TVTE Feb-March 2014 digital

TechnologyTV EUROPEWWW.TVTECHNOLOGY.COM

BROADCAST • PRODUCTION • BROADBAND • SATELLITE • MOBILE

What’s next for channel-in-a-box systems?A Chat with Ed Lister

Buyers Guide: Automation, Archive, MAM,DAM & Recording/Storage

Companion Screen Big, 4K Appears

£3.80 I Volume 32 I Issue 1 I February/March 2014

Sochi

SHOW PREVIEW

See Pages 22-23

FC Feb V1_Layout 1 03/02/2014 14:33

TVT FP_Layout 1 27/01/2014 15:23 Page 1

CONTENTS ///EDITORIAL

Editor Mark HallingerTel: 1 301 467 1695 Email: [email protected]

Executive Editor Marguerite ClarkEditorial Director Paul McLane

Tech Editor Craig NorrisContributing Editor James Careless

Contributors Ann-Marie Corvin, Kevin Hilton, Phil Reed

NEWBAY MEDIA LLC CORPORATE

President and CEO Steve PalmChief Financial O!cer Paul Mastronardi

Controller Jack LiedkeGroup Circulation Director Denise Robbins

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U.S. Midwest, New England & Canada Vytas UrbonasEmail: [email protected]

U.S. West Pete SemblerEmail: [email protected]

U.S. Southeast and Mid-Atlantic, US Classifieds &Product Showcase Michele Inderrieden


Hong Kong, China, Asia/Pacific Wengong Wang Email: [email protected]

Italy Ra!aella Calabrese Email: [email protected]

Latin America Susana Saibene Email: [email protected]

TV Technology EuropeISSN 2053-6674 (Print)ISSN 2053-6682 (Online)

is published seven times annually by Intent Media. ©2013 by Intent Media. All rights reserved.

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Unsolicited manuscripts are welcome for review – send to Mark Hallinger at the feedback address.

PRODUCTION

Production Director Davis White

Group Head of Design & Production Adam Butler Email: [email protected]

Production Executive Jason [email protected]

Designer Jat [email protected]

As has been the case with most Olympics sinceAtlanta, I will be at the Sochi InternationalBroadcast Centre (IBC) at the Games with fullcredentials. I’ve stopped by and pro!led thefacilities of dozens of small, medium, and largerightsholding broadcasters over the years. I alwayscover my host NBC, and I do my best to givecredit to the tech organization that really makes itall possible, host broadcaster OlympicBroadcasting Services (OBS).

If you are in Sochi, I’d love to stop by to get yourcontact details and take a few quick pictures. I am"exible on timing, as I tend to spend 12 or morehours per day at the IBC or venues, waiting forpeople to get o# a shift so I can grab them for afew minutes to hear the details of their job orfacility. Please e-mail me [email protected] and I will stop by for aquick chat or card exchange on your schedule.

Also, please check out our new Sports Nowchannel at www.tvtechnology.com. $is site-within-a-site has all kinds of sport coverage, withmuch of it these past few weeks generated via anew e-mail newsletter called !e Road to the 2014Winter Games. By the time you read this, we’ll havea good Sochi overview posted on Sports Now

$e web gives us the space to really use theglobal resources we have, so expect morecoordinated coverage between the print edition ofthis magazine and our online presence movingforward. We’ll sometimes run stories only on theweb, as we did with two user reports this month.We also have expanded BVE product coverageonline, for those attending the London show.

As our industry gears up for Rio’s World cup

later this year, expect great coverage on Sports Now. Andy Stout, who wrote ourOlympics Overview you can now !nd on the web,opines that we will see some limited 4Kproduction from Sochi, but June’s World Cup maysee a bigger 4K splash.

Sport broadcast has always been about mainscreen stories such as HD, or 3D, or 4K/UHDTV.IP technology and server-based production hasalso helped !ll the companion screens with content,and Sochi will mirror London as far as thegeneration of content for SmartPhones and otherdevices is concerned. $is Games will likely bewatched as much on tiny screens as on great bigHD screens.

Mark HallingerEditor & Associate Publisher

February - March 2014 I TV Technology Europe 3////////////////

Sochi Now, Sports Now!

4 SPECIAL REPORT: MAMCraig Norris reports on how Foxtel built a beneficial, modern MAM system

8 EXHIBITIONS: Broadcast Video ExpoAnn-Marie Corvin looks at the expanding London-based event

12 SMPTE UPDATE: IP in BroadcastBruce Devlin on SMPTE’s regional seminars designed to help the industry better manage the shift toward IP-based handling of media.

14 TRENDS: Channel-in-a-BoxDavid Austerberry on where we are and where we might be headed.

18 BUYERS GUIDE: Automation, MAM, DAM, Recording & StorageA user report from Belgium’s Skynet iMotion Activities on how Pebble Beach’s Marina system fit channel expansion, and product news.

24 SHARPSHOOTER: Ed ListerA few questions with the Manchester-based lighting cameraman and self-shooting producer.

Cover image inside the SmartPhone courtesy of theSochi2014 Press O!ce, with the larger picture byCraig Norris..

At the ski jump in Torino in 2006.I’ll be in the same jacket at Sochi,but expect a lot less hair.

Contents Feb -Mar v3_Layout 1 03/02/2014 14:34 Page 1

TV Technology Europe I February-March 2014//////////////// 4

The Need for MAM Midwives

t has been three yearsalready since I wrote anarticle about media assetmanagement (MAM). That's a

long time in the world of IT anddigital production platforms. Inthree years, Nokia went frombeing the world's number onephone maker to being sold for asong to Microsoft.

Three years ago, afully-fledged MAM was verymuch in the "too hard" basketfor a lot of broadcasters. Buttoday, some broadcasters haveembraced a fully-fledged MAMimplementation and benefittedstrongly from it. One suchsurvivor of the MAM

implementation experience isFoxtel in Australia.

Foxtel subscribers enjoymore than one hundredchannels of television, radio andmusic entertainment, with morethan twenty of those televisionchannels completely owned andoperated by Foxtel. That meansFoxtel makes all theprogramming decisions,acquires the content andprepares the material for finalbroadcast, and keeps a contentlibrary for all of thosetwenty-something channels.

In Foxtel's pre-MAM life, theprevious paragraph implies thata lot of videotape was received,

processed and stored -- and allby way of manual handling.Post-MAM, things are verydi!erent, and much better. How did they do it?

This author has beeninvolved in the Foxtel MAMproject, not as a full timeparticipant, but as a casualcontributor who participated ina lot of the earliest planningactivities, and subsequently asan occasional auditor-cum-sanity-checker-cum-diagramcreator.

One of my early contri-butions was an analysis of theextrapolated volumes forincoming new content and theirsources, and the variousflavours of file format andcontent encoding that could beexpected. The result of theanalysis showed that there weredozens of major contentproviders in diverse locationsaround the world.

The diversity of contentsources is in itself aninconvenience. There was also afurther complication broughtabout by a lack ofstandardization in the fileformats and encoding schemesfor the digital content that theycould provide.

Foxtel's solution formitigating the operationalcomplexity brought about by

the diverse sources and formatswas to utilise experts in thecollection, conversion and QC ofthe digital content master files.

The aforementionedpreprocessing of the incomingfiles has become the role ofexternal content aggregators.Now Foxtel only needs to dealwith a small number of contentaggregators who each acquirethe original master files fromthe various distributors andthen deliver that content toFoxtel ---- after conversion to astandardized file format andencoding scheme.

The external aggregatorscollect the studio originalmaster files from the contentproviders in Hollywood, NewYork, Atlanta, London, Singaporeand the other major centres oftelevision content distribution.Then they edit those masterfiles to close up any gaps, notethe timecode locations for thenatural breaks whereprogramme segments can bedefined, render an output file inFoxtel's house format and finisho! with a full file QC.

Foxtel's operations havebeen streamlined. The companynow only deals directly withunified and pre-formattedcontent that has already had alocal QC before delivery.

Foxtel's incoming file tra"c

SPECIAL REPORT ///

/// By Craig Norris

>

Craig MAM v1_Layout 1 03/02/2014 14:35 Page 1

TV Technology Europe I February-March 2014////////////////6

is processed and managed inFoxtel's new MAM platform. Itconsists of four majorcomponents.

Firstly, there's the HitachiData Systems high performanceRAID storage platform. Next isthe SpectraLogic robotic LTOdata tape library, and the VizrtArdome MAM platform. Finally,there is Mediasmiths’ open

source Workflow Engine andEnterprise Service Bus (referredto as WFE), which alsoincorporates the Mayam tasklist solution.

The reasoning behind thisfour-way vendor mix stems fromthe fact that Foxtel a!liatebroadcaster BSkyB was alreadywell down the track of MAMplanning and implementation,

when Foxtel was considering itsown MAM strategy. Foxtel paid avisit to their Operations andEngineering counterparts atBSkyB to understand theirdevelopment experiences.

As it turned out,Mediasmiths was a key player inthe UK's BSkyB Tapeless project,and they were deeply familiarwith the Vizrt Ardome product.

This was the entry point forMediasmiths to be involved in aproject in the Antipodes, andMediasmiths Asia Pacific wasestablished. But why? What didthey bring to the table forFoxtel's MAM project?

The simple answer is twothings. The first is a productcomprising a Workflow Engine(WFE) that controls thesequence of MAM processes viaan Enterprise Service Bus (ESB).The second is an intimateknowledge of the history inBSkyB's MAM decision-makingprocesses.

By using an EnterpriseService Bus to connect all thesub-systems to the WorkflowEngine, the existing and futureneeds for customization ofworkflow definitions andinterfaces can be abstractedaway from the MAM core. InFoxtrel’s case, Vizrt's Ardomecan now do what it does well:The target for customisation ismoved to a more well-suitedplatform in the way of an opensource ESB (MuleSoft) and WFE (Intalio).

The MAM vendors wouldrather not be responsible forinterfacing their MAM to everypossible sub system in thebroadcast world, nor do theyreally want to be called upon tomake every future modification

of their customers' workflowdefinitions. This is whyMediasmiths’ WFE/ESB comboproduct was so welcome at Foxtel.

The second thing thatMediasmiths brought is theintimate knowledge andexperience gained from earlierMAM implementations.

If you'll forgive the analogy, aMAM implementation is not toounlike giving birth to a baby. Thebest thing a mother-to-be canask for is an experiencedmidwife ---- someone who hasplenty of experience, enoughexperience to know what to dono matter what comes up, andabove that, enough experienceto know how to avoid allpossible pitfalls so thateverything will go smoothly.

Things should go smoothlynot just as a matter of goodluck, but thanks to goodmanagement. In this case,bringing in Mediasmiths tomidwife their MAM was a smartmove on Foxtel’s part.

In conclusion, Foxtel did twovery smart things. Theyoutsourced the heavy lifting ofcontent aggregation to theexperts in the field, so that only a unified flavour of media file would arrive in Foxtel'singest servers.

The second thing was toengage expert MAM midwivesvery early in the project'sgestation period so that thedelivery of the MAM foal wouldall go smoothly. I call it a foalrather than a baby, because weexpect it to be up on its feet and fending for itself in days and months, like a foal; ratherthan in years, like a human baby. ///

SPECIAL REPORT ///

Craig MAM v1_Layout 1 03/02/2014 14:35 Page 2

EXHIBITIONS ///

TV Technology Europe I February-March 2014//////////////// 8

Now the second biggest eventof its kind in Europe, BVE boastsa show profile that extendsacross production services,acquisition, post, storage,broadcast and connectedmultiplatform delivery.

CONNECTED & 4K THEATRESAccording to the event director,James Rowley Ashwood, almosta fifth of the 15,000 visitors tothis year’s show, which takesplace at London’s ExCeL centrefrom 25 to 27 February,expressed a desire tounderstand the connectedworld and BVE’s ConnectedTheatre and dedicatedexhibition space will bebolstered as a result.

Headlining BVE’s ConnectedTheatre will be the British FilmInstitute’s director of digitalEdward Humphrey, who willspeak about the BFI Player, theVoD platform which accessesthe BFI’s archive. A 4K Theatre,meanwhile, will be doing doubleduty as a 4K cinema, o!eringfree 4K content each day.

The show’s free seminarprogramme has also expandedto include key European namesthis year, including AlessandroReitano, director of sportsproduction at Sky Deutschland.

The organisers note that theevent, which hosts over 300-plus exhibitors, appears to begrowing globally, withinternational visitor numbersrising by 12% in 2013, with 85countries represented. “We fullyexpect this trend to continue asthe UK continues to be at theforefront of the broadcastindustry,” Rowley Ashwood adds.

On the exhibition side, manycome to BVE to launch productsahead of the NAB in Las Vegas -

so delegates can expect to seesome exciting new technologies.New exhibitors include a host ofEuropean vendors, includingANNOVA Systems GmbH, DeCSMedia GmbH and F&V Europe BV.

New exhibitor Orban, amanufacturer of televisionloudness controllers amongst itslarge audio portfolio, will beexhibiting its full line. While notstrictly European, the US firm,founded by Bob Orban, movedits manufacturing, worldwidesales and technical support toOrban Europe GmbH in Germanya few years ago.

At BVE, Orban will unveil theOptimod-TV 8685 - themanufacturer’s second-generation surround/2.0processor, o!ering 3G HD-SDI

I/O, CBS Loudness Controllersand metres, a BS.1770 safetylimiter, and BS.1770-3 loudnessmetres.

DPP COMPLIANCE ON SHOWFile-based delivery remains a bigissue in the UK, as the nation’sterrestrial broadcasters willsoon require all file-baseddeliverables to be compliantwith the new Digital ProductionPartnership (DPP) standard. Inanticipation of this, somecompanies – audio vendors inparticular - are using this year’s

event to demonstrate theirversions of compliant kit.

Aspen Media will bedisplaying tools to ensure TVcontent meets all the DPP’srequirements – includingdemonstrations by Jünger Audioand RTW. Jünger Audio’sAnthony Wilkins is scheduled tointroduce the T*AP Edition - anadvanced audio processor,

which claims to intelligentlysolve the problem of loudnesschanges without adding anyundesirable audio artifacts.Fellow audio firm RTW,specialises in EBU R128compliant audio metres and willbe displaying the modularTouchMonitor series and thecompact TM3 and TM3-3G onAspen’s stand.

Wohler also has a DPPcompliant tool to show for BVE -the WohlerDPP. Powered byRadiantGrid, the company claimsit is the first to o!er a file-based, automated processingsolution that addresses the fullDPP delivery workflow.

Miranda, meanwhile, will beholding detailed discussionsregarding its key production,playout and monitoring solutions

at this year’s show. This includesthe firm’s scalable playoutplatform, iTX. Newenhancements include version1.1 of iTX Render Service forAdobe After E!ects, while CS6software automates andmanages fully rendered AfterE!ects graphics.

Also on display will be thevendor’s multiviewer, Kaleido-MX, and its modular version,Kaleido-Modular-X. Fibreconnectivity solutions fromMiranda’s Telecast product lineand a range of cables fromparent company Belden are alsoset to figure prominently at BVE.

OKNO-TV, a UK systemsintegrator, acquired Megahertzlast October, and will use BVE asa platform to announce itsadaptation of the Megahertzbrand, with the combinedcompanies now trading underthe name of Megahertz Ltd.

Megahertz, which wasresponsible for the new BT Sportstudio build last year in London’sOlympic Park. has alsostrengthened its technical andcommercial expertise, which thefirm claims has enabled it toreach a more diverse andinternational market.

“Megahertz has aremarkable reputationworldwide for the quality ofwork in both mobile and fixedinstallations,” said Jon Flay, MDof Megahertz Ltd. “OKNO-TVprovides us with the financialand commercial stability,drawing on its remarkablereputation. Together, therejuvenated Megahertz has newhorizons and new strengths,

BVE KeepsGrowing /// By Ann-Marie Corvin

JVC’s GY-HM650 camcorderfeatures live streaming capability.

Orban will unveil the Optimod-TV 8685, its 2nd gen surround/2.0 processor

Videosys will have thenew Cobham Nanotransmitter on display

>

BVE v3_Layout 1 03/02/2014 14:36 Page 1

alongside our existing depth ofskills.”

Elsewhere, JVC is using BVEas the launch platform for itsnew professional product range– which was not announced atpress time. Alongside this, JVCwill be showcasing its range ofprofessional camcorders,including the powerful GY-HM650 camcorder, with its livestreaming capabilities, and theGY-HM70, a cost-e!ectivecamcorder for eventvideographers. The company willalso feature its range ofproduction monitors.

“BVE is the second largestevent in our industry in Europeand forms an important part ofour marketing plan this year,especially as we are launchingnew products,” comments LizCox, JVC’s marketing manager.Cox adds that BVE also provides

JVC with a unique platform tohold valuable discussions withboth “experienced end-usersand those just entering into ourdynamic industry.”

Other companies, such as Videosys Broadcast, arehappy repeat customers, havingtrialed BVE at its first run at theshow’s new East London venuelast year.

“We did not expect toactually make sales from BVE, itwas more of a branding exerciselast year to get people see whowe were, but we made a fewsales directly attributed to usbeing there , so this year we areback with a bigger stand andmore products to show,” saysVideosys sales manager AlistairHorne.

At BVE 2014 Videosys willlaunch a new version of itsaward-winning camera control

system and the firm will alsowith have the new CobhamNano transmitter on display,which it claims is the smallestHD COFDM transmitter on the market.

Perrenial BVE supporterHamlet is also out in force,catering for those requiring

current production HD formatsof 3G, HD and SD SDI, andbackwards compatibility forcomponent and composite videosignals – plus embedded,AES/EBU and analogue audiowith Dolby and Loudnessfeatures.

“The latest addition to ourrange, the DigiTek DT900 andthe DigiScope DS900G, join theaward winning DigiScope DS900, MicroFlex hand held and VidScope softwaresolutions,” says Steve Nunney,Hamlet’s MD. ///

Miranda’s iTX will show enhancements including version 1.1of iTX Render Service for Adobe After E!ects.

Jünger Audio willdisplay loudnesskit at the AspenMedia stand.


More BVE Coverage Online!For expanded product coverage of what’s on show, see www.tvtechnology.com

BVE v3_Layout 1 03/02/2014 14:36 Page 2

ilm- and videotape-basedcontent creation

processes traditionally haverequired a great deal of

manual intervention at variouspoints along the workflow. Butthe migration towardinformation technology (IT) isradically changing the waymedia is managed, moved, andmanipulated.

Freed from their reliance onphysical media, the workflowsemployed in production, post-production, and distribution nolonger need be time-intensive,expensive, and inflexible. In fact,the digital age gives companiesin the entertainment and mediaindustry many newopportunities and tools withwhich to improve their e!ciencyand enhance the viewerexperience, while also reducingthe cost of content creation anddistribution.

As increasing numbers ofcontent creators anddistributors adopt IT-basedsolutions, they gain access todevices, technologies, andtechniques that never couldhave been developedeconomically by the broadcastcommunity alone. In turn, thearrival of the interconnectedcontent creation anddistribution workflow ischanging not only thetechnologies being used, butalso the business models andstrategies embraced by mediacompanies.

Globally distributed andcollaborative production andpost-production processes areincreasingly being implementedby content producers,distributors, broadcasters, andmultichannel video programmingdistributors (MVPDs). Thechanging nature of digitalcontent also drives the ITmigration, as next-generationbroadcast technologies such asUltra High Definition (UHD)require rapid evolution ofinfrastructure and a shift towardIP architectures.

Despite significant forwardprogress, it still is rare to find amedia professional with a strongunderstanding of video and IPtechnologies and a

comprehension of the businessimplications of thosetechnologies. This means thatthere remains a need foreducation about the design,deployment, and e#ective useof IT infrastructure and IPnetworks.

Technology and relatedstandards continue to evolvevery quickly. Media facilities areproducing, managing anddistributing more content toincreasingly segmentedaudiences, and multiplatformdistribution is becomingincreasingly complex.

For these reasons, there isalways more that industrymembers can learn about the

use of IT to manipulate media,the influence and interaction ofprocessing and algorithms -- andhow all of these elements canbe put together in a way thatsupports a highly e!cient mediabusiness. Recognizing the needfor further education on thesetopics, the Society of MotionPicture and Television Engineers(SMPTE) has developed aregional seminar designed toadvance the industry inmanaging issues related to theshift toward IP-based handling of media.

Providing educationalopportunities to industrymembers is one of the threepillars of SMPTE’s mission. To this end, the organization is bringing its “Digital Media:Production to Distribution Using IP” seminar to the UK in February.

The U.K. Regional Seminarwill address the use of media

over IT infrastructure in bothstreaming and file-basedworkflows. It will be led by meand my AmberFin colleague BenDavenport.

This one-day regionalseminar will give those workingin film, television, or digitalmedia a unique and valuableopportunity to gather with otherindustry professionals for aninteractive and educationaldiscussion of IP technology andcommunications as they relateto media. It will be o#eredFebruary 11, 2014 in London andFebruary 12 in Salford,

This information will beuseful for all operational sta#,whether from an IT or

broadcast/media background,as well as other key personnel,including those who designsystems. Attendees will gain theworking knowledge they need tocreate and deliver content forany platform most e#ectively asIP-based environments grow.

What makes these seminarsso unique is not just that they’reprovided by SMPTE, thestandards-development bodywhose work guides the motionimaging industry. Rather, it isSMPTE’s ability to call on theengineers actually inventingcurrent and future mediatechnologies that makes itsregional seminars so valuable.There is no other source thatprovides such fresh insight insuch a practical manner.

The seminar will begin with abrief history of the technologyand an overview offundamentals.

After examining the many

e!cient, cost, and production-quality advantages a#orded theentertainment media industryby adoption of IT networks, theseminar will move on to look athow these technologies andtechniques can be adapted toachieve e!ciency throughoutthe full media life cycle, fromacquisition though production,playout, archiving, contribution,and distribution on multipleplatforms. Topics will include anoverview of the IP-based facility and workflow, theelements of a successfulmigration to IP, and roadmaps forworkflow transition to IP in liveproduction, contribution, andpost-production.

Professional contentproducers will walk awayunderstanding the impact andimplications for their work if, forexample, SDI were to disappeartomorrow. Systems and facilitiesdesigners will gain a clearerunderstanding of IParchitectures and how to assurethat, at the end of the day, theywork as they must to supportcontent creation anddistribution.

This seminar has generatedenthusiastic feedback in NorthAmerica and Europe, and itshould prove to be highlyinformative and interesting to allvariety of professionals withinthe media industry. ///

SMPTE UPDATE ///

/// By Bruce Devlin


Bruce Devlinis a SMPTE InternationalSections Directorand CTO at AmberFin

Further information about theseminars, as well as the fullUK section program ofmeetings and activities, isavailable atwww.smpte.org/sections/united-kingdom

Understanding Picture Quality Measurements – one of the topics at the SMPTE regional seminar.

Bruce Devlin

SMPTE Dissects IP, Workflow

SMPTE v4_Layout 1 03/02/2014 14:37 Page 1

The March of Channel-in-a-Boxhe origins of broadcastautomation can be tracedback to the controllersused for the cart

machines that played ads to air.These commanded the robot toload tape cassettes into VTRsfor frame accurate playout. Tapehas long since been replaced byvideo servers, and therequirements for an automationsystem have changed.

An automation controller isessentially a computer CPU,memory and a hard drive. Thevideo server is a CPU, hard drivesand video I/O cards, housed in a19-inch rack with a brandedfront panel. Combine the twoand you have a "channel in abox" (CiaB).

The term is used somewhatloosely by vendors. Most CiaBproducts are really integrated

playout devices, needing severalother "boxes" to run the playoutoperations, including ingestservers, shared storage, (MAM)and so on. CiaB systems replacesome or all of the video servers,master control switchers,downstream keyers, graphicsclip playout devices and morethat make up a broadcastsystem.

There are several di!erentdesign approaches to CiaB, butall of the systems run on what isessentially a commodity ITserver or servers. Some vendorsopt for a third-party video card inthe server for decoding, videoI/O, mixing and scaling. Othersuse commodity GPUs in theserver. The third approach isentirely software-based;

although such a system needs avideo I/O card if it is using SDIinterconnections and is meantto lock to house reference andtime code.

Scott Rose, Miranda’sdirector of productmanagement, believes that CiaB"has come of age and gainedmainstream acceptance."Customer business models havechanged, bringing downcomplexity, he said.

Many vendors use GPUacceleration, but as JamesGilbert of Pixel Power points out,GPUs are designed forprogressive and not interlacedgraphics. In response, PixelPower has developed their owngraphics engine based on a DSPdesigned for television signals;rather than the generic videowhere the GPU excels.

DIFFERENT REQUIREMENTSThe performance requirementsfor a CiaB vary greatly. At aminimum, a channel maycomprise back-to-back clipswith a logo keyed over theoutput. At the more complexend, a prime network may needto mix two or three prerecordedclips, and switch between liveinputs from the newsroom andincoming feeds. It will need tokey 3D animated graphicsrendered in real time from datafeeds, and it will need to supportsubtitling and closed captions.

The former can very easilybe handled by CiaB. The lattercan be challenging. MarkErrington,

CEO of OASYS, observedthat "the only place where

playout is based on discretecomponents will be for complexlive channels."

Tom Gittins of Pebble Beachpointed out that not all CiaBsystems are the same. "Fewbroadcasters are now looking for

a single channel,” he said.“Multichannel systems will needshared storage, media assetmanagement and a commoningest system."

Gittins advised that CiaBsystems have limitations, andbroadcasters should proceedwith caution. "They suit clip-based channels, but graphicscan be limited,” he said. “Aschannels look to di!erentiatefrom the competition, they canenhance their branding withsophisticated graphics."

Worth noting: Manybroadcasters have existinggraphics and subtitlingworkflows that they want toleave in place, and not replacewith the integrated approachthat can be required by a CiaB.

THE END OF SDI?

One of the factors that keepsCiaB confined to videoequipment, and preventsmigration to a wholly ITenvironment, is conventional SDIinterconnections. But now manyvideo systems are movingtowards IP and Ethernet, so the way is open for the move of master control to the

data centre. For his part, Dan Turow of

Evertz sees "Ten GbE becomingubiquitous, with a quick move to100 GbE, leap-frogging 40 GbE,”he said. “This will freebroadcasters from the hurdlesand challenges of HD-SDIsystems."

Freed from the constraintsof SDI, service providers canmove playout to the cloud.Cinegy has already supplied IP-only systems. “Cinegy can run16 SD channels on a singleserver,” said Cinergy MD and co-founder Jan Weigner. It can alsorun in the cloud, asdemonstrated by the LeapCloudplayout service from Deluxe,which is powered by Cinegy. “Foran operator running a largenumber of channels,virtualization environments arethe way forward,” Weigner said.

Scott Rose of Miranda alsosees change coming: "Moreconventional video hardware isbeing removed from theworkflow, and software runningon commodity platforms, oreven on managed servicesrunning in the cloud, hasbecome the way forward."

MANY VENDORS …There seems to be no end to thenumber of channels beinglaunched, and this is reflected inthe number of vendors chasingthe business. Observersreported more than 100 vendorswith CiaB solutions at IBC 2013.

Will all these CiaB vendorssurvive? Views vary on this, andother CiaB topics.

Evertz’s Dan Turow sees"further consolidation in themarket to be inevitable, with toomany vendors in the currentmarket. The future lies more andmore with metadata exchangebetween the platform to give(an) end-to-end solution."

Evertz has moved away fromthe traditional master controluser interface to the VUEtouchscreen. The operator cancontrol all manner of equipmentfrom context sensitive screens,including "widgets" for switchercontrol.

This integrated playoutdelivers lower CAPEX and OPEX."Asset management is key,”observed Turow. "Linear playoutis easy, but with integrated MAM

TRENDS ///

/// By David Austerberry


PixelPower’sChannelMaster at SBS

Harmonic’s Spectrum ChannelPort branded channel playout module speeds the cost-e!ective deployment of new SD and HDtelevision channels by integrating branding and master control switching with clip playback on Harmonic’s media server platform.

PlayBox Technology system in operation at STN Slovenia

>Continues on Pg 16

Channel in a Box v4_Layout 1 03/02/2014 14:38 Page 1

MARKETPLACE ///MORE ICE OPTIONS

The ICE channel-in-a-box from Snell now includes two all-newmodels. The core ICE product o!ers greater functionality andhorsepower in a more compact footprint, and a new systemcalled ICE-LE is a low-cost 1U version that o!ers a streamlinedfeature set for smaller operations or simple video server refreshprojects. Each ICE unit features multiple inputs and outputs withtwo DVEs and eight keyers per channel mixer, as well as routingand mixing functions, SD and HD format conversion, audioprocessing capabilities, and closed-caption/subtitle support.Occupying only a single rack unit, ICE-LE delivers the power of ICEtechnology at just 38,000 euros list price for four channels ofplayout. It comes complete with robust routing, mixing, audioprocessing, format conversion tools, and 2 TB of storage. www.snellgroup.com

ADAPTIVE PLAYOUTChameleon is a new product linethat consolidates relevantsoftware from OASYS into asingle optimal configuration for avariety of channel playoutrequirements. Using proprietaryOASYS software, the Chameleonsetup adapts to the broadcastworkflow environment in which itis deployed to ensure thatoperating parameters for that specific environment areseamlessly configured to their most e"cient use.

The idea is to collaboratively develop playout solutions thatadapt to and optimise to customer workflows, says thecompany. One integrated playout solution replaces the need toengage with multiple vendors, and OASYS servers can bequickly reconfigured and Chameleon can be adapted to fitbroadcast workflows as they change and evolve.www.oasys.com

APPLE-BASED AUTOMATED SERVERjust:play is an Apple based, 24/7 automated broadcast playoutserver from ToolsOnAir. It plays SD/HD movies, integrates livefeeds, router and GPI events as well as real-time graphicsincluding corner logos, lower thirds and tickers that updatemanually or automated from RSS feeds, XML data sources andremote databases.

The product allows broadcasters to schedule and managetheir playout, even while a clip is already on air. This is possiblewhile having an unlimited number of users working concurrentlyon the same channel (depending on the user rights defined forthis channel). Content can be scheduled days or even weeks inadvance, while providing a traditional list view with metadatasupport, and the user interface provides an unlimited, frameaccurate review and preview of all scheduled video items .www.toolsonair.com


TRENDS ///


you can seamlessly integrateVOD and OTT."

Jan Weigner agreed thatthere are too many vendors andconsolidation is inevitable. As tofuture trends, Weigner sees that"in the First World non-linear isgoing to take over from linear,and linear can be a realtimestreaming provider."

For his part, Scott Rose alsosees the focus on reducingoperational costs through CiaBdeployment: "CiaB have lessmoving parts, and require lessmaintenance,” he said. “Aposition in master control needsup to five sta! to provide 24/7presence. It is not just theplayout automation that willreduce manning requirements,but smart monitoring."

Fault monitoring and errorreporting by exceptions doesallow fewer sta! to run morechannels. But this hasn’tnecessarily reduced their costs“Broadcasters that have freedsta! have in the mainredeployed them to morecreative tasks,” said Rose.

One of the needs to reducecosts stems from more

channels splitting the sameadvertising pot. With respect tothis dilemma, Don Ash ofPlaybox Technology said, "Morechannels are launching onsatellite and OTT. In areas of theworld like Western Europe, theadvertising revenue is being splitacross more channels, leading tothe need to drive down thecapital and operational costs ofrunning a channel, including costof content, playout anddelivery."

However, Ash believes thatby making automation systems

"simple to install and easy touse with little training orunderstanding, broadcasterscan reduce the costs ofplayout,” he said.

Jan Weigner observed thatad revenues are still rising fortelevision, and that the Internetis primarily hurting print. "Whererevenues rise, there comesmore channels,” he said. “InWestern Europe, there has beenan explosion of channelssharing flat advertisingrevenue, so channels have to below, low cost. Eastern Europe

and Asia have seen ad revenuesrising with commensurategrowth in the number ofchannels."

We have come a long wayfrom programs arriving inmaster control on tape cartsand the whizz and clunk of cartmachines. Content now arrivessilently, and master controlresembles a data centre.Conventional video hardware isbeing removed from theworkflow, and software runningon commodity platforms hasbecome the way forward. ///

Pebble Beach Systems’ Stingray solution


Smoothing SiA Playout

iA (Skynet iMotionActivities) is a wholly-owned subsidiary ofthe largest

telecommunicationscompany in Belgium, theBelgacom Group. It creates,produces, purchases andexploits audiovisual contentthat is o!ered on Belgacom TVand broadcast on its ownchannels, which are exclusive tothe Belgacom TV platform.

SiA currently broadcastsmore than 700 live sportsevents per year and broadcastson three linear TV channels(Belgacom Zoom/11, Belgacom11+ and Belgacom 5) in bothDutch and French. It specialisesin the coverage of football andbasketball.

When we began planning forthe launch of these new sports

channels, we made the decisionto transfer our playoutoperations in-house and awayfrom the managed service wehad previously been using. Wewere running a combination ofbest-of-breed devices and a lesstechnically advancedautomation solution, so a keyrequirement was the need toupgrade.

Each of our channels isbroadcast in two languages. Thehigh proportion of live contentplaces particularly heavydemands on our graphicsdevices, so the selection of theplayout automation solutionneeded to take theserequirements into account.

When we came to evaluatewhat was on the market, PebbleBeach Systems' Marina solutionstood out as a highly flexible

and advanced system that wasalso price-competitive. It isparticularly easy to configure,and can adapt to our changingrequirements.

Furthermore, the Marina GUIcan be configured to suit theway individual users want towork, which makes it particularlypopular with our operationalsta!. The playout operators caneasily follow exactly what isgoing on or about to happenvery easily and intuitively, atvarious levels on all channels oreven to the detail of the value ofthe queued items for graphics.

With each of our channelsbroadcast in both the Frenchand Dutch language, eachlanguage version is, in e!ect,handled as a separate entity;with di!erent voiceovers andgraphics.

We took the newautomation system on air in July,2012, following an aggressiveplan from purchase ordersignature to live in just fourmonths, with Marina controllingour EVS server system andMiranda Vertigo graphics. It alsointerfaces to a Front PorchDigital DIVA archive and providespaid "red button" interactivity,allowing people at home to gofrom a trailer to a VOD item inone click.

The system incorporatesvarying levels of redundancy,with full Air Protect on the twofootball channels, and anadditional level of redundancyfor the graphics, which switchesto the backup graphics deviceusing Marina's routing if the maingraphics should fail.

Pebble Beach Systemsdeveloped their ‘Auto PromoGeneration' feature to meet ourrequirements. This safeguardsthe integrity of channelinformation graphics when weneed to manage late breakingchanges.

Immediately prior to agraphic going on air, Marinadynamically sources data from

multiple playlists at the sametime, extracting the most up-to-date program information.Configurable templates are thenpopulated with accurate starttimes, titles, preview clips andimages as required, so that lastminute schedule changes can bedisplayed without the need tomanually generate newgraphics.

The playout system hasbecome one of our showcasesolutions, and since itsintroduction we have added atechnical "loop" channel. Thereare projects underway to exploitthese further and to add newchannels following businessdemands. ///

USER REPORT /// BUYERS GUIDE: AUTOMATION, MAM, DAM; RECORDING & STORAGE

/// By Rodrigo Sternberg


Caption: Rodrigo Sternberg

INTEGRATED PLAYOUT WITH ADOBE GRAPHICS

Miranda’s ITX integrated playout platform saw several newenhancements last year, including version 1.1 of iTX RenderService for Adobe After E!ects CS6 software. iTX RenderService automates and manages fully rendered After E!ectsgraphics, making them immediately ready for playout fromeither the iTX platform or Miranda’s Vertigo Suite of graphicsautomation and asset management tools. Also new and part ofiTX’s version 2.3 SP3 is iTX Master Control, an integratedplayout solution that combines playout automation with liveevent functionality using hardware control panels that can beseamlessly switched to, and from, as required throughout a live broadcast. www.miranda.com

Contacts: www.pebble.tv

Rodrigo Sternbergis Technical Director at SiA.

ur-pebble v1_Layout 1 03/02/2014 14:51 Page 1

February-March 2014 I TV Technology Europe ////////////////19

MULTICHANNEL STREAMINGSTRYME from Austria o!ers its fourthgeneration GENESIX. The all-in-one multi-channel video server solution o!ersprofessional HD quality and comprisesboth an advanced graphics engine forreal-time graphics feeds as well asmultichannel streaming functionality inthe H.264 format.

The product supports all industry-standard codecs and formats (DV,DVCPRO, MPEG-2, D10, Sony XDCAM, P2,Apple ProRes, Avid DNxHD, etc.) and caneasily be integrated with a broadcaster’sinfrastructure and workflows. Thegraphics engine enables the quick andeasy realization of 2D and 3D graphic

overlays. The fourth generation GENESIXalso comes complete with advancedasset management. www.stryme.com

SNELL AT TVI IN PORTUGALRichard Waghorn on how Ireland’snational broadcaster started theimplementation of a project tomove all its content management,playout and related broadcastoperations from tape to files.

User Reports Online!See www.tvtechnology.com for more user reports on this buyers guide category.

INGEST ENGINE; STORAGE

Carlos M. Gomes of TVI onhow Snell’s ICE channel-in-a-box playout system suitedits logical playout evolution.

TMD AT RTÉ IN IRELAND

ToolsOnAir recently completed aninteresting archiving project featuring itsjust:in ingest engine controlled by a custombuild interface based on just:controltechnology. The scope was to ingest manythousands of tapes from an existing tapelibrary by using an XML database as astarting point to trigger the di!erent tapeingests from attached VTRs. The operatorchooses an available recording channel,selects the tape from the database listing,clicks on the channel’s record button and

records from the chosen in-point to the endof the tape. After a successful recording anacknowledgment of completion is writtenback to the database.

ToolsOnAir also o!ers flow:rage, whichstarts at 4TB and scales up to 126TB perchassis. flow:rage o!ers a solution to fit avariety of needs and budgets. All flow:ragesystems support an unlimited number ofclients and come with a five-year bring inhardware warranty. flow:rage can be usedas a standalone storage system or in

combination with the ToolsOnAir BroadcastSuite, a qualified MAM or archive systems,database applications, or for web serving.www.toolsonair.com

Mkpl page 19 v6_Layout 1 03/02/2014 14:52 Page 1

MARKETPLACE ///


SCALABLE ETHERNET STORAGEHarmonic MediaGridis an easily scalableEthernet-basedshared storagesystem optimizedfor digital media,with the performance of SAN and the simplicity of NAS.MediaGrid provides exceptional performance for digital mediaworkflows, is cost-e!ective scale-out storage, and is simple todeploy, manage and scale. MediaGrid is tightly integrated withmedia applications for ingest, transcoding, editing, archival andplayout to provide a shared storage solution which acceleratesfile-based workflows while providing the ability to manage theentire asset lifecycle. www.harmonic.com

MPEG TS OVER IP; FLEXIBLE CONTROL PANELPebble Beach now o!ers anMPEG-2 transport streamdelivered over IP (TSoIP) on boththe Dolphin integrated channeldevice and the Stingraychannel-in-a-box solution,adding full resolution IP

functionality to the range, and complementing the IPmonitoring output capability of these products.

New for Pebble’s Marina automation is the SmartPanel. Thisuser-configurable feature gives customers the ability to designtheir own control panels within the Marina user-interface, givingthe operator, for example, a custom-designed panel to takemanual control of both Marina and external devices, or perhapsto have a panel dedicated for controlling live graphics.www.pebble.tv

ARCHIVE INTELLIGENT AMALGAMATIONLTFS has switched the traditional ingest workflow around byenabling material to be transferred directly into the archive,opening up an array of new workflows and creating substantialtime and cost benefits. Taking the next step in this transition,SGL now o!ers its Notification Service. Using this newsubscription service, management of the archive is furtherenhanced by the addition of intelligent amalgamation services –optimising tape and tape-head usage without limiting access toindividual files. The separate elements of an amalgamatedarchive can still be identified and easily retrieved and theaddition of the SGL Notification service means that users cansubscribe to messaging about processes, material andhardware for fast and e!ective workflow monitoring.www.sglbroadcast.com

SCALABLE STORAGEThe high-performance, scalable EditShare XStream platformrepresents a new breed of storage o!erings. Integrating assetmanagement (Flow) and archiving/back up capabilities (Ark),XStream provides facilities an advanced storage environment.Equipped with superior media sharing features, NLE editors cansafely share both media and projects for the ultimate ine"cient post-production. www.editshare.com

LTO NETWORK ATTACHED ARCHIVEXenData has announced the release of the SXL range of LTOarchive systems, which connect to a 1 GigE network and makewriting to and restoring from LTO as easy as writing to networkattached disk storage. There are five SXL models that provideup to 57.5 TB of near-line LTO and all manage an unlimitednumber of externalized LTO cartridges. www.xendata.com

mkpl page 20 v2_Layout 1 03/02/2014 14:53 Page 1

DoingWhat He Loves

NAME: Ed Lister

AGE: 28

FAMILY: None of my own yet, but grewup with the coolest olderbrother and parents I could askfor.

STAR SIGN:Aquarius.

WHERE DID YOU GROW UP? I grew up in a really small oldcobbled village calledHeptonstall in the hills of WestYorkshire. Really quiet andscenic.

WHERE DO YOU LIVE TODAY?Manchester.

LANGUAGES?English and German.

OCCUPATION? Freelance lighting cameramanand self-shooting producer.

WHAT EDUCATION HAVE YOUHAD?At the University of Salford inManchester I got a degree inprofessional broadcast

techniques, but I think the bestway to learn is by doing; actuallygetting out there and becomingcomfortable with equipment.

HOW LONG HAVE YOU BEENA CAMERAMAN? About five years.

TELL US ABOUT FLAGTIMEFILMS:Flagtime Films is a relatively newand small video productioncompany based in Manchester,which I run when I'm not workingas a cameraman elsewhere. Weproduce all kinds of content forboth web and broadcast such asmusic videos, commercials,corporates and events.

WHAT HAS BEEN YOUREXPERIENCE IN SHOOTINGVIDEO WITH DSLRs?I shoot a lot on DSLR and I love it,the versatility is just amazing.The simplicity of switchingbetween the manyinterchangeable prime lensesthat are available out thereenables truly beautifulcinematography with very littletime spent fa!ng about.

DOES THIS APPROACH HAVEA FUTURE?Absolutely! Just look at the

constant stream of crazy newgizmos that are coming out onthe market at the moment thatare specifically designed forDSLR production:Hexa/octocopters, insanestabiliser rigs, ‘one man crew'dolly systems and so on. DSLR isa big money saver. Costs can becut with not only the kit itselfbut with a reduced crew.

Not too long ago we shot acommercial for some farmingequipment in an enormouschicken shed. It was so funnyhaving a full lighting setup and asmall crane in there, and nochance of having anything elsecamera-wise other than a DSLRswinging about.

WHAT IS YOUR EDITING RIG?Using a new Macbook Pro withFinal Cut means I can edit on thefly wherever I am in the world,whether I'm on the road in thevan or sitting in a cafe inSwitzerland.

CURRENT ASSIGNMENTS.WHERE, DOING WHAT,SHOOTING FOR WHOM?I'm currently working with theguys at Calrec Audio on a reallysleek corporate at their HQ inYorkshire. I also just finishedfilming a stunning new music

video in Manchester for a localartist called Burgaboy. Plenty of200fps and FS700 magic withsome amazing locations tomatch.

HAVE YOU BEEN BUSY?Extremely. Today was my firstday o" in a good few weeks.Having a lie-in without a crazycall time was so blissful -- yet I'dhave it no other way!

SHOOTING WHERE?The past month I've been mainlytravelling around the north ofEngland, Liverpool, Manchesterand Yorkshire.

WHAT TYPES OFPRODUCTIONS DO YOUCURRENTLY SHOOT?Commercials, live sport, high endmusic videos and events.

WHAT WAS YOUR FIRST-EVERSHOOTING JOB?I think it was a promotional videofor the Manchester record labelIdiosync Music.

MOST RECENT, INTERESTINGASSIGNMENTS?I am not long back from a crazystint on the road in Europe.Three days travelling on theback of a motorbike from

SHARPSHOOTER ///


Sharpshooter v3_Layout 1 03/02/2014 14:59 Page 1

London to Amsterdam, filming atruly dedicated team of cyclistswho were making the journey forvarious charities.

I had my trusty DSLR with abody support for this job with afew primes. It was pretty crazyhanging onto the bike, gettinglost in small French villageswithout having to be changingglass!

It was a real slog with somegrim weather conditions but aproper adventure. I take my hato" to the cyclists! The event iscalled IBC2IBC(www.ibc2ibc.org)!

From there I flew straight to

Croatia to film at a brand newmusic festival in the town ofRovinj for the next week. I hadonly had my one large camerabag for the entire round trip, so Ihad to be very selective withlenses, accessories and kit.

Last weekend I filmedchampionship football -- Bolton vIpswich -- at the Reebok stadiumfor the BBC's football leagueshow.

CURRENT CAMERAEQUIPMENT YOU USE?Sony NEX-FS700, Canon 7d/5dMkIII with an arsenal of primelenses and the JVC GY790.

OTHER GEAR YOU HAVEACCESS TO? I use the guys at Procam inManchester for hiring various kit.They always have up-to-datecamera formats and gear.

WHAT USEFUL PIECE OFGEAR DO YOU WISHSOMEONE MIGHT MAKE?A Velcro-backed lens caps tostick to my clothes for on the flyshoots. Forever losing them!

BEST THING ABOUT YOUR JOB?Definitely the adventures andweird and wonderful situations I

find myself in on a daily basis.Meeting cool people and gettingto do what I love for a living;what more could I ask for?

WORST THING ABOUT YOUR JOB?It can be hard waiting or chasinginvoices as a freelancer, but it’spart of the job, I guess. The latenights and early starts take theirtoll a bit, but it is well worth it tobe able to do what I love.

DULLEST ASSIGNMENTS AND WHY?I try to avoid doing anything Idon't enjoy.

HAIRIEST/SCARIESTASSIGNMENTS?One day in Croatia, the weatherturned from absolutely blazinghot to a downpour withinminutes; conditions deterioratedand I ran for shelter in a smallcanvas marquee. It soon turnedinto a pretty angry tropicalstorm with thunder, lightning,and torrential rain.

Not far out at sea fromwhere we were, there was anabsolutely enormous doublewater spout tearing about agood few hundred feet each. Allthe contents of the tent wereblowing around. The doors wereripped open so I had to get binbags to wrap my camera gearand protect it from the rain.

The water got to about afoot deep and started pouring in.But the skies soon cleared toreveal an absolute blissfulsunset and the destruction left behind.

February-March 2014 I TV Technology Europe ////////////////25

SHARPSHOOTER ///

>


Another crazy moment forme was while I was filming acharity walk up Ben Nevis inwinter with the Lease of Lifecharity. Conditions were prettygood for us with clear visibility atthe top; after a nice warmingwhisky and a little relax, a harshwhite out blizzard engulfed us.

You couldn't see further thanabout five feet ahead of you.

Temperatures dropped to about -15 in seconds.

HOW MUCH 16:9 DO YOUSHOOT?Couldn't tell the last time I shot4:3. It's all 16x9 now.

WHAT COUNTRY DO YOUMOST LIKE TO SHOOT IN?I work mostly in the UK, but do

love filming in Holland when overfor the IBC show. It’s such a super-chilled place.

WHAT'S YOUR TASTE INMUSIC?It totally depends on my moodand what I'm doing. I've beenlucky enough to work with somereally talented musicians andproducers living in Manchester,

and I really think this has mouldedmy taste in music. Indigo andSynkro are top of my iTunes list.

FAVOURITE FOOD?Do cups of tea count? I'm so badwhen it comes to eating, I rarelymake or find time properly, but Ido seriously love a good old piewith mash and gravy. It's the king! ///

SHARPSHOOTER ///


Advertising Sales Representatives ///////////////////Publisher Steve Connolly +44 (0)207 354 6000 [email protected]

Europe Sharifa Marshall +44 (0)207 354 6000 [email protected]

Europe Graham Kirk +44 (0)1223 911153 [email protected]

Italy Ra!aella Calabrese +39 02 92884940 [email protected]

Latin America Susana Saibene +34 607 314071 [email protected]

Hong Kong, China, Asia/Pacific Wengong Wang +86 755 5785161 [email protected]

Australia/New Zealand Eric Trabb +1 212 378 0400 x532 [email protected]

US Central, New England & Canada Vytas Urbonas +1 212 378 0400 x533 [email protected]

US West Pete Sembler +1 212 378 0400 x324 [email protected]

US Classifieds & Product Showcase/ Michele Inderrieden +1 212 378 0400 x523 [email protected] Southeast and Mid-Atlantic

Adder 10 www.adder.com

AJA 5 www.aja.com

Blackmagic Design 9, 13 www.blackmagicdesign.com

B&H 27 www.bandh.com

Bridge Technologies 3 www.bridge.tv

Digital Rapids 20 www.digitalrapids.com

Harmonic 11 www.harmonic.com

Lupo Light 15 www.lupolight.it

Lupolux 25 www.lupolux.com

Miranda 2 www.miranda.com

NAB 21, 22, 23 www.nabshow.com

Orban 17 www.orban.com

Pebble TV 7 www.peeble.tv

Pixel Power 19 www.pixelpower.com

Tools On Air 16 www.toolsonair.com

Videosys 4, 6 www.videosys.tv

Wheatstone 28 www.wheatstone.com

ADVERTISING INDEX ///////////////////

Contact:E: [email protected]: www.flagtimefilms.comTw: @flagtimefilms


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