remote version at nab 2011 - Oser Communications Group

Monday, April 11, 2011
Oser Communications Group
BLONDER TONGUE LABS
THINKS FORWARD BY
DELIVERING SD, HD, & IPTV
An interview with Jeff Smith, Vice
President of North American Sales.
BSD: What would you say makes your
company unique?
THE PRESENT AND
FUTURE OF TELEVISION
IN SPAIN
By Bernardo Lorenzo, Spanish
Secretary
of
State
of
Telecommunications
and
the
Information Society.
JS: Blonder Tongue’s ability to adapt to the ever-changing
marketplace and adjusting our focus accordingly has
always been one of our strong suits. All our digital products
The end of analog transmissions on
April 3, 2010 was a key milestone in the history of television in Spain. We have put an end to a technology
existing since 1956, and this was done two years before
Continued on Page 41
Continued on Page 33
LEMO BRINGS HIGH-QUALITY
CONNECTORS TO
BROADCASTING INDUSTRY
LEMO has been producing the highest quality push-pull electronic, fiber
optic and hybrid connectors since the
technology was first introduced in
1957. Over the past half-century,
design engineers around the world
have turned to LEMO whenever they’ve needed a new
solution in high performance circular connectors.
LEMO was founded in 1946, originally focused on
Continued on Page 41
Snell announced the launch of the new timeline controller
feature that adds scene-by-scene restoration control to the
company’s industry-leading Archangel Ph.C-HD real-time
film and video restoration system. The new timeline controller enhances Archangel Ph.C-HD’s already highly
effective processing capabilities by allowing users to apply
Continued on Page 36
DNF CONTROLS’ ANYWHERE
INTERFACE BOX PROVIDES
MISSING LINK FOR CONTROL
New compact single-box solution
ideal for a/v, industrial, radio and
television broadcasting markets―
no programming required.
DNF Controls recently announced the release of the
AnyWhere Interface Box (AIB), a compact single-box
“missing link” solution that provides eight opto-isolated
GPI inputs, eight relay contact closure GPO outputs, one
Continued on Page 36
RTS PRESENTS THE MADI-16+
BELDEN’S LINE OF HD BNC
SCALABLE MULTICHANNEL
BROADCAST CONNECTORS FEAAUDIO DIGITAL INTERFACE CARD TURES UNIQUE 1-PIECE DESIGN
RTS is pleased to present the MADI-16+ scalable multichannel audio digital interface card at
NAB 2011, booth C7519. The MADI-16+ card
expands the configuration capabilities of the
ADAM matrix frame and the ADAM-M very
compact matrix frame by utilizing up to 64 channels of industry-standard MADI (Multichannel
Audio Digital Interface) technology to connect
any AES-10-compliant devices over coaxial and
Continued on Page 33
CINETOYS CAMERA
SNELL ARCHANGEL PH.C-HD
ENABLES REAL-TIME RESTORA- SUPPORT SYSTEMS: WHEN
TION ON SCENE-BY-SCENE BASIS PRECISION MATTERS
New Timeline Controller Facilitates Scene-by-Scene
Restoration Control for Superb Results in Even Less Time
Las Vegas
GearNex® is the award winning, precision-based camera support system
known as a geared head. At NAB
2010, GearNex was the recipient of a
Vidy Award for “Best of Show” and
the Blue Ribbon Award from
CreativeCow.net for “Best Camera Support.”
Created by CineToys LLC, GearNex geared head
was designed to provide anyone access to the precision
Continued on Page 41
Broadcasters Show Daily Talks with
Steve Lampen, Multimedia and
Entertainment Products Manager at
Belden about his company.
BSD: Give me a bit of the history about
the use of compression connectors in the
professional space.
Continued on Page 25
VISION RESEARCH PHANTOM
CAMERAS DELIVER IMPRESSIVE
ULTRA-SLOW MOTION TECH
Stereoscopic imaging, more commonly
known as 3D imaging, has become all
the rage in the world of professional
video. Stereoscopy has already been
used in many Hollywood motion pictures, such as Avatar and Tron:
Legacy, and is becoming more and more prevalent in
other areas of video production, including sports and television commercials.
Continued on Page 36
4
Monday, April 11, 2011
Broadcasters Show Daily
KB COVERS IMPROVES WORKFLOW
SPEED BY REVEALING MOST COMMONLY USED SHORTCUTS
The award-winning KB Covers keyboard
covers, currently on sale at the KB Covers
NAB booth (SL5108), are designed to
help video and sound professionals edit
their work faster by showing the most
commonly used shortcuts for Final Cut
Pro, Avid, After Effects, Photoshop,
Logic Pro, Pro Tools and so many more.
“Today’s audio and video professional needs to know so many more
applications than 10 years ago,” said
Greg Sad, Marketing Director of KB
Covers. “Knowing your keyboard shortcuts can speed up editing tremendously,
but who can remember all of them?
Spend more time working on the project
and less time trying to remember keyboard shortcuts.”
KB Covers solves the challenge by
creating custom keyboard covers for the
most popular applications, which run on
Apple Mac systems. Each KB Cover
includes the most frequently used shortcut keys heat-fused into the silicone to
give each cover a professional look and
long-lasting durability. KB Covers keyboard covers also safeguard your keyboard from dirt, spills and wear and tear,
RELY ON GENNUM FOR THE
INDUSTRY’S MOST COMPLETE LINEUP
OF VIDEO BROADCAST SOLUTIONS
At Gennum, the broadcast video market
is a prime focus, not a sideline. In fact,
Gennum has been creating innovative
solutions for the broadcast video market
since the 1980s, and led the way in drafting the 3G SDI standard.
Gennum offers the most comprehensive, end-to-end portfolio of broadcast
video solutions available, including a
new family of 3G video crosspoints
which are on display in booth #N5823.
The entire Gennum lineup is driven by a
deep commitment to signal integrity and
an unmatched expertise in high-speed
signal technologies.
Gennum’s extensive history and
expertise in the video broadcast industry
are evident in the new GX3290, the
industry’s first 290x290 fully non-blocking asynchronous crosspoint switch—the
AN INDEPENDENT PUBLICATION NOT AFFILIATED
WITH THE NAB SHOW
allowing you to protect your investment
in your notebook and desktop computer.
KB Covers can be purchased
through industry resellers, on their website (www.kbcovers.com), where they
will be selling their keyboard covers at a
special NAB price. KB Covers is located
at NAB at booth SL5108. In addition, if
you cannot visit their booth, they have a
NAB Web promo running from April 11April 30, 2011. Enter promo code
NAB11B to save 20 percent on all KB
Cover products on their website.
flagship solution in a new family of
crosspoints. These new crosspoints are
not adapted from the data communications market but designed for video
broadcast from the ground up. They feature industry-first innovations like eight
strobes, which allow the crosspoint to be
broken up into eight smaller crosspoints.
This gives system designers the flexibility to design for multi-format applications
or for re-configuring only one part of the
switch where necessary.
Gennum’s entire portfolio of highperformance 3GB/s-SDI solutions helps
customers get to market quickly with
Continued on Page 33
Lee M. Oser
CEO and Editor-in-Chief
Steve Cox
Kate Seymour
Senior Associate Publishers
Kim Forrester
Lyle Sapp
Associate Publishers
Lorrie Baumann
Editorial Director
Brandon Derrow
Jennifer Miller
Associate Editors
Valerie Wilson
Art Director
Yasmine Brown
Graphic Designer
Selene Pinuelas
Traffic Manager
Paul Harris
James Martin
Bill Morris
Robert Valencia
Account Managers
Enrico Cecchi
European Sales
Broadcasters Show Daily is published by
Oser Communications Group ©2011.
All rights reserved.
Executive and editorial offices at:
1877 N. Kolb Road, Tucson, AZ 85715
520-721-1300/Fax: 520-721-6300
www.oser.com
European offices located at
Lungarno Benvenuto
Cellini, 11, 50125 Florence, Italy.
12
Monday, April 11, 2011
AZZURRO TO SHOW AZZURROCAM
PRODUCTION SYSTEM—
REMOTE VERSION AT NAB 2011
Azzurro Systems Integration (ASI) has
announced plans to demonstrate a new
remotely
operated
version
of
AzzurroCam—its fully integrated, compact production system, at NAB 2011.
AzzurroCam is a reasonably priced, allin-one, high-quality HD video transmission solution accommodating any facility that requires a robotically controlled
single or multiple pan/tilt and zoom
camera application.
New model AzzurroCam—Remote
version
This latest AzzurroCam version is tailor-
built to give sports leagues, news networks and radio studios the ability to
manage multiple remote sites equipped
with single or multi-camera studio configurations, all from one location. The
unit serves as a complete remote studio
capable of controlling professional cameras, lighting and audio all through a single, simple user interface that can be
modified to run on numerous touchscreen applications such as tablet PCs
and iPads. The PC-based interface puts
all necessary functions under operator
control via presets, on-screen buttons or a
joystick and control panel. The integrated
LIGHTCRAFT TECHNOLOGY:
VIRTUAL PRODUCTION MADE EASY
An interview with Eliot Mack, Lightcraft
Technology founder and system architect.
BSD: Tell our readers about your company. What’s your main line of business?
EM: Lightcraft has developed a realtime VFX system designed specifically
for the live visualization of shots containing complex CG environments, character
animation, live-action green-screen photography and high-definition video.
BSD: What would you say makes your
company unique?
EM: Lightcraft Technology is structured
as a small, highly efficient engineering
team dedicated to solving the wide spectrum of problems that impact the combi-
Broadcasters Show Daily
package includes a Sony robotic
HD/SD camera with remote control
over focus, aperture, color, set-up and
pan/tilt/zoom, plus remotely controllable audio mixing, IFB and four-outlet
DMX lighting dimmer.
Azzurro Systems Integration (ASI)
AzzurroCam was designed, developed
and built by Azzurro Systems Integration
(ASI): A full service design and integration company addressing the technical
needs of the television industry with consulting, design, project management,
equipment procurement and turnkey
installation services. At NAB, ASI will
highlight recent projects and discuss the
role of a systems integrator in today’s
rapidly evolving broadcast environment.
About Azzurro Systems Integration
Azzurro Systems Integration (ASI) is a
nation of live action and CGI
elements. This includes the
mechanical, electrical and
software components required
to accurately track camera
positions and accurately render and composite the results
in real time.
BSD: What was the most significant
event or series of events affecting your
company in the past year?
EM: We have been involved on both ends
of the VFX spectrum. First, by providing
full-service systems
design and integration company. ASI
addresses the technical needs of the
television industry
offering comprehensive solutions
including consulting, engineering, design, documentation,
project management, equipment procurement, custom fabrication, system
integration, project commissioning,
training and after-installation support.
For more information, visit Azzuro at
booth N1331 and online at www.azzurro
si.com. Contacts: Azzurro: Bill Cordo
201-767-0850 / bcordo@azzurrosi.com;
Press Contact: Harriet Diener / Desert
Moon Communications 845-512-8283 /
harriet@desertmooncomm.com.
high-accuracy camera
tracking data and incamera preview, directors and DPs can better
compose and design
shots incorporating live
action and CGI VFX elements and dramatically
speed up the tracking
process for post compositing. Recently,
we have extended our meta-data capture
and export to include stereoscopic tracking, which is critical for 3D shows.
Continued on Page 41
Monday, April 11, 2011
Broadcasters Show Daily
GETTING THE MESSAGE TO
THE PUBLIC: ARMY RESERVE
COMMUNCATIONS
Afloat in a sea of content providers,
where competition for the attentions of
news providers, television programming
producers and communications professionals is intense, Army Reserve
Communications sticks out like an 800
pound gorilla in the room.
“We look forward each year to our
presence at NAB,” said Marty Martin,
Broadcast Public Affairs Specialist with
ARC’s Broadcast Operations. “Wouldn’t
miss it for the world, because this is
where everyone in the industry comes for
great ideas and contacts.”
Martin said that each NAB Show is
a success for the Army Reserve. “We
meet face to face with producers, news
directors and reporters. The contacts we
make set up future story ideas and leads.
However, the opportunity presents itself
to do more in reaching a huge target audience we’re trying to use as a conduit to
the American public.”
According to Martin, the business
philosophy applied by ARC Broadcast
Operations is fundamental: it fulfills the
Army Reserve’s obligation to keep the
American people and the Army informed
and helps to establish the conditions that
lead to confidence in America’s Army
Reserve in peacetime, conflict and war.
“Each of our 206,000 soldiers are the
most effective communicators of the
Army Reserve story. We want to get them
LIBEC SALES OF AMERICA
SUPPORTS THE PROFESSIONAL
BROADCAST COMMUNITY
Libec Sales of America will be located at
NAB2011 in Central Hall booth C8008
this year and are ready to show all attendees that Libec is ready to support the
professional and broadcast industry with
their quality product line of tripods,
pedestals, rail systems, jib arms and
zoom controllers.
NAB is moving and shaking the
broadcast market with new products, and
Libec is proud to announce their NEW
AS-7 Articulating Monitor mount and its
17
out in front, where the world can see who
they are, what they stand for and their
unique worth in their communities,”
Martin said.
Credibility of product and message
are essential, and drive ARC Broadcast
Operation’s quality efforts, Martin said.
“Everything we provide to each of our
customers goes out the door with our
credibility and integrity attached. To
retain credibility, news and information
distributed to internal and external audiences absolutely must be timely, accurate
and consistent. If it’s not real, truthful
and believable in every conceivable way,
it winds up on the cutting room floor; our
reputation and that of our soldiers and
units is at stake.”
But ARC, while heavily invested in
broadcast communications, is a multitiered provider. Within the framework of
three broad public affairs functional areas
[command information, public information and community relations], ARC has
core processes that are critical to both the
provider (ARC) and its customer base
(the public): information strategies, facilitation of media operations and maintenance of good community relations
Martin said, “It’s absolutely essential that
we get the real stories out about those
soldiers who make up our ranks and the
great things they do, both in the military
and in their hometown communities.”
Martin said communities are the key,
and reaching them through the television
industry is how ARC Broadcast
Operations gets its messages out. “The
Army Reserve relies on communities
where our soldiers and units are located for
direct and indirect support. Army Reserve
Centers are major civic structures, and our
soldiers live and work in these communities. Maintaining effective community
relations contributes directly to the morale
of our soldiers and their families.”
Visit
Army
Reserve
Communications at booth C11437.
accompanying A-7 adapter.
The AS-7 is an articulating
arm that can be easily
mounted onto all of Libec’s
Professional Fluid video
heads, excluding the TH650DV system. By simply
screwing the mount into the
unused panhandle threading
on your video head, you can
then adjust your monitor 360
degrees by using the A-7 adapter and
place your viewing monitor to your
desired location next to
your camcorder.
Building on the
release of the RS Series
last year, professional
videographers worldwide
have realized that Libec’s
continuous counterbalance system provides a
perfect counterbalance
that corresponds to the
Continued on Page 41
20
Monday, April 11, 2011
Broadcasters Show Daily
EMERGENCY ALERT SYSTEM
UPDATE: ROLL OUT OF NEW
COMMON ALERTING PROTOCOL
Harold Price, President of Sage
Alerting Systems, answers questions
about the new Common Alerting
Protocol (CAP) roll out.
BSD: What is the current status of CAP?
HP: The CAP protocols are finalized.
FEMA’s conformance assessment program, allowing vendors to show that
they follow all of the required specifications, should be complete by the time
the April NAB show gets started. Sage
will offer a free CAP software upgrade
for all users of its Sage Digital ENDEC
product, downloadable from our website and field-installable into the
ENDEC’s flash memory. This will be
available once the conformance assessment process is complete.
BSD: Are there any remaining open
issues?
HP: Each state will need to decide how it
will make CAP messages available.
Several states are well along the way;
some have already deployed CAP, such
as Washington State. FEMA has published the access protocols for the federal CAP system (IPAWS); states can also
use that system while they determine
what additional resources they may want
to deploy. FEMA has announced that its
new server will be ready this summer.
BSD: Can Sage’s legacy product be used
for CAP?
HP: The original Sage EAS ENDEC,
model 1822, can’t be used to directly
SETSI AND ICEX—DRIVING THE
INTERNATIONALIZATION OF
SPANISH COMPANIES
Under the Plan Avanza 2, the Spanish
government is making a special effort to
strengthen the ICT sector in Spain.
The
Secretariat
of
State
for
Telecommunications and the Information
Society (SETSI) of the Spanish Ministry
of Industry, Tourism and Trade plays a
crucial role in the internationalization of
the national tech companies. For several
years, and in cooperation with the
Spanish Institute of Foreign Trade
(ICEX) with 77 Trade Commissions
worldwide, SETSI supports the presence
of Spanish firms in the most important
technology exhibitions.
Many Spanish companies—leaders
in their respective fields—will attend the
2011 edition of the NAB Show, reputedly
the most relevant event of the broadcasting industry. In March 2011, SETSI and
ICEX contributed to the Spanish presence at CeBIT, one of the biggest international fairs in the sector of ICT, held
annually in Hannover, Germany. In the
2010 edition, Spain was selected as
“Partner Country.” In the 2011 edition,
57 Spanish companies have directly or
indirectly participated, displaying their
innovative products and services.
Over 500 CIOs of major international
FCC SEEKS COMMENTS ON BROADCASTER RELINQUISHMENT OF CH. 51
Federal regulators are seeking feedback
on a petition from the wireless industry to
kick broadcasters off of Channel 51.
TVB reported last week that the
CTIA—The Wireless Association and
the Rural Cellular Association, filed a
Continued on Page 33
receive CAP messages. It does not
include a LAN connection. Designed in
1996, it was not
meant to handle compressed audio, XML,
signatures,
digital
text to speech or any
of the other software that is required for
CAP and its delivery system. The Sage
Digital ENDEC model 3644 is designed
for CAP. The 3644 supports all of the
legacy hardware and software interfaces
while providing LAN, USB, AES audio
and browser-based control.
BSD: Why didn’t Sage develop a CAP
converter box to allow its legacy product
to be upgraded?
HP: A CAP converter box doesn’t make
engineering or financial sense for stations. A quality FCC Part 11-certified
converter doesn’t cost significantly less
than a combined CAP/EAS device, especially when you include the eventual
companies attended CeBIT 2011, representing a total annual purchasing volume
of over 50 billion Euros.
In October 2011, the ITU Telecom
World will be held in the city of Geneva,
Switzerland where an important institutional and corporate presence will show
the strength of the Spanish telecom
industry. The ITU Telecom World attracts
all stakeholders around the world for a
global world-class event and networking
platform. Attending the event will be
heads of state and government from
established and developing nations as
well as mayors from cities around the
world. CEOs and key players from big
business—telcos, technology companies,
repair or replacement cost for the legacy
device on which it depends. Using a
converter limits the station to 1996
technology as far as interface to station
automation, logging, remote control,
maintenance and configuration is
concerned. It adds to staff workload and
is one more device to rack, configure and
maintain. Finally, by stripping all of the
new features of CAP when funneling
through the legacy device, most of the
benefits of the new CAP system are lost;
the device that is making the decision on
what events to put on the air is no smarter
than it was in 1996. A legacy device can’t
properly handle duplicate CAP and EAS
alerts, can’t pick the best alert to air, can’t
give priority to CAP, can’t handle cancellation or updates, and most importantly can’t
handle the new Governors Must Carry
rules. Using a CAP converter box strands a
station on an island of old technology in a
world of improved emergency alerting.
Contact Sage at info@sagealerting
systems.com, 914-872-4069 or at
booth C1339.
manufacturers, operators, content and
applications providers—plus regulators,
policy advisers and key media players
will also come to Geneva.
On a worldwide scale, SETSI and
ICEX will continue promoting the image
of a modern, dynamic Spanish technology industry that focuses on sustainability, training and innovation and offers
the best solutions in competitive markets.
Don’t hesitate to contact our officials at
Booth C3735 of the 2011 edition of the
NAB Show if you would like more information about our activities or about the
Spanish companies that will attend this
major event.
For more information visit booth
C3735 or contact Laura Pérez,
Secretariat of State for Telecommunications and the Information Society. Phone:
+34913462552; website: http://www
.mityc.es; e-mail: lperezm@mityc.es.
FUJINON LENSES USED
BY RENOWNED DP
DANA CHRISTIAANSEN ON
JEEP, SUZUKI COMMERCIALS
Respected for his work on high-profile
automotive commercials, director of
photography Dana Christiaansen
recently shot commercials for both
Jeep and Suzuki with Fujinon Premier
PL Zoom Lenses rented from Otto
Nemenz International in Los Angeles.
Christiaansen’s work is held in high
regard in the world of commercial cinematography. He’s known for capturing
delicate detail on the rugged terrain of
challenging car and truck shoots. The
Suzuki material was shot for Siltanen
and Partners Advertising using the
Fujinon PL mount 14.5-45mm T2.0, 1885mm T.20, and the 75-400mm T2.8T3.8 zoom lenses on an Arri Alexa digital camera. For Jeep, via Publicis/Leo
Burnett, he used the Fujinon Premier
Series 18-85mm T2.0 zoom on an ARRI
435 film motion picture camera.
“I still remember the first time I
looked through a Fujinon 18-85mm
T2.0 lens mounted on an Arri 435 at
Otto Nemenz,” Christiaansen said. “I
was amazed at the crisp image at
18mm. It was sharp from edge to edge,
no softness around the perimeter of
frame and no light falloff. The image
just seemed to jump off the ground
glass at me.”
The visual approach on the Suzuki
spots made this an ideal job for a full
set of Fujinon PL Mount zooms.
Continued on Page 36
Monday, April 11, 2011
Broadcasters Show Daily
SHURE SM7B MEETS THE
FUNDAMENTAL NEEDS
OF BROADCASTERS
Choosing a microphone for an on-air
broadcast studio or voiceover booth
seems simple enough. Most studios are
quiet and the talent is typically a professional announcer. But scratch the surface
and you’ll find a host of things that can
cause audio problems that annoy the
listener and frustrate even a veteran engineer. The Shure SM7B dynamic microphone brings a playlist of features and
performance that have made it a favorite
among broadcasters worldwide.
Clean, authoritative sound quality
that enhances both male and female
voices is a must. The SM7B has a wide,
flat frequency response that delivers
natural sound with both a rich low end and
distinct intelligibility. Switches for bass
rolloff and midrange emphasis allow the
sound to be tailored to match the talent’s
voice. The switches are conveniently
mounted on the back of the microphone
body, but an included security cover prevents unwanted tampering. A cardioid
polar pattern helps to isolate voices and
minimizes pickup of background noise.
Even a seasoned announcer can have
problems with plosives or breath noise,
often known as “p-popping.” Filtering
out these unwanted air movements
without impacting vocal clarity can be
tricky. While external pop filters work
well, they can get in
the way of monitors
or copy stands. The
SM7B comes with a
multi-layer
foam
windscreen
that
slides over the front
of the mic for closetalk applications.
The
microphone
transducer has its
own secondary layer of foam and is
mounted slightly behind the grille, providing room for air currents to disperse.
Most broadcast studios have several
computer monitors and/or laptop computers placed so that on-air talent can
easily access them, which by definition
puts them in close proximity to microphones. These items often generate high
levels of hum, buzz and electromagnetic
interference that can pollute the audio.
The SM7B has excellent shielding from
THE INTEGRATED PUBLIC ALERT
AND WARNING SYSTEM (IPAWS)
The Integrated Public Alert and Warning
System (IPAWS) is the nation’s infrastructure of alert and warning networks
expanding upon the traditional Emergency
Alert System (EAS). Under Executive
Order 13407, IPAWS builds and maintains
an effective, reliable, integrated, flexible
and comprehensive system which allows
federal, state, local and territorial alerting
authorities the capability to alert and warn
communities of all hazards via multiple
communications pathways, before, during
and after a disaster.
On Wednesday, April 13, FEMA
Assistant Administrator for National
Continuity Programs, Damon Penn;
IPAWS Deputy Director, Wade Witmer,
James Barnett, Jr., Chief of the Federal
Communications Commission’s (FCC)
Public Safety and Homeland Security
Bureau, and other special guests will
speak at the NAB Next-Generation EAS:
The Final Stretch panel discussion. This
panel discussion is an open dialogue on
the relevance of CAP to EAS for the EAS
participant community, with several CAP
workshops available at the IPAWS booth.
IPAWS is looking forward to discussing
the first-ever nationwide EAS Test during
interactive EAS workshops, where they
will answer any questions, receive honest
feedback and address any concerns from
the EAS Participant community.
Throughout the NAB Show, IPAWS
will conduct end-to-end alert and warning
demonstrations which will include a wide
variety of alert dissemination tools. IPAWS
will also host interactive EAS and CAP
workshops in the IPAWS booth (C2615).
IPAWS will host two interactive EAS and
CAP workshops in the IPAWS booth
(C2615) on the following dates and times:
Monday, April 11th:
9:30am-10am; EAS Workshop
10:15am-10:45am; CAP Workshop
1:30pm-2:00pm; EAS Workshop
Belden (Con’t. from p. 1)
BSD: What is required in the professional space?
SL: Compression connectors have been
used in various applications for more
than two decades. Originally appearing
in the CATV/broadband arena, they
offered very rapid assembly, low cost,
and reasonable quality.
The speed and simplicity of a one-piece
connector became the driving factor in
the introduction of BNC connectors
using this technology. However, compared to professional BNCs, these compression connectors were marginal at
best, and were relegated to the world of
analog video, where the wavelength of a
video signal is so long that the connector
makes little or no difference.
With the rise of HD video in the
professional space and a bandwidth
exceeding 2 GHz, compression connectors easily showed their lack of
performance and were generally
ignored by the professional video and
broadcast communities.
SL: For a BNC to be acceptable, speed and
simplicity are trumped by the overriding
need to perform. It should be remembered
that professional video producers originate
content. Therefore, they often have only
one chance to “get the shot” and an installation compromised by any part that is less
than perfect cannot be tolerated.
BSD: Tell us about Belden’s entry into
this market.
SL: Belden, the manufacturer of choice
for cable, has recently entered the connector manufacturing market by acquiring two companies: ICM [Denver,
Colo.], and the Communications connector division of Thomas & Betts
[Memphis, Tenn.]. Both these brands are
very familiar with one-piece compression connectors, so it was logical that
Belden would seek a compression connector design that equaled or surpassed
its cable specification.
2:15pm-2:45pm; CAP Workshop
Tuesday, April 12th:
9:30am-10am; EAS Workshop
10:15am-10:45am; CAP Workshop
1:30pm-2:00pm; EAS Workshop
2:15pm-2:45pm; CAP Workshop
Wednesday, April 13th:
1:30pm-2:00pm; EAS Workshop
2:15pm-2:45pm; CAP Workshop
Thursday, April 14th:
9:30am-10am; EAS Workshop
10:15am-10:45am; CAP Workshop
The EAS hands-on, interactive workshops
will: (1) Provide EAS Participants with
information and best practices in maintaining and configuring their EAS equipment; (2) Answer questions regarding the
All digital video cable made by Belden
has a return loss guarantee of no worse
than -23 dB, 5 MHz to 1.6 GHz, and -21
dB from 1.6 GHz to 4.5 GHz. While
other manufacturers sometimes address
return loss with typical or nominal numbers, Belden’s is still the only industry
guarantee out to 4.5 GHz. This bandwidth
covers not only HD, but the next step, 3G
[or 1080p/60].
To that end, we spent a number of months
in our lab in Richmond, Ind. testing a
number of connector designs, performing
multiple sweep tests and pulling retention tests of each design.
BSD: And what was the result?
SL: The result is a line of Belden HD
BNC broadcast connectors, including
1-piece compression, locking 1-piece
compression and standard 3-piece crimp
connectors for 1694A, 1505A and 1855A,
the three most popular cables in the
Belden video offering. With full confidence, we can state that we now have a
25
broadband noise and includes a
secondary “hum-bucking” coil
that cancels even strong hum
fields.
Sometimes noise issues are
mechanical rather than electronic.
Table thumping or stand movement can generate vibrations that
travel right up through the transducer and become audible. The
SM7B’s transducer is mounted in
a rubber air suspension that stops low frequency noise transmission.
The Shure SM7B dynamic microphone is an outstanding choice for on-air
broadcast production, commercial
voiceovers and professional narration. Its
reputation has been forged by years of
experience with veteran announcers and
engineers around the world.
Find out more about the Shure
SM7B at booth C1928 and online at
www.shure.com.
nationwide EAS Test which will be held
in late 2011; (3) Discuss lessons learned,
mitigation strategies, and successes in the
recent EAS tests in Alaska; and (4)
Review previous EAS activations.
The implementation of CAP to EAS
workshops will discuss the relevance of
CAP compliant devices, including: (1)
Details on how EAS Participants connect
EAS devices to the IPAWS Open Platform
for Emergency Networks, or IPAWS
OPEN; (2) Discussions and descriptions
of the architecture and CAP feed, and; (3)
Information on CAP-based messaging.
Please visit the IPAWS booth
(C2615) and to participate in the workshop and demonstrations, or join IPAWS
during panel discussion at the NAB
Show. Panel:
Next Generation EAS: The Final Stretch
Date/Time: Wednesday, April 13, 2011;
9:00am – 10:30am (PT)
Location: Las Vegas Convention Center
South Hall; IPAWS Booth: C2615
Visit our website at www.fema.gov/
emergency/ipaws or contact FEMA
IPAWS at ipaws@dhs.gov.
line of connectors that can compete with
any BNC and offer the professional video
and broadcast market the consistency,
quality, performance and reliability they
need, as well as significant cost advantages through labor-saving installations.
About Steve Lampen and Belden
Steve Lampen has worked for Belden
for 20 years and is currently Multimedia
Technology Manager and also Product
Line Manager for Entertainment Products.
Prior to Belden, Steve had an extensive
career in radio broadcast engineering and
installation, film production and electronic distribution. Steve holds an FCC
Lifetime General License [formerly a First
Class FCC License] and is an SBE
Certified Broadcast Radio Engineer. On
the data side he is a BICSI Registered
Communication Distribution Designer.
His latest book, “The Audio-Video Cable
Installer’s Pocket Guide” is published by
McGraw-Hill. His column “Wired for
Sound” appears in Radio World
Magazine. He can be reached at
steve.lampen@belden.com.
Monday, April 11, 2011
Broadcasters Show Daily
RTS (Con’t. from p. 1)
fiber connections.
To give the user flexible options and
uncompromising quality, the MADI-16+
operates at sampling rates of 44.1 kHz
and 48 kHz. The MADI-16+ is a point-topoint configuration, which provides for
little or no delay in the transmission of
audio across lines. This level of performance is essential in live broadcast environments; when a scene changes in the
blink of an eye, the communication system must react just as quickly.
The MADI-16+ is fully scalable,
allowing 16 to 64 channels of audio IN
and OUT. This forward-thinking consideration empowers users to install MADI16+ in their existing systems knowing
that the card will scale along with their
growing system requirements. The
MADI-16+ is also fully compatible with
AZedit intercom configuration software—a time-tested management program that has proven itself in the most
strenuous broadcast environments.
Ralph Strader, Business Line Manager
for the Critical Communications Systems
division of Bosch Security Systems,
comments further on the significance of a
Lorenzo (Con’t. from p. 1)
the deadline set by the European Union.
Since the switchover, we have been
working on the release of the 790-862
MHz band (the so called “digital
dividend”), which will be crucial for the
provision of mobile broadband communication services and its extension to the
whole territory of our country.
The end of analog broadcasting is
only a first step in the evolution ahead in
digital television. In addition to a more
efficient transmission technology and
better image and sound quality, Digital
Terrestrial Television (DTT) brings new
business opportunities and new services
Gennum (Con’t. from p. 4)
feature-rich, differentiated products by
easing the migration path from current
HD designs to future 3GB/s products
with a family of drop-in compatible solutions and expert design support. For
example, Gennum’s innovative family of
SDI serializers and SDI deserializers features industry-leading signal integrity
performance and integrated SMPTE processing, both of which reduce time to
market and development risk.
FCC (Con’t. from p. 20)
petition
with
the
Federal
Communications Commission asking for
an immediate license freeze on Ch. 51.
They also want the FCC to clear the
channel as soon as possible of broadcasters who “reach voluntary agreements to
relocate to an alternate channel,” according to the FCC’s related public notice.
CTIA members recently met with
the FCC’s Jim Schlichting, senior deputy
chief of the Wireless Burueau, and
Margaret Weiner, chief of the Auctions
and Spectrum Access division of the
Wireless Bureau.
33
scalable MADI solution:
“MADI is a prominent standard
throughout the industry, and this card
makes the protocol even more accessible
to users across the spectrum. By supporting up to 64 channels per card, the
MADI-16+ enables users to configure
ADAM and ADAM-M systems with up
to 256 ports of MADI per frame. Being
able to scale from 16 all the way to 256
ports per frame makes the MADI-16+
perfect for installations in compact production trucks, full-scale studios and
everything in between.”
The MADI-16+ ties the entire system
together by supporting audio connections
between matrix frames. To further
enhance the flexibility of the card, the
MADI-16+ can link frames using a variety of connector options, including coaxial and fiber connections with a range of
more
than
15
km
between
ADAM/ADAM-M frames. The MADI16+ also supports ancillary data for RTS
Intelligent Trunking between longdistance intercom systems.
For further information, visit
www.rtsintercoms.com. Contact person
for press inquiries: Guy Low, Bosch
Communications,
Communications
Systems Division Public Relations
Manager (ST/MKC-AM) Phone: 952-7363935; e-mail: guy.low@us.bosch.com
RTS is an industry leader in the
design and manufacture of intercom
solutions. From the Advanced Digital
Audio Matrix systems used to coordinate major network broadcasts of the
world’s largest events to small-format
systems used for in-house productions,
RTS is dedicated to innovating the
future of global communications.
To learn more, visit www.rts
intercoms.com
for growth. Each year, Bosch spends
more than 3.5 billion euros for research
and development and applies for some
3,800 patents worldwide. With all its
products and services, Bosch enhances
the quality of life by providing solutions
which are both innovative and beneficial.
The company was set up in Stuttgart
in 1886 by Robert Bosch (1861–1942) as
“Workshop for Precision Mechanics and
Electrical Engineering.” The special
ownership structure of Robert Bosch
GmbH guarantees the entrepreneurial
freedom of the Bosch Group, making it
possible for the company to plan over
the long term and to undertake significant up-front investments in the
safeguarding of its future. Ninety-two
percent of the share capital of Robert
Bosch GmbH is held by Robert Bosch
Stiftung GmbH, a charitable foundation.
The majority of voting rights are held by
Robert Bosch Industrietreuhand KG, an
industrial trust. The entrepreneurial
ownership functions are carried out by
the trust. The remaining shares are held
by the Bosch family and by Robert
Bosch GmbH.
Additional information can be
accessed at www.bosch.com.
for citizens, such as High Definition
(HD) DTT and interactive 3D, hybrid
DTT (or pay DTT). Right after the
switchover we increased the number of
available DTT channels. Four new multiplexes were added, thus allowing each
national DTT broadcaster the allocation
of the capacity of a mux.
The success of the transition implies
that Spain is ready to introduce new technologies associated with digital television, and further steps are already being
taken. In May 2010, the regulation of the
HD DTT was approved. This regulation
established the technical conditions to
broadcast programs in HD, removing
legal barriers to the introduction of this
technology. Tests have already been carried out and I hope in the near future we
will see the first full HD channel.
Moreover, that regulation required that as
of December 3, 2010 all TV sets with
screens larger than 21 inches sold in
Spain have an HD module; this requirement will certainly contribute to the
extension of this technology.
Most manufacturers are already putting the first generation of 3D TV
receivers on the market—a new technology that will lead to major changes in the
future. Present receivers require the use
of stereoscopic glasses, and the standardization bodies are already working on
technical specifications and standards
for 3D TV.
The foreseen developments in the
field of television can grant a technological opportunity for Spanish companies.
The Ministry of Industry, Tourism and
Trade is deeply committed to steer the
development of this relevant process, so
as to bring Spain to the forefront of the
most innovative television technologies.
Gennum’s latest family of video
optical modules demonstrates Gennum’s
ongoing commitment to supply the broadcast video market with the industry’s
most robust SFP solutions. Gennum’s
SFP modules provide robust performance
across all operating conditions, ensuring a
highly reliable optical link.
Especially in times like these, customers look for solutions that can help
make the most of their investment.
Gennum works in partnership with the
broadcast video industry’s largest and
most influential suppliers, targeting realworld applications and offering solutions
that leverage Gennum’s expertise in
broadcast video signal integrity.
Gennum answers the call with the most
cost-effective solutions available.
Highly integrated solutions cut design
costs, power requirements and board
space. Each and every Gennum component is production tested, assuring high
yield on assembled boards, which translates into fewer product recalls and less
waste of costly WIP material.
Gennum continues to push the performance envelope and pursue new
opportunities to enhance customer solutions in the broadcast video market.
Increases in R&D investment and a
broadening customer support network
allow our customers to focus on bringing their best solutions to market.
Compare and you’ll see why the industry leaders choose Gennum video
broadcast solutions.
Find out more at booth N5823 and at
www.gennum.com.
“During this meeting, CTIA and
member companies discussed the importance of bringing additional spectrum to
market for mobile broadband services,”
the FCC ex parte filing documenting the
meeting states.
At 698 MHz, Ch. 51 is the highest
channel on the broadcast TV spectrum.
It came to define that boundary after
broadcasters gave up Chs. 51-69 in the
digital transition. The spectrum
between those channels was auctioned
off to wireless providers in blocks. Ch.
51 now lies adjacent to the A Block,
which comprises 176 wireless licenses
from 698 to 704 MHz, and from 728 to
734 MHz. CTIA members Verizon, U.S.
Cellular, Cavalier and several other
companies won licenses in the A Block.
The petitioners cited the Obama
Administration’s goal of creating nationwide wireless broadband as justification
for booting broadcasters from Ch. 51.
The Obama FCC’s National Broadband
Plan already proposes taking 120 MHz of
broadcast spectrum and reallocating it for
wireless services. This is in addition to
the 108 MHz relinquished after June
2009, when over-the-air analog TV signals were shut down.
“The National Broadband Plan
emphasized the deployment of additional
spectrum for wireless broadband spectrum
as key policy objective of the commission,”
the CTIA and RCA petition states. “While
the 700 MHz spectrum in particular is ideally suited for innovative wireless broadband services, licensees in the A Block face
technical challenges caused by the presence
of broadcast TV services on Ch. 51.”
Under current FCC rules broadcasters are legally protected from
harmful interference caused by the A
Block winners.
Comments are due on the Ch. 51
petition (Proceeding No. RM-11626 in the
FCC Comment Filing System) April 27.
Reply comments are due May 12, 2011.
The Bosch Group
The Bosch Group is a leading global supplier of technology and services. In the
areas of automotive and industrial technology, consumer goods and building
technology, some 275,000 associates generated sales of 38.2 billion euros in fiscal
2009. The Bosch Group comprises
Robert Bosch GmbH and its more than
300 subsidiaries and regional companies
in more than 60 countries. If its sales and
service partners are included, then Bosch
is represented in roughly 150 countries.
This worldwide development, manufacturing and sales network is the foundation
For more information visit booth C3735
or contact Laura Pérez, Secretariat
of State for Telecommunications
and
the
Information
Society.
Phone:
+3491346255;
website:
http://www.mityc.es;
e-mail:
lperezm@mityc.es.
36
Monday, April 11, 2011
Vision Research (Con’t. from p. 1)
For the past decade, New Jerseybased Vision Research has been at the
forefront of ultra-slow motion imaging
technology—which serves as a key
component in 3D imaging. Vision
Research’s greatest testament to this
claim is its line of Phantom Digital
High-Speed cameras, which are some of
the most versatile digital cinema and
broadcast cameras in the field today.
The entire Phantom line can be used
with many standard 3D rigs currently on
the market, though its most popular
models for 3D imaging include the Flex,
v641 and 640, HD Gold and P65—a
Snell (Con’t. from p. 1)
processing in real-time on a scene-by-scene
basis—rather than to all parts of the
sequence equally—and to change filter
parameters on the fly rather than at breaks
in processing. As a result, restoration teams
working with Archangel Ph.C–HD get
superb quality results in real time and spend
less time on the overall restoration process.
“Using the timeline controller for
Archangel Ph.C–HD, operators can selectively increase or decrease the amount of
processing applied to the content, depending on the defects present in each scene,
and thereby achieve faster end-to-end
restoration and a better-quality outcome
with fewer processing artifacts,” said Paola
Hobson, product manager for conversion
and restoration at Snell. “This unique capability brings substantial improvements to
workflow efficiency and makes a real
impact on a facility’s bottom line.”
Archangel Ph.C–HD is the only realtime restoration solution on the market to
offer timeline control for the entire gamut
DNF Controls (Con’t. from p. 1)
RS422/RS232 serial port, and one 10
BaseT Ethernet port. Designed for
applications in A/V, industrial, radio and
television broadcasting market segments,
the AIB supports GPI-to-GPO(s),
GPI-to-serial, GPI-to-Ethernet, and GPIto-SNMP
control;
serial-to-GPO,
Ethernet-to-GPO, and SNMP-to-GPO
monitoring; and serial-to-Ethernet and
serial-to-SNMP conversions—all of
which are user-configurable.
The AIB makes it cost-effective for
users to address their unique and specific
needs, whether by establishing interoperability between incompatible systems or
extending the functionality of existing systems that would otherwise require costly
custom programming or interfacing.
Fujinon (Con’t. from p. 20)
According to Christiaansen, “some of
the great advantages of the Fujinon
Premier Zooms are the incredible
sharpness and flat field of focus these
lenses offer at wide open apertures,
along with the lack of any noticeable
distortion. I used longer focal lengths
and kept the aperture wide open so the
images would benefit from softer
backgrounds.” Christiaansen used
Tiffen ND’s to filter down on every
shot to a T2.0 on the Fujinon 18-85mm
Broadcasters Show Daily
65mm camera. They are widely used in
the fields of cinematography and broadcast TV and offer many advantages
when creating 3D productions.
The cameras can be synchronized for
precise motion analysis and they boast
impressive resolutions at high frame
rates. The Flex, v641 and v640 give users
resolutions up to 2560 x 1600 at frame
rates up to 1,500 pictures per second (pps)
for ultra-slow motion image capture. The
HD Gold lets users capture a 2048 x1080
pixel resolution at up to 1,000 pps while
the P65 shoots up to 140 pps at a full resolution of 4096 x 2440 pixels.
Aside from their ultra-slow motion
capture abilities, the cameras offer a host
of additional 3D-ready features such as
Genlock, F-sync and timecode and trigger
connections for simplified cabling. The Fsync connector on the back of the
Phantom Flex, for example, can be joined
with the F-sync connector on the v641
with a standard BNC cable. Both the v641
and v640 give users dual HD-SDI inputs
for simultaneous live and playback,
making them a good fit for sports applications—where the industry sees 3D
emerging more and more.
The sensor in the Phantom P65 has
an active imaging area measuring 51.2 x
30.5 mm, and the camera offers an option
for single-sensor stereoscopic 3D imaging. Additionally, double-lenses made by
the Russian company MKBK that were
originally developed for 70 mm film cameras have been upgraded to work with the
Phantom 65. The lenses expose both a
left-eye and right-eye view at the same
time and side-by-side onto the sensor in
the P65. Each view ends up in 1080p and
35 mm format.
With the explosive growth of stereoscopic imaging, synchronized, ultra-slow
motion video playback is made easy and
straightforward by Vision Research,
which underscores the company’s commitment to the world of 3D imaging.
More information is available at
booth C9143 and online at www.vision
research.com.
of film and video defects. The new feature enables scene-by-scene user-controlled restoration processing that yields a
more streamlined workflow for removal
of dirt, dust, noise, grain, scratch, flicker,
instability and dropout. In fact, the resulting savings in time and labor are so
significant that media and broadcast companies, content owners and post-production
houses can undertake projects that might
otherwise be cost-prohibitive.
The timeline controller complements
the Archangel Ph.C–HD toolset and adds
value across a variety of restoration applications. Film and TV program producers
seeking to integrate archive material into
their new HD productions can use
Archangel Ph.C–HD to remove defects in
the archive content rapidly, which means
that even poor-quality archive sources
can be integrated smoothly into new productions. Broadcasters and content owners wishing to reuse existing content
assets in new HD services and Blu-ray
distribution use Archangel Ph.C–HD to
eliminate defects in the content and
ensure effective monetization of existing
content in the HD market.
In post-production for new content,
Archangel Ph.C–HD enables real-time
removal of defects—unstable shots, excessive noise and grain and scratches introduced at the scanning stage—resulting
from production issues. The Snell restoration system also provides “dust-busting,”
or removal of dust defects, from new content in the first post-production stages.
Ph.C-HD enables virtually any content to
be cost-effectively treated.
More information about Archangel
Ph.C–HD and other products from Snell is
available online at www.snellgroup.com.
“Unlike any other single solution
available, the AIB allows users to bridge
systems and achieve that key bit of functionality they require—without performing any programming whatsoever,” said
Dan Fogel, DNF Controls’ CTO. “It’s a
simple but powerful solution that can be
easily and quickly configured and
deployed where and as needed.”
Easily managed by technical and
non-technical users alike, the AIB provides users with a Web browser-based
configuration user-interface featuring a
series of drop-down menus and fill-inthe-box entries that make it easy to map
an event input (GPI, serial, Ethernet,
SNMP) to one or more action outputs
(GPO, serial, Ethernet, SNMP). The configuration is saved in non-volatile storage in the AIB and can be saved to and
restored from a PC.
The AIB can be driven by power
over Ethernet (POE) or an optional 12-W
external power supply. The box itself
measures just 8.25” by 4.125” by 1.5.”
Typically, when customers choose a
piece of equipment, it does 90 percent of
what they want,” added Fogel.
“Businesses make this compromise
because the last 10 percent of desired
functionality is just too expensive. The
AIB, however, can supply that last 10
percent at a very appealing price point,
and that’s real money saved. What’s
more, the user benefits through greater
efficiency and fewer errors.”
About DNF Controls
DNF Controls is a leading provider of
hardware- and software-based control
solutions for equipment used in the television broadcast, audio/video production,
industrial post-production and graphics
markets. By partnering with industryleading manufacturers and customers,
DNF provides innovative, reliable, precise, and easy-to-use products that are
used in point-to-point control as well as
in facility-wide multipoint control applications. DNF Controls’ customer list
includes all major U.S. television broadcast and cable networks, domestic and
international television stations and production facilities, mobile production
trucks, stadiums and arenas. DNF
Controls is headquartered in Sylmar,
Calif. More information is available at
www.dnfcontrols.com.
Come see DNF Controls in the
North Hall booth N2115.
zoom or a T2.8 on the 75-400mm
zoom to defocus the background as
much as possible.
During
the
Jeep
shoot,
Christiaansen again relied on the speed
of the Fujinon 18-85mm by taking
advantage of the Premier’s image quality at T2.0, while shooting dark, overcast exteriors. The Jeep shoot differed
slightly. The concept involved Jeeps
driving within a large landscape.
Christiaansen used the 18-85 on the
wide end for most setups. However,
the shoot encountered the flat,
low-contrast light of rainy December
days common to the north of Santa
Barbara County, Calif. “Being able to
shoot wide open at T2 and minimize
the depth of field helped separate the
cars from the background at that location,” he said. “The Premier PL zooms
provided a sharp prime lens feel that
helped define detail in the environment
and in the hero cars.”
The Premier PL series are
designed for discriminating DPs, camera operators and camera assistants
working in high quality productions.
With minimal breathing, 280 degree
focus barrel rotation, constant and fast
T stops, accurate and repeatable marks
and comparable size and weights of the
four zooms, Fujinon PL series are
ready to meet the challenges of modern
digital cinematography. Production
applications include: high-end features, commercials, scripted television,
digital compositing and special effects
production.
For more information stop by
booth
C7525
and
visit
www.fujinon.com.
About Archangel Ph.C–HD
Archangel Ph.C-HD is an advanced SD
and HD restoration system with real-time
dirt, dust, grain, noise, scratch, instability
and flicker removal. Archangel Ph.C-HD
unlocks the value of existing assets,
ensuring that SD and HD content can be
distributed in superb quality. The restoration system also brings significant
improvements to users’ workflows by
maximizing the amount of restoration that
can be completed in real time. Available
at a price point considerably lower than
frame-by-frame restoration, Archangel
About Snell
Snell is a leading innovator in digital
media technology and provides broadcasters and global media companies with
a comprehensive range of solutions to
create, better manage, and streamline the
distribution of content for today’s multiscreen world. Snell provides the tools
necessary to transition seamlessly and
cost-effectively to HDTV, stereoscopic
3D, and 3Gbps operations. Headquartered
in the U.K., Snell serves more than 2,000
broadcasters, post facilities and global
media companies in more than 100 countries through its worldwide team of sales
and support personnel. More information
is available at www.snellgroup.com.
All trademarks mentioned herein are
acknowledged as property of their respective owners.
Broadcasters Show Daily
Blonder Tongue (Con’t. from p. 1)
are still designed and manufactured in the
U.S., which gives BT the ability to bring
new products to market and make adjustments quickly to meet our customer needs.
BSD: Describe your current marketing
strategy.
JS: We have taken an educational
approach with our new products by
releasing informative presentations on
how the products work. The presentations include basic application drawings,
along with configuration features; this
stimulates ideas from our customers and
in turn drives sales.
CineToys (Con’t. from p. 1)
of an expensive Hollywood style geared
head at an affordable price—only $7,500
MSRP (U.S.).
Once considered a Hollywood
secret, the geared head allowed professional camera operators and studios the
ability to create precision moves associated with big budget movies and television series. According to Michael
Frediani, former president of the Society
of Camera Operators, most domestic television series and big budget movies use
a geared head under the “A” Camera.
Frediani also stated that if you are a camera operator who dreams of working at
the top, you need to learn how to use a
LEMO (Con’t. from p. 1)
manufacturing contacts (pins) made of
noble and rare metals. Since the breakthrough of the LEMO push-pull technology in 1957, LEMO has led to growth
throughout Europe and the U.S. LEMO
USA began in 1967, and has since
developed more than 60,000 products
used in applications from satellites to
medical emergency rooms.
LEMO connectors are designed for
long-lasting operation and maximum
interconnect stability in even the harshest
Libec Sales (Con’t. from p. 17)
weight and angle of the camera.
With the change in the market from
shoulder-mount camcorders to the short
handheld and DSLR technology, the
RS250 tripod system has become known
as of the best tripod systems to meet the
demand of cameras with payloads of 1 to
13 lbs. With a reduced list price of
$1,195.00 and a minimum advertised
Lightcraft (Con’t. from p. 12)
Second, our production level real-time
tracking, rendering, keying and compositing have provided in-camera finals for
episodic television shows and pilots. This
opens up the creative options for productions that have in the past been limited by
cost or schedule requirements from doing
traditional post production VFX.
BSD: Where is your current product
emphasis?
EM: To continue to enhance Previzion
Monday, April 11, 2011
BSD: Are you
new products?
introducing
any
JS: For 2011 we will continue to
expand our Encoder and Edge/IP collections of products. The 3rd generation of MPEG-2 encoders for
SD/HDTV applications will be released
in the first half of the year, which will
be followed by our H.264 encoders in
the second half of the year. We just
released, and will also be exhibiting
live at the show, the IPAT—our bidirectional
ASI-to-IP
transcoder
designed for IPTV applications.
JS: Our world is turning digital, and
Blonder Tongue has invested a lot of
research and development into that
world. We will continue to develop and
release new products to answer the needs
of this new digital demand.
BSD: What products do you see as being
hottest this year?
41
BSD: What distinguishes your product(s)
from the competition?
JS: Blonder Tongue has always strived to
deliver high-quality and reliable products
at a competitive price. This has served us
well through the years, but specifically in
the last few years where our company has
taken on new and innovative products.
We are not the same BT we were 10
years ago and anyone using our newer
products can attest to that, but our values
have not changed.
BSD: Where is your current product
emphasis?
JS: The hottest products address the need
for high definition, and we are answering
the call. Now that more viewers own HD
TV sets and more are being added to the
commercial space, the need for high
quality HD pictures is increased. This is
why we have expanded our encoder line
and Edge/IP solutions.
geared head. When operating remote
devices such as a Technocrane, it’s
imperative to know the “Wheels.”
“A gearhead allows an operator the
ability to smoothly move or track an
object in a repeatable fashion.
If you are working on a standard
fluid head on a tripod, you traditionally
use either your body or your hands to
pan and/or tilt. The problem with that
methodology is simply inertia; moving
any mass means that you need to apply
an equal but opposite amount of force to
slow or stop it, resulting in hits or
bumps as you try to repeat the action
over multiple takes,” states Gary
Adcock, founder of Studio 37 and an
industry expert, blogger and consultant.
“With a gearhead, since you are controlling the movement by turning wheels
orthogonally to the camera motion, it
becomes far easier to control the camera
movement when starting or ending a pan
or tilt—all because you are not moving
in the same direction as the camera is—
and therefore less inertial mass is propagated to your camera movement, giving
you much smoother control.”
Sean Fairburn, SOC used the
GearNex geared head on 90 percent of
his latest 3D project, “Dark Truths,” and
had this to say: “The GearNex head was
small, compact and robust with
adjustable speeds and precision wonderfully complementing my small DSLR
3D Beamsplitter Rig. I must complement
the craftsmanship put into the GearNex
gearhead, as it allowed me to elevate
the quality of every shot to a
professional level.”
When precision matters on your next
motion picture, short, commercial, corporate, wedding or any other content type,
the GearNex geared head is the answer.
Visit one of the GearNex value
added
resellers
which
includes
FilmTools®, B&H Photo, Laurel Canyon
Stages, Band Pro, Shinki Corporation in
Japan, SinTex in Russia, Genesis Matrix
in Canada, Oxygen DCT in United
Kingdom and PhotoCineRent in France.
Come visit CineToys at NAB 2011
in booth C7221, online at www.gear
nex.com or call 916-783-3456.
environments. The LEMO 3K.93C
SMPTE hybrid connector has a compact
design with two single-mode fiber contacts, two power contacts and two signal
contacts for HD camera interconnection
systems. The LEMO 3K.93C is one of
the only connectors that is fully
AINSI/SMPTE (USA), ARIB (Japan)
and EBU (Europe) compliant.
LEMO feels very strongly about their
high-quality connectors, cables and fusion
splicing capabilities. They are not a shortterm, short-sighted company. They connect with their customers to provide them
with custom connections to meet their specific requirements. Making the customer
connection is just as important as the connections on the customers’ end products.
LEMO has changed their business
strategy to target larger customers directly and service smaller customers through
distribution so that they can rapidly provide product and service to reach a higher level of customer satisfaction.
This year at NAB, LEMO will be
demonstrating a wide variety of electrical
and fiber optic connector solutions for both
studio and harsh field environments, as
well as audio visual connectors for microphones and hearing devices. To complete
the connection solution, LEMO also offers
off-the-shelf cable assemblies in various
standard lengths, with cable splice boxes
for truck and studio racks, as well as a
number of fiber optic kits for cleaning and
inspection of the fiber connection systems.
LEMO will also be demonstrating the latest technology in fusion splicing for field
applications during the show.
For more information, please visit
LEMO’s website a www.LEMO.com or
call 800-444-5366.
price of $859.99, the RS250 is sure to
meet most budgets.
The recently released AP-1 Adapter
Plate helps you to instantly attach a
small handheld camera to a tripod
adapter. Built from magnesium material,
it’s rigid with a light weight of only
200g/ 0.4lb,light enough that you do not
need to remove it when you use a tripod.
The AP-1 is also suitable for use with
shoulder cameras.
Pedestals, jib arms and tracking rail
systems are our specialty. Be sure to
stop by our booth and test our affordable
solutions. Libec continues to have product availability here in the U.S. and our
customer service and support team are
trained professionals ready to assist with
our clients’ needs and demands.
U.S. resellers nationwide have
assisted Libec’s growth in the market
with advertising and marketing. One of
their resellers, TapeWorks Texas, Inc.,
even started a video contest with prizes
including Libec tripods and adapter plates.
They will be announcing the winners of
the contest on the last day of NAB.
Libec Sales of America provides
professional camera support products
with a competitive price while delivering
a product that meets the demands of
today’s professionals.
Find out more at www.libecsales.com.
product features and capability in all of
the areas mentioned including:
improved real-time keying and finishing tools; more methods of tracking
such as encoded cranes and 3D camera
rigs; improved virtual scene creation
and preparation tools; and adding additional post production tools such as
stereoscopic-tracking data transfer. The
goal is the same: delivering great imaging performance under realistic on-set
production pressures.
EM: As television and film productions
continue to combine sophisticated live
action, CGI and animated characters,
there is a corresponding pressure to
decrease the production costs, speed up
the turnaround of visual effects and
simultaneously provide better tools to the
creative team on set. Productions want to
get it right the first time and avoid costly
repeats by providing the DP and director
an accurate rendition of a completed
VFX shot while actually shooting the
green-screen elements.
company’s success?
BSD: What is your outlook in general for
this product line?
BSD: To what do you attribute your
Come see Blonder Tongue at booth
SU2604. For more information, call 800523-6049 x555 and visit their website at
www.blondertongue.com.
EM: Our team’s background bridges
many areas that are traditionally separated: On-set operations, 3D graphics,
compositing and integrated mechanical,
electrical and software engineering. Our
most important trait is our relentless
focus on a building a system that is tailored for the intense demands of modern
production: On the stage, in the field
and in post production.
Find out more at www.lightcrafttech.com
or visit booth SL10312.