The Best Broadcast Technology and engineering Magazine

3. TEST AREA
Jünger Audio
Processors
42 Canon C100 vs C300
FIFA World Cup 2014
06 PAN SHOT
Editorial
04
Staff
Editor
Javier de Martín
editor@tmbroadcast.com
Director
Jesús Carrillo
director@tmbroadcast.com
Key account manager
Cristina Feduchi
Javier M. Gutiérrez
international@tmbroadcast.com
Creative Direction
Mercedes González
design@tmbroadcast.com
Editorial staff
press@tmbroadcast.com
Administration
Margarita Quevedo
administration@tmbroadcast.com
TM Broadcast International #11
June 2014
TM Broadcast International is a
magazine published by Daró
Media Group SL
Centro Empresarial Tartessos
Calle Pollensa 2, oficina 1
28290 Las Rozas (Madrid), Spain
Phone +34 91 640 46 43
Published in Spain, June 2014.
Summary
30
54
ZOOM IN
Interview with Niclas
Ericson and Mark Ginyer
TEST AREA

4. Editorial
Finally started one of the most important
events in the world, the FIFA Cup. We´ve been
talking with lot of professionals who are now,
as we write this editorial, working in Brazil for
different media in different specialties. Uniformly
have forwarded us his displeasure, some
infrastructures that should be completed are
not, and there is a sense of chaos and disor-
der. Even someone has told us to be thinking
about going to the Olympics held there in two
years. It is great to hold such large events in
developing areas, but it is also true that the
entire country should be involved. Because of
what happens here depends an important part
of business and technological development,
Brazil should strive to face the Olympics. Tokyo
is certainly a spectacular technological catalyst,
they are studying right now how to incorporate
8K in broadcasting and that many years left.
That's the kind of commitment we need.
TMBi - 4

6. TMBi - 6
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2014
SP Telefilm to use Grass Valley live production solutions to
produce the FIFA 2014 World Cup in Brazil for TV Azteca
São Paulo production company
SP Telefilm will provide broadcast
services to TV Azteca to broadcast
the games of the Mexican national
team in Brazil during the FIFA 2014
World Cup using live production
solutions from Grass Valley, a
Belden Brand. SP Telefilm, referred
to the project by International Media
Services Inc., will use its HD OB van
to transmit the games via satellite
from Santos in the state of São
Paulo and from the cities where the
games will take place.
The SP Telefilm mobile unit is
equipped with a Grass Valley
Kayenne Video Production Center
switcher with 48 inputs, nine LDK
4000 Elite single format HD came-
ras, one LDK 8300 Live 1X/2X/3X
Super SloMo camera, three 4-chan-
nel K2 Dyno Replay Systems and a
Concerto multiformat routing swit-
cher.
"The production equipment from
Grass Valley will not only allow us to
capture each match, but will provide
stunning, captivating and engaging
images to the viewers in Mexico,"
said João Carlos Serres, general
manager, SP Telefilm. "This is espe-
cially true with the integration of our
three K2 Dyno
Replay Systems,
which gives us the
opportunity to
assemble highlight
packages and
replays that fans in Mexico will
expect from World Cup matches."
This agreement dates back to
2013 when SP Telefilm and TV
Azteca first agreed to produce and
broadcast the Confederations Cup.
The agreement was then expanded
to include the draw of the FIFA 2014
World Cup Brazil groups, a program
on the host cities of the World Cup
and the coverage of the Mexican
national team.
"With such an important event as
FIFA 2014 World Cup Brazil, we are
honored that SP Telefilm has put
their trust in Grass Valley live pro-
duction equipment so that the fans
in Mexico can root for their national
team," said Leonel da Luz, vice pre-
sident sales, Latin America, Grass
Valley.
Advantech Wireless
SapphireBlu™ Series of
UltraLinear™ GaN technology
based High Power Amplifiers
Awarded Teleport Technology of the year 2014 by
the World Teleport Association and “Vision Award” as
Most Innovative Product of the Year 2013, the
SapphireBlu™ Series of UltraLinear™ GaN based
HPAs is the ultimate solution for any uplink activity,
such as content contribution, distribution and DTH TV.
It empowers full Ultra HDTV, with the new 4K standard,
in a very performant and cost effective way. This is the
first time GaN technology is being used to transmit the
world’s most important sport event of the year. It is a
world premier. With this pioneering technology it’s pos-
sible to saturate all transponders of the modern satelli-
te with a single 13m antenna and a single amplifier per
polarization.

8. TMBi - 8
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2014
Genelec sponsors The Walk to Fisterra
Genelec is a proud sponsor of The
Walk to Fisterra project and has
supplied its 1037C monitors to facili-
tate the ambitious recording vision
of project engineer, Kyle Pyke.
The Walk to Fisterra has seen
world renowned cellist, Dane
Johansen, embark on a musical pil-
grimage along the ancient el
Camino de Santiago. Along the 600
mile route from France to Spain’s
Atlantic coast Johansen is carrying
his cello and will be stopping in
ancient churches on route to per-
form and record Bach’s Suites. The
team’s challenge is already under-
way, having set off in May, and is set
to finish in mid-June.
“This is an extremely exciting
vision and one we are very proud to
be supporting,” says Lars-Olof
Janflod, Marketing and PR Director
at Genelec. “In each church the
Fisterra team will run an impulse
response using our 1037C monitors
to take a reading of the sonic state
of each space which they will aim to
recreate for future audiences.”
“The loudspeaker will send out a
signal for 30 seconds, starting at 20
Hertz and running all the way up to
20,000 Hertz. That signal will boun-
ce off the walls of the church and
come back to be absorbed by our
microphone array. We will use the
information collected to create a 3-
dimensional sound map of the
acoustic space, enabling us to
recreate that sonic space for
audiences in the future,” says Dane
Johansen.
Recording engineer Kyle Pyke
says, "Genelec signing on as one of
our partners was a huge step for-
ward for our project. Their monitors
can be found in nearly every recor-
ding studio in the world, and kno-
wing that we have an industry stan-
dard speaker to run our impulse res-
ponse sweeps gives me confidence
that we will capture the most accu-
rate response from every hall."
For the project, Genelec has sup-
plied a pair of its 1037C, a three-way
active monitoring system including
loudspeaker drivers, speaker enclo-
sure, multiple power amplifiers and
active, low signal level crossovers.
The unique Directivity Control
Waveguide™ (DCW) Technology
used provides excellent stereo ima-
ging and frequency balance even in
difficult acoustic environments,
making it well suited to Dane and
Kyle’s requirements.

10. TMBi - 10
PA N SH O T
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2014
Guangdong TV Centre scores
during Fifa World Cup pro-
ductions with TSL products
Guangdong TV Centre’s used TSL products audio
monitoring range for loudness and quality. TSL has sup-
plied SAM1-3GM studio audio monitoring units, the
PAM PiCo Master 5.1 Surround/Loudness Compliance
Meter and an entry-level MPA1-3G audio monitoring
unit to ensure its compliance with regional and national
standards. The TSL units are installed in key positions
in the control room and rack room for confidence moni-
toring of multiple audio streams.
“With live action feeds coming in from the 12 venues
in Brazil covering the World Cup, mixed with on-site and
local commentary, having reliable audio confidence
monitoring through the MPA and SAM units and loud-
ness compliance logging through the PAM PiCo is a
must for this massive live event,” says Howard Hong,
Principle Engineer for Suntec Broadcast Technology
Ltd., the systems integration company handling the ins-
tallation. “We chose TSL Products equipment because
they offer rock solid performance, straightforward func-
tionality and an abundance of features critical to the
quality assurance and loudness mission.”
SAM1-3GM will enable Guangdong TV operators to
define individual channels as stereo, mono or 5.1 with
instantaneous downmixing of surround sources for ste-
reo compatibility monitoring for World Cup matches.
Channels can be mixed together at the push of a button
with individual level trims and channel balance/pan
control and the resultant ‘mix’ output available as a line
level analogue or AES feed, which can be used for cues
and extended applications.
Advantech Wireless
UltraLinearTMGaN techno-
logy based HPA Systems
successfully supportthe live
transmission of sports tour-
nament in Brazil
Advantech Wireless announced today that it is
successfully supporting the live transmissions of
the sports tournament in Brazil with its 400W C-
Band and 200W Ku-Band SapphireBlu™ Series of
UltraLinear™ GaN technology based High Power
Amplifiers.
Alex Pimentel, President at Casablanca Online
states: “We have chosen the Advantech Wireless
HPAs for their incredible performance and reliabi-
lity combined with the smallest form factor and
power consumption on the market. We are using
Advantech Wireless product since 1999 and these
products are still in perfect operational condition.
However with the new requirements of HDTV and
now UHDTV, we need more power per feed. We
found in Advantech Wireless the reliable partner
who delivers the best solution for our application in
terms of performance, quality and deliveryof the
product and overall cost of ownership. We started
upgrading our fleet of DSNG vehiclesfor full HDTV
transmission capability, including HPAs a year ago
and were ready a month before the tournament
started with all our vehiclesto transmit uninterrup-
ted feeds to Brazil and countries around the world.”
“We are extremely proud to have been selected
by Casablanca Online to support the live transmis-
sion of the world’s most important sport event of
the year,” stated David Gelerman, CEO Advantech
Wireless.“We found in Casablanca Online the real
visionary partner who has committed long ago to
undergo the major retrofit and completely rebuilt its
DSNG vehiclesin all aspects required to support
high quality HDTV feeds to meet the most deman-
ding requirements of today’s contribution market.
They have chosen the best technology from enco-
ders to HPAs. We are proud that we are “inside” of
the largest fleet of DSNG production vehicles in
Latin America.”

12. TMBi - 12
PA N SH O T
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2014
Thomson Video Networks highlights world-class video qua-
lity for contribution/distribution, OTT/IPTV Delivery, and Ad
Insertion at BroadcastAsia2014
In a number of live demonstrations
at BroadcastAsia2014, Thomson
Video Networks will showcase com-
pression technologies that deliver
high encoding density for content
ranging from low-res to 4K and
including MPEG-2, H.264, and
HEVC formats. On display will be
the award-winning ViBE™ range of
encoders for contribution and distri-
bution.
Contribution and Distribution for
Fixed and Mobile Offerings
Thomson Video Networks will fea-
ture members of its ViBE™ encoder
family, including the ViBE EM4000
multi-channel HD/SD encoder,
EM2000 SD encoder, and
CP6000/6100 high-performance,
multi-format live video contribution
platforms. The ViBE EM4000 is the
first encoder to offer a density of
eight HD MPEG-4 AVC channels in
a 1-RU chassis, with MPEG-2 and
MPEG-4 AVC compression that deli-
vers maximum bandwidth savings
and video quality for pay TV opera-
tors. The ViBE CP6000 features an
unprecedented eight HD channels
per 1RU chassis, with a modular
implementation of the optimal
MPEG-4 contribution codecs for
industry-leading compression per-
formance in contribution applica-
tions. The CP6100 provides the
same functionality in a compact
half-rack platform.
Premium Ad Insertion Solutions
At BroadcastAsia2014, Thomson
Video Networks will demonstrate an
integration of its Sapphire MPEG
stream server with Ideal Systems'
SoftCast software suite for streamli-
ned TV channel operation and
management to provide a powerful
and cost-effective turnkey playout
and ad insertion solution. Sapphire
is a unique channel-in-a-box system
that provides all the functions nee-
ded to ingest, process, brand, and
generate TV channels ready for air,
and it offers advanced capture, pla-
yout, and ad insertion capabilities
and frame-accurate operation for
MPEG-2 and H.264 compressed
content. As the world's first downlo-
adable suite of solutions for broad-
cast TV operators, SoftCast is now
available for purchase from the Ideal
Systems online store. The integra-
tion of Sapphire with the SoftCast
Automation, Broadcast Schedule
Planning (traffic), and Broadcast Ad
Sales (ad scheduling) modules
addresses broadcasters' new-gene-
ration playout requirements with a
hybrid solution for both MPEG and
baseband video delivery.
High-Performance OTT and IPTV
Delivery
Powered by Thomson Video
Networks' MediaFlex v3.0 video
operating system, the VS7000 provi-
des live broadcast-quality encoding,
innovative video preprocessing, and
faster-than-real-time file transcoding
with a 40 percent increase in chan-
nel density. This allows the ViBE
VS7000 to process up to 448 SD
channels or 80 HD channels in a
single frame. Thomson Video
Networks will also demonstrate both
real-time and offline HEVC enco-
ding on the ViBE VS7000 platform.

13. Globecast provides multiple
services for the D-Day 70th
anniversary commemoration
2014 sees the 70th Anniversary of the D-Day landings and
Globecast is pleased to announce that it provided both ad-
hoc services as well as international coverage for the host
broadcaster for June 6th.
The Allied landings – one of the most significant events of
WW2 – were commemorated on June 6th in France. Across
Normandie there’s a huge range of additional events that
have been organised to ensure that the events of 70 years
ago live long in the memory.
Globecast supplied the international host broadcaster sig-
nal and all the main pool signals from the main commemo-
ration sites. It also had three stand-up positions for ad-hoc
clients who wanted to cover the event, including complete
transmission services as required.
Marie-Noelle Janaszkiewicz, Senior Sales Engineer at
Globecast, says, “The 70th anniversary of the D-Day lan-
dings is clearly a very important event and one that rever-
berates around the world. We are honoured to have contri-
buted to bringing it to as wide an audience as possible.
PA N SH O T
J U N
2014

14. TMBi - 14
PA N SH O T
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2014
Duncan Wild with DiGiCo
Monitor engineer Duncan Wild has steadily
been building up an inventory of equipment that
he knows will give him reliability, flexibility and, of
course, great audio quality. One of his first pur-
chases was a DiGiCo digital mixing console.
“Like a lot of engineers, I’ve been developing a
rental side to what I do,” says Duncan. “I had a
few Senneheiser mics and various bits of outbo-
ard, and over time you think, ‘actually, if I had this
bit of kit it would be really useful’. A couple of
years ago I was on a particular tour and I thought
just that, so I bought a DiGiCo SD8 24 because it
was what I needed and I knew there was enough
work out there for it.”
Since then, Duncan has added to his inventory
with an SD11, which he used on the European leg
of Rebecca Ferguson’s tour. He is now deploying
his SD8 with Sophie Ellis Bextor.
“Buying the SD11 was a little bit of a ‘I quite
fancy one of those’,” he admits. “But I knew I had
enough other equipment to send two systems out
at the same time. I’ve also bought some back line
trunks and other stuff that goes around a band.
I’m not trying to be a backline company, I just like
to get the things that make the job easier to do for
everybody. But I’ll only use my kit if it’s right for
everyone concerned. If I needed to use somet-
hing like an SD7 because the set up was larger,
then I would go ahead and use it.”
Duncan has found that the compact nature of
his equipment makes it extremely useable and the
backup he gets from DiGiCo gives him the confi-
dence to know his clients will always be happy.
“My main point of contact at DiGiCo is Tim
Shaxson. I get fantastic support from him and
from DiGiCo in general,” Duncan smiles. “If ever I
need to speak to the tech support guys I can get
straight through and they’re always super helpful
with any questions I have.
“DiGiCo gives me great service, which means I
can give my customers great service. That’s a
nice little bit of karma going on.”
Riedel Networks expands
reach of European MPLS net-
work through new agreement
with Viatel
Riedel Networks announced a new agreement with
Viatel that will enable the upgrade and expansion of
Riedel Networks' European MPLS network. Viatel provi-
des high-capacity services to strategic point-of-presence
(POP) locations across Europe. Representing a conti-
nuation of the two companies' successful partnership,
this latest agreement enables Riedel Networks' further
expansion into Amsterdam.
"Viatel is an important network partner for Riedel
Networks, and we are very happy with the company's
reliable performance in the delivery and operation of net-
work services," said Michael Martens, managing director
at Riedel Networks. "It is valuable to us that Viatel owns
the infrastructure and maintains full end-to-end control,
and this fact made the decision to expand further with this
partner an easy choice."
Riedel Networks uses Viatel infrastructure as the basis
for the services it delivers to its own customer base. The
Viatel advanced fiber optic backbone network connects
eight countries, 35 cities, and more than 120 European
data centers, and it has metro fiber reach into the major
carrier houses, data centers, and main Internet exchan-
ges. With data centers in Dublin, London, Amsterdam,
Paris, and Brussels, Viatel owns more than 8,500 km of
fiber network infrastructure, which it has equipped with
high-capacity optical DWDM technology and multi-servi-
ce platforms.
"We are very conscious of how important it is to our
customers that we provide them with a hassle-free deli-
very experience and keep our commitments regarding
timelines and network performance," said Kerstin
Dinklage, senior vice president of business development
at Viatel. "We are glad that we can grow with our custo-
mers and su-
pport Riedel
Networks with
its growth and
e x p a n s i o n .
We look for-
ward to conti-
nuing our
s u c c e s s f u l
business rela-
tionship."

15. IDC's TITAN 3 Contribution
Encoder hits the street at
Oklahoma City Memorial
Marathon, ships worldwide
in record time
International Datacasting Corporation announce
that it has shipped the new TITAN 3 Contribution
Encoder to customers in North America, Europe,
and Asia. This milestone has been achieved less
than two months after the product launch announce-
ment at the National Association of Broadcasters
show.
IDC designed the TITAN 3 with extremely low
latency - or encoding delay - of only 150ms, which
enables broadcasters to be first to air with breaking
news, and to conduct the most natural live inter-
views from remote locations. Broadcast professio-
nals are already taking advantage of its advanced
features for live events such as the 14th annual
Oklahoma City Memorial Marathon. With available
4:2:2 10-bit encoding in High Definition, and support
for 150 ms latency to a wide range of decoder plat-
forms, TITAN 3 raises the standard for video contri-
bution.
TITAN Encoders are built from the ground up for
the demanding conditions of outside broadcasting,
featuring rugged construction to achieve superior
reliability. The TITAN 3 retains the familiar, easy to
use front panel which allows quick setup for mission
critical operations, and is able to achieve signal on-
air from power up in less than 60 seconds.
"Audiences everywhere are becoming more
demanding, and challenging applications such as
live news and sports require the best possible image
quality as well as very low latency performance",
said Doug Lowther, President and CEO of IDC. "IDC
is proud to support leading edge broadcasters world-
wide who are already showing strong interest in our
latest groundbreaking video product".

16. TMBi - 16
PA N SH O T
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2014
Giant Pirates Entertainment speeds post-production of
reality TV series with Forscene
Forbidden Technologies announ-
ced that Culver City, California-
based production company Giant
Pirates Entertainment has adopted
Forscene into its post-production
workflow in order to hasten editing of
"The Feed," a new reality-based
television series that will air on the
FYI network (formerly Bio).
Forscene gives Giant Pirates the
ability to start editing field packages
immediately via the cloud rather
than having to wait for hard drives to
ship across the country, eliminating
lag time that could throw the multi-
site production off schedule.
The production required footage
from New York field recordings to be
sent to Los Angeles for very quick
turnarounds as edited packages for
use in studio shoots. Forscene ena-
bled Giant Pirates' post-production
teams to view footage and start cre-
ating sequences in Los Angeles wit-
hin hours of the shoot in New York,
helping to keep the production run-
ning efficiently.
"Having the ability to work with
footage via Forscene so soon after it
has been shot is a new and welco-
me experience for our post team,"
said Tracy Tong, supervising produ-
cer on "The Feed." "When QSR
Systems, our Avid vendor and rental
company for this production, recom-
mended Forscene, we were wary.
We had never used any kind of
cloud-based workflow before, so we
had some concerns about compati-
bility with the Avid codec, upload
times, and ease of use. It turns out
we had no reason to worry."
Forscene allows Giant Pirates'
Los Angeles editors to view footage
within hours of the media cards
being handed to the New York assis-
tant editor. As soon as the media is
saved to Giant Pirate's media drives,
a proxy copy is automatically crea-
ted and uploaded to the Forscene
cloud. At that point, the story team in
Los Angeles can watch, log, and
string out the footage — days before
the shipped media can be ingested
and grouped in the Los Angeles
post-production offices. Once the
story timelines are completed in
Forscene, the sequences can be
exported and are relinked to the ori-
ginal source for the editors to begin
working in Avid.
In terms of ease of use, Giant
Pirates users had no problems lear-
ning to tap into all of the Forscene
functions. "Anyone with a general
understanding of Avid or Final Cut
can quickly learn how to work with
Forscene. Even someone with no
experience on Avid could easily pick
it up with a quick half-hour training
session, or by watching the
Forscene YouTube videos," Tong
said. "Forbidden and QSR technical
support were nothing short of ama-
zing throughout the process. It was
a nice touch to have a support chat
built into the program for our AEs
and producers if they couldn't figure
something out."
"With short shooting schedules
and the need for carefully packaged
stories that convey a sense of things
happening in real time, reality TV
shows are perfect candidates for
Forscene," said Greg Hirst, busi-
ness development director,
Forbidden.

18. TMBi - 18
PA N SH O T
J U N
2014
Blueshape to introduce a new pro battery system for
Phantom Flex4k digital cinema camera
Pietro Vignali, CEO of BLUESHA-
PE, said “We are proud to introduce
our V-plate adapter MVPHF for the
Phantom Flex4K. This precision pro-
duct has been specifically designed
to mount sturdily to the camera rear
and to perfectly withstand the high
power demands of this leading tech-
nology camera, providing an interfa-
ce to our range of high power batte-
ries. Our V-plate has been tho-
roughly tested and approved by
Vision Research themselves during
trials conducted earlier this year.
The plate is easily fitted to the came-
ra by just 4 screws.”
"The high current demand of this
camera requires batteries capable
of operating continuously at over
130W. Only batteries like our GRA-
NITE HD series are capable of offe-
ring such a performance over their
lifetime. The higher drain of our
GRANITE batteries such as
BV270HD, BV190HD and BV100HD
are perfectly matched mechanically
and electrically for this camera and
this battery adapter."
Toni Lucatorto, Cinema Product
Manager at Vision Research said
"For the Phantom Flex4K to achieve
its exceptional performance it requi-
res a constant supply of high current
from the connected battery, so the
performance of the battery adapter
plate and battery will be need to be
exceptional too. During the testing
that we carried out other VPlates fai-
led due to arcing caused by the high
current discharge with resulting
damage to the battery contacts.
BLUESHAPE has designed and
manufactured a battery plate to
accommodate these demands and
the result is extremely high quality
and something we can all be proud
of. I am excited about this new
BLUESHAPE adapter and recom-
mend it in combination with their
high performance batteries for our
new Phantom Flex4k camera."
DiGiCo gets the Latin vibe
with Calle 13
Puerto Rico’s Calle 13 is one of Latin America’s
most successful bands, having won 19 Latin
Grammy Awards and two US Grammy Awards. Calle
13 has a devoted following and its current tour, which
travels to South, Central and North America, as well
as Europe and Asia, is filling stadiums, arenas and
theatres everywhere it goes. Two DiGiCo SD8-24s
are along for the ride.

19. PA N SH O T
J U N
2014
Harmonic will make its APAC
announcement of the new Harmonic
VOS™ platform, a software-based,
fully virtualized platform that unifies
the entire media processing chain
from ingest to delivery. The com-
pany will also showcase its recent
developments to the Spectrum™
ChannelPort™ media server pro-
duct line and the ProView™ 8100
IRD (integrated receiver-decoder).
Harmonic Products at
BroadcastAsia2014
Harmonic VOS™
Harmonic VOS™ is the com-
pany's new software-enabled plat-
form for deploying a complete, vir-
tualized media processing architec-
ture. VOS unifies the entire media
processing chain from ingest to deli-
very, providing operators with incre-
ased operational flexibility, scalabi-
lity, and efficiency. Operating in IT
data center environments, VOS can
scale up or down to accommodate
peaks in demand based on capacity
and functional requirements across
all video services.
Spectrum™ ChannelPort™
Harmonic will feature enhance-
ments to the Spectrum™ media ser-
ver product line, including the
Spectrum ChannelPort™ integrated
channel playout system. Channel-
Port's impressive performance
includes high-density playout of four
SD/HD channels per RU, dual DVE
capabilities, and compatibility with
the industry's leading automation
systems.
ProView 8100™
Making its Southeast Asian debut
at BroadcastAsia2014, the
ProView™ 8100 IRD (integrated
receiver-decoder) provides simulta-
neous HD-SDI and SD-SDI output
with high-quality HD-to-SD down-
conversion, allowing operators to
use the same device to feed both
the HD and SD production chains.
Built-in frame-rate conversion brings
additional benefits, especially for
multinational program distributors,
as it enables content shot at 50 Hz
to be distributed at 60 Hz or vice
versa.
Harmonic at Broadcast Asia 2014

20. TMBi - 20
PA N SH O T
J U N
2014
TSL products’ Soundfield Microphones deliver the excitement of
basketball and pro football games to the viewing audience
Top audio engineer Jonathan
Freed, a freelance network mixer, is
relying on the SoundField DSF-B
Digital Broadcast System from TSL
Products, the manufacturer of audio
monitoring, surround sound microp-
hones and processing, tally/studio-
control systems and power manage-
ment solutions, to capture the action
and atmosphere of this year’s pro
football and basketball games
across the U.S. Freed frequently
employs the SoundField DSF-B
Digital Broadcast System to capture
surround sound in both expansive,
outdoor stadiums filled with 60,000
to 80,000 sports fans and enclosed
arenas featuring 20,000 enthusiasts.
The SoundField DSF-B Digital
Broadcast System offers Freed easy
setup, flexible operation, reliable
performance and excellent sound
quality.
“The SoundField DSF-B Digital
Broadcast System allows me to
hone in on the crowd sounds of the
field or court and control the
ambience to ensure that the audio of
the cheering fans doesn’t overpower
the audio of the sports commenta-
tors and the live action,” Freed says.
“Furthermore, it is very convenient
for me to be able to change the
directional parameters from my
workspace in the OB truck when
working in the field, to guarantee
that the audio space matches my
vision of what the arena or stadium
should sound like in that perspecti-
ve. The SoundField DSF-B Digital
Broadcast System delivers that
capability perfectly.”
Due to the flexibility and ease of
setup that embodies SoundField
products, Freed is able to position
the DSF-2 Microphone in one loca-
tion within a stadium or arena, run-
ning two AES lines from the microp-
hone down to the OB truck. Since
the mic is capturing audio from a
single point, as opposed to a multi-
mic setup, audio quality is consis-
tent within the different locations
from broadcast-to-broadcast and
configuration is achieved quickly
and efficiently.
The SoundField DSF-B Digital
Broadcast System, consisting of a
DSF-2 surround microphone, DSF-2
controller and DSF-3 processor, can
generate multi-channel audio from a
single point source. The microphone
itself is made up of four high-quality,
precision-aligned condenser ele-
ments to capture a 360-degree
sonic panorama. The resulting, pro-
prietary B-Format audio stream
allows Freed to dial in the directional
orientation of the signal, using the
DSF-2 controller to maximize the
surround ambient field that supports
all other audio content, without phy-
sically moving the microphone. The
DSF-3 Digital Surround Processor
allows Freed to take B-Format sig-
nals and decode them into any
current surround format, delivering a
phase coherent signal that won’t
suffer from the upmix/downmix pro-
cess.

21. Lawo at FIFA World
Cup
During the DTV Audio Group’s
annual meeting at the NAB Show,
JeffreyStrößner, director ofLawo’s
global eventsdivision, provided a
preview of the broadcast audio
infrastructurethat has been put into
place for the 2014 FIFA World Cup
Brazil.The month-long soccer com-
petition, between eight groups of
four teams, kicks off on June 12 in
Sao Paulo when Croatia faces off
against the host nation.
Strößner’s presentation was made
possible withpermission from HBS
(Host Broadcast Services), which is
based in Switzerland with planning
headquarters in France. The organi-
zation was originally established to
produce the television and radio bro-
adcasts for the 2002 FIFA World
Cup.
“We are lucky to have HBS as a
partner since they always strive for
the best result in broadcast,” said
Strößner. “They are eager and keen
to use new technologies, which for
us, as a manufacturer providing
technologies, is great.”
Lawo has been involved in global
events, including the Olympics,
since 2006, beginning with the
World Cup in Germany. “We don’t
just provide equipment,” he said,
“we also act as a partner for consul-
tation, design and planning.”
PA N SH O T
J U N
2014

22. TMBi - 22
PA N SH O T
J U N
2014
die paten purchases Pablo Rio, completes Daimler corporate film
in record time
Berlin-based production and post
production facility, die paten, has
purchased a Quantel Pablo Rio
color and finishing system.
“The general trend in post produc-
tion is that customers want their
finished work in less and less time,”
said die paten CEO, Kay
Lottermoser. “At the same time they
demand higher image quality and
more creative results. The times
when you viewed the footage, made
a shot list, edited it and then produ-
ced graphics, text and animations
before applying color correction
then finishing and mastering are
gone forever. The future of post pro-
duction is everything in one box;
with our Pablo Rio, that is just what
we have to offer.
“That’s why Pablo Rio enabled us
to turn around this fantastic project
for Daimler in record time. With
Pablo Rio we were able very quickly
to color correct, apply DVE for resi-
zing etc, stabilize a picture, track or
insert a CG animation – all without
ever having to resort to another sys-
tem. Pablo Rio’s philosophy is to
provide full access to all functions
with the absolute minimum number
of operating steps; everything you
need is there at your fingertips just
when you need it,” Lottermoser con-
tinued.
The film was shot in Germany, Los
Angeles, Shanghai, Rio de Janeiro
and Namibia with Sony F55 came-
ras. Throughout post production, die
paten took advantage of Quantel’s
soft mount capability to enable work
to begin the moment the SSD drives
arrived back in Berlin. “Everything
happens in realtime with Pablo Rio –
the pictures never stutter, but always
run smoothly, even if they are only
controlled via USB3. I have never
seen such good performance on
any other system – only Quantel can
do that!” reports Lottermoser. “It’s
also a known fact that other systems
have problems decoding XAVC –
not so Quantel.”
“die paten is known for the high
quality of the work it produces, and
this latest job for Daimler is another
great example of their creativity,”
said Quantel Sales Director, Martin
Mulligan. “Pablo Rio has become
the benchmark where quality and
speed are essential, and it’s great to
see users such as die paten taking
full advantage of Pablo Rio’s com-
plete color and finishing capabili-
ties.”

23. TMBi - 23
PA N SH O T
J U N
2014
Ukraine's 1+1 Media Group upgrades HD OB Vans with Calrec
audio consoles
1+1 Media Group has installed
Calrec digital audio consoles in two
of its HD outside broadcast (OB)
vans. The installations are part of an
upgrade to meet Union of European
Football Associations (UEFA) tech-
nical requirements for 5.1 sound
production and Dolby E encoding.
"The Calrec consoles give us a
reliable way to handle two live feeds
of 5.1 sound at once, which is not
only a UEFA requirement but somet-
hing we simply couldn't do with our
other consoles," said Aleksey
Marko, head of procurement for 1+1
Media Group. "Previously we had to
use two OB vans in order to meet
the requirement, but now we can
accomplish the same thing with a
single console in a single van, which
saves money and leaves the second
van free to cover other events. We
get this significant capability from
small-footprint consoles that fit
neatly into the limited space inside
the vans."
One of 1+1 Media's OB vans hou-
ses an Artemis Light console equip-
ped with 40 multilayer faders, along
with Calrec's Bluefin2 high-density
signal processing technology and
Hydra2 plug-and-play audio routing
capability. A similar Artemis Light
console in the second OB van has
48 faders. The vans cover football,
basketball, boxing, and both live and
recorded entertainment shows.
Each console can produce two pro-
grams of digital 5.1 sound that are
ready for UEFA-mandated Dolby E
encoding.
The Artemis Light consoles satis-
fied 1+1 Media's main technical
requirement for high capacity in a
small space. In addition, unlike the
vans' previous audio consoles, the
Artemis Light desks minimize the
mic and line noise and hums that
are prevalent in the strong electro-
magnetic environments around sta-
diums and live-show stages.
"1+1 Media Group is the first
Calrec customer in Ukraine and,
because of its size and number of
media holdings, is a major source of
programming for the Ukrainian peo-
ple," said Michael Reddick, Calrec's
European sales manager. "Calrec
technology will help this media giant
streamline its OB operation and
cover more ground, which we antici-
pate will influence other broadcas-
ters in the market."
Both sales were completed in
partnership with Calrec's Ukraine
distributor, Engineer Service, a com-
pany that also owns two Calrec con-
soles installed in its OB vans availa-
ble for hire.

24. TMBi - 24
PA N SH O T
J U N
2014
First pan-African news channel on air with Stingray channel in a
box from Pebble Beach Systems
Africa 24 is a 24-hours-a-day, 7-
days-a-week television news net-
work which aims to provide edito-
rially independent, balanced and
realistic coverage of the African
continent. As the most watched
French-language African channel, it
broadcasts to a core audience of
viewers from Sub-Saharan Africa,
and is also available via satellite to
subscribers in the Middle East,
North Africa and beyond. The net-
work was launched in 2009 and
expansion plans include offering
further language variants including
English, Arabic, Spanish and
Portuguese.
Stingray leverages Pebble Beach
Systems’ best of breed automation
and integrated channel technology
to deliver a full HD ingest and pla-
yout channel-in-a-box solution for
systems of up to 6 channels. In addi-
tion to hosting clip-based channels,
it is designed to handle complex
reactive channels featuring live con-
tent, late-breaking changes and
dynamic schedules. Thanks to its
client-server architecture, multiple
channels can be controlled from a
single operator position, and user
privileges and access to specific
functionality can be set on a per
channel basis.
Africa 24’s single channel fully
redundant Stingray system was sup-
plied by Pebble Beach Systems’
partner in France, Soft4TV, and was
installed in May, with operator trai-
ning completed early in June. It inte-
grates into the broadcaster’s exis-
ting technical infrastructure, offering
automatic media movement from
the current media SAN. Stingray’s
native 2D Flash graphics playout
capability is deployed to deliver
graphics which are dynamically
updated when breaking stories arri-
ve, and Stingray’s audio and DVE
functionality are used to generate
transitions between news segments.
Yacine Barro, the Executive
Director of Africa24 confirms, “When
the service providers for our backup
channel moved location, we elected
to migrate the management of both
main and backup channels to our
own technology in-house. We are a
new broadcaster and are still gro-
wing, so a key priority was to find a
solution that could evolve with us.
We evaluated all the big name chan-
nel-in-a-box solutions, and Stingray
was the most open and scalable,
offering the greatest potential to add
more channels and language
variants.”
Pebble Beach Systems Managing
Director Peter Hajittofi comments,
“Stingray is based on proven 64-bit
architecture and leverages our best-
of-breed Marina enterprise automa-
tion and Dolphin integrated channel
device, so Africa 24’s mix of live and
clip-based programming, with fre-
quent late-breaking changes to the
schedule, really plays to the
strengths of this channel-in-a-box
solution.”
Pablo Rio and Genetic
Engineering 2 set to provide
4K 60p color and finishing
at FIFA World Cup™ in Brazil
Quantel has supplied a Genetic Engineering 2
(GE2) system for Sony’s 4K installation at the HBS
production facility at the forthcoming FIFA World
Cup™ in Brazil. Sony is delivery partner to FIFA
(Fédération Internationale de Football Association)
and host broadcaster HBS for the 2014 FIFA World
Cup™.
The Quantel GE2 system, which includes two Pablo
Rio 4KO color correction and finishing systems sha-
ring storage and workflow via a GenePool, will be
used for the production of fast-turnaround 4K high-
lights packages. These will be distributed to broad-
casters and Sony Stores worldwide as well as being
displayed on 4K super-screens in fan parks around
Brazil. The Quantel system will also be used for the
post production of the Official FIFA World Cup™ film
in 4K Ultra HD.
The Quantel system will work with 4K 60p XAVC
media recorded on either the Sony PMW-F55 came-
ras being used by FIFA Film crews throughout the
competition or the Sony Servers used for the 4K Live
Production of three matches played at the Maracana
Stadium in Rio de Janeiro (one in the round of 16, one
quarter final and the final itself). All XAVC media will
be instantly available for viewing and editing on the
Pablo Rio color and finishing systems thanks to their
ability to begin work immediately with soft-mounted
media without transcoding or importing. The Quantel
system will also record live 4K 60p via Quad 3G SDI,
which can be edited even while recording. The Pablo
Rios will be equipped with Fraunhofer IIS’s integrated
easyDCP toolset for production of cinema delivera-
bles.

25. TMBi - 25
PA N SH O T
J U N
2014
LiveU brings the glitz and
glamour of Major AIDS
Charity Event Life Ball in
Austria Live Online
LiveU has announced that its LU500
technology has been deployed to provide
exciting online coverage of the 22nd Life
Ball AIDS charity event. This glittering
event took place on May 31st in the Vienna
City Hall on the Vienna Ringstraße.
Now in its 22nd year, Life Ball is a major
charity event, supported by companies
across a wide range of sectors, with its own
Life Ball 2014 song – sung by Candice
Glover, who won American Idol in 2013 -
and performances from a range of interna-
tional artists and DJs. Bill Clinton, Janet
Jackson, Donatella Versace and Sharon
Stone will be attending along with many
others.
Austrian national broadcaster ORF provi-
ded live broadcast coverage of the event,
with interviews with the major stars from
the Hall, with the same feed also used for
live streaming. The feed was encoded
using an LU500 unit from LiveU, supplied
by its Austrian partner ETAS High Tech
Hardware Systems GmbH. The live stream
was then sent to a cloud-based server also
supplied by LiveU and on to streaming ser-
vice Ustream.
The LU500 weighs around 1 kg (2.2 lbs),
with this small-sized unit powered by
LiveU’s new multi-processor video enco-
ding engine and fourth-generation patented
bonding algorithms providing previously
unseen levels of signal robustness in an
easy-to-carry unit.
Ronen Artman, LiveU’s VP Marketing,
said, “We’re very pleased to be involved
with such a prestigious charity event, which
helps raise awareness and brings attention
to the ongoing battle with Aids and also
brings a great deal of glamorous pleasure
to a lot of people. We are glad that our
technology is being used to bring this event
to the online community.”
LiveU owns the patent for cellular bon-
ding for remote news gathering in the US
and other countries. All LiveU products are
based on this fourth-generation patented
technology.

26. TMBi - 26
PA N SH O T
J U N
2014
Netia iSnippet mobile audio editing tool for Radio-Assist™ avai-
lable on iTunes® App Store
NETIA has announced
that the company's iSnippet
audio editing tool for
iPhone® and iPad® devi-
ces is now available on the
iTunes® App Store. Sharing
the same look and ergono-
mic principles as the
Snippet desktop interface
available within NETIA's
acclaimed Radio-Assist™
radio automation software
suite, iSnippet allows iOS device
users not only to edit and index
media from their mobile devices, but
also to record and export ready-to-
broadcast assets from the in-studio
Radio-Assist database.
"Used along with Radio-Assist,
iSnippet facilitates mobile access to
both content and production tools, in
turn enabling more collaborative and
more efficient creation of rich, rele-
vant news and entertainment con-
tent," said Isabelle Sost, communi-
cations and field marketing director
at NETIA. "For broadcast operations
of any size, this streamlining of end-
to-end multimedia production and
publication workflows, along with
seamless linking of internal and
external resources, is proving to be
a key competitive advantage."
As an all-in-one remote audio-edi-
ting solution, iSnippet gives field
reporters and others valuable Radio-
Assist audio-editing capabilities —
familiar from the desktop — on their
portable devices. No longer cut off
from in-studio resources such as
scripts and recorded content, as
well as the tools with which to edit
that content, the field reporter using
iSnippet now can edit audio
for inclusion in news sto-
ries, or review and read
scripts for upcoming seg-
ments.
Supporting AAC, ALAC,
and LPCM audio formats,
iSnippet allows users to
record, edit, and export
their audio files to the stu-
dio. During recording, the
user may adjust the recording volu-
me, insert markers, and activate
screen locking. Edit capabilities
include vertical and horizontal
zoom, playout of audio from inside
or outside markers, insertion of
audio from the app's cutting bin, and
file insertion. The edited files them-
selves may be sent raw or as a mas-
ter file (MP2/AAC/ALAC/AIFF/-
WAVE) to an FTP server, or directly
to the Radio-Assist database along
with an index file. iSnippet also ena-
bles field reporters and journalists to
import audio files from applications
including Luci and Report-IT.
GatesAir emphasizes trans-
port and delivery for Over-
The-Air Networks at
BroadcastAsia2014
At BroadcastAsia2014, GatesAir will showcase how
over-the-air broadcasters can leverage IP-based,
high-efficiency transmission solutions to cost-effecti-
vely launch and monetize next-generation, multichan-
nel digital services. The company will exhibit at Stand
5B3-03 in the Marina Bay Sands, Singapore, June 17-
20.
Following the March transformation of Harris
Broadcast, GatesAir will make its debut at
BroadcastAsia2014, showcasing its high-efficiency
Maxiva™ and Flexiva™ TV and radio solutions cove-
ring all over-the-air standards and power require-
ments across TV and radio networks of all sizes. The
company will also feature its latest breakthroughs in
signal transport, including support for AES192 over IP;
and advanced, IP-based distribution architectures for
DAB radio networks (EDI and ETI).
GatesAir will demonstrate how over-the-air broad-
casters can reduce operating costs as they transition
to digital, while laying the foundation for bandwidth-
efficient architectures that accelerate the deployment
of revenue-generating, multichannel broadcast servi-
ces. Rich Redmond, chief product officer, GatesAir,
notes that TV and radio broadcasters across the Asia-
Pacific region are specifically seeking ways to levera-
ge the opportunities associated with the transition to
DVB-T/T2 television and digital radio – notably DRM
and DAB+ - while keeping operating costs low.
GatesAir will also showcase new IP Link™ codec
features that enhance how broadcasters can cost-
effectively move audio between one or more points,
including flexible studio-to-transmitter, remote broad-
cast and internet delivery architectures. New built-in
Intraplex® SynchroCast™ technology for the IP Link
enables precision-timed on-air program delay for con-
tent delivery across large single-frequency networks.
This is ideal for broadcasters and network operators
covering large areas and difficult terrains, where many
low-power transmitters cover widespread populations.

27. TMBi - 27
PA N SH O T
J U N
2014
Lawo leads The Pirates of the Caribbean into Strasbourg
The Zenith de Strasbourg recently
played host to a cine-concert of the
first film of Disney’s hit Pirates of the
Caribbean series, The Curse of The
Black Pearl. The film was screened
in front of 6000 people to the
accompaniment of the Strasbourg
Philharmonic Orchestra complete
with a 24-strong choir who brought
Klaus Badelt’s magnificent sound-
track to life.
The Zenith de Strasbourg, which
is the biggest indoor arena in France
was packed to the rafters for this
spectacular one-off event.
Strasbourg-based rental company,
Lagoona, were brought in to supply
the PA system, and Lagoona in turn,
called on digital audio networking
specialists, Espace Concept, to
supply and manage the FoH conso-
le, microphones and networking. For
the very first time, Espace Concept
used an mc256 console from Lawo.
The suggestion came directly from
Lawo’s Hervé de Caro to whom
Espace Concept’s Alain Roy turned
for advice as to how best to network
his trusted Eclipse GT consoles
from Innovason to enable him to
record 124 channels. “Hervé sug-
gested that we use an mc256 from
Lawo instead as everything could
then be managed from just one con-
trol surface,” explained Roy. “It see-
med like the ideal opportunity, so I
agreed.” The resulting system com-
prised a 32-fader mc256 with a 16-
fader extension, connected via fibre
optic cable to two Lawo DALLIS
interface boxes on stage which pro-
vided 72 mic inputs and 16 monitor
outputs, plus two InnovasonDio-
MadiES MADI-to-EtherSound con-
verters for the 60 digital micropho-
nes connected to the console via
EtherSound over fibre.
In order to provide Alain Roy, who
mixed and recorded the entire
event, with a console on which he
would feel completely comfortable
and at ease, de Caro and the Lawo
team then set about configuring the
mc²56 to meet all Alain’s require-
ments “Alain is one of France’s fore-
most experts in digital technology
and digital networking for live
shows, ” said de Caro. “Given that
this was the first time he’d even
seen an mc256, let alone used one,
we felt that the best approach was to
simply set up the mc256 with all
those features Alain is familiar with
from the Eclipse. By the time we’d
finished, Alain had his SmartFad
functionality for VCA allocation and
control; Broadway mode for seam-
less switching between live sound
and playback; Virtual Soundcheck
for fine-tuning the mix without the
musicians having to be present; a
digital multitrack recorder with now
128 channels instead of 64, and all
with full visualisation and control
from the central touchscreen of the
console. Furthermore, we set up the
Pandora functionality for creating a
natural stereo image for all the
audience.”
Roy, for his part, was more than
impressed: “Eclipse is special preci-
sely because it is so configurable
and you can create whatever you
want based on the requirements of
the show or the desires of the ope-
rator. What completely took my bre-
ath away with the mc256 was that
the console is every bit as configu-
rable, but it takes place at a comple-
tely different level – within the ope-
rating system of the console itself –
which ultimately gives you even
more options and even more flexibi-
lity.”
“I only started using the console
on the Friday morning once it was
installed in the Zenith,” he conti-
nued. “I hadn’t really taken part at all
in the setup/configuration phase
other than to say what I wanted, and
frankly I wasn’t looking forward to it!
But once I actually got down to
work, within no time at all, I had
completely forgotten that I was using
a brand new console – it was unbe-
lievably transparent to use, it soun-
ded fantastic and I loved the extra
power and redundancy. All the func-
tionality that I had asked for was
right there and plenty more besides,
and everything just worked perfectly.
Often, it feels as if a new console is
an obstacle between you and the
sound until you get used to it and
learn how to get the best out of it. In
this case, it was as if the console
simply ‘disappeared’ right from the
outset - I didn’t think about it once, I
just got on with my job of producing
the best possible sound.
Prettyamazing, really”.

28. TMBi - 28
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2014
Brazil’s TV Serra Dourada turns to
Grass Valley for flexible camera solu-
tion
Grass Valley announced that
it is providing Brazil’s TV Serra
Dourada, located in Goiânia,
with a new camera setup that
includes seven LDX Flex
advanced imaging cameras
and seven Elite XCU
(eXchangeable Control Unit)
base stations with triax trans-
mission as part of the station’s
new HD news production work-
flow.
TV Serra Dourada broad-
casts news, weather and other
timely information across
Goiânia to millions of viewers.
In choosing a new camera sys-
tem, the station wanted a solu-
tion that was flexible, allowed
for creative movement, and one
that met its budgetary require-
ments with the ability to be
upgraded over time.
“We were simply looking for
the most cost-effective and
usable camera technology on
the market, which is undoub-
tedly the LDX Flex coupled with
the XCU,” remarked Sebastião
Claudino, engineering mana-
ger, TV Serra Dourada. “The
cameras have a low cost of
ownership and they deliver
superior image quality and per-
formance. Plus, with the remo-
vable XCU base stations, we
can minimize operational costs
and streamline reconfiguration
for each production. And when
we're ready to upgrade, our
cameras will be ready too.”
The LDX Flex is the entry-
level offering in Grass Valley’s
LDX Series of advanced ima-
ging cameras that also includes
the LDX Première, LDX Elite
and LDX WorldCam. The LDX
Flex offers single format 1080i
or 720p acquisition, delivers the
same high-quality images and
performance and uses the
same accessories as its LDX
counterparts. A simple and
easy upgrade advances it to the
next camera in the range, on
either a temporary 7-day time
frame or perpetually.
The unique cradle system of
the XCU base station can be
pre-mounted and pre-wired in
the rack, eliminating cabling
errors when base stations are
moved, while providing on-
demand resources for fast-
paced productions like TV
Serra Dourada’s news produc-
tion.
“Our LDX range has been
well received by broadcasters
around the world because it is
simply the best camera plat-
form available,” said Alberto
Santana, channel sales mana-
ger, Brazil, Grass Valley. “We
designed the LDX Flex to com-
bine business flexibility, opera-
tional excellence and outstan-
ding image performance so that
broadcasters like TV Serra
Dourada can cover any type of
production and stay within their
budget.”
Harmonic to
demonstrate new
VOS™ Virtualized
Video Solution on
Moonshot at HP
Discover Las Vegas
2014 event
At the HP Discover Las Vegas 2014
event taking place June 10-12,
Harmonic (NASDAQ: HLIT) , will
demonstrate new virtualized media pro-
cessing technology set to transform
video production and delivery. The
demonstration will feature the
Harmonic VOS™, a powerful, extensi-
ble software platform and architecture,
showcasing how it can enable virtuali-
zed media processing software, such
as Harmonic's new Electra™ XVM inte-
grated software package, to support a
complete workflow from input of source
video to output of transcoded, branded
video with logos for multiscreen deli-
very. Leveraging VOS on an HP
Moonshot system, video content provi-
ders and service providers will be able
to significantly reduce operational
costs, as well as space, power, and
cooling requirements, for broadcast
and multiscreen delivery.
Harmonic VOS will enable completely
virtualized media processing from a sin-
gle software platform, encompassing
historically discrete functions from
ingest to playout, graphics, branding,
compression, packaging, and delivery
for broadcast and multiscreen applica-
tions. By bringing all media processing
functions into one simplified, unified
platform and workflow, VOS will provide
video content providers and service
providers with increased operational
flexibility, scalability, and efficiency
when coupled with the HP Moonshot
system.
Utilizing HP Moonshot, video content
providers and service providers can
host an entire cluster of Electra XVM
virtualized media processors.

29. TMBi - 29
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2014
Camera Corps captures Isle of Man TT excitement for North One
Television
Over 25 cameras and solid-state
recorders from Camera Corps cap-
tured the excitement of 2014 Isle of
Man Tourist Trophy motorcycle
races during the two-week event
from Saturday May 24 to Friday
June 6. Working in close partners-
hip with North One Television for ITV
4, Camera Corps provided a wide
range of specialized equipment
including forward and rear-facing
motorcycle-mounted cameras,
approach and recede kerb-cams
and various high-level wide-angle
cameras around the course.
Multiple HD on-board mini cams
also provided driver's-eye views of
Mark Higgins' record-breaking lap of
the course in a Subaru WRX STi.
"It is a tough assignment but one
which you all carried off superbly.
Thanks once again for your graft,
creativity and team work – it’s the
key to the continued success of this
project." says North One Television
CEO Neil Duncanson.
"The TT is one of the most cha-
llenging and exciting events in the
annual sports calendar," adds Barry
Parker, Commercial Manager of
Camera Corps. "The races are run
over a 37.5 mile Snaefell Mountain
Course through winding mountain
paths with tight bends, bumps and
jumps, in a series of six motor-cycle
races and two sidecar races.
"The Camera Corps special
cameras team also worked alongsi-
de North One Television and the TT
organisers prior to this event to
develop guidelines covering the
attachment of cameras and recor-
ders to the bikes. This included sen-
ding dummy units in advance to all
the teams as well as making pre-
event team visits, which are greatly
appreciated and prevent any surpri-
ses on site especially when time is a
premium. It also allows us to refresh
the relationship with riders and
teams.
"The bikes get smaller with every
passing year which encourages us
to continue our own technical and
operational innovation. With finite
resources you have to be selective.
We aim to cover the top ten riders in
each race which vary in length from
a single 37 mile lap for electric bikes
to six laps for the Senior TT which
was won this year by Michael
Dunlop.
"Roadside cameras were positio-
ned each morning within range of a
mobile phone link to allow text-
based switch-on and switch-off. This
was a useful safeguard given the
length of the course and the long
duration of the event. Factors such
as bad weather, accidents or ani-
mals straying onto the track can all
affect the day’s schedule.
"As the course is closed to all non-
race traffic for most of each day, a
car was sent round behind each
race to bring all the recorded files
back to the onsite production hub.
There they were ingested to main
edit control room so the footage
could be edited by the North One
Television team. A 60 minute
domestic programme was created
each day for ITV and another for
international channels. These were
then distributed via a digital satellite
uplink The ITV4 broadcast was at 9
pm on each night of the TT series,
also available on ITV Player.
"Three production meetings were
held during each day of the event to
ensure that the crew and the kit
were deployed to maximum advan-
tage and the best stories were cap-
tured over the two weeks of racing.
This was followed by a post-event
review with the whole production
and operations team, a vital element
of the TT each year to ensure we
learn from the experience and inno-
vate for future events."

30. TMBi - 30

31. TMBi - 31
FIFA TV and his host broadcasting service provider HBS delivers full production at
the 12 venues in each of the host cities in Brazil. The International Broadcast Centre is
located in Rio de Janeiro. FIFA´s goal this year is to deliver the first truly multimedia
World Cup, where viewers can have access to a huge range of content on laptops,
mobile, phones or tablets. Also FIFA TV and his official partner Sony will produce three
matches in 4K Ultra HD.
The matches coverage is directed by a “Dream Team” of eight of the best football
directors in the industry using a 34 camera set up as standard at all 64 matches. FIFA
TV is also deploying a dedicated camera crew to cover each of the 32 teams taking
part in the FIFA World Cup, along with nine crews to explore Brazilian Culture during
the competition and two crews at the IBC. This will create approximately 5.000 hours
worth of content for Media Rights Licensees to use in their own broadcasts. FIFA´s
total staffing for television during operation the event had reached 3.018 people from
48 countries.

32. TMBi - 32
MULTIMEDIA SERVICES
Major social media platforms are
integrated into the apps and the web
player. People will be able to interact
with each other, as well as to access
to editorial content from the MRL´s.
The apps are available to IOS and
Android (phone and tablets), and the
broadband player is available for
users consuming content in a brow-
ser.
Multimedia live matches are a
combination of the main match
coverage with embedded data deli-
very as a live stream or file for
catch-up services. The offered
feeds are: main match, two for pla-
yers (one of each team), two team
feeds and a tactical feed.
The additional VOD is a wide
selection of content that is produced
specifically for multimedia usage
with corresponding graphics and
commentary for the Second Screen
Experience. VOD pac-
kage includes high-
lights, analysis, updates,
interviews…
Multiangle content
bring the variety of diffe-
rent angles to the user
as an interactive expe-
rience. For all major
incidents of a match, the
best angles will be
selected by an operator,
located in the IBC with
access to the majority of
the camera angles avai-
lable at the venue.
The 22 players on the
pitch, the ball and the
referees are constantly
tracked. This data is
also accessible between
matches via two raw
data feeds in an interac-
tive user interface. A fact
is that during the first 10

33. TMBi - 33
days of the world cup, approximetly 32 Terabytes of
traffic passed through Media Services and IT Solution
Networks.
ULTRA HD MATCHES
PRODUCTION
FIFA TV in cooperation with Sony will produce three
matches in Rio de Janeiro in 4K Ultra HD. FIFA has
had worldwide interest for 4K and is offering a world
feed service with the possibility of broadcast 4K con-
tent. And FIFA is also looking to deliver this contents
into cinemas. The 4K production involves also HBS
(FIFA TV service provider), Brazilian satellite service
Globosat, Telegenic, and EVS.
Also Japanese television NHK in partnership with
FIFA is testing 8K visual technology in 9 matches.
This technology creates an image 16 times the quality
of HDTV, using 33 million pixels, and deploys a life-
like 22.2 channel 3D sound system.
Production
• Number of Cameras in Standard Camera Plan 34
• Number of FIFA World Cup™ ‘Dream Team’
Match Directors 8
• Number of different feeds 20
• Unilateral cameras positions per match Up to 70
• Total hours of coverage (including ENG teams)
5,000 approx.
• Total number of cameras 300 +
• Crane cameras 24
• Cable-Cam systems 12
• Aerial camera flying hours 500 +
• Dedicated Match Day -1 teams and Infotainment
teams 12
• Number of ENG Crews (FIFA TV Team Crews /
FIFA Story Crews / IBC Crews) 43 (32 / 9 / 2)
• IBC production staff 280
• Field production staff 150 +
• Number of beauty shot locations in Rio de
Janeiro 2
• Edit suites (regular production/multimedia) 36
(18/16)
• FIFA TV - Sony 4k production 3 matches in Rio
(50, 58, 64) 12 cameras for
• live broadcast
• FIFA TV - NHK 8k production 9 matches (6, 14,
22, 33, 49, 53, 60, 61, 64) 5 cameras

34. TMBi - 34
THE IBC
The International
Broadcast Centre is the
major hub for all broad-
cast media coverage. Is
located at the Riocentro
Complex in the west of
Rio de Janeiro.
Spanning 55.000 m2 the
IBC receives live match
feeds from the FIFA TV
production of all the
World Cup games in 12
host cities across Brazil
and deliver those feeds
to all FIFA´s Media
Rights Licensees. There
are 17 TV studios han-
ging up to 400 square
metres and several work
spaces. It will take seven
weeks to dismantle the
facility after the final
match.
Telco
• Number of venues permanently connected
12
• File transfer services across all venues 12
• Additional file transfer injection points across
Brazil 26
Multimedia
• Number of MRL agencies taking multimedia
content 30
• Number of countries reached by MRLs
taking multimedia content 80 +
• Number of multimedia service orders 100 +
Venues
• Number of venues 12
• Staff at venues 1,875
• Total number of commentary positions 1,210
• Commentary positions with Com-Cam 6-20
per venue
• Total number of commentary units 840
• Total number of TV Studios 34
• Total number of Presentation Studios 5

36. TMBi - 36
INTERVIEW WITH
DIRECTOR OF FIFA
TV, NICLAS ERICSON
Which are the main differences
in live production between this
FIFA World CUp and the last
one?
We have made several innova-
tions in the FIFA World Cup broad-
cast production, including more
cameras, more content and servi-
ces for broadcasters and new tech-
nologies such as 4K. We also see
the 2014 FIFA World Cup™ as the
first ever truly multimedia FIFA
World Cup.
We have also expanded our
“Match Day -1” coverage, giving our
broadcast clients even more content
the day before the match.
How many matches are going to
be produce in 4K or UHD?
FIFA TV is producing three mat-
ches in 4K Ultra HD, and several will
be test produced in 8K. We believe
we give audiences around the world
the very best in viewing experience
during the FIFA World Cup™. With
Ultra HD technology, such as 4K, we
are exploring imagery that is truly at
the cutting edge of TV production.
We are proud to be able to innovate
in this way to improve the viewing
experience for football fans around
Niclas Ericson

38. TMBi - 38
the world. The new technologies
also include ground breaking stan-
dars in sound quality, bringing the
viewer almost into the stadium.
How are the different stadiums
connected for media sharing?
FIFA is using a telecommunica-
tions network to connect all stadia
to the International Broadcast
Centre in Rio de Janeiro. This is
also a great legacy of the FIFA
World Cup in a host territory, as the
network can be used for other pur-
poses for many years to come.
MARK GRINYER, SONY
HEAD OF BUSINESS
DEVELOPMENT - 3D,
4K & SPORT
What is the contribution of
Sony?
Sony has been selected by Host
Broadcast Services (HBS) as its
Logistics
• Accredited event time staff 2,900
+
• Accreditations (12,200 MRL
accreditations, around 15,000
including HB) 15,000
• Supplementary Access Devices
(SADs) 52,000
• Crew uniform items 50,000
• Hotel room nights 80,000
• International flights 3,000
• Domestic flights 1,400
• Car rental days 11,500
• Bus rental days 1,000
• Charter flights 46
• People / tons of equipment per
charter flight 110 / 5 tons
• Air freight 150 tons
• Sea containers 100
• Pallets with cameras, tripods and
lenses 200
• Meal vouchers distributed
43,000

39. TMBi - 39
official delivery partner for the
FIFA World Cup in Brazil. HBS
has overall responsibility for the
delivery of the event, including the
production of the competition, as
designated host broadcast servi-
ce provider and has chosen Sony
for the provision of all Venue
Production Facilities for the tour-
nament. With HBS and together
with its carefully selected strate-
gic partners, Sony is responsible
for delivering every single minute
of the 2,500 hours of match foota-
ge that will be shot at the 2014
FIFA World Cup™, having con-
ducted stringent tests on each of
the 288 Sony cameras that will be
used at the stadia. In addition to
the technology provided, Sony
and HBS are also supplying tech-
nical facilities staff, who will work
closely with the production teams
throughout the tournament to deli-
ver fantastic HD footage for each
match, as well as stunning 4K
images for three specific games.
Sony also enjoys the highest
status level of FIFA sponsorship,
that of “Official FIFA Partner” and
is one of 6 such companies. As
an official partner, Sony will con-
duct wide-ranging global marke-
ting activities such as advertising,
promotions, and events.
What kind of equipment is
going to be deployed?
The technology being used to
capture the HD footage at the
tournament includes 224 Sony
HDC camera chains, 64 Super
Slo-motion camera chains, 36
Sony switchers and 820 Sony
Professional monitors. Each
match will have 37 Standard
Camera Plans, including Aerial
and Cablecam, 2 Ultramotion
International
Broadcast Centre
(IBC)
• Raw indoor space 55,000 m2
• Constructed space for multi-
lateral areas 8,305 m2
• Constructed space for unila-
teral areas 13,225 m2
• Production Centre 2,620 m2
• ENG Centre 352 m2
• TV Studios 17
• Largest TV Studio 400 m2
• Largest unilateral area
(ARD/ZDF) 2,250 m2
• Smallest unilateral area 22
m2
• Satellite Farm 6,000 m2
• Installed capacity of air condi-
tioning system 1,311 TR

40. TMBi - 40
cameras and dedicated cameras for
interviews. HBS has built 12 bespoke
HD production containers – each one
including the same amount of equip-
ment as three OB trucks – with one for
each tournament venue.
The 4K matches will be captured
using twelve Sony PMW-F55s, the
same cameras which were tested
during the live 4K trials at the
Confederations Cup in June last year,
and these cameras will be used within
HBS/Sony’s 4K Live Production
System. This complete solution inclu-
des the PMW-F55, a multi-port 4K / HD
video server, a multi-format switcher
capable of real-time 4K signal proces-
sing, and crucially, the XAVC video for-
mat. An additional fifty people will work
on every match being shot in 4K, wor-
king in their own 4K production facili-
ties.
1. Main camera
2. Main camera Close Up
3. Main camera back up
4. 16m high left
5. 16m high right
6. Tactical camera
7. High behind goal right
8. Crane pitch level left
9. Crane pitch level right
10. Reverse centre left
11. Reverse cetre right
12. Playercam left
13. Playercam right
14. Beauty cam
15. Cablecam
16. Aerial helicopter camera
17. Centre line pitch level
18. Reverse corner left,
super slow motion
19. Reverse corner right,
super slow motion
20. 6m left, super slow
motion
21. 6m right, super slow
motion
22. Low behind goal left,
super slow motion
23. Low behind goal right,
super slow motion
24. Reverse centre pitch
level, super slow motion
25. Reverse centre high,
super slow motion
26. Steadicam left
27. Steadicam right
28. Ultra motion far side left
29. Ultra motion far side
right
30. In goal left
31. In goal right
32. Box camera left
33. Box camera right
34. Tunnel cam
CameraPlan

41. TMBi - 41
Has something
made exclusively
for this event?
The 2014 FIFA
World Cup in Brazil
is the most content
rich tournament to
date. Thanks to
Brazil’s sheer geo-
graphical size, it is
also one of the most
complex from a
logistical standpoint
as shifting produc-
tion crews over large
distances is costly,
time-consuming and
logistically challen-
ging. HBS has been
responsible for pio-
neering the project
and coordinating the
production of what
represents the
world’s largest spor-
ting event.
In another year of
firsts, 2014 also
represents the first
time the FIFA World
Cup has been filmed
in 4K, with three
matches being shot
in Ultra High
Definition. This will
be the first time a 4K
sports production
has been done on
this scale, and pus-
hes the boundaries
for live sports broad-
casting.
1. Main camera
2. Main close up
3. Pitch level Bench left
4. Pitch level Bench right
5. 16m high left
6. 16m high right
7. 6m left
8. 6m right
9. Near side goal left
10. Near side goal right
11. High behind goal right
12. Reverse Mid High
1. Main camera
2. Main close up
3. Pitch level Bench left
4. Pitch level Bench right
5. 16m high left
6. 16m high right
7. 6m left
8. 6m right
9. Near side goal left
10. Near side goal right
11. High behind goal right
12. Reverse Mid High
4KUHDcamera
1. Main camera
2. Main close up
3. Pitch level left corner
4. Pitch level right corner
5. High behind goal right
8K

42. TMBi - 42

43. TMBi - 43
TEST AREA

44. TMBi - 44
TEST AREAText:AlvaroBernal
WHICH ONE DO YOU NEED?
The image of the Super 35 with the ability of
making photos is what Canon has achieved with
these two models. They both have the same Super
35 sensor with HD resolution. These are cameras
which can be used with low light and in a quick
way because the purpose is the content. There are
no technical complexities and they have excellent
ergonomics. They are perfect for producers which
enjoy generating content but dislike the nightma-
re of menus, codecs and formats.
Now that we are writing this article,
there are many people who want to buy a
camera and are doubting between HD or
4K and a big or small sensor. For better
or for worse, the perfect camera for all
purposes doesn’t exist. It doesn’t mean it
existed before, what I want to say is
some time ago the price of a “normal”
camera was so high that wherever you
wanted it or not, you had to use that
camera for everything. Now the offer is
very wide and the type and the content
aesthetic define the camera. Regarding
the dilemma of HD or 4K, what you need
to know is the consumption of content
from some time now is very demanded
on small screens. Therefore, is not so
important the resolution you use to
record. Even the television, the one we
see at home, will continue broadcasting

45. TMBi - 45
TEST AREA
THE RESULT IS EXCELLENT IF YOU KNOW
WHEN TO USE EACH ONE AND IN FACT,
THERE ARE SO MANY PROGRAMS ON TV
THAT WORK ON THE SAME WAY, IS NOT
NECESSARY TO INSIST MORE ON THIS
CONCEPT.
on HD resolution for some time. If
your content, the one you produ-
ce, will be used for these purpo-
ses, maybe HD is your alternative.
It’s obvious we all want more and
4k is very tempting because it
offers “4 times the HD resolution”.
However, the cost of the equip-
ment and the edition will not be
worth what you are going to get
paid for the projects. On the other
hand, if you clearly know that
what you are recording must
endure, the option is 4K. Another
aspect is your clients should know
what they are buying and they
should pay for it.
Regarding the sensor, you
should know that almost everyone
is more comfortable and likes
more the aesthetic of the Super
35. More or less this is the sensor
presented several years ago by
the Canon 5D MarkII. Although
we are talking about a photo-
graphy 35 sensor, what I really
want to transmit is the appearan-
ce of cinema it always had. Once
I have explained this, right now

46. TMBi - 46
TEST AREA
we don’t have cameras with a “cine-
ma” sensor and the functions of a
conventional video. Those cameras
will be on the market one day, but
nowadays the cameras with Super
35 doesn’t offer enough long zooms
with constant openings, or at least in
the range of 1,6 – 3,5, like the video
cameras. The facts are, on a same
projects, you might need those
zooms, need to work quickly and
want the aesthetic of 35 when is
possible. This is way I always
recommend a camera pack of 35
and video camera. The result is
excellent if you know when to use
each one and in fact, there are so
many programs on TV that work
on the same way, is not neces-
sary to insist more on this con-
cept.
The Canon C100 could be per-
fectly defined as the camera of the
Super 35 of the pack. We have alre-
ady mentioned it has the same sen-
sor as the C300. In fact, these two
cameras are very similar, but we will
explain their differences. They also
have a similar body, they almost
have the same appearance and
excellent ergonomics. Moreover,
they have a balanced weight. They

47. TMBi - 47
can be used as a photo camera, you
only have to put the camera in front
of your face, the eye on the viewfin-
der, the hand on the perfect adjusta-
ble grip and handle the iris which is
in the same place it would be on a
photo camera as well as the focus.
The ND filters (physical place) on
the side enable you to handle them
without moving the eye from the
viewfinder and without losing stabi-
lity by moving your hand, it’s ama-
zing! The C100 weights (without the
optical lens) 1.8 kilos, including the
fix screen, the grip and the handle.
The C300 with the same conditions
weights one more kilo. I have wor-
ked with both cameras a complete
working day and you notice the dif-
ference in weight. What really cau-
ses the difference in weight is the
lens. I worked with the C100 and a
stabilized Canon 35mm F2 lens and
with the C300 I used the 24-105 F4
lens. In the first case, everything is
so easy that it even seems the
camera is an extension of your
hand. After working with it I couldn’t
understand how we could work with
other cameras, because it has per-
fect ergonomics and this can only
be designed by someone who
knows our job. This kind of explana-
tion: “they are cameras which should
be used with a tripod or gantry”
come as a shock for me. I have
never used a gantry which wasn’t a
hassle because they have a consi-
derable weight and not very good
ergonomics. Sometimes we use
cameras with bad designs as tradi-
tional cinema cameras. We insist on
knowing the technical language and
the times of the cinema in a market
which only demands appropriate
content and that has put us in our
place. This place is people with a
decent job and not artists who are
the centre of the universe. When I
used the C100 with that compact
lens with an effective IS I said “now
they have done it correctly”. What I
see is what my eyes can see. If I
only could have one camera, right
THE C300 WITH THE ABOVE MEN-
TIONED LENS, THE 24-105 F4,
OFFERS THE SAME ERGONOMICS BUT
WEIGHTS MORE. IT IS CLEARLY SEEN
AS A CAMERA OF HIGHER STATUS.
TEST AREA

48. TMBi - 48
now I would choose this camera and this lens. The
good thing is that when you read this article, there
would already be new things. This market, like
many others, works this way.
The C300 with the above mentioned lens, the
24-105 F4, offers the same ergonomics but
weights more. It is clearly seen as a camera of
higher status. The fact is it costs double the price
of the other one. The ND filters can be handled
with two switches which is very useful. You can
see the filters in an instant, is a piece of cake! The
viewfinder is obviously better. But let’s not talk
about numbers, please. I have seen viewfinders
with less resolution that offer a better performance
than others with better resolution. What really
counts is the technological moment in a specific
period of time. We have to think like an old man in
TEST AREA

49. TMBi - 49
TEST AREA
love with life who doesn’t want to
lose a second with things which
aren’t useful. Which one offers a
better image and who much it costs
is what should matter. This is what
I use to decide. For example for
me, after having problems with a
5D, with my short-slightness and
emerging tired eyesight the viewfin-
der of the C100 is what I need
because it balances out compared
to what I save with it. However I
can’t deny the C300 offers a better,
bigger and clearer image.
With the screens happens the
same thing, the C300 has 4 inches
of resolution compared to the 3.5 of
the C100. In the elder sister the
screen can be placed in different
places thanks to its anchor and you
can even decide not to carry it if the
shooting is clearly focused towards
“photography”, it’s also useful if, for
example you want to carry less
weight or protect the screen. The
challenge of the manufacturers is
to include bigger screens without
losing ergonomics. I know it’s diffi-
cult, but that is their job, to improve
the products and make them better
and more useful. Smartphones
have highlighted this aspect of the
cameras. We will have to wait to
see cameras with useful and prac-
tical WiFi but right now is nothing
more than a good intention. The
half of an inch and the decent reso-
lution enable us to see the work in
the C300 with a lot more confiden-
ce. Obviously these screens and
viewfinders offer the usual informa-
tion, peaking and image magnified
system which work while we are
recording.
The switch distribution in both
cameras is excellent. Each func-
tion of usual use has a switch with
a good size. Furthermore, it has
other customizable switches.
Regarding ergonomics I can only
say it’s time someone solves the
issue of sustaining this “not so new
generation” of camcorders with big
sensors.
MAYBE THE RENT HOUSES ARE THE ONES
WHICH HAVE MORE DOUBTS WHEN
DECIDING WHICH ONE TO CHOOSE.
REGARDING THE LENS IS IMPORTANT
TO SAY THERE IS A WIDE RANGE,
BUT NOT ALL OF THEM HAVE
CANON’S
AUTOFOCUS SYSTEM.

50. TEST AREA
TMBi - 50
Regarding the audio, I
will only say both cameras
include in the price a hand-
le with XLR professional
connections and the con-
trols you expect. The hand-
le can be quickly removed
and put back in place. This
is useful when placing, for
example the camera in the
small travelling hand “gim-
bal” steady stabilization
system. In this case redu-
cing the weight and volume
is recommended.
Some years ago RED
opened an interesting
debate. Cameras have
three parts: sensor, lens
and storage. Depending on
what you invest on each
part, the image you obtain
would be different. This is
known by all the brands.
Regarding the lens there is
not much to say about
Canon. The fact is you can
work with cinema lenses,
with exquisite details,
bokeh, definition (good but
not with electronic result),
small vignetting, etc…
They can be of Canon or
any other brand (from
3,000 Euros onwards
on each fixed lens),
the lens of photo-
graphy of the “L”
series will make you
feel an amazing dif-
ference compared to
recording video with
DSLRs. Even with the
stabilized fixed lens
35 F2 (medium range)
due to comfort and
result, the image it
offers is very appropria-
te. In the C300 you can
also have a PL lens mount.
Maybe the rent houses
are the ones which have
more doubts when deci-
ding which one to choo-
se. Regarding the lens is

51. TMBi - 51
TEST AREA
important to say there is a wide
range, but not all of them have
Canon’s autofocus system, which
is offered as an option and that I will
explain later.
Our content after passing through
the lens has to face the sensor and
all the internal systems each brand
includes to make the most of it. The
same happens with Sony, they offer
the same sensor on different came-
ras and from that point the doubts
begin to appear. Some time ago I
stopped being interested on techni-
cal numbers, especially when I saw
the performance with low light of
RED and BlackMagic. What I do is I
shoot some shots with low light and
low contrast. In those conditions the
worst of every camera can be seen.
Then I check the image and evalua-
te if what I obtained is cheaper on
another brand. Many times we have
to shoot with low light and low con-
trast conditions. They are more than
we imagine. This sensor performs
well with low light. The image noise
like in all the cameras is a reality and
it has an aggressive presence. I
have treated the image with noise
with the “neat video” plug-in and the
result is very interesting. To know on
what conditions you camera shows
it worst part and to know how to
solve these aspects during a shoo-
ting or an edition it was really mat-
ters, not if the camera has a native
ISO of 850 or a sensibility of F10 to
2,000 Lux. I have seen these num-
bers during many years and the
result is very different with the pass
of time. I believe in the next years
we will see very sensible cameras.
This will open a new era when sho-
oting general scenes without illumi-
nation and using diaphragms of at
least F4. We will be able to forget
the cheesy images of F 1.4 that
maybe can give a nicer impression
on a close up, but in the general
scenes doesn’t look good.
The resolution, without mentioning
the obvious fact of the HD cameras,
offers a clearer image in the C300
than in the C100 despite the fact
they use the same lens and the
cause is the recording codec. The
C100 offers AVCHD quality and the
C300 offers a MPEG2 to 50 mega-
bits 422. In both cases is of 8 bits.
With the C300 I was able to frame
again some scenes, not more than
10% in order to simulate slow zooms
and the result was fantastic. In a HD
TV of 50 inches they can be seen
perfectly and the dynamic range
especially stands out. Nowadays, a
sensor with this size with HD resolu-
tion is the answer to the negative
light conditions. It’s not a coinciden-
ce to see in many TV productions
the C300 because they are looking
for a powerful finish which can be
achieved quickly. When we talk
about the codec of the C100 we
can’t forget the external recorders
on SSD disks. With 600 Euros we
can record the “clean” signal from a
HDMI port, for example ProRes 422
to 50 megabits (false 10 bits), this
way we will have the same condi-
tions as with the C300.
DAF, autofocus, this is something
we have been expecting on this type
of cameras with a big sensor. If you
are one of the people with prejudi-
ces who call themselves “cinema
professionals and not video profes-

52. TMBi - 52
TEST AREA
sional” you are not going to like what
I am going to say. The DAF has
managed to make me smile when
the right conditions are on place.
First of all, we have to explain you
have to pay for this option and it’s
available for the C100 and C300.
The moment I select the autofocus
zone, it covers the 20% of the cen-
tral viewfinder. What is not on the
selected area will not be affected by
the autofocus. At first, I thought this
was a small area. If you want to put
an object on the side with this type
of autofocus is impossible. If this is
the case, you should try to focus
yourself without the application. The
DAF system is very simple, you just
have to press a perfectly placed
switch, near the thumb of the right
hand and it will be activated. Then
you will see an area slightly highligh-
ted in the centre of the viewfinder.
Even if it’s activated, you can use
the focus ring of the lens. If you
press again the autofocus it turns off
automatically. You can choose when
to activate the autofocus and chan-
ge from autofocus to manual focus
at your convenience. When you see
how the DAF works, you will see the
softness of changing the autofocus
without any electronic effect, you
want to know when it works. Does it
always work? No, when two ele-
ments that could be the autofocus
appear on the screen the system
doubts, but it doesn’t happen many
times. I think in the future this sys-
tem will be placed on the same loca-
tion as the release, next to the iris
system, for example and we will be
able to move the autofocus area wit-
hout moving the hands from the
camera. You should try the DAF.
Maybe Canon would offer the pos-
sibly of moving the 20% central
zone or increasing its size. We will
IF YOU ARE THINKING
ABOUT THE CRISIS AND DO
NOT BELIEVE ON THE ECO-
NOMIC RECOVERY, YOU CAN
RENOUNCE TO THE LUXURIES
OF THE C300 AND COM-
PLETE IN THE FUTURE YOUR
C100 WITH AN ATOMOS
NINJA IN ORDER TO ENJOY
OF A FIRST-CLASS CODEC.

53. TMBi - 53
TEST AREA
be waiting.
Finally, the most difficult part has
come: deciding between one and
other. If you have a big budget you
don’t have to renounce to a solid
codec, a splendid viewfinder, a big-
ger screen, electric activated filters,
etc. The producers which produce
the content that will sell well choose
the C300. However, if you are thin-
king about the crisis and do not
believe on the economic reco-
very, you can renounce to the
luxuries of the C300 and comple-
te in the future your C100 with an
Atomos Ninja in order to enjoy of
a first-class codec. If you choose
the C100 test it with the mentioned
stabilized 35mm F2 and the traditio-
nal and also stabilized 24-105 F4.
As the camera works really well with
low light, this lens will be very useful.
If you choose the C300 I am sure
you have access to the “L” range,
but if you can test with a Cinema
Prime or Zeiss lens you will be very
pleased.

54. TMBi - 54

55. TMBi - 55
In this new issue of TM BROADCAST
we are going to analyze two equipments
used for audio processing. They are two
models of the same family but very diffe-
rent. He have also been able to test the
new bet of JÜNGER in this increasingly
competitive market, which at last has the
attention it deserves from the professio-
nals of this area and the final users. In
any television production the main aspect
has always been the video, but the audio
linked to it is the decisive factor that is
going to be the difference regarding qua-
lity. The acknowledgement of this fact by
all the professionals who work on the TV
area is essential in order to offer quality
products. My personal experience has
always been associated with the fact of
finding a balance between these two
aspects to offer a product with a good
technical level of quality.
I have known the JÜNGER products for
two years now and I have already done
several implementations using its sys-
tems. If you use the equipments of
JÜNGER is because you want to offer a
good quality on the signal processing,
that by the way, few manufacturers offer.
The last installation I did was the integra-
tion of an audio level editor in the final
process of production. This was an insta-
llation with a lot of problems, but after
searching and testing many products I
found and implemented one of the sys-
tems made by JÜNGER with the fantas-
tic “Level Magic™”. It’s an audio proces-
sing algorithm which generates balance
in all the transmission chain, even if you
have sources with different sound level,
without affecting the quality of the final
signal. It can certify the use of the com-
pressor, fader and amplifier are not audi-
ble, at the same time it maintains the
same sound level prearranged within the
limits you need.
TEST AREA
Test bench made by Pablo Martínez
A NEW
AUDIO ERA
HAS COME

56. TMBi - 56
TEST AREA
- 1RU compact 19" processing device with front
side info display
- Dual power supply second power supply for
redundancy
- Front panel info display for signal activity, IP
address, QR code, status alert
- Hidden touch button to change info display
content
- Remote Panel optional X*AP RM1 panel
- Optional mic inputs optional dual high end mic
preamp module with phantom power
- Optional AES42 input optional module for digi-
tal mic / line input
- Balanced AES input AES line input for desk
inserts or program input for voice over appli-
cation
- Balanced AES output processed mic signals
or voice over program output
- One interface slot I/O expansion slot for one
option board
- 3G / HD / SD SDI module option board with
SDI de-embedder / embedder and relay
bypass
- 4x AES I/O module option board with 4x
AES3id I/Os and relay bypass
- 4Ch analog I/O module option board with 4
analog line I/Os and relay bypass
- RJ45 network connector 100BaseT full duplex
Ethernet interface
- USB B connector built in USB < > serial adap-
ter to access the device service port
- 8 GPI/Os 8 balanced inputs, 8 relay closure
on 25pin Sub-D
- Aux power supply isolated 5V supply for exter-
nal wiring
- External sync IN 75Ohm input (Word Clock,
AES, Black Burst, Tri-Level)
- Sync OUT 75Ohm Word Clock output
- Software Features
- 2 main processing channels chain of proces-
sing blocks, mono / stereo operation
- AUX program path extra 2Ch input for a pro-
gram signal
- External compressor link up to four D*AP4
VAPs may be linked for round table set ups
- Input stage mute, gain, polarity, HPF, LPF
- M/S matrix encode, stereo width, decode
- De-esser frequency, range, type, Q
- Filter spectral signature & 5x full parametric
EQs
- Dynamics expander, upward compressor,
downward compressor, soft limiter
- Leveler automatic level control
- Voice over stereo or mono voice over extra
program input, pan
- Output stage true peak limiter, mute, attenua-
tion
- Monitor output extra feed from the DSP to
monitor DSP processing blocks
- SNMP agent SNMP v1, see D*AP4 VAP-MIB
- Remote control l-s-b EmBER plus protocol for
VSM integration, 3rd party API
V*AP Voice Audio Processor

57. TMBi - 57
For those of you who don’t know
JÜNGER , let me explain you this
company was created in Berlin in
1990 and its specialization is the
manufacturing of audio processors
in constant evolution and innovation.
It has been awarded several interna-
tional prizes and its systems are pre-
sent in many broadcasters and pro-
duction centers both of radio and
television.
The equipments I am going to
analyze now are very similar regar-
ding aesthetic, but very different on
what is inside of them. A digital audio
processor may seem something
normal, however inside it we find a
system which enables us to combi-
ne all the necessary elements so
that our production can stand out
among the others. The other equip-
ment is a vocal processor.From my
point of view, is the star of the family,
thanks to its new algorithm which
integrates something that I will
explain later. With this equipment
you can achieve amazing results
regarding the maintanance of the
same audio identity in all you pro-
ductions. Last but not least, we will
see the remote screen used byt the
family JÜNGER AUDIO A*P, a sys-
tem which will enable you to control
several parameters and other avai-
lable presets.
IT’S POTENTIAL
For this test bench I did all the
practical tests by integrating the
equipments in a production studio,
except for the “V*AP Voice Audio
Processor”, because due to its
nature I was interested in testing it
on the soundtrack studio. In this
case I didn’t use it on a mobile unit
because I was interested in analy-
zing its behaviour on several pro-
grams. Despite this, I recommend
you to analyze closely the
TEST AREA
IT’S AN AUDIO PROCESSING ALGORITHM
WHICH GENERATES BALANCE IN ALL THE
TRANSMISSION CHAIN, EVEN IF YOU HAVE
SOURCES WITH DIFFERENT SOUND LEVEL,
WITHOUT AFFECTING THE QUALITY OF THE
FINAL SIGNAL.

58. TMBi - 58
TEST AREA
“D*APA8 MAP” if you need to imple-
ment an audio processor on a mobi-
le unit, because this processor
could be the key to do live events
with quality and excellent proces-
sing options. It includes many para-
meters you can modify which the
majority of processors integrated on
the mixing boards don’t have. We
have to take into account the tests I
did were based on a customized
interpretation in order to make the
most of the audio produced on seve-
ral programs and also to make a
reliable comparison with the initial
situation we have in our facilities.
D*APA8 MAP + X*AP RM1: To do
this test, as I have mentioned befo-
re, I installed the system in a pro-
duction studio which is used almost
10/7 due to the live programs and
recordings done there. I used the
remote control to simplify the func-
tions of the audio technician when
selecting the presets defined on
each program. I set up the presets
myself trough the web interface of
the Jünger application. I did this pro-
cess using as reference the values
of each program we broadcasted (of
the equipments I normally use to
control the signal of each one) and
configuring the presets of work.
Once I generated the work basis
with this processor, we did some
modifications, which due to the limi-
tations of the equipments we had,
would have been almost impossible
if we hadn’t combined two equip-
ments. You know the rule: the bigger
the equipment, the more opportuni-
ties of error it has. The result of the
basis was the one we expected, we
detected a great difference on the
measurements of the wave form
generated on the presets when the
equipment modified the signal. It
was much more fluid and without
any type of cuts or strong variations
in comparison with the initial signal.
It had better body and colour. The
access from the remote simplified
the changes on the basic parame-
ters, as well as the access to the
system. As I have said previously, it
Hardware features
- D*AP8 unit 1RU / 19" compact 8
channel processing unit
- X*AP RM1 1RU detachable
remote panel, powered by
Power Over Ethernet (POE)
- Dolby decoder built in optional
Dolby E / D / D plus decoder
- Dolby encoder built in optional
Dolby E or D / D plus encoder
- Dolby metadata I/O two 9-pin
Sub-D connectors (RS485)
- 4x AES3id I/O + SRC on board
AES I/Os with relay bypass and
SRCs (selectable) per input
- Two interface slots expansion
slots for optional I/O boards :
- 3-G/HD/SD-SDI, 4x AES I/O,
4Ch analog I/O, 8Ch analog
(speaker) out
- RJ45 POE front connector to
connect the X*AP RM1 remote
panel directly
- RJ45 network connector
100BaseT full duplex Ethernet
interface
- USB connector built in USB < >
serial adapter to access the ser-
vice port
- 8x GPI/O balanced inputs and
relay contacts on a 25pin Sub-D
- Aux power supply isolated 5V
supply for external GPI/O wiring
- External sync IN BNC input
(Word Clock, AES, Black Burst,
Tri-Level)
- Sync OUT BNC Word Clock out-
put
Software features
- TP limiter Junger Audio true
peak limiter control algorithm for
speaker protection
- Speaker alignment delay, level
and frequency response com-
pensation, speaker identification
- Bas management for subwoofer
and satellite speaker installa-
tions
- Solo- / In Place / Defeat indivi-
dual speaker control
- Mute / DIM mutes / dims all spe-
aker channels
- Delay, gain, polarity for input
signal correction
- Downmix separate downmix cir-
cuits for program and AUX feed
- Dolby metadata generator gene-
rates RDD6 compliant metadata
- Dolby metadata emulation
shows the effect of metadata for
decoded (D-E, D-D, D-D plus)
- or PCM signals
- BLITS generator EBU Tech
3304 / BLITS channel identifica-
tion
- BLITS analyzer automatic track
configuration for the monitoring
section
- Loudness measurement
ITUBS.1770-1/ -2/ -3, EBU
R128
- Loudness / level display X*AP
RM1 display, J*AM Junger
Application Manager
- SNMP agent SNMP v1 get (no
set) and configurable traps (see
MAP-MIB)
- Remote control protocol l-s-b
EmBER+ protocol for VSM inte-
gration, 3rd party API
D*APA8 MAP

59. TMBi - 59
is a good equipment to bear in mind
if we want to modify the audio of our
productions, both on facilities and
live events.
V*AP Voice Audio Processor: In
this case I did two test taking into
account the basis of the equipment,
thanks to its audio filter based on the
algorithm of Jünger Spectral
SignatureTM. First, I integrated the
system in the production studio
together with the “D*APA8 MAP”, by
controlling the two equipments
through the remote “AP RM1”. The
system configuration was different
to the one I did trough the web inter-
face. In this case I did a cascade
system configuration and the “V*AP”
was the end of the studio chain. The
first thing we did was to check the
possible delays when we placed the
two processors. Then, after measu-
ring the reference signal and pro-
cessing the two equipments with
their cascade signal on the output,
we measured a delay of 3,4 ms. It
was a very small measurement in
the whole process of the video and
audio signal if we think about all the
process done by the signal. After
checking this, I focused on making
the most of it with the “Spectral
SignatureTM”, the algorithm used to
do the comparison, as well as the
process done by the equalizer on
the sample audio. On a real time
situation this is perfect. My work
samples when using AES signals
are of not more than 2,8 ms of diffe-
rence between signals, something
very complicated if we take into
WE DETECTED A
GREAT DIFFERENCE
ON THE MEASURE-
MENTS OF THE
WAVE FORM GENE-
RATED ON THE
PRESETS WHEN THE
EQUIPMENT MODI-
FIED THE SIGNAL.
IT WAS MUCH
MORE FLUID AND
WITHOUT ANY
TYPE OF CUTS OR
STRONG VARIA-
TIONS IN COMPARI-
SON WITH THE INI-
TIAL SIGNAL.
TEST AREA