professional AV,” added Harrit. “We’re concentrating on building relationships that empower our partners to push the boundaries across the entire production cycle. IBC is a great chance for us to meet

and get their feedback on the latest innovations and solutions. Together, we’re committed to expand and deliver solutions that shape the future of the broadcast industry.”Hall 12 [Elycium]

Sony

Command centre: Sony calls the Elycium home at IBC



Suppressing noise and boosting speech

By Mark Hallinger

The Cedar Studio 7 suite of plug-ins have been newly released

for IBC2015. These offer eight processes, including the new Retouch 7 and DNS One with Learn, which Cedar claimed would greatly reduce or even eliminate all of the common audio problems encountered in

film and TV post. The DNS 8 live dialogue

noise suppressor is also being showcased. Designed specifically for live broadcast and live sound, it offers eight channels of noise suppression. Cedar claimed

Cedar Audio

the DNS 8 was ‘remarkably quick and simple to use’, especially when coupled with the company’s browser-based remote control system. With safety bypass as standard, it’s suitable for use in critical broadcast paths. Alongside this, Cedar is showing the DNS1500 noise suppression product for film and TV post.

Also on stand is the latest version of the Cedar Cambridge workstation, which is designed for the most demanding audio restoration requirements in national sound archives, film archives and libraries remastering material for commercial re-release and DVD.8.C98

Glass prompter display motors in

By David Fox

Portaprompt’s Motorised Conference Glass prompter display has recently started shipping. One of the first jobs for the discreet MCG was to provide prompting for Michelle Obama on a recent trip to London. The new system, which is 30% lighter and cheaper than its previous units, is now in use with ACE Teleprompting, Prompt Action, and Autocue Hire in the UK, as well as Scriptease in the Netherlands, Murray Tregonning & Associates in Australia and (on trial) with Robin Lisagor Productions in the USA

According to Portaprompt, the MCG stands come into their own when there are many speakers, of differing heights. During rehearsals, the correct stand height is stored for each presenter, and these are instantly recalled by simply pressing their number on the hand controller’s keypad. 11.G49

Portaprompt

IBC, Third Floor, 10 Fetter Lane, London, EC4A 1BR, United Kingdom.

T +44 (0) 20 7832 4100 F +44 (0) 20 7832 4130 E [email protected] www.ibcCE.org

IBC Content EverywherePowered and created by IBC, the premier annual event for professionals engaged in the

creation, management and delivery of entertainment and news content worldwide, IBC

Content Everywhere is a series of global events spanning Europe, the Middle East and North

Africa (MENA).

These unique events cover rich media production, devices, apps, digital marketing, social

media, content personalisation, big data, cloud services, second screens, investment and much

much more.

IBC Content Everywhere Europe

11 - 15 September 2015, RAI, Amsterdam

IBC Content Everywhere Europe combines a

dedicated high quality exhibition with features

specifically designed to help visitors quickly

and efficiently expand their knowledge and

understanding of the latest trends, strategies and

developments in online TV and video.

www.ibcCE.org/europe

IBC Content Everywhere MENA

29 - 30 November 2015, Jumeirah Beach Hotel, Dubai

IBC Content Everywhere MENA is an invite only VIP

Conference containing carefully curated ‘Best of

IBC2015’ content. The event will focus on the key

topics from IBC2015 and will include contributions

from the key speakers in Amsterdam plus new and

fresh international perspectives, especially for the

MENA region.

www.ibcCE.org/MENA



YES WE CAN!

Coping with multi-DRMBy Anne Morris

Digital rights management can be a challenging issue, made more difficult by the variety of DRM technology on offer. Axinom aims to tackle this by creating a unified interface that uses the same business logic for different DRM

technologies.At IBC, the company

is exhibiting end-to-end implementations of multi-DRM based on MPEG-DASH and Common Encryption. These are available as native apps for smartphones and tablets, for embedded devices such as games consoles and smart TVs, and as cross-platform HTML5/JavaScript web applications.

Axinom DRM 6 is a new service that is designed to enable customers to create premium video solutions with minimal technology integration effort while providing scalability and maintenance-free operation.

It was built from the ground up to target multiple DRM technologies in a uniform manner, enabling customers to target a wide range of platforms. The

company said that implementing the Common Encryption specification satisfies the DRM needs of many different software platforms with a single service by simultaneously supporting multiple DRM technologies. This allows customers to select the best approach for each platform without requiring significant new development.

The APIs offered by Axinom’s

service are largely DRM-agnostic and designed with future extensibility in mind.

Johannes Jauch, CTO, Axinom, said, “For our customers it is important to reach the broadest possible audience with the best possible user experience. Therefore, it is important for us to support multiple DRM technologies.”14.H15

Axinom

By Ian McMurray

Primetech (UK) has placed the largest single order ever received by C-COM Satellite Systems for its new generation Ka-Band antenna systems. The 30-unit

order for the C-COM iNetVu Ka-75V vehicle mount antenna systems is the largest ever placed from the UK for use with the Eutelsat KA-SAT NewsSpotter service.

Primetech (UK) is C-COM’s leading UK-based systems integrator as well as its first European Authorised Service

Centre. The company has been selling iNetVu antenna systems for over a decade, and provides integrated broadband solutions to its customers across the UK using C-COM antennas bundled with the Eutelsat KA-SAT NewsSpotter service.

Henry Walker, director of Primetech, said, “We are

30-unit deal breaks recordC-COM Satellite Systems

delighted to be announcing this major new order for iNetVu Ka75V systems. The satellite antenna is a hugely powerful, robust and proven product, which we have been installing in increasing numbers throughout the UK. The system enables users to securely send and receive massively increased amounts of voice, video and data using Ka-band, supporting a wide range of

business-critical activities.” “We are very pleased to see

the increasing adoption and deployment of our Ka-band products over the Eutelsat KA-SAT service” added Leslie Klein, president and CEO of C-COM Satellite Systems. “This significant order from Primetech for the UK confirms the increasing popularity of the iNetVu antennas over the Eutelsat KA-SAT coverage area.”4.C53



Motion control up in ARms

By David Fox

ARcam TV, a compact, cost-effective automated studio system that can accurately repeat camera trajectories, has been developed by motion control specialist AR+.

It is claimed to offer silent studio operation, with fluid and accurate motion, and uses a

lightweight design of camera arm for ease of portability, so that it can also be used on location, even in confined spaces.

The system automates the process of using remote-control cameras and allows a single operator to handle up to eight arms simultaneously. Control can be via a dual-joystick controller, remote iPad app, or pan bars.

It can carry cameras weighing up to 10kg, and can

be programmed using the company’s ARcaptur software, which can control such settings as zoom, iris aperture and focus as well as create complex camera trajectories.

Features include augmented reality support, broadcast Canon and Fujinon lens control through ARlens, and full servo lens compatibility through ARfiz, including seamless integration with external motors.11.E40c

AR+

Under control: The new ARcam TV is a lightweight, compact automation system

By Ian McMurray

The launch of a new origin server from Broadpeak is broadening its offering to content providers and operators, as well as strengthening its range of technologies for content providers beyond umbrellaCDN, said the company.

umbrellaCDN, Broadpeak’s CDN selection solution, is on show in Hall 4. Available both as a service and as a product. The company claimed it allows content providers to always choose the most suitable CDN for delivering video content. It features the ability to display QoS information coming from the players, while providing detailed analytics and realtime audience data.

The company is also discussing with visitors how it sees consumer demand for video content on any device continuing to grow. Broadpeak believes virtualisation has emerged as the most flexible and cost-effective content delivery method for pay-TV services.

The company said that its software-based approach to video delivery allows operators to take advantage of the extensive benefits offered by virtualisation, including decreased hardware costs, resource optimisation, increased flexibility, simplified administration and more.

Broadpeak is supporting its position with demonstrations of its ‘CDN in a Box’ which it says dramatically simplifies the deployment of video streaming services. It does this by providing operators with cloud PVR capabilities, enabling operators to offer start-over, time-shifting, and catch-up TV, as well as impulsive recording, while only storing content once.

Also offered is BkM100 CDN Mediator v5.0, a unified CDN manager, with an enhanced GUI and new bandwidth optimisation features being showcased at IBC. These enable operators to limit the number of devices that can simultaneously access a service within the home, and to adapt the bit rate of streamed content to the type of device.4.B78

New origin server announcedBroadpeak

By Ian McMurray

Among the highlights of Cisco’s IBC presence are its virtualised video processing (V2P) solutions for the entire video infrastructure, consolidating multiple separate infrastructures into a single, cloud-based, virtualised solution. Also on show is the company’s offering in security for the virtualised video environment across the entire attack continuum, including video streaming, end point, network, data centre, web and email security.

Demonstrations of broadcast video production over IP are featured, as are programmable private and hybrid cloud

infrastructures for the media data centre to support secure, elastic, scalable and flexible workflow requirements. New business and monetisation models with Video Everywhere delivered as a service are also on show, together with advertising substitution and advanced viewer analytics.

The latest in home CPE leveraging HEVC/4K UHD, Wi-Fi, RDK-B, and Gateway architecture providing seamless in-home video and data distribution are also a focus for Cisco. The company is showing various third-party demonstrations that integrate Cisco media-centric hardware with virtualised software solutions, and which can accelerate media-implementation.1.A71

Virtualisation provides the focusCisco

Mid-power AM optionsBy Mark Hallinger

Two new models in the NX Series of AM transmitters are on show. The NX5 and NX10 operate at 5 and 10 kW of analogue power, respectively. Nautel said these two transmitters offer high efficiency (86% AC to RF) and a large suite of operational features for mid-power AM operations.

The NX5 and NX10 offer AM precorrection with excellent linearity, claimed Nautel. Other features include 1.8 MHz direct digital modulation, an RF spectrum analyser which displays spectral performance, and Smith chart displays which show complex antenna impedance under normal modulation in real time. The transmitters also feature Modulation Dependent Carrier Level (MDCL) control technology, which provides up to 30% additional power savings - five algorithms are selectable. Analogue and DRM

models are available, along with HD Radio versions for the Americas.

Nautel’s signature Advanced User Interface (AUI) is standard in the NX5 and NX10 and is locally or remotely accessible via a web browser. The AUI’s functionality includes built-in commercial grade instrumentation, full remote access, SNMP support,

instrument-grade spectrum and network analysers. It also offers realtime MER (Modulation Error Ratio) measurement, comprehensive monitoring and control including event logging, email and SMS notifications, backup audio via streaming and USB playout, presets and enhanced support services, including Nautel Phone Home.8.C49

Nautel



By Ian McMurray

CHILI is to acquire intelligent realtime data analytics and insight into its audience behaviour from Nice People At Work’s YOUBORA analytics engine.

CHILI is currently available in Italy, UK, Germany, Poland and Austria and looks to expand into other markets. Using the data provided by YOUBORA Analytics, NPAW believes CHILI will be able to make its future global expansions a success.

CHILI offers a wide variety of the most popular movies

and TV series over a large spectrum of smart devices such as smartTVs, Blu-ray players, home theatres, and smartphones, as well as other internet-connected devices such as PCs, Macs, tablets, Kindle Fire and Fire HD.

Thanks to YOUBORA Analytics, NPAW said that CHILI will be able to monitor and analyse viewers’ QoE and audience engagement: by using the collected data, CHILI will be able to track the performance of content delivery partners, find out the most engaging content for viewers, and gain clear insights into which technologies to invest in or integrate with.

Ferran Gutiérrez, CEO for

NPAW, said, “We feel proud to know that our platform has been helping CHILI to make smarter and more efficient business decisions, and supporting their core focus of providing their viewers with the outstanding video experience they demand.”

“This partnership demonstrates, once again, CHILI’s mission to continually improve the service offer and quality for our customers,” said CHILI’s president, Stefano Parisi. “On that basis, the tools provided by NPAW for realtime analytics and QoE are the best solution to analyse and monitor our service in a capillary way across Europe.”5.C45

CHILI chooses YOUBORANice People At Work

UHD slo-mo extends its range

By David Fox

The I-Movix X10 UHD ultra-slow motion system now offers increased dynamic range, enabling the camera to cope with widely differing lighting conditions, while reducing noise levels for sharper images. It also supports higher frame rates in continuous SSM mode.

There is also a new wireless X10 UHD RF system, for very high-frame rate, ultra slow motion in HD sports productions. It enables live and

replay operation using standard RF equipment, is lightweight and easy to operate, and is available with a choice of wireless camera back units, including Vislink’s Clip-On 4 or L1700.

To get the cameras closer to the action, I-Movix is offering a new configuration of its X10 Spine that integrates with Polecam’s lightweight jib arms.

The Ultra Slow Motion broadcast integration developed by I-Movix can now be combined with a Phantom Miro 320 high-speed camera from Vision Research, and can be used on a Polecam.11.E43

I-Movix

On course: The new wireless X10 UHD RF system from I-Movix

By Heather McLean

The latest single link 12G SDI 4K Tool Box is being showcased at IBC2015. According to Omnitek, it is the first test and measurement

provider to offer conversion, generation and analysis of Ultra HD and digital cinema signals, including 12G-SDI physical layer measurement. The Tool Box is aimed at manufacturers and systems designers, to help accelerate 4K product design.10.F30

Conversion, generation and analysis of UHDOmnitek

Automated production track star for podcastsBy David Fox

A new tracking system forms the basis for an entirely automated video recording tool that is particularly suited for e-learning and conference purposes. The multiCAM E-Learning system allows operators to easily produce podcasts and create videos through a single touchscreen interface. It can work with any PTZ camera, automatically

detecting and switching to the correct camera angle or slide shot. It then enables operators to easily produce podcasts and create videos by simply clicking on thumbnails.

Also on show is multiCAM Studio, an all-in-one system for live video production, using up to four cameras. There’s also multiCAM Radio, an automated visual radio studio that allows broadcasters to air live programmes 24/7 – it links audio and video content and permits broadcasters to deliver

radio on demand without human intervention.

The systems allow users to “quickly and easily, automatically or manually produce top-quality video content,” said multiCAM CEO, Stan Walbert.

Walbert added that the flexible technology is based on considerable experience in live production, and its latest products “can be integrated into a wide range of applications.”11.E40a

multiCAM systems

Power Performer: The PC server at the heart of the multiCAM Studio, radio and e-learning systems



Anamorphic ready for its close upBy David Fox

Cooke Optics’ new 65mm Macro Anamorphic/i 2x prime lens is making its debut at IBC, alongside developments in Cooke’s Anamorphic/i Zoom

lens and a major update to its /i Squared Technology metadata system.

The 65mm Macro anamorphic lens, which recently went into production, boasts a close-up magnification ratio of 4:1:1. It has a close focus of 13.75cm from the front of the lens,

which is almost unheard of in an anamorphic lens. According to Cooke, the key feature of the lens “is that its focus does not fall apart as it gets to macro focuses, making it ideal for close-ups and product shots.”

Cooke has been working on enhancements to its /i Squared Technology to provide more

detailed lens data to VFX and post production teams. The latest addition to the /i Squared firmware provides distortion mapping - not just a theoretical measurement of all lenses of a particular focal length, but of the specific lens in use. This new function will provide VFX teams with much more

accurate data to help them in the post process.

The new function will be available in lenses shipping from Q4, and older lenses with /i sensors can be upgraded with the new firmware for a modest cost, which is yet to be confirmed.11.D10

Cooke Optics

London HQ offers ‘leap forward’ suiteBy Ian McMurray

A new headquarters in London’s Vauxhall will allow Open Broadcast Systems to be closer to its customers in Central London and the rest of Europe. Based in a purpose-built video conferencing teleport, the new HQ provides space for corporate expansion as well as providing a showcase for

software video transport over IP in an actual broadcast environment.

The HQ has nine racks of datacentre space available, along with a steerable C-band dish and two Ku dishes. Diverse fibre paths are also available, allowing Open Broadcast Systems to offer a wide range of services such as broadcast colocation and other video transport services, allowing R&D improvements to be tested

and deployed in the real-world within minutes.

Kieran Kunhya, managing director of Open Broadcast Systems, said, “This is a leap forward for the company and will serve as a launchpad for a new suite of products and services. Customers can see software video transport in a real environment and continue to play an active role in the creation of new products in the Open Source ethos.”4.A61g

Open Broadcast Systems

Pawa to the EPG

By Anne Morris

TV data service provider EBS is showcasing its Pawa software at this year’s IBC. Pawa provides a multi-platform, multi-territory, scalable software solution that enables linear and non-linear EPG data to be aggregated, restructured and delivered to any platform.

Customers so far include BBC Worldwide, DStv, AMC Networks, Turner Broadcasting, BT Sport, Euronews and QVC.

The role of the EPG has grown as demand for content continues to increase. In the traditional linear world when channels and platforms need to aggregate and supply data for the EPG, there is a ‘create-once-distribute-many-times’ approach. The accessibility at any time of VoD content means that the traditional schedule information is no longer tied to the programme’s date or time of

viewing.Pawa accommodates

the full range of distribution requirements needed by today’s broadcast professionals enabling them to fully control the EPG data workflow. The company claimed it to be a reliable system that can drive both linear and non-linear data via a single database.

The software can import listings from a variety of formats, storing them centrally in preparation for distribution. Editors can then add any additional data required such as translations, editorial or extra metadata (such as images or cast) before the listings are delivered wherever required, including platforms, web, print, apps and more.

Pawa can be bought as a managed service whereby EBS handles the entire EPG data process, or as a software-as-a-service option with full training and support.14.B01

EBS

By Carolyn Giardina

Expanding its cloud-based services to address what it has dubbed ‘Digital Next’, Prime Focus is taking on challenges faced by the media and entertainment industry to meet the demands of the digital consumer. This includes a focus on building a connected enterprise and digital ecosystem, OTT capabilities, digital servicing, distribution and 4K.

This is the focus of its IBC stand, which includes demonstrations of its Clear Media ERP Suite, enterprise software for virtualising the content supply chain, and Clear Operations Cloud, for multi-

platform distribution. PFT said the latter offered

infrastructure powered by transcoders like Elemental, Rhozet, AmberFin & Digital Rapids. Content enterprises have the ability to choose the one that suits them and use PFT’s custom workflow orchestration to package and deliver.

Clear Operations Cloud also provides 4K support, including a 4K up-conversion module, using the Lowry image processing libraries. This is supported by GPU cloud computing infrastructure.

Addressing the complexities of distribution, with outlets including A-VoD, S-VoD and T-VoD, PFT also offers the Clear Distribution Cloud, which connects rights and sales order systems, helping to process

and service orders while offering governance around rights regime.

Ramki Sankaranarayanan, PFT’s founder and CEO, said, “The consumer behaviour change is increasing faster than ever before, making the entire content value chain and its players transform themselves digitally.

“Volume, discovery, platforms, devices, 4K, direct to consumer, engagement, speed, new monetisation and everything digital is a new normal,” continued Sankaranarayanan. “Media and entertainment enterprises cannot live in the analogue or choose to selectively be digital in this new era. There is a need to become hyper digital to face ‘Digital Next’ realities.” 7.B12

The ‘Digital Next’ StepPrime Focus Technologies

By Carolyn Giardina

The VS4Recorder Pro multi-camera recording software is being showcased, aimed at recording live multi-camera productions, such as concerts and sporting events, to create video assets that can be repurposed and archived.

Each VS4Recorder Pro system frame-accurately captures up to four video and audio files using a Matrox VS4

quad HD capture card, to create files for use with editing applications from Adobe, Apple and Avid and for archiving.

H.264 is provided in either MOV or MP4 wrappers. AVI files can be created using the Matrox MPEG 2 I-Frame codec. MOV QuickTime files can be created using DV, DVCPRO, DVCPRO50 and DVCPRO HD.

VS4Recorder Pro also functions as a multiviewer, including when monitoring interlaced sources on progressive computer monitors. 7.B29

Simplifying multi-camera event recording Matrox Video



Delivering the HbbTV promiseBy Anne Morris

A long-term, active contributor to the Hybrid Broadcast Broadband TV (HbbTV) community, Opera Software now claims to be leading the way by offering the first HbbTV 2.0 software development kit.

The company said the new version will allow broadcasters to provide their viewers with a new level of interactivity with their content.

Frode Hernes, VP of products at Opera TV and a member of the Hybrid Broadcast and Broadband Association, said, “HbbTV is a way for broadcasters to engage with viewers and to lead them to their online offerings, which keeps viewers from leaving the broadcast content.”

HbbTV 2.0 builds on HbbTV versions 1.1 and 1.5, which are already deployed in the European broadcast markets.

Opera’s HbbTV 2.0 SDK includes upgraded application management and APIs necessary to create fully HbbTV 2.0 compliant devices. TV manufacturers that integrate HbbTV 2.0 could deploy HbbTV 2.0 devices in early 2016.

HbbTV provides a uniform platform for content owners, defining a profile of HTML, JavaScript and other standards – including the means of streaming and rendering video content. This makes it possible for content owners to re-use the same applications on many devices on many platforms.

More important is the fact that HbbTV is the only modern standard that broadcasters can use to enrich their programming on the TV screen with interactive features. 14.E20

Opera Software

Star search: HbbTV enables broadcasters to enrich programming with interactive features



Seamless synchronisation between devices

By Ian McMurray

Front-end applications on a variety of devices, powered by Viaccess-Orca and Zenterio, are being showcased on the former’s IBC stand. The apps are said to provide a superior service to end users by offering a personalised and intuitive viewing experience for every screen.

Leveraging the company’s Voyage TV Everywhere solution, Voyage apps are claimed to enable seamless synchronisation between devices. Through the apps, end users can easily interact with content, quickly switching between a second screen device to the TV screen, in addition to viewing advertisements on second screens.

According to Viaccess-Orca,

service providers utilising the apps can effectively meet the expectations of today’s end-users, saving them time and energy by personalising the service and content offering to promote the most suitable content for each user.

Also highlighted in a series of live demonstrations is how Viaccess-Orca believes Voyage saves precious time for operators, including Telekom Romania and Olympusat, while enabling them to provide an engaging experience for viewers.

Using Voyage, Telekom Romania has deployed its new IPTV service and expanded into the OTT multiscreen world in five months. Voyage enables Telekom Romania to support features such as nPVR, simplifying management of STBs and DVRs while making content available anytime, anywhere.

Voyage is also powering

Olympusat’s new VEMOX end-to-end OTT cloud-based service, which delivers Spanish content mainly in the United

States and LATAM markets. VEMOX is cloud-based and the company said it quickly responds to market demands

and challenges while creating a secure, personalised, and consistent user experience.1.A51

Viaccess-Orca

In sync: Voyage has saved time for operators such as Telekom Romania and Olympusat

By Mark Hallinger

Merging the performance and reliability of its Flexiva air-cooled platform with the high-efficiency, liquid-cooled technology of its Maxiva TV and DAB radio transmitters, GatesAir is debuting the Flexiva FLX range of liquid-cooled transmitters for stations and networks operating between 5kW and 80kW.

The new range is engineered to remove heat from the RF plant in the most efficient possible manner, according to GatesAir.

The design incorporates a heat-to-liquid transfer that is considerably more efficient than air-cooled processes, especially at higher power levels. The process moves transmitter heat to the outside via a liquid-to-air heat exchanger with redundant fan systems.

Redundancy is a key design benefit across the entire

liquid-cooled architecture. To obtain maximum efficiency, the system, in most installations, integrates low-noise pump modules within the transmitter to further reduce its already compact footprint.

Two fully redundant cooling pumps operate in a closed-loop design, with auto-changeover capability in the event of a module failure to ensure proper and constant transmitter cooling. The pump and heat exchanger motors are speed-controlled to lower operating costs and provide optimum cooling performance over an array of weather conditions.

The liquid-cooled design is among the attributes of GatesAir’s PowerSmart 3D architecture, which the company claimed reduces carbon footprint and operating costs by as much as 50 percent overall.

When combined with PowerSmart 3D’s broadband amplification to enhance power density, broadcasters see the

additional benefits of reduced transmitter footprints, weights and rack space requirements, said GatesAir. 8.B20

Liquid cooling for FM and digital radioGatesAir

Quick ROI: Flexiva FLX systems help FM and digital radio broadcasters cut cooling costs and power bills

SIRIM chooses DTT lab facilityBy Ian McMurray

The Standards and Industrial Research Institute of Malaysia (SIRIM) has given Eurofins Digital Testing official accreditation to become the first lab facility for the Malaysian DTT broadcast service receiver specification, including the interactive HbbTV profile.

Malaysian Communications and Multimedia Commission (MCMC) mandates type approval certification for imported digital TV devices and has assigned SIRIM the authority to enforce these rules. This ensures that all imported DTV devices meet the DTT specification (SKMM MTSFB TC T004).

Eurofins Digital Testing is ISO17025 accredited to perform the DVB-T2 and HbbTV tests that conform to the SKMM MTSFB TC T004

specification. Testing time is minimised, the company said, by using the automated features of the Ligada iSuite for HbbTV test suite and test harness. The new DVB-T2 Malaysian DTT network is being rolled out by MyTV Broadcasting Sdn Bhd during 2015.

Andy Hickman, Eurofins CEO, said, “We have a long experience of providing DTT receiver conformance testing services globally for a number of networks. Our Ligada iSuite HbbTV tool suite enables our conformance testing services for the UK, New Zealand, Australian, Spanish and now Malaysian HbbTV roll-outs.”

According to the company, this latest offering further extends Eurofins Digital Testing’s portfolio of testing products and services designed specifically to meet the requirements of the DTT/HbbTV industry.5.B17

Eurofi ns



‘Building blocks’ for AoIP By Mark Hallinger

Two new products, MM01 for AoIP contribution/distribution and FlexDSR IRDs for audio contribution via satellite and IP, are the building blocks of a system that delivers quality and flexibility in any kind of audio contribution application, said 2wcom.

The MM01 is a new compact multi-role box targeted primarily at STL applications. It is designed for

versatility, providing advanced redundancy capability and monitoring functions, with the ability to integrate into diverse infrastructures. The MM01’s audio synchronisation, delivered to microsecond accuracy claimed the company, also makes it suitable for applications where precise timing is essential, such as SFN FM networks. Offering comprehensive support for audio codecs including AAC and E-aptX, the MM01 also supports dual streaming and Pro MPEG FEC – standardised mechanisms for overcoming IP

limitations when they occur. 2wcom’s FlexDSR02+ and

FlexDSR04+ offer a combination of capabilities in a 1U IRD for audio contribution via satellite and IP. The products feature versatile inputs for up to four different programs with analogue or digital output, a full regional insert solution, SIRC for

in-band control via satellite, and automatic weight balancing of quality parameters and program source switching (satellite, IP-line, ASI, SD card) in case of failure.

Also on show at IBC2015 is the FM2TS professional MPEG encoding gateway, an eight-channel FM to MPEG transport

stream IP gateway. It can be used to provide FM audio to cable broadcasters, or to stream eight FM channels to a quality assurance institution as part of an FM monitoring solution. The FM2TS can also be deployed as a solution for transmission to gap fillers or rebroadcasting. 8.E78

2wcom Systems

By Carolyn Giardina

The AdderView DDX30 has been launched by Adder Technology as its latest innovation in high performance KVM.

The KVM matrix includes 30 ports, which can be shared and flexibly scaled between users and computers, allowing users to programme pre-set configurations.

Jamie Shepperd, group marketing manager, Adder Technology, explained, “The key focus when we

designed the new AdderView DDX30, was to make sure that our customers’ voices were heard. This digital matrix product provides a pixel perfect, lossless matrix system for discreet workgroups.”

The DDX matrix is compact, has a choice of DVI and DisplayPort transmitters, and provides resolution up to 1920x1200 at 60fps with extension distances of up to 60 metres, via the switch, over a single standard CATx cable. It also features EDID management, full-speed USB, and a GUI with thumbnail displays of computer sources.

Adder is also showing the AdderLink Infinity Dual 2020, a dual head, single link digital KVM extender that forms part of the AdderLink Infinity matrix.

Also on display is version 4.0 of the AdderLink Infinity Manager (A.I.M), a centralised management system featuring a new hardware platform; AdderLink XD150, a 150 metre, single head DVI extender featuring high-speed DVI and USB extension; and Adder CCS-Pro4, a command and control switch for using up to four computers from a single keyboard or mouse.7.C30

AdderView DDX30 launches Adder Technology

By Carolyn Giardina

Blackmagic Design is showing its camera lineup, including its now available Micro Studio Camera 4K and Micro Cinema Camera – both of which can be used for point of view shots or attached to drones – as well as top-of-the-line URSA Mini with a 4.6K CMOS sensor.

The Micro Studio Camera is designed for live Ultra HD or HD studio productions, with connections for live broadcasts. The Micro Cinema Camera supports HD, 13 stops of dynamic range, and up to 60 fps. Both accept Micro Four Thirds lenses.

For those working on features, TV series, commercials or indies, Blackmagic is highlighting its URSA Mini, a compact Super 35 digital film camera with a switchable global or rolling shutter, up to 15 stops of dynamic range, a large 5-inch fold out viewfinder and dual RAW and Apple ProRes recorders.

Consumers can choose either EF or PL lens mounts and 4K or 4.6K image sensors.

The company is also showing a related URSA Viewfinder for this camera, with a 1920x1080 colour OLED display.7.H20

Blackmagic Design

Cameras big and small

Free version of Catapult now available

By Carolyn Giardina

XDT is showcasing the latest version of Catapult, and also releasing a free version that includes unlimited clients and server bandwidth of up to 25Mbits.

Erik Otto, CEO, XDT, said,

“We are excited to make a free version of Catapult available. Customers without the budget to invest in proprietary transfer applications or who resort to FTP based systems will now have free access to fast and secure technology to meet their growing high-speed data transfer needs.”

XDT’s Catapult technology was created to deliver

high-speed point-to-point performance by using standard LAN and WAN networking infrastructure.

Features include a software-based data transfer application that works over any existing WAN and LAN network, support for Windows, Mac OS X and Linux, as well as customisation tools.7.J07

XDT



Networking

Any Device

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By David Fox

Canara now has a complete range of LED lights for broadcast use, including: 200W and 400W LED Fresnels, 90W and 180W LED Panels, a 150W LED Cyclorama, 125W LED Remote Phosphor, 60W LED ENG kit, 54x3W and 36x3W LED PARs, LED Moving Head, and LED Zoom Profile.

The 150W LED cyclorama fixture is claimed to provide an almost even painted surface without any hot spots, in thousands of different shades (via a DMX console), with colour temperatures from 2700K to 6500K. It is available in symmetric and asymmetric beam versions, offering CRI 90+, flicker free lighting, with DMX and manual 0-100% dimming, and power looping.

The 200W LED Fresnel comes in 3200K and 5600K versions, outputting 72,120 Lux at 1m Spot, with a beam angle of 10° to 50°, and dimming 0 to 100% through inbuilt dimmer, with a uniform spread across the entire beam from spot to flood. It has noiseless active cooling and is designed to replace a 1000W Halogen Fresnel.

The 90W LED Panel comes in 3200K, 5600K and bi-colour versions, in spot 30° and flood 60°, with integrated dimmer, in manual and pole operated versions. It replaces 480W cool lights.

Canara’s 60W LED ENG kit contains three lighting fixtures (daylight or tungsten outputting 1300 Lux at 2m, with electronic dimmer), stands and barn doors plus a wheeled carry case. Battery backup is an option, and it replaces a 300W Halogen ENG kit.11.B62

Lighting LED by demand

Canara Lighting

LED line up: Canara’s new 90W Panel, ENG kit and 200W Fresnel



Missing IABM winnersCorrection: production gremlins denied some winner mentions in our Sunday issue story on the IABM Awards. Suitcase won the acquisition and production award for its IPHRAME Vision Remote centralised software tool. Used for live streaming, it operates globally via internet connection. Also, in post production the winner was Marquis Technology. EVS took the award for content and communication Infrastructure.2.C10

New console, reference monitors and mic mixerThe Vista 1 Black Edition has been introduced. The Vista 1’s look and feel is identical to that of its larger sister models the Vista X and Vista V. Features include true broadcast monitoring, talkback, red light control, GPIO, N-x (Mix Minus) busses, snapshot automation and DAW control. Harman’s JBL Professional has announced that its new 7 Series master reference monitors are in production and now shipping. Developed to meet the requirements facilities producing content in immersive audio formats, the LSR708i and 705i master reference monitors are designed to be the centre of a complete, modular system that can be scaled to any size production room and any number of channels.Another Harman company, AKG, is expanding its line of reference digital microphone mixers and offering more connectivity options with the new Dante compatible DMM8 ULD and DMM14 ULD models. 8.D60

Modular encoderThe new NXT 445 streaming encoder from Ensemble Designs is debuting at IBC2015. This high quality MPEG-4/H.264 encoder takes 3G/HD/SD SDI and delivers simultaneous IP and DVB-ASI streaming outputs. A web-enabled control port makes it easy to configure and monitor, or a user can access a live view front panel display and menu system for local control. The base NXT 445 also includes dual built-in TSGs, TCP, serial remote control and support for the 5835 Action Panel. 8.B91

In Brief We are all Screenagers


“Digital first is not enough – the whole media industry has to move to a mobile-first strategy,” urged Eric Scherer, France Télévisions in the session ‘Relentless Rise of Mobile: Opportunity or threat for the TV industry?’

“The most important screen is the one you have in your pocket. Mobile is not just a new distribution channel for traditional broadcast content. It is a world of contextualisation and personalisation. It is not a technology, it’s a behaviour. And while millennials do prefer the mobile screen in reality mobile changes everything. We are all Screenagers.”

Mobile video traffic may be growing exponentially driven by short form, social media ad streaming apps like Facebook Live

and Periscope but this doesn’t mean TV should be sidelined. By 2020 the average time a person spends watching video will increase to seven hours a day including on the living room set.

“People want to watch great TV on the best screen that’s easily available to them,” said Jon Block, EMEA VP of Product and Platform, Videology. “The challenge is how we allow advertisers to plan across multiple media including TV and mobile.”

The convergence of TV and mobile will “deliver the most powerful marketing combination we have ever seen,” said Block.

Conference Analysis

Eric Scherer: “The whole media industry

Datos Media acquires VANTeC

By Mark Hallinger

Madrid-based Danmon Group company Datos Media has announced the acquisition of Portuguese systems integrator VANTeC. Based in Oporto, VANTeC has more than 20 years of experience in designing and integrating virtual studios, robotic cameras and realtime 3D graphics.

“VANTeC products and services blend in very effectively with our existing range of equipment and capabilities,” said Tomas Nielsen, CEO of Datos Media. “Combining our respective skills through this acquisition enables us to give media organisations and creative professionals wider choice, greater flexibility and higher operational efficiency.”

Nielsen added that VANTeC will now have access to the expertise of Datos Media,

including experience in studio systems integration, post production workflow management and broadcast-quality digital content archiving.

“We have established a strong presence in the Portuguese broadcast sector,” said VANTeC MD Alex Roriz. “Becoming part of the Danmon Group strengthens both our visibility in the international media marketplace and our ability to provide complete creative solutions. This blends in well with the increasing demand for fully integrated systems operating under a single unified user interface.”8.B51

ATG Danmon

(From left) Tomas Nielsen of Datos, Alex Roriz of VANTeC and David Martinez of Datos

New multiscreen platform

By Anne Morris

First-time IBC exhibitor Massive Interactive is showcasing its newest multiscreen entertainment platform, Massive Axis, in Hall 14 this week.

The company said the platform is the culmination of six years of research and development, bringing together the most commonly required use cases of its technology.

Massive Axis functions as a server-side user-interface management and orchestration environment, allowing the integration of the UI/app layer and the online video platform (OVP) and ensuring interoperability between the two.

According to chief executive Ron Downey, in the current

binary world of server/client and OVP/app builder, Massive Axis is designed to bridge the gap to enable the creation and management of apps on the server side.

“As a result, Massive Axis ensures greater ROI by increasing speed to market and guaranteeing vast app scalability for our clients’ VoD and OTT offerings as they roll out new services to demanding audiences at an accelerated pace - and in an increasingly competitive environment,” Downey added.

Massive already supports existing customers including Deutsche Telekom, Channel 5, Bell Media and Sony Pictures Television, and plans to roll out the new platform to these clients. 14.K17

Massive Interactive

Massive Interactive’s Max Ramsay, CTOO (left), Ron Downey,

Next-gen networked audio

By Mark Hallinger

System T is a new fully networked broadcast audio production environment. It has been designed from the ground up to provide the power to handle large-scale productions in a ‘multi-platform delivery’ driven future, said SSL.

A range of hardware and software control interfaces can be placed anywhere on a network with up to three consoles or control interfaces accessing a single or fully mirrored redundant pair of processor cores. Multiple processor cores can be used on a single network. Control

interfaces and processing resources can be re-configured to suit daily requirements.

Routing and I/O is Dante based with System T featuring the first consoles to use the new Dante HC (high channel) connectivity. SSL’s newly expanded network I/O range puts SSL audio quality Stageboxes and interfaces wherever they are required in a facility.

“System T is a technology at the beginning of its life,” said Antony David, MD of SSL. “It’s a comprehensive and forward-thinking approach to broadcast audio production that enables broadcasters to plan for the future, and adapt in the future.”8.D83

Solid State Logic

By George Jarrett

In a move to protect the huge income the British exchequer earns from the film industry, the government has agreed to fund the year-long project CISE for establishing a content security

protocol and accompanying software tools for VFX post production.

The founding partners – Digital Negative, Moving Picture Co, Framestore, Milk and Sohonet – will conduct the research required for an automated system that will protect content from all clients, many of whom have different security requirements.

CISE move


HDR chip sets to delay UHD servicesBy George Jarrett

The chips really are down for the DVB UHD Phase II effort in terms of what it contains and when it ratifies. The wait for ITU-R RG 24 to settle the HDR standard is far from over. The latter – essentially SMPTE PQ and the NHK/BBC Log DASH Gamma system – became three when Philips put up a late system proposal that resembles the PQ system.

Can the industry Merlin David Wood, DVB UHB module chairman, cut through these barriers?

“We have two groups of members. One wants to start services that include HDR in 2017. Can that target be achieved? The other believe we need something more to be commercially successful, and that is HFR,” said

Wood.“But to make HFR work we

need decoder chips that are more complex than what we have, and they will take time to develop,” he added. “Nevertheless group two believes it is worth waiting and they are betting on 2019 or later for their services.”

The next generation audio system (NGA) is the second hot topic. “We hope that can be developed technically fairly quickly, but within the DVB there has always been three proponent groups. How that plays out is a question for the technical module next year,” said Wood.

On the issue of toolbox or set of tools and ITU-R G 24, he said: “Sometimes you may not have a choice because it is too difficult to reconcile the different commercial interests.

“OOTF (opto optical transfer function) came up in ITU discussions as a way of allowing different systems to fit in the same framework,” he added. “But within that would still be many system differences around OETF (opto electrical transfer function) and EOTF( electro optical transfer function) between the SMPTE, NHK/BBC, and Philips systems.”1.D81

David Wood: “To make HFR work we need decoder chips that are more complex than what we have”

By Chris Forrester

An in-depth examination of the likely progress for codec development, and what could replace HEVC on the current road map, occupied panelists at the IBC ‘Breaking the Codec’ session. Panelists discussed the merits of some recent ‘free’ codec suggestions (from the Open Media Alliance) but the overwhelming view was that this would stifle R&D, and could only lead to a field day for lawyers as IP-patent holders argued over usage.

The trends were clear, stated Tony Jones, head of technology/TV compression at Ericsson. “MPEG-2 has been around for 20 years and every year improvements are made. We wouldn‘t be doing this if the MPEG-2 equipment was no longer in use, but the fact is there’s a huge legacy out there.”

Matt Stagg, principal strategist at cellular operator EE, showcased a recent trial with a new compression offering, V-Nova’s Perseus system, and which delivered flawless Ultra HD signals to urban and thinly populated areas at 6 Mbps. Stagg said that EE were now working

with V-Nova on developing the relationship. “We champion any innovation where we can see clear benefits to us and our customers.”

Eric Achtmann, executive chairman of V-Nova, said broadcasters and operators already had a huge problem dealing with ever-increasing capacity demands. “We recognise that current codec improvements are delivering a two-fold capacity improvement every five to seven years, but demand is growing at 20-fold – and there’s a huge disconnect which needs addressing.”

He argued that demand for bandwidth was not going to be satisfied by these incremental improvements. A new paradigm was needed. “The installed base represents a huge elephant in the room. Smart phones have proliferated over the past four years, and the TV industry is still deploying 200 million set-top boxes annually. The USA is investing $1 billion every 10 days in extra bandwidth capacity and upgrades.”

Achtmann said that Perseus offered huge savings, in capacity usage as well as costs. “Of course, there’s no such thing as a free lunch. There has to be innovation with R&D being funded and shareholders satisfied.”

Breaking the codec log-jamConference Analysis

By Kate Bulkley

The founder of the Belfast-based emotional response production company Sensum thinks that the entertainment industry is ripe to embrace bio-feedback tech. “The entertainment industry has an incredible opportunity,” said Gawain Morrison, co-founder of Sensum. The company’s products can capture and display participants’ emotional responses to a contest or an activity, like measuring bikers’ heart rates during a motorcycle race.

Morrison said that there has been a misunderstanding about the value of biometric data in entertainment but that is set

to change with the avalanche of wearable technology using common software. This allows emotional response data to be moved around from a smart watch to a smart TV to a stadium screen.

“The Bluetooth communications for biometric transfer have opened up and the software platforms have opened up. We have an SDK for Android and for IoS in the next six months that allows people to build creative interfaces and apps and interactive game play or whatever.”

And Sensum has the analysis tools that can help interpret the data. “Wearables won’t work for everything but it’s part of the new world of entertainment

and audience engagement,” said Morrison. “It could be phenomenal for current affairs, like a political debate show, or entertainment shows like XFactor or I’m a Celebrity where you are looking for audience response or even getting insight into what the people on stage are feeling as well. You’d be able to pick up on all the biometrics.”

An emotional response

Gawain Morrison: “The entertainment industry has an incredible opportunity”

By Mark Hallinger

The new 8351 acoustically coaxial three-way Smart Active Monitor (SAM) system was developed in response to the need for increasing audio perfection in acoustically challenging production environments. According to Genelec, it marks a step forward in active monitoring and features advances in audio driver technology integrated into a sophisticated enclosure design.

The 8351 borrows its size attribute from Genelec’s

established 8050 and features a compact footprint for a three-way monitor. The centre of the 8351’s enclosure features the minimum diffraction coaxial midrange/tweeter driver evolved from the 8260.

Also new is the 1234 Smart Active Monitoring (SAM) System, designed to achieve accurate and powerful sound reproduction in demanding recording and mixing environments.The 1234 SAM System provides quality, well-controlled directivity and neutral sound reproduction and is supplied complete with a RAM XL (remote amplifier module). 8.D61

Making monitoring smarterGenelec

Solo encoder onlineBy Will Strauss

A new plug and play live streaming bonding product for the online media market has been launched by LiveU. Solo, designed to work with web streaming workflows, connects automatically to Wowza Streaming Cloud, the

cloud streaming service and a number of other CDNs, OVPs and YouTube Live. The encoder is built around LiveU’s existing bonding technology and its integral LRT (LiveU Reliable Transport) adaptive bit rate and forward error correction protocol and can be managed and controlled remotely via a web interface or smartphone.

LiveU ceo Samuel Wasserman

LiveU

said: “LiveU Solo is set to create a new standard in the web streaming space. Our goal is to offer an integrated and much more powerful solution to sports and other vertical markets.”

“LiveU Solo is a cost-effective way to send video over the web to Wowza Streaming Cloud,” added ceo and co-founder of Wowza Systems David Stubenvoll.3.B62

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GTC founder Hibberd diesBy David Fox

Richard ‘Dick’ Hibberd, founder of the Guild of Television Cameramen (GTC), its Honorary President and Member No. 0001 has died, after an extended illness.

Having started as a film cameraman, he became a BBC television cameraman at Lime Grove in the 1950s, later moving to ITV, including spells as head of cameras of HTV and technical supervisor at Thames TV, which is where he had the idea of forming an association of television cameramen and founded the GTC in 1972. The Guild has

since grown to more than 1100 members, mostly UK-based but with many overseas members.

Hibberd had established the GTC’s aims as: providing networking opportunities and exchange of professional expertise; to help camera manufacturers to optimise the development of end-user friendly camera products; to uphold craft standards; and to promote respect for and recognition of the skills of cameramen.

It has been successful in this, with annual awards, regular free workshops, and magazines (including Zerb, which can be picked up at the GTC stand at

IBC – corridor between Halls 8 and 10). The Guild has evolved with the times, particularly the move of most members from staff to freelance and new ways of working, and Hibberd remained active and engaged with the GTC as its Honorary President until the end.

Dick Hibberd 1929–2015

By Ann-Marie Corvin

Broadcast vendors NewTek and Vitec say they are radically rethinking a market that has seen the price of kit fall and the number of units go up. During a lunchtime session on commoditisation, the aptly titled ‘Who is Eating Your Lunch?’, NewTek president Dr Andrew Cross said the manufacturer was currently looking at ways “to drive down product cost and increase volume and maximise profit.”

Tripod and camera accessory outfit Vitec is also rethinking the market and its CEO Matt Danilowicz acknowledged that there was a huge disparity between the price of cameras

and the price of tripods and lenses — which have largely remained the same.

“Content creators no longer have a professional purchasing agent for 100 tripods. They are looking for better value, a different proposition.

He added: “We are trying to embrace this new generation of content creators so that our lunch doesn’t get eaten. We realised that if you are not offering exciting new products you would get swallowed up quickly. A great historical brand will not carry you through.”

Danilowicz added that in the past they had tried to safeguard their products through IPR but that “it’s a really tough, lengthy process and things are moving too fast.” The only answer, he added, “is to innovate fast.”

Nino Leitner, an independent content producer, added that there were future opportunities for vendors who wanted to capitalise on the ubiquity of the DSLR. “Picture quality has not yet been matched by audio quality – especially in feature films. If a manufacturer can find a way to capture professional audio without having someone run around with a sound boom they will be winners.”

Leitner added that commoditisation has enabled producers to tell stories they wouldn’t have been able to achieve in the past. “It allowed me to blend in with the crowd while filming a Syrian refuge in Hungary last week. I could see history rolling in front of my eyes without having to worry about tape stock.”

Only answer is to innovateConference Analysis

By Heather McLean

TVLogic is exhibiting two new 12 GB single link SDI monitors for production and post production use. The LUM-170G and LUM-240G are respectively 17-inch and 24-inch 4K monitors suitable for Ultra HD workflow. The LUM-240G features a 3840 x 2160 resolution screen with a wide viewing angle. The LUM-170G has an Full HD screen in a compact and robust case to display Ultra HD, 12GB signals on-set. Both monitors can be powered from AC mains or DC battery supplies.

Andrew Sunwoo Kim, director for the international sales department at TVLogic, commented that the LUM-240G enables people checking and editing 4K files to have 1:1 pixel mode or single mode, also defined as ‘zoom mode’ so that users can select one quadrant of

the screen to see the 4K image enlarged for detailed checking, a feature unique to TVLogic.

Also, TVLogic has upgraded the TMV-4000G plus LUM550M package. The TMV-4000 is a multi-viewer taking up to 24 channels of HD inputs and

that outputs a 4K mosaic. This means that users can have preview and transmission in native resolution and still have twice the resolution for the remaining channels that they would get from an HD multi-viewer.

In the HD realm, IBC is the first European exhibition showing the LVM-170A, TVLogic’s latest full HD 17-inch monitor, with 1920x1080 resolution and a true 16:9 display. A 12 bit driver ensures excellent colour accuracy. This is the first TVLogic monitor to feature tools for audio loudness measurement and logging.10.D26

Ultra HD monitor updateTVLogic

Andrew Sunwoo Kim: zoom mode is unique to TV Logic

Welcome the Grand Master

By Heather McLean

A new master sync generator that supports incremental migrations to IP-based video infrastructures, as well as supporting traditional SDI-based video, has been launched by Tektronix.

The new high performance SPG8000A hybrid master sync generator comes standard with multiple independent black burst and HD tri-level sync outputs that meet the synchronisation needs of traditional baseband video broadcast or production facilities.

The instrument also incorporates an optional, field-upgradeable IEEE 1588 Precision Time Protocol (PTP) grandmaster clock that enables precise synchronisation of IP-based production workflow.

Paul Robinson, CTO video at Tektronix, commented: “In the

production IP world, you can’t do anything without one of these devices as if the video isn’t tied together in time, you can’t do anything, which is why we’ve spent so much time working on this product so early in the day for ST2059. The SPG8000A is the world’s first production quality PTP grand master and SDI hybrid reference generator.”

The SPG8000A hybrid master sync generator is being used in the EBU Sandbox LiveIP Project demonstration and also on the EVS and Cisco live IP-based remote production demonstration, both going on at the show.

Robinson stated: “There is a lot of IP kit here at IBC that doesn’t actually work. We had the prototype one year ago and deployed it with different industry bodies so we could learn, share experiences and develop it for broadcasters, as they need a product that actually works.”10.D41

Tektronix

By Heather McLean

The broadcast industry’s move towards IP is set to aid in the monetisation of the audience, claimed Trilogy Communications sales and marketing director, Ewan Johnston. IP is able to greatly reduce production costs and increase efficiencies.

“This is about creating more specific content at an affordable price. If you can reduce production costs with IP, you can do more, and IP will allow broadcasters to do that.”

Johnston noted IP allows broadcasters to shrink content capture costs as well as enabling the use of efficient centralised control, so eliminating the need for OB vans. He added: “Broadcasters are then able to go

to more events and still produce a lot of content, while addressing more niche audiences.”

Trilogy has launched its new VoiceFlow communication unit, and is featuring its Gemini II distributed matrix intercom system. Also, Trilogy’s Gemini, IP panels, and Virtual Panel application for the Android platform, are being used in the Sandbox LiveIP Project.10.A29

IP to aid monetisation of audienceTrilogy Communications


Stepping down, but not out!By Chris Forrester

Peter Owen, chairman of IBC’s Council for the past 15 years, is stepping down. But he will continue coming to the show.“I’ll be back next year and for many years afterwards. IBC is not seeing the back of me just yet. I especially want to be back for the 50th Anniversary show in two years.”

Owen, a founder member of Quantel, admits he has seen more than a few changes over the years since he first attended IBC back in 1970. “What has surprised me most is the rise of smartphones. They have affected broadcasting in so many ways, not least in the discussion as to how to get content onto the devices. To this day that discussion continues.

“The other fact is how wonderful today’s broadcast images are, and this doesn’t

include Ultra HD ones, which are spectacular. Sit in a darkened lounge and the images are quite fantastic, and perhaps as an industry we should shout about that a little more.”

As to the next five to 10 years, Owen said he is blown away by the new Ultra HD screens. “And NHK’s Super Hi-Vision screens are totally amazing. I am pragmatic

about viewing distances from the display.

“One aspect that hasn’t happened is the domination of the living room by a single screen. I am not sure there’s a role for one large ‘super’ screen to the exclusion of the smaller devices.

“The industry always innovates,” Owen concluded. “And there will always be a role for IBC.”

Peter Owen: “IBC is not seeing the back of me just yet!”

By George Jarrett

Industry veteran Tom Wragg has joined the Association for International Broadcasting (AIB) as its director of development, and after a two-year break from IBC, he said: “There are a lot of new players, and quite a few of the old companies have changed considerably to stay relevant.”

AIB is made up mainly of broadcasters, plus some media companies and vendors. It was founded in 1993 around broadcasters who, at that time, had international services.

“Over time technology has changed so radically that every broadcaster is now a potential member,” said Wragg. “We have a lot more broadcasters than technology companies but I am trying to get more vendors involved with AIB. We were also hoping to partner with the IABM on training and we are involved in talks.”

AIB has a qualified list of 26,000 contacts. It offers market intelligence to members, and lobbies on campaigns like

journalistic issues. What does Wragg take from

IBC this year? “We work so much with

members we realise that they do not want to think about the technology. Interoperability is about making it easier.

“Content producers face enormous challenges dealing with fragmented markets and fragmented financial structures and broadcasters now have direct relationships with consumers. Technology needs to be easy and IP offers that. At IBC, I have had a lot of conversations with vendors who really understand that.”

Technology must be easy, says AIB new boy Wragg

Tom Wragg: “Content producers face huge challenges”

Satellite on schedule

By Ian McMurray

Es’hail-2, Es’hailSat’s second satellite, has cleared its Critical Design Review (CDR), permitting the spacecraft to move into the assembly phase and remain on schedule for a Q4 2016 launch.

Mitsubishi is building Es’hail-2, a high-performance satellite that will be positioned at the 26 degrees East hotspot position for TV broadcasting. Es’hailSat said that the new satellite will significantly add to the company’s ability to provide high quality, premium DTH television content across the Middle East and North Africa.

Es’hail-2 will have Ku-band and Ka-band capabilities and will provide TV distribution and government services. Moreover, the company says the satellite will provide the first Radio

Amateur Satellite Corporation (AMSAT) geostationary communication capability that connects users across the visible globe in one single hop and in real time. It will also allow the AMSAT community to validate and demonstrate their DVB standard.

“Passing Critical Design Review validates that Es’hail-2 will meet our requirements and perform as expected for our stakeholders and customers,” said Ali Ahmed Al -Kuwari, Es’hailSat ceo. “We are moving forward with our satellite build program with MELCO.” 4.B74

Es’hailSat

Ali Ahmed Al-Kuwari: Es’hail-2 is expected to launch Q4 2016

By Ian McMurray

Subtitle transmission system Polistream now has Virtual Machine, Bring-Your-Own-Device and OPEX Rental options, its developer Screen Subtitling Systems has announced.

Screen’s Polistream Black system has remained a mainstay solution in broadcast as a premium subtitle delivery system

since its launch, according to the company. Revolutionising the company’s Blue system, Black employs what the company says is an energy efficient universal 1U unit and an array of software modules and internal cards.

“Polistream is still considered to be a superior product in the market in terms of quality of output, reliability and flexibility,” said Gary Glover, Screen’s acting MD, “but we have had to consider the way the solution is supplied to accommodate the radically

New usage optionsScreen Subtitling Systems

changing ways our customers now operate.”

Following a period of customer consultation, Screen says it learned that the presence of additional hardware on-site – the 1U Polistream unit – was becoming a sticking point with some customers. “We’ve had no doubt for years this was going to be the case, but we wanted the time to be right to release the extended options,” said Glover.

Both Screen’s new Virtual Machine and Bring-Your-Own-Device optionson offer a solution to IP-based systems for DVB playout, transcoding and retiming of subtitles. 1.C49

By David Fox

The tiny IO Industries 4K SDI camera has received several updates at IBC. It now supports the Camera Corps and TV Skyline remote control panels as well as anamorphic lenses using Convergent Design’s Odyssey 7Q and 7Q+ external recorders.

Both RCPs give full control of focus and iris for Canon EF lenses,

and all the standard camera functions, while the Odyssey does de-squeeze in the monitor, so that what you see is what you get, “although a lot of people would record the full image and do a de-squeeze in post,” said Adam Little, IO’s sales manager.

The 4K SDI is being used for virtual reality (360º) rigs, using eight or 12 cameras per system. “That’s been

Compact 4K SDIIO Industries

our biggest marketthis year’ he added. The camera is also being targeted at broadcast sports as it offers 50/60p in both UlHD and 4K in a tiny package. The camera has a Super 35, global shutter CMOS sensor, outputting 4:2:2, 4:4:4 or Raw, “so you can plug it into whatever you want.” 11.D67

Putting the squeeze on: Little with anamorphic 4K SDI camera and Odyssey 7Q+

Find out more at www.aja.com or visit us at IBC, Stand #7.F11

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Integration

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ibc2015 daily d5 tuesday 15 september

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