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62 Tuesday 17.09.13 theibcdaily In Brief

IMG Studios gets an audio makeover Three Avid S5 Fusion consoles and a plethora of Genelec loudspeakers have been supplied by HHB to system integrators TSL, as part of IMG Studios’ relocation project. Roughly half of the kit installed by TSL in the 107,000sq ft purpose-built production centre was brand new and supplied by HHB: S5s were deployed in the three 5.1 post production suites; and five Genelec 1238CFMs and a 7271A sub were installed in each room.

IMG Studios will be used

for premium sports broadcast production services including England’s Barclays Premier League and Football League, and the UEFA Champions League. 8.D56

Giant LED video

wall on show Leyard is showcasing a 7.5m diameter LED video wall at IBC2013 that is roughly half 4K resolution. Designed as an alternative to LCD and DLP video walls, the 3840x1092 innovation benefits from zero bezel, seamless splicing, super hi-vision and flexible display size, and offers 23-bit processing depth, 1200nits brightness and a 2400Hz refresh rate. Weighing 4.8kgs per tile and delivering high- precision calibration technology, it has a physical pixel pitch of only 1.9mm. 9.B28

RDK Management selects organiser of chaos

RDK Management has announced that S3 Group has been selected to manage the Reference Design Kit (RDK) code base for licensees. Originally developed by Comcast, the RDK is a pre- integrated software bundle developed and licensed to create a common framework for powering IP or hybrid STBs and gateway devices for CE manufacturers, SoC vendors, and other software developers, system integrators and TV service providers. S3 Group has been selected for the role of code management in

implementing the RDK vision of continuous improvement through community contribution. 3.B18

DPP makes big difference DPP By George Jarrett

The UK-based Digital Production Partnership (DPP) has announced a considerable broadening of its work in the setting of standards and establishing of standard definitions.

Along with introducing an

improved version of its AS-11 delivery standard with EBU R128 Loudness and updated metadata app, and announcing that the UK

switchover date for full digital delivery will be October 2014, it introduced a new work stream taking it into several new areas. Leading this effort will be Helen Stevens, head of distribution and director of broadcast operations at ITV.

“Having achieved what we have, the question is what do we do next. There is such a big area, and really we want to make the biggest difference we can,” she said. “It is apparent that one of the

areas of greatest need, the place where we might be able to make

a difference if we use simplification standards and possibly even services is around delivery, storage and distribution,” she added.

The team will “drill down into several specific topics”. These will be content receipt, the whole broadcast chain workflow, archive storage, reporting and the cloud.

Stevens’ comment about

archive storage typified an appetite to push the DPP forward as a major standards-setting body. She said: “In the new digital

Now Super35 can be super wide

Abakus By David Fox

The new Abakus 35mm Stadium Lens can bring an

all-encompassing 202º view to Super35 sensor cameras. The 9mm T2.8 PL-mount lens is very compact, and weighs just 1.6kg. It will cost £11,500 and Abakus has taken several orders at the show. Although it is called a stadium lens, it is also useful in confined spaces, such as on a car dashboard, where it can show the view from both side windows,

Sporting chance for Brazil SP Telefilm

By Michael Burns SP Telefilm is gearing up to help broadcast companies and crew gain access to Brazil in preparation for the FIFA World Cup in 2014 and the Olympics in 2016. The São Paulo-based production company specialises in all types of broadcast with a major emphasis on sports, but is also able to provide an essential hosting service for foreign broadcasters and crew wishing to cover the events. Daniela Serres, SP Telecom’s

international productions co- ordinator, said: “We can help with the special permissions and be the host producer. We can provide a lot of equipment and support, but also help to clarify any doubts about the government requests.” 8.A19f

Ten to (Square) One: Perry and Bassett seal the deal at IBC

VMI takes shine to Square One:, the London-based camera rental company, has bought 10 of the new Square One, full- spectrum, 1x1 (30x30cm) light panels from Photon Beard at the show. VMI is buying the lights for location productions. “People want to have brighter panels that are small, lightweight and convenient. That’s very important, they must work off mains and battery, and up until now 1x1 Litepanels have been the standard issue,” said VMI’s MD, Barry Bassett. In the Square One they have “an equivalent product with a smaller footprint and twice the light output. It’s different technology, but it does the job and is very soft, and competitively priced,” at £595. VMI supplies a lot of documentaries, and Bassett thinks that the

Square One will be particularly suitable for these. “This is our first UK sale of a brand new product, and it has taken place on the show floor at IBC. It highlights the value of IBC, and the clear advantages of Square One being illustrated first-hand on the show floor,” said Photon Beard sales manager Mike Perry. 11.D43

Pollitt: The Stadium Lens is ideal for a Red or Alexa

which has the effect of making the car look as if it is going faster. “We’ve put in an internal filter holder, because you can’t put one

on the curved lens at the front, however, there is a front protector you can fit, for use on helicopters or exposed locations, that uses a plastic that is really good optically and doesn’t attract dust,” said Abakus founder Dr Ken Pollitt. Also new for Super35 or full-frame 35mm sensors is the Abakus XL borescope/periscope, which will come with five lenses (10, 14, 20, 28 and 40mm) for about £40,000. The lenses incorporate controllable LED lighting for especially close-up subjects, with rear controls and a filter holder for accessibility. 11.G29

world it is not just about keeping content, it is about being able to find it. And how are you going to do that without standards? “How much easier would it be

if there were standards agreed across broadcasters? Could there be an appetite for some kind of storage bin and repository?” she added. The digital switchover for delivering content as AS-11 files will involve ITV and Channel 4. C5 made AS-11 its standard in July, but the BBC will use switchover month as a starting point.

Towards streamed workflows Quantel

By Carolyn Giardina

Quantel has introduced the concept of ‘stream-based’ workflows, which the company believes will take the industry beyond the limits of files while allowing content to be accessed, edited and distributed from anywhere. This is accomplished by

streaming clips rather than copying files each time content is moved, where possible. High res frames are transferred only when necessary, as a background task to reduce workflow latency. The company said this will make workflow faster, as there’s no need to wait for files to complete their transfers; simpler, because there are no copies of media created; scalable, as many users can work with many streams; and more efficient in their use of networks and storage. Together, Quantel believes this will also result in lower costs. The first Quantel product to

incorporate a stream-based workflow is QTube InterSite, which the company said could enable users to edit and publish anywhere so long as the system is connected with a high-latency WAN that supports at least 200Mbps. “Quantel stream-based

workflows offer our industry a path into the future that frees us from the limitations of file-based working. Streams speed access to content [and] minimise the need for time-consuming and management-intensive copying,” said Steve Owen, marketing director at Quantel. 7.A20

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