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2004.
VOLUME 46
NUMBER 6
THE JOURNAL OF DIGITAL TE
Engineering
FEATURES
46 Automation for multichannel
broadcasting
By Jim Boston and Mark Brown
The multichannel broadcasting landscape could be
radically different in a few years.
54 NAB Replay
By BE staff
Happier days are here again. Top products and detailed
coverage from this year's NAB.
58 Pick Hits
By Don Keller
A panel of independent judges bestows awards on
some of the best products displayed at NAB2004.
52 New tools
By BE staff
A comprehensive wrap-up by industry experts helps
put the show in perspective.
52 Product jackpot
By BE staff
This year's lineup includes products for applications from
acquisition to post production.
ON THE COVER:
BEYOND THE HEADLINES
QCK he),
u
3roadcastEngineering
14
2004
nloa
Real convergence
FCC Update
20
Each of the three HD
studios in ESPN's new
digital center has its
own production control
room equipped with a
Grass Valley Kalypso
HD switcher. Photo by
Andy Washnik.
The push for DTV conversion
DIGITAL HANDBOOK
Transition to Digital
22
Composite digital video
28
SAN and NAS: A practical guide
Production Clips
32
6
Audio consoles
broadcastengineering.com
(continued on page
8)
JUNE 2004
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JUNE
2004
VOLUME 46
NUMBER 6
THE JOURNAL OF DIGITAL
T
Engineering
SYSTEMS DESIGN
& INTEGRATION
Systems Design Showcase
36
"SportsCenter begins
ESPN's
HD
production
Transmission & Distribution
42
Digital STLs
Freezeframe
ndamental
BROaDenGlneerfinGCaST
-+-Third harmonic
NEW PRODUCTS
6cClUsne.
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$c REVIEWS
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Lieellif.:,
Technology in Transition
125
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150
200
250
300
3.
1
106
Format conversion
feet
Laying claim to being the
first true broadcast video
108
4sight's HRM-1500
DEPARTMENTS
......._....
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IadcastEngineering
10
Editorial
12
Reader Feedback
109
Classifieds
113
Advertisers Index
114
EOM
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server isn't easy. In fact, no
less than 12 "video
serverlike products" were
first introduced at the same
NAB. In what year were
these 12 server products
introduced? Correct erbtries
will be eligible for a drawing
of Broadcast EngineeringTshirts. Enter by e-mail. Title
your entry "FreezeframeJune" in the subject fiald
and send it to:
[email protected]
Correct answers received
by Aug. 1, 2004, are a igible
to win.
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Hollywood
obsoletes six million
HDTV sets
-
Once you reach 50, your eyeballs see things
often, a fuzzy light. Now,
in a new light
with Hollywood's and the FCC's help,
everything you see on your new HDTV set may get
fuzzy too.
While the FCC recently prohibited cable and satellite providers from down-rezzing OTA broadcast programming, the commission has not been so kind regarding non -broadcast programming. This leaves open
a viewer's disaster for high-def networks, such as HBO
HD, Showtime HD and Cinemax HD.
The facts are that MPAA and its minions have never
submitted any evidence that any analog HD content
has ever been transmitted over the Internet. Valenti
and his lapdogs cannot produce one iota of evidence
that there is or would ever be an analog hole allowing
so-called high -value content to flow from those YPrPb
jacks directly onto the Internet. Their argument of an
analog hole is totally specious.
Somehow, I just don't believe that anyone is going to
lock up his or her Internet connection for a couple of
days to download the latest HD movie. And, no matter how fast broadband gets, 10- to 20Mb/s isn't going
to happen during the life of today's HDTV sets.
can already hear you WM9 and MPEG-4 advocates
... new compression is just around the
comer and someday it won't take such bandwidth to send
these signals." My response is that, for consumers, those
yes, years -away. By
compression schemes are years
the time that WM9 or MPEG-4 are doing HD on your
desktop, today's HDTV sets will have been long dead.
Today's six million HDTV-equipped homes represent
the early adopters, like myself, who believed in HD. We
put our money on the line when this entire industry
and the FCC was pleading for someone to invest in HD.
Well, we did invest in HDTV and effectively launched
an entire new class of service, benefiting consumers,
electronics manufacturers and broadcasters.
I call on Chairman Powell to marshal his fellow commissioners and protect the American consumer. Chairman,
you asked the American public to believe in DTV, and the
six million HDTV sets we bought prove that we did. We've
supported the U.S. transition to DTV with our money,
and we must not be penalized for that investment.
Protect American HDTV investment by prohibiting
the down-rezzing of content on nonbroadcast cable
and satellite channels, just as you've done for broadcaster signals. Americans deserve nothing less.
Yes, I
saying, "But, but
-
You see, Hollywood is threatening to withhold what it
calls "high -value content" unless these and other net-
works down-rez their programming on analog interfaces. The threat came from retiring Motion Picture Association of America (MPAA) president Jack Valenti,
"The perpetual availability of content over unprotected
high-definition analog outputs is not an option;" he said.
Hollywood claims that all those analog inputs on
today's HDTV sets represent gateways for the illegal
distribution of movies onto the Internet. The MPAA's
goal is to force us early adopters to buy new TV sets
with built-in DVI and HDCP interfaces to plug the
so-called "analog hole." I say, "What hole?"
Send
comments to:
[email protected]
10 broadcastengineering.com
editorial director
www.broadcastengineering.com
JUNE 2004
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Measuring SDI
To the editor,
While reading your magazine, I was
impressed with the high level of
knowledge people such as Michael
Robin have in regards to new technologies. I remember that EIA/TIA
250-C was clear on how to measure
the video and audio signals after a
long -haul or short -haul transmission
path. Now that video compression
techniques such as MPEG-2 are currently used to transmit the digital
audio-visual signal from point A to
point Z, the use of EIA/TIA 250-C is
no longer valid. This is mainly because the interfaces are now bit -serial digital video and audio as per
SMPTE 259M -C and SMPTE 272M.
Does it make sense to measure the
SDI signal at the output of the
MPEG-2 decoder? Would the MPEG2 decoder `create' a brand-new SDI
stream? How do we measure transmission-path problems at video level
(SDI) over MPEG-2 networks? Is it
only possible to check TR 101 290 at
the DVB-ASI level? These questions
have been around our facility for
some time now, and nobody seems
to know the answer.
RUBEN
12
Eduardo Gudis of Videotek responds:
It makes sense to measure SDI signals on the output of an MPEG decoder, but you should look at MPEG2 encoding/decoding errors, such as
macroblocking, frame dropping and
audio -video lip -sync. The MPEG-2
decoder should in theory replicate
what was fed into the MPEG-2 encoder at the source. But, because
MPEG is a compression algorithm,
that isn't always the case.
Transmission -path problems can
cause timing errors when MPEG-2
packets arrive and that causes PCR jitter. If too much PCR jitter is present
at the decoder end, it may lose its ability to lock to the video/audio signals
of a specific program present on the
MPEG stream. At the DVB-ASI level,
the TR 101 290 defines the important
measurements, including PCR jitter.
Economic patriotism
Mr. McGoldrick,
Thank you for the editorial "Cutting
Corners" in the February issue. I agree
with you, and your article reminds me
of an old saying, the gist of which is
"penny-wise
pound-foolish." I also
coined the rhetorical question, "Do
you know how many people die each
day because someone assumed something?"
Ironically, in this same issue is a
quote from Glen Sakata, director of
sales for Harmonic, which says in essence, "Why employ 20 people when
automation can replace 18 of them?"
While I do not advocate returning to
the days of one tech for each piece of
equipment the station owns, I like
what one former presidential candidate said: "There needs to be an economic patriotism in this country. If
you can still make a profit, keep your
shareholders happy and save some
-
bring us to the point where master
control and ingest operations will be
farmed out to a company overseas that
can hire techs for far less than the
kingly sum of $7 that most U.S. nonunion stations pay.
CxARf.fE FARR
Paul McGoldrick responds:
I love the idea of "economic patriotism"! Watching the export of technical jobs just to make a marginal difference to the bottom line is depressing. Although I'm sure you're right
that master control could be run from
somewhere like India, one would hope
that owners will realize that the security of their operations is as important as continuity switching. One can
imagine the FCC's reaction to hackers hijacking ABC.
I
read an interview with Marc
Andressen in which he said that the
history of U.S. business is to replace
jobs with new industries and opportunities. That has always happened, he
said. He couldn't say what those new
opportunities would be or how people
could be trained for them. But it would
be nice to think that he was right. BE
February Freezeframe:
Q. Name the nonlinear AV workstation introduced by Panasonic at the
1995 NAB.
A. The Panasonic WJ-MX1000
Postbox
Winners:
Tim Costley
Guy St -Arnauld
Bobby Saggu
Test your knowledge!
jobs, more American companies
See the rreezefranne question of the
month on page 8 and enter to win
ought to consider doing that?' My prediction is that one day technology will
Send answers to [email protected]
broadcastengineering.com
a
Broadcast Engineering T-shirt.
JUNE 2004
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Dowiload
Real
convergence
BY CRAIG BIRKMAIER
The annual NAB conference
in Las Vegas is advertised as
the world's largest electronic
media show. To accommodate all of
the new technologies that have been
converging during the past decade to
create and distribute electronic media,
the NAB expanded the show to include the multimedia world.
While the NAB has been officially
promoting convergence, for most of
the past decade the multimedia world
exibits were segregated from the
broadcasting exhibits and inconveniently located in the Sands Convention Center. Now that the Las Vegas
Convention Center (LVCC) has expanded, the multimedia world exhibits have gradually been integrated into
the NAB mainstream.
This past April, as I walked into the
lower level of the LVCC South Hall
the hall that the NAB calls multime-
-
-
I could not help but
dia exhibits
feel that the much -ballyhooed convergence was finally happening.
Apple and Avid dominated the entrance to the lower level of the south
hall, much as they have come to dominate the new landscape of digital media. Farther into the hall you could find
Adobe and Discreet Logic. Together,
these companies now command the
markets for tools used to create TV,
video and film. Thanks to convergence,
the concept of digital motion imaging
is being devoured just as the world of
digital audio was a decade ago.
The myth of convergence
The caassic myth of convergence is that
the worlds of television and personal
computingwould become one, and that
®
and use their PCs while watching
everyone would surf the Web on their
TVs or watch TV on their PCs.
But the TV has traditionally been a
device viewed passively at a distance.
This has become known as the lean back viewing experience. TVs, especially the big screens in the family
room, are often viewed by groups of
people. Interactivity has been limited
to the remote control; efforts to make
the TV viewing experience more interactive have largely been met with
disapointment. This may change, but
the big -screen TV in the family room
er o professionals using wireless Internet
E
12.2
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"
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2003
2007
SOURCE: Gartner estimates and projections
14
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cases to put a TV in the same room with
the PC. As the average screen size of a
PC increases, however, it is becoming
more practical to use this relatively expensive digital -media appliance as a
PC, TV and stereo.
The classic definition of convergence
misses an important point. With a
myriad of choices in cheap consumer electronics gear, consumers have become accustomed to buying purposebuilt devices. People are more interested in having these devices share
their media content, and consumers
tend to choose appliances that are appropriate for the venues in which they
will use them.
The reality of convergence
12
Ç
N
individuals. This has become known
as the lean-forward viewing experience.
Studies suggest that millions of people
multitask and use their PCs while
watching TV. Many people have
equipped their PCs with TV tuners, but
it is both easier and cheaper in most
Studies suggest that millions of people multitask
access is increasing
y
0
will likely continue to be used primarily for the lean -back viewing experience.
The PC has traditionally been a device used up -close and interactively, by
www.3gartner corn
The unreality of convergence for the
past decade has been due more to political concerns than technical limitations. We are experiencing a classic
technology shift, and it is shaking the
foundations of several media industries. These industries are converging
around a new reality: Virtually all forms
of media can be represented as bits.
In the legacy analog world, media
and the appliances people used to
JUNE 2004
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consume them were tightly coupled.
In the new digital world, media are
files, and the ability to use these files
is more dependent on software than
the underlying hardware that executes
the programs and algorithms. Over
the past two decades, there has been a
relentless progression as all things
digital consume one medium after another. The typewriter gave way to the
word processor and the artist's pasteup board gave way to desktop publishing. Audio was consumed next, and
SD video was swallowed up by the end
of the last decade. Now it is HD video's
turn. This progression will soon take
over the world of film as well.
The reality of convergence has more
to do with the underlying technologies for creating, distributing and
viewing all forms of digital media
content than the classic definition
implies. Figure 1 shows that the applications are not converging. Instead, the technologies that support
these applications are converging.
The venerable CRT display is finally
reaching its end of life. In the past
year, major manufacturers of CRT
displays have announced that they are
shifting investment to next -generation display technologies, including
LCD and plasma panels, and LCD,
DLP and LCOS projection systems.
All of these displays have individually addressable pixels that create image rasters nearly free of the geomet-
1II11
11RKlll
uncompressed video systems. And, as
HD production became a priority,
cheap IT technology became a solution.
A prime example of how this avalanche of bit -processing power is impacting the future of digital media production can be found in the Panasonic
P2 product line introduced at NAB2003.
Based on Panasonic's SD memory -card
technology, P2 camcorders will capture
images directly to memory cards or to
ric distortions common with scanning CRT displays. All of these displays have the ability to present both
Nyquist-filtered imagery (video, film
and digital photos) and the unfiltered
imagery common to many computing applications, including the ubiquitous Web browser.
This past December, these new dis- cheap hard disks using an IEEE 1394
play technologies beHigh -resolution
gan to outsell CRT display technology
based direct -view and
projection sets in the
rapidly growing home
Convergence
theater/HDTV product
segment. While cheap,
Cheap IT-based
High -resolution
CRT -based TVs still
digital processing
image acquisition
dominate the market,
the era of the CRT is Figure 1. There are three important areas of techclearly drawing to a nology that are facilitating the real convergence
is transforming the landscape of digital meclose. With it, one of the that
dia. Perhaps the most important is high -resolution
last barriers to real con- display technology. The most powerful force is
cheap IT-based digital processing components.The
vergence is crumbling.
The increasing speed most elusive is high -resolution image acquisition.
and/or storage capacity of cheap com- cable. The first SD P2 camcorder is now
ponents used in the IT-industry con- shipping, and Panasonic showed a
tinues to devour applications that place mock-up of an HD P2 camcorder at
heavy demands on digital media, in- NAB this year. Figure 2 on page 18
cluding high -resolution motion imag- shows how these P2 products willbe able
ing. Compression -based desktop video to leverage the geometric progression in
systems soon gave way to storage capacity over their useful life.
Award -Winning
H
o.tîo.
(_zto.i2llk-s
Real-time SD and/or HD CG
Layering mixer with SD output
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;
The ability to acquire high -resolution
imagery continues to be the most elusive barrier to convergence. This is
largely due to the fact that the core technologies are not being driven by the
same geometric progression that is influencing all things digital. Cameras are,
by nature, analog; they capture photons, not bits. The CCD sensors used
in virtually all HD cameras today are
analog devices devices that are nearing
their practical limits in terms of resolution versus SNR performance. There
are signs that the HD acquisition problem may be yielding to other technical
innovations. Perhaps the most promising is a new generation of high resolution CMOS image sensors that
overcome some of the limitations of
CCDs. These sensors take advantage of
many of the chip -level manufacturing
techniques that drive the relentless
progression in CPU- and memory chip performance.
HD
for everyone
Apple has been riding the IT -performance curve through its support
for the compression codecs used in
Panasonic's DVCPRO products. DV 25 and DV-50 software codecs were
introduced over the past two years.
At this year's NAB, the companies
introduced the DVCPRO HD codec
(100Mb/s), which can support
Panasonic's 1080i and 720p Varicam
products.
At the Panasonic press conference,
vice president of marketing Stewart
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f>
¡¿,
(9;
/
SALZBRENNER
STAGETEC
MEDIAGROOP
English plugged an Apple Powerbook
into a Panasonic DLP projector and
played a three -minute infomercial at
full 720p resolution.
HD has been devoured. Soon, digital
media professionals will look upon the
soft, fuzzy images of interlaced SD video
just as people looked at those jerky, postage -stamp QuickTime movies a decade
ago. HD is about to become the new
currency of motion imaging.
BE
Craig Birkmaier is a technology consultant
at Pcube Labs, and he hosts and mode&
ates the OpenDTV Forum.
SEND
Send questions and comments to:
[email protected]
18
broadcastengineering.com
JUNE 2004
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The
push
for DTV conversion
BY HARRY
C.
MARTIN
Recent actions by the FCC
and Congress may spur a
speedier conversion to
digital television service.
The Communications Act now requires that all broadcast stations convert to digital, and the spectrum presently occupied by NTSC TV channels
52 to 69 be returned to the FCC to be
auctioned for use by other services.
The deadline set by Congress for the
completion of this conversion process
is Dec. 31, 2006, or when 85 percent
of the households in a television market are capable of receiving digital television service.
The Media Bureau's DTV Task Force
proposed that the 85 percent penetration level be met by counting the delivery of digital service by cable and
satellite services. The focus would not
be on the actual coverage of digital
OTA service, but on whether there is
a digital signal in viewers' households,
regardless of the delivery mechanism.
Viewers would be considered in the
85 percent if they convert the incoming digital signal with a set -top box
and retain their analog receivers.
Television broadcasters said that this
plan would eliminate the incentive for
consumers to purchase new digital
sets. Moreover, because consumers
would lose digital -quality signals when
they were downconverted for delivery
to analog television sets, programmers
would lack the incentive to create new
Dateline
August 1: Television stations in
North Carolina and South Carolina
must file their renewal applications,
ownership reports and EEO
program reports. Stations in
Florida, Puerto Rico and the Virgin
Islands must begin their prefiling
renewal announcements.
20
digital programming. This conversion jority of broadcast regulatory fees are
to digital could eliminate OTA service proposed to go up for 2004. The proto the 15 percent of the population posed fees, which would be due for
that does not have cable
Proposed FY2004 television station
or satellite service, or a
re' ulator fees
new digital television.
VHF TV
Congress is looking at
63,350
Markets to 10
different ways to encour41,450
Markets 11 to 25
age the conversion to
29,150
Markets 26 to 50
digital, most recently in
17,550
Markets 51 to 100
the context of the reau4050
Remaining markets
thorization of the Satel4650
1
lite Home Viewer Improvement Act. A draft of
the legislation contains a
proposal to permit satellite service providers to
bring distant network
signals into local markets
to fill in where local
broadcasters are not providing quality DTV service. The idea is that, because many digital television stations are operating at reduced power, the
threat of the carriage of
distant signals would give
Construction permits
UHF TV
17,775
16,175
Markets to 10
Markets 11 to 25
Markets 26 to 50
Markets 51 to 100
1
930C
5551
1650
Remaining markets
Construction permits
Satellite television stations
All markets
Construction permits
5675
1050
515
Proposed FY2004 regulatory fees for
miscellaneous broadcast -related
authorizations
Low -power TV, TV/FM translators/boosters 385
10
Broadcast auxiliary
200
Earth stations
broadcasters incentive to
build out their full digipayment in September, are set out in
tal facilities.
Broadcasters are blamed for the slow the table.
The winners under the proposed
conversion to DTV. But, the commission has not resolved the issue of digi- fees are commercial UHF TV permittal must -carry. And the FCC has yet to tees. Regulatory fees for UHF permits
set final DTV tuner/receiver standards will plummet by more than 30 percent
(from $8300 in 2003 to $5675 in
or settle critical copying issues.
2004). The losers will be commercial
UHF licensees in markets 11 to 25,
2004 regulatory fees
The commission has released its who are looking at an increase of more
Notice of Proposed Rulemaking on than 25 percent (from $12,875 in 2003
the assessment and collection of to $16,175) in 2004.
BE
regulatory fees for fiscal year 2004.
While the fees for some classes of li- Harry C. Martin is an attorney with Fletcher,
censes will actually be lower if the Heald & Hildreth PLC, Arlington, VA.
Send questions and comments to:
proposed 2004 fees are adopted, it
SEND
[email protected]
should surprise no one that the ma -
JUNE 2004
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Made in USA
toll'
Tran
Composite
digital video
BY MICHAEL ROBIN
long period of concept,
product and electronic
omponent development
resulted in a large number of application-specific digital black boxes operating at incompatible sample rates,
number of bits per sample and quantizing ranges. These products were
developed to fulfill specific production needs and were designed for analog composite video interconnection
compatible with the all -analog composite video production studios.
The composite digAmplitude
ital video format
constitutes a stepping stone toward
the all -digital vid-
Input signal
Number of samples per total line
Number of samples per active digital line
NTSC
Sampling frequency
4fsc =14.32818MHz
Sampling structure
Orthogonal
Sampling instant
+33°, +123°, +213°, +303°
Coding
Uniformly quantized
Quantizing resolution
8
910
768
or
10
Table 1. Summary of coding parameters for 4fsc
NTSC composite digital signals
A number of manufacturers devel-
oped such products identified as
D2 (Sony and Ampex) and D3
The sampling structure
The sampling frequency is equal
(Panasonic) digital videotape record-
to four times the subcarrier frequency
or 14.3181MHz
(14.32MHz nominal). The sampling
Nominal
NTSC
band pass
clock is derived from
the color burst of the
Sampling
Possible
bandpass
frequency
teleproduction
studio. In North
eo
analog signal. Figure 1 shows the sam-
I
America, there was
an initial interest
4fsc
5f
3fsc
fsc
2fsc
14.3MHz
7.16MHz
10.7MHz
3.58MHz
in composite digital
Nyquist
frequency
videotape recorders.
This had to do with
NTSC signal
the need to replace Figure 1. Spectrum of a 4fsc-sampled
the obsolescent analog composite ers. A wide range of compatible comvideotape recorders with digital vid- posite digital video studio -type proeotape recorders featuring analog in- duction equipment appeared on the
market subsequently. The SMPTE
put/output ports.
c
le
la
...
111111
1,
i
III
dropping
market
Digital terrestrial TV set top
., .-..
_.
.-;. box
.:..-..
Value o I
s
.
re
top
.#
1
2002
2003
2004
2005
SOURCE: In -stat
broadcastengineering.com
_..,
u ng
ml on
Lo end
22
bits per sample
244M standard defines
the characteristics of the
4fsc NTSC composite
digital signals as well as
the bit -parallel interconnect characteristics. The
digital signal aspects defined by the standard are
summarized in Table 1.
iä
Hi
end
2006
www instat. corn
11
pling spectrum of
Frequency
4fsc NTSC.
There is a signifi-
cant gap between
4.2MHz (the maxi-
mum
nominal
NTSC baseband frequency) and
7.16MHz (the Nyquist frequency).
The standard does not specify the
characteristics of the anti-aliasing and
reconstruction filters. The manufacturer has the choice of developing
complex and costly wideband brick wall ripple -free filters, resulting in an
extended frequency response, or moderate -cost 4.2MHz low-pass filters
with a gradual roll -off.
As a result, various 4fsc products
have different analog bandwidths.
Note that a digitally generated signal
fed directly to a digital 4fsc unit will
have an equivalent analog bandwidth
equal to f0c/2 = 7.16MHz. Severe
overshoot and ringing of the derived
analog composite signal may result
unless special precautions are taken
to ensure that digital blanking edges
JUNE 2004
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r
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e LEITCH.
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R -Y
.'1'.'A1ít=[[t:EaKa1[!
i tal
Tran N'tion to
axis
Chrominance
+90°
signal
A
axis
D
axis
1
+33°
__Y
+123°
33°
Burst phase
y
.
B -Y
+180°
0
axis
reference
Figure 2. Phase diagram showing the relationship between the chrominance vector
projections on the B-Y/R-Y axis system and
the I/13 axis system
developed with reference to the
original NTSC specifications that
used I/Q encoding instead of
4-
\1
!
1
i;
cutoff occurs at 4.2MHz, the
wider -bandwidth I signal is
transmitted with unequal
lower (-1.2MHz) and upper
(+0.6MHz) sidebands
(vestigial upper side -
coincide with peak positive and
negative amplitudes of the I
and Q subcarrier components.
The upper part of the drawing
shows that sampling instants
provide an adequate
representation
of the B-Y/R-Y
4fsc
,(
r
,
\
\
,
1
+180° +90°
-
Burst
locked
sine wave
\
+180°
I
+123'
T
Q
+33°
?
?
-I
-(1
+303° +213°
?
1
+123°
T
?
T
Q
-I
-Q
+33°
+303° +213°
Sampling instants
Figure 3. 4fsc sampling instants of an NTSC
composite analog signal
24
25.6
ns442
ns
Sync
leading
edge
50%
I
I
1
i
782 783 784 785 786
787
Sample
number
Horizontal
reference
Digital
blanking,
sample
intervals
142
Digital active line
< 768
sample intervals
(0-767)
(768-909)
`Total
line 910 sample intervals (0-909)
Figure 4. 4fsc NTSC sample numbering and
information.
horizontal sync relationship
Given a sampling
frequency fs = 14.3181 MHz ponent digital video, where the hori(nominally 14.32MHz) and zontal digital blanking interval is not
with the exception of two
used
a horizontal scanning fretiming reference signals
four
-word
quency fH = 15734.25 Hz,
4fsc digital signal car(TRS)
the
the number of samples per
sync and subcarrier
ries
horizontal
total line is equal to fs/fH =
well. The standard
as
line
burst
signals
910. The digital active
with
bit -parallel distriwas
designed
accommodates 768 samples
mind.
Bit
-serial signal disbution
in
The
(numbered 0 to 767).
in SMPTE
as
detailed
tribution,
142
samples
remaining
of
reorganization
the
259M,
requires
909)
768
to
(numbered
blanking
vertical
horizontal
and
horithe
digital
the
comprise
intervals.
zontal blanking interval.
Figure 6 on page 26 shows the locaFigure 4 depicts the
of the added five -word TRS
a
tion
for
numbering
sample
nominal NTSC signal. The (samples 790 to 794), as required by
half amplitude point of the SMPTE 259M. This leaves space for
leading (falling) edge of 55 ancillary data words (samples
the analog horizontal sync 795 to 849), which could be used for
-
0°
?
showing the location of some significant samples. Note that unlike corn -
that the sampling instants
`\,'"
B -Y
tal horizontal blanking interval,
decoding circuit complications
resulting in no visible picture
improvements.
As shown in Figure 3, the
NTSC 4fsc standard requires
practice. Figure 2 shows that any
chrominance vector can be represented by I/Q or B-Y/R-Y vectors. The
original intent of the NTSC standard
was to assign different bandwidths to
the I signal (1.2MHz) and to the Q
signal (0.6MHz), thus allowing for a
better resolution for the orange visual information.
i--`\,\,r
bandwidths. Because the
transmitter video frequency
signal falls between samples 784 and
785. The first of the 910 samples represents the first sample of the digital
active line and is designated sample
0 for the purpose of reference. The
910 samples per line are, therefore,
numbered 0 to 909.
Figure 5 on page 26 details the digi-
receivers were built because of
B-Y/R-Y encoding, as is the current
-Y-->
The I/Q-encoded NTSC signal can be decoded along the
I/Q axis, with equal or unequal
bandwidths, or the B-Y/R-Y
axis with equal (equiband)
band), unlike the
narrowband Q signal, which
is transmitted with equal
lower (-0.6MHz) and upper
(+0.6MHz) sidebands. Few
I/Q decoding monitors and
and rise times, compatible with the
analog waveforms, are included as an
integral part of the digital signal.
The SMPTE 244M standard was
R
e[!'liell
rI=
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ri
r
I
Start of digital
active video
End of digital
active videc
embedding four digital audio channels.
to 010 hexadecimal, and
top headroom, levels 972 to
1019 decimal or 3CC to
3FB hexadecimal.
The total headroom is on
the order of 1dB and allows for mis -adjusted or
drifting analog input signal levels. This reduces the
Horizontal
reference
The quantizing
range
-r^
-
Figure 7 shows the
relationship between
analog NTSC signal
levels and eight -bit
and 10 -bit sample values of a 100/7.5/100/
7.5 color bars signal.
The 10 -bit approach
767
782\.
50%
790-794
787
/
795-849
words
dard provides for a small
amount of bottom headroom
ANC data
55
words
(some call it foot-room), levels four to 16 decimal or 004
Figure 6. 4fsc NTSC horizontal sync period
details showing location ofTRS-ID and optional ancillary data
Analog
levels
8
10 sits
its
Hex Dec Hex
IRE
Dec
998.1
139.7
255
FF
992.9 139.0
254
FE
1019
934.3 130.8
243
F3
972
7143
200
C8
800
994.2 139.2
1023
3FF
1020
3FC
} Rese-ied range
3FB----------. _-.-----3CC
- ----
-
.
320
-
-
--..
-
.___ Highest quantized level
Headroom
--- -- - --- 100% chroma level
t
-
Setup
53.57
7.5
70.5
0
0
60
46.282
11A
240
OFD
3C
level`
---L
---------
Blanking
level
-285.7
-40
-300.7 -42.1
4
04
16
010
1
01
4
004
3
003
0
000
-302.3 -423
-306.1 -42.8
0
Figure
7.
26
00
Headroom
Sync tip level
Lowest quantized level
Reserved range
Relationship between analog signal levels and digital sample values
broadcastengineering.com
product featuring analog in/out interfaces is
68.10dB for a 10 -bit system and 56.06dB for an eight -bit system. This is considerably higher than
any composite analog or component
analog VTR.
Conclusion
In most cases, D2/D3 VTRs were
used as drop-ins in an NTSC analog
composite environment. Their performance figures were superior to
older analog composite as well as analog component (BETA -CAM) VTRs,
especially if parallel or serial digital
(143Mb/s) interfaces were used.
The major handicap of composite
digital video was the fact that 4fsc
could not be compressed using highly
efficient contemporary transform
coding methods typical of MPEG.
Digital
san V le value
n
mV
100
digital
horizontal
blanking
849
digital stream. This leaves 1016 digital levels, expressed in decimal numbers varying from four to 1019 or in
hexadecimal numbers varying from
004 to 3FB, to represent the
video signal.
The sync tip is assigned the
value 16 decimal or 010
hexadecimal. The highest signal level, corresponding to
yellow and cyan, is assigned
the value of 972 decimal or
3CC hexadecimal. The stan-
1
TRS ID
5
End of
Figure 5.4fsc NTSC digital horizontal blanking interval showing
some significant samples
782
785
900
857
Start of
785
digital
horizontal
787
blanking
(signal-to-RMS
quantizing error) ratio by
the same amount. The
theoretical S/QRMs of a 4fß
909
784
digital levels (210) ex- the location of
pressed in decimal
numbers varying from 000 to 3FF.
Digital levels 000, 001, 002 and 003
as well as 3FC, 3FD, 3FE and 3FF, are
protected and not permitted in the
784
S/QRMs
854 884
768
provides for 1024
768
000
Consequently, VTRs used a high recorded data bit rate, 127Mb/s, resulting in large videocassettes and no
portable camera/VTR gear. The appearance on the market of competitively priced component digital video
equipment has tilted the market toward the adoption of component
digital video equipment.
BE
Michael Robin, a fellow of the SMPTE and
former engineer with the Canadian
Broadcasting Corp.'s engineering headquarters, is an independent broadcast
consultant located in Montreal, Canada.
He is co-author of Digital Television
Fundamentals, published by McGraw-Hill,
and translated into Chinese and Japanese.
CID
Send questions and comments to:
[email protected]
JUNE 2004
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Lit
ó
m
o
z
SAN
and
NAS:
A practical guide
BY BRAD GILMER
Storage-area networks
I
J
Q
F_
O
O
(SANs) are composed of
computers and remote
storage devices. The computers are
typically connected to the remote storage devices using SCSI over Fibre
Channel (see Figure 1). Other implementations of SAN exist, but this is the
most common. In a SAN, all the storage appears local, just as if the remote
disk were directly connected to the
computer and physically located inside
the computer chassis.
Network-attached storage (NAS)
devices appear to the user as a remote
drive letter or are named remote storage device. Typically, the operating
system employs a protocol such as
Network File System (NFS) or Common Internet File System (CIFS) to
discover, log in, and transfer content
to and from a storage device. NFS and
CIFS both communicate over
Operating
system
Se
driver
SAN
Protocol
Fibre
Channel
Transport
Operating
system
NAS
Disk
drive
rivé
controller
Fibre
Channel
Disk
drive
Protocol
possible benefits of SAN include access to large amounts of data; sharing
data among different applications on
different computers; real-time or
near-real-time access to data updates;
legacy support for SCSI devices; fast
speeds; and avoidance of network
congestion common with Ethernet.
Possible benefits of NAS include
relatively simple user configuration;
compatibility with existing usemame/
password access systems; compatibility
with legacy networking and server sharing systems.
In many cases, either scheme can
now meet all these needs. But, in earlier implementations, the distinction
between SAN and NAS was useful.
For initial installation and configuration, SAN usually requires some specialized knowledge of network hardware, such as how to install the appropriate SCSI drivers and Fibre Channel card. You should also know how
to configure your Fibre Channel network properly. Once the installation
and configuration are complete, access, administration and authentication are all handled in the background.
Access to the knowledge needed to
build a SAN system is usually not a
problem given that most SAN installations are part of a larger system involving a vendor that can assist in the
initial setup.
NAS typically does not require
specialized hardware knowledge,
Ethernet
Transport
Ethernet
Figure 1. SAN and NAS use different protocols and transports.
Ethernet. The user typically enters a
usemame and password, and then is
granted access to a particular device.
The SAN and NAS storage schemes
evolved to meet different needs. Some
28
although familiarity with Ethernet is
a plus. However, for a system administrator, getting all the users' computers to recognize a NAS through different operating systems and different
versions of the same operating system
can be a real challenge. Installing a
NAS can be as simple as unpacking the
device, plugging it in and attaching a
network cable. Vendors have done an
broadcastengineering.com
excellent job of programming these
devices so that when they first power
up, they recognize their operating environment and do a large amount of
configuration themselves. Ninety-five
percent of the time these devices work
straight out of the box. That said, with
a moderately complex network you
should expect some challenges. Networks that could cause problems indude ones that use manually assigned
IP addresses, have internal firewalls, or
implement complex routing based
upon different protocols. For a more
complex network, you might be better off purchasing a higher-end NAS
system from a well-known manufac-
turer. It will probably provide
a
"smarter" NAS box that is more likely
to work in your environment. In addition, such systems typically come
with better product support. With a
complicated network, you may need
it.
Be particularly aware of where you
plug the NAS system into the network.
While you can plug a NAS box into any
Ethernet connection, it is not wise to
do so. The NAS should be connected
at a point in the network you are sure
will have sufficient bandwidth to support the traffic the NAS will generate.
Example: If you connect the NAS box
to a $78,10 -port Ethernet switch, it may
not work very well (see Table 1 on page
30). Low-cost Ethernet switches do not
have sufficient backbone capacity to
provide full bandwidth to all ports at
the same time. A 100Base-T Ethernet
switch might have a throughput of only
200Mb/s. Once you subtract the overhead, the actual available throughput
is somewhere around 130Mb/s. If the
load is shared among the 10 ports, each
port has only about 13Mb/s available.
NAS performance will suffer if it is limited to 13Mb/s. On the other hand, if
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We took a close look
We
Bartha Visual, Inc.
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at lenses from the leading
suppliers in the industry
and wound up purchasing
Thales Angenieux's
lenses, including their
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Tele Lenses. The
Thales Angenieux
lenses deliver the
performance, size,
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clean and very bright. e e
said Kevin Conley,
Technical Director,
Bartha Visual, Inc.
One of our technicians
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swapped a lens normally
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Type of connection
10 -port,
100Base-T
Ethernet switch
Nonblocking 10 -port
100Base-T Ethernet
switch
bandwidth
Average bandwidth
per port
200Mb/s
13M b/s
1G b/s
70Mb/s
Total backbone
1. Connecting a NAS server to an inexpensive
Ethernet switch may severely limit its performance.
Table
you connect the NAS device to a nonblocking Ethernet
switch, which can deliver 100Mb/s (70Mbit/s after subtracting overhead) to all ports simultaneously, then the NAS will
be able to deliver data at its maximum performance limit,
and the switch will not limit the speed.
Maintainability is a key factor in selecting any shared
storage device. The choice between SAN and NAS is a matter of preference. As a general rule, you maintain SAN systems through the SAN device's operating system. Maintenance tools tend to be powerful and reasonably well documented, but may be command -line -based. Some SAN vendors have developed nice GUI -based maintenance tools.
If you are comfortable with the command line of your
operating system and don't mind getting under the hood,
then you will probably find that SAN systems are straightforward and easy to maintain.
Typically, you maintain NAS systems through a Web interface. NAS systems tend to be relatively simple to maintain unless you are using them on a complex network. While
NAS maintenance interfaces are generally complete, occasionally I have found that there were things I could do on a
SAN that I could not do on a NAS. So the ultimate choice is
yours. SAN and NAS have both matured significantly over
the past few years. Both provide users with a way to access
and share content, but the two use fundamentally different
approaches to facilitating access to shared storage.
Many excellent tutorials are available on SAN and NAS.
Just do an Internet search on "SAN or NAS tutorial." If you
need information on their implementation, search for "SAN
or NAS how to." These articles give practical information
on installing and configuring these devices.
BE
because the image was
so bright. Angenieux
lenses were a great
Brad Gilmer is executive director of the AAFAssociation and the
Video Services Forum. He is also editor in chief of the "File
Interchange Handbook."
purchase for Bartha Visual
and I swear by their
performance, 9 e
concluded Mr. Conley.
angénieux
THALES
For more information call 973-812-3858,
e-mail [email protected] or visit www.angenieux.com
30
FILE
INTERCHANGE
HANtROO'
To order Brad Gilmer's book, "File
Interchange Handbook for Images, Audio
and Metadata," from Focal Press, visit
www.focalpress.com or call 800-54E-2522.
The book is also available from most major
booksellers.
BRAD GILMER
r
SEND
Send questions and comments to: [email protected]
JUNE 2004
broadcastengineering.com
www.americanradiohistory.com
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O
CO
Aud
io
consoles
BY GARY ESKOW
anufacturers of broadcast consoles are help-
Q
C2
ing engineers who
need to simultaneously deliver 5.1 and
stereo audio by incorporating fold down capability, single fader control
of multiple audio channels and
increased monitoring into
new boards.
Both the Wheatstone D-9 (top) and
Solid State Logic C100 5.1 feature
metering and panning as part of their
surround package.
Solid State Logic's (SSL) C100 digi-
tal broadcast console incorporates
monitoring -insert features that help
the engineer keep track of how audio
will be received in home environments that are equipped with multichannel, stereo and mono playback
the one
systems. In an ideal world
that music engineers often get to live
in
time is allocated to the creation
of separate stereo and 5.1 mixes, but
this is obviously impossible in live
work. The down -mixing monitoring
capabilities of the C100, which allow
for instant switching between the two,
offer a working compromise.
Wheatstone's D-5.1 and D-9 boards
also offer automatic 5.1 to stereo downmixing, as does the Euphonix System 5
console. Many of the new features on
Calrec's Alpha, Sigma and Zeta 100
consoles that were shown at NAB
have been custom -designed for NBC,
which will use two Alpha and two Zeta
-
32
-
boards in their broadcasts of the 2004
Olympic Games in Athens, Greece. All
Calrec consoles incorporate both stereo and mono down -mixing capabilities.
Keeping track of six channels of audio can be difficult in real-time applications, and having the ability to
control the
volume of
all channels from a
single fader
can be critically important. Since its launch in 2003, the
SSL C100 console has incorporated
this feature. The C100 also lets the engineer break out and rebalance the
channels that contribute to the
LCRSSSu mix with a single button
push. All Wheatstone boards have a
similar capability, and the engineer
can define all sources as either mono,
stereo or 5.1 in origin.
AMS Neve digital consoles have had
the ability to control multiple input
and output channels from a single
fader for several years. But Neve believes that many broadcast applications will remain two -channel for the
years to come. It says forcing 5.1 technology onto these customers would
be unreasonable.
Calrec's market includes few users
who are broadcasting in 5.1 at this
time. However, the company recognizes that some of its base will require
this functionality in the near future,
particularly those broadcasting sporting events. Essentially 5.1 -capable by
design, Calrec will be introducing 5.1
fold -down channels later in 2004, and
this functionality will be available to
all existing users as an upgrade.
Multichannel metering is also becoming increasingly important as 5.1
broadcasts gain in popularity, and all
of the manufacturers we spoke to are
including this capability in their consoles. Neve is moving to a more simplistic method of signal routing, and
its boards now offer graphical representations to make it easier to keep
track of multiple audio channels.
Both the Wheatstone D-5.1 and D-9
have dedicated 5.1 buses, 5.1 metering and 5.1 panning, and both boards
feature 5.1 panning displays. SSL's
C100 also features 5.1 metering and
panning as part of its surround package. Calrec's bar graph metering provides surround metering to its customers, who can also purchase third party jellyfish displays from outside
vendors, such as DK -Audio and RTW.
Networking multiple control surfaces
together is becoming a more prominent aspect of broadcast work. Longer
runs
once looked upon with great
suspicion are proving reliable, allowing live boards to communicate with
multiple on -premise audio post rooms.
Euphonix recently announced the
release of two different models of its
System 5 broadcast console. The System 5-B now includes the same bus
structure and features as the Max Air,
supporting 96 channels, 24 mix buses,
24 groups/clean feeds and 16 IFB/aux
sends from a single DSP Core. The new
2004 System 5-B also includes an N-1
--
All Calrec consoles incorporate both
stereo and mono down -mixing capabilities. Shown here is the Calrec
Alpha 100.
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bull
r-
4o
years
of leadership
Intelsat.
Production Clios
mix -minus feed with
individual talkback
from each strip, making it much more op-
erationally compatible
with the Max Air. The System
5 -BP is targeted at stations that
require both on -air and audio post
capabilities in the same console, so the
The System 5-B from Euphonix
includes an N-1 mix-minus feed
with individual talkback from
each strip, making the console
and Max Air much more opera-
tionally compatible.
Expanding on e2v's curent
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system includes full dynamic mixing automa-
tion and support for
more than 300 audio
channels.
Wheatstone's D-5.1
and D-9 surfaces also
can be networked together, with multiple boards sharing
both input and output resources. Console manufacturers
have come to understand the need for flexibility in routing
and busing architecture. The D-5.1 and D-9 boards can, for
example, operate independently and interoperate for larger
productions, with output buses of one control surface appearing as input sources to the other control surface.
the Encore PC to
AMS Neve consoles use a computer
manage and store console configuration and automation data.
Console settings can be transferred across a network to and
from other consoles or to a PC for offline management, and
surface configurations and automation settings can be created or adjusted offline.
Neve extends its networking capabilities by the use of its
modular I/O system (MIOS), which introduces bidirectional communication to Neve systems. Remote control
mic amps in multiple studios can be routed between consoles on demand. Cable runs of up to two kilometers are
now routine, allowing physically removed studios to be
networked on demand. MIOS circuits are based on Neve's
classic mic pre, and signals may be passed at resolutions
up to 24-bit and 96kHz.
SSL also sees the inevitable move into wider plant routing schemes. The development of router protocol integration into both the C100 and C200 is evidence of the
company's belief that broadcast applications will require
this kind of interoperability.
Calrec's new Hydra audio network lets users gang mic
pre -amp and I/O resources throughout their range of digital consoles. Hydra is built on Gigabit Ethernet technology to provide a high bandwidth. Connections can be made
with fiber (MTRJ) or copper (RJ45). The connection between the digital I/O rack and the Gigabit Interface Unit
allows up to 128 bidirectional channels.
BE
-
-
Te;: 1-914-592-6050
Email: ençuiries©e2vtechnotogies-na.com
_.
34
rat
7.
roi ages
http://comms.e2vtechrmlogies.com
broadcastencineering.com
Gary Eskow is a composer and journalist who lives in New Jersey.
He has held a number of editorial positions in the field of audio
journalism and is currentlya contributing editor at Mix magazine.
JUNE 2004
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PtCTURE IN
acicast n5PrieerI. ntieorn
ESPN's new digital center boasts
three HD studios, each with its
own production control room
equipped with a Thomson Grass
Valley Kalypso HD switcher. Photos courtesy Thomson Glass Valley. Photos 'by Andy Washnik.
ESPN's
"SportsCenter"
begins HD production
By Michael Grotticelli
The June 7 premiere of ESPN's
"SportsCenter" in pristine
widescreen HD with multichannel AES
audio was made possible by a new signal distribution infrastructure and a
comprehensive
collection
of
multiformat broadcast equipment. The
Signal distribution
To manage the network's production workflow, the project design
team combined multiple racks of
Grass Valley Trinix routing switchers
from Thomson (configured as a
1024x512 I/O matrix for HD video
Most of ESPN's HDTV operations will be moved
to the digital center in January 2005.
telecast was also the first step in an operational move to a new digital center.
The 120,000 -square -foot, all -digital
HD facility is located in Bristol, CT, di-
rectly behind the network's existing
production and post -production headquarters. Not only is the new HD version of "SportsCenter" originating
from the new building, most of ESPN's
HDTV operations will be moved to the
digital center in January 2005.
signals), with a similarly dense Grass
Valley Apex router to handle all in-
coming audio sources. The Trinix
router can handle both SD and HD
video signals in the same frame, and
allows the network to execute frame accurate, on -demand switching on a
large number of crosspoints simultaneously. Router control is handled
by an Encore facility control system
from Thomson.
All of the routing switchers are
monitored and controlled via SNMP,
as well as HTTP, for Web -based content. This support allows a routing
switcher's status to be checked by remote. To support its signal distribution paths, ESPN installed Miranda
Densité control probes and several
hundred Grass Valley Kameleon 16 channel output DAs. These route digi-
tal audio and video signals to the
Trinix and Apex routers and throughout the building.
Moving content from tape
to servers
A Thomson Grass Valley Trinix digital routing switcher lets ESPN frame -
accurately switch a large number of
crosspoints simultaneously.
In the new digital center, each of six
equipment rooms and seven production control rooms operate independently, although they're completely
networked together, should engineers
broadcastengineering.com
www.americanradiohistory.com
37
need to combine
resources.
The digital center's massive signal routing architecture
supports 19 nonlinear edit rooms,
four master control suites (with expansion to 10 planned), and a large
sports -content ingest screening facility.
Signal paths can also be changed quickly
to accommodate new channels and future internal growth.
network (in both the old and new
buildings) by fostering collaboration
between production departments and
individual employees.
The new digital center also features
a large complement of Quantel editing and server equipment. When it's
completed, there will be 19 QEdit Pro
(five more will be in the old building)
and eQ systems tied to 68 sQ servers
to move data on and off the SAN,
which currently has a storage capacity of more than 360TB.
A series of SeaChange International
broadcast servers serves as a set of
proxy SANs that can be accessed anywhere in the building and from outside the facility with a security code.
System redundancy is handled by effectively running two independent
power sources to each key device in
the building.
Master control
The Grass Valley Encore
facility con-
trol system from Thomson features
tight integration with automation and
UM systems.
The design team is still evaluating systems, but has installed automation systems from Pro-Bel to handle the initial
load and is considering several IBIS
master control switchers. Signals are
routed through this area, where logos
and channel bugs are inserted into the
transport stream before going to air.
HD studio production
The ingest area of the existing facility employed 32 PC workstations to
log more than 220 hours of game footage, and record, individually screen
and archive it to Betacam videotape
each day. In the new building, this process is handled by 50 ingest workstations and about 35 VTRs networked
to a series of nonlinear editing systems
and video servers with several
terabytes of storage.
Editing, file sharing and playback is
handled by networked systems from
BBC Technology (Colledia) and
Quantel (generationQ). The Colledia
software has a built-in application for
screening the daily incoming video and
was developed for ESPN to help quickly
identify and retrieve clips. This has dra-
matically streamlined the video
The second major goal for the facility
The Grass Valley Apex router from
Thomson offers a high -density ma-
trix for large-scale infrastructures.
was to provide the network with more
studio space. The digital center boasts
three HD studios (9000, 5000 and 3400
square feet) that will be home to all
Bristol -based studio shows, beginning
with "SportsCenter." To shoot in its preferred digital format, widescreen 720p,
ESPN will use 16 Grass Valley LDK 6000
mk II multiformat cameras. Evertz
transmitters and receivers and
SumiTomo multimode fiber gear interconnect the seven studios via 1000 fiber-optic circuits.
Each studio has its own production
control room equipped with a Grass
Valley Kalypso. A set of Calrec Alpha
Design team
ES PN:
Bill Lamb, VP, systems
engineering
Kevin Stolworthy, VP, production ops
Jim Servies, VP, tech. planning
Jackie Bracco, VP, facilities planning/ops
Ted Szypulski, dir., engineering special projects
Mitch Rymanowski, sr. coordinating dir., production ops
Rob Hunter, dir., new media tech
Robert "Bill" Longfield, mgr., planning/construction
John Cistulli, mgr., plant engineering
Architects:
HLW International
Facilities Engineering Associates
System integrators:
National TeleConsultants (NTC)
Doyle Technology Consultants
The Systems Group
workflow and asset management at the
38
JUNE 2034
broadcastengineering.com
www.americanradiohistory.com
Max
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100 and Sigma 100
consoles outfit each audio room, connected to an
ENCO audio clip server, while
an RTS/Telex ADAM intercom
system ties all of the operational
seats together from a communication
perspective. Pro -Bel and Miranda
supplied the master control switchers
and automated playout devices (for
lower -third crawls).
At the center of it all
As the network continues to expand
its reach throughout the world, the
Thomson's Grass Valley LDK 6000
mk II Worldcam camera system
captures progressive HD images
natively, in multiple formats and
frame rates.
digital facility will remain at the center of it all.
BE
Michael Grotticelli regularly reports on the
professional video and broadcast
technology industry.
Equipment list
Thomson Grass Valley
NewsEdit edit systems
Kalypso HD video production center
Trinix and Apex routing switchers
Kameleon DAs
Quantel
sQ servers
eQ and ['edit Pro editors
BBC Technology Colledia for sports
Evertz
MVP display processors
fiber-optic gear
Christie Digital
GraphXMASTER CS70 70 -inch rear display cubes
FP40 40 -inch LCD flat -panel displays
Calrec Sigma 100 and Alpha 100 audio consoles
RTS/Telex ADAM intercom system
Stagetec MADI microphone distribution system
SeaChange broadcast servers
IBIS
ServerLoad
SportServerPlay
Pro -Bel
Master control switchers
Automation systems
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Digital
STLs
BY DON MARKLEY
look at the problem of
getting the signal from the
studio to the transmitter. Like
most things in television, it sounds like
a simple, little task. It isn't.
datastream along with at least a T 1, two
RS -232 channels and some additional
logic circuits. The analog side provides
a channel for standard video with several FM audio subcarriers.
Join the band
Separate and unequal
Most stations prefer to use the
7GHz auxiliary broadcast band for
the STL. These paths are less fussy
than those at 12GHz or higher, because the equipment is a bit easier
to troubleshoot and dish alignment
is simple. Also, the channels in that
band are nice, big 25MHz channels.
So manufacturers have designed
sytems to squeeze both the analog
and digital television signals into
one microwave channel, along with
data, with mixed results.
The system du jour is a 16QAM sys-
The scheme usually includes separate
power supplies and amplifiers for the
two channels. At some future date,
when analog video goes away, the facility can change that channel to a second digital channel with just the purchase of a bunch of electronics. Sounds
for the most part.
good. And it is
tem with an 8-VSB modulator. This appears to provide the most dependable
service. The digital side of these systems
transports the ATSC 19.39Mb/s
There is a large school of thought that
recommends using a separate link
completely separate transmitters and
receivers
for analog and digital
Let's
-
-
-
Unaided
Aided
58%
ei
o
:...
Total cable
Digital cable
2%
Broadband users
Seen HD displayed
0%
10%
20%
30%
40%
i
5%
50%
SOURCE: Consumer Electronics Association
42
Togetherness
Another scheme is to combine all the
signals, NTSC, ATSC, logic, audio, etc
into one big digital datastream, then use
digital signals.
HDTV awareness is high among broadband users
DBS customers
Equipment for that simpler function
is readily available for those locations
where its use is feasible. Where band
occupancy won't allow such single channel equipment, the dual systems
may be necessary.
There is a large school of thought that
recommends using a separate link for analog and
Total HDTV awareness b
Broadcast only
signals. Separate antennas can avoid a
lot of loss in the combining/splitting/
filtering system, resulting in a better
fade margin for the same antenna size.
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one of the big digital -microwave systems
to carry the signal to the transmitter site.
There, the signals are decoded as necessary to feed the separate transmitters. It
works, but it is a bit expensive. And it's
certainly too complex for most station
staff members. So, back to the simpler
world of broadcast STL systems.
Using a combined system isn't necessarily bad, as long as you do the right
calculations. First, base the numbers for
transmitter power output and receiver
threshold on the actual input/output
connectors of the equipment, not on the
whole system. When joining the two systems into a common antenna, the dual stream system adds loss in a combiner..
There is another loss at the receiving end
when the signal splits for the two receivers. If hot standby is involved, split the
signals again at the receive site. You have
to include those losses in the overall path
loss or the fade margin isn't going to be
what you expected.
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`
a
hard bargain
This is a new technology and, as with
most new technologies, it has its share
of problems. So, when purchasing such
equipment, be a tough negotiator. First,
don't pay that last payment until the
properly. And
system is operating
the warranty shouldn't start until then,
either. The manufacturer might not
prefer such terms, but they will deal.
A good reliability rate
would still be 99.999
percent (the classic five
nines) for an STL
system.
Reliability
The output power is somewhat lower
for the digital systems. It's basically the
same power amplifier, but the tuning
When calculating the reliability of
the system, the old numbers still ap-
network
t
h
e
n
i
.
be 99.999 percent (the classic five
nines) for an STL system. A design
fade margin of 40dB is still desirable.
-
°
:
ply. A good reliability rate would still
loss or the fade margin isn't going to be
what you expected.
Drive
.
n
o
v
_
:
is a bit different. Actually, the amplifiers must have a wider flat bandwidth
for the digital signal. If the bandwidth
goes up, the overall gain will usually
go down (remember the old gain bandwidth product?). At the same
time, the receiver sensitivity is not
quite as good as analog systems (again,
the same bandwidth considerations).
The result of all these issues is that the
path loss should be a bit less than for
a simple analog system. Usually, you
can accomplish this by increasing the
dish size, if possible. If all else fails,
space diversity may be necessary. That
can pick up several dB, resulting in the
desired fade margin.
The short version
In short, the technology here is a bit
different, as are all things digital. Some
of the early channel-sharing systems
at or
WTVP/WTVP-DT Peoria, IL uses a
combined STL system for the NTSC
and DTV signals. The hot standby
system employs two MRC
Twinstream radios. Photo courtesy
D.L. Markley & Associates.
V I K I N X,Pt
World leading compact router program
were terrible. But that seems to be
straightened out. Still, watch your back
when dealing with any of these systems.
A good fade margin with high reliability is still a must, whether you're dealing with analog or digital signals. BE
All signal formats (Broadcast, Telecom
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Don Markley is president of D.L. Markley
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Bringing multiple cha -nets to air require 3 stations to change the way
they work. Chicago
PBS station WTT111K-T'u's
broadcast operation
center. Photos courtesy Sundance Digit ìI.
By Jim Boston and Mark Brown
Anew broadcast facility
should, in theory, be en-
gineered and implemented based on a business plan and
capital budget passed down from upper management. The problem today
is that no solid future business plan
exists for most broadcasters. The current broadcast business environment
is unsustainable over the long haul
new revenue streams will be a necessity. It is becoming evident that stations
will need to produce multiple real-time
and non -real-time program streams.
If multichannel is the future, then the
way business is conducted must
change. The requirements for multichannel operations are radically different than those for traditional single -
tion has evolved along the same
If multichannel is the future, then the way business
is conducted must change,
-
46
same number and level of personneL
Current automated operations are typically governed by plant workflow and
organized by a software layer presiding over hardware functions. Automa-
service operations. The challenge is to
support the additional services with the
broadcastengineering.com
timeline as digital video, starting with
separate stand-alone islands and grow -
JUNE 2004
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ing into a contiguous control layer.
Media are increasingly being treated
as object modules by client applications that control, manage and use
data. Drilling down to basics, auto -
offering applications that will build
and play out a secondary news channel with little care and feeding by humans. Hopefully, creative broadcasters will discover other programming
Automation must be flexible enough to migrate to
new business models as they evolve.
mation aggregates all scheduling information for allocated resources
and ensures that media and associated metadata are available when and
where they are needed. The basic automation applications include ingest, conforming, media manage-
ment, playout and, potentially,
archiving. Automation systems will
need to be able to handle these functions for more services in the future,
while decreasing the ratio of operators to program channels.
Automation must be flexible
enough to migrate to new
business models as they
evolve. It must also manage essence and its associated metadata, as well as
track rights management
across multiple outlets.
opportunities for DTV's additional
channels, as most markets won't support multiple local newsreels.
Multichannel automation's ability to
push tasks farther from traditional operating positions also makes it possible to share labor across multiple facilities. Stations in different markets
airing the same programming don't
each need to conform the show. Media
can be delivered to each station by distribution groups such as Pathfire or DG
Systems, or by a broadcaster's own distribution system. Each station can then
Workflow changes
Multichannel presents a considerable change in what operators do and
the tools they require. Operators in
an automated multichannel environment tend to react to systemic problems and faults, rather than actively
switching between sources. In multichannel operations, they need to react to alarms and problems in one
program log that may ripple across
to other logs. In fact, monitoring the
health of multiple programs can consume a fair amount of the operator's
time. Bringing more channels online
reduces the ratio of operators to
channels, thus lowering the cost of
additional service deployment.
Application processes controlling
the hardware in a multichannel environment need to be more collaborative and cohesive. Automation,
typically driven by traffic, must control ATSC encoderlmuxing elements
Multichannel
applications
It's quite possible that, in
the future, workflow will
be geared for content
management, rather than
program -channel management, as is the case today. Most broadcasters
will likely continue to use
one real-time stream to
carry live and network pass -through content.
Other content will increasingly be configured
as files that are played out
under automation control
WTTW uses a Sundance Digital FastBreak Automation system to bring multiple chanwith little human inter- nels to air. Broadcast operations techicians Dennis Raymond and Barry Blue in the
vention (aside from the station's BOC.
creation of policies). The
most talked -about repurposing of add its own metadata, and program- to change their service profiles. Also,
content today is an automated news- ming will be ready for playout with- multiple traffic logs and dynamic
PSIP tables must be kept in coordireel. A number of vendors are now out additional media preparation.
48
JUNE 2004
broadcastengineering.com
www.americanradiohistory.com
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dynamic mics.
nation so that programming matches
the PSIP information. This coordination can become cumbersome with
certain types of live programming,
such as sporting events that don't run
their scheduled length.
Middleware
Automation control is spreading as
-
more hardware is brought under its
umbrella
facilitated by an increasing amount of middleware. Automation systems have long relied on
middleware to implement SQL protocol for database access, remote procedure calls via CORBA, and
Microsoft's COM technologies
through ActiveX controls for applica -
The Next
11111=11H©
-j3)
c
from Sundance Digital
The Big Idea
Titan was designed to make automating
high channel count and central casting
facilities easy and affordable.
The Big Easy
Titan's distributed architecture means it
can control more channels than the FCC
will ever let you own!
The Big Payoff
Consolidated tasks,
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OK, OK! WE GET IT, IT'S SIG!
THEY HAVE TO MAKE THE LOGO
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0I0
tion collaboration and client/server
processes. Now, technologies such as
Microsoft's .NET are enabling Web
services to become tools in the control and operation of the facility.
XML now allows the sharing of information between subsystems that
need to work together to implement
the desired workflow, as long as they
subsystems agree on consistent information tags. Many newsroom systems
use Media Object Server (MOS) protocol, which is formed using XML.
Other Internet -based protocols, such
as Web Services Description Language (WSDL) and Simple Object
Access Protocol (SOAP) are used for
spreading control though the Web.
Automation control is
spreading as more
hardware is brought
under its umbrella.
In fact, one of the goals of SOAP is to
encapsulate remote procedure calls
using the extensibility and flexibility
of XML. At least one automation vendor uses SOAP as part of its bag of
tricks. An important recent development that relies on XML is the Pro-
gramming Metadata Communication Protocol (PMCP). This ATSC
candidate standard will allow for
greater interaction between a
broadcaster's PSIP system and other
system applications, such as automation and traffic. Ultimately, an automation system implementing PMCP
will be able to support a more dynamic environment, allowing program changes to be made more easily and efficiently.
IUtfr fl irn ive rscrty
1
Sundance Digital, Inc. 972-444-8442 www.SundanceDigital.com
50
broadcastengineering.com
Another technology that is being incorporated in the automation arena
is Simple Network Management Protocol (SNMP). SNMP is used in the
computer networking and telco industries to get information from devices and to change the values of configuration parameters as required.
JUNE 2004
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a device to participate in an
SNMP network, it needs to be able to
host a software database called a management information base (MIB),
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occur. This technology will become
much more important as multichannel operations staffs become monitors of systems (both locally and remotely, as in the case of multicasting)
and are tasked with responding to developing problems and failures.
A changing landscape
Today, automation systems must
manage content and build program
streams, relying on human intervention mainly media is missing. Multichannel operations will require a control layer that encompasses more processes and aspires to be much more
with Windows Media 9 and
MPEG-4 support in future
generations of set -top boxes.
It should be noted that the
ATSC is currently evaluating
new encoding technologies
for providing these advanced
services. Programming could
delivered through
be
datacasting or IP, with embedded metadata instructing
use and context of the media
At CourtTV, automation systems lessen the for reassembly at the receiver.
amount of human intervention needed to
The television broadcasting
move content. Photo by Andy Washnik.
landscape could be radically
than simply a machine- and device - different in a few years: The control
control system. New multichannel au- layer in place to orchestrate programs
tomation systems will need to provide and associated services should be radicontrol over more process than most cally different also.
t:
systems currently support. Automatic
construction of secondary program of- Jim Boston is an industry consultant
ferings will be desirable. Non-real-time based on the West Coast, and Mark
offerings could become common fare Brown is CTO of SignaSys.
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ENDS OF THE EARTH
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WesSkiles
KarstProductions Inc.,
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Wes Skies would know.
Karst Prnductibnaspecializes in hi-definit-e_j plroducticn in the mo..; un.que. and cvciting locations on the planet.
Their work appears regularly on the BB IJ scouery C}-annel, PBS, a&E, anc Naticnal Geographic.
_
a
Wes anc his team haa-e filmed vnlcaoes, caves, underground rivers,
jungles, deserts and the ocear fbor:to film the largest iceberg in recorded
history was as challenging in its.procuction as its images were stunning.
Karst's latest project was an efpbra$ n of the underground rivers of
Florida far PBS. Diving great distances through narrow passages while
being traked from above, file tam rittarted the detailed path water takes
In reach _oval springs Their Son,' HUN-900/3 a rneras were equipped with
HvTRON 120 and Dicnic 90 batitiriEsboth above and below the water in
special waterproof housings.
"Dur specialty ii utilizing cutting edge tcchnDingy to capture the experience of expieratfon
vlhile expanding the understandr_g of oar planer," says Wes. "I mace my repntatim filming
some cf earth's aunt extreme environmatn. Tus -'s whyI use Anton/Bauer batteriesfor my
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THE POWER BEHIND THE FEST CAN. =RAS
CAPTURING TI -E BEST IMAGES IN THE w/ORLD.'M
ANT=N/BAUEl, INC.
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www.americanradiohistory.com
E.
2031 925-49.38
WWW.ANTONBAUER.COM
E L AY
Continuing coverage
of today's technology
NAB research
56
Broadcast Engineering writers and support staff cover the convention.
Pick Hits
The top 40 new products from this year's show
v8
- selected by readers like you.
Product jackpot ........
The first installment of products on display at the show
Report for more!
54
broadcastengineering.com
62
- see the NAB Special
JUNE 2004
New Tools ------------------------Broadcast Engineering's writers and consultants recap notable products and
trends from NAB.
Digital audio
BYTOM PATRICK MCAULIFFE
Automation
BY JIM BOSTON
Cameras
BY DAN STARK
Digital acquisition
BY CRAIG BIRKMAIER
NLEs at NAB
Storage
BY C. JASON MANCEBO
Streaming media
BY BOBTURNER
BYTOM PATRICK MCAULIFFE
RF at NAB2004
BY DON MARKLEY
Monitoring, test
and measurement
BY PHILIP J. CIANCI
Compression products
at NAB2004
Routing switchers
BY JOHN LUFF
BY STEVEN M. BLUMENFELD
broadcastengineering.com
JUNE 2004
www.americanradiohistory.com
55
Everyone's an expert at NAB
The 2004 NAB convention was, by
most standards, the best in years.
Believing that the spring show would
be good, Broadcast Engineering
contracted for a range of writers and
support staff to cover the convention.
Some of the experts and engineers we
hired are regular writers for this
magazine, others are those with
previous experience in reviewing
technology for Broadcast Engineering.
This special NAB Replay package
of coverage encompasses several
hundred booth and staff visits during
the show, hundreds of new product
releases and more man-hours that I
can calculate. One result is that we've
ended up with way more content than
space to present it here.
Web exclusive. Because space
constraints made it necessary to limit
so what are you waiting for? Read on!
what we could present from our
writers, what you see here is just a
NAB Replay
good start. But wait, there's more.
We've repackaged each reporter's
copy in its full length for Web
presentation. To see the full-length
articles, just go to the magazine Web
site, www.broadcastengineering.corn.
I'd like to thank our reporters and
judges for all their hard work (see the
list at the end of this article).
Meanwhile, don't miss this year's
Pick Hits. The top 40 products and
technologies shown at this year's show
all selected by readers like you.
In addition, we've got hundreds of
new products just a page turn away,
-
contributors and judges
Craig Birkmaier
Steven Blumenfeld
Jim Boston
Philip J. Cianci
David Danto
Tim Davis
John Luff
C. Jason Mancebo
Don Markley
Tom Patrick McAuliffe
Brian Murray
Garry M. Paxinos
Dan Stark
Bob Turner
Richard Wood
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PICK
(alphabetically by manufact
Apple Final Cut Pro
..
ITS
B
Don Keller
:
HD NLE
software
408-996-1010; www.apple.com
Apple's newest version of its Emmy-award-
winning editing software plants a step
firmly in the high -definition realm and ably
straddles the gap between HD and SD; captures DVCPRO HD footage directly over
an JEFE 1394 (FireWire) connector; supports several HD and SD formats.
Barco iPresent video monitor wall
+32 56 368211; www.barcocontrolrooms.com
Create a large, bright, high -quality, on-stage
video wall using an array of several rear-projection modules; hardware controller supports dynamic moving, scaling and cropping
of image windows; iPresent software supports
smooth image transitions between modules
and provides several graphical effects.
Belden Brilliance DigiTruck 179DT
coaxial cable
847-590-1110; www.belden.com
Electronic Visuals
PenPaIHD signal generator
+44 1483 771663; www.electronic-visuals.com
This mighty midget is a pen-sized HD test signal generator that generates serial digital
signals in 18 formats in 1080i,1080p,1080sF,
1035i and 720p; 26 video test patterns; four
stereo pairs of AES embedded audio; operates from battery or mains power.
Exavio ExaMax MS platform
408-213-5500; www.exavio.com
This solid-state server acts
independently of any attached online disk storage,
allowing storage networks
to scale throughput in real
time, support multiseat uncompressed HD production, and link
and share different files across dissimilar operating platforms
without slowing down the network.
Horita Pocket PA
wireless logging system
This lightweight, compact coaxial cable
is specifically designed for mobile television broadcast trucks where equipment load weight is a prime concern and
space is scarce; weighs 60 percent less
and requires up to 40 percent less space
than standard mini-RG -59/U cable.
949-489-0240; www.horita.com
Canopus EDIUS HD NLE package
Hughes SPACEWAY satellite system
408-954-4500; www.canopus.com
This real-time HD NLE
combines the company's
HDRX-E1 HD -SDI input/
This system combines an off-the -shelf pocket
PC with built-in Bluetooth wireless technology with the company's PDA-LOG program
and its LTC-BLUETOOTH wireless transmitter; wirelessly allows the PA to capture time code numbers and jot down notes associated with those codes.
301-428-5500; www.hns.com
software to create a professional editing and content -creation solution; supports recording
and playback to HD -D5, HDCAM and DVCPRO HD VTRs.
This new broadband IP platform
employs digital processing, packet
switching and spot-beam technology, and offers peer-to -peer communications and on-demand bandwidth; allows SNG field crews continual access to voice and data applications independent of video transmission.
Chyron HyperX CG
Jadoo NAB" fuel cell
631-845-2000; www.chyron.com
A high-speed bus architecture
888-523-6648; www. jadoopowercom
output card, its HD software
codec and its EDIUS Pro
and advanced 3-D rendering engine give this HD/SD CG exceptional power and performance;
can be configured as SD- or HD only CG, or can output SD and HD simultaneously; can output
real-time HD for sports or entertainment environments.
58
broadcastengineering.com
If George Jetson were a videographer, this
is what he'd use to power his camera; two pound, hydrogen -fuel cartridge weighs
about one-third as much as a standard
battery brick, yet lasts three times longer;
system consists ofa power converter, a fuel
cartridge and a refill station.
JUNE 2004
JVC DM-JV600 HD MPEG-2 encoder
Modulus Video AVE -HD encoder
973-317-5000; www.jvc.com/pro
This new encoder reduces a
station's HD microwave and satellite -link payloads to
existing SD levels; allows
broadcasters with remote facilities to perform HD ENG and EFP
with their existing news vans and helicopters, and go straight to air
with HD.
408-245-2150; www.modulusvideo.com
This encoder takes advantage of the new
MPEG-4-AVC video compression standard, compressing HD signals up to full
1920x1080 resolution at 60i and encapsulating them in an MPEG-2 transport
stream; can carry two to three times
more channels over the same carrier.
JVC KH-F870U HD CMOS camera
NuComm CamPac camera transmitter
973-317-5000; www.jvc.com/pro
NC's newest box -style camera uses three
2/3 -inch CMOS imaging chips and is switchable between 1900x1080i and 720p/60
HD video; the CMOS chips reduce power
consumption to about one-fifth that of a
comparable CCD-based HD camera;
CMOS chips also avoid skew lag.
908-852-3700; www.nucomm.com
Leitch Digital Turnaround Processor
Panasonic AJ-HD1200A DVCPRO
800-231-9673; www.leitch.com
800-528-8601; www.panasonic.com
This MPEG-2 stream manipulation device allows broadcasters to overlay graphics/logos
on precompressed HD and SD
streams; allows remotely encoded DTV signal to be localized with such applications as logo
overlays, time/temperature, stock information, and local weather
and news.
This portable AC/DC-powered deck is
designed for HD studio/field production
and nonlinear editing; offers an IEEE
1394 interface operating at 100Mb/s for
HD video streams; plays all SD DVCPRO
formats as well as DVCPRO HD and can
downconvert HD to SD.
Leitch Velocity
HD NLE system
800-231-9673; www.leitch.com
This HD NLE system comprises the company's
new Altitude PC card and an enhanced version
of its Velocity software; the system features full quality HD playback of two video streams, two
dynamic graphic streams, and dual -stream, realtime HD transitions and effects.
Miranda XVP 8011
HD/SD universal processor
This miniature transmitter mounts on
professional cameras using a standard
Anton/Bauer battery clip or Sony V clip;
uses MPEG-2 encoding and COFDM to
transmit the camera's audio and video
signals over 2- and 6/7GHz channels;
power consumption is 12w.
Panasonic AJ-S093
quality up-, down- and
crossconversion, providing relief from multiple SD and HD
formats also offers HD/SD signal processing, frame synchronization and 16 -channel audio processing; accepts and simultaneously outputs SD and HD.
feeder VTR
800-528-8601; www.panasonic.com
This multiformat, SD digital VTR
has an IEEE 1394 interface to facilitate 4:2:2 video transfers to nonlinear editing systems; records up
to184 minutes of DVCPRO video
or 92 minutes ofDVCPRO50; plays
back DV and DVCAM tapes.
Pinnacle Liquid
514-333-1772; www.miranda.com
This interface card offers high-
SD
HD VTR
HD NLE
software
650-526-1600; www.pinnaclesys.com
Pinnacle's newest version
of its Liquid NLE software
now supports real-time,
multistream HD editing;
offers users the option to
work with the bandwidth efficient HDV format, low -bandwidth Pinnacle HD Elite or
uncompressed HD SDI, all on standard PC workstations.
broadcastengineering.com
JUNE 2004
www.americanradiohistory.com
59
Quantel QEdit Pro NLE software
+44 1635 48222; www.quantel.com
This news/sports editing software package
is designed to run on a standard PC and dramatically lowers the cost per seat of editing;
performs wipes and dissolves; Version 2 features sophisticated custom transitions; provides direct local ingest into the workstation.
Ross Video OverDrive production
control system
613-652-4886; www.rossvideo.com
This control and automation software allows one person to perform the production functions of three or more staff interfaces with and drives selected switch ers, robotic cameras, VTRs, CGs and other
devices; GUI lets user build rundowns and
events and allows manual intervention.
Sencore DTU 225-SX
USB-to-ASI adaptor
800-736-2673; www.sencore.com
This portable adaptor allows user to record,
monitor and analyze an MPEG-2 transport
stream through a laptop PC; high-speed input can be used for both DVB/ASI and SDI
signals; operates directly from USB port
without additional power supply.
Shining Technology CitiDISK DV
portable DV -capture device
+44 20 8917 4330; www.snellwilcox.com
MXF Express is a free, comprehensive software development kit that supports OP la,
OP-Atom, MPEG, DV, BWAV and AES
profiles; includes C++ libraries to add
MXF awareness to products, Directshow
filters to help create MXF players and writers, and sample MXF files.
www.snellwilcox.com
Comet takes advantage of open data -exchange standards such as the MXF SMPTE
RP-210 metadata dictionary as well as the
latest AAF edit protocol, allowing the broadcaster to create multivendor systems with
complete interoperability; intuitive user interface allows simple and robust operation.
60
broadcastengineering.com
..
live -production studio
800-686-7669; www.sony.com/professional
This live-content -creation system, roughly the size
of a laptop carrying case, combines a six -input
video switcher, a six -channel audio mixer, an F/X
generator, a preview/program video monitor, a
pan/tilt/zoom remote control for Sony
VISCA robotic cameras, an RGB output,
and an encoder and server.
Sony HDW-S280 HDCAM VTR
800-686-7669; www.sony.com/professional
This compact, 12 -pound, half-rack -space HDCAM VTR can
switch between 1080i/59.94 and 1080i/50; built-in downconverter
allows it to play back Betacam SX, Betacam SP and standard
Betacam; control panel includes LCD monitor; can be powered
by AC as well as 12VDC battery power.
Sony Vegas 5.0 NLE software
800-686-7669;
www.sony.com/professional
Sony's latest version of Vegas includes 3-D
track motion and compositing, key frameable Bezier masks, network rendering,
transition-progress envelopes, subtitle/text
export to DVD Architect software, Flash
swf import, and much more.
NLE system.
+44 20 8917 4330;
.
Sony Anycast Station portable
714-761-9598; www.shining.com
This portable, self-powered hard drive connects
to a DV source through its firewire connector
and captures and stores the video in a choice of
file formats (.mov, .avi, .dv, etc.); eliminates timeconsuming step of transferring DV footage into a
Snell & Wilcox Comet
open standards ingest system
:
Snell & Wilcox MXF Express software
development kit
TANDBERG Television
Intelligent
Compression Engine (ICE) encoder card
407-380-7055;
www.tandbergtv.com
The ICE card, which is included in
the company's EN5930 encoder
and can be used in the EN5710, allows encoders to perform MPEG4 part 10 or Windows Media 9 Series video encoding; users can switch
between these two coders with a simple software change.
JUNE 2004
eGK
BraadcasingioeeNg
2004
TDK Blue Laser Disc
for XDCAM
516-535-2818; www.tdk.com
TDK's foray into XDCAM media may help drive
down the cost of these optical discs; the
company's 23.3GB discs accommodate the
405nm laser wavelength and high -numerical aperture (0.85) lenses used in Sony's Professional
Optical Disc (XDCAM) camcorders and decks.
Tektronix WFMNLE waveform monitoring software for Avid NLE
800-835-9433; www.tektronix.com
This software plug-in allows users to monitor the video quality
of Avid Media Composer
Adrenaline, Avid Xpress Pro, Media Composer and Symphony
nonlinear editing and finishing
systems; a nonintrusive tool to
verify signal and picture quality.
Telecast Fiber Systems Mamba
fiber-optic patchbays and converters
508-754-4858; www.telecast-fiber.com
Originally developed to help mobile
production trucks save cable weight and
congestion, this family of fiber-optic
patchbays and converters has grown
into a complete facility solution; especially useful for HD facilities that require
the high bandwidth provided by optical cable and infrastructure.
Thales ADAPT IV exciter
412-998-1100; www.thales-bm.com
This exciter provides linear and nonlinear correction capabilities
in a small, powerful hardware platform; combines
Thomson Grass Valley LDK 6200 HD
Super SloMo camera
415-558-0200; www.thomsongrassvalley.com
This camera brings slow motion to HD by providing replays and super-slow-motion effects
in native HD formats; supports switchable,
multiformat and multi-frame -rate capabilities,
including native image capture in 1080i and
720p formats; uses 12 -bit A/D conversion.
Triveni Digital and Terayon
Communication Systems ANDES -HD
distribution system
609-716-3500; www.3veni.com
408-235-5500; www.terayon.com
The Advanced Network Distribution Enhancement System is a highly integrated,
multifunctional HDTV broadcast distribution system that enables networks and affiliates to switch seamlesslybetween national and local digital feeds
and brand programming with logos and program -guide data.
Videotek DL-850HD
serial digital legalizer
610-327-2292; www.videotek.com
This device brings color coi Icction,
signal equalization and legalization
to the HD realm; its auto -format detect input accepts most SMPTE
292M formats and outputs in the
same format; legalizes HD SDI to HD/SD color space and/or encoded (NTSC or PAL) composite color space.
VTG NetCAD design tool
800-325-0266; www.vtgcorp.com
company's previous exciters, such as Digital Adaptive Precorrection, with an improved local user interface and enhanced correction capabilities.
This is a free, online, end -to -end design and
pricing tool for clients who need audio and
video interfacing and cable equipment for their
custom installations; it uses a drag -and-drop
interface to link the dient to a complete library
of all the products offered by VTG's two daughter companies.
Thomson Grass Valley Triax repeater
Wohler MON8-1 LCD monitor array
415-568-0200; www.thomsongrassvalley.com
888-596-4537; www.wohler.com
key
features
of the
This repeater/line amplifier increases the
maximum distance you can send SD and
HD camera signals over triax cable from
3300 feet (1000 meters) up to 6600 feet
(2000 meters), effectively doubling the
maximum usable cable length with no
significant loss of signal quality.
JUNE 2004
This 1 RU array contains a row of eight 1.8 -inch LCD monitors,
ideal for quick confidence checks of multiple channels. Each
monitor has one composite video input and one composite
loopthrough output connector; NTSC and PAL auto-sensing;
internal AC power transformer.
broadcastengineering.com
61
P2 STUDIO RECORDER
Panasonic AJ-SPD850
201-392-4127;
www.panasonic. com/broadcast
Real-time baseband video/audio recording
and editing; five 4GB P2 card slots provide
80 minutes of recording in 25Mb/s
DVCPRO or 40 minutes in 50Mb/s
DVCPRO50; shuttle at 100x speed in forward, reverse, fast forward and fast rewind
with full -color images.
QUARTZ -TUNGSTEN DIMMER LIGHT
Freni MFIC-PTS
800-345-1030; www. freni. coin
Fifty percent increase in output; advanced
pulse width modulator conserves power and
minimizes color change; advanced noise filtering; new fuseless reverse polarity protection and robust potentiometer.
LIGHTWEIGHT CAMCORDER
Panasonic AJ-SDC615
201-392-4127;
www.panasonic. corn/broadcast
16:9/4:3 switchable; IEEE 1394 interface
and three 520,000 -pixel, 2/3 -inch CCDs;
transfers digital component video to a
laptop NLE in the field; sensitivity of F13
at 2000 lux; low -light shooting down to 0.1
lux; 12 -bit A/D DSP circuitry; records up
to 66 minutes..
SLO-MO EFFECTS
Quantel eQ/ARRI Tornado
212-944-6820; www.quantel.com
Using NAC fxCam digital HD camera capturing images at 1000fps, new eQ software
provides high-speed digital image capture
for ultra-slo-mo shots; HD-RGB or existing HD-YUV signal handling. in
MPEG TRANSMISSION
Axon MStream
408-450-7973; www.axon.tv
Provides high-quality video transmission
over digital networks; real-time video
streaming and non -real-time store-and -forward applications over IP, standard Ti or
El telephone circuits, or ATM networks.
62
Digital audio
BY TOM PATRICK MCAULIFFE
rom portable digital recorders and
surround sound for video to
DVD-audio, new mics, digital audio
mixers and other audio tools, this
year's show had it all. Approximately
500 audio companies had their new
and established tools ready for all to
see. NAB claimed that attendance was
higher than last year, and the aisles
seemed barren. But this year's show
seemed even more ho -hum than last
year. With the economy still in a
slump and new digital technology for
television coming over the hill, more
than one vendor indicated they
thought attendees were waiting to
upgrade audio because of bigger issues (although none wanted to go on
the record). That may be, but more
American consumers are hooking up
their TVs and VCRs to stereos and
surround systems than ever before.
Broadcasters' attitudes are peculiar.
Consumer demand for better audio
has never been higher. The 5.1 surround -sound units are among the
most popular home additions, according to the Consumer Electronics Association. Consumers are favoring 5.1 audio playback systems even
more than HDTV, so making sure
programming content is surround ready seems like a safe bet. It was a bit
perplexing then to learn that both exhibitors and attendees agreed that
purchasing plans did not include audio this year. Perhaps with the digital
transition upon us, broadcasters have
put audio on the back burner.
Be that as it may, there were lots of
new products (and refinements of existing technologies, such as MXF and
MPEG-4) for audio at this year's show.
There were also lots of educational opportunities. For example, in three seminars, audio expert John Travis showed
attendees how to use Digidesign's
broadcastengineering.com
ProTools software
for advanced dialogue- and ambi-
ance -sound editing, noise reduction, and 5.1/7.1 surround sound.
There was also a new "Sound Operators Workshop" area, where anyone
could take dry audio sources and learn
proper EQ and mixing techniques
from on-hand experts.
All the educational opportunities
were almost enough to make one forget that the NAB gear-fest is where
broadcasters come to try out and purchase new equipment. Space doesn't
allow us to cover all of the new products being shown, but here are some
representative highlights.
SRS showed a 6.1 -channel matrix
surround encoder for Digidesign's
At this year's NAB, broadcasters seemed to hay e
put audio on the back burner, but consumer dsmand for better audio is higher than ever.
new 6.4 ProTools software, allowing
users to not only encode up to 6.1
channels of audio, but also to precisely
monitor what the audience will hear
through a real-time decoder built into
the software.
One of the most interesting displays
was put on by Dolby Laboratories. It
showcased its new Dolby Digital Plus
technology, which is part of the En-
hanced AC -3 standard. Expanding
Dolby's noise reduction capability, the
new standard is designed to meet the
JUNE 2004
A new generation o intercoms that
just made your life a whole lot easier!
Introducing the advanced digital matrix intercom
that offers up to 208 communications ports in 6RUthe highest port density of any existing system-PLUS
intelligent linking; expandable system architecture;
modular, configurable stations; and powerful, transparent interfacing.
www.clearcom.com
Tóöls
CHARACTER GENERATOR
Inscriber Inca titleOne
800-363-3400; www.inscriber.com
Provides render -free 2-D effects, including
page-wipes, pushes, dissolves, rolls and
crawls; includes serial digital key and fill I/
O with bypass and analog preview; supports MOS protocol and integration with
ENPS and iNews.
ENG TRIPOD
Miller SOLO VJ
973-857-8300; +44 1243 555 255;
www.millertripods. com
100mm tripod is designed for 10- to 40 pound camcorders, with 74 -inch maxi-
mum height; three-position leg angle locks
take it down to 8.7 inches and eliminate
the need for a ground spreader; tubes do
not rotate when tightened, so users don't
have to tighten from the top down.
rack -mounted audio monitor and
converter with dual SDI inputs and
standard BNC connections. It can accept either HD -SDI or SD -SDI. This
unit isn't just an audio monitor; it
four main qualifications of a next -generation broadcast audio codec: spectrum efficiency, cost savings, backward
compatibility, and compatibility with
future audio and video formats. Ac-
The American viewing public
no longer
cording to the company, the technology is less complex and requires fewer
changes to the existing broadcast infrastructure than other codecs, making it
more economical. As usual, Dolby offered numerous other new -technology
demonstrations as well.
Sound Devices came to NAB2004
with a broad line of field audio production mixers, line amps, recorders
and accessories. The new 722 and
744T portable audio recorders showcased file -based audio acquisition recording to two recording media: a
hard drive and/or a Compact Flash
card. Meanwhile, the 302 field mixer's
sit still for poor audio.
also provides powerful demuxing ca-
pabilities with eight channels of analog, as well as AES audio out directly
from the dual SDI inputs.
For audio professionals who didn't
make the show, NAB was a missed opportunity. 2004 is turning out to be a
year of significant change, both for
audio production and TV. Not only
is the transition to DTV accelerating,
the change to digital audio acquisition is complete, and the American
viewing public will no longer sit still
for poor audio. From educational
seminars and expert panel discussions to the latest in production and
TV audio products, digital audio has
never sounded better.
BE
light weight, extensive control and
good audio performance was a hit,
especially with the ENG crowd.
Wohler Technologies showed its
new AMP2-S8MDA, a multichannel
LCD
will
Tom Patrick McAuliffe is a journalist,
entertainer and a contributing writer with
Video Systems magazine.
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JUNE 2004
A Simple Solution
For Wardrobe
Malfunctions
DE
HD/SD Audio
Video Delay
LIDLL
The Dl Pipeline Delay
Live broadcasts are full of surprises. Some are
welcomed, some aren't. Put an enc to the
unwanted shocking language, acticns and
wardrobe malfunctions that can plague some
live events with Prime Image's popular Pipeline
delay device.
With Pipeline, delaying audio and video for up
to 10 seconds is as easy as pushing a button.
Delaying everything for as long as an additional
20 seconds is also an option.
Dl Pipeline is Prime Image's popular Pipeline
audio/video delay device, but with a serial digital
interface. D1 Pipeline features 10 -bit video
processing with a primary as well as an auxiliary/alternate video input. Audio processing is
24 -bit, with four channels in and out; select
AES/EBU, digital or analog. Four auxiliary/alternate audio channels (also AES/EBU, digital
enalog) can be switched with, or independent
of, auxiliary video.
The
?II that, in
a
Converters
HD/SD
Time Machine
HD/SD Trimmer
HD/SD Time Base
Correctors/
Synchronizers
rack -mounted unit just 2U high.
-
delaying it,
Pipeline. It's about time
utilizing the latest video technology.
L7,1
HD/SD Standards
Prime
mage®
The Digital Video People
Tel (408) 867-6519
Fax (408) 926-7294
www.primeimageinc.com
www.americanradiohistory.com
PRODUCT
JACKPOT
.
HD SERVER
ENHANCEMENTS
Omneon SPECTRUM
408-585-5000;
www.omneon.com
Automation
Supports multiple HD formats, including DVCPRO
HD, HD MPEG and
HDCAM; scalable open architecture design
allows addition of storage channels.
COMPRESSION PLATFORM
Scopus UE-9000 encoder
609-987-8090; www.scopus.net
Provides upgradeable modules for MPEG2 to MPEG-4 or WM9; provides 50 percent improvement in bit rate; supported by
Scopus IVN system architecture.
HD CLIP SERVER
Chyron Clyps HD
631-845-2000; www.chyron.com
Graphics environment features built-in
keyer and up to 1.3TB of storage equaling
180 minutes of lower -third animations or
60 minutes of full -frame video; features include loop, pause, hold last frame, go to
black, cue and hold first frame; three stereo AES/EBU digital audio
I/0..
SURROUND SOUND SYSTEM
Harris NeuStar DTV
513-459-3400; www.broadcast.harris.com
Transports audio over the existing stereo
backbone and automatically converts it to
surround sound at the receiver; system uses
proprietary Neural technology to reduce artifacts in compressed data formats, allowing
bandwidth savings of up to 30 percent.
HD PREPROCESSOR
Snell & Wilcox Prefix-HD
800-827-4544; www.anellwllcox.com
Multistandard HD compression preprocessor; reduces noise-related artifacts in HD
video, including film grain and video noise;
offers linear filtering, color gamut legali7er
and 4:4:4 internal processing; supports AES,
AC -3 and Dolby E audio; provides advanced
metadata handling and insertion, including
flagging cuts and 3:2 cadences. ei
66
BY JIM BOSTON
This year's NAB demonstrated that
a
number of trends would con-
tinue developing well into the future.
HD and the need to develop new business models for the future are leading
broadcasters to rethink how they do
business. New business models usually
mean new workflows and processes.
This puts automation at the epicenter
of change in terrestrial broadcasting.
A common theme in automation
this year was commoditization. You
can expect to see the cost of automation systems drop. Vendors report
fewer requests for product demonstrations, but more for workflow discussions. Broadcasters view automation no longer as a suite of software
applications that automates a few tedious tasks, but rather as a system that
streamlines the workflow process.
Automation is shifting from device
control to managing content storage
and playout. Indeed, a number of
vendors now combine automation
and video -server functionality in a
single system. More devices can now
be controlled through LANs, and IP
to serial conversion boxes is becoming more widely available to serve
legacy devices. These factors are allowing MPEG encoding and decoding to
take the place of real estate that used
to be used for the serial ports.
Today, broadcasters have a growing
need for and interest in tight asset
management. Customers and vendors
now view asset management as an inherent aspect of an automation system. The automation system only
touches the assets throughout the process, so it is logical that it should
handle asset management.
As the tentacles of automation reach
further across the entire broadcast
enterprise, automation systems are
talking an ever-broader array of pro-
broadcastengineering.com
tocols and using
more IT tools.
Today's automation topology generally consists of
an application layer that interfaces to
client stations and external systems
that sit above it. The application layer
then communicates to a data- and
device -control layer below it. Interfaces to external systems not traditionally controlled are tending toward open -standards -based approaches, such as Web services, SOAP,
XML, MOS (protocol using XML)
and SNMP. A number of vendors
point to the Microsoft.Net framework
as a good development tool. These
methods enable rapid API development and easy extension as needs
change. Most software development
tools include SDKs that can be used
to support rapid development.
Over the years, automation vendors
have offered systems running on realtime OS kernels outside the Microsoft
and Unix realms. Today, there are systems available running Linux and at
least one vendor with a system running on its own proprietary OS.
Vendors at NAB reported fewer requests eor
product demonstrations, but more for
workflow discussions at their booths.
JUNE 2004
Everyone's waiting to see it.
HA18x1.EERM/ERD
High Defintion
ONLY FROM FUJINON!
18X Standard Zocm Range
Longest and Widest Standard Lens
A18x7.6EFM/ERD
Standard Definition
DigiPower Servo
User-Programmable Fu fictions
Remote Control
HAs18x7 66MD
Matar Drive
Broadcast and Communications Products Division
FUJINON INC. 10 Hgn Pant Dr.. Wane, PJ
074'3'434 Fion:
FUJI PHOTO OPTICAL CD., LTD. 1-E4 Letake,
Fe
to es varyv'it`
nHdel.
www.americanradiohistory.com
(973) 623-5300. FAX (9731633-5216
itana City, Saitana 331-9624 Japan Phone:
91
48-668-2152
Tools
PROGRAM RECEIVER
Scientific-Atlanta PowerVu D9850
770-236-5000; www.sciatl.com
Provides digital transmission for cable
headends; 1RU height; 10Mb/s standard
and 50Mb/s optional data output with
Ethernet port; supports IP services; downloads files to servers; SDI output with embedded audio; ASI input for remote unlink monitoring.
Automation at
JustArchive, an interface between automation and DVD or tape archive. It
runs on Unix, Linux or Windows operating systems.
NAB2004
Archive tinterfaces
Blueline Technology unveiled
Asset management
P
Za11:1B
TECHNOLOGIES
THINK MULTIVIEWER,
THINK ZAND,
Zandar offer a wide range of proven MultiViewer solutions, wit!,,
numerous input formats, output display reso`utions, and control options.
Think Zandar for:
«
Crispin introduced Near -line
Archive, which allows users to extend
the storage of their video servers using inexpensive disk arrays.
Command & Control
Master Control Rooms
Broadcast multi -video
& oudio monitoring
AV Presentations
Video-conferencing
Mosaic & Interactive Channe,
Security & Surveillance
Crispin has unveiled AssetBase,
which provides catch -server management. This Web -enabled application
allows catch servers to be treated as
video servers in their system.
Sundance showed an upgraded version of Seeker that runs on Microsoft
SQL. It automatically creates an indexed proxy anytime any other application touches a video asset.
Encoda introduced Broadcast Master, which integrates traffic and automation layers under a single system, combining customer -relationship -management, sales and asset management tools.
Centralcasting
Florical introduced MediaTrans PIus,
which provides an economical delivery of video/audio signals between
locations using MPEG-4 technology.
Sundance introduced Sentinel, an
SNMP monitoring package.
Device servers
Digital Transaction Group, the
is
IRELAND:
TrioTech House, Abbey Road,
Deansgrange, Co. Dublin, Ireland.
Tel:
+353
Fax: +353
1
1
280 8945
280 8956
E-mail: [email protected]
USE:
19N E. Os. eola Parkway, No. 330.
Kissimmee, FL 34743, USA.
Tel: 321
939 0457
Fax: 321 939 0458
E -Trail:
[email protected] corn
www.zandar.com
Visit Us at InfoComm, June 9-11, Booth #3795
or
Broadcast Asia, June 15-18, Booth #2G2-7
zsme-83,,
68
broadcastengineering.caom
former engineering and support team
from Odetics Broadcast, introduced
AIRO XDS, a device -control server
that controls up to 64 devices and can
scale up to any number of channels
and devices with an unlimited number of devices per device pool. The
XDS server manages the devices, resources, state and history.
Ingest
Harris Digital Ingest now allows the
ingest of media and metadata of
Pathfire syndication and promotional
JUNE 2004
TOTAL SOLOTON
'OTAL COMMiTMLNT
total commitment
or.,
rrnn,,
.
-,.,_
1,
_ ,,.:w
;ZETA
o broadcast
Calrec solves them.
Calrec's unique family of digta
production consoles all share the
same high levels of resilience, all
have hot-swappable cards and
panels and all operate
independently of the on -board PC.
Whatever your requirement:
In
Different applications require
different solutions. Most
manufacturers' limited awareness
of this fact just creates problems.
Calrec have
right now.
a
Calrec consoles share
the same comprehensive
broadcast specifications essential
for live to air production. ht's rio
wonder they have -the finest
reputation for quality
and reliability.
solution available
Specialists in broadcast console
design for over 30 years, Calrec
provide all the broadcast features
your programme needs, now and
in
short
Calrec Digital Broadcast
Console Users:
all
Calrec,Total commitment,
total solution.
the future.
Clear Channel
CNBC
KJRH Ch 2 Tulsa
KNSD-TV Ch 39 San Diego
KXAS-TV Ch 41 Dallas
KXTX-TV Ch 39 Dallas
Maryland Public Television
NBC Olympics
NBC Television Network
NEF Supershooters, Inc.
Trio Video
Univision Network
WTVJ Ch 6 Florida
WVTM-TV Ch. l3 Birmingham
WX`sZ Ch
Al
Powerful, tfexible feature set to meet all
programme needs
Automate redundant [ASP control
processor and PSU systems
Embedded control system allowing for
power-up and operation without the PC
High input. headroom, excellent
audio performance
CALREC AUDIO
LTD, NHTCLOYIGH MILL HEBDEN
BRIDGE, WEST YORKSHIRE, HX1 8E1, 00
South and Mid West States - TEL: (615) ,811
North East States and Canada
Western States
-
-
TEL:
TEL:
(212) 586 7316
(818) 841 30D0
Detroit
Hot -swap cards and modules throughout
- ALL cards and panels are removable and
insertable under power
on
TEL 01144 "422 842155
0094
7
Full system
EMAIL:
reboot
EMAIL
[email protected]
www.americanradiohistory.com
than 20 seconds
[email protected]
EMAIL [email protected]
EMAIL: [email protected]
in less
WEB: www.calrec.com
PRODUCT
JACKPOT
Tools
HD CROSSCONVERTER
content. The Invenio Starter Pack allows users to create and store proxies
of WM9 content ingested into broad-
Evertz 7710XC-HD
cast servers.
905-335-3700; www.evertz.com
Sundance has also introduced a
product that manages the transfer of
new media out of Pathfire's cache
server to other servers.
Uses 10 -bit processing, one reclocked HD
serial output and two reformatted HD se-
rial digital outputs; accepts two groups of
SMPTE 292M embedded audio signals and
re -embeds them into the output HD video;
fully SMPTE 292M compliant; full proc
control, including color correction, black
level, luma level, chroma level and optional
audio level.
AUDIO ANALYZER
Rohde & Schwarz UVP
888-837-8772; www.rsa.rohde-schwarz.com
Digital audio interfaces up to a 192kHz
sampling rate; features expanded measurement bandwidths; can perform several
measurement functions simultaneously.
Last-minute changes
Crispin's PSIP software and Linx
Electronics' TVLinx can communicate
with one another, allowing real-time
updating of PSIP tables based on lastminute changes at master control.
Florical announced Automated Join
In Progress, which automatically
calculates the necessary timelines for a
join -in-progress to a program following a live event that runs long. Operators can drag and drop commercials to
be aired into the schedule, and the application automatically recalculates the
timelines to compensate by reducing
program content to be aired.
Pro -Bel introduced Morpheus Velocity. Velocity is a client application of the
Morpheus automation backbone that
was introduced last year at IBC. Velocity allows breaks in live events to be
changed by drag -and-drop operations
at the last second.
Logging
Florical introduced AirLogger, which
automates off-air logging and review
by automatically creating off-air recordings on long-term storage media.
Media prep
Sundance introduced a revamped
version of its Media Prep input mod -
New Open -Architecture
Design Provides First
Affordable, All Digital
Tapeless Newsroom
r
FLOW"
I
WORKS AS FAST
AS YOUR NEWS
Full -Featured Ingest/Edit/Playout
End -to -End Solution
Illirtewsrooms
Still Using Tape
Will Get Left In
Ingest
Instant Access to Hundreds of Hours
of DV and MPEG Networked Storage
Edit
Automated Ingest of SAT Feeds and
Faster than Real -Time Batch Digitizing
Produce
Low -Resolution, Frame Accurate Proxy
Editing Running Inside Newsroom
Automation Software
Playout
DV Studio Pro Editor
with Real -Time
Effects and No Transcoding
The Digital Dirt
Fully MOS and VDCP Compliant for
Broadcast Environments
V
1
CI
E 0
TECH,N1 C
S
4 CIPRICO
Aran.nyn.a,.dwaewmm.-
moteuLz;.
/&t
Adobe
www.newsflow.ty
70
JUNE 2004
broadcastengineering.com
www.americanradiohistory.com
Teeing Up For
Perfect Audio
Standing
fron left:
Operator),
Steve Specht (Audio
Chuck Jones (Maintenance
Engineer),
Operator).
Jim McCabe (Audio
(Audio Operator).
Seated: Derrick Beauregard
Performance shines as The Golf Channel chooses the
"It's the in( erent design functionality that makes the
VP
SSL
SSL
C100 Digital Broadcast Console
C100 the console of choice for Fie Golf Channel," states
of Network Operations Andy Murphy. "The maximizing of console power in
intuitive logic of one -knob -one -function control operation in
a
a
caapai
console with multiple
space, while
retainitg the
ktycr is truly remarkable.
Combine the engineering feat with 551's great reputation for quality build, excellen- se. vice and great sound, and
you have a product that is perfect for the live -to-tape and live -to -air programs we produce."
X1 00
C100 delivers 'Next Generation' Digital Broadcast Features
Secure operation with Self-Healing and Redundant features
Dedicated broadcast design that is simple and powerful
Future -proof investment (surround capable for HDTV)
Network integration as standard
Cost-effective, scalable design to fit a wide range of budgets
Solid State Logic
(iROADCAST AUDIO TECHNOLOGY)
Begbroke, Oxford 0X5
NEW YORK
Tel: +1
(1)212 315 1111
1
RU, England.
Tel:
+44 (0)1865 842300 Fax: +44 (0)0865 842118 Email: [email protected] Web: www.ssl-breadcast.com
TOKYO
IOS ANGELES
Tel: +1
(1)323 463 4444
Tel
+81 (0)3 5474 1144
www.americanradiohistory.com
MILAN
PARIS
Tel
+33 (011 3460 4666
Tel:
+39 039 2328 094
Tools
MULTIFORMAT SERVER
Thomson Grass Valley PVS 3500
800-547-8949; www.thomsongrassvalley.com
Plays out SD/HD from same server frame
and same timeline; Fibre Channel and gigabit Ethernet connectivity; supports file streaming protocols MXF and SMPTE 360;
automatic conversions of MPEG SD to HD
and MPEG HD to SD; aspect ratio transformation available during conversion.
VIDEO ARCHIVE
IBIS SprinTx ServerArchive
+44 1458 280 208; www.ibis.tv
For IBIS newsroom automation applications; provides common UI to control
archiving video clips from server; supports
VTR, DVD, MCM or data tape; manual or
automatic process available.
ule for Titan and FastBreak systems.
Florical announced that MediaTimer
Desktop, which uses MPEG-4 technology to allow desktop viewing, now has
Crispin's RapidPlayX offers a simplified view of all channels running
in the facility. At a glance, it shows
the current state of each channel and
the ability to designate in -and -out
points for logo bugs, animated promotions and audio overs within programs. The application imports this
information into the on -air schedule
in the form of secondary events.
warns the operator if attention is
needed. Crispin also rolled out
NewsPlayX Newswheel, which uses
an MOS interface and allows stations
to add a 24 -hour newswheel without
the need for an operator.
OmniBus unveiled its TX>Play
automation system, which is able to
control up to 12 channels and is based
Multichannel
Harris introduced Broadcast Presentation Manager, which is part of the
Harris Resource Suite, to manage
scheduling, resources and playout of
media content on multiple channels.
Sundance rolled out News Recorder,
a product that automates content segmentation during live recording.
on the company's G3 technology.
MicroFirst Engineering introduced
its Digital Automation System (DAS)
multichannel automation system.
DAS provides capacity for up to 16
separate, user -configurable event
lists. Each can hold up to 1000 events.
SYNAPSE: HD/SD
When it comes to digital infrastructure:
choose from our growing
family of over 90 hot swappable cards.
www.axon.ty E-mail: [email protected], PHONE: (408) 450-7973
72
/JXC N
g
i
t
a
l
Design
JUNE 2004
broadcastengineering.com
www.americanradiohistory.com
Screen Service
ITALIA
SCREEN SERVFCE ITALIA Sri
Via 1 Di Vittorio, 17- 25125 Brescia - !tali
Tel +39 030 3582225 Fax +39 030 3582226
www.screen.it e-mail: [email protected]
A sing
allows
digital (DVB-T or ATC) or
analogue signals digitally
generated and of
extreme high quality.
The commutat-on
between analogue and
digital mode car) be local
or by any remote control
system or by a command
inserted into the
Transport Stream.
,
r-2.//11.,/11,17,11{,,
'1,1
1,1111,Jr1S11.1,1
1-
e
8
3
-
ti Oil
Dual ASI input with
statistical analysis
and automatic
switching
-PER re -stamping
- Control of the
crest factor
- Integrated SFN
IÌ
j
ll
11:11
f41
rifid
adaptor
Management of
the "null packets"
Integrated test
![,
modes
1111111111110111119)1
Integrated offset
r
-
www.americanradiohistory.com
at steps
ofi Hz
Tools
MPEG TS SERVER
Leitch NEXIO NX4000MTS
800-387-0233; www.leitch.com
Supports multiple SD/HD compression
formats; ASI interface; records up to four
separate programs within a multiprogram
transport stream; allows timing of the content for seamless splicing and playback. in
HD TAPE
Maxell
HD -TV
800-533-2836; www.maxell.com
Family of videocassettes, includes DVCPRO
HD, HDCAM and D-5 tape; uses Ceramic
Armor metal particles and a durable binder
system providing high output, low noise and
low error rate; coercively of 23500e and retentively of 3800BR; tapes available in 33-,
64- and 126 -minute lengths.
Also introduced at NAB was the
MicroFirst MPS -9810, which is an
intelligent auto/manual multipoint
A/B switch that enables redundant
automation processors.
A first-time exhibitor at this year's
show was Pebble Beach, which demonstrated three products. Anemone
can handle up to four channels and is
intended for small operations. Neptune is intended for larger systems and
facilitates proxy browsing. Periscope
is a client application that displays
multiple playlists much as a program
guide would.
Server control
A few companies have introduced integrated automation and video-server
packages in the same technology. Matco
is one of those. Although its integrated
automation system has not changed, the
underlying hardware is evolving and the
delineation between the control layer
and the underlying media continues
to blur. Fission is another company that
offers the control layer over SAN- or
NAS -based computer technology.
Blueline Technology introduced its
JustClips software package, which
offers clip playback from any video
server and gives manual control to
the server. It runs on Windows, Linux
and Unix platforms.
DNF unveiled boxes that fall under
their Flex Control Network. They allow playout to control servers and other
devices. Server control currently is
under Odetics RS -422 now, but it will
soon extend to the VDCP protocol.ó[
Jim Boston is a West Coast consultant.
Holds color in captivity.
Introducing the new 8.4" diagonal ERG HDM-EV8OD HD
monitor with extremely accurate color. Its HD innovations
include four inputs and one output, which allow it to be
used with multiple cameras. The monitor's DC output and
cost effectiveness make it ideal for rack mounting while
its compact, rugged design and low power consumption
make it perfect for location shooting. No matter how you
use it, the monitor will capture your imagination. For more
information about the HDM-EV80D, call or visit our
website: erg-ventures. corn, [email protected],
U.S.: +1-949-263-1630, Japan: +81-3-3760-8"6"
HD Monitors
74
broadcastengineering.com
JUNE 2004
What can you REALLY do with
19.39 Mbps?
Call us or
visit harmonicinc.comlbroadcast for more information.
www.americanradiohistory.com
Harmonic
A
lot. And, you can make changes
06:21:42.04
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Deliver More Content with the
Best Picture Quality at Your Bit -Rate.
DiviCom J MV 100
Highest performing standard definition (SD) encoder
In
the
industry delivers beautiful digital video at ultra low bit -rates.
Advanced noise reduction technology improves picture quality
and further reduces bit -rate.
Platform for the future supporting MPEG-2 as well as
MPEG-4/AVC and Windows Media
,n.
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a_
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9
(VC9).
DiviCom MV 450
4. 4.
Flexible, low bit -rate, high definition (HD) digital video encoder
4.
delivers an exceptional
HD
experience.
Provides standards -based
HD
Supports up to two Dolby
E
digital program insertion (DPI).
passthroughs and 4:2:2.
DiviTrackXETM
Third
generation closed -loop statistical multiplexer maximizes
channel carrying capacity while preserving picture quality.
Supports
a
with data
Offers
mix of SD and
HD VBR and CBR
encoders along
in the same pool.
variety of input/output options to integrate with
a
virtually any environment.
Broadcast Network Gateway' (BNG)
Gigabit Ethernet output enables efficient IP -based transport
of HD and SD digital video to carrier headends.
mw aalga OS,
4&9
NMX Digital Service
-
Manager'
Manages video infrastructure as
MON..
a
series of services rather
than discrete hardware and software components.
F=
....
Enables seamless change in system mode according to
time -of -day and day -of -week.
15-52.L_
Interfaces with third party conditional access, PSI/SI and
.....iw........Ial"1....raL
._. ,,....i w.. A
left ..»..
».et
IM
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automation systems.
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Supports
.r,+
a
wide range of redundancy designs and automaticalli
reprovisions the infrastructure, ensuring the highest levels of
+w
service reliability and availability.
ww
a
Permits centralized and distributed service management.
.1/1.::4
Harmonic Inc.
549 Baltic Way
c' 2004 Harmonic Inc.
All rights reserved.
Sunnyvale,
CA
www.americanradiohistory.com
94089
Tel: 1:800:788.1330 or +1.408.542.2500
Fax: +1.408.542.2510
Cameras
HD CHARACTER GENERATOR
BY DAN STARK
NAB this year offered several ad-
ditions to evolving technologies,
especially CMOS camera sensors and
solid-state recording. One attractive
capability of CMOS is its ability to
switch between various video formats
to provide different native resolutions.
Tape -based camcorders have been
the norm in the industry, while disc based cameras have started to make an
impact with hard -drive and optical
variants. This year, Panasonic showed
working prototypes of their P2 technology. P2 technology provides more
reliability with fewer maintenance
costs because there are no moving
IT sensors, each
with 520,000 -pixel
resolution.
Panasonic also
introduced the AJSDG905 DVCPRO50 and the AJSDC615 camcorders, which offer
firewire capabilities. Both cameras use
520,000 -pixel CCDs, are switchable
between 16:9 and 4:3, have a sensitivity of F13 at 2000 lux and use 12 -bit
A/D. The AK-HC900 was introduced
with variframe/cinegamma options.
The 900 series camera with the AJRC905 CCU and AJ-CA905 camera
adapter had 26 -pin camera control
Miranda Oxtel Imagestore
973-683-0800; www.miranda.com
Interfaces to automation for branding graphics, clock insertion, lower -third text crawls;
operators can build on -air graphics from a
desktop gallery; two layers of animation/still
insertion from internal storage.
AUDIO CODEC
Dolby Digital Plus
415-558-0200; www.do/by.com
Expands capability of Dolby Digital; backward compatible with Dolby Digital 5.1;
increased efficiency, less complex and more
cost efficient; currently an ATSC candidate
standard for Enhanced AC -3.
Tape -based camcorders have been the norm in
the industry, while disc -based cameras have
started to make an impact with hard -drive and
optical variants.
parts in the camcorder. P2 camcorders
record video on a series of PCMCIA
RAM cards. These cards can then be
inserted into a PCMCIA slot on a
computer or in Panasonic's P2 studio
deck. The video is then available for
playback or editing without any capture process. P2 cards offer 100,000
rewrite cycles with immunity to severe
shock and vibration.
The P2 studio deck includes a DVDR drive for archive or restore. A P2
card drive is also available to attach five
P2 cards to a computer. Current cards
offer 4GB capacity with 16 minutes of
DVCPRO25 recording.
The P2 camcorder, AJ-SPX800, has
five slots for P2 cards, allowing continuous recording onto all five cards in a
sequence. Cards can be hot swapped,
which essentially allows for continuous
recording. The camcorder can record
in 24p, 30p and 60i using three 2/3 -inch
functions added.
Clarity Image showed a vari -speed
controller for the AJ-HD27F Varicam.
It offers smooth, real-time frame rate
changes with user -defined custom
ramps that can be stored on SD
memory cards.
Sony introduced the HDC-X300
compact HD camera. Based on new
inch, 1.5-megapixel HD CCDs, it offers 1440x1080 effective pixels with a
low, -120dB smear level and a signalto-noise ratio of 54dB. It can be used
as an HD POV camera for a variety of
HD applications, including studio, HD
security and analysis. A slow shutter
mode allows the CCD to operate from
two to 64 frames. Coupled with 48dB
gain, it features a minimum illumination of 0.003 lux, and it supports several frame rates, including 23.976PsF/
25PsF/29.97PsF progressive and 50i/
59.94i. Output signals include HD SDI
/-
HDV PLAYER/RECORDER
JVC JY VH1
973-317-5000; www.Jvc.com
Records and plays HDV; features a 3.5 -inch
LCD monitor and digital iLink interface for
NLE and dubbing systems; component for
multiformat playback and an SD memory
card slot for capturing still from tape.
VIDEO CAPTURE AND
EDITING CARD
Aurora Pipe
HD
586-726-5320; www.auroravideosys.com
Works in either HD or SD; connects to
most A/V devices; offers 10 -bit I/O; can
monitor video via composite, S -video or
component analog outputs; genlock input
provided; outputs two channels of 24 -bit,
48kHz analog audio for monitoring.
BROADCAST MONITORING SYSTEM
Encoda VeriStream
303-237-4000; www.encodasystems.com
Identifies and corrects failures and errors in
transport streams over an entire network,
and specific channels, through all stages of
transmission; multichannel and centrali7Pd
controlled environments supported..
broadcastengineering.com
JUNE 2004
www.americanradiohistory.com
79
VISUAL WORKSTATION
Silicon Graphics Tezro
800-800-7441; www.sgi.com
Workstation platform accommodates up to
four 700MHz MIPS RISC processors with
4MB L2 cache; supports seven PCI -X slots,
internal DVD-ROM and external drives; 48bit RGBA with 16 -bit Z buffer capability;
includes support for HD, dual -channel and
dual -head display options; DmediaPro options with support for dual streams of HD
10 -bit 4:4:4:4 RGBA video.
HD EDITING SYSTEM
Avid
DS
Nitris 7.5
978-640-6789; www.avid.com
Real-time finishing system for SD, HD and
digital intermediates 2K/4K; provides 10 bit HD encoding; fully compatible with
the Media Composer Adrenaline system;
operates in 4:2:2 color space; available in
three user -selectable bandwidth configurations: 220Mb/s for 10 -bit and eight -bit
video; eight -bit configuration at 145Mb/
s for 720p and 1080p/i HD resolutions;
supports MXF.
VIDEO SERVER
SeaChange BMC 60000
978-897-0100; www.schange.com
Supports up to eight MPEG-2/IMX codecs
operating at up to 62Mb/s per codec, four
MPEG transport I/O cards, or three HD
decoders; can combine up to seven I/O
cards for up to 56 channels of 50Mb/s IMX
I/O and more than 1600 hours of storage
using 300GB SCSI drives.
DISK RECORDER
DVS
Pronto2K
818-846-3600; www.dvs.de
Uncompressed real-time recording for SD
to 2K; stores video data directly as BMP,
YUV, TIFF, TGA, Cineon or DPX; audio
stored as AIFF and WAV files; formats and
resolutions handled include NTSC and
PAL, 720p, 1080i, and film (2048x1556) in
RGB 10 -bit at data transfer rates of up to
306MB/s. D
and analog component signals. The
HDW-730S is a reduced-feature version of the HDW-730. A more costeffective 1920x1080 interlaced camera, its price is comparable to high -end
SD camcorders. It offers HD SDI output standard and interfaces to most
Sony optional products.
The Sony BRC-300 is a three -chip,
robotic, pan/tilt camera in a small
footprint with three high-performance 1/4.7 -inch advanced HAD
CCDs. A 12x auto focus lens is provided, and the camera has an additional 4x digital zoom, allowing a combined 48x zoom. Optional cards offer
component analog or digital outputs.
The BVP-E30/E3OWS camera uses
Power HAD EX CCDs and new 14-bit
A/D conversion. It operates in progressive or interlaced modes and offers sensitivity of Fl l at 2000 lux with an S/N
ratio of 66dB. Slow-shutter mode allows
CCD exposure down to 7fps with 42dB
of gain. The camera features a minimum
illumination of 0.035 lux. The E30 interfaces to existing Sony CCU and VTR
models, including the WLL-55 wireless
camera system. The system converts the
camera's signals into an MPEG-2
bitstream for transmission over the
2.4GHz band, does not require any licensing and is compatible with many
Sony cameras.
Hitachi introduced the Z2500 camera, based on 2/3 -inch IT sensors with
900 lines of resolution and a 65dB sig-
nal-to-noise ratio. The HVD15 box
camera has three 1/2-inch IT sensors, a
bayonet lens mount and SDI output,
and features 900 TV lines of resolution at 64dB. Hitachi also featured the
SK31B and SK31C HD camera backs.
The B version has a fiber-optic cable
from the camera back to the CCU, and
the C version is a multicore system.
WC unveiled a prototype three -chip
HD camera recording to HDV format
DV media. The camera will use 2/3 inch CMOS imagers with a native
resolution of 1920x1080 pixels. The
80 broadcastengineering.com
camera will be capable of both SD and
HD recording, including 24p. WC also
introduced the KY-F650 and KY-F550
box cameras based on 1/2- and 1/3 inch CCDs. They offer 850 lines and
800 lines, respectively, and both cameras have an SNR of 62dB.
The KH-F87U HD CMOS-sensor
box camera features three 2/3 -inch
attendees saw many unique exhibits and
were introduced to new camera technologies.
NAB
CMOS sensors, 12 -bit A/D converters
and a 54dB signal-to-noise ratio. The
camera operates at either 1080i or
720p natively with a dynamic range of
68dB and has two HD SDI outputs.
Ikegami introduced the HDK-725P
and HDK-75EX handheld HD cameras. The HDK-725p is native 720/60p
and the HDK-75EX 1080 at 60i. The
75EX offers an integrated fiber
adapter. Both are cost-effective cameras. Ikegami's HDL-40C CMOS cam-
era is based on two -million -pixel
CMOS sensors operating natively in
720p, 1080i and 1080/24p formats.
They are designed for a variety of applications, and one version offers slow
motion. The company also showed a
prototype of the HDK-79EC CMOS
camera.
The company's TA-79HD series is
an improved HD triax/fiber camera
back and CCU. This series can switch
between fiber and triax cabling.
In the interesting technology department, Ikegami's HDK-79NAR has a
rotating optical block that allows an
operator to spin the picture without
JUNE 2004
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Tools
MASTER CONTROL EFFECTS AND
GRAPHICS
Utah Scientific SqueezeMAX
801-575-8801; www.utahscientific.com
Versatile dual -channel video effects with
built-in graphics display capabilities; for
on -air squeezeback effects, logo insertion
and other channel branding operations;
available for stand-alone use or integrated
with the company's MC -2020.111
having to rotate the camera. It has a
feature that allows the operator to hold
the image block level
regardless of
the camera's angle. Ikegami offered the
SD HK-399PW, which incorporates
-
ei
i
im;']
14 -bit A/D converters with a 68dB signal-to-noise ratio. The Editcam system
was shown with the DNS -33W.
Thomson Grass Valley announced
the LDK 6200 HD Super Slow Mo
digital camera, providing 120fps in
1080i. It uses a DPM sensor and an
EVS disc recorder. It is slated for use
in the 2004 Olympic Games in Athens, Greece. Thomson's new SD cameras included the LDK 500 and LDK
300. The LDK 500 is based on the
popular, remote -controllable LDK 200
camera head, which offers 14-bit A/D
conversion, and optical and digital fil-
ters. It has a configurable processor, sec-
ond -order color correction, a frame
store and vertical shift for locking the
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important to cable performance.
Whether you're installing cable in
or radio studio,
offering
camera to computer monitors. The LDK
500 is available in DPM, FT, IT and ITW
versions. The LDK 300 is replacing the
100 and 200 series cameras.
Also new for Thomson Grass Valley
was its Triax Repeater, offering HD
transmission up to 2000 meters with
14mm triax. The C2IP camera -control
system can accommodate up to 99
LKD series cameras over Ethernet via
TCP/IP, compatible with all series
9000 control systems.
Dalsa announced that it is targeting
its Origin CCD camera, offering 4K
image size, for commercial rental
availability by Nov. 1. ARRI also displayed updates to its D-20 project
camera released at IBC2003. It features
a single, six-megapixel CMOS sensor
that has an image area comparable to
a 35mm full-aperture film frame, accommodating 35mm cine -lenses.
This year's NAB highlighted some
emerging and existing technologies.
Next year's NAB promises to bring this
year's ideas and concepts to market in
production models. Practical cameras
with CMOS sensors and non -tape based camcorders will be the technology to watch.
BE
Performance Delivers The Future
©2003 Be,
82 broadcastengineering.com
Dan Stark is president of Stark Raving
Solutions.
JUNE 2004
crea
imanagement
da'ivery
40k+ attendees from Europe
and 120 countries worldwide
1,000 exhibitors including all
the key technology suppliers
The world's best electronic
media conference
Exhibition 10 - 14 September
Conference 9 - 13 September
RAI Amsterdam
www.ibc.org
IBC Aldwych House 81 Aldwych London WC2B 4EL United Kingdom Tel: +44 (0) 20 7611 7500 Fax: +44 (0) 20 7611 7530 Email: [email protected]
www.americanradiohistory.com
AN SYNCHRONIZER
Fortel DTV
FS -516
800-530-5542; www.forteldtv.com
Transcode, synchronize and process a variety of source types: NTSC, PAL or SDI
with analog, AES, embedded or Dolby
audio; create SDI with embedded or AES
audio out. in
HD SIGNAL ERROR
HEADROOM METER
4sight HRM-1500
408-559-0255; www.4sightproducts.com
Portable handheld device that quickly displays the spectral health of an HD signal; has
an easy -to-read LED gauge; LCD display gives
detailed energy readings on the total spectrum, fundamental and harmonic bands. o
AUDIO NETWORKING SYSTEM
Calrec Hydra
+441422 842159; www.calrec.com
Provides a network for the sharing of I/O
resources and control data between Calrec
digital mixing consoles; Gigabit Ethernet
fabric; features high bandwidth and a scalable, flexible architecture; includes remote
I/O units with up to 96 analog or digital
inputs or outputs; units may be connected
onto the same network.
Compression
products
at NAB2004
BY STEVEN M. BLUMENFELD
is
ing technique has hit the market.
MPEG-4 AVC represents a major improvement in compression technology
from MPEG-2 and has been approved
for adoption as a mandatory codec for
the new HD DVD specification. MPEG4 AVC and MPEG-4 AAF HE (another
standard based on the same compression techniques) were evident in products all over the NAB floor.
accurate, MPEG-4/MPEG-2/HDV
editing. It features logo insertion,
scene indexing, a variety of mediaconversion capabilities and a soft-
KDDI R&D Laboratories
HD/SD MULTIFORMAT ROUTER
Quartz Xenon
888-638-8745; www.quartzus.com
KDDI introduced several interesting
H.264/MPEG-4 AVC products for the
professional and prosumer markets.
MP -Factory is a software development kit for MPEG-1-, 2- and -4, and
Available in two frame sizes; has signal processing technology modules on input and
output cards; features optional dual internal controllers for deterministic switching;
dual hot-swappable fans and power sup-
plies; all active modules may be hot
swapped from the front of the frame.
CONSOLE
Wheatstone Bridge Router
252-638-7000; www.wheatstone.com
Design consists of 7 -inch rack -mount digital routing cages; handles 512 simultaneous
audio channels on its backplane; features
bidirectional fiber-optic or CAT-5
interlocation connectivity, all -digital domain AES switching, analog/digital I/O,
and serial control and display with Wheatstone consoles. al
84
bundled with
this year's NAB show, there were
companies, big and small, showing
off tools of the trade using compression.
MPEG is clearly the standard of choice
for digital video. Whatever the MPEG
incarnation, the digital video world is
MPEG. Now, with the ratification of the
MPEG-4 standard, a new, scalable codt
JVC's consumer
high -definition
camcorder, the
and
GR-HD1,
with its professional high -definition
camcorder, the JY-HD10. The program provides nearly lossless, frame -
ware -based HDTV player with a jog/
shuttle controller.
Another interesting product from
KDDI is the Highlight Creator automatic summarization software. Based
on content -analysis technology, it
summarizes input video in two
forms, skimming and highlights, and
converts summarized video into various formats for streaming and mobile use. Skimming is an outline version of the original content with preferred duration, while highlights is a
Everywhere on the floor were companies,
big and small, showing off tools of the
trade using compression.
MPEG-4 AVC featuring real-time en-
series of exciting events. Highlight
coding/decoding/transcoding, Creator supports MPEG-7-based
frame -accurate editing, audio/video
bit -rate conversion and content based audio/video indexing. The
functional APIs are available on multiple operating systems.
MPEG Edit Studio Pro is a nonlinear MPEG-4, HDTV MPEG-2, and
high-definition video (HDV) editing
tool. The LE version of this program
broadcastengineering.com
metadata description.
Interestingly, KDDI also had a
JPEG2000 hardware HDTV codec, the
DHS-2000, which enables low -delay,
high -quality transmission (50- to
100Mb/s) of HDTV programs.
Envivio
Envivio introduced the 4Forum Lite,
JUNE 2004
results
An imr.ressive performer with exceptional control
Fcr the Ferec bda-ice of du -obi ityt, stability ana cortrol, the \recto 450 and 2103
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PRODUCT
JACKPO
Tools
CARDIOID LAVALIER MICROPHONE
Audio-Technica AT898
330-688-3752; www.audio-technica.com
Subminiature cardioid condenser microphone offers high -quality, low -profile operation for lecturers, stage and TV talent,
and houses of worship; 5mm diameter;
operates on battery or phantom power. l3
DIGITAL MATRIX INTERCOM
Telex Cronus
952-884-4051; www.telex.com
32 -port in 2RU; a maximum of four units
can be linked to form a single 128 -port
matrix; allows two, three or four matrices
to be combined by adding coaxial cable;
USB ports for programming available on
front and rear panels; fully compatible with
all existing RTS matrix products; able to
connect via an interface card to existing
ADAM matrices.
an MPEG-4 webcasting system. This
small, portable appliance enables a networked conference room to broadcast
live and on -demand MPEG-4
presentations with synchronized video
and the presenter's PC screen over IP
networks. 4Forum Lite uses MPEG-4
to deliver interactive and synchronized
webcasts with a subsecond latency and
can scale delivery to thousands of
viewers. Just plug the VGA cable into
your laptop and you can be broadcasting in seconds.
Another Envivio product, 4Front
MPEG-4 IPTV, is middleware for network operators. It creates a client -user
interface and fills it with metadata and
business rules defined by the network
operator. 4Front allows a network operator to offer a complete set of digital TV services.
DG2L Technologies
DG2L Technologies boasts that its
DG2L Neuron, with multinetwork and
HDTV MPEG-4 capabilities, can deliver high -definition and standard definition interactive broadcast and IP
streams over DVB-S, DVB-C, DVB-T
and IP networks. The Neuron STB also
offers advanced digital services, including video on demand (VOD), pay per
view (PPV), personal video recording
(PVR) and MPEG-4 systems layer interactive program guides.
SkyStream
SkyStream Networks showed the
real-time, broadcast -quality MPEG-4
AVC
encoding capability of its
Mediaplex-20 video -delivery platform.
The delivery platform offers reliable
IP video delivery with forward error
CONFUSED ABOUT WHICH ROUTE TO TAKE?
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It's hard to know what your future routing
needs will be, but whichever direction you
choose, SIRIUS can take you there.
Built-in analog Ft digital conversion for audio Ft video signals
Mix Ft match different formats in the same chassis including HD
Modular architecture for up to 256 x 256 in blocks of 8
Sepal Mai auenw,t
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pro
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t43.F ßo:º:ais.saïU.
86 broadcastengineering.com
li;
JUNE 2004
d The
Headlines Dbtital Handbook Systems Design &
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www.americanradiohistory.com
Tools
MULTICHANNEL AUDIO
MONITORING SYSTEM
Genelec 1029.LSE Powerpak
508-652-0900; www.genelecusa.com
Consists of five 1029A two-way, biamplified
active monitors, one 7060A LSE series active subwoofer and an acousti/tape fre-
quency/wavelength measuring tape; includes a setup guide for accurate speaker
placement, wiring and fine-tuning.
I
PROGRAM -INSERTION
MONITORING SOFTWARE
Pixelmetrix DPI Auditor
correction (FEC), transrating and
video -stream replication to different
platforms simultaneously, along with
bandwidth -rate reduction and
MPEG-2 and MPEG-4 encoding and
transcoding, all in the same high -density, multichannel chassis.
Ahead Software
cation with enhanced features..
Now, even Ahead Software has
jumped into the compression fray
with an update to Nero Digital, claiming to take AVC and AAC to a level of
performance not previously seen in
any MPEG-4 audio and video compression technology. The company's
AAC developers have created optimizations to Nero Digital's HE AAC core
codec that includes a downsampled
HE AAC mode to provide higher quality playback for AAC devices.
DIGITAL MEDIA
Apple
DELIVERY SOLUTION
Apple showed an updated
QuickTime that incorporates an HD
954-472-5445; +65 6547 4935;
www.pixelmetrix.com
Allows broadcasters to monitor and audit
the accuracy of digital program insertion;
built-in function for the DVStation and
DPI Auditor; separate DPI analysis appli-
Telestream ClipMail Pro
877-257-6245;
Microsoft was wooing media moguls with
Windows Media 9 HO.
www.telestream.net
Transmits MPEG signal to Telestream appliances or FTP servers anywhere; choose
the transmission speed and video quality
desired; send and receive approval to master quality video; deliver over any global
IP network connection.
INTEGRATED MEDIA PLATFORM
HP
Digital Media Platform
650-857-1501; www.hp.com
Simplifies and reduces the cost of content
production, distribution and consumption; links production and post -production processes in a workflow -based system; enables shared use of a common set
of media assets for rendering, editing,
workflow, archiving and restoration. D
PLUG -INS
VDS Synapse
631-249-4399;
www.videodesignsoftware.com
Features three new plug-in bundles for
Quantel's generationQ range; supports After Effects plug -ins within the Quantel user
interface.a
88
Media Video 9 Series and Windows
Media DRM.
U.S. Digital Television will use the
technology to deliver 12 channels
in SD.
Vistacast and WBT Systems will
encode curricula in the format for
datacasting to distance -learning
students.
Harmonic showed the DiviCom MV
100 encoding platform running the
Windows Media Video 9 Advanced
Profile (4:2:0, eight -bit), producing SD
digital video for IPTV applications.
Pathfire announced that it is adopting the technology for use in its new
Point -to -Point newsgathering system.
Stradis announced that it is also
adopting the technology and will support it on all its future video decoding and encoding products.
TANDBERG Television demonstrated
the EN5920 real-time hardware encoder,
the only dedicated hardware encoding
platform for Windows Media 9 Ad -
AVC
video codec. The newest
QuickTime AVC codec is scalable, allowing content creators to write their
content for 3G phones, HD, and everything in between. At the show, there
were announcements and demonstrations of AVC everywhere except in the
Microsoft booth because Microsoft has
its own proprietary format.
Other players
Microsoft was wooing media moguls with Windows Media 9 HD,
mainly announcing integration partners for WM9.
Rainbow DBS' satellite service,
VOOM, will use Windows Media 9 as
one of the compression technologies
to expand its available satellite capacity for HD offerings.
Akimbo Systems will launch an
Internet VOD service using Windows
broadcastengineering.com
vanced Profile that is currently shipping.
Digital Rapids demonstrated a realtime, software-based, WMV HD encoder featuring a multiformat HD capture card, extensive A/V preprocessing
capability and Stream Pro encoding.
Inlet Technologies demonstrated HD
Workbench, an application that streamlines professional encoding from AVI,
MPEG-2 and other formats into highquality, WMV HD content. Other fea-
tures include batch -mode encoding,
StreamRepair for reliable two -pass encoding, and controls for frame-accurate
encoding from a file or tape.
Again, as in the past, compression is
playing a large part in the digital revolution. But, this year, it is hidden behind a cloak of great products.
BE
Steven M. Blumenfeld is president of
StudioBroadcast.com
JUNE 2004
FD.
o
INNOVATIONS IN VIDEO
and AUDIO TECHNOLOGY
http://www.for-a.com/
Multi
Bit Ra4sSDI,
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Iìéf
at, FOR -4 is there.
KF
Tpy=
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s
Routing Switcher
Digital Video Switcher
i
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Series
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e compact but yet maintaining
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he new f M/E HANABI offers two
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f provioes dependable and versatile
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Character Generator
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Jt is an advanced and versatilc churacg :venerator with still store capability.
r"il=rsource multi use was Implemented
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www.americanradiohistory.com
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UHF BROADCAST ANTENNA
Radio Frequency Systems
Superturnstile
UHF antenna
203-630-3311; www.rfsworld.com
Ultra -slim and lightweight super -turnstile
UHF broadcast antenna supports the entire U.S. and European UHF bands; ideal
for low and medium broadcast applications; low drag profile underpins the
antenna's high wind -speed rating and low
wind -load characteristics; horizontal polarization; base flange mount; 4, 8, 12, 16
lambda configurations.
MATRIX PLATFORM
Riedel Artist
S
818-563-4100; www.riedel.net
Provides a decentralized infrastructure for
broadcast -quality live audio and talkback
applications via a unique fiber -based network backbone; able to create elaborate
systems; ensures reliability via its redundant dual fiber ring; ranges in size from
8x8 up to 512x512..
Digital acquisition
BY CRAIG BIRKMAIER
AB2004 may well be remembered as the turning point for
interoperability. It set the stage for a
new digital workflow based on the
processing of digital media files containing both the essence media and
the metadata that describe these media and the ways in which other applications can use the media. The
benefits of this approach were visible
360 Systems Image Server 2000
818-991-0360; www.360systems.com
Graphics and DV option provides for
rapid import of files over Ethernet from
graphics programs and format editors;
enables ganged playout of key and fill;
offers mixed -format playout including
MPEG and DV video clips, full -screen
graphics, and graphics with a key and animations; option can be ordered with new
Image Server 2000s or installed in existing units.
MULTIFUNCTION
PROCESSING MODULE
Teranex XM
407-858-6000; www.teranex.com
Gives broadcast, cable and satellite provid-
ers the ability to perform format up/
downconversion of source feeds to support
a customer's format infrastructure; addresses high -density traffic areas; fits in
Thomson Grass Valley Kameleon modular chassis; suitable for advanced video and
image-processing applications. Ei
90
the companies
introduced the
The era of proprietary tape -based video formats is
drawing to a past-due close.
everywhere at NAB, suggesting that
the era of proprietary tape -based
video formats, with the costs and
constraints they impose, is drawing
to a past -due close.
At NAB2004, Sony delivered a fullbandwidth HDCAM studio/field recording system, which will compete
VIDEO SERVER OPTIONS
to develop software codecs that would
allow DVCPRO audio/video files to be
processed using affordable desktop and
notebook computers. The DV -25 and
DV -50 codecs allowed Apple to validate
the concept that software like Final Cut
Pro can be used to handle editing and
compositing tasks without additional
expensive hardware. At this year's show,
with the Panasonic D-5 format. The
SRW-5000 is a full -bandwidth HD
VTR that does not use prefiltering or
resampling. Based on the MPEG-4
Studio Profile compression algorithm,
the system can write 440Mb/s to tape
at 10-bit resolution. It can record all
1080 -line frame rates, as well as native 720p at 60Hz.
Sony also unveiled a prototype three chip HDV camcorder that records HD
imagery using long -GOP MPEG-2 at
25Mb/s. But the future for the HDV
format remains clouded. The need for
a highly compressed tape -based HD
acquisition system is questionable,
given the trend toward acquiring less compressed, high -resolution images
direct to hard disk or solid-state
memory.
A partnership with impact
Several years ago, Apple and
Panasonic announced their intention
broadcastengineering.com
DVCPRO HD codec, which enables
users to realistically work with and deliver HD using affordable off-the -shelf
components from the information technology industry.
Apple and Panasonic have set the
stage for the real HD revolution. But
they are leveraging the existing tape based infrastructure for the moment,
while Panasonic puts the finishing
touches on P2, its SD memory -based
acquisition gear.
To fill the gap, Panasonic introduced
a new studio/portable DVCPRO deck
that supports the entire range of
DVCPRO codecs, from DV -25 to
DVCPRO HD. The AJ-HD1200A is
the company's first recorder to offer
an IEEE 1394 interface operating at
100Mb/s data rate with DV high -definition video streams. Equipped with
the 1394 interface, this deck will sell
for about $30,000, within the price
range of many independent producers. This will allow them to rent HD
acquisition gear and finish their HD
projects using the same tools they now
use for SD production.
Roll your own
Across the aisle, Avid was proving
that Panasonic and Apple do not have
JUNE 2004
Signal Acquisition Solution
SERIES
ingest areas and remote trucks
For inco
Video Processing Frame Syncs:
a 7500 - HD SDI I/O
A
8500 -
SD
A
8400 - SD SDI I/O
SDI and Analog I/O
These modules
cleanly accept hot
switched digital inputs
and if there is a loss of
input, the module will
freeze or go to black.
The Signal Acquisition Solution serties works
for you in SD and HD, supporting digital
and analog signals. And for
handling embedded audio,
AES or analog audio,
there are options for
4 or 8 channel
audio
processing.
The new Express
Panel gives you
control over all
module parameters
and has dedicated
knobs for proc
adjustments.
0$34,1d1C=11
Neu, Express Control Panel
Signal
Integration
System
ENSEMBLE
DESIGNS
Tel +1 530.478.1830
A
Fax +1 530.478.1832
www.ensembledesigns.com
[email protected]
PO Box 993
Grass Valley CA 95945
USA
PRODUCT
JACKPOT
a monopoly on HD innovation. Avid's
HD ROUTER
Network Electronics Flashlink
800-420-5909;
w ww. network -electronics. com
Provides signal processing and signal distribution; features N -Box, new housing
that offers a modular and flexible solution
for applications where space is limnited or
only card is needed; four N -Boxes can be
mounted on a 1RU shelf.
BROADCAST CONSOLE
Harrison TVD SL
615-641-7200; www.harrisonconsoles.com
Offers 44 or 60 total motorized, touch -sensitive faders; streamlined layout allows for
33mm fader spacing while offering an
eight -character channel display; instant reset -snapshot recall automation of all functions; stereo and 5.1 monitoring, routing,
and panning; 16 auxiliary sends.
DNxHD compression system operates
in 4:2:2 color space and is available in
three user -selectable bandwidth configurations: 220Mb/s configurations
for both 10 -bit and eight -bit video,
and an eight -bit configuration requiring only 145Mb/s. The technology
supports 720p at 60fps and 1080p/i
HD resolutions at 30-, 25- and 24fps.
Avid is publishing the DNxHD algorithms, opening them up to any
company that wants to implement the
software. One of the first manifestations of the new codec will come from
a longtime partner, Ikegami. At NAB,
Ikegami announced it will develop a
disk -based HD camcorder that uses
the DNxHD codec.
And there were other signs at NAB
that companies are taking the need for
interoperability seriously. Thomson
Grass Valley announced a partnership
with Apple, opening up the Grass Valley Digital News Production products
to allow the use of Apple's Final Cut
Pro. Thomson Grass Valley will supply a Broadcast Plug-in software module to allow the editor to decode files
stored on the company's servers.
The survivors of the interoperability
battle will be the companies that are
committed to working with everyone.
Apple and Avid are emerging as the
leaders for now of the shift from
working with formats to working with
files. Both companies also understand
the importance of working with each
other. And their partners understand
-
-
At NAB, Apple and Panasonic showed that
they understand the importance of
interoperability.
the need to work with both. When
companies are free to develop tools
that work for anyone, anywhere, then
everyone wins.
BE
Craig Birkmaier is a technology consultant
at Pcube Labs, and he hosts and
moderates the OpenDTV Forum.
enon
The Signal Processing Router
Multi -format Routing plus optional plug -ins
Initial plug-in functions nclude
Channel Branding
Master Control
Embedded Audio Processing
Quailz
Winner of the STAR award at NAB
888.638.8745
92
broadcastengineering.com
I
salesequartzus.com
I
www.quartzus.com
JUNE 2004
Obviously, we've got
it "COVERED"
Some of our consoles were featured on the covers of
Broadcast Engineering magazine in 2003. Countless others a sear
in all the other major industry magazines.
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A.F.
Our industry is constantly changing, evolving, redefining or reinventing itself.
At Forecast Consoles, we work very hard to provide the Technical Furniture
for this moving target.
"If we're not careful, technology just might catch up."
Forecast Consoles is proudly celebrating our 25th Anniversary of excellence.
Let Forecast Consoles cover your next console project
Forecast Consoles, Inc.
Innovator, not Imitator
F1"2CCSoonso/®Ts
-----------------------.
1-800-735-2070 or visit us on the web at
www.forecast-consoles.com
For more informatic
call
www.americanradiohistory.com
SINGLE -CHANNEL CG
Pixel Power Clarity 100
954-943-2026; www.pixelpower.com
1RU CG for master control graphics inser-
tion and post production; compatible with
all the major master control, branding and
newsroom automation systems; can be expanded to offer dual 2-D live squeezeback
capability and full -frame cell, text and logo
animation effects; can play back and record
up to four audio channels.
NLEs at NAB
BY BOB TURNER
he 2004 NAB was an exciting
show, especially for those looking at digital news editing solutions.
Avid Technology
Avid introduced version 5.5 of
NewsCutter Adrenaline FX and
BROADBAND UHF ANTENNA
NewsCutter XP news -editing systems,
Dielectric TUA -M
the AirSpeed ingest and broadcast
playback server, and version 4 of Avid
Workgroups.
The NewsCutters now offer support
for DVCPRO25, DVCPRO50,
DVCAM, and MPEG IMX at 30-, 40 and 50MB/s (including support for
Sony XDCAM and Panasonic P2 media acquisition) plus integration with
the AirSpeed system. In a release expected before the end of the year, they
will also support HDV, DVCPRO HD,
and Avid DNxHD. Version 5.5 also introduces MXF support.
800-341-9678; www.die/ectric.com
Mid-power antenna designed for multiplexed
digital and analog signals; customized beam
tilt and null fill; stainless steel backscreen and
radiating element; provides broadband impedance characteristics suitable for single or
multiplexed stations; constructed to operate
in severe environments subject to high winds
and heavy ice loading.
Pinnacle Systems
Pinnacle Systems had major HD
MULTISDI MONITOR
Leader Instruments LV 5700
800-645-5104; www.leaderusa.com
Monitors HD/SD-SDI signals with an XGA
TFT color LCD in an adjustable tilt front
panel; tests 20 HD -SDI and SD -SDI formats with total digital processing compliant to SMPTE 259M, SMPTE 292M and
SMPTE 296M; input format, colorimetry
and trilevel or black burst external reference inputs are automatically detected.
CARDIOID MICROPHONE
DPA Microphones Type 4021
+45 4814 2828;
www. dpamicrophones. com/eng_pub/
Phantom powered (P48) condenser microphone uses the same type of cartridge as the
Type 4011, but is preamplified using a builtin thick -film -mounted FET-preamplifier; no
external preamplifier needed; 5m standard
cable is side -mounted; linear frequency response from 40Hz to 20kHz (±2dB).
news: All Liquid turnkey NLEs now
support HDV, Elite HD (long GOP
MPEG-2) and uncompressed HD
(Liquid Edition is HDV-only). The
company introduced a Liquid HD application that will work with all Liquid editing products. Pinnacle's Liquid HD video editing was awarded a
Broadcast Engineering Pick Hit award.
Liquid nonlinear editors are now
MXF-native and support Sony
XDCAM and Panasonic P2 media.
They also integrate directly with
MediaStream servers and Vortex systems. Pinnacle also introduced
CinéWave 4.6, which now supports
multiple streams of Panasonic
DVCPRO HD in real time. There are
over 70,000 Liquid seats sold and Pin-
nacle announced an annual growth
rate of 40 percent.
Pinnacle's Liquid Editing for
Workgroups is a
complete, low-cost
networked editing
solution for SD
(and soon HD)
video that uses Pinnacle's Palladium
Store 100 (PS100). This MSRP solution
includes 2TB of storage with ultra -secure RAID 10 mirroring.
Thomson Grass Valley
Thomson Grass Valley showcased its
digital news -production products, including the NewsEdit XT nonlinear
editor, NewsEdit LT laptop -based
nonlinear editor (now supporting
XDCAM and P2 formats), NewsEdit
SC software -based nonlinear editor,
FeedClip interactive feed -capture system, NewsQ manual playback system,
NewsQ Pro automated news playback
system, NewsBrowse Web -based
browser/editor, Network Attached
Storage system, Open SAN system,
Profile XP media platform and Profile network archive.
One of the big announcements was
that Apple's Final Cut Pro will be integrated into the DNP family through a
Thomson Grass Valley professional
plug-in module. Final Cut Pro 4.0 and
Final Cut Pro HD work with the Open
SAN system or the M -Series iVDR.
Quantel
Quantel launched QEdit for news and
sports editing. QEdit is a low-cost, software -only application accessing the
powerful version 2 GenerationQ editing tools. One unique feature is custom transitions. It allows a TV station's
graphic designer on a QPaintbox or
QEditPro to create a customized template for effects that could include directional blurs, flashes to color, resizes
in 2-D and 3-D plug -ins, then effectively clusters these effects into one
JUNE 2004
94 broadcastengineering.com
www.americanradiohistory.com
STUDIO LENS
Canon DIGISUPER 22xs
516-328-5000; www.usa.canon.com
saved transition that any of the networked QEdit desktops can drag and
drop onto a clip. This creates identities
-
that help stations differentiate themespecially
selves from competitors
during sweeps periods. Quantel plans
on making generic, customizable custom transitions available for download
on its Web site.
The system offers a wide range of tools
to clean up white balance, resize images
for content or quality purposes, and
track/blur or mosaic to hide identities.
While other systems may offer similar
features, QEdit has what are called oneshot effects, which enable users to fix
white balance with a single key press.
There is a single -key resize, a tracker that
does not require complex key -frame
programming, and a one-shot choice of
blur or mosaic that tracks easily. You can
even spotlight the desired area, darkening the background simply and easily.
Direct -to -timeline editing through IEEE
1394 is another distinguishing feature.
It is a perfect fit between the QCut cutsonly application and the QEdit Pro craft
editor. Interoperability with P2 and
XDCAM acquisition technology was
also demonstrated.
Also known as the XJ22x7.3B IE-D; compact box -style design; 13.4 -pound package;
offers a focal length of 7.3- to 161mm
(14.6- to 322mm with a 2X extender);
maximum zoom speed of .5 seconds and
focus of 1.5 seconds; F stop of 1.8.
li
Milano
.
Canopus
Canopus unveiled its EDIUS HD turnkey broadcast editing solution. It in dudes EDIUS Pro real-time HD/SD
editing software, the Canopus HD and
HQ software codecs and the Canopus
HDRX-E1 SDI -HD SDI I/O card. BE
Bob Turner is a contributing editor to sister
publication Video Systems magazine and
an editing consultant.
ez®
hIII
NEWS PRODUCTION SYSTEM
Sundance Digital NewsLink v2.0
972-444-8442; wwwSundanceDigital.com
Provides array of news production tools
including camera control, audio and
switcher controls, plus a range of video
server controls; allows structured newscasts to be built with macros or drag -and drop control; automation level can be selected on a show -by -show basis.
The Right Stuff. The Right Price.
a
360 Systems' Image Server 2000
MactStevFe 2000
WHEN THE VIDEO SERVER
SALES GUY COMES CALLING,
it seems there's always an
Elephant in the room: You know
storage should cost less now than
ever before, but truth is, 90's -era
servers can't make the change.
Which is why 360 Systems' Image
Server employs a smart, next -generation design that delivers everything but the elephant -size price.
The Image Server 2000 is perfect
for tape replacement, satellite
ingest, graphics & animations,
or as a full-time play -to -air server.
Of course it's fully compatible with
most automation systems and
desk -top controllers. Using FTP,
you'll km able to move program
content over Gigabit Ethernet, and
share files with other MXF enabled
products.
Check out the Image Server 2000
at www.360 systems.com, and
download the new user manual
while you're there. Or call us
direct to arrange a demonstration
at your place.
For just $10,000, the Image Server
2000 del vers three video channels,
impeccaale images, great specs, and
it also makes excellent business
sense. Isn't it time to rethink what
you're paying for video storage?
On Air Coast -to -Coast
Tel. (818) 991-0360
E-mail: serverse360systems.com
broadcastengineering.com
JUNE 2004
www.americanradiohistory.com
95
Tools
VIDEO CAPTURE CARD
AJA Video Systems Kona 2
530-274-2048; www.aja.com
Dual -rate HD/SD 133MHz PCI X
capture card supports
uncompressed 10 -bit SDI,
HD -SDI and dual -link
4:4:4 HD at 10 and 12 bits;
features eight -channel AES
audio, HD/SD component
analog video output and
broadcast-quality HD/SD
hardware up/downconversion. D
EDITING CONSOLE
Forecast Consoles
IMAGEMASTER NLE
800-735-2070; www. forecast-conso/es.com
Pre-engineered editing consoles incorporate
benefits of MASTERail console system; expandable and quick to ship; offer deep
counters and accessible counter bays for
applications including linear, nonlinear,
multimedia and graphics.
FOCUS ASSIST SYSTEM
Fujinon Precision Focus Assist
847-945-8923; www.fujinon.com
Built-in feature precisely adjusts the lens
for optimum focus; can perform on wide
shots without initial tight zooming; initially
available on the XA101x8.9BESM HD
zoom and HA13x4.5BRD-S28K wideangle lenses.
AUTOMATION INTERFACE
Crispin PSIP updating interface
Crispin: 919-845-7744; www.crispincorp.com
Link Electronics: 573-334-4433;
www linkelectronics.com
Dynamic PSIP updating interface works
with Link Electronics' TVLinx and a station's
traffic software for real-time PSIP based on
actual on -air events at master control.
NEWSROOM SYSTEM
Dalet DaletPlus News Suite
212-825-3322; www.dalet.com
Newsroom computer system with rundown
management and integrated video and text
and a prompter interface; provides media
asset management and archiving, ingest,
desktop editing and playout automation. D
96
RF at NÁ62004
BY DON MARKLEY
t the last few NAB shows, the most
interesting RF products exhibited
were all closely grouped around digital
broadcasting. Well, they were this year
too, but they were more than just small
improvements to existing products.
Thales introduced new common -amplification analog VHF transmitters that
use liquid cooling. Thales claims this will
reduce long-term operational costs.
Thales also introduced its latest IOT
DTV transmitters. They liquid -cool the
amplifiers and exchange the heat to standard external cooling units. The advantage is that only a small amount of coolant, the oil, needs to be maintained as
"pure." Also, a solid-state switch on the
AC mains replaces the old, high -maintenance crowbar circuits.
tenna line, most
notably a new
superturnstile UHF
antenna. This lowcost antenna for
translators, LPTV or low-power DTV
covers the entire UHF band without
tuning and is available in either an omnidirectional or cardioid pattern. The
lowest -power, single -station version of
this antenna will cost under $10K. The
full -bore, 16 -bay version with enough
power capability for several stations
will cost $20- to $25K.
Broadcast Electronics had an interesting item, the Big Pipe STL. This pointto-point wireless link can be scaled up
to bidirectional capabilities of 45Mb/s.
That means that one system can carry it
One big push this year seemed to be for large,
wide -area control systems to allow one point
to monitor/control transmitters over
the whole country.
Harris showed a new STL system
called Intraplex STL HD Plus. It transports HD audio, LAN/WAN data, telephone, intercom -voice and remote control signals over a single T1 connection. For UHF, the company showed a
new line of high -power ATSC transmitters designed for high efficiency.
They replace many of the manual adjustments for IOT phase and gain corrections with advanced digital -adaptive
circuitry.
Zenith showed its newest DTV receivers, which can deal with a OdB echo
without losing picture quality. Thus, the
prediction that receivers would solve
multipath problems appears to have
come true.
RFS showed some changes in its an -
broadcastengineering.com
all, including digital audio, analog au-
dio, AES/EBU uncompressed audio,
RDS or HD radio data plus Ethernet and
RS-232 communications.
One big push this year seemed to be
for large, wide -area control systems to
allow one point to monitor/control
transmitters over the whole country.
Obviously, this is aided by the use of
our old friend, the Internet. RFS, Harris, Burke and others showed systems
that perform this function.
DRS Technologies showed a beautiful 100kW shortwave transmitter.
Axcera introduced a new line of VHF
transmitters. The Innovator HX is
available for full -power analog operation with either internal or external
diplexing. For stations planning to stay
JUNE 2004
SD CAMERA
Hitachi HV-D15AS
800-225-1741; www.hitachi.com
with their VHF channel, an internally
diplexed transmitter needs only a
DTV exciter and mask to make the
conversion when ready. The transmitter is available with a switching or
linear power supply.
Axcera also has a full line of IOT
transmitters for UHF and a line of lowpower, solid-state transmitters for both
VHF and UHF. The company now proposes the use of frequency-agile DTV
translator/booster systems with its lowpower transmitter line. Papers given at
the show and available at the Axcera
Web site explain how this will all work.
Essentially, it proposes that broadcasters can chain translators together in
amazingly long strings without signal
degradation. Each site can return the
digital signal to baseband, apply error
correction, modulate the signal and
convert it to the desired channel. The
upconverter, which is the agile component, actually picks up the channel.
Axcera is quick to point out that fewer
frequencies are needed for cross-country translator systems. The idea is that
the same two frequencies can be repeated over and over again. If the system detects any small remnant of the
co -channel signal, it simply treats it the
same as a multipath signal with no
harm to the signal. As pointed out earlier, the newest receivers are solving this
multipath problem. Visit the Axcera site
to review the papers. The digital translators are poised to make some big
changes in that industry.
The big shock in the industry was the
news that Andrew was selling its broadcast operation to ERI. This has created
some interesting changes. Andrew and
ERI shared a booth on the TV side, and
former Andrew staff showed up with
ERI badges. This will undoubtedly lead
to some interesting products. But, right
now, the change is still occurring and
it is too soon to look for new products.
Nonetheless, the change has moved
quite a bit of the antenna and hard-line
manufacturing capability to the ERI
site, and the rest will soon be there. ERI
is making a large commitment here,
and we all wish them the best of luck.
Finally, Dielectric Communications
showed a new line of manifold combiners for analog and digital television systems. The units offer good characteristics; the big advantage is reduced space
requirements.
In all, it was a great year for the RF side
of the business. It was nice to see some
action here that compared to the digital
whiz -bangs offered by the studio crowd.
Especially since your aging author
doesn't understand what those studio
folks are doing anymore.
BE
Don Marley is president of D.L. Markley and
Associates, Peoria, IL.
Omneon is the one server that fits our tight
budge meets all our requirements today
and. upports us as our needs change."
sumption; Hitachi processor provides
high resolution and color reproduction;
features noise reduction to reduce grain
and other artifacts.
WAVEFORM MONITOR
Hamlet Flexiscope
+441494 729728; 321-939-0457;
www.hamlet.co.uk
Specifically geared for audio and video test and mea-
surement; combines HD
capability and a flexible architecture with low power
consumption; palmtop
unit provides integral 3.5 inch TFT display.
INTELLIGENT A/B SWITCH
Microfirst
MPS -9810
201-651-9300; www.microfirst.com
A new redundancy option for the Digital
Automation System (D.A.S.); monitors the
D.A.S. and switches up to 32 asynchronous
serial communications ports over to the
backup automation processor (AP); a mirrored database of the primary AP enables
seamless switching in case of a failure.
CONDITIONAL -ACCESS SYSTEM
Irdeto Access Irdeto Chip on Board
858-668-4800; www.irdetoaccess.com
Niche content providers can distribute
Common Interface Conditional Access
Modules (CI-CAMs) with an embedded
Irdeto Access smart card; CI-CAMs work
in compliant STBs to allow auto -expiring
free trials and normal subscriptions. O
It's not just
what you serve.
Helge Blucher
Vice President
Detroit Public Television
It's who.
With Cnneon SPECTRUM'. media servers. Detroit Public N
mplemented a solution that works across their entire operation,
was con ï fired precisely to their needs, and can expand in
smart manageable increments-all without replacingthe original
system anc in many cases, without taking the system off-line.
To learn snore about the unique advantages of an Omneon
SPEc-puM
Features 65dB SNR, automatic exposure
range with 10 F stops and low power con-
media server system visit
www.americanradiohistory.com
RECORDING MEDIA
Fujifilm DP1001 126E
XL/DP151 126 XL
914-789-7916; www. fujifilm. corn
The DP1001 126E XL provides 126 minutes recording capacity in DVCPRO HD
mode; the DP151 126 XL provides 126
minutes capacity in DVCPRO50 mode and
252 minutes in DVCPRO25.
ONLINE STORAGE SYSTEM
SeaChange MediaCluster 2G
978-897-0100; www.schange.com
Supports serial -ATA or SCSI drives in 6RU,
4RU or 2RU chassis; 1080 disks provide
universal, format-independent access to
more than 240TB of RAID 2 storage. is
Routing switchers
BY JOHN LUFF
ne might think that nothing new
in routing can be created, but
manufacturers have been hard at work
creating new and powerful products
for infrastructure routing. For instance, Quartz introduced the Xenon
routing switcher family. It incorporates submodules that allow users to
add functions, such as initial graphics
overlay with up to eight keys, internally. You might use this as a
company's return
to small routers after the demise of
the TEN -X series
some time back,
though Acappella has more power
than many small routers. The company continues to provide large routers in the Trinix series (narrow- and
wideband video up to 512x512 in one
frame) and Apex series (TDM audio
Quartz's unique approach for building complex
systems inside an integrated box may signal new
directions for the industry.
BROADCAST CONSOLE
Studer Vista 8
818-920-3212; www.studerch
Combines the automation capabilities of the
Vista 7 and the on -air ergonomics of the Vista
6; redesigned central control bay houses 12
faders and a Vistonics TFT screen, with direct access to up to 52 output signals.
EDIT CONTROLLER
Accom Axial/MX
650-328-3818; www.accom.com
Supports uncompressed editing in all SD
and HD formats including 24p; offers
eight -channel audio edit capability; fea-
tures include intelligent auto -caching,
auto -assembly and optional simultaneous
four -stream digitization for streamlined
tape room operations.
HD/SD ENCODER
Radyne ComStream HE4000
602-437-9620; www.radynecomstream.com
Uses latest Tiernan technology to offer simultaneous HD/SD video encoding; flexible design architecture enables custom con-
figurations to suit any encoding requirement; most advanced features are available
as field software upgrades; features include
two-pass HD encoding, 4:2:0/4:2:2 encoding and built-in video upconverter.
98
minimaster control with no external
wiring. The company plans to offer
modules that shuffle embedded audio
and perform other functions. This
approach to building complex systems
inside an integrated box may signal
new directions for the industry.
Some routers represent a single
point of failure, but Utah Scientific has
added redundant automatic failover
crosspoint cards to its Utah -400. This
unique feature allows users to replace
failed cards without disrupting a
single signal path. The routers also
include signal -presence detection,
which can be used to set up signal -restoration paths when an input signal
has failed.
Thomson Grass Valley has introduced a new small-scale router family, Acappella, which offers up to two
levels of 16x4 routing in a single rack
unit. An abridged version of the
company's Encore control system, Prelude, is embedded in Acappella, offering sophisticated features in a small
router. Prelude can control routers up
to 128x128. Acappella marks the
broadcastengineering.com
router up to 256x256 in one frame),
under the control of Jupiter, Encore
and Concerto control systems, which
all support SNMP monitoring. The
Trinix line now includes analog -to -
Utah Scientific's rMan router management application is software used to graphically show
the connections between specific inputs and
each output within a routing system.
digital converters on input modules as
well as digital -to -analog converters on
outputs. Thomson Grass Valley also
announced optical output modules
for Trinix.
NVISION introduced its highly
JUNE 2004
HD MONITOR
ERG HDM-EV80D
+81 3376 081 61;
most entertaining booth presentations,
employing a contortionist to symbolize its products' flexibility.
John Luff is senior vice president of
business development for AZCAR.
www.erg-ventures.co.jp/e
Rack -mounted, 8.4 -inch HD monitor offers enhanced color and gamma adjustment functions and a memory preset function; HD/SD inputs can be intermingled;
four input options and a DC output simplify wiring two monitors consecutively
from one DC unit.
o
Over
attendees visited booths and saw demonstrations of many new products for infrastructure routing.
?!AB
expandable NV7512 large-scale TDM
audio router, which handles both AES
and MADI inputs. The product can be
expanded to 4096 by extending the
TDM bus between frames. The company also showed an HDTV version
of its NV5128 router with integral
MCR switcher modules.
PESA introduced Premier, a smallscale router that ranges in size from
8x4 to 16x16. It can accommodate
multiple signal formats, including
composite, Y/C, RGB, RGBHV and
stereo audio. (Future releases will include SDI, HD -SDI and AES/EBU.)
The
company also showed
Clikcontrol, a Web -based routingswitcher control extension, and the
UCI -2000 protocol conversion unit,
which can interface to other manufacturers' products.
Leitch continued to show its Panacea, Integrator and Integrator Gold
rowing products in a variety of sizes,
but offered no new routing products.
Sonv showed its established SDI routing switchers, which included the
HDSX5800 wideband system.
946,080,000 seconds
of precision timing
WHEN you require the best, most accurate in precision
timing look only to ESE. Designed for "Precision
Timing", ESE Master Clocks & Accessories have
been the industry standard for over three decades.
Whether using GPS, WWV, Modem, Crystal or line frequency
accuracy all ESE Master Clocks can drive digital or analog
slave clocks, as well as interface with video and/or computer
based systems. Call or visit our web site for more details.
-
3 -Year
Warranty
Pro -Bel showed a new ATM -based au-
dio -routing product, Sirius Fusion,
whicin uses the AES 47 standard and also
can route MADI as AES. The product
line includes A/D- and D/A-converting
I/O interfaces and up to 128x128 in a
single 7U frame. Pro -Bel had one of the
142 Sierra Street
El Segundo, CA 90245 USA
Phone: (310) 322-2136
Fax: 310.322.8127
www.ese-web.com
broadcastengineering.com
JUNE 2004
www.americanradiohistory.com
99
PROD
JACKPQ
UPS
MGE UPS EPS8000
714-557-1636; +33 4 76 18 30 00;
www.mgeups.com
Built-in Web server capability enables detailed UPS monitoring from remote locations; assures true digital power quality for
enterprise applications in models from
555kVA to 800kVA.
DIGITAL ASSET MANAGEMENT
ARKEMEDIA Technologies
Enterprise Edition
+44 1256 869 200; www.arkemedia.com
Compliant with all metadata standards;
features hierarchical and extensible
metadata tools, thesaurus functions, taxonomy management, media object and
asset versioning, extensive folder features
and dynamic asset associations..
GLOBAL END -TO -END HD SERVICE
BT Broadcast Services
202-721-8599; www.bt.com/
broadcastamericas
Fully integrates fiber and satellite; designed
to increase revenue opportunities for
broadcasters by enabling them to meet the
expected surge in demand for HD coverage of major sporting and entertainment
events around the world. al
AUTOMATION SOLUTION
Digital Transaction Group AIRO
512-837-3737; www.dtgtv.com
Designed for master control automation
and broadcast transmission control of
single- and multichannel broadcasting operations in assisted, unassisted or unattended operations. O
AUTOMATED JOIN IN PROGRESS
Florical Systems Auto JIP
352-372-8326; www.florical.com
Designed to make
it nearly effortless
to join a program
in
already
progress, such as
when a live sport-
Auto
JIP
Meowed bort In Progress
ing event runs
longer than exEn._.
pected or when a
breaking news
event ends; operators simply push a button to signal the end of the live event, and
the rest is automatic..
Storage
BY C. JASON MANCEBO
ecent advances in storage tech-
nologies provide great advantages to the digital entertainment field.
Certainly, as content moves from tape based storage to hard -disk, optical and
solid-state storage media, exploiting
these IT technologies can reduce the
cost and increase the performance of
the final solutions.
Under the hood
Until recently, the hard -disk technologies of choice were SCSI and Fibre
Channel. These enterprise -level drive
technologies were designed and well
suited for the high -duty -cycle, real-time
demands of film and video applications.
Because SATA was well received in the
marketplace last year, NAB2004 turned
away from hardware and focused much
more on software storage solutions.
Real-time content collaboration,
a.k.a. workflow, is a key concern, and
the refinement of shared, clustered file
systems is a prime, innovative technology. The Holy Grail of storage is the
use of centrally located, shared -storage resources with simultaneous realtime shared content. It's important to
note that not all storage-area networks
have this important feature.
Apple's Xsan is the new player in this
arena. Riding on the success of Final
Cut Pro and the newly introduced
motion graphics package, Motion,
Xsan is a 64 -bit cluster file system for
the Mac OS X Panther. The platform
can share files and volumes up to 16TB
in size on a high-speed Fibre Channel
network. Additionally, it's designed
with bandwidth reservation, a critical
feature that ensures that a critical file system client application gets the performance it requires.
Another SAN player is Bright Systems.
Its Linux-based SAN controller provides
a similar clustered file system. But,
100 broadcastengineering.com
unlike Apple's Xsan,
the Bright Systems'
controller can support heterogeneous
SAN clients, including Linux, Apple, SGI Irix and Windows.
Texas Memory Solutions showed its
RamSan-320 solid-state disk, which it
claims achieves 1500MB/s random
sustained external throughput. This
may be an excellent solution for those
customers who demand a high-performance disk but have less stringent
capacity requirements.
Data Direct Networks presented its
S2A8500 silicon storage appliance.
The system claims 1.5GB/s of sustained throughput with Fibre Channel or SATA disks.
What format war?
Given the two new storage platforms
introduced last year, Sony's XDCAM
and Panasonic's P2, you would expect
many third -party vendors to announce their system of choice this
the user!
year. And the winner is
Third -party vendors eagerly embraced
both Sony's and Panasonic's storage solutions, and most vendors declared
themselves format -agnostic, willingly
supporting both XDCAM and P2.
Sony announced a technology partnership agreement with Avid that enables images acquired with XCDAM to
be compatible with Avid's NewsCutter
and Media Composer NLE systems.
Also, Quantel announced it would
offer interoperability between its
generationQ editing and server systems and Panasonic's professional
plug-in P2 solid -state -memory -based
acquisition system.
Thomson Grass Valley initially will
integrate the Panasonic P2 card, into
its current -generation digital news
production products, NewsEdit and
-
JUNE 2004
ZEISS/Band Pro Carl Zeiss DigiZoom
M -Series iDVR devices. Eventually, it
will use the card across the Profile
server and LDK camera lines as well.
Pinnacle announced that Time
Warner Cable's NY1 was installing its
Vortex networked news system and
equipping it with support for
Panasonic's P2.
Omneon announced that its SPECTRUM media server is compatible with
Sony's XDCAM. Ingested content becomes immediately available across an
entire facility, thereby providing a significant improvement in the collaborative production process. Omneon
also announced enhancements to its
SDTI media -interface adapter to support Panasonic's compressed HD format, DVCPRO HD. With this addition,
the SPECTRUM is capable of supporting all HD broadcast formats simultaneously, including MPEG, HDCAM
and DVCPRO HD. Omneon also announced its support for MXF.
Other storage highlights
Thomson Grass Valley launched Profile in its new, sixth -generation version
as the Profile 6G. It uses the same
popular user interface, but it now in dudes the ability to operate in SD/HD
modes in a more compact version.
SeaChange introduced its next-generation MediaLibrary 2G online storage system. The storage system supports serialATA or SCSI drives in compact 6RU,
4RU or 2RU chassis. A fully configured
ML 2G system can support 1080 disks
online, providing universal, format-independent access to more than 240TB
of RAID 2 -protected storage.
360 Systems has added several new
features to the Image Server 2000. The
video server now handles FTP transfers between Image Servers and supports NAS storage and other MXF-
compliant products.
SGI showed its InfiniteStorage solution for broadcast featuring a data centric broadcast workflow. Based on
the Media Server, it provides enhanced
MXF capabilities across the SGI
InfiniteStorage TP9100 SAN server
line. It can also support CXFS,
MassTech, MassBrowse, MassProxy
and MassStore for low -resolution
browse, proxy and archive applications. Third-party support for SGI's
CXFS file system comes from several
vendors, including Alias, Apple, Discreet and Quantel.
SGI also highlighted its MXF integration by demonstrating working systems
with Avid NLEs using multiple SGI
Media Servers, all under the control of
Harris automation. Atlanta -based
Crawford Communications announced that it has purchased fully redundant CXFS servers with 4TB of
TP9500 storage. Georgia Public Broadcasting has also invested in SGI technology by operating a complete IT infrastructure that facilitates easy file sharing
and complex media management.
Doremi Labs showed its MCS-HD
video server with four independent,
shared -storage channels, two play
channels, two record channels, selectable compression rates and a VTRlike
front panel.
Leitch was highlighting its NEXIO
modular, scalable server system for
transmission and news environments.
It serves integrated applications with
a reliable platform for editing, browsing and media management across a
multitiered storage hierarchy. The
server provides fault tolerance and
interoperability (including IP), and
supports multiple compression formats in both SD and HD.
While there were both innovative
and not -so-innovative storage solutions shown on the exhibit floor, at
least most were not the smoke -and mirrors demos of years past. They are
real, deliverable products.
BE
Mancebo is chief technologist at
Korsade Technologies, a broadcast and
digital media technology consulting firm in
C. Jason
Silicon Valley.
Zeiss: www.zeiss.de; Band Pro: 818-8419655; www.bandpro.com
Features a 95mm front diameter and 4x
zoom; offers industry -standard pitch, zoom,
and focus and iris gears; Carl Zeiss back focus mechanism accurately maintains calibration across the focusing range; focuses
to just 22 inches from the image plane -11
inches from the front of the lens.
GRAPHICS AUTOMATION SYSTEM
Pinnacle Systems
DekoCast Traffic Integration
650-526-1600; www.pinnaclesys.com
Allows broadcasters to schedule complex
graphics playout with a single automation
event; introduces a controllable mechanism
for quality assurance of scheduled on-air
graphics without master control intervention; on-air promotion can be scheduled as
needed; can be run within customers' existing automation systems; template based. in
WIRELESS HD CAMERA
Ikegami HDL-0101
201-368-9171; www.ikegami.com
Developed with NI-1K; self-contained, oneman unit with RF links and MPEG compression; selectable from 60Mb/s to 24Mb/s;
video with embedded audio is transmitted
over a 7GHz COFDM channel with an omnidirectional antenna to the receiving site.
LOGO INSERTER
Keywest Technology LogoStar II
913-492-4666; www keywesttechno/ogy.com
Features logo animation capabilities, an
enhanced GUI that allows users to make
logos move in any direction, and the addition of nonlinear effects, such as bounce
and explosion and DVE-like effects; available in analog and SDI version;
upgradeable to HDTV.
TRANSMITTER TUBE
L-3 Communications Electron
Devices CEA 80
570-326-3561; www.L-3Com.condedd
The tube can be used if the transmitter is
upgraded to digital service at a later date;
combines IOT and Multistage Depressed
Collector technologies for electron collection efficiency; has demonstrated correctable average power output of 30kW.
broadcastengineering.com
JUNE 2004
www.americanradiohistory.com
101
AUTOMATION SYSTEM
ON-AIR Systems ON-AIR Central
Version 4.0
+44 20 7663 3663; www.on-air-systems.com
New version includes multichannel audio
and a restyled user interface; provides end-
to -end playout, including automated
transcoding, ingest and content management of live data feeds with integrated
graphics, playout, logging and creation of
management reports..
BROADCAST SYSTEM CONTROLLER
Pharos Communications Pilot MCR
+44118 950 2323; www.pharos-comms.com
Enables full desktop management of
broadcast systems; integrates with the established Pilot RT networked -based matrix control system; an enhanced version
of Pharos Pilot Designer allows users to
configure new device control displays.
PAN/TILT HEAD
Telemetrics PT-LP -S3
201-848-9818; www. telemetricsinc. com
For camera and teleprompter systems; all
connections to the camera and pan/tilt
head are made at the fixed base of the unit,
eliminating problems associated with multiple cables revolving with the head, including strain relief and interference.
18 -INCH FLAT -PANEL LCD
TELEPROMPTER
Telescript
FPS -180
201-767-6733; www.telescript.com
Designed for studio and large venue productions using full-size studio and ENG
cameras; incorporates a rod -mount system
for large pedestals with studio cameras;
easily installs on -site; is lightweight and
offers a high -contrast display..
UHF POWER AMPLIFIER
CPI-Eimac K3 MSDC IOT
650-592-1221; www.eimac.com
Simplified to three stages; achieves 58 percent efficiency; low-pressure, low-flow oil
cooling eliminates problems associated
with water cooling systems.
102
Streaming media
BY TOM PATRICK MCAULIFFE
any broadcasters have diversi
fled into other media areas. Diversifying makes good business sense.
But making it profitable, especially
when it comes to streaming content
on the Internet, has always been a conundrum for broadcasters.
At NAB2004, there were more than
300 streaming or Internet -related
companies ready to help broadcasters
find a way to make the Internet pay.
But broadcasters, despite all the optimistic talk, manufacturer stroking
and backslapping going on, have three
main problems when it comes to profitable streaming. First, they can't sell
ads effectively on the Web. Second, the
public can't afford broadband or DSLlevel Internet access and third, even if
it could, the majority of the United
States still is not wired for the highspeed broadband needed for video
and audio. Add the United States'
forced conversion to DTV, and you
can see why streaming is at the bottom of some broadcasters' to-do lists.
Despite these problems and challenges, there were some great new
products on display this year.
Encoda launched its new product,
VeriStream, which quickly pinpoints
streaming system errors and failures on
a LAN or across a worldwide network.
The product is designed for multichannel environments, such as cable television headends or direct -to -home
broadcast operations.
ViewCast showed its new Niagara
PowerStream encoder, which delivers
streaming video to mobile/handheld
devices. The new Osprey -300 addresses
both streaming and video editing
needs. The PCI -X bus interface provides compatibility with the latest PC
technologies, delivering high-perfor-
mance/high-bandwidth streaming
with professional editing performance.
BBC Technology
came from the UK
to NAB2004 sporting a new contract
with Discovery
Networks International to provide
high -bandwidth services. It will
stream the network's content to Discovery Channel Web site users via its
dedicated broadband service.
The real-time, broadcast -quality
MPEG-4 (AVC/H.264) encoding capability of SkyStream Networks' new
Mediaplex-20 video delivery platform
was also on display.
Lots of great gear in the NAB aisles
proved, to me at least, that there are
many viable solutions that will help
broadcasters provide near -broadcast quality streaming once the infrastructure hurdles are addressed. Rest assured that eventually- once the transition to digital is complete
broad -
-
Streaming products on display at NAB proved
broadcasters will find viable solutions for profitable streaming when the time comes.
casters will somehow find a way to
make streaming programming profitable. In the meantime, don't hold
your breath. It may be quite a while,
and there are more important things
to do first!
BE
Tom Patrick McAuliffe is a journalist,
entertainer and contributing writer with
Video Systems magazine.
JUNE 2004
broadcastengineering.com
www.americanradiohistory.com
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103
PRODUCT
JACKPOT
TELEVISION AUDIO PROCESSOR
Modulation Sciences MSI -3300
732-302-3090; www.modsci.com
Multifunction unit combines analog-toAES3 and AES3 (with automatic speed
detection) -to -analog conversion with
high -quality gain riding and a transmission audio processor; conditions audio for
transmission in a variety of media, including cable modulators, satellite uplinks and
fiber modulators. D
SCALABLE TDM
DIGITAL AUDIO ROUTER
NVISION NV7512
530-265-1000; www.nvisionl.com
Supports analog as well as digital audio sig-
nals; linearly expandable to offer
2048x2048 channels; MADI -format multichannel digital I/O also is featured, as well
as high-performance 24 -bit converters;
enables users to manage large numbers of
mixed-format audio signals.
DVD AUTHORING APPLICATION
Microsoft
DVD
Producer
-
WMV HD Edition
425-882-8080; www.microsoft.com
Special version of Sonic's authoring application supports the production of DVD
titles using Microsoft WMV HD; WMV
HD is designed to deliver HD video at data
rates comparable to SD DVD video. D
ROUTER
Pro -Bel Morpheus
631-549-5159; www.pro-bel.com
Manages systems from single channels up
to the most complex multichannel environments; features the MediaBall concept,
which provides a way to handle secondary
events such as interactive TV.
Monitoring, test
and measurement
BY PHILIP J. CIANCI
ach generation of equipment
shown at NAB integrates more
test and measurement features and
invariably includes some type of
monitoring capability. Therefore,
monitoring must now be considered
part of the traditional realm of test
and measurement.
All broadcasters seek a total end to -end monitoring, test and measurement system for essence, network and software applications. In
this era of convergence of broadcast
engineering and IT technologies, it
was surprising that traditional IT
companies, which offer SNMP-enabled network -monitoring systems,
did not demonstrate broadcast-related applications. Nor did I find any
PC products that monitored configuration/application health.
Now that nearly all broadcast equipment vendors have incorporated some kind of SNMP capability,
many have gone so far as to develop
their own resource -management application. Vistek offers ViewNet capabilities for its newly launched range
of HD products. Evertz's VistaLINK
offers comparable signal -monitoring
capabilities for its fiber-optic transmission products and vast array of
baseband processing cards.
Addressing the issue of SNMP
implementation vendor compatibility, Snell & Wilcox's Ro1ISNMP ex-
tends SNMP monitoring available in
its RoilMap and RolICall to other
REMOTE/SPORTS LENS
vendors' hardware and software
Thales Angenieux 70
products. With a feature set that includes unified alarm reporting for all
system elements, mapping of system
interconnections and identification
of the physical location of resources,
HD
973-812-3858; www.angenieux.com
Delivers a focal range of 9.5mm to 665mm
and an aperture of f/2.2; features dust and
condensation -free enclosures; requires low
power for operation, allowing direct connection of the lens to the camera.
104
this integrated application suite
approaches complete infrastructure signal -path
monitoring, fault
diagnosis and
resolution.
Facilities spread across large campuses or numerous locations need
verification of incoming and outgoing signal quality. For such facilities,
Evertz has expanded its line of interface products to fully support HD.
These products include integrated
monitoring and measurement of signal parameters. And, of course, the
requisite SNMP interface is available.
MPEG transport -stream monitoring systems were a hot item again, but
this year with a twist: the capability
to assess compressed video quality. KWILL debuted its Video DNA monitoring line, which decodes an MPEG
transport stream and analyzes elementary packet video in real time.
Rohde & Schwarz's DVQ performed
similar functions. Both systems allow
an A/B comparison of SDI video with
respect to compressed MPEG-2 elementary stream video. DVQ allows
users to set QoS levels and trigger
alarms to initiate reconfiguration of
encoding parameters or distribution
paths. Tektronix upgraded its
AD953A and claims to be the first
with a transport -stream -analysis system that supports both the H.264 and
WM9 compression standards.
Digital program insertion is a reality, and verifying that transport
streams are compliant with the ANSI/
SCTE 35 2001 DPI standard is im-
perative. Pixelmetrix, known for
products such as DVStation-IP (an
MPEG-2 transport -stream test -and monitoring over Ethernet system),
JUNE 2004
broadcastengineering.com
www.americanradiohistory.com
BROADCAST DEVICE
CONTROL TOOLS
OmniBus Systems G3 Control
303-237-4868; www.OmniBus.ty
presented the DPI Auditor, a new DPI software application that features
Provides device access, operation and
splice information logging and reporting capabilities. This product monimanagement over distributed networks;
tors the compliance of bitstreams for digital program insertion.
consists of G3 Desktop, G3 Routing and
Triveni debuted its next -generation DTV transport -stream monitor and
G3 Machine Control; based on standard
open -IT protocols..
analyzer, StreamScope MT-30. It monitors MT -30, DPI SCTE 35 digital cue
tones, MPEG-2 PSI and ATSC PSIP. It
supports ASI, VSB, SMPTE 310, QAM
SD MPEG RECORDER
and Gigabit Ethernet inputs, making
this unit extremely versatile.
FOCUS Enhancements
Not to be outdone, Sencore has inFireStore FS -M
408-866-8300; www.FOCUSinfo.com
troduced a DPI monitoring system
that logs the start time of the avail, duIncludes MPEG-2 recording, playout and
timeshift recording; timeshift feature enration and avail count. It can monitor
ables simultaneous record and playback
up to eight ASI TS streams simultafunctions; has a 120GB removable disk
neously and log SCTE 35 activity for
NAB attendees found that equipment manudrive and is expandable to 200GB; profacturers are increasingly integrating test
25 programs per transport stream.
vides more than 72 hours of continuous
and measurement features and including a
DVD-quality MPEG-2 recording; user And, from the other side of the pond,
monitoring capability.
selectable bit rates of up to 12Mb/s.
a
Thales introduced GARNET,
handheld MPEG-2 analyzer, and MPEGScan, a media -file -validation application for TS servers.
Tektronix introduced WFMNLE, which tests and measures graphic effects for compliance with legal color space
for Avid tools. Its real-time waveform and vector displays,
Blue?
and its arrowhead and diamond waveform displays, identify component and composite gamut errors. Material can
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be run through the timeline, errors logged and action taken
to correct the violations. WFMNLE is presently available
Here's what some of our Club Members say ...
as an Avid plug-in, and there are plans to release versions
"We
outfitted six of our news cameras with the ENDURA System
for other editing systems in the future
and the photojournalists love them. They can't believe the amount of
paths
For those in the trenches who still need to trace signal
runtime they get before needing a recharge .... Needless to say the
overall light weight is a plus as well. The only gripe I've heard is the
cable by cable, Wohler will soon offer an HD -SDI signal
crews using the old battery system want to know when they are
includes
26
video
test
patterns,
generator, PenPal HD, which
getting ENDURA's".
AES
four
stereo
of
embedded
18 serial formats and
pairs
Mark Schaefer, Director of Engineering
WFLA-TV
audio
and fits in your shirt pocket. It will be an indisin
any
size
plant.
tool
for
tracing
signal
continuity
pensable
"We are pleased with the power to weight ratio and reliable performance of the IDX Lithium Ion batteries. The quality of their products
Leader's LV 5750 portable SDI monitor can help verify
and exceptional service and support we get from IDX, gives us the
HD and SD distribution integrity anywhere in the plant.
best return on our investment".
Full -screen or multiple displays allow viewing of waveform,
Peter Larson, Vice President
Broadcast Sports Technology
vector, picture, audio and status. Bar graphs allow you to
monitor eight channels of audio. A digital data dump can
"While compact and amazingly lightweight, the IDX ENDURA
System has proved itself completely durable with tremendous
facilitate TRS, XYZ and VANC analysis.
holding power. I have taken IDX ENDURA batteries into extremely
Last but not least, ENCO's Guardien, a speech -recognifeatures,
and
for
commercials,
difficult
environments
documentaries...the batteries have performed flawlessly."
tion -technology-enabled, automated audio zapper can be
Matthew J. Siegel
trained to recognize the seven (or eight) words that you
Director of Photography
can't say on the air and will bleep out the offending audio,
log the event and save the audio clip. This is certainly a
te tIng the World
well-timed product introduction. Can a wardrobe -malSYSTEM
Lithium Ion
eezxrket.rf
function macroblocking depixelizer be far behind?
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BE
1D
Thinking
Join the
-
in
Philip J. Cianci has been in the TV business for 20 years and done
circuit design in the Grand Alliance ATSC prototype system.
IDX System Technology. Inc.
1602 Lockness Place. Torrance. CA 90501
Phone. (310) 891-2800 Fax (310) 891-3600
Email. [email protected]
WWW:
www.idx.ty
broadcastengineering.com
JUNE 2004
www.americanradiohistory.com
105
Format
conversion
BY JOHN LUFF
interpolated from the correct lines in
the 720 frame so they end up a
smidge lower to line up with the even
1080i field. After that, begin again.
The frame rate doesn't match; so temporally interpolate a few 720 frames
to come up with a candidate frame
There was a time when video
formats were NTSC, PAL or
SECAM. Today, it's not that
simple. Not only do broadcasters have
to contend with the 50Hz and 60Hz
standard -definition systems, but
there is also a plethora of HDTV formats in 16:9 aspect ratios, and a few
SDTV 16:9 formats as well. To these,
add progressive -scan and interlace
variants, 24Hz adaptations, and many
formats related to the NTSC color
subcarrier (60/1.001). It presents an
interesting bouquet of possible production and air formats.
As with any conversion between
standards, format conversion can be
either simple or very complex, depending on which two formats you
choose to convert. Converting analog components properly scaled
into digital components sampled to
meet ITU -R BT601 (SMPTE 259M)
is relatively easy. Filter properly,
Format conversion can be either simple or very
complex, depending on which two formats you
pick for any particular conversion.
to use for the vertical interpolation
to the 1080i (540 line) field. With
each successive pair of conversions,
the temporally interpolated frame
moves a smidge, so its control has to
be sophisticated. The line rate is also
a tad off frequency as well (1/1.001).
The math involved in the conversion
process is complicated. Gennum, a
Canadian chip manufacturer, sells a
sample, quantize and code the
samples for transmission.
But pick a different conversion and the degree of
difficulty increases dramatically. Take, for ex-
ample,
a
transmission system.
Spatial and temporal
samples don't line up
YorYCbCr
CbCr
nicely for the conversion
process. Several things
have to happen. First
those pesky progressive
frames must be sliced
and diced into interlace
fields. Seven hundred
and twenty lines must become 480. Secondly, in
the next frame, make sure
the vertical samples are
-10
-10
2-D scaling
Field separation
-
Color space conversion
-
Vertical filtering
10
Gennum
GF
0
scaling
processor
-)-G
this is a pretty sophisticated and high quality solution. Figure 1 shows the
chip's capabilities.
There are several opportunities left
to create great conversions, or poor
ones. The quality of any A/D and D/A
conversion involved in the process is
a major factor. Getting the filter mask
to match the standard precisely still requires good old-fashioned design talent. Other considerations
include integrating a de -
interlacing solution and
-
-
true 60Hz
720p60 HDTV signal and
jam it into a 1080i59.94
single chip solution to mathematically
convert pictures. The GF9320 scaling
processor replaces what was once a 1/2
rack of heat buildup. Arguably, a design using individual components that
are optimized for the task might do a
better job. But, at first approximation,
sundry other required
components. Clearly, this
is
or
Y
or YCbCr
10->BorCb
10---.RorCr
Inputs
Outputs
no amateur design
project for the basement.
Many recent, modestly
priced conversion boxes
offer such integrated solutions, some of which are
now confined to a single
module in a D/A tray. One
SD
HD
SD
HD
Graphics
480i30
576i25
720p60
1080PsF24
1080PsF25
1080PsF30
1080i25
1080i30
480PsF24
480p24
480p60
576PsF25
576p25
576p50
720p24
720p25
720p30
720p50
720p60
1035i30
XGA
manufacturer, Cobalt
WXGA
and more
Digital, sells a box a little
larger than my Palm Pilot
1035130
1080125
1080130
1. Gennum's GF9320 scaling processor makes converters less costly and complex.
Figure
1Oó broadcastengineering.com
that does
a pretty good
job; it is designed using
precisely this type of integrated solution.
What sets sophisticated,
high -quality solutions
JUNE 2004
.
'
t
p
'
u l.
I
t
Sophisticated, high -quality solutions are set apart by
the quality of the optimized code that controls them, or,
in some cases, by a custom integrated solution. For several years, Teranex has offered some of the best conversion equipment available. Its products come as an outgrowth of a processing engine designed initially for government applications. I don't suppose that was used for
converting the images from the Hubble Telescope. But, in
any event, they designed a box that used multiple processors on multiple boards with more computing power than
any of us would know what to do with. This year, the
company introduced a new solution, the XM series modular product, which fits in a D/A tray and produces about
the same results.
It's pretty impressive, but it's clear that the science and
engineering involved are becoming mature. When that
happens, competition pushes prices down rapidly. This is
happening now, just in time for the serious implementation of HDTV production and distribution systems.
It is valuable to remember why conversion products exist. They are the bridge between eras of technology or
between competing economic interests. The 525 and 625
standards coexisted for many years with little interchange
before the first converters were put in service in Europe in
the 1960s, when Telstar first beamed live television between continents. Telstar 1 launched in July 1962. It permitted only minutes of live connection, but it required a
bridge more immediate than kinescope copies sent by
commercial aircraft. Today, we see the overlap of NTSC
and PAL with HDTV. At some point, other media will
supplant HDTV. In all cases, the bridge period requires a
new device to enable both technologies to succeed simultaneously. So long as we don't have one world, standard
conversion will remain a fixture in the engineer's toolkit.
It is logical to look to a product range that can be used
for coversion in both directions. For instance, today we
have converters with single inputs that accept either analog or digital inputs and convert to the opposite without
reprogramming. The same is true of standards converters that auto sense 625 or 625, or 1080i and 720p, or combinations thereof, allowing outstanding flexibility. This
kind of auto -adapting bridge is being moved into master
control and routing switchers and even production
switchers. At some point in the not too distant future,
you will be able to plumb up a system without being too
worried about the boxes talking to each other, leaving you
to concentrate on programming them for the functions
you want them to perform. System integration will become "function integration"... and then it'll be time for
me to retire!
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As the television industry continues to redefine itself,
Broadcast Engineering is there. Broadcast Engineering is the
industry's preferred resource for learning about the ever -evolving
television market. Stay current on the latest technology developments.
new players, products and decision -makes.
To start your FREE subscription with the industry's
#1
authoritative source of technical information', go to
www.broadcastengineering.com and click on SUBSCRIBE NOW.
John Luff is senior vice president of business development for
AZCAR.
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Send questions and comments to: [email protected]
broadcastengineering.com
JUNE 2004
www.americanradiohistory.com
7
07
4sight's
HRM-1500
BY JIM BOSTON, ANDY HUTTON, LOU
York to Los Angeles to represent one
The error correction and error masking in modern digi-
second in time, the total time taken
up by a single bit cell would represent less than half a centimeter travel.
The HD bitstream has a fundamental frequency of 750MHz. If the third
harmonic is added (3 x 750MHz), the
tal equipment ensures that
digital signals do not gradually degrade with increasing attenuation in
the signal path as analog signals do.
Instead, a digital transmission path
continues to work perfectly up to the
point where it suddenly does not work
at all
the well-known cliff effect. As
signals approach the digital cliff, errors go rapidly from nonexistent to
severe
swamping recovery efforts
and making the path unusable.
resulting waveform resembles
-
Z
JANIS AND ROB MARTIN
with the extremely high bit rates
needed for HD, only the third harmonic makes it more than a few feet
Bandwidth
and signal requirements
down a coax.
Although the SDI signal is digital in
nature, it has many analog qualities
that can be used to predict how close
Spectral analysis
-t
s-Power
The physical layer used to transport
the data is composed mostly of coax,
Fundamental
-+-Third harmonic
`-
1
`------
0.5
0
25
50
75
a
square wave. If additional odd harmonics were added in the correct amplitude and phase, a nearly perfect
waveform would result. In reality,
100
125
150
200
250
300
A
335
Distance in feet
Figure 1.This graph shows the energy loss an HD signal suffers as it travels
in a coaxial cable. After traveling about 250 feet, fundamental energy drops
to a third of its original value, while the third harmonic drops to the noise
floor, making the HD signal unrecoverable.
to the error cliff a particular digital
path is. The SMPTE292 bit -scrambling algorithm essentially produces
a square -wavelike signal. The peak to -peak value of this signal should be
0.8V and the rise time or transition
time between the 20 percent and 80
percent amplitude points should be
only 270ps. Using the distance of New
with some connectors and perhaps a
jackfield. But coax provides the greatest exposure to problems for a video
datastream. Coax's series inductance
and shunt capacitance create a low-
pass filter. Because attenuation is
greater in the higher frequencies, the
upper harmonics of the signal disappear. The square wave data signal starts
108 broadcastengineering.com
to look more like a sine wave and may
become unrecoverable.
The bottom line
The weight of the cabling needed
in a broadcast facility often equals the
weight of the equipment. For this reason, facilities, especially trucks, are
built with the lightest cables possible.
Many facilities use minicoax, even
with HD. Unfortunately, smaller-diameter cable results in increased HF
losses. RG -59 type coax might show
5dB loss per 100 feet at 750MHz,
whereas minicoax has 9.59dB of loss.
At 2250MHz (the center of the HD
third harmonic) RG -59 type typically
has 9.14dB loss per 100 feet, while
minicoax has a loss of 16dB.
Figure 1 graphs energy loss against
distance for a coax path. It shows that
third harmonic energy drops at a
much greater rate than the fundamental energy as distance increases.
This is why loss at both levels must
be considered.
Usually the error headroom value
is checked with expensive test equipment, such as a spectrum analyzer.
4sight's handheld HRM-1500 meter
offers broadcasters designing, building and maintaining HD facilities a
simple, economical way to check the
health of HD signal paths. It determines the amount of energy in the
third harmonic, which indicates how
close to the error cliff the HD
bitstream is. It also provides a simple
indication of distance from the error
cliff, more detailed information an
overall bitstream energy, and a breakdown of fundamental and third -harmonic energy.
BE
Jim Boston, Andy Hutton, Lou Janis and
Rob Martin are engineers with 4sight. For
more information on the HRM-1500, visit
www.4sightproducts.com.
JUNE 2004
www.americanradiohistory.com
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MOBILE UNIT ENGINEER IN CHARGE
(EIC) - MIRA Mobile Television, a five
truck mobile facilities company located in the Pacific Northwest, is seeking an experienced mobile unit EIC.
Minimum of 3-5 years mobile production experience with extensive digital
TV systems knowledge and troubleshooting ability. Knowledge of HD systems a plus. Strong client relationship
skills mandatory. Extensive travel in
western U.S. and western Canada. No
Phone calls. Send or e-mail resumes to:
R. Kirk, MIRA Mobile Television, 5775
SW Jean Rd., Suite 103, Lake Oswego,
OR. 97035, [email protected],
Equal Opportunity Employer
DIRECTOR OF ENGINEERING WPXI(TV) the Cox-owned NBC affiliate
in Pittsburgh is looking for a Director
of Engineering. If you're an operations -
oriented, experienced engineering
manager with strong technical skills,
a track record of organizing and managing television operations, and want
to be a key leader at a station with a
heavy emphasis on local news, programming, and production, read on.
Candidates should have a minimum 5years experience in Television engineering management, a BSEE and a
FCC General Radio Telephone License.
SBE certification a plus. Must demonstrate success in managing capital and
operating budgets, managing computer integration and networking ,
value effective maintenance practices
and cross training. Must have enthusiasm for goal -oriented customer -focused service. We want someone with
the management background to oversee our current television facility and
help us design our brand new "digital
from the ground up" building. Yes, we
are breaking ground on a new facility.
If this sounds like a perfect fit, you
should apply, but only if you're committed to working with and developing a terrific group of people. Want to
be part of the team? Send a cover letter and resume to Ray Carter, VP & GM,
WPXI, 11 Television Hill, Pittsburgh, PA
15214 Email [email protected] or fax
412-237-1286. EOE
Broadcast
Engineering
WSBC BROADCASTING is looking for a
Manager of Engineering. We will soon own five
AM stations and one FM station in the Chicago
area. We need an experienced person, familiar
with AM directional patterns and multi -tower
arrays. In addition, the person will be involved
in all engineering and technology aspects for
this growing company. Resume, job and salary
history to: Harvey Wells WSBC Broadcasting 1645 West Fullerton Ave. Chicago, IL
60614. WSBC Broadcasting is an Equal Opportunity Employer.
BERMUDA CABLEVISION - is seeking
applications for the post of; General
Manager for Cable Television...General
Responsibilities: To provide management direction for the activities and
operations of the Cable Television systems throughout Bermuda. Core Duties and Responsibilities: Preparation
of budgets and forecasts and direction
of operations to meet defined objectives for growth and profitability. Management and monitoring of staff to
maximise productivity and to improve
the quality of customer service. Interpretation and implementation of corporate policies and procedures. Building and maintaining relationships with
community, country residents and
public officials for the benefit of the
organisation. Reporting to corporate
office, providing a continuing evaluation of operating results and working
with all departments to maintain the
highest level of customer service. Also
includes interviewing, hiring, and training employees; planning, assigning,
and directing work; appraising performance; rewarding and disciplining
employees; addressing complaints and
resolving problems. Education and
Experience: Bachelor's degree (B. A.)
with a minimum of 5 years experience
in the Cable Television industry covering operations and maintenance of
systems including knowledge of digital television roll-out. Experience in
government relations required. A formal financial qualification would be of
distinct advantage to applicants. Other
Requirements: PC skills including pre-
and
accountancy
programmes. Strong organisational
sentation
skills. Excellent overall communication
skills. Must be committed to providing exceptional service at all times.
Salary and benefits will be commen-
surate with experience. Applications
in writing only are invited and should
be addressed to; Personnel Director,
WestStar TV Ltd., Box 30563 SMB,
Grand Cayman, Cayman Islands, Brit-
ish
West
Indies,
e-mail:
BROADCAST ENGINEER (STUDIO) KNME-TV (PBS) at the University of
New Mexico, seeks an experienced studio engineer to work in a dynamic environment. KNME, New Mexico's old-
est public television station, was first
in NM to begin broadcasting digital in
2001. The studio digital conversion
project is well under -way and fully
funded. KNME serves 1.6 million+
viewers in central and northern New
Mexico. It operates a complete digital
production facility with SD and HD capability, and a full-service teleport with
Vyvx network connectivity. We are
seeking a career -oriented professional
who wishes to grow with us. The position offers an excellent benefits package, including university tuition for the
entire family, and 4 weeks vacation.
The Albuquerque/Santa Fe area offers
great quality of life with many cultural
and recreational opportunities. For
complete vacancy announcement and
application,
please
check
www.unm.edu under "jobs". Refer to
requisition #M38888. Resumes must
be accompanied with a "Supplement
to Resume" form, in web page. ALL
APPLICATIONS FOR THIS POSITION
MUST BE SUBMITTED VIA eJOBS,
UNM's ONLINE APPLICATION/RESUME
SYSTEM. Go to the eJOBS website,
http://ejobs.unm.edu, to apply. This
posting opens on May 17, 2004 and will
remain open until July 10, 2004.
WDSI FOX6ITV - seeks Maintenance
Engineer with good computer skills,
experience with UHF Transmitter A
MUST, studio equipment, analog and
digital tape recorders required, and
excellent communication skills. Will
maintain company vehicles and DVC
Pro equipment. Send resume and
cover letter to: WDSI FOX61 Attention Christene Ramsey, 1101 East
Main Street, Chattanooga, TN 37408,
email to [email protected] or fax to
423-265-3636. NO PHONE CALLS
PLEASE. Deadline for resumes is
June 30, 2004. WDSI FOX61 is an
equal opportunity employer and a
drug free workplace.
contact
Jennifer Shafer
800-896-9939
[email protected]
primediabusiness.com
[email protected]
broadcastengineering.com
JUNE 2004
www.americanradiohistory.com
1 1 1
The Walt Disney Company
Broadcast Engineer
The Situation
The Broadcast Engineer position is located in Kent, Washington and resides within the Buena Vista Datacasting business
unit; part of The Walt Disney Company. Buena Vista Datacasting has just launched MovieBeamTM, a video -on -demand movie
rental service transmitted via digital wireless signal to an electronic receiver.
The Position
Reporting to the Manager of Network Deployment, this position will be primarily responsible for installing the MovieBeamTM
technology into Broadcast Towers, performing installation analysis and generating/coordinating drawings and integration
points to interface the MovieBeamTM technology into the Broadcast Stations Analog transmission system, and executing
installation, integration and activation activities in the deployment of the MovieBeamTM technology into Broadcast Stations.
Other responsibilities include: the operation and maintenance of deployed MovieBeamTM technology; preparation of failure
analysis and recovery procedures for the MovieBeamTM technology, as deployed in individual/unique Broadcast Stations;
monitoring the performance of the operational systems and analysis of system logs; and supporting the development of tools
to automate the monitoring and performance of the MovieBeamTM technology.
The Company
Walt Disney Company is a diversified, international family entertainment and media company with 2003 annual revenues of
$27 billion. Its operations include theme parks and resorts, filmed entertainment, including motion pictures and television
shows, home video and DVD products, records, broadcast and cable networks, internet and direct marketing, consumer
products, radio and television stations, theatrical productions, publishing activities and professional sports enterprises.
The Ideal Candidate
Qualified candidates will be BS Graduates with an RF or Electrical Engineering degree, have over 5 years experience in
television broadcast engineering, comprehensive knowledge of FCC rules & regulations for all phases of broadcast television, and thorough understanding of NTSC television transmitter installation & maintenance. Other required skills include:
comprehensive knowledge of video test signals & measurements; working knowledge of high power RF systems; "hands-on"
experience with and understanding of television station operations; understanding of Linux and Microsoft computer systems
and general office software applications such as word processing, spreadsheet, e-mail and internet browsers programs.
The Opportunity
This position represents an opportunity to perform deployment, operation and maintenance of the MovieBeamTM technology
used in the BVData Distribution and Broadcast Network.
The Compensation
An attractive compensation plan, including base salary, bonus potential, and comprehensive benefits plan, including stock
purchase and 401(k).
WE ARE AN EQUAL EMPLOYMENT OPPORTUNITY EMPLOYER
Joelle Jennings
The Walt Disney Company
Enterprise Talent Acquisition
500 So. Buena Vista Street, Burbank, CA 91521-7477
(818) 558-2200 [email protected]
Help Wanted
A TV CHIEF ENGINEER is needed at LeSea Broadcasting's
WHNO-TV 20 in New Orleans, Louisiana. Candidates must
have high technical skills in Master Control, Studio, Remote
Venue and Transmitter operations and maintenance (IUT de-
sired), including non-linear video editing, satellite receiving,
tape & DVD record and play, video server, camera, remote
truck and high -power transmitter equipment troubleshooting. Strong computer skills are a plus. SBE Certification desirable. At least 3 years as a chief or assistant chief is required. Exceptional interpersonal, written and verbal communication skills a plus. Send your resume and cover letter
to: WHNO TV 20, Chief Engineer, 1100 S. Jefferson Davis Parkway, New Orleans, LA 70125 or email it to [email protected]
No phone calls will be accepted. EOE
1
BROADCAST MAINTENANCE ENGINEER (PORTLAND,
OREGON) - KATU TV seeks a Broadcast Maintenance Engineer to install and maintain video, audio, and ancillary equip-
ment associated with television broadcasting including
server -based systems, switchers, routers, signal processing
devices, audio/video distribution, graphics systems, and
transmission equipment. C -Band uplinking experience a plus.
For a full description of this position logon to www.katu.com.
Send your cover letter and resume to:Rolonda Stoudamire,
KATU, 2153 NE Sandy Blvd., Portland, OR 97232. E-mail
[email protected] No Phone Calls Please. Equal Opportunity Employer.
JUNE 2004
12 broadcastengineering.com
www.americanradiohistory.com
Hotline
AcousticsFirst
ActivePower
31
40
107
30
53
4-5
43
72
49
Axcera
AxonDi italDesign
BBCTechnology
Belden
82
Boggenlma ing
51
CafrecAudlo
69
ChyronCorpp.
16
63
109
Clear-ComintercomSys.
ComputerModules
CPI/EIMACDivision
Dolby Labs Inc.
21
19
09
Ensemble Designs
Electronic Design Spec.
1911
877 -flywheel
800-366-3891
800-251-4224
212-269-1943
973-812-3858
203-929-1100
800 -949-avid
724-873-8100
888-919-9379
516-328-7500
888-222-3820
EAST
Josh Gordon
(718) 802-0488; Fax: (718) 522-4751
jgordon5 @bellatlantic.net
EAST/MIDWEST
Joanne Melton
(212) 462-3344; Fax: (913) 514-9249
jmelton @ primediabusiness.com
belden.comfb65.pdf
201-818-9500 bogenimaging.com
+441422842159 ca rec.com
INTERNATIONAL
chyron.com
clearcom.com
858-613-1818 computermodules.com
650-592-1221 eimac.com
415-558-0200 dolby.com
818-562-1101 doremilabs.com
530-478-1830 ensembledesigns.com
57
67
10
1
800-966-0069
gepcoCo3gepco.com
34
89
93
For.A Corporation of America
Forecast Consoles Inc.
Frezzi
fujinon Inc.
Technology LLC
Gencoom
110
64
75-78
+441494729728
800-788-1330
3
800-4HARRIS
IHBCita
183
DX Technologies
FlscriberTechnology
ntelsat
Keystone America
105
29
33
110
KN 1lE-N PBS
111
+4420 7611 5500
Leitc23
B
110
52
EUROPE
Richard Woolley
+44-1295-278-407
Fax: +44-1295-278-408
[email protected]
9
11
44
Omneon
Panasonic Broadcast
Prime Image
65
7
Proartz
92
35
15
17
25
18
73
71
45
110
50
leitch.com
Icdracks.com
maxell,com
microfirst.com
[email protected]
network-electronics.com
nvisionl.com
omneon.com
panasonic.cpm/p2
primeimageinc.com
pro-bel.com
quartzus.com
radn.com
rohde-schwarz.com
rossvideo.com
sachtler.com
stagetec.com
screen.it
ssl-broadcast.com
801-575-8801
530-477-2000
41
800-800-5719
888 2 vinten
utahscientific.com
videoframesystems.com
newsflow.tv
videotek.com
vintenvector.com
111
wheatstone.com
1 F1C
WPM.
111
360 Systems
95
Zander Technologies
68
Asa Talbar
Talbar Media
+972-3-5629565; Fax: +972-3-5629567
[email protected]
JAPAN
Mashy Yoshikawa
Orient Echo, Inc.
+81-3-3235-5961; Fax: +81-3-3235-5852
mashy @ fa2. so -net. ne.jp
CLASSIFIED ADVERTISING
OVERLAND PARK, KS
Jennifer Shafer
)967-1732
(800(896-9939;(91
[email protected]
REPRINTS
Wright's Reprints
(877)652-5295;
International inquiries, (281) 419-5725
[email protected]
LIST RENTAL SERVICES
Marie Briganti, Statlistics
778-8700 x146
( 203) 778-4839
[email protected] statlistics.com
Customer Service:
913-967-1707 or 800-441-0294
112
11
252-638-7000
ISRAEL
sundancedigital.com
thomsongrassval ley.com
13
47
109
70
85
[email protected]
800-800-6608
800-533-2836
972-444-8442
[email protected]
hamlet.co.uk
harmonicinc.com/broadcast
harris.com
800-231-9673
408-585-5000
800-528-8601
408-867-6519
631-549-5159
888-638-8745
602-437-9620
888-837-8772
613-662-4886
516-867-4900
+499545-440-0
+39 0303582225
212-315-1111
800-527-6642
Tony Chapman
+44-1635-578-874
Fax: +44-1635-578-874
for-a.com
forecast-consoles.com
frezzi.com
fujinon.com
idx.com
inscriber.com
intelsat.com
514-333-1772
800-420-5909
EUROPE
http://comms.e2vtechnologies.com
800-363-3400
202-944-8545
103
56
97
Inc.
georgeww3 @ aol.com
angenieux.com
antonbauer.com
avid.com
[email protected]
axon.tv
azdencorp.com
bbctechnology.com
erg-ventures.com
eriine.com
ese-web.com
euphonix.com
evertz.com
IBC
E2V
USA
George Watts III
(360) 546-0379; Fax: (360) 546-0388
activepower.com/a1130
adc.com/broadcast
aja.com
949-263-1630
812-925-6000
310-322-2136
650-855-0400
905-335-3700
914-592-6050
714-894-3311
800-735-2070
800-345-1030
973-633-5600
109ES9
Évertz
Radyne-com Stream
Rohde & Schwarz
Ross Video
Sachtler
Saltzbrenner Stagetec
Screen Services Raja
Solid State Logic
Sony Pictures Digital Media
Streambox
Sundance Digital
Thomson Broadcast
Utah Scientific
Videoframe
Video Technics
Videotek
Virden Broadcast Ltd.
Walt Disney Pictures
WDS
West Star TV Limited
Wheatstone Corporation
WEST
170
ERI-Electronics
Electronics Research, Inc.
Markley & Assoc.
Marshall Electronics
Maxell Corp
Mrcrofirstlnc.
MirandaTechnologies
Network Electronics
NVision
Address
110
AJAVideo
AnalogWay
Angenieux
AntonBauer
AvidTechnology
Gilmer & Assoc.
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Harris Corp./Broadcast Div.
US/CANADA
Advertiser Web site
Page
818-991-0360 360systems.com
zandar.com
+3531280 8945
BROADCAST ENGINEERING June 2004, Vol. 46,
No. 6 (ISSN 0007-19941 is published monthly and mailed
free to qualified persons by Primedia Business, 9800
Metcalf Ave., Overland Park, KS 66212-2216. Periodicals
postage paid at Shawnee Mission, KS, and additional
mailing offices. Canadian Post Publications Mail Agreement No. 40597023. Canada return address: DP Global
Mail, 4960-2 Walker 'load, Windsor, ON N9A6J3. POSTMASTER: Send address changes to Broadcast Engineering, P.O. Box 2100, Skokie, IL 60076-7800 USA. CORRESPONDENCE: Editorial and Advertising: 9800 Metcalf,
Overland Park, KS 66212-2216 Phone: 913-341-1300;
Edit. fax: 913-967-1905. Advert. fax: 913-967-1904. CD
2004 by Primedia Business. All rights reserved.
broadcastengineering-com
JUNE 2004
www.americanradiohistory.com
113
ElM
Multïcastïrig:
Doom and gloom
on the airwaves
BY PAUL MCGOLDRICK
ver since talk about offering
a broadcasters additional
RF
channels began, people have
used the word multicast to describe a
potential revenue model for digital.
broadcasting. The term was ill-defined,
and remained so for many years. But,
finally, people are making proposals,
both formally and informally, about directions that this model could take.
Modest proposals
These proposals are a world apart
from the four traffic -camera images
that KRON TV's digital channel has
multicast, or the view of Detroit from
the Canadian side of the Detroit River
that WDIV TV has multicast. In conversations at NAB2004, it was clear that
people are treating some of the ideas
quite seriously. But are they practical?
Just before NAB, NBC announced
that it was going to start a national digital network called "The Weather and
Alert Channel," which it expects its
O&Os and 92 percent of its 215 affiliates to carry as a multicast channel. A
definite first in this program is that
NBC proposes to split the costs of setup and operations 50/50 between itself
and the stations that adopt the programming. Networks will find this to
be a useful weapon in their effort to
pressure the cable industry and the
FCC to ensure that must -carry rules
apply to multicast channels. The rest of
the multicast offerings out there today
are rather tepid material compared to
the seemingly daily appearance of new
channels that are vying for space in
cable systems' limited bandwidths.
Multicast numbers are already rather
impressive. According to Decisionmark,
which tracks the DTV roll out, 213 stations were multicasting in January 2004.
Of those, about half were public TV stations multicasting mostly adult and
children's educational material. The
commercial stations are offering news/
weather type options, which would obviously be a threat to cable's Weather
Channel if must -carry applied.
Bold proposals
But the big plans are much more extensive. One proposal I've heard, going beyond the limited offerings that
USDTV has made in its start-up cities,
is to compete directly with cable and
satellite by banding digital RF channels
together, with four to six SD programs
on each channel. The broadcasters in
the group would carry their own feeds,
as usual, plus cable -type offerings. If
everybody cooperated, and presumably
PBS stations could not play at this party,
the higher -DMA cities might be able
to offer a dozen RF channels to give a
maximum of, say, 72 program choices.
The viewers would then have to obtain, by buying, renting or as a giveaway,
a set -top box that could sort out all these
terrestrial channels and their content.
And, to be able to pay for all these services, the stations would charge participating viewers the standard $19.95 a
month. USDTV has a Chinese minority partner to supply the STBs.
The degree of cooperation by all
these stations would have to be incred-
ible and the viewing public would
have to accept a major change in its
life: the idea that over -the -air broadcasting would no longer be free. This
contradicts a concept that has almost
become a fundamental right for many
of us. A separate entity would have to
form to handle the distribution of the
STBs and billing/collections. And, of
course, once this model was in place
114 broadcastengineering.com
in a city that has killed HDTV, unless
you accept a reduction from, say, six
SD programs to only two when HD
content is being transmitted. Viewers'
reaction would not be pleasant. A
short while ago, my state's daily newspaper eliminated the overnight grids
from its TV listings because most of
the programming consisted of paid
advertorials and to save ink. Those
grids have since been restored because
of the howls from the many late -night
viewing owls out there.
Doom and gloom
No, I just don't see this model as feasible. And, looking at the other models centered around news, broadcasting news has never been a smart way
of making money in television (not
that you would think that when you
look at the more than 40 companies
that offered news/weather products at
NAB). But, if there is no revenue
stream from multicasting, what will
happen to terrestrial TV broadcasting?
I have to say that I see nothing but
doom in the future unless the broadcasters supplement an HD offering
with novel content in one or two channels of multicast SD signals. Even then,
the must -carry of that content on
cable will be critical. If broadcasters
don't take that direction, I can see
them handing back a large number of
digital channel licenses to the FCC at
about the same time that the analog
licenses go away. Those additional licenses may turn out to be the kiss of
death for the industry as we know it.BE
Paul McGoldrick is an industry consultant
based on the West Coast.
Send questions and comments to:
SEND
[email protected]
JUNE 2004
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