tvte april 2014 digital
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Buyers Guide on Fibre, Cable & Connectors;Test & MeasureJosh White’s Variety T2 Lite: Along for the Ride
Competitor or Complementary?Multiscreen
SHOW PREVIEW
TechnologyTV EUROPEWWW.TVTECHNOLOGY.COM
BROADCAST • PRODUCTION • BROADBAND • SATELLITE • MOBILE£3.80 I Volume 32 I Issue 2 I April 2014
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CONTENTS ///EDITORIAL
Editor Mark HallingerTel: 1 301 467 1695 Email: [email protected]
Tech Editor Craig NorrisContributing Editor James Careless
Contributors Ann-Marie Corvin, Kevin Hilton, Phil Reed
NEWBAY MEDIA LLC CORPORATE
President and CEO Steve PalmChief Financial Officer Paul Mastronardi
Controller Jack LiedkeGroup Circulation Director Denise Robbins
Vice President of Web Development Joe Ferrick
PUBLISHER
Steve ConnollyTel: +44 (0) 20 7354 6000
Email: [email protected]
ADVERTISING
Sales Executive Sharifa MarshallTel: +44 (0) 20 7354 6000
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U.S. Midwest, New England & Canada Vytas UrbonasEmail: [email protected]
U.S. West Pete SemblerEmail: [email protected]
U.S. Southeast and Mid-Atlantic, US Classifieds &Product Showcase Michele Inderrieden
Email: [email protected]
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Latin America Susana Saibene Email: [email protected]
TV Technology EuropeISSN 2053-6674 (Print)ISSN 2053-6682 (Online)
is published seven times annually by Intent Media. ©2013 by Intent Media. All rights reserved.
Suncourt House, 18-26 Essex Road, London, N18LN, England
Free subscriptions are available to professionalbroadcasting and audio visual equipment users.
Unsolicited manuscripts are welcome for review – send to Mark Hallinger at the feedback address.
PRODUCTION
Production Director Davis White
Group Head of Design & Production Adam Butler Email: [email protected]
Production Executive Jason [email protected]
Designer Jat [email protected]
In an era of time-shifted and on-demand viewing,live and near-live sport production has becomeincreasingly important. This year two big events----February’s Winter Olympics from Sochi and theupcoming FIFA World Cup from Rio----willshowcase how new production methods andtechnologies are bringing amazing coverage to awider range of viewers than ever before.
Anyone involved in big event sport productionover the last 20 years has lived through very realtechnical improvements. Many of theseimprovements have allowed the home viewingexperience to rival and in many ways surpass the‘live’ stadium experience. Consider amazing slowmotion replays, specialty camera shots frompositions unimaginable before, 5.1 Surroundaudio, and now the availability of clip-based andlive programming on multiple screens.
Moving forward, 4K may in the medium termup the ante in terms of raw image quality, whilenew softwares could allow home viewers to call upcameras for home viewing as if they were a TD.
At a more basic engineering level ,infrastructures have evolved from SD analogue toSD-SDI, and onwards to HD-SDI. IPconnectivity is the latest improvement that isbecoming ubiquitous in most broadcastinfrastructures at Big Events. Remote productionsrelying on file-based transfers and trunkedcommunications between continents have becomequite common, and the availability of every hourof a multi-day event, instantly and logged for easysearching, cannot be understated.
Technology is doing more than just satisfying‘Gold-Plated’ customers in developed countrieswith a long history of Games coverage. It’s alsobringing the spirit of the Games to markets thathave little or no historical Games background,whether in terms of participation or TV coverage.
“In Sochi we realized we were experiencing ahuge paradigm shift in the way that the Gameswere becoming accessible in homes all over theworld when our technical support was spendingtime remotely helping an Asia/Pacific broadcaster,located close to the equator, to receive oversatellite our seven channels of HDTV live sportscontent”, said Sotiris Salamouris, Head ofEngineering and Technical Operations for hostbroadcaster Olympic Broadcasting Services(OBS), in an interview from Sochi.
He added that as recently as the 2008 OlympicGames in Beijing, there were countries that wouldonly broadcast a few highlights several hours afterthe live events.
Today the host broadcaster can offer almost 100percent of Olympic content for almost any type ofscreen to practically anywhere in the world. We’ve arrived somewhere pretty good, so bring on the 4K!
Mark HallingerEditor & Associate Publisher
April 2014 I TV Technology Europe 3////////////////
A Sport Paradigm Shift
4 SPECIAL REPORT: MULTISCREEN IN SOCHI Mark Hallinger on how a host companion screen service made this Winter Olympics complete
6 TECH NEWS: T2-LITEDavide Moro was along for the ride on a recent test of the impressive mobile video technology
8 EXHIBITIONS: NAB
Susan Ashworth on the state of play as the industry meets in Las Vegas, and product debut coverage
14 BUYERS GUIDE: Fibre, Cable & Connectors; Test & MeasureTwo user reports, a case study, and product news
22 SMPTE UPDATEAlan Lambshead on maintaining proactive standards work
24 SHARPSHOOTER: Josh WhiteThe UK shooter’s life of constant variety
27 LAST LINES: EMPIRICAL QoESimen Frostad on a more empirical QoE
Cover image courtesy of Craig Norris.
Multiscreen Splash
S SOMEONE who hasbeen on-site at mostOlympics for the last20 years, this one
felt like we had arrivedsomewhere that resembledcompletion and stability. Theworkflows used by mostbroadcasters are established,and the services made availableby the host broadcaster werestable, evolving, helpful torightsholders, and in heavy use.
To some extent we may beat a production plateau. HD wastackled back in 2008 in Beijing,and production for streamingand multiplatform deliverystarted in a big way in Londonfor many of the world’sbroadcasters.
There was a limited amount
of 4K production in Sochi,including some from a Russianbroadcaster, an NBC/Comcasttrial, and as might be expectedPanasonic recorded the openingceremony in 4K. Many of usmight be watching thatspectacular imagery on thePanasonic stand at NAB in aweek or two. Never one todisappoint, NHK had an 8KTheatre in the main hall of thebroadcast centre.
But if all the limited 4K and8K had not been there I wouldhave hardly noticed, and chalkedit up to the fact that thesethings are a bit too far awayfrom actually driving revenue tobe worried about just now. But Iwould have felt a distinct senseof something missing if host
broadcaster OlympicBroadcasting Services had letthe new Olympic Video Player(OVP) multiscreen service debutin Rio, as it had originallyplanned.
The prominence and buzzabout the OVP was what pushedthis Olympics into one where Iwould use the word ‘complete,’to describe the technical natureof the event. It was front-and-centre in Sochi with a publicdemo of the white label servicedisplayed on all types ofSmartPhones and tablets, and awhopping 95 rightsholdingbroadcasters (RHBs) were usingit to send images home.
The OVP was arguably thebiggest news from Sochi, but itis easy to forget that the iPadhad not yet been released at thelast Winter Olympics inVancouver.
The service offered a-la-carte and turnkey servicesincluding on-demand HD videowith full commentary;broadcaster commentary audioadded to live video; pre-rollvideos and commercials; live
streaming, including broadcasterchannels; a ticker, includingbroadcaster content promotion;full customisations includinglanguage, broadcaster logo etc.One possible feature moving
forward is the provision of extralive content to the viewer withunique and unseen cameraangles. ///
/// Olympic Video Player service highlights ‘complete’ broadcast, says Mark Hallinger
TV Technology Europe I April 2014//////////////// 4
Special Report ///
Editor’s Note: There are too many good stories from Sochi----I hadplanned several pages of coverage. You’ll have to go online forthat, where you’ll find stories about YLE, NBC, Panorama’s massiveeffort for the Russian coverage, TV2 from Norway, Viasat’s firstOlympics for Sweden and more.
A Panorama ENG cameraman
YLE’s ‘Sochi Arena’ coveragerunning on a Windows phone
The TV2 (Norway) MCR in Sochi
Home viewers in Sweden could access four screens of Sochi action on a pad device,and choose which audio to hear by touch.
The OVP demo room frequently drew large crowds.
See the Sports Now Channel on www.tvtechnology.com for more coverage of the Sochi Games and beyond.
TECH NEWS ///
T2 Lite: ImpressiveMobile Video/// By Davide Moro
Mobile TV receptionis a recurring topicin digitalbroadcasting.
Almost every standard tried tohit the score with a specific setof parameters, and every “new”standard appearing on themarket tries to raise the bar.
T2 Lite, the mobile-orientedsubset of the market-provenDVB-T2 standard, was approvedin 2011. T2 Lite allowsbroadcasters to air specificmobile-targeted emissions,providing mobile signals withgreat robustness and highreception reliability, whiledelivering at the same time (andin the same channel) a fairamount of “classical” TVchannels -- within about thesame bandwidth that a DVB-Tchannel would use.
The R&D Department of RAI ,the Italian public servicebroadcaster, has activelycontributed to thestandardization of the T2 Litesubset. They have been testingT2 Lite’s performance, evenunder severe receptionconditions, since the verybeginning.
In September 2011, adedicated test bed at RAI R&Dheadquarter in Turin, Italy,proved the capability of T2 Liteto deliver TV content withexcellent perceived quality –even at a S/N ratio equal to 1.5dB. Yes, you read that right.
RAI and its network operatorRai Way are now broadcastingT2 Lite services within a DVB-T2multiplex, through a simple SFNnetwork set up in Aosta Valley.It is a mountain region inNorthern Italy very well knownfor its ski resorts as well as forits challenging highmountain/narrow valleytopography; at least accordingto RF specialists.
In late August 2013, I joinedRAI R&D specialists for acomprehensive T2 Lite roadtest. If I were to use a single
word to describe my experience,it would be: Amazing.
Anyway, let’s start from thebeginning.
T2-LITE IN BRIEFT2-Lite is the first DVB-T2transmission profile that makesuse of the FEF (Future ExtensionFrames) approach. It wasintended to allow the inclusionof future technologies in theDVB-T2 standard.
In this approach, someframes in the DVB-T2 streamcan be signalled as “unused,”and then be used to carry“different” signals. This way,first-generation DVB-T2receivers will ignore them, whilecompatible receivers will beable to properly handle them; insome cases ignoring the “Base”DVB-T2 signals.
The T2 Lite subset includesonly elements relevant formobile and portable reception,and the data rate is restrictedto 4 Mbps per PLP. Thesefeatures reduce theimplementation complexity
of the receiver’s chipset by 50 percent.
The FEF approach allows T2Lite and T2 Base to betransmitted in one RF channel,even when the two profiles usedifferent FFT sizes or guardintervals. FFT can be set to 32kfor fixed-reception targeted T2Base content (maximizingpayload by reducing the guardinterval); or to (say) 8k for T2Lite content, allowing a widercarrier spacing and thuspreventing Doppler effectissues when the receiver ismoving at high speed.
T2 Lite also features twoextra LDPC code rates. Timeslicing is still supported attransport stream level. T2 Liteframes can be broadcast at pre-defined times only, and thereceiver can be turned offduring T2 Base frames to
preserve battery life in portabledevices.
RAI R&D AND RAI WAY TRIALThe test network is based
on a dedicated headend in theRAI facility in Aosta. A Harmonicre-multiplexer receives thenational “Rai HD” programmefrom its “native” TS (to be airedin DVB-T standard) andmultiplexes it with local content(generated in the same facilityby RAI Regional Services) andwith a 3D content loop-playedfrom a local video server. Thesethree channels are thenincluded into the T2 Base PLP.
The T2 Lite live contentcomes via SDI from the localproduction facility mastercontrol room. It is ingestedthrough a Dektec DTU 2145 PCIadaptor, down-scaled inresolution to fit the typical
TX Modulator andETL DSCF2705
TV Technology Europe I April 2014//////////////// 6
T2 Lite can deliver TV content with excellent perceivedquality at a S/N ratio equal to 1.5 dB.
mobile receiver screencapabilities, then compressed inAVC through the Dektec DTC-315 DtEncode softwarepackage.
The Harmonic device muxesthe three HD content (T2 Base)with the mobile content (T2Lite) and adds the referencesfor SFN operation, generatingthe T2-MI stream. Through radiolink connections, the T2-MIstream is delivered to thetransmitting sites in St. Vincent(Salirod transmit site) and inAosta (Gerdaz transmit site).
At each of these sites, thedata stream is routed to aScreen Service modulator. Thisdevice is still a prototype, andit’s made of two separate units.The Base and Lite PLPs are timesliced, so the Slave modulatortakes care of the Base andsends it to the Master; whereasthe Lite PLP is handled and thefinal RF output is synthetised.
The subsequent ScreenService amplifier boosts theoutput up to 50 W (Aosta) or100 W (St. Vincent) RMS, whichis aired through dedicatedantennas. The modulators ofthe two transmitting sites getthe relevant time and frequencyreference signals from the GPSreceiver card hosted in the
modulator chassis.Building the receiver was a
bit more complicated. Since nocommercial T2 Lite capablereceiver is available, Sonysupplied RAI specialists with asample board based on thecompany’s CXD2861 silicontuner and a prototype receiverthat can output T2 Lite contentas a parallel data stream, whichis then decoded into basebandvideo.
The receiving system fitsinto a light van. It is alsoequipped with a positiontracking device and a datarecorder to track the RFparameters and receivingconditions during mobilereception.
Tests were conduced underthese modulation parameters:T2 Base: 256 QAM Rotated, FEC3/4, FFT 32k, GI 1/128, PP7,with 28.2 Mbps payload T2 Lite:QPSK Rotated, FEC 1/2, FFT 8k,GI 1/32, PP4, with of 2.2 Mbpspayload.
RESULTSWe were really impressed
during the T2 Lite mobile test.Even on the typical curvingroads you find on themountains, with frequent 180degree turns, almost noproblem was detected inreceiving both the audio andvideo signals.
On the A5 motorway, whiledriving up to the 130 km/h
speed limit, as well as in thenarrow roads of downtownAosta, everything performed farahead of any reasonableexpectation; based on pastexperiences with othersystems.
Overall, the T2 Litemeasurement campaignaffirmed the success of the two transmitters working as an SFN . Together, theyprovided an effective coverage of the entire Aostavalley floor, with some goodcoverage zones along sidevalleys when the relevantgeography allowed RF waves to pass through. ///
Screenshot from Sony receiving board during mobile test
The T2 Lite measurement campaign affirmed thesuccess of two transmitters working as an SFN.
April 2014 I TV Technology Europe ////////////////7
NAB: OTT, Cloud,4K & 8K
he NAB Show is abarometer of just
where the broadcast andvideo industry stands.
“The televisionmarketplace has really
rebounded,” said DennisWharton, executive VP ofcommunications for NAB. “Fouror five years ago, people werenot very positive. Now, peopleare realizing the value oftelevision in terms of being asteady provider of cash flow.”
Over the years the showhas evolved from a ratherbroadcast-specific event to onefor any professional thatcreates, manages or distributescontent across any platform.
8K IN A 6 MHZ CHANNEL Much of the show remainscentred around technology.Among the big news is theannouncement that Japan’sNHK will demonstrate 8K SuperHi-Vision on a single 6 MHzchannel, the first such demooutside Japan.
Dozens of companies willalso introduce new Ultra HDtechnology solutions, includingPanasonic, who has release a4K version of its VariCam. Thetechnology seems to bedestined for every other standon the show floor—as the keyfeature in the Blackmagicproduction camera; as afeature within EVS’ XT3 mediaproduction server; as a functionin Grass Valley’s Kayenne andKarrera production switcherline-ups.
Pockets of innovative newtechnology will find a home innew spaces as well, such asthe new Interactive TelevisionPavilion that is designed toshow how technology is beingused to provide personalisedvideo experiences through TV,mobile devices and gamingsystems.
At the Disruptive MediaConference, the issues will swirlaround just that: How thedigital and interactive divisionswithin any mediaentertainment company canbetter tap and hold on toconsumers.
CLOUD EXPLOSIONThe organisation is also takingnote of the explosive interest incloud technologies, and willgive Amazon Web Services’Mark Ramberg the mic tokeynote the NAB’s MediaManagement in the CloudConference, where he’ll discusshow cloud services haveallowed media andentertainment companies toaddress a particularly high-flying promise: How to offerconsumers content at anytime and on any device.Since last NAB thetechnology has stayed in theheadlines; this year, itremains to be seen whetherconcerns over reliability andsecurity have beensufficiently resolved.
The cloud has thebenefit of speed: customerscan customize content that
is broadcast over a traditionaloutlet by creating micro-targeted content thatpinpoints a very specific region,similar to what the BBC startedlast year with its elastic cloudcomputing initiative as well asNBC’s HD and on-demandstreaming of the SochiOlympics via cloud technology.
The cloud has made suchan impact in the last 12 monthsin part because of its widereach: cloud-based solutionshave the ability to impact eachstage of content distribution,including production, deliveryand storage.
The industry is alsograppling with OTT. One of thebiggest OTT announcements inthe last year was taken fromcues provided by a wide andfanatic fan base: The WWEwrestling organizationannounced it would launch anentire network on an OTTstreaming platform with a mixof original programming,
documentaries and VOD. Thereason? Traditional distribution,whether satellite or telco,wasn’t going to get the jobdone. “When we started to lookat… traditional distribution, itreally became apparent thatwe could really give our fans amuch better user experiencewith an over the top service,”said Michelle Wilson, WWE chiefrevenue and marketing officer.
Analysts have called OTT a“transformative opportunity”for media and entertainmentcompanies, because of theability to engage more deeplywith a committed viewershipand more personalized content.Some of the biggestprogramming successes in the 12 months since NABhave been in the OTT space,with Netflix finding success in OTT with hyperpersonalization and a movetoward streaming 4Kprogramming, with Hulu, Googleand Apple on its heels. ///
EXHIBITIONS ///
/// By Susan Ashworth
FREE PLAYER LICENSEFOR FIRST 1000 VISITORS
Cinegy announced that the first 1,000 visitors to its booth,SL11116, at NAB will receive a free Cinegy Player License. CinegyPlayer is a new tool for broadcast professionals that demandquality, precision and playback performance while working withhigh-end video formats. Cinegy Player includes native support formost broadcast industry standard video codecs within the twomost common containers – MOV and MXF. Now included is supportfor decoding and displaying VANC and Parental Rating values fromSMPTE 436M tracks, as well as complete decoding and display ofline 608 and 708 closed captions. www.cinegy.com
BONDED H.265 & VP-9 SUPPORT
Mobile Viewpoint has announced support forH.265 and VP-9 video codecs on the new WMTExpert-265 backpack encoders. It will be availablefor release shortly after NAB. All new hardwarewill ship with an upgraded H.264 codec.Customers will have the ability to upgrade toeither the H.265 or VP-9.www.mobileviewpoint.com
SERVER- & CLOUD-BASEDGRAPHICS
Pixel Power’s new server-based implementation of its world-classgraphics engine is intended to support today’s file-basedoperations. It is an ideal solution for adding extra graphicscapability to support needs such as Quality Control, Web Deliveryand post production, or to enhance program material and addgraphics overlays for playout and streaming applications. Also onshow will be Pixel OnDemand—a first-of-its-kind, software-onlygraphics solution that enables a media company to break freefrom traditional CAPEX infrastructure and its cycles ofdepreciation. www.pixelpower.com
//////////////// TV Technology Europe I April 20148
MARKETPLACE ///
TV Technology Europe I April 2014////////////////10
FULL IP-BASED BROADCAST WORKFLOW
In conjunction with Stagebox, and developed in part by BBCResearch and Development, Adder Technology is transforming itsNAB stand to demonstrate how IP technologies enhance eachstage of the broadcast production chain. Live content captured infront of a green screen using cameras and Stagebox technology,will then be fed in to a virtual studio. The Stagebox transmitter sitson the back of the camera and sends the feed over IP to a receiverin the control room. Management of the virtual studio workflowtakes place in the AdderLink Infinity environment, giving access forcontrol to any allowed user on the network. The entire workflow,from ingest through to transmission, is completed over IP. Adder isalso launching 4K capable KVM products at the showwww.adder.com
SUBTITLING ADVANCES
Screen Systems’ will show its Polistream BLACK subtitletransmission range, which supports closed, DVB, passthrough,open/burnt-in and VBI & VANC subtitle transmission. Also on showwill be the WinCAPS subtitle preparation software suite, whichoffers fine-tuned automation tools to improve workflow andproductivity for both offline and live/news subtitling. Plus Screenwill be demonstrating its new ‘Script Extractor’ for WinCAPSQu4ntum developed to enable users to quickly identify andautomatically retrieve only the required content from scripts forcaptioning.
Also on display will be Polistream Xpect, a full-featured, turnkeymonitoring and Mosaic Multi-View solution supporting ASI and IPinputs with 24/7 error logging and pre and post trigger streamcapture. For file based subtitle encoding, Screen’s MediaMatesoftware system for the re-purposing and manipulation of mediafiles can be used to decode, repurpose and encodesubtitle/caption data in a wide range of media formats.Accessibility for partially sighted audiences is also covered withScreen’s spoken subtitling technology, offering a simple and costeffective solution to audio/video description provision. www.screensystems.tv
AUTOMATED CARD CONTROLLYNX Technik is launching AutoControl for its APPolo ControlSystem. AutoControl adds an automation layer, making controlpossibilities for the Series 5000 CardModule systems virtuallylimitless. The LYNX Technik APPolo Control System is a user-friendly, intuitive and self-configuring control system for remotecontrol, status monitoring and SNMP error reporting. Typically usedwith the Series 5000 CardModule system, APPolo is the heart of acentralized control system which can easily be expanded from asingle rack to hundreds of racks located in different locations.www.lynx-technik.com
DVB-S2 MODULATORAt this year’s NAB Show, Work Microwave will show its DVB-S2Broadcast Modulator and Video ACM System—products thatoptimize satellite bandwidth usage, signal quality and datatransport while reducing operating expenses. The DVB-S2Broadcast Modulator offers DVB-S2 multistream and otheradvanced features in a future-proof solution that supports DVB-S2extensions. Carrier ID—which defines the modulation, channelcoding, and signalling protocol for host carrier identification—allows operators to reduce or eliminate RF interference betweensatellite signals for higher quality service.
The Video ACM System, an integrated data/video (DaVid) modemand encoding solution for enhanced video contribution, transportsup to six MPEG transport streams and IP data in a DVB-S2multistream, enabling simultaneous transport of data (networkconnection) and live broadcasting (video content) over a singlesatellite carrier. www.work-microwave.com
IP-BASED WORKFLOWSAt this year’s NAB, Miranda says it will unveil new products to helpbroadcasters navigate the path to IP-based workflows and improverouting and monitoring. For IP workflows, Miranda will show the IRG-3401 IP Gateway, a high density, bidirectional DVB-ASI/IP gatewaythat facilitates multiple applications for broadcasters. The card,which fits in Miranda’s Densité 3 chassis, is the densest IP gatewayavailable, handling up to 120 gateways in a single 3RU frame.
For routing, Miranda will unveil NVISION 8500 IP Gateway cardsthat convert and packetize real-time, uncompressed, basebandvideo for Ethernet network distribution. Also new is the NVISIONCR6464 compact 2RU router that combines extreme density withsupport for all core formats including triple rate 3Gbps/HD/SD/ASI,and AES. Miranda will also show a new version of its Kaleido-IPmultiviewer, which extends monitoring support to 128 SD or 64 HDprograms. Kaleido IP X310 features double the number ofsimultaneous audio and video decodes as the previous Kaleido IPX300 in a 1-RU unit. With 4 GigE ports, it’s ideal for high-performance applications such as high-bandwidth H.264 HD videostreams. www.miranda.com
LIVE UHD DEMO; MONETIZING MULTISCREEN
Harmonic will feature a live 4K Ultra HD 2160/60p demonstration,and the latest in its encoding, stream processing, storage andplayout solutions. Harmonic also will showcase collaborative editingand 4K editing on the Harmonic MediaGrid shared storage system.
Harmonic also will show its advanced multiscreen ad insertionsolution, which leverages the ProMedia family and ProStream with anACE broadcast and multiscreen transcoder and integrates withadvertising ecosystem partners to enable monetization ofmultiscreen services. Also on display will be the SpectrumChannelPort, an integrated, high-density channel playout system forfour SD/HD channels per RU, dual DVE capabilities, and compatibilitywith industry leading automation systems. www.harmonicinc.com
April 2014 I TV Technology Europe ////////////////
MARKETPLACE ///MAC BROADCAST;
INTEGRATED FILE TRANSFER ToolsOnAir provides applications designedto create a professional, fully functionalbroadcast production facility using Mac OSX and low cost, off-the-shelf hardware
components. ToolsOnAir offers broadcast software applicationsdesigned for live broadcast with its just: Broadcast Suite, whichintegrates video, audio and graphics, along with automation, assetmanagement and multiple format capabilities. Full QuickTime andFinal Cut compatibility eliminates time-intensive file conversion, anda powerful, intuitive GUI streamlines the workflow from ingest toplayout.
New at NAB is the integration of the FileCatalyst UDP-basedacceleration technology into its just:control application. ToolsOnAirjust:control is a control and monitoring application enabling failovercontrol when using redundant playout. Incorporating FileCatalyst´score transport technology----technology that also saw use withseveral of the biggest broadcasters operating from the Sochi Games----within just:control enables accelerated file transfers, at rates of upto 10 Gbps, while also ensuring the reliable and secure delivery ofcustomers´ digital content. www.toolsonair.com
MULTISCREEN, OTT ENCODINGWITH AD INSERTION
The ViBE VS7000 is an "anything in, anythingout" encoding/transcoding platform. New atNAB will be a demonstration of the benefitsof the new MediaFlex v3.0 running on ViBEVS7000. This provides a 40 percent increasein terms of channel density, allowing theViBE VS7000 to process up to 448 SDchannels or 80 HD channels on a singleframe. Predefined workflows and a service-based graphical userinterface also simplify day-to-day operations.
Thomson will also showcase new support for Encoder BoundaryPoint (EBP) and Event Signalling and Management (ESAM)standards in the ViBE VS7000. These standards now enablestraightforward integration of the ViBE VS7000 into OTT adinsertion ecosystems, simplifying ad-driven OTT business models.www.thomson-networks.com
MORE POWERFUL J2KThis will be the first NAB after intoPIX , provider of FPGA-basedJPEG2000 solutions, and Comprimato, provider of GPU-basedJPEG2000 solutions, inked an agreement to join forces in marketingadvanced JPEG2000 solutions based on the J2K GPU solutiondeveloped by Comprimato.
“Adding the complementary GPU-based JPEG2000 technology toour product portfolio will vastly improve the integration time of ourcustomer’s products; and empower them with a powerful and real-time JPEG2000 compression solution both in hardware and software.This collaboration enables both partners to pool and strengthen theirunique expertise to create advanced solutions for the UHD TVmarket,” said Katty Van Mele, Director of intoPIX BusinessDevelopment. www.intopix.com
FLEXIBLE SLO-MOI-MOVIX will showcase its new product line—based on its X10 ultraslow motion technology—that features modular configurability tosuit any Vision Research Phantom camera. These ultra slow motionsystems offer a combination of very high frame rates and instantreplay, or continuous streaming. The entire X10 product range hasbeen optimized for upgradeability to allow for evolving productionrequirements and upcoming generations of cameras. They can alsobe customized to meet performance and budget targets.www.i-movix.com
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MARKETPLACE ///
TV Technology Europe I April 2014////////////////12
SIGNAL NEUTRAL TRANSPORT PLATFORMS
Barnfind Technologies, manufacturer of a multi-functional, signalneutral transport platform, will be launching several new keyproducts at NAB. The BarnMini for point-to-point digital extension is anew ASI to IP converter card and optical housing. It delivers simpleand reliable point-to-point digital extension. The BarnMini-01 provides2 x BNC RX7TX and 1 x SFP (MSA standard or 3rd party SFP), whilethe BarnMini-02 comes with 2 x SFP and is optimal for convertingmultimode to single mode fibre, and single mode to multimode fibrein addition to handling any other application.
Upgrades to existing products include a significantly enhancedversion of BarnStudio, plus additional control choices through thecompany’s established partnerships with several control panelcompanies. The established BarnOne (1RU) signal transport systemwill also be on display and demos of latency and jitter free 4Ktransmission will also be available.www.barnfind.no
RACK MOUNT RASTERIZER,HANDHELD T&M
PHABRIX is releasing V9 software for its Rxrack mount rasterizer series adding a manynew features. The new TAG handheld willalso be on display. This is a lowcost test and measurementinstrument supporting SDI,analogue and opticalinterfaces, priced at US$3495.
The rack mount Rx has many innovative design elements, aninbuilt screen, modular cards, SDI and HDMI output, remote controlvia TCP/IP, low power, slim profile – even desktop feet for R&D use.There are three instruments in the range, the Rx2000 with twovideo/instrument inbuilt screens and the Rx1000 and Rx500 withOLED control screens. Each have a rasterized output i.e. to an outputmonitor of your choice, HDMI or SDI. www.phabrix.com
QUAD SPLIT CARD FOR OPENGEAR; MORE
Cobalt Digital will roll out several importantproducts at this year’s NAB, including anew quad split card for openGear, anexpansion of its Blue Box Groupwith another converter andframesync, and a card-basedmulti-rate distributionamplifier. In addition, Cobalt will beannouncing key upgrades to its SPOTCHECKloudness measurement/compliance monitoring system.www.CobaltDigital.com
TRANSPORT STREAM EDITOR;MULTISCREEN PACKAGER
Manzanita's Transport Stream Editor allows quick and accurate editsto MPEG-2 transport stream files without the need to re-encode. Auser can add/remove SCTE-35 messages, insert/extractcommercials, promos, or black video at any frame, produce randomerror conditions, and make detailed changes in packets, PIDs, tablesand timing. Also new is the Manzanita Multiscreen Packager, whichpackages video and audio files to various adaptive formats formultiscreen playout. www.manzanitasystems.com
DISTRIBUTED MAMTedial will be discussing itsexperience in distributed MAMoperations, and its support formulti-site implementations. Inaddition to MAM, Tedial’splatform enables workfloworchestration, BPM, third-partystorage, and infrastructure control.www.tedial.com
EXPANDED VIRTUAL SET OFFERINGS
Broadcast Pix has announced atechnology partnership withVirtualsetworks, which offersan extensive library of virtualsets. Through the partnership,customers will be able tosearch the company’scatalogue from the BroadcastPix Web site. Broadcast Pix will
showcase severalVirtualsetworks virtual setsduring the NAB Show.
As part of the Fluentintegrated toolset, allBroadcast Pix integratedproduction switchers includevirtual set chromakeytechnology that works withgreen screen or blue screenbackgrounds. Systems shipwith a number of preloadedvirtual sets, as well as a virtualset editor that allows users tocreate a virtual set using anypicture.www.broadcastpix.com
PORTABLT & LCD T&M, SCOPESHamlet’s will show its new MicroFlex Mach 2, a re-invention of the company’s MicroFlex with a newbuild, reducing cost and offering combination optionmodule sets and a carry case. The Mach2 is availablenow and is already shipping. Hamlet describes theproduct as simply a case of making a product evenmore applicable to today’s infrastructure.
As well as the Mach2, Hamlet will show DigiScopesDS900G, DS900 and the DigiTek DT900---- threemeasurement instruments each with unique userfeatures to suit different environments, all offering
from 1 to 4 input slots for HD, SD and composite modules. Inaddition users can include 3G, test signal generators, EYE displayand audio modules, with loudness and Dolby if required.Hamlet will also show the original software package VidScope,now MH2B with its purpose-designed capture card and the 5.6 and7 inch Precision range of LCD screens with built in T&M. www.hamlet.co.uk
4K PLAYOUT, RECORDING,HEADEND, TEST
Rohde & Schwarz DVS will show its VENICE ingest and productionserver, which opens up new possibilities for Avid outgest as well asstudio playout at resolutions up to 4K. Faster processing betweeningest and studio playout coupled with greater redundancyincreases flexibility and workflow efficiency during studioproduction. Also new is the Pronto4K-HFR disk recorder, the latestaddition to the family of products enabling high-quality videoprojection.
R&S will demonstrate its AVHE100 headend, a system solutionthat is already fully compatible with the new HEVC (H.265)encoding standard for 4K and HD. Finally, R&S test instrumentssupport the development and production of 4K consumerelectronics. The R&S BTC broadcast test centre offers users an all-in-one, single-box test environment for nearly all audio, video andmultimedia applications.www.rohde-schwarz.com
Flexible Fibre Networksuring the Sochi Games
fibre-based mediatransport systemswere needed for
coverage ofcompetitions and
ceremonies coverage, and alsofor sports presentations,timekeeping and more.
All of these applicationsrequired the distribution ofsynchronized audio, video anddata signals in real time. What’smore, many of theseapplications demanded morethan just point-to-point links andwere variable, often changingwith little notice.
All of these factors werecovered by a Riedel MediorNetreal-time network. The Riedelsystem combines FDM(Frequency Division Multiplex)with CWDM (Coarse WavelengthDivision Multiplexing) modulesand TDM (Time DivisionMultiplex) in one engine. Thismeans that MediorNet canmaximize the availablebandwidth on each fibre. CWDM-only solutions are lessbandwidth-efficient and thusrequire more fibre.
The use of MediorNet acrossall venues in Sochi reduced thefibre requirements to the degreethat only a single fibre pair wasnecessary. The use of a secondfibre pair added the fullredundancy essential for suchan important event.
On top of the benefitsoffered by MediorNet’s fibrenetworking features are the
advantages gained from thesolution’s processing power androuting capabilities. Because thesolution’s routing can bechanged within less than onevideo frame, the system caneven replace the video router —offering all the flexibility neededfor last-minutes changes ordynamic routing duringcompetitions.
The integrated frame syncs,embedders, and de-embedders,and other glue features, makethe solution ideal for fast-pacedhigh-profile live sport events.MediorNet was used at all Sochivenues, with hundreds ofdevices deployed to transportthousands of signals.
The resulting fibre networksupported signal transport forevents at the Olympic Park andnearby venues, as well as thesnow and ice events held in themountain venues.
The bulk of the fibrebackbone itself was a temporaryoverlay by Riedel, whichcombined with existing fibrecables installed within eachvenue and special runs — suchas the connectivity to the top ofthe ski jump — to create acomplete network. In total,Riedel installed approximately50 km of the company’s Purerange of optical cables.
Delays in construction didpresent significant challenges. Infact, Riedel gained access to thelast preinstalled fibre cable justone day before competitionbegan, and the company wasunable to finish several cable
routes prior to the first event.Nevertheless, leveraging theversatility of the system, thecompany completed anoperational installation on time.Because MediorNet can run inring, star, daisy chain or anycombination of thoseconfigurations, the systemcould be configured to use theremaining available routes.
Once the backbone wascompleted, the systemfunctioned as originally designedand specified, thus assuring theredundancy required. For theceremonies at Sochi’s FishtStadium, Riedel installed fibre ina redundant ring structure, withfour strands on the main line andfour strands on the backup line,all installed along differentroutes. Here, the MediorNetsystem supported productionvideo monitoring, which wasused not only to coordinate theextensive cast involved in the
production, but also — and moreimportantly — to give teammembers virtual access and aneye on all areas of the site.
Flexible fibre-based signaltransport solutions havebecome the clear solution whenreliable AV transport andcommunications are a must. InSochi, fibre transport andnetworking gave productioncrews the edge they needed in alive production environment. ///
SPECIAL REPORT /// BUYERS GUIDE: FIBRE, CABLE & CONNECTORS; TEST, MEASURE & MONITORING
/// By Mark Hallinger
Mark Hallingeris editor/associate publisherof TV Technology Asia/Pacificand TV Technology Europeand was on site for twoweeks in Sochi.
Contacts:Riedelwww.riedel.net
DATA FEED-THROUGH IN BROADCAST
Bittree is offering a new lineof 24 wide, flush-mount datafeed-through panelsdeveloped in response to therapid growth of ITinfrastructures in broadcastand AV environments. TheseCat6 feed-through panelsare available in both shielded
and unshielded versions. Front panels are silkscreen-numbered andcan be supplied with optional designation strips. Bittree's fibreoptic LC, SC, and ST 24-position panels now also have the sameflush-mount design. www.bittree.com
TV Technology Europe I April 201414////////////////
The control room’s view of the Sochi Olympics’ Opening Ceremonies
The Riedel MediorNet node thatwas used for the Sochi ceremonies
File-Based QCZECH TV, the nationalstate broadcaster
for the CzechRepublic, has morethan 170 hours of
incoming mediaarriving each day, mainly as MXFfiles in XDCAM HD and IMX SDformat. To help process this high volume of content theyneeded an automated qualitycontrol system.
In mid-2013 Czech TV issuedan open tender for a QC system.Digimetrics responded throughtheir local reseller TracoSystems, offering an Aurora QCSolution consisting of AuroraProfessional QC software withHydra Player. In October CzechTV purchased Aurora to be itsQC platform.
The Aurora system hadproven itself to have thecapability and performance thatCzech TV required, Digimetricshad demonstrated its ability tolisten to their needs and providea responsive service, and thecommercial offer met the CzechTV budgetary requirements. InNovember Czech TV went livewith the Aurora QC system.Future plans includeimplementing the popularAurora integration withTelestream Vantage.
“Through extensive trials wehave confidence that Aurora QCprovides us with the QC testsplans, the scalability, and theperformance we need tomanage our large volume ofincoming media files,” said PavelPřibil, Systems IntegrationEngineer at Czech TV.
Traco Systems andDigimetrics worked inpartnership to provide aresponsive service to meet theclient’s needs, including highquality technical andcommercial support throughout.QC Solution allows Czech TV toplan, analyse, review and takeactions efficiently andaccurately on their 170 dailyhours of incoming media.
THE SYSTEMCzech TV operators use AuroraWeb Clients to define customSmart Test Plans, includingactions to be taken based on
operator decisions. Five serverswith a total of 28 Aurora VUs,Aurora Controller and Deep MXFAnalysis Plug-In perform the QCanalysis. Each VU analyses onefile at a time, so for multiple filesto be analysed concurrentlymultiple instances of VU areinstalled.
At Czech TV three servershave four VUs installed, and twoservers have eight VU each,making a total of 28 VUinstances. This provides theability to analyse the 170 hoursper day of content that CzechTV receives. An Aurora DeepMXF & AMWA Analysis plugin isinstalled on the system,enabling each VU to provideextensive KLV & RIP packet levelanalysis of the MXF container, aswell as the ability to test MXFfiles against AMWA definedapplication specifications.
Aurora Controller softwaresupports unlimited Aurora Web
Client access to the VUs,allowing Czech TV operators toreview the Aurora Test Reportsfrom any machine on thenetwork. Twenty-eight clientmachines have DigimetricsHydra Player software installed,enabling operators to simplyclick on a reported QC issue onthe Aurora Test Report to viewthe exact frame of the reportedproblem. They can then reviewthe issue, scrubbing back andforth as required.
Using the Hydra Review Barthe Czech TV operators canrapidly move between reportedQC issues and make QCdecisions, including addingannotations or adding newartefacts noted during the QCprocess, all saved back to theAurora XML report. The wholeprocess reduces review timefrom minutes to seconds per issue. ///
USER REPORT ///
/// By Michal Popela
Michal Popelais Sales Director localDigimetrics reseller Traco Systems.
CONTACTSwww.digi-metrics.comwww.tracosys.cz
At Czech TV three servers have four VUs installed, and two servers have eight VUeach, making a total of 28 VU instances.
April 2014 I TV Technology Europe 15////////////////
Signal-Transport SolutionTransforms OB Operations
oseph Fiber Solutions(JFS), the fibre division ofJoseph Electronics, haslong been on the leading-edge of fibre solutions
development for OB signalinterconnects and distribution.Nowhere is that fact moreapparent than in the company’sDFT-8 signal transport system,which can transport up to eight3G/HD/SDI paths on one or twosingle-mode fibres.
As part of its master plan forinterconnect and distributionproducts, JFS had beendeveloping the DFT-8 as theheart and soul of the system.JFS accelerated the product’sdesign when UK OB companyCTV Outside Broadcasts cameto JFS with an urgent need – aconfigurable solution to handle64 3G/HD/SDI feeds for theopening ceremony of the 2012London Games.
For an event of that size,CTVOB would take in about 80feeds, which, because of longdistances and hum/signaldegradation issues, would onlybe achievable with fibre. CTVOBneeded a reliable, versatile, easyway to configure signal pathsinternally in groups of twovideos — eight one-way, six andtwo, four and four, and so forth— over economical fibre strands.For the job, CTVOB selected theDFT-8.
“We have been a long-timecustomer with JFS, and theyhave always looked after us well,but this time they outdidthemselves,” said CTVOBtechnical director Hamish Greig.“Our users had only positivethings to say about the DFT-8,especially about its ease of useand reliability.”
JFS developed the unit to becompletely modular so that thedirection of transport can bechanged in the field, making itideal for use in trucks andflypacks. Signal path moduleshandle two paths each, enablingeight signals one way for oneshow, then six signals one way
with two returns for the next. Another possibility is to
configure four signals each wayand use JFS’ exclusive bypasschannel system to add ananalogue path, some audio, anda data — all on a single fibre. Thetwo-fibre units utilise a WDM forGig-Ethernet and all versionshave redundant 12VDC powerinputs (Power supplies areincluded).
Since the first deploymentat CTVOB, JFS has refined theDFT-8’s chassis to include asliding top and very rigid base,with modules that allow users toconfigure the signal pathdirection in groups of two3G/HD/SDI paths each. Modules
are colour-coded to identifyTransmit Modules, which areslot-specific, and Receivemodules, which fit in any slot.
The modules support SMPTE424, SMPTE 292, SMPTE 259,SMPTE 297, and DVB-ASI. Unitscan also operate in non-reclocking mode and handlesignals from 50 Mbps to 3 Gbps.
Today there are 32 systemsin the field and counting. Theunits are gaining in popularitynot only for standaloneapplications, but also as thebasis for JFS’s "Caddie Connect"facility and truck-to-truckmultisignal interconnect system.
One such user is HusneyFarrell Inc. (HFI), a US broadcastsolutions company specializingin HD multipurpose support unitsand rental equipment. HFI isusing the DFT-8 unit for a largetruck-to-truck deployment tocreate packages for the NFL’sThursday Night Footballbroadcasts.
Before using the DFT-8 fibresolution, HFI had to run six 10-pair coax looms, audio DT-12,and a half a dozen Cat5 cables inorder to transport signals for theshow. Now HFI can accomplishthe task in a rack-mountedpackage that can be easilydeployed in other situations withor without its trucks.
“The side benefit isdefinitely a faster set and strike,but more importantly, in theever-growing TV compound, wecan be moved further out fromthe A-Unit while still having thesame abilities as before,” saidCraig Farrell, HFI co-owner. “Thismeans that trucks do not haveto be co-located, which is an
important benefit because manystadiums simply do not haveroom for all of the trucks thatare now required on the biggerevents.” ///
USER REPORT ///
/// By Christopher Annella
TV Technology Europe I April 2014////////////////16
Christopher Annellais Marketing Manager atJoseph Electronics.
Contacts:www.jfstv.com
DFT- 8 set
Hamish Grieg, CTVOB technical director
NEW FIBRE CAMERA BACKMiranda has just introduced itsTelecast brand CopperHead 3404Kcamera-mountable fibretransceiver. Designed to takeadvantage of lightweight, easy toinstall fibre, the 4K UHDTV-readyCopperHead 3404K transceiverrequires only two strands of fibreoptic cable to carry all bi-directional signals, including four3Gbps HD/SDI paths, from cameralocations to truck or control room or around a remote productionsite. The dual-strand bi-directional system enables 4K cameras tobe easily multi-purposed for ENG, digital cinematography andstudio applications without the constraints imposed by copperconnections.www.miranda.com
HD CABLES & BNC CONECTORSBelden has extended its range of coaxial digital video cables withthe new Belden Duobond Plus DNH series which makes thetermination of Belden's 1-Piece HD BNC very easy and much fasterthan the traditional 3-Piece BNCs. Also, a new line of BeldenBrilliance Broadcast High-Definition BNC Connectors exceedsSMPTE return loss standards, providing excellent headroom andtrue 75 ohm performance.www.beldensolutions.com
MARKETPLACE ///
TV Technology Europe I April 2014////////////////18
CLOUD-BASED QC, HEVCTektronix’ QCloud cloud-based QC software subscription platform isoptimized for deployment on Amazon Web Services (AWS).Broadcasters and others who operate file-based workflows on AWSand other cloud platforms can use QCloud to replace upfront capitalexpenses with usage-based, cloud-based operating expenses.Tektronix will also unveil HEVC deep dive Elementary Stream analysiscapabilities that now come with Option ESE and Option 430 of theMTS4000 MPEG Test and Analysis System. The new features helpequipment designers and manufacturers optimize coding efficiencyof next generation encoders for mobile video, OTT video and4K/Ultra HD, as well as check for compliance and ensure high-qualityencoded pictures.www.tektronix.com
OBJECTIVE QoE, OTT MONITORING & ANALYSIS
At this year’s NAB Show, BridgeTechnologies will debut itsObjective QoE (Quality ofExperience) solution for QoEmonitoring of broadcast anddigital media delivery, withsupport for regionally insertedmaterial. Also new is the VB288Content Extraction System forObjective QoE monitoring thatdelivers visual contentextraction, status displays andalerts to a virtual videowalldisplay that can be viewedthrough any Web browser.Running on a standard high-specification server, the VB288can power displays of largenumbers of HD H.264 channels
in multiple browser windows.Bridge Technologies will alsoshow its next generation OTTEngine with MPEG-DASHsupport; a new PocketProbe appfor OTT monitoring and analysison Android and iOS devices; andthe VB273 intelligent satelliteredundancy switch for satelliteuplinks.www.bridgetech.tv
MONITOR APPLICATIONBuilt on Volicon's digital videomonitoring technology, thenew Monitor applicationallows users to monitor videoquality, respond to faultreports, and use a fullrecording of the on-airbroadcast for instant reviewof errors and their impact.
While continuously analysing logged content for a variety of faultssuch as black or static screen, loss of video or closed captions, andincorrect audio levels, this application provides flexible, individuallyconfigurable alert thresholds, with notifications delivered via e-mailor SNMP traps. Quality measurement thresholds may be configuredper channel to optimize performance and error reporting. To furthersimplify network monitoring and troubleshooting, the applicationprovides an integrated multiviewer feature that enables ObserverMedia Intelligence Platform (MIP) users to use their standard displaysas multiviewers or record the output of a traditional multiviewer.www.volicon.com
MULTICHANNEL & OTT MONITORINGDigital Nirvana offers its Monitor IQ multichannel signal monitoring,logging, compliance and archiving for broadcasting. Monitor IQprovides centralized management, automatic ad detection, and adirector's audio track. It accepts multiple HD/SD signals and exportsa wide range of file formats. Digital Nirvana will also show itsAnyStream IQ cloud-based OTT monitoring system that providesreliable monitoring of OTT content to ensure that live streams are upand running. This browser-based system monitors for quality issueslike loss of video or audio as well as compliance issues like loss ofFCC mandated closed captions.www.digital-nirvana.com
TS ANALYSERMediaproxy has announced the next generation of its LogServer IPsoftware, which now includes a new QC and monitoring TSAnalyzerapplication and scheduled DVR-style recording. LogServer IP providesa scalable software-based native MPEG streaming server solution. Itcombines RTSP based IPTV applications, transport streammonitoring, a flexible IP multi-viewer and multi-channel reviewapplication. Scalable to hundreds of single and multi-programtransport streams across a linked network of servers, LogServer IPalso seamlessly integrates with LogServer ASI providing an easyupgrade path for existing customers. www.mediaproxy.com
MPEG DVB-ASI & IPTV MONITORSWohler MPEG monitors decodeand provide at-a-glancemonitoring of program contentfrom MPEG-2/4 ASI and EthernetIP streams, as well as 3G/HD-SDI
inputs. The MPEG video monitors decode and display MPEG-2 andMPEG-4 signals via BNC or Ethernet inputs, while giving users theability to browse the PAT, PMT, and PID data for each selectedstream. In addition to MPEG ASI and dual-input 3G/HD-SDI with loop-through, the MPEG monitors also accommodate HDMI video andaudio with level meters, GPI, and tally.www.wohler.com
WAVEFORM, 4KOmniTek’s latest OTM and OTRwaveform analysis and signalgeneration systems offereverything from an entry-levelSD/HD waveform, vectorscopegamut and video status monitorthrough to a full specificationwaveform analyser capable ofhandling the latest 2K videostandards, all on the sameplatform. This is achievedthrough licence optionsproviding, for example, supportfor digital cinema through theaddition of XYZ colour space,gamut histograms and a CIEChart drawing facility. Testsignal capture and generationare similarly added to theOTM/OTR through theinstallation of software options,as are lip-sync measurementand the analysis of audiofeatures such as programmeloudness.
Also new is the OmniTek Ultra4K Tool Box, a small box packedwith features for the analysis,
display, conversion andgeneration of signals up to4K/60p. The 4K Tool Boxsupports all current andanticipated 4K video formats upto 4096 x 2160/60p and hasports supporting a wide varietyof connection formats – multi-rate SDI (including dual 6G andquad 3G for 4K/60), HDMI andDisplay Port – for both videosource and display. The Tool Boxcan either be controlled via theHDMI port or from a webbrowser.www.omnitek.tv
AUTOMATED QC IN TRANSCODES
Digital Rapids and Vidcheck haveannounced integration betweenthe Digital Rapids TranscodeManager 2 automated mediatransformation software and theVidchecker second-generation
automated QC software. Thenew integration support enablesTranscode Manager 2 users toseamlessly incorporateVidchecker's extensive QCcapabilities within theirautomated, customized mediaprocessing workflows. Outputscan be checked against a user-specified range of verificationtests, with users alertedautomatically to QC issues. www.digitalrapids.com;www.Vidcheck.com
MARKETPLACE ///
TV Technology Europe I April 2014////////////////20
RACK OR PORTABLE FIBREThe new StudioTechnologies Model 412Fiber Transport Systemcan transport multipleserial digital video, MADIdigital audio, as well asgigabit Ethernet signalsover single-mode opticalfibres. The portable or
rack-mounted Model 412 uses optical multiplexing to transport SDIvideo or MADI audio signals—at rates of up to 2.97 Gbps—over twosingle-mode optical fibres. The system is available in threeversions. www.studio-tech.com
QUICKER FIBRE RIG/DERIG;PORTABLE FIBRE TEST
Argosy now offers a range of fibre management solutions,including Neutrik’s opticalCON advanced tactical fibre assemblies.These include the opticalCON Duo, opticalCON Quad and therecently debuted opticalCON MTP connection systems. The MTPoffers a 12-channel fibre optic connection system for point-to-point multichannel routing with a push/pull connector that helpsto reduce rigging and de-rigging times in the field. Its innovativespherical shutter is easy to clean and guarantees lowmaintenance. As well as being easily deployable, the MTPconnection system offers a reliable, end-to-end solution withrugged outer-jackets for harsh environments.
Also now available from Argosy is the Cygnus Pro range ofportable fibre and hybrid cable testing systems from PERCON. TheCygnus Pro HD-fibre device allows engineers to accurately testsignal integrity on opticalCON tactical fibre assemblies and SMPTEcamera systems. www.argosycable.com
BIGGER BULLDOGS, DINGO Multidyne is refining and updatingits fibre optic based video and audiotransport solutions by introducingThe Dingo, a new card set thattransports a wide range of camerasignals—such as 3G HD-SDI,composite video, analogue or digitalaudio with cross conversion,intercom, serial data, and GigabitEthernet—over a single fibre-opticcable. Also new this year are twolarger sized versions of The BullDog compact, field fibre transportsystem. Using The BullDog, camera operators can extend thetransmission distance of multiple camera signals over a single fibre cable. The BullDog efficiently transports up to 8 HD-SDI signalsin any direction.www.multidyne.com
FIBRE TRANSMISSION
Chinese company Doteck hasavailable the Doteck 3G seriestransmitter, which provides one3G/HD/SD-SDI input, and oneloop-through for localmonitoring. The receiveroutputs 2-way parallel3G/HD/SD-SDI digital video. It
features an auto-cableequalization circuit and cabledriver circuit available atreceiver. A signal jitterelimination circuit is availableboth at the transmitter and atthe receiver to ensure highquality signal transmission overlong distance fibre cable. Autosignal detection is alsostandard.
Also available is the DoteckHD8 series transmitter , whichprovides eight HD-SDI input,and 8 loop-throughs for localmonitoring. The receiveroutputs 16-way parallel HD-SDIdigital video. www.doteck.com
TEST & MEASURE IN TRANSITIONHamlet is adding to its rangewith the new DigiTek DT900.Capable of simultaneouslymonitoring two to four signalsin a single 1U device with pro-speakers included, presentingthe results through an integralmulti-viewer onto any DVI orHDMI display. The multi-formatcapabilities include 3G, HD andSD SDI, with test signalgeneration, EYE pattern, SDIcombined with analogue input modules plus digital and analogueaudio inputs options ensuring backward compatibility, making itideal for installations which are undergoing transition. www.hamlet.co.uk
RUGGED CONNECTORSA new high density version of theFischer UltiMate Series 07connector is a small, miniaturizedconnector containing tencontacts within plug andreceptacle diameters starting at12mm only. With this additionalconfiguration, the FischerUltiMate Series of ruggedconnectors is now available infive sizes (07, 08, 11, 13 and 18)and in configurations from 2 to 42 pins.www.fischerconnectors.com
MONITORING PROBEPart of Nevion’s nSure line of intelligent monitoring and switchingsolutions, the TNS4200 Media Monitoring Probe is a toolbox thatprovides continuous monitoring of up to several hundred transportstreams, enabling fast fault detection and diagnostics for higheruptimes. With numerous ASI and IP inputs within its compact 1RUframe, the TNS4200 is highly flexible and can be configured toreflect customised monitoring rules. The new probe is designedfor video-centric network monitoring. www.nevion.com
HANDHELD ANALYSER
The handheld TAG from Phabrix is a low cost (about £2000)analyser/monitor that offers a range of interfaces from compositeup to SD-SDI, HD-SDI, 3G-SDI and optical support via a built-in SFPcage. On the audio side the TAG provides a D connector providingboth balanced analogue audio and AES I/O. AES waveform displayallows visual check for levels and reference lock. PHABRIX hasworked closely with Dolby to provide support for Dolby E, Dolby Dand Dolby D plus for the TAG. TAG also features a TCP/IP remotecontrol connection, allowing the instrument to be controlled viaany standard web browser. ww.phabrix.com
hough my new role asthe SMPTE standards vicepresident follows on myretirement from Evertzlast year, the
responsibilities that come with the position are anythingbut light.
The increasing diversity oftechnology associated withmotion-imaging demands thatSMPTE standards addressinteroperability issues on awider scale. While delving intothese issues, SMPTE mustbalance competing pressuresto reach a balance forstandards creation.
On one hand, the Societymust continue to employrigorous, fully vetted, and openstandards developmentprocesses. On the other hand, itmust move those processesalong fast enough that theresulting standards can bedeployed during the useful lifeof the technology they address.
I see these challenges asopportunities for the Society,and I’m happy to be playing alarger role in maintainingSMPTE’s proactive approach toproblem-solving and standardscreation. Indeed, responding tothe broad impact of numerousand significant technicaladvances, SMPTE’s technicalcommittees are doing a greatdeal of standards work right now.
Ultra high definitiontelevision (UHDTV), for example,has a footprint that extendsacross several technical areas,and we’re busy studying itsimplications in these areas.Looking at essence, we seehigh dynamic range (HDR)enabling creation of betterpictures for television andcinema. In terms ofinfrastructure, we’re examiningthe move from traditional hard-wired facilities to informationtechnology (IT)-based facilityand the challenges that comewith this shift.
As these technologiescome to bear, we must addressthem with standards. Inparticular, the move to Internetprotocol (IP)/IT infrastructurewill require a standard as robust
and longstanding as the Emmyaward-winning HD-SDI standardreleased by SMPTE in 1992, andbuilt upon in later years for the3G-SDI standard released in2005, and right now for the 6,12, and 24 gig standards underdevelopment.
Working toward this end,SMPTE has co-sponsored theJoint Task Force on ProfessionalNetworked Streamed Media (JT-NM) along with the EuropeanBroadcasting Union (EBU) andthe Video Services Forum (VSF).Together, we aim to help driveindustry participation indevelopment of a packet-basednetwork infrastructure thatsupports the creation,storage, transfer, andstreaming of professionalmedia. This effort is critical ifwe are to avoid a hodge-podgeof disparate approaches and practices that simply don’t work.
SMPTE’s work with otherorganizations is allowing theSociety to be more agile andresponsive to changingtechnologies and times. ThoughSMPTE boasts nearly 100 yearsof experience in standardsdevelopment, and we havemade some internaladjustments to streamline ourwork, we also value thebenefits of strategiccollaboration.
Earlier this year weannounced the launch of theJoint Task Force on File Formatsand Media Interoperability. Wesponsor this joint task forcealong with the North AmericanBroadcasters Association(NABA), Advanced MediaWorkflow Association (AMWA),International Association ofBroadcast Manufacturers(IABM), American Association ofAdvertising Agencies (4As), andAssociation of NationalAdvertisers (ANA).
Our goal is to create greaterefficiencies and cost savings forexchange of file-based content.We will do so by engaging keyplayers and stakeholders inimproving the specification andexchange of professional mediabetween organizations.
The Society is also
continuing work begun last yearwith the Coalition for InnovativeMedia Measurement (CIMM).Together, we are workingtoward widespread industryadoption of Ad-ID andEntertainment IdentifierRegistry (EIDR) coding for alladvertising and video content assets.
At this point, theprofessional media industry hasno standardized, open methodof directly associating contentidentifiers with the audiovisualcontent itself. Thus, a centralfocus of our collaboration is thecreation of an optimal open-standard technical solution forthe actual binding of Ad-ID andEIDR identifiers to video assets.
As SMPTE extends itspartnerships with other mediaindustry organizationsworldwide, it is also pursuingmore inclusive standardscreation. Historically, SMPTEmembership has come largelyfrom the United States andCanada. In recent years, ourranks have extended torepresent a much broaderinternational community;including the United Kingdom,Hong Kong, and India, to name a few.
To reinforce the growingdiversity of the Society, we holdour fall standards meetings inEurope, immediately following
the IBC show in Amsterdam.SMPTE is actually a foundingIBC partner.
Last year we brought aquarterly meeting to HongKong. This year NHK and otherswill host a quarterly meeting inJapan.
Australia has hosted someof our largest conferences andmeetings, drawing an array ofindustry experts and exhibitorsfrom around the world. Anotherenormous conference is in theworks for 2015.
By increasing the Society’spresence on a global scale,we’re successfully increasingthe input and involvement weget for standards that affectthe motion imaging industryworldwide.
Given all of these elementsof SMPTE’s standards work, it’san exciting time to be taking ona new leadership role within theSociety. I am sure the roadahead will be challenging, but Iam looking forward to workingwith experts from manydisciplines, to lay thefoundation for the future of ourindustry. ///
SMPTE UPDATE ///
/// Alan Lambshead on maintaining proactive standards work
TV Technology Europe I April 2014////////////////22
Alan Lambshead is SMPTE’s Vice President of Standards.
Contacts:www.smpte.org
Alan Lambshead, SMPTE Standards Vice President
Process & Partnerships
IP/IT infrastructures willrequire a standard asrobust as the HD-SDI standard.
A Life of Constant VarietyName: Josh White
Age: 27
Family: I live with my girlfriendEllie.
Star sign: Cancer
Where did you grow up?By the sea in Herne Bay, Kent, UK.
Where do you live today?I still live in Herne Bay, althoughI do a lot of filming in Londonand cities, so I prefer to livesomewhere quieter. It's a goodway to de-stress after a long job.
Languages:English.
Occupation: Freelance lighting cameramanand Director of Photography.
What education have you had?After school, I went to collegeto study media, then ontoCanterbury Christ ChurchUniversity to study Film, Radioand TV which was a half theory,half practical course, where Ilearnt to shoot on S16mm film. Ihave also completed a weeklong BBC training course inLocation Camera Skills.
How long have you been acameraman?Professionally freelance for fiveyears. But I've filmed familyevents and films with friendssince I was 11.
What has been your experiencein shooting video with DSLRs?I've shot a couple of short films,various music videos andcorporate work with Canon DLSRs.
These offer a lightweight35mm sensor withinterchangeable lenses for alow price. They're great forsome B-roll footage, web-basedcontent or for simply when youcan't get permission to getsomething bigger in
somewhere. Break them downto just the body and lens and you look like a tourist, very discreet.
To me the moiré, lack oflatitude, lack of detail in wide
shots and video noise when youpush the image can put me offsometimes. So I always try andshoot with my Sony F3 ifpossible, but as a tool CanonDSLRs certainly have their placein the camera persons’ andfilmmakers' arsenal.
These cameras have helped alot of young camera people andphotographers to startshooting video at little cost,pushing creative boundariesand bringing in new talent.
On the flip side, as a lighting
cameraman, I've always tried toinvest in the best equipmentand get the best trainingpossible and that doesn’talways come cheap. I've lost alot of work because I simply
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cannot compete with my dayrate against some freshly-graduated students who got a7D for Christmas!
With a mass of new shooterscomes a great variety in thequality of content beingproduced. There are some verytalented shooters out there,but there are also some whocould benefit from some basicdisciplines when it comes towhite balance, exposure, focusand composition. Part of theblame has to lie with producersand companies that employpeople for as little as possible.
Does this approach have a future?I think DLSRs can only improvequality-wise and they willalways have a place for lowerend productions and B-roll.
We may start to see moremainstream low budgetfeatures and TV shows beingshot on DSLRs as budgets falleven lower. But with camerassuch as the Blackmagic CinemaCamera, the lines between the
DLSR and the video camera arebecoming very blurred.
What do you think of thecurrent activity in 4K TV?I think 4K will provide benefits;not in 4K broadcasts to thehome, but shooting in 4K andhaving the option to zoom inand re-frame live pictures for
some productions, mainly sportsevents.
Current assignments. Where, doing what, shootingfor whom?I've recently been shootingsome corporate videos for alarge food company in the UK,filming on farms and factories in
England and Northern Ireland,showing the process from farmto fork. It's part of the job I love,with a lot of variety seeing theproduction process of howthings work.
Have you been busy?This year has really picked up forme so far; it seems to come inwaves a few months at a time.I'm riding the wave at themoment.
Shooting where?I mostly shoot in the UK, often inand around Kent and Londonwith a job coming up in Wales. Atthe end of the year I'll also befilming in Scotland.
What types of productions doyou currently shoot?I would say 80 percent of mywork is corporate, with the restbeing short films and musicvideos. There's still some peoplewith money out there which isgood. I enjoy corporate work butshorts and music videos are socreative and I love that.
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What was your first shooting job?My first proper paid shootingjob was to shoot and edit avideo for a hostel company inLondon. I had to visit six orseven different hostels aroundthe city and get plenty of iconicshots of London. This wouldhave been easy had I notdamaged my ankle only a fewdays before I was due to start,so I spent the entire shootlimping around.
Most recent, interestingassignments?I shot a short film that was tobe entered into the Virgin MediaShorts competition. It was onlya one day shoot and I'd beenbrought on as DoP only a fewdays before. We filmed in one ofthe oldest boxing clubs in
London and I made some greatnew contacts. It was a reallyfun shoot to be on.
I also shot a music video for aband based in Portsmouth in anold ruined monument. I reallyenjoy the creative process ofshooting music videos andworking with the director. I wasgiven quite a lot of flexibilitywhich was great.
Current camera equipment you use?The two cameras I own and useregularly are the Sony EX3 andSony F3. But I also have a Canon 60D.Other gear you have access to?I use the Blackmagic HyperDeckShuttle so I can record in ProResor DNxHD or if requireduncompressed from both theEX3 and F3, great for shooting
S-log on the F3, plenty of roomto grade in post withoutdegrading the image.
I also have a thing aboutlights, so I have quite aselection of lighting from aportable LED kit and china balls to Kino Flos and an Arri1.2k HMI.
What useful piece of gear do you wish someone might make?I wish there was a portable LEDlight that you could change thesoftness of the light just byturning a knob on the back, likeyou can with intensity andcolour balance.
Best thing about your job?No job is ever the same, you're always learning andpushing yourself.
Worst thing about your job?Not knowing if I'll still be able toafford to do this job next year.
Dullest assignments and why?Speeches at conferences andanything I can't be creative andpush myself with.Hairiest/scariest assignmentsand why?I really need to get moreassignments like this! The onlyone I can think of is beingthrown about in a WW2 side-carbeing driven around at greatspeed along a dirt track in afield for a war film I wasshooting. I think we werechasing a tank!
How much 16:9 do you shoot?I shoot only 16:9.
What country do you most liketo shoot in?England. It's my home and I lovethe rolling countryside and thecoasts we have here.
What ıs your taste in music?Whatever they're playing on theradio. I like a variety and itchanges so often.
Favourite food?Most Italian dishes.
Contact details:W: josh-white.co.ukE: [email protected]
volution doesn'talways proceed in alinear fashion. Thereare offshoots,backwaters, blindalleys even, as well as
the mainstream. Some of theseoffshoots result in organismsthat are so well adapted to lifethat they don't need to evolveany more. The shark is arguablyone of these.
However, most offshootsare really up a blind alley. Theyare organisms that leavethemselves nowhere to go, orperhaps have developedspecialist evolutions to suit oneenvironment and can survivefor a time in another when theconditions change -- but onlywhile the going is good.
In the field of technology,evolution occurs at a vastlymore rapid pace than in the realworld. So we see plenty ofevolutionary dead-ends. Manylast only a decade or less.
A lot of these dead-endsare the result of commercialcompetition, and it's not alwaysthe best technical evolutionthat wins in a commercialcontext. But there are alsodead-ends that arise fromconceptual mistakes; where atechnology is applied in aninappropriate context, and failsbecause it's poorly evolved forthat environment.
In the world of digital mediadelivery, there is one exampleright now: The dead-end isQuality of Experience (QoE)testing.
Digital media providerswant to ensure their customersare getting a good quality
service. They want to keepthose subscriptions coming in,and they want the subscriberbase to grow.
Part of the strategy forensuring a good service is tomonitor the performance of thedelivery mechanisms, so thatany actual or incipient failuresare corrected quickly. This isthe obvious part. But there isalso the quite reasonabledesire to test quality asexperienced by the user.
QoE testing began in thetelecoms industry, wheretelcos needed a way toevaluate what the ‘averagesubscriber' would think of thesound quality delivered overthe phone.
There was no objectivemeasure that could deliver thisevaluation. It was a subjectiveassessment that the telcoshad to make.
To simulate the ‘averagesubscriber', a panel of expertassessors would listen to testcommunications over thetelephone service and notetheir evaluation of quality whilea set of stock phrases such as‘You will have to be very quiet',‘There was nothing to be seen',and ‘They worshipped woodenidols' were transmitted.
The experts would recordtheir scores, assessing anyimpairments in subjectiveterms on a scale of 1-5, from‘imperceptible' to ‘veryannoying.’ The scores wouldthen be averaged and weightedusing the kind of statisticalmanipulations common in thesocial sciences and marketresearch.
This methodology becameknown as MOS (Mean OpinionScore). It was standardised bythe ITU-T (InternationalTelegraph Union)recommendation P.800.
For its original context andenvironment, this was aperfectly reasonable approach.But when the QoE concept wasapplied to digital mediadelivery, the MOS-based,subjective methodology lost itsjustification and QoE becamean evolutionary backwater.
In an attempt to grow theright feathers, MOS mutatedinto ‘VideoMOS' and ‘AudioMOS'criteria, which tried to makeopinion-scoring methodologieslook well-adapted to the medialandscape. Rather than usingpanels of expert assessors,MOS-based QoE evaluationbecame ‘robotized', withcomplex algorithmicsimulations of those subjectivereactions from ‘imperceptible'to ‘very annoying'.
In the case of television,MOS/QoE robots ‘watch' theservice and the data is fed intothe algorithmic engine. Itattempts to simulate thesubjective reaction of theviewer, with scores for factorssuch as ‘jerkiness', ‘blurriness'and ‘blockiness'.
Like a dinosaur growing anenormously long neck so that itcan prolong its survival in achanged and more challengingenvironment, this algorithmicevolution of an opinion-gathering methodology leadsto a less than successfulorganism. As the word ‘opinion'in the term MOS suggests,subjectivity is still at the heartof the concept; even if it's nowa robotic imitation of subjectivehuman reactions.
But subjectivity is complexand nuanced. No human viewerwould assess a transmission ofCaptain Philips using the samecriteria when watchingChaplin's The Great Dictator.The viewer knows and acceptsthat one is a recently-mademovie and will be brighter,steadier and sharper – andmore colourful – than a blackand white product of 1940.
Yet in a robotized QoE‘subjective' assessment basedon MOS criteria, one would
score highly, while the otherwould be marked way down for‘blurriness', scratches and otherartefacts, for its lack ofresolution and colour.
Such distorted resultsarising from the attempt tosimulate human subjectivityhave made QoE a much lessvaluable tool than it should be.And yet, unlike the sound heardover a telephone, theexperience of digital mediaservices can be evaluated in acompletely objective way. Thereis no need to use theevolutionary dead-end of MOS-based evaluation.
The Objective QoE solutionlaunched by BridgeTechnologies dispenses withthe robotised ‘average viewer' infavour of a QoE evaluation builtfrom empirical testing offactors that diminish the qualityof digital media services, suchas lost packets, timeouts, andbuffering.
When you can accuratelyand continuously detect when aviewer is experiencing any ofthese errors, you no longerneed to confect an algorithmic‘opinion' about it. You have acompletely trustworthy,objective set of data on whichto assess -- in real time -- thequality of each user'sexperience.
By dispensing withsubjectivity, digital mediaproviders can get a reliable andmeaningful assessment of thequality users are experiencing,and QoE monitoring can getback into the mainstream ofevolutionary progress. ///
April 2014 I TV Technology Europe ////////////////
A More Empirical QoE LAST LINES ///
/// By Simen Frostad
27
Simen Frostadis Chairman of BridgeTechnologies(www.bridgetech.tv)
Simen Frostad
