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TABLE OF CONTENTSVOLUME 49 I NUMBER 4 I APRIL 2007

BroadcastEngineeringeFEATURES

64 HD/SD workflow integrationCompression conflicts can stymie the mix ofHD and SD signals.

80 NAB product highlightsSee the latest on more than 400 new products.

SPECIAL REPORT72 Digital asset management

Before installing DAM, consider these key issues.

BEYOND THE HEADLINESDOWNLOAD

14 Acrimonious constraintsOff-limits encoding formats box in broadcasters.

FCC UPDATE18 Broadcast legislation

Rush Limbaugh and other programsmay have to air contrary viewpoints.

DIGITAL HANDBOOKTRANSITION TO DIGITAL

20 Displaying growthPlasma competes with LCD to dethrone CRT.

COMPUTERS & NETWORKS26 Computer protection

Installing firewalls can help broadcasters reducethe threat to exposed networks.

PRODUCTION CLIPS30 Sound steps

The new digital audio boards for live broadcastmaximize function in a small footprint.

THIS MONTH'S FREEZEFRAME QUESTION SystemVisual Visual Aspect Raster Raster Scowlingwidth height ratio width height type

Find the six mistakes in the table to the right of video raster sizes. 525i30 720 525 4:3 780 525 Interlaced

Information taken from "A Practical Guide to Video and Audio 625i25 720 625 4:3 864 625 Interlaced

Compression" by Cliff Wootton, available from Focal Press. 625i25Wide 780 576 16:9 864 625 Interlaced720p60 1280 720 16:9 1650 750 Progressive

Readers submitting winning entries will be entered into a 1080i25 1920 1080 14:9 2640 1125 Progressive

drawing for Broadcast Engineering T-shirts. Enter by e-mail. 1035i30 1920 1035 17:9 2200 1125 Interlaced

Title your entry "Freezeframe-April" in the subject field, and 1080p60 1980 1080 16:9 2200 1125 Progressive

send it to [email protected]. Correct an- 1080p25 1920 1080 16:9 2640 1125 Progressive

swers received by June 1, 2007, are eligible to win. 1080p24 1920 1080 16:9 2750 1180 Progressive

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TABLE OF CONTENTSVOLUME 491 NUMBER 41APRIL 2007

SYSTEMS INTEGRATION

38 "Rachael Ray" shines bright inEUE Screen Gems' new studioThe 9000sq-ft studio features a staging area ineach corner of the room.

48 WLS shows HD's wow factor to ChicagoThe station now broadcasts its entire local newsand programming lineup in HD.

TRANSMISSION &DISTRIBUTION

58 Flywheel's powerMore stations are looking at the energy source'sshort-term load carrying abilities.

NEW PRODUCTS & REVIEWSFIF1 n REPr

168 Sony's PDW-F350 camcorder

APPLIED TECHNOLOGIES174 Pixel Power's Clarity graphics system

176 Genesis' fiber link178 Vista Systems' Spyder video walls

TECHNOLOGY IN TRANSITION180 Splicing MPEG

Compressed digital video's lossy naturecomplicates the process.

DEPARTMENTS10 EDITORIAL12 FEEDBACK

183 CLASSIFIEDS186 ADVERTISERS INDEX188 EOM

DECEMBER'S FREEZEFRAME ANSWER

Complete the following definitions:The acronym BNC stands for Baby N Connector.Cross luminance is sometimes called dot crawl.Aliasing is a picture defect typically caused by insufficient samplingor poor filtering of the digital video format.The scanning format that captures in one top -to -bottom scan iscalled progressive (or progressive scan.The Nvauist frequency is defined as half the sampling frequency ofa discrete signal processing system.

DECEMBER WINNERS:Scott Eugene, Mark Everett, Roger Wilcox


ON THE COVER:In its EUE Screen Gems Studios home, "RachaeRay" cooks up a hit captured by Sony cameraswith audio mixes from a Solid State Logic C100digital console. Photo by Eric Leibowitz.

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EDITORIALDEPARTMENT

On your mark,get set wait!

you could hear the collective gasp from the en-tire television broadcast industry when Rep.John Dingell, D -MI, chairman of the HouseEnergy and Commerce Committee, off-

handedly suggested that the analog shutoff scheduledfor Feb. 17, 2009, might need to be delayed. Delay theanalog shutoff that's been planned for, what, more than12 years, with billions invested by TV stations? Why?

During a brief off-stage question -and -answer session,the National Journal reported that Dingell expressed res-

ervations that all of the 1700 stations and millions of con-sumers might not be fully prepared for the death of analogbroadcasting - as though he would know anything aboutthe process. Dingell was, of course, referring to the Repub-lican -created plan to offer two vouchers valued at $40 eachto viewers without cable or satellite service, so they canpurchase STBs. He claimed to be concerned that retailersmight not have sufficient supplies or be able to properlyredeem the STB coupons in a timely manner.

When asked about Dingell's comment, NAB spokesmanDennis Warton said, "We want to avoid a train wreck."That's Washington political speak for "We warned youabout this in the beginning. But no, you wouldn't listen.And now you want us to bail you out? No thanks! You dugyour hole. Now deal with it."

Dingell and his cohort on the Energy and Commerce

Telecommunications and Internet Subcommittee, chair-man Edward Markey, D -MA, have complained that the$1.5 billion planned for the STB program is insufficient.They say they just need more money. Where have we heardthat line before?

So, what's behind this sudden change in heart? Wasn'tCongress euphoric over the billions of dollars the spec-trum sale would generate? So much money to spend andso little time to do so. Then why delay the shutoff now?

I think Democrats are concerned about getting blamedfor the disaster resulting from 1200 analog transmitterssuddenly going dark on Feb. 17, 2009. Can you spell "an-gry voters"?

It shouldn't surprise anyone that a member of Congressis afraid of being blamed for anything, let alone being heldresponsible for up to 21 million homes losing their televi-sion! Can you imagine the firestorm that would descendon Washington, D.C.?

There would be a million -viewer march on the capitalso fast that the network satellite trucks couldn't get therefirst. All 540 members of Congress would be fighting eachother for space in one of those D.C. bomb shelters to hidefrom angry TV viewers.

And, if the new president were, say a Democrat, the de-bacle would be blamed on her - ahem, or him. And thatwouldn't be a good thing to happen early in a president'sfirst term.

The truth is that Dingell and his cohorts are just postur-ing to throw more money at the problem, hoping that'llbuy them some cover when the bottom falls out and mil-lions of homes suddenly have no television. Changing therules of the game isn't new to Washington politics. Thistime, however, Congress just might get the blame it de-serves for its incompetence.

EDITORIAL DIRECTORSend comments to: [email protected]

BE


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FEEDBACKDEPARTMENT

Body mass indexDear editor:

Your December 2006 editorial introduced a term and a definition forBMI without mentioning that the abbreviation means body mass index.

The definition was in metric, which complicates the exercise a bit. Idon't know of anyone among my colleagues who thinks in metric. It ispossible to calculate BMI without converting to metric.

You can calculate BMI from weight and height in pounds and feetby multiplying the result you get by 4.88. You can calculate BMI frompounds and inches by multiplying the result by 703. I have put together aspreadsheet to illustrate this. (See spreadsheet below.)

Tom Norman, CPBE

Senior engineerBurst

BMI CALCULATIONS

I know my height in feet and inches, but don't know it in meters. I alsoknow my weight in pounds, not in kilograms. I calculated the metricfrom the English, then calculated the conversion factors so you don'thave to. For feet, it's

Weight: 70.3203kg 1551b

Height: 1.7425m 5ft 9inBMI: 22.8937 weight/(height x height)

BMI calculated from total feet:

Weight: 1551b

Height: 5.75ft

4.688091 weight/(height x height)4.883364 conversion factor

BMI: 22.8937

BMI calculated from total inches:

Weight: 1551b

Height: 69in

0.032556 weight/(height x height)703.2044 conversion factor

BMI: 22.8937

Who is Ben Wolfe?Dear editor:

Recently my husband and I boughtsome aluminum records. One was la-beled "Amos 'n' Andy;' with the callletters WOW, a Nebraska radio sta-tion. The record does contain the be-ginning and ending of an episode of"Amos 'n' Andy?' recorded on March5, 1931. However, in the middle, after

a station identification spot, it cuts tosomeone singing and playing piano,"from the home of Ben and Helen ofthe Homemaker's Club."

I looked in the census for Ben andHelen in that area. I found several, butBenjamin and Helen Wolfe stood outbecause his occupation was U.S. radioengineer. A Google search revealedthat he was awarded an SBE Lifetime

Achievement Award. My researchsuggests he may have passed away inOctober 1997. Can you help me outmore information about him?

Sherry Troupe

Brad Dick responds:Thank you for the interesting let-

ter. There was a Benjamin Wolfe whoworked for the FCC for many yearsuntil the early to mid -'90s. His signa-ture appeared on every FCC operatorlicense the commission issued.

Broadcast Engineering didn't beginpublishing until 1964, so we don'thave records back to the '30s. I ex-amined our issues from June 1997through February 1998, looking forany reference to his obituary. Unfor-tunately, I found no mention of him.

If you haven't contacted the stationWOW, that might be helpful. A re-tired manager or chief engineer maybe able to provide additional infor-mation. And if any readers can shedsome light on the trail, please [email protected].

It's all electronsDear editor:

The following job description,listed in the JobZone section of theBroadcast Engineering Web site is fora person who builds electrical substa-tions for Wisconsin Electric, a far cryfrom radio and TV: "The engineer'sresponsibility will include assign-ments in design of new substationsand modifications to existing substa-tions and related equipment."

John McKennaChief engineer

The YES Network

Brad Dick responds:Heck, it's all electrons.

John McKenna responds:Yeah. But ours go a lot faster!

Test Your Knowledge!See the Freezeframe question of themonth on page 6 and enter to win a

Broadcast Engineering T-shirt.

Send answers to [email protected]


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Acrimonious constraintsOff-limits encoding formats box in U.S. broadcasters.

BY CRAIG BIRKMAIFR

Acronyms are a form ofcompression. They are thestaple of standards orga-nizations, video manu-

facturers and industry trade publi-cations like Broadcast Engineering.For example, we are currently in themiddle of the DTV transition, fromanalog NTSC to digital ATSC.

Remember Table 3 in the ATSCA-53 DTV standard? The table liststhe video format constraints onMPEG-2, the compression standardon which ATSC is based. (See Table 1at right and "Web links" on page 16.)

It is the only portion of the ATSCstandard that the FCC did not in-clude when they adopted the ATSCstandard for DTV broadcasting in theUnited States. The standard, as adopt-ed, constrains the use of MPEG-2, acompression standard that now seemsalmost as dated as the analog NTSCbroadcast standard it's replacing.

The table includes 18 DTV videoformats - technically 36, if you con-sider the six frame rate codes explainedin the legend. These codes may be theATSC's idea of data compression, but

Verticalsize value

Horizontalsize value

Aspect ratioinformation

Frame ratecode

Progressivesequence

1080 1920 1, 3 1, 2, 4, 5 1

4, 5 0

720 1280 1, 3 1, 2, 4, 5, 7, 8 1

480 704 2, 3 1, 2, 4, 5, 7 , 8 1

4, 5 0

640 1, 2 1, 2, 4, 5, 7 ,8 1

4, 5 0

Legend for MPEG-2 coded values in tableAspect ratio information: 1 = square samples 2= 4:3 display aspect ratio 3 = 16:9 display aspect ratioFrame rate code: 1= 23.976Hz 2 = 24Hz 4 = 29.97Hz 5 = 30Hz 7 = 59.94Hz 8 = 60Hz

Progressive sequence: 0 = interlaced scan 1= progressive scan

Table 1.The restraints on compression formats

something tells me codes 2, 5 and 8won't be used. And what happenedto codes 3 and 6 - or MPEG-3 forthat matter? Franldy, I haven't a clue,despite having been a participant inthe ATSC meetings where the DTVformats were determined.

The previous century's legacy ofinterlace and noninteger frame rateslives on in this table, as do the ATSCformat constraints that the FCC agreed

FRAM E G RAB A look at the issues driving today's technology

Strong demand for HD on -demand programmingIn 2006, 54 percent of DTV cable customers ordered on demand

60%

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2004 2005

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were unnecessary. There was some talkabout getting rid of the legacy NTSCframe rates at the end of the digitaltransition. Don't hold your breath.

MPEG-3 was supposed to be thestandard for encoding HD videountil support for HD was added tothe MPEG-2 standard. Support forHD video was added to MPEG-4 aswell - despite the original intent ofMPEG-4 being a standard for lowbit rate encoding, such as for video-conferencing, Web and mobile video.

MPEG-4 Part 2 defines the videocompression algorithms for the stan-dard. It has been amended twice,adding support for high -quality HDvideo encoding. The MPEG-4 Part2 Studio Profile is used in the SonyHDCAM SR format, introduced in2003, to capture the full 10 -bit 4:4:4RGB outputs from a CineAlta HDcamera.

MPEG-4 Part 2 is also dated, com-pared with MPEG-4 Part 10 (alsoknown as H.254 or AVC), whichoffers a 50 percent bit rate reduc-tion for the same image quality. U.S.broadcasters can use AVC in a rangeof HD video acquisition systems. Un-fortunately, they cannot use AVC to


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improve the quality or quantity of thevideo programs emitted from thoseDTV transmitters. The ATSC stan-dard and a growing installed base ofDTV receivers constrain broadcasters,even as competitors begin the transi-tion from MPEG-2 to AVC.

The don't -convert programThe new advancements in HD

video encoding can be used by broad-casters as they upgrade to HD pro-duction. The constraints of HD videoencoding primarily apply to the bitsemitted to those who do not sub-scribe to a multichannel TV service- the people who are still watchingfree -to -air TV.

In March, the NTIA released de-tails of a government coupon pro-gram for the digital -to -analog boxesthat will convert the DTV formatsback into the interlaced 59.94Hz usedby millions of legacy NTSC receivers.The legacy of interlace - nonintegerframe rates and MPEG-2 - is beingpropped up by this converter pro-gram. To be fair, though, analog cabletiers are not likely to disappear by2009, either. Meanwhile, the transi-tion to digital HDTV continues to beas acrimonious as ever.

Consider the highly successful DTVtransition in the United Kingdom. Al-most half of the UK's 60 million TVsets are connected to a digital device.Most of those TVs are receiving Free-

view, a free -to -air DTV service, or

Web linksThe ATSC A-53 DTV standard

www.atsc.org/standards/a53.htmlNTIA releases converter box

coupon program detailshttp://broadcastengineering.com/RF/ntia-converter-box-program-details-0315/index.html AVCHD information Web sitewww.avchd-info.org/index.html

Panasonic AVC-Intra white paperwww.serv.com.ua/img/zstored/File/AVC Intra_White_Paper Ver1_3.pdf

BSkyB, a DBS service and a Freeviewpartner, offering three of the DTVservice's 40 -plus channels.

In February, BSkyB announced in-tentions to use its bits on Freeview todeliver an upgraded pay -TV service.The service would use AVC compres-sion to pack four channels in the spacenow occupied by three existing chan-nels. The new programming wouldinclude movies, entertainment andlive Premiership football. Subscriberswould be required to purchase a new

HDV's lifespan: the limited qualityusing MPEG-2 MP@ML at 25Mb/s,and the complexity and qualityimplications of editing long -GOPMPEG-2. Despite these limitations,HDV has helped to bring HD ac-quisition to the masses, with a widerange of products costing less than$10,000. Now, it too is ready for re-placement, thanks to AVC.

Last July, Sony and Panasonic setaside their sometimes acrimoniousrelationship to develop AVCHD, a

The ATSC standard and ... DTVreceivers constrain broadcasters.

receiver with AVC and conditionalaccess capabilities, in addition to theMPEG-2-based Freeview capabilities.

The other Freeview partners -BBC, ITV and Channel 4 - are re-portedly set to tell media regulatorOfcom that BSkyB should no longerbe a shareholder in the consortium.They say that with this move, BSkyBwould no longer be supporting Free-

view's commitment to providing UKconsumers with access to as wide arange of free -to -view DTV channelsas possible.

The BBC has conducted trials ofHD DTV broadcasts using AVC com-pression. It is expected that a portionof the spectrum that will be returnedafter the shutdown of analog servicesbetween 2008 and 2012 will be usedto support HD broadcasts.

Meanwhile, USDTV, a company of-fering a pay -TV service using digitalcapacity leased from U.S. broadcast-ers, is shutting down operations, forc-ing its 7000 subscribers to considerother multichannel offerings. USDTVfollowed the model of the original UKDTV service, OnDigital, a pay -TVservice that was replaced by Freeviewin 2001. This leads one to ask whethera Freeview-style service using AVCcompression technology could attractviewers in the United States.

So long (GOP) HDV?I believe two key issues will shorten

consumer format that will use long -GOP AVC encoding to capture HDin both the 1080i and 720p formats.Many camera and editing systemmanufacturers have announced sup-port for the new format. The bits willbe recorded using a range of storagetechnologies, including recordableminiDVD discs, solid-state memorycards and hard disk drives.

At the other end of the quality/pricespectrum, Panasonic has announceda range of professional products us-ing AVC-Intra compression. AVC-In-tra is said to be twice as efficient as thePanasonic DVCPRO HD codec.

The Panasonic AVC-Intra imple-mentation of H.264 is flexible touser demands by virtue of its abil-ity to switch between the AVC-Intra100Mb/s mode and the more eco-nomical AVC-I 50MB/s mode. TheAVC-I 100 mode provides full -reso-lution (no subsampling) HD. Bothcodec implementations are 10 bit.It is likely that there will be manyother AVC product introductions atNAB2007 with the potential to offerhigh -quality recording of 10 -bit 4:4:4RGB for broadcast and digital cinemaapplications. BE

Craig Birkmaier is a technologyconsultant at Pcube Labs, and he hostsand moderates the OpenDTV forum.

ISend questions and comments to:[email protected]


Come and see us atNAB2007 Booth #SL11020

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FCC UPDATEBEYONDTHE HEADLINES

Broadcast legislationRush Limbaugh and other programs may have to air

contrary viewpoints.

The Democrats in control ofCongress continue to focuson the war, peace and theeconomy. They're also tak-

ing another look at proposed legisla-tion for media regulation.

MORA regulationSome of the emerging legislative

proposals are embodied in the Me-dia Ownership Reform Act (MORA),which would, among other things, re-impose the fairness doctrine.

One of MORAs prime sponsors,Rep. Maurice Hinchey, D -NY, hasvoiced support for reimposing thefairness doctrine, which would forceboth conservative and liberal talk sta-tions to air contrary views.

MORA also aims to force increasedpublic service obligations on broad-cast licensees and to reimpose cer-tain multiple ownership restrictions.Those restrictions would limit future

DatelineJune 1 is the deadline for televi-

sion stations in Michigan and Ohioto file their 2007 biennial owner-ship reports.

TV, Class A and LPTV stationsthat produce their own program-ming in the following states mustplace their annual EEO reports intheir public files by June 1: Arizo-na, the District of Columbia, Idaho,Maryland, Michigan, Nevada,New Mexico, Ohio, Utah, Virginia,West Virginia and Wyoming.

The 2004-2007 TV renewal ap-plication cycle ended April 1. Thenext renewal applications are dueon June 1, 2012, for stations in theDistrict of Columbia, Maryland,Virginia and West Virginia.

BY HARRY C. MARTIN

transactions, as well as require divesti-ture of stations if multiple ownershiparrangements - once legal - nolonger pass under the new law.

MORA was previously introducedwhen the GOP was the majority inCongress and had little chance of

While it is true that some parts of theentertainment community, such assome station groups, have interestson the Republican side, it seems thatbroadcasting companies would haveconsiderable power if the fairnessdoctrine re-emerges.

It seems that broadcasting companieswould have considerable power ifthe fairness doctrine re-emerges.

passage. Today, it is still not a prior-ity item for Congress, but parts of thelegislation are a threat.

Rep. Dennis Kucinich, D -OH, whois the new chairman of the DomesticPolicy Subcommittee of the HouseGovernment Reform Committee, hasbeen vocal on media issues, includinga fairness doctrine rewrite. The Do-mestic Policy Subcommittee focuseson communications issues.

Loose ownershiprestrictions or freer reign?

More political pressure exists inCongress today to get the FCC to in-crease regulatory activity well beyondthe agency's recent crusade to curtaildirty words and pictures.

For example, Sen. Byron Dorgan,D -ND, criticized FCC ChairmanKevin Martin at oversight hearingsin February. Dorgan railed againstloosening of ownership restrictionsthat he said have "emasculated" thepublic interest. In response, Martinsaid that public interest is made more"robust" by allowing market forces afreer reign.

The reality of the MORAThe entertainment industry re-

mains one of the Democrats' mostreliable sources of campaign money.

Politicians may find it expedient toattack the media, particularly giventhe sex and violence on television, butwhether this rhetoric will bring backthe fairness doctrine, imposing newpublic interest standards and block-ing further media consolidation, re-mains to be seen.

It took Congress 60 years to rewritethe 1996 Communications Act. In anera of war, deficits, scandals, presiden-tial politics and immigration abuse, itis unlikely much of MORA will everbecome law. BE

Harry C. Martin is a past president of theFederal Communications Bar Associationand a member of Fletcher, Heald andHildreth PLC.

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TRANSITION TO DIGITALDIGITAL HANDBOOK

Displaying growthPlasma competes with LCD to dethrone CRT.

BY ALDO CUGNINI

Some say we've gotten to thepoint where the venerableCRT is about to becomeobsolete. This month, we'll

take a look at the existing and emerg-ing display technologies and see whatthey bring to the professional andconsumer viewing experience.

It's useful to look at consumer tech-nology because it affects the ultimatepresentation, as well as influences thedesign of professional monitors. Inaddition, as new technologies findtheir way into professional studios,it's important to understand theirpros and cons. Before looking at dif-ferent displays, it's useful to considersome of their measured and perceivedcharacteristics.

Display characteristicsAt last year's NAB conference,

several video producers and cinema-tographers lamented that once theirproducts get into distribution, theyhave no artistic control over the dis-play device. Displays are also gettingto the point where their quality maybe second to the breadth of adjust -

FRAME GRAB

ment the user can apply. Compound-ing this is the vast array of devices thatcan affect the quality of the video -both for and against good pictures.

For faithful video reproduction,the most important characteristics ofa display are resolution, peak bright -

brightness of the set.It is well known that CRTs do not

produce luminance in direct propor-tion to the applied signal, but have anonlinear transfer characteristic. Thisnonlinearity is quantified by the gam-ma (y) of the display. (A true contrast

As new technologies find their wayinto professional studios, it's important

to understand their pros and cons.

ness and black level (dynamic range),brightness linearity (gray scale), andcolor gamut (saturation). Unfortu-nately, manufacturers do not uni-formly define the terms brightnessand contrast.

In fact, many displays are misla-beled when it comes to these controls.The brightness control on most sets,for example, essentially sets the pointof the black level. (The exception areLCD panels with a brightness con-trol that varies the intensity of theback panel illuminator.) Similarly, thecontrast control often sets the peak

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control would change the gammaof the display, not the brightness.)From the signal standpoint, V. =with y = 2.5, usually for CRTs.

When capturing video, the inverseof this characteristic is applied at thesource, so the transmission mediumwill behave linearly. However, becauseof the phenomenon of simultaneouscontrast, where the level of ambientlighting can affect the perceived screencontrast, NTSC engineers have stan-dardized gamma precorrection to 2.2,or 2.8 for PAL systems.

Because gamma is caused by theCRT electron gun, plasma displaypanels (PDPs) and Digital Micromir-ror Devices (DMDs) have a linearcharacteristic (y = 1), and a correc-tion must be applied through signalprocessing in the set. (LCDs have anS-shaped transfer characteristic.)

Often, professional monitors havea control to change the gamma. Someconsumer sets have this, too, but itis usually lumped into some presetlabel. (See Figure 1 on page 22.)

Long live the CRT?Many analysts have already pro-

claimed the demise of the CRT, driv-en in part by a growing interest inlarger screens. However, although itis impractical to build a CRT largerthan about 40in (primarily because


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of weight considerations), it is stillbelieved by many to present the bestquality display over many param-eters, including color saturation, peakbrightness and deep black level.

Of course, the perceived blacklevel will depend on ambient light-ing. And considering most viewers athome rarely view their TVs in a com-pletely dark room, the CRT may loseits advantage, practically speaking, inmany situations. In a broadcast stu-

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Another shortcoming of CRTs isthe moire pattern (aliasing) that canresult when shadow -mask and dot -pitch frequencies are mismatched.The highest quality monitors there-fore have a very fine dot pitch.

LCD, the future king?LCDs have proliferated in the past

five years. This is due in part to ad-vances in manufacturing technolo-gies. By using electrically variable

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dio, however, the lighting is usuallysubdued, so this characteristic will bemore significant.

Another advantage of CRTs is scanagility. With multiple scanning for-mats now typical in the broadcastplant, a CRT is the only display devicethat can inherently change its scan-ning format to display the video in itsnative format. However, because ofthe increased cost of a more complexdeflection system, this technique hasbeen used almost exclusively in com-puter CRT monitors.

twisted nematic cells sandwiched be-tween polarizers and a flat back -panelilluminator, high-performance videodisplays are now possible.

Because the panel is essentially alarge, single piece of silicon, a few de-fective pixels - while acceptable forcomputer displays - would resultin inadequate video display. For thisreason, displays larger than 40in areprohibitively expensive.

Also, the response time of thecells was initially a problem, causingsmearing with moving images. Better

panels have greatly reduced this arti-fact through a combination of activecells and clever signal processing.

LCDs provide the highest peakfull -screen brightness of the displaytechnologies, so this may be a fac-tor in brightly lit situations. Viewingangle is still somewhat of an issue onLCDs, however.

And lack of deep blacks still lim-its the performance of some units.Nonetheless, the reproduction ofgood colors - and flat form factor- keep the units in favor with manyconsumers. By lighting the back panelwith LEDs instead of a fluorescentlamp, a color gamut exceeding that ofCRTs is now possible, and these unitshave begun to appear in professionalvideo monitoring applications.

PDP's bid for the throneLCD's biggest competitor is the

PDP. Plasma panels offer a combi-nation of flat form factor, cost-ef-fective large sizes and excellent colorsaturation, making them appealing toconsumers. Wide viewing angles alsomake the displays practical in ordi-nary viewing situations.

The critical issue of display burn -in has largely been eliminated. Black -level performance, however, can varywidely in these units, and larger dis-plays require a fan for cooling.

Another factor not realized bymany owners is that plasma sets, be-cause of power and heat dissipation,reduce the peak brightness dependingon the average picture level. Thus, aPDP that can produce a certain peakwhite level over 25 percent of thescreen may in fact be limited to lessthan half that when attempting toproduce peak white over the entirescreen. CRT and LCD technologiesdo not suffer this limitation.

Faux HDPDPs and LCDs also carry another

burden. Higher pixel densities carry ahefty price tag. And some manufac-turers tout "HD" performance whenthe actual resolution is often less thanthat. These sets must then scale the


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Various companies are developing laser lightengines for use in TVs.

HD inputs to the physical display-a process that can involve not onlydownconversion, but also deinterlac-ing and film mode conversion. Addto this the potential for transmitting24p material, and the issue of scanconversion becomes a significantdifferentiator.

Tech on the horizonFront- and rear -projection tech-

nologies, while not in the mainstreamof television viewing, are becomingpopular for those wanting a hometheater experience. By using a DMDor LCD as the imaging device, full1080p performance is now availableto the consumer. These imaging tech-nologies are capable of the deepestblack levels and the highest dynamicrange of any of the displays. Andthanks to advances in compact light -engine technologies, the bulkinessof original sets is also giving way tonearly flat displays that can hang ona wall. Color reproduction is usuallyachieved by using a single DMD de-vice with color wheel or by three reg-istered LCD (or LCOS) devices.

A new development in video tech-nology is the use of lasers or LEDs asthe light source for front- and rear -pro-jection TVs. By eliminating the filter

wheel, these technologies hold prom-ise for displays with breathtaking colorgamut. Still to be achieved, however, isthe manufacture of devices at the nec-essary cost and performance points.But it may happen soon enough.

Armed with the knowledge ofwhat's important in choosing a dis-play, the variety is still daunting. Justremember that, in growing numbers,your viewers may have better displaysthan you do! BE

Aldo Cugnini is a consultant in the digitaltelevision industry.


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COMPUTERS & NETWORKSDIGITAL HANDBOOK

Computer protectionFirewalls can reduce the threat to exposed networks.

Security issues have evolvedover the years. Early on, se-curity was a simple matter.Access to a central main-

frame was only available throughdedicated, hardwired terminals. Ifanything bad happened to your sys-tem, it was not hard to track down theculprit. As standalone Mac and PCsystems began to appear on desktops,the main security threat was throughviruses acquired by downloadingtainted software.

Today, many computers, even mo-bile ones, are connected to the Inter-net all the time. Almost all corporatenetworks have multiple connectionsto the Internet. It is much more likelythat a computer system will be affect-ed by tainted e-mail or by a break-inattempt over the Internet rather thanfrom a virus distributed in a comput-er program.

Broadcasters are particularly sen-sitive to threats. This is because al-most all the systems that create andplay out programming are dependenton desktop operating systems andapplications.

In many cases, computers are moreuseful when they are connected to-gether than when they operate sepa-rately. But when computers are con-nected, they are exposed to securityrisks. To protect against these risks,you must first understand them.

Secure passwordsThe first obvious threat is that

someone gains access to your com-puter by guessing your password.You can easily reduce this threat byusing the protection provided withyour computer. Most computers havepower -on passwords. Once activated,you have to enter the correct passwordbefore you can boot the system.

You can also use the passwordprotection built into the operating

BY BRAD GILMER

system. Screen savers can be set toblank the screen after a set amount ofidle time. Once the screen is blank, apassword must be entered to returnto normal operation. Many operat-

Firewall externaladdress 62.123.4.23

Computer onthe Internet

Birthdays are a common choice, andso are the names of the person's chil-dren and pets.

To make your password more dif-ficult to break, it should not be ob-

Internal IP address192.168.1.3

Firewall Desktop computer

Firewall internaladdress 192.168.1.1

Figure 1. Network Address Translation hides the true IP address of a computerinside the firewall.

ing systems also require you to enter ausername and password to sign -on tothe computer.

While the threat of someone usingyour computer is real, it is a relativelylow-grade threat. The reason is that asnetworking technology has becomemore pervasive, it is not necessary togain physical access to a specific pieceof hardware. In many cases, the datayou are trying to protect is not locat-ed on an office computer. Instead, it isstored on a server somewhere on thenetwork.

An attacker's objective may not beto gain access to data at all, but in-stead to disrupt computer systems ata facility. The attacker does not haveto be physically present to stage a suc-cessful attack.

A more serious problem is pass-word theft, which offers access to anetwork containing confidential in -

formation. Usually this password canbe used from any location whetherinside or outside your facility.

How do people get your password?Professionals say that most of the timethey get passwords by guessing them.

vious, and it should include punc-tuation or numbers. If possible, youshould choose a password that is notin a dictionary. If you have even ba-sic knowledge of a foreign language, anon-English password can be a goodchoice as well.

Detect virusesViruses can cause major problems

on your network. Viruses are mostcommonly passed via e-mail pro-grams or embedded into documents.

One way to defend against virusesis to use antivirus software. Wheninstalled, this software patches intothe lowest levels of the operating sys-tem, detecting incoming e-mail, diskoperations and other functions. Thescanners look for data patterns or sig-natures of viruses in files, and mostof them also look for system behav-ior that might indicate that a systemhas been infected - sending out thesame e-mail hundreds of times, forexample.

Most scanners also detect potentiallymalicious activity, shutting down theoffending application if it appears to


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be causing problems. These scannersautomatically check files before yourprograms access them to ensure thatthey are virus -free.

Viruses mutate quickly, so all pop-ular virus -scanning software comeswith an update service. The updatestrain the program to recognize newviruses that have been identified since

you purchased the original program.

Firewalls blocksWhile stolen passwords and vi-

ruses can be serious internal threats,attacks also originate from outsideyour facility. Many companies andeven home users employ firewalls toprovide security from attacks over the

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NETWORKINGAUDIOSYSTEMS

Internet.Firewalls perform several security

functions. First, they filter all incom-ing Internet packets, allowing onlyauthorized traffic to pass through.Second, they conceal the IP addressesof internal machines from the Inter-net using Network Address Transla-tion (NAT). This makes it difficultto locate and attack a machine insidethe firewall (although you should notrely on this exclusively to protect yoursystems).

NAT changes the source IP ad-dress of packets generated inside thefirewall so it appears that the messageoriginated from the firewall itself. InFigure 1 on page 26, you can see howany messages coming from the inter-nal desktop PC with an IP address of192.168.1.3 will be modified so thatthe PC on the Internet sees them asoriginating from the firewall with anIP address of 62.123.4.23.

A third way a firewall can protectcomputers is by concealing ports in-side the firewall. It may do this by re-sponding to port requests that comefrom the Internet in specific ways. Forexample, if the firewall uses stealthto hide ports, a computer making arequest on the stealth port will notreceive a response. Computers on theoutside of the firewall cannot deter-mine whether a computer associatedwith that port exists. Or, the firewallmay respond to requests on all portsas if they were active, concealing thetruly active ports in a sea of false -pos-itive responses.

If you have a desktop system onyour local network and you set it toshare files with others in your group,without a firewall, that sharing willlikely extend to the Internet. A fire -

wall, which is programmed to blockthe ports associated with filesharing,will block requests from the Internetto that port on your computer, pre-venting people on the Internet fromviewing your files. (See "Well-knownport numbers.")

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The best way to protect broadcastoperations networks is to avoid directconnections to the Internet. Unlessthere is a good reason to do so, on -air systems should not connect to theInternet.

Consider limiting interconnectionof this network with any other officenetworks as well. If you have to con-nect your on -air network to the Inter-net, be sure to install a good firewall,and check the performance of thefirewall regularly.

Take advantage of support packages

Well-known port numbersService

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80

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110

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Telnet terminal

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Hypertext Transfer Protocol (Web)

Secure communicatims protocol

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For a list of port numbers from the Internet Assigned Numbers Author-ity, visit www.iana.org/assignments/port-numbers.

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Brad Gilmer is president of Gilmer & Asso-ciates, executive director of the AdvancedMedia Workflow Association and technicalfacilitator of the Video Services Forum.

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PRODUCTION CLIPSDIGITAL HANDBOOK

Sound stepsThe new crop of digital audio boards for live broadcast

maximize function in a small footprint.t3Y u/AR`i LKL)\,

While the essential func-tions of broadcastboards are executedin 2007 much as they

were in previous years, there are severalsignificant differences in the way audiois handled in broadcast. The evolvingneeds of networks, the companies whoserve them, and ultimately the mixerwhose work is most critical to the suc-cess of a production, are forcing con-sole manufacturers to rethink some ofthe assumptions they operated undereven a year or two ago.

Digital speedOne of those assumptions was the

move to digital (not withstandingthe analog input, of course, comingfrom talent and location mics). How-ever, many console manufacturersmade the false assumption that mix-ers would prefer boards with a smallfootprint and would consider scroll-ing through multiple layers a reason-able trade-off for this benefit.

Limiting the size of a component isa plus for those charged with buildingmix rooms in trucks. But the messagefrom engineers has been heard loudand clear: "Give me more knobs andfaders, and fewer layers!" Working

In one of Game Creek Video's trucks for FOX Sports' broadcast of the NASCARNextel Cup racing series, thisYamaha M7CL is used for the "Racer Radios" submix.Photos courtesy Jason Taubman, Game Creek Video.

semble their analog forebears. Smaller,yes, but one of the keys to gaining afoothold in console manufacturingtoday is the ability to strike a balancebetween a reduced footprint and easyaccess to all functions.

Room enoughWhile we're on the topic of size,

it's clear that network executives are

The message from engineers has beenheard loud and clear: "Give me moreknobs and faders, and fewer layers!"

under the strain of real-time delivery,and often moving from company tocompany, truck to truck and boardto board, engineers rejected the deeplayering concept that was built into thefirst generation of many digital pro-duction consoles.

Today's boards more closely re -

no longer shortchanging the mix en-vironment of the trucks they workin. The move to HD may have takenlonger than many predicted, but it'sin full swing.

Affordable home surround soundsystems have turned into a criticallyimportant part of the product that

broadcasters deliver to their custom-ers. That translates into larger mixspaces and more attention paid to theentire audio pathway.

For example, sports fans are spend-ing lots of money on surround soundsystems, allowing them to receivemore information. Ron Scalise, an au-dio consultant for ESPN, says that ev-erything leaving a remote site must beheard in the truck with total accuracy.It's essential to place a subwoofer in ev-ery truck that audio is mixed in.

Room treatment, speaker accuracyand the need for larger mix spaces arenow critical factors. In the past, audioneeds weren't considered in the ex-pansion of trucks. Now, according toScalise, an extra 8ft or 9ft is added spe-cifically for audio.

In general, more focus is being puton audio. More time is spent workingon bass management, Scalise said. Forexample, he makes sure the speakersare not placed under a bridge.


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The Calrec Sigma shown here is being used for the track effects audio submix forFOX Sports' broadcast of the NASCAR Nextel Cup racing series.

Near field monitoring is critical atthis point. Consoles are crucial. Engi-neers have to be able to check mixeson multiple monitors, for example, inan instant. They also need to switchbetween mono, stereo and surroundmixes quickly.

Jason Taubman, vice president ofdesign and new technology for GameCreek Video, agrees that there is moreof a demand for consoles that can

able to shift between these formatsquickly.

On the flyOn -board processing is another

rapidly developing advancement inconsole technology. As the computersthat run consoles become more pow-erful and robust, the need for externalcompressors, limiters, delays and sur-round encoders is declining. Console

The HD world has ... exacerbatedthe problem of delay, because audiotravels faster than the highly detailedimages being offered to the viewer.

handle monitoring effectively. Whileall of the companies have differentconfigurations, they are all based ona few key client demands. Engineershave made it clear that ample faderstop their list of wants.

Monitoring is also an importantissue. Mixers require accurate envi-ronments on boards that can quicklyswitch between sound formats, Taub-man said. At the same time, they alsohave to monitor in the various deliv-ery formats, such as Dolby Pro Logicand Dolby E. Consoles have to be

manufacturers operating in today'smarket must also consider the num-ber and quality of processing devicesthat they offer.

The HD world has, for example,exacerbated the problem of delay,because audio travels faster thanthe highly detailed images being of-fered to the viewer. In today's market,consoles need to offer delay on eachchannel and easy accessibility to it.

Tom Sahara, senior director of re-mote operations and IT for TurnerSports, recommends keeping on -board

DSP in mind when looking for a newconsole. Improved DSP functions onthe consoles allow the mixer to executeall dynamic processing onboard with-out having to use external equipment.

MeteringMetering, according to Sahara, is

another critical concern because eachmanufacturer has its preferred meter-ing scheme. This can make it difficultfor a mixer to maintain consistentlevels when working on two showsthat use consoles from two differentmanufacturers.

BS1770, the standard establishedby the ITU, is a universal meteringbenchmark that could remedy thisissue. The various manufacturers,however, will need to adhere to it ifthe problem is going to disappear inthe near future.

Back in the days when a tinny 4inspeaker was the primary playbackdevice, mixers didn't have to worrymuch about centering dialog. Butthings have changed considerably.Today, an engineer has to take intoconsideration the needs of the direc-tor, who has to hear the announcersand communicate with them direct-ly. The director rarely cares muchabout the sound effects or musicbed. To the director, communicat-ing with talent is paramount, and ifhe's sitting right next to the engineer,there's a chance the mixer will haveto conduct his full mix on the fly, asthe opportunity arises.

Adding to the difficulty of the task isthe fact that much of the audio process-ing can take place back in commandcentral. Developing a product that re-mains consistent from mixer to the net-work and downstream to the viewer ismore critical today than ever. A tunedroom and a flexible board are essential.

Bells and whistlesWhile designing your ultimate

broadcast console, don't forget to in -

dude a well -integrated spill down fea-ture. Mixers need to create a 5.1 mixand assign it to a single, centrally locat-ed fader. You'll probably want to give


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The main mix of FOX's NASCAR Nextel Cup racing series was made using a CalrecBluefin Alpha.

mixers multiple options in this regard,because a director may want a mix thatincludes no announcers but has all ofthe location sound and another that

includes talent but no location dialog.Give a director an inch, and he'll prob-ably ask for easy access to yet anothercombination of audio sources, routed

to a single fader.At the end of the day, of course,

there's always the price factor to con-sider. It's quite possible to take a list offeatures and build a console that in-cludes them all. The trick for manu-facturers is to analyze what is essentialand deliver all the desired features ata competitive price, which is no easytask! Without a doubt, all of the com-panies that serve the broadcast indus-try are taking in feedback and work-ing as hard as possible to satisfy theirexisting clients and increase theirmarket share. BE

Gary Eskow is a composer and journalist.

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"RAC HAE L RAY"

SHINES BRIGHTin EUE Screen Gems' new studio

BY MICHAEL GROTTICELLI


The all -digital video control roomfor Studio 6A at EUE Screen GemsStudios in New York features a

Sony DVS -7350 video switcher andMitsubishi LCD monitors displayingfeeds via Evertz MVP multi -imagesoftware. Photo by Dave King.

A newly imstalled 48 -input Solid State Logic C100 digital console mixes digitalstereo audio for "Rachael Ray" today, but can easily handle true 5.1 sound whenthe show makes its move to HD in the future. Photo by Dave King.

1.44

Rachael Ray cooks up a mewith Canon Super 21 studioby Eric Leibowitz.

studio, captured a Sbny1BVP-900.cameraaliere microphone. Photo

achael Ray" is a bona fidesyndication hit for KingWorld Productions. Andstudio landlord, EUE

Screen Gems Studios in New YorkCity, couldn't be happier. The show'shost Rachael Ray is a seasoned TVchef with several popular shows onthe Food Network. However, this newone -hour syndicated series movesRay out of the kitchen to in front ofa live audience. The secret ingredient

to this new mix is hidden behind the four -layer Mexi,trendy fashion tips (both were segments of a recent to

The show is taped in a sophisticated 9000sq-ft studcifically for "Rachael Ray" in its 125,000sq-ft four -fl complex.

The Studio 6A space was home to the CBS soap o20 years. Once CBS decided to relocate the soap toMitchell Brill, EUE head of corporate development, tportunity to upgrade the studio complex.

By the end of 2005, he and Doug Joseph, chief en:,50,000sq-ft studio and support space dedicated to "Rabeen a pleasant surprise for all involved.

an bean dip recipes anding).

o that EUE created spe- r Midtown Manhattan

era "Guiding Light" forother facilities in 2005, k the vacancy as an op-

neer, began designing ahael Ray:' The result has

Aril 2007 I broadcast: ngineering.com 39

SYSTEM DESIGNSHOWCASE

New controlNo stranger to revolving clients,

each with their own individual pro-duction requirements, the EUE designteam worked with Rich Cervini, vicepresident of production and technicaloperations for King World, to makea home for "Rachael Ray:' Timingwas critical. In a mere three months- from demolition to first shoot day- the original Studio 6A and its con-trol room were gutted and refittedwith all digital equipment, new light-ing equipment and a highly innova-tive, rotating audience platform.

The new control room features aSony 3.5 M/E DVS -7350 digital videoswitcher (32 input with 13 aux busses),two Sony DME-5000 DVE units and64 PatchAmp SDV/HD serial digitalvideo DAs with analog test outputs.For confidence monitoring, there areseveral 14in and 20in Ikegami CRTmonitors with SDI inputs and LeitchVTM-3100 SD LCD -based waveformand vectorscope rasterizers.

Rotating audienceThe main studio, where the show

tapes two - and sometimes three- episodes per day for three days aweek, features four distinct stagingareas, one in each corner. It's com-plete with a working elevator for spe-cial guests to arrive on camera and arevolving audience seating area in themiddle that allows for full 360 -degreecamera views. This creates a nice on -air ambiance for the show and ensures

It's complete witha working elevatorfor special guests

to arrive on cameraand a revolovingaudience seatingarea in the middle

that allows forfull 360 -degreecamera views.

The brightly lit, 9000sq-ft Studio 6A space that EUE Screen Gems created for the"Rachael Ray" show features the studio audience on a revolving platform and anoverhead Shuttle camera tracking system. The show produces two and sometimesthree live -to -tape episodes per day. Photo by Eric Leibowitz.

that the audience is always facing theaction, no matter what corner of thestudio Ray is performing from.

A variety of large LG LCD screensare mounted throughout the facility.Some are fed by Sony MAV-555 vid-eo disks for on -set LCD screen loopfeeds that serve as on -camera videowallpaper for the ever changing, cre-ative and colorful sets.

The set was designed by Joe Stew-art of Shaffner/Stewart and fabricatedby Showman Design, with a lightingdesign by Alan Blacher that featuresa variety of fresnels, gels and fluores-cent lighting instruments. The chal-lenge was that the audience is some-times on camera, so all areas of thestudio have to be lit all the time.

Meridian Design Associates in-stalled a professional prep kitchenand surrounded it within an audienceholding area and talent support spaceadjacent to the studio. The show'steam of 90 production execs, pro-ducers, researchers, coordinators, as-sistants and communications staffers

occupy adjacent offices.On the fourth floor, four editing

suites with Avid Adrenaline worksta-tions, (three for show segments and afourth for on -air promos), along withfour Apple G5 workstations, are net-worked to an Avid ISIS storage arraythat enables editors to share clips andretrieve elements digitized into thesystem. Daily roll -ins are handled di-rectly from tape or are ingested into anAvid Thunder server. Six Sony DVW-M2000 Digital Betacam recorders areused for program and ISO record,as well as one DVW-A500 and oneMSW-M2000 (IMX) for playback.Graphics are generated with a dual -

channel Pinnacle Deko 3000 CG.Some of the live remote interview

segments are conducted through anApple PowerBook running iChatsoftware. This allows Ray to conducta two-way A/V dialog via the Inter-net. These segments are recorded tovideotape with a Matrox MXO unit,providing a cost-effective alternativeto the traditional remote truck.


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Future -proof designJoseph said his mandate was to

design and implement a studio andproduction infrastructure that wasserial digital today and could serveas a cost-effective upgrade to HD inthe future. King World has tentativeplans to move the show to HD some-time after 2008. Because of Joseph'spreplanning and current equipmentchoices, the upgrade will only involvethe installation of new HD cameras, anew HD production switcher and anHD -capable router.

This current design includes LCDmonitors for distributing multi -imagedisplays throughout the control andproduction areas. Using four EvertzMVP 12 SD, HD and analog rasteriz-ers feeding four Mitsubishi MDT461SLCD control room screens, the designteam has installed a system via Cat 5wiring for digitizing and distributinggroups of images to master control,

audio, the tape room and the produc-tion bridge. This design also enablesall sources to be displayed, includ-ing daily tally and naming changes,anywhere in the building. Signals arerouted with a Sony HDS-X3700 serialdigital router switcher (64 x 64 I/O),

The design teamhas installed a

system via Cat 5wiring for

digitizing anddistributing

groups of imagesto master control,

audio, the taperoom and the

production bridge.

which handles serial digital signalswith embedded audio.

Two Sony BVP-950 cameras withCanon 11 x 4.5 wide-angle and 16 x8 zoom lenses are used hand held aswell as on Steadicam mounts. ThreeSony BVP-900 studio cameras withCanon Super 21 lenses are operatedin the studio on Vinten fluid headsand studio pedestals. All cameras areon triax and are controlled with Sonycamera control units. Some remotesegments are shot in 24p.

The Shuttle, an overhead camerasystem made by Innovision Optics, of-fers overhead shots from a curved railattached to the studio's lighting grid.The camera can be preprogrammedwith pan, tilt and zoom capabilities,or operated manually, using a joystickand software interface. There's alsoa Sony BRC-H700 remote pan, tiltand zoom camera for shots over thekitchen range.

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Sounding goodStereo audio is recorded on a 48 -

input C100 digital console from SolidState Logic, with multiple ties to anelevated production bridge, wherea Yamaha M7CL console is used todrive the speakers in the audience.The SSL board was chosen for itsflexibility, which includes the ability

to record full surround sound (5.1channels), and the familiarity it offersto the freelance operators who workon the live -to -tape show.

Numerous HD -compatible DAsfrom PatchAmp and audio jackfieldsfrom ADC support the studio's tra-ditional SD and analog infrastruc-ture. The rotating audience seating

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platform employs multiple floor-

mounted speakers that capture au-dience reactions and are often in-corporated into the overall mix. Six-teen mics positioned directly abovethe audience are mixed by a Mackie1604 board as a sub -mix, and thenrouted into the SSL C100 console. Afull complement of Shure diversityUHF -R wireless mic systems providewireless body pack and handheldmics for Ray, her guests and live au-dience questions.

The redesign of thestudio for "Rachael

Ray" is the firststep toward a

complete facilityupgrade to a fullydigital, multitiered

environment.

The Digiplex conceptBrill said the redesign of the stu-

dio for "Rachael Ray" is the first steptoward a complete facility upgradeto a fully digital, multitiered envi-ronment. EUE Screen Gems Studiosdesigned the building space as a Digi-plex for new media, offering the bestof traditional production tools andexperience for the benefit of emerg-ing media companies like Google andYahoo, with content destined for theInternet.

Within its midtown facilities, a for-ward -looking HD and IPTV initiativeis currently under way, whereby sig-nificant resources are being commit-ted to support new and existing cli-ents. The company has also been oneof the few qualified by New York Cityfor a combined 15 percent refundabletax credit for below -the -line produc-tion costs. This will help attract cli-ents concerned about rising produc-tion costs in New York.

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and commercial production com-panies, EUE was able to handle thequick turnaround for "Rachael Ray"and stay within the limits of a pre-determined budget. Talks are underway for an additional two years of

Design team

"Rachael Ray," which is a sign that thenew studio and support space designhas been a success. BE

Michael Grotticelli regularly reports onthe professional video and broadcasttechnology industries.

EUE Screen Gems

George and Chris Cooney, studio principalsThorpe Shuttleworth, executive vice presidentMitchell Brill, head of corporate developmentDoug Joseph, chief engineer

King WorldRich Cervini, vice president of production and technical operations

Alan Blacher, lighting designShaffner/Stewart

Joe Stewart, set designMeridian Design AssociatesShowman Design

Technology at workADC audio jackfieldsAvid

Adrenaline workstationsDeko 3000 dual -channel CGISIS storage arrayThunder MX triple -channel

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WLS' second control room shares theelectronics of the Kahuna productionswitcher with the first control room, - -

which has been newly rebuilt. Theswitcher has four M/Es, so eitherroom can function with all four M/ s 0,4114,used, or each room can use two M/Es 4%"411v4simultaneously.


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WLSshowsHD'sWowfactor toChicago

BY KAL HASSAN

n Jan. 6, WLS-TV ABC 7began broadcasting itser tire local news andprogramming lineup in

HD. The transition to HDTV present-ed the station with the opportunity totreat its audience to the wow factorthat comes with such a high -qualityviewing experience.

In the studioThe station acted as its own sys-

tems integrator for this project, whichwas beneficial because by the time theinstallation was complete, WLS wasquite familiar with the systems. Thestation's engineering team worked formany months to integrate HD capa-bility across the broadcast facility. Theresult of the overhaul is an all -HD in-frastructure that includes HD controlrooms, along with an HD studio andremote cameras, an HD graphics sys-tem, an HD weather system, and HD -capable live production trucks.

WLS upgraded 11 cameras inthe studio to HD and added an HD



WLS uses Sony HD HDC-1000 1080p/720p studio cameras, which come equippedwith a SMPTE-standardized optical fiber interface for connecting to the cameracontrol unit.

Chicagoans and visitors alike cannow walk past the facility for a front -row look at WLS' Emmy Award -win-ning State Street Studio set and watchstudio operations in HD. Five of thenew studio cameras are Sony HDC-1000s with Canon XJ25x6.8B HDlenses installed on Vinten roboticpedestals. The studio also includes aSony HDC-1500 camera with a Can-on HJ17ex7.6 portable lens, comple-mented by smaller Ikegami HDL-40(720/60p) cameras used for weatherand other out -of -studio shots.

ProductionOne unconventional element in the

station's broadcasts is the use of anHDL-40 camera, installed more thana block away on a Macy's departmentstore building. The camera sends out -

production switcher. It also upgrad- process, the engineering team up- side images of the studio back to theed the plant router and a significant dated studio wiring for SMPTE fiber station via Canon's DT-50/HD Cano-amount of infrastructure gear. In the instead of triax. beam Free Space Optics system.

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The station's graphics and weathersystems are also generated in HD. In-stead of simply upconverting graph-ics, WLS recreated all of the station'sopens, bumpers, franchise animationsand studio mixes. Although this pro-cess was labor-intensive, it ultimatelygave station viewers a true HD expe-rience. WLS' graphics systems includemultiple two -channel Pixel PowerClarity 5000 HD units, complement-ed with a Grass Valley PVS 2000 HDclip player.

The station also implemented a ful-ly loaded Snell & Wilcox Kahuna SD/HD multiform production switcher, afour-M/E system with eight channelsof DVE. The switcher handles con-version internally, reducing the needfor external conversion gear and al-lowing station operators to integrateSD satellite feeds, camera feeds andother SD inputs into HD program-ming without concern for format

The robotic operator position consists of two Vinten camera and robotic controlpositions for redundancy.TheVinten controls can be operated by the touch screenor mouse.

compatibility. The station configuredthe 11RU electronics of the switcherto serve two identical control rooms

- one used for small productionsand the other for news. This resource -

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Design teamSYSTEM DESIGN

SHOWCASE

mainframe to be shared between the news production andthe production control rooms, each of which is equippedwith its own console.

The facility upgraded to an HD/SD PESA Cheetah wide -

band 512 x 512 framed router, which was expanded to 384x 384 to accommodate HD I/Os. The router is controlledby the existing Grass Valley Jupiter control system, whichalso controls the analog A/V levels and an NVISION 512x 512 AES level.

WLS also standardized on the Harris Leitch X75HDmultiple converter and frame synchronizer, which extendsthe facility's options in terms of incoming and outgoingcontent. HD processing is split between Evertz and Miran-da gear, with the control rooms featuring an Evertz MVPmulti -image display processor and Miranda and EvertzDAs, upconverters and other infrastructure gear. Miniaturestandalone converters from AJA are used for monitoringpurposes. The mini converters attach immediately behindmonitors and convert video from HD -SDI to DVI, forexample, wherever needed. A few additional AJA distribu-tion amps are used throughout the facility as well.

The station invested in a top-quality audio system priorto the HD upgrade, so it was able to continue using itsSolid State Logic Aysis Air digital broadcast console. The

WLS-TV

Emily Barr, president and general managerJim Begley, senior IT managerCC Boggiano, news operations managerRichard Borsignore, controllerPhil Christopherson, technicalLisa Clingart-Cruz, graphics directorMike Davis, IT technicalJohn Decorah, technicalJan Fedorenko, media managerJennifer Graves, VP and news directorMartin Hanks, technical managerKal Hassan, VP and director of engineeringTom Hebel, VP of creative services and programmingDave Hewitt, studio technical managerJanet Hundley, assistant news directorJan Janowski, technicalJason Long, technicalDennis McGuire, technical maintenance supervisorTim Osterman, technical construction supervisorGeorge Pearson, technicalDave Spinelli, scheduling managerCraig Strom, assistant director of engineeringEvan Thomas, IT and engineeringJoe Trimarco, director of operations

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SYSTEM DESIGN'SHOWCASE

all-AES system only required expan-sion of the number of audio inputs.

In the process of upgrading itsnews production, WLS also switchedits newsroom automation to 16:9.

The move proved just as much of achallenge as implementing HD buthas been well worth the effort. Feedsfrom digital cameras in the field -shot at 16:9 and fed back via digitalpaths - look almost like HD contenton -air.

The station also converts incom-ing feeds, such as those from CNN,NewsOne and other major networks,

Technolo at workAJA HD/SDI to DVI convertersAvid

ISIS 16TB online storageMedia Composer Adrenaline HD

Canon

DT-50/HD Canobeam Free Space Optics systemHJ17ex 7.6B IRSE HD ENG lensXJ25x6.8B IED/D-01-DSS HD studio lenses

Evertz

MVP multi -viewer processorsSingle -mode optical terminal gear with HD I/0s

Grass ValleyJupiter control systemPVS 2000 clip server

Harris Leitch X75 frame syncsIkegami HDL-40 720/60p box camerasJVC GY-HD250 CHU Pro HD HDV camcorderMiranda Technologies

Densite series HD DAs and downconvertersHDV-to-ASI Bridge

NVISION 512 x 512 AES routing switcherPanasonic AK-HC1500 720p/60 HD box camerasPESA Cheetah HD/SD routerPixel Power Clarity 5000 HD graphics unitsSnell & Wilcox Kahuna HD/SD production

switcherSolid State Logic Aysis Air digital audio consolesSony

HDC-1000 1080p/720p HD studio camerasHDC-1500 portable 1080p/720p HD studio camera

TANDBERG TT1280 and 171290 decodersTraffic.com HD softwareVinten robotic pedestalsVizrt Curious softwareWeather Central 3D:LIVE HD upgrade

to 16:9, adding wings when neces-sary. News ingest, editing and play-back are all performed in 16:9, mak-ing this a truly comprehensive shiftto widescreen programming. Theeffect of this transition is that thecontinuity of the HD feel is carriedthroughout the show, even for mate-rial not acquired in or upconvertedto HD.

Staff trainingConverting the newsroom system.

to 16:9 was more than just a techni-cal challenge because the change af-

fected many employees,who had to learn tothink differently aboutfootage. They now editall material in 16:9, in-cluding archived mate-rial, which is adaptedas it is incorporatedinto the productionworkflow. To help staffmembers understandthe visual difference inaspect ratios, the sta-tion set up a trainingfacility in its studio.

The station's HDnews program is createdthrough Grass Valleynewsroom automationrun in 16:9 mode, aswell as desktop journal-ist editing using AvidMedia Browse. In theprogramming depart-ment, five Avid MediaComposers have beenconverted to AdrenalineHD systems. And thestation's Unity serverhas been replaced by alarger Avid ISIS systemwith 16TB of onlinestorage to support postproduction of HD pro-mos and programming.

Live HD shotsThe station also in-

vested in a new WeatherCentral 3D:LIVE HD

56 broadcastengineering.corn I April 2007

system that gives weather a wholenew look. It incorporates Landsatimages, matched with aerial photog-raphy of the Chicago area, along withan upgraded Vizrt Curious Softwaremap system that provides satelliteimagery.

The Traffic.com graphics systemfor traffic reporting was also upgrad-ed to HD. There are five traffic cam-eras, with three Panasonic AK -HC1500G HD box cameras located atthe Sears Tower and two at the JohnHancock Center. A sixth camera lo-cated atop the Sears Tower capturestime -lapsed SD video in a 16:9 as-pect ratio. The Sears Tower and JohnHancock Center have been linked tothe station by fiber using Evertz sin-gle mode terminal gear. The stationconsiders the timing of this upgradeless critical, as the use of the camerascomprises such a short period of air-time.

All of the station's microwave sitesare capable of passing through HD.WLS launched Chopper 7 HD in April2006 with one HD -capable site, andnow all nine microwave sites are HD -capable. The station can do HD liveshots with JVC GY-HD250U ProHDcameras from its ENG vans. A Miran-da ASI Bridge converts the live 720/60pstream to ASI for transmission to thestation, where it is decoded back toHD/SDI for production using TAND-BERG TT1280 or TT1290 decoders.The station currently uses Harris Plat-inum CD VHF and Harris DiamondCD UHF digital transmitters.

WLS' HD launch continues its two -decade tradition of leading the Chicagomarket. And the cutting -edge technol-ogy gives the station a strong footholdfor the future. BE

Kal Hassan is vice president and directorof engineering for WLS-TV ABC 7

HOTVONESTOPat www.broadcastengineering.com



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TRANSMISSION & DISTRIBUTIONSYSTEMS INTEGRATION

Flywheel's powerMore stations are looking at the energy source's

short-term load carrying abilities.

While big generatorcapability is prettywell known in the in-dustry, a short-term

power supply source in the UPS busi-ness is quietly becoming popular forbroadcast stations. The temporaryenergy source is the flywheel.

Flywheel historyAs far back as the early '40s in Eu-

rope, motor -generator sets with bigflywheels were used to provide con-tinuous electrical energy. In the tube

BY DON MARKLFY

motors were connected to a com-mon shaft with a large flywheel.When normal electrical service wasavailable, the motor simply kept theflywheel spinning up to speed. Thatwas a small load given the use of goodbearings. If the primary source failed,the flywheel kept spinning, turningthe motor into a generator for a shortwhile. This allowed a standby gen-erator plant to start and be switchedonto the line.

Obviously, it wasn't that simple be-cause the connection to the primary

As far back as the early '40s ... motor -generator sets with big flywheels were used

to provide continuous electrical energy.

era, minor glitches weren't the panicthat they are for solid-state electron-ics. Still, it was preferred that large ra-dar and communication systems notgo dark at inopportune moments.

To facilitate that operation, large

source had to be broken and the gen-erator connected and synchronized.Still, it was workable and providedstandby power to many loads duringWorld War II and shortly thereafter.Today the flywheel is being used in

FRAME G RAB A look at the consumer side of DTV

Homes capable of receiving HDTV content to increaseIn 2011, 105 million homes will be able to view HDTV content

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Pentadyne's clean energy storagesystems use a high -strength advancedcarbon -fiber flywheel.

broadcast facilities in the place of bat-teries to power UPS systems.

Standard UPS systemsThe first UPS systems used little

packages for smaller loads such assmall computer systems or lightloads in areas such as medicine.Now, UPS systems take much higherloads, including full -power televisiontransmitters.

A standard configuration consistsof installing a large transfer panelimmediately downstream from thestation's main circuit breaker. Thattransfer panel is sometimes installedafter some noncritical loads are splitoff from the main input distributionbus. The transfer panel then feeds theUPS, which, in turn, is connected tothe remainder of the power distribu-tion circuitry for the station.

The UPS does more than just pro-vide continuous power. It provides

58 broadcastengineering.com April 2007

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clean, glitch -free power, which helpsto improve the overall dependabilityof the solid-state systems in modernstations.

UHF stations need to ensure thatthe UPS can tolerate the enormous

started and placed online. A bank ofbatteries provides the power to theUPS. Remember, the batteries onlyhave to provide that energy for a fewseconds because a modern generatorsystem is capable of picking up the

The flywheels are the wild technologyhere. Some manufacturers still use steel

flywheels weighing up to 600Ibs.

short-term load caused by a crowbarcircuit. This is mainly handled nowby circuitry that simply switches outthe UPS and allows the main electri-cal service to bypass directly to theload until the high load passes. Then,the UPS returns to the task of provid-ing power.

If the power fails, the UPS con-tinues to provide energy for a shortperiod of time while the generator is

load that quickly. The disadvantage ofthis system is the necessity of a hugebattery bank with the attendant ser-vice requirements.

The flywheel -powered UPSToday's systems use a modern UPS

with a flywheel generator for theshort-term energy source. The heartof these systems is a flywheel support-ed by magnetic bearings. This greatly

reduces the wear factor over years ofoperation. A motor operates the fly-wheel until the energy stored there isneeded. Then, for a short period oftime, the flywheel is used to gener-ate energy for the UPS until the maingenerator comes online.

The flywheels are the wild technol-ogy here. Some manufacturers still usesteel flywheels weighing up to 600lbs.Others use materials such as carbonfiber composites to build a lighterflywheel that can spin extremely fast,sometimes exceeding 40,000rpmRemember, the energy stored in fly-wheels is a function of the mass androtational speed. Therefore, a hugeamount of energy can be stored in afairly light and small flywheel if it isspun very fast.

The numbers for these devices arereally interesting. Most have a rat-ing of around 200kVa per flywheel,with the ability to parallel multiple

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flywheel systems for greater capacityup to 1000kVa or more for periods ofaround 10 to 12 seconds.

The actual flywheels are enclosedin a sealed housing at the factory,and no field repairs are done. In thecase of a failure, the entire assemblyis simply returned to the factory. Re-member, these are normally sealed

and can be installed immediately ad-jacent to the UPS equipment.

Coordinating theentire system

Before you get too excited, realizethat these power sources and UPSsystems aren't worth squat withoutthe generators to go with them. It

Before you get too excited, realize thatthese power sources ... aren't worth squatwithout the generators to go with them.

with extremely delicate bearing andseal assemblies, and operate in a par-tial or near full vacuum. You don't fixthat on the back bench with a pairof Channellocks. On the other hand,the flywheel assemblies are not huge.Some single flywheel models measureless then 3ft x 3ft x 6ft. They are quiet

is imperative that the design of thepower systems be carefully coordi-nated between the flywheel powersystem, the UPS and the generatormanufacturers. Most manufacturerswill have already done much of thework, including the design of coor-dinated control systems between the

parts of the overall network. Smallaccommodations can made, however,for each particular project concerningloads and physical space available.

Stations don't need a big rack fullof batteries with the attendant char-gers, cables, buckets of acid, etc. Theflywheel systems are both clean andquiet, causing only an acceptablelow hum in the electrical equipmentroom. The new flywheel assembliesare small and appear to be quite de-pendable. Still, I flinch at the idea ofa broken flywheel, still spinning at30,000rpm, bouncing around insidethe back room in the station. Such anoccurrence is not likely, but wouldn'tit be fun to watch? BE

Don Markley is president of D.L. Markleyand Associates.


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Compression conflicts can stymie the mix.Ahighly integrated HD/SDprocessing infrastruc-ture is becoming man-datory, while tight cost

constraints remain a focal point asthe HD "business case" continues tobe validated. Tools that facilitate thistransition for broadcasters includesignal conversion, aspect ratio con-version and signaling, multichannelaudio processing using audio meta-

data and video -to -audio timing testand measurement.

In addition, issues beyond conver-sion of the essence of baseband digitalvideo and audio need to be addressed.An HDTV infrastructure introduces

BY BOB FUNG

an entirely new level of data and meta -data handling requirements. In theanalog and SD era, data and metadatatended to be the domain of verticalblanking interval (VBI)-based infor-mation and its digital equivalent. Inthis new hybrid era, data and metadataelements go beyond closed caption-ing to maximize the consumer listen-ing experience. The list now includesactive format descriptor (AFD) forsignaling aspect ratio and audio meta -data required to signal stereo to multi-channel transitions.

Significant issues and challengesface broadcasters that attempt to op-erate an HD/SD TV processing in-

frastructure in which digital video,audio data and metadata elementsseamlessly interoperate together. Ad-dressing these challenges is now criti-cal because the approaching analogshutoff and the increased DTV aware-ness are forcing many broadcasters torapidly implement a DTV transitionplan. And an integral component ofthis plan is to design a facility thatcan accommodate HDTV and SDTVsignal formats in a single -operationworkflow environment.

Signal format conversionA fundamental challenge in any

facility transitioning to an HDTV


Luck has nothing to do with itSometimes relying on a charm isjust not good enough. When you

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FEATUREHD/SD WORKFLOW INTEGRATION

infrastructure is the requirement totransparently handle multiple newsignal formats. In addition to han-dling analog video and audio signals,a broadcast facility may be requiredto handle HDTV formats, including720p, 1080i and 1080p signals of vari-ous frame rates.

Handling multiple signal types

makes signal conversion - convertingthe ingested material to the facility's na-tive format - difficult. Ingested mate-rial can be a mix of analog, HDTV andSDTV content. The standard solutionis to use standalone HDTV up- anddownconversion within the workflow.There are two issues to consider whenincorporating HDTV conversion

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within the workflow: format detectionand the application.

Ideally, an HDTV upconverter au-tomatically detects the incoming sig-nal type and reconfigures as needed tooutput the desired signal format. Thisfunctionality does not require exter-nal triggering when the input formatchanges and minimizes opportunityfor error. However, if the upconverterdoes not incorporate automatic sig-nal format detection, external trig-gering may be required. The preferredmethod for triggering upconversionis via the broadcast facility's automa-tion system. Ideally, the automationsystem's traffic system would trackthe content's signal format so it couldtrigger the upconverter as required.

HDTV upconverters are typicallyoffered in different varieties, eachsuited for different applications. Up-

conversion for on -air playout andtransmission typically incorporateshigh -quality, motion -adaptive tem-poral HDTV scaling technology.Monitoring requirements within theworkflow can be handled using lowercost HDTV upconverters, which useless expensive spatial upconversiontechnology.

Aspect ratio managementSD places minimal demands on

aspect ratio management. HD con-tent, however, introduces additionalcomplexity to aspect ratio selec-tion. HDTV content can be a mix ofupconverted 4:3 SDTV content andnative 16:9 HDTV content. Thereare multiple aspect ratios within theworkflow that must be contendedwith. Standalone aspect ratio convert-ers or aspect ratio converters embed-ded within other devices (e.g., withinan HDTV upconverter or server sys-tem) require remote signaling or trig-gering to ensure correct aspect ratioconfiguration.

Many aspect ratio converters fea-ture triggering via a General PurposeInterface (GPI). Aspect ratio triggeringcues can be incorporated within thefacility's traffic system, and triggeringcan occur via the automation system.


Inter BEEInternational Broadcast Equipment Exhibition

Applications to Exhibit Now AcceptedPrimary application deadline: Friday, May 18

Professional Show forAudio, Video and CommunicationsIn the broadcasting industry and among its wide-ranging clients, the Inter BEEexhibition has earned a solid reputation as a venue to unveil some of the world'smost advanced technologies. Typically visited by creators and engineers at theforefront of fields involving visual, audio and broadcast media, the exhibitionserves as both an international technology exchange and an opportunity tocultivate business over a broad spectrum of needs.

Inter BEE is an excellent business opportunity for manufacturers of audio,visual and broadcast equipment. We hope you will take full advantage of thisexhibition by becoming an exhibitor.

Period: Tuesday, November 20 to Thursday, November 22Place: Makuhari MesseOrganizer:

JEITAJapan Electronics and Information Technology Industries Association

www-inter-13ee -cumManagement/Contact:

Japan Electronics Show Association5F, Sumitomo Shiba -daimon Building No.2, 1-12-16, Shiba -daimon Minato-ku, Tokyo 105-0012, Japan

Tel: +81-3-5402-7601 FAX: +81-3-5402-7605 E-mail: contacteinter-bee.com

FEATUREH D/SD WORKFLOW INTEGRATION

(See Figure 1A.) GPI triggering, how-ever, offers significant limitations. TheGPI interface does not provide feed-back to confirm a successful aspect ra-tio change. In addition, a GPI interfaceoffers access to only a limited numberof aspect ratio and control parameters,

Ingest

(A)

Content ingest withembedded AFD

(B)

Offline video/audiosynchronizationtest signal

(C)

limiting the overall functionality of theaspect ratio converter.

A more comprehensive approachinvolves using aspect ratio signal-ing information embedded withinthe vertical ancillary (VANC) of theHDTV content. (See Figure 1B.) AFD

Ingest NDHD/SDconversion recorder-,and processing

A

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0 2C4-, a03 E

Ingest NDconversion

and processing

Ingest NDconversion

and processingoffline video/audiosynchronization

correction

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.4. HD/SDplayer

Automation messages

Parametic control messages

HD/SD Offline HD/SDrecorder player

HD/SDrecorder

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metadata carries information re-garding the aspect ratio of the activepicture and can be used to trigger as-pect ratio conversion devices.

Other existing aspect ratio sig-naling technologies, such as wide-screen signaling (WSS), carry limited

HDTV Playoutupconverter

HDTV Aspect ratio Playoutconverter -Pupconverterwith AFD

c5

C3 E

HDTVupconverterwith video/

audiosynchronization

correction

O Pi0

O E

Aspectratio

converterwith AFD

Playout

Figure 1. (A) In a typical HD/SD workflow, content is ingested and stored offline. HD and SD content is then routed toan HDTVupconverter for playout. HDTV upconverters with automatic input format detection seamlessly allow HD and SD contentto play out without requiring external triggering. (B) For embedded content, AFD is ingested and stored offline. Storagesystems must be capable of retaining the AFD metadata embedded in the VANC. During playout, downstream aspect ratioconverters require AFD for aspect ratio triggering. (C) An offline video/audio synchronization test signal should be propagatedthrough the ingest transmission path to determine if there are video and audio synchronization issues.They can also be usedthroughout the workflow to monitor and correct video and audio synchronization issues.


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information about the active pictureand are used in the SD domain only.AFD will facilitate the transparent as-pect ratio conversion of the variouscontent within the HDTV workflow.An aspect ratio converter should beaware of both WSS (for legacy con-tent) and AFD metadata to be usedeffectively in a hybrid facility.

Audio considerationsThere are many types of audio em-

ployed in a hybrid facility today. It isimportant to understand the differ-ences between two -channel (stereo)and multiple -channel (surroundsound) audio processing.

A stereo signal that sounds likestereo may have inaudible surround

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sound information encoded in thestereo signal (e.g. Dolby Pro -Logic IIor Neural Surround). Surround soundmixes can have four to eight channels,depending on the format. Typically,stereo and 5.1 mixes are used.

Additionally, audio content may bemoved around a facility as separate,embedded or compressed signals.This adds a level of complexity simi-lar to the processing of HD and SDvideo signals.

When embedding a compressedaudio stream into an SDI signal, itis critical to ensure alignment of thecompressed audio header with theSDI frame boundary. When encodingbaseband audio for contribution pur-poses using Dolby E in a compressedaudio stream, the audio content is de-layed by one video frame.

The ideal strategy ...is to have incrementalA/V synchronization

integrity checkingthroughout.

For compressed audio embedding,the audio content delay varies de-pending on the alignment of the com-pressed audio. When the compressedaudio packet header leads the videoswitching line by less than 10ms, it isdelayed by one video frame plus thedelay required to place the packetheader at the appropriate locationin the video. When the compressedaudio packet header leads the videoswitching line by more than 10ms, it isdelayed by the time required to placethe packet header at the appropriatelocation in video (no video frame de-lay added). Therefore, the embeddedaudio content delay may vary fromabout 1/3 to 1 1/3 frames.

One approach to ease the transi-tion to a hybrid stereo and surroundsound facility is to use audio meta -data and identify the associated audioas stereo or 5.1. When upconvertedHD and SD signals are switched ormixed through master control, theaudio metadata is used to signal the



Dolby Digital (AC -3) encoder. An-other approach is to process the au-dio just before the AC -3 encoder byeither passing 5.1 or upmixing stereo,matrixed (Dolby) or watermarked(Neural Surround) audio signals intoa 5.1 signal.

Audio to video timingAsynchronous processing delays in

today's HDTV workflow have intro-duced the possibility of misalignmentof audio and video with respect toeach other. This is otherwise referredto as lip sync. The ideal strategy fordealing with this potential issue is tohave incremental AN synchroniza-tion integrity checking throughoutthe workflow. This minimizes thepossibility that any single componentwithin the signal path can contributeto A/V synchronization issues.

The use of embedded audio hasminimized AN synchronization er-rors but has not eliminated thementirely. Despite careful systemic at-tention to AN synchronization, lipsync issues may still occur. Incomingcontent with asynchronous transmis-sion paths may arrive with A/V syn-chronization errors. Addressing ANsynchronization issues can be doneeither online or via offline test signals.(See Figure 1C on page 68.)

Offline AN synchronization cor-rection can be accomplished throughtest signal generators with synchro-nized audio and video events. Thissynchronized audio and video testsignal can be used by a downstreamdevice to calculate relative A/V tim-ing of the signal. The primary advan-tage of an offline A/V synchronizeris robustness. The offline test signalcan be applied anywhere in the work-flow and withstand any conversionor processing within the signal path.The main limitation of an offline A/Vsynchronization signal is that it canonly be used in a signal path duringa maintenance window when carriageof content is not required.

A/V synchronization can also beaccomplished with online testing.This requires insertion of AN mark-

ers within the program content. Thesemarkers must be invisible and usu-ally take the form of watermarking.Online A/V synchronization is lessrobust, and various types of process-ing tasks may adversely affect onlineAN synchronization markers. Theseinclude noise reduction, signal com-pression and image scaling.

HybridizationTransitioning a facility to hybrid

operations introduces many new op-erational requirements to a processinginfrastructure. A careful understand-ing of the requirements is essential tooptimize workflow efficiency. BE

Bob Fung is product manager for HarrisVideo Processing and Distribution.

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WRDW-TV in Augusta, GA, uses an AvidinUnity MediaManager asset managementsimill 1111 Illii isia 1111

SPECIAL REPORT

Digital assetmanagementA guide to broadcast applications and considerationsBY TIM CLAMAN

During the last decade,broadcast systems havetransitioned away fromphysical media and iso-

chronous baseband signals and to-ward data -centric workflows sup-ported by standard IT infrastructure.This evolution has promised manybenefits, including improved produc-tivity, greater efficiency and reducedoperating costs.

Unfortunately, these potential ben-efits have been offset by a host of newchallenges. Perhaps one of the most

pervasive challenges facing broadcast-ers today is the direct result of a an-other promised benefit: the ability torepurpose valuable content easily. Thenew challenge is how to manage theseincreasing libraries of digital mediafiles and metadata so that they can beeasily accessed, reused and even redis-tributed by production teams. Onceconsidered "a solution looking for aproblem," digital asset management(DAM) has conclusively emerged as akey component of modern broadcastworkflows. Broadcasters no longer

question the need for DAM, but theprocess of selecting and deploying aDAM solution can be daunting.

DAM at the centerSimply put, DAM is the process

of storing, organizing and retrievingelectronic digital assets such as pho-tographs, AN clips and graphics. Atthe center of most DAM systems is adatabase that references a library ofdigital assets stored on one or moreservers.

In broadcast facilities, the systems

72 broadcastengineering.com April 2007

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SPECIAL REPORTDIGITAL ASSET MANAGEMENT

are typically deployed to managedigital assets used in the creation ofprograms (production asset manage-ment) or to manage the storage andretrieval of finished programs (li-brary asset management). Now thatthey have made the transition to data -

centric workflows, broadcasters aredemanding that the DAM solutions

DAM systems employ automated toolsfor annotation, including scene detec-tion, facial recognition and speech -to -

text indexing.Cataloging - creating logical

groupings of assets. DAM systems typ-ically offer virtual folders that can beused to organize and contain groupsof related assets.

With a digital asset management system, a broadcaster can ingest content and search forassets within the database. The system helps by organizing the assets so they are easilyretrievable.

they implement manage the entirecontent lifecycle process, all the wayfrom planning through production toarchive and distribution.

Broadcast applicationsIn response, DAM systems have

evolved to integrate many aspects ofbroadcast workflows, including:

Ingest - capturing digital assetsinto the system. This may involvetransforming real-time AN streamsinto digital files or simply register-ing a pre-existing digital asset in thedatabase.

Annotation - tagging digital assetswith metadata that describe their con-tents. Examples include adding text de-scriptions to assets, drawing graphicalannotations and identifying areas ofinterest within A/V clips. Increasingly,

Searching - finding assets with-in the database. Users can navigatethrough a hierarchy of logical fold-ers or use search tools to locate as-sets. Searches are typically based onkeywords or attribute values. DAMsystems can also enable queries basedon interrelationships between assetsto find, for example, all the stories thatused a particular graphic.

Browsing- previewing assets withinthe database for evaluation. Most DAMsystems provide client software that al-lows the user to view stills and graphics,as well as streaming A/V clips. ModernDAM systems support proxy -basedbrowsing workflows where low -reso-lution copies of digital assets are em-ployed to minimize storage and band-width requirements.

Rough editing - basic assembly of

digital assets for idea development andprevisualization. Many production -

oriented DAM systems offer tools fordoing basic assembly of assets, such asshot selection and rough cutting.

Collaborative authoring - sharingdigital assets to enable dynamic, col-laborative content creation. DAM sys-tems are increasingly popular amongproduction teams because they enableconcurrent work. For example, mul-tiple journalists can access the samepool of content to create different sto-ries. Likewise, different disciplines canwork simultaneously on the same sto-ry, creating graphics, editing clips andrecording voiceovers simultaneouslyin a parallel workflow.

Review and approval - providingstakeholders with access to finishedprograms for evaluation. DAM sys-tems can expose works in progress tocontent stakeholders, such as produc-ers, so they can offer feedback duringthe content creation process or sign-

off on finished programs. Increasingly,DAM systems offer revision manage-ment capabilities so that each asset en-capsulates the creative process that ledto its current state.

Storage and media management -managing the storage of digital assets.As digital assets proliferate, storagemanagement becomes a major chal-lenge. Perhaps the most valuable ap-plication of DAM systems is the abilityto intelligently identify which assetscan be purged from storage servers ortransferred between online, nearlineand archive storage.

Access control - controlling us-ers' access to digital assets. In manybroadcast environments, not all usersare allowed access to all content in thelibrary. DAM systems typically enablesystem administrators to create groupsof users and grant them access only tocertain areas of the database. Increas-ingly, broadcasters ask DAM vendorsto provide tools for enforcing complexdigital rights management (DRM)rules.

Workflow automation - streamlin-ing workflow processes by introducingpolicy -based behaviors. Beyond simply


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Within DAM solutions, such as with Avid Unity MediaManager, users can find, sortand retrieve media quickly and easily while maintaining secure project -level accesscontrol.

storing and managing digital assets,DAM systems are becoming increas-ingly sophisticated. Assets can be taggedwith workflow status indicators to en-able dynamic status reporting. Policiescan be designed to automate workflowprocesses. For example, digital assetsthat have not been used actively for aspecified period of time may be auto-matically archived. Programs may besent to on -air servers automaticallyonce stakeholders have signed -off. Thisis an especially exciting and innovativearea of DAM development today.

Choosing a DAM solutionFor a DAM system to provide tangi-

ble business benefits, it must be chosencarefully and tailored to suit the needsof the customer. There are many con-siderations that must factor in whenevaluating DAM solutions, including:

Target users and workflows. Askyourself Who is going to use the sys-tem? What are they going to use it for?Given all the possible applications forDAM systems, it can be difficult to fo-cus on these - the most basic of ques-tions. It may be beneficial to focus on

the top one or two business benefitsfor the initial deployment and moveon from there, rather than taking ontoo broad a scope.

Cost and ROL Ask yourself: Howmuch will it cost to deploy this system?How can I be sure that it will offer goodreturn on investment? DAM vendorsshould consult with you to model thebusiness benefits of deploying theirsolution based on benchmarking yourcurrent workflow compared to realworld deployments of their systems.If a DAM vendor is not forthcom-ing with customer references or ROImodeling tools, you may want to lookelsewhere.

Integration with tools. Ask yourselfWhat applications are used to createassets for the DAM solution? How willusers access the system? To realize ef-ficiency benefits, workflows must be-come easier, not more difficult. Unfor-tunately, many DAM solutions requirecumbersome manual processes forchecking assets into and out of the da-tabase. The best systems operate trans-parently in the workflow, organicallyaggregating and organizing file assetsand metadata.

Integration with other systems. Askyourself How do I integrate the DAMwith other legacy systems I have inplace? How do I migrate data into theDAM solution? Although DAM sys-tems are evolving to encompass manydifferent facets of broadcast workflows,most facilities have systems that needto integrate with the DAM system, in-cluding newsroom computer systems,traffic systems and on -air systems. It isimportant to consider the intersectionpoint between the DAM system andother systems, and to identify what (ifany) data must pass between systemsor migrate into the DAM database.

Security and authentication. Askyourself How do I control user accessto digital assets? How do I integrate theDAM solution with my IT system foruser management and authentication?Many DAM solutions are designed forsmall teams and do not provide accesscontrol mechanisms or integrationpoints for standard IT authentication


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When choosing a digital asset managementsystem, plan for the future by finding out whichstandards the system supports.

systems, such as Windows Active Direc-tory or Lightweight Directory AccessProtocol (LDAP).

Ease of deployment. Ask yourself:How easy will it be for the target usersto learn how to use the system? Whatservices are available for consultation,

customization and training? In broad-cast facilities, DAM solutions typicallyrequire support and buy -in from theproduction teams as well as the ITdepartments.

System administration. Ask yourself:How difficult is it to set up and managethe system on a day-to-day basis? WillI need full-time specialists to managethe system? How will we monitor thehealth and status of the system? ManyDAM solutions, unfortunately, are verycomplex to configure and manage.

Future evolution. Ask yourself: Howwill this solution evolve as needschange? How easy is it for me to scaleup by adding users, storage and servic-es? Does this system offer interfaces forcustomization? Does it support indus-try standard media and metadata sche-mas? These questions are important toexplore if you want to ensure that thesystem you deploy today does not be-

come another outmoded legacy systemin just a few years.

ConclusionAs the broadcast industry becomes

more dynamic and diverse, DAM sys-tems are becoming more vital. Builtaround core IT database and servicesinfrastructures, modern DAM sys-tems form the centralized data hubfor production teams, aggregatingand transforming media and meta -

data throughout the content lifecycle.The rapid rate of evolution in DAMsystems is nothing short of explosive,making DAM one of the most excit-ing and innovative technologies inthe broadcast industry. BE

Tim Claman is director of product designfor Avid Technology. Prior to joiningAvid, Claman worked as a sound editor,designer and mixer in a variety of post -production environments.

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NAB2007 has finally arrived, bringingwith it a deluge of new products andsolutions for your facility. Broadcast

Engineering is here to help.


Last month, we packed the magazine with

NAB survival tools - a map of the exhibit

halls and a categorized company listing

to help you plan your trek. And for NAB

attendees, as well as those not attending

NA

B but w

anting to stay in the know, W

3

included descriptions of 200 products thEt

will be on display.

PiN

tos courtesy Douglas S

chwartz

This m

onti, we're happy to present m

ore

than 350 aRlitional show

products. Enjoy!

Look for an NA

B w

rap-up, written by our

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broaicastergineering.com81

NAB2007PRODUCTHIGHLIGHTS

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82 broadcastengineering.comlApril 2007 NAB coverage Color indicates advertisers

Oki

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ION

invent

plWEATHERC ENTRALOh UN, Nt. ON DEM,ND

In Local News, Weather isBecoming the Visual Attraction

As broadccsters make the transition to high -defi-nition television, they're doing so with the un-derstandir g that local newscasts are heir mainrevenue generator and that the weather forecast

segment, with its 3-D immersive maps and forecast graph-ics, is the most visual entertaining part of the broadcast.

Weather Central, a Madison, Wisconsin -based companythat supplies graphics systems and climate forecasting tech-nology for local stations and broadcast networks, under-stands this better than most. The company showed the firstHD resolution graph cs system for weather in 1999 and

today offers advancErl systems that provide live, real--ime,motion effects across its product line.

Within the past yecr, stations have begun to purchaseHD -ready weather systems, even if they are not planning tomove to HD right away. It j.ist makes economic sense, be-cause most stations narmally upgrade their weather system(and many other productior tools) once every five yecrs.

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Looking around the industry, Wearier Central recognized itneeded to provide its clierts with -eal-time effects using anindustry -standard PC workstation, available on the markettoday. It needed a video -centric arcnitecture, one that couldstand up to the rigors of caily processing and instant ren-dering in a liva broadcast environrent. It needed a power-ful, proven platform that didn't mcke compromises when itcomes to proc.assing bandwidth -intensive 3-D HD imagery.

Enter the HP xw9400 Wcrkstatior, which is now pairedwith all of the HD -capable system! Weather Central ships.With its unique AMD-based, multi -care processing architec-ture, the xw9400 provides the high -capacity disc speed,processing bus throughout and a powerful graphics -render-ing engine that Weather Central's systems demand. Thishelps avoid the data flow kottlenecks that can slow down areal-time rendering application, whi ch is so critical to a pre-senter changing an on -screen map to show climate trends.In a highly rated live newscast, w1 ---re up-to-the-minute data

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"Graphics has always been a very core compe-tency for us," Wood said. "We've been driving alot of very high -end solutions, and the HP xw9400 isthe only tier -1 workstation on the market that supportstwo full, PCIe X16 3-D graphics output."

Hewlett-Packard is a company steeped in the video produc-tion industry, supporting many companies that leverage itshardware to make their respective HD image processingand nonlinear editing software systems work. This includesAvid Technology, Autodesk Media & Entertainment, AdobeSystems, Grass Valley (Thomson) and Leitch (Harris).

"HP has really stepped up to the plate and provided us with aplatform that gives us a lot of flexJility to develop the kinds ofapplications our broadcast clients need," said Victor Marsh,vice president and CTO at Weather Central. "Because oursystem allows for graphics generation on top of live video, wehave to move multiple streams of HD video content in and outof our box and across the busses without compromise. That'sa tall order for many computer ploiforms."

The system design of the HP xw9400 also allows for rack -mounting, which is a key issue for stations with limitedspace. It also can be ordered Ds a liquid cooling systemto reduce heat and with an innovative "whisper -quiet" fcndesign that enables the workstation to run much quieter.This comes in handy for statiors that install their weathersystems on the set, where noise can be problematic.

The xw9400 frame also provides ample room to allowWeather Central to add third -party graphics cards, fromcompanies such as Blackmagic, Digital Video Systems ardNVIDIA, which make their weatl-er their systems sing. These

cards facilitate new weather forecasting applications, suchas the company's patented Mag cTRAK® technology, whichallows on -air presenters -using a live camera feed and pre-built 3-D graphics elements to use their hand like a computermouse to click around an on -air weather map, in real-time.

"We've really been happy with the support HP has providedus through our relationship," Marsh said. "I think the com-pany really has a handle on the high -end video market ardwhat it takes to make our applications run. That can't be

said aboutother computer compa-nies. That's why HP is such a perfect comple-ment to what we are trying to do with our systems. And ourcustomers appreciate this unique synergy as well."

Weather Central offers several ways for a station to makethe move to HD. It can buy a full-blown 3D:LIVETM HD sys-tem (including the HP xw9400 Workstation) and begirbroadcasting in HD immediately. It can buy a lower -cos -HD system (w/an Intel processor -based HP xw8400 work.station) and use it in SD mode until it is fully ready. Or,it can buy the HP xw4400 chassis and populate it with.SD -only video cards and SD -only video out cards. Thesebudget -conscience customers can then upgrade the systemwith HD -capable cards at a later date, using the same HFchassis, thereby protecting some of its investment.

"The important thing for us, and our clients, was to makeour HD systems easy to use as the SD versions," Marsl-said. "Every one of our SD customers has an expectatiorof how easy the system is to use. The HP xw9400 ensuresthat they will have the same success in HD."

Added HP's Wood, "From a market perspective, the

broadcasting business is huge, and we feel we're the onlycomputer company to address the industry with applica-tion -specific products for moving large amounts of data theway we have. In order to stay competitive, stations have tcmove to HD, either sooner or later, so we're ready to sup-port them with cost-effective workstation hardware that wilmake the transition a success."

Thus far, about 360 stations use Weather Central systemon -air in SD, and about 30 have deployed full HD weathersystems (including ABC's "Good Morning America"). It'sclear the potential for new business for both Weather Cen-tral and HP, this year and in 2008, is huge.

pa®invent

See the new HP products in action for yourself. What: The HP xw9400 Workstations Where: Ondisplay in the Weather Central booth (#C5334) and the HP booth (#SL3820) at NAB (National Associa-tion of Broadcasters). Want more? Visit www.hp.com/go/dcc and www.weathercentral.tv

ADVERTISEMENT


REMOTE PROGRAM MONITORING

Volicon Observer RPM

Designed to help MSO and cable op-erators monitor the quality of theirbroadcasts in central and remote un-manned headend facilities; monitorsand records 500 or more video chan-nels for audio and video signal integ-rity; notifies the operator, by e-mailor SMS alerts, if the signal does notconform to prespecified limits.

781-221-7400; www.volicon.com

BOOTH: N3231

HDMI SWITCHERS

TV One 1T-HDMI series

Provide two inputs on the 1T-HDMI-821, four inputs on the 1T-HDMI-841 and eight on the 1T-HDMI-881;feature HDMI, HDCP and RoHScompliancy; enable control via front -panel push buttons, IR or RS -232 in-terface; support HDTV resolutions of480p, 720p, 1080i and 1080p, as wellas SD 480i.

859-2824303; www.tvone.com

BOOTH: SU7226

LIGHTING FIXTURES

Brightline Ser esONE

Provide performance designed spe-cifically to work with digital cam-eras, including HD; feature one, twoor four lamps, color temperaturesranging from 3000K to 5600K, 55W,advanced -phosphor lamp formula-tions and dimming -control optionsincluding phase, DMX and DALI; in-clude horizontal or vertical yokes anddiverse racking options; automaticallysense and adjust to ambient light.

412-206-0106; www.brightlines.com

BOOTH: SU2422

How does a REI" HD monitorfit rintra 19" rack ?

(fiuyeaupSua Joyedns ;sril s! Way; alfiew e ;ou s!,;!' tIanisuv)

Desktop VersionV-R201P-AFH0-0T

Now for just un ler $3K 'Can get a 20" High Definition monitor with

all Analog / Digital inputs including HDSDI/SDI, Analog Component

YPrPb, S -Video, Composite, XGA for your computer and even DVI-I for

HD or compute; generated images. All of the Adva iced Features you

will need, like frame markers, safe area, adjustable color temperature

and Pixel -to -Pixel mode for any video format are. intluded. Unique

design allows this monitor to be rackmounted for video wall applications or

to be used in a lesktop configuration.

V-R201P-AFHD Price: 2999

SeeMAO 2007

atbooth #SU1926

Marshall Electronics TE I 800-800-6608Fix:310-333-0688 LCDracks.com

NAB coverage I April 2007 I broadcastengineering.com 85


TIME DELAY

360 Systems 2470Broadcast Time Delay

Can be programmed to create any de-lay time from 20 seconds to 36 hours;the delay is set in day/hours/minutes/seconds/frames through a graphicuser interface; will maintain single -frame accuracy over an indefiniteperiod of time when connected to agenlock source; all settings are non-volatile and are automatically recalledeach time power is applied.

818-991-0360; www.360systems.com

BOOTH: SU9120

PROGRAMMABLEPATCHING SYSTEM

ADC Pro Patch

Designed for digital audio patching;features a patented system that in-cludes individual front -access circuitprogrammability with a DIP switch,light weight and conversion to a1.5RU space panel with larger des-ignations; features a 2 x 48 bantamconfiguration and 2 x 32 longframeconfiguration, without using specialpatch cords.

952-917-0279; www.adc.com

BOOTH: N721

HD VIDEO PROCESSOR

Anchor Bay DVDO iScan VP50

Converts SD/HD (including 1080p)and PC signals from DVD players,HD-DVD players, Blu-ray players,HD DVRs, game consoles and PCsto any output resolution betweenVGA and 1080p; features HD Preci-sion deinterlacing, Precision VideoScaling II, mosquito noise reduction,picture enhancement and gammacorrection; converts input frame rateto optimal display frame rate; de-tects and removes chroma artifactsautomatically.408-379-9836; www.anchorbaytech.com

BOOTH: C7847

DUAL-PURPOSE ANTENNASAdvent FlyDrive

Available in two modes: the 1.5m Fly-

Drive and 1.2m FlyDrive; supports X,Ku, DBS and Ka band feeds, as well asC band for the 1.5m; offers full three -

axis motorized control with manualbackup, satellite auto acquisition andtracking.

978-671-5700; www.adventcomms.com

(30 ?thl

CAPTURE CARD

AJA KONA 3

An uncompressed capture card forseamless operation with PCI Express(PCIe) Apple G5 Power Mac or MacPro systems and Apple Final Cut Pro;supports any uncompressed SD orHD format, including dual link and2K; captures and plays back uncom-pressed 8 -bit and 10 -bit digital videoand 24 -bit digital audio.

530-274-2048; www.aja.comBOOTHS: SL6113, SU7511

RESOURCE MANAGEMENT

ScheduALL ScheduLINK

New teleport package includes a con-tract manager, compatible resourcesverification, antenna array and trou-ble ticket reporting used in satelliteresource scheduling; allows for de-tailed selection and setup parametersthat enable rules and technical valida-tion of uplink and downlink optionsusing detailed control logic.

954-334-5406; www.scheduall.com

BOOTH: SL2308

LOW RFR ANTENNA

Dielectric Low RFR Pylon Antenna

MobileMedia antenna is designedfor applications where downward ra-diation is a concern; holds the powerdensity at all evelation angles up to 50percent of the MPE limit for occupa-tional uncontrolled areas (based on50kW ERP, 6ft observer and 15ft CR);available with horizontal, elliptical orcircular polarization.

800-341-9678; www.dielectric.com

BOOTHS: C1907, N7421

SOUNDTRACK EDITORAbaltat Beat

Allows users to cut pictures first andthen select the best -fit soundtrack byanalyzing the EDL; suggests a series ofpossible fits by a comparative analysisof beats -per -minute and the editedrate of the picture; features adjustabletime signatures of the drum patterns;exports in MIDI or QuickTime forfurther editing.

+353 91 504 688; www.abaltat.com

BOOTH: SL7424

CAMERA

Abel Cine Tech Phantom

HD model takes as many as 1000fpsat 1920 x 1080 HD resolution, and700fps when used in 2K applications;features a digital sensor equivalentin size to 35mm film and a PL lensmount; 65 model features a digitalsensor equivalent in size to 65mmfilm; takes as many as 120fps at reso-lutions up to 4096 x 2440.

212-462-0100; www.abelcine.com

BOOTH: C7328

NETWORKED PROMPTING SYSTEMAutocue OlkIxt

Connects to the prompting applicationon the PC over a wired or wireless Eth-ernet link, allowing local or remote PCcontrol over an unlimited distance.

203-406-1400; www.autocue.comBOOTH: SU14612

86 broadcastengineering.com I April 2007 I NAB coverage Color indicates advertisers

44Affordable

CHANNELHD & SD VIDEO SERVERS

MCSMULTI -CHANNEL SERVER

Broadcast Time Delay

Sports Slow -Motion

VTR Replacement

Commercial Insertion

Multi -Channel HD Video Servers start at $30,80CMulti -Channel SD Video Servers start at $9,800

Doremi's MCS Multi -Channel Video ServerFeatures up to 4 indeper dent video channels,plus simple playlist creation with selectablevideo trans tions (fade, wipe, cut & dissolve)

Reliable aid Upgradeable Design Upgadeaple from two .video channels to four External RAID5 storage or internal removable drives System runs on a decicated video hardware platform Redndant power sum) y option

System Compatibilti HD -SDI, SDI video input and Output (HD Version)

SDI, YUV, S -Video anc Composite video (SD Version) Sony 9Pir, VDCP, or Odetics remote control

Video Servers - HD MPEG2 Encoders and Decoders - SDI / DVI Converters - HD Video Test Generator

Doremi Labs, Inc. tel. 818 562-1101 [email protected] wwwilorentilabs.com d remi


HD WEATHER GRAPHICS SYSTEM

AccuWeather

Produces graphics on every layer inevery format - 2-D, 3-D, HD/SD- live in real time; allows access tographics tools in a wizard -basedmode or power user mode, providingcomplete creative control; importsdata and graphics from numeroussources; includes 24 weather fore-casting models, 22 types of local ra-dar - both NEXRAD Level II andIII - and the company's four-hourPredictiveRadar.

814-235-8600; www.accuweather.comBOOTH: C6412

DUAL -LINK SDI CONVERTER

ADS Tech

A 1394a bidirectional device thatconverts DV audio/video to and fromSDI video; can be used with a por-table battery pack, making it ideal foron -location news and event broad-casts; provides a cost-effective meansfor Betacam transcoding, transport-ing content for NLE production andconnecting to studio SDI networkbackbones or affiliate matrices.

562-926-1928; www.adstech.com

BOOTH: SL7910

REMOTE CONTROL SYSTEM

ANT Group Garda System

Allows broadcasters to completelymonitor and control site equipment;connects any product and presents thecollected data, alarms and events in astandard, comprehensive interface; allcommunication passes through thecontrol center.

+39 0365 34558; www.antgroup.itBOOTH: C2936

LI-ON CAMERA BATTERY

Anton/Bauer EIipZ 10k

A 7.2V Li -Ion battery that delivers all -day operating times for a 10W hand-held camera; frees the operator frombeing cabled to a beltpack or adapter;uses the underside of the camera asa mounting surface, away from theoperator controls; requires no volt-age conversion circuitry; provides astrong and secure structural founda-tion for the camera.

800-422-3473; www.antonbauer.comBOOTH: C5929

TEST PATTERN GENERATOR

OmniTek LAB

Provides digital video generationand analysis; combines a full -mo-tion video test pattern generator withcomprehensive data analysis capabili-ties; contains the ability to capture,store and play out video images or se-quences complete with the associatedblanking interval data, which maycontain audio, time code or any otherancillary data packets.

+ 44 118 988 6226; www.omnitek.tv

BOOTH: SL9705

DMX LIGHTING

Kino Flo Mega 4Bank DMX

Can harmonize light levels in a fixturearray or switch tubes independentlyof one another from a DMX controlboard; the system includes a fixture,mounting plate, extension cable andMega4Bank DMX Ballast; the Bal-last operates 4Bank fixtures, doublefixtures, single fixtures and the com-pany's Blanket-Lite; the lighting is de-signed to run on high output 8ft and6ft True Match lamps.

818-767-6528; www.kinoflo.com

BOOTH: C10213

SUPER 16 FILM CAMERA

ARRI ARRIFLEX 416

Features a 35mm-style optical view-finder, low sound level and lightweightergonomic design; includes integratedelectronic accessories and compatibili-ty with the same lenses and accessoriesused by 35mm cameras.

845-353-1400; www.arri.com

BOOTH: 010017

STOCK FOOTAGE

Artbeats

New royalty -free collections and soloclips include religion, sports, land-scapes, nature and weather; available inHD 1920 x 1080, D1 NTSC 720 x 486,D1 PAL 720 x 576 and SD resolutions.

1-800-444-9392; www.artbeats.comBOOTH: SL8012

RACK

APWMayville Stantron E -Rack

The modular design allows users toconfigure their own rack systems;removable, quick -release side panelsand cable chase panels provide easyaccess for cable management, reduc-ing installation time for large-scaleinstallations; multiple lacing pointslocated every 6in along the rack sup-port heavy bundles; other standardand customizable features includeheavy-duty shelving, filler panels andtemperature control.

800-558-7297; www.stantronracks.comBOOTH: SU7220

88 broadcastengineering.corn I April 2007 I NAB coverage Color indicates advertisers

BROADCAST HD OVER FIBER.Just one of the many options available

with the OptivaTM Platform.

OptivaTM offers the most comprehensive optical

communication solution for broadcast control rooms,

studios and OB stations. With its integrated patent -

pending Daisy Chain technology, OptivaTM provides

a truly configurable and upgradeable solution.

By using the Product Configura:or at opticomm.com,

you can easily plan your fiber network. Choose any of

our video, audio or data signals to design the perfect

system tailored to your needs. Manage your projects

and test configurations, all at tie touch of a button.

Come see us at NAB I April 16-19 I Las Vegas, NV I Booth N2931

OptivaDAISY CHAIN

TECHNOLOGY80000pLICOMM000 travel by light'


AUDIO MULTIVIEWERS

Avitech ACC -8000 series

Multi -audio processing modules de-signed to monitor analog stereo andAES/EBU audio inputs; can be usedeither as standalone units, or cascad-ed together to provide facility -wideaudio monitoring capabilities (up to15 modules); the ACC -8000 can becascaded with the MCC -8004 and/orVCC-8000 series, offering users theability to monitor both video and au-dio on the same display.

877-284-8324; www.avitechvideo.comBOOTH: SU13215

WEATHER SYSTEM UPGRADE

Baron Services VIPIR

Designed for covering severe anddaily weather; offers radar displayand hurricane tracking in one com-puter; upgrades include an easy -to -use interface, sleek visuals and so-phisticated weather analysis; featuresHD capability and a voice recogni-tion tool to allow meteorologists towork directly from the weather wallby voicing their commands.256-881-8811; www.baronservices.com

BOOTH: C7017

DOWNSTREAM LINEAR KEYEREyeheight keyEyesMDi

Incorporates all the facilities neededfor generating matte overlays; enablesoverlays to be located anywhere on thevideo display as a solid or transparentimage; provides fill and key inputswith adjustable horizontal timing,matte generators, wipe, independentmain and preview keyers, and EDHreinsertion; supports 1080i, 720p, 625and 525 operation.

+44 208 255 2015; www.eyeheight.com

BOOTH: SU2823

MONITORING SYSTEM

Teranex ClearVue

Includes a ClearVue processormatched to a 24in 16:10 WUXGA TFTLCD panel; employs HQV technology;offers Teranex technology such as Pix-elMotion Deinterlacing and Multi -Di-rectional Diagonal Filtering, as well asproprietary algorithms that reproduceincoming signals accurately.

407-858-6000; www.teranex.com

BOOTH: N2531

BNC AND RCA CONNECTORS

Belden

Part of the Belden Brilliance line of A/V products; available in both straightand right-angle versions; feature asolid, one-piece construction, platedin either nickel or gold with gold-plated center pins; two independentcompression points seal and hold theconnector onto the miniature coaxialcable and ensure electrical contact.

765-983-5815; www.belden.com

BOOTH: C9441

DISTRIBUTED ROUTING SWITCHER

QuStream PESA Cheetah DRS 64x64

Offers all AES/analog/time code ormix with 64 AES or analog inputs by64 analog or AES outputs; features in-clude Dolby E routing, soft switchingand delay functionality in the inputand output frames; delays an incom-ing frame -synced video signal com-ing into the router; allows processingdelay in the video to be matched withaudio output delay.

631-912-1301; www.qustream.com

BOOTH: N3418

PORTABLE SURROUND MIXINGSYSTEM

Beyerdynamic Headzone

Provides headphone -based 5.1 sur-round -sound reproduction forbroadcast, post production, recordingstudios, mobile recording and videogame sound design; offers ultrasonictracking system that locates the ori-entation of the listener's head withrespect to the source material and ad-justs the audio accordingly; offers anadvanced room simulation programthat allows the operator to create anideal auditory space in which to mon-itor the surround audio.239-283-7880; www.beyerdynamic.com

BOOTH: N9014

VIDEO FORMAT CONVERTER

CloseVU CloseVU Producer

Gives editors the ability to quicklyadapt conventional HD/SD media forviewing on mobile devices; featuresSmart Zoom, resulting in video that isproperly scaled, zoomed and focusedon the critical action.

+972 525 4211 15; www.closevu.com

BOOTH: SL10520

AUTOMATION SYSTEM

Sundance Digital Intelli-Sat v4.0

Automates the scheduling and cap-ture of incoming content from sat-ellite and live sources; brings greaterusability to the wizard -driven optionfor Titan and FastBreak.

972-444-8442

www.sundancedigital.comBOOTH: SL1410A

90 broadcastengineering.com April 2007 J NAB coverage Color indicates advertisers

Your audience is waiting. You are expected toinvest millions of dollars and deliver a

flawless digital wor<flow solution. Now youmust decide on the core of your operation -your content storage maiagement system.

No preure. Just order a command performanceof DIVArchive 6.0, our newest release.

Built on software p -oven in more than 160installEtions worldwide, DIVArchive 6.0 offersmore functionality and nteroperability thanever before. Choose the global team at FrontPorch Digital. We will make your media sing,and ensure that you receive rave reviews.

wwwfcdigital com


STORM TRACKER

Baron Services FasTrac

A Windows -based storm tracker; us-ers can create a manual storm trackby clicking and dragging the mouse inthe direction they want; a storm trackinstantly pops up, with a list of com-munities that lie in harm's way, as wellas the time the storm should arrive;features include live weather sensors,live weather cameras, multiple mobileGPS, multiple NEXRADs, real-timelightning and multiple live radars.

256-881-8811; www.baronservices.com

BOOTH: C7017

CONTROL STATION COMBINER

Bird Technologies Group

Multichannel combiner provides fre-quency -agile operation across entirefrequency range; reduces the numberof antennas required on any commu-nications site; ensures radio -to -radioisolation; features analog and digitalcompatibility; available for 132MHzto 150MHz, 150MHz to 174MHz,380MHz to 450MHz, and 450MHz to520MHz.

440-248-1200

www.bird-technologies.comBOOTH: N5738

DECKLINK CARD

Blackmagic Design DeckLink 5.7 forWindows

Allows users to choose uncompressedonline JPEG video that's full -resolu-tion HD, includes high -quality 4:2:2color sampling and a low compres-sion rate; fully compatible with AdobePremiere Pro, After Effects and otherDirectShow software; users workingwith online JPEG will see a significantreduction in disk space and band-width requirements.

408-954-0500

www.blackmagic-design.comBOOTH: S111020

VIDEO TIME AND DATE GENERATOR

ESE ES -206U

A video time and date inserter that ref-erences an internal standalone clock;the clock is line -frequency referenced;an internal DIP switch allows selec-tion of a crystal time base reference;six digits of time and six digits of dateare superimposed onto a video signallooped through the unit; on -screenmenus allow time setting, adjustmentof the display size and position.

310-322-2136; www.ese-web.com

BOOTH: C1839

MEDIA ROUTER

Broadcast Microwave ServicesTCII Media Router

Offers extended network capabili-ties to mobile ENG field units usingthe BMS Truck -Coder II digital mi-crowave system; transmits recordedvideo files back to the studio whilelive on -air; allows the operator tosend prerecorded program segmentsas files to the studio over the digitalradio link.

858-391-3050; www.bms-inc.comBOOTH: C1607

HD VIDEO TRANSPORT

Streambox SBT3-9100

Provides full -motion, full -frame1080i/720p HD broadcast video andaudio in real time over satellite andIP-based networks; the HD encoder/HD decoder works seamlessly withthe full range of Streambox systemsand solutions; built on the company'sACT -L3 codec, which provides HDvideo quality at data rates rangingfrom 512Kb/s to 20Mb/s.

206-956-0544; www.streambox.com

BOOTH: SU15515

PATCH PANEL

Jampro RCPU

Features low insertion loss and apositive lock mechanism for quickredirections of RF signal paths, aswell as an optional signal -flow indi-cator panel, dual -line power splitteror power measuring VSWR; appli-cations include patching RF feeds toemergency antenna, alternate main!auxiliary transmitters, filter bypass,master station combiner reroutes andtest point insertions.

916-383-1177; www.jampro.com

BOOTH: C2515

BROADCAST MONITORING SYSTEM

Barco Networked BroadcastMonitoring System

Allows high -quality, low -latency dis-tribution of video sources and meta -data over an IP network toward mul-tiple screens, even in different controlrooms; consists of rear -screen projec-tion modules or LCD panels, the NGSystem hardware and the NetworkedBroadcast Monitoring Suite softwarepackage; one rear -screen projectionmodule is capable of simultaneouslydisplaying multiple analog and digi-tal video feeds together with relatedmetadata, audio metering informa-tion and computer applications.

678-475-8000; www.barco.com

BOOTH: SL4320

PRODUCTION SWITCHFRS

Broadcast Pix Slate series

New AutoAspect software enables16:9 and 4:3 inputs, clips and graphicsto be used interchangeably and mixedtogether in the same live production,while maintaining the native aspectratio of each element, rather thanstretching them; the new HD -SD I/Oboard enables all new and existingSlate switchers to add HD camerasand produce an HD show.

781-221-2144; www.broadcastpix.comdOOTH: SU14215


3

0rt0

Q.

0

www.for-a.comHead Office (Japan): Tel: +81 (0)3-3446-3936

USP Western (CA): Tel: +1714-894-3311

USA Eastern & Midwest (NY): Tel: +1212-861-2758

USP Southern (FL): Tel: +1 352-371-1505

LatinAmenca & Caribbean (FL): Tel: +1305-931-1700

CANADA (Toronto) Tel: +1 416-977-0343

UK London) Tel: +4 (0)20-8391-7979

ITALY (Milan) Tel: +39 02-254-3635/6

KOREA (Seoul) Tel: +82 (0)2-2637-0761

INNOVATIONS IN VIDEOand AUDIO TECHNOLOGY

All in One Signal ProcessorIntroducing FOR -A's FA -9000, THE Processor.Born from a Icng history or original -echnology inframe synchronization and signal processing.

FA -9000 ''THE Processor" NEW

We are proud to irtroduce a new signal processor that supports all formats: HD, SD, analog, digital,

plus audio. The FA -9000 uses 12 -bit internal processing for high quality images. The FA -9000

goes beyond the r3alm of a typical signal processor featuring numerous options like an up/down-

converter, color corrector, HDV/DV interfaces, logo generator and Dolby E decoder.

THE Processor is fire next generation multi purpose signal processor.

Input/Output of at ID, SD, digital and analog formats;

HD/SD-SDI, HD/SD-analog component, ED Y/C and

SD analog composte

Digital/Analog audb support

Superb frame synoronization

Star dard support for SNMP monitoring

Optional up/Own converter, colo- corrector

HD \.../DV interlaces, Dolby E decoder and logo

generator fun 3tiOnS will be available as option

HDV and HDV logo are trademarks of Soy Corporation aid Victo Company of Japan Limited JVC).

Dolby is a register -Ed trademark of Dolby Laboratories.

See us at NAB Booth # C4234


REMOTE AES I/O BOX

Calrec Audio JB5607

A 3RU unbalanced AES I/O unit with32 AES inputs and 32 AES outputson BNC connectors; also available asa 11011 XLR-based 4RU variant; hasbuilt-in PSU redundancy with singleor optional dual IEC power connec-tions; interfaces to the Calrec HydraNetwork with dual Cat 5e GigE portsfor audio and control redundancy upto 90m; supports duplex fiber GBICconnectors.

+44 142 284 2159; www.caIrec.comBOOTH: N8529

HD STUDIO LENS

Canon DIGISUPER 22xs

Maintainsmensurate to that of other portableproduction cameras, weighing one-third a typical HD box lens; featuresa 105mm input optical port, whichproduces a high sensitivity, high con-trast, optimized uniformity of bright-ness across the image plane.

800-321-4388; www.usa.canon.com

BOOTH: SU3020

ENCODER/DECODER CARD

SAMMA Systems MJPEG2k

A video and audio encoder/decodercard; creates real-time lossless com-pressed video files and synchronizeduncompressed audio files; losslesscompression supported by the Mo-tion JPEG2000 standard is a com-pletely, mathematically lossless pro-cess on the video stream.

212-738-9417; www.sammasystems.com

BOOTH: SU7130

THREE -CHIP DLP HD PROJECTOR

Christie Roadie HD+30K

Features 30,000 ANSI lumens at 2Kresolution (2048 x 1080), a split -bodydesign, a scooped hood for improvedairflow, built-in rigging points, andbody handles or optional stacking/rigging frame.

800-407-7727; www.christiedigital.com

BOOTH: SL5413

CAMERA SUPPORT SYSTEM

Chrosziel MatteBox

A support system for DV and HDVcameras; features a modular configu-ration, which allows quick reaction;offers new supports and adaptor ringsfor the Canon XHG1, JVC GY-HD250and Sony HVR-V1 series cameras; theadaptor rings protect against spilllight and fix the proper alignment ofthe system; the vertical and horizontaladaptation of the support rod systemaligns the MatteBox with the opticalaxis of the lens, preventing unwantedstress from the lens.

+49 89 90 10 91 0; www.chrosziel.de

BOOTH: TBA

AUDIO PROCESSOR

Linear Acoustic AEROMAX-DTV

Six -channel television audio proces-sor; the fully integrated, entry-levelunit controls loudness and ensuresstable audio imaging for 5.1 -channelbroadcasts; accepts 5.1- or two -chan-nel audio inputs, plus a dedicatedEAS input via four BNC connectors;audio is processed by the DSP core;two -channel audio then can be mixedup if triggered by front -panel or GPIcontrol.717-735-3611; www.Iinearacoustic.com

BUU1H: 01048

CHANEOVER SWITCH

MicroFirst Engineering ICS -3200

Provides real-time redundant change-over control of two MicroFirst MPC-1600 and MPC-3200s; provides aseries of 32 A/B switch ports; has anadditional integral 10/100 Ethernetport, designed for residing on a stan-dard network infrastructure; usingthe internal switchover design, a de-tected failure routes data to the otherports, thus passing the appropriatedata at the exact moment required,providing a redundant -data system.

201-651-9300; www.microfirst.com

BOOTH: SU727

ASI TRANSPORT STREAMMANAGEMENT TOOLVisual Europe Transflow

Provides stream conditioning andcorrection of ASI streams; reducesbandwidth and headroom require-ments in MPEG-2 ASI transportstreams; increases available band-width by buffering data in the trans-port stream layer without transratingor transcoding.+44 1722 333074; www.visualeurope.com

BOOTH: C9844

PLAYOUT APPLICATION

Masstech MassChannel

Integrates with MassStore for trans-mission playout; stores file -basedcontent and plays out frame -basedcontent for automated environments;allows managed playout of contentand automated playout; the playoutdevice has full access to all file -basedcontent in the facility.

905-707-2614; www.masstechgroup.com

BOOTH: SU12712


Your Single Source Visit Us in Booth N11419At NAB2007

For Broadcast Solutions

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TRASAR° High Power._UHF Antenna

Your Source for HELIAX°Coaxial Cable and EllipticalWaveguide SystemComponents and InstallationAccessories.

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ERI is your single sourcefoc the broadcast industry'sbest antennas, filter andcombining systems,transmission line and RFcomponents, and towersar_d structural products.Our professional teamof engineers, designers,fabricators, project managers,ar_d installers take pride incc ntributing to your successby delivering products andservices to meet all of yourRF and structural needs.

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r ELECTRONICS RESEARCH, INC.j

Visit Online at www.eriinc.com Call Toll -free at 877 ERI-LINE


AUDIO AND DATA MULTIPLEXERClaratech CTP1000

Accommodates up to eight full du-plex audio and data channels pluseight general-purpose inputs/outputsin 1U; these are multiplexed ontoone optical channel for transmissionalong single -mode or multimode fi-ber; the single -mode version can alsooperate in duplex, enabling simulta-neous bidirectional communicationalong a single fiber; ideal for carryingprogram audio; can also be used forintercom links.

+441234 271053; www.claratech.com

BOOTH: SU9307

WIDESCREEN LCD MONITORS

Sony LUMA

LMD-2030W 20in model featuresWSXGA+ 1680 x 1050 resolution,HDMI input connectivity for HDVcamcorders and decks in portable ap-plications; supports composite video,Y/C, RGB component as standard andoptional DI -SDI; LMD-2450W 24inand LMD-2050W 20in models ac-cept 1080/60P signals via a standardDVI input; feature 10 -bit processing,waveform monitoring and audio lev-el meter display; support compositevideo, Y/C, RGB, component as stan-dard and optional SDI.

800-686-7669www.sony.com/professional

BOOTH: SU906

HDMI TO HD -SDI SCALER

Gefen

Allows digital video sources equippedwith HDMI connectors to link toHD -SDI displays; housed in a smallbox; accepts HDMI data and trans-mits it to the display using HD -SDI;works with multiple formats, includ-ing NTSC, PAL and SMPTE; the scaleris compatible with most LCD, plasmaand HD displays that support SDI.

818-884-6294; www.gefen.com

BOOTH: S12305

NETWORK INTERFACE CARD

Clear-Com E -FIB

Extension to the Eclipse range ofproducts; offers users a nonblockinghigh-speed audio connection betweenisolated locations; a dual concentricfiber ring provides full redundancywhile maintaining audio links, evenif the main fiber pair is fully discon-nected; runs at full audio bandwidth,allowing intercom matrices to shareaudio resources as if they were local.

510-496-6600; www.clearcom.com

BOOTH: C5912

BELTPACKS

Telex/RTS BP -319, BP 325and BP -351

Portable user stations for use withRTS Two -Wire intercom systems;BP -319 is a microprocessor -controlledone -channel intercom beltpack;BP -351 is a microprocessor -con-trolled two -channel select intercombeltpack; BP -325 is a two -channelfully selectable intercom beltpack.

800-323-0498; www.telexintercoms.com

BOOTH: C5329

ROBOTIC HEIGHT DRIVE

Shotoku TI -12

Provides extra elevation and the abili-ty to move and mount the height driveon a wide variety of legacy pedestals;its capability to extend the range ofpossible shots in robotic studios froma single camera position makes it ide-al for news, sports, current affairs andvirtual set studios.

310-782-8491; www.shotoku.tv

BOOTH: C7432

OUTDOOR TWT AMPLIFIERMCL MT3600

Features an event log, remote andcomputer interface, auto powercontrol and status and redundancythrough a 1:1, 1:2 or phase combinedsystem; supports applications at125W, 150W, 175W and 250W; allowscustomization to include an L -bandblock upconverter, internal linearizeror internal Ethernet interface.

630-759-9500; www.mcl.com

BOOTH: C4741


Program Sources

SDI & COMPOSI

3 VDCP CONTROL CHANNELS

Automation

REMOTE WORKSTATIONS

Ingest Trim Playlisting

12 AUDIO CHANNELS

Non -Linear Editor Network Storage

LARGE SCALE SERVER. SMALL SCALE PRICE.700 HOUR STORAGE

RAID -6 RELIABILITY

REDUNDANT POWER

REDUNDANT COOLING

# MPEG & DV CODECS

TARGA GRAPHICS

AES/EBU AUDIO

+4 ANALOG AUDIO

EMBEDDED AUDIO

SDI & COMPOSITE

I FAST ETHERNET XFERS

* REMOTE WORKSTATIONS

*at 12 Mb/sec.

Three years ago, 360 Systems starteda trend with our affordable ImageServer 2000. Now we're continuingthat good idea with MAXX 6T, today'smost affordable large server. It delversover 700 hours of internal storage,*protected by an advanced RAID -6 drivearray that'll keep you on air, even ifyou should lose two drives. MAXX 6Teven has total redundancy on powerand cooling.

Take a closer look, and you'll find a fullcomplement of features to enhanceworkflow and content quality. LikeRemote Workstation software thatlets you create separate work areas foringest, trimming, playlisting or review- anywhere you need them. New net-work transfer tools that move contentfast between NLEs, external storageand other servers. And MAXX importsand exports more forms of video thanever before.

Whether you're ri nning a nationalnetwork, naid-market station or a cableaccess charnel, ff-e new MAXX 6Tdelivers the expanded storage youneed, with the quality and reliabilityyou expect from :E.-'60 Systems. Stop byour web she for the complete story on360 Systems' new 6-Terabyte MAXX.

BROADCASTwww.360Systems.com

Tel: 818-991-0360E-mail: [email protected]

©2007 360 Systems


EXTERNAL HOLOGRAPHIC DRIVE

Ikegami HDS-300R

Enables users of Ikegami's Editcamand EditcamHD camcorders to trans-fer edited or camera -original videocontent via network interfaces tohighly stable 300GB cartridges withall the advantages of tapeless non-linear archiving and retrieval; offershigh storage densities, fast transferrates and a 50 -year shelf life.

201-368-9171; www.ikegami.com

BOOTH: C4226

CABLES

Comprehensive XHD HDMI cables

Industry -supported, uncompressed,all -digital A/V interface cables pro-vide signal transfer and a high -reso-lution interface between any HD A/Vsource and display; support standard,enhanced or high -definition videosuch as 720p, 1080i and 1080p, as wellas eight -channel digital audio withbandwidth to spare on a single cable.

800-526-0242www.comprehensiveinc.com

BOOTH: SL2520

DIGITAL VIDEO ROUTER

NVISION NV8256-Plus

A digital video router suited for mis-sion -critical applications in whichdowntime is not allowed and whereNVISION's HD -SDI super wide -band signal transport technology isrequired; easily expands from 256 x256 to 512 x 512 without distributionamplifiers; users can start with a sin-gle 256 x 256 frame and add a secondframe to make the router 512 x 512;future -proofing includes support forHD -SDI, SDI and analog signals ineither 525 or 625 line formats and3Gb/s capability.

530-265-1119; www.nvision.tv

BOOTH: SU9605

CLOSED CAPTIONSOFTWARE ENCODER

CPC

6 tau BON 9 0

Cuts the cost of captioning videos, en-hances the captioning process work-flow and enhances the quality of cap-tioned video, compared with the useof hardware encoders; runs on bothWindows and Mac computers; allowsthe complete captioning process to bedone on the computer, eliminatingthe need for videotape.

301-738-8487; www.cpcweb.com

BOOTH: C9436

ASPECT RATIO CONVERTER

Crystal Vision ARC-10MC

Offers 10 -bit processing and motion -adaptive video deinterlacing; maxi-mizes the picture's vertical resolution;chooses the best processing methodbased on the video content; performsconversions to 4:3 full screen, 14:9 pil-larbox, 4:3 pillarbox, 16:9 full screen,14:9 letterbox and 16:9 letterbox; hasa one -frame fixed video delay.

+44 1223 497049; www.mystalvision.tv

BOOTH: N2935

MPEG TRANSPORT STREAMTIME SHIFTER

Pixelmetrix DVShift

OV Shift Calf 1g 1,0w.=mamomis

on

neylist Two

Provides real-time user controllabledelay of MPEG transport streams;features time delayed rebroadcastacross time zones, international pro-gram distribution, real-time programscreening and filtering, and two hot-swappable power supplies with au-tomatic input voltage selection; in-cludes either a 500GB or 1TB RAIDdisk array.

954-472-5445; www.pixelmetrix.com

BOOTH: SU12109

COLORED CODING RINGS

For use with the XX series; providesfaster and easier connections for au-dio and instrument applications; newcoding rings expand to fill the void be-tween the rear boot and the front shell/housing for a more secure, durable fit;insert does not have to be unsolderedto change the color coding.


BOOTH: N8526

PAN AND TILT HEAD

Shotoku S -DASH

Designed for shooting high-speedmovement, such as sports, motor rac-ing and horse races; its pan -bar con-troller takes the form of a small panand tilt head that can carry a view-finder monitor TV and standard lenshand controls; the other control op-tion, the joystick, is a desktop unit foruse in production areas, OB trucksand other confined areas.


BOOTH: C7432


THE GREEKS ADDED ALL THOSE COLUMNSTO THE PARTHENON BECAUSE THE

ARCHITECTURE DEMANDED IT.

Igo _4-7266

C2-1260 0.1 Channel W66 tv

11116111.116111110/416 is ihrii[11 till mi !Li smiliII

/6 IP

TV ONE ADDED EIGHT HD -SDI INPUTS TO THE C2-7260BECAUSE TECHNOLOGY DEMANDED IT.

Willi all the new HD video sources hitting the market, it only makes sense to have more HD -SDI inputs it a video processor. TV Ore's C2-7260 is a Dual Channel, 17 InputVideo Processor that is perfect for the broadcast market. If the C2-7260 doesn't dazzle you with the 17 inputs alone just ta,m a look atalt the other features that it has tooffer:

- Seventeen Video Inputs -8 SD/HD-SDI, 3 DVI-I Ws] RGB, YUV, YPbPr), 3 Composite and 3 YC (S -Video)- Two Independent Output Channels (each with SD/M-SDI, Composite, YC and D1/1-1)- Two CORI020 Independent Video Processors- loalog to HD -SDI Up and Down Conversion- 5)1 to HD -SDI Cross Conversion- Cmputer Resolutions to 204802048- Aialog Resolutions up to 1080p and HD -SDI to 1088 G itch -Free Seamless Switching between formats with Cuts, Fades and Effects- Uirestricted Dual PIP - Any Input over any other- Edge Blending- Flexible Control with RS -232, IP Interface, Windows Control Panel, TV One's CC -300, or control it directly on the front with the CCRIO EXP Front Pane

Frmware Based for easy field upgrades- Cenlock any Video Input to any other- Multiple Layering and Windowing CapabilityF exible Key Layering - Background Lock Source can be moved to the Foreground

- Z 30M up to 1000% with full Positioning

- !nage Shrink to 10% with full Positioning

toll free: 800-721-4044 [email protected] www.tvone.com


MULTICHANNEL MONITOR RACKCustom Consoles Media Wall

Incorporates height -adjustable hori-zontal beams suspended between 2msilver anodized aluminum supports;uses pivoting VESA and plasma-

mount fittings for the attachmentof large and small panels; enablesexpandable housing of power andvideo wiring with a horizontal cableduct beneath each monitor mountingbeam routed to a vertical coil.

+44 1525 379 909

www.customconsoles.co.ukBOOTH: SU9011

MOBILE 8VSB APPLICATIONTriveni Digital

Mobile infotainment system for in -

car applications; distributes digitalvideo content to mobile receivers andprovides for local geographical cov-erage on a DMA basis at high datarates; the application is based on thecontent -distribution platform Sky -Scraper, which reaches more than 54percent of the U.S. population overthe existing DTV infrastructure.

609-716-3500; www.trivenidigitacomBOOTH: SU8525

CONFORM STATIONda Vinci Resolve

Enables users to perform conform-ing, proxy -generating and QC pro-cesses from a fully integrated parallelworkstation; quickly generates lowerresolution (proxy) files using da Vin-ci's Transformer technology.

954-688-5600; www.daysys.com

BOOTH: SL2615

HD AN MONITORING SYSTEM

Wohler Technologies VAMP AC -3/M

Features a 4.3in widescreen NTSC/PAL autosensing LCD monitor andvideo controls for color, tint/hue,brightness and contrast; monitorsDolby Digital, AES/EBU and HD-SDI/SDI video and audio; isolatesindividual channels of Dolby Digitaland decodes Dolby Digital and AES/EBU embedded in HD-SDI/SDI.

510-870-0810; www.woh I er.com

BOOTH: N3426

HD STANDARDS CONVERTERSnell & Wilcox Alchemist Ph.0 - HD

INEMMEMMINNIM= vs N.

Offers HD frame -rate conversionfor both 1080i and 720p standards;performs SD standards conversionbetween 50Hz and 60Hz material,and HDTV upconversion, downcon-version and crossconversion; pro-vides two outputs that can be usedfor transmission of program feeds inmultiple standards or formats.


BOOTH: SU4220

OPEN MEDIA ASSET MANAGEMENTDalet Digital Media SystemsDaletPlus Enterprise Edition

Designed for open broadcast work-flows; customizable to any media -

driven environment; offers a range ofproduction and media managementfunctionalities; Web -services -basedAPI allows integration to service -

oriented architectures for users toembed digital media services withinthe corporate data backbone of theircustomers.

212-825-3322; www.dalet.com

BOOTH: SL4305

REMOTE NEWSROOM COMPUTERSYSTEM

OCTOPUS Newsroom Field Reporter

All incoming information, such aswires, Web feeds, media, faxes ande -mails, are organized and readyto be used as ideas for last -secondnews coverage; offers a global searchengine, keyboard shortcuts for fre-quently used actions and saved screenlayout recall; features a new servicefor transferring stories and wholerundowns, allowing channels to sharetheir assets between offices aroundthe world.

+420 221 181 511

www.octopus-news.comBOOTH: N413

STORAGE CONTROLLER

DataDirect Network S2A9550

Designed for high-performance,high -capacity network storage appli-cations; delivers 3GB/s and 560TB inone storage system; provides optimalblock level and file system perfor-mance for highly scalable, open -sys-tem computing environments; offerseight plug -and -play FC-4 and/or In-finiBadn 4X DDR (SCSI RDMA pro-tocol) host side connections and 20Fibre Channel or SATA disk drives.

800-837-2298; www.datadirectnet.comBOOTH: SU5605

MULTIFORMAT AUDIO MONITORTektronix AMM768

A scalable platform that monitorsanalog, digital and Dolby audio; pro-vides a picture display option to facil-itate video and audio coordination; afour -tile display and a picture moni-tor of the video that's associated withthe audio enables operators to makequick decisions to maintain the qual-ity of the on -air material.

800-833-9200; www.tektronix.com

BOOTH: N2519


fast scalable multi-res integrated broadcast quantel.com

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More and more broadcasters are doingbrilliant business with Quantel technologyBroadcasters the world over are turning to Quantel technology to improve

workflows and boost revenue. Our technology is enabling them to achieve

their goal by maximising the potential and productivity of their people,

their systems and the new media opportunities that are transforming

the business of broadcast.

Quantel - technology that means business0

Quante!


HD PRODUCTION WORKSTATION

Dayang D3 -Edit HD9

Performs five -layer HD stream play-

out in real time with 3-D DVEs activeon the top four layers; incorporates12b real-time chroma and luma key,graphics and title key matte extrac-tion, including fine mask adjustment;provides four upconversion modes(window, box, margin and zoom) andthree downconversion modes (box,margin and zoom); supports IEEE -1394 devices (miniDV, DVCAM andDVCPRO25/50), Panasonic P2/P2 HDand Sony XDCAM/XDCAM HD.

+852 2730 2117; www.dayang.com

BOOTH: SU10205

COMPRESSION PRODUCTS

Harris

The suite of HD MPEG-4 part 10compression products address thecontribution, distribution and trans-mission needs of the television in-dustry; leverage the latest advances incompression algorithm technology;enable new applications and servicesby allowing lower -bandwidth opera-tion of HD services over satellite, ter-restrial and IPTV delivery platforms.

513-459-3400

www.broadcast.harris.comBOOTHS: N3100, N2502

NEWS PRODUCTIONCONTROL SYSTEM

Digital Broadcast NewsCommand

Automates the news production pro-cess by controlling production switch-ing, cameras and pedestals, audio con-soles and other ancillary equipmentused in newscast production.

352-377-8344; www.dig ita lbcast.com

BOOTHS: SU13310, SU13510

RED -WHITE LEDOBSTRUCTION BEACON

Dialight

The medium -intensity beacon is de-signed for marking broadcast andcommunications towers; offers asolid-state design that enables 20,000candela flashing white combined witha 2000 candela steady or flashing redall -LED obstruction light; designed towithstand high levels of vibration andthe most severe environments.

732-919-3119; www.dialight.com

BOOTH: N8035

PORTABLE SURROUNDMICROPHONE

Holophone H4 SuperMINI

Comes equipped with an integratedmultichannel preamplifier, monitorand encoder; offers six microphoneelements with a bandwidth of 20Hzto 20KHz, a matrix -encoded stereoanalog output and six line -level ana-log outputs, which are available at oneper channel from three stereo 3.5mmfemale jacks.

416-362-7790; www.holophone.com

BOOTH: N6034

PLAYOUT SYSTEM

DNF Controls Flex Control NetworkStation Playout System

On -air commercial and programplayout system for TV broadcast sta-tions; provides control over one ormore channels of video server play -out; offers ingest, an as -run log andoptional redundant operations.

818-898-3380; www.dnicontro I s. c o m

BOOTH: N1526

PYLON -STYLE ANTENNA

Dielectric Broadband OmniCP Pylon Antenna

A MobileMedia antenna suited forthe lower 700MHz band; uses one-third of the radiators, feed systemsand connections typically used in apanel -style antenna; designed withshort element spacing; features a lowRFR, a VSWR of less than 1.2:1 andlow windload; incorporates discrete,circularly polarized, truncated broad-side helical elements.

800-341-9678; www.d i e I ectri c.com


AUDIO METER

DK-Technologies MSD 600M

New features include the latest LEGloudness measurement protocol, anupgraded Jellyfish surround -sounddisplay that provides more informa-tion, improvements in Session Log-ging and LEG Logging and graphingwith SMPTE time code, and improve-ments to DK-Level Read - the PC -based long -format logging and docu-mentation software.

831-335-5299www.dk-technologies.com

BOOTH: N1835


Our FOCUS is you.With over three billion dollars in commercial revenue delivered peryear through Florical automation who else would you trust?

New to AirBossTM: S.M.A.R.T. CentralTM: The System Management And Reporting Tool Center isthe new web based gateway into all parts of the automation system.

Automated Traffic InterfacesTM: Why wait for SMPTE S-22 BXF? Use our transitional bridgefrom traditional traffic interfaces to the new Broadcast Data Exchange.

TimeShifterTM: An innovative time delay feature in the newly designed AirBoss presentation suite.

Parking LotTM: Live production feature in AirBoss presentation suite fnat allows the user to dragand drop server material as needed during live news or sports programming.

352.372.8326 www.florical.com NAB Booth #SU720fLORI(111.SYSTEMS

Copyright 2007 Florical Systems, Inc All R,ghls Fleserved.Ftencak Florical Systems, AirBoss, Central. TimeShifter and Parkinn101 are trademarks okFlornAl System,


ENCODER

Dolby Media Encoder SE

A cost-effective single -computer soft-ware encoding solution that offers thesame level of high -quality encodingcapabilities as the original Dolby Me-dia Encoder network version; encodesall Dolby audio technologies used inpackaged media applications, includ-ing Dolby Digital, Dolby Digital Plus,Dolby TrueHD and MLP LosslessTM;produces audio files for DVD-Video,DVD-Audio, HD DVD and Blu-rayDisc.

415-645-5000; www.dolby.com

BOOTH: N2513

AUTOMATION SYSTEM

MicroFirst Engineering DigitalAutomation System (DAS)

Designed to provide efficient andreliable metadata management anddevice control; offers powerful me-dia management, sophisticated log-ging functionality, integration withany traffic system, full -functionedgraphical device control, distributedor centralized IP control, monitoringand maintenance of WAN televisionsystems, and interfaces to nearlinestorage and archive managementsystems.


BOOTH: SU727

DIGITAL SOLID-STATE UHFTRANSMITTERLARCAN Magnum

Users can choose between 2.5kW,5kW, 10kW, 15kW or other options;features versatile air-cooling andmultiple regulated power supplies; in-cludes intuitive advanced diagnosticsand an extensive monitoring systemdesigned to simplify maintenance; fitsin 10kW of power in 25sq ft of space.

905-564-9222; www.larcan.comBOOTH: C1916

HD VIDEO PLAYER

Doremi Labs NuggetPro

411111111111161A standalone HD video player; playsback video from its internal hard driveto its HD -SDI video output; using thenew Doremi Asset Manager software,users can transfer a variety of videoclips, such as MXF, QuickTime andWindows Media; can be used in fixedinstall applications for playback tohigh -resolution projectors, LCD andplasma displays; can also be used torun a looping video clip or playlist.

818-562-1101; www.doremilabs.com

BOOTH: SU3608

HD MPEG-2 TS ENCODER

DVEO NCoder HD

Compresses HD -SDI video from HDcameras in near real time; features IPoutput, DVB-ASI output or simulta-neous DVB-ASI/IP output; encodes1080i, 1080p or 720p HD; featurescompatibility with PAL or NTSC vid-eo formats.

858-613-1818; www.dveo.com

BOOTH: SU5026

CHANNEL INGESTTV Magic i/olngest

Offers users an ingest channel for cap-ture of footage from tape- or file -basedmedia; allows users to view the feed atthe same time it is being recorded withApple QuickTime, as well as add asmany record, edit and playback chan-nels as desired; captures direct -to -localor shared storage; can perform longcaptures at varying durations.

858-650-3155; www.tvmagic.tv

BOOTH: N406

INTERCOM SYSTEM

Riedel Performer CR-4

A 19in, four -channel, 1RU master sta-tion; any combination of beltpacks,split -boxes or desktop -panels cansimply be plugged to the master sta-tion using XLR microphone cables;provides noise- and hum -free, high-

quality digital audio with side -tonenulling; features integrated powersupplies to power up to four beltpacklines.

818-563-4100; www.riedel.net

BOOTH: C9428

DISPLAY PROCESSOR

e-mediavision.comX -View DPX range

New multiviewer range to X -View, amodular/scalable display processorthat can be configured to provide upto 36 display outputs at resolutionsup to 1600 x 1200 on each output,enabling an overall common walldisplay resolution of 57,600 x 43,200pixels; enables 64 computer -basedsource inputs and 144 video inputsto be displayed as mosaic windowsacross the entire wall display.

+44 20 8755 2014

www.e-mediavision.comBOOTH: C9538

WIRELESS CAMERA TRANSMITTERElber WLCT-01

A mobile transmitter, ideal in situa-tions where portability and mobilityis important; the system incorporatesMPEG-2 and COFDM technologies;features an optional 36MHz IF fre-quency output and a frequency rangefrom 2.1GHz to 2.5GHz; supports6MHz, 7MHz or 8MHz bandwidths;features low -power consumption.

+39 0185 351 333; www.elber.eu

BOOTH: C1628


www.tandbergtelevision.con

Whether it's advanced compression.on -demand or interactive television,we deliver the technology and expertisethat's moving digital media forward.

et Copyright 2007 TANDBERG Television

See us at NAB, Stand #SU4211

TANDBERG telEvision


UHF TV ANTENNA

Electronics Research (ERI) AGWQuick Deploy Standby Waveguide

A low-cost emergency standby an-tenna for UHF television applica-tions; the simple design can be tunedquickly to the desired operating chan-nel; includes mounts and associatedhardware; the antenna is constructedso it can be permanently mounted asa main or auxiliary antenna.

877-ERI-LINE; www.eriinc.comBOOTH: N1119

MEDIA ARCHIVEEMC AVALONidm v3.2

Includes an open, Linux-based archiveand integrated transcoding; provideslower server platform costs to newclients using Linux Redhat to manageand transfer files; supports the MXFOP 1A file standard, the SUN T10,000tape drive, the Quantum SDLT600Atape drive and the Centera UniversalAccess node.

580-249-6207; www.emc.com

BOOTH: SU6824

ENCLOSURE SYSTEM

Emcor Enclosures ESQ

Houses electronic equipment; featuresfully welded construction and a loadcapacity of up to 6001bs; available in19in, 24in and 30in panel widths; fea-tures seven vertical opening heightsand three depths, including 30.75in;frame types include vertical, slopefront, low silhouette, wedge, instru-ment, riser and turret; features adjust-able front -to -rear mounting angles.

507-287-3535

www.emcorenclosures.comBOOTH: TBA

HD/PC TO HDMI VIDEO SCALER

TV One 1T-AVPC-HDMI

Outputs resolutions up to 1080p; ac-cepts analog PC inputs to WUXGAat 60Hz, analog YpbPr/YcbCr HDTVinputs to 1080p, digital HDMI andDVI-D signals up to 165MHz anddigital PC RGB signals up to UXGAat 60Hz; features 3:2 pulldown, 2:2pulldown detection/recovery and3-D noise reduction; integrates ana-log stereo audio, PC stereo audio oran auxiliary stereo audio input intothe HDMI output data stream.

859-282-7303; www.tvone.com

BOOTH: SU7226

SIGNAL INTEGRATION SYSTEM

Ensemble Designs Avenue

Includes HD video/downconverters,logo inserters, protection switches, au-dio embedders and video converters;an expandable, modular tray -basedsignal integration system housed in a1RU or 3RU frame; allows any combi-nation of HD video, SD video, DVB-ASI and audio modules in the sameframe; PC software and touchscreensallow users to control and monitorevery module from any location.

530-478-1830

www.ensembledesigns.comBOOTH: SU2326

ROUTER

Evertz EQX

A 576 x 576 router, expandable to 1152x 1152; accepts digital signals from19.4 (SMPTE 310M) through SDI,ASI, HD/SDI and up to 3Gb/s; featuresa modular, hot-swappable, redundantdesign, independent monitoring bus,SNMP interfacing, advanced systemcontrol, and source -by -source intelli-gent autoconfiguration.

905-335-3700; www.evertz.com

BOOTH: N1713

CAMERA BATTERY

IDX System TechnologyENDURA ELITE

Li -Ion V -Mount battery; designed formobile, HD ENG/EFP broadcast, pro-duction and professional applicationswith 142WH capacity; features a re-placeable twin power cartridge designthat extends continuous operationtime to 3.5 hours (using a 40W HDENG/EFP camera); complies withcurrent IATA and UN A45 aircraft se-curity regulations.

310-891-2800; www.idx.tv

BOOTH: 05207


pro bel

Our new entry-level automation mayleave you with some time to kill...

Media Management

Master Control

Control & Monitoring

Routing

Router Control

Modular Infrastructure

...and some money to spare

Pro-Bel's Morpheus automation system drives some of the world's largestand most complex playout operations. Major companies like TurnerBroadcasting choose Morpheus because it provides them with the toolsthey need to de iver their content in winning and totally reliable ways.

Now, Morpheus =c undation offers all of Pro-Bel's automation expertise ina single, entry-level system which delivers best -of -breed capabilities at anentry-level price. Morpheus Foundation is an out -of -the -box solution whichprovides no -compromise channel automation. It comes pre -configured todrive your choice of video server, logo generator and closed -captioningsystem. Interfaces for Store and Forward solutions and EAS are supportedas well as a wide variety of scheduling systems. Morpheus Foundation isflexible and sca able and offers a variety of options for advancedredundancy and media management as well as a choice of ingest tools.And the price will certainly give you something to smile about!

To find out more visit www.pro-bel com Engineering The Broadcast Future


ARCHIVE SOFTWARE

EVS XFile

The latest software module of the Xfiledelivers IMX OPla media files onto re-movable HDD during the feed recordin the XT[2] video production server;as soon as the recording process starts,the material is simultaneously ingestedon the XT[2] server and transferredon the station's shared storage; theXfile acts as a gateway to post produc-tion and is responsible for all copy andtransfer requirements during ingest.

+32 4 361 70 00; www.evs.tv

BOOTH: C3607

BNC CONNECTORS

Canare BCP-PC

The 75S1 connectors are designed forSD -SDI applications; include a longerbody, making them easier to grip; fea-ture a three-piece crimp design, mak-ing assembly and field -replacementeasy; models are available for severalindustry -wide popular cables, with26dB or less return loss at 1Ghz and20dB or less at 1.5GHz.

818-365-2446; www.canare.com

BOOTH: SU4805

RACK -MOUNTTEMPERATURE DISPLAY

Middle Atlantic TEMP -DEC Decora

A rack -mounted temperature display;monitors internal enclosure tempera-ture and provides an LED readout;fits into any Decora-style opening;features adjustable over -temperaturesetting and local and remote over -temp notification.973-839-1011; www.middleatlantic.com

BOOTH: SU7826

AUTOMATION

Florical AutomatedJoin in Process (JIP)

Featured in the AirBoss presentationcontroller; fully automated to providepotentially unattended join in progressof local recorded programs based on aremote signal from the network.

352-372-8326; www.florical.comBOOTH: SU720

HD -SDI DATA LINK

Eyeheight enigmaHDi

Allows RS -232 data to be transportedvia an HD -SDI link and carrier linesto be blanked to conceal data fromdownstream devices or viewers; ap-plications include camera pan/tiltdata forwarding to effects equipment,caption data forward and tape meta -

data delivery.

+44 208 255 2015; www.eyeheight.com

BOOTH: SU2823

DIGITAL AUDIO WORKSTATION

Fairlight SatelliteAV

tL2

Features integrated video, plug -ins andmixing designed to streamline andsimplify all aspects of the audio forvideo post -production process; nowincludes the company's CC -1 mediaengine, which can deliver up to 230channels each with eight bands of EQ,three stages of dynamics, 192 track re-cording and editing, as well as a com-plete multiformat mixing system.

+61 2 9975 1777; www.fairlighteu.com

BOOTH: 514010

AUDIO ROUTING PANEL

Telex/RTS ARP -32

Audio routing panel establishesaudio input and output paths byforcing crosspoints across an inter-com system; works closely with thecrosspoints screen in AXedit to allowusers to enable, force or inhibit portsin an easy -to -use interface.

800-323-0498; www.telexintercoms.com

BOOTH: C5329

DIGITAL VIDEO RECORDER

Fast Forward Video Xi series

Delivers broadcast -quality digitalvideo in either single- or dual -chan-nel models; offers fixed or removableSATA hard drives, optional SDI, fullvariable speed playback control andUSB 2.0 download ports; all modelsin the series feature QuickTime fileformats, composite and Y/C I/O, RS -

422 control and scalable motion JPEGcompression rates from 4:1 to 20:1.

949-852-8404; www.ffv.com

BOOTH: C9720

DUAL HD MONITOR SET

Marshall Electronics V-R72P-2HDA

Features high -resolution, 1.2 mil-lion pixel screens with digital signalprocessing; designed specifically foranalog applications; accepts DVI andHDMI computer or video signals,and all SD and HD analog video stan-dards and signal types.

800-800-6608; www.lcdracks.com

BOOTH: SU1926

IMAGE -PROCESSINGTOOLS FOR SHAKE

The Foundry Furnace 4

Version 4 offers a suite of more than30 image -processing tools for usewith Apple's Shake, many of whichautomate time-consuming processesin the creation of digital effects.+44 20 7434 0449; www.thefoundry.co.uk

BOOTH: SL14413


Avocent introduces the future ofediting environments.

The NEW Avocent EmergeTM ECMS2000UDigital Workstation Extender.

Now ShowingDVI and USB over IP

Share use of expensive HD audio -video eciting systems

I Control ambient noise in the edit suite

I Prevent bootleg media from leaving the ecit suite

I Seamless extension of dual -channel CD quality audio

ra..8200,1i

Try the Emerge ECMS2000UExtender for 30 -Days.Call Avocent at 800-275-3500 or954-746-9000, x. 7110Visit www.avocent.com/broadcast for details.

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Avocent, the Avocent logo and Emerge are traaemarks or registered trademarks of Avocent Corporation or its affiliates.All other marks are the property of their respective owners. © 2007 Avocent Corpora:ion.


SIGNAL PROCESSOR

FOR -A FA -9100

A new HD/SD FA series signal pro-cessor; a more advanced version ofthe FA -9000; supports all formats,including HD, SD, analog, digital andaudio; uses 12 -bit internal process-ing for high -quality images; featuresnumerous options such as an upcon-verter, downconverter, color correc-tor, median -based noise reduction,logo generator and Dolby E decoder.

714-894-3311; www.for-a.com

BOOTH: C4234

CHANNEL BRANDINGOrad 3DPIay

Combines 3-D real-time graphics,videos and audio in one solution; of-fers a turnkey, easy -to -use multichan-nel control over multiple downstreamand upstream channels; enhances astation's graphics and its workflowefficiency; promotes asset reuse forimages, video clips, audio and anima-tions; offers a consistent graphical ap-pearance and operator interface whiledefining multiple networks.

212-931-6723; www.orad.tvBOOTH: SU3614

HDTV CAMERAS

Hitachi Z -series

Employ the latest generation of 2/3inCCD imagers with full raster HDTVresolutions (1920 x 1080 or 1280 x720) without compromising resolu-tion performance or picture fidelity.

516-921-7200; www.hitachikokusai.us

BOOTH: C5017

FIBER-OPTICTRANSMISSION SYSTEM

Communications Specialties PureDigital Fiberlink 7500 Series

Transmits all single -link DVI resolu-tions up to 1920 x 1200 and stereoaudio over one single -mode, nonpro-prietary fiber; supports distances upto 15km; features a DVI loop-thrufor monitor and EDID; provides twoDVI outputs.

631-273-0404; www.commspecial.comBOOTH: SL2826

NEWS SYSTEM

Quantel Newsbox HD

The self-contained news system isready to go on -air straight out of thebox; available in both HD -now andHD-upgradable configurations, al-lowing broadcasters to manage theirHD investments; works with all thelatest HD acquisition formats; allowsusers to ingest material, view rushes,choose shots, edit stories, review fin-ished pieces and play them out to air.

+44 1635 48 222; www.quantel.com

BOOTH: SL720

UHF ANTENNA

ER! TRASAR UHF

Dual -channel transmitting antenna;allows stations with N+1/N-1 or ad-jacent DTV assignments to share oneantenna; can be top- or side -mount-ed, or used as a structural member inthe company's STACKER optimizedantenna structure solution; offers 12azimuth patterns to choose from; fea-tures a maximum of 6MHz per chan-nel for NTSC.

812-925-6000; wwww.eriinc.comBOOTH: N1119

DIGITAL WORKSTATION EXTENDER

Avocent ECM2000U

Provides hardware -based digital ex-tension of video, keyboard, mouse,USB media and audio signals overUTP cabling; part of the company'sEmerge series; consists of a computernode and user node interconnectedpoint-to-point at GigE rates using IPover a single UTP cable; allows back -rack broadcast -quality servers withoutaffecting post -production operations.

800-275-3500; www.avocent.comBOOTH: SL13016

HD FILTERS

Formatt Filters

HD Clear Soft filters soften with mini-mal loss of detail and contrast; HDSoft Gold Enhancing filters subtlysoften the image with great skin toneenhancement; HD Supersoft Gold En-hancing are designed for skin tone andfacial enhancement, as well as for theremoval of hard lines and blemishes.

+44 1685 870 979; www.fonnatt.co.ukBOOTH: C5917

CONTENT STORAGE MANAGEMENT

Front Porch Digital DIVArchive

Software middleware enables interop-erability between large digital mediastorage devices, video servers, editingsystems and digital media workflowapplications; enhancements includebroader interoperability with FrontPorch Digital's key partners' emerg-ing technologies, enhanced perfor-mance for network -based API clients,file -system -interface refinements andenhanced error messaging.

303-440-7930; www.fpdigital.comBOOTH: SU14915


FUMILM FUJINON

Small Size...Big-Time Performance.

Fujinon's Next Generation of Studio Lenses Wide Angle 7mm

Precision Zoom/Focus

Minimum Focus Breathing

Lightweight (13.2 lbs.)

Robotic Interface Removable Hood

f".DIGITAL

Broadcast and Communications Products Division

www.fujinon.com FUJINON INC. 10 High Point Dr., Wayne, NJ 07470-7434 Phone: (973) 633-5600, FAX: (973) 633-5216

FUJINON CORPORATION 1-324 Uetake, Kita-Ku, Sabina City, Saiama 331-9624 Japan Phone: 81-48-668-2152


SIGNAL MAPPINGZ Technology DSS5800 DriveTest

New software release for DSS5800DTV signal coverage measurementand mapping system, which incorpo-rates an NIST traceable field -strengthmeter, ATSC/8VSB decoder, WAAS-enable GPS receiver, 12VCD/ACpower system and a Windows laptoprunning DriveTest; runs in WindowsVista; provides signal coverage mea-surement and mapping for analogand digital signals.

-613-9832; www.ztechnology.com

BOOTH: C3039

INTERFACITLITY MEDIA SHARING

BitCentral OASIS

1.111111=1:111MMO

= ==. ==

117- = = = =

A file-sharmg program for broadcastnews production that facilitates usercollaboration and media sharing; blendsclient/server distribution with peer -to -

peer distribution; enables streamlinedfilesharing between HD and SD sta-tions within a group; uses any com-modity storage to inexpensively archiveat a cost far lower than tape.

800-214-2828; www.bitcentral.com

BOOTH: SL7715

PORTABLE HMI LIGHTINGFrezzi

The line is designed for newsgather-ing and field production, and for sta-tions and networks converting to theHD format; includes the sleek, light-weight 18W and 24W HMI as well asthe highest output 200W and 400WHMI lights; balanced for natural day-light at 5500K with a 92 -color render-ing index.

973-427-1160; www.frezzi.com

BOOTH: C5422

HD TELEPHOTO LENS

Fujinon XA88x8.8BESM

Features 88X magnification withthe widest focal length of 8.8mm to777mm telephoto; ideal for largesporting events; captures wide-angleshots or long-range close-ups in 16:9,4:3 HD or SD; comes equipped withFujinon's GO -Technology, which im-proves image resolution and chro-matic aberrations at all focal lengths.

973-633-5600www.fujinonbroadcast.com

BOOTH: C4208

MICROWAVE RECEIVER

MRC MDR -2

A portable, dual -diversity digital mi-crowave receiver that may be rapidlydeployed to cover sports, news andoutside broadcasts from ground lo-cations, from the air, or from a mov-ing vehicle; the ideal companion toa camera -mounted COFDM trans-mitter; uses the latest maximal ratiocombining technology to optimizethe quality and usable range of thetransmitted signal.

978-671-5700; www.mrcbroadcast.com

BOOTHS: 0E300, C2907

MULTIUSER KVM SWITCH

Fujitsu Components America FS -8000

AIMAllows up to eight remote users to ac-cess up to 32 servers over Cat 5 UTPcabling between the main unit andthe user console unit; enables remoteusers to access servers up to 300maway while maintaining support forXGA and SXGA monitors, and from200m away for UXGA monitors;supports PS/2, USB, SUN MD8 andSUN USB server interfaces, as well askeyboard hot -key switching and on-screen display.

408-745-4900; http://us.fujitsu.com/kvm

BOOTH: C7807

TRANSCODING

Telestream FlipFactory MetaFlip

Helps content owners capitalize onnew revenue opportunities by meet-ing the unique data requirementsof iTunes, RSS and CableLabs VODworkflows; transforms metadataalong with video and audio files forsubmission to content aggregatorsand distributors; offered as a standardfeature with FlipFactory Mobile andan option for all other FlipFactoryworkflow automation applications.

877-257-6245; www.telestream.netBOOTH: SL9214

VIDEO-OVER-IP PLATFORM

Hewlett Packard HP IPTV

A standards -based video-over-IPplatform; enables service providersto deploy a high -quality video deliv-ery service that enables subscribers towatch live broadcasts or on -demandvideo content.

800-752-0900; www.hp.com

BOOTH: SL3820


When only the best will do:

HPby Forte! Bri

Automated Up/Down/Cross Conversion Aspect Ratio Conversion Dolby E embedding, synchronizing, and de -embedding HD Synchronization HD Color Correction HD Legalizer Support for up to 16 channels of audio Optional QuadraCombTM conversion for A to D Full VBI Support

Based on its patented digital signal processing, Integrity delivers to HDthe same uncompromised signal quality you have come to expect fromForte! DTV. Available in 1RU or modular configurations, Integrity HDcan be tailored to meet any user need. Our comprehensive range ofconversion products are controlled by the full-fea-.ured Integrity ControlSystem -a responsive, easy to read, and intuitive interface foroperator control. When only the best will do: HD by Forte! 1371/.

Find Out More on Fortel DTV Products at [email protected] or www.rorteldtv.com

Integrity HD 1RU frame supports

the fell line of feature -rich signal

processing cards

Rugged, easy to read Control Panel

Integrity HD frame holds up to

18 cards in 4RU

- froentiovr.24 Vi:xibineAve Suite 16 port NY, USA 11768

Tel +1(631) 91:-1301 Fax +1 (631)912-1302 To: Free USA: 800-328-1008


THREE -CHIP DLP HD PROJECTOR

Christie Roadster HD18K

Delivers 17,500 ANSI lumens; featuresa HD 1920 x 1080 engine and 1600-2000:1 full -field contrast ratio; offersbuilt-in stacking and rigging pointsfor easy setup for redundancy or to in-crease brightness and user -replaceablelow -power -consumption bulbs.

800-407-7727; www.christiedigital.comBOOTH: SL5413

HD -SDI TO HDMI SCALER

Gefen

Enables a direct connection betweenHD -SDI sources and HDMI displays;provides a cost-effective alternativeto using SDI displays; HD resolu-tions are scaled and supported up to1080p.

818-884-6294; www.gefen.com

BOOTH: SL2305

PLAYLIST AND CUE MANAGER

Hi Tech Systems Q -Tracker

. ly ,

OA. '1it.

A VDCP controller based on theQ -Tracker touch -screen interface;intuitive control surface for non-technical operators; enables fast, easyplaylist building from up to six videosources; cue capture is achieved bytouching the source display; the cueis stored as a thumbnail image withuser -definable metadata.

+441256 780880; www.hitechsys.co.ukBOOTH: N710

MEDIA STORAGE NETWORK

Avid Unity ISIS

Features four-way scalability, from8TB to 192TB of storage and redun-dant, hot-swappable system compo-nents; supports up to 150 dual -stream50Mb/s clients and up to 1000 useraccounts; delivers real-time SD andmastering -quality DNxI-ID mediain formats up to 145Mb/s; employsstandard GigE technology.

800-949-2843; www.avid.comBOOTH: SL106

MCR DEVICE CONTROL SYSTEM

Pharos Communications Pilot

MODAIIM Source Test SD

Ho Lev UP 4411

.C90

Allows operators to deploy settingsinstantly for SD, HD or multidefini-tion broadcasting via a single touch -

screen, including aspect -ratio switch-ing, A/V synchronization and audiochannel manipulation; features in-clude HD/SD tone and bar enablingvia GPI, presets for A/V timing, colorcorrection, ARC and up-/downcon-version, and audio monitor switchingbetween Dolby 5.1 and stereo.

+44 118 950 2323www.pharos-comms.com

BOOTH: SU8905

TELECINE EDIT PACKAGE

da Vinci Telecine Pre -Programmer

Controls a telecine's transport andcolor parameters in a dailies environ-ment; leverages the telecine's owncolor capabilities; includes a completetelecine edit package.

954-6 -5600; www.daysys.comBOOTH: SL2615

WIRELESS HEADSET INTERFACE

HME HSI6000

A headset interface for use with theDX series wireless intercom systems;allows users to connect a standard2.5mm cordless or cell phone head-set to an HME BP200 beltpack; thisadapter makes it more cost-effectivefor users of the HME DX series sys-tems to replace headsets or add newusers.

858-535-6060

www.hme.com/proaudio.cfmBOOTH: C11632

MIC SNAKE

Holophone Side Winder -6

When used in combination with anyHolophone mic, the unit easily encodesa 5.1 surround recording into a stereorecording; a 3ft Monster cable attachedto the side of the mic snake terminatesin six Neutrik 6 -pin XLR connectors;the matrix -encoded surround outputcreated by the module can be trans-mitted, shared and processed via anysurround infrastructure.

416-362-7790; www.holophone.com

BOOTH: N6034

COMPACT FLUORESCENTLIGHTING UNIT

Videssence P110-255BX Power Key

Provides 110W coverage using two55W Biax lamps; features a simple ad-justment mechanism that moves thelamp within the fixture for 60 -degree,70 -degree or 90 -degree spread, and anadjustable rotating mounting yoke;available in dim and nondim configu-rations; UL/CUL/CE approved.

626-579-0943; www.videssence.tv

BOOTH: C8212

Continued on page 119


5Great ReasonsYour Station NeedsBitcentral NOW!

1. Upgrade to a complete,nonproprietary digital solution- ingesting, editing, newsroomintegration, play -out andarchiving

2. File stories faster - Edit onnotebooks, submit storiesanytime, anywhere, overbroadband or microwave

3. Produce for multiple platforms- TV, mobile phones, websites,video on demand, 24 -hourdedicated news channels, etc.

4. Distribute and share HD/SDcontent with anyone,anywhere - quickly and easily

5. Archive using inexpensivecommodity storage devices

0bitcentral Ofi

Go Digital with us and see whatyour newsroom's been missing.n a sudden turn of events, newsrooms across Americaare discovering the incredible new opportunitiescreated by Bitcentral's exciting ronproprietary, digitalnews production system. From ingest and edit tonewsroom integration and archiving, Bitcentral getsstories on -air faster and manages the news easier thanever before.

Precis - Bitcentral's fully integrated, end -to -end,open architecture solution - eliminates videotapeand dozens of expensive, time-consuming steps. WithPrecis, field contributors are able to edit stories onlaptops then submit them, ready to air anywhere, viabroadband.

Precis lets stations distribute and manage the newsacross multiple platforms and formats. So now it'spossible to simultaneously deliver stories to anyone andeveryone, anytime and arywhere - all with just a clickof a mouse.

Oasis - Bitcentral's digital archiving and distributionsystem - makes it easy for newsrooms to archivetheir stories on digital storage devices and theninstantly and automatically share them acrossgroups or across the country via broadband.

It's simple to schedule an onsite or online presentationplus receive a FREE GIFT* - a $170 value, just call800-214-2828 and speak with a representative, or visitus at NAB BOOTH # SL 7715

bitcentral news. anytime. anywhere.

Precis transforms digital news production - makes remotecontribution simpler and faster

In a move that's revolutionizingthe news industry, Precis fromBitcentral is taking stations out ofthe videotape age and into thedigital millennia.

Suddenly, news managers areable to get their stories on airfaster, easier and from moreplaces than ever before.

Precis' fully integrated, end -to -end,non-proprietary digital system willprovide newsrooms with a totallycomplete solution - one thatincludes ingesting, editing,newsroom integration and costeffective archiving.

"We thoroughly surveyed the market and found no othercompeting product to be as comprehensive, easy to install orattractively priced as Precis."

Dan Billings, Director of Engineering Et Technology, Waterman Broadcasfing

With Precis, field contributors can edit storieson location using notebooks, then submitthose stories immediately over broadband ormicrowave - ready to air from anywhere.

Precis also allows broadcasters to producefor multiple platforms, including 1V, mobilephones, websites, video on demand, and24 -hour dedicated news channels. Storiescan be distributed simultaneously to anyone,anywhere, all at just the click of a mouse.

Precis also simplifies story management byusing a single interface for national and localstories. Plus it integrates with the most popularnewsrooms systems, including iNews, ENPS, andall editing software.

Additionally, the system offers the first trueend -to -end HD news production system.

Get an Onsite or Online demo by calling800-214-2828 - or visit us at NAB Booth # SL 7715


0bitcentral

sews.

0Oasis stuns newsrooms - dramatically improves distribution andarchiving [Simplifies Sharing, Slashes Costs]

Oasis, Bitcentral's digital sharing andarchiving solution has burst on thescene, and news managerseverywhere are being wowed by itsability to leverage their news assets.

With Oasis, newsrooms are able toquickly, easily and cost-effectivelyshare stories across groups andacross the nation - all at the click ofa mouse.

Oasis connects with existing newsproduction systems (whether theyare proprietary or tape -based) andsaves stories as digital files oncommodity &Drage devices,allowing journalists to instantly and

"For the first time - Oasis makes it practical to share video contentacross a region and the nation"

David Folsom, Vice President, Technology, Raycom Media

automatically share stories over their existingbandwidth without the traditional dub andfeed process.

Advanced search features automatically tiescripts and slugs to the video. And there's avisual directory of all available news assets,making it easier than ever to locate andshare stories with participating stations.

Oasis also allows newsroom groups to sharecontent between HD and SD stations.

Because Oasis archives stories digitally oncommodity storage devices - instead ofvideotape and restrictive, proprietaryequipment - stations are reaping incrediblesavings in time, money and physical storagespace.

And since Oasis' stories can be transmitted usinga station's existing bandwidth, there are evengreater savings. As a result newsrooms areseeing a return on their investments in just a fewshort months.

Bitcentral's onsite & online demonstrations areavailable immediately by visiting us at NABBooth # SL 7715


news.

0 0

b itcentra I 0

"Precis doesn't just digitize the workflow - it redefines theworkflow."Craig Porter, Director of Engineering, Broadcast Systems KRON4/Young Broadcasting

WRAL in Raleigh NC, the nation's leader in HD news, uses Precis to simultaneouslyproduce for multiple platforms. This includes their 24 hour a day cable News Charnelpictured above.

Let Bitcentral introduce you to the innovative world of DIGITALNEWS PRODUCTION! [NAB BOOTH # SL 7715]

bitcentra I news. anytime. anywhere.


Continued from page 114

HD BOX CAMERAS

Ikegami HDL-45 and HDL-45P

Feature advanced 14 -bit analog -to -digital conversion; are designed todeliver superb 1080i and 720p HDimage -capture, respectively; featurea built-in servo -filter that enables in-sertion of a neutral density or otherfilter by remote control.


BOOTH: C4226

MEDIA SERVER

Omneon MediaDeck

Integrates media storage, systemmanagement, GigE connectivity, andSD or HD video I/O modules in a2RU package; consists of eight 500GBSATA disk drives with dual -parityRAID, providing 3TB of usable stor-age with protection even in the eventof two drive failures; is designed forsmall stations and other users requir-ing a standalone server that is afford-able, reliable and compatible with ex-isting automation systems.

408-585-5000; www.omneon.com

BOOTH: SU1326

GRAPHICS SOFTWARE

Vizrt ViziVideo Wall ER

A software solution that automati-cally distributes scenes from any Viz-rt graphic software application to ashared cluster of VizlEngine renderers;the VizlEngines output graphics of un-limited resolution to a large-scale vid-eo wall for live operation; can be usedinteractively in a live broadcast.

212-560-0708; www.vizrt.com

BOOTH: SL4810

DIGITAL VIDEO RECORDER

Fast Forward Video Omega HD

Records SD and HD video with high -quality JPEG2000 compression up to300Mb/s; allows users to simultane-ously record, play and store multipleSD and HD video files; allows users tocreate video clips, loops and playlistsusing the front panel for many appli-cations, including graphics and keyfill, spot insertion, and sports/instantreplay.

949-852-8404; www.ffv.com

BOOTH: C9720

QUAD SPLIT VIDEO PROCESSOR

Image Video VxV-4HD

The processor is powered by Gen-num VXP technology for unmatchedde -interlacing and upconversion; fea-tures HD-SDI/SDI inputs, frame rateconversion of 50Hz sources for DVIoutput, and embedded audio meter-ing for HD -SDI and SDI sources; iscompatible with Image Video tallycontrollers.

416-750-8872 www.imagevideo.com

BOOTH: SU3305

VC-1/WM9 ENCODER

Inlet Technologies Spinnaker

Designed for live media delivery, in-cluding broadband TV, Web stream-ing and IPTV enterprise; is compat-ible with existing cable, broadbandand streaming infrastructures, as wellas with new IPTV middleware; sup-ports resolutions from Web to HDquality; provides real-time encodedoutput delivered in the SMPTE VC -qand Windows Media formats.

919-856-1080; www.iniethd.comBOOTH: SL10410

PLAY -TO -AIR STORAGE SYSTEMS

SeaChange MediaLibraryBML6000ex and BML24000ex

Ensure reliable playout without fail-ure; provide centralized online accessto any video or audio file on any de-vice, which helps to streamline opera-tions from capture to on -air; real-timevideo I/O bandwidth is guaranteed bythe company's streaming engine overIP accelerator GigE ports; the systemsscale by adding nodes for incrementalincreases in bandwidth and storage.

978-897-0100; viww.schange.com

BOOTH: SU10812

PORTABLE ENCODER

ViewCast Niagara GoStream

A portable, streaming encoding appli-ance designed to make capturing andstreaming video a simple, easy -to -useprocess; this single -channel encoderis designed to allow even novice usersto operate it; features three EZStreambuttons that allow users to select frompredefined encoding profiles.

972-488-7200; www.viewcast.comBOOTH: N2131

NEWSROOM EDITOR

JustEdit vsnscenes

The low-cost editor allows low -reso-lution proxy preview in variablespeeds directly from the chosen for-mat (XDCAM or P2) and a selectionof a list of clips or subs; automaticallyuploads high -resolution content toshared video se -vers.

+34 93 734 99 70; www.vsn-tv.comBOOTH: N717

Color indicates advertisers NAB coverage I April 2007 I broadcastengineering.com 119

_NAE2007PRODUCTHIGHLIGHTS

PROTECTION SWITCHER

ISIS Group HD -212

A 2 x 2 HD, SDI and ASI protec-tion changeover switch for network,transmitter inputs, or satellite andcable headend operations; detectssignal presence on both its A and Binputs and transfers to the offline in-put upon failure of the primary feed;provides relay bypass protection ofthe A input to the main online outputin case of power failure or processorboard removal (with the return -to -Afunction providing automatic returnto the primary input signal upon itsrestoration).

888-622-4747; www.isis-group.comBOOTH: SU3313

OMNI-DIRECTIONAL ANTENNAJampro JLCP

Includes stacking harness and 2in polemount; features a helix design andVSWR 1.5:1 or better +/-150kHz; isfield tunable from 88MHz to108MHz;applications include low -power FM,translator and booster stations.

916-383-1177; www.jampro.com

BOOTH: C2515

HDTV UPCONVERTER

Snell & Wilcox Quasar Ph.0

Uses motion -estimation techniquesto produce HD outputs from a vari-ety of SD inputs; combines four Snell& Wilcox technologies in a 1RU pack-age, including Ph.0 motion estima-tion, DEFT 3:2 cadence correction,Prefix compression preprocessing andFormatFusion HDTV conversion.

212-481-2416; www.snellwilcox.comBOOTH: SU4220

COLOR ANALYZER SET

DK-Technologies PM5639

Measures both CRT and LCD moni-tors; includes an LCD probe, a CRTprobe and a display unit; the LCDprobe has a stand to hold it steady infront of the monitor screen; the CRTprobe comes with a suction cup to se-cure it to the screen; is packaged in asuitcase, making it easy to transportand offering it protection when it isnot in use; ideal for facilities mak-ing the switch from CRT to LCDmonitors.

800-421-0888ww.dk-technologies.com

BOOTH: N1835

DIGITAL AUDIO MIXER

Euphonix System 5-B

Comprises a control surface, digitalprocessing core, digital and analoginterfaces, and a system managementsoftware application called eMix; de-signed for high -quality sound, withfull support for 24 -bit I/O and in-ternal processing at 40 -bit floatingpoint; 96kHz sample rate operationis available.

650-855-0400; www.euphonix.com

BOOTH: N4021

DIGITAL MPEG TEST PLATFORM

JDSU DTS

New test capabilities include the abil-ity to log DPI -related events, triggerstream capture on DPI events andtrigger report generation on events;performs comprehensive analysis ofall SCTE-35 metadata and messagingin the transport stream, allowing us-ers to validate DPI, digital ad splicingsystems and equipment.

317-614-8027; www.jdsu.com

BOOTH: N926

WIRELESS AUDIO INTERFACE

JK Audio Daptor Three

Daptor ThreeWireless Audio Interface

JK Audio'

MI`In t OW

Uses Bluetooth wireless technology;allows balanced and unbalanced con-nections to the user's cell phone; con-nects the user to a cell phone like anyother Bluetooth wireless technology-

enabled headset; also connects to anyother product, such as a laptop, thatallows a similar headset connection.

815-786-2929; www.jkaudio.com

BOOTH: N9426

LIP SYNC MEASUREMENTK -WILL QuMax-2000

Automatically detects video and au-dio errors in real time, including lipsync; can tell how far off lip sync hasdrifted, down to the frame level, withroom for up to 12 input boards, sev-eral samples can be taken.

310-512-6910www.kwillcorporation.com

BOOTH: N1531


One vendor.One solution.No worries.

BAMS

C.:3ARONSERVICES

The Weather Solutions Company

BARON WxWoRxRADAR

There's something about going with the industry leader

for your end -to -end weather system. You get Baron's

renowned storm tracking, sure. But more and more

stations across the country are turning to Baron for their

daily weather needs-complete solutions featuring vivid,

powerful graphics, radar display, BAMS forecasting data

and even web integration. Not to mention the industry's

most advanced Doppler radar designs.

Baron Services is settingentirely new standards

Headaches caused by juggling multiple vendors? Not

anymore. When you've got a question, you know who

to ask. We also make sure that your equipment will

grow and change along with your station, even as the

years go by.

Baron Services is setting entirely new standards in flexibility

and long-term value. And making your life a little easier

while we're at it.

Visit us at NAB 2007!Booth # C7017

www.baronservices corn256-881-8811


INTERNET/INTERCOM INTERFACE

Production Intercom IP900 Connect

Internet To Intercom

Provides any Internet -capable devicethe ability to become part of the user'sintercom system; the remote partycan communicate with the click ofa mouse, stylus or any input device;easily connects to an intercom systemwith three -pin XLR; connects to theLAN/WAN using Cat 5 cable; softwareis provided on a USB memory stick.

800-562-5872; www.beltp a c k.c o m

BOOTH: N2235

CAMCORDER

JVC GY-HD110U

The latest version of the HD100 seriesof Pro -HD camcorders; features thesame design and features as the GY-HD100U; additional features includea black -and -white viewfinder displaymode, simultaneous use of both eye-piece viewfinder and tri-mode LCDdisplay when powered by an Anton/Bauer or IDX battery system, select-able mirror mode on vertically flippedLCD display and adjustable setting offocus assist function.

800-526-5308; www.jvc.com/pro

BOOTH: C4217

iTV GENERATOR

Strategy & Technology TSDeveloper

Provides an integrated solution forgeneration and playout of interactiveTV applications in the authoring, ap-plications development and test en-vironments; is housed in a portabledesktop unit; accepts output from au-thoring tools; generates an RF outputthat connects directly to target receiv-ers and set -top boxes with support ofDVB or OCAP/ETV standards.

303-926-4933; www.s-a n d -t. co m

BOOTH: SU9306

UP-, DOWN- ANDCROSSCONVERTER

Crystal Vision Up -and -down -A

Combines up-, down- and crosscon-version for HD or SDI sources con-taining embedded audio; upconver-sions are SD to 720p and 1080i at both50Hz and 59.94Hz; downconversionsare 720p and 1080i to SD at 50Hz and59.9Hz; crossconversions are 720pto 1080i and 1080i to 720p; will passtwo groups of embedded audio, de -embedding the two lowest numberedgroups and then re -embedding themwith the same group number.

+44 1223 497049; www.crystalvision.tvBOOTH: N2935

STUDIO LIGHTING

Kino Flo VistaBeam 600 and 300

Large area studio soft lighting fix-tures; feature DMX control systemsand ability to produce daylight ortungsten balanced light from thesame fixture and flicker -free, remoteoperation; VistaBeam 600 delivers theequivalent of a 6000W spacelight, butuses only 10 amps of power.

818-767-6528; www. k in oflo.com

BOOTH: C10213

ACTIVE CONTROL MONITOR

Klein + Hummel M 52 D

Offers a flat frequency response anda common mode rejection ratio ofmore than 50dB; includes switchableinputs for both analog and digitalsignals in AES/EBU and S/PDIF for-mats; features front -panel controls, atransformer -balanced XLR connec-tor, a DC connector for use with 12Vto 20V, clear high -frequency repro-duction, low -distortion bass repro-duction and a reference monitor forbroadcast vans.

860-434-9190; www.klein-hummel.comBOOTH: N7117

DVB ANTENNAS

Kathrein, Scala Division, DVB-Tand DVB-H antenna series

Lightweight, low windload, verti-cal polarized, UHF omni antennas;available with 3dBd up to 7dBd gain;designed for low- and medium -pow-ered applications.

541-779-6500; www.kathrein-scala.comBOOTH: C2213

3GB/S CAPABILITY

Harris

Enables broadcasters to migrate fromthe existing 720p and 1080i HDTVstandards to the emerging 1080p for-mat; is available throughout Harris' sig-nal processing and distribution prod-ucts, including the X75 HD multiple -path converter/synchronizer, distribu-tion amplifiers in the 6800+ modularcore processing platform, the Panacearouting switcher, and the Platinum andPlatinum MX routing switchers.

513-459-3400



Drive your digital workflow the way you want.Proven in production and tailored to your needs.

MESOFT MEDIA ENGINE

Mcdalar, Powerful & Integrated Systems

Digital Asset Management

Hign Volume Media Logging

On Set HD Review

Mufti -Format Dailies Delivery

Accelerated File Transfer

Native AvidTM & Final Cut ProTM Integration

TM

Features I Television I Reality TV

Offices in Los Angeles and now in New York

,t LARGEST" ELEC....CHIC MED. SHOW

Stop by the MESoft booth # SL13505 and SL1413J at NAB 2007 / Las Vegas

rriecrift For more information call 818.260.08E8 2815 W. Olive Avenue Burbank, CA 91505 wvivo.-nesoft.,:on- [email protected]


LOW -POWER UHF TRANSMITTER

LARCAN MXi Series

Supports analog, digital, DVB andDVB-H standards; outputs 10W to200W digital; touch -screen LCD dis-play provides telemetry and control;is frequency agile; features a broad-band design using LDMOS ampli-fiers and regulated power supplies;its compact housing with integratedcooling system supports operationunder extreme conditions.

905-564-9222; www.Iarcan.comBOOTH: C1916

CONSOLE

Lawo MC266

Broadcast and production consolehas lightweight construction, low -power consumption and compactdimensions; in combination with therouting matrix integrated in the core,it offers maximum flexibility for I/Ointerfaces and DSP resources; has amatrix capacity of 8192 mono inputsand outputs and 512 DSP channels.

+49 722210020; www.Iawo.de

BOOTH: N7030

ARCHIVE MANAGEMENT

Front Porch Digital DIVAnet

Allows users to leverage DIVArchiveto provide content replication, disas-ter recovery and business continuancefunctionality across multiple facilities;provides a toolset for content -life -cycle control for effective multi -sitecontent storage management.

303-440-7930; www.f pdig itaLcom

BOOTH: SU14915

RASTERIZER

Leader LV7700

The multiformat SD and HD -SDIrasterizer conforms to 17 SD and HDstandards; accommodates two SDI in-puts; waveform, vector, audio, pictureand data monitoring functions canbe displayed individually or in severalscreen combinations; XGA outputprovides for excellent display clarityand resolution; error detection anderror logging facilities include gamutdetection and settable error limits.

800-645-5104; www.Ieaderusa.com

BOOTH: C5022

AUDIO WIRELESS TRANSMITTERLectrosonics SM

"Super Mini" transmitter delivers107dB signal-to-noise ratio and flatfrequency response to 20kHz; in nativeDigital Hybrid Wireless mode technol-ogy, both 24 -bit digital audio and ana-log FM signal transmission methodscan be used to encode a digital signalinto an analog format for transmis-sion over a UHF FM carrier; receivercaptures the signal and DSP circuitryrecreates the original digital audio.

800-821-1121; www.Iectrosonics.com

BOOTH: N8116

TELCO SOLUTION

TANDBERG

Offers an IPTV headend video pro-cessing solution that includes MPEG-2SD encoding, MPEG-4 AVC HD andSD encoding, MPEG-2 to MPEG-4transcoding, MPEG-2 transrating,and picture -in -picture service genera-tion; is designed to deliver bandwidthimprovements of up to 50 percentover previously deployed MPEG-4AVC units.

+44 2380 484000; www.tandbergtv.com

BOOTH: SU4211

DATA TAPE DRIVE

Quantum ProVideo A -Series

With a built-in GigE port, drives arenetwork -attached so they can be di-rectly connected to any network andaccessed by every edit workstation,networked server, graphics device andother computer -based video equip-ment on the network; is MXF-aware,allowing videotape -like access to sub -

clips by time code.

719-536-5263; www.quantum.com

BOOTH: SU13809

TV AUTOMATION SYSTEMCONTROL!

LEIGHTRONIX TCON3

Allows users to manage up to 16channels of digital video playback;interfaces with the LEIGHTRONIXTCD/NX, as well as third -party serv-ers; controls a wide variety of resourc-es, including DVD players, recordersand VCRs; includes WinLGX networkmanagement software for scheduling,immediate system control, user ac-count management, system configu-ration and site management.

800-243-5589; www.Ieightronix.comBOOTH: SU3811

SERVER CONTOL ADDITION

Hi Tech Systems Stacks

An enhancement to the Flier range ofserver controllers; allows sub playlistsof up to 99 clips to be inserted into aplaylist; a stack can be assigned to onekey on a shotbox for easy playout ofmultiple clips with one keystroke.

+44 1256 780880; www.hitechsys.co.uk

BOOTH: N710


At Daytona they called on the professionals

NEXTELTOWER

MEW (11!)

And the professionals called on...

DALGame Creek Trucks/Daytona 500

audio

GAME CREEK VIDEO RELIED ONDALE PRO AUDIO

TO INTRODUCE THE NEWOTARI LIGHTWINDER SYSTEM

TO THEM.

AN ENORMOUS SELECTION OF PRODUCTSALONG WITH SOUND ADVICEAND COMPETITIVE PRICES

PROFESSIONAL AUDIO SALES FOR ALLMari LightwinderIGame Creek System YOUR BROADCAST NEEDS Otari Lightwinder/Game Creek Rack

DALE PRO AUDIO22 WEST 19TH 2ND FLOOR NEW YORK, NY 10011 212.475.1124

www.daleproaudio.com


MEDIA MANAGEMENT

MESoft SELECT

The software allows users to store,manage and access their media simplyand powerfully; features and easy -to -

use client interface on the front-endand MESoft's patent -pending servertechnology on the back end; is de-signed to deliver reduced productionprocess costs and increased post -pro-duction speed.

818-260-0858; www.mesoft.com

BOOTHS: SL1413J, SL13505

AUDIO DISTRIBUTION SYSTEMLinear Acoustic StreamStacker-HDHigh -Density e2

Imo =IIAllows up to 16 channels of audio andassociated data to be kept togetherin a single, easy -to -manage package;the StreamStacker-HD bitstream canbe edited on AES frame boundaries;keeps audio and video tightly syn-chronized via built-in compensatingvideo delay; emission rate audio pro-grams such as AC -3 can replace someor all of the PCM channels, allowinga custom mixture of formats mostsuited for a given application.717-735-3611; www.Iinearacoustic.com

BOOTH: C1048

WIRELESS CAMERA SYSTEMLink Research L1500

The unit is to replace the company'sexisting range of 2GHz, 3.5GHz and7GHz wireless camera systems; itsbase unit is an SD wireless cameratransmitter with a keypad and dis-play similar to Link's previous wire-less camera systems; high definition isadded with a simple software upgrade;offers a choice of user -exchangeableRF modules.

+44 1923 474060; www.Iinkres.co.uk

BOOTH: C2907

HD DOWNCONVERTER

LYNX Technik C DX 5624

Multiformat module offers bothanalog and digital video and audiooutputs; auto-detects/senses and self -configures to the input signal (SD orHD) it is connected to; integrates em-bedded audio processing; conservesDolby E audio quality.

611-251-8600; www.Iynx-technik.com

BOOTH: SU15209

MPEG-2 TS ANALYSER

Manzanita Systems MP2TSA v3.0

MPEG-2 transport stream analyzernow includes H.264 support, user -configurable profiles for CableLabs,DVB and ATSC compliance verifica-tion, and enhanced visibility into thetransport stream.

858-679-8990www.manzanitasystems.com

BOOTH: SU7524

MEDIA SERVER

Omneon Spectrum HD

Combines high -quality HD playoutcapability with flexible features to al-low facilities to efficiently migrate toHD broadcasting; MediaPort play -

out modules can support one or twochannels of HD MPEG playout of4:2:0 and 4:2:2 material at bit rates upto 78Mb/s; handles DVB/ASI streams,so the user's network feed can be in-gested directly into the media serverfor playout.

408-585-5000; www.omneon.com

BOOTH: SU1326

ARCHIVE AND ASSET MANAGMENT

Masstech MassStore

Now features commercial assembly toautomate the flow of satellite -deliv-ered content into the broadcast envi-ronment, including automatic prepa-ration of content (e.g. trimming, colorbars, slate); offers increased transcod-ing capability, supporting intelligenttranscoding of all popular formats;now supports Avid Unity and Inter-play, as well as Final Cut Studio.

905-707-2614; www.masstechgroup.com

BOOTH: SU12712

COAXIAL CABLE TEST KIT

White Sands Engineering

Designed to simplify the testing andremote identification of coaxial cableassemblies; adapter cables enable thetester to be used with a variety of ANconnectors, including F, BNC, RCAand SMB; includes a TSTL-3A cabletester, seven adapter cables, one F -fe-male adapter, one AAA battery and acarrying case.

623-581-0331www.whitesandsengineering.com

BOOTH: C1736

HD VIDEO MONITORMatrox Electronic Systems MXO

Provides portable HD monitoring forFinal Cut Pro; turns a cinema displayinto an artifact -free video display; of-fers frame -accurate, broadcast -qual-ity HD/SD output, real-time HDto SD downscaling and WYSIWYGvideo output from QuickTime-basedapplications.

514-822-6364; www.matrox.com/video

BOOTH: SL2015


Broadcast the best results.introducing the all new Scan Do® HD.

DVI Computer Video to HD/SD-SDI Scan Converterwith Genlock Input and Fiber Optic Output.

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When it comes to HD Scan Conversion, thereis only one brand to turn to. The brand thatcontinues to set the benchmark that all othersare measured.

The award -winning Scan Do', of course!

The all new Scan Do' HD converts your high -

resolution DVI computer sources into a SMPTE

standard HD or SD -SDI signal for broadcasting on air

or integrating into a professional video productionsystem. Best of all, Scan Do' HD does not require that

you install any special software or hardware on your

computer. Simply plug it in, set your resolution and

your broadcasting the best results... in HD or SD!

What else would you expect from a Scan Do?

Tune in to Scan Do® HD today at scandohd.tvor call 631-273-0404 for more information.

CSICommunicationsSpecialties, Inc.

cornmspecial.com

Features at a glance:

Converts DVI-D (up tc 1920x 1200) to HD/SD SDI.Advanced scaling algorithms and 10 bit processingprovide exceptionally clean and accurate broadcastquality output.

Supports HD SDI resolutions up to 1080i perSMPTE 292 and SD SDI resolutions per SMPTE 259.

Genlock with full phasing control locks HD/SD SDIoutput to tri-level sync or black burst.

Ethernet port enables control via your facilitiesLAN or via the Internet.

Includes fiber optic cutput (SMPTE 292 and 297)arid two coaxial outputs (SMPTE 292 and 259).

Complete set of Image processing controlsBuilt-in variable flicker reduction.

Zoom & Shrink horizontally and vertically whilemaintaining the aspect ratio or set eachindependently!

Precisely position your image horizontallyand vertically.

Quickly store and recall your favoriteconfigurations through the remote control ports!

Learn more at scandohd.tv

Scan Do, CSI Logo and the triangle designs are trademarks of Communications Specialties, Inc. 02007 All Rights Reserved. Specifications subject to change without notice.


VIDEOCASETTE

Maxell HDCAM

Uses binder systems to achieve du-rability and exceed the compulsorystorage performance demands oflong-term archiving; incorporates su-per -fine ceramic armor metal parti-cles (0.1µm) to surpass the low -noiserequirements of HDCAM's 7:1 com-pression algorithm; lineup includes6-, 12-, 22-, 32- and 40 -minute cas-settes; large cassette lineup includestapes that run for 34, 64, 94 and 124minutes.

800-533-2836; www.maxell.com

BOOTH: C7736

MULTI -IMAGE PROCESSOR

Miranda Kaleido-X

Allows unlimited signal repetitionover eight monitors; all the multi -image outputs can be grouped tocreate large, highly integrated moni-toring systems; can be controlledindependently for multi -room envi-ronments, using one or more remotecontrol panels; layout configurationscan be changed instantly; can moni-tor up to 2304 channels of audio, in-cluding embedded, discrete AES ordiscrete analog.

514-333-1772; www.miranda.comBOOTH: SU5220

DIGITAL AUDIO ROUTER

NTP Technology 625

The multinorm audio routing ma-trix can be installed either as a mastercontrol room matrix system or asso-ciated to user surfaces and/or controlpanels for use in studios.

+45 4453 1188; www.ntp.dk

BOOTH: N3213

CAMERA LIGHT

Anton/Bauer ElightZ

A 6V on -camera light specifically de-signed to work with a handheld cam-era battery without power converters,adapters or cumbersome belt packs;weighs 6oz; draws 10W (both 5W and15W bulbs are available) and outputsmore than 75ft candles at 5ft; its fold-ing design features a two -stage armthat can be adjusted to a wide arrayof positions in order to adjust lightangles and avoid lens shadowing.

800-422-3473; www.antonbauer.com

BOOTH: C5929

OUTDOOR TWT AMPLIFIER

MCL MT2300

Features an event log, continuous at-tenuator adjustment in decibel andavailable redundancy in 1:1 and phasecombined configurations; allows cus-tomization to include L -band blockupconverter and internal linearizer;supports Ku -band applications at125W or 200W.

630-759-9500; www.mcicomBOOTH: C4741

TURNKEY WEATHER SYSTEM

AccuWeather Severe WeatherWarnings Decoder

Monitors the National WeatherService's NOAA WeatherWire andNOAAport as delivered over five dif-ferent data channels, including bothsatellite and terrestrial; processes 122types of watches and warnings forimmediate display as soon as they ar-rive; allows local broadcasters to turnon or off the display of certain typesof warnings depending on location.

814-235-8600; www.accuweather.comBOOTH: C6412

MASTER CONTROL

Media 3 BureauCam BCS-3500

A redesigned audio board digitizes allincoming signals at the point they en-ter the system and keeps them in thedigital domain until the point theyleave, resulting in dramatic improve-ment of the sound quality; a newmonitor panel features two 8in, high-

resolution SD 16:9 aspect ratio LCDmonitors; the GUI has been reconfig-ured for simpler operation.

212-983-5200; www.Iiveshots.com

BOOTHS: C10514, C10613

ASSET MANAGEMENTNETIA Manreo

Allows for ingest, digitization, ar-chiving, indexing, intranet search andbrowsing of all types of audio andvideo files; users can publish this con-tent directly to multiple formats, suchas the Internet and mobile phones, aswell as to third -party systems, and candefine their own rules for automaticpublishing of content; can be set upso that publishing triggers automaticencoding of the video to the propertarget format, such as video formatsused in mobile phone applications.

+33 4675 90807; www.netia.com

BOOTH: N5721



LIGHTWEIGHT MATTE BOX

ARRI LMB-15

Accommodates horizontal use ofstandard 4in x 5.65in filters; featuresinclude compatibility with LMB-5filter trays, adapter backs and lightshields, and a new clamping back toallow the use of clamp -on adapterrings from the ARRI MB -20 system.

845-353-1400; www.arri.comBOOTH: C10017

LIGHT PEDESTAL

Vinten Osprey Light

A 40kg (881bs) capacity pedestal;improves wheel/floor interface withcrab -only steering for creative shotdevelopment; has the ability to bebroken down into skid and columnmodules; is easy to transport; can bepressurized in any location with itsmanual integral pumping system andalso comes with standard four -boltinterface, allowing simple attachmentof any flat base head or bowl adapterfor spherical based heads.

954-572-4344; www.vinten.comBOOTH: C5923

STATISTICAL MULTIPLEXINGSYSTEM

Modulus Video StatmuxlP

Designed for the ME2000 family ofHD/SD MPEG-4 AVC video encod-ers from Modulus Video; supportsboth HD and SD operations; deliversefficiency improvements of up to 40percent for multiprogram transportstream applications such as direct -to -home satellite distribution.

408-245-2150; www.modulusvideo.comBOOTH: SU14909

CONTROL SYSTEMMicroFirst Engineering Near Line Storage (NLS)

Automates the hierarchical storage and retrieval process of video clips existingon nearline networked attached storage (NAS) disk arrays and on professionalonline video file servers; automatically decides what media needs to be stored onthe NAS, as well as when media should be copied from the NAS to a video serverin time for playout based on the digital automation system program schedules.


BOOTH: SU727

Smart Thinking.

I

With Sundance Digital, good broadcasting aad good business gohand in hand. Using our automaticn softwa:e, you can improve theefficiency, accuracy, produc:ivity and profitability of your broadcastand news operations. By integrating digital television and informationtechnologies, we give you the capat ility to manage your entire broadcastworkflow. As a result, you'll get greater control, more flexibility andunpreceden:ed speed. That's what we mean when we say we'll improveyour on -air product - and your b Atom line.

How's that for smart thinking?

And speaking of great ideas, we've combined everything you expectfrom Sundance Digital - exceptional service, open technology, reliableproducts - and added the power of an industry leader. Now, as partof Avid, we have even more resour:es to serve your business.

Smart. Real smart.

www.sundancedigital.com972.444.8442

SUNDkNCEDIGITAL

BROADCAST AUTOMATION SOLUTIONS

A part of Avid.

Color indicates advertisers

See us at NAB Booth #SL1401A

NAB coverage I April 2007 broadcastengineering.com 129


MULTIFORMAT VIDEO ROUTER

Network Electronics SL-HD3232

Compact 32 x 32 video router sup-ports SD -SDI and HD -SDI; offers re -clocking on all standard video rates;includes support for dual -link 3G for1080p50 and 1080p60 HDTV for-mats; supports 1.5Gb/s HD formats,including 720p50, 720p60, 1080i50and 1080i60.

800-420-5909

www.network-electronics.comBOOTH: SU10605

STUDIO CONDENSER MICROPHONE

Neumann TLM 49

Mic has a linear frequency responseup to the upper midrange, with apresence boost up to 3dB above2kHz; operates at sound pressure lev-els of up to 114dB without distortion;provides a dynamic range of 102dB;transmits extremely low -frequencysignals without coloration; featureselastic suspension EA 3 and a rubbershock -mounted capsule.

860-434-5220; www.neumannusa.com

BOOTH: N7117

STREAMING VIDEO CARD

Barco

Supports multiple vendor and com-pression standards; allows digitalstreaming video simultaneouslywithin the controller; nonstandardcompression techniques and otherstream transport can be ported to theplatform; may be used alongside Bar-co's other interface cards, allowing forsimultaneous deployment of multiplevideo technologies.

678-475-8000; www.barco.com

BOOTH: SL4320

HANDHELD WIRELESSRECORDING SYSTEMS

Zaxcom TRX800 and ZFR800

The ZFR800 handheld wireless re-corder and TRX800 handheld wirelessmicrophone with internal recordingprovide internal recording capabilitiesfor applications where sound qualityand mobility are equally important;the mic uses digital modulation andproduces a time code -referenced re-cording that serves as a back-up; offeraudio quality equivalent to AES audioon a hard -wired cable.

973-835-5000; www.zaxcom.comBOOTH: N9017

CHASSIS CONNECTORSNeutrik USA DLX series

The enhanced version of the DL XLRchassis connectors features compact,all -metal housing for RF protectionand electromagnetic shielding; du-plex ground contact provides contactintegrity between chassis and cableconnector; offers a male connectordesigned with a metal retention barfor improved pull-out force.


BOOTH: N8526

VIDEO -DRIVEN SOUNDTRACKCOMPOSER

Abaltat Muse

Exploits artificial intelligence by mea-suring different selected elementsin a moving picture and composingmusic to them; uses a combinationof picture windows, timelines andkeyframes to compose music; playscomposed music out using a MIDIsampler and virtual instruments.

+353 91 504 688; www.abaltat.com

BOOTH: SL7424

TAPELESS RECORDING MEDIA

Maxell ProfessionalDisc for XDCAM

!a nVCPRGI:.

126Of

Optical media for XDCAM high -

definition video systems; is designedfor professional video and broadcastdirect -to -disc tapeless recording; pro-vides 23.3GB of high -capacity stor-age, fast transfer rates and a high -pre-cision polycarbonate plastic cartridgeto protect against dust, scratches andfingerprints; offers 122 minutes of re-cord and playback time in the MPEGHD LP mode, more than 65 minutesin the MPEG HD HQ mode, about 45minutes at 50Mb/s in the MPEG IMXmode, and up to 85 minutes in theDVCAM mode.

800-533-2836; www.maxell.comBOOTH: C7736

MEDIA SERVICES

Ascent Media

Provides integrated outsourcing so-lutions for the technical and creativerequirements of its clients, from con-tent creation and other post -produc-tion services to media managementand transmission of the final productto broadcast TV stations, cable systemheadends, and other destination anddistribution points.

310-434-7000; www.ascentmedia.comBOOTH: SU6811

MEDIA ANALYSIS SERVER

Harris Videotek QuiC

Now features data -analysis parametersand file -correction tools; enables cus-tomers to analyze files during ingest,correct certain file problems on -the -flywith no operator intervention; is de-signed to improve workflow efficiency.

513-459-3400




CIRCULARLY POLARIZED ANTENNA 440MHZ ROUTING SWITCHER MOBILE WORKSTATION

Dielectric Broadband Sierra Video Systems Sierra Pro XL NextComputing NextDimensionCP Panel Antenna Evo HD

A high -power, circularly polarizedUHF MobileMedia antenna; has up to a16kW average input power rating; cov-ers the entire lower 700MHz band; usesmultilayer parasitic patch technology totransmit a high -power circularly polar-ized signal; features a low windload andVSWR of less than 1.1:1.

800-341-9678; www.dielectric.com


Routing switcher features IP connec-tivity for control via a standard TCP/IP socket connection; offers five -

channel video measuring 450MHz at-3dB in matrix sizes from 8 x 4 to 32 x32; frames can be five -channel RGB-HV, four -channel RGBS, three -chan-nel RGB/YUV, two -channel S -video(Y/C) systems or a custom video -onlyconfiguration.

530-478-1000; www.sierravideo.com

BOOTH: SL6105

ONIMMIMIIIMIII. WWI

Enables on -site mobile video capture,editing and streaming; features an in-tegrated high -resolution 1920 x 1200display, four PCl/PCIe slots for videocapture and playback and graphicscards, hot-swappable hard drives to320GB, up to 2.3TB of storage, dual -core AMD Opteron processors andup to 16GB of RAM.

603-886-3874; www.nextcomputing.comBOOTH: TBA

Legendary Teranex ProcessingVC100:Frame Synchronizer a Format Converter

TEP A NE X

World Headquarters12600 Challenger Parkway, Suite 100Orlando, FL 32826T. 407.858.6000F. 407.858.6001www.teranex.com

Exceptional Up/Down/Cross Conversion EL Noise Reduction

HD/SD Standards Conversion

Extensive Analog Et Digital I/O

Easy Setup with Intuitive User Interface

Two Fully Independent Processing Channels

Front Panel LCD Serves as Video I/O Monitor Et Menu Display

Legendary Teranex processing in a space saving one rack unit frame.

eranexA Division of

Ctix

me See Our Latest Innovations at NAB North Hall, N2531

NAB coverace I April 2007 I broadcastergineering.com 131


DATA ENCODER

Norpak TES9 HD -SDI VANC

4141111.0

Adds multilanguage captioning sup-port and automatic data module con-figuration; enables the insertion oftwo languages from a single captionserver or from multiple caption serv-ers; inserts audio metadata, a broad-cast flag, active format descriptorsand captions; adapts its data encodingto the input video type automatically.

613-592-4164; www.norpak.ca

BOOTH: C2230

IP FILE TRANSFER SYSTEM

Nucomm Messenger

Supports native file transfer for ENGapplications; supports both raw andedited news footage, while also mak-ing it possible to transmit live videoand file transfers simultaneously overan ENG truck line.

908-852-3700; www.nucomm.com

BOOTH: C2529

LIGHTING FIXTURES

Brightline CycSeries

Saturate cyclorama walls as wide as16ft with even color values; featurea lamp life to 10,000 hours; are dim-mable to 1 percent through standardprotocols, including DMX-512 andDALI; offered in six- or 12 -lampmodels that use 28W or 54W RGB,single -phosphor T5 lamps with colorsleeves; include optional automated48- or 144 -channel, programmableDXG playback controller.

412-206-0106; www.brightlines.com

BOOTH: SU2422

DUB STATION

NVerzion NGest

Dubs content frame -accurately fromone media form to another, includingbetween tape and digital file formats;users assign the source, destination,encoding rates and other clip -specificvalues into the system; the systemthen automatically creates the digitalvideo files.

801-293-8420; www.nverzion.com

BOOTH: SU4228

DEDICATED VCS

NVIDIA Quadro Plex VisualComputing Systems (VCS)

System is available as a desktop ordense 3RU configuration; can powermultiple streams of 4K high -defini-tion video, 3-D styling, design andrendering, and visual simulationapplications.

408-486-2000; www.nvidia.com

BOOTH: SL325

MULTIFORMAT BROADCASTMONITORINGOmniTek TQ

Designed for a broadcaster's video,audio and metadata needs; containshigh-res waveform and vectorscopedisplays, full audio monitoring capa-bilities, audio and video delay mea-surements, error logging and MPEGmacroblock detection; features touch -screen controls for simple, flexibleoperational control.

+44 118 988 6226; www.omnitek.tv

BOOTH: SL9705

ROUTER CONTROL SYSTEM

NVISION NV9640

The X-Y/multidestination controlpanel provides extensive control andstatus display capabilities in a 2RUpackage that is less than 2.5in deep;features next -generation LCD but-tons capable of showing three linesof display with up to eight charac-ter mnemonics on each line; flexiblepanel configuration allows the user tochoose from many button colors.


BOOTH: SU9605

NEWSROOM COMPUTER SYSTEMOCTOPUS Newsroom OCTOPUSS

information, such aswires, Web feeds, media, faxes ande -mails, is organized and ready to beused for last -second news coverage;offers a global search engine, key-board shortcuts for frequently usedactions and saved screen layout recall;features a new service for transferringstories and whole rundowns, allowingchannels to share their assets betweenoffices around the world.

+420 221 181 511

www.octopus-news.comBOOTH: N413

HD VIDEO PATCHBAY

Switchcraft MVP series

Features two rows of 34 jacks (ratedto 3GHz and for 30,000 mate/un-mate cycles) in a 1RU patch panel;options include normalled or non-normalled with 75f/ termination ornon -termination.

773-792-2700; www.switchcraft.com

BOOTH: 07507



MXF TOOLKIT

OpenCube Technologies MXFTk Toolbox

Version 2.0 includes new features that give users the abilityto rapidly handle the MXF format as defined by SMPTE;these functions include the management of MXF fileswith external references, the support of MXF D -Cinemaformats based on MXF DCP creation, and guaranteed in-teroperability with most camcorders, NLEs and broadcastservers.

+33 561 285 606; www.opencubetech.com

BOOTH: SU8530

EDITING SETUP

TV Magic i/oEdit

Base configuration includes two Apple Mac Pros with Fi-nal Cut Studio installed; is available with shared storageoption using Apple's Fibre Channel solution or the latestGigE technology; integrates with other modules of thecompany's i/o product line using a TCP/IP connection.

858-650-3155; www.tvmagic.tv

BOOTH: N406

KVM EXTENDER

Opticomm RGB-4000 series

A multifunctional KVM extender offering RGB H/V(VGA), stereo audio, keyboard and mouse, and RS -232serial data, all over one fiber; ideal for high -resolutionvideo applications; simplifies cabling infrastructuresand provides LED indication for optical link status, sig-nal status and power monitoring; features multimode orsingle -mode operation; reduces fiber count from five toone fiber.

858-450-0143 ext. 242; www.opticomm.com

BOOTH: N2931

TRIAX CONNECTOR

Fischer Connectors 1053

A fiber-optic HDTV connector; combines the technologyof Fischer broadcast triax connectors with the technologyof Corning UniCam fiber-optic contacts; is simple, conve-nient and economical for assembling HDTV camera con-nectors in the field in only 30 minutes.

800-551-0121; www.fischerconnectors.com

BOOTH: N409

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PhysicalBody Material: Brass, Dark

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Visit Us at Booth C1736 For More Information- -800-JUMPERS www.wt itesandsengineering.com

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HD/SD VIRTUAL SET SYSTEMOrad ProSet

An HD/SD virtual set system; relies onOrad's HDVG video graphics render-ing platform, which allows complexvirtual sets to run in real time; up toeight full scene anti-aliasing samplesand other sets of graphic features en-sure photo -realistic results; integratesseamlessly with all of Orad's trackingsystems; features seamless integrationbetween virtual set and on -air graph-ics both controlled from the same ap-plication, up to six full -resolution HDvideo inputs and up to 12 SD inputs.

212-931-6723; www.orad.tv

BOOTH: SU3614

3-CCD HD CAMERA

Panasonic AK-HC3500

A 2/3in 2.2-megapixel 3-CCD cam-era designed for studio and electronicfield production usage; the 9.91b cam-era features an advanced single -chan-nel transfer system and spatial offsetprocessing for reduced aliasing andhigher HD resolution (1100 horizon-tal lines); offers pristine HD images in1080/59.94i and 1080/50i signals; fea-tures a newly developed 38 -bit digitalsignal processor (DSP), 14 -bit A/Dconverter and 12 -axis color matrix toensure exceptional image quality.


BOOTH: C3613

JIB ADAPTER

Panther Broadcast Foxy Jib

Euro-Foxy adapter allows any existingFoxy crane to be used like a jib arm;for use with Panther dollies as a base,such as the EvoPlus, Evolution, Clas-sic or Super Panther; overall maxi-mum length is 4m (13ft); can carry asmuch as 65kg (143Ibs).

+49 89 613 900 33; www.panther.tv

BOOTH: C7328

GLOBAL EXTENSION

Pathfire On Demand

A new extension for the Pathfire Dig-ital Media Gateway (DMG); allowscontent to reach a global audienceand remain available for as long asthe content is needed; combines thePathfire DMG with online archives,allowing users to request content ondemand and have it sent directly toan existing Pathfire system; for non-Pathfire DMG users, provides accessto a multitude of file formats suitablefor use by any media outlet.

770-619-0801; www.pathfire.comBOOTH: SU7405

TRANSCEIVER SYSTEM

Telecast Fiber Systems Telethon

Combines the functionality of Tele-cast's Python II series of transmittersand receivers with the CWDM wave-length functionality of the company'sTeleport system; accepts both opticaland electrical digital signals, rangingfrom 19.4Mb/s up to 1.5Gb/s un-compressed HD/SDI; multiplexes thesignals for transmission in either orboth directions, with up to 16 opticalsignals on one fiber.

508-754-4858www.vvww.telecast-fiber.com

BOOTH: C4937

DIGITAL NEWSROOM SYSTEM

JustEdit vsnnews

News management system allows textand video to be edited in the sameapplication; integrates the rundownplanning and assigning of resources,text editing, material ingest, storageand cataloging, archive integration,and shared editing of video and audiowith voice-over from journalist work-stations, graphics in real time and theautomatic publication of news on theWeb; integrates with most NLEs.

+34 93 734 99 70; www.vsn-tv.com

BOOTH: N717

TRANSPORT CASE

Pelican Products 1630

Features nearly 8250 cubic inches ofstorage space with two double -handside grips and dual sets of ruggedpolyurethane wheels with stainlesssteel ball bearings and nylon hubs andan extension handle; includes a lidequipped with a polymer 0 -ring fordust -proof and waterproof seal, anautomatic pressure equalization valvethat keeps moisture out and preventsvacuum lock and stainless steel rein-forced padlock protectors.

800-473-5422; www.pelican.com

BOOTH: C9125

CELLULAR DIVERSITY RECEIVE HUB

Nucomm

Hub is capable of receiving up to fourASI receiver inputs simultaneously;auto -selects the best ASI stream atthe packet level and passes that tothe built-in all -format low -latencyMPEG-2 decoder; can be configuredto receive two separate video feeds,making it ideal for multifeed news op-erations; also offers built-in spectrummonitoring of all receive antenna sys-tems, any of which can be viewed atmaster control over an Ethernet orRS -232 connection.


BOOTH: C2529



MAM SYSTEMPharos Communications Mediator

Features MPEG-4-based video brows-ing, automated robotic ingest and avirtual VTR; enhances stored mediaby the addition of components, suchas extra audio files to support mul-tiple language soundtracks; allowsgeneration of specific managementreports, such as ingest lists, picklistsfor transmission, transferred items ormissing material.

+44 118 950 2323www.pharos-comms.com

BOOTH: SU8905

DUAL -CHANNEL DIGITALDOWNCONVERTER

LYNX Technik D VD 5602/5604

Offers two fully independent down -conversion channels on one card;accommodates up to 20 downcon-version channels in one 2RU frame;includes three mixed modes of op-eration: dual -channel HDTV/SDTVreclocking distribution amplifier,dual -channel downconversion plusreclocking distribution amplifier anddual -channel multiformat digital vid-eo test generator.

611-251-8600: www.Iynx-technik.com

BOOTH: SU15209

REMOTE STATION MONITORING

Miranda iControl RSM

Enables a network operations centerto monitor multiple regional stationsusing rich visual and acoustic moni-toring; uses Kaleido-Alto-HD multi -image processors at each remote sta-tion for signal monitoring and prob-ing, with the signals streamed backusing Allegro encoders as full -mo-tion video and audible audio to thedesktop monitoring station; can beexpanded to all monitoring of up to16 locations.

514-333-1772; www.miranda.comBOOTH: SU5220

Broadcasters have saved both for over 35 years using ESEprecision master clocks and timing -related products. ESEproducts accurately synchronize broadcast operations usinga choice of GPS, WWV, Modem, Crystal or line frequency foraffordable, reliable, perfect time.

Spend a few seconds on www.ese-web.com to discover acomplete array of timing systems that are designed foreasy installation, set-up and operation.

dik

Save Bothwith

142 Sierra StreetEl Segundo, CA 90245 USA

Te : (310) 322-2136

FaK: (310) 322-8127

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Visit us at NAB Booth #C1839

NAB coverage I April 2007 I broadcasteng;neering.com 135


TEST STREAM GENERATOR

Pixelmetrix DVStorIP-Gen

Features a Web -based GUI control;generates up to seven unique trans-port streams simultaneously and upto 900Mb/s of IPTV traffic; supportssingle -program TS and multiple -program TS generation as well as bothUDP and RTP streaming; streams TSat the original bit rate based on itsPCR time stamp or at a user -definedbit rate.

954-472-5445; www.pixeImetrix.com

BOOTH: SU12109

PORTABLE JIB -ARM

Polecam

Polecam is a single -operator, light-weight, portable jib -arm and broad-cast system; features a 5ft to 20ft reach;weighs a maximum of 441bs; can berigged in 10 minutes and de -riggedin five minutes with no setup tools;mounts on a standard lightweighttripod/dolly or on the supplied bodyharness for complete mobility.

973-812-3858; www.polecam.com

BOOTH: TBA

HIGH-RES DISPLAYS

Zandar Technologies Predator HDMulti Viewers

HD4, HD8, HD12 and HD16 offerHD images, driving high -resolutiondisplays up to 1080p with auto -detectof SDI and HD -SDI signals; includeaudio and video monitoring, UMDand tallies, clock display, and LANcontrol; offer control options, suchas the Z-Configurator layout edit-ing software, on -screen display, GPIand ZRP remote pane; can outputdual HD across two displays at vari-ous 50Hz resolutions using the ZdHTZandar dual -head display feature.

+353 1 450 0901; www.zandar.com

BOOTH: SU2729

VIDEO ARCHIVEAL

Primera Technology BravoSE Disc Publisher

Automated duplication and print-ing systems for CDs, DVDs and Blu-ray Disc formats; uses a robotic armto burn the disc using the built-inPioneer DVR-111 DVD±R/CD-R re-corder; prints full -color, photo -qual-ity images directly onto the surface ofthe disc; is compatable with Mac OSX and Windows 2000/XP/Vista.

763-475-6676; www.primera.com

BOOTH: SL12405

UHF BROADBAND PANEL ANTENNAPropagation Systems PSIUP1266C-46

Antennas are stacked in a customiz-able array to fulfill a customer's pat-tern requirement; models includedirectional and nondirectional, usingpanels and slots for television andpanels; features include pattern opti-mization, customization, multistationantennas, filters and combiners.

814-472-5540; www.psibroadcast.com

BOOTH: C1920

ROUTER

Pro -Bel Cygnus

Compact, 1080p 3Gb/s native rout-er; offers up to 576 x 576 routing in26RU housing (including PSUs) withindustry standard BNC connectors;a 288 x 576 in 18RU is also available;features redundant crosspoints anddual -redundant power supplies andcontrollers, as well as four referenceinputs for multistandard operation.

631-549-5159; www.pro-bel.comBOOTH: SU8511

ACS HEADSET

Production Intercom DMH 948 ACS

Features durability, lightweight com-fort, concealed wiring, adjustablehead bow and trimness of design; theear speakers have pleasing frequencyresponse; the muffs are deep andcovered with a plush material for su-perior comfort; includes a supply ofwashable or disposable covers.

800-562-5872; www.beltpack.comBOOTH: N2235

ENCODING PLATFORM

Scopus UE-9410

AIMThe second -generation H.264 encod-ing platform features improved com-pression capabilities, enhanced picturequality, and DVB-S/S2 and IP trans-mission schemes; is part of Scopus'UE-9000 universal encoder series.

609-987-8090; www.scopus.netBOOTH: SU5408

MATTE BOX

ProSource/BMI MB -450

Designed for HD and film cam-eras; can accommodate lenses up to144mm; front hood features a rigidcompartment that can house a matte,a fourth filter frame or an optionaltilt -shift tray; a 138mm fifth filter, ismounted inside an adapter, which at-taches to the rear of the system; pat-ented eyebrows can be operated andlocked from the outside of the carbonfiber hood.

203-335-2000; www.prosourcebmi.comBOOTH: C9735


NAB2QQ2PRODUCTHIGHLIGHTS

AUTOLOADER

Quantum SuperLoader 3A

IMPHolds up to 16 tape cartridges; pro-vides up to 4.8TB of removable net-worked storage in a 2RU chassis; each300GB cartridge, which can holdmore than six hours of 100Mb/s HDcontent, is accessible by navigatingthe file directories with any browseror FTP tool of choice; MXF-awarecapabilities permit video tape -like ac-cess to subclips by timecode.


BOOTH: SU13809

HEADSET

Riedel AIR

The ultra lightweight, single -ear head-set is designed for digital intercom ap-plications; the Coolmax exchangeableear cushions provide comfort for longhours; the rotatable gooseneck allowsthe microphone to be worn on eitherthe left or right side.


BOOTH: C9428

WIRELESS AUDIO SYSTEM

Beyerdynamic Opus 900

Offers a wide variety of transmitters,including the DM 960 S, DM 960 Band the DM 969 S dynamic transmit-ters, the EM 981 S and the CM 930B condenser transmitters, and theTS 900 M and TS 900 C pocket trans-mitters with rechargeable contacts- which are also outfitted with anACT infrared interface for frequencysetting; offers three receivers with99 preprogrammed frequencies, in-cluding the NE 900 S single channel,NE 900 D dual channel and the NE900 Q quad channel.

239-283-7880; www.beyerdynamic.com

BOOTH: N9014

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The closer your event is to goinglive, the more you'll value thereliability and speed of the XT2server. The greater the volume ofmaterial, the more you'll appreciateits agility and the more complex yourworkflows, the more you'll like thededicated production applicationslike IPDirector.

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A-TO-D/FRAME SYNC INPUTCONVERSION CARD

QuStream PESA Cheetah I/OConversion Card

Converts analog NTSC/PAL to SDIat the input to extend the analog gearlife; corrects and locks all signals com-ing into the router on the input cardwhen the frame synchronizer optionis added.

631-912-1301; www.qustream.com

BOOTH: N3418

ASPECT RATIO CONVERTERS

Evertz 7710ARC and 7710ARC-F

Assist in transitioning SD widescreenand SD/HD facilities; with the7710ARC, users can take an SD sourcein and convert it to a properly config-ured widescreen; with the 77 1 OARC-F,users can add a fill input for side -pan-el keying; both products are modular,support WSS and VI, and can be con-figured through SNMP.


BOOTH: N1713

L -BAND PANEL ANTENNA

Radio Frequency Systems

Designed for digital video broad-casting -handheld and digital audiobroadcasting applications; is verti-cally polarized; supports applicationsacross the entire broadcast L -Band- 1452MHz to 1675 MHz; featuresa high -power handling capability (upto 750W); is available in 65- or 90 -de-gree horizontal beamwidth with mul-tiple mounting arrangements.

877-737-9675; www.rfsworld.comBOOTH: SU13809

SATELLITE MODEM BOARD

Radyne DMD1050

Operates in the 950MHz to 2050MHzL -band range; supports data ratesfrom 2.4Kb/s to 20Mb/s in single -bitsteps, as well as BPSK, QPSK, OQPSK,8PSK and 16QAM operation; includesinput connectors for BUC and LNBvoltages, built-in MIL 188-114A andEthernet data interfaces and optionalDVB to EN301 -210 and EN300-421.

602-437-9620; www.radyne.net

BOOTH: SU5529

TRANSCODING APPLICATIONSRhozet Carbon Coder andCarbon Server

New versions of the Carbon line in-corporate several new features, in-cluding multi -machine rendering forfaster performance and new devicesupport for Panasonic P2, Sony XD -CAM and Avid MediaStream; theseformats are supported for both im-port and export and will manage SDand HD video.

408-246-3338; www.rhozet.comBOOTH: SL3716

ARCHIVAL AND STORAGE SYSTEMSINTEGRATION

Crispin ArchiveManager

The archival and clip retrieval toolnow integrates with the OmneonMediaGrid active storage system;provides a view of video server andarchive content through an integrateddatabase; allows for quick drag -and -

drop asset transfers.

919-845-7744; www.crispincorp.com

BOOTH: SU6205

OPERATIONS MANAGEMENTSOLUTION

ScheduALL

New advanced tool set manages andintegrates media and asset manage-ment systems with intradepartmentalscheduling applications.

954-334-5406; www.scheduall.comBOOTH: SL2308

DVB-ASI TO IP CONVERTER

DVEO ASI2IP

Converts DVB-ASI to IP, allowing us-ers to broadcast MPEG-2 transportstreams over dedicated IP networks;accepts an incoming single or multi-program DVB-ASI MPEG-2 stream,converts the stream into UDP IP pack-ets and sends it out over a 100BASE-TEthernet connection; supports IPunicast and multicast.

858-613-1818; www.dveo.com

BOOTH: SU5026

TAPE CLEANER

SAMMA Systems Cleaner

Robust tape cleaner -inspector systemis designed to delicately clean oldermaster tapes quickly; reports clean-ing problems as metadata via USB;the cleaner contains several types ofoptional sensors to detect many typesof tape problems, from stuck hubs, tobroken leader, to stretched or foldedtape.


BOOTH: SU7130

UMD/TALLY

Image Video IMD-HD

Features HD/SDI input, HD/SDI525/625/output formats, HD/SDIDVI ouput, embedded audio demux/metering for HD/SDI sources, invideo keying of UMD/tally data andaudio meters, and user -adjustabletransparency; is fully compatible withImage Video tally controllers.

416-750-8872; www.imagevideo.comBOOTH: SU3305



HD/SD VIDEO EDITOR

Matrox Electronic Systems Axio

Integrates with Adobe ProductionStudio; features Windows Vista sup-port and real-time HDV 1080p edit-ing at 23.98fps, 25fps and 29.97fps forthe Sony HVR-V1U and in 24f and30f mode for the Canon XLH1.

514-822-6364; www.matrox.com/video

BOOTH: S12015

MIC HEAD

Sennheiser MD 5235

Designed for Sennheiser's RCM 5200RF wireless microphone; is rugged;cuts through high on-stage levels; canbe used with all handheld transmit-ters of Sennheiser's 5000 series; com-bines powerful sound with exception-al feedback rejection.

860-434-9190; www.sennheiserusa.com

BOOTH: N7117

UHF STEREO TRANSMITTER

Screen Service SCT 100U/S 10W

Transmitter has a modular construc-tion, conventional cooling, and AGCand ALC controls; features three -slope linearity pre -correction; canprogram the local oscillator from thefront panel; has a preset for precisionOFFSET; offers a soft -start circuit,low power consumption, a SAW ves-tigial filter and Sync restore.

+39 030 3582225; www.screen.it

BOOTH: C1624

DV131- S2SATELLITE

-1

Leading DVB-S2 Azimuthmodulator and demodulatorseries

Proven EfficiencyDVB-S2 reduces your satellite operating costs byup to 40% or saves on the size and power of youruplink and downlink equipment

Proven InteroperabilityNewtec's DVB-52 modulator has already beensuccessfully tested with demodulators from 4different vendors

Proven ReliabilityThe Azimuth product line has years of track record,thousands of units delivered and a stellarreputation throughout the industry

Proven FlexibilityWith more than 25 interface and processingmodules to chose from, customize your Azimuthdevice according to your exact needs

Proven ScalabilityBuy only the configuration and the performanceyou need and upgrade when necessary with asimple password. You can even start with DVB-Sand upgrade to DVB-S2 later!

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NA132007PRODUCTHIGHLIGHTS

CABLE!

Comprehensive XHDVGA/UXGA cables

Provide HD performance; the X3VVGA/UXGA cables use an oxygen -

free copper center conductor con-struction to ensure low attenua-tion and maximum signal transfer- even over long distances; heavy-duty HD15 connectors with 24k goldprecision machined contacts providemaximum conductivity and reducedistortion caused by inferior connec-tors; multiple individual high -reso-lution shielded coax cables transmitvideo signals to deliver bright and vi-brant images on HD plasma and LCDmonitors.

800-526-0242

www.comprehensiveinc.comBOOTH: SL2520

SERVER CODEC

SeaChange MediaClient 6000

Codec is built for SD; can establishan HD -powered transmission serverfor an economical migration pathto HD; is optimized to harness thepower of Intel's dual -core Xeon 5100series processors to drive bit rates upto 80Mb/s with MPEG-2 4:2:2 LongGOP; consumes half the bandwidthtypically required by solutions thatuse Intra-frame coding.

978-897-0100; www.schange.com

BOOTH: SU10812

AVC HD DECODER

Scientific Atlanta D9854

Supports PowerVu and multiplethird -party conditional -access sys-tems; for IP-centric headends, deliv-ers MPEGoIP capabilities to supportdelivery of IP video streams; DVB-S2modulation functions help expandthe content capacity of existing satel-lite bandwidth by up to 30 percent.

800-433-6222

www.scientificatlanta.comBOOTH: SU9613

POV HD CAMERA

Iconix Video HD-RH1

High -definition POV 3-CCD remotecamera system features a 1/3in pro-gressive 16:9 image sensor, backed bya 1/3in 3-CCD prism system for op-tics, using 14 -bit quantization at theA/D conversion and processing steps;prism leverages an asynchronous sig-nal processing architecture that runsthe CCD imagers at a different clockrate from the output signal; capturesand outputs video in NTSC and PALformats in all HD resolutions, whilesupporting frame rates of 24fps,25fps, 30fps, 50fps and 60fps.

800-783-1080; www.iconixvideo.com

BOOTH: SU15512

STORAGE CONTROLLER

DataDirect Network S2A8500

Designed for large-scale video broad-cast, post -production and film DI; de-livers 1.5GB/s of sustained through-put, with scalability, reliability andmanagement capabilities.

800-837-2298; www.datadirectnet.com

BOOTH: SU5605

HD MONITOR

Marshall Electronics TFT-MegaPixel

Provides high -pixel density for 10.4into 3.5in displays in one-, two-, three -

and four -screen configurations; new-ly developed proprietary technologydelivers a completely digital imageprocess onto each screen; featuresimprovements in brightness, contrastratio and viewing angles; configura-tions are available with HD -SDI, SDI,DVI, component HD/SD and com-posite video inputs.

800-800-6608; www.Icdracks.com

BOOTH: SU1926

ON -CAMERA UHFWIRELESS SYSTEM

Azden 300LT

Consists of the 300UPR receiver and3OBT bodypack transmitter; is de-signed for small DV cameras; pro-vides a choice of 240 UHF frequenciesin the 794MHz to 806MHz band forinterference -free performance; fea-tures a mini -jack balanced mic-leveloutput, a headphone monitor outputand an LCD display that provides in-formation such as frequency selected,reception quality and battery life.

516-328-7500; www.azdencorp.com

BOOTH: N482b



TEST SECTION

Jampro JTS

Allows access to either the antenna orthe coax system without a tuned el-bow complex; includes fixed bulletsfor input/output, one 0 -ring, hard-ware set, pass -through connectionand test turn; available for low -bandTV, FM, high -band TV and UHF TV.

916-383-1177; www.jampro com

BOOTH: C2515

CAMERA MOTION CONTROL SERIES ANALOG ROUTING SWITCHER

Shotoku CMC-400 Sierra Video Systems Lassen XL

Allows pan -and -tilt heads to be inte-grated with the most current Shotokusystems, eliminating the compatibilityand support issues commonly associ-ated with legacy equipment mainte-nance; is designed to be a cost-effec-tive upgrade; interfaces with othermanufacturers' pan and tilt heads bydirectly accessing the existing motorand potentiometer connectors.


BOOTH: C7432

Improves on the previous models ofLassen analog switchers with the ad-dition of an IP port for Ethernet con-nectivity and improved video boardswith increased bandwidth; improvedXL video board; allow for increasedbandwidth to 300MHz at -3dB; isavailable in sizes from 12 x 4 to 32 x 32, with redundant power sup-ply optional in 32 x 16 and 32 x 32models.

530-478-1000; www.sierravideo.com

BOOTH: SL6105

Fair and Balanced CoIt's true. Kinc Flo's telegenicParaBeam 400 studio fixturedelivers 3,000 Watts worth of

tungsten soft light on 2 Amps-with-out the heat and without compromis-ing your picture's color quality! TheParaBeam 's cool brilliance owes to

a special parabolic reflector that pratticajly_ ;_tainslight waves into projectiles.

As for image quality, the fixture uses Kino Flodesigned True Match lamps that display profes=sional tungsten and daylight balanced illumination(CRI 95). A center mount lets ycu rotate between ahorizontal and vertical beam. Elide in your choiceof focusing louvers to spot the beam down to a90°, 60° or 45° pool of light.DMX, analog and manual ccn-trols can dim the light to black.Like all Kino Flos, the ParaBecmis flicker free and dead quiet.

If you think the ParaBeamlooks good on paper, wait 'tilyou see how it looks on video.

Lr177a7111011M

2840 North Hollywood Way Burbank (A 91505 818 767 6528 voice 818 767 7517 fa< www.k n of lo.c o m


VIDEO STORAGE

SGL FlashNet 6

Designed to provide a scalable sys-tem with unlimited storage capacity,redundancy and resilience; the clus-tered architecture of the system is ful-ly scalable to serve the smallest call -letter station or the largest of globalentertainment companies; is the ar-chive provider to Avid Technology'sInterplay nonlinear workflow engine.

+441635 44991; www.sgluk.com

BOOTHS: SU8607, SL1413E

DIGITAL VIDEO ROUTER

NVISION NV8288

Ideal for mobile production trucksor facilities, the router incorporatesNVISION's HD -SDI super-widebandsignal transport technology; deliversdensity with exceptional signal qual-ity; can be future -proofed with 3Gb/scapability; HD -SDI and SDI compos-ite monitor outputs offer completeformat flexibility; a 288 x 576 routerin IORU and 12in of depth in a stan-dard EIA 19in rack; 576 x 576 requires20RU.


BOOTH: SU9605

SCHEDULING AND MANAGEMENTSYSTEM

SintecMedia OnAir

Manages airtime sales and trafficoperations, as well as content acqui-sition, broadcast rights, long-termand detailed schedule planning, andpromotion planning; new featuresinclude an automated sales proposalgeneration tool that makes betteruse of inventory, automated brandallocation functionality and virtualinventory.

866-746-8321; www.sintecmedia.comBOOTH: N2535

AUTOMATED CONTENTREPURPOSING WORKSTATION

Snell & Wilcox iCR

Enables users to create high -qualitydigital masters of their content andrepurpose them for distribution onmultiple, revenue -generating plat-forms; integrates image conditioning,content mastering, quality controland content repurposing functional-ity; features concurrent processingcapabilities that eliminate the needfor separate encoding and transcod-ing, and performs these functions aspart of a single workflow.


BOOTH: SU4220

MPEG OVER IP GENERATOR

Sencore MIP 1664

Plays out hundreds of media streamssimultaneously from the system RAMor directly from the system harddrives; features seamless looping, easystream duplication, network stressingcapabilities to ensure system QoS, andtimestamp capturing; applicationsinclude verifying VOD server perfor-mance, monitoring IPTV and digitalcable QoS, and network stress .

800-736-2673; www.sencore.comBOOTH: C1646, N1113

OEM MODULATOR

TeamCast MFL-1000/2000

Features full compliance with FLOtechnology, efficient TS input man-agement for redundancy, high modu-lation performance (MER, RF stabili-ty, shoulder level and low phase noise),nonlinear digital precorrection, threecompact sizes for easy OEM integra-tion and a single 12V voltage supply.

312-263-0033; www.teamcast.comBOOTH: C2639

ON -AIR SWITCHER

Sonifex RB-0A3

The 1RU unity gain on -air switcher iscapable of switching four stereo pairsbetween three studios; each studiocan control the transmission path,two peripheral paths for equipmentsuch as a codec or hybrid, and a laststudio to offer bus; a sustain modealso allows for a sustaining system,such as a PC automation system, tocontrol the broadcast.

+44 1933 650700; www.sonifex.co.uk

BOOTH: N4928

DIGITAL CONSOLE UPDATE

Soundcraft Vi6

A new processing card brings Lexiconeffects and BSS audio equalization tothe console; card uses eight customLexicon DSP engines to provide eightmono or stereo effects units, whichmay be patched to aux bus outputsand then back into a channel input,or inserted into input or output chan-nels; card provides a 30 -band graphicEQ on every output (35 outputs),controlled by the first 30 channel fad-ers once the output graphic EQ iconis pressed.

818-920-3212; www.soundcraft.comBOOTH: N7715



CAMERA

Sony F23 CineAlta

Uses three 2.2Mb 2/3in progressiveCCDs and a 14 -bit A/D converter;supports 1080/23.98P, 24P, 25P,

29.97P, 50P, 59.94P, 50i and 59.94iformats; captures and records vari-able speed images from 1P to 60P (1Pto 30fps at 4:4:4 and 1P to 60fps at4:2:2) at 1920 x 1080 HD resolution.

800-686-7669

www.sony.com/professional61.10 111: SU90t,

HDTV CAMERAS

Hitachi SK series

Employ 2/3in CCD imagers with fullraster HDTV resolutions of 1920x 1080 or 1280 x 720; feature 24, 25and 30 progressive frame capturemodes and improvements in sen-sitivity (F11 at 20001x), signal-to-noise (greater than 56dB HDTV) andresolution (greater than 1000TVL in1080i, greater than 700TVL in 720p);the SK -3200 model features 10 opti-cal filters on two turrets and is de-signed for use with large box lenses;the SK -3020P is a lower cost versionwith four optical filters on one turret;the SK -32B comes without intercom,program audio, dedicated viewfinderand analog video output options.

516-921-7200; www.hitachikokusai.usBOOTH: C5017

MICROPHONE SYSTEM

Soundfield DSF-2

Provides both the surround and ste-reo soundscape at large-scale outsidebroadcast events; the multichannelaudio it generates from a single pointsource is completely phase coherent;this enables the broadcaster to col-lapse the surround to stereo or monofor TV feeds without loss of infor-mation, frequent' imbalance or anyother phase problems associated withspaced microphones or multi -capsuledummy head arrangements.

+44 1924 201089; www.soundfield.com

BOOTH: N9421

Ingest - NRCS - Newsroom - Playout - Scheduling -Archive (MAM) - Graphics - SMS TV - legal Compliance

n totaneless.tv

TV AUTOMATION FROM ONE SINGLE COMPANY

DEVELOPED UNDER CUSTOMERS' REQUEST

OPEN COMPATIBLE SOFTWARE

STANDARD IT HARDWARE

STABLE & COST-EFFECTI V E NitY 3 0 0 0 0 SNOW SM.

Booth: N717w w w.tapelEss.tv t E I +34 937 B 4 9 970vsnTAPELESS TELEVISION



BROADBAND DIRECTIONALCOUPLERS

SPINNER

Cover attenuation ranges of 3dB,6dB, 10dB, 20dB and 30dB; featurewater/corrosion resistance, stablepassive intermodulation values ofless than -160dBc, a power rating ofup to 1000W and a three -stage designthat ensures flat attenuation behaviorfrom 800MHz to 2500MHz; applica-tions include mobile communicationbase stations.

+49 891 2601 0; www.spinner.de

BOOTH: C8828A

FIELD MIXER

JK Audio RemoteMix 4

The four -channel field mixer andheadphone amplifier features a phoneline hybrid and keypad, a PBX hand-set interface, and a 2.5mm cell phoneinterface; is ideal for sports remotes;can be used as a phone line hybrid,calling into the user's studio talk showhybrid; can also be used as a front endmixer for the user's POTS, ISDN or IPcodec.

815-786-2929; www.jkaudio.comBOOTH: N9426

PLAYLIST DELIVERY

NVerzion NControl

Playlist software directs digital feedsby serving them to air in a controlledsequential order of events; automati-cally rolls through video server orVTR content and produces a continu-ous stream of aired video; allows us-ers to control audio playback devicesfor voice-overs, downstream keyers,logo inserters and more from withinthe playlist.

801-293-8420; www.nverzion.com

BOOTH: SU4228

RAC!-

APWMayville StantronPresentation Rack

Ideal for pro AV facilities and alsouseful as a broadcast rack in smallerfacilities and backup applications;available in two models; both mod-els are fully customizable to fit therequirements of integrators and endusers; front- and rear -door accesssimplifies equipment reconfigura-tion and routine system care; featuresvertical lacing bars for efficient cablemanagement.

800-558-7297; www.stantronracks.com

BOOTH: SU7220

BROADBAND POWER SPLITTERSSPINNER

Feature a frequency range of 330MHzto 2700MHz, an even split, a flat fre-quency response, a low VSWR andstable passive intermodulation valuesof less than -160dBc; split up to 450Wand resist voltage spikes up to 1800V;include integrated lightning protec-tion on the antenna side and DCbreak on the input side; are availablefor splitting ratios of 1:2, 1:3 and 1:4.

+49 891 2601 0; www.spinner.de

BOOTH: C8828A

OPEN STANDARD MODULATOR

Radyne DM240XR

Includes DVB-S2 CM, VCM andACM mode support, and DVB-S andDVB-S2 compliancy; enables datarates up to 250Mb/s; features a Pro-MPEG GigE interface; supports ASI,DVB Parallel, HSSI and G.703.

602-437-9620; www.radyne.net

BOOTH: SU5529

SATELLITE MULTIMEDIABROADBAND SYSTEM

Newtec America Sat3Play

The two-way satellite multimediabroadband system is designed for op-timizing the delivery of fast Internetaccess, VoIP telephony, and video andaudio services; makes it possible tooffer services to consumers in areaswhere no terrestrial infrastructure isavailable at a competitive price.

203-975-4491; www.newtecamerica.com

BOOTH: SU11023

TRANSPORTER

Strategy & TechnologyTSBroadcaster

Allows a broadcaster or network op-erator to configure and automaticallygenerate MPEG-2 transport streamscontaining DSM-CC object carouselsfor interactive TV; the solution is fullycompliant with DVB and OCAP stan-dards; supports MHEG, MHP, OCAPand ETV -compliant applications.

303-926-4933; www.s-and-t.com

13001-H:SU9306

VIDEO TRANSPORT SYSTEM

Streambox SBT3-5200

II 14-regilakex al= kThe 1RU video transport system usesthe company's ACT -L3 codec and ad-vanced proprietary compression tech-nologies; enables customers to trans-mit broadcast video in real time overany IP- or satellite -based network forlive news broadcasts or distributionto cable headends; measures 1.75in x19in x 16.25in.

206-956-0544; www.streambox.comBOOTH: SU15515

VIDEO CARD

AJA XENA 2K

The video card for Windows XP de-livers uncompressed SD, HD and duallink HD; enables customers to workwith 2K frames in a flexible and fu-ture -safe architecture.

530-274-2048; www.aja.com

BOOTHS: 516113, SU7511


NAB2007PRODUCTHIGHLIGHTS Ensure Service

MPEG PORTABLE ANALYZER

Tektronix MTX100B

Now includes real-time monitoringand offline analysis in addition tothe existing MPEG transport streamgeneration and recording capabilities;is small, light and robust; is ideal forfield installation, commissioning anddebugging of complex MPEG trans-mission systems.


UUiH: N1bki

DOLBY E DECODING OPTION

Studer D21m

For use with the Studer Vista andOnAir 3000 ranges of digital consoles;a single optional I/O card accepts anyAES/EBU stream containing signalsencoded with Dolby E or Dolby Digi-tal, decodes the stream within the in-put stage and then provides up to twosets of eight channels to the console;one D21m I/O frame can take up to12 of these cards in a 3RU space; eachcard may contain up to two decoders,making it possible to decode up to 24Dolby E streams.

818-920-3212; www.studer.ch

JOU

AUTOMATION SYSTEM

Sundance Digital Titan v3.0

Features remote control functionality,streamlined GUI and the capability tocontrol hundreds of playout channelswithin a single facility or playlists atmultiple remote locations; offers op-erator interfaces in French, German,Italian and Spanish,supports BXFSMPTE 2010 Standard, includingreal-time dub order, content manage-ment and as -run status updates.

972-444-8442

www.sundancedigital.comBOOTH: SL1410A

WALL MONITOR SYSTEM

TBC Consoles TracWall

Uses a gird of structural t -slotted alu-minum to facilitate many variationsof monitor wall arrangements andupgrades; features a variety of fixed,tilt/swivel and articulating mounts forholding displays from 15in to 65in;channels cables directly into basecabinets, which also provide space forequipment and power supplies.

631-293-4068; www.tbcconsoles.com

BOOTH: SU5405

AUDIO MASTERING SOFTWARE

Dolby Media Producer

Support all Dolby audio formats usedin mastering DVD-Video, DVD-Au -dio, HD-DVD and Blu-ray disc for-mats; supports multichannel non -real-time encoding and real-time filedecoding of Dolby Digital Plus, Dol-by Digital, Dolby TrueHD and MLPLossless formats via an intuitive userinterface; is comprised of three sepa-rate software products: Dolby MediaEncoder, Dolby Media Decoder andDolby Media Tools.

415-645-5000; wvvw.dolby.com

BOOTH: N2513

DISTRIBUTION SYSTEM

Pathfire Direct

A point-to-point distribution solu-tion providing easy integration andinstallation with capture and playoutdevices; flexible format options; in-terface designed for TV professionals;selectable signal or multiple receivedestinations; uses MXF-compliantmetadata; uses dynamic bandwidthto optimize simultaneous encodingsessions

770-619-0801; www.pathfire.com

BOOTH: SU7405

Integrityl'

Anywhereg ryrr slrt

In Your System

MPEG Monitoringand Analysis

TSM 1770

- Remote TS Monitoring withMFEG2 & H.264 Thumbnails

- Now Includes New ATSCA/78 TS Verification

- Inputs Include ASI, 310M,8VSB, QAM, and MPEG/IP

MAP 1853

- Full Featured MPEG2 & H.264Real-time TS Analysis

- High Bitra-e Streaming andRecording

- H ghly Derailed Off-lineAnalysis

IVCC:)1=1Innovativr, Video Network Solutions

You Partner Since 1951

www.sencore.com1 -800-SENCORE(736-2673)

Color indicates advertisers NAB coverage I April 2007 I broadcasteagineering.com 145


MPEG TRANSPORT STREAMMONITOR

Tektronix MTM400

The simultaneous monitoring of upto 500 IP sessions includes criticalMPEG transport stream errors, IPpacket errors and IP timing; featuresautomatic channel changing capa-bility to sequentially poll multiplestreams, allowing up to 200 IP ses-sions to be monitored in-depth.


BOOTH: N2519

CONTENT MANAGEMENT

Front Porch Digital DIVAdirector

Provides a Web -based window intoall assets stored in the DIVArchivesystem; enables low -bit -rate proxybrowsing, frame -accurate EDL gen-eration and export, and metadatasearch and management capabilities.

303-440-7930; www.fpdigital.com

BOOTH: SU14915

HD AVC ENCODER

Telairity 13E8000

Uses Main profile Level 4 H.264/AVC standard; features upgradableAVClairity compression, MPEG-4AAC audio encoding and selectableconstant or variable bit -rate encod-ing options with bit rates ranging upto 20Mb/s; accepts 720p and 1080i(4:2:2) uncompressed HD videoand up to four channels of embed-ded HD -SDI audio inputs; outputson an MPEG-2 TS via DVB-ASI or100BASE-T Ethernet; achieves lowlatency and low bit rates of 6Mb/s to10Mb/s for high -motion sequences.

408-764-0270; www.telairity.com

BOOTH: SU13615

VERIFICATION RECORDER

Digital Broadcast MediaView

Stores up to a year's worth of off -airfeeds per station; provides ongoingverification and simultaneous com-parison of multiple station off -airfeeds; allows the user to search thefeeds by date and time, and scrub andburn materials to a CD or DVD.

352-377-8344; www.digitalbcast.com

BOOTHS: SU13310, SU13510

HEADSET

Riedel PRO

Features an efficient neodymiummagnet system, high reproductionprecision and a balanced sound; thesoft circumaural earcups and the fullyadjustable padded headband are ex-tremely comfortable; can be optimal-ly positioned with the flexible goose-neck; the hypercardioid polar patternprovides an extremely high gain be-fore feedback and noise cancellation.


BOOTH: C9428

TRANSPORT STORAGE ANDPLAYBACK SYSTEM

Pixelmetrix DVStor

Augments DVStation family by provid-ing long-term, continuous loop record-ing and playback of MPEG-2 transportstreams; provides up to 1TB of storage,but is also available in a 500GB config-uration; uses a 1.8GHz Pentium CPUand Red Hat Linux 8.0; features twohot-swappable power supplies with au-tomatic voltage selection.

954-472-5445; www.pixelmetrix.com

BOOTH: SU12109

2K PROCESSOR

Panasonic AJ-HDP2000

WinRecords and processes quality 2K andHD images to D-5 VTRs for editing,interchange and distribution; is de-signed specifically for use with tele-cine systems and especially within therapidly growing DI workplace; usesJPEG2000 compression; accepts 12 -bit 4:4:4 2K 2048 x 1080 resolutionfilm image data, or 12 -bit 4:4:4 sam-pled 1920 x 1080 HD images; recordsto the AJ-HD3700H, AJ-HD3700Aand AJ-HD3700B D-5 HD VTRs forediting, archiving and distribution.


BOOTH: C3613

PAN/TILT HEAD

Telemetrics PT -LP -S3

Heavy-duty bearings and motorswith isolation mounts provide quietoperation; manual smooth motion isaccomplished using digital servo con-trols, with RS -232, RS -422 or Ether-net for serial control; 255 presets areavailable, memorizing pan, tilt, zoom,focus, track/televator, dolly, iris andmaster pedestal; lens connector pro-vides direct connection and interface -to -lens functions.

201-848-9818; www.telemetricsinc.com

BOOTH: C4937

ANALOG AND DIGITAL AUDIOTRUNKING

Telecast Fiber Systems Adder IIBoothPak

Handles analog audio and digital AESaudio while converting between them;features an integrated signal genera-tor and analyzer, as well as facilitiesfor data, intercom and optical redun-dancy; is designed for easy setup.

201-848-9818; www.telemetricsinc.com

BOOTH: 04937


NAI32007PRODUCTHIGHLIGHTS

MICROWAVE TRANSMITTERSYSTEM

Nucomm GoPac2

Supports high data rate HD and SDfeeds in COFDM bandwidths from5MHz to 16MHz; is a multipurposetransmitter with amplifier dockingstation that can be used for virtuallyany ENG application; can be detachedand used on an HD or SD camera orattached to its companion high -pow-er amplifier for tripod or ENG vehicleapplications.


BOOTH: C2529

PROGRAM OPTIMIZER

Dolby DP600

Allows cable, satellite, IPTV and ter-restrial broadcasters to automaticallyanalyze and correct program loud-ness; the codec options provide fasterthan real-time encoding, decodingand transcoding of the most com-mon broadcast media files and audioformats; normalizes the loudness ofaudio programs with no impact ontheir original dynamic range.

415-645-5000; www.dolby.com

BOOTH: N2513

ASSET AND WORKFLOWMANAGEMENT

OBOR Digital Zeus

For physical asset management,tracks equipment using identifierssuch as name, description and loca-tion; for technical workflow man-agement, provides ticket generationand management, automatic routineticket generation, interdepartmentalcommunications, shift notes and ser-vice scheduling; for workforce man-agement, offers personnel scheduling,assignment of duties, time card man-agement and safety integration; foroverall management, offers budget-ing tools, key performance indicators,safety reports and training overviews.

407-352-6501; www.obord ig ita Lcom

BOOTH: N6730

FIBER-OPTIC TRANSCEIVERS

Telecast Fiber Systems G2CopperHead

The camera -mounted transceivers areavailable in, and convertible to, sev-eral configurations, including 40 -pinSDI, 50 -pin HD/SDI, component/composite analog ENG and digitaltine through a change of input/out-put mounting sleds.

508-754-4858

www.telecast-fiber.comBOOTH: C4937

CAMERA TROLLEY SYSTEM

Telemetrics TeleGlide

Is designed primarily for use in stu-dio or sports applications; consistsof a single or dual trolley for optimalload stabilization; the track is a dualrail system with connecting brackets;is fully servo controlled for smoothoperation, with location feedback forpreset positioning and motion con-trol; can be floor-, wall- or ceiling -mounted.

201-848-9818; www.telemetricsinc.comBOOTH: C4937

The question isn't why we're offering no -fee support.The question is, why isn't everybody else?When our customers talk, we listen.

So when they said, "We love your automation software,but we don't want to pay extra for support," we said, "Okay.'They said, "Really? Why doesn't everyone teat us this well?"

"That," we said, "is a good question." Announcing Crispin 4 Life.

No -fee 24/7 support for your automation software. Automation just got easier.

Let's talk about you: welisten©crispincorp.com 919.845.7744 www.crispincorp.com

Come visit us at NAB, Booth SU6205 South Upper Hall.



HDV/DV EDITOR

Matrox Electronic Systems RT.X2

Provides professional real-time nativeHDV/DV editing; features WindowsVista support and real-time HDV1080p editing at 23.98fps, 25fps and29.97fps for the Sony HVR-V1U andin 24f and 30f mode for the CanonXLH1.

514-822-6364; www.matrox.com/videoBOOTH: SL2015

MULTIFORMAT MEDIA ENCODER

The multiformat media encoding so-lution for Mac users is comprised ofscalable desktop- and server -basedbatch encoding applications; featuressupport for an extensive range of SDand HD file formats; optimized codecsplus hundreds of filters and fine-tun-ing compression capabilities enable us-ers to generate excellent picture qualitywith fast conversion speeds using Machardware; expands Telestream's en-coding solutions for Web, DVD, pod-

cast and mobile markets.

877-257-6245; www.telestream.netBOOTH: SL9214

TS MONITOR AND ANALYZER

Manzanita Systems TSMon

Monitors and analyzes live trans-port stream signals in real time; coreanalyzer software engine is based onMP2TSA's new v3.0 software analyzer.

858-679-8990

www.manzanitasystems.com

BOOTH: SU7524

LNCODERTTRANSCODER

Telestream Flip4Mac 360 SystemsComponents

Moves professional MXF content in andout of Apple's Final Cut Pro systems forediting; Flip4Mac's new import/ex-port components for 360 Systems' Im-age Server 2000 now add seamless filetransfer between 360 Systems' broad-cast server and Final Cut Pro.

877-257-6245; www.telestream.net

BOOTH: SL9214

PHONE MATRIX

Telex/RTS TIF-4000

Frame of up to 12 digital telephoneinterface cards with a redundantpower supply features compatibilitywith ADAM, ADAM CS, Cronus andZEUS intercom systems; provides bi-directional communication betweenthe intercom matrix and an analogtelephone line; allows the phone toaccess all crosspoints of the matrix, aswell as dynamic party lines and IFBcircuits.

800-323-0498; www.te I ex i ntercoms.com

BOOTH: C5329

SERVER SYSTEM

Thomson Grass Valley MediaEdge2

Is a LAN -based video delivery sys-tem using standard TCP/IP networksand displays; is designed to offer acost-effective method for distribut-ing video content to multiple PC andset -top box clients, including prepro-grammed broadcast, live streamingand full -featured interactive video-

on -demand.


BOOTH: SL2020

INTERCOM SYSTEM

Production Intercom AS -100

1411111111111111h

Is designed to allow the announcerto broadcast and communicate withone headset; intended to be associ-ated with a compatible intercom orIFB system and will normally draw itspower from that system; where no in-tercom or IFB exists, a power supplyis available that will power the AS -100and up to 10 beltpacks or IFB packsconnected to the AS -100 rear panel.

800-562-5872; www.beltpack.comBOOTH: N2235

ARCHIVE SYSTEM

Digital Broadcast MediaVault

Features blue laser technology thatprovides up to 50TB of media stor-age and a high-speed searchable in-dex based on file metadata; allowsarchived material to be played at anyaccess -granted desktop computer.

352-377-8344; www.digitalbcast.comBOOTHS: S1113310, SU13510

SET -TOP -BOX FORENSIC MARKING

Thomson TechnologyNexGuard for STBs

Video watermarking technology isdesigned for set -top -box companies,conditional -access system vendors, andVOD and push-VOD operators; workswith compression codecs, includingMPEG-2, MPEG-4/AVC and VC -1;has been integrated into STMicroelec-tronics' STx7100 family of System -on -

Chips (SoC); deters illegal copying anddistribution of all forms of broadcastcontent delivered via IPTV, satellite,cable or traditional broadcast andviewed with digital STBs.

818-260-3683; www.thomson.net

BOOTH: N413

148 broadcastengineering.com April 2007 I NAB coverage Color indicates advertisers


SATELLITE -TO -TERRESTRIAL

TRANSCODER

DMT NABLA

Can deliver up to 100W Rms with amodular and versatile structure, fea-turing a built-in satellite receiver andadvanced control systems; interfaceconnections, power supply and cool-ing air circulation have been designedto comply with the operational re-quirements and constraints typical oftelecom stations.

856-423-0010; www.dmtonline.com

BOOTH: C2915

PROMPTER

Autocue MSPO8

One of the smallest daylight -readableprompters available; when combinedwith the QNxt, it untethers from thecontrol PC and the camera, enablingthe camera operator to get the bestshots and the presenter to look morefluent and professional.

203-406-1400; www.autocue.com

BOOTH: SU14612

PSIP GENERATION SYSTEM

Triveni Digiital GuideBuilder

New, enhanced features include cen-tralized PSIP and redundancy capa-bilities; provides mission -critical op-erational capabilities for both contentproviders and network operators bygenerating accurate PSIP data; intui-tive interface for managing programevent information and flexible archi-tecture ensure smooth operationalintegration.

609-716-3500; www.trivenidigital.com

BOOTH: SU8525

CONNECTOR

Electronics Research (ERI)

A 4-1/ltiin connector for AndrewHJ11-50 4in air HELIAX; is com-pensated for low return loss; can beassembled without special tools; isavailable in both gas pass and gas bar-rier versions.

877-ERI-LINE; www.eriinc.com

BOOTH: N1119

BROADBAND RF TRANSPORT

Emcore 1310nm and 1550nm

Provide broadband RF transport forCATV, FTTx video overlay and pri-vate network applications; 1310nmtransmitters are available with a widerange of optical output powers up to15dBm, in either standalone mod-ules or rack -mount configurationswith SNMP management; 1550nmtransmitters are offered in short-,medium- and long -haul rack -mountconfigurations and provide SBS sup-pression of up to 23dBm with SNMPmanagement.

626-293-3428 www.emcore.com

BOCTH: N2238

VHF TRANSMITERLARCAN M series

Includes a full range of TV broadcasttransmitters, from 250W to 80kW;features highly linear solid-statebroadband PA modules, high -powerstripline combining techniques andrugged linear F ower supplies; versatilepull -through cooling system design isengineered to simplify installation.

905-564-97.22; www.larcan.com

BOOTH: C1916

Curious? See you at NAB 2007, Booth C9428RIVRIEDEL

I The Commurications People

How to connect intercomsStep 1: Connect youe Artist intercom matrices

via the dual Bedundant fiber ring.

Step 2: Merge your configuration files with 3neclick using the Director Software.

In mobile production:Step 3: You're done!

Just imagine the possibility to networkup to 128 Artist matrices 'on the fly' andcommunicate without limitations.

Riedel Communications Inc. 200 Clearbrook Road Elmsforc, NY 10523 USA Phone +1 914 592 0220 www.riedel.net



ANALOG/DIGITAL CENTRAL RECEIVE SITE

Broadcast Microwave Services Central-DeCoder II

Detects and adjusts COFDM, MPEG-2 transmission pa-rameters, data rate, modulation, guard interval, coderate, GOP structure and bandwidth pedestal; containsCOFDM, MEPG decoding and analog FM demodulation;features 6MHz RF bandwidth capability for signal recep-tion in congested RF environments.

858-391-3050; www.bms-inc.com

BOOTH: C1607

BGANPortable IP ConnectivityFrom Wherever You are.

GCS1 -888 -SAT -1U SA

satl [email protected]

Broadband Global Area Network - BGAN isthe world's first mobile satellite communicationsservice to provide voice and data simultaneouslythrough a single, truly portable user terminal.

What can the new"BGAN" do for you?

Real-time video streaming for "Live viaVideophone" reporting

Internet access for"Store-&-Forward" video,email, mobile office

Voice communications for "IFB" andday-to-day phone calls

It's your "MOBILE 1 -MAN UPUNK"!

For all your BGAN products, airtimeservice and systems needs,experience the GCSdifference!

IMO TECHNOLOGY

TSL In -Monitor -Display (IMD)

Allows dynamic UMD information and dual tallies to bedisplayed directly in -picture on flat -screen monitors; afully integrated addition to the TallyMan system to give anew monitoring option positioned between multiviewersand traditional Under Monitor Displays; works with both4:3 and 16:9 sources and displays.

+44 1628 676 200; www.tsl.co.uk

BOOTH: SU14615

AUDIO MONITORINGTSL AMU1-BHD

Compact audio monitoring system is ideal for desk mount-ing or where rack space is at a premium; features an autosensing HD/SDI video input, 2X balanced AES/EBU andfour stereo analog inputs; the unit also offers dual high -

resolution 106 -segment tri-color bar graphs and a power-ful integrated amplifier, all in 1RU.

+44 1628 676 200; www.tsl.co.uk

BOOTH: SU14615

SYNCHRONIZER, TRACKER AND EMBEDDERCrystal Vision SYNNER HD

Features a video synchronizer, tracking audio delay, an em-bedder and de-embedder, and an audio processor in one4in x 10.5in board; with timing from SD or HD analogsyncs, it will synchronize the video, de -embed up to twoaudio groups, mono route the audio channels and passthem through a tracking audio delay, resampling them tomatch the synchronized video; it then finally re -embed thetwo groups.

+441223 497049; www.crystalvision.tvBOOTH: N2935

150 broadcastengineering.com I April 2007 I NAB coverage

Continued on page 157

Color indicates advertisers

#1 in Routers,Router Control & Master Control

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With NVISION systems, broadcast networks and postproduction facilities get best -in -class router, routercontrol, and master control systems, including +100Synapse modular products, for error -free video andaudio signal processing and distribution. This meansfaster installations and lower operation costs.

Our forward -looking designs leverage your invest-ments and help you avoid costly replacements, recabling,or ground -up installations. You can expand capacity orupgrade capability quickly and cost-effectively with simple,front -plane module replacements. High product qualityand strict control of manufacturing ensure that NVISIONproducts continue running reliably, year after year.

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BROADCAST NETWORKSCentralized broadcast operation centers (B0C) improve efficiency,

yet significantly increase the impact of system failure. The

3Gb/s-enabled NV8256-Plus, with patented redundant crosspoint

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Simplify HD with NVISIONfor the ultimate in precisionrouting and master control.NVISION pioneered, and

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LOCAL STATION GROUPSDTV is a legal requirement and costs are a concern. NVISION

helps you make the transition to digital while protecting your

investment in analog equipment. The NV5128-MC switcher is

the first product ever to combine in one frame digital master

control, 3Gb/s-enabled multiformat routing and conversior., and

fully integrated Dolby E decoding with delay management that

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provides flexible support of analog audio and video, AES, SDI

and HD -SDI input and output signal formats. Upgrade to

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#1 in DolbNVISION is the only

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#1 Routeryear .nance agreement, full

replacement included...really!!The NV9000 Router Control system hasa robust and scalable architecture, andall new Java -based configuration utilityfor a simplified, intuitive, and powerfulinterfa,:e. The economically pricedNV900) hardware/software mainte-nance agreement (HSMA) is an industrystandoit - the first to include 3 yearsof extensive benefits, hardware warranty,

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POST PRODUCTIONDemanding post production schedules require efficient,

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'n Compact REna. s HD/SDI operation,the expanded CR Series of CompactRouters offers new intuitive GUIs anddelivers NVISION quality and perform-ance for budget -conscious applicatim5in broadcasting, mobile trucks, andpost -production, and where compactsize and operational simplicity arecritical factors.

MOBILE TRUCKSDoes size matter? For mobile video production it's critical.

So NVISION offers any size router, for any size mobile truck,

in any format you need. NV1SION routers are designed for

the harsh environment of a mobile truck, so you can dependon trouble -free operation when the pressure is on. And we

protect your capital investment. To scale up, simply add more

feeds or capability with front -serviceable modules. For the

ultimate in truck routers, test drive the new NV8288, thesmallest big router in the world. It houses an ultra -high

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TELECOMMUNICATIONSIPTV is challenging cable and satellite for a share of the pay

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Telecommunication leaders, like Verizon, Qualcomm, and

KDDI in Japan are ramping up for IFTV with NVISION's

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enable a cost-effective upgrade pan that extends the life of

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system provides a unified command and control environment

with a uniform control layer distributed over secure VPN links.

#1 in Synapse ModularBroadcastin S stems -

hoose from + 100 modules forHD/SD/audio signal processingand transmission that can becost-effectively integrated into onepowerful media system over time.Users can also integrate Synapsemodules with any other NVISIONrouter, router control, anc mastercontrol products to add specificfeatures, increase systemfunctionality, or lower overall costs.

"i Total C 1,

Instal igent and innovatiNVISION router, router control, andmaster control systems in yourfacility today paves the way for anupgrade path in the future. LIVISION'sforward -looking, scaleable resignsfuture proof your investmen: andhelp you avoid costly replacements,recabling, or ground -up installations.

#1 in 24/7 Custom Support& Local ServiceYou cal rely 01 local service andcustomer support from real people.Located across three continents,NVISION's cus:omer service, supportteam, and world -class, third -partysystem integrators are committedto heir ing yoL with rapid responseto answer yorr technical questions,keepir g your system on air or inproduction around the clock.

As the technology leader in video and audio routing

systems, NVISION specializes in the development and

manufacture of the most innovative router, router control,

and master control systems, as well as new technologies

for flawlessly managing signals point to point. NVISION'sbest -in -class systems are more efficient, reliable, andcost effective than any other on the market.

Since 1989, the biggest names in TV broadcast, satellite,

entertainment and post production, as well as government

agencies, have trusted NVISION's technology innovation

behind the scenes to keep them years ahead of the times.NVISION's industry breakthroughs include:

hw/sw maintenance to include new replacement

'roduct (NV9000), 2007

FIRST /s & HD -enabled full product line of routers, 2006

FIRS Dolby modular products, 2006FIRST e -scale digital video router small enough fo

mobile trucks, 2005

grated multi -channel master control switchernd multiformat router, 2003

large-scale HD -SDI router (US patent awarded),1998

bi-directional machine control router with dynamic

port management (US patent awarded),1996

time code router with digital signal processing

(US patent awarded),1992

synchronous A 44 for audio,1992

Keep your eye on , I- , for new, advanced

technologies: next -generation master control, HD H.264

encoding, Synapse modular signal processing (includes

up/down/cross conversion), and a broader range ofpanels and compact routers.

The key to our success and the high satisfaction of

our customers depends upon our understanding of

each facility's unique needs and budget. We createa best -in -class routing solution for every customer,even when others say it's impossible.

NAB2007_PRODUCTHIGHLIGHTS

Continued from page 150

CONTROL PANELS

Utah Scientific UCP-1 and UCP-DT

The UCP-1 is a full -featured X -Y panelin a compact 1RU package; the UCP-DT is a desktop version of the com-pany's UCP-MM multimode panel,which was introduced last year; thesenew panels join the UCP panel series,a complete and flexible range of routercontrol panels for every application.

801-575-8801; www.utahscientific.comBOOTH: N4321

AUTOMATION SOFTWARE SYSTEM

VCI Solutions autoXE

Manages the entire content lifecycle,from point -of -sale to point -of -air;enables scheduling, monitoring, man-aging and playback; is designed tomanage one, 25, 50 or more channelstreams with ease; allows transparentintegration and interoperability withother broadcast systems such as Path -fire and Omneon.

413-272-7200; www.vcisolutions.comBOOTH: SU11620

VIDEO DECODER

Vela CineView HD Pro decoder

Decoder with HD/SD-SDI deliversadvanced features for professionalsworking with both HD and SD videocontent; can simultaneously sendvideo in both SD and HD formats; us-ers can also upconvert SD materials toHD or downconvert HD to SD format,eliminating the time and expense ofre -encoding assets; also allows users toframe -accurately combine SD/HD fileformats from a single decoder.

727-507-5344; www.vela.com

BOOTH: SU5111

IMAGE ANALYSISOmniTek XR

Image analysis system designed forcolorists and post -production editorsin high -definition environments; of-fers "extreme resolution" waveformand vector displays for total imageanalysis; real-time color histogramdisplays in a variety of different gam-uts; offers support for all 2k and dual -link input formats with user -pro-grammable LUTs to correct nonlinearinputs, as well as support for XYZcolor space inputs.

+ 44 118 6226; www.omnitek.tv

BOOTH: SL9705

ENCODING STATION

SAMMA Systems LES 2

Uses Motion JPEG2000 standardcompression; Motion JPEG providesmathematically lossless compression;users can realize approximately three -to -one compression of uncompressedvideo; maintains uncompressed vid-eo quality without the bandwidthand storage requirements of uncom-pressed video.


BOOTH: SU7130

MACHINE CONTROL SYSTEM

Videoframe PoE GPI12/12 VNODE VF0075

Has 12 inputs and 12 outputs; featuresPower over Ethernet (PoE) technology,which allows products to be poweredover the same Ethernet link that sup-plies the network communications link;its small 3.5in x 4in x lin size and newline of assorted mounting hardwareoptions increase system flexibility.

530-477-2000www.videoframesystems.com

BOOTH: SU7108

AUDIO PRODUCTION ENGINE

Fairlight Crystal Core (CC -1)

Based on the latest field program-mable gate array (FPGA) silicon tech-nology; obsoletes DSP/time slice busarchitectures and delivers quantumperformance gains by shrinking hard-ware into a single purpose-built me-dia processing clip; enables 200 -pluschannels of audio recording, editing,mixing, 1/0 and plug -ins, with ex-tremely low latency and full process-ing capability on every channel.

+61 2 9975 1777; www.fairlightau.com

BOOTH: SU9306

VIDEO SERVER

360 Systems Image Server MAXX

The high-performance, three -channelbroadcast video server with graphicstore and key and fill supports MPEG-2 video up to 50Mb; inputs MPEG-2and DV over GigE from Apple FCPand Avid, as well as TARGA files fromgraphics programs; includes framesync, SDI video ports, AES/EBU, digi-tal, analog and embedded audio.

818-991-0360; www.360systems.com

BOOTH: SU9120

MULTIVIEWERS

Avitech VCC-8(00 series

Allow broadcasters to visually moni-tor video as well as DVI/VGA (com-puter) inputs on the same display; thedistributed intelligent architectureenables an unimited expansion forinputs; a facility has the ability to pur-chase and use only what is required atpresent, with the option to expandthe system as the facility's monitoringneeds grow; a single module providesup to eight inputs..

877-284-8324; www.avitechvideo.com

BOOTH: SU13215



STREAMING MEDIA ENCODERViewCast Niagara Pro

Rack -mountable streaming mediaappliance designed for high -qualityand high -resolution video captureand streaming; ideal for IPTV, web -casting, video archiving and trainingapplications; also a solution for videocontent creation as repurposing videofor Internet and Intranet distribution;the dual -channel media encoder fea-tures three EZStream buttons that arepreprogrammable using the Niagaraconfiguration Web interface.

972-488-7200; www.viewcast.com

BOOTH: N2131

HD STORAGE AND RETRIEVAL

Volicon Observer -HD

Supports large numbers of simulta-neous users, with 24/7 access to liveand archived HD content from thedesktop using a Microsoft InternetExplorer -compatible interface; allowsbroadcasters to record, store, search,retrieve and view HD material in realtime from multiple broadcast sourc-es and from any desktop within thebroadcast facility.

781-221-7400; www.volicon.comBOOTH: N3231

TAPELESS NATIVE FIELD RECORDER

Ikegami HDE-X11

The portable, tapeless Avid DNxHDnative field recorder enables produc-ers to record to FieldPak2 or RAM -Pak media from any HD camera orsource, 1080i or 720p; offers morethan two hours of full HD record-ing to 160GB FieldPak2 or RAMPakmedia, compatibility with Avid HDediting systems, and RetroLoop andTimeLapse recording.


BOOTH: C4226

ENCODER BOARDS

Vela Argus 200/250

Encoder boards designed for a broadrange of applications where low costis important; both boards encode avariety of resolutions from QSIF tofull resolution MPEG-2 and MPEG-4formats; the intuitive Microsoft GUIallows for ease of operation within ahigher user-friendly environment; apowerful 32 -bit Windows CommonObject Model (COM) SDK is avail-able, making the functions of the en-coder available to the developer.

727-507-5344; www.vela.com

BOOTH: SU5111

CABLING ASSEMBLIES

Wireworks AES/EBU direct cablingassemblies

Available in 3.05m and 4.57m ver-sions and with a wide variety of XLRconnector combinations, includingall male, all female, mixed genders orTRS connectors; include tails/tails,DB25 analog or digital fanouts andDB25 trunks, supporting either ana-log or digital wiring standards; aredesigned to be rugged and flexible.

800-642-9473; www.wireworks.com

BOOTH: C7617

AUDIO PATCHBAY

Switchcraft StudioPatch 6425

Connects to I/O interfaces with com-mon DB25 cables; includes phantompower and changeable normaling po-sitions that can be set at full normal,half normal or non -normal modes.

773-792-2700; www.switchcraft.com

BOOTH: C7507

CHARACTER GENERATOR

Orad Maestro

The HD/SD switchable 3-D charactergenerator and on -air graphics solu-tion features plug -ins to newsroomand NLE systems; features virtualchannels capabilities; can load andtake on -air multiple graphic scenes,also referred to as channels; these newfunctionalities are coupled with exist-ing 3-D capabilities, unlimited scenelayer control, math functions, script-ing free database connection, localpreview, multiple video insertionsand HD/SD capabilities.

212-931-6723; www.orad.tv

BOOTH: SU3614

AUDIO MONITORING SYSTEM

Wohler Technologies ATSC/DVB-3/M

Monitors Dolby Digital, AES/EBUand HD-SDI/SDI; isolates individualchannels of Dolby Digital and de-codes Dolby Digital and AES/EBUembedded in HD-SDI/SDI; features atri-LED phase indicator.

510-870-0810; www.wohler.com

BOOTH: N3426

ON -AIR RADAR SYSTEM

AccuWeather SelectWarn v2.0

Delivers on -screen weather graphicsand video; uses the National WeatherService's official storm -based warn-ings; features an enhanced graphicstoolkit, extensions of StormVision totrack storm movement, and preciselightning forecasts and AccuRain todeliver neighborhood -specific rainfallamounts; plots storm -based warningsand local storm reports in real time.

814-235-8600; www.accuweather.com

BOOTH: C6412



DIGITAL SIGNAGE MANAGER

X20 Media Xpresenter Suite v2.0

Streamlines the process of creat-ing digital signage projects; includesXpresenter Content Manager (enablesusers to create playlists of content,schedule content and distribute thecontent to all players from a single in-terface), Xpresenter Template Builder,Xpresenter Player, Template Library(includes ready -to -use, customizablegraphic templates), Xpresenter server,Remote Manager, Xpresenter Agent,Data Parser and Web -Based Manage-ment Tools.

888-987-7557; www.x2omedia.com

BOOTH: SU11229

DIGITAL CONTENT AID

TV Magic i/oCast

For distribution of digital content;helps users prepare finished productsfor podcasting, VOD and RSS feedsvia Internet and Web -accessible cellphones; integrates with other mod-ules of the company's i/o product lineusing a TCP/IP connection.

858-650-3155; www.tymagic.tv

BOOTH: N406

TELESTRATOR ANDPRESENTATION SYSTEM

e-mediavision.com POINT -HDversion 3.0

HD/SD broadcast graphics telestratorfor sports and news presenters; newversion adds Targa-based animationto its current range of tools to allowbroadcasters to create eyecatchingtelestration sequences; new tool al-lows the highlight and zooming ofHD source signals while maintainingclarity and definition.

+44 20 8755 2014www.e-mediavision.com

BOOTH: C9538

MULTIDEFINITION LEGALIZER

Eyeheight IegalEyesMDi

Accepts 1080i and 720p HD and 625iPAL and 525i NTSC SD; enables us-ers to ensure that the level of theirvideo signals remains within thestrict tolerances required for HD/SDtransmission to air and DVD master-ing; monitors levels continuously andmanually or automatically correctsthem; includes hard and soft clippinglevels, luma and chroma gain, andblack level user adjustments.

+44 208 255 2015; www.eyeheight.comBOOTH: SU2823

VIDEO SERVER AND SYSTEMCONTROLLER

LEIGHTRONIX MINI-T-NX

Offers full station automation forsingle -channel operations on a bud-get; includes digital video playback,video messaging and digital signage,DVD and VCR control, and video andaudio switching.

800-243-5589; www.leightronix.comBOOTH: SU3811

BUG AND LOGO INSERTERCONTROLLER

DNF Controls Flex Control NetworkGTP-32 GPI Tally Processor

Provides bug and logo inserter con-trol; with combinatorial logic option,users create simple or complex rulesthat automatically turn bugs and logoinserts on or off based on externalGPIs or tallies, also allows users tochange the on and off rules on the fly;interfaces to the Grass Valley M2100.

818-898-3380; www.dnfcontro Is. c om

BOOTH: N1526

PRO850 WIRELESS INT> Supports virtually any wireless

system requirement

> PC and PDA interfaces provideeasy set-up, configuration,and system monitoring

> Exceptional operating range, sound quality,and proven reliability

1-866-352-8569 www.hme.com

OM SYSTE



DTV DEMODULATORMEASUREMENTZ Technology DM1010

mom,.t ri

Now simultaneously monitors dis-tributed transmitters from multiplelocations, providing remote Web -

based transport stream data moni-toring and video thumbnail displaysfrom dispersed terrestrial transmit-ters; TSR hardware/software optionanalyzes the transport stream outputsand reports a full complement of TSinformation, such as PAT, PID, PMT,data rates, data errors and stream al-location statistics.

888-613-9832; www.ztechnology.com

BOOTH: C3039

VIDEO INTERFACE

Claratech CTP2100

Houses up to eight SD/HD opticalreceivers or transmitters in 1U; fea-tures include automatic rate detec-tion, cable length equalization andre -clocked outputs; each module pro-vides multiple SDI outputs on BNCconnectors; the rack unit also offersfour 2 x 2 routers to allow functionssuch as routing and fiber protectionswitching; a built-in Web server alle-viates the need for special software.

+44 1234 271053; www.claratech.com

BOOTH: SU9307

SWITCHERS

Brick House Video Callisto

Updated range of switchers includeschroma keyer and hot -cut, which en-ables the user to switch asynchronoussignals directly on the program buswith no freeze frame on the output.

+44 1962 777733

www.brickhousevideo.comBOOTH: SU6806

STEREO ADAPTER

Zaxcom STA100

Stereo adapter for the company'sZFR100 and TRX900/900AA; inte-grates with the ZFR/TRX to providea balanced stereo audio input thateliminates ground loop problems;time code input synchronizes thetime code generator inside the ZFR/TRX and supports automated load-ing of audio onto the memory card;this enables an exact match of audiorecorded on the ZFR or TRX and au-dio/video recorded on camera.

973-835-5000; www.zaxcom.com

BOOTH: N9017

SWITCHERS

FOR -A HVS-38SSAM and HVS-600HS

The HVS-38SSAM adds video play-back and expanded still store func-tionality to FOR -A's SD/HD switch-

able, multiple bit rate HANABIHVS-3800HS; the HVS-38SSAM willbe available as an option for the HVS-3800 2M/E HANABI model switcher.

714-894-3311; www.for-a.com

BOOTH: C4234

PORTABLE RECEIVER

Sennheiser EK 3241

Uses a 36MHz switching bandwidththat is tunable in 5kHz increments togenerate 7200 frequency options; isdesigned for location sound record-ing; weighs just 7oz; can be poweredfrom a camcorder or via a recharge-able battery that delivers betweennine hours and 18 hours of continu-ous operation.

860-434-9190; www.sennheiserusa.com

BOOTH: N7117

PORTABLE WIRELESS RECIEVER

Lectrosonics UCR401

Has a digital hybrid wireless de-sign that overcomes channel noiseby combining digital audio with ananalog FM wireless link; featuresSmartSquelch technology that ad-justs squelching behavior; a DSP-generated ultrasonic pilot tone fromthe transmitter controls the receiveraudio muting and eliminates thumps,pops and other transients.

800-821-1121; www.Iectrosonics.comBOOTH: N8116

UPCONVERTER

Evertz 7711UC-HD

An all -in -one upconverter featuresauto -sensing HD/SD inputs, a built-in frame sync, noise reduction, aspectratio conversion, metadata extracting,and re -embedding and color correc-tion; this two -slot module is also of-fered with a discrete AES option andis SNMP-enabled for monitoring andconfiguration.


BOOTH: N1713



AUDIO ROUTER

Lawo Nova73 HD

Scalable up to 8192 mono channels;synchronous system has defined la-tency of few samples; features a vari-ety of interfaces and direct ATM link;is 96kHz and Dolby E compatiblewith integrated signal processing; fea-tures STAR2 architecture and redun-dancy options; operation during ser-vicing or refitting is not interrupted;hot -plugging is no longer restricted.

+49 7222 10020; www.Iawo.de

BOOTH: N7030

MPEG OVER IP CROSSLAYERANALYZER

Sencore MIP 1860

Provides real-time monitoring of hun-dreds of MPEG/IP streams to ensureQoS; features embedded TAP for moni-toring without disrupting service, com-bined IP/MPEG-2 transport streammeasurements and live video decodingof any transport stream locally or re-motely; records any content stream atfull -line rate for later analysis.

1-800-736-2673; www.sencore.com


MINIATURE DIGITAL MICROPHONENeumann KM D

Permits the output stage to be com-bined with various passive micro-phone capsules - onmidirectional,cardioid or hypercardioid; receivesthe output signal directly from themicrophone capsule and digitallyperforms level matching; features athree -pin XLR connector; supportsstandard sampling frequencies from44.1kHz to 192kHz.

860-434-5220; www.neumannusa.com

BOOTH: N7117

CONTENT MANAGEMENT

OmniBus Systems OPUS 2

Moves the content process from spe-cialized hardware to a standard ITplatform; features soft-XML supportfor customized logging and annota-tion, frame-acc arate proxy genera-tion and viewing, full -text indexingand searching, seamless integrationwith production editing systems suchas Avid and Final Cut Pro, and stan-dardized Web services data exchangewith adjacent systems.

+44 8V05 004339; www.omnibus.tv

BOOTH: SU5413

UNIVERSAL ENCODER

Scopus UE-9810

Features ASI and IP outputs as wellas integrated, advanced multiplexingcapabilities; offers a smooth migra-tion path from MPEG-2 ST to H.264SD to 1-1.264 HD encoding formats; isavailable as 1R11 for broadcast, satel-lite, cable and IP contribution appli-cations, as well as in a SDNG version.

609-987-8090; www.scopus.net

BOCTH: SU5408

VISIT US AT NAB2007BOOTH # SU 4228 NVERZION

WWW.NVERZ ON.COM4-1 801 293 8420

[email protected]

SUPPORT?How many Automatior companies can boast theyare still supporting software that is over 15 years old?At NVerzion we support the cld, sell the new and

CREATE THE FUTURE

1982 RAS 1987 SMS 1988 EMC 1989 SAS 1991 TAS 1997 EMCNT 1998 SERVCTRL 1939 NCONTROL2000 XPANSION 2007 NCONTROL ELITE 207 EMCL 1912 RAS 1987 SMS 1988 EMC 1989 SAS 1991

SAS 1991 TAS 1997 EMCNT 1998 SERVCTRL 1999 NCONTROL2000 XPANSION 2007 (/CONTROL ELITE 2007 EMCL 1982 RAS 1987 SIVS 1988 E AC 1989 ,S). 1991 TAS 1997 EMCNT 1998 SERVCTRL 1

NAB coverage I April 2007 I brcadcastengineering.com 161

HENRYSTEWART T 11. T X4VCONFERENCE

STUDIES

Speakers Include: IChrichton Limbert

Head of News ProductionModernisation

BBC

Mitch OscarExecutive Vice President

Carat DigitalDan DiPierro

Exec. Director of ArchivesCBS News

Paul WoidkeVP Technology

Comcast SpotlightKevin Loftis

VP of ContentManagement Systems

& Carin FormanDirector of DAM

DiscoveryMukul Krishna

Senior Industry AnalystFrost & Sullivan

Paul BottoHead of Analytics Sales

GoogleDavid Clark

EVP Global Advertising,General Mgr, North America

JoostPete Sgro

VP/GM Ops & EngineeringLifetime Networks

Kevin ComerfordSenior Media Archive Mgr

Microsoft StudiosJoe Inzerillo,

SVP Multi MediaMLB Advanced Media

Banafsheh ParseeAssociate Director Media

& TechnologyNational Geographic

ChannelDavid Julian Gray

Snr Architect,Content Systems

National Public RadioJanet Gardner

Founding PartnerPerspective Media Group

Mary YurkovicMgr, DAM & DistributionPlayboy Enterprises

Cynthia FrancisCEO

Reality Digital I ClipShack

Chuck HurstVP Software

Scripps NetworksSkiff Wager

PrincipalSEW Consulting

Paul NicholsonVP Print & Broadcast

ProductionShowtime Networks

Christopher GrakalVP Photography DAM

Turner

Stan ScogginsVP Worldwide DAMUniversal Studios

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BOOTH: SL2020

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TBC Consoles IntelliTrac

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CAMERA

Sony HDC-1400

Operates in either 1080/59.94i or720/59.94P mode; includes three -skin detail control, multimatrix colorcontrol and high -quality SD downco-version capability; features compat-ibility with the HDVF-C35W colorviewfinder; applications include HDstudio broadcasts and live events.

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DATA MANGEMENT SOFTWAREQuantum StorNet

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PCI AUDIO INTERFACE

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BOOTH: N4321

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FIELD REPORTNEW PRODUCTS & REVIEWS

Sony's PDW-F350Bands of ill-tempered monkeys and desert heat

can't stop this camcorder.

ast August, director Wes An-derson ("Rushmore," "TheRoyal Tenenbaums" and

me "Life Aquatic") asked me toshoot the behind -the -scenes show forhis latest feature project, "The Dar-jeeling Limited," which he planned toshoot in India over the fall and winter.Owing to his unique style and sensi-bilities, the director didn't want a typ-ical behind -the -scenes show. Instead,he suggested a far more personal,engaged approach, one in which mypresence as a shooter and interloca-teur would figure prominently.

BY BARRY BRAVFRMAN

journey we and hundreds of techni-cians and craftspeople embarked onaboard a specially constructed IndianRailways train chattering across theRajasthani desert.

The right camerafor the job

My assignment in India had mul-tiple components, including a one -

hour HBO program and a 30 -minutebehind -the -scenes show for DVD,in addition to podcasts and elec-tronic press kit (EPK) interviewsfeaturing members of the cast. All of

Behind -the -scenes footage, EPK interviews, Web videos - theSony PDW-F350 proved to be a versatile workhorse that coulddo it all. I shot HD exclusively at the highest quality (35Mb/s)for my diverse assignments for "The Darjeeling Limited."

Anderson and I worked together15 years ago on an early version of"Bottle Rocket." And he wanted to usethe same off -screen interlocateur ap-proach in the behind -the -scenes showbecause he thought it would highlightthe project's authenticity. Indeed, thedemand for authenticity was centralto the entire production. Through-out the project, I strove to capture theessence of the larger project and the

High -contrast balanceThe low humidity and perpetual

cloudless skies contributed to a harshnatural look, the unattenuated mid-day sun of the Rajasthani desert beingreminiscent of the cursed summerlight in southern California.

Shooting high -contrast exteriors is amajor challenge for any camera regard-less of format, and this was certainlythe case for the F350 with its diminu-tive 1/2in imager. High -resolutionchipsets in a reduced size configura-tion tend to sacrifice a degree of speedand highlight latitude in exchange for

The Sony PDW-F350 exhibited surprisingly good highlight latitudefor a 1/2in 3-CCD camcorder. Shooting in low light, I felt remarkablyunencumbered, a critical and most welcome feeling for anydocumentary HD shooter.

this demanded a versatile workhorsethat could handle the rigors of fourmonths of virtually non-stop pro-duction. In this context, my chosencamera - Sony XDCAM HD PDW-F350 - had to meet many environ-mental and operational challenges,not the least of which were searingdesert heat, persistent blowing sandand marauding bands of ill-temperedmonkeys.

the extended definition. While suchcompromises were evident, scrupu-lous attention to the camera's knee set-ting greatly mitigated the deleteriouseffect visible on screen.

Coming to grips with the middayexteriors, I initially pushed the cam-era knee upward in order to main-tain clean clear whites in the bright-est highlights. I had noticed in myfirst days that the default knee of 85


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tended to produce dingy gray whites,especially in Anderson's white linenjacket, his customary wardrobe onand off the set. While setting theknee to 98 ameliorated the off-whitecondition, the elevated knee also in-creased the incidences of clipping,a fate worse than the compromisedwhites I was trying to avoid.

In the end, I concluded it was bestnot to second-guess the F350's de -

shooting behind the scenes.In my case, I was able to reframe

significantly to take advantage ofbrightly lit elements such as the edgesof actors' faces or the burning wickof their torches. I use this edge -lightstrategy often to increase the low -light effectiveness of small -formatHD cameras. Viewers are more will-ing to accept substantial underexpo-sure as long as something in the frame

The F350 produces gorgeous images, particularly at dusk, so shooters shouldlook for opportunities late in the day. The unit uses a high native resolution1440 x 1080 chipset. The increased resolution, however, comes at the expenseof somewhat reduced low -light response and highlight latitude.

fault knee value. When shooting inuncontrolled conditions like thoseencountered in the Rajasthani desert,the default value of 85 produced thebest results without clipping -a ma-jor consideration in HD when the fin-ished program is likely to be magnifiedmany times on a large -screen display.

Low light capabilityShooting alongside the Panaflex

GII with Cinemascope lenses and5218 stock, the camcorder captureda roughly comparable gray scale inlow light. In general, where the filmcamera struggled, so did the F350,producing a kind of common groundin the two media types with respect todigital noise and film grain. A nightcampfire scene, for example, posed aparticularly tough challenge as it wascaptured without supplemental filllight. The film camera's struggle fortraction closely mirrored the F350

tates this kind of tweaking, underlyingthe versatility and inherent value of thecamcorder for shooting EPKs, behind -

the -scenes and similar -type work.

Going tapeless in pubicThis is not really as risque as it

sounds. The XDCAM's disc -basedworkflow proved to be highly ef-ficient in the field. Despite the dailythick coating of sand and grit that

The Sony XDCAM menu system has a logicalarrangement. It uses a series of thumbnails to facilitatenavigation and review of clips.

is bright enough to draw the eye awayfrom swirling noise (or film grain).The actual speed of the camcorderappears to be approximately ISO 80 -160. I used this as a working referencewith the camera shutter turned off.

The devil in the detailsAs most shooters are aware, an ap-

propriate detail setting is critical forcapturing tasteful professional im-ages. In Sony camcorders, the factorydefault is invariably set too high, lead-ing most shooters to lower the detailsetting to -10 - a conservative butprudent setting given the anticipatedlarge -screen presentation of my long-

form program.For the EPK interviews featuring the

principal cast, including Anjelica Hus-ton, I opted to further lower the masterdetail to -15 along with reduced skindetail. The camcorder's logical albeitreduced set of menu offerings facili-

formed on the camera, lens and me,the disc -based recording system oper-ated flawlessly in the cramped quar-ters of "The Darjeeling Limited" andin a range of arduous environmentalconditions.

The easy review of recorded clipsaccessible through the thumbnailmenu facilitated the creation of a melt-down reel, greatly reducing the clutterof miscues and other unwanted foot-age entering the pipeline. I shot morethan 150 hours of XDCAM HD overthe course of my three-month assign-ment. I hardly needed to handle andmanage an additional 40 or 50 hoursof junk I knew I'd never use.

The disc -based XDCAM systemalso facilitated the technical checksI conducted each evening, as focus,backfocus, color balance and audioquality for each clip could be verifiedin seconds. Moreover, the camcorder'snoiseless operation on set proved to be


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a real boon, as the production boomand mic would frequently sweep byinches away.

An operational perspectiveI used the camcorder's iLink/

Firewire output to capture SD into Fi-nal Cut Pro for assembly of sequencesand subsequent authoring of screen-ing discs inside DVD Studio Pro. Thelong -form file naming conventionenabled by a recent software updateproved to be a godsend as it permitteda highly efficient management of morethan 125 hours of recorded footage.

Of course, not every shoot andassignment is peaches and creamwith respect to camera gear. Severalof my peeves are not specific to the

Firewire (IEEE 1394) output is becomingincreasingly critical to accommodatethe range of deliverables expectedfrom today's digital shooter. In theF350, output via iLink/Firewire islimited to standard -definition DVresolution at 25Mb/s. In file accessmode, the camcorder can be mounteddirectly on the PC or Mac desktop foreasy offloading of files and import intothe NLE.

F350. One is the inability to see criti-cal focus in the viewfinder. Not onlyare today's viewfinders, regardless ofmanufacturer, woefully inadequatefor practical use, but also the focusmarkings on the lens are blocked bythe finder. Therefore, zone focusing isnot even an option without removingone's eye from the camera.

The famed documentarian AlbertMaysles once addressed this issue byextending a makeshift plastic pointer


from the focus ring to facilitate viewing.Shooting behind -the -scenes or docu-mentary fare requires fast and efficientoperation with minimal fussing. Notseeing clear focus in the viewfinder andnot seeing focus marks on the lens bar-rel is a miserable scenario that leads tomany missed and out -of -focus shots.

The F350, like other camcorders inits class, could use an integrated dustcover over the left -side toggle switch-es. This is logical given the exposednature of these switches and the rela-tive ease with which they can be inad-vertently repositioned.

In the SD black -and -white view-finder, it's not immediately obvious(despite the on -screen characters) ifthe white balance switch, for instance,has moved. This leads to my criti-cism of the single rotating filter wheelin the camcorder. The camera uses arecessed push button to engage thedaylight filter. In bright daylight, thestatus of this button is not at all ap-parent. Nor is the effect visible in theviewfinder notwithstanding the char-acters displayed in the finder that canbe too easily missed.

In addition, the record tally in theviewfinder is also positioned too faroff -axis. This makes it easy to overlookin the heat of battle.

All in all, the PDW-F350 performedbeautifully, and its outputted imageshave received rave reviews from thedirector and studio executives. Oper-ationally, the camera is extremely ro-bust with a solid workflow as exempli-fied by the XDCAM menu system andiLink/Firewire connection. BE

Barry Braverman is a veterancinematographer with more than 20years experience in feature films,documentaries and music videos He iscurrently serving as a digital media expertand consultant to major studios. His latestbook, "Video Shooter," is available fromCMP Books at www.cmpbooks.com.

PRODUCTUREVIEWSONESTOPat www.broadcastengineering.com

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APPLIED TECHNOLOGYNEW PRODUCTS & REVIEWS

Pixel Power's ClarityCombining newsroom functions into one system

streamlines production.BY JAMES GILBERT

Isolated broadcast solutions areset to give way to increased con-solidation between various prod-ucts that until now served only a

single function. For many broadcast-ers, making a separate investment ineach piece of equipment for a discretefunction, such as switchers, charactergenerators, AN mixers and server -based clip/still stores, is a necessaryevil. These systems are often expen-sive to buy and maintain, and theycause broadcasters to deal with mul-tiple suppliers for technical supportduring the fault-finding and diagnos-tic process.

Switchers, for example, were es-sential in the editing function, sobroadcasters were forced to investin them. Switchers are no strangersto consolidation, first with the com-puter -based nonlinear editing thatfollowed the advent of digital. Thesenew, more streamlined editing tech-nologies supplanted standalone pro-duction switchers, which have con-sequently been removed from mostedit suites. Yet they remain a stapleof studio operations. Whether cut-ting sources to air, providing the DVEcapacity for over -the -shoulder graph-ics or the keying to layer captions andstraps over live pictures, a productionswitcher is a familiar part of the newsstudio. Now comes a move to elimi-nate them from news studios, too.

Consolidating functionsThe move to automate the entire

news production process - includingthe studio - continues. Broadcastersare considering whether an operator -driven device like a production switch-er is even needed. The same effects cannow be achieved within a graphicsdevice, linked closely to the newsroomsystem using the standard MOS proto-

col. With functions almost identical tothose of character generators, it makessense to consolidate - and automate- production switchers.

In an automated newsroom witha dual -channel graphics system, suchas the Pixel Power Clarity, templatesstored in the character generator soft -

fill text fields as they would using anyother system.

Completed stories are insertedinto a rundown and manipulated bya rundown manager on the playoutclient. Rundowns are stored on thenewsroom server, which makes therundown for that particular program

The benefits of streamlining workflows frommultiple, isolated products into a single box

are clear. The device is easier to supportand maintain, and typically at lower costs.

ware are populated by an XML link tothe automation, so that all the graphicsare generated automatically. Each pro-gram's style sheet within the graphicsunit stores DVE moves and other ef-fects, while the built-in clip store holdspreloaded video sequences, either forstings or for story packages.

Streamlining workflowsAs a practical example of how

consolidating these functions wouldwork, imagine a dual -channel systemthat provides live broadcasts severaltimes a day. A client using an ActiveXcontrol plug-in allows newsroomstaff to create a news story. The plug-in has details of all templates, stillsand clip content stored on the graph-ics system. Storage locations on thegraphics system are defined on a spe-cially configured control center withautomated content ingest. These arescanned automatically to maintain adatabase accessed by the ActiveX con-trol plug-in.

The character generator stores pre-defined templates configured to usecombinations of video inputs fromwhich the newsroom staff can choose.Users can select foreground clips and

MOS active just before the broadcastbegins. It then instructs the graphicssystem to load the job before cue-ing and preparing template pages onboth channels within the central newssystem, including video clips from theinternal video server.

Throughout the news program,channel 1 is typically used to play vid-eo clips, either as backgrounds behindthe presenter's desk or preproducedpackage stories. Channel 1 is fed to thebackground input of a chroma keyer,which can then superimpose the an-chor if required by the template.

Once the output is mixed from thedifferent sources, it is fed into the in-put of channel 2, where its keyer addsforeground graphics, such as captions,lower third straps, and over -the -shoul-der graphics and clips. Channel 2 canalso mix in a live feed from a remotereporter, typically via a satellite link.

Based on templates, the graphics sys-tem accommodates last-minute chang-es and live updates. A touch screen con-trol panel allows live control of videosources and graphics for breaking news.Facilities for embedded and discretedigital audio ensure that paths matchand keep sound and picture together.



This system also has dual -channelinternal video and audio architecture,enabling fully customizable routingof SDI video, embedded audio anddiscrete AES/EBU digital audio to andfrom all system inputs and outputs -everything an audio mixer would do.Similarly, its internal clip store offersreliable, streamlined ingest, storageand playback of audio and video con-tent in conjunction with the controlcenter, making a separate video serverunnecessary.

Finally, the consolidated solutionoffers the functionality found in anisolated graphics solution or charactergenerator. It has fully featured softwarewith integrated, advanced CG capabil-ities that work easily both under auto-mation and remote manual control viathe use of prebuilt template pages.

Consolidated solutions also com-plement wider industry trends, such

as telecom operators seeking to pro-vide mobile content. They represent acost-effective, all -in -one system thatcan create content - and graphics- in any output format required at alower equipment and production costthan traditional routes.

Combined advantagesThe benefits of streamlining work-

flows from multiple, isolated productsinto a single box are clear. The deviceis easier to support and maintain, andis typically available at a lower cost, asbroadcasters only need to deal withone supplier for technical support. Italso allays concerns over interoper-ability and confusion over who is re-sponsible for fixing any problems thatmight arise.

Such a system remains flexible toaccommodate future enhancementsand is easily integrated into an exist-

ing broadcast environment. It alsomakes configuration quicker andmore straightforward, while mainta-ing a customizable interface that isreliable under both automation andremote manual control.

Finally, and prhaps most attrac-tively, it costs one -quarter of a non -consolidated system built around aswitcher, while Droviding all of thehigh -quality functionality. It alsoreduces reliance on the number ofpeople required to run such a work-flow.

While isolated solutions may retaintheir place for isolated functions, anautomated news broadcast deems themiumecess2ry. Investing in multiple solu-tions and dealing with various suppli-ers and contracts is clearly no longer thene essary evil it once was. BE

James Gilbert is managing director ofPixel Power.

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Genesis' fiber linkPortable Bandwidth Services and IRIS offer flexible and

controllable bandwidth transmission.

With a global video-over-IP fiber-opticnetwork, it's nowpossible for broad-

casters, news networks and contentoriginators to feed content aroundthe globe more reliably and cost-ef-fectively than by satellite. A networkthat provides local and internationaltransmission services over fiber offersthe considerable cost and integrationbenefits of video-over-IP.

Phone dependencyUntil recently, securing bandwidth

and accessing the required contentthrough it has been just as hazardouswith fiber as with satellite because ofthe ad hoc nature of the provisioningprocess. Provisioning by either satel-lite or fiber-optic network is a haphaz-ard, nerve-wracking operation, proneto human error. Operators managingthe uploading of content work undera lot of pressure, especially in break-ing news events when there is fiercecompetition for access to coverageof a feature story. And operators canmake mistakes.

Traditional satellite uplink

Check transmit capabilitiescarrier/loop availability

or uplink

Check reciever capabilitiescarrier/loop availability

or recieve dish

BY PAUL DUJARDIN

The traditional way for a broad-caster or news agency to be sure ofgetting the content is to continu-ally check - by phone - with theoriginator that it is on its way. (SeeFigure 1.) This seat -of -the pants ap-proach also leaves the receiver opento the possibility that they will be atthe back of the queue to secure the

the race starts to secure the transmis-sion by phone negotiation. And thephone calls don't end there but arerepeated to check that no problemshave arisen with the feed, the networkor the hardware.

Broadcasters usually maintain abarrage of calls to the supplier untilthe content is safely received. In ad-

The traditional way for a broadcaster ornews agency to be sure of getting the

content is to continually check - by phone.

content they want and may miss outbecause bandwidth is no longer avail-able at the time they need it.

In the case of a news story unfold-ing in a remote part of the world (anatural disaster, for example) it is

unlikely that a broadcaster will haveexisting network arrangements thatwill allow it to access footage from thescene, which may come from a vari-ety of sources. In the conventional ap-proach, as soon as a broadcaster be-comes aware that footage is available,

Confirm with earth statoruplink availability

and space

Confirm availability fromcarrier to uplink

Call back eachstep to reconfirm

1/2

Contact transatlanticearth station to confirm

downlink availability

Confirm availability atcentral switch center to

feed signal

Figure 1. Content delivery requests are typically handled via telephone, requiringconstant follow-up and human interaction.

dition, there is no way to verify thematerial until it is fully received. Onlythen can the broadcaster ensure it isthe right footage and make sure thequality is acceptable.

Traveling bandwidthFor the industry to fully benefit from

the advantages of a global video-over-IP network, it needs something morecontrollable than this. Genesis Net-works has pioneered two importantdevelopments that put the customerin complete control of transferringmaterial around the globe: PortableBandwidth Services and the IRIS pro-visioning system. (See Figure 2.) Withthese two technologies, the processof managing bandwidth, routing andscheduling of video transmission ser-vices becomes less like trading on thefloor of a stock exchange and moreakin to attaching a file to an e-mailand sending it, with the broadcasterin control of every stage.

The bandwidth service allows Gen-esis network subscribers to monitorand shift bandwidth anywhere on thenetwork when requirements change,making the most of the cost advantagesthis offers. This allows a news agency


APPLIED TECHNOLOGYNE N PRODUCTS & REVIEWS

Genesis fiber-optic uplink

Log on toIRIS software

\100101001

Enter: Locatons Choose circuits Choose formats

100101001/

Enter: Event name Start date and time Type of service and segment

Figure 2. Using Genesis Networks' IRIS software andnetwork content can be managed electronically.

\100101001

Click confirmNetwork transmission status

screen shows live andupcoming bookings

Portable Bandwidth Services, fiber

providing a video delivery service to broadcasters to move

as the news moves, borrowing capacity from one or morebureaus to boost bandwidth between the bureau wherethe event is unfolding and the master control room.

A direct link inThe IRIS application gives customers software control

from any Web -enabled computer, and allows users tobook, reserve and monitor their own network and occa-sional video services in real time. The software serves asa database management application tied to the Genesisprovisioning system that automatically reserves the band-width, equipment and resources necessary for each of theclient's services in real time.

Customers can control their video transmissions intheir own master control studio -a crucial advantage infast -breaking news situations - or from anywhere elseusing the software on a laptop connected to the Web. Be-cause all major gateways are accessible from one center,the customer benefits from interconnections on a local,national and international scale.

In the busy production environment, any time savedin booking is a bonus, and here the template function al-lows IRIS users to book recurring services with minimalinput. Templates contain the customer's details and sub-ject names, the transmission start and finish times, originand destination, time zone conversion, format conversionrequirements and data details. The operator need only addthe date before making the booking.

Because the IRIS software provides comprehensiveinformation about network availability, broadcasterscan manage their scheduling, booking occasional videotransmission feeds and Portable Bandwidth whenever itis needed. Users can view the network in real time, deter-mine when bandwidth is available on any given route andinspect the status of all the equipment selected for eachvideo feed, with real-time network diagnostics and alarmsidentifying potential failures.

In actionBroadcasters are also seeing the considerable advantages

fiber transmission can offer in picture quality and reduced

time delay. Genesis recentlyprovided coverage for theAustralian Open and majoraward shows worldwide. Thefiber service provided superi-or quality and reduced delayover satellite transmissions.This was a considerable bo-nus for production staff over-seeing commercial insertionfor these live events. Theseadvantages, combined withreduced costs - sometimes

around half the price of a satellite feed - make compellingarguments for using fiber.

The level of flexibility offered by Portable BandwidthServices over the Genesis fiber network with the completecontrol IRIS allows users to shift content around the globemore reliably and rapidly, in many cases developing newbusiness opportunities via traditional broadcast and on-line environments. BE

Paul Dujardin is president and CEO of Genesis Networks.

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Vista Systems' SpyderCNN International's Atlanta and London studios

use the on -air video walls.

When CNN Interna-tional designed newsets for its Atlantaheadquarters and

London studios, the cable networkneeded a widescreen set solution thatwould enable it to create widescreenpixel spaces easily and efficiently in alive environment. All of CNN Inter-national's Atlanta and London pro-

BY VICTOR VFTTORFLI 0

The solutionCNN selected Vista Systems' Spy -

der image processor as its solution.One major reason for choosing thissystem was because it is designed foruse in live environments and excels atcreating widescreen pixel spaces.

Another reason for choosing it wasbecause the network had previoussuccess with the system when it was

The image processor enables CNN to control multiple pixel spacesand display devices on -set from the same control.

gramming comes from the new sets,which are distinguished by large,seamless, rear -projection screens.The programming produced at thestudios includes "Your World Today,""Insight," "CNN Today," "Business In-ternational," "World Business Today"and "World Sport."

News broadcasters today are chal-lenged to craft innovative electronicsets that stand out from the competi-tion. The need for a lot of media onthe set is a given, and it requires a sys-tem that can handle a mix of sourcesand react quickly in the live arena ofnews.

All of the system's inputs allow anyinput to operate as native high -resolu-tion channels, scaled PIP, scaled back-ground or key channels. Inputs canalso be switched easily from any of themodes during normal operation. Thesystem's resolution independence al-lows multiple projectors to be used toincrease pixel space and resolution be-yond what a single display device can

Spyder allows CNN International's Atlanta studio screen todisplay 3200 x 1040 pixels total.

used for on -air, broadcast news ap-plications at CNN New York, where"Anderson Cooper 360" and "PaulaZahn Now" originate.

FeaturesSpyder offers the flexibility to mix

sources in multiple windows, greatersignal processing clarity, seamlesswidescreen displays and real-timecompositing for high -resolution ap-plications in a modular, scalable pack-age. It can be deployed alone or com-bined, like building blocks, to accom-modate applications using a singleplasma screen or multiple screens.

handle. The image processor offers upto 6.5 million pixel display capacityfrom a single frame, up to 2048 x 1200resolution on each input and output,12 -bit scaling for the highest qualityimages, and aspect ratio correction.

Any output can be an operator'smonitor, displaying preview and pro-gram for a given pixel space simulta-neously on a single output. The imageprocessor provides a fully integratedtest pattern generator on each in-put, output and pixel space, as wellas powerful frame -stacking capabil-ity, with the expansion option, whichallows I/Os from other Spyder



systems to contribute and view a sin-gle pixel space.

Given these capabilities, the systemwas the perfect solution to permitCNN International to take in digi-tal and analog sources with differentresolutions, formats and aspect ratios,and display them at any size, anywhereon the large pixel canvas presented bythe seamless rear -projection screens.The image processor also provides ascalable solution that can grow alongwith CNN International's needs.

Proving its worthThe image processor had already

proved itself live with its support ofvarious types of display devices forhigh -profile news and sports pro-grams. It supports an LED wall for"NFL on CBS," projection cubes for"NBC Sunday Night Football anda combination of plasma monitors,LED walls and rear -projection screens

for "The CBS Evening News with Ka-tie Couric."

The system can also be paired withinnovative peripherals to aid the tech-nical directors who are responsiblefor both switching the cameras onshows and controlling the image pro-cessor. In this kind of configuration,the technical directors can simplifytheir workflow and react quickly tochanges during the show.

Spyder's ability to create widescreenpixel spaces, its intuitive software, scal-ability, on -air track record and abil-ity to combine with other products tostreamline the workflow all contribut-ed to making the image processor theideal choice for CNN International'sAtlanta and London studios. McCannSystems provided the install and inte-gration for both locations. Currently,the system works with Christie 1400x 1050 three -chip DLP projectorsand DNF controllers to produce a

Spyder offers a luminance and colorkeyer on every input and supports 32independent windows or 16 mixers.

two -projector blend in London and athree -projector blend in Atlanta acrossthe screens' seamless surfaces. BE

Victor Vettorello is 'he director, applicationengineering, for Vista Systems.

NEWSROOMSONESTOPat www.broadcastengineering.corn

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TECHNOLOGY IN TRANSITIONNEW PRODUCTS & REVIEWS

Splicing MPEGCompressed digital video's lossynature complicates the process.

BY JOHN I UFF

Although the motive for com-pressing all files is the same(i.e. to make them smallerand easier to transmit and

store), compressing digital video isquite different than other compressedfiles. Video compression can be lossy,which means that it does not allow theretrieval of the original signal. And weare OK with that.

Frankly, it is a good thing we arenot too picky, because DTV and allforms of modern media would sim-ply not be possible if baseband werethe only solution. With active picturedata in HDTV occupying 1.24Gb/s,we simply could never entertain im-plementation and distribution.

The nature of MPEGMPEG is highly statistical in na-

ture. It throws away content that youare "unlikely" to miss. It does thisnondeterministically, so that only thestatistical data rate is constant.

In fact, taken over a long periodof time, the number of frames trans-mitted in one second will be 29.97frames. But taken in an arbitrarilyshort period of time, the number offrames in the transmission pipeline isonly close to 29.97fps.

I point this out because this simplefact of the physics of television hasdelivered complications we neverwould have thought about 30 yearsago when bit rate reduction was beingstudied in labs and universities world-wide. Take, for example, the simplic-ity of cutting between two NTSC sig-nals. You simply have to find the 10thline after vertical interval and executea switch between the two signals. Anyvertical interval suffices, so long as thecadence of fields and color framing ispreserved, and of course the signalsare synchronous and time -aligned.

Analog and digital work the sameway in uncompressed video. Unfor-tunately, this is not the same withMPEG.

Splicing MPEGBecause of the distinctly different

nature of MPEG compressed frames,you can't simply identify vertical inter-val and switch to an incoming stream.

1

4--B B

externally to permit decoding. Thedecoder could simply ignore the for-ward reference in the P -frames whenit receives the incoming I -frame. (SeeFigures 2 and 3.)

Thus, the simple edit in NTSCmust become a splice in MPEG. Thesplice must be constrained to keepthe MPEG stream syntax intact. Thesimple cut in NTSC can be defined in

111

P

ll

B

Y

B

G 0 P

Figure 1. MPEG frames must reference anchor frames to be decoded.

I-, P- and B -frames have widely dif-ferent characteristics, including thenumber of bytes, as a result of trans-mission time. (See Figure 1.)

You can't cut one stream on aB -frame and enter the next on a P-

frame, because the references - for-

a few words. But the parameters de-veloped by SMPTE to allow splicingfills 12 pages of standards language inSMPTE 312M 1999.

The good news is that it is possibleand, in fact, done every minute ofevery day. Commercials are spliced

MPEG is highly statistical in nature. Itthrows away content that you are

"unlikely" to miss. It does thisnondeterministically, so that only

the statistical rate is constant.

ward and backward in the case of theB -frame - are no longer sensible.The MPEG cadence is therefore bro-ken, and a decoder receives an invalidbit stream, which it cannot decode.

However, it may well work to cutfrom a P -frame to an incoming Iframe because I -frames are inter-nally consistent and don't reference

into MPEG programs at every cableheadend. Special purpose splicingsystems deliver HDTV to FOX affili-ates all the time.

The splice point indicators are aroutine part of ANSI/SCTE 35 2004messages carried in many com-pressed programs. SCTE 35 facilitatesprogram switching and commercial


TECHNOLOGY IN TRANSITIONNEW PRODUCTS & REVIEWS

insertion by carrying commands re-lated to the splice in a separate packetID. This allows critical metadataabout program intentions to passthrough splicers - even when videoand audio are manipulated.

Complicated processingMPEG is statistical, so how would it

be processed in more complex ways?Many people assume that it is pos-sible to complete most, or all, of the

of values. It is therefore a predictablestructure at the frame level.

Take, for example, inserting a logointo an MPEG stream. Making suchan insert possible requires creatingnew macroblocks that will preciselyreplace existing ones. These macro -blocks must also show the keyed -inlogo when they're decoded. One op-tion is to partially decode the back-ground, add the key in and re -encodethe area affected.

I am sure that by the end of this decade,conventional baseband manipulation for

emission will be a thing of the past.

functions related to manipulation ofprograms during transmission with-out decoding the compressed MPEGback to baseband.

MPEG is highly statistical in natureover long periods of time. Within eachframe, it is highly organized. Slices,macroblocks and individual samplesare constrained by the complex lan-guage of MPEG to a manageable range

With an understanding of themathematical representations of fore-ground and background, it is math-ematically possible to analyze thecontent and create new macroblockswithout fully decoding the content.The entire signal must be subjected tosome additional latency to allow thecalculations to proceed and the fullset of macroblocks to mesh back to -

Stream 1

IF B B

Stream 2

P

B

B

P

B

B

Figure 2. An example of a valid splice because there is a valid incoming anchorframe

Stream 1

B B

Stream 2

P

B

B

B

B

P B

Figure 3. An example of an invalid splice because there is no incoming anchorframe

gether again. Other transformations,including squeezeback, dissolve be-tween MPEG programs.

Now that processing power is cheapand ubiquitous, other effects are alsopossible. It is worth noting that com-pressed audio shares many character-istics with picture content.

TransratingAnother important, frequently

performed post process is transrat-ing, or changing the bit rate of astream after it is coded. This allowshigh bit rate distribution rate signalsto be reduced for final emission, ei-ther as part of a DTV multiplex or ascable or satellite signals.

MPEG-4 Part 10, also referred toas H.264 or AVC, makes all of thismore complex because of the manycoding options available. Variable sizemacroblocks, intracoded portions ofa frame and loads of other tools thatmaximize picture quality add com-plexity but do not fundamentallychange the playing field.

Fully compressed transmission sys-tems that do not use baseband videoare now on the market. Playback oflocal content and splicing with livestreams is routine, and keys (bugs,ratings info, etc.) and other localmanipulations are no longer a prob-lem. Even statistical multiplexing ofseparately coded signals is possible,by transrating all signals under thewatchful eye of management soft-ware. I am sure that by the end ofthis decade, conventional basebandmanipulation for emission will be athing of the past.

John Lutf is a broadcast technologyconsultant.

BE

ElSend questbns and comments to:[email protected]

HDTVONESTOPat www.broadcastengineering.corn



April 2007 broadcasterigineering.com 181

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MAINTENANCE ENGINEERTV Maintenance Engineer is responsiblefor assisting, on projects assigned, withthe maintenance of the broadcast andproduction systems of WPBA-TV, WABE-FMand Cable Channel 22 in Atlanta, GA.Candidate must maintain a high standard ofengineering performance. Engineer works inclose coordination with other departmentsto provide the broadcast and productionengineering services needed to maintain thebroadcast operations of WPBA-TV, WABE-FM,and Cable Channel 22. Responsible for theinspection and maintenance of all radio andtelevision broadcast equipment for WPBA-TV, WABE-FM and Cable Channel 22. Assistsin the training of the technical operatingstaff as required. Performs other duties asassigned by the Director of Engineering.Knowledge and Skills: Associates degreeand two (2) years experience in broadcastengineering maintenance and operationsrequired. Thorough knowledge of FCCrules, regulations, and operating standardsrequired. Must have a working knowledge ofaudio and video server systems. Experiencein RF transmission systems maintenancedesired. FCC General license and/or SBECertification desired. Available for 24 -hour on -call. Experience in design, repair,assembly, and analysis of electronic systemsthat include analog, digital and/or highvoltage. Send Resumes to: Human Resources,Public Broadcasting Atlanta, 740 Bismarlc Rd.NE, Atlanta, GA 30324, [email protected] Fax: 678-553-3026

CHIEF ENGINEERQNI Broadcast Group is seeking a ChiefEngineer for our television station in Waterloo,Iowa. A market leader, KWWL joined the QNIgroup in 2006 and exciting new advancementsin technology will be taking place at thestation. Our current Chief is retiring and weneed a proven leader with Broadcast systemsknowledge and transmitter experience totake the reins. The successful candidatewill be responsible for overall managementof the department including equipmentmaintenance and repair, supervision ofdepartment staff, installation, and relatedduties. Preferred qualifications include strongbroadcast equipment maintenance and repairexperience, significant IT skills, ability totrouble shoot and problem solve, knowledgeof FCC rules, and good communication skills.Send resume to: QNI Broadcast Group, Attn:B. Dreasler, 130 South 5th, Quincy, IL 62301or email to [email protected]. If respondingby email, please type KWWL Chief Engineerin the subject line.

AVID SYSTEM ADMINISTRATOR/MEDIA MANAGER

CBS News, NY seeks an experiencedprofessional to perform maintenanceon Avid production system, installingsoftware/hardware upgrades and interactwith Avid support. Ideal candidate willbe self -motivated, focused, perform workwell under pressure and across functionalorganizations in a project team environ-ment, have 3+ years experience with AvidTechnology's Unity for News productionsystem, specific knowledge of digital assetmanagement and digital editing workflow. AB.S. Information Technology is preferred; ITcertification/experience troubleshooting/resolving system level software/networkissues is desirable; broadcasting exper-ience/ACSR are a plus. Enjoy acompetitive salary/benefits package.Apply at www.cbscareers.com (#1979).Include salary requirements and thereferral source. No company paidrelocation. CBS News is an EqualOpportunity Employer/AA.

CHIEF BROADCAST ENGINEERSAT -7, a multi -channel, multi -languageChristian Satellite TV service based in Cyprus,seeks Chief Broadcast Engineer. Respons-ibilities include: maintaining and expan-ding Master Control Room operationsincluding satellite uplink and Internetstreaming equipment, managing live feeds,overseeing procurement and maintenancefor remote production facilities in Egyptand Lebanon, and developing the organiz-ation's overall IT strategy. A minimum5 years relevant experience required. Sendresume to [email protected] and visitwww.sat7.org.

Recruit Retain Explore

:.:JOBzoneThe Industry's #1 Job ZoneFinally, a job site created

exclusively for the broadcastindustry.

http://jobzone.broadcastengineering.com

Broadcast EngineerResponsible for equipment installation, maintenance and repair. Provide users andclients with professional, courteous tech support in a timely manner. Equipmentincludes Omnibus and Sundance automation platforms using both Pinnacle andOmneon video servers, Sony broadcast VTRs, as well as a wide array of ancillaryvideo/audio equipment. 2+ years experience preferred, computer networking skills aplus.The ability to perform in an occasionally high -stress environment is required.Crawford is an EO/AA Employer.

Please send qualified resumes to [email protected].

Atlanta: 404.876.7149Toll Free: 800.831.8027www.crawford.com

AgeThiCRAWFORD!J yr. COMMUNICATIONS, INC


Help Wanted Help Wanted

CLASSIFIEDSHelp anted

MEDIA ENGINEER

Employer: ESPN/The Walt Disney Co.Job Code: 36597Location, Bristol, Ct.Experience: 3 years minimumJob Type: Full Time

Job Description:ESPN, Inc., the Worldwide Leader in Sportsand a leader in electronic broadcasting, seeksa Media Engineer who will be responsible fordesign and specification of ESPN's contentacquisition, origination, production, anddistribution systems. Candidates mayspecialize in either the computer -based ortraditional broadcast audio/video designand layout disciplines. It is expected thatall candidates will significantly expandand diversify their knowledge across bothdisciplines over their period of tenure.Media engineers will also be responsiblefor developing and documenting technicalprocedures, training systems supportand operational personnel, and problemresolution.

Essential Functions include: Responsible for design of substantialcomponents of engineering projectsplanned for and initiated by the Manager,Engineering Projects. Assist Senior Engineers and Managersin the development phase of newengineering projects, improvement ofexisting systems, equipment procurementrequirements specification, and otherarchitectural aspects of broadcast systemsimplementation. Supports Manager, Resource ManagementServices in dialogues with equipmentmanufacturers and vendors regardingtechnical equipment designs and evaluationprior to purchase for use the companybroadcasting facilities. Coordinates the installation of newtechnical systems and improvements toexisting systems with electronic systemssupport personnel and outside vendorinstallation services. Provides technical expertise required tosupport the Electronic Systems Support,Production Operations, and TransmissionServices departments in solving complextechnical issues and problems.

Required Qualifications:B.S.E.E., or equivalent experience, with aminimum of 3+ years demonstrated technicalsystems experience is required. Must alsohave excellent communication, organizationand computer skills.

Email: Susie.kambeespn.com

BROADCAST ENGINEERBroadcast Engineer wanted for our Pueblostudio. Requirements: 5 years experience incommercial television broadcasting mainten-ance, live television news production, andelectronics repair. Working knowledge ofanalog and digital video/audio signals,video servers, RF, and satellite receivers amust. Must be able to lift up to 50 pounds.Intermediate knowledge on networking, andall Windows operating systems required. AGeneral Radio Telephone FCC License or SBETechnician Certification is required. Pleasesend resume to: KOAA-TV, Attn: QuentinHenry, Chief Engineer, Source Code:

2200 7th Avenue, Pueblo, CO 81003. Nophone calls, please. E.O.E.

CHIEF ENGINEER

14 WFIE-TV, Rayoom Media's NBC affiliatelocated in Evansville, IN is interested inreviewing resumes for consideration for theposition of Chief Engineer. The Chief Engineeris a departmental management position andhas the responsibility and authority over allstudio operations, technical maintenance,building facilities and security and infor-mation systems. The position entails sched-uling, hiring, training and evaluating depart-ment personnel. Also responsible for depart-mental operation and station capital budgetpreparation and management. Applicant'sbackground should include a minimum 3 to 5years experience, knowledge of and comp-liance with FCC rules and regulations anduse of CAD to draw diagrams of systeminterconnections for installation of new equi-pment. Microwave, UHF transmitter, buildingand information systems planning andmanagement knowledge is essential. Youshould have a minimum of two years tech-nical schooling with a preference for an ASEEor BSEE. Please mail a resume and salaryrequirements to: Engineer, 14 WFIE-TV, P.O.Box 1414, Evansville, in 47701. EOE/MFHV

MAINTENANCE ENGINEERWKRN-TV an ABC affiliate in Nashville, TN isseeking a broadcast television MaintenanceEngineer. The successful candidate shouldhave 3-5 years experience as a broadcastMaintenance Engineer and must possess aworking knowledge of SD and HD equipment.The duties include equipment installation.support of ENPS news room system, serverbased news editing systems, VCI broadcastautomation, Grass Valley master controland production switchers, audio mixersmicrowave transmitters and receivers,satellite receivers, master routing systems.SX/SP tape machines, news productionequipment, SNG and ENG trucks, Final Cutand Avid nonlinear editing, and all otherassociated broadcast equipment. SBE,MCSE, or other certifications desirable butnot required. This position requires theindividual to be able to lift and move up to50 pounds and mobility is required If you area highly motivated individual, enjoy workingwith new technology, and possess a highattention to detail, then this position is foryou. Please submit resume to: [email protected] or mail to WKRN-TV, 441 MurfreesboroRd., Nashville, TN 37210 Attn: Chief Engineer.No phone calls please!! EOE

MAINTENANCE ENGINEERWCIA-TV in Champaign, IL has an immediateopening for a Studio Broadcast Engineer. Thesuccessful candidate will possess skills in thefollowing areas: camera repair, VTR repair,audio/video, and IT. College education andSBE certification preferred. Resumes onlysent to [email protected], no phonecalls please. WCIA is an EOE M/F/V/H.

BroadcastEngineering

uww.broadcastengineering.00111

ASSISTANT CHIEF ENGINEER

We are looking for a hands-on AssistantChief Engineer responsible for the day today functions of all station facilities andengineering/operations personal. Candidateis responsible for the development,mentoring and motivation of staff in a mannerthat encourages enthusiasm, passion andproductivity. He/she leads the staff in theirduties, providing necessary guidance asneeded. He/she is directed by and reports tothe Chief Engineer. Must have experience asa supervisor, with live events and production,UHF TV transmitters and microwave, strongAvid Newsroom and Apple computerskills with hardware and software, able tomultitask under pressure, demonstratesstrong interpersonal skills and the ability tointerface with all departments, understandsFCC rules and regulations, is willing to workdays, nights or weekends, as circumstancesrequire, possesses an Associates degree inElectronics Technology, FCC license or SBEcertification or equivalent. Bilingual (English/Spanish) preferred (but not required). Pleasesend resumes to 5999 Center Drive, LosAngeles, CA 90045 or via fax (310) 348-3414attention: Human Resources. EOE.

'moms'Television Systemsand RF !EngineersSterling, VA b: Miami. FLlocations

Discovery Communications, Inc., the lead-ing global real -world media and entertain-ment company with an exciting anay of TVnetworks, such as Discovery Channel, AnimalPlanet and TLC, is seeking Television Systemsand RF Engineers to join itsTechnology andMedia Services division.

As a part of Discovery's engineering team, youwill be responsible for the repair, maintenanceand support of the origination and post -pro-duction facility equipment and systems.Priority is given to maintaining on -air status atall times.These *tons require night, week-end, and holiday availability. We have imme-diate opportunities in our Sterling,VA andMiami, FL locations for qualified candidates.

For more details and to apply, please visitwww.discovety.com, click on

Careers@Discovery, and search for job

requisition it's 4943, 4944, and 4945.EEO.

rlouergCOMMUNICATIONS


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AD INDEXBroadcast Engineering is not responsiblefor errors in the Advertisers Index.

Page

ADC Telecommunications Inc. 51

AJA Video 43

ANT Group S.r I 54

Argentem 175

Ascent Media Systems 65

Avid Technology 4, 5

Avitech 50

Avocent 109

Azden Corp. 57

Barco NV 45

Baron Services 25, 121

Belden 71

*Bitcentra I 115-118

Blackmagic Design 17

Broadcast Microwave Services 24

Calrec Audio Ltd

Canare Cable Inc 78

Canon USA Broadcast Lens 23

Clear -Corn Communication Systems 73

Communications Specialties Inc 127

Crispin Corporation 147

Dale Pro Audio 125

DMT USA 61

Dolby Labs Inc. 15

Doremi Labs Inc. 87

Emcore Corp. 62

Ensemble Designs 75

ERI Electronics Research Inc 95

ESE 135

Euphonix 55

Evertz Microsystems Ltd. IBC

EVS Broadcast Equipment 137

Fischer Connectors 66

Florical Systems Inc. 103

Focal Press 163

For. A Corporation of America 93

Front Porch Digital 91

Fujinon Inc. 41,111

GCS 150

Harris BC

Harris 3

HD World 167

Henry Stewart/DAM Symposium 162

Hewlett Packard 83, 84

HME 159

Iconix Video Inc 31

IDX Systems Technology 77

lkegami Electronics Inc 19

InterBEE 2007 67

Advertiser WebsiteHotline Address

800-366-3891

800-251-4224

+39 0365 34558

775-322-7436

201-750-5873

800 -949 -AVID

425-885-3863

800-275-3500

516-328-7500

678-475-8000

256-881-8811

800-BELD EN 1

800-214-2828

800-669-9667

35 +44(0)1422842159

818-365-2446

800 -321 -HDTV

510-496-6600

631-273-0404

919-845-7744

212-475-1124

888-912-8326

818-562-1101

530-478-1830

877-ERI-LINE

310-322-2136

650-855-0400

877-995-3700

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352-372-8326

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800-783-1080

310-891-2800

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adc.com/broadcast

aja.com

antgroup.it

ascentmedia.com

avid.com/interplay

avitechvideo.com

avocent.com/broadcast

azdencorp.com

barcocontrolrooms.com

baronservices.com

belden.com

blackmagic-design.com

bms-inc.com

calrec.com

canare.com

canonbroadcast.com

clearcom.com

commspecial.com

crispincorp.com

daleproaudio.com

dmtonline.us

dolby.com

doremilabs.com

emcore.com

ensembledesigns.com

eriinc.com

ese-web.com

euphonix.com

evertz.com

evs.tv

fischerconnectors.com

florical.com

focalpress.com

for-a.corn

fpdigital.com

fujinon.com

sat1usa.com

broadcast..harris.com/nab2007

broadcast..harris.com/nab2007

hdworldshow.com

DAMusers.com

hp.com/go/dcc

hme.com

iconixvideo.com

idx.tv

ikegami.com

inter-bee.com


AD INDEXBroadcast Engineering is not responsible

for errors in the Advertisers Index.

Page Advertiser WebsiteHotline Address

JVC Professional Products Co 36, 37 800-582-5825 jvc.com/pro

Kino Flo 141 818-767-6528 kinoflo.com

Lawo North America Corp. 28 416-292-0078 lawo.ca

Marshall Electronics Inc 85 800-800-6608 lcdracks.com

Maxell Corp. of America 9 maxell.com

MESoft Inc. 123 818-260-0858 mesoft.com

Microwave Radio 42 mrcbroadcast.com

Middle Atlantic Products Inc. 79 800-266-7225 middleatlantic.com

Miranda Technologies Inc 11 514-333-1772 miranda.com/kx

Network Electronics 44 800-420-5909 network-electronics.com

Newtec 139 203-323-0042 newtec.eu

Nucomm 34 908-852-3700 nucomm.com

Nverzion 161 801-293-8420 nverzion.com

*NVision Inc. 151-156 800 -860 -HDTV nvision.tv

OBOR Digital 166 407-352-6501 obordigital.com

Omneon 21 866-861-5690 omneon.com/mediadeckfits

Opticomm Corp. 89 858-450-0143 opticomm.com

Panasonic Broadcast 7 800-528-8601 panasonic.com/broadcast

Pro -Bel 107 pro-bel.com

Quantel Ltd 101 quantel.com

Qustream 113 800-328-1008 pesa.com

Radyne Corporation 59 602-437-9620 radn.com

Riedel Communications 149 914-592-0220 riedel.net

Scientific-Atlanta 56 scientificatlanta.com

Scopus Network Technologies 29 877-SCOPUS4 scopus.net

Screen Service Broadcasting Technologies 53 888-522-0012 screenservice.net

Sencore 46, 145, 173 800-SENCORE sencore.com

Sennheiser Electronic 33 sennheiserusa.com

Sony Electronics Inc 27 sony.com/professional

Streambox 177 206-956-0544 streambox.com

Sundance Digital 129 972-444-8442 sundancedigitalcon

Switchcraft 63 773-799-2700 switchcraft.com

Tandberg Television 105 407-380-7055 tandbergtelevision.com

TBC Consoles Inc 179 1 -888 -console tbcconsoles.com

Telemetrics 165 telemetricsinc.com

Telex 60 877-863-4169 telexintercoms.com

Teranex 131 407-858-6000 teranex.com

Thomson/Grass Valley 13 thomsongrassvalley.com/

hdnews

TV One 99 800-721-4044 tvone.com

Utah Scientific 47 801-575-8801 utahscientific.com

VCI 52 800-243.2001 vcisolutions.com/autoxe.html

Vinten 69 845-268-0100 vinten.com

vsn 143 +34 937 349 970 tapeless.tv

Wheatstone Corporation IFC 252-638-7000 wheatstone.com

White Sands Engineering 133 800 -JUMPERS whitesandsengineering.com

Zandar Technologies Inc. 70 321-939-0457 zandar.com

360 Systems 97 818-991-0360 360systems.com

*Denotes ad placement in only selected editions of this month's magazine.

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INTERNATIONALEUROPERichard Woolley+44-1295-278-407Fax: +44-1295-278-408richardwoolley btclick.com

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April 2007, Vol. 49, No. 4 (ISSN 0007-1994) is publishedmonthly and mailed free to qualified persons by PentonMedia, Inc. 9800 Metcalf Ave., Overland Park, KS 66212-2216. Periodicals pcstage paid at Shawnee Mission, KS,and additional mailiig offices. Canadian Post PublicationsMail Agreement No. 40597023. Canada return address: DHL

Global Mail, 7496 Bath Road, Unit 2, Mississauga, ON L4T1L2. POSTMASTER: Send address changes to BroadcastEngineering, P.O. Box 2100, Skokie, IL 60076-7800 USA.CORRESPONDENCE: Editorial and Advertising: 9800 Metcalf,

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Media. Inc. All rights reserved.

April 2007 I broadcastangineering.com 187

EOMDEPARTMENT

TV% doomsday nearsBill Gates predicts that television viewing

will die out in five years.BY ANTHONY R. GARGANO

At the recent World Eco-nomic Forum in Davos,Switzerland, Microsoft'sChairman Bill Gates

reported on the imminent doomof television because of Internet-

distributed content. His televisiondoomsday timeline was within thenext five years.

When Gates speaks, everyone lis-tens, which is a byproduct of beingone of the world's richest men. His-tory reveals, though, that Microsoft'sincredible success was not built onGates' prognostications. Rather, hisfortune and Microsoft's preeminenceis owed early on, it seems, to sheergood fortune and later to incrediblemarketing genius.

Gates' crystal ballIn 1981, when IBM could not

reach an arrangement with Gary Kil-dall to use his CP/M operating sys-tem for IBM's soon to be introduceddesktop computer, the companyapproached a fledgling Microsoft.Gates then purchased the rights toQDOS (Quick and Dirty Operat-ing System) from Tim Patterson forsome $50,000, evolved it into MS-DOS and convinced IBM to allowMicrosoft to retain the rights. Therest, as they say, is history.

But, let's get back to Bill's exper-tise in predictions. In one of his firstbooks written in the mid -'90s, "TheRoad Ahead," the first draft hardlymentioned the Internet. This grossomission was subsequently amendedin later versions.

Several years ago in a newspaperinterview, Gates indicated his beliefin the coming demise of Apple's iPodwhen he said, "I don't believe the suc-cess of the iPod is sustainable?' Ap-ple's latest quarterly report indicates

that, as of January 2007, iPod sales areclose to 90 million units.

At the 2001 Comdex Exhibitionin Las Vegas, Gates' comment aboutthe tablet PC was, "It's a PC that isvirtually without limits, and withinfive years, I predict it will be the mostpopular form of PC sold in America?'And, to the great relief of those in at-tendance at the 2004 World Econom-

Dureau, who is now head of TV tech-nology for Google, in a speech inFebruary, said the Internet was notdesigned for television. "The Webinfrastructure, and even Google's [in-frastructure], doesn't scale. It's notgoing to offer the quality of servicethat consumers expect," he said.

While viewers will certainly bewatching more Internet -sourced video

While viewers will certainly bewatching more Internet -sourced video

in the next five years, it will just ascertainly not replace the lean -back -

and -entertain -me HDTV experience.

is Forum, Gates said that the spamproblem would be resolved withintwo years. So much for Gates' prowessas a seer.

Competing for eyesWhile clearly the PC screen com-

petes for eyeballs with the televisiondisplay, they are very different experi-ences. A PC session is typically a task,communications or information -oriented session where most of thevideo experience is clip -based. Tele-vision, on the other hand, tends tobe a sit -back, entertaining medium,viewed in program -length segments.

Then there is the whole matter ofdistribution. Think HD. Along withbroadcasters' investments to deliverHD, the public has made huge invest-ments in large screen displays to viewit. But can HD be delivered over theInternet? Not today. Within five years?I don't think so.

Google, which recently acquiredYouTube, doesn't think so either.OpenTV's former CTO, Vincent

in the next five years, it will just as cer-tainly not replace the lean -back -and-

entertain -me HDTV experience. A lotof that Internet video will be watchedon handheld and mobile wireless de-vices. And here, too, the broadcaster hasa role to play - not just with supplyingcontent, but also with delivering thatcontent. For example, during a demon-stration at CES in January, DTV con-tent was transmitted using proposedATSC A-VSB technology and deliveredto viewers with handheld devices.

Time to get back to my e-mail.There is a lot of spam to delete. BE

Anthony R. Gargano is a consultant andformer industry senior executive.

11Send questions and comments to:[email protected]

NEWSONESTOPat www.broadcasten. ineenn .com

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