Broadcaster March 2011

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Departments

Broadcaster® March2011 Volume70Number2

4 IndustryNews

5 NewProductsandServices

22 CanadianAchievers

FeaturesCTV Toronto: 7 ALookBack,aLookAheadAsStation

Celebrates50thAnniversary

19

22

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4 Broadcaster March 2011 www.broadcastermagazine.com

WAB Partners with Banff FestivalThe Western Association of Broadcasters is proud to be a partner of the Banff World Media Festival for 2011.

Working at the forefront of television and digital media for over 30 years, the Banff World Media Festival is the premier conference and marketplace for broadcasters, producers and distributors in Canada. Join the hottest emerging players and established industry figures at the Fairmont Banff Springs Hotel for a unique mix of networking, invaluable insight and learning, and a celebration of the best projects and the brightest stars in the industry.

Taking place just after the WAB conference, BANFF is the ideal opportunity to build on the knowledge and connections gathered at WAB while linking up with top-tier executives and creatives from across Canada and around the world.

CRTC Seeks Public Input on Loudness of TV AdsThe Canadian Radio-television and Telecommunications Commis-sion launched a public consultation on the issue of loud television com-mercials. The CRTC is inviting comments by April 18, 2011, on the possible technical and regulatory measures that would ensure commercials are not perceived to be louder than the programs they accompany.

"Loud ads on television can disrupt an otherwise enjoyable program and are a source of significant annoyance for Canadians," said Konrad von Finckenstein, Q.C., Chairman of the CRTC. "Viewers should not have to adjust the volume at every commercial break, and we will work with the broadcasting industry to find an acceptable solution."

In 2009, the Advanced Television Systems Committee adopted a recom-mended practice to establish and maintain a target loudness level for digital television. Given the development of this international standard, the CRTC is seeking views on:•how broadcasters currently control the loudness of commercials•the technical changes, as well as associated costs and practical implica-

tions, that would be required to implement the Advanced Television Systems Committee's recommended practice

•the appropriate timeframe in which any changes should be implemented•possible regulatory changes required to ensure the effective control of the

loudness of commercials •the extent to which technical and regulatory changes are applicable to cable

and satellite companies and video-on-demand services.

Buffalo Gal Wins Industry Builder AwardPhyllis Laing, President of Winnipeg’s Buffalo Gal Pictures, is the recipient of the 2011 Douglas James Dales Industry Builder Award.

The award was presented at the annual PS Dinner on the Hill, held during the Canadian Media Production Association conference in Ottawa.

Previously called the PS Industry Builder Award, it is now named after the founder of PS Production Services, Douglas Dales, who passed away last December.

The award is given annually to a leading member of the Canadian produc-tion industry who has made a sustained and outstanding voluntary contribution to building its development and success.

“Doug was an industry builder in every sense and a groundbreaking con-tributor to the industry he loved,” Douglas Barrett, President and CEO of PS said when announcing the award. “Renaming this award is a fitting honour to man who did so much for so many in the film and television production community across Canada.”

Laing established Buffalo Gal pictures in 1994 and has since steadily driven the business forward, including a recent expansion into Ontario.

She has twice been honoured by the Women's Business Owners of Manitoba. She received the Women Entrepreneur of the Year award in 1994 and the Impact on Local Economy Award in 2002. Phyllis is currently the Vice President (Policy) of the On Screen Manitoba Board of Directors and is a member of the Gimli Film Festival Board of Directors.

Laing said she was thrilled to be given the award but was quick to give praise to the producers, creative individuals, crew and government that help make the Manitoba screen-based media industry a success.

“We kind of have that warrior spirit to do what we need to do to create this industry. It’s partially the producers but it’s really the talent that exists and I guess we’re the ultimate enablers making sure that we can pave the path for the voices that exist here,” she said.

“I think our politicians should be very proud of what they’ve done to support the industry in Manitoba and I hope that our Federal government will continue to recognize the contribution of film, television and new media in our country and work with us in the same kind of partnership that we’ve enjoyed in Manitoba with our provin-cial government.”

Nicole Matiation, Executive Director of On Screen Manitoba, said the association is thrilled to see Phyllis Laing receive national recognition for her commitment to the screen-based media industry.

“Phyllis has worked tirelessly as a producer, as an active OSM Board mem-ber and as current Chair of On Screen Manitoba. She truly has a vision for a strong independent production industry in Manitoba, and its vital contribution to the Canadian independent production scene,” Matiation said.

“This award recognizes Phyllis’s tremendous commitment to building the Canadian film and television industry and particularly her tireless efforts to establish a solid base for the industry in Manitoba,” added Barrett.

Laing has produced a number of celebrated films and television series including the feature-length, award winning documentary My Winnipeg, and the critically acclaimed series Less Than Kind. Green Screen Award Honours Eco-Friendly ProductionsA new cash award, the first of its kind in Canada, seeks to honour 'green' film, TV and media content producers.

The inaugural Planet In Focus Green Screen Award will celebrate compel-ling stories of green production practices that have taken place on set or on location during the filming of a film or television program.

The producer and/or the director of the most inspiring production story will receive a $5,000 CDN cash award and a certificate for the services of Planet in Focus' Green Screen Program on their next film or television production.

This innovative award - the first of its kind in Canada and the first to offer a cash award - will highlight how film and television industry professionals are put-ting environmental awareness into action through greener production practices.

The Planet in Focus Green Screen Program is an award-winning non-profit environmental stewardship program for the film and television industry. Designed to reduce the environmental footprint of film and television produc-

Phyllis Laing is the recipient of the 2011 Douglas James Dales Industry Builder Award.

Broadcaster.indb 4 3/15/11 7:20 PM


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tions, the program promotes green film and televi-sion practices, conducts customized consultations and utilizes proprietary technology to calculate a productions' environmental savings.

The Planet in Focus Green Screen Program is supported by Astral's Harold Greenberg Fund, City of Toronto, the Toronto Film Office, Live Green Toronto, Cinespace, Canadian Media Production Association (CMPA) among other industry organi-zations, businesses, unions, guilds and volunteers.

Global Winnipeg First Local HD BroadcasterLate last year, Global Winnipeg became the first local television station to broadcast in high-definition.

With the launch of its new digital, over-the-air transmitter, Global Winnipeg says its high definition signal will provide a substantial increase in sharp-ness and clarity, along with a far superior colour resolution and exceptional audio clarity over ana-log and standard definition TV broadcasts.

“The move to HD affirms our position as a market leader, providing Winnipeg viewers with the benefits of an over-the-air high definition broadcast signal,” said Barbara Williams, Senior Vice-President, Content, Shaw Media. “This is the next logical step in providing an enhanced viewing experience with superior audio and video quality.”

In addition to the new HD signal, Global Winnipeg’s current analog over-the-air signal will continue to be available to viewers. Global Winnipeg will broadcast an over-the-air signal in both an analog and a digital format until the summer of 2011, to coincide with the phasing-out of over-the-air analog television signals in major markets across Canada.

In keeping with Global Television’s network-wide move to high-definition, Winnipeg is the fifth Global Television market to move to HD, following Vancouver, Calgary, Edmonton, and Toronto.

Global Television is a Shaw Media network.

Pitchin’ In for Third Time on Food Network CanadaCFrantic Films’ award-winning food series Pitchin’ In (13x 30’) has been renewed for a third season on Food Network Canada.

Jamie Brown, CEO & Executive Producer, Frantic Films, said the show’s continued success is cooked up by host and renowned Chef Lynn Crawford, whose “…honest passion for diving

into the life of the true artisans who provide the best ingredients North America has to offer, continues to resonate with food lovers.”

She reteamed with Restaurant Makeover co-star Cherie Stinson, plus Stinson’s husband Joey Skeir, to buy a restaurant in Toronto, which they renovated and reopened as the Ruby Watch Co. a month ago.

The show is often produced on the road, as Crawford travels to far-flung locations across North America, seeking local ingredients and knowledge in exchange for her cooking a fabulous meal with the product.

Season one of Pitchin’ In won the 2010 Banff World Television Award for Lifestyle & Information programming. Season two currently airs Mondays on Food Network Canada.

With offices in Toronto and Winnipeg, Frantic Films is one of Canada’s leading producers of live action film, television and commercial content. The company has produced over 350 hours of original live action programming, win-ning numerous creative awards and setting

many ratings records. Its Branded Content + Commercials division, specializes in creating original integrated multiplatform entertainment content.

EOne Lands Digital RightsEntertainment One has acquired the U.S. and Canadian digital rights for Michael Flatley: Lord of the Dance 3D.

The company is targeting DVD, Blu-ray and digital platforms, in this the second largest territory historically for Lord of the Dance.

The deal, negotiated by Kaleidoscope Film Distribution’s CEO Spencer Pollard and Entertainment One’s U.S. President Michael E. Rosenberg, was announced by Caroline Stern, Director of International Sales and Acquisitions with Kaleidoscope.

Michael Flatley: Lord of the Dance 3D was filmed in stereoscopic 3D at sold-out shows in Dublin and London, using 40 3D cameras.

The film had its market premiere at the European Film Market in Berlin, and is set for a St. Patrick’s Day theatrical release in the US, Canada, UK, Ireland and South Africa.

New ED at WIFT-T;Production Manager MentorshipKicks Off at Wm F WhiteLaunching a program of valuable hands-on train-ing and mentorship for one emerging Canadian female production manager, the inaugural Wil-liam F. White Production Manager Mentorship is awarded to Corinne Herman.

The competitive program was developed in part-nership by Women in Film & Television – Toronto (WIFT-T) and William F. White International Inc.

For ten days, Herman will join the production company as an intern to learn about production equipment for digital projects, television and film equipment planning, budget planning and resource management. The intensive training will take place Global Winnipeg's transmitter now delivers HD

Production crews go on location for Food Net-work cooking show

Canadian chef Lynn Crawford trained at George Brown College in Toronto.

Digital rights to a 3D version of Lord of the Dance have been assigned in Canada


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at the William F. White Centre, the company’s new production support complex in Toronto.

Paul Bronfman, William F. White Chairman and CEO, described the initiative as “a great opportunity to provide mentorship and advance-

ment while reinforcing our long-time commit-ment to supporting the next generation of produc-tion professionals.”

“Congratulations Corinne!” added Renee Robinson, WIFT-T Programming & Business Affairs Manager. “This partnership has allowed us to fill a crucial gap by addressing the need for production training at the emerging level.”

Herman will benefit from direct mentor-ship sessions with established production managers Lyn Lucibello and Anna Beben. She will also be enrolled in Production Management and Production Accounting, two modules of the WIFT-T Business Management for Media Professionals Program.

Herman is involved in television distribution and business affairs at DHX Media Ltd., the TV production and distribution company, also active in interactive content and entertainment licensing, with an emphasis on children, family and youth markets.

Herman also runs her own company Tilted Media Inc., and has worked in various roles on such notable films as Richie Mehta’s Amal and the Academy Award nominated Hardwood.

Meanwhile, Heather Webb has now taken over the reigns as Executive Director, Women in Film & Television – Toronto (WIFT-T)

She will be responsible for leading the opera-tions, strategic efforts and vision of the organization and its charitable arm, the Foundation for Women in Film & Television – Toronto.

Webb was most recently Executive Director of Open Studio, a non-profit charitable arts organi-zation in Toronto. She has over ten years experi-ence in the role, overseeing financial operations, fundraising, human resources, and strategic plan development and implementation.

Webb was appointed to replace Interim Executive Director Diane Williamson, who took over from outgoing Executive Director Sadia Zaman in January.

Multiple Media Names SVP Sales & AcquisitionsMultiple Media Entertainment Inc. announced today that Jennifer Graham has been appointed the company’s Senior Vice President of Sales &

Acquisitions. Graham, who will be based in the Toronto

office, was most recently the Vice President of Sales and Acquisitions at Peace Arch Television Ltd, a division of publicly traded Peace Arch Entertainment Group Inc. Prior to Peace Arch, Graham was Associate Director of Programming for Corus Entertainment’s Movie Central and Encore Avenue Pay TV cable networks.

“We are extremely pleased that Jennifer has joined our team” said Michael Taylor, CEO of Multiple Media Entertainment. “She has more than a dozen years of experience in the television industry. Her experience not only spans the sales and acquisition of television product, but she also has a wealth of experience on the broadcast side. She is extremely well regarded within the industry and is a great addition and asset to our growing company.”

Multiple Media Entertainment, a content dis-tribution company with offices in Toronto and Vancouver, reports it is currently working with program producers and suppliers in Canada and the U.S., across all media, including television, radio, outdoor, print, online and mobile.

Court Gives Go Ahead to Fee-For-Carriage NegotiationsThe Federal Court of Appeal says broadcasters may charge cable and satellite providers for carrying their programs.

It supported a decision handed down nearly a year ago by the Canadian Radio-television and Telecommunications Commission, when the CRTC ruled that broadcasters could attach a value to their signals.

Anticipating an appeal or challenge to that decision, the CRTC referred the case to the Court, which decided the CRTC was right to authorize networks to negotiate for carriage fees.

Generally, broadcasters argued in favour of the fee payments, while carriers argued against them.

However, the two largest private networks, CTV and Global, have or are in the process of being acquired, by TV signal carriers. Fee-for-carriage or fee-for-service negotiations may or may not proceed, due to the changing owner-ship landscape as much as any regulatory or court decisions.

But the matter is still not settled, and it may find its way to the Supreme Court.

Rogers Communications Inc. said it would file a leave to appeal the decision. B

Heather Webb is the new Executive Director at WIFT-T.

Jennifer Graham is new Senior Vice President of Sales & Acquisitions at Multiple Media.

Corinne Herman is the recipient of the inau-gural William F. White Production Manager Mentorship.



Broadcaster 7 Broadcaster 7

For anyone working in TV - particularly those in the newsroom - honesty, integrity and speed are key assets.So, it’s not surprising at all that Christine

Bentley demonstrates all three when she’s asked on the occasion of the station’s 50th Anniversary, “So, what will the next 50 years bring?”

“I haven’t a clue!” OK, so TV journalists like Bentley, co-anchor

of Toronto’s top-rated newscast, CTV News At Six, and a veteran at the network where she has worked since 1977, also shows a bit of humour, too.

In fact, she and co-anchor Ken Shaw (who joined CTV in 1979), have hosted a special series of reports, called Toronto 2061.

They and the entire team at CTV Toronto tried to anticipate the next 50 years, even as they all celebrated the 50 just past.

Hologram TV will be big, they said. Zero gravity sports, too. Even vertical farming in the downtown core.

But even as rapid technological change con-tinues to rip through society as a whole – and the

TV business in particular – there is an underlying theme to the approach that CTV Toronto will use going forward, one strongly rooted in the prec-edents first laid down in the earliest days of CFTO.

That theme echoes throughout the comments and reflections of the current crew, and in the memories of staff now retired.

Barely missing a beat, Bentley quickly adds that whatever developments the next 50 years bring,

“CTV Toronto will not weaken its commitment one iota. From the top down to the bottom, the theme here is commu-nity, service, family.”

And it’s been that way since, January 1, 1961 -

CFTO’s first official day of programming. The debut show that special day was a telethon

for what was then known as the Ontario Association for Retarded Children, and it was hosted by one of the original founders at CFTO, Joel Aldred.

But the battle to get Toronto's second television station licence was a fierce one, and it involved many who were or would be among the industry’s most

respected and established names, including John W.H. Bassett, Joel Aldred, Ted Rogers, Foster Hewitt, Rai Purdy, Murray Chercover and Johnny Esaw.

It was December 1959 that John W.H. Bassett, Joel Aldred, and E.S. 'Ted' Rogers, Jr., in the form of Baton-Aldred-Rogers Broadcasting, filed an application to the board of Broadcast Governors to establish a private television station in Toronto. 'Baton' is a Bassett-Eaton family partnership for broadcasting interests.

The application was approved in March 1960, but it took an impressive pro-gramming demonstration over closed-circuit television to prove the point.

Then, with CFTO as the flag-ship station, the Canadian Television Network is officially launched October 1, 1961. This is the first private televi-

sion network in Canada, linking eight of Canada's newest stations from coast-to-coast: The following fall, CTN is renamed as CTV. As son Douglas, who succeeded his father as CEO at CFTO, later recalled, Aldred, Hewitt, Rogers and his father would have “fights, I should say discussions” in those heady early days, but no matter who was left standing, they all understood the prize, he said.

By Lee Rickwood

cover storycover story

50th Anniversary Celebrations Honour CFTO’s Past, Point the Way to CTV’s Future

BRC MARCH COVER STORY 2011 PAGE 7 - 14_v4.indd 7 22/03/11 4:13 PM


“The goal was to have a powerful, profitable TV station in Toronto.”“CTV Toronto has been with viewers for the past 50 years, and we

look forward to being with them for the next 50,” agreed Paul Rogers, Senior Vice President, CTV News. “We’re proud of our role as an active and engaged community member, and we’re dedicated to continuing that in the future.”

Whatever that future may bring.Rogers, too, shows good humour about predicting the future. He sees a

glow at the end of the tunnel – but is that daylight, or a train rushing his way?“We work in an arena of profound change,” he says of the TV industry.

“We’re very optimistic about the future. We’re bullish with the new owner-ship coming in April.

“We’re very positive about the future of News,” Rogers continues. “The feeling is that there is investment to be made, and that we can find new and economical ways of covering local news, new ways of pushing out all of the content we generate here. Content generated not just for the main newscast, but for other platforms. CTV Toronto is excited to think about how that content can be re-purposed for online, for mobile, for tablets.”

There is a new way of doing journalism today, and it's a far cry from Rogers’ own early days, which began professionally as a radio news reporter at CKFH in 1979. He later worked for CFRB, ultimately joining CTV News in 1986.

“When I was reporter, we didn’t even have noon news, we had one half hour a day,” he encapsulates. “We filed a story and went home.”

“Today, it’s a full cycle. Reporters start tweeting as soon as they begin their assignment in the morning. When they arrive on the scene, they send pictures and video from their cell phones. They don’t just file a story for the suppertime newscast; they also provide content for online, and appear throughout the day on our all-news channels, CP24 and CTV News Channel. Today’s reporters understand that “the story” is a work in progress, and it must be updated as it develops--and those reporters need unique skills to be able to tell a story across multiple platforms.”

One recent example, first implemented by CTV B.C. but sure to find its way into the strategies of the other network properties, is a ‘mobile

newscast’. Specially produced and delivered to portable devices like smartphones or cell phones, the newscast encapsulates the top news and breaking items in a snackable, easily digestible format.

CTV’s strategy is to always direct its viewers to other platforms and source materials; from the mobile cast back to the website. From the web-site to the main evening newscast. And the main news hour will air promos for the mobile service.

Rogers is also now serving as the point person for local CTV News

cover story

Paul Rogers, now Senior Vice President, CTV News, began his career as a radio reporter.

TM

Congratulations CTV on your 50 years of highly successfuloperations in the Canadian Broadcast Marketplace.

As technologies and applications evolve we will continue toassist the Engineering group as they chart a course for thefuture. Telesat has been very proud to be a partner and welook forward to building on this success with the entireCTV team!

©2010 Sony of Canada Ltd. All rights reserved. ®Sony , XDCAM HD and CineAlta logos are registered trademarks of Sony Corporation. Reproduction in whole or in part without written permission is prohibited. Features and specifications are subject to change without notice.

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Enhanced functions, such as Slow & Quick Motion (over-crank and under-crank recording), make the PDW-F800 ideal for cinema and TV drama productions, as well as ENG applications.

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Broadcaster 9

©2010 Sony of Canada Ltd. All rights reserved. ®Sony , XDCAM HD and CineAlta logos are registered trademarks of Sony Corporation. Reproduction in whole or in part without written permission is prohibited. Features and specifications are subject to change without notice.

PDW-F800 XDCAM HD Camcorder

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The Sony’s top-of-the-line XDCAM™ HD422 series is being embraced around the world for its file-based recording capability utilizing high-capacity and highly reliable Professional Disc™ media.

Thanks to its MPEG HD422 codec, the PDW-F800 provides high-quality video and audio recording capabilities, with an image resolution of 1920 x 1080 and eight-channel 24-bit uncompressed audio.

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Directors on editorial issues, while maintaining his responsibilities at CTV Toronto, so he is well-positioned to see the strategy develop.

“There’s no resistance to these new ideas,” Rogers says of the evolving work environment at CTV Toronto. “We all see the opportunity. We all want to understand the strengths of these new platforms, and how best to create stories for them. Just yesterday, we were talking about broadcast quality video editing applications that run on an iPhone.”

Today, reporters can cover a live event, shoot some video, edit it on location, and send it back to the newsroom…all from a mobile phone.

“The team on our assignment desk has embraced new media and social media big time. It’s amazing what smart users can do, sourcing information from Facebook and Twitter conver-sations. Gathering information, finding contacts and witnesses through social networks.

“So we see more and more that these tools are "now" and will be a great source of informa-tion, not just a new way to deliver it. The new tools point both ways.”

Not only news and current affairs, but popu-

50 Years and counting…

50 never looked so good!

Congratulations to CTV Toronto, to Allan Morris and the entire CTV group. Funny how companies with three letter acronyms stick together. From your friends at BSE!

Toll Free 1-800-268-4081 www.bse.on.ca

cover story

Over the years, news camera operators at CFTO and CTV Toronto have worked with film, video and now digital files.

News anchors Christine Bentley and Ken Shaw are long time reporters and anchors, but also committed community supporters.



http://www.bse.on.ca

Broadcaster 11

lar children’s programming, dramatic adventure series and other episodics were also produced over the years.

In 1973, CTV created the science fiction series The Starlost, and such popular Canadian programs as E.N.G. and The Littlest Hobo were produced by CTV.

Planning for and anticipating the future of new tools is old news at CTV Toronto.

For example, RCA colour TV cameras were acquired even before colour TV was allowed in to be broadcast in Canada.

Early in 1966, CFTO began testing colour broadcast technology and processes three months before the official Canadian launch of colour TV services, on September 1st.

Likewise, when CFTO began transmitting its digital signal from the CN Tower, it was more than five years before the digital transition would eventually take place.

A complete digital plant was built right in the middle of the existing analog infrastructure, and a ‘mega master control room’ was built to handle the load as new specialty channels were added to the network roster.

Over time, the number of channels coming out of the facility grew from two, to 14 and beyond, all as a result of the digital transition inside CFTO/CTV Toronto.

And, it was back in May of 2009 that CTV Toronto began broadcasting its local news show in

It wasn't always this way, but CTV Toronto now functions in the so-called 500 channel universe. In spite of the new competition, the station remains among the top ranked in the country.



HD, originating from its newly renovated studio.Allan Morris was named vice president of engi-

neering at CFTO in 1984 and he had been assistant chief engineer for three years previous, so he’s seen and felt a lot of the changes directly.

“In spades,” he says of the pace and amount of change he’s been through. Having worked at the nation’s pubic broadcaster, Morris says the private sector broadcasters like CTV face even more daunting challenges when adapting to technological change. “We’re closer to the action here, and once we buy it, we own it forever,” he says of equipment purchases and returns on investment.

“It is about speed and keeping up, but it’s also about incremental costs and watching the bottom line. When we went to HD here, all the ‘old stuff’ went up to Sudbury,” he recalls as an example.

He speaks as well of upgrading the station’s new chopper to HD, as the scheduled switch to DTV continues to drive network HD upgrades and consumer HD purchases. CTV Toronto is still one of the few stations in Canada to use a chopper with live broadcast capability.

Then, there are the Olympics! Being integrally involved with Canada's Olympic

Broadcast Media Consortium, Morris recalls how he saw that the plans for Olympic sports coverage had never been done before, that he and the engineering and production team were again perched precariously on the bleeding edge.

There’s still London to cope with, Morris says, but a year out of Vancouver, he speaks with the assurance and experience of someone who has lived through it all – and survived to tell the tale.

“It’s all IP-based now,” he says almost casually of the digital, file-based environment in which he works. “We move tens of thousands of files each month, and we can manage and access them all, no matter what the time or the location.

It used to be that a camera man had the money news shot on film, or tape, and everyone needed access to it at the same time. But they couldn’t get it.

Now, we have moved to digital and nonlinear, so once a shot is ingested, it is available to anyone, anytime, across the networked system.”

Available anytime, anywhere?“In a pre-digital universe, ‘anytime, anywhere’ applied

only to weather, as Dave Devall would remember.”And if anyone ever needed a reliable weather-

man, Torontonians knew where to find him.Devall’s name is synonymous with Toronto

weather forecasting, based on his unprecedented run with CTV Toronto.

In fact, he’s set a Guinness World Record - for the “longest career as a weather forecaster”, 48

cover story

Believe it or not, Dave Devall had the longest career of any weather forecaster (more than 48 years at the same station), and he has a Guinness award to prove it!

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CTV on their 50 years of operation in Canadian broadcast



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Broadcaster 13

Studio technology and capability has evolved dramatically over the years, but the facilities remain in the same location after 50 years. The old home for World Beat News (right) has evolved into the panoramic HD home of CTV Toronto.

Contact us at (905) 625-4321 (head office)[email protected] • www.appliedelectronics.com

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Being Canada’s leading designer, supplier and integrator of audio visual, broadcast and post production technology means we’ve got a lot to offer...

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Isilon and Applied Electronics would like to extend our congratulations to on their 50th Anniversary and to all of the management and staff who have built it into a media powerhouse that Canadians can be proud of. We know you’ll continue to provide Canadians with a wide range of leading news, sports and entertainment programming for decades to come, and we are honoured to be your technology partners, both now and in the future.

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cover story

years, two months and 27 days, having begun his career on January 7, 1961.

Having dealt so well and so long with changes in the weather – if anything, weather changes faster than technology – it is perhaps not surprising to hear his comfort with changes he lived through in this business.

Despite his famous two-handed approach to marking up weather maps, Devall has worked with some of the most advanced weather technology available in TV, and he was among the first to utilize so-called TrueView weather technology, and to incorporate real-time Doppler radar into his forecasts.

“It was the early days I found worrisome,” he said. “When I first started, the station was new; ownership was in flux, the business was uncertain. I’ve never had a problem with new technology.”

His replacements are totally comfortable in the land of technology too. Tom Brown has taken over the weather desk at CTV News at 6 p.m. and 11:30 p.m. and Anwar Knight who reports the weather in the morning on Canada AM and on CTV’s News at noon are both modern day weather men, taking the lead from Devall and continuing his legacy for both fun weathercasts and commu-nity involvement.

“Two generations of Torontonians watched Dave on TV,” said Rogers. “We take that loyalty very seri-ously and so do Tom and Anwar. They are passionate about the weather, the audience and the community supporting a wide variety of charity events in and around the city including CTV Toronto's annual Toy Mountain at Christmas time.”

There’s that community tie-in again, and as the conversation with Bentley and Shaw indicates, it is still alive and well and looking to the future.

Shaw, a 2010 recipient of the Order Of Ontario for his track record of excellence in volunteer ser-vice in the Greater Toronto Area, is also the chair of the Abilities Centre, a special needs assistance centre which will open, later this year he happily reports, a 90,000 sq ft "Centre of Excellence" in Whitby, where people of all ages will be able to get help with their special needs.

Bentley, meanwhile, continues her own com-munity involvement (having served on the Board of Governors for Centenary Health Centre for more than 10 years, and been active with numer-ous charities, including Habitat for Humanity, Toy Mountain and The Canadian Cancer Society), as she currently sits on the board of the Children's Wish Foundation.

John Bassett's original philosophy was that CFTO be positioned as a family station and the news programming over the years has always

John W.H. Bassett, the 'founding father' at CFTO, Baton Broadcasting and CTV, is seen here in a captured screen image from an archived TV show.

We, at Industralite Electric, would like to take this opportunity to congratulate CTV Toronto for providing an invaluable and outstanding service in Canadian broadcasting for the past 50 years, and also thank Allan Morris and his entire engineering staff for their continued support.

We wish you further success in future endeavors.

Congratulations

on your 50Th AnnIVErsAry

Ind Elec Cong Ad.indd 1 2/22/11 11:03 AMBRC MARCH COVER STORY 2011 PAGE 7 - 14_v4.indd 14 22/03/11 4:14 PM


Broadcaster 15

cover story

reflected his wishes. It doesn't matter what time, it doesn't matter which people.

So, too, has the changing leadership. Douglas G. Bassett succeeded his father as

President of Baton Broadcasting in 1979. By August 1997, after an exchange with CHUM Television, Baton had full control of CTV.

In September 1996, Ivan Fecan took over

as president of Baton, and in December 1998, Baton Broadcasting was renamed as CTV Inc.

In March 2000, Bell Canada Enterprises (BCE) acquired CTV Inc., but ownership and organizational changes would continue throughout the decade, with BCE first divest-ing and subsequently becoming a buyer again.

For fifty years, CTV has embraced John

W.H. Bassett’s philosophy “If you take some-thing out of the community, it's your respon-sibility to put something back.”

That theme continues to reverberate. From the old Scarborough studios, through the days of film and tape, and now into the digital future, it will surely continue to echo strong and clear for another fifty. B

Whether in-studio, out in the field, or up in the air, CFTO/CTV Toronto have married leading edge technology with a storyteller's approach to news reporting.

Congratulations CTV Toronto on reaching your 50 year milestone! As the proud closed captioning provider for CFTO since the early 1990s we extend a special thanks to CTV for allowing us to be a committed partner in the delivery of accessible local news to all Torontonians. As we celebrate our own 20th year in business, we congratulate CTV Toronto on its longevity, quality and continued success.

Best Wishes from all the staff and management at Nathanail Captioning Enterprises Inc.!

Nathanail Captioning Enterprises Inc. Celebrating 20 years of outstanding captioning service. 718 Riverdale Avenue S.W., Calgary, AB T2S 0Y3 Tel: (403) 286-9696 www.nathanailcaptioning.ca


http://www.nathanailcaptioning.ca

NEW

PRODUCTS

16 Broadcaster March 2011

DSC Charts 3D Calibration, Production

DSC Labs is unveiling its 2011 3D charts at NAB, including one developed with Dashwood Cinema Solutions founder, 3D stereographer, cinematog-rapher, director, and editor Tim Dashwood.

The Dashwood 3D Chart is a brand new stereoscopic chart that quickly automates the display of accurate 3D rig calibration. When integrated with Dashwood Cinema Solutions' new calibration software or the new Stereo3D Toolbox v3, the chart's unique visual code trackers work alongside the applications to automatically track to 1/1,000 of a pixel for unprecedented stereo alignment.

The chart also offers live feedback to assist in automating camera alignment, sync testing and slating, and colour and gamma calibration. For those aligning manually, the Dashwood 3D Chart offers manual alignment with the DSC Labs' patented FiddleHead spirals for corner-to-corner focus.

In addition to the Dashwood 3D Chart, DSC Labs will unveil the Pilot 3D Chart, named for its runway-like extension and corner LED lights. In addition to DSC's patented neutral grayscales, accurate colour bar patches and zone plates, the Pilot's features include camera synchronization, multiple scales, geometric webs and 18% gray patches, ensuring critical precision.

DSC Labs has also recently released its Hawk QCC and CamAlign RoliChart charts, for single- or multi-camera shoots. The Hawk QCC uses critical information from an original scene set-up using a DSC primary chart, and then provides relevant data for quick camera evaluation and scene match-ing. The CamAlign RoliChart is designed for use in the field, coming in a sturdy anodized casing.

Autoscript is using a TFT (thin-film transistor) LED system in its newest on-camera prompter offering instant warm-up to full brightness, unlike CCFLs (Cold Cathode Fluorescent Tubes), which take time to reach full efficiency and light output.

The wide angle 17-inch LED17TFT-BLW comes with a power save feature that kicks in when no active video is present and includes a preset LCM (Low Consumption Modes), using less power than existing TFTs, a boost in ef-ficiency when powered from the camera head or camera utility power-outlet.

The unit also has built-in dimmable Tally Light with Opto Sensor input and repeat out-put, illuminated control panel and optional HD-SDI input.

Next Generation LED Prompter System

A Toronto post-production company is offering a new service to help independent film makers and production companies who edit projects in-house.

PPD – Post Producers Digital has become the first Digital Service Station in Canada.

With locations in the United States and now Canada, Digital Service Stations capture or transcode camera source material to Avid or Final Cut edit-ready media. When the project has been edited and is ready to record or export to videotape or other delivery formats, the DSS facility has the necessary HD and SD machines, encoders and test equipment to ensure a smooth delivery process.

The simple “You Shoot/We Capture, You Edit/We Deliver” concept behind Digital Service Station was created by Terence Curren, president of AlphaDogs in Burbank, CA. PPD in Toronto is now a DSS associate in Canada.

It’s also the first Digital Service Station location to offer services for Stereoscopic 3D editing.

Al Mitchell, president of PPD explains that the concept supports a range of production requirements, such as from producers who travel to different cities in North America who can now rely on the technical expertise and high quality of HD and SD equipment at each local Digital Service Station to meet their needs.

As well, he notes, “Other clients bring us projects which are fully edited but may need advanced colour correction or other finishing tools which they don’t normally have access to. In the case of broadcast projects, experienced editors at PPD DSS will check video and audio levels to ensure they meet stringent broadcast specifications.”

Digital Service Station Expands to Canada

Post Producers Digital President (and alpha dog) Al Mitchell is offering new digital services for media producers and broadcast projects.

Dashwood Cinema Solutions' new calibration software or the new Stereo3D Toolbox v3, the chart's unique visual code trackers work alongside the applications to automatically track to 1/1,000 of a pixel for unprecedented stereo alignment.

slating, and colour and gamma calibration. For those aligning manually, the Dashwood 3D Chart offers manual alignment with the DSC Labs' patented FiddleHead spirals for corner-to-corner focus.

runway-like extension and corner LED lights. In addition to DSC's patented neutral grayscales, accurate colour bar patches and zone plates, the Pilot's features include camera synchronization, multiple scales, geometric webs and 18% gray patches, ensuring critical precision.

multi-camera shoots. The Hawk QCC uses critical information from an original scene set-up using a DSC primary chart, and then provides relevant data for quick camera evaluation and scene match-ing. The CamAlign RoliChart is designed for use in the field, coming in a sturdy anodized casing.

Autoscript is using a TFT (thin-film transistor) LED system in its newest on-camera prompter offering instant warm-up to full brightness, unlike CCFLs (Cold Cathode Fluorescent Tubes), which take time to reach full efficiency and light output.

comes with a power save feature that kicks in when no active video is present and includes a preset LCM (Low Consumption Modes), using less power than existing TFTs, a boost in ef-ficiency when powered from the camera head or camera utility power-outlet.

Next Generation LED Prompter System


www.closedcaptioning.com

NEW

PRODUCTS

Broadcaster 17

MultiDyne Video & Fibre Optic Systems has a new line of multi-rate HD-SDI fibre optic transport links – the HD-1520, HD-1540, HD-3200 and HD-3400 –for 1.5G or 3Gb/s fibre optic transport

over a single-mode fibre, and multi-rate high definition transport up to 1080P HD-SDI.

The HD-1520 offers 1.5G HD Video (720P and 1080i) and 2-CH two-way data (RS-232, RS-422 and RS-485). The HD-3200 provides 3.0G HD Video (720P, 1080i and 1080P) and 2-CH two-way data (RS-232, RS-422 and RS-485). The HD-1520 and HD-3200 are ideally suited to provide fibre interfaces for unmanned POV (point-of-view) field cameras and sky cameras that capture the city skyline on broadcast news, weather and traffic reports.

The HD-1540 and HD-3400 provide the basic building block for today’s video and audio infrastructure. The HD-1540 has 1.5G HD video (720P and 1080i) and 4-CH line-level audio and the HD-3400 offers 3.0G HD video (720P, 1080i and 1080P) and 4-CH line-level audio. The HD-1540 and HD-3400 are perfect to interconnect video and audio equipment within a broadcast facility, remote studios and corporate or university campus environments.

The HD-1520, HD-1540, HD-3200 and HD-3400 provide active HD loop-through, equalized inputs, and reclocked dual outputs, supporting 5 – 2970 Mb/s, SDI, HD-SDI, 1.5 G or 3G HD-SDI, DVB, ASI and SMPTE standards 424M, 292M, 259M and 310M.

Front Porch Digital's DIVArchive is offering new features and interoperability between digital media storage devices, video servers, editing systems and digital media workflow applications.

In an integrated digital video production and storage environment, Front Porch and Artesia Digital Media (an Open Text company) solutions are used to manage large digital assets such as HD and SD video, while taking advantage of opti-mized external storage via the Artesia DAM Front Porch DIVA Adapter.

The Artesia DAM solution uses low-resolution proxies for ease of function and speed while un-derlying inputs and outputs are still high quality

and resolution media. The DIVA Adapter allows all of the Digital Asset Management functions (Ingest, Search, Restore, and Delivery) to be performed within the application without the need for managing storage.

These functions are passed via the DIVA Adapter for further processing and editing of the high-end assets. This includes sending content to editing systems, video servers, and digital media workflow applications.

Open Text Digital Media Management allows editors, producers, production assistants, and anyone else that touches the content lifecycle to easily ingest, log, access, transcode and conform,

distribute, reuse, and archive rich media content. With its state-of-the-art Web services APIs, Open Text Media Management easily integrates with fa-miliar industry applications and supports content storage management activities for the broadcast and content creation community.

The latest Bittree video patching product, the Micro-Video Patchbay, with a 2x48 format in either a 1- or 1.5-RU size supports 3Gbps and 3D productions, HD/SDI, SD/SDI, AES, and high-resolution computer graphics.

Bittree is debuting its Category 6 and 6A Rack Mount Patch Pan-els, for re-routing gigabit Ethernet networks, as well as providing a demarcation and testing point for industrial and residential networks.

The panels were specifically designed to support commer-cial office data infrastructure and digital signage distribution networks, and will be available in 12, 24, 48, or 96 Rack Mount configurations.

With a new rear lacing bar and industry-standard DIN 1.0/2.3 rear terminations, wiring is easier to install, organize, and remove, while the front panel can be recessed to prevent cord protrusion.

Open Text Media Management for Entertainment and Broadcasting

Bittree High-Bandwidth Micro-Video Patchbay

The latest Bittree video patching product, the Micro-Video Patchbay, with a 2x48 format in either a 1- or 1.5-RU size supports 3Gbps and 3D productions, HD/SDI, SD/SDI, AES, and high-resolution computer graphics.

6 and 6A Rack Mount Patch Pan-els, for re-routing gigabit Ethernet networks, as well as providing a demarcation and testing point for industrial and residential networks.

Bittree High-Bandwidth Micro-Video Patchbay

1.5G HD video (720P and 1080i) and 4-CH line-level audio and

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JVC Professional is shipping its new GY-HM750U ProHD compact shoulder-mount camcorder.

The ‘shoot-to-edit workflow’ it supports by recording native HD or SD footage in ready-to-edit file formats on low-cost SDHC memory cards positions the unit for ENG news, sports, documentaries, events and other location shoots.

Equipped with the same 3-CCD imaging system found in the GY-HM790Ur, the GY-HM750U delivers 1920x1080 images in a small, light-weight form factor. It records at selectable data rates up to 35 Mbps and can record HD footage in 720p, 1080p, and 1080i, as well as SD footage (480i).

The GY-HM750U includes a dual card slot design that records to non-proprietary SDHC cards and/or optional SxS recorder. Using JVC’s established native file-based workflow, it also allows simultaneous recording to both SDHC cards for instant backup or client copy.

JVC’s native file recording technology allows recording in ready-to-edit file formats for Apple Final Cut Pro or Adobe Premiere (.MOV), as well as other major NLE systems that are compatible with Sony XDCAM EX files (.MP4). For legacy SD applications, the camcorder can also record standard DV files (.AVI or .MOV).

The GY-HM750U includes a 68-pin chassis connector that creates a clean, direct interface with various modules – no external cables needed. The new KA-AS790 ASI output module, for example, provides a direct feed from the camera to a satellite uplink or microwave transmitter via BNC, which is ideal for broadcasters that want live HD video from the field. Not

only can the camera be connected to the transmitter or uplink with a single BNC cable, thereby eliminat-ing the need for additional “black box” interfaces, but the GY-HM750U automatically switches to low-latency mode (less than 300ms delay) when the module is in use.

Other features include variable frame rate re-cording, extensive image customization, a high reso-lution (1.22 million pixel) LCOS viewfinder and 4.3-inch flip-out

LCD monitor, and JVC’s patented Focus Assist functionality. The GY-HM750U also features two XLR audio inputs with phantom power, plus manual audio level controls with audio meter.

The GY-HM750U comes with a Canon 14:1 zoom lens, though it accommodates a variety of lenses with its 1/3-inch bayonet lens mount. JVC offers 10 lenses from Canon and Fujinon, as well as a broad line of studio and field accessories that are compatible with the GY-HM750U.

A LoLux version of the camera specially designed for ENG use, the GY-HM750LL, will also be available to direct broadcast customers.

JVC’s New HD Camcorder features simultaneous record capabilities, along with uplink connections for satel-lite distribution.

JVC Intros GY-HM750U ProHD Camcorder

TS/ ASI NAB Jan 2011_Layout 1 11-02-12 5:46 PM Page 1

Harmonic has released the new Omneon MediaPort 7000 series of video I/O modules for the Omneon Spectrum media server system.

From one unit, the MediaPort 7000 delivers new multicodec support with enhanced media processing functionality to streamline playout workflows and simplify the transition to HD.

The MediaPort 7000 series enables the Spectrum video server simultaneously to support an industry-leading range of codecs, formats, frame-rates, and resolutions along with fully integrated up-, down-, and cross-conversion and simulcast SD and HD outputs for every channel.

The units are available in two- or four-channel configurations and utilize a slot-based form factor that allows simple addition of channels to existing systems without disrupting on-air operations.

With four independent channels per RU, the MediaPort 7000 series provides both power and space savings. Supporting growth in two-channel increments, the series allows broadcasters to start small and expand according to their budgets and needs.

Harmonic Launches Omneon MediaPort 7000 Series

JVC Professional is shipping its new GY-HM750U ProHD compact shoulder-mount camcorder.

SD footage in ready-to-edit file formats on low-cost SDHC memory cards positions the unit for ENG news, sports, documentaries, events and other location shoots.

HM790Ur, the GY-HM750U delivers 1920x1080 images in a small, light-weight form factor. It records at selectable data rates up to 35 Mbps and can record HD footage in 720p, 1080p, and 1080i, as well as SD footage (480i).

proprietary SDHC cards and/or optional SxS recorder. Using JVC’s established native file-based workflow, it also allows simultaneous recording to both SDHC cards for instant backup or client copy.

formats for Apple Final Cut Pro or Adobe Premiere (.MOV), as well as other major NLE systems that are compatible with Sony XDCAM EX files (.MP4). For legacy SD applications, the camcorder can also record standard DV files (.AVI or .MOV).

clean, direct interface with various modules – no external cables needed. The new KA-AS790 ASI output module, for example, provides a direct feed from the camera to a satellite uplink or microwave transmitter via BNC, which is ideal for broadcasters that want live HD video from the field. Not

JVC’s New HD Camcorder features simultaneous record capabilities, along with uplink connections for satel-lite distribution.

JVC Intros GY-HM750U ProHD Camcorder

only can the camera be connected to the transmitter or uplink with a single BNC cable, thereby eliminat-ing the need for additional “black box” interfaces, but the GY-HM750U automatically switches to low-latency mode (less than 300ms delay) when the module is in use.

cording, extensive image customization, a high reso-lution (1.22 million pixel) LCOS viewfinder and 4.3-inch flip-out

functionality. The GY-HM750U also features two XLR audio inputs with phantom power, plus manual audio level controls with audio meter.

zoom lens, though it accommodates a variety of lenses with its 1/3-inch bayonet lens mount. JVC offers 10 lenses from Canon and Fujinon, as well as a broad line of studio and field accessories that are compatible with the GY-HM750U.

for ENG use, the GY-HM750LL, will also be available to direct broadcast customers.

Omneon, now part of Harmonic, has new several configurations in its new MediaPort 7000 series.




The Yellowtec iXm from Preco UK is a new solid-state recorder with inte-grated microphone, designed for efficient and silent operation by broadcast reporters.

Recording is in selectable WAV, BWF or MP2 file format to a removable SD memory card of up to 16 gigabytes capacity. Each gigabyte is equivalent to three hours of uncompressed mono WAV audio.

The microphone capsules can be interchanged to obtain omnidirectional, cardioid or supercardioid pick-up patterns. They are automatically detected for automatic gain and DSP matching. Made by German specialist Beyerdynamic, the capsules are optimized for high speech intelligibility and low handling noise.

Operationally, simple record and stop buttons allow easy single-finger operation, while LED indicators confirm that the iXm is in record mode and that memory and power are available.

Location markers can be set silently at any point during an interview simply by pulsing the record button.

A 'Record as Stereo File' software-setting is accessible for audio editors preferring that format. Live-source monitoring and field checks of earlier recordings can be performed via a 3.5 mm headphone output. Direct line input is also provided for use at press conferences where line-level feeds are available.

The Yellowtec iXm has a dual power source with intelligent switchover. This allows up to 18 hours of operation from a built-in rechargeable Li-Ion battery and three AAA batteries. The Li-Ion battery can be charged via a

mini USB port which can also be used to copy audio files from the SD card to a PC. The same port operates as a software-configuration interface. A quick-charge connector is also incorporated for use with a high-speed charging unit.

Broadcaster 19

NEW

PRODUCTS

Yellowtec iXm Recorder/Microphone from Preco

Sound Devices is adding Wi-Fi capabilities to its line of top 788T Digital Recorders, allowing users to control the already unit from anywhere on set.

The CL-WIFI works together with its companion iOS software app to allow iPads, iPhones and iPod Touches to control a connected 788T. The CL-WIFI turns an iOS device into a simple, portable control surface that allows a sound mixer to move around on set, away from the sound cart, yet still have extensive control and monitoring of their 788T recording system.

The hardware CL-WIFI is a Wi-Fi access point, when the iOS device connects to it over Wi-Fi. The CL-WIFI app then uses the Wi-Fi connection to communicate with the 788T. The iOS app controls metering of 788T input and track levels, time code, file length, frame rate display and record start/stop control input-to-track routing enabling take list and take name editing.

Sound Devices’ 788T digital audio recorder is designed specifically for multi-track, on-location productions and features a significant expansion of input and output capability with eight full-featured microphone inputs and 12 tracks of recording. In a stainless-steel and aluminum chassis weighing less than four pounds and roughly the size of a hard-covered novel, the 788T accommodates individual controls and connectors for each of its eight inputs, plus numerous additional I/O and data connections.

iOS Software Allows iPad, iPhone and iPod Touch to Control a Digital Recorders

Wi-Fi Hardware and software from Sound Design for remote control of Digital Recorders.

Yellowtec iXm recorder/microphone and head capsules from Beyerdynamic.


www.videolink.ca

NEW

PRODUCTS


NEW

PRODUCTS

TransAudio Group has introduced its new Drawmer 4x4R Active Signal Splitter, offering four inputs, each switchable between a mic and line.

Each of four input sections offers a six LED meter, 48v phantom switch, 66 dB of mic gain and a "listen" function to monitor any of the four input sections through the front panel headphone amp.

In addition, each input section can be linked to the adjacent input section offering four different

input to output options: 4x4, 3x12 +1x4, 2x8 or 1x16. Optional transformer isolation is available.

Its compact size and 1 RU form factor, makes it suitable for a portable live sound rig or a fixed installation that requires multiple outputs from a few inputs.

RTW’s TM9, with its 9” 16:9 touch-sensitive screen is one of a new range of products for professional audio metering.

The TM9 allows for monitoring separate signal groups using multiple instru-ments at the same time. For example, a Touch-Monitor featuring 8 digital and 8 analog inputs can display a digital 5.1 surround signal on the Sur-round Sound Analyzer, the Loudness Radar Meter by TC Electronic, AES status data, a PPM/loudness combo bargraph and a numerical loudness meter.

At the same time, the unit could monitor four analog stereo signals on PPM/SPL bar graphs simultaneously. This way, up to 16 analog and/or digital signals can all be displayed. In addition, the TM9 with the 3G-SDI option installed (avail-able during the second quarter of 2011) will be able to display all 32 signals of a 3G-SDI stream in parallel.

Seven different hardware versions are available pro-viding various combinations of analog (D-Sub) and/or digital-audio interfaces. Digital ports are available in the AES3 (D-Sub) or AES3id (BNC) formats.

All versions feature a LAN port, a VGA output for connecting external screens, GPIO interfaces, and two USB ports.

In addition to the standard versions featuring desktop enclosures, external power supplies, and an integrated stand, RTW also offers OEM ver-sions that can be integrated into mixing-console surfaces.

The basic configuration includes stereo PPMs providing various scales for analog and digital audio and ITU BS.1770-1-compliant TruePeak metering. The user can add more instruments and functions as necessary by purchasing the respective software licenses.

Analog and Digital Audio Metering Technology in Touchscreens

4x4R Mic/Line Active Signal Splitter Introduced

RTW’s TM9, with its 9” 16:9 touch-sensitive screen is one of a new range of products for professional audio metering.

Analog and Digital Audio Metering Technology in Touchscreens

ments at the same time. For example, a Touch-Monitor featuring 8 digital and 8 analog inputs can display a digital 5.1 surround signal on the Sur-round Sound Analyzer, the Loudness Radar Meter by TC Electronic, AES status data, a PPM/loudness combo bargraph and a numerical loudness meter.

analog stereo signals on PPM/SPL bar graphs simultaneously. This way, up to 16 analog and/or digital signals can all be displayed. In addition, the TM9 with the 3G-SDI option installed (avail-able during the second quarter of 2011) will be able to display all 32 signals of a 3G-SDI stream in parallel.

viding various combinations of analog (D-Sub) and/or digital-audio interfaces. Digital ports are available in the AES3 (D-Sub) or AES3id (BNC) formats.

for connecting external screens, GPIO interfaces, and two USB ports.

desktop enclosures, external power supplies, and an integrated stand, RTW also offers OEM ver-sions that can be integrated into mixing-console surfaces.

providing various scales for analog and digital audio and ITU BS.1770-1-compliant TruePeak metering. The user can add more instruments and functions as necessary by purchasing the respective software licenses.

September 15 - 18, 2011Horseshoe Resort

Book Now! FOR THE 2011 CONFERENCEROOMS WILL BE GOING FAST!

CCBE 2011

The Association of Central Canada Broadcast Engineers, Technologists and Technicians Inc.

Contact: Joanne Firminger, 1-800-481-4649, [email protected], www.ccbe.ca

CCBE-BRC_NOV 2011.indd 1 29/11/10 11:41 AMWestern AssociAtion ofBroAdcAst engineersPlease visit our new web site for details on our 2011 convention, WABE’s Educational Initiatives and to download copies of our 2010 papers: www.wabe.caMark your calendar for this year at the Shaw Conference Centre in Edmonton, AB.

November 6th – 8th, 2011For information please contact:Kathy Watson, WABE Office Manager,[email protected]. Or call 403-630-4907

RTW’s new TouchMonitors feature built-in online help for set-up and configuration.

Multiple input device for broadcast press splits, live sound and more.




http://www.ccbe.ca

http://www.wabe.ca


NEW

PRODUCTS

Broadcaster 21

NEW

PRODUCTS

Broadcaster 21

Miranda’s routers, signal management, multi-viewers and channel branding equipment are used in the first HD facility and OB truck in operation in Croatia.

Croatian satellite service provider CROATEL built its CROATEL OB2, a Mercedes Azor OB truck, around Miranda’s NVISION 5128 multi-format router. This router is configured with a 96 x 96 matrix, and it handles all of the ve-hicle’s HD inputs and outputs from 16 camera feeds, the video switcher, audio mixer, and slow motion replay sources. Signal processing and distribution within the truck are performed by more than 40 interface modules, housed in four Densité multi-format frames.

CROATEL’s new HD production facility, based in Zagreb, includes new HD studios and HD playout operations. The facility is playing out four HD Arena Sport channels, in both HD and SD, which are delivered by Croatian Telecom’s IPTV and DTH platforms.

The Arena Sport channels cover UEFA Cham-pions League, Spanish Primera football league, Italian Serie A football, NFL, NHL, and CEV vol-leyball, as well as EHF handball championship, athletics, and boxing matches.

The Zagreb facility’s infrastructure is also based on a NVISION 5128 router, configured 64x64, plus

a Densité signal processing system, which includes the XVP-1801 up/down/cross converters with AFD for automated aspect ratio control.

Other Miranda equipment installed includes the LGK-3901 modular channel branding system, which provides animated logos for all eight Arena Sports channels. There are also three ultra-quiet, Kaleido-X16 multi-viewers, which provide monitoring for 10 ingest channels, as well as for 26 satellite feeds from 14 decoders.

Element Technica reports that its 3D Neutron rig, mounted with Silicon Imaging SI-2K cameras, can now be enclosed in the purpose-built Neutron BORG 3D underwater housing system from HydroFlex.

The underwater 3D camera system incorporates a Cinedeck recorder inside the housing. The Neutron 3D rig’s small form-factor is particularly desirable for underwater use because

it makes a compact underwater housing possible. Previously, underwater 3D camera crews had to wrestle behemoth underwater systems enclosing large rigs and cameras. The small Neutron rig and tiny Silicon Imaging SI-2K cameras allowed HydroFlex to design an anodized aluminum cuboid-shaped housing that measures just 15” wide, 17” long, and 16” tall.

By enclosing the Element Technica Neutron rig in beam-splitter configuration, the system can provide stereoscopic imaging from just in front of the camera viewing port to objects a long distance away from the camera position. The Neutron BORG system utilizes Element Technica’s integrated lens control. By fitting the SI-2K cameras with Zeiss 16mm cine lenses, the system can take advantage of those lenses’ f/1.3 apertures and close focusing capabilities. The system also accepts Schneider 4.8mm, 8mm and 12mm and Linos 12mm, 16mm and 25mm C-mount lenses.

The Neutron BORG housing weighs 114 lbs. out of the water, and 3 lbs. underwater.The Neutron BORG underwater 3D camera system can be configured as a free-swimming,

un-tethered housing with operator viewing on the Cinedeck, with full lens and stereographic control underwater. Alternatively, video and full remote control of the rig’s focus, iris and stereoscopic properties can be cabled to the surface and operated from there.

The HydroFlex Neutron BORG housing is designed to remain watertight to a depth of 60 feet, and incorporates watertight connections for lens focus and iris, interaxial and convergence. When utilizing the Cinedeck for internal recording, the SD video can be run to the surface with an un-derwater coax cable. Alternatively, the Cinedeck can be bypassed to run full HD from both cameras to the surface via underwater Ethernet cables.

Miranda Equips HD Production Facility, HD OB Truck

New Housing Makes Underwater 3D a Reality

A new Borg underwater housing for 3D acquisition can be fully-tethered, or operated in a free-swimming con-figuration.

Croatia’s first HD faculty and OB Truck are outfitted with a broadcast routers and signal manage-ment gear from Miranda


www.dickdrew.com

Canadian Achievers

You think the Canadian sports broadcasting industry is hot now – ha!

Over the years, most of our beloved sports memories come with one specific voice, or phrase, that helps bring them back to life whenever we so choose.

If only it was the same for the sportscasters themselves.

While visiting the Hockey Hall of Fame recently, I was struck by the wall murals of Fos-ter Hewitt, Bill Hewitt, Ward Cornell and other sports broadcasters who have gone ahead of us to the golden press box in the sky.

Then, when Vancouver sportscaster Paul Carson died recently, it made me realize not only that we are losing many of our colourful sports broadcasters, but that the world they thrived in is changing, if not long gone.

These guys are a special breed. All ‘Type A’, with creative juices flowing, boundless energy and no fear in the face of any sport, or anyone

Carson will best be remembered for creating TEAM sports radio. I thank him whenever I tune in 1040 to hear a game broadcast. Radio play by play has always been my favourite way of follow-ing a game. If I can’t be there in person, then God, please let me hear it on the radio.

It’s been that way for me since my first freelance radio sports gig, back in 1959 - the McDonalds Brier in Quebec City.

While covering the McDonald’s (see how much has changed; that’s tobacco, not hamburg-

ers!) Brier for CJQC, Quebec City’s lone English language radio station, I was also stringing for a number of stations including CKNW, Vancouver and their fine sports director Jim Cox.

One of NW’s largest clients was playing lead for the B.C. rink, so I had to be careful and judicious with my reports for a couple of reasons – ‘59 was the year the Ernie Richardson rink stormed out of Saskatchewan, changing curling forever.

But it was at that Brier that I met and became friends with three of the most talented colourful sports guys who also came out of the west. A bright young sports guy named Don Chevrier (sometimes famous for his curling head gear, he was the original voice of the Toronto Blue Jays) from CJCA Edmonton, Bill Good Sr. from CBC Vancouver, and the nicest funniest guy Cactus Jack Wells from Winnipeg (among other things, he was the voice of the Blue Bombers – and when CJOB Winnipeg selected the star of the game, Wells challenged them to honk their car horns if they agreed with his selection. It didn’t take long for his show to be nicknamed ‘The Happy Honker’).

These three guys stuck to me like glue because I spoke French, so in exchange for my translating for them, they explained curling to me and helped me with my reports.

CKNW`s Al Davidson needed no such help – he wrote the book on calling it like it was. Or like he felt it should be. Many lawyers in Vancouver sent their kids to expensive schools compliments of the fee’s they charged Western Broadcasting for defending Al’s lawsuits.

But my first real on-air sports assignment was at CHML in 1961, sitting in at 11:10 pm for Norm Marshall.

He was not only the voice of the Hamilton Tiger Cats; he was the voice of the first CBC- TV broadcast of a Grey Cup game.

More than a well known, highly respected sports broadcaster, Marshall was awesome; one of the nicest, easiest guy to meet and get along with.

Smart, too!Having left CHML to join Ted Rogers when

he bought CHIQ, Hamilton (Norm was GM, I went as GSM), Norm told Ted we thought the call letters CHIQ stank. We proposed changing them


to CHAM representing Hamilton. Ted slapped the table and said “Norm, that’s brilliant!”

“Ted, isn’t that’s what you pay us for?” Norm replied with a beautiful understatement.

Now, meeting and working with Foster Hewitt was almost too much for this farm boy from Morinville, AB to comprehend.

Growing up on a small farm in the 30’s, we would bring the battery in from the tractor, hook it up to the radio and gather around to listen to Foster Hewitt. Never in my wildest dreams did I ever imagine meeting Foster, or sitting in the media box at the fabled Maple Leaf Gardens.

But I did, and when I called my uncle in Mor-inville and told him I was working with Foster, and that I had sat in the media box alongside legendary goalie Johnny Bower, the interviewing him for my Canadian Achievers radio series), well, we both figured I had died and gone to Heaven.

Winnipeg’s Don Whitman and Sydney Nova Scotia’s Danny Gallivan were two great sports guys. When you met them it was hard to believe they were both in the same profession.

Don was the epitome of quiet calmness. Always well dressed and ready to work. Mean-while Danny was the opposite - when you spoke with him you felt he was looking around to see if there was someone else he could corner for some inside info.

Famous for his colourfully descriptive lan-guage – it’s not a hard shot, it’s a “cannonading shot” and he first coined the term “spin-a-rama”– I believe he would be happier to be remembered for his annual golf tourney, on behalf of Cystic Fibrosis.

Now in its 27th year, the charity match is played at Halifax’s Old Ashburn course each sum-mer, and it still raises some $50,000 each time.

That’s the kind of guy Danny was, and the kind of legacy we’d all like to leave.

And frankly that’s the kind of guy most sports people are. Attend just about any fundraiser in any community in Canada and you are certain to find a sports broadcaster right there helping to make it a success.

That’s why the people in this story and the folks in the sports broadcasting are called Cana-dian Achievers. B

These Guys Rock …. and Skate and Shoot and Swing! Sportscasters Score by Setting the Sceneby Dick Drew

The late Vancouver sportscaster Paul Carson left a marvelous legacy of Canadian achievement, and he represented colourful sports broadcasters who were also valuable community partners.


http://www.broadcastermagazine.comto

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