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IP, AVB and the end of SDI Another subject likely to create waves at IBC is AVB (Audio Video Bridging). While using Ethernet to transport media signals is not really a new thing, it hasn’t previously been possible for the network itself to recognize that it is carrying an audio or video signal. AVB, an agreed transport standard, alleviates that, allowing the network to put aside the necessary bandwidth and resources to ensure that the low latency signal gets to where it needs to be, in the right way, and is time-synchronized across all outputs. Cloud Editing ... Even if the sun shines the whole time you’re in Amsterdam, people will still be banging on about clouds: or ‘The Cloud’ to be more precise. There are numerous potential uses – from storage to playout – but cloud-based collaborative video editing is the thing that everyone seems to want, but no one has quite mastered yet. IBC 2013 may be a turning point. Two potential ports of call are Adobe (7.G27), for its Adobe Anywhere for video offering, and stand 7.J20 for Avid Everywhere. Adobe Creative Cloud Adobe Premier Pro and Prelude, both available as part of Adobe’s Creative Cloud collaboration software platform, allow editors to work together using centralized media and assets, regardless of where they are in the world. The big benefit of Adobe Anywhere is that users can pass projects back and forth instantly without needing to render, transfer files or relink. If you’re wondering why this is important, it means live productions can one day ditch SDI and simply use a standard Ethernet connection or LAN to carry all sorts of signals. Axon On the score, it’ll be worth checking in on Axon (10.A21). The company is launching a whole product line based around AVB that will allow for the creation of an Ethernet-based end- to-end live production set-up that includes monitoring, management and protection. In the same hall RTS (10.D25) will demo AVB-compatible OMNEO interface cards that will allow its ADAM intercom system to work over an IP network. Avid Everywhere is a similar concept. Using Media Composer 7 – complete with support for Interplay Sphere for Mac - it “extends real-time production everywhere” as Avid puts it. Immersive audio... And finally, an audio trend. Some 35 years after 5.1 surround sound was introduced and 20 years after Dolby Digital and DTS made it commonplace, the media industry is now embracing the next wave: Immersive Audio. Currently a cinema- only development, it could have far reaching effects, and broadcasters, producers and post-production folk alike will need to understand it. I expect this to start trending at IBC. The current theatrical battle is between Dolby’s Atmos directional audio and Auro 11.1’s three-layer sound immersion. To find out more at IBC visit Dolby (2.A31) and DTS (2.B50) respectively. For an alternative immersive audio experience, make another trip to see the EBU where there will be demonstrations of ‘Binaural Audio’, a development in which headphones are central to the 3D all-around-you listening experience. The big question of course, as with nearly all technology trends, is when will we see common delivery formats and system-agnostic tools made available so that we can all make the most of it? RTS OMNEO Also in Hall 10 the EBU will host a BBC R&D demo of a Fully Networked Studio production environment, showing high bit rate signals being exchanged in real time. There will be plenty more I can assure you. For answers, try the Auditorium conference session ‘Immersive Audio - Advancing sound through healthy competition or an unwanted standards war?’ on Monday 16 September. So there you have it. Four themes. Several stands. Some conferences. Who said you can’t write an IBC preview in July? IBC 2013 takes place at the RAI in Amsterdam 12-17 September. TV-BAY MAGAZINE: ISSUE 80 AUGUST 2013 | 41