All in all, four independent set-ups, consisting of 116 VENICE channels and 4 R&S DVS-SANs, will be responsible from ingest and content storage to transforming and playout at TV 2.
TV 2, a publicly owned television station based in Odense in Denmark, has opted for high-end Rohde & Schwarz DVS equipment to streamline its workflows. The ingest and production server R&S VENICE as well as the storage solution R&S DVS-SAN will play a vital role in the optimized infrastructure at TV 2. These systems will be bundled into four independent set-ups to optimize the most important part of the distribution operation.
Two independent set-ups – designed in redundancy – each consisting of 40 R&S VENICE channels and one R&S DVS-SAN with 100 TB will be responsible for 24/7 playout of TV 2’s main channel in 8 regional versions and 5 other national channels. Its bridge-building capabilities not only gave the ingest and production server R&S VENICE its name, they also help TV 2 to smoothly integrate parts of its existing equipment such as the playout-automation and digital-archiving systems into its new workflows. As an open system, R&S VENICE could easily be adapted to support LXF, the format used for archiving at TV 2. This way, legacy data can be played out directly, and even mixed with MXF files, without the need for any conversion – resulting in considerable time savings. The fully customizable and ultra-reliable storage solution R&S DVS-SAN offers full redundancy, zero downtime, and seamless failover, making it a perfect fit for 24/7 operation at TV 2.
Another set-up – comprising 32 VENICE channels and another identical 100 TB R&S DVS-SAN – will mainly be used for program ingest and visual quality control. According to common practice at major TV stations, the fourth set-up with four VENICE channels is mainly used to test software upgrades and new workflow options prior to implementing these in the production workflow. 2
Rohde & Schwarz DVS GmbH Krepenstr. 8 – 30165 Hanover – Germany – Tel. +49 511 67 80 70 – Fax +49 511 63 00 70 – www.dvs.de R&S ® is a registered trademark of Rohde & Schwarz GmbH & Co. KG
Bruno Martensson, Regional Sales Manager Nordic & Baltic at Rohde & Schwarz: “We are delighted that the renowned TV 2 has opted for R&S DVS equipment. The flexible and open ingest and production server VENICE will streamline production from ingest to playout at TV 2.”
More information: http://www.dvs.de/products/video-systems/venice/venice/more-info.html
Press Release: http://www.dvs.de/news/press/press-single-news/article/tv2-in-denmark-goes-for-rs-dvs-systems.html]
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Quoting Világgazdaság, BBJ reports that the National Development Ministry (NFM), jointly with National Infocommunications Service Zrt. (NISZ), started the transfer of Antenna Hungária on April.
The closure on May 30 will be in line with expectations and regardless of the transfer “services will continue uninterrupted”.
The Ministry added that Antenna Hungária is a public service company of strategic importance and will serve the aims of the government more efficiently under state ownership. No large-scale developments affecting the company’s operation are planned at this time.
The NISZ acquired Antenna Hungária from France’s TDF for HUF56 billion (€184.2 million).
Az “Antenna Hungária” Magyar Műsorszóró és Rádióhírközlési Zrt. száz százalékos részvénycsomagjának megvételéről írt alá adásvételi szerződést 2014. március 26-án a Magyar Nemzeti Vagyonkezelő Zrt. kizárólagos tulajdonában álló NISZ Nemzeti Infokommunikációs Szolgáltató Zrt. a francia műsorszóró szolgáltatást ellátó TDF S.A. (TDF) leányvállalatával.
A szerződés értelmében az Antenna Hungária 2014. május 30. napjával a kormányzati informatikai és távközlési üzemeltetést, valamint szolgáltatást ellátó állami társaság, a NISZ tulajdonába kerül.
A tranzakció – amely magában foglalja a részvényátruházást és a TDF által az Antenna Hungária részére nyújtott tulajdonosi kölcsön kiváltását – összesen 55,9 milliárd forintra (körülbelül 180 millió euróra) értékeli az Antenna Hungáriát, melynek a módosított EBITDA -ja (a megszűnt analóg TV sugárzást kivéve) a 2014. március 31-i pénzügyi évet bezáróan 5,59 milliárd forint (körülbelül 18 millió euró).
A TDF 2013-ban indított el egy tendert az Antenna Hungária 100 százalékos tulajdoni hányadának értékesítésére, melyre a Magyar Állam vevőként jelentkezett.
A kormány az Antenna Hungária visszavásárlásáról döntött, mert ennek eredményeként újból állami tulajdonba kerül a nemzetstratégiai szempontból is különös jelentőségű országos földfelszíni és műholdas televízió- és rádióműsor-szórás, illetve -szétosztás. A kormány döntése összhangban van a hazai közművagyon újbóli köztulajdonba történő helyezésével, illetve a Nemzeti Infokommunikációs Stratégiával.
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This unit is the latest addition to the facilities operated by the Rhine-valley-based production company, and sets new standards in design and workflow for high-end OB trucks.
The Ü7 is fully equipped for high-quality operation on ambitious productions with three studio control rooms and up to 32 workplaces. The audio area occupied by the Lawo mc²66 is perfectly suited to the live broadcast of big sports events and music festivals in 5.1 surround, and can also handle parallel production of stereo material. The mixing crew can follow the 5.1 production in four rooms with surround monitoring.
“An mc²66 mixing console was installed in our Ü5 OB, which was completed 2006, and we have had only positive experiences with it,’ says TV Skyline founder and CEO, Wolfgang Reeh. “It is very stable in operation, provides optimal functionality and is reliably doing its job. Another reason for our choice is that Lawo constantly develops and advances itself and its systems. With the current generation of the mc² mixing console, Lawo has brought a high-quality and ergonomically optimized product to the market. With the functionality of its console core and DALLIS I/O system, it allows signal processing to a high level.”
The mc²66’s HD core provides a routing capacity of 8192×8192 crosspoints. It offers 144 DSP channels in recording mode and 288 DSP channels in the broadcast mode, plus 28 MADI ports. The system’s DALLIS stageboxes are connected via fiber-optic lines, and uses redundant power supply units and DSPs.
The 16.6m, 38 ton Ü7 trailer is fitted with one movable 1.60m side and two 60 cm drawers on the other – one of these houses the audio control room. Its acoustic environment is designed for optimum listening with regard to equipment placement and the positioning of the monitor loudspeakers – a 5.1-channel setup with digital Dynaudio Air speakers, plus a K+H system, with Wohler audio control. The abundantly equipped area is able to handle multitrack recordings of up to 256 channels, with processing and limiting from TC Electronic. The truck’s silent air-conditioning, fabric-lined walls and carpet, together with the ergonomic overall design of the room – which also has a “tonmeister workplace” – is optimized for the highest levels of technical and artistic production.
One of the three control rooms is accommodated in an auxiliary truck dedicated to the Ü7, another 16.6m, 29-ton heavy trailer that offers an additional multi-function cabin.
According to Wolfgang Reeh, these three control rooms are an important consideration in the future applications of the Ü7: “For sports events, that the host signal is typically created in one control room, with a second and third control room needed to generate the unilateral feeds with highlights as well as edited versions of the programming,” he says.
When designing the OB van, TV Skyline took completely different approach in determining the demands: “The reason why the Ü7 OB truck is so different from our other OB trucks is that it is based on two-year long observations regarding the requirements of the marketplace and of our company,’ Reeh explains. “Thus we devised a new room concept with up to 32 workplaces, and a technical infrastructure and ambience that translates our ideas on the future of production. In this way, we can cover everything from soccer broadcasts to high-end classical music events.”
For more information please visit
www.lawo.com
www.tv-skyline.de
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It’s a world first for football lovers. And it’s our biggest ever managed services contract.
As well as providing live TV production facilities in Full HD for every game, Sony is shooting three key matches at this summer’s FIFA World Cup™ in 4K. Live football’s never looked better, from the passion of the fans to explosive goalmouth action. 3.2 billion people, or almost half the world’s population, watched the last World Cup with an incredible 71,000 hours broadcast across 240 territories.
The action runs from 12 June to 13 July this year, with 64 matches played at twelve Brazilian venues. It’s easily the world’s biggest challenge in live TV production. Supporting FIFA’s huge HD production coverage, Sony will provide around 300 technical and production specialists in addition to a massive array of production equipment and facilities to be deployed at all 12 tournament stadia. The Sony teams will capture some 2,500 hours of live match action.
There are no second chances with live TV production. There are no re-takes. No easy fixes in post-production. It’s a high-wire act, making immense technical demands on equipment and crews to get the best shots every time.
Camera operators, vision mixers, directors and support staff must be able to adapt instantly to the environment they find themselves in – whether it’s Brasilia, Salvador or Manaus. Language and cultural differences must be overcome so that everyone can work together and deliver a match-winning performance…
Sony’s PMW-F55 will be capturing the 4K action in Brazil
More information:
http://pro.sony.eu/livebroadcast/insidestory/
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South Korea’s biggest public service broadcaster operates a number of radio and TV programs, which have been broadcast in 4K quality in Seoul since April using R&S THU9 high power transmitters.
The project also includes the R&S SCV8302 low power transmitter, which delivers 600 W in DVB-T2 mode. It was installed on a tower situated on Namsan mountain, in the middle of Seoul. A 5 kW R&S THU9 high power transmitter will go into operation on Kwanak mountain (located in the south of Seoul) in May. KBS selected the R&S ETL TV analyzer from Rohde & Schwarz for testing, and the R&S DVM400 digital video measurement system will be used for monitoring. Rohde & Schwarz is the world market leader for DVB T2 broadcasting and T&M equipment. This experience played a crucial role in the broadcaster’s decision. Rohde & Schwarz transmitters have already proven successful for T DMB and ATSC broadcasting in South Korea. They feature unique stability and reliability plus the advantage of the company’s on site service and support. Broadcast network operators benefit from the high energy efficiency of Rohde & Schwarz transmitters that reduces operating costs. Their compact design and high power density save rack space. R&S THU9 transmitters offer such a wide range of possible configurations that they can fulfill almost any requirement. They are future ready as they can be upgraded at any time. The operating concept of the transmitters is based on many years of user experience.
Press contacts: Europe (headquarters):
Patrizia Muehlbauer, Phone: +49 89 4129 13818, E-mail: press@rohde-schwarz.com
All press releases are available on the Internet at
http://www.press.rohde-schwarz.com
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Esettanulmány:
Írásunkban a lengyel TVN televízió stúdióinak átalakításáról olvashatnak, amiben a Rohde & Schwarz termékei fő szerepet kaptak.
Két fő vezérlőhelyiségének a fogadó- és kijátszó része különösen problémásnak bizonyult 2013-ban. A fő kihívást az jelentette, hogy nagy teljesítőképességű, sok formátumot kezelő rendszert kellett találni. A TVN a Rohde & Schwarz DVS technikáját választotta. A R&S VENICE rendszer központi szerephez jutott az új elrendezésben: összesen 6 ilyen egységet helyeztek üzembe a TVN műsorszóró környezetében. Két pár VENICE végzi az anyagok fogadását és kijátszását két különálló vezérlő helyiségben, további egy pár pedig a TVN központi fogadó állomásán működik. A TVN számára igen fontos, hogy a VENICE a legkülönfélébb formátumokat képes kezelni. A TVN munkafolyamatába iktatott digitális központi archiváló- és produkciós SAN-technikához jól illeszthetők a VENICE kapcsolódási lehetőségei. Emellett a VENICE-be épített grafikus felhasználói felület támogatja a TVN összetett fogadási- és kijátszási munkafolyamatait is. A Rohde & Schwarz DVS rendszereinek köszönhetően a TVN immár képes különböző formátumú párhuzamos munkafolyamatokat kezelni és a tervbe vett redundanciát is ki tudja használni.
A megoldás
Amikor a TVN tökéletes megoldást keresett két vadonatúj stúdiójához, egyik fő szempontja az volt, hogy az új rendszer számos formátum kezelésére legyen képes. Nagy szervezetként a TVN számos különböző jelforrást kezel, pl. külső kamerákat, stúdiókamerákat, stúdióban előállított adatfolyamokat, élő jelet, képmagnó jelet, szerkesztő munkaállomások jeleit, hogy csak a fontosabbakat említsük. Ezek nyilván más-más fájlformátumokat szolgáltatnak. Ezt a problémát a legtöbb műsorszolgáltató nagyon is jól ismeri. A TVN számos nagy műsort is készít – pl. a „Legyen Ön is milliomos!” és az „X Faktor” lengyel változatát, s emellett büszke kiváló minőségű hír- és közéleti műsoraira is, amelyek nézettsége meghaladja a 30 milliót. Mindezek miatt kötelező szempontként merült fel az infrastruktúra redundanciájának biztosítása is. Ezen túlmenően a központi fogadó állomásán olyan kiegészítő rendszerekre volt szüksége, amelyekkel szabadabban, rugalmasabban dolgozhat a személyzet.
A berendezések és a tervezett új csatornák kézben tartásához olyan monitorozó eszközt is igényelt a társaság, amely átláthatóan jeleníti meg a zsúfolt munkaprogramhoz tartozó összes fontos adatot.
A TVN a DVS-rendszert választotta: a VENICE a Rohde & Schwarz DVS-termékcsaládjának médiaprodukciós központja, amely a TV műsorkészítés munkafolyamatait magas szinten optimalizáltan kezeli. A szalag alapúról a fájl alapú környezetre váltó műsorszolgáltatók általában a VENICE rendszert választják. Az ezzel előállított új műsorkészítési munkafolyamatok jelentősen hatékonyabbak és segítségükkel a műsorszolgáltatók gyorsabban és rugalmasabban alkalmazkodhatnak a jelenlegi és jövőbeni elvárásokhoz. Mindez azért lehetséges, mert a VENICE messze többet nyújt a hagyományos videoszervereknél. A DVS médiaprodukciós központja a TV állomásokat és műsorszolgáltatókat a média minden területén az élvonalba emeli: a VENICE fogadja, továbbítja és átalakítja, majd kijátssza a műsoranyagokat. Sikerének kulcsa a könnyű használhatósága és sokoldalú kapcsolódási képessége, melyek tekintetében lényegesen meghaladja a gyártóspecifikus megoldások, formátumok, valamint kodekek körét. A TVN a VENICE rendszert kiindulásképpen két külön stúdióba telepítette. Ezek sikeres beüzemelését és betanulását követően két további VENICE rendszert telepítettek a TVN központi fogadó állomására. Összesen hat VENICE-t (azaz 12 szabadon konfigurálható csatornát) építettek a TVN korszerű munkafolyamataiba. A VENICE struktúráját és integrált szolgáltatásait – például intelligens, kötegelt betáplálású rögzítőként való használhatóságát – nagyon vonzónak találta a TVN.
A TVN-t különösen lenyűgözte a Rohde & Schwarz DVS rendszerének nyitottsága, amely könnyű integrálhatóságot és rugalmas rendszerkialakítást biztosít jelenleg és a jövőben egyaránt. A TVN fő stúdióját két, egyenként 6 TB-os VENICE rendszerrel szerelték fel. A VENICE itt fogadást és kijátszást egyaránt végez. A kijátszási oldalon maga a VENICE a fő forrás, míg a második VENICE rendszer tartalék jelforrásként szolgál. Ha a stúdió a műsorkészítő környezet, a VENICE kezeli az összes kamera bejövő fájljait. A redundancia itt kiváló rugalmasságot és megbízhatóságot biztosít. A VENICE fent vázolt kialakítását és feladatkörét tükrözi az azonos vezérlővel és kamerákkal felszerelt második stúdió is.
Példa a munkafolyamatra:
Röviden a TVN-ről
A TVN egy lengyel kereskedelmi televíziós hálózat. 1997-ben kezdte meg működését, 2004-ben a lengyel háztartások 86%-ában fogható volt már. A TVN az ország vezető pozíciót elfoglaló, magánkézben levő TVN S.A. médiacsoportjának a része, amely jelenleg tíz TV csatornát birtokol és üzemeltet (TVN, TVN Siedem, TVN 24, TVN Meteo, TVN Turbo, iTVN, TTV, TVN Style, NTL Radomsko, TVN24 BiS) A TVN a lengyel piac elismert vezető televíziós műsorszolgáltatója. Elsősorban minőségi szórakoztató műsorokat, független hírműsorokat és közéleti programokat sugároz. A SES, OpenTV, az Institut für Rundfunktechnik és más hasonló vállalatok által alapított konzorcium egységes európai szabványt kíván kialakítani bizonyos kiegészítő vevőkészülékekre (set-top-boxokra) vonatkozóan, szélessávú multimédiás alkalmazások és TV műsorok vétele terén. A TVN megszerezte számos nagy TV műsor sugárzási jogát. Közéjük tartozik például a „Big Brother”, „A Nagy Ő”, „Szombat esti láz”, „A Konyha Ördöge”, „Csillag születik”, „Legyen Ön is milliomos!”, „X Faktor” és még sok más hasonló.
A Rohde & Schwarz DVS technikája teljesen új alapokra helyezte a producerek és operatőrök tevékenységét. Sokkal rugalmasabbak és gyorsabbak lettünk, továbbá műsorszolgáltatóként is nagyot léptünk előre. Már nem kell szabadkoznunk, hogy „sajnos ezt nem tudjuk megcsinálni”, hanem örömmel jelenthetjük ki: „persze, menni fog!”. ( Dariusz Kalamarski, a TVN főmérnöke )
www.rohde-schwarz.hu
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PlayBox Technology is expanding the range of models in its TimeShiftBox series of television playout delay servers. Previously available in SD and HD/SDI, the new TimeShiftBox Duo allows simultaneous programme delay for more than one SD/HD channel.
„We have developed TimeShiftBox Duo in response to demands from broadcasters who need to re-transmit television channels across multiple time zones,” comments Stanislav Petkov, PlayBox Technology CTO. „Designed for easy integration into playout centres, DTH operators or for other applications where delay of SD/HD-SDI is required, TimeShiftBox Duo provides all the resources needed to perform accurate time offsets for any duration ranging from 10 seconds to more than one month.”
See the TimeShiftBox how it works on the monitor
TimeShiftBox accommodates 50Mbit/s of MPEG2 encoded video in HD and 25Mbit/s in SD, while protecting all horizontal and vertical ancillary data from SDI per channel. The server is 1RU with RAID-protected storage, redundant power supply and hot-swappable hard drives.
TimeShiftBox Duo is equipped with SDI inputs and outputs and can be genlocked to station sync. It is easily expanded to accommodate additional storage or greater RAID protection. Timeshift delay can be adjusted via an intuitive menu. All other functions are fully automated and require no user intervention. High bit-rate MPEG-2 4:2:2 I-frame compression ensures the maintenance of optimal video quality. TimeShiftBox is fully transparent to audio and ancillary data carried in the SDI stream. Optional CG & Graphics facilities are available as well.
TimeShiftBox Duo makes its first exhibition appearance on booth N5434 at NAB 2014, Las Vegas Convention Center, April 7-10.
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At NAB 2014 Rohde & Schwarz DVS presents the latest member of the Pronto family: Pronto4K-HFR. Thanks to its powerful hardware and easy-to-use software, Pronto4K-HFR is the ideal player for implementing professional broadcast, post production and presentation projects. Furthermore, its ability to display uncompressed video material up to 4K/120p allows the best-possible image quality even with large projections.
Hanover/Las Vegas, March 27, 2014
With the launch of Pronto4K-HFR at NAB 2014, Rohde & Schwarz DVS presents a further development of its renowned Pronto family line. The new Pronto4K-HFR combines the spatial resolution of 4K images with the high frame rates of 60 fps and the color depth of uncompressed RGB 12 bit. 3D/stereoscopic playout with 30 fps per eye at 4K resolution is supported as well. In Q4 2014, the frame rates will be doubled to 120 fps for single stream playout and to 60 fps for 3D/stereoscopic playout – all with RGB 10 bit material. Its integrated high-performance SSD storage in RAID-5 configuration brings together highest data rates and utmost ruggedness.
As a flexible player, Pronto4K-HFR is the ideal solution for trade shows, theme parks and other high-quality presentations. Optional adapters allow 4K playout via one HDMI 1.4a or four HDMI 1.3 interfaces. The Pronto4K-HFR can be put to an incredible range of uses thanks to freely selectable options which build on the powerful base version to suit customer requirements. Choosing the multi-device option, the synchronization of multiple Pronto4K-HFR players enables the realization of demanding seamless multi-screen presentations.
As Pronto4K-HFR supports uncompressed as well as compressed formats such as MPEG, DVCPRO®, AVC-Intra, XDCAM®, XAVC and DNxHD®, these can be used in the timeline without conversion. What’s more, the data can be worked upon directly using the Pronto4K-HFR thanks to its extensive editing and conforming functions. Pronto4K-HFR can be controlled via RS-422 or SOAP, for instance.
Juergen Heger, Senior Product Manager at Rohde & Schwarz DVS: „Our Pronto family has long excelled thanks to their robustness, reliability and multi-device mode option for synchronization. With its ability to play out uncompressed 4K at 60 fps and soon even at 120 fps, Pronto4K-HFR is the ideal counterpart for the latest 4K projectors, video walls and displays – a real must have for all high-end presentations.”
Visit our booth at NAB 2014: SL1605.
More information:
Press contacts:
Rohde & Schwarz DVS GmbH:
Katrin Brussa, E-mail: Katrin.Brussa@rohde-schwarz.com
Louise Christensen, E-mail: Louise.Christensen@rohde-schwarz.com
Phone: +49 511 67 80 70, Fax: +49 511 63 00 70
Rohde & Schwarz DVS GmbH For more than 25 years, Rohde & Schwarz DVS GmbH has been very successful in the professional film, video post production and broadcast markets. The specially developed and manufactured hardware and software are applied to the production of popular TV series, Hollywood blockbusters and in Digital Cinema. CLIPSTER® was the first system in the world to make real-time 4K processing possible. The future-proof ingest and production server VENICE offers a flexible solution for modern, file-based workflows in broadcast environments. At NAB 2013, VENICE won the Broadcast Engineering Pick Hit Award and was also a winner of the Trophée SATIS in 2013. www.dvs.de
Sennheiser celebrated the official opening of its new distributorship for Australia and New Zealand with a launch event in Sydney recently.
Sennheiser Australia Pty Ltd. was set up following the takeover of regional distribution partner, Syntec International. According to Sennheiser, the move will allow it to strengthen its position in the Asia-Pacific market and reach local customers more efficiently.
Over 200 guests took part in the festivities, including both Sennheiser CEOs – Dr. Andreas Sennheiser and Daniel Sennheiser – business partners and company employees.
James Morrison and Craig Calhoun also performed on the day, and both used Sennheiser Digital 9000 systems.
Dr. Andreas Sennheiser explained why a subsidiary in Australia and New Zealand was required: „For 70 years we at Sennheiser have been shaping the audio industry based on our heritage, innovation culture and our passion for excellence. Australia and New Zealand is a very important market for us. Now we are even better set up to serve our customers in this region,” he said.
Sennheiser Australia becomes the firm’s 16th distribution subsidiary; today, the manufacturer is represented in over 60 countries worldwide.
„The positive developments show us that the strategic decision to operate locally using our own subsidiaries is correct,” Daniel Sennheiser added. „With direct presence in Australia and New Zealand we are well set up for the future and will be able to be even closer and serve our customers with the excellent service and high quality Sennheiser is known for around the globe.“
The company has a large network of dealers and sales reps in many of the territory’s major cities – Brisbane, Perth, Sydney (HQ), Melbourne, and Adelaide, as well as a fully-staffed operational office in Auckland.
„We have been operating independently as a distribution subsidiary of Sennheiser since September, and already the teams’ achievements, as well as the advantages for our customers, are remarkable,” commented Bjørn Rennemo Henriksen, MD of Sennheiser Australia. “Having a deep understanding of the totality of Sennheiser’s capabilities, I see it as a significant part of my role to provide the benefits of Sennheiser’s global presence to each individual customer in Australia and New Zealand.” ( – )
www.audiopartner.hu
January 27, 2014 16.27 Europe/London
BBC Worldwide plans new channel launches
By Julian Clover
BBC Worldwide chief executive Tim Davie has announced plans for three new pay-TV channels that will showcase BBC content internationally. BBC First, BBC Earth and BBC Brit will be tested in a number of key markets for the corporation’s commercial arm. Speaking to the Broadcasting Press Guild, Davie also gave further details of the BBC Store that has succeeded plans for a Global BBC iPlayer.
On the slate are BBC First, inevitably drawing comparisons with HBO, which will launch in Australia in the summer, and featuring first-run BBC content. The move puts a premium on the often criticised content of BBC Entertainment and its predecessor BBC Prime.
“Traditionally we’ve had strong programme sales [in Australia], we’ll continue to too that, but on the pay platform we’ll do primarily drama, but also some high-profile events.” Davie said that although BBC First would be primarily a linear experience, he used the term channel to include the whole gamut of outlets including digital.
BBC Earth is such an example. It already has a presence, unusually, on both bbc.com and bbc.co.uk. In Yokahama, Japan there is a four-year partnership with Sega for an interactive natural history theme park.
On screen the BBC, no longer working with Discovery, is free to carry its brand on content into North America. Davie said there would be branded blocks with the BBC Earth name on other channels.
The third channel is entertainment based and male skewed in what at first glance sounds like an international version of Dave, the popular UKTV channel, which BBC Worldwide owns jointly with Scripps.
“We may tailor it slightly in different markets but the global name, will be BBC Brit,” explained Davie. “I’m terms of targeting there are similarities. Dave is continuing to deliver outstanding numbers, but is relying on UK humour, comedy is more nuanced when you’re rolling out editorial and it is a channel.”
He admitted that some existing channels, particularly in Latin America and Central & East Europe, would have to make way for the new channels.
On the demise of the Global iPlayer, Davie said he was concerned about the fragmentation of the BBC globally, and while he could see the appeal of the iPlayer internationally there were 60 million people already arriving at bbc.com. The strategy is designed to head off the loss of revenues as DVD continues its inevitable decline.
“Don’t think just a website but think BBC interactive as the front door. News is the lead brand as that is the lead driver of traffic. It’s the big strategy and the idea is to sit everything on the one website.”
In a proposal currently before the BBC Trust, bbc.co.uk would send audiences to a new dedicated site. At the same time the public service broadcast window is being increased from seven to 30 days. “That store functionality over time will give me the ability to put on BBC.com. The long term vision is clear and not to have bits and pieces but have the functionality on BBC.com, but this is a multi-year project.”
The global version is very much in the hands of the Trust and must first await the launch via .co.uk. It will not immediately be made available on the .com site.
( – )
See PlayBox Technology on stand N05 at BVE 2014, London, February 25-27
Ibrarn Television Goes to Air with PlayBox Technology CIAB
London, UK, January 27, 2014: Ibrarn Television has chosen a PlayBox Technology channel-in-a-box platform for its new broadcast service, transmitting via satellite from the Libyan capital city, Tripoli. The project was managed by system integration specialist Libirel Communications Limited.
„A PlayBox Technology CIAB installation was the obvious choice for this new network,” comments Libirel Communications senior engineer Declan Goulding. „It enabled us to get Ibrarn to air quickly with a compact and fully self-contained solution.
„Ibrarn Television operates a 24/7 service so we have installed two complete systems in main and redundant configuration. Each includes a CaptureBox HD ingest module, TitleBox interactive graphics generator, ListBox offline programme scheduler and AirBox automated playout. Also incorporated is a SafeBox content replication module which manages content sharing across multiple devices. Content can be sourced as files from a 15 terabyte network-attached storage server or live from a three camera studio.
„The PlayBox Technology system occupies just six rack units of space, enabling us to accommodate the entire apparatus-room installation in a twin-column rack housing with plenty of room for expansion. Monitor outputs are connected via a router to multiscreen panels in the master control room. The transmission feed is then forward to an adjacent satellite uplink antenna. The entire project has proceeded very well with superb support from the PlayBox team.”
Ibrarn TV’s live studio and file-based playback launched on November 2013, via a Eutelsat link to Nile Sat at 7 degrees west (H 11525), with a variety of content primarily in the Tamazight language. The network’s output to date has included live broadcast coverage from Paris of the International Conference on Libya.
Declan Goulding is one of Ireland’s leading video and audio solutions engineers. After graduating, he started his long television industry career with RTE, Ireland’s national broadcaster. A ten year spell followed at Windmill Lane Pictures, followed in turn by work on creation of the first all-digital facility, The Mill. After projects in Ireland, including the introduction of broadcasting facilities to the Irish parliament, work moved farther a field, to the Far East. In Hong Kong, work was carried out for Star TV and ABN among others. Subsequent projects have been carried out in Eastern Europe, Northern Africa and England.
About PlayBox Technology
PlayBox Technology (www.playbox.tv) is an international communications and information-technology company serving the broadcast, corporate and digital signage markets in more than 100 countries. It is dedicated to the research, design, development and provision of the best products, systems, solutions and services. With over 13,000 TV and branding channels powered by PlayBox Technology, the chances are you will have experienced our broadcast solutions for yourself. Users cover a wide range of today’s broadcast activities and include start-up TV channels, webcasters, DVB (IP/ASI) TV channels, interactive TV and music channels, film channels, remote TV channels and disaster recovery channels as well as satellite, local, regional, national and international broadcasters.
Contacts for additional information
PlayBox Technology Marketing: Don Ash
Tel: +44 (0)1707 664 444
marketing@playbox.tv
www.playbox.tv
Libirel Communications Limited: Declan Goulding
Tel: +353 87 251 7161
declan@libirel.com
Press enquiries:
David Kirk, Stylus Media Consultants
Tel: +44 (0)1342 311 983
stylusmedia@gmail.com
The 4K sensor is paired with Sony’s BIONZ X processor that employs area-specific noise reduction and detail reproduction technology. Together with the camcorder’s Cinematone Gamma/Colour function, progressive 25p recording gives a warm look to footage. The Handycam uses a newly-developed ZEISS Vario-Sonnar T lens with 12x optical zoom. The 11 group/17 element lens incorporates AA (advanced aspherical) and ED lens elements.
In another 4K Handycam first, Dual Video Recording lets the user simultaneously record movie clips and ready-to-share MP4 files. Movies can be captured in XAVC S (at up to 4K/60Mbps or HD/50Mbps) or AVCHD formats. At the same time, a more compact lower-resolution copy of the footage is recorded in MP4 format. Users can tap their NFC-enabled smartphone or tablet to wirelessly transfer web-friendly MP4 clips from the AX100E for quick online sharing.
The AX100E features a choice of Clear, 1/4 filter, 1/16 filter or 1/64 ND (Neutral Density) filters to adjust light levels entering the lens. This gives the user the freedom to precisely control shutter speed and aperture. The handycam also features a bright, high-contrast OLED Tru-Finder offering a wide angle of view. Another new addition is My Voice Cancelling, which automatically reduces vocal frequencies from immediately behind the camera, while the subject’s voice remains unaffected.
The new FDR-AX100E 4K camcorder by Sony is on sale in Europe from May 2014.
www.sony.hu
www.sony.eu
Studiotech launch quick deploy Mobile Production Studio
The multi-camera system allows up to four cameras, broadcast or industrial, using embedded audio, up to 100 metres from the control unit. The connection for each camera is via a specially developed single cable supplied on a drum. The system requires just a single mains connection.
The central control unit features a Sony MCS-8M multi format compact switcher,with one mix effect. Inputs include the signals from the four cameras, and Program and Preview output signals are provided and may be routed to transmission and/or to each of the cameras if desired. A Sony PWM-50 XD CAM HD 422 card recorder/player is provided for recording or playouts.
An XLR connection is provided for the intercom headset at each camera position.
A 24” screen is mounted in the lid of the transportation case and displays all sources and output signals through a 10 signal multiviewer. The origin of each signal is clearly indicated.
A fibre interface developed by Studiotech enables coding and decoding for the audio and video signals and the optical signals. The single mode fibre connectors are interfaced via connectors and cables going to and from the cameras.
The fibre interface used to transform the SDI and intercom signals into optical signals and vice versa is one of the dedicated elements in the concept of the studio system.
Each junction box of the camera system has a control panel managing amongst others the monitoring signal switching and the intercom PTT. There are five connectors for DC supply, Tally, intercom headset, input video and output video.
For each of the cameras Studiotech supplies a manual drum with a single 100m cable. In practice, each drum remains close to the Central Control Unit and the required length of cable is unwound to the camera position. The cable includes a dual optical fibre which carries video + audio in both directions.
Each camera system comprises a Vinten tripod, a camera, and a junction box developed by Studiotech serving as a dedicated interface between the mobile studio and each camera. Almost all industrial and broadcast cameras can be integrated without modification. By default, the proposed industrial camera is Sony PWM-200. The default broadcast cameras are Sony PWM-300/320/400.
In general the junction box is mounted on a leg of the tripod with an industrial camera. With a broadcast camera, the junction box is V-mounted straight to the back of the camera and supplies power to it. Each junction box can output up to 50W power. A mounting plate is part of the tripod kit and supports on one side the camera, and on the other side a 7” monitoring screen enabling the cameraman to view either the Program signal back from the mobile studio or its own video signal.
The Studiotech Mobile Production system is now available directly from Studiotech Belgium or via its network of global offices.
Studiotech Group’s main business is the distribution, sales, installation and after-sales servicing of broadcast and professional audiovisual equipment. The company also designs and installs turnkey projects such as recording and mixing studios, editing suites and mobile OB units.
Studiotech’s good name is based on first class service and customer satisfaction. The staff are held in high regard for their product knowledge, quality standards, attention to detail and customer care.
In a relatively short time, the Studiotech Group have become recognised as leading players in the field of broadcast and audiovisual engineering across Europe.
Studiotech began in Brussels, serving Belgium and Luxembourg, in 1990, then offices followed in Budapest, Hungary, Warsaw, Poland, Algeria, Rabat, Morocco, and more recently Paris, France and Sydney, Australia.
The founders and key members of staff have extensive professional experience which they continue to develop in step with leading-edge technology.
Studiotech Offices:
Studiotech Belgium (Brussels)
Mr. Rudolf Mécs
Phone: 32 2 266 13 80
E-mail: info@studiotech.be
Web: www.studiotech.be
Studiotech Hungary (Budapest)
Mr. Károly Orosz
Phone: 36 1 240 1444
E-mail: studiotech@studiotech.hu
Web: www.studiotech.hu
Studiotech Poland (Warsaw)
Mrs. Elwira Machowska
Phone: 00 48 (22) 644 10 25
E-mail: studiotech@studiotech.pl
Web: www.studiotech.com.pl
Studiotech Maghreb (Algiers)
Mr. Mohand-Ameziane Hassam
Phone: 213 (0)21/ 69 68 53
E-mail: info-dz@studiotech.be
Web: www.studiotech.dz
Studiotech Moroc (Rabat)
Mr Bouchaib Amezzargou
Morocco
Phone: +212 537 77 10 56
E-mail: maroc@studiotech.be
Studiotech Australia (Sydney)
Mr Michael Bentsen
Studiotech Australia
Phone: +61 (0)2 8911 5020
Email: info@studiotechau.com
Web: www.studiotechau.com
Studiotech France (Paris)
Email: info@studiotech-av.fr
Web: www.studiotech-av.fr
The all new unit is a compact 1U audio monitor capable of extracting and monitoring all 16 audio channels embedded in two 3G/HD, or SD SDI video streams, plus provides the ability to monitor multiple analogue and digital sources.
The BM-A1-E16SHD features a front panel display to enable rapid configuration of the device and to provide signal status information.
Bel has again chosen to permit the selection of inputs to be monitored by use of a simple rotary control on the front panel. This avoids the sometimes time consuming and complex nature of screen driven menus. Selected inputs are then displayed on eight high-resolution multi-coloured LED bargraphs (selectable in two banks for channels 1-8 and 9-16 respectively). Channels 1-8 are also provided as AES-3id and analogue outputs on the rear panel.
Inputs consist of a pair of auto-detecting 3G/HD/SD SDI inputs plus eight analogue audio inputs and four AES-3id pairs. An SDI re-clocked loop-through connector is provided enabling connection to downstream equipment whilst a redundant power supply reinforces the monitor’s high-end broadcast credentials.
The new monitor comes in two versions; one with the optional Dolby decoding facility fitted and the other without. With Dolby decoding enabled, the unit can decode Dolby E, Dolby Digital and Dolby Digital Plus material from any of the AES inputs, or from any embedded audio pair within the SDI bitstreams. Comprehensive metadata reporting is also provided via the front panel display.
Barry Revels for Bel Digital Audio commented, “The BM-A1-E16SHD (with Dolby decoding) and the BM-A1-16SHD are both already in full production with units already shipping and we are finding that the monitors are gaining particular favour in installations where rack space is limited and ease of use is a key requirement sometimes as a direct result of that confined space.”
Revels went on to say, “We have also been able to hit a really keen price point with these two units whilst maintaining both quality and features and I am delighted to say that has been reflected in the high levels of initial interest we have seen not just from our dealers but from outside broadcast providers and several systems integrators we work closely with.”
The event posed several challenges, as there was a need for three PA systems with local inputs at each system, mixed and distributed to all three systems simultaneously.
The solution was to locate an iLive-R72 surface at the start line, a MixRack half way up the hill and a second rack at the finish line. Local inputs at the surface included audio feed from the video playback, the start-line MC’s microphone and audio inputs for the start signal. The surface also handled outputs to the OB truck and outputs to the start line PA system.
Half way up the hill, connected via 120m of Cat5, the first MixRack had local inputs from the Red Bull DJ truck, together with outputs for the second PA system adjacent to the DJ truck, and an ACE link to the second rack.
A rack at the finish line, connected via a further 85m of Cat5, handled the input from the finish line MC and the outputs to the finish line PA.
The entire system was networked using Allen & Heath’s ACE network running in dual MixRack mode and connected via Neutrik Etherflex cables.
“Setting up the system in dual MixRack mode takes a few more minutes of preparation time, but once it was set up at our premises and everything tested it connected together on site in minutes and performed flawlessly throughout the event,” said Steven Ward, Ward-Steedsy Audio.
“As this was a city centre event with a strict road closure policy we had a very limited time frame to set-up and test three systems, so running Cat5 cables instead of traditional bulky multicores was an attractive solution,” said David ‘Steedsy’ Stevenson, Ward-Steedsy Audio.
Blackmagic Design announced BP Satellite Solutions is providing RF camera services to broadcasters televising the FIA Formula One World Championship using Blackmagic broadcast infrastructure products, including the Compact Videohub and Videohub Smart Control. Commentary teams from TV Globo, RTL Germany, ZDF Sport, VIASAT (Sweden, Denmark and Norway) and MTV3 Finland are using the solution to present wirelessly from the F1 paddock, pitlane and starting grid.
The Netherlands based company has built their RF camera solution around the Blackmagic Design Compact Videohub router and Videohub Smart Control router control panel. Five wireless camera feeds from the F1 Indian Grand Prix were delivered via the Riedel Fibre Network and recorded on several HyperDeck Studio SSD recorders. Capturing in ProRes, the HyperDeck Studios are then used for playback, and subsequent quality control after production.
During the race BP Satellite Solutions provide broadcasters with camera transmitters, receivers and intercoms. They also supply IP based audio equipment and Blackmagic Design SmartView Duo monitors for the broadcasters’ commentary positions and engineering galleries.
For televising the Grand Prix, broadcasters such as TV Globo or RTL acquire the television feeds from rights holder Formula One Management (FOM) and subsequently package it up for transmission with the addition of race build up and commentary. The most basic output is a Mixed Master that includes footage from trackside, pitlane and helicopter cameras. That can be enhanced with the addition of further feeds including in car telemetry and extra on board cameras from FOM as well as race build up filmed by the broadcaster themselves.
Brazilian broadcaster TV Globo acquired the Indian F1 Grand Prix camera signals via eight ATEM Camera Converters from FOM and connected to two ATEM Studio Converters. The signals were then fed into a Blackmagic Design Compact VideoHub via four Blackmagic Design Mini Converters Fibre to SDI. An ATEM 2M/E Production Switcher with ATEM 1M/E Broadcast Panel was then used to mix the viewing package and add race commentary while audio was embedded and de embedded using Blackmagic Design Mini Converter SDI to Audio and Audio to SDI.
The final output from TV Globo was then sent via satellite, which is handled by Multilink Holland, the technical supplier for FOM and EBU for world wide video distribution, for transmission in Brazil.
According to Patrick Hendrik of BP Satellite Solutions: “Multilink Netherlands approached us earlier this year and asked us to recommend a solution for TV Globo. The brief was simple enough, it had to be compact and reliable. Our work on the Dakar Rally last year had shown just how reliable Blackmagic could be, even in the most extreme of environments. And so we had no hesitation in recommending Blackmagic for use by TV Globo.”
Dominating the central Italian city of Gaeta, the massive 600 year old Castello Aragonese was one of the country’s strongest fortresses. These days it is rather more welcoming and the castle has hosted an annual jazz festival for the past five years. In 2012, old met new as it played host to a Yamaha CL5 system to mix the shows. The three-day event attracts people from across Italy and further afield, from hardened jazz aficionados to those just want to enjoy good music in spectacular surroundings.
The concerts are staged by the Associazione Culturale Armonia, which promotes artistic and cultural territory in the region, in collaboration with Gaeta’s local authority and the prestigious Marine School of Italy’s Guardia di Finanza, which is based in the city.
“As well as bringing established Italian jazz artists like Gege Telesforo, Greta Panettieri, Nicky Nicolai and Stefano Di Battista to perform, it is an excellent showcase for many young musicians, making it one of the most anticipated musical events of the year in Italy,” says the festival’s president Roberto Sasso. “2012 was a complete success and we really look forward to 2013!” ( – )
(Live – Production)
Polish production company ATM System has put its new HD2 outside broadcasting vehicle on the road, carrying a high-level equipment specification under the centralised control of a Virtual Studio Manager (VSM) state-of-the-art controller system from L-S-B Broadcast Technologies GmbH.
ATM’s HD2 is an impressive advertisement for Poland’s design and construction agencies which put the vehicle together in less than 7 months. Built by coachbuilder Autokontener, and carrying a full complement of the latest Sony HD cameras, this new OBV is 16.7 meters long and 4 meters wide, with two retractable walls creating an area of more than 45 square meters, allowing 25 people to work in comfortable conditions. System integrator 4 Vision completed the installation, in record time, to a design by Robert Wolter, the chairman of ATM System.
Designed to support SD, HD and 3G production formats, the HD2 OBV is expanding ATM’s working horizons, already taking the company to big 3D projects and prestigious sports events that were outside its scope and technical capability until now. “The biggest selling point of this new vehicle is that it uses the latest technology”, says Dorota Baron, Production Coordinator for ATM System. “As well as the latest Sony HDC-2500 cameras and MVS-7000X vision mixer, we have audio mixing and routing technology from a range of suppliers. All this third-party equipment, in fact the entire OB van, is simply and transparently controlled by the VSM.”
Customised according to the workflow preferences of the ATM System operators, the VSM in HD2 incorporates all aspects of broadcast control, integrating a variety of equipment including a Snell Cygnus video router and Studer audio router, Sony MVS-7000X vision mixer, Axon Synapse converters and multiviewers, and modular devices from Lynx. The VSM uses more than 20x LBP panels and 17x UMDs, plus 2x 32/32 GPIO and 2x 64 GPO interfaces, to provide overall control of switcher, tally, routers and modular devices. ATM’s HD2 OB has a fully redundant system operating on a VSM server cluster, which gives it the maximum stability necessary for high-profile live event broadcast.
“VSM is a control system very easy to manage”, says ATM System’s Dorota Baron. “It’s simple to change the labels on the UMDs and video mixer, and combine audio and video signals for single button push operation. Settings and configuration of all UMD and LBP panels can be changed quickly online without any up- or download. The big buttons on the LBP panels are very user-friendly and provide a lot of functionality, as for instance the ability to control GPIOs from the panels. Operation of panel GUIs is also possible via software clients from a PC Workstation or even a smartphone.”
The easy and intuitive user interface of VSM has evolved over many years of use in broadcast environments. Behind is a powerful control system which contains an increasing number of protocols to control third-party devices, and so e.g. supports all common routers.
ATM System audio engineer Mariusz Nowak is part of the team that will be using VSM on HD2’s first high- profile projects include Speedway Grand Prix of Poland, held in Torun, and City Challenge Baku, another motorsports event, staged in Azerbaijan’s capital. “For me, there are three important layers of control: the main one is video router control, the second is microphone input gain control in the Sony 2500 CCU, controlled by GPI, and the third is using the red tally GPI, and crossing it to the audio console for Audio-follow-Video.”
VSM is a cost-effective choice for management of mic gain control, compared to options offered by camera manufacturers, or the complexity of handling it manually from the CCU menu. “I don’t want to disturb the work of the video engineers”, continues Nowak, “so it is very important that VSM gives me easy control from my audio booth over the mic gain of all the cameras.”
With the fully integrated and transparent tie-line management VSM also takes care of signal connections across multiple routers and automatically performs all necessary switching in the background. With multi-layer tally logic and control, ATM operators can configure tally management to their preferences or the specific needs of a production, without the need to check and synchronise multiple systems. ( – )
(Live Production)
A különleges Broacast Audio esemény elnöke, Christopher Smith szorosan együttműködött a szekció moderátorával Michael Romanowskival, hogy létrehozza és koordinálja ezt az eseményt, amelyen a platinalemezes hangmérnök résztvevők Young Guru, Jack Douglas, Narada Michael Walden és Warren Huart vesznek részt. ( – )
Hip Hop Hits AES Producers Panel
 |
| Narada Michael Walden (left) and Young Guru will be part of the panel for the AES Platinum Producers & Engineers Panelon October 28. |
San Francisco, CA (October 19, 2012
Four top engineers/producers will be featured on the AES Platinum Producers & Engineers Panel for the 133rd AES Conference at San Francisco’s Moscone Center on Sunday, October 28 from 1:30 to 3:30 p.m.
Convention Special Events Chair, Christopher Smith worked closely with panel moderator Michael Romanowski, to coordinate this event, which includes Certified Platinum participants Young Guru, Jack Douglas, Narada Michael Walden and Warren Huart.
“We are tremendously excited to have a group of this stature participating in a single AES event,” Smith says. “The range of their work encompasses iconic hits for artists ranging from Whitney Houston and Jay-Z to John Lennon and Aerosmith. These superstar engineer/producers represent the best of the best.”
Moderator Michael Romanowski: Owner/chief mastering engineer of the San Francisco-based facility, which bears his name, Romanowski has worked with Third Eye Blind, Big Brother & The Holding Company and many other major artists. He also serves as President of the NARAS Board of Governors, and Chairman of the San Francisco Chapter’s Producers & Engineers wing. This highly anticipated Special Event will range across a field of creative and technical topics including: Memorable moments in the studio, the finer points of collaboration, and, innovative recording techniques.
PLATINUM PRODUCER/ENGINEER PANELISTS:
Young Guru: Weighs in with credits for over a dozen Platinum hip hop classics including Jay-Z’s The Black Album, Life & Times of S. Carter, and The Blueprint; Kanye West’s The College Dropout; Ghostface Killah’s FishScale; Nelly’s Nellyville, Drake’s Thank Me Later and Beyonce’s Crazy In Love. Young Guru has logged over a decade of Grammy-winning experience as an engineer, producer and, an A&R wizard for Roc-A-Fella and Def Jam Recordings. Committed to sharing his knowledge, he lectures extensively, and has established the Young Guru Scholarship Fund for students pursuing careers in Communications, Audio Engineering, Music Education and Music Business.
Jack Douglas: An undisputed legend, Jack Douglas had a long, and close association with John Lennon. Working in New York City’s fabled Record Plant, he engineered the classic Imagine album, considered one of the most influential recordings of the last century. In 1980, he completed the Grammy-winning album of the Year Double Fantasy, just weeks before Lennon was murdered. Douglas went on to work with such giants as Supertramp, Guns N’ Roses and Miles Davis. He remains at the top of his game today, with current projects for the Michael Monroe Band and many other contemporary hit makers. Douglas also teaches a studio etiquette class at Ex’pression College for Digital Arts in Emeryville, CA., where he is also hosting an AES Tech Tour.
Narada Michael Walden: Is an eminently successful producer, drummer, singer, and songwriter. His musical career spans three decades, and is highlighted by multiple Gold, Platinum and Multi-Platinum Awards. In 1985, he won R&B Song of The Year Grammy for Aretha Franklin’s „Freeway of Love.” In 1987, he won Grammys for Producer of the Year and Album of the Year for The Bodyguard movie soundtrack, which included Whitney Houston’s timeless hit, „I Will Always Love You.” Named one of the „Top Ten Producers With the Most Number One Hits” by Billboard magazine, Walden has owned and operated Tarpan Studios, in San Rafael, since the mid-1980s.
Warren Huart: This Los Angeles based, UK-born music producer has played a fundamental part in creating platinum albums, and in the development of such successful artists as The Fray, Aerosmith, Howie Day and Matisyahu. Known for his hard work ethic and deep respect for the artist’s vision, Huart’s more than 20 years of experience encompasses record production, engineering, mixing and song writing. His extensive knowledge of musical equipment ranges from vintage through state of the art.
“The scope of their credentials may vary widely, but the quality and success ratio of their projects establishes a common ground for these creative masters. I also want to thank AES Tech Tours Chair Jessica Livingstone for her help in bringing Jack Douglas and Narada Michael Walden to this panel. This event will be the talk of the Convention,” Christopher Smith concludes.
AES
www.aes.org
Fremont, CA – September 26, 2012 – Blackmagic Design today announced that MTV used Blackmagic Design’s Teranex video processing technology for a 3D screening of the “2012 MTV Video Music Awards” (VMAs). Recorded live at STAPLES Center, MTV simultaneously broadcast the VMAs in 3D to 600 fans at the nearby Regal Cinemas’ L.A. LIVE Theater.
With Teranex’s image processing and 3D processing and simulation, MTV was able to transform a single live 2D camera feed by converting the signal to 3D in real time, creating an incredibly realistic and immersive simulation of depth for audience members.
The 1080i video feed from STAPLES Center was sent via fiber to a switcher located in the projection room of the L.A. LIVE Theater. The feed was then input into the Teranex unit, and the signal was converted from 2D to 3D, as well as converted from 1080i to 1080p as the Barco projector being used required a progressive signal, not interlaced. Additionally, the entire show was recorded in 3D on a Sony SRW5800 videotape recorder via a second Teranex unit.
“Being MTV, we didn’t want to simply play back the feed coming from STAPLES Center; we wanted to recreate the feeling of actually being there,” said Jeff Jacobs, SVP and executive in charge of production for the MTV Music Group. “The VMAs are so huge they are a spectacle of an awards show, and we were better able to recreate the intensity and feeling of actually being there for the fans by broadcasting the show in 3D using Teranex video processing technology.”
About Teranex
Announced at NAB 2012, Blackmagic Design’s Teranex 2D and Teranex 3D Processors are a new family of high end broadcast standards converter processors featuring high performance Thunderbolt I/O technology capture and playback features, starting from only US$1,995. These new models add improvements to Teranex’s world renowned standards converters, such as dramatically reduced size, whisper quiet operation, new connection with technologies such as HDMI, Analog, upgraded 3 Gb/s SDI, independent AES/EBU and balanced analog audio connections, as well as adding new Thunderbolt technology.
Teranex products include high quality de-interlacing, up conversion, down conversion, SD and HD cross/standards conversion, automatic cadence detection and removal even with edited content, noise reduction, adjustable scaling and aspect ratio conversion. All with full timecode and multi channel audio conversion. Also, the Teranex 3D Processor includes 3D dual channel conversion, patent pending 3D simulation and 3D camera rig alignment!
The Teranex 2D Processor is now available from Blackmagic Design resellers worldwide, with the Teranex 3D available in Q4’12.
About Blackmagic Design
Blackmagic Design creates the world’s highest quality video editing products, digital film cameras, color correctors, video converters, video monitoring, routers, live production switchers, disk recorders, waveform monitors and film restoration software for the feature film, post production and television broadcast industries. Blackmagic Design’s DeckLink capture cards launched a revolution in quality and affordability, while the company’s Emmy™ award winning DaVinci color correction products have dominated the television and film industry since 1984. Blackmagic Design continues ground breaking innovations including stereoscopic 3D and 4K workflows. Founded by world leading post production editors and engineers, Blackmagic Design has offices in the USA, United Kingdom, Japan, Singapore, and Australia. For more information, please check
www.blackmagicdesign.com.
