roaacas. - American Radio History

roaacas. - American Radio History
www.broadcastengineerin .com
An INTERTEC" /PRIMEDIA Publication
JUNE 2000
roaacas.
NGINEERING
THE JOURNAL OF D /G /TAL TELEVISION
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June2000
Volume 42
Number 7
Broadcast
ENGINEERING
THE JOURNAL OF O/G /TAL TELEV/5 /ON
www.broadcastengineering.com
Features
74 2000 Pick Hits
By Steve Epstein
Twenty hand -picked new products our judges chose as among the
most innovative and best solutions of the year.
84 NAB Wrap -up
By BE Staff
From storage to transmission to Web streaming, our team of
reporters scoured the floor for the newest trends and products.
86 Product Jackpot
By BE Staff
New product highlights from the show floor.
156 Light compression for transporting
contribution -quality HDTV
By William Zou
A light touch with compression ensures high -quality video for
processing and editing.
Beyond the Headlines
NEWS
16
24
26
Webcasting technology matures
GPS becomes more accurate
FCC releases DTV status report
FCC UPDATE
30
"Class A" TV in place
EXPERT'S CORNER/VENDOR VIEWS
32
2GHz band update
Digital Handbook
TRANSITION TO DIGITAL
40
Routing television signals
COMPUTERS AND NETWORKS
48
Testing video networks
ASK DR. DIGITAL
52
Getting the most from old newsreels
(c
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Systems Design & Integration
SYSTEMS DESIGN SHOWCASE
54
EchoStar: A DBS star matures
TRANSMISSION & DISTRIBUTION
64
Transmission lines for DTV
PRODUCTION CLIPS
68
Digital compositing: What you need to know
New Products & Reviews
APPLIED TECHNOLOGY
162
Lighthouse Digital Systems OZ TDM audio router
TECHNOLOGY IN TRANSITION
166
Cameras
BUSINESS WIRE
170
Business highlights from broadcast and production
Departments
10
12
Editorial
Reader Feedback
201
Classifieds
Advertisers' index
202
EOM
194
ON THE COVER: Microcast's network and broadcast operations center in Danbury. CT. The company
provides Internet video streaming
services to TV stations and other
media. The artist's rendition of the
new facility reflects the convergence
of traditional television operations
and streaming Internet technologies.
A. F. Associates. Inc.. Northvale. NJ,
provided technical design services
for the Microcast project.
FREEZE FRAME
A look at the technology that shaped this industry.
WEBSITE DIRECTORY
www.broadcastengineering.com
Feature Articles
Reader Resources
Editorial calendar
Departments
New Products &
Reviews
Article archives
Marketing/
Advertising
Contact the Editors
Questions? Contact:
Patrick Murphy
patrick [email protected])intertec.com
913/967 -1905 fax
Hawkeye and two more
The June 1981 issue of Broadcast Engineering highlighted
camera technology called Video
Recorder/Camera. The VRC
a
new
combined a camera with a
recorder in a shoulder- mounted
package. The RCA version, known
as the Hawkeye, is shown here.
Two other VRCs were shown at
that year's NAB convention; name
them and their manufacturer.
Note, the suggested price of those VRCs was $50,000. That's
$93, 894 in today's dollars! Correct entries received by July 31
will be eligible for one of the new Broadcast Engineering Tshirts. Send your entry to brad dick @intertec.com
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NETWORK SUPPORT
/-NRR/S
Editorial
It's a virtual world
-
to my virtual editorial. Because it's virtual, you'll get whatever you want
money,
food, new car, vacation. You want red? Fine, it's red. How about green? No problem, it's
green. No matter your desire, it's here. You see, it's virtual.
Anybody ill yet?
The word virtual came up a lot while touring the Sands at this year's NAB. Virtual this, virtual
that. While we've had virtual sets for several years, now we've got virtual switching, virtual press
conferences, even virtual companies. Broadcast knows virtual. We use virtual ads so that viewers
see fake (but real -looking) logos at sporting events. For example, the beer signs at the 50 -yard line
or the car ad behind the catcher or on the wall in left field?
Those can all be virtual. Dan Rather got into trouble over
virtual. When CBS decided to electronically erase a competitor's logo from behind him during a broadcast, the line
between real and virtual became uncomfortably blurred.
Attendees at NAB could wander the halls encountering one
virtual presentation after another. At one booth, I was offered
a tour of a virtual switching network. I kept asking questions,
but the answers were, well, virtual, I guess. After spending 10
minutes trying to figure out exactly what the guy was trying
to sell, I gave up. I left the booth not understanding what it was
his company did.
The virtual concept so permeated the Sands that it reminded
me of the early differences that distinguished the corporate
cultures of the Sands and LVCC. Three years ago, Mark
Gray, chairman and CEO of Pluto, coined the phrase "Rust
Belt" to typecast the "old" LVCC. While he was joking, that
image has stuck in some minds.
Today, it's no longer an "us vs. them" mentality, but it's obvious the Internet, computer, virtual
and software -based guys see the world differently than do some of the more traditional vendors.
To that I say, "Great." We need different perspectives.
However, when I hear some X or Y- Generation exhibitor tell me the Internet will replace broadcast
television by 2003, I want to give him or her a history lesson. Television is 50 years old and with
that history comes some wisdom these newbies don't have. They need to be wary about telling
others how the world should be. If you've only been around for two years, your perspective is, well,
only virtual, not real.
There's always been plenty of not-ready- for-prime -time technology at the NAB convention. Does
anyone remember the NEC SR -10 recorder? It stored 34 seconds of video on 1000 chips. 1000 ICs!
I dare you to troubleshoot that. Does anyone remember the Dynatec D2S2? How many examples
can you recall?
The point is not to criticize these companies or the products, but to emphasize the importance of
being prudent in your selection of technology. After all, your boss probably won't settle for virtual
performance when what he really wants is real performance.
Toward that goal, Broadcast Engineering can help. Inside you'll find coverage on more than 400
new products from this year's convention. We'll keep the hype to a minimum and focus on the
solutions, products
and trends
you need to be familiar with to succeed.
Meanwhile, I wonder if there's a future for virtual editors? No work, real pay. Yeah, that sounds
good. Oops. I used the word "real."
Welcome
-
-
Send comments to:
direct:[email protected]
website: www.broadcastengineering.com
Brad Dick, editor
IO
Broadcast Engineering
June 2000
www.americanradiohistory.com
Solving the Digital Puzzle
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to tell who is trying to get who "moo -
ving."
Your description of Kennard sucking
up to cable hits the nail on the head.
Congratulations for saying it. By the
way, you and your staff publish a
great magazine.
q$t
t.1
11+
I.II.n0
MIKE KING
An4ERrrECH
nard and the cow is just great. It's hard
An opposing viewpoint
A few comments on your March 2000
editorial, "Worshiping cable."
First of all, I know little about FCC
Chairman William Kennard. However, after reading your editorial, it appears you have spared nothing to vilify
this guy in print. Is such an attack really
justified?
Whatever his faults, Kennard is not a
politician in the elected sense but an
appointee who invariably serves at the
pleasure of the "real" politicians in
Washington, whom you also despise
(fair enough). I think it reasonable to
say the FCC abandoned its only legitimate mandate (establishing technical
standards) years ago when "marketplace" decision making was introduced
to decide the fate of competing systems
for AM stereo. Therefore, at this late
date, why would you expect leadership
and wisdom regarding complex engineering questions about digital television to flow from these same offices?
Money and politics are what wags
this dog. According to an editorial in
our local paper today (The Star Ledger,
Newark, NJ), Kennard has angered the
broadcast establishment over the issue
of "microradio." Kennard favors licensing many new low power radio
stations operating at 10- to 100W to
permit something other than the lowest
common denominator to have access
to the public airwaves.
Yet an old reliable red herring (interference) is being trotted out to quash
10W radio stations while the heavy
guns of the trade press (Broadcast Engineering) are aimed at those regional
cable TV systems that have been so
12
June 2000
No love for Kennard
Thank you! Mr. Kennard is no friend
to either consumers or broadcasters.
As a small broadcasting facility, we
have already invested huge sums of
capital (yet to be recovered) in digital.
The only thing Mr. Kennard has done
for us is try to eliminate or reduce our
grade B coverage area, make over the -air DTV the only means of recovering our investment, and turn consumers against broadcasters.
He still demands that we pay monthly rent on our frequency, give away
free political ads, provide programming free of charge to the DSS folks
and pay taxes.
Maybe, just maybe, he can finalize
the death of over -the-air broadcasting
and have a controlled, beholden industry that can be operated by the
White House!
Thank you for your blunt, but accurate, portrayal of the current political
situation.
MIKE SEAVER
KHQA -TV
Having been in the broadcasting
business for 20 years and now the
recording industry for another 20, I
fully appreciate and understand your
frustration.
As a resident of Illinois and a suburb
of Chicago, I get to witness firsthand
the magnitude of corrupt and stupid
government. The picture of Mr. Ken-
Broadcast Engineering
www.americanradiohistory.com
brash as to curry favor at that special
interest superstore that once served only
ABC, NBC, and CBS.
Instead of attacking the FCC Chairman for not steering enough money
into the same old greedy pockets, let's
see you criticize those merger-and-
acquisition
who fill my
talk, sports
talk, and a
broadcast conglomerates
radio dial with telephone
talk, celebrity talk, news
couple of (barely) music
stations with computerized playlists
that offer the same two dozen songs
over and over.
Plenty is wrong with today's electronic medialand. Editorially, you are
barely nibbling around the edges.
DON MENNR:
TECHNICAL EDITOR
New YORK
Recent T -shirt winners
The following readers correctly identified the first of two April Freezeframe
questions. The question focused on
Ampex's 1976 demonstration of freezeframe and slow- motion playback capability on a VPR -1. What was it? The
answer, of course, became known as
AST, Automatic Scan Tracking. No
one got the second part
the four
manufacturer's showing helical VTRS
at the 1976 NAB convention. The answer: Ampex, IVC, Sony and Recortec.
-
This
Tom
Srini
Don
month's winners:
Cupp, WCYB -TV
Murthy, Larcan Canada
Rhodes, University of Arizona
Len Griffin, WNJU -TV
Jay Blair
Don Norwood
Karl Sargent,
California Oregon Broadcasting
Scott Xenophon,
ABC News/Washington
To win your own Broadcast Engineering T- shirt, answer the question
on page 8. Send your answer to
brad_dick @intertec.com.
ANNOUNCING THE
STATE -OF-THE -FUTURE
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www.americanradiohistory.com
It All Comes Together on DigitalMediaNet.com
DigitalMediaNet.com helps you stay in touch with the issues,
products, and opportunities that can give that all- important competitive
edge. Professionals from around the world, representing every discipline in the
digital media market, tune into our media channels every day. Whether you
are looking for the latest news, reviews, industry trends, a place to buy or
sell your new product or even a new job, DigitalMediaNet.com has a solution!
www.americanradiohistory.com
1
1
eter
iae,Nobon Picture
and Television
Production
e°
structure must also be able to handle
changing demands three to five years
later with little appreciable loss in
quality. Berg notes webcasting facilities share common elements with digital television facilities. For example, Microcast's plant includes a
transmission operation center, a
broadcast operation center and a
master control room.
Microcast's master control center
combines its network operation center with quality control for program
acquisition in a touchscreen envi-
sults. We need to create an ecosystem
that will either replace or supplement
today's Internet so we can deliver
much more rich content. One way of
making the Internet more efficient is
began webcasting in mid -March,
from its world headquarters in Santa Clara, CA. The service's facilities, located on the Yahoo campus,
are reminiscent of a news depart-
ronment. Equipment commonly
found in large television centers,
such as servers with terabytes of
capacity, high -speed data networks
and large databases, are standard
pieces of equipment in webcasting
facilities. Berg says webcasting,
unlike traditional broadcasting, will
likely see bandwidth restrictions disappear, forcing system integrators
to consider future requirements.
Expect video quality to improve as
the technology matures, just as advances in camera technology have
improved picture quality for broadcast television. Webcasting is also one
more way broadcasters can deliver
viewers to potential advertisers, Berg
said.
With the adoption of "edge technology," large servers in the range of two
or more terabytes are strategically
located around the world. This makes
it unnecessary to tie up the entire
Internet over long distances when it is
determined that multiple users want
specific information on an ongoing
Yahoo's FinanceVision broadcast facilities are similar to many smaller market
television stations. The center includes a production suite, a news studio and a master
control room shown here.
through the use of edge technology
where local caching of material is
done, thereby placing the emphasis
on being 'content specific' rather than
'destination specific'."
Gershaw concluded by saying: "I
see three steps in achieving our goals.
First is the edge technology. That is
working with content delivery networks to cache the content on local
servers near the users, as mentioned.
Second is a digital means of maintaining control
of the content
Perhaps the best example of what is
ownership
possible with webcasting can be
observed on Yahoo's FinanceVision.
through a digital rights solution, like the en-
basis. It can be deposited into a POP
server in the local area.
Tom Gershaw, senior business development manager at Microsoft, has
been working toward solutions to the
Internet bandwidth problems. Gershaw said: "You just can't get good
video on a dial -up 56k modem. With
300- to 700kb /s, using MPEG -4,
we've gotten some fairly good re-
18
Broadcast Engineering
cryption built
into Windows
Media. And
thirdly, we need the tools to allow
content users to develop business models for such things as pay per view
(PPV) and pay per download (PPD),
so they can take advantage of the
ubiquity of the Internet."
Perhaps the best example of what
is possible with webcasting can be
observed on Yahoo's FinanceVision
(www.financevision.yahoo.com)
June 2000
www.americanradiohistory.com
ment at many local television stations.
Yahoo has converted several rooms
for the purpose of webcasting. One is
a studio, where the T bar ceiling has
been removed and replaced with Videssence lights. Equipped with three Sony
cameras on tripods, a typical news
anchor desk arrangement, microphones and the ever familiar "On
Air" light, it appeared to be business
as usual, as it would be in most any
news studio.
The second room, the control room,
is typical of any small- market television control room that would be
used for a newscast. Gathered in
this hub of the neophyte financial
news television facility were the
producer, cutting and pasting stories on the fly; the director, who was
also the technical director, an audio
person and several others, assisting
in the eight -hour weekday operation. Like many other broadcast
stations, commercials were fed from
a storage device similar to a video
server. However, the commercials
are stored in AVI format with MPEG
compression, not video.
Another room was set up as a typical
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www.americanradiohistory.com
production /edit suite, complete with
an Avid editor. Sharing the same room
was the final link to the outside world.
To this point there is no reason why
any broadcast engineer would have a
problem using the feed from the control room for air. The pictures are
good -quality analog composite signals that feed a Windows Media Encoder for 300k/100k and 56k streams,
which sends everything out over the
Internet.
Jon Orlin, supervising producer at
Yahoo, said, "Although our pictures
on the Internet are not as good, today,
broadcast quality, give us the time
and we'll achieve that level."
as
Odin pointed out that unlike typical
broadcasting that reaches a single
market, Yahoo's FinanceVision typically gets e-mail from all over the
world. While most business offices
-
lack a television, most are connected
to the Internet
and at higher data
rates.
Another webcasting player is a Sacramento, CA, company called PSMG
(www.psmg.net). PSMG spokesperson
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Yahoo's FinanceVision webcasts are compressed by a Windows Media Encoder for
either 300K/100K or 56K modem speeds. The service offers stock market and other
financial news updates every half -hour.
content.
Barker says using Play's Globe Caster as a production tool makes a
56K experience, live or on- demand,
fairly compelling. But it is not quite
the television -like experience you
can get at 300K. Until DSL, cable
modems and other broadband connections are readily available
throughout the world, content producers and broadband networks will
going through a tremendous
learning curve, figuring out what
be
Microsoft's Tom Gershaw defines long -form as
anything over six minutes or so.
Jeff Barker says: "PSMG is essentially
a 'one -stop shop' for people, companies and organizations who wish to
broadcast on the Internet. We help
clients eliminate many of the technical
and financial hurdles of Internet broadcasting, making it possible for nearly
anyone to take advantage of this new
medium."
PSMG services include production
technology, bandwidth, edge- of -thenetwork content distribution, content
syndication, viewer and traffic aggregation, advertising, e- commerce, and
other Internet and broadband broadcasting services. Its clients include Play TV, KRON, Yahoo! and Pseudo.
PSMG is different from virtually every other company in the streaming
media industry. Where most offer some
sort of streaming media product or
service, PSMG offers essential components and provides its clients with
what they need to create and distribute
20
Broadcast Engineering
Hasdaq'. 111.07
works in this new medium and building their brand. "It's only a matter
of time before we all can enjoy
high -quality Internet broadcasting,"
Barker said.
Akamia Technologies transmitted
interactive webcast originating from
the National Cable Television Association's (NCTA) annual convention
in New Orleans last month. The moderator was Maggie Wilderotter, CEO
of Wink Communications. The participants were Steve Ballmer, chief
executive officer of Microsoft; George
Bell, president and chief executive
officer of excite @home; and Bob Pittman, president and CEO of AOL.
The presentation quality wasn't
high. More than 65 percent of the
screen was dedicated to inanimate
graphics, statements and an occasional Q &A display. The remainder
of the screen consisted of a strip
along the right side that was divided
June 2000
www.americanradiohistory.com
into four sections. The top section,
which was less than five percent of
the total screen area, was the only
area that had any movement to it at
all. This is where one could see the
speakers and activity at NCTA. These
pictures could be compared to an old
15th generation quad -tape recording. It was difficult to read print or
graphic material, and although you
could tell who the people were, the
color and quality was smeared. Significantly better video is available on
other websites.
It's obvious that there are varying
degrees of picture quality on the Internet sources. Many are the old familiar postage- stamp -size, jerky pictures we are all too familiar with.
However there are some significant
improvements to the picture quality
on some Web pages. It would seem
that the key to success was keeping
the detail and motion in the picture to
a minimum: slow -moving cartoons
look much better than fast pans of a
football stadium.
The Cable 2000 show, last month in
New Orleans, had a familiar ring to
it. Web companies were in proliferation there as well. There were more
announcements made with respect to
Internet, webcasting and streaming
video at Cable 2000 than at the
NAB2000 a month earlier.
For example, Multicast ISP introduced a new data approach to broadband Internet Protocol (IP) that allows
satellite, cable and wireless operators
to cost -effectively deliver high -speed
data, and Internet video and audio to
users.
The key to Multicast ISP's approach
in the way it bypasses the frequently
congested terrestrial Internet and more
is
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www.americanradiohistory.com
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efficiently delivers real -time Internet
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Providers (ISPs), cable modem -enabled
systems, DSL providers, colleges/universities and corporations throughout
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America. Multicast ISP has entered
into an agreement with Yahoo! to
provide Multicast ISP subscribers
throughout North America with access to select multicast audio and
video programming from Yahoo!
Broadcast.
More information on Multicast ISP,
Inc. is available at www.multicast
isp.com.
Hardly a month has passed since the
California -based chipmaker, Intel, announced it would begin hosting data
broadcasts, the latest in its efforts to get
into the services business. This will
originate from its newly created Internet Media Services group and will be
marketed to companies interested in
live or taped coverage of stockholder
meetings, training courses or other
events that could be sent over the Web.
Intel will sell its services directly to
potential webcasters as well as to ISPs
that want to offer the services to their
own customer bases.
Intel joins a well -established ring of
Web event streamers such as Yahoo,
Akamai, RealNetworks and even Microsoft. Intel sees big bucks in the future
of media and broadcasting services
and, understandably, wants to be part
of what is expected to become a $2.5
billion industry within five years. Most
industry analysts spoken to view the
hosting of private streams "for hire" as
a
strong revenue generator.
According to Mike Witteman, Intel's
director of service technology, Intel
plans to invest upwards of $200 million into the project to set up broadcasting centers both here in the U.S.
and in Europe. Waiting in the wings
for the services to begin are customers
such as Radio Networks, Nasdaq.com
and Golf Magazine. The company
will also team with DoubleClick to
incorporate advertisement into broad-
HDTV
I. Q. Test
cast streams, he said.
Much like the format differences in
digital television, there are a few in
webcasting as well. Intel supports the
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22
Broadcast Engineering
June
700,J
www.americanradiohistory.com
streaming formats of RealNetworks
and Microsoft and will add support
for Apple's QuickTime technology by
the end of the year.
None of those spoken to about the
convergence say the technology is
ready, but that only makes them try
harder. Both the broadcast and Internet industries are based on sound and
proven engineering principles. Web casting is looking more like broadcasting's stepchild and a way for digital TV to circumvent some of the
problems in dealing with the cable
industry's inability to get its collective
act together with a standard for a set top box (STB).
Microsoft's Gershaw doesn't see people sitting at a computer to watch
"long- form" television, but he does
see applications similar to those Yahoo is implementing. Gershaw defines long -form as anything over six
minutes or so. Interstitial programming, by its nature, is used to fill
between long -form programs. It seems
a
natural fit.
There are two issues lurking in the
wings, both of which could impact
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everyone's life in a big way. First, the
industry must address copyright issues. There is no question that the
intellectual property rights of inventors, authors and artists must be protected. However, proposed -protection
schemes fall far short of providing
adequate protection.
The other issue is encryption. Encryption goes hand-in -hand with conditional access (CA).
While new encryption schemes are
announced with some frequency, none
have been proven to be bulletproof.
Some firms, AT &T for example, have
invested a great deal of money acquiring poorly performing systems in an
effort to be able to deliver webcasts,
streaming video and other Internet services through the cable world's infrastructure. Some sources say that they've
paid as much as $4000/customer in
stepping up to bat.
GPS becomes more
accurate
May 1, the U.S. military ceased
scrambling consumer satellite signals, a move that will make Global
Positioning Satellites 10 times more
On
accurate. Broadcasters in particular
will benefit from the increased accuracy in determining frequency.
The GPS system is a product of reliable atomic clocks similar to those used
by the National Bureau of Standards
and many of the broadcast networks.
The system is able to calculate position, velocity and time of any location
under any condition.
Prior to May 1, artificial errors
were intentionally introduced into
the satellites' signals for national
security reasons, giving the military a far more accurate system.
Previously, a GPS -based navigation
could give locations only within
100 yards. The signal change will
reduce inaccuracies and possibly
lead to greater consumer confidence
in the devices.
The possibilities for increased commercial use include telecommunications, electronic data transfer, emergency response, aviation, marine navigation, construction and recreation.
The most pertinent application for
broadcasters is the use of determining
accurate frequencies of their transmitters. This is especially true and important to those newer digital facilities
that are adjacent -channel to other
broadcast services and those using the
GPS system to lock their transmitter's
frequency to it.
"In addition to more accurate position information, the accuracy of the
24
Broadcast Engineering
time data broadcast by GPS will improve to within 40 billionths of a
second. Such precision may encourage adoption of GPS as a preferred
means of acquiring Universal Coordinated Time (UCT) and for synchronizing everything from electrical power
grids to telecommunications networks
to the Internet. For example, with
higher precision timing, a company
can stream more data through a fiber
optic cable by tightening the space
between data packets. Using GPS to
accomplish this is far less costly than
maintaining private atomic clock
equipment."
The accuracy of GPS will exceed
the resolution of U.S. Geological
Survey topographical quad maps.
Broadcasters, consulting engineers
and others in electronic communications have been using quad maps
for years to determine position and
coverages emanating from antenna
arrays. In checking the FCC database, many of the latitudes and longitudes filed for transmitter locations have shown these facilities to
be not only off by a few yards but in
some cases by miles. This improvement to the already good positioning devices will go a long way in
eliminating these errors.
Electronic newsgathering (ENG)
crews responding to a crisis or story
will be able to determine what side of
the highway they must respond to,
saving precious minutes. This is especially true when dealing with limited access highways.
June 2000
www.americanradiohistory.com
Who has the tallest?
antenna, that essential last link
the broadcast chain, has been
compared to a porcupine on aluminum steroids. Records have been kept
on the tallest antennas on mountains
and manmade structures.
Records over the past few years have
been broken several times. It wasn't
too long ago when New York's Empire State Building held the record,
but that was dashed by the World
Trade Center in lower Manhattan and
now the Sears Tower in Chicago.
Chicago will soon be home to the
world's tallest building- mounted broadcast antenna. The Sears Tower in the
Windy City is adding 22 feet to one of
its two digital television antennas to
create the world's highest broadcast
antenna atop a building at 1729 feet.
The new antenna will he more than a
foot taller than the one atop the World
Trade Center in New York City.
Officials at the Sears Tower say the
The
in
potential record is merely a coincidence.
The new antenna has room for three
antennas capable of transmitting signals for high- definition television.
The extension would give the Sears
Tower the record for the highest antenna, the highest roof (1450 feet) and
highest occupied floor (1431 feet),
according to categories established by
the Pennsylvania -based Council on
Tall Buildings and Urban Habitat
(COTBUH). The Sears Tower held the
title of tallest building from 1973 until
1996, when Petronas Twin Towers in
Kuala Lumpur, Malaysia, surpassed
it at 1483 feet.
Chicago will most likely regain the
title with the addition of a 112 -story
building that was scheduled to begin
construction in early May. European
American Realty, the project's developer, has been negotiating with a group of
television stations that want to lease
antenna space to broadcast digital signals. The structure is a total of 2000 feet
high, if the two new 450 -foot antennas
are added in, but COTBUH says they
can't be figured in the official calculations for the world's tallest building.
The additional antennas will go a long
way toward solving a pressing need for
facilities for broadcasting high- definition television signals in the nation's
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without bounds. *.
IN THE RACE FOR
BETTER LENS TECHNOLOGY,
WEAVE OUTDISTANCED
THE COMPETITION,
INTRODUCING THE
86x
FIELD ZOOM WITH IMAGE STABILIZER.
With the introduction of the 86X, Canon and
their customers finish first...again. The
longest lens ever for HDTV and SDTV, the
X)86x9.3 BIE D is
also the first long
lens with Image
m Ratio
Stabilization. By
comparison, the
competition finished
far behind.
of Focal Len
(with Extender)
addition to the
86X, the company
also introduced the
widest ENG lens ever
(with the first angle
of view over ioo
degrees); the first
That's an impressive lists of firsts. But it's
nothing new, considering that Canon was the
first to introduce Internal Focus technology;
the first and only
broadcast lens
86X
company to
with image stabilizer
introduce Image
9.3 -800mm
(18.6- 1600mm)
In
aximum Relative
tore
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HD lens to
1:1.7 9.3-340mm
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Stabilization
technology; the
first to use digital
technologies in
lens control; and
much more.
Of course, if
(1:3.4 18.6-680mmm) you're a Canon
(1:8.0 at 1600mm)
customer,
impressive firsts
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are
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3m
They simply reaffirm that you're
51.8Ib (23.5kg)
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cinematographers, the company introduced
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Circle (114) on Free Info Card
www.americanradiohistory.com
TM
third largest market.
The highest antenna for
difficult to come up with accurate
full -power
broadcast television station, according to John Morgan at the FCC, belongs to KBDI -TV, located on top of
Squaw Mountain in Clearcreek County, CO, serving the city of Broomfield.
KBDI's Chief Engineer, Dave Cox
said, "KBDI signed on the air in 1980.
We are the highest full -power broadcast TV station in the U.S. at 11,476
feet above sea level. In contrast, I
believe we probably have the shortest
tower at 25 feet."
a
releases DTV
status report
FCC
figures. The National Association of
Broadcasters shows a list of digital
stations in operation by market size
on its web page; however, there are
inaccuracies in that list.
According to the NAB, as of May
2nd, there were 127 stations in 49
markets on the air. Although that
sounds good, this is less than eight
percent of all the full -power television
stations in the U.S. However, the NAB
site is dependent upon stations reporting their DTV status.
The FCC's figures in late April are an
interesting comparison. In the FCC's
summary of DTV applications filed
for all markets: "1485 TV stations (87
percent) have filed DTV construction
The FCC has defined a successful
transition to digital as a 70 percent
penetration by 2006. In tracking the
progress of stations in meeting that
deadline, both the NAB and the FCC
have issued progress reports.
Keeping track of the progress of
digital television stations applying for
construction permits and turn on dates
can be an indication of the progress in
the transition to digital. It can be
permit applications.
"Two hundred and twenty educational TV stations have filed applications and 46 have been granted construction permits (CP)." Educational
television station filings for CPs were
all due no later than May 1, 2000. The
FCC has not finalized its numbers, so
it is not possible to accurately report
the final total filings for the educational stations.
+
A total of 411 stations have been
granted DTV CPs. Ninety-nine stations
are on the air with full facilities and 29
others are on the air with special or
experimental DTV authority. The remaining applications are awaiting additional information such as Mexican,
Canadian or other clearances or are the
non -checklist or maximization type.
The FCC says these remaining applications "are currently being processed in
proper priority order."
All of the top 10 markets have at
least one full -facility DTV station on
the air. In the 11th through 30th markets, 78 out of 79 stations have filed
applications. Construction permits
have been granted to 72 stations and
three others have been granted STAs
to operate while action on their applications is pending. A total of 47 stations are on the air with full facilities
and 29 had been granted extensions
until May 1 to go on the air. For
additional information, see the FCC
webpage at www.fcc.gov.
Send questions and comments to:
larry [email protected]
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Circle (115) on Free Info Card
28
Broadcast Engineering
June 2000
www.americanradiohistory.com
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"Class A" TV in place
BY HARRY MARTIN
Consistent with the Community application for a Class A license. The
lication and maximization.
Broadcasters Protection Act of new rules became effective on June 9.
Finally, the new rules require Class
1999 (CBPA), the Commission has Once an applicant is granted Class A A stations to provide interference proissued new rules limiting Class A low status it is subject to most of the operattection to existing LPTV and TV transpower television status to those LPTV ing requirements for a full -power sta- lator stations. The Commission inlicensees who applied for the new
tion, including children's television, tends to initiate a separate proceeding
primary status by Jan. 28, 2000. To EAS, political programming and main- seeking comment on whether translareceive Class A status, stations must taining public files. It is also subject to
tors can qualify for primary service.
have broadcast a minimum of 18 station identification rules and requirehours daily, broadcast on average ments.
New RF rules apply on Sept. 1
three hours of locally produced proFull- service analog TV stations must
By Sept. 1, all stations must be in
gramming per week and met the Com- protect Class A stations, which are compliance with the FCC's 1996 RF
mission's LPTV station requirement restricted for now to current LPTV safety limits.
in the 90 days preceding the enactmaximum power levels.
In 1996, the FCC adopted new safety
ment of CBPA.
Initially, the Commission proposed limits for human exposure to radio
The Commission predicts that more that Class A stations must protect only
frequency (RF) radiation. Since Octothan one-third of the approximately
full- service stations transmitting in ber 1997, applicants for new authoriza1700 LPTV licensees who met the dead- analog format and those authorized to
tions and renewals have had to certify
line will fail to satisfy its strict reading construct facilities capable of transcompliance with the new rules. Now,
of the statute. The Commission will not mitting an analog signal. Pending all remaining existing stations must
accept Class A applications on an onapplications would not have been pro- bring their stations into compliance
going basis because the CBPA was not tected. In light of broadcasters' comwith the new limits or file a formal
intended to create an "open -ended class ments, the Commission expanded inEnvironmental Assessment notifying the
of potential Class A stations." The terference protection to include full - FCC of any noncompliance by Sept. 1,
Commission included a provision in its service and new DTV station applica- 2000. It is the responsibility of each
new rules under which it can grant
tions that were on file on Nov. 29,
licensee, not tower owners, to evaluate
Class A status to an otherwise unqual1999, which had completed all proRF radiation levels at a tower site and
ified applicant. Exceptions can be made cessing short of grant necessary to file an Environmental Assessment if
where deviation from the strict criteria
provide a reasonably ascertainable required. The FCC will review Enviis insignificant or where compelling
Grade B contour. The Commission
ronmental Assessments to determine if
circumstances, such as a natural disas- also extended the interference protecradiation levels should be reduced or
ter or interference conflict that forced
tion to identified successful applicants. eliminated. Stations that are in complithe station off the air during the 90 -day
Applicants for initial Class A autho- ance but have not sought a renewal or
eligibility period, mandate deviation.
rization are not required to protect other permit or license since October
The Commission will protect the serpending rulemaking petitions for new
1997 do not need to file anything by the
vice area of each LPTV station that
or modified NTSC channel allotments Sept. 1 compliance deadline.
submitted a certification of eligibility or new DTV authorizations. Full -serThe new RF radiation exposure rules
until it accepts or denies that station's vice applications that were not ac- define two types of environments. UnClass A application. Qualified LPTV
cepted for filing by Nov. 29, 1999,
controlled environments are those open
stations have six months from the effecincluding most pending television to the public. Controlled environments
tive date of the new rules to file an
freeze waiver applications, are also
are those restricted to employees doing
not required to be protected.
maintenance or construction. The maxClass A stations need to allow for
imum permissible exposure (MPE) limmaximization on DTV channels but its for uncontrolled environments are
only where maximization was ap- generally five times more stringent than
On June 1, stations with
plied for or where maximization those for controlled environments.
five or more full -time
applications were filed by May 1,
employees must file their
Dateline
initial
EEO election of the
recruitment outreach
method they plan to use.
30
Broadcast Engineering
2000. DTV allotment adjustments,
including channel changes, may be
made later if necessary to resolve
technical problems that impede repJune 2000
www.americanradiohistory.com
Harry C. Martin is an attorney with Fletcher,
Heald ér Hildreth PLC, Arlington, VA.
Send questions and comments to:
[email protected]
Outputs:
DVB -ASI
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2000 ktech telecommunications, lin
Circle (117) on Free Info Card
www.americanradiohistory.com
2GHz band update
BY JIM SALADIN, SENIOR ASSOCIATE EDITOR
In addition to whatever other transitions you might be making around
your facility, the FCC's decision on
reallocation of the bottom of the
2GHz band is due at any time. Pending since 1997, the reallocation affects ENG links and forces broadcasters to reconfigure, at best, their ENG
equipment.
It is difficult for most to weed
through the FCC's legalese in order to
understand exactly what's happening
and how it will affect the everyday
operations of a station. Indeed, as
much as any other question I've posed
to experts across the broadcast industry, responses to this month's question
have run toward, "I'm not the guy to
ask about this." If they don't know
where the reallocation stands, how
are you supposed to?
The right guys to talk to, David
Thomas, vice president of NuComm,
and Dane Ericksen, chairman of the
SBE's FCC Liaison Committee, offer
their guidance on: What is the status
of the 2GHz band change and what
should stations be doing now to prepare for the coming changes?
current status of the 2GHz
"BAS" band, Docket 95 -18, is
that it's still held up at the FCC. There
have been some recent leaks that the
new band configuration will be seven
14.5MHz channels. It is certainly
While we sit in this holding pattern,
stations should develop a plan to deal
with the new band configuration. A
number of steps can be taken now to
ensure a smooth transition. The lack
of such a plan could jeopardize your
news operation's competitiveness.
A full inventory of 2GHz equipment
should be made. Determine which
equipment can be upgraded and which
cannot. Radios older that eight or 10
years are probably not upgradeable.
However, newer radios using PROM
technology for their synthesizers should
be. If you're unsure, ask your micro-
on developing your transition plan
now, as there will most likely be a
flood of moves to do so after the
The
good news if this
becomes reality.
David O. Thomas, The directive to
14.5MHz chanNuComm
nels is a far better option than the 12MHz channels
that have been on the table for the
past couple of years.
It appears that the Mobile Satellite
Service (MSS) providers are still negotiating with the NAB/FCC for relocation costs (reimbursement) for the current broadcast users. We have been
promised an announcement several
times since August 1999, but each date
has come and gone with no resolution.
This is not surprising, as the FCC has
been focusing on other issues. However, the MSS folks are supposed to pay
broadcasters for the move.
The delay has not only held back
broadcast news organizations' investment in new equipment, but has had
a negative impact on microwave vendors as well.
When the final announcement is
made, broadcasters should be given a
reasonable amount of time to convert
current radios to the new frequency
configuration or to purchase new
VENDOR
equipment.
32
Broadcast Engineering
Send questions and comments to:
jim_saladin @ intertec.com
announcement. Having a plan in
place before the fact will allow you to
react and implement the plan quickly
after the announcement is made. This
will ensure your stations' edge.
For those who are in the market for
new ENG microwave equipment, this
could be the opportunity to purchase
digital -ready radios. These new radios not only will pass digital signals
(COFDM), but use microprocessor
technology that allows the operator to
A number
of steps can be taken now
to ensure a smooth transition.
change the frequency plan, deviation and audio levels from
a
front -panel
LCD
wave vendor to determine which radios are upgradeable and which are not.
The frequency configuration change
will not only impact the frequency
plan. It will impact the performance
of the radio as well. The deviation
and audio levels will require adjustments in both transmitter and receivers as well. In addition, the receiver
(portable or central receive) will require a new IF filter. In most cases,
upgrades will have to be done at the
factory.
The fact that there are some 8000
2GHz transmitters and receivers in
the field places greater importance
June 2000
www.americanradiohistory.com
display
without returning it to the factory.
For those who are using the 2GHz
band for fixed -frequency purposes,
you may be asked to move out if
frequency congestion is severe for
your particular area or market.
One thing is certain: The 2GHz
"BAS" band change will happen.
Planning now will put your new operation ahead of the competitors by
allowing you to get upgrades and
purchases done in a timely manner.
David O. Thomas is vice president of Sales
and Marketing for NuComm. Hackettstown,
NJ.
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PHILIPS
The FCC decision on the realloca-
tion of the bottom 35MHz of the
2GHz TV Broadcast Auxiliary Services (BAS) band to the Mobile Satellite Services (MSS) will most likely
be released by the time you read this
article. Electronic News Gathering
(ENG) Channels
Al
(1990 -
to 2008MHz)
and A2 (2008 -
to 2017MHz)
will be transferred to MSS.
EXPERTI
Dane E. Ericksen,
SBE
However, it is
expected that the
Office of Engiand
neering
Technology
Docket 95 -18
Second Report and Order (Second
R& O) will only immediately reallocate Channel Al to MSS; Channel A2
will remain available to broadcastuntil such time as MSS can demonstrate an actual need for the remaining 17MHz of spectrum.
Under what is expected to be called
Phase 1, 18MHz of ENG spectrum
will be transferred to MSS. It is expected that MSS will not be allowed
to commence operation in the 2008-
ers
to 2017MHz spectrum until TV BAS
stations in the top -30 markets have
completed conversion to a new band
plan that vacates Channel Al. Broadcasters are expected to be allowed to
choose, on a market -by- market basis, either six 14.5MHz -wide channels and one 15.0MHz -wide channel, or six 17.0MHz -wide channels.
Under Phase II, which may never
come to pass, the remaining 17MHz
of BAS spectrum would be transferred to MSS. Broadcasters would
then be left with one 12.250MHzwide channel and six 12.125MHzwide channels.
It is further expected that the R &O
will adopt an immediate and mandatory two- year period for negotiating
compensation. It is also anticipated
that the FCC will clarify that the MSS
obligation is to make incumbents
(broadcasters) "whole." That is, relocation is not a simply a question of
compensation, but rather a requirement that the new technology (MSS)
do whatever it takes to provide incumbents with comparable facilities.
Although broadcasters can elect to
agree to a cash payment in lieu of
equivalent facilities, the incumbent is
entitled to fully constructed, tested,
authorized, and operational replacement facilities. In other words, it is
expected that the FCC will find that
the MSS industry's attempt to characterize the FCC policy as simply one of
"compensation" is erroneous, and
accordingly the MSS arguments regarding depreciated valuation are
flawed and irrelevant.
What should broadcasters be doing
now? First, make sure that all of your
2GHz TV BAS licenses are fully in
order, because it is expected that the
ET Docket 95 -18 Second R &O will
only give an entitlement for facilities
of the date the R &O gets
in
the Federal Register. Secpublished
of record
as
ond, start talking now with other
stations in your market about whether
to select the band plan that gives seven
narrower channels or six 17MHzwide channels. Third, check with the
manufacturer(s) of your 2GHz radios
regarding the feasibility, time frame
and cost of retrofitting existing radios
to the new band plan.
Dane E. Ericksen, P.E., CSRTE is chairman
of the SBE's FCC Liaison Committee and is
a consulting engineer with Hammett &
Edison, San Francisco.
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June 2000
www.americanradiohistory.com
Broadcast Engineering
39
Transition to Digital
Routing television signals
BY MICHAEL ROBIN
original television concept was
remarkably simple. It consisted
essentially of three elements: A camera and a microphone, a studio -totransmitter link (STL), and a visual
and aural transmitter. As production
became more sophisticated, several
cameras and an array of microphones
were used. To cater to these new
requirements, simple video coaxial
switches were used to switch from one
video source to another. Call this routing of video signals. This inevitably
resulted in temporary loss of vertical
sync because of the random switching
instant along with the fact that the
camera signals were not necessarily
synchronous.
A further step in refining television
production was the development of
vertical interval switching. The primitive coaxial switch was now replaced
by an electronic switching array using
diode or transistor crosspoints activated at a specific, well- defined instant during the vertical -blanking interval (VBI), e.g. line 10. The result
The
was smooth and predictable switching. This, of course, required that all
signal sources be synchronous.
The next step was the introduction of
the production switcher. Here the signal sources could be switched and/or
mixed. In addition to requiring syn-
Simple digital routing switchers circulate the bit serial signal as if it were a wideband analog signal.
chronous signal sources, they also had
to be timed within a fraction of a
microsecond with respect to one another. Color's introduction further refined the source timing requirement
by requiring that the relative timing
delay between signal sources, as well
as the path -length differential of the
switcher, be less than one degree at
3.58MHz.
a
fitted with production switchers, as
well as a large number of shared
Digital signal routing
The advent of digital video, with its
superior and constant signal quality,
spurred the development of production and signal distribution equipment equivalent to that used in analog
FRAME GRAB
Test equipment sales
a big business
many advantages to using this signal
distribution method:
Mature and cost competitive tech-
Equipment Types
24.9 ° /ó
42%
1;1-1Broadcasters 42%
El Manufacturers 58%
40
Broadcast Engineering
75.1%
El Analog test equipment $192.2 million
13 Digital test equipment $63.8
SOURCE: Frost & Sullis:u,
production center.
environments. Early distribution
equipment used bit -parallel signal distribution, which was quickly (some
10 years later) replaced with the bitserial signal distribution. There are
Analog sales exceed digital -for now.
58 °'o
rameters as linear distortions, nonlinear distortions, path -length differentials and noise. The path -length differentials requirement had to be met
specifically for signals feeding the
inputs of production switchers to permit smooth mixing of various signals.
Figure 1 shows a simplified block
diagram highlighting the function of
an analog NTSC routing switcher in
The development of large operating
centers consisting of several studios
A look at tomorrow's technology.
Market Segments
synchronous, timed and phased signal sources and various switched signal destinations, required large capacity routing switchers with one or
several married audio layers. These
switchers had to meet very tight tolerances on such video performance pa-
vn
million
w
S1.1Yu.t.cuu1
June 2000
www.americanradiohistory.com
nology;
Numerous equipment sources; and
Allowances for embedding audio
and other ancillary data, potentially
reducing switching layers.
The signal encoding method is known
as scrambled NRZI. On the market
are a variety of routing switchers
operating from 143Mb /s (4fsc NTSC)
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OMNEON
VIDEONETWORKS
to 1.485Gb/s (HDTV).
There are two main SMPTE documents defining the hit- serial digital
data streams: SMPTE 259 and SMPTE
292.
The SMPTE 259 standard defines
the SDTV signals. It recognizes four
types of hit rates as follows:
143.2Mb/s (Composite video NTSC
525/59.94)
177Mb/s (Composite video PAL
625/50)
270Mb /s (Component video CCIR
601 525/59.94 or 625/50)
360Mb /s (Component video 525/
59.94 16:9 aspect ratio)
SMPTE 292 defines a bit -serial digital
interface common to several HDTV
source formats defined in the following
SMPTE standards:
SMPTE 260M, a legacy HDTV
format with 1125 total lines per frame,
1035 active lines per frame, 2:1 interlaced with a 30Hz or 30Hz/1.001
(NTSC -friendly) frame rate.
SMPTE 295M, a European HDTV
format with 1250 total lines per frame,
1080 active lines per frame 2:1 interlaced with a 25Hz frame rate.
SMPTE 274M, a family with 1125
total lines per frame and 1080 active
1
Equalized
Synchronous
Timed and _
Phased
Input Signals
X
Group 1
Timed and
Phased
Outputs
Group N
Timed and
Phased
1
<
Outputs
Studio
Mixer
Figure
1.
1
Studio N
Mixer
Simplified block diagram of an analog NTSC routing switcher.
cepts, the distortionless transmission
of the switching matrix and output
circuitry. This type of switcher passes any type of bit -serial signal (of
compatible analog bandwidth) as it
is indifferent to the data rate. The
signal equalization boosts the high
frequencies of the incoming signal
with a peak at half the Nyquist fre-
of
quency, e.g. 135MHz for
lines per frame and words per total
line while maintaining the appropriate number of active lines per frame
and words per active line.
Figure 2 shows the scrambled NRZI
spectrum of the various SDTV and
HDTV formats. Using analog cona
hit -serial digital signal would
a
270Mb/s
Even a synchronous switcher cannot guarantee
clickless transitions between audio signals.
lines per frame.
SMPTE 296M, an HDTV format
with 750 total lines per frame, 720
active lines per frame, progressively
scanned with a 60Hz or 60Hz/1.001
(NTSC- friendly) frame rate.
All SMPTE 292M formats are transmitted using the same nominal
1.485Gb/s bit rate or 1.485/1.001 =
1.4835Gb/s (NTSC -friendly) bit rate.
This is obtained by adjusting the total
SMPTE 259M A
SMPTE 259M B
SMPTE 259M C
SMPTE 259M D
PROPOSED
SMPTE 292M
require a very wide bandwidth routing switcher. Simple digital routing
switchers circulate the bit-serial signal as if it were a wideband analog
signal. These switchers usually incorporate an analog-type high -frequency loss equalizer for every input.
The signal available at the output
suffers from degradations due to the
added noise and the limited bandpass
MHz
143
177
270
360
540
1,485
286
354
540
720
1,080
2,970
429
531
810
1,080
1,620
4,455
572
708
1,080
1,440
2,160
5,940
Figure 2 RF spectrum of scrambled NRZI bit -serial signals of various standardized
bit rates
42
Broadcast Engineering
www.americanradiohistory.com
bit-rate signal.
An intermediate type of routing
switcher uses analog -type high
frequency input equalization and
reclocking of output signals. Top of- the -line digital routing switchers
use equalizing reclockers at each
input as well as each output. The
input reclockers equalize the high frequency losses caused by long coaxial cables and regenerate the input signals to the original wave
shape. The output reclockers eliminate any waveform distortions and
noise generated by the internal high frequency losses of the switching
matrix. With high- capacity routers
these losses are quite substantial.
Both the input and the output reclockers either lock automatically
to the input signal or have to be
programmed to operate at the selected data rate. As usual, the reclockers eliminate alignment jitter
(high- frequency jitter) but pass timing jitter (low- frequency jitter).
Figure 3 shows a conceptual block
diagram of an equalizing reclocker.
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Ailk
@
Amplitude and
Noisy, Jittery and
Low Amplitude
Input Signal
Noise -Free and
RF -Jitter-Free
Frequency Domain
Equalized Noisy and
Jittery Input Signal
Reclocked
Output Signal
DOC
i
Automatic
OP.
Data
Cable
Equalizer
No-
RF
Edge
Phase
Detector
Detector
Detector
Jitter -Free Recovered Clock
__-,..
LPF
VCO
VCO
Center
Frequency
Adjustment
=
Figure 3. Simplified block diagram of equalizing reclocker and effect on input signal
The equalizing section, which must be
optimized for the specific bit rate,
peaks at half the Nyquist rate so the
signal amplitude is restored. However, the waveform has slow rise time/
decay and looks like a sine wave
because the higher harmonics are lost.
The next process recovers the clock
using a PLL- controlled VCO. The
low -pass filter removes high- frequency instabilities of the VCO control
signal at the phase detector output and
the regenerated clock is noise -free and
high- frequency jitter free. It can now
be used to sample the incoming digital
signal and recreate the original signal. The center frequency of the VCO
is preset to obtain a sure lock. Some
manufacturers provide an auto -lock
VCO allowing the system to automatically adapt to the input bit rate.
Given the wide difference between
the SDTV and HDTV bit rates, manufacturers offer several solutions.
One solution is a multiformat rout-
ing switcher concept featuring a
wideband crosspoint array allowing the switching of SDTV and
HDTV bit rates, as well as NTSC
analog signals in certain switchers.
Input and output equalizing reclocking units are either SDTV (143Mb /s to
540Mb/s) or HDTV (optimized for
1.485Gb/s). Another option is the dedicated types of routing switchers for
SDTV (bit rates from 143Mb /s to
540Mb/s) and HDTV (1.485Gb/s).
Some switchers feature wideband
44
Broadcast Engineering
circuitry with analog equalizing of
the inputs while others feature input
equalization and output reclocking.
At 270Mb/s, routing switcher input circuits could operate satisfactorily with input coaxial cable
lengths between 200 and 300 meters
the receiver uses a reclocker with
adaptive cable loss equalization.
Slightly longer cable lengths are
possible with 143Mb /s and slightly
shorter cables are possible with
360Mb/s. At 1.485Gb/s, cable lengths
between 50 and 100 meters are possible, depending on the coaxial
cable quality.
In all cases, the input signals need
only be synchronous and do not need
to be timed to extremely tight tolerances as is the case with analog composite signals. This is due to the fact
that digital production switchers feature digital frame synchronizers at
each input with a timing correction
range of ±0.5H. However, routers as
well as production switchers require
sync reference to control the vertical
interval switching.
Ancillary data can be carried in
the horizontal- and vertical- blanking interval in specified locations.
One of the more popular uses is to
carry embedded AES /EBU digital
audio data. It is tempting to switch
SDI signals with embedded audio,
but results have been less than satis-
if
factory. The main problem is that
for a smooth and clickless embedJune 2000
www.americanradiohistory.com
ded audio switch to take place, the
audio and the video sampling frequencies have to be derived from the
same master oscillator. In addition, a
peculiar five video -frame timing relationship between the video and the
audio digital signals has to be maintained for all embedded SDI
signal sources. Even if these conditions are met and maintained, audio
transitions may occur at a time when
a large peak of one polarity in the first
audio signal lines up with a peak of
the opposite polarity in the other signal. Switching between these signals
will produce a sharp transient click.
Because of this, even a synchronous
switcher cannot guarantee clickless
transitions between audio signals. V
fades that make the transition during
the silent period are the usual cure.
Alternately the AES/EBU signals are
carried on separate married digital
audio switchers.
In these times of migration from
analog to digital technologies, selecting a routing switcher requires a
great deal of research. Given the
availability of multiformat routing
switchers from several manufacturers, the ideal choice would be a multiformat switcher with analog NTSC
and digital SDTV/HDTV capabilities using a wideband crosspoint matrix fed by selectable groups of input
cards and feeding selectable groups
of output cards. Even though more
expensive, choose a switcher with
output and, if possible, input reclocking circuitry. Good and reliable cliffeffect-free operation is always a sound
investment.
Michael Robin, former engineer with the
Canadian Broadcasting Corp. engineering
headquarters, is an independent broadcast
consultant located in Montreal Canada. He is
co- author of Digital Television Fundamentals, published by McGraw -Hill.
Send questions and comments to:
[email protected]
Michael Robin's book may
be ordered directly from
the publisher by calling
800 -262-4729. It is also
available from several
booksellers.
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Jerky pictures are a
common problem with
conventional standards
conversion. Not to
mention smear, judder
and break -up.
And
that's no way to
Motion
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it's used by
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Testing video networks
BY BRAD GILMER
As
network speeds increase and
technical barriers fall, it is becoming more common for broadcasters
to move audio and video material
through facilities using file transfer
across video networks. This month we
will briefly look at the difference between file transfer and streaming, and
then look at tools for troubleshooting
the high -speed computer networks that
are finding their way into our facilities.
Streaming vs. file transfer
Broadcastils are quite familiar with
streaming. It is the way we have
always moved video from one place
to another. A traditional streaming
session might go like this: Route VTR A to VTR -B, press record on VTR -B
and play on VTR -A
voila, you are
streaming video. Broadcasters have
also used a sneaker -net version of
video file transfer: Eject the tape from
VTR -A. Load the tape into VTR -B"
voila, file transfer. These may not be
perfect analogies of streaming and file
transfer, but you get the idea. Table 1
compares some attributes of streaming and file transfer.
Broadcast facilities are typically
stream -centric; they are built to move
content from one place to another
using video and audio router technology. Computer network technologies
have been making their way into video facilities for several years. Typically, computer networks handle busi-
-
-
applications, automation, e-mail
and so on, while broadcast routers
move program content. As the performance of computer networks increases, they are beginning to be used for
ness
moving programming as well.
Several high -speed network technologies are available to broadcasters
today. It is likely that most high -speed
networks are delivered as part of a
stream -centric; they are built to move content
from one place to another using video and
audio router technology.
total system. For example, if you buy
the Leitch ASC server, it comes with
Fibre Channel. If you buy the new
Omneon system, you will get IEEE
1394. If you have any one of a number
of high -performance graphics systems,
you may get Gigabit Ethernet. You
may even find that ATM is delivered
with some equipment, and no doubt,
in the future there will be more net-
working architectures available.
A good source of information on these
or any networking technology is the
Web. Searching for the name of a
technology along with the terms FAQ
or white paper almost always returns
a wide variety of technical informa-
File Transfer
Bounded Quality
Guaranteed quality
No guaranteed delivery mechanism
Guaranteed delivery
Unidirectional
Bi- Directional
Delivery time pacing (1x, 4x, etc.)
Any desired delivery time (faster or slower than
real time)
Push only
Push and Pull
Useful as a "Broadcast" format
Useful to move content from one place to another
Expensive Video Infrastructure
Inexpensive Networked Infrastructure
Table 1: Comparison of various parameters associated with streaming and
file transfer.
Broadcast Engineering
Testing networks
Testing network performance typically starts with a check of the physical layer for that network. All network architectures rely upon a physical (or RF) connection between devices. These architectures also have sup-
Broadcast facilities are typically
Stream
48
tion. However, be aware that the information may be somewhat one sided.
June
'01)11
porting technical specifications that
outline the performance of the link
between two devices. A whole industry has developed around providing
testing systems to verify link performance. This is not at all surprising
considering that the majority of network problems involve a physical
device or connection.
A few years ago, this column stated
that one of the most useful troubleshooting tools is the desktop computer. This is still the case. PC network
cards are available for all but the most
obscure network architectures. Almost
all of these cards come with diagnostic utilities that not only test the viability of the card itself but also provide
diagnostic tools to check for a link
between cards or devices. Also, many
of these cards have troubleshooting
lights that provide basic information
about your network. These lights can
save you a lot of time, especially when
you are called in to look at a problem
and do not have test equipment readily available.
If your high -speed network supports
TCP/IP, and many of them do, there
are a few commands that may help in
isolating the problem. The exact for-
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mat of the commands differs
depending on the computer's
operating system. This discussion assumes that you are using an Intel machine running a
DOS window in Windows 98.
First, find the IP address of
another computer on the net-
Use the right wire and connectors.
Run extra cable. Cable is cheap, installation is expensive.
Use certified network components.
Use fiber trays and cabinets to avoid sharp bends.
Use dust caps on unterminated fiber optic cables.
Use indicator lights and interface card diagnostic software.
Learn your computer's operating system.
Check the Internet for additional technical information.
such analyzer. To give you
some idea of the power of
these programs, these analyzers typically provide complete
seven -layer packet capture,
offer decode and filtering capabilities, and show real -time
network conversations and
work that is working normalhealth statistics. Many can deTable 2: Some video networking tips to keep you out
ly. Next, go to the computer
code over 150 protocols inof trouble.
that is having difficulty, and
cluding TCP/IP, IPX, SNA and
select Start/Run. Type "Ping ¡IP addownright frightening. As you would Appletalk, as well as allowing you to
dress]," where LIP address] is the ad- expect, features and performance in- filter to just the source and destination
dress of the computer that is working
crease accordingly.
addresses, protocols and applications.
normally. If you see a message that
The Siecor OTDR Plus II is an opti- These specialized programs also proshows reply times, your system is comcal time domain reflectometer vide triggering of analysis based upon
municating with the other computer. If (OTDR), power meter (reading both certain network events. These poweryou see a request timed out message,
absolute and relative power), visual
ful tools in the hands of a trained
there is a problem either with the fault locator. OTDRs provide a very specialist, combined with an advanced
wiring or the driver.
accurate graphical depiction on a foot - network OTDR test set provide suffiby -foot basis of the transmission char- cient horsepower to decipher even the
Testing tools
acteristics of the fiber. Time domain most challenging network difficulties.
If the PC -based tools do not help, it reflectometers operate by sending out
One of the possible sources of netmay be time to look at some dedicated
a very sharp pulse and then listening
work difficulty could be a datastorm.
test equipment to help you resolve the
for reflections. Using time to track the A defective Network Interface Card
problem. There are many manufaccharacteristics of the reflections, they usually causes a datastorm. The card
turers that make test equipment for plot the performance of the cable. It is releases a constant stream of gibbertesting unshielded twisted -pair (UTP), sort of like a graphical standing wave ish, blocking all communication on
coax and fiber optic network cable.
Testing products are available for
OTDRs provide a very accurate graphical
both wire and fiber applications. Generally manufacturers provide every- depiction on a
-by -foot basis of the
thing from low -end continuity testers
to very elaborate test sets with graph- transmission
of the fiber.
ical capability, traceable standards
measurement and a host of other advanced features. In many cases, the
ratio meter that shows you SWR at the network. Such a problem can be
low -end test equipment works just fine any point on the cable. The OTDR difficult to locate in large networks. A
and can identify the majority of cable coupled with the other functions in sniffer may be the only way to find
problems.
this box make it a top -of- the -line piece and fix the offending NIC.
The MICROSCANNER from Mi- of test equipment.
Finally, you might wonder how you
croTest is an example of such a piece
If you check the cabling and all ever got along without this last goodie.
of test equipment. It is small and seems right with the world, but you If you troubleshoot fiber optic cables
inexpensive; checks wire continuity still have a problem, then it may be on a regular basis, you might want to
and wire configuration; pinpoints time to bring in the pros. There are a check out the Siecor SmaIITALK fiber
opens, shorts, crossed and split pairs; number of networking companies that
communicator. This simple battery
measures wire length; and generates
specialize in troubleshooting broken
operated unit provides two -way radio multiple tones for locating cables. networks. When they arrive, one of like communications across a fiber
Such feature sets are common in pockthe tools they are likely to employ is a
optic circuit. While not for everyone, if
et test devices. The Photonics LanLite
protocol analyzer or sniffer. Sniffers you find yourself in a wiring closet
is a product that provides simple poware complex software packages that
trying to yell to a co- worker down the
er and loss measurement for fiber usually run on common PC platforms.
hall, you will wish for these little boxes
optic cabling. Such test equipment, The sniffer allows a trained techni- and a piece of dark fiber.
while not providing exhaustive test- cian to look at the messages traveling
ing of the fiber in question, does an- on the network. From these messages, Brad Gilmer is president of Gilmer & Associates. He is also executive director of the AAF
swer the basic question of whether the
they can tell a lot about what is going Association.
fiber will pass a signal.
on, and they can determine why and
For more elaborate testing, most where network messages are getting
Send questions and comments to:
manufacturers produce products that scrambled.
brad [email protected] intertec.com
run from moderately expensive to
The Fluke Protocol Inspector is one
foot
characteristics
50
Broadcast Engineering
June 2000
www.americanradiohistory.com
Test. Drive.
style. The brand new AD954 Stream Grabber from Adherent is the
simplest and neatest solution for field engineers working on compression
equipment installation and service.
In
Weighing in at less than 31b and the size of an average mouse mat, AD954
Stream Grabber is ready to use wherever you are. It functions at bit rates of
up to 90Mbit/s at which it can record up to 30 seconds of transport stream.
So if you need to use a comprehensive monitoring and analysis tool
for MPEG -2, DVB or ATSC on the move it has to be the Stream Grabber.
Don't hit the road without it.
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AD954 STREAM
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A B B E R
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www.americanradiohistory.com
As Dr. Digita
Getting the most from old newsreels
BY STEVE EPSTEIN
getting access to
about 125 hours of old
to 12 bits per channel. It is safe to
assume that older B &W print stock is
newsreel footage (16mm
B &W with an audio
track). A second audio
track will be needed to
record a running commentary from our historical
expert. I'd like to transfer
all this footage to tape and create an
easy -to- access stock footage library.
I'm also planning on re- purposing it to
make short historical shows. I have
previously worked with an Avid nonlinear editor (NLE) and would like to
use one for this project.
My question is what format tape
should I store the footage on? I've
heard Digital Betacam is great, but
expensive, and DVCPRO 100 is untested (I would prefer to only buy one
deck). I'd also be interested in storing
it on hard drives, but I'd need 2TB and
that might be cost prohibitive. What
do you suggest?
no higher. Because you have 16mm
B &W, the image size is much smaller
( -1/4 the size of a 35mm image) and
you only have to capture a single channel (luminance) of information.
You can save each frame as an uncompressed .TIF or .BMP file. These
would be individually accessible on
any computer. Avid NLE files are
generally compressed. You could build
the compressed Avid NLE files from
Im
purposes ... use quality
media.
waste space on color. Also, for preservation reasons, I would be concerned
about using compression.
The maximum resolution of a frame
of today's 35mm color film negatives is
around 4000x4000 pixels, although
most current systems only captures
2000x2000. Normally that is captured
using three-color channels at about 10
52
June 2000
Based on the numbers you gave me, that
calculates to about
35Mb /s. Both
13k,
DVCPRO 100 and
Digital
Betacam
record at higher data
rates, and both use some form of compression. (Digital Betacam's compression is essentially lossless.) More importantly, both are recording and com-
pressing chroma information. With
B &W footage, there is no reason to
Broadcast Engineering
today but
offer features you
may
not
need. If that is the case, you could save
some money and use the consumer DV
format. It is the same quality as
DVCPRO 25 and DVCAM, but it just
lacks some of the pro features. Consumer DV tapes can also be played back on
consumer decks, DVCPRO (all flavors)
and DVCAM decks.
Basically, capture at the
highest
possible appropriate
Whenever you are recording
resolution (this is dependent
on the quality of the film).
information for archive
Doing this creates an accu-
the individual .BMP files, but this
could be time consuming unless you
used a macro to automate the process.
If each reel is 10 minutes, that adds up
to 240 frames. At 1000x1000, eight
bits, each file (frame) would be 1MB.
A CD will hold 650MBs, or about 30
minutes. Uncompressed stereo audio
(48kHz sampling/16 bit) requires about
11 MBs per minute. The newsreel audio probably does not need that resolution, but you may want it for the
running commentary. However, if the
running commentary is for internal
use only, you may be able to get away
with reduced resolution. In any event,
keep both audio tracks at the same
resolution to avoid problems.
Based on the numbers above, it would
take about 250 to 300 CDs to archive
the footage. This would preserve everything that is on the original film in an
uncompressed digital format. You could
then clean up any frames that need it
and use them for a variety of projects.
As far as the tape machine goes, the
professional versions of the DV format (DVCPRO 25, DVCAM) are very
Michael Addis
Retrospect Film Archives
popular
www.americanradiohistory.com
rate copy of the original.
Don't use compression in the
capture process (once it is
thrown away, you cannot get
the data back). Store the digital captures as archives (it would be
prudent to have a backup or two of
these) and work from copies. Edit using
a nonlinear system and output to tape
for portability. Finally, let me know
how it turns out.
On a somewhat related note, whenever you are recording information
for archive purposes, whether it is
archive news footage or important
files from your computer system, use
quality media. As more people have
access to CD -ROM recorders, many
assume that CDs are good for life. That
is not the case! Many cheaper recordable CDs are not reliable, just like
many consumer versions of tape. Yes,
they will record and playback a signal,
but possibly not for long. There are
several types of dyes used for CDs and
they are not all applied consistently.
Using quality media will improve your
chances of recovering the information
several years down the road.
If you are having a problem with
equipment or a manufacturer, or simply have a comment, drop me a note
at drdigital @compuserve.com.
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A r
www.americanradiohistory.com
Broadcast Production
Studio -In -A -Box
EchoStar's Satellite Uplink Center in Cheyeine, WY, monitors over 500 digital
direct broadcast satellite channels. The Network Operations Center is equipped
with 1020 receivers and 1020 JVC monitors. Photos courtesy of IMMAD ECVS.
Broadcast Engineering
June 2000
www.americanradiohistory.com
A D =IS star
matures
.
111115tftMI1114ELStIS
;
BY DAVID GEORGE.
TOM FERGUSON
AND MATTHEW BROWN
...__
erating under the clear skies of the Wyoming countryes
side, some 6000 feet above sea level, EchoStar t
Echo
the Cheyenne Digital Broadcast and- UpU ñk Center.
Star was a pioneer in the direct -to -home (DTH) market. In
the 1980s, it became a leading provider of DTH hardware and
services worldwide and now serves 3.4 million coast to coast.
EchoStar's state-of- the -art Direct Broadcast Satellite (DBS)
system offers customers more than 500 channels of digital
video and CD- quality audio programming, MPEG -2 /DVB
compliant hardware and custom installation. EchoStar Technologies Corporation (ETC) designs and oversees manufazturing and distributes DBS set -top boxes, antennas and other
digital equipment for the DISH Network and various international customers that include Bell ExpressVu Canada and Via
Digital systems in Spain. ETC also provides uplink center
design, construction oversight and project -integration services
for customers internationally. Satellite Services provides the
delivery of video, audio and data services to business television customers and other satellite users. These services include
satellite uplink, satellite transponder space -usage and other
+
June 2000
www.americanradiohistory.com
Broadcast Engineering
55
101:
Echostar
services. Satellite Services also administers SKY VISTA, a direct broadcast satellite service offering up to 27
channels of popular digital satellite
television programming to viewers in
Alaska, Hawaii, Puerto Rico and the
U.S. territories in the Caribbean.
The EchoStar Uplink Center is at the
heart of EchoStar's DBS system. The
facility receives video, audio, pay per-view programming and data information downlinked from various
satellites. The center generates pay per -view and special programs from
its own studios, and then combines the
information into a single digital stream
that is uplinked to EchoStar's five
direct broadcast satellites. These satellites relay the programming streams
to millions of DISH Network customers throughout the continental U.S. A
sixth satellite will serve Hawaii and
Alaska.
In November 1994, EchoStar began
construction of the Satellite Uplink
Center on the outskirts of Cheyenne.
The 138,000- square -foot, state- of -theart facility is located on a 50 -acre site
and houses a sophisticated array of
satellite communications equipment
and signal -processing operations. The
facility began live demonstrations in
.1
August 1995 and was completed later
that year. The DISH Network first
broadcast from the Uplink Center to
customers' homes in March 1996.
The Uplink Center is the gateway for
all DISH Network digital services. In
More than
2
million
feet of cabling
Was installed,
about half of which
Was utilized
in
support of the
router sustem.
addition, the facility houses editing
and production facilities, and offers
studio space for use by other businesses. It is a growing, evolving facility,
which has more than doubled in size
during its first four years.
To provide the television infrastructure for this emerging new service,
IMMAD Broadcast
Services was con-
tracted to provide television system
design and integration services. This
included design, engineering, supply
and installation of all baseband facilities as well as telephone, LAN, security
and card access systems. The necessary
infrastructure included satellite and fiber receivers, file servers and tape
machines for source material, all feeding a large BTS Venus analog router.
The router outputs fed Divicom MPEG2 encoders that, in turn, were multiplexed to the uplinks. There were also
three special event rooms (SERs), one
with a BTS Saturn Master Control
Switcher, three edit suites with ImMIX
TurboCubes and an audio production
suite with a Pacific Recorders Editor. In
the following year, IMMAD initiated
Phase II, which expanded the facility
with more turn -around receivers and
encoders and added a Utah Scientific
256x256 router.
The uplink center began its conversion to an all- digital television facility
in 1997. By necessity, the earlier phases of infrastructure had been largely
analog. IMMAD installed a system of
Leitch Digibus equipment, twin
256x256 Grass Valley Group 7000
SDI routers and replaced the existing
Digital Betacam VCRs with Grass
Valley Profile file servers for playback
and record systems. A third Network
q
.
_
in ill
Operators assess quality control from confidence receivers in the NOC. Signals to the receivers are routed by a Grass Valley Group
digital 1024x128 monitoring router, through GVG AID converters and to Leitch analog video and audio DAs.
56
Broadcast Engineering
Jurie
H
r o a d
s.
understand that the road to digital transition and integration for
one station may be very different from that of another. Having been
down a lot of roads in large markets and small, we bring a wealth of
experience planning and managing the digital transition process,
addressing the specific needs of the stations we work for and the unique
markets they serve.
We
have the resources: financial, technical and human. We have the
experience. We have the relationships: architects, contractors, manufacturers. And we have the training systems to get your people up to speed in
a hurry.
We
whether you're managing in Mayberry or maneuvering in
Megalopolos, we can make the road to digital transition and integration
straight and smooth. Give us a call before you begin your journey.
So
Technology Evolves.
We Take You
There.
PROFESSIONAL COMMUNICATIONS SYSTEMS
A
DicisioN
OF
\IF:Din GFNFRAl,
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5426 Beaumont Center Blvd., Suite 350 Tampa, Florida 33634
Toll Free: (800) 447 -4714 Fax: (813) 886 -9477
www.pcomsys.com
Circle (127) on Free Info Card
www.americanradiohistory.com
via Grass Valley Series 7000 network
control systems. EchoStar also relied
Echostar
Operations Center (NOC) was added,
and a large Sports Control Room for
live events was installed. By this time
EchoStar was offering some 300 channels and still growing rapidly.
The Receiver Area utilizes Leitch
Digibus technology for the baseband
A/D conversions for all inbound signals. Each receiver area cluster has its
own monitoring station, which includes Leitch 12x1 monitoring switch ers, Wohler amplifiers, Ward Beck
metering systems, Bittree audio and
video patching and Aphex four-channel audio processing.
In 1998, EchoStar entered Phase IV,
launched its fourth satellite and added
a second building in Cheyenne that
more than doubled operations space
and allowed for further expansion.
IMMAD ECVS partnered with the
Grass Valley Group and added two
GVG 256x256 SDI routers, additional
Leitch Digibus equipment and expanded the growing Supervision and Reporting (SAR) monitoring system. Signals from building one were trunked
to building two, and the two main
equipment rooms were interconnected. In 1999, IMMAD ECVS expanded
the baseband systems by adding a
1024x1024 GVG router. The delivery
of the Series 7000 routers, which offer
nearly 1.2 million crosspoints, coincided with EchoStar's launch of two
new satellites designed to boost its
DBS capacity by 300 more channels.
Located in the Master Equipment
Room (MER -2), the routing system
incorporates 32 GVG 7000 series
frames in 32 Stantron racks, accompanied by 32 router output secondary
switchers and 11 racks densely packed
with 1024 GVG 1x9 digital DAs to
feed the inputs of the 32 routers' frames.
There are five more racks of patching:
two for router inputs, one for monitoring and two for signal outputs, all
utilizing ADC High Density Digital
patch panels. More than 2 million feet
of cabling was installed, about half of
which was utilized in support of the
router system.
The new 7000 Series systems joined
three other 256x256 Grass Valley routers already in the EchoStar Uplink
Center, all of which were networked
58
Broadcast Engineering
on 18 Profile digital video servers
linked by a Fibre Channel network
and a variety of signal- management
modules, including Grass Valley's
M9107 for A/D signal conversion and
multiplexing of analog output from
satellite receivers to serial digital vid-
mated supervisory system to monitor
and assist even routine operations.
IMMAD ECVS had developed multichannel monitoring systems for the
cable industry, and it expanded a
similar system to meet EchoStar's
needs. The resulting SAR -II monitoring
system consists of audio /video moni-
toring circuits,
a
control computer,
The facility's routing system employs 1024 Grass Valley Group 1x9 digital DAs feeding
32 routing frames.
with embedded AES audio.
Additional Leitch Digibus frame synchronizers and noise reducers were
also added to turn- around channel
eo (SDI)
paths. The commercial insertion equipment was replaced and expanded with
SeaChange servers and switchers, and
more turn -around receivers and Divicorn encoders were integrated.
Monitoring more than 500 channels
of programming is no easy task and
requires the development of an auto-
June 2000
www.americanradiohistory.com
LED -based under monitor displays
(UMDs) and networked monitoring
PCs and workstations. The software
will accept inputs from program monitoring and switching circuits channels and will log and report status
information on the current operating
state of some 700 channels. Information is passed over a network to PC
workstations for action and logging
and to displays beneath the individual
monitors for status notification. Main
NEW
Three user -selectable levels
of vertical filtering
Two user -selectable levels of
NEW
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Three user -selectable
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horizontal filtering
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IR controllable
NEW
Genlock capability
Internal power
supply
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enclosure
z
Composite video, S- video,
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Mac or VGA input
with loop -out
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with
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Extron's VSC 150 high resolution computer -to -video scan converter includes
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a
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Converts computer images from
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to NTSC or PAL video
Horizontal & vertical sizing, zoom, and horizontal & vertical
VCR
IConposteVdenl
centering/pan controls
Three vertical filters to reduce flicker
Two horizontal filters to minimize detail loss
Or
Three encoder filters that control encoder sharpness performance
IR remote control with three memory preset locations for
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wc Mut
VGA
System
(S-vldol
easy operation
60 factory/user memory presets for picture settings with autosave and
The VSC 150 part number
auto -recall for one -time setup of a signal type
1U rack shelf part number is 60- 190 -01.
Genlock capability for integration into
a
synchronous, timed system
Extron's Simple Instruction Set (SISTM) for simplifying
aa
1
RS -232
is
60- 312 -01.
For complete details, visit Extron's website at
revere. extron.eom /d /vse
control
150
Extron Electronics
800.633.9876
EXTRON ELECTRONICS/CB SYSTEMS, INC
1230 South Lewis Street, Anaheim, CA 92805
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Transmission & Distribution
Transmission lines for DTV
BY DON MARKLEY
advent of DTV has placed new
of success, based on measurements
one of the NTSC lines in the trans-
demands on broadcasters in all
areas, including the loading on existing towers. For most stations, adding
a new channel has required the addition of another antenna and transmission line complex.
For many VHF stations, there really is no choice but to add a new
of the system. Obviously, the mea-
mitter building after the hybrid
combiner. The second combiner,
used to separate the two signals at
the tower top, would be placed in
The
transmission line complex if the
existing antenna is a batwing type
using two phased feed lines. The
exception is stations where the DTV
channel is also VHF and is in the
same band. The reject load port on
the hybrid combiner can be used for
the DTV input, resulting in two
outputs on the same transmission
lines. This approach is acceptable if
the batwing antenna bandwidth is
sufficient to provide a good match
at both channels after careful adjustment of the fine matching devices at the antenna. Because the
batwing configuration results in a
fairly broadband system, the station stands a relatively good chance
A
l
ok at
t
-
surements should be performed well
in advance of the anticipated DTV
sign -on date to avoid significant
Very good antennas are available for DTV use.
embarrassment if it won't work on
that 1954- vintage antenna.
Some options
Several manufacturers now make
dual -band combiner that will
allow a UHF and a VHF signal to
be combined into a single transmission line. Theoretically, one
of those combiners could be used
on one of the lines feeding a
batwing antenna to combine a UHF
DTV signal with the VHF NTSC
signal. This would require reworking the phasing for the batwing
antenna, which could be done.
The combiner would be placed in
a
consumer side of DTV.
D
osts 625% too much.
Dé.pito sal -s hype, consumers still find DTV
sets far too expensive.
DTV Median
Pricing Preferences
$8.000
000_
,000
1100
sD
Déer
C
; umer
r*0,4
-
64
Broadcast Engineering
"
Current Actual
Nquil'gv Direct SiurUeting5ul
rd, id.larcnn(wtnuifax.crim)_
June ?000
www.americanradiohistory.com
that line prior to the elbow complex. Then the length of the other
line would have to be increased to
adjust the phase to compensate for
the phase delay caused by the two
combiners. Again, this is theoretical and the problems encountered
might be more trouble than the
savings resulting from not having
to purchase another transmission
line.
One problem would be the power
rating of the feed lines. Many VHF
NTSC stations have been allocated
high power levels for DTV. Since many
of these older systems use three -inch
coaxial line, the power rating is simply not sufficient to handle both signals. In addition, the loss for three inch line at UHF frequencies is usually
too high to be acceptable unless the
run is very short; in which case, an
additional line is probably not a problem. This type of system is probably
only practical in those cases where
DTV power is low and the tower
simply will not support another transmission line. Very good antennas,
which are lightweight and do not have
a high wind load value, are available
for DTV use. The same cannot be said
for transmission lines. If the efficiency
is to be acceptable at UHF frequencies, the line will be large and the
wind load caused by the line may be
the deciding factor.
The use of these combiners can be
very economical in other large systems. For example, one new facility
"Angenieux provides us with the
best of the best in performance,
features and support."
i
I
I
DIGITAI
ana & Michael Liman
iman Video Rental, Co.
ew York. USA
/
en Dana and Michael Liman
of Liman Video Rental,
Co.
--
the premier
V V source for digital and Ill) video rentals in the East -- decided to build the
industry's first digital production, post -production and uplink truck, they already
knew which lenses they wanted -- Angenieux Iligh Definition (HD) and Iligh Resolution
(HR) Series lenses. That's because Liman Video has received nothing but rave reviews on
Angenieux lenses from their industry renowned clientele.
'Angenieux lenses deliver the sharpness and chromatic performance
-- and they work well with
'With Angenieux lenssaid
Dana
Liman.
we've
tested,'
every camera
es, we're confident in providing the hest image quality and
ergonomics available.'
that meet all our technical requirements
OP*
!enieux
taking high definition to the extreme,' according to
Michael Liman. 'Our broadcast, documentary and feature film clients converting to IIDTV recognize
Angenieuxs extensive experience in film optics and insist on using their HI) and broadcast lenses.'
is
For more information on Angenieux lenses, call 973 -812 -3858 www.angenieux.com
e- mail
angenieux(atctuscom
angénieux
Circle (130) on Free Info Card
is
currently under construction
where the NTSC channel is low band VHF and the DTV channel is
UHF. Fortunately, the channel combination happened to be one where
the same transmission line length
was recommended for both channels. This facility will use a 2000 foot tower with a top- mounted UHF
antenna and a wrap- around panel
antenna for the VHF channel. A
single six -inch coaxial line is being
installed with the two channels combined in the transmitter building
and divided into separate feeds at
the tower top. For this project, the
loss in the six -inch line is acceptable
and the power handling capacity is
adequate. On the other hand, the
cost savings are very significant.
First, eliminating one six -inch transmission line reduces the tower loading. Even more significant is that
the cost of the project is greatly
reduced. Although the combiners
are expensive, the cost of a 2000 foot run of six -inch line is much
greater.
That particular project was fortunate in that the same line lengths
were usable for both channels. However, if that was not the case, an
obvious solution exists. Multiple
manufacturers now offer transmission lines in varied lengths that
eliminate the problem of reflections
from flanges and bullets combining
to prohibit the use of any given
channel. As the cost of such lines is
Too many elbows
Another problem has been noticed as
stations utilize multiplexed antennas
for multiple stations. The transmission lines must be sufficiently broad banded to work well on all of the
channels. On simpler systems where
the line only has one elbow at the
Tuning is important in systems used for multiple channels. Placing elbows too close
to each other can increase the complexity of tuning the system.
tower base, this is not an overwhelming problem. However, some multiple
station systems are at complex installations or on tall buildings where the
transmission line run can contain numerous elbows. In those instances,
special treatment of the systems is
necessary. First, the elbows all need to
be tuned at the factory for the particular channels that are anticipated.
Simple off-the -shelf hardware simply
Especially for UHF, the elbows should always be
tuned at the factory and match marked to insure
that they are installed as tuned.
not signiticantly greater, their use
may be advisable in any case, because no one really knows what
channels may be used at some future
date. That applies to additional stations that may be located on the
tower in the future as well as to
channel changes that could someday occur. Stranger things have happened, especially as the industry
goes though the channel changes
associated with DTV.
66
Broadcast Engineering
right together. It seems to be much
easier to tune elbows if some distance
separates them (preferably the equivalent of at least several wavelengths,
or 10 to 20 feet). This makes sense
because the elbows are then matched
to a piece of transmission line on each
side rather than simply to another
will not do the job. One current system has eight elbows within 100 feet
of the diplexers. To describe such a
system as a "pig" doesn't do justice to
either the difficulties involved or the
animal. To get the desired results, part
of the system is currently being replaced with semiflexible line simply
to eliminate some of the elbows.
When too many elbows are involved,
broadbanding becomes a problem,
especially if some of the elbows are
June 2000
elbow. It seems that the elbows talk to
each other if together, meaning they
may not be actually matched to the
characteristic impedance of the line
but to some artificial impedance created in the middle by the matching
process. This is the same problem that
occurs when tuning adapters for testing purposes. The adapters cannot be
connected directly to each other but
must be separated by a length of line
to ensure that the adapters are tuned to
the line rather than to each other.
In designing your transmission line
run, attempt to minimize the number of
elbows needed. Where possible, space
the elbows some distance apart to reduce the difficulty in their tuning. Most
of all, don't accept off-the -shelf hardware. Especially for UHF, the elbows
should always be tuned at the factory
and match marked to insure that they
are installed as tuned. This will result in
a better system for the station and will
eliminate the problem of all that bad
language from the engineer who tries to
tune your system after installation.
Don Markley is president of Markley and
Associates, Peoria, IL.
Send questions and comments to:
[email protected]
you want to build the best headend,
start with the best modulators.
Standard's got you covered. Maximize your modulator choices without
increasing your costs. Standard agile modulators give you the performance
of fixed-channel systems. but with a lot more flexibility.
For example. our STRATUM System takes up less headend space per channel
than any other system. but still oilers advanced features such as remote control
and automatic backup for lost signal or power. Or take our new TVM1000. It
corers the entire spectrum from 54 to 1000 MHz. and lets you
combine up to 158 channels while still holding out-of-band
ncise to less than 60 dBc.
In addition, Standard's TVM550Il is the acknowledged agile workhorse of the industry, offering
re-broadcast quality and minimized noise and spurs
for extraordinary reliability and performance.
And if cost is a concern, the SCM550HP
offers the same high quality and reliabilit).
but with an eye on your budget.
When you upgrade the headend.
remember nothing delivers the signal
lilie a Standard modulator.
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1
Production Cli ' s
Digital compositing: What you need to know
BY DOUG KELLY
compositing is the digitally
integration of at least
two source images to produce a new
image. Driven by lower hardware
prices and significant improvements
in software, digital
comps are becoming
commonplace. Studios are using compositing tools for everything from virtual -set productions to
simple mic rig removals. You would be
hard pressed to find a
nationally distributed
production that does
not contain at least
one digital comp.
Digital compositing
tools are unlikely to
be the biggest item in
your budget, but their
place in the post -proDigital
manipulated
duction
pipeline
means they can have
a disproportionate ef-
real locations, or assemble bits and
pieces of reality to create an impossible but believable new world. These
abilities are driving the boom in science fiction and fantasy productions.
Purchasing decisions
Offlinc compositing
frees you from the fi-
nancial demands of
near -real -time systems.
Proprietary turnkey -
Advanced digital compositing operations like this hand -rotoscoped
actor removal can accommodate a change in script or fix an error in
principal photography to save the cost of an expensive reshoot.
fect on your overall
success. If you make good choices in
purchasing and using digital compositing tools, you can dramatically improve your facility's post -production
They also make it easier to salvage
footage and production expenses.
Offline vs. online
capabilities and product quality. If
you make poor choices or misuse the
tools, you may have to choose between broadcasting low- quality ma-
With few exceptions, digital corn positing is an offline process. Vendors
may claim and, in rare cases, even
deliver hardware and software capable of compositing multiple image streams in
Digital compositing is the art of real time. However,
those are the exceptions
the invisible effect.
rather than the rule. The
increased data rates of
HD make it even more
terial or subcontracting a compositor difficult to build a real -time composat the last minute.
iting system. You'll use the available
Digital compositing is the art of the time, money and talent more effecinvisible effect. The best comp looks tively if you plan for digital composlike all the elements were in front of iting as an offline process and accept
the camera and were simply filmed in the occasional near -real -time comp as
one shot. Comps can put live actors a bonus.
into virtual sets, virtual actors into
More importantly, digital composit-
68
ing is a graphic art form. You'll get
better results from compositors if you
don't expect them to fine -tune a difficult matte extraction with five minutes to air.
Broadcast Engineering
June 2000
compositing systems are
the most expensive in
today's market, followed by software tied
to proprietary acceleration hardware. The
least expensive systems
are software only, designed to take advantage of industry -standard graphics cards and
multiple CPUs for faster rendering.
The software -only approach gives you flexibility in designing workstations, but it requires you know
more about specifying or building
them. You should avoid any software
that does not support multiple processors, network rendering or film -resolution images. A number of popular
entry -level programs render through
only one CPU and bog down on HD
images. You should avoid these dead end programs.
If you build your own system, you'll
be responsible for keeping the machines working. Coordinating the separate but interdependent upgrade paths
of hardware, driver software, application software and operating systems can become a full -time job. If
you factor that additional work into
the balance sheet, the expensive turnkey compositing workstations, complete with maintenance contracts, start
looking more cost effective.
Digital compositors are artists.
Performance & Support
When you really get down to business,
Calrec produce DIGITAL and ANALOGUE
it makes
BROADCAST CONSOLES
sense to talk to Ca'rec.
for the 21st century.
Through Network Operations, Local Stations and Independent Remote production companies, America listens to Calrec every day. In our 35 years of experience in
Broadcasting, we have continuously pushed the boundaries. Our craftmanship and cutting
edge technology produce the highest quality products, backed by an unrivalled support
team. A growing number of Broadcasters are choosing Calrec based on the performance
of our products and our people.
WHEN YOU REALLY GET DOWN
BUSINESS, IT MAKES SENSE
TO
TO
TALK
TO
CALREC.
10
r:
FOR FURTHER INFORMATION CONTACT
Studio Consultants (New York) Tel (212) 586 7376 Fax : (212) 582 2169 e -mail scidoug @ao coin
Redwood (LA & Nashville) Tel (615) 871 0094 Fax : (615) 872 7080 e -mail [email protected] et
:
:
:
:
CALREC AUDIO LIMITED
Nutclough Mill, Hehden Bridge, West Yorkshire, HX7 BEZ, UK
Telephone +44 (0) 1422 842159, Fax :v-44 (0) 1422 845244
:
E
-mail
:
enquiriesOcalrec.com Website : www.calrec.com
on Free Into Card
www.americanradiohistory.com
CALREC
Choose the tools they want to work
with. If you choose the wrong tool,
you may have to replace the artists.
Platform wars don't make a signifi-
cant difference anymore in terms of
features, functionality or price. However, platform choice does make a
difference in the user interface. If your
artists are used to Macs, buying a
suite of NT comp workstations (or
vice versa) could be a disaster.
Many compositing operations depend on accurate color. If the artists
can't see it, they can't work with it.
You must hold monitors, other hardware, and workstation siting and lighting to at least the same standards as
other color- correction gear. One
party plug -ins.
ence. Changing the size and orienta-
Brand -new companies are not the
only publishers of digital compositing software. Some vendors of key ers and related hardware have made
the transition to digital compositing
by leveraging their technical experience. If you trust a vendor's hardware, you should find out if that
vendor also produces digital compositing programs or plug -ins.
tion of an element is especially crucial
to motion graphics. At minimum, your
software should be able to crop, scale,
resize, pan, rotate, flip, flop, pin, warp
Basic functions
A handful of basic mathematical
operations are at the core of almost
every comp. Comps are very sensitive
to errors in these operations. The software's internal accuracy should be at
least one
Digital compositing tools are not a
one -time -only purchase; it's more like
a
subscription.
computer with a tiny, cheap monitor
stuck in a glare- ridden corner of
someone's office does not qualify as
a digital compositing workstation.
At a minimum, it should have a
large, high -quality computer monitor, a broadcast -quality video monitor, controllable task lighting and
monitor light shields.
Digital compositing tools are not a
one -time -only purchase; it's more
like a subscription. The publishers
will revise the software, and you
should take advantage of reasonable upgrades. Budget for it, and
plan for your compositors to have
retraining time with each upgrade.
Many vendors provide resources for
training and troubleshooting, including listservs and online archives.
Make sure your compositors have
access to them, and know how to
find them yourself. It's not a good
sign if the vendor doesn't provide an
open support forum for users.
Vendor support of third -party developers can be important. Few software publishers can afford enough
programmers to support every possible compositing feature. Instead,
they produce a core program that
can handle the most common tasks,
and leave specialized tasks to third-
70
Broadcast Engineering
order
of
magnitude
better than
the color
depth of the
final delivery medium.
You
should also look for software that
works with floating -point normalized
values (0 to 1) rather than bit depth specific values (0 to 255, 0 to 1024, 0
to 64K).
The ability to pull a clean matte is
crucial to many compositing operations. The program should be able
to produce a clean matte from good
blue screen, green screen, or lumakey footage, or pull a difference key
with a clean plate. The real test is
how well it deals with an uneven
blue screen, a range of blacks in a
luma key or noise in a difference
key. Can it erode or choke the matte
to make effective spill correction or
handle nonstandard or oddly lit chroma key colors?
The software should convert between RGB and YUV color spaces. It
should also include gamma, gain,
fade, contrast, brightness, saturation, multiply, divide, histograms,
lookup tables, compress, expand,
clamp and set controls.
Creating titles and other text -based
motion graphics is the bread and butter of many compositors. The quality
of the text, the typefaces available
(TrueType, PostScript, or both), and
the animation and effects you can
apply to the text all make a big differ-
June 2000
www.americanradiohistory.com
and displace elements.
Basic timing comps can reverse, hold,
drop, duplicate or append existing
frames. Better tools can stretch or compress footage by creating new frames
using motion blur and resampling. Image processing filters should include
blur, sharpen, grain, smear, median,
emboss, dilate and erode operations.
The software should also enable you to
create your own filters, to import third party plug-ins or both.
Common problems and solutions
Unless all your footage is from locked down cameras, you'll need software
with good tracking features and stabilization to remove unwanted camera
motion. Any stabilization software
should also be able to destabilize or
restore the camera motion.
4:2:2 sampling misses half the
available color data. Because many
mattes are based only on color, those
missing data can make the difference between a clean or a noisy
matte. If you can't sample at 4:4:4,
you'll need to process the footage to
simulate the missing data.
If you
need comped elements, such
motion graphics, that you can
key over a live feed, the compositor
can precomp, or render in advance,
all the other elements over a solid
background that is compatible with
your existing keyer.
NTSC -legal color limiting is a common operation for CGI or film elements. Low -end programs limit by
boosting the bottom of the signal to
7.5 IRE, wiping out any zero IRE or
as
super -black areas. If you need super
black to key the comped elements
over another feed, you need tools
that can preserve or restore super
black.
Doug Kelly is editor of Keyframe Magazine
and a freelance writer and animator. His latest
book, "Digital Compositing In Depth," published by The Coriolis Group (www.coriolis.
corn), is available through major booksellers.
You can contact him through his website at
www.megalink.netkdakelly/.
SpectraSite Broadcast Group
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BROADCAST TRANSMISSION EXPERTISE
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INTIINATISIM
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Now the most trusted names
in the tower business
work as one.
Together we are stronger.
www.spectrasite.com
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Pick Hits
74
NAB Replay
84
Product Jackpot
86
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By Steve Epstein, technical editor
Broadcast Engineering's Pick Hits are the longest running and most
prestigious technical awards given at the annual NAB convention.
Started in 1985, the BE Pick Hits are the only awards chosen on site
by named industry experts. Throughout the first few days, our
experts quietly scour the show floor for the best new offerings. On
Wednesday, they meet to determine the winners. The winners are
announced Thursday morning on the show floor and are posted to
www.broadcastengineering.com as part of our NAB coverage.
Unlike other awards, the BE Pick Hit awards are not influenced, or
chosen, by members of the magazine staff. Nor do unnamed judges
who can hide behind a mask of anonymity choose them. Instead, the
Broadcast Engineering Pick Hits are chosen by industry professionals
who face the daily challenge of running a broadcast or professional
video facility. They know the difference between marketing hype and
true solutions to today's problems.
Congratulations to this year's winners.
74
Broadcast Engineering
June 2000
Pinnacle Targa 3000 Editing System
I lits desktop editing ani. cumpu, ting solution can proLess
up to eight layers in real time. It offers the choice of creating in
DV, MPEG -2 or true uncompressed 601. For uncompressed
compositing of more than eight layers, the Instant Compositing tool accelerates rendering and allows for quick creation of
multilayer images. Each laver supperts pushes and slides, sub pixel 2D DVE, image zoos and alpha, chroma and luminance
keying. I/O video support is extensive and includes analog
and digital, component and composite, S- Video, and onboard DV/1394. On the audio side, you will find balanced
and unbalanced line inputs, AES/EBU, SPDIF and TDIF. The
Infinite 3D option provides full planar 3D moves, more
than 40 programmable warp shapes, soft-edge drop shadows as well as particle and pair.terly effects.
650 -526-1600; fax: 650 -526 -1601;
www.pinnaclesys.com
Circle (257) on Free Info Card
JVC DVD -RAM Library System
Looking for an easy and economical way to store a tew terabytes? The
DVD -RAM system from JVC may just he the solution you are looking for.
DVD -RAM media offers 4x the capacity of a CD and the capability to overwrite in excess
of 100,000 times per disc. With up to 600 disc capacity, these
modular units support up to six drives. Custom trays for
st:iring/transporting the media, combined with internal air
filtration systems maintain a clean environment for increased
data reliability. These libraries
hold up to 1.56TB, and up to
tl ree independent SCSI buses are
used to interface the system to
other devices. A front -mounted
mail slot makes it easy to load
and unload media, and for bulk
lc ad /unloads, the discs are held
it 50 -disc magazines.
973 -315 -5000; 800-JVC -5825;
fax: 973-315 -5030;
www.jvc.com/pro
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June 2000
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Broadcast Engineering
75
Leader LF -982 Signal
Level Meter
Leader's LF-982 is a portable signal level meter
that can be used with TV, CATV, FM (46MHz to 870MHz)
and satellite signals (950MHz to 2150MHz). The LF -982
works with a broad list of worldwide channel assignments
and provides level readings for conventional and digital
broadcasts. It can be used with a variety of analog and
digital modulation schemes including 8VSB, OFDM, QAM
-16, -32, -64, and -256, QPSK, 8PSK and BPSK. It can store
up to 200 measurement setups as well as 200 data sets. For
monitoring, there is a built -in speaker and an audio line
output as well as a video output. A basic spectrum display
provides verification of reception conditions. For satellite
work, there is a C/N measurement and a DC output
provides for LNB power/control.
516-231-6900; 800-645-5104; fax: 516-231-5295;
www.leaderusa.com
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TeraNex Xanthus All
Format Converter
Xanthus enables conversion between analog,
digital, NTSC, PAL and HD. The PixelComp motion compensated deinterlacing preserves the full resolution of
interlaced materials. Powerful enough to process HD
images on a pixel -by -pixel basis, the Xanthus line is easily
upgradeable to support new technologies. Due to the
differing color primaries and luma equations of the various
standards, gamma correction is removed first and then
reapplied after the matrix transformation, providing accurate color conversions. Thirty-two -point interpolation
preserves the detail of the input images while removing
any alias components. For film -related work, the 3:2
pulldown can be easily inserted or detected and removed. Other features include scene detection, aspect
ratio control and detail enhancement. A remote control
interface and internal test pattern generator simplify
installation and operation.
407-517-1086; fax: 407 -517-1101; www.teranex.com
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Telestream ClipExpress Video
Delivery System
ClipExpress is an easy -to -use Internet -based media delivery system for
transporting video/audio /timecode over data networks. It is designed for
business users and content creators, offering selectable compression ranges
from MPEG -1 at 128kb/s to MPEG -2 (MP @ML or 4:2:2P @ML) at 8Mb/s.
Audio compression is MPEG Layer-2. Video/audio I/Os simplify acquisition
from and recording to a variety of tape formats. A built -in standards
conversion allows you to adapt your footage to worldwide standards; simplifying playback across the globe. Store and forward
technology allows user selection of video quality, independent of
the network connection. Internal storage is on a 10.2GB hard
drive, and there is room for a second hard drive if additional
storage is needed. Network connections include a 10 /100Mb /s
Ethernet connection as well as full or half-duplex TCP/IP.
530 -470-1300; 877 -CLPMAIL; fax: 530-470 -
1301;www.telestream.net
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76
Broadcast Engineering
June 2000
www.americanradiohistory.com
Miranda VTR -100 A/D
Audio/Video I/O Converter
I he VTR -100 converts an analog VTR's signals for use
digital environment. Providing both input and output signal
conversion, the VTR -100 mounts behind the VTR, eliminating
the need for extra rack space. Signal conversions include CAV to/
from serial 4:2:2, analog audio to/from AES and embedding/deembedding of audio signals within the video bitstream. TBC remote control is also provided
through the VTR -100, and hue control and output timing control are part of the video output
conversion process. As part of the audio conversion, channel swapping capabilities are included. Video can be
converted to/from Betacam or MII standards, both with and without setup. The video conversion to analog is done using
4x over-sampling (54MHz) at 10 hits. The conversion from analog is 10 -bit and 2x over-sampled (27MHz).
n a
514- 333 -1772; fax: 514- 333-9828; www.miranda.com
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Ross Synergy
1
Digital Production Switcher
MLE version of Synergy Series switcher
features aspectizers for simultaneous 4:3 and 16:9 production, a 2D
DVE and an Ultimatte Insider. Like most switchers, the electronics
are divided into two frames, a rackmount frame and a control panel.
Unlike most switchers, you can buy this one without the control panel
and connect it to a Grass Valley 100/110, saving you considerable
money as well as reducing operator- training time. Among the Synergy
lie 16- input, single
I
100 -event memory, enhanced key border, 10 aux buses
and a preview overlay. The preview overlay provides an on-screen menu for easy setup of switcher features.
third keyer and control software allow the integration of an external DVE for switcher transitions.
l's other features are
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613 -652 -4886; fax: 613 -652 -4425; www.rossvideo.com
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??f; Dolby DP563 Surround Encoder
The DP563 can be used to encode multichannel program material for Dolby Surround release. Featuring a digital
implementation of the industry -standard SEU4 Dolby Surround encoder, the DP563 combines discrete left, center, right and
su -round inputs into the matrix -encoded two -channel Surround format (Lt/Rt). It can also be used to pre -mix 5.1 channel
material to the four channels required for Dolby Surround matrix encoding. Individual input level trims are provided for the
center, surround, and low- frequency effects (LEE) channels. LFE- channel processing includes a switchable limiter and a low pass filter. Among the UP563's other features are a calibration mode, test -tone generator, reference clock input, output limiter
and variable coding delay (field/frame/ms). A front -panel LCD shows status parameters and can be used for system setup.
415 -558 -0200; 800-33- DOLBY; fax: 415 -863 -1373; www.dolby.com
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June 2000
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Broadcast Engineering
77
Panasonic AJ- HD3700
D -5 Multi- format
Mastering Recorder
Panasonic's AJ- HD3700 plays hack existing 525 -line D -5
(including pre -read) or D -5HD cassettes and records 10 -bit
uncompressed 480/60i SD video as well as 1080/24p, 1080/
60i, 1080/50i, 1035/60i and 720/60p HD material. Record
times (including metadata) are up to 124 minutes in 1080 /60i,
720/60p and 480/59.94; 149 minutes in 1080 /50i and 1080/
25p; and 155 minutes in 1080/24p. It can slew between 24- and 25Hz frame rates and offers
eight digital audio channels with support for 5.1 channel surround sound plus stereo. Variable speed slow motion from
-1 to +2 is standard, and options include an SDTI interface and an internal video format converter. The optional HD
format converter can convert between 720 and 1080 line HD signals and downconvert to 480/60i, 480/60p or 576/501.
323 -436-3500; 800-528 -8601; fax: 323 -436 -3660; www.panasonic.com /broadcast
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ADC ENVOY 7256 Router
The ENVOY employs time domain multiplexing (TDM),
which provides single channel routing from within the AES channel
pairs. The TDM architecture allows individual mono channels to be
swapped from any input pair to any output pair, regardless of
matrix size, and provides for simple linear expansion to multiple
frames. It is available in synchronous, asynchronous and timecode
configurations, and controllable by the ENVY and other major
control systems. This wide bandwidth system is expandable to
1024x1024 without input distribution amplifiers (sync only) and is
designed for zero bit error rates even when signals pass through the
matrix multiple times. I/O backplanes are available with either
7511 BNCs or 110!2 Phoenix twisted pair terminal block connectors. Options include redundant power supplies and control
modules.
530-265 -1000; 800 -719 -1900; fax: 530- 265 -1010; www.adc.com
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Sony DMX -R100 Digital
Audio Mixer
I he DMX -R100 is a 48- channel mixer with 25 motorized
sophisticated LCD touchscreen control system and machine
control. It offers 24 -bit audio quality and operates at 44.1kHz,
48kHz and 96kHz sample rates. It comes standard with 24 analog
inputs, eight aux returns, stereo program out, aux sends and monitoring outputs. An internal audio routing matrix provides crosspoint
switching for virtually every input and output, avoiding the need for
an external patch bay. Because of the DMX- R100's architecture,
handling surround sound is easy. Six of the monitor buses are used
to generate the 5.1 mix and panning is accomplished via the
touchscreen. The control room monitor system has six outputs,
making it easy to monitor the surround mix without sacrificing other outputs or needing an external monitor switcher.
800 -686 -SONY; fax: 201-930 -4752; www.sony.com /professional
faders,
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78
Broadcast Engineering
June 2000
www.americanradiohistory.com
Extron P/2 DA1 RGB Video Line Driver
projector in one -oum with
a computer down the hall, you know that computer video signals
don't travel very far on typical VGA cables. This miniature, single input, single- buffered output driver can he used to drive a high resolution computer -video signal up to 250ft through high quality cable. The P/2 DAl provides amplification and peaking as well as restoring the low -level sync voltages
found on many laptops to normal TTL levels. With
a 300MHz bandwidth, it works with VGA, SVGA,
XGA and SXGA graphics cards, monitors and projectors. Because it is housed in an adapter -sized
enclosure, the P/2 DAl can be connected directly to
It you have ever had to drive
a
laptop or computer output. A three -position switch
provides user-selectable gain /peaking.
714- 491 -1500; 800- 633 -9876; fax: 714-491 -1517;
www.extron.com
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Sony MSW-M2000 MPEG
IMX Recorder
The latest VTR from Sony can record MPEG -2 4:2:2P @ML at
up to 50Mb/s. The MSW -M2000 is one of three models in the
IMX family that support the SDTI -CP interface. In addition to
recording and playback of the IMX format, the M2000 can play
hack Digital Betacam, BetacamSX, and analog Betacam(SP).
For IMX recordings, maximum record time is 184 minutes from
analog video, SDI or SDTI inputs. Features include frame accurate insert and assemble editing of the I -frame recordings,
and the four digital audio channels are selectable at either 16 or
24 bits, with sampling at 48kHz. Because it can input/output
MPEG elementary streams over SDTI, direct transfers of the
MPEG bitstream can be done easily with nonlinear editors and
servers. Remote control includes RS -232, -422 and parallel
connections.
800 -686 -SONY; fax: 201 -930-4752; www.sony.cofrJ
professional
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Broadcast Engineering
79
AYE
Pinnacle CineWave Editing and Effects System
Miranda MDC -800 Moni-
toring Downconverter for
HDCAM
If you are shooting HD with an HDW -700A, and you need
a cost effective way to monitor what you are shooting, the
MDC-800 may be just what you are looking for. This
miniature downconverter can be side -mounted on an HDW700A and take its power directly from the camera battery.
The MDC -800 converts the camera's HD component analog outputs to NTSC or PAL, making them viewable on
standard field monitors (both composite and luminance
outputs are provided). It features looping inputs and supports 1080i, 1080p/24(sF), 1035i and 720p. A built -in
aspect ratio converter makes 16:9 pictures viewable on 4:3
monitors and a graticule generator (16:9 and 4:3) provides
safe action markers. Power consumption is only 4W for this
eight -bit downconverter, which can run on anything from
12VDC to 24VDC.
514-333 -1772; fax: 514- 333 -9828; www.miranda.com
Based on the TARGA Cine engine, CineWave is an editing
and effects solution for the Apple G4. It can provide true
uncompressed quality and supports every major video
format, including SD, HD or both. The Cine engine is 64bit single -slot PCI card with two Pinnacle DigitalTether
ports. The ports allow for easy attachment of a family of
analog and/or digital I/O breakout boxes. Both ports can be
used in parallel to cDnnect two breakout boxes and output
SD and HD simultaneously. Software bundled with CineWave includes Commotion Pro, a compositing and effects
package, Apple's Final Cut Pro for editing and Hollywood
FX Bronze for creating 3D transitions and effects. IEEE
1394 is supported, as are selectable aspect ratios (16:9 or
4:3).
650 -526-1600; fax: 650 -526 -1601;
www.pinnaclesys.com
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Sencore AT986 8VSB RF Signal
Analyzer
This portable signal analyzer is designed to provide operators with real -time
monitoring of the ATSC 8VSB signals. It works across the VHF/UHF bands and
those used for CAN. The AT986 runs on batteries or AC and has a RF system
view for quick verification of parameters, including channel level, pilot level
and a RF spectral display. A comprehensive view of modulation parameters
includes MER and EVM. Equalizer loading is displayed as part of the
multipath view, as are equalizer tap values. A demodulated parallel
transport stream output allows the data stream to be ported to another
device for further analysis and storage. User-configurable error checking
and data logging provides an extra level of assurance that your DTV system
is operating properly.
605- 339 -0100; 800-SENCORE; fax: 605 -339 -0317; www.sencore.com
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Broadcast Engineering
June 2000
www.americanradiohistory.com
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Wohler
E
MON -1 Dolby E Monitor
For those implementing Dolby E or Dolby Digital, Wahler has come up with just what you need to keep
tabs on those signals. The E MON -1 can output or display audio from both types of Dolby streams. It features
self -powered speakers and eight high -resolution LED level meters that provide accurate monitoring both aurally and
visually. An audio selection system provides operators with the means to select and monitor specific channels from
within the Dolby data stream. Both 7512 and 11051 inputs are included for each of the two Dolby E sources, with loop th roughs for one source. A LCD screen provides status, as do individual LEDs above each channel. A data port allows
for software downloads, and analog audio outputs allow for additional monitoring capabilities.
650 -589 -5676; 888 -5 WOHLER; fax: 650 -589-1355; www.wohler.com
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Sony BVE -700 Edit Controller
j
;ár
h you are looking for a quick %va roger into Hl) editing and
production, the BVE -700 may be just what you need. It is designed
For HD production and includes two jog/shuttle dials for VTR/DDR
control. Multiple machines (three playe -s and one recorder) can easily be
controlled with the BE -700's ergonomic control panel, which also supports pre -read. For expanded capabilities, remote control is provided for
a SD switcher (RS -422A) and audio mixer (RS -422A or ESAM). An
optional plug -in HD video switcher provides a cost -effective way of
performing A/B roll effects in either 59.94i/50i or 24p. The switcher has
five inputs, three outputs and includes cuts, dissolves, wipes and mosaics
is well as keys (including an external key input).
800 -686 -SONY; fax: 201- 930 -4752; www.sony.com/professional
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Broadcast Engineering
81
Miranda Kaleido -QC
Visual Monitoring Quality
Control Solution
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The new Kaleido-QC combines the features of the original Kaleido display system with new Web -based device management and
control software. It can display up to 16 analog video, digital video
and/or computer signals, allowing it to replace suites of dedicated
control panels and monitoring equipment with a single computer
workstation, or a rack -mounted, touchscreen display. Each window within the display can be configured for 4:3 or 16:9 and be
independently sized and positioned. In addition, each window can
include dual tally displays and a source identification. Up to 16 stereo audio signals can be displayed using on- screen level
meters. On- screen alarms as well as GPIs can be used to alert operators of problems. A timecode input provides timing
information for up to 16 on- screen clocks, each with a configurable offset.
514- 333 -1772; fax 514- 333 -9828; www.miranda.com
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Omneon Video Area Network
Based on IEEE 1394, Omneon's Video Area Network offers
data -type independence with the ability to store HD, HDCAM, DV,
DVCPRO 50, MPEG -2, uncompressed 601 and streaming files. IEEE
1394 provides for the transport of both isochronous (audio and video)
and asynchronous (control) data simultaneously. Several modular
components are used to build typical networks. Director and Store
manage data storage, while MediaPort handles the connection and
interface to non -1394 devices that need to be connected to the network.
Switch is an IEEE packet switch that manages data transport on the
/4W
1394 network as well as providing an interface to Gigabit Ethernet
networks. This allows the interconnection of multiple Video Area
Networks using standard Internet protocols, or the delivery of asynchronous streaming video directly to the Internet.
408 -558 -2101; fax: 408 -558 -2199; www.omneon.com
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RULES
NAB Pick Hits judges operate anonymously and independently. Each year they look for new products that
meet the following criteria:
Products must be new and not shown at a previous NAB Convention. In some cases,
distinguishing a new product from a modified older one is difficult. For Pick Hits purposes, a new product
is one with a new model number or designation.
Products must have some positive impact on the intended user's everyday work. Judges search
for equipment that will be used on a regular basis. Products should provide new solutions to common
problems.
Products must offer substantial improvement over previous technology. Unique circuit architecture
need not be involved, but some new approach or application should appear in the product's design.
The prices of the products must be within reach of their intended users. The judges seek products
appropriate to a wide range of facilities.
The products must be available for purchase within calendar year 2000. Equipment must be displayed
on the NAB show floor and currently (or imminently) in production. Judges take the exhibitor's word on
availability dates. Products demonstrated in private showings off the general show floor do not qualify.
82
Broadcast Engineering
June 2000
JUDGES
-+
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Stephen Damas
Technical Design Supervisor
WGBH
Boston, MA
Greg Doyle
President
Doyle Technology Consultants
Redmond, WA
Stephen Damas
Aram Friedman
Director of Engineering, Digital Dome and Broadcast Systems
American Museum of Natural History
Greg Doyle
New York, NY
Mike Grover
Chief Engineer
KJZZ -TV /Larry H. Miller Communications
Salt Lake City, UT
Phil Hejtmanek
Director of Engineering Newsweb Broadcasting
W PW R- TV /KTV D -TV
Chicago, IL
Mike Grover
Aram Friedman
Brad Hughes
Chief Engineer
Henninger Video
Arlington, VA
Philip A. Mendelson
Senior Vice President of EngineeringNice President TODD -AO
TODD -AO /Hollywood Digital
Hollywood, CA
Karl Renwanz
Karl Renwanz
Vice President
Video Transfer Inc.
Boston, MA
Phil Hejtmanek
George Stack
Chief Engineer
NTV International Corp.
New York, NY
Dan Stark
Vice -President Systems and Technology
Video Post
Kansas City, MO
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0 tit
Marcus Weise
Marcus Weise
Marcus and Associates
Hollywood, CA
Dan Stark
June 2000
Broadcast Engineering
83
NA B
SPLAY
Your personal guide to almost 500 new products and
services
Storage and automation
Routing systems
Format conversion and synchronization
Compression systems
Streaming
Camera & lens technology
Production systems
Video editing
Audio for video
Test equipment
DTV systems
The RF side of TV
Product Jackpot
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lr.`w
85
90
94
102
108
116
126
132
138
144
148
152
86
the system is optimized for the video
environment. Archion works with NT,
SGI, MAC and UNIX platforms, including Avid, Final Cut Pro, Discreet
Edit, Media 100, Speed Razor and other editing environments. Archion storage also works with the Profile PDR100 and PDR -200 servers. The system
works with sustained bandwidth of
70MB/s of throughput per Fibre Channel loop, and they can pack up to 360GB
in a 3RU frame. Archion arrays also
provide remote monitoring and diagnostics, pager call, modem connection,
dual power supplies, and many other
features typically expected in a high -
Stnragè and
¡Ritornelli
By Brad
Gilmer
Roth Grass Valley and Omneon made
claims last year that left the industry
wondering if they could deliver. Grass
Valley said it would produce an HD
server with very impressive throughput
pe -formance, and Omneon said it would
de iver the Video Area Network, which
w2 s supposed to deliver great performance at low prices.
The most compelling demonstration
of the Grass Valley server occurred not
on the floor, but at the Pro -MPEG booth.
There, Grass Valley demonstrated its
PVS -2000 server playing MPEG HDTV
at 78Mb/s. As you can imagine, HD at
that rate looks beautiful. The PVS -2000
server can supply four simultaneous HD
streams at the 78Mb/s rate. For the
demonstration, the server was equipped
with 1018GB hard drives (RAIDed with
eight data drives and two parity drives).
Grass Valley also conducted several
interoperability demonstrations including an interface to SDTI -CP and MPEG
Transport Streams and demonstrations
using the Grass Valley file interchange
format. Finally, the Grass Valley Net
Central product showed that vendors
are beginning to understand how important monitoring and diagnostics are
end system.
to the broadcaster. Net Central is based
upon Simple Network Monitoring Protocol (SNMP) with Web interfaces that
greatly simplify equipment monitoring
in large facilities.
Omneon made a number of claims at
the last NAB about their Video Area
Network -a network architecture based
upon IEEE1394 Firewire. It would be
easy to implement, it would be cost
effective, and it would allow customers
to mix different types of content on a
common file system. The only thing
that really mattered, however, was
whether they could actually deliver the
product. This year, Omneon showed 21
streams being played out from a common file system. The streams included
DV, MPEG, uncompressed 601 and
HDCAM. Omneon also delivered video in many of the commonly used Internet streaming formats. The keys behind
the Omneon approach are Firewire and
the packet switching it allows; the
Omneon Directors that contain the file
system and provisions for placing content in QuickTime wrappers; and Fibre
Channel drives. Omneon was showing
both IEEE1394A and IEEE1394B. The
1394A version is copper- based, has a
top speed of 400Mb/s and a maximum
length of around 4.5 meters. The 1394B
version is fiber, has a top speed of closer
to 800Mb/s and a maximum length of
500 meters. For more information, see
Pick Hits, p. 74.
In the new kid on the block category,
Archion was showing high capacity,
high speed Fibre Channel storage systems. While not strictly a video server,
Leitch extended their product line by
showing several additional components
that plug into their Fibre Channel Arbitrated Loop architecture. Their WAN
Streamer can be added as a note on the
network, allowing server content to be
streamed at speeds from 100Base -T up
to OC -12. An API is available to interface to many common WAN management applications. Leitch also demonstrated two products in the news environment. One is the A.N.N. news application that Leitch calls News in a
Box. The other is an interface to the AP
ENPS news- automation package running MOS protocol.
This year, Pinnacle, which purchased
HP's Video Division shortly after NAB
last year, introduced a scaled -down version of their MediaStream server, MediaStream 300. This small server is ideal
for time delay, WAN streaming and
other "edge of network" applications.
It provides up to three MPEG -2 channels and 25 hours of storage in a 2RU
package, with Fibre Channel and Ethernet WAN connectivity included. In a
smart move, Pinnacle is packaging
Crispin Corp.'s automation software
with every MediaStream 300. This allows Pinnacle to provide a complete
solution out of the box.
EMC had a strong showing this year
at NAB. Their message, "The Core of
Content," shows that EMC has a growing understanding of how their competencies fit in the broadcast environment. Their message emphasizes EMC's
history of providing bulletproof storage solutions to very large companies.
It will be interesting to see how this
company adapts its technology and
strategy as time goes on.
June 2000
www.americanradiohistory.com
Broadcast Engineering
85
troduct Jackpot
QuVis was showing the QuBit Digital
Motion Image Recorder. The QuBit
can record and play moving images
at almost any size and quality level
including HD and beyond. The standard QuBit includes 36GB of hard
drive space for recording 12 -bit signals.
Circle (375) on Free Info Card
Toshiba's IK -TU40A is a three -CCD
camera that uses 410,000 pixel IT
CC Ds with microlens technology. The
camera package is designed for demand application and features a CMount and high performance digital
processing.
Circle (412) on Free Info Card
Wheatstone was showing the TV
1000, a digitally controlled analog
console for live TV which features
total console recall, router communication package, extensive mix-minus and communications.
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Adtec showed its Soloist 2 digital
video player, designed to meet the
needs of television stations, cable
companies and other broadcast operations that need to perform random access commercial insertion.
Circle (281) on Free Info Card
In an interesting technology demonstration, EMC was streaming video content in Real Video format while also
playing back the same file using native
Windows NT file systems and Windows
Media Technology format. This is exciting news for anyone who is trying to
manage multiple copies of media.
Asaca /Shibasoku showed a Fibre
Channel video server/DVD archive that
was really quite impressive. Asaca
showed a 3.9TB DVD library connected to a Leitch VR server. As far as I
know, Asaca was the
only DVD vendor at
the show who was
are available.
CIrch (431) on Free Into Card
Sierra Design Labs was showing the
HD 1.5 Plus, a full-specification DTV
recorder featuring record and play-
SMPTE 274M/292M
1920x1080 interlaced signals
back of
(10801) with the ability to switch to
SMPTE 296M 1280x720 progressive scan video.
Circle (399) on Free Info Card
86
Broadcast Engineering
matically included at run time.
In another major advance, Crispin
incorporated an industrial- strength database, SQL 7, into their product allowing the software to support much more
complex functionality than in the past.
Using a database that is common in the
demonstrating robots that could write
on both sides of a
DVD, increasing capacity to 5.2GB per
disk. With cost that
is comparable to tape
archives, very quick
access times, very stable media that should
last at least 30 years,
and with more than
100,000 write/rewrite cycles, the DVD's
time may have come. Of course, material written to DVD must be heavily
compressed, so the DVD may not be
appropriate for everyone. However, in
certain applications, this technology is
sure to have an impact.
The JVC booth also had a DVD library system on display. The largest of
the systems, the MC -7600 series, offered a 1.56TB capacity using up to six
drives. For more information, see Pick
Hits, p. 74.
Automation
Winsted Corp.'s Prestige Console is
a low profile console system, modular in concept, that provides easy
visibility in busy environments. Custom designs and on -site installation
ing to a scheduler engine residing on a
device server. The device server communicates with machine -specific DLLs.
This is the only place where machine specific code is used. The user can select
different devices and the DLL is auto-
You may have heard of a company
called Crispin Corp. Several years ago,
they developed playback software primarily for Tektronix Profiles. Well,
things have really changed. At the show,
Crispin was showing a full automation
system with all the functionality you
would expect from a major player. Previous versions of their systems were
written and compiled for a specific hardware configuration. Changes in hardware required a complete recompile of
the system. Crispin has redesigned its
software to make it hardware independent. The software consists of a number
of end user applications such as play out, compile, caching, etc., all interfac-
June 2000
www.americanradiohistory.com
industry also allows the use of standardized interfaces between automation systems and customer business systems. Finally, SQL also readily interfaces to standard Web browsers such as
Internet Explorer and Netscape.
Crispin software is now delivered as
part of every Pinnacle 300 system. It is
also available for the Panasonic DNA
News Room system, the Quantel Cache Box, Sony MAV 70s and, of course, the
Grass Valley series of servers. This is a
company that is on the move - watch
this space. (I said the same thing about
Pinnacle last year just before they acquired HP - look out!)
With the change in ownership announced in January of this year, it was
interesting to take a look at the Louth
booth to see what had changed. As it
turned out, it was reassuring to see
what had not changed. Of course, white
Harris shirts were everywhere. Gone
was the sharp Louth logo that made its
debut at last year's show. But thankfully, the water bottles were still available.
Many of the familiar faces were still in
place, especially some of the key developers and heavy lifters in the company.
Ken Louth remains the chief technical
officer. The new head of automation for
Harris, Don Naab, was letting key ac-
I
erfection is a word used to describe Ikegami's
K -388 which consistently performs beyond
xpectations, holding resolution and colorimetry
ven in very low and "colorful lighting conditions.
Analog and Serial Digital Component Outputs:
Modulation Depth of 80% at 5mHz; Sensitivity of
f8 at 2000Lux; S/N ratio of 62dB; and now with
12 -Bit A to D conversion.
eaturing Skin Detail (an Emmy Award winner),
e Ultra- wideband HK -388 and HK -388P hand -held
ompanion are full digital cameras that combine
egami's vast studio experience with today's
igital technology. Wide screen models, HK388W
nd the portable HK- 388PW, offer instant switching
etween 16:9 and 4:3 aspect ratios. These cameras
ature New Generation ASICs for Ultra -High Density
We invite you to take a closer look at a camera
that will bring you to new heights of perfection:
Ikegami's HK -388.
For more information, contact your Regional Sales
Office or the Ikegami dealer nearest you.
40,000 pixel, 2/3"
FIT CCDs; Skin, Slim and
iagonal Detail; Ultra -Wideband Component Triax
or Optional Digital Fiber Transmission Systems;
Canon
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:_
r.T
-388
STUDIO /FIELD
DIGITAL CAMERA SERIES
Ikegami Electronics (U.S.A.), Inc. 37 Brook Avenue, Maywood, N) 076117
Coast: (201) 3689171 West Coast: (310) 370-2400 Southeast: (954) 735-2203
Southwest: (972) 869.2363 Midwest: (630) 834-9774
Website
htlp: / /www.ikegami.com
Circle (135) on Free Into Card
www.americanradiohistory.com
Ikegiimi
Product Jackpots
Lemo was showing their complete
line of connectors and patch panels.
Lemo connectors are available in
single, multi- or mixed contact arrangements. Also shown were fiber optic hybrid connectors for DTV and
HD applications.
Circle (437) on Free Info Card
A.N.N. Systems was showing
OpenMedia, an automation system
that delivers integrated low -res video
browsing on individual desktops. The
system allows users to create cuts -
only video segments, browse or
search and modify graphics instructions.
Circle (277) on Free Info Card
Tiernan showcased their TDR6
modular SDN/HDTV receiver/decoder. The system offers six module
slots to be used in SDTV applications requiring MPEG 4:2:2 SP @ML
or 4:2:0 MP ®ML and HDTV requiring MPEG 4:2:0 MP ® HL.
Circle (434) on Free Info Card
Forecast Consoles was showing the
Image master, a series modularcomponents and custom -designed furniture forthe broadcast environment.
Circle (325) on Free Info Card
Tektronix enhanced their RFA300 radio frequency analyzer to automatically pre- correct linear and nonlinear
RF distortions when used with Zenith
8VSB transmitters.
Circle (395) on Free Info Card
Thomson Tubes showcased its TH 755, a water cooled 44kW NTSCcompatible IOT that is
fully interchangeable
with most 10Ts now in
service in the same
power class. The TH
755 features constant
gain and exceptional operating stability.
Circle (433) on Free Info Card
Axon Digital was showing the ARC 3000, a 1RU aspect ratio converter
designed for post -production and
broadcast applications. The unit's
major controls and presets can be
accessed via the unit's control panel.
Circle (296) on Free info Card
88
Broadcast Engineering
counts know that Harris intends to
keep Louth independent from Harris'
other business units.
On the product front, Louth continues
to provide products that improve support
of DTV and large systems. Louth announced a major change in their database
structure. For many years, Louth used a
Btrieve database - not exactly a household word. Louth announced at NAB
that they now have an ODBC -compliant
database. This will allow users to directly
interface to the Louth database. It also
will allow users to employ off-the -shelf
solutions to improve database reliability,
and it will make it much
easier to interface the Louth
system to existing business
.
systems.
Louth also announced
V-Chip capability with
interfaces to EEG, Evertz
and Norpak encoders, A
DTV Manager that provides control of DTV
transmission devices such
as encoders and multiplexers, and a Media
Browser providing access
to low- resolution content.
Drake continues to make improvements to their core product. Many of
these changes reflect a maturity that
comes with a continuing understanding
of the marketplace. Some of the changes announced at the show include support for SNMP, allowing the automation to report into a centralized monitoring and diagnostics facility; support
for multiple time zones; support for
complex DVE moves on station IDs;
and improvements in fault tolerance.
OmniBus announced its Colossus
multichannel system, and when they
say multichannel, they mean it. The
system supports a contiguous view of
up to 1000 channels. The average broadcaster may not require this capability,
but for complex Internet streaming applications and large pay -per -view and
other multichannel playout facilities,
OmniBus is definitely a contender.
OmniBus is a UK -based company. They
have won a number of large automation system contracts, primarily in Europe. Several years ago, OmniBus began to move into the U.S. market. They
were assisted in these early efforts by
Tektronix/Grass Valley. While Omni Bus retains its strong ties to Grass ValJune 2000
www.americanradiohistory.com
company is stepping up its U.S.
presence, opening offices in Nevada
City, CA and Salt Lake City.
Automation can mean different things
to different people. The systems described above are primarily station automation or playout automation systems. But automation helps the broadcaster in other areas too. Automation
of graphical and Internet -related data is
becoming more common, especially
during election coverage. Video Design
Software provides the critical "middle ware" between graphics and station
automation systems, such as Chyron,
ley, the
rM
l(jw
i
Discreet, Peak, and Louth and the election and business systems that provide
data for broadcast. At NAB, Video
Design Software announced they were
forming a new company to create broad cast-to- Internet solutions. The company announced interfaces to many typical Internet applications such as tickers, graphs, and URL data; Interfaces to
Microsoft Web TV applications; and
conversion of static or dynamic broadcast graphics to Web-based graphics.
Another company, Mixed Signals Technologies Inc. out of Culver City, CA, is
also providing much -needed interfaces
for interactive content. Mixed Signals
is involved in the production of interactive content with shows such as Jeopardy and Wheel of Fortune. Finally, to
monitor all those various signals, a
number of multiwindow display systems were shown. One of which is the
Kaleido -QC from Miranda. It allows
up to 16 separate signals to be displayed on a single screen. For more
information, see Pick Hits, p. 74.
Circle (231) on the Free info Card
Brad Gilmer is president of Gilmer & Associates, and the executive director of the AAF
Association.
Rocket Network takes audio production beyond the boundaries of studio walls, making connections
that let you work with anyone, anywhere, anytime. It's like a global multi- track.
[fin -line
Flexibility.
Rocket Network uses the Internet to allow professionals
to work together on audio productions without having
to be in the same physical space. Instead of shipping
tapes from place to place or renting high- capacity
phone lines, you log into your Internet Recording
Studio, where Rocket Network handles the details
of passing your parts to others and vice versa.
That leaves you free to concentrate on capturing
the perfect take, using your own local system to record
and edit. Whenever you're ready for others to hear
your audio or MIDI parts, you simply post your
work to the Internet Recording Studio, automatically
pdating everyone else's session.
Full Audio
Professional Tools.
Through partnerships with leading audio developers,
Rocket Network is bringing RocketPower" to the
professional tools you already use, starting with
Steinberg Cubase VST and Emagic Logic Audio.
A multi -level permission system lets you control
access to your Internet Recording Studio. And
our RocketControl'" client offers built -in chat
capabilities, so everyone in the session can
chime in with feedback as the project takes shape.
The Rocket Network Web site offers additional
resources and services for audio collaboration.
Fidelity.
With Rocket Network, there's no compromise in
audio quality-the system handles files in a vast
range of formats and compression levels, all the
way up to uncompressed 24 bit/96kHz. And you
don't need access to a super -fast connection; DSL
or T1 is great, but you can also work productively
over a humble 28.8 dial -up. The system supports
multiple user -defined presets for posting and
receiving, and handles all conversions, letting
everyone participate in their own preferred format.
That means you can conduct a session in a speedy,
low bit -rate "draft" mode, then move on while the
final parts are posted in the background at full -fidelity.
A Powerful
Connection.
new level of freedom to
creative collaboration, allowing you to choose your
team -singers, musicians, voice - talent, composers,
engineers, producers -based on who's right for
the project, wherever they happen to be. With full
Rocket Network adds
a
'fidelity, plus anytime, anywhere productivity,
Rocket Network is a powerful new connection
to the world of audio production.
l
Escape the boundaries of your studio walls.
Register at
,
www.rocketnetwork.com
ource code: RN21
t=1==i
emagfc
Euphonix
Stalnbarv
Avid
rocket
N
.,II rights reserved m Rocket Network, Inc. 2000. All other product and company
nemes are .M or ® of their respective holders.
Circle (136) on Free Info Card
E
T W
O
R
Internet Recording Studios
K
By Paul Black
Signal routing has always been at the
heart of most TV systems, either to allow
for increased input ability to on -air or
production switchers or, as the concept
evolved, to make discrete signals within
a facility available everywhere.
The X -Y Matrix routing concept offered a huge advantage when it came to
getting signals sent to critical areas. Electronic controls and computerized control and mapping brought routing into a
whole new subspecialty within the industry. Today, routers configured from
4x4 to 1024x1024 are standard items
for many manufacturers. Electronic
matrices are state -of- the -art. One change
is in the number of signal types that can
be routed. The biggest change, like most
in the industry, is related to digital.
More and more manufacturers are recognizing the transitional state the industry is in. Many are providing for purchase of the basic components, such as
frames, power supplies, and control accessories, and providing for matrix card
upgrades at a later date. Routers with
bandwidths that will accommodate true
HD are becoming more common.
A common feature in any product that
routes AES/EBU audio is some form of
fade or mute in the data stream at the
point the audio is actually switched to
eliminate the annoying pop that takes
place during the switch. Most of the
larger and even many smaller systems
provide this capability. Along these lines,
NVision (now ADC) displayed a new
AES router, the Envoy 7256, that uses
time division multiplexing (TDM). The
TDM architecture provides considerable flexibility and size reduction. For
The Broadcast Fiber Optic System That Does Just About Everything
VIPER II
The most widely used fiber optic system for television production
and distribution just got better. With the most advanced electronics.
electro- optics and packaging, the Viper II meets all challenges in
your facility's video, audio and auxiliary communications. Name
your fiber application -pre- fibered facilities, STLs, remote broadcasts,
mobile field production, video backhaul, metropolitan video links
the Viper II handles the job.
Multichannel video & audio
HDTV serial digital video:
19.4 Mbps to 1.5 Gbps
601 serial digital video
Wideband NTSC /PAL video
24 -bit digitized audio or AES /EBU
Intercom, 2 -wire or 4 -wire
Data, including RS232, RS422 CCU
Universal I6 -slot card cage
Rack mount or "throw down" modules
It's not just a broadcast system. it's a multifaceted tool that's flexible.
affordable, and easy to use. It's the reason why more facilities that
choose fiber, choose Telecast.
inTelecast
Fiber Systems. Inc
The world leader in fiber optics for broadcast production
(508) 754 -4858 www.telecast-fibencom
Circle (137) on the Free Info Card
90
Broadcast Engineering
June 2000
-
Experience Total Refection
L
Adaptive -array Microphone System
Most people don't like rejection.
But if you're
a
sound engineer
in a challenging audio
Want more information on the amazing
capabilities of the AT895? Call, write or
fax today. Or check it out on the Web at
www.audio-technica.com. After all, if you're like
environment, off-axis rejection
is exactly
Utilizing Audio -Technica's proprietary
DeltaBeamTM technology, the AT895 System
manipulates the amplitude and phase of its
5- element array by acoustical, analog and digital
means, providing off-axis cancellation of up to
80 dB. The system continuously adapts to a
changing soundscape, and is especially effective
at suppressing wind noise, rumble and other
unwanted low-frequency information. So you get
the audio you want, without all the clutter.
most audio professionals, you could probably
use a little more rejection in your life.
what you need.
audio- technica..
Enter the AT895 Adaptive -array
Audio-Technica U.S., Inc.
Microphone System.
1221 Commerce Drive, Stow, Ohio 44224
330/686 -2600
E-mail:
Fax:
pro @atus.com
www.americanradiohistory.com
330/686 -0719
www.audio-technica.corn
_
'
-en 46-13111104
/.
0
Thomson Broadcasts' new lightweight, all- digital camera is designed
for intensive use in all kinds of studio
and many outside broadcast applications. The camera features digital triax
link with no compression and easy to- handle one -piece configuration.
Circle (409) on Free Info Card
Commscope was displaying Quantum, a series of HD video cables. The
series delivers broad bandwidth with
low attenuation characteristics for
demanding high- definition requirements.
Circle (310) on Free Info Card
Evertz was also showing its 7705E0HD, an HDTV reclocking electrical to
fiber conversion DA, and its 77050E HD, an HDTV reclocking fiber to electrical conversion DA. Both provide
conversion rates to and from serial
video at 1.5Gb /s.
Circle (322) on Free Info Card
Standard Communication was offering the PSR942CI Alteia, a MPEG -2/
DVB digital integrated satellite receiver/descrambler. The receiver is
able to decode MPEG -2 4:2:2Layer,
Main Profile and 4:2:0 Main Level,
Main Profile from a wide array of
sources.
Circle (389) on Free Info Card
NEC America demonstrated the Digital Microwave Link, which incorporates both COFDM and MPEG-2 technologies. The system provides robust transmission and uses approximately half the bandwidth required
by traditional analog transmissions.
Circle (351) on Free Info Card
Azden was showing its 411DRH, a
standalone or rack mountable wireless mic receiver with 63 user- selectable UHF channels.
Circle (297) on Free Info Card
92
Broadcast Engineering
more information, see Pick Hits, p. 74.
A number of manufacturers now are
offering routing systems that are exclusively digital in design. The ability to
mix and match switching cards for digital signals is easier than within the
analog domain(s), because such signals
are simply digital data. Designers have
a wealth of routing options from the
data transmission world that can be
ported to digital audio and video systems. Software control can also be implemented more easily, because control
systems for data routing have matured
greatly in the last few years.
Almost without exception, router control panels will control any router within a manufacturer's line. Additionally,
some manufacturers have control system software and panels that will control their competitors' systems, or allow their systems to be controlled by
competitors' software. The obvious
advantage here is the ability to get your
router system into facilities served by
someone else's product.
GVG is also heavily into digital, with
an extremely wide 1.5Gb/s product. It
is, however, only available in a 128x128
size to begin with, so it remains a high end item. Other products follow the
more classic smaller-to- larger frame
concepts as complexity and levels of
control increase. Data cards of lower
capability in many of their frames can
be exchanged for those with higher
video and audio needs like many other
companies' products.
Videotek is addressing the trend in the
smaller -size arena, adding to their line
the RS series which, with its various
models, will do simple 12x1 or 12x2
signal routing. Depending on the exact
model, anything from HD signals to
COR 601 to AES/EBU signals can be
routed. Units can be stacked, and up to
30 levels can be created by adding different boxes together. While primarily
designed to house stand -alone modules, such as DAs and converters, the
Omniframe system provides a mix -andmatch approach, allowing routing cards
to be installed in it also. Different cards
with different signal handling capabilities can be put into a common frame
(up to 10 cards per frame).
Similarly, Sigma Electronics, who also
specializes in smaller router systems,
has some space- saving products, the
MRX series, which are 32x32 routers
June 2000
www.americanradiohistory.com
that fit within one rack unit of space.
Different signal types can be controlled,
and units can be stacked together to
create larger and more flexible capability. Sigma also makes the 2X series,
which includes 12x routers with high bandwidth capability (120MHz), a
somewhat interesting feature in smaller
routers. Sigma sees this product as useful in QC stations and mobile systems,
where space is at a premium but hand width capability is still critical.
Pesa is also approaching its next series
of products with a heavy emphasis on
digital and high- bandwidth applications. The Tiger is one of the few routers
that can switch HD component video,
in addition to most other digital video
and audio standards. Space -wise, it can
get as dense as 144x144 in 12 rack
units. It also supports all video formats,
including 1080i.
Sony has a new router product for the
I
1
first time in several years, the X Series.
Minimum size is I 6x 16, expandable all
the way to a monster 1024x1024 routing system. Complete mix- and -match
signal cards can be put into any frame
any way the end user wants. Control
and mapping again is computer -based
under the BZR -3000 series software.
Also, control panels are smart, with
embedded ROM that can address many
different router systems. Allowing for
use with other companies' products is
Sony's way of ensuring they won't make
your existing equipment obsolete.
Leitch, another long -time distribution
manufacturer, announced their frames
can be tied together to a 512x512 matrix, which is large enough for many
plants. They also allow control of the
router via TCP /IP, Ethernet, Leitch X -Y
control or other common control protocol. Upgrading cards to higher data
rates and capabilities is also possible
with their frames.
Chyron Corp.'s Pro -Bel division has
also come out with new control software
this year named "Aurora." It can map
and control their systems and is hack ward compatible with other Pro -Bel products. They also have one router that does
signal standards conversion. Analog video is digitized, routed and returned to
analog at the output point.
Philips still supports all their older
products in the field, which is considerable, and also has current product cards
that can do 1.5Gb/s switching. They also
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FOR PROFESSIONALS WHO KNOW
TXCN Universal Studios UPN
THE DIFFERENCE
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380 Oser Avenue, Hauppauge, New York, 11788 Tel: (631) 231 -6900 Fax: (631) 231 -5295
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i
SAYE TIME, SPACE
AND MONEY ON YOUR
NEW SPG
have a unique control system, ATM (Asynchronous Transfer
Mode), which means control over the Internet is possible.
One could control routers in several cities from a central
control point. Philips says several such systems are in use by
its customers today.
If you are looking for audio -only routing, make sure you see
Sierra Automated Systems audio routing systems. These are
useful in dozens of ways, from providing difficult speaker/
monitoring setups in on -air studios, to creating mix -minus for
IFBs in the field. They also build in things that other manufacturers require you to buy external boxes for, such as digital
processing of audio for delays, equalization, sensing, etc.
Their products also route various forms of serial data formats.
The number of choices that are available for routing today
are more flexible than ever before. If you currently plan to
change or upgrade your router, there are plenty of options
available both for today and for the future.
Circle (232) on the Free Info Card
Paul Black is the acting engineering manager for KPIX -TV, San
Francisco.
AES /EBU Test Signal
SDI Test Pattern
Fo
a
conversion/
synchronization
By Mike Betts
Ma wail, NJ 07430, ÚS
Tel.: (800) 421 0888
Fax: (201) 529 2109
E-MAIL: [email protected]
94
[3ru,.rlc.,r-,t
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WEBSITE: http:/Iwww.protelevision.
Format conversion covers a growing range of requirements from different field rates, line standards and aspect
ratios, as well as conversion between analog component and
composite and between the many digital television and
computer formats currently in use. As digital television
implementation progresses, the need to upconvert, down convert and cross -convert between different formats will
become routine. The addition of streaming media onto the
Internet makes the format dilemma even more problematic.
Many products are available today to solve the main problem
facing broadcasters of conversion between 480i and 720p or
1080i, enabling HD transmission of SD media. The acquisition
format, however, governs the initial quality of material and the
immediate need for conversion equipment. Use of material
from outside sources or older archive material may also require
additional conversions. Generally, footage should be archived
at the highest quality possible to make use of high -resolution
needs in the future. Ideally, the storage system should be able to
manage the storage requirements and provide output in whatever format and data rates are required.
nynnrux{
www.americanradiohistory.com
re.ft-e
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SIMPLE
SURRQVNI
Producing Dolby Surround in digital production facilities just got easier.
Introducing the I)P563 Dolby Surround Encoder.
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Circle (141) on Free Info Card
Fax 415.563 -1373
Dolby Laboratorien. Inc.
11111 Potrero Avenue. San Francisco. CA 94103 -4513
Telephone 415-55S-0200
Wootton Bassett. Wiltshire. 5X4 S(1.1 I.n l:md
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1793-N12100
www.dolhv.cont
Fax (44) 1793- 5421111
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THE ROSWELL SYSTEM
IS MAKING IMPRESSIONS
IN UNEXPECTED PLACES.
www.americanradiohistory.com
ROSWELL FACILITY MANAGEMENT SYSTEM
Content Management & Delivery in an Internet World
How many impressions
can you create for your
advertisers? Countless more when you use the
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Roswell easily plugs into your existing facility and
immediately offers you the scalability required to
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Leveraging the latest systems technology and
Odetics' proven asset management expertise,
Roswell is ready now for prime time. Contact us
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Wired for the future
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Phone: 714-774-2200
Circle (142) on Free Info Card
www.americanradiohistory.com
iroduct Jackp
Switchcraft showed its professional
punchdown terminal, offering a splitbarrel IDC terminal that allows for
easy termination of audio patchbays.
The unit accepts 22AWG through
26AWG wire.
Circle (391) on Free Into Card
Doremi Labs introduced the V1 -MP2,
a digital random -access video recorder featuring MPEG -2 compression with 4:2:2 @ML profile and up to
50 Mb /s throughput.
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:r1
00 Jd.
Oxtel launched its PresMaster master control switcher, providing up to
200 automated channels that can be
controlled by one operator, although
the system is equally suited to single
channels and manual operation.
Circle (359) on Free Info Card
Maxell was showing its line of
DVCPRO that features a durable shell
and superior image quality. The M
series is available in recording times
from 12 to 66 minutes and the L
series is available in 66 to 126 minutes.
Circle (347) on Free Info Card
Ultimatte was showing the Ultimatte
for virtual studio
applications. New features include
Ambiance Logic, automatic background defocusing, and a programmable remote control.
9, a keyer designed
Circle (416) on Free Into Card
Telecast Fiber System introduced the
HDTV Cobra, which extends HD cameras with fiber and can support multiple digital cameras on one lightweight tactical fiber cable.
Circle (398) on Free Info Card
98
Broadcast Engineering
In the meantime, conversion equipment will be needed to convert from the
abundance of existing formats and
should be chosen based on the individual needs of the budget and local situation. While price and performance usually go together, lower priced equipment for non -critical functions will often fit the bill. For instance, the
M9603HD monitoring DA from the
Grass Valley Group provides HD distribution while providing a 480i SD monitoring output of the HD video with
selectable aspect ratios. This allows
monitoring in overscan, 14:9 or letterbox formats, solving the need for low
cost monitoring while distributing 720p
or 1080i to master control. A similar
product is the MDC -800
one format to another. Upconverting to
a higher resolution is achieved by interpolation between the lines of fields or
frames to achieve the desired result.
Conversion between progressive and
interpolated scanning systems is more
problematic, and the prevention of
motion artifacts requires special filtering and motion detection. At the top of
the conversion product spectrum was
an impressive demonstration by Faroudja, which exhibited a side -by -side com-
parison of native 1080i converted down
to 480i and back up to 720p or 1080i
with their DFT upconverter. Conversion up to 1080p was also shown with
the DVP5000 to provide drives for applications like high quality projection
from Miranda. This miniature unit attaches to the
side
of
a
Sony
HDCAM
and provides an NTSC
monitoring output. Their
VTR - I 00 provides compact conversion of analog
VTR I/O signals for use in
a digital facility. For more
information on both these
Miranda products, see Pick
Hits, p. 74.
Many upconversion and
downconversion products provide conversion from 480i to 1080i or 720p and
back. Companies like Snell & Wilcox,
Leitch, Miranda and DPS provide prod-
Olt
ucts to support these requirements. Products vary in the capabilities offered and
decisions should be based on which
features are needed. Features to consider are noise reduction, filtering and
interpolation quality, motion detection,
aspect ratio conversion, analog or digital, composite or component inputs,
monitoring, and automatic input selection capability. Many companies use
proprietary techniques to obtain conversion with improved filtering and interpolation results. A few companies
offer cross conversion from 720p to
1080i. YEM provides this feature with
two products, the HFC -1000 and HFC292M. TeraNex is another company
providing multiple format conversion
capabilities with their XA6110PXC,
which can convert between a very wide
selection of formats. For more information, see Pick Hits, p. 74.
High -end conversion equipment needs
to provide good quality conversion from
June 2000
www.americanradiohistory.com
systems. Another compa supporting
conversion to 1080p was Miranda with
their Aquila upconverter.
Computer -to -video conversions
There is also the need to convert cony
puter graphics, animation or computergenerated images into television broadcast formats. This requires close attention to processing in order to prevent
the generation of illegal signal parameters (color gamut) or signal rise times
that produce out of band energy when
converted into the analog domain.
Extron, Communications Specialties
and Analog Way are just some of the
companies that provide conversion
equipment for computer formats to those
required by high resolution projection
systems. These accept computer format
signal inputs (VGA, SVGA, XGA, MAC,
etc.) and provide component analog signals required for projection equipment
or computer displays. Extron also introduced the P/2 DA video line driver that
sends computer monitor signals over
cables up to 250 feet. For more information, see Pick Hits, p. 74.
1
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Product Jackpot
Leitch showcased its Opus, a multichannel, high- and standard- definition unit that offers eight auxiliary
video outputs and 16 primary and
eight key inputs. It allows users to
control the aux outputs from a range
of router control panels.
Circle (341) on Free Info Card
Ensemble Designs provides multiformat
conversion of MAC, PC and SGI graphics
into serial digital video with their DS -1.
This unit provides internal storage, network interconnectivity and support for
key signals (alpha channel). AJA also
provides conversion products to enable
monitoring of HD signals on
computer monitors by offering a converter, the HD10C,
which has distribution capabilities and SVGA or CAV
outputs. These offer the ability to provide high quality
monitoring on lower cost display devices used by laptops
or PCs.
As media servers become
control a companion 8916 audio auto tracking DA. Units with this capability
allow the user to provide further adjustment of the audio delay that compensates for delays encountered elsewhere
in the transmission path.
The transmission of video with embed-
more common within
broadcast facilities, the need
to provide media storage
that supports broadcast
Odetics' Microstation is an automation system designed for smaller
market stations. It includes digital
disk storage, machine control, and
software for automating program
playback for VTRs, network feeds,
and interstitial material.
Circle (356) on Free Info Card
Audio -Technica was showing the AT895 adaptive array mic system. It
uses the DSDA -PRO acoustically
tuned element mic array and special
analog circuitry and provides adaptive directional acquisition of sound
sources
Circle (291) on Free Info Card
Aphex has customized the 1788 to
allow customers to use only two,
four or six channels, rather than the
eight the preamp offers. Users then
have the option of adding extra modules if needed to the short- loaded
1788, up to the maximum of eight
channels.
Circle (288) on Free Info Card
100
Broadcast Engineering
transmissions and media streaming will
be required. The need for storage with
simultaneous access at varying formats,
qualities and data rates will require
media conversion and a common storage format (or formats) to provide this
capability.
Synchronization
Products that provide video synchronization to a local reference have been
around since digital technology was
first introduced into the analog world.
Video synchronizers are available from
many companies such as Videotek, TeraNex, Snell & Wilcox, Miranda, Leitch, Grass Valley Group and DPS.
The latest additions to this field are
available as stand -alone units or as
modular boards that plug into 19 -inch
rack frames. Often these units provide
more than just the basic synchronization capability. An example is the 12 -bit
decoder and synchronizer from Forte!
(FS -312) that provides conversion of
composite analog to synchronized serial digital with proc amp controls.
The need to maintain the audio -tovideo relationship while performing
video synchronization is an important
addition to synchronizers. A serial digital synchronizer combination, the
DPS470 and DPS475, DPS provides
video and audio synchronization with
an adjustment range of 20 video fields.
Some Grass Valley Group converters
can be fitted with the 8900FSS frame
synchronizer option module that will
June 2000
www.americanradiohistory.com
ded audio can greatly reduce the problem of synchronizing audio and video.
Make sure, however, that when de-em bedding, the audio is provided with an
equivalent delay and output in time with
the video. Synchronizing AES audio is
also a requirement in many installations
and conversion equipment is now available that will convert both video and
audio between different formats. The
Leitch DFS -3005 accepts analog and
digital audio and video (with embedded
audio) and converts it to all these same
formats on the product's outputs.
Another new area of interest is the
ability to control or monitor individual
units from one or more central locations. Many new products offer this
ability, from modular DAs, synchronizers and converters to storage systems,
routers and switchers. If this concept
appeals to you it should be high on the
list of features for any new equipment.
Look for a system that uses a nonproprietary method of interconnecting
to enable different manufacturers' equipment to be monitored without having to
use multiple monitoring programs.
If you need to synchronize video and
audio signals to a common reference or
convert from one format to another,
there are more products available today
than ever before to achieve the desired
results.
Circle (233) on the Free Info Card
Mike Betts is the senior partner of Broadcast
Training Partners, Nevada City, CA.
Gi 11AR AVTFFrk
TECHNOLOGY!
3
VI :\12 1\',\1212:\\
Technology without value is merely talk...and talk is cheap. To be useful, real technology
product with practical features and benefits.
is
1
l'
designed into
a
Our Lifesaver. charging mode eliminated battery- killing trickle charging and made "memory" a myth. ACS.
(all cell sensing) temperature protection eliminated safety hazards and improved battery life. Impac case
construction protects cells from the rigors of professional use. Our InterActive® system design, with its
battery -to- charger communication, employing up to 6 different charging methods simultaneously, improved
battery performance and service life. Our PowerChargers double as a universal AC mains adaptor. And our
Interactive Digital Battery, a world first, provided the confidence and accuracy of a fuel gauge directly in the
viewfinder of every camcorder introduced in the past five years.
is backed by the most advanced warranty ever. Every PowerCharger, every ProPac, TrimPac and ProFormer battery are covered by our new three year
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Now the advanced technology of Anton/Bauer InterActive battery systems
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44 -1284- 756448 Fax 44- 1284 -757929
Singapore Office - Anton/Bauer 100 Beach Road, it 33 -05 Shaw Towers, Singapore 189702 (6512975784
Fax (65) 2975778
Circle (143) on Free Into Card
www.americanradiohistory.com
8200 Series Rackmount Frames and Cards
strategic mndular snlutinn fnr distrihutinn
and conversion of digital and analog audio and
video signals. Models allow for up to 10 or
12 cards plus two power supplies.
Interchangeable I/O terminations suit most
applications.
The
Reader Service Card #
AMS4 Audio Monitor System
High performance made affordable. Four
selectable inputs may be balanced analog
stereo, balanced AES3 or unbalanced
AES3 -I0. Digital signals are automatically
identified. Integral power supply.
Reader Service Card #
144
WARD-BECK SYSTEMS
145
STANDS
ALONE
Legendary design
SMS4 4- Channel Stereo Metering System
Display the levels of any combination of four
digital ( AES/EBU) and/or analog audio signals
simultaneously. Each stereo meter pair
comprises two 18 segment LED level displays
and a digital audio LOCK indicator. Automatic
digital inp
dnd circuit selection.
Integral power supply.
Reader Service Card #
Legendary quality
Legendary construction
By Philip Hejtmanek
The operative term this year at
146
P0011 Digital Audio Meter
This unit features a dual channel, 20 segment
LED level display along with 8 signal status LED
indicators. Aural monitor outputs, headset or
speaker, are provided. Available with 11052
AFFORDABLE BY COMMITMENT
balanced input on an XLR3(F) connector, or
75D unbalanced input on a BNC connector.
Reader Service Card #147
ABB -1 Audio Bit Buddy
TM
Portable, battery powered system for monitoring both digital (AES/EBU, S/PDIF) and
analog signals. Digital input monitors sampling
frequencies from 30kHz to 50kHz automatically.
P0013 Dual D to A Converter
This AES /EBU digital to analog converter
is available in 7552 and 11052 versions.
Reclocking circuitry and selectable cable
equalization.
Reader Service Card #
151
Reader Service Card #14e
ABS -1 Audio Bit Spitter
This ABB -1 companion product generates
an AES/EBU or stereo analog test tone
(400Hz or 1kHz). Digital signals are at
32, 44.1 or 48kHz sampling rates or may
MP Meter Panels
be referenced to an external source.
Various signal levels may be selected.
4 LED illuminated meters can be
contained in a high quality rack panel.
Choose from VU, PPM or phase
correlation meters. Integral power supply.
Reader Service Card #149
Reader Service Card # tso
Up to
(VVB) WARD -BECK SYSTEMS
LTD.
TORONTO. ONTARIO, CANADA M1B 2K4
TEL:
(416) 335 -5999 FAX: (416) 335 -5202 TOLL FREE 1- 800 -771 -255
website: www.ward- beck.com e -mail:
wbsltd @istar.ca
www.americanradiohistory.com
NAB2000 was bandwidth. As broadcasters move into DTV, attention has
been focused on the 19.39Mb/s ATSC
bit stream and how to get the most from
it. There is a continuing struggle in the
broadcast community to produce a viable business model that can exploit this
resource and begin to generate a payback on the tremendous investment made
on DTV facilities. The need to get more
from less has dictated the use of video
compression equipment to put multiple
programs on a given transmission channel or more video clips onto a server or
storage device. Critical to all of these
applications is video compression equipment, and there were many examples of
such products at NAB this year.
Video compression is really another
term for the process of data rate reduction. Compression involves identifying
and removing redundant information
within a video frame and redundancies
from frame to frame. This allows a
lower rate bit stream to convey a higher
amount of picture information. Needless to say, there are tradeoffs associated with video compression, and objectionable artifacts will eventually appear in a heavily compressed picture.
Several schemes for video compression
have developed over time, and the debate still exists as to which is the best.
Current compression products generally use one of three basic compression
Our experience
spans more than 65 years,
and our engineering still
makes it simple.
to
Plug it inl
A Division of
Ask anyone and they'll tell you the same thing.
The K2 Digital IOT sets the standard by which
other IOTs are made. Why? It's simple. Years of
experience have produced the best IOT. Our
unique, field -proven design features simple, user friendly tuning right on the front of the subsystem.
Engineered for long life and broadcasting's
highest efficiency, you don't even have to
disconnect the power or cooling water to
replace it. Sure we're an Emmy winner for
technical achievement. But we've kept our
focus on engineering the simplest and most
reliable tools in the industry-so you can focus
on the more important things in life. Plug it inl
Circle (152) on Free Info Card
Communications
& Power Industries
301 Industrial Road
San Carlos,
CA 94070
tel 650.592.1221
fax
650.592.9988
email [email protected]
www.eimac.com
a
- --
ISO 9001 Certified
Made In USA
core of their content distribution system
is a massive task, managing hundreds
APW featured the ContRACKtor series. These extra -wide vertical cabinets provide superior storage and
cable management capability for
electronic equipment. They are available with fixed side panels or removable sides for multibay configurations.
Circle (436) on Free Info Card
AutoPatch was
showing the
Epica 256, a
routing system
with a modular
architecture
that allows users to begins as
small as 16x16
and build up to
256x256
per
signal type.
Circle (292) on
Free Info Card
ProTelevision was offering the
PT5664, a waveform analyzer that
provides alignment and monitoring
in component and composite video
environments.
Circle (372) on Free Info Card
Multidyne's DVM -2000 is a 12 -bit
video and 24 -bit audio fiber optic
mulitplexer that will support one
video, up to six audio and data channels.
Circle (349) on Free Into Card
Viewgraphics' DTV:Xstream provides a bidirectional DVB -ASI, DVBLVDS or DHEI interface that handles
high bandwidth bidirectional multiplexing and demultiplexing stream
processing, clean -cut splicing, table
generation and transmission.
Circle (422) on Free Info Card
and eventually thousands of caches operated as one network. Companies such
as iBeam Broadcasting and SkyCache
are also gaining large market share.
Akamai's (www.akamai.com) Free Flow service provides broadband customers with the technology for the reliable and scalable delivery of streaming
content. Their content delivery service
combined with Windows Media Technologies' high quality video and audio
support and scalability makes them a
key contributor to the Windows Media
Broadband JumpStart initiative.
FreeFlow streaming is built upon Akamai's proprietary technology for the
reliable delivery of Internet content.
Akamai's service will enable Internet
users to experience less packet loss and
lower latency for higher quality and
reliable delivery of Webcast content.
The benefits include the reduction of
jerky broadcasts, richer video encoding, higher fidelity audio and the creation of a larger picture than the current postage stamp standard.
Digital Island (www.digitalisland.com)
is a content delivery service provider for
the Internet. The company's initial service offering, Footprint, gives leading ebusinesses the power to deliver web sites
more efficiently and profitably while
dramatically improving site performance. Footprint ensures the delivery of
fresh web content of all types while
providing management statistics that are
vital to web -centric businesses. A leading provider of comprehensive con tent
delivery solutions for e- business is expanding its global presence by deploying content delivery servers within Teleglobe's global backbone. Teleglobe will
resell Digital Island's content delivery
service, FootprintSM, to its e- business
customers. As Internet traffic grows, web
sites are challenged to find technologies
that increase the speed and availability
of their sites. This is critical for e-businesses whose sites are virtual storefronts.
Launched more than
Calrec's M3 portable mixer is available in rackmountable and desktop
sizes, and features four auxiliary
sends, choice of input module types
and a mix-minus send on each input.
Circle (307) on Free Into Card
1
10
Broadcast Engineering
a
year ago, the
Footprint content delivery network
(CDN) speeds web site performance up
to I O times by distributing content from
a worldwide network of servers, putting
web content closer to the consumer and
shortening the delivery path.
In addition to deploying servers within Teleglobe's global backbone, Dig-
June 2000
www.americanradiohistory.com
ital Island will use Teleglobe's global
network of Inktomi caches to quickly
extend the reach of its Footprint service. Digital Island will house their
servers in Teleglobe Internet access
nodes and receive a direct connection
to Teleglobe's global Internet hack hone network. Leading Internet content providers using Digital Island's
CDN will benefit from improved access to bandwidth- intensive Internet
content applications such as multimedia, streaming video and e- commerce.
Adero's (www.adero.com) AderoWorld
service solves Web performance problems by ensuring that Internet users in
Africa, Asia, Australia, Europe, and
North and South America have a reliable and fast experience when they use
the Internet. AderoWorld service delivers web content closer to the intended
audience so that web pages and streaming media display at a very fast rate,
often up to 70 percent or 80 percent
faster than without the service. Adero's
GeoTraffic Manager, an intelligent Internet mapping and routing algorithm,
eliminates poor performance and
dropped connections by redistributing
Web content to the highest performing
local server in the global marketplace.
SkyCache (www.skycache.com) uses
a satellite broadcast network (GE -3
North America/ GE -IE Europe ( KU
Band)) to help improve the flow of
information over the Internet. SkyCache
makes its money from ISPs, who pay
small fees for access, and content providers, who pay much larger amounts
to have their information transmitted.
SkyCache will enable content aggregators and content delivery networks to
cost- effectively broadcast streaming
media content directly to broadband
points of presence without the need to
scale terrestrial distribution networks
to handle increased bandwidth requirements. SkyCache's streaming media service provides infrastructure and technology that enables broadband media
to be delivered to points of presence at
the edges of the Internet by broadcasting the stream via satellite to sites
equipped with its downlink reception
equipment. Currently, SkyCache has
over 200 downlinks installed at ISPs in
North America and Europe with coverage to the Pacific Rim and Latin America anticipated in the year 2000. By
bypassing the sources of Internet con
Producing
N e ini g
is made in an instant.
the story should be just as fast.
Chances are, you've heard that digital technology can help produce news faster and easier. With an
SGI Media Server, the evolution to digital can happen just as fast. Our new video server distributes
media as data for browsing and sharing content over standard data networks, allowing you to
leverage your existing infrastructure for repurposing content. Plus, our multi -format, resolution independent solution delivers simultaneous input, serving, and play -out of video, eliminating the
need for independent devices. These advantages -as well as 24x7 service and support -help make
your transition to digital quick and easy. To learn more about SGI Media Commerce" solutions, go to
www.sgi.com /go /broadband/ or call I- 800 -800 -7441.
sgi
Circle (156) on Free Info Card
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Orad introduced a Cyberset plug in for webcasting and interactive
video, which allows user to create
clickable video online and generates an enhanced video output
with X/Y coordinates of any element in the image.
Circle (358) on Free Info Card
Ampex's Quad Density Data Tape
Drive provides uncompressed storage of 660GB on a single cartridge.
The new DST data drive doubles the
storage capacity of the Ampex automated archive libraries.
Circle (284) on Free Info Card
Adherent introduced the Stream
Grabber, a lightweight tool for field
engineers working on compression
equipment installation and service.
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Vertigo Multimedia's Producer ON
AIR incorporates state -of-the -art,
easy -to -use software tools for efficient creation of automated broadcast graphics for any live television
production.
Circle (418) on Free Info Card
Utah Scientific's Utah -1500 provides
flexible migration into the HD environment and flexible control systems
that interface with all current Utah
series routers, master control and the
earlier AVS routers.
Circle (417) on Free Info Card
Tadiran Scopus unveiled the Codico
E -1500 DSNG Encoder a 2RU encoder designed to meet stringent
DSNG requirements for mobile applications. The encoder can be installed in vehicles, helicopters, and
other mobile or fixed locations.
Circle (993) on Free Into Card
Marconi Applied Technologies was
showing the 10T900/D3000, a range
of high -power plug -in 10Ts for analog and digital transmitters. The series offers excellent linearity with up
to 77 + 7.7kW analog and 135kW
peak digital power.
Circle (348) on Free Info Card
1 1
2
Broadcast Engineering
gestion, this infrastructure provides a
higher quality of service over typical
terrestrial transit, is scalable, and is
well suited for very large live events.
I -Beam (www.ibeam.com) has created
one of the world's largest satellite-based
network for distributing streaming audio and video content for Internet media
companies. The architecture of the i Beam
Network allows iBeam to deliver more
than 300,000 simultaneous streams, three
times more than any other network.
Emulating the quality of the broadcast
television model, iBeam's distributed
network of servers is connected via satellite broadcast, creating a series of Internet headends worldwide. This architecture enables iBeam to deliver streams
with breakthrough pricing
pricing
that allows content providers to webcast
profitably and build a robust business.
PanAmSat (www.panamsat.com) is a
division of Hughes and the world's lead ing commercial provider of satellite -based
communications services. PanAmSat
operates a global network of 19 satellites
and seven technical ground facilities.
These resources enable the company to
relay video programming and digital
communications to hundreds of customers worldwide. Currently they provide
Internet service in more than 50 countries, including Japan, Paraguay, Indonesia, Zambia and New Zealand, which
obtain access to the U.S. Internet backbone over PanAmSat's satellite system.
Gilat (www.gilat.com) has recently
purchased the Spacenet assets from GE.
These were the original GTE Spacenet
satellites. They are now offering Sky surfer VSAT with terrestrial return
2Mb /s to 35Mb /s)and Skyblaster with
satellite return.
SkySurfer VSAT delivers broadband
video and data directly to the LAN or
desktop. SkySurfer provides a hybrid
solution for broadband data access delivered over the satellite, with the return
path utilizing any terrestrial connection
or existing Intranet. SkySurfer is a PCbased DVB satellite receiver. The Sky Surfer hub delivers a scalable 2Mb /S to
35Mb /s pipe with a terrestrial return
channel. It provides individual IP access for Internet/Intranet browsing (unicast) and IP multicast capabilities.
SkyBlaster VSAT delivers broadband
video and data directly to the LAN or
desktop, using a PC -based satellite transmitter as a return channel. With digital
-
June 2000
www.americanradiohistory.com
video broadcast (DVB) outbound carrier complemented by Gilat's unique satellite return access scheme, SkyBlaster
offers a fully interactive VSAT on a
corporate LAN server or desktop.
Teleglobe (www.teleglobe.com) seems
to have a major push on streaming
media. They have been touting their
satellite capabilities to move data globally but also to limit its access within
regions. Teleglobe, a leading provider
of advanced global broadband services, will provide IP Transit over its multicast- enabled global Internet backbone
network to deliver broadband streaming media programming. The programming will be delivered to Teleglobe's ISP
customer base in over 100 countries
including the U.S. and Canada.
Telestream (www.telestream.net) was
showing a practical delivery tool for
video communications. ClipExpresscan
be used for distribution of training programs, content creation collaboration
and approval. For more information,
see Pick Hits, p. 74.
Real -time encoding and service
bureaus
Loudeye.com (www.loudeye.com) of-
fers digital media applications for audio and video content on the web. These
diverse applications include extending
the site offerings to include streaming
video, audio and images; adding "stickiness" by increasing the user's length of
stay and interaction on the site; and
creating additional revenue opportunities through advertising and e-commerce. In addition, they specialize in
low cost encoding.
Entertainment Blvd. (www.encoding.
entertainment blvd.com) is an end -to-end
post to stream shop. They claim to be
different because they also create/own
some of their own content. They list high end component video signal routing.
They are/were a component Betacam
production company and still use the
analog router to move their video around.
While this is a nuance, it means that
during a conversion from tape to digital
the signal must remain in the analog
domain until final encoding.
Digital Outpost (www.dop.com) was
among the first MPEG compression
facilities in the United States. They offer
high -quality output and are a full
service encoder with production/post/
editing/compression and hosting/stor
Actually, the corner we rounded belon
to
our patchbay's revolutionary new Profess nal
Punchdown Terminal (PPT), making it perf ctly
compatible with the industry standard. We realized
that achieving a new industry standard meant\ we
couldn't cut any corners to get there.
Our new PPT is a split -barrel design that
incorporates a more rugged, thicker housin to
minimize the impact of repeated punchdowns. his
design eliminates the problems associated with the old
"V- shaped" terminals by distributing pressure ev my
across both sides of the terminated wire, causing impr ved
wire retention and more reliable connections. he
serrated teeth in the plastic housing also im rov
wire retention by firmly gripping the wires. W. h t e
PPT, multiple wires can be terminated to a i :le
contact, and a wide range of wire gauges can b ' .ed.
Look for S
chcraft's
new P1 "I' in r APP and
Front Ac s Series of aurdTP4C
OOOO
Audio Patchbays
height, fully
shielded enclosed unit. Available in
normals strapped, normals brought
out, and sleeve normals out.
.
o0
/
/ays, and in our
ckpanel Seri'. All
itchcraft audio tchbays incorpora heavy
gauge mater s and come
standard with our high
quality nickel -plated, steel
framed jacks, and gold plated crossbar contacts!
dio p
MTPFA48K1NO
48 MT or /," jacks in a 1.75" height
I. t - - -- -.- tOreterminate patch po nts from the front
of the rack. Available in normals
strapped and normals brought out.
48 sets of tip, ring and sleeve IDC /IDC
PPT's on a 3.5" height backpanel. Builtin cable tray keeps cable weight off of
the terminations.
Switchcraft, Inc.
5555 North Elston Avenue
Chicago, IL 60630
Phone: 773 -792-2700
Fax :773-792-2129
[email protected]
www.switchcraft.com
Circi. (157) on Free Info Card
www.americanradiohistory.com
Their strategy of growth and quality has made them the choice for critical encoding jobs.
age.
Activate.net
(www.activate.net)
claims to he an end -to -end streaming
provider. They seem to specialize in
event -based media but push a whole
range of services from post production
to hosting and satellite delivery.
Streaming Experts (www.streaming
experts.com) is an end -to -end service
provider of streaming media. They
showcased video on IBM's netfinity
servers using Resonate's Central Dispatch and Commander software. They
offer pre/post production, video and
audio streaming, encoding, hosting,
and hardware sales. The company is a
small multimedia post house entering
into the streaming field.
Optibase (www.optibase.com) is an
award- winning, global leader in broadband digital video- networking solutions
and MPEG -based digital video content
creation tools. They provide solutions
that enable the transmission of video
over digital networks, from IP multi casting over LAN and Intranets to ATM
and satellite networks. Optibase's digi-
tal video networking products include
a range of DVB- compliant tools that
form the basis of digital video transmission applications such as distance learning and business TV. Their product line
includes encoding and playback solutions as well as software tools that
enable immediate integration into large
CD. They combine advanced rich media technology with full -service production capabilities, typically resulting
in a cost effective and more productive
alternative to live speaker presentations.
Hardware
Akou (%vww.akoo.com) has developed
hardware device that allows a connected PC to transmit audio to an FM
receiver. This device connects to the
networking applications. This
scale
a
saves engineering resources and cuts
product development cycles.
Sorenson (www.s- vision.com) offers
a versatile software -only tool that features preset configurations, making live
broadcasts possible within minutes of
installation. Custom options address
fully professional webcasting requirements. These broadcasts can be transmitted using standard Internet streaming protocols and are compatible with
any QuickTime streaming server.
Sightpath (www.sightpath.com) offers
an easy to use media creation and distribution hardware meant for a LAN
environment to move streams around
efficiently.
Eloquent (www.eloquent.com) deliv-
USB and audio outputs, modulates the
signal using 900MHz to a receiver unit
that
is used for tuning and retransmission to an FM radio.
SonicBox (www.sonicbox.com), similar to Akoo, takes Internet radio out of the
computer and puts it hack into the radio.
Sonicbox is focused on Internet radio,
and the biggest obstacle to Internet radio
going mainstream is that the most consumers do not use the PC as an entertain-
ment device. The Sonicbox allows users
to sit in front of any FM radio in their
homes and listen to hundreds of preselected Internet radio stations.
Circle (235) on the Free Into Card
ers personalized and accessible business communications via the web or
Steven Blunrenleld is chie% technology o//,cer
C,m I r.r,rrisn.
1V7rr.1nr1,1C1rirtrrrr -. -1OI
,
AUDIO CROSSPOINTS ARE Now OBSOLETE
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Audio Products
TODD A/O
1024 x 1024 TDM /DSP Routing without tie -lines. Combine digital, analog, synchronous. asynchronous and remote frame /MADI inputs in a single system...and
route them to any output. Up to 60% space savings over competitive models.
Sample rate converters on all AES inputs.
Craig Nichols
Hollywood, CA
In
front of an 848
x 848 OZ
Mix stereo to mono and vice versa.
MADI (56 channel) or 64 channel satellite I /O.
RS422 and Time Code /O.
TDM & High Def Router.
I
Video Products
64 x 128 I/O High Definition Routers with
reclockers
&
equalization.
256 x 512 I/O Serial Digital Routers.
Copper or fiber on any I/O module.
Control Products
Hardware Control Panels. Internet control, Java /Network Control Panels, NT
Server, second party control and
Touch Screens.
Lighthouse Digital Systems
888 494 7300
FAX 530 272 8248
Circle (158) on the Free Into Card
114
Broadcast Engineering
June 2000
www.americanradiohistory.com
Founders Bob
&
Rick Grant
Please contact us
http / /www.lighthousedigital.com
:
Have you ever Felt your
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Fax: +972-3-557-6249
E -mail: into @scopus.co.il
Tadiran Scopus - USA
12265 World Trade Drive, Suite G
San Diego. CA 92128
Tel: (858) 618 -1600
Fax: (858) 618 -1615
E -mail:
info Co scopususa.com
MPEG-2 - OpenTV
4:2:0 - 4:2:2
www.tadiranscopus.com
Come see us at
ßizf
)A1 It
vti
i
Singapore Expo. Hall 2. Booth 2F2-07
Next Generation Video Compression
Circle (159) on Free Into Card
Solutions-
Product Jackpot
Camera E lens
fogy
AccuWeather spotlighted the new
version of its UltraGraphix Ultra
(V2.06). The upgrade provides current satellite and radar observations
right up to airtime and automatically
updates the weather presentation to
include the latest weather information.
Circle (279) on Free Info Card
Ktech introduced the VSB- REMOD200, which receives an 8VSB signal
on -air or via cable, demodulates to
baseband data, and corrects
multipath errors by forward error
correction and equalization techniques and remodulates it into a new
8VSB signal.
Circle (338) on Free Info Card
CPI Eimac introduced the K2 Squared
IOT power amplifiers, which feature
stable, out -of -the way storage position and uses a cam -guided insertion mechanism to ensure positive
connection to the 10T.
a
Circle (312) on Free Info Card
Trompeter's J314W allows full 1080i
uncompressed signal processing for
HD and it accepts 2.25GHz as maximum requirement for coax in- station
wireline for HD on a terminated jack.
Circle (415) on Free Into Card
1
16
Broadcast Engineering
By Bob Bergfeld
One fall Sunday afternoon in the late
1950s, I can recall my parents dropping
me at a friend's house to watch television.
We were watching television there because they had one of the few color
television sets around. The "Wonderful
World of Disney," one of the few programs that was broadcast in color, was
broadcast on Sundays. Over the ensuing
decade, the evolution of color television
occurred. Color programs and televisions became the standard of the industry by the late 1960s. Now evolution
begins once again to digital and high definition television. If the number of
cameras and video recorders introduced
at this year's NAB is any indication, this
time the evolution may be at a much
quicker pace. Nearly every camera and
video recorder manufacturer introduced
new products focused on digital and
high- definition technology, not only for
television but for the film industry as
well.
Among the manufacturers showing 24frame products were Panasonic, JVC and
Sony. Panasonic introduced the AKHC900 series of multiformat HD cameras. The series can operate in I080/60i,
1080/24p, and 720/60p high-definition
formats, as well as standard -definition
480/60i. Each high -definition standard is
native to the camera and is selected at the
time of purchase. Camera base station
outputs are simultaneous HD -SDI and
SDTV. The camera is available in either
studio or handheld configurations. The
AK -HC900 series cameras will be available in the first quarter of 2001. JVC
June 2000
exhibited prototype 24 -frame camera and
video recorder technology developed in
conjunction with 20th Century Fox and
Quad 1. Product availability dates were
not announced. Sony has expanded the
24 -frame products to include the HDC900 and HDC -950 camera systems. The
camera system features a newly developed
2.2- million pixel CCD imager, and I 2-bit
A/D converter. The new cameras feature
five selectable capture rates: I080i at either
60 or 50 fields per second, and 1080p at
30 -, 25- or 24ós. The cameras can also
provide optional 720p outputs, in addition
to a variety of SD outputs at 480p, 480i or
576i, as well as further options for NTSC
or PAL formats.
NAB2000 saw the introduction of several new high definition multiformat
cameras and camcorders. LDK6000 series high- definition porta ble cameras were
introduced by Philips. These cameras
contain 9.2- million pixel, 2/3 -inch CCD
imagers and are available in switched
and non -switched versions. It supports
native 1080i160, 720p/60, as well as
high -end SDTV formats. The LDK6000
series has 12 -bit A/I) converters, with
digital processing at 22 bits. The camera's
triax system can transmit up to 3000 feet
utilizing standard triax cable. Studio conversion is accomplished via the Philips
SuperXPander large lens adapter. Future
plans for the camera series include a fiberoptic adapter. Philips has also introduced
the LDK 1200 DVCPRO HD camcorder.
Imaging for thecamcorder is accomplished
with 2.2- million pixel, 2/3 -inch FITCCDs
in I 080i/60. Audio is eight channel with
THE AIDEN
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TB
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Dual antennas with BNC connectors
XLR output with volume control
Headphone Output with volume control
Operates on 4 AA or 12V DC
It
LED indicators for A or B antenna status,
AF peak, Power On /Reception
status
41XT Plug -in transmitter to
use with your favorite
low impedance
wired microphone.
41BT Available with
omni (EX- 503H),
uni- directional
(EX- 503UH) or SONY
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with AUDIX 0M -3 capsule.
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UHF
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-Mail
FAX
(516) 328 -7506
- AZDENUS @AOL.COM
Azden Home Page:
www.azdencorp.com
Circle (160) on Free Info Card
www.americanradiohistory.com
16-bit/48 kHz sampling; the camera processing is 10 bit. The camcorder is also
equipped with component monitor output for full color playback.
Ikegami's high- definition introductions included the HDK -720p camera
system, and the HDL -V90 DVCPRO
HD camcorder. The HDK -720p employs their newly developed 2/3 -inch
one megapixel CCD image sensor; 480p
and 480i formats can also be supported
via the CCU downconverter. Available
in both studio and portable configura-
tions, the HDK -720P utilizes a 12 -bit
A/D converter with internal processing
approaching 30 bits. Signal transmission and power feed between the camera head and CCU is via fiber optic
composite cables for distances of up to
3000 meters in the portable version,
and up to 2000 meters in the studio
version. The Ikegami HDL -V90 camcorder employs 2/3 -inch, 2.2M pixel
1080i FIT CCDs. Like the HDK-720,
the HDL -V90 offers 12 -bit A/D conversion with internal processing at 30 bit.
e
synchronizer
base corrector
ng switchers
ders /decoders
reduction
bution amps
CALL TO PLACE ORDER
or for catalog
NOVA
SYSTEMS
SHINTRON
1280 Blue Hills Avenue
Bloomfield, CT 06002
800 -358 -NTSC
www.nova -sys.com
Circle (140) on the Free Info Card
1 1
8
Broadcast Engineering
June 2000
www.americanradiohistory.com
Camcorder features include a rotary
encoder, memory card set up with the
Smart Media SSFDC 8MB memory
card, auto hue detect, and external VTR
connections. The video recorder component is DVCPRO HD. Two Panasonic DVCPRO HD camcorders were
shown at this year's NAB. The AJHDC20A 2.2- million pixel FIT and the
AJ -HDC10 one million -pixel IT CCD
camcorders both offer 10 -bit digital
signal processing and have 46 minute
recording time in 1080i with two channels of l 6- bit/48kHz digital audio. Both
camcorders have low power consumption (30W), utilize standard 2/3 -inch
bayonet lenses, a PCMCIA memory
card and are equipped with a SDI output. The camcorders are about 15
pounds each and have a jog dial for
menu selection.
Hitachi introduced its first high -definition graphics camera. The DK -H3
utilizes the 1080i format and incorporates 2.2- million pixel, 2/3 -inch IT
CCDs with 1100 lines of horizontal
resolution. The camera is lightweight
(1.2kg) and can be remotely controlled
through its RS -232 port.
Both Sony and Panasonic have introduced tape -based high-definition products. Sony introduced a new high- definition dynamic motion control video player. The HDW-2100 has the capability to
play back all of Sony's 1/2-inch professional formats including HDCAM, Digital Betacam, Betacam SX, Betacam SP,
Betacam and the new MPEG IMX format. The HDW-2100 is 1125- 60i/50I
switchable for HDTV, and 5525/625 for
SDTV. It has the ability of upconverting
any of the Betacam formats to high
definition and downconvertingHDCAM
to standard definition. The player provides digital output of both HDTV and
SDTV formats, as well as outputs for
analog composite and component. The
HDW-M2100 provides four channels of
independent audio that can be edited on
the HDCAM format. Up to eight channels of independent audio can be edited
in the SDTV format.
Panasonic has introduced the AJHD3700 D -5 HD multiformat mastering VTR. The AJ- HD3700 can support
standard-definition and multiple high definition video formats. It can record
and play back 525 D -5 and D -5 HD
cassettes, as well as record and play
1080/24p, 1080/25p, 1080/60i, 1080/
Wavetek Wandel Goltermann Test Solutions
In the heart of Digital Broadcast
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Wavetek Wandel Goltermann offers a full
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for world -class support of all the players in digital TV provision.
Our objective... to provide our customers
with complete control over all MPEG multiplex
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Our Digital Broadcast Test Solutions
enable faster time -to-market for developers
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integration and maximum uptime of Digital Broadcast
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Installation
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Employing 2600 people worldwide, Wavetek
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For more information or the free evaluation
software, contact us at:
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or visit our Web site at
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Also you can contact us at
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Circle (161) on Free Info Card
www.americanradiohistory.com
WAVETEK
WA NDEL
GOLTER MANN
50i, 1035/60i, and 720/60p high- definition standards. The AJ- HD3700 has 10-
North Star's Best Power Axxium Pro
is a high- frequency, transformerless
UPS with standard online operational
modes of on- battery, double- conversion and fault bypass.
Circle (353) on Free Info Card
Louth was offering Weblink, a product developed in cooperation with
Microsoft that allows the Louth system to communicate with Windows
CE -based set-top boxes and permits
the preloading of a URL into the
STB.
Circle (344) on Free Info Card
Anton /Bauer was showing the Hytron
System, a series of 50W and 100W
hour high -performance batteries.
They can be charged with any existing InterActive charger and offer low
impedance.
Circle (287) on Free Info Card
,O..Y
60
C
Sony's Recording Media division was
showing 1/2 -inch videocassettes
designed for use in MPEG IMXVTRs.
In the MPEG 50 mode, these tapes
offer three -hour recording times in
large cassettes and up to 60 minutes
in small cassettes.
Circle (387) on Free Info Card
BARCO launched their ADVM 28 digital broadcast monitor, adding to their
ADVM line. The ADVM 28 is a 28inch hybrid digital /analog monitor.
featuring SDI and composite inputs.
The monitor offers full remote control compatible with other BARCO
monitors.
Circle (298) on Free Info Card
120
Broadcast Engineering
bit component recording at 74.25MHz
(Y) and 37.125MHz (Pb/Pr) sampling
and offers metadata recording. It also
offers eight digital audio channels that
support 5.1 channel surround sound
and stereo in the HD format, as well as
Dolby E. The recorder can also play and
record four- or eight -channel audio from
previous D -5 HD VTRs and supports
eight -channel audio. Recording time for
the AJ- HD3700 can be up to 155 minutes when recording 1080/24p, with
lower recording times of 124 minutes
and 149 minutes in other HD formats.
Variable speed slow motion ( -1 to +2)
with auto tracking heads is also included
with the deck. Among the options for the
AJ- HD3700 are an SDTI compressed
data interface and an internal format
converter that can convert between 720
and 1080 line high- definition signals,
and downconvert to 480/60i or 480/60p
525 line standards, or 576/50i for 625
line standards. For more information,
see Pick Hits p. 74.
Several standard -definition, switchable
aspect ratio cameras and camcorders
were also introduced at NAB2000. JVC
introduced the GY- DV700W switchable
aspect ratio camcorder. This DV-type
camcorder is fully compatible with both
DVCAM and DVCPRO formats. The
GY- DV700W is switchable between its
16:9 aspect ratio and the traditional 4:3
ratio and features three new 2/3 -inch IT
CCDs. Sensitivity for the camcorder is
f11 @2000 lux, with the camera portion
delivering the equivalent of 750 lines of
horizontal resolution. Features include
14 -bit digital signal processing, full auto
white, genlock, black stretch/compres sion and a zebra level indicator.
Hitachi unveiled the SK -777 dual aspect ratio portable camera. The SK -777
has a 12 -bit A/D converter and 2/3 -inch
640,000 -pixel FIT CCDs. The camera
has 850 lines of horizontal resolution
and a sensitivity of f11 @2000 lux. The
camera also incorporates automatic
flesh-tone detail and plug in set up cards.
Hitachi has also introduced the HVD5W selectable aspect ratio camera that
is directed to graphics, pan/tilt, and tower type applications. The camera incorporates 2/3 -inch 510,000 -pixel CCDs,
with a sensitivity of f11 @2000 lux. Other features include an automatic electronic shutter, auto iris and AGC.
June 2000
www.americanradiohistory.com
Ikegami introduced the HL -DV7W
DVCAM dual aspect ratio camcorder.
The camcorder contains 2/3 -inch,
520,000- pixel, 16:9 IT CCDs; and the
sensitivity can be enhanced to 48dB, allowing a minimum illumination of .12
lux. The HL -DV7W has 10 -bit A/D
conversion, an i.link terminal, a series of
detail functions, and has an S/N ratio of
55dB. The camcorder's horizontal resolution is 750 lines. Ikegami also introduced the HL -59WNA extended optics
digital portable camera. The camera's
optical assembly can be separated up to
20 meters from the camera body for
special system applications such as helicopter gyro -stabilization. The selectable
aspect ratio camera employs the same
520,000 -pixel IT CCDs as the HL -DVT W.
Significant specifications include a 70
percent depth of modulation, an S/N
ratio of 62dB, 42dB gain, and a minimum
illumination of .25 lux/f1.4. Ikegami further introduced two new Editcam -2 hard
disk based dual aspect ratio camcorders.
The DNS 201W contains 520,000 -pixel
IT CCDs, and the DNS 21W contains
520,000 -pixel FIT CCDs. The resolution
for both camcorders is 600 lines with a
signal -to -noise ratio of 62dB. Both camcorders have selectable gain from -3 to
+48dB and 10 -bit D/A processing.
Panasonic has introduced the AJD610WA 16:9/4:3 DVCPRO camcorder. The AJ- D610WA has 10 -bit digital
processing and contains 520,000 -pixel
IT CCDs. The camcorder consumes less
than 24W and weighs 14.5 pounds.
Other features include a PCMCIA memory card, a 1.5 -inch viewfinder, internal
color bar generator, genlock, six speed
electronic shutter, monitor speaker and
a phantom power supply. The camcorder also incorporates 36dB gain for low light applications. To further expand
DVCPRO camcorder capabilities, Panasonic has introduced a digital triax
system. The system is comprised of the
AJ -CA900 camera adapter, the AJ -B900
base station and the AJ -RP900 repeater.
The system can transmit digital component video signals for distances up to
two kilometers with the inclusion of
three repeaters. Signals available at the
base station include SDI, 4:2:2 digital
component, analog composite video,
program audio, RTS and ClearCom intercom and tally. Signals available at the
camera include prompter video, the
choice of one of two channels of return
T he AD953 -I
provides a
complete test
solution with the
capability to
record, playout
and monitor
HDTV streams
in real time. It
provides you with
the ability to
capture, edit and
analyze complex
transport stream
with multiple
video, audio and
data services.
I
ATSC
Ap951
on
,..
s_
q.a
s
,,,.
a.
__.1.
i
NEW
Features and Capabilities!
Real -time Monitoring
Provides PID and program oriented bar charts,
moving PCR timing, TS rate and fullness plots.
Features full display of PSI /SI /PSIP information
and flexible trigger -based capturing of errors.
It also includes extensive logging with colored
fault identifiers and ETR290 and ATSC
compliance checks.
Stream Creation
The AD9531I provides Multiplexer/Demultiplexer to
create multi -program transport stream with custom
SI for both DVB and ATSC.
Stream Manipulation
Provides stream cutter, packet editor, and
PSI /SI /PSIP editor.
Enhanced Hardware
The AD953 -II is designed around a Pentium II
platform with 17" monitor and DVD /CD -ROM.
It provides dedicated stream storage
(9 Gb expandable) with sample test streams.
The Stream Station II is available with a wide
range of interfaces including DVB -SPI, ASI,
DHEI, M2S, SMPTE 310M, L -Band, and others
under development.
Stream Plavout And Recording
Record, playout at 90 Mbits/s continuously
with looped streams and automatic updating
of timestamps.
LtLLLLLL
The AT970
ATSC "Stream View" from
Sencor, has been specifically designed to
3rovide a system solution for HDTV multiple
stream -eal time monitoring.
The AT970 allows:
Reduced operator learning curve
Stream View has been designed to be used by
engineers who are not MPEG /ATSC experts, the
intuitive GUI presents error status in a simple, yet
powerful format which is easily understood.
Increased equipment reliability
Stream View provides a detailed fault log which
can be used to pinpoint regular failures allowing
remedial action to be taken.
Transmission quality
ßo be maintained
Through continuous monitoring at multiple
points in the broadcast chain stream errors and
potential equipment failures can be quickly detected
and corn >cted.
Comprehensive error testing
Stream ','iew detects errors such as EPG failure
which cannot be effectively identified by a wall of
video monitors.
Stream View is designed to meet your complete
real time monitoring requirements, forming part of
network control
system solution. The
AT970 provides you
with a cost effective,
scaleable, flexible
and upgradable
monitoring system.
a
Lower operating costs
Incorpc-ated as part as a networked monitoring
system, multiple Stream Views can be linked to
a central monitoring point which can be more
efficiently managed.
Circle (162) on Free Info Card
3200 Sencore Drive, Sioux Falls, SD 57107
1
800 SENCORE
www.sencore.com
1999 NAB Pick Hit Product!
www.americanradiohistory.com
video, intercom, two program audio
channels, camera control and DC pow-
weighs 10.8 pounds, possesses a rotary
triax connector, has three layers of re-
er.
motely controllable filters comprised of
individually selectable ND and FX filters, as well as electronic gel filters. The
camera fully supports TFT prompters
with both signal and power. Studio
conversion is via the Philips LDK 4482
large lens expander kit.
The DY-70 D -9 camcorder was introduced by JVC. The camcorder is all
digital 4:2:2 and incorporates 380,000 pixel 1/2-inch IT CCDs. The DY -70's
sensitivity is f11 @2000 lux, with a minimum illumination of .75 lux @f1.4.
Automatic functions include auto white
tracking and automatic video level con-
Sony introduced the DXC -D35/
D35WS series cameras with 10 -bit A/D
processing. The D35WS is selectable
between 16:9 or 4:3 aspect ratios. Features common to both cameras are skin
detail correction, 19 -step color temperature adjustment at 3200K and 13 -step
color temperature adjustment at 5600K,
multiple gain selections including 42dB,
built -in IkHz audio reference, adjustable black stretch and compression, dual
zebra striping, and self diagnostics.
Thomson exhibited their 1657D/
1557D series of switchable aspect ratio
cameras. The series is available in wide
variety of configurations that include
portable and studio.
Standard -definition offerings
Although not in as great an abundance as in years past, standard- definition 4:3 cameras and camcorders were
introduced by several manufacturers.
Philips introduced the LDK -200 digital
camera system, the successor to the
LDK -20PS. The portable triax camera
trol. The VTR portion is 50Mb /s, '/zinch component digital D -9. JVC has
also introduced the GY-DV550 camcorder as a companion to the very popular GY-DV -500 camcorder. The GYDV550 incorporates all the features of
the GY-DV500 with the addition of a
built -in 26 -pin interface for CCU control and intercom capabilities.
Sony introduced two new DVCAM
camcorders. The DSR -300A camcorder
contains 10 -bit A/D processing with' -
inch CCDs. Other features include i.link
communication, multiple gain selections
including 36dB, 19 -step color temperature adjustment at 3200K, 13-step color
temperature adjustment at 5600K and
skin detail adjustment. The Sony DSRPD150 DVCAM camcorder contains
380,000 -pixel 1/3 -inch CCDs. The camcorder comes with a 12x zoom lens, has
two -channel XLR connectors with a 48V
phantom power supply and a 2.5 -inch
built -in LCD monitor.
Sony unveiled the MSW-2000 series of
MPEG IMX VTRs. The IMX series
consists of three different models. The
native recording format for the series is
MPEG 4:2:2; however, based upon the
selected model, the MSW series is capable of multiple types of Betacam playback. The MSW-2000 supports MPEG
IMX recording with MPEG IMX and
Betacam SX playback. The MSW-A2000
supports MPEG IMX recording with
MPEG IMX, Betacam SX, and analog
Betacam playback. The MSW-M2000
supports MPEG IMX recording with
MPEG IMX, Betacam SX, analog Beta cam and Digital Betacam playback. For
more information, see Pick Hits p. 74.
The MSW-2000 series supports multiple
input and output bit rates of 30Mbps,
40Mb /s and 50Mb/s, with all recordings
are stored at 50Mb /s. The MPEG bit
stream data transfer is over standard
SDTI, allowing transfer to other MPEG
devices including nonlinear editors. The
series also supports all editing functions
including pre -read, variable speed control and high -speed picture search. Audio includes eight 16 -bit digital audio
signal channels or four 24 -bit digital
audio signal channels standard.
L.enSes
As the camera manufacturers introduce new high- definition products, they
create a need for more advanced technology and higher quality lenses. The
lens manufacturers have responded by
introducing several new advanced tech-
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22
Broadcast Engineering
June 2000
8 DESIGN
nology lenses, with many directed to
high definition and cinema technology.
Many of the introductions from Fuji non at NAB2000, were directed to the
cinematography market and begin with
the introduction of a series of five high definition cine -style prime lenses. The
series features markings for zoom, focus,
iris, and cine- compatible gearing for interfacing with existing cine controls and
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Circle (164) on Free Info Card
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Toll -Free Sales:
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Wegener introduced its UNITY5000
Pro broadcast receiver for MPEG -2
4:2:2 and 4:2:0 recording in high quality contribution and video distribution networks. The receiver features MPEG- 2/DVB- compliant operation and support for advanced modulation formats.
Circle (429) on Free Info Card
Communications Specialties was
showing its Scan Do Pro II, which
features studio timeable genlock,
component output (YUV or RGB format), switchable vertical filter and
optional SMPTE 259M serial digital
output.
Circle (311) on Free Info Card
Panasonic showcased their new
AJ- D610WA 16:9/4:3 switchable, 2/
3 -inch IT three CCD camcorder which
allows users to shoot in 4:3 or 16:9
widescreen. It also features 66 minutes of record time, 10 -bit digital
processing
signal
and
an
S/N of 55dB.
Circle (362) on Free Info Card
{
VON
Magni Systems introduced the SDM560, a monitoring system for both
Serial 601 and composite analog
video.
The
composite,
S -video and SD 601 display outputs
on a single screen that provide picture, waveform, vector, audio and
digital readouts for monitoring
Circle (345) on Free Info Card
Telemetrics unveiled the TM -CTS, a
lightweight, low profile curved camera trolley track for a wide range of
applications. The system features
easily mountable aluminum tracks,
smooth, quiet operation and can be
configured to a single coax cable
connection.
Circle (397) on Free Info Card
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24
Broadcast Engineering
matte boxes. Among the prime lens
series is the HAFSB -10 wide angle lens
that features an angle of view of over 87
degrees, and focusing as close as .5 meters.
This series also includes the HAF40B -10,
featuring an angle of view of slightly over
13 degrees, with focusing from .5 meters
to infinity. Fujinon introduced two cinestyle high- definition zoom lenses with the
same cine markings as their prime lens
series. Both lenses also incorporate Fuji non's newly developed inner focus mechanism, with low dispersion, highly refractive, lightweight glass. The HA10x5B -10
cine style high- definition zoom lens provides a wide angle of view over 87 degrees
with a 10 x zoom range. The HA20x7.8B10 offers a 7.8mm minimum focal length
and a zoom range of 20 x. Fujinon has
further introduced new high -definition
studio and field lenses. The
HA22x7.2ESM high- definition studio
zoom lens has a 22x -zoom range with a
wide end focal measurement of 7.2mm.
Zoom, focus and iris servo controls are
fully digitized, with key features being
digital quick zoom, one shot preset, angle
of view compensation while focusing,
and f number limit. The 2 new high
definition field lenses are the HA10x5E
and the HA20x7.8E. Both lenses feature
a new servo module, quick zoom, inner
focus, one shot preset and RS-422 control. An additional feature, Cruise Zoom,
allows the operator to fix the zoom speed
to a selected constant rate.
Fujinon also introduced several standard-definition lenses. The A 17x7.8 E lens
is directed towards the broadcast news
and production markets. Maximum lens
focal length is 133mm (266mm with the
2x extender) to 7.8mm. The lens features
Digi Power servo and quick zoom. The
Digi Power series of zoom lenses from
Fujinon has been expanded with the introduction of the Ah80x9.5E and the
Ah80x 13.5. Both are directed to extreme
close -up applications. The Ah80x9.5E
features focal lengths of 9.5mm to 760mm
(19mm to 1520mm with the 2x extender), while the Ah80x9.5E features focal
lengths of 13.5mm to 1080mm (27mm to
2160mm with the 2x extender). Both
lenses incorporate all the features of the
Digi Power series.
Canon has introduced two cine style
HD -EC high- definition zoom lenses to
accompany their existing series of high definition prime lenses. The HD -EC lenses incorporate cinema type markings
June 2000
with the T-stop measurements and distance scales marked from the plane of
the CCD. The lenses have .8 modulus
gears on the zoom, focus and iris rings to
provide compatibility with studio follow focus rigs, manual fluid zoom drives
and motorized control systems. The
HJ9X5.5B KLL -SC is 5.5 to 50mm T2.3
macro zoom, while the HJ 18X7.8B KLLSC is 7.8 to 144mm T2.5 macro zoom.
Canon also introduced a newsgathering
high- definition zoom lens, the 16 HDxs
(HJ16x8B IRS/IAS). The lens contains
Canon's xs technology, as well as Canon's new Digital Drive. Digital Drive
incorporates several new features including Shuttle Shot, allowing the operator instant back and forth zoom between two preset positions Speed Preset
the ability to use a preset zoom speed
multiple times, and Framing Preset multiple time recall of a preset zoom position. The HJ16x8B IRS/IAS is the successor to Canon's HJ15x8B, with a lens
barrel that is 13mm shorter, and overall
17 percent lighter. The lens also has an
improved zoom ratio of 8 to 128mm and
minimum focus distance of .7mm.
Canon also unveiled the Digi Super
86XS field production/sports zoom lens.
The Digi Super 86XS(XJ186x9.3B IE
has a newly developed optical stabilization system that can eliminate vibrations up to a frequency of 10Hz. Designed to operate in both standard and
high- definition applications, the lens
has a maximum focal length of 1600mm
with the 2x extender. The lens also
incorporates a power optical system,
digital servo system, constant angle focusing system, and has a built -in, front
element protection filter. Completing
Canon's new lens introductions is the
J I I ax4.5B IRS/IAS Ifxs wide angle zoom
lens. The lens' wide viewing angle is
101.14 degrees in the 4:3 aspect ratio.
Maximum focal length is 100mm with
the 2x extender, minimum focal distance is 0.0 (that's right) 0.0 meters.
The lens also incorporates Canon's new
Digital Drive technology as will all the
Ifxs series lenses in the near future.
Leading Angenieux's introduction into
the cine -style high definition market is
the CLA 35 HD prime lens adapter.
Developed in conjunction with Carl
Zeiss and marketed by Angenieux, the
adapter allows the mounting of high quality, professional 35mm prime lenses on 2/3 -inch high -definition cameras.
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orld -Class Intercoms
the world, Matrix Plus®
digital intercoms are working in
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Circle (185) on Free Info Card
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Product Jackpot
Lighthouse Digital Systems Modular II system include SDV to fiber,
fiber to SDV, AES to fiber, fiber to
AES, AJA 10 -bit NTSC to fiber, Fiber
to AJA 10 -bit NTSC, analog audio to
AES fiber and AES fiber to analog
audio modules.
Circle (342) on Free Info Card
\Iso shown for the first time in the
Angenieux booth at NAB2000 were
two new high- definition lenses. The 20
x 7.5 HD studio lens contains Angenieux's Assisted Internal Focusing (AlF)
mechanism. It has a wide viewing angle
of 65 degrees and is constructed with a
waterproof/anti -dust system. The 60 x
9.5 HD high- definition sports lens has
a 60x external range and also contains
the AIF mechanism as well as the waterproof/anti -dust system. Other high -definition lenses displayed by Angenieux
included the 11.5 x 5.3 HD cine style
high -definition zoom lens with an 84degree viewing field and an 11.5 zoom
range and a TI.9 aperture. The Ange-
nieux 10 x 5.3 HD high -definition
wide angle zoom lens also offers an
84- degree viewing field but with a 10x
zoom range and an f1.9 aperture. The
HR series lenses shown this year were
the 12 x 5.3 AIF HR wide super zoom
with a wide angle 5.3mm capability;
the 15 x 8.3 AIF HR zoom lens with a
8.3mm to I25mm (16.6mm to 250mm
with the 2x extender); and the 72x AIF
HR with a zoom range of 9.5mm to
684mm at f3.6.
Circle (236) on the Free Info Card
Bob Bergfeld is president
Systems Design. St. Louis.
of Presentation
Vibrint introduced the NewsLog, a
new tape logging station that operates in conjunction with existing preview decksthroughoutthe newsroom
and runs on desktop computer.
Circle (419) on Free Info Card
DNF Controls introduced the DMAT
Sports Controller, which is based
upon DNF's new ST400 controller. It
interfaces with multichannel video
servers and enables continuous
record and simultaneous playback
of sports action.
Circle (314) on Free Info Card
LeBlanc
was
offering
its
SuperTowers, 2049-foot guyed towers capable of supporting 60 tons of
top- mounted antenna equipment and
75 -foot candelabras.
Circle (339) on Free Info Card
Litton was showing the L4482, which
features peak sync output (vision
only) 64kW, common mode peak
sync output power of 44kW visual/
4.4 kW, and peak output power digital operation of 85kW.
By Ed Fraticelli
Circle (343) on Free Info Card
Belden Wire & Cable introduced the
Brilliance Plenum -Rated HD Coaxial
cable. The HD coaxial cable features
14 AWG solid copper conductor,
gas- injected foam, FEP dielectric, a
foil /braid shield and Flammarrest
jacket.
Circle (300) on Free Info Card
Benchmark was showing the AD2404-96, a four -channel audio ND
converter that provides word lengths
up to 24 -bit and sample rates up to
96kHz.
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26
Broadcast Engineering
Nonlinear editing and compositing
systems have certainly lured numerous
post -production facilities away from
traditional linear post-production gear.
This year's NAB offerings were no exception. But the equipment continues
to evolve as traditional operations, such
as live news and programming, and
television content. Recognizing this fact,
manufacturers continue to add new ideas
and concepts into their designs.
Ensemble Designs expanded the Catalyst digital switcher/compositor to be
able to accept up to four basic SDI
inputs. The Catalyst is ideal for telecine
suites, with basic built -in compositing
new services, such as live webcasting,
keep developments fresh and exciting.
capabilities.
Echolab has changed its name to e-
StudioLIVE, reflecting the growing
Standard -definition offerings
While HDTV continues to \. iI.
in a
pool of indecision, standard -detinition
equipment continues to be used everyday for a large percentage of digital
June 2000
www.americanradiohistory.com
trend to media streaming on the Internet. They have elected to continue the
Echolab name in marketing their switch er lines. This year, the top-of- the -line
5900 Super Switcher offers up to 33
We're evoNin9.
"I"..
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Watch the transformation at
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You've been with
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from the beginning, but we've only just begun.
em
latiaaltermainalt
www.mediacentral.com
Your one -click resource for media tools, news and community.
Circle (166) on Free Into Card
www.americanradiohistory.com
inputs, a Pinnacle 3D DVE, an Inscriber
CG and a DPS Clipstore, through the
use of an integral Windows NT networked system. The smaller units include the 5800 and 2000 series to fit
any SD digital switching needs.
An e- StudioLive streaming server can
be attached to the Super Switcher to
allow live broadcasts to the Internet,
directly from the switcher, utilizing RealNetwork's G2 bit streaming. Also,
every system now comes with a remote
Commander, which allows configurable
one -button selection of the switcher or
its attached devices utilizing 100baseT
networking. This year, Grass Valley had
a large NAB presence. The Kalypso
Video Production Center, its cornerstone product, houses a very powerful
live production workhorse. With four
M/Es (each with four keyers), a built -in,
six -channel DVE and up to 80 inputs,
there's no show this box couldn't tackle. Other features include an upgrade
path to HD and multiple simultaneous
outputs for providing multiple clients
with customized feeds.
At Newtek, the Video Toaster has
been revitalized with the release of Toaster version 2. This low -cost system corn-
bines major post components and provides up to 24 live inputs, real -time
DVE and digital compositing.
The DD -35 continues to be refined
and offered by Philips Broadcast. Used
widely for live sports and entertainment production, the DD -35 is what
Philips' new HD switcher line, the Seraph, is based on.
Pinnacle Systems had quite a variety
of production- oriented products on
display. The CineWave system provides editing and effects for Apple's
G4. CineWave can handle DV, component analog video, HD and even
1080p/24. Pinnacle also introduced
the Targa 3000. The Targa 3000 is a
real -time compositing solution that
offers 4:4:4:4 internal processing of
uncompressed YUV and RGB images.
For more information on either of
these products, see Pick Hits, p. 74.
A new area from Pinnacle Systems is
a dedicated switcher platform called
the PDS -9000. It provides for up to
36 inputs, 2.5 M /Es, RGB and YUV
color correction and an impressive
nine channels of DVE, as well as 19
framestores. The system can also utilize Pinnacle's BroadNeT graphics
When Chicago's Tallest Budding Needed 15
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28
Broadcast Engineering
Jurte 2000
transfer protocol to move files and
graphics. In addition, it can network
to additional DVExtremes, if nine
isn't enough!
Always a fun one to watch, Play has
developed and announced Trinity version 2.1. The Trinity combines digital
switcher, DVE, CG and compositor into
a dedicated hardware box controlled
by an NT front end. Some new goodies
include Autobeats to enable easier editing to the rhythm of music tracks and
faster video scrub modes.
At Ross Video Limited, the Synergy 1
digital switcher line utilizes Ross' unique
Aspectizers to allow simultaneous 16:9
and 4:3 production outputs. The Ultimatte Insider option provides the highest quality blue and green screen matting, and existing Ross analog switch ers can upgrade to Synergy systems.
Perhaps the best idea in this area is
Ross Video's digital upgrade system for
existing Grass Valley 100/110 switchers,
of which over 10,000 have been sold
over the years. A Synergy 1 chassis attaches to an unmodified GV100/100
control panel, and shift -key functions
expand the compact unit's capabilities,
which saves customers a lot of expense.
Ross is sure to sell a lot of these! For
more information on the Synergy 1, see
Pick Hits p. 74.
Snell & Wilcox has repackaged the
Magic DaVE system into the Golden
DaVE digital SD production system.
This system can accommodate 12 to 24
inputs and contains three full keyers
plus a downstream keyer. Color Correction and DaVE DVE options can be
added to round out its capabilities.
Thomson Broadcast Systems introduced the ALTEO line of SD production
switchers. The systems come in a full
range of sizes from one M/E to 3.5 M/E
and 54 inputs, to suit any live or post
configuration. 625/525 and 16:9/4:3
switchability makes for a flexible unit.
Video Gainesville/For.A offered two
separate lines of switchers. The Cybervision switcher line offers several
size configurations, four-channel
framestore and internal 3D DVE effects. The MightyMix switchers offer
mixed analog and digital inputs and a
built -in DVE.
Reflecting a prevalent theme at the
NAB this year, Videonics premiered their
MXProDV switcher with two Firewire
IEEE 1394 inputs, two analog inputs
To
TheRower of
Bill Thompson
M_axPJ1
¡
The performance and reliability of Maxell's professional media blows away
Bill Thompson, Vice President-Post Production for Crawford Communications in Atlanta.
"For me, it's all about performance and reliability. I depend on Maxell's
Betacam SP to deliver the ultimate in audio and video reproduction."
Maxell's media family also includes digital products like DVCPRO, D -5,
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Digital Betacam, D -2 and D -3. Can you depend on your professional media?
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Take . ur . rofessional media to the power of Maxell.
To
learn more about Maxell Professional Media, call 1.800.533.2836 or visit our website at maxellpromedia.com
Circle (168) on Free Info Card
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Productiikickpal
Avica unveiled the Vecta AMS, an
NT -based asset management system that allows users to view stored
images from a remote location and
use a centralized archive.
Circle (293) on Free Info Card
NDS limited unveiled as Value @TV,
a suite of interactive TV software
applications that enables broadcasters to offer interactive programming.
Circle (350) on Free Info Card
Cintel showed its full range of
telecines, including its C- reality and
Rascal. The company also announced that it is offering an upgrade to users of its Ursa Gold and
Diamond systems.
Circle (308) on Free Info Card
HD Vision was showing the HDV -5,
53 -foot mobile production unit
equipped with Sony HD cameras,
Canon lenses, a Snell & Wilcox digital switcher and Pixel Power graphics products.
a
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Equi =Tech unveiled its redesigned
Wall Cabinet System, which offers
improved phase accuracy and balance. The system extends the bandwidth of common mode noise attenuation into the 200MHz+ range
and features distribution for 10
branch circuits.
Circle (320) on Free Info Card
Nova Systems was showing the
SM2000, a time based corrector that
features full bandwidth processing
with adaptive digital comb filtering
and a wide range of VCR signal
correction and video interface requirements from desktop video to
satellite systems.
Circle (354) on Free Info Card
130
Broadcast Engineering
and one Firewire output. It has been
specially designed for live Internet
streaming productions.
Higher definitions
Cerrtinlc, the bigger players had their
high -definition production solutions
prominently shown. But,
big or small, any HD need
could he fulfilled, as feature sets go up and prices
come down.
sports, the SMPTE 274M 1080i
switchers offer up to 30 HD SDI inputs
and 2.5 M/Es.
Videotek was showing a 12 -input HD
switcher. The RS -12 offers a small system's solution for limited post and telecine HD applications.
Panasonic's MilleniuM
series
of HD production
switchers include the AVHS3100 and 3300 systems. They are designed
to be multiformat, processing all standard HD
scan rates, including
1080i/60, 1080p/24 and
720p/60. With 10 inputs/
2.5 M/Es and 33 inputs/
3.5 M/Es respectively, the line can be
applied to the largest live production as
well as a small HD post operation.
The Philips successful standard- definition system, the DD-35, has evolved into
the Seraph line of high- definition production systems. This giant can have up
to 90 inputs and four M/Es, depending
on the configuration. The Philips system
can also handle all of the popular HD
formats. An added feature is that the
Seraph's panel can control a DD -35 SD
chassis, making simultaneous SD and
HD program production possible.
DaVE from Snell & Wilcox has gone
HD also. The HD DaVE models include HD1010 with 10 inputs, the HD1012 with 12 inputs, the HD -1024
with 24 inputs and the HD -2524 with
24 inputs and 2.5 M/Es. Additional
features include up to 1000 internally
stored stills and multiformat operation,
including 1080p/24.
Sony's HDS- 7000/7100 switchers,
along with the HDME -7000 effects
system, were shown at the heart of the
1080P/24 -post system, jointly developed with 24 other equipment manufacturers. This system has been developed for post work in the episodic
network entertainment business, as well
as
the burgeoning E- Cinema
concept.
The switcher has a flexible control
system and utilizes Sony's DME -LINK
to allow complete control of the DME.
Also ideal for live productions, such as
June 2000
www.americanradiohistory.com
Integrated HD post systems
Last year, Chyron introduced the Duet
integrated HD production system, for
both SD and HD applications. Running
applications such as Liberty paint and
Lyric CG text generation programs, the
Duet can be utilized in multitude of
different ways in an HD environment.
This year, Chyron added the MPx option, which allows for multiprocessor
rendering speeds. Also, the Duet can
enable multiple application outputs simultaneously.
The U.S. division of Pixel Power has
changed their name to Collage Graphics, and continues development on
the Clarity HD integrated production platform. Offering real -time HD
graphics, animation and character
generation, Clarity's version 2 operating software adds real -time animation playout and offline graphics com-
position.
Clarity has been offered for standard definition applications as well. An interesting way was shown to use the
Clarity in a four live channel SD operation or mixed HD and SD simultaneous output mode.
Circle (237) on the Free Into Card
Ed Fraticelli is the director of engineering ír
post production for Production Masters, inc.
Pittsburgh. PA.
I
MOST REVOLUTIONS ARE WON WITH WEAPONRY,
ARMIES, EVEN BLOODSHED. WE'RE USING
TERACTIVE GAMESHOWS, ON- DEMAND REPLAYS,
AND A REALLY COOL WAY TO ORDER PIZZA.
Funny, but dead serious. OpenTV, the worldwide leader in software that enables digital
interactive television, is deployed in over 7.8 million digital set -top boxes
- more than any other
interactive TV platform. Major advertisers are buzzing. We've been chosen by 28 television
network operators, including digital cable, satellite, and terrestrial. And, hundreds of content
developers are using Openly authoring tools to create compelling interactive TV applications
sports, e- commerce, VOD, advertising, and more. Yes, the interactive revolution is being won
without an army. But with over 7.8 million viewers worldwide, it seems like we're building one.
www.opentv.com
©2000
OpenTV. Inc. OpenTV and the
THE NEW VISION FOR TELEVISION'"
Openly logo are trademarks of Openly, Inc.,
in the United States of
America and other countries. All trademarks are the property of their respective owners.
Circle (169) on Free Info Card
Product Jackpot
LeCroy introduces the LA302/
LA303, a series of analog oscillo-
`,7IMAGE DS and SOF7IMAGE
scopes. The LA302 measure 2Hz
to 100MHz and the LA303 operates up to 200MHz. The third channel provides three sensitivity levels for a wider range of measure-
Od
-
ments.
Circle (340) on Free Info Card
Modulation Sciences' msi2080 unit
is designed to deliver the high levels
of functionality along with the ability
to easily upgraded. It features real time pictures and parameter readings and real -time and virtual constellation displays.
Circle (348) on Free Info Card
Harris announced the launch of
NewSource, a television news solution which links the Louth automation system with a newsroom computer to allow broadcasters to control news servers, VTRs and cart
machines from one system.
Circle (329) on Free Info Card
Sonic Foundry showcased its Viscosity editing system, which fuses
animation and the image editing process into one application. It also
offers integrated multiframe editing,
animation effects, web optimization
and real -time playback.
Circle (385) on Free Into Card
AgileVision presented its AGV 1000,
which seamlessly splices and inserts datacasting, PSIP and local
station branding into a compressed
DTV transmission stream. The "DTV
Station in a Box" offers high picture
quality originating either in SD or
HD.
Circle (283) on Free Into Card
132
Broadcast Engineering
re. editing
By Marcus Weise
From the least expensive to the most
complex, fully configured systems, the
ability to network, access common servers, and share data and files was a prime
selling point at this year's NAB. This
allows users to be in separate locations
and still work on a common project in
real time. Not all the systems at the
show had this ability, but those that did
were quick to point it out.
The EIDOS Judgement, for example,
which sells for under $1,000, has connectivity via the Internet. Use of Quick Time 4 allows a wide range of video,
audio and graphic file formats, including video formats suitable for multimedia and web streaming, to be exported.
It can also be networked so multiple
users can access the media.
Other systems in the less than $2000
price range include Digital Origin that
goes from under $100 to $800; the
Videonics Video ToolKit; the Darim
DDCIip, which is a simple Windows based, nonlinear editing system; Adobe
Premiere; and Apple Final Cut Pro.
Digital Origin is distributed by Canon.
Their EditDV system, which lists for
$800, is Windows 98 /2000 /Mac -based,
DV native and uses FireWire to output
ready- for-broadcast video. The Videonics Video ToolKit is a linear editing
program that is PC -based using Windows 95 or NT and controls up to seven
June 2000
www.americanradiohistory.com
devices at a time. It can export video over
the Internet in storyboard form and outputs EDI:s in CMX or Media 100 formats. The Darim DDCIip is an NLE
system that uses Windows 95 up through
NT and allows the use of two video
tracks and up to 32 audio tracks.
Adobe Premiere has improved its look
and ease of use. It has a streamlined
interface, high quality audio, long -format editing tools for programs up to
three hours in length, and a new title
window that makes it easy to add rolls
and crawls. Apple's new version of the
Final Cut Pro supports 16:9, has increased rendering speeds and supports
PAL video.
The $2,000 to $20,000 range includes
the Matrox RT2000. While this is not a
turn -key edit system, as the user must
supply the PC, the complete package of
software and hardware as supplied will
turn a PC into a complete nonlinear
editing system that can also output real time streaming video for Internet use. In
this same price range is the Preditor by
Play, the DPS Velociry, Canopus DVRexRT, United Media's On -Line Express,
Darim's Forward, ProMax FireMAX Studio, Discreet's new combustion * and edit *,
In- Sync's Speed Razor, Editing Technologies' Ensemble Pro, Incite Studio, Fast's
Silver, the Blossom series of NLE systems
and the Apple Final Cut Pro.
The Preditor is a dual- stream NLE
that can handle linear editing as well. It
if" 'Vr
Tools
for-the
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HDTV won't replace all other formats
anytime soon. That's why the PESA
Alliance Master Control Switcher makes
so much sense. The Alliance is designed
for; 1) full -time SDTV; 2) full -time HDTV;
or 3) mixed SDTV and HDTV broadcasting. Multi- format technology allows
SDTV systems to be upgraded to HDTV,
preserving your investment. The PESA
Alliance also supports multi -channel
capability, so you're ready to handle
any programming strategy.
of HDTV routers is right
for today's needs. For maximum flexibility
take a look at the Cougar HD. You
can start as small as 4x4 and expand
to 32x32 with plug -in cards. The
Ocelot HD delivers a 16x8 or 16x16
matrix in only 1RU, making it great
for field or studio use. The LNS -8 HD
8x2 switcher is perfect for monitoring,
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PESA's lineup
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Circle (170) on Free Info Card
www.pesa.com / salcsrnfotârpesa.com
Product Jackpot
Accom
announced
Abekas
HDevous, a new high definition
effects system featuring RGB/YUV
color correction, target frame store
and SurfaceFX with dual light
sources. HDevous is also available
as an upgrade to existing Dveous
systems.
Circle (278) on Free Info Card
Folsom Research unveiled the
ScreenPro 8, a high -resolution seamless switcher. The ScreenProB offers
switching of all video formats (15KHz
to 130KHz and up to 1600x1280 resolution). The unit also features eight
inputs to one programmable output
format.
Circle (324) on Free Info Card
AMS NEVE was showing Libra Live
Series II, which features multi -format surround sound options and
24 -bit analog and digital interfacing,
as well as mix-minus, GPI and other
broadcast -specific facilities.
Circle (285) on Free Info Card
Artel unveiled its Cross Stream 155
Video Access Multiplexer, combining advanced MPEG switching technology with the ability to transport
compressed video over WANs. Each
unit is packed with standards -compliant interfaces for MPEG /ATM environments.
Circle (289) on Free Info Card
Broadlogic showcased its TerraCast
DTA -100, an HDTV receiver that can
receive both NTSC and ATSC signals. It supports all ATSC video formats utilizing software MPEG -2 and
Dolby digital (AC -3) decoding.
Circle (304) on Free Info Card
Nucomm Microwave introduced its
NEWSBLASTER
and
MEGA BLASTER ENG truck -mount antennas. They are designed to mount on
ENG Truck Pan and Tilt/Telescopic
Mast System and work with all
Nucomm's ENG transmitter systems.
Circle (355) on Free Info Card
134
Broadcast Engineering
has 3D effects, a character generator
and a paint program as part of the
package. The DPS Velocity is a real time NLE system that combines a
dual- stream DDR, a video mixer -keyer and two graphics framestores. The
Canopus DVRexRT offers an NTbased nonlinear system with real -time
moving titles, keying, transitions, color correction and picture in- picture effects.
On -Line Express from
United Media can be used
for multicamera editing
with dual- stream video
and graphics tracks, real time motion effects and
an optional 3D DVE. The
multicam mode supports
up to four cameras. Darim enters the field again
with the Forward. This system contains
a Virtual Set creator, titling, and a scheduled video playback feature that can be
used for video output. ProMax Systems
offers FireMax Studio, which is based
on Final Cut Pro. Instead of just the
program however, ProMax offers a package that creates the complete nonlinear
editing suite.
Discreet has two systems in this price
range, the new combustion* and the
edit *. Combustion* is a junior version
of flame* and offers color correction
and a chroma keyer with key tracking.
This system, as with all Discreet products, connects to all their other systems.
In -Sync has several versions of the Speed
Razor. The 2000X version is an upgrade
to real -time video, audio and effects
compositing software. The new version
includes multiple bins and the ability to
export files in Quicktime format.
ETC's Ensemble Pro is a linear editing
system that can handle up to nine VTRs,
has 10 bins for storing EDLs, contains
cleaning and tracing programs, and supports pre -read. Incite offers a software
bundle that is designed for the Matrox
DigiSuite series. In its fully configured
form, the Studio FX handles in real time
two streams of video, a graphics and
titling channel, four channels of 2D effects, 3D effects, and keying.
Fast has the new Silver. The company
designed both the hardware and the
software, so it is a fully integrated system. It is a real -time NLE with two
video tracks, a titling channel, DVE,
wipes, keying and color correction. It
June 2000
www.americanradiohistory.com
works in multiple standards including
MPEG -2, DVD and SDI. The Blossom
Fury, FuryX2 and the new QuatroX4
provide a range of capabilities. The
QuatroX4 handles four channels of
real -time video, three of them uncompressed. It comes equipped with Adobe
AfterEffects, Sound Forge and
TrueSpace. It also has an option for a V-
LAN that adds linear editing to the
system.
In the $20,000 to $75,000 price range,
there is the Accom Axial linear editing
system and their Affinity nonlinear editing system. Editware's new 500 series
linear/non -linear hybrid, Editing Technologies' Ensemble Gold NLE, Media
100, Panasonic's DVEdit, JVC's MW51200, the Pinnacle Vortex and the new
Lightworks VOX [populi].
Accom's Affinity is a real -time system
incorporating the Abekas DVE and
Dveous. It handles, in real time, five
streams of video simultaneously, eight
audio streams, DVE effects, and can
handle uncompressed and compressed
material together. Editware has brought
out its new Series 500 hybrid linear/
nonlinear software that uses the Tektronix Profile. The upgrade has enhanced protocols for the new digital
switchers, storage of digital TBC settings, multichannel digitizing, and a
new PEGS function that stores the TBC
settings along with the edit so that all
settings return when an edit is recalled.
ETC's Ensemble Gold is a hybrid NLE
based on the Tektronix Profile. It is
open architecture that can work with
existing hardware such as switchers
and DVEs and can accept new equipment that is acquired or becomes available. Media 100 has several new products with the Internet in mind. The
iFinish (for Windows NT) is an integrated system that incorporates editing, effects and streaming video all in
one system. It handles transitions, 3D
No smoke. No mirroring.
You already have enough to
a
think about when choosing
video server system. So here's some straight talk. The
J
for streamlining your single or multichannel operation.
We
won't dazzle you with the configuration diagrams
SeaChange Broadcast MediaCluster"' is the most reliable
here. Visit www.seachangeinternational.com. And see
Without costly mirroring. That's the better thinking engineered into SeaChange's entire family of
why we're playing on 27,000 channels worldwide.
in the industry.
MediaCluster servers, delivering MPEG -2, 4:2:2 video at
bit rates up to 30Mb /sec. With rock-solid solutions starting well under $iooK, you can buy into open standards
and networked solutions that offer real opportunities
E SEACHANGE
INTERNATIONAL
www.seachangeinternational.com
Circle (171) on Free Info Card
SeaChange International, Inc. 124 Acton Street, Maynard, MA 01754 phone: 978-897-moo fax: 978- 897 -0132 C2000 SeaChange International, Inc.
All rights reserved. MediaCluster is patented, and a trademark of SeaChange International, Inc.
animated titling and color correction.
Panasonic is offering the DVEdit,
which is an NLE with titling, unlimited
video and audio layers, 200 2D effects,
and is SDI, analog and FireWire compatible. They also offer the new AJLT85, which is a laptop editor that
combines two VTRs, two monitors and
an edit controller in a briefcase -size
carrying case.
JVC showed the MW-S1200, a nonlinear editing system, as the newest in
their TimeGate series. It can work at
24fps as well as the standard 30fps. It
is native D -9 format that works in real
time with two streams of uncompressed
video. It can handle unlimited layering
by recording to the hard drive and then
playing back the composited video. The
original layers still remain so that changes can be made even though the layers
have been combined.
The Vortex by Pinnacle is a news
editing system that is designed to be
completely networked. It supports up
to 100 workstations and allows materi-
al to be edited before the entire clip is
captured. It also contains a character
generator, still store and two DVEs.
With the MontagelV NLE, the system
offers real -time motion effects and 3D
effects packages.
The new Lightworks VOX Ipopulij is
a less expensive version of the Lightworks VIP.
It includes variable compression, 16:9
support, multicamera editing, real -time
keying and internal 2D effects, scene to- scene color correction, and full high bandwidth connectivity.
Among the high -end systems (those
over $100,000) are the Quantel Edit box, Avid, Philips Editstream, the newly relaunched Lightworks and the Discreet line of systems from the flint* at
$125,000 to the inferno" from
$600,000 and up.
Quantel's Editbox Magnum has four
layers of active video, real -time transitions with DVE, keying, color correction
and texture effects. Avid introduced an
upgrade to their Unity MediaNet. Avid
Telemetrics TM-CTS Curved Trolley
1 System turns a new corner in versa-
All
the
tility, performance and price. With low
profile aluminum curved and straight
tracks that can be easily mounted on
lighting truss, the ceiling or shelf. A
precision engineered trolley with
smooth and quiet operation that can
be configured for single coax cable connection and high -speed operation. Plus
-
right
pan,
moves.
tilt, zoom and focus capability.
The TM -CTS also integrates with
Telemetrics' complete line of control
panels, software, receivers and accessories to meet virtually any camera
robotics application. Add some new
moves to your productions with
Telemetrics -- the camera robotics corn
pany with all the right moves.
Telemetrics Inc.
CAMERA ROBOTICS SYSTEMS
6 Leighton Place, Mahwah, NJ 07430
201-848 -9818 Fax 201- 848-9819
www tete met ricsi nc.com
Circle (218) on the Free Into Card
136
Broadcast Engineering
J [Hie
200
www.americanradiohistory.com
not only offers complete connectivity
but, for a charge, supplies a web portal
to allow multiple users to interconnect,
thus allowing users worldwide to work
on a project simultaneously in real time.
The new version includes support for up
to 25 clients for a total of 50 video
streams and 100 audio tracks.
Philips' Editstream is a real -time networked nonlinear news editing system
that allows simultaneous access to a
shared media pool from three to more
than 100 workstations. It is designed
for broadcast- quality, including video
and audio effects, publishing of finished products to a variety of transmission servers.
Discreet's onscreen on -air online system provides users with a new way to
distribute, communicate and share a
variety of media in real time. Also introduced were new versions of inferno *,
flame, flint *, and effect*. Discreet has
also added Web streaming and DV/
MPEG -2 support for edit *, and smoke*
now has full HDTV functions.
Circle (238) on the Free Info Card
Slarcus Weise is a post -production supervisor
based in Hollywood
The On -Air Broadcast CG
hat Shines Under Pressure
Air Command
Live Broadcast
Production
Switcher
PreditorComprehensive
Real -Time NLE
Unp ralleled Sub -Nanosecond
Anti Aliased Text with Advanced
32-1 it Text Treatments
Warp Engine"
Rea Time Multi -Speed Roll,
I,
and
lide Text Effects without
usir
DVE
I
Breakthrough
Real -Time
Flash, Spin, Reveal, Type
Cra
3D DVE
Channel
Fasi and Easy Page Creation
41 64
with
Autl -Correct Spell Checker,
Vist
I
eálth
Snap Grid, Tab Stops and
Use Defined Style Templates
Panamation-
itt-tt*°
On
-air broadcast environments are not the place
to mess around with under -powered
titling
systems. Trinity's broadcast character generator,
TitlE Wave, is
built to handle the fast pace and
corr plex treatments required today. TitleWave
Paint, Animation
and Compositing
Of course,
sophisticated
graphics require more
than just a great CG,
Deep Freeze-
and that's why Trinity
includes
a
Instant-Access
Still & Clip Store
powerful
video paint, animation and compositing system.
In
fact, Trinity delivers all the tools of live and post
production in one integrated, easy -to -use system
fraction of the cost of comparable gear. Visit
makes older CGs
at
seem like
our web site today to see for yourself just how
antiques, with its
far Trinity can take your product ons.
unmatched
For more information or a
demonstration from a Play
authorized dealer near you,
visit our web site or call today
quality, extreme
range of text attributes, flexible multi - layering
a
and smooth real -time text effects. It imports
standard Windows text files, graphic elements
and TrueType fonts in
a
Toll -Free 1- 877 -752 -9592
snap. Over 100 scalable
fonts from the industry- standard Bitstream
broadcast font library are even included.
P L il Y.
_y-/
-/Y-7/
The Complete
TitleiVave, Air Command, 'reditor, Warp Engine, Panamation, Deep Freeze, Tnnity and their logos are trademarks
of Pi ty Incorporated. All other trademarks are property of their respective holders. Play is a registered trademark
of PI ty Incorporated. Copyright (2000. All Rights Reserved. The Trinity system and it's components are covered
by 11 S. Patent Numbers 5.872,565, 5,978,876. and 5,941,997; other patents pending.
Circle (172) on Free Into Card
Broadcast Production
Studio -In -A -Box
froductilackpa&
Netcom showcased PatchAmp, a
combination of five 24- position
patch panels and 24 1x5 distribution amplifiers within a 14RU frame
for digital video and AES applications. Other features include a 7512
impedance HD frame and low
power consumption.
Circle (352) on Free Info Card
SADiE's RADiA workstation offers
four inputs and outputs and up to 24
tracks. The 48kHz system is available as a single PCI card or a complete turnkey hardware solution with
removable SCSI audio storage.
Circle (405) on Free Info Card
By Roy W. Rising
Chyron's Aprisa SSX stillstore management system can operate as a
stand -alone or with an Aprisa 100
for a complete solution. Features of
the system include accelerated frame
grab and record, a familiar user interface, and the potential for use
with multiple channels.
Circle (402) on Free Info Card
Scientific -Atlanta announced plans
to collaborate with Broadlogic to provide complete data broadcasting systems including their MPEG -2 compression and encoding equipment,
the PowerVu and PowerPlus lines,
and Broadlogic's broadband networking equipment.
Circle (379) on Free Info Card
Once again
scope
I
am amazed at the
of the show. Here are some
highlights.
Microphones and mic
accessories
Digital recording systems
AKG Acoustics' new CK77 -WR is a
tiny perspiration and water -resistant
dual- diaphragm mic for clip on and
concealed body mic applications. Two
360 Systems' TCR8 Synchronous
Master Recorder, a personal favorite
from last year's show, has been updated
with important new features. The TCR8
delivers several hours of internal hard
disk storage and complete timecode implementation plus VTR emulation, while
employing excellent 24 -bit quality. It is
the only recorder available that delivers
bit- for -bit reproduction of 24 -bit PCM,
Dolby E and AC-3 recordings.
The TCR8 is the first professional recorder to provide a standard DVD -RAM
drive for transporting and archiving
needs. A 250MB Zip Drive permits
moving of program segments up to one half hour in length. More important is
the ability to upgrade the Flex -Logic
Programmable Hardware through use
of updates delivered on Zip disks, postPioneer's DVD -V7400 system is the
second generation of industrial DVD video players, adding component
video output capability with BNC
terminals to the DVD- V7200. Other
additions include digital audio support for a DTS format and playback
in NTSC and PAL.
Circle (403) on Free Into Card
138
Broadcast Engineering
cut filters, attenuators and limiters. Line
inputs and a parallel remote jack for
external control are also provided.
poning obsolescence indefinitely. Also
present are the powerful file interchange,
editing and interfacing features for which
360 Systems has become known.
Dennon's DN -F2OR portable IC -based
recorder made its debut this year. Weighing just over two pounds, the package
eliminates moving parts by recording on
CompactFlash memory cards. Multiple
standard recording formats in stereo or
mono with bit rates enable efficient use
of storage. Over three hours of broadcast quality material may be recorded
using MPEG -2 Layer 2 set to 64kb/s.
Mic inputs benefit from switchable lowJune 2000
www.americanradiohistory.com
vertical back -to -back active diaphragms
and one horizontal passive diaphragm
deliver lower noise, greater dynamic
range and improved rejection of cable
noise. An internal capillary tube connected to a compensation cavity and
sealed with a soft, flexible passive diaphragm provides barometric pressure
compensation.
Sennheiser now offers the Digital 1000
Wireless Microphone System, a fourchannel, user-selectable unit operating
in the 900MHz ISM band. Internally
mounted antennas operate in two independent diversity receiver sections. Digital circuitry eliminates the need for au-
dio compression/expansion. Inputs for
optional external antennas accommodate extended range applications. Handheld, body pack and musical instrument
versions are available.
Shure previewed the FP23 Ultra -quiet
Mic Preamp for field production. Even
more rugged than the older FPI I and
nearly 20dB quieter, 24 hours of operation are delivered with two AA cells. All
metal construction, special filtering and
transformer I/O isolation give the FP23
excellent resistance to RF interference.
Maximum 66dB gain is adjustable in
11 discrete steps. An extended range
peak limiter makes the signal virtually
Yippee. Digital is here.
And so are four times the number of channels to monitor.
Video Quality of Service Still relying on your eyes for monitoring? Good luck. Imagine
a
world with
multichannel, real -time monitoring of picture quality and MPEG protocol. Centralized remote monitoring
via SNMP and TCP /IP. And automatic alarm reporting, program history, error logging, and lip -synch
error correction. It's all here. Already. Call 800- 426 -2200 x3055 or visit www.tektronix.com /VQoS
7000 Tektroniv Inc All nynts
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Irk,
1..lrfau I.n,n.,,.r rnislerM lrappmarX.s
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Circle (173) on Free Info Card
www.americanradiohistory.com
Tektronix
i
"unclippable." The unit also may be
used as a high gain line amplifier
suitable for driving long cable runs.
New from DBX is a vacuum tube
stereo mic preamp with digital outputs. Selectable noise shaping algorithms and dither types augment sample rates from 44.1 kHz to 96kHz and
word lengths of 16, 20 and 24 bits.
Standard balanced mic and line inputs
and outputs plus a high- impedance
instrument input are provided as well
as word clock sync 110. Special attention is given to matching of vacuum
tubes to assure ideal distortion, micro phonics, drive characteristics and tonal versatility. (For users who are not
satisfied with the absolute fidelity of
solid state amplifiers? I'd recommend
semi -annual tube replacement to avoid
noticeable changes in performance.)
Also new from Shure is UP4, a camera -ready wireless diversity receiver.
Offering over 100 selectable frequencies in the 692- 716MHz and 782 806MHz UHF bands, the UP4 is compatible with existing Shure UC and
UHF transmitters. Equipped with PLL
and microprocessor controlled Predictive Diversity, supplied mounting hard-
ware facilitates easy use with NPstyle and Anton -Bauer Gold Mount
battery packs. A headphone output
has independent gain control and three
bi-colored LEDs monitor battery life,
RF lock and audio signal/peaks.
Consoles and mixers
Solid State Logic introduced Aysis Air
Mobile, a new compact- format console
for outside broadcast vehicles and spacerestricted studios. Using the standard Aysis
Air software, the channel -layering function enables a fully specified 96-channel
console to be fitted in a 48 -fader frame
less than 92 inches wide. A 64-channel,
32 -fader version also is available in a 66inch wide frame. Both versions provide
four subgroups plus four control groups
with fully featured controls and an ergonomically optimized master center sec-
tion.
Midas launched the analog B2000, its
first venture into the broadcast world.
Designed specifically for TV studios and
mobile production, the system also is
suitable for film, music and post production. Mixing for mono, stereo, surround,
5.1 or 7.1 is supported. A range of
standard features that are expected in
THE EQUIPMENT
the broadcast environment accompanies digital assisted setup and snapshot
automation. AES input and output converters are optional.
Sony's new DMX -R100 digital mixer
has 48 -input channels and eight aux
returns. Two touch -screen pages, each
with two levels of access, control an
internal routing matrix. The DMXR100 includes 99 scenes of snapshot
automation. Comprehensive dynamic
automation can be synchronized to time code (both MIDI and SMPTE). For
more information, see Pick Hits p. 74.
Effects and processing
Lexicon launched their new technology platform, the 960L Multi -channel Digital Effects System. Featuring
hundreds of factory presets and surround reverb algorithms, the 960L
has eight balanced inputs and outputs, four pairs of AES 1/Os, word
clock in /out /loop and MIDI in /out/
through. The 4RU 24- bit/96kHz system is managed by LARC2, a new
alphanumeric remote controller.
There is a 3.5 -inch floppy drive for
saving programs and system configurations plus a CD -ROM drive for
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Broadcast
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1
40
Broadcast Engineering
www.americanradiohistory.com
/
Film
/
Pro Audio
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Video
/
Lighting
Compel 'Jour Network To
lump Through [loops
With Wegener's DSNG solutions, you can manage
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Compel. Bandwidth on Demand
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envoy
Digital Video Courier
Integrated encoder and
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ITY 4422 Broadcast Receiver
Studio profile decoding
Enhanced VBI support
I
Supports Teletext and
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YY WEGENER'
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113 50 Technology CircleDuluth, GA 30097'770-814-4000
www.wegenercorn COMPEL is a trademark of Wegener Communications.
Circle (174) on Free Into Card
software upgrades. The system is completely hardware/software upgradable.
Product Jackpot
Artesia's TEAMS 3.0 asset management system is the newest release in its TEAMS line, offering
enhanced search options and
customization of user interfaces.
The solution converts content into
reusable digital assets, and allows
them to be catalogued and managed.
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1111111111111111
----
Yamaha showcased its AW4416,
an audio workstation providing au-
tomation /snapshot
capability,
phrase sampling, and full 32 -bit
DSP mixing. The workstation
records up to 16 tracks of true 24bit digital audio and includes motorized faders.
Circle (432) on Free Info Card
Dalet Digital Dalet5.1
provides ca-
pability to acquire audio from
a
variety of sources, and production,
scheduling and broadcasting tools.
A module allows broadcasters to
create online content to complement their on -air programming.
Circle (407) on Free Info Card
Tandberg Television demonstrated their TT6000 Medialink
MPEG -2 processing and media
interface unit integrated with a
Packet -over -Sonet Network Interface for IP video transport.
Circle (394) on Free Info Card
Peak Broadcast's Pilot Tool Kit for
Interactive TV allows for the simul-
taneous delivery of supplementary
information, including graphics, into
on -air programming and web -based
content.
Circle (385) on Free into Card
142
Broadcast Engineering
Digital accessories
Ward -Beck expands its 8200 Series
family with four units based on a single
printed circuit board design. The D8205
digital processing amplifier provides remote or local level adjustment of AES
signals, sample rate conversion, mixing
of two AES signals creating summed
outputs of the A and B data streams and
signal distribution. The D8206 is an AES
reference signal generator creating DARS
and word clock with sample rate conversion and synchronizing to AES or video
reference signals. The D8207 is for sample rate conversion only, and the D8208
provides independent level adjustment of
two AES signals and their distribution.
Gepco launched the new 96kHz/Extended Distance 110f2 digital audio cable. Designed for superior electrical and
mechanical performance, the 5596 series features an extended 12.3MHz bandwidth, ultra -low attenuation and jitter
plus precision 11052 impedance. The
series is optimized for 96kHz and runs
60 percent longer than other twisted
pair types are realized, reducing the need
for transformers or repeaters. 5596EZ is
designed for permanent installations
while 5596M delivers enhanced flexibility for studio cable runs.
For those wishing to encode their own
surround sound, the Dolby DP563 encoder is available. It allows multichannel program material to be encoded for
Dolby Surround release. For more information, see Pick Hits p. 74.
Intercom products
Telex introduced the Radiocom BTR300 wireless intercom system. Optimized
for today's expanded frequency spectrum and taking into account the increasing presence of DTV, the BTR-300
offers twice the available frequency bands
of its predecessors. It features more channels, improved battery life and a rugged
case. Improved front -end filtering com-
bats interference from other transmitters and a greater number of beltpacks
and base stations may he used together.
Flexibility for connection to popular
wired I/C systems and audio equipment
is stressed. Optional NiMH batteries
improve operating time and reliability
and may be charged without removal
from the beltpack.
June 2000
www.americanradiohistory.com
Clear-Com presented powerful new
VOX capabilities for Matrix Plus digital intercom systems. A station's individual keys can be set to "open" when
the other party speaks. This functions
as a voice -activated "push -to- talk" service for hands -free operation. When
joined by special noise gating capability, a user in a noisy environment can
set the talk function to trigger only
above the background ambient threshold. Gating also aids the user who must
constantly monitor a party in a noisy
area. The VOX allows the listen key to
remain activated but only be opened
by the voice signal.
Testing and monitoring tools
Ward -Beck introduced the XTM4 Extended Range Test Meter. Four moving
needle meters deliver simultaneous VU
and peak information over a 90dB
range. Mode and sensitivity are shown
on an easy to read alphanumeric screen,
and instantaneous phase is presented
on an LED array.
The new Neutrik Minilizer is a compact palm -sized analyzer providing
comprehensive measurement and analysis functions. A high -resolution 100x64
pixel backlit LCD screen shows numerical values, Bargraph metering, or curve
vs. frequency in the sweep mode. Peak
or RMS levels, either absolute or relative to a definable reference, are measured in selectable units.
For monitoring Dolby E signals, Wohler
had the EMON -1 on display. The EMON1 is the first in -rack audio monitor capable
of outputting and/or displaying audio from
Dolby E streams. For more information,
see Pick Hits p. 74.
Dorrough Electronics now offers an
Extended Range Stereo Signal Test Set,
model 1200. The 2RU package provides two Relative Loudness -to -Peak
LED arc displays selectable to UR or
Sum/Difference. A 96dB measurement
range is adjustable in 1dB steps within
two sensitivity scales. Barrier strip and
parallel XLR connectors with audio
loop- through provide installation flexibility. Front and rear panel monitor
jacks are available to feed headphones,
an oscilloscope or monitor amp.
Circle (239) on the Free Info Card
Roy Rising is a systems engineer and production mixer based in the Los Angeles area. He
is a contributing editor for BE's sister publication, Video Systems.
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Product Jackpot
BT Broadcast Services announced
the opening of a second teleport in
the U.S., based in Marina Del Ray,
CA. The teleport will allow broadcasters additional transmission solutions including satellite, fiber and
microwave transmissions.
Circle (305) on Free Info Card
DVS introduces the ProntoVision
2000, an uncompressed HD disk
recorder. The ProntoVision 2000
records, stores and displays various
HD standards in 8- and 10 -bit resolution; including 1035i, 1080i, 720p,
1080p/24 and 1080sF/24.
Circle (317) on Free Info Card
Quantum introduced its line of Snap
Servers, a line of easily configurable
file servers for digital video, audio,
animation and other multimedia applications. Storage size ranges from
10GB for the Snap Server 1000 to
120GB in the Snap Server 4000.
Circle (374) on Free Info Card
Video Networks Inc. was exhibiting
its NewsTracker, a news -on-demand
system that allows producers to access and manage broadcast -quality
digitized new content. The system
allows users to browse and select
video clips and scripts from their
desktop.
Circle (420) on Free Info Card
Path 1 Network Technologies introduced the PG1 Gigabit Ethernet Gateway, which features interfaces for
video, audio and data for transport
over Ethernet/IP networks. The unit
employs TrueCircuit, which allows
IP networks to accommodate real -
time streaming
Circle (364) on Free Info Card
Telescript introduced new 12 -inch
and 15 -inch teleprompters this
year. The 15 -inch LCD flat panel
systems is designed for studio
applications, and the 12 -inch system is designed for field and studio applications and can run off a
12 -volt battery.
Circle (398) on Free info Card
144
Broadcast Engineering
By Paul Black
The emergence of the need to measure new forms of digital information
has led test equipment manufacturers,
who previously did very little broadcast- related business, into the industry. Additionally, companies who have
made the traditional test equipment
that the industry is familiar with have
had to expand into the digital test
areas to remain competitive.
Monitoring digital video has the same
challenges as monitoring data transmission. Digital domain signals typically need to be monitored by computers. Many manufacturers are taking
advantage of this by simply putting
plug -in cards and custom software into
PCs and selling the resulting product as
a piece of test equipment. Although it
may seem to be an easy way out, it
actually has some advantages. One advantage is the computer can be easily
expanded, adding more test capability
and increasing its usefulness. Instead of
needing two pieces of gear to do separate tests, they can be combined into
one. Another advantage is that software upgrades can also he easily added,
potentially making the original hardware more accurate or more flexible.
The output of most of this test equipment can be sent to a printer for logging
purposes or monitored on the computer
display screen. Running records can be
observed, logged and printed for later
analysis. Monitoring different sites at
a distance can even be done securely
over the Internet. As with most software- driven equipment, the choices in
June 2000
www.americanradiohistory.com
display type, data arrangement and
sampling methods, among other things,
are many and varied and most systems
allow customization based on user preferences.
Analyzing the SMPTE 310 video stream
is the one of the latest challenges engineers face. Fortunately, there are several
companies that make products to accomplish this. At NAB, the traditional
broadcast test equipment manufacturers were joined by some that are less well
known within the industry. Amongst
those are Wavetek Wandel Golterman,
PixelMetrix, and Rohde & Schwarz.
The latter may be somewhat more familiar to engineers that the other two.
Wavetek Wandel Golterman is actually a combination of older test gear manufacturers. The Wavetek name still remains on some non -broadcast pieces of
test gear, and Wandel and Golterman is
both a manufacturer and international
distributor of test equipment around the
world. They have a very strong presence
in South America, as well as the Far East.
WWG showed their line of digital
video analyzers, mostly aimed at the
transport stream. These computer hardware -based products are a card in a
machine with appropriate software. The
use of different probes allows the same
card and software combination to measure different streams types and, in the
case of MPEG, different profiles. Both
rack -mountable and portable test pieces
are offered. The new stream monitor,
part of the DTS -300 family, is unique in
that it writes a certain amount of the
stream to hard disk, then plays it back
A Full House of Transmitters
We wish to thank everyone who visited our booth
at NAB 2000 and experienced the zany exploits of
-.
Helga and Dr. Biterror and "DTV Science." At this
very successful show, we showcased ADC's comprehensive line of transport and transmission solutions
for the broadcast industry, including our "full
house" of analog and DTV transmitter products.
With nearly twenty years' experience in the design and manufacture of
television transmitters, we continually strive to build a product line that is
responsive to the needs of broadcasters. The InnovatorTM Series of high power solid state transmitters is available in power levels up to 120kW or
60kW digital using the latest LDMOS transistors. If your application requires
an IOT, our VisionaryTM Series of High Power UHF transmitters at 420kW
analog or 180kW digital power levels is the card to play. ADC's hand includes
the 800 Series of low and medium power transmitters, available with either
solid -state or Diacrode amplifiers at power levels to 10kW analog or SkW
digital. With so many choices, you can bet that we have a product to meet your
application.
Whether your needs include DTV transmitters, digital routers, signal management equipment or patching products, ADC provides the solutions to build
your digital infrastructure. For additional information about our full line of
broadcast products, please visit our web site at www.adc.com/broadcast or
call (800) 215 -2614.
Circle (176) on Free Info Card
EQUIPMENT
SOFTWARE
SERVICES
BUF Technology was showing its
VTC -4000, a multiple VTR editing
controller. The VTC -4000 is able to
control up to 10 machines and
allows the user make frame accurate edits with a number of record
machines.
Circle (306) on Free Info Card
Puffin Design introduced Commotion 3.0, compositing and effects
tool for desktop systems. The software features timeline and
keyframing, composite previews,
two -way paint, Super Cache Disk
Playback and more than 75 effects
filters.
Circle (373) on Free Info Card
SeaChange
introduced
its
MediaExpress service, a satellite
delivery system for television ads.
Spots are encoded in a high -quality
MPEG -2 format at 18Mb /s 4:2:2,
uplinked and distributed to television stations.
Circle (360) on Free Info Card
Avid announced Xpress Version
4, offering users new features for
creating digital media for the Web
and DVD. Features include
Quicklime Reference Movie support
and the capability to archive selected
footage.
Circle (294) on Free Info Card
Pilat Media was showing its IBMS
(Integrated Broadcast Management
System), a multichannel scheduling
and traffic system. The system tracks
program acquisition, finance, planning and scheduling and pay-perview and NVOD services.
Circle (367) on Free Info Card
and creates a complete time- referenced
report. This allows the operator to see
where errors took place and analyze
conditions around them on a time basis.
One customer uses two of these, one at
the studio and one at the transmitter to
trap errors in a terrestrial DS3 STL line.
Sencore has a signal analysis tool designed for field use, the model AT986.
Incorporating a digital analyzer along
with an RF spectrum analyzer and a
summary function, this unit can replace
several individual items for ATSC analysis. For more information, see Pick
Hits, p. 74.
Each of the previously mentioned
devices are easy to use and can go a long
way towards assisting the harried engineer trying to figure out why the DTV
picture is pixellated or suddenly went
pastel -colored for no apparent reason.
An extremely well rounded selection of
products is available from Rohde &
Schwarz. Because they ended their marketing agreement with Tektronix, they
are now selling their entire line in the
United States instead of just part of it.
This includes everything from transmitters to oscilloscopes to digital test gear.
The TV Messenger is a multifunction
signal generator that provides low -level
transmitter output signals for demodulator testing. The EFA 50 series is a full
DTV test receiver. One unique item is an
MPEG -2 real -time monitor for use by
operators to see if problems develop
during on -air conditions.
No less useful in these areas are new
introductions from Pixelmetrix, a Sin-
gapore -based manufacturer. The
VP2000 Picture Quality Analyzer displays a graphic representation and onesentence description of the analyzed
stream on a standard VGA computer
monitor. For example, "Edges and detailed textures are extremely distorted"
is one possible warning. A technician
can then call up screens that allow
further analysis. This unit will also work
with SMPTE 259M
as well as HD.
On the RF side, Bird Electronic Corp.
introduced a digital wattmeter that uses a
transmission line insert with the familiar
plug-in elements to measure both peak
and average power. Line sections can be
installed in several lines, or sections of the
same line, and the wattmeter plugged
into them. This allows power to be measured at different points with the same
meter, increasing accuracy and lowering
146
Broadcast Engineering
June 2000
www.americanradiohistory.com
cost. It's fully digital -modulation ready.
Tektronix's newest item is an A/V
Delay corrector system that uses digital
watermark technology to synchronize
the digital audio stream with the video.
Digital watermarking is used over the
Internet to embed copyright protection
in intellectual property. While not available yet, Tektronix claims this system
will continuously update the data, ehminating lip -sync problems.
Leader introduced a surround -sound
monitor in the familiar package that
their waveform monitors and vectorscopes are in. Like most of the larger
manufacturers, they have a full line of
digital video generators and test gear,
but oriented more towards CRT -based
test equipment as opposed to computer-based products. Also from Leader is
the LF 982 signal level meter. This portable unit can be used to monitor TV/
CATV /FM and satellite signals. For
more information, see Pick Hits, p. 74.
In the Videotek booth, they were showing the latest version of their VTM series,
the VTM- 400HD, which provides multi format HD on- screen monitoring with
automatic verification. In addition, they
showed the SpyderWeb, which allows
centralized verification, monitoring and
remote control of multiple VTM -300
series or VTM -400HD nodes via LAN,
WAN, Internet or serial communications.
A nice surround/5.1 monitor system is
out from Dorrough, a company known
for their audio measurement gear. In a
five -rack unit space, five large LED bar
graph displays can be mounted. A glance
across the room and operators can see
that all five channels are all right.
A unique remote video and audio monitoring system was shown at Broadcast
Video Systems. This remote -mountable
box takes a line of designated video and
sends it back via modem to a computer
for display. One can monitor the video
quality with a refresh every two seconds,
making it useful as a remote waveform
monitor. Audio levels can also be monitored, and alarm closures are available.
This system also does multiple sites. This
is a good way to provide for diagnosing
a transmitter site problem remotely.
Circle (240) on the Free Into Card
Paul Black is the acting engineering manager
San Francisco.
for KM-TV.
INSPIRATION.
DIGITAL CABLES DESIGNED FOR
DIVINE PERFORMANCE.
QuantLun
WWW.COMMSCOPE.COM
1729
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1.800.982.1708 828.324.2200
Fax 828.328.3400
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How Intelligence Travels.
Circle (177) on Free Info Card
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Product Jackpot
WaveXpress was demonstrating
its e- commerce and datacasting
services. Using 2Mb /s of the ATSC
stream, WaveXPress hopes to deliver broadcast -quality video, games,
software, music and Internet content to PCs equipped with a DTV
tuner card.
Circle (427) on Free Info Card
Tower company Spectrasite, showcased its services in tower design,
construction, management and leasing.
Circle (413) on Free Into Card
Synergistic Technologies displayed
its wares as a system's integrator
and reseller. It's current projects include the new Scripps Howard broadcast center.
Circle (392) on Free Info Card
Sundance Digital introduced IntelliSat, a comprehensive satellite and
broadcast feed recording management package designed to operate
in conjunction with the company's
FastBreak Automation or as a standalone product.
Circle (390) on Free Into Card
Videotek and Miranda teamed up to
integrate Videotek's VTM -300
multiformat, on- screen monitor into
Miranda's new Kaleido -QC Visual
Monitoring and Quality Control solution. The addition will allow direct
monitoring of audio and video parameters.
Circle (421) on Free Info Card
Panasonic announced new internal
transcoding cards for its DVCPRO
and DVCPRO50 VTRs and servers.
The cards enable playout to MPEG2, allowing users to connect easily
to standard satellite and terrestrial
transmission links.
Circle (361) on Free Info Card
Panasonic announced a 50Mb /s version of its newsBYTE newsroom editing system. newsBYTE 50 features
a built-in 50Mb /s 4:2:2 DVCPRO50
VTR and is switchable between
50Mb /s DVCPRO50 and 25Mb /s
DVCPRO operation.
Circle (360) on Free Into Card
148
Broadcast Engineering
By Marvin Born
HD television systems cover a large
area at NAB from the small items, such
as monitor switchers, to complete transmission systems and antennas. There
were several systems to see and a few
made a memorable impression. What
was interesting was that some of the
systems made an impression on nontechnical people. These systems should
be discussed since they have ramifications across the industry that will carry
far into the future.
The buzzword was the Internet and its
related synonyms such as webcasting,
video streaming, and those dot -com companies. While some attendees were looking at how to make a web page, others
were watching five simultaneous HD video feeds into the Sony booth via the
Internet backbone. While there is something for everyone at NAB, the spread of
Internet technology is staggering. First,
there is the web page then audio streaming followed by video streaming. These
operational concepts that will make a
buck for a few lucky ones are here today.
That is the whole idea, find a niche if you
will, find a new outlet and make a buck.
There were roughly a dozen vendors,
including Pinnacle Systems and RealNetworks, selling Webcasting services. Unlike last year, there were general managers and corporate -level people taking a
look and seeing dollar signs. These
systems are out of the suites, on the floor
and the sales people were looking for
purchase orders.
Speaking of suites and new ideas, a
June 2000
www.americanradiohistory.com
number of companies in Las Vegas
were demonstrating and discussing
ideas to marry the Internet and digital
TV. The two companies that come to
mind first are Geocast and iBlast.
Their basic concept is similar, but
their execution is different.
Geocast wants to use a part of the digital
spectrum to transmit (as in broadcast)
data to the consumer. Geocast would take
a mix of national and local compelling
content such as popular web sites, local
news content, etc., and send a continuous
data stream to RF receiver boxes connected to PCs. The consumer would purchase
the receiver for approximately $299. The
box receives and decodes ATSC digital
information, then stores the information
until retrieved by the user. This is not
information in the auxiliary data channel. The data would require a minimum
of 3.5Mb/s of the main I 9.39Mb/s ATSC
stream. The average data rate is actually
close to 7M b /s. Part of the package would
allow the user to filter the information
that is stored and delete what is not of
interest, thus not filling up the storage in
a few minutes. Geocast, who is alpha
testing in San Jose, CA has a number of
large broadcast groups supporting their
efforts.
iBlast is a similar service and is also
hacked up by heavyweight broadcast
groups covering 102 broadcast markets, including the top 25. Those groups
include Tribune, Gannett, Cox, Post Newsweek and Scripps. iBlast plans to
have more than 9.5 percent of the broad-
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Circle (178) on Free Info Card
Columbine
JDS now offers
VideoActive Express, new station
management software for Broadcast
Master allowing frame -accurate
viewing and editing of program and
spot material from any desktop within
a television facility.
Circle (309) on Free Info Card
Teranex showcased its Starfront DTV
compression pre -processor, which
combines the features of a compression pre -processor and aspect ratio
converter in the same box. It offers
motion adaptive de- interlacing,
down sampling and noise reduction
filters.
Circle (399) on Free Info Card
DPS unveiled the newest version of
dpsVelocity, which allows real -time
Web video output in a variety of formats, including MPEG -1, MPEG -2
and RealNetworks RealVideo.
dpsVelocity 7.5 also adds analog style audio scrubbing and 16:9 support.
Circle (316) on Free Into Card
Preferred Video Products announced
MTI CineDeck, a new Total Image
Management Environment combining multiprocessor servers with a
storage network. CineDeck's storage area network provides interactive linkage to the Telecine and color
control systems.
Circle (370) on Free Info Card
JVC introduced two new color video
monitors, the TM- 1650SDU and the
TM- 950DU. The monitors offer full
SDI input connectivity and active
through output connectors, conforming to CCIR 601 standard.
Circle (337) on Free Info Card
JVC introduced a new upconverter,
the BC- D2300, which utilizes Adap-
tive Motion Algorithm technology to
allow users to convert 480i video
signals to 1080i or 720p HDTV standards. The BC -D2300 features 2D
enhancement and three aspect ratio
conversion modes.
Circle (336) on Free Info Card
ESE introduced the ES -185A, a GPS-
based master clock timecode generator.
Circle (321) on Free Info Card
1
50
Broadcast Engineering
cast homes serviced by their product
and multiple stations in each market
carrying their data, thus increasing
data throughput. Unlike Geocast, iBlast
seems to be a more oriented to the pipe
side of the service. They want to deliver a minimum of 7Mb /s to the homes of
subscribers. This is about 200 times
faster than a 56K modem in use today
and about five times faster than cable
modems. The theory is that 95 percent
of the users of the Internet look at one
percent of the sites. If a company could
deliver that one percent quickly and
efficiently, they could have a business
and a new service. Look for this type of
company to be the cable companies of
the future if their idea takes off.
There is a down side to this new
service, or should I say a low -res side.
The total payload on an ATSC digital
station is 19.3Mb/s. iBlast wants a constant 7Mb/s and bursts of more. Geocast wants an average of 3.5Mb /s. It's
interesting to note that none of the
major broadcast networks have jumped
on this bandwagon. As a matter of fact,
some of the networks are issuing warnings regarding leasing part of the digital
bandwidth. Part of the pitch is to become part of the service, provide bandwidth, and promote the service in return for a share of the income.
The idea being presented is that broadcasters sign a contract and then watch the
money roll in. Several people have questioned whether giving up spectrum is a
good idea for broadcasters. It is also
difficult to put a price tag on the digital
payload. Is it worth more or less today
than it will be in five years? What about
in 10 years? Being first has its value, "If I
had only bought Cisco a few years ago,"
is heard many times around the coffee
machine. From that point of view the
sooner you sign, the better. But on the
other hand, spectrum is like land. They
don't make it anymore, so get as much as
you can and keep it for as long as you can.
This issue is simply a matter of control,
control of the pipeline into the home and
controlling the value of that pipeline.
This 7Mb/s is more than one -third of
a DTV channel's capacity. The managers of iBlast and Geocast say their services complement digital television by
adding a new digital service along with
traditional television programming.
However, giving up more than one third of your bandwidth will affect
June 2000
www.americanradiohistory.com
HDTV programming quality. The demo
in the Geocast suite showed a before
and after picture in a 16:9 aspect ratio
with little difference, but no mention of
resolution was given.
WTHR in Indianapolis experimented
with rolling back the data rate to 14Mb/
s for a 1080i signal and concluded there
was a noticeable loss of resolution, especially on fast moving sports events and
scene transitions, such as dissolves. I can
imagine what 12Mb/s will look like.
However, HDTV is a new service and
technology may prevail to allow both.
On the other hand, if one were to consider only transmitting SDTV in digital
form, one could actually handle two standard signals and the datacasting no sweat.
This makes a nice package for a station
looking for quicker revenue stream from
DTV without regard for HDTV. This
program bears watching for a while.
Other developments
On the other end of the HDTV wire is
the antenna. Andrew developed a new
antenna system call the Stacker. What is
interesting about this product is that it
is a different way to stack not two, but
three antennas on one stick. We all
know how to stack one antenna on top
of the other. The problem is getting the
transmission line for the top antenna
past the bottom antenna without degrading the lower antenna's pattern.
This is especially problematic when
dealing with high power UHF channels
that have small wavelengths but large
transmission lines. With the number of
installations of DTV antennas, this is a
problem many of us have faced. The
typical solution is either stacking your
NTSC and DTV on one tower or stacking a pair of DTV antennas.
Back to the Stacker. Visualize a section
of tower with a slot antenna mount on
top. Pretty standard. Now visualize one
of the legs of the tower as a slotted
antenna. Since the other two legs are 10 to
12 feet away, they do not cast as big of a
shadow passing the antenna aperture as
they would if they were dose to the mast
in a normal stack. One of the remaining
legs can house or shield the transmission
line to the top antenna. This makes a
very nice arrangement, since the bottom half of the Stacker can be a tower
section of the main tower or the bottom
half of a top mount.
Additionally, Andrew has developed
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TOSHIBA
Toshiba America Information Systems, Inc
Imaging Systems Division Imaging Video Products Group
9740 Irvine Boulevard Irvine, CA 92618 -1697 (949) 461 -4986
http://www.toshiba.com/taisisd/indmed
Circle (179) on Free Info Card
www.americanradiohistory.com
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Product Jackpot
SGI introduced their scalable, rack optimized SGI 1200 server. The
server is designed to support Internet
applications and server clusters. It
features a Linux operating system,
an Intel Pentium Ill processor server
and robust remote management options.
Circle (382) on Free Info Card
Vinten showcased a full line of weatherproof robotic heads, including HS102PE, HS -105PE and HS- 2010ME
models. The robotic heads feature
specially gasketed seams and waterproof connectors, allowing them to
be used in a variety of locations.
Jot technology for high band VHF
antennas. This development now allows the VHF stations with an UHF
DTV allocation to solve their mounting problem. You can make one leg of
the stack an UHF antenna and the top
mount a VHF antenna or the other way
around. Towers have three legs, so the
third leg can also be a slot antenna.
Not only has Andrew developed a
solution of the VHF/UHF stacking problems, they can make us some revenue
by renting the other leg to a competitor.
Yes, renting space on your DTV antenna (tower) does count as income earned
from digital. Just ask your accountant
if you don't believe me.
Circle (242) on the Free Into Card
Marvin Born is vice president of engineering
for the Dispatch Broadcast Group in Cohanbus. OH.
Circle (423) on Free Info Card
Philips introduced SURF, an asset
management system designed to allow broadcasters to manage broadcasting assets. Users can view a
shared station video library and create content at a lower bit rate, so that
it may be viewed on any PC desktop.
Circle (386) on Free Into Card
Sencore Electronics showcased their
AT951 R ATSC Stream Player, which
provides a reliable ATSC signal
source for repeatable test signal. It
can play pre- recorded complete
transport streams at 19.4Mb /s for
distribution or at 45Mb /s for contri-
bution.
Circle (381) on Free Into Card
Datatek's
D -2800
now feature
doubled crosspoint densities in all
configurations. 128x128 systems are
available in 11 RU and 196x196 systems are available in 22RU. The
switcher is also complemented by
UMDs, virtual tally displays and a
line of control panels
Circle (313) on Free Info Card
Avstar's Media Browse 2000 streamlines TV news production and Internet
newscasting and provides multiple
users simultaneous access to view
video assets, select clips and perform
simple edits at their workstations.
Circle (285) on Free Into Card
152
Broadcast Engineering
By Don Markley and Jeremy Ruck
Small improvements and additions
rather than something huge characterized RF equipment at this year's convention. For example, Andrew displayed
their line of dehydrators but with a new
twist. This year, they introduced a membrane nitrogen dehydrator. While the
concept has been available in the past,
this is a new item for a manufacturer
who is primarily broadcast oriented.
The system is designed to provide
nitrogen rather than dry air for large
systems, replacing the old, familiar
bottles for good. While a bit pricey for
small systems, the system has a lot to
offer to those users of long, large
June 2000
www.americanradiohistory.com
coaxial or waveguide systems.
The marriage between Sinclair Broadcast Group and Acrodyne has resulted in
new line of transmitters called the Quantum Line. These transmitters are IOT
based, something new for Acrodyne, and
are available in power levels up to 280kW
for analog users and 120kW for digital
applications. In addition, Acrodyne has
partnered with Rohde & Schwarz to market a line of solid state television transmitters. Power levels are up to 15kW average
for DTV, 40kW peak for UHF NTSC and
20kW peak for VHF NTSC. The solid
state units are available as either aircooled or liquid -cooled systems for flexibility in installation. The diacrode transmitters are still available.
ADC introduced a variety of new products, including a solid state transmitter
available at power levels up to 120kW
analog and 60kW DTV. A new television
exciter that can switch between NTSC and
ATSC was also introduced. The new exciter includes linear and non -linear adaptive
pre -correction for DTV operation. ADC
also unveiled a new signal analysis system
that measures the normal parameters in
the transmitter output signal to permit
adjustment of the pre-correction circuitry.
Comark introduced a new twist on
a
their transmitter control systems. While
everyone has the ability to access the
transmitter to view measurement data
and have some degree of control over
the system via modem, Comark has
extended the feature to Internet access.
This might seem to be a hacker's heaven
at first, but they assure us that adequate
safeguards are built into the system to
deny unauthorized access. On the other
hand, the system offers the obvious
advantage of inexpensive and fast access to a lot of information for both the
station operators and the manufacturer. Now the chief engineer and the manufacturer's service department can view
the same information simultaneously
and diagnose system errors. Comark
also introduced a liquid -cooled version
of their solid state DTV transmitter.
Liquid cooling was popular this year
for solid state transmitters. It offers a
distinct advantage for transmitters where
high volumes of air are not readily available. For instance, outside air can be
several rooms away for systems in large
buildings. Those buildings often offer
stations chilled water for their system
cooling. That would easily allow, through
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www.americanradiohistory.com
simple and small heat exchanger, liquid- cooled transmitters to be installed at
such locations. In addition, liquid cooling allows more compact construction
resulting in a smaller footprint.
Dielectric introduced two products that
were extremely interesting. The first is the
DCR-RFR antenna that reduces downa
Richland Towers was offering its
spectrum management services including acquiring strategic locations,
tower design and construction, RF
facility operation management and
complete DTV interference and coverage analysis.
Circle (376) on Free Info Card
ROHN was offering a full range of
tower design, construction and repair services for DTV systems including site location and installation
and plus design and installation of
tall (2000-foot) towers by fully qualified crews.
Circle (377) on Free Info Card
Trilogy Broadcast was offering the
Mentor Plus, a digital SPG and TSG
designed for the requirements of
digital, mixed digital /analog and 525/
625 mixed standard environments.
Circle (414) on Free Info Card
WAM!NET
was
showing
the
WAM!BASE, a storage and archive
service for temporal media with a full
range of content management services.
Circle (426) on Free Info Card
nummmmaaaeanuman
Prime Image unveiled the serial digital version of the Time Machine, which
creates up to 30 seconds of extra
commercial time in a 20- to -30- minute
program. Digital /0s are standard
and the system provides four channels of analog or AES/EBU audio.
I
Circle (371) on Free Into Card
Parkervision demonstrated the PVTV
Studio Automated Production system, a fully integrated and automated
live production system, now incorporates producer's rundown capability
from Avstar or AP news servers.
Circle (363) on Free Info Card
Thomcast showed the SD series digital MMDS transmitter, with power
levels from 15 -200W and 16VSB or
256OAM modulation.
Circle (408) on Free Info Card
154
Broadcast Engineering
ward radiation. Downward radiation has
been reduced in the past by one -half
wavelength spacing between bays, which
results in significantly lower gain than for
fully spaced systems. The new Dielectric
antenna provides nearly the gain of a fully
spaced antenna but without downward
radiation. The second is an IBOC FM
bandpass filter. This filter is designed to
offer flat in-band insertion loss with high
rejection of those frequency components
just outside the desired band.
Harris exhibited a large number of
items designed to make dealing with
DTV easier. Those included systems for
improved transmitter and signal moni-
toring, improved network access products and new systems for remote broadcasts. The queen of the Harris DTV
transmitter fleet was the DiamondCD
Series solid state transmitters. Perhaps
the best news concerning that item is
that the price is becoming much more
competitive with IOT systems. Make no
mistake about it - solid -state DTV can
no longer be considered a "nice -but"
item. It is a realistic option.
In addition to their standard line of
transmitters, Larcan Inc. introduced a
new solid-state DTV transmitter designed
to ease the path into the DTV world. The
DTV -Lite transmitter is a low power unit
in a single five foot high rack. The system
includes the complete transmitter (including exciter) but without encoder. The idea
is to allow a station to start DTV broadcasting at low power to meet sign -on
requirements while allowing the station
to grow at a more controlled pace. The big
push at Larcan/LeBlanc was on their systems' capability to construct major tower
and antenna facilities.
Plessey Microwave and RF showed an
interesting line of microwave products. It
was showing spread spectrum digital radios for use at 2.4- and 5.8GHz. These
radios are designed for short to medium
distances. While not designed for full
ATSC system usage, they provide reasonably priced systems for digital data for
information transfer.
TCI displayed a new television-transJune 2000
www.americanradiohistory.com
mining antenna utilizing
a slot panel
radiator. The antenna features broad
bandwidth for multiple UHF stations
with a very smooth pattern. The slot
design allows shaping of both the vertical and horizontal patterns and has extremely good pattern circularity.
RFS displayed their combiners for
multiple station operation. The combiners feature low insertion loss, very
low group delay and are much smaller
in size than conventional units. Basically, these combiners are constructed in a
manifold fashion with each station having a three or four cavity filter mounted
on a waveguide strip.
Mitsubishi displayed a solid state 1 kW
DTV transmitter. While it is a low power unit, it is highly sophisticated with
full feed -forward compensation. They
also demonstrated a line of encoders
and decoders for DTV use for remotes.
In the Marti Electronics booth, they
were showing a new digital aural STL.
Using Dolby audio coding, the audio
channels are transported to the transmitter site independently. The stereo generator, which Marti also manufacturers,
is then installed at the transmitter site.
Moseley was also showing a new digital STL system. This system also delivers
the channels to the transmitter site individually and offers a stereo generator for
location at the site. The big advantage of
this system is that it interfaces directly
with existing PCL 6000 and 606 radios.
Myat displayed a new two- to eight -way
hybridless combiner for UHF systems. The
system will accommodate up to eight power amplifiers and handles input faults on
any input without affecting the match on
the other ports. The system will handle up
to 6kW on each port with less than 0.1dB
system attenuation.
Adaptive Broadband displayed the latest versions of their MRC radio systems.
The hottest item is their Twinstream
radio system that can handle both an
NTSC signal and a 19.39Mb/s signal
over the same set of radios. The system
can be modified later to two ATSC sig-
nals
if desired.
NuComm also was showing a twochannel system for combined DTV and
NTSC operation. In addition, both manufacturers offered single channel digital
STL systems.
Circle (243) on the Free Info Card
Don Markley is president and Jeremy Ruck is
senior engineer with Markley and Associates.
hFUJINON HDTV
now 4NEWS
hen choosing
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ujinon's HA26x6.7 ESM DIGI POWER LENS
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he HA26x6.7 ESM combines 6.7mm wide angle
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ith today's demand for technological advancements, Fujinon remains dedicated to delivering
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tru affordable pricing make the Fujinon HA26x6.7 ESM the clear choice for HDTV.
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FUJINON INC
1-800-553-6611
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FOCUSED ON THE FUTURE
Light Compression for
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CooìbvMon-OvdIì
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Light MPEG compression offers facilities an easily
implemented way to transport high -quality video.
Fox Sports Net employs Tandberg
Television evolution 5000 encoders
for distributing and receiving
content. Photos courtesy
of Communications
in programproduction,
distribution, contribution and
storage. Transporting contribution-quality HDTV requires light compression
(also called "Mezzanine Level" compression) so that enough quality headroom can be preserved for dowr. stream
sneering Inc.
By William Zou
the past decade, one of the most
in broadcasting technology has been video
compression. Video compression as a
technology in the DTV transmission
system development is now being used
In
I significant developments
156
Broadcast Enghnsring
video processing including editing, insertion and manipulation. To meet the
increasing demand, various compression methods and products have been
developed such as MPEG-2 4:2:2 Profile and DV-based compression.
June 2000
Standards for contribution -quality
video
With the same motivations as video
distribution/broadcast (DTV and Direct -to -Home) and program storage
(DVD/server), light compression is used
to reduce data rate while maintaining
required video quality. MPEG -2 4:2:2
Profile at Main Level was developed
to augment the original MPEG -2 profiles for improving chroma signal resolution. Later, MPEG -2 4:2:2 Profile
at High Profile was standardized by
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You'll like what you see in the new
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Circle (182) on Free Into Card
FISCHER CONNECTORS
Future
Connect to the Future''
2000 Fischer Connectors
Connect To The Future is a trademark of Fischer Connectors
PROF
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Simple
L
E
Main
Spatial
High
4:2:2
4:2:0
1920x1152
80Mb/s
4:2:0, 4:2:2
1920x1152
100Mb/s
I,P,B
I,P,B
4:2:2
1920x1088
300Mb/s
I,B,P
SNR
r
W
J
I
111ph1440
Main
Low
Table
1.
4:2:0
1440x1152
60Mb/s
4:2:0, 4:2:2
1440x1152
60Mb/s
4:2:2
1440x1088
80Mb/s
I,P,B
I,P,B
I,B,P
4:2:0
720x576
15Mb/s
4:2:0
720x576
15Mb/s
4:2:0
720x576
15Mb/s
4:2:0, 4:2:2
720x576
20Mb/s
4:2:2
720x480
50Mb/s
I,P
I,P,B
I,P,B
I,P,B
I,P,B
4:2:0
352x288
4Mb/s
macroblock to
macroblock. Additionally, adaptive
frame /field DCT encoding and alternate zigzag scanning can be used to
improve coding efficiency, especially
I,P,B
for encoding interlaced video.
MPEG -2 profiles and levels.
HDTV professional applications. Table 1 shows all of the MPEG -2 profiles
and levels.
It should be noted that the rates in the
table are upper hounds. In addition to
MPEG -2 standards, light compression
systems have been developed for
HDTV production, storage and playback. Among these are Panasonic's
HD D -5 and DVCPRO HD, JVC's D9HD and Sony's HDCAM digital VTRs.
All of these are DCT-based I -frame
only compression. The data compression is achieved via quantization followed by variable length coding (VLC).
The video bit rate is in the range of
100Mb/s to 235Mb /s.
compression for contribution /production
Using compression for production
saves the cost of storing and switching
programs within the studio and distributing or contributing signals between
network and affiliates. The compression
ratios should be chosen so that the
video quality meets requirements of the
general applications of contribution
versus distribution, as well as specific
applications such as production mixing
and editing. The selection of compression ratios is also influenced by the cost
of storage and switching. For contribution and/or distribution, compatibility
with industry interface standards will
be an advantage since existing equipment can be used and signal transport
in other media can be easily accomplished. In general, the range of bit
MPEG -2
Broadcast Engineering
changing from
Concatenation issues
SMPIE (SMPTE308M -1998) for
158
efficiency especially in the range of
45Mb /s to 200Mb/s. Higher compression ratios can be achieved by I, P, B
encoding at the cost of increased latency. The main advantage of MPEG-2
encoding is its utilization of adaptive
quantization inside the pictures. The
quantization scale can be changed
from macroblock to macroblock. This
allows one to change the degree of
quantization as the scene content is
rates suitable for production quality
and supported by existing technologies
is from 45Mb/s to 300Mb/s.
The MPEG-2 4:2:2 Profile can provide higher video quality, better chroma resolution and allows a higher bit
rate (at Main Level, up to 50Mb /s; at
High Level, up to 300Mb /s) than
MPEG -2 Main Profile @ Main/High
Level. With a higher bit rate and chroma resolution this profile can he used
for applications requiring multiple generations of encoding/decoding, picture
manipulation or change in picture coding type between generations.
Unlike compression in digital tape
recorders such as DVCPRO and HDCAM, which is I -frame only coding,
using MPEG -2 4:2:2 at High Level
has advantages in terms of flexibility
and coding efficiency. Coding using I,
P, B GOP structure improves coding
Currently, network contribution/dis tribution involve at least three compression /decompression cycles for a
live HDTV broadcast event:
Originated from camera feed and
compressed at 45Mb/s (4:2:0), transmitted via satellite or fiber.
Received at network, decompressed
to the digital baseband at 1.5Gb/s
(SMPTE292M), edited, re- compressed
at 45Mb /s (4:2:0) for satellite network to- affiliate distribution; and,
Received at affiliate station, decompressed to the digital baseband at
1.5Gb/s (SMPTE292M), edited (including local insertion), re- compressed
at 19.3Mb /s for DTV emission.
This configuration is constrained by
the satellite transponder bandwidth
and lack of 4:2:2 HD encoding/decoding equipment on the market.
An alternative is to use higher bit
rate compression with 4:2:2 coding and
Computer -based systems make extensive use of compressed video. As computer use
in facilities increases, so too will compression use.
June 2000
www.americanradiohistory.com
Total DTV
On the Air with Just ONE Box.
With AgileVision's AGV-1000 you'll be ready to broadcast fast, with lots of rack
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The AGV-1000 is a multifunction platform for the new age of television.
It does
station IDs and logo insertion, compressed content storage, emergency warning
insertion, even seamless splicing of compressed program materials, all controlled
by your station automation system.
Start with the cost-effective standard package. As your DTV operation expands you
can add modules for more capacity or additional functions such as local content
origination. You'll still have room to hang your coat or display that prized plant.
The AGV-1000 works with existing equipment, and runs
with mission -critical reliability.
AgileVisi
201 Washington Rd.
©2000 Agilevlson
All rights reserved
Phone.
Circle (183) on Free Info Card
www.americanradiohistory.com
(609)514 -4032
n
Princeton, NJ
1
08543-530C
inquiries @agilevision.com
using fiber networks for the
tion and distribution. With
bandwidth capacity of fiber
the bit rate can be in the
contributhe high
networks
range of
100Mb /s to 300Mb /s, which provides
enough headroom for downstream compression. The tariff of a 270Mb/s connection is now affordable and competitive to some lower bandwidth
connections such as DS -3 at 45Mb /s. As
specified in the MPEG -2 4:2:2 Profile @
High Level, the following GOP structure can be used:
I -only (interlaced scan)/[ -only or IP,
or IB (progressive scan) for bit rates
from 230Mb /s to 300Mb/s;
I -only or IP or IB for bit rates from
175Mb /s to 230Mb/s; and,
Any allowed GOP for up to 175Mb/s.
The GOP structure and associated
bit rates are estimated based on scaling up (6:1) of 4:2:2 Profile @ Main
Level (SDTV).
Compression vs. format conversion
Generally, format conversion is used
to convert one format to another in
both the spatial and/or temporal domains. For network -to- affiliate distribution there are two approaches that
trade -off video quality and cost of
investment: one is using compression
and another is up- and downconversion. In the latter, the network distributes its HDTV signal in downconverted SDTV format (ITU -601) and upconverts it to HDTV format at the
affiliate. This approach aims to utilize
existing SDI infrastructure at affiliates.
Less bandwidth for program distribution is required. The disadvantage is
that the upconverted HDTV isn't a true
HDTV quality. Upconversion starts from
lite with increasing availability and
competitive tariffs. The major limitation of satellite transmission is the constraints of transponder bandwidth. The
upper bound for compressed HD over
The selection of compression ratios is also
influenced by the cost of storage and switching.
SDTV spatial resolution (720x480)
and processes it by interpolation and
resampling. However, no new information can be created through any
conversion processing. In other words,
conversion creates an HD -like format
without true HD resolution. The approach of using compression preserves
the HD spatial information critical to
the human visual system (assuming it
does a good job) while eliminating less
important components to reduce data
rate. Therefore, the decompressed signal has true HD resolution.
a
Transporting contribution- quality HOW
The applications for transporting lightly compressed HDTV include networkto- affiliate program distribution, transmission of live event/backhaul, remote
program production /post production
and industrial, educational and medical images. Currently, satellite is the
primary medium for content transmission; however, fiber -based networks are
getting their market share from satel-
satellite is less than 100Mb/s. Transporting lightly compressed HD over a
fiber -based network does not have the
bandwidth constraints as over satellite.
Interface
As mentioned earlier, selecting the
right transmission interface will be an
advantage in utilizing the existing
equipment and reducing implementation costs. There are existing interface
standards for various transmission medium and applications, such as SDI/
SDTI, ASI and DS-3. DS -3 has a data
rate of 44.736Mb/s. SDTI has a transmission rate of 270Mb/s (payload of
180Mb/s) or 360Mb/s (payload of
240Mb/s). ASI has a transmission rate
of 270Mb/s with up to 216Mb/s -payload capacity.
SDTI has a frame -based structure (525 line /frame) with 1440/1920 words/line.
Frame -based switching can be done if
each frame (I -only) can be compressed
without exceeding the limitation of
756,000/1,008,000 words/frame. Padding is needed to fill up the frame space
as well. ASI does not have the frame based structure, and the payload can be
transmitted as a burst of contiguous
bytes or as individual bytes.
A demonstration was conducted
recently by the University of Washington and Sony to transmit HDTV video
over Internet2. HDTV video was compressed MPEG -2 at 45Mb/s in ASI, as
well as compressed Sony HDCAM at
143Mb /s and transmitted in SDTI over
270Mb /s. With the availability of HD
4:2:2 encoding/decoding equipment
and increasing demand for high -quality HDTV program, light compression
tor transporting contribution/distribu tion HDTV is likely to be adopted and
implemented.
As facilities transition from analog to digital to high definition. the use of digital
compression will become more prevalent, in part to reduce the cost of storage and
switching.
160
Broadcast Engineering
June 2000
www.americanradiohistory.com
William Zou
is an
ui San Diego.
industry consultant based
0 0
a
Ultimatte 9 and Ultimatte
400 are part of the third generation
of Ultimatte's all digital compositing
devices. They feature the Emmy and
Oscar winning technology that has
gained Ultimatte Corp. a reputation
for the best blue- and green -screen
compositing in the world. Both are
fully linear matting systems, producing totally realistic composites even
when the foreground contains smoke,
shadows, soft edges, and other
translucent and transparent quali
ties.
The new
PROGRAMMABLE REMOTE CONTROLS
Ultimatte 9 and the
400 feature advanced
remote controls which can control up
to 4 Ultimatte main units. "On Air"
tally lights, reduced menu layers and
programmable menus give you easy
access and control.
Both
the
Ultimatte
400
low
new,
ULTIMATTE
cost
all- digital
compositing hardware featuring
&
matte
controls, foreground
controls,
colorizing
background
windowing
controls,
internal
and
programmable
remote,
non -volatile memory.
The
Specilically designed for virtual studio applications,
the t Itimatte 9 offers features that produce a
where visual
polished virtual production
imprc vements can be seen on the screen while
bottom line production costs are reduced.
DEPTH OF FIELD
with
1
of
0
r
tIN
I.
BACKGROUND DEFOCUS
Autorcatic background defocusing that requires no softwa re programming or
physi;al hookup to the camera or computer.
LNCE and COLOR CONFORMANCE
Analyzes the background and automatically adjusts the foreground color in
AMBI
real-time.
EDGE CONTROL
with AdvantEdge
Prods ces a flawless edge and can be used alone or in conjunction
sub -pixel matte sizing and positioning controls.
with
OVER EXPOSURE CONTROL
Corrects problems with over exposed blue screens with no loss in detail.
EIGH1INPUT ROUTER
Conti jumble so that any of the inputs can be used for Foreground, Background
or Mc tte signals, providing enhanced versatility.
205.4 Plummer Street
91311
Cha swarth, CA
USA
Ph:
Fax
+1.818.993.8007
+1.818.993.3762
E-M =il:
sal- saultimattecom
Ultimatte Europe
Zijdstraat 72
1431 EE Aalsmeer
The Netherlands
Ph:
+31.297.380.935
Fax: +31.297.380.939
uItiinatáe'
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www.americanradiohistory.com
u
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t
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m
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t t
c o
m
New Products &
Applied Technology
Lighthouse Digital Systems OZ TOM audio router
BY RICK GRANT
analog audio signal is
digitized, it stops being audio and
becomes digital data. At this point
technology has created a better way to
accomplish an old task. Using a "more
value for less cost" philosophy, the
OZ audio routing system from Lighthouse Digital Systems is the next generation of large -scale audio routers.
The OZ system solves one of the
biggest problems of the new millenniOnce an
um: the digitaVanalog signal dilemma.
Based on a high -speed TDM /DSP
addressing engine, the routing system
is a connectivity device similar in
function to a traditional routing switch er, except there are no crosspoints.
It
digitizes all inputs synchronously (analog audio, digital audio, timecode,
machine control, etc) and sends them
to the TDM/DSP core with the routing
functions directed by an addressing
engine. The 32- channel I/O modules
also perform other necessary processing. All inputs are synchronized/re clocked and sample rate converted to
house sync (usually 48kHz). MADI
(56 audio channels) is demultiplexed
for transferring to and from the TDM/
DSP core. As with all Lighthouse KSeries switchers, OZ uses a multiple
module design to allow easy configuration and expansion flexibility. In
addition, unused internal bandwidth
can be used for timecode and RS -485/
422/232 switching. Future developments will include the generation and
reading of timecode and RS- 485/422/
232 signals.
The advantages of this architecture
are numerous. The system is format
independent, and inputs can be analog, digital, synchronous, asynchronous, MADI, timecode or machine
control. All sources are synchronously switched in the same system, with
any input to any or all outputs. Another advantage is that it offers many
162
Broadcast Engineering
functions not possible in a matrix
switcher, functions that use the power
of the DSP:
Quiet "quick -mix" audio switching.
Quick -mix switching allows true click less switching. OZ is a synchronous
router but, like synchronous crosspointbased AES routers, the OZ DSP performs
a transfer curve to quickly "ramp" the
audio signal to mute, make the switch,
then "ramp" the newly routed signal to
the proper level. This removes the step
function effect of an audio signal when
it is switched. While analog filtering
can reduce some of the click, there will
still be some component of the step that
is audible in crosspoint -based systems.
Stereo -to -mono mixing. One possible setup for a dub is to have a stereo
input mixed to a mono signal (summed
then -6dB) and sent to one channel of
a stereo output. Then the timecode
can be passed to the other channel of
the same stereo output. The system
Local
Control
J.
also allows routing of timecode to an
AES output. There are many other
as well.
Assigning any switcher inputs to
the two channels in the AES outputs.
OZ breaks the AES /analog audio barrier by demultiplexing the AES input
into its two channels, allowing the
two channels of an AES output to be
from any input.
Creating and analyzing audio test
signals, timecode and RS- 485/422.
Using the DSP core, the routing sys-
mix capabilities
tem can generate test signals at an
output and then analyze them as they
re-enter an input.
Gain adjustments. OZ can change
gain for a selected number of channels.
Satellite or MADI I/O that can
move inputs and outputs to distant
locations. Since it is a data transmission
device, it can send or receive I/O collectors in groups of 64 via fiber or coax.
The design of the system features smaller
IAddressing
Controlla
Engine
1
BS-48g
An
Analog
In
D/A
Up to
o
la-
AID
Memory
MADI In
AES/EBU
1.
June 2000
Simplified OZ Block Diagram
www.americanradiohistory.com
Analog
Out
*10
U512
Channels
DSP Spectrum
Analysis Fonctloo
Generator White Noise
Phase/Galn Mort
Figure
ja
to
1024
Channels
Up
1024
Channels
AAES/EBU
41/0.572E
MRXTM"
by Sigma. 32 x 32 =
1
StU7CvEgs
control panels including
alphanumeric are available. For computer
control via RS232 /RS -422, check out our
new SigMatriX""" software.
A variety of
RU,
the formula for compact routing.
Sigma Electronics has done it again.
Introducing the new MRX Series "' of compact
routing switchers. Only one rack unit high perfect when space is at a premium. And,
with specifications that meet the most
critical applications.
Add levels and functions as required. Need a
channel of audio? ...add a RU, 32 x 32 frame.
The MRX "' can switch eight control levels.
1
MRX' ", the new formula for midsize compact
routing switchers. As an added benefit, all
components are covered by Sigma's 5 -Year
Parts & Labor Warranty.
Contact us now for product information
or to locate your nearest Sigma dealer.
SIGMA ELECTRONICS INC.
www.sigmaelectronics.com
1
184 Enterprise Road
PO Box 448
Distribution
Switching
Timing
Encoding
Decoding
East Petersburg PA 17520 -0448
Digital
Transcoding
Free Into Card
(717)569 -2681 TELEPHONE
(717)569 -4056 F >x
and simpler frame requirements, less power consumption, one
DSP module per system and simple expansion. Since cross point modules are not required and it is a robust design, it sells
for much less than conventional matrix switchers.
VVEICUMEM
CONVERSION
ANALOG WAY' introduces the Leading
Studio Scan XTD 820. a High Resolution
WORKSTATION/PC /MAC to VIDEO SCAN CONVERTER
for a broadcast quality conversion
re
'
Features
r.
:
Professional GENLOCK
COMPUTER INPUT
up to 1 600 z 1 280
(Auto Scan up to 110 KHz)
COMPONENT
(DVCAM^", DVCPROTM recording),
VIDEO OUTPUTS
:
RGB /S. NTSC. PAL. S. VIDEO
ZOOM up to 200
;
%
(continuous)
l...Ì
Front Panel LCD Window
with Direct Touch Control
for fast and easy adjustment
Anti- Flickering levels
16 user memory Presets
Internal Power Supply
Optional Digital Video Output (SDI)
16 million Colors Processing
6
g
O'
Other Products available : Seamless Switchers', Scalers,
Une Doublers, Down Converters, Interfaces, Cables, DA's.
ANALOG WAY, 75 Maiden Lane,
New York, NY 10038
Tel: (212) 269-1902 - Fax: (212) 269 -1943
www.analogway.com
ANALOG WAN
Circle (184) on Free Info Card
Sol DOWNSTREAM
LINEAR KM-RS
I
MasterkeV 6
perfect, cost effective solution for
flawless linear keys.
The
Masterkey 7
Loaded with features: linear keys plus A /B mix, wipes, split screen, fade to black,
chroma key, safe area graticules,
key masking, failsafe bypass, memory,
preview output.
Front control panel of both models may
be remoted.
broadcast video systems corp.
40 West Wilmot St., Richmond Hill, Ontario L4B 1118
Ph(905)764 -1584 Fax(905)764 -7438 E -mail: bvs @bvs.on.ca
Website: www.bvs.on.ca
Broadcast Engineering
How OZ works
The development of ICs, memory components, ASICs and
other computer hardware allowed the creation of OZ. (See
Figure 1.)
The system can either free run or be locked to house AES.
This generates the internal master clock that synchronizes
everything. Internally, it is a time -division multiplexed
(TDM) device. All the analog inputs are digitized synchro-
nous to the internal master clock, multiplexed at each
module and fed onto the TDM highways to the DSP module.
All the digital inputs are sample rate converted, synchronized to the internal master clock and fed onto the TDM
highways.
The TDM highways go to and from the DSP module,
which contains the proprietary addressing engine. On the
TDM module, all the audio data is demultiplexed and stored
into shared memory arrays as directed by the addressing
engine. The addressing engine is also locked to the internal
master clock and performs the actual switching functions as
directed by the system controller. While in this shared
memory, the DSP has access to the data to perform its DSP
magic. The addressing engine also controls the TDM
highways to the output modules. At the output modules, the
data is either converted to analog or a digital format.
Timecode (sampled at 1MHz) and machine control signals
are processed into similar data streams compatible with the
TDM highways, and they too can go to and from the same
DSP module simultaneously. The system controller simply
maps the shared memory into the equivalent of multiple
switching levels. This is how multiple signal types can be
combined in one switching product.
In the big picture of switching systems, OZ is just another
level in Lighthouse Digital's K- Series family, which includes
OZ timecode and OZ machine control, plus Navigator
control. When combined with the Lighthouse 256x256
asynchronous AES matrix switchers, systems can be created
with unbelievable power and unmatched flexibility, at cost
savings that will be very popular with any accounting
department. In conclusion, OZ is a revolutionary TDM
device that is a cost-effective solution and has redefined the
audio connectivity market.
For more information on Lighthouse Digital Systems' OZ
TDM audio router, circle (410) on the Free Info Card.
Rick Grant is president of Lighthouse Digital Systems, Grass Valley, CA.
Circle (189) on Free Info Card
164
Reliability
OZ systems are online in post facilities and 24-hour call letter
stations around the world. By straight MTBF calculations, OZ
is more reliable than crosspoint switchers because it has fewer
parts. However, for those mission critical situations requiring
the ultimate in reliability, a redundant DSP module option is
available. This backup DSP module resides immediately below
the primary DSP module in the K -Series frame and operates in
hot standby mode.
June 2000
Step up to Datatek
The Data tek D -2800 Router
reflects the experience of
Datatek's 30 years in the design
and manufacture of broadcast -
quality routing switchers.
'
With
a
large number of
systems in use worldwide, the
D -2800 is available for:
Serial Digital Video
Synchronous Digital Audio
Asynchronous Digital Audio
Analog Video
Stereo Analog Audio with mode
switching
RS -422
Bi- Directional Data
Time Code
additional information:
Datatek Corporation
1121 Bristol Road,
Mountainside, NJ 07092
For
Tel: 908- 654 -8100 800 -882 -9100
Fax: 908-232-6381
Circle (190) on Free Info Card
www.americanradiohistory.com
K
Technology In Transition
Cameras
BY JOHN LUFF
back 30 years when RCA TKThink
41s were still in regular use, if you
were lucky enough to have been
around. Even though television cameras were in their fourth or fifth generation, they were considerably simpler
in some ways than they are today.
How is that possible? CCDs,
replaceable boards, auto setup, auto
iris, menus for everything, triax camhaven't all these made
era cable
cameras simpler? Well, yes and no.
Today, you can make some incredible images, but the variety of cameras you can choose from is nothing
short of staggering. Think about the
contrast between the first commercially viable portable camera, the
PCP -90 sold by what was then Norelco and the various incarnations of
Philips, and a consumer camcorder
today. I suspect you could get considerably better pictures from a DV
camcorder today if you could put
higher quality optics on
it. But the difference in
prices, not considering inflation, is astounding.
-
The three -chip industrial cameras
(high -end consumer also) are one
step up the price scale. The increase
in depth of modulation is dramatic.
Although you have little choice in
CCDs with over 400,000 pixels, and
some have digital signal processing
and even switchable 4:3/16:9 imaging. Lenses vary from C mount to the
same lens mounts found on some
One manufacturer has introduced a camera
uses a six million pixel CCD that is used to
output either 1080i or 720p native.
lenses, they are considerably better.
Because these are all camcorders,
there are no camera control units to
make remote control possible. However, a good frame synchronizer
will make them quite usable in some
live applications.
Then there are the low -end industrial cameras without recorders, which
start around $3000 to $5000. Some-
ENG cameras. Performance is quite
remarkable, but few user features are
available. CCUs are multicore and
limited in cable run length. Viewfinders are pretty low in performance if
available, and the extremely light
weight makes good camera work difficult. VTR interfaces pretty much
don't exist, as this is not the intended
application.
Jump a bit in price
and you hit the first
ENG cameras. Some
are available as two piece "dockable" series. I suspect that some
Today, you can buy cameras suited to a wide variety of uses. Start with that
crossover consumer camcorder. This is an ideal
choice for a quick news
shot, a POV for sports, a
shot from a hostile environment or a shot for an
independent
in this category are box
cameras with broadcast
feature envelopes to
make operators more
comfortable. For under
$20,000 you can get a
fairly good camera with
a load of features controlled by viewfinder -
artist's
documentary. A limiting
factor in performance is
menus.
accessible
broadcasters
Many
the resolution of the CCD
(often singular), which
yields pictures suitable for
the professional environ-
ment only when the
compromise is carefully
A Discovery Channel cameraperson prepares for a
shot with a
Sony high- definition camera equipped with a Fujinon HA10x HD
wide -angle lens during the Eco- Challenge. Broadcasters should
carefully consider camera applications, desired feature sets and
budgets in making camera purchasing decisions. Photo courtesy
of Fujinon.
weighted. The glass in front
of the camera is equally limiting.
When the whole camera/lens /recorder combination is half the cost of lowend ENG lenses, you don't get much.
166
that
Broadcast Engineering
times called "box" cameras, these
often see use in sports venues, teleconferencing, medical applications, scientific use and education. They have
June 2000
www.americanradiohistory.com
have been using camcorder versions in this
class to do credible
broadcast news for a
long time with Betacam,
8mm, SVHS, DV and
Digital S recorders. Their size makes
them easier to handle, and their cost
keeps them accessible to a broad
market, including education and in-
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Call or see www.bswusa.com for
details.
dependent producers. At the lower
end of this range, event video producers ( "social videos," like weddings) can find high performance on
a tight budget. CCUs for the dock able cameras in this range can make
rather surprising studio pictures.
Most of these are 4:3, but some are
switchable to the wide aspect ratio.
Setup memory features, including
memory cards, first show up here,
allowing the camera operator to keep
a library of regularly needed setups.
An adjustable shutter allows control
over exposure and motion rendition.
Automatic color balance is improved
over less expensive cameras.
Moving up in cost and performance,
you encounter the "broadcast range."
These offer CCDs with 500,000 pixels or more and create performance
that the less expensive cameras simply cannot compete with. The range
of features includes sophisticated manipulation of image enhancement to
optimize color rendition on face tones.
These cameras are often available
with CCU adapters, including triax
versions, allowing high -quality pictures over longer distances. With these
cameras a full range of lenses is
available, allowing the creative community many options from extreme
wide angle and macro focusing to
long focus and extenders. Some of
cameras can have list prices over
$100,000 and CCDs with 750,000
elements or more. Depth of modulation easily exceeds what the NTSC
transmission system can deliver, and
Moving up in cost and performance you
encounter the "broadcast range."
often the CCU (and perhaps the camera head) will have SMPTE 259M
outputs. The CCU interconnect will
often carry multiple channels of intercom, two or more levels of tally,
effects return lines, and teleprompter
circuits. Utility power is usually included on the camera head for external devices. These cameras require
serious support tripods or studio pedestals, and expensive pan heads for
maximum performance. Be prepared
to spend from $20,000 to $120,000 on
the lens, which can offer a zoom ratio
of 80:1 or more.
A few years ago only portable cameras for high definition were truly
available. Those came at a price of
over $250,000, and the lenses carried
the cost of $120,000 or so. Now high quality enhanced resolution cameras
begin with 480p cameras that produce
a good approximation of HDTV to
Today you can make some incredible images,
but the variety of cameras you can choose
from is nothing short of staggering.
these cameras are available as cous-
ins of full-blown studio cameras and
can accept high -quality studio lenses. Second unit photography and principal photography of high- budget documentaries tend to use cameras in
this range.
As you hit the next rung of the ladder,
you find cameras for $50,000 or more
for studio and location production
with serious features for live television. Memory systems include variations for lens memory, and moving
setups from one camera to another
through the control network are possible. At the high end of this range the
168
Broadcast Engineering
conversion. One manufacturer has
introduced a camera that uses a six
million pixel CCD (1920x6000) that
is used to output either 1080i or
720p native. It does this by combin-
many consumers (though clearly it is
just a comparison to 480i and the 6dB
improvement in vertical resolution
that they see).
True high- definition cameras now
start with camcorders from three
manufacturers, which are priced
under $80,000. Studio cameras start
a little higher and offer all the features of 480i cameras and, in most
cases, outputs in both standard- and
high definition. Coming soon are
HD cameras that output their native
format (most are 1080i), as well as
720p (converted, not native) and
native 720p cameras with 1080i
June 2000
www.americanradiohistory.com
samples on sets of lines to make
best possible picture for all of
formats. It also will work at all
common frame rates (23.98 -,
24 -, 25 -, 29.97 -, 30 -, 50 -, 59.94 and 60f/s) in progressive scan or
interlace. Compare the complexity
of this approach in a portable camera with the PCP -90, and I would
venture you will agree it is not simpler but actually more complex to
understand, operate and maintain.
So how to choose? My advice
would be to carefully consider the
application and pick a camera with
the appropriate level of performance,
range of features, ease of maintenance, range of available lenses,
size and weight, and price. Once
you have picked the appropriate
range of cameras, ask manufacturers to bring a camera in for you to
try. Resist the temptation to simply
set it up under controlled conditions
and evaluate the resulting picture. I
advise putting it in the hands of the
operators and listening carefully to
what they like and dislike. It will be
hard to distinguish the picture quality among some directly competitive models, and you may have to
make the choice on the basis of
factors that are not the conventional
province of the broadcast engineer.
If you are replacing older tube cameras, you may have the same experience a client of ours did. Viewers
called in to say how much better the
broadcast looked after new modern
cameras replaced older tube -based
cameras that had served well for
over 20 years.
ing
the
the
the
is president of Synergistic Technologies Inc. in Canonsburg PA.
John Lull'
Introducing Scan Do Studio. The integrated scan converter
and chroma keyer with all-star features and performance.
whole new ball game with
Studio on your team! It's
the all -in -one, professional level video
scan converter and chroma keyer with
major league features and performance
at a price the front office will cheer.
It's
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A switch -hitter with power both ways
With the explosive growth of computer/
video applications, Scan Do Studio gives
unmatched versatility, flexibility and performance to handle anything
d ey !brow at you. Check out the slats:
Chroma keyer
fully capable upstream
chroma keyer or as part of your
downstream video studio chain
Variable size key window for
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Soft key/hard key control
User- defined key color
I se it as a
Designed to score with studio pros
ou
Scan Do Studio has all the big league features and usability to make
Scan
fans of video professionals. Key on/key off lets you switch between
operating Scan Do Studio solely as a scan converter or integrated
with the chroma keying functions. Front panel controls and RS -232
remote offer full control giving you easy access to all operating features.
converter
Works with all computer platforms supporting resolutions up
to 1280 x 1024 with sync rates ranging from 31 to 71 kHz
Composite, S- Video, RGB, component and SDI inputs and outputs
Genlock with full studio timing
Five -step zoom with horizontal and vertical positioning
Advanced three-line flicker filter
RS -232 remote control
-
Give your studio the best double play combination since Tinker to Evers
to Chance. For full details on Scan Do Studio, call us
nvisbning the future .. Exceeding expectations
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Scan Do is
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registered trademark of Communications Specialties, Inc. ©2000 Communications Specialties, Inc.
Circle (192) on Free Into Card
www.americanradiohistory.com
BusinessWire
Business highlights from broadcast and production
BY LAURA COLLINS. EDITORIAL ASSISTANT
Granite Broadcasting Corp. recent -
lypurchased Panasonic DVCPRO
equipment including three -CCD camcorders, AJ -LT85 laptop editing systems and an AJ -D780 4X recorder/
player for installation in three of its
stations: ABC affiliates WKBW-TV
and WPTA -TV and NBC affiliate
KSEE -TV.
VDI Multimedia purchased
$386,000 worth of equipment from
Panasonic, including two D -5 HD
multiformat mastering VTRs and
two 1080i/720p switchable D -5 HD
VTRs for installation in its facility
in Burbank, CA.
Media General station WFLA -TV
in Tampa, FL, purchased two of
Panasonic's newsBYTE nonlinear
editing systems for its high -end news
production. NBC station WTVJ -TV
in Miami, FL, also purchased eight
of the newsBYTE systems.
New York Times Company station WQAD -TV also purchased
equipment from Panasonic for news gathering and playback to air.
Equipment purchased includes 10
AJ -D400 1/2 -inch three -CCD
DVCPRO camcorders and a
DVCPRO News Automation digital
video server system.
E.W. Scripps station WXYZ -TV,
an ABC affiliate in Detroit, and
CBS stations WCBS/New York and
KCBS /Los Angeles also purchased
Panasonic's DNA digital video server system for use in post production.
Panasonic provided Media General Station WSPA -TV in Spartanburg, SC, with 65 pieces of DVCPRO
equipment for its conversion to digital news operations. The equipment purchased included 19 AJD810A 2/3 -inch three -CCD camcorders, five AJ -D230H desktop
VTRs and 12 AG -A850 multievent
edit controllers.
Cox Communications' CableRep
division has adopted DVCPRO 50
equipment from Panasonic for its
170
Broadcast Engineering
cable
advertising
operations.
DVCPRO 50 camcorders will be
used to shoot commercials, with
Panasonic's AJ -D960 VTRs used for
playback and its AJ -D95DC VTRs
for field viewing.
SightSound.com and Metafilmics
chose Panasonic's AJ- PD900WA 2/
3 -inch camcorder to shoot their film,
the Quantum Project. The film was
the first to be produced specifically
for download sale over the Internet
and premiered May 5 on
SightSound.com. Quantum Project
is a combination of live- action and
CGI and 3D effects.
Screen Shot
Fujinon shoots "Under
Antarctic Ice"
Photographer Norbert Wu
Fujinon high- definition
lenses to
used
shoot
a
nature
program
for
Thirteen/
WNET
New
York,
"Under
Antarctic
Ice. " Wu
used two HA10x5.2BERD
lenses on Sony high- definition cameras to shoot under-
Avid Xpress
Online entertainment company
iCAST has chosen Avid's Xpress
and Unity MediaNet nonlinear editing and storage tools to create broadcast audio/video content for streaming on the Web.
Media 100 recently merged with
Digital Origin in order to create an
integrated streaming media application suite taking users through the
streaming process from acquisition
to streaming onto the Web. The
suite will combine Digital Origin
applications including EditDV and
IntroDV and Media 100's streaming
media applications.
water footage for the program, marking the first time
high- definition equipment has
been used in Antarctica.
Wu spent four months in
Antarctica, working from the
U.S. base at McMurdo Station.
He and his crew will return to
Antarctica next austral spring
and summer to complete the
shoot. "Under Antarctic Ice"
will air on PBS stations in the
fall of 2001.
video interface device provides a bidirectional link between DV on
IEEE -1394 and serial digital video
and audio. In the Video Area Network, the DV- Bridge will allow the
capture and playback of digital video and audio between devices on the
network.
Digital Systems Technology re-
Miranda will work with Omneon
Video Network to develop the DVBridge from Miranda for use with
Omneon's Video Area Network. The
June 2000
www.americanradiohistory.com
cently opened its fifth office in Atlanta. DST's palletization systems
can now he built in either DST's Los
Angeles headquarters or in the new
DTV.
Time waits for no man.
neither does the FCC.
Wth
so many decisions to make in the fast approaching
conversion to DTV, you need to begin the process early.
By starting now, you assure your station a seamless
transition with custom -engineered choices. Our design
engineers are ready to create the Antenna System that
works specifically for your unique situation.
Let's get started!
email: dcsales @dielectric.com www.diolectric.com
Dielectric Communications 22 Tower Road Raymond, Maine 04071
1- 800 -341 -9678
Confirmation
1
Man .facturing
2 -10 weeks
-2
START
weeks
Preliminary Design
-2 weeks
Final Engineering
Design
2 -8 weeks
1
.-.?
Transportation
1
Assembly
1-3 weeks
-2
t
weeks
r 'It
Final Test
1 -2 weeks
Note: In the first two years of the digital television
changeover, 115 stations went on air with DTV. In the n
three years, the remaining 1,485 must be on ai
so
e
-°..°f
WM"
tt
,
.-. av,.
rl
_
i-yowra
J_
1959: BaTtimóre, Maryland
'Fllst:triple antenna
Dielectric
i
.
1999: Nine new Dielectric
Engineering Excellence Since 1942
www.americanradiohistory.com
antennas top this
historió tower.
m
_I
candelabra buiJr
COMMUNICATIONS
-
;w
'
-
11,000- square -foot Atlanta office.
The office was added in order to
better serve regional customers in-
purchased by CBS station KTVT in
Texas, for use on daily news and
variety programs.
cluding CNN, FOX Sports Net
South and Merideth Broadcasting's
WGNX.
"5100" Series
Members of DST of Atlanta's staff
include: Partners Jay Byars and
Larry Roberts, general manager
Greg Garmon, engineer Phil Popp,
120
DST Ot Atlanta
.,,r
and project manager Dick White.
Photomag has added a second
Soundtracs DPC -II digital console
to its operations. The new console
will be used in Photomag's rennovated Studio A, along with an MFX
3 plus.
LX-5105
Ontario -based IMMAD ECVS will
The LX- "5100" Series can read
Time Code (ESE, SMPTE /EBU
& ASCII), as well as operate as
provide detailed design engineering
services for Turner Entertainment
Network Operations' new 190,000 -
Stand -Alone or Impulse Clocks.
These clocks are loaded with
many features, here's just a few...
square -foot facility.
IMMAD also signed
FEATURES:
Self- setting time code
readers
5 ", 12" & 16" models
Sweep & Step second
hand modes
Lighted Dial and Rack
Mount options
Time Zone Offset
3 Year Warranty
a contract to
supply EchoStar Communications
Corp. with design and systems integration on backup facilities for Echo star's direct broadcast satellite systems in Cheyenne, WY.
310- 322 -2136
FAX 310 -322 -8127
142 SIERRA ST., EL SEGUNDO, CA 90245 USA
Broadcast Engineering
Televised shopping network QVC
is using Peak Broadcast Systems'
Everest 3D software to implement
its new on -air graphics. The software will be used to display product
descriptions and ordering information in real time, as well as to create
QVC's promos, show opens and program menus.
Maryland Public Television has
NBC and Chyron have signed an
agreement under which Chyron will
provide technology development and
implementation, support, and ser-
vice for the next five Olympic
Games.
console was
chosen by Seattle -based ABC affiliate KOMO -TV. The console was
installed in KOMO -TV's new all digital facility and will be used to
mix sound for 35 hours of programming per week.
The System 5 console was also
5
Circle (194) on the Free Into Card
172
Wavexpress has chosen DBN -35
ATSC Source Media Routers from
SkyStream Networks to assist in providing a complete, end -to -end DTV ecommerce system for broadcasters.
The routers will be installed at station
sites around the country to collect
content from broadcasters and deliver
digital television programming to
Wavexpress' customers.
purchased an Avant digital console
from Solid State Logic.
Euphonix's System
www.ese -web.com
JVC recently expanded in order to
provide better customer service. Part
of the expansion included opening a
Professional Regional Service and
Support Cneter in Atlanta. Satellite
service centers were also opened
Carlsbad, CA, and Miami, FL.
June 2000
www.americanradiohistory.com
FOX Sports Net is using the Associated Press' EPNS system for its
new Regional Sports Reports. The
system will be installed in eight
regional news hubs to aid in production of 16 local newscasts daily.
AP's EPNS system will also be
installed in six television stations
and one radio station owned by
We're Back, Better Than Ever
What's in
a
name? Quite
a
lot when the name
is Utah
Scientific.
That's right, we're back... with the same quality products,
the same expert customer service and the people who
started the Utah legacy more than 20 years ago.
Call us to discuss your system requirements:
801 524 9999 or .vww.utahscientific.com
C
.I. (195) on Free
Info Card
www.americanradiohistory.com
Hearst -Argyle Television. The new installations are in
addition to the newsroom systems already in use by
Hearst -Argyle stations in Arkansas, Pennsylvania and
North Carolina.
High- definition rental house
Fletcher Chicago recently purchased
HD -EC lenses from Canon.
Canon HJ18X CINE
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Including Sales, Service And Battery Replacement
Call Today Or Visit Our Website
(800) 842 -1671
xvww.nstpower.con,
UPN station WWOR -TV chose EMC Corp.'s Celerra
Media Server and Symmetrix Enterprise Storage systems to be used in its transition to a fully digital format.
Fujinon will supply its HA20x7.5BERM -Digi,
HA20x7.8BERM -Digi and HA36x10.5BERD -Digi lenses for the production of "Eye to Eye," a joint project by
Mandalay Media Arts and Panasonic.
Kansas City Public Television held a "server shoot out," testing various servers for video encoding at 12Mb /s and system
redundancy, in order to choose one
to assist in its transition to HD.
Rased on these criteria, KCPT chose
Seachange International's Broadcast
MediaCluster with Sundance auto-
mation.
Circle (188) on the Free Info Card
Seachange also provided their BroadLast MediaCluster video server for dig-
ital delivery of programs and interstitial video at KERA, the Public Broadcasting System
affiliate for northern Texas.
Its here...
Industrial Machinery
AUCTIONS
on the Internet!
Industry will never
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-vc óo,
AUCTIONS
Machinery and Property
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Businesses for Sale
Commercial Real Estate
RFPs and RFQs
Employment
Funding and Capital
E-mail Notification Services
www.i -comindustry.com
Circle (185) on the Free Info Card
Broadcast Engineering
develop an online auction site to sell Philips equipment
using the technology of IndustryClick's online industry
auction unit, Digibid.
Philips is also providing over $5 million worth of
equipment to National Mobile Television. The equipment provided includes digital production switchers
and routers, which will be used to retrofit 15 of NMT's
OB vans.
Scripps- Howard station WPTV, channel 5 purchased
over $8 million worth of studio and portable cameras,
video servers, routing switchers and other Philips equipment for use in its new 70,000- square -foot broadcast
facility. The facilityis due for completion this winter.
Raycom Media selected Leitch to provide broadcast
server systems for the standardization of many of its 36
television stations, three of which are already opera-
tional.
industry
174
Philips is working with Industry Click, a division of
Broadcast Engineering's parent company Primedia, to
June 2000
AMS Neve supplied their BTC -44 console to FOX
affiliate WXIN -TV in Indianapolis, IN. The console
will be used for the station's 35- minute nightly live
Nothing beats a new technology
analog scope to get you ready for
ANALOG SCOPES PROVIDE AN OPTIMUM DISPLAY OF
VIDEO WAVEFORMS WITH SUPERFAST RESPONSE TIME
AND NO ALIASING. THAT MAKES THEM THE IDEAL
CHOICE WHEN MAKING CRITICAL VIDEO MEASUREMENTS.
VIDEO PEDESTAL (BACK PORCH) CLAMPING
O
O
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FIELD AND LINE TRIGGERS
SIMULTANEOUS DUAL CURSOR MEASUREMENTS
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ONLY LECROY OFFERS NEW TECHNOLOGY ANALOG
SCOPES. THEY ARE IDEALLY SUITED FOR TODAY'S
HIGH-SPEED, COMPLEX SIGNALS. VISIT OUR WEB
SITE FOR DETAILS AND SPECIFICATIONS.
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www.americanradiohistory.com
newscast, as well as FOX 59 a.m.,
a three -hour daily live morning
news and entertainment show.
Hollywood -based Cinesite Digital
Film Center chose the Vecta HDTV
Stillstore from Avica Technology
Corp. for color correction in film
HBO Studios
also purchased
AMS
Neve
equipment. The
studio chose the
Libra Live
Se-
ries II digital
broadcast console for use in
Studio A. This purchase was the
first purchase of the Libra Live SeLibra Live Series
ries
II
11.
The CJDS DAL system from Columbine JDS Systems was installed
in the new DIRECTV Los Angeles
Broadcast Center in order to automate more than 500 DIRECTV channels. Equipment installed includes
the new D -MAS A8000 Multichannel Automation System and the
DMAS A8800 Ingest Automation
System.
TASCAM provided a total of 40
MMR -8 and MMP -16 digital audio
workstations to Todd -AO for use in its
Hollywood post -production facilities.
The equipment was chosen for its
ability to read and write the Pro Tools
and WaveFrame file formats.
WebFN.com, a Bridge Information Systems and Weigel broadcasting company which creates and delivers digital financial video news,
purchased a Newsroom Computer
System from Avstar.
WebFN.com will use the system to
provide integration of an Internet
newscast with data from multiple
distribution platforms. WebFN.com
offers a multiscreen format with a
continuous global financial newscast and video on demand.
AJA VIDEO
A good thing just got better
HD10C HD Serial to Analog Video Converter
Now works with 1080p24!
masters.
Cinesite chose the system because
of its upgrade path to high definition, as well as the fact that it
integrated seamlessly with their exisiting equipment.
Acrodyne recently announced orders for products shown at NAB2000,
including orders for the high power
Diacrode water -cooled transmitter,
the medium power Diacrode transmitter and their solid state transmitter, as well as low power UHF and
VHF transmitters.
Acrodyne also sold eight transmitters from their 10T-based Quantum
line before NAB2000.
Quantel has partnered with Crispin Corp. to allow customers to use
Quantel's Cachebox server in conjunction with Crispin's Commercial
Insertion software. Quantel also
formed a partnership with DNF to
allow their Cachebox to be used
with DNF's control panel.
In other news from Crispin, Jefferson -Pilot Communications WBTV
and WWBT-TV stations will use
Crispin's System 2000 automation
systems to aid in total automation
of their master control and programming playback operations. The
stations will also be using Crispin
equipment for asset management
and playback.
A new game show on the Fox Fam-
ily Channel will be produced using
virtual studio system technology and
3D on -air graphics from RT-SET.
The show, "Paranoia," allows a
contestant in the studio to compete
with players throughout America
via real -time Internet, telephone and
satellite links. RT-SET's virtual studio system is used to provide a
studio setting for at -home participants. Excite will serve as the Internet portal for the project.
HD10C Features
HD -SDI Inputs
1080i 50/59.94/60
1080p SF 23.98.24
720p 59.94/60
Outputs
HD Analog RGB/YPbPr
SVGA (multi -sync)
2 HDSDI Outputs
10
bit
televj;jqp
800-251 -4224
Tel 530 -274 -2048
www.aja.com
Fax 530- 274 -9442
Circle (197) on the Free Into Card
176
Broadcast Engineering
June 2000
www.americanradiohistory.com
ADC Telecommunications transmitters were recently purchased by
three public broadcasting stations
Detti
.J
an affordable
Video Demodulator
msi 320
Tek /Rohde'
Here's what you'll
Differential Phase
1.2°
2°
find when you
Differential Gain
1%
2%
compare the
msi 320
ICPM Accuracy
±2° from 75° to 105°
not specified
Aural Signal
Demodulation
Visual carrier
not required
Requires a sync
modulated visual
Zero Carrier
Reference Line
User selectable
between 11 and 36
Must be
factory set
But don't just take our word for it. Put the
msi 320 side by side with
Tektronix/Rohde
demodulator:
Don't wait. Just tell us you want to try the
the demodulator
msi 320
with absolutely no obligation. We'll send you a demo
you're using now. If it's a legendary 1450, you'll
find the performance of the
with the
msi 320 nearly
request form. Fill it out and return it, and we'll send you
a demo unit that you can
test and evaluate. It's that
identical. If it is anything else, you'll find there's
easy. If you have any questions, we'll even help you
no comparison.
set up a valid comparison test.
Make the comparison. Call us today.
You'll be glad you did.
e.
modulation
sciences
Inc.
Tektronix is a registered trademark of Tektronix, Inc. Rohde is trademark
of Rohde & Schwarz Gmbh & Co, KG, Germany
2. 1450 is a mark of Tektronix. Inc.
1.
Circle (198) on Free Info Card
www.americanradiohistory.com
Modulation Sciences Inc.
12A Worlds Fair Drive Somerset, NJ 08873
Toll Free: (800) 826 -2603 Fax: (732) 302 -0206
E -mail: [email protected] www.modsci.com
.
Windows to the Web
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www.rocketnetwork.com
Rocket Network, Inc. is the first and only company to provide
Internet Recording Studios where audio professionals can meet
online to collaborate and produce original audio from anywhere in
the world. The Company'srevolutionary network provides a costeffective and convenient complement to traditional studios by
reducing production expenses and increasing creative options for
professional -quality audio in TV. film, radio, music and Websites.
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NBC will be using Dolby's Dolby E and Dolby Digital
equipment and technology to provide viewers of their
DTV programming with multichannel and stereo sound.
SeaWorld San Diego chose QuVIS' QuBit HD motion
image server to upgrade one of the park's most popular
attractions, the "Wild Artic" helicopter ride simulator.
The ride takes park visitors on a virtual tour of the
Arctic using HD technology.
People
Joseph Flaherty received the In-
ternational Electronic Cinema
Festival's Lifetime Achievement
Award for achievements including the development of electronic cinematography, television
and film nonlinear editing systems, and electronic newsgathering. Flaherty is senior vice presJoseph Flaherty
ident of technology for CBS Television and chairman of the Technical Committee of the
North American Broadcasters Association.
WM*
Ys,Nds super. pol[ö a,a
respfv.e oBmw sa.[e
part of the station's committment to bringing DTV
to the public. The stations purchasing the equipment
include Louisiana Public Broadcasting, Detroit Public
Broadcasting and Leigh Valley Public Television, serving Allentown, PA.
as
Irr.Trrrl
/ono=Inng- night ern .. -.+r -+
www.folsom.com
Folsom Research: Folsom Research offers a complete line of
scan converters, video format converters, scalers, and other
image processing products. Our easy -to- navigate website
features detailed product specifications, including downloadable
files and articles. The site is continuously updated and is
always full of new information. To get more information visit
www.folsom.com or call toll free at 888- 414 -7226. Come see
us at NAB 2000, Booth 4M8532.
P
Georgia Public Broadcasting named Mark Fehlig
director of engineering.
Dan Daines was recently appointed to executive vice
president of marketing and business development for
Viewgraphics.
Agilevison named Jerry Berger vice president of
marketing.
Ted Laverty was recently appointed to the position of general manager, North America, for
Audio Processing Technology.
Front Page News
.rte
MAIM T1110
(1ST,
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STUDIO400
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www.pinnaclesys.com
Pinnacle Systems: Pinnacle Systems' broadcast products give
professionals the cutting edge tools needed to create dazzling
productions faster and more affordably than ever before. These
innovative digital video manipulation tools perform a variety of onair, production, and post -production functions such as the
addition of special effects, image management, capture, storage,
and play-out, as well as graphics and title creation.
178
Broadcast Engineering
June 2000
Kent Gratteau has joined CarlTed Laverty
son as a manager based in Carl -
son's Atlanta office. Gratteau
will be responsible for the implementation of broadcast
application and network solutions.
Pierre Jaspar was recently promoted to vice president
of technical and engineering operations for the Cisneros Television Group.
www.americanradiohistory.com
M.iltiple format
diiplay needs?
BARCO has your
m anitoring solution.
HDM
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[3ARC
BARCO Communication Systems Argentina tel. +54 1 855 3357 Australia tel. +61 3 9646 5833 Belgium tel. +32 56 23 32 11
11 822 16 56
China (Beijing) tel. +86 10 6526 8002 Israel tel. +972 9 955 6444 Japan tel. +81 3 5950 8100 Malaysia tel. +60 3 7156 788
Mexico tel. +52 5 211 64 92 Russia tel. +7 095 785 52 63 The Netherlands tel. +31 30 634 0422 United Kingdom tel. +44 118 926 4091
USA tel. +1 770 590 3600 / toll free 1 800 992 5016
Web site: http: //www.barco.com E -mail: sales.bcsObarco.com
Brazil tel. +55
Circle (199) on Free Info Card
www.americanradiohistory.com
Screen Shot
Panasonic's digital format the official
video format for the 2000 Games
Panasonic's DVCPRO50 4:2:2 component digital
recording format has been chosen by the Sydney
Broadcasting Organization to be the official video
format for the 2000 Olympic Games. Panasonic
will provide more than 1000 DVCPRO50 4:2:2
recorders, over 300 cameras including the AiD910WA EFP camcorders and 3000 television
monitors.
Panasonic will also serve as the official broadcast
systems integrator for the Games, installing
turnkey broadcast systems in the International
Broadcast Center, Sydney Stadium and Sydney
HDTV studio production truck
from Panasonic records New
Orleans Jazz & Heritage Festival
Panasonic's HDTV studio production
truck was engaged by Michael Murphy
Productions to record main stage events
at this year's New Orleans Jazz & Heritage Festival that was held April 28
through May 6. The footage will be used
for later television broadcast.
An AJ- UFC1800 Universal Format Converter
downconverted the HD signal for a feed to
the Web. The webcast will be available on
Riffage.com in early July.
Super Dome.
Panasonic camcorders capture wildlife
in HD for "Eye to Eye"
Mandalay Media Arts, Japanese broadcaster NHK
and the Safari Network are producing a series of six
one -hour nature programs entitled "Eye to Eye."
The shows will be shot on 12 Panasonic DVCPRO HD
camcorders and edited and played back in
Panasonic HDTV formats. The programs will
capture wildlife such as the Red Panda, the Leopard Seal and the Bonobo Chimp in natural settings
ranging from the pampas of Patagonia, Argentina,
to the ice sheets of Antarctica.
Panasonic DVCPRO 50 digital
camcorders document a U.S. Fish &
Wildlife condor release
The U.S. Fish & Wildlife Service recently used
Panasonic DVCPRO 50 digital component
camcorders to document the release of
Adult Condor #8 into the Sespe Condor
Sanctuary. The release site was not easily
accessible, so the U.S. Fish & Wildlife Service
used Panasonic's AJ- D910WA camcorders to
record the event and provide a pool feed of
footage to broadcasters.
New DTV antenna and tube technolThe legality of datacasting
ogy
Data multiplexing
Routing systems
Showcasing the Oxygen Channel
AuA look at production switchers
Video servers
dio for video in post
All inJulyBroadcast Engineering
180
Broadcast Engineering
June 2000
www.americanradiohistory.com
roadcast
screen
air
line
owerful, production proven, forward thinking.
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and use it in virtually any medium, from film to HDTV to the web. Make
your move to Discreet. It could be the start of
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www.americanradiohistory.com
servad.
CommScope'
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The 7530 Digital Series is suited
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82
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1
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Broadcast Engineering
Circle (210) on Free Info Card
June 2000
www.americanradiohistory.com
Equipment
Patch Panels
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Design and Mix
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June 2000
www.americanradiohistory.com
Broadcast Engineering
187
Monitor Lots For Less $$
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For more than 41 years,
Broadcast Engineering has shown
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as the world begins to experience
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Broadcast Engineering is here to
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Broadcast Engineering
189
420 Ninth Ave.
Between 33rd & 34th Streets,
New York, N.Y. 10001
Store and Mail Order Hours:
Sun. 10 -5, Mon. thru Thurs. 9 -7
Fri. 9 -2, Sat. Closed
For Orders Call:
800-947-9928
212 -444 -5028
or
(24 Hours):
800-947-9003
212 -444 -5001
FAX
On the Web:
www.bhphotovideo.corn
We Ship
FOR A FREE CATALOG, CALL
800-9474933, 212-444-6633
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OR WRITE
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"THE PROFESSIONAL'S SOURCE"
FOR ORDERS CALL:
OR
PRO AUDIO
212 -444 -5028
420 Ninth Ave.
212- 444 -5001
(Bet. 33rd & 34th St.)
nal Processing) and the DVCAM formal the
DSR200A is
s11r
Ikol for video lournalsts even) and wedding wdeographers stringers and
loci_, houses 500 lines of honzonlal resolution 48kH1 or 32kß, digital ,audio
i
record time and minimum dimnination of 31ux Is only the beginning 011rri
oriole 16 94 3 capability Steady Shot line code operation hnledate
e If F' r dot nt
t -lined digital output
i.
vareati
r,
servo 10000/1001 power
oom lens
born
i Is
Miry
59 to
mntmuous.
toper Steady Shot
Stores Pholu Dale bale Shutter Speed Ins. Gain and F-stop for
easy Beall So if 000 nave lo r-shoot um1 know your original
Records Brop -'Nom Drop Frame lime code
r
-
rei
elects
iris snuffer gain and white
2levels from Fl Blo Fl 1. shutter
or
12-i -i v Ginn loom -3dB lo
Pattern indicator
in ND Idler
1' n recall custom
'
t' reset
function
-
d
car be
resolution
Separale lnturmanon sub panel displays lime code. Sanely ime
lape remaining and other camcorder functions Arnold rnrlenng
up the viewfinder
Records 16- bN481H1 audio on one stereo frank
dudino audio and video lade overlap and
lebra
udi
rile
'
large 1dnch PAW viewfinder
Aloe band manual tacos
d''
is
Yid,
Automatic 8 manual
Broadcast
New York, N.Y. 10001
& Television
audio level record controls
-
7soni4
Systems
3 -CCD Camcorder
3-CCDs ß70.000 pixels each) with a Arge lightcollecting area give the camera high sensitively and wide
dynamic range. Double -density peel distribution and a
napless dichroid prism further ensure razor -sharp
images and extremely lalthlul color reproduction
Selectable 2- channel 48 kHL16 -bit or 4- channel 32
kHz/12-bit PCM audio recording
Butll -u1 stereo uric and external mio Input as well
180,000 pixel. 2 5 -inch color LCD monitor Also has a
0.5-Inch color viewfinder
Dlgltal Image Stabilizer for clear shake and line, Tree shpts
120 optical zoom as well as 300 and 1200 digital zoom
!unctions. Move from wide -angle to full zoom In 1.3
seconds allowing quick framing while in REC pause.
Offers sin digital effects Wipe. M. Strobe. Gain -Up.
68W and still mode
with IEEE1394 Interface
Five program AE
modes for
shooting In
variety of
a
ridleleitt
conditions
There is also a five
mode white
balance Sel.
-
Fluroescent. Auto, Indoor and Outdoor.
Large -diameter locus ring enables a high o-, -I 1,r
focusing precision. A Multi- Function Push Dial
allows easy setting of the 16 -step iris, 5 -step gain
control 1.12dB maximum) and' 4 -step shutter (up
to 1/8000 second). Mic input level can also be set in
steps -20: -10'0 3'6061
r
SONY
DCR- VX1000
or reddish!.
RR loom conneclors
DSR -300A
3 -CCD
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AG -EZ30
me ideal
MOST ORDERS SHIPPED
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Digital (DVCAM) Camcorder
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SONY
DSR -200A
MI
alai
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(24 HOURS):
800 -947 -9003
800 -947 -9928
PHOTO
FAX
Digital (DVCAM) Camcorder
3 -CCD
Digital Camcorder
DCR'VX1000 records 500 lines of nonzontal resnir.'
Ind has a higher SIN ratio than cameras costing ten Inn
more Also records audio digitally. using PCM technology
'.he same as used in CDs for a breathtaking dynamic range of
96 dB Most important though, since video and audio signals arrecorded digitally. you can copy or edit multiple generations with [re
loss in quality Analog lape artifacts like color bleeding. dropouts and generation loss
are all a thing of the past.
The
promising pemure quality and can be held coniiuitably on your
drier through the longest shoots and gives vrdeographers the al -ai'
quire their footage quickly and easily.
HAD CCD5 to deliver 800
'a
f
S N
ratio and Ingo senshvity
at 2000 lux
1A0 CCD5 also gives you a low smear level of -110 dB
I5= -3001 allowing more freedom to shoot highlighted sualecls
built -in 26-pin VCR interlace. they can feed composite or
output signals to an external recorder for parallel or
1 ° ua recordings
VCR recording modes including Parallel
tat !only) and External lonlyl are selected via the trigger
h positioned on the operational panel
Itie DSR3000. a picture previously recorded on tape can
penmposed on the viewfinder screen (Freeze Mix
.i lion). allowing you to easily frame or reposition the suspect
r
LSI Digital Signal Processor Ilhe very same one used by the
DOC-D30 cainerasl for a high signal -to-noise ratio of 62 dB
Both mini cassettes IPDVM series) and standard cassettes (PEW
be used with the OSR3009 With PDV -184ME
dardl. a maximum recording time of 184 minutes can he
acheived They can also play back tapes recorded in the
consumer DV tormal
For operational convenience while shooting the Time Code is
superimposed on the viewfinder screen or MONITOR OUT
lstanan
screen even during playback
00E-801 viewfinder featuring variable peaking. 3 level tally light
and a white LED light with 2 levels of intensity to illuminate the
lens setting
IEEE 1394 !link lout only)
Color Temperature Shift allowing the operator to manually shill
the white balance either towards blue or red to compensate for
en, mix) and because of the wide range It
tislic painting
i
DSR-20/40
Eight-speed 10X optical zoom lens goes from 5.9 to 59mm
in 4 t- 20 secs Also provides a digital 200 zoom
Records 12 -0a32kH2 audio with two pans of stereo tracks
Automatic and manual audio level record controls
Built-in time base corrector ITBCI delivers litter-free
playback and dead-perfect stills
Digital effects include audio and video lade Ito black)
overlap and slov, shutter Time -lapse recording
Sony s Super SteadyShul reduces high frequency camera
shake without compromising image quality
Records extended data codes" Automatically stores
datetlme. Shutter speed. ins and other data for easy recall
Records drop-hame time code tor accurate editing
Record still image pictu
'rs
r'
DVCAM Player /Recorders
1
III
ana oulpul And ill course they offer Inn slunnnig image and sync
nnerent to the DVCAM torniat
both otter LINK ilEEE13941 mputoulput In addition in
tubbing including TC Copy mode lull information or
and terne code of the original tape can be copied Io another
,'siren making working copies of the original
h and Ovtputslleey provide a lull range of analog video
.
.1r,
ev
i
i
-F
The lapel the DSR 30 40 automat
plawng back the segment again
DSR -20 Only
The DSR-20 can be powered by AC or DC
Only
t
I
PD-100 or where the recording
input enables synchronized playback
`- weciand Imponanl in Al Roll configurations In
'IN -40 only allows adlusfinenl ill H-sync and SC phase
ad'rn,
COnlroi
S
cal sync
r
Interlace
-Id save a
-
Control
Control
S
"n Remote Control
S
..
orllpol
Input
:-clor allowing Two or
cured and controlled
arum roe JSRM 20
L the OSR -20 also incorporates an RS232
interface for rernole control of basic VCR functions from a PC
Supplied with the AMT-0S20 Wireless Remole for control of basic
VCR functions
quipped with an RS 422A interlace n can
fall nr cut editing system
planer In A
DSR -30
fi04300
Reference Input
hi addition to Control
i
R -40
They are capable 0t searching tor Index Points, which are
andid on the rave as -in-point" narks every lime a recording
arch for photo dala recorded on a DVCAM
c,!crets
iuped Kith Gmnrol L interface the OSR-20 can perform
ale Time Code -based editing when connected to another
Ii 'in
-.
similarly equipped VCRs cameras
D!
1/2 -inch 3 -CCD Professional DV Camcorder
u
in legratron into current analog based
otter composite and S-Video Inpinoutpul.
Ifni -40 roeiivI oilers a component output as well The
1.20 is equipped with analog audio inputs and outputs nRCA
D3R 40 eta" RCA ''milt a114 OLA-balanced output These
verb Then LINK interface allow a
; di! system In the tutore
nid Playback unctions l nmanc repeat function hit repeated
either manually or via ils RS-422A Interface
The OSR-40 is not equipped with a synchr mutation capability
editing accuracy is performed by pre -roll and play
"'
Digital VCR
omeng
with
,:hcording
generation
glen such
-200A DVCAM Camcorder or another OSR30 It also
auto repeat playback Iuncllon making it ideal for kiosks and other
as the DSR
ncontinuous
of inlounafion displays
kids PCM digital audio at either 48kHz (16-bd 2 channel, or at
4 channel)
uiPO0 with Control L. capable of SMPTE Time Code based
Irate edltrng even without an 0011 controller Built in editing
',bons include assemble and separate video and audio insert
searching Ion either an Index owl or Photo Data recorded by the
'R 2009 camcorder the DSR -30 drastically culs the tune usually
tired for editing The DSR30 can record up lo 135 Ride. points
,
viz 02-bit
-
.
P
world's lust DV camcorder deSlgnell halo the ground up fur
professional ENG work. the GY-DV500 combines the convenience and
cost-efectweness of Mini DV with the performance and features you
need. Incorporate three 1,2-inch 380.000 pixel IT CCD5 for
Superior picture performance !equivalent to 750 lines of
resolution) superb sensitivity of F11 at 2000 lux and minimum
illumination of 0 75 lux ILolux model Rugged construction with
a rigid diecast magnesium housing. Extremely portable, compact
and light weight Ilesss than 11 lbs fully loaded) Additional
features like the menu dial and Super Scene Finder assure ease -of -use and shooting
flexibility. while the IEEE 1394 and RS-232 interface allow integration into various non -linear and post'produrI
systems A professional camcorder In every sense. the compact lightweight GY DV500 redefines acquisition for
corporate. educational. cable and broadcast production as well as wedding videography and multlmedla appllcabons.
Prolusions! Specifications
Adiustable gamma for adlustlrig the 'feel' of the picture
Applies JVCs DSP with advanced 14 -bit video processing
according to taste Adiustable detall frequency for setting
to bring out more natural details eliminate spot noise.
picture sharpness for a bolder ar liner look
accurately reproduce dark areas. and restore color
Viewfinder status display uses chaiadters and menus to
Information in dark areas
dlplay selected Information. including audio indicator. tape
CCDs are equipped with advanced circuitry to virtually
and battery remaining time. VCR operation and warning
eliminate vertical smear when shooting bright lights in a
indicators. Camera settings and setup parameters can also
dark room Ensures efficient light conversion with a
be checked al a glance A built in menu dial lets you
sensitivity of Ft at 2000 lux
quickly navigate through the viewfinder menu
CCD Defect Correction function evaluates white defects
Highlight Chroma Processing maintains color saturation in
with the lens closed and then stores their addresses re
highlights The result is natural color reproduction. even In
memory When the camera is turned on. the data is sent to
bright highlight portions of the picture
the DSP for storage and real-time correction
Smooth Transition mode ensures a smooth transition with
Black Stretch Compress function ensures accurate
no lump in color or light level raking place when manually
reproduction of black areas on the screen Advanced color
changing gain or white balance settings
matrix cdcuits give even difficult Images a very natural
Professional Audio
appearance
To complement its superior video performance. the GYMulti- stream parallel digital pipeline processing at 40 MHz
DV500 offers outstanding digital PCM sound You can
l reates an ultra-smooth gamma curve calculated using a
choose between two 16 -bit 4E-kHz channels or two 12-bit
true log scale algorithm The result is a dynamic range of
32 -kHz channels with a dynamic range of 85 dB
600 °° to accurately reproduce line details and colors in
In addition to camera mounted mac, has two XLR,hadoyzs or highlights
balanced audio inputs with ,-8v phantom power and
Professional Performance
manual audio control Phantom power can be switched
Multi-zone ors welghtmg system gives priority to oblects
off when not In use
at the central and lower portions of the picture for accurate
Sidemounled speaker lets vcu monitor audio in playback
nulo exposure under any condition. even II a bright sublect
and recording modes withoul headphones. The speaker
inoves into the picture
also delivers audible warning l
The
ri
1
DVCAM
2
n
Preset, store and recall your oyn custom settings for
color intensity white balance sharpness brightness
and gain shift (00B/-3d9)
Precision 180.000 pixel color viewfinder incorporates a
separate inlormalnen sub panel which displays lime code.
battery time lape remaining and other camcorder
functions vrlthOot cluttering up rte viewfinder
Control L terminal for communication between camera and
edit controller
Built-in ND (neutral density) filter
Square lens hood reduces exterral Tight flare effects
.JVC GY-DV500
:í94I maul
1
Focusing exposure and white balance are all automatic or
can be manually controlled
Zebra pattern indicator lust like professional cameras. I
Built-in control tray has a log shuttle dial VCR and edll lull
buttons The Iogishuttle dial allows pilule search at r 1,5
oral speed and controls not only the OSR30 but also .i
hooked up through its LANC Interlace
DV MOW ItEEE 13941 for digital dubbing or :deft and,
ID with no loss In quality
Analog audio and video input
with romdigital equipment PI.i,
loi
aIET'It
-
'
I
nTr-ll-
Circle (216) on Free Info Card
www.americanradiohistory.com
RH
PHOTO
VIDEO
-
PRO AUDIO
an/otiauor
Battery
HyTRON 50
THE PROFESSIONAL'S SOURCE FOR PHOTO,
FOR ORDERS CALL:
possible by recent advancements m a cell lechnolog':
uly designed for the mobile computing Industry n
orates nickel metal hydride cells that provide the high.,:
density of any rechargeable cylindrical cell available i. .
e is further assured through the integration of
Bauer InterActive digital technology
ved with an on -board fuel computer which monitors
T. input and output as well as critical Operating
.1'enstics and conditions This data is communicated to the
nve charger to ensure safely and Optimize reliability
moo remaining battery capacity information is available by
al an LCD display on each battery and in the view -finder
popular broadcast 6 plolessmnal camcorders
low
prevents potentially damaging
-
9
.i nr ,f motions
'
1
;i 50 WH
?5 Watts 3 ne
irs
r
,
=UVW-1200/UVW-1400A
SONY
Four -Position Power/Chargers
MOST ORDERS SHIPPED
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PROFESSIONAL VIDEO TAPES
°yá
olrpx
r
DIAL.
i
MINIM
t
Player /Recorder
The uvw 1200 and UVW- I400A are non-editing VCRs wach
deliver Betacam SP quality and offer features for a wide range of
playback and retordrng applications AGO and RS -732 Interface
make them especially ideal for large screen high quality video
presentation screntrlrc research and digital video environments.
UV
Both read LTC Time Coder and UB (User Bits) The
1400A also generates LTC and UB Free- Run /Rec -Runt
1
Equipped with two longitudinal audio channels
Auto repeat of entire OF a specific portion of the lape
Built-in character generator can display VTR status time
code self-diagnostic messages set -up menu. etc
Control of jog shuttle playback record. pause FF and REW
with the optional SVRM-100A Remote Control Unit
Composite and S -Video as well as component via BNCs
which are switchable to RGB output The UVW-1400A has
two switchable sync connectors and a Sync on Green
Built -in diagnostic tunction and hour meter
Initial set-up menu for preserving operational parameters
Se tlmils .iia a41M even Per power Is turned oft
p,I,
a
Orts ¡
.illy ..aed ,
HGB signals can be convened mm component srgnats and
vice versa with minimum picture degradation
25 -pin serial interface allows external computer control of all
VCR functions based on time code Information Baud rate
can be selected from between 1200 to 38400 bps
Built-in Time Base Stabilizer ITBSI locks sync and subcarrier
to an external reference signal as well as providing stable
pictures High quality digital dropout compensator further
ensures consistent pioture pertormance
Betacam
component cpnlo
Editing Player
SP
-be UVW4600
-diting features
l,-
.:.,'.
j
Betacam
.Ones
0. II TBC
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BGR30
3.29
Broadcast Grade VHS Bor
u
3 -99
ST -30
6.69
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12.49
24.95
IDX
50 Watt
Hydride Batteries
Packed with 50 -watts of
power. these batteries
provide long run times.
using them as you
would a traditional NPtype battery Equipped with IDX s
proprietary SF technology they can even be charged in
eelstrng Negative Delta V style chargers like the Sony
BCt -WD. or any IDX mead battery charger
Both batteries are identical except that the NP-H50DX
adds a power indicator.
High capacity NIMH cells Standard thermal and
snort circuit protection extra thermal luse for safety
special plastic design for added strenght
Environmentally sale High efficiency/low
temperature module Capacity 50Wh 113.2V/ 3 8Ah)
Camera run time 115min 026 Watts)
maxell
NP H50
129.95
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NP -H500X
JL -2 PLUS
2- Position Multi -Format
Charger/Power Supply
Universal charger /Power Supply.
2-channel sequential quick charger and
: :er supply for Lithium -Ion.
9P -type NiCad and NIMH battery packs.
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SONY 800 SERIES
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Broadcast Quanta
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UHF WIRELESS MICROPHONE
SYSTEMS
W
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Only Dynamic Tracking
Dynan¢ ;!
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a
Mini
ea
99
a
Ay-OVM80
12.99
999
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3895
Professional Metal Video Cassettes
4.59
6.49
8.49
P6-60 HMPX
P6- 120HMPX
7.99
10.99
14.99
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PR Series Professional Grade VHS
2.59
2.39
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1-301=
279
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VHS
199
T-600.1
Broadcast VHS nn Bon
0.19
3.59
3.99
MO Master Quality S -VHS lie Bog
BA Series Premier Hi -Grade
T-30W1
-
7.99
SRS
34" 0-malic Broadcast Standard On Bori
8.69
8.19
KCA -10EMS
9.60
KCA-30 BRS
)91113/C U mano Broadcast Master lin Bog
8.79
KCS-10 XBR
10%BR
9.29
KCS-IO BHS ni
-
-
rXBR
..
11.99
BSP 3/4"
U
rrn
KSP -3r
Same as OV6 PLUS
I
0,0
IDA
Hn.W
751
SP
Metal Betacam
Broadcast
On
BCT?
1299
Broadcast Master (Bog
99
ea
15.99
DV
Tape
1299
1799
99
13 99
11
7.99
Full Size
DV12
floor spreader 10,
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Great Load
Uli 8, 5Im,;
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PLUS
F
BB
Cat.
Is 100mm tripods
POV
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3M
81;1í
PUVN.124N
DV
9
99
Tape with Memory Chip
24 99
...
Same as DVS
12.49
13.49
12.99
21.99
2B99
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10.59
10.69
15.69
11.09
11.59
16.89
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SP
tt
8.99
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13.39
Bori
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ilML
live System (0810) consists of:
o,
-matte
9.59
10.89
12.99
BCT
DV8 System
-
-
BCT St-'
System 104101 consists of:
DV4XD System
749
29 99
SONY
HI-B
P6 -30 AMP%
Touch and Go quick release with automatic
camera lock and safely lever /drop proteclme
One step of dynamic counterbalance
Frictionless leak proof fluid damping will:
one levels of drag
Five step of dvnamre counterbalance
F .. sh.o 0 veirr al and rrrr v,,mil Anil
5-99
20 95
6.99
11.19
20.99
AJ-P33M
nail'
dl
7
DVC PRO
Sliding Ilalance plate
Vibrationless vertical !horizontal brakes
Built in bubble for horizontal leveling
Swale stagy 751nar emu hood DA 75
í¡e.10
Tape
DV
649
i
Iln.a .Urv,,der Si :5.
.
Panasonic
-
OVA
I
29.95
Ay Dahl 0,
Ay DVM60
DV4 System
r
6.99
1399
SP
oy
Fluid Head (DV-21. Long Tripod IDA 751.
floor spreader (SP 75)
0V4 %0 System (0610) consists oh
-
599
Burl
1999
0.1-P12M iMednunii
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-VNS Iln
S
13.49
030M
Only Molt-in comprehensive editing facNties
nl won memory, orondes slow mntn'r
Digital Support for Every Budget
2.99
3.99
6.79
7.45
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playback from -t
editing La;
This system )0210) consists et:
Same as IM DR PLUS
-il
speed.
ll:
PV2800
Today s compact oyital cameras require light tard .
:.ay up to the DV12. Sadhtler has a solution tailor.,:'
All feature Sachtlers patented counterbalance sysocamera platform to ease in the balancing 01 your :..r'
lever/drop protection
One step of dynamic counterbalance
Frictionless leak prowl Iliad damping with
one levels al drag Built in bubble leveling
Vibrallonless vertical /horizontal brakes
Single Stage 75mm tripod DA 75 Long
Lightweight Iloor spreader SP 75
Professional
Belacam
Tripods & Fluid Heads
sachtler
Systems -
with automatic camera lock and safety
I
ST
Parallel remote control and Tally via 20-pin connector
DV2 System
.re- :.:...I:
'.,r!:'.,V otters and
6 different receivers Sony s UHF Is recognized as the
outstanding wireless uric system for professional
applications Operating in the 800 MHz band range they are
barely affected by external noise and Interterence They
incorporate a PLL (Phase Lacked Loop synthesized control
system that makes it easy to choose from up to 282
operating Irequencies and with the use of Sony s preprogrammed channel plan it is simple to choose the correct
operating frequencies lot simultaneous multi- channel
operation Additional features like space diversity reception.
LCD indicators. reliable and sophisticated circuit technology
ensure low noise wide dynamic range and extremely stable
signal Iransmission and reception Ideal for broadcasting
stations film production tacililies and ENG work
:,chrome pictures at up to 24% normal
Iraq
Broadcast Quality VHS (Bari
3.99
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handle mur color system signals.
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Avid
SONY
-3 EditStation
/ -=
Xpress DV On IntelliStation
ES
Avid Xt ress DV on IntelliStation is a turnkey digital video solution designed
to giotr professional content creators in corporations.
education and government institutions. the power to
comme nicate with video. The solution consists of
IBM's ward- winning IntelliStation M Pro
;
workstation. and Avid's Xpress DV digital video
conten' creation software. Simply plug your DV
camer; into the IntelliStation workstation. launch
Xpress DV and begin assembling a video. Using the
high -p awered and reliable able IntelliStation M Pro
and intuitive Xpress DV software. you'll be creating
protes ;inal -looking video and
multin edia content for a wide variety of
uses ncluding sales and marketing videos. training
videos and web -based leaching solutions-in no time
The Hardware
The le. esigned IBM IntelliStation M Pro features a
hign- (peed Intel 840 chip set. 600 MHz Pentium Ill
prates sor. 133 MHz Front Side Bus. a Canopus DV
Raplar and a Matrox display card.
Designed with the Intel 840 chipset. the IntelliStation M
Pro suports high -speed ATA -66 disk drives. as well as
up to 1GB of ECG memory. The solution is pre -installed
with tie Matrox millennium G400 4X AGP graphics
card i. apable of 1GB p/s transfers) with 16MB of onboard nemory. and the Canopus DV Raptor Adapter
IEEE1:4 interface for DV I/O It also includes two
Ultra: SCSI hard drives. a 9.1GB drive for the
operAng system and programs. and an 18.2GB drive
for captanng data.
The Seltwere
Avid a press DV software combines powerful video and
antic editing tools, digital mastering. and extreme ease
of use. %press DV captures and edits DV video. adds
effe:'i. mixes audio. and outputs the finished results
over EEE1394 FireWire for impressive video. Or
trans odes the content to all major new media formats.
MPE: -I (tor CD -R) MPEG -2 (for DVD-ROM)
Outcntime or AVI for computer based presentations or
for st earning on the web As a member of the Avid
Xpress Family. The Xpress DV offers the Avid graphical
aver interlace (GUI) based on the 3.1 version. offering
creiul audio and video tools including'
:
tacks of nested video with single track transitions
irks of audio with real -time mixing
3 «i.h digitizing. and RS-422 deck control
its grated EDL support with built in logging
,2 levels of undo /redo. making changes. painless!
- cot timeline with precise timecode editing.
r
Avid.
VediaDrive rS Plus is the latest in the line of
ng edge storage products from Avid. Designed
asivety for AV professionals, the MediaDrive rS
n
is available in 9 and 18GB capacities and
es the highest performance 10.000 rpm drives
ne market today. Available in a stackable model
a rack -mount option. the MediaDrive rS Plus
n:. rporates OuietDnve.a revolutionary sound
dar pening technology developed by Avid. The
Me: iaDrive rS Plus 10K drives provide Avid
cus omers with a very allordable. versatile. high perormance storage solution.
_, ing 10.000 rpm drives. MediaDrive rS Plus
ers 40% higher performance than 7200 rpm
ves. The increase in data transfer rates results
fewer drives necessary to achieve higher
solutions. Real -time AVR 75 can be achieved on
single rS Plus drive. Striping only two rS Plus
ices across one dual channel controller can
Oxide dual stream AVR 77 quality throughout the
d re drive
-- lilt -in thermal circuitry controls the speed of the
n for efficient cooling and an external indicator
)Ips to protect your drive and critical data by
gnaling high temperature conditions
"MediaDrive" External LVD
Drive
$899.95
18 "MediaDrive- External LVD
GB Drive....
..$1199.95
9
P
12
32 and 48 kHz sampling rale. with down sample to 22
and 11 kHz for multimedia.
Over 50 transitions. including dissolves. motion 8
color effects. superimposition. horizontal and vertical
wipes. chroma and luma keys. picture in picture. flips.
flops, resizes. spins. peels. pushes. squeezes. and
many more
Integrated anti-aliased titling tool
Export to MPEG1. 2. Microsoft Windows Media
IASFI. AVI. OuickTime. or RealMedia
The Semee
IBM is maintaining a server where you can obtain disk
space for approximately five hours of compressed
streamed video. where your client can download your
video from a customized web page. at no charge to you
for the first three months (after three months it is fee
based)
:.ie. powerful and high picture quality non -linear video editing
system. Its self -explanatory yet sophisticated editing interlace is easy to use even for newcomers to the non- linear
editing realm. Its open architecture also supports popular third -party software for graphics. paint. text. and effects.
The Sony ES-3 EditStation also otters the unique Sony "ClipLink" interlace. allowing you to transfer only the clips
you want for editing. since The Sony DSR- 300 /500 cameras mark the in /out points of each sh N and a still frame of
every in -point called the "index picture" is recorded on the cassette memory of the DVCAM tape.
'
The video and audio files stored on the disk
drive of the ES -3 system can easily converted
to AVI or OuickTime file format. Allowing you
to create multimedia materials for CD -ROMs.
or to be streamed to the web.
Slow and fast motion are available. The
playback speed for each clip can be set to be
played back at the desired speed.
Editor
IBM IntelliStation M Pro (6868 -91U).
600 MHz Pentium Ill processor.
256MB Full Speed ECC memory.
You start with the Editor for uploading to create
Solh video and audio clips. The Editor consists of
the live picture window. In /Out point and duration
Matrox MBlenium 6400 4X AGP with 16MB of RAM
Ultra2 SCSI 9 GB (7200 rpm)drive froperating 5501e18.2GB drive for video and audio storage.
CO -ROM (20x -to- 48x)
Windows NT 4.0 with Service Pack 5.
Complete system integration and testing.
windows. video/audio 1/2/3/4 selection buttons for
uploading. a record clip button and VCR control
(unctions. Using the Editor. you can upload video
including live upload) with or without VCR control.
ClipBin
This is where you store program material designated as clips. You can group clips and customize the
ClipBin according to your needs. Two main display
modes: picture mode and text mode. In picture
mode you can select six different sub modes:
All for the Unbelievable price of
'6795.00
Add an IBM 21 monitor,
and Roland MAB speaker set.
For only an additional 1000.00
'6895.00
QmetDrive
technology reduces
drive noise by up to
15 dB. This allows finer
audio editing and lower
operator fatigue
An innovative vertical interlocking stacking feature
provides the option to physically latch sloped sels
together permanently or temporarily
With its own power and SCSI connectors
(conforming to fast and wide SCSI standards). the
rS Plus drive is ready to travel down the hall or
around the world. You can hook up the rS Plus
drive in any studio. No docking system is required
Optional rack mount kit adds great flexibility by
allowing two MediaDrive rS units to be mounted in
a 2U rack format. Quick release allows drives to be
removed easily for transporting or replacing with
new project drives
Coatlgeratlo,
MediaDrive rS enclosure. 3.5 sell -contained
(power. cooling and connections) stackable unit.
SCSI -2 68 -pin connection
Rack mountable with MediaDrive rS rack mount
option kit
rs -36 "MediaDrive" External LVD
36GB Drive
$1799.95
is -36 "MediaDrive" External LVD
"MediaDrive" External LVD
18GB Shuttle
$1149.95
is 18 "MediaDrive" Shuttle 101der
is -18
The Sony ES-3 EditStation is an extreme.
.
MediaDrive
rS Plus
:
ediaDrive" rs Rack Kit
Real time 3 -band E0. and rubber band gain adlustments
36GB Shuttle
Station)
Drives)
imum shipping USA (Except AK 8 Hl) $6.95 up lo 11b. Add 75e for each addlBaaM
$1699.95
$1149.95
$99.95
Timeline
Edits on the ES -3 TimeLine are converted to
the Sony EDL format and displayed in a EDL
window. Additionally the EDL can be printed
out or saved to disk.
Dual monitor display is available for more
efficient operation.
The ES-3 can be switched to operate in either
4:3 or 16: 9 wide screen aspect ratio.
Audio Editor
With the Audio Editor. eight channels of assigned
audio can be monitored in real -time. Each input
channel can be assigned to any track in the
timeline. Each channel has its own peak meter.
level fader. level trim. phase control. three band
ED. panning and filters (low cut, high cut. echo.
etc.). Volume and pan are processed in real -time
and can also be modified in real -time using the
ESBK -7011 Control Panel.Audio level and panning
for each clip can be controlled directly on the
timeline with the rubber band editing function.
Each track has it's own rubber band control, which
can be activated independently.
Control Pare!
The timeline is where you build your project. Each
track may hold video. graphics. titles or audio. To
In addition to controlling non -linear functions via
mouse and keyboard. also includes the ESBK -7011
build your project, clips (from the ClipBin). effects
and transitions are dragged and dropped onto the
timeline in sequential order. There are various
timeline views available. You can select any items
displayed such as Index Pictures of the head or tail
of a clip. marker. name, duration. reel number.
mark in /out and many others.
Trim Editor
A Trim Editor is available for precise trimming on
the timeline. It is opened as an independent
window. with the video of the out point of the
from" clip and the in point of the "to" clip
displayed. Both single and dual trimming can be
performed. Clips can also be played and trimmed
directly in the Clip Monitor which is selected from
Control Panel for conventional operation. Combine
familiar linear techniques such as jog /shuttle
control. effects transitions ant audio fading with
convenience of non -linear editing.
Breakout box
The breakout box provides easy interfacing to
analog or digital equipment. It offers analog
composite. component and S -Video input and
output. For digital video. an i.LINK input/output is
standard. and OSDI(SDTI) can be activated via
optional software and dongle. For audio. four input
channels of XLR- balanced analog audio (two out)
and AES /EBU digital audio CO (XLR -balanced) are
provided. Two RS -422 ports are provided for deck
control. Finally. the ES -3 is also equipped with a
genlock input and blackburst output for reference.
the edit menu.
I. Apple Computer
Final Cut Pro
Professional Editing. Compositing and Effects Software for Macintosh
breakthrough in non- linear xideo. final Cut Pro combines professional editing.
A
compositing. and special effects in one powerful application - turning a Power Mac into
a powerful workstation. Designed ton, the ground up foi DV Final Cut Pio offers Orc
easiest way to transfer material from DV sources lo your hard disk edit composite. and
add effects to the video and audio: and play the results It has an advanced feature set that
professionals will love yet ins also easy enough for novice video producers who are lust
discovering DV and FueWue. Final Cut Pro supports DV and all OuickTime formats.
including M -PEG and web -ready streaming video Provides plug-and -play capabilities with
most digital video cameras Just connect your computer to a DV camcorder capture video
and edit it with sophisticated tools Create multiple layers of video using text graphics. or
additional video elements Each layer can be still or animated along a user -defined path
using tools such as Bezier curves with acceleration control. Then you can output your
results for TV. videotape. OuickTime movies or the Web
0
Final
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When our readers tell us about Broadcast Engineering, they say it's the best
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Help Wanted
TECHNICAL SUPPORT ENGINEER: KING
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in very close proximity to New York City, Washington D.C.,
Philadelphia, and Baltimore. As a dynamic, entrepreneurial company located in Harrisburg, WITF, Inc. includes a
public television station, a public radio station, a publishing division (Central PA magazine), a statewide commercial radio news network (Radio PA), and telecommunications /distance education services.
pioneer in digital broadcasting, is seeking a dynamic technology executive to provide vision, leadership
and workflow strategies to all broadcast, information and
new technology functions. The selected candidate will
develop and implement the strategic technology plan,
design the infrastructure, and transition and integrate the
company to a fully digital, multi -media environment
within the broadcasting, telecommunications and information technology disciplines. Candidates require strong
broadcasting /engineering /networking orientation, understanding of current and emerging technology trends and
leadership experience in information technology and
broadcast operations in a server -based environment.
Please address your letter, resume and salary requirements to
WITF, a
full
equipment. Extensive satellite uplink/
downlink experience required. Will administer the technical capital budget, and
represent the company at local and national technical meetings. Must have extensive computer and computer networking experience. Send resume to CONUS
Communications, Attn: Job # 91-00, 1825 K
St NW, Ninth Floor, Washington DC 20006.
Fax (202) 973 -2065. EOE
Broadcast
ENGINEERING
CTO Search., Thomas M. Rineer, WITF, Incorporated, 1982
Locust Lane, Harrisburg, PA 17105 AA /EOE www.witforg.
BROADCAST ENGINEER FOR NEW SERIAL DIGITAL BROADCAST CENTER: USA
Broadcasting is looking for experienced
Broadcast Engineers for our expanding
Ontario California Multi -Channel Master
Control center. Candidates should posses
knowledge with: Media Pool, Louth, Saturn Switchers, and DVC Pro. Teamwork
and dedication is a plus. USA Broadcasting, a USA company, is the eighth largest
television broadcast group in the nation,
owning 13 UHF Television stations. Please
reply with resume and salary history to:
USA Broadcasting / Station Works,
3833 Ebony St., Ontario, CA 91761. Fax
909 -605 -7301
Or Via Email
at
Stationworks @usabroadcasting.corp
June 2000
www.americanradiohistory.com
CHIEF ENGINEER: VHF NBC affiliate
WTWO, Terre Haute, IN seeks a Chief Engineer. Candidate should have experience
with VHF transmitters, microwave equipment, all studio related and ENG equipment. Position requires an individual with
management skills as well as strong hands
on capability. Major responsibilities will include managing and involvement in the
daily repair and maintenance of studio/
transmitter, maintaining operating budgets, capital project implementation and
maintenance of a 40 foot production truck.
Salary is commensurate with experience.
Send cover letter and resume' to Rick
Stolpe, Nexstar Broadcasting, Inc., 62
South Franklin St., Wilkes- Barre, PA 18702
Broadcast Engineering
197
Help Wanted
TheHome
Sqpp»g
The Company Everyone's Watching.
Its all happening at America's premier electronic retailer and you can be a part of it! Home Shopping Network
can offer you more growth, opportunity, and all -out excitement in one of the most dynamic and exhilarating
work environments at our headquarters in St. Petersburg, Florida. Come to where the action is and really go
places!
UPLINK BROADCAST ENGINEER
The successful candidate will be responsible for the maintenance and repair of satellite transmission equipment,
both C band and Ku band. The position also includes the related audio, video, fiber optic, and subcarrier equipment
involved in transmitting to two full -time networks plus occasional feeds. Must have the ability to quickly problem
solve, diagnose and resolve system problems during live broadcast operations.
Requirements include an AS in electronics or equivalent combination of training /experience. Military experience in
satellite communications may substitute; and 2-3 years experience in broadcast engineering or RF communications.
Knowledge of satellite, microwave truck or remote broadcasting is a plus. SBE Broadcasting Engineer certification
or FCC general class license preferred. Must have a knowledge of Microsoft Windows and Microsoft Office.
Communications and team work is necessary, as well as a flexibility to work a variety of shifts.
BROADCAST ENGINEER
The candidate will be responsible for installation, maintenance, and repair of state-of-the-art-television equipment
that supports four live broadcast studios. Engineering knowledge of routers, switchers, videotape machines,
mixing consoles, and cameras are essential. The position requires that the candidate troubleshoots broadcast and
studio equipment down to the component level.
Requirements include a minimum of 3 years experience troubleshooting Broadcast and Studio equipment, as well
as experience with a blend of digital and analog equipment. SBE or FCC license a plus. Excellent problem solving
skills in a fast -paced environment, flexibility to work different shifts, the ability to handle responsibility and work as
a team player are also required.
Our employees enjoy an excellent benefits package which includes health/dental/vision, 401K, and employee
discounts. For consideration, please forward your resume, including salary history, to: Home Shopping Network,
Attn: Human Resources, 1 HSN Drive, St. Petersburg, FL 33729; Fax: (727) 872-6556; E -mail:
[email protected] For additional information, please call (800) 688-7007. We are an equal opportunity employer, M/F /DN. Please visit www.hsn.com.
KRIV FOX 26 in Houston has an immediate
opening for an Asst. Chief Engineer - Responsibilities include: supervise technical
operations of the station, design, construct
transmitter and studio facilities, monitor applicable budgets and direct supervision of
maintenance department. Assist the VP of
Engineering in all areas including OSHA and
FCC compliance requirements. Requires a
bachelor's degree or equivalent experience
in a related field prefer 3-5 years engineering
management experience. Must have proven
leadership skills including ability to face
problems with confidence and assurance;
demonstrated commitment to (written and
verbal) communications that promote
teamwork and cooperation; excellent planning and organizational skills. Hands on
experience with Windows, Louth Automation, Digital Environment, Norvell networking or other networking technical skills preferred. Send resume and salary history to
Recruitment, KRIV FOX 26, P.O. Box 22810,
Houston, TX 77227. EOE/M /F/D/V
198
Broadcast Enginssssring
CHIEF ENGINEER: KPTM is currently accepting applications for a Chief Engineer.
The successful candidate should have
previous Television Chief Engineer or Assistant Chief Engineer experience and
must be able to effectively lead a staff of
fifteen. The candidate must also be able
to effectively coordinate all operations
within the stations as well as maintain FCC
and Pappas Telecasting technical standards. Responsibilities include maintaining two UHF transmitters, two UHF trans-
lators, studio equipment, computers,
building equipment and proprietary
broadcast hardware and software. We are
working with a state of the art broadcast
automation system, controlling multiple
television stations. If your experience
qualifies you for this opportunity, please
send your resume to: KPTM ATTENTION:
PERSONNEL, 4625 FARNAM STREET,
OMAHA, NEBRASKA 68132. No phone calls
please. KPTM is an equal opportunity
employer. M /F /H.
2000
Junewww.americanradiohistory.com
C) LEITCH
PRODUCT MANAGER
Burbank -based high -tech
broadcast equipment mfg. company
seeks Product Manager to be responsible for the development, coordination, marketing and introduction of
new video transport product for
servers and related web streaming
products over an IP network layer
and mgmt. through lifecycle.
Resp. include develop product -mktg.
plans and strategies, Budgeting,
inventory control, public relations,
research & competitive analysis.
Must have a minimum of 10 years
exp. in this field & an undergraduate
degree in Engineering (or equiv.
real -world knowledge /exp.) A
working knowledge and exp. with
Broadcast Video over Internet, ATM,
Telco, and optical networks, ATSC
and DVB Digital Broadcasting
standards, as well as MPEG
compression systems is required.
Mail resume /salary
requirements to FIR -PM, 4400
Vanowen Street, Burbank, CA
91505, Fax 818- 842 -8945 or
E -Mail to hr.asc @leitch.com
VIDEO /AUDIO ENGINEER: Innovative, a
premier Indianapolis based production
and design house has an opening for an
energetic electronic engineer. This
position entails facility-wide support
and repair of professional video and
audio equipment to component level
including DigiBeta, D2, Beta SP, Digital
component switchers, DDR's, CMX
editors, Discreet Smoke, Jaleo, Avid
Media Composer and Media 100. Mac OS
and UNIX is preferred. Three years
minimum experience. Excellent salary
with full benefits. This is an opportunity
for some enthusiastic person to help
control the direction and future of a
fast- growing facility and to work with a
group of creative people that like to
have fun! Contact Information Please
send
resume to: Innovative Attn:
1435
North
Personnel Department,
Meridian Street, Indianapolis, IN 46202
Phone: (317) 686 -6086 Fax: (317) 6866096 Email: [email protected]
Help Wanted
MAINTENANCE ENGINEER - WDEF-TV
Affiliate), a Media General Broadcast
i3roup station is searching for an individual
with a minimum of 2 years experience in
: elevision broadcast equipment. This includes installation, setup testing, repair and
maintenance of television broadcast equipment and computers. Applicant must be
skilled in computer operations. Computer
repair and TCP/TP networking experience
helpful, SBE certification or a FCC General
Class License is a plus. Send resume to a:
Senior Systems Test Technician
(CBS
Human Resources Dept., 3300 Broad Street,
Chattanooga, TN 37408. EOE, M /F, Drug
Screening. No phone calls, please.
MAINTENANCE ENGINEER Immediate
opening for an experienced broadcast
Engineer. Must have a minimum of 2 years
experience in broadcast maintenance,
including systems trouble-shooting and
repair of studio video and audio
equipment to the component level.
Computer and networking experience a
plus. FCC General Class License or SBE
Certification is desired. Excellent wage/
benefit program. Respond with resume to
Personnel Administrator- 139, WTOL-TV,
P.O. Box 1111, Toledo, Ohio 43699-1111.
No phone calls. EOE.
BROADCAST TECHNICIAN: AT &T Cable
Services is looking for an experienced
Broadcast Technician to support its local
news, commercial production, and remote
production groups. Applicant must be able
to perform maintenance and repair on all
types of professional A/V equipment including Sony Beta and Panasonic DVC -PRO cameras and VTRs. Qualifications also include
years experience with professional
switchers, non-linear editors, still stores,
and various types of CG systems. Macintosh
and PC repair experience is also desired.
Associates Degree in electronics or equivalent technical or military training required.
FCC general license or SBE certification a
plus. Qualified candidates please send resume to or apply at: AT&T Cable Service,
Attn: Human Resources, 400 Riverfront
Drive, Reading, PA 19602. EEO /AA Employer M/F/D/V
3
DIRECTOR OF ENGINEERING: Director of Engineering - Curtis Media Group, with 15 stations in the Raleigh / Durham / Chapel Hill
TSA, has an opportunity for an experienced
professional. We need someone with good business sense as well as effective administrative,
le adership, and communications skills. 50KW
AM experience and familiarity with digital automation systems are a plus. Please contact
u.,: Curtis Media Group, 3012 Highwoods Blvd.,
Box E, Raleigh, NC 27604. E.O.E
Wolf Coach, Inc. supplies communications
vehicles to the television industry. If you're
watching a live news shot on your local or national
"evening news ", chances are one of our news
vans or satellite trucks is behind the camera. We're the clear innovative leader in this industry,
setting the standard for quality, appearance and dependability in mobile broadcast systems, and
our vehicles perform daily throughout the country and around the world. We are also a valued
supplier of communications platforms to various government agencies.
you're interested in pretty much doing the same thing day in and day out, then this is NOT the
company for you. We ARE different. Our business is extremely interesting, we have great
If
customers and we have GREAT employees. If you want a dynamic, challenging, exciting and
fun place to work, and you have the qualifications we're looking for, then we should talk.
Wolf Coach is looking to fill the position of Senior Systems Test Technician. Individuals applying
should have a strong background in Broadcast Maintenance Engineering. Qualified applicants
will need a working knowledge of Ku -Band satellite transmit and receive systems including
amplifiers, converters, waveguide, satellite antennas and terrestrial 2 and 7 GHz microwave
equipment. Applicants should also have an extensive background in analog and digital video,
audio and communications. Requirements include the ability to complete proof-of- performance
testing on newly installed systems without supervision, including setup of all equipment including
levels, timing, and phase. All applicants will need to show a working knowledge of test
equipment such as a spectrum analyzer and TEK VM -700. Attention to detail in this position is a
must. Knowledge of AutoCAD and a general FCC license is a plus.
This is not "just another company", so if you're a solid Broadcast professional, please don't
overlook this ad. If you're not lust another employee ", then I'd very much like to hear from you.
Please send information to: Jim Wolf, VP Operations, 7 "B" Street, Auburn, MA 01501 or email
to: [email protected]
Fox Sports Net Regional News is currently seeking experienced professionals
to join our team. The following positions are available:
NETWORK OPERATIONS SUPERVISOR
Individual will oversee all the Network Operations Center day -to -day activities
including scheduling coordinators, reviewing daily status reports and monitoring network activity. Will also troubleshoot regional equipment problems and be
a part of the support group for all regional users of the network. A Bachelor's
degree in Computer Science or broadcast background preferred. Requires knowledge of basic computer networks; strong organizational skills; ability to work in
a fast -paced, live television, news environment. Broadcast news or traffic experience is a real plus. Individual should also have strong television technical skills
in addition to familiarity with standard traffic procedures for reserving and
scheduling broadcast transmissions on satellite and terrestrial networks.
(Code: JH /NOS)
NETWORK OPERATIONS COORDINATOR
Individual will take and execute reservations on the Fox Video Network; monitor
status and condition of the Network and its components; book audio and video
circuits on traditional broadcast networks, including satellite and terrestrial
fiber; confirm audio and video broadcast levels and signal integrity for live
and taped feeds. Requires strong computer skills; good trouble shooting ability
and ability to work in a fast -paced environment. Operational experience
with video and audio monitoring equipment and its proper use is beneficial.
(Code: JH /NOC)
We offer competitive salaries and excellent
benefits. For immediate consideration, please
submit your resume and salary history, including job code, to: Fox Channels Group, 1440
S. Sepulveda Blvd., Ste. 353, Los Angeles,
CA 90025: fax to: (310) 444 -8490; email:
jobs @foxsports.net. NO PHONE CALLS.
PLEASE. EOE.
June 2000
www.americanradiohistory.com
I
1).v.
SPORTS NET
Broadcast Engineering
199
Classifieds
Place your
ENGINEERS
business on
Turner Broadcasting System has career
opportunitiesfor experienced television en-
world with
gineers. These career positions demand an
extensive background in equipment maintenance, digital video and audio, and
knowledge of computer systems and networks. Please mail or fax your resume and
cover letter to:
Jim Brown
Assistant Vice President of Engineering
Services
Turner Broadcasting System, Inc.
One CNN Center
P.O. Box 105366
Atlanta, GA 30348 -5366
Fax: 404-827 -1835
TBS is an
THE
top of the
Employer Paid Fees.
20 Years personalized &
confidential service.
All USA States & Canada
35,000+
worldwide
circulation!
Advertise in
Broadcast
Engineering!
Phone: 404 -827-1638
equal opportunity employer.
WORLD'S NEWS LEADER
dcost Engineering
for
web site
career opportunities!
k
WE PLACE ENGINEERS
and Mfg. Sales/Marketing
.
www.broadca*tengineering.com
Position Available at the Hayden
Planetarium NYC
We are seeking Senior and Assistant level engineering staff to perform
maintenance in the Hayden Planetarium in New York City. This is the world's
largest flight simulator and display device. If you like Astronomy, HD hardware
& computers, this is the place.
Candidates must be computer literate, have wiring and construction skills, be
comfortable with the use of bench scopes and test equipment. Broadcast, video
post production or audio experience essential.
Please fax resumes to Director of Engineering RCES (212) 496-3555 or email
to sorem @amnh.org
MAIL
&
FAX:
KEYSTONE INT'L., INC.
Dime Bank
.
49 S. Main St..
Phone (570) 655 -7143
Pittston, PA 18640 USA
Fax (570) 654 -5765
website: keystoneint.com
We respond to all
Employee & Employer Inquiries
ALAN CORNISH / MARK KELLY
,a
MAINTENANCE ENGINEER Telemundo/
KSTS -TV, San Jose, California, is seeking qualified applicants for the position of as Maintenance Engineer. Applicant should possess
strong broadcast equipment maintenance. RF/
UHF transmitter experience a plus. We are
seeking a strong team player who requires
minimal supervision, possesses good communication skills, and displays the ability to grow
and learn new technologies. Telemundo offers
a competitive salary and excellent benefits.
Submit a detailed resume to: Carlos Quevedo,
Chief Engineer, Telemundo of Northern California, Inc., 2349 Bering Drive, San Jose, California 95131. Telemundo is an Equal Opportunity Employer.
BROADCAST MAINTENANCE ENGINEER:
Digital Generation Systems is currently
interviewing Broadcast Engineers for the
companies NYC and Louisville, KY
facilities. Position requires experience
with multiple tape formats and must be
capable of troubleshooting to component
level. Engineering degree or related
experience necessary. For immediate
consideration, please mail, fax or e-mail
with
salary
your
resume
along
requirements to: Digital Generation
Systems 219 East 44'h Street, New York,
NY 10017 Att: Joseph Ashton, Fax 2125473987, e-mail [email protected]
WMDN/WGBC is seeking a hands-on Assistant Chief Engineer, 3 years experience in
broadcast maintenance, including systems
troubleshooting and repair of studio equipment to the component level. Hands -on
knowledge of UHF transmitters move you
to head of line. Computer and networking
knowledge a plus. This is a full -time, hands on position. FCC and/or SBE certification
desired. Salary commensurate with
experience. EOE. Send resume to:
Chief Engineer, WMDN /WGBC, 1151
Crestview Circle, Meridian, MS 39301.
engineeringt1tv2430.com fax 601-693 -7126
200
Broadcast Engineering
June 2000
www.americanradiohistory.com
Broadcast
ENGINEERING
Page
Number
Accom Inc.
ADC Broadcast
ADC Broadcast
Adherent
17
62-63
145
51
Agilevrion
159
176
164
28
65
AIA Video
Analog Way
Andrew Corp.
Angenieux
Anton /Ilauer
Audio- Technica
101
91
Azden Corp
BARCC Comm
117
179
196
Beck Asociates
196
Benchmark Media
189
B &H Fhoto-Video
190-193
Boland Comm.
108
The Broadcast Store
195
Broadrat Supply Worldwide
167
Broadust Videò Systems
164
Calrec Audio
69
Canon USA
26-27
Capitol Technologies
182
Clear-Corn Intercom
125
ComnvScope
1 47,1 82
Communications Spec
169
CPI /Eimac
103
Datatel:
165
B & B
Systems
Dielectric
Digibid com
171
195
Digital Media Net
Digital Media Net
Digital Media Net
Discreet Logic
129
181
Labs
23
34
187
Enseo.
172,182
188
59
196
157
143
122
155
25
Fujinon
Grass N.alley Group
76 800-726-4266
125
183 ... 609-514-4030
197 ... 530-274-2048
184 ... 331-644-7141
115 ... 708-349-3300
130... 201-812-3858
143 ... 800-422-3473
330.686-2600
1
160
199
225
224
213
222
818-551-5858
800-426-8434
905-7641584
191
189
133
114
205
165
200
5149547207
109
408-944-6700
415-645-5000
141
112
800-606-371-5533
2 88-8606
207
888-478-2687
194210
201
128
223
182
175
163
408-297-2700
916859-2500
185
135
131,166
124
310-322-2136
905-335-3700
714-491-1500
800-551-0121
181
206
204
127,140
49
800.982-1708
516-273-0404
650.592-1221
800.882-9100
207-655-4555
301-571-0790
714-024.6100
714-024-6100
714-424-6100
190
193
221
187
74
Click
.
192
152
9
Inscriber Technology
+142-2842159
800-321-0388
202-723-2278
510-496-6666
177,204
3
Industry
212-239.7500
949-367-9911
Harris
Henry Engineering
i Electronics
Iegsirndu
.
155
Harris Corp/Broadcast Div.
as
516-328-7500
770-590-3600
818-551-5858
512-252-7555
800-262-4675
216217
113
104
105
LO
Number
Intertec Publishing
188,194
KFech Telecommunications
31
Leader Instruments
93
LeBlanc Broadcast
149
Lecroy Corp
175
Leitch Incorporated
43,182
Leitch Incorporated
204
Lighthouse Digital Sys.
114
Litton Electron
39
Marconi Applied Tech.
105
Maze!! Corp.
129
Miranda Technologies Inc
11
Modulation Sciences
177
Multidyyne
189
Northstar Tech. Serv.... 174,188
800-726-4266
..
516-253-9000
972-385-8902
800-998-3588
606-282.4800
650-843-3665
626-355-3656
305-477-0063
703-707-9094
201-368-9171
8163000323
800-363-3400
.
NOVA Systems
Odetics
Omneon
Open TV
Pesa
Switching
Play, Inc.
Seachange
Sencore
35 -38
45
53,137
57
94
128
89
21
135
121
Sigma
a Electronics
11
Snell & Wilcox
Sony
Sony Prof Tape
46 -47
71
67
113
115
Telecast Fiber Systems
Telemetrics
TeraNex
139
90
136
107
Thomcast
153
Tiernan Communications
13
Toshiba
151
Trompeter Electronics
22
Ultimatte
161
Utah Scientific
1 73,1 89
Videolek, Inc.
203
Vinten
123
Ward Beck Systems
102
Was,3elc Waxes Coltman .... 29
Wawiek Wardd Cdènam .. 119
Wegener Comm
141,188
Wheatstone Corporation
Windows to the Web
REPRINTS
(913)967 -1966
Fax: (913)967 -1901
EAST /MIDWEST
JAPAN
Orient Echo, inc.
Joanne Melton
1775 3roadway, Suite 730
New "ork, NY 10019
(2121 333 -4655
FAX: 212) 459 -0395
joann, _melton @intertec.com
Mashy Yoshikawa
1101 Grand Maison
Shimomiyabi -Cho 2 -18
Shinjuku -ku, Tokyo 162, Japan
(3) +81 3235-5961
FAX: (3) +81 3235 -5852
800645-5104
178
196 ... 800 -553 -2769
134139
2
.
800231 -9673
103 ... 800 -231 -9673
1
158 ... 888- 494-7300
118 .. 800- 861 -1 UHF
153 ... 914592 -6050
168 ... 800 -533-2836
106 ... 514-333 -1772
198 ... 800 -826 -2603
215 ... 8004TV -TEST
1E8,211
.
954-921 -5E68
140... 800. 358-NTSC
142 ... 800 -243-2001
119 ... 408- 558-2113
169 ... 650-429 -5547
800-528 -8601
170 ... 800- 328 -1008
303 -467 -2044
122 ... 604- 688.0202
172 .916631 -1865
12 7 ... 8W-447 -4714
121 ... 800 -421-0888
167
136 ... 415 -538-0123
110.. wwwsaddade
171...978-897-0100
162 ... 800- SEN-CORE
1 87 ... 717 -569 -2681
156
123 ... 408. 260.1000
1
4 -5
Tektronix
Jenny Eisele
800- 288 -8606
117 ... 818 -361 -2248
800. 472-SONY
109
Spectrasite
Standard Comm.
Switchcraft
Tadiran Scopus
Richard Woolley
Tony Chapman
P.O. Box 250
Banbury, Oxon 0X16 8YJ U.K.
+44 (0) 1295 278407
FAx: +44 (0) 1295 278408
[email protected]
IEE
7
133
Prolessional Comm Sys
ProTelevision Tech
RFS Broadcast
Rocket
etwork
Sachtler Corp
INTERNATIONAL
EAST
41
131
Philips Digital Networks
Pixelmetrix Corp
Duane Hefner
5236 Colodny Ave., Suite 108
Agouti Hills, CA 91301
(818) 707 -6476
FAX: 1318) 707 -2313
Josh Cordon
335 C urt Street, Suite #9
Brookyn, NY 11231
(718i 802-0488
FAX: 718) 522 -4751
118
96 -97
Panasonic Broadcast
WEST
[email protected]
Reader
Service Advertiser
Number
Hotline
Page
108.. 650-328-3818
33,61
99
y
Everà Microsystems
Extron Electronics
Fantoz.:i Company
Fischer Connectors
Folsom Research
Forecast Consoles
Advertiser
Number
Hotline
14 -15
D
p
DTV X000
ESE
Reader
Service
134
132
157
159
173
137
218
54
80
07
79
201-930-7081
770 -390-8959
... 310- 532.5300
... 773-792-2700
..
... 800-426-2200
... 508 -754-4858
... 201 -848 -9818
_407- 517 -1086
... 413 -569-0116
... 619- 587 -0252
... 800- 5508674
11 ... 800 -982 -2629
86 ... 818 -993 -8007
95.214 801. 5249999
800- 8W -5719
64...914-268-0100
02
44-151.41643&6550
16
61
317-788-9351
01 .. 252-
638-7000
178
CLASSIFIED ADVERTISING
OVERLAND PARK, KS
Brian Huber
P.O. Box 12901
Overland Park, KS 66282
(800) 896-9939
(913) 967 -1732
Fax: (913) 967 -1735
LIST RENTAL SERVICES
Lisa Majewski
9800 Metcalf
Overland Park, KS 66212 -2215
(913) 967 -1872
FAX: (913) 967 -1897
EDITORIAL
Brad Dick, Editor
Steve Epstein, Technical Editor
Jim Saladin, Senior Associate Editor
Patrick Murphy, Associate Editor
Laura Collins, Editorial Assistant
Tom Cook, Dir., Editorial Development
ARI
Darlene Wilson,
Art Director
TECHNICAL CONSULTANTS
Brad Gilmer, Computers & Networking
John H. Battison, P.E., Antennas /Radiation
Michael Robin, Digital Video
Donald L. Markley, Transmission Facilities
Harry C. Martin, Legal
Larry Bloomfield, News Technology Editor
Paul McGoldrick, Industry Watcher
BUSINESS
John Torrey, V.P. Entertainment Division
Dennis Triola, Group Publisher
Rachelle Thomas, Marketing Director
Kathy Lewis, Advertising Coordinator
Mary Mitchell, CJ-ssified Adv. Coordinator
Sherri Gronli, Corporate Circulation Director
Gayle Hutchens, Circulation Manager
INTERTEC Publishing
Cameron Bishop, President and CEO
Ron Wall, Chief Operating Officer
Stephanie Hanaway, Div. Dir. of Marketing
Doug Coonrod, Corporate Art Director
PRIMEDIA Business to Business Group
David G. Ferm, President /CEO
PRIMEDIA Inc.
Tom Rogers, Chairman and CEO
Charles McCurdy, President
Beverly C. Chell, Vice Chairman
MEMBER ORGANIZATIONS
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June 2000
Broadcast Engineering
201
DTV excuses moving right along
BY PAUL MCGOLDRICK
The
verbal slingshots being fired
between the senior representatives
of the NAB and the FCC during the
last part of NAB2000 were, at best,
unprofessional. The public arena, with
customers all around, is hardly the
place for games of one -upsmanship
over the future of DTV
I am having a terrible time avoiding
saying, "I told you so." But this column has pushed the simple fact that
small- and medium -size market stations will not be able to afford the
transition to DTV Broadcast TV in
small markets is not a license to print
money, even though the prices some
stations sell for might make you think
otherwise. I cannot believe the NAB
did not realize that as well, but it is
now used as an excuse to delay the
continued rollout of service.
As of today (and depending on
whose numbers you want to believe)
more than 60 percent of the country
has terrestrial DTV available to
them if they want to take advantage
of it. This presumes viewers know
why they are supposed to want it
and are willing to pay for it. That's
a pretty good percentage in terms of
possible viewers but a very small
percentage in terms of the number
of stations. Within a year we will
probably have reached the old 8020 rule point
in this case with 80
percent of the population being covered by 20 percent of the stations.
Getting the last 80 percent of stations
on the air with DTV signals leaves us
with a number of possibilities. The
FCC could relent and let those stations
stay analog but give up their free DTV
spectrum. Some sugar daddy could
come along and offer a way out for the
small stations with resulting consolidation in the whole industry. The
government could come out with an
interest -free upgrade loan. Or the in-
-
202
Broadcast Engineering
dustry could come up with
er ways of doing things.
a
lot cheap-
I think the last scenario will happen,
saving a number of the medium market- stations. Manufacturers who find
that they have emptied the purses of
the big players will want to continue
in business by making lower-cost ver-
small, hopeful group that
believes radio consolidation has come
to its final pattern after the consolidators were gobbled up by other consolidators. The hope of this group is that
competing delivery systems in the form
of satellite and the Internet will force
stations back down to a local level.
This is a group of
romantics; there is
no business sense
to it.
Why has it taken the NAB so
long to come up
with this excuse? Is part of its agenda
to help consolidation happen? It is
difficult to separate the genuine lobbying activities of the NAB from commercial slants in an industry where it
is simply not possible to protect all the
interests of all the members at the
same time. Those interests are too
diverse.
Hindsight is almost always 20/20,
and it would be nice to think that if we
had it to do all over again, we would
let market realities rather than regulations determine the future of smaller
market stations in this new digital
world. But promises have been made
by those stations, and they must find
their own individual financial solutions or technology compromises to
make things happen or take the consequences. We might not like that, but
that's how it is. The predicament that
was so obvious at the start of this
rollout cannot be allowed to be used
as an excuse to delay it.
There is
a
terrible time avoiding
saying, "I told you so."
I
am having a
sions of what they have already designed and built. Even if costs fell to
one -third of present equipment costs
across the board, the small market
stations would still be left out in the
analog cold.
The idea that the government will
save local TV stations with free loans
is not going to happen; we have seen
the NAB and NPR already do an end run around the FCC to get low -power
FM stations off the dial; that same
Congress will not fight for local TV
either.
What of the notion that staying analog is cool? That will simply not be
allowed. The FCC wants the old spectrum. It has to have the old spectrum.
It has all been pre -sold, and those
dollars are in the surplus numbers you
read about every week. These stations
promised to go with the program. No
matter how nasty it gets and how long
it takes, these stations will conform or
they will lose their licenses. Neither
the FCC nor stations has any choice in
the matter.
So, we come full circle to consolidation, just as radio did. Imagine local
transmissions all emanating out of a
Paul McGoldrick is an industry consultant
based on the West Coast.
centralized satellite antenna farm.
Hardly local, hardly community
friendly.
June 2000
www.americanradiohistory.com
Send questions and comments to:
paul mcgoldrick @intertec.com
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