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August 2013 | broadcastengineeringworld.com 3

TABLE OF CONTENTS

VOLUME 55 | NUMBER 8 | AUGUST 2013WORLD EDITION

IBC201330 IBC product preview

What’s new and what’s hot? Check out more than 100 products that will be demonstrated at the IBC Show.

M1 IBC exhibit hall map

Make every step count as you navigate the massive show fl oor. Find our map inserted at the back of this issue.

FEATURES26 Today’s digital newsroom

Newsrooms today have to be fast to keep relevant.

BEYOND THE HEADLINES

DOWNLOAD

6 SOA for broadcasters

Business tools meet media as demands for service grow.

TECHNOLOGY IN ACTION

12 Channel branding

Coming up next: an easier way to attract loyal viewers to your channel.

DIGITAL HANDBOOK

TRANSITION TO DIGITAL

16 Storage and

workfl ow

Find your assets with proper data organization.

COMPUTERS & NETWORKS

19 ABR streaming

Learn more about this innovative way to deliver content over IP links that vary in quality over time.

PRODUCTION ROOM

22 Seamless

Channel

Insertion

� e technology simplifi es multiplex management.

NEW PRODUCTS & REVIEWS

FIELD REPORT

45 Panasonic’s AG-HPX600

� e camera off ers many options to create custom workfl ows.

TECHNOLOGY IN TRANSITION

48 Data storage tools

Broadcasters can use these to store Big Data effi ciently.

DEPARTMENTS

4 Editorial

50 Advertisers index

30

ON THE COVER

Our IBC Show coverage begins this month. We have the latest offerings from the industry here so that you can start building your shopping list. And, don’t forget our exhibit hall map; your feet will thank you!

6

12

CHECK IT OUT!We’ve added new interactive features and content to our Digital Edition! Look for the icons on this page to fi nd out which articles have these special functions.

DIGITAL ED

ITIO

N

45

308bew02-DE.indd 3 8/2/2013 3:48:47 PM

4 broadcastengineeringworld.com | August 2013

EDITORIAL

DEPARTMENT

I recently went to visit a new broadcast operation shortly before its on-air launch. � is wasn’t a broadcaster, but a telco, and the program playout is by a service pro-vider that is just being acquired by a supplier of telco

equipment and services (Ericsson). So where is the broad-cast expertise coming from, or is it still even necessary?

� e operator, BT Sport, is a new UK sports network. It is using some well-known production companies for pro-gramming and a facilities company to run the operation. � e sales operation is outsourced to another broadcaster, all proving that you don’t really need to be a broadcaster to broadcast.

Companies such as Netfl ix and YouTube have already shown that on-demand content can be delivered by a company with the knowledge to run global content delivery networks, and that is more of an IT issue rather than broadcast. BT Sport, in contrast, is airing live sports.

So what is a broadcaster? From the public’s point of view, it is a brand for some channels. � e brand is indicative of the genre and format of programs that it carries. Who runs it, who commissions, who sells air-time and who delivers the channels is of no interest to the public; they don’t care. It’s the brand that’s the thing.

New entrants to the business of channels and brands come with a fresh approach. � ey haven’t kept transmit-ters on-air through hurricanes, seen spots lost through VTR head clogs, dealt with cra� unions and acquired all the decades of knowledge from monochrome to color to HD broadcasting.

For the new entrants, it’s all about the brand, buying rights, syndicating, sales — the business of broadcasting. � e rest is an IT issue, possibly to be outsourced.

Is it the end of broadcasting as we know it? Of course not. � e public still watches the big broadcasters for most of their television entertainment; Internet viewing is still a small proportion of viewing in all the surveys. Over 50 or more years, broadcasters have accumulated a huge knowl-edge of how to run brands and how to acquire popular programming. � e unknown is how they will adapt to multiplatform delivery and how much of the audience new entrants such as BT Sport as well as Netfl ix and YouTube will take from the legacy brands.

The fragmentation of viewing to new platforms, and new entrants to the busi-ness, means that viewing is split between ever more media companies. Yet the advertising cake is not growing apace, so the slice gets thinner per broadcaster. Subscriptions rep-resent another revenue source, but there is a limit as to how much the public will pay for triple play/channel bundles or pay-per-view. � e result: Air more content for less revenue. � e answer is to fi nd more effi cient and less costly ways to broadcast. Program makers also feel the pressure and must be more cost-eff ective in a tightening market.

Where does that leave broadcast engineers? � e forward-looking engineers will be morphing into IT

engineers with a specialty in broad-cast operations. � ey will become someone who understands audio and video. Broadcast engineers will become the bridge between the creative types and the network and storage specialists, the traditional IT engineers.

The business is not evolving wholly to run on a computer sys-tem. � ere is all the paraphernalia of live production: lenses and cam-

eras, lighting rigs, camera support, wireless links and microphones. Much of this equipment may use embed-ded computers, but they are essentially video and audio equipment, not data processors. I am reminded that digital microphones exist, but you have to search hard to fi nd them in use. An analog signal comes out of the micro-phone. In the stagebox? Ah, that is a diff erent story. BE

What is a

broadcaster?

DAVID AUSTERBERRY, EDITORSend comments to: editor@broadcastengineeringworld.com

For the new entrants,

it’s all about the

brand, buying rights,

syndicating, sales

— the business of

broadcasting.

308bew03-DE.indd 4 8/2/2013 2:07:07 PM

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6 broadcastengineeringworld.com | August 2013

DOWNLOAD

BEYOND THE HEADLINES

Broadcasters have many challenges as the media business evolves, driven by new consumer devices

and the increase in mobile viewing. National broadcasters are facing more competition from global op-erators. New entrants like YouTube and Netflix have changed the VOD landscape. Broadcasters that once aired one channel now air a mul-tiplex of linear channels, as well provide catch-up and mobile servic-es. Summing up, broadcasters must deliver to more platforms, linear and on-demand, in a more competitive business environment.

To meet these challenges, a busi-ness must become more agile. Many other sectors have faced similar challenges, and part of the solution for many has been to turn to new sofware applications, particularly business process management (BPM) and the service-oriented architec-ture (SOA). Although each can be used stand-alone, BPM and SOA are frequently used in concert as a plat-form to improve the performance of a business.

Operations that use videotape were constrained by the need for manual handling, but as content migrates from videotape to digital files, the way is open to use IT-based methodolo-gies, including BPM and SOA, to aid broadcast operations.

What is SOA?

SOA is a design methodology for sofware systems. SOA is not a prod-uct, but an architecture to deploy loosely coupled software systems to implement the processes that deliver a business workflow. SOA provides a more viable architecture to build large and complex systems because it is a better fit to the way human activity itself is managed

— by delegation. SOA has its roots in object-oriented software and component-based programming.

In the context of the media and entertainment sector, SOA can be used to implement a “media factory,” processing content from the production phase through to multi- platform delivery.

Legacy broadcast systems

Traditional broadcast systems comprise processing silos coupled by real-time SDI connections, file transfer and an assortment of control protocols. Such systems are optimized for a specific application and may pro-vide a good price/performance ratio with high efficiency.

SOA for broadcastersBusiness tools help meet growing service demands.

BY DAVID AUSTERBERRY

Te tight coupling of legacy sys-tems makes it difficult to upgrade or replace one or more components. Tese applications are typically cou-pled via proprietary APIs, as shown in Figure 1. If the sofware is upgraded to a new version, the API can change, necessitating changes to other appli-cations that are using the API — work that is usually custom.

It makes it difficult to extend to add new functionality to the system to meet the ever-changing demands of multi-platform delivery and evolving codec standards. Storage architec-tures change with object-based and cloud storage to become alternates to on-premise NAS and SAN arrays.

When vendors upgrade products, the new versions ofen do not support legacy operating systems, leading to the need to replace underlying com-puter hardware platforms.

Traditional systems are just not agile enough to easily support the new demands of the media business. Ofen new multi-platform systems are tacked on to existing linear play-out systems in an ad-hoc manner to support an immediate demand. Te system grows in a way that eventu-ally becomes difficult to maintain and operate.

Traditional systems

are just not agile

enough to easily

support the new

demands of the

media business.

Figure 1. Legacy systems use many applications, all tightly coupled by proprietary

APIs.

Business logic Business logic

Business logic

Transform

DAM

Transform

PlayoutTransfer

Contentrepository

Resourcescheduling

Ingest

Business logic

Business logic

Media network

Linear

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Web, mobile

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The system supports all relevant signals – single-link DVI, PS/2 and USB keyboards and mice, audio, USB 2.0 transparent and RS232. For high video bandwidths, a dual-link DVI/Display Port will follow. A host of other features include the capacity for multi-monitor workstations with CrossDisplay-Switching, three redundant power packs (replaceable in operation) and, of course, G&D’s renowned solid build quality.

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8 broadcastengineeringworld.com | August 2013

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BEYOND THE HEADLINES

Monitoring — no

overall visibility

Traditional systems also suffer from a lack of visibility of the inter-nal processes. Individual processes may display the status on a local user interface, but it is diffi cult to obtain an overall view (dashboard) of the opera-tion of the business.

As broadcast strives for more ef-fi ciency, it is vital to have an overall view of technical operations as an aid to manage existing systems and guide future investment. Many broadcasters already have end-to-end alarm moni-toring, but resource usage may only be monitored for billing purposes, and not to gain intimate knowledge of hardware and so� ware utilization.

SOA in media

SOA is not new; it has been in use for a decade or more in other sectors including defense, pharma-ceuticals, banking and insurance. It developed from the principles of object-oriented so� ware design and distributed processing.

If SOA is common in other sec-tors, why not just buy a system from a middleware provider? � e problem lies

with the special nature of media op-erations. � e media sector has lagged other sectors in the adoption of such systems for a number of reasons. � ese include the sheer size of media objects and the duration of some processes. A query for an online airline reser-vation may take a minute at most; a transcode of a movie can take several hours. Conventional SOA implemen-tations are not well suited to handling such long-running processes.

What is a service?

A service is a mechanism to provide access to a capability. A transcoding application could ex-pose its capability to transcode fi les as a transform service. Examples of services in the broadcast domain in-clude ingest, transform, playout, fi le moves and fi le archiving. � e service is defi ned at the business level rather than the detailed technical level.

It could be said that many broadcasters already operate service-oriented systems; � ey just don’t extend the methodology to the ar-chitecture of technical systems.

Services share a formal con-tract; now service contracts are

commonplace in broadcasting and across the M&E sector, with com-panies calling on each other for capabilities such as playout, subti-tling and eff ects, as examples. � e service-level agreement for playout will include quality aspects such as permitted downtime (99.999 percent). Service contracts operate at the busi-ness level, and ultimately may result in monetary exchange.

Abstraction

� e business management logic may call for a fi le to be transcoded from in-house mezzanine to YouTube delivery format, but not defi ne the specifi cs of a particular make and model of transcoder or the detail of

The media sector

has lagged other

sectors in the

adoption of such

systems for a

number of reasons.

Implementation of an SOA circumvents the traditional lack of an overall view of internal processes.

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10 broadcastengineeringworld.com | August 2013

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BEYOND THE HEADLINES

services, the benefi ts of SOA are un-likely to be fully realized.

For broadcasters used to running departmental silos, many with re-al-time elements, the move to SOA will be a radical change to the way the business operates. However, the advantages of the SOA and allied sys-tems like BPM are proving attractive propositions for the broadcaster — or service provider — running complex fi le-based operations for multi-plat-form delivery.

� e problems facing a media com-pany looking to embrace SOA and BPM include change management and the sheer problems of keeping on-air through such huge changes in the technical infrastructure support-ing broadcast operations.

Many media companies have em-braced the architecture, with early adopters using considerable original development of such components as service adapters — the vital link be-tween a service like transcoding and the workfl ow orchestration middleware.

� e use of consultants or internal so� ware services to build a media SOA will achieve the goal, but does it make sense for all media businesses to go their own way?

FIMS

It was this issue on which the Advanced Media Workf low Association (AMWA) and the European Broadcasting Union (EBU) independently agreed when, in 2010, they decided to pool resourc-es and set up the joint Framework for Interoperable Media Services (FIMS) Project, which would develop stan-dards for a framework to implement a media-friendly SOA.

� e road will be long, and many obstacles remain to be resolved, but the success of this project will benefi t both vendors and media companies in the long run.

The FIMS solution aims to provide a f lexible and cost-effective solution that is reliable and future-proof. It should allow best-of-breed content processing

the fi le formats. � is abstracts the business logic from the underlying technical platforms. A generic ser-vice interface for fi le transform can be defi ned, and then each transcoder is wrapped by a service adaptor that handles the complexity of the trans-code process. To the business logic, the transcode is simply a job. � e abstraction of the capability is a key principle of the SOA.

In a legacy system, the ingest job is delegated to an operator confi g-ures an encoder, and then starts and stops the encoding at the appropriate times. � e operator is functioning au-tonomously during the processes of the job. � ese concepts of delegation and autonomy are key to the SOA de-sign philosophy. � e encoding may well be automated as a computer process, but the principles remain the same.

Because the service is abstracted, it opens the way for broadcasters to leverage cloud services more eas-ily. As an example, at times of peak transcode demand, a cloud transcode service could be used to supplement in-house resources. With a standard service interface for transcoding, the implementation can be an on-premise or cloud-based service. � e opera-tion of the services is orchestrated by a layer of middleware, so� ware that manages business processes accord-ing to the needs of the business.

A transform service can be used for diff erent business processes. For ex-ample, a transcoder could be used to transform fi les at ingest to the house codec or used to create multiple ver-sions of content for multi-platform delivery. � e transform services can be redeployed to diff erent depart-ments as the needs of the fi le traffi c change from hour to hour.

Planning for a SOA

Migrating from traditional tightly coupled systems to use SOA principles is a big step for a media business. � e effi cient operation of SOA requires detailed analysis of business needs and defi nition of services. It also re-quires rigorous planning of the IT infrastructure, computers and net-works for effi cient operation of the services. Without the involvement of senior management down to IT

XML messages

A/V essence

Transform

DAM

Dashboard

Transform

Playout

TransferContent

repositoryIngest

Media bus

Enterprise service bus

Linearbroadcast

ContentWeb, mobileand VOD

User commandand control

Business logicOrchestration Middleware

Figure 2. SOA loosely couples autonomous services with a central orchestration

engine calling services to deliver the business requirements.

Migrating from

traditional tightly

coupled systems to

use SOA principles

is a big step for a

media business.

308bew06-DE.indd 10 8/2/2013 2:04:52 PM

August 2013 | broadcastengineeringworld.com 11

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BEYOND THE HEADLINES

products to be integrated with media business systems.

� e FIMS team released V1.0 in 2012 as an EBU specifi cation, Tech 3356. � ree service interfaces have been spec-ifi ed: transform, transfer and capture.

� e FIMS Project has expanded on the conventional SOA with additional features to meet the needs of media operations. Specifi cally FIMS adds asynchronous operation, resource management, a media bus and security.

Asynchronous operation allows for long-running services. A transcode may take hours; conventional SOA implementations allow for processes that complete in seconds or minutes.

Although services are loosely cou-pled to the orchestration, jobs can still be run with time constraints. � is may be simply to start a job at a certain time, but services can also be real time, like the capture and playout

of streams. In these cases, the job re-quests for the service will also include start and stop times for the process. For playout, this concept is no diff er-ent from a playlist or schedule.

SOA typically is based on an en-terprise service bus (ESB) that carries XML messages between service pro-viders and consumers. A media bus provides a parallel bus to the ESB to carry the large media essence fi les. Many fi le-based operations will al-ready have media IP networks that can be adapted to provide the platform for the media bus, as shown in Figure 2.

The future

So� ware methodologies like SOA and BPM help media businesses manage file-based operations in more effi cient ways and better serve the needs of multi-platform deliv-ery. � ey provide a holistic approach

to running business operations that provide better visibility of opera-tions and simpler ways to leverage cloud services.

� ey have proved successful in other sectors and are ready to meet the unique needs of the media sector. BEDavid Austerberry is the editor of Broadcast Engineering World.

The following are available on the

Broadcast Engineering website:

• FIMS and SOA

• Media services: Services

architecture enables functional

fl exibility

• Brad Gilmer talks about FIMS at

NAB 2013

Send questions and comments to: editor@broadcastengineering.com?

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12 broadcastengineeringworld.com | August 2013

Technology in AcTion

Beyond the heAdlines

Channel branding has been in existence for as long as there have been channels, except for several decades it was re-

ferred to as station identification. In the early days, TV branding was

simple. It had to be. Even in the early 1970s, a VTR cost as much as a row of houses, and there were no viable com-puter graphics. Cometh the channels, cometh the technologies!

Today hundreds of TV channels are easily accessible, affordable technolo-gy for branding is in a totally different league of availability and affordabil-ity, and branding exists whether we like it or not. However, such power needs to be used with discretion. Good branding gives the viewers a good impression, and so creates a bias toward that channel. Rather than leaving viewers to come to their own conclusions, broadcasters can then actively manage that impression and expand the branding as the channel becomes more popular.

Bugs — good and bad

Tere are many ways a channel can brand itself and typically, for a major channel, all methods are used. Te channel ID, or bug, usually placed in the top lef or right corner, is most popular. Aesthetically, this has to do its job of labelling the channel with-out distracting viewers from watching the program. It’s up to the graphic designer to get it right. Technically, displaying the bug involves keying a graphic over the channel’s output, perhaps in a downstream keyer. Some are transparent; some are solid. Today we would hope the keying avoids producing ragged edges, implying some profiled key rather than the old hard key. To achieve this 40 years ago using the equipment of the time

was not easy. Today it can be simple and inexpensive.

Some channels like to animate the bug. Tis means there must be some form of video replay to run this video and key. As humans are historically hunter-gatherers, and so programmed to notice movement — even in peripheral vision — viewers are bound to be distracted by the bug. Tis may be counterproductive and turn the viewer away.

Tis simplest form of branding is important as viewers should im-mediately, or within milliseconds, recognize the channel by the bug/logo when surfing the many avail-able channels. However, the bug is very basic and not likely to encourage viewers to watch and stay loyal to the channel. So there is usually a range of other elements that make up the complete channel branding package.

Creating a brand

Channel branding is much more than establishing an identity; it is about creating a brand that will get viewers to watch the channel and

Channel brandingComing up next: an easier way to attract

loyal viewers to your channel.By Don Ash

keep watching, as well as recommend the channel to others. Multichannel broadcasters will want to promote across all their channels and plat-forms. Channel branding is all about gaining viewers and keep-ing them watching your channels and, for commercial channels, increasing revenues.

Competition for viewers is greater than ever, so channels are demanding ever more powerful ways to promote their brand within what is usually an extremely limited budget. Te good news is that, today, with the advances in technology, the process of achiev-ing the required on-air look can be flexible and high quality. At the high end, many branding systems, includ-ing some channel-in-a-box (CIB) systems, can meet and exceed the requirements cost-effectively. Unlike the early days, the on-air technology no longer limits channel-branding presentation. Tis throws the chal-lenge back to the artists, designers and even the accountants, to supply effective branding materials, as, from the broadcast engineering position,

Branding elements can comprise a variety of graphical elements, from the ever-

popular “bug” to cross-channel branding, but it is wise to start the promotion

before the show ends to avoid losing viewers to other channels.

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14 broadcastengineeringworld.com | August 2013

TECHNOLOGY IN ACTION

BEYOND THE HEADLINES

New branding technology allows news channels to create templates for current

weather information, for instance, by taking metadata from the Internet.

we can present it on-air. It is up to the channel’s creative powers, not the technology.

Typically, graphics experts will have produced the designs, and these designs need information — text to be added when it goes to air. Using traditional TV equipment for video, stills, text, animation, on-air mixing, keying, sizing, positioning, timing and sequencing, it can get complicat-ed to do this live. For this reason, the

packages are pre-recorded so all that has to happen to put the piece to air is simply to replay the clip and cut it on-air. � at is possible with clips of some length, but attempting to cue a two-second bumper or sting — all a part of the on-air look — would be asking too much of VTRs. One way

around this is to pre-record every break — sacrifi cing fl exibility and increasing workload. Another is the cart machine, a mighty, elaborate electromechanical wonder that could do the job, but at a considerable cost.

Flexibility

Today with the agility of disk storage, CIB, and other fi le-based playout and graphic systems, the whole workfl ow changes, becoming more effi cient, much lower cost and reliable. What stays the same are the original graphic elements and their choreography, which are designed by experts. But now they are created on computers and delivered as fi les. Any additional branding elements can be pre-programmed and added live on-air with up-to-date informa-tion from last-minute scheduling or from Internet or metadata. � e dy-namic display of the graphics, videos, new text, etc. is run live by the on-air graphics engine.

Given the fl exibility of modern on-air graphics systems, there are many ways the channel can grab the viewers’ attention and deliver the message that will keep them on-channel. For example, as one program is fi nishing a quick crawl, a lower third or squeeze back can show the ‘Coming Up Next’ — or, for multichannel broadcasters, ‘Starting

Now On ...’ — messages over the end credits. � is can be eff ective with, or without, a voice over. However, wait-ing until the program ends is too late, as viewers could already be scanning other channels. Of course, the con-tent of the message is important; giving information about upcoming similar programs could well attract current viewers.

Channel branding vehicles can comprise items such as trailers, break bumpers, line-up menus, forthcom-ing programs, and cross-platform and cross-channel branding. But all this needs to be delivered in such a way as not to disturb or deter viewers from watching the channel. For instance, music channels create templates for the singer/group and song title. Diff erent templates are o� en used for diff er-ent shows, but the information comes from the metadata of the clip, or from the MAM, and is automatically shown a� er the clip starts and again near the end. Also using the same metadata or MAM, the coming-up-next clips can be created and shown, even if the music clips are interactive and shown in viewer-rating order.

News channels can create tem-plates for latest information. � is can be news tickers, share prices, weather and exchange rates. � ese may take the metadata from a database, or the Internet, to keep the information current. Information can be shown concurrently or sequentially with added graphics generated by the com-puter. So arrow-up, arrow-right and arrow-down graphics can indicate the direction of share-price movement from the last-shown data or from the day’s opening prices.

Remote channels

� e most developed CIB systems can comprise just commercial off -the-shelf hardware and CIB so� ware. Given reliable operation, playout sys-tems based on this technology can run fully redundant automatic remote playout anywhere in the world via the Internet. � is can make deliver-ing a TV station anywhere, complete

Channel branding

vehicles can comprise

items such as trailers,

break bumpers, line-up

menus, forthcoming

programs, and cross-

platform and cross-

channel branding.

308bew07-DE.indd 14 8/2/2013 3:15:32 PM

August 2013 | broadcastengineeringworld.com 15

TECHNOLOGY IN ACTION

BEYOND THE HEADLINES

The following are available on the

Broadcast Engineering website:

• Branding graphics

with local branding and content, an economic reality, even for small audi-ences. It enables the whole operation to be run from an established broad-cast center to worldwide locations at a cost that makes sense.

Advertisement insertion systems allow network content to be locally branded. Targeting advertisements for specifi c audiences with ad inser-tion and digital program insertion, a station can use local or network ad-vertising to maximise the business potential for the local audience.

All in a box

Some CIB systems off er a cost-eff ective turnkey fi le-based solution that combines video playback and rich branding graphics — both generated from the same box. � en good graph-ics and some simple programming is all that is needed for the channel to be considered one of the best available.

Modern viewers

Today’s viewers are far better equipped than in past decades. Many have PVRs and tend to watch pro-grams later. � ey will skip adverts and many of the channel-branding messages that link the programs. � is is another reason for the brand-ing to start before the program ends — even before the fi nal credits. A strap or crawl in the fi nal minutes of the program is becoming more commonplace, as are lower thirds.

Lower thirds, however, really need to be previewed to make sure that they do not interfere with the program. � at can make this option more labor-intensive.

Cross-platform branding is also popular with most channels. Having a website available for viewers to watch other programs has distinct advantag-es, as there is no PVR to fast forward over the adverts and branding mes-sages. Websites are also there to sell channel-branded and other third-party products, giving the broadcaster anoth-er branding opportunity.

Social media also plays a key role in channel branding. It allows users to create, share and exchange information and ideas. Many view-ers comment about programs they are watching on Twitter, Facebook, LinkedIn and MySpace using hash tags. � ese hash tags allow chan-nels to access more branding opportunities, as well as deliver mes-sages to both viewers and their social media contacts.

Today many TV channels are in-tegrating social media into their programs, so to appear more live and interactive with their viewers (al-though many are computer-generated with basic moderation to remove un-wanted messages). A modern NRCS can take feeds from news wires but can also handle social message feeds for the news program, website and back to the social media feeds.

Channel branding is here to stay, and it will continue to be a challenge for broadcasters who strive to achieve the best branding at the least cost. All TV channels realize that the better the channel branding, the better the bot-tom line. Now, the second screen also has to be incorporated into the chan-nel-branding package, but automation has to play a critical part in channel branding, otherwise costs will rocket.

Branding is also about having good programs. Good branding cannot make up for bad programs; however, good branding can make a channel seem better than others showing sim-ilar programming. � is is especially important for, say, music channels that have access to essentially similar music videos. Here branding can, and does, make a diff erence. BEDon Ash is managing partner and director of sales at PlayBox Technology.

Send questions and comments to: editor@broadcastengineering.com?

John M

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308bew07-DE.indd 15 8/2/2013 3:15:51 PM

16 broadcastengineeringworld.com|August2013

TransiTion To digiTal

DigitAlhAnDbook

Content creation and distri-bution have moved from a tape-only infrastructure to one that must now support

multiple hard media types, including portable and fixed disks, as well as solid- state memory. All of this requires increasing amounts of mass storage, and with that, more sophisticated and complex workflows. With more con-tent being handled in file-based form, emphasis must now be placed on file storage in the broadcast plant.

Integrated network storage

File-based data and digital con-tent today can be stored and accessed using essentially three types of ar-chitectures, currently based on the hard-disc drive (HDD): direct attached storage (DAS), network at-

tached storage (NAS) and storage area networks (SAN). In a DAS system, storage devices are di-rectly connected to — and ofen

physically integrated within — a workstation or other client system;

one form of DAS is a set of hard drives within a workstation, not necessarily connected to a network.

With a DAS system, the storage devices cannot be directly shared with other clients, making effi-cient workflows hard to implement: Management systems are complex, and many copies of the content will exist in different places, making version control extremely difficult. However, when combined with a fast interface, DAS systems can provide fast data access, because each stor-age device specifically supports the system in which it is integrated. For this reason, DAS has long been the preferred solution in post-production.

But the use of DAS in broad-cast workflows is rapidly declining, because higher-bandwidth data net-works have now made shared network

storage practical, resulting in im-proved efficiencies and productivity. Because DAS has the limitation that stored data cannot be shared with others for collaborative work, and is difficult to coordinate and man-age, content managers have been switching to NAS, which allows the stored content to be shared simul-taneously among multiple clients. NAS storage also has the advantage of utilizing cost-effective high-speed Ethernet interconnectivity, further improving workflows.

A storage area network (SAN) is a dedicated network that connects disk storage devices directly to managing servers, using block-storage proto-cols; file management is lef up to the controlling server. SANs have also provided a method to readily access shared content, using a specialized high-speed optical fiber or GigE net-working technology. With SANs, access to data is at the block level, similar to the physical-layer storage on a hard-disk drive. SANs offer the benefit of fast, real-time content sys-tems, but that performance comes at a financial cost. In order to provide wide access to the content, SANs were ofen combined with NAS, whereby the latter filled the need for near-on-line storage, with content archived in

Storage and workflowFindyourassetswithproperdataorganization.

By Aldo Cugnini

a lower-cost, slower-access storage tier. A SAN also requires a third-party file system to be located on each client system accessing the data on the stor-age network with specialized network adaptors. Tis makes interoperability with other, more common file systems a challenge.

In contrast, network attached storage, as shown in Figure 1, oper-ates at the file level, providing both storage and a file system. Because of the rapid drop in the cost of build-ing and maintaining GigE networks, as well as the increased performance level of NAS networks, many content producers and distributors are now moving toward NAS technology for content storage. In the past, in order to assure 100-percent reliability, users would rely on dual-redundant DAS or SAN servers with redundant net-work interfaces, so there would be no single point of failure. But one of the problems with DAS/SAN storage is scalability; when content managers need more storage, higher-speed ac-cess, or more supported users, these legacy systems most ofen required redundant capacity, increased com-plexity or completely new build-outs.

In contrast, a NAS system ofen can scale easily, keeping up with perfor-mance and storage needs, allowing for

Figure 1. NAS storage consolidates workflow assets.

Workstations

Local area network

Servers

Networkattachedstorage

308bew09-DE.indd 16 8/2/2013 3:17:13 PM

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18 broadcastengineeringworld.com|August2013

TransiTion To digiTal

DigitAlhAnDbook

growth, while combining the conve-nience of a single expandable file system with ease of use and uncom-plicated management. NAS servers ease system administration issues, improve file sharing and reliability, and provide high-speed performance. By adding support for multiple pro-tocols, Unix and NT users can share stored files without requiring any spe-cialized sofware on the clients. NAS file network protocols include FTP, HTTP and NFS, providing compat-ibility with data management and content editing systems, and allowing versatile operating sofware to man-age files, users and permissions easily.

Reliability and QC

For reliability, file storage systems will ofen be grouped into redundant clusters, with fail-safe prioritization. One common way of doing this is in a Redundant Array of Independent Drives (RAID) storage cluster, which uses either mirroring (full redun-dancy) or mirroring combined with striping (distributed data) to allow all data to be accessible even if a num-ber of drives fail. Mission-critical drive systems can also be equipped with redundant power supplies (or with battery backup) and fans, with nearly every component hot swappa-ble, including the drives. In addition to providing drive diagnostics, health monitoring modules are available that can anticipate and head off failures; capacity expansion can be as simple as adding more drive modules to an existing system.

Solid-state drives (SSD), which have gained popularity in small laptops and netbooks, are based on rapid-access Flash memory, and would seem to be the next phase of mass-storage technology. SSD memory, which offers higher speed and reliability than the Flash memory used in USB thumb drives, could offer performance gains com-pared with disk-based storage.

However, SSD is probably several years from practicality in the produc-tion environment, because of high

cost, capacity limitations and unprov-en long-term reliability. Although a consumer-grade HDD currently runs about E75 for a 1TB (terabyte = 1000GB) 2.5in drive, an SSD of the same capacity and form factor would cost about E450. Tat’s about E0.08/GB for the HDD and E0.50/GB for the SSD. (One hour of uncompressed 10-bit 1080i requires 585GB.)

Today’s broadcast/production workflow includes many component processes. On the content ingest side are satellite, Internet, and mobile asset sources and interfaces. On the playout side are various destinations, config-ured for real-time and file-based I/O that include wired and wireless inter-faces. In between these sits the asset management/browsing/editing/ar-chiving functions, which invariably rely on multiple storage solutions.

Transcoding to multiple platforms is already of growing importance, and with the ever-growing amount of content that must now be processed — much of it from amateur sources — quality control has become a criti-cal issue. Although human input had served this function in the past, the sheer volume of production material now requires automated QC to keep up, much of it available offline, in fast-er-than-real-time capacity. In addition to the high-level function of detecting (and correcting when possible) file er-rors, sophisticated sofware can now detect and re-process incorrect video

formats (resolutions and frame rates) and levels (skin tones, black levels); digital artifacts like blockiness and contouring can be flagged for re-coding if possible. Sofware can now monitor audio characteristics as well, and provide a safeguard for dropouts and even the now-important loudness requirements of ATSC A/85, EBU R-128 and EBU Tech 3341.

Future storage

requirements

Content handlers and producers that have not yet upgraded to state-of-the-art file storage will soon hit a critical situation that will weigh heav-ily on their CAPEX plans. Although cloud solutions may offer a temporary fix, data security and ease of manipu-lation mean that a more permanent and integrated solution must be ad-dressed now. BEAldo Cugnini is a consultant in the digital television industry.

The following are available on the

Broadcast Engineering website:

• Terry White: His theories,

predictions and storage

workflow

Send questions and comments to: aldo.cugnini@penton.com?

Advanced Workflow Tutorial by Stan Moote from Harris Broadcast

308bew09-DE.indd 18 8/2/2013 3:17:19 PM

August2013|broadcastengineeringworld.com 19

Computers & Networks

DigitAlhAnDbook

if you have been working with video over IP for a while, you probably are aware of at least two approaches for streaming content

over IP networks. Te first involves moving professional video from the venue back to the television network facility, and the other is best-effort streaming over the Internet.

Te first provides highly reliable transmission over highly managed networks, probably based on the SMPTE 2022 family of standards. Te second involves using video serv-ers to stream content on the Web to end-user computers, with less than reliable results. Video freezes, audio dropouts and total loss of the feed are commonplace.

Professional transmission of video over IP is reliable, but it is relatively expensive, it requires the grooming of networks to ensure available band-width, and the technology is not deployed in desktop computers and smart phones. Te second provides less than perfect results for people who are trying to consume broad-cast content on something other than a television set. Broadcasters and media companies needed a different alternative.

ABR concept

Te solution comes in the form of adaptive bit rate streaming (ABR). ABR is a technique that is used in sev-eral products, from Apple, Microsof and others. While the specifics of the technology vary, the concept is the same. ABR technology allows the streaming of video and audio over the generic Internet without the afore-mentioned problems by varying the bit rate of the content being sent to the consuming device, depending upon the status of the link between sender

and receiver near the time the content is to be consumed. Basically, the serv-er sends high bit-rate content when a high bit-rate connection is available to the consumer, and it switches to lower bit-rate content when the speed of the connection is reduced.

Tere is a key concept behind ABR, which allows everything to fall in to place. Question: If you are receiving a stream from a server, and you ini-tially have a great connection, but you move to a location with a poor con-nection, how does the server know to switch you from a higher bit-rate feed to a lower bit-rate feed? Te answer is that it doesn’t! It is the receiver that requests the change.

Tis is a key concept in ABR. ABR differs significantly from the video over IP streaming that came before it. ABR is a content pull technology, meaning that it is the receiver that requests the content, rather than

ABR streaminglearnmoreaboutthisinnovativewaytodeliver

contentoveriPlinksthatvaryinqualityovertime.By Brad gilmer

the server that is pushing content to the receiver.

In a system where the receiver pulls content, the receiver knows whether it has a high bit-rate connection to the server or not. How does it know? Tere are several ways for the receiver to determine this. One technique is to monitor video buffer levels in the receiver. If the amount of video in the buffer is decreasing, then the band-width of the content is greater than the available connection. Basically, you are taking video out of the buf-fer and feeding it to the display faster than it is arriving at the input of the receiver. If the amount of video in the buffer is increasing, then the band-width of the content is lower than the available connection; the oppo-site condition is true. You are taking video out of the buffer and feeding it to the display slower than it is arriving at the input of the receiver.

Figure 1. As available link bandwidth changes, the receiver requests content encoded

at lower or higher bit rates.

Available

link

bandwidth

1.8Mb/s

800Kb/s

264Kb/s

En

co

de

d b

it r

ate

Time

308bew10-DE.indd 19 8/2/2013 3:18:00 PM

20 broadcastengineeringworld.com|August2013

Computers & Networks

DigitAlhAnDbook

In older IP streaming systems, if the buffer in the receiver is being depleted, at some point the buffer empties and the video freezes (a buf-fer underflow). Tere is nothing the receiver can do about it.

But what if the receiver can talk with the server? What if the re-ceiver is able to choose between several “channels,” all of which contain identical content, but compressed at a different bit rate? And what if the receiver is able to ask the sender to change the “chan-nel” being sent to it dynamically? Te receiver could monitor its buffer con-dition. If the buffer was becoming depleted, the receiver could ask the server to send a lower bit-rate version of the same feed. If the bit rate of the content is low enough, it will arrive much more quickly than the previ-ously streamed high bit-rate content, allowing the buffer to fill to a safe level.

Tis approach solves the freezing prob-lem caused by buffer underflows.

But what about moving from a low bit-rate connection to a higher one? Te receiver continuously monitors the available bandwidth. Exactly how it does this varies from imple-

mentation to implementation, but in one case, the receiver probes the network by trying to download a file that is essen-

tially bandwidth unlimited. It notes the link speed, waits for some

period and then tries the download again. If the receiver notices that more bandwidth is available over a period of time, it requests a higher bit-rate “channel” from the server.

In many cases, users viewing an ABR feed are unaware that “chan-nel” switches are being made in the background. In well-engineered ABR systems, the steps between ABR “chan-nels” are chosen to reduce drastic

changes in quality as the receiver moves from one “channel” to another. Of course, if the user is watching a feature movie on a high-quality display and the feed degrades quickly from high bandwidth to low bandwidth, then he or she is likely to see a difference. However, if the change takes place over the course of a few minutes, most users will not see the difference. In any case, a gradual loss of quality is much less noticeable to end viewers compared to a video freeze.

How exactly does this mechanism work? How are the different “channels” created? When a piece of content, a feature-length movie, for example, is ingested into an ABR system, it is typically encoded at several different bit rates. Te exact bit rates depend upon the implementation, but, for our example, let’s say we code at 1.8Mb/s, 800Kb/s and 264Kb/s. When the movie is ingested, three separate renditions of

308bew10-DE.indd 20 8/2/2013 3:18:09 PM

August 2013 | broadcastengineeringworld.com 21

COMPUTERS & NETWORKS

DIGITAL HANDBOOK

Send questions and comments to: editor@broadcastengineering.com?

the movie exist on the server — one for each bit rate. � is may seem like a waste of space, but it means that at any time, when the receiver requests a diff erent bit rate, that coding rate al-ready exists.

Chunking content

Here is another key concept of ABR systems: Content is “chunked” into many small fi les. A system may chop up the recorded content into three-second segments. So when the whole ingest process is fi nished, a single movie has been ingested and converted into a number of three-second chunks or fi les coded at 1.8Mb/s, the same movie has been chunked into three-second fi les at 800Kb/s, and again, the same movie has been chunked into three-second fi les at 264Kb/s.

When a receiver sees that its buf-fer is draining faster than it is being

refi lled, the receiver sends a request for the next chunk at a lower bit rate. Assuming the same network condi-tions, the lower bit-rate chunk can be delivered more quickly, so the re-ceiver buff er fi lls more rapidly. If this lower bit-rate content can be delivered quickly enough, then the receiver con-tinues to request three-second chunks from this lower bit-rate version until network congestion improves.

Importantly, the chunking on each fi le takes place at exactly the same time so that the switch between the end of one chunk of higher bit-rate con-tent and a lower bit-rate chunk is not disruptive to the viewer. Put anoth-er way, the chunks are time-aligned across diff erent bit-rate renditions of the movie. Chunk 1235 of the 1.8Mb/s version is exactly the same content as chunk 1235 of the 264Kb/s version.

Figure 1 on page 19 ties all of these concepts together. In the top portion,

you can see that the available band-width between the server and the receiver changes over time. In the lower portion of the fi gure, you can see that the receiver requests high-er or lower encoded bit-rate chunks depending upon available link band-width. � is is the essence of ABR.

More to learn

� ere is a lot to learn about ABR technology. I hope that this introduc-tory article whets your appetite and that you will read more about this in-novative way to deliver content over IP links that vary in quality over time. BEBrad Gilmer is executive director of the Video Services Forum, executive director of the Advanced Media Workfl ow Association and president of Gilmer & Associates.

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22 broadcastengineeringworld.com | August 2013

PRODUCTION ROOM

DIGITAL HANDBOOK

Television broadcasting changes quickly and is being shaped by new usages and services. Program off er-

ings and live events access continue to grow signifi cantly. Every day, news and sports contribution feed provid-ers face the challenge of juggling the number of programs they must de-liver and available bandwidth. As the number of programs is not constant, broadcasters and service providers need to continually optimize the use of their bandwidth on their transport multiplexes. Today, this process is pri-marily done by a manual intervention with limited scalability.

� e MPEG standards off er an al-ternative way of managing bandwidth constraints dynamically named Piecewise CBR, which can be used to address this challenge and make the operational workfl ow as effi cient as possible. � is new mode allows a dynamic and seamless change of

the video elementary stream bit rate. Operators in a truck or in a facil-ity can use it to adapt and optimize the bandwidth allocated to each sig-nal with no interruption of service. Seamless Channel Insertion (SCI) provides fl exibility and opens au-tomation possibilities in complex contribution networks.

Multifeed contribution

context

Sports television program provid-ers know well that the duration of a soccer game is not always 90 minutes, and the game may go into overtime. Tennis fi nals can be delayed because of rain, and a golf tournament could last longer than expected. In this sit-uation, a new channel may need to be added in the multiplex while other programs are unexpectedly overlap-ping the scheduled transmission slot. Hence, the sports feed distributor could face a peak of usage in its mul-tiplexes because the line-up of feeds to deliver becomes too important at the time. Live feed turn-around operations are o� en subject to im-mediate changes, but it is unlikely that world feed distributors will get in touch with satellite or fi ber ser-vice providers to instantly adapt the

Seamless Channel

Insertion The technology simplifi es multiplex management.

BY NICOLAS MOREAU

bandwidth capacity. � erefore, an extra bandwidth capacity margin will be rented and saved to be used “just in case.”

On the technical side, in a typical contribution mul-tiplex, multiple-program transport stream (MPTS), each program bit rate needs to be taken into account when booking or planning the transport bandwidth capacity. � is capacity will depend on the number of programs to turn around, including their specifi ca-tions, such as the video format, the number of audio channels, the type of audio and the targeted video qual-ity. � erefore, optimizing the use of the bandwidth in the multiplex can become complex.

The challenge: Avoiding

service disruption when

applying changes

As the program line-up could vary, the operator needs to free some band-width in the broadcasted multiplex to add a new channel in it. Moreover, this needs to be done without af-fecting the current services on-air. Contribution content distributors, such as Eurovision, from time to time, need to adjust the video bit rate of each video encoder in the same mul-tiplexed MPTS.

Contribution video encoders con-fi gured in classic CBR need to stop and restart to produce a new MPEG-2 transport stream with a new video bit rate. � is induces a stream discontinu-ity and therefore a “black” screen. Even if this “pause” is generally short at the encoder level, any MPEG-2 transport stream disruption will cause a disrup-tion at the decoder level, or should we say, at the viewer level.

Optimizing the use

of the bandwidth in

the multiplex can

become complex.

Defi nitionSeamless Channel Insertion (SCI) is based on the open/nonproprietary standard

called Piecewise CBR. Piecewise CBR extends the conventional constant-bit-rate

mode (CBR) for digital video compression by allowing the change of the program bit

rate on demand and without any disruption at the receiving end. Between each bit-rate

change, the program is encoded at a constant bit rate. Because it relies on features

offered by the MPEG open standards at both transport stream and elementary stream

levels, Piecewise CBR feeds can be decoded without change using existing MPEG

receiver devices.

308bew11-DE.indd 22 8/2/2013 3:19:13 PM

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24 broadcastengineeringworld.com|August2013

Production room

DigitAlhAnDbook

Considering that the new channel added in the multiplex line-up has to start at a time that may not be con-venient for the other channels to be interrupted, this could lead to stress-ful situations for the operators.

In order to fit one or more chan-nels in the multiplexed MPTS, the

video bit rate of each current encoder needs to be reduced. Te MPTS needs to remain continuous, without dis-ruption, even if a program is added or removed. Adding or removing a program in the multiplex should not impact the continuity of the other programs.

SCI rate control

Real-time video compression with MPEG-2 or H.264 technology can provide two common types of streams with regards to the bit rate control. A bit rate control algorithm in the encoder is necessary to ensure that the buffers at the encoder and de-coder do not underflow or overflow[1]. Constant-bit-rate control is com-monly used in the video contribution domain as it provides a constant bit rate that is mandatory for bandwidth planning and video quality assur-ance. Variable bit rate (VBR) is not commonly used in the contribution domain or primary distribution as it provides streams with bit rates that change, regardless of the targeted av-erage video quality it maintains.

Still, VBR control has the interesting particularity of allowing the change of the elementary stream bit rates while maintaining the consistency of the output MPEG-2 transport stream. Te SCI rate control mode is based on this VBR rate control mode, except that the video elementary stream will be changed according to the operator’s request and not as a result of a video encoder algorithm.

Tis has no impact on the MPEG-TS multiplexing, which combines the elementary streams (video, audio channels and null packets) at the encoder level. Te output is a trans-port stream with a constant bit rate[2], which contains a video el-ementary stream running at a new bit rate. Hence, the size of the MPTS at the output of the multiplexer is not changed.

Starting from four HD services running at 12Mb/s each, the operation procedure for adding a fifh channel into the multiplex using SCI would be as follows:• Te operator calculates 48Mb/s ÷ 5 = 9.6Mb/s;• Te operator assigns a new 9.6Mb/s bit rate to each encoder service by using a manual entry (typically using a dedicated Web graphic interface or a network management system that controls the encoders over SNMP).

Eurovision‘s use

of Seamless Channel Insertion

Eurovision is a distributor of sports and news content for the world’s broadcast

and media platforms. As such, Eurovision faced the issue of its television program

line-up changing regularly.

“The content broadcasted is very versatile, especially in terms of duration on-

the-air,” says Eurovision special project director, Puiu Dolea. “The distributed

services line-up can be reshaped several times within the same day. We needed

more flexibility from our encoding platform.”

ATEME has implemented SCI rate control in its Kyrion line of contribution encod-

ers at the request of Eurovision, allowing operators to change video bit rates on

the fly with no service interruption. The streams delivered to EBU members and

affiliates are still constant bit rate, but their bit rates can now be changed with-

out affecting the consistency of the entire turn-around multiplex. There was no

impact, no change of firmware or disruption on the receiver side following the

implementation. ATEME’s Kyrion CM5000 contribution encoder supports SCI.

Seamless bit rate transition48Mb/s MPTS multiplex

Service 1

12Mb/s 9.6Mb/s

Service 2

12Mb/s9.6Mb/s

Service 3

12Mb/s9.6Mb/s

Service 4

12Mb/s

9.6Mb/s

New channelService 5

Service 1 9.6Mb/s

Service 2 9.6Mb/s

Service 3 9.6Mb/s

Service 4 9.6Mb/s

Service 5 9.6Mb/s

Figure 1. Example of a 48Mb/s multiplex of four services being modified to five services

Seamless bit rate transition

Service 1

12Mb/s

Service 2

12Mb/s

Service 3

12Mb/s

Service 4

12Mb/s

Service 1 9.6Mb/s

Service 2 9.6Mb/s

Service 3 9.6Mb/s

Service 4 9.6Mb/s

Service 5 9.6Mb/s

Figure 2. Example of a 48Mb/s multiplex of five services being modified to four services

308bew11-DE.indd 24 8/2/2013 3:19:19 PM

August 2013 | broadcastengineeringworld.com 25

PRODUCTION ROOM

DIGITAL HANDBOOK

� e new service bit rate is applied al-most instantaneously;• Once the four original encoders have been set to their new output bit rates, the operator can enable the fi � h encoder to stream to the multiplexer. (See Figure 1.)

Starting from fi ve HD services running at 9.6Mb/s each, a channel is removed as the program line-up changes to four services:• � e operator switches off the un-wanted service;• � e operator calculates 48Mb/s ÷ 4 = 12Mb/s;• � e operator assigns a new 12Mb/s bit rate to each encoder service. � e new service bit rate is applied almost instantaneously, in this case allow-ing an enhanced quality for those services that remain in the multiplex. (See Figure 2.)

Control options

When SCI mode is selected, this allows the operator to set a new output bit rate at any time for each encoder service from the Web GUI or over an SNMP command. � e new value will be applied almost in-stantaneously. Implementation into the user’s interface of the encoders

allows the operator to control the stream easily. Using an SNMP inter-face, the multiplex operator is able to integrate this new functionality into a network management system and therefore perform even more complex multiplex bandwidth management functions. By allowing operators to create a bandwidth schedule, the op-erator is able to know in advance the bandwidth he or she needs to book from the satellite service provider at a certain date and time.

Conclusion

Getting the most of the allocat-ed capacity is an exciting prospect for contribution feed broadcasters. However, it could quickly become highly challenging as the layout of the television programs line-up in the MPTS can change depending on the nature of the events. SCI, an al-ternate rate control mode available in some MPEG-2/MPEG-4 contribu-tion encoders, while remaining in full compliance with the standards and best practices, provides a new level of operating fl exibility to broadcasters. � is new technology will help contri-bution professionals plan and manage a feed multiplex or a turn-around feed

bouquet at its best, without wasting bandwidth for the “just in case” situ-ation that may or may not occur.[1] Bit-Rate Control Using Piecewise, Approximated Rate–Distortion Characteristics, Liang-Jin Lin, Member, IEEE, and Antonio Ortega, Member, IEEE - IEEE TRANSACTIONS ON CIRCUITS AND SYSTEMS FOR VIDEO TECHNOLOGY, VOL. 8, NO. 4, AUGUST 1998[2] ISO/IEC13818-1 - Information technology — generic coding of mov-ing pictures and associated audio information: Systems BENicolas Moreau is senior product marketing manager at ATEME and in charge of the product marketing of the Kyrion contribution encoders and decoders.

The following are available on the

Broadcast Engineering website:

• The form factor of Ultra HD TV

will be its undoing

• If 4K imagery is on the way,

then the question becomes how

soon?

Send questions and comments to: editor@broadcastengineering.com?

+1 (217) 344-1243 / sales@cobaltdigital.com / cobaltdigital.com

C O B A L T D I G I T A L E n g i n E E r i n g f o r T o m o r r o w ’ s B r o a d c a s T™

Visit us at iBC! stand #10.B44, Hall 10

13-17, Sept. 2013 – RAI AmSteRdAm

Signal proceSSing from a Single Source.Cobalt Digital delivers innovative solutions for your broadcast

environment with a comprehensive line of signal processing products

engineered to give you the ultimate in flexibility and functionality.

ENGINEERING FOR TOMORROW’S BROADCASTTM

308bew11-DE.indd 25 8/2/2013 3:19:27 PM

26 broadcastengineeringworld.com | August 2013

Feature

TodAy’s digiTAl newsroom

26 broadcastengineeringworld.com | August 2013

The changing demands of news consumers has

contributed to the rise of a new breed of digital

newsroom outfitted with fast, scalable systems.

308bew18-DE.indd 26 8/2/2013 2:09:36 PM

August 2013 | broadcastengineeringworld.com 27

FEATURE

TODAY’S DIGITAL NEWSROOM

August 2013 | broadcastengineeringworld.com 27

The advent of the 24-hour news cycle and the tremen-dous number of broadcast outlets covering local, re-

gional and global news are driving a technology revolution in today’s newsrooms. Being relevant and gain-ing and keeping viewers depends on speed and agility. In the newsroom, time is money.

Quickly and reliably executing the entire production workfl ow is critical to news organizations. End-to-end live broadcast technology enables stations to gather, prepare and broadcast news as it breaks. Within this workfl ow, integrated editing, storage, and archiving tools and so� ware are delivering new speed, reliability and capabilities.

TODAY’S

Nonlinear editing tools provide timeline editing with no rendering required for fast-turnaround news production and to improve rough-cut edits by adding text, graphics and voice-over recordings.

Highly fl exible storage solutions, based on scalable and modular ar-chitecture and including metadata, enable operators and journalists to browse and search by keywords, and to edit content. Content can also be instantly accessed throughout the en-tire network for production, editing or playout. Today’s editing, storage and archiving tools are more nimble and robust than ever before, bringing new levels of speed, productivity and reliability to newsrooms and to our daily news.

Newsrooms today have to be fast to keep relevant. BY HENRY ALEXANDER

digital newsroom

Creating the workfl ow

Moving the production workfl ow from tape-based to digital was the fi rst step of innovation and ushered in a tremendous change to the industry and to those who work in televi-sion news. But the innovation hasn’t stopped there. Advances across the workfl ow — greater integration, more speed and new agility — are making newsrooms themselves more scalable, fl exible and streamlined, and thereby more cost effi cient. Modular and open systems are delivering outstanding re-turns on investment. Let’s take a look inside the digital newsroom, an ex-ample of which is shown in Figure 1 on page 28, and see how it all happens. • Ingest. Ingesting live video feeds is where the production process

308bew18-DE.indd 27 8/2/2013 2:10:36 PM

28 broadcastengineeringworld.com | August 2013

Feature

TodAy’s digiTAl newsroom

begins. In the most productive news-rooms, any SD or HD feed can be ingested, most often through an encoder platform or server-based technology. Best-of-breed encoders support all codecs and formats, and can be configured either as an encod-er or playout channel for maximum infrastructure flexibility. Intelligent server technology handles all in-gest functions, recording multiple video feeds and making this media available throughout the production workflow for simultaneous preview, rough editing, archiving, playback or post-production. A process of loop recording can ensure that no incoming feeds are missed during recording, even when they’re not scheduled or managed. Te feeds are then available throughout the production network.

Regardless of ingest method, the ingest process must be managed. In today’s workflows, this is most ofen

achieved through integrated produc-tion management applications that give the user complete control of pro-duction workflow, from ingest control and metadata management to on-the-fly editing and playout scheduling, ofen from a single intuitive interface.

Ease of use is key, with the goal of enabling every member of a produc-tion team to use the system without extensive training. Talent should be focused on operating and edit-ing tasks, not on figuring out how to use complex systems. Tese systems

Production Remote access

Web browsingand clipping

Tapedigitization

Central

newsroom

Ingest

Post-production

Playoutcontrol

Archivemanagement

Home viewersworldwide

Mobiledevice users

Files

Figure 1. The new digital newsroom is fast, integrated and tapeless — and

capable of making news available to consumers on a range of devices.

Sky News Arabia uses EVS XS servers, IPDirector video production management suite, Xedio CleanEdit editing applications

and XStore SAN storage in its digital newsroom.

308bew18-DE.indd 28 8/2/2013 2:11:04 PM

August 2013 | broadcastengineeringworld.com 29

FEATURE

TODAY’S DIGITAL NEWSROOM

must also integrate with third-party resources. System and components accessibility is critical, as it helps streamline all aspects of the workfl ow and save resources.

A discussion of media ingest is not complete without addressing storage. � e ability to easily access and browse stored media is a critical aspect of the entire workfl ow and can be a signifi -cant stumbling block if not handled correctly. Footage from ENG crews can be imported directly — in the right format and codec — with simple tools that enable editing, browsing, transfer and transcoding of all clips to central storage. � ese manage-ment tools send all media to central

storage, o� en removable storage plat-forms well suited to live broadcast operations. Regardless of media origi-nation, these systems off er short- and long-term archiving of clips, audio/video feeds and highlights with all as-sociated metadata, where editors can easily browse and search content by keyword or edit media content. Media can also be accessed throughout the entire network for production, edit-ing or playout. • Content management and time-

line news editing. Once content is quickly and effi ciently ingested and stored, it needs to be ready for imme-diate editing and preparation for air. Workstations are equipped to allow users to browse incoming feeds and prepare rough-cut edits by creating simple playlists. Playlists can then be pushed to nonlinear editing systems, allowing access to any frame in a clip for additional editing, or directly to playout if required.

� is allows editors to use the wide range of nonlinear editing and news cutting tools available in the mar-ketplace today, and greatly improves

the speed and quality of their media editing. For instance, timeline edit-ing with no required rendering is used to improve rough-cut edits by adding text and graphics, to prepare news reports, and to enable voice-over recordings. Support for multiple for-mats and resolutions on the same timeline and robust metadata man-agement features are other examples of tools that can increase editing speed and quality. • Post-production integration.

Digital workfl ows should fully in-tegrate cra� editors with ingest and production processes and online storage, facilitating rapid file ex-change with external post-production

applications. Editing suites often use plug-ins to enable rapid post-production fi le rendering so playout begins as soon as editing is completed. Production systems should seamlessly integrate with all major editing so� -ware from Avid, Apple and Adobe. • Playout. Like other parts of the digital production workfl ow, there is more than one option for playout. Server technology, encoder/playout systems or even off -the-shelf news-room control systems (NRCS) such as ENPS can accommodate playout. � e key is interoperability. Playout technology — either via a server or encoder — and so� ware-based management technology must inter-operate to achieve successful playout operations, ensuring all clips and as-sociated metadata can be accessed, complete playlist functions are facili-tated, and news stories are managed across the news workfl ow. Additional tools and so� ware enable capabilities such as live slow motion and timeslip operations for fast review of events, or delay of events so that nothing is missed.

• Web service integration. As media organizations move to push their news over multiple platforms, Web service integration is an increasingly impor-tant part of the process. Metadata is added to the workfl ow system, indi-cating which platform should receive media fi les and the type of content contained within the fi le.

One size does not fi t all

� ere are many options, both in terms of system architecture and so� -ware and hardware, to achieve highly reliable and digital workfl ows. � ere are now turnkey, yet feature-rich, sys-tems designed for small and regional newsrooms. � ere is no right answer, only the best fi t for an individual news organization. How many feeds must be handled? Is the newsroom oper-ating globally, regionally or locally, and is this reality likely to change? Parameters such as budgets, future plans and existing infrastructure can all play a part.

Integrated digital systems provide the ability to scale and evolve with a broadcaster’s needs. � ey need to be nimble to accommodate technology advancements, organizational chang-es or new workfl ow approaches. Yet building these types of systems re-quires long-term commitment and trust between broadcaster and tech-nology provider.

New challenges are sure to emerge. Many news providers are now oper-ating as multiplatform providers, making news available online, on radio, and to a range of connected devices — including mobile phones and laptops — so consumers can ac-cess news at all times, wherever they are. � is capability is critical to lever-aging greater revenue and reaching larger audiences in the future. � ere’s a new breed of newsroom: It’s tape-less. It’s fast. It’s scalable. And it’s fully interoperable. BEHenry Alexander is SVP, entertainment and news, at EVS.

Send questions and comments to: editor@broadcastengineering.com?

There are many options, both in terms

of system architecture and software

and hardware, to achieve highly

reliable and digital workfl ows.

308bew18-DE.indd 29 8/2/2013 2:11:30 PM

30 broadcastengineeringworld.com | August 2013

IBC 2013PRODUCT PREVIEW

30 broadcastengineeringworld.com | August 2013

308bew16-DE.indd 30 8/2/2013 3:31:43 PM

August 2013 | broadcastengineeringworld.com 31

IBC 2013PRODUCT PREVIEW

PRODUCT PREVIEW

2013

August 2013 | broadcastengineeringworld.com 31

IBC is a big event for everyone in the business of content creation, manage-

ment, and delivery of electronic media and entertainment. Second only to NAB

in visitor numbers, it attracts exhibitors and attendees from all over Europe

and beyond.

For most visitors, it’s all about meeting with vendors, attending the confer-

ence sessions and general networking. Outside the conference and exhibition,

there are special events for those at the top and for aspiring entrants. The IBC

Leaders Summit allows C-level executives to meet and discuss strategy in this

fast changing business. For those just out of college looking to the sector for

their futures, the IBC Rising Stars program will introduce young people to the

industry with presentations from senior professionals, as well as guided tours

of the show fl oor.

This preview highlights some of the many products releases at the show. For

many of the readers, the primary reason for attending the show is to fi nd out

what is new. Exhibitions still present a special way to discover new products,

something that the web has not yet ousted. There is nothing like the show-and-

tell from a product manager for a real insight into a new product.

Broadcast Engineering will be providing video interviews during the show on

key new product introductions, and we are again running our BE@IBC blog

(broadcastengineering.com/blog/beibc) with news and product announcements

in the run up to the show.

308bew16-DE.indd 31 8/2/2013 3:31:50 PM

32 broadcastengineeringworld.com|August2013

IBC2013Product Preview

Advertisers marked in red

HD COFDM CAMerA

trAnsMitterCobham Broadcast SOLO7 Nano TX

Matchbox-size addition to the company’s SOLO range provides vital transmission stability for HD images; with latency as low as 15ms, the unit enables wireless and wired cameras to perform as a single unit to capture and transmit details at events of any size; this enables viewers to expe-rience news, entertainment and drama from vantage points never before possible; an SD version is also available.

www.cobham.com

stand: 1.F41

LOuDspeAkerGenelec M series

M Series bi-amplified active monitors continue company’s sustainability in-tiative by using new Class D amplifiers developed in-house; new amplifiers are highly efficient and have low distortion; Intelligent Signal Sensing power man-agement powers monitors off and on in response to audio signals.

www.genelec.com

stand: 8.D61

MeDiOrnet GrAss VALLey

interFACe CArDriedel Communications

Mn-C-Opt-GV-2

Designed for MediorNet Compact real-time networks; allows users to connect Grass Valley LDK and LDX cameras and their base stations to MediorNet; pro-vides a solution to route bi-directional camera signals, including all embed-ded audio and telemetry control data, through the MediorNet infrastructure; MediorNet’s network approach allows the free assignment of cameras to any base station or CCU within the net-work, providing flexibility in setups and eliminating the need for rewiring when productions needs change.

www.riedel.net

stand: 10.A31

teLeGLiDe CAMerA

trACk systeMTelemetrics TG4

Fourth-generation track design; incorpo-rates the best of the TG2 and TG3 track systems; biggest advances are stability and motion smoothness; is quiet and can handle loads up to 113kg; is configurable for custom track designs like “L,” “S” or “O” shaped track designs; features an advanced design in size and position to minimize bumps between sections of track; specialized wheel material prevents bumps and shake in motion.

www.telemetricsinc.com

stand: 11.e37

CLOuD COntent stOrAGe

MAnAGeMent systeM Front Porch Digital LYNXdr,

LYNXlocal

LYNXdr is a hosted disaster recovery ser-vice that allows global media enterprises to centralize critical assets and consoli-date operations; LYNXlocal is a simple extension to LYNX that operates locally as an appliance, caching cloud content and providing integration to specialized systems if needed; LYNXlocal is billed as a service element at a low monthly rate.

www.fpdigital.com

stand: 7.D14

ViDeO streAMinG AnD

reCOrDinG AppLiAnCeMatrox Video Monarch HD

Small, easy-to-use video streaming and recording appliance designed for pro-fessional video producers who need to simultaneously stream a live event and record a mastering-quality version for post-event editing; provides these two independent delivery channels in an in-tegrated unit; from any HDMI input source such as a camera or switcher, the unit generates an H.264-encoded stream compliant with RTSP or RTMP protocol.

www.matrox.com

stand: B.729

CeLLuLAr newsGAtHerinG

pLAtFOrMDejero LIVE+ Platform Version 2.9

New remote control feature gives broadcast operators an easy means of con-trolling Dejero’s LIVE+ Transmitter and LIVE+ VSET mobile ENG systems from any studio or remote location using any HTML5-enabled Web browser, including those running on mobile devices; an up-dated codec is able to product much better audio quality at similar bit rates than previous versions; update also includes improvements to transmission reliability.

www.dejero.com

stand: 11.C21

sAteLLite terMinALVislink Advent MsAt

Fully integrated satellite terminal, capa-ble of supporting either a 90cm or 120cm antenna; new motorized version is a full tri-band optioned system that can sup-port X, Ka and Ku band configurations, capable of delivering HD video and data from anywhere in the world; feeds can also be swapped in the field; motorized version offers improved data throughput rates of up to 10Mb/s, making it ideal for a first-on-the-scene broadcast uplink.

www.vislink.com

stand: 1.A9

MeDiA trAnsFOrMAtiOn

pLAtFOrMWohler RadiantGrid

Version 8 release contains new media processing engine that provides faster-than-real-time content transformation; performs complete intelligent analysis of all inbound media while retaining technical metadata at container, essence and frame levels; brings optimized video pipeline features such as anamorphic video handling, 2K/4K support and higher bit depths of up to 16-bit YUV; adds full color legalization in both the PAL and NTSC domains; enables fully compliant OTT offerings for Microsof Smooth Streaming, MPEG-DASH, HLS, H.265/HEVC and more.

www.wohler.com

stand: 10.B10

308bew16-DE.indd 32 8/2/2013 3:31:58 PM

August2013|broadcastengineeringworld.com 33

IBC2013Product Preview

Advertisers marked in red

Shotgun micDPA Microphones d:dicate 4017C

Combines 4017 shotgun capsule with compact C preamp to create mic that is ideal for boom recording in tight spaces and rooms where ceiling height is limited; offers same functionality as 4017B-R, which is the shotgun micro-phone in a Rycote Windshield; 4017C-R offers smaller Rycote Windshield to give outside broadcasters, journalists and lo-cation filmmakers everything they need for clear, directional sound regardless of weather or environmental conditions.

www.dpamicrophones.com

Stand: 8.D76

ViDeo monitorFlanders Scientific cm320tD

32in, 10-bit panel with 1920 x1080 native resolution; CFE2 (custom LUT import), simultaneous monitoring of two inputs; suited for all post-production applica-tions, but also a capable field monitor with weight (9.5kg) and power consumption (max 50W) on par with smaller monitors.

www.flandersscientific.com

Stand: 10.F39

BAtch-proceSSing

louDneSS toolNUGEN Audio LMB

New optional feature will analyze and correct MXF files without converting to WAV format; option saves corrected files to MXF format and preserves all other data in file; supports OP-Atom and OP1a formats, as well as PCM audio data (including D10-encoded PCM); offline file-based loudness analysis and correction program designed for rapid assessment and correction of files for loudness and true-peak content; com-pliant with ITU-R BS. 1770 and EBU R128-based specifications.

www.nugenaudio.com

Stand: 7.F07

monitoring AnD

control SyStemAxon Cerebrum

Simultaneously monitors, controls all ele-

ments of broadcaster’s infrastructure; will

target all applications where some form

of broadcast facility monitor or control is

required; brings together all requirements

for safe, flexible broadcast operation.

www.axon.tv

Stand: 10.A21/B21

contriBution encoDerATEME Kyrion CM5000

High-performance encoder for contribu-tion, distribution links; features unique FPGA design, permitting complete sof-ware upgradability from SD to HD or 4:2:0 to 4:2:2; feature upgrades include a solu-tion for video multiplex operators called the Seamless Channel Insertion (SCI), based on open standard/nonproprietary Piecewise CBR control rate mode; allows broadcast contribution network operators to smoothly insert or remove channels in an MPTSystem.

www.ateme.com

Stand: 1.D71

4K mini-conVerterAJA Video Systems hi5-4K

Provides simple 4K monitoring connection using four 3G-SDI outputs to 1.4a HDMI inputs; enables a flexible 3G/HD-SDI to HDMI conversion for HD workflow; audio embedded in the SDI input is passed as embedded audio in the 4K HDMI output.

www.aja.com

Stand: 7.F11

Launch extra channels and

ON-DEMANDSERVICES without extra manpower

MediaGeniX

Hall 3, Booth C59

308bew16-DE.indd 33 8/2/2013 3:32:04 PM

34 broadcastengineeringworld.com|August2013

IBC2013Product Preview

Advertisers marked in red

Archive mAnAgement

service SGL Broadcast Notification Service

New subscription service enables material to be transferred directly into the archive; archive management is further enhanced by the addition of intelligent amalgama-tion services including optimizing tape and tape-head usage without limiting ac-cess to individual files; separate elements of an amalgamated archive can still be identified and easily retrieved; allows users to subscribe to messaging about processes, material and hardware for ef-fective workflow monitoring.

www.sglbroadcast.com

stand: 7.J15a

Fluorescent light pAnelPhoton Beard Square One

Fluorescent lighting panel measures 1f square (30cm), and produces more light, more economically; includes eight 5/8in diameter fluorescent tubes that deliver the equivalent of 110W of balanced il-lumination, but at only 64W; dimmable for maximum flexibility; can be pow-ered either direct from AC power or for approximately one hour with a V- or Gold-mount camera battery.

www.photonbeard.com

stand: 11.D43

DAWAvid Pro Tools 11

Latest version enables audio professionals to take on the most demanding produc-tions with new, high-powered audio and video engines, 64-bit architecture, ex-panded metering and direct HD video workflows; offline bounce delivers mixes up to 150 times faster than real time; low-latency input buffer ensures ultra-low latency record monitoring without sacri-ficing plug-in performance.

www.avid.com

stand: 7.J20

soFtWAre ApplicAtion

For yellobriksLYNX Technik yelloGUI

Complementary software application permits select yellobriks to be config-ured over USB using a PC and a MAC; gives users an enhanced level of yellobrik configuration for advanced features and settings; user interface, like the yellobrik modules, is designed to be simple and in-tuitive; once the module is connected, a virtual image of the module is displayed showing the user all switches, controls and module indicators.

www.lynx-technik.com

stand: 8.c70

leD Fresnelvidessence viDnel vn100

100W, high color rendering LED Fresnel fixture; provides single shadow and fo-cusing characteristics essential to Fresnel fixtures while using a fraction of the power of tungsten units; fixture gener-ates strong directional beam of adjustable light with even coverage of 3200K color (5600K optional); delivers flicker-free dimming without color shif.

www.videssence.tv

stand: 11.b12

logo keyerCrystal Vision MultiLogo

Logo keyer provides three layers of key-ing from variety of internal and external sources, including a 4GB or 8GB video store which can hold up to 500 still or animated logos; included MultiLogo Control Sofware makes it easy to get graphics on screen; can embed up to four audio groups into its video outputs, with audio mixing allowing output audio to be generated from a mix of audio embedded on video input and a voiceover sourced from either the two internal audio stores or from an external AES input.

www.crystalvision.tv

stand: 2.b11

File-bAseD meDiA

processing soFtWAreDigital Rapids Transcode Manager 2.0

Powered by the Kayak technology plat-form; designed to seamlessly blend media transformation and workflow processes while providing operational efficiency and agility for applications from production and archive to multiscreen distribution; advanced capabilities include automat-ed decision-making with rich metadata support, flexible visual workflow design tools, and easy integration of new and emerging technologies.

www.digitalrapids.com

stand: 7.F33

4k cAmerAblackmagic Design

production camera 4k

High-resolution 4K digital film cam-era with innovative large Super 35 size sensor and professional global shutter; combined with precision EF mount op-tics and high-quality Apple ProRes 422 (HQ) file recording; supports the new 6G-SDI video connection for use in live video production; high-resolution LCD display; built-in capacitive touchscreen.

www.blackmagicdesign.com

stand: 7.h20

option For tm7/tm9

AuDio monitor rtW blits

Part of the SW20013 sofware license re-cently issued by the company; designed to generate and analyze BLITS test sig-nals; BLITS (Black & Lane’s Ident Tones for Surround) enables testing for channel allocation, level and phase of 5.1 sur-round signals.

www.rtw.de

stand: 8.D92

308bew16-DE.indd 34 8/2/2013 3:32:12 PM

August2013|broadcastengineeringworld.com 35

IBC2013Product Preview

Advertisers marked in red

TrAnscode fArm

conTrollerAmberFin iCR Transcode

Farm Controller

Builds on multiformat transcode capa-bilities by significantly increasing the flexibility and versatility of a multinode transcode environment; brings im-proved resilience and robustness while simultaneously generating cost savings through more versatile network licens-ing capabilities.

www.amberfin.com

stand: 7.H39

Audio And

wAveform moniTordK-Technologies PT0800

Offers an extended collection of high-quality video and waveform mon-itoring tools; video section is flanked by an audio toolbox, complete with bar graphs, moving coil emulation, the com-pany’s StarFish display technology and FFT spectrum analysis; complies with all major broadcast standards; includes loudness and true peak logging; allows for virtually any combination of audio and video tools to be viewed and adapted to the specific application and use.

www.dk-technologies

stand: 8.B60

mulTiviewers Miranda Kaleido-MX/

Kaleido-Modular-X

Combine weight, space and power ef-ficiencies with video scaling quality; designed to be easy to select, configure and install, whether in large studios or OB trucks; Kaleido-Modular-X I/O cards enable monitoring systems to be created within a 3RU, air-cooled Densité 3 frame; Kaleido-Modular-X modules use a pow-erful CPU to drive advanced features and provide excellent video and graphics quality, including the ability to split pro-cessing between frames.

www.miranda.com

stand: 8.d41

PlAyouT And disTriBuTion

AuTomATion sysTem Pebble Beach Systems Marina

New is the SmartPanel, a user-config-urable feature that gives customers the ability to design their own control pan-els within the Marina user interface; SmartPanel brings system manage-ment benefits by improving reporting and traceability, as commands made via the SmartPanel are incorporated into Marina’s AsRun log.

www.pebble.tv

stand: 8.B58

usB Hd Audio inTerfAce Yellowtec PUC2

Offers support for Windows and OSX; powered via USB; offers AES-3 digi-tal audio (XLR) and balanced analog line-level audio (XLR) connectivity si-multaneously; delivers up to 192kHz at 24-bit with a dynamic range of 105dB; features zero-latency monitoring that allows users to monitor their recording signal in real time; an AUX output lets users connect a pair of headphones for quick checks of the audio signal.

www.yellowtec.com

stand: 8.A51

sTudio Audio moniTorTsl sAm1 3Gm+mAdi

Designed for both fixed and mobile broadcast facilities, as well as systems integrators who have embraced MADI; provides multiple-source monitoring of up to 20 channels of audio from MADI, embedded HD-SDI, AES and analog sources on a user-configu-rable screen; provides immediate access to any combination of formats.

www.tsl.co.uk

stand: 10.B41

Analyse your

SCHEDULECOST

and stock value in real-time

MediaGeniX

Hall 3, Booth C59

308bew16-DE.indd 35 8/2/2013 3:32:17 PM

36 broadcastengineeringworld.com|August2013

IBC2013Product Preview

Advertisers marked in red

VirtuAl trAcking

cAmerA heAdShotoku SX-300VR

Pan-and-tilt head features high-accuracy, real-time data output, as well as compat-ibility with a wide range of camera and lens configurations; combines with the Serial Position Interface (SPI) for frame-syn-chronized high-resolution data tracking; VISCAM Fluid-Leaf Drag System supplies smooth continuously adjustable pan-and-tilt drag with enhanced torque and high levels of operator control; capable of sup-porting payloads up to 39kg.

www.shotoku.co.uk

Stand: 11.F40

mediA ASSet mAnAgementSnell Momentum

New features include an HTML5 browser-independent interface, a Published Web Services API to allow simple interactions among business systems, and complete integration with Snell’s ICE channel-in-a-box and Morpheus automation systems; now includes support for an even broader range of external systems; configurable sidecar XML export allows increased interoperability with extender systems; Enhanced FTP watch folder support sim-plifies electronic delivery workflows and reduces media transfers.

www.snellgroup.com

Stand: 8.B70

mAm SyStemNOA Audio Solutions mediArc

Features new enhancements for inclusion of rich media, including full support for videoscene detection, updated streaming servers for easier intranet content preview of rich content and video content; adds ability to launch retranscoding export op-erations via API from lossless compressed video archive formats.

www.noa-audio.com

Stand: 8.d91

heAdendRohde & Schwarz R&S AVHE100

Can now handle multiple multiplexes on a single R&S AVS100 processing platform; just one device is needed to generate mul-tiple physical layer pipes (PLPs) for the DVB-T2 standard; has just a few hard-ware components, making it compact; core components are the R&S AVS 100 audio/video server and the R&S AVG100 audio/video gateway.

www.rohde-schwarz.com

Stand: 7.e25

teSt And meASurementPhabrix rx range

Rack-mount modular range features 8-channel support with a high resolu-tion rasterized 1920 x 1080 output and new waveform instrumentation dis-played with full-size picture scaling; features multichannel loudness support and full Dolby E, D and D plus decode, as well as a new 4AES card; physi-cal layer analysis can now support four channels simultaneously.

www.phabrix.com

Stand: 8.e35

AutomAted PlAyoutOASYS Chameleon

Amalgamates sofware modules to deliver an optimal playout configuration; adapts to broadcast environment, fitting seam-lessly into existing workflows; modular sofware is focused around playout, using either OASYS sofware or partner sof-ware, with an energy efficient footprint.

www.oasys.com

Stand: 8.B16

Video ProceSSorlawo V_pro8 V1.0.4

Can now handle 2x surround downmix (downfold) engines per SDI output; with this new capability, users can create stereo downmixes from 5.1 to 7.1 discrete sur-round audio tracks and embed these on the outgoing SDI so that stereo is always present along with the discrete surround audio channels; additional enhancements include the ability to monitor embedded audio via MADI, level adjustment (-60dB - +12dB) for the audio outputs and a new Dolby E aligner function.

www.lawo.de

Stand: 8.c71

cAmerA-mounted FiBer

trAnSPort SyStemMultiDyne SilverBACK-4K

Supports 4K; enables users to seamlessly transmit any camera signal — including Ultra HD video, HD-SDI video, audio, intercom, control data, GPIOs, tally and power — over a single hybrid copper and fiber cable; available in two versions — a feature-rich model with a video option for viewfinder of monitor viewing in the field and a low-cost model without the view-finder/monitor viewing option.

www.multidyne.com

Stand: 10.d46b

4k Video trAnSPortNet Insight Lossless

4K transport system

Provides compressed 4K transport using the company’s Nimbra 640 MSR, 10G Trunk and JPEG 2000 modules; in addition to JPEG 2000 compressed video, module can uniquely run all uncompressed SDI and ASI video formats, ranging from ASI to 3G-SDI, per port configurable.

www.netinsight.net

Stand: 1.B40

kVm mAtrix Switchguntermann & drunck

controlcenter-digital

Features a modular design consisting of interchangeable input and output cards (I/O cards); has 288 ports available; ca-bling system is done via CAT cable and fiber optics (also in mixed mode); com-patible with all system components of the DVICenter series; supports the transpar-ent transmission and switching of USB 2.0 and RS232 signals.

broadcast.gdsys.de

Stand: 4.B60

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IBC2013Product Preview

Playout software

controllerEVS Nano Air

Designed for TV studio and on-stage entertainment productions; requires no configuration; provides instant con-trol of all EVS production servers; when combined with EVS XS, XT3 or XSnano servers, it becomes a reliable, cost-ef-fective multichannel playout solution; enables simultaneous playback for both SD and HD clips and playlists to multiple destinations, including background stu-dios and stage screens.

www.evs.com

stand: 8.B90

fiBre channel

host Bus adaPterATTO Technology Celerity

Available in single-, dual- and quad-channel configurations; ideal system for users looking to achieve the highest I/O and data throughput for advanced video and enterprise-class IT applications; of-fers driver support for Windows, Linux, Mac OS X, VMware and more, providing a single connectivity system for cus-tomers with heterogeneous operating system environments.

www.attotech.com

stand: 7.f41

ott PlatformVisual Unity vuMedia 2.0

Major new feature is the integration of the company’s vuEasy next-generation online video platform; vuEasy cloud-based service alleviates the need for businesses to build an expensive, in-house and resource-intensive media library by allowing them to publish their content online; supports live streaming of HD video and allows graphics and other audio and visual material to be associated with video or audio files, for brand promotion or to generate advertising revenue.

www.visualunity.com

stand: 14.114

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38 broadcastengineeringworld.com|August2013

IBC2013Product Preview

Advertisers marked in red

Audio technology

resellerHHB Communications

Company will be demonstrating a range of MADI, audio and loudness metering, measurement and correction tools, in addition to a selection of portable audio recorders, broadcast consoles, loudspeak-ers and microphones, Avid Pro Tools sofware and hardware, and Mogami “Cable for Life” cables.

www.hhb.co.uk

stand: 8.d56

diAlogue enhAncementFraunhofer IIS Dialog

Enhancement Technology

Allows TV audiences to individually ad-just the volume of dialog, music or sound effects within a single broadcast program; audiences can adjust volume to best suit their personal choice, listening environ-ment and hearing capabilities to better understand speech and dialogues on TV or radio; compatible with all existing transmission and playback equipment.

www.iis.fraunhofer.de

stand: 8.B80

commentAry mixerGlensound Electronics GS-GC5/USB

Provides a complete USB audio inter-face; features interfacing facilities for two commentators plus a spare (guest); mic/phantom/line switchable inputs on XLR, with broadcast-quality mic amps and “Referee” compressor/limiter system developed specifically for sports broad-cast inputs; two headphone outputs for each commentator, one on a 6.35mm jack socket for high-impedance connec-tions, and one on a 3.5mm jack socket for low-impedance.

www.glensound.co.uk

stand: 8.e72

cellulAr Bonding

solutionteradek Bond Pro

Camera-back HD H.264 bonded cel-lular solution is designed for broadcast cameras with Gold-mount or V-mount power systems; its modular design and ease of use make it a simple addition to any broadcast rig; its light weight and low power consumption allows camera oper-ators to quickly maneuver within tight spaces and broadcast live for long periods of time without interruption or fatigue.

www.teradek.com

stand: 11.A43, 11.d21

network monitoring

systemThomson Broadcast Wavetracker

Cost-efficient network monitoring system has a dedicated customer support portal; performs all state-of-the-art functions required for configuring and monitor-ing a Tomson Broadcast Transmission network; native nomadic support of Wavetrack enables the network opera-tor to safely and freely add or remove equipment from the system via tablet or smartphone directly on-site; graphi-cal charting interface allows operators to check the status of the network at a glance or to access up-to-date documentation on any item of equipment in the network.

www.thomson-broadcast.com

stand: 8.c11

mPeg ts monitoring

interfAceVolicon Observer 7.1

Features a broader array of inputs to sup-port ASI, QAM, 8-VSB, DVB-T/T2 and DVB-T, as well as MPEG TS interfaces; available on all Observer TS systems — including Enterprise, Pro and Scout systems — the new interface simplifies deployment and configuration for receiv-ing off-air channels.

www.volicon.com

stand: 7.g23

AutomAtic remote

PlAyoutPlayBox technology edgeBox

Offers fully redundant automatic remote playout anywhere in the world via the Internet; makes a TV station, complete with local branding and content, an eco-nomic reality — even for small audiences; comprises two parts — one integrated at the broadcast center with the existing traffic, storage, MAM, ingest, transcoding and file transfer systems, and the other at the remote site, which includes playout equipment and monitoring.

www.playbox.tv

stand: 8.c30

monitor seriesPlura Broadcast SFP-3G series

Consists of the 17in SFP-217-3G, 21in SFP-221-3G, 24in SFP-224-3G and 32in SFP-232-3G full HD 1920 x 1080 precision broadcast LCD panels; various Plura SFP modules are designed to fit every possible broadcast application; features include a 6 x 6 built-in crosspoint switcher, closed caption (708/608), three preset program-mable functions, and a 1RU universal control panel with Ethernet capabilities for global Plura SFP monitors control.

www.plurabroadcast.com

stand: 8.c73

nrcsoctoPus newsroom octoPus7

Fully-featured, cost-effective, platform-independent NRCS runs natively on Mac OS X, Linus and Windows; features Assignment Desk, a planning tool that includes a state-of-the-art linking tool, a modern planning calendar, a chat room for every assignment folder using the built-in user-to-user-messaging system, user notifications of new assignments and more; additional features include Social Media Integration, which introduces Twitter trending topics, and Topic Bins, which introduces a way to organize and share information in the newsroom.

www.octopus-news.com

stand: 7.g11

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IBC2013Product Preview

Advertisers marked in red

AutomAtic de-flickering

systemI-MOVIX d-flicker

Designed for use with SprintCam Vvs HD and X10/X10+ systems; provides an effi-cient solution to the flickering problem to deliver flicker-free, ultra-slow-motion shots in real time, revealing the beauty of the action; solves problems with distract-ing lighting.

www.i-movix.com

stand: 11.c55

broAdbAnd AntennAs Jampro JVD-U, JCD-U

Now available for both VPOL and CPOL polarization; vertically or circularly po-larized system enclosed by full cylindrical radome for environmental protection and minimal urban visual impact; broadband over band IV/V, allowing multiple UHF channels to be transmitted at the same time; designed for DVB-T2 (ISDB-T or ATSC digital TV application) channels; ships fully assembled and tested.

www.jampro.com

stand: 8.b96

mini-converterAJA video systems roi

Mini-converter allows an operator to simply select, surround and click to in-sert computer video into an SDI stream; offers real-time scaling of computer DVI-D and HDMI outputs to baseband video over SDI; region of interest (ROI) scaling control for selective source screen isolation and resolution match-ing; DVI-D loop through enables SDI signal conversion while maintaining DVI-D monitor connection.

www.aja.com

stand: 7.f11

live video-over-cellulAr

solutions liveu smart grip and

Xtender technology

Included technology includes LU70 backpack with proprietary internal and external antenna arrays, belt-clip or cam-era-mounted LU40-S device, weighing less than 0 .7kg, LU-Smart mobile app sys-tems (including its patent-pending Smart Grip device), LU-Lite sofware-only solu-tion (Win and Mac); and LiveU integrated Xtender antenna; all products are incor-porated into the LiveU Total ecosystem by the company’s unified management plat-form, enabling control rooms to manage multiple video feeds from units operating in diverse locations.

www.liveu.tv

stands: 3.A63, 3.A68

compAct control deskCustom Consoles Module-R Lite

Designed for use in production suites with limited space or in large facilities requiring multiple rows of desks; has a front-to-back depth of 875mm; op-tion of fitting monitor display screens above the rear edge of Module-R Lite desks makes even more efficient use of space; is available with the same wide range of matching equipment pods and storage modules as the Module-R, with correspondingly adjusted front-to-back dimensions if required.

www.customconsoles.co.uk

stand: 3.A54

dtv monitoring systemAgama Technologies DTV

Monitoring Solution

Version 4.5 introduces new at-a-glance Worst Channels dashboard widget, showing top problematic services as experienced by viewers; features im-provements in Enterprise Server’s Timeline Correlation view, which shows monitoring correlation overviews intelli-gently aggregated by service or location; other improvements include enhanced user interface performance, additional metrics available in the Performance Management application layer, new pos-sibilities in OSS/BSS integration APIs to extract data about monitored devices and more.

www.agama.tv

stand: 4.A71

mAm systemDalet Galaxy

Features revamped user-friendly, ergo-nomic interface and industry-standard BPM workflow engine tailored for media organizations; automates many tasks and processes; simultaneously managing multiple and diverse workflows across many different systems; uses a variety of data exchange and integration paths, including SOA-compliant tools as well as Dalet Xtend connectors that simpli-fy third-party integrations with NLEs, broadcast servers, HSM, automation systems, traffic and broadcast manage-ment systems; supports a wide variety of media formats and actively participates in groups promoting industry standards including FIMS and AS02.

www.dalet.com

stand: 8.b77

ott systemSatLink Communications OTT system

New OTT system designed for broadcast-ers, telecom and mobile operators as well as ISPs; offers transcoding, live content streaming and management tools for mo-bile and tablet devices on Apple, Android, Windows 8 platforms and onto PCs and connected TVs.

www.satlink.tv

stand: 5.A17

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40 broadcastengineeringworld.com|August2013

IBC2013Product Preview

Advertisers marked in red

Spoken word SeArchNexidia Dialogue Search v1.4

Sofware tool searches in seconds for any spoken word or phrase across massive media libraries; reduces logging and tran-scription costs; integrates directly with media management and editing applica-tions; requires no training; new features include an Adobe Premiere Pro exten-sion, AAF Export, the Dialogue Search RESTful API to provide Nexidia search capabilities within any application, and a new proximity-based search for finding a word or phrase spoken within a certain number of seconds of another.

www.nexidia.tv

Stand: 3.A46

File-bASed workFlow

AutomAtion SoFtwAre Aspera Orchestrator

New features include full failover support, integrated Active Directory and LDAP support, and multi-tenant capabilities; also offers an expanded plug-in library for many transcoding, watermarking, qual-ity control, antivirus, ad insertion, asset management and other solutions.

www.asperasoft.com

Stand: 7.k30

SAtellite redundAncy

Switch Bridge Technologies VB273

Module is designed for Bridge Technologies’ new carrier-grade intelli-gent redundancy switching solution for satellite uplinks; works with a VB272 and VB120 in a redundant chassis to moni-tor two signals from dual production chains and switch to the backup chain if the main chain fails; a sophisticated automatic decision engine uses Bridge’s advanced ETR290 analysis functional-ity and compares error condition results against user-defined rules.

www.bridgetech.tv

Stand 1.A30

ott Subtitling SyStemScreen Subtitling Systems

ott subtitling

Proprietary served Web video playback ensures that subtitles are displayed in the style intended regardless of the player; system allows viewers to select language or turn captions off, without the need to re-encode the video or host multiple cop-ies; text is clear (not affected by the video compression); uses standard subtitle file formats; can automatically adjust broad-cast version for the web via EDL.

www.screensystems.tv

Stand: 1.c49

trAnSport SyStemNevion Flashlink HD-TD-10GMX-6

Is part of Nevion’s Flashlink transport system family; is a high-density six-channel HD/SD-SDI multiplexer into a 10Gb/s optical stream; all streams can be asynchronous to each other, allowing multi-standard video transport over the same fiber link; CWDM and long-haul optics are available as options.

www.nevion.com

Stand: 1.b71

SyStemS integrAtion

ServiceSOKNO-TV

Provides systems integration services for broadcasters, content owners and media service providers; employs a multination-al team of industry experts; features an independent and consultative methodol-ogy to television systems and workflow design that places the client at the heart of the project and allows for a fully tailored solution to be created; offices in London and Moscow.

www.okno-tv.co.uk

Stand: 9.c30

video delivery

Scheduling SoFtwAremediagenix what’son

New features include updates to rights management, VOD scheduling and auto-mated secondary event planning, which allows the rule-based placement of program menus, branding and the pro-motion of content or VOD services with the push of a button.

www.mediagenix.tv/en

Stand: 3.c59

plug-in legAlizer For

Apple FinAl cut pro XEyeheight complianceSuiteFCX

Plug-in legalizer, safe-area generator and graphic measurement toolset for the Apple Final Cut Pro X video production suite; allows file-based workflows from concept to playout by enabling users to verify and conform their content prior to submission to any file-based quality-con-trol system, all from within their familiar Final Cut environment; designed for use with high-end video source files used for broadcast content production.

www.eyeheight.com

Stand: 8.b97

compAct cAmcorderScanon XA25 hd, XA20 hd

Well-suited for run-and-gun style vid-eography or ENG; designed for extreme mobility and portability; feature multiple shooting-assist functions and enhanced key components, such as a Genuine Canon wide-angle 20X HD zoom lens with an ENG-style “rocker” zoom con-trol and built-in real-time optical image stabilization; additional features include simultaneous recording of multiple bit rates and 1080p HD formats, including 60p and native cinematic at 24p, on two separate SD cards.

www.canon.com

Stand: 11.d21

video delivery controllerSeaWell Networks Spectrum

New technology ensures and establishes per-session security and identification in multiscreen video delivery; enables oper-ators to monetize, manage and optimize their services.

www.seawellnetworks.com

Stand: 14.182

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IBC2013Product Preview

Advertisers marked in red

DSLR pRompteRAutocue

Designed specifically for DSLRs; mounts in front of the DSLR, directly to a stan-dard set of 15mm DSLR rails; this makes the prompter extremely lightweight; as a result, DSLR users can mount a range of accessories onto the rails as normal; available in two variants — the first uses a universal iPad mount (includ-ing the iPad Mini and other tablets) and the second an 8in monitor; an optional bar at the top of the hood with a num-ber of ¼-width threads allows further accessories like on-camera lights and microphones to be deployed.

www.autocue.com

Stand: 11.F45

NLeAvid Media Composer 7

New version features accelerated, sim-plified file-based workflows including optimized HD delivery from high-res source material and automated media operations; also offers Interplay Sphere for Mac support, extending real-time production everywhere; new Master Audio Fader enables inserting RTAS plug-ins to tweak tones and optimize overall program loudness for broadcast regulation adherence.

www.avid.com

Stand: 7.J20

IRD2wcom FlexDSR02+/FlexDSR04+

Compact 1U IRD for professional audio contribution via satellite and IP; features versatile inputs for up to four different programs with analog or digital output, a full regional insert system, SIRC for in-band control via satellite and automatic weightbalancing of quality parameters and program source switching (satellite, IP-line, ASI, SD card) in case of failure; supports latest codecs; offers built-in monitoring of operational parameters.

www.2wcom.com

Stand: 8.e78

WoRkFLoW SyStemTMD Mediaflex CI

Provides the ability to design workflows and use business analytics to derive valu-able information; use of analytics means that the system itself can make intelli-gent decisions based on business rules developed by the organization, deliver-ing huge productivity benefits; rules can be established that drive content through transcoding and transwrapping farms to automatically generate content that is quality-assured and with the right metadata in the right places.

www.tmd.tv

Stand: 2.C58

moNetIzAtIoN teChNoLogy Vimond Platform

Monetization Engine

New features are user administered through the Vimond Control Center (VCC); Product Packaging feature makes it easy for publishers and service providers to bundle channels and package content into sellable products in one interface; Ad Cue Points feature includes markers on the timeline that serve as cues to the VCC media player on where to insert ads; these markers allow content publishers to choose where to insert advertisements into live and on-demand streams by sim-ply clicking on the video timeline.

www.vimond.com

Stand: 14.B10

WIReLeSS tRANSmItteRSennheiser Skm 9000

Fully compatible with all microphone capsules from evolution wireless G3 and 2000 series; three new permanently polar-ized condenser capsules — ME 9002, ME 9004 and ME 9005 — feature a revolu-tionary shock-mount design that delivers ultra-low handling noise and maximum pop suppression.

www.sennheiser.com

Stand: 8.D50

3g pRoDuCtIoN SWItCheRRoss Video Vision Octane 3G

New 1080p (3G) processing technology has been added to Vision Octane series of production switchers; built on the stan-dard Octane production engine but with new state-of-the-art FPGA devices that allow 1080p production; accommodates 1080p50 or 1080p60 production but also adds dual 2D DVE resizers with combiner to every MLE key as well as two more DVE channels for transitions; makes it possible to create eight box shots on every MLE in the system and transition them dynami-cally; each MLE now has 8GB of storage for still and animated graphic playout.

www.rossvideo.com

Stand: 9.C10

DIgItAL WIReLeSS AuDIo

NetWoRkNeutrik XIRIUM

Professional multichannel wireless net-work combines digital transmit and receive paths for superior sound qual-ity, reliability, and easy installation and operation; based on the future-oriented DIWA (Digital Wireless Audio) technol-ogy within 5GHz frequency band.

www.neutrik.com

Stand: 8.C90

WoRkFLoW AutomAtIoN

AND mANAgemeNtPrimestream FORK 4.5

Production Suite

Manages the automation of the most complex broadcast workflows; upgrade introduces FORK Workflow Manager 1.0, a new FORK module that makes workflows visible and enables users to conceptualize and control their produc-tion workflows in an entirely new way; also features workflow integrations with the most popular craf editors, including Adobe Premiere Pro, Apple Final Cut Pro and Avid Media Composer.

www.primestream.com

Stand: 7.D21

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42 broadcastengineeringworld.com|August2013

IBC2013Product Preview

Advertisers marked in red

TrAnsporT sTreAm

compliAnce sysTemcobalt Digital spotcheck

Designed to offer a no-guesswork solu-tion for video and audio compliance; provides ATSC A85 and EBU R128 monitoring, metering and logging; new features include frozen frame and black frame monitoring, as well as silent audio detection.

www.cobaltdigital.com

stand: 10.B44

ip encoDer/TrAnscoDer Digigram AQILIM *SERV/FIT

Enables multiple HD/SD IP streaming resolutions and formats, H.264 codec encoding and MPEG-2 transcoding ses-sions from up to two SDI inputs; features integrated HLS, MPEG-TS and Flash streaming support to connect with key CDN providers; provides complete live multiscreen delivery system for WebTV, OTT and IPTV applications.

www.digigram.com

stand: 8.c51

AnTennAAlan Dick Broadcast UHF

Broadband antenna

Available for both VPOL and CPOL polarization for UHF Bands IV and V;, designed as low to medium power sys-tems, with a special focus on roofop deployment; vertically or circularly polar-ized system enclosed by a full cylindrical radome for environmental protection and minimal urban visual impact; allows mul-tiple UHF channels to be transmitted at the same time; rugged marine brass and aluminum construction guarantees long life; ideal for DVB-T2 [ISDB-T or ATSC digital TV application] channels.

www.alandickbroadcast.com

stand: 8.B99

sTB sofTwAreEspial STB Client

Based on RDK, HTML5 and WebKit; of-fers operators an easy cloud-based system to achieve new levels of service innovation, deliver a highly personalized solution and embrace new business models.

www.espial.tv

stand: 5.B10

ViDeo serVice moniToringMariner xVu for Multiscreen

Monitors the user experience throughout the entire TV delivery chain and across a wide range of devices — such as tab-lets, smart phones, PCs, Macs, smart TVs, set-top boxes and mobile gaming devices — and networks, including broadband, wireless, and Wi-Fi, significantly reduc-ing operational costs for multiscreen TV; features an easy-to-use interface that lets operators view subscribers’ service per-formance to identify and isolate service issues quickly.

www.marinerpartners.eu

stand: 14.530

newscAsT AuTomATion

sofTwAreMosart Newscast Automation 3.4

Allows users to assign more advanced con-tent sequences to shortcuts or to send such content directly to the studio walls; also features enhanced drivers for CasperCG and Orad graphics, as well as Studer audio (now using EmBER); the automation sys-tem in the updated sofware now supports an unlimited number of video server chan-nels; newsroom enhancements include support for Mosart commands in foreign MOS items and the ability to select the iNEWS interface as FTP or MOS.

www.mosart.no

stand: 5.c28

meDiA AsseT AnD

workflowNETIA

Latest version of the company’s MAM platform allows users to manage all pro-cesses with within the global production environment — from editing through post and distribution — through simple, easy-to-manage workflows and task auto-mation, and accessed through one unique and straightforward interface; gives op-erators the ability to connect all of their partners and vendors within a single production ecosystem, simplifying the sharing and managing of media assets.  

www.netia.com

stand 1.A29

4k cApTure cArDBlackmagic Design

Decklink 4k extreme

Full Ultra HD 4K capture and playback using 6G-SDI and HDMI 4K support; includes single- and dual-channel SDI connections for both regular 2-D and 3-D stereoscopic workf lows, as well as full resolution color RGB 4:4:4 cap-ture and playback; includes dual-link 6G-SDI, HDMI 3-D/4K and analog com-ponent, composite, S-video connections; works in SD, HD and Ultra HD 4K; in-cludes AES and analog balanced audio, 16-channel SDI audio, genlock, deck control, broadcast-quality up/down/crossconversion, plus built-in SD/HD internal keyer.

www.blackmagicdesign.com

stand: 7.H20

ViDeo quAliTy roBoTWitbe S4402

Able to replicate end-user actions on any viewing devices, such as set-top boxes, smart phones, tablets, game consoles, connected TVs and PC/Mac clients; de-ployed by service providers, content owners and device manufacturers to au-tomate testing of new services, new apps or new devices before launch and monitor the quality of live and on-demand video services delivered to any type of fixed and mobile terminal; new carrier-grade, rack-able unit is designed for deployment in data centers and test labs.

www.witbe.com

stand: 4.c74

connecTeD workflowsQuantel QTube

Technology connects different geogra-phies and different systems together; Enterprise sQ, QTube and revolutionQ combine to give broadcasters a global production ecosystem, enabling them to make compelling content more quickly, easily and efficiently.

www.quantel.com

stand: 7.A20

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IBC2013Product Preview

Advertisers marked in red

Video trAnsport chAssis Artel Video Systems DL4360x DigiLink

Integrates a set of solutions for con-tribution video transport with video and Ethernet routing and switching; low-power, compact, 3RU chassis fea-tures 12-function module slots with a 60 x 60 non-blocking video and Ethernet switch; this design eliminates exter-nal cross connects while keeping video or Ethernet signals in native format; chassis monitoring and management is made simple via external status LEDs, a feature-rich HTTP interface and SNMPv2 capabilities.

www.artel.com

stand: 2.A20

UniVersAl Video cArdsriedel communications Mn-c-opt-

hdMi, Mn-hdo-4io

Support a variety of small form-factor pluggable optical transceivers; enable the flexible configuration of MediorNet systems for bi-directional transport of analog composite video, HDMI, DVI and optical or coaxial SDI signals; depending on the SFP transceivers installed, each card can provide a combination of either four HD (1.5G) or two 1080p (3G) bi-di-rectional video signals or analog video, HDMI, DVI or optical SDI video I/O.

www.riedel.net

stand: 10.A31

prodUction interfAceBlue Lucy Media Miura

ProductionWeb

Provides global access to the company’s media management and video process-ing tools; enables all production workflow management operations — from ingest through sub-clipping (partial restore) and fulfillment — to be managed through a highly customizable operational interface from anywhere with Internet access; al-lows private or public production clouds to be created, enabling secure decentral-ized operations.

www.bluelucy.com

stand: 7.J40

MediA Asset

MAnAgeMent systeMMedia Power Arkki

Allows users to store, catalog, retrieve and manage content; its search engine features a rough-cut and sub-clip generation facil-ity that enables users to find content in seconds; designed to be easy to manage, with workspace customization and sys-tem utilization monitoring; accessible via a Web interface.

www.mediapower.it

stand: 7.J42

color correction toolSMPTE CamBook 3

Allows engineers to align and set up cameras to REC 709, compare/match camera makes and models, and test lenses for colorimetry and resolution; serves as a useful reference in produc-tion — both on set and in post for color correction of images; features a number of popular DSC test elements, including the CamAlign colorbar/grayscale with a patented “SpectroGray” spectrophoto-metrically neutral grayscale, a 12-chip colorbar with four standard skin tones, resolution trumpets, and both 16:9 and 4:3 framing lines.

www.smpte.org

stand: 8.f51f

UhdtV plAyoUt systeMThomson Video Networks Ultra HD

playout system

Emerging HEVC compression standard will pave the way for broadcasting in the upcoming Ultra HD picture format; new HEVC playout system, powered by the company’s own HEVC tech-nology, enables broadcasters to trial and demonstrate Ultra HD content on their networks.

www.thomson-networks.com

stand: 14.A10

MAster sync generAtordK-technologies pt5300

In master sync applications, new LTC fall-back function allows the PT5300 to align with the internal high precision clock, a feature that is important to users work-ing in situations where GPS coverage is patchy or inadequate; in slave sync ap-plications, the LTC engine enables the PT5300 to genlock to VITC time-code derived from the black-burst input.

www.dk-technologies

stand: 8.B60

schedUle creAtion

And MAnAgeMentplayBox technology scheduleBox

Web-based client/server solution for creating and managing advanced sched-ules; operating within a web browser, the GUI handles template-based TV broad-cast planning, offering straightforward management of single or multiple TV channels; program schedules with daily, weekly or monthly views, and program block management per TV channel, are available; gaps and overlaps are easily identified in the program blocks.

www.playbox.tv

stand: 8.c30

oB signAl

trAnsport plAtforMBluebell PW140

Designed for OB and infrastructure ap-plications; offers universal SDI signal transport over fiber in a compact 1RU frame; features a processor that provides simultaneous multiplexing and de-multi-plexing of the signals presented to it from the I/O cards; initial base configuration provides 6 x bidirectional HD-SDI signals over two fibers or 10G Ethernet; when used with CWDM optical multiplexing, 96 x HD-SDI signals can be transported over a single fiber.

www.bluebell.tv

stand: 10.f24

WeAther VisUAlizAtion

systeMMeteoGraphics WeatherPresenter

New function is Webview for broadcast-ing full-screen website content; allows broadcasters to integrate live news from the online world and draw viewers to their online offering; with the new so-cial media integration, broadcasters can interact directly with viewers and reach new audiences; the day’s story can be il-lustrated and personalized by integrating user-generated videos or images and hy-perlocal weather observations.

www.meteographics.de

stand: 2.c48

gAteWAyRohde & Schwarz R&S AVG050

Features an integrated satellite receiver; includes a DVB-S/DVB-S2 demodulator than can receive and decrypt incoming transport streams from a satellite.

www.rohde-schwarz.com

stand: 7.e25

308bew16-DE.indd 43 8/2/2013 3:33:34 PM

44 broadcastengineeringworld.com|August2013

IBC2013Product Preview

Advertisers marked in red

Live production switcherSnell Kahuna 360

Features exclusive FormatFusion3 tech-nology that supports a mix of SD, HD, 1080p and 4K; features a new set of con-trol panels that provide a flexible, quick and reliable access control interface for all types of television programming; new panels offer OLED buttons with user-as-signable thumbnails, a touch screen at the M/E level rather on the separate GUI for quick navigation, and the ability to assign RGB values to buttons for clear, confident operation.

www.snellgroup.com

stand: 8.B70

XdcAM cAMcorderSony PMW-300

Semi-shoulder-mount camcorder com-bines the benefits of 1/2-type Exmor Full HD 3CMOS sensor technology with 50Mb/s HD recording at MPEG HD422; includes Sony’s advanced signal processing technology to suppress noise effectively and create noticeably clearer images; high bit rate ensures excellent capture of fast-moving objects.

www.pro.sony.eu

stand: 12.A10

production serverEVS XT3

Updated server offers greater flexibility and advanced HD workflow operations, along with instant delivery of multicam footage to second screens and live slow motion in Ultra HD; has been designed to continuously record live feeds from two 4K cameras, while generating instant re-plays and highlights; supports up to three 4K channels on each server — either two records and one replay or one record and two replays.

www.evs.com

stand: 8.B90

BroAdcAst workfLow

MAnAgeMentPrimestream FORK Xchange Suite 2.5

Gives broadcasters instant cloud access to content on their FORK Production servers from any Windows, Mac or tablet device; is an add-on to the FORK sof-ware platform; introduces the Xchange Shot List Editor add-on module, which gives editors a fast and nimble way to edit content living inside the FORK environ-ment via a proxy with Xchange for Web and iOS.

www.primestream.com

stand: 7.d21

dtv Audio processorLinear Acoustic AERO.100

Supports AEROMAX loudness control, UPMAX II upmixing/downmixing, Dolby Digital (AC-3) and Dolby E de-coding, Dolby Digital (AC-3) encoding, ITU (AI) limiter, video delay and Linear Acoustic Intelligent Dynamics (ID) hy-brid metadata processing; processes 10 channels (5.1+2+2) via AES and HD/SD-SDI I/O; control and monitoring via comprehensive TCP/IP remote, and access to loudness logging data from ITU-R BS.1770-3 meters via http serv-er, all in a 1RU package; non-coding version available.

www.linearacoustic.com

stand: 8.d30

Audio MonitorWohler AMP1-MADIe

In-rack portable MADI monitor unit with Ethernet control and configuration, including compatibility with the Evertz MAGNUM facility control system; ideal for sports production and other live broadcasts; can be connected in series with a 56- or 64-channel MADI stream to provide audible monitoring and meter-ing of any eight selected MADI channels at once.

www.wohler.com

stand: 10.B10

fiBer-optic kvM

eXtendersMatrox Graphics Avio F125

Separate dual HD video, USB keyboard and mouse, stereo analog audio, and USB 2.0 devices from a production or post-production workstation; transmit-ter/receiver pair extends two single-link DVI (2 x 1920 x 1200) or one dual-link DVI (2560 x 1600 or 4096 x 2160) video, and multiple high-speed USB 2.0-compli-ant devices from the host computer by up to 400m over multimode cable 4km over single-mode cable; transmits all signals with zero compression and zero latency over one duplex LC-LC fiber-optic cable.

www.matrox.com

stand: B.729

integrAted

pLAyout pLAtforMMiranda iTX

New enhancements include version 1.1 of iTX Render Service for Adobe Afer Effects CS6 sofware; automates and man-ages fully rendered Afer Effects graphics, making them ready for immediate playout from either the iTX platform or Miranda Vertigo Suite of graphics automation and asset management tools.

www.miranda.com

stand: 8.d41

eng-styLe cAMcorderPanasonic PX5000G

Gives user a choice of recording — AVC-LongG50 (10-bit, 4:2:2) and AVC-LongG25 (4:2:2, 10-bit), as well as AVC--Intra100/50, with optional re-cording in DVCPRO HD, DVCPRO50, DVCPRO and DV — in the same body; three 2/3in, 2.2M 3-MOS sensors facili-tate 720p and 1080p/i recording.

business.panasonic.eu

stands: 9.c45, 9.d40

Note: Stand numbers are provide by IBC

and are current as of press time. Every

effort has been made by Broadcast

Engineering to ensure the accuracy of

these listings.

308bew16-DE.indd 44 8/2/2013 4:01:27 PM

August 2013 | broadcastengineeringworld.com 45

Field report

New products & reviews

Af ter working with Panasonic’s AG-HPX600 P2 camcorder, one word defines the product for

me: expandability. Te base HPX600 is a lightweight (6.2lbs), highly com-petent camcorder. By means of a selection of current and future op-tions, the camcorder’s functionality can be significantly enhanced.

Te AG-HPX600 is equipped with three 2/3in MOS sensors and records in AVC-Intra50/100, DVCPRO HD (100Mb/s), DVCPRO50, DVCPRO and DV. Recording is to P2 cards al-though Panasonic has now released a “chargeable” firmware upgrade that supports recording to microP2 cards. (MicroP2 cards provide the function-ality of traditional P2 media, but in an SD-sized card.) A microP2 card must be inserted into an AJ-P2AD1 microP2 adapter that plugs into a P2 slot. (See Figure 1.)

The camcorder arrived from Panasonic with a Fujinon XA17x7.6BERM 17X (7.6mm to 130mm) zoom lens that has a 2X ex-tender. Te HPX600 has chromatic aberration compensation (CAC) to maximize lens performance and a flash band detector with a compen-sation algorithm that minimizes this effect. An LCD display on the cam-era’s side offers accessibility to the camera’s extensive menu functions. Te HPX600 offers two P2 card slots and one SDHC slot.

Other camcorder features include: optical neutral density filter wheel (clear, 1/4, 1/16, 1/64); digital zoom (2X and 4X) function; variable shutter speed (1/12s to 1/2000s plus Synchro Scan); focus assist that expands the center area on the viewfinder; GENLOCK IN; TC IN/OUT; two USB 2.0 ports; an Ethernet port, an HDMI

port; and an HD-SDI port. When the AG-YA600G option is added, uncom-pressed video/audio can be input to the HD-SDI port and recorded.

By adding the AG-YDX600G proxy video encoding option and the AG-SFU604G sofware key, H.264 QuickTime video/audio can be sent via an Ethernet LAN connection to a computer. Proxy video can also be wirelessly sent to a computer, iPhone or iPad when the AJ-WM30 Wi-Fi option is plugged into a USB port. Panasonic offers video apps

Panasonic’s AG-HPX600the camera offers many options

to create custom workflows.By Steve Mullen

for these devices. (See Figure 2.) Te AG-YDX600G option also enables SD proxy video clips to be recorded on P2 cards along with SD/HD video.

Figure 1. MicroP2 Cards and an AJ-P2AD1 microP2 adapter

Figure 2. IPad app for proxy video and playlist editing

Panasonic’s AG-HPX600

308bew20-DE.indd 45 8/2/2013 2:13:35 PM

46 broadcastengineeringworld.com | August 2013

Field report

New products & reviews

Proxy video can also be recorded to an SDHC card.

At the 2013 NAB Show, Panasonic announced that the HPX600 with an AG-SFU603G sofware key inte-grates the camcorder with LiveU’s LU40i cellular modem. Te LU40i is mounted on the back of the camera and is connected using HD-SDI and USB cables. Te combination enables real-time H.264 AVC high-profile 1080i, 1080p and 720p video stream-ing for live sports and newsgathering.

With a 60Hz system clock rate, the following frame rates can be cap-tured: 1920 x 1080 at 59.94i, 23.98pN and 29.97pN, plus 1280 x 720 at 59.94p, 23.98pN and 29.97pN. (Native — N — 23.98 and 29.97 frame rates

capture frames with no pulldown added before recording.) By adding the AG-SFU602G sofware-key, an HPX can record at frame rates from 1fps to 30fps (1080p) and 1fps to 60fps (720p). When set at 24, 24.0fps is recorded. Te key also adds the ability to output 23.98PsF video via the HD-SDI port for uncompressed recording.

When using AVC-Intra100, 1920 x 1080 or 1280 x 720, 10-bit 4:2:2 data are recorded. Panasonic has an-nounced that in 2013, a chargeable hardware upgrade will enable the camcorder to record using the AVC Ultra codec. Table 1 shows the differ-ent quality levels within AVC Ultra. Panasonic has announced that not all AVC Ultra formats will be supported

by the AG-HPX600. However, I expect Class 200 will be available because both P2 and microP2 cards support 200Mb/s recording.

Your first editing task is to select a method to ingest P2 media into your computer. Panasonic offers multiple options. Te low-cost AJ-PCD2 is a single-slot P2 memory card drive. Two USB 2.0 cables — one for data transfer the other for power — con-nect it to a PC/Mac computer or laptop. Panasonic also offers two five-card readers, the AJ-PCD20P (USB 2.0 and FireWire) and the AJ-PCD35

Class 4:4:4 Class 200 AVC-LongG AVC-Proxy

Bit rate200Mb/s

to

400Mb/s

200Mb/s

@

1080/59.94i

As low as

25Mb/s

800kb/s

to

3.5Mb/s

Frame size

720p

1080p

2K

4K

720p

1080p

1080i

720p

1080p

1080i

720p

1080p

Bit depth10- to 12-bit

pixel depth

at 4:4:4

10-bit pixel

depth at

4:2:2

10-bit pixel

depth at

4:2:2

8-bit pixel

depth at 4:2:0

Codec Intra-only Intra-only Long GOP Long GOP

Table 1. AVC Ultra formats

Figure 3. Yellow indicates files stored on a connected device.

Figure 4. Consolidate/Transcode…

command

308bew20-DE.indd 46 8/2/2013 2:13:57 PM

August 2013 | broadcastengineeringworld.com 47

Field report

New products & reviews

(PCI Express). The new two-slot AJ-MPD1 drive reads microP2 cards using a USB connection.

If you don’t have card reader, as I don’t, the camera enables you to transfer P2 media directly to a USB 2.0 hard drive connected to the camcorder. Tis method has sever-al advantages. First, the hard drive becomes a low-cost backup device. Second, when the drive has been for-matted as FAT32, it can be mounted on either a PC or Mac from which you can edit. Lastly, if you have a P2-format sofware encoder such as AVC-Intra Codec or ImEx Suite (OS X only) from Hamburg Pro Media, you can export a production as an

MXF file to a hard drive, connect the drive to an HPX600, and then copy the file to a P2 card.

Avid’s Media Composer has func-tions that conveniently handle P2 editing. Inserting a card into a read-er connected to a computer running Media Composer can automatical-ly create a bin and populate it with clips. Yellow marked clips indicate files stored on the connected device. (See Figure 3.)

As long as a reader is connected, you can edit clips into a sequence. When a sequence is complete, se-lect it and issue Clip > Consolidate/Transcode…. (See Figure 4.) Next, choose Consolidate, select the target

hard drive, and click the Consolidate button. Only those clips in the se-quence will be copied from the P2 card to the target drive.

If you have previously copied P2 media to a harddisk, issue the File > Link to AMA Volume… command. Choose the device, select a folder with P2 contents, and click Choose. Te result will be a bin of clips. (See Figure 3.)

Depending on the power of your computer, playback performance may be less than ideal. You can im-prove performance by transcoding a P2 media to a DNxHD file. To do so, select clips in a bin, and then issue Clip > Consolidate/Transcode…. (See Figure 4.)

Next, select the target drive, select the type of DNxHD desired and click the Transcode button. Te transcod-ed file names will be appended with a “new” tag.

Final Cut Pro X offers similar capabilities. After mounting a P2 media device, its con-tents are rapidly cataloged in the background. Once cataloged, you can begin edit-ing P2 media. However, you have two other options, as shown by Figures 5 and 6.

By checking Create proxy media, P2 media will be converted to ProRes Proxy in the background. (See Figure 5.) You’ll now have smooth playback while editing. During export, likely to ProRes HQ, the original P2 content will be used as the source.

By checking Create optimized media, P2 media will be converted to ProRes 422 in the background. (See Figure 6.) You’ll now have smooth playback while editing. During ex-port, likely to ProRes HQ, ProRes files are employed as the source. BESteve Mullen is the owner of DVC. He can be reached via his website at http://home.mindspring.com/~d-v-c.

Figure 5. Create proxy media

Figure 6. Create optimized media

Send questions and comments to: editor@broadcastengineering.com?

308bew20-DE.indd 47 8/2/2013 2:14:13 PM

48 broadcastengineeringworld.com | August 2013

TECHNOLOGY IN TRANSITION

NEW PRODUCTS & REVIEWS

The British rock group Queen had a top-10 hit in 1989 with “I Want it All.” � e song included and was based

around the catchphrase from singer/guitarist Brian May’s second wife, “I want it all, and I want it now!”

Of course, that is what broadcast storage managers hear every day. It isn’t enough to have tape archives; news editors want instant access to every inch of footage ever shot, mar-keting wants to know how a show is trending on Twitter as it airs, and cus-tomers demand access to music and videos that fi t their personal mood at that moment.

From a data storage aspect, this means that nothing is ever old or offl ine, but must be able to be ready at the push of a button. Welcome to the world of Big Data.

What is Big Data?

Big Data is a fuzzy term: It doesn’t apply to any specifi c amount or type of data. But, as companies have created petabytes and exabytes of un-structured and semistructured data, all this data needs to be corralled, brought under control, understood and analyzed. As a rule of thumb, if there is too much data to be effi ciently loaded into a relational database, it is Big Data, and specialized tools are required to turn the raw digital data into intelligence that can be used for decision making.

Although much of the emphasis is on the analytics, that is not the only aspect. For most industries, the stor-age and management of the data is also critical; for broadcasters, distri-bution also plays a huge role, given the rise of on-demand programming.

Big Data tools

Managing Big Data requires the development of a new set of tools to

organize and search the data. � ere are now hundreds of such tools, with more on the way. Many of these are open source, or are commercial implementations of open-source so� -ware. Among the most broadly used Big Data tools are: • Hadoop (hadoop.apache.org/).

� is is an open source Java-based programming framework for dis-tributed computing of large data sets.

It can scale from one server to thou-sands, and redistributes the work in the event of one or more nodes failing. It works with Windows, Linux, BSD and OSX. • Hive (hive.apache.org). � is is a data warehouse system that “facili-tates easy data summarization, ad-hoc

Data storage toolsBroadcasters can use these to store Big Data effi ciently.

BY DREW ROBB

queries and the analysis of large da-tasets stored in Hadoop-compatible fi le systems.” It is designed for batch queries/processing or large data sets and uses HiveQL, a language similar to SQL. • MapReduce. Google developed MapReduce to address the issue of how to manage the parallel process-ing workloads required to process massive amounts of data. The

MapReduce framework consists of two parts: Map, which distributes the load out to the compute nodes, and Reduce, which collects and merges the results from those nodes into a single result. Google researchers Jeff rey Dean and Sanjay Ghemawat published an introduction to the

From a data storage aspect, nothing

is ever old or offl ine, but must be able

to be ready at the push of a button.

Welcome to the world of Big Data.

Although Big Data analytics is one of IT’s hottest topics these days, broadcast

has been in the Big Data business for decades.

308bew27-DE.indd 48 8/2/2013 2:15:17 PM

August 2013 | broadcastengineeringworld.com 49

TECHNOLOGY IN TRANSITION

NEW PRODUCTS & REVIEWS

MapReduce framework at the Sixth Symposium on Operating Systems Development and Implementation (OSDI) in 2004, the year Google used it to replace its earlier indexing algo-rithms. � e paper and presentation slides can be downloaded at research.google.com/archive/mapreduce.html. • NoSQL databases. � ese are used to manage and analyze massive sets of unstructured data. NoSQL doesn’t mean “no SQL,” but “Not Only SQL.” Structured query language (SQL) can still be used as appropriate. NoSQL databases include Apache Cassandra (cassandra.apache.org), originally developed by Facebook; Amazon SimpleDB (aws.amazon.com/simpledb/) ; and MongoDB (www.mongodb.org/).

Implementing

Big Data storage

Although Big Data analytics is one of IT’s hottest topics these days, broadcast has been in the Big Data business for decades, having to man-age media storage containing fi les that may be hundreds of GB or even several TB each. Big Data storage, then, takes on a diff erent aspect than when an organization is just using Big Data for analysis. Some of the factors to consider include: • Data deduplication/compres-

sion. A prominent feature of many storage systems is their ability to reduce the amount of disk space needed through use of deduplication or compression technologies. � ese technologies, however, won’t have much impact on broadcasters’ storage needs. Audio and video fi les already contain some type of compression as part of their encoding; any further compression would lose quality. In addition, there aren’t as likely to be as many copies of a single video fi le that could be replaced with a point-er as there are with e-mails or Word documents. When there are multiple video fi le copies, they are likely to be needed for backup or for streaming.• Tiered architecture. Given the breadth of data types that make up

Big Data, and the diff erent uses it is put to, a tiered storage architecture is essential. SSDs or NAND Flash mem-ory cards can be used for analytics, storage system metadata, indexes and editing; higher-capacity, lower-cost SAS; and SATA drives for other pri-mary and secondary storage.

Although some types of businesses are dumping tape, it can still play a key role for broadcast for setting up active archives. Video fi les are mas-sive, and it can be prohibitively expensive to keep the entire archive on disks. A May 2013 TCO analysis

from � e Clipper Group, Inc. (www.clipper.com/research/TCG2013009.pdf) found that archiving on disk is 26 times as expensive as tape over a nine-year period. A tape library is slower than disk access, but each LT0-6 tape holds 2.5TB of uncom-pressed data, and a single Spectra Logic T950 tape library scales up to 10,200 slots, enough to hold more than 25PB of uncompressed data (62TB compressed). � is allows fast, though not instantaneous, access to archives, which is good enough for archival footage.

To speed access to the videos stored in a tape library, or even lower-tiered disks, the metadata and the head of the video can be stored on the SSD drives, so access can begin immedi-ately while the rest of the video loads from the tape.• Rapid setup of multiple copies.

Broadcast storage systems need the

capacity to rapidly add and remove content from the storage being used for streaming video, scaling the num-ber of copies to meet demand. As Joe Inzerillo, SVP and content technol-ogy/CTO for Major League Baseball’s Advanced Media Group describes it, “No one cares about a 0-to-3 baseball game, until in the 7th inning, when people realize the pitcher is throw-ing a perfect game. � en everyone cares, and your online hits go through the roof.”• Common fi le system. Some ed-iting or digital asset management systems use a proprietary storage for-mat, which locks the company into a particular vendor and limits its ability to adopt a common storage frame-work for all company data. By using industry-standard methods such as NFS, CIFS and HTTP, the fi les can be accessed by both old and new systems, giving greater fl exibility.

File system architecture has prov-en that it works for streaming online and on-air programming, allowing for multiple mounts for a single set of data, and it can increase throughput and capacity as needed. BEDrew Robb is a freelance writer covering engineering and technology. He is author of the book “Server Management of Windows System,” published by CRC Press.

The following are available on the

Broadcast Engineering Website:

• Cloud MAM systems

• The changing role of content

delivery networks

• Live server technology

Send questions and comments to: editor@broadcastengineering.com?

Although some

types of businesses

are dumping

tape, it can still

play a key role

for broadcast

for setting up

active archives.

308bew27-DE.indd 49 8/2/2013 2:15:44 PM

ad indexBroadcast Engineering is not responsible for errors in the Advertisers Index.

50 broadcastengineeringworld.com | August 2013

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US/CANADAEastJulie Dahlstrom(312) 840-8436Fax: (913) 514-3684julie.dahlstrom@penton.com

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SAleS OFFIceS

ISSN 0007-1994 Broadcast Engineering, August 2013, Vol. 55, No. 8 is published monthly and mailed free to qualified persons by Penton Media, Inc. 9800 Metcalf Ave., Overland Park, KS 66212-2216. Periodicals postage paid at Shawnee Mission, KS, and additional mailing offices. Canadian Post Publications Mail Agreement No. 40612608. Canada return address: IMEX Global Solutions, P.O. Box 25542, London, ON N6C 6B2. POSTMASTER: Send address changes to Broadcast Engineering, P.O. Box 2100, Skokie, IL 60076-7800 USA. CORRESPONDENCE: Editorial and Advertising: 9800 Metcalf, Overland Park, KS 66212-2216 Phone: 913-341-1300; Edit. fax: 913-967-1905. Advert. fax: 913-967-1904. © 2013 by Penton. All rights reserved.

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INTERNATIONALEuropeRichard Woolley+44-1295-278-407Fax: +44-1295-278-408richardwoolley@btclick.com

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KEy ACCOUNTS AND BRAND MANAgERCarmen Lake(312) 840-8473; cell: (772) 233-2742; Fax: (913) 514-7326carmen.lake@penton.com

308BEW50.indd 50 8/2/2013 4:33:49 PM

IBC stands at the forefront of innovation, drawing more than 50,000 creative, technical and business professionals from over 160 countries. It couples a comprehensive exhibition covering all facets of today’s industry with a highly respected peer reviewed conference that helps to shape the way the industry will develop.

Also, take advantage of a variety of extra special features included as part of your registration at no extra cost:

IBC2013Discover More

RAI Amsterdam

Conference 12-17 September : Exhibition 13-17 September

IBC Third Floor 10 Fetter Lane London EC4A 1BR UKt. +44 (0) 20 7832 4100 f. +44 (0) 20 7832 4130 e. info@ibc.org

www.ibc.org

• IBC Connected World a special area of IBC which encapsulates the very latest developments in mobile TV, 3G and 4G services

• IBC Production Insight centred around a professional standard studio set, attendees have a host of the latest production technology to get their hands on

• IBC Workflow Solutions dedicated to file-based technologies and provides attendees with the opportunity to track the creation management journey

• IBC Big Screen providing the perfect platform for manufacturer demonstrations and ground breaking screenings

• Future Zone a tantalising glimpse into the future of tomorrow’s electronic media

• IBC Awards celebrating the personalities and the organisations best demonstrating creativity, innovation and collaboration in our industry

308BEWIBC.indd 1 7/31/2013 4:35:04 PM

308BEWBC.indd 1 8/1/2013 6:23:42 PM

CHECK IT OUT!

Our digital map has EXCLUSIVE interactive content:

- Hot links to map pages for each company in the index

- Specifi c product coverage for the YELLOW map advertiser booths.

Just click the booth ...

- A direct link to company websites from their ads and logos

308bew17-MAP-DE.indd 1 8/2/2013 3:00:42 PM

Law

o A

G | R

ast

att

/ G

erm

an

y

VIDEOby Lawo

Join Lawo at IBC 2013, Hall 8, Booth 8.C71

www.lawo.de/video

The Lawo V__pro8 covers all of your video processing requirements

in a single, compact and cost-effective 1RU package. 8x 3G/HD/

SD SDI In/Out + Frame Synchronization + Variable Video &

Audio Delay + 2x MADI & 1x RAVENNA In/Out + (De-) Embedding

with SRC + RGB Color Correction & Proc Amp + Up/Down/

Cross & AR Conversion + 5.1 Downmix + Quad-split Monitoring

+ Waveform & Vectorscope Display + Timecode Insertion +

Test Pattern and Video ID Generator + EmBER & VSM control.

And if you need to transport Video over IP in real-time, you might

want to check out the new Lawo V__link4.

308BEWMAP2.indd 1 8/2/2013 11:32:26 AM

August 2013 | broadcastengineeringworld.com M3

Information current as of 23 July 2013

IBC2013AMSTERDAM RAI • 13-17 SEPTEMBER

EXHIBIT HOURSFRIDAY (13 SEPTEMBER) 10:30 - 18:00SATURDAY - MONDAY 09:30 - 18:00TUESDAY 09:30 - 16:00

ContentsPage M4 -------------------------------------------------Hall 1

Page M6 -------------------------------------------------Halls 2, 3, 4 & 5

Page M8 -------------------------------------------------Halls 6 & 7

Page M9 -------------------------------------------------Hall 8

Page M10 ------------------------------------------------Halls 9 & 10

Page M11 ------------------------------------------------Halls 11 & 13

Page M12 ------------------------------------------------Halls 12, 14 & Outdoor Exhibits

IBC Connected World

13

IBC Big Screen Auditorium

IBC Conference

IBC Production Insight

Future Zone

Meeting suites

IBC Workflow Solutions 14

IBC TV News

Acquisition and accessories

Audio and radio displays

Content production

Studio systems

Telecine and film

Media asset management

Playout automation & server applications

Post production and new media

System integration and consultancy

Transmitters

VFXWorkflow solutions

Broadcast solutions

Cable and satellite

Home systems and broadband

iTV

iPTV

Mobile systems

Service and broadcasters

Transmitters and set top boxes

308bew17-MAP-DE.indd 3 8/2/2013 10:22:54 AM

M4 broadcastengineeringworld.com | August 2013

Hall 1

WC

ee

WCWC

F81

F71F75

F67

F68

F76

F70

F80

F86

F56

F58F59

F57F55

F41

F45

F49F47

F40

F50

F21

F29

F32F31

F34

F36

E02

F11

D01

D11

Grass Valley

D41

D40

D30

D39

D35

Samsung

D31

ARRIS

D69

D61

Ericsson

D59

Eutelsat SA

D51

D81

D73

D71

F96F94F90D92C97C95C93C91C90B91A99A91

C81

NAGRA

C71

Intelsat

C65

C61

Appear TV

C33

C39

C41

C49

Screen

Subtitling

Systems

C51

C55

C27

Humax

C29

C31

C30

C28

B51

SES

B61

arqiva

B71

Nevion

B79

B31

B38

B40

B41

B24

B28

B20

Harmonic

B29

B30

B09

B10

B16

KAONMEDIA

B22

B19

Pace

A81

Philips Remote Control

A74

A78

A80

A71

Cisco

A59

A50

A52 A54

A49

A51

A58

A62

A69

Vislink

A30

A32A29

A33

A40

A44

A46A41

A39

A05A03A01

A11

A10

A18

A21

A23

A27

A29

A95

C29A20

B01 B02 B03 B04 B05 B06 B07

Hall 1

Hall 6

13

IBC2013

AMSTERDAM RAI • 13-17 SEPTEMBER

EXHIBIT HOURS

FRIDAY (13 SEPTEMBER) 10:30 - 18:00

SATURDAY - MONDAY 09:30 - 18:00

TUESDAY 09:30 - 16:00

ISSUE ADVERTISERMAP ADVERTISER

308bew17-MAP-DE.indd 4 8/1/2013 4:37:20 PM

For decades Sennheiser has been a reliable and

innovative partner in broadcasting, theatre and

high-profi le live audio. Because of this, we know

that world-class sound engineers demand the

highest standards. With this fi rmly in mind, we

took all of our extensive experience and used it

to create our fi rst digital multichannel wireless

system: DIGITAL 9000, which is in a class of its own,

providing uncompressed digital audio transmission,

free from intermodulation, and delivering stunning

sound and dynamics with a cable-like purity.

DIGITAL 9000 offers control functions that make

system set-up simple and fail-safe. The highly

intuitive interface provides a complete overview

of system performance, offering peace of mind

in challenging live situations. DIGITAL 9000 is the

best-in-class digital wireless system available and

represents a future-proof investment.

DIGITAL 9000 – The Wireless Masterpiece.

www.sennheiser.com

World-class goes digital

THE WIRELESS

MASTERPIECE.

VISIT US AT IBC

HALL 8, STAND D 50

308BEWMAP5.indd 1 8/1/2013 6:16:47 PM

M6 broadcastengineeringworld.com | August 2013

Hall 1

See p

ag

e M

4

Halls 2 & 3 Halls 4 & 5

IBC2013

AMSTERDAM RAI • 13-17 SEPTEMBER

EXHIBIT HOURS

FRIDAY (13 SEPTEMBER) 10:30 - 18:00

SATURDAY - MONDAY 09:30 - 18:00

TUESDAY 09:30 - 16:00

WC

Walkway to Halls

8-12

Hall 2

Hall 3

ORG

c

A74

A78

A80

A50

A52 A54

A58

A62

A30

A32

A40

A44

A46

A10

A18

A03 A04

B01 B02 B03

B17

A23A26

A18

A16

A12

A19

South

Korea

A27

A38

A33

A63

LiveU

A61

A31A40

A44

A48

A50

A52

A54

A58

A60

A68LiveU

A17

A15

A16

A14

A10

A21

A27

A29

A31

A41

A36

A34

A32

A30

A24

A22

A20

A40

A48

A58

A49

A51

B50

B31

B39

France

B41B40

B49

B51

B59

B29

B28

B10

B16

B11

B19

B20

B21

B30

B40

B61

B55

B51

B67

B56

B62

B18

B29

B35

B39

B20

Israel

The Israel Export & International

Cooperation Institute

B26

B43

B25

China

B21

B15B14

B13B11

C21

C30

C31C35

C44

C46

C41

C56

C59

MediaGeniX

C67

C61

C60

C17

C15

C11

C18

C10

C29

C27

C25C23

C21

C32

C30

C39

C37

C35

C33

C31

C48

C49

C45

C41

C58

C50

C51

C55

C57

C59

C17B16

C15

C20

A46

WCWC

IBC

Games

Zone

F81

The

Brasserie

C

WC

A11

A07

A09

A05

A01

A51

A49

A41

China

A31

A17

A75

A71

A70

A61

Great Britain

A55

A95A91

A81

A77

B91

B71

B70

B72B75

B77B74

B79B78

South Korea

B82 B81

B89B84

B46 CanadaB45

B47B48

B50

B54

B51

B53

B61

B63

B60

Guntermann

& Drunck

B66

B19

NPTV

B20

B22

B30

B32

B33

B37

Sisvel Technology

B40

C01B02B01

B09B03

Sweden

B04B11

B15B10

B18

C15

C16 China

C11

C09

C07

C06C02

C35

C33

C31

C28

C27

C23

C21

C19

C56

C50

C46

C42

C49

C45

C43

C41

C74

C60

C69

C67

C65

C61

C59

C55

C88

C98

C89

C87

C85

C83

C81

C77

C78

C73

C71

F71F75

F67

F59

F57F55

F41

F45

F49F47

F21

F29

F32F31

F11

C10

C08

C12 C13 C14

C25

Hall 5

Hall 4

13

ISSUE ADVERTISERMAP ADVERTISER

308bew17-MAP-DE.indd 6 8/1/2013 4:37:45 PM

www.liveu.tv

Should have used LiveU

Because there’s only one live moment.

;V�ÄUK�V\[�OV^�[VW�[PLY�IYVHKJHZ[�HUK�VUSPUL�TLKPH�PU�V]LY����JV\U[YPLZ�

YLS`�VU�3P]L<»Z�WVY[HISL�\WSPUR�ZVS\[PVUZ�MVY�KHPS`�UL^Z�JV]LYHNL��WSLHZL�

JVU[HJ[�\Z�MVY�H�KLTV��-YVT�IHJRWHJRZ�[V�ZTHY[WOVULZ��3P]L<�VMMLYZ�H�

JVTWSL[L�YHUNL�VM�KL]PJLZ�MVY�SP]L�]PKLV�[YHUZTPZZPVU�

See us at IBC2013 (stand 3.A63 + 3.A68)

308BEWMAP7.indd 1 8/2/2013 1:46:01 PM

M8 broadcastengineeringworld.com | August 2013

Hall 6 & 7

ADVERTISER

* See Screen Subtitling Systems at Stand 1.C49 page M4

IBC2013

AMSTERDAM RAI • 13-17 SEPTEMBER

En

tra

nce

(b

ad

ge

ho

lde

rs o

nly

)

L

L

WC

WC G

c

C28A29

A01

A10

Vizrt

A09A08A06A05A04A03A02

A45A43A41

A31A30

A20

Quantel

A15

B40

B21

B26

B29

B27

Orad Hi-Tec

Systems

B33

B35

B30

B01

B11

B13

C01

C27

C12

C21

C17

C10

C28

C30

D30

D21

D25

D31

D39

D05D03D01

E10D11D14

D07

E25

Rohde &

Schwarz

E21

E30 F31

F49F45F41

F33

F11AJA Video

Systems

F04 F05 F06 F07 G02

G15G16

G12G11

OCTOPUS

G09G07G05G03

G17

G37

G35

G33

G30

G27

Adobe

Systems

G20

Harris Broadcast

G23

G41 G43 G45 G47 H40

H20

Blackmagic Design

H37H35

H39

H32H30

H47

H10

H03H01 H05 H09

H15

H17

J01

J16

J14

J15

Great Britain

J07J05J03

J49J47J43J42J40

J39J38

J31J30

J20

Avid

K40

K25

K27

K31

K30

K01

K11

K21

B22

C29A20

A15

A22

A21

A18

A10A11

C19C18

C11C10

C22A03 A04 A05 A06 A09

B01 B02 B03 B04 B05 B06 B07

F01

Hall 6

Hall 7

TRUSTED

Who are you going to trust with your OTT & 4K Subtitling?

OTT, web and 4K broadcast is about providing an all-round heightened viewer experience and

that should include accessibility services. Our OTT & web subtitling solutions ensure a consistent

presentation and improved visual quality of your subtitles & captions on all web video players with

minimal player development. And as a dependable supplier of quality HD subtitle transmission

systems to some of the world’s largest broadcasters, you can be confident of the same reliability

in our 4K solution.

Who are you going to trust?

For more informationCall +44 1473 831700 E-mail sales@screensystems.tv Visit www.screensystems.tv

Visit SCREEN at

stand 1.C49

308bew17-MAP-DE.indd 8 8/1/2013 4:38:03 PM

August 2013 | broadcastengineeringworld.com M9

Hall 8

EXHIBIT HOURS

FRIDAY (13 SEPTEMBER) 10:30 - 18:00

SATURDAY - MONDAY 09:30 - 18:00

TUESDAY 09:30 - 16:00

13

P

L

WC

B99

B97

F51

Halls 1-7

Futu

re Z

on

eIB

C P

art

ne

rsh

ip

Vil

lag

e

Press

Area

Press Registration

& Entrance

RAI STATION

Jad

e L

ou

ng

e

(gro

un

d f

loo

r)

IBC TV News

Press

Area

Press

Area

c

A01 B01A04A03 B02

B15

B11

B22

B16

A21

A19

Brazil

A10

A14

A12

A11

A31

A36

A35

A30

A28

A26

A24

A22

A20 A23

A25

A40

A44

A48

A50

A54

A51

A84

A80

A76

A74

A70

A64

A59

A58

A86

A90

A92

A94

A96

B37

B36

France

B31

B34

B27

B30

B21

B40

Evertz

B59

B51

B41

B38

Great Britain

B70

SNELL

B77

B80

Fraunhofer Digital

Cinema Alliance

B73

B71

B61B58

B50

B90

EVS

B96B95B94B92

B93

B91

B89

B81

B98

C01

C28

C22C20

C11C16

C05C03

C41

C40

C35

C31

C29

C3

0

Pla

yB

ox

Te

ch

no

log

y

C25

C60

C61

C58

C55

C49

C51

C48

C81C80

C77

C73C76

C65

C71

LawoC74

C70

C85

C91C92

C90

C93 C94 C95 C96 C97 C98

D90

D78

D79

D83

D89

D82

France

D92

RTWD91

D93

D61D60

D71

D73

D75D76

D77

D80D74

D30

D41

Miranda

Technologies

D50

Sennheiser Electronic

D56

D21

D23

D31

D28D35

D05D03

D10 D16

E02

E23

E19E24

E20

E17

E15

E11

E05E03

E41

E39

E37

E36

E35 P

hab

rix

E29

E31

E30E25

E60

E49

E45

E78

E81

E75E76

E74

E73

E72

E71

E69E61

E96

E97

E95

E98

E94

E90

E93

E91

E89

E85

E83

F57

F54 F52

F50

A09

A98

C39

P2

P11P12

P10

P9P8

P7

P6P5

P4P1

P3

G36

G34

G30

G38

G44G49

G45

G41

G39

G35

G29

F41

F49F440

F48

Hall 8

Genelec

DK-Technologies

ISSUE ADVERTISERMAP ADVERTISER

308bew17-MAP-DE.indd 9 8/1/2013 4:38:27 PM

M10 broadcastengineeringworld.com | August 2013

* See Videssence at Stand 11.B12 page M11

Halls 9&10

IBC2013

AMSTERDAM RAI • 13-17 SEPTEMBER

13

to Congress Centre, Auditorium & Emerald Room

ee

Passage to Halls

12 & 1-7 1st Floor

WC

WC

P

L

WCWC

L

Hall 10

Forum

Forum Lounge

(Ground floor)

Ruby Lounge

(1st floor)

E102

E103

SpeakerBriefingRoomE104

E108

Conference

IBC

Workflow Solutions

A40

Holland

Restaurant

c

E105

E106

E107

€ c

A29

A28

A24

A21

A12A10A09

A49

A41

A44

A42

A40

A38

A30

A31

Riedel

Communications

B41

TSL

B39

B31

B10

B21

B20

D10

D45

JVC Professional Europe

D46

D41

D15

D31

Belgium

D26

D25

D30

D29

D20

C49

C51 D57 D59

F39

F41

F43

F51

E59E51E50

F20

F24

F26

F21

F22

F23

F29

F35F30

B44

B48

A11

A09

A07

A05

A03

A01

A33

A31

A59A57

B14

Great Britain

B24

B20

B19

B28

B27

B31

B51B49B43B41

C40

GoPro

C40

C25

C19

C23C22

C35

C33

C45

Panasonic Marketing Europe

C49C47

C01C02

C17

C10

Ross Video

B12B08B06B04B02

B10

China

A01

A0

D15

D40

D25D30

D18

D14

D12

D10

Hall 9

Cobalt Digital

www.videssence.tv

Color you can count on!

Satisfy the strict color rendering

requirements of film with this amazing

Fresnel. The powerful new Vidnel 100

boasts a 98 CRI!

You’ll want to see this one!Come see its European debut at IBC: Stand #11.B12

LED

308bew17-MAP-DE.indd 10 8/1/2013 4:38:52 PM

August 2013 | broadcastengineeringworld.com M11

Hall 13

Hall 11

EXHIBIT HOURS

FRIDAY (13 SEPTEMBER) 10:30 - 18:00

SATURDAY - MONDAY 09:30 - 18:00

TUESDAY 09:30 - 16:00

Passage to Halls

12 & 1-7 1st Floor

WC

WC

P

ORG

Exhibitor Registration

& Entrance

IBC

Production

Insight

Holland

Restaurant

HotelShuttleBus

AirportShuttleBus

RAI STATION

TRAMS

€ c

A38

A34

A30

A31

A21A28

A20

A14A10

A61A62

A51

China

A60

A56

A54

A40

A50

A41

A39

A75A73

A71

A69

A65

A67

A66A63

B57

B50

Nikon Europe

B53

B55

B61

B12B10C11

C21

C40B45

C31

C36

C30

C20

Fujifilm Europe

C80C82

C63

C64

C61

C57C55

C51

C50

D63

D47

D50D49

D53

D55

D57

D67D65

D10

D21D20

D30D35

D39

D43D42

D36

E10

E33

E32

E31

E30

E28

E20

E16

E50

Canon Europe

E42E43

E41

FranceE40

E39

E35

E37

E34

E53 E55 E57 E59D69 E61 F87

F58

F60

F65F63

F67F69

F73F71

F89

F31

F34

F32

F41

F45

F40

F50 F53

F57F56

F11

F21

ARRI

F20

G11

G45

G41

G37

G35

G29

G27

G25

G21

G42

G36

G30

G75

G73

G71

G69

G65

G63

G61

G59

G87

G85G83

G81G79

G77G66

G68

G64

G54

G50

A43

Teradek

C45

D56

C59

C65 E58

D58

Hall 11

The IBC Big Screen

and IBC Awards

Auditorium

WC

WC

G102

(1st floor)

G103

(1st floor)

G101

(1st floor)

L

Topaz Lounge

(1st Floor)

Auditorium Entrance

IBC Business Lounge

Onyx Lounge

(Ground floor)

Emerald Room

(1st floor)

Hall 13 Meeting Suites

The IBC Pub

Grand Cafe

(Ground floor)

Europa Restaurant

(1st floor)

€

MS1

MS44

MS43

MS42

MS41

MS24

MS35

MS5

MS4

MS34MS23

MS22

MS3

MS2

MS45

MS46

MS47

MS48

MS36MS7

MS25

MS21 MS32 MS39

Lounge

13

ISSUE ADVERTISERMAP ADVERTISER

308bew17-MAP-DE.indd 11 8/1/2013 4:39:13 PM

M12 broadcastengineeringworld.com | August 2013

Halls 12, 14 &

Outdoor Exhibits

IBC2013

AMSTERDAM RAI • 13-17 SEPTEMBER

EXHIBIT HOURS

FRIDAY (13 SEPTEMBER) 10:30 - 18:00

SATURDAY - MONDAY 09:30 - 18:00

TUESDAY 09:30 - 16:00

13

IBC Connected World

Gold Pass Lounge

(4th Floor)

Sony Professional Europe

Sony Professional Europe

IBC Connected

A10

SONY

Outdoor Exhibits

(Elicium)

New Visitor/Exhibitor Registration

(Elicium Passage/Basement)

Entrance &

Visitor Registration

RAI Business Centre

& Prayer Room

(Basement)

eeee

eeeeeeee

ee ee

ee

eeEntrance to Hall

Visitor

Registration

Taxi DepartureA10

Thomson Video

Networks

A32A30

A20

B30

C20B20

C12C10

B10

B32

MR0 MR1 MR7MR6MR5MR4MR3MR2 MR8

100

112

111

108104

109105

110

106

107103

102

101

124

122119

117

116

114

113

MR14

MR15

MR13MR11

MR18

MR16

MR17

118

126

127

121120 125

107

109

111

110

112

113

101

102

Broadcast Solutions

104

103106

Sat-Comm Broadcast

128115

118

116

117

115

Hall 12

Hall 14

World

ISSUE ADVERTISERMAP ADVERTISER

308bew17-MAP-DE.indd 12 8/1/2013 4:39:37 PM

August 2013 | broadcastengineeringworld.com M13

Exhibitor name Hall.Stand Exhibitor name Hall.Stand Exhibitor name Hall.Stand Exhibitor name Hall.Stand

IBC2013

AMSTERDAM RAI • 13-17 SEPTEMBER

Information current as of 23 July 2013

10 Moons

Technology Development ....... 1.F13

16x9 ...........................................11.D21

25-Seven Systems.......................8.D30

27m Group ...................................1.A44

2connect-IT..................................2.A30

2WCOM Systems ........................ 8.E78

42NET Radio Automatization ......8.A84

4HM...........................................10.A30

4Mod Technology ...................... 14.583

51Degrees.mobi ..........................4.C88

A & C .........................................11.A71

AADYN Tech ..............................11.G73

Aaton Digital ............................. 11.F31

AB on Air ....................................3.B20j

Abakus.......................................11.G29

ABE Elettronica ...........................8.D23

ABOX42 ..................................... 14.361

ACB..............................................8.G45

ACB 1-3-9 Media Lab ..................8.G45

Accedo....................................... 14.112

ACCESS ..................................... 14.101

Accusys .......................................6.C10

Ace Marketing.................3.B25/5.A41/

5.C16/6.A29/

9.B10/11.A51

Acebil ..........................................9.A01

Acetel ..........................................3.C44

Acorde .........................................5.C49

Actia Sodielec ................. 8.E24/OE104

Active Circle ..............................2.B39h

ActiveVideo .................................3.B13

Actus Digital................................7.B11

Acz Group ....................................6.B22

ADB Lighting Technologies .......11.A34

Adder Technology ........................7.B33

Adobe Systems ...........................7.G27

Adtec Digital ...............................1.D01

Advanced Broadcast

Components ...........................8.B95

Advanced Digital Broadcast........5.B48

Advantech ...................................9.C22

Advantech Wireless ....................1.A74

AEQ..............................................8.C55

AF Marcotec ..............................11.D35

Agama Technologies ...................4.A71

AheadTek .....................................8.A09

AIC/Xtore.....................................9.A07

Airfilms ...................................... 11.F41

Airgain ............................. 4.A55/MS44

AirTies Wireless

Networks .......................5.B33/MS2

AJA Video Systems ................. 7.F11

Akamai Technologies ..................6.A15

AlanDick Broadcast .....................8.B99

Albiral Display Solutions /

Pixtron Broadcast .................10.A42

Albis Technologies .................... 14.560

Albrecht Elektronik ....................10.A40

ALC NetworX............................... 8.F57

Alcatel-Lucent .......................... MS42a

Aldena Telecomunicazioni ........8.C49a

ALi ...............................................4.C71

Allegro DVT .................................1.A46

Alma Technologies ......................5.C35

Alpermann+Velte ......................10.B48

Alpha Networks ..........................3.A26

Alphatron Broadcast

Electronics ............................11.C36

Altech Multimedia ...........5.C45/MS43

Altera Europe ............................10.A10

Alticast ........................................ 1.F36

Amagi Media Labs ......................3.B17

AmberFin .....................................7.H39

Ambient Recording....................8.C73a

AMD ............................................7.H35

AMIMON ...................................11.G79

Amino Communications ............ 14.120

Amos-Spacecom .........................1.C65

Ampegon .....................................8.D35

Amplidata ....................................6.A22

AnaCom .......................................1.C97

Anevia .........................................4.B66

ANNOVA Systems .......................3.A33

ANT Group...................................8.C76

Antik Technology ....................... 14.242

Antrica .........................................3.C17

ANYWARE VIDEO .....................8.D82c

Apace Systems............................7.K27

APANTAC ....................................7.K21

Appear TV....................................1.C61

Applicaster .....................3.A27/3.B20u

AQS .............................................2.A22

ARA Seavey.................................1.A11

ArabSat .......................................1.B38

Arbor Media ................................7.G15

Arcadyan Technology .................3.C30

Archiware ....................................7.G03

ARET ...........................................OE103

Argosy .......................................10.C51

Arion Technology .........................4.A75

Ariston BTS .................................8.C05

arqiva...........................................1.B61

ARRI Cine Technik ........ 11.F21/11.G30

ARRIS ..........................................1.D31

Artec Technologies ......................7.C28

Artel Video Systems....................2.A20

arvato Systems............................3.B26

ASC Signal ..................................1.C51

ASG Software Solutions .............7.B10

Asia Broadcast

Satellite .......................5.C11/MS23

Askey Computer ..........................3.A38

Aspera .........................................7.K30

Aspiro ........................................ 14.272

Associated Press/AP ENPS .........7.D30

Astec IT Solutions ..................... 4.A61f

Aston Group ..............................2.B39e

ASTRA .........................................1.B51

Astrium Services .........................2.C23

3G-SDI Audio Under Control

3G-SDI Audio – Loudness Simplifi ed.

Analog, AES3, AES3id, 3G-SDI? What do you need? RTW‘s professional audio

metering solutions provide it all. And all solutions allow you to visualize, convert

and replay audio signals of all currently available SD, HD and 3G SDI formats

in broadcast, production, post production and quality control.

www.rtw.com

TM3-3G TM7 TM9 31900SD 31960SDBooth 8.D92

308bew17-MAP-DE.indd 13 8/1/2013 4:39:52 PM

M14 broadcastengineeringworld.com | August 2013

Astro Strobel

Kommunikationssysteme .......3.C31

Astrodesign ...............................11.D21

ATEME .........................................1.D71

ATG Broadcast ...........................8.B51a

Atomos ........................................9.D25

ATTO Technology ......................... 7.F41

ATX Networks ........................... 14.580

Audible Magic ........................... 14.442

Audio ...........................................8.C97

Audio Wireless............................8.A76

Audio-Technica ............................8.D78

Audisi ..........................................8.C94

Aurora Lite Bank........................11.C63

Autocue Group .......................... 11.F45

Autodesk .....................................7.D25

Avanti Communications ..............1.A50

Avateq ........................................5.B40i

Aveco ...........................................3.B67

AVerMedia Technologies ..........3.B25b

Avid ............................................. 7.J20

AVIION Media ........................... 14.551

AVIT .............................................2.C45

Avitech International ................. 10.F26

Aviwest .......................................3.C41

AVL Technologies ........................5.A49

AVP Europa ................................ 10.E50

AVT Audio Video Technologies ... 8.E91

AWEX-Wallonia Foreign Trade and

Investment Agency ..............10.D31

AWOX ..........................................2.A24

Axel Technology ..........................8.B81

Axia Audio ...................................8.D30

Axle .............................................7.D07

Axon .............................10.A21/10.B21

Ayecka Communication

Systems .................................. 1.F67

B&H Photo .................................10.A01

Band Pro Munich .......................11.D21

Barco Silex ..............................10.D31b

Barnfind Technologies .................2.A14

Barrowa .......................................1.B31

Bazhou HongXingJieTu .............11.D55

BBC Academy ..............................5.B02

BBC R&D .....................................8.G44

BCE - Broadcasting

Center Europe ......................14.B30

Beamr ........................................ 3.B20z

Beenius...................................... 14.121

Beijing B.E.D-Tech

Manufacture ..........................8.D05

Beijing Feiyashi

Technology Development ...11.A51a

Beijing Fxlion

Electronic Technology ..........11.A14

Beijing Hualin Stone-tech .........9.B10e

Beijing KXWELL Technology ...11.A51b

Beijing Novel-Super

Digital TV Technology ............4.B51

Beijing Realmagic Technology ....2.C17

Beijing United Victory ............... 9.B10c

BEiKS BiK Machulski.................11.D63

Beillen Battery-JIADE

Energy Technology ...............11.G68

Belco............................................8.C60

Belgium Satellite Services ..........1.A03

Berghof Automationstechnik ......9.B12

Berlin Partner ..............................8.A25

BES ............................................ 10.F41

BFE Studio und

Medien Systeme ....................3.B62

BFN ..............................................8.C94

bic4 ............................................ 14.118

BiLi............................................... 8.F49

BitTubes ......................................8A25a

Black Box Network Services ....... 8.E20

Blackcam Systems .................... 11.F41

Blackmagic Design ................ 7.H20

BLANKOM Antennentechnik....... 1.F45

BLT ...............................................8.A64

Blue Lucy Media.......................... 7.J40

Bluebell Opticom ....................... 10.F24

Bluebird TV ................................3.B20t

Bluefish444.................................. 7.J07

Blueshape..................................11.A10

Bluetop Technology ...................6.A29c

Boland Communications ...........11.D35

BON Electronics ........................11.A61

Booxmedia...................................3.A12

Boris FX / Media 100 ..................7.G43

Boxx TV......................................10.C49

BPL Broadcast ........................... 14.140

Bradley Engineering .................. 11.F41

Brainstorm Multimedia ...............2.B59

Brazil Pavilion ..............................8.A19

Brexel ..........................................7.B01

Bridge Technologies ....................1.A30

Brightcove ...................................5.B20

Brightday Engineering ..............4.A61hi

Broadcast Bionics........................8.D73

Broadcast Electronics..................8.C91

Broadcast Manufactur ................8.D21

Broadcast Microwave

Services Europe .....................1.A10

Broadcast Partners ......................8.C93

Broadcast Pix...............................7.B21

Broadcast RF /

The Wireless Works............. 11.F67

Broadcast Solutions ........8.A94/OE102

Broadcast Sports .........................5.A09

Broadcast Traffic Systems ...........2.C18

Broadcom Corporation ................2.C35

Broadcom Ltd. .............................8.C95

Broadpeak ...................................4.B72

Brother, Brother & Sons ............11.D67

Bryant Unlimited .......................10.D15

BTESA..........................................8.B02

BTS Broadcast Technology

Solutions & RTP Museum .....OE115

Bulcrypt .......................................4.B79

Burli Software .............................8.A01

BW Broadcast ............................. 8.E74

C&C Technic Taiwan ...................3.A52

Cache-A Corporation ...................7.A04

Caldigit ........................................7.H09

Calrec Audio ................................8.C58

Calzavara ...................................8.C49b

Cambridge Imaging Systems ......7.G16

Camerasolo ...............................11.C11

Camerobot Systems ....................8.A31

CamMate Systems .................... 11.F41

Canara Lighting Industries ........ 11.F71

CANARE ....................................11.A50

CandIT Media UK ........................7.C17

Canford ........................................9.C01

Canon Europe .........................11.E50

Carl Zeiss................................... 11.F58

Cartoni ....................................... 11.E30

castLabs .................................... 14.533

CASTWIN ....................................2.A15

Cataneo .......................................3.B35

Cavena Image Products...............2.C32

CB Electronics ............................. 7.F06

CCI Paris Ile-de-France ....2.A36/2.B39/

8.B36/8.D82/

11.E41/MS42

C-COM SATELLITE SYSTEMS .....4.C55

Cedar Audio.................................8.C98

CEITON technologies ..................3.A60

Celeno .......................................3.B20b

Chengdu Dexin

Digital Technology ................3.B25e

Chimera .....................................11.G87

China Const ...............................11.C65

Christie ........................................9.C17

Christy Media Solutions..............6.C29

Chromatec Video Products ..........3.B55

Chrosziel ....................................11.A67

ChyronHego .................................7.D11

Cine 60 ......................................10.D57

Cinedeck .................................... 10.F39

Cinegy...............................7.A30/7.A41

Cineped .....................................11.D21

Cineroid .....................................11.G27

Cires21 ...................................... 14.360

Cisco ............................................1.A71

Civolution ....................................2.A41

ClassX..........................................5.C02

Clear-Com ..................................10.D29

Clearleap ................................... 14.270

Cloud Media .............................. 14.552

Cloudsigma................................ 14.183

Cmotion ....................................11.G42

CMV Hoven .................................8.A04

Coax Connectors ......................... 8.E02

Cobalt Digital......................... 10.B44

Cobham ....................................... 1.F41

Cogent Technologies .................6.C28a

Comigo ........................... 3.B20o/3.B29

Cominweb ..................................2.B39i

Commotion ..................................8.C91

Communications Specialties.......8.A80

Compunicate Technologies ........ 1.F29

Computenext ............................. 14.180

Comrex ........................................3.B15

Comtech EF Data ......................... 1.F80

COM-TECH Italia .........................8.C20

Comtech Telecommunications .... 1.F80

Conax............................... 1.D69/MS41

Concurrent Computer ..................2.B31

Connected Home Academy ....... 14.481

ContentWise ............................. 14.451

Convergent Design ......................7.D01

Cooke Optics .............................11.D10

Coolux........................................ 11.F53

Coship Electronics .......................1.A32

Cosmolight ................................11.C30

Counterpoint Systems .................9.B19

CP Cases....................................10.A44

CPI International..........................1.B41

Craltech Electronica ....................9.C02

Craze Digital .............................3.B20m

Creative Network Design ............ 7.F06

CRENOVA MULTIMEDIA ...........4.B78b

CRUCIALTEC ..............................4.B78e

Cryptoguard .................................3.C67

Crypton ........................................7.A05

Crystal Vision ..............................2.B11

CSG Media ................................ 14.433

CteDb......................................... 8.C49c

Cube-Tec International ................5.C41

Cubiware .....................................4.C60

Custom Consoles.........................3.A54

CV Support ................................11.C45

D´accord Broadcasting

Solutions ................................8.A35

DAGICO ...................................10.D31c

DAGS ......................................... 4.B78c

Dalet Digital Media Systems ......8.B77

Dan Dugan Sound Design ...........9.D12

Danmon Systems Group............ 8.B51c

DARIM .......................................3.A19e

DataDirect Networks .......6.A09/7.C30

Dataton........................................ 8.E96

Datavideo Technologies Europe ..7.D39

DAVID Systems ...........................3.A31

Dawson ......................................OE113

Dayang Technology

Development ..........................7.B35

DB Elettronica

Telecomunicazioni ..................8.C74

DCC LABS .................................. 14.164

De Sisti ......................................11.B45

De Vlaamse Radio en

Televisieomroeporganisatie ... 8.F48

DEBRIE TECHNOLOGIES............2.A36a

Decimator Design........................7.B40

Dedo Weigert Film ....................11.G36

Dega Broadcast Systems ............7.G07

Dejero ........................................11.C21

DekTec .........................................2.B40

Delec Audio und Videotechnik ..10.D30

Delta Meccanica ......................... 8.E36

DELTACAST ...............................10.D10

Deltron Italia ............................... 8.E15

DENZ .........................................11.C82

Deutsche Thomson...................... 8.F48

DEV Systemtechnik ..................... 1.F34

Deva Broadcast ...........................8.D79

devolo ........................................ 14.471

DEXEL Lighting ..........................11.A20

DGQoS ......................................8.C22e

DHD .............................................8.A50

DiGiDiA........................................8.A92

Digigram ......................................8.C51

Digimetrics ..................................7.A43

Digisoft.TV................................. 14.480

Digispot System .......................... 8.E83

DigiTAG .......................................1.D81

Digital Rapids ................... 7.F33/7.G41

Digital TV Group ..........................4.C88

Digital TV Labs ............................2.A29

Digital Vision ............................... 7.E30

Digitalsmiths ............................. 14.440

DIGITALZONE ............................4.B78d

Dimetis ........................................4.A81

DirectOut ..................................... 8.E85

Discretix Technologies ..............3.B20g

Exhibitor name Hall.Stand Exhibitor name Hall.Stand Exhibitor name Hall.Stand Exhibitor name Hall.Stand

Information current as of 23 July 2013IBC2013

AMSTERDAM RAI • 13-17 SEPTEMBER

Issue AdvertIserMAp AdvertIser

308bew17-MAP-DE.indd 14 8/1/2013 4:40:21 PM

August 2013 | broadcastengineeringworld.com M15

Exhibitor name Hall.Stand Exhibitor name Hall.Stand Exhibitor name Hall.Stand Exhibitor name Hall.Stand

Disk Archive ...............................8.B38fDK-Technologies .....................8.E60

DLNA ......................................... 14.430Dolby ...........................................2.A31Dot Hill ........................................ 7.J01Doteck Digital Technologies .......2.C49DOTSCREEN ..............................2.B39dDouble D Electronics ................. 1.F58aDoughty Engineering .................11.A60DPA Microphones .......................8.D76Draka ........................................11.C31DSPECIALISTS ............................. 8.E69DTS ..............................................2.B50Dual Stream ................................ 1.F55Dune HD .................................... 14.102DVB..............................................1.D81DVBControl ..................................3.B43DVEO ...........................................2.A34DVLAB .........................................5.C06DVMR-OpenHeadend ................ 14.172DVS.............................................. 7.E25Dynacore Technology ................11.D56Dynamic Drive Pool .....................7.H15Dynaudio Professional ................8.D56Earda Electronics.........................4.C67Easel TV.......................................4.C88easyDCP ......................................8.B80Easyrig .......................................11.B10EchoStar ...................................... 1.F76Eddystone Broadcast.................8.B38bEdgeware ..................................14.C10Editshare .....................................7.B26Egatel ..........................................8.B21EGIS .............................................3.A50Egripment ..................................11.A21EiTV ...........................................8.A19aElber ..........................................8.C22aElectronic Service......................5.C16bElectronic Theatre Controls.......11.A66Electrosys ....................................8.C40Elemental Technologies ..............4.B75Elements.tv | Syslink ...................3.A23Elenos .......................................... 8.E76Elettronika ...................................8.A30Elite Antennas ...........................5.B15bElliptic Technologies .................5.B46eELTI ..............................................8.C25EMC Isilon ...................................7.H10EMCORE ......................................2.A48Emerson.......................................9.B27Emotion Systems....................... 6.C28cEMS Technical Personnel ............1.B09EMSYTECH ..............................8.D82ddEmulex .........................................7.C17ENCO Systems ............................ 8.E11Encompass Digital Media ...........4.B61Enensys .......................................2.A17Ensemble Designs .......................8.B91Entone ....................................... 14.541Entropic Communications ...........2.C27Envivio .........................................1.D73eoSTOR........................................7.C17EPAK ............................................3.B11Equinix .........................................3.B21ERECA..........................................9.C47Ericsson .......................................1.D61Escape Technology ......................7.A02

Es’hailSat ....................................4.B74Espial ...........................................5.B10Etere ............................................8.B89Etilux........................................10.D31eETL Systems ................................1.A33ETRI .......................8.G30/8.G34/8.G36ETSI .............................................2.C29EURO LIGHT System.................. 11.F56European Broadcasting Union... 10.F20Eurotek ........................................8.A59Eutelsat .......................................1.D59Evertz ...........................................8.B40Evoxe ...........................................2.C59EVS ...................................8.A96/8.B90Excito Electronics ......................5.B03aExir Broadcasting ........................8.D28Exozet Berlin..............................8.A25bExterity ...................................... 14.105Extreme Reality .......................3.B20aaExtron Electronics........................2.A49Eyeheight.....................................8.B97eyevis ..........................................9.B24F&V Europe................................11.G50F.A.Bernhardt ...............................2.A21Facilis Technology .......................7.D05Factum Electronics ....................8.D90dFairlight .......................................7.H17Falcon Eyes..................................8.C12Farmers Wife...............................9.C25Fiberfox......................................11.G59FileCatalyst..................................7.H40Fill-Lite.......................................11.D21Filmbox ...................................... 14.550Filmgear.....................................11.B53Filmlight....................................... 7.F31Fischer Connectors .................... 11.E31Fischer Panda Generators ...........4.C65

Flanders Scientific ................ 10.F39

Floatcam ......................................9.B51

FLUENDO .....................................5.B30

Flying-Cam............................... 10.D31f

FocalPoint Server ...................... 7.J15c

Fondazione Bruno Kessler ........... 8.F48

Fonix ............................................9.A33

FOR-A ..........................................2.A51

Forbidden Technologies ............ 7.J15dFORTIS .........................................4.B82Fortium Technologies ................ 14.352Fracarro .....................................8.C49dFraunhofer Digital

Cinema Alliance .....................8.B80Fraunhofer-Heinrich

Hertz Institut .......................... 8.F48Front Porch Digital.......................7.D14Fujian Newland Communication

Science Technology ................1.C91Fujifilm Europe...........................11.C20Funke Digital TV ..........................3.C60Furukawa ...................................11.G25Galileo Digital ............................. 7.F01Gazprom Space Systems.............4.C56GB Labs ..................................... 7.J15bGearhouse Broadcast ................10.B39Gefei Tech. ..................................8.A20Gefen ...........................................7.B30Genelec .................................... 8.D61

General Dynamics SATCOM Technologies ...........1.A41

Genius Digital............................ 14.250Geolink Satellite

Services / CETel ...................2.B39bGepco International /

General Cable ......................11.G61Geritel Giomar ............................. 8.E25Ghielmetti....................................8.C77GIGABYTE Technology .............. 14.383Gigasat-Giga Com ....................... 1.F70Gigatronix .................................. 11.F87Gilat Satellite Networks .............5.C27GkWare .......................................2.C51Glensound Electronics................. 8.E72Glidecam Industries ..................11.D35Global Distribution ......................7.G16Globecast ....................................1.A29goHDR / WMG,

University of Warwick............8.G49Gold Best .....................................5.C25GoMax Electronics ......................4.C87GoPro ...........................................9.C40Gorgy Timing .............................8.B36eGOSPELL Digital Technology .......3.A61Gracenote .................................. 14.119Grass Valley ..................... 1.D11/1.E02Gravity-Rock Solid

Recommendations .................5.C31GreenGo Communication ..........11.D67GreenPeak Technologies .............1.C90GRUS ..........................................OE116Guangzhou Shiyuan Electronics ..5.C23Gulfsat Communications .............4.B54Guntermann & Drunck ........... 4.B60

Guramex ....................................10.B20Haivision Network Video .......... 14.482Hamlet .........................................9.D10Hangzhou Xingfa

Transmission Equipment ........1.C93HARDATA ....................................8.C16Harmonic .....................................1.B20Harris ...........................................7.G20HBB-NEXT ................................... 8.F40Headroom Broadcast...................2.C57Hellas Sat Consortium ................1.B28HEXAGLOBE ..............................2.A36eHGST ........................................... 7.J14HHB Communications .................8.D56Hi Tech Systems ..........................8.A36Hibox Systems........................... 14.470Highlands Technologies

Solutions ..............................10.A12HilKOM Digital ............................ 1.F45Hiltron..........................................4.B89Hisilicon Technologies ................2.C30Hispasat ......................................1.A40Hitachi Data Systems.................. 7.E10Hitachi Kokusai

Electric Europe .....................11.D42Hitachi Kokusai Linear

Equipamentos Eletrônicos ...8.A19bHMS ............................................8.A35Homecast ....................................1.A27Hongkong Meike

Digital Technology ................9.B10dHS-ART Digital Service ...............5.C41

HTTV ............................................5.B18Huawei Device .......................... 14.100Huawei Technologies ................14.A32Huaxin Antenna...........................1.C95Hubee ........................................14.240Hughes Europe ............................ 1.F76Humax .........................................1.C27Hybrid TV .....................................9.C33HYPERION VIDEO ........................8.A74IABM ...........8.F50/8.F51a/8.F52/8.F54Ianiro ......................................... 11.E32IB/E Optics.................................11.D21IBAS.............................................8.C49IBC Partnership Village ............... 8.F51IBC Production Insight ...............11.B61IBC TV News ................... 8.F55/OE101IBC Workflow Solutions ..............9.A40IBM ............................................. MS35IBT Interfaces ..............................9.A03Iceberg.........................................5.C08Ideal Antenas ............................8.A19cIdeasUnlimited.TV .......................8.A54Idioma........................................ 3.B20kIDS Products ................................9.A31IDX Technology ..........................11.C21IEEE Broadcast

Technology Society .............. 8.F51bIET ............................................. 8.F51cIGP ................................. 1.F58d/OE109Ihlas News Agency .....................5.C01IHSE .............................................7.C10Ikegami Electronics Europe .......11.A31IkiBit ............................................9.A05Image Engineering .................... 11.E16Image Matters.........................10.D31dImagine Communications..........3.B20aImagine Products.........................9.D14Imagineer Systems...................... 7.J49I-MOVIX .....................................11.C55INA ..............................................6.A20Indiecam ....................................11.A65IneoQuest ................................... MS24Inetsat .........................................5.C12Infomir ....................................... 14.126Inmarsat ......................................2.B19Innowave Technologies .. 5.C14/14.170Institut für Rundfunktechnik...... 10.F51Intek Digital .................................5.B22Intel ........................................... 14.106INTELLIQUE ..............................2.B39iiiIntelsat ........................................1.C71Interface Masters

Technologies ..........................7.C17International Datacasting ...........1.C29Interra Systems ...........................7.K31intoPIX .....................................10.D31gIntuitive Aerial...........................5.B03dInview ........................................ 14.353IO Industries ..............................11.A75IPgallery......................................3.B20iIPV ...............................................8.B59Irdeto ...........................................1.D51ISOVISION ................................. 8.B36ciStreamPlanet.................14.283/MS22Itelsis ........................................... 8.E19ITS Electronics...........................5.B40JIWEDIA ........................................5.B01

IBC2013

AMSTERDAM RAI • 13-17 SEPTEMBER

Information current as of 23 July 2013

308bew17-MAP-DE.indd 15 8/1/2013 4:40:42 PM

M16 broadcastengineeringworld.com | August 2013

i-Yuno Media Group ....................9.C35

J.L. Fisher ..................................11.C40

Jampro Antennas ........................8.B96

JK Audio ...................................... 8.E71

JLCooper Electronics................... 7.J43

JMR Electronics .......................... 7.F05

JOANNEUM RESEARCH

Forschungsgesellschaft ......... 8.F48

JoeCo .......................................... 8.E97

Jünger Audio .............................10.A49

Jutel ............................................ 8.E89

JVC Professional

Europe ......................10.D45/OE111

K5600 Lighting .......................... 11.E28

Kabelkom..................................... 8.E05

Kalix Residential College

for Adult Education ...............OE107

Kaltura ....................................... 3.B20c

Kantar Media Audiences ............ 1.F75

KAONMEDIA ...............................1.B16

Katholieke Universiteit Leuven ... 8.F48

KATHREIN TechnoTrend ..............1.A58

KATHREIN-Werke ........................8.C29

KenCast .......................................2.C25

Kietacam ...................................11.A63

Kino Flo / Cirro lite .................... 11.E33

Kintronic Laboratories ................. 8.E17

KIT Digital....................................1.C30

KOBES .........................................9.C35

Konka Group ................................5.C09

Korea Digital Convergence

Association .... 3.A19/3.A19c/4.B78

Kratos Integral Systems Europe..1.A01

Kroma Telecom ..........................10.A24

Kupo Grip...................................11.G69

Kvant-Efir ..................................... 8.E75

KWS-Electronic ...........................3.C31

Labatus ........................................1.A44

Lacie ............................................7.G17

Lanparte ....................................11.C80

Laon Technology ........................ 10.F22

Lasergraphics .............................. 7.F01

LATTO ........................................ 3.A19r

Lawo...........................................8.C71

LEA ............................................ 14.260

LEADER INSTRUMENTS ...........11.A38

Lectrosonics ..............................8.C73b

Ledgo .........................................11.A62

LEICA .........................................11.D21

LEMO Connectors......................11.D39

Level 3 Communications .............4.C50

LEVELS3D ..................................2.B39ii

Leyard ..........................................9.B28

LG Electronics..............................2.A27

LIBEC ......................................... 11.E33

Liberty Global ..............................1.D39

Lightcraft Technology ..................7.A01

Lightstar Electronic ................... 11.E53

Limecraft .....................................9.B02

Linear Acoustic............................8.D30

LiveU ................. 3.A63/3.A68/3.B20v

Livewire Digital ...........................3.A18

LMP Lux Media Plan ................. 10.F21

Loft London Solutions .................8.B16

LogicKeyboard ............................. 7.F49

LS telcom..................................... 8.E39

LSB Broadcast Technologies .......8.B31

LSI Projects................................ 11.E35

LTO Program ................................9.B20

LUCI-Technica Del Arte ...............7.A15

Lumantek .....................................3.B51

Lund Halsey .................................2.B10

Lupo Light ..................................11.B57

Lupo Lux ....................................11.G54

Lynx Technik ................................8.C70

Magma ........................................ 7.F06

MainConcept ...............................5.A31

make.tv ........................................3.B40

Mandozzi .....................................8.A48

Mariner...................................... 14.530

Mark Roberts Motion Control ...11.G35

Marquis Broadcast ......................2.A58

Marquise Technologies ...............7.H03

Marshall Electronics .................11.D20

Mart.............................................8.B15

Marvell Semiconductor ...............5.C33

Masstech Group ..........................6.A10

Masterclock...............................10.A09

Masterplay Digimedia.................8.A10

MAT Film + TV Camera

Technology ........................... 11.F32

MathEmbedded Consulting.......4.A61b

Matrox Electronic Systems .........7.B29

Matthews Studio Equipment ....11.G71

Mautilus ....................................14.A30

Maxon Computer.........................6.C19

Mayah Communications .............8.B92

MBT ...........................................8.D82a

mDialog .....................................5.B40g

MEDIA 360 ..............................2.A36bb

MEDIA BROADCAST ...................1.B79

Media Excel............................... 14.150

Media IT Profy .............................9.A11

Media Labs Powered

by Ittiam Systems ................ 14.263

Media Links .................................1.C31

Media Logic.................................7.H17

Media Utilities ............................8.A50

media.net berlinbrandenburg.... 8.A25f

Media-Alliance............................8.B71

MediaGeniX ..............................3.C59

Mediaguru Consultants.............10.D20

Medialab Barcelona .................... 1.F55

MediaPower ................................ 7.J42

Mediaproxy ................................. 7.J07

Mediaroom ...........MS21/MS32/MS39

Medienboard

Berlin-Brandenburg ..............8.A25e

Megahertz Broadcast Systems . 11.F20

MEMNON ARCHIVING

SERVICES ...............................8.C85

Merging Technologies ................. 8.E96

MeteoGraphics............................2.C48

Metrological .............................. 14.128

METUS TECHNOLOGY ................9.A09

MICRODOLLY HOLLYWOOD ......11.A40

Microlab ....................................4.A61e

Micron by Audio Engineering...... 8.E98

Microsoft ...................................... MS1

Microtech Gefell .........................8.D80

Microtron.....................................8.A04

Mier Comunicaciones ................. 8.E30

Miller Camera Support..............11.D30

Mindspeed Technologies ..........8.B38e

Minerva Networks .................... 14.553

miniCASTER/TV1.............1.A80/OE110

Minnetonka Audio Software....... 7.F07

MIRAD Microwave......................5.C19

Mirada .........................................5.A07

Miranda Technologies .................8.D41

MiraVid...................................... 14.350

Mistserver.org/DDVTECH .......... 14.452

MISTV..........................................2.A16

MITEQ..........................................1.A18

MITSUMI ELECTRIC ..................11.G85

MJ Shanghai Trading ..................8.D05

Mobile Viewpoint...................... 14.113

MobiTV ...................................... 14.160

Mode-AL....................................10.A38

MOG-Technologies ......................7.H32

Mogami .......................................8.D56

Mole-Richardson Company ....... 11.F57

Monarch Innovative

Technologies ..........................8.B01

Mosart .........................................5.C28

Motama ..................................... 14.582

Motion Plus MEDIA................... 14.127

MOVCAM ..................................11.D21

Movicom....................................11.G63

MovieTech ................................. 11.E39

MSA Focus International ............3.B56

Mstar Semiconductor..................4.C59

MTF Services.............................11.G77

M-Three Satcom .......................8.C22d

mufin..........................................8.A25c

MULTICAM SYSTEMS ............ 11.E41a

MultiDyne................................10.D46b

Murraypro Electronics ............... 10.F23

MWA Nova ................................. 7.E30

Myat ............................................8.A58

Myricom ......................................7.C17

nablet ..........................................9.A05

nac Image Technology ...............11.G75

NAGRA ........................................1.C81

Nagra Audio ................................ 8.E96

Nanguang Photographic

Equipment ............................ 11.E10

Narda Test Solutions ...................8.A04

Nativ ..........................................4.A61d

Nautel..........................................8.C61

Nautilus Studio ...........................7.G05

ND SatCom..................................5.A05

NEC..............................................8.B37

Neotion........................................4.B53

NET INSIGHT ...............................1.B40

Net Mobile ................................ 14.462

Netgear ..................................... 14.110

Netgem........................................5.B45

NETIA .........................................8.B36f

Netrange ................................... 14.108

Netris...........................................5.C21

NetUP ........................................ 14.282

Neutrik.........................................8.C90

never.no .......................................7.A09

Nevion .........................................1.B71

New Insight ...............................2.A36b

New Japan Radio........................5.C13

NewFace TV .............................. 5.B40c

NewsBoss ...................................8.C91

Newtec ........................................1.A49

NewTek .......................................7.K11

NexGenWave ............................3.A19a

Nexidia ........................................3.A46

NEXTO .......................................11.G37

NHK .............................................8.G38

Nikon Europe .............................11.B50

Nila LED Lighting....................... 11.F56

Ningbo Eimage

Studio Equipment .................11.C51

NKK Switches .............................8.A70

NOA Audio Solutions ..................8.D91

Noah Broadcast Solutions ........11.G64

Nordija....................................... 14.540

North Telecom .............................4.B71

Norwia.........................................9.C19

Novella SatComs....................... 1.F58b

NovelSat............................ 3.A48/MS3

Novotronik ...................................1.A54

NPTV............................................5.B19

NTP Technology .........................8.B51b

NTSI............................................2.B39f

NTT Group ...................................2.C50

Nucomm/RF Central ....................1.D40

NUGEN Audio.............................. 7.F07

Numedia ......................................3.B55

NVIDIA......................................... 7.J39

NXP Software............................ 14.450

NyeTec .........................................2.C31

OASYS .........................................8.B16

Object Matrix ............................6.C28b

OCT Technology ...........................2.C37

OCTOPUS Newsroom............. 7.G11

OKNO-TV .....................................9.C30

Omnia Audio................................8.D30

Omnitek .......................................6.A18

On Screen Publishing ................5.B15a

ONE CONNXT ..............................1.A99

One For All...................................1.C41

Onetastic ................................... 8.C22c

Online Voices ............................ 5.B03c

Ontario, Canada ............... 5.B40/5.B46

OOYALA ..................................... 14.116

Open Broadcast Systems ..........4.A61g

Open IPTV Forum ....................... 14.184

Opentech .....................................5.C42

Opera Software ......................... 14.111

Opic Telecom .............................8.A19d

Optical Cable Corporation ......... 10.F29

Opticomm-Emcore .......................2.A48

Optoway Technology ...................8.A22

Orad Hi-Tec Systems ...................7.B27

Orban Europe...............................8.D93

OSEE ..........................................10.D59

Overline Systems ........................ 8.E94

Ovide Maudet............................11.D21

P.A.D. Media & Services ...........11.C57

P+S Technik ............................... 11.E59

Pace .............................................1.B19

Packet Ship Technologies .........4.A61c

Pals Electronics ...........................4.A51

Panaccess Systems .....................5.C10

Panasonic Marketing

Europe .........................9.C45/9.D40

Panodic Electric ...........................3.A40

Panther ...................................... 11.E20

Paradigm Communications .........4.C81

Paralinx......................................11.D21

PBI ...............................................3.C15

Exhibitor name Hall.Stand Exhibitor name Hall.Stand Exhibitor name Hall.Stand Exhibitor name Hall.Stand

IBC2013

AMSTERDAM RAI • 13-17 SEPTEMBER

Information current as of 23 July 2013

Issue AdvertIserMAp AdvertIser

308bew17-MAP-DE.indd 16 8/1/2013 4:41:01 PM

August 2013 | broadcastengineeringworld.com M17

Peak Communications .................1.C33

Pebble Beach Systems ................8.B58

Peer TV .......................................3.B20l

Penta Studiotechnik ..................10.A41

Perceptiva Labs ...........................3.A16

Percon........................................ 10.E51

Perfect Memory.........................8.D82d

Phabrix ......................................8.E35

Philips Entertainment ................11.G81

Philips Remote Control................1.A81

Philips uWand ........................... 14.103

Phoenix7 ......................................3.C21

Phonak Communications ............. 8.E95

Photon Beard .............................11.D43

Pilat Media ..................................2.B30

PINGUIN Ing.Büro........................ 8.F41

Pixel Power..................................7.A31

Pixellot....................................... 3.B20y

Pixelmetrix...................................1.B29

Plaber-HPRC Cases .....................9.B43

PlayBox Technology ...............8.C30

Playcast Media Systems .............5.B11

Playence Spain ............................ 8.F48

Playlist Software Solutions.......8.A19e

PLAZAMEDIA TV &

Film Produktion ....................11.C50

Plisch ........................................... 8.E31

Plura Broadcast ...........................8.B73

Pluxbox ...................................... 10.F35

Polecam .....................................10.C49

Pond5...........................................9.B41

Porta Brace ................................ 11.F69

Portaprompt.................................8.A90

Preston Cinema Systems ..........11.D21

Preview GM System....................8.B61

Prime Focus Technologies ...........7.G37

Primestream ................................7.D21

PRISMAHUB ................................8.A01

Prismcube .................................... 1.F94

ProConsultant Informatique ........2.B21

Production Minds ........................9.D18

Prodys ..........................................1.B30

Professional Sound .....................8.C96

PROFITT .......................................7.A06

Progira Radio Communication.....8.B98

Projectbuilders ...........................OE118

Promax Electronica......................8.B22

Promise Technology ....................6.C11

Pronology.....................................9.A59

ProSup ....................................... 11.E58

ProTelevision Technologies .........8.C48

Provys ..........................................2.B49

PRO-X ........................................ 11.E42

PSI Audio ..................................... 8.E96

Pulse Power and Measurement ..1.A11

PureBlend Software ..................9.B14a

Qbit .............................................. 8.E49

Qt by Digia................................. 14.362

Quadrille .................................... 2.B39c

Quadrus Technology ....................7.K25

Qualcomm ................................. 14.152

Qualitteq......................................3.B14

Quantel ........................................7.A20

Quantum 5X Systems .................5.B40f

Quantum ......................................7.G30

Quattro ........................................ 8.E37

Qube Cinema ............................... 7.F45

Quicklink Video

Distribution Services ..............3.B39

QuickPlay Media ....................... 14.381

Quintech Electronics ...................4.B81

QUOTIUM TECHNOLOGIES .......2.A36d

Qvest Media ................................3.B40

Rabbit Labs..................................3.A44

RADIALL .................................. 11.E41c

Radica Broadcast Systems........8.B38g

Radio Frequency Systems ...........8.B34

Radioscape ................................8.D90a

RAI ............................................... 8.F48

RAIDIX ......................................... 7.J05

RaLex Solutions...........................8.D75

RAMI .........................................8.B36a

Rascular Technology .................8.B38a

RaySat Antenna Systems............5.C27

RealNetworks............................ 14.107

RED Digital Cinema .....................7.H37

Remote Solution........................3.A19d

Rescue Tape-Harbor Products ... 11.F65

Research Concepts.....................1.F58c

RF-Design .................................... 1.F57

RGB Networks .............................4.B70

Riedel Communications ...... 10.A31

RIZ-Transmitters ..........................8.A03

RJS Electronics .........................6.C28d

RME/AUDIO ................................8.A11

RO.VE.R

Instruments & Broadcast .....8.C49e

Rockwell Collins .......................... 1.F50

Rodenstock Photo Optics .......... 11.F73

Rohde & Schwarz ........................ 7.E25

Roland Systems Group ................ 7.J38

Root6 Technology ........................ 7.E21

Roscolab ....................................11.G21

Rosenberger OSI ....................... 11.F50

Ross Video............. 9.B08/9.C10/9.C23

Rotolight ....................................11.D69

Rovi Europe .................................5.A31

Royal Television Society ........... 8.F51d

RRsat Global

Communications Network .....1.A23

RS2I ...........................................2.A36c

RT Software ................................2.B16

RTI Group.....................................6.A21

RT-RK Computer

Based Systems .......................5.A01

RTS ............................................10.D25

RTW ........................................... 8.D92

Ruige China ............................... 11.E43

Russian Satellite

Communications ....................4.B84

Ruwido ........................................ 1.F68

RVR Elettronica ...........................8.C28

Rycote..........................................8.A86

RYMSA ........................................8.C65

S&T (Strategy & Technology) ......1.B22

STP ..............................................8.C85

S3 Group......................................3.B18

S3 Satcom ...................................1.B91

Saffron Digital ........................... 14.154

Sagemcom...................................1.D41

SAIL LABS Technology ................ 8.E03

SALZBRENNER

STAGETEC MEDIAGROUP ......8.C80

Sam Woo Electronics ................ 11.F11

Samim Rayaneh ..........................9.B04

Samsung......................................1.D35

SAMYANG EUROPE ..................11.D57

Sanken Microphone ....................8.C01

Sans Digital ................................. 7.F04

SAPEC.......................................... 1.F21

Sat-Comm Broadcast ...... 1.F90/OE106

Satlink Communications .............5.A17

Satmission.......................1.A91/OE107

SatService ................................... 1.F47

Savas ......................................... 14.181

Scenario 2 .................................5.B40a

Scene...........................................8.G41

ScheduALL...................................1.D30

Schill.......................................... 11.E40

Schneider Kreuznach.................11.A28

Schoeps Mikrofone ..................... 8.E90

Schulze-Brakel

Schaumstoffverarbeitungs .....8.D77

SCISYS Deutschland ...................8.A23

Scottish Development

International .........................9.B14d

Screen Service ............................8.C41

Screen Subtitling Systems.....1.C49

SCTE .......................................... 8.F51e

SeaChange ................................14.B20

SeaWell Networks .................... 14.182

SED Systems ...............................1.A52

SEINT...........................................6.B07

Sematron .....................................1.A78

Semtech .................................... 10.F30

Sencore ....................................... 1.F56

Senna ........................................ 11.E57

Sennheiser Electronic ........... 8.D50

Servicevision .............................11.A41

SES ..............................................1.B51

SGI .............................................7.K01a

SGL ............................................ 7.J15a

SGO .............................................6.A11

SGT / Vivesta ..............................2.A40

Shaanxi Tianyi Antenna ............ 5.C16c

Shape ........................................11.B55

Shenzhen C&D Electronics.......... 1.F96

SHENZHEN AEE TECHNOLOGY .9.B10f

Shenzhen Anycon

Electronics Tech. .................. 3.B25c

SHENZHEN COOLECH

TECHNOLOGY ......................5.A41d

ShenZhen Geniatech .................5.A41a

Shenzhen Gongjin Electronics...5.A41b

Shenzhen Hualistone

Technology ...........................3.B25d

Shenzhen Konvision

Technology ........................... 10.F43

Shenzhen MTC ............................3.C61

Shenzhen New Glee

Technology .............................2.C39

Shenzhen New

Solution Electronics .............5.A41c

Shenzhen Newmi Digital ............ 1.F32

ShenZhen Remote

Tech-Developing ...................5.A41e

Shenzhen Ruiren Electronics.....5.C16a

Shenzhen Skyworth

Digital Techonlogy ..................4.A77

Shively Labs ................................ 8.E81

Shotoku Broadcast Systems ..... 11.F40

SHOTOVER Camera Systems ....11.A69

SI Media ......................................8.B93

Sichuan Changhong Network

Technologies ........................6.A29a

Sichuan Jiuzhou Electric Group ..3.C56

Sichuan Video Electronic ..........3.B25a

Sielco...........................................8.A12

Siemens Convergence

Creators ................................14.A30

Sigma Designs ............................4.C83

Signiant ..................................... 14.125

Signum Bildtechnik .....................7.D31

Simex Import & Export .............. 11.F89

SintecMedia ................................2.B41

SIRA.............................................8.C31

SIS LIVE .......................................1.C55

Sisvel Technology ........................5.B37

SIX .............................................11.D21

SKB CASES................................11.D65

Skyline Communications .............1.A21

SKYPIX.........................................9.C35

Skyware Global ...........................4.A95

Slik.............................................11.A30

Slomo.TV .....................................8.B11

SmarDTV .....................................1.C81

SmartLabs ................................. 14.340

SMiT ............................................ 1.F86

SMK EUROPE ..............................4.C78

SMPTE ........................................ 8.F51f

SNELL ..........................................8.B70

Soft at Home ...............................5.B30

SOFT VALLEE ...............................2.C21

Softlab-NSK ................................7.A08

SoftNI ..........................................1.A39

Softron Media Services ..............7.G12

Sohonet .....................................4.A61d

Solectrix .................................... 11.E61

Solid Camera ...........................10.D46a

Solid State Logic .........................8.D83

SOLIDANIM: TECHNOLOGIE

SOLIDTRACK ........................8.B36d

Sommer Cable .............................9.B31

Sondor Willy Hungerbuehler.......7.H01

Sonifex ........................................ 8.E61

Sonnet Technologies ...................7.G02

sono Studiotechnik......................8.C81

Sony...........................................12.A10

Sotal IPTV ..................................14.B32

Sound Audio Processing .............8.C94

Sound Devices.............................8.D74

Soundminer ...............................5.B40b

SP Telefilm ................................. 8.A19f

SPB TV ....................................... 14.109

Spectra Logic...............................7.G35

Spectracom ...............................8.D82b

Spideo ....................................... 14.370

Spinner ........................................8.B27

Spotlight ....................................11.D53

SPX Flow Technology ..................8.C60

Square Box Systems .................7.K01b

Staer ...........................................8.C49f

Stardom .......................................7.G09

Starfish Technologies ..................8.B30

Starline Computer .......................7.H05

Step2e Broadcast ........................2.B29

Stereolabs ............................... 11.E41b

Stereotec ................................... 11.F63

Exhibitor name Hall.Stand Exhibitor name Hall.Stand Exhibitor name Hall.Stand Exhibitor name Hall.Stand

IBC2013

AMSTERDAM RAI • 13-17 SEPTEMBER

Information current as of 23 July 2013

308bew17-MAP-DE.indd 17 8/1/2013 4:41:26 PM

M18 broadcastengineeringworld.com | August 2013

Stirlitz Media...............................8.C91

STMicroelectronics ..................... 1.F40

Stoneroos ....................................1.A95

StorageDNA ................................ 7.J47

STORDIS ......................................7.C17

Stream Labs ................................7.G47

Streamit.......................................2.A32

Streamstar................................. 10.E59

STRYME ...................................... 7.J03

Studer by Harman .......................8.D60

Studio Network Solutions ...........7.A03

Studiotech .................................11.C64

Sub10 Systems............................4.C88

Suitcase TV ...................... 2.C10/2.C15

Suman Satellite Technology .....5.C16b

Sumavision Technologies ............1.B10

Sumitomo Electric Industries ......4.C73

Surface Heating Systems............ 1.F59

SVP Broadcast Microwave..........2.C55

Sweden at IBC.............................5.B03

SWE-DISH by Rockwell Collins... 1.F50

Swedish Microwave ................... 1.F71

SWIT Electronics .......................11.A39

Switchcraft ..................................9.C49

SyES ..........................................8.C49g

Synapse TV..................................1.B22

Synaptop ...................................5.B40e

Syrp ...........................................11.A56

Systembase ................................. 8.E93

TAC SYSTEM ............................... 7.F06

Tactel .........................................5.B03b

Tag Video Systems ......................4.C89

TAKTIK .....................................10.D31h

TAMUZ Broadcast Monitors .......2.C57

Tangent Wave .............................7.G33

Tata Communications ..................3.C20

Tata Elxsi ..................................... 1.F31

TC Electronic ...............................8.D56

Tcube ......................................... 2.A36f

TDF ..............................................1.B79

Teamcast .....................................2.B51

TECH4HOME ...............................3.C35

Techbid Auctions .......................10.A08

Technicolor .................MS4/MS5/MS7

Technisat Digital .......................14.C20

Technische Universität

Braunschweig ........................8.G35

Techno Design Engineering .........8.C03

Technocrane ..............................11.D36

Techwave ....................................9.C35

Tecsys Video Networks .............3.B20e

Tedial ...........................................8.B41

Tektronix ....................................10.D41

Telairity ........................................5.B09

Tele Frontier ................................ 1.F59

Teledyne Paradise Datacom ........1.B24

Teleidea .......................................5.B04

Telekom Austria Group ..............14.C12

Telemetrics ................................ 11.E37

Telenor Satellite Broadcasting ....1.A59

Telesat .........................................1.C39

Telespazio ....................................4.A70

Teleste .........................................4.B77

Telestream ...................................7.C12

Television Research Institute ......5.C43

TELIKOU TECHNOLOGIES..........11.A54

Telmaco ....................................... 8.E45

Telos ............................................8.D30

Telsat .........................................8.C22b

TEM .............................................8.A26

Teracue ...................................... 14.461

Teradek ................................... 11.A43

Terrasat Communications ........... 1.F81

TESLA Electrontubes ...................8.A14

Thaicom Public ............................1.A05

Thales Alenia Space ...................4.A70

Thales Angenieux...................... 11.F34

The Foundry Visionmonger..........7.B13

The Israel Export & International

Cooperation Institute .............3.B20

The Pixel Farm .............................6.C18

The Video Point ........................3.B20w

TheLight.....................................11.G83

ThinkAnalytics .............................1.D92

Thomson Broadcast.....................8.C11

Thomson Video Networks .........14.A10

Thum+Mahr .................................8.A50

Thuraya Telecommunications .....2.C23

Tieline .......................................... 8.E73

Tiffen .........................................11.D21

Tiger Technology .........................7.D03

Tilta Technology ......................11.A51d

Timecode Systems ....................9.B14a

TiVo ............................................ 14.531

TMD.............................................2.C58

TMS ........................................... 14.562

Toner Cable Equipment UK .........4.B91

ToolsOnAir

Broadcast Engineering ...........7.G45

Top-Up Industry ...........................8.B94

TOSCA-MP .................................. 8.F48

Toshiba ........................................8.D16

TQTVD Software .......................8.A19g

Tract ............................................. 8.E83

TRANSRADIO

SenderSysteme Berlin ...........8.D35

Transvideo ................................. 11.F31

TRedess .......................................8.A21

Triada-TV .....................................8.D31

Trilogy Communications ............10.A29

Trinnov Audio ..............................8.C35

TriVis Weather Graphix ...............3.A58

True Lens Services ....................11.G65

TSF.be .......................................10.D31i

TSL ........................................... 10.B41

TTA ..............................................2.C41

TTcomm ....................................... 1.F49

TTI ...............................................4.C69

Turkonet-Signal ENG ...................3.B16

TV Skyline..................................11.C51

TV1 ..................................1.A80/OE110

TVC .............................................OE112

TVINCI ............................ 3.B20n/3.C46

TVLogic ......................................10.D26

TVStorm.......................................4.A91

TVU Networks .............................2.B28

TW Electronics (Newbury) ..........4.C77

Ubertweek .................................8.A25d

UK Pavilion ......................4.A61/5.B15/

6.C28/7.J15/

7.K01/8.B38/9.B14

Ultimatte .....................................7.C27

Uniclass Technology ....................4.C61

Unified Streaming ..................... 14.115

Unique Broadband Systems ........8.A40

UnitronGroup ...............................4.C85

Universal Electronics...................1.C41

US Wondlan International ........11.C61

Utah Scientific .............................2.B20

Utelisys...................................... 14.363

UXP Systems .............................5.B40d

Varavon .....................................11.C11

VariZoom ...................................11.D58

VBOX COMMUNICATIONS .......3.B20d

Vcodes .......................................3.B20p

VDB Audio ...................................8.C01

VDL ............................................8.D90b

VDL Deutschland .......................8.D90c

Vector 3 .......................................7.C01

Venera Technologies ...................8.A98

Verimatrix ....................................4.A55

Versatile-Remotes.TV ............... 11.F41

Veset ...........................................5.C15

Vestel ........................................14.A20

Viaccess-Orca..............................1.A51

ViaLite Communications .............1.A11

VidCheck....................................8.B38d

VIDEO-FLOW .............................3.B20h

Videosolutions Group ..................7.A05

Videssence ............................ 11.B12

VidiGo ..........................................7.H30

VidMind .........................3.B20s/14.124

Viewcast.................................... 14.372

Vigintos Elektronika .................... 8.E23

Vimond Media Solutions...........14.B10

Vimsoft ........................................9.A02

Vinson........................................ 14.371

Visio Light..................................11.G45

VISION Cloud............................. 14.380

Vision Research.........................11.D47

Vision247................................... 14.273

Visiware ....................................2.B39g

Vislink ....................................... 1.A69

ViSTA-TV .....................................8.G39

Visual Research........................... 7.J30

Visual Unity ............................... 14.280

Vitec ............................................ 7.J31

VIXS Systems ..............................2.A10

Vizrt .............................................7.A10

Vocas ......................................... 11.E34

Vodience ....................................3.B20q

Voice Technologies....................8.C73a

Volamp ........................................8.A28

Volicon .........................................7.G23

Vortex Communications ............11.G11

VSN .............................................7.C21

VTQ Videotronik .......................... 1.F11

VTS Studiotechnik .......................8.C81

W.B. Walton Enterprises .............1.A62

Walimex Pro ..............................11.A73

WASP3D ...................................... 7.J16

Wave Science Technology ..........8.A44

Wavestream ................................5.C27

Weather Channel

Professional Division .............3.B61

WeatherOne ................................2.C11

Well Buying Industrial ................. 8.E29

WellAV Technologies ..................5.B47

Wellen+Noethen .........................3.B40

Wheatstone.................................8.A24

Winmedia ..................................8.B36b

Wisi Communications .................4.B50

Wisycom......................................8.D89

Witbe...........................................4.C74

WNM........................................10.D31j

Wohler Technologies ................10.B10

Wooden Camera ....................... 11.E55

Work Microwave .........................4.B63

World DMB .................................9.D30

WorldCast Systems .....................8.B50

Wowza Media Systems ..............5.B32

wTVision......................................7.A45

Wyplay ........................................5.A11

XCRYPT......................................4.B78a

XenData.......................................7.H47

Xiamen RGBlink

Science & Technology ............7.K40

Xpertia .........................................2.C33

Xstream ..................................... 14.122

Xtreme Labs ...............................5.B46f

Xytech Systems ...........................6.C22

Yamaha Commercial Audio .........8.D10

Yangaroo ...................................5.B40h

Yegrin Liteworks........................11.G66

Yellowtec.....................................8.A51

Yospace ..................................... 14.104

Yuan High-Tech Development .....9.B06

Yuyao Fotodiox

Photo Equipment ................ 11.A51f

Zacuto........................................ 11.F60

Zappware ....................................1.A81

Zaxcom ......................................8.C73a

Zetrox ......................................4.A61hii

ZHANGZHOU LILLIPUT ELECTRONIC

TECHNOLOGY ....................11.A51e

ZHC Digital Equipment ..............6.A29b

Zhengzhou Generalink

Lighting Equipment ..............9.B10b

Zhengzhou KEMA MOVIE-TV

OPTO-ELECTRONICS ..........11.A51c

Zhengzhou Taiying

Video Equipment ....................9.B49

Zhuhai Gotech Electronic

Technology ........................... 5.A41f

Zhuhai Jili Development .............9.A57

Zigbee Alliance ......................... 14.117

Zixi ............................................. 14.342

Zoo Digital ................................. 8.B38c

ZukunftsAgentur Brandenburg ..8.A25g

Zylight........................................ 11.F56

Issue AdvertIserMAp AdvertIser

Exhibitor name Hall.Stand Exhibitor name Hall.Stand Exhibitor name Hall.Stand Exhibitor name Hall.Stand

For more information about IBC and to register, go to www.ibc.org/register

IBC2013

AMSTERDAM RAI • 13-17 SEPTEMBER

Information current as of 23 July 2013

308bew17-MAP-DE.indd 18 8/1/2013 4:41:46 PM

Visit TSL Products @ IBC 2013 Stand 10.B41

Contact us for further information:

E: products@tsl.co.uk

T: +44 (0)1628 676 221

www.tslproducts.com

Products

Effortless Audio Monitoring From Entry-level to Critical multi-channel monitoring, TSL

Products has a solution to give confidence to every Sound

operator position along the broadcast chain whether in

creative or technical engineering.

Seamless Cross-Equipment Communication Tallyman sits at the heart of broadcast system coordinating

critical broadcast infrastructure components and providing

operators with a common platform to universally control multiple

pieces of kit from different vendors. Choose from tactile push-

button or virtual touchscreen control panels.

Basic and Intelligent Power Management SolutionsAny facility that has rack-mounted equipment be it a TV

Station, IT/Data Centre, Hospital or Oil Rig, with TSL Products

Power Manager Family, savings on power consumption and

energy costs could be extensive.

Straight-Forward Surround Sound Capture & Processing HD Broadcasters can capture the atmosphere of the action

and the crowd with TSL Products SoundField range. Perfect

for Live Events from World Class and Small Scale Sporting

Competitions to Studio Audience-based and Concert Venue

productions.

308BEWMAP19.indd 1 8/2/2013 10:17:38 AM

308BEWMAP20.indd 1 8/2/2013 11:55:16 AM