Broadcast TECH 1,330
Number of exhibitors booked for this year’s IBC
‘In the past, brands were part of the advertising; in future, they will be part of the
content business’ Andreas Gall, Red Bull Media House
6K chip for its Epic camera and has a 28K sensor in development; Canon, which is ready- ing the launch of its C500 4K camera; and Panavision, which is rumoured to have a new digital camera – or cameras – in the works. Blackmagic’s self-imposed media blackout
prior to trade shows helped the company deliver a showstopper at NAB with the sur- prise 2K Cinema Camera, and it may repeat the trick this year. It might be too soon for a revelation to emerge from its July acquisition of telecine developer Cintel, but with the £1,500 2K BMC now shipping, the company could come up with a sister unit shooting 4K. Bringing 4K to broadcast is one theme at
Sony, which will demonstrate two F65 cam- eras covering a sports match, where the 4K pictures are stitched together to enable high- quality HD highlights packages to be cut. The company is to announce shipment of a video network unit (NXL-IP55), which can transfer multiple HD signals over a single network cable rather than coaxial, and is intended for outside broadcast. It is continuing to down- play 3D, emphasising the production readi- ness of the equipment rather than any new kit. With issues of low light from projectors and
2014. That event is likely to see significant use of second screens, which in sports broadcast is being pioneered by EVS. Its C-Cast system, which enables viewers at home or in stadia to stream on-demand highlights or select from a variety of live camera feeds, is being evaluated by broadcasters around Europe. “Anyone can get a signal from a camera
and broadcast it, but it’s all about mixing the feed with highlights, data and statistics for OTT and second-screen activity, and making the experience personal,” says EVS chief exec- utive Joop Janssen. “Ultimately, that is where the money is.” It’s a fair bet that Ultra HD TV, a resolution
16 times that of current HD, will also feature in some form in Brazil. Already trialled over giant screens this summer by the BBC and Japan’s NHK, using NHK’s Super Hi-Vision format, momentum is building behind its introduction
www.broadcastnow.co.uk/techfacils
as a broadcast standard. IBC will be awash with new production and display systems pushing the boundaries of higher-resolution imagery. NHK itself is set to receive the IBC’s flagship award for excellence in innovating not only SHV but also HD, which it initiated in 1964. It will preview a lightweight camcorder sporting an 8K chip, with which it hopes to begin regular SHV production trials by 2014. Sony will have a variety of partnerships to
announce in support of its F65 CineAlta, and its focus will be on 4K post production. “Workflows for 4K are being simplified,” says Sony head of AV media Olivier Bovis. “Beyond cinema, we are seeing a surge of interest in 4K. While we won’t have a product for broad- cast, we are demonstrating that 4K is here for a purpose: to service HD production.” Other camera-makers to watch in this regard will be Red, which is on the verge of releasing a
glasses dogging the experience of watching 3D movies, Christie Digital is presenting two world firsts at the IBC cinema. They are both screenings of 3D feature films: one film is remastered and shown at the same brightness as a 2D movie; the other is being projected using lasers, perhaps the successor technology to lamps once the cost of production reduces. Dolby made a splash at NAB with its full HD
autostereoscopic display technology devised with Philips Research. The latter developed a receiver and lens array to optimise the display of glasses-free 3D content compressed with Dolby’s codec over any size screen or device. The prototype will again be demonstrated, with the first commercial models expected in 2013, according to senior director of broadcast and video ecosystems Roland Vlaicu. Also on the Dolby stand is its PRM-4200 professional reference monitor, which is now
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