Broadcast Engeeniring June 10
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Broadcast Engeeniring June 10 Broadcast Engeeniring June 10 Document Transcript

  • RAI Amsterdam Conference 9-14 September : Exhibition 10-14 September IBC2010 Experience the state-of-the-art IBC is the premier annual event for professionals engaged in the creation, management and delivery of entertainment and news content worldwide. • 45,000+ attendees from 140+ countries • NEW Connected World for IPTV, Mobile & Digital Signage (Hall 9) • 1300+ key international technology suppliers across 11+ exhibition halls • FREE hands-on training; Production Village (Hall 11) and Post Production • world-class demonstrations of (Hall 7) groundbreaking technology such as stereo 3D • FREE Exhibition Business Briefings • agenda-setting conference with • FREE movies screenings in the IBC 300+ high-profile international speakers Big Screen • FREE entry to the prestigious awards ceremony on Sunday 12 September t o w a ter ter n egis r www.ibc.org gis .org/ e c R b IBC Fifth Floor International Press Centre 76 Shoe Lane London EC4A 3JB UK w.i ww T. +44 (0) 20 7832 4100 F. +44 (0) 20 7832 4130 E. info@ibc.org 2 broadcastengineeringworld.com | June 2010
  • Table of ConTenTs Volume 52 | Number 6 | JuNe 2010 World editioN Features 24 New technology helps directors meet the demands of sports Sporting events draw a big investment in new technologies like 3-D. 30 Pick Hit Awards Check out the 20 most exciting products from the 2010 NAB Show, 24 chosen by a group of your peers. 34 Technology seminar 3-D was arguably the on The Cover: biggest buzz at this year’s NAB Show. New technology, like telegenic’s 3-d truck being used for live coverage of the 2010 World Cup, 52 Product Jackpot help make sporting event productions cutting edge. These don’t-miss technologies could make your facility state of the art. 30 continued on page 4 Get connected! Have a burning question? Go to Broadcast Engineering’s Forum and ask questions of fellow experts. Or join our online community on Facebook. Learn more at http://community. broadcastengineering.com/forums 34 see it online! Receive updates about the FIFA World Cup by signing up for our Sports Technology Update e-newsletter and visiting the Broadcast Engineering website. Learn more at http://broadcastengineering.com/ worldcup/ June 2010 | broadcastengineeringworld.com 3
  • Table of ConTenTs (CoNTiNued) 8 Volume 52 | Number 6 | JuNe 2010 Beyond the headlines DownloaD 8 digital media asset management DMAM systems help maintain brand awareness and monetize assets effectively in a multiplatform environment. Technology in acTion 12 intercom system evolution Cable-agnostic, mesh-networked intercom technology helps drive progress and future growth. diGital handBook TransiTion To DigiTal 16 Google’s version of interactive television The search company attempts to bring the Web to the living room. ProDucTion cliPs 20 Automating graphics 12 Automated branding and promo systems can respond quickly to schedule changes. new Products & reviews 56 Technology in TransiTion display technology Displays are changing fast; don’t be left behind. dePartments 6 eDiTorial 58 aDverTisers inDex 16 latest news! The FIFA World Cup this month will be a great test bed for mobile television. People in multiple time zones will be tuning in, many at odd times, forcing sports fans to find alternative ways to watch besides sitting at home. Learn more at www.broadcastengineeringworld.com 4 broadcastengineeringworld.com | June 2010
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  • Editorial Department Will P2P replace broadcast? a I have been reading a recent report by the EBU on peer- number of uploaders, then to-peer (P2P) Internet file delivery. While broadcast the average download band- (one-to-many distribution) from a transmitter has a width is limited by the aver- fixed cost, no matter how many receivers are tuned in, age uplink bandwidth — not very much with asymmetric Internet is generally unicast, or one-to-one delivery. That links. means the media server must run a small application for Not all the problems with P2P are insurmountable, every single Internet browser viewing the stream. Typi- and research and development continues. Will it someday cally, a server can run a few thousand streams, so a large break out of the pirate mold, or will other technologies webcast to millions of viewers potentially needs hundreds like edge caching and multicast provide the solution to or thousands of servers, plus all the associated firewalls at lowering the cost of Internet distribution? the server farm and routers throughout the network. The EBU report describes possible receiver devices be- However, there yond the PC. There is no reason is a halfway house: why a hybrid broadband-broad- multicasting. Each Will P2P someday break out cast receiver could not also act as a router can split a sin- of the pirate mold, or will P2P client with suitable additional gle stream to many other technologies provide processing power. paths, potentially The report concludes that P2P saving on server re- the solution to lowering the could supplement, but not re- sources. But mul- cost of Internet distribution? place, conventional cable, satellite ticasting has never and terrestrial broadcast, or Inter- been that successfully deployed, especially across the many net multicasting and content distribution networks. separate networks that make up the Internet. It proved to As network capacity expands to support 100Mb/s and be simpler to use unicasting, but it doesn’t scale very well. beyond, the economics of different methods will change. The content pirate solution is P2P, in which a browser Maybe P2P will become a real commercial proposition to pulls content from other client PCs on the network. With reliably deliver video material. I encourage all of you to no central server, it has been difficult to prosecute the pi- read this report, available from the EBU as Technical Re- rates. It was this technique that the EBU decided to inves- port 009; it is a thorough review of what could be a game- tigate back in 2006 to see if it could be used as a way to changing technology. deliver broadcasters’ files. The report also touches on spectrum issues with uni- P2P is not without problems. Most domestic Internet casting to 3G phones. These newer technologies all prom- connections are highly asymmetric, with upload data rates ise great ways to deliver niche and long-tail content, but as about 10 percent of the download rate. P2P also does not a way to deliver live TV to the masses at a low cost, broad- work well across different networks, and many countries cast is a tough technology to beat. have a number of network operators. The EBU investigation identified the efficiency advan- tages of P2P over unicast, but found that many of the features needed by broadcasters, such as audience meas- urement and content distribution control, are difficult to implement. Latencies to access content can be high (up to 20 seconds), and it is also difficult to maintain QoS with P2P. It is all very well with pirated content, but broadcast- DavID austerberry, eDItor ers need QoS control. Send comments to: editor@broadcastengineeringworld.com P2P accounts for half of the Internet traffic in some countries, even though it has been associated with piracy, and ISPs do not receive direct revenue for the service. It could be said that all Internet users subsidize the P2P us- ers. One downloader relies on many uploaders to serve content. If the number of downloaders is the same as the 6 broadcastengineeringworld.com | June 2010
  • Data rates from 4 to 50+ Mbps / DVB-T compliant COFDM modulation (5 to 16 MHz bandwidths) Ultra-low latency of 45ms 2.0 to 2.7 GHz, 3.4 to 3.6 GHz, 5.7 to 5.9 GHz and 6.4 to 7.7 GHz bands Camera control options Two-way and Four-way Maximum Ratio Combining options to provide exceptional coverage Comprehensive on screen display Integrated MPEG2 HD/SD decoder Compact, remote, ‘intelligent receivers’ to manage challenging antenna placements and crowded RF environments I United Kingdom I +44 1284 757982 European Regional Headquarters Asian Regional HeadquartersI Singapore I +65 915 97815 US Headquarters I New Jersey I +1 908 852 3700 www.nucomm.com June 2010 | broadcastengineeringworld.com 7
  • DownloaD Beyond the headlines Digital media asset management dMaM systems help maintain brand awareness and monetize assets effectively in a multiplatform market. By Christine JeCko B roadcasters and other Internet portals and mobile media line. The entry of telcos and ISPs content providers realized services. Making it easier than ever into the fray further heightened the enormous gains in flex- for consumers to access and “pull” urgency of effective multiplatform ibility as they transitioned content at their convenience, these delivery as newcomers to the broad- from tape-based operations to digi- new technologies and platforms put cast industry began acquiring rights tal media. Coincident with this tran- increased competitive pressures on to content; providing voice, video, sition came the rapid expansion of content providers. They recognized and data to customers; and billing content distribution channels, which an urgent need to offer services over for those services. extended beyond conventional print new channels if they were to main- To remain competitive and to meet and broadcast media to include a tain audiences and the correspond- consumer demand for content across variety of new platforms, such as ing ad revenues vital to the bottom multiple platforms, many content providers initially established paral- lel production chains for delivery of repurposed content. Facing growing volumes of media in multiple versions — and facing still-increasing num- bers of distribution targets — many media companies found it necessary to recast their operations with a new focus on managing a single brand across multiple outlets, including broadcast TV channels, newspapers, radio stations, Web portals, mobile TV and iPhone applications. This brand-focused model is de- fined by one primary objective: keep- ing consumers on the brand from dawn until dusk, across all activities performed and locations visited in the course of a day. To satisfy this challenge, the content provider must be equipped to feed each platform and device on a daily basis. Building more and more production chains to achieve this goal is a highly inefficient exercise. Rather, for the brand-focused multiplatform model to be economi- cally viable, the content provider must be able to provide significantly more content with a minimal incremental increase in the cost of producing that content. If deployed appropriately, A workflow engine can process video to prepared templates, in this case, capturing and today’s advanced digital media as- resizing frames, and then storing them as a single JPEG files. set management (DMAM) systems 8 broadcastengineeringworld.com | June 2010
  • DownloaD Beyond the headlines June 2010 | broadcastengineeringworld.com 9
  • DownloaD Beyond the headlines offer the flexibility and functionality Technical and infrastructure Integration to enable the necessary efficiencies issues In a departure from the history and economies of scale required for The content provider rarely starts of proprietary solutions developed maximum revenue in multiplatform from scratch when implementing for the broadcast industry, a high distribution. an end-to-end workflow supporting degree of interoperability is a vital multiplatform media distribution. characteristic of a DMAM system Workflow definition The requisite servers, archives, non- intended to support multiplatform The shift to digital media and IT- linear edit systems and other major media delivery. High interoperability based workflows represents more production and broadcast systems enables tight integration, and estab- than a technical change; it has a prac- are likely in place already. The key lies lished DMAM systems typically of- tical impact, too, changing the way in building both the technical foun- fer more of this functionality — and content providers work. When op- dation and the operational model to do so more reliably — as a result of erations were dependent on tape as a support a streamlined workflow that already being installed across a large vehicle for moving content through allows producers, journalists, archi- base featuring a variety of third-party a facility and workflow, it was tape vists and others to access, prepare and systems. that served as the link between pro- deliver content via the appropriate The capacity of a vendor to pro- prietary, independently operating channel. vide an API and SDK for its solution storage, automation, post produc- By supplying content owners with a is critical to successful integration, as tion and other essential systems and strategy for linking vital systems and by these tools offer users a way to enter determined how they would work facilitating the ingest, indexing, broad- the DMAM system and to create a together. Moving from that world cast/publishing and archiving of con- bidirectional dialog with the system of proprietary technologies to more tent — whether video, audio or images and other devices in the workflow. open IT-based environments, con- — on any medium or platform, a single Without this dialog, the system is a tent providers must capitalize on DMAM system can support effective black box. the opportunity to optimize overall management, repurposing and mon- workflows through smooth interop- etization of media assets. The DMAM Multiformat compatibility erability and seamless integration of must address four fundamental chal- Multiplatform media delivery has critical systems. lenges to perform this role successfully: exploded, allowing consumers to ac- Prior to taking on technical and interoperability, integration, compat- cess media on virtually any device. infrastructure issues associated with ibility and ergonomics. The dramatic rise in the formats implementation of a DMAM, the required to target all these devices content provider must define the Interoperability presents a real challenge to content desired workflow and identify the In an ideal IT-based environment, providers, and the DMAM system roles staff and systems will play in all systems should be interoper- being implemented should be suf- that workflow. After determining able. In reality, it often is up to the ficiently robust to accommodate this the distribution chains that must be DMAM system, relying on standard profusion of formats. Future-proof supported, the company must cre- IT technologies, to enable interoper- operation depends on the DMAM’s ate a step-by-step model and parallel ability among different applications flexibility in handling new formats. processes by which raw material is running on different platforms or In other words, the content provider transformed into the products de- frameworks. This is made possible by cannot afford for its investment in as- livered to different platforms. In a Web Services Architecture, which set management to be compromised building this digital media factory, uses HTTP with an XML serializa- by limited format support. the content provider needs to ac- tion, along with other standards, to Efficiency in multiplatform deliv- count for future growth in network exchange messages with third-party ery depends on the DMAM system’s size, increase in number or capac- systems and streamline their opera- ability to retrieve and leverage a single ity of server systems, the addition of tion across the workflow. Additional master to create the appropriate ver- transcoding facilities and any other “connectors” enabled by the system’s sions of content for each platform changes that might require scaling API and SDK can provide command and to publish the resulting content up of the DMAM system. Finally, lists that allow the DMAM to send to the right places or target devices in the DMAM system should include a and receive information from other the right formats. A key feature of the mechanism for monitoring the soft- third-party systems in a standardized DMAM system is its ability to man- ware and hardware comprising the manner. Thus, each time the DMAM age different formats and versions overall workflow and for detecting interfaces with a particular system, it of the same video master. Over the issues and resolving them before the is equipped with a set of rules guiding lifetime of an asset, as one master is production chain is disrupted. and governing the interaction. used to produce content for different 10 broadcastengineeringworld.com | June 2010
  • DownloaD Beyond the headlines distribution platforms, the growing consumers’ awareness. Every month, ing, transcoding, quality control, FTP collection of related media assets cre- across all its outlets, L’Equipe reaches delivery and other critical functions ates a complex tree. The content pro- 18 million people. They read the pa- saves time and improves the accuracy vider needs a way to manage meta- per in the morning, check the web- of media handling. data across all of this content and, in site when they get to work, get news Because the DMF at L’Equipe is turn, to manage all of its versions and and sports during the day on their connected to various third-party sys- maintain an understanding of how iPhones and then — back at home in tems by modules defining their inter- the content has been used. the evening — watch a TV broadcast actions, applications such as editing or return to the Internet for further platforms, automation and archives System GUI and content. The company instituted a operate smoothly together. While ergonomics new DMAM to feed all of these out- production is under way, metadata A DMAM system can grow to be lets quickly and cost-effectively. related to digital rights for each piece complex, but the interface and func- The digital media factory (DMF) at of content is used to confirm whether tionality it provides to each user must L’Equipe was created to facilitate cre- or not the material can be prepared remain as simple as possible. The sys- ation and delivery of video on virtually and delivered to certain outlets. tem must be versatile enough in its configuration options to show each user the minimum required to per- form his or her job. So, the DMAM must be sophisticated in its opera- tions in the background, handling a complicated workflow based on a complex metadata model, but it must offer users an easy-to-use interface that supports their everyday work. A modular design enables provi- sion of just the right functionality or features required by the user. In some cases, the interface can be populated by a series of widgets or applications suited to a particular job. In other cas- es, a specific screen might be created for each job or position. One screen might provide the information re- The process workflow in a DMAM system can be edited using a GUI to suit quired by a supervisor, another might changing work practices. offer search/retrieve tools optimized every platform, including TV, Web, Looking ahead for journalists and another indexing mobile and VOD. Media archives dat- Though the IT-based solutions capabilities to the archivist. As long ing back to the 1920s were digitized supporting efficient asset manage- as people are a part of the workflow, and brought onto the system along ment continue to evolve, it’s not the the DMAM system interface is essen- with newer assets, putting content at underlying technology that will de- tial to efficient and effective use of the the fingertips of the “L’Equipe” news- termine the success of today’s and system. room, website, broadcast and print tomorrow’s content providers. With staff. Select business partners and cli- the consumer now able to choose Practical implementation ents also gained fast, convenient access how, where and when to view media, Global media brand L’Equipe to licensed content through the DMF. content is king. The true key lies in Group comprises the L’Equipe TV In addition to providing a content producing or acquiring content that sports news channel, the www. archive, the DMAM system enables viewers want. If a content provider lequipe.fr website, the RTL-L’Equipe powerful searches and low-resolution or media brand is able to offer the digital radio station and the print browsing from any Web-based inter- programming and personalities that magazine and newspaper also dubbed face. A partial-restore function en- consumers demand, then it can lever- “L’Equipe.” The French media group ables editors to access only the high- age a good DMAM system to manage serves as a real-world example of how resolution media they need and to and monetize this content to its best an effective DMAM system can en- do so quickly rather than wait for the advantage. BE able a content provider or owner to entire file to transfer. Automation of Christine Jecko is vice president of sales maintain its brand at the forefront of tasks such as speech-to-text process- at Netia. June 2010 | broadcastengineeringworld.com 11
  • Technology in acTion Beyond the headlines Intercom system evolution Cable-agnostic, mesh-networked intercom technology helps drive progress and future growth. By Jake DoDson s ince the introduction of the That being said, this article will party-line systems up to two, four first analog intercom sys- take a look at where intercom systems or more channels. The emergence of tems 40 years ago, it would are headed next, what some of the key point-to-point or matrix intercoms be easy to think that the use enabling technologies are that will beallowed individual, one-to-one com- of broadcast and live performance in- used and how they will likely be in- munications or multiple groups to be tercoms has reached an evolutionary tegrated in future intercom systems. configured for a variety of situations. apex. The development of point-to- New concepts such as cable-agnostic This evolution has continued over point or matrix intercoms, and the transport, mesh-networked inter- the years with the addition of inter- more recent transition to digital wire- coms and role-based configuration ruptible fold back (IFB), control logic less systems, has already had a pro- also will be discussed. and the multiple interconnected sys- found effect on workflows, enabling tems that we see in modern intercom even more complex productions. Yet Party line and setups. the modern production environment point-to-point matrix The seemingly limitless flexibility of still faces many challenges, such as in- In the early days, intercoms were matrix intercoms is an advantage that creased demands to improve efficiency, exclusively based on party-line tech- should have spelled the death of the reduce complexity and provide rapid nology, where all users talked and party line, yet today, party-line systems setup and configuration, while bring- listened to all other users. As pro- are more prevalent than ever with no ing together additional team members ductions grew, the need to segment signs of diminishing. Why is this? The with varying degrees of expertise. became more necessary, driving simple answer is that party-line sys- tems are easy to set up, easy to operate and require little operator training out of the box. Matrix systems, on the other hand, require a much higher level of user configu- ration, workflow mapping and system tuning to obtain the benefits afforded by the extra levels of functionality they provide. In addition, matrix im- plementations tend to be characterized by hub-and- spoke cabling architectures, compared with the daisy- chained and passive Y-split cabling schemes that analog party lines are based on. This latter approach affords a much greater simplification of the cable infrastructure, with the user able to choose whether to home run or split The production gallery at France 2 features a Clear-Com intercom panel above Sony CCUs. at the end of a single cable 12 broadcastengineeringworld.com | June 2010
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  • Technology in acTion Beyond the headlines run depending on the level of cabling only useful if intercom elements can line main stations and intercom pan- redundancy required. But cable posi- be easily connected and are able to els, can become nodes on the same tioning has to be carefully considered talk to one another. Take, for example, network. This new paradigm of mesh for some applications to minimize the need to add an intercom panel at intercom networking will allow the noise artifacts created by crosstalk and a new location. In this case, imple- development of highly flexible inter- power supply-related interference. menting a new panel typically means com environments with each node Instead, what is required is a new adding a new cable home run and, in able to provide specific local func- cabling paradigm that combines the some cases, additional interface boxes tions, yet still be part of an overarch- flexibility of current analog cabling for format conversion. This can be a ing intercom environment that can be environments in an all-digital, noise costly and time-consuming process. managed remotely. This reduces con- immune environment. IP-based products are solving this figuration and administration costs connectivity problem, allowing inter- and allows rapid changes to configu- Cable-agnostic transport com elements to be added to the LAN rations anywhere in the network. Cable-agnostic transport is a new or remotely over a WAN or Internet concept that minimizes the depen- connection. The “read the manual” dence on different cable types by The key question here is how to challenge using a combination of new tech- leverage the flexibility of connection How many iPhone users do you nologies that have a high tolerance without compromising audio quality. think have ever read the product man- to the impedance characteristics of a Traditional VoIP technologies are no- ual? Does a product manual even ex- variety of cable types. Imagine being torious for poor audio quality where ist? In today’s intercom environment, able to choose between a regular mi- architectural limitations — thanks we expect users to do just that (read crophone, Cat 5 or coax cable, where to multiple jitter buffer stages, mul- the product manual) to train them- the main consideration is the physical tiple encode/decode cycles and the selves to understand the complexities of manually configuring hardware, but this process takes up their valu- able time that could be better spent The concept of plug-and-play elsewhere. operation, while prevalent in other How much easier would it be to industries, is only now finding its plug a number of intercom elements (frames, interfaces, panels, etc.) to- way into the intercom domain. gether and have the system discover and configure them accordingly? The concept of plug-and-play operation, connector and not a costly conversion subsequent reliance on narrowband while prevalent in other industries, is process or additional interface card. codecs — create an unappealing ex- only now finding its way into the in- These technologies are beginning to perience. Next-generation IP tech- tercom domain. emerge in new systems that not only nologies are solving these limitations allow a choice between Cat 5 or mi- by replacing central IP mixing archi- Role-based architectures crophone cable, but also enable dif- tectures with fast IP routers and dis- As we solve today’s configuration, ferent impedances and cable gauges tribution of mixing at the extremities. connectivity and cabling issues and (18 to 24) without being limited to This reduces jitter buffering (and its move toward the reality of a mesh specific high-grade, AES-rated 110V associated latency), eliminates mul- intercom architecture, further op- cable to achieve links in the 300m to tiple encode/decode cycles (and their portunities to increase usability will 500m range without using repeaters. associated audio corruption) and en- become available. Establishing such technologies over a ables flexible codec choices, such as One such concept is role-based op- range of intercom products opens the the ability to move to wideband, low- eration. Today’s intercom systems es- potential for plug-and-play intercoms latency codecs with a corresponding sentially are location-based, meaning in an all-digital environment, with the improvement in overall audio band- a user is fixed to a physical panel or added advantage of passive Y-splitting width and quality. beltpack location in a particular part and daisy-chaining capabilities. By embedding IP technologies of the studio or venue. Role-based across multiple devices, a common, architectures change this dynamic by Connectivity and mesh flexible communication transport allowing specific attributes such as intercoms system begins to emerge in which key settings, labels, audio level prefer- Simplifying cable transport will add previously disparate intercom ele- ences and security levels to be linked a large degree of freedom, but this is ments, such as matrix frames, party- to a user or role rather than a location. 14 broadcastengineeringworld.com | June 2010
  • Technology in acTion Beyond the headlines If the user moves location or changes intercoms for cues and safety. produce a solid user experience. But hardware, a simple act of logging in to In the 1970s, VHF wireless was as greater percentages of production the new hardware via a keypad entry king, but the emergence of wire- teams evolve toward wireless con- or hardware dongle will enable his or less microphone technology caused nectivity, a new conflict emerges, her personal characteristics to be im- crowding in the VHF space toward namely the pressure to devolve cur- plemented on the new hardware. the end of that decade and drove the rent point-to-point wireless systems This type of approach promises evolution of new wireless products in back into party-line-based opera- a highly flexible environment for the UHF bands in the early 1980s. We tions. Point-to-point wireless systems the end user while at the same time now face similar crowding in the UHF require multiple RF channels, thereby limiting the maximum number of us- ers on any given system due to limited RF spectrum. Future wireless devel- opments will need to trade between a variety of modulation schemes, such as orthogonal frequency-division multiplexing (OFDM), which offers more bandwidth and higher audio quality, and quadrature amplitude modulation (QAM), which provides more channels. Today the ideal solution is not clear, but the ability to address a high number of individual beltpacks and maintain good audio quality may require a hybrid approach spread across multiple wavelengths. Such an environment could include the ability to partition wireless users based on QoS criteria and combine both party- Russia’s Zvezda TV channel, launched in 2005 by the Russian Defense Ministry, line broadcast and selective point-to- uses a 96-port Clear-Com Eclipse Omega digital matrix intercom system. point schemes in a single network for optimum efficiency. offering a personalized approach space as new legislation takes hold. tailored to the specific individual. A While UHF technology typically pro- The future much more dynamic system is creat- vides good coverage across a variety Intercom systems form the back- ed by enabling the intercom environ- of venues, the recent changes in UHF bone of today’s production environ- ment to tune itself to the needs of the spectrum licensing are promoting the ment, and the continuing evolution to individual yet remain flexible enough development of narrower-band UHF. reduce setup time and configuration to allow easy hardware swap-outs or This increases capacity at the expense costs, improve connectivity, and en- user movement to different parts of of voice quality and, therefore, may be hance workflows through added user the network. As teams become more of limited value to the end user. mobility is fundamental to helping fluid and mobile, such concepts will As party-line systems have evolved the modern production environment allow the intercom infrastructure to to point-to-point matrix intercoms, achieve the necessary efficiencies to move with the users, not restrict them the desire for more wireless channels be successful. While there have been to a fixed workspace. has increased. The emergence of digi- great strides made in the advance- tal wireless intercoms is a direct result ment of intercom systems, there is Wireless intercom systems of the need to overcome frequency still a long way to go. Intercom devel- Traditionally, wireless intercom crowding while at the same time in- opers will continue to be challenged systems have been designed to pro- creasing the level of channel flexibil- to bring next-generation technologies vide mobility to key personnel, such ity offered to the individual user. to market as rapidly as possible, ush- as directors and producers, who need New license-free digital systems ering in a new era of communications full-duplex and multichannel access in the 2.4GHz frequency range have flexibility. BE to the main intercom system, and the advantage that they can be used lighting crews, cameramen and other anywhere globally with the ability to Jake Dodson is vice president of product support crews, who rely on wireless mitigate noise and audio artifacts to management at Clear-Com. June 2010 | broadcastengineeringworld.com 15
  • TransiTion To digiTal DIgITal hanDbook Google’s version of interactive television The search company attempts to bring the Web to the living room. By Michael Grotticelli I t has been tried unsuccess- by Logitech. Intel will make the Atom greets him or her. The viewer then fully many times before, but chips to power the box. The devices types in what he or she would like to last month, Google introduced will go on sale at some U.S. stores in watch. This might be the show name, Google TV, a new effort to turn the fall. a search term or a channel number. the living room TV set into a lean- So far, consumers have shown little The system will then display a list of back viewing experience. The goal interest in connecting to the Internet options that includes both TV sta- for Google is to make the viewer’s in- through TV sets, and there are formi- tions or a specific TV program. The teraction go far beyond just a big PC dable challenges in persuading televi- software will point to places to find display. sion set and peripheral manufacturers the desired entertainment program, Accompanied by several major to back the effort. However, Google whether that’s through a cable sub- high-tech companies at its developers’ has strong assets, including its Android scription channel, Netflix or even conference in San Francisco, Google operating system for mobile phones somewhere on the Web. With this announced that the Google TV ser- and a powerful search and advertising mix of Web and TV, the user can also vice would be built into HDTVs and system. Much like Apple, when Google view multiple sources of information Blu-ray players made by Sony as well speaks, the industry listens. in multiple panes. as a set-top box/remote built Using Bluetooth and Wi-Fi, the User interface user will also be able to load a Web When a user starts any Google TV page from a Google Android phone device, a simple search bar and beam it to the TV. The Android phone’s voice recognition can be used to search for shows by verbal com- mand. Also, closed-captioning for any TV program will be available through Google Translate in real time. Multiple partners Google is pitching its new platform as an easy way to search for TV pro- gramming and Internet content with- out having to navigate slow on-screen directories. Howard Stringer, chief executive of Sony, the third-largest maker of flat-panel TVs in the U.S. market, ap- peared on Google’s stage to say Sony would build Google’s software into an HDTV called the Sony Internet TV as well as a Blu-ray player. Stringer said Sony was likely to gradually adopt Google’s software, which he said was more robust and comprehensive than his company’s own Bravia Internet service for Inter- net-connected TVs. 16 broadcastengineeringworld.com | June 2010
  • TransiTion To digiTal DIgITal hanDbook Discover the Kahuna 360 A Revolution In Live Production Kahuna 360 is the brand new addition to the Kahunaverse. It brings major new functionality and flexibility to meet the most demanding production requirements. Kahuna 360 breaks the tradition of fixed M/Es, fixed resources and fixed formats, and supports many simultaneous productions that would require multiple switchers from any other provider. Efficient Operations Creative Freedom Reduced Costs Creativity Unmatched freedom in combining mixers, keyers and 3D DVE effects to create any on-air style. New intelligence in the switcher allows Kahuna 360 to handle the mundane, freeing you to create great productions. Flexibility Uniquely powerful, Kahuna 360 can run up to 16 productions simultaneously from a single mainframe. FormatFusion3 raises the bar for multi-format operations, supporting any combination of SD, HD, and 3G. Productivity Dramatically reduce the overhead of show set-up times. Advanced file workflow tools enable you to turn around content in seconds. Reliability Designed for mission critical operations with a hot-swappable architecture. Innovative Live Assist features provide even greater on-air confidence. June 2010 | broadcastengineeringworld.com 17
  • TransiTion To digiTal DIgITal hanDbook There are many ways Stringer was joined on the stage by pany said users would have control to maximise the the chief executives of companies Best over what information was shared Buy (an electronics seller), Adobe, with advertisers. performance Intel, DISH Network and Logitech, Google, looking to expand beyond of your schedule where Eric Schmidt, Google’s chief its lucrative online advertising busi- executive, interviewed them about ness, is betting that more consumers their plans. will want to buy TVs that can connect Schmidt said that people had been to the Internet. ABI Research found talking about bringing the Web to the that demand for Internet-enabled TV for two decades. “It’s much harder television sets is rising along with the to marry a 50-year-old technology popularity of Internet content. The and a brand-new technology than research firm estimates that 46 per- those of us from the brand-new tech- cent of flat-panel TVs will have In- nology industry thought,” he said. ternet connections by 2013, up from Logitech’s set-top box will allow 19 percent this year. users to receive Google TV without having to buy a new TV set. The com- Google versus Apple pany said it was also working on key- A subtext to the Google TV an- board-equipped remote controls and nouncement was Google’s intense peripherals to allow people to surf the competition with Apple and its chief Web from the couch. executive, Steve Jobs. Vic Gundotra, If Google’s effort is successful, it might create competition for traditional cable companies, because more people could look at content on the Internet and bypass their cable provider’s VOD offerings. Many companies have already vice president for engineering at tried to bridge the gap between the Google, used the momentum of TV and the Web. Apple, TiVo, Boxee, Android, a free, open-source operat- Roku and Vudu, now a division of ing system platform with few rules Walmart, all make devices that offer governing its use, to draw a sharp a variety of Internet video on TV. All distinction between the control Apple have struggled to gain broad adop- exerts over devices running the iP- tion, in part because most consumers hone operating system. have avoided hooking up another set- “If you believe that the only way to top box to their TVs. get a good smart phone is to bet on one man, one device, one carrier and Scheduling & content lifecycle Is it a threat to cable? one choice, that is a different model If Google’s effort is successful, it than we believe in,” Gundotra told for linear & VOD broadcasters, might create competition for tra- “The New York Times.” “We believe Telco’s & Platform Operators ditional cable companies, because innovation doesn’t come from one more people could look at content man; it comes from all of us.” on the Internet and bypass their ca- ble provider’s VOD offerings. Google DISH and DIRECTV launch did not talk about its advertising interactive advertising strategy for Google TV, but the com- Other vendors are launching inter- MediaGeniX pany has formidable data-collection abilities to aim new types of ads at active solutions. DISH Network and DIRECTV announced a cooperative TV-watching consumers. The com- effort by releasing a new interactive 18 broadcastengineeringworld.com | June 2010 adcast Engineering pre IBC.indd 2 24-06-2009 15:34:54
  • TransiTion To digiTal DIgITal hanDbook advertising platform. The platform is vertisers with independent metrics of • Phase 2: Change the rules by intro- called Advanced Satellite Advertising the platform’s performance. ducing value-added services that cre- Platform (ASAP) and provides na- ate new opportunities for service pro- tional television advertisers access to The key is changing the viders, content providers, advertisers nearly 30 million U.S. households. viewer’s experience and consumers; One important feature of the plat- In an article from Broadcast • Phase 3: Create new business models form aspect is the ability to deliver Engineering’s sister publication, that grow the TV market in new ways interactive content and capability to Connected Planet, Christine Heckart, and shift share from other media.” viewers. The content will be displayed general marketing manager for Looking at her predictions, step on a uniform satellite-delivered chan- Microsoft TV, listed three steps that one is completed through the Google nel dedicated to interactive advertis- IPTV must complete to become a TV solution. Step two is in process as ing. Viewers will have the option to success. She said, “ ... you can discern viewers gain access to new informa- watch commercials and then, if de- three distinct phases, each of which tion and are provided with more con- sired, engage in further activities with will take us one step closer to un- trol over what they see and enjoy on the advertiser. Possible additional locking the potential of TV and cre- their televisions. content and activities might include ating new connected and personal- Step three has yet to be completed. expanded product information, spe- ized experiences.” Each of these three However, the foundations for suc- cific regional information, such as phases will drive gradual changes in cessfully meeting this criteria are now retailer location, simple gaming and telecommunications, entertainment being released into the marketplace. easy ways to request more informa- and advertising, the three industries We’ll have to see if consumers em- tion. Contests could be used to help most impacted by IPTV: brace them. BE drive participation. • Phase 1: Shift the purchase criteria Michael Grotticelli regularly reports on the The ASAP program will use third- from price and channel lineup to over- professional video and broadcast technol- party research services, providing ad- all user experience; ogy industries. LP_Sola1.2P_Penton_LP_Sola1.2_Penton 5/27/10 1:54 PM Page 1 Rethink Fresnel. Litepanels revolutionary ™ ® Sola Series offers a whole new world of LED Fresnel lighting. Designed for today’s production, the Sola Series combines the pleasing single-shadow properties of a Fresnel with Litepanels award-winning advantages including full range dimming with no external ballasts or head feeders. Daylight-balanced Sola fixtures are simply the most versatile Fresnels ever made, offering beam control of 70º to 10º, along with focus & dimming – via a convenient touch screen (Sola6 & Sola12) or easy to use camera-like controls (SolaENG). And, unlike HMI Fresnels, Litepanels Sola Series offers full range dimming from 100% down to zero without noticeable color shift. What’s more, powerful and energy efficient Solas draw just a fraction of the power of conventional Fresnels and can plug into a standard household outlet to produce soft, luminous output. ! NewSola Series LED Fresnels: • Heat & flicker free • No external ballasts • 100% to 0 instant dimming • Instant restrike • No noticeable color shift • Eco-friendly: 95% less energy • 1/3 the weight of HMIs • 50,000 hours LED life Think Litepanels. Touchpanel controls ® & DMX built-in. SOLA MODELS SolaENG Sola6 Sola12 WEIGHT 10 oz. (.28 kg) 6 lbs. (2.7 kg) 14 lbs. (6.4 kg) SolaENG POWER DRAW 30W 75W 250W Sola12 Sola6 OUTPUT EQUIV. 250W tungsten Fresnel 650W tungsten Fresnel 2000W tungsten Fresnel Litepanels 818 752 7009 • info@litepanels.com • www.litepanels.com ® ® A Vitec Group brand June 2010 | broadcastengineeringworld.com 19
  • Production cliPs Digital hanDbook Automating graphics automated branding and promo systems can respond quickly to schedule changes. By Pete Challinger E ffective branding and pro- Figure 1.) Three core sources of in- enable the additional information to motion graphics are vital formation are available as a starting be made available. to channel differentiation. point: An automated promo system will These days, however, they • The “live schedule” from automa- use this, for example, to see the next present a real challenge. Typically tion that details the next 24 hours of program coming up. It identifies the such graphics are prepared manually playout; program via metadata, such as mate- and then submitted to the transmis- • The “day schedule” from traffic that rial ID, and searches its database for sion chain. Items such as promos are looks two to three days ahead; the correct title it needs to put to air. built in a nonlinear editor and then • The “listing schedule” from traffic In addition to metadata, assem- loaded onto the video server for play- that is used for EPG, print and online bling graphics requires the integra- out. These approaches are laborious, schedules. tion of several components including time-consuming and costly. With A server-based automated system a set of graphics templates, prepared tight budgets for promotions depart- reads the metadata from these sys- forms that have fields for text, im- ments, managers find themselves in a tems to create its own consolidated ages, logos and video clips. Those ele- tough spot. database of the upcoming schedule. ments will be filled in by the graphics We can, however, take advantage In addition to schedules, finding system based on the decisions taken of the data available across the net- more information related to pro- by the automated promo system. The work to create an automated system grams, events, sponsors, etc., can automated promo system will have a for producing and playing interstitial, lend greater flexibility for populating control link to the graphics system to branding and promo graphics. (See graphics. Simple data entry would enable it to build graphics using the Listings information, EPG Automated Scheduling Rules system promo library Day schedule system Live schedule Automation Asset Build system Store Program transfer graphics metadata Program Graphics Video system Nonlinear server editor Traditional broadcast workflow Playout New elements introduced for the automated promo and branding graphics system Figure 1. In this figure, the blue elements represent a traditional broadcast workflow. The red elements represent new parts introduced with an automated promo and branding graphics system. 20 broadcastengineeringworld.com | June 2010
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  • Production cliPs Digital hanDbook template. The system will also need a have gained the flexibility to make for each language, including the ap- set of governing rules. changes to the promo graphics right propriate country voice-over. For example, consider a typical in- up to playout time because a change The program metadata database program pointer (IPP) such as a low- in the schedule automatically updates can be expanded further with things er-third “Next Up” snipe, which we’ll the graphic. such as video clips to create upcoming call IPP1. IPP1 is listed in the sched- We can go beyond program data program menus with moving video. uling system for playout at the appro- with interfaces to any number of ad- In the past, assets such as clips were priate time. The automated promo ditional sources of data: news and stored on the main video server and system sees that, and then looks into sports, weather forecasts, stock and played into an auxiliary input on the the automation schedule to see the exchange rate data, SMS messages, graphics system with a squeezeback to next program and checks its own da- RSS feeds, e-mails, etc. These sources open the clip in a window. This would tabase for the full title information. can be polled regularly by the promo require an additional, expensive port The system uses its rules to populate system, or they can push their data to for each desired simultaneous output the fields in the template, such as title watch folders. This flexibility lends from the video server. It also requires and time. At air time, the automation itself to the creation of sophisticated a secondary video event in the sched- system will call for that automatically graphics that can give a channel a dis- ule for the server, increasing work for produced graphic from the graphics tinct character. the scheduling staff and adding con- system, and the system will overlay This setup also lends itself to mul- siderable complexity. the snipe on the program stream and tilingual promo requirements. Simply Instead, we can use a clip player on play out. add fields to the metadata database the graphics system. Those assets can An operator is no longer required for each language. The same ID on be stored on a low-cost central SAN, to piece together the graphic. By elim- the scheduling system will then trig- NAS, server or even on the same server inating the manual labor, broadcasters ger multiple versions of the graphic that runs the automated promo system. 22 broadcastengineeringworld.com | June 2010
  • Production cliPs Digital hanDbook The scheduling system need only issue So who benefits from an automat- capable of running a complete channel a single instruction for the predefined ed promo system? Stations that have with the ability to create interstitials graphic. The automated promo system a stable schedule with few last-minute on the fly based on rules to evaluate will use the information it has in its changes, such as movie and themat- context and using an extensive range database, gather the appropriate meta- ic channels, can deploy a relatively of data sources both internal and ex- data from its metadata store, get the simple system that builds automated ternal. This solution has no impact on times from the scheduling system and graphics sequences based on sched- station automation. Instead, it moni- populate the template on the graphics ule analysis and file processing. Such tors the live automation schedule and system, which will be recalled by the a system would support the need automatically generates a sequence of automation system at the correct play- for automated “Next up” graphics, sufficient duration to match a given out time. menus, lineups and automated ver- gap in the schedule. Watch folders on the central store are sioning of audio and video assets. Deploying an intelligent automat- monitored by the automated promo If a broadcaster needs to make ed promo system that collects data system, which then matches it to its changes close to or at air, it is neces- from numerous sources and uses that metadata database and can manage the sary for the system to maintain a live information to populate templates movement and life cycle of those assets. connection to both master control on a modern graphics device is an The same system should manage the automation and a central store for as- elegant solution that meets today’s deletion of assets that are no longer im- sets. This system would build graph- branding requirements with com- mediately needed from the clip player. ics within seconds of air, so it can also plete sequences, created on demand An advantage is that if a system needs include up-to-the-minute informa- and in real time, with minimal or no to be swapped for any reason, the auto- tion from a variety of data sources. human involvement. BE mated promo system can automatically In its most advanced implementa- repopulate the replacement clip player. tion, an automated promo system is Pete Challinger is CEO of Pixel Power. +31 (0)20 5458905 | +44(0)1737 220539 June 2010 | broadcastengineeringworld.com 23
  • Feature sports production technology new technology meet the dema W Telegenic’s new 3-D truck is being used hile TV audiences may be tion techniques. for live coverage of the 2010 World Cup. migrating to online and Many programs go through post mobile entertainment, production as an essential part of one area where television excels is the the workflow: selecting shots, add- live event, specifically sports. One of ing VFX, color correction and finish- the genres where 3-D is expected to ing. The sports director has no such be most successful is sports. Sport- luxury to refine the program. He or ing events also attract large revenues she can select from the camera angles for subscription television. Put all available on the monitor stack, use that together, and it is easy to see why on-the-fly switcher effects like DVE sports receive a big investment and moves and run replays of key action are a focus for innovation in produc- from video servers. 24 broadcastengineeringworld.com | June 2010
  • Feature sports production technology helps directors ands of sports By DaviD austerBerry This places a special emphasis on they want the latest format: HD, 5.1 International sporting events demand what the camera delivers to the truck. and even 3-D. commentaries in many languages. The commentary facility boxes shown are To this end, point-of-view (POV) To meet these needs, the sports from Glensound. cameras give sports fans a perspective production must use custom cameras on the game that they could never see and camera support systems, logging from a seat in a stadium or standing by systems, and specialized graphics sys- the green. tems. International events present Viewers expect unusual views of especially complex demands, as the their favorite sport. They expect the various broadcasters taking the feeds tactics to be explained with graphic have different requirements, from aids like telestrators, and they want a 3-D down to a few SD highlights for constant stream of statistics. Finally, use in a newscast. June 2010 | broadcastengineeringworld.com 25
  • Feature sports production technology For a large international event, the Much of sports coverage cannot optimized for distribution), much as issue with video is to provide each be achieved with fixed cameras, and DVB-T2 improves performance over broadcaster with what it wants, and the wireless link frees a camera of all the original COFDM systems. Typi- there are conflicting requirements, tethers. cally, 19Mb/s can be delivered over such as whether the broadcaster’s a wireless link. To achieve the low la- home team is playing, whether the Wireless tency needed in sports coverage, an I- broadcaster wants a clean feed or if it Wireless cameras have been around frame-only video codec is necessary. needs the house graphics. On the au- for a long time, but the technology dio side, the complexity comes from has been steadily improving. Cameras Cameras, auto-focus and providing facilities for the different and links are expected to support HD image stabilization commentary that each broadcaster and to reliably backhaul signals from The move to HD displayed on large will want to add. Even a national fast-moving vehicles and helicopters. screens means that focus errors, cam- event may have to deal with some of Deep interleaving is a new tech- era movement and vibration are more these issues if more than one language nique that helps reduce interference obvious. Many sports applications is spoken in that country. caused by signals’ loss of seconds. This need a long focal length to achieve could be from ground to air, when the closeups from remote camera posi- Acquisition transmitter is temporarily obscured tions. A long focal length means small To present the director with the by bridges or other obstacles, or from depth of field, making focus adjust- optimum choice, the acquisition of air to ground, where obstacles like ment critical. In a football stadium, a video and audio is key. Sharp, well- trees may obscure the helicopter. camera could be 100m from the pen- exposed and shaded pictures with Sports that take place over a large alty box, and a focal length of 900mm area, such as marathons would be needed to get a head and and motor racing, have torso shot of a player. This is an angle Wireless cameras have been been limited in the cov- to provide wireless past of view of less than one degree, so it requires little motion to create a pixel around for a long time, erage without setting up of movement. but the technology has relays. Borrowing con- Many phenomena can cause visible cepts from the phone movement, such as wind on a scaf- been steadily improving. industry, it is possible folding platform, but even the most to extend diversity re- solid stadium can move when the ception to use cellular crowd gets excited. The camera plat- great composition go a long way to diversity, with use of cellular receive form in a stadium is typically high up easing the task of the director, and zones and the camera able to move on the roof, and on maximum focal technology can help. For the audio, freely between cells. length, vibration can be easily visible careful selection of microphone type, Recent developments in modula- to the viewer. polar diagram and surround configu- tion use COFDM, but with param- Auto-focus is a standard feature of ration, plus good placement, can all eters modified from regular DVB-T consumer camcorders. Some more add up to create an exciting sound to provide optimum performance for experienced operators may feel auto- design. contribution circuits (DVB-T being BE_jun10_jungerneu_4c_IBC_178_60.pdf 27.05.2010 16:22:16 focus is not for them, but long-focus C M you must hear it to believe it Y Level Magic ™ Dolby Encoders & Decoders CM MY SDI Embedded Audio 5.1 & 2.0 Audio Processing CY CMY Digital Mixer Digital Matrices 5.1 Upmix & Downmix ITU.1770 K > IBC 2010, 2.C49 www.junger-audio.com 26 broadcastengineeringworld.com | June 2010
  • Feature sports production technology shots of moving objects would Camera Corps’ Q-Ball with at a different frequency range from test even the most experienced remote pan and tilt provides HD the vibration of a stadium and calls images from a compact yet operator to maintain sharp rugged system. for a different type of correction. focus. Here technology can help. POV Image stabilization tential sharpness of an One area that television excels at is is also commonplace HD image. POV cam- the POV camera. These can give fans in consumer cam- eras may be mounted the view from inside a goal, from a corders, and for aer- on vehicles or car- cricket stump or from the bottom of ial shots, large gyro- ried by the camera a diving pool. stabilized mounts operator. The POV cameras use miniature can remove the ef- One technique is cameras with small lenses and are fects of helicopter to detect shake caus- then fitted to the appropriate housing motion. To apply the ing yaw and pitch, and for the sport. The technology has ad- concepts to large box to shift a group of lenses vanced as subminiature HD cameras lenses, different design within the zoom assembly have become available. Applications concepts are called for, but in the vertical and horizon- include static cameras or remotely several field lenses are now avail- tal axes. The shifted lens group cor- positioned cameras with pan and tilt able with image stabilization. rects the path of rays through the lens control. This has led to the use of image and removes the effects of the lens A typical POV application is to get stabilizers in some sports coverage vibration. close up from inside a football or ice becoming de rigueur. However, vi- POV cameras mounted on vehicles hockey goal. The camera must be small brating platforms are not the only or carried by the operator are subject and resistant to a direct hit by a hock- movement that can impair the po- to a different type of motion. This is ey puck. Such cameras will provide June 2010 | broadcastengineeringworld.com 27
  • Feature sports production technology unobscured pictures of goals during or an ultra-motion camera for much of play, the bench and prematch in- the World Cup from within the net us- higher speeds. terviews; and POV cameras covering ing a miniature camera that captures Slow-motion cameras are based the goal. All of these provide the di- a 125-degree horizontal field of view on regular television cameras but can rector with the widest range of views without curvature distortion. This will shoot at two or three times the normal from strategic shots to closeups of the allow the entire goal mouth to be tele- frame rate and output a three-phase action, both live and as replays. vised from the rear of the net. A mo- HD-SDI signal, with each phase being torized mount enables the camera to at 25fps or 30fps. Audio Hyper- or ultra- Audio plays a vital part in any motion cameras are sports production. Spectator noise 200mm more often derived helps convey the emotion of the from high-speed cam- crowd. Shotgun mics pick up the eras designed for ap- sound of play, such as bat against ball plications like crash or foot against ball, and finally the 100mm F R R analysis and weapons commentator provides the descrip- testing. Early cameras tion. Part of an HD production can were VGA or SVGA be surround sound. There are many resolutions, but the techniques for acquiring surround latest versions use sound, from sound field to dual mid- full 1920 x 1080 sen- side-mid (M/S). sors more suited to The 2010 World Cup is using both broadcast operations. the sound field (coincident) and the Figure 1. Example of an ORTF array. The camera records ORTF technique (spaced array). The to local memory ORTF array is a development of the be returned to its normal position if (which typically stores around 6000 IRT cross, but rectangular rather struck by an oncoming ball. frames) at 10X or 20X speed. Once than square. (See Figure 1.) Using an event has been captured, record- four cardioid capsules, the array Slow-mo and hyper-motion ing is transferred as regular HD-SDI gives good 360-degree imaging with cameras at 25fps/30fps. This can be recorded the optimum spatial separation. Most sports coverage now finds to a video server and then played out slow-motion replay essential. There frame by frame as required. Switching, 3-D and mobile are three ways to implement this. It The World Cup coverage is a good Most events in a stadium need at is possible to use regular cameras and example of the current camera tech- least two mixes, one broadcast and record to a video server, and then in- niques. From stereo to POV, many one for the stadium displays. The terpolate frames on playback. This innovative techniques will help bring broadcast mix could also be in two is a low-cost solution, but for high- fans to the edges of their seats. Along- versions: graphics and clean. quality slow motion, a high-speed side the regular field cameras, there The demands of different delivery camera must be used. This can be a will be a cable camera suspended over formats mean that different mixes three-phase camera for 3X recording the pitch; jibs to provide mobile shots could also be required for broadcast. “Solutions in Audio & Video” Features via DVI Link | 28 broadcastengineeringworld.com | June 2010
  • Feature sports production technology toolset. They are one of the many ap- plications that have been developed to enable the coverage that fans come to expect. Using the keyword metada- ta on the timeline, editors can quickly access material to pull together high- lights packages. There are many ways to implement logging, but touch screens or shot boxes are popular. The logger can tag players’ names, or elements of the play like “goal” or “penalty,” against Logging workstations allow operators to tag clips with keywords. the clip timeline. Without logging, the process of highlight creation could Although 4:3 and 16:9 can be han- graphics can be true 3-D, meaning not keep up with the pace of play. dled by a protected center zone of the they can have a Z-axis component. screen, important events may also be Mobile-specific feeds do not have Summary covered in 3-D, which currently needs all the issues of 3-D, but they still Broadcast sports technology is in a a separate mix of the 3-D cameras. have a different requirement from the state of constant evolution to provide 3-D needs both different cameras HD (protected 4:3) mix. Composi- fans with more compelling cover- and camera positions. The switching tion should be tighter, and graphics age. Some would say that the only style must also be different, as cuts should be simpler and larger relative advantage of being at the stadium between sources must take into ac- to screen dimensions to make them is the atmosphere, as television can count the Z-axis to avoid unpleasant more readable on small screens. provide so many angles on the play, parallax clashes for the viewers. Cur- With 3-D and mobile being sub- along with all the analysis from the rent practice does not lend itself to scription content, it is easier to figure experts. deriving a 2-D feed from a stereo mix the business case for the additional Some of the innovation comes because of the different composition, cost of operating separate switching from small companies that build switching and framing. chains. the custom equipment like camera 3-D also needs different graphics support. Other innovation is being treatment. 2-D graphics can be keyed Logging driven by the major vendors looking as a layer over the action. In 3-D, the The logging workstations that al- to stereoscopic 3-D to drive new mar- Z-axis of the action and the graphics low operators to tag clips with key- kets for the CE products through to must be taken into account; plus the words are essential to the director’s broadcast equipment. BE June 2010 | broadcastengineeringworld.com 29
  • 2010 2010 2010 2010 Pick Hits Nab RePlay NAB ReplAy 2010 2010 2010 2010 W elcome to Broadcast Engineering’s NAB Replay. Here we provide in-depth coverage of products and technology from the 2010 NAB Show, including: Technology Seminar New stereoscopic 3-D innovations made this one of the most interesting NAB conven- tions in history. Read on for 3-D highlights from the show floor. 34 Pick Hits Broadcast Engineering’s Pick Hit Awards are the industry’s longest-running product technology awards Product Jackpot Here we’ve compiled some of the hot new for broadcast and production. With a 26-year history, products shown at this year’s NAB. Want more product Pick Hits are the most prestigious technical awards given coverage? Check out our Web site at www.broadcasten- at NAB. Here are the top 20 products selected from the gineering.com/video/, where you’ll find video of product show by our panel of independent judges. 30 demos conducted at the show. 52 Pick Hits NAB ReplAy TANDEM 150 Anton/Bauer +31 45 5639220 H igh-speed editing software ideal for offline, file-based and mobile editing; allows users to directly access and edit RED files through the newly improved Avid Media Access with- www.antonbauer.com out transcoding, work natively with QuickTime video formats, edit video and audio by dragging and dropping elements in M odular power system is designed to bring users more power supply op- the timeline, get full-quality HD-RGB processing, and mix and match frame sizes and aspect ratios in the same timeline; e-mails users when long renders are done. tions during on-location or outdoor shoots; functions by separating the Gold Mount device (QR-TM) from the power supply (PSU-150), allowing a user to simultaneously charge a battery and power a camera; when a 75W draw is exceeded, the Media system stops charging and performs solely as a 150W power sup- Composer 5 ply; when the camera is turned off or the load is reduced below Avid 75W, the system instantly resumes normal operation, as a simul- +44 175 365 5999 taneous charger/power supply. www.avid.com 30 broadcastengineeringworld.com | June 2010
  • FiberExpress CompactCG HD Brilliance Compix Media Connector +1 949 585 0055 Belden www.compix.tv +1 514 822 7579 www.belden.com F ield-installable con- nector features a tool-less design to make H D character gener- ator offers the rich feature set of a full-size fiber termination simple system in a rugged 1RU and fast; takes just five seconds and three steps to field termi- chassis; supports HD-SDI and SD-SDI operations; enables pro- nate a fiber: insert the fiber in the connector, slide the connec- fessional-grade graphics creation when time and space are at a tor’s switch-like activator tab toward the fiber to be terminated to premium; software options include NewsScroll with RSS, which bring about the splice crimp, and slide the boot on the connector provides the power of multiple crawls, logos, a real-time clock, body; reduces out-of-pocket costs because there are no special/ live weather updates, ratings and live RSS feeds; ideal for mobile proprietary tools to purchase; can be re-terminated up to five broadcast and OB vans, flypack systems and multivenue use. times, resulting in improved connector termination yields. p rofessional camcorder employs an MPEG-2 4:2:2 50Mb/s codec — Canon XF Codec — for capturing and recording native 1920 x 1080 video onto affordable, universally available Dejero LIVE Platform Dejero compact flash cards; unites video, audio and metadata into a +1 519 772 4824 single file; uses an MXF file wrapper to maximize compatibil- www.dejero.com ity with existing industry infrastructure and nonlinear editing N systems; includes a Canon 18x HD L-series lens to provide news ewsgathering camera operators with the focal-range versatility required in the system offers a field; features industry-standard HD-SDI output, genlock and new way to broadcast SMPTE time code (in/out) live high-quality video terminals for multicamera without the high cost or complexity of satellite or microwave or 3-D productions. transmission; with the system, one cameraperson and the De- XF305 jero LIVE Mobile Transmitter can transmit from any location Canon in cell-phone range; using patent-pending technology, the plat- +31 20 545 8905 form improves live interview talkback, transmitting with only www.canon-europe.com one-second latency. UltraStudio Pro DTC-720 Xpect Blackmagic Design DekTec Digital Video +44 1565 830049 +31 35 6469210 www.dektec.com www.blackmagic-design.com S D/HD capture and playback so- lution for USB 3.0 computers; combines the speed of USB 3.0 run- 2 4/7 transport stream monitoring software package continuously checks transport stream for compliance to ning at 4.8Gb/s, providing enough TR 101 290 and compares each stream to a user-created template speed for the highest quality uncom- (defining the expected properties of the transport stream); any pressed 10-bit HD video wit the max- violations of the TR 101 290 rules or mismatches to the tem- imum possible real-time effects; features dozens of audio and plate are logged in a database and can be signalled to an NMS video connections built-in; includes audio level meters; built-in through SNMP traps or as an IP/UDS-based message; keeps logs up-, down- and crossconverter lets users edit in one format and of statistical information (such as bit rates, number of CC errors then output to any HD or SD format. and scrambled status), tables and individual components in the monitored stream; monitors multiple transport streams simulta- neously, applying different test criteria to each stream. June 2010 | broadcastengineeringworld.com 31
  • Pick Hits NAB ReplAy G enlockable sync gen- BrightEye 57 erator and test sig- Ensemble Designs nal generator can be used +1 530 478 1830 OP+TDMT/R+8 Harris +44 118 935 0200 as either a slave or master www.ensembledesigns.com www.broadcast.harris.com reference generator; can lock to house reference or F to its own internal precision standard; suited for remote trucks, iber-optic products can post, helicopters and flypacks; 1.5Gb/s HD, 3Gb/s HD or SD SDI transport up to four 3Gb/s, test signals or black with embedded audio is output on the SDI eight HD-SDI or eight SD/ BNCs; 3G Level A and Level B are supported; composite, HD ASI signals, or any combina- tri-level sync and AES digital audio outputs also are provided; tion equal to 12Gb/s of transport signals, over a single optical three user-programmable fiber; allow for up to 24 independent 3Gb/s or 48 independent outputs are selectable be- HD/SD/ASI signals in a single 2RU frame; TDM, CWDM and tween AES, LTC, Word- DWDM are implemented in the line; using CWDM or DWDM, clock or 6Hz Pulse; analog several signals can be combined into single wavelengths to pro- audio and AES outputs vide a cost-effective and expandable design. provide tone or silence. LTR-100HS BlueSet FOR-A JK Audio +1 352 371 1505 +1 815 786 2929 www.for-a.com www.jkaudio.com V ideo archive recorder S supports LTO-5 tech- nology, the latest standard eries of intercom headset adapters uses Bluetooth wire- in long-term, high-capacity less technology; headset interfaces plug directly into most tape storage; makes file ingest workflow more efficient; reduces party-line beltpacks, replacing wired headsets; a 3.5mm stereo archive space requirements; equipped with an MPEG-2 codec, headset jack contains a mic level output signal suitable for re- the LTR-100HS includes an MXF wrapper/unwrapper, so MXF cording, with the beltpack headphone signal on the left chan- files (XDCAM HD/HD422/IMX) recorded to LTO-5 tape can be nel and the Bluetooth return signal on the right; a switch selects used directly by many NLE systems. between connection to a third-party Bluetooth headset or a cell phone. Ignite Konnect Kahuna 360 Grass Valley Snell +31 1 34 90 31 00 +44 118 986 6123 www.grassvalley.com www.snellgroup.com p roduction switcher plat- form supports 16 simul- taneous broadcast produc- p rovides automation control of the Grass Valley Kalypso and Kayenne video production switchers; designed to provide an easy, flexible transition to live production automation; for live tions in single mainframe; engineered for the most demanding production requirements; employs live assist and production automation applications where a user already has a workflow tools to streamline operations; features Snell’s Format Kalypso or Kayenne switcher in place; allows users to automate Fusion3 technology, which supports any combination of SD, HD as much or as little of their workflow as they need; requires little and 3G/1080p inputs and outputs, and seamlessly converts them or no change to existing switcher effects. to and from the required standards; designed to handle 3-D con- tent with ease. 32 broadcastengineeringworld.com | June 2010
  • Automatic Loudness Control Miranda +44 1491 820 000 www.miranda.com A utomatic Loudness Control (ALC) solution prevents excessive jumps in program-to-pro- gram and channel-to-channel loudness levels; available for multiple Densité interfaces; de- signed to address all typical loudness problems including audio level changes between programs and commercials, without adversely impacting program content; three ALC solutions are available: ALC with Linear Acoustic AEROMAX processing, ALC with Jünger Audio Level Magic processing, and ALC with Miranda’s low-cost, high-performance wideband audio processing. 3-D tecHNology Neo3D AG-3DA1 CineForm Panasonic +1 858 345 2645 +44 844 844 3856 www.cineform.com www.panasonic.com/broadcast D elivers a real- time 3-D editing workflow compatible F ully integrated HD 3-D solid- state camcorder is equipped with dual lenses and two full 1920 with Premiere Pro, After Effects, Final Cut Pro, Media Composer, x 1080 2.07 megapixel 3MOS imag- Vegas and other editorial and effects tools in a manner similar to ers to record 1080/60i, 50i, 30p, 25p editing any CineForm 2D file; at the heart of the system is First and 24p (native) and 720/60p and 50p in AVCHD; can record Light 3D; all 2D and 3-D adjustments are implemented as active for up to 108 minutes on dual 32GB SD cards in AVCHD PH metadata under control of First Light; features display support mode; offers professional interfaces, including dual HD-SDI out, for most 3-D monitors, keyframable 3-D adjustments (all real- HDMI (version 1.4), two XLR connectors, built-in stereo micro- time), individual eye adjustments for color and image flip, and phone and twin-lens camera remotes; weighs less than 6.6lbs. keystoning adjustment. GD-463D10 JVC +44 20 8450 3282 3 -D LCD monitor features a large 46in screen and cabinet depth of 1.5in; compatible with line-by-line and side-by- side 3-D input methods, both of which are used for 3-D con- www.jvc.com/pro tent production; employs the Xpol circular polarizing method to ensure natural 3-D reproduction; equipped with three HDMI terminals compatible with 3-D input signals; 3-D images can be viewed by wearing a pair of lightweight circular polarizing glass- es that do not require a power source; conventional 2-D images also can be viewed without special equipment. 3 -D format converter allows the conversion of any standard 3-D format to another, including changing of the frame rate; standard video formats are supported from high definition to 2K; TDM-150W TV Logic +1 818 567 4900 accepts both dual- and single-stream, as well as HDMI inputs and www.tvlogicusa.com outputs; enables double-stack 3-D projection; by encoding the left Dimension-3D Doremi Labs and right eye streams into a single HD-SDI stream and back again, 3 -D OLED monitor is de- signed for stereoscopic cinema and broadcast pro- the unit becomes ideal for record- +33 492 952 830 duction monitoring; uses a ing 3-D content on standard HD www.doremilabs.com 15in (16:9) 120Hz Active Ma- tape and server technologies. trix Organic Light Emitting Diode Display at native 1366 x 768 resolution combined with active shutter glasses for vivid 3-D video experience; provides full HD/SDI input and output sup- port, including 3G and dual-link. June 2010 | broadcastengineeringworld.com 33
  • Technology Seminar NAB ReplAy 3-D highlights 3-D was arguably the biggest buzz at the NAB Show. By L.T. MarTin T his year, the broadcast in- dustry aimed to make stereoscopic 3-D a main- stream medium for home- delivered entertainment, in hopes that it would become as successful an introduction as high definition. But if you read my blog from the floor of the Las Vegas Convention Center (blog.broadcastengineering.com/3-D), you know I maintain a healthy skep- ticism over whether stereoscopic 3-D will ever rise above being a tantalizing, but limited, event experience. There’s a big difference between paying a pre- mium ticket price to see stereo 3-D in a theater and trying to watch it on a daily basis in the living room. However, it is always exciting to feel the electricity in the air when new This year’s NAB trade show featured a 3-D Pavilion, where companies showed off the ideas rise up to challenge the exist- newest 3-D technologies for software, editing, display, video production and more. ing broadcasting landscape, and new stereoscopic 3-D innovations made conjunction with Turner Broadcasting, But these concerns don’t show up this one of the most interesting NAB and the Discovery Channel revealed a in public opinion surveys about the conventions ever. (For simplicity, joint venture with Sony and IMAX to desire for home 3-D. After all, Blu- I’m going to drop the “stereoscopic” launch a 24/7 3-D network later this ray has released its specs for 3-D modifier from now on since single- year. Even during the NAB 2010 Show discs and expects robust sales. In fact, stream, or “anaglyph,” 3-D has rightly itself, Comcast presented select cover- Futuresource Consulting, a market become a poor stepchild in the minds age of the Masters Golf Tournament in research firm, has predicted that of NAB exhibitors enthusiastic over 3-D, seen at several exhibits. 70 percent of U. S. households will the possibilities of home-delivered While roaming the halls of the have a 3-D-ready home display by 3-D entertainment.) convention center, concerns over the 2015. The question is whether view- public’s acceptance of this new me- ers will use them enough to support 3-D industry dium started to arise. First, only JVC around-the-clock 3-D entertainment announcements and Hyundai have plans to market delivery, or if these pricey sets will be There have been interesting experi- home 3-D TVs that can be seen using switched to their 3-D modes only for ments in over-the-air 3-D broadcast- cheap, passive polarized glasses — the special occasions. ing in Japan, Holland, Korea and the kind you get in most movie theaters. UK using various formats, and just All of the rest — including Panasonic, 3-D technology at NAB before the 2010 NAB Show, a slew of Samsung, Sony, Mitsubishi and Vizio At the NAB Show, many companies announcements were made regarding — will require active shutter glasses to created a buzz over their new 3-D gear. 3-D delivery to U. S. homes. ESPN see Z-space on their home screens be- Crowds gathered at the Panasonic will start 3-D broadcasting with the cause those displays are less expensive booth to see its AG-3DA1 single-body World Cup games this month, Mark to manufacture. However, those “flick- 3-D camera fitted with twin lenses Cuban declared that most of the er” glasses are costly, easily breakable, and two 1920 x 1080 2.07-megapixel prime time and weekend shows for his require charged batteries and, most 3MOS imagers that can record up to HDNet will be shot in 3-D, Next3D is significantly, are in large part incom- 180 minutes on dual 32GB SD cards gearing up for 3-D VOD channels in patible with competing brands. in AVCHD PH mode. 34 broadcastengineeringworld.com | June 2010
  • S2 2010 FIFA World Cup | June 2010 A Special Report by Broadcast Engineering
  • T he FIFA World Cup will un- age in 3-D. The 3-D coverage should CONTENTS doubtedly be a showcase of sports production techniques. prove to be a milestone. In the last year, production techniques have As one of the most-watched interna- been honed and new equipment de- 2010 FIFA tional events on the sporting calendar, veloped to process the stereo signals. World Cup S4 the expectations from fans are high. These techniques and technologies South Africa was not well-endowed will surely be tested, with 25 consec- Broadcasters rally to with suitable venues, because existing utive matches being covered in 3-D. pull off this logistical feat. facilities were designed more for rug- Those in charge of the 3-D broadcasts by and cricket, but the World Cup has are looking for the World Cup to es- brought with it excellent, purpose- tablish the technology as a normal (if Covering 2010 designed football stadiums. expensive) way to cover major events, World Cup S11 The country also did not have the and prove that it is no longer just an Q&A with Francis Tellier technical resources for such a mam- experiment. moth event, so a veritable army of For most fans, however, the most production personnel and technicians useful innovation will be the mobile have travelled, largely from Western TV coverage; the event will surely test 2010 FIFA Europe, to the southern hemisphere the capacity of 3G networks world- World Cup to provide coverage of the month- wide. Detailed mobile coverage will technology S12 long event. not only stream the matches, but also EVS and HBS collaborate Up-and-coming broadcast tech- it will provide around-the-clock cov- from ingest to playout. nology is sure to provide compelling erage of training camps, team inter- coverage, as well as — for the first views and all of the background in- time for some lucky viewers — cover- formation that the fans live for. A Special Report by Broadcast Engineering June 2010 | 2010 FIFA World Cup S3
  • The AMP Car 8 mobile truck provides facilities for 3-D coverage of the World Cup. The truck supports 16 cameras. S4 2010 FIFA World Cup | June 2010 A Special Report by Broadcast Engineering
  • By DaviD austerBerry E very four years, football teams from 32 nations compete for the Fédération Internationale de Football Association (FIFA) World Cup. This major sporting tournament has always attracted comprehensive television coverage, and this year promises to be even better with some matches shot in 3-D, a special feed for mobile devices and the standard HD feeds. Behind the scenes, the big innovation is the enhanced workflow made possible by a large media server at the International Broadcast Center (IBC), which makes all the feeds and clips available immediately so broad- casters can create their own programming. The 32 teams competing for the World Cup Finals play from kickoff on Friday, 11 June, to the final on Sunday, 11 July. These teams have reached the finals through a series of qualifying rounds, which 204 nations played in over the last three years, and were selected in a final draw that took place in South Africa last December. The first round is in groups of four, eliminat- ing teams down to a second round of 16 teams. Eight teams then compete in the quarterfinals, followed by semifinals. The final round decides the winner as well as third and fourth places, and the entire final comprises 64 matches. The games are played in 10 stadiums in nine cities spread across the host nation of South Africa. Football has always been a huge draw for TV viewers, and the statistics for the 2006 event confirm the huge global following. The estimated audience for the 2006 final was 715 million, and the total cumulative television audi- ence for the tournament was 26.29 billion, making it the world’s most pop- ular television event. The rights are expected to generate revenue of at least $1.6 billion for FIFA. A Special Report by Broadcast Engineering June 2010 | 2010 FIFA World Cup S5
  • Host Broadcast Services the finished show feed (ESF or EBIF). raphers, but 25 of the matches will be The organizing body, FIFA, ap- Many national broadcasters have shot in 3-D. Two broadcasters, ESPN pointed Host Broadcast Services their own production facilities at the is the USA and Sogecable in Spain, (HBS) to be the host broadcaster for venues. They can take the clean feed have become MRLs for the 3-D cov- the World Cup tournament. HBS from the production switcher to add erage, with TF1 in France making a was previously the host broadcaster their own graphics plus ISO feeds of late announcement of the intention of the 2002 and 2006 FIFA World the cameras, so they can feature their to license coverage. As of press time, Cup tournaments, and has also been home team. ESPN was aiming to debut its 3-D appointed as host broadcaster for The big advantage of having a host network with the South Africa versus the 2014 FIFA World Cup in Brazil. broadcaster is that high-quality cov- Mexico match 11 June. HBS is owned by sports marketing erage is maintained throughout the Mobile coverage is also getting an company Infront Sports and Media, tournament. Although many national upgrade with a dedicated camera and based in Switzerland. broadcasters want to fully cover the a separate feed featuring tighter shots more suited to the small screen. Mo- bile coverage is important, as most fans will not be near a TV receiver Polokwane during working hours but can keep Rustenburg in touch with all the news via their Nelspruit phones. Tswane/ Pretoria Johannesburg At the venue At each of the 10 stadium (see Fig- ure 1), HBS has built a full OB facility IBC using flyaways. Grass Valley is provid- ing facilities through partners such Bloemfontein as production companies Alfacam, Durban CTV, Mediapro, Studio Berlin and VCF France. Alfacam alone is provid- South Africa ing 170 cameras and 155 technicians to help cover the event for HBS and for MRLs. The technical operations centers (TOC) at the venues are again 0 200 400km supplied by Grass Valley through Port Elizabeth Cape Town partner Gearhouse Broadcast. Expensive equipment, such as cam- eras and lenses, is shared and moved Figure 1. The World Cup Finals are played at 10 venues across South Africa. between the venues as needed. The camera plan has been extended be- As host broadcaster, HBS is re- event, any investment must take into yond the 2006 event, where 26 cam- sponsible for production of each account the risk that their national eras were used. (See Figure 2 on page match, for facilities at the venues for team falls out at the first round and S8.) The primary cameras are Grass other broadcasters and for the IBC in returns home early. Valley LDK 6000/8000 WorldCams. Johannesburg, the nerve center of the All production is 1080i25, but rec- A total of six Grass Valley LDK 8300 operation. ognizing that the largest number of Super SloMo 3X cameras and two The coverage has to cater to a viewers will be watching analog 4:3, ultra-motion cameras provide for wide range of media rights licensees the production is designed to protect playback of players and goals. (MRLs), which is FIFA’s term for me- a 4:3 aspect ratio. The main camera platform in the dia organizations that have licenses to This year there will be innovations. stadium has the cameras for wide, air the matches. MRLs include broad- After visiting IBC in 2009, HBS de- medium close-up and close-up shots, casters, new media platforms and cided that it was feasible to cover the plus the A and B player cameras. An mobile network operators (MNOs). World Cup in 3-D. It has not been additional camera will be dedicated MLRs have a choice of using feeds possible to cover all 64 matches as to the mobile TV coverage. at the venue for a bespoke produc- there is worldwide shortage of 3-D Behind each goal line is a wide-an- tion, feeds at the IBC or just taking equipment and experienced stereog- gle box camera (goalcam), a crane, a S6 2010 FIFA World Cup | June 2010 A Special Report by Broadcast Engineering
  • super-slow-motion and an ultra-mo- tion camera. In line with the goals are box cameras and super-slow-motion cameras. With eight high-speed cam- eras available, there should be every opportunity to analyze the play in detail. For general pitch coverage, there are two steadicams, a close-up camera and a minicrane, which is used before the match for interviews. Other cameras cover tactics, a beauty shot of the stadium and views of the benches. Selected matches have aerial coverage before the match and a Spidercam cable camera for use dur- ing the game.For some matches, there are additional stereoscopic camera rigs for the special 3-D coverage. In addition to the extended sta- dium feed (ESF), a clean feed, the mobile feed and a beauty shot of the The AMP 3-D truck uses Sony HDC-1500 cameras with Element Technica rigs, which can stadium are all fed back to the media be set up in side-by-side or beam-splitter configurations. Curious? Please visit our website www.riedel.net NREW1!0om TIST 1 0 A rc s Inte Serie trol Panel Con Artist | Performer | Acrobat MediorNet RockNet INTERCOM SYSTEMS FIBER SOLUTIONS AUDIO NETWORKS A Special Report by Broadcast Engineering June 2010 | 2010 FIFA World Cup S7
  • SSM bench cameras SSM server at the IBC. The team A and B and player A and B camera feeds also UM UM are returned to the IBC for record- ing on the media server and for use by MRLs that are at the IBC but don’t Crane Spider Crane have facilities at the venue. (See Fig- cam ure 3 on page S10.) The OBs use a variety of Grass Goal Soal Tactical cam cam Valley switchers, including Kayenne 4M/E and Kayak 1M/E units. A total of 10 Kayenne HD and 30 Kayak HD SSM SSM units are used across the venues for Minicrane (MC) the broadcast feeds and to feed the Super slowmo (SSM) Steadicam (SC) stadium display screens. Ultramotion (UM) HBS aims to produce each match Technical area (bench) SC SC with a neutral style, favoring neither SSM Minijib SSM team. One rule is live coverage only CU when the ball is in play, with slow- Mobile Player Player motion replay only when pertinent. 16m line MCU 16m line WS CU The production is delivered to audi- ences with different expectations — Figure 2. The camera plan for HD football experts and ordinary view- and mobile coverage uses 33 cameras. ers — plus different nations deliver Main camera platform football in different ways. Some still use only five cameras to cover a game. Graphics ing the main action, graphics effects In addition, viewers are watching on Sports graphics specialist Delta Tre like virtual offside lines are used a wide variety of devices, including is providing the graphics for the main sparingly. small analog portables and PCs. feed. To allow broadcasters to add Many leading broadcasters have their own graphics, only the lower Audio and commentary OB facilities at the stadiums to cover half of the frame is used for Delta Tre HBS must cater to viewers listening their national teams and can produce graphics. in mono all the way through to 5.1 more partisan coverage. Players and the ball are tracked to audio on a home theater system. To For HBS production, the director create stats for MRLs to use in their meet varying requirements, a TV ste- at each venue uses a production crew analysis of games using statistical an- reo mix, a radio stereo mix and a 5.1 of 50, including cameramen, produc- alytics software MAGMA Pro (Match mix (encoded Dolby E) are created tion switching and EVS operators. Analysis Graphics Machine) from by HBS. Twelve pitch microphones, There are additional HBS technical Delta Tre, powered by Piero. HBS some surround, pick up crowd sound crew at each venue. production teams are able to replay and atmosphere. The basic commen- Camera feeds are recorded to EVS pictures integrated with MAGMA tary is in English and is provided as production servers at the venue. The Pro data from the FIFA MAX server an extra channel. best clips and sequences are trans- to create analysis of key moments At each venue, a commentary ferred from the TOC to the FIFA such as goals and the position of ev- control room provides all the fa- MAX media server at the IBC in ery player on the pitch. cilities for the commentators from Johannesburg. The software identifies patterns, the MRLs. HBS uses its stock of Mediabroadcast provides backhaul categorizes them and grades them. Glensound commentary boxes that services from the venues to the IBC. Producers can search the database to were specially customized to its The company is a partnership between find the key moments and preview requirements. Media Broadcast and local systems in- relevant clips from their desktops. tegrator Telecom 180. Mediabroadcast The data can be output as statistics on ENG uses the infrastructure and network screen or can be fused with the clips For this World Cup, HBS has ex- of South African telco Telkom, which and pushed to Piero, which automati- panded the number of ENG crews provides the high-bandwidth fiber cir- cally adds the virtual graphics effects. covering the teams and added crews cuits for the IP-based broadcast con- As part of the production philoso- to shoot general supporting fea- tribution network. phy to create clean coverage follow- tures. At the 2006 event in Germany, S8 2010 FIFA World Cup | June 2010 A Special Report by Broadcast Engineering
  • Beauty 14 crews covered the teams. dia stock exchange,” also hosted on pacity of 40Gb/s and will be used after This time there are 32 ENG the MAX server cluster. the World Cup to provide broadband crews, equal to the number As material is ingested, HBS log- services to South Africa. of competing teams, that gers add descriptive metadata to the Eutelsat has four satellites — W2A, film teams the day prior clips. The tagging operators have W3A, W4 and W7 — covering Europe, to a match (MD-1) and eight workstations. Africa and the Middle East that are cover team press con- available for use by MRLs to distrib- ferences. An additional Distribution ute the tournament to their viewers. eight crews shoot feature Distribution of the matches and The EBU has added two transpon- material for use in the associated reporting are over a com- ders on W2A to bring back matches, “world package” for the bination of satellite and fiber. One reports and highlights to its HQ in EBIF feed. The crews use supplier alone is providing 1300Mb/s Geneva for distribution via W2A Panasonic P2 HD camcord- of fiber capacity out of South Africa and W3A to its 75 members. Nimbra ers, with Mediabroadcast with full redundancy. Mediabroadcast transports the host feed to Eurovision, providing DSNG facilities is providing links from the IBC back the terrestrial network services wing for backhaul to the IBC. to Frankfurt and Paris using undersea of the EBU, which acts on behalf of GlobeCast is providing 12 fiber to feed European broadcasters. Europe’s public broadcasters. HD/SD SNG uplinks at venues Net Insight is supporting a wide Other clients providing services for and training camps for many of the range of contributions to North the tournament include GlobeCast, international broadcasters that are and South American and European APTN, Arqiva, Telenor and TV. covering the tournament. broadcasters from South Africa with Although the matches must be a video-over-IP transport infra- live, much of the background cov- International Broadcast structure. The company has been erage is not so time-sensitive. Some Center contracted by EPSN to manage the broadcasters are using WAN accel- The hub of the broadcast opera- tions is the IBC at the Johannesburg Expo Center. The IBC has areas for HBS facilities, including the master control room (MCR) and the central equipment room (CER). Other areas are available for the MRLs to set up their own facilities. To cope with the vagaries of local power, the center has dual redundant power generation with a generous over capacity. Adjacent to the Expo Center is a 5000sq-m dish farm for the contribu- tion and distribution links. At the heart of the IBC is the FIFA Media Asset Exchange (MAX) server. HBS loads match feeds, clips, high- lights, city profiles, ENG material and any other material that is needed by the MRLs to create their own pack- Inside the AMP 3-D truck, Sony MPE200 stereo processors are used to control the stereo ages. During each match, the servers images. capture nine feeds per venue. In all, 3000 hours of HD material will be distribution of feeds from South eration techniques to deliver coverage available to broadcasters. The materi- Africa along undersea fiber-optic ca- like clips of training sessions and team al is stored as DVCPRO HD format at bles into the broadcaster’s New York interviews as files using the public In- 100Mb/s, but clips also are available hub. ESPN then routes on to affiliates ternet. This method can represent a in SD as DVCPRO 25. in South America. big cost saving over satellite circuits Many MRLs shoot their own mate- The satellite teleport and telecom- and fiber. rial, and they can load clips that they munications infrastructure for the Although 3-D may catch the head- wish to offer to other MRLs in a “me- World Cup supports transmission ca- lines, 2010 is going to be the year for A Special Report by Broadcast Engineering June 2010 | 2010 FIFA World Cup S9
  • gence adjustment, including IBC IBC toe-in correction. Data is production exchanged between the pro- center cessors, the CCUs and the Venue Satellite distribution Canon digital lens servos, which enables the 3-D box to correct lens misalignment MRLs at IBC MCR out over the zoom range and HBS OB facility drive some aspects of the MCR in rig, including the interaxial spacing. Not many viewers out of the 750 million expected to Mobile TV Player A and B feeds watch the final will actually MRLs’ OB facilities EBIF show Team A and B feeds see the live 3-D. Acknowl- ESF Stadium beauty shot edging this reality, Sony Clean stadium feed Venue ISO feeds Pictures will release the of- Tactical feed Permanent highlights ficial FIFA film on 3-D Blu- feed ray later this year, by which Figure 3. Nine contribution feeds are returned from each stadium to the IBC time there will be many more home theater systems ca- mobile coverage. With a specially Ligue 1 football. pable of displaying 3-D. FIFA, HBS produced mobile feed rather than a The 3-D coverage is a separate and Sony hope that the 3-D cover- transcode of the primary HD signals, production from the regular HD age of the tournament will kick-start mobile viewers are able to keep track coverage. The 25 3-D matches are the industry and open up production of their teams’ fortunes throughout shot at five of the 10 stadiums. The across the world as broadcasters see the day. FIFA has partnered with Sony production uses two 3-D OB what is done at the World Cup. Ericsson to provide content manage- trucks from French operator AMP ment and distribution to MNOs for Visual TV and Telegenic from the Summary what will be the most comprehensive UK. Both companies have consider- The World Cup regularly gets mobile coverage of the World Cup able experience shooting 3-D events, higher global viewing figures than tournament so far. including tennis and football. any other sporting event, so covering FIFA has worked with MNOs and The AMP Car 8 covers the this monthlong event calls for a logis- MRLs to create content for users on Johannesburg matches. It is equipped tical feat equaled only by covering the a nation-by-nation basis. The focus is with a Sony MVS 8000 switcher Summer Olympics. live match feeds composed for mobile and the Sony MPE200 multi-im- The host broadcaster, HBS, has screens and daily news and feature age processor. In addition to the 2500 staff in South Africa for the content based around individual na- usual crew, the truck is manned event and has called on the services of tional teams. This includes team ar- by eight convergence technicians many systems integrators and rental rivals, dressing room coverage, team (stereographers). facilities to assist in the provision of lineups, goals, action, highlights and At every stadium, seven or eight the temporary facilities for the cover- interviews. pairs of Sony HDC-1500s mounted age of the World Cup. on Element Technica Quasar stereo The main coverage is HD, but for 3-D rigs are used to shoot the 3-D cov- the first time, a mobile feed framed This year marks the beginning erage. The cameras are fitted with for the small screen with its own of regular 3-D broadcasts. ESPN Canon lenses. The rigs can be used dedicated camera provides around- launched its 3-D network with the as beam-splitter rigs for close-ups or the-clock coverage of match prepara- opening game of the tournament, side-by-side for long shots. tions, comment, highlights and news South Africa versus Mexico. FIFA The convergence technicians for fans to watch from “breakfast to signed the rights agreement with manage the stereo images using the bedtime.” Sony (also an official FIFA partner) multi-image processor with MPS- Viewers will not be disappointed in December 2009. HBS has taken the 3D01 stereo processing software. The by the coverage; whether their teams precaution of trialing 3-D produc- processor can perform color match- meet their expectations is another tions with eight broadcasts of French ing, image alignment and conver- matter. BE S10 2010 FIFA World Cup | June 2010 A Special Report by Broadcast Engineering
  • Coverage of FIFA 2010 Broadcast Engineering recently talk- especially for sports. ing countries the November before, ed to Francis Tellier, the CEO of Host Broadcast Engineering: Are there so a lot of preparation has to be last- Broadcast Services (HBS), the host any special challenges for FIFA 2010? minute. The Olympics has years to broadcaster for the 2010 FIFA World Francis Tellier: For 2010, there are prepare. Cup. HBS is responsible for the pro- new challenges. They include a large There are nine host cities with up duction, broadcast venue operations country, with two hours flight be- to 1800km between the most distant, and the provision of the International tween venues. so the World Cup is all over one coun- Broadcast Center (IBC). Another problem is that the coun- try, whereas [the] Olympics is mainly Broadcast Engineering: Which is try does not generate enough electric- in one place. more difficult: supporting the latest ity for all its needs, so there is often Although the [Olympics] opening technology, like stereo 3-D, or provid- load shedding, leading to outages. ceremony has a large audience, the ing affordable coverage to less devel- The broadcast facilities will all need exposure of the World Cup is much oped nations? local generators to ensure continuity. higher than the Olympics. There Francis Tellier: It’s not which is And accommodation is a challenge in is pressure during each [football] more difficult, because we have to do the smaller cities. match; for the Olympics, it is just the both. We must provide state-of-the opening ceremony. art coverage for the most advanced Broadcast Engineering: Where will broadcasters and new media [opera- we see the greatest innovation? tors], but there are other less-devel- Francis Tellier: Leaving 3-D aside, I oped countries that cannot afford to would say the workflow, which we do attend the IBC, and simply take the for just one month. That is, making world feed by satellite. The world available material on the FIFA media feed is a turnkey editorial package server, files to transfer and edited ma- that starts one hour before the match terial for use by new media. and runs 30 minutes beyond the final Some broadcasters have taken one whistle. At the same time, we have the year to get a large media server work- high-profile coverage. For [this] we ing. We don’t have that time; it has to put all the material on a giant media work the first time. server, and they just take what they We have a long relationship [with want. We produce edited features, EVS]; we brainstorm with them. We but the Brazilians or French — for All the technical facilities are going suggest new products, and they work example — can re-edit the footage if to be imported. For 2-D, there will be with us to develop them. they want. flyaways — one at each stadium. We Broadcast Engineering: What about Broadcast Engineering: At each will move the expensive equipment mobile TV? tournament, you add new technology. likes lenses and cameras between sta- Francis Tellier: We have developed Over the years, what has represented diums. Because each venue has a flya- several new packages for mobile net- the greatest leap forward? way setup, there is a comfort in the work operators (MNOs) for a “break- Francis Tellier: The biggest chal- security of transmission. fast to bedtime” experience. It was de- lenge in 2002 was to deliver the cov- 3-D is more complicated; we have cided by HBS and FIFA to outsource erage from two host countries, Korea to rent Anatov freighter aircraft to de- the delivery to MNOs to Ericcson. and Japan. For 2006 [in Germany], the liver two OB trucks to South Africa. Mobile users will be able to receive move to HD for such a big event was There is a shortage of 3-D production features and information throughout also a challenge, but it was decided in facilities that are available in time for the day, which complements live TV. 2003, so there were three years to plan. the tournament, so flying in trucks at There will be team-oriented pack- This year we wanted to do 3-D, but it the last minute was the only option ages offering features on your favorite is going to be an additional produc- for HBS. team. An ENG team will follow each tion, and it is not going to impact the Broadcast Engineering: How do of the 32 qualifying teams. This will be main production. Perhaps this time you rate the complexity of covering made available to the broadcasters and 3-D will be remembered. It is much the World Cup versus the Olympics? MNOs. Material collected at the base earlier for 3-D today than it was for Francis Tellier: Our difficulties camps is returned to the IBC for post HD in 2003. 3-D is still experimental, are that we only know the qualify- production and repurposing. BE A Special Report by Broadcast Engineering June 2010 | 2010 FIFA World Cup S11 11
  • By Sergio NapolitaNo A ppointed as the host broad- To maximize the remote access to venues on a Web-based solution for caster for the 2010 FIFA the content, the broadcaster uses Web download in SD or HD. World Cup in South Africa, server systems already operated by EVS’ Xedio editing solution is be- Host Broadcast Services (HBS) re- HBS for the Ligue 1 Football produc- ing used for the production of 24/7 newed its partnership with EVS to tion in France. The system enables news programs, as well as to pro- provide instant tapeless technology broadcasters to access, browse and vide remote access to file-based ENG and support services for the produc- review the edited sequences produced through the Web production system. tion of this world-class event. by the ENG team at the different Different broadcasters, known as EVS technologies are in- volved at different levels of the host broadcast production, including the live produc- tion of the 64 matches. The OB facilities use these systems for the production of live slow-, super slow- and ultra- slow motion replays, best clip compilations, and creation of highlights packages. EVS also provides a full HD multiple feed ingest and media exchange using a large me- dia server based on network XT[2] servers. This offers in- stant access to any content re- corded during the competition with enhanced search and low- resolution browsing systems, allowing broadcasters to inter- change media content. The media recorded and logged into the media server includes nine different feeds from the pitch, plus ENG files from the 40 field reporting crews. EVS operators at the 2006 World Cup operate the slow-motion capture and replay. S12 2010 FIFA World Cup | June 2010 A Special Report by Broadcast Engineering
  • media rights licensees (MRLs), are can simultaneously ingest and con- for all live replays, including slow- provided with browsing tools to ac- trol up to six feeds per server. motion, super-motion (three-phase cess, review, clip and import material During the production of a match, cameras) and ultra-motion camera for their own production crews. all the XT servers installed in the OBs replays. EVS is used for all replay Last but not least, EVS systems are linked together, allowing operators actions of ultra-motion camera se- manage the ingest of dedicated and production teams to share content quences managing up to 1000 frames mobile feeds with live streaming onto and control media recorded on the per second. In addition, HBS LSM Apple Xsan and FCP editor for instant XT[2] network. The servers are ganged operators use the system for the cre- delivery to mobile network operators together through a dual media sharing ation of on-the-fly highlights and (MNOs). network consisting of an XNet[2] net- closers played during slack periods work based on high-bandwidth SDTI or to illustrate interesting actions Production at venues and a standard GigE network. happening during the game, such as While traditional league matches are Any feed recorded on one server a goal, penalties and crowd reaction. shot with an average of 12 to 18 cam- can be reviewed, converted to a clip eras, 30 cameras are being used for the and played out from any other server. Clip compilation and FIFA World Cup matches, plus an ad- This allows operators to exchange near-live timeline editing ditional aerial camera and cable cam- clips and highlights with other opera- HBS production at the venues era over the pitch for some matches. tors gathering all the best sequences compiles all the best sequences and In addition to standard cameras, and actions that will then be trans- replays occurring during the matches. HBS is operating a series of super slow- ferred to the International Broadcast These sequences combined as one and ultra-motion cameras. To ensure Center (IBC) in Johannesburg. single feed are transferred to the IBC the production of live replays, slow- During the production of the and ingested to the media server to motion action replays, highlights and matches in the OB trucks, the large be available to all HBS and MRL pro- closers during a live football match, number of I/O XT channels are con- duction teams. all cameras are recorded on EVS video trolled by multiple systems, including The creation and gathering of clips production servers installed in the out- the MulticamLSM and IPDirector. by the HBS teams in the OB trucks side broadcast facilities located The MulticamLSM remote con- at each venue is managed using in the broadcast compound, at troller is used for all live slow-mo- MulticamLSM and IPDirector clip the venue, during the event. tion, super- and ultra-motion replays, and playlist management tools. The multicamera actions clipping, and clip compilation gathers all the best Multicamera quick highlight or closer creations. In action recorded on the servers dur- recording addition, LSM controllers point out ing the match, such as multicamera About 130 XT[2] servers the offside positions of the players angles of goals, public reaction, and are deployed in the fleet of through the insert of a virtual offside super-motion and ultra-motion se- OB trucks working at the dif- line graphic overlay recently integrat- quences. To facilitate the compilation ferent venues in South Africa. ed onto the system. of all the best action replays, as well These digital video record- The IPDirector is used for the mul- as player and crowd reaction clips, an ers manage the acquisition ticamera ingest and server network HBS team working in the OBs on the of all cameras surrounding control, browsing and logging opera- IPDirector has real-time access to all the pitch. They are based on tions. In addition, a timeline editing logs created by another HBS team in a loop recording process so module of IPDirector, called IPEdit, the IBC in Johannesburg using the that not even a single shot is will create highlights and clip compi- IPlogger interface. missed. Their live-oriented lations. With IPEdit, HBS editors ben- IPEdit (the new timeline editor for architecture (with a high efit from instant access and control IPDirector) is used by the OB team level of redundancy and over the XT[2] recording channels, for the production of highlights and fault tolerance, ensuring that with no need for media transfer, en- pregame sequences, complete with no failure can interrupt the coding and decoding processes. The transition effects using the full time- workflow) guarantees the IPDirector is also used to manage the line editing solution. Editors can ac- level of control needed for transfer of clips and sequences onto cess multicamera feeds instantly and instant replays, highlights ed- third-party post-production tools. add sequences and clips on their iting, clips compilations and timelines with simple drag and drop graphics overlay managed by Live editing operations actions. IPEdit is operated for short- the OB production team dur- A total of 150 MulticamLSM sys- form editing such as highlights and ing the matches. Each server tems are used at the different venues closer creation. A Special Report by Broadcast Engineering June 2010 | 2010 FIFA World Cup S13
  • Virtual offside line creation IBC remote browsing and media, including the director’s cut, during live production transfer multiple camera angles, ISO cam- For the first time, HBS is creating Additional IPDirector brows- era and best clip compilation. ENG virtual offside line graphics for the ing stations (IPBrowser) have been footage was made instantly available international feed. The offside line added to increase the availability of for production and post-production graphic overlay creation is managed multicamera angles to the produc- operations. using an EVS Epsio. This allows LSM tion teams in the IBC. They also allow The media server is a fully inte- operators to instantly generate a vir- unseen camera angle browsing and grated cluster of production servers. tual graphic overlay with automatic reviewing right after each match. Built on instant tapeless technology, recognition of the pitch boundary. The IPBrowser in the IBC is con- the media server combines hardware The operator only has to manually nected to the IPDirector database in (XT[2] servers) and software solu- trigger the offside line with the jog the OB truck at the venues through tions optimized to manage exchange wheel of the LSM remote to adjust an Ethernet network. Operators in and distribution of media with the it properly. Using a one-time-per- the IBC are able to review each clip, maximum guarantee of speed and event calibration wizard, where each as well as its related, unseen camera security, including indexing (based on intelligent logging sys- tems) of incoming feeds and content, media backup, and archive. For the World Cup, the media server — known as the FIFA MAX (Media As- set Exchange) — manages the ingest and the exchange of about 3000 hours of HD content. During the competition, HBS produc- tion teams and MRLs (the broadcasters) can access a wide range of A/V mate- rial, including match feeds, clips compilations, match highlights, and the ENG clips and rushes. To assist MRLs with background coverage, HBS has its own features, the FIFA tool kit, music sequences and city profiles. EVS is providing the host broadcaster, HBS, with HD multiple feed ingest and media exchange using a media server based on a network of XT[2] servers. Also on the server are analysis and stats, selected camera sends images of the playing angles. Operators can transfer the ISO camera recordings, team train- field with predefined angles into the high-resolution clip back to the IBC ing, interviews and press conferences, system, Epsio can instantly and auto- for the preparation of news cut and plus the match day minus one high- matically recognize the playing field edits. lights (MD-1). during actions and virtually draw the During each match, 11 HD XT[2] offside line along the borders of the The media server servers record the nine different feeds playing field. This one-second opera- HBS introduced the EVS media produced by HBS, including a: tion is selectable with the touch of a server in 2006 during the FIFA World • broadcast international feed; button. Cup to expand broadcasters’ creative • clean stadium feed; The special preview of the graphic capabilities during major sport- • tactical feed; overlay guarantees the availability of ing events. It offers the production • player A camera feed; the offside line effects when the direc- team, as well as broadcasters around • player B camera feed; tor decides to replay the action. the clock, access to all the recorded • team A feed; S14 2010 FIFA World Cup | June 2010 A Special Report by Broadcast Engineering
  • • team B feed; XT[2]Web technology already imple- Mobile production includes a • clip compilation; and mented for the Ligue 1 Football pro- clean feed produced at the venue • mobile live feed. duction in France. The system offers from the dedicated mobile camera remote video and audio Web brows- mixed with other shots composed Logging operations ing and download capabilities of the for the small mobile screen. A feed The content recorded on the media ENG edits to broadcast- server is logged using IPDirector sys- ers that opted for MRL tems. In total, eight logging stations services. are used to add descriptive tags (logs) Once ingested onto to the A/V feeds recorded on the FIFA the media server, ENG MAX media server. edits and their related Two loggers per match (four in to- metadata logs are au- tal, in the case of two simultaneous tomatically sent onto a matches) are dedicated to logging the secured Web server in clean stadium feed as well as to the proxy format (MPEG-4 clip compilation feed. Three stations H.264). MRLs at their are dedicated to the logging of ENG own studios abroad can material and the MRL content con- browse among the hours tributions imported onto the system. of edited ENG content One additional station is used for using the keywords supervision. and descriptive meta- data to facilitate their ENG operations, ingest, search. Once they have Web browsing found and selected me- HBS deployed 40 ENG crews, with dia (A/V or audio only) 32 crews following each playing team and dropped it into their and eight crews spread throughout baskets, MRLs can then the host country gathering World request the high-res file Cup-related features about matches, either in SD or HD. fans, South African culture, sights The transfer operation and on-site events. is automatically man- All crews working with Panasonic aged using the Smart- P2 camcorders send their rough cut Jog system linked to the edits and rushes to the IBC on a daily EVS database and media basis. These are immediately logged server. High-res audio Shown here are EVS servers forming the original media server concept developed for the 2006 World Cup in and made available on the media files can simply be im- Germany. server for HBS production teams ported locally through and MRLs to browse and download the XT[2]Web solution. locally. is sent to the IBC for the dedicated The rough cut operations are man- Mobile live feed ingest and production of mobile packages, with aged using an EVS Xedio media dis- streaming a version produced for distribution patcher system to select, group, clip, HBS is managing the production with mobile-specific graphics for log and export P2 files — in the ap- of a mobile feed delivered to FIFA the distribution to mobile network propriate format — onto the me- mobile subscribers through telco net- operators. dia server in Johannesburg. In total, works. To offer high-quality footage, The dedicated mobile feed about 20 to 25 hours of content are HBS is providing a dedicated mobile produced at the venue is ingested into produced and shared every day. feed. A production team works on the media server with live streaming To increase the availability of ENG the mobile feed production; a spe- from an Apple Xsan server, allowing cuts to MRLs, HBS developed a new cial mobile production substitutes a FCP editor working on the mobile Web-based solution offering Web the main camera feed with a dedi- content production (voice-over, edit- browsing and download capabilities cated camera — also filming from the ing, specific team presentation, etc.) to broadcasters based on the XT[2] main platform — to provide closer to edit it live. BE Web systems. shots and action that offer better Sergio Napolitano is solution marketing The MRLs use services based on visibility on mobile devices. officer at EVS. A Special Report by Broadcast Engineering June 2010 | 2010 FIFA World Cup S15
  • Be ready to compete Live Production Server with Scalable Storage Full HD/SD Ingest & Playout Live Replays Including Ultra Motion & 3DHD Real-Time Editing Network Management Dual Media Sharing Network Native Support of the Most Popular Codecs www.evs.tv S16 2010 FIFA World Cup | June 2010 A Special Report by Broadcast Engineering
  • Panasonic also showed depth-en- 3-D camera demo by linking two LDK Autodesk gave 2011 labels to its hanced images on its new 25.5in BT- 8000 cameras side-by-side, introduced NAB 2010 releases of Flame, Flare, 3Dl2550 3-D monitor, which can be the latest version of its K2 Dyno replay Flint, Smoke and Lustre and claimed connected directly to the AG-3DA1 system with the ability to handle super many had enhanced 3-D capabilities and other 3-D cameras via HD-SDI slo-mo and 3-D projects, and detailed even though that usually referred to inputs. The BT-3Dl2550 is designed as a 3-D workflow through a Kayenne 3D graphics, character animation a production monitor, so it uses Xpol video production center. or compositing. polarizing that enables engineers to For 3-D format conversion, Miranda Quantel trumpeted its 3-D post- view it with passive 3-D glasses. showed off its Densité 3DX-3901 signal production products, although un- That phenomenon was also on dis- processor capable of converting mul- less you have the budget of “Avatar,” play in Sony’s 3-D technology installed tiple 3-D formats, and brought out a it’s hard to afford them. There is little in the 53ft double Expando 3-D-en- new 3-D option for its Imagestore 750 that you can’t do in 3-D with the abled HD production truck built by All channel-branding processor capable of company’s new version 5 software for Movie Video. The remote vehicle was providing up to four 3-D keying layers eQ, iQ and Pablo systems. equipped with an MVS-8000G multi- and offering a variable “Z-plane” for format switcher that can combine two graphics depth control. To see those Conclusion camera inputs into a single 3-D source. signals, Miranda had its Kaleido-X16, Even this skeptic recognizes there is All of the screens at the engineering a 16-input, dual output multiviewer for gold in them there 3-D hills: gold for stations used polarized displays so the 3Gb/s/HD/SD/analog 3-D monitoring. special events, gold for theatrical block- engineers could watch multiple screens Post production remains the bud- busters, and by all means gold for home in sync with each other. get sinkhole for anything but live video game players who can vegetate for One of the most impressive 3-D 3-D production, and few NLE manu- hours under those 3-D glasses. With all displays was TVLogic’s TDM-150W. facturers have addressed it directly. the ballyhoo at NAB 2010 over home- It’s one of the first 3-D organic light- Avid offers dual timeline mainstream delivered 3-D entertainment, time will emitting diode (OLED) monitors, 3-D editing with direct output to full tell if it can become a mainstream me- boasting a 100,000:1 contrast ratio. 3-D displays. dium capable of being popular enough The display is only 15in in size, and Adobe Systems unveiled its Cre- to support 24/7 delivery channels. BE due to limited production runs, it will ative Suite 5 product family. However, L.T. Martin is a freelance writer and post- be relegated to broadcast production its editing component, Premiere Pro, production consultant. use for the time being. can handle 3-D projects only with the Grass Valley disavowed the need help of CineForm plug-ins, despite For more Technology Seminar for 3-D-specific equipment, claiming the boost it gets from the remarkable coverage from NAB, go to all its existing gear is 3-D ready today. new GPU-accelerated Adobe Mercury www.broadcastengineering.com The company underlined this with a Playback Engine. Tempest®2400 2.4GHz Digital Wireless Intercom Systems have been proven and heard by audio experts like you. Tempest’s patented wireless technology can tolerate crowded Wi-Fi environments; provide exceptional coverage and range where most other wireless intercoms fail; and combat noisy environments with high audio dynamic range. Contact Clear-Com® today for a demonstration. Your next production depends on clear communications. www.clearcom.com June 2010 | broadcastengineeringworld.com 51
  • Product JackPot NAB ReplAy Lip sync correction intercoM virtuaL key converter software Miranda icontrol aJa fido riedel artist vcp-1004 virtual panel Allows a regular computer to be used as an intercom control panel in combination with any Artist digital matrix intercom iControl lip-sync monitor option allows system; computers running the software lip-sync error detection and measure- can be integrated via a wired or a wire- Family of SDI/optical fiber converters for ment to be performed across broad sig- less Ethernet connection into the matrix; the transport of SDI, HD-SDI and 3G SDI nal distribution networks; unique signal the communication between matrix and over distances of up to 10km; designed fingerprint comparison technology al- virtual panel is realized via the VoIP-108 for outdoor or indoor use; converters pass lows detection of conditions where the G2 client card; features four talk-keys and the complete SDI signal (including au- synchronization between audio and video a shift-key to double the number of avail- dio and/or meta data); meets all relevant has been severed; can collect fingerprint able keys. SMPTE specifications; low profile enclo- data over IP networks and perform detec- +44 1753 785805; www.riedel.net sure enables use in tight spaces. tion of lip-sync errors of up to several sec- +1 530 274 2048; www.aja.com onds; provides reports and graphs to help operators better understand the operation fresneL Lights of complex signal distribution networks. distribution aMpLifier Litepanels sola series +44 1491 820 000; www.miranda.com ese dv-212 1 x 12 3G/HD/SD-SDI distribution ampli- ModuLar i/o box fier provides cable equalization, reclock- ing and distribution; distributes one 3G, calrec audio artemis HD or SD-SDI input signal to 12 outputs; video signal can be reclocked before dis- tribution or distributed without retiming the input signal; in reclocking mode, the unit automatically detects and reclocks the 270Mb/s, 1.5Gb/s or 3Gb/s signal. +1 310 322 2136; www.ese-web.com Offer beam control of 70° to 10°; feature portabLe hd zooM Lens instant dimming from 100 percent to 0 with no noticeable color shift; provide the canon kt17ex4.3b Fully customizable 3U I/O interface box control and single-shadow properties in- fits into the Hydra2 network system; de- herent in a Fresnel light but use a fraction signed to meet the rigors of live produc- of the power of conventional fixtures; So- tion, whether in an OB truck or on a laENG provides manual focus and dim- studio floor; contributes to fast and easy ming control via camera lens style ergo- signal routing among devices on an au- nomic controls; Sola6 and Sola12 provide dio network; its mix of audio interfaces on-fixture motorized control of focus and and high-density connections support local dimming via a touch-screen and are cost-effectiveness while at the same time also remote-controllable via their inte- reducing size. grated DMX interface. +44 1422 842159; www.calrec.com +1 818 752 7009; www.litepanels.com Designed to support both HD ENG and general HD production requirements; 1/3in lens is ideal for shooting assign- ments that require flexible creative con- coLor corrector trol and a generous focal range; features a 17X zoom ratio and minimum fo- blackmagic design davinci resolve 7.0 cal length of 4.3mm, which provides a Features include support for Mac OS X platform, upgraded user interface, improved 62.6-degree angular field of view in the video field support, a new EDL library and improved shared database support; three 16:9 HDTV image format; its built-in 2X models of DaVinci Resolve areavailable: a Mac-based software-only version, a Mac- extender increases the focal-length range based version that includes the DaVinci Resolve control surface, and a high-end Linux from 8.6mm to 146mm. version that supports multiple GPU supercomputer based systems. +31 20 545 8905 +44 1565 830049; www.blackmagic-design.com www.canon-europe.com 52 broadcastengineeringworld.com | June 2010
  • hd caMera Media server panasonic ag-af100 omneon Mediagrid contentserver 2124 4/3in video camcorder is optimized for Combined with the latest release of MediaGrid software, V2.3, sys- HD applications; offers native 1080/24p tem delivers high performance and cost-efficiency for high-band- recording, full 1080 and 720 production, width production workflows; smallest MediaGrid system with just variable frame rates, professional audio three ContentServer 2124 systems provides up to 1GB/sec in band- capabilities; compatible with SDHC and width and can support up to 100 simultaneous Final Cut Pro edi- SDXC media; two SD slots allow up to tors, as well as natively host transcoding and QC applications. 12 hours on two 64GB SDXC cards in +44 1256 347 400; www.omneon.com PH mode. +44 844 844 3856 www.panasonic.com/ Media workfLow tri-aMpLified business-solutions Monitoring systeM sony Media backbone Suite of products and planned technolo- genelec 1038cf autoMation and gies supporting networked content work- pLayout pLatforM flow; includes Media Backbone Conductor, which manages media workflows between omnibus itx content production services and business processes; Media Backbone Ensemble manages ingest and archive workflows, and connects to the Media Backbone Conduc- tor, which interfaces with third-party plat- forms; system built on SOA techniques. +44 1256 355011; www.sonybiz.net MuLtiviewer Features loudspeaker drivers, slim speaker enclosure, dual 8in-long throw bass driv- Includes more than 130 new features, in- snell Mv–series ers and multiple power amplifiers, as well cluding advanced aspect ratio control with as active, low-level crossovers; designed AFD insertion, BXF schedule import, en- for medium-size control rooms; uses hanced CG capability and closed-caption- Genelec’s advanced Directivity Controlled ing functionality, support for copy guard Waveguide technology, which is designed data insertion, additional bit rate support to provide excellent stereo imaging and for Dolby D, and schedule preview control; frequency balance — even in difficult allows broadcasters to mix both media Flexible and cost-effective monitoring acoustic environments. formats and resolutions in the same sched- solution; up to 64 analog and digital +358 17 83881; www.genele.com ule; broadcast HD, SD and lower bit rates video inputs, including 1080p; can dis- can be mixed within a single schedule and play inputs of differing frame rates si- are automatically up- or downconverted multaneously; optional input cards for station-in-a-box by iTX; can be used for Internet TV and fiber connectivity for 270Mb/s, 1.5Gb/s streaming delivery applications. and 3Gb/s SDI/HD-SDI; meters up to 16 florical acuitas channels of audio. +44 8705 004 300; www.omnibus.tv +44 118 986 6123 www.snellgroup.com video server harris nexio volt MuLti-iMage dispLay and Monitor evertz Mvip Targeted at applications where simple and Eliminates the traditional, serial-based, efficient monitoring of audio and video proprietary boxes within the broadcast Integrated storage server with small form- from an IP transport stream is required; chain by using all off-the-shelf, IT-based factor; supports up to four mixed SD/HD supports both Unicast and Multicast net- components to provide reliable and af- or SD-only baseband channels in 1RU work topologies; supports all major video fordable HD playout, graphics, effects package; provides 1TB of RAID-3 pro- compression standards: MPEG 2, H.264 / and switching; powered by Florical’s Air- tected internal media storage; comes stan- MPEG 4 AVC, MPEG 4 Part 2, VC1; sup- Boss; provides a feature-rich, flexible and dard with the NEXIO Playlist and NEXIO ports all major audio compression stan- reliable IT-based playout system; creates a Remote application for ingest, playout dards: MPEG1L2, AC3, AAC; has alarms service-oriented architecture; can be used and media management. for loss of video, black, freeze and macro for simple commercial insertion opera- block detection. tion or to run multichannels. +44 118 964 8000 www.broadcast.harris.com +44 118 935 0200; www.evertz.com +1 352 372 8326; www.florical.com June 2010 | broadcastengineeringworld.com 53
  • Product JackPot NAB ReplAy dvi switcher video servers production software pesa pro 8x8-dvi evs xt[2]+ and xs Quantel v5 1RU rack-mountable frame assembly with Applies to eQ, iQ and Pablo; delivers ma- eight DVI-D input ports and eight DVI-D jor advances in color correction, RED and output ports; provides single-link, DVI- stereo 3-D workflows; supports multilay- D operations up to 1920 x 1200@60Hz er color correction, real-time color cor- (WUXGA) resolutions plus 480p to 1080p rection on Pablo, new stereo 3-D timeline video formats; control via local push but- and 3-D tools; features a new soft mount ton selector, IR remote, USB local inter- tool for RED r3D media. face or via an RS-232 connection; has an +44 1635 48 222; www.quantel.com EDID learning function, reducing switch- ing speed while maintaining bi-direction- al communications between the switcher Provide full native support of Panasonic 3g fiber transMitter frame and connected devices. AVC-Intra video coding; are fully compli- ant with both H264/MPEG-4 AVC stan- Lynx technik otx 1840 +1 256 726 9200; www.pesa.com dard and SMPTE specifications; provide full 10-bit HD resolution at ENG bit rates professionaL Lcd Monitor and intra-fra me compression. Jvc vérité g +32 4 361 7000; www.evs.tv Supports all SDI video standards, in- autoMation soLution cluding 3G 1080p for transmission up to 24.8mi at a wavelength of 1550nm; pebble beach deckchair includes an SDI input and fiber output Compact 3RU automation solution hosts for single-mode transmission of video device control, database and a client; pro- signals; when paired with the fiber-optic- vides up to three fully featured on-air to-SDI receiver (Yellobrik ORX 1800), the channels; available in six preconfigured resulting solution is an optical transmis- options; users can expand their systems at sion/receiver system. a fixed cost, in line with the capabilities of +49 6150 18170 Features 3G and DualLink HD/SD-SDI their video servers; systems are provided www.lynx-technik.com (1080p/60 4:4:4) inputs; comes in both preloaded with a full set of device drivers, 17in and 24in sizes; designed for broad- allowing future expansion using a simple cast, studio, mobile and field applications upgrade package. production switcher that demand accurate color rendition for +44 1932 333 790; www.pebble.tv controL paneLs critical image evaluation; offers built-in waveform monitor with overlevel func- ross video vision series tion, vectorscope with selectable size and transMitters Control panels are modular; now have the position, advanced audio level meter, and ability to add extra MLE and crosspoint LTC/VITC time code support; non-glossy grass valley elite 1000 greenpower control into open module slots on the LCD panel provides improved picture control surface, thus adding control for quality and maintains accurate color additional MLEs; dedicated simultaneous at wide viewing angles; provides 10-bit control of up to five MLEs is possible in 1080p processing with less than one frame the largest Vision Series control panel. of latency. +1 613 652 4886; www.rossvideo.com +44 20 8450 3282 www.jvcpro.co.uk network ManageMent software 3d graphics and aniMation systeM rohde & schwarz ts4570 Can be installed on a standard industrial vizrt viz trio one-box computer and perform all the operations Latest version of the Viz Trio real-time 3D Line of TV transmitters with 50V LDMOS at remote site; communicates with all SN- graphics and animation system; instead technology; feature output power of up to MP-capable transmitters and monitoring of requiring a PC as well as an additional 14kW ATSC per unit, energy consump- equipment independent of the manufac- rendering engine, Viz Trio One-Box com- tion savings of up to 15 percent over the turer; non-SNMP equipment like cooling bines the Viz Trio client and Viz Engine previous Elite models, embedded SNMP systems, emergency power supplies and on a single PC with two internal graph- agent and Web server; use real-time Digi- other site components are monitored via ics cards; both the VGA preview and final tal Adaptive Pre-Correction; use an open a parallel I/O port or SNMP converter; program signals can be viewed on one PC exciter compliant to standards including can also integrate numerous transmitter with no negative impact on graphics qual- DVB-T, DVB-T2, DVB-H, ATSC, ATSC sites into a single unified system. ity or rendering speed. Mobile DTV, FLO and DAB. +49 89 41 29 0 +44 20 8280 0410; www.vizrt.com 503-526-8100; www.grassvalley.com www.rohde-schwarz.com 54 broadcastengineeringworld.com | June 2010
  • audio consoLe video switcher salzbrenner stagetec auratus virtual control panel barco fsn series New virtual control panel software simulates additional control panels for the console, which are not physically built in; the GUI software runs on any standard PC linked via Ethernet to the new TREM controller unit mounted in the console’s frame; once set up and running, the GUI simulates all the control elements so operators have full access to every control that is found on the hardware console’s control surface normally — in- cluding all metering, faders and encoders. +49 9545 440-0; www.stagetec.com 3Gb/s multiformat video switcher features advanced soft paneLs Loudness Monitor a new Universal Output Card (UOC), built-in 16-channel multiviewer with full pixel power Management console wohler pandora UMD, a two-channel 2D DVE card and Supports the creation of custom soft pan- Desktop or rack-mountable loudness new software capable of controlling 2.5 els for BrandMaster; includes a built-in monitor and measurement (LKFS) of M/Es; each dual-channel UOC allows any layout editor supporting drag-and-drop any SDI video signal with audio; handles aux bus to output DVI, analog or SMPTE simplicity to the process of laying out or AES, PCM, Dolby, stereo or multichannel SDI signals at any format. modifying a panel design; enables uncon- audio; graphic display shows changes in +44 1344 206600; www.barco.com strained panel designs to suit any require- loudness over time and real-time loud- ment; provides novel control possibilities ness (LU) levels at a glance; offers user- such as the use of touch screens, including adjustable loudness measurement param- wide-angLe Lens multitouch and gestures, to add flexibility eters, including reference level, gating and in master control environments. integration time; handles two-, four-, six- thales angenieux 14 x 4.5 +44 1223 721000 or eight-channel (AES or SDI) operation. Offers a focal range of 4.5mm to 63mm and www.pixelpower.com +1 510 870 0810; www.wohler.com an aperture of f/1.8; weighs 4.6lbs; available in semi-servo and full servo versions, as well as with 16-bit digital connection for zoom and handle connection; complements the 19X ENG and 26X telephoto HD video lens as all three offer the longest zoom range in their respective categories. +33 4 77 90 78 00 www.angenieux.com Media asset ManageMent dalet enterprise edition Customizable platform enables broad- casters and content producers to integrate multiple workflows and formats — news, sports, programs, VOD, archives in SD and HD — under one fluid system; built-in production tools manage ingest, logging, production, distribution and archiving across systems and workgroups. +44 20 7953 7501; www.dalet.com June 2010 | broadcastengineeringworld.com 55
  • Technology in TransiTion New products & reviews Display technology displays are changing fast; don’t be left behind. by john luff s ome of us remember Conrac uses. Organic LED (OLED) technol- suffer from “lag,” which is the decay monitors in broadcast sta- ogy falls into this category. of pixels slower than the frame rate. tions being the crème de la In general, the closest technology to Both artifacts can be ameliorated by crème. Conrac still manufac- CRTs (in terms of contrast ratio and technology. Lag can be reduced by up- tures CRTs for broadcast use (4:3 only), colorimetry) is plasma. Both use phos- dating the panel much faster than the but along with many other manufactur- phors and are emissive technology, but frame rate, with some panels flashed ers, it will soon be out of the broadcast plasmas have some drawbacks. They at up to 480Hz in consumer displays. CRT monitor business when new and do not modulate an electron beam With arrays of LEDs in the backlight replacement CRTs are no longer avail- per se, but rather modulate the “dwell” unit (BLU) behind the panel instead able because of environmental issues. time for each pixel to effect amplitude of continuous illumination from cold How soon will this happen? This year modulation of the light. This means cathode light units, it is possible to — now. Not ready for change? Let me that the pixels must be flashed at a turn off the light behind dark regions, try to illuminate your options. rate considerably faster than the frame improving black level substantially. At rate. Brighter simply means it is on the same time, it is possible to extend Replacement longer. Early plasmas suffered from color gamut to digital cinema specs display options contouring because of the appearance and beyond by managing the color of With CRTs disappearing, we’re of insufficient pixel depth, though it the backlight in regions. At NAB, one left with variants of flat-panel dis- was simply an artifact of the speed of manufacturer of digital cinema hard- plays. Consumer products based on modulation and number of bits used ware introduced an excellent 42in both LCD and plasma technology are in the temporal modulation. More panel with this technology, using all readily available and of good quality. recent designs have largely eliminated of these techniques. OLED technology is also emis- sive and has been touted for years 250 100% as the logical replacement for CRTs. 90% Because OLEDs are emissive, and 200 80% because the pixel sites can be quite LED TV penetration (%) 70% small, OLED displays could scale to Millions of units 150 60% large arrays with almost unlimited 50% resolution. Power consumption is 100 40% low as well. When cells are turned 30% off, they produce inky blacks. This 50 20% sounds promising. 10% The problem is that volume pro- 0 0% duction for either professional or con- 2008 2009 2010 2011 2012 2013 sumer use in large sizes is still a ways LCD TV (units) 101.5 138.3 170.0 195.4 213.5 224.9 off. Also, the state of the art still has less LED LCD TV (units) 0.2 3.6 32.0 76.0 119.0 155.5 LED TV penetration (%) 0.2% 2.6% 18.8% 38.9% 55.7% 69.1% than satisfactory aging characteristics, though that is improving. When I asked Figure 1. LED backlit LCD TV penetration (Courtesy Displaybank) one manufacturer of small OLED pan- els why it doesn’t scale production up Some manufacturers buy panels from this effect by improving the modula- considering its superior performance, the “fab” factories in the Far East and tion near black and number of bits I was told the answer was economic, modify the electronics to make the used to represent the pixel. not technical. The same company had performance more precise, repeatable LCD monitors are transmissive, built a fab factory for LCDs at a cost and closer in results to CRT moni- i.e. they require illumination from of billions (with a “b”) of dollars. I tors. Emerging technologies hold behind. (See Figure 1.) The ability of was told OLED production would be great promise, though they are not yet LCDs to make deep blacks is limited delayed until that factory produced a ready for commercial production in by the ability of the panel to com- sufficient LCD product. Case closed, sizes applicable to most professional pletely cut off the backlight. They also for now at least. 56 broadcastengineeringworld.com | June 2010
  • Technology in TransiTion New products & reviews Consumer display can produce an extended gamut. Re- operation. Plasma monitors are inher- technology search on this was demonstrated at the ently similar in physics to CRTs and If you are getting the impression 2006 Hollywood Post Alliance Technol- don’t need that correction. Can we as- that future professional monitors will ogy Retreat in the United States and re- sume that the displays have correctly be based, at least in part, on consum- ceived considerable interest — so much adapted to the input, or has the man- er technology, I think you are right. interest that a patent infringement suit ufacturer decided to make the picture Simply put, there are not enough was filed the next year against consumer more pleasing at the expense of accu- professional monitors to make it manufacturers using what was alleged racy? While not a scientific answer, I worth the investment to develop pri- to be the same approach. would opine a guess that the multi- mary technology that cannot also be tude of options available to consum- effective in consumer distribution Conclusion ers (“cinema mode,” “standard” and channels. But that does not mean that All of this display upheaval has pro- other menu selections) means that we CRT replacements are not going to be duced interesting effects. We used to be have to assume the worst. The only re- as good, or delayed, until consumer able to color correct to a known stan- alistic answer is to produce standard- sets are as good as professional sets. dard, the repeatable performance of a ized images and educate consumers Let us not forget that consumer sets CRT monitor. But now film work has and CE companies to make sure the can already display the same resolu- to use DCI color specs, often on pro- whole distribution system permits tion as professional monitors and are jectors, and video production has to holistic results. BE improving rapidly in other respects. guess what the dominant display tech- John Luff is a broadcast technology For instance, LED BLUs for LCDs are nology will be. Let’s say the four-color consultant. in general distribution for consumer display becomes dominant because use now. A monitor with calibration of consumer interest in what might Send questions and comments to: features appropriate for professional use is not a daunting task. There are appear to be better pictures. Does a post company switch to displays rep- ? john.luff@penton.com mainline manufacturers of monitors licating that approach? When can we that participate in the professional say we know what the dominant con- marketplace as well, and they have sumer display has become? Or do we a vested interest in providing high- use tools that produce repeatable and profit, high-performance monitors to scientifically correct output? the professional marketplace. For instance, transmissive displays At the same time, there are interest- have a map built in to correctly display ing technologies in development and the content, knowing that the signal deployment. You can now buy a con- may have gamma assumptions that sumer set with a four-color BLU, which do not apply to the physics of their NULWI/!O E TI M KOUT B R E AN E L PA June 2010 | broadcastengineeringworld.com 57
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