Broadcast - American Radio History

Broadcast - American Radio History

INTERTEIPRIMEDIA Publication www.broadcastengineering.com APRIL 2001 Broadcast TELEV/S/ON n OF DIGITAL ENGINEERING THEJO _ ._... Data manage i...

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INTERTEIPRIMEDIA Publication

www.broadcastengineering.com

APRIL 2001

Broadcast

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The Weather Channel's TV-80 Console "ONE OF OUR KEY REQUIREMENTS was the ability user satisfaction with the console has been very to support many more microphones, mix -minuses for good. Setup time and ease of operation have imIFBs, and satellite sources without routing and proved significantly. To date we have not had any patching sources and inputs. WHEATSTONE's TV-80 service needs." audio console was the logical fit for our needs. It John Orr, Mgr., Broadcast Engineering Projects featured eight internal mix -minuses and was 'tried and true' technology. Its preselects with Event "YOU JUST CAN'T GO WRONG with WHEATSTONE. Computer give us the expansion and flexibility Their boards are intuitive and clean sounding, and needed to satisfy a diverse range of needs, from live you can track signal flow at a glance. In my eyes the production out of multiple sets and studios to pre- greatest feature of the TV-80 is their mix -minus bus production for specially produced programming. system. Anyone out there who's 'faking' mix -minus THE WHEATSTONE FACTORY commissioning and by using submasters or an external box will wonder training worked out very well. It was well coordinated how they did without it. The TV-80 is a definite time and the operators (both old and new hands) seem- saver, both in installation and operation. It makes ed to understand the console, the layout, and the audio operators more confident and reduces show functionality. There have not been any major oper- prep time -we're now able to do more and better ational 'bugs' using the audio console live on -air and pre -production. Definitely WORTH EVERY PENNY!"

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- Craig Reeves, Audio Engineer

Whoctftono Cor-orc)tion tel 252- 638 -7000 /fax 252- 635- 4857/ [email protected] wheatstone .com /www.wheatstone.com Circle (101) on Free Into Card

copyright e 2001 by Wheatstone Corporation spo th atrons and features subject to change without notice

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Broadcast

April 2001 Volume 43 Number

4

ENGINEERING THE

JOURNAL OF

O/G

/TAL TELEV/5/ON

www.broadcastengineering.com

IN THIS ISSUE

Features 92

NAB Update By BE Staff A look at more digital offerings at this year's NAB.

148 Data management in broadcast By Carole Hogan A look at the role an integral data management structure and interface for a large video server plays in today's broadcast

facilities.

154 Power quality: Ensuring equipment lives up to its promise By T.K. Wong Station engineers must take into account the impact of digital equipment on grounding, harmonic distortion, voltage reference and AC magnetic interference in order to ensure superior power quality.

Beyond the Headlines NEWS 16

Senate and House hold DTV hearings

FCC UPDATE 22

Multiple ownership rules clarified

BUSINESS MODELS 24

Powell's FCC: Let the private sector decide

By the Numbers STATE OF THE INDUSTRY UPDATE 32

News applications and editing

Digital Handbook TRANSITION TO DIGITAL 34

HDTV data multiplexing, Part 2

COMPUTERS AND NETWORKS 40 ON THE COVER: The National Geographic Channel Base Camp Studio offers a street -

Cable and wiring for LANs

STREAMING MEDIA 48

Audio and video compression

level view of live television for passersby. The studio is visible from the street through large,

partially color- corrected, double -pane picture windows. Photo by Anice Hoachlander. (continued on page 8)

broadcastengineering.com

April 2001

www.americanradiohistory.com

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When Pappas Telecasting, the nation's largest private station operator, wanted the best possible format for Azteca America, its new Spanish language network, the choice was easy: DVCPRO50. Citing

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Panasonic Open systems. Open minds: www.panasonic. corn/broadcast

Systems Design & Integration SYSTEMS DESIGN SHOWCASE 52

60 66

National Geographic Channel Base Camp Studio Real Broadcast Network's Internet Broadcast Operations Center Fox Sports Net

TRANSMISSION & DISTRIBUTION 78

When the thunder dies away

PRODUCTION CLIPS

1

84

The real story about 16/9 and switchable cameras

SYSTEMS INTEGRATION 88

MPEG splicing in station operations

New Products & Reviews APPLIED TECHNOLOGIES 160 164 168 172 176

The Tektronix PQM300 QoS monitor AgileVision's AGV -1000 system solution Oxtel's Imagestore Interactive

MedioStream software -based encoders Bitcentral solutions for satellite broadcasting

TECHNOLOGY IN TRANSITION 180

Editing systems

BUSINESS WIRE 186

Business highlights from broadcast and production

Departments 12 14

222 228 230

Editorial Reader Feedback Classifieds Advertisers Index EOM

FREEZE FRAME

A look at the technology that shaped this industry.

Electronic cinema isn't new The world of electronic cinema isn't as new as you might think. Name two of the first cameras shown at NAB '81 designed to emulate 35mm film -like operation. Hints: one of the manufacturers is still a key player today. One camera used t -stops instead of f -stops for exposure. Enter by e-mail. Title your entry "Freezeframe -April" in the subject field and send it to: [email protected] Correct answers received by June 1, 2001, will be eligible for a drawing of Broadcast Engineering T- shirts.

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CHYRON NEVER LOOKED BETTER. CHYRON'S INTEGRATED GRAPHICS SOLUTION: MORE BROADCASTERS LIKE WHAT THEY SEE. Aprisa provides centralized Clip /StillStore services Chyron's Duet'' with Lyric and Aprisa`- is fast that can be browsed or played out from any point in in the becoming the best -integrated graphics solution the Chyron graphics network, a true fast track for broadcast industry. This powerful fusion moving your graphics from production to instant onof technology proves once again air recall. This object- oriented video server why the Chyron name is provides maximum flexibility when mixing synonymous with television oHV RON8 6440 different audio, video. and key graphics excellence. elements. Aprisa can also recall ts these new associations to air Years after the introduction faster than any other product of their INFINiT! Character on the market. Generator, Chyron's Duet, Lyric, and Aprisa In addition to outstanding systems are breaking technology, Chyron's sales records, while commitment to providing the industry customer service is with enhanced graphic stronger than ever, tools at very competitive including ongoing support prices. for established products. Chyron customers enjoy advanced In the words of one features, including Lyric 2D /3D text, graphic, customer, Chyron's Duet and keyframe animation software. The easy -torunning Lyric Character use creation and playback graphics package is the Generator and the Aprisa Video premiere application for the Duet Video Graphics Graphics Server "lets us push out twice Engine. In addition, INFINIT! users can exchange much volume - all at the high standards our as into while Lyric can messages directly Lyric software, viewers expect. It allows us to not only maintain also be used off -line with Windows NT. With Duet, quality, but also to increase it." Perhaps that's why automation has never before been so simple. Basic when more and more broadcasters take a closer be easily tailored to web -style applications can look at Chyron's powerful, integrated graphic manipulate multiple clocks and ingest external data solution, they like what they see. for real -time, automated display alongside Lyric.

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Starting

a

new relationship

Have you ever second -guessed

yourself about one of those "life decisions "? You'd done all your homework and worked things through carefully only to discover that you'd made a mistake. You find yourself unhappy, unfulfilled, alone, but there's nothing you can do. It hurts doesn't it? You'd had some good times, sure, but you also found yourself occasionally wondering if you'd made the right choice. Could I have done better? Did I settle because it was time and it was easy to say yes? Would my life have been better if I'd chosen differently? Would I be happier if, only if? For me that commitment was made several years ago. But, as time passed, the relationship began to sour. Things weren't bad, but they weren't good either. I began yearning for more excitement, variety ... well, you get the idea. Soon I found myself cruising the local establishments. I told myself I wasn't really "looking," but I was. How can guys not look? You're out shopping, minding your own business, but then, across the showroom floor or on TV, that sexy model. I looked. I'll admit it. I've got eyes like every other red -blooded American guy. But I didn't act on the impulse remember that commitment thing? Making a significant life change isn't easy. It took me a long time to get the courage to do it. After all, decisions like these can be expensive. I spent almost a year just talking about what I was going to do. But I didn't do it. Friends even wagered that I wouldn't take the plunge. "Once bitten, twice shy," right? With one bad experience I wasn't looking to repeat that mistake. By early fall I decided it was really time to break it off, and I did. So over the last six months I began venturing out more often, looking, but not really looking. It was the right time to make this change in my life. Even so, I was determined to not repeat the mistakes of the past. This time, before I made another commitment, I was convinced that the olderbut -wiser approach would serve me well. I played the field. In case you've been out of action for a while, let me tell you there is more variety out there than you ever thought. Times sure have changed, and anything goes today. I even read books on this stuff. No quick decisions for me. Hours on the Internet, sometimes lurking in chat rooms hoping to learn from others' mistakes. Slow and easy, step by step. Finally, after the holiday season, I found myself tiptoeing toward another commitment. It was frightening. Could I do this again? Would it work out or would I find myself back in that old rut unhappy, but having made a decision and sticking with it? Would I be satisfied? Would the results be what I wanted, what I needed? Would I be happy? I finally did get the courage to say yes. I'm convinced it was the right thing to do. I know you all wish me the best of luck. And I promise to keep you posted on how things go. The new HDTV set will be delivered next week. I can't wait. Anyone want my old set?

-

-

Brad Dick, editor

Send comments to:

direct: editor @intertec.com website: www.broadcastengineering.com

12

broadcastengineering.com

April 2001

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EDITOR, BE RADIO MAGAZINE

Need Townsend parts?

Mad about audio I'm

student electronics engineer in Belgium. I have to make an essay about MADI. I can't find any information about it. Can you give me more information about what it is and how it works? a

KIM VERBEKE BELGIUM

From Broadcast Engineering's sister publication, BE Radio: MADI is an abbreviation for Multichannel Audio Digital Interface. It is a standard described by the Audio Engineering Society (AES) standards committee as AES -10 and AES -10id. With it, 56 channels of audio in the form of 28 AES -3 (AES/EBU) format signals can be

Recently a reader asked for help in locating parts for Townsend transmitters. Here's a source: Dave Compton 304 -622 -9622 or 304 -622 -9839.

-

-

figurations. Some facilities use MADI simply as a point -to-point distribution

14

broadcastengineering.com

winners December: "Identify the FCC chairman called both "visionary" and a "one -man wrecking crew." The correct answer was Mark Folwer. Shame on those of you who have (or used to have) First Class licenses. Mr. Folwer was responsible in getting that license eliminated. Correct answers supplied by: Tom Anderson

KHQ -TV Spokane, WA

and,

Turn on the lights trying to identify a light control unit associated with one of our towers. Attached is a picture of it. Do you recognize this lighting control? Can you help me locate someone who could supply parts? I am

JIM BARNES

Mike Norton Wisconsin Public Television January: "What (now renamed) company introduced a 7Ib ENG camera at the 1976 NAB convention calling it the "Women's lib camera ?" The camera was introduced by Thomson -CSF Labs and officially called the Micro cam. Fully loaded it weighed 12.5Ibs. The whimsical name didn't stick for obvious reasons. Correct answers supplied by: Dave Kosh

sent across a single cable. (A single AES 3 channel has two channels by definition.) Its purpose is to provide a more simple means of distributing many

channels of audio without the need of multiple cables or paths. A MADI signal is transmitted via coaxial (AES -10) or fiber optic (AES 10id) cable. These signals are multiplexed not compressed so it is a lossless transport mechanism. MADI is used within facilities to send many audio channels from one point to another. Many routing switcher manufacturers use MADI to connect multiple inputs and outputs to their distribution matrix. Large console manufactures also use MADI to simplify their input con-

Recent Freezeframe

Waterman Broadcasting and, Tom Anderson

KHQ -TV Spokane, WA

The question was passed to our transmission guru, Don Markley. It took him about 20 minutes to locate the answer. The tower lighting unit is a ROHN FA2SS1, built around 1982. Parts are still available from: ROHN Industrieslnc. P.O. Box 2000 Peoria, IL 61656 800-225-7646; 309-697-4400 Fax: 309 -697 -5612 www.rohnnet.com mail @robnnet.com

April 2001

www.americanradiohistory.com

Don't miss this month's Freezeframe question on page 8. Answering the question correctly will win you one of the newly designed Broadcast Engineering T-shirts and fame by being published in this magazine.

www.broadcastengmeering.com a member of digital media net OUV2i

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Beyond the News

Senate and House hold DTV hearings BY LARRY BLOOMFIELD

Asuggestion at recent Senate hearings that broadcasters need more

time to transition to digital television was not well received by lawmakers. Even so, by the time the hearings concluded most agreed that a delay was inevitable. Following the hearing, Senator John McCain (R -AZ) said an extension was practically a done deal a' "there's no chance in Gila Bend, Arizona" that broadcasters could make their deadlines. "You're looking at the power of the broadcasters," he told reporters. "I guarantee you there will be (an extension). I can assure you they have sufficient clout to extend these deadlines." There was exasperation in McCain's voice over what he perceives as industry foot -dragging. The Senator's tenacity on this issue is somewhat more tempered recently and he has said on other occasions that extensions in the process would come as no surprise. Other senators who give the impression that they

too are tiring of the digital TV novella

Telecommunications Subcommittee

have joined him. Remember, it was McCain who did

headed by Rep. Fred Upton (R -MI), held a similar hearing just two weeks later on the same subject with an emphasis on the views of private industry. The message to the House Subcommittee was a reprise of

not want to allow broadcasters to have the extra channels they need to facilitate the switch to digital TV, calling it

"You're looking at the power of the broadcasters. I guarantee you there will be (an extension)." a $70 billion giveaway, preferring in-

the earlier Senate hearings.

stead to auction those frequencies to the highest bidder. The Senate is not the only body that shows movement on the deadlines for auctioning the returning spectrum. The FCC has postponed the channels 6069 auction and the Bush budget anticipates that an auction for channels 5259 will also have to be rescheduled. Not to be outdone, the House

Neither of the lawmakers' hearings produced any suggestions or replacement time schedules for the DTV turnaround, but with an expected $7.5 billion in spectrum sales by 2011, they're not likely to let it slip too far.

FRAME GRAB

A look at the issues driving today's technology.

Tomorrow's tiered content will combine TVs and the net. By 2003, PCs will make up only one half of broadband devices. TVs and game consoles will dominate the other half. 10 Channels.

Premium Internet lier characteristics'

10s of millions

Delivered to PC or TV

of viewers

Stored in cache servers at head -ends Either highly popular or generates significant revenues

200 channels. millions of viewers

Highlighted in proprietary cable /DSL content offerings

500 -1,000 choices, 100,000s of viewers

Infinite choices; 1,000s of viewers

Examples: Martha Stewart

Local radio

CNN Headline News

Movie trailers

The Weather Channel

Photo albums

Traffic cams

Calendars

Local news briefs

MP3 music

SOURCE: Forrester Research

16

broadcastengineering.com

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Hollywood's HD sneak attack Copyright, probably Hollywood's biggest fixation, hasn't as yet gotten the press in the digital era that other issues have received. It is a topic of gargantuan proportion at the studios and among producers, and it is slowly becoming an issue that will affect the entire television industry. Hollywood has settled, for the time being, on HDTV as a distribution standard to theatres. There is no question that 35mm film is capable of better quality than what HDTV has to offer. However, the argument has been made from a financial standpoint that if in the estimation of consumers HD is of roughly the same quality as 35mm film and costs less, it is still a viable alternative. This is an important topic to broadcasters, but for different reasons.

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HIGH DEFINITION AUDIO

At first blush there doesn't seem to be a problem with carrying movies on cable or satellite. However, in negotiations over the past few months the studios have been pressuring the cable and satellite companies to decrease the resolution of high- definition digital video, lowering the quality of service (QoS) so there is less incentive for the consumer to copy it. Studios defend their actions in the name of "copyright protection." Hollywood executives and producers see the exchange of music on the Internet as a pattern that relates to their

industry

as well. Most motion picture studios have strong ties with the music recording industry and their fears of digital- content swapping were not alleviated with Napster's agreement to start charging for music downloaded online. If anything, the horror of copyrighted music being spread freely around the world via the Internet has fueled fears among movie executives, who see digital video as next in line. Hollywood is taking no chances. The Motion Picture Association of America

(MPAA), which represents the Hollywood studios, is waging a quiet war in negotiations with distributors of its

products to prevent the "Napsterization"

of digital video and the perceived ruination of their multibillion -dollar industry. It is important to think of the implications that this whole issue generates. People who pay from $3000 to $15,000 for a digital TV expect to see every pixel their set is capable of displaying and, should they choose, be able to delay

18

broadcastengineering.com

watching the programs by recording them on their digital VCR. The Supreme Court decided the personal use recording issue in 1984 when it ruled in favor of the consumer in Sony vs. Universal Studios. Now, the MPAA would have us all turn back the clock and revisit these issues. "There is no technology other than downres -ing

Burger, attorney with the Washington media law firm of Dow, Lohnes & Al-

bertson, said, "The idea that improvements in technology have to stop so that Hollywood doesn't have to change its business model is crazy. Looking for perfect protection in the digital age will put you in a loony bin. What they should be looking for is a reasonable balance

"There is no technology other than downres -ing to protect it from being copied and retransmitted on the Internet." [reducing resolution] to protect it from being copied and retransmitted on the Internet," says MPAA vice -president Fritz Attaway. "Downresing" is nothing new. One Hollywood engineer recalls "At the O &O [network owned and operated station] where I worked back in the 1980s, just after installing our new second generation color cameras, we were told to cut back on the resolution because the new equipment showed up all the imperfections on the face of

one of the high -priced news anchors when makeup wasn't able to easily cover them." Michael Petricone, general counsel for the Consumer Electronics Association countered, "They aren't trying to preserve, but to cut back the rights consumers have had for 20 years to record video so as to make even more money." Jim

-

April 2001

www.americanradiohistory.com

between making money and making life easier and better."

The MPAA dipped into its bag of statistics saying Hollywood loses $250 million annually in the U.S. due to video piracy and the figure is $2.5 billion a year, world wide. MPAA also claims digital technology will permit video pirates to make pristine copies even down several generations because picture quality doesn't degrade with each copy made as it does with traditional videocassettes. Representative Rick Boucher (DVA.), recently commented that "The public is going to be pretty incensed that the quality of programming they were promised isn't delivered." Despite all this, Hollywood has gotten the ears of at least twelve Capitol Hill lawmakers who as recently as this March, sent a letter to FCC Chairman Michael Powell asking for his support on the digital TV copy issues that would restrict otherwise free over -theair content. The two -page document has some rather familiar signatures: Rep. W.J. "Billy" Tauzin (R -LA), chair of the powerful House Commerce Committee, and Rep. Fred Upton (R -MI), chair of the House Telecommunications Subcommittee, Rep. Edward Markey (D-MA), Rep. Cliff Stearns (R -FL), Sen. Barbara Boxer (D -CA), Sen. John Breaux (D -LA), Sen. Fritz Hollings (D -SC) and Sen. Ted Stevens (R -AK), and all members of the House or Senate Commerce Committees. Lawmakers have said that without copy protection, the foundations of overthe -air broadcast would be threatened,

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since content providers would be reluctant to sell to broadcasters, turning to cable instead, which is based on

paid subscription. "Congress has a long- standing commitment to free, over -the -air television," the letter stated. "And for good reason: Millions of American households, particularly those that cannot afford subscription -based services like cable and satellite, continue to rely on free -overthe -air television for their entertainment and news information." Despite this, Powell has strongly intimated that the issue of copy protection should he resolved on Capitol Hill and not by the FCC. In what appears to be an important victory for the entertainment industry,

both Disney and Fox have argued that it is not enough to only protect cable programming. The dichotomy is that most of the studios also have serious, deep- rooted interests in television, owning entire networks, not to mention a significant number of television stations. Not all Tinsel Town executives are singing the same song, however. Sony and Warner Bros. have indicated they would accept

copy protection that covered cable programming and not broadcast. Where does this leave us? Despite the millions of dollars each television station has or will have to invest in the digital television rollout, until these and other issues are resolved, TV set manufacturers will remain in limbo because there is no licensing agreement in place.

Superconductor breakthrough broadcast equipment becomes ore sophisticated, especially in the digital domains, the speed at which information is transferred, processed, etc., through the equipment itself, becomes a very important factor. With computer processors that drive broadcast equipment today operating in the Gigahertz range, what good does it do if the remainder of the infrastructure works considerably slower? Superconductors will go a long way in resolving this issue. Earlier this year, researchers led by Dr. Jun Akimitsu of Aoyama Gakuin University in Tokyo achieved a significant milestone when Ams

they announced that magnesium bonde, a readily available metal compound known since the 1950s, has unexpectedly turned into the latest breakthrough in superconductors technology. Magnesium bonde is commonly used in some chemical reactions, but no one had ever tested its worth as a superconductor at low temperatures, where it demonstrates properties of moving electrons with virtually no resistance. After hearing about Dr. Akimitsu's discovery and working with the substance, Dr. Paul C. Canfield, a professor of physics at Iowa State University and a researcher at Ames Laboratory said: "It's a fantastic discovery! We've been able to do a lot of neat stuff with

20

broadcastengineering.com

it in the past month." The material is very light and, from reports, is easier to work with as compared with the more complex superconducting materials such as the copper oxides, a so- called high- temperature superconductor. The more complex superconducting materials work at higher temperatures, but magnesium bonde is comparatively inexpensive, selling for about $175 per 100 -

moves on cable caps FCC

Court of Appeals has thrown out Federal Communie U.S.

cations Commission (FCC) restrictions on the number of subscribers cable operators can serve. The ruling specifically addressed regulations that limited cable companies from serving more than 30 percent of all cable and satellite subscribers in the U.S. Additionally, the court threw out restrictions that prevent cable systems from carrying affiliated programming on more than 40 percent of their channels and sent the rules back to the FCC. "The horizontal limit interferes with petitioners' speech tights by restricting the number of viewers to whom they can speak," Judge Stephen Williams wrote for the court. "The vertical limit restricts their ability to exercise their editorial control over a portion of the content they transmit."

The court's ruling is a plus for such cable companies as AT &T Broadband, the nation's largest. The panel also struck down an FCC rule that required that subscribers served by Time Warner Entertainment, or TWE, in which AT &T is a limited

Send questions and comments to:

partner with AOL lime Warner Inc., be counted against AT &T's ownership limit. That rule pushed AT &T over the 30 percent limit when it merged with the MediaOne Group, forcing AT&T to divest either its stake in TWE or in the Liberty Media Group. Where this is seen as good news for AT&T and other cable companies, consumer groups see the elimination of such limits as bad news. Many believe that the ruling provides greater incentive for cable companies to limit programming choices to their own programs instead of providing the wider array of programming consumers may want. This U.S. Court of Appeals action may have far reaching effects, setting a precedent that could open the door for future revisions to the ownership "caps" on broadcast television stations, a heated issue in broad-

tarry- [email protected]

cast circles.

gram bottle. Dr. Canfield said he and his colleagues at Iowa State and Ames Laboratory have worked extensively investigating magnesium bonde and have already fashioned superconducting wires by exposing fibers of boron to magnesium vapors. At present, though, the wires are short; only couple of inches long, and brittle. Dr. Canfield said: "It's not something you can curl around your finger." But then, who'd want to curl it around their finger? Magnesium bonde, as a superconductor, is such only at temperatures up to minus 389 degrees, or about 29 degrees higher than any other simple metallic compound. Although not the solution, it is being hailed as a significant step in that direction, so stay tuned.

April 2001

www.americanradiohistory.com

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Update

Multiple ownership rules clarified BY HARRY C. MARTIN

In January, the FCC released a decision addressing 14 petitions for reconsideration dealing with the new TV duopoly and cross -ownership rules. The new TV duopoly rule, effective in November 1999, permits an entity to own two television stations licensed in the same DMA if: (1) the grade B contours of the stations do not overlap, or (2) one of the two stations is not ranked in the top four by Nielsen and at least eight independently owned TV stations (including NCE -TV stations) would remain post- merger. The new radio -TV cross- ownership rule, adopted at the same time, permits an entity to own up to two television stations (if permitted under the TV duopoly rule) and any of the following radio station combinations in the same market: (1) Up to six radio stations in any market where at least 20 independent "voices" would remain in the DMA post- merger ( "voices" are radio or TV stations, daily newspapers, cable systems or radio stations with reportable Arbitron shares in the DMA). (2) Up to four radio stations in any market where at least 10 independent voices would remain post- merger. (3) One radio station (AM or FM) notwithstanding the number of independent voices in the market. (4) In those markets where the rule will allow parties to own eight outlets in the form of two TV stations and six radio stations, a party can own, alternatively, one TV station and seven radio stations.

Dateline Radio stations in the following

locations must file their biennial

ownership reports on or before June 1,

2001: Arizona, DC, Idaho,

Maryland, Michigan, Nevada, New Mexico, Ohio, Utah, Virginia, West

Virginia and Wyoming.

22

broadcastengineering.com

Duopoly rule

The revisions to the TV duopoly rule drew the most fire, with petitioners seeking reconsideration of the amended rule's requirements regarding (1) geographic scope, (2) the requirement that at least one of the stations being acquired not be among the four highest- ranked stations in the DMA, (3) the requirement that eight independently owned stations remain in the DMA after a merger, and (4) the policy, also adopted in 1999, that waivers of the duopoly rule would be considered only in cases of failed, failing or unbuilt stations. Petitioners argued that common owners would not run the same programming on multiple stations in the same market, and therefore would not hurt diversity. The Commission rejected that argument, but addressed the question of how to resolve a tie for market rank. In such cases, duopoly applicants will now have to submit detailed tie- breaker information on audience share. The Commission also acknowledged that its decision to require eight broadcast TV stations remain in the market was an exercise in line- drawing. However, the Commission said that it was a justified approach because the line was drawn in a way that preserves a reasonable balance of efficiencies and robust diversity in a market. However, the Commission relaxed its duopoly rule so that it only will count as among the eight market stations those stations whose Grade B signal contours overlap with the Grade B contours of at least one of the stations in the proposed combination. The intent of the modification is to prevent common ownership in geographically large DMAs where one party could own two overlapping stations even though most of the stations in the DMA do not serve the area served by those two. A similar rule will apply to media voices. The only television stations that will be counted toward the eight stations that need to remain in the

April 2001

market are those that are independently owned and operating full -power stations within the DMA of the TV station's community of license which have Grade B signal contours that overlap with the Grade B signal contour of one of the TV stations involved in the merger. The Commission reaffirmed its decision not to permit the transfer of a duopoly unless it adheres to rules or waiver standards in place at the time of the transfer, and continued to allow common ownership of two TV stations if they are licensed to communities in different DMAs, even if their Grade B contours overlap. Cross -ownership rule

The recent order also reaffirmed the Commission's earlier decisions to (1) count noncommercial stations and daily newspapers as voices in a market, (2) to grandfather radio and TV combinations previously formed pursuant to a waiver, and (3) to prohibit the transfer of a radio/TV combination unless it meets a waiver standard. LMA issues The Commission also affirmed its earli-

er decision to grandfather television station LMAs entered into before Nov. 5, 1996, through the conclusion of the 2004 biennial review. It rejected the requests that it allow existing LMAs, especially grandfathered LMAs, to convertto duopolies. The option will not be extended to

existing LMAs because, although the parties to existing LMAs may have had reasonable expectations of being able to maintain an LMA entered into before the Commission expressed an unequivocal LMA policy, those same parties have no such reasonable expectation of automatic conversion to duopolies. Harry Heald

C.

Martin

is an

attorney with Fletcher,

it Hildreth PLC, Arlington,

VA.

Send questions and comments to: harry_ [email protected]

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Powell's FCC: Let the private sector decide BY MARK R. SMITH

George W. Bush now at home (finally) and starting his wild ride from the White House, change is obviously in the air within the federal government, and it's not all about tax cuts and campaign finance reform. One change that's already taken place

Powell will be much more cognizant of political sensitivity, in terms of how Congress reacts to what he does. He'll keep them in the loop. One of Ken nard's problems was not consulting with Congress before proposing some of his activist agenda."

at the Federal Communications Commission (FCC), where fellow Republican Michael Powell, who had

Cable and commercial broadcasters are

With

Michael Petricone, vice president of technology policy for the Consumer Electronics Association in Arlington, VA, said he thinks the FCC has been supportive of DTV "The train certainly hasn't derailed from our perspective. DTV sets are selling at a clip

is

served as a Commissioner, succeeded Democrat William Kennard as chairman earlier this year. Aside from finding a successor to soon -to- depart Commissioner Harold Furchtgoth -Roth as well as to Powell's old seat (both of which will be filled by Republicans), his FCC is in the midst of "internal reform efforts" slated to make the organization "more efficient, more decisive and more responsive," said a recent press release, to the whirlwind changes in the technology and

telecommunications markets. That's nothing too mind -boggling since people were expecting some political -speak right after a change in presidential administration. But they're also hoping something breaks concerning technical deadlocks that have plagued the broadcast industry. Externally, there are a number of issues on the table these days, notably concerning digital broadcast standards and cable must -carry. New man in charge

One Washington industry source who requested anonymity remarked that there's no question Michael Powell has a different agenda than William Kennard. "Powell will be more reactive than proactive in responding to issues," the source said. "Kennard clearly had a social engineering agenda in terms of trying to adopt government mandated free time for politicians and launching a ban on hard liquor advertising (which he eventually dropped). But I think

24

broadcastengineering.com

digging in for

a

long hard fight.

Powell is already cultivating support from key members of Congress who can provide him political cover, agreed Ken Johnson, spokesman for Congressman Billy Tauzin's office (R -LA) who is the head of House Energy & Commerce Committee. Johnson said Powell would be "much less of an activist chairman. His core philosophy involves letting the markets work as freely as possible. I don't think you'll see him meddling in the private business of companies like his predecessors, Kennard and Reed Hun dt. Powell recognizes that the FCC is answerable to Congress and not the White House." DTV, or not DTV

The first source said Kennard did nothing to advance the DTV agenda and noted that Powell has already asked for Congressional direction on the issue. Today, the number of finished DTV installations stands at 185, including most big four (ABC, CBS, Fox and NBC) affiliates in the top 30 markets. Powell offered what must have sounded like words of encouragement in a recent news conference, saying that the FCC will "do whatever it takes to clarify the legal and regulatory environment" so that concerned private sector businesses can "continue to make investments."

April 2001

www.americanradiohistory.com

that's in line with historical sales of other new consumer electronics products when they were introduced to the market." Those figures reveal that 625,000 digital sets worth $1.4 billion were sold in 2000, five times the amount from 1999. The one thing that would be helpful, he said, is more content. "The vast majority being broadcast on digital stations is still upgraded analog, which is limited by the resolution of the source material. That's not a big consumer draw. Consumers want the best quality and, save CBS, it's slim pickins'." With the May 2003 deadline for all stations, commercial and public, to go digital, the problem isn't that the industry hasn't been on the ball, Petri cone said, but technical issues that have caused problems -- cable systems not carrying the digital signals being an example. Also, many DTV sets sold lack a DTV tuner. Still, he sees a rosy horizon, noting a 40 percent price drop in the last year and a Zenith set on the market for less than $1000. "I suspect you'll see further reduction as the year goes forward, if history is any guide. And as price drops, functionality rises." Cable must -carry

The FCC has tentatively concluded that cable operators are not required to

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carry the digital signals of broadcasters. But that's still a top telecommunications issue Congress will be confronted with, with the cable and commercial broadcasters digging in for a long hard fight. One observer said that he sees no problem with cable must -carry "since the cable industry is rolling out digital channel capacity on a rapid timetable. There's no evidence to suggest must carry would be a problem. Cable operators would prefer carrying channels in which they own a financial stake, as

Vt See

opposed to local broadcast channels in which they don't." But only a handful of cable systems are carrying the digital signals of local broadcasters at present, he said, adding that two- thirds of all viewing on a cable system consists of local broadcast channels. It's key that cable companies cooperate, Petricone added, pointing out that 70 percent of viewers get their signal via cable. But the folks at the National Cable

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Television Association in Washington don't see it quite that simply. "For broadcasters to presume entitlement to a privately built infrastructure is inappropriate, especially when they bring nothing new to the mix," stated Marc Osgoode Smith, senior communications director. "The physics don't lie. And if there's a legal mandate to carry programming that has yet to draw the attention of consumers, then certain networks and services like highspeed Internet, telephony and new digital video channels already on the market won't make it." "If our customers want all of these signals, it would be competitive suicide not to carry them," he bluntly continued. "The government should not force an unknown business plan

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Disney Channel.

Where will it end "Consumers are stuck in the middle of an ongoing fight between broad-

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April 2001

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casters, cable operators and manufacturers. They all have different agendas," observed Johnson. "But even consumers who aren't tech savvy understand that we're in a tech shakeout. No one wants to get stuck with a first-

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generation digital set that's outdated in sixth months." Programmers are reluctant to provide content, manufacturers build fewer sets and consumer scratch their heads. Where will it end? No one knows, but Johnson still offered his long -term forecast. "This century, a TV should not be the centerpiece of our home entertainment center, but the centerpiece of our home

information center. "We're trying to get everyone mov-

ing in the same direction. Congress is making stations go digital, yet there's no business plan for them to make money. It's like Doublemint gum, but you don't double your pleasure, you double your expense. And now they don't know if they can get the digital signal on cable besides." Mark

Broadcast

ENGINEERING www.broadcastengineering.corn

For a daily look at

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R. Smith is a freelance

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BY BRAD DICK, EDITOR

Part 2 of our series looking at industry spending plans, we examine the state of editing technology. The data in this report was gathered from Broadcast Engineering readers in late winter.

In

The field of editing is one area in which old habits die hard. I was recently in one of the largest TV network newsrooms in Japan. In that one room, I counted more than 100 Sony decks assembling news clips by the old punch-

Who has NLE capability?

and -crunch method. Why not use NLE? For their particular application, VTR editing is reliable, well understood and relatively inexpensive. Who can argue with that? So what are the NLE plans for our U.S. readers?

60%

70%

Production and cable facilities rank highest in terms of NLE usage. However, there's not a lot of difference based on the type of facility. Television stations rank lowest in terms of NLE capability, running at 57percent, and post production houses barely higher at 61 percent. The production and

cable locations show the highest current usage of NLE at 68 percent. Combined, 60 percent of all types of facilities report having NLE capability.

60% 50% 40% 30% 20^7.

10% TV

Station

Post- Production

Production

TOTAL

8 Cable

Adding new NLE this year? Respondents were then asked about their plans to

purchase NLE technology in 2001. A disappointing 32 percent of television stations report any plans to buy additional NLE capability this year. Looking at the other side of this equation, almost 52 percent of the TV stations said they would not be adding NLE technology this year. Sixteen percent did not answer the question. The numbers are much better for production, cable and post facilities. About 51 percent of the production and cable facilities report that they will be buying new NLE hardware this year. About the same percentage of post houses, 49 percent, say they plan to add to their NLE equipment lineup in the next nine months. Looking at the overall response, almost 49 percent said they would not buy NLE equipment this year. Twelve percent of the respondents did not answer this question. So, is NLE hot? I think not.

60%

1% 50%

40%

30% 20%

10% TV

Station

Post -Production

Production 8 Cable

S108.344

How much

will you spend?

1110.000

It's hard to know whether the answer to this question is good or bad news, at least as a measure of industry health. The survey asked for predicted equipment budgets for seven classes of equipment. It turned out that spending for NLE was the second highest, led only by planned spending on cameras and lenses. Predicted spending for NLE equipment this year is $72,833. That will buy you a lot of software packages, or a small but full- featured newsroom or production system.

32

broadcastengineering.com

$90,000

S72 833

583 138

$70,000

$50.000 530.000

1

570.000 NLE

April 2001

www.americanradiohistory.com

VTRs

Cameras Lenses

LCD displays I/O configurations Input carrier detection Matrix status

Large tactile illuminated buttons

Data rates up to 360 Mb /s

SMPTE 259M compliant

2 levels

of controls

RS-232 or RS-422 control

Remote

Control Panel

Internal international power supply

inputs with & buffered loop -throughs 8

Automatic cable equalization

equalized

8 outputs on dual buffered & re- clocked BNCs

External reference

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Inputs with equalized and buffered loop -throughs

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Digital Sync Validation Processing (DSVPTM) -when input serial data is locked, the matrix indicates the presence of a carrier source and data rate 16 global

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www.americanradiohistory.com

Digital Han Transition to Digital

HDTV data multiplexing, Part 2 BY MICHAEL ROBIN

article is a continuation of our March HDTV data multiplexing article. It will deal with audio data multiplexing in the horizontal ancillary data space (HANC). This

DIGITAL LINE (I200T)

f

DIGITAL LINE BLANKING (280T)

General considerations The most important use of the HANC

LINE NUMBER DATA

EAV

ERROR DETECTION CODES

ANCILLARY DATA OR BLANKING DATA (268T)

DIGITAL ACTIVE LINE (1920T)

SAV (4T)

data space

is for the insertion of audio signals. SMPTE Standard 299M, 24Bit Digital Audio Format for HDTV Bit- Serial Interface defines the mapping of 24 -bit AES digital audio data and associated control information into the ancillary data space of HDTV signals conforming to the SMPTE

292M standard. For intrastudio applications the preferred implementation is an audio sampling rate of 48kHz synchronous to video. As an option the standard supports AES audio synchronously or asynchronously sampled at frequencies in the range of 32kHz to 48kHz. Audio is defined as being synchronous with the associated video if the sam-

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piing rate is such that the number of audio samples occurring within an integer number of video frames is itself a constant integer number. The standard provides for the embedding of a minimum of two audio channels (one audio pair) to a maximum of sixteen audio channels (eight audio pairs). The audio channels are combined, where appropriate, into groups of four (two audio pairs). Each group is identified by an ancillary data ID.

2001 is key year for asset management.

Most TV stations don't know when they'll install asset management stations.

2000 2001

2002 2003

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The horizontal blanking interval

Figure 1 shows details of the horizontal blanking interval of the CB/CR bit parallel datastream of a source format D (1920x1080i). In this format the total line duration is 2200 samples of which 1920 are active line samples. This leaves a total of 280 samples during the horizontal blanking interval. Excluding the TRS (EAV and SAV), line number and error detection leaves a total of 268 unused words to be used to transport ancillary data. The structure of the horizontal blanking interval is as follows: EAV: End of active video TRS consisting of four words: 3FF,000,000,XYZ; The line number data: Two words LNO and LN1;

*The error detection codes: Two words CCRO and CCR1; Ancillary data or blanking data: 268 words identified as CAO to CA267; SAV: Start of active video TRS consisting of four words: 3FF,000,000,XYZ. The audio data packet

already doing

Figure 2 shows the structure of an audio

never

unsure 5%

10%

150/0

20%

25%

30%

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Details of the horizontal blanking interval of the CB /CR bi -parallel datastream.

look at tomorrow's technology.

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broadcastengineering.com

35%

40%

www.scri.com

April 2001

www.americanradiohistory.com

data packet. Audio data derived from two channel pairs (two AES data streams or four individual audio channels) are configured as an audio data packet consisting of: ADF: Ancillary data flag consisting

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AES audio: 24 bits;

ERROR

CLK

ADF

CHANNEL

CHANNEL

CHANNEL

2

CORRECTION

CHANNEL 4

3

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flag: One bit common to the two channels of the pair derived from the preamble of the AES datastream. A. shown, the 29 bits of each channel

4

4

4

6

1

The structure of an audio data packet.

of three words 000,3FF,3FF; *DID: One data identification word.

Table

1

bit;

U: One user bit; C: One channel status bit; P: One parity bit;

Typical Bit-assignment of Audio data (Reference Figure 2 and 3)

Value depends on the respective audio

Bit Number

group;

UDW2

UDW3

UDW4

UDW5

b9 (MSB)

not b8

not b8

not b8

not b8

b8

even parity (1)

even parity (1)

even parity (1)

even parity (1)

b7

and 3

and 11

and 19

P

b6

and 2

and 10

and 18

C

b5

and

CS: One checksum word.

and

9

and 17

U

b4

and 0(LSB)

and

8

and 16

V

The UDW consists of three types of data:

b3

CLK: Two audio clock

Z

and

7

and 15

and 23(MSB)

b2

0

and

6

and 14

and 22

b1

0

and

5

and 13

and 21

b0(LSB)

0

and 4

and 12

and 20

DBN: One data block number word; DC: One data count word; UDW: 24 user data words UDWO to UDW23;

and phase

data words UDWO and UDW1;

CHn:

16 words

UDW2 to UDW17 identifying the four audio channels of a group; ECCs: Error correction codes consist ingof six data wordsUDW 18 to UDW23.

NOTES

(1) Even parity tor b0 through b7 (2) Z = AES block sync (3) U (4) P

AE5IEEU DATA STREAM

o-

Frame

AES user bit of channel

parity bit of channel = 24 -bit AES audio data of channel (6) V = AES channel status bit (7) The value of V, U. C and Pis equal to that of the respective AES subtrame

Table

1.

Typical bit assignment of audio data. (Reference Figures 2 and 3.)

not permitted on lines 8 and 570. Figure 3 shows the manner in which an audio packet is formatted from two AES datastreams (e.g. 1 and 2). The audio of each channel consists of 29 hits as follows:

1

i

SUBFRAS2

SUEFRAME1

CHANNEL

=

= AES

(5) aud(0 -23)

Embedding the audio packets Audio data packets are multiplexed into the HANG data space of the Ctd CR bit -parallel datastream with the exclusion of the line right after the switching line to avoid possible audio clicks. In the 1125/60 format the switching point exists in lines 7 and 569, hence the audio data packets are

-

Y

I

CHANNEL

2

-:

AESIEEU DATA STREAM SYNC 1 BIT

Aux

AUDIO m BITS

4 SIT

V

u

C

1

P

SYNC

IMT

Aux 4 BIT

AUDIO 20 BITS

V

U

C

FRAME

P

UBFRAME ASS ZU UNEASE

AES

tUMME

i

SUEFEAME2

I

P4

BITS

CHANNEL

SYNC BIT

,

Ux SIT

AUDIO 20

AES

ADF 13

Figure

36

3.

CLN

ASSI CHANNEL I

AES, CHANNEL

AEU 2

CHANNEL

SDI

I

CHANNEL

SYNC AUX 4 MT 4 BIT

u

'USE MME

AUDIO V

70 BITS

u am

u SITS

AES1 CHANNEL

2

2

11

a

Audio data packet formatting from two AES /EBU datastreams.

broadcastengineering.com

April 2001

www.americanradiohistory.com

u

C

are embedded into four 10 -bit words.

Table

shows the typical manner in which the 29 channel bits are embedded in four 10 -bit words, in this exam1

ple UDW2, UDW3, UDW4 and UDW5. This representation is for one audio data packet carrying four audio channels from AES /EBU datastreams 1 and 2. Carrying 16 audio channels requires an additional three audio data packets containing, respectively, data from AES /EBU datastreams 3 and 4 (four channels), 5 and 6 (four channels) and land 8 (four channels). Each group of four channels is identified by the DID word. Embedding of audio control packets Audio control packets are multiplexed into the HANG data space of the Y bit- parallel datastream. They are transmitted once every field in the second line after the switching line, respectively on lines 9 and 571. The audio control packet contains data used in the process of decoding the audio datastream. Figure 4 shows the structure of the audio control packet.

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It consists of: ADF: Ancillary data flag consisting of three words 000,3FF,3FF; DID: One data identification word. Value depends on the respective audio group; DBN: One data block number word; DC: One data count word; UDW: Eleven user data words UDWO to UDW 10; CS: One checksum word.

Conclusion HDTV audio embedding as described in the SMPTE 299M sets the standard for future studio appli-

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á

ADF

p

LL

U.

LL «LLi

cations which require at least six audio channels (5.1).

3

In this example we have described the

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1

1

DEL3-4

RSRV

1

3

1

N f7 O

1

OD

3

3

Ern.)

2

1

Figure 4. The structure of an audio con rol packet.

HDTV audio embedding as described in

the SMPTE 299M sets the standard for future studio applications that require at least six audio channels. The UDW consists of five types of data: AF: Audio frame number data; 'RATE: Sampling rate; ACT: Active channels; DEL m-n: Indication of the amount of accumulated audio vs. video delay; RSRV: Reserved for future use.

1

DELI-2

o b 10 r 01 DD óMDó óMDó óDDó ó> ó> ó> O

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á

manner in which audio is embedded in a 1920x10801 HDTV format- Other formats described in the SMPTE 292M Standard have different horizontal blanking structures and the audio embedding will differ somehow from the example discussed here. As in SDTV

embedded audio applications there is always the possibility of getting audio clicks with live source switching, so an enlightened decision needs to be made whether to embed or not to embed. Michael Robin, former engineer with the Canadian Broadcasting Corporation's engineer ing headquarters, is an independent broadcasting consultant in Montreal, Canada. He is the co- author of Digital Television Fundamentals published by McGraw -Hill. The Second Edition of Michael Robin's book may be ordered directly from the publisher by calling 800- 262 -4729. It is also available from several booksellers.

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Computers & Networks

Cable and wiring for LANs BY BRAD GILMER

There has been a definite increase in

the amount of networking technology installed in television facilities around the world. The reasons for this are clear. Over the last three years, network speeds have increased by a factor of ten. Technologies on the horizon promise another tenfold increase in 18 months or so. At the same time, consumer demand for these technologies has driven the prices down dramatically. 10Base -T hubs are now in the $20 range, 100Base -T hubs can be had for $125, and Gigabit Ethernet hubs are now available for around $1500. This low -cost, high -speed network technology has moved networking into the fast lane. Basic topologies Ethernet is by far the most common technology in use today. Fibre Channel and ATM are also finding their

way into the television plant. While Ethernet and Fibre Channel are used widely within a facility, with a few exceptions, ATM is generally employed to connect one facility to another. There are four basic topologies

employed in computer networks today. These are point-to- point, star, Thinnet, and switched fabric.

deal with this problem is to employ two loops. Another way that designers deal with this problem is to move to the star topology depicted below.

Point -to -point

Figure illustrates point -to -point topology where each node is directly connected to the next without any intervening hardware. The most common systems using this topology are I

Star

Figure 2 illustrates star topology where each node is connected to a hub or concentrator. This is the basic building block of most Ethernet deployments.

Over the last three years, network speeds

have increased by a factor of ten, with another

tenfold increase in 18 months or so. fiber channel arbitrated loop (FC/AL) and token -ring. Point -to-point topology is low -cost, but it has a big drawback. It is subject to many single points of failure. Since each computer is connected to the loop, a failure of any cable, any computer, or any network interface card can cause all computers to be unable to communicate. A common way to

It is also used in Fibre Channel net-

works when designers want to protect the user from the problems described above. A disadvantage of star topology is its somewhat higher cost. A big advantage of this topology is that all most all hubs can isolate a faulty node so that this connection does not affect other computers attached to the network.

i

0 Fol

0

Figure

40

1.

0

Point -to -point topology

broadeastengineering.com

loose's' Foil hub

Figure 2. Star topology

April 2001

www.americanradiohistory.com

Sometimes you can have it all. IBrad d Donna have a big decision to make... I

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Of course, the hub is a single point of failure, and steps should be taken to minimize risk in this area. Thinnet Figure 3 illustrates Thinnet topology in which all computers connect to a common cable. Thinnet is based on RG -58 Coaxial cable, "T" connectors

and 50 -ohm terminators. This topology was very popular a number of years ago, but is now largely obsolete.

Thinnet is inexpensive, but if connection fails, it will affect all computers on the network. Also, termination of cables is time -consuming and prone to error. Furthermore, Thinnet typically costs more per connection than other technologies available. Switched fabric

The fourth topology is switched fabric. (See Figure 4.) Switched fabric topologies are commonly used in

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With the exception of switched fabric topology, as the number of nodes on the network increases, performance decreases. This is because these networks connect everyone together on one big party line. As with an old -style telephone party line, if more than one person talks, it can he very confusing to determine what is being said. In the past, network designers resolved this problem by keeping individual network segments small. They connected a number of segments together with bridges to build larger networks. (Bridges isolate the chatter on one network segment from another and only send messages across segments when required.) This solves the party line problem to some extent, but it does not fix it entirely. If you are unfortunate enough to share your segment with a fileserver, graphics workstation, or other high- bandwidth user,

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switched networks such as Ethernet or Fibre Channel and ATM. Switched networks can provide the highest aggregate bandwidth of any topology currently available short of dedicated point -to -point networks. Switched fabric networks will be the basis of most high -speed networks of the future.

broadcastengineering.com

April 2001

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switched fabric and other topologies? The biggest difference is that a switch can give you a dedicated full -bandwidth segment all to yourself. This means that if you are running a 10 -, 100 -, or 1000MB network, you will have access to all that bandwidth (less overhead, of course). Another big difference is that, once you go to a dedicated segment, you are able to use full duplex communications - that is, you can send and receive data at the same time. Remember that in other systems, one person talks while everyone else listens. Furthermore, in particularly heavy usage situations, you can install more than one network connection to a device to provide simultaneous dedicated full bandwidth connections.

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Wiring Most networks today

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shielded twisted (UTP). Fiber is also gaining in popularity, but that is a subject for another article. UTP is popular because of its low cost and ease of installation.

rag-f

rnFigure 3. Thinnet topology

However, there are

Figure

4.

Switched fabric topology

Figure 5 illustrates how you might construct a switched network to provide very high bandwidth connectivity to a server and a graphics client while providing conventional connectivity to typical desktop users. Note that the server is given two 100Mb full duplex connections to the switch. Because it is the only computer on these nodes, it has the full 100 megabits available on each link. It is possible to add more than two cards to a server, increasing the available network bandwidth even further. (There is no point in increasing the network bandwidth if the server has I/O or other limitations.) Second, note that the graphics workstation has a dedicated 100Mb full duplex link to allow it to exchange very large files with the server. Third, note that the Ethernet hub provides desktop clients access to the same high performance server, but over much slower 10Mb shared links. Finally, note that the graphics workstation can consume all its available network bandwidth to the server without affecting any of the desktop connections.

44

broadcastengineerinq.com

some things to be aware of. If you are planning a new network installation, be sure that you build it with CAT 5E components. (CAT 5 was the rating for network installations up to 100Mb/s. Cat 5 has been Extended for use up to 1000Mb /sec or one Gigabit. The "E" in CAT 5E stands for Extended.) CAT 5E assures that your wiring will be capable of supporting Gigabit+ Ethernet speeds. If you use CAT 3 or conventional telephone cable, you are asking for problems. I once had a network installation that was built with CAT 5 components, all except for a jumper panel that used some flat ribbon jumpers. The jumpers were not CAT 5 rated. As a result, the network was unpredictable, and in some cases, would not function at all. Replacing the non -rated jumpers with

CAT 5 components fixed the problem. You might save some money by purchasing less expensive wire, terminating blocks or patch panels, but in doing this, you may be exposing yourself to problems down the road. When you look at the total cost of a network installation, wiring and components are frequently a small part of the total cost of the system. As network speeds increase, new technologies building on this speed emerge. Storage Area Networking or SAN is one example. SAN is shared storage where the storage in a computer or server is physically separate from the computer itself. Multiple computers can connect to the same storage across a high -speed network. One can easily imagine a high -speed network with SAN to provide access to a pool of

shared storage. Nonlinear editors, graphics workstations and other systems could share the storage. Such designs were not possible just a few years ago. New networking equipment and techniques are being developed all the time. One thing is for sure - broadcasters will be at the forefront of this technology employing high speed networking in video applications. Brad Gilmer is executive director of the AAF Association and president of Gilmer & Associates, a broadcast consulting firm.

Send questions and comments to: [email protected]

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Streaming Media

Audio and video compression BY STEVEN M. BLUMENFELD

Those of you who have been reading my columns for a while know I have often pontificated on the wonders of audio/visual compression. Also you have read my views on content not really being useful unless it can be characterized and found. Over the years I have written about companies like Virage that have been working on systems to automate the classification and recognition of content. I find myself smack dab in the middle of yet another hot area speech and data recognition. So I look to my old friends on the MPEG committees once again for help with standardized data models that describe content. Its current thrust is MPEG -7, the completion of which is scheduled for July 2001. MPEG -7, formally named "Multimedia Content Description Interface," aims to create a standard for describing the multimedia content data that will

of the information's meaning and can onto or accessed by a device or a computer code. According to the official MPEG website, MPEG -7 is not aimed at any one application. It will provide standardized support to a broad range of applications. MPEG -7 tries to solve the problem of searching and managing huge amounts of digital data. The question of identifying and managing content is not just restricted to database retrieval applications such as digital libraries but extends to areas like broadcast channel selection, multimedia editing and multimedia directory services. While audio and visual information used to be consumed directly by humans, increasingly audio/visual information is be passed

-

created, exchanged, retrieved and reused by computational systems. Image

understanding (surveillance, intelligent vision, smart cameras, etc.), media conversion (speech to text, picture to speech, speech to picture, etc.), information

support some degree of interpretation

Application APIs Description

Decoder Compression Layer

Reconstruction

T BiM/Textual Parsing

retrieval (quickly and efficiently searching for various types of multimedia documents of interest to the user) and in-line filtering of content receiving multimedia data items which satisfy the user's preferences) represent specific computer uses of this information. The goal of the MPEG -7 standard is to develop forms of information representation that go beyond the compression -based (such as MPEG -1 and MPEG -2) or even objects -based (such as MPEG -4) representations. Since the standard can be passed onto a device or a computer code, content encoded in the MPEG-7 standard could be referenced in many different ways. Possibly a verbal reference to a news item, such as "Florida elections," could bring up your latest newscast on the recount. The MPEG -7 descriptions do not depend on coded representation of the material. The standard builds on MPEG -4, which provides the means to encode material as objects having certain relations in time (synchronization) and space (on the screen for video, or in the room for audio). If the material is encoded using MPEG -4, it will be possible to attach descriptions to elements (objects) within the scene, such as audio and visual objects. The committee decided to base the textual representation of content descriptions on the Extensible Markup Language

IMultimedia

1 Upstream

streams

Data

Describe Elementary Streams

(XML)

as the language

of choice.

The growing popularity of XML usage on websites to describe and collect data will facilitate interoperability in the future. WhenMPEG -7 is fully implemented, it will make the Web as searchable for multimedia content as it is searchable

for text today. This would apply especially to large content archives, enabling people to easily identify content. The

} r

Multiplexed Streams'

Transmission /Storage Medium Figure 1. MPEG -7 aims to standardize the syntax of metadata across applications.

48

broadcastengineering.com

April 2001

www.americanradiohistory.com

information used for content retrieval can be used by computational agents for selection and filtering of personalized material. On the consumer side new applications based on MPEG -7 descriptions will allow

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fast and cost-effective usage of the underlying data. My favorite would be an application that allowed semi- automatic multimedia presentation and editing. The information representation specified in the MPEG -7 standard provides

the means to represent coded multimedia content description information. The entity that makes use of such coded representation of the multimedia content

and descriptors. The DDL defines the syntactic rules to express and combine description schemes and descriptors. The DDL has to be able to express spatial, temporal, structural and conceptual relationships between the elements of a DS, and between DSs. It must provide a rich model for links and references between one or more descriptions and the data they describe. In addition, it must be

If there's not a way to describe, characterize and find content, does it really exist? generically referred to as "terminal." 1 shows, the delivery layer encompasses mechanisms allowing synchronization, framing and multiplexing of MPEG -7 content. The transport/storage of data can occur on a variety of delivery systems. The delivery layer demixes data so it can provide the compression layer with elementary streams. Elementary streams consist of consecutive individually accessible portions of data called access units. An access unit is the smallest data entity to which timing information can be attributed. At the compression layer, the flow of access units is parsed and the content description is reconstructed. Access units are structured as commands encapsulating the description information. Commands provide the dynamic aspects of the content. They allow a description to he delivered in a single chunk or to be fragmented in small pieces. They allow basic operations on the content such as updating a descriptor, deleting part of the description or adding new Description Definition Language (DDL) structure. The main tools used to implement descriptions are Descriptors (Ds) and Description Schemes (DSs). Descriptors bind a feature to a set of values. Description schemes are models of the multimedia objects and of the universes that they represent, e.g. the data model of the description. They specify the types of the descriptors that can be used in a given description and the relationships between these descriptors or between other description schemes. The DDL forms a core part of the MPEG -7 standard. It provides the solid descriptive foundation by which users can create their own description schemes is

As Figure

50

broadcastengineering.com

platform and application independent and human- and machine-readable. A DDL Parser capable of validating description schemes (content and structure) and descriptor data types, both primitive (integer, text, date, time) and

composite (histograms, enumerated types), is also required. The purpose of a schema is to define a class of XML documents by applying particular constructs to constrain their structure: elements and their content, attributes and their values, cardinalities and data types. Schemas can be seen as providing additional constraints to DTDs or a superset of the capabilities of DTDs. XML is an excellent choice to adopt as the basis for the DDL because of its potential widespread adoption and the

availability of tools and parsers. As XML was not designed specifically for audio /visual content, certain specific MPEG -7 extensions are required. Descriptors The MPEG -7 descriptors describe

the following types of information: low -level features such as color, texture, motion, audio energy and so forth; high -level features of semantic objects, events and abstract concepts; content management processes; and information about the storage media. It is expected that most descriptors corresponding to low -level features will be extracted automatically, whereas human intervention will be required for producing the high -level descriptors. The DSs are categorized as pertaining specifically to the audio or visual domain, or pertaining generically to the description of multimedia. For example the generic DSs correspond to immutable

April 2001

metadata related to the creation, production, usage and management of multimedia, as well as to describing the content directly at a number of levels including signal structure, features, models and semantics. Typically, the multimedia DSs refer to all kinds of multimedia consisting of audio, visual and textual data, whereas the domain- specific descriptors, such as for color, texture, shape, melody and so forth, refer specifically to the audio or visual domain. As in the case of descriptors, the instantiation of the DSs can in some cases rely on automatic tools, but in many cases will require human involvement or authoring tools. In this new paradigm we are given a glimpse of a world in which all data/ content is accessible by various devices using real world descriptions/locators. With the constant influx of so much new content, if there's not a standardized way to describe, characterize and find it, does the content really exist at all? Does content exist, if there is not a system to fmd it? The majority of this article was taken from N3752- Overview of the MPEG -7 Standard (version 4.0). For more on MPEG -7 go to www.cselt.it/mpeg/. Steven M. Blumenfeld is currently the GM/ CTO of AOL Nullsoft, the creators of

-

Winamp and .SHOUTcast.

Encoding for

broadband By Laura Collins,

Associate Editor

Zapex recently introduced the ZP -330 and 230 MPEG -2 video and audio encoders

for digital compression.A new Program Stream feature allows for the encoders' use in broadband and streaming applications, while the Transport stream is used

for broadcast and cable applications.The ZP -330 is able to encode

video and

Dolby digital audio simultaneously. On-

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Encoder chips improve image quality and reduce bit rates by using multiple

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NATIONAL E O G RA.PH I C CHANNEL Base Camp Studio II

By Paul Rogalinski and

Adam Semcken

all 24 -hour cable channel start -ups launch with the luxury of a powerful brand name like The National Geographic Society. With over 100 years NNut

of successful magazine distribution, an internationally recognized logo and the successful show, Explorer, already in widespread distribution, The National Geographic Channel was poised to take the next logical step. When setting out to conceive, design and build a 24hour cable start -up production facility the most important steps occur at the beginning. Identifying top level goals for the facility, selecting the project team and establishing an on -air deadline frames the structure for the undertaking.

The production control room, shown above, serves as the central hub of the National Geographic base camp facility. with all support rooms (CER. Playback. Audio Control. Video Control) located immediately adjacent. Photos by Anice Hoachlander.

Project planning Partnering with FOX Broadcasting, the National Geographic Channel assembled a team of consultants, project managers, architects and designers to build their new "hase camp" studio in Explorers Hall at NGC headquarters in Washington D.C. Andrew Wilk, executive vice president of Programming, Production and News, established the team and led the effort to bring a state -of- the -art image of The National Geographic Society to air. Janson Design Group Architects, Production Design Group and Lighting Design Group were brought aboard to design the structural, architectural, acoustic and signature on -air look of the glass -enclosed, street -level studio. The National Geographic Channel identified several key technology requirements for their new facility. They wanted a flexible approach to systems design, a growth- oriented facility based on a digital platform and a backbone that could make the transition to high definition in the future. The Systems Group (TSG) was selected to join the team in early February and began the conceptual design effort to address these goals. TSG helped to refine NGC's staffing model and budgetary operational costs, as well as investigating choices for playback format, edit platform and facility connectivity. Concurrently, TSG's engineering and planning departments began developing the top -level systems design, signal flow, project timeline and detailed equipment schedule that would be necessary to build the facility. The effort associated with building a new facility, free of established paradigms and legacy commitments, presents different challenges than an entrenched

April 2001

broadcastengineering.com

53

broadcaster or existing operation. As the National Geographic Channel facility began as a clean sheet of paper, the goal was to implement a design that utilized established technology while taking advantage of newer methods and systems where appropriate. Several vendors, manufacturers and tape formats were considered during the conceptual design efforts. Price and performance factors, as well as service history and reliability, were integral to the selection process. The resulting equipment and technology complement was based on a proven SDTV core with infrastructure capable of supporting uncompressed HDTV, as well as alternate data -based transfer and interconnect methods. Technical facilities

The National Geographic Channel facility core operates within the CCIR601 specification, allowing both SDI video and SDTI data transfers. The infrastructure is based upon Belden 1694A coax and ADC MVJT-series coaxial jackfields. This, in conjunction with stringent adherence to cable management standards providing a 4 -inch minimum bend radius, will allow the facility to pass uncompressed SMPTE 292M throughout the core. AES -31D coaxial audio is the plant standard, allowing for future use of both Dolby E and AC -3 compression schemes. Digital audio parameters are standardized to 48kHz sampling, 24 -bit, -20dBfs reference level. The facility routing core is based on the Philips Venus 2001 architecture. The Venus 2001 serial video matrix is configured for wideband operation, allowing ASI, 270Mb/s and 1.485Gb/s operation. As systems design efforts proceeded, The Systems Group worked closely with Janson Design Group to establish all aspects of the room requirements for the facility. Workflow, equipment and personnel heat loads, humidity levels, HVAC requirements, power needs and cable access were evaluated for each of the proposed technical spaces. Fit and finish details for the control room areas were developed to complement the studio look and address the ergonomic needs of the operators. Finally, an overall facility layout including detailed room descriptions was

54

broadcastengineering.com

.4i'^

d extensive

photographic

National Geographic Society.

created based on the operations model established earlier. The team decided that the street -level facilities would include a studio, production control room (PCR), audio control room (ACR), video control room, tape playback room and central equipment room (CER). The 8000 square -foot studio would be separated from PCR by a wall of glass, so that on- camera views could include activities in the control room. The second floor of the new facility would include six nonlinear edit rooms, a media library (which would serve as a duplication and tape storage center, as well as a shared tape source for the edit rooms) and a graphics center (GFX). The graphics room would be located near the edit rooms for efficient operational workflow. Connectivity to support

April 2001

www.americanradiohistory.com

areas on the campus includes the main auditorium and an insert studio in the M Street building. The project schedule specified construction completion to occur in phases so the integration team would get access to the 27 -rack central equipment room and three of the six edit rooms in late August. This allowed TSG technicians to begin work on the core facility router, reference head end, intercom and transmission wiring while general construction continued on the rest of the facility. The remaining rooms were turned over roughly every two weeks. Subsystems for each area were fabricated, tested and packed at TSG in Hoboken and then delivered to the site for installation. Due to the shared construction environment, a final walkthrough

held out to the final lap

www.americanradiohistory.com

operator is responsible for painting the set monitors. This is accomplished with Videotek SDC -101 color correctors and Vistek V1642 processing amplifiers. Facility triax patching is provided in VCR, using Trompeter JSI24W triaxial jackfields. Panasonic DVCPRO represented the best systemic implementation for the facility. Field tapes shot on DVCPRO camcorders are ingested directly into the NewsBYTE edit systems, without a resultant compression path. The finished NewsBYTE element can be transferred directly to a GVG PDR -404 DVCPRO Profile file server, again within the data realm, for playout. Six identical Panasonic NewsBYTE NLE edit rooms are located on the second floor of the facility. The VTM -190 feeds into a 21 -inch SVGA monitor, identical to the main bin monitor for the NewsBYTE, eliminating all color temperature and chromaticity inconsistencies. A Panasonic BTM -series broadcast monitor is included for NTSC confidence. The Graphics Center is located adjacent to the NewsBYTE edit rooms and is outfitted with a Quantel Paintbox F.A.T., Chyron Maxine, Ross CDK -104 and three Apple PowerMac G4 CPUs with

Project Team National Geographic Channel Andrew Wilk, Executive

A view into the video control room from production control. The VCR utilizes four Ikegami HL -45 camera systems, Videotek SDC -101 color correctors and Vistek V1642

processing amplifiers.

V. P.,

Programming, Production & News

Janson Design Group LLC Dennis Janson, Architect Joe Montalbano, Acoustic Designer Production Design Group James Fennhagen, Set Design

Lighting Design Group Steve Brill, Lighting

Systems design and integration The Systems Group Project Manager Adam Semcken, Project Engineer Paul Rogalinski,

Darwin Clermont, Integration Supervisor Jim Tome, Jr. Project Engineer Larry DeFazio, Lead Technician

Installation technicians Alex Blanding Tashon Boone Skip Hughes Will Jimenez Steve Losquadro Jose Morales Bob Schanz Joseph Kiernan

58

broadcastengineering.com

Digital Voodoo's D1 Desktop 64AV uncompressed capture board. The Ross CDK -104 keyer is used for video -based still image compositing.

providing SDI and AES signal paths. The National Geographic Channel launched Jan. 1, 2001, on DirecTV from their new Base Camp Studio. The set

The graphics room would be located near the

edit rooms for efficient operational workflow. Also on the second floor, the Media Library serves as the VCR hub for all post -production requirements. A pool of seven source decks and four VHS target decks round out the system. All VCRs within the Media Library are interconnected to a Leitch X -Plusseries router through NTSC and stereo analog audio interfaces, while the

digital machines are connected to the core routing system, simultaneously

April 2001

elements, core systems technology and facility workflow efficiencies can be seen on the daily NGC broadcasts, the results of a successful project team. Paul Rogalinski is a project manager at The Systems Group. He was Project Manager for the National Geographic Channel Base Camp studio construction. Adam Semcken is a senior project engineer for The Systems Group and was the project engineer on the National Geographic Channel Base Camp studio construction.

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ncing D Shopper

by Mark Siegel

Broadcast Network is among the busiest broadcast networks in existence. While a traditional broadcast network today puts out between one to five signals, RBN pumps out 3000 programming signals of information 24 hours a day from its new all -digital Internet Broadcast Operations Center (BOC). In addition, RBN has the ability to pump out close to three times that amount due to the system's expandability. eal

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Real Broadcast

Network's

Internet Broadcast Operations Center

Real Broadcast Network employees at the RBN Event Management System for proprietary traffic and billing. This is the main area of the IBOC control room.

60

broadcastengineering.com

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With its integration experience and expertise in mind, Digital System Technology was brought in by RBN to help modernize its facilities. The network was operating with an antiquated analog system, and the goal was to upgrade its facilities into a forward -looking, fully digital streaming media center with a design created around the notion of the entire system being automation capable. Utilizing a palletization technique to reduce on -site integration and installation time, a complete digital core was constructed and tested featuring all necessary processing equipment offsite before it was moved into the roughly 1800 -square foot space created for the Internet BOC. Space directly adjacent to the analog studio was used for the new BOC. Though it was challenging to work with the limited space available for the new center, limited power proved to be a tougher obstacle. However, as the RBN building is an expansive 286,000

Custom- designed Pinnacle StreamFactory encoders for audio and video developed specifically for RBN.

-

challenge, the system had to be brought up quickly approximately 45 days from the execution of order to go online. The new system had to be put

RBN pumps out 3000 programming signals of

information 24 hours a day from its new all -digital Internet Broadcast Operations Center (BOC). square feet, additional power from other sections of the building was tapped with the help and expertise of an electrical contractor. On top of this

online while working around RBN's existing 24 -hour broadcasting schedule, which entailed building consoles, setting up workstations, and tearing

Racks of Symetrix 422 and 221 auto -levelers and other terminal equipment. The Symetrix units feature adjustable auto -leveling and automatic gain control.

62

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April 2001

www.americanradiohistory.com

down existing equipment while people were working on the equipment being torn down. At completion of the new BOC, the majority of the analog equipment was gone. With the new BOC, RBN is the first organization in the country to execute the full analog -to- digital conversion, including the digital processing and encoding of a digital signal directly to the Web. Another unique aspect of this system is that it marks the first time a streaming media company seriously considered and then implemented noise reduction within the streaming path. For this entire process, DST integrated Snell & Wilcox IQ Modular Series products with adaptive comb filters for decoding, frame synchronization and noise reduction purposes. Snell & Wilcox rack -mounted Kudos series converters were installed for the A/D conversion occurring directly from the satellite. After conversion, the noise reduction process begins. By using noise reduction, the encoding process for RBN is much easier on storage and in streaming bits. Pinnacle Systems developed the system's encoders specifically for RBN, which funded the development of the product. (Though it consulted on the development of the encoder and integrated it into the system, the encoder selection was the only part of the system that did not come through DST.)

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control and satellite recording system. RBN programs its internal scheduling and billing system, which directs the CompuSat system to preprogram all satellite feeds coming through the facility. The process of recording and receiving the satellite feeds is thereby au-

1114fi .1:1464-17:41"""1

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CompuSat

steers the satellite dishes and tunes the receivers,

bringing the programming seamlessly and directly into the facility. For 4111110ftom

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A rear

view of the ADC audio patchbay setup (left) and the Symetrix auto -levelers (right).

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Routing RBN stressed the need for high -vol-

ume stream requirements from the start. A compact system had to be designed due to space issues, and the system had to be efficient and ultimately expandable. In the streaming media industry, there is a lot of redundancy within the streams, so that was addressed as well. Considering all of these factors, DST decided to install a Philips 64x64 serial digital matrix routing and switching system. However, this has since been upgraded to a Philips 96x128, opening the doors for RBN to handle 128 discrete streams through its Internet BOC. The expandability does not stop there: The facility has the capability with its current design to upgrade to a 256x256 routing system. The flexibility of the Philips routing systems is essential to the growth of this facility. Perhaps the most essential component DST implemented within the new BOC is CompuSat, an automated dish

64

broadcastengineering.corn

o

a

RBN, this is important because they stream live events more so than any competitor. Most facilities stream-

ing video for Internet broadcast record the event first and play it back later, which is exactly like a

system recently integrated

at Navisite.com. RBN instead receives a live satellite feed and sends it straight out over the Internet. RBN accepted the recommendations for all other essential integrated products, including Symetrix 422 and 421 auto -levelers, Ikegami monitoring walls and Circuit -Werkes phone couplers. The Symetrix auto-levelers were vital for the facility and desirable above all competitive units as they were the April 2001

www.americanradiohistory.com

only products capable of adjustable auto -leveling as opposed to strict, nonadjustable clamping. The auto- levelers feature automatic gain control to fix audio levels being fed from the phone couplers. The two- channel 422s repair the audio by raising or lowering the levels as needed before feeding the signals into the Philips routing system, and as mentioned, are manually adjustable. RBN is also using the Snell & Wilcox RollCall Network Management and Control system to provide a continual real -time display of the status on the entire system's equipment. This software also allows many of the system's components to be fully flexible and controllable over a WAN. Essentially, if RBN were i to open more facilities in the future, operators could control all aspects of the switching and routing and adjust the processing equipment from one central location through the existing network. When it came time for launch in August 2000, there were the inevitable few hiccups. As the sparking of each new facility is unique, a few problems are normal. The main issue was crosstalk within the phone coupling setup. Signals were mixing across coupled phone lines, creating a challenge that would prove most difficult to address. DST developed an isolator that separated the signals and confined them to their own lines. Another problem that was minor in comparison was the need to switch the auto -leveler models initially provided by Symetrix to another model better suited for this facility. An added bonus of this system is that it is moveable. Due to DST's palletization technique, the system can be broken down in two days, relocated and reinstalled in its current layout within seven days. Therefore, if RBN ever outgrows its current facility space and needs to move to a larger building, DST can smoothly relocate the facility. Mark Siegel is vice president ofDST, Washington.

MT°.

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all new Azden 1000 Series, featuring the 1000URX receiver, 10008T bodypack transmitter, and 1000XT plug -in transmitter, delivers performance and features usually associated with systems costing thousands more. The sleek

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Proprietary DLC (Diversity Logic Control) circuitry for reduced dropouts. State -of- the -art dielectric filters throughout, for improved image rejection and superior diversity isolation High 5th order filters for improved S/N ratio.

Multi- function LCD shows channel number and frequency. battery info, AF level, and diversity operation. Ultra small, lightweight, and externally powered. Mic /Line -out switchable, Earphone -out w /level control. Bodypack transmitter (1000BT) with reduced current -drain for improved battery life. is availble with Azden EX -503H. Sony ECM -44H or ECM-55H. Plug -in transmitter (1000XT) works with dynamic or phantom power mics.

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na bashed enthusiasm

for sports programming, with all its variety and action, has propelled the Fox Sports Network (FSN) to the attention of most sports TV viewers. FSN is distributed through a network of regional cable channels and is currently building on a base of 62

million homes in the U.S. and over 8 million homes in the Latin American market.

Fox Sports Net

In response to the demands for additional programming and the desire for a digital redesign, the network has expanded its

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existing operations by implementing an innovative network communications scheme and incorporating new digital television interconnection solutions. Driven by the national production needs of The Regional Sports Report, FSN evaluated numerous technical

Francisco. The completed ATM network and operation enables, manages and transfers programming services among its distributed partners around the country. The turnkey engineering design tasks included the development and delivery

network design is also equipped with effective signal management solutions to address its mission critical communications requirement. Redundant DS-3 and OC -3 circuits are utilized to keep

potential telecommunications interruptions to an absolute minimum. transitions to the Fox Video Network (FVN) Driven by the fault tolerant nature of FSN

The new ATM network, the Fox Video

Network (FVN), includes 20 regional locations connected with the main FSN facilities in Los Angeles and Houston. strategies to create a new content distribution network. This broadcast project goes beyond the usual digital upgrade description because FSN decided to build its national network around ATM architecture. In fact, it is the first customer -controlled ATM/ Switched Virtual Circuit (SVC) -based system in the U.S. Using their groundbreaking networking capabilities, the network and its regional affiliates are now equipped to better leverage their collective regional and national sports programming to satisfy sports-hungry viewers everywhere.

of new signal and control systems at each bureau location. The substantial origination operations at the main locations in Houston and Los Angeles were engineered to meet the 24/7 operational requirement incorporating fault tolerant considerations. The new

broadcast designs, an exhaustive analysis of telecommunication and broadcast alternatives was conducted to evaluate a prospective broadcast -ready and cost effective solution. The key cost component of the FSN digital upgrade, beyond investments in new digital broadcast systems, centered on the utilization of a 500Mb/s guaranteed bandwidth solution built around a national ATM network. Older cost structure models for telecommunications circuits were giving way to this new aggregate bandwidth and pricing model.

Introduction to FSN I he Fox Sports Net main properties

include national production and origination facilities located in Houston and Los Angeles. Paired with those facilities are 20 regional FSN affiliate sports bureaus. These include joint ownership arrangements with industry players such as NBC, Cablevision, and Comcast. A new program, The Regional Sports Report, is a twice daily half hour show produced in nine regions and aired in all 22 regions that comprise FSN. After Fox considered several approaches to create and support a collaborative, production process, a TCP/ IP network emerged as a viable and cost -effective solution. FSN team decided on the new networking and communications architecture to share program information among the far-flung group partners and facilities including regional sports channels in New York, Washington, Chicago, Miami and San

68

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A national map is displayed of FSN's ATM SVC

April 2001

www.americanradiohistory.com

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It was determined that using TCP/IP protocols would be adequate for delivering MPEG file transfers but FSN also needed to use the network for multiple live streams mixed with the other less time -dependent video traffic. An analysis showed that ATM's Quality of Service (QoS) offerings could support various kinds of simultaneous network traffic. ATM can prioritize signals such as high priority live video streams that use a CBR connection alongside simple MPEG -2 file transfers that use ABR (Available Bit Rate) connections. ATM's

time-based guaranteed delivery capability along with its ability to integrate the local regions' OC-3 and DS-3 circuits provided FSN with an end to end networking solution that met all its communications needs. The provisioning of a guaranteed bandwidth solution was pursued through national telecommunications vendors. FSN finally chose the ATM architectural component based upon the long-term trends and selected a

cost -effective aggregate offering through Williams Communications.

The new ATM network, the Fox Video Network (FVN), includes 20 regional locations connected with the main FSN facilities in Los Angeles and Houston. FSN's leading edge approach and its cost -

effective underpinnings are bolstered every day by the phenomenal bandwidth expansion of the IP-based networking

that continues unabated, everywhere. The FSN plan to create a comprehensive design and to build new facilities at selective Fox locations proceeded. This project effort included a comprehensive solution to be integrated at each

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of the regional sports bureaus. FSN

worked closely with a team of vendors to develop important design and technical functions and to solve critical management and control problems associated with the new digital operation.

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Fox selected Communications Engineering, Inc., (CEI) to design, engineer and integrate the FSN facilities including the main Network Operations Center (NOC) in Los Angeles. Each of the 20 FSN regional affiliate locations also received an integrated ATM -based MPEG -2 system solution. FSN's new ATM -based network enables peer-topeer connections between all locations in the country and supports simultaneous, bidirectional transfer of program content and control signals. The major technical and vendor solutions used in the FSN network are Tandberg's comprehensive MPEG compression/decompression systems and Marconi ATM and TCP/IP network switches. FOX Sports Net approached Tandberg Television as a key component of the national video over ATM network due to Tandberg's turnkey solution for live streaming MPEG -2 video over ATM. Tandberg's comprehensive solution, which included sophisticated software management tools, was attractive since it enabled FSN to work with une vendor as opposed to several, therefore eliminating a number of potential incompatibility issues. The compression and decompression processing of program material is delivered through a series of encoders, decoders, and ATM network interface cards. Marconi (formerly Fore Systems) was chosen due to its carrier class ATM experience and extensive networking product line.

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FSN also desired to manage its own telecommunication network and Marconi's control software enables FSN to monitor and control its network of ATM switches located throughout the country. Communications Engineering Inc. (CEI), at its facility in Newington, Virginia, integrated the Tandberg and Marconi systems along with other broadcast technologies such as routing, monitoring, communications, and test & measurement solutions. A self- contained system was designed and built for each of the 20 FSN regional affiliate locations. In the initial phase, FSN deployed 40

of Tandberg Television's E5610 encoders and 85 Alteia decoders. At each of the regional sites, original analog or digital program material is passed into an E5610 encoder, an MPEG -2 DVB compliant compression engine, which produces a DVB ASI transport stream. With a built -in ATM Network Interface Card, the E5610 encoder converts the DVB ASI transport stream to ATM packets through the encoder output, which feeds directly into the Marconi switches. The stream passes through a FVN connection link to another location's ATM Network Interface Card where it is converted from ATM packets back to a DVB ASI signal. The DVB ASI signal then becomes an input to the Alteia decoder, which outputs the original broadcast quality audio and video into a server or tape device. The FSN network

the relatively small footprint of technology that actually manages and monitors the distributed technology components of FSN's peer-to -peer network. The NOC was built near other Fox broadcast operations in Los Angeles with the main components consisting of an equipment center and control room that houses the video/ control display wall and operations consoles. A key consideration to the 24/7 operation is the FSN control and monitoring of all systems and locations comprising the FVN. The NOC uses a series of comprehensive software management tools designed into consoles in the main NOC room and displayed on a sophisticated monitor wall. Master Control display The custom monitor wall and operators consoles designed by CEI incorporate a combination of 9- and 14inch broadcast monitors, flat panel computer displays, and eight 50 -inch LCD Rear Projection Displays. The display systems are integrated with a multi image display system that allows the NOC operators to dynamically select a variety of video sources and control monitoring maps to be presented on the 50 -inch LCD displays. Prearranged combinations of inputs can he alternatively displayed or blended on the LCD rear projection screens to support simultaneous view-

ing of picture quality, individual component health status, or ongoing corn munications connections and traffic. CEI worked with FSN operators to design flexibility into the control room's consoles, monitor wall and monitor bridge fixture, and developed control software to streamline operations. FSN operators are provided efficient access to the NOC's extensive technical systems, analysis tools, signals, and communications controls. In order to keep track of the numerous program sources that appear on the presentation displays, a source identification system was incorporated into FSN's under monitor displays. Information to drive the source ID displays is derived from the routing and control switching systems. The NOC's control software polls the status of the various technology systems and presents color -coded alerts with specific FSN systems and locations identified. These alerts are superimposed on a national map thus aiding the FSN monitoring process. Color- coding (Green, Yellow or Red) as well as audible alarms immediately cue the operators to a telecommunications connection or equipment failure. The alarm and control management tools help the operators prioritize the multitude of activities being monitored across the widely dispersed but highly interdependent systems.

to pass professional contribution quality 4:2:2 audio and is designed

video at an average bitrate of approximately 20 Mb/sec. The high compression quality achieved with the E5610 encoder when paired with a 20 Mb/sec. transmission bi-

trate supports FOX Sports requirement to maintain exceptional video quality through multiple generations of encoded program material. NOC

The FSN Network

Operations

Center

could have been situated almost anywhere given

72

s

operations.

broadcastengineering.com

uwspiays ano sonware management systems provide up -to- the -second feedback on FSN

April 2001

www.americanradiohistory.com

You Are

1.4,1

TO THE PREMIERE PRESENTATION OF

-.i694 NETWORKED AUDIO SYSTEMS FOR TELEVISION BROADCAST AT THE

CONVENTION OF THE

NATIONAL ASSOCIATION OF BROADCASTERS

APRIL

23 -26, 2001

LAS VEGAS CONVENTION CENTER

BOOTH R -2741

- NORTH HALL

WWW.36OSYSTEMS. COM

Circle (139) on Free Info Card

Equipment list Bureau Locations APC Matrix UPS System EVERTZ small SDI Router

MARCONI /FORE ATM Switch MARCONI /FORE Ethernet Switch IKEGAMI 9" Color Video

Monitor IMAGE VIDEO Under Monitor Display

LEITCH Xplus LEITCH Frame and Signal Processing Systems

TANDBERG VAM ClipCourier TANDBERG MPEG encoders PANJA (AMX) Systems The center was modelled to optimize operators' functions, which includes systems monitoring of remote news bureau locations.

Monitoring and software controls The ¡wonitoring system for the TCP/IP network is built around the SNMP (Simple Network Management Protocol) and uses Hewlett Packard's Open View software system. FVN's in -band monitoring and control signals utilize the same ATM network connections and systems as the programming. The following software monitoring tools help FSN to iden-

The NOC also uses I oreView software from Marconi to manage the distributed ATM systems and network devices that link servers, workstations, and telecommunication circuits distributed throughout the country. The FSN operators are presented with location maps illustrating the operational status and health of the widely distributed ATM and TCP/IP network technology

ROSS encoders

TEKTRONIX Serial Digital Component Monitor WOHLER monitors RTS

TW Communications

System

NOC BEST POWER

Axxium UPS

System CEI Monitoring &

CEI Custom Display and

Monitor Wall CEI Monitoring &

Flexible peer-to -peer communications

arrangement enables the FSN partners to share programming material without direct and constant intervention.

Control

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Console EXTRON Computer Video

Distribution System MARCONI/FORE ATM and Ethernet Switches HAFLER Power Amplifier

IKEGAMI 9" & 14" Color

Monitors

tify nonperforming systems, efficiently address operations issues, and timely facilitate smooth network operations: As part of an end -to-end solution, FOX Sports Net utilizes Tandberg Television's new control software, Cortex, to support system control, monitoring, scheduling, resource and bandwidth allocation. With its client- server based architecture and comprehensive feature set, the Cortex software solution enables FOX Sports Net to implement the centralized monitoring and control procedures required for the extensive switched video network

74

broadcastengineering.com

that comprises the Fox Video Network. CEI designed and developed a Panja (AMX) -based control system that monitors the health and controls the operation of each regional site's rack of broadcast technology. Any interruption of signal flow will provide a visual alarm on the national map that is displayed within the Fox NOC. While the NOC in Los Angeles monitors and maintains control over the performance of the national network, each regional sports bureau can and will create its own communications sessions with the other locations of the

April 2001

IMAGE VIDEO Under Monitor Display

LEITCH Xplus LEITCH Frames and Signal Processing Systems

LINK Genflex D/A Sync Generators McCURDY Audio Metering

MIRANDA Multi Image Display Systems

TANDBERG MPEG Encoders PANJA (AMX) Systems ROSS encoders

VIEWSONIC Flat -panel LCD displays

C/`ieef``afs

High -speed HD /SD routing switcher AliPow

64x64

.x256 512x512 11.1.1111Fr '

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he Cheetah provides a comprehensive solution to today's multi- format digital switching quirements. Engineered for HDTV operation. the Cheetah can also handle SDI signals in t e same frame. Each block of 16 inputs or 16 outputs can be either copper or fiber. Monitor rade video DAC outputs are available as an option an industry first! An ethernet control i

terface

is also

provided.

Four standard frame sizes, from 64x64 to 512x512 SDI or Multi -Rate (3Mb /s to 1.5 Gb /s) cards with reclocking Mix copper or fiber inputs and outputs in the frame Single or dual outputs C or -48DC power supplies L

PESA Switching Systems II

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Fox Sport Network. The flexible peer- to-peercom-

munications arrange-

sPe la

ment enables the FSN partners to share programming material without direct and constant intervention of the LA NOC operations staff. With the implementation of this ATM/SVC video network, the FSN controls its own feeds, manages its own resources and bandwidth allocation. An immediate advantage of this arrangement is that it elim-

ea dc

ale ga agt

The NOC Oversee* and monitors the operations health of the Fox Video Network. inates delays associated with scheduling and booking feeds from has more flexibility, reliability and con- FSN's future operational a

third party provider. Further, FSN has

realized significant cost savings associated with the ATM network compared to the transmission costs of a traditional satellite or point-to-point fiber network. By having a combination of dedicated

ATM/IP bandwidth capacity, encoders and decoders, and a network control system all operational 2417 from the NOC in Los Angeles, FOX Sports Net

trol while simultaneously lowering total operational costs. Above all, FSN is pleased about its current cost advantages and the performance of its ATM -based Fox Video Network. As FSN's experience grows, it is anticipated that additional Fox signals and programming will migrate to the FVN such as event backhaul and other more critical content distribution tasks.

efficiency will also increase due to the expected availability of increasingly lower cost IP network bandwidth services in the market. The reality of broadcast operations today is that you must do more and better with less, and that is a good description for FSN's upgraded facilities.

Steve Lewis is director

of sales and marketing

for Communications Engineering. Inc.

SELLING EQUIPMENT? GET IT SOLD: It's Fast and Easy on Digibid!

the professional equipment marketplace

www.digibid.com 02001 Digibid, an IndustryClick community. All Rights Reserved.

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April 2001

www.americanradiohistory.com

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in whole or in part without written permission is prohibited. Sony. Betacam. Betacam SP Betacam SX. DVCAM logo. HDCAM and Rewarding Recording are trademarks of Sony. All other trademarks are the property of their respective owners.

02001 Sony Electronics Inc. All rights reserved. Reproduction

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Transmission & Distribution

When the thunder dies away BY DON MARKLEY

The subject of lightning protection has been treated before in these pages (some would even say that it has been beaten to death). Therefore, let it be assumed that the tower has been

what happened. They are usually a little slow in noticing things that are subtle, such as lightning. If the chief engineer's job has been done well and the management has permitted

appropriately equipped with funny looking, spiny things; the ground system is appropriately bonded and buried; and

The standby power plant is expected to stay in

its own little room, be ignored and still spring to life to save the day. Sounds like the chief engineer, doesn't it?

all possible precautions have been taken.

And then, there is a blinding flash of light and a very loud bang when lightning hits despite your precautions. For a while, one will usually sit quite still in an effort to perform a quick inventory of one's own vital functions. Once it is realized that no injury has occurred, other than a possible need to change clothes, a few things will start to become apparent. First, there is a funny smell in the air. Hopefully, it will only be ozone and not smoke. The next few realizations come quickly. It is dark, it is very quiet, nothing is running and the production people are asking

reasonable funding, the station will come back to life as the standby generator comes on line. In fact, today's technology can even eliminate the gap when the station is down waiting for the standby generator. Uninterruptible power systems (UPS) are available to keep the whole plant running for a brief period, even including very large transmitters. UPS

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equipment doesn't have to keep the whole station running for an extended period. It is only necessary to keep the essential systems running until the standby generator has started and is

i

2002

2001

SOURCE: Datamonitor

broadcastengineering.com

Apr

1

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on line. One or two minutes are more than satisfactory. By then, a modern standby plant is more than ready to accept the full station load until the primary power source is available. Then the UPS can again keep the necessary systems running while the switch is made back to the utility power system. In addition, a UPS will eliminate the glitches that often occur in the building power when switches are made. Actually, the UPS system doesn't have to be sized to keep everything on line. For example, the building heating and air conditioning systems can wait for the standby plant to come on line. They should, if properly designed, cycle back on line without any difficulty. In a similar fashion, such short -term non -essentials as outside lighting, signs and even the tower lights can wait for the generator. However, as the UPS will probably be added to an existing plant, it may be less expensive to

simply buy a larger unit than to rewire the distribution system to bypass smaller non -essential loads. ro be realistic, most stations won't opt for a UPS that is big enough to carry the whole load. Management will probably accept the momentary

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break in power while the generator comes on line. In that case, it makes a lot of sense to install several smaller UPS systems to keep some systems on line over the break. For example, a small UPS such as is available at any electronics supermarket will work to keep the control circuits and exciter in the transmitter up and running. In these days where the transmitters have multiple computer systems in operation,

this can avoid glitches requiring

rebooting from occurring. The transmitter will stay ready to come back on line with only the high power systems down. The UPS in the transmitter control and exciter circuits will keep those systems ready to resume operation, but some precautions need to be taken. In some transmitters, maintaining the control systems with no power to the high voltage or high power circuits can result in a big bang when power returns. For example, step -start circuits

may not realize that there has been a break in the power. As a result, high voltage can be applied instantly to amplifiers that have been without filament voltage, magnet currents, etc. That can result in the resumption of power being accompanied by loud and expensive noises and the recognizable odor of burnt carbon. Before a UPS is installed in the control circuits, check with the manufacturer of your transmitter to determine just what systems can be safely included in the standby feed. In addition to the transmitter exciter and control systems, many of the studio systems can benefit from a UPS. This would include a number of pieces of equipment that are digital and controlled by computers. It isn't really the total loss of power that can cause this equipment to enter La La Land. Most systems will tolerate a clean break in

In addition, run the

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power just as they handle being switched off. While they may require a little time to boot back up, most equipment will return to a reasonable state on the return of clean power. Some equipment will actually return to the exact mode in operation when power failed although many may require that you bring them back from some default mode. The problem is when the power fluctuates as the utility system attempts to recover from its own problems. Everyone has experienced this problem during storms. The electrical power may experience short -term transients as distribution circuit breakers reset after faults or as the power system eliminates feeds to downed power lines. The power may come and go two or three times or drop to a low level during such situations. This introduces some really ugly glitches into system power supplies that operate computer driven controllers. The computers see

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incoming pulses, albeit from the wrong inputs, that look like more ones and zeros, and attempt to include them in their operation. The UPS systems will eliminate most if not all of those glitches, even if the final result is that the systems will end up being without power. At least the break will be clean rather than erratic and noisy. Those same glitches can result from the switchover from main to auxiliary power. In this respect, the UPS is used not as much for the standby

/anrrr

power aspect as for valuable power conditioning. One more item in the whole chain should still be considered. The standby power plant is expected to stay in its own little room or enclosure, be ignored almost all of the time and still spring to life to save the day. Sounds like the chief engineer, doesn't it? It will fulfill that role only if it also receives a little tender loving care. Most large plants are diesel powered. Diesel fuel is susceptible to some really

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winter without operation. That allows the bacteria to build in the fuel tank and cause great difficulties in the spring. The additives need to be put into the fuel to prevent such growths. They will work after the fact by killing off the intruders, but the result will be continuing problems with fuel filters as dead bacteria plug them. The solution is to prevent the bacteria from forming in the first place. In addition, run the plant often enough to use up the full tank of fuel annually. That not only exercises the plant but keeps reasonably fresh fuel on hand. The regular exercising of the standby plant serves a number of functions. First, it is good for the engine itself to be operated. Some manufacturers strongly advise that their engines be operated at least once a month and that the operation be long enough to bring all operating temperatures up to normal values. In addition, this will assure that the starting batteries are maintained at full charge. Engine block heaters must be checked to determine that they are operating normally. Nothing will make the chief engineer look more foolish than a trip to the auto supply store for batteries or a can of ether when the generator won't start when needed. The suits in the front office become unhappy when they have authorized big bucks for a standby plant and still find themselves in a dark, cold office with no hot coffee.

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nasty critters that love to live in that atmosphere. These can build up to the point where they occupy most of the volume of the fuel tank and have to be physically removed. They can be avoided by adding appropriate fuel additives. These additives can be found at most truck stops. Even better, try visiting a marine supply store. Boaters tend to let their craft sit through the

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Production Clips

The real story about 16/9 and switchable cameras BY CHRIS BEAUPARLANT

In today's video marker, there seems to be a lot of confusion as to what is needed for lenses to work in accordance with switchable cameras. It is assumed in today's market that one needs a switchable lens to work with a switchable camera. This is not the case (although some would try to market it that way). This brief explanation should help in your understanding. There are all sorts of cameras

have a 16/9 sensor. Figure 1 demonstrates what happens to the field of view of your picture when you use a switchable camera with a 16/9 sensor. In 2/3 -inch format cameras the image diagonal (distance from one corner of the CCD to the other) of the sensor is 11mm. Each lens manufacturer makes the image circle in accordance with this 11 mm sensor. Otherwise the lens is vi16/9 switchable sensor gnetting (not cover-

Standard/Native 4/3 sensor Image circle for a

2/3' video lens

41111111111b.

16.6

-1

1V! /

Am_

ing enough) or spilling light. Do some calculations for the widest focal length of the

Ai= LAI



11 4;3 area

11

12x5.3AIF.HR. =

scription of those two basic types from all of the camera manufacturers that give you the possibility to switch from 16/9 mode to 4/3 mode with the same sensor/CCD. 1. Cameras with a 4/3 sensor: These cameras can switch the picture height to make the 16/9 aspect ratio. These cameras only limit the vertical angle of view (cropping off the top and bottom to make the 16/9 ratio). This is not seen as a problem in the indus-

try today.

the picture). This is not as big a problem as some camera and lens manufacturers are making it. Up to now all switchable cameras except Philips'

84

culate the picture width x and the picture height y for the standard 4/3 and 16/9 ratio. 4/3 Standard/Native sensor x/y =4/3 x2 +y2 =112

broadcastengineering.com

horizontal image size; Y=

(4/3) tg a = x / 2F 2 a = 79.4°

=

8.8 /

2'5.3

(16/9)

a = x/2F = 9.58/2'5.3 =84.2° One conclusion that we can see already is that a 16/9 sensor has a wider field of view than a 4/3 sensor even though it is still 2/3 -inch format or 11mm diagonal. The same calculation for a 16/9 camera sensor operating in a 4/3 mode gives: Tg

2a

x/y = 4/3 x = 7.19mm y = 5.39

a = x/2F = 7.19/2'5.3 a = 68.3° Compared to the angle of view with a standard or native 4/3 sensor, the loss is only from 79.4° - 68.3 °, approximately 11° (hardly noticeable even at Tg 2

distance). Suppose this was a standard or native 4/3 sensor. Then the comparable

focal length is:

x2+ 9/16 x2

tga =x /2F

=112

tg 68.3 °/2 = 9.58 / 0.68 = 4.4 F= 6.5 mm.

25/16 x2 =112 5/4 x = 11 16/9 sensor in 16/9 mode x/y =16/9 y = 9/16 x

x2+y2=112 x2+ 81

X=

length;

vertical image size

a close

=3bx =8.8 y =6.6 y x

/ 256

337/256

2. Cameras with a 16/9 sensor. These cameras can switch the picture width to make the 4/3 aspect ratio. These cameras only limit the horizontal angle of view (cropping off the sides of

5.3

Given the diameter of 11 mm, we can cal-

Figure 1. Field of view cropping inherent in switchable cameras withl6/9 sensors.

available today, each with their own unique features and benefits. However, when it comes to the switch able sensors, there are only two basic types. The following is a de-

F

a = 1/2 field angle; F. focal

Where:

x2

Focal length/ angle

of view 4/3 sensors as in brochures

Angle of view for 16/9 sensor in 16/9 mode

=112

=112

337/16 x =11 x=9.58 y=5.39

The horizontal angle of view can be calculated from the following equations:

Angle of view for 16/9 sensor in 4/3 mode

Comparable focal length 16/9 sensor in ait modo

5.3 mm / 79.4

84.2

68.3

6.5 mm

5.2 mm / 80.4

85.3

69.3

6.4 mm

/85 8.3 mm /56

90.2

73.7

5.9 mm

60.0

46.8

10.2 mm

8.0 mm / 57.6

61.8

48.4

9.8 mm

4.8 mm

x2

2*F

Table 1. A comparison of different lenses with focal length and angle of view for different aspect ratios. 1-/ 3 situation

16 / 9 situation

las

in

brochures 5.3 5.2 4.8 8.3 8.0

mm mm mm mm mm

angle of view 2a

842° 85.2° 90.2° 60 0° 61.8°

Tangent

a

0.90 0.92

distance meters 0

angle of view 2w

Tangent CC

distance meters 0

meters

1.10

68.3 69.3 73.7 46.8 48.8

0.68° 0.69° 0.75° 0.43° 0.45°

1.41 1.44 1.33 2.3 2.2

0.38 0.36 0.33 0.6 0.6

1.08

0.58

I7

0.6

1.6

Table 2. Results of the differences inn distance 16/9 vs. 4/3.

April2001

www.americanradiohistory.com

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Tg (R= Slscene//2 / D

Table 1 compares different lenses with Focal length and Angle of view for different aspect ratios.

(distance)

Some practical calculations on distance camera to object. Shooting in 16/9 with a given width of a scene we can calculate the dis-

Figure 2. Formula for calculating the distance from the camera to the object.

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tance from the camera to the object using the formula shown in Figure 2: Suppose we have a 16/9 sensor in a switchable camera and a scene of 2M. As seen in Table 2, if you switch from 16/9 to 4/3, the difference in angle of view forces a step or two backward with the camera (S in the table) if you want to keep the same scene width /field of view. It is not worth the cost and weight difference for purchasing a switchable lens. Do not be fooled by the smoke and mirrors of some of the industry's marketing scams. You do not need a switchable lens for a switchable camera unless you are completely confined to a tight studio that does not allow any backward movement to make up for the loss of field of view when working in 4/3 mode on a 16/9

camera.

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Options:

Purchase normal /standard/nonswitchable lenses and get the most for your money 2. On all studio lenses an extra 0.8 Range reducer is available if there is no room to move back. 3. All ENG lenses can be delivered with a 0.8 Range reducer instead of the 2x Range extender. Any ENG lens that is modified can be transferred to original 2x RE on request up to eight years after delivery. 1.

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Systems Integration

MPEG

splicing in station operations

BY LAURA COLLINS, ASSOCIATE EDITOR

of MPEG splicing has been done to death over the last few years. However, this is a subject that won't go away soon. As standards evolve and more practical experience is gained working with MPEG transmission of HDTV and multicast programming, systems and facilities will continue to be faced with new The general subject

challenges. A case in point is determining what role MPEG splicing will play in minimizing and avoiding decompression recompression cycles (and the resultant picture degradation) in the process of manipulating video at the station level. Of course the goal is to do all of our splicing, inserting and branding within the compressed domain. And of course, we can only do that at I frames because all other frames within the GOP are either predictive or bi-

directionally interpolated information that reconstruct video frames later on at the decoder. So, what's a master control operator to do? We'll take a look at some present -day solutions and some future considerations.

Commercial broadcasters Ioda), most cununcrcial stations receive HDTV signals as MPEG -2 bit streams at 45Mb/s. They download the signal and encode it to baseband HDTV and SDTV. The incoming 45Mb /s bitstream provides enough information for the station's decoder to produce a robust HDTV signal that stands up to the MPEG -to- baseband conversion. This signal is usually handed off to the local routing matrix for

Of course the goal is

to do all of our

splicing, inserting and branding within the compressed domain. further manipulation and on -air control. The baseband video is used for operations that require manipulation on the pixel level, including logo insertion, ad insertion and any editing that takes place. The HDTV signal is then encoded to a 19.4Mb/s MPEG -2 bitstream for transmission.

MPEG splicing helps stations maintain picture quality by avoiding decompression recompression cycles in editing systems like the one at Texas Cable News (shown above). Photo courtesy Concept: Benson & Rice.

88

broadcastengineering.com

While the development of MPEG standards and tools for MPEG splicing is desirable, so far baseband conversion has been the standard practice in today's commercial environments because the results are within an acceptable range, at least for now. However, this is most likely a situation that will eventually demand improvement. I firmly believe HD viewers will be here soon, and advertisers will follow. Think about the energy and talent

April 2001

www.americanradiohistory.com

that high end productions throw at compression and then consider the weakest link in the image path up to the transmitter. While the encoders that are available do a fairly good job, they have the burden of being a one size- fits -all black box. There are real and perceived differences between the quality of compression that can be obtained by a trained compressionist eyeballing every scene in an expensive compression suite and an automated one- size -fits -all black box solution at the master control switcher. Ad agencies are likely to want to control the compression quality of their commercials by distributing 19.4Mb /s pre compressed MPEG video to broadcasters. They might have the expectation or even the requirement to avoid degradation at the station level through the introduction of further decompression- recompression cycles. One approach to this problem is to splice the pass- through MPEG-2 transport stream downstream from the master control switcher. In this configuration the output of the master control switcher is routed to an encoder. The resultant bitstream is then spliced

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into the pass-through program feed in downstream splicer before routing to the transmitter. This approach maintains the integrity of the pass-through feed; however, it can only be achieved a

at I frames. The spot can be transferred to a local file server as a pre encoded 19.4 MPEG -2 file. Downstream of your master control switch er the I frames are lined up at predetermined splice points and "spliced" into the on -air bitstream. Now, as an advertiser, I'm fairly confident that the quality is going to be consistent regardless of the transmit path. PBS

stations

The PBS stations are in a different situation, and one that creates a greater immediate challenge. PBS stations are receiving network feeds that are prepackaged at 19.4Mb /s. There are good reasons for this practice. The most pressing is that many PBS sta-

tions do not have the budgets to build an extensive internal DTV infrastructure. If they are fed MPEG streams that are already optimized for broadcast, all they need to do is pass the signal through to the trantimittcr, a

much less costly approach. However, there is still a need to manipulate the program for local branding and other functions. The problem is that the incoming 19.4Mb/s signal does not stand up to the process of decoding to baseband, processing and re- encoding to a new 19.4Mb /s MPEG bitstream anywhere near as well as the incoming 45Mb/s stream in the previous example.

Downstream splicing Splicing downstream from the master control switcher is a solution to this problem. This effectively becomes a master encoding step that combines elements created at the station level and output by the master control switcher with elements being fed from other sources and passed through. Ultimately, the desired requirements for the downstream splicer are that it he visually and syntactically seamless, maintaining the integrity of both the visual continuity and the structure of the bitstream. There are several manufacturers of MPEG splicers, and products are available that allow you to splice into the

transport stream in a number of different ways. Some methods involve the use of markers in metadata that indicate safe splice points in transport streams. One method is to drop to black for a few seconds or freeze a frame of video and then clear the memory buffer and start a new group of pictures with a new I frame. Another manufacturer uses proprietary algorithms to analyze bitstreams on the Fly and determine safe splice points in real time. Another method drops to baseband, logs the incoming GOP/ macroblock structure, performs operations in baseband, and reapplies the original GOP structure. There are a number of different ways to do it, each with its own pros and cons. For now, making decisions with regard to MPEG splicing is a matter of careful consideration of both the available technologies and the specific requirements of a given application. With this in mind, it is reasonable to expect significant advances in the design and

implementation of MPEG splicing technology as managing DTV signal paths becomes increasingly central to station operations.

l'he Fiber Optic System that Transports it All VIPER IF The most widely used liber optic system for television production and distribution just got easier to use. With advanced electronics. electro- optics and hot -swappable packaging, the Viper 11 meets all challenges in your facility's video and audio communications. Name your fiber application prefibered facilities, STLs, remote broadcasts, metropolitan video links-the Viper II handles the job.

-

mt.. taw

zer

Multiplexed NTSC /PAL video, audio 8 data HDTV -19.4 Mbps to 1.5 Gbps uncompressed 601 serial digital interface (SDI) Wavelength division multiplexing (WDM) Universal 16 -slot card frame or "throw down" modules Redundant power and UPS options

.-,.

The Viper II is a multifaceted tool that's flexible, affordable and reliable. It's one more reason why facilities that choose fiber.

choose Telecast.

rjTelecast Fiber Systems, Inc.

(508) 754 -4858

[email protected]

NAB Booth #L9568 Circle (151) on Free Info Card

90

broadcastengineering.com

April 2001

www.americanradiohistory.com

www.telecast- fiber.com

III `these Formats... Digital Beta( am

DigitaI -S

Ong

florlthiido Standard.

Digital -Disk

DV-Cam

Every new format and every new camera has one thing in common. They all have exclusive Anton /Bauer features as original equipment - Gold Mount bracket, InterActive viewfinder fuel gauge, UltraLight Automatique circuitry, Digital Battery.

High performance camera products deserve high performance, reliable power. Choose from the latest cell technology of the Anton /Bauer HyTRON 50 and 100, to the long lasting ProPac and TrimPac, to the powerful economy of the ProFormer. Isn't it good to know that there is one standard that will always be there?

anfotiMIM -

The worldwide standard°

Circle (152) on Free Into Card

tor information contact Anton/Bauer or any Anton/Bauer dealer or distributor worldwide.

Anton/Bauer, Inc. 14 Progress Drive, Shelton, Connecticut 06484 USA (203) 929 -1100 Fax (203) 925 -4988 www.antonhauer.com Singapore Office - Anton/Bauer 100 Beach Road, # 33 -05 Shaw Towers, Singapore 189702 (65) 2975784 Fax (65) 2975778

www.americanradiohistory.com

92

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April 2001

www.americanradiohistory.com

NAB

marks the start of the broadcast year. It all begins and ends in

Las Vegas. Much like when the new models roll out in Detroit,

each year the eager flock to the NAB show to see the newest fixes for

their digital problems. To help you in your search, we continue our look at the products making their debut on this year's showroom floor.

April 2001

www.americanradiohistory.com

broadcastengineering.com

93

LENS

ANIMATION SYSTEM

16x9 Abakus HD "Stadium ":

Offers a 170 -degree horizontal view and a full 210- degree diagonal angle of view in 16:9; also features controlled distortion; ideal for opening shots at stadium events. 818- 972 -2839; fax: 818 -972 -2832; www.16x9inc.com

Booth: L11368 Circle (275) on Free Info Card

NETWORK VIDEO SOLUTION

Accuweather Galileo: Weather forecast production system offers 32 -bit animated graphics in either static or animated 2D or 3D formats; new integrated user interface automates the process of building a weather show and generates on- screen graphics as a user edits scenes; features animated surface maps that use key frames and a choice of static or timeanimated contour lines on maps; also features pan and zoom to allow users to pinpoint specific areas with a DMA in a forecast; system has live background video capability, and the ability to output on -air presentations as Web pages.

2netFX/Helius multicast transmission system: System gives users the ability to deliver, store and play

800 - 566 -6606; 814 - 237 -0309; fax: 814 - 235 -8609;

www.accuweather.com

back MPEG video and graphics; Helius components and software will be integrated into 2netFX's ThunderCast IP server, which manages and streams MPEG video on Ethernet -based networks; Helius' broadband satellite IP routers, gateway devices and storage products enable the integrated -system to bridge the "last -mile" gap for onpremise delivery; connected to a dish and the customer's network, a Helius router can receive content sent by satellite and store, cache or play it back on a networked PC using the 2netFX Stream Rider Player.

Booth: i5949 Circle (278) on Free Info Card

408- 232 -1600; fax: 408 -232 -1601; www.2netfx.com; 888- 764-9020; fax: 801 -764 -9022 www.helius.com Booth: E6424, E5545 Circle (276) on Free Info Card

WSD/HD

DIGITAL DISK RECORDER Accom WSD/HD digital disk recorder: High definition was designed for electronic film, graph ics/effects, and editing applications in a networked, multiuser, multiformat environment; system can record/play SD/601 digital as well as HD formats, including 24p, on a clip -by -clip basis.

ACOUSTIC PANELS Acoustical Solutions AlphaSorb: Can be installed as lay -in ceiling tiles or may be integrated into wall or ceiling systems; available in factory finished or unfinished wood; available in 1 1/16 -inch or 2 1/16 inch thick with NRC ratings of .80 to 1.00.

www.accom.com Booth: 64806 Circle (277) on Free Info Card

650 -328 -3818; fax: 650 -327 -2511;

800- 782 -5742; 804- 346-8350; fax: 804 -346 -8808;

www.acousticalsolutions.corn Booth: L6218 Circle (279) on Free Info Card

94

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April 2001

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Color listings

indicate issue advertiser

Even in today's world of digital media storage, hard copies of all those video tapes are going to pile up on you. Winsted has a full line of storage solutions for apes of all sizes and types. The pullout des gn shown here maximizes the use of your valuable storage space by giving you 100% space

efficiency

in

confined areas

including future expansion and tell our design engineers the amount of floor space available. We'll provide you with detailed drawings and it's a free service. We can even arrange for installation. Winsted also has a full line of tape

storage accessories including: tape shelf labels, plastic dividers, and tape carts. For a full catalog of Winsted furniture including other

such as room alcoves or set -backs. Pullout cabinets save floor space because they eliminate the multiple

aisles common in other tape library systems. Winsted offers a complete tape library design service with no cost or obligation. Just estimate the number of tapes to be stored

To order a free catalog today call:

800 -447 -2257

styles of tape storage systems visit our website at www.winsted.com or telephone Winsted at 800 -447 -2257.

Wasted® Circle (153) on Free Info Card

www.americanradiohistory.com

Preferred by Professionals Worldwide° See us at NAB Booth #L9517

ATSC

Status

ATSC Eye

ATSC

ATSC

Const.

ATSC

ectrum Nonun

S

E

EVM

S/N

35.0 dB

DAC Headoom 2.1 dB

Peak- AverayeRatio 73 de

DTVisionlM SIGNAL ANALYSIS SYSTEM ADC DTVision:

Digital signal analysis and testing system features linear performance graphs, allowing users to view system amplitude and group delay characteristics so changes in RF system performance can be identified and corrected; nonlinear performance graphs show variations in phase and gain as a function of the RF envelope. www.adc.com /broadcast Booth L9857 Circle (280) on Free Info Card

530 -265 -1000; fax: 530 - 265 -1010;

DIGITAL UHF IOT TRANSMITTER ADC Visionary:

Offers enhanced performance with the addition of LDMOS driver amplifiers and Marconi plug -in IOTs; provides power levels up to 180kW on average; uses ADC's DSP -based DT2B modulator and Adaptive Digital Equalization, which continually tracks and corrects linear and nonlinear distortions. 530- 265 -1000; fax: 530 - 265 -1010;

INTERFACE /FRAMESTORE PCI CARD AJA Video HD -NTV: Features two channels of HD -SDI I/O; can key HD stills from memory over live video, capture to print HD images, capture and output HD stills; offers mixer/keyer functions, split screen and genlock; features additional Photoshop and PowerCG plug -ins for editing and creating HD stills and slates. 800- 251 -4224; fax: 530 -274 -9442; www.aja.com

Booth L10286 Circle (283) on Free Info Card

www.adc.com /broadcast

Booth L9857 Circle (281) on Free Info Card

`t

TELESCOPING MASTS

..

.+ .r

441.14.

-Am

.41.111.4

TRANSMISSION MONITORING PRODUCTS Adherent AD973/974: 973 provides single stream monitoring in a 1U chassis; 974 offers monitoring of up to eight streams in a 4U package; web -based GUI enables broadcast status to be check from any remote location.

Allen Osborne Associates Hilomast NK.9: Mast raises to 30 feet and retracts to only 7.4 inches; mountable on any vehicle either inside or outside; mast is able to go into any underhang or garage; weighs 40 pounds, so that an engineer can also put it inside of the vehicle for security. 805- 495-8420; fax: 805- 373 -6067; www.aoa -qps.com

Booth: L9772 Circle (284) on Free Info Card

+44 1223 200 700; fax: +44 1223 200 701, www.adherent.com

Booth: (Sencore) L417 Circle (282) on Free Info Card

96

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April 2001

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Color listings

indicate issue advertiser

Introducing the new undisputed battery champions of the world.

Direct Sony V-Lock compatibility.

Available in Aspen's 3 -Stud Platinum Mount.

Connects to Anton Bauer Gold

Half the price of lithium equivalents.

Mount with

Safe, reliable

Aspen exclusive K ix-on adapter.

on demand. Patented cell safe technology.

Replaceable battery core will save hundreds of dollars over battery lifetime.

Available in both NiCd and NiMH configurations.

SCORECARD Round one

Round two

Round three

Round four

Round five

Round six

Heavyweight Aspen NHP-100

Weight

Wattage

Direct V-lock

Power port

6 lbs

100 WH

Yes

Charge time 4 hours

Yes

Listprice 5495

Winning 2- channel drarger rounds 6 5595

Sony BPL -90

3 lbs

90 WH

Yes

5.6 hours

No

$880

$660

2

Anton Hytron 100

6 lbs

100 WH

No

4 hours

No

$695

$995

2

Aspen NHP-65

2.25 lbs

65 WH

Yes

2.5 hours

Yes

$325

$595

S

Sony BPL -60

2 lbs

60 WH

Yes

3.7 hours

No

$540

Anton Hytron 50

1.9 lbs

50 WH

No

2 hours

No

$495

$660 $995

2

Round seven

Middleweight

See us at NAB Booth #L329 Circle (154) on Free Info Card

Winner by unanimous decision. Anton Bauer and Hytron are registered trademarks of Anton Bauer Sony

is

power

a registered trademark of Sony

4ASPEN ELECTRONICS INC.

5152 Bolsa Avenue, Surte 103

714.379.2515

Huntington Beach, CA 92649 wwwaspenelectronics

Fax 714.379.2517

40 X

ZOOM LENS

11

Angenieux Extreme Tele Zoom: Delivers a focal range of 40x11 to provide camera operators with a high degree of versatility and coverage capabilities; features the longest focal length available with low ramping: F440mm (1 degree) at f/4 and F880mm (1/2 degree) with a 2x extender; offers high -resolution optics; digital performance features a wide variety of zoom modes and focus servo controls. 973 -812 -3858; fax 973 -812 -9050; www.angenieux.com

Booth 19046 Circle (285) on Free Info Card

ON- CAMERA LIGHT Anton /Bauer Ultralight System: New accessories include a 20W HMI head module that turns any Ultralight2 into an on- camera fill light; ULSoftbox attaches to any head module for cinema -style soft lighting effects; Premier Shooters Package contains all accessories to meet every shooting and lighting situation: extra head modules, wide angle and daylight filters, wide selection of gels with a quick change holder. www.antonbauer.com Booth L7030 Circle (287) on Free Info Card

203 - 929 -1100; fax: 203 -9299935;

MIC PRE -AMP ON- CAMERA BATTERIES Anton /Bauer Hytron 100: Capable of operating HD cameras for over two hours and typical camcorders for up to four hours; charges on any Anton/Bauer charger; offers a two year warranty. 203 -929 -1100; fax: 203 -9299935;

Aphex Systems Model 1100: Discrete Class -A tube mie pre -amp features integral 24bit 96kHz A/D converters, MicLim peak limiter and LoCaF low- frequency cancellation filter handles rumble and wind blast overload. 818 -767 -2929; fax: 818 -767 -2641: www.aphex.com

Booth R2034 Circle (288) on Free Info Card

www.antonbauer.com

Booth L7030 Circle (286) on Free Info Card

MPEG -2 EDITORS

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A

*'

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X0001

View an online product demo whenever you see this logo.

Applied Digital ADedit MPEG -2 Segmenter: Editor allows users to browse an MPEG -2 file and trim or remove segments without having to uncompress the material; system performs frame -accurate edits on I, P or B frames in long GOP MPEG -2 format; allows users to prepare EDLs so edits can be performed with another nonlinear editor if desired. www.applied -digital.com Booth: L10452 Circle (289) on Free Into Card

352 -338 -0516; fax: 352 -338 -1108;

IrignIMEMMIAMMEMII

broadcastengineering.com

April 2001

www.americanradiohistory.com

Color listings

indicate issue advertiser

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One

digital console that stands out from the rest.

Designed for Live Production and On -air use with redundant systems and hot -swap electronics

Superior ergonomics for speed, accuracy and ease of use A no- compromise

specification to meet the most demanding Broadcast requirements

Superb audio specification for an open, transparent sound Over 35 years of Calrec craftsmanship and broadcast experience ensure reliability, quality and long -terni performance NAB LVCC R2569 CALREC DIGITAL - NOW AND FOR THE FUTJRE Circle (155) on Free Into Card FOR FURTHER INFORMATION CONTACT

Studio Consultants (New York) MI (212) 586 7376 Fax (212) 582 2169 e -mail scidoug @aol,com Redwood (LA & Nashville) Tel (615) 871 0094 Fax (615) 872 7080 e -mail : redwood @isdn.net :

:

:

:

:

CALREC AUDIO LIMITED

CALREC

Nutclough Mill, Hebden Bridge, West Yorkshire, HX7 8EZ, UK Telephone +44 (0) 1422 942159, Fax :

:

+a4 (0) 1422 845244

E

-mail :[email protected]

Website www.calrec.com :

01: 1

NEWSROOM SYSTEM Avid NewsCutter XP 2.0: New release offers full support for Avid Unity for News, including MediaManager and TransferManager; allows user to edit while recording; features auto voice over, which allows one keystroke set-up for voiceovers; Script-based In/ Out allows the insertion or deletion of word changing the timing of edits; Send to playback lets you keep editing while moving a story to AirSPACE or another playback server. 800 -949 -AVID; fax: 978- 640 -1366; www.avid.com

Booth M8318 Circle (297) on Free Info Card

DIGITAL NEWSROOM ENVIRONMENT

NETWORK MONITORING SYSTEM

Avid Unity for News: Provides a shared storage and networked environment for iNEWS, NewsCutter and AirSPACE technologies;

BarcoNet Rosa 3.0: Features a quick, efficient, user-friendly solution for managing all network elements by a single, vendor independent management system.

also feature MediaManager and TransferManager, which provide critical capabilities for finding and moving media assets with the click of a mouse.

www.barconet.com Circle (301) on Free Info Card

800- 992 -5016; fax: 770- 590 -3610;

Booth S5360

800- 949 -AVID; fax: 978- 640 -1366; www.avid.com

Booth M8318

Circle (298) on Free Info Card

LINE FEED BROWSE SYSTEM AVS MultiBrowse: Entry- level, standalone browse system supporting four lines of both audio and video feed; allows up to 25 users to simultaneously access and browse incoming and outgoing feeds from their desktop PC or workstation; user has range of viewing, marking and control functions available; operators are able to switch between inputs, view all four sources at once, mark In and Out timecode sections of video stream and produce shot lists for reference or editing. 801- 975 -9799; fax 801- 975 -0970; www.aysgmedia.com

Booth 12234 Circle (299) on Free Info Card

b

DUAL ANALOG AUDIO CABLE Belden 9451D: Addition to Belden's audio cabling line features two twisted pairs with 22AWG tinned copper conductors and polyolefin insulation; cable conductors are color -coded red and black; easy termination via an aluminum polyester Beldfoil shield bonded to the jacket, featuring a 22AWG drain wire inside the shield; each pair has a PVC jacket and is joined in a Siamese construction. 800- BELDEN1; 765 -983 -5200; fax: 765-983-

www.betden.com Booth: L8783 Circle (302) on Free Info Card 5294;

I

MODULAR SIGNAL PROCESSING SYSTEM Axon Synapse: System is high density, offering 18 cards in 4RU; offers flexible remote control capabilities, Ethernet -based remote control interface; is Internet enabled and receives updates of firmware through Internet connection; allows full monitoring of all parameters, audio level control and channel swapping. www.axon.nl 'Booth L1541 Circle (300)on Fr..lnfocard

+31 13511 6666; fax: +31 13 511 4151;

1

02

broadcastengineering .com

April 2001

4,

*

View an online product demo whenever you see this logo. www.broadcastengineering.com

Color listings

indicate issue advertiser

h ,N:YILO

\istaL. I N

K'TM

Your :yes & Ears for Monitoring Single or Multi -Channel Operations

Let Evertz be your eyes and ears for monitoring! Using VistaLINK" technology, Evertz

can provide the answer to your multi -channel monitoring and reporting needs. VistaLlNK" offers centralized remote monitoring via SNMP and TCP/IP with automated alarms, reporting, logging and more...

Tel: 905 -335 -3700

Fax: 905- 335 -3573

www.evertz.com

See us at NAB - Booth #L12146 Circle (157) on Free Info Card

www.americanradiohistory.com

DIGITAL AUDIO CONSOLE Calrec Audio Alpha 100 Fifth- generation Calrec desk features assignable digital

control surface providing 48 multitrack /matrix outputs, 20 auxiliary buses, eight audio groups and four main outputs - each of which can function as mono, stereo or surround; all desk functions are saved to snapshots and full-system reset is achieved without audio interruption. +44 1422 842 159; fax: +44 1422 845 244; www.calrec.com

Booth R2569

Circle (303) on Free Info Card

woo

LIGHTWEIGHT EQUIPMENT CASES Cases Plus TC2000 Series:

Designed with extra emphasis on strength, style and comfort; outer shell is high density thermofoamed polyethylene plastic giving it chemical resistance and high durability; a gasket in valance seal between the body and the top of the case closure seals out water, salt air and dust; equipped with wheels and telescoping handles. 800- 9982 -1880; www.casesplus.com

Booth E3914 Circle (305) on Free Info Card

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GRAPHIC PROCESSOR Chyron Aprisa family:

Robust new 4RU hardware design includes redundant, hot swap power supplies and front loading, removable SCSI drives with RAID 0, 3, or S options; CG Playback Option plays back rolls, crawls, and flipbooks in an independent frame buffer that can be layered with key over the clip playback; Web Streaming Option streams out the entire DDR program buffer in Real G2 or ASF formats.

II

WIRELESS TRANSMISSION SYSTEM Canon DT -50 /SDI: Latest version of its Canobeam line allows full -bandwidth wireless transmission of a wide variety of digital video signals; system is ideal for transmitting sports events and news over 2km with a direct line of sight; sets up quickly and requires no license or frequency allocation. www.canonbroadcast.com Circle (304) on Free Info Card

800- 321 -4388; fax: 201 -816 -2909;

Booth L10436

104

broadcastengineering.com

888 4 CHYRON; fax: 631- 845-3867; www.chyron.com Booths 16631,L12300 Circle (306) on Free Info Card

FIBRE CHANNEL STORAGE SOLUTION Ciprico 2Gb JBOD Expands real -time performance to 200MB/s per disk array; upgradable from 1Gb to 2Gb solution with a lower performance parity rate. www.ciprico.com Booth M8336 Circle (307) on Free Info Card

800 -727 -4669; fax: 763- 551 -4002;

April2001

www.americanradiohistory.com

Color listings indicate

issue advertiser

cantus

c

24/7

t

h

a n

A n a

l

o1.4!

on -air work demands

reliability. The CANTUS Digital Console by STAGE -

I

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tkle.i,too

demonstrated

TEC

has

that

reliability

over

in

130 installations

world-

wide. Day in, day out. And since CANTUS is all Oper:,

7' Er

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,.41tititt W .ai, --/ J -, rJ J J

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digital, there are no ana-

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log pots and switches to go noisy or open. CANTUS

-

Simply better than analog!

Fiber Optic Interconnect of all hardware LCRS, 5.1, 7.1 Surround

Panning

Integrated digital NEXUS.

I/O plant -wide router N -1

with Auto Talk- AroundTM

No fans, low power

consumption, very low

weight Totally Hot Swappable German Reliability and

Audio Quality US

Distribution by: GMA, LLC

STAGETEC GMBH

Phone: +49 9545 440 300

Industriegebiet See

Fax:

f49 9545 440 333

Email:

sales @stagetec.com

18314 Kinzie St

D -96155

Northridge, CA 91325

Germany

Buttenheim

www.stagetec.com

STAGETEC

Phone: 818 701 6201 Fax:

818 701 9545

Email:

fader @pacbell.net Circle (158) on Free Info Card

www.americanradiohistory.com

INTELLIGENT VIDEO SCALER

DIGITAL CHROMA KEYER

Communications Specialties Deuce MC:

Crystal Vision Safire: Allows users to make fine adjustments for optimized edges,

Converts standard TV video to high -resolution, non interlaced video with a user-selectable motion compensation feature that can be set based on the specific input source image; also features three scaled output resolutions, standard line doubling and quadrupling outputs, composite, S -Video and YcbCr component inputs and RGB or YcbCr component outputs plus an RS -232 remote.

shadow processing, internal and external masks, and linear key, mix and wipe modes; features a 266mm x 100mm board, which fits into Crystal Vision's standard interface frames, allowing six chroma keyers in lU or 12 in 2U. +44 1223 506 515; fax: +44 1223 506 514; www.crystalvis.com

Booth: L116 Circle (311) on Free Info Card

631- 273-0404; fax: 631- 273-1638; www.commspecial.com

Booth M8767

Circle (308) on Free Info Card

SAN SCALABILITY DIMENSION

MEW

1

1

1

1

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DataDirect Networks Pay as you Grow: New program launched across the company's SAN appliance family supplies users with higher levels of capacity in increments on an as- needed basis; the first level of the plan is the SAN directION SAN appliance, which provides for the requirements of small workgroups and clusters; users can move from this system to the larger SAN DataDirector SAN appliance configurations according to the amount of storage they need; SAN appliance hardware and software needed for future applications can be installed now, and the user can pay only for the part of the configuration actually in service. 800 -322 -4744; 818- 700 -7600; fax: 818- 700 -7601;

www.datadirectnet.corn

CHARACTER GENERATORS

Booth: S5319 Circle (312) on Free Info Card

Compix Video CG:

Comes complete with a high -quality and high -capacity PC ; standalone turnkey systems are available with standard studio industrial strength rackmount cases; systems are compatible with composite video, S -Video or component video formats; all systems feature Alpha Key - 256 level linear key out. 310- 320-8937; fax: 310 -320 -8938; www.compixmedia.com

Booth $2847 Circle (309) on Free Info Card

IMAGE SERVER da Vinci Gallery:

Resolution- independent image server used in conjunction with 2K Color Enhancement System's internal frame store; allows colorist to compare, wipe and mix images in the frame store or live images with those in the Gallery; another feature is 10 -bit log over HD 1/0 for data transport of RGB 16x9 images in real time. www.crispincorp.com Booth: L6406 Circle (313) on Free Info Card

919 -845 -7744; fax: 919-845-7766;

DATABASE INTERFACE SOFTWARE MODULE Crispin WebAgent: Interfaces with Crispin's database, AssetBase; checks video servers and other resources to make sure they're online and available; gathers information on the server, material ID, comment and duration from these devices if available; generates dublists for Crispin's Dubber 2000 module; takes translated traffic files from AssetBase to generate discrepancy reports and gathering typical traffic log information; can only be used in conjunction with AssetBase. 919 -845 -7744; fax: 919 -845 -7766;

www.crispincorp.com

Booth: L12568 Circle (31 0) on Free Info Card

A/D CONVERSION MODULE dB Technologies M *AD -824: 24 -bit 96kHz module provides dB's dB *44 -96 multichannel conversion system, which supports four slots for M *series modules; module is used with a M *Sync -1 clocking module, which provides internal and external word clock or AES sync capabilities for the M *AD -824; clocking module supports 44.1 -, 48 -, 88.2 - or 96kHz, plus varispeed rates. www.aidinc.com Booth: R2855 Circle (314) on Free Info Card 323 -845 -1155; fax: 323 -845 -1170;

106

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April 2001

www.americanradiohistory.com

Color listings indicate issue advertiser

To

r:your

imagination.

with applications that extend beyond format conversion We'll make it and the world's best 3:2 pull down handling. At NAB 2001, you'll discover solutions to noise reduction, pre- compression processing and encoding applications that maximize picture quality for your broadcast and bandwidth requirements. Call us at 407.517.1086. Or visit www.teranex.corn. Now, nothing is holding you back.

Go ahead, open your mind to the possibilities.

NAB

Booth L1255

I

XANTUS

I

STARFRONT

Circle (159) on Free Info Card

www.americanradiohistory.com

STARSTREAM

NEWSROOM AUTOMATION SYSTEM DCM /Autocue WinCue family: WinCueTx, WinCueNews; and WinCueNet form an integrated software family that provides flexible, innovative and seamless solutions for transmission facilities, production offices and newsrooms; new features include cuts-only video editing, desktop edit facilities, a variety of web interfaces, prompter integration, and extended automation event handling.

DIGITAL FRAME SYNCHRONIZER Dolby Laboratories DP583: Accepts all Dolby E and Dolby Digital frame and data rates, as well as PCM inputs and provides an output that

has been reframed to match local plant reference; also allows post facilities to record Dolby E streams to non video recorders, such as 20 -bit DAT. 800 -33- DOLBY; fax: 415 -863 -1373;

Booth R2715

www.dolby.com

Circle (319) on Free Info Card

704 -377 -1496; fax 704- 377 -6336; www.dcm.net Booth L12158 Circle (315) on Free Info Card

ANTENNA SERVICES Doty Moore Antenna

UHF PANEL ANTENNA

services:

Dielectric Communications Deltalite: Broadband, low -windload UHF panel antenna for the load conscious broadcaster; simple proven feed system design offers a high level of reliability. 866 -DIELECTRIC; fax: 207- 655 -7120;

www.dielectric.com

Booth L1429 Circle (316) on Free Info Card

New turnkey service for the procurement and installation of antenna systems; Doty Moore provides technical specifications, tower analysis tower modification, transmission line and antenna installation. 972 -5560 -9500; fax: 972 -2931255; www.spectrasite.com Booth: L12611 Circle (320) on Free Info Card

AUDIO PROCESSOR Digigram miXart: Based on Motorola's PowerPC processor; includes scalable PCI cards with multiple analog and digital signal paths with on -board processing; other features include customizable editing and mixing software that can be integrated into the user's application, as well as an SDK for additional development; now available with eight analog input/output paths, four studio -quality microphone preamps and MIDI. 703- 875 -9100; fax: 703 -875 -9161; www.digigram.com

Booth: R2773 Circle (317) on Fare Info Card

EDITING SOLUTION Discreet Edit 6: Advances support of jobnet, Discreet's NT based, real time workgroup SAN solution to enable sharing of media assts; offers embedded content creation, encoding and web streaming capabilities with support for QuickTime, Windows Media Player and RealNetworks codecs. 800 - 869 -3504; fax: 800 -305 -6442;

VIDEO SERVER Editing Technology Corp. ETC! FSC 1000: New Windows version of the system; the server -based system can be used to replace videotape cart systems; new Windows interface offers familiar Windows features to facilitate user operation; users can sequence segments containing multiple elements, load them directly onto the server, name the clips or elements to be played and assign them a mode and length of play. 818 -840 -1101; fax: 818- 556 -3973;

www.etcedit.com

Booth: L1269 Circle (321) on Free Info Card

PROGRAM CONTROL SYSTEM Encoda Paradigm Program Control module: Encoda is offering the control module for the first time in an application service provider (ASP) environment for broad-

cast station groups and multichannel cable networks; allows users to manage programming assets, staff, content, material and related expenses from a notebook computer. 303 -237 -4000; fax: 303-237-0085; www.encodasystems.com

Booth: L12220 Circle (322) on Free Info Card

www.discreet.com

Booth 54100 Circle (318) on Free Info Card

108

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April 2001

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U Color listings

indicate issue advertiser

Get LEMO'" for your

Broadcasting Connections

LEMO offers the following

for the Audio and Video Industry: - Microphone, Triax,* Fiber, Hybrid ** Panels - HDTV, Audio, Video, Fiber Optics

Connectors

Patch Cable Assemblies

Custom Designs

"4,.\ Triax Series is intermateable with Kings Triloc' including the use of the same crimp tool /dies. "New SMPTE approved connectors used at the Olympic games.

Call us and find out why LEMO is your one -stop shopping source for high quality circular connectors

L_0

ELECTRON/C CONNECTORS

See us at NAB Booth #L5354

LEMO USA, Inc. P.O. Box 2408 Rohnert Park, CA 94927 Website: www.lemousa.com (800) 444 -5366 (707) 578 -8811 Fax (707) 578 -0869 E -mail: [email protected] Circle (160) on Free Info Card

www.americanradiohistory.com

MULTIMEDIA INSERTION TECHNOLOGY Enseo DVinci:

COMPUTER -TO -VIDEO SCAN CONVERTERS

Provides video and graphics mixing capabilities, including transparent graphics and hardware- assisted rolls and crawls.

Extron 300D:

888 -478 -2687; 972- 234 -2513; fax: 972 -680 -7144; vwuw.enseo.com

Booth: M7871 Circle (323) on Free Info Card

1600x1280 resolution at 100kHz horizontal and 120Hz vertical frequency; RS -232 controllable with SIS and RGBS/ HV as well as component, S -Video and composite video.

MONITOR STAND

www.extron.com Booth M7936 Circle (327) on Free Info Card

800 -633 -9876; fax: 714 -491 -1517;

Ergo 2000 CSD -15VA: Fold -o cr design enables the unit to hold a 15 -inch monitor, 101 -key keyboard and a trackball in 3RU of vertical space and only 20 inches of depth; this configuration allows users to incorporate KVM switches, power

conditioners and other accessories behind them; users can toggle between live video, computer signal and antenna feed. 800 -635 -9297; 714 - 992 -0874; fax: 714 -992 -2131;

Features user -selectable levels of horizontal and vertical filtering, high levels of color bit depth and autoscanning technology; capable of autoscanning images up to

www.ergoind.com

Booth: 1414 Circle (324) on Free Info Card

VIDEO SWITCHER Extron SVS 100:

Four input, one output video switcher offers seamless switching, switching effects, picture controls, audio switching, user presets, vertical blanking and genlock capability; NTSC and PAL compatible, offers two composite and one S- Video outputs. 800 633 -9876; fax: 714-491-1517; -

AUDIO MONITORING SOFTWARE SYSTEM

www.extron.com

Booth M7936 Circle (328) on Free Info Card

Euphonix E -Deck: E -deck allows users to access audio files of mixes from anywhere in the world via a secure server and personal computer; Listen -In feature enables real -time remote monitoring of live studio sessions through a PC; application is optimized for a range of connection speeds; playback is via PCM stereo at rates up to 24- bit/96kHz, with 24- hit/96kHz surround mixes available.

0

www euphonix.com Booth: R3005 Circle (325) on Free Info Card

818- 766 -1666; fax 818 - 766 -3401;

PORTABLE FIBER OPTIC MODULES Evertz 2405 series: Wavelength conversion capability allows cost- effective wavelength conversion (eg 1313nm < >1S50nm) to be accomplished in a single module, allowing compatibility between incoming/outgoing feeds and native system wavelengths. 905- 335 -3700; fax: 905 -335 -3573; www.evertz.com

Booth L12146 Circle (326) on Free Info Card

JIB EZ FX

Jib and Handle:

User-friendly jib arm is lightweight, portable and easy to set up; wide range of camera movement created by the jib

produces smooth floating camera shots and simulated dolly moves. 407- 877 -2335; fax: 407- 877 -6603; www.ezfx.com

Booth S4205 Circle (329)on Fret) Info Card

1

10

broadcastengineering.com

April 2001

www.americanradiohistory.com

"'Color listings indicate

issue advertiser

Your Most Important Links in the Digital Media Chain

of the way

We have you covered every step PHILIPS

ÌJE TREAM

THOMSONTA

Move your company into the digital age with state -of-the -art products, systems, and services from Thomson Multimedia. Our Broadcast & Network

Solutions division is now providing key infrastructure products and services

for the entire entertainment industry.

O Creation: Thomson Broadcast Systems and Philips Broadcast are now united, allowing you to master all the technologies for digital broadcasting, including

systems development and integration expertise. Our technology supports digital

imaging, film processing, and video servers. We rank second in the world in digital broadcast systems and can provide solutions for the immediate and future

needs of the content and broadcast industries. www.thomsonbroadcast.com

O

Protection: Our

creati

state-of- the-art systems protect your original content

well as distribution.

O Distribution:

With Nextream, which is already the leader in

European interactive video networks, we can now provide end-to-end

solutions via cable, satellite, or terrestrial for TV operators, MSOs, and Telcos. www.nextream- online.com

O Display: More consumers depend on Thomson and its RCA brand of digital set-top satellite receivers than any other brand. And we offer integrated ter-

restrial and satellite digital TV products for the home, too. www.rca.com

Thomson Multimedia Broadcast & Network Solutions includes Thomson Broadcast Systems, Philips Broadcast, and Nextream. Advanced technology and services from Thomson Multimedia

-

Your Most

Important Links in the Digital Media Chain. www.thomson-multimedia.com

Circle (181) on free Into Card

www.americanradiohistory.com

THOMSON

MÉDIA

BROADCAST & NETWORX SOLUTIONS

DESKTOP EDITOR Florical Systems NewsClipper: Enables low- resolution desktop editing of raw news footage, saving time and expense; provides either cuts-only edited master high- resolution files or air or and EDL for use with any Avid, Sony or other editor using CMX EDLs. 352- 372 -8326; fax: 352 -375 -0859; www.florical.com

Booth L1317 Circle (333)on Free Info Card

FIREWIRE CABLE FOCUS Enhancements (formerly Videonics) Distance DV:

Carries DV signals over distances of 10 to 50M; comprised of a single IEEE -1394 -compatible cable with proprietary filter and equalizer that reduces noise and signal attenuation; cables available in 10, 20 and 50 meter lengths and each ships with locking four to six pin adapters.

CABLE SIMULATOR Faraday Technology Remote Cable Clone: New version of Faraday's Cable Clone can be remotely controlled via an RS 232 interface; allows users to automatically switch between various lengths of simulated cable, rather than actually switching manually between different lengths of cable to test for the crash point of digital equipment; system allows for repeatability in the field.

www.videonics.com Booth S5309 Circle (334) on Free Info Card

800 -338 -3348; fax: 408- 866 -4859;

+44 1782 661 501; fax: +44 1782 630 101; www.faradaytech.co.uk

Booth: L331 Circle (330) on Free Info Card

EDITING SYSTEM SPEED ENHANCEMENT Fast Sales US InTime Option: Rendering technology for accelerating even extremely complex compositing; six additional processors enhance the system to provide parallel processing power for either FAST's silver or purple NLE systems. 800- 249 -FAST; www.fastsalesus.com

BoothS4817 Circle (331)on Free Info Card

MULTISCREEN PRESENTATION SWITCHER FIBER OPTIC DATA SYSTEM Fiber Options RingMaster: Self- healing, field selectable systems has floating master capability, in which one module must function as a master for control purposes so that if power fails, the system can continue to function; can be configured as point-to- point, drop- and -insert, or self- healing ring configuration; an 18dB optical budget for long-distance performance is standard. 800 -342 -3748; fax: 516 - 567 -8322;

www.fiberoptions.com

Booth S4166 Circle (332) on Free Info Card

Folsom ScreenPro Plus: Integrated package simplifies system interconnections, setup and control for presentations with up to three screens; features an intuitive user interface and a modular internal design; allows operators to select from up to sixteen universal inputs accepting composite video, svideo, component video, and computer video sources (640x480 VGA to 1600x1200 UXGA); system supports fourteen transition effects, including dissolves, wipes, cuts, and fade. 888- 414-SCAN; 916 -859 -2500; fax: 916 -859 -25'5; www.folsom.com

Booth: M9168 Circle (335) on Free Info Card

1

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broadcastengineering.com

April2001 www.americanradiohistory.com

Color listings indicate issue advertiser

I

Ill!, :.: 1Uii-'II1.1if,.,.tJ IIII HUH .. IIU U : NTROLMASTFR ( TROLMASTER C'O?,ri'ROLMAS :. I

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Concept and Design by. THE D'GI-AL OASIS INC

Utah Scientific can help you find your way through

the

maze of options to the most cost -effective and future -proof digital transition plan for your facility. /

a-e doing to ma e

NAB (Booth L10452) to see what we it even simpler for you to chart a course to the digital future. Be sure to visit us at

Bring this ad with you to get a free compass and register for one of the GPS recievers we will be giving away in a drawing every day.

vs JsciEnriFic UTAH

New

Directions in Digital Switching w w w.utahscientific.com

Corporate Headquarters 4750 Wiley Post Way, Suite 150, Sait Lake City, UT 84116 USA Ph: 801.575.8801 Fax: 801.575.3099 Email: sales @utahscientific.com Circle (162) on Free Info Card

www.americanradiohistory.com

)i

r

VIRTUAL STUDIO SYSTEM For -A digiWarp -EX: Simple, cost -effective virtual studio system with 2048 x 2048 pixel, high- resolution background that allows no picture deterioration during zooms; easy system setup and breakdown for increased mobility when changing studio locations; auto defocus background in response to camera zoom. 212- 861 -2758; fax: 212 -861 -2793; www.for -a.com Booth: L8612 Circle (336) on Free Info Card

AUDIO PROCESSOR AND DELAY Forte) DP/ DAS -441: I /Os include two stereo pairs of balanced analog audio and two AES pairs of unbalanced digital audio; digital I/ O uses 75 -OHM BNC connectors for ease of installation; reference quality 24 -bit A/D and D/A conversion at 96kHz for the analog UOs ensures maximum transparency; maximum 1/0 levels are +28dBu. 800- 530 -5542; fax: 404- 885 -1501;

Booth L1261

MULTI -PAIR CABLES Gepco 5596GFC Series: Next -generation 1 100 AES/EBU digital audio multi -pair cable is designed for both superior electrical and mechanical performance; highly accurate for transmission of all formats of AES3 digital audio, including 24 -bit, 96kHz; features an extended 12.3MHz bandwidth, ultra -low attenuation and jitter, mechanical stability and a 110W impedance. 800 -966 -0069; fax 847-795-8770; www.gepco.com

Booth: L5856 Circle (340) on Free Info Card

www.forteldtv.com

Circle (337) on Free Info Card

CAN STUDIO 2

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HDTV CINE -STYLE LENS SET Fujinon XA87x lenses: offer 87x magnification ideal for sports shooting and other applications where extreme close -ups and high image quality are critical; lenses feature focal lengths up to 2300mm; XA87 series is available with an optional integrated image stabilizer. www.fujinon.com Circle (338) on Free Info Card

800- 553 -6611; fax: 973 -633 -5216;

Booth 1.8739

STAND -ALONE IMAGE STABILIZER Fujinon Image Stabilizer: Compatible with most of Fujinon's existing field lenses.

FACILITY CONTROL SOLUTION Grass Valley Group Encore: An open, scalable solution for facility control provides centralized and distributed router and machine control, remote monitoring and diagnostic capabilities and signal integrity analysis to expand the capabilities of their LAN, Wan and video networks, thus maximizing signal management infrastructure investments; design will enable tighter integration with automation systems, third -party routers and other equipment, system promotes greater inter- and intra- facility integration. 800- 824 -5127; fax: 530 -487 -3755; www.grassvalleygroup.com

Booth L10409 Circle (341) on Fare Info Card

www.fujinon.com Booth 1.8739 Circle (339) on Free Info Card

800 - 553 -6611; fax: 973 -633 -5216;

1

14

broadcastenglnesring.com

April 2001

www.americanradiohistory.com

Color listings indicate issue advertiser

smoke from Discreet gives you the tools to keep eyes riveted to the screen. All eyes are on you to create visually- stunning work. smoke gives you the power to deliver it. With smoke you can quickly and easily finish picture, sound, graphics, and effects. Sophisticated vertical timeline editing gives you unlimited layering potential, with a versatile 3D compositing environment based on Discreet's Academy Award'- winning flame" and infernos And because smoke is format independent, you can produce once and easily distribute to HDTV or standard definition. So you can define your own standard of creativity.

Visit www.discreet.com or call 1.800.869.3504

Visit us at NAB Booth 4..

`.' 1

#

S4100

Circle (163) on Free Info Card

discreet

Ç

II

ROUTER SERIES

VIDEO MEASURING SET

Grass Valley Group Concerto, Tempo and Bravo: Each series offers a flexible, future proof design for a variety of applications from multiscreen presentations to video and audio over broadband networks to traditional television- related uses; Concerto series features FlexFrame technology to enable format mixing within a single frame while supporting SD and HD video signals, AES/EBU digital audio; Tempo series offers FlexPoint technology that lets users configure 34 ports as I/Os; Bravo series provides entrylevel series of fixed configuration utility routers.

Hamlet ADEPT: DV- ready, entry- level, multiformat- capable, measuring set provides S -Video and composite and component 625/ 525 multistandard measurement and monitoring capability; SDI and Firewire are optional inputs; waveform and

-

vectorscope displays of signals are depicted as familiar composite or component traces and output to any composite or S -Video monitor. +44 0500 625 525; fax: +44 1494 791 283; www.hamlet co uk

Booth L6130

Circle (345) on Free Info Card

800- 824 -5127; fax: 530 -487 -3755; www.grassvalleygroup.com

Booth L10409 Circle (342) on Free Info Card

MPEG -2 ENCODER MANAGEMENT SYSTEM

NEWSROOM SYSTEM Grass Valley Group Vibrint Digital News Production

System: PC -based software solution includes FeedClip, and interactive feed capture system, NewsEdit, a nonlinear editing

system, and NewsQ, a low -cost playback application; provides native MPEG, DV and DVCPRO support and data throughput rates of up to 50Mb/s.

Harris FlexiCoder: Software application that replaces the GUI on the FlexiCoder chassis used for operation and control; enables broadcasters to remotely configure and control their Harris encoder as well as their ATSC satellite decoder (Harris NETplus) and ATM/IP communications link (Harris LINKplus); also enables the encoding system to be linked to the Harris Broadcast Manager. www.harris.com Booth L5023 Circle (346) on Free Info Card

800 -622 -0022; fax: 513- 459 -3890;

800- 824 -5127; fax: 530 -487 -3755; www.grassvalleygroup.com

Booth L10409

Circle (343) on Free Info Card

DIGITAL AUDIO RECORDER PRODUCTION SYSTEM Grass Valley Group Vibrint/Profile platform: new platform technology utilizing the Vibrint Digital News Production Workgroup system and a new version of the Profile XP Media Platform for production; together, the products provide flexible, end -to -end support of both DVCPRO- and MPEG -based news production environments; system incorporates the Grass Valley MAN real -time shared storage option for the Profile XP Media Platform and the Profile Network Archive partial file restore software; compliant with the Grass Valley Group's Q ContentShare software platform for media asset management to allow integration with third -party systems such as VNI News

6

Booth R2132

www.henryeng.com

Circle (347) on Free Info Card

STANDBY VIDEO SYSTEM

800 824 -5127; fax: 530-487-3755;

www.grassvaIIeygroup.com

949- 489-0240; fax: 949 -489 -0242; www.horita.com

Booth L10409 Circle (344) on Free Info Card

Booth L9773 Circa. (348) on Fro. Info Card

-

i

626355 -3656; fax. 626- 355 -0077,

Horita SVS -50: Self- contained video system that outputs standby full/ SMPTE color bars with a source ID video overlay whenever a loss of normal video is detected; overlay can be up to nine lines or 20 characters each and can include a time and date display.

Tracker and Avid's iNews Media Browse.

KM0 0011

Henry Engineering DigiStor II: Solid state digital audio recorder that can store up to 16 minutes of audio with a bandwidth of 7kHz; can record from a microphone or line level source; supports multiple play modes and features full remote control capability.

broadcastengineering.com

April 2001

www.americanradiohistory.com

Color listings indicate issue advertiser

Building Needed 15 Channels* the Leaders in Broadband Technology!

VVhen Chicago's Tallest

They Came To

-

Chosen, by TrizecHahn Property Group, for over 30 years of global manufacturing experience, RFS is the leader in broadband

technology. Our broadband RF systems offer the most flexible and customized arrangements for the DTV Market and beyond. designs and manufactures broadband panel arrays, slot antennas, and combiners fo' adjacent and non adjacent channels designed to suit your needs. Complimented by a full range of rigid and flexible line along with complete access() pies which have been reliably manufactured and supplied to the broadcast market for decades. RFS is your Total Systems Solution provider - come take a fresh look, we will deliver. RFS

RAC O FREQUENCY SYSTEMS

3roadcast 59 C :dge Avenue Nort 'Haven, CT 06473 Tel: '03 -239 -3311 Fax: 203 -239 -9260 [email protected] ema web www.rfsbroadcast.com RFS

:

Custom

Circle

Requirements; 164)

5

Channel,

on Free Info Card

7

Channel, and 3 Channel

Sw

te

First Sears Building Broadband Panel Array Antenna

NEWS AND SPORTS AUTOMATION SYSTEM

DTV TRANSMITTER

IBIS SprinTx:

Itelco 50kW UHF: Features an exclusive exciter system, a patented Switch Mode Beam Power Supply and the Itelco Supervisory System for remote monitoring and control; will accept IOT output devices from any major manufacturer; very small footprint.

Integrates seamlessly with servers and newsroom computer systems from all major manufacturers and uses MOS protocols to ensure that the playout module can automatically be updated with any changes to the transmission schedules. +44 1458 851150; fax: +44 1458 851170;

www.ibistv.co.uk

303- 464 -8000; fax: 303 -464 -8770; www.itelco- usa.com

Booth L11520 Circle (349) on Free Info Card

Booth L1417 Circle (353) on Free Info Card

LOGGING SOFTWARE

TELECINE

Imagine Products MacTEP V7.0 and V8.0: New versions feature compatibility with Apple's Final Cut Pro editor and OS 9.1 compliance; Final Cut Pro file export enables users to select and transfer logged shots for batch digitizing; HTML publishing feature allows for simple posting to the Web and offers the ability to save logs to searchable CDs; V8.0 adds Auto Capture Technology features allowing multifile searching of subdirectories or of the entire hard drive.

Innovation TK Millennium Machine 70mm gate /4K. high -speed data option:

www.imagineproducts.com Booth: 16755 Circle (350) on Free Info Card

317- 843 -0706; fax 317- 843 -0807;

M 2 3

1

New option for ITK's Millennium telecine enables 4K data transfers; users can now transfer both 65mm and 70mm film formats, including large formats like the 15perf; same features are available when working with the 70mm format, including the same zooms, pans and rotates, as well as video processing with the same real -time aperture and primary and secondary color corrections. +44- 1992 - 553533; fax: +44- 1992 -558979; www.innovation-tk.com

Booth: L6356 Circle (354) on Free Info Card

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GRAPHICS SOLUTION Inscriber LIVE!RTX: Includes development tools for the creation of custom information channels that combing streams of dynamic data with video; provides live titling solutions any application and features robust and flexible video clip playback, a simplified programming interface and sophisticated layering of active graphics, digital clips and background video. 800- 363 -3400; fax: 519- 570 -9140; www.inscriber.com

Booth 54832 Circle (351) on Free Info Card

DATACASTING CONTENT PROTECTION Irdeto Access CypherCast: IP /Internet digital conditional access solution allows the broadcast of up to 1000 individual multicast streams arrayed in up to 100 distinct program services for as many as 250,000 subscribers in a local viewing area; on the receive end, content can be accessed and decrypted through secure smartcard technology. +31 23 556 2222; fax: +31 23 556 2240;

LIGHTING K5600 Joker -Bug 800:

Comparable to a 3200/4000W quartz fixture but with a power draw of only about 12.SAmps; small quiet ballast can be easily hidden and greatly reduces the risk of overloading any circuit.

www.irdetoaccess.com

800- 662 -5756; fax: 818 -762 -6629; www.k5600.com

BoothL6366 Circle(355)on Free Info Card

Booth 16842 Circle (352) on FreelafoCard

1 1

8

broadcastengineering.com

April 2001

www.americanradiohistory.com

Color listings indicate issue advertiser

ws is made in an instant. 016ík c ng the story should be just as fast.

Chances are, you've heard that digital technology can help produce news

faster and easier. With an

SGI

Media Server,' the evolution to digital can

happen just as fast. The new SGI video server distributes media as data

for browsing and sharing content over standard data netwo-ks. allowing you to leverage your existing infrastructure for repurposing content. Plus.

our multi- format, resolution- independent solution delivers simultaneous

input, serving, and play -out of video, eliminating the need for independent devices. These advantages make your

-

as well as 24x7 service and

transition to digital quick and

support

-

help

easy. To learn more about SGI

Media Commerce- solutions, visit our Web site or call I -800- 800 -7441.

www.sgi.com /go /broadband

NEW MPEG -2 MODEL AT NAB BOOTH S4132

sgi la

A

1

5

Circle (165) on Free Info Card

BROADCAST, POST ASSET MANAGEMENT SYSTEM Keyvia Key -MediaWorks Asset Management System 1.3: Complete environment for managing broadcast digital assets by combining asset management, recording automation, proxy browsing and marking into a scalable client/server architecture; LAN -based PC workstation are able to browse and mark digital assets under configuration using a frame -accurate, low -res proxy. 514 -876 -2855; fax: 514 -876 -3664;

www.keyvia.com

Booth: M10226 Circle (356) on Free Info Card

CONNECTORS Kings Electronics 7760 Series Fibre -Cam Tri -Loc: Hybrid fiber optic /electrical connector meets SMPTE 304M electrical and optical performance requirement; features field serviceable fiber optic terminations, polarized key mating and Kings Tri -Loc style connector body; design features direct crimp on outer cable braid, internal strength member, and power and audio contacts.

MULTIFORMAT DIGITAL VIDEO GENERATOR Leader Instruments LT 442D: Provides two SDI outputs conforming to SMPTE 292M and eight channels of embedded AES/EBU digital audio in compliance with SMPTE 299M; six channels of AES/EBU digital audio are available in stereo pairs from three dedicated BNC connectors; generator genlocks to trilevel sync as well as NTSC or PAL black burst and offers advance/delay settings of up to ±100 lines and ±1100 pixels in one -pixel increments; analog outputs include trilevel sync, horizontal and vertical drive. www.leaderusa.com Booth: L8777 Circle (360) on Free Info Card

800 - 645 -5104; 714 -527 -9300; fax: 714 - 527 -7490;

888 -909 -5551; 803- 909 -5000; fax: 803- 909 -5092;

www.kingselectronics.com Booth: L9039 Circle (357) on Free Info Card

gr =C.* 14 -

ROUTING SWITCHER Knox Video Chameleon 256: Matrix can be expanded in multiples of 32 from 32x32 to 256x256 by inserting audio or video cards into a 12U rackframe; audio and video frames are linked together via serial cable; audio -follows -video or audio can be routed separately; internal milspec power supply is 110V/230V auto -sensing; command options including SALVO, batch and strings are available via RS232 or the optional front panel controller; serial protocol is simple ASCII. 301 - 840 -5805;

fax: 301 -840 -2946; www.knoxvideo.com

Booth: L9054 Circle (358) on Free Info Card

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r

7

OSCILLOSCOPES LeCroy Waverunner -2 series: Two- and four -channel digital oscilloscopes feature 350- to 500MHz bandwidth, a sampling rate of 1- to 4GS/s, memory up to 8Mpts, and WavePilot and QuickZoom for easy access to signal measurements; units also feature an Advanced Trigger Package offering runt and slew rate triggering. www.lecroy.com Booth: S3312 Circle (361) on Free Info Card

800 -553 -2769; 914- 425 -2000; fax: 914 -578 -5985;

NEWSROOM SYSTEM 8VSB MODULATOR Ktech Telecommunications VSB -ENC -200: Modulates MPEG -2 transport stream into an 8VSB signal using linear and nonlinear pre -correction techniques; accepts SMPTE -310 or DVB -ASI @19.392Mb/s transport stream inputs and produces a 44MHz W 8VB signal at output. 818- 361 -2248; fax: 818- 270 -2010;

Leitch NewsFlash II Nonlinear editor is fully integrated with Leitch's VR Technology servers; suite includes BrowseCutter's journalist workstations and access to archival media using DVD archiving. 800- 231 -9673; fax: 757 - 548 -4088; www.leitch.com

www.ktechtelecom.com

Booth 18620 Circle (362) on Free Info Card

Booth L577 Circle (359) on Free Info Card

120

broadcastengineering.com

April 2001

www.americanradiohistory.com

Color listings

indicate issue advertiser

The Avica Platform for Digital Media

-.

AVICA

AVICA ...

®..-

,

/

AVICA

/

DAI

LMS

/i'// ///, Avica Technology introduces an advanced range of products, expressly designed for telecine suite mastering. AVICA STILLSTORE

AVICA MOTIONSTORE AVICA PROJECTVIEW

AVICA PROJECTSTORE

AVICA DATASTORE

AVICA FILMSTORE

nViCnf Avica Technology Corporation 1201 Olympic Boulevard, Santa Monica,Califxnia 90404 USA Phone (310) 450 -9090 Fax (310) 450-5353 E -mail: contact @avica.com

www.avicatech.com Il

Come see us at NAB, Sands Booth S -3869 April 23 -26 Circle (166) on Free Info Card

product names,the Avica logo and Avica Technology are trademarks of Avica Techiology Corporation.<; 2001 Avica Technology Corporation

www.americanradiohistory.com

HIGH -POWER BROADCAST TUBE

STREAMING MEDIA DESIGN SOFTWARE

Litton Electronic Devices L-4299 Constant Efficiency Amplifier: Next -gen high -power tubes for UHF; operates a peak powers up to 120kW, offers high efficiency in comparison to standard IOT when operated in digital services.

Media 100 ¡Finish 4 PowerGrade series: Allows web -designers to develop high -quality interactive digital media content for Windows 2000; enables the embedding of interactive instruction directly into streaming media programs to trigger visual, content rich capabilities, including Java, Flash and graphics.

800 -861 -1 UHF; fax: 570- 326 -2903;

www.littonedd.com Booth: L6119 Circle (363) on Free Info Card

800-773-1770

;

fax: 508-624-9384; www.media100.com

Booth:16511 Circle (368) on Free Info Card

MPEG ENCODER Logic Innovations IPE: Supports SNMP, the IPE and Transport Stream Multiplexer, allowing data management and control from the broadcasters network management of choice; designed for encapsulation Internet data into an MPEG transport stream for broadcasting across satellite, cable and terrestrial networks. 888 -34- LOGIC; fax: 619- 455 -7273;

www.logici.com

Booth: E3217 Circle (364) on Free Info Card

MPEG -2 ENCODER MedioStream MediaPRO -XLT: Interface to legacy systems with input of composite video, analog or AES/EBU audio, SDI or ASI; offers laptop docking module for input and output interfaces; output can he either MPEG -2 4:2:0 or 4:2:2 formats; real -time encoded events can also he transcoded into Windows Media, Real G2 and Quicktime formats. 408- 452 -5500; fax: 408- 452 -5522; www.mediostream.com

Booth: E5845 Circle (369) on Free Info Card

ROUTER CONTROLLERS Logitek Route3: Rack -mounted controller for Logitek's Audio Engine offers full input selection control for three devices with a simple, easy -to -learn interface, same labels that display on any Logitek control surface are displayed in the units Route3 LCD window.

WIDEBAND CHANNEL COMBINER Micro Communications Wideband Channel Combiner: Provides high -power channel combining in multichannel sites where channels are spread across a wide frequency range; meets the requirements of installations running at high ERPs. 800 -545 -0608; 603 -624 -4351; fax: 603 -624 -4822;

713- 664 -4470; fax: 713 -664 -4479; www.logitekaudio.com

www.mcibroadcast.corn Booth: L8768 Circle (370) on Free Info Card

Booth: R2147 Circle (365) on Free Info Card

MONITORING HARDWARE Magni Systems SDM -560 Monitor: Serial digital /composite video and audio monitor provides efficient monitoring of 601, composite video and audio; features routable displays, embedded audio decoding and metering, auto -measurement, alarming, reporting and complete remote control.

TRIPOD SYSTEM Miller Camera Support HD 100 tripod: Lightweight, two -stage carbon fibre system offers Quick Lok vertical leg clamping, slip carry handle and variable mid-level spreader. 973- 857 -8300; fax: 973 -857 -8188; www.millertripods

Booth:110773 Circle (371) on Free Info Card

800- 237 -5964; fax: 503- 615 -1999; www.magnisystems.com

Booth L11373 Circle (366) on Free Info Card

IOT Marconi Applied Technologies IOTD3100W: Capable of 110kW peak digital or 55 =5.5kW combined analog amplification, this plug -in IOT offers ease of installation and high -performance. 800- 342 -5338; fax: 914- 592 -5148;

Booth 112545

1

22

ROUTING SWITCHER SERIES Miranda -Network: Features a complete range of models for signal formats that include analog and digital video, analog and digital audio, HD SDI (SMPTE 292M), RS -422, and the popular datcom formats. 514- 333 -1772; fax: 514 -333 -9828;

www.marconitech.com

www.miranda.com

Booth: L8632 Circle (372) on Free Info Card

Circle (367) on Free Info Card

broadcastengineering.com

April 2001

www.americanradiohistory.com

Color

listings indicate issue advertiser

Open new perspectives in

MONITORING

broadcast distribution.

CONTRIBUTION

DISTRIBUTION

Statewide digital networks, major broadcasters

and post -production companies are using BarcoNet encoders and decoders for the quality and flexibility

that result in cost -effective operation of your

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(www.barconet.com

CONNECTING WORLDS

TRANSMITTING IDEAS Circle (167) on Free Into Card

See Us at NAB Booth #S5360

FREQUENCY MEASUREMENT SYSTEM Modulation Sciences Precision Frequency Measurement Panel: Provides NTSC and 8VSB frequency measurement for television carriers; measures local or off the air frequencies to an accuracy approaching one part in a billion. 800- 826 -2603; 732- 302 -3090; fax: 732-302-0206; www.modsci.com

Booth: L4416 Circle (373) on Free Info Card

CABLE CONNECTORS AND BULKHEADS Neutrik BNC75: Offers a push -pull version that makes assembly quick and simple and requires a standard center contact crimp die after cable preparation; includes screw lock cable retention with superior pull strength provided by the jacket. 732-901-9488; fax: 732 -901 -9608; www.neutrikusa.com

DIGITAL VIDEO SYSTEM

Booth 11636 Circle (374) on Free Info Card

Opticomm DVX -5000 System

203- 323 -0042; fax: 203-323 -8406; www.newtec.be

Universal multimedia digital transport system for distribution over wide area networks including PAL, NTSC and SECAM for multichannel QAM or VSB signals; offers transmission signals for the transport of digitized video, audio and control data signals over single -mode fiber; uncompressed 10 -hit serial digital video system at 143, 177, 270, 360, 540 and 622Mb /s data route is free of adjustment over a wide dynamic range; digital signal offers receiver output stability not affected by the fiber, attenuation, aging, splicing or other factors;.

Booth: T550 Circle (375) on Free Info Card

858 -450 -0143; fax: 858 -450 -0155; www.opticomm.com

SATELLITE INTERACTIVE TERMINAL OUTDOOR UNIT Newtec America SIT ODU: Features integrated 30GHz/12GHz or 30GHz/20GHz design compatible with DVB-RCS; available in 0.5, 1 or 2 watts; return channel is up to 2Mb/s with antenna sizes 60 to 90cm.

Booth: S3047 Circle (378) on Free Info Card

SATELLITE -TRANSMITTER LINK Nucomm Microwave V Stream: STL featuring 8VSB modulation; offers digital signal monitoring with SMPTE 310 and ASI digital interfaces. 800 -9- NUCOMM; 908 -852 -3700; fax: 908 -813 -0399;

www.nucomm.com Booth:13854 Circle (376) on Free Info Card

VIDEOGRAPHICS WORKSTATION Orad Hi -Tec Systems DVG -10:

PC -based system for virtual sets, on -air graphic and sports simulations; features high performance 3D graphics. 212 -931 -6723; fax: 212 -931 -6730; www.orad- ny.com

Booth: S5332 Circle (379) on Free Info Card

MEDIA PRODUCTION TOOL

VIDEO SERVER

Omneon Video Network Networked Content Server System with FAST's purple: Omneon and FAST Multimedia AG have integrated FAST's purple DV editing system to Omneon's platform;

Orad Hi -Tec Systems Forum:

the platform's open, standards -based infrastructure serves multiple applications; the integrated system utilizes 1394 I/O with FAST's purple, the I/O serving as an edge device allowing direct transfers to a common file system.

Records and plays on six channels concurrently; features slow motion, video effects, and editing and control using the Elefant remote control; offers provisions for networked operations for use in sports productions. 212- 931 -6723; fax: 212 -931 -6730; www.orad -ny.com

Booth: S5332 Circle (380) on Free Info Card

408- 585 -5000; fax: 408- 585 -5090; www.omneon.com

Booth: L529 Circle (377) on Free Info Card

124

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April 2001

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Color listings indicate issue advertiser

Step up to Datatek

The Datatek D -2800 Router reflects the experience of Datatek's 30 years in the design and manufacture of broadcast -

quality routing switchers.

With

a

large number of

systems in use worldwide, the D -2800 is available for:

Serial Digital Video

Synchronous Digital Audio

Destination Monitor Switching

Asynchronous Digital Audio

Analog Video Stereo Analog Audio with mode

switching RS -422

Extensive ContriA" Panel Selection

additional information: Datatek Corporation 1121 Bristol Road, Mountainside, NJ 07092

Bi- Directional Data

Time Code

For

Tel: 908 -654 -8100 800 -882 -9100 Fax: 908-232-6381

www.datateknj.com See us at Booth L9949 Circle (168) on Free Info Card

www.americanradiohistory.com

DATATE K

coiP

CHARACTER GENERATOR

VIDEO SWITCHER

Oxtel Easytext: Integrated option to the Imagestore master control and channel branding system; can render static or scrolling characters over custom backgrounds; uses text fed directly via multisession automation; combination of Easytext with Imagestore allows a squeeze and reveal program schedule to be played out, combining a DVE transition with text insertion direct from a playlist.

Panasonic AW- SW300: Live/non -live video switcher features four inputs, either composite or s- video; powered by AC or 12 volt DC; also features a built -in frame synchronizer, black -burst output and a variety of basic wipes; other features include a super impose key and intercom/tally capabilities. 800 -528 -8601; 323 -436 -3500; fax: 323- 436 -3660;

www.panasonic.com

Booth: L7020 Circle (384) on Free Info Card

+44 1491 820 000: fax +44 1491 820 001; www.oxtel.com

Booth: L147 Circle (381) on Free Info Card

VIDEO PRODUCTION SYSTEM ParkerVision PVTV Studio NEWS: System features integrated video, audio, machine, camera and teleprompter functions; operators can control the system from a one- or two- operator station, available in Digital 16, Digital 24 and Digital 24 Plus! Systems; several package options available, several including ParkerVision's three CCD robotic pan/tilt cameras and multicamera controllers. www.pvtv.com Booth L541 Circle (385) on Free Info Card

800 - 532 -8034; fax: 904 -731 -0958;

ROUTER

HIGH -DEFINITION CAMCORDER Panasonic Broadcast AJ- HDC27A: 30frames/s to 60frames/s, dual- frame -rate, progressive scan (720p) DVCPRO HD camcorder is based on a newly developed 1.1- million -pixel, 2/3 -inch, three -CCD IT imaging system; offers a sensitivity of f/11 at 20001ux; provides 46 minutes of recording, two channels of 16 -bit/ 48kHz digital audio, power consumption of 30W, and uses standard, 2/3 -inch bayonet lenses; HD -DSI output enables full -color live and tape playback; 8MB multimedia card stores camera setups. 800 -528 -8601; 323 -436 -3500; fax: 323 -436 -3660;

www.panasonic.com

PESA Switching Systems Cougar HD /SD: Supports either HDTV or SDI input and output cards; can be configured as 4x4 or expanded up to 32x32 capacity. www.pesa.com Booth: L8757 Circle (386) on Free Info Card

800 -328 -1008; 631 - 845 -5020; fax: 631 -845 -5023;

HD PRODUCTION SWITCHER FAMILY Philips Broadcast Seraph: Includes full range switchers from one mix effects band up to four; HD formats include 1080i, 720p, and 24p. 800- 962 -4287; fax: 818- 729 -7710; www.broadcast.philips.com

Booth: L7020 Circle (382) on Free Info Card

AUDIO INPUT ADAPTER Panasonic AJ- CA910: Adapter increases audio channels of Panasonic's AJD910WA and AJ- D900WA 50Mb /s DVCPRO50 camcorders from two channels to four; features an LED audio level indication, audio level volume and phantom power supply ( +48dB), as well as two inputs/outputs. 800 -528 -8601; 323 -436 -3500; fax: 323 -436 -3660; www.panasonic.com

Booth: L7020 Circle (383) on Free InfoCard

126

broadcastengineering.com

Booth 5010 Circle (387) on Free Info Card

PRODUCTION SWITCHER Philips Broadcast DD35: Now has HD /SD SimulCast networking production; simultaneous SD and HD production from a single switch er panel; up to eight M/Es with intelligent access; internal DVE and RAM storage capability including 2D DVE effects in 3D space as well as up to 32 seconds of video clip storage and/or still store applications. www.broadcast.philips.com Booth 5010 Circle (388) on Free InfoCard

800 -962 -4287; fax: 818- 729 -7710;

April 2001

www.americanradiohistory.com

/Color

listings indicate issue advertiser

Everybody

WarWlore

Everybody is clamoring for more content, more

choices and more bandwidth. When the pressure is on, programmers, broadcasters and service

providers need the versatility delivered by PowerVu` digital content distribution systems.

u

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We know digital and how to deliver it. Wherever

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when your customers want more, you can deliver with PowerVu digital.

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Want MORE?

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See PowerVu at NAB Booth S4142 Call 770.236.6190

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Bringing the Interactive Experience Home inc

Circle (169) on Free Info Card

www.americanradiohistory.com

DVE

HD VIRTUAL SET

Pinnacle Systems DVEXceI:

Radamec HD Scenario:

New frame -based DVE offers choice of one, two, three or four channels, each with video and key and three separate DVE engines; features include deep defocus and chroma keying and new effects.

Offers an upgrade path for Virtual Scenario users to move SD virtual studios to HD; utilizes high- definition inputs/ outputs; processes real -time high definition or standard definition upconverted background video and key into its background and foreground; features an HD chromakeyer and HD still store; can be operated manually or robotically.

650- 526 -1600; fax: 650 -526 -1601; www.pinnaclesys.com

Booth: L11327 Circle (389) on Free Info Card

877 -RADAMEC; 732 -246 -0906; fax: 732- 448 -1184; www.radamec.com

Booth: L1441 Circle (394) on Free Info Card

UNIVERSAL 10 -BIT SYNCHRONIZER Pixel Instruments VS -5200:

Offers multiformat inputs and outputs and a built-in heterodyne TBC; provides selectable inputs in serial digital, composite analog, component analog and Y /C, as well as simultaneous outputs in the same formats; the system's DDO pulse output is used to control the audio delay of the AD -300 for automatic lip sync correction. 408- 871 -1975; fax: 408-871 -1976; www.pixelinstruments.com

UNDER -MONITOR DISPLAY PANEL RCI Custom Products Electro Luminescent series:

Lightweight electronic identifier for video monitors and flat panel displays; offers three standard lighting colors; features a wide range of options for font selection and text size; EL technology provides a long-life method of back lighting.

Booth: 1430 Circle (390) on Free Info Card

301 -984 -2202; fax: 301- 984 -9473; www.rcicustom.com Booth: M9824, M9825 Circle (395) on Free Info Card

ROBOTIC POSITIONING EQUIPMENT Pro/Four Video Products 2000RP:

Remote positioning equipment features an onboard digital receiver, including control, power and video, and new "true balance" load balancing system; also features a new optical encoder closed-loop servo control design, which insures preset positioning accuracy as fine as one arc minute; unit is intended for use with cameras weighing up to 35 pounds. 813-447-6389; 800-457-8130; fax: 813-447-5166; www.pro- four.com

Booth: 84082 Circle (391) on Free Info Card

TELEPROMPTER SOFTWARE

BROADBAND ANTENNA Broadcast RD Series: Designed for the digital NTSC/DTV market; wideband (100MHz), low VSWR, low wind load; allows use of a single UHF TV antenna for multichannel NTSC/DTV applications; features include single or dual option, power rating up to 200kW NTSC and top -or- side -mount configuration. RFS

QTV WinCueLT:

203 -239 -3311; 203- 239 -9260;

Upgrade to QCPWIN prompter program; operates in a Windows95 /98NT environment; features spell check, hard copy and support for thousands of scalable True Type fonts; system is multilingual; inserts error marks while scrolling; operates on a laptop or desktop; no preview screen is needed.

www.rfsamericas.com Booth: L9528 Circle (398) on Free Info Card

212 -460 -9050; fax: 212 -328 -1699; www.qtv.com Booth: L12158 Circle (392) on Free Info Card

MICROWAVE LINK Technology ACL- Series: Link is analog, digital -ready or digital, available in a 2- to 16GHz frequency range; systems can be configured for QPSK, 16QAM or COFDM for transmission of ATSC/ HDTV, DS3, E3, E2, El or Tl; interfaces include G.703, SMPTE -310M and DVB-ASI; features protected/diversi ty terminals with errorless changeover, adaptive equalization and multiplex equipment; ACL also supports the transmission of analog video and up to six audio subcarriers. RF

LIVE PRODUCTION SERVER Quantel Clipbox Studio: Offers access to video clips and stills for

studio programming; provides resizing and re- aspecting capabilities for each output through internal 2D DVEs; this feature allows for windowed overthe- shoulder style presentation; internal mixers provide cross-fade capabilities between channels and on -board key combiners allow for live compositing of foreground over background.

800-762-4369; 203-866-4283; fax: 203 -853 -3513;

www.rftechnology.corn Booth: L12549 Circle (397) on Free Info Card

203- 656-3100; fax: 203-656-3459; www.quantel.com

Booth: L11520 Circle (393) on Free Info Card

1

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April 2001

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Color listings indicate

issue advertiser

It s All About Control! The OMNI Digital series of MPEG -2/DVB Receivers and Decoders is a technology breakthrough for professional broadcast applications, with QPSK inputs and 422P @ML and MP @ML processing, a full array of VBI features. Options and include 8-PSK and ASI input as well as Dolby "' AC-3 audio. But when you add advanced software like Standard's new SRC4, you get something far more: complete control all parameters for up to 99 receivers of dish controllers from a single screen and 49 display. Intended for use in broadcast Master Control Rooms, SRC4 dramatically receiver and dish control by allowingsimplifies the user to save, recall and edit parameters simply by clicking on the screen.

SRC4 is also the software of choice for Standard's MT930 -B. Get the full story. Call us at 800.745.2445, or visit us online at www.standardcomm.com.

©Mtia MIGETALL.

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U.S.: (800) 745 -2445 Canada: (800) 638 -4741 Europe: 44 1923 800 510 Latin America: 55 11 3887 6598

Standard Communications Meeting tnmornnr'S standards today Come see us at NAB, Booth #T1

t 4 www.standardcomm.com Circle (170) on Free Info Card

www.americanradiohistory.com

L

...,.

`!$'

.

NONLINEAR EDITING SYSTEM Richardson Electronics Syntax Media Systems: Multimedia nonlinear editing system is based on thirdparty editing software; system is tested and configured by Syntax Media Systems and assembled by Richardson Electronics to offer a step -by -step process to deliver video programs either to CD -ROM or the Internet.

TOWERS Sabre Communications guyed and self- supporting towers: Sabre provides parts and accessories for towers, monopoles and HF antennas regardless of original manufacturer; other services include structural analysis of any tower, turnkey site construction, tower inspections and project management.

www.rell.com Booth: L8122, R2325 Circle (398) on Free Info Card

800- 369-6690; 712- 258 -6690; fax: 712- 258-8250; www.sabrecom.com

800 -348- 5580; 630- 208 -2200; fax: 630 -208 -2550;

Booth: L1412 Circle (402) on Free Info Card

RECEIVERS /DEMODULATORS

Rohde & Schwarz EFA: Enhancements to the EFA product family handle digital 8VSB and analog System "M" modulation, as well as US cable; systems demodulate digital formats to MPEG -2 transport at SMPTE 310 or ASI serial interfaces; System "M" is demodulated to baseband video /audio; demodulators utilize a measurement grade RF front end.

RANDOM ACCESS VIDEO RECORDER SADiE Portia:

Eliminates the need for a VTR in track laying and dubbing in post production; system allows video to be recorded into a normal SADiE EDL and accessed with the audio; video appears as a dedicated stream in the EDL so video and audio can be scrubbed simultaneously.

www.rohde -schwarz.com Booth: L5750 Circle (399) on Free Info Card

301 -459 -8800; fax: 301- 459 -2810;

615-327 -1140; fax: 615 -327 -1699; www.sadie.com

Booth: E5935 Circle (403) on Free Info Card

MASTER CONTROL SWITCHER Ross Video CDK 111: Single DA -sized card provides video mixing, keyer with built in animated logo storage and frame synchronizers for every input; other features include full preview, program bypass relay and automation port. 613 -652 -4886; fax: 613 -652 -4425;

www.rossvideo.com Booth: L11839

Circle (400) on Free Info Card

FILM CLEANING SYSTEM Research Technology International EXCEL 2000: Motion picture film cleaning system developed by LipsnerSmith Company for applications where a solvent -based cleaning system is not required; removes dirt and contamination from film using four molded polymer rollers, before passing film through eight softnap rotary buffers with environmentally safe fluids. 800- 323 -7520; 847 -677 -3000;

fax: 847- 677 -1311; www.rtico.com

Booth: L7045 Circle (401) on Free Info Card

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CHARACTER GENERATORS SAV Kronoss: Offers real -time positioning, rotation and resizing; features simultaneous video and audio, AES/EBU digital and analog audio in/out with fade, and an additional built -in keyer for external sources. 33

1

1 42 40 47 80; www.sav- broadcastcom Booth: L438 Circle (404) on Free Info Card

53 38 22 -00; fax: 33

STATISTICAL MULTIPLEXER Scientific- Atlanta PowerVu BitMizer: Offers high -density grooming and MQAM modulator; provides end -to -end solution for cable headends. 770- 903 -5000; fax: 770- 903-4617; www.sciatl.com

Booth: 17248

Circle (405) on Free Info Card

Color listings indicate issue advertiser

Trying to take video to the next level? Remember, the world's counting on you.

Testing Video Equipment Designs Video -the world can't get enough of it. And we design more it. Tools that analyze and measure every type of video out there-analog or digital, baseband or MPEG. Now you can quickly debug, characterize, and verify all your ingenious new product designs. Hey, the world is waiting. For information about set top box, MPEG codec, multiplexer testing, and more, call 800- 426 -2200 x3070 or visit www.tektronix.com/videodesign

tools for testing

i

Tektronix O Tetronix, Inc. 2001. All rights reserved. TEKTRONIX is

a

registered trademak, and the Tektronix logo a a trademark of Tektronix. Inc.

Circle (171) on Free Info Card

www.americanradiohistory.com

DSNG ENCODER

AES SYNCHRONOUS DIGITAL AUDIO

Scopus (formerly Tadiran Scopus) CODICO E -1700: Features built -in modulator to allow for encoding and modulation in one unit.

Sierra Video Systems Yosemite: Available in 3RU 64x64, 4RU 96x96 and 5RU 128x128 matrix sizes; module filters audio stream inputs at any rate through its internal sample rate converter and converts to the desired output sample rate; also features

858- 618 -1600; fax: 858 -618 -1615;

www.tadiranscopus.com

Booth: S5372 Circle (406) on Free Info Card

optional "bypass mode," which allows the input synchronizing circuit to be bypassed for non -AES/EBU signals. 530- 478 -1000; fax: 530 -478 -1105; www.sierravideo.com

Booth: L3750 Circle (410) on Free Info Card

MPEG -2 VIDEO SERVER SYSTEM SeaChange International Broadcast MediaCluster

DIGITAL AUDIO CONVERTERS

1230/50:

Sierra Video Systems DigiLinx:

Server system scales from a cluster of three computer servers to larger clusters with dozens of I/Os and terabytes of storage for use in mid -sized to large -scale broadcast operations; can store more than 4.2TB of video; supports up to 42 I/Os delivering 30Mb/s MPEG -2 4:2:2 long -GOP video, with two 24 -bit uncompressed AES

audio channels each. www.schange.com Booth: L917 Circle (407) on Free Info Card

978 -897 -0100; fax: 978- 897 -0132;

Converters contain two identical stereo 24 -bit A/D and D/A converters; analog end accepts full differential audio, while the digital end supports either AES or SPIF formats; analog -to-digital converter operates either locked to an external AES audio stream or free -running via a stable internal oscillator with selectable sample rates; AES-toanalog converter uses the same PLL technology to lock to the input digital audio stream. 530 -478 -1000; fax: 530- 478 -1105;

www.sierravideo.com Booth: L3750 Circle (411) on Free Info Card

SIGNAL LOSS DETECTION SYSTEM

DIGITAL CONSOLE Sennheiser Electronics Sensory Compact: Offers 32 mic/line inputs and eight line-only inputs feeding 32 patchable input channels; each channel includes a digitally controlled preamp, a low -cut filter and a gate/ expander, as well as four bands of fully- parametric equalization and a four -digit label display; 12 busses mix down to three masters: L/R -mono, LCR or user-defined arrangements; the unit also has 16 matrix outputs with full digital processing. www.sennheiserusa.com Booth: R2253 Circle (408) on Free Info Card

860- 434 -9190; fax: 860- 434 -1759;

PRODUCTION TRUCK

Sigma Electronics SDX: Detects the loss of a video source into Sigma's routing switchers and automatically switches to a preselected alternate source; panel is user programmable and occupies 2RU. 717- 569 -2681; fax: 717 - 569 -4056; www.sigmaelectronics.com

Booth: L12639 Circle (412) on Free Info Card

VIDEO SOLUTION Silicon Graphics Zx10 Visual Workstation: Features two new video -enabled configurations; PCI video option supports uncompressed 10 -bit YUV and 8 -bit RGB (with alpha) SD video input/output; digital media solution offers SGI's exclusive Graphics to Video output with Wildcat 4210VIO graphics; options will be available as a bundled solution with two different configurations. 650 -960 -1980; 800 -800 -7441 fax: 650 -933 -0819;

Shook Advantage Series A -16 EFP:

Custom 24 -foot truck contains Ikegami HL -45WBT 16:94:3 cameras and monitors, as well as a Grass Valley Group 1200 SDI switcher and Sony DNW-500 Digital VCRs; also contains Leitch terminal hardware and router system; other equipment includes Soundcraft audio, STI 1FB and Telex intercom. 888- 651 -5775; 210- 651 -5700; fax: 210-651-5220; shook-usa.com

Booth: 0D306 Circle (409) on Free Info Card

www.sgi.com/go /broadband Booth: S4132 Circle (413) on Free Info Card

ASSET MANAGEMENT SYSTEM Silicon Graphics SGI StudioCentral Library 3.0: Flexible, scalable system provides immediate access to storing, securing and managing digital assets including versioned/ non -versioned text files and streaming media; can be used as a single workstation or multiple workgroups; provides Studi°Central server functionality from any platform. 650 -960 -1980; 800 - 800 -7441 fax: 650 -933 -0819;

www.sgi.com /go /broadband Booth: S4132 Circle (414) on Free Info Card

1

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Color listings indicate issue advertiser

Leader Does It Better!

ModelLV5836B

it to believe it! This new Leader Instrument system offers both digital video and digital audio testing in a single rack -mount package. It honors Leader's tradition of creating complete, flexible test systems with analog monitoring capabilities built -in to expand versatility. Here are some feature highlights: See

LV

58368

-

Surround Digital/Analog Audio Monitor

Receives Extracted Digital Audio (AES /EBU) from LV 5152DA or use stand- alone. Monitors 6 -CH of Dolby Digital and 5 -CH of Analog Audio Innovative Sound Image Display Enables Fast Sound Setup in Production. Matrix Multi -CH Display Permits Audio Component Phase Comparisons. Simultaneous Level and Phase Monitoring Screens. 6 -CH Bargraph Display. CH Status Data Screen and Bit Dump.

LV 5152DA - HD

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All the features of the Award Winning

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Multi-Format HD M nitor sets up for: 1080i (60/59.94/50), 1080p ( 30/29. 97/ 2E/24/23.98/24sF/23.98sF),1035i (60/59.94) and 720p (60/59.94). Waveform, Vector, picture Monitor and X -Y Modes. 8 -CH AES/EBU Digital Audio Outputs (16, 18, 20 or 24 bit). RGB Gamut Error and P -P Readout of Waveform Components. Hex Data Dump, Extensive Error Logging, Custom Alarms.

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FO

51520

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ROFESSIO

6484 Commerce Drive, Cypress, CA 90630 Tel: (714) 527 -9300 Fax: (714) 527 -7490 Regional Offices: Atlanta, Boston, Chicago, Cleveland, Dallas, Los Angeles

See us at NAB Booth #L8777 Circle (172) on Free Into Card

DIGITAL MEDIA SOLUTION

DIGITAL MEDIA STORAGE

Silicon Graphics SGI Onyx3000: New HD /SD option supports HD uncompressed video in and out with real -time colorspace conversion; the system with the option supports HD 10 -bit RGB or 10 -bit YUV and SD 10 -bit RGB or 10 -bit YUV; also provides application support for 2k x 2k 24fps and is OpenML -compatible. 650 -960 -1980; 800 -800 -7441 fax: 650 -933 -0819;

Sony MUS -2000: The MUS -2000 is part of the MUP -2000 series content management networked system; provides multiaccess capability with high -speed file transfer rates and 288GB capacity; features RAID-5 HDD technology providing a self- diagnostics function and auto data recovery; other features include hot-swappable HDDs and backup power supply.

www.sgi.com/go/broadband

800 -686 -SONY; 201 -930 -1000; fax: 201- 930 -4752;

Booth: S4132 Circle (415) on FreolnfoCard

www.sony.com /professional Booth: L11600 Circle (419) on Free Info Card

UPCONVERTER Snell & Wilcox Premier HD5500 PhC: 10 -bit motion -compensated device upconverts 525/625 SD video signals to HDTV 1.48Gb/s output formats; utilizes Ph.C, proprietary motion compensation technology; supports field rate standards conversion as part of the upconversion process- for example, 525/60 to 1080i/50. 408 -260 -1000; fax: 408 -260 -2800;

www.snellwilcox.com.

HSM AND DATA MOVER Sony PetaServe /PetaBack V2.00: Functions between data or video servers; optimized for Sony's PetaSite automated tape libraries and DTF computer tape drives; "middleware" manages disk and tape capacities, automates daily maintenance and volume management; system is SAN ready; Solaris 8 support allows the host installed by the UltraSPARC Ill processor to use the software.

Booth: L10428 Circle (416) on Free Info Card

800- 686 -SONY; 201- 930 -1000; fax: 201- 930 -4752;

www.sony.com/professional Booth: L11600 Circle (420) on Free Info Card

MIXING SOFTWARE Solid State Logic Axiom -MT, V2.7:

DVD AUTHORING SYSTEM

New software for Axiom -MT features automatic mix latency management through the Mix Align feature; also offers choice of four EQ algorithms and ability to globally cycle through aux pages for quick interrogation of channel auxes.; displays all channel inserts on the central screen; system allows inserts, multitrack outputs, EQ and dynamics presets to be cleared or routed individually or in an incremental range. 212 -315 -1111; fax: 212 -315 -0251; www.solid- state -logic.com

Sony DVA- 700BSC: Offers an Instant Authoring function for entry -level users of DVD authoring; converts videotape to high picture quality DVD-Video; DVD -video produced by the system can be used as client copies, automatic repeating displays at stores or for video archives, etc.; system can also be used as a one -pass encoder for DVD authorware. 800 -686 -SONY; 201 -930 -1000; fax: 201 -930 -4752;

www.sony.com/professional Booth: L11600 Circle (421) on Free Info Card

Booth: R2515 Circle (417) on Free Info Card

READER/WRITER WITH INTERFACE Sony MLU- 200 /MLT -200: Allows users to store and access production- related information

DVD AUTHORING SOLUTION Sonic Solutions DVD Fusion for Windows:

Integrated DVD production system features drag and drop authoring, integrated image compositing, and real time video and audio encoding; also features direct-to -DVD writing, a text generator and a timeline-based user interface; the system supports eight audio streams and 32 subtitles; provides control of Sonic's studio-quality MPEG -2 real -time video encoder. 888- Sonic -4U; 415 -893 -8000; fax: 415- 893 -8008; www.sonic.com

Booth: S4826 Circle (418) on Free Info Card

using a non -contact read/write system during the shooting and pre-editing processes; users can check cassette information and cue data on a Tele-File memory label by bringing the reader /writer close to the label; Sony's MLT-200 serves as an interface between the MLU -200 and a PC, and can be used as a battery charger for the MLU-200. 800-686-SONY;

201 - 930 -1000;

fax: 201- 930 -4752;

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www.sony.com /professional

Booth: L11600 Circle (422) on Free Info Card

134

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April 2001

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Color listings indicate issue advertiser

PLAN FOR

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*2001 SeaChange international, phone: 978 -897-0100 MediaCluster is patented, and is

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Circle (245) on Free Info Card

www.americanradiohistory.com

SEACHANGE INTERNATIONAL Changing television for good.

MONITOR Sony BVM -F24U CineAlta monitor:

16:9 widescreen flat CRT monitor with a 24 -inch viewable area; allows for critical evaluation of e- cinema content, including motion pictures produced in 1080/ 24p; multihigh scan monitor can display analog RGB and HD -SDI signals at horizontal frequencies of 54- to 90kHz and vertical frequencies of 48- to 75Hz; monitor accepts dual -link 4:4:4 mode HD -SDI signals. 800 -686 -SONY; 201- 930 -1000; fax: 201- 930 -4752;

www.sony. com /professiona Booth: L11600 Circle (423) on Free Info Card I

UNINTERRUPTIBLE POWER SUPPLY Staco Energy Products Encore:

The system's power- conditioning feature protects against brownouts, surges, sags, spikes and other power anomalies; fully SNMP capable; includes power management software that provides for remote management of all aspects of power protection; system features external battery packs with independent charters for scalable unlimited runtime, front -access hot -swappable batteries, and voltage regulation incorporating double boost and double buck. 937 - 253 -1191; fax: 937 -253 -1723;

stacoenergy.com

Booth: L12252, L12253 Circle(426) on Free Info Card

DUAL -CHANNEL PRODUCTION SYSTEM Spencer Technologies Newstore: Provides storage for stills, clips, looping backgrounds and animations with linear keys; also stores custom video transitions and audio effects; each channel includes a DVE, linear keyer, and analog and digital input/output; system allows networked graphic files to be converted to video and linear key for key channel synchronization. 818 -771 -1850; fax: 818 -771 -1855; www.spencer-tech.com Booth: 1.9057, L11639 Circle (424) on Free Info Card

STREAMING MEDIA TOOL Splitstream XPRESS: Uses cellular technology to transport high speed audio and video at 30fps; multiple cell channels on standard cellular networks are used to transmit video and audio, including wireless, cell phone, DSL, telephone and satellite; signals are compressed and transmitted and then reassembled at the receiving location into a single stream, with buffering, caching and error correction using the XPRESS' Divide/ Tag technology. 310 277 -3887; www.splitstream.tv

DIGITAL ROUTER Stagetec Nexus Star: Features 100MHz twin- switch fabric design; can be configured for up to 4096 I/Os; uses 16 I/O cards, each handling 256 I/Os; in distributed system, additional base devices can be added and connected to the Nexus Star as needed; provides sample rate conversion over a range of 26K to 52K; fully synchronous system. +49 951 972 25 25; fax: +49 951 972 25 32; www.stagetec.com

Booth: 82181 Circle (427) on Free Info Card

Booth: L6130 Circle (425) on Free Info Card

136

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April 2001

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Color

listings indicate issue advertiser

i M/OS/ZE ROUT//LG S141MQERS

MRXTM

by Sigma. 32 x 32 =

1

o

RU,

the formula for compact routing. Sigma Electronics has done it again. Introducing the new MRX Series r" of compact routing switchers. Only one rack unit high perfect when space is at a premium. And,

MRX ", the new formula for midsize compact routing switchers. As an added benefit, all components are covered by Sigma's 5 -Year Parts & Labor Warranty.

with specifications that meet the most critical applications. Add levels and functions as required. Need a channel of audio? ...add a RU, 32 x 32 frame. The MRX " can switch eight control levels. 1

control panels including alphanumeric are available. For computer control via RS232 /RS -422, check out our new SigMatriX "' software. A variety of

Contact us now for product information or to locate your nearest Sigma dealer. See us at NAB Booth #L12639

SIGMA ELECTRONICS INC. www.sigmaelectronics.com 1184 Enterprise Road

PO Box 448

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East Petersburg PA 17520 -0448

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(717)569 -2681 (717)569 -4056

TELEPHONE FAX

AUTOMATION SYSTEM Sundance Digital FastBreak Automation Version 2.0:

Offers robust, scalable and frame- accurate control of video server and other station peripherals in either single or multichannel configurations; operates under Windows 2000; elements can be operator and time-of-day triggered; each may include an unlimited number of secondary events. 972- 444 -8442; fax: 972- 444 -8450; www.SundanceDigital.com

Booth: L1355 Circle (431) on Free Info Card

PORTABLE FLASH MEMORY RECORDERS TOWER FABRICATION Stainless Inc. Fabrication Services: Stainless' manufacturing facilities are certified by the American Institute of Steel Construction and feature custom, computer- controlled equipment for the manufacture of broadcast towers; fabrication services include metallurgical analysis, certified welders and continuous testing guarantee. www.spectrasite.com Booth: L12611 Circle (428) on Free Info Card

972 - 550 -9500, fax: 972 -550 -9595;

Superscope Technologies Inc /Marantz PMD690: Records stereo and mono digital audio using the media of PC cards; also available as the PMD680 mono-only version with a telephone input/output; audio files can be transferred to a computer for editing, archiving or uploading to the Internet; also features multiple compression settings to extend recording times on smaller-capacity PC cards; can record in the MP2 format; also records uncompressed 16 -bit PCM digital audio as a Wave or Broadcast Wave file; includes a built -in non- destructive EDL system to allow users to place reference marks and create custom playback sequences. 630 -820 -4800; fax: 630 -820 -8103;

www.marantz.com/product/

professional

Booth: R191, R1846, R2929

Circle (432) on Free Info Card

VIDEO -ON- DEMAND SOLUTION Streaming2l streaming solution: System allows for the delivery of broadcast quality video and audio streams through global IP networks to interactive set -top boxes; this allows viewers to watch programming when they want rather than having to wait for a preprogrammed broadcast time to watch a limited number of movies; created in conjunction with Neon Technology and Sigma Designs; Streaming2l will contribute carrierclass delivery and a content distribution platform, to which Neon will add their SurfReady set -top box environment, using Sigma Design's decoder chips to allow for easy Internet access and high-quality video. www streaming2l.com Booth: E3239 Circle (429) on Free Info Card 888- 88STREAM;

DIGITAL AUDIO DELAY UNIT Symetrix 6100 Broadcast Audio Delay: First in the AirTools family; 24 -bit digital delay unit prevents unwanted profanity from reaching the airwaves; the unit delays the program until up to 20 seconds of 20kHz bandwidth stereo audio is stored in memory; if a person on a telephone line says something inappropriate, it can be dumped before it is aired; unit offers additional features, including an automation interface for network

broadcasts. 425 -787 -3222; fax: 425- 787 -3211; www.symetrixaudio.com.

Booth: R2153 Circle (433) on Free Info Card

DIGITAL MIXING CONSOLE Studer On -Air 1000: Available in versions for analog and digital environments; both versions feature 10 -input faders, 20 inputs and two master faders, as well as the Touch'n'Action graphical user interface; settings can be personalized and stored for each operator. +41

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870 75 11; fax: +41

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870 71 34;

www.studer.ch

Booth: R2125 Circle (430) on Free Info Card

138

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April 2001

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"'Color listings indicate

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Tandberg SM5600: Offers optional Dynamic Pre -Correction system to protect against potential distortion; distortion is usually prevented by backing signals off from saturation; DPC technology corrects earth station uplink and satellite-based distortions while allowing the system to operate at saturation; the system allows smaller dish sizes and smaller earth station amplifiers to be used. 949- 757 -0488; fax: 949 -757 -0489;

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DIGITAL BROADCAST MAXIMIZER TC Electronics DBMAX V2.60: New software release for the maximizer features new spectral stereo enhancer insert, an improved automatic gain controller with up to 9.9dB/sec; also features an additional Extra Soft Clipper in the Final Limiter; other features include distortion canceling and input channel swap function to allow right and left channels to be reversed; allows bypass of the input filters.

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AUDIO -TO -VIDEO DELAY CORRECTOR Tektronix AVDC100: Provides in- service monitoring and correction of A/V delay errors that occur during compression or other processing; allows user to reliably deliver video of definable quality; uses digital watermarking technology to embed audio time reference signals into video programming near the point of audio/video content creation, so lip -sync error can later be detected and corrected by analyzing the watermark and adjusting the audio delay. 800 -835 -9433; 503 -627 -7111; fax: 503 -222 -1542;

www.tektronix.com

Booth: L9534 Circle (436) on Free Info Card

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PROMPTING SOFTWARE

Tektronix WFM601/WFM601 /1700 series: Waveform monitors measure and monitor baseband video

Telescript PRO: Windows NT /2000 -based software works with off-theshelf hardware to virtually eliminate compatibility problems; offers multiple monitor support to accommodate

signals. www.tektronix.com Booth: L9534 Circle (437) on Free Info Card

800 -835 -9433; 503 -627 -7111; fax: 503 -222 -1542;

simultaneous prompting and control operations. 201 -767 -6733;

fax: 201 -784 -0323; www.telescript.com

Booth L11073

MULTICHANNEL CAMERA -MOUNTED MULTIPLEXER Telecast Fiber Systems CopperHead: Fiber optic multiplexer can be mounted on ENG and SNG cameras for remote television production; single optical fiber carries bi-directional signals to and from the camera, including program video and audio, return video and audio, intercom, black burst, tally and camera control data; lightweight tactical fiber increases camera -to -vehicle distance and eliminates grounding problems and signal interference. www.telecast- fiber.com Booth: L9568 Circle (438) on Free Info Card

508 -754 -4858; fax: 508 -752 -1520;

MODULAR ROUTING SYSTEM TeleCast Group/Sandar MF 1500: 2U routing, distribution and changeover system capable or handling SDI, ASI and G703 signals; enables a mix of a matrix, distribution, changeover or switch of signal modules and analog/digital routing; equipped with dual power, N +N redundancy and has RS -232 or RS -422 control. +47 33 44 72 00;

fax: +47 33 44 72 01; www.telecast.no

Booth R1663 Circle (439) on Free Info Card

Circle (441) on Free Info Card

liana INTERCOM Telex BTR -800: Two -channel, fully UHF intercom system; allows two distinct channels of intercom to be accessed by one or more wireless extensions to the intercom system; user synthesized to allow broadcasters to keep intercom systems clear of other wireless equipment; allows users to send a dry line level audio signal at +8dB to a given destination, allowing users to trigger a two -way radio and have audio be routed over it or any closure -activated device. www.telex.com Booth: L8763 Circle (442) on Free Info Card

800 -392 -3497; 952 -884 -4051; fax: 952 -884 -0043;

NOISE REDUCTION SYSTEM Teranex Starfront: Features intelligent motion -based pixel -by -pixel filtering and automatic handling of the video-based content (30fps) and film -based content (24fps); other features include 3:2 pull -down handling and 32 -point interpolation on down sampling to CIF and QCIF image sizes. 407 -517 -1086; fax: 407- 517 -1101;

www.teranex.com

Booth: E4211 Circle (443) on Free Info Card

MEDIA DELIVERY PLATFORM

800- 424 -9626; 201- 848 -9818; fax: 201 -848 -9819;

Terayon CherryPicker 7000: System also optimizes bandwidth; statistical re- multiplexing technology allows operators to unbundle and combine compressed streams from a variety of input sources in order to create an output multiplex to deliver customized programming; real -time switching and splicing take place completely in the compressed digital domain; system is capable of changing bit rates from input to output; remote and local video and audio, digital ad insertion, and other operator -provided content can be seamlessly integrated into the digital service.

www.telemetricsinc.com

888- 7TERAYON; www.terayon.com

Booth: 16054 Circle (440) on Free Info Card

Booth: E5142 Circle (444) on Free Info Card

ADAPTER Telemetrics BOA: Enables users to connect all the devices required for video production plus power to a control room through a single coax cable connection, rather than multiple cables, video equalizers and frame synchronizers; the BOA uses industry standard input connectors for a camera, monitor, teleprompter and microphone, as well as for a pan/tilt mechanism and a headset/intercom.

140

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Color listings indicate issue advertiser

DIGITAL TRANSMITTER Thomcast Communications Ultimate 1kW Digital Transmitter: Feature solid state and cable-free design, providing the advantage of ease of maintenance and high reliability; also features LDMOS amplifiers, compact design, integrated cooling system and a standby second exciter option. 413 - 569 -0116; fax: 413 - 569 -0679; www.thomcastcom.com

Booth L9609

Circle (445) on Free Info Card

MPEG -2 MULTIPLEXER Thomson Broadcast/Nextream DBX 4300 Broadmux: Re- multiplexing solution for Digital Broadcasting Centre and Distribution applications such as DVB -S, DVB-C, DVB -T; multiplexes up to 26 MPEG -2 single or multiple service transport streams to form a multiple program transport stream. 800 -882 -1824; 201 -569 -1650; fax: 201 -569 -1511; www.thomsonbroad.com

Booth: 19000 Circle (448) on Free Info Card

DIGITAL VIDEO MIXER Thomson Broadcast Alteo: Designed for applications from 1.5 M/E to 3.5 M/E; module-based architecture allows operators to combine panels of different sizes to meet their needs; features can be configured "live." 800 -882 -1824; 201 -569 -1650; fax: 201 -569 -1511; www.thomsonbroad.com

Booth: L9000 Circle (447) on Free Info Card

FIBRE CHANNEL SAN Transoft Networks FibreNet 3: Features a new CIII, optimized security features and administrator controls ncluding global volume sets and useful read/write and mounting options. 800 -949 -6463; 805 -883 -4300; fax: 805- 883 -4387; www.transoftnetworks.com

Booth: 16463 Circle (448) on Free Info Card

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AUTOMATION SYSTEM Ulah Scientific MAX series:

MAX -MC provides master control automation with enhanced multichannel features and a suite of tools for managing server-based on -air systems; MAX -RX provides event -based automation for playout systems that do not need a master control switcher; MAX-RS offers timeba ;ed router automation for repetitive tasks such as recording incoming program feeds and switching outgoing lines. 801- 524-9999; fax: 801 - 524 -0555; www.utahscientific.com

Booth: L10452 Circle (449) on Free Info Card

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MOTION CONTROL WORKSTATIONS Video Robotics RoboEFX: PC -based systems take static images and make pans and tilts of 12" in length; can perform continuous rotation and zooms in real time; selectable speed and ramping achieves smooth, fluid movement.

DVD ARCHIVING SOLUTION Vela Rapid Access DVD Archiving: Built around the RapidAccess video server, as well as specialty management software and third -party DVD RAM library systems, including from JVC and ASACA; compresses material in MPEG -2 digital format and transfers it to rewriteable DVD -RAM disks.

818 -386 -0185; fax: 818 -386 -0195;

www.videorobotics.com Booth L4433 Circle (454) on Free Info Card

727 -507 -5300; fax: 727 - 507 -5311; www.vela.com Booth: L346, M8329 Circle (450) on Free Info Card

DVD -RAM LIBRARY SYSTEM Vela DVD -based Archive system: Automated system offers integrated HSM system; utilizes DVD -RAM to automatically store, manage and retrieve media files with the RapidAccess Video Server. 727 -507 -5300; fax: 727- 507 -5311;

www.vela.com

Booth: L346, M8329 Circle (461) on Free Info Card

MEDIA DELIVERY PLATFORM Vertigo Multimedia Producer ON AIR 2.0: Includes Producer Interactive, an authoring and control tool for interactive TV applications, and Producer Mobile, a system that enables the delivery of content to mobile devices such as wireless phones; cross -media platform automates content delivery. www.vertigo.net Booth: E3147 Circle (452) on Free Info Card

514- 397 -0955; 877 -483 -7844; fax: 514 -397 -0954;

SCANNERS Videomagnetics Drum concentricity, TP gauge: Solid design tool to check tip projection and set upper drum concentricity on BetaCam SP machines. www.videomagnetics.com Circle (453) on Free Info Card

800 -432 -3887; fax: 719 -3910 -1316;

Booth L4419

FRAME AND CARD SYSTEM Videotek Uniframe: System consists of the DL 810U serial digital legalizer, MADA -110U monaural audio distribution amplifier, SADA -205U stereo audio distribution amplifier and UDA110U video distribution amplifier; DL -810U solves serial digital video gamut correction and legalizing issues, and offers real -time evaluation of the video signal on a pixel -bypixel basis; distribution amplifiers accept high -impedance balanced or unbalanced inputs, or looping or terminating single inputs, as well as producing identical isolated outputs. 800 -800 -5719; 610 -327 -2292; fax: 610- 327 -9295; www.videotek.com

Booth: 1.9622 Circle (455) on Free Info Card

142

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Color listings

indicate issue advertiser

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VIDEO PLATFORM Virage Video Application Q Internet Video Application Platform allows video to be published, managed and distributed as easily as text; supports enterprise -scale deployments of video and provides the user with the necessary infrastructure for seamlessly integrating Internet -ready video into a web site or corporate intranet. 650- 573 -3210; fax: 650 -573 -3211; www.virage.com 010

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Booth: M10053 Circle (456) on Free Info Card

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HDTV UPCONVERTER Visual Matrix MiniXBox -HDU:

'rovides aspect ratio controls, advanced filters and digital HDTV outputs; housed in a 2U chassis; features a front panel that has a four line LCD display providing access to all functions; separate horizontal :.nd vertical filters provide an extra level of control for the elimination .f flicker, alias and Moire controls. 818 -843 -4831; fax: 818- 843 -6544; www.visual- matrix.cam

Booth L4623

Circle (457) on Free Info Card

FIBRE CHANNEL SWITCH Vixel 7200:

Reduces the limitations of SCSI or Ethernet -based storage and ensures reliable, high- bandwidth image transfer during the editing and storing process, enabling streaming media solutions to deliver content at maximum speeds. 425 -806 -5509; fax: 425-806-4050; www.vixel.com Booth L1394 Circle (458) on Free Info Card

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Ward -Beck Systems Serialboxx: A new concept in connectivity; it comprises a versatile rack mounting card frame and a series of plug -in amplifier modules; the various amplifier modules are designed to handle analog and digital video signals; the plug -in models that will debut at NAB 2001 include: serial digital video, AES audio, analog video and analog audio modules. 800-771-2556; 416-335-5999; fax: 416 -335 -5202; www.wbsttd.com

Booth: R2124 Circle (459) on Free Info Card

AUDIO METER Ward -Beck Systems XTM4: Dual domain, extended range stereo audio meter indicates audio level on both VU and PPM panel meters; phase is indicated on an eight segment led bar graph; analog audio connections are made on rear panel XLRs and/or front panel 1/4 -inch TRS jacks; digital audio connections are made on rear panel XLR or BNC connectors and/or a front panel 1/4 -inch TRS jack.

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DAW WaveFrame FrameWorks /DX 3.3: Features up to 64 channels of 24 -bit audio (32 channels at 96 -kHz), sophisticated real -time cross fades, automated mixing including 5.1 surround, direct output to CD -R devices or DDP tape, AVI and QuickTime digital video support, AC -3 and DTS encoding options plus DSP plugin effects and Direct-X support. 510 - 594 -9455; fax: 510- 654-8370;

www.waveframe.com

Booth R1905 Circle (482) on Free Info Card

800 -771 -2556; 416 -335 -5999; fax: 416 -335 -5202;

www.ward -beck.com Booth R2124

Curds (460) on Free Info Card

AUDIO DAS /CONVERTERS Ward -Beck Systems POD series: Includes POD 19, an SDI/AES demuxer; POD 20, an SDI re- clocking DA; and POD 21, a 6x1 digital video switcher. 800- 771 -2556; 416-335 -5999; fax: 416 -335 -5202;

www.ward- beck.com

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re case for digitization in broadcast is

ompelling. It is based on a variety of factors'

V

(oadcast

t

uch as exponential leaps in the amount of

-ontent that must be processed and stored, uperior quality of data content, speed of access o data content, speed of editing and other

ontent preparation. Digitization also allows -purposing of content to meet ever -increasing

www.americanradiohistory.com

By Carole Hogan

viewer demand, and reduction of labor costs in individual facilities as steps in the workflow require less human involvement to accomplish. With the digitization of broadcast facilities comes a requirement for a new and different type of material

management paradigm. Computer based systems and digital storage devices linked together by high -speed networks demand a different management model than the traditional approach of real -time device control. While it is always possible to throw hardware at any problem, it is efficient data content management products that can be expected to dominate this changing market. This article should serve as a technical primer for the broadcast IT professional facing the upcoming digital challenge. With the advent of digitization, broadcast users are presented with "devices," i.e., computers, IP -based networks and data -based storage systems, that offer unlimited potential for solving workflow requirements. However, this potential is only realized with intelligent

Operational

Controller

.

Storage Manager

Figure 1. Relationship between the operational controller, the data content manager, the storage managers and the video servers.

As digitization blossoms in broadcast, users are defining increasingly sophisticated requirements for data content management. Because models vary, content management must be flexible enough to meet requirements for seamless management of data, both within single and connected facilities. More specifically, material is acquired

Users are defining increasingly

sophisticated requirements for data content management. software management. Software that constrains video servers to the role of videotape recorders or data storage systems to analog archives denies users the benefits of digitization. Yet, it is precisely these benefits that users now need. The intelligence that must exist in the management of "digital hardware," i.e., video servers, IP -based networks and data -based storage systems, falls into two categories: 1) Getting the data content where it needs to be when it needs to be there, with a minimum risk of failure and at a minimum cost; and, 2) Providing user access to the data, through interfaces such as GUIs, efficiently and at a minimum cost.

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Video Server

-

by or ingested into a facility in several

ways analog tape and satellite download being two prominent examples. The acquisition generally includes encoding the materials onto ingest video servers, a process that is managed by real -time operational controllers, and a QA review. Once the material has been encoded and has passed QA, it becomes data content that must be dealt with. At some point, play -to -air video servers, again at the direction of real -time operational controllers, decode the content for broadcast. But, what happens to the content between ingest and play to air? Where does it go? How does it get there? How is it provided

to the play-to -air servers in time for broadcast?

April 2001

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The data content manager must get the data content where it needs to be when it needs to be there. To perform this data content distribution task intelligently, the manager accepts policy that takes into account several crucial factors including the facility's operation workflow, the quantity of data that is ingested, the throughput requirements that must be met as the data is moved between connected facil-

ities, the redundancy requirements of the operation and budgetary

constraints. Data content management policies fall into the following categories:

Sophisticated data content management techniques using heterogeneous storage devices in complex, distributed environments. 2) Compensating for data content management shortcomings in other system components executing in multi vendor environments. 3) Meeting operational redundancy requirements and, where necessary, implementing traditional disk storage space conservation. Once these policies are defined, the data content manager should automatically put them into effect as the operational controllers issue commands to the data content manager. The manager should carry out these commands using the policies specified by the user's policy inputs. The policies that intelligent data content management software must be 1)

capable of implementing include the following courses of action.

Configurable data paths Users today state data content management requirements that demand placement of data content on storage devices best suited to the

content's characteristics. This

must be able to specify when each file is copied to tape and when it is deleted from disk. On the caching side, users, through policy inputs, must be able to define whether files on data tape are copied first to disk storage and then to the video servers or directly from tape to the video servers or to disk

What happens to the content between ingest and play to air? Where does it go? How does it get there? means that each piece of content must be stored on the data storage device that is optimum for the user's environment, e.g., disk or data -ape or disk and data tape simultaneously. This also means that, once stored on these devices, files must be transferred back to video servers directly from the storage device that is optimum for the user's environ-

ment, i.e., data tape, disk or data tape to disk and video server simultaneously. (See Figure 1.) These requirements dictate the exi>tence of policies that permit the users to define data migration (copy to storage) and caching (copy from storage) paths between disk storage, data tape storage and the video servers on a file -by -file basis. On the migration side, users must be able to dictate the "data path" of each file ingested into the data content management system, e.g., whether it will reside first on disk and then on data tape, or just on disk or just on tape. If files reside fi -st on disk and then on tape, users

and the video servers simultaneously. These data path configuration policies allow disk storage and tape storage to exist in a peer relationship. No hierarchy of storage devices is assumed or required. The peer -to -peer relationship between storage managers and the devices they manage permits users to receive optimized data content management for all files in the environment as well as the best use of their data storage devices. This flexibility allows data content to be managed according to workflow requirements, not according to the fixed dictates of inflexible software.

Automatic management of multiple target restore Broadcast users often install their video servers in a primary- backup configuration. In this configuration, the primary servers ingest the material and deliver the material at the

direction of the operational controllers. In the event that a primary server is not available, its companion

WAN Transfers

Data Content Manager

Data Content Manager

WAN Transfers

Finure

2.

WAN connectivity between two sites.

April 2001

backup server assumes the role of the primary. Populating the backup servers with the same data content as the primary servers is referred to as mirroring. Users require that the mirroring occur simultaneously. They do not want a window of time when the content on the backup servers is less than what is on the primary servers. This creates the possibility of delivering "black air" if a backup server becomes the primary during this window of time. Data content manager policy inputs that specify automatic mirroring of the backup servers must be available. The ability to automatically trigger simultaneous restores of files to a designated set of destinations satisfies these requirements. Referred to as multiple target restore, it is the ability to read a file once from its storage device and transfer it simultaneously to two or more destinations. The destination servers can be pairs of primary- backup servers or a set of video servers and disk storage in the data content management system.

High -performance disk storage

management Some broadcast user environments have special high -performance data transfer requirements. In these environments, data tape as a storage device is a necessity due to the large quantity of content that must be stored, but the speed of access from tape is not sufficient to meet throughput requirements. Two such high -performance mechanisms are locality of reference and file leader caching. Locality of reference links specified files together as a collection of files for migration and caching purposes. File leader caching permits the first few data blocks of a file that resides on tape storage to remain on disk storage. The data content manager must accept policies that identify files for leader caching as well as the amount of file data to retain on disk storage. The manager must also manage the continuous stream of content to the video server. Both the file leader caching feature and the locality of reference feature

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connected through IP -based wide area networks (WANs). (See Figure 2.)

The data content management requirements de-

Figure 3. Remote sites are connected to a IP -based WAN topology.

central system by an

significantly expedite access to data content stored on tape. Users who demand high -speed access to content stored in the data content management system but who also must store most of the content on tape require them. Efficiently managing small amounts of disk storage Not all users can afford the expense of large quantities of costly video server disk or even data content man-

agement disk storage. However, due

to content access profiles and throughput requirements, a small amount of disk storage is often necessary for these users. The challenge in these environments is to manage relatively small quantities of disk storage efficiently. Efficient management of small quantities of disk demands automated management algorithms that: begin mi grating a file to tape before the entire file is on disk; delete a file from disk immediately after it has been copied to tape; begin restoring a file from disk to the video server before the file is completely on disk from tape; and delete a file from disk immediately after the file has been restored to the

fined by these users are complex and include several degrees of the following capabilities: viewing and modifying meta data for files at re-

mote sites; both pushing and pulling files to remote sites; and, persistence in overcoming transitory WAN failures. The file transfers must be capable of being initiated either by operator command or automatically according to site data content management policy. Because metadata viewing and modification are required and because time -critical file transfers are part of the daily operational mix, traditional store -andforward management systems are insufficient. As a further requirement, the automated WAN metadata and file transfers must be initiated independently of the operational controllers that may be installed at the sites. (See Figure 3.) This is because those controllers are generally not well suited

for data content management in an environment where complex network transfer algorithms and persistence over transitory failures are required. Even so, the controllers at the destination sites must be informed of the transfers once they are complete so that the files may be

included in the playlists. Finally, the WAN transfers must be routable in several ways: Local data content management system to remote data content management system; Local data content management system to remote video server; Local video server to remote data content management system; Local video server to remote video server; Remote data content management system to local data content management system; Remote data content management system to local video server; Remote video server to local data content management system; Remote video server to local video server; Remote data content management system to remote data content management system; Remote data content management system to remote video server; Remote video server to remote data content managementsystem; and, Remote video server to remote

video server. Managing WAN transfers

Users with environments that include several geographically distant sites often require transfers of data among these sites. Examples of such users include television networks, co- operating station groups or competing stations that share common facilities. In today's environment, geographically distant sites can he

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Figure 4. A local site with the capability to route data content to a remote site or from remote site through the data content manager's use of its WAN transfer agent.

Apri12001

www.americanradiohistory.com

a

video server. All use the same data

content management software. The policy inputs accepted by the data content manager must accommodate each of these specifications, and the data content manager must distribute the metadata and the data content as specified, using software -based WAN transfer agents. The WAN transfer agents are connected to the other sites through an IP -based network that must he capable of supporting the throughput requirements of the user's workflow model. (See Figure 4.)

"On -Air" Video Server

News Editor

News Video Server

Asset Management Controller

News

Controller

Data Content

Manager Storage Manager

S/W Data Mover

Digital Storage

Digital Storage

Device

Device

Figure 5. Distributed architecture of a storage manager that is storing and retrieving data content with three different departments under the direction of a data content manager

Auto backup and restore from

secondary systems Broadcast users with large budgets and strong aversions to single points of failure often install secondary storge systems to protect against the Dss of the primary systems. To be I

become unavailable. The data content manager should accept policy inputs to fulfill this vital role because it is data content management in character and because it provides significant value add to the user environment. As part of the policy inputs, the data content manager

The speed of access from tape is not

sufficient to meet throughput requirements. useful, these secondary systems must he mirrored automatically and con rrently with the data content that is deposited into the primary systems. Also, if a primary system fails, the content must be automatically retrieved from the secondary system. Finally, the secondary system may be located at a site that is geographically remote from its primary coanterpart or it may be located at the same site as the primary system. Operational controllers generally lack the capability to manage secondary storage systems either to populate them or to restore from them when primary storage systems

c

-

must be provided with objective criteria to determine when the primary system has failed, e.g., through explicit notification of the failure, through a stated number of communication failures, etc. Expanding metadata

Operational controllers often have minimal capability to use the meta data features implemented in sophisticated storage management systems. On the other hand, a stor-

to overcome the limitations of the operational controllers to exploit the power of the storage management system. Overcoming operational shortcomings in the controllers is a task that falls to the data content manager. The manager must be able to expand upon the metadata that is specified by the controllers, in cases where the specified metadata is minimal, so that users can benefit from the metadata features of the storage management system. How that expansion is achieved depends on the nature of each piece of metadata. Sometimes the expansion can be based on other information received from the controllers. Sometimes the expansion is based on information specified independently by the users through policy inputs to the data content manager. The technology described herein is currently implemented at WWOR in Secaucus, NJ, and at TVA in Montreal, Canada, which has allowed effective utilization of existing manpower to support operational consolidation of television broadcast stations.

age manager, as shown in Figure S,

offers the metadata features because users require those features. The challenge in these circumstances is

April 2001

www.americanradiohistory.com

Carole Hogan is director of archive solutions for EMC Media Solutions Group.

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Today's broadcast systems, like the server farm shown left, are intolerant of voltage sags, blips and noise. The first step in ensuring clean power is to measure line noise and distortion.

UPS generator systems liketheones shown at far left are common at broadcast facilities. Unfortunately, they can also be generators of noise. Be sure backup power voltage is carefully filtered and regulated before it is

connected into the station power grid.

Three forces are

driving the

changeover to digital transmis-

sion in the entertainment industry

today: the Federal Communication Commission's intention to mandate

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digital television broadcasting in the

Wong

near future; advances in digital technology itself

April 2001

www.americanradiohistory.com

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including lighting

broadcastengineering.com

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controls, cameras and post -produ tion equipment; and the hype about the quality of HDTV. Asa result, most existing analog facilities are either renovating existing space or moving to new facilities to accommodate the changeover. Yet there are many realistic questions and concerns about the impact of power quality on digital operations. With advances in digital technology, broadcasting equipment is becoming more powerful, more efficient and more compact. With increasing use of this equipment, a greater burden than ever before is being placed on electrical infrastructure. Not only are these components sensitive to voltage, current and frequency variations in the power source, they are themselves a source of disturbances in power quality, including harmonic distortion. Just as in any data processing

Elements affecting power quality A number of key elements affect pow -

erquality in broadcast facilities:grounding, harmonic distortion, voltage reference and AC magnetic interference. Analog and digital facilities vary somewhat in the degree to which these elements affect broadcast quality. Grounding: Proper grounding design has always been an essential element in

Broadcast equipment is subject to the same forces that cause your PC to crash at the most inopportune moments.

equipment, digital broadcast equipment uses the binary logic system a series of ones and zeroes to encode, transmit and decode data. So it is not surprising that broadcast equipment is subject to the same forces that cause your PC to crash at the most inopportune moments.

--

the analog world to mitigate common mode noise, or "hum," in the network. The dynamic components in most analog equipment are affected by frequency disturbances in the system. A clean ground will minimize those effects in analog as well digital facilities.

computation clock cycles, a clean voltage reference also is crucial. Even slight notches or variations at the voltage references will cause malfunctions. AC magnetic interference: Advanced digital audio and video equipment is also sensitive to AC magnetic fields.

Harmonic distortion: Although

An elevated low- frequency AC magnetic field is known to cause loss of data in high -speed transmission, as well as slow -downs in transmission speed due to increased error rates. All facilities contain some type of main electrical room, containing transformers, uninterrupted power systems and other high- current carrying equipment, which is a well -known source of magnetic fields. Yet in many broadcast facilities, critical equipment is located in a space nearby a main electrical room. This is especially true of older broadcast facilities without optimal conditions for effective space planning.

grounding remains essential in digital systems, prevention of harmonic disturbance is even more crucial. Each piece of digital equipment contains a

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ALL EQUIPMENT RACKS /CONSOLE I

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switch mode power supply that is both sensitive to, and a source of, harmonic disturbance in the power supply. The more the power supply is disturbed by the addition of digital electronic components, the greater the impact on transmission quality. Clean voltage reference: For digital equipment that utilizes zero crossing of the reference voltage to maintain

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Figure 1. Most applications do not require sophisticated isolated ground power orothe expensive grounding methods. A radial /star grounding scheme. shown here, is effec tive. economical and meets code requirements.

1

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April 2001

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facility, it often is difficult to identify the source of the problem. Steps taken at the outset of a renovation or fit out of a new facility to assure the highest quality power will reduce the likelihood of having to track down bugs in the power system. For entertainment facilities housing studios, control rooms, AVID bays and related technical spaces with high concentrations of digital electronic

As for technical grounding, simple radial /star grounding

not only compliant with NEC code and economical, but it also is effective in almost all digital broadcast applications.(See Figure 1.) Most applications simply do not require sophisticated isolated ground power or other expensive grounding methods. Instead, all equipment racks with associated ground bus bars can be bonded with ground conductors, and the Some UPS systems provide an on -line, double con- main connection back to the version process where the load is fully isolated from ground source located at the primary line disturbances. Shown is a 150- 300kVA, rack nearest to the building's three -phase UPS system from Oneac. steel structure. This is a simequipment, a well -planned electrical ple, economical and effective approach. infrastructure is crucial in ensuring Experience shows that problems with power quality. It begins with the ba- grounding often can be traced to subpar code compliance, not the grounding sics, something apparently as "simple" as the conventional techniques approach per se. By definition, electrical noise is ranused in effective branch circuit design can ensure power quality. Yet the dom voltage fluctuation with broadband spectrum content up to 200KHz. basics often are overlooked in designing an electrical infrastructure. Later, The induced electrical voltage in interis

It is essential to recognize the potential

for harmonic distortion and take steps to minimize it.

expensive solutions may have to be implemented. For example, there are many cases in

which poor power quality has been traced to an undersized neutral con d actor. This is a common problem in oider buildings. In the past, the National Electrical Code (NEC) allowed downsizing of the neutral conductor because it was considered a non -current carrying conductor in a three -phase shared neutral system. That is no longer the case. In fact, the triplen harmonics generated by today's electronic equipment has turned these formerly neutral conductors into current-carrying conductors. In many renovations, power quality can be improved simply by replacing the old wire with a properly sized neutral conductor.

connecting system is variables of the inductance, the peak current noise or impulse and the rise time of the peak current. For example, conductor with 40nanoHenry /inch inductance, at high frequency of peak current noise of SA with 1 nanoseconds, the induced potential voltage developed is (40 *5)/ 1, which results in 200V peak per inch across the connection.

One of the simple methods to determine grounding issues is to measure neutral -ground bond at panels that served the equipment and at load side. The neutral to ground voltage should be between 1V to SV to maintain desired operation. Continuity test between equipment racks ground bonding is also recommended to ensure that all the network racks are at the same ground reference.

Minimizing harmonic distortion In a fully digital facility, it is essential to recognize the potential for harmonic distortion and take steps to minimize it. An effective solution for low zero sequence harmonic distortion is installation of a low zero sequence impedance harmonic filter at each panel serving electronic equipment. (See Figure 2.) This type of filter also significantly reduces common system noise. Where a filter cannot be installed at the panel, it may be necessary to specify a rack -mounted filter on each rack. This is effective, yet

-

more expensive. Proper space planning locating panels and electrical distribution also equipment closer to the load reduces harmonic distortion caused by feeder impedance. Sometimes it is difficult to implement this type of solution due to the constraints imposed by an existing facility. Nontechnical people may question the aesthetics of this type of solution ( "Why do we have this ugly wall panel here ? "). An effective approach is to secure everyone's buy -in, including the architect, by explaining the benefits. Of course, compromise there is sometimes is necessary always a cure, although it may be

-

more expensive. Power quality assessment is recommend-

for existing facilities that experiencing harmonic distortion. Powed

This interfer-

will distort most inter-

er disturbance

ence

connect signal transmission.

-

facility -wide UPS system needn't power everything. Focus first on critical on -air and playout systems that may fail with even a millisecond Interruption in power. A

April 2001

www.americanradiohistory.com

monitoring utilizing

a

state- of -the-

broadcastenglneering.com

157

art spectrum analyzer provides detailed information about the power waveform. The information includes total harmonic distortion (THD) for voltage and current, breakdown of the harmonic components and its magnitude, frequency analysis, and other more useful information. The information will provide a trend of power system, which will help the designer to evaluate effective mitigation methods. Per IEEE 519 standard, the recommended THD for voltage is between 1.5 percent and 5 percent, depending on the magnitude of voltage distribution. As for current distortion, the recommended THD is between 5 and 20 percent depending on the ratio of the short circuit to the rated load current at the point of common coupling (PCC), which is the electrical service entrance. In broadcast facilities, the voltage distributions are typically 4160V, 480V/ 277V and 208/120V. Therefore, as a good rule of thumb, the voltage THD should be limited to 5 percent. As for current THD, because the recommended percentage is based on PCC it should not be applied at the load side. The harmonic current distortion generated by load should be compared to the actual distribution to evaluate if in fact the distortion is severe. For example, a WA load generating a 50



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Mitigating magnetic fields Space planning also is crucial in reducing the risk of interference from elevated low- frequency magnetic fields. High- current carrying equipment, such as transformers and feeders, should be strategically located and routed whenever possible. In older facilities and

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to

rigure

z. cero sequence narmonlc tiller aistnoution. Implementation of a low zero sequence impedance harmonic filter is an effective solution for both harmonic disturbances and common system noise.

new build -outs, routing and placement of any equipment carrying high current should be carefully coordinated

Although grounding remains essential in digital systems, prevention of harmonic disturbance is even more crucial.

percent current THD in a 225A distribution system is still acceptable because the actual contribution to the

IG

I

to limit AC magnetic interference in sensitive areas. However, where the layout cannot be modified due to existing real estate constraints, interference can be mitigated by properly shielding the room, another effective but very expensive solution. An AC magnetic source of 6mGs and greater is known to cause interference with computer video display monitors. AC magnetic source magnitude decreases inversely proportional to the cube of distance (1/(11). Therefore placing senApril 2001

www.americanradiohistory.com

sitive equipment a few feet away from the source will decrease the impact dramatically. However it is all relative to the strengths of the magnetic field. All of these examples illustrate an important, yet often under-appreciated principle of value engineering: first investigate the feasibility of the least -complex, least- expensive effective solution. With each passing year, entertain-

ment production equipment becomes more sophisticated, more powerful and more compact. The increasing use of digital equipment will require a parallel evolution in the design of electrical infrastructure to meet the need for superior power quality. It is the only way to ensure that digital broadcasting technology lives up to its promise. senior associate with Entertainment Market Focus Group at Syska & Hennessy, a consulting engineering firm. T. K. Wong, P.E. is a

FIREPOWER Transform your existing analog audio and video equipment into an important part of your IEEE1394 (DV) digital environment. Laird Telemedia is the world leader in broadcast quality FireWire® media conversion. Our 30 year reputation delivers the longevity and reliability broadcasters demand.

component LTM -5500

Component, Composite, Y /C, Balanced Audio, NTSC /PAL, VU Meters, Bidirectional, Level Controls, 1 RU, Made in USA Optional Full Machine Control Interface Available for Mac and

PC

composite

:

4 LTM -5000

Composite,

Y /C,

...771

Balanced Audio, NTSC /PAL, VU Meters,

Bidirectional, Level Controls,

1

RU,

Made in USA

Optional Full Machine Control Interface Available for Mac and

field

fìreTM

Laptop Editor Companion Media Converter. Component, Composite, Y /C, Balanced Audio, NTSC /PAL, 8.5 "W x 9 "L x 1.5 "H, NP -1 Battery or AC Powered, Cordura Field Case, Made in USA. Perfect Companion for the Avid Xpress'" Optional Full Machine Control Interface Available for Mac and PC

LTM -FFP

Information www.lairdtelemedia.com For More

LAI RD°° T

PC

E

L

E

M

E

D

I

A

800 -898 -0759 FAX 845 -339 -0231

Visit Laird

Las Vegas, Nevada

April 23.26 Booth L9577, Main Nall

C 2001 Laud Telemedia All rights reserved. FireWrre is a registered trademark of Apple Computer, Inc. AVID %press is a registered trademark of AVID Technology. Inc

Laird Controls The New Media:M Circle (178) on Free Into Card

www.americanradiohistory.com

New Products & Applied Technology

The Tektronix PQM300 QoS monitor BY RAUL MARTINEZ

of digital television and accompanying compression techniques require video program providers whether they be TV broadcasters, cable or satellite providers, network operators or Internet service providers to redefine how they evaluate program quality and provide quality of service (QoS) assurance to the viewer. MPEG video compression can result in picture degradation. Content providers must rely on sophisticated test and monitoring equipment to ensure the high level of picture quality that today's viewers expect. Tektronix is developing MPEG and picture quality monitoring solutions that help program providers reliably transmit video at a guaranteed level of quality to the viewer. The QoS systems also enable customers to optimize utilization of available bandwidth. Bandwidth management is important for two reasons. First, picture defects can displace bits that would normally be allocated to video content. Second, the customer would ideally want to allocate bandwidth on a program -by-program basis, based on the program content. For example, a news program would ideally be allocated less bandwidth than a sporting The advent

-

-

A1

event. The sporting event's content is dynamic, motion -filled, and requires more bits and therefore greater bandwidth. A news broadcast is comparatively static and requires fewer bits and less bandwidth.

For example, based on the content, a news

program would ideally be allocated less

bandwidth than a sporting event. The bottom line is that bandwidth is money. The Tektronix PQM300 multichannel QoS monitor is a real -time, continuous solution for enhanced video quality monitoring that provides tools for bandwidth management. This enables users to ensure the quality of the video they provide their viewers, while protecting and generating more revenue for their services. The system provides continuous signal monitoring to detect critical quality problems in the distribution of compressed digital video. It provides a tool for automated monitoring of ITU -R 601 serial digital video and composite analog video. It can quickly notify operators of problems with the video and help engineers diagnose and document picture quality problems within the video distribution network. Network monitoring

The system's networking capabilities enable monitoring of wwon61

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....

screen shot of the PQM300's graphic user interface.

160

broadcastengineering.com

picture defects including MPEG block iness, repeated frames and uncorrected noise using the Picture Defect Index (PDI) scale, which was derived from the industry- standard Picture Quality Rating (PQR1 scale.

I

up to eight channels, making it ideally suited for multichannel sites in a geographically dispersed network. The user can detect

April 2001

www.americanradiohistory.com

Tektronix established the PQR metric as a means of assessing picture quality by making full- reference measurements.The correlation between the PDI and PQR metrics allow users to make picture quality measurements for in- service monitoring situations where the reference video necessary for full reference measurement is not needed. The system provides a solution for indepth quality monitoring of two or more channels of digital video information. It is effective for large, distributed networks requiring a flexible, extensible solution with simple alarm views and mechanisms that can be remotely monitored from network operation centers. Users can gain more robust access control and increased information through quality histories and defect logs for all of the simultaneouslymonitored programs. The system's network capability enables users to construct an automated network monitoring system or incorporate picture quality monitoring into an existing system. The number of channels can be increased as monitoring needs change. For increased flexibility in larger facilities, multiple units may be networked to provide centralized monitoring. The monitoring system supports SNMP network management protocol to enable

Vl

I

C ßOWAVE RADIO COMMUNICATIONS

Key Products Analog and digital newsgathering systems

Analog and digital central receive systems

:,naloq and digital fixed microwave links

Portable video and data microwave links

Markets Served Commercial television networks and stations

Wireless broadband networks National defense and security agencies

Public television networks and stations

Company Profile Microwave Radio Communications

ucts. This allows broadcasters to transport

(MRC) designs, manufactures and markets

new digital television services on the same

microwave radio systems and accessories

RF

for broadcasting, telecommunications and

vice. MRC TwinStream

government applications. Founded as part

dio-to- transmitter link and multi -hop network

of Microwave Associates in 1963, MRC has

system

become the leading provider of analog and

wide reputation for quality.

digital video microwave systems to television

broadcasters in North America and

a

major

provider worldwide.

channel as their existing analogue ser-

in

"M

is the leading stu-

the US and is building

a

world-

The MRC CodeRunner'm has become

the leading platform in North America for

organizations seeking robust and bandwidth

As the world's broadcast organizations con-

efficient digital ENG transmission.

vert to digital technologies for contribution

The use of new COFDM technology is

and distribution, MRC's innovative product

ideal for television news, sports and special

lines are developing an increasing share of

the market. The MRC TwinStream'^^ dual -

event coverage. New versions of the CodeRunnerTM are gaining acceptance in

carrier radio system brings together the lead-

defense, security and television brcadcast

ing analog and digital video microwave prod-

organizations internationally.

Contact Information Microwave Radio Communications

Tel:

101 Billerica Ave

Email: [email protected] Web: www.mrcbroadcast.com

Bldg 6

North Billerica, MA 01862 USA

41-978-671-5700

Visit us at NAB 2001 Booth #L6420 See New Radio, Transmitter & Antenna Products

Circle (1791 on Free Into Card

INIA6 \! (LPId(, ^1

remote monitoring and prompt response. The SNMP protocol gives facilities the ability to display remote units as icons on a network monitoring workstation and monitor their status. It also supports leading Web browsers to enable remote operation of multiple units. These capabilities allow the system to provide monitoring capabilities for multiple channels in any number of locations. Because picture quality is monitored at the video layer, even if the network receives all the bits, they may still face picture quality issues. If the video signal entering the network has noise, the signal may already be compromised and at risk of deteriorating further if it is compressed in any way. Noise and compression defects use bits that would normally be allocated to the video signal; thus the viewer is receiving an MPEG transport stream that is compromised. The QoS monitoring system addresses DTV dynamics by allowing users to quickly identify the most common visual impairments, including blockiness, frozen and repeated frames, loss of service, and Gaussian noise, before

they become viewer complaints. Inservice, continuous monitoring of all frames assures that the most visually annoying picture defects are detected

dence view offers a near real -time image of a monitored program as an alarm is triggered. Splash View allows numerous PQMs to he displayed in a near real-

The bottom line is that bandwidth is money.

ta

and logged for all monitored programs. Detection of an image defect or impairment signals an alarm, identifying the channel on which the problem exists. System enhancements A new graphical user interface enables users to identify, diagnose and correct program errors more accurately. Remote protocol monitoring has been added to send picture quality defect alarms to a central location. This also allows users to pinpoint the exact time and location of errors and then print program error logs. The graphic user interface incorporates three new views for increased usability. A bar-chart display features a five-point scale for more objective analysis of picture quality during non alarm-generating conditions. The confi-

time thumbnail format, to allow for monitoring of non -alarm signal conditions across the entire network. Relay outputs in the system provide customers with additional options for notifying operators of picture quality problems, while an integrated LCD display eliminates the need for a separate VGA monitor as a local display for the instrument. The measurement capability of the PQM300, its current multichannel ability, and its networking and automation capability allow users to preserve their initial investment in picture quality monitoring by purchasing additional capability as their needs grow. For more information circle (250) on the Free Info Card. Raul Martinez is

a

product marketing man-

ager at Tektronix, Inc.

Want COFDMa Want smaller and lighter? Want power cost? Come see what

unveiling at NAB 2001!

BMS is

BOOTH

EMBroadcast

Microwave

wwwwww Servi ces, Inc.

P.O. Box 84630 San Diego, CA 92138 -4630

http: / /www.bms- inc.com email: salesPbms- inc.com Fax: 858.560.1637 Phone: 858.560.8601 800.669.9667 Circle (180) on Free Info Card

162

broadcastengineering.com

[6101

April 2001 www.americanradiohistory.com

WITH ANGENIEUX TELE LENSES.

Now you can get closer to the action than ever before. With 40X and 26X High Resolution Series Tele Lenses. They deliver more zoom than

any tele field lenses in the industry. And deliver more of the performance,

22X

reliability and features that are quickly making Angenieux the choice for high performance lenses. Angenieux's 40 X

11

Extreme Tele Zoom is the

EFP

lens the industry has longed for. Its lightweight

design is packed with Angenieux performance. Plus a

'.!6X

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into range with all the features you want - less the weight. Lens brings every shot

Angenieux HR Series Tele Lenses feature more of the optical performance

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that Angenieux is renown for around the world. With precision crafted glass and advanced electron beam coatings for the highest levels of performance and clarity. And minimal flare and ghosting to produce vivid images with enhanced contrast and highly accurate color reproduction. Angenieux's HR Series Tele Lenses also offer more of the reliability you've

come to expect from Angenieux. Their high quality construction assures

consistent operation on the road day after day. Its hand to believe such precision crafted lenses could be so tough.

Get more zoom - performance,

reliability and features - with Angenieux HR Series Tele Lenses. More

or less, only you can make the decision. For more information

call 973 -812 -3858, e -mail [email protected], or visit our web site at www.angenieux.com.

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angnìeux

hanced TV channel features three choicof video and associated text streams

es

-

for instance, "Latest headlines," "Sports results" and "Weather." The equipment configuration behind this type of Enhanced TV channel is shown in Figure 2. The system comprises three Imagestore Interactive Preview

Headlines server Station aulomatio

Sports Results server

' Station automatrn

Weather server

B

Interactive

Interstitial server

Station automation

Ethernet hub

I

Graphics

Text

automation PC f

Station automation

units operating in parallel, all set to give congruent DVE squeezes of the primary video input. A second program input to the units is used for mixing interstitial material. For clarity, four servers are shown, under automation control, to provide the video and audio for each channel although, in reality, these may be four outputs from a common server. Channel branding is common to the three channels and is accomplished in the graphics area using PC -based applications for image browsing, animation compilation and editing, text template creation, and media loading. Each channel's dynamic textual information is automated, using a simple program designed to send the relevant text and control messages to each Imagestore Interactive via Ethernet. This text automation is linked to the main station

I

automation. The three vid-

Figure 2. Imagestore Interactive system for creating Enhanced TV channel.

This modular approach has numerous advantages for the broadcaster. The system is based on components widely used in the broadcast industry and supported by the principal ven-

dors of station automation. The single automation interface for the system, which supports the mixing, branding and effects systems, simplifies and streamlines system automation. This high level of integration also reduces equipment costs and rack space requirements. The system offers integration with other established systems and applications for easy graphics creation. To back up the automation, a range of remote panels are available, including a full master control surface that can control interactive channels, as well as multiple other SDI outputs equipped with Imagestore master control and channel branding systems. This enables the Imagestore to effectively integrate interactive television alongside other channels. For more information circle (253) on

the Free Info Card.

eo outputs are then fed to the

MPEG multiplexer.

Neil Sharpe is marketing manager at Oxtel.

Digital Video Quality Analyzer DVQ Realtime measurement

Recording of quality profile

Histogram representation of

No reference signal required

(long term)

quality levels

SSCQE scaling of quality levels

ITU -R 601 and MPEG2 inputs

Internal event and error report

Monitoring of picture freeze,

Professional Profile 4:2:2

and statistics

picture and audio loss

Program decoding

ROHDE &SCHWARZ Internet: http: / /www.rohde- schwarz.com ROHDE 8 SCHWARZ, INC 7150 -K Riverwood Drive Columbia, MD 21046 -1245 Phone: (301) 459 -8800 Fax: (301) 459-2810

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170

hrnadractPngineeringrnrn

Anril9nnl www.americanradiohistory.com

[lNWEI'.

-^---,__. - - -.-,_.. ____ --/= -- -- __/sw __ Y

.MA

hen you're looking for the most powerful ontrol, versatility and exclusive digital features, our looking for DigiPower from Fujinon. DigiPower is a standard feature on all HDTV and broadcast zoom lenses. At the heart of the new DigiPower system is a PU which provides precise control data for zoom nd iris. An integral Flash ROM is programmed ith lens specific information allowing each servo nit to be tailored to a specific lens model. oftware updates are easily accomplished by lashing" the ROM. To complement the most powerful digital atures in the market is Fujinon's exclusive AT2 spheric Technology. This technology reduces astortion at wide angles, improves corner resolution, reduces glare and reflections, and a lows chromatic aberration to be managed throughout the zoom range. When you consider our superior lens technology and our exclusive digital features, it's time you put ppwer in your hands ... Fujinon DigiPower.

"Quick Zoom" speed

is

____

--

o

_

_----VA /NV

/AA,

Amt.

4111 Altm

/A

improved to 0.7 seconds end to end. 'Quick Zoom" provides for

zoom movement to the telephoto position to check focus by the simple press of

a

a

rapid

button.

Releasing the button returns the lens to the previously selected zoom position.

CRUISE

Z

OOM_9

Pressing the C/Z switch while

zooming

will

fix

the

zoom

speed at the existing rate. This

allows slow zoom times of up to 70 seconds.

ONE A

PRESET

SHOT

\

one shot memory allows the zoom position to be preset

and recalled at any time with the simple touch of a button.

DIGITAL The

R5232

control

of

port lens

allows functions

while providing for diagnostics

ZOOM

SPEED

The maximum zoom speed of the seesaw zoom

switch can be user selected in seven increments

providing precise repeatability

.

during servicing.

FUJINnN

FUJINON

Broadcast & Communications Products Division FUJNON INC.

10 High Point Dr

.

See us at NAB L8739

Wayne NJ 07470-7434 1973) 633 -5600

FUJI PHOTO OPTICAL CO., LTD. 1 -324 Uetake. Omiya City, Saitama 330 Japan: Phone: 048-668-2152. FAX: 048-651-8517

vüww.fujinon.com Circle (186) on Free Info Card

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Applied Technology

MedioStream software -based encoders BY KEITH DUNFORD

MPEG video and audio compres-

sion was launched into the professional broadcast arena just over a decade ago. The early market leaders, Compression Labs (CLI) and General Instrument (GI), provided the industry with MPEG -1 encoders and decoders that could significantly reduce the cost of operating program contribution and distribution networks. These companies were soon joined by a number of U.S. and international competitors providing second generation, higher performance MPEG-2 products that were smaller, cheaper and easier to operate. Application- specific encoders and decoders came along in the mid -1990s to address television networks' need to improve their capability and efficiency in news gathering and special event broadcasting. This was followed later in the decade by ATSC- compliant encoders utilizing advanced technology that enabled satellite networking of high definition television to become an economic reality. Unlike the early MPEG -1 products, which largely used discrete circuit processing, the majority of MPEG-2 encoders have used RISC chip sets integrated with other circuit elements. This resulted in a lower cost but somewhat inflexible hardware architecture. Although the price of MPEG encoders has fallen over time, they remain an expensive item that has become a necessity in modern television operations. The next generation of MPEG -2 encoders is about to arrive, promising to solve many of the issues related to flexibility and cost involved in encoding operations. This recent breakthrough has been achieved through advances in MPEG-2 real -time software encoding that can eliminate many of the restrictions associated with RISC processors. A small number of companies are in

172

broadcastsnpinswlng.can

the late stages of developing software based encoding systems that allow real -time MPEG -2 and other compression formats to be processed using standard computer hardware. Software -based encoding systems provide a greater degree of encoder flexibility and improved performance when compared with RISC chip -based encoders.

tleneck between the graphic card and the CPU has been eased thanks to the new AGP bus. The system bus bandwidth has been increased dramatically to facilitate large amounts of data processing, faster RAM has become available, and new instructions have been added to better manipulate complex data segments. Each of these

The next generation of MPEG -2 encoders is about

to arrive, promising to solve many of the issues

related to flexibility and cost. The software encoder price is also expected to be significantly less than current implementations. Additionally, software -based encoders can be expected to provide inexpensive and simple upgrades as the performance of standard computer hardware improves. A software -based alternative to chip set MPEG -2 encoders has been made possible largely through the significant progress made on commercial CPU architecture over the past several years, which has especially focused on improving multimedia processing capability. For example, new dedicated CPU instructions have been developed to help process Digital Cosine Transforms (DCTs) and other computational- intensive or repetitive processes involved in video encoding and decoding. These new instructions are called Single Instruction Multiple Data (SIMD) and can apply the same operation to multiple data segments at the same time, significantly increasing data processing efficiency. Another critical improvement in PC performance has been the increased bandwidth to move around the huge amounts of data encountered in high resolution video. For example, the bot-

April 2001

www.americanradiohistory.com

improvements has contributed to bringing software -based MPEG -2 encoding and decoding to market as a low cost, flexible alternative to chip -set based dedicated hardware solutions. MedioStream will demonstrate its real -time, broadcast performance MPEG -2 encoder at NAB 2001 to offer real -time software encoding solutions for the professional, industrial and consumer market sectors. The CAMpeg RT real -time digital video -to- MPEG -2 transcoder encodes real -time digital video from a DV camcorder at full D1 (720x480) resolution and at 30fps (29.97fps) into MPEG -2 ML @MP format. The system provides near broadcast quality for personal video production at an affordable price. Significant system requirements must be met in order to process real -time video. A computer with a Pentium III processor operating at 600MHz or higher or a IGHz Pentium III processor is recommended to obtain best results with aggressive video and for simultaneous encode/decode operations. The system must also have 128MB of RAM, a 10GB hard drive and an AGP video graphics card with 8MB of RAM. It operates with Windows 98 SE (second

VL -2 Plus

VL-4S

Two channel sequential quick charger with AC adaptor.

Four channel SIMULTANEOUS fast charger, charges four Endura E -50 V-Mount batteries in 2.5 hours or less!

izrn M

Digi -View

TM

PowerLink

The Endura Digi -View

feature displays accurate

TM

Every Endura battery comes standard with the PowerLinkTM system that allows two batteries to be stacked together for an extra boost of power.

battery capacity in the camera viewfinder.

Up to 100 watts!

THE NEW STANDARD i" LITHIUM ION BATTERY PACK & CHARGER

Plate ersal plate connects to cameras w use of Endura E -50 V-Mount

tIP-VS/P

ries. P- V -VS Plates feature tap 2 pin DC out connector. Sync ron automatically activates oncamera lights

EF

IDX Smatter Technology

NAB Booth L9583

Tel: (310) 891 -2800 Fax: (310) 891 -3600 Email: [email protected] Web Site: www.idx.ty Circle (187) cn Free Into Card

edition), 2000 and 2000 Pro. Input from a DV camcorder to the computer is accomplished with an IEEE1394 (Firewire) adapter and cable or a PCMCIA card for laptop computers. The company's second product targeted at the semi -professional and industrial market was beta tested during the first quarter of 2001, and is expected to be available by mid year. The product, named CAMpeg PRO, has an advanced user interface and processing features that provide improved performance and flexibility to the operator in the encoding process. The system processes real -time video at full D1 resolution in both NTSC and PAL standards. An upgrade to the

company will offer two variants of the MPEG -2 software -based encoder system to meet the requirements of different operating environments. The basic product will provide digital -only in-

system will allow the real -time transcoding of MPEG -2 encoded content to popular video streaming for-

either IEEE 1394 (Firewire)

mats such as Windows Media, Real G2 and Quicktime. The product will also encode MPEG -1 for CDR authoring. The third and most advanced product has been provisionally named MedioPRO and will be shown for the first time at NAB 2001. The

W

n -

d o w s

Real

G2 and Quick -

time mats

CAMpeg PRO and system configuration

put

from

or 10/100baseT Ethernet. A higher priced variant will provide an interface to legacy systems where input might be composite video, analog or AES /EBU audio, SDI, or ASI. MedioPRO-XLT will be supplied with a laptop docking module providing the input and

$7900 $2,395

Miniature Converter S HD10C HD -SDI D/A Converter w /SVGA Mode' $2,495 HD1OM HD Analog to NTSC Monitoring Downcnvrtr. $ 800 D10C SDI to Component Analog Converter, 10-bit " $ 800 D10A Component Analog to SDI Converter, 10 -bit $1,200 D4E Serial Encoder, SDI to NTSC /PAL or Y /C" $ 250 D5CE Serial Encoder, SDI to NTSC /PAL /w Component $ 375 D5D Decoder, 3 -line Comb Filter, NTSC /PAL to SDI" $ 595 DWP Power Supply, 110 Volt ( "requires power supply) $ 40 Rack Mount Products R2OD Decoder, 5 -line Comb, NTSC /PAL to SDI, 10-bit R2OE Encoder, SDI to NTSC /PAL or Component, 10 -bit FSG Frame Sync /Genlock Module (fits R20E/D Cards) R44E Four Channel SDI to NTSC /PAL Converter RD5AD Dual Universal A/D Converter NTSC /PAL or Component to SDI RD5CE Dual Universal D/A Converter SDI to NTSC/PAL or Component R5CE Universal Monitoring Distribution Amp, 1X4 FR1D 1 -RU, Forced -Air Cooled, 4 -Slot Frame, Dual Power Supply FR2D 2 -RU, Forced -Air Cooled, 10 -Slot Frame Dual Power Supply

www.aja.com toll free 800-251-4224 international 530-274-2048

$1,300 $1,300 $ 600 $ 990

$1,600 $1,300 590

$

$

895

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fIJI% VIDEO

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into i

Media,

PCI Cards HD-NTV PCI Bus HD-SDI Video Interface /Framestore SD-NTV PCI Bus SDI Streaming Video Interface

74

be either MPEG -2 ML @MP (4.2.0) or ML @SP (4.2.2) formats. MPEG -2 real -time encoded events can also be trans -cod-

ed

Digital Video Conversion and Interface Products by AJA Video

1

output interfaces in the mixed analog/digital system. The output can

Aoril 2001

www.americanradiohistory.com

forfor

streaming. The system is a next generation Digital News Gathering (DNG) encoder, providing new technical and operational features. DSNG is recognized as one of the most significant advances in the news media industry. The transition of software encoding will significantly enhance the capability. Global news networks are constantly seeking new technologies that can provide a competitive advantage with lower operating cost. There is a significant opportunity for software -based encoders in transportable systems that require improved operating flexibility, high performance, lightweight and lower cost than the current generation of MPEG -2 encoders. The system will be supplied as an integrated hardware and software system, featuring a Pentium III (1GHZ) tower or laptop computer, input /output interface module, cables, Windows OS, encoder /decoder software package and 24 -hour customer support. A mobile news gathering solution can be easily integrated with a high -end notebook computer and professional DV camcorder. This, and the potential for improved operational and technical performance, promises to take MPEG -2 encoding to the next level. Keith Dunford is a partner at Exam Associates. a consulting group specializing in digital media technology applications.

olid-State ransmitter ation's Ca ABC's WRC -TV

will

tsting

rom the Nation's C yew CARCAN 60k

their r.

VNBC-TV and KN overing the Nation nd No. 2 markets i nd Los Angeles wit ew M Series trans

What are you

Surf our Website for more digital and analog transmitter solutions.

Ray Carnovale, President 905.844.1242 LBI Denver, Sheryl Richmond 303.665.5016 West: Dave Hill 650.692.7000 Bob Palmer 360.403.1960 Central: Tony Guess 940.682.4147 East: Frank Davis 281.296.8132

f

B40.

L10445

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.

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www.larcan.com

Applied Technology

Bitcentral solutions for satellite broadcasting BY KEN PIQUELLE

End-users, suppliers, service provid

ers, integrators and enterprise businesses in the digital broadcasting and satellite communications industries operate in a highly fragmented market with nearly 1500 equipment manufacturers and dis-

and reduced the number of ISDs from 14 to 12. In 1975 the ISDs were renamed educational service districts, or ESDs. ESD 101 launched its STEP.Star nationwide satellite program in 1986.

Eventually the district was able to

bid specifications and teachers requirements, Savitz literally built the entire system from the ground up. The original STEPStar system used DigiCipher compression technology, which limited the amount of programming ESD 101 could offer. John

tributors worldwide. Companies typically require multiple discrete components manufactured by different equipment suppliers, making it difficult and expensive for procurement departments to access information regarding product specifications, pricing and availability. California -based broadband technology provider bitcentral sees an emerging opportunity to assist these companies by providing them with a single -site destination offering industry- specific information, news, employment opportunities and interactive discussion forums. This infrastructure serves as a resource facilitating business transactions between buyers and sellers of digital broadcasting and satellite communications equipment, wireless bandwidth and technical services. Bit central offers new and pre -owned equipment and a wide range of services including technical support, training, engineering,consulting and system configuration assistance.

-

-

The new compression system enabled ESD 101

to expand their programming. procure grants that allowed it to purchase its own equipment, hire its own talent, and produce programming inhouse. In 1996 the district hired an engineer, John E. Savitz, to design, build and implement their studios, control rooms and satellite delivery system in an empty school building. Basing his designs on initial technical

Savitz, engineer of technology and telecommunications for the district, persuaded ESD 101 to switch to the more versatile MPEG compression system using equipment and integration services from bitcentral. According to Savitz, Bitcentral provided the agency with a complete turnkey solution demonstrating a thorough

These customized resources assisted

Educational Service District 101 in updating its STEPStar nationwide satellite program. ESD 101 is one of nine regional agencies in the State of Washington established by law to provide cooperative and informational services to local school districts and to assure equal opportunities for everyone. In 1969 the Washington State Board of Education created a statewide system of intermediate school districts, or ISDs, to meet the needs of local school districts. In 1972, the state board reviewed the needs of each geographic region

176

broadcastengineering.com

ESD 101 utilized brr rlhand services from bitcentral to migrate to MPEG compression equipment in its uplink room, shown above.

April 2001

www.americanradiohistory.com

'

Spotting the best Scan Converter should always be :his easy.

Serial Digital Output (4:2:2)

i_

Computer .

-To-

Video

Broadcast Quality Ouput

You're looking at the best autosync video scan converter available anywhere. the CGC -4000 can turn your high resolution desktop workstation, PC or Mac presentations into broadcast -quality videos. CGC -4000

0.

features:

Broadcast -Quality

NTSC /PAL

RS -232

Output

Interface

Full 24 -bit Digital Signal Processing ,co

True Autosync Operation

aI

Dynamic Pan & Zoom

Optional SDI Output (4:2:2) Betacam, ,

(Y /C) Outputs

Auto & User -Selectable Filtering RS -232

411

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3

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understanding of the district's RFP. The company installed, configured and tested the network to ensure full operation and gave ESD 101 a one -year warranty on the entire system. With DVB- compliant MPEG compression in place, ESD 101 was able to

served as a deterrent to signal piracy and allowed ESD 101 to control how

operate three channels on one -third of a transponder, compressing the signals

101 to deny access to some programs, such as those directed to correctional

many hours of programming a viewer received from an hour of programming on a single channel to all programming on three channels. Equally

important, encryption allowed ESD

Equally important, encryption allowed to deny access to some programs.

ESD 101

the district the capabilities they wanted. Bitcentral also worked with manufacturers to get ESD 101 an extra year of warranty. Today, ESD 101's programming is broadcast to almost every area of the 50 states and beyond. Viewers watching the live, interactive broadcasts can telephone to ask questions on -air, which greatly enhances the learning process. All a subscriber needs to receive the Ku band signal is a 1.2 -meter fixed dish, one of ESD 101's receivers and a coaxial cable. The district maintains its own 1.2 -meter dish on site so they can con-

stantly monitor their programming to

into a smaller space. The new compression system enabled them to expand their programming to include the Corrections Learning Network for corrections officers and inmates. The system also permitted ESD 101 to provide conditional access through encryption. The STEPStar program includes receivers with smart cards in them. Each receiver is registered in the STEPStar database. Whenever a receiver is turned on, it receives a signal from the database that either

officers that might be inappropriate for other viewers. Bitcentral also installed a Ku -band uplink for ESD 101. The district spent money on the front end so that subscribers could access educational programs inexpensively. Working with PanAmSat, ESD 101's

satellite provider, bitcentral installed, configured and tested a sophisticated uplink that allowed the district to operate three channels on the Galaxy 10R, Transponder 15 the most powerful Ku band available giving

--

allows or disallows access. This

ensure everything works. At last count, ESD 101 had about

20,000 registered K -12 students at sites receiving direct classes on downlinks, 1 million homes receiving the K -12 programs on cable and over 6 million homes receiving the adult literacy programs on cable. The K12, Adult Literacy and the Correctional Learning Network are growing rapidly. Ken Piquelle is director of marketing for bitcentraLcom.

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INSTRUMENTS

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Technology In Transition

Editing systems BY JOHN LUFF

In the early years of television any editing was done strictly on film. Programs that needed the sophistication that editing allowed had to use both film production techniques and tools. In the balance, the ability to broadcast a program more than once was also protected, for at that time there was no effective means of recording a program without using film. The technique of recording after video production (live only) was called kinescope, a process in which a film camera was used to capture a program from a CRT in real time. Once the video was transferred to a non -electronic medium all manner of well -established film techniques could be used. By the mid -1950s a number of research commercial departments in the U.S. and elsewhere had been working hard to find a commercially viable approach to recording the electronic images without chemical photography. Ampex, and later RCA, Sony, Panasonic, Bosch, Hitachi, NEC and others achieved considerable success in making increasingly more practical electronic copies of the live images. However, it was a number of years before practical electronic editing was perfected. For a decade editing was done by physically splicing videotape segments together in the same manner as film was physically spliced. Indeed editors used bins like film professionals to store clips (more accurately called waste baskets in the janitorial industry). In the 1970s, "Rowan and Martin's Laugh In" took such efforts to new heights with literally hundreds of splices in some programs. While this was thoroughly enjoyable television, it was equally impractical for wide use in production. For instance, a split edit (one where video and audio cuts are not coincident) were impossible. The push to create usable electronic editing was spurred on by Hollywood's need to be able to produce electronically like

180

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they did with film, in the theory that video production would be as cheap or cheaper than film approaches. However, unless you physically cut videotape (or use modern computerbased editing tools), video editing is relegated to a linear process in which scenes are transferred (dubbed) from original videotape to the master recording used for air. While beyond the scope of this article, it is important to realize the precision with which this

more capable. Companies including RCA and Ampex created systems that used special -purpose, hardware -programmed computers to control multiple VTRs and provided in some cases GPI control over production switchers and other devices to make integrated systems almost possible. CMX however took a fresh look at the problem and created software to be run on a general -purpose computer that took control of VTRs, ATRs, pro-

With disk space as cheap as paperclips, load time is considerably less of an issue. had to be done. Scenes had to be written on the master tape in sequence, from the head of the program to the tail, and the tracks on the tape had to be precisely controlled to allow the playback of the edited signal by mechanical means with considerable hysteresis. To edit one had to begin erasing old video as the head passed the erase head, and a precise amount of time later begin recording the new material exactly where the erasure had started. Eventually, methods using tones on a cue track permitted "precisely" repeatable edits, though there were no methods to achieve time synchronization between VTRs unless the editor had extraordinary skill and the VTRs were carefully maintained. In the early 1970s a timecode that could be recorded on tape and used to both synchronize transports and accurately control the timing of edits was developed by commercial companies and standardized by the SMPTE (SMPTE 12M is still titled "Time and Control Code "). Initially, implementations were still finicky and prone to less than perfectly repeatable results, due in part to the analog nature of the timecode. Over time, the systems utilizing this common "sync track" grew

April 2001

www.americanradiohistory.com

duction switchers and audio consoles in a more powerful environment. The CMX 300 and its successor products were the mainstay of the production industry for nearly 20 years. It certainly was true that no early computer editing system radically changed the topology of the editing landscape, as scenes were still laid down in strictly controlled places on the tape. However, it was now possible with adequate care to make a "tracking edit" in which a scene could be spliced to itself visually seamlessly and reliably. This was a breakthrough capability that today is still critically important to many production processes. An editor for film spent most of his or her time thinking about the flow of the content. A video editor typically was a technician who understood what made the complicated process tick and fixed the often broken equipment. As the cost of the hardware and the sophistication increased, producers demanded less- expensive facilities to use to make first-cut decisions at lower cost. The software and other tools were created in less expensive incarnations using the then new U -matic 3/4 -inch videotape format as a less- expensive medium less prone to technical complications

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82

come a long way from razor blades

for editing television content.

dramatic show

servers,VTRs, DDRs,

9970 Glenoaks Blvd. Suite

It is clear that we have indeed

Design

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PUTTING

and cheaper to run. In some environments the upward pressure began again, with offline editing booths acquiring editor -controlled audio consoles and larger production switchers. In some markets these tools were used as a final cut method. However, the ability to replicate the film production process, which is essentially nonlinear in nature, had not yet been achieved. In a historical footnote, CMX produced the first nonlinear electronic editing system. The CMX 600 was intended strictly for offline purposes, as it was mono-

broadcastengineering.com

chrome, and the quality of the preview image was never intended for any more than first cut purposes. One could however take the decision list that was output to punch tape on a CMX 600 and input it to a CMX online editing system to auto -conform an edit master from the source material. Only a few CMX 600s were made, with some notably used in Hollywood by CBS with some success. The system cost hundreds of thousands of dollars, which in the mid -1970s was serious cash. It would be more than a decade before nonlinear editing would come back as a commercial product. Other media were used for other attempts at nonlinear editing. Lucas Films invested in the creation of a system called Edit Droid (and Sound Droid), using analog laser disks as the playback media. The theory was basically, provide enough copies of the media on enough machines, and random access editing would look like it was utilizing a single copy of the media in a nonlinear process. Too complicated and too expensive for general use, the Edit Droid and some similar competitors withered. The idea behind the Droid and CMX 600 was critical to the future of editing. Playback in real time with immediate nonlinear access to any scene would make practical a new class of tools. It still would not quite emulate film, but if the software controlling the process was sophisticated enough, the editor might escape the technology and begin to go back to thinking only (actually principally) about content. To a large measure the cat was finally out of the bag, and the effect on the production process was profound. When it became possible to compress video, put it on computer disks and play it back in a truly random access manner, the Holy Grail was within sight. Avid, and then an increasing number of competitors, achieved considerable commercial success as soon as the technology became practical. At first these rudimentary computer editing systems were still offline tools, but as the quality of compression and the speed of computers improved they moved closer and closer to the mainstream of electronic editing. Today products we generally categorize as nonlinear editors supply fully acceptable quality for most editing

April 2001

www.americanradiohistory.com

The World's Smallest Master Control Switcher! You Just Know that People are Going to Talk.

Ross

CDK-111 The is the worlds smallest digital master control switcher. A single D.A. sized card provides

video mixing, a keyer with built in animated logo storage, frame synchronizers on every input, full preview, a program bypass relay and an automation port. addition to master control applications, the CDK 111 is ideal as a mixer for digital edit suites, commercial insertion, flight packs, microwave trucks and as a Synergy production switcher DSK extension. In

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needs, including uncompressed editing of both 525 video and HDTV. While this history lesson may be a long way to go

to get to today, it is clear that we have indeed come a long way from razor blades for editing television content. Computer editing has now begun to move down to the home PC with IEEE 1394 interfaces to remarkable consumer cameras permitting convincing quality and considerable sophistication in editing products in wide distribution. Now we have software that can provide many of the functions of a very expensive linear editing bay. But though

Nonlinear editors do the same thing for different reasons. Fundamentally the camera original (videotape in almost all cases) is transferred, or dubbed, to the computer-accessible media because it has to be done for most systems to work. Thus the "load" time must be allocated before editing can begin. When nonlinear editors first became available, and disk space was quite limited, this was a severely limiting factor. A one -hour documenrar

offer the freedom to complete a project, or portions of one, in a linear fashion when appropriate, while accessing the essence of nonlinear techniques as well. The future holds interesting possibilities as the power of general -purpose computers begins to achieve performance levels orders of magnitude higher than that used in the first nonlinear systems. One powerful concept that will certainly nmc tin

we have indeed come a long way, we still do not have tools in software that can totally replace some linear editing functions, nor all of the capabilities of a fully

configured linear editing bay. One of the limitations of nonlinear processes is the acquisition process itself. In film the camera original is seldom edited directly. In early videotape editing with razor blades that was also true. The original is simply too valuable to risk losing it in the editing process. Film editing eventually conforms the camera original to the edited version, producing a clean copy only after the decisions are final.

View an online

product demo whenever you see this logo. www.broadcastengineering.com

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broadcastengineering.com

O Today's nonlinear editors, like the Sony XPRI shown above. provide new functionality in the editing process.

with

a 20:1 shooting ratio became an exercise in media management at least as complicated as linear editing. With disk space as cheap as paperclips, load time is considerably less of an issue. However the load time issue is not eliminated by the quantities of bits available. Imagine a single shot brought in to a session on tape. To use it one must ingest it (load) to the system, and then proceed with the edit. What if there are dozens of such shots, like there might be in the case of a news editing environment? It actually can be less efficient to edit nonlinearly in such circumstances. The ability to preview non -destructively, as well as to use features like fit to fill and other capabilities at will, makes nonlinear systems shine. But when a simple cuts -only program that is well understood and not subject to an interactive editing process, it may well be faster to lace up the tape, dump it to the master and move on. Linear editing systems that grew out of the early CMX 300 linear editing systems can provide features that strictly nonlinear systems cannot. They can operate in a hybrid environment for instance utilizing disk drives for random access features, but also accessing "linear tools" like VTRs and production switchers to achieve the best of all worlds. Sony, Accom and others provide just such systems and

-

-

April 2001

www.americanradiohistory.com

fruition

is that of "proxy editing." Consider doing all your editing on inexpensive platforms using low bit rate proxies of the actual media with modest quality, but no reduction in production capability. Then the metadata representing all of your decisions is applied to the actual media stored elsewhere in the same compute environment, but executed on platforms with higher capability and sophisticated algorithms. By taking this approach, many people could be editing the material simultaneously and non -destructively. It would also allow an environment in which the expensive tools needed to do high quality work need only be purchased once. The proxies for those tools could be much less expensive, turning back the clock to the early days when offline editing was done in less expensive editing bays with U -matic proxies of high -quality media. At the end of a session you might simply hit the print button and the final copy of the program would be assembled and delivered over the WAN to the distributor for release to air, while you retained the original media and the proxies in a secure environment controlled by the owner of the content.

John Lu ff is vice president ofbusiness development for AZCAR USA.

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Business Wire

Business highlights from broadcast and production BY NANCY INWOOD. ASSISTANT EDITOR

Sony will show plenty of new products at NAB2001, the focus is on the introduction of a wide range of integrated solutions and products for what it calls the new broadband era. The company's corporate theme at NAB, for this year's NAB is An Anycast World. Sony will demonstrate a range of technologies to help users "Produce once and distribute many ". Based on the company's comWhile

mitment to supporting broadband based, networked products, the Any cast philosophy is clearly demonstrated in the Sony's NAB booth. Crucial to the concept is a broadband interconnection, both for content producers and distributors. Sony is showing how content can be distributed through a variety of ways, OTA, satellite, cable, even wireless broadband. The value to the professional is being able to produce content once and still be able to distribute and display it on a variety of devices. A range of broadband content generation and distribution systems, from the XPRI digital content creation system to the networked, and Bulldog- driven, media asset management platform are available for demonstrations. The thread; "any content for any purpose, over any number of channels , on any viewing device, all networkable and IP ready is clearly visible and exhibited throughout the booth. Also key is Sony's support to an "open systems" approach to equipment design. The company is showing technology partnerships and products from several partners including; Qu-

included 88 pieces of DVCPRO gear, including AJ -LT85 laptop editing systems, AJ -D850 studio recorder/

editors, AJ -D450 studio recorder/ editors, AJ -D440 player/edit source decks, AJ -D250 desktop recorders and AJ- D2301-I desktop recorder/players, as well as AG -A850 edit controllers. Televisa (Mexico City, Mexico), the largest Latin American television broadcaster, has made a multi -million dollar purchase of 50Mb /s DVCPRO50 and

25Mb/s DVCPRO camcorders and VTRs to cover parts of its operations. Televisa, the world's leading producer and broadcaster of Spanish -language television, has been using the Panasonic D-3 format since 1993. Televisa's purchase consisted of the full line of DVCPRO50 VTRs, including the AJ -D960 studio editing VTRs, AJ -D950 studio VTRs, AJ- D910WA camcorders and AJ -LT95 laptop editors. The DVCPRO equipment bought included AJ- D610WA camcorders, AJ -D450 VTRs, and AJ -LT85 laptop editors.

Dreamtime Holdings has purchased Panasonic's AJ- HDC27A dual frame rate progressive scan DVCPRO HD camcorder and AJ -HD150 DVCPRO HD studio VTR to support this multifaceted assignment. Dreamtime Holdings has an agreement to provide HD production services both at NASA's several ground centers and in orbit.

n.. i .... .........

antel, Leitch, FAST, Discreet, Panavision, Omnibus, Sierra, Evertz Microsystems, DaVinci and others. ABC affiliate WISN -TV made a significant investment in Panasonic DVCPRO equipment to upgrade its news operations. The purchase was valued more than $1.1 million and

186

broadcastengineering.com

.am

,

MMMMM

Mans

Westwind Media has installed two & Wilcox HD1010 eight -input, high- definition television productions Snell

April 2001

www.americanradiohistory.com

Screen Shot Panasonic 48Op equipment used to shoot Caporale Studio's feature film Caporale Studios purchased Panasonic Broadcast's AJ- PD900WA 2/3-inch DVCPR050 Progressive camcorder both for theatrical feature production and general assign- ments, which range from national commercials to industrial video to video news releases. Principal Michael Caporale, a veteran of both illustrative still photography and film production, recently served as director of photography on a 120 -minute theatrical feature, "Ball of Wax," shot in its entirety with the Al- PD900WA. Caporale also has used the DVCPRO

progressive camcorder to service his existing accounts, for example, shooting a documentary for a local school for gifted children.

Solid State Logic console used to broadcast NBA All -Star game Sundance, the newest addition to the five -truck hybrid digital fleet of live broadcast expandable production trucks owned by Core Digital TechnologiesSWIV, used its new 96- channel Solid State Logic Aysis Air Mobile Digital broadcast console to broadcast the live Turner Network feed at this year's NBA All -Star game. The game was held at the MCI center in Washington, D.C. Freelance Al operator, Jonathan Freed mixed the feed.

Telos

It

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1.

0.

2.

switchers in two of the facility's telecine bays. The dual- format switchers, which feature both high- definition and standard -definition electronic frames, are being utilized in the postproduc-

tion of television programs such as "NYPD Blue" and "City of Angels." The Bulldog Group and Sony Electronics recently announced that Sony had acquired a minority equity position in Bulldog and will serve as the exclusive distributor of Bulldog software in the U.S. The relationship will allow Sony's Systems Integration Center to distribute and resell Bulldog software to its customers in Japan as well as the US. Sony plans to develop add -on software modules to provide advanced capabilities for professional video applications, including frame accurate and low -res proxy editing. WABC -TV in New York City recently selected eight Fujinon AI 7x7x1 7.8 BERM lenses for field production on the station's local "Eyewitness News" program and one A10x4.8BERM for in- studio imaging on the nationally syndicated "Live with Regis and Kelly Show."

lenses. Fletcher Chicago decided to purchase its first set of Fujinon HDTV Cine Style Prime lenses after witness-

ing them in action at a Sante Fe Workshop class, "High Definition Advanced Cinematography," in late October. All lenses in the Cine Style Prime series feature marking for zoom, focus, and iris -and cine- compatible gearing for interfacing with existing cine controls and matte boxes. The HASB -10 features an angel of view of over 87 degrees, with focusing as close as 0.5 meters. At the other end of the line, the HA40B -10 features an angle of view of slightly over 13 degrees and a focusing range of 0.5 meters to infinity.

Sennheiser teams up with the XFL to produce more bashing and smashing For all those who believe the bashing and smashing that is so much a part of football has gone unheard of for a long time will be glad to hear

that the

XFL, NBC Sports, Scharff Weisberg and Sennheiser have all teamed up to provide better sound

quality at XFL games. The XFL has decided to hook up its players with more wireless microphones both on and off the field. The result is a "more real than real" experience. The audio coordinator responsible for the endeavor is Jeff Cohen of JPC

Systems. Cohen requested a list of

Sennheiser wireless equipment to bring the XFL's vision to life. Scharff Wiesberg rents and maintains all the

Sennheiser

RF

equipment for NBC

Sports. The majority of the players are

Soundtrack Boston, a seven -room full- service recording and post -production facility, recently installed a Sony DMX -R100 digital console in its newly refurbished Studio E. Soundtrack engineer Mike Sachs pilots the suite for a diverse clientele that

wired with Sennheiser wireless microphones, as are the coaches and referees, and there are parabolic dishes directed at the Neumann KM 183s to pick up sounds from the huddle. Sennheiser shotgun microphones capture the emotion in the locker room as well.

encompasses commercial, corporate and film assignments.

Fletcher Chicago purchased its first of Fujinon HDTV Cine Style Prime

set

Telestream has entered into an OEM agreement with WAM!NET a leading information technology services provider to bundle Telestream ClipMail Pro and ClipExpress store- and -forward

Television Automation Solutions

Co h en

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Abers. 6000 DTV Server

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eight control panels for ease of use. Zero periodic VTR maintenance. The Abekas 6000 digital video server is smart! It can do the

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World Cup of Golf uses Live slow motion EMC2

replay engines The EMC2 World Cup of Golf in Latin America consisted of four days of live broadcasting, retransmitted in more

than 140 countries and reaching millions of viewers. More than 80 television

production specialists were flown in for the event. The specialists brought

with them their regular gear however, this broadcast system also incorporated 3x EVS LSM 6 channel Live slow

motion replay engines. Each system permanently recorded signals from either two or four dedicated cameras, but routing allowed any other camera

media delivery appliances with WAM!NET Compressed Video Delivery Services. Telestream's ClipMail Pro and ClipExpress are desktop MPEG appliances optimized for easy media encoding, decoding, network delivery and viewing. These store -and -forward media devices are an important component of WAM!NET's turnkey Compressed Video Delivery Service. Via this service, WAM!NET's customers are able to quickly and easily deliver video from any computer desktop or Telestream video appliance, streamlining the creative review, network clearance and content distribution processes.

on the green to input to any LSM temporarily. That much slow motion replay facility a a golf contest may seem overdone. In this case, however, some other LSM features were used

Keops Broadcast has announced that

SWTV (Southwest Television) installed Solid State Logic's Aysis Air

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Oxtel has installed an Imagestore for KERA, the public broadcasting organization for North Texas. KERA purchased the master control and channel branding system to assist it's transition to a multichannel digital operation in addition to transmitting two analog program streams. KERA installed Imagestore in KERA's Master Control. An additional unit is scheduled to be installed in the coming months. Imagestore's keying layers will be used for inserting logos and captions.

it has signed an agreement with SGI under which SGI will resell and inte-

extensively. Golf lovers around the globe were able to follow the event through live quality broadcast.

11

Mobile Digital Broadcast Console, making the entire production chain digital. Servicing mostly live high -end sports and entertainment events, the reputation of the Aysis Air convinced SWTV to include the console in the advanced digital environment.

grate The Keops MediaWorks digital asset management system through its Professional Services group worldwide. Keops' MediaWorks integrated media environment combines asset management, recording automation, desktop video browsing, marking and broadcast playlist generation into a scalable client/server architecture. Sony announced first results of development tools to allow content to be moved between SDTI -CP and the Material eXchange Format (MXF) format. MXF allows for easy exchange of material between file servers, tape streamers and digital archives. The MXF project is a joint development between the Pro -MPEG forum and the AAF Association. The goal is to provide a seamless transfer between the real -time applications of video/ audio content producers and networked systems. Sony's work will include full Metadata support based on XML data interfaces. Sony also announced that its products would fully support MXF. Technology demonstrations were available in the Pro -MPEG and Sony booths. Steele VFX and Fence Post have recently installed Quantel's Henry Infinity to finish high -end commercials.

NAB Booth #S730

April 2001

www.americanradiohistory.com

DTV Transmission

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Your allotted DTV bandwidth may look like a big pipe today, but -tomorrow promises greater opportunities

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ATSC compliant encoding system employs sophisticated compression and multiplexing

technology to make the most of your bandwidth -while maintaining the highest quality pictures. And its backed by the resources of an unparalleled technology innovator: General Instrument, now Motorola's Broadband

Communications Sector. With nearly a decade of experience in helping customers deliver more digital content in less space, we have the track record and

experience to act as your partner

throughout the entire digital migration process. When choosing encoding systems Motorola's DigiCipher II HD Encoder,

for the long term remember...nobody delivers DTV better than Motorola.

Contact us at 800 -385 -5843 for more information or visit us at www.motorola.com/broadband

NAB Booth #L716 Circle (202) on Free Info Card 02000

Motorola. Inc AN ngMS reserved. M and Motorola. and Org.Crphe, are registered traeamarks 0f Motorola. Inc General Instrument Corporation is a wholly owned subsidiary or Motorola. Inc

www.americanradiohistory.com

MOTOROLA Broadband Communications Sector

FloriCal System's AirBoss automated control system now supports Kay -

Quantel iQ meets challenges by delivering a networked workflow solution with a powerful image processing engine at its heart that handles and combines all resolutions, from SD to HD and beyond. Quantel iQ is shipping with its own editing application, Qedit, and Inscriber's Qscribe, a customized module that directly utilizes Inscriber's text generation capabilities, combined with Inscriber's workflow design that is optimized for speed and flexibility.

dara mediastore, a next -generation media server designed to provide broadcast facilities with fast access to stills, audio/video clips, animation and graphics. The combination of these technologies allows broadcast facilities to easily access and manipulate various types of media in demanding broadcast environments.

Dielectric Communications has signed a definitive agreement to purchase TCI International. The transaction is subject to approval by the shareholders of TCI. Dielectric's acquisition of TCI further broadens Dielectric's varied product offerings to U.S. broadcasters for TV and FM products and international broadcaster in the high- and medium-frequency spectrum.

Keywest Technology has acquired Video Data Systems of Hauppauge, New York. The agreement gives the company exclusive rights to manufacture, sell and distribute all VDS products.

SeaChange International will provide video server systems for Azteca America Incorporated, a new national broadcast television network aimed at serving the U.S. Hispanic community. Azteca America is a joint venture between Pappas Telecasting and TV Azteca. Azteca America will rely on

Inscriber Technolgy has integrated Inscriber's text and graphics technology into Quantel's new platform, combining to form the new iQ system.

Broadcast MediaCluster to handle the large volume of video content that will be delivered daily to their affiliates. USA Cable has selected A.F. Associates (AFA) to design and construct their new digital Network Operations Center (NOC) located in Jersey City, New Jersey. The existing origination facility is undergoing a complete transformation from a hybrid analog/digital infrastructure into a fully digital, multi -channel NOC, employing advanced archiving and digital asset management systems. AFA expects the new facility to be fully operational in the spring of 2001. USA Cable's new NOC will employ the latest automation and digital asset storage technologies, including the first ADIC AML/2 near -line archive system employed in the country.

The BBC is to set up a new limited liability company, BBC Technology Limited, following approval from the Secretary of State for Culture, Media and Sport, to create the new wholly owned subsidiary. BBC Technology

work can flow downhill,too Some dish it out. Others have to take it. Smart ones figure or archive dysfunction, you'd want to be in the

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A new, flexible tool for today's video journalist: a digital video camera and laptop -based MPEG encoder. Delivers real -time broadcast performance in news capture.

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provides a new level of capability, flexibility and cost reduction in real -time MPEG2 encoding for Digital News Gathering supporting both NTSC and PAL standards at full Dl resolution. Complete high -performance PC or Laptop based systems start at an amazingly low price. Call us for a demonstration of the latest in MPEG2 processing.

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servers. Minerva also announced it will support the SGI Origin family of streaming servers. The integrated server and management solution is combined with Minerva's carrier class streaming encoders, DVB -to -IP gateways, and media transcoders.

will offer across

a

access to engineering skills whole range of broadcast and

Internet related technologies. Digital technology is opening up powerful and exciting new opportunities for companies to communicate with their customers and their staff. NEP Super Shooters purchased a 60- channel Calrec S2 analog mixing console from Calrec Audio. The desk will go into NEP's new Super Shooter Seven truck to exclusively cover the Senior PGA Golf Tournament for 35 weeks of the year. NEP is an outside broadcast company with 31 vehicles on their roster, they now have three 60 channel S2 desks, two of which were converted from S series consoles purchased in 1995.

Minerva Networks announced a partnership with SGI aimed at developing a marketing complete solutions for the delivery of IP Television services over broadband networks. Minerva has integrated its IP Television service management software with Linux -based SGI 1200 and SGI 1450

Equi =Tech has outfitted a plant in Sausalito, CA, with balanced power from Equi =Tech. Having added state of- the -art 24 -bit mastering services to its menu, balanced power had become more a matter of need than just one of preference. The upgraded Equi =Tech Model ET12.5W, was chosen for the plant's power upgrade.

NDS recently opened up an office in New York. NDS opened the NY office to focus on developing interactive TV systems and applications for the U.S. market. The new office is hoping to strengthen NDS's 24x7 customer support capabilities as well. NDS also was chosen by iBlast to provide datacasting services for its highly anticipated national datacasting network in the U.S. NDS and iBlast

Fiber Optic

Camera Cable and Assemblies Gepco's new HDC920 hybrid fiber optic camera cable is designed for High Definition cameras that utilize the new SMPTE optical fiber format. It features the low loss of optical fiber, along with the performance that Gepco camera cable is known for. Flexible and UL rated versions Strength member for added durability Tested for optical return and insertion loss Terminated assemblies or bulk cable SMPTE 311M and 304M compliant

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are joining forces to deliver fast, broadband content to over 90 percent of U.S. households and offer broadcasters a new revenue stream. iBlast becomes the first major datacasting customer for NDS in the U.S.

BOXX Technology, provider of digital content creation systems for the entertainment and digital film industries, announced Rainbow Studios has installed 3DBOXX systems to enhance productivity and increase system performance in its digital pro-

duction pipeline.

National Mobile Television, provider of mobile television production equipment, and Activate, a digital media infrastructure services company, announced a joint marketing agreement to provide customers with high quality, on- location production services and end -to -end Webcasting so-

lutions. This alliance integrates NMT's capabilities

as a supplier of remote mobile television production trucks for broadcast, cable, the Internet and corporate television program production with Activate's range of digital media services, including production and distribution of online live and on- demand events in all major industry standard formats.

Bezel Corporation, a television production equipment rental company, has purchased Sony's HDW-F900 digital camcorders. The Bezel Corporation first ordered 10 of the cameras, has ordered five since the original order and plans to purchase another 15 within the year. In addition, Bexel plans to purchase about $1 million more in accessories to complement the cameras.

Radamec Broadcast Systems has opened a parts center in New York. Radamec's new parts center in New York is capable of supplying customers with critical replacement parts on the same day or overnight. Accom announced that TechTV purchased seven AFFINITY nonlinear editing systems. TechTV produces shows that help viewers improve their computer knowledge and participate

711

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ri

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rf»nd Itelco Across the country and around the world, the most trusted name in transmitters is Itelco. Whether you're replacing an existing analog plant, both-you can count fulfilling the requirements of the DTV mandate

-or

means on Itelco's complete transmission solutions. Engineered excellence reliable operation year after year. Stringent design specifications guarantee unrivaled on -air performance. Our unique Itelco Supervisory System provides wonder single -point monitoring and control of multiple transmission sites. No Itelco's been the choice for more than 14,000 installations since 1961.

NAB, Booth #L1417 7575 West 103rd Avenue, Suite 110 Westminster, CO 80021 Tel: (303) 464 -8000 Fax: (303) 464 -8770 E -mail: [email protected] www.itelco-usa.com

more fully in the digital age. In all, seven existing edit suites are being upgraded to AFFINITY and with two suites already completed.

Ilcegami congratulates Burst Communications for providing ten years of dedicated service to professionals who use video, audio and broadcast television equipment and systems.

1991 -ZOO1

BURST

Celebrating /0 Years ur

Sony Electronics has entered into an agreement with DNF Controls to offer complete server solutions for customers of Sony's MAV-555 multi access video disk recorder. The combined Sony MAV-

555/DNF DMAT sports controller and MAV- 555/DNF 2034CL Shot box recorder premiered at the 2000 summer games in Sydney, Australia. Now Sony is offering a third control option, DNF's production switcher interface.

or

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Telemetric's camera robotics systems were installed throughout the Florida State Capital to provide comprehensive coverage of government sessions in the state senate, house and chamber. Florida Channel WFSU -TV, which is owned by Florida State University, provides the video feeds for airing on several different broadcast and cable channels to provide state -wide access to the programming. More than 50 of Telemetrics' PT-HP Camera Robotic Pan/Tilt Systems have been installed in the state capital building. Philips and Dolby Laboratories have cooperated in a project to find a solution for handling Dolby E and metadata in a standard master control environment, which will provide broadcasters another tool to solve the challenges of handling multi -channel audio. The goal of the two companies is to aid broadcasters in delivering the high -quality audio increasingly demanded by viewers.

Sony Data System Division has added Harris Corporation to its growing list of Sony Data System Value added resellers. Harris Corporation provides

your business best defined as content reation, management, or distribution? erhaps you see your job as technical, management, operations, or production. Most likely your job requires you to be comfortable with more than one hat? At IBC, the world's electronic media event, there is something to suit everyone. If your job involves understanding the tools and technology solutions that are driving the electronic media revolution you cannot afford to miss IBC200I. 45,000 visitors, 800 exhibitors, a full programme of technical, business and creative conference sessions plus the Nombre d'Or programme festival will be there to help you get co grips with the state -of- the -art So plan your visit to IBC2001 and be prepared... s

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high -end broadcast and production systems to broadcasters in the U.S. and around the world. Harris Corporation has just completed its first purchase of a Sony DMSB150L Petasite with Sony DTF-2 drives which will he installed at Seattle's KCTS in an automated commercial insertion system with Avalon software and Grass Valley

(RBN). The IQ Modular products are complete with rack -mounted A/D converters and adaptive comb filters for decoding, frame synchronization and noise reduction purposes.

Channel's on hour-long daily news program. The Libra Live Series II made its working debut on January 7.

Group profiles.

Snell & Wilcox completed installation of its IQ Modular Series featuring Roll Call Network Management System in the all- digital Internet broadcast operations center for Real Broadcast Network

The National Geographic channel, a new U.S. cable channel and a partnership between national Geographic Television and Fox Cable Networks Group, installed an AMS Neve Libra Live Series II digital broadcast console to use in its Washington D.C. studio. The console will be used initially for pre -production and live production of National Geographic Today, National Geographic

Jarvis Studio recently purchased an API Legacy console. The console is the second largest API Legacy console in New York City. The console was so large it would not fit in the elevator to make it to its final destination on the sixth floor. In order to place the 64channel Legacy with Flying Faders in Jarvis Studio's a crew was hired to "fly" the console in through the sixth floor window using a crane. In addition to its window -delivered Legacy, Jarvis houses an array of outboard equipment, speakers and microphones.

Think of it as alphabet soup for the digital soul. This is a must -attend seminar for all decision -makers involved in television & production. November 28-30, Hyatt Regency Grand Hall, Atlanta, Georgia The Digital Television

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Innovation and reliability has been the hallmark of Nucomm microwave systems. Nucomm offers complete technical services and systems support unparalleled in the industry. Join the growing number of broadcasters who have come to rely on Nucomm for their microwave needs. For additional information contact us today! Tel: 908 -852 -3700

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Prime Image, manufacturer of digital video and audio processing equipment recently shipped unit number six thousand of the Model 5011 line of Time Base Corrector- SynchronizerFreeze. The six -thousandth Model

50Ií shipped to Warner Brothers. Other customers of Prime Image are the government of Israel, ESPN, Panasonic Systems Engineering and Norsat International. The Nebraska Educational TV has added three Angenieux 60x9.5 HD OB lenses to its mobile production unit. The Angenieux lenses are being employed for a wide range of productions including sports, concerts and performing arts.

Crosscreek Television Productions has ordered a Grass Valley Kalypso Video Production Center from the Grass Valley Group. The order was Crosscreek's second in six months. The company will use the new system in its Voyager IV truck primarily for coverage of the National Hot Rod Association Winston Drag Races.

Toshiba has announced that it is employing Vela's CineCast family of MPEG decoding products to enhance its distribution capabilities. The Vela products include the CineCast Quad, CineCast Quad Pro, and the new CineCast HD series of MPEG -2 decoders. Toshiba's use of the CineCast HD/2 marks the unit's worldwide debut and compliments the CineCast family with analog composite, component and HD -SDI video outputs. While both the CineCast Quad and Quad Pro offer four -channels of MPEG -2 decoding with individual genlock inputs, each channel of the CineCast Quad Pro also features serial digital video outputs, dual analog stereo audio, dual AES/EBU digital audio, and embedded SDI audio support.

broadcast of interactive TV enhancements using the Advanced Television Enhancement Forum (ATVEF) Transport Type B specification. ATVEF Transport B allows the enhanced content to he broadcast with the program, rather than requiring a connection to the Internet, thereby speeding up the delivery of the enhancements to the viewer. NEP Super Shooters have ordered three Calrec Audio C2 mixing consoles to provide supplemental applications to existing Q2 audio consoles. The Cgs, one each of 60, 48 and 36 channels, are the first to ship to NEP, who already have seven Q2s, two S2s and two S Series desks. The 60 -channel console is the largest C2 Calrec manufacture and is only the second to be made since its launch in 1998.

The Public Broadcasting Service (PBS) and Triveni Digital announced a partnership for trials of PBS enhanced programming in four episodes of "Sci-

entific American Frontiers" that has aired on four local PBS stations beginning March 27. The trials will be the first digital terrestrial (over- the -air)

Telestream and Vsoft have announced a partnership involving integration of Telestream's MPEG media encoding/delivery appliance products and Vsoft's MPEG media management software tools. This product integration provides a seamless solution

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Box 2462 Grass Valley, California

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Integral DVE for squeeze and reveals

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in USAI

Text entered via automation

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for the acquisition, delivery and management of high -quality digital media. The partnership has enabled Vsoft and Telestream to develop file compatibility and metadata interchange to facilitate smooth and reliable operation between their products. Both companies share a common goal of replacing cumbersome handling of physical videotape with efficient digital media management and distribution solutions. The companies also share many of the same dealers, making one -stop shopping easy for their company.

Television's E5611 encoders, evolution 5000 multiplexers, 8PSK- compliant modulators and a total of three Director network management and receiver control systems. In addition, 975 Alteia plus receivers will be supplied to affiliates across the country.

Jonas Jensen Studios (Seattle, WA), a television and film studio facility recently invested in a complement of Panasonic DVCPRO50 equipment. Jonas Jensen's equipment roster includes the AJ- PD900WA 2/3" DVCPRO50 Progressive camcorder, the AJ- PD950A DVCPRO50 Progressive studio VTR, the AJ -D95 desktop DVCPRO50 AC/DC VRT and AJ -D90 dockable DVCPRO50. The facility also has access to a full range of Panasonic HDTV and DTV gear that equips a 58foot HDTV mobile production truck that it operates and manages for The Ackerley Group.

People

Norsk Lydskulc, part of the Nordic Institute of Stage & Studio, has retrofitted its studio A to create a state -ofthe -art digital studio. It has installed a Soundtracs DS -3 digital production console. The DS -3, 32 -bit floatingpoint console digital console, replaced a Tascam M700 analog console.

In all five redundant multichannel systems will be installed at NBC's New York and Burbank facilities. The five systems will consist of Tandberg

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of engineering at A.F.

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domestic and interDoug Butler national clients. Butler will be responsible for the ongoing development and daily management of AFA's project engineering team. He will work closely with Jim McGrath, AFA's senior vice president of engineering and technology. Staco Energy Products has announced L. Mark Yaeger as its new vice president of sales and marketing. Yaeger has had an extensive sales career in the electrical power and controls industries holding the positions of regional sales manager, national sales manager and director of sales.

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Robin Shahid has been named assistant chief engineer at WLVI (WB56), Boston's WB affiliate and Tribune Broadcasting station. Shahid will be responsible for running day to day operations of WB56's engineering department. He will manage a staff of 34 technicians and engineers, as well as oversee all engineering and building operations. GeoVideo Networks announced the appointment of Phil Thompson to the position of senior vice president of engineering. Thompson will lead GeoVideo's network data center strategy, which will initially focus on the

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development of the industry's first controlled broadband video network. Thompson will oversee a product development center in Monmouth county, NJ, that will provide network interoperability testing, systems engineering, software development, hardware and software test-

Bernie Keach will head the sales territories as the new West coast regional sales manager for Sierra Video Also supporting Sierra Video Systems will be Marty Morgan who will be the new Central regional sales manager.

KCAL9. He will oversee all technical of KCAL9's operations and reports directly to the general manager.

aspects

Snell & Wilcox named Tom Lang and Eloy Chairez vice president/general manager Eastern region and Western region, respectively. Lang had been general manager of the Eastern region prior to his promotion and Chairez was previously district manager for the Southern California region.

Carlson, a pro vider of consult lug, design and

ing, and quality assurance for GeoVideo's fiber network.

implementation

Jim

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Fiber Systems as a U.S. sales manager for the Western region. Covering an area that Jim Hurwitz reaches from the Pacific coast to the Mississippi, Hurwitz will oversee sales of the company's proprietary portable and fixed fiber optic systems optimized for the television broadcast industry.

and mission -critical facilities has Jeff Riser named Jeff Riser as the director of broadcasting and media.

Avica Technology named Don Bird vice president of sales and marketing for both U.S. and international opera-

tions. Bird brings with him 12 years of experience after being at 360 Systems where he was vice president of corporate development.

John Russell was named chief engineer for Young Broadcasting's KCAL9 TV in Los Angeles. Russell left KLCSTV as chief engineer to go to KCAL9, bringing over 20 years of engineering experience to Your Broadcasting's

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Inheriting many of the same features and functions as the OSR -130 the afforaabie OSR -300A actually extends operational convenience with a range of new features and peripheral products Remarkably compact and lightweight. the improved OSR -30DA provides high mobility without compromising picture quality and can be held comfortably on your shoulder through the longest shoots and gives videographers the ability to acquire their footage quickly ano easily R-3(10A has three 1/2- IT Power HAD CCDs to deliver 62áB S'N rabo and nigh my of Fill at 2000 lux Pc-ye HAD CCDs also gives you a low smear level of -110 dB IDSP 001 allowing more freedom to shoot nighlighted subiects

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LINK t IIEEE139411npuvONput In addition. in 'Dgital dubbing Including TC COW" mode lull informative of vdeo audio and lime cube of the orrmal tape can be coped to another lape Especially useful when making working copies of the original Meeti and OetpetsThey provide a full range of analog video inputs and outputs Ion Integration into curent analog -based systems. They both offer composite and S -Video inpuuoutput. while the DSR -40 (Only} offers a component output as well The DSR -20ís equipped with analog audio inputs and outputs RCA the 05840 with RCA inputs and KLR- balanced output These connections in combination with their LINK interlace allow a smooth transition to an all digital system in the future Meereley1W Fading Adomatic repeat function to repealed playback. Anet reaching the erg of the lapel. the D9-2040 automaton N rew'eds the lape, then suns playing back me segment again

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Sony's best production monitors ever. the PVM -M Series provide stunning picture quality ease of use and a range of optional lunctions. They are identical except that the "M4" models incorporate Sony's state- of-the -art HR Teinilton CRT display technology and have SMPTE C phosphours instead of P22.

Trinitron CRT enables the PVM -14M4U and 20M4U to display an incredible 800 lines al horizontal resolution. The PVM -14M2U and 20M2Ú offer 600 lines of resolution. M4 models also use SMPTE C phosphours tor the most critical evaluation of any color sublect. Dark tint for a higher contrast ratio (black to white) and crisper. sharper looking edges. Each has two composite. S -Video and component input (R- 0/13-Y, analog 008) For more accurate color reproduction, the component level can be adjusted according to the input system Optional BKM -101C (video) BKM -102 (audio) for SMPTE 259M serial

digital andt Beam Current Feedback Circuit 4:3/16:9 switchable aspect ratio. True multi- system monitors they handle lour color

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Consisting of 5 handheld and bodypack transmitters and 6 different receivers. Sony's UHF is recognized as the outstanding wireless mtc system for professional applications. Operating in the B00 MHz band range, they are barely affected by external noise and interference They incorporate a PLL (Phase Locked Loopl synthesized Control system that makes it easy to choose from up to 202 operating frequencies and with the use of Sony's preprogrammed channel plan. it is simple to choose the correct operating frequencies for simultaneous multi- channel operation Additional features, like space diversity reception. .CD indicators. reliable and sophisticated circuit technology ensure low noise, wide dynamic range and extremely stable went.; 'deal ln hroan -nnhna Inai transnrssmn

Professional Grade VHS 2.39

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SONY800 SERIES

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Equipped with Control L. capable of SMPTE Time Code based accurate editing even without an edit controller Built in editing lunctions include assemble and separate video and audio insert By searching for either an Index point or Photo Data recorded by the DSA -203A camcorder the DSR -30 drasricaiN cuts the time usually required tor d ting The 05111.30 can record up to 135 Index Meth. sr OK poor. -ill C

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DigiSuite Digital Video Solutions

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DigiSuite LX otters all the great features of the best -selling Matron DigiSuite platforms, plus DV. MPEG -2. and 1394 support. DigiSuite LX provides native DV and MPEG -2 editing under Windows 2000 Award-winning realtime feature set Native -DV and 50 -Mbps MPEG -2 editing 4 ír1/4 out, balanced/unbalanced analog I/O Audio clock genlocked to video reference ensures perfect synchronization in accordance with SMPTE -272M and AES11 -1991 MPEG -2 output for DVD and 1394. analog component. V /C. and CD authoring composite support built -in Integrated web video creation tools Field- proven, reliable technology

more rt alrirx

asures than any other product on the n a-ket. You get multiple 20 DVE ocessors, multiple channels of YUV le

tar correction, independent rrsparency control on all layers, 32 -bit mated graphics, two advanced 1 roma/luma/matte keyers. a customizable oatile generator, variable speed motion control, and elect audio sync. You can also add a 30 OVE channel in the MAX option.

SDI Option

300 watt Full tower IBM 30GB System drive PNY 256MB SDRAM memory Windows 2000 Matrox G450 Dual Display Card 48% CD ROM Drive Adaptec 29160 LVD -160 SCSI Card Seagate 73GB LVD -160 SCSI Drive 3.5" floppy drive Microsoft Trackball mouse 102 Button Keyboard DigiSuite LX Adobe Premiere 6.0 Editing Software 19" Mitsubishi Diamond Plus Monitor 90 day Free Tech Support Fully assembled and tested

Incite is a non-linear editing software designed to run on Matron DigiSuite hardware. Incite provides an easy to use editing interlace. multiple editing modes, a powerful toolkit with extensive utilities, more than 15 simultaneous real -time effects with unlimited keytraming for up 2 layers of video o 1 layer of live input video . 1 graphic layer, toois for multilayer compiling and advanced compositing, real -time titling and graphics. as well as an extensive range of options that will quickly expand your editing software into a fully equipped editing suite. For the local studio, the editing toolkit must be extensive. Incite provides features like media it I 099 in 0 and batch capturing. 4 editing modes ITV Film. Ripple and Get Trimmed), three point editing, quick transition creation. virtually unlimited real -lime possibilities (including easy to build DVE. video key aid motion effects), real -time animated titling 8 graphics features that will satisfy the most demanding client, templating and cut/copy /paste

11r 999

56,999,

features for rapid application. filters and effects rendering for multilayer compositing. 3rd party FX integration, consolidate storyclips and batch re- digitizing _. lust to cite a few key features.

od broaacasters they key concepts are speed and integration. live Input a it hybrid editing features. VLAN control for up to 3 1 Yi R s. integration f 3 d Dai ry effects hardware a u ec tl y o n the Incite timeline. and the ability to w rk with multiple formats from Lossless MJPEG to DV and MPEG -2) As for speed. Tse number of real-lime effects is unsurpassable while all effects that need to be rendered are rendered In the background

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tas

love the unique Multi -Cam feature. On -Line Eupree allows you to y scrub and view 4 simultaneous camera angles for selecting

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and

Pr

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Xpress DV Powertul Video Editing Tools Pentium Ill 866 MHz /

Shown with optional Monitor

GHz CPU

54, 499

Revolutionary ran -linear editing package that deliver; the power of true uncompressed video OM Apple's Final Cut Pro. Using Pinnace's new HUBS video processor, the Danko combines infinite layering. incredible effects, advanced compositing toots aid accurate motion tracking with all the mlyor video formals in compressed or uncompressed video. Based on the new dual promo« Apple GA's. CineWave delivers the worlds first scaleable desktop video system capable of outputting both Standard Definitia and High Definition simultaneously

Hollywood

FX

1

=19,999,

Fully assembled and tested

canopus

DV-Rex M3

Mobile Real -Time DV Editing Workstation Add portability to your video editing. This light weight unit sets up in minutes and comes with a Sp dorm leybosrd and a 1S thigh n soMlos LCD Warts wRb both analog and DV ua

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lierded Supply

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DV worms. Incorporates the latest computer components Including dual Pentium Ill CPUs. 256MB RAM. Xplode effects acceleration and

GHz Processor. 256mb RDRam

$7,499.95

expandable storage options. Some rid -cane effects bckde, transitions, up to 10 tracks of titling, lone laying. color correction, slow-motion and picture -in- picture. Audio effects include echo revere, and parametric and oraDhic equalization.

'4,999 Apple

90 day Free Tech Support

pint

Express DV on Dell Precision 220 Workstation 866 MHz Processor. 128mb RDRam

LX on -line Express Editing Software Dual 22" Mitsubishi Diamond Plus Monitors

DigiSuite

Workstation Bundle

Matrox G450 32mo Graphics Card 20GB ATA100 IDE (7200 RPM) Systam Drive 40GB ATA100 IDE (7200 RPM) System Drive 48X IDE CD ROM Dnve 3 5' Floppy Drive Windows NT XPress DV software loaded a d tested

Non -Linear Editing Package

Commotion Pro

1

Precision 220

128mb/256mb RIMM ( RDRAM) memory

PINNACLE

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3.5" floppy

Sony DRV -100 Internal DV Tape Drive Microsoft Trackball mouse 102 Button Keyboard

On-Line Express was designed specifically for the Matron DigiSuite hardware. Support of Dual monitor display with the use of Mabox G400 or G450 VGA boards. Whether you are editing in MPEG -2 or streamoing to the web. On -Line Express has a solution for you.

in

Avid (press DV software combines powerful video and audio editing tools, digital mastnenp, and extreme ease of use. Captures and cite DV video, adds effects, mixes audio, and outputs over IEEE1394 RreWlre. Or tranaodes the content to all malor new media formats. MPEG -1 (fu CD -R) MPEG -2 (tor DVD -Ii0M) GukkTime or AVI for computer based presentations or for streaming on the web. As a member of the Avid Xpress family. The Xlress DV offers the same Avid graphical user ktterface (GUI) used in the very high -end avid o cducts. powerful audio and video tools

JEMS 292GB LVD -160 (10K) SCSI Array

Sepported Hardware -

:.

Avid

512MB SDRAM memory Windows 2000 Matrox G450 Dual Display Card

Adaptec 29160 LVD -160 SCSI Card

rin -Line Express provides the ,m eve your digital content

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IBM 30GB System drive

48X CD ROM Drive

crossfadeswitout working on the timeline!

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Ion -line Turnkey System

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Incite Software for DigiSuite

Pentium III 866 processor 300 watt Full tower Mus CUSL2 motherboard IBM 30GB System drive PNY 256MB SDRAM memory Windows 2000 <8X CD ROM Drive Matrox G450 Dual Display Card Adaptec 29160 LVD -160 SCSI Card MEDEA 120GB Drive Array 3.5" floppy drive 102 Button Keyboard Microsoft Trackball mouse DigiSuite LX Incite 800 Editing Software 22" Mitsubishi Diamond Plus Monitor Sony DRV -100 Internal DV Tape Drive 90 day Free Tech Support Fully assembled and testedd

P.

III

Asus CUSL2 motherboard

serial digital (SDI) video and AES/EBU digital audio I/O

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Incite Turnkey System

I

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LX

Pentium

-

: tivanced Realtime Features i' gSute

St.)

New York, N.Y. 10001

239 -7549

212

33rd & 34th

G4 /Final Cut Pro

Complete Video Editing Systems

Good System

Great System

Best system

Includes:

Includes: Apple G4/533 Computer Final Cut Pro version 2.0 editing software 60G8 of ATA/100 storage Total of 256MB of memory CD -RW rewntable CD writer Artel Boris Graffiti CG Program Final Cut Tutorial CD Mitsubishi Diamond Pro 2040 22'

Includes 64/533 DUAL Processors Final Cul Pro v2.0 editing S/W 150GB (2x75) of ATA/100 storage VST Mattel( IDE controller card ATI Rage Orion dual display card Total of 256MB of memory Artel Bons Graffiti CG Program

Apple 64/466 Computer Final Cut Pro version 2.0 editing software Total of 256MB 04 memory 45GB of ATA/100 storage CD -RW rewritable CD writer Final Cut Tutorial CD Mitsubishi Diamond Pro 2040 22"

Monitor Apple Care-three year warranty Complete System integration and testing

$4,599.00

n.

Monitor Apple Care-three year warranty Complete System int r h n and testing

$5,399.00

Final Cut Tutorial CD Mitsubishi Diamond Pro 2040 22" Monitors CD -RW writer Apple Care-three year warranty Complete System int ., ration and testing 2

Video

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Circle (218) on Free Into Card

www.americanradiohistory.com

:tIiNPAR

Inter BEE 2001

International Broadcast Equipment Exhibition 2001 November 14 -16, 2001

Nippon Convention Center(Makuhari Messe)

International Broadcast Equipment Exhibition

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Secure a place in the future of broadcast. Professionals in the broadcast, video, and audio technology industries consider the International Broadcast Equipment Exhibition (Inter BEE) to be one of the most important events of the year. For 2001, we anticipate a larger turnout than ever before.

Inter BEE

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Exhibition Categories

More than 500 exhibitors and an impressive 30,000 industry members from around the world are expected to attend, offering unique opportunities for marketing, networking, and the gaining of inspiration. It is also the ideal venue for conveying your identity and message to the industry.

Inter BEE 2001 will also host a range of symposiums, forums, and seminars led by prominent broadcasting, audio, and video software producers, as well as systems hardware developers. Insights will be gained into the future of broadcast, securing an edge for all who attend.

Audio Equipment Cameras and Related Recording Equipment

Editing and Production ()Electronic Displays

Equipment

Equipment

System Conversion Equipment

Relay Systems Transmission Systems Lighting Equipment Output

Systems

Measuring Equipment Transmission

Electronic

Cables

HDTV Systems

Power Units

()Satellite Broadcasting Systems

Virtual Systems

CG Production Systems DVD Systems

For more information on Inter BEE 2001, contact:

Japan Electronics Show Association Sumitomo Shibadaimon Bldg. 2 Gokan, 1- 12 -16, Shibadaimon, Minato-ku, Tokyo 105 -0012, Japan Fax.: +81 -3 -5402 -7605 E -mail: [email protected] URL: http: //bee.jesa.or.jp/

www.americanradiohistory.com

Multimedia

Systems

Software

Multiplex Broadcasting

Systems

Others

To The Power

Mark Smirnoff

of Maxell

Mark Smirnoff, President- Studio Services for Modern VideoFilm,

is

totally blown away by the consistently

superior quality of Maxell Professional products. "The key to surviving Modern VideoFilm's ever demanding needs

of video

tape stock is reliability, durability and great customer service

and Maxell delivers all three." Maxell's media family includes digital I

c

)igital Betacam, Betacam :an you depend on

SP,

Betacam SX, DVCPRO,

`

V

and D -2.

your professional media? You can reach Mark Smirnoff at msmirnoffRmvfnc.com

Take your professional media to

Mks To

products like

HD CAM, D -5, D -3

the power of Maxell.

PROFESSIONAL

learn more about Maxell Professional Media, call 1.800.533.2836 or visit our website at maxellpromedia.com Circle (234) on Free Info Card

www.americanradiohistory.com

fn

The future of electronic media is going to be quite a ride. [Please keep your arms and legs inside the vehicle at all times.] Hold on to your hat, because the digital technology rules you learned today will be obsolete by morning. In the future, the simple path from A to B will be filled with plenty of twists and turns. Long uphill climbs. And gravity -defying descents. If

you're one of the fortunate few, you'll raise your hands in the air screaming, loving every minute of it. Because you'll know that in the future. nobody will just coast to success.

-

Plan today to be on the right track tomorrow.

Take the Ride

NAB2001 Conferences: April 21 -26, 2001 Exhibits: April 23 -26 E -TOPIA Exhibits Premier: April 22 Las Vegas, Nevada USA Register at www.nab.crg /conventions 888.740.4622 202.429.5419

Better SDI From Analog Sources

VIDEO D.A.'S

ES-207A $175

The DEC -312S 12 -bit

BROADCAST QUALITY

and without unwanted comb artifacts. Unmatched noise immunity YC separation

1x4 Gain Adjustable Equalization- Compensates fo 1000' of RG -59/U Response -10 Hz to 10 MHzPropagation Delay -3nS

Many Other Audio & Video D.A.

Decoder

Synchronizer converts your composite analog sources to SDI with extremely accurate

lets you lock to virtually any

signal without freezing or loss

of video.

s

Including Rack Mount Versions

Visit us

at www.forteldtv.com

to learn about the IntegrityTM system of frame synchronizers, decoders, encoders, digitizers

3 Year Warranty

and digital audio processors.

310 -322 -2136 FAX 310- 322 -8127 www.ese -web. corn

DTV

i Circle (219) on Free Into Card See us at NAB Booth 45730

1- 800 -530 -5542

404- 885 -9555 Fax: 404-885-1501 Circle (220) on Free Info Card See us at NAB Booth #L1261 LVCC

HORITA' Sure, we could build a sunroof Into our SCT-5O, but do you really need one?

'D

t4

Lithium Ion NAB Booth L9583

WORKS HORITA SCT-50

14:12:25

03 -17 -01

Better... Longer... Smarter...

The Simple Way to Add

Titles/Captions 8 Time /Date to Video - SCT -50 - $329

But Costs & Weighs Less!

Stand alone or RS232 controlled 'Industrial CG" adds up to 9 lines of 20 characters each of text/symbols. Change size. contrast, background. position. etc. Time display can include tenths of seconds. Individual or group control of up to 99 units using a single RS232 port. includes easy to use DOS "pop -up" screen editor that maintains 100 separate screens.

Battery backed -up internal clock -calendar.

Unconditionally Guaranteed

HORITA' Stuff You Can Use

erformance

What's YOUR Excuse for Lugging Bricks?

uality eliability implicity

Contact your local video dealer or call (949)489-0240 www.honta corn Circle (221) on Free Info Card See us at NAB Booth #L9773

IDX Technology Tel: (3101 891-2800 Fax: (3101 891-3600 Email: idx.usattidx.ty Web Site: www.idx.tv

Circle (222) on Free Info Card, See us at NAB Booth #L9583 April 2001

www.americanradiohistory.com

Broadcast Engineering

217

Today's and Tomorrow's Long -term

UllUlttlIh VIDEO EQUIPMENT FCC

TYPE

TERAC O C

O M

P

SYSTEM SOLUTIONS for FM, VHF, VHF DTV/D VB

DTV Format and Standards

Conversion Applications

Conversion and processing options may be added via CD ROM

Supports current and future DTV standards

I

888 -819 -4877

tp://www.tron- tek.com email: trongr ionct.nel

ht

www.teranex.com

to.

Combiners RF Components Antenna Systems Transmission Line

,

4

Cable Connectors Engineering Software

Superior picture quality via powerful platform

6570 -13 .i.t 5I Street Tulsa, Oklahoma 74145

For Further

Information Please Contact: .1 207 -627-7474

let

Fox: +12O7ó27 -7473

Emol lorry. booneelerocom -c. corn Web: www.lerocomcomponents.com

TERANEX

401-511-1086

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SONY

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Studio 100%

format friendly editor

Exchange Buy

-

Sell - Traci

New and Used 816 N. Victory Blvd. Burbank, CA 91502

Apgcide wittiout petiduig .i1Aalee

ofune.

a made at Studio Pveliange. Circle (226) on Free Into Card

218

Broadcast Engineering

S

XANTS

2.0, 2.5 & 7.0 GHz. BANDS

TRUN-Tek,

T

Format Conversion Solution.

Filters

Antennas

N

E

For Users - By Users

ACCEPTED

Video Links Tower Cams Weather Stations

O N

M

April 2001

www.americanradiohistory.com

Find us on the web

CueBrowser

-

- n r".1""" .......snvr+e

The multi -purpose asset review and management system that views low- resolution MPEG -1 digital assets from a computer desktop. It reviews material, segments programs and creates edit decision lists. CueBrowser operates on the Windows NT platform and provides shuttle/jog control using a graphical skier control .

R ® f

L O R 4

f

I

T(

C

A

L

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f

www.flor cal.com sales @flor cal.com tel: 352.372.8326 fax: 352.375.0859

Circle (227) on Free Info Card

LEA -370Q

www.systemswrretess.cum Systems Wireless provides specialized knowledge in Sales Rentals Service of wireless broadcast equipment including: wireless microphones wireless intercom systems wireless IFB wireless video

Contact us at:

[email protected] 800.542.3332 Circle (228) on Free Info Card See us at NAB Booth #2763

CLEITCH

Fear Not Any Feed! ow ea

PESA has upgraded its popular distribution amplifier line to take advantage of new developments in connector technology. It is now possible to offer analog, SDI and HDTV distribution amplifiers in the same low cost frame. 10 Cards in 2RU video

cr

audio frames Wide selection of DA's and conversion cards Analog, SDI and HDTV in the same frame Single or dual power supplies

Digital Processing Synchronizer 12 -Bit Component Digital Video Processing

Proprietary Multi -Mode Adaptive Comb Filter Decoder DigiDuplex Mode Provides Bi- Directional Analog/ Digital Interface Integrated Video Framestore with Linear Keyer Animated AV Logo Inserter Option DV (1394) I/O Option

PESA Switching Systems

Tel

631 -845 -5020

1- 800 -323 -1008 Fax 631 -84E -5023 ww,v pesa corn

Circle (229) on Free Info Card See us at NAB Booth #L8757

www.leitch.com 1-800-231-9673 Circle (230) on Free Into Card, See us at NAB Booth #L8620 April 2001

www.americanradiohistory.com

Broadcast Engineering

219

TALLY

MAPPER'

CC

7825 NW 29 STREET SUITE 145 MIAMI, FL 33122 TEL: 305- 463 -9449 FAX: 305-463-7889

Tally Routing & Mapping

One Button Operation Store Maps Internally Edit From a PC /Laptop

Li

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rUU

r

11

A Compact Solution, Ideal for Mobile Units and Multiple Production Setups.

MODEL PVW2600

PART #

PRICE

DBR41R

PV W 26 50

DBR33R

PVW2800 UVW1800 UVW1200 UVW1600

DBR39R

S425.00 LLAMAR S625.00 5625.00 S425.00 5425.00

DBR39R DBR41R DBR41R

pOIP1K QO111222 SERIES UVVL SERIES PVW

Videoframe'M

Al

$39.99 $39.99

C3u

:NANCE

Control System Solutions

14

Tel: 530 -477 -2000 www.videoframesystems.com

PV W2fi00i UV W1600

PVW2800/UVWI800

HEAD DBR41R

HEAD DBR39R

PINCH ROLLER

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Start

REEL MOTOR

REEL MOTOR

CLEANING ROLLER

41625. 00

$825.00

O

Multichannel systems On-board mux

E2[119X

ER611.1

ACHINES

So start delivering affordable, reliable video content with the PowerVu Plus'

Secure broadcast applications PowerVu CA and BISS

LINING ASSY

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PINCH ROLLER

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LINING ASSY

$395.00

7020

-

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Data broadcasting Built -in color video monitor

-

2U profile ideal for SNG or Contribution Feeds

More affordable. More reliable. More powerful. Easy to use. We have

over'

of million dollars in spare parts with discounts up to

75N oft the wholesale price and ready to ship. If you want to obtain a complete list of the

availability gives

a

parts with prices and

call or send an e-mail and we will he glad to send you copy.

Call 770 236 6190

Scientific Atlanta

me

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220

Broadcast Engineering

April 2001

www.americanradiohistory.com

E-maihsal

n videoscope.or

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a

A D V

E

R T

I

S E

M

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See online product

demonstrations for these hot products. Check them out at

www.broadcastengineering.com Now you can see the industry's

hottest products on your computer. Every advertisement and new product announcement featuring the Demo Room logo has a

streamed demonstration online. You can also view archived demos of previous Demo Room Stars from the Entertainment Technology online network. Visit the Demo Room today!

Virage Video Application Server Tektronix AVDC100 Tektronix's AVDC100 audio -to -video delay corrector provides in- service monitoring and correction of A/V delay errors that occur during compression or other processing. The system use; digital watermarking technology to embed audio time reference signals into video programming. At any point downstream another AVDC100 can analyze the watermark and measure the lip -sync error. The system can then adjust the audio delay to ensure constant and proper alignment of the pro gra n audio and video signals. The AVDC100 corrects up to 30 fields or 1/2 second of variable lip -sync error when the video is delayed relative to the audio. After instalation, all processing is automatic with instrument status instantly available from the two -line IF') panel and front panel LEDs.

Grass Valley Group Vibrint /Profile platform technology In Grass Valley Group's new platform technology, the Vibrint Digital News

Production Workgroup system and a new version of the Profile XP Media Platform work together to provide end to-end support of both DVCPRO- and MPEG -based news production; new platform technology also features the Grass Valley MAN real -time shared storage option for the Profile XP Media Platform and the Profile Network Archive partial file restore software; system is compliant with the Grass Valley Group's ContentShare software platform for media asset management, allowing for integration with thirdparty systems such as VNI News Tracker and Avid's iNews Media Browse.

Virage's Internet Video Application Platform allows video to be published, managed and distributed as easily as text. The platform supports enterprise scale deployments of video and provides the user with the necessary infra-

structure for seamlessly integrating Internet -ready video into a website or corporate intranet. The server enables users can create and maintain videorich websites. Users can customize presentation of content to create new revenue streams and business applications. The system also allows searchable access to video collections. The video server integrates video with advertising, commerce, community, and other value-added applications.

JOHN H. BATTISON P.E. CONSULTING BROADCAST ENGINEER, FCC APPLICATIONS AM, FM, TV, LPTV Antenna Design, Proofs, Fieldwork 2684 State Route 60 RD '1 Loudonville, OH 44842 419 -994 -3849 FAX 419- 994 -5419

NETCOM

D.L. MARKLEY & Associates, Inc. CONSULTING ENGINEERS 2104 West Moss Ave.

STATE OF THE ART ENGINEERING FOR AUDIO AND VIDEO ENGINEERING DESIGN CAD DRAFTING SERVICES CABLE FABRICATION PRE -WIRED PATCH PANEL RACKS SYSTEM INSTALLATIONS EQUIPMENT SALES

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(201)837 -8424

www.dlmarkley.com Member AFCCE

FAX. (2011 837 -8384 AVE, TEANECK, NJ 0761A

1465 PALISADE

video, audio, d automation electronics serving manufacturers & systems integrators

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Prnt...ional Engineer

TECHNOLOGY/ MANAGEMENT CONSULTANTS

1

desig

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Ontario

ppne,M mit

For Sale Complete News Network Facility For Sale News Production & Sat. Distribution Eqp.

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is

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MIAMI

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ENG Camera Packages (SX)

Contact Bruce StaRèl 210) 867 -2811

818.551.5858 212.268.8800

Uplink Systems,

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LOS ANGELES

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Sat Control System, (4) Sat.

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Warranted, Parts 8 Labor

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714 -755 -5580 (Office) 949 - 279 -1087 (Cell) Circle (241) on Free Info Card

PI-M IPS VENUS 96 x 96 serial digital

video router, with PS-400 power supply, manuals. CP-3000 control panels also available. Good condition, perfect for expanding existing Philips/BTS routing sy.items. $42,500.00 For information email [email protected] or call 312664 -9333.

PROFESSIONAL TELEPROMPTING SOFTWARE

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Vocal Booths Broadcast Booths

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PH: 423-585-5827 FAX: 423 -585-5831 E -MAIL:

whisperelcs.com WEB SITE:

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END OF YEAR LIQUIDATION

SONY SONY SONY SONY SONY SONY SONY SONY SONY SONY SONY SONY SONY SONY SONY RM -450 JVC -GYDV -500 USED

$999.00 (MANY AVAIL) $4150.00

These are just some of the specials....many more available....along with "closeouts, equipment auctions, rent to own plans, and high end broadcast equipment liquidations....we are part of a worldwide network: WWW.AUDIOVIDEOSEARCH.COM WWW.BROADCASTEQUIPMENTAUCTIONS.COM (FREE TO USE) WWW.HIGHENDBROADCAST.COM (LIQUIDATION WEBSITE) WWW.SEARCHANDSELLITCOM OWNED AND OPERATED BY U.S. CONGLOMERATIVE WORLDWIDE

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224

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April 2001

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ROHDE & SCHWARZ Service & calibration of broadcast test & measurement equipment, analog & digital. For information call our toll free number:1- 877 -438 -2880

Invest your advertising dollars where your prospects invest their time... Broadcast

ENGINEERING

Help Wanted Leave behind the traffic and congestion... and join one of the nation's highest-tech companies in Cheyenne, Wyoming. Here, you'll find a vibrant western city with clear skies, a lower cost of living and outstanding recreational and cultural amenities. You'll also find EchoStar, the leader in DBS (direct broadcast satellite). We have six satellites in orbit, with three more to launch in the future. Our DISH Network has over 5 million customers. And in Cheyenne, we have the nation's largest and most technically- advanced

uplink center. Consider joining us as:

Video Broadcast Engineer

Earth Station Technicians

'/

Regional Field Engineers (Chicago, Baltimore, Dallas, Sacramento)

You won't be in the metropolis any longer, but still a short drive from Denver, CO, and on the leading edge of technology. EchoStar offers excellent compensation and benefitsthat include matching 401(k) and profit sharing. To learn more and apply, visit our Web site. You may also forward your resume indicating job title in cover letter/ subject heading to: EchoStar Uplink Center, Attn: HR, 530 EchoStar Drive, Cheyenne, WY 82007. Fax: (307) 633 -5533. E -mail: hr.cheyenne @echostar.com.

Equal Opportunity Employer.

www- echostar -com

WE PLACE ENGINEERS

TECHNICIANS

Employer Paid Fees - Confidential 20 Years Personal Service All locations in the USA. Canada and Mexico

tZ11

MAIL

&

FAX

KEYSTONE INT'L., INC. Dime Bank , 49 S. Main St., Pittston, PA 18640 USA

Phone (570) 655-7143

Fax (570) 654 -5765

website: keystoneint.com We respond to all

Employee 8 Employer Inquiries ALAN CORNISH / MARK KELLY

PDX 28, WSJV South Bend, Indiana is seek-

ing a hands-on Assistant Chief Engineer. Primary responsibility is overseeing UHF

transmitter maintenance and operation. Other duties to include studio equipment installation and repairs and be familiar with Mac and PC operating systems. FCC license or SBE certification required. Send resume, references and salary requirements to Rick Owens, Chief Engineer, Fox 28, P.O. Box 28, South Bend, IN 46624. No phone calls. EOE

EGilObi

MAINTENANCE TECHNICIAN WPVI -TV has a full -time position for qualified broadcast maintenance technician. Minimum of 5 years experience in broadcast TV main-

tenance necessary. Requires thorough knowledge and skills to run application programs for maintaining and controlling station automation, production /master control /routing switchers, still stores, video servers, and DTV encoders. Should be knowledgeable in maintenance and repair of analog broadcast equipment, and state of the art digital equipment. Position requires varied shifts, including nights and /or weekends. Mail resume or fax 215 -581 -4515 (no calls) to James D. Gilbert, Director of Engineering, WPVI -TV, 4100 City Ave., Suite 800, Philadelphia, PA 19131 EOE

MAINTENANCE/SYSTEMS ENGINEER: Immediate Opening - Full-time Position Self- motivated engineer wanted for video post- production facility. Experience with

digital and analog signal systems and/or network systems a plus. Salary commensurate with experience. Send inquiries to: [email protected]

April 2001

www.americanradiohistory.com

dTsIf NETWORK VERMONT PUBLIC TELEVISION TRANSMITTER MAINTENANCE TECHNICIAN:

Maintain, install, and align transmission and related equipment such as UHF transmitters, microwave equipment, and test equipment at mountain top location. Must have a thorough working knowledge of video, audio, and RF technologies. Minimum of two years in high powered transmitter maintenance and FCC General Radiotelephone license required. Trouble shooting skills will be required from com-

ponent level to systems level using meters, scopes, and spectrum analyzers. Working knowledge of microprocessor based equipment is a must. Competitive salary and benefits. Send cover letter and resume to: Vermont Public Television, Attn: Employment Office, 88 Ethan Allen Avenue, Colchester, VT 05446. Equal Opportunity Employer. WANTED:

Maintenance,

design

&

production engineers for busy production equipment company. Knowledge of all formats, analog & digital VTR's, cameras, terminal equipment. Resumes to [email protected]

broadcastengineering.com

225

Help Wanted

BROADCAST MAINTENANCE ENGINEERS NOW IS YOUR CHANCE TO WORK WITH THE LATEST TECHNOLOGY IN THE INDUSTRY! CNN has an excellent opportunity for you to take your career to the next level. We are in search of Broadcast Maintenance Engineers with experience in digital audio and video production systems. You will play an integral role in the engineering of our 24 -hour Cable News Networks. a worker friendly environment that Candidate should have an Associate degree offers a competitive salary, continuing educa(or equiv.) in electronics and 4 years tion and training. We offer excellent 401K matchminimum experience as a Maintenance Engiing, Braves/Flawks/fhrashers tickets, free AOL neer working in television. Computer and account, etc. Casual dress, 24 X 7 shift work, Networking skills, and a strong knowledge of opportunities for advancement. Chance to train TV systems are highly desirable. Must be and work on the newest technology. A great able to perform electronic repair and THE WORLD'S company and a tremendous opportunity to maintenance to the component level. SBE work in the technology capital of the South! Certification a plus! NEWS LEADER Send Resumes to: David Costar, Technical Recruiter, [email protected]; 250 Williams St., Ste.1250, Atlanta, GA 30303 EMAIL PREFERRED, no phone calls please!

CNN is

...

BROADCAST ENGINEER DENVER, COLORADO position will be responsible for the day -to -day technical operation and maintenance of a new studio facility for nightly news production. Experience with a full range of production equipment is essential, including studio and ENG cameras, VTRs, audio consoles, linear and non -linear edit suites, and transmission equipment. Knowledge of Avid Newscutter and Phillips production switchers and routing systems a plus. Must be a self -starter and able to work a flexible shift. 3 years broadcast engineering experience and SBE certification preferred. The

Qualified candidates apply on -line at http: /fox.recruiti ngcenter.net/publicjobs, code #KC103861, or by mailing resume and cover letter to Fox Cable Networks, HR

/

Dept. ($KC103861), 10000 Santa Monica Blvd., Los Angeles, CA 90067. FOE.

SPORTS NET

BROADCAST SYSTEMS ENGINEER Will maintain and repair analog, digital, video and CHANNEL audio systems; including routers, switchers, automaweather.com tion systems, VTR's, cameras, and related broadcast technology. Must have ability and desire to develop skills in UNIX, Windows NT, and networking systems. Required: 4 years experience as Broadcast Maintenance Engineer, with TV broadcast related systems and equipment. THE WEATHER

Send your resume today to: [email protected], *Reference " Engineer BEng" in response.

Come join our team!

The

Weather Channel, 300 Interstate North Parkway, Atlanta, GA 30339

WWW.BROADCASTENGINEERING.COM 226

broadcastengineering.com

April 2001

www.americanradiohistory.com

CHIEF ENGINEER is needed in Hudson, Massachusetts for WHUB -TV/WHUB -DT. Qualifications: Minimum of 5 years experience as an Assistant Chief Engineer. Engineer or a Chief Experience in all areas of television system maintenance required including "hands on" maintenance and repair of analog and digital UHF television transmitters and associated processing equipment, satellite down link and fiber optic systems. Must be familiar with FCC rules and regulations and be capable of preparing and managing capital and operational budgets. Familiarity with operation and support of computer systems and computer SBE /FCC networks also required. certification a plus. Send or fax resume and cover letter to: WHUB -TV Gerard Gerrits Jr., 71 Parmenter Road, Hudson, MA 01749. Fax: 978 -562 -1166 Email: [email protected] TV CHIEF ENGINEER wanted for Full Power UHF station in the Iowa City for hands-on Iowa. Responsible installation and maintenance of studio

broadcasting equipment, maintaining the on-air performance and FCC compliance of the broadcasting facility. DVC Pro, UHF, computers and LAN network experience a plus. SBE certification or FCC license a plus. Must be able to troubleshoot electronic and mechanical systems to the component level. Position Open until filled. Mail resume to: KWKB -TV, 1547 Baker Avenue, West Branch, IA 52358, Attn: Mark Culbertson, General Manager

Fax:319 -643-3124,

markculbertson @kwkb.com

E -mail:

Help Wanted TV MAINTENANCE TECHNICIAN: WTAETV, the Hearst-Argyle ABC Affiliate in Pittsburgh, has an immediate need for au experienced maintenance person. Ideal candidate should have significant experience working with Windows NT operating system, Unix, Mac, OS, PCS, and computer network techniques in general. Candidates experienced with Television transmitters, DVC Pro and Beta SP videotape formats, Sony LMS, video switch ers, audio consoles, studio cameras, ENG, SNG, and automation equipment will be given preference. Experience with digital video is a plus. SBE certification preferred. Must have a valid driver's license.

Motor Vehicle Record check required. Salary up to high $40s annual, commensurate with experience. Benefits include medical, dental, 401(k), pension plan, and an employee stock purchase plan. For consideration send resume and cover

letter including source of referral to: Code MT-021401, WTAE -TV, 400 Ardmore Boulevard, Pittsburgh, PA 15221. WTAETV is an equal opportunity employer.

(UDIO MAINTENANCE ENGINEER: Must be able to perform the following duties: install and maintain studio trans-

mission equipment including video switchers, audio consoles, DVE, CG, SS, cameras, and robotics. Familiarity with automation systems and master control environment. Should possess a general

computer /networking background. Must be able to work on a rotating shift schedule. Candidate should have an engineering degree or equivalent technical training. SBE /FCC certification a plus. If you want to be a part of the exciting transition to HDTV in the most exciting city in the world, please send your resume and cover letter: Kurt Hanson, Chief Engineer, WABC -TV, 7 Lincoln Square, New York, NY 10023. No telephone call or faxes please. We are equal opportunity employer. ASSISTANT CHIEF ENGINEER: KMAXTV, Sacramento, CA. Minimum five years experience in television operations and maintenance. Strong background in transmitters, translators and microwave systems. SBE Certification a plus. Resumes to: KMAX-TV; 500 Media Place; Sacramento, CA 95815. EOE

Broadcast

Telemundo, the fastest growing Hispanic broadcast network seeks: Master Control Operators experienced with Louth Automation for immediate full time openings. Prior experience with manual switching operations a plus. Bilingual (Spanish/English) preferred. Various shifts available. We offer an excellent benefits package & great working environment. Salary starting at á40k +1 yr. This is not an MIS/Computer related job. EOE.MIFID/V. Please send all resumes and salary

requirements to:

Telemundo Network Group LLC Attn: Human Resources 2290 West 8th Avenue, Hialeah, FL 33010 Fax: (305) 889 -7079, Email: [email protected]

TRANSMITTER ENGINEER (BROADCAST ENGINEER SR), TUCSON, AZ KUAT

Communications Group, the public television and radio service in Southern Arizona, seeks applicants to provide technical support to broadcast facilities in repair, maintenance, installation and modification of high power transmitting equipment in the studio and at remote sites. For more information regarding KUAT, the U of A, and the Tucson area, browse the KUAT home page at: http: // www.kuat.org/ REQ'D: Associate's degree in electronics, broadcasting or related field AND 3 years of experience in engineering which broadcast includes repair & equipment installation; OR, 5 years of experience in broadcast engineering which includes equipment repair and installation. Salary: up to $33,107 annually plus complete UA benefits. To apply, please submit a letter of interest and resume referencing Job #19853 to Human Resources, 888 N Euclid, #114, P.O. Box 210158, Tucson, AZ 85721 -0158. Review of materials will begin 3/2/01 and will continue until the position is filled. The University of Arizona is an EEO/AA Employer-M/W /D/V. FIELD SUPPORT SPECIAIJST. OmniBus Systems Inc. (OSI) seeks individuals for its expanding US East Coast office. Installation/ configuration and commissioning of OSI and related OEM equipment and software. Knowledge of PC networks /operating systems required, broadcast equipment an OSI project advantage. Update

documentation, communicate with R&D, customer support departments. Frequent travel. Competitive compensation, generous vacation, 401K, benefits. Please send resume and cover letter to:Omnibus Systems Incorporated Fax: (530) 470-1718 email: [email protected] No phone calls, please. www.omnibus.tv We are an Equal Opportunity Employer. .

ENGINEERIN Off IOUNIOCI

OF DOOM.

MOOS.

April 2001

CHIEF

TELEMUNDO

ENGINEER:

CONUS

Communications, the pioneer in 24/7 satellite newsgathering, is seeking a Chief Engineer in the St. Paul, MN, office. Responsibilities include: Overseeing the day-to-day operations of the company's including engineering department maintenance, inventory, staff recruitment, training, and personnel reviews Receiving direct reports from satcom operations, information broadcast engineering, field engineering services, and departments Qualifications include: College degree preferred and at least 10 years of relevant experience required FCC General Radio Telephone license required Must be qualified to hold a commercial driver's license and must be able to obtain security clearance if needed High degree of organizational skills and ability to function as a team leader Good maintenance skills in television broadcast production and satellite transmission of television

Familiarity with programming computers and local area networks Business training and previous supervisory experienced preferred. Interested candidates should please send / fax resume to: CONUS Communications, Human Resources # Department, Job 16-01, 3415 University Avenue, St. Paul, MN 55114. Fax: (651) 642-4314 Email: [email protected] Jobline: (952) 253 -5780 No Telephone Calls Please. An Equal Opportunity Employer

MEDIA MAINTENANCE/ELECTRONICS TECHNICIAN. Full-time permanent lead techposition. Need a self- motivated individual with video system experience and strong service bench from skills. Obtain application [email protected] Call BCC Jobline at 425 -564 -2082. www.bcc.ctc.edu /joblist/ Open until filled. EEO.

broadcastengineering.com

227

Ad Index Page M

Accom ADC Broadcast Products

Reader Servicele

Adherent Ltd. AJA Video

139, 141, 143

174

200 147 175 188

Andrew Corp. Angenieux

26

114

163

181

189

85

Anton /Bauer APW Zero Cases Aspen Electronics Audio -Technica U.S., Inc. Audiovideo Search.com AutoPatch Avica Technology Group Avid Technology

152

214

97

154

42

224

Axon Digital Design BV Azden Corp.

BarcoNet B8H Photo -Video

91

204

121

166

51

129

310-450-9090 800-949-2843

145

176

65

134

123

167

222 196

240

99

155

61

132

Carlson 182 Chyron Graphics 10-11 Ciprico 165 Comark/Thomcast 67 Communications Specialties .... 147 Datatek, Inc. 125 Dielectric 167

195

Canon USA Broadcast Lens

207

106 182

135 177

888- 919 -9379 516-328-7500 770 -590 -3600 212- 239 -7500 858 -560 -8601 818- 551 -5858 303-649-9600 142- 284 -2159 800- 321 -4388 415-677-0141

631.845 -2000 800- 727 -4669 888 -872 -8505 631- 273 -0404

183

223 115 59,63,101 182

241

609 -720 -4607 714 -755 -5580

163

800 -869 -3504

19

110

168

76

Discreet Logic Digital Media Online DNF Industries Dolby Labs Inc. Domore Inc.

509-235 -2636

800-882-9100 207- 655 -4555

Digibid Digital Reality

530- 274 -2048 708-349 -3300 201 -812 -3858 800- 422 -3473 801- 298 -5900 714-379-2515 330 -686 -2600 818 -562 -3230

180

Broadcast Store Burst Communications Calrec Audio Ltd.

650-328-3818 800-726-4266

244 192

162

.

195

202 212 DIV 198 E.A.O. AG 80 143 Encoda Systems 69,71 136,138 ESE 190,217 201,219 Euphonix 17 109 Evertz Microsystems Ltd. 103 157 Extron Electronics 119 33 Fiber Options 204 215 FloriCal Systems Inc. 45,219 126,227 Folsom Research Inc 177 190 Forte) DTV

Website Address

Hotline

179

206-209 217 -218

Broadcast Microwave Services

Advertiser

714-384-3058 818- 252 -0198 415- 645 -5000 219-293-0621 203-877-4577 303 -237 -4000

310-322-2136 650 -855-0400 905 -335 -3700

accom.com adc.com/broadcast adherent.com aja.com andrew.com angenieux.com antonbauer.com zerocases.com aspe ne lect ron ics.com audio-technica.com audiovideosearch.com autopatch.com avicatech.com avid.com axon.nl azdencorp.com barconet.com bnhphotovideo.com bms-inc.com broadcaststore.com burst.com calrec.com usa.canon.com carlson.dc.com chyron.com ciprico.com thomcastcom.com commspecial.com datateknj.com dielectric.com digibid.com

discreet.com digitalmedianet.com dnfcontrols.com dolby.com

eao.com encodasystems.com ese-webcom euphonix.com evertz.com

352- 372 -8326

extron.com tiberoptions.com ftorical.com

916 -859 -2500

folsom.com

404-885-9555 800-553-6611

forteldtv.com fujinon.co.jp gepco.com grassvalleygroup.com hamletvideo.com harmonicinc.com

714 -491 -1500 800 -342 -3748

169,217

184,220

Fujinon

171

186

Gepco Grass Valley Group

194

205

847- 795 -9555

21

111

800 -998 -3588

116

310-457-4090

125

408- 944 -6700

104

800-4HARRIS 949- 489 -0240

harris.com horita.com ibc.org

310- 891 -2800 608- 273 -5876 800- 363 -3400

idxtek.com

Hamlet Video

28 Harmonic 43 Harris Corp. /Broadcast Div. 3 Horita 217 IBC 197 IDX Technologies 173,217 iNews 205

Inscriber Technology

41

Inter BEE

195

I.O. Partners

192

Itelco

195

Jones Earth Segment, Inc

223

Kaydara

83 49 159

Ktech Telecommunications Laird Telemedia

228

221

187,222

216 123 203 173 242 146 128 178

214 -496 -9300 303-464-8000 303 -784 -8809

818-361-2248 800 -898 -0759

broadcastenglneering.com

inews.com inscriber.com bee.jesa.or.jp/ iopartners.com itelco-usa.com

jonesradio.com kaydara.com ktechtelecom.com lairdtelemedia.com

April 2001

www.americanradiohistory.com

WEST Duane Hefner

5236 Colodny Ave., Suite 108 Agoura Hills, CA 91301 (818) 707-6476 FAx: (818) 707 -2313 [email protected] EAST

Josh Gordon 335 Court Street, Suite #9 Brooklyn, NY 11231 (718) 802-0488 FAx: (718) 522-4751 EAST /MIDWEST Joanne Melton 5 Penn Plaza, 13th Floor New York, NY 10001 (212) 613 -9709 FM: (212) 563 -3025

[email protected] INTERNATIONAL Richard Woolley Tony Chapman P.O. Box 250 Banbury, Oxon OX16 8YJ U.K. +44 (0) 1295 278407 FAx: +44 (0) 1295 278408 richardwoolley© compuserve.com REPRINTS Reprint Management Resources

(717)399 -1900 Fax: (717)399 -8900 JAPAN Orient Echo, Inc. Mashy Yoshikawa 1101 Grand Maison Shimomiyabi -Cho 2 -18 Shinjuku -ku, Tokyo 162, Japan (3) +81 3235-5961 FAx: (3) +81 3235 -5852 CLASSIFIED ADVERTISING OVERLAND PARK. KS

Jennifer Shafer P.O. Box 12901

Overland Park, KS 66282 (800) 896-9939 (913) 967-1732 Fax: (913) 967 -1735

LIST RENTAL SERVICES Lisa Majewski 9800 Metcalf Overland Park, KS 66212 -2215 (913) 967-1872 FAx: (913) 967-1897

CUSTOMER SERVICE: 913 -967 -7107 OR 800 -441 -0294 BROADCAST ENGINEERING (ISSN 0007 -1994) is published monthly (except semi- monthly in Mayand December) and mailed free to qualified persons by Intertec Publishing, 9800 Metcalf, Overland Park, KS 66212 -2216. Periodicals with Ride -Along Enclosure postage paid at Shawnee Mission, KS, and additional mailingoffices. Canada Post Intemational Publications Mail (Canadian Distribution) SalesAgreement No. 0956295. POSTMASTER: Send addresschangesto BroadcastEnglneering, P.O. Box 12902, Overland Park, KS

66282 -2902. CORRESPONDENCE: Editorial and Advertising: 9800 Metcalf, Overland Park, KS 66212 -2216 Phone: 913- 341 -1300; Edit. fax: 913-967-1905. Advert. fax: 913967-1904. ©2001 by Intertec Publishing. All rights reserved.

Broadcast

Ad Index

ENGINEERING engineering. corn www. broadc as t

MORAL

NO

I

Advertiser Hotline

Reader

Seminal

172 Leader Instruments Corp. 133 189 Le13LANC Broadcast Inc. 175 Le tch Incorporated BC,35,87,103,120,149 Leino USA inc. 109 160 Litton Electron Devices 37 121 Mackie Designs Inc. 9 105 Magni Systems 38 121 Marconi Applied Technologies 29 117 Maxwell 215 234 Medio Stream

193

204

Mu:rowave Radio

161

179

Mutas, an EVI Audio Co.

203

213

13

107

Moanda Technologies Inc Mcdulation Sciences Mctorola Broadband MYAT NPB Broadcasters Nucomm Inc.

Ortneon Orticomm Corp. Oytel Panasonic Broadcast

181

193

191

202

86

148

216

30 -31

208 122 118

201

211

199

39

& Digital .... 7

PESA Switching Systems

Philips Broadcast Pinel Instruments Corp.

Oiantel Ltd.

..

75,219 140,229 79

142

178

191

25

113

Reflections in Video

224

RFS Broadcast Rchde & Schwarz

117

243 164

170

185

Rcss Video Ltd.

183

196

15

108

Sachtler Corp. SeaChange Scientific -Atlanta, Inc. Scopus Network Tech. Saura Video Systems

tima Electronics Inc. SG' Srell & Wilcox Ltd. Srell & Wilcox Ltd. S

Scud State Logic

135

234

127,220

169,232

89 200

150

137

174

119

165

46 -47 55,57

127

185

197

Scny Broadcast & Prof essional Co. 4.5 77 Scny Recording Media Staco Energy Products Co. 196 Stagetec GMBH 105 Standard Communications 129 Stjdio Exchange 218 Strdance Digital 188 Systems Wireless Ltd. 187,219 Tandberg Television 81

Tektronix 131 Telecast Fiber Systems Inc. 90 Te lemetrics, Inc. 27 Telex 23 Teracom 218 TeraNex 107,218 Tromson Broadcast 111 Tr ,mpeter Electronics 70 Tr)n -Tek, Inc. 218 Utah Scientific 113

Vieoframs V V

W

ieoscope ieoTek, Inc. ieatstone Corporation

W nsted Corporation

Zander Technologies 3E0 Systems

209

130

141

206 158 170 226 199 198,228

800 -645-5104

800-231-9673 800-444-5366 800 -861 -1843 800- 258 -6883 800- 258 -6883 914 -592 -6050 800 -533 -2836 408 -452 -5500 978-671 -5700 +441562741515 514-333 -1772 732- 302 -0206

215-323-1000 201 -767 -5380 888-740 -4622 908-852-3700 408-558-2113 858- 450 -0143 877-446 -9835 800 -528 -8601 800-328-1008 801 -972 -8000 408 -871 -1975 446- 354 -8222 203 -239 -3311 301 -459 -8800 613- 652 -4886 516- 867 -4900 978- 897 -0100 770- 236 -6189

+97235576200 530-478-1000 717-569-2681 650-933-6988 408-260-1000 408-260-1000 +441865842300 800-472-7669 800 -439 -SONY 513- 253 -1191 818- 701 -6201 310- 532 -5300 818 -840 -1351 972-444-8442 800 -542 -3332

112

503- 627 -2151 508-754-4858 201-848-9818 877 -863 -4169

224 159,225

407-517-1086

151

115

161

137

800 -882 -1824 805- 497 -6400

223 162

918-663-4877

220 220 IBC

231

530-477-2000

IFC

95 82 73

801- 575 -8801

233

305 -463 -7880

102 101

800-800-5719 252 -638 -7000

153

800-559-6691

145 139

leaderusa.com leblanc-group.com leitch.com lemo.ch littonedd.com mackie.com magnisystems.com marconitech.com maxellpromedia.com mediostream.com

mrcbroadcast.com miranda.com modsci.com motorola.com/broadband myat.com nab.org nucomm.com omneon.com opticomm.com oxtel.com panasonic.com/broadcast pesa.com broadcast. ph t ips. com pixelinstruments. com quantel.com i

818- 787 -4552

144 171

Brad Dick, Editor Jim Saladin, Senior Associate Editor Laura Collins, Associate Editor

Website Address

818- 991 -0360

Ael Laura Jones,

Art Director

TECHNICALCONSULTANTS Brad Gilmer, Computers ér Networking John H. Battison, P.E., Antennas/Radiation Michael Robin, Digital Video Donald L. Markley, Transmission Facilities Harry C. Martin, Legal Larry Bloomfield, News Technology Editor Paul McGoldrick, Industry Watcher

ME= John Torrey,

V.P. Entertainment Division

Dennis Triola, Group Publisher Jennifer Weir, Marketing Director Sonja Shaffer, Advertising Coordinator Mary Mitchell, f l.ai/ied Adv. Coordinator Sherri Gronli, Corporate Circulation Director Gayle Hutchens, Circulation Manager

INTERTEC Publishing Timothy M. Andrews, Chief Executive Officer Ron Wall, President John Skeels, President, Corporate Services Stephanie Hanaway, Div. Dir. of Marketing

PRIMEDIA Business to Business Group Craig Reiss, Chief Creative Officer PRIMEDIA Inc. Tom Rogers, Chairman and CEO Charles McCurdy, President Beverly C. Chell, Vice Chairman MEMBERORGANPATIONS

rfsbroadcast.com rsd.de rossvideo.com sachtler.de schange.com sciatl.com

Sustaining Members of: Acoustical Society of America Society of Broadcast Engineers Society of Motion Picture and TV Engineers Society of Cable & Telecommunications Engineers

sierravideo.com sigmas lect ron ics. com snellwilcox.com snellwilcox.com solid- state -log ic. com

sony.com/professional stacoenergy.com stagetec.com standardcomm.com studio-exchange.com SundanceDigital.com systemswireless.com hotstuff-tv.com tektronix.com telecast-fiber.com telemetricsinc.com telex.com teranex.com thomsonbroad.com trompeter.com tron-tek.com utcomteckvideo.com videof ramesystems.com videoscope.org videotek.com wheatstone.com winsted.com zandar.com 360systems.com

April 2001

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Member, American Business Media Member, BPA International Affiliate Member, International Teleproduction Society

BROADCAST ENGINEERING isedited for corporate management, engineers/technicians and other management personnel at commercial and public TV stations, post-production and recording studios, broadcast networks, cable, telephone and satellite production centers and networks. SUBSCRIPTIONS: Non -qualified persons may subscribe at the following rates: United States and Canada; one year, $65.00. Qualified and non -qualified persons in all other countries; one year, S80.00 (surface mail); S145.00 (air mail). Subscription information: P.O. Box 12937, Overland Park, KS 66282 -2937.

Photocopy authorization for internal or personal use is granted by PRIMEDIA Intertec, provided that the base fee of U.S. $2.25 per copy, plus U.S. $00.00 per page is paid directly to Copyright Clearance Center, 222 Rosewood Dr., Danvers, MA 01923. The fee code for users of the Transactional Reporting Service is ISSN 0361- 0942/2001 $2.25 +00.00. For those organizations that have been granted a photocopy license by CCC, a separate system

of payment has been arranged. Prior to photocopying items for classroom use, contact CCC at (978)750 -8400. For large quantity photocopy or reprint requirements contact Reprint Management Services, 717.3991900. For microfilm copies call or write Bell & Howell Info., 300 N. Zeeb Rd., P.O. Box 1346, Ann Arbor, Ml 48106 -1346. Phone: (313)7614700or(800)521 -0600.

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broadcastengineroring.com

229

The government wants to help BY PAUL MCGOLDRICK

Although news out of Los Alamos is usually rather muted, the Department of Energy's National Laboratory has been the subject of the news rather more often in the last year than wanted by the Department: From a suspected spy, with hard drives that should have been in the vault being found by the copier, to a devastating fire that was started by another Government department, the Lab has had its share of reporters' ink. Now a breakthrough in compression algorithms brings the Lab right into the broadcasting arena. The Lab announced that an algorithm that was developed for image compression in underground nuclear testing is "capable of compressing a HDTV datastream to the point where the HDTV and analog signals can be broadcast over the same channel." The implications of this technology are quite staggering and maybe even offer a lifeline for some small market stations. Instead of simulcastinganalog and DTV on different channels the Lab is saying that you can broadcast your analog signal and then superimpose your DTV data with that signal. The result is certainly analogous to the conversion days of monochrome to NTSC - and it also has some limitations with a not -completely-perfect compression/decompression. But it would mean that an older analog receiver could take the signal as transmitted and think it is an NTSC signal; the digital receiver, with a software loop, would identify the digital data in the channel and extract it for reception and decoding. The losses in the digital signal are stated by the Lab to be about 20 percent of what would have been transmitted for a full HDTV signal stream. One of the problems, apparently, is that sync signals have to be left untouched so there is "dead" processing

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230

breadcastsnglnsering.com

time during those intervals when a digital receiver would still be working away. The exact operation of the algorithm isn't being discussed by the Lab but, apparently, the vestigial sideband is being employed with some sort of quadrature modulation that the analog receiver does not understand, and

modification like this practically impossible. There also needs to be testing done very quickly to see whether this new format of signal allows the present channel allocations to still work; certainly it is unlikely that the scientists at Los Alamos have considered such mundane needs.

The implications of this technology are quite

staggering - and maybe even offer some small market stations. some letter-boxing space is also used which the analog receiver will see as gray instead of black. The phrasing by the Los Alamos statements, using the algorithm's developer (George Nickel) as the mouthpiece, tends to suggest that the Lab thinks there would be the chance for the existing analog channel to have the DTV signal added to it; but it is obviously too late to stop the roll out of the new channels allocated to broadcasters. In any case, the older channels have been virtually presold, with their auction values already included in the

Government's budget numbers. But even the notion that a broadcaster could still broadcast an analog signal - but on the new channel - is rather exciting. Those with analog receivers could simply retune to the new channel and the original channel could be closed down. As the market gets more used to DTV the costs of making the conversion to a digital receiver will tumble and, eventually, the analog service could be curtailed. If this technology is going to be used, things need to be addressed quite smartly - before there are enough HDTV receivers or tuners sold to make a

April 2001

www.americanradiohistory.com

a

lifeline for

This is something that needs to be brought to the attention of the FCC as swiftly as possible. Instead of being in a punishing role for what it perceives are delay tactics by broadcasters, here is a chance for the Commission and broadcasters to both get what they need at the same time. And it makes possible that the switchover date for the standards can really be met which will please the fiscal hearts in Congress as well. But there is a snag to all this. The Lab considers this compression algorithm to be a commercial thing something to license. That is simply impossible if there is to be universal adoption of such a standard, and I have a really hard time understanding how taxpayers can cough up for research such as this and not be allowed to reap the rewards of it. This is not like a NASA project that turns into a commercial product to be manufactured and sold by a company who is at risk with its funds in doing so; this should be a public standard. Then we will be able to say, at least once, that the Government was here to help us.

-

-

Paul McGoldrick is an industry consultant based on the West Coast.

Bucky Is Baffled.

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Broadcast Engineering the technical journal of the broadcastcommunications industry

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A classic renewed.

The first issue of Broadcast Engineering magazine rolled off the presses in May, 1959, almost 39 years ago. Throughout those years,

Broadcast Engineering was the relied upon technical resource and trusted friend of engineers and technical managers- something we're very proud of. Over those years, you might say we've become the classic in the field where others have come and gone. Almost two years ago we began a detailed study of readership needs. Now, after more than 2000 surveys, after almost 100 telephone interviews, after hundreds of hours of staff labor, we present the results of those efforts: a newly designed Broadcast Engineering. We call it a classic renewed. So thanks for making Broadcast Engineering magazine a part of your professional career for the past 39 years. We're proud to have played an important role in broadcasting's history-and we look forward to continuing our leadership in tomorrow's exciting digital future!

Broadcast Engineering

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The Journal of Digital Television

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