IBC2011 must sees


Over 1,300 exhibitors will be supporting IBC2011, each bringing perhaps one, two or three new or enhanced products. My task is to distill these down to the 20 devices likely to be of greatest interest to TV-Bay readers, so far as that is possible several weeks before the show opens. As a recent convert to OS X, I note with gloom that Apple remains a non-exhibitor either at NAB or IBC. Maybe another conveniently timed FCP SuperMeet...

CONTENT CAPTURE

Arri’s Alexa M is a modular version of the established Alexa HD camera. Camera head and body are connected by optical fibre which can also carry a power cable. Images, audio and metadata can be recorded on SxS cards or output to external storage. Alexa M is compatible with all existing 35 millimetre lenses plus a wide range of ARRI accessories.
Comrex' LiveShot delivers live video over IP networks. It uses the H.264/MPEG-4 AVC High profile and is claimed to be capable of encoding and decoding an audio/video stream with less than 200 milliseconds latency. LiveShot delivers full-duplex video and stereo audio between its portable and studio-installed systems. A full-duplex cue link is also available between these systems. On the portable, the return audio/video channel is delivered via output connectors or wi-fi streamed to a mobile device.

For-A's VFC-7000 is a CMOS camera capable of 50 to 700 frames per second (1280 x 720 pixels) recording. Recording time is up to 9.8 seconds at 700 frame/s on a standard internal memory, expandable to four-times capacity. BB and tri-level sync genlock capability is included.

Ikegami's HiMotion2 Super Slow-Mo HD camera has a three-CMOS sensor head and built-in memory, capable of capturing movement at greater than 10x speed. A dual format 1080i/720p camera, it supplies parallel live and replay output.
I-Movix' SprintCam Vvs HD is an ultra slow-motion system for live HD broadcast production. It operates at up to 5,800 frames per second 720p (up to 2,700 frame/s in 1080i) and provides instant replay at native HD resolution with a dual output for a live and replay feed. New features include a dual output that allows a camera operator to shoot and record at the same time, segmented memory, dual output of live action and replay sequences, and integration of live plus replay view on the viewfinder. Two cameras can be synchronised for ultra-slow-motion 3D capture.

JVC's GY-HMZ1U 3D HD camcorder has dual 3.32 megapixel CMOS sensors and delivers 34 megabits per second 1920 x 1080 AVCHD recording in 3D or 24 Mbit/s in 2D. Features include image stabilisation, twin F1.2 HD lenses with 5x optical zoom in 3D and 10x optical zoom in 2D. Recording is to SDHC or SDXC media cards or 80 gigabyte internal memory.
Panasonic's AG-3DP1 is a 3D twin-lens P2 HD shoulder-mount camcorder with 10 bit 4:2:2 independent-frame 1920 x 1080 resolution AVC-Intra recording. Convergence point is adjustable. Functions for automatically correcting horizontal and vertical displacement are provided.

Sony's HXR-NX3D1 is a lightweight all-in-one 3D camcorder with 10x (34.4 to 344 mm) optical zoom lenses, dual quarter-inch 1920 x 1080 pixel CMOS sensors and 96 gigabyte internal memory. The HXR-NX3D1 has a multi-card card slot allowing direct capture or file transfer to Memory Sticks and SD cards. The camcorder has two parallel lenses mounted 31 mm apart. Disparity adjustment can be performed to change the readout areas of the left and right CMOS sensors so that they are closer together or further apart.


PRODUCTION

AJA's Ki Pro Mini is a miniature field recorder capturing to Apple ProRes 422 QuickTime files on Compact Flash memory. An optional mounting plate allows connecting to a camera accessory bracket. (pictured here with the optional mini stand)
Sonnet Technology will display its new Fusion D800TBR5 deskstop storage system. This is an Intel-Thunderbolt-compatible 8-drive RAID 5 desktop storage system supporting RAID 0, 1, 5 and JBOD. It is available in 8, 12, 16, or 24 terabyte versions and can handle one stream of uncompressed 10-bit 1080 4:4:4 HD or multiple streams of ProRes 422, uncompressed 8-bit 1080 HD, DV, HDV, and DVCPRO video.

DiGiCo's SD10B broadcast audio mixer includes 96 channels with full processing, 12 of which can be configured as mono or stereo, with full processing available in either mode. 48 assignable buses offer multiple configurations and a complete 5.1 monitoring matrix with 48 x 6 source to speaker selection.

POSTPRODUCTION
Latest version of Blackmagic Design's DaVinci colour correction tool, DaVinci Resolve 8 includes multilayer timeline support with editing, and XML import and export with Apple Final Cut Pro 7 and Adobe Premiere Pro. OpenCL processing allows use on Apple iMac and MacBook Pro. New processing tools have been added for real-time noise reduction, curve grading, multipoint stabilisation and automatic stereoscopic 3D image alignment.

Quantel's QTube allows media assets to be securely accessed via an internet connection. It is based on three components: QTube Browser (a Microsoft Silverlight-based viewer, enabling the user to search the Quantel Enterprise sQ system and find, view and edit metadata on content remotely), QTube Edit (an internet-enabled version of the standard Enterprise sQ desktop editor), and QTube Transformer (providing the interface between the sQ system and the QTube clients). QTube is also compatible with Microsoft Smooth Streaming and Apple Live Streaming.

INFRASTRUCTURE
Axon has expanded the capabilities of its SynView multiviewer by adding 3D display capabilities. Two multiview inputs can be locked to each other and displayed side-by-side or, on suitable displays, as a 3D image. Tallies, borders and UMD information are all 3D processed.
Harris' Selenio combines baseband video and audio processing, video and audio compression and IP networking technology into a single modular platform. MPEG-2 and H.264 compression standards are supported from SD and HD to 3 Gb/s and mobile.

Mosart Medialab version 3.0 newscast automation system allows users to assemble combinations of production elements into a collection of on-display buttons with touch-screen operation. Elements can include events such as a clip, lower thirds and other graphics.

RTS Intercom Systems' VLink (Virtual Linked Intercom) enables remote users to interface with RTS matrix intercoms via the internet using a simple PC-based application. The basic RTS VLink-LE version comprises a standalone software/server-based intercom providing limited interconnect functionality into any existing audio feed.

MONITORING

Dolby's PRM-4200 reference monitor provides 12-bit colour rendition without dithering. Supporting 3D lookup tables,it can be calibrated to match digital screening environments and to emulate the response of film-print stocks during digital intermediate colour correction. The monitor includes a remote controller which can be rackmounted or used on the desktop.

Sony has expanded its line of OLED Trimaster EL picture monitors with the 25-inch PVM-2541 and 17-inch PVM-1741, designed to replace CRT displays for content evaluation. Both models provide 1920 x 1080 HD resolution with 10-bit signal processing. Features include 3G HD-SDI inputs, serial and parallel remote control, timecode display, embedded audio display, internal waveform monitor and auto white balance.

Phabrix Rx is a 2U 19 rack mounting modular signal analyser with dual two 4.3 inch colour TFT displays capable of generating and displaying a range of test patterns and logging information. Control is via the eight buttons under each display plus on-screen GUI. The Rx offers auto bi-level, tri-level and SDI genlock with cross lock capability. 16 channels of embedded audio are supported.

POSTSCRIPT

IBC will offer a great opportunity to preview the future of television: far higher resolution cameras than are needed for today's 1920 x 1080 pixel displays. Currently of interest primarily to film-makers, 4K, 8K and onward up to UHDTV will undoubtedly be adopted sooner or later by onair and/or online programme publishers. Most of the mainstream camera manufacturers have 4K and/or 8K products that are worth looking at in addition to the ongoing developments in 3D. How super-large screens will be delivered to consumers is another matter. Perhaps in halves strapped to the sides of a glazier's truck.



Tags: iss056 | ibc2011 | ibc | arri | for-a | ikegami | i-movix | jvc | panasonic | sony | aja | sonnet technology | digico | blackmagic | quantel | axon | harris | mosart | rts | dolby | sony | phabrix | N/A
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Submitted by Peter Savage 2 Read this article in the tv-bay digital magazine
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Submitted by Paul Scurrell Read this article in the tv-bay digital magazine
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Submitted by Lorna Garrett Read this article in the tv-bay digital magazine
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Submitted by Aaron Dunleavy Read this article in the tv-bay digital magazine
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Submitted by Graham Reed Read this article in the tv-bay digital magazine
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Submitted by James Mathers Read this article in the tv-bay digital magazine
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Submitted by Jonathan Smith Read this article in the tv-bay digital magazine
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Submitted by Michael Parsons Read this article in the tv-bay digital magazine
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Submitted by Michael Waidson Read this article in the tv-bay digital magazine
Immersive Audio
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Submitted by Bruce Devlin - new Read this article in the tv-bay digital magazine
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Submitted by Bill Nardi Read this article in the tv-bay digital magazine
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Submitted by Lorna Garrett Read this article in the tv-bay digital magazine
Facebook Workplace - why it might just work
Jake Ward At the Facebook F8 Developer Conference last April, Facebook's Workplace, a collaborative platform for organisations, announced enhanced live video functionality. Being able to stream live into Workplace will fundamentally change the way companies communicate, from broadcasting weekly meetings and webinars to live streaming Q&As. The possibilities really are endless.
Tags: iss126 | facebook | workplace | groovy gecko | Jake Ward
Submitted by Jake Ward Read this article in the tv-bay digital magazine
Live sports and event production
Brian Eldredge There is an overwhelming amount of content being recorded by sports broadcasters and digital services teams. A broadcaster might capture hundreds of hours of content over the course of, say, a golf tournament, yet only a fraction of that content makes it to air. But what about the rest of it, such as interviews, scenic shots, promos, and behind-the-scenes footage? Too often, priceless moments that don't make it into the broadcast get left on the cutting room floor because they're either not preserved or the right people can't access them, or both.
Tags: iss126 | wazee | dam | cloud | Brian Eldredge
Submitted by Brian Eldredge Read this article in the tv-bay digital magazine
Infrastructure boost with single node storage solutions
Lee Griffin Like other market segments, the motion picture and video production industry is dominated by smaller productions and facilities. Until now, the only option for this portion of the market to take advantage of the performance, fault-tolerance and ease of management of a modern scale-out storage platform was to invest in a storage cluster consisting of three storage nodes and at least one metadata controller.
Tags: iss126 | storage | san | nas | single-node | efs | xstream | efs200 | efs300 | editshare | Lee Griffin
Submitted by Lee Griffin Read this article in the tv-bay digital magazine
The challenges of media workflow automation
Dave Clark The media workflow challenge has never been more complex, and it's growing. In response exploding consumer demand for high-quality, engaging programming, media operations are under the gun to create content and deliver it to an ever-growing range of platforms and devices. Managing video assets - that is finding them, accessing them, and using them efficiently and effectively - is one of the biggest barriers to success in today's environment.
Tags: iss126 | automation | workflow | cloud | on-premise | hybrid | mam | square box | Dave Clark
Submitted by Dave Clark Read this article in the tv-bay digital magazine
Ad servers and switching solutions
Peter Blanchford Hardware-based ad servers and switching solutions have been around for a long time and, broadly speaking, do the job just fine.
Tags: iss126 | starfish technologies | ad server | ts splicer | ts switch | gop | Peter Blanchford
Submitted by Peter Blanchford Read this article in the tv-bay digital magazine
IP Based Remote Production
Ed Calverley Over the last few years Suitcase TV has been getting involved in remote production at the software layer, and I want to talk about some of the ways we have been getting involved in remote production, including a specific trial that we did last year with BBC Sport for the Euro 2016 tournament in Paris.
Tags: iss126 | remote production | IP | jt-nm | smpte 2110 | suitcase | Ed Calverley
Submitted by Ed Calverley Read this article in the tv-bay digital magazine
The Dressing Room - shooting steamy scenes
Josh Portwine W's latest factual entertainment series relies completely on the ability of fixed rig filming setups to make cast members forget their inhibitions. Described as a fly-on-the-wall documentary, "The Dressing Room" gives TV audiences unprecedented access to team-sport dynamics off the field of play by inviting them into the hidden world of dressing rooms at venues across the country.
Tags: iss126 | aw-eu70 | aw-rp120 | stv | motion content group | shooting partners | Josh Portwine
Submitted by Josh Portwine Read this article in the tv-bay digital magazine
State of the Nation - part 1
Dick Hobbs - new Imagine you are the director of the Champions League Final, knowing that 200 million people will be watching your every decision. Or you're directing the Eurovision Song Contest. Or even, to be honest, the Tunbridge Wells local news opt out. And at live minus 30 seconds, all the screens in the monitor wall suddenly go black then show a demand, in broken English, for 300 Bitcoin.
Tags: iss126 | iabm | british airways | ransom | bitcoin | cybersecurity | cots | Dick Hobbs - new
Submitted by Dick Hobbs - new Read this article in the tv-bay digital magazine
Media Production Show and other news
Duncan Payne So, the 2nd Media Production Show has been and gone. Hands up who went to Islington by mistake? I know at least two people who did. Their secret is safe with me! For me, the sign of a great trade show is when I come away really enthused about an innovative use of existing technology or a brand new product. When I find something that combines both these things, then I'm a very happy man.
Tags: iss126 | adamantean | finance | leasing | mps | ptz | sam | Duncan Payne
Submitted by Duncan Payne Read this article in the tv-bay digital magazine
Canon CN-E 18-80mm T4.4 Review
Ben Sherriff The Canon Cine range of lenses have been around for quite a few years now. The CN-E Cinema Prime lenses became an early alternative to using PL adaptors or the Zeiss Compact Prime lenses. Other than that the choice was rehoused stills lenses or maybe if you were lucky a set of Zeiss super speeds. The cine lens set became a cost effective offering for sharp prime lenses with clear and accurate markings for proper functionality.
Tags: iss126 | canon | review | cn-e | 18-88mm | t4.4 | Ben Sherriff
Submitted by Ben Sherriff Read this article in the tv-bay digital magazine
Lighting - the stuff you do not see
Tama Berkeljon Lighting is the stuff you don't see that makes a difference in what you do see. How the audience feels about a character and whether the scene is scary, tense or upbeat are communicated by the quality and placement of light. Lighting can take the drama to a whole new level - think about film noir with all those shadows on the wall.
Tags: iss126 | outsight | ghost in the shell | led lighting | Tama Berkeljon
Submitted by Tama Berkeljon Read this article in the tv-bay digital magazine
Integrated and automating marketing campaign production
James Gilbert ITV, as an integrated producer broadcaster, creates, owns and distributes high-quality content on multiple platforms. It operates the largest commercial family of channels in the UK and delivers its content through traditional television broadcasting as well as on demand via the ITV Hub. ITV has the largest share of the UK television advertising market and its family of channels attracted a total share of viewing of 21.4% in 2016, the largest audience of any UK commercial broadcaster. ITV's main channel is the largest commercial channel in the UK, delivering 99% of all commercial audiences over five million.
Tags: iss126 | pixel power | itv | marketing campaign | James Gilbert
Submitted by James Gilbert Read this article in the tv-bay digital magazine
TV Futures
Jane Lawrence When I was younger my dad used to encourage me to be a Jack of all trades and a master of none. One of those clich© things parents hand down to their children. However, as I have grown and gone through different stages of education I have found this little piece of wisdom has followed me. Don't get me wrong, being amazing at one thing is a great skill to have, but for me having a good understanding of everything is also vital.
Tags: iss126 | tvfutures | ccitv | portsmouth | preditors | Jane Lawrence
Submitted by Jane Lawrence Read this article in the tv-bay digital magazine
Implementing an IP workflow
John Smith -new The eventual move to incorporate IP into your infrastructures is an inevitability. However, with justified concerns about interoperability and uncertainty about which vendors are best placed to help organisations achieve their IP media networking and content delivery goals, is it any wonder there is hesitation about moving forward? Broadcasters very wisely, don't want the pain without the gain!
Tags: iss126 | medialinks | ip | mdp3020 | gateway | John Smith -new
Submitted by John Smith -new Read this article in the tv-bay digital magazine
Monetizing OTT
Oliver Botti Competition in the TV arena is hotting-up for traditional broadcasters with even ESPN, a strong-hold of sports TV, seeing a reduction in subscriptions with the number of American homes paying to get the service declining by more than 12m since 2011. With Mintel reporting that the subscription video streaming market in the UK is due to exceed revenues of GBP 1 billion (EURO 1.37 billion) by 2019, and account for 38% of the total UK video market, traditional broadcasters clearly cannot afford to turn a blind eye.
Tags: iss126 | ott | moentizing | fincons group | Oliver Botti
Submitted by Oliver Botti Read this article in the tv-bay digital magazine
Understanding the process of video production
Joseph Adamson In this article I will focus on understanding the process of video production. The use of miniaturised video equipment and understanding the capability of the kit chosen for the job will be mentioned. The video production process is a road map, which not only helps the producer to minimise problems during production and achieve professional results, but also saves time.This process can be tricky to understand and many videographers are self taught, including myself.
Tags: iss126 | video production | wasd | ail | africans in london | Joseph Adamson
Submitted by Joseph Adamson Read this article in the tv-bay digital magazine
Advances in LED lighting innovation with Rotolight AEOS
Rod Aaron Gammons There's no doubt that lighting plays a critical role in videography, filmmaking and photography. It's the area of content capture that brings added creativity to shoots, whether that's filming a wedding, producing a commercial or making a movie. Much like cameras have evolved over the past few years, lighting has also evolved; from the traditional tungsten, through to the use of LEDs. Of course LEDs have been revolutionised too, now delivering powerful, cost and energy efficient solutions to creatives.
Tags: iss126 | location light | led lighting | AEOS | rotolight | anova | neo | Rod Aaron Gammons
Submitted by Rod Aaron Gammons Read this article in the tv-bay digital magazine
Audience engagement with advertising in an OTT world
Hank Frecon Adapting to how we advertise in an OTT world starts by reaching audiences on every screen with tailored content. Most consumers viewing habits include multi-tasking and juggling different activities at the same time, particularly the younger viewing audiences who tend to watch in a more fragmented, on-demand manner. The task of monetizing content in a way that suits this method of viewing pushes monetization strategies to adopt new technologies, so first let's look at the opportunity.
Tags: iss126 | ott | advertise | acr | source digital | Hank Frecon
Submitted by Hank Frecon Read this article in the tv-bay digital magazine
The 7 Steps to Saving Film
KitPlus We live in a world where - thanks to everything from smartphones to cheaper professional gear - more and more footage is being shot today than ever before. It's a little known fact, however, that as more movies are made, archived physical film works all over the world are in danger of being lost to the damage of time. The Library of Congress alone has documented that only 20% of U.S. feature films from the 1910 and 1920s survive in complete form, and according to European Parliamentary Research, as of 2014, 21% of European film works were held in archives, yet only 1.5% was digitized.
Tags: iss126 | bmd | film scanner | cintel | blackmagic | goldcrest | davinci | grade | KitPlus
Submitted by KitPlus Read this article in the tv-bay digital magazine
360 degree video storage requirements
Dave Frederick Swim with bears, run with the bulls, get a pads-eye view of a rocket launch: 360 degree video production, also known as cinematic VR, makes these and many other bucket list-worthy events more accessible than ever. The format has evolved into a powerful storytelling tool, and one that changes not only the way in which visual experiences are shaped, but also the way in which media consumers perceive and interact with video content.
Tags: iss126 | 360 degree | vr | storage | vfx | ssd | san | nas | quantum | Dave Frederick
Submitted by Dave Frederick Read this article in the tv-bay digital magazine
Remote Production - Speed, Control, Infrastructure
Ian Cookson - new Remote production gives broadcasters the ability to capture a wider range of live events, such as regional sports, news or music festivals, and mix them in a remote facility hundreds or thousands of miles away.

Tags: iss125 | calrec | live production | pac-12 | artemis | Ian Cookson - new
Submitted by Ian Cookson - new Read this article in the tv-bay digital magazine