REGULATION

Australia Announces Framework for Digital Radio

The Australian Minister for Communications, Information Technology and the Arts, Senator Helen Coonan, has announced a framework to guide the introduction of digital radio in Australia.
“As radio is the only mainstream broadcasting platform to remain analogue-only, and with increasing competition from new digital platforms such as the Internet and mobile phones, the radio industry needs the certainty to plan and promote the potential benefits of digital radio,” Senator Coonan said. Digital radio has the potential to deliver a range of new and innovative services to listeners such as record and rewind, streamed text with news and weather updates, play list information and even still pictures. Digital radio provides an opportunity for improved audio quality and a greater diversity of radio services currently enjoyed by millions of Australians.
“The Government has consulted widely on the proposed introduction of digital radio and the input of a range of stakeholders has been useful in designing a suitable framework,” Senator Coonan said. “Of course, the views of incumbent commercial broadcasters, whose brand recognition, significant investment and support will be vital to the success of digital radio in Australia, have been taken into account.
“International experience shows that digital radio will supplement existing analogue radio services for a considerable period, and may never be a complete replacement. Accordingly, the Government’s framework has been built around digital radio being a supplement to existing services in Australia rather a replacement technology, as it is in television.”
Therefore there will be a staged rollout of digital radio in Australia commencing in metropolitan areas as soon as practicable. The Government will urge broadcasters to commence trials of digital radio in regional areas, so technical and other issues can be resolved. The Government will then consider what financial support is necessary to expand digital radio services to rural and regional Australians.
Under the framework, Australia will implement terrestrial digital radio based upon European Digital Audio Broadcasting (DAB) Standards, also known as Eureka 147. The commercial, national and wide-coverage community broadcasters currently operating in the broadcasting services bands (BSB) in those areas will have the opportunity to participate and will share the available digital spectrum.
“Consistent with the Government’s 2004 election commitment, there will be a moratorium on the allocation of new BSB commercial radio licences, this moratorium will be for six years from the commencement of the first digital broadcasts,” Senator Coonan said. “While this moratorium will preclude new commercial entrants to the BSB in digital for the period of the moratorium, there will be no new restrictions on current or potential commercial digital radio services operating outside the BSB.
“The Government will continue to work with industry stakeholders to develop the necessary legislative and planning structures to implement this framework.”
Other elements of the framework include dedicated spectrum for the two national broadcasters, a guaranteed minimum level of broadcast capacity to incumbent commercial broadcasters (more spectrum will be available if new services are offered), guaranteed access to the digital platform for wide-area community broadcasters, no simulcast requirement and a first right of refusal to broadcasters to control the multiplex and hold relevant spectrum for a nominal administration cost.

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DIGITAL RADIO

Australia Unveils World's First Picture Digital Radio

The Australian commercial radio industry today unveiled the world’s first digital radio capable of displaying pictures. The groundbreaking prototype, called the DAB Picture Radio, will allow consumers to hear radio programs in CD-quality sound, while seeing images of their favourite artist, news reports or weather maps being broadcast on a colour screen.
The development of the radio is a world first, with the receiver going on display for the first time at the recent Commercial Radio National Conference in Sydney.
Peak industry body Commercial Radio Australia developed the prototype in partnership with Inventec Electronics, a subsidiary of global electronics manufacturer Inventec. The receiver was designed so that it could theoretically retail on the mass market for about AUD$400.
CRA chief executive officer Joan Warner said: “The Australian industry is thrilled to be leading the world in demonstrating the capabilities of advanced Digital Audio Broadcasting (DAB) technology. But we are only at the tip of the iceberg in terms of what this technology can ultimately deliver to consumers.
“Our vision for the future of radio is one where listeners will have an enriched, interactive and multimedia experience with more choice in programs and more control over when they listen. For example, if they are interested in a song, listeners could download more information about the artist, browse a station’s broadcast website or hit rewind and listen to it again.”

Key features of the sleek new radio include:

• 320 by 240 pixel backlit colour LCD screen to display pictures or text such as album covers, song titles and lyrics, real time news updates, weather and traffic maps, stock reports, competitions and advertising images.
• The screen can also be used to display a slide show of selected personal photos.
• Rewind feature so if you miss something, you can rewind and playback the last five minutes of live radio
• Record a program segment to SD card and playback on mp3
• Autotune and select stations by name from a menu.
• 240V to 9V DC external power adapter or C-type alkaline battery.

While there are no immediate plans to put the prototype into production, further development is planned to deliver future functionality such as the ability to display radio station broadcast websites, animated logos and an electronic program guide. The radio was developed with Malaysian-based Inventec Electronics, a subsidiary of Inventec Multimedia & Telecom in Taiwan, a leading manufacturer of personal video recorders, VoIP, and digital televisions.

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CORPORATE MOVES

Autodesk Signs Definitive Agreement to Acquire Alias

Autodesk, Inc. has announced that it has signed a definitive agreement to acquire Alias, a privately held developer of 3D graphics technology, for $182 million in cash. This acquisition will grow Autodesk’s expertise and offerings for the design of consumer products and automotive as well as in the media and entertainment markets. Autodesk anticipates that the transaction will close within the next four to six months.
“This acquisition brings to Autodesk a highly talented group of individuals, a wealth of technologies and a great set of products,” said Carl Bass, COO of Autodesk. “Alias’ technology spans several of our most important markets and augments the synergy between our design and media businesses. Our design customers are demanding more powerful visualisation, animation and publishing capabilities. Our media and entertainment customers are increasingly using the data created by our design applications for broadcast, film and games projects. By combining the technology and talents of our two companies, we will be better able to continue delivering solutions that address our customers’ complex needs.”
Founded as Alias Research in 1983, Alias is headquartered in Toronto, Canada. Alias customers are some of the world’s premier entertainment and manufacturing companies, including Industrial Light & Magic, DreamWorks SKG, Nintendo, General Motors and BMW. Alias revenues were $83 million in the fiscal year ended June 30, 2005.
Alias’ product lines comprise sketching, animation, visual effects, design, modelling, rendering and reviewing solutions. Alias MotionBuilder is Alias’ 3D character animation product, Alias FBX is widely used in the exchange and use of 3D content, and Maya is the company’s Academy Award-winning 3D application. These products will augment Autodesk’s offering in the film and video and interactive games segments. Alias StudioTools – software for design tasks from 2D sketches to production models – will add industrial design and high-end visualisation capabilities to Autodesk’s manufacturing solutions. Autodesk will continue to develop the Alias product lines in conjunction with Autodesk’s complementary products and technologies.
“This acquisition is designed to leverage the strengths of both companies,” stated Doug Walker, president and CEO of Alias. “Alias’ customers will benefit from nearly $300 million in R&D spending while having access to new and complementary products and technologies. Together, Autodesk and Alias will deliver products and services that give form to great ideas from the fantasy world of film to the factory floor.”
The acquisition is subject to a number of closing conditions, including regulatory approval.

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INSTALLATIONS

SKY NZ Selects NDS for PVR and Digital Upgrade

NDS Group plc, a leading provider of technology solutions for digital pay TV, has announced SKY Television of New Zealand is upgrading their digital broadcasting system using the latest versions of NDS end-to-end solutions and has selected NDS XTV to launch an integrated personal video recorder service. NDS solutions have supported SKY Television since launch over 15 years ago, and this is the latest step in the long-term relationship between the two companies.
Mr. John Fellet, Chief Executive Officer of SKY Television commented, “SKY Television decided to undertake a systems upgrade to fulfill our goal of continuing improvements in the services offered. NDS end-to-end systems are a key component of our business and will enable SKY Television to offer an integrated personal video recorder service, putting us at the leading edge of pay TV in New Zealand.”
XTV integrated personal video recorder technology will enable time-shifted viewing by adding local storage to the set-top box, enabling subscribers to watch what they want, when they want. XTV will deliver SKY Television subscribers the most advanced personal video recorder technology, integrated with the SKY’s digital service for added convenience such as one touch recording. The new XTV electronic program guide will offer more features and intuitive ease of use for booking, recording and viewing SKY Television services.
Mr. Peter Iles, General Manager of NDS Australia and New Zealand said, “The full suite of NDS advanced digital broadcasting solutions will be deployed at SKY Television, and we are pleased that SKY Television has chosen to continue our long-standing partnership.
“With the deployment of XTV, SKY Television New Zealand will join other leading global broadcasters, such as BSkyB, DIRECTV, FOXTEL, Sky Latin America and Viasat, in offering the most advanced personal video recorder technology to their subscribers. Working with these broadcasters, NDS invests in continuous development of our XTV technology, and SKY will be able to leverage this investment for the benefit of their subscribers.”
SKY Television (SKY), broadcasting via both UHF and DTH is New Zealand’s pre-eminent pay TV operator, offering a wide range of sports, movies, music, on-demand and general content across more than 80 channels. At end June 2005, it had 619,618 subscribers. SKY launched as a three-channel UHF service in 1990, with two further channels added four years later. SKY’s UHF signal reaches more than 83% of the country’s 1.5 million households. In December 1998 it launched a digital DTH service, extending its reach to the whole country.
It presently offers pay-per-view movies, live events and interactive services including Skybet, the Weather Channel, games channel Playin’ TV and motor vehicle retail guide Go Auto. With the establishment of a new on line DVD rental service and in December 2005, a new set top box incorporating a personal video recorder, SKY is positioned to bring the New Zealand viewer even more entertainment options.

Visit http://www.skytv.co.nz

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TRANSMISSION

Crown Castle to Review Australian Towers

Crown Castle International Corp. has announced it has commenced an evaluation of strategic alternatives for its investment in Crown Castle Australia ("CC Australia"), which may directly or indirectly include a leveraged recapitalisation or a sale of part or all of its interests in a transaction involving an Australian initial public offering or a private sale. CC Australia is the largest independent tower operator in Australia with 1387 towers, which were primarily acquired from Vodafone Australia and Cable and Wireless Optus in 2001 and 2000, respectively. Crown Castle owns 77.6% of CC Australia.
The company says "There can be no assurance that Crown Castle will undertake or pursue any particular action or alternative as a result of this review."
UBS Investment Bank has been engaged to act as the advisor for the review.

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TEST & MEASUREMENT

ABC Analyses with JDS Uniphase

JDS Uniphase Corporation, a worldwide leader in broadband test and measurement solutions, has announced that the Australian Broadcasting Corporation (ABC), Australia's national non-commercial public broadcaster, has selected the DTS-200 digital test and measurement solution. ABC is therefore extending its long-time use of Acterna DTS solutions which have been recently acquired by JDS Uniphase.
For years ABC has been enhancing its network with new equipment and systems, including the use of JDS Uniphase’s DTS-100 test equipment for complex analysis of potential issues that could affect the network beyond the reach of basic stream content monitoring. When commissioning any new equipment or systems, the DTS-100 has been an effective tool to verify output from ABC’s network to ensure a complete and correct signal.
With the recent purchase of the next generation analyser, the DTS-200, ABC is expanding into more advanced capabilities offered by the DTS line, such as MPEG analysis for digital bandwidth efficiency and more advanced audio analysis tools. Since the DTS provides ease of access via remote networking and M-probe, a software tool which provides offline video and audio analysis tools, the DTS is positioned to support ABC in their effort to deliver the most reliable and efficient service to their listeners and viewers.
JDS Uniphase’s DTS-200 allows digital network operators and associated equipment vendors to gain remote visibility into their MPEG streams and perform various test applications to identify problems with equipment and content. A powerful remote test solution, the DTS-200 provides a simple and rapid means to access and analyze digital video (DV) data. The DTS-330 is a “one-box” solution that offers several different combinations of MPEG (digital video broadcast, or DVB, and advanced television systems committee, or ATSC) transport stream generation, capture, creation, and analysis. Its applications range from R&D validation to system deployment and troubleshooting.

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OUTSIDE BROADCAST

zer01zer0 Scores A-League Goal with Magna and Hitachi

Magna Systems and Engineering, leading systems integrator and supplier of technology to the broadcast and communication industries has sold three dual sets of Hitachi HV-D30 cameras to zer01zer0 help facilitate their broadcasts of the A League soccer competition which airs on Fox Sports.
The HV-D30 is a high resolution 3 CCD camera with a robust design, 12bit A/D converter, SDI output fitted with a Fujinon 2.6 C mount-fixed wide angle lens by Magna Systems so it could be positioned at the back of the net to catch the action of a goal being scored.
zer01zer0 OB Manager David Ward explains, “After looking extensively at several minicam options and making side-by-side comparisons in controlled conditions we chose the Hitachi HV-D30 for several different reasons. Firstly the picture quality, having SDI out available at the back of the camera is a big plus and the ability to feed a genlock signal to the camera negates the need for a framestore. The colourimetery is excellent and they cut in well with our main camera coverage. There is also no vertical smear apparent which has always been a let down for other minicams over the years. Secondly, the remote panel is easy to use and provides every operational parameter needed for technical staff to get the best they can out of the camera. Significantly we are running data for the remote units over 250 metres of cable which is beyond the manufacturers specs, yet they are functioning flawlessly. The Hitachi RC-Z3 remote control box handles the camera control.”
Magna Systems General Manager David Bowers added, “Magna Systems had previously supplied the Hitachi HV-D30 to clients as dressing room cameras and for use in ENG trucks. We loaned the HV-D30 to zer01zer0 for pre-season trials and it performed exactly to their requirements. They were so happy with the results they purchased six cameras.”
Ward concluded, “These Hitachi HV-D30 cameras also seem to be very robust and have taken several direct hits from the soccer ball without a problem. We are extremely happy with the Hitachi HV-D30 and the level of service and support from Magna Systems, needless to say our client is happy too."

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INSTALLATIONS

NZ's Juice TV Squeezes Omneon Server

Omneon Video Networks has announced that New Zealand’s Juice TV, a 24-hour dedicated music channel, is using a new Omneon Spectrum media server system to broadcast its main program channel. The new system enabled Juice TV to move to an all-digital server-based workflow, while also improving the channel’s on-air product and minimizing playout error. The installation was completed as part of an upgrade and relocation of Juice TV in a new purpose-built facility in Auckland’s Parnell Village.
“We did extensive research on our options for server-based broadcasting, and the Omneon Spectrum configuration came highly recommended,” said Juice TV General Manager Katie Noble. “The server’s ability to integrate with our Final Cut Pro software has been a huge bonus, allowing us to ‘edit in place’ and take files from our post-production workflow directly to air. The Omneon manager interface software is highly functional and easily navigated, making diagnostics and maintenance very simple, while the modularity of the system’s ports and drives helps ensure dependable performance.”
Juice TV’s Omneon-based playout system, running under NVerzion automation, has replaced an analog MCR suite that relied on a master control switcher in a manual environment, and the fully automated system now in operation provides a visible improvement in picture quality with more consistent and accurate playout. The integration of a server system at Juice TV also has enabled digital operations requiring much less space and support. “Commissioning the Omneon sever for our broadcast network has given us the opportunity to focus less on day-to-day operations and maintenance and more on actual station improvements, as having a very reliable back-end takes a great deal of workload off the engineering department,” added Noble. “Though the server presently puts one channel to air, our short-term plan is to launch our second music channel, J2, operating from the same system.”
Because the Omneon ports and drives are separate components, they are easily swappable or expandable, in turn simplifying maintenance and giving Juice TV the opportunity to scale system components and capacity in small or large increments as desired. The server system is built on an open architecture that allows it to support a broad variety of third-party applications for control and transmission, media management, archiving, and collaborative production. As a result, stored media can be shared among many users and applications.

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POST-PRODUCTION

Flame Used to Finish Off Wolf

Wolf Creek is a film with impact that is creating worldwide interest not only for its level of horror and violence. Shot in just 26 days with a Sony High Definition HDCAM camera, the Australian independent film is an excellent example of the rich filmic results that can be achieved when creative artistry is matched to Autodesk’s Discreet Flame visual effects system. The visual effects, digital colour grade and finish completed at Oasis Post have helped to create an extremely marketable yet cost-effective property.
Completed at Oasis Post in Adelaide, the film revolves around three friends who travel across the outback on their way to Wolf Creek. Based loosely on the infamous backpacker murders involving the real life Ivan Milat and Peter Falconio* cases, the film was principally shot in South Australia for a modest budget of A$1 million.
The advance interest in the film resulted in distribution power broker Harvey Weinstein buying the film for Miramax/Dimension Films before its Sundance festival screening. He personally congratulated Marty Pepper, senior Flame artist and post-production producer on the project, for his significant contribution. Weinstein felt that it was a testament to the finish of the film that Wolf Creek looked ten times its cost.
The use of Flame in the digital grading of Wolf Creek not only improved the image quality of the film but also played a significant part in stylistically shaping the film. In this case the use of colour affects the mood of the piece and acts as an indicator of the psychological journey taken by the protagonists.
However, the main challenge laid down by Wolf Creek writer/director/producer Greg McLean was to match two physical aspects of the film shoot - the weather and the locations. The crew’s arrival on location actually broke a six-year drought while the day shoot at Wolfe Creek* crater was sunny and hot. Thematically these had to match. “We ended up compositing storm clouds and layers of rain back into the crater shots. It was easier doing it this way, as a lot of film had already been shot in the rain and Greg actually really liked the weather decline in the film,” said Pepper. “It is actually a psychological thing that worked really well for the story. We just visually matched all of the shots of the crater back to the Hawker location.”
Pepper found that by using the comparison frame tool in Flame he was able to accurately match the graded lighting shot under cloudy skies. Flame was also used to match differences in the two locations, Hawker is very hilly but the Wolfe Creek crater is almost flat. For a number of shots Pepper removed the mountain range behind the actors and used Flame to composite in new background plates.
For the rest of the aerial shot of the crater, Pepper stabilised helicopter camera jitter using Flame’s award-winning tracking system.
A critical scene in the film also benefited from Pepper’s ability to use Flame’s extensive visual effects toolset. The team literally created a cliffhanger moment where McLean wanted a long pull back from Mick’s truck to reveal him atop a large cliff. The shot was achieved using a matte painting created from digital stills of rock textures.
Pepper stitched these images together as HD plates to create a 6K matte painting in Flame. This was then tracked, blended and graded to create the illusion of a larger, more dramatic drop. Interactive lighting from Mick’s torch was also added to assist the integration. This created one of the simplest, yet most effective visual effect shots in the movie.
Throughout the process of finishing of the film, Pepper created up to five different grades of many of the key scenes. He would then set off a batch process in Flame and marry the results back with sound to play to key creatives for their response. This helped the team to explore the latitude achievable through the digital grading process.
“The rushes that came back of Mick’s lair were very red/magenta. We used Chris Cunningham’s video ‘Come to Daddy’ for Aphex Twin as a reference. Everyone loved the ‘Se7en’-like cold blues and contrasty images better because they were more menacing.”
McLean and DOP William Gibson found they got the best results with the Sony HDCAM camera if they underexposed the footage by half a stop or more.
Pepper explained that this “…gives you a compressed gamma curve that you can then stretch out in post and use to make decisions regarding the intensity and brightness of shots and the amount of heat seen on actors’ faces. Pepper believes that there is no turning back from this new type of post-production process.
“If we were doing a conventional film grade on this you wouldn’t be able to achieve this finish and that’s what makes the entire digital process so incredibly flexible.”
The success of Wolf Creek means that Greg McLean can return to Oasis Post with a much bigger project. Sponsored by the Weinstein Company his new A$25 million film will still again be digitally originated film. Pepper explains, “McLean is so happy with the results we got from shooting High Definition and posting in Flame that he is choosing the same workflow.
Wolf Creek will be released October 26 in Australia and November 18 in the US. The movie opened on September 16 in the UK, showing on 292 screens and reached number four in the UK box office within two days with A$1,286,638 in takings.

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INSTALLATIONS

HK's Centro chooses Quantel eQ

Leading Hong Kong digital post-production house, Centro Digital Pictures, has purchased a Quantel eQ multi-res editing/ effects/ color correction/ deliverables system to reinforce its HD commercials production capabilities at its Causeway Bay facility. The eQ is equipped for full quality 4:4:4 HD-RGB operation.
Centro Chief Executive, John Chu, said, “With its all-round capabilities, the eQ provides the perfect environment to bring all our HD production strands together to create the finished piece. eQ’s enormous speed means that it is the ideal system to meet the tight deadlines and stringent quality requirements of client-attended commercials post sessions.”
Centro has a long and highly successful history with Quantel systems, having owned at least one of every single post production system the company has produced. “We are now in the age of convergence,” adds Chu, “and it’s good to see that Quantel has yet again come up with systems that meet the demands and work-style of this new age.”
As well as its leading edge work in bringing HD post production to mainstream commercials work in the region, Centro has also established itself as one of the world’s leaders in the business of Digital Intermediate. The internationally successful movie Kung Fu Hustle was completed on Centro’s Quantel iQ DI system, and the company is currently completing DI on leading Chinese film director Chen Kaige’s new movie, The Promise.

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DIGITAL RADIO

iBiquity Digital Opens Asia Office

iBiquity Digital Corporation, the sole developer of digital HD Radio technology, has announced that it has opened a liaison office in Taiwan to provide better support for HD Radio receiver and component manufacturers overseas. "As more Asian receiver and component manufacturers launch their HD Radio products, we feel it is important to provide them with local support and expertise," said Jeff Jury, chief operating officer of iBiquity Digital. "The opening of an office in Asia is a reflection of our commitment to these companies and this region."
The office will be headed by Tony Tsai, a business development manager for Greater China. Tsai has extensive project management and customer interface experience in Asia with multiple technology companies, making him an excellent fit for the position.
The opening of the Asia office is the second major announcement from iBiquity regarding the expansion of its international presence in the last month. In September, the company announced that Perry Priestley had been hired as the director of international broadcast business development to help promote HD Radio technology outside the U.S. and identify international opportunities for the digital AM and FM broadcast system.

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TRANSMISSION

Prime NZ Picks BCL to Upgrade Links

Prime Television has signed a new distribution linking contract with BCL to connect Prime Television's New Zealand studio in Albany to BCL's television transmission sites throughout New Zealand.
Under the new agreement, Prime Television will move to a digital terrestrial linking system using BCL's nationwide digital microwave radio (DMR) network. Previously, Prime Television relied on satellite links to distribute its programme stream from its Albany studio to transmission sites.
BCL's General Manager of Network Services, Derek Nielsen, says the new terrestrial linking system provides Prime Television with increased flexibility. He says Prime Television's new terrestrial linking system has been developed with built-in protection to ensure high reliability. It is based on Fujitsu radio equipment in the industry-standard 'N+1' configuration.
Prime Television's Group General Manager - Engineering, Gerry Smith, says the continued growth in the channel's audience has been an important factor in the decision to move to a terrestrial linking system.
"A terrestrial linking system gives us more options for managing regional programme streams to better meet the needs of our viewers and advertisers as our audience share grows," he says.
Prime Television's Manager - Engineering and IT, Phil Skaggs, says the broadcaster has completed a major refit of its Albany studio to coincide with the move to a terrestrial linking system.
The studio upgrade has seen the latest digital production and presentation systems installed at the network's Albany headquarters.

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INSTALLATIONS

RTM Malaysia Streamlines News with OmniBus

OmniBus Systems has announced that it has completed another key project within the Malaysian broadcast market, working with systems integrator Digistar /Gala Antena to install a Columbus news automation system across three news playout studios in RTM's Kuala Lumpur headquarters.
"The newsroom installation at RTM marked a significant technology shift for the company and for the state of Malaysian broadcasting overall," said Dave Polyard, senior vice president of sales and marketing at OmniBus Systems. "RTM operators are now fully trained and responsible for running OmniBus automation and controlling character generators and vision mixers via MOS from an advanced newsroom system that simplifies production and playout across the facility's studios."
OmniBus Systems' Columbus automation allows operators at RTM to play out complex sequences during news programs and bulletins. With control of the production switcher, character generator, and graphics devices, Columbus provides as much auto.mation as any broadcaster could want. RTM has put two of its news programs under automation control and is in the process of bringing additional news programs under fully automated control as staff become more familiar with automated operations.
In addition to integrating with RTM's Dalet newsroom system and driving Leitch servers, OmniBus' content management tools enable operators at the facility to browse for media across the network and the archive, to compile storyboard-style keyframes for more detailed searches to be carried out, and to assist in the creation of Windows Media 9 copies of finished stories for posting on RTM's Web site.

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INSTALLATIONS

ASTRO Gains Control with Klotz

KLOTZ DIGITAL received its second order for an Automatic Gain Control (AGC) System from ASTRO, Malaysia this year. The second order is for a 72-channel AGC system, which consists of four VADIS 880 audio router frames with 72 AES/EBU channels. This second order is to be implemented in ASTRO’s new facility in Cyberjaya, which is situated in the heart of the Multimedia Super Corridor, which is modelled after the Silicon Valley in USA.
KLOTZ DIGITAL received its first order a 32 channel AGC System for this year from ASTRO in March 2005 and completed the implementation at ASTRO’s Headquarters’ in Technology Park Malaysia in May 2005. This order consists of two VADIS 880 audio router frames with 32 AES/EBU channels.
The Automatic Gain Control (AGC) System is a VADIS based solution for customers, who work with many channels of different audio levels, like satellite TV broadcasters, who have a variety of incoming programs from various sources that are not under their control. AGC will monitor the audio levels and make very slow, inaudible adjustments to the audio levels and thus provide a uniform level situation for all channels at the output. In addition manual level adjustments can be made on top of automatic gain control or without any automatic gaining.
The PC monitors the level of information provided by the level meter card in the VADIS frame. Based on the incoming levels, it will make adjustments to the level, based on a number of parameters. Automatic gain control tries not to produce any audible reduction in the dynamics of the program. If dynamics processing is requested, a DSP based dynamics processor (Compressor/Limiter/Expander and Gate) is available as an option for the VADIS System.

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SATELLITE TV

India's Zee Signs with PanGlobal for Australia/NZ

PanAmSat has announced that India’s Zee Network has signed a multi-year agreement to bring its five-channel offering to the South Asian population in Australia and New Zealand. The programming bouquet will be delivered on the PanGlobal TV Platform via PanAmSat’s PAS-8 Pacific Ocean Region satellite. As a result of this agreement, 24 channels of programming will now be available to subscribers through the rapidly expanding direct-to-home platform (DTH).
Launched in 2004, PanGlobal TV is a joint marketing alliance between PanAmSat and GlobeCast Australia delivering DTH multi-ethnic programming that reaches tens of thousands across the Australian continent. It is one of nine DTH platforms that PanAmSat supports around the globe.
“In one short year, PanGlobal TV signed deals with the top names in multi-ethnic programming. Now, with Zee Network joining our DTH platform, we can offer viewers an even wider array of global fare,” said David Ball, vice president, Asia Pacific, PanAmSat. “The addition of such a highly-regarded customer as Zee Network to our programming roster is an ideal way to celebrate our one-year anniversary.”
Zee Network, a subsidiary of Zee Telefilms Limited, will offer five channels on PanGlobal TV. They are: Zee TV, Zee Cinema, Zee News, Zee Muzic and Zee Smile. Headquartered in Mumbai, India, Zee Network is seen in 100 countries across the globe.
“Zee Telefilms Limited is very pleased to announce this relationship with GlobeCast Australia,” said Dheeraj Kapuria, president, International Operations, Zee Telefilms Limited. “With this extension, Zee Network continues with its efforts to reach out to South Asian Diaspora across the globe. Through these channels, we will be bringing Indian culture and Bollywood into the homes of 45,000 South Asian families in Australia and New Zealand.”
PanGlobal TV offers 24 different channels of multi-ethnic programming, including Zee Network, to viewers across Australia. The line up includes NHK World Premium, MySAT, the Arabic Pay TV service which carries ART, LBC, Al Jazeera, ART Movies, Future TV, MBC and Noursat. It also features Horizon World Plus TV Pty Ltd which distributes a bouquet of five Russian television channels: ORT (Channel 1), RTVi, Teleklub/Detski Mir, Nashe Kino and RTR Planeta. It also hosts TV Plus which offers Serbian services Pink Plus, ExtraTV, BN and BHTV1.
“Australia’s multi-cultural viewers can now enjoy India’s top networks, including its leading entertainment channels,” said Mark Lobwein, DTH Sales Manager, GlobeCast Australia. “We are thrilled that the world’s premier broadcasters are turning to PanGlobal TV to reach Australia’s diverse audience.”
PanGlobal TV is a joint marketing alliance between PanAmSat and GlobeCast Australia, which offers a range of transmission services to international broadcasters who wish to reach Australia’s diverse multi-cultural communities. The service transmits digital television channel signals from either GlobeCast Australia’s Sydney teleport or the PanAmSat Napa Valley, California teleport to the PAS-8 Ku-band Australia beam. The teleports offer digital encoding, signal processing and transport services in addition to the uplink service to the satellite. PanGlobal TV offers backhaul to either the Napa teleport or the Sydney teleport by satellite, fiber or hybrid satellite/fiber contribution.

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INSTALLATIONS

Madison Wins ‘race’ for Telstra AV

Madison Technologies’ Broadcast/AV division has been awarded the contract to supply Telstra with AV interface enclosures for horse racing tracks Australia-wide.
Madison Technologies’ Broadcast/AV Manager, Mr Ken Kyle, said it was great to see the company gaining recognition for its ability to customise products for the broadcast industry.
“In total we’ll be supplying 150 interface enclosures to Telstra, with the first delivery of 50 units having been sent in August,” he said.
Madison Technologies has been a major supplier of LAN and connectivity solutions to Telstra for over 14 years and Mr Kyle said he was pleased the Broadcast/AV side of the business was also getting involved with such a major player in the communications industry.
“We are delighted to be supplying Telstra and look forward to a long and prosperous relationship,” he said.

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INSTALLATIONS

Klotz Rolls Through Asia-Pacific

KLOTZ DIGITAL Asia Pacific has announced the award of several new contracts:

• Videoland Television Network in Taiwan has purchased a 24-fader VADIS D.C.II Production Console. The contract to purchase the production console with stand-alone configuration was received through Interactive Digital Technologies Inc. Videoland Television Networks was founded in 1983 as a production house, producing more than 150 programs for the Government Information Office, the Public Television Service and commercial television stations. It is now one of the top providers of program content in Taiwan, and a leading force in Taiwan’s cable TV industry.
• KLOTZ DIGITAL’s VADIS partner for Korea, Dongseo Electronics Co. Ltd, has received another order for a 12 fader VADIS D.C.II On-Air Console together with two units of VADIS 880 mainframe from Munhwa Broadcasting Corporation (MBC), an existing customer of KLOTZ DIGITAL and Korea’s largest commercial broadcaster with
  regional networks throughout Korea. MBC is an integrated multi-media public service broadcaster with an extensive national radio and television network in South Korea.
• Shanghai TV has placed another order for a 20-fader SPHERION console through KLOTZ DIGITAL’s partner in China, Evertop International Co. Ltd. The console is an add-on to the three SPHERION consoles, which was purchased by Shangjai TV last year. Shanghai TV is part of Shanghai Media Group (SMG), which is under the Shanghai Media & Entertainment Group (SMEG), and is a multimedia television and radio broadcasting, news and Internet company. Television services consist of 11 analogue TV channels, 90 digital paid cable TV, a full broadcasting Internet TV service, along with 10 analogue and 19 digital radio services.
• Luoyang Radio, located in the Hennan Province in central China has placed an order for three units of 16-fader AEON Digital On-Air Console together with a Master Control Room (MCR) solution for their On-Air studios. For the MCR, one unit of VADIS 880 mainframe will be installed to allow complete networking between all three On-Air
  studios and the MCR. Each of the on-air studio and the MCR will be link via multichannel fibre cable in a star topology configuration for the sharing of audio sources and signals between the MCR and studios. The MCR, with one VADIS 880 frame, provides redundancy for the on-air studios as mixing and DSP functions are shared with the
  studio frame. It also provides level metering and silent detection functions. Emergency triggering is done via GPI interface.
• China Radio International (CRI), the only overseas broadcaster in the People’s Republic of China, is to be KLOTZ DIGITAL’s first installation in Beijing. The contract signed through Beijing Hengzhi Digital Technology Co. Ltd and Evertop International Co. Ltd, was for eight units of 12-fader AEON Digital On-Air Console and three units of 16-fader VADIS D.C.II Digital On-Air Console. All the consoles will be networked. The three 16-fader VADIS D.C.II Digital On-Air Consoles will be linked via fibre-optic cable and will be in a ring topology configuration whereas the eight 12-fader AEON Digital On-Air Consoles will have fibre-optic link feature with an option to link either two consoles together or have a ring topology configuration.

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INSTALLATIONS

NZ's FSP Leads Region with Discreet

New Zealand’s FSP has installed the region’s most powerful Discreet Inferno visual effects and finishing system. The Auckland-based post-production company has also upgraded to a potent dual Discreet Flame and Discreet Smoke seat running on a SGI Tezro platform.
“We are delighted to deliver these premium tools to FSP,” said Dave Demmocks, Regional Manager Autodesk Media and Entertainment Division. “FSP is to be congratulated for obtaining the leading technology in the region and raising its stake in the market.”
The investment comes as the 16-year-old company expands its operations to cater for the continuing demand for design, editing and finishing film and High Definition (HD) projects.
Joint Owner Nanette Miles explained the Inferno is part of the company’s move to capture high-end film and HD work including long form projects.
“We have successfully built our reputation in the market for medium-priced commercials but the ground is changing and we had to make a decision which direction we wanted to grow. With the growth of HD in the European, Asian and U.S. markets, we recognised that HD has huge growth potential and we want to lead the way in HD Post Production in New Zealand. We are also post producing more film commercials and directors love the speed and toolset Inferno offers.”
“Our existing Flame suite has been in constant use since we made the decision to back the HD market two years ago,” said Michael Bach, Technical Manager. “Over the last year HD production has grown and the suite has been overloaded so we have stepped up to the Inferno.
“When we started with the Flame no one was shooting HD commercials but a lot of agencies and clients were prepared to trust us. Now we are fielding a lot of HD enquiries and we have the expertise to manage the entire process from shoot to mastering.
“Our Inferno shows people how serious we are in offering high-end post,” said Bach. “The agencies know what Inferno is capable of – it is perceived as the best and fastest and we have the system with the most grunt in the region.”
The original single Flame suite was too busy to allow FSP to take on project-based work but the new Inferno/Flame combination opens up that potential. The dual system approach has already enabled the company to successfully complete a large TVC campaign for the Indonesian bank BCA.
Shot on 35mm film the 1x60 and 3x30 second TVCs required heavy compositing, colour grading and numerous effects, all within a tight deadline involving five days of post-production.
“We had some great images shot on location to start with but we had to remove several large objects and make quite a few changes to achieve the look we were after,” explained Jason Judd Inferno Artist. “The biggest composite shot in the project was a real challenge because in that scene there was no real image at all. We had to introduce a silver car into a plate with a blue hue over it all it and make the car look like the ultimate fashion accessory. We had to make it look real and achieve a pull focus all way through the shot.
“In the end the clients stood up and applauded which was very satisfying,” said Judd. “They were impressed with the spread and speed of our operations. Having Inferno and Flame directly linked by Autodesk Wire networking certainly helped a lot. This commercial sums up the power of the Autodesk systems – had we not had the capability in kit to accommodate the director’s desire to extend the look of the TVCs, we would not have had such a winning result.”
Inferno for High Speed HD Judd also suggested the Inferno system would also attract directors who were new to the HD workflow.
“Most don’t realise that HD post is slower than Standard Definition so now we have the ability to post HD jobs at a speed that film directors are used to working at. It’s a learning process for them but most directors are excited with their initial results and can see how they can utilise HD better in the future.
“Working in HD has given us a new way forward. The extra definition gives us a lot more flexibility in chromakey, colour grading, stabilisation and tracking because there is that much more information to use. Tape is tape and film is film, you can’t compare them because each is its own medium but directors can now confidently step up to the plate with HD.”

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CORPORATE MOVES

SGL Opens Asia Office in Perth

Software Generation Ltd (SGL), a leading provider of video storage management software, has significantly expanded its Asian presence with the opening of a new office to serve the region in Perth, Western Australia.
The new office, which is now operational, is being headed by Kevin McAfee, recently appointed to the role. McAfee has a strong track record in the broadcast industry with extensive experience across data storage and management systems. Most recently he was a Senior Systems Engineer with Hewlett Packard in Perth where he was involved in the support of a large corporate tape storage infrastructure.
Prior to that, he was involved with the development of a video encoder for SGI Systems, and he also worked for the company in sales roles. From 1999-2002 McAfee was employed by SGL in the UK where he was involved with a number of roles including pre and post-sales support, development support and technical writing. In his new role he will work closely with partners and systems integrators and will also work directly with customers.“This is a key step for us as we continue to grow our Asian business and support network. Kevin is obviously a key appointment in that regard and this new office in Perth provides SGL with enhanced market opportunities,” explained Bernie Walsh, SGL’s Sales Director.

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DIGITAL SIGNAGE

Digital Outdoor Network Launched

Outpost Media has announced a national rollout of its Outpost TV digital outdoor network to 50 shopping centres across the country. Established in 2003 by Managing Director Anthony Deeble, Melbourne-based Outpost TV is the first digital media company in Australia to provide a national network to shopping centres.
The rollout follows the success of the first three centres now fully operational in Melbourne Victoria. Using large plasma screens controlled by Sony infrastructure, Outpost TV broadcasts information to customers in high traffic areas at Centro The Glen, Victoria Gardens, and Malvern Central shopping centres.
These networks led to long-term agreements with the AMP Capital Shopping Centres and Centro Properties Group, which are collectively responsible for over 150 shopping centres nationally.
A further 12 centres will be operational by early December 2005 including major destination centres such as Warringah Mall in New South Wales, Knox City in Victoria and Pacific Fair in Queensland. Further expansion is planned for 2006 culminating in 50 centres by early 2007 in all the metro capital cities plus the ACT and Tasmania.
Outpost’s CEO John Hatcher said, “Digital outdoor networks combine the best qualities of television and traditional outdoor media, with high quality full motion imagery.
“We strategically place the plasma screens in high traffic flow locations where millions of consumers have the opportunity to view the screens each week. We spend a lot of time in the placement of our screens to capture maximum attention in ‘dwell time’ locations within the shopping centre such as travelators or in food courts where shoppers have time to engage with the screens.
“We also spend a lot of time planning and designing the on-screen content to ensure the material is informative and engaging - we only run content from a maximum of eight clients at any one time so there is no clutter,” said Mr Hatcher.
Daily news headlines, weather forecasts and entertainment news along with centre promotions and brand advertisements are updated daily via a VPN Network from Outpost Media’s new Hawthorn East operations centre. “Advertising on our screens reinforces brand awareness while new product launches, sales and special offers present specific opportunities for screen advertising in the malls,” explained Mr Hatcher. “We already have quantifiable evidence that Outpost TV is beneficial to our clients and retailers are keen to take advantage of our digital networks.”

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IBC 2005

Chisholm Wins IBC2005 International Honour For Excellence Award

The IBC International Honour For Excellence (IHFE) has been awarded to legendary broadcasting executive Sam Chisholm. An international jury chaired by IBC's Peter Owen bestowed the honour in recognition of his contribution to broadcasting in Europe and Australia. In particular the Jury were impressed by his consistent ability to deliver high ratings and profitable business with a winning formula that employs strong programming and innovative technology to entertain audiences worldwide.
A New Zealander by birth, Sam Chisholm is without doubt one of the most colourful and dynamic broadcasting executives in the world. For fifteen years he was the Chief Executive and Managing Director of Australia's most successful broadcaster, the Nine Network, and is regarded as one of the most successful executives in Australian television history. During this time he took Nine Network from last place in the market to a long-standing position of dominance in programming, ratings and revenue.
His unique contribution, however, was to lay the foundation stones, with a ruthless determination, for the creation of British Sky Broadcasting (BSkyB). BSkyB is now arguably the globe's most successful satellite broadcaster and one that is increasingly influential in the UK market. It has set the benchmark for subscription television in many parts of the world. Though Rupert Murdoch's News Corporation was the founder and majority shareholder, it was Chisholm who turned the Murdoch vision into a reality. It was Sam Chisholm who was made Chief Executive of the new company BSkyB after the "merger" of Sky and its rival British Satellite Broadcasting and the problems Chisholm inherited cannot be exaggerated. The combined entity was said to be losing close to £1 million a day and could in other hands have collapsed. With unmatched speed Chisholm carved out BSkyB from its predecessors. Chisholm's achievements included going to Hollywood and successfully re-negotiating film deals and equally successfully negotiating the deal for live football with the Premier League - the deal that more than any other set BSkyB on the path to viability and ultimately profit. Chisholm also laid the foundations for BSkyB's transition to digital where the company has consistently been a pioneer.
The IBC International Honour for Excellence, formerly known as the IBC John Tucker Award is given annually to an individual, group or organisation demonstrating excellence of innovation, furtherance or application of media technology. The Award reflects the essence of IBC, which is about the creation management, and delivery of entertainment content.
Peter Owen, chairman of the IBC Council said, "In the twenty first century we easily recognise the importance of compelling content, high quality multichannel delivery and subscription based revenue but it was Chisholm's vision, commitment and hardnosed belief that moulded these elements into the successful broadcasting business model we witness today.”
In response Sam Chisholm said, “I am honoured to receive this award. Broadcasting is a global process and everyone in it contributes to its success through commitment and innovation. It is very gratifying to be recognised for the small part I've played”.
Sam Chisholm is more a force of nature than mere broadcasting executive and his accomplishments have been achieved in the face of what, until recently, has been fragile health. In 2003 he had a successful bilateral lung transplant, which has restored him to his original frightening vigour. Indeed, in May 2005, Sam Chisholm was appointed the executive Director of Television in charge of PBL's interests in Nine Network, Foxtel, Fox Sports, Sky News and Prime Television in New Zealand.

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