The camcorder’s high bit rate ensures excellent capture of fast-moving objects, while its chroma subsampling feature is perfect for a wide range of video encoding areas such as VFX and green screen applications. A planned future upgrade to support Sony’s revolutionary XAVC codec will let users extend the lifecycle of the product for maximum return on investment.

The PMW-300 features the same EX-mount interchangeable lens system as Sony’s PMW-EX3 for compatibility with ½-inch and 2/3- inch lenses. The camcorder comes with a 14 times zoom lens featuring a focus ring for quick switching between auto and manual focus.

An HD-resolution 3.5-inch color LCD viewfinder (960×540 pixels) enables precision focusing for HD shooting. Timecode and genlock interfaces as well as an 8-pin remote connector give users added flexibility in multi-camera setups and 3D configurations. The 8-pin remote connector also allows for remote adjustment using a remote control (sold separately). HD-SD/SDI and HDMI outputs let users connect the camcorder to broadcast infrastructures and to compatible consumer devices.

The camcorder has a standard recording mode of 1080/23.98p giving users several shooting options, switching down to 720/23.98p to enable up to 2.5x slow motion.

Like all of Sony’s solid state XDCAM camcorders, the PMW-300 allows the most flexible choice of recording media. Customers can record on Sony’s professional SxS memory card,as well as SD, Memory Stick and XQD cards depending upon their budget and application.

The PMW-300 camcorder is planned to be available in October at a suggested list price of less than $10,000. The camcorder with the 14 times zoom lens (model PMW-300K1) is also planned to be available in October.

Earlier this month, FOR-A used two PS-840UDs to showcase its FT-ONE full 4K super slow motion camera during Cine Gear Expo in Los Angeles. A Quad MC converter from Keisoku Giken was used to connect the camera’s 4x3G-SDI outputs to the monitor’s HDMI inputs.

Both models are designed for custom installations where high resolution is a necessity, such as video production studios and trucks, medical imaging, and conference rooms. The PS-840UD includes compatibility with the Intel open pluggable specification (OPS), which makes it a high-performance choice for high-end public signage display applications. Plus, the RS-840UD has been licensed with the Imaging Science Foundation (ISF) and includes a C3 mode for professional calibration. Precise settings are stored in the monitor for accurate reproduction of film or video content in a variety of viewing environments.

Developed specifically for rigorous commercial use, the monitors feature an IPS LCD panel with 120Hz refresh rate and 10 bit color depth. Housed in a slim bezel with a 178‑degree viewing angle, the ELED Illuminated monitors produce vibrant, natural images from a variety of HD and 4K input sources, including HDMI 1.4a (single cable 4K up to 30p) and HDMI 1.3 (four cable 4K up to 60p). Other features include audio I/O for the built-in 15W speaker and a table base. Both monitors are compatible with the 3840×2160 60p signals provided by JVC’s popular GY-HMQ10 4K compact handheld camcorder.

“HD is no longer the pinnacle of resolution for video professionals. 4K production is on the rise, and our new PS-840UD and RS-840UD provide the resolution that content producers need,” explained Dave Walton, JVC assistant vice president of marketing communications.

The PS-840UD 4K panel is marketed through JVC’s authorized Pro Video resellers and has a suggested list price of $14,000. The RS-840UD, marketed exclusively through AVAD LLC, has a suggested list price of $13,500.

“This LED display is an important and necessary step in pushing Lobo football and our game-day experience in University Stadium to a new level,” said Paul Krebs, Vice President for Athletics, UNM. “More improvements are on the way as we hope to announce a major upgrade to our in-venue Wi-Fi capability later this summer. We are committed to enhancing the overall fan experience and strongly encourage Lobo fans to purchase season tickets, attend every home game and turn Branch Field into one of the top home-field advantages in the Mountain West.”

The university will use the video display to energize its fans with live video and instant replays. UNM will be able to separate the display into smaller sections to provide up-to-the-minute statistics, scoring information, and other graphics and animations.

The wide angle capability of the display will offer every fan a superb view of all the content shown. It will incorporate excellent image clarity and contrast in the harshest viewing scenarios while also offering multiple levels of protection from the elements.

“The University of New Mexico was looking for a premier LED video display to reward its dedicated fans with an elevated game-day experience, and we worked with its athletic department to fit its needs,” said Brady Jacobsen, Daktronics sales representative. “We’re excited for the upcoming installation and can’t wait to see the display in action this fall.”

Daktronics LED video and messaging display technology offers a long lifetime with minimal maintenance and low power consumption, providing value and excitement for years to come.

In an official statement ESPN said: "Due to limited viewer adoption of 3D services to the home, ESPN is discontinuing ESPN 3D. We are committing our 3D resources to other products and services that will better serve fans and affiliates. Nobody knows more about sports in 3D than ESPN, and we will be ready to provide the service to fans if or when 3D does take off. As technology leaders, we continue to experiment with things like Ultra High Definition television (also known as Ultra HD television or UHDTV) production tools to produce our current ESPN family of HD channels."

Since its launch in 2010, the production quality of the network's live 3D telecasts has improved exponentially and costs have been reduced significantly, but the network, nonetheless, never caught on with sports fans like ESPN expected. In an effort to feed the 3D content pipe for its consumer sets, Sony signed on as the official technology sponsor during the network's inaugural year, supplying cameras and other 3D technology.

In year two of its existence, ESPN worked with the Cameron-Pace Group to develop a "5D" production model that molded the 2D and 3D productions into a single combined effort that shared trucks, crew, and cameras. In March of this year, ESPN began using 2D-to-3D conversion technology to produce the 3D feed for its MLS telecasts as part of the continued cost-cutting effort.

After launching with coverage of the 2010 World Cup from South Africa, ESPN 3D produced its first event in-house with the Home Run Derby from Anaheim, CA, in July 2010. The network went on to produce the Summer X Games later that summer, as well as the BCS Championship Game and the Masters in 3D during the first half of 2011. ESPN 3D has since gone on to produce hundreds of events, including NCAA college football, college basketball, NBA, Grandslam tennis tournaments, Summer and Winter X Games, the Little League World Series, MLS soccer, and much more.

“Led by Jack and Jerry, FOX Sports has set an unmatched industry standard in studio and field operations over the years,” says Shanks. “Come the launch of FOX Sports 1 in August, we’ll be producing more live events and more studio hours than ever before, and Ed’s vast experience in both areas will help us streamline our efforts and operate as efficiently as possible.”

Responsible for all technical aspects of remote and studio operations, both nationally and at FOX Sports regional networks, Delaney, a 12-time Emmy Award winner, comes to FOX Sports from YES, where he served as Senior Vice President, Broadcast Operations & Engineering. YES, the most-watched regional sports network in the country for the past decade, is the exclusive television home of the New York Yankees and Brooklyn Nets.

“I am extremely proud of the role my operations team has played in the historic launch and unprecedented growth of the YES Network,” says Delaney. “Joining FOX Sports, which has always been on the cutting edge of innovation and technology, is an incredible opportunity for me. I am eager to join the remarkably talented team at FOX Sports at such a pivotal point in its history, as it prepares for the launch of FOX Sports 1 in August.”

In 2012, FOX Sports’ parent company, News Corp., purchased a 49-percent stake in YES with the option to own up to 80 percent after three years.

In addition to his work on the launch of YES, Delaney also played a major role in the regional network’s transition to HD, its production of the first 3D and interactive baseball telecasts, and the launch of YES’ VOD offerings. Earlier in his career, Delaney was Director of Broadcast Operations and Technology at NFL Enterprises, was Vice President of Operations at The Baseball Network, and was Senior Production Executive at ABC Sports. Delaney is a graduate of Millersville University in Pennsylvania.

GrassVisitors to the Grass Valley booth (#5659) will be able to see live demonstrations of its switchers, media server and client solutions, and cameras, designed to enable content creators ranging from broadcasters, corporations, universities, entertainment and hospitality venues, and houses of worship (HOW), to cost-effectively produce, deliver and manage live content across multiple distribution platforms.

On display will be the LDX Flex studio camera, the GV Director Integrated Nonlinear Live Production Center, the EDIUS nonlinear editing solution, the K2 Solo Media Server and the T2 intelligent Digital Disk Recorder (iDDR).

“We’re looking forward to showing InfoComm visitors exciting demonstrations of the latest additions to our product portfolio,” said Mike Cronk, Senior Vice President of Marketing, Grass Valley. “These solutions are demonstrable evidence of how Grass Valley is leading innovation in response to our customers’ evolving needs in the changing media landscape.”

The full list of Grass Valley solutions on show is:

- The LDX Flex is the entry-level offering in the LDX Series of cameras. With upgradeable software the LDX Flex allows users to enhance the camera’s functionality as they require, whether it is for a matter of days or indefinitely.

- The award-winning GV Director Integrated Nonlinear Live Production Center brings a new paradigm to live production workflows. Combining the power of a switcher, multiviewer, graphics and effects, the GV Director is suitable for all production environments, such as houses of worship, image magnification (IMAG) applications, educational institutions, as well as fixed venues, production studios and trucks.

- EDIUS nonlinear editing software is the world’s fastest editor when mixing formats on the same timeline. It offers advanced real-time editing capabilities and features and is software-upgradeable between versions (Neo, Express, Pro, and Elite) so users can have the exact functionality level they require.

- K2 Solo is Grass Valley’s purpose-built, standalone device that delivers 24/7/365 file-based infrastructure and high-performance file operations. The high-quality HD media server delivers the same functionality as a two-channel K2 Summit 3G but takes up 50% less space, which makes it ideal for small production studios and mobile production trucks.

- The T2 intelligent Digital Disk Recorder (iDDR) is a flexible, cost-effective, high-performing server system. With advanced nonlinear production features and supporting a variety of SD and HD, the T2 connects to all professional AV equipment and can be integrated into any environment.

Buono has been working on SNL since 1999, and has recently been experimenting with a variety of 4K workflows on the show’s pre-produced segments. “We love the look of the Canon C500 camera, but with our production turnaround schedule, we don’t have time to deal with processing RAW camera files. We tried alternate 4K recording devices, but Ki Pro Quad is the only one that let us go straight from the camera to ProRes. Not only do we save a ton of processing time, but we’re also chewing up way less hard drive space—uncompressed RAW ties up at least 1TB of storage per hour of footage; with Ki Pro Quad recording to ProRes, we’re down to less than 600GB per hour.”

Producing in 4K is important to NBC for production, post and archival purposes. Shooting in 4K today will make rebroadcasts to Ultra HD much simpler when that technology is widely adopted into the home. For NBC, shooting in 4K is a way to future-proof the show; for Buono and SNL Film Unit director/producer Rhys Thomas, the 4K resolution provides great options for reframing shots that today are still being delivered in 1080 and largely viewed at 720. “Other 4K recorders that we tested required a more time-consuming post workflow. We’ve used previous generations of Ki Pro recorders on other projects and they’ve always been easy to use and super reliable. Ki Pro Quad easily mounted to the back rails of the camera and it just worked like clockwork.”

Buono likes shooting with the Canon C500 for its image quality and color accuracy. “One of the biggest compliments I can give the Ki Pro Quad is that the quality of the 444 ProRes files that came out of the unit looked exactly the same as the RAW Canon footage, and we had immediate access to them on set without having to go through hours of processing. To me, that alone makes using Ki Pro Quad a no brainer.”

This summer, Buono is embarking on a two-month speaking tour, The Art of Visual Storytelling, starting on June 3, 2012. He will be leading attendees through a practical workshop of shooting and producing video content in fast turnaround environments using examples from his 14 seasons on SNL as well as his feature film and documentary work. The 31-stop tour across the United States will provide hands-on access to shooting with Buono’s broadcast production set-up including a Canon C500 camera, AJA Ki Pro Quad, Movi stabilized camera gimbal and more. For more information visit www.visualstorytellingtour.com.

“I’m actually looking at [the weather] right now on my computer,” says Hyland. “Obviously, with this tropical storm making its way up the East Coast, it will absolutely challenge us technically, as it did with the Kentucky Derby when we had a rainstorm on Derby Day. We are already anticipating pretty foul weather both Friday and Saturday, and that will definitely be part of our production plan.”

NBC Sports plans to present 6½ hours of Belmont Stakes coverage this weekend, beginning today at 4 p.m. ET on NBC Sports Network and culminating tomorrow with the Belmont Stakes at 5 p.m. on NBC. And, despite the lack of a Triple Crown contender in this year’s third jewel, the Belmont boasts plenty to talk about.

“To me, this year’s Belmont is one of the best we’ve had in a long time,” says Hyland. “We have the number-one storyline of the Kentucky Derby winner Orb and the Preakness winner Oxbow going head to head for the rubber match at the Belmont. In fact, there are 10 horses that raced in the Kentucky Derby that are racing in the Belmont Stakes, which is pretty unusual.

After covering the Kentucky Derby and Preakness, NEP’s ND3 (A, B, C, and D units) — NBC’s Sunday Night Football unit — traveled to Long Island, where it will handle Belmont coverage for NBC and NBC Sports Network.

Joining Hyland in the truck will be NBC Sports’ Triple Crown director Drew Esocoff. The coverage on NBC Sports Network is produced by Billy Matthews and directed by Patrick McManus. The executive producer of NBC Sports and NBC Sports Network is Sam Flood, who has produced 11 Triple Crown races for the network.
NBC will deploy 25 cameras to cover the Belmont, including two super-slo-mos, an ultra-slow-motion, and a complement of RF cameras. Weather permitting, NBC’s coverage will also include a blimp.

“We won’t know until it gets here,” says Hyland of Tropical Storm Andrea. “Obviously, with the blimp, it’s a really nice camera angle for race replay — the overhead shot of the race, especially with a field of 14 — [but] we’ll lose it [if the weather is bad].”

Tennis Channel is providing more than 200 hours of coverage of the French Open, the premier clay-court tournament in the world and second of the four Grand Slam tournaments. The network is providing a live stream from its web site that allows online viewers to watch all the coverage for free.

“America ONE Sports and Octoshape have given Tennis Channel viewers the opportunity to watch the French Open where they want, when they want,” says Robyn Miller, Senior Vice President, Marketing, Tennis Channel.

The consumer experience includes both live and video on demand, as well as advanced features such as instant rewind, picture-in-picture viewing and proprietary bonus features developed by America ONE Sports, such as live chat and real time event statistics. America ONE’s sister company, ONE CONNXT, an award-winning leader in broadcast delivery, is providing the contribution transport technology so fans will not miss a moment of the excitement.

“This will be our third year providing broadband distribution for the French Open utilizing our partnership with Tennis Channel. Each year we truly try to push the envelope on features to enhance the user experience for this marquee event,” says Paul Dingwitz, Chief Technology Officer, ONE Media Corp.

The video broadcast is delivered to over-the-top consumers via Octoshape’s Infinite HD-M Federated Multicast Broadband TV platform. This technology enables the quality, scale and economics of traditional broadcast TV over the Internet. Telco and cable operators that are part of the Infinite HD-M Federated network receive the signals via native IP Multicast in a way that allows them to easily manage large volumes of traffic without upgrading their Internet capacity – ensuring a technically smoother streaming experience regardless of the usage.

“We are very proud to again be selected to support the Tennis Channel for the French Open,” adds Michael Koehn Milland, CEO of Octoshape. “We continue to raise the bar for providing TV to broadband-connected devices, and this year is no exception.”

Under the current deal, the NFL Mobile from Verizon service offered live streaming of Thursday Night Football on NFL Network, Sunday Night Football on NBC, and Monday Night Football on ESPN, as well as NFL Network and NFL Redzone on mobile devices. The new deal, which begins with the 2014 season, will expand to include access to live CBS and Fox Sunday afternoon games within their home markets, as well as all postseason playoff games, including the Super Bowl.

According to the league’s press release, the new enhanced NFL Mobile from Verizon service will include inside access to news, stats, exclusive game highlights, plus an extensive collection of on-demand video featuring analysis and inside access from NFL Network and NFL Films. In addition, fans will have access to other features including fantasy, customizable NFL alerts, ringtones, and graphics.

The NFL and Verizon also plan to launch an updated version of the NFL Mobile app for the 2013 season that will be available to all fans regardless of their wireless carrier.

According to SportsBusiness Daily, the deal only applies to live streaming on mobile phones – not tablets. SBD also says that Verizon will work with the league to establish enhanced WiFi and cellular connectivity at NFL venues (though the company refused to guarantee a standard level of connectivity at each venue because of the varied conditions across NFL venues stadiums).

The deal represents a substantial increase over the current four-year NFL-Verizon deal, which is valued at $720 million (WSJ).

Since joining CBS Sports, Berson has led CBS Sports Network, while also working closely with McManus on CBS Sports strategy, including a variety of programming and talent deals. He spearheaded CBS Sports Network’s rebrand (previously CBS College Sports Network), more closely aligning the cable network with CBS Sports and its assets. In addition, Berson significantly bolstered the Network’s programming, more than doubling the number of live hours, while launching numerous shows such as “NFL MONDAY QB,” the first NFL programming to be featured on the Network, “ROME” and “LEAD-OFF.” Berson also added new programming for CBS Sports Network around CBS Sports’ major events including Super Bowl XLVII, The NCAA Final Four, The Masters, PGA Championship and US Open Tennis Championship. Berson also was instrumental in bringing popular sports personalities Jim Rome and Doug Gottlieb to the CBS Sports family. Under Berson’s leadership, CBS Sports Network’s distribution has increased more than 25% and the Network earned its first-ever Emmy Award.

Berson joined CBS Sports after 16 years at ESPN, where he began his career as an intern during college and later worked in various capacities in programming, affiliate sales and marketing, and business development. When he left ESPN, he was Executive Vice President, Program Planning and Strategy, co-running ESPN’s programming department and was responsible for programming strategy, scheduling, development and driving audience consumption for all of ESPN’s domestic television networks.

In January 2006, The Sporting News listed Berson, then 33, on its annual list of “Young & Powerful.” In 2007, 2008 and 2009, he was selected as a SportsBusiness Journal “Forty Under 40” recipient and named as a “Forty Under 40 Hall of Famer.” In 2007 and 2008, he was listed on BusinessWeek’s “The Power 100” ranking of the 100 most powerful people in sports.

With HDMI input and five different projection modes, the Canon LE-5W projector can easily be used to project high-quality movies, video games, and still-or-streamed images from PC’s, Blu-ray players, game consoles, HD streaming players, and digital cameras onto nearly any surface. The perfect projector to bring along for off-site presentations and client visits, professional and home use, or even camping trips, the LE-5W also enables “PC-less” smart presentations directly from a USB thumb drive, SD card, or its own built-in 1.5GB memory. Featuring an energy-saving, long-life 3LED technology, the unit’s three LED’s (RGB) have a remarkable 20,000 hour lifespan with an ECO mode that consumes 30 percent less energy than while running in Normal Mode.

“The enormous growth in the use of tablet PC’s and mobile devices has created demand for a new kind of high-quality, affordable projector that easily integrates with tablet PC’s and AV equipment while also being ultra-portable and easy-to-use,” noted Yuichi Ishizuka, executive vice president and general manager, Imaging Technologies & Communications Group, Canon U.S.A. “The new Canon LE-5W Multimedia Projector is the perfect traveling companion for small business users who need to quickly and vividly share presentations or other visual information with clients.”

The Canon LE-5W Multimedia Projector’s built-in USB thumb drive and SD card slots, and its own built-in 1.5GB memory, enable it to play multimedia files without peripheral components. Supported formats include: MJPEG, MPEG1/2/4, H.264, WMV, and RMVB video; JPEG and BMP photos; MP3, OGG, WMA, AAC, and WAV music; and Adobe PDF 1.2-1.7 and Microsoft Office (PowerPoint, Excel, Word) documents.

The Canon LE-5W Multimedia Projector will be available in the Summer of 2013, for an estimated retail price of $799.00.

MLB.TV Premium subscribers get At Bat 13 for free on iPhone, iPod touch, iPad and supported Android smartphones and tablets. Fans also can subscribe to MLB.com At Bat 13 for the one-time seasonal fee of $19.99 on all supported platforms. iOS users may pay $2.99/month using the recurring billing option available through the App Store.

When asked whether the layoffs would affect ESPN’s production and engineering workforces, a network spokesperson responded with ESPN’s official statement regarding the cuts:

“We are implementing changes across the company to enhance our continued growth while smartly managing costs. While difficult, we are confident that it will make us more competitive, innovative, and productive.”

The layoffs come as ESPN is dedicating massive funds to other new endeavors, including the skyrocketing cost of live sports rights and the construction of a new state-of-the-art Digital Center at its headquarters in Bristol, CT. ESPN has about 7,000 employees worldwide, with about 4,000 at its headquarters in Bristol.

As the cost of live sports rights continues to skyrocket, ESPN has forked out millions of dollars to secure this valuable DVR-proof live programming. Just this month, ESPN agreed to an 11-year deal for comprehensive rights to the US Open tennis tournament and a 20-year deal with the SEC to launch a new dedicated network with the conference. Those deals are just the latest in a recent string of rights moves, including a 12-year agreement announced in November for the new college football playoff system that will reportedly be worth about $470 million annually.

ESPN is also currently building out a massive new production facility in Bristol, dubbed Digital Center 2, which is set to open in early 2014 and will reportedly cost upwards of $125 million. The 193,000-square-foot facility will include four studios, including the new home of SportsCenter, and six production control rooms. Deadspin is reporting that the layoffs are direct result of ESPN’s need to “pay for the equipment and integration resources” for Digital Center 2. ESPN has not confirmed this report.

In addition, ESPN’s parent company, Disney, has enforced layoffs across several of its divisions, including 150 cuts at Walt Disney Studios and another 150 at the recently-acquired Lucasfilm (in the now-shuttered LucasArts video-game making division) in April.

At NAB, Autodesk and Blackmagic Design announced a technology collaboration, and now just weeks later, the first outcome of the collaboration is available to customers. The Smoke 2013 Extension 1 release will introduce support for Blackmagic video IO devices: DeckLink (PCIe video boards); UltraStudio (Thunderbolt boxes) and the Intensity product line.

“Since launching Smoke 2013 in December, the Smoke development team has been forging full steam ahead with rapid and frequent iterations bringing new and improved functionality into the software,” said Chris Bradshaw, senior vice president, Autodesk Media & Entertainment. “Community feedback has been tremendous, and with this Extension release, Smoke will now include two highly requested features – Blackmagic video card support and a powerful new set of trim tools.”

Key Features
- New support for Blackmagic DeckLink, UltraStudio and Intensity series video IO devices
- New Trim View and new dynamic trimming tools for faster editing
- New support for SonyRAW footage from Sony F5 and F55 cameras
- Improved conform workflow with Apple Final Cut Pro X allows more accurate translation of speed changes and ability to conform ARRI Alexa ProRes files
- Improved feedback mechanisms help editors better track background processes, monitor renders and identify errors
- Improved performance in MediaHub when navigating large data sets
- Improved 3D compositing performance in Action when working with 3D objects, shaders and textures

The Clary OneScreen combines a multi-touch interactive display with a high definition video conferencing system, creating a fully integrated voice, video, and data collaboration solution.

“Business, government and education customers can dramatically lower the cost of meetings, training sessions and sales presentations by using the Clary OneScreen,” says Mark Sturges, Director of StarBoard Division. “It offers more value than systems currently selling for nearly twice the price, and can interface with consumer-level clients such as Google Talk and Skype in addition to popular business conferencing standards. The inclusion of Hitachi’s StarBoard Software is the icing on the cake.”

“The partnership between Clary Icon and Hitachi Solutions America creates an immediate and strong opportunity to introduce the Clary OneScreen to corporate users,” says Sufian Munir, CEO of Clary Icon. “Hitachi’s StarBoard Software adds powerful annotation and web integration features that make the OneScreen competitive in the market and easy to use. This partnership is a natural evolution of our work together.”

“My friends think NASCAR is tougher to do because it’s all about low frequencies,” explains Mike Pope, senior audio mixer at IMS, “but, with Indycar, the sound-pressure levels are much higher in the mid- to high-frequency ranges these races produce. Low-frequency SPL has less possibility of inducing overload on the mic preamps. We used to have to put 10-dB to 20-dB pads on the effects microphones years ago, before the equipment got better. Keeping the signal clean makes the sound a lot fuller, but we’ll still have to use pads in rare cases.”

Over the years, IMS has created a substantial infrastructure for audio for Indycar races, built largely around the iconic Indianapolis 500, running this year on May 27 and shown on ESPN/ABC. But it’s also there for the entire season, including run-up events like the Carburetion Day show and others that will be broadcast by NBC Sports and the other four races that Disney’s nets will broadcast.

The track-sound infrastructure has become more complex, but that makes for a better show, the audio crew agrees. The Calrec Sigma console in the A unit can accept different feeds from two Telecast Adder II modular audio-, intercom-, and data-multiplexing systems and from the Calrec Artemis in the B unit, as well as from the five Hydra routers around the track. That allows the engineers to establish variable gain structures for each audio unit’s mission. It also lets them back off on compressing the mix — Pope estimates the broadcast compression ratio maxes at about 3:1 — and creating gain structures down to the per-camera level.

“We want this thing to breathe, and it does,” says Pope. “And people have noticed that the sound has gotten better and better.”

All that makes for good fits when the IMS crew interacts with the networks for the events leading up to and including the Indy 500 itself. “ABC and NBC share the facilities with us, and we provide a lot of cameras and audio for them, including effects mics and intercom,” Pope explains, adding that ABC will put out some additional microphones for its 5.1-surround broadcast.

“[The Indianapolis 500 is] really very much a team effort between IMS and ESPN and NBC,” he notes. “Everyone wants their network shows to be the best, and we’re working with them to make that happen.”

According to Daktronics, its video display and scoreboard “were not the cause of the fire and did not catch fire.”

“The Columbus Fire Department Inspector’s report stated the fire started in the subwoofer cabinet of the audio system and was electrical in nature,” said Ryan Smith, Crew Stadium General Manager. “We were very pleased the video board was not damaged.

“The Daktronics team was very responsive and great to work with as we assessed the situation and were able to utilize the video board for our next home game the following weekend. We’d like to thank Daryl Mihal and his team for all their support.”

As one of the first ever video systems in professional soccer, the video display and scoreboard were installed in 1999. This equipment was in working condition the next day and in regular use at the next match played at Crew Stadium.

The agreement provides Microsoft with the rights to create exclusive interactive experiences through products such as Xbox One and Surface, transforming the way fans will experience the NFL in the years to come. The NFL on Xbox will provide fans with an all-new viewing experience through innovations around Skype and Xbox SmartGlass; an all-new, innovative fantasy football solution allowing fans to view players and live competition side by side on a single TV screen; and a personalized NFL destination featuring information about the players, teams and games fans care about most. Xbox also retains the exclusive rights to extend these interactive experiences to tablets, enabling fans to use Xbox SmartGlass technology to enhance game day.

“We love the passion that players, coaches and fans bring to the NFL game; it’s what makes the NFL game-day experience so unique,” says Steve Ballmer, Microsoft CEO. “We’re excited to apply our passion for technology to the NFL experience, both on the sidelines through the innovative use of Microsoft Surface devices, and for fans through an enhanced NFL viewing experience on Xbox One.”

“When we started working with Roger Goodell and the team at the NFL we knew that we could create great new experiences that fans would love,” adds Don Mattrick, president of the Interactive Entertainment Business at Microsoft. “This partnership will redefine NFL experiences through exclusive and interactive content that you will find only on Xbox. For fans, the NFL on Xbox will provide the most complete way to enjoy live football by bringing the first fully-integrated fantasy football experience to the TV, exclusively through Xbox.”

This partnership also changes the game for NFL teams because coaches and players will soon have access to a variety of cutting-edge Microsoft solutions, including Surface tablets to enhance on-field communications, photo viewing and play calling. Microsoft and the NFL envision a sideline of the future with players reviewing in-game photos from different camera angles directly from the sideline and head coaches calling plays off connected Surface tablets instead of today’s static paper products. With Microsoft technology, NFL coaches, players and other personnel will have the technology they need to improve decision-making and on-field performance.

“From the use of instant replay to the yellow first-down line that has become an important element of the at-home television viewing experience, the NFL is committed to leveraging technology to improve our game for coaches, players and fans,” says NFL Commissioner Roger Goodell. “We’re thrilled to be teaming with a true innovator like Microsoft to shape the future of the NFL game experience, both on-field and in the living room.”

Episode Engine was selected for the Festival de Cannes official website to replace multiple technologies that had previously been used to encode and deliver videos to multiple destinations. This year’s Festival is going on through May 26 in Cannes, France.

“I chose Telestream Episode Engine because it allows us to input watch folders at the start of the chain, process several videos simultaneously, and save files both to remote FTP folders and locally,” said Anthony Verpoort, video project manager for the Festival de Cannes official website. “In addition, I was able to link up all five Mac Pro computers using Episode Engine’s clustering capability to maximize processing power. That has made a huge difference!”

As the official website for the prestigious film festival, Verpoort and his team receive film trailers and clips that must be converted to the proper format and encoded into six different resolutions and bit rates for online viewing and press download. Additionally, videos from TV Festival, which covers photo calls, interviews, press conferences and all the red carpets events, must be processed and put online promptly. All TV Festival content is produced in both French and original-language versions and encoded into three different compression resolutions and bit-rates.

“Episode Engine is a perfect fit for organizations such as Cannes, which need to process loads of content and quickly get it out in multiple resolutions, bitrates and language versions,” said Barbara DeHart, VP of marketing at Telestream. “Episode combines broad format support, automated workflow capability, and the ability to distribute the encoding among clusters of machines for maximum speed and efficiency.”

With Episode, Verpoort can take a 40-minute press conference video and compress it in six formats and uploaded in less than 30 minutes. Episode Engine speeds the entire encoding workflow, allowing Verpoort and his team to quickly get videos online and keep their viewers up-to-the-minute on what is happening at the Festival.

From its acclaimed audio-monitoring product range, Wohler will show its AMP2-E16V 16-channel audio monitor, which supports Dolby E, DD+, and D decoding and boasts a complete suite of tools for analyzing and managing audio quality, level, and loudness; metadata; and more. For applications requiring simple and compact low-cost solutions, Wohler will highlight its new user-friendly and budget-friendly 16-channel 3G/HD/SD-SDI monitor, the AMP1-16M.

The RM Series HD is a full-featured, low-cost range of in-rack HD/SD-SDI audio/video monitors ideal for the many feeds in mobile trucks, news and transmission control rooms, and duplication and postproduction applications. Standard features include in-monitor level metering, selectable video waveform and vectorscope, safe and title markers, labeling, tally, and familiar CRT-style picture controls. RM Series monitors cover the gamut of screen count and size. At Telemundo, Wohler will highlight the RM-2443W-HD, which features four 4.3-inch screens, and the RM-4290W-HD, which features dual 9-inch screens. All models feature speakers and/or headphone jacks for audio monitoring.

“The Wohler professional audio and video monitoring product line offers an optimal solution for virtually every application and budget,” said Graciela Llamas, Central and South America regional sales manager at Wohler Technologies. “Our Telemundo product demonstrations will reflect the breadth and depth of our product offering, developed to meet the specific functional and cost requirements of broadcast customers, including leading media groups across Mexico.”

“That’s no slight to the Preakness,” says Hyland, a veteran of NBC horse racing coverage since 2001. ”It’s simply a much easier venue to showcase and shoot from a camera standpoint so we don’t really need as many cameras.”

The camera arsenal includes a pair of super high-speed cameras and four wireless RF cameras.

The truck compound is also consolidated some with NEP’s ND3 (A, B, C, and D units) back again as the compound for both NBC Sports and NBC Sports Network coverage. Not making the trip from the Derby is SS24 (A, B, and C) which was used in Louisville for NBC Sports Network’s pre-race coverage of the Derby.

“The Preakness for us is a little bit, from a technical standpoint, less challenging than the Kentucky Derby in that the Stakes barn where all the Preakness horses are is literally about a pitching wedge or less away from our production trucks,” says Rob Hyland, coordinating producer, NBC Sports. “Unlike the 150-plus acres at Churchill Downs, it’s a little bit easier to navigate around the grounds of Pimlico.”

Inside the truck, two sets of producer/director teams will split the coverage on NBC Sports Network and NBC. The coverage on NBC Sports Network is produced by Billy Matthews and directed by Patrick McManus. The two hours leading up to and including the race itself will be produced by Hyland and directed by Sunday Night Football and NBC Sports’ Triple Crown director, Drew Esocoff.

Adobe’s Creative Suite tools (including Premiere Pro, Photoshop, InDesign, Illustrator, and Dreamweaver) are now branded CC, and, while Creative Suite 6 products will continue to be supported and available for purchase, the company has no plans for future releases of Creative Suite or other CS products. Although not all Adobe users are happy with the move (as seen by the 9,000-signature-strong petition against it), Creative Cloud has garnered more than a half million paid members and more than 2 million free members since its launch in April 2012, giving Adobe the validation it needs to embark on a fully cloud-based future.

Creative Cloud allows files to be stored, synced, and shared on multiple workstations or devices (Mac OS, Windows, iOS, and Android). With Creative Cloud membership, users can also sync settings in Adobe Premiere Pro CC and After Effects CC, enabling them to synchronize preferences, including keyboard shortcuts and workspaces, across multiple computers. In addition, the Balance online creative community is now integrated with Creative Cloud, so customers can showcase work and get feedback on projects remotely.

The latest version, Adobe CC, which will be available in June, also includes the next generation of software for all the previous CS platforms, including a revamped Premiere Pro non-linear editor.

“This venue is obviously a challenge since it is Grand Central Station, so we are keeping the show simple but still trying to capture the [essence of the] location,” says Carr-Hughes co-owner and senior director/producer Jim Carr. “It should be great coverage with a nice intimate setting [in Vanderbilt Hall] at a unique venue like Grand Central Station, where people will be walking by and peeking in to watch.”

A Small Footprint

Carr-Hughes is tasked with producing two live wrestling telecasts — 3:30-5 p.m. ET on NBC Sports Network (and streamed on NBC Sports Live Extra) and 6-7:30 p.m. on Universal Sports — surrounding an ultra-hectic rush hour at Grand Central. With that in mind, Carr-Hughes is making an effort to maintain a small footprint, rolling out Dome Productions’ 40-ft. Kodiak production truck for the six-camera show.

“We are very limited in terms of space since we have to park right there on East 42nd Street,” says Carr, who will be directing both telecasts at the front bench alongside veteran NBC Olympics wrestling producer Mike Molinari. “It’s a 40-ft. truck, and we don’t have a whole lot of room to move in there, but it gives us that small footprint we need.”

At one point, Carr-Hughes entertained the idea of bringing in a combo production/transmission truck but instead opted for Dome’s compact Kodiak unit and a American Satellite Uplink truck for transmission.

The Challenges of Grand Central

In addition to cramped quarters, Carr-Hughes will have to deal with a rushed set-and-strike schedule at one of America’s busiest transportation centers.

Located adjacent to Grand Central’s Main Concourse, the 12,000-sq.-ft. Vanderbilt Hall is playing host to a separate event early this week (the venue regularly hosts corporate events and exhibitions), preventing the Rumble on the Rails team from building the venue until Tuesday evening. Carr and company will then arrive with Kodiak in tow Wednesday morning to begin setup.

“The venue guys can’t get in there and start building the bleachers and everything until late Tuesday, and then we come in very early Wednesday morning with a mobile unit,” says Carr. “So we have to wait until everything is in place to get our gear in. It is a very tight turnaround because we are then on the air by 3:30.”

As one final test of Carr-Hughes mettle, a dense transportation mecca and tourist destination like Grand Central always presents the additional challenge of heightened security.

“Being in that environment with all the security concern and precautions complicates things, too,” says Carr. “We have to be very vigilant about that, and we’ve had a lot of discussions about it to make sure we are prepared for the extra time that is needed for security checks.”

The training tour is intended to establish a pool of K2 Dyno operators that can be connected to a growing number of opportunities in the market, and each stop consists of three days. On day one, Grass Valley teaches one regional replay expert the methodology of the K2 Dyno Replay System. They are paid their customary day rate and are established as a certified K2 Dyno trainer. On day two, the newly certified trainer educates local replay operators to fully master K2 Dyno during a four-hour tutorial. On the final day, Grass Valley customers are invited to attend a scheduled one-on-one K2 Dyno demonstration, which is facilitated by the trainer.

“Our new K2 Dyno training sessions are a highly effective and targeted way to enable experienced replay operators to expand their knowledge beyond their legacy system capabilities, helping to grow the marketplace. For non-experienced replay operators, the sessions deliver the hands-on training they need to eventually become conversant in live production replay,” said Mike Cronk, SVP, marketing at Grass Valley. “Our first session, held in Germany last month, was met with much success. Participants pointed out many of K2 Dyno’s advanced capabilities, such as its ability to tag a clip with metadata, as important and necessary features to address second screen workflows.”

In conjunction with the training tour, Grass Valley is partnering with St. Louis, MO-based CSI Leasing to deliver a leasing option for K2 Dyno. The leasing program facilitates the acquisition of a K2 Dyno S Elite XDCAM Package* for qualified Grass Valley customers, and provides greater access to K2 Dyno’s advanced capabilities and cost-effective integration. Leasing the K2 Dyno will cost less than $3000 US per month (2200 Euro) for a 36-month term, and will not require a down payment or any other upfront costs. The leasing program is available worldwide and can be arranged through Grass Valley local offices or resellers.

The K2 Dyno Replay System is a comprehensive set of live production replay tools that are seamlessly integrated for use in file-based production environments such as sports and other live events. With its operational simplicity, IT-friendly implementation, and quick learning curve, K2 Dyno dramatically expands the possibilities for HD and SD live production.

SES-6 was built by EADS Astrium in Toulouse, France, based on the highly reliable Eurostar E3000 platform. The satellite is equipped with 43 C-band and 48 Ku-band transponders (36 MHz equivalent). It will enable the delivery of next generation broadcast services, including HD video distribution and mobile services, from its 40.5° West location in geostationary orbit, covering North America, Latin America, Europe and the Atlantic Ocean.

Martin Halliwell, Chief Technology Officer of SES, states: “SES-6 will replace the existing NSS-806 satellite at 40.5° West and provide significant capacity expansion at a strategic slot over the Americas. The satellite’s expanded Ku-band payload can support DTH platforms, VSAT services and government digital inclusion programs throughout Latin America. The C-band payload will add incremental capacity to support channel growth at a key cable neighborhood. We thank Astrium for the delivery of the spacecraft and look forward to a successful launch campaign with ILS Proton.”

SES-6 will have a launch mass of 6,100 kg, a wingspan of 40m once its solar arrays are deployed in orbit, and a spacecraft power of 13 kW at the end of its 15-year design lifetime.

SES-6 will be the sixth Eurostar satellite in the SES fleet, following the successful launch of ASTRA 2F in September 2012. Three more Eurostar E3000s for SES are currently in final integration and tests in Astrium facilities.

These compact and portable products also offer best-in-class, patented, color gamut, and color adjustment displays for accurate camera alignment and postproduction color correction. Features include HDMI-HDCP and SDI (SD/HD) monitoring; compact, 3RU half-rack form factor; patented diamond and arrowhead displays; and audio-loudness measurements.

“The SEC has an extensive library that continues to grow with valuable content year after year,” said McCleary. “We are excited to extend this agreement, and we appreciate the opportunity to continue working with the SEC, Commissioner Mike Slive and the individual member institutions for content representation and the preservation of their digital media assets.”

XOS Digital works directly with SEC schools and partners to preserve all broadcasted events throughout each season. The long-term extension enables XOS to continue to archive, manage and represent the SEC digital library that lives in the XOS Vault digital asset management system.

XOS sold the SEC’s live digital broadcast rights to ESPN earlier this year, opening the door for ESPN’s launch of the SEC Network, which debuts in August 2014.

XOS now has more than 30,000 assets of historic SEC content digitally archived that dates back to the early 1970s. The SEC digital library includes photos and video of full games, highlights, press conferences and original programs.

“We look forward to continuing our relationship with XOS Digital,” said SEC Assistant Commissioner Charlie Hussey. “XOS provides an important service in managing the conference’s copyright and content licensing.”

“The ability to project data using 3D graphics is very exciting for RBC. It is also far more appealing for our viewers to see the complex information in an easy-to-read, aesthetically pleasing format,” comments Gleb Shagun, RBC TV’s Chief Producer. “The addition of 3D graphics along with virtual walls and augmented reality gives RBC a substantial edge over other 24-hour news broadcasters and puts us on the map as technical leaders and innovators in our field.”

The new Orad-driven workflow lets RBC TV display complex financial, electoral and numerical data as 3D virtual graphs with X and Y axes. The virtual graphs are inserted onto the set, providing viewers with real-time graphic visualization of the numerical data in a format that is much easier to read and digest. RBC TV also incorporates Orad’s Interact solution, controlling graphics for the augmented reality and video wall via an iPad.

“3Play 4800 is a multi-camera replay server that redefines price-performance standards in live sports production,” says Dr. Andrew Cross, Chief Technology Officer at NewTek. “In the past, the cost of delivering HD instant replay was so high, many sports producers were forced to rent equipment. 3Play 4800 puts more real-time capabilities in the hands of replay operators than any other system on the market – and at a breakthrough price point that makes replay system ownership a reality for the first time.”

Unlike any other replay server on the market, 3Play 4800 offers more real-time capabilities in a single turnkey system, placing an unprecedented toolset at the fingertips of every replay operator. Top features of the system include:

• Redundant Capture — Redundant capture of up to 4 live video sources doubles up ISO recordings and protects all media assets. Users can also choose to simultaneously record all 8 inputs as separate camera feeds to add more angles as needed.
• High-end Visuals — Live animated, 3D-warped visual transition effects for switching and in-program editing, with custom animation creator and import of your own branded graphic elements.
• Live Replay Switching — Monitor all angles during replay, and transition between them video-switcher style—providing a completely finished replay segment within moments, animated transitions and all, to output to switcher, feed the video board, or upload to the Web.
• High Quality Slow Motion — Get clear, crisp slow motion playback with both standard HD or SD cameras, achieved with a super-resolution algorithm for sharper slow motion and dramatic stills alike.
• Social Media Publishing — Easily distribute content to multiple social media sites in one pass—even during live production, for a unified, immediate brand presence.

3Play 4800 is available immediately for a retail price of $39,995 USD. International pricing may vary.

The Deluxe OnDemand and NeuLion integrated platforms combine award-winning interactive consumer applications and platform consumer device independence with an extensive catalog of pre-encoded and pre-packaged video content of new releases, blockbuster titles, popular television series, favorite classics, and more, available for streaming or download. The solution offers entertainment store operators fast branded storefronts that will give their consumers an intuitive discovery interface, simple pay flows for purchasing and merchandizing, all on multiple platforms and connected devices.

“Our joint development effort with NeuLion delivers an end-to-end turn-key solution,” said Kevin Corbett, president of Deluxe Digital Distribution. “This enables customers to get to market faster with an extensive catalog of titles ready for multiscreen distribution.”

Consumers today want the ability to access lots of different content on any Internet-enabled device and from anywhere. Meeting these expectations can be challenging and costly. NeuLion and Deluxe have lowered the cost of entry for content owners interested in launching online interactive stores with the ability to put new branded storefronts in market in weeks and instantly make available an impressive catalog of video titles.

“The NeuLion and Deluxe solution will provide content rights holders with a huge library of entertainment that can be monetized online, giving storefront operators complete control over how to merchandise content,” said Chris Wagner Executive Vice President and co-founder at NeuLion. “The combined solution will handle transactions and billing as well as merchandizing, such as promotions, pricing, promotional codes, and coupon redemption.”

Markertek’s complete line of fiber optic tactical snakes includes 2-Channel up to 12-Channel versions with ST, LC, SC or MPO connectors. All cables are assembled with OCC brand tac-fiber with internal aramid strength members for crush resistance in high traffic areas. Fiber optic tactical snakes are available with Schill reels featuring inner hub fanout storage and a latching protection door. All assemblies are multi-stage machine polished and tested for <-55dB RL with test results for each channel supplied with each cable. Built in-house at our state-of-the-art LEMO trained fiber shop with full repair services and custom lengths and configurations available.

“Whether you’re running a Blackmagic ATEM camera converter or a yellobrik transceiver, a fiber optic tactical snake from Markertek completes the system with a reliable interconnect you can drive a tank over, ” said Chris Fisher, VP of Engineering at Markertek. “The beauty of our Schill reel models is the ability to store your fanout inside the reel hub in a clean and safe environment. It is our goal to be the #1 supplier of custom fiber optic solutions to the broadcasting industry. Markertek has a LEMO trained staff and now offers SMPTE hybrid cables and breakout solutions for any application.”

Wheeler most recently was with Core Capital in 2005 and, as an entrepreneur, founded multiple companies offering cable, wireless, and video communications services. In 2009, he led the Obama-Biden Transition Project’s Agency Review Working Group in charge of transitions for the science, technology, space and arts agencies.

After several years as CEO of various technology start-ups, including the first company to offer high-speed data to the home and the first digital video delivery service, he was asked to lead the Cellular Telecommunications & Internet Association (CTIA), where he was CEO until 2004.

How Wheeler will deal with issues like the future of spectrum in the United States remains to be seen but his own blog post in 2011 regarding reallocation of spectrum lays out what (at one time) were his beliefs.

“It is time to abandon the concept of perfection in spectrum allocation. The rules for 21st century spectrum allocation need to evolve from the avoidance of interference to interference tolerance. We’ve seen this evolution in the wired network; it’s now time to bring the chaotic efficiency of Internet Protocol to wireless spectrum policy. What the FCC’s TAC is proposing is that we officially wean ourselves from the old wireline switched circuit world to embrace the reality of IP and its benefits. It’s time to start down the same road with spectrum allocation.

“Historically communications innovation has started with government initiatives. The telegraph began with a government-sponsored trial, the railroad grew because of government incentives, digital packetization was developed on a government grant and ultimately implemented by the government to evolve into the Internet. Government has always led the path to new communications realities. Now is the time to continue that leadership legacy with spectrum.”

The Grass Valley system includes; K2 Summit 3G production clients which connect directly to a K2 SAN server configuration, GV STRATUS nonlinear production toolset for file based workflows, and a series of Grass Valley editing workstations with Storm 3G Elite I/O interfaces, which support Yomiuri TV’s existing EDIUS editing software, enabling powerful, real-time multiformat editing in standard definition (SD) and HD formats. The editing workstations with Storm 3G Elite I/O devices comprise a turn-key solution which has the storage and power supply redundancy to significantly improve system availability.

“As one of the leading broadcasters of Japan, we recognized a clear need to transition our editing systems to file-based workflows in order to meet the growing challenges of our day-to-day operations,” said Tsutomu Okazaki, Technical Manager, Engineering Operations Division, Yomiuri Telecasting Corporation. “We wanted to find a cost-effective and future-proofed solution which would allow us close integration across our systems, end-to-end from editing to playout.

“Our pre-existing Grass Valley EDIUS editing software offers great features for news production, such as real-time performance, better format support, easy operation and high stability. Grass Valley provides a guaranteed quality of service which offers all the necessary components required for editing, such as ingest, content management, shared storage, video servers and turn-key solutions. This deployment will enable us to rapidly enhance the quality of our programming and workflow efficiencies.”

“Many of the large broadcasters in the Asia Pacific region are still using tape-based systems and yet the cost of a file-based network is almost half compared to a linear editing system,” said Stephen Wong, Senior Vice President APAC, Grass Valley. “This deployment will enable Yomiuri TV to edit simultaneously with other key workflows and vastly increase its effectiveness across the entire content creation and delivery process.”

As an advanced software platform, GV STRATUS incorporates a wide variety of tools from content management to integration of the industry-leading EDIUS editor, offering users custom metadata features and fast turn-around of content. The combination of GV STRATUS and EDIUS can be integrated in a number of ways. For Yomiuri TV, GV STRATUS provides multi-channel, managed ingest to the entire EDIUS based editing environment. This combination is just one of many examples of the flexibility of Grass Valley nonlinear production solutions.

This MLB.com YouTube channel will include highlight clips from every MLB game in 2013 as well as thousands of hours from MLBAM’s archives. In-season highlights will be available approximately two days after the respective games have been completed. Videos from MLB.com’s Baseball’s Best Moments library also will be included.

MLBAM also will live stream two live games daily during the regular season, available for free and accessible exclusively outside of its core live video distribution territories: North America, Japan, Taiwan and South Korea.

“Fans around the world are getting more Major League Baseball video than ever before on YouTube, continuing to make YouTube a daily sports destination,” said Frank Golding, Director of North America Sports Content Partnerships.

“Expanding our partnership with YouTube provides another platform for extending the reach of the thousands of hours of archived baseball content in our library and for delivering live baseball games via the Internet to fans in new markets around the world,” said Kenny Gersh, Senior Vice President, Business Development, MLBAM.

Join Miranda’s experts for this one-hour Webinar to explore the company’s integrated mobile truck production solution keeps users connected from content acquisition through the control room and learn how it enables operators to perform more complex productions without increasing the overall operational complexity. Miranda will also highlight how its newest technology enables clients to have a single point of control for routers, multiviewers, modular equipment and third-party devices, while reducing space, weight, and power requirements inside the truck.

The one-hour Webinar will address:

Seamless integration of production switchers and audio consoles
Routing challenges you face from build-out to production
New technologies in routing and control systems
Optimization of multi-viewer processors for lower cost and easy expansion
Questions and answers

Go here to register now.

The 2013 SVG College Sports Media Awards ceremony will be held on Wednesday, May 29 at the Hyatt Regency in Atlanta in conjunction with the 2013 SVG College Sports Summit.
Awards are given in the following Divisions:

National Networks/Professional – Any television network that reaches more than 20 million homes via cable, satellite, or over the air transmission (as of January 1, 2013). Any independent agency or production company for hire would submit in this category.

Regional and Local Networks – Any television network that reaches less than 20 million homes via cable, satellite or over the air transmission (as of January 1, 2013). Examples include divisions within a larger company or network as long as they operate as an independent business unit (i.e. Fox, Cox, Comcast, Time Warner Cable regional and local networks).

Collegiate Athletics – All NCAA, NJCAA, NAIA, and accredited institutions and conferences or governing organizations. These productions are funded, supervised and executed solely by athletic department employees and their staff (full-time, part-time, freelance, intern, student).

Collegiate Student – All NCAA, NJCAA, NAIA, and accredited institutions. These productions are funded and supervised solely by university employees (athletic or academic). The production work is completed solely by students (undergraduate or graduate) who are enrolled part-time or full-time at that institution during the time period designated for the content to be produced to be eligible for the awards. In the case of the Live Game, Program or Event category, 80% of the production personnel must be students to be eligible. Students who are paid are also eligible.

Entrants in each of the Four Divisions will compete for awards in these four Categories:

Live Game, Program or Event Production (time limit of 5 minutes per entry) – The production of any live college-sporting event for TV, IPTV, Internet, mobile, any connected device or in-stadium scoreboard feed.

Special Feature (time limit of 8 minutes per entry) – Short form video where the subject matter is singular (one college sports subject) in any of the following areas as examples: teams, coaches, players, parents, siblings, historical events, athletic department employees, trainers, medical staff, recruiting, instruction, behind-the-scenes footage, Senior Day, etc.

Program Series (time limit of 10 minutes per entry) – Program series that have a connected topic or theme. The Program Series should have a minimum of 3 episodes to be eligible.

Outstanding Program Open, Tease, Promotional Video, PSA, and Campaigns (time limit of 2 minutes per individual entry, 6 minutes for campaigns) – Includes program opens and teases as well as video created for the purpose of marketing and branding, (such as a PSA), or for promotion, or sales.

Enter your production today.

“At this year’s NAB, AJA was committed to only showing products that are shipping and available now, and that prevented us from showcasing some other groundbreaking technologies that are waiting in the wings in engineering,” explained Nick Rashby, President, AJA Video Systems. “We were a little apprehensive about our decision, but these awards are a nice validation of our new approach. We’re proud to win awards for products that our customers can buy today, and that our resellers can get out into the channel immediately.”

AJA’s ROI Mini-Converter allows high quality conversion and realtime scaling, with region of interest support, of computer DVI-D and HDMI outputs to baseband video over SDI. With extensive audio functionality, incredible image scaling, an elegant UI, as well as aspect and frame rate conversion, ROI seamlessly incorporates computer signals into video production.

Corvid Ultra is part of AJA’s OEM program available to partners to incorporate into software applications or hardware systems to facilitate high-bandwidth / high frame rate performance using AJA’s proven technology. Corvid Ultra features support for 2K and 4K DI workflows as well as high-quality scaling capabilities for all resolutions. With support for high frame rates (48p and 60p), 4K and stereoscopic workflows, onboard debayering support and two expandable card bays, Corvid Ultra provides maximum performance for the most critical applications. Corvid Ultra’s new TruScale arbitrary scaling engine option allows high-quality up or down scaling of any raster from tiny web video up to and 4K.

ROI is available for a US MSRP of $995. Corvid Ultra is available at a US MSRP of $7995 (with PCIe card and cable); the TruScale option card is available for US MSRP $3495.

“Now that the Pac-12 television and digital Networks have successfully launched and are delivering great content to our fans, and have developed broad distribution and a solid sponsor base, I think this is a good time for me to move on to my next adventure,” Stevenson said. “I’m very proud of what we accomplished, a real first in college sports broadcasting, and I want to thank our terrific group of people for the hard work they did, as well as the student-athletes of our member universities.”

Pac-12 Commissioner Larry Scott said, “Gary led the effort in turning a great idea into an exciting reality in record time. From hiring an all-star staff to constructing a state-of-the-art studio and developing the infrastructure on 12 campuses to televise 550 events in our first year, Gary’s efforts are benefitting millions of fans who watch Pac-12 Networks across all platforms. I want to thank Gary for his hard work.”

With Stevenson’s decision, Commissioner Scott has elevated Lydia Murphy-Stephans, who has been Executive Vice President and General Manager of Pac-12 Networks since their August 2012 inception, to President of Pac-12 Networks. Scott said, “I want to congratulate Lydia on her well-deserved promotion.”

When Murphy-Stephans became EVP and General Manager of Pac-12 Networks in 2011, she became the first woman to head a national sports network. She has worked in sports television since 1986, including ABC Sports’ iconic “Wide World of Sports” and MSG Networks and has amassed 24 Emmy Awards.

“Providing format-agnostic ancillary data management along with support for many worldwide caption standards, WohlerCaption offers a straightforward solution to existing and future caption challenges,” said Carl J. Dempsey, president and CEO of Wohler Technologies. “We are delighted to be recognized for this technological achievement, delivered by our talented captioning division.”

Wohler’s RadiantGrid technology is also available in application-specific appliances including WohlerConverter, WohlerCoder, and WohlerLoudness. These Wohler solutions deliver an optimal balance of performance and speed to support multiplatform transcoding, transwrapping, and loudness correction for high-volume workflows while maintaining the highest quality standards.

The 2013 NBC Sports Network live-event programming roster includes the remainder of the NHL regular season, the Stanley Cup Playoffs and Final; Premier League and Major League Soccer matches; Formula One and IndyCar races; and horse racing that surrounds the Triple Crown.

“Today marks a new era as we are truly able to present some of the best content in sports to viewers anywhere and everywhere on a multitude of platforms,” says Rick Cordella, SVP & GM, Digital Media, NBC Sports Group. “With thousands of hours of compelling sports content now available via TV Everywhere across digital, mobile and tablets, NBC Sports Live Extra is a must-have product for sports fans.”

NBC Sports Digital has been streaming select live events that air on NBC for years, including Sunday Night Football, Notre Dame Football, the NHL Game of the Week, and select Stanley Cup Playoff games. Golf Channel has been live streaming PGA TOUR events since January 2013 via TV Everywhere on Golf Live Extra.

The vast majority of live streaming content on NBC Sports Live Extra will only be available to authenticated cable, satellite and telco customers via TV Everywhere.

The NBC, NBC Sports Network, Golf Channel properties/events that will now stream live include:

2014 Sochi Winter Olympics
Sunday Night Football
NHL Regular-Season, Stanley Cup Playoffs and Final
PGA TOUR
U.S. Open (golf)
Notre Dame Football
French Open (tennis)
Premier League (soccer)
Major League Soccer
Formula One
IndyCar
Triple Crown horse racing

Tests included the interconnection of Artel Video Systems’ DigiLink and Nevion’s Ventura platforms that confirmed the ability to reconstruct each other’s IP encapsulated SMPTE 292M HD-SDI signal.

“Today’s successful interoperation demonstrates the continued effort by Artel, Nevion, and other vendors to provide the market with standards-based products for transporting contribution-quality video across IP networks,” said Richard Dellacanonica, President of Artel Video Systems. “This effort, along with the emergence of reliable national and international IP networks, has created a cost-effective, open architecture option for transporting real-time, uncompressed video over long distances.”

“It’s a means to an end in order for us to be able to control our own destiny and continue on the path of being best in class,” says Matthew Goldman, SVP, technology, CTO Group, Ericsson. “By using a chip in combination with other programmable logic, we’re able to be much more flexible and [offer] higher responsiveness to the customers.”

By addressing all applications, including SD, HD, 1080p50/60, 3DTV, and Ultra High Definition TV; codecs, including MPEG-2, MPEG-4 AVC, and JPEG2000; resolutions; and profiles, Ericsson’s AVP single platform eases integration, expansion, repurposing, training, repair, and upgrades, considerably lowering the overall cost of ownership.

The company continues to be actively involved in development of the HEVC standard. Having launched its SVP 5500 HEVC/H.265 encoder for delivery of live and linear TV over mobile networks to mobile devices at IBC 2012, Ericsson showed the complete end-to-end use of real-time HEVC encoding for mobile applications at NAB 2013.

“The reason it makes sense for mobile broadcast first is the rapid deployment of handsets — what other appliance do you have in your home or on your person that you replace every six months? It’s that rapid replacement that allows new technology to be able to be tried out,” says Goldman. “The second area is the resolutions themselves. Whether it’s a smartphone or a tablet, the resolutions aren’t Ultra High Definition. … That’s not needed initially in the first application in mobile.”

A focal point of the Ericsson booth was a stunning demonstration of real-time 4Kp60 4:2:2 10-bit capture using AVC. Although the end-to-end ecosystem to deliver 4K to the home does not yet exist, Goldman stresses that Ericsson technology enables 4K acquisition today so that content providers can build up their archives for when the format goes mainstream in the future.

“The Masters was going on, we just had the Final Four, we have Sochi coming up. All these events are considered premium events, not only for the live event itself as it’s happening but for the live capture in the best image quality possible, because they’re worth value to the content provider for years to come,” he points out. “[AVC] allows a sports-content provider to capture real-time content, deliver it over a network to a production area, and keep that 4K format. Of course, it can’t go to the end user yet, but … they can downconvert to HD to use today, [and] they have it in their archives because it was mastered as 4K.”

Ericsson also introduced its Broadcast Services business, which combines Ericsson’s global-services expertise with the deep broadcast-industry track record of Technicolor’s Broadcast Services division, which Ericsson acquired last July.

In addition to serving as the signature voice of CBS Sports’ golf and tennis coverage for more than 20 years, Summerall made up one-half of pro football’s iconic broadcast team, alongside legendary color commentator John Madden. Both of them were inducted into the Sports Broadcasting Hall of Fame in 2010.

“Simply put, when you heard Pat’s voice in an opening, you knew it was a big game,” says Sandy Grossman, who spent more than 25 years directing Summerall at CBS and Fox. “He was absolutely the big-game voice for decades. We just don’t have anyone like that today and may never again.”

“The challenge for broadcasters is to access content in Ultra HD,” adds Hoelzle. “As satellite is the most suitable infrastructure to deliver high resolution pictures to large audiences, SES is well-positioned to support content providers and broadcasters in testing their Ultra HD footage and distributing their content before Ultra HD becomes a commercial reality in the next few years.”

With the “SES Ultra HD Experience” initiative, content producers and broadcasters from all over the world are invited to submit footage shot in Ultra HD via a dedicated SES web page, www.ses.com/ultrahd-experience, and are given the opportunity to broadcast and test their content via an SES satellite.

“Our partnership with Nexidia means that for the first time, broadcasters can extract or insert caption data and validate legal compliance rapidly and efficiently all in one file-based system instead of having to rely on separate workflows,” said Kirk Marple, chief software architect for Wohler RadiantGrid. “The RadiantGrid and Nexidia solutions together allow users to process massive amounts of caption and subtitle data automatically for all forms of file-based content, helping to ensure higher quality while avoiding fines.”

The RadiantGrid solution extracts closed captioning from media sources and inserts the data back into the transcoded output file. It handles the insertion of SCC or other aligned caption data files into the VANC or VBI space, or produces new ancillary outgoing files such as SMPTE-TT or SAMI. Caption insertion and conversion can be done with or without transcoding of the video essence when using compatible video containers.

From there, Nexidia QC advances the process by verifying quality automatically to ensure that the right caption file appears against the right media in the right language, and that it is properly timed, all to ensure compliance. Nexidia QC can also repair misaligned caption files by comparing and adjusting the time codes of the words spoken in the audio track and the time codes in the caption file.

“Nexidia QC overcomes the challenge of ensuring content is being created, edited, and distributed in the right languages with the correct captions at the right times,” says Drew Lanham, senior vice president and general manager of Nexidia’s Media and Entertainment division. “Wohler’s automated captioning technology is a perfect complement to Nexidia QC because both automate manual processes, thus reducing operating expenses and avoiding errors that can lead to fines and viewer dissatisfaction.”

“Our data centers in New York and L.A. are very much up and running,” says Mark Overington, president of Aframe’s North America operations. “In the States now, we have 55 accounts of varying sizes. We want to focus more on sports and are seeing some traction there. There is a lot of opportunity in sports, and we’re going after that.”

The Aframe platform is already being used by Clean Cut Media and the ATP World Tour to share video content remotely. In addition, an unnamed major sports network is using it to share content over the cloud between remote productions and the broadcast center. Finally, BAMMA (British Association of Mixed Martial Arts) used the system to share live content with journalists around the world at a recent event in London.

Aframe essentially allows users to upload raw video from any location to Aframe’s private cloud, securely store it there, and share it with anyone.

The big news at NAB 2013 is the debut of Aframe 2.0, which features Edit Flow, allowing users to export their metadata out of Aframe and directly into the three major NLE platforms: Avid Media Composer, Apple Final Cut Pro, and Adobe Premiere. With Version 2.0, the timecode-specific metadata that Aframe users generate when commenting, logging, sub-clipping, and collecting clips in Aframe can be transferred directly from the cloud into an NLE platform. Once there, the metadata relinks with the original media — retaining all user changes automatically.

Other features in Aframe 2.0 include Panasonic’s AVC codec, a newly designed user interface, and an API Library.

The ongoing work will include the testing and development of integrated workflows between Autodesk technology and Blackmagic Design’s PCIe- and Thunderbolt-based desktop video-capture and -playback products, including the DeckLink, UltraStudio, and Intensity product lines.

Blackmagic Design’s DeckLink, UltraStudio and Intensity lines comprise high-performance capture and playback cards for Mac, Windows, and Linux. The products come in both internal and external models.

Markertek's complete line of fiber optic tactical snakes includes 2-Channel up to 12-Channel versions with ST, LC, SC or MPO connectors. All cables are assembled with OCC brand tac-fiber with internal aramid strength members for crush resistance in high traffic areas. Fiber optic tactical snakes are available with Schill reels featuring inner hub fanout storage and a latching protection door. All assemblies are multi-stage machine polished and tested for <-55dB RL with test results for each channel supplied with each cable. Built in-house at our state-of-the-art LEMO trained fiber shop with full repair services and custom lengths & configurations available.

“Whether you're running a Blackmagic ATEM camera converter or a yellobrik transceiver, a fiber optic tactical snake from Markertek completes the system with a reliable interconnect you can drive a tank over, ” said Chris Fisher, VP of Engineering at Markertek. “The beauty of our Schill reel models is the ability to store your fanout inside the reel hub in a clean and safe environment. It is our goal to be the #1 supplier of custom fiber optic solutions to the broadcasting industry. Markertek has a LEMO trained staff and now offers SMPTE hybrid cables and breakout solutions for any application.”

To receive a free copy of the Markertek Fiber Edition Catalog visit www.markertek.com, email sales@markertek.com or call 800-522-2025. Customers can also reach out to their existing Markertek sales contact for a quick quote or further details.

The Markertek fiber shop offers SMPTE Hybrid camera cables in three versions: Flexible studio, Riser-rated install and Outside Broadcast harsh environment. SMPTE hybrid to ST, LC and SC breakout cables area also available - with and without power options - for both internal rack and long distance distribution applications.

“Our LEMO trained fiber optic lab boasts the latest polishing and test equipment,” said Chris Fisher, VP of Engineering at Markertek. “We now have the ability to deliver the fastest turnaround time on both stock and custom fiber optic cable solutions. In true Markertek fashion, we have off-the-shelf solutions. You don’t have to get a quote or wait 3-4 weeks for a SMPTE Hybrid 311 cable.”

To receive a free copy of the Markertek Fiber Edition Catalog visit www.markertek.com, email sales@markertek.com or call 800-522-2025. Customers can also reach out to their existing Markertek sales contact for a quick quote or further details.

The HYDAP provides a solution to running expensive long length SMPTE 311 hybrid camera cables by converting the SMPTE hybrid connector to conventional single mode ST connections or Neutrik opticalCON LC connections. These robust in-line adapters feature an extremely durable extruded aluminum housing for harsh production environments. Fiber connectors are recessed to prevent damaged ends and a square housing design prevents rolling. HYDAP units are available in both SMPTE hybrid male and female models breaking out to either ST fiber or Neutrik opticalCON connections. Standard models are passive but are also available with power options.

“Now you can use conventional ST fiber or Neutrik OpticalCON cables with your SMPTE hybrid cameras,” said Chris Fisher, VP of Engineering at Markertek. “These SMPTE hybrid breakout solutions lower your cabling costs and offer a simple inline solution. The housing is so rugged we drove a Jeep over them and they survived.” Continued Fisher, “It is our goal to be the #1 supplier of custom fiber optic solutions to the broadcasting industry. Markertek has a LEMO trained staff and now offers SMPTE hybrid cables and breakout solutions for any application.”

To receive a free copy of the Markertek Fiber Edition Catalog visit www.markertek.com, email sales@markertek.com or call 800-522-2025. Customers can also reach out to their existing Markertek sales contact for a quick quote or further details.

“The TV landscape, particularly across EMEA, continues to evolve at a rapid pace, and our customers increasingly turn to us to help streamline their operations and increase efficiency when deploying new services,” said Tim Thorsteinson, President and CEO of Grass Valley. “I am delighted to welcome Said to Grass Valley and to have his experience on board as we seek to widen our reach across the Middle East & emerging markets in EMEA. Said has a vast knowledge of the region and is hugely respected among his industry peers. He is a welcomed addition to our leadership team.”

Bacho joins Grass Valley from Harris Broadcast, where he served as VP, Middle East and South Asia since 2005, winning numerous company awards during his tenure. Among his responsibilities were leading sales, services, marketing, and operations activity in 30 countries across Eurasia, North Africa, the Gulf, CIS, & Indian subcontinent, effectively evaluating and activating business opportunities for developed and emerging markets while establishing and managing strategic partnerships, key accounts, and channels. Prior to his role at Harris, Bacho managed Pinnacle Systems’ business in MENA, and worked at TekVideo and Future Television in sales & technical roles respectively.
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“I’m extremely excited to be joining Grass Valley at this time. As well as working with a long-established customer base across EMEA that includes some of the most well-known names in the industry, I’m eager to establish a wider presence in new markets across all product lines,” added Said Bacho. “With a powerful portfolio of end-to-end solutions, and a talented leadership team in place, I’m looking forward to a long and successful future with Grass Valley.”

The two trucks received identical equipment packages slated for video processing, signal conversion and distribution. The order comprised eleven frames including Cobalt’s new award-winning HPF-9000 high-power, high-density frames. The units are populated with nearly 200 cards including the Company’s 3G/HD/SD-SDI Fusion3G 9901-UDX up/down/cross format converter, numerous DAs and color correctors. Cobalt also supplied multiple OGCP-9000 control panels, and numerous Mini-DIN rears ensure maximum density. Fabrication was accomplished by Beck Associates, a systems integrator located in Pflugerville, TX.

Turner Studios is the full service production division of Turner Broadcasting Systems Inc. aligned under Turner’s Global Technology and Operations division. Turner Studios services include studio operations, live broadcast production operations, post production, visual effects and animation, design and creative services, digital media production, remote and outside broadcast production. Turner Studios services all of Turner’s Entertainment Networks including TBS, TNT, TCM, Cartoon Network and TruTV, as well as Turner’s news networks including CNN, and many of Turner’s International Networks such as TNT and Cartoon Latin America.

“Every day, creative professionals around the world spend numerous hours and resources on non-creative tasks like moving and sharing content, figuring out how and where to store it, and getting the right assets to the right places and in the right hands,” says Naomi Climer, President, Sony Media Cloud Services. “Sony understands these complex challenges, which is why we designed Ci as a functionally rich, scalable and secure, media-focused cloud platform that can enhance and streamline traditional production workflows to make it easier to collaborate more effectively and cost-efficiently.”

Leveraging Sony’s end-to-end expertise across the media landscape, the new company’s robust, scalable cloud platform, CiSM (pronounced see), will provide studios, broadcasters, independent producers, marketing teams and other creative individuals a “one-cloud” solution to collect, produce and archive high-value, high-definition content, allowing fast and secure collaboration on a global scale.

Sony says Ci has been designed with intuitive capabilities to analyze complex media and data to enable machine-assisted workflows—making it one of the industry’s most innovative media solutions available to professionals at any level. Pay-as-you-go pricing, infinite scalability, application-based servicing, all from a secure browser-based user interface, make it simple for people to assemble teams online, work on projects and access files from locations around the world.

Ci is currently in beta production and will be on display next week at the 2013 NAB Show in the Sony booth. Ci is available within the U.S. and European markets, with plans for additional service capabilities to be launched within the year. Sony Media Cloud Services is headquartered on the Sony Pictures Studio lot in Culver City, Calif., with regional teams based in North America, Europe and Asia.

Telestream Vantage provides a complete range of world-class video transcoding and intelligent workflow orchestration products – from single-server systems for automating transcoding, to very large, multi-server systems that produce and assemble millions of finished media packages. Vantage brings transcoding, media capture, metadata processing, and analysis into a unified system. With Aspera faspex seamlessly integrated into Vantage, operators can now incorporate secure, high-speed file transfer and delivery of any file or groups of files as part of the unified and completely automated Vantage video workflow process.

The modular nature of Vantage makes it easy for users to create workflows that incorporate Aspera faspex delivery. Direct product integration allows Vantage to create the faspex package and to initiate the high-speed transfer to an Aspera server. Recipients are notified upon package delivery and can download the package with any Aspera faspex client including the Connect browser plug-in, iOS or Android mobile faspex app, Cargo automatic downloader, or the Aspera faspex Add-in for Outlook.

“We are committed to providing an open platform that unifies our tools with third-party solutions into a managed workflow ecosystem, and Aspera is often requested by our customers,” said John Pallett, director of product marketing, enterprise products at Telestream. “Instead of manually initiating an Aspera transfer, now our customers can automatically deliver finished video via Aspera, knowing that the content will be delivered at maximum speed as soon as it is available.”

“With the continuing evolution of our partnership we are very excited that Telestream has integrated Aspera into Vantage,” said John Wastcoat, Aspera VP of business development. “By integrating fasp directly into Vantage, Telestream customers can automate any workflow, including ingest and distribution, enabling large scale, high volume digital processing pipelines.”

“Our production strategy for this series is consistent with all of our horse-racing coverage: our goal is to make each telecast entertaining, informative, and inclusive for the common racing fan,” says Rob Hyland, lead producer for horse racing, NBC Sports Group. “We will continue to showcase the spectacle of each event, but we will always keep the competition pure.”

All races are co-produced by NBC and Carr-Hughes Productions (which also works on NBC’s Summer at Saratoga series, U.S. Olympic Trials, USA Track and Field, Fight Night, and various other equestrian events). Hyland will produce the telecast at the front bench, as he will do for all of NBC’s Triple Crown and Breeders Cup races later this year.

Hyland and company will also continue to outfit jockeys and exercise riders with GoPro cameras in the days leading up to each race to give viewers the perspective of being “on board” some of the notable horses in each field. NBC will also roll out RED high-speed HD cameras at each of the races for ENG purposes.

“The Road to the Kentucky Derby series will introduce this year’s contenders and the compelling storylines associated with the [Derby],” says Hyland. “The Road to the Kentucky Derby gives our team of on-air announcers, production members, and technicians a great knowledge base, a robust footage archive, and the ability to strengthen relationships with the connections of the 2013 Derby field.”

There is also the sense of peace promises by a show that, over the years, has had its share of battles.

“This is the first NAB that we will go to in 30 years where the industry is not engaged in format wars,” says Alec Shapiro, president of Sony Professional Solutions of America. “We can do SD, HD, 720p, 1080i, 1080p, 4K, and even 8K. And the great part about being beyond definition is, we can focus more attention on workflow solutions.”

Customers will be curious as to the future of 4K, the next-generation format that delivers vastly more picture information than HD. Sony’s existing 4K products will be on display, and the company is waiting until its press event on April 7 to let the world know what other developments in 4K production tools are in the works.

“Since CES, the attention to 4K has accelerated, and, as the consumer sets become more prevalent, the interest in 4K production is going to rise,” says Shapiro. “But it presents a lot of challenges, especially for live sports, as it will need a whole new infrastructure. So we are still listening to our customers to learn what they need.”

He believes that 4K will avoid the media hype that put 3D squarely in the crosshairs of industry execs looking to give it an immediate thumbs up or down.

“In motion pictures,” he adds, “the use of 4K is very well established, and I do think 3D has become more commonplace in the movies and is not going away.”

And, while 3D productions still face the difficulty of camera positions, for big-time 2D productions that already use the prime camera locations, the move to 4K may be more similar to the move from SD to HD. “The reality is,” he adds, “you can shoot in 4K and transmit the same production in HD.”

Then there is the price point of 4K cameras relative to first-generation (and even second- and third-generation HD cameras).

“The 4K cameras we selling today cost less than some of the HD cameras 10 years ago, and, if you go back even further, the price of the F55 4K camera is less than the first Digital Betacam cameras,” he says. “So you can shoot in 4K today and archive it for future revenue generation.”

That is where Sony and others see the potential for a sports industry to think beyond definition.

“Why not have at least your primary events produced with the highest-quality format you can?” Shapiro asks. “Three years from today, 4K will be a very real format.”

“The new HD cameras and lenses are part of an ongoing capital upgrade to transition our in-house video production facilities from SD to HD,” Blue says. “This camera equipment, along with a new Panasonic Lighthouse HD LED video display, will enhance the game-day experience at our 81 home games per season as well as the 450 private events held at Safeco Field every year.”

The Mariners’ in-house video facilities include a production control room located behind home plate that is used to produce the live in-park game program on the HD video board during home games. When installed, the massive (11,425 square foot) Panasonic Lighthouse HD video board—controlled by ANC software—will be the largest such display at any Major League Baseball stadium. These facilities also meet video production needs for private and community events—such as corporate meetings, weddings, trade shows, parties and high school baseball games—held at Safeco Field on non-game days.

“We chose FUJINON HD lenses based on our experience with this brand of SD lenses over the years. Balls hit very hard during games often damage our cameras, but our FUJINON lenses have rarely had to go out for repair,” Blue says. “Our decision was also based upon the outstanding picture quality and performance of FUJINON lenses, as well as the excellent, personalized service we’ve received from our regional rep Josh Ewing.”

The agreement with CBS Sports provides for national exposure for men’s regular-season basketball and up to 12 appearances per year.

“CBS Sports has been a partner of the Big East for 30 years,” said Sean McManus, Chairman, CBS Sports. “As the conference enters into a new and exciting era, we are proud to continue our relationship and showcase the conference’s best games.”

“We are delighted to be extending the historic and successful relationship that we have enjoyed with CBS Sports since 1983,” says conference commissioner Mike Aresco. “This agreement further illustrates the excitement and anticipation that surround the re-invention of our Conference, and it will provide our fans across the country the opportunity to watch our games on network television.”

CBS Sports broadcasts an extensive regular-season schedule of college basketball that annually features over 40 games, including conference championships from the Big Ten, Atlantic 10, Mountain West and Conference USA. CBS Sports and Turner Sports combine for exclusive coverage of the NCAA Division I Men’s Basketball Championship, providing live, full national coverage of the tournament’s 67 games across four national television networks – CBS, TBS, TNT and truTV.

“The major differentiator for the GY-HM650 is all of its IP capabilities,” explained Dave Folsom, vice president and chief technical officer, Raycom Media. “Between the built-in live streaming and FTP file transfer capabilities, we can’t wait to get these cameras in the field.”

Raycom, which began with 15 stations in 1996, owns or provides services for 52 stations in 36 markets in 18 states, covering more than 12 percent of U.S. TV households. The new cameras began arriving this month, and are being distributed between the 31 Raycom stations that produce local news. This large adoption follows an earlier Raycom purchase of JVC cameras for studio use.

“We have a lot of aging cameras at many of our stations,” Folsom noted. “We intend to buy many more cameras going forward, because we have to replace as well as greatly expand our fleet over the next few years. The GY-HM650 is being used to enhance that older fleet.”

Designed for mobile news and reality documentary production, the lightweight GY-HM650 features three, 12-bit CMOS sensors and a built-in Fujinon wide angle 23x zoom lens with auto-focus, optical image stabilizer, and manual controls. When equipped with a Verizon 4G LTE modem connected to the back of the camera via USB, the camera’s unique dual codec technology allows shooters to stream live HD video transmissions while continuing to record footage. The camera is also able to transfer recorded clips to a remote server via built in FTP. The GY-HM650 records HD or SD footage in multiple file formats – including native XDCAM EX™ (.MP4), Final Cut Pro™ (.MOV), .MXF, and AVCHD – to non-proprietary SDHC or SDXC media cards. JVC will demonstrate the GY-HM650’s live transmission capabilities at the 2013 NAB Show (Booth C4314), which runs April 8-11 in Las Vegas, Nev.

For example, traditional applications that require eight frame synchronizers also need eight processing cards. Now, Miranda has designed the NV8500 Frame Sync Input Card, a single input card that can take wild feeds or inter-facility signals of various video formats and sync them to a house standard. The card provides eight frame synchronizers with support for 3Gbps, HD and SD and helps reduce space, weight, power and cabling requirements by integrating this modular function inside the router. To add further value and functionality, the card also performs audio disembedding in addition to its frame sync functions.

The NV8500 router also now features the option of a new DEM/EMB Output Card, a hybrid, 16-channel disembedding and embedding card that provides flexibility with the ability to embed audio into any embedded audio channel – anywhere – while preserving the integrity of other embedded audio channels. From any standard input card, the DEM/EMB output card enables the router to easily shuffle original embedded audio as required for each channel.

Miranda’s new, multifunctional NV9648 and NV9649 control panels are able to emulate existing control panels from a variety of brands and also has more third-party interfaces and options than any control panel on the market, according to Miranda, thus providing an ideal replacement for those looking to upgrade to highly advanced levels of control.

As part of the deal, ESPN, ESPN2 or ABC will televise a minimum of three Boise State football home games nationally. The Broncos’ remaining home contests will either be made available on either ESPN, ESPN2, ESPNU, ESPNEWS, ESPN3 or ABC. Up to 16 conference-controlled football games per season will be available on either ESPN, ESPN2, ESPNU, ESPNEWS, ABC, or ESPN3.

For men’s basketball, up to 31 conference-controlled games will air on either ESPN, ESPN2, ESPNU, ESPNEWS or ESPN3.

In 2012, ESPN televised four MW football games through a sublicense agreement. It marked the first time ESPN had televised Mountain West games from a member institution’s home venue since 2005. ESPN had a regular schedule of conference member home games from the league’s inception in 1999 to 2005 and televised BYU vs. TCU at Cowboys Stadium on Friday, Oct. 28, 2011.

“It’s great to be back in business with the Mountain West. They are a deep, high quality and competitive conference,” said Burke Magnus, ESPN senior vice president of college sports. “We look forward to once again showcasing the league’s institutions, student-athletes and compelling storylines across multiple sports and ESPN platforms.”

“The Mountain West and its member institutions are very pleased to be re-establishing a television partnership with ESPN,” said Commissioner Craig Thompson. “We had a very successful relationship during the first years of the Conference and have stayed connected over the years through our bowl agreements and other interactions. This new agreement is mutually beneficial and offers great promise for the seasons ahead.”

The AVC-Ultra codec family will include a wide range of capabilities, from low-level AVC-Proxies to AVC-LongGop at 50 Mbps (and 10-bit, 4:2:2), to the AVC-Intra recording at 10 and 50 Mbps, and then a high-end of 200 Mbps, 10-bit 4:2:2 recording and even 4:4:4 recording at 12-bit for master recording needs.

“We are adding 60 frames per second 1080p recording to our products and beyond that AVC Ultra will allow for recording at 200 Mbps, doubling the current rate of 100 Mbps,” explains Mike Bergeron, Panasonic, Media and Production Business Development manager. “Compression artifacts are like icebergs as there are ones that are not visible but will be passed on to deliverables [and will cause problems when re-encoded]. Going to do 200 Mbps is something that makes things bulletproof.”

The new AJ-PX5000 AVC-Ultra camcorder, available this fall for $28,000, is the best camcorder the company has introduced, according to Steve Cooperman, Product Manager, Panasonic System Communications Company of North America.

“It records in all formats, is switchable between 50/60 fps, and has optional Class 200 recording for higher quality video with less artifacts for true mastering needs,” he explains. “And with 2/3-inch 3-MOS sensors it has a high-quality, low-noise signal.”

“There are many great people and great companies in Nevada’s technology industry, so it’s an honor for me to be considered one of the best of the past year,” Babic said. “This award is a reflection of hard work and dedication from all of us at iStreamPlanet, confirming once again that this country and this state allow more people to dream than any other place in the world. It’s only a matter of how big you want to dream and how hard you want to work.”

In its 12-year history, through continuous innovation, Babic’s company has amassed expertise that has allowed it to enjoy great success. iStreamPlanet counts among its customers and partners some of the world’s leading sports and entertainment, enterprise, and technology brands, including NBC, Turner Broadcasting, AT&T, Intel, and Microsoft. In the dozen years since its inception, iStreamPlanet has become the multiscreen live streaming provider behind some of the world’s biggest and most complex live events and linear channels, including Pac-12 Networks, the Olympics, Wimbledon, the U.S. Open, the French Open, Tour de France, Sunday Night Football, TNT, NBA Overtime, PGA, NASCAR, and UFC on Xbox.

The newly launched truck, was designed and built from the ground up to be a compact, efficient HD unit providing all the production tools that clients require. The 45-ft. trailer has a three-bench production area and audio, tape/server, and video/engineering areas, all in separate rooms. Grizz HD is less than half the weight of a 53-ft. trailer and does not need a B unit.

Grizz HD is well-suited for posted shows and corporate events and comes equipped with 10 AJA Ki Pro Rack iso recorders as well as an onboard Avid/FCP edit system and a complete EFP camera package. Full audio embedding and de-embedding allow eight audio channels to be assigned to each iso recorder.

A Calrec Omega mixer, GV Kayenne switcher, seven GV LDK 3000+ cameras, two six-channel EVS servers, a Utah Scientific router, and a Chyron HyperX3 graphics system round out the equipment list.

The 2013 schedule already has Grizz HD on location from Florida to California and from Austin, TX, to Indianapolis.

The agreement, announced Tuesday by PBA CEO Geoff Reiss and Dan Weinberg, Senior Vice President, Programming, CBS Sports Network, includes five two-hour telecasts featuring stepladder finalists from four PBA Summer Swing events, and concludes with a GEICO PBA Summer King of the Swing special event featuring the top five competition points leaders from the Summer Swing events.

Summer Swing telecasts debut Tuesday, June 11 (7:00 PM, ET) on CBS Sports Network and continue for five consecutive Tuesdays at 7:00 PM, ET.

“We’re thrilled at how committed CBS Sports Network is to the PBA and we’re looking forward to their telecasts of the debut of the Summer Swing,” Reiss said. “The PBA’s long-term success is predicated on developing great partnerships and we’re looking forward to working with everyone at CBS Sports Network to grow both the PBA and the Network.”

“We’re excited to partner with the PBA and showcase the world’s best bowlers,” Weinberg said. “The PBA has a storied history and an established fan base and we’re pleased to add it to our extensive lineup of event programming.”
The GEICO PBA Summer Swing is a new series of PBA Tour events which will be contested on three new “animal pattern” lane conditions that will debut in Milwaukee. The qualifying segments of the PBA Badger Open, PBA Wolf Open and PBA Bear Open will be hosted by three different Milwaukee area bowling centers (AMF Waukesha, AMF West and AMF Bowlero) between May 19-30. The cumulative pinfall totals from the three animal pattern events will qualify players for the Milwaukee Open, the fourth event in the series, and the GEICO PBA Summer King of the Swing will feature the top five points leaders based on the four previous events.

The Badger Open finals will air on June 11, the Wolf Open on June 18, the Bear Open on June 25, the Milwaukee Open on July 2 and the GEICO PBA Summer King of the Swing on July 9. All will be two-hour, five-player stepladder finals.
CBS Sports Network, the 24-hour home of CBS Sports, is available to 100 million homes nationwide through local cable, video and telco providers including Verizon FiOS (Channel 94) and AT&T U-Verse (Channel 643, 1643 in HD) and via satellite on DirecTV (Channel 613) and Dish Network (Channel 158).

The GY-HM70 is equipped with a high quality 29.5mm wide-angle GT lens that offers smooth 16x dynamic zoom performance. Veteran shooters will appreciate the camera’s manual focus, iris, and shutter controls, as well as manual and automatic white balance. The camera also provides an optical image stabilizer, auto focus, and focus assist.

At the core of the GY-HM70 is its 1/2.3-inch 12 megapixel CMOS imager. When combined with JVC’s advanced FALCONBRID high-speed processor, it captures, processes, and records 1080/60p, 1080/60i, and 480/60i (SD) footage at various bit rates to SDHC/SDXC memory cards. It also allows high-speed video recording for slow motion footage at 300 fps (720×480 resolution), and captures 12 megapixel still images.

JVC’s unique, hot swappable dual battery system allows hours of continuous, uninterrupted shooting. For shoulder shooting, the GY-HM70 has a .24-inch LCOS color viewfinder, but it also includes a three-inch LCD flip-out touch screen display for tripod shots and playback. Audio features include a built-in zoom microphone, 3.5mm microphone input, and 3.5mm headphone jack.

“With the introduction of the GY-HM70, JVC immediately focuses on the entry-level professional video market with a very cost effective shoulder-mount camera,” said Craig Yanagi, JVC national marketing and brand manager. “At this price, and packed with innovative features, the GY-HM70 will appeal to various market segments where budget is limited but a full-sized camcorder is the preferred choice, such as schools and universities, as well as event and wedding videographers.”

The GY-HM70 has an MSRP of $1,995 and will be available in May 2013.

“Fans of SXSW want more live content,” says Russ Hull, Pro Media Tech Producer with SXSW. “By using three TriCaster systems, our production team is making some of the top festival content available to our loyal community members who aren’t able to make it to Austin this year.”

Designed for mobility and scaled for small spaces, TriCaster provides rapid setup, complete live production capabilities, built-in multi-track ISO recording, and the world’s most powerful switcher effects system, enabling users to create and live stream shows with big impact from any location.

In addition, the SXSW festival is not the only organization that will be extending live events to online viewers. A range of world-renown brands that are participating in the festival will also use TriCaster to live stream, socially post, and showcase their products and events.

“SXSW is one of the most elite festivals of its kind and its increasing popularity makes it more important than ever to expand the show through live streaming,” said Philip Nelson, SVP of Artist and Media Relations at NewTek. “TriCaster is the preferred choice of media professionals who want to create and live stream a show that looks just as good a network TV, and is the perfect vehicle to help them spread the SXSW experience to a global audience.”

With 126-foot candles at nine feet, the 800 model has almost twice the output of the 400 model. Like all Lowel Prime Power LED Lights, the new model 800 is dimmable (via DMX or manually on the back of the unit), with “tweakable” color for critical balancing against other light sources, and offers silent fan-less air convection cooling. Components are secured in a rugged all-metal housing. Each Lowel Prime Power LED comes with a hanging C-clamp and female Stand Fitting. Users can also choose from an assortment of light controls.

“Glen is known not only for his extensive industry knowledge and technical expertise, but also for his ability to leverage those strengths in delivering high-quality individual and team results,” said Edel Garcia, vice president of worldwide sales, RadiantGrid, at Wohler. “Given his record of success working with industry-leading companies and technologies, we are confident that he’ll help the RadiantGrid sales team to better identify and service customers’ file-based workflow requirements while supporting the rapid growth of our RadiantGrid product platform and associated support services.”

Prior to joining Wohler’s RadiantGrid team, Seaman spent more than 15 years with Avid Technology, where he held roles in product design and management, pre-sales, and applications engineering, and managed an application specialist and sales engineering team. He has extensive experience in file-based workflows and technology, providing outstanding technical guidance and support for deployment of NLE and file-based production tools.

Seaman will provide liaison support for design and deployment of RadiantGrid products and services between engineering, sales, and end users on a global basis.

Elemental Live video processing systems are deployed in The Weather Channel operations center in Atlanta, GA to help the network deliver top weather stories to viewers, including live video streaming of major weather events and breaking weather-related news.

For example, The Weather Channel is using Elemental systems to stream live content to the company’s YouTube channel. When The Weather Channel streamed live coverage of Hurricane Sandy to YouTube in 2012, Elemental systems powered delivery of video over the duration of the event. There were more than 12 million total live video streams viewed during the course of Sandy on weather.com and YouTube, with a peak of 167,000 concurrent users.

To support the growing demand for its content on portable devices, The Weather Channel uses Elemental Live systems to format and stream video to its highly successful mobile applications. With more than 100 million cumulative app downloads on all tablets and smartphones, The Weather Channel reaches 38 million mobile consumers monthly through weather.com on web and mobile applications. The cable network also reaches 50 million web consumers on weather.com and desktop platforms.

“The success and reach of our mobile applications is a testament to our users, to our technology team that creates the best apps available on every screen, and to video processing solutions from Elemental that power our multiscreen offerings,” said Bryson Koehler, executive vice president and chief information officer for The Weather Channel. “With the astounding growth of our digital audience for our premium content on web and mobile screens, assuring a high-quality, widely available viewing experience is vital.”

Built upon the AERO.air, AERO.2000 includes AEROMAX loudness control with patented Linear Acoustic Intelligent Dynamics hybrid metadata processing for proven loudness control, industry-standard upmixing via UPMAX II with fulltime downmix, optional Dolby encoding/decoding and Nielsen Watermarking, and extensive I/O features.

Support for up to 16 audio channels in two independent instances – 5.1+2+Local and 2+2+Local – provides a high degree of program configuration flexibility, while ITU-R BS.1770-3 simplifies loudness monitoring for all programs. Professional audio metadata can be applied to minimize processing and control functions, or traditional processing and upmixing can be employed.

A comprehensive TCP/IP remote control is included, giving users the ability to set up, adjust, and display all AERO.2000 parameters including loudness metering, Dolby Digital (AC-3) statistics, and even return audio (network speed permitting). The software can connect to multiple AERO.2000 units simultaneously, a major convenience for anyone who oversees multiple stations in different locations. A built-in http server provides access to metering logs.

AERO.2000 includes AES and HD/SD-SDI I/O, compensating video delay, and redundant power supplies as standard features. Dolby Digital/Plus encoding, Dolby Digital/E decoding, and Nielsen Watermarking are optional.

The royalty free production music tracks are provided in both 16 bit 48 k broadcast wav files and mp3 320 files on 3 DVD ROMs that are organized by musical style. · The library includes both Excel and pdf track listings on each DVD. The first music DVD represents competitive and aggressive music, the second music DVD represents the softer side, and the third DVD provides a cross section of specialty music.

Check out The Mix XIV Music Library – Royalty Free Music File Listing to see the complete contents of this package.

The enterprise-class T-Finity, utilizing LTO data tape technology, will manage and store NASCAR’s vast historical broadcast data, including NASCAR-related events, TV programs, movies, commercials and other broadcast-related data sets. NASCAR’s video footage was previously archived on a Spectra T950 tape library, enabling a transition to a higher-capacity T-Finity tape library using Spectra’s TranScale feature, which protects prior investments and allows users to seamlessly transform and scale an existing tape library.

“When NASCAR Productions purchased the T950 library in 2008 it was configured to archive 50,000 hours of video footage, and in just five years, its broadcast data bloomed by 260 percent to 180,000 hours,” said Brian Grainger Spectra Logic’s senior vice president of worldwide sales. “We have served NASCAR’s storage needs for many years, and were pleased to help them meet their growing needs with Spectra’s efficient, timesaving TranScale capabilities. Spectra Logic prides itself on developing long-term relationships within the industry’s vendor, partner and end-user communities and, as the NASCAR solution illustrates, working with those contacts to meet unique and ever-changing data preservation needs.”

With Spectra’s TranScale architecture, T-Series tape library customers can utilize the common, interchangeable components between Spectra’s T-Series library family, enabling customers to seamlessly scale to the next largest library as data sets grow. The TranScale upgrade is easy and fast. It allows users to retain critical tape library components, eliminates the need for host/server reconfiguration, serial number changes, world-wide name changes, and switch rezoning, and is guaranteed to be completed in less than half a day. NASCAR Productions TranScaled from its T950 to a T-Finity with a simple chassis change.

“NASCAR needed to expand its data storage to accommodate a growing amount of video data. Spectra’s TranScale feature allowed us to transform our T950 into an upgraded T-Finity tape library,” said Steve Stum, NASCAR Productions’ vice president of operations and technical production. “The upgrade process involved a simple chassis replacement instead of a complex technology refresh, and we were able to complete the process in just a few hours.”

The podcast, hosted by business leader, author, trainer, coach and humanitarian David Wood, is now heard three days a week in 153 countries. Its loyal listener base regularly tunes in to hear thoughtful commentary and interviews on topics like overcoming adversity and achieving financial success. Recently, in light of its rapidly increasing listener base, The Kickass Life began using the Sennheiser MK4 microphone for its podcasts.

The Kickass Life podcast was born when executive producer Michael O’Neal saw an opportunity to bring David Wood’s messages on personal development to a more diverse and global audience. He helped establish a brand for the podcast, helped create a framework of content and produced the first show, with David hosting. In just four days, the podcast was recognized as ‘New and Noteworthy’ by iTunes, and was already achieving 1,000 downloads per day — a successful podcast debut by almost any measure.

“David already had some brand recognition in certain places, but the podcast had to look and sound very professional right out of the gate,” O’Neal recalls. They started off using a modest mixer and a dynamic microphone, but after visiting the Sennheiser booth at 2013 NAMM, soon upgraded to a Sennheiser MK4 large diaphragm, condenser microphone. “I tested the MK4 and quite frankly, was blown away by the difference I heard compared with the mic we were already using. I knew this was the mic that would help us get to the next level,” he says.

The Sennheiser MK4 microphone, in addition to a HD 205 headphone, was promptly set up at the Kickass Life’s broadcast location. It was first used on a podcast entitled “Eliminate the Bad to Leave the Good” with guest host David MacArthur, while David Wood was climbing Mt. Kilimanjaro. “I heard a massive difference,” says O’Neal. “With the MK4 there was so much more richness, warmth and depth when compared to the other mic we were using.” O’Neal runs the Sennheiser MK4 into a small Behringer mixer and then into a Zoom H4N digital recorder. Monitoring is done on a pair of Sennheiser HD 205s.

Now that the Kickass Life podcast production team are using the Sennheiser MK4 on a regular basis, they are more committed to achieving a high quality audio standard than ever before: “When we get feedback from our listeners, we are regularly complimented on our sound quality. I set up podcast studios and record all the time, and now I can’t imagine using a different mic than the Sennheiser MK4. It delivers so much bang for the buck and sounds really amazing,” O’Neal concludes.

“Our consistent growth has been fueled by organic profitability and will continue to be driven by successfully combining on-premise, end-to-end IP video workflow solutions with cloud-based systems,” says Mirko Wicha, president and CEO of Haivision. “We have seen a dramatic surge in our Internet media business in the last six months, with our streaming solutions being utilized for large-scale, global events such as the 2012 London Games.”

In addition to new Internet media delivery services, Haivision has recently launched the Makito™ X series, its next-generation, high-definition H.264 encoding platform. With dual-channel HD encoding, the Makito X2 delivers twice the quality at half the bandwidth of competing encoders. The new Makito X platform, along with new technology announcements in the coming year, is expected to significantly contribute to the company’s continued growth.

With more than 200 employees worldwide, Haivision also announced multiple regional office expansions to support its continued growth. The Montreal-based headquarters has doubled its office space and includes a new training facility. Haivision has also added new offices in Germany, Austin, and Atlanta, which includes a state-of-the-art demonstration facility.

Haivision provides organizations with end-to-end solutions for HD video streaming, recording, management, and video delivery on-premise, over the Internet, and in the cloud. With more than 15,000 video solution systems installed worldwide and delivery of media to more than 5 million players daily, Haivision products are sold through more than 300 market-focused resellers, integrators, and OEMs worldwide.

“ChyronIP is a breakthrough for the college sports market. Our St. John’s Television Network (STJ-TV) operation produces remote sports productions for third-party outlets like ESPN3, CBS Sports Network and SNY, as well as RedStormSports.com, St. John’s official athletics site. The large volume of live sporting events we produce in part with the NewTek Tricaster are now able to include professional truck-style graphics,” said Mark Fratto, senior associate athletics director for communications at St. John’s University. “ChyronIP provides a cost-effective and efficient means of creating graphics for our telecasts. Equally important is the system’s versatility — essential for handling graphics templates from various third-party outlets for partner telecasts.”

“Like St. John’s, other colleges and universities can benefit from the affordable, flexible and easy-to-use IP-based graphics solution that Chyron IP for Tricaster provides,” said Bill Hendler, chief technology officer at Chyron. “Designed to meet the specific requirements of mobile production, ChyronIP for Tricaster allows users to bring high-quality Chyron graphics into college level sports productions at an unprecedented price point.”

The award-winning ChyronIP provides producers with up to two HD or SD full-motion channels of Chyron graphics that stream directly into the TriCaster system over a network connection without tying up any of the video inputs. In a compact lightweight chassis, ChyronIP is ideal for sports, news, entertainment, and any other live production.

Chyron will demonstrate ChyronIP at the upcoming NAB show at booth SL1010.

The festival has been created along the lines of a Fringe Festival, but online, where the audience is global, seating is unlimited and viewers can participate in live chat discussions, interact through Twitter and Facebook, while the performance is happening – all powered by TriCaster.

Following the evolution of viewers’ consumption of media, VirtualArtsTV is seizing the opportunity to give artists, producers and writers access to global audiences. The festival simultaneously provides worldwide audiences the opportunity to experience New York’s vibrant live performing arts scene.

Performances in The WiredArts Fest include Abstract Nude, written by Gwydion Suilebhan (a true digital play experience that challenges the audience to “create yourself in your own image”), Exit 12 (a NYC-based dance company whose work is based on Artistic Director Roman Baca’s service in the Marines which was recently featured on CNN), Huis Clos (following a sold-out run and performed in French with English subtitles), Alice and Elizabeth’s One Woman Show (an awarding winning real life comedy about friendship, feminism, aging and cancer) and Die: Roll to Proceed (an audience participatory choose-your-own-adventure comedy with 240 possible outcomes).

The WiredArts Fest will be streamed live via the NewTek TriCaster from The New Media Center at The Secret Theatre today through March 2. Tickets for both the in-house and online audiences are currently on sale at virtualarts.tv.

MLB.com At Bat was downloaded 1.7 million times, a figure not reached until the app surpassed two million downloads on Opening Day 2012 (April 5), 37 days after its release and en route to the record-setting 6.7 million app downloads.

MLB.TV Premium, available for the full season at $129.99 or monthly at $24.99, offers every out-of-market regular season game live to more than 250 supported connected devices and subscribers get At Bat 13 for free, unlocking all premium features in the app.

At Bat debuted a new suite of features last week, including portability of live audio across mobile devices and PC/Mac and universal access across iPhone, iPad, Android smartphones and tablets and Kindle Fire. Fans may subscribe to MLB.com At Bat 13 for the one-time annual fee of $19.99, covering the entire season through the World Series. iOS users may pay $2.99/month with the recurring billing offering.

The manufacturer of award-winning 3G/HD/SD-SDI conversion gear has already begun the process by relocating the engineering staff to its new 20,000 sq. ft. facility. The remainder of the company will follow later this year.

The new building more than doubles the size of the Company’s headquarters which will house administration, manufacturing, management, technical support and accounting. Cobalt’s sales team will continue to operate from regional offices strategically located throughout the world.

“Every aspect of Cobalt Digital is growing!” exclaimed Shaw. “We’ve recently expanded the sales staff, and thanks to input from our customers, our product ranges are reaching broader markets and geographical regions. Having all departments under one roof will streamline the entire R&D and manufacturing process and allow us to react to customer requests faster.“

Wong will be based at Grass Valley’s Hong Kong office and will drive the company’s growth strategy in Asia, with an emphasis on emerging markets, while also leading its teams throughout the region. Wong replaces Andrew Sedek, who is retiring from Grass Valley this month.

“Stephen brings a tremendous amount of experience and industry knowledge, with specific digital television expertise in China,” said Tim Thorsteinson, President and CEO, Grass Valley. “He sold the first digital video server products into China in the mid-1990s, when the market was still in its primary stage of conversion.

“I know Stephen well, having worked with him at Leitch and Harris Corporation, and I am delighted he has rejoined Grass Valley to play a major role in the company’s future. We are very pleased to have him back as a key member of our team and look forward to him strengthening Grass Valley’s leading position in this region.

“I would also like to thank Andrew Sedek for his leadership in building success in the APAC region for the company since our carve-out from Technicolor and wish him every success in his future endeavors.”

Prior to his new role, Wong was Vice President of Asia Pacific Affairs, Broadcast Communications Division for Harris Corporation (Hong Kong), where he led the integration, positioning, and growth of the Harris Broadcast Communications Division for the entire region. He had previously held the position of Vice President of Asia Pacific Operations for Leitch, which was then acquired by Harris.

“With Grass Valley establishing itself as an industry leader in Nonlinear Production and the rapid maturity of the APAC region, this is an ideal moment to be rejoining the company,” said Stephen Wong. “I am thrilled to be taking on this exciting opportunity to expand Grass Valley’s position in the region, through maintaining the high standards of our team and bringing unique solutions and premium customer service engagement to Asia.”

Bruno Mars sang through a Sennheiser SKM 2000 transmitter, coupled with an MMD 945-1 super-cardioid capsule. Sting, meanwhile, delivered a powerful, full-range vocal performance through a Sennheiser SKM 5200-II transmitter with a Neumann KK 105 S super-cardioid capsule.

Perhaps the most emotional tribute of the evening was to Levon Helm, who passed away in April of 2012. An all-star cast consisting of Zac Brown, T Bone Burnett, Elton John, Mavis Staples, Mumford & Sons, and Brittany Howard of Alabama Shakes performed an emotional rendition of “The Weight” with Zac Brown leading off, singing through a Sennheiser SKM 5200-II transmitter and MD 5235 capsule.

John Harris has been music mixer at the Grammys for 20 years and says that attaining outstanding audio has always been the focus. “This is the only show where all my clients are music professionals, so there is nothing more important than the sound,” he says. “For both Bruno’s and Miranda’s performances, the sound of the mic jumped out at me and made me look up,” he recalls. “In both cases, the mics [Sennheiser SKM 2000 with MMD 945-1 capsules] were really well matched to the performers and were ideal for the circumstances.”

Harris says that he continues to receive impeccable support from Sennheiser, which is invaluable at a time when technology is moving so fast: “Sennheiser looks after their products well and having someone on the ground like their artist rep Tim Moore is spectacular. I get the feeling that Sennheiser has a real pulse on their products and that the company is moving forward all the time.”

Longtime AJA customer and editor of A Good Day to Die Hard, Dan Zimmerman traveled to Kuwait to set up the screening together with a USO production team. “Ki Pro is so small, portable and flexible. I was able to travel to Kuwait with a single carry-on backpack with two Ki Pros, to power two simultaneous high quality screenings of our film for over 1100 troops.” Said Zimmerman. “With one Ki Pro we were able to plug directly into a Barco projector and a Yamaha MC7 board and the picture and sound quality were both awesome — this was the easiest screening I’ve ever done. Anything else would have been much more complicated.”

Moreover, Zimmerman and VFX Editor Ryan Chavez also used AJA’s T-TAP Thunderbolt-based adapters to drive a more seamless edit process while on set in London, Budapest and Los Angeles during production of A Good Day to Die Hard. The T-TAPs were used to drive on-set playback from laptops to show the director how new shots were being incorporated into the movie, and provide a rough facsimile of how scenes were cutting together to enable the director to review scenes and make edit decisions while shooting.

“I’ve been a professional editor for over ten years and am constantly testing and evaluating the latest gear — from editorial software to video cards to recorders and converters,” said Zimmerman. “Nothing works as easily or is as compatible with as wide a variety of file formats and workflows as AJA’s video cards, recorders, I/O devices and converters. AJA products are as reliable in the edit bay as they are on the field, and they simply just work.”

The ATSC A/110: 2011 specification provides the standards-based solution for ATSC broadcasters to enable single-frequency networks. This allows broadcasters to synchronize over-the-air content across mobile DTV systems and distributed transmission networks that use multiple low-power transmitters within a broadcast market.

Harris Broadcast enables the solution within its Apex M2X exciter and Synchrony MNA single-frequency network adapter — the only systems currently on the market to offer full compliance. The systems can be used in any Apex M2X-enabled transmitter, including all Harris Broadcast Maxiva UHF and Platinum VHF models. Existing transmission customers can achieve field upgrades through software downloads from the Harris Broadcast Service Portal at http://harrisbroadcast.com/servicesandsupport/default.asp.

Broadcasters have the flexibility to run standard ATSC DTV systems today, and later add mobile DTV systems or convert to distributed transmission systems. The latter is an emerging trend in the industry, gradually gaining favor with ATSC broadcasters seeking to gain operational efficiencies through lower-cost transmission sites. Distributed transmission systems also ensure that broadcasters can maximize their signal coverage in the event that the impending FCC spectrum repack impacts their current channel assignments.

“As broadcasters look to adopt mobile and consider distributed transmission systems for coverage, the new ATSC specification provides a standards-based path for the user to address one or all of these capabilities,” said Richard Redmond, vice president of product management and strategy, transmission systems, Harris Broadcast. “Our solution offers an open toolbox that allows customers to add and change features, while guaranteeing interoperability among the critical components of a transmission system.”

In addition to providing the unique functionality of a MADI audio “hot mic” mixer, Wohler’s new AMP1-MADIe supports fast configuration and use of multiple distributed units within a MADI network via an Ethernet connection with a free, downloadable software GUI; so multiple units can be controlled and configured from a single PC workstation. An added benefit of the AMP1-MADIe is its ability to convert between optical and BNC I/O connections.It’s the perfect solution for any application that requires a simple, compact system for monitoring MADI-delivered audio.

Demonstrated in prototype at IBC 2012 and now available via Camera Corps’ international rental service, SIMPLY SMPTE will be exhibited as part of a complete system. This includes the Q-Ball family of compact all-weather remote pan/tilt/zoom/focus cameras, the 96-channel Multi-Camera Keypad, Standard and Mini Joystick Control units and the CCU-5 universal camera controller.

“SIMPLY SMPTE is designed for use at major large-scale outside broadcast events and in electronic field production,” explains Laurie Frost, founder and Managing Director of Camera Corps. “Like all all our own-brand products, the link was developed to meet our production requirements in covering world-class events such as the 2012 summer games in London.”

Frost says the product was the result of a need for the ability to operate cameras with absolute reliability in all weather across distances of several miles, ideally sending control signals out to the camera and bringing the HD-SDI return feed back along a single cable.

“Like all of our kits, it needed to be inherently strong and highly weather resistant,” adds Frost.

Powered by 110 or 240 volts alternating-current, the base unit incorporates an optical input for incoming video data. Electrical inputs allow direct connection of analog genlock video and audio-frequency control data. A loop-through connector is provided for the control data channel. Incoming video from the remote camera is accessible via two HD-SDI outputs.

The remote unit accepts HD-SDI from the camera and provides genlock, audio data, alternating-current power plus dual 12 volt direct-current 60 watt outputs on XLR4 sockets to drive auxiliary devices. Power from the base unit to the remote unit is fully isolated and protected against an open circuit or incompatible equipment.

The Houston Rockets embarked on an All-Star season by unveiling the largest indoor center-hung video board in the U.S., one that measures a mammoth 25 x 58 ft. Certainly the centerpiece of the Toyota Center, which is hosting this season’s NBA All-Star Weekend, the venue’s new Panasonic video board is just one part of a $15 million upgrade spearheaded by Comprehensive Technical Group (CTG).

The center-hung structure consists of four large HD LED screens manufactured and installed by Panasonic: two 25- x 58-ft. screens bookended by two 25- x 25-ft. screens. Including the video ribbon board at the top of the structure, the viewing area totals 4,194 square ft.

In addition to working closely with Panasonic, CTG handled the installation and integration of the Toyota Center’s control room. The company selected a Ross Video Vision switcher and BlackStorm playout server; Evertz router, terminal gear, and multiview processor; EVS replay system; Chyron LEX 3.1 character generator; and 10 ClickEffects systems (five CrossFires and five Blazes).

Four Ikegami HDK-77EC cameras feed the video boards. The cameras’ low-light performance was one reason the HDK-77EC model was chosen. This allows the production staff to get good crowd reaction shots while the seating bowl is dimly lit. This camera is an economical docking-style portable multi-format HD camera with CMOS imaging sensors for 1080i/720p HD format flexibility, lower power consumption, and reduced operating temperature, and have the ability to switch between fiber or triax cable use.

“It’s stunning, to stay the least,” remarks John Curtis, project manager, CTG. “The creative genius of the guys working at the Toyota Center is unmatched in the NBA, from what we’ve seen. The tasteful implementation of extra statistical data: they have stats running up on the board that you wouldn’t think to see in a regular game. They’re just continuing to push the limits of what the system can do.”

“The media moguls of tomorrow are not high-powered executives at major television networks or movie studios. They’re the YouTube generation,” says Lazar, host and executive producer of “What’s Trending.” “With today’s technology, we have the capability to develop, produce, syndicate and monetize really unique programming without the limitations of broadcast TV schedules. As consumers continue to turn to the Internet for entertainment and information, there’s an insatiable appetite for content that’s engaging and entertaining. It’s television’s long tail playing out before our eyes.”

“SendtoNews’ centralized distribution pipeline will allow us to efficiently deliver broadcast-ready video to over 1,000 newsrooms with millions of viewers across all media platforms, particularly in the fast-growing online video market,” said Brian Carroll, Vice President, Television and Emerging Media at LPGA.

SendtoNews’ distribution is estimated to result in 332 million hyper-local impressions for the LPGA over the 2013 season alone.

“Major sports brands are discovering that in the changing media landscape, our cloud-based digital distribution model is a simple yet powerful solution to maximize exposure as well as monetize content across an array of traditional and emerging channels,” states Greg Bobolo, SendtoNews’ CEO. “We are proud to welcome the LPGA as an important, premium content contributor that further enriches our growing portfolio of quality, sought-after sports video content. We look forward to working closely with the LPGA to syndicate tournament highlights, pre and post interviews, press conferences, commentary, top shots and more through our News Partnership Network.”

As it already does for other major sports brands, SendtoNews will produce and distribute accessible, high-quality HD highlights packages of LPGA tournaments for the needs of television, Internet and mobile media in national, regional and localized markets. Highlights of game day content will be packaged and ready for download by news outlets the same night or early the next morning.

Hernandez has been a member of the Avid Board since 2008. Most recently, he was also Chairman of the Board and CEO of Open Solutions, a technology provider to financial institutions worldwide, which was acquired in January 2013 by Fiserv.

“Louis is a visionary, inspirational leader with a stellar track record of driving the operations and growth of technology companies in a variety of industries,” said George Billings, speaking on behalf of Avid’s Board in a press release. “As lead director, he spent years developing a deep familiarity with Avid’s customers, markets, and products that will allow him to quickly make a positive impact as chief executive.”

According to the SEC filing, Greenfield will be entitled to “payment of his accrued benefits, salary continuation for 12 months in the aggregate amount of $1,014,000, a payment in respect of annual bonus of $1,123,200, payment in respect of COBRA premiums, outplacement services and thirteen months additional vesting on his outstanding time-vesting equity awards. All other unvested equity awards will be forfeited upon Mr. Greenfield’s separation from the Company.

The news comes on the heels of a tough 2012 for Avid, which saw declining profits and a series of layoffs worldwide. In addition, Avid sold the bulk of its consumer product lines over the summer, including its Pinnacle video editing software portfolio (to Corel) and AIR and M-Audio audio editing units (to inMusic).

Nonetheless, Avid stock was up 4.5% ($0.34) after the news broke on Monday, reaching $7.87.

Dante is an interoperable, easy-to-use digital network solution available. Dante is licensed by over 70 OEM manufacturers, and Dante networked devices are currently being designed into hundreds of AV OEM products. Ultimo delivers a low-cost, small-footprint solution without sacrificing audio quality. As with Audinate’s other networked products, Ultimo uses high-quality, low-jitter clocks with ±1μs time alignment between networked devices. Ultimo does not require specialized switches, and works with existing network infrastructure.

Ultimo includes well-established Dante features like automatic device discovery, plug-and-play networking, network-based firmware updates, and customization of device names and channel labels.

“The Ultimo integrated chip solution accelerates the migration from analog to digital signal distribution,” says Gary Southwell, Audinate’s Vice President of Product Management. Southwell adds “Ultimo allows our OEMs to achieve their desired cost targets for networked low channel count endpoints for the first time. Ultimo is already a success, and is actively being designed into commercial products by many of the industry’s largest and most recognized AV OEMs.”

Applications targeted for Ultimo include powered speakers, microphones, speakerphones, amplifiers, paging stations, personal monitoring systems, AV wall plates, recording interfaces, analog/digital break-in/break out, and musical instruments.

Product development kits are available now.

The “2013 Audio Loudness Management Seminar at HPA” will be an opportunity for interested members of the media production and broadcasting communities to attend informative presentations on key elements of audio loudness control. Presenters are audio professionals active in the industry and closely involved in ATSC work relating to broadcast audio. The program will embrace discussions of broadcast audio challenges in the real world, mix room monitoring, content creation, MVPDs, consumer experiences, measurement techniques and an overview of the current regulatory environment.

“The ATSC is pleased to participate in the HPA’s 2013 Tech Retreat,” says Jerry Whitaker, ATSC Vice President of Standards Development. “This seminar will review the A/85 Recommended Practice on Techniques for Establishing and Maintaining Audio Loudness for Digital Television, and discuss the key guidelines contained in the document. Developed with input from a wide range of experts, A/85 is an important tool for audio professionals.”

The Audio Summit will begin at 9:00 a.m. (registration opens at 8:00 a.m.) and run until 4:00 p.m. The event will be held at the Indian Wells Hyatt Regency and additional information regarding the event, full program, and other details can be found on the HPA web site: www.hpaonline.com.

For more information on ATSC work relating to audio issues, please visit the ATSC website (www.ATSC.org) and ATSC Standards and Recommended Practices are available at no charge from the site.

The Advanced Television Systems Committee, Inc., is an international, non-profit organization developing voluntary standards for digital television. ATSC member organizations represent the broadcast, broadcast equipment, motion picture, consumer electronics, computer, cable, satellite, and semiconductor industries.

The Hollywood Post Alliance is the trade association representing the professional community of businesses and individuals who provide expertise, support, tools, and the infrastructure for the creation and finishing of motion pictures, television, commercials, digital media, and other dynamic media content.

Grizz HD comes equipped with 10 AJA Ki Pro Rack iso recorders as well as an onboard Avid/FCP edit system and a complete EFP camera package. Full audio embedding and de-embedding allow eight audio channels to be assigned to each iso recorder.

A Calrec Omega mixer, GV Kayenne switcher, seven GV LDK 3000+ cameras, two six-channel EVS servers, a Utah Scientific router, and a Chyron HyperX3 graphics system round out the equipment list.

In addition to Oklahoma City, the 2013 schedule has Grizz HD on location in Florida; California; Austin, TX; and Indianapolis.

The new release includes powerful new tools to increase workflow efficiency through automated, rules-based file operations, and sets a new standard in proxy editing workflows with the introduction of the EDIUS XS non-linear low resolution proxy editor. EDIUS XS includes most of the effects capability of the full resolution EDIUS editor, delivering unmatched capability for newsroom desktop editing and also opening the door to production workflows that have previously required more expensive full resolution editors.

Based on a unique combination of a service oriented architecture (SOA) and an easy to use Grass Valley-designed GUI (Graphical User Interface), the GV STRATUS application framework brings the concept of nonlinear production—where production and distribution operations merge onto a single collaborative platform—to broadcasters and media companies of all sizes.

“Since its introduction, GV STRATUS has changed the way that news, sports, and entertainment programming is produced and distributed,” said Graham Sharp, SVP and chief marketing officer for Grass Valley. “With GV STRATUS, the work defines the tools, not the other way around. Live and studio entertainment, news, and playout users configure their desktops with the exact tools required by each individual person’s needs based on the project workflow and the tasks assigned. This saves money and increases task efficiency by avoiding big, monolithic applications.”

In addition to the new software just released, significant additional features are in Beta testing at key customer sites. These key features will further expand the scope of integrated, non-linear production workflows with enhanced web publishing features to enable content to be segmented, enriched with metadata, and automatically pushed to the web and mobile devices, as well as the ability for multiple GV STRATUS sites to connect to each other to browse content and manage transfers.

The exciting new time-lapse recording feature allows customers to capture time-lapse video in CinemaDNG RAW 2.5K, Apple ProRes or Avid DNxHD. Customers have a wide selection of capture rates with this new time lapse recording feature as they can select from every second frame all the way up to one frame per 10 minutes.

The addition of the new aperture indicator on the status strip and SDI output overlay for EF compatible lenses allows customers to easily check F stop settings on the LCD display screen.

With the addition of Windows for Thunderbolt, users with certified Thunderbolt hardware will now be able to use a wide range of Windows based software as well as Blackmagic Design’s UltraScope and Media Express software over Thunderbolt with the Blackmagic Cinema Camera.

Support for Windows formatted ExFAT SSD disk adds flexibility for customers to use either HFS+ or ExFAT formats. ExFAT is a Windows based operating file system that features state of the art technology, including large sized disk and file support, wide compatibility and high performance. In addition, Mac OS X also supports ExFAT disks, so ExFAT formatted disks can be plugged into both Windows and Mac OS X machines without any third party software required. Simply insert the formatted disk and the camera will automatically detect format, ready for recording.

“Things are going to happen, and it becomes about how fast you can clean it up, and the power outage is an example of a pretty good recovery,” says Ken Aagaard, EVP, production, operations, and engineering, CBS Sports. “The biggest fear was that the lights would come back on and we would still have no power to the booth, but that didn’t happen.”

Broadcasters operating on generator power provided by Aggreko noticed the outage as the monitors displaying cameras connected to shore power in the affected part of the building went black, coaches and players still visible pointed upwards to the darkened ceiling, and audio communications with staffers in the stadium were lost.

CBS quickly put a plan in action, getting the halftime studio set back up and running and getting Steve Tasker, Solomon Wilcots, and its studio team in place to report on the situation as a breaking-news story. Other steps taken included moving the Skycam to a safe location away from the field and parking it in case there were additional issues and to prevent its being stuck over the field.

The NFL world feed was also affected, although an uninterruptible power supply gave the broadcast announce team a couple of minutes to explain what was happening before it too ran out of juice.
“Our world-feed cameras and truck stayed live,” says Glenn Adamo, VP of media operations, NFL, “and we were fine as our own generator kept the truck and equipment up.”

ATEM Software Update 3.5 lets customers build their own user interface and software for use with all ATEM Production Switchers. The update includes a comprehensive Developer SDK that provides the current interfaces for all existing functions. Now customers have the flexibility to use the ATEM Production Switcher for many commercial applications, like integrating into broadcast automation systems.

ATEM Software Update 3.5 is available now for download free of charge from the Blackmagic Design website.

With this software release, the FRC-8000 offers a unique level of in-depth user control, giving operators the ability to customize settings based on their specific needs. Users of the frame rate converter will now be able to select a ‘winter sports’ scene type, a special mode created by FOR-A to optimize the conversion process in environments with high-speed moving objects in highly saturated backgrounds that contain a lot of bright white, such as snow or ice.

“One of the strongest features of our FRC-8000 is the ability to fine tune our vector motion process,” explained Pedro Silvestre, Sales Director, FOR-A Corporation of America. “The FRC-8000 will produce world class results using the automatic conversion modes, but the new ‘scene type’ setting provides a new level of conversion, not available on any other motion vector converter.”

Offering simultaneous HD and SD output and an optional front touch panel for easy operation, the FRC-8000 is a popular frame rate conversion solution that has been utilized by many broadcasters to convert footage to the appropriate standard. Equipped with FOR-A’s proven motion compensation processing technology, the FRC-8000 supports a wide range of signals, including 1080i, 720p, NTSC and PAL. Up, down, and cross converters provide both frame rate and format conversion in a single unit. The solution’s new winter sports function will benefit broadcasters who are working on winter sporting events, such as speed skating, figure skating, skiing and snowboarding. While the FRC-8000 already offered a host of advanced functions to ensure excellent image quality, the new feature allowing users to customize the pre-set mode presents an even greater advantage. Broadcasters now have a wide range of control parameters, and can select from ‘normal,’ ‘sports,’ or ‘winter sports’ as their menu setting.

“We’re excited to offer this new feature,” said Silvestre, “The FRC-8000 was successfully used by a variety of broadcasters for the London Games last summer, and we anticipate that this new winter sports setting will prove popular for the 2014 Winter Games in Russia. More immediately, we look forward to seeing the new setting in action for upcoming winter sports productions.”

Customers deploying the FRC-8000 for sports production include: ESPN; the Canadian Broadcasting Corporation (CBC/Radio-Canada); Mexico City-based television network Televisa; Rogers Sportsnet, a Canadian live-event and high definition broadcaster; and Casablanca, a Brazilian provide of satellite communication services to customers such as Fox Sports Latin America.

RunONE Powered Cablescombine audio and power, along with optional data, under a single durable, yet flexible jacket. With multiple uses for corporations, DJs, lighting rigs and tours, RunONE allows the user to pull a single cable in place of multiple cables, providing a portable and neat solution that saves time and hassle.

Each RunONE cable combines one channel of power with two, eight or 12 channels of 110 Ohm balanced audio for line level, mic level or digital AES audio signals and can be used with self-powered speakers or in DMX lighting control. Additional configurations of RunONE include two channels of Category 5e cable that can be used for data drops in remote power and audio applications. Snakes with optional data can also be used for digital audio transmission while sending power to Front of House (FOH) for remote locations. Shielding around the power channels eliminates power noise from interrupting the audio/data signal, ensuring high-quality performance.

Joining the existing Professional Line of RunONE cables, the new Touring Line was designed with larger-gauge power conductors and an overall shield. The 12 AWG power conductors of the Touring Line provide a lower voltage drop for long distance runs, while the overall shield reduces outside noise often encountered during those longer runs.

Terminated with industry-standard connectors, RunONE cables offer the option of Edison, IEC and Neutrik powerCON connectors for the power channel; 3-pin XLR, 5-pin XLR (for DMX lighting), TRS and Neutrik convertCON connectors for audio channels; and RJ45 and Neutrik etherCON connectors for optional data channels. RunONE cables are available in pre-defined and custom configurations.

“The RunONE cables are a great solution for anyone looking to save time,” said Joe Zajac, Sales and Applications Engineer for Gepco Brand Products. “Now the RunONE Touring Line also provides a neat solution where extended runs of cable are needed.”

Comedian Adam Carolla launched the Video Podcast Network on YouTube January 15 with a live interview with Epic Meal Time’s Harley Morenstein from Corolla’s studio in Glendale, CA and streamed with TriCaster by Streamin’ Garage.
Five different podcasts aired live on YouTube last Friday and Saturday with guests including Tom Lennon, Paul Scheer, and more. These live podcasts include Comedy Bang Bang with Scott Aukerman; You Made This Weird with Pete Holmes; Who Charted? with Howard Kremer and Kulap Vilaysack; Call Chelsea with Chelsea Peretti; and the infamous Windy City Heat.

By utilizing TriCaster, Streamin’ Garage became an industry leader since its launch in 2010. The company produces original content including the popular video podcasts, “Stupid For Movies” and “Stupid For Game of Thrones” and moved to the forefront of live music streaming with its “Stripped Down Live” series (hosted in season one by Tears For Fears’ Curt Smith).

“Streamin’ Garage has shown that a guy with good ideas and a TriCaster can create his own live content and broadcast it to the world,” said Philip Nelson, NewTek’s SVP of Artist and Media Relations. “It is exciting to see that television producers are using NewTek’s multi-camera live video solutions and making the move to the web.”

The podcasts can be watched at youtube.com/vpn or videopodcastnetwork.com

Powered by TriCaster, and founded by Emmy nominated TV veteran Mike Rotman (Politically Incorrect with Bill Maher, South Park, The Simple Life), Streamin’ Garage, is a multi-camera, live streaming production company and video podcasting network, broadcasting an eclectic mix of HD programs. Streamin’ Garage Video Podcast Network is syndicated to blip.tv, Roku, Tivo, boxee, Samsung TVs, Sony TVs, and was chosen as a Featured Content Partner and placed in a coveted prime time slot as a part of the YouTube Live launch premiere.

“Captioning is a critical component of the playout chain, and one that is often difficult to manage,” says Marco Lopez, Miranda’s president. “By introducing Softel’s technology into the Miranda portfolio and directly integrating it into our iTX solution, we’ll present broadcasters with further efficiencies, not only in the purchase process, but also during deployment and in post-sale support as well. Miranda will continue to support the full Softel solutions suite and honor all Softel partner agreements.”

In addition to its Swift line of subtitling and captioning products, Softel also offers a host of advanced television systems that improve efficiency and enable new revenue streams. Network operators can offer interactive television and “second screen” applications to their subscribers and improve headend efficiency with the MediaSphere suite or add MPEG ad insertion capabilities with Oliver. Softel also provides solutions for ancillary data processing, audio/video description and Teletext.

“We’re certain our customers will benefit from the synergies this acquisition creates,” says Sam Pemberton, Softel’s CEO. “Being aligned with Miranda in the Belden family extends our reach into potential new markets and being part of this team allows us to focus on continuous innovation.”

Integration planning will be led by a team of Miranda and Softel executives, but there will be no business disruption for Miranda or Softel during the transition. The integration is expected to be complete by this summer.

Reitmeier is widely recognized as a pioneer of digital television. He spent 25 years in digital video research at Sarnoff Labs, where he led the development of one of the original digital HDTV system proposals. He played a leading role in the formation of the Digital HDTV Grand Alliance and the development of its best-of-the-best system that culminated in the ATSC Digital Television standard. Since joining NBC in 2002, Reitmeier was involved in the creation of NBC’s first high-definition cable channel, Universal-HD, launching DTV multicast programming, the creation of mobile broadcasting and the Dyle joint venture, and the distribution of NBCUniversal content to new digital consumer devices.

“Glenn has been a key contributor to the ATSC for many years and a great leader of strategic planning efforts for the organization,” said Mark Richer, ATSC President. “We’re pleased to welcome him back as the board’s chairman.”

Reitmeier previously served on the ATSC Board of Directors from 2004 – 2009 and as its Chairman from 2006 – 2009. He is also a board member of the North American Broadcasters Association, a contributor to TV Everywhere standards as President of the Open Authentication Technology Committee and a contributor to the Digital Entertainment Content Ecosystem work on the UltraViolet digital ecosystem.

He is a Fellow of the Society of Motion Picture and Television Engineers and is a recipient of the Society’s Progress Medal and the Leitch Gold Medal. In 2012, he received the National Association of Broadcasters Television Engineering Award for lifetime achievement. He is also a charter member of the (Consumer Electronics Association’s Academy of Digital Television Pioneers and received Broadcasting & Cable Magazine’s coveted Technology Leadership Award. He holds more than 50 patents in digital video technology and is recognized in the New Jersey Inventors Hall of Fame.

ATSC Board members for 2013 are: Mark Eyer, Sony Electronics; Richard Friedel, Fox; Kevin Gage, NAB; Ira Goldstone, Univision: Brett Jenkins, LIN Media; Jim Kutzner, PBS; Brian Markwalter, CEA; Sam Matheny, Capitol Broadcasting/WRAL; Glenn Reitmeier, NBC Universal; Andy Scott, NCTA; Robert Seidel, CBS; Dave Siegler, COX Media Group; Peter Symes, SMPTE; John Taylor, LG Electronics USA; and Yiyan Wu, IEEE.

Stephen Tibbo, production sound mixer for 20th Century Fox Television, is responsible for capturing audio on the set for Modern Family — most importantly, capturing clear and pristine dialog among the characters. Since joining Modern Family in 2009, he has captured two Emmy Awards for his outstanding work as sound mixer.

The production set of Modern Family is anything but predictable. Therefore, from a production perspective, Tibbo and his crew need to be ready for just about anything. For example, unlike a controlled studio environment with indoor sets that are more or less acoustically sealed, on-location shoots can present many challenges such as unwanted ambient noise and unexpected interruptions — such as impromptu truck deliveries. During this season, Tibbo recalls that the set of Yard Sale (episode six, in which there is a charity fundraiser for Manny and Luke’s school), was a particularly challenging one:

“This shoot took place at Jay and Gloria’s house, where the entire family is together and they are bringing things to the yard sale,” Tibbo recalls. “We had three days of shooting in front of their home but there were two construction sites literally across the street. There was also a local delivery truck bringing in pallets of drywall and wood – this was intermittently going on all day. ” He says that achieving proper isolation from ambient noise was critical for the success of the shoot: “There was quite a bit of noise going on in the neighborhood, so we brought the Sennheiser MKH 8060s out — I have to say, they really shined and it was amazing.”

Following a meeting with Sennheiser’s Dave Missall last spring, the MKH 8060s have since earned a permanent spot in Tibbo’s mic pack. “Dave said, ‘Try these, I think you’ll like them,’” Tibbo recalls. “We were interior, and we saw a couple takes where we could put them through their paces to see how they sounded. And they ended up working quite nicely.”

“I now use them on a regular basis, and they come in really handy in high ambient environments — especially outside,” he continues. In Modern Family — as any other high profile, prime time television show — there are simply no ‘second chances’ or ‘retakes’: “We have to shoot every single scene as a one-er,” Tibbo says. “You will have two or three cameras going and you get what you get. I have to pick one microphone for a given scene and make my choice on the spot.” His primary mic choice for Yard Sale, and other episodes requiring isolation from background noise, has typically been the Sennheiser MKH 8060. “These are very versatile microphones, especially for rejection. I usually set them up on a boom, anywhere between 1 to 6 feet away from the actors.”

Tibbo also appreciates the low noisefloor and tight polar pattern of the MKH 8060s: “Sometimes we do these very whispery scenes and I am really cranking it up,” he says. “The MKH 8060 is very quiet, and this is one of the reasons I use it outdoors. With other mics, you may hear a fan on in the distance, but with the MKH 8060 you only hear what you want to hear.” In terms of its sonic character and response, Tibbo says the MKH 8060 is ‘punchy and warm,’ and a predictable performer: “It is a very natural sounding mic, both on or off-axis. On a show like ours where you have actors ad-libbing quite a bit, that is vital.”

In future episodes, Tibbo knows he can rely on the Sennheiser MKH 8060s —especially in noisy locations where multiple mics are required. “This is a great piece for my kit. In the case of the Yard Sale episode on Modern Family, we gave post-production a track they could work with. And in television, that is the name of the game.”

DaVinci Resolve 9.1 also features support in XML for FCP X Audition, a popular feature in FCP X which provides the ability to stack and scroll through multiple shots in a single location in a timeline, allowing Resolve users to easily transfer files between the systems for a highly efficient workflow. Improvements in mixed frame rate XML integration will allow better workflows between Resolve, FCP X and Final Cut Pro 7 projects. DaVinci Resolve 9.1 also supports improvements for Avid AAF, Sony XAVC and AVC-Intra files and a number of audio and performance improvements.

The new DaVinci Resolve 9.1 also includes an exciting enhancement for the CinemaDNG file format, as used by cameras such as the Blackmagic Cinema Camera. DaVinci Resolve now includes a CinemaDNG Input Device Transform (IDT) for grading RAW images in full ACES workflows.

DaVinci Resolve 9.1 can also now be used with the DeckLink 4K Extreme, Blackmagic Design’s newest addition to the DeckLink family of PCI Express capture cards. DeckLink 4K Extreme includes all the features of the popular DeckLink HD Extreme 3D card, plus UltraHD 4K playback, which is four times the resolution of 1080HD video.

DaVinci Resolve 9.1 is the latest version of the recently introduced DaVinci Resolve 9, which includes a completely redesigned user interface to optimize workflow speed. This significant user interface overhaul was created to harness the power of multiple new technologies added to DaVinci Resolve in the last few years, including automatic 3D eye matching, multi layering timelines, XML support, plus more camera and file type support. The new user interface is extremely fast to use and eliminates unnecessary clicks and settings. A job can be up and running in three clicks: one to log in, one to drop media into the project and the next to grade.

Support for Apple Macbook Retina technology.
Support in XML for FCP X Audition.
Improved XML integration for better workflows between Resolve, FCP X and Final Cut Pro 7.
Integration with DeckLink 4K Extreme.
Includes CinemaDNG Input Device Transform (IDT) for grading Raw images in ACES workflows.
Ability to generate new AAF for MXF audio renders.
Improved chase audio feature allowing specification in either frames or seconds.
Support for timeline audio when PowerMastering.
Playback support for Sony Raw F55/F5 files.
Improved rendering times for Sony CineAlta SStP files.
Playback support for the Red Mysterium-X Monochrome sensor (software decode only).
Playback and render support for DNxHD 100.
New ASC CDL metadata extraction from ARRIRAW headers.
Matte clips can now be assigned to multiple clips in the Media Pool.
Red Rocket can now be disabled from Preferences.
NTSC DV playback supports both 4X3 and 16×9 aspect ratios.

DaVinci Resolve 9.1 for Mac, Windows and Linux is now available for download from the Blackmagic Design website free of charge for all existing full feature DaVinci Resolve customers. DaVinci Resolve Lite 9.1 public beta is available for both Mac OS X and Windows and is free to all users.

It’s perhaps best known for its proprietary MIC1500 Blue Steel microphone used by ESPN commentators. Four of them were on hand for the Tournament of Roses Parade and Rose Bowl Game on New Year’s Day. They’ll also be visible at the Super Bowl in New Orleans, where BSI, owned since 2001 by L-3 Communications, will provide seven RF camera systems, four Blue Steel microphones, six additional wireless microphone systems, and a full complement of communications devices for the event.

“I can remember the days when we would call January a slow month,” says BSI co-founder/GM Peter Larsson. “Now, 30 years later, it’s right on par with some of our busiest months in the summer. I’m thrilled to start out our 30th-anniversary year on such a positive note.”

In addition to a variety of anniversary celebrations planned for this year, the Hanover, MD-based company will also be expanding its UK offices, deploying several new technologies and unveiling a business enterprise at the NAB Show in April.

Larsson says the biggest audio challenge of the past several years has been the reallocation of RF spectrum: “The UHF spectrum has become so crowded that, in some markets, like the Dallas-Fort Worth area, there’s little left available for us itinerant users.” He notes that the additional administrative and management burdens imposed by the more intense regulation of RF spectrum requires two staffers dedicated solely to the tasks of identifying spectrum needs in various markets for broadcast sports events and requesting use permissions from the FCC.

BSI was poised to place additional effects microphones into cars for this season’s NASCAR races. However, the organization has asked that this be delayed until either the 2014 or 2015 seasons because a new car design is scheduled to debut this year and the additional wiring that the extra mics would require could complicate prerace car inspections.

When the mics do go in, though, they’ll add another dimension to NASCAR’s already cinematic soundtrack. Larsson says more Shure SM11 dynamic microphones will be placed in the wheel wells, where they’re pick up the gravel and other granular sounds from the edges of the tracks, and near the cars’ transmissions.

“When the drivers slam the gears, it makes a very intense sound,” he says. “It will get the viewer even deeper into the car with the driver.” Drivers will continue to use the David Clark noise-canceling aviation-grade microphones that Larsson says are the best for use in the high-SPL environment of the NASCAR cockpit.

The growth of large-scale events, from the Olympics (BSI plans to open an office in Brazil to position it for the 2014 World Cup and 2016 Rio de Janeiro Olympics) to the peripatetic X Games, is compelling BSI and others involved in sports broadcasting to more deeply explore MADI as a transport format for audio.

“We’re running out of physical space on the sides of the trucks, and MADI is becoming the way to handle large volumes of audio signals for large-scale events,” he explains. “The days of just running the audio on DT-12 are over because of the sheer volume we have to deal with now. We’re ramping up our MADI capability to match the infrastructure of the new generation of remote trucks.”

BSI also plans to begin building its own line of retail products this year. The company’s engineering team at its London office has designed a proprietary RF camera that will lead the line. A complementary line of RF microphones will follow, but timing will be contingent on FCC rules, which will likely delay those products for a year or two.

That London office is the launch pad that will take BSI farther into Europe. The company has already secured contracts for surfing competitions in Spain and speedway motorbike competitions elsewhere in Europe. Larsson told the Baltimore Business Journal that he wants to pursue Formula 1 in Europe as well.

Additional announcements, he says, will be made at the NAB Show in Las Vegas.

Screenworks-NEP operated six DVI-6000 single-link transport platforms — three main and three backup units — for guaranteed redundancy of video transmission. After accepting DVI-D signals from media servers located up to 1000-feet away, the DVI-6000s fed video content to corresponding LED video walls — one 1920 x 1080p60 screen center stage and two 1920 x 1200p60 screens that rise up from the floor. With an operating distance of 40 km, MultiDyne’s DVI-6000 is capable of transferring high-resolution images, including DVI-I, RBG-HV, and DVI-D, using just one fiber, thereby maximizing operational efficiencies.

“As the video supplier for Madonna’s global concert tour, we required a fiber-optic transport solution that could deliver video, pixel to pixel, over a long distance without compression or frame dropping,” said Marty Kell, director of touring, Screenworks-NEP. “MultiDyne’s DVI-6000 is extremely powerful, enabling us to support high-quality, high-resolution digital video at a greater distance from the video source.”

The DVI-6000 maximized visual quality during the Madonna concerts by ensuring a pixel-for-pixel image that is guaranteed to be transparent with no frame dropping up to WUXGA 1920 x 1200, facilitating all 24-bits for all scan rates, without contouring or bit reduction. For resolutions above 1920 x 1200, an adaptive bandwidth reduction is applied, with blend of color space compression and frame dropping. An intuitive and adaptive algorithm immediately detects high and low motion content and adapts accordingly, providing concertgoers with a state-of-the-art visual experience.

MultiDyne’s DVI-6000 easily supports multiple monitor resolutions and connects to video walls while maintaining a superior video quality, making it the ideal solution for concert locations that require a greater distance between the video source and video walls onstage.

“We are thrilled to have worked with two huge names in the technology service and entertainment industries — Screenworks-NEP and Madonna, respectively,” said Frank Jachetta, president, MultiDyne. “The DVI-6000 eliminates jitter commonly associated with transporting high-resolution video content over long transmission distances through a robust pixel-for-pixel transmission technology that is unique to the MultiDyne brand. The end result is crystal-clear quality video that enhances the overall concert experience.”

But looking at overall TV viewing beyond seven days for all programs, much of this viewing is negligible: Broadcast TV tallies 1.1% viewing beyond seven days; for cable TV programs this comes to 0.6% beyond seven days; and syndication is at 0.3%.

The highest viewing still occurs on a live basis. For broadcast, live viewing amounts to 87.2% of all viewing; cable is at 93.3%; and syndication is at 94.4%.

Nielsen says live-plus-same-day time-shifted viewing is at 5.5% for broadcast, 3.4% for cable, and 3.4% for syndication. Looking at viewing within seven days -- after live airings -- broadcast programs average 6.1%; cable, 2.8%; and syndication, 1.9%.

Nielsen says traditional TV viewing was up nearly 80% in the fourth quarter 2012 versus the year before period -- all this coming from live, time-shifted viewing, DVDs, and game console use. It says U.S. TV viewers spent five hours a week on a computer screen using the Internet and watching video content.

The Juggling Act
Once the schedule is released — likely by Sunday — truck providers will snap into action, assigning trucks for specific dates and checking for holes in their plans. With a condensed schedule expected to add about one game per week for each team, there won’t always be enough trucks to go around, forcing many mobile-production vendors to juggle trucks within a region or sub-out dates to competitors. “Within less than 48 hours of the schedule’s release, all of our trucks will be booked for every single [NHL game] possible, as well as all NBA and Major League Baseball dates that are already booked,” says Phil Garvin, president/founder/co-owner, Mobile TV Group. “And then we will start looking at the holes. If a truck is booked already in a market, then we look at the closest trucks we have to that market, and then we look at [subbing trucks].” Although more games each week will complicate matters for Garvin and company, the new schedule, which will feature only intra-conference games, will allow them to cover more games per week by shifting trucks among near-by markets. Nonetheless, truck companies’ scheduling departments will have to get creative. “The schedule is not out, and we’re at less than a week away to put it all together,” says Mary Ellen Carlyle, SVP/GM of Dome Productions, which provides trucks to SportsNet, TSN, and RDS in Canada. “So the worst job to have right now is our truck and crew schedulers, and there’s not much they can do right now. They’ve got lots of ideas in place, and they have started guessing, but that’s about it.”

Regionals Are Hit the Hardest
Although national NHL television packages took a major hit with the cancellation of the Winter Classic and the All-Star Game, RSNs that have suffered the most because their entire fall programming lineups are often built around live NHL and NBA games. Few truck providers were hit harder by the lockout than Mobile TV Group, whose contracts with regional sports networks cover 13 of the 30 NHL franchises. “I think we are the biggest loser [during the lockout] and the biggest winner when they come back in situations like this,” says Garvin. “As successful and blessed as Mobile TV Group is normally, I’m guessing that we suffer the most in cases like this because we have so many NHL teams.” Game Creek Video, which services the New York Rangers and Islanders, New Jersey Devils, and Buffalo Sabres on MSG and MSG Plus in the New York/New Jersey market, also took a serious hit from the NHL lockout. However, the company found solace in the political game: trucks that would normally be covering hockey were booked for debates, the presidential election, acceptance speeches, and, on Jan. 21, the inauguration. With elections in the rearview mirror, the NHL couldn’t have returned at a better time for Game Creek. “It’s basically the same drill this year, so I don’t anticipate that we will have any problems covering our home feeds,” says President Pat Sullivan. “But we will be scrambling a little bit more for visiting feeds at our exclusive venues and will work with some of our competitors to fill those dates. But, just like last year, even though we are competitors, we will all huddle together and make sure that we are covering each other’s stuff as best we can.”

Replacement Shows Are Hard To Find
Much like the national (notably, NBC Sports Network in the U.S. and TSN in Canada) and regional sports networks that have struggled to fill programming lineups after losing the gem of their fall-winter lineup, mobile-production companies have found alternatives tough to come by over the past four months. “[Rebooking trucks] has been very tough since a lot of hockey is midweek work, when there isn’t much else going on,” says Fernander. “We got into some entertainment activity and maybe some college basketball, but nowhere near what we would need to offset the loss from hockey.” The situation for truck vendors was further complicated by the fact that the NHL canceled chunks of games in two- or three-week segments, making it nearly impossible to rebook trucks on short notice. “Any event that needs a large mobile unit is going to be booked way more in advance than a couple of weeks,” says Garvin. “There were some added college games here and there, but you’re still lucky to recover 10%-20% of that lost business. That’s just a cost of doing business, so you have to anticipate and put something away for a rainy day.”

Don’t Forget About the Crew
It’s not the just the trucks that will be doing more shows in less time, however. Freelance and on-staff engineering crews will be hopping from city to city on an even more hectic schedule than usual. “The biggest complicating factor with the [condensed schedule] will be personnel and making sure that we keep our engineers as fresh as possible,” says Sullivan. “It is awfully rigorous to ask these guys to work 12-hour shows on back-to-back days.”
Carlyle notes, “I think our biggest challenge is the freelancers who have taken other work. We’re going to have to figure out how we’re going to handle the ones that aren’t around. We also crew every venue, too. So that’s 22 people that you have to put in place [at each broadcast], and that’s going to be a challenge with the new schedule.”

Labor Peace, Finally
The past two years in pro-sports television have proved as tumultuous as any in recent memory, thanks to two lockouts and a narrowly avoided third with the NFL. But mobile-production providers can take solace in the fact that the worst is likely behind them.
“The good news is that all the major leagues are now set for several years in terms of [labor deals],” says Garvin. “In terms of the major leagues, it’s been very tough the past couple of years, but I think we are finally at that light at the end of the tunnel.”

The telecast averaged a 13.1 household rating from 9 to 11 p.m., according to Nielsen metered-market ratings, up 12 percent from an 11.7 last year.

In fact, it was the best Globes rating in six years, since the awards show drew a 16.0 in 2007.

It saw even bigger gains among adults 18-49, where it averaged a 7.6 rating, according to local people meters, up 23 percent from last year’s 6.2.

Hosts Amy Poehler and Tina Fey received universal praise for their funny, well-paced performance.

Foster, meanwhile, set off a storm of comments on Twitter during her lifetime achievement award acceptance speech, when she questioned the need for celebrities to have an actual “coming out” but nonetheless publicly acknowledged her female former partner and current co-parent.

The strong ratings for the Globes hurt ABC and Fox’s regular lineups, which usually do well among the same 18-49s. Of course Fox’s animated shows were also hurt by the fact that they did not enjoy the huge lead-in from football that they had last week.

Fox’s “The Simpsons” (2.4, down 43 percent), “Bob’s Burgers” (2.3, down 26 percent from last week’s two-year high), “Family Guy” (3.1, down 14 percent) and “American Dad” (2.4, down 14 percent) all declined. “Guy” was the No. 1 non-entertainment, non-sports show on broadcast.

ABC’s “Once Upon a Time” drew a 2.8 at 8 p.m., off 10 percent from the previous week, while lead-out “Revenge” fell to a season-low 2.0, off 17 percent.

Not every regularly scheduled show declined. CBS’s “The Good Wife,” which started a bit late due to NFL playoff overrun earlier in the evening, matched a season high with a 1.9 at 9 p.m., and lead-out “The Mentalist” had its second-best rating, a 2.0.

NBC was first for the night among 18-49s with a 4.7 average overnight rating and an 11 share. CBS was a close second at 4.6/11, with Fox third at 2.1/5, ABC fourth at 1.8/4, Univision fifth at 0.8/2 and Telemundo sixth at 0.5/1.

As a reminder, all ratings are based on live-plus-same-day DVR playback, which includes shows replayed before 3 a.m. the night before. Seven-day DVR data won’t be available for several weeks. Forty-six percent of Nielsen households have DVRs.

At 7 p.m. CBS was first with a 10.8 for the end of its football game, followed by NBC with a 2.5 for “2013 Golden Globes Red Carpet Special.” ABC was third with a 1.4 for “America’s Funniest Home Videos,” Fox fourth with a 1.2 for a repeat of “Burgers” (0.9) and a new “Cleveland Show” (1.4), Univision fifth with a 0.6 for “Aqui y Ahora” and Telemundo sixth with a 0.5 for the movie “Return to the Blue Lagoon.”

NBC took the lead at 8 p.m. with a 5.1 for the Golden Globes, while CBS slipped to second with a 3.7 for “60 Minutes.” ABC was third with a 2.8 for “Time,” Fox fourth with a 2.4 for “Simpsons” (2.4) and a new “Burgers” (2.3), Univision fifth with a 0.8 for “Rosa de Guadalupe” and Telemundo sixth with a 0.5 for the end of “Blue Lagoon” and start of the movie “The Incredibles.”

At 9 p.m. NBC led with a 5.5 for the Globes, with Fox second with a 2.8 for “Guy” (3.1) and “Dad” (2.4). ABC was third with a 2.0 for “Revenge,” CBS fourth with a 1.9 for “Wife,” Univision fifth with a 1.0 for more “Rosa de Guadalupe” and Telemundo sixth with a 0.6 for its movie.

NBC was first again at 10 p.m. with a 5.5 for the final hour of the Globes, followed by CBS with a 2.0 for “Mentalist.” Univision and ABC tied for third at 0.9, Univision for “Sal y Pimienta” and ABC for “Happy Endings” (1.0) and “Don’t Trust the B—- in Apartment 23″ (0.8). Telemundo was fifth with a 0.6 for its movie.

CBS was first for the night among households with a 10.3 average overnight rating and a 15 share. NBC was second at 9.0/13, ABC third at 3.3/5, Fox fourth at 2.4/4, Univision fifth at 1.2/2 and Telemundo sixth at 0.6/1.

These two new lenses join with Canon’s CN-E24mm T1.5 L F, CN-E50mm T1.3 L F, and CN-E85mm T1.3 L F primes to provide a broad line of five precision-matched, competitively priced EF-mount Cinema prime lenses that provide high optical performance levels and a choice of versatile focal lengths for a wide range of creative shooting choices. All five Canon Cinema prime lenses are part of the Canon Cinema EOS System of professional digital cinematography products, which include the EOS C500 4K/2K Digital Cinema Camera, EOS C300 Digital Cinema Camera, EOS C100 Digital Video Camera and EOS-1D C 4K DSLR Cinema Camera, and four Canon Cinema zoom lenses.

“Since our introduction to the film and television production industry back in November 2011, we have brought to market five Cinema prime lenses, two top-end Cinema zoom lenses, two compact Cinema zoom lenses, and four professional digital cinematography cameras all within 18 months,” stated Yuichi Ishizuka, executive vice president and general manager, Imaging Technologies & Communications Group, Canon U.S.A. “This is a testament to the Company’s dedication to the needs of the growing and diverse universe of professionals creating 4K, 2K, and HD moving-image content for theatrical, television, and other high-resolution digital production markets. We look forward to continuing to serve these professionals with Canon Cinema EOS products designed to help them achieve their creative imperatives and commercial aspirations.”

All Canon Cinema EOS lenses integrate advanced materials and coatings to meet high optical performance levels, including 4K (4096 x 2160) production standards. Each Canon Cinema lens is equipped with an odd-numbered 11-blade aperture diaphragm, which is ideally suited to achieve creative depth-of-field manipulation and pleasing “bokeh” effects of cinematographic quality. The Canon line of five Cinema prime lenses is precision-matched for consistent and solid optical performance that minimizes focus-induced changes in the angle of view. All feature a full-frame image circle in a lightweight, compact design, and they incorporate proven Canon lens elements designed to fulfill contemporary 4K production standards. All five primes also deliver color tone and balance that matches Canon’s top-end Cinema zooms and compact Cinema zooms. Canon Cinema prime lenses are also water-resistant for severe shooting conditions and deliver the operation and reliability required in professional film-style shooting environments.

All five Canon Cinema primes feature mechanical attributes specifically designed for motion-picture production, as opposed to still photography. These strategically integrated film-style characteristics include 300 degree rotation on the focus ring for precision focus control as well as large, highly visible engraved focus scales for convenient operation. These markings appear on the angled surfaces on both sides of the barrel, making them easy to both read and to adjust the stepless focus and/or aperture settings of the lenses from behind – or from either side – of the camera. Focus markings can be switched from standard labeling to metric, and control rings are engineered to maintain the proper amount of resistance with consistent operating torque and familiar tactile “feedback” for satisfying manual control. All Canon Cinema prime lenses also share the same uniform gear positions, diameters, and rotation angles, as well as front-lens diameters, making them compatible with matte boxes, follow focus gear, marking disks, and other third-party film-industry-standard accessories. Film crews can quickly change lenses without the need for accessory gear-position adjustments or other changes to the rig setup.

The new Canon CN-E14mm T3.1 and CN-E135mm T2.2 Cinema prime lenses – as well as the Canon CN-E24mm T1.5, CN-E50mm T1.3, and CN-E85mm T1.3 primes – are fully compatible with the Canon EOS C500, EOS C300, EOS C100 and EOS-1D C digital cinema cameras. The EF-mount design of all five Canon Cinema prime lenses provides communication with these cameras for such handy features as display of the f number in the electronic viewfinder, recording of focus/zoom position and f number, and Peripheral Light Compensation [The Peripheral Light Compensation Function will be available in 2013 and will require firmware upgrade for compatible cameras] for more pleasing effects shots.

The versatility of image-capture options using Canon EOS digital cinema cameras can be further extended with Canon’s Super35mm top-end Cinema zoom lenses (the CN-E14.5-60mm T2.6 wide-angle and the CN-E30-300mm T2.95-3.7 telephoto) and compact Cinema zooms (the CN-E15.5-47mm T2.8 wide-angle and CN-E30-105mm T2.8 telephoto). All four are available in both EF- and PL-mount versions, as are the EOS C500 and EOS C300 cameras. Almost all of Canon’s EF Series photographic lenses can also be used with these Cinema EOS cameras, including Image Stabilized zooms, tilt-shift models, and macro lenses. All of these products are designed to contribute to the continued advancement of tools for visual storytelling and all express Canon’s continuing commitment to cinematic culture.

The CN-E14mm T3.1 L F single-focal-length lens is expected to be available in April 2013 for an estimated retail price of $5,500. The CN-E135mm T2.2 L F single-focal-length lens is expected to be available in May 2013 for an estimated retail price of $5,200.

For the saga’s latest installment, Swaffield and DP Teodoro Maniaci chose to work with two Sony F3 cameras for the the bulk of the the photography, supplemented by an Arri Alexa for slow motion sequences. “With good glass, the Sony F3 produces wonderful images, it has a great sensor,” explained Swaffield, “however the internal recording is done at 4:2:0 35Mb/s and we wanted a higher data rate.” To address this issue, Swaffield turned to Gary Pontore, a VP in the Modern Media Solutions Division at Future Tech Enterprise, who serves as a post/digital workflow consultant on the series. Pontore recommended an all new workflow using two Ki Pro recorders on set fed from the camera’s SDI outputs to the recorders to benefit from Ki Pro’s 10-bit 4:2:2 recording capabilities, along with Mac Pros running Final Cut Pro 7 and Adobe Creative Suite 6 for editing.

The two F3 cameras output 1920x1080x23.976fps 4:4:4 10-bit RGB S-log signals, to which LUTs were applied on set by DIT John Waterman using Pomfort LiveGrade software. “Teo likes to interactively combine illumination and grading,” says Swaffield, “and we were able to get very close to our final look dynamically on set as we shot.” “We then recorded this signal at high quality, to ProRes HQ 422.” ”With the Ki Pro, our files were already in ProRes and ready to edit without having to transcode, which allowed co-editor David Rosenblatt to work live on set. This was key for us because our start date got pushed back while our delivery date remained the same, so we ended up only having three and a half weeks to do everything – but thanks to the Ki Pros we were able to work and turn everything around very quickly with no problems.”

Additionally, AJA KONA cards have been in use on the series since 2005, and once again tapped KONA 3G to precisely monitor the signal during all aspects of visual effects creation and color grading.

“Our KONA cards have always performed so well, I had faith in AJA gear and in Gary’s assessment of what would be best for our workflow,” said Swaffield. “The Ki Pro really allowed us to get the most out of the Sony F3 with high quality recording and real time color correction. It let us work faster and better from filming through to editing – we really got to have our cake and eat it too.”

The Ki Pro is a highly portable tape-replacement recorder, offering 10-bit, Apple ProRes 422 recording to flexible QuickTime files with easy compatibility with most NLE systems and external controllers.

Together, the Merlin Arm and Vest increase shooting options. The operator can ease the Merlin back against the body and shoot “handheld,” with both hands on the camera, and fly seamlessly back off the shoulder and continue moving. With practice, operators can fly the Merlin one-handed right off the mounting post during a shot (docking the arm to the vest with the other hand) and execute unique Merlin shot opportunities – ultra-low or ultra-high angles – and then slip it back onto the arm to continue the shot.

The company also announced that the new Davis & Sanford Pro Elite Tripod and Head models 5075-15 and 5100-25 are now shipping.

The new Davis & Sanford Pro Elite Series two-in-one spreader feature includes snap-in center support brace with boots for uneven ground plus adjustable ground spreader for maximum rigidity and a true fluid head design, providing shooters a system that performs on both flat and uneven surfaces. The ergonomically designed lever offers shooters smooth pan, scan, and tilt with counter balance control capabilities that support a wide range of camera weights. The variable quick release lets users easily fine-tune the camera balance.

Established in 2009 as the “International Research Park,” the NAB Labs Futures Park will feature high-profile media technologies in development chosen by NAB Labs for presentation to the broad international audience at NAB Show.

A highlight of the 2013 Futures Park will be NHK’s Super Hi-Vision demonstration. It will feature a presentation theater for viewing the system’s 8k video and 22.2-multichannel sound (including content recorded in cooperation with the Olympic Broadcasting Service and the BBC at the London 2012 Olympic Games).

The system’s 7680 x 4320 video format provides 16 times the number of pixels as HDTV, for stunning clarity and an immersive visual experience. Meanwhile, the system’s massive multichannel audio system produces unprecedented immersion into a 3D sound space for viewers located anywhere within a large viewing area.

Besides the presentation in the theater, NHK will also show for the first time outside Japan the real-time, over-the-air transmission and reception of Super Hi-Vision broadcasts, using two UHF television channels.

NHK also plans to show its latest developments in production technology for the system, including a 120 Hz Super Hi-Vision camera, as well as the first compact Super Hi-Vision camera suitable for robust mobile use, and a 22.2 multichannel sound production system. The interactive capabilities of a converged broadband/broadcast service will also be presented in a demonstration of the NHK “Hybridcast” system.

The NAB Labs Futures Park will present a number of other exciting developments in broadcast technology at the 2013 NAB Show. A complete list of presentations planned for the 2013 Futures Park will be announced soon.

The newly-revised AF100A features 10 bit (enhanced 8 bit) 4:2:2 quality output for better gradation of tonal areas when recording onto external devices, such as a P2 HD recorder. The HD-SDI signal also carries a sync signal for the Rec Start/Stop with the AF100A trigger. Additionally, the AF100A is equipped with the expanded focus assist function, which enlarges the center of the displayed image for greater ease in focusing; and a 2.39:1 (cinema scope size) safety zone marker.

In addition to the high quality PH recording mode (average approx. 21Mbps, maximum 24Mbps), the AF100A complies with the AVCHD ver. 2.0 (AVCHD Progressive) standard with its new PS mode (average approx. 25Mbps, maximum 28Mbps) for recording, playing and outputting (via HDMI only) Full-HD progressive (1080/59.94p, 1080/50p) images. The PS/PH modes support uncompressed 16-bit LPCM 2-channel audio recording. The AF100A also features two-channel XLR audio input terminals for full uncompressed audio recording, and many other functions.

The AF100A builds on the legacy of the AF100, which features film-like shallow depth of field and the wider field of view of a large imager, with the flexibility and cost advantages of an expansive line of professional quality, industry-standard micro 4/3-inch lenses, filters, and adapters. The AF100 redefined large sensor professional acquisition with its superior video handling, native 1080/24p recording, variable frame rates, and sophisticated audio capabilities. Like the AF100, the AF100A incorporates a large 4/3-inch, 16:9 MOS imager (with an imaging area just slightly smaller than 35mm cinema film) that minimizes skew with fast imager scanning, and an optical low pass filter for elimination of aliasing and moiré.

Weighing only 3.5 pounds (without lens or battery), the AF100A includes high-end features including Dynamic Range Stretch in all modes and frame rates; six built-in, customizable scene files that are exchangeable for quick and easy matching between multiple cameras; seven built-in gamma curves with four selectable color matrices; a built-in optical ND filter; adjustable shutter speed and Synchro-scan function; and a high-resolution, variable angle color LCD monitor and tiltable viewfinder.

Additional standard professional interfaces include uncompressed HDMI out and USB 2.0. The AF100A records SMPTE timecode and is able to perform timecode synchronizing via the video output seeing timecode in, and has an internal down-converter facilitating output of SD (480/576) signals.

The AG-AF100A is available at a suggested list price of $4595.00.The camcorder is packaged with a copy of the highly-regarded AF100 Book by Barry Green. Panasonic supports the AF100A with a three-year limited warranty (one year plus two extra years upon registration) upon registration of the camera with the PASS customer support program.

KTLA produces the telecast for air on their own station, but the production is distributed to other US stations and internationally. “We produce the program in stereo and rely upon the AERO.air to handle the upmixing to 5.1,” says Cox. “It does a great job of that.”

Cox says that most of the audience listened through their TV’s internal speakers, which means a good 2-channel downmix is critical. “The challenge is to create a mix that sounds good to those viewers while still providing a great 5.1 listening experience for the audience listening in that mode. AERO.air makes that possible.”

Linear Acoustic Founder and President Tim Carroll adds: “The Tournament of Roses Parade is an iconic broadcast that viewers really look forward to each year,” he says. “We are honored to help Dave and KTLA deliver the highest quality audio to their many viewers.”

In addition, KTLA used AERO.air to send two-channel audio from Pasadena back to its studios in Los Angeles where the signal was split into two paths. One fed KTLA’s own main and backup AERO.air units for local transmission, and one fed main and backup AERO.air units on loan from Linear Acoustic for the network and international feed, which was sent to over 200 countries. AERO.air. also handled insertion of SAP audio.

“Linear Acoustic provides excellent support if needed,” says Cox. “They maintain a high-quality staff who know their products. “Our viewers expect a quality audio experience to match the spectacular HD video experience, and the Linear Acoustic AERO.air delivers.”

“When Swedish cinemas eliminated 35mm film to go all digital this year, it meant we started archiving digital masters rather than prints, so we had to buy a system that could enable us to store and manage large amounts of data,” said Lars Karlsson, IT project manager at SFI. “DIVArchive is built for just that purpose by a company with many years of experience in dealing with the issue of storing digital data for film, which is different from other types of digital data.”

SFI, Sweden’s national film archive charged with preserving the country’s film heritage, chose DIVArchive V7.0 not only because of Front Porch Digital’s extensive expertise in the area, but also because it incorporates AXF technology. Using the non-proprietary, media-independent storage format ensures that SFI will be able to access and store any type of video data, no matter what the structure or physical carrier.

“The open-source AXF storage format protects our investment because we won’t be relying on a single vendor or storage method in the future,” said Karlsson. “We will always be able to retrieve the data regardless of what happens to the company that created the format or to the storage platform itself.”

SFI will employ a SAN disk, which will act as a source and destination for the archiving. The DIVArchive system will take legacy files from the SAN disk, convert them to AXF format, move them to a tape library, and copy them to a second tape library — which will be a backup for the first. The company will begin building this workflow as soon as the SAN disk is in place. The plan is to link DIVArchive with the SFI film database and all its metadata. Anyone who works at SFI can access the database, and several of them can add information to it. There is also a Web version with searchable content for anyone with Web access.

“SFI is one of the first film archives to include digital archiving — rather than physical tape — in its core business,” said Rino Petricola, senior vice president and managing director of Front Porch Digital International. “By using DIVArchive V7.0 and open-source AXF as a long-term preservation format, SFI is poised to handle any file format that exists now or in the future.”

DIVArchive is Front Porch Digital’s CSM system, the software layer that connects storage to video applications and equipment. The latest version, DIVArchive V7.0, supports complex DPX packages and enables video-like operations on film-carried content, making the solution desirable for film production and postproduction applications. The system is the first of its kind to implement the new open-source AXF technology developed by Front Porch Digital to protect, preserve, and facilitate the exchange of content among storage systems, today and for the future. DIVArchive V7.0 has the unique ability to interconnect every element of operations from archive to production to transmission.

KTLA produces the telecast for air on their own station, but the production is distributed to other US stations and internationally. “We produce the program in stereo and rely upon the AERO.air to handle the upmixing to 5.1,” says Cox. “It does a great job of that.”

Cox says that most of the audience will be listening through their TV’s internal speakers, which means a good 2-channel downmix is critical. “The challenge is to create a mix that sounds good to those viewers while still providing a great 5.1 listening experience for the audience listening in that mode. AERO.air makes that possible.”

Linear Acoustic Founder and President Tim Carroll is equally pleased. “The Tournament of Roses Parade is an iconic broadcast that viewers really look forward to each year,” he says. “We are honored to help Dave and KTLA deliver the highest quality audio to their many viewers.”

AERO.air also makes program distribution simple. 2-channel audio is sent from Pasadena back to the KTLA studios in Los Angeles where the signal is split into two paths. One feeds KTLA’s own main and backup AERO.air units for local transmission, and one feeds main and backup AERO.air units on loan from Linear Acoustic for the network and international feed, which is sent to over 200 countries. The insertion of SAP audio is also handled by AERO.air.

Cox also cites customer care and support as an important consideration for such a high-profile live broadcast. “Linear Acoustic provides excellent support if needed. They maintain a high-quality staff who know their products.”

For the people watching at home, though, it’s all about quality. “Our viewers expect a quality audio experience to match the spectacular HD video experience, and the Linear Acoustic AERO.air delivers,” says Cox.

“With Telestream Vantage we can operate faster and more efficiently with greater flexibility and perfect results,” reports Andreas Statzner, GM at Magenta TV. “Vantage allows us to encode and process our media independently of the edit suites, so that our editors can focus on what they do best, which is editing, rather than encoding.”

Magenta TV provides video and film technical services to clients that include broadcast stations, production companies, and the film industry. Vantage is used in conjunction with its storage area network to easily create, convert and deliver a wide range of file formats between different systems, such as several Avid systems in combination with a Snell Alchemist or Lynx PVD 5660, as well as Nucoda HD. Vantage captures content from editing systems, aligns audio tracks, exports AAF files, and automatically processes encoded files for VOD, archive and delivery. Further, Apple ProRes HD files are converted into low-resolution formats for web purposes, and Avid QuickTime reference files are linked with metadata and encoded into low-res formats with integrated timecode for sound-editing at external studios.

“Vantage is a perfect fit for full-service post-production facilities like Magenta TV,” said Barbara DeHart, vice president of marketing at Telestream. “Vantage combines broad format support with stunning 16-bit 4:4:4:4 image quality, accelerated video processing, and intelligent workflow automation to meet the demands of busy video production environments.”

“This is all about making the viewers really feel like they are at the event, in the stands, and audio does that better then anything else,” says Chris Calcinari, vice president, remote operations.

Shotgun microphones will be mounted to handheld RF cameras that will operate in the parking lots and in the fan areas in each end zone, and robotic cameras near the locker rooms. Meanwhile, a stereo shotgun mic will be attached to a jib camera that will swoop past the stands. “These are places where we’ve never had cameras and sound before for college games, so the effect is to really envelope the listener,” Calcinari explains.

In addition, several 5.1 microphones, including the Soundfield DFS-2, the Holophone H2 and the Holophone H4 SuperMINI will be used, positioned at the edge of the field closer to the stands to give the viewer a front-row POV effect. ESPN has used this kind of microphone on some of its MNF games beginning last season, but this marks their first use on broadcasts of college football games. And all of the audio for these and other college games will be broadcast in discrete 5.1 surround, a practice that ESPN implemented last year in this category, making it conform to the network’s strategy to rollout discrete 5.1 for all sports broadcasts.

To manage all of this additional sound – ESPN is also bringing the number of parabolic RF mics on the sidelines to six for these two games — an effects submix will be used for the first time on college football broadcasts. Whereas in the past all effects were mixed by the A1 as part of the overall broadcast mix, these two games will see A1 Paul Krugman supported by submixer Jonathan Freed, with both mixers working from trucks from Game Creek Video’s Victory fleet.

“This is really more how we do it for Monday Night Football,” says Kevin Cleary, senior audio producer, ESPN remote production. “These are the kind of effects microphones we array for NFL, including the big [Sennheiser MKH] 8070 microphone on the Spidercam, plus the band mics and the additional crowd mics and rear-surround ambient microphones. We need a dedicated submix to really dial it all in.”

Cleary adds that both games will also conform to the specifications of the newly implemented CALM Act, with the audio from the game site sent back at the -24 lkfs loudness standard. “We as a company feel it’s best to manage loudness from the content creation site rather than at the point of transmission,” he explains. “It leaves here at -24.”
In a related new development, Calcinari says that ESPN will set up a surround QC environment in a soundproofed office trailer on site that will allow ESPN executives to monitor the broadcast’s surround field, offering input if needed to the mixers. This is a first for the network for any game, major league or college. “We didn’t want to be right in there with the mixers – we want to give them their space, but we can tweak it if necessary,” he explains.

Both Calcinari and Cleary say that this substantial extension of audio for the bowl games represents a continuation of ESPN’s strategy to expand its surround audio capabilities and to further enhance the viewer experience. Calcinari points out that the network’s discrete 5.1 audio initiative has now been implemented across both ESPN 1 and ESPN 2 channels, covering all of the approximately 1,100 basketball games and most of the 2700 events that the network broadcasts each year. Adds Cleary, “It’s part of a company commitment to making 5.1 surround sound right.”

Developed by Steadicam, the leader in camera stabilization, the patented Smoothee eliminates shakes and lets users “fly” through video capture moments — up and down steps, indoors and outside, through crowds — almost anywhere, with precise, elegant control and ease.

“When the newly designed iPhone 5 was announced this past September with its improved camera optics, it was instantly clear to us that Smoothee and iPhone 5 would be a match made in iPhoneography heaven. We went straight into production to make sure Smoothee was compatible in time for the holidays with iPhone 5′s new thinner, longer design,” comments Steve Tiffen, president and CEO, The Tiffen Company. “A perfect stocking stuffer for any iPhone or GoPro owner, our Smoothee products let users of all technical skill levels create outstanding videos, taking smartphone and the action-packed GoPro video capture to a whole new level of image excellence…and that’s what Tiffen is all about.”

Compact Videohub is only two rack units and less than an inch deep. It includes advanced features such as 3 Gb/s SDI, ASI, auto switching SD, HD and 3 Gb/s SDI, as well as full SDI re-clocking at an affordable price. Compact Videohub is perfect for customers who need an incredibly tiny router that also meets tough broadcast technical requirements for performance as well as reliability.

Compact Videohub includes more control interfaces such as easy to use USB, as well as direct ethernet and RS-422 serial interfaces. Direct ethernet router control allows direct connection to a computer network for control. Ethernet control is fully compatible with Blackmagic Design’s wide and growing range of software control panels, Videohub Smart Control and Videohub Master Control hardware control panels, and the exciting software based Videohub Control for Apple iPad.

“We designed the Compact Videohub to be the worlds largest 3 Gb/s SDI router that’s possible to fit into a impossibly small two-rack unit size, while still being affordable for everyone,” said Grant Petty, CEO, Blackmagic Design. “Now, with this new affordable price, Compact Videohub is now available to smaller studios on the tightest budgets. Unlike other low cost solutions, with Compact Videohub customers get all the professional features they need without any limitations!”

Compact Videohub Key Features:
40 SDI inputs, supports SD, HD, ASI and 3 Gb/s SDI.
40 SDI outputs, supports SD, HD, ASI and 3 Gb/s SDI.
Ethernet direct network connection for control.
Serial port for router control, supports Leitch™ protocol.
12 volt universal power supply included.
Main and Redundant power connections for on-air 24/7 reliability.
Reference input compatible with black burst and tri-sync.
Includes full SDI re-clocking.
Allows simultaneous SD, HD and 3 Gb/s SDI formats on the router at the same time.
Includes free software control panels for Mac and Windows.
Supports Blackmagic Videohub Smart Control and Videohub Master Control hardware control panels.
Software control panel for Compact Videohub available free for Apple iPad.

As viewers have shown an appetite for more-intimate audio from sports broadcasts, the bodypack transmitter has become a must-have piece of equipment on the field, the court, and, particularly, the gridiron, where, for two years, the NFL has been experimenting with on-field microphone placement as it seeks to bolster its on-field audio. Key to that initiative is the bodypack transmitter, which has to be small, robust, and reliable in sports’ most demanding environment.

A Digital Future
The transmitter also has to be discreet, as in circumspect, a trick that until recently has been hard to perform. Only a single manufacturer, Zaxcom, has had a fully digital and encryptable wireless system, its TRX900, on the market for any significant length of time.

In the past year, however, two more such systems have come to market: Shure introduced its ULX-D digital, encryptable wireless system capable of 24-bit audio and single-, dual-, and quad-channel receivers in January, and competitor Sennheiser debuted its SK 9000, a lightweight, encryptable transmitter that uses infrared synchronization and exchangeable lithium-ion battery packs, at the AES Show in October.

Zaxcom, a relatively small manufacturer in an industry sector dominated by large international companies, had its digital solution in place at a propitious moment, as the NFL sought a way to replace sound from the mic previously worn by the umpire, who in 2011 was moved out of harm’s way, farther back from the line of scrimmage. The NFL has been deploying Zaxcom’s TRX900 LAS version, which uses two lavaliere microphones to create a stereo signal with a single transmitter. The mono version is also used by NBA coaches.

However, the arrival of larger systems from Shure and Sennheiser, offering high-resolution audio and larger frame sizes to accommodate more channels, will put this nascent category into play.

Neither Shure’s nor Sennheiser’s new digital systems have been used by any major-league teams yet. Sennheiser’s became available after the start of the NFL and NBA seasons this year, and hockey is a non-starter this year. According to Shure Category Director for Wireless Products Erik Vaveris, that company’s system only recently was expanded to a full rack in September, a configuration that will make it more desirable at the major-league level.

“We’ve made a lot of progress in regards issues like power management: the ULX-D has outstanding battery life and can run on alkaline AA batteries or rechargeable,” he says. “Digital wireless has tremendous potential, and it will be exciting to see how it evolves.”

Joe Ciaudelli, director of advanced projects engineering at Sennheiser, says the SK 9000, which took the better part of a decade to develop and offers very low latency and both compressed or uncompressed audio, has been demonstrated to ESPN and other broadcasters since it was introduced. He expects it to be evaluated by the NFL and other leagues in the near future. “We think this is now the benchmark for bodypack transmitters.”

However, new and larger digital systems come with higher price tags. According to Colleen Goodsir, who directs Zaxcom’s marketing, the TRZ900’s basic system costs about $2,000, a fraction of the cost of one of the larger-frame systems. What the company doesn’t have, she acknowledges, is the marketing clout of its larger competitors, and it will have to work to leverage its early successes in the rapidly expanding category. Sennheiser’s Ciaudelli tips his hat to Zaxcom, calling the manufacturer “nimble,” but adds, “This is going to be a more competitive [category] now.”

Analog Dog, New Tricks
This won’t put the kibosh on analog systems, however. Several key performance features make analog bodypacks valuable for sports in general and football in particular: they can be very small, thanks to being able to be sufficiently powered by a single AA battery; analog’s more efficient power management also lets them handle heat dissipation better; and analog has inherently low transmission latency. For instance, Quantum5X Systems’ Player Mic has been used extensively by various baseball, basketball, and football teams, including the NFL’s St. Louis Rams for the team’s self-produced television programming.

Quantum5X CEO Paul Johnson notes that the design has evolved over several years based on feedback from players and teams, producing a very small and flexible — the outer casing is made from rubber — transmitter that is designed to not injure players when they fall on them but still performs in a rough environment and offers battery life that lasts into overtime.

And the analog transmitter has been learning some new tricks. A relatively recent development has been more remote parameter control, such as the ability to vary signal strength remotely, allowing those who manage the wireless RF to lower signal intensity to conserve battery power in the course of a game that’s beginning to run long.
Also, says Karl Winkler, director of business development at Lectrosonics, whose dual-battery SMQV analog bodypack transmitters are being used by the NFL, “Analog offers better spectrum efficiency, because it’s better able to concentrate the energy into a narrower range of spectrum than digital can.” He adds further that analog also enables higher channel counts and longer range than most digital systems can, while also being able to withstand the pummeling of an NFL scrimmage. “Digital systems can be very good — wideband digital offers a good-quality signal — but they can’t compete with analog when it comes to channel count.”

Bodypack technology has reached a turning point now that more encryptable digital systems have come to market. Pro sports leagues, teams, and broadcasters tend to be cautious when it comes to implementing new technologies, and there’s no reason to think that they’ll behave any differently when it comes to embracing fully digital bodypack transmitters. But it’s also fair to say that, as far as these new products go, it’s now game on.

“ATEME proposed a very attractive solution for our project” commented Chin-chang Chen, engineering manager, TBS. “This is a complex system, for which we need absolute reliability as a public broadcaster, at an affordable cost. ATEME’s solution came on top against all of our selection criteria.”

“We pack one HD MPEG-4 and 3 SD MPEG-2 channels in less than 15 Mbps, and yet the video quality is superb” added Chao-I Lee, who supervised the deployment of the system at the broadcasting center in Taipei on behalf of the Engineering Department of TBS. “We were also quite impressed with the fast response of ATEME’s support every time we needed their help during launch”.

“We have a very competitive offer for terrestrial broadcasters” said Kim Gravina, APAC Sales Manager, ATEME. “Our ability to deliver top quality systems at a reasonable cost is key to our success, in Taiwan and in other parts of the world.”

ATEME’s solution for terrestrial broadcasting including Kyrion encoders supports mobile, SD and HD, MPEG-2 and MPEG-4, constant bitrate and statistical multiplexing, DVB-T/T2 and ISDB-T. Frost & Sullivan recognized this success as ATEME received the 2012 Market Penetration Leadership Award for the Global Broadcast and DTT Video Encoders Market. In Taiwan, in addition to TBS, Formosa TV (FTV) also tapped ATEME for their migration to HD this year.

“A very important part of the All American Games is the fact that fans nationwide can share this experience with us,” said Doug Berman, All American Games chairman. “The talent we will have at the Games is not just on the field, it’s with the Production Crew, as well, and they are a critical component to our success.”

Following is a list of the winning NewTek All-American Crew members, their high school, hometown, and the link to their entry video.

Hayden Yancer, Westlake High School, Austin, Texas
www.youtube.com/watch?v=N19Z9EbiYyk

Jay Hiller – Hughesville High School, Hughesville, PA
www.youtube.com/watch?v=_N4KQVctli8

Christy Bogart – Dallastown High School, Dallastown, PA
www.youtube.com/watch?v=SCpVg1e2OtQ&feature=youtu.be

Andrew Deneau – Boyne City High School, Boyne City, MI
http://goo.gl/fFUvr

The students will be flown to San Antonio for a five-day, all-expense-paid trip in which they will participate in various U.S. Army All-American Bowl activities. As members of the NewTek All-American Video Crew, they will assist with production for the U.S. Army All-American Bowl and Eastbay Youth All-American Bowl events during bowl week. Video crew members will also receive training at NewTek corporate headquarters on NewTek TriCaster portable live production and 3Play, instant replay systems.

“For the NewTek All-American Production Crew, it’s not just about what is going on in the field,” said Philip Nelson, NewTek SVP, artist and media relations. “It’s also about creating a captivating experience for the fans that are watching the live stream. And, we have chosen the best of the best to make that happen.”

Fans can see the U.S. Army All-American Bowl on NBC in their local markets, and online at www.allamericangames.tv.

“With Wirecast Pro and Matrox VS4 I was up and running in less than 15 minutes with a professional multi-camera live streaming system that was easy to install and use with off-the-shelf equipment,” said Mark Alamares, CEO at Mobeon. “The beauty of the system is that I can use pro camera gear and switch between multiple sources, add transitions and effects, record a high-quality stream direct to disk for on-demand viewing, as well as ISO record all the original camera feeds for a post-event documentary. Wirecast Pro and VS4 surpassed our expectations, delivering excellent results at a fraction of the cost of the competition without sacrificing quality.”

Last month, Telestream and Matrox announced turnkey live video streaming solutions based on Wirecast Pro for Windows live streaming production software and the Matrox VS4 four-channel video capture card available from Certifled System Builders starting under $5000. Systems of comparable quality and value were not available at this price point prior to these turnkey offerings. The turnkey solutions bring affordable, high-quality, multi-camera live video production and broadcasting capabilities to sports groups, churches, schools, corporations, and other live event producers.

“Mobeon has a long history of delivering webcasts with the high production values of broadcast television,” said Wayne Andrews, product manager at Matrox. “Their adoption of the Wirecast/Matrox solution validates our vision of giving live event producers high-end content creation tools that are easy-to-use and affordably priced.”

“We are pleased that Mobeon chose our joint solution to live stream this prestigious event,” said Filippa Hasselstrom, Wirecast product manager at Telestream. “This affirms our approach to offer a complete solution that provides flexibility and high-quality production capabilities.”

Mobeon was selected to stream the World Latin Dance Cup this year because of its experience in live video productions and its success streaming last year’s event for Albert Torres Productions. With over 20 years of experience developing, producing and marketing digital content, Mobeon is a boutique new media consultancy, as well as a full service broadcast and production studio. The company develops film/video, interactive, and internet content catering to the advertising, new media, corporate, and entertainment sector.

The law recommends production, distribution, and transmission practices needed to provide the highest-quality audio soundtracks to the digital-television audience and focuses on audio-measurement, production, and postproduction monitoring techniques and methods to effectively control loudness for content delivery or exchange. It recommends methods to effectively control program-to-interstitial relative loudness, discusses metadata systems and use, and outlines modern dynamic range control.

Broadcasters, with sports programming very much in the lead, have largely implemented key benchmarks, such as the -24 LKFS (Loudness, K-weighted, relative to Full Scale) loudness-measurement standard. Manufacturers now offer a growing array of measurement, monitoring, and management tools for loudness.

Rep. Anna G. Eshoo (D-CA), the original author of the law, says in a statement, “Earsplitting television ads have jolted and annoyed viewers for decades. With this new law, loud TV commercials that make consumers run for the mute button or change the channel altogether will be a thing of the past.”

Gordon Smith, president/CEO of the National Association of Broadcasters (NAB), adds, “Broadcasters have taken the lead in addressing the complex technical challenges associated with this issue. NAB is pleased to work with Congresswoman Eshoo, [co-sponsor Sheldon Whitehouse (D-RI)], and the FCC as the CALM Act is implemented.”
Loud commercials have been a top consumer complaint to the FCC for decades and were listed as such in 21 of the FCC’s 25 quarterly reports between 2002 and 2009. According to a 2009 Harris poll, almost 90% of TV viewers are bothered by high commercial volumes, which prompted 41% to turn down the volume, 22% to mute the TV, and 17% to change the channel altogether. Prior to Eshoo’s legislation, official FCC policy recommended that consumers mute commercials if they found them to be excessively strident.

Non-compliance with the CALM Act is based on responses to complaints from consumers. If a complaint is filed with the FCC, the station involved has to provide the commission with a 24-hour spot check of its outgoing broadcast stream, within seven days of notification, to ensure compliance. Even if there are no further complaints, stations will still have to provide spot checks on an annual basis for two years. A single substantiated infraction can trigger a fine of up to $10,000.

Eshoo first introduced the CALM Act in the House in June 2008. Whitehouse’s companion bill passed the Senate unanimously on Sept. 29, 2010, and the House passed the legislation on Dec. 2, 2010. President Obama signed Eshoo’s legislation into law on Dec. 15, 2010. The FCC passed its final rules implementing the law in December 2011. The one-year interval between that and full implementation gave broadcasters needed time to integrate new technology platforms and monitoring techniques into its workflow.

The live 90-minute CBS broadcast, “Showtime Boxing on CBS,” is the network’s first since Bernard Hopkins knocked out Glen Johnson in the 11th round on Jan. 20, 1997. The program will begin at 4:30 p.m. ET/1:30 p.m. PT and offer two fights.

The accent is on youth and the lighter weight classes. In the main event between unbeaten 24-year-old IBF (International Boxing Federation) Bantamweight World Champion Leo Santa Cruz (22-0-1) will defend his title against 22-year-old Alberto Guevara (16-0). Promising 122-pounder, southpaw Joseph “Jo-Jo” Diaz, Jr., 20, a 2012 U.S. Olympian, will make his pro debut in the opening bout.

“Considering that six months ago I was just a guy fighting on undercards to now being picked to headline and defend my title on network television is hard to believe,’’ Santa Cruz said. “But I am so happy. It is a tremendous honor and something I am not taking lightly. This is such an unbelievable opportunity. To fight on CBS is the greatest exposure you can get.”

Offered Guevara, who is studying to be a lawyer, “I really can’t describe how happy I am to be fighting for a world title on such a great network as CBS. This is definitely as good as it gets. I’m very proud to be part of this event.”

“I think the timing is perfect for me to turn pro,’’ said Diaz, the youngest member of the 2012 U.S. squad. “I am really thankful for all who have helped me get to this point, and can’t wait to fight on Saturday on CBS. Fighting on CBS is an incredible honor.”

Additional live boxing from the L.A. Memorial Sports Arena will air on Showtime later that evening.

In the Showtime Championship Boxing main event (10:30 p.m. ET/PT, Showtime), former Unified Super Lightweight World Champion and British superstar Amir Khan (26-3, 18 KOs) makes his ring return against undefeated Carlos Molina (17-0-1, 7 KOs). Preliminary fights will air on Showtime Extreme beginning at 9 p.m. ET/PT.

The day-long fights coincide with Oscar De La Hoya’s Toy Drive, Giveaway and boxing fanfest that also are going on that day at LA Memorial Sports Arena.

"For over a decade, 'American Idol' has shaped the reality competition television genre, brought families together by entertaining viewers of all ages and made a huge cultural impact," said NAB President and CEO Gordon Smith. "NAB is proud to recognize this innovative television program."

For nine consecutive seasons, the show, created by Simon Fuller, has been the No. 1 entertainment program among total viewers, empowering contestants and viewers to share their voices in deciding who will be America’s next singing superstar.

Part of the show’s landmark achievements have been in music sales and awards won by former contestants. Former "Idol" contestants have produced 370 No. 1 Billboard hits and accrued more than 250 million iTunes downloads. Season 11 winner Phillip Phillips' first single, "Home," has been certified double-platinum. Season 10 winner Scotty McCreery’s debut album "Clear As Day" also went platinum as it dominated the Billboard Country Albums chart. Past winners Kelly Clarkson, Ruben Studdard, Fantasia Barrino, Carrie Underwood, Taylor Hicks and Jordin Sparks have all dominated the music charts and won multiple awards, including Grammy Awards, American Music Awards, Country Music Awards and Billboard Music Awards. Additionally, Jennifer Hudson is an Academy Award winner, and other former contestants such as Daughtry, Kellie Pickler, Adam Lambert and Jessica Sanchez have all become household names and made their marks on the recording industry.

"American Idol" returns for a 12th season with a special two-night premiere airing January 16 and 17 on FOX. Hosted by Ryan Seacrest, the show will feature a new judging panel that includes returning judge Randy Jackson, a Grammy Award-winning producer, as well as three new judges: best-selling female recording artist Mariah Carey; quadruple-platinum singer, songwriter, rapper and fashion icon Nicki Minaj; and Keith Urban, a four-time Grammy Award winner who has sold more than 15 million albums.

Since its inception, the series has featured an array of acclaimed judges, including music executive Simon Cowell, pop singer and choreographer Paula Abdul, Aerosmith front man Steven Tyler and artist Jennifer Lopez.

Through its charitable initiative, “Idol Gives Back,” "American Idol" has raised more than $185 million to benefit and create awareness for children and families living in poverty and at risk in the United States and abroad. Charity partners include the Children’s Health Fund, Feeding America, Malaria No More and Save the Children’s U.S. program, among others. In continuing its philanthropic efforts, "American Idol" also encouraged viewers to donate to the American Red Cross, following the tsunami in Japan, while donating profits from "Idol’s" Season 10 compilation album to the relief efforts.

"American Idol" is produced by 19 Entertainment, a division of Core Media Group, and FremantleMedia North America. The series is created and executive-produced by Simon Fuller, CEO, XIX Entertainment. Trish Kinane, FremantleMedia North America; Ken Warwick, FremantleMedia North America and Nigel Lythgoe, CEO, Nigel Lythgoe Productions also serve as executive producers.

Previous NAB Broadcasting Hall of Fame television inductees include Betty White, Garry Marshall, "Meet the Press," Bob Newhart, "The Tonight Show," "Saturday Night Live," Ted Koppel, "M*A*S*H," "60 Minutes," "The Today Show" and "Star Trek."

“The Government Video SALUTE recognizes some of the innovative products and services for video professionals on display at GV Expo,” says J.J. Smith, editor of Government Video. “We are proud to call attention to these tools that specifically help public-sector video professionals support the missions of their agencies and provide better information to the citizenry.”

Cobalt’s BlueBox modules attach to cameras or host device chassis for dependable, uncomplicated installation. They receive power directly via USB from video monitors or other equipment without bulky and non-secure adapters.

“Cobalt recognized the need for first-class quality and affordable signal conversion in a compact package,” says Chris Shaw, Cobalt EVP of Sales & Marketing. “BlueBox delivers exceptional performance from a small footprint with a full feature list packed into one convenient converter box; perfect for applications that need to stretch the budget but not compromise on quality.”

The office, which includes an elegant and technologically sophisticated demonstration room, underlines Grass Valley’s commitment to leadership in the changing world of broadcast playout, live and studio production, and news. Solutions that are designed to maximize profitability, while minimizing transformational risk, such as the innovative GV STRATUS Media Workflow Application Framework, are onsite for first-hand experience by customers.

Since joining Grass Valley one year ago, Francoise Semin, vice president of Southern Europe, Middle East, and Africa, has made it her goal to focus on maximizing the company’s presence in the region—especially in the French market—by restructuring the organization, strengthening customer and partner engagement, and delivering on Grass Valley’s strategy.

“Grass Valley is undergoing its biggest transformation in its 50-plus year history, and we are determined to not just talk about being market-focused, but to demonstrate it in everything we do,” said Semin. “All of our latest technologies are showcased in the new Solutions Center so that broadcasters and professional users can come in and experience Grass Valley’s latest capabilities in a hands-on environment.”

Grass Valley has opened state-of-the-art showcase centers in a number of its new offices across Europe, the Middle East, and Africa, including its London headquarters in Stockley Park, as well as its offices in Weiterstadt, Germany.

“The sale of Broadcast Communications reflects our strategy to optimize our business portfolio and focus on our core businesses,” said William M. Brown, president and chief executive officer of Harris in a press release. “As previously communicated, we plan to repurchase up to $200 million of our shares after the deal closes. This is in addition to the $200 million of share repurchases already planned for fiscal 2013 and reflects our ongoing commitment to effectively deploy capital, including returning cash to shareholders.”

“In Harris Broadcast Communications, we are investing in a proven technology leader with great products and a great team. We are excited to provide the capital and support to transition this division to a strong and independent company further enabling it to continue developing and delivering market leading technologies to its customers,” added Ryan Wald, Managing Director of The Gores Group.

“CRVS previously provided the highest-resolution, lowest-cost solution on the market,” said Barry Kuhlmann, visual systems engineering manager at Boeing. “Now, with JVC e-Shift 8K projectors, CRVS has taken another leap forward in visual performance and fidelity to better prepare military pilots by allowing them to train in a more realistic yet safe environment.”

“We believe that image quality counts, whether it’s for entertainment, education or next-generation flight training,” said Rod Sterling, chief engineer, JVC Technology Center. “We designed our e-Shift 8K projector to register down to 1/16th pixel accuracy to provide the unparalleled clarity and sharpness that Boeing customers demand.”

CRVS provides constant target visibility throughout the entire field of vision by surrounding the pilot and cockpit in an eggshell-like environment that visually transforms into cities, landscapes and complex combat scenarios. JVC e-Shift 8K projectors further enhance the training experience and enable pilots to identify targets at real-world ranges.
CRVS is compatible with a wide range of fast jet and rotary-wing cockpits and aviator night vision goggles, and easily integrates with current and future head-mounted displays. Existing CRVS customers can upgrade to JVC e-Shift 8K without modifying screens or structure.

Some of the sports’ biggest brands like McLaren and Red Bull are fortunate to have a seemingly endless financial backing. Dell’s Motorsports Division collaborated with Intel’s High Performance Computing technology to implement a ground breaking portable “cloud” that enabels Caterham’s team to compete with the big boys of F1.

On Nov. 28, Sports Video Group hosted a webinar – “Formula for Success” – to analyze how Caterham Racing uses these advanced technologies to help the team stay competitive year round.

Caterham’s Richard St. Clair Quentin was joined by Dell Motorsports’ Ian Clatworthy and Jonathan Harle, and Intel’s Michael Haedrich to discuss some of the more intriguing IT/High Performance Computing solutions in sports.

For example, while the wealthier teams have their own wind tunnels to test drag and draft effects on a car, Caterham uses Dell Motorsports technology to help bridge that financial gap.

To listen to a complete archive of the webinar, click here.

“A major challenge of broadcasting in the field is that access to fiber is limited,” said Mel Olinsky, director of operations at CBS News. “These fiber-optic transport systems allow us to carry more channels while minimizing the amount of fiber we need. At the recent Democratic and Republican conventions, we enhanced our ability to broadcast a large-scale televised event from a remote location.”

MultiDyne’s HalfCuBE and LiGHTCuBE are capable of transmitting up to 32 and 80 HD signals, respectively, and up to 128 and 225 audio channels from a compact, lightweight design with intercom and party-line beltpack support. Utilizing the fiber-optic transport solutions, CBS News can broadcast network news and sporting events that require an increased signal count and in environments where battery-powered equipment is needed. HalfCuBE and LiGHTCuBE can easily be integrated on-location, as well as linked with any other MultiDyne product, further expanding the broadcaster’s fiber reach.

The solutions run on a battery or AC power supply, and can be customized to include virtually any signal compilation. The highly flexible units can seamlessly transport signals over one single-mode fiber and support the following optical connectors: ST, SC, LC, TFOCA, PH, SMPTE, Tyco Expanded Beam, and Neutrik opticalCON. An Anton/Bauer or IDX mounting plate is also included for added reliability in the field.

The HE60S/H cameras offer a sleek, compact design that combines outstanding image quality, smooth pan/tilt/zoom operation, and easy integration for superb HD and SD production and video communications. The cameras utilize full HD MOS sensors (effective resolution 1920 x1080) and feature Dynamic Range Stretch (DRS) technology to help compensate for wide variations in lighting. Hybrid 2D/3D Noise Reduction processing produces smooth, sharp HD video with up to 850 lines of horizontal resolution in a wide range of lighting conditions and environments. Both IP and RS-422 serial control interfaces are built-in.

Prior to the HE60, remote IP monitoring with production pan/tilt/zoom (PTZ) cameras required the use of a stand-alone streaming encoder or distribution via SDI, HDMI or analog component infrastructure. The HE60 cameras, with both remote IP control and live monitoring, afford reduced integration costs, easier remote production and engineering, and lower cost for multiple location systems—making them ideal for sports, education, house of worship, and government uses.

IP monitoring is displayed in 16:9 at up to 30fps in VGA (640 x 480) and QVGA (320 x 240) using either M-JPEG or H.264 encoding. Multi-view monitoring of up to 16 cameras in a single Browser window is available in M-JPEG mode only. Remote IP live video monitoring of HE60 series cameras is also available on mobile devices, including iPhone, iPad, and Android tablets and phones.

The HE60’s Night Mode makes it possible to shoot in virtual darkness with the use of an (optional) IR illuminator in the 600nm range. The camera’s remote controllable IR cut filter combined with advanced digital signal processing allows the user to switch between normal full HD color video and high-resolution, black-and-white Night Mode video. This greatly simplifies the systems required to shoot both types of video for applications such as reality show production and sleep lab research.

Other improvements in the HE60 series include factory installation of the powerful V2.0 firmware, which was an extra-cost option for the HE50 series. V2.0 feature upgrades include 16-axis color matrix control for precise camera “painting” and matching, R/B gain adjustment, and the addition of 1080/59.94p output (H version only) and 1080/30p (S version only). Finer control of pan/tilt/zoom speeds with the AW-RM50 IR remote control has also been added, as well as improved focus control.

The HE60 cameras incorporate a highly-accurate pan-tilt head that offers precise, fast, fluid movement in all directions, enabling the capture of both slow and fast-moving objects without excessive vibration and bounce. An 18X HD optical zoom plus 10X digital zoom covers use in rooms of all sizes. The cameras deliver many international HD and SD video signal formats including: 1080/59.94p (H version only), 1080/59.94i, 1080/30p (S version only), 720/59.94p, 480/59.94p (H version only), 480/59.94i, 1080/50p (H version only), 1080/50i, 720/50p, 575/50p (H version only) and 576/50i.

Other features include 54dB S/N, three-step gamma correction and seven-step chroma level adjustment for exceptional creative control, up to 100 pre-set memories for rapid and precise shot recall, an electronic shutter (1/100 to 1/10,000 a sec) with synchro scan, and built-in tally light for remote studio use. The cameras’ 3.5-lb design and included ceiling mount with simple turn-lock mounting mechanism facilitate quick, easy installation. A ¼-20 mounting thread is also provided in the cameras’ base-plate for use with tripods and other mounting systems. The HE60 series cameras can also deliver full IP remote control with live IP video monitoring when used with Panasonic’s cost-effective, versatile outdoor housings.

The AW-HE60H and AW-HE60S will be available in December at suggested list prices of $4,700.00 and $5,700.00, respectively.

The suggested U.S. list pricing for the new products, planned to be available in February, are:

PMW-F5 CineAlta 4K Camera $19,400
PMW-F55 CineAlta 4K Camera $34,900
AXR-R5 RAW Recorder $6,300
AXS-512S24 512Gb Memory Card $2,100
AXS-CR1 card reader $660
DVF -EL100 OLED Viewfinder $5,800
DVF-F350 3.5” LCD Viewfinder $3,800
DVF-L700 LCD viewfinder $5,000
SCL-PK6/F PL mount six lens package $24,600
SCL-PK3/F PL mount three lens package $13,600

“The F55 and F5 join Sony’s family of large-sensor cameras that complement each other and deliver powerful, new capabilities to professionals working at every level of production,” said Rob Willox, Director of Marketing for large-image sensor cameras at Sony Electronics. “These cameras give production professionals the most compressive toolkit available from one manufacturer. The large sensor line-up now spans from the FS100, FS700 and F3, to the new F5 and F55 to the flagship F65, and gives content creators incredible flexibility and creative options for acquisition in HD, 2K, 4K and beyond. The total line-up, with our new accessories, further underscores Sony’s commitment to supporting every aspect of the highest-quality workflows.”

Both cameras are equipped (with different) 4K Super35mm CMOS sensors. These state-of-the-art sensors capture 14-stops of exposure latitude with high resolution and fine tonal gradation. The F55 can capture 4K and QFHD XAVC internally on SxS Pro+ cards up to 60p. When using the optional AXS-R5, the F55 can record up to 60fps in 16Bit linear RAW.

The PMW-F5 and PMW-F55 camcorders can internally record high frame rate HD and 2K XAVC at up to 120fps (F5) or 180fps (F55). When recording 16-bit 2K RAW to the optional AXS‑R5, frame rates up to 120fps (F5) or 240fps (F55) are possible.

The F55 can output 4K HDMI, SDI using both the SDI(Main) and SDI(Sub) when in the 4K recording mode and can monitor 4K up to 30p.

The PMW-F5 and F55 both employ HDMI V1.4a for monitoring. Using the HDMI 1.4a, the F5 can output 2K and HD up to 60p. The F55 can additionally output 4K on HDMI up to 30p.

Sony also plans to introduce the PVM-X300 30-inch 4K professional monitor in February 2013, with list pricing to be announced.

The new VDM230LT was designed for reliable transmission in broadcast applications and provides superior electrical performance across the entire 4.5 GHz bandwidth. Featuring a low loss gas-injected dielectric created with Gepco’s TactiCel Strong Cell Technology, VDM230LT provides improved crush resistance, high velocity of propagation, tight impedance tolerance, low structural return and exceptionally low attenuation. For reduced weight, the VDM230LT utilizes a precision-drawn, copper center conductor and a 100 percent bonded foil with a high-strength, ultra-lightweight liquid crystal polymer braid shielding.

The new VDM230LT provides equal or better performance compared to Gepco’s standard VDM230 coax while retaining the same dimensions as VDM230 so that it is compatible with the same connectors and crimp tools previously used for VDM230. For ease in color coding installations, VDM230LT is available in a wide array of colors.
“The VDM230LT is a revolutionary new cable that could change the face of mobile production,” said Brad Pope, Director of Technical Services for Gepco Brand Products.

“One just needs to consider the many potential weight savings advantages VDM230LT can provide, from easing the burden of truck weight restrictions to fuel savings or delivery costs. For mobile production or even permanent installation applications such as cable trays, VDM230LT provides a solution wherever weight savings is needed.”

Sophie Wang, president of Miranda Technologies Asia said, “We featured the NV8144 at the BIRTV 2012 show in Beijing earlier this year, which enabled us to demonstrate first-hand the significant advantages we offer in routing technology. The NV8144 is part of our NV8500 Enterprise Class router series that boasts video/audio hybrid routing, high signal density and superior performance in a range of matrix configurations and form factors.”

The NV8144 includes advanced features such as redundant power supplies, control cards and crosspoints within its rectangular 144 x 144 matrix within its ultra-compact 8RU frame. NV8144 offers seamless integration with Kaleido-Modular multiviewers, where multiple multiviewers can behave like a single virtual system from an operator’s perspective, with full layout flexibility.

Miranda is expanding its leadership team to support its growing solutions portfolio.

Marco Lopez, formerly the company’s senior vice president for Infrastructure, Routers and Monitoring, was promoted to president effective November 1, 2012. Lopez is responsible for all of the company’s operations worldwide and reports to Strath Goodship, Miranda’s chief executive officer. Scott Murray will assume Marco’s role as senior vice president for Infrastructure, Routers and Monitoring.

“Marco is an outstanding leader who has helped Miranda achieve tremendous success, especially while leading our team through several product acquisition integrations,” said CEO Strath Goodship. “His advancement to president comes during very exciting times for us as we finalize the integration into Belden and move forward with our strategic growth plans. Our customers, partners and employees will benefit from Marco’s vision and his demonstrated ability to adeptly leverage Miranda’s abundant resources to provide customers solutions in our rapidly evolving industry.”

To ensure that Miranda continues to be a leading innovator that anticipates market trends and customer requirements, Lopez is creating a Strategic Marketing Group. The Strategic Marketing Group will work to align Miranda’s product roadmaps to the target applications of Playout, Production and Delivery to the home and will help communicate the value of those solutions to our partners and customers. Boromy Ung, most recently the head of Miranda’s playout segment marketing, will assume leadership of the group effective December 1, 2012.

“Miranda is committed to providing customers the next level of innovation,” Lopez emphasized, “As our portfolio continues to grow we’re dedicating additional resources to develop the unique solutions that will empower our customers now and in the years to come. Michel Proulx, who announced he will retire on December 31, 2012 as Miranda’s Chief Technology Officer, has built a strong foundation of aligning Miranda’s priorities to customer opportunities that Boromy and his group will build upon.”

Proulx commented, “I’ll continue to be a keen Miranda supporter, knowing that the company is well positioned for enduring success as the broadcast space develops toward an exciting future.”

After rumors abounded for much of the week, News Corp. and Yankee Global Enterprises today announced an agreement that calls for News Corp. to acquire a 49% equity stake in the YES Network, the exclusive TV home of MLB’s New York Yankees and the NBA’s Brooklyn Nets. According to various reports, News Corp.’s stake is worth approximately $1.5 billion.

As part of the agreement, YES Network’s current owners — Yankee Global Enterprises, Goldman Sachs, and other investors — will reduce their ownership. News Corp. Chairman/CEO Rupert Murdoch can increase the stake to 80% after three years.
“Fox wrote the book on regional sports networks, and we are excited to partner with Fox and take advantage of this opportunity to build upon our leadership position,” said Tracy Dolgin, president/CEO of YES Network, in an official statement. “At the same time, we are fortunate to continue to benefit from the vision and support of our current ownership. We are particularly thrilled for our valued employees, who will continue with the YES Network and will benefit from the multitude of resources and opportunities that Fox brings to the table. We look forward to having Fox join our winning team.”

Alongside the announcement, the YES Network also struck a media-rights extension with the Yankees to keep the team on the YES Network through 2042. The agreement is subject to Major League Baseball approval. The investment deal is expected to close by the end of the calendar year.

“We’ve long been a believer in the unique appeal of sports entertainment,” says James Murdoch, deputy COO, News Corp. “Partnering upstream with rightsholders is even more important today in the dynamic media marketplace in which we compete. This is a tremendous opportunity to enhance News Corp.’s industry-leading portfolio of sports properties, while also strategically re-entering the New York market. The YES Network represents the gold standard for regional sports networks and is a pioneer in sports media.”

YES Network, which launched in March 2002, is already filled with many former Fox employees, including Dolgin, COO Ray Hopkins, and President of Production and Programming John Filippelli.

“We at YES — along with the New York Yankees and our financial partners Goldman Sachs, NJ Holdings, and Providence Equity — had an incredible opportunity to build a network that quickly became — and remains — the number-one regional sports network in the country, based on any metric,” said Dolgin. “We were able to accomplish this because we have the greatest sports brand in the world, the New York Yankees, other important programming such as the rejuvenated Brooklyn Nets, the unwavering support of our board and, last but not least, an incredibly talented and dedicated group of employees.”

Fox Sports Media Group already operates 20 regional sports networks in the U.S., each carrying an array of rights agreements with teams across the MLB, NHL, and NBA.

According to a Forbes report in April, YES Network generates more than $200 million in annual earnings before interest, taxes, depreciation and amortization, making it worth more than $3 billion. The network currently pays the Yankees $85 million annually for its broadcast rights.

“Adding ProRes 422 (HQ) recording and playback to HyperDeck Shuttle 2 shows our continuing commitment to open systems and gives users the freedom to work in either compressed or uncompressed formats,” said Grant Petty, CEO, Blackmagic Design. “Recording ProRes 422 (HQ) straight to disk now costs less per minute than recording to professional tape, plus it’s the most efficient workflow possible. A 64GB SSD is less than $70 and will record 50 minutes of the highest quality ProRes video. That’s broadcast quality recording for less than $2 a minute.”

ProRes 422 (HQ) offers the highest quality for 4:2:2 with minimal generation loss as well as fast export and is one of the most popular video formats for high end post production and broadcast. HyperDeck Shuttle turns low cost cameras into high end broadcast cameras because it allows video file recording to bypass the camera’s compression by recording from SDI and HDMI directly to either 10-bit uncompressed QuickTime, Avid DNxHD MXF and now Apple ProRes 422 (HQ) formats. SSDs are cheap and fast, and can be plugged into an eSATA dock for instant access to the media files, so are the most flexible recording medium available.

This new update also includes full closed caption support for all HyperDeck models. Closed caption support works in 1080HD video formats and allows closed caption data to be read from the SDI input when recording and saved into .mcc type files, which are compatible with popular closed caption authoring software such as Maccaption. Then when playing back from HyperDeck, this .mcc file is read and closed caption data is embedded into the SDI output. This means customers can simply record and playback with full closed caption as well as using closed caption authoring software to generate the .mcc files for creating closed captioning for programs. With full closed caption support, HyperDeck Shuttle and HyperDeck Studio are the ideal solution for authoring closed captioning, as well as ensuring all closed caption is recorded and played back.

With the addition of the new ProRes recording and playback, as well as full closed caption support, the HyperDeck Shuttle 2 provides customers with a small, affordable and battery powered solution that is the perfect field recorder. For direct camera mounting, HyperDeck Shuttle Mounting plate can be added to provide multiple pre drilled 1/4” and 3/8” mounting holes.

HyperDeck software 3.6 with ProRes support is now available free of charge for download from www.blackmagicdesign.com/support for any customer who has a HyperDeck Shuttle 2.

The question is, why now? The answer is that, in recent years, the desire for video over the Internet has helped drive service providers’ bandwidth speeds, which, in turn, allow more consumption of information. That factor alone has led to a doubling of transport speeds over the Internet in the past two or three years.

“We’re in a perfect storm where [all the technologies] are coming together and giving us another level of productivity,” says Dave Almstead, CEO of ONE CONNXT. “It is a lot less expensive for us to provide services and acquire [bandwidth].”
One of the big concerns for those who use open Internet for professional transport applications is reliability of service. But Internet-related production and transport systems are increasingly a part of the professional workflow environment.

For example, A-Frame’s cloud-based video-production platform works with full-resolution media that can be uploaded directly off a camera, along with metadata, so that production teams can collaborate in real time from different locations.

“We started three years ago in London to alleviate file-based workflows, and teams can access content in the cloud from any location in the world at any time,” said Mark Overington, president, North American operations, A-Frame. “They just need the Internet and a browser to get into the system and easily manage teams and have powerful collaboration.”

Two private cloud data centers in the UK and U.S. are at the core of the offering, allowing users to rent space on a system that A-Frame built from the ground up with its own proprietary technology designed to handle HD video files and metadata.
“It’s not simply a media-asset–management system,” Overington noted, adding, “We now manage HD video for more than 250 customers, including the UFC, ESPN, WTA, the Olympics, and more.”

Overington says that A-Frame mitigates risk by using dedicated lines over the open Internet, allowing the company to remain in total control of the transport process. And having data centers in both New York and Los Angeles ensures that content is replicated in two discrete secure locations for disaster recovery.

“We have a lot of control over the service we are providing,” he added. “While there is a cost to us, we’re able to make our offerings affordable.”

Alstead said that, although point-to-point dedicated lines can be set up, the Internet was configured for Web services and is self-healing. “We manage the routing of the content ourselves, or it can dynamically route itself,” he noted. “It can be point-to-point or point-to-multipoint with the [extra] cost of additional MPLS lines.”

ONE CONNXT is another relatively new company, born out of necessity when ONE Media Corp. needed a more cost-effective solution to transport programming from Asia to the U.S. for ONE World Sports. The methods of standard broadcast transport, satellite and fiber, were extremely expensive, and the only solution was to invent what the company considered to be a better delivery system. Launched just last year, ONE Media Corp. has been used for major sports events, including the 2011 Asian Open golf tournament. It proved its ability to transmit the event to the U.S. without degradation.

“Our compression ratios and capabilities allow us to take talking heads down to SD transport quality from Nigeria to Italy at only 670 kbps,” says Almstead. “The technology is moving forward very quickly.”

ONE CONNXT’s service is capable of handling NTSC, PAL, HD, and SD. “Whatever you put in comes out the other end at cost levels other companies cannot afford to do,” he explained. “This is terribly disruptive to satellite companies.”

Another possibly disruptive player is iStreamPlanet, which in 2011 and 2012 was best-known for its work as the online content-delivery network (CDN) for NBC Sports and NBC Olympics, providing the encoding for delivery of live and on-demand video streams to computers and mobile devices. It also handled streaming of both the 2008 Beijing Games and 2010 Vancouver Olympics. Cloud-based transcoding allows iStreamPlanet to take a live video feed in, encrypt it, and then simulcast its delivery to a host of devices.

“Compression algorithms, from MPEG-2 to MPEG-4 and H.264 and now HEVC are causing a revolution where [content distributors] do not need as much bandwidth to reach consumers who want more content,” said Chris Carper, SVP, business development, iStreamPlanet.

Carper, like Overington and Almstead, believes that a desire by clients to cut down on infrastructure and costs of transport at sports events will make moving into a virtual environment more attractive. And the falling cost of storage, Overington added, makes cloud-based solutions even more affordable. And all the companies are ready to expand their relationships with technology partners that can help meet their needs.

“As live linear streaming becomes more important,” said Carper, “we can leverage outside partners to do that.”

Dolby founded Dolby Laboratories in 1965 in London. The then-32-year-old Portland, OR, native had earned a Ph.D. degree at Cambridge, atop his degree in electrical engineering from Stanford University, further adding to a massive knowledge base he had acquired working on audio and instrumentation projects for Ampex, where, from 1952 to 1957, he was largely responsible for development of the electronic aspects of the Ampex videotape recording system.

In 1976, Dolby moved the rapidly expanding Dolby Labs to San Francisco, where it established offices, laboratories, and manufacturing facilities. From there, Ray Dolby proceeded to elevate the quality of broadcast sound via a constantly innovative stream of new products.

Starting with Dolby Nose Reduction, which made analog tape a viable medium for high-performance audio, Dolby racked up invention after invention, which translated into products that became critical to advancing the state of the art of broadcast sound. Among these products are Dolby SR, a professional four-channel noise-reduction system that improved the dynamic range of analog recordings and transmission; Dolby E, the professional coding system optimized for distribution of surround and multichannel audio through digital two-channel postproduction and broadcasting infrastructures; the Dolby Digital codec, also known as AC3, which enabled discrete 5.1 broadcast audio, is supported by all major broadcast formats, and is incorporated into the DVD and Blu-ray technical standards; the Dolby Pro Logic series of codecs; such products as the LM100, used to accurately monitor and measure loudness; and, most recently, Dolby Atmos, introduced in 2012, which distributes audio through as many as 128 discrete sound tracks and up to 64 unique speaker feeds.

Dolby Digital 5.1, chosen for digital-TV broadcasting in 1995, brought sports broadcasting into the realm of discrete-5.1-surround audio when it debuted on ABC’s Monday Night Football in 1999. The network carried the entire 1999-2000 MNF schedule with Dolby Digital 5.1, concluding with Super Bowl XXXIV in Atlanta.

“Ray was always very supportive of broadcast,” says Tim Carroll, president of Linear Acoustic, “but what I always found amazing was that, aside from building a business, Ray was also always concerned with the people who create [film and television] programs. In designing technology products, he first and foremost wanted to make sure that technology never got in their way.”

Carroll, who worked at Dolby for seven years starting in 1995, says Ray Dolby inspired him to strike out on his own. “It was the best job I ever had, and it’s where he inspired me and many others to always wonder what was the next thing we could do to help make the industry better. Certainly, that’s what Dolby has done with surround for sports-broadcast audio.”

Heading into his fifth decade of innovation and invention, Ray Dolby personally holds more than 50 patents and has been recognized with awards including the U.S. National Medal of Technology, the Scientific and Engineering Academy Award of Merit from the Academy of Motion Picture Arts and Sciences, an Emmy Award for Outstanding Individual Achievement from the National Academy of Television Arts and Sciences, and the Charles F. Jenkins Lifetime Achievement Emmy Award for Outstanding Achievement in Engineering Development. He has also been enshrined in both the Consumer Electronics Hall of Fame and the National Inventors Hall of Fame.

“Using your iPad as the audio mixer control surface for TriCaster dramatically expands the flexibility of our systems,” said Andrew Cross, NewTek CTO. “By combining the mixer with the ease and mobility of the iPad, you can share the workload of a multi-camera production.”

Connected to NewTek TriCaster via WiFi, the NewTek TriCaster Audio Mixer app provides remote control over multiple channels of audio, displays VU meters in real time, and synchronizes with live desktop audio mixer settings automatically. Presets are also included for instant adjustments.

The NewTek TriCaster Audio Mixer is compatible with TriCaster XD systems and the controls available conform to the features of the TriCaster model in use. Supported models include: TriCaster 8000, TriCaster 855, TriCaster 455, and TriCaster 40, as well as TriCaster 850 series, TriCaster 450 series, and TriCaster 300 models.

Following an intense week of rehearsals and technical preparations with its sponsored artists and their production teams, Sennheiser’s microphones and wireless systems performed for the duration of the awards ceremony, which was broadcast live from Nashville to an audience of over 13 million viewers.

RF Consultant James Stoffo reports that no less than 12 Sennheiser EM 3732-II receivers were used for the show, along with Sennheiser SKM 5200 and SKM 2000 wireless transmitters. Blake Shelton, Lady Antebellum and the Zac Brown Band all chose an SKM 5200 transmitter and a Sennheiser MD 5235 dynamic capsule combination to help their vocals cut through the often-loud stage volumes, whereas Miranda Lambert opted for a customized pink SKM 2000 and Sennheiser MMD 935-1 capsule combo. Throughout the evening, hosts also used a SKM 5200 paired with a MD 5235 capsule.

Stoffo appreciates the ease of set up and flawless performance of the Sennheiser wireless: “In the EM 3732-IIs, the ability to align the audio processor to work in multiple modes is a really useful tool. Also, the wide frequency tuning over the entire 470-698 MHz band made finding the cleanest frequencies available easier than it has ever been since the invention of wireless microphones.”

In addition to being the wireless transmitter of choice for Blake Shelton, Miranda Lambert, Lady Antebellum and the Zac Brown Band, a full complement of Sennheiser evolution wired mics was also in constant use on the backline and other vocal applications over the course of the evening.

“Everything about my mixes starts with drums, and I specifically request Sennheiser evolution series microphones all over the kit,” commented John Harris, music mixer. “In particular, the e602-II on the toms and kick drum allow me to get the crisp sound I need much faster with little or no equalization. Also, the balanced frequency response of the MD 5235 and MMD 935-1 wireless mic capsules allow me to capture an honest, natural sound from the vocals.”

When mixing a superstar like Blake Shelton, RF dependability must be clean and unwavering. In addition to sound quality, this is where Sennheiser excels, says Harris: “No matter what your production role is in a high profile, live broadcast situation such as this, it all begins and ends with the integrity of the signal, and I have never experienced anything but complete dependability from Sennheiser. As far as the sound quality of the wired and wireless mics are concerned, I know that all I need is a solid gain structure and I am 99% of the way there. I am so much more comfortable when I know that Sennheiser has my back.”

During the jump on Oct. 14, Claude Ruibal, global head of sports content for YouTube/Google, was taking part in a Google+ hangout with friends, co-workers, and other company partners chatting about the event.

Ruibal knew the event was wildly popular, but he still wasn’t sure what to expect in terms of numbers. The standing record for concurrent streams during a live online event was 500,000, achieved by Google during the London Summer Olympics. At about two hours into Red Bull Stratos, the event was flirting with 4 million concurrent views.

“So is this all good? Is everything going to be OK?” Ruibal somewhat jokingly asked one of his technicians. The answer wasn’t very comforting.

“No,” the technician said. “Actually, when we get to 4 million, we have no idea what’s going to happen. It could all just shut down. We’ve never been here before. We hope we can manage the load.”

Not only were YouTube/Google’s servers able to handle 4 million streams; they were able to accommodate 8 million views, with nearly all viewers watching at either 720 or 1080 resolution. The event has been praised as a technological triumph.

“This just really validated a lot of the work that we put into this,” said Ruibal during a presentation at Covington & Burlington’s Sports Media and Technology conference presented by Sports Business Journal in New York City on Wednesday. “We’ve built a really strong backend CDN, and we think we can handle pretty high traffic loads now in the live environment.”

These days, YouTube is a whole lot more than Chocolate Rain, laughing babies, and skateboard wipeouts. In the sports world, it has grown into a major distribution platform, and that’s largely thanks to the work of Ruibal, who found his way to YouTube/Google after a successful entrepreneurial career that included the founding of Universal Sports.

The online platform’s emergence has led many in the industry to speculate whether YouTube could one day shake up the game of negotiations for exclusive broadcast rights. However, Ruibal is quick to stifle that speculation, stating firmly that YouTube is exclusively in the business of distribution.

“There seems to be some sort of confusion about what we’re doing in sports,” he says. “We’re not in the rights-buying business; we are a distribution company. We partner with rights owners; we partner with broadcasters to help them distribute across our platform using their brand and the awareness that we give to grow their brand.”

The awareness that YouTube offers is staggering. The site receives an average of 800 million unique views a month, and 4 billion hours of content are viewed on YouTube a month.

Ruibal’s vision is to use this power to program to underserved audiences with more-immersive content and to give an opportunity for new and undistributed content to launch.

YouTube won’t create or produce the content for its partners, but, if a league or sport has a finished product to expose to the Internet, YouTube will use branding and metadata to get it in front of the necessary eyes.

“There’s opportunities to talk to a large audience,” Ruibal says. “If there’s somebody who likes your sport in Madagascar, they’re probably not going to go to your URL. They probably don’t even know it exists. YouTube is a global destination where people just go to watch video and search for things that are of interest to them.”

YouTube’s strategy in sports is to build channels. Ruibal foresees that, much in the way cable introduced a proliferation of more–niche-based networks, YouTube can take that to an even higher level on the digital side.

The company has found tremendous success with sports channels like KickTV (a soccer channel partnered with MLS), WWE FanNation, Ride Channel (skateboard content hosted by Tony Hawk), ESPN’s Grantland with Bill Simmons, and the previously mentioned Red Bull channel.

When a league or entity chooses to partner with YouTube, it agrees to a 55-45 revenue share. The channel’s interface is customized to make it distinct from the average YouTube page. In many cases, YouTube is able to market a channel or segment, having partnered with Gillette on European soccer content and AT&T and ESPN on My Highlight, where popular sports home videos on YouTube can make it on to SportsCenter.

“We’re not creators of content, we’re not curators of content,” says Ruibal. “We really try to be additive and not competitive to what’s out there in the marketplace.”

Although the court is in a hangar on Ramstein Air Base in Germany, production for the Armed Forces Classic is very close to that for a regular ESPN college basketball game.

The biggest difference for ESPN staffers who worked on last year’s Carrier Classic, which was played in San Diego on the deck of an aircraft carrier, is that there is a lot less water to deal with.

“That is one difference that makes it a lot simpler,” says Terri Hermann, operations manager, Armed Forces Classic, ESPN. “We don’t have cranes lifting things onto the deck, and we can just open the hanger door and drive things in. It cut down on our setup time, and we also don’t need a location in case of rain.”

Being in a hanger also means that the production is very close to that for a regular ESPN college hoops game. The 13-camera shoot will make use of cameras above the rim, and the below-the-line production team of 54 is calling NEP Visions HD4 and Voyager home for the 720p/59.94-fps product.

“By working at 59.94 frames per second, all of our elements from the States transfer directly,” says Hermann, adding, “Not having conversion is a huge benefit and cost saving for us.”

ESPN arrived on Tuesday and set up the stands, then the lighting (courtesy of Musco), and then the court. And, because all production and setup decisions are made by ESPN, there is no need to deal with school athletic directors and others in order to build a camera platform.

“I cannot say enough about how helpful and giving the military has been,” says Hermann. “They are so excited to have us here, and the support has been phenomenal.”

And the additional technical expertise doesn’t hurt. A fiber cable connecting the game production with an ESPN SportsCenter set located in a different hanger was accidently damaged.

“The Air Force volunteered to send out a fiber-splicing crew to fix that problem,” says Hermann.

She also praises the Visions team: “They’ve been hugely supportive, and they come up with solutions to problems before we even know we have them. We’ve been blessed to have them as a partner.”

“Massive [sound-pressure levels]. One hundred sixty-five dB. It’s like standing next to an explosion; it rattles your internal organs.”

That’s Tim Record speaking about what it’s like to the A1 mixer for ESPN’s broadcasts of the NHRA Full Throttle Drag Racing Series, which has held 23 events since February, leading up to next month’s finals. “The sound can be deceiving, since so much of it is felt rather than actually heard,” he continues. “It hits you right in the chest. That’s one of the challenges of the sound for drag racing.”

Another is how to capture the sound of top-fuel dragsters and Funny Cars that hit speeds in excess of 300 mph over a 1,000-ft. strip (down from the historic ¼ mile [1,320 ft.], in order to limit top speeds and increase safety in the wake of a number of driver injuries and deaths). The numbers are jaw-dropping: they approach and sometimes exceed 165 dB, exponentially beyond (on the logarithmic deciBel scale) the 116 dB recorded at Cameron Indoor Stadium at Duke University during a game against Wake Forest in 2009 or even the 127 dB worth of vuvuzela horns at the World Cup in South Africa. According to an article on ESPN’s Go.com, the NHRA once let the network bring some seismologists out to the starting line, where two top-fuel dragsters registered a 2.3 on the Richter scale, the scale used to measure earthquakes.

Record relies on field technician Mason Armstrong to place a series of 26 microphones at key points on the strip. These include two Audio-Technica ATM 250 large-diaphragm microphones in each lane at the staging area/starting line — aka the launch point — just aft of the cars themselves to catch the engine roar of the takeoff, as well as two pairs of Sennheiser 416 shotgun mics attached to the “Christmas tree” array of lights that acts as the countdown to the start of the race.

Two robo-cams are lined up at the starting line with Audio-Technica BP4027 stereo shotgun microphones attached. These catch the initial departure sounds of the cars as they head down the track. A series of strategically placed shotgun mics are taped to the track sidewalls — isolated with foam from the wall itself to reduce mechanical-coupling vibrations — and pointed almost exactly parallel to the wall and facing up and down the track to pick up the cars as they traverse the course over the next 4.5 seconds.

“These microphones are synched with the cameras along the track, so they have to be opened very precisely and very fast,” says Record.

That task falls to submixer Rusty Roark, working a Yamaha MC7L console in the C unit of the Crosscreek truck that has followed the series since the beginning. Record mixes from the truck’s A unit on a Calrec Sigma console.
“Rusty has eight fingers on the faders at all times, and he’s opening them as the cars pass each camera,” explains Record, who has been mixing NHRA off and on since the 1990s and regularly since 2005. “He’s gotta be quick, and he is.”

There are more microphones at the end of the track, including shotguns attached to camera 5 at the 1,000-ft. finish line. A dedicated “chute” mic — Shure ECM-77 electret — located near the 1,600-ft. point on the track picks up the sound of the cars’ parachutes as they deploy to slow the cars at the end of the run.

Record says microphones are sometimes casualties to the excessive SPL, especially around the launch point, where engines do occasionally blow up before the race begins. “We’ve lost a few diaphragms to that,” he says nonchalantly. “Microphones just aren’t built to withstand that kind of SPL.” Microphones are also occasionally lost as cars hit the wall and, in some cases, are grabbed by the parachute’s fluttering edges.

“It seems that, when they hit the wall, they hit it far away from a microphone, or else they take a mic with them,” says Record. “I’m still waiting for one to hit the wall close enough to pick up the crash sound but still leave the mic intact.”

ESPN has been broadcasting collegiate b-ball since around the turn of the century in encoded/matrixed surround over two channels. The technology to take the surround format fully discrete has been in place for some time, but the network has made it a practice to roll the discrete versions out sport by sport, season by season. That, says Kevin Cleary, senor technical audio producer, event operations, for ESPN, is based on largely operational considerations: specifically, on staff training.

“We’ve added another eight channels, so channels 9 through 16 are 5.1 discrete,” Cleary explains, adding that the rest of the remote truck infrastructure also has to be put in place, including 16-channel routers and dual-path embedders that would match the transmission infrastructure that the ESPN plant has in Bristol, CT. “So the rest is really about getting our guys who haven’t worked on discrete 5.1 trained for it. The number of people we can call on is finite, but the good news is that we have a lot of crossover: some of the A1s who work on college basketball also work on other sports that are already done in discrete 5.1 surround.”

Cleary says he has been visiting various arenas with several of his top mixers and documentation on the 16-channel router configuration, outlining ESPN’s 5.1-discrete production procedures, a methodology necessitated by the fact that virtually all A1s are independent contractors. But, he adds, this kind of extension of audio skills will likely continue beyond discrete 5.1.

“Shows that these guys are working on won’t become any less complex five years from now, so this is part of an ongoing process,” he says. “In addition to the discrete 5.1, we’re already doing a domestic re-air, an international and a commercial stereo show, as well as adding another stereo pair for streaming. Each one impacts the workflow, so we have to adjust.”

According to Dan “Buddha” Bernstein, who has been mixing Big East basketball shows for five years, there won’t be much of a procedural change for A1s who have until now been doing the show Lt-Rt, but there will be more emphasis on the rear channels now that the surround mix is discrete.

“Every arena is different,” he points out, “but they’re all pretty tightly enclosed spaces, and some of them are small, so the challenge and the goal is to make even the smallest arenas sound big.”

Bernstein expects the trucks from NEP and other suppliers to have certain key pieces of gear aboard, such as a fiber-based booth kit. According to DaySequerra President David Day, each ESPN Big East broadcast uses seven DaySequerra-DTS boxes to make the discrete 5.1 and stereo feeds uplinked from the game remote to Bristol — including the iLM8-Live, a dual DSP 5.1 loudness meter to simultaneously measure the discrete surround 4.0 bed and 5.1 stems, so that the mixer can make sure that the announcer isn’t buried by sneaker squeak and crowd effects.

“ESPN uses two DaySequerra Mono2Stereo units each with a proprietary DTS four-channel synthesizer algorithm to produce an artifact-free, stereo-effects soundstage from multiple mono shotgun mics,” he explains. “This is fed to a DaySequerra-DTS UpMix to complete the 4.0 surround bed. The [center-]announce track is then dropped in on the bed at the board to complete the 5.0 mix. Two stereo feeds are transmitted along with the 5.1 discrete feeds back to ESPN in Bristol: one with broadcast-rights–managed music and a second with rights-free music for re-air. Each feed is made in the remote truck; the 5.1 stems from the board are input to a DaySequerra-DTS DownMix to make each stereo feed.”

Cleary says that most of the adjustments for basketball in discrete 5.1 are on the transmission end; the number of microphones, their type, and their placement will remain largely the same as before. The shows’ levels will also remain compliant with the -24 LKFS standard, as per the CALM Act, whose requirement that commercials have the same average volume as the programs they accompany goes into full effect on Dec. 13, about a month after the college season begins.

This brings all the key college sports — football, baseball, and now basketball —into the discrete-5.1-surround age. Could lacrosse be next?

High school juniors entering their senior year in the fall of 2012 are invited to submit video entries that showcase their work in video production. A panel of expert judges will select four students to participate in the production of U.S. Army All-American Bowl and Eastbay Youth All-American Bowl events. These students will receive an all-expenses-paid trip to San Antonio, comprehensive training on the NewTek TriCaster all-in-one video production system and 3Play slow motion instant replay system, hands-on participation in the live, national webcasts of Bowl events, interaction with players and band members, and much more.

Students must identify their roles in the creation of their video submissions. Video entries should not exceed three minutes and must be uploaded to YouTube or SchoolTube. A full set of rules can be found at www.newtek.com/aag. The deadline to submit entries is Friday, November 23, 2012.

“The U.S. Army All-American Bowl features the best of the best in high school—from football and band, to video production. These elite students are at the top of their game, and this weekend of events allows them to showcase their extraordinary skills,” said Doug Berman, All American Games chairman. “It’s rewarding for us to see the impact that these games have had on the futures of these outstanding students.”

“The students who earn a spot on the NewTek All-American Video Crew are considered the elite high school video producers in the eyes of their peers,” said Philip Nelson, NewTek SVP artist and media relations. “They train with some of the best video production experts in the business on the same equipment currently used by MTV, Miami HEAT and the New York Giants, NewTek’s award-winning TriCaster all-in-one production system.”

AJA Mini-Converters meet the highest standards in reliability and are designed to deliver uncompromising quality video and audio in a range of remote, mobile, on-set and studio-based professional production and post-production settings. AJA HD and SD Mini-Converters offer the most complete range of compact, standalone conversion solutions to uniquely meet the needs of any production.

The new DWP-U-R1 power supply operates at a 100-240v input range at 50-60Hz, and includes four interchangeable plug adapters for US and international usage.

The Netherlands based company has built their RF camera solution around the Blackmagic Design Compact Videohub router and Videohub Smart Control router control panel. Five wireless camera feeds from the F1 Indian Grand Prix were delivered via the Riedel Fibre Network and recorded on several HyperDeck Studio SSD recorders. Capturing in ProRes, the HyperDeck Studios are then used for playback, and subsequent quality control after production.

During the race BP Satellite Solutions provide broadcasters with camera transmitters, receivers and intercoms. They also supply IP based audio equipment and Blackmagic Design SmartView Duo monitors for the broadcasters’ commentary positions and engineering galleries.

For televising the Grand Prix, broadcasters such as TV Globo or RTL acquire the television feeds from rights holder Formula One Management (FOM) and subsequently package it up for transmission with the addition of race build up and commentary. The most basic output is a Mixed Master that includes footage from trackside, pitlane and helicopter cameras. That can be enhanced with the addition of further feeds including in car telemetry and extra on board cameras from FOM as well as race build up filmed by the broadcaster themselves.

Brazilian broadcaster TV Globo acquired the Indian F1 Grand Prix camera signals via eight ATEM Camera Converters from FOM and connected to two ATEM Studio Converters.The signals were then fed into a Blackmagic Design Compact VideoHub via four Blackmagic Design Mini Converters Fibre to SDI. An ATEM 2M/E Production Switcher with ATEM 1M/E Broadcast Panel was then used to mix the viewing package and add race commentary while audio was embedded and de embedded using Blackmagic Design Mini Converter SDI to Audio and Audio to SDI.

The final output from TV Globo was then sent via satellite, which is handled by Multilink Holland, the technical supplier for FOM and EBU for world wide video distribution, for transmission in Brazil.

According to Patrick Hendrik of BP Satellite Solutions: “Multilink Netherlands approached us earlier this year and asked us to recommend a solution for TV Globo. The brief was simple enough, it had to be compact and reliable. Our work on the Dakar Rally last year had shown just how reliable Blackmagic could be, even in the most extreme of environments. And so we had no hesitation in recommending Blackmagic for use by TV Globo.”

“The goal is to make 120 Hz a reality,” said Hiroshi Shimamoto, during his session on 120-Hz–frame-rate Super Hi-Vision capture and display devices. He has worked on Super Hi-Vision since 1993 as part of NHK’s Science and Technology Research Labs. “And important devices have been developed, like a 120-Hz camera that uses three sensors and a 120-Hz LCD projector.”

The current Super Hi-Vision specification calls for resolution of 7,680×4,320 at 59.94, 60, or 120 Hz and with bit depth of 10 or 12. Wide-gamut RGB is also on the docket. The reason for the move to 120 Hz is that it will cut down on observable motion blur, an important step if the goal is to have a viewing experience that replicates the real world.

The prototype Super Hi-Vision camera system currently has three CMOS chips with 33 megapixels requiring 51.2 Gbps of output for each chip.

“The major challenge is high-speed operations while maintaining low power consumption because, if there is too much power needed, then the temperature and noise rises,” Shimamoto added.

A new two-stage cyclical analog-to-digital converter is part of the solution: the first stage converts the upper four bits of the image, and the second converts the lower eight bits. Parallel operation speeds A-D conversion.
The camera head has three image sensors delivering a 150-Gbps signal that currently requires 72 HD-SDI cables to get signals out of the camera.

That massive data throughput remains one of the biggest, if not the biggest, challenge to any dreams of 4K production and broadcasting. With the vast majority of the broadcast industry still making the transition to a 3 Gbps infrastructure, how will it be possible to make the move to an infrastructure that could require bandwidth in excess of 100 Gbps, the rate needed for 4K transport at 12-bit quality?

The answer lies in the evolution of the HD-SDI interface by SMPTE. A single-link HD-SDI interface could provide throughput of 1.5 Gbps. In 2006, dual-link HD-SDI was introduced, getting the industry to the current 3 Gbps rate.

By early 2013, two quad links will be introduced, 425-5 (for 4K progressive needs) and 425-6 (for 2K progressive stereo signals for 3D). Compatible with existing 3 Gbps infrastructures, they will provide 12 Gbps of throughput.

According to John Hudson, director of product definition and broadcast technology for the Gennum Products Group of Semtech Corp., that pragmatic approach will allow creation of 4K production islands, a similar philosophy to that deployed in the early days of HD production.

“The broadcast space should start to look at other industries to see what technologies we can borrow and leverage in our own,” he says. “The datacom and telecom industries continually develop optical and copper modules for higher data rates.”
One technology to track is the Quad Small Form-factor Pluggable (QSFP) interconnect system. In another five to seven years, connectivity of 25 Gbps will be reliable, and the cost of that system should drop as data-intensive companies like Google and others bring it into their facilities.

“It leads to an interesting opportunity for standardizing on one or two form factors that can get up to 100 Gbps by borrowing from data-center technologies,” Hudson adds.

For the broadcast industry, that means, eventually, helping evolve the HD-SDI interface to get to 200 Gbps.

“The first target is broadcasting, and the final is to provide a full-resolution system,” said Shimamoto of 4K. And, although a single-chip color camera with more than 100 megapixels may eventually be possible, the first cameras will need three large-format sensors.

“The ⅔-in. sensor is a tough target,” he added. “It is much smaller, and the size is not good for sensitivity and dynamic range.”

Nonetheless, as the move to HD proved, expect to be surprised with what the engineering community can accomplish with some hard work, ingenuity, and the help of Moore’s Law.

“These two new models join a family of Sony large-sensor cameras that complement each other and deliver powerful new capabilities to professionals working at every level of production,” said Rob Willox, director of marketing for large image sensor cameras at Sony Electronics. “They fill a critical gap in large-sensor acquisition between Sony’s PMW-F3 camcorder and F65 digital motion picture camera, and give content creators new levels of flexibility and creative options for acquisition and production in HD, 2K, 4K and beyond. The total line-up, with our new accessories, further underscores Sony’s commitment to supporting every aspect of the highest-quality professional workflows.”

The 20-megapixel F65 remains the flagship of Sony’s large sensor acquisition technology. The 8K sensor-equipped F65 continues to evolve, with new features designed to keep it at the highest end of professional digital imaging. The most recent feature add-on (Ver2.0) includes a new high frame rate mode for 8K 16-bit Linear RAW recording at 120P to deliver stunning 4K images with super smooth slow motion capabilities, as well as the SR codec updated to 12-bit. The Ver2.0 upgrade was also released for Sony’s SRR4 recorder, as well as the SRPC4 transfer station to enable 1.5 times faster than real-time transfer speed of 8K 16-bit linear RAW files. Future upgrades to the F65 will deliver higher than 4K RGB resolution, paint and remote control, and interfacing with the new OLED viewfinder, among other features strongly desired by the production community.

New F55 and F5 Cameras

The new CineAlta 4K cameras deliver creative options for HD, 2K QFHD and 4K production. Both offer multi-codec support: Sony’s new XAVC MPEG-4 AVC/H.264 format, the SR codec (MPEG4 SStP), and the well-established XDCAM 50Mbps 4:2:2 codec. In-camera recording is to Sony’s new SxS PRO+ memory card media (for the F55, 4K 60p:422 10-bit XAVC and HD 422 10-bit XAVC High Frame Rate); and for the F5, HD XAVC and HD high frame rate).

The F55 can connect to Sony’s new 4K 30-inch LCD monitor, model PVM-X300, using four 3G-SDI interfaces for live monitoring at 4096×2160 up to 60p while recording XAVC 4K and playback XAVC 4K images.

Users can connect directly to Sony’s new 84-inch BRAVIA 4K (3840×2160) LED TV for largescreen monitoring of the camera’s 4K 60P images (at resized horizontal resolution of 3860 pixels).

Using Sony’s new RAW recorder “AXS-R5,” enhanced high frame rate capabilities allow shooters to capture super slow-motion imagery in up to 60p 4K RAW on new AXS memory — for 2K RAW, up to 240fps with the F55; and up to 120 fps**with the F5 — all without crop factor or loss of angle of view.

The F55 adds a global shutter to eliminate rolling shutter skew and flash band, delivering the same color filter with ultra wide color gamut as the F65 for true color reproduction. The cameras are further distinguished by wide (14 stops) exposure latitude, high sensitivity, and low noise.

Unique to both the F55 and F5 will be the ability to dual record in a number of different configurations depending upon codec selection and whether using the optional AXS-R5 RAW recorder. Combinations will include recording in parallel to a single SxSPro+ card, to both SxS slots with the same or different codecs, and recording to SxS at the same time as to the AXS-R5 in RAW.

These powerful features enable highly efficient off line, on line workflows and the archiving and repurposing of the RAW data.

RunONE Powered Cables combine audio and power, along with optional data, under a single durable, yet flexible jacket. With multiple uses for corporations, DJs, lighting rigs and tours, RunONE allows the user to pull a single cable in place of multiple cables, providing a portable and neat solution that saves time and hassle.

Each RunONE cable combines one channel of power with two, eight, or 12 channels of 110 Ohm balanced audio for line level, mic level or digital AES audio signals and can be used with self-powered speakers or in DMX lighting control. Additional configurations of RunONE include two channels of Category 5e cable that can be used for data drops in remote power and audio applications. Snakes with optional data can also be used for digital audio transmission while sending power to Front of House (FOH) for remote locations. Shielding around the power channels eliminates power noise from interrupting the audio/data signal, ensuring high-quality performance.

Joining the existing Professional Line of RunONE cables, the new Touring Line was designed with larger-gauge power conductors and an overall shield. The 12 AWG power conductors of the Touring Line provide a lower voltage drop for long distance runs, while the overall shield reduces outside noise often encountered during those longer runs.

Terminated with industry-standard connectors, RunONE cables offer the option of Edison, IEC and Neutrik powerCON connectors for the power channel; 3-pin XLR, 5-pin XLR (for DMX lighting), TRS and Neutrik convertCONconnectors for audio channels; and RJ45 and Neutrik etherCON connectors for optional data channels. RunONE cables are available in pre-defined and custom configurations.

“The RunONE cables are a great solution for anyone looking to save time,” said Joe Zajac, Sales and Applications Engineer for Gepco Brand Products. “Now the Touring Line of RunONE cables also provides a neat solution where extended runs of cable are needed.”

Sprint Vision, based in North Carolina, had been using a tape-based workflow for nine years prior to adopting the EditShare system. The workflow was both cost-prohibitive and time-consuming; producers were not connected to any sort of network or central server so, as a result, would not know whether the footage they needed had already been ingested.

“We had one tape deck, because they were obviously expensive. That was on a cart, and we would wheel it from suite to suite and ingest the footage that we needed,” says Brook Horn, project manager, Sprint Vision. “That was a clunky process, especially finding things real time and ingesting real time from tape and only being able to use notes that were on the label [because] there wasn’t any metadata.”

The sheer distance between Sprint Vision’s offices and the network of venues that constitute the NASCAR Sprint Cup Series prompted Sprint Vision to search for a cost-effective, file-based workflow. Sprint Vision selected an EditShare Flow for ingest, logging, and media-asset management (MAM); a high-performance 32-TB Energy Series storage server; and EditShare Ark Tape for both archive and backup.

Video presentations at the track span hours of coverage each weekend, with practice sessions, qualifying sessions, and races, as well as live coverage of pre-race ceremonies, preproduced team and driver profiles, highlights from earlier races, fan tributes, evergreen packages, commercials, and music videos.

Instead of shipping tapes from the racetrack to North Carolina, Sprint Vision now captures footage from AJA Ki Pro digital recorders, EVS replays and melts, and Panasonic P2 Pro cameras. After each weekend in the 35-weekend schedule, the company ingests this material into the EditShare shared-storage system or moves it to Ark Tape for ingesting.

Sprint Vision implemented the EditShare workflow in May, midway through the 2012 NASCAR Sprint Cup season. However, the team has already benefited from the streamlined workflow. Footage that had, at one time, been ingested multiple times is now ingested only once, and that content is logged, tagged, and indexed for easy search and access.

“We are all connected now, and we all can search the same footage and not have to stop what we’re doing just to go pull a tape and search through a tape,” says Horn. “Our old tapes are still there — we haven’t ingested all of our old tapes, we’ll probably just do that as we need it — but really, just from a workflow standpoint and the ease of location of footage, that’s just been huge. We’ve freed up a lot of time.”

The manufacturer of 3G/HD/SD-SDI conversion gear will demonstrate LMNTS, an exciting breakthrough in comprehensive multi-channel, transport-based loudness processing, and SpotCheck, an innovative transport stream compliance monitor. Also on display will be Cobalt’s new MADI card-based series of baseband audio routing solutions for mobile environments, production companies, or any application involving multi-vehicle audio signal transport.

Cobalt’s SpotCheck, a transport stream compliance monitor that takes the guesswork out of loudness measurement and logging, provides a easy-to-implement path to CALM compliance and maintenance. SpotCheck monitors an IP, ASI, or a transmitted over-the-air MPEG stream at the transmit (emission) encode point, and provides easy-to-use, convenient, long-term access to loudness records for all programming initiated from a broadcasting facility.

Segments can be searched via the intuitive display of loudness plots along with date/time-stamped thumbnails of the actual corresponding programming, or can optionally be queried and correlated using a database relationship with the facility as-run automation list. SpotCheck readily pinpoints all segments that are outside of CALM compliance providing documentary proof should an erroneous complaint appear. Ethernet control enables integration with facility IT providing long-term logging/thumbnail storage.

Requiring no breakout from the MPEG stream and not affecting the emission stream in any way, SpotCheck provides an easily integrated, facility-based, powerful solution for loudness records and compliance interrogation and verification.

The position provides Scott with the unique opportunity to interact with fellow members on key SMPTE initiatives and get personally involved in guiding activities within the society.

“We are thrilled to have T.J. join the SMPTE board of governors, and look forward to benefitting from his insights and leadership,” said Pete Ludé, President, SMPTE.
Scott will serve a two-year term, running from January 1, 2013 through December 31, 2014.

“I’m honored to represent Grass Valley at an organization that I have been a proud member of since 1985,” said Scott. “The great work that SMPTE does influences broadcasters and other media companies on a global scale and is among the most important bodies within the industry. I plan to share my perspective for the good of the organization and I thank the membership for its overwhelming support.”

“As the first company to launch the IRND filter technology, Tiffen’s innovative and creative product team is honored to be recognized by the National Academy of Television Arts & Sciences, one of the most prestigious organizations in the industry,” comments Steve Tiffen, president and CEO, The Tiffen Company. “We are proud to be amongst some of the most talented companies and individuals to receive an Emmy, and would like to congratulate them all on their technical achievements. It’s very exciting to be acknowledged for our contribution to the television industry through our IRND Filter Technology, and are looking forward to attending the award ceremony during CES 2013.”

Tiffen IRND filters were designed five years ago in response to the demand for IR pollution control filters. Since then, the range has expanded to combine the technical benefits of IRNDs with some of Tiffen’s best-selling special effects filters. Three filters in one, Tiffen IRNDs reduce multiple surfaces and potential reflection from stacked filters, while their Glimmer Glass component adds a distinct silver “sparkle,” allowing image-makers to craft beautiful and unique images. Noted American film and television cinematographer, Ron Fortunato (ASC), had this to say about the Tiffen IRND filter technology: “I’m using them on all exteriors and absolutely love them. The IRND filters are a great thing to have, as using separate filters on hot exteriors brings double reflections. Using just one solves the problem and I can use my beloved Glimmer Glass outside now!”

“The National Academy’s Technology and Engineering Achievement Committee is pleased to honor these technology companies and individuals whose innovation and vision have materially affected the way the audience views television and have set the standard for technological excellence in the industry,” said committee Chairman, Robert P. Seidel, Vice President of CBS Engineering and Advanced Technology, in the official statement from NATAS.

Sports-audio broadcasting, which pioneered such developments as discrete-surround audio, isn’t on the agenda this year, but, as Mets fans are fond of saying, Just wait’ll next year. Or better yet, talk to David K. Bialik, chairman of the broadcast and streaming-media conference track for about the past 25 years.

Bialik tells SVG that he did look into panels on audio for the World Series, the Super Bowl, and the Olympics — all topics that have been covered in previous broadcast tracks, incidentally — but key panelists weren’t available this year. He says that some of the sports-themed panels have been very successful — he cites the Vancouver Olympics panel at the 2010 AES Show as being standing-room only — while others have drawn just mixed interest.

“Over time, you learn to pick and choose your topics,” he says. “But much of what we do, if it’s not directly about sports, has implications for sports,” such as the panels this year on the CALM Act and mobile television.

The AES Show has attractions for broadcasters: the DTV Audio Group will host a panel, Friday Oct. 26 noon-3 p.m., that will address such issues as how multiplatform content delivery is eclipsing traditional digital television; whether practices for loudness, dynamic range management, and format interoperability are making the transition quickly enough to keep up; and the ongoing challenges of live 5.1 DTV production and incompatibility with legacy two-channel workflows.

On the show floor, expect to see pro-audio manufacturers whose product lines — microphones, monitors, signal processing — traverse broadcast, and other pro-audio sectors like music recording and live sound will be there in force. Most of those that don’t exhibit will usually have a sales rep or two patrolling the floor, looking for trends.

Some choose not to formally exhibit, citing, interestingly enough, the show’s location rather than its core constituency. Calrec, for instance, won’t be there. According to Regional Director of Sales Dave Letson, the company does exhibit when the show is in New York, where it has historically been every other year and where there is a substantial base of broadcast clients.

“The New York show is still generally very positive for us,” he says. “We found that very few broadcasters attend the AES in San Francisco, and it has become less relevant for broadcasters. My opinion is that, for broadcasters to join the show, it should really be in Los Angeles, where there [are] more broadcasters with larger facilities.”

To capture gameplay from the PS3 consoles (only developer versions of the consoles can enable a non-HDCP output) Digital Garage Solutions Specialist Mark Sekula looped PS3 footage through four Ki Pros over HDMI and into the gameplay monitors, while recording Apple ProRes to the Ki Pro drives. The Ki Pros were used to record three driver views and one spectator view of the PS3 console feeds simultaneously. Formula 1 2012′s 60fps output was recorded at 720p 59.94 in Apple ProRes and the AJA GEN10 was used for sync.

“We needed to record the gameplay to a professional file-based format that the BBC would accept and hand it to them straight after the shoot,” Sekula remarked. “After considering various devices and workflows, the combination of the non-HDCP output and the Ki Pro’s ability to loop the HDMI feed while recording ProRes –, without noticeable delay to the gameplay monitor – gave us a simple solution.”

Given a limited amount of time with the F1 drivers, Digital Garage had no room for error and less than an hour to complete a dry run and final recording of the race before handing the footage over to the BBC. “We knew a second take was never an option. In a situation like that, you must have complete confidence in the kit you are using. From the first workflow test, we noticed just how solid, professional and reliable the Ki Pro felt compared to other field recorders. We quickly decided that it was the only recording device we would trust for this project,” said Sekula.

“Ki Pro also has professional I/O options that set it apart from its competitors. Pretty much everything you need is there, including external sync and timecode,” he added.

The event took place within a confined space that became crowded with spectators and camera crew. Once the equipment was fixed into position and the BBC cameramen began shooting preparations, Digital Garage could not access the devices directly. All of the Ki Pros were connected to a portable Ethernet switch, which allowed Digital Garage to control them on a web browser on a laptop, via the Ki Pro’s built-in webserver GUI. “Being able to control the Ki Pros remotely was essential,” remarked Sekula. “The browser interface was simple to use and quicker than the button menus. I could change settings, format drives, download and view test clips, control transport and monitor remaining space. I was able to gang the Ki Pros together remotely, then start and stop them simultaneously.”

At the end of the shoot, Digital Garage was able to eject the drives, download the footage over FireWire 800 to an external hard drive and hand the content over to the BBC crew, without any problems.

As experienced dealers and integrators of AJA hardware, Digital Garage was no stranger to the Ki Pro; however, Sekula shared how the workflow proved to be an eye opener on this project in particular. He concluded, “This was the first time I had gone into the field in support of a client and used multiple Ki Pros in this way, and I was really impressed. They are like professional VTR’s for the file-based age, but with the added bonus of being small, rugged and truly portable. I never felt like they were going to let us down.”

“It was a totally different experience than anything I’ve ever seen before,” says Matthias Leister, head of broadcast solutions, Riedel Communications. “Basically, we put a medium-size OB truck inside a small pressure housing in the capsule. And we also provided all the communications within mission control, between mission control and Felix, and for all the teams on the ground. It was a major challenge, but it obviously worked out well in the end.”

Red Bull Media House produced live feed of the supersonic jump, drawing a record 8 million concurrent streams on YouTube and airing on more than 80 TV outlets in 50 countries. By the time he landed safely on the ground, Baumgartner had set the record for longest free fall and become the first human to break the sound barrier (with a peak speed of 833.9 mph — 1.24 times the speed of sound).

Riedel’s efforts in Roswell, NM, during the dive can be split up into three capacities: the audio/video payload system and infrastructure inside the capsule itself, the fiber-based MediorNet transport system for all video/audio/data signals, and the intercom matrix for all communications on the ground and with the airborne capsule.

The OB Truck Inside the Capsule

Riedel provided the on-board video-control and -transmission system for nine HD cameras, which were transmitted live to the Red Bull Stratos operation on the ground for the live stream. In addition, Riedel supplied the control system for the additional three RED ONE cinema cameras (with MX sensors), three still cameras, and 13 Panasonic P2 recorders. This system essentially served as a digital video router, offering complete remote control of the whole video system and featuring three HD video downlinks that could be switched among the nine cameras.

“Riedel engineers developed the software that allowed [mission control] to switch any of the nine HD cameras to any of the three video downlinks,” says Leister. “It was capable of starting and stopping recorders inside the capsule, as well as doing color balance, gain, and shutter control on the cameras.”

The company also developed the overall telemetry and control system for the on-board payload, which was located in a keg-like pressurized housing atop the capsule.

“We used a single dual-digital radio link to control all devices [in the capsule], which is something that a standard system is simply not capable of,” says Leister. “We were able to control the video downlinks so that, in case of any RF issues, we would be able to switch the frequencies of the video downlinks. Switching so many different devices and brands from different manufacturers through one system hasn’t been done before like this that I have ever seen.”

MediorNet Ties It All Together on the Ground

All video signals on ground for the Red Bull Stratos project were distributed and routed with Riedel’s MediorNet fiber-based real-time network for HD video, audio, comms, and data signals. Riedel installed 24 MediorNet nodes in a redundant ring topology to prevent signal dropouts. In case of a potential connection loss between two nodes, the signals would have still been distributed thanks to the redundancy.

The MediorNet backbone tied together the entire Red Bull Stratos compound, including mission control, Lyon MU-8 production truck, two FlightLine optical tracking trucks, capsule launchpad, and the Riedel trailer where the downlinks were fed. In addition, the telemetry data used for some broadcast applications (Moving Map, Baumgartner’s speed, oxygen level, etc.) was transported via MediorNet. MediorNet also served as the network backbone for on-site Ethernet connectivity in all areas of the compound.

“It was the backbone for the whole production,” says Leister. “All the signals were provided between mission control and OB truck on the Mediornet, as well as the radio communication. Without that, the overall wiring and infrastructure, the mission itself and [the live production] would have been much more complex and difficult.”

The MediorNet system was composed of Riedel PURE tactical fiber cable equipped with Neutrik OpticalCON Quad connectors.

Communications on the Ground and in the Sky

Communication between the various entities on the ground and the skyward capsule were key to both the mission and the live production. With that in mind, Red Bull tapped Riedel’s Artist Digital Matrix fiber-based comms system to unite the entire compound, including mission control, the production offices, the media/press center, and Lyon MU-8.

Furthermore, Riedel furnished the on-site digital radio network with more than 100 radio receivers and 10 channels, which were seamlessly integrated into the wired matrix intercom system. This allowed radio users to talk directly to intercom users and vice versa.

Riedel also provided an on-site digital encrypted radio network with nearly 150 radio receivers and 14 channel groups, allowing radio users to communicate with Baumgartner inside the capsule. The company also supplied the radio system housed inside his chest pack and used to communicate during the freefall.

“Unfortunately, the free-fall radio system was not as powerful as in the capsule because we did not have that large battery system. So we used steered antenna on these optical tracking trucks that were tracking Felix during his freefall and relayed the communication signal through a TV tower in [the nearby town of] Caprock[, NM]. That tower relayed the signal between mission control and the tracking truck.”

Designed for the ever-evolving needs of today’s cinema and television production professionals, the Blackmagic EF and MFT Cinema Cameras come with an LCD touch screen and feature a 2.5K image sensor with wide, 13 stops of dynamic range, a built-in SSD recorder, open-standard uncompressed RAW and compressed file formats, and, depending on the model, compatibility with quality EF or passive MFT lenses. As the Blackmagic EF and MFT Cinema Cameras are equipped with internal batteries that last up to 90 minutes, Anton/Bauer developed the new QRC-BMD Gold Mount to provide users with virtually uninterrupted power. When paired with a battery, such as Anton/Bauer’s DIONIC HC, the QRC-BMD can provide the camera with 91Wh of power for four hours. The new Gold Mount has also been designed to include Anton/Bauer’s MATRIX Cheese Plate and two PowerTap outlets to power additional accessories easily.

“Anton/Bauer’s QRC-BMD essentially gives Blackmagic Cinema Camera users a ‘swappable’ power solution to ensure the camera is continuously powered and ready for filming at all times,” says Paul Dudeck, Anton/Bauer vice president of sales, the Americas. “When you are working with an internal camera battery, once the battery depletes, you are down for the two hours or so that it takes to charge. This new Gold Mount, however, provides a ‘hot-swap’ solution, providing continuous power, as it is easy to swap our battery out. Users will have the comfort of knowing that during that swap, the camera’s internal battery kicks in, so there is never any downtime while shooting on set.”

Anton/Bauer has also designed the QRC-BMD to be compatible with the company’s mounting bracket for 15mm or 19mm rod systems. It can also be adapted to third-party support systems (15mm or 19mm clamp kits sold separately).

LevelTrack AGC software for Avenue signal processing modules allows entry of a specific dialnorm number and an LKFS range to be maintained by the AGC of up to 16 audio channels. Individual channels can be grouped as a 5.1 surround group for LKFS averaging plus multiple stereo pair groupings, or individual channels, to which AGC is then applied. The AGC processing is applied across the entire dynamic range of the audio without using compression, leaving the the audio pristine, yet in compliance.

The paper, entitled “Fingerprinting for Solving A/V Synchronization Issues within Broadcast Environments” was written by Miranda’s Pascal Carrières, hardware designer; Sara Kudrle, senior software engineer; Marco Lopez, senior vice president, product development; and Michel Proulx, chief technical officer.

Modern television production and distribution systems suffer audio and video synchronization problems, which can occur at multiple points within complex broadcast distribution and delivery systems. The article explored the emergence and current development of “media fingerprinting,” a compelling way to resolve audio and video synchronization problems by identifying and tracking audio and video files without altering the original content.

According to Kudrle, “Media fingerprinting can provide far-reaching benefits for content creators, providers and distributors. In the paper, we discussed those benefits, as well as how professional standardization could facilitate the application of fingerprinting techniques to other media management challenges.”

Strath Goodship, president and CEO of Miranda, said, “Synchronization issues have been an ongoing annoyance for broadcasters and viewers alike. I am proud that we have the intellectual depth and commercial acumen to address those issues; and to be honored by a body of professional peers for our contribution to the discourse is deeply gratifying. I sincerely congratulate the individual efforts of all who contributed, but the highest praise is the public acknowledgment of their work by SMPTE.”

Kudrle and Carrières will be on-hand to receive the award at the Society’s Honors and Awards Ceremony during the SMPTE 2012 Annual Technical Conference and Exhibition, taking place October 23-25, 2012, in Hollywood. Miranda will take part in SMPTE 2012, at Booth 214, where it will highlight the benefits of its playout technologies.

NBC Sports Group will televise all 20 F1 races — four on NBC and 16 on NBC Sports Network — as well as qualifying, practice sessions, studio shows, and re-airs that amount to more than 100 hours of programming annually. The Grand Prix of Canada in June as well as the final three races of the 2013 season in November will air on NBC, while the remaining 16 races will air on NBC Sports Network.

All 20 F1 races will be live streamed on NBC Sports Live Extra, the NBC Sports Group’s live-stream platform that is available online at NBCSports.com as well as on mobile and tablet apps.

“We are thrilled to add the top international open-wheel racing series to our already-strong motorsports portfolio,” said Jon Miller, president, Programming, NBC Sports and NBC Sports Network. “Formula 1 is a perfect fit for the NBC Sports Group as it provides content across three platforms – broadcast, cable, and digital – for nine months a year with more than 100 hours of premier programming annually.”

“NBC and its various media assets have a huge profile throughout the United States and I am obviously delighted to have concluded this agreement. I feel that they will promote Formula One to a level not seen before in the United States,” said Bernie Ecclestone, Formula One Group CEO. “I very much look forward to working with NBC. Together, we will endeavour to broaden the scope of Formula One coverage available to U.S. viewers incorporating additional digital content in particular that has not been available before.”

The 2013 F1 Grand Prix schedule includes 20 races in 19 countries from March through November, including the Austin, TX, race on Sunday, November 17 on NBC. The 2013 season begins on Sunday, March 17 in Australia on NBC Sports Network and concludes on Sunday, Nov. 24 in Brazil on NBC. NBC’s first race will be the Grand Prix of Canada, which will be broadcast on Sunday, June 9. The famed Grand Prix of Monaco is scheduled for Sunday, May 26, on NBC Sports Network.

Introduced at the 2012 NAB Show, both FUJINON lenses offer precision performance geared to demanding HDTV production. The Cabrio lens will be demonstrated in conjunction with a Sony PMW-F3 XDCAM EX camcorder with Super 35mm CMOS image sensor and standard PL mount. Ideal for film- and news-style shooting, the PL 19-90 Cabrio lens accepts industry-standard cine motors and matte boxes. It also features flange focal distance adjustment, macro function, and an exclusive, detachable servo drive unit, making it suitable for use as a standard PL lens or as an ENG/EFP style lens.

The digital servo has 16-bit encoding, so operators can be assured that all lens data output is extremely accurate as well as compatible with both LDS (Lens Data System) and /i metadata. With a 19-90mm focal range and weight of only 2.7kg including servo motors, the PL 19-90 Cabrio has the longest focal range available in a lightweight zoom. This lens is the newest member of the FUJINON PREMIER PL Mount Zoom product family.

CCW attendees will see another advanced HD production lens, the FUJINON HA19x7.4BERM/BERD 2/3-inch Premier Series high-performance HD ENG/EFP lens. Despite its compact size, the HA19x7.4 is feature-rich with a 19x zoom ratio, three floating zoom groups, and aspherics, which combine to produce unsurpassed optical performance. It features the latest EBC coating, resulting in rich colors and improved blue response and transmittance, as well as a 16-bit encoder and 2.2X extender for exceptional zoom capability.

“With CCW encompassing HD World Expo, we anticipate that show attendees will be very discriminating, high-end media professionals, including broadcast producers, cinematographers, and videographers,” said Thom Calabro, director, Marketing and Product Development, FUJIFILM North America Corporation, Optical Devices Division. “We’re confident that they’ll find both of these FUJINON lenses to be outstanding in their class.

“At our CCW booth, we’ll demonstrate how these two high-end HD lenses capture higher resolution picture information, particularly in the corners of the screen, than ever before,” he added. “Their superior optics and dependable performance make them ideal for the most demanding HD productions. We’re looking forward to meeting CCW attendees and discussing how these lenses can help them meet their digital cinema or HD ENG/EFP acquisition challenges.”

The video board, installed by Daktronics, is the third-largest video board in the SEC and the 11th-largest in college football. A custom LED scoreboard showing game in-progress information is located beneath the video board.

“We have spent millions of dollars throughout our athletics venues to enhance our presentation in an effort to recruit the best and the brightest student-athletes, but this project is geared toward the fans,” says Kevin O’Connell, COO, Gamecocks Athletics. “The in-stadium experience at Williams-Brice Stadium is going to be fantastic with the addition of the new video board.”

What those fans may not have known is, beneath the west side of Williams-Brice Stadium, another dramatic overhaul had taken place. To support the new HD LED video display, the university installed a completely new HD control room.

“We were in a 15-year-old space that was actually someone’s office,” explains Game Producer David Cockfield. “We were having to move a table and student edit stations in and out so we could direct the show, and, when the show was over, we had to put [the office furniture] back. It was not the best by any means.”

Cockfield’s team took over a space in the stadium that had been used by the sports information department while the university’s new athletics facility was under construction.

The new control room contains a Grass Valley Karrera switcher, K2 Summit transmission server, and K2 Dyno replay system; Evertz Xenon router; Avid Motion Graphics; and DiGiCo audio board. The university, which did its own systems integration, also added seven cameras: four Sony HSC-300 cameras, a wireless Panasonic P2 camcorder, and two Sony HSC-700 cameras (one focused on the video board, one located in the entrance to the locker room).

Two years ago, the university and athletic department installed a fiber infrastructure connecting the football stadium — located 2.5 miles away from campus — to each athletic venue. The broadcast infrastructure of Williams-Brice Stadium underwent a massive overhaul, including removal of nearly 15-year-old triax cable and the installation of 2.4 miles of video cable, more than 10,000 ft. of network cable, and more than 6,000 ft. of audio cable. The stadium’s rack room now contains 144 strands of single-mode and 48 strands of multimode fiber that connect to the control room, other parts of the stadium, and the main campus infrastructure.

Currently, the control room serves the video-board presentation in Williams-Brice Stadium. Cockfield hopes to expand the room’s responsibilities to South Carolina’s new Softball Stadium, slated for completion next spring.

The university began equipment installation in the control room on July 9 and worked six days a week for eight weeks to have the systems up and running for the Sept. 9 home opener.

“So far, so good,” says Cockfield. “After the first game, we had a large punch list of stuff we needed to fix, and, each game since then, the list has gotten smaller.”

Customers who purchase a SM57, SM58, DMK 57-52, PGX Digital Wireless system, PGX Wireless system, or a Performance Gear Wireless system between Oct. 1 and Dec. 31 are eligible to receive the rebate. Also included in the promotion is Shure’s X2U XLR-to-USB signal adapter bundles, available with the SM57 or SM58.

The SM57 is most often relied on for musical instrument pickup and vocals, as it delivers a bright, clean sound and contoured frequency response. Designed for professional vocal use in live performance, sound reinforcement, and studio recording, the SM58 is a global standard for performing consistently, outdoors or indoors. When combining the microphones with Shure’s X2U adapter, users have plug-and-play USB connectivity for convenient digital recordings at home and on the go.

A universal drum microphone kit, the DMK 57-52 comes with three SM57s and one Beta 52A.

The PGX Wireless and PGX Digital Wireless systems deliver tailored wireless solutions for vocalists, guitarists, and presenters, combining the trusted legacy of Shure’s microphones with state-of-the-art wireless technology. A comprehensive solution for audio engineers at any skill level, Performance Gear Wireless is engineered with superior sound quality and ruggedness, while providing a hassle-free setup.

“Our customers have trusted Shure for more than 80 years, relying on our products to be consistent workhorses wherever audio performance is a top priority—on the road, in the studio, and on the stage,” said Terri Hartman, Director of Marketing Communications, Shure Americas. “We acknowledge all of our fans—from beginning artists to top-selling performers—and extend our gratitude for their ongoing commitment to produce great sound.”

Rebates include $10 back for a SM57 or SM58 purchase; $15 back for a SM57 or SM58 X2U XLR-to-USB signal adapter bundle; and $30 back for the DMK 57-52 drum kit. Wireless system rebates include $40 back for the PGX Digital Wireless system; $30 back for the PGX Wireless system; and $20 back for the Performance Gear Wireless System.

The ADAM matrix supports a total of 272 ports in just a 7-RU frame. This system has the ability to expand a variety of ways, which include using MADI interface cards, RVON VOIP cards and “trunking” multiple systems together. Using a time-division multiplexing (TDM) technique, ADAM grows linearly as users are added. The system comes standard with newly redesigned, redundant high-current power supplies and redundant controllers, with its MCII-e Ethernet master controllers allowing for automatic changeover in the event of failure. The MCII-E master controller allows Ethernet connectivity between the ADAM intercom and a PC running the AZedit programming software. It can support 32 simultaneous AZedit sessions via Ethernet and three sessions via serial connection. Bexel packages this system in a custom rolling rack with UPS power supply, custom breakout panels and KP panel for QC. This helps to provide a turnkey solution for the customer.

“This purchase of Telex’s intercom equipment is part of Bexel’s continuing expansion of system solutions for major broadcast events. It will truly secure Bexel as the premier leader of intercom rental services,” says Tom Dickinson, chief technology officer, Bexel. “This half-million-dollar purchase is essential to Bexel building a new line of flypacks providing the best in service around the world. Offering clients complete turnkey solutions is always a driving force behind our purchases.”

To support the ADAM systems, Bexel has also purchased more than 125 Telex KP-32 intercom panels. The KP-32 has 32 keys with 30 of them being assignable, one for call-waiting response and one for headset/microphone/program selection and volume setup. The KP-32 features digital signal processing and binaural headset operation with left/right assignment of audio signals. It also introduces large, super-bright, long-life fluorescent displays with adjustable brightness control, making it suitable for all types of ambient lighting, from direct sunlight to darkness.

The 64th Primetime Emmy Awards that were produced out of NEP Broadcasting’s Sweetwater COBALT and its JOECO 5000EX “B” unit truck. COBALT was outfitted with a single Grass Kayenne switcher frame with 3 independent control surfaces that were tied to that Kayenne, which was the true star of the show. The Kayenne not only handled the broadcast but also video for the scenic elements in the theater, and the live feed of multiple boxes on screen that each has a shot of the different nominees.

Tech Manager Keith Winikoff was at the center of those efforts for the eighth year. Keith is heavily involved with making sure those in the theater have an experience that rivals that at home. Historically in-venue video could be handled by mid-level equipment like less expensive media servers, smaller production switchers, and low-cost graphics devices. But that is no longer the case, especially when the video in the theater is so closely tied to the video being shown to viewers at home.

“Lip sync and latency are very critical when you are showing the nominees in a category so you need to use an EVS or K2 server,” says Winikoff. “But for graphical needs media servers are very acceptable.”

Winikoff says the Kayenne allows for the maximum utilization of available resources and also cut down on engineering and set up time as once the 50 + sources were tied to the Kayenne frame they were available to all three of the control surfaces and could be used as needed. Operating parallel to the A unit was a B unit with an effects Technical Director, a Chyron Deko, the Mobius screen graphics system, and the screen switching control system.

“It offers efficiency and economy of scale as in the past the entire [in venue] screen system would need additional parallel inputs,” he explains. “But the screen controlled portion of the Kayenne with 2.5 mix effects is perfect for our needs and wasn’t underpowered.”
For example, effects control surface portion of the Kayenne could perform a “seven box” in which one channel had a background image and then seven live video feeds of the nominees would play within that image.

“It has plenty of fire power using all the Kayenne’s resources,” he adds.

Auxiliary bus transitions also came in helpful, allowing for a ripple effects to be sent across the plasma screens in the theater when nominees were announced.

Greg Huttie, Grass Valley, director of technical marketing, says that the ability to operate the switcher in a separate suites mode and share resources allows a technical director involved with one aspect of the production to not fear stepping on another technical director’s work.
“The ability to do auxiliary bus transitions instead of just cuts adds to the creativity and beauty of the production,” he says.

The Barclays Center is already proving itself as a pure entertainment venue: team co-owner Jay-Z’s six-night opening stand there the first week of October will be followed with shows by Bob Dylan, Barbra Streisand, and Justin Bieber.

Although those acts will all bring in outside concert touring PAs, the house system is no slouch. The main bowl is covered with six line-array hangs that consist of 10 EAW KF740 enclosures powered by 43 Lab.gruppen PLM 10000Q four-channel amplifiers generating a total of 210,000 W.

Each line-array hang also has four EAW SB1001 subwoofers attached, part of the heavy-duty low-frequency armament that hip-hop–heavy NBA venues require now. Processing is via Lab.gruppen Lake Processing technology customized for EAW: software modules embedded in the amplifiers create a QSC Q-sys converged network controlled by two QSC Core 4000 processors. The upper reaches of the bowl are covered by a distributed system featuring 40 EAW MK2366 speakers, which also fill in under the scoreboard. The system was designed by Parsons Technologies in collaboration with A/V consultant Dallas-based WJHW.

Low frequencies at high SPL can be a volatile combination. That was addressed, explains Parsons Project Engineer Dave Potts, by mounting the subwoofers behind the KF740 array enclosures and aiming them downward at 40 degrees, straight at the best seats in the house. Actually, he says, the seating acts as diffusion, keeping the bass off the hardwood floor to avoid reflections. With the subs attached to and behind the main line-array hangs, the mid- and high-frequency boxes had to be time-aligned, using various delays, to maintain phase coherency.

“You have the subs coupling with the [line] array itself,” says Potts. “That results in very off-the-chart bass, but it’s still highly controlled.”

Possibly the most unusual aspect of the bowl sound system is the use of a motorized Zbeam hanging system by audio-rigging company Polar Focus. The Zbeam’s pulley systems allow the arrays to be lowered from a single point, have their angles of dispersion and other directional parameters adjusted, and hoisted back up quickly. Potts says the crew was able to re-aim all six clusters in less than a day.

Barclays back-of-house audio ranges from concession areas to the Vault boxes, the high-end suites that cost $550,000 a season — with a three-season minimum. Speakers include Tannoy and JBL installed-contractor types, as well as 12-in. Soundtube subs to boost the bass in the Vault boxes.

Brooklyn is now home to a major-league sports team for the first time in 56 years. And welcoming the Nets is the world’s biggest, best-sounding boom box.

“The video series is packed with useful tips on every aspect of audio for video, ranging from everyday situations to particularly challenging filming environments,” explained Oliver Ohrndorf, marketing manager professional at Sennheiser. “The tutorials are aimed at video journalists, video filmmakers and amateurs who want to enhance their video images with excellent sound. Geert Verdickt is not only an outstanding video filmmaker but also an entertainer who is able to inspire and motivate his audience.”

The subjects dealt with in the tutorials include wireless audio recording, choosing the right microphone, recording with DSLR cameras and using shotgun microphones, as well as tips and tricks for avoiding proximity effect and reducing wind noise.

Each tutorial gives participants a chance to win an attractive prize by answering a question on the subject. For each episode, there will be a chance to win three combinations of an MKE 600, Sennheiser‘s new video shotgun microphone and a set of classic HD 25-II headphones. The winners will be drawn from all the correct answers submitted.

“Given the number of our existing clients in the region and the growth opportunities we foresee there, we needed a local partner to assist us,” said Rino Petricola, SVP and managing director of Front Porch Digital International. “root6 has great credibility and is well-respected in the market, so it will be an invaluable partner not only at every stage of the sales cycle, but also for delivering to and supporting our clients even more closely.”

root6 will represent Front Porch Digital’s entire lineup of products for migrating, managing, and monetizing media content, including DIVArchive SAMMA, and the new cloud-based LYNXsm service. Operating on site and in the cloud, Front Porch Digital’s purpose-built software employs the latest technologies to deliver truly flexible and scalable media workflows. Front Porch Digital solutions appropriately manage large and complex media files and workflows while ensuring optimal performance and utmost security.

“Front Porch Digital has more than a decade of experience at the heart of file-based workflows and is the leader in the field, so being able to offer Front Porch Digital products really strengthens our already high-quality portfolio,” said Mark Jackson, sales director at root6. “Front Porch Digital completes our technological workflow offering, which allows us to bring new products to our existing client base and will help us to win greater market share.”

Born in Paris in 1920, he began his career in 1945 as an audio engineer. From 1961 to ’66, Lesgards was chief engineer for Intertel, one of the first OB production companies in Europe. And, in 1964, his influence began to be felt in the world of sports when Intertel provided one of the OB units used to cover the 1964 Winter Olympics in Innsbruck. Austria.

During his work there, he caught the attention of Roone Arledge (who would become president of ABC Sports in 1968) and, in 1966, was hired as manager of ABC Sports European Engineering Operations.

“I was in New York City for a meeting with Julie [Barnathan], and, at 9:45 a.m., I was hired as manager of European engineering operations. At 10:30 a.m., I was in the personnel department, at 11:30 a.m. the medical department, and at 3 p.m. back at JFK,” Lesgards recently recalled. “Some hours later, I called [my wife] Elisabeth, and she heard some Spanish on the phone and asked where I was. My answer was ‘In Mexico!’ I was already involved in one of the first surveys for the 1968 Mexico Olympics.”

In 1971, Lesgards was named ABC Sports director of broadcast operations and engineering in Europe, where he played a major role in planning for the 1972 Munich Olympics and, for the next several years, was instrumental in every remote production in Europe for Wide World of Sports.
“Very few people in our industry have left a more meaningful legacy than Jacques Lesgards,” says Geoff Mason, who worked closely with him at ABC Sports. “He was one of the original and most influential contributors to ABC Sports. For more than five decades, Jacques managed to make sense of the occasionally conflicting agendas of production and engineering.”

In 1977, he was promoted to VP and director, European technical production and broadcast operations. He retired in 1980 and had lived in Monte Carlo with his wife for the past 32 years.

“His gift was that he loved good television and working with the hundreds of professionals in the global marketplace,” says Mason. “He was able to elevate our telecasts on Wide World of Sports and Olympics. His international perspective will be sorely missed.”

“The Panasonic on-course screens are the highest-resolution true outdoor screen in the market,” says GoVision President Chris Curtis. “It has a really dramatic effect, and the viewing experience is great. The graphics were crisper, and, with the great HD broadcast, it was spectacular.”

Panasonic LED screens were scattered around the golf course.
The 10-mm screens, which looked great given that viewers were sitting a bit farther away from them, were also recently used at the US Open tennis championships in New York City. The delayed final match in New York meant a slightly tighter turnaround, but the screens were up and ready to go the Friday before the Ryder Cup.

The largest of the screens were the ones at holes 17 and 13 (15 x 38 ft.), the one at hole 15 measured 12 x 32 ft., and the three other screens were 10 x 25 ft. The four ceremony screens each measured 12 x 21 ft.

GoVision is involved with a number of other tournaments, and Curtis says each has a different need. Some want to use the screens to create a viewing amphitheater (similar to what was done on the 17th hole at the Ryder Cup), and others want smaller screens scattered around the course to provide a less dramatic effect while still meeting informational needs.

“When we first went out for the Ryder Cup survey, we saw that putting a screen on the hill across from the 17th hole was a spectacular location, and so much drama took place on 17,” says Curtis. “And the screen near the 15th green required a structure to be built in the pond. Both those screens had hand-built structures to support the screens.”

Big Screen Network handled the production of the feed, with the NBC Sports network feed, additional cameras, and an information feed pulled together in a Grass Valley production switcher in the Big Screen Network production truck in the TV compound. Each screen was fed different information, and, when players were on a green or tee, a still graphic would be broadcast to prevent distraction.

“All our control gear is there as well,” Curtis adds. “The whole production is controlled from that truck while the Opening and Closing Ceremony were controlled locally with a flypack and Panasonic production switcher.”

The video screens played an important role in the spectator experience. More than 40,000 people on the course attempted to watch a much smaller number of matches than at a typical tournament, where players are spread simultaneously over 18 holes.

“Just like all sports, golf is battling the TV experience at home, which is so good right now,” Curtis explains. “So we see these screens’ getting bigger and better to enhance the experience of being on the course.”

One of the unique challenges at the Ryder Cup was connecting the fiber lines to the screen in the pond. After a few days of being up and running, the screen was taking some signal hits, and it was decided that the cable needed to be replaced. The culprit? Turtles in the pond chomping on the cable.

Aptly themed “New broadcast services that will change your lifestyle,” the joint exhibit provides a look at several groundbreaking technologies that are mostly still in the prototype phase but are likely to pave the road for the next two decades of high-resolution–video delivery.

Super Hi-Vision Never Looked More Super
The full Super Hi-Vision experience with 22.2 multichannel surround sound
First and foremost, there are the two Super Hi-Vision demos. Although both 85-in. displays feature the stunning 8K video (7680×4320) that the NHK-developed format is known for, only one offers the full 22.2 multichannel surround-sound experience (the other is stereo). The full Super Hi-Vision experience — with a long line of attendees waiting to get in — features the launch of the final NASA space shuttle; the stereo experience provides a series of images and landscapes shot throughout Japan.

Not Your Grandfather’s Binoculars
NHK’s SHV 3D binoculars offer a full 8K image of massive landscapes.
Perhaps the most intriguing — albeit the least sports-production–oriented — element of the booth is NHK’s new SHV 3D binoculars application, which allows users to zoom in on wide-angle landscapes without notably losing resolution. To produce the application, NHK filmed locations in Japan with its 8K cameras to create an Ultra HD image. The user can pan, tilt, and zoom anywhere in the image without losing visual quality. In other words, when the user zooms in on a single building within the landscape, a full 1080p image is still visible within the overarching 8K frame.

3D: Glasses or No Glasses, It Looks Awfully Good
The JEITA booth is highlighted by a quartet of 3D demos, two that require glasses and two that do not. Although the 42-in. glasses-free 3D display is impressive, gaping holes between viewing angles make it difficult to watch unless the viewer is still.
The glassless area also features an interesting medical-imaging demo that provides a 3D image of the human heart.
On the glasses-required front, a London 2012 Olympics sizzle reel plays on a large Panasonic monitor with Panasonic glasses, while Japanese arts-related content plays on the other display.

HybridCast
NHK’s HybridCast links broadcast and broadband in a single experience.
Of all the futuristic elements on exhibit at NHK’s booth, HybridCast is the most nearly available. The broadcast-broadband hybrid is likely to launch next year and offers a variety of content and interactive elements from both the television and the Internet side of the viewing experience.
In one demo, a tablet automatically pulls up in-depth statistics and identifiers of players in the middle of a match while also displaying these player identifiers on the television. The user can click on the identifiers on the tablet to pull up specific stats and info on the player.
This multiscreen experience is a primary initiative for NHK, which plans to expand the technology further once it is launched (target date in the first half of 2013).

“The course is small but we have 90 fiber runs leaving the compound,” said Chris Schwartzer, RF manager for CP Communications at the course on Saturday. “For the US Open we may have 50 runs leaving the compound.”

The additional fiber was a requirement for a show that had massive production efforts not only from NBC Sports but also European Tour Productions (EP) and Sky Sports, the latter of which had not only an HD show but also 3D and Sky News crews on site.

Schwartzer said it took about a week for CP Communications and NBC to lay down the fiber and splice it. “With at least 12 strands of glass going everywhere we have about 800 miles of glass on the course,” he said. “We also have 24 strands of fiber at every green, a few of the tee boxes, and the announce booths.”

All fiber runs came back to a shed on the compound so that they could be shared by NBC, ETP, and Sky. The 3D signals were sent straight to the CPG Shadowcaster 25 OB unit.

Wireless needs for NBC Sports were actually less than a typical NBC golf broadcast. But wireless cameras deployed by ETP, Sky, and even PGA.com raised the number of cameras to 21 and CP Communications also supported Presteigne Charter, on hand for Sky’s wireless 3D systems.

“We actually outgrew our inventory of wireless mics so we reached out to BSI to support some mics,” he said.

In terms of new technologies, CP relied on fiber instead of cranes to get RF signals back from the field and also used a new router from ETL that couples a large matrix with a low noise floor. “It is much more modern than the one we used for the past 16 years,” said Schwartzer.

New CP mics that use COFDM modulation also played a role.

“It’s our own product and after three years we finally have a version that we are happy with,” he added.

Also on display at Sharp’s booth are new touchscreen tablets and mobile phones featuring IGZO oxide semiconductor technology that offers higher resolution and lower power consumption; the first demonstration of AQUOS LCD TVs using Moth Eye panels, which cut down significantly on screen glare; and a 5-in. 1080p LCD panel for smartphones with 443 ppi.

ICC Takes 4K to New Level
A comparison of image production by conventional technologies and by the ICC technology in Sharp’s latest 4K TV set
While these technologies attract interest, the 4K LCD AQUOS display featuring ICC (Integrated Cognitive Creation) technology steals the show. The prototype, developed by Sharp and I-Cubed Research Center, boasts 3840×2160-pixel resolution, four times that of 1080p. I-Cubed’s ICC technology is a new signal-processing tool that, when combined with panel-control technology, reproduces the cognitive process by which the human brain interprets light stimuli as natural scenery or an object, using a TV video display to re-create the equivalent light stimuli.
The result, on display in a viewing theater at Sharp’s booth, is spectacular video quality (this reporter can vouch for that) that makes landscapes, human figures, and textures on the screen seem almost true-to-life.

According to Sharp, the two companies will be working to commercialize next-generation high-definition large-screen LCD TVs and, integrating their respective technologies, will collaboratively pursue creation of new digital video markets.

Will Sharp Take a Bite of the IGZO Apple?
Sharp’s IGZO touchscreen displays are capable of higher resolutions with lower power consumption.
Also generating buzz at the show is a trio of tablets (7-in., 10-in., and 13-in.) featuring the IGZO high-crystallinity oxide semiconductors developed by Sharp and Semiconductor Energy Laboratory. The IGZO touchscreen displays are capable of higher resolutions with lower power consumption in a thinner body.

This jointly developed new technology imparts crystallinity in an oxide semiconductor composed of indium, gallium, and zinc. Compared with current amorphous IGZO semiconductors, it produces smaller thin-film transistors and provides higher performance.
While these sleek, hi-res mobile devices are impressive enough on their own, the buzz around them at CEATEC is boosted by the fact that, although there are no IGZO devices currently on the market, Sharp has been producing the screens since August for an unnamed customer. Several reports say that this unnamed customer is Apple, which could use the IGZO screens as the display for its long-rumored iPad Mini.

Tired of Glare? Look Into the Moth Eye
Viewers weary of the pesky glare on their TV screens look to be in luck: Sharp’s new Moth Eye Panel technology keeps screen reflections to an absolute minimum. Integrated into an AQUOS LCD TV, the Moth Eye Panel achieves ultra-low-reflection surfaces with reflectance of 0.1% or less via moth-eye–like nanostructures formed on film.

It also provides wide-angle high-level visibility, and use of nanoimprinting technology enables mass production of ultra-low-reflection surface-treatment film at low cost, according to Sharp’s press release. This technology applies not only to TVs but also to tablets and digital signage. In addition, applying the film on show windows and other glass prevents the reflection of light from illuminations.

Full HD in the Palm of Your Hand
Sharp is also exhibiting a new line of 5-in. 1080p (1080×1920 pixels) LCD panels for smartphones. Featuring CG-Silicon technology, a new pixel design, and a new production process to achieve the same number of pixels in a smartphone as in a 1080p LCD TV, the panel has 1.3 times the pixel density of conventional LCD panels. Production of these new screens started at the end of September, with full-scale production beginning later this month. No pricing information is available.

Odds and Ends
Not limiting itself to display technologies, Sharp is also exhibiting a nifty new robotic appliance — dubbed COCOROBO — that features artificial intelligence, voice recognition, sensors, and smartphone linking, as well as a new series of next-generation see-through solar modules.

Reading those words isn’t the same as hearing Jones say them, and viewers get to hear them, thanks to the high degree of access that Caught Looking’s microphones have across both leagues. MLB Productions, working from MLB’s production and postproduction studios in Secaucus, NJ, is analogous to the NFL’s NFL Films division: each is the keeper of the archival flames for its respective league, and MLB Productions has more than 200,000 hours of sound and video stored in a kind of media Cooperstown. That cave of sound recordings is part of what inspires Caught Looking’s audio mission.

“There’s some incredible stuff in there,” says Robert Haddad, coordinating producer for MLB Productions on Caught Looking. “Some incredible wireless audio, especially from the managers. Epic arguments between [Baltimore Orioles manager] Earl Weaver and umpires. [Los Angeles Dodgers manager] Tommy Lasorda stalling during the 1981 World Series before he has to make a pitching change [to give the reliever more time to warm up]. [Detroit Tigers manager] Sparky Anderson shouting to Kirk Gibson, who’s about to face Goose Gossage of the Padres in the 1984 World Series, who has just owned Gibson up till then, ‘He don’t wanna walk you!’ and then Gibson hits a home run. That’s the kind of audio we’re trying to capture.”

Caught Looking takes viewers through the actual games but starts early with batting practice and ends with managers sitting in their offices autopsying the game for reporters. Between plays, comments by players add to a larger narrative that no highlight reel can offer. Haddad is able to wire more players than most viewers would get to hear in a typical broadcast game. The show has settled on a Lectroconics SMQ transmitter pack for all of its subjects, usually with a Countryman lavaliere microphone attached. The final mic choices, though, are generally determined by what’s on hand with the freelance crews contracted to cover the 14 teams captured in its first six weeks of shooting. Moleskin adhesive is used to secure the lavaliere to the jersey in front.

“The SMQ fits perfectly on the back belt loop of the baseball pants, like it was tailored for them,” says Haddad.

Hiding the microphone is a goal but not a strict one. On last Thursday’s show, one of the more garrulous players on the Oakland Athletics commented to teammates that his lavaliere was there when he pulled on his shirt. (A secret ambition of Haddad’s is that, someday, “The electronics will already be integrated into the jerseys.”) And MLB Productions provided one of the better audio moments of the season this year when it caught a wired-up Cleveland Indians’ second baseman Jason Kipnis singing Adele’s “Someone Like You” between plays, forgetting the microphone was there.

However, boom microphones are deployed as often as lavs are, deliberately serving the opposite purpose of the lavalieres: where lavs tend to make players forget they are being monitored and thus encourage candor, the booms remind them that they’re being listened to.

“The boom mics are a huge ally for us,” says Haddad, adding that they complete the show’s intended equation of being “discreet but not secretive. The boom reminds them that we’re listening but that we’re going to stand down if they ask us to. The booms get us into the media scrum to listen to the manager in the dugout before the game. They catch the natural sound on the field when we’re there for batting practice.”

That nat sound and other sound effects are captured using a combination of booms, lavs, and the occasional camera mic, as well as the effects from the local and national broadcasts of the games they’re covering. But Caught Looking is a posted show, and Haddad makes no bones about sweetening the sound with effects from MLB’s and other libraries. Beefing up effects like bat cracks and slides using authentic effects from actual games helps the show’s effects tracks cut through its overly present and somewhat generic music score, which is also sourced from libraries. All of this is edited and mixed in 5.1 surround on the pair of Fairlight Constellation workstations at the New Jersey studios.

Microphones have become totems in sports as they have in karaoke bars and wedding receptions after most of the champagne has been consumed, portals to project personalities afield, for better or for worse. Haddad recalls Cincinnati Reds manager Dusty Baker’s telling one hitter who broke a slump while wearing a wireless microphone, “We’re gonna wire you for every game!”

But sound also reveals an authenticity that no conventional biography can. “[Tampa Bay Rays manager] Joe Maddon is known as a positive guy, and people write that about him all the time,” says Haddad. “But we had a microphone on him as the Rays were down 8-0 and they came back to win it. When you listen to him over the course of that game, down 8-0, that’s how you really understand just what being positive really is.”

Each workshop features: Pre-Production Secrets; Camera Synchronization; Timecode & Genlocking; Formats, Bit Rates & Codecs; Live Directing & Switching; Livestream Encoding & Hosting; Social Media Integration; and Skype Video Calls & Multicamera Editing. The course culminates with a live stream project where students will demonstrate their new skill set in a live one-hour program entitled: “Cutting it Close- Live! from The Barn on the Creative Cow” which will be simulcast on media partner USTREAM.

“Working with live sports, music, and variety programs for U2, Paul McCartney, the NFL, and America’s Got Talent has taught me how to use the simplest tricks to solve the biggest problems,” says multicamera veteran, author and MulticamP.tv workshop creator Mitch Jacobson. “MulticamP.tv attendees will be able to take advantage of that experience to learn how to avoid pitfalls and ensure success for live production, webcasting, and post.”

“I’ve worked with Mitch for a long time and not only is he a master of Multicam but he is dedicated pro and a generous teacher. His classes are deeply precise with logical presentation but maybe more importantly, he is an all around great guy to work with. At MulticamP.tv, you’ll walk away with a lifetime of knowledge and have a great time,” said Gary Adcock, digital artist and technologist that specializes in Customized Workflow Solutions for Episodic and Feature Film production.

The six city tour kicks off on October 6 in Washington, DC, and includes stops in New York City, Chicago, Los Angeles, Boston, Washington, DC, and Orlando. It is presented by AJA Video Systems with additional support provided by media partners WEVA, USTREAM, Adobe, Telestream, Creative Cow, NewTek, Panasonic and Teradek.

Jacobson is a veteran of the entertainment, music, and event business with over 30 years of experience in broadcast television, live streaming and entertainment production. He is the owner of Category-5 Studios in New York City and is a member of The Motion Picture Editor’s Guild (Hollywood/NY). His book, Mastering Multicamera Techniques, has been adopted by two college graduate programs and was published in four languages. Get Registration Info.

Graham Sharp, CMO and Senior VP of Corporate Development, says, Grass Valley aims to become format agnostic as quickly as possible by using more IT components in its platform and that the industry’s move to using IP packets for distributing video means that resolution won’t matter.

“Obviously higher pixel counts requires more bandwidth, more processing power and therefore more cost but the point is that the technology is no longer the barrier,” he explains. “The decision to produce or broadcast at higher resolutions will come down to the business model.”

The company refreshed its entire line-up at IBC with a range of kit from cameras to playout supporting 1080p.

“We are the only company to offer a complete workflow in 1080p and we are also in the middle of working on a whole next-generation architecture which will be format agnostic,” Sharp adds.

The LDX camera series and new Karrera and Kayenne production switchers launched at IBC are based on this new approach.
“If you want to capture and process in 4K then our next generation platforms will be format agnostic and based on IP and IT technology,” he says. “Our cameras will be capable, in short order, of going up to 4K.”

Stressing that the LDX cameras are only 1080p at this stage, he revealed that the underlying technology on which they are built is capable of scaling upwards.
“The architecture in the cameras uses three 2K CMOS sensors which can be combined in such a way as to deliver higher resolution images,” he adds. “We have also integrated a huge processing block so functionality becomes software upgradable. We will introduce further IT technology in phases over the next two years so that by the end of 2014 we will have completely transitioned our product line.”

The reality, says Graham is that in the trenches broadcaster’s need to transition to multi-screen delivery and to produce more content without additional cost. Some relatively wealthy broadcasters will experiment with new premium services but it will be only a few not the majority.

“We are trying to be as format agnostic as we can and then see what happens in the market which will be driven by cost and business priorities and not by technology,” he adds.

With Teranex’s image processing and 3D processing and simulation, MTV was able to transform a single live 2D camera feed by converting the signal to 3D in real time, creating an incredibly realistic and immersive simulation of depth for audience members.

The 1080i video feed from STAPLES Center was sent via fiber to a switcher located in the projection room of the L.A. LIVE Theater. The feed was then input into the Teranex unit, and the signal was converted from 2D to 3D, as well as converted from 1080i to 1080p as the Barco projector being used required a progressive signal, not interlaced. Additionally, the entire show was recorded in 3D on a Sony SRW5800 videotape recorder via a second Teranex unit.

“Being MTV, we didn’t want to simply play back the feed coming from STAPLES Center; we wanted to recreate the feeling of actually being there,” said Jeff Jacobs, SVP and executive in charge of production for the MTV Music Group. “The VMAs are so huge they are a spectacle of an awards show, and we were better able to recreate the intensity and feeling of actually being there for the fans by broadcasting the show in 3D using Teranex video processing technology.”

“We have fiber for pretty much everyone and if we weren’t sharing it I don’t think there would be enough fiber in existence to meet everyone’s needs,” says Ken Carpenter, technical manager for NBC Sports golf coverage. NBC utilities laid down the fiber that is provided by CP Communications whose team then helped terminate the cable runs.

Because the Ryder Cup is in the U.S. this year (at Medinah Country Club in Medinah, Illinois) NBC Sports plays the role of host broadcaster. They are joined by ESPN which is broadcasting the first day of coverage today (NBC handles production of all of course coverage), the Golf Channel which is broadcasting shoulder programming around NBC Sports coverage, and Turner Sports which is on hand for Internet streaming coverage. And then there are the European broadcasters: European Tour Productions which produces a core feed for European broadcasters, BSkyB which is handling live coverage for the UK and also producing 3D coverage, the BBC which is creating a two-hour highlights package that runs as soon as the final put drops. All told more than 900 broadcast production professionals are on hand to deliver what is arguably the most compelling tournament in golf.

NBC Sports also has a great partner on the production in the form of European Tour Productions (ETP). NBC Sports has 49 of its own cameras while ETP has 40 of its own. But all cameras are available via NEP’s ESU, giving the NBC Sports production team a wealth of options when it comes to crafting the story of the 2012 Ryder Cup.

“It works out very well,” says Carpenter of the relationship that has the two entities alternating as host broadcaster. “They are a great bunch of people and they give us boots on the ground when we are over there and help us with the vendors when we are over there and we do vice versa when they are here.”

Live Power, for example, provides generator power for everyone in the compound and NBC Sports is also able to have the camera scaffolding company extend the rate NBC pays to ETP. Read More...

“Robin has more than 20 years of management experience in the media sector, working in both production and postproduction, so he is an ideal fit for our Western U.S. RadiantGrid sales operations,” said Don Bird, chief marketing officer at Wohler. “His proven ability to motivate teams and capture market share and his understanding of RadiantGrid technology’s power to transform operations and business models for the better will be of tremendous value as he works with key customers and strategic partners to extend the footprint of our RadiantGrid solutions.”

Melhuish joins Wohler having most recently served as head of production for media services at Reliance MediaWorks (RMW), India’s fastest growing film and entertainment services company. During his time at RMW, he completed the successful setup of one of the world’s largest digital film restoration facilities in Mumbai, India. He earlier was general manager at postproduction firm Lowry Digital, where he moved from his initial role as an image-processing specialist into the ranks of senior management.

Melhuish developed his expertise in production and postproduction as a freelance director of photography and as a freelance camera operator working on a long list of box office hits, as well as commercials and rock videos for top corporations and music icons. His remarkable depth of professional experience also includes time as a documentary producer for BBC Radio and as a correspondent reporting on the crisis in South Africa.

Nine Network’s NPC is a highly efficient, file-based, modern HD broadcast facility. It simplifies operations by centralizing all playout for Channel Nine’s 18 channels across Australia, using a single high-definition file format (XDCAM-HD 50Mbit/s HD).

“Our decision to standardize on a single HD format for all playout presented a number of challenges, since commercials and other promotional content are often delivered to us in a variety of standard definition file formats. Moreover, subtitles provided in the original content, which have to be kept and transmitted to air, are also often stored in these standard definition video files, using a variety of different methods,” said Murray Robinson, engineering manager – NPC at Channel Nine.

Following a thorough evaluation of possible solutions, Nine Network chose to work with AmberFin and its local distributor Quinto Communications. Using AmberFin’s iCR they developed a solution that provides Nine with the highest possible quality file-to-file SD to HD conversion while retaining all subtitles present in the original files.

iCR is used to extract the subtitles carried in a variety of formats from source files, and then re-insert the subtitles into the XDCAM-HD created media, in accordance to SMPTE’s ST 436 specification for closed captions within MXF files.

“With each input file, iCR automatically performs the appropriate transcode to produce an MXF OP1a wrapped XDCAM-HD file with subtitles retained, and with Nine’s required 8 channels of audio in the file,” explains Bruce Devlin, AmberFin’s CTO. “We had a vision when we wrote the ST 436 specification that we could build caption and subtitle workflows that were independent of compression codecs – it’s great to see that dream becoming a reality with forward thinking customers like Nine.”

To meet Nine’s audio output specifications iCR remaps the audio tracks as part of the file transcoding process to cater for both stereo audio and Dolby 5.1 surround sound.
“We typically process in excess of 1000 commercials files and between 600 and 1000 promotional video clips per week, explains Murray at Network Nine. So it was important that we developed a robust automated system with high throughput. iCR allowed to create an automated workflow based on watch folders for incoming content. New video clips arriving in these watch folders automatically have the desired transcoding process applied. Finished HD files are then moved from a ‘work in progress’ folder to the next stage in the workflow and ultimately onto the on-air playout video servers,” adds Murray.

“With Atlantic, we’ve redefined the leading edge of 1080p outside broadcasting,” said Steve Jenkins, managing director of NEP U.K. “This is the U.K.’s first truck to feature cameras and vision-mixing systems that were, until recently, not even available in 1080p — such as Grass Valley’s Kayenne vision mixer and support for up to 30 Grass Valley digital LDK8000 cameras.”

In addition to this state-of-the-art equipment, Atlantic houses eight new EVS XT3 servers wired to support an unprecedented 48 EVS channels, and the truck is also fully capable of producing 16 levels of discrete 5.1 audio.

Besides its advanced HD production capabilities, Atlantic also features a layout that offers 850 square feet of production space when the truck is fully expanded — the size of a three-bedroom semidetached house. Whereas clients previously required space to park both a full-size expanding VTR scanner and a full-size expanding production unit, both functions can now be combined within Atlantic — an important benefit when space is at a premium.

In a break from the standard layout of a traditional OB vehicle, Atlantic is designed to recreate the internal ergonomics and layout of a traditional studio setup — with at least 10 feet of head space in many areas and a fresh, appealing interior appearance.

“We wanted to create something different — a memorable and comfortable space for our clients to work in,” Jenkins said. “For instance, we realized that it’s important for the director to be able to interact with the sound mixer and the VT producer in the midst of a production, so we’ve engineered windows with blinds that enable all operators to see each other when necessary. Atlantic is definitely not your average OB truck.”

“We began our transition to digital television three years ago, and the installation of the HyperX³.¹ systems will enable us to take another significant step forward in distinguishing our broadcasts with a modern look,” said Jorge Etienne, engineering director at PCTV. “With our new HyperX³.¹ systems, we will be able to speed up our workflows and realize a better ROI. While the creative solutions and possibilities enabled by Chyron’s Lyric PRO software will add value to our channel and the PCTV brand, SHOUT’s integration of social media elements into the Chyron graphics workflow brings exciting new capabilities to our operations and will enable us to deliver high-quality interactive live broadcasts.”

PCTV’s custom-tailored BlueNet workflow includes the HyperX³.¹, Chyron’s flagship on-air graphics system ideal for live sports channels, news stations, and outside broadcast productions. This extremely fast, powerful, and easy-to-use platform features seamless creation-to-playout capabilities and real-time 2D/3D animation. Chyron’s award-winning Lyric PRO graphics creation software is a standard feature of HyperX³.¹ that will enable the graphics department at PCTV to take graphics from concept to air quickly. PCTV also will use the SHOUT application to monitor and route social media conversations to its HyperX³.¹ graphics systems for playout.

“Chyron is a very well-recognized and highly respected company in Mexico, and in our evaluation, the company’s HyperX³.¹ proved by far to be the most reliable and best locally supported brand — the best on the market right now,” said David Palma, director of operations at PCTV. “The HyperX³.¹ meets our requirements by enabling a strong, interoperable, and collaborative workflow that is fully integrated with our news center, and by providing compatibility with third-party software without rendering. As a result, we expect to achieve a better on-air look that helps to strengthen our relationships with sponsors and drive viewer ratings even higher.”

The STAR Award is designed to celebrate and showcase the preeminent technological innovations available to the broadcast industry. Mark Hallinger, TV Technology Europe‘s editor, reviewed a variety of products, examined the technical applications and their overall contribution to the industry, and then chose 27 winners.

“STAR awards are given to interesting new products that help a user save money or accomplish a task in an easier way,” said Hallinger. “The products selected help advance the industry–some were chosen because of technical novelty or innovation, some because they filled an important gap in the production or transmission chain, and some because they were just cool products.”

The 2RU high-density modular frame offers a significant 360-Watts of net (user) available power in a high-capacity 20-slot format. The HPF-9000 can accommodate two front loaded hot swappable PSU-9000 power supply modules with separate power cords for power redundancy to ensure 24/7 operation, features independent cooling fans and status LEDs, and provides an easily accessible front–mounted power switch. Rear modules offer a broad selection of interfaces such as BNC, twisted pair audio, and fiber for maximum flexibility. The unit features remote control and monitoring via Ethernet.

“We are delighted to add another STAR award to our Trophy Room,” said Chris Shaw, Cobalt’s executive vice president of sales and marketing. “The HPF-9000 is a fabulous tool, providing compatibility with both the Cobalt 9900 series Fusion3g cards as well as the 9000 series COMPASS cards. It features the same rear modules as the 8321 frame allowing a seamless transition from one to the other, and provides numerous input/output combinations to suit any requirements including mixed interfaces such as BNC, and balanced analog audio.”

Consumers’ confidence to spend on technology reached its highest September level in the history of the CEA Index and its fifth highest level for any single-month period. The CEA Index of Consumer Technology Expectations (ICTE) rose 4.9 points this month, reaching 92.4. The ICTE, which measures consumer expectations about technology spending, is 10.5 points higher year-over-year and is at its highest level since December 2011.

“There were several key high-tech product announcements this month which served as an important catalyst for tech buying heading into the fourth quarter and the holiday shopping season,” said Shawn DuBravac, CEA’s chief economist and senior director of research. “This month’s measure of sentiment is at levels typically only seen during the height of the holiday buying season, an indication that consumers are likely to buy and spend more on tech in the weeks ahead.”

Consumer sentiment toward the overall economy also rose in September. The CEA Index of Consumer Expectations (ICE) increased 3.5 points from August, reaching 172.2. The ICE, which measures consumer expectations about the broader economy, is nearly 15.4 points higher than this time last year.

“Despite rising gas prices, uncertainties overseas, domestic elections and the slow recovery of the U.S. economy, an improved stock market and an increase in housing prices has consumers feeling more confident about their financial future,” said DuBravac. “The wealth effects are real and will help consumers feel as if they are on firmer ground financially.”

“Our goal is to raise awareness and interest in STEM (Science, Technology, Engineering, Math) while providing teachers and students with the resources they need for success,” said David Steel, Executive Vice President of Corporate Strategy for Samsung Electronics North America.

As a company committed to raising enthusiasm for STEM and addressing the technology gap in classrooms, Samsung created Solve for Tomorrow in 2010 to promote STEM education as a way to foster sustainable innovations and an environmentally-aware society. The program engages 6th-12th grade teachers and their students in a real-world issue they feel passionate about by challenging them to show, through a short video, how STEM can help improve the environment in their community.

“We as a nation need to make STEM education a top priority,” said Betsy Landers, President of the National Parent Teacher Association (PTA), who joined as a program partner this year. “According to the U.S. Department of Labor, 15 of the 20 fastest growing occupations projected for 2014 require significant mathematics or science preparation. It is clear that making STEM education a priority is important, for our nation’s short and long-term future. We commend Samsung for their efforts in making a difference in the education and lives of children.”

More than 1,500 schools from all 50 states participated last year and Samsung is thrilled to continue building upon that success.

“It’s so good that companies like Samsung give us this opportunity to look around in our local communities to see what we can do to help,” said Gina McCarley, a teacher at Lawrence County High School in Moulton, Ala., one of last year’s winners.”I think it makes kids see how we all can make a difference and that we can do things bigger than we normally expect.”

Starting today through October 31, teachers can submit a short application for a chance to participate in this year’s contest. Seventy-five classrooms - 25 from each of the following three categories: rural, suburban, urban – will be selected as semi-finalists and receive a Samsung camcorder and laptop, and Adobe editing software to create videos that answer the challenge. To learn more about the contest or submit an application, please visit samsung.com/solvefortomorrow.

"Competition in the music business is crucial to preserve choice, cultural diversity and innovation. In this investigation, we have paid close attention to digital innovation, which is changing the way that people listen to music. The very significant commitments proposed by Universal will ensure that competition in the music industry is preserved and that European consumers continue to enjoy all its benefits." said Commission Vice-President in charge of competition policy Joaquín Almunia.

The proposed merger would bring together two of the four so-called global "major" record companies, leaving only three majors. The Commission had concerns that following the merger, Universal would enjoy excessive market power vis-à-vis its direct customers, who sell physical and digital recorded music at retail level. In particular, the Commission focussed its investigation on the markets where record companies license their music to digital retailers such as Apple and Spotify. The Commission found that the proposed transaction, as initially notified, would have increased Universal's size in a way that would likely have enabled it to impose higher prices and more onerous licensing terms on digital music providers. This could have negatively affected the possibilities for innovative providers to expand or launch new music offerings and would ultimately have reduced consumers' choice for digital music, as well as cultural diversity in the European Economic Area (EEA).

To remove the Commission's concerns, Universal committed to divest significant assets.

These divestments include EMI Recording Limited, which holds the iconic Parlophone label (home to artists such as Coldplay, David Guetta, Lilly Allen, Tinie Tempah, Blur, Gorillaz, Kylie Minogue, Pink Floyd, Cliff Richard, David Bowie, Tina Turner and Duran Duran). The divestments also encompass EMI France (which holds the David Guetta catalogue), EMI's classical music labels, Mute (home to The Ramones and Jethro Tull), Chrysalis (home to Depeche Mode, Moby and Nick Cave & The Bad Seeds), various other labels and a large number of local EMI entities. The divestment package also includes Coop, a label licensing business selling artists such as Mumford and Sons, Garbage and Two Door Cinema Club.

In addition, Universal committed to selling EMI's 50% stake in the popular Now! That's What I Call Music compilation JV and to continue licensing its repertoire for that compilation in the next ten years.

Universal finally committed not to include Most Favoured Nation (''MFN'') clauses in its favour in any new or renegotiated contract with digital customers in the EEA for ten years. MFN clauses oblige digital customers to extend any favourable term granted to Universal's competitors to Universal. This commitment will allow Universal's competitors to negotiate more freely with digital customers and further levels the playing field between these competitors and Universal.

The rights to be divested are worldwide and cover both digital and physical music. This will ensure a viable and competitive exploitation of the divested artists and catalogue by the purchaser of the assets.

In light of these commitments, the Commission concluded that competition on the digital music markets in the EEA will be adequately preserved and that the transaction will have no negative impact on consumers.

Cable TV operators in United States have been facing a continuous decline in pay-TV subscribers. In the first two quarters of 2012, Cable TV operators lost nearly 0.8 million subscribers, although their broadband subscriber base has continued to grow. IPTV, which has less penetration than cable or satellite in the US market, gained around 0.6 million subscribers during the same period.

“As broadband adoption grows, it is likely that pay-TV subscribers are switching to Internet TV services. Internet TV services are cheaper than traditional pay-TV services or even free of charge. Services such as Netflix, Hulu, YouTube, etc. are cheaper alternatives for pay-TV subscribers especially in these uncertain economic times,” said Sam Rosen, practice director of TV & video. ABI Research expects that the overall pay-TV subscriber base in North America at the end of 2012 will decline 0.2% from 2011.

The Asian-Pacific region is expected to see the strongest growth in digital TV subscriptions in 2012. The on-going digitization process in countries, such as India, has been steadily increasing digital TV penetration. Progress could be better. The Indian government recently announced that it will not extend the deadline set for cable digitization of 12 million homes in the four major metro areas beyond October 31, 2012. ABI Research is skeptical that target will be reached as only 68% has been achieved so far. “Overall Asia-Pacific digital cable TV subscriber base is expected to reach 213 million by the end of 2012, a 27% increase from 2011,” notes Khin Sandi Lynn, research analyst.

The member companies – Amazon.com, AOL, eBay, Expedia, Facebook, Google, IAC, LinkedIn, Monster Worldwide, Rackspace, salesforce.com, TripAdvisor, Yahoo!, and Zynga – have joined forces to form The Internet Association, an umbrella public policy organization dedicated to strengthening and protecting a free and innovative Internet. The Internet Association will relentlessly represent this critical economic sector, in partnership with Main Street businesses and individual users, to ensure that the Internet will always have a voice in Washington and a seat at the table.

“A free and innovative Internet is vital to our nation’s economic growth,” said Michael Beckerman, President and CEO of The Internet Association. “These companies are all fierce competitors in the market place, but they recognize the Internet needs a unified voice in Washington. They understand the future of the Internet is at stake and that we must work together to protect it.”

The Internet Association’s policy platform is based on three planks: protecting Internet freedom; fostering innovation and economic growth; and empowering users. The Internet Association and its member companies engage in direct advocacy, educating policymakers on the profound positive impacts of the Internet and Internet companies on jobs, economic growth, freedom, creativity, commerce, productivity, education, prosperity and the global economy.

“The Internet is the fastest growing sector of the U.S. economy with an unparalleled record of job creation and innovation across all sectors,” Beckerman said. “It is the Internet’s decentralized and open model that has unleashed unprecedented entrepreneurialism, creativity and innovation. Policymakers must understand that the preservation of that freedom is essential to the vitality of the Internet itself and the resulting economic prosperity.”

According to the CFA, CFast2.0 leverages the SATA-3 interface for higher performance based on a computing industry storage interface and protocol. Host manufacturers will be able to leverage their experience and investment in the ATA storage protocol and media manufacturers will be able to leverage high volume solid state disk (SSD) controller technology to serve the high performance requirements of this market. The new format will have VPG (Video Performance Guarantee) capability with profiles capable of supporting compressed digital intermediate video formats.

Professional video features are growing more powerful, with 2K video enjoying widespread use and 4K video already gaining adoption in high-end production environments. High Definition TV production environments require digital intermediate compression formats where 2K @ 120 frames per second requires reliable performance of 200MB/sec to 250MB/sec. 4K production environments require 4X the data rates of 2K. For example, 4K at 30 frames per second also requires 200MB/sec to 250MB/sec. These next-generation video applications produce videos with incredibly high resolution that exceed CompactFlash cards’ data recording maximum capability of 167MB/sec for CF6.0.

Mr. Shigeto Kanda of Canon and the CFA chairman of the board said, “As the Chairman of the CompactFlash Association I am pleased to introduce CFast2.0 continuing our tradition of performance leadership. The higher performance provided by CFast2.0 will further increase the capabilities and value for photographers, videographers, and cinematographers. I am very pleased and proud to see the CFA creating standards that address new professional market segments for CFA.”

The new CFast2.0 specification is available to members and will be available for purchase by non-members after the IP review period closes in the fourth quarter of 2012.

The large-scale optical-infrared Subaru Telescope, located at the summit of Mauna Kea, Hawaii, and operated by the National Astronomical Observatory of Japan (NAOJ), commenced scientific observation in 1999. To make a wider field of view possible, the NAOJ, working in cooperation with multiple research institutes, including the Kavli Institute for the Physics and Mathematics of the Universe (Kavli IPMU) and the Todai Institutes for Advanced Study, developed the large-field-of-view HSC, entrusting Canon with the responsibility of developing and producing the camera’s corrector lens unit.

Because the HSC was to be installed within the existing structure of the telescope, the corrector lens unit had to satisfy a number of strict restrictions in terms of mass and dimensions. Calling on the design technologies cultivated by the Company over many years, along with measuring and precision-machining technologies newly developed for the task at hand, Canon succeeded in expanding the lens’s maximum angle of view from the 0.5 degrees realized by the first-generation Suprime-Cam*3 (SC), to 1.5 degrees. Although the new corrector lens makes possible an angle of view approximately three times greater than that of the SC through the use of aspherical lenses, it employs only seven lens elements, the same number used in the SC, and has a lens diameter that is only approximately 1.6-times larger.

Through a range of space observation equipment, including the ultra-wide-field HSC, the amount of time required to survey a region of the sky that had previously been estimated at 16 years is now expected to be possible in only two years.

Although the processing of aspherical lenses becomes increasingly difficult as lens size increases, through the use of precision measuring and machining devices produced in-house, Canon was able to create aspherical lens elements that deliver advanced imaging performance equivalent to that realized by the Suprime-Cam corrector lens. Additionally, the unit’s lens barrel, which ensures that the lens delivers consistently high precision, newly employs a ceramic material that achieves a significant reduction in weight compared with the material used in the previous lens barrel. The production of the ceramic lens barrel also made use of Canon’s precision machining technologies.

Progress in space research has led to the discovery of a number of new mysteries of the cosmos, such as dark matter and dark energy. With the completion of the Hyper Suprime-Cam, enabling the wide-field viewing of space, expectations are high that research efforts can be further accelerated toward the uncovering of the origins and the future of our universe.

Through the company’s technology, Canon said it will continue contributing to the development of the world’s science and technology fields.

“I’m pleased to announce this agreement with Shenzhen Woer Heat-Shrinkable Material Co., Ltd. We believe this is a positive outcome that will benefit Belden shareholders by returning our focus to areas of strategic relevance in Asia. The sale of these assets will reduce 2013 revenue by approximately $100 to $120 million with no significant impact to operating profit. Additionally, we expect to incur non-cash charges of approximately $25 million in 2012 which will be excluded from our adjusted results,” said John Stroup, Belden’s President and CEO.

Belden said it expects the sale, which is subject to approval by Chinese regulatory authorities, to close in 2012.

The new platform enables HGST to go beyond its five-platter design (up to 4TB). With challenges in scaling current areal density technologies, this new platform allows HGST to design seven-platter drives in a standard 3.5-inch form factor that will extend the capacity and cost-per-gigabyte curve for many product generations to come. While HGST did not say what capacity the helium-filled drives will sport, it could be as much as 5.6TB based on the company's estimate of a 40% increase over current technologies.

The density of helium is one-seventh that of air, delivering advantages to HGST's sealed-drive platform. The lower density means dramatically less drag force acting on the spinning disk stack so that mechanical power into the motor is substantially reduced. The lower helium density also means that the fluid flow forces buffeting the disks and the arms, which position the heads over the data tracks, are substantially reduced allowing for disks to be placed closer together (i.e., seven disks in the same enclosure) and to place data tracks closer together (i.e., allowing continued scaling in data density). The lower shear forces and more efficient thermal conduction of helium also mean the drive will run cooler and will emit less acoustic noise.

"The benefits of operating a HDD with helium fill have been known for a long time. The breakthrough is in the product and process design, which seals the helium inside the HDD enclosure cost effectively in high-volume manufacturing," said Steve Campbell, chief technology officer at HGST.

The new, helium-filled sealed-drive platform is being demonstrated today at the Western Digital Investor event in Irvine, California. At the event, HGST is comparing the power consumption between a helium-filled drive and an equivalent air-filled drive side-by-side, demonstrating a reduction in power consumption for the helium-filled drive of 23 percent. Taking into account the extra capacity coming from two additional disks, the improvement in watts-per-TB is 45 percent. In addition to consuming less power, the drive operates four degrees Celsius cooler, requiring less cooling in the system rack and data center. This reduction in power and associated cooling cost significantly contributes to the lower TCO of the helium-filled platform. The critical watt-per-TB metric will further improve over time as the helium-filled drive platform enables significantly higher drive capacities in future product generations.

In addition, the inherent benefits of the platform, including the helium fill, allow HGST to significantly improve datacenter TCO on virtually every level: capacity, power, cooling and storage density. Hard disk drives based on the new platform are expected to be appear next year.

Attendees will participate in constructive peer and professional assessments. Session topics include navigating corporate culture, leveraging talents and work style, leading others for optimal performance and team-building.

"Participants learn how to navigate challenges in the broadcast industry, approach new responsibilities and effectively lead others," said NABEF President Marcellus Alexander. "NABEF is pleased to present this opportunity to broadcasters in the early stages of their careers."

The Leadership Development Program is part of NABEF's career continuum to provide quality education for broadcasters at every career level. The foundation also continues to focus on increased diversity in broadcasting and celebrates broadcasters' community service efforts at the annual Service to America awards.

NABEF said it is providing five fellowships for women and people of color to attend this program. General applications are also still being accepted; however space is limited.

The program costs $1,700 with hotel or $1,000 without.

USB-IF specifications are recognized around the world as the de facto USB standards. IEC adoption and endorsement of four USB-IF specifications elevates these standards to a formal international level of recognition.

According to the Commission, Most WTO (World Trade Organization) member states rely on IEC International Standards as the technical basis for their laws and regulations for electronic and electrical devices and systems. The inclusion of USB-IF specifications into IEC International Standards provides additional protection for the USB brand within the technology industry worldwide. Many organizations rely on IEC International Standards for their procurement processes, and the adoption of USB specifications into IEC International Standards opens new opportunities for USB technology solutions in this area.

The four above-mentioned USB-IF specifications have been included in the newly approved IEC International Standard IEC 62680, Universal Serial Bus interfaces for data and power. The Standard has been developed by IEC TC (Technical Committee) 100: Audio, video and multimedia systems and equipment, TA (Technical Area) 14, and has now been formally accepted by IEC Member states through their National Committees. The agreement between IEC and USB-IF allows for the adoption of additional USB specifications into IEC International Standards in the future.

“IEC has worked with the USB-IF to give consumers worldwide standard solutions for data and charging applications. We believe that the broad adoption of USB specifications will enhance IEC International Standards for a wide range of applications,” says Ronnie Amit, General Secretary and CEO of the IEC. “This collaboration benefits manufacturers and consumers by broadening global support and recognition of these specifications,” explains Mr. Shuichi Matsumura, Technical Area Manager of TA 14 and Senior Expert, Standards Strategy Office at Fujitsu Limited. TA 14 was the first IEC Technical Area to include USB specifications into an IEC International Standard.

“Worldwide recognition from IEC helps further advance USB-IF’s world-wide position in data transfer and charging,” said Jeff Ravencraft, President & COO, USB-IF. “In addition to current joint efforts, IEC and USB-IF will continue to collaborate to promote the adoption of USB specifications within the IEC.”

According to VESA, eDP v1.4 addresses system power reduction through new features, including a new partial-frame update capability for Panel Self Refresh (PSR), lower interface voltage swings, additional link rate options, transport data compression, and regional backlight control. The auxiliary channel will now carry multi-touch data from the display to system processor. eDP v1.4 electrical interface parameters have also been enhanced to accommodate a wider range of system form factors and transmission media.

“Since the introduction of eDP, system and chip set developers within the VESA membership have been discussing more ways to take advantage of eDP,” said Craig Wiley, VESA chairman. “The packetized, bi-directional capability of DisplayPort, upon which eDP is based, adds a lot of flexibility to the display interface, simplifying system architecture and enabling more feature rich designs for system engineers. The culmination of many new ideas, this version will propel universal adoption of eDP as device manufacturers look to take advantage of its unsurpassed power saving capabilities and design flexibility.”

First introduced in 2009 as an extension of the DisplayPort standard, eDP was developed to replace the aging LVDS (Low-Voltage Differential Signaling) embedded display interface standard. In 2010, VESA member companies AMD and Intel Corporation announced that they would be phasing out LVDS support in next generation chip sets by 2013 in favor of eDP because of LVDS’ limited capabilities, higher voltage levels requirements, and excessive interference with system wireless communication functions. Currently undergoing final review by VESA members, eDP1.4 is anticipated to be released in October 2012, and utilized in commercial products as early as 2014.

According to Matrox, the VS4 provides up to four independent HD-SDI inputs with up to 16 embedded audio channels per SDI source using a single PCIe slot. In addition to sending video feeds to Wirecast for streaming, the VS4 simultaneously records all the original video and audio feeds to disk – ready for post-event editing.

"Live streaming professionals are striving for more ways to engage their audience, making multicamera shoots more important," said Barbara DeHart, vice president of marketing at Telestream. "Telestream Wirecast allows producers to easily switch between multiple live camera feeds from Matrox VS4, and also provides production features such as chroma key, transitions, 3D graphics, lower-thirds, virtual sets, and built-in scoreboard templates."

"The combination of Matrox VS4 and Telestream Wirecast for Windows gives creative professionals the tools they need for online video streaming with the production values of live television broadcasts," said Alberto Cieri, senior director of sales and marketing at Matrox. "And it couldn't be simpler – just hook up cameras, start Wirecast, and stream! Matrox VS4 automatically detects the presence, resolution, and frame rate of the inputs so onsite set-up is effortless."

Matrox said the VS4 will be demonstrated at IBC 2012 on stand 7.B29. Telestream Wirecast will be demonstrated at IBC 2012 on stand 7.D16.

The Matrox VS4 is expected to be available worldwide November 2012 with a street price of $1,495.00

"We’re very excited about the potential Bolt brings to large and small productions alike," said Nicol Verheem, CEO of Teradek. “While our Cube encoder is very popular and changed the landscape for video assist and Internet streaming, there has always been a small niche that we didn't serve; those that truly need zero delay systems such as the 1st ACs. We designed Bolt to be the most compact and affordable zero latency HD-SDI transmitter available so that users can benefit from untethered shooting of up to 300 feet.”

Bolt is made up of a compact milled T6061 aluminum transmitter and an equally small receiver made of durable ABS plastic. The transmitter comes with a 3G-SDI input, an HD-SDI loop-through, numerous 1/4" 20 holes for mounting, internal Li-Ion battery, and a Lemo DC input for long term power from any 6-18V battery or DC supply. The receiver offers dual 3G-SDI outputs, allowing simultaneous monitoring as well as connecting to other Teradek systems.

Bolt can transmit uncompressed full HD video at up to 300ft and can coexist with other wireless networks by dynamically adjusting the frequency bands used in real time. Each transmitter can feed video to up to 256 receivers simultaneously without any degradation in video quality. Users can output the video from a Bolt receiver into a Teradek Cube for additional workflow enhancements such as proxy recording, Internet streaming, and monitoring on iPads and iPhones.

Bolt is expected to ship in early Q4 2012 for $1,990 and will be showcased along with the Company’s other products at the International Broadcasting Convention (IBC), from September 7-11, 2012.

FCC Chairman Julius Genachowski said, “We know from experience: transparency on broadband speeds drives improvement in broadband speeds. Our ongoing Measuring Broadband America program has helped improve performance in wired broadband. Our new mobile broadband measurement initiative extends the program to smartphones and other wireless devices. It will empower consumers and encourage improvements in mobile networks and programs, benefitting millions of Americans.”

Building on the model for the FCC’s ongoing Measuring Broadband America program, the first broad- scale study of actual home broadband performance throughout the United States, the FCC will work with wireless carriers, the public interest and research community, and other stakeholders to deliver consumers detailed information about mobile broadband performance.

The Measuring Broadband America program has been proof-of-concept that a public-private partnership designed to promote transparency could yield tangible benefits for millions of American consumers. In the one year between the first and second Measuring Broadband America reports, the FCC saw significant improvements in broadband performance and offerings.

On September 21, 2012, the Federal Communications Commission will hold an open meeting to discuss the new program. The FCC has received commitments to cooperate in this program from major wireless carriers, including AT&T, Sprint, T-Mobile and Verizon, and CTIA—the Wireless Association®. With the launch of this open meeting, the FCC looks forward to the participation of other critical stakeholders, including the public research community. The FCC’s Measuring Mobile America program will continue the agency’s efforts to respond to the recommendations in our National Broadband Plan to improve the availability of information for consumers about their broadband service.

“As we continue to develop the best entertainment technologies, we see the need for our customers to reliably connect devices with ease. The AVnu Alliance’s work in advancing the AVB standards and its certification program will help the industry reach this goal,” said Brian Link, Vice President Business Development, Dolby Laboratories. “With the AVnu certification process just around the corner, we’re excited to contribute to help drive interoperability with a singular networking solution.”

As a member of the AVnu Alliance, Dolby will have access to a set of certification tools to pre-test AVB-based devices before entering the formal testing procedures. Alliance members also have the opportunity to participate in AVnu Alliance “plugfests,” where products are validated in a multi-vendor environment.

“With Dolby as a new member, the AVnu Alliance is one step closer to achieving industry-wide support for AVB adoption,” said Lee Minich, marketing chair for the AVnu Alliance. “We will be working closely with Dolby as we finalize the certification specifications to address the needs of applications from pro AV to the cinema to the home. We look forward to seeing the AVnu-certified logo on Dolby products in the near future.”

The CanSat is deployed from a rocket at an altitude of about 610 meters (2001 feet). Once released from the rocket, the CanSat descends between 10 and 20 meters per second using any type of descent control system or device. At an altitude of 200 meters, the CanSat reduces the descent rate to within 4 and 6 meters per second. At 91 meters altitude, the CanSat carrier releases the lander that contains one large raw hen's egg. The lander hopefully lands without damaging the egg. The lander cannot free fall. It must contain a descent control system or device to reduce the descent rate to less than 5 meters per second. The carrier telemetry data may be stored on-board for post processing in the event of a communications failure. Teams must build their own ground station. Telemetry from the carrier is displayed, in real-time, on a team-developed ground station.

Teams are given points, and scoring is started early in January for the preliminary design reviews. Scoring continues for critical design reviews, pre-flight inspections, weight, launching, and finally the post-flight reviews. This year's winners were 1st Place: Istanbul Technical University, Team UYARI; 2nd Place: SRM University, India, Team WelkinSat; 3rd Place: India Institute of Technology, Team Garuda; 4th Place: Istanbul Technical University, Team Lagari; and 5th Place: University of Michigan, Team OverEasy. Winners were given a plaque as well as a cash award for their team. This year, the competition was very close, with only 4 points separating the 1st Place team from the 5th Place team. All participants were given certificates of participation.

The competition is open to teams from universities and colleges. Teams must be able to design and build a space-type system, following the approved competition guide, and then compete against each other at the end of two semesters to determine the winners. Rockets are provided, but the teams are responsible for funding the construction of their CanSat and for all travel/lodging expenses.

Visit the CanSat web site at http://www.cansatcompetition.com/Main.html.

The Joint Industry Guide – Material Composition Declaration for Packaging of Electrotechnical Products – JIG-201 Ed. 1.1 is an update to the industry materials declaration guide for reporting the materials used to transport and protect electrotechnical products across the global supply chain. Manufacturers and other purchasers are required to have this data to comply with regulations, meet design specifications, and reach sustainability goals and other objectives.

The guide complements the already-established material composition declaration guide for electrotechnical products called the “Joint Industry Guide” or “JIG 101,” and adopts a similar reporting format. JIG-201 Ed. 1.1 sets minimum requirements for material declaration for electrotechnical products, including a list of relevant substances and their reporting thresholds and reportable applications, but also allows companies flexibility to inquire about other substances when necessary for other business needs.

JIG 201 Ed. 1.1 is the result of an interim update process and incorporates the most up-to-date regulatory and market requirements. It also covers the latest substances considered under the European Union’s Registration, Evaluation, Authorization and Restriction of Chemical Substances (“REACH”) regulation.

The JIG 201 Ed. 1.1 guide can be downloaded free of charge here: www.CE.org/JIG.

PSHSB said it will closely monitor the storm’s progress and may extend DIRS activation to additional counties as needed in the coming days. DIRS is a voluntary, efficient, web-based system that communications providers, including wireless, wireline, broadcast, broadband and Voice over Internet Protocol providers can use to report communications infrastructure status and situational awareness information during times of crisis.

The Commission requests that communications providers expeditiously submit and update information through DIRS regarding, inter alia, the status of their communications equipment, restoration efforts, power (i.e., whether they are using commercial power, generator or battery), and access to fuel, if they provide service in any areas listed above. Communications providers can accomplish this by accessing DIRS at https://www.fcc.gov/nors/disaster/ or under e-filing on the Commission’s main webpage or PSHSB webpage. Providers that have not previously done so will be asked to first provide contact information and obtain a User ID when they access DIRS.

Communications providers that serve areas in any of the included counties or parishes and that have already provided contact information in DIRS will be sent an e-mail requesting that they provide the above-referenced status information through DIRS. PSHSB encourages all communications providers that have not already logged onto DIRS to input their contact information, do so as soon as possible.

Kodak believes that the sale of these assets, as well as continued cost-reduction initiatives, curtailment of its legacy liabilities, and the monetization of the company’s digital imaging patent portfolio, will be significant milestones toward completing the company’s reorganization and emergence from Chapter 11 during 2013.

The Personalized Imaging business consists of Retail Systems Solutions (RSS), Paper & Output Systems (P&OS) and Event Imaging Solutions (EIS). RSS is the worldwide leader in retail print solutions with a global footprint of 105,000 KODAK Picture Kiosks; P&OS includes the broadest portfolio of traditional photographic paper and still camera film products; and EIS provides souvenir photo products at theme parks and other venues. The Document Imaging business provides a portfolio of scanners, capture software and services to enterprise customers.

“We are reshaping Kodak. We continue to rebalance our company toward commercial, packaging and functional printing – in which we have the broadest portfolio solutions – and enterprise services. These businesses have substantial long-term growth prospects worldwide and are core to the future of Kodak. We are confident that our competitive advantages in materials science and deposition technologies, as well as our know-how in digital imaging, will enable us to capitalize on those opportunities and extend our leadership in key growth markets.”

Kodak noted that in addition to the commercial, packaging and functional printing and enterprise services businesses, it also continues to own and operate the Consumer Inkjet, Entertainment Imaging, Commercial Film and Specialty Chemicals businesses, given the company’s expertise, capabilities and strong customer relationships in these markets, as well as their combined cash-generating capability.

“Personalized Imaging and Document Imaging are valuable businesses that enjoy leading market positions as a result of superior products and service offerings. We remain steadfast in our commitment to our customers, and we will work to ensure that they continue to receive the exceptional levels of quality and service they have come to expect from Kodak. Customers remain the top priority of all our businesses – those we intend to sell and those that will remain part of Kodak,” Perez said.

Kodak said it would move forward as quickly as possible and has targeted completing these transactions in the first half of 2013.

According to the Wi-Fi Alliance, the new certification program will provide networks and users with the following benefits:

– Increased performance: TDLS links optimize the performance of applications running over Wi-Fi networks by avoiding delays caused by queuing and congestion through an AP

– Ease of use: TDLS links are formed automatically, with no user action required to set them up

– Optimized communication: TDLS-linked devices are able to communicate using the highest-performance technology common to them, even if the network’s AP only supports a lower-bandwidth form of Wi-Fi

– Highest available security: TDLS links are protected by the highest level of security supported by both devices, even if the network’s AP does not support that level of security

– Power saving mechanisms: When battery-operated devices participate in a TDLS link, they can take advantage of advanced mechanisms to save power

"The new TDLS certification program will improve the user experience with advanced applications such as media streaming, without requiring user intervention," said Kelly Davis-Felner, marketing director of the Wi-Fi Alliance. "Wi-Fi CERTIFIED TDLS is another example of how Wi-Fi technology keeps pace with the evolving demands of the marketplace.”

The certification is only for client devices, such as tablets, handsets, notebooks, and consumer electronics. TDLS-certified devices can operate over Wi-Fi CERTIFIED n technology, as well as previous versions of Wi-Fi. It is not necessary to upgrade to a new AP in order to benefit from TDLS features. TDLS-certified devices are suitable for use in both enterprise and consumer networks.

Although TDLS forms a direct link between two client devices, TDLS is not the same as, nor does it replace, Wi-Fi CERTIFIED Wi-Fi Direct™. TDLS operates in the background of a Wi-Fi network to optimize performance, while Wi-Fi Direct-certified devices can quickly connect to one another while on the go, even when a Wi-Fi network is unavailable. Many devices will be certified for both solutions and use them in different situations.

The first products to be designated Wi-Fi CERTIFIED TDLS, and which form the test suite for the certification program, are:

– Broadcom Dual-Band 11n Half MiniPCI
– Marvell Avastar 88W8787 Wireless Chipset
– Ralink 802.11 a/b/g/n Dual Band Station
– Realtek 2X2 a/b/g/n miniCard Reference Design

More information on Wi-Fi CERTIFIED programs, a list of Wi-Fi CERTIFIED products, technical specifications, white papers, and more is available at www.wi-fi.org.

Unlike SG 3D TVs, LG’s Cinema 3D smart TVs do not require heavy and bulky glasses that need regular recharging because LG’s 3D TVs use inexpensive and lightweight, flicker-free glasses identical to those worn at movie theaters.

As the competing 3D technologies fought for consumer acceptance, the awareness of 3D products and the volume of 3D content grew. With popular 3D movies available on DVD, there was now a strong reason to upgrade to a 3D smart TV, especially for families with children. According to market research company DisplaySearch, sales of 3D TVs are anticipated to reach around 25 million units this year.

In addition to being more comfortable and flicker-free, LG’s 3D smart TVs also produce less crosstalk, allowing for extended use without headaches. With such a clear advantage in comfort over competitors’ models, LG CINEMA 3D smart TV began to receive more and more positive reviews from leading media outlets, building up product leadership and visibility in the 3D TV market.

This year, LG will further strengthening its position in the 3D market by making a greater percentage of its total TV products 3D capable.

LG also introduced Cinema Screen design which reduced the 3D Smart TV’s bezel to a negligible level and increased the size of its largest TV to 84 inches, able to display an amazing 8 million pixels. LG also reached out to the influential gaming community with an annual event, LG Cinema 3D Game Festival.

The combination of smart TV features, abundant 3D content and easy-to-use User Experience (UX) and User Interface (UI), such as Home Dashboard and intuitive Magic Remote have helped LG to meet the needs of consumers who have always needed a strong reason to upgrade their TVs.

Here is just a short list of the recent accolades LG Cinema 3D smart TV has received to date from influential consumer magazines:

CNET: Awarded Editor’s Choice designation to LG’s 55-inch Cinema 3D smart TV and 42-inch Cinema 3D smart TV.

Digital Trends (the US): Gave Cinema 3D smart TV 9 out of 10 stars and an Editor’s Choice designation.

HiVi (Japan): Leading Japanese AV magazine, HiVi, and top Japanese daily, Nikkei, wrote glowingly of LG CINEMA 3D smart TVs, a rarity in a country that is historically challenging for foreign TV brands.

LG’s CINEMA 3D smart TV will be on display in Hall 11.2 of Messe Berlin during IFA 2012 slated to take place from August 31 to September 5, 2012 along with other LG Home Entertainment products.

Active-matrix organic light-emitting diode (AMOLED) represents a rapidly growing and highly promising technology for all display applications. Based on planned investments, NPD DisplaySearch forecasts that the market will grow nearly tenfold from 2.3M square meters in 2012 to more than 22M in 2016.

Most AMOLED capacity is currently dedicated to small/medium production for smart phones, but much of the capacity increase going forward is expected to be driven by fabs dedicated to TV production. There are many unknowns about how far and how fast it will develop, though, since AMOLED technology has not yet been proven in large-size TVs.

According to the NPD DisplaySearch AMOLED Process Roadmap Report, the manufacturing cost of a 55" oxide TFT-based AMOLED using white OLED with color filters is 8 times that of a high-end 55" TFT LCD display of equal size. The cost multiplier of a 55" AMOLED module using red, green, and blue OLED is 10 times. These higher costs are mainly a result of low yields and high materials costs.

Jae-Hak Choi, Senior Analyst, FPD Manufacturing for NPD DisplaySearch, noted, "While cost reduction in LCDs has slowed, large panel AMOLED cost reduction is in its infancy. In the long-term, new and improved processes, printing technology, and higher performance materials will reduce AMOLED costs to levels equal to or lower than LCD."

Due to greater process maturity, the manufacturing cost premium for a 4" AMOLED is less than 1.3 times that of a similar-sized LCD. Samsung Display has been highly successful in its small/medium AMOLED production because it has been able to raise yields to near-LCD levels. This implies that manufacturers can potentially lower large size AMOLED TV costs to be competitive with LCD TVs in the future.

In order to scale up to large sizes, advancements in several aspects of AMOLED manufacturing are needed, including the active matrix backplane, organic material deposition, and encapsulation. Because oxide TFT requires lower capital costs and is similar to existing amorphous silicon TFT, it offers a strong alternative to the low-temperature polysilicon (LTPS) TFT currently used for AMOLED. However, there are many hurdles for mass production of oxide TFT, particularly threshold voltage shifts, which are continuing to prove problematic for AMOLED production.

While indium gallium zinc oxide (IGZO) and other forms of oxide TFT show great promise for backplanes, progress in scaling up LTPS production is also being made by increasing the excimer laser beam width to 1300 mm. In addition, the current method of depositing red, green, and blue materials by evaporation through a fine metal mask is being continuously improved. Pixel densities of 250 ppi are now possible, and over 280 ppi is feasible.

"Despite these advancements, high resolution continues to be a relative weakness for small/medium AMOLED compared to LCDs. High resolution patterning such as laser induced thermal imaging (LITI) and material improvements are still required for AMOLED to be highly competitive for super high resolution flat panel displays," Choi added.

With this in mind, Fujitsu turned its attention to CDs and DVDs, which are often included with PCs and are available in predictable quantities. These optical discs are made from polycarbonate, a type of plastic suitable for use in the bodies of notebook PCs. Moreover, they do not include any contaminants, such as flame retardants, so they were deemed to be a suitable material for recycling.
To avoid the risk of contaminants being mixed into the recycled plastic, the new recycling system performs quality control based on a chemical substances risk management database developed by Fujitsu Laboratories, thereby ensuring that notebook PCs and other ICT devices comply with legal requirements for chemical components. Compared to conventional notebook PC manufacturing processes, this system is expected to reduce the amount of newly produced plastic used by 10 tons per year while cutting CO2 emissions by approximately 15%.
Going forward, Fujitsu said it plans to expand the use of this system to other notebook PCs and products as a way to reduce its environmental footprint and resource consumption. The Fujitsu Group is proud to promote the recycling of end-of-life ICT products in Japan and around the world to help create a recycling-minded society.

"We are pleased to offer a series of webcasts that specifically address the unique challenges facing small market Radio stations," said NAB Executive Vice President, Radio, John David. "The information presented will empower broadcasters to maximize their potential."
Valerie Geller, president, Geller Media International, will host the first webcast, titled "Powerfully Engage and Grow Your Audience by Mastering Social Media." Geller will discuss low-cost, high-return social media tips that will allow small market radio stations to increase audience engagement, ratings and advertiser response. Doug Stephan, host, "Doug Stephan's Good Day!" will provide opening remarks.
The second webcast, "Tips to Recruit and Retain the Best," takes place on November 15. Laurie Kahn, president and CEO, Media Staffing, will discuss how to effectively manage multiple properties, build a staff that will grow station revenue and compete with other local employers. Steve Newberry, president and CEO, Commonwealth Broadcasting Corporation, will provide opening remarks. The final webcast, "Ten Ways to Master Managing Multiple Stations," will include organizational and human resource advice and cost-cutting strategies.
The exclusive NAB member benefit begins on Tuesday, October 2, with additional webcasts on November 15 and February 12, 2013. The webcasts cost $49 per session or $99 for the three-session package.

For 2013, the awards program has been revamped to honor system integrators. CEA members and non-members are eligible to enter in the Mark of Excellence Systems Integrator Awards in 17 different categories, including:
 
Innovation Award - recognizes an innovative achievement of a specific application. The winning integrator will have created a solution that best demonstrates a unique application of technology for an unusual challenge.

Integrated Security Project of the Year - recognizes the finest integrated security system, including security controllers, sensors, cameras and access devices.

Sustainable Project of the Year - recognizes a project utilizing technology that best demonstrates the management, integration or conservation of energy or other natural resources.

TechHome Integrator of the Year - recognizes outstanding business success and comprehensive technical skills, exceptional quality in professional installations and leadership within the community and our industry.

All award entries are reviewed by a panel of industry experts. Each category will feature a platinum and a gold level award in recognition of outstanding industry achievement.

The 2013 Mark of Excellence finalists will be announced in November and the winners will be awarded at the Mark of Excellence Awards Reception on Jan. 9, 2013, during the 2013 International CES.

"This newly formed organization will serve to spearhead the growth and expansion of the 3D entertainment industry across the entire ecosystem – from content conception and development, to consumer education and adoption," said Tom Cosgrove, Co-Chair of I3DS & 3D@Home and President and CEO of 3net. "Across all platforms where 3D is expanding, everywhere consumers are consuming 3D content, and in any way the 3D format is being utilized, our organization is there to support our members and advance the growth of this prolific medium."

“3D entertainment in the home has become an affordable proposition, with entry level sets falling below $1000. Consumers today also enjoy increasing content options such as 3D video on Blu-ray or via a streaming channel, broadcast programs such as sports, or even make their own 3D content,” said Dan Schinasi, Co-Chair of I3DS &3D@Home and Senior TV Planner at Samsung Electronics. “For the past few years our groups have each been laying a strong foundation for 3D display, delivery and creation. We believe now is the time to focus on ensuring consumers feel comfortable with 3D.”

“From supporting content creators to educating consumers, our two groups have distinguished themselves in providing neutral, non-branded information to important communities,” said Jim Mainard, Past-Chair of I3DS and Head of Digital Strategy at Dreamworks Animation (DWA). “Their combined power and scope will maximize our ability to steadily grow 3D across countless media platforms in education, industrial applications, home photography, as well as the entertainment industry.”

The combined organization staff will be led by I3DS President, Jim Chabin. “In no other field are creative artists and technology professionals so dependent on partnership and mutual support,” he said. “This new group connects professionals and markets from Hollywood to Silicon Valley, to Beijing, Tokyo, Seoul, London, Brussels, and 20 other countries. This is 3D’s leadership and voice coming together to fuel the growing 3D revolution.”

Heidi Hoffman, Managing Director of 3D@Home added, “The tools, services and displays in our electronics eco-system are rapidly adapting to delivering great 3D experiences that are more life-like, more informational, and provide better learning experiences than the traditional 2D we have all become accustomed to. The combined organization has the tools and support to pave a smoother path for the journey to the goals of our 3D future.”

The new organization will include a powerful group of members with more than 60 companies and 500 professionals. Companies include: The Walt Disney Studios Motion Pictures, DreamWorks Animation (DWA), Sony Pictures Entertainment, Pixar, ESPN, BSkyB, Panasonic, XpanD 3D, Dolby Laboratories, 3ality Technica, Masterimage 3D, RealD, IMAX, StereoD, National Geographic Cinema Ventures, CCTV China, Korea Telecomm, Intel, THX, Microsoft, Technicolor, Samsung, Sony Electronics, MobiTV, BluFocus, Walt Disney Studios, Eutelsat, Turner Broadcasting, Vizio and others.

According to Canon, the front rubber grips of some EOS REBEL T4i units produced in certain lots between May 31st through June 27th, 2012 may turn white after a short period of time. Canon determined after inquiry with the rubber manufacturer and analysis, that the white substance is zinc bis (N,N’-dimethyldithiocarbamate).

Zinc bis is not used in the production of this product. However, the quantity of rubber accelerator used in the affected production lots was slightly higher than usual. As a result the rubber grips may turn white due to a chemical reaction with the rubber accelerator and other substances. High temperature and high humidity may contribute to this condition. Zinc bis (N,N’-dimethyldithiocarbamate), which becomes deposited on the rubber surface, is created as a result of this chemical reaction.

Canon said that the amount of zinc bis detected during our testing was minimal. It is possible for zinc bis, in the small amount found in the camera grips, to cause allergic reactions, such as a rash, when it comes in contact with skin of sensitive persons. In addition, if eyes are rubbed after contact with the substance, symptoms such as red eyes may develop. As a precautionary measure, thoroughly wash your hands with water if they have come in contact with a rubber grip that has turned white. If any medical symptoms develop, please consult your physician immediately.

Affected cameras that exhibit this phenomenon will be inspected and the rubber grips will be replaced free of charge. Owners can use the serial number to check whether their camera is affected by this phenomenon.

Worldwide shipments of flat-panel televisions, a category consisting of liquid crystal display (LCD) and plasma sets, rose to 48.9 million units in the second quarter, up 3.6 percent from 47.2 million from the first quarter. The figure below presents the preliminary IHS estimate of quarterly flat-panel television shipments, based on data from the Worldwide Monthly TV Tracker. Final second-quarter results will be issued later this month.

“After an unusually weak start to 2012, global television shipments showed some signs of life in the second quarter,” said Tom Morrod, senior analyst and head of TV technology at IHS. “While television shipments typically decline in the first quarter following the peak Christmas selling season, the drop this year was unusually sharp because of tentative consumer spending. The return to growth in the second quarter follows normal seasonal patterns for television shipment growth, and likely signals further growth ahead in the third quarter.”

The second quarter started off on a strong note, with shipments in April rising by 4 percent from March to reach the highest levels of the year up to that point, according to data from the Worldwide Monthly TV Tracker. While shipments declined slightly in May and June, the increase in April was sufficient to drive growth for the entire second quarter.

Worldwide LCD TV shipments increased 3.4 percent in the second quarter, following a 29.3 percent drop in the first quarter. While worldwide plasma shipments are generally declining, they enjoyed a 6.6 percent bump in the second quarter, compared to a 39.5 percent plunge in the first quarter.

According to OLPC, the XO-4 Touch will represent a huge leap forward in what OLPC can offer. As its development name, the “XO-4 Touch” suggests, the device will come equipped with an optical multi-touch capable screen from Neonode. The XO-4 Touch will combine the XO’s existing laptop functionality and sunlight-usable display with a full-fledged tablet mode. The XO-4 Touch also runs the new Marvell ARMADA 2128 processor.

OLPC CEO Rodrigo Arboleda said, “There is constant debate over laptops versus tablets in educational programs. But the truth is both have their merits. While maintaining our XO’s award-winning design from Yves Behar’s FuseProject, we have combined features of both devices to deliver dual benefits. The new XO-4 Touch is more than just a device, it’s a new way of facilitating learning.”

With their impressive history with mobile devices, Neonode has developed energy-efficient technology that is ideal for the XO. Neonode touchscreens are fast scanning, have low-latency pen and brush sensors, and can detect pressure. All of these features will help take the new, dual-function XO to a new level.

In addition to the new hardware technology, OLPC has been very active in strengthening strategic partnerships with world-class educational content developers, including Sesame Street Workshop, UNESCO and Little Pim, to provide content for the XO laptops and tablets. While the XO-4 Touch’s launch date and pricing are yet to be confirmed, the release is expected in Q1 in 2013.

“Today Google has announced a potentially significant change in its search rankings that can make a meaningful difference to creators: sites that are the subject of large numbers of copyright removal notices may be ranked lower in search results than before. This should result in improved rankings for the licensed music services that pay artists and deliver fans the music they love. This change is an important step in the right direction – a step we’ve been urging Google to take for a long time – and we commend the company for its action.

“As Google itself has acknowledged, this is not the only approach, and of course, the details of implementation will matter. Moreover, there are many more actions that we hope Google will take. But by taking this common-sense step and treating copyright in a way that’s consistent with the search firm’s approach to other forms of activity on the Internet, Google has signaled a new willingness to value the rights of creators. That is good news indeed. And the online marketplace for the hundreds of licensed digital services embraced by the music business is better today than it was yesterday.”

"Melissa Etheridge is an extraordinary artist who’s sure to deliver an unforgettable performance at this year’s Marconis," said NAB Executive Vice President of Radio John David. "We look forward to hearing her perform classic hits as well as songs from her highly anticipated new album."

The Oscar and two-time Grammy-winning artist’s newest album, “4th Street Feeling,” is named after a street in Etheridge’s hometown of Leavenworth, KS, and is set for release on September 4th on Island Records. Etheridge wrote twelve new songs for the album, which features Blair Sinta on drums, Brett Simons on bass, and Zac Rae on keyboards. She takes the lead on vocals, guitar, piano, harmonica and banjitar. The first single from the album is called “Falling Up.”

Etheridge’s career spans decades starting with her self-titled first album (1988). The critically-acclaimed debut led to an invitation to sing on the 1989 Grammy Awards broadcast. For several years, Etheridge’s popularity built around such memorable songs as “Bring Me Some Water” (from her debut), “No Souvenirs” (from Brave And Crazy) and “Ain't It Heavy” (from Never Enough), for which she won her first Grammy for Best Female Rock Vocal.

Etheridge hit her commercial and artistic stride with her fourth album, Yes I Am, featuring the hits “I’m the Only One” and “Come to My Window,” a searing song of longing for which she received her second Best Female Rock Grammy. The album went six times platinum and spent more than two and a half years on the album chart.

Her highest charting album, Your Little Secret (#6 on the Billboard Top 200), included the hit single, “I Want to Come Over.” Her astounding success led Etheridge to receive a Juno award for International Entertainer of the Year in 1990, the Songwriter of the Year honor at the ASCAP Pop Awards in 1996 and the Academy Award for Best Original Song in 2007.

In 2011, Etheridge made her Broadway debut as St. Jimmy in Green Day’s rock opera, American Idiot, and received her Star on the Hollywood Walk of Fame. In 2012, Etheridge embarked on a worldwide tour, performing for sold-out crowds throughout Europe, Australia, and North America. When not on tour, she records her syndicated “Melissa Etheridge Radio Show” for daily broadcast on stations throughout the US and Canada.

NPD’s “VideoWatch VOD” report also revealed that overall movie rentals through all of these sources declined 10 percent since last year. Rentals of physical discs, while dominant, are becoming less so; in fact, year-over-year disc rentals from all sources declined by 17 percent, as digital movie rentals increased by 5 percent.

Within the physical disc market, kiosks continued to extend their lead, with rental orders growing 5 percent over last year. Kiosk rentals accounted for 45 percent of the physical market, as rentals from brick-and-mortar stores continued to fade. DVD and BD subscriptions also declined, due to Netflix’s focus on digital-video streaming.

Total digital-movie rental orders increased 5 percent -- growth that was largely attributable to Netflix Watch Instantly, the flat-fee subscription movie and TV streaming service. Although the vast majority (80 percent) of Netflix rental activity was for TV shows, movie rental activity was still sufficiently robust to make it the leader in movie rentals for the digital segment (66 percent). Pay-TV VOD accounted for 28 percent of digital orders, while Internet VOD (iVOD) accounted for 6 percent.

“Kiosk and subscription Internet streaming are generating strong user satisfaction ratings, including future rental intent, price, and value, which is reflected in market-share gains,” said Russ Crupnick, senior vice president of industry analysis for The NPD Group. “Netflx is frequently the most popular video application on connected devices, so an increase in households with Web-connected Blu-ray Disc players, tablets, and smart TVs will lead to still more video streaming activity.”

The 2013 IAWTV Awards consists of 34 categories honoring Web series and talent, both in front of the camera and behind-the-scenes. This year, three new Awards categories have been added, including Best Live Event, Best Ensemble Cast, and Best Online Channel. A full list of Awards categories can be found at iawtvawards.org/categories.

Submissions for the IAWTV Awards are open to qualifying individual producers, production teams and companies, major studios and networks, independent talent, YouTube stars and mainstream talent. Last year’s winners include Felicia Day/The Guild, Kids React by The Fine Brothers, and What’s Trending with Shira Lazar, among many other notable industry professionals.

The live Awards show will be accompanied by an online broadcast of the ceremony. More than 50,000 web television professionals are expected to watch the 2013 online show, which is double the number who watched last year’s show.

Submissions for the 2nd Annual IAWTV Awards begin Wednesday, August 8, 2012 and must be received by 11:59 p.m. PDT on September 19, 2012. Active members of the IAWTV will vote on IAWTV Awards, and nominees will be announced mid-November 2012, following preliminary voting.

“Imagine photons as particles bouncing right off the walls and down a corridor and around a corner—the ones that hit an object are reflected back. When this happens, we can use the data about the time they take to move around and bounce back to get information about geometry,” explains Otkrist Gupta, an MIT graduate student and lead author of today’s Optics Express paper.

Using advanced optics in the form of an ultrafast laser and a 2-D streak camera, both of which operate on the order of trillions of cycles per second, the team exploited being able to capture billions of images per second to demonstrate the technology’s ability to “see” objects by analyzing the light moving around a corner or through water bottle.

Streak cameras differ from other cameras in that the image it forms is determined by the time profile of the incoming photons. “This type of imaging provides us with a very good idea of how long each of the photons takes to bounce and come back. If there’s something around the corner, the photons come back sooner and arrive earlier in time,” says Gupta. “We’re actually capturing and counting photons. Each image we shoot has three or fewer photons in it. And we take lots of images very quickly to create ‘streak’ images, which help us determine the distance traveled by the photons in centimeters. Once we collect that data, we can infer the basic geometry of the hidden object(s) and a 3-D picture emerges.”

There are many potential applications for this technology. Among the more simple and obvious are disaster recovery situations. “Say you have a house collapsing and need to know if anyone is inside, our technology would be useful. It’s ideal for use in nearly any disaster-type situation, especially fires, in which you need to find out what’s going on inside and around corners—but don’t want to risk sending someone inside because of dangerous or hazardous conditions. You could use this technology to greatly reduce risking rescue workers’ lives,” Gupta points out.

It’s also quite possible that the technology could be used as a form of noninvasive biomedical imaging to “see” what’s going on beneath a patient’s skin. That’s what the researchers plan to investigate now.

Gupta expects that it will likely be at least another five to 10 years before the technology becomes commercially available—based on the typical timeframe research and development (R&D) demonstrations take to reach a product launch.

Beginning August 2, all full-power television broadcasters will begin to upload new public inspection file documents to the Federal Communications Commission’s online public inspection file site, where the public will be able to access them. The interface for the site has been developed to vastly improve the accessibility of stations’ public files and to minimize the burden on broadcasters in providing them. The new site and interface implement the decision in the FCC’s recent Report & Order requiring television broadcast stations to post their public inspection files online in a central, Commission-hosted database.

Except for the political file, broadcasters will upload public file documents that are generated on and after August 2, but they will have six months after August 2 to upload public file documents that were in their public file prior to August 2. In the case of the political file, only broadcasters affiliated with the top four national TV networks in the top 50 television markets (Designated Market Areas or DMAs) are required to upload their political files, and only public file documents generated on and after August 2 need be uploaded. Those affiliated stations are not required to upload any political file documents generated prior to August 2. All other stations will, for now, maintain their political files at their stations. These stations will begin uploading their political files to the Commission’s online site on July 1, 2014. A list of the elements of the public inspection file may be found in the text at the site, along with brief explanations of each. Please note that there are a few exceptions to the uploading obligation, such as emails and letters from the public and certain documents related to Commission investigations. These exceptions are further explained in the text at the site.

Radio stations, for the time being, will still keep their public files in paper or electronic form at their stations.

The Commission links to the public inspection file are as follows: for access by the public – http://stations.fcc.gov; for access by TV broadcasters – https://stationaccess.fcc.gov.

At the same time, digital-photo files are getting so big that, without a lot of clever software engineering, processing them would take a painfully long time on a desktop computer, let alone a cellphone. Unfortunately, the tricks that engineers use to speed up their image-processing algorithms make their code almost unreadable, and rarely reusable. Adding a new function to an image-processing program, or modifying it to run on a different device, often requires rethinking and revising it from top to bottom.

Researchers at MIT’s Computer Science and Artificial Intelligence Laboratory (CSAIL) aim to change that, with a new programming language called Halide. Not only are Halide programs easier to read, write and revise than image-processing programs written in a conventional language, but because Halide automates code-optimization procedures that would ordinarily take hours to perform by hand, they’re also significantly faster.

In tests, the MIT researchers used Halide to rewrite several common image-processing algorithms whose performance had already been optimized by seasoned programmers. The Halide versions were typically about one-third as long but offered significant performance gains — two-, three-, or even six-fold speedups. In one instance, the Halide program was actually longer than the original — but the speedup was 70-fold.

Halide doesn’t spare the programmer from thinking about how to parallelize efficiently on particular machines, but it splits that problem off from the description of the image-processing algorithms. A Halide program has two sections: one for the algorithms, and one for the processing “schedule.” The schedule can specify the size and shape of the image chunks that each core needs to process at each step in the pipeline, and it can specify data dependencies — for instance, that steps being executed on particular cores will need access to the results of previous steps on different cores. Once the schedule is drawn up, however, Halide handles all the accounting automatically.

Although Halide programs are simpler to write and to read than ordinary image-processing programs, because the scheduling is handled automatically, they still frequently offer performance gains over even the most carefully hand-engineered code. Moreover, Halide code is so easy to modify that programmers could simply experiment with half-baked ideas to see if they improve performance.

“You can just flail around and try different things at random, and you’ll often find something really good,” Adams says. “Only much later, when you’ve thought about it very hard, will you figure out why it’s good.”

“There’s a lot of excitement about using a domain-specific language like the one they chose to do, but there really haven’t been a lot of success stories,” says John Owens, an associate professor of electrical and computer engineering at the University of California at Davis. “And I think this is going to turn out to be a terrific success story. It really has all the pieces you want from a completed system, and it’s in a really important application domain.”

“I can also see it inspiring a lot of future work,” Owens adds. “I think this is going to be a really high-impact project.”

- Tablets are expected to reach $29.1 billion in shipment revenues this year, $10.8 billion more than forecasted in January, representing 83 percent sales growth year-over-year. Unit sales are expected to reach 68.5 million.
- Smartphone sales will also see continued growth this year and will remain the primary revenue driver for the industry. Shipment revenues for smartphones are expected to reach $33.7 billion in 2012, with more than 108 million units shipping to dealers, up 24 percent from 2011.
- Laptop sales continue to increase as consumers demand mobility in computing solutions. Led by the introduction of ultrabooks, overall laptop sales to dealers are expected to reach $14.9 billion, with 21.3 million laptops shipping to dealers.

“Tablets are the fastest-growing product category in the history of the CE industry, and sales will continue to increase as more products hit the market, offering consumers more choices in size, price, operating systems and app ecosystems,” said Steve Koenig, CEA’s director of industry analysis. “With U.S. household penetration of smartphones surpassing the 50 percent threshold, we’re seeing slowing sales of dedicated devices, as consumers seek singular devices that can perform multiple functions. We expect this trend to continue into 2013.”

Sales of innovative digital displays continue to increase despite an ongoing decline in overall TV sales, and remain critical to the industry’s bottom line.
Unit sales of networked-enabled TVs are projected to surpass 10 million, growing 56 percent in 2012. Shipment revenues will reach $9 billion, up 20 percent year-over year.
Sales of 3D-enabled displays are also growing. Unit sales in 2012 are expected to reach 5.6 million, up 104 percent year-over-year. Shipment revenues will jump 75 percent, to more than $7 billion.

The U.S. Consumer Electronics Sales and Forecasts also shows that continued consumer demand to integrate mobile devices into the vehicle has led to increased sales for in-vehicle electronics. As seen at the 2012 International CES, car companies are building more technology into the vehicle. Overall sales revenues for factory-installed systems is expected to increase $1.6 billion in 2012. The integration of mobile devices is also helping in the aftermarket. Unit growth for head units equipped with internet radio control or apps is projected to grow by double digits in 2012.

The joint venture - Access Network Technology Limited, established by Fujitsu - is scheduled to begin operations in August, upon the capital contributions of DOCOMO, NEC, and Fujitsu Semiconductor.

According to the group, until now, handset manufacturers including Fujitsu and NEC, together with DOCOMO, conducted communications platform development work collaboratively.

The rapid expansion of the smartphone market and the increase in data traffic volumes have been making communications platforms increasingly important. The technologies individually held by the companies, as well as the results of their joint development work, offer a huge competitive advantage in the smartphone market, which is expected to experience an even greater global expansion.

Ownership Share by Each Company:

Fujitsu: 52.8%
DOCOMO: 19.9%
NEC: 17.8%
Fujitsu Semiconductor: 9.5%

Against this backdrop, in the form of a new corporate structure, the joint venture, while enhancing management responsiveness, will bring together technologies from each of the companies to develop industry-leading communications platform products, and will provide customers with highly competitive products to meet their needs.

“Primary research conducted in the US continues to suggest most consumers place price and screen size above all other factors,” says practice director Sam Rosen. “While display technology is cited as very important as well, the prices OLED TVs are expected to command, at least through 2013, will make it a difficult sell for most consumers.”

2012’s crop of OLED TVs are not the first as Sony introduced much smaller screens in the past, but price and screen size again conspired to make the market for OLED TVs rather limited. Scale will eventually bring prices down, but with LED TVs supporting form factors approaching the svelteness of OLED TVs many consumers may still opt for the less expensive alternative, limiting the rate at which scale is reached.

Senior analyst Michael Inouye added, “Picture quality is also highlighted as a key benefit for OLED screens, but consumer behavior suggests this might not engender as much perceived value as some might presuppose. Higher contrast ratios and more vibrant colors while nice, will continue to lose out to screen size and price for those consumers who embrace and fully enjoy streaming video, think Blu-ray picture is good, but still enjoy DVD. In the end OLED TVs, at least in the beginning, will likely be more of a statement of status or strong appreciation of form factor than video quality.”

Conferences for the 2013 NAB Show program include: Broadcast Engineering, Broadcast Management, Cloud Computing, Creative Master Series, Disruptive Media, Military and Government Summit, and the popular General and Super Session Series. Event organizers will consider proposals on new media for multiple platforms, new business models, and the impact of new technologies and marketplace realities on existing businesses and creative processes.

In addition to the 2013 Call for Speakers, NAB Show invites previous speakers to join the Speaker Alumni Group through LinkedIn, designed to provide media and entertainment professionals who have contributed to the NAB Show in the past an opportunity to engage with show organizers and each other throughout the year. To request membership in the group, visit LinkedIn and search "NAB Show Speaker Alumni."

NAB Show is also seeking nominations for its Program Advisory Group, which comprises industry leaders and subject matter experts who provide feedback on overall conference design and suggest new areas of programming to address the evolving media and entertainment landscape.

For submission contact information and additional information on topics considered for proposal submissions, click here.

FCC Chairman Julius Genachowski said, “As our new map demonstrates, millions of Americans still live, work, and travel in rural areas where access to high-speed Internet does not exist. Through the FCC’s Connect America Fund initiatives, we’re helping complete our nation’s broadband infrastructure, which will lead to job creation, economic growth, and innovation in the 21st century. The map is the latest example of how the agency can use mapping technology to spur innovation and to develop new products for the public.”

This interactive map shows the 37 states where new broadband will be deployed as a result of the first phase of the Connect America Fund. The number of homes, businesses, and anchor institution locations that will gain access to new broadband are displayed, along with the number of residents in each state that currently lack access to broadband.

The said the new map is part of the Commission’s Data Innovation Initiative to modernize and streamline how the agency collects, uses, and disseminates data. The map builds on the government-leading work by the Commission using next-generation mapping tools to make geographic data more accessible.

The ‘Connect America Fund’ aims to connect 7 million unserved rural Americans to broadband in six years, and puts the nation on a path to connect all 19 million unserved residents by 2020. The FCC launched this unprecedented broadband expansion last year when it reformed and modernized the Universal Service Fund, which connected rural America to the telephone network in the 20th century. The Commission created the ‘Connect America Fund’ to unleash the benefits of broadband for all Americans in the 21st century.

For more than 10 years, Fujifilm has conducted R&D in the OLED field, and, as a result, developed new technologies in OLED materials as well as devices using such materials, and obtained a strong patent portfolio covering such technologies.

As a company in the OLED industry with advanced technologies and an established patent position in the OLED field, Universal Display is expanding its business for OLED materials and the licensing of its patented OLED technologies through this acquisition.

Fujifilm and Universal Display said the companies have been exploring possible strategic relationships and have agreed to the sale and purchase of Fujifilm's OLED patent portfolio in connection with a strategic relationship beneficial to both companies. This will allow Universal Display, in addition to strengthening its existing worldwide patent portfolio, to explore new and exciting areas of OLED materials and product development for the future. Fujifilm will expand its business for the supply of Fujifilm's highly functional materials, such as barrier films, conductive films and flexible substrates, to OLED manufacturers around the world, including Universal Display's worldwide customer base. Fujifilm and Universal Display intend to strengthen and enhance their strategic alliance in the future.

"We are much delighted to realize cooperation between Fujifilm, with its advanced OLED material technologies, and Universal Display, a leader in the OLED industry playing a central role, by this transfer of Fujifilm's OLED patent portfolio. I strongly believe that this agreement will be mutually beneficial to both companies," said Shigetaka Komori, Chairman and Chief Executive Officer of Fujifilm. "With its industry-leading, proprietary technologies in R&D and production of highly functional materials, Fujifilm will continue to contribute to the OLED industry by supplying innovative highly functional materials including barrier films. Fujifilm and Universal Display will continue discussions for further possible strategic relationship between the two companies."

"We are very excited to acquire the OLED patent portfolio of Fujifilm Corporation, a remarkable company with one of the strongest OLED research teams in the world for more than a decade. It is an honor to incorporate their excellent work into our portfolio. This transaction will almost double Universal Display's patent portfolio enabling us to deepen, broaden and extend the technologies and materials that we offer to our customers," said Steven V. Abramson, President and Chief Executive Officer of Universal Display. "Opportunities such as this come along rarely, and we are pleased that we are able to expand our OLED licensing and materials businesses and accelerate the growth of the OLED markets with this excellent acquisition. We look forward to continuing to enhance our alliance by exploring new avenues of collaboration with Fujifilm in the future."

Early this year, Shusen Wang, a long-time AES member, VP of a Beijing broadcasting company, and a leading professional audio consultant there, contacted Mr. Cook to explore the possibility of establishing a Beijing Section. In late May, Cook made two AES presentations to members of the China Audio and Video Association (CAVA). Following those meetings a group of over 25 Chinese AES members from Beijing and other cities, discussed a Beijing Section with Cook. Mr. Wang was unanimously invited to Chair the Section.

“The seriousness and passion demonstrated by the AES members I met with in Beijing was deeply impressive,” Peter Cook reveals. “They are fully committed to all the fundamental elements that make the AES an invaluable forum for professional audio. They enthusiastically recommended highly qualified local vice-chairs to be responsible for: Education, Research, Broadcast Applications and other areas of universal AES concern.” Cook adds, “I was genuinely taken aback when they conveyed the huge size of China’s professional audio community. This initial Beijing Section may mark the beginning of a substantial AES expansion in China. Their concerns for the importance of an AES affiliation were humbling.”

Shusen Wang applauds Cook’s recommendations, and has already begun to map out a program to incorporate them. “We will work closely with the AES parent organization to introduce Chinese experts to relevant Technical Committees; to invite them to submit research papers; to introduce Chinese stake-holders to Standards Committee chairs; and, do everything possible to ensure the success of first-time Chinese exhibitors at AES Conventions,” Mr. Wang said.

“The AES has many individual members in China. We believe our new Beijing Section will sustain a long and mutually beneficial on-going relationship with China’s professional audio community,” concludes AES executive director Bob Moses. “This move exemplifies our plan to expand the AES mission and support our ongoing effectiveness throughout Asia and The Far East.”

Through this acquisition, following the liquidation of Cintel International earlier in 2012, Blackmagic Design has acquired the intellectual property and all aspects of Cintel’s entire portfolio of film scanning products. This includes all of the IP, name and brand ownership and product development rights for the Cintel diTTo and dataMill digital scanners lines, URSA, C-Reality, DSX, and Millennium telecine lines as well as imageMill data management products.

“This is a very exciting acquisition for Blackmagic Design. Cintel products are the most trusted names in the film scanning business, and the incredible design expertise that has been built into every one of the Cintel products is amazing,” said Grant Petty, CEO, Blackmagic Design.

“The film market is in the middle of massive changes and how film is used is changing everyday. What hasn’t changed is the acknowledgement that film is an extremely creative way to capture images. This acquisition gives Blackmagic Design the ability to combine our vision and expertise with Cintel technology to provide the best technology for artists using film, more efficient and affordable ways to bring film into a digital workflow and better ways to archive and restore existing archive film worldwide,” continued Petty.

Blackmagic said service and support for existing Cintel customers will be handled by UK based Cine Solutions Ltd. and US based Cine Solutions Inc. Both are independent of Blackmagic Design and will supply replacement parts and repairs, provide expert engineering services as well as 24/7 maintenance help line to all users of equipment previously manufactured and supplied by Cintel International.

There are four major connected video CE devices: Connected TVs, Blu-ray players, game consoles and Smart set-top boxes (STBs). Senior analyst Michael Inouye comments, “Most CE manufacturers (notably, Samsung and LG) use a common platform for Connected TVs and Blu-ray players. Microsoft and Nintendo play only in the game console market, while Smart STB leaders Apple and Roku don’t compete in the other connected categories. Sony is unique is its participation in game consoles (PS3), connected TVs, Blu-ray players, and Smart STBs. In the TV and Blu-ray space Samsung and LG have been the most proactive at bringing connected features – for example, introducing new user interfaces that parallel the features first made popular by the game consoles.”

The spread of connectivity is not unique to mature markets, as OEMs in China, such as Skyworth and TCL, have also reported growing shipments of connected TVs. In many regards the TV is the most natural device to access connected services and content – there is no need, for instance, to change the video input when accessing online content. In primary survey studies consumers have also placed the connected TV as the most desired device to receive Internet content on the main screen. Despite this growth, however, one device type will not command the market, placing greater emphasis on the overall ecosystem.

Inouye added, “The early connectivity lead enjoyed by the game consoles will continue to wane, but this does not mean these devices will become integrated into the TV. The 8th generation of consoles will offer a boost to the industry, placating core gamers with new hardware while expanding the device’s role as the central media hub through complementary media and services. Game consoles will be de-throned as the most connected CE device, but they may remain the most relevant.”

Financial terms were not disclosed, but DirecTV said the resolution showed that programmers who try to bully distributors with blackouts won't get better deals.

DirecTV says the agreement will enable its customers to see Viacom programming on tablets, laptops, and other personal devices on what it calls the DirecTV Everywhere platform.

It added that carriage of the Epix movie service -- a joint venture of Viacom and several movie studios -- is not required. Viacom said DirecTV has an option to add the Epix service to its entertainment offerings.

"We are very pleased to be able to restore the channels to our customers and thank them for their unprecedented patience and support," Derek Chang, executive VP of content strategy and development for DirecTV, said in a statement. "It's unfortunate that Viacom took the channels away from customers to try to gain leverage, but in the end, it's clear our customers recognized that tactic for what it was."

Chang added that "the attention surrounding this unnecessary and ill-advised blackout by Viacom has accomplished one key thing: it serves notice to all media companies that bullying TV providers and their customers with blackouts won't get them a better deal. It's high time programmers ended these anti-consumer blackouts once and for all and prove our industry is about enabling people to connect to their favorite programs rather than denying them access."

In its brief release, Viacom said it was "extremely pleased to bring its programming back to DirecTV subscribers, and thanks everyone affected by the disruption for their patience and understanding during this challenging period."

“It’s a completely different technology,” says Z. Valy Vardeny, University of Utah distinguished professor of physics and senior author of a study of the new OLEDs in the July 13, 2012 issue of the journal Science. “These new organic LEDs can be brighter than regular organic LEDs.”

The original kind of LEDs, introduced in the early 1960s, used a conventional semiconductor to generate colored light. Newer organic LEDs or OLEDs – with an organic polymer or “plastic” semiconductor to generate light – have become increasingly common in the last decade, particularly for displays in MP3 music players, cellular phones and digital cameras. OLEDs also are expected to be used increasingly for room lighting. Big-screen TVs with existing OLEDs will hit the market later this year.

The Utah physicists made a prototype of the new kind of LED – known technically as a spin-polarized organic LED or spin OLED – that produces an orange color. But Vardeny expects it will be possible within two years to use the new technology to produce red and blue as well, and he eventually expects to make white spin OLEDs.

The new kind of OLED invented by the Utah physicists also uses an organic semiconductor, but isn’t simply an electronic device that stores information based on the electrical charges of electrons. Instead, it is a “spintronic” device – meaning information also is stored using the “spins” of the electrons.

However, it could be five years before the new LEDs hit the market because right now, they operate at temperatures no warmer than about minus 28 degrees Fahrenheit, and must be improved so they can run at room temperature, Vardeny adds.
Vardeny developed the new kind of LED with Tho D. Nguyen, a research assistant professor of physics and first author of the study, and Eitan Ehrenfreund, a physicist at the Technion-Israel Institute of Technology in Haifa.
The study was funded by the U.S. National Science Foundation, the U.S. Department of Energy, the Israel Science Foundation and U.S.-Israel Binational Science Foundation. The research was part of the University of Utah’s new Materials Research Science and Engineering Center, funded by the National Science Foundation and the Utah Science Technology and Research initiative.

“From our perspective, .ORG is the most suitable and relevant domain name for our organization, and it is internationally recognized,” said Dr. Clive Lipchin, Director of the Center for Transboundary Water Management at the Arava Institute for Environmental Studies and one of the founding members of the JAD Forum.

Fueled by surging Internet use worldwide, .ORG has maintained consistent growth between 9 and 10 percent annually for the past three years. According to PIR, .ORG has seen a surge in domains under management (DUM) since 2005, growing by more than 156 percent and maintaining the domain’s position as the world’s third largest “generic” or non-country specific top-level domain (TLD).

“For more than 25 years, .ORG has enabled registrants to engage and empower their communities both online and off,” said Brian Cute, CEO of Public Interest Registry. “Reaching 10 million domain registrations is a significant achievement and highlights PIR’s commitment to providing a trusted place online for organizations, companies, and individuals to tell their stories and mobilize their communities. As we celebrate this milestone, we look forward to continued growth and to giving more causes around the world a trusted, online venue with .ORG.”

Established in 1985, PIR said .ORGs are registered in 175 countries worldwide, representing truly global reach for a top-level domain name. Last year, for the first time, growth in .ORG domain registrations outside North America exceeded growth in its traditional market. With more than 400 registrars operating around the world and a strong focus on helping organizations in emerging markets establish and grow their online presence, .ORG is expected to achieve strong and sustainable future growth.

According to Kodak, the motion was contested by Apple and FlashPoint Technologies which have asserted “ownership” interests in a small number of the 1,100 patents in the portfolios. The Bankruptcy Court, over Apple and Flashpoint’s objections, found that all of the patents in the Digital Capture and KISS patent portfolios are property of Kodak’s estate. Accordingly, the Court granted Kodak the right to sell these patents free and clear of Apple and FlashPoint’s claims at the auction, subject to the applicable provisions of the U.S. Bankruptcy Code.

“We are gratified that the Court has enabled us to move ahead with our patent auction in a timely manner and with clarity on ownership for the winning buyer,” said Timothy Lynch, Kodak Vice President and Chief Intellectual Property Officer. As previously announced, interested buyers will be able to submit bids on a confidential basis, subject to review by Kodak, certain of its creditors and the Bankruptcy Court. The auction is expected to be held in early August.

Kodak is selling the patents under section 363 of the U.S. Bankruptcy Code which permits a sale free and clear of any adverse claim or interest. The patents will be sold in a fair, competitive process overseen by the Bankruptcy Court. At closing, the winning bidder can obtain an order of the Bankruptcy Court that protects it against any third-party ownership claims.

The Bankruptcy Court’s ruling provides a path to separate the auction process from continuing litigation about the Apple and Flashpoint claims. Kodak believes these claims are without merit, and is also seeking a determination on summary judgment, expected to be heard in July, that the claims are time-barred.

Lynch said: “The Apple and FlashPoint claims are baseless and Kodak will still seek dismissal on summary judgment in July. However, today’s ruling provides a Court-approved process allowing buyers to acquire the patents free and clear of all ownership allegations, regardless of the status of the dispute with Apple and Flashpoint at the time of closing.”

Utilizing HP’s Z820 Workstation, Tekserve’s system utilizes its unique “Transition Technology” approach, simplifying the management and support of the workstation. Coherent logical configuration of defaults, desktop layout and system organization as a foundation, complemented by an embedded high-speed restore mechanism enables users to quickly and efficiently restore their configuration to their optimized state. Users will have access to exclusive Tekserve capabilities such as subscription-based restore management.

“Complementing our restore technology is the service component, by subscription Tekserve will manage your software updates through the restore process,” explained Matt Cohen, Tekserve co-owner and production workflow expert. “We carefully test and vet updates that could affect performance and function while periodically delivering updated restore images for your workstation. Our support and guidance will ensure users comfortably access the latest tools without the distraction of reconfiguring the system.”

According to Tekserve, the workstation utilizes the HP Z820 dual processor 16 core configurations at 2.0ghz, 2.6ghz and 3.1ghz, integrated RED mag reader and RED rocket card, special Adobe software deals, special HP monitors bundled, including the flagship dream color display. Tekserve’s Transition Technology is specifically designed to ease adoption of users considering a new platform, as well as empowering all configuration and system management choices for the power user.

Ted Schilowitz, RED’s first employee, commented: “A big part of our focus at RED is ensuring that those shooting our cameras have a smooth and logical workflow for all stages of post production. This HP/Red Rocket/Adobe configuration with our built in RED SSD readers is super powerful and perfectly suited for RED work on jobs from commercials and music videos all the way up to the biggest movies in the world. I’ve known the Tekserve team for many years, and have the highest confidence that they will set up and support these systems properly, and look out for their customers in the creative part of the computing world.”

Tekserve said systems will include the world-class HP Z820 Workstation with dual 8 Intel Core Xeon processors, Nvidia Quadro Graphics Integrated RED Rocket and RED Mag Reader. Several storage options will be offered both internal to the workstation as well as tailored external solutions.

“Professionals who handle RED Camera footage require a workstation built specifically for their workflow, and Tekserve’s new HP Workstation offerings give them everything they need in one package,” said Jim Zafarana, vice president and general manager, Commercial Solutions Business Unit, HP. “HP continues to play an integral role in pushing media and entertainment technology forward, providing professionals with the performance and power needed as the industry adopts higher resolutions.”

The new exhibit area will showcase technologies and services that are advancing how consumers connect with media and entertainment.

Connected Media World will include companies specializing in "social TV," application development, connected cloud services, broadband TV and OTT services. The exhibit area will also include a demonstration stage and offer educational programming for NAB Show attendees.

"As consumers continue to connect with media and entertainment in new and different ways, it's imperative for content owners and distributors to understand how this evolution impacts business and the overall consumer experience," said Chris Brown, NAB executive vice president, Conventions and Business Operations. "Through Connected Media World, we will showcase companies that are leading the 'connected consumer' experience."

"BPL's experience as a leading event and industry resource within the connected consumer space, combined with the NAB Show's prominence as the world's largest media and entertainment event, make for a fitting partnership," said Chris Boeree, Chair of BPL Broadcast Ltd. "We look forward to working with NAB to provide a high-quality experience for NAB Show attendees and exhibitors."

Connected Media World will be located in the North Hall of the Las Vegas Convention Center and will be accessible to all NAB Show attendees.

The survey reports that this trust may have a direct impact on the success of advertisements in each medium. For example, more than 64 percent of consumers acknowledged that they have made a purchase after seeing it advertised on television, radio or in a newspaper. Conversely, consumers were more apt to trust their own internet research (61 percent) over television commercials (28 percent), radio commercials (21 percent), or newspaper ads (16 percent). Recommendation engines also scored low, with 17 percent of respondents noting that they influence buying decisions.

“While digital media continues to explode in popularity and affect traditional media usage, the underlying trust of media consumers toward digital compared to traditional media are not yet equal,” said Triton VP of Business Strategy, Jim Kerr. “Similarly, traditional media advertising continues to prove effective and more likely to influence purchase decisions than digital ads.”

This will be followed by a moderate decline over the next few years as demand from maturing pay-TV markets like North America and Western Europe begins to slow with the opportunities of media gateways and smart boxes that are now being introduced to the market: "The roll out of these new boxes comes at a time when the saturation of subscriber bases in mature markets is resulting in the need to develop new non-video related services. The ability to incorporate these boxes within home networking infrastructures and their compatibility with portable devices provides the ability to roll out services that allow the control of in-home lighting, temperature and security. Such offerings are expected to become increasingly widespread due to the competitive nature of the market and slowing video related revenues forcing operators to embrace new growth opportunities," said Carl Hibbert, Head of Broadcast Research at Futuresource.

Regionally, growth opportunities are still present. Asia Pacific, which is expected to represent 45% of global shipments in 2012, will see growth through to 2013, with smaller regions including Eastern Europe and Latin America growing from 16% to 18% and 4% to 6% respectively.

In Western Europe, cable represents the largest proportion of pay-TV homes and close to half of all pay-STB demand, and the continuing migration to digital services will drive cable STB growth through to 2014, say Futuresource.

In North America, the pay-TV market continues to lose subscribers quarter on quarter, resulting in a 4% fall over the forecast period. Revenue however will be sustained as operators move to more advanced set top boxes allowing for the roll-out of services that will attract new revenue streams from subscribers, according to Futuresource.

The new CEA standards are available from Techstreet.

To put that in perspective, broadband cable (which you probably used to download this) supports up to about 30 megabits per second. The twisted-light system transmits more than 85,000 times more data per second.

Their work might be used to build high-speed satellite communication links, short free-space terrestrial links, or potentially be adapted for use in the fiber optic cables that are used by some Internet service providers.

“You’re able to do things with light that you can’t do with electricity,” said Alan Willner, electrical engineering professor at the USC Viterbi School of Engineering and the corresponding author of an article about the research that was published in Nature Photonics on June 24. “That’s the beauty of light; it’s a bunch of photons that can be manipulated in many different ways at very high speed.”

Willner and his colleagues used beam-twisting “phase holograms” to manipulate eight beams of light so that each one twisted in a DNA-like helical shape as it propagated in free space. Each of the beams had its own individual twist and can be encoded with “1” and “0” data bits, making each an independent data stream — much like separate channels on your radio.

Their demonstration transmitted the data over open space in a lab, attempting to simulate the sort of communications that might occur between satellites in space.

Among the next steps for the research field will be to advance how it could be adapted for use in fiber optics, like those frequently used to transmit data over the Internet.

The team’s work builds on research done by Leslie Allen, Anton Zeilinger, Miles Padgett and their colleagues at several European universities.

“We didn’t invent the twisting of light, but we took the concept and ramped it up to a terabit-per-second,” Willner said. His team included Jian Wang, Jeng-Yuan Yang, Irfan Fazal, Nisar Ahmed, Yan Yan, Hao Huang, Yongxiong Ren and Yang Yue from USC; Samuel Dolinar from NASA’s Jet Propulsion Laboratory; and Moshe Tur from Tel Aviv University.

Wang, the lead author, left USC after completing the research and is now a professor at the Huazhong University of Science & Technology in China.

The research was funded by the Defense Advanced Research Projects Agency under the Information in a Photon program.

Of the 648 million digital TV homes to be added between 2011 and 2017, 259 million will come from digital cable. Primary FTA DTT [homes taking DTT but not subscribing to cable, DTH or IPTV] will bring in a further 174 million, with pay DTT adding 5 million. Pay IPTV will increase by 114 million, with pay DTH up 66 million and FTA DTH 31 million.

Simon Murray, report author, said: “There were still 714 million analog TV households (both terrestrial and cable, with a few analog DTH ones) by end-2011. However, this total will fall to 202 million by end-2017. Analog penetration will drop from 51.4% at end-2011 to 13.3% by end-2017.”

There will be 140 million analog terrestrial homes and 62 million analog cable ones by end-2017. However, digital cable subscriptions will reach 494 million homes, followed by 220 million pay digital DTH and 139 million free-to-air digital DTH. Pay IPTV will contribute another 165 million households, up from only 51 million at end-2011.
Meanwhile, FTA (free-to-air) DTT homes will reach 291 million, with pay DTT generating a further 15 million.

Digital cable will be the most popular TV platform by end-2017, accounting for 32.4% of the world’s TV households, with analog cable still serving 4.1% of TV homes. Pay digital DTH penetration will be 14.4%, with FTA digital DTH accounting for 9.1%. Pay IPTV penetration will climb to 10.8%, up from only 3.7% at end-2011. About 16.7% of homes will be primary FTA DTT at end-2016, with 0.9% pay DTT. Analog terrestrial TV will be taken by 9.2% of the world’s TV households, down from 31.8% at end-2011.
Of the 648 million digital TV households to be added between 2011 and 2017, 440 million (68%) will be in the Asia Pacific region, bringing its total to 714 million. China became the largest digital TV household nation in 2010, and will boast 417 million digital homes by end-2017. Second-placed India will overtake the US in 2017.

China 416.6
USA 122.9
India 124.5
Japan 50.7
Brazil 47.1
Russia 49.0
Germany 37.1
France 27.5
UK 27.5
Mexico 26.2
Others 394.1

Global digital penetration will reach 87% by end-2017, up from 49% at end-2011. Regional penetration at end-2017 will vary from 100% in North America to 76% in Latin America. However, Latin America and Asia Pacific will record strong conversion to digital. By 2017, 47 countries will be completely digital compared with only Finland and Spain at end-2011.

Pay TV penetration (analog and digital combined) reached half of the world’s TV households by end-2010, and will rise to 63% by end-2017. Penetration at end-2017 will range from 87% in North America to 22% in the Middle East and Africa. Pay TV penetration will remain highest in the Netherlands, at 99.5% by end-2017. However, China will have the most pay TV subs, at 315 million by end-2017, followed by India with 145 million.

“The changes we are announcing today make Avid a more focused and agile company,” said Gary Greenfield, CEO of Avid. “By streamlining and simplifying operations, we expect to deliver improved financial performance and partner more closely with our enterprise and professional customers. Our objective remains to provide these customers with the innovative solutions that allow them to create the most listened to, most watched and most loved media in the world. I’m excited about our future prospects.”

Avid has agreed to sell its consumer audio and video product lines. The company’s consumer audio products are being sold to inMusic, the parent company of Akai Professional, Alesis and Numark, among others. Headquartered in Cumberland, Rhode Island, inMusic's brands are best known for producing products for music production, performance and DJing. The products involved in this transaction include M-Audio brand keyboards, controllers, interfaces, speakers and digital DJ equipment and other product lines. Avid will continue to develop and sell its industry-leading Pro Tools line of software and hardware, as well as associated I/O devices including Mbox and Fast Track.

Separately, the company’s consumer video editing line is being sold to Corel Corporation, a consumer software company headquartered in Ottawa, Canada. The products involved in this transaction include Avid Studio, Pinnacle Studio, and the Avid Studio App for the Apple iPad, as well as other legacy video capture products.

The divested product lines contributed approximately $91 million of Avid’s 2011 revenue of $677 million. As part of the transactions, certain employees of Avid will transfer to each acquiring company. Avid estimates that the proceeds from these transactions will be approximately $17 million, subject to closing inventory adjustment, with a portion held in escrow.

Avid also said it plans to reduce the number of its employees as it streamlines operations, with approximately 20% of its permanent employee base impacted by the divestitures and headcount reduction plans. The company currently expects to incur a restructuring charge of approximately $19 to $23 million related to these actions and other associated measures.

The company’s cash balance on March 31, 2012 was $49.7 million. The proceeds from the sale of these product lines are intended to offset most of the restructuring charges paid in 2012.

According to One-Red, the new One Red DVD registration agreements seek to create a level playing field while also servicing the industry’s need for patent coverage from leading consumer technology companies in the DVD field. The new program for DVD Discs covers essential patents of DVD technologies, while the program for DVD players also includes essential patents related to Compact Disc Audio and ROM technologies.

Brand manufacturers and brand owners that enter into the new DVD patent licensing agreements with One-Red will benefit from the following royalty rates:

DVD Video Player (USD)

- Standard $3.60
- Compliant $2.80

DVD-ROM Player (USD)

- Standard $2.91
- Compliant $2.24

DVD Discs (USD)

- Standard $.04
- Compliant $.03

To take advantage of the lower royalty rates, One-Red recommends licensees currently under the Philips programs, which are also administered by One-Red, switch from their existing DVD Disc and Player patent license programs to the new One-Red Joint DVD Disc and DVD Player registration agreements.

However, One-Red, on behalf of Philips, will continue to administer the existing optical licensing programs for essential patents covering CD, CD-R/RW, DVD, DVD-R/RW and SACD player and disc technologies. The existing programs include the so-called Philips Only license programs as well as the joint licensing programs.

Get more information on the new One-Red Joint DVD Disc and DVD Player registration agreements.

The Twenty-First Century Communications and Video Accessibility Act of 2010, signed into law by President Obama on October 8, 2010, directed the Commission to reinstate with some modifications the video description rules initially adopted in 2000. The FCC’s new rules require covered broadcast affiliates of ABC, CBS, FOX and NBC located in the top 25 TV markets to provide 50 hours per calendar quarter (approximately 4 hours per week) of video-described prime time and/or children’s programming. The covered MVPD systems, when they carry any of the top five non-broadcast networks,1 i.e., the Disney Channel, Nickelodeon, TBS, TNT, and USA, must also provide 50 hours per calendar of video- described prime time and/or children’s programming.

Additionally, the video description rules require all network-affiliated broadcast stations and MVPD systems to pass through any video description provided with network programming that they carry if they have the technical capability to do so and are not using it for other program-related content. Once a program is aired with descriptions, re-runs of that program must also include video description unless the capability of providing description is being used for other program-related content.

“The Twenty-First Century Communications and Video Accessibility Act is the most significant disabilities legislation since passage of the American with Disabilities Act,” said Chairman Julius Genachowski. “In implementing its video description provisions, the Commission is ensuring that for the first time, individuals who are blind or visually impaired will be able to enjoy many television programs along with the rest of the general public.”

The two companies plan to jointly develop next-generation OLED panels and modules by each utilizing their core and printing technologies. They plan to jointly develop printing method-based next-generation OLED technology, which will be suitable for low-cost mass production of large, high resolution OLED panels and modules. Sony and Panasonic aim to establish mass-production technology during 2013, by integrating their unique technologies to improve the overall efficiency of development.

Sony launched the world’s first OLED TV in 2007 with its 11-inch model. Sony also released a 25-inch professional OLED monitor in 2011, and continued to develop products and mass-produce OLED displays utilizing deposition technologies. Further, Sony has actively promoted the research and development of next-generation OLED technologies such as hybrid OLED element devices and processing (manufacturing) technologies that combine deposition and printing methods, thin film transistor (TFT) drivers such as oxide TFTs, and flexible organic TFTs, and has presented its development results at academic conferences.

Panasonic currrently utilizes the cutting-edge “all printing method”, among other printing methods which have the advantage of being competitive for producing large-sized screens at a lower cost. Panasonic owns the unique production and equipment technologies which enable the production of OLED panels through this method. Panasonic is also pursuing the future possibility of OLED panels, and is carrying out research and development of advancements in flexible OLED panels and aiming to develop large-sized, high quality sheet-type displays.

In parallel with the joint development of the next-generation technologies of the OLED panels and modules, Sony and Panasonic plan to continue to study collaboration in the mass production of OLED panels and modules. Also, each company plans to utilize its own strengths to develop and commercialize its own competitive, high-performance, next-generation OLED televisions and large-sized displays.

According VESA, with the MyDP standard, high-quality audio, video, and 3D content can be shared from a mobile device to a larger external DisplayPort or HDMI equipped display, including a PC monitor, digital signage display or HDTV, using the micro-USB connector found on the majority of smartphones and tablets. By using a passive cable, consumers can instantly experience their content at 1080P full HD resolution, 24-bit color, and 60Hz. Consumers can also access the millions of legacy DVI and VGA displays, projectors and TVs through the use of MyDP adaptors and active converters. The MyDP interface also includes a robust 1Mbps sideband channel that provides enough bandwidth to support accessory functions including multi-touch, keyboard, mouse, and remote control of the external display. Furthermore, MyDP enables charging of the mobile device battery, through the MyDP cable, from the power provided by the DisplayPort-enabled display, while content is enjoyed.

“MyDP is a win-win for consumers and technology manufacturers,” said Ganesh Tekkatte, senior product marketing manager at STMicroelectronics. “MyDP is simple and flexible allowing content to be shared with today’s displays through common connectors that are widely adopted, and will support the advanced media and connectivity standards through the foreseeable future.”

In order to participate in the initial facilitation effort for the creation of a joint HEVC License, MPEG LA invites any party that believes it has patents that are essential to the HEVC Draft 7 standard (or subsequent revisions that may issue) to submit an initial patent by September 7, 2012, in accordance with terms and procedures governing patent submissions.

HEVC Draft 7, available from the ITU-T/ISO/IEC Joint Collaborative Team on Video Coding (JCT-VC), is subject to further revisions by the JCT-VC; a final approved standard for HEVC is expected to issue around January 2013

“By starting the joint license facilitation process now, the market can enjoy the earliest opportunity to plan for deployment of this promising new technology,” said MPEG LA President and CEO Larry Horn. “MPEG LA is pleased to assist in facilitating a convenient, independently administered, one-stop patent licensing alternative to assist users with implementation of their technology choices and invites all patent holders to participate.”

According to CEDIA, the new site includes over 50 stories and project profiles from across the globe focused on educating, informing, and connecting visitors to CEDIA members worldwide. The stories and profiles are organized in different featured areas of the site including a home technology solutions blog, project inspiration gallery, a plan your project section, as well as a dedicated section on working with CEDIA members.

CEDIA members, design and build professionals, and consumers alike can find projects to entertain their imagination in the project inspiration gallery featuring complete profiles of CEDIA member projects, including winners of Electronic Lifestyles® Awards, with high-quality images, featured technologies, and contact information. Visitors to the inspiration gallery may filter their search results based on several factors including; theme, budget, size, type of solution and more.

“The goal of the site is to be an extension of our members marketing efforts while also serving as a go-to unbiased, resource for consumers and design and build professionals to navigate and learn about the constant changes and emerging trends in home technology,” said Jamie Riley, CEDIA Senior Director of Marketing and Public Relations. “We are committed to producing unique and original content that is optimized and focused on driving traffic to the site which helps drive business to our members.

Check out the new site at www.cedia.org.

"We are happy to continually enhance the capabilities of our products and technologies to meet the needs of professionals in the marketplace. This new firmware will enhance our ability to satisfy the diverse technical needs of broadcast news organizations," stated Yuichi Ishizuka, executive vice president and general manager, Imaging Technologies & Communications Group, Canon U.S.A.

The firmware is available for download now for all XF-series camcorders and is available on the individual product pages through the Canon website.

According to Sony, the investment is intended to provide for new wafer processing equipment for stacked CMOS image sensors, and to increase and transform wafer lines capable of manufacturing CMOS image sensors. With this development, Sony plans to increase total production capacity for CCD and CMOS image sensors to approximately 60,000 wafers per month by the end of September 2013.

In light of the rapidly expanding demand for smartphones and tablets, Sony said it plans to continue to solidify its leading global position in CMOS image sensors by strengthening its production capabilities for stacked CMOS image sensors, which provide greater performance in a more compact form. The company intends to accelerate its growth strategy by incorporating superior core technologies, including stacked CMOS image sensors, into a wide range of products for its digital imaging and mobile businesses, which are priorities within its electronics business.

The investment amount is approximately 80 billion yen, of which, the amount to be invested in the current fiscal year ending March 31, 2013 (approximately 45 billion yen) was included in the forecast of the capital expenditures for semiconductors in the current fiscal year announced at the annual earnings release on May 10, 2012. In addition, Sony will utilize a governmental subsidy in its investment plan which will be provided by the Ministry of Economy, Trade and Industry in Japan, through the "Subsidy for Domestic Location Promotion Projects" program.

Cord cutting – consumers dropping traditional Pay TV services in favor of online viewing – is a factor that has yet to make an impact on North American Pay TV. The mix of DTV subscribers has changed over the past few years, but the total subscriber base continues to increase. Overall, the cable market will see a decline in subscribers; however, digital cable subscribers which totaled 49 million in 2011 will grow to nearly 54 million by 2016. Digital satellite and IPTV services will continue to reap the benefits of this changing market, with the latter growing from 8 million subscribers in 2011 to 20 million in 2016.

“Cord cutting could still have an impact on the Pay TV market, so we keep a close eye on the trends and activities of Pay TV consumers,” said Jason Blackwell, Director, Service Provider Strategies (SPS) at Strategy Analytics. “However, without a competitive level of content, alternative services have yet to offer a compelling alternative to the traditional Pay TV channel lineup.”

According to Richard Fontes, Analyst in the Service Provider Strategies (SPS) group, “Cable has been weakening for several quarters with most operators losing subscribers. Second screen, TV Everywhere, and other new services from cable operators will help slow these losses and keep higher value – meaning higher Average Revenue per User (ARPU) – digital subscribers in place.”

“Soft demand and cautious expectations about the upcoming year in many parts of the TV supply chain have led to a slowdown in shipments,” noted Paul Gagnon, NPD DisplaySearch Director of North America TV Research. Gagnon added, “Key component prices, such as LCD panels, are not expected to decline much in 2012, and many brands are concentrating on improving their bottom line. Both of these trends will contribute to slowing unit volume among a price conscious consumer market.”

LCD TV shipment share fell slightly from Q4’11, due to a seasonal shift to emerging markets where CRT demand is higher, but is up four percentage points from a year ago, to 84.2%. LCD TV is capturing market share at 40” and larger screen sizes because of a sharp decline in plasma TV demand. The average LCD TV screen size increased 5% Y/Y in Q1’12, passing 35” for the first time, with gains in both emerging and developed markets. The share of LCD TVs with LED backlights also rose sharply, from 51% in Q4’11 to almost 56% in Q1’12, 20 percentage points higher than a year ago because more affordable direct-type LED-backlit sets began shipping in Q1’12.

Plasma TV unit shipments continued to decline, falling 18% Y/Y in Q1’12 after an 8% decline in Q4’11. The popularity of plasma TV among consumers is waning, and a large majority of the recent shipment volume remains centered on low-priced 2D HD models, indicating consumers are buying on price when shopping for plasma.

Despite the weak results on a unit basis, demand for larger sizes continues to grow. The market share for 40” and larger TVs increased from just under 31% a year ago to more than 37% in Q1’12 with total unit shipments for 40”+ rising 12% Y/Y. Larger sizes have become much more affordable with 40-44” LCD TV average prices below $600 and new 50” LCD TVs selling for less than $1000, joining 50”-class plasma TVs that have been selling for less than $700 for several quarters now.

"Throughout Dan Mason's extensive career in Radio, his commitment to innovation and growth, coupled with his programming expertise, has shaped Radio as a whole," said NAB Executive Vice President of Radio John David. "We welcome the opportunity to honor Dan's contributions to Radio by presenting him with the National Radio Award."

Mason began his radio career in 1975 at WZGC-FM in Atlanta. In 1977, he moved to Washington, D.C., where he was WPGC-FM's program director and national program director for the station's parent company, First Media. In 1979, at age 27, KTSA/KTFM San Antonio named him vice president/general manager. Mason later returned to First Media and became president when the company became Cook Inlet Radio Partners. In 1993, Mason joined Westinghouse as president of Group W Radio, which later merged with CBS. Mason acted as CBS Radio President from 1995-2002. He returned full time in 2007 after serving as a consultant to CBS and other domestic and international radio broadcasting companies.

As President and CEO, Mason oversees all operations for CBS Radio's 130 stations. His aggressive growth strategy includes diversifying the division's portfolio with station formats that cater to different age groups and demographics. Under Mason's leadership, Top 40 station launches in New York, Los Angeles, San Francisco, Detroit, Houston and Phoenix outperform previous lineups. CBS Radio's debut of sports programming on FM stations in Philadelphia, Boston, Detroit, Washington, D.C., Dallas, Baltimore, Pittsburgh and Cleveland has demonstrated success as a business model. Mason also increased CBS Radio's digital presence with an extensive online streaming platform and mobile applications.

A native of Louisville, Ky., Mason graduated from Eastern Kentucky University with a degree in broadcasting and was later granted an honorary Doctorate of Humanities. Radio and Records named him Radio Executive of the Year. Radio Ink magazine named Mason Executive of the Year and featured him on its cover. He also has been included on Billboard's Power 100 list, and the Mediaweek 50 list.

Mason is this year's Radio Show Steering Committee Chair and an active member of the NAB Radio Board of Directors.

Each year the National Radio Award honors an individual who is an outstanding leader in the radio industry. Previous National Radio Award recipients include Steve Newberry, Charles Warfield, Ed Christian, Bruce Reese, Jerry Lee, David Kennedy, John Dille, Lowry Mays, Jeff Smulyan, Bill Stakelin, and Erica Farber, among others.

The reports released today are:

– Program Value in the Evolving Television Audience Marketplace, by Philip M. Napoli, Professor at Fordham University’s Graduate School of Business and Director of Fordham’s Donald McGannon Communication Research Center.

The report examines how the television industry is using social media tools to go beyond traditional ratings, allowing stakeholders to know not only how many people are watching a particular show, but their engagement, recall and response to it. While these new tools tap information that might lead to increased diversity in television programming, their use is in its incipient stage. More work will be required to realize the benefits of new measurement metrics. Today, the data they produce are pieces of the ratings pie. But they are opening the door to a future rich with possibilities for program creators, distributors and audiences alike.

– The Effects of Internet Access on Labor-Supply Decisions, by Sara Champion, associate at Cornerstone Research; Katrina Kosec, post-doctoral fellow at the International Food Policy Research Institute; and Christopher Stanton, Assistant Professor, Department of Finance at the University of Utah.

The first attempt to examine the connection between Internet technologies and workforce participation, this study illuminates a striking phenomenon: broadband access in the home is strongly correlated with employment, with the amount of hours worked, and with working from home. The report also finds a strong connection between working and having home broadband Internet access for women and black men. While the authors don’t argue that subscribing to broadband makes it more likely that a person will find and keep a job, they raise important points about the connection between having broadband Internet access and the amount of time and way in which people work. The policy implications of these findings for broadband adoption could be profound.

Fernando Laguarda, director of the program and Vice President for External Affairs and Policy Counselor at Time Warner Cable, said, “We are proud to continue to select and present reports from the best and brightest thought leaders in telecommunications and media policy. These reports continue to increase understanding of the challenges and opportunities that arise in digital communications. Moving into our third year, the Time Warner Cable Research Program’s agenda will continue to inform, enlighten and expand the communications and technology policy debate.”

The new technology enables wireless signals to be sent and received at the same time on a single radio channel frequency. "This means wireless companies can increase the bandwidth of voice and data services by at least a factor of two by sending and receiving at the same time, and potentially by a much higher factor through better adaptive transmission and user management in existing networks," said Amir K. Khandani, a Waterloo electrical and computer engineering professor as well as the Canada Research Chair in Wireless Systems.

Current wireless systems suffer from shortcomings similar to old walkie-talkies that don’t allow users to talk and listen on the same frequency at the same time. That's because the strength of the transmission overwhelms any incoming signal on the same frequency.

“Wireless is in desperate need of a breakthrough, and two-way comes at the right time," Khandani added. "The cost in hardware and signal processing complexities and antenna size is very low and virtually the same as current one-way systems. Two-way wireless systems will also have a profound impact on wireless networks in terms of quality of service and efficiency.”

The wireless advancement also opens the possibility to have ultra-secure transmission. “This can be done in ways that are much superior to current encryption techniques that are not truly secret, just hard to guess," said Khandani.

The Waterloo Engineering research breakthrough is based on technology patented by Khandani in 2006 and issued in 2010, with many more innovations since then. Further details about the two-way technology development and a short history of other contributions in this area are available as a video clip at www.cst.uwaterloo.ca/2way/

“These agreements with Mexico will unleash investment and benefit consumers near the borders by enabling the rollout of advanced wireless broadband service and advanced systems for critical public safety and emergency response communications,” Chairman Julius Genachowski stated. “I appreciate the commitment and dedication of agency staff and those at the State Department who made these important agreements possible.”

The United States and Mexico also signed a high-level expression of support, or “Joint Statement,” for continued coordination of spectrum along the border and cooperation on telecommunications policy issues as well as an ambitious work plan, or “Directory of Bilateral Issues,” for 2012-2014.

Specifically, the new 800 MHz Protocol: (1) allots band segments between the United States and Mexico, (2) specifies the technical parameters for operation on these band segments within 110 kilometers (68 miles) of the common border, and (3) creates a bi-national Task Force to support the transition of incumbent operators along the border to the new allotment plan.

According to the FCC, the Protocol for 800 MHz replaces a previous agreement and paves the way for completion of 800 MHz rebanding by U.S. public safety and commercial licensees operating along the U.S.-Mexico border. The FCC ordered rebanding to alleviate interference to public safety licensees in the band caused by commercial cellular licensees.

The new Protocol for the 1.9 GHz band allows Sprint Nextel Corporation to deploy CDMA service along the border with Mexico. Sprint obtained access to the 1.9 GHz band in 2004 as compensation for vacating its spectrum holding in the lower segment of the 800 MHz band in accordance with the rebanding project.

The relevant documents are available on the International Bureau web site at http://transition.fcc.gov/ib/sand/agree/.

According to Belden, the connectors support M12 or RJ45 connection technology and are available in both molded and self-assembly versions. Their design, ingress protection rating (IP67) and wide temperature range (-30°C to +90°C) make them an ideal product for harsh industrial environments. Applications include connecting IP cameras and infotainment systems in rail vehicles (EN 50155 approval pending) or connecting complex machines and systems.

The Gigabit Ethernet connectors are available in two versions: field attachable and pre-molded. The field attachable M12 version features eight-pins, couplings with X-coding, screw connectors and has a threaded joint. Cables are made up either using cut-clamp or via print contacts for the flange version. The molded M12 connectors also have eight-pins (X-coding) and, like the corresponding RJ45 versions, are available is single or double-ended cord sets. A hybrid version with an M12 and an RJ45 connector will be available in the third quarter of 2012.

The bodies of the molded M12 connectors and the RJ45 versions are made of thermoplastic polyurethane (TPU), while the self-assembly connectors are of nickel-plated die-cast zinc or brass (flange version). The optionally attached cables are made of halogen-free polyurethane (PUR) with 26 gauge (AWG) cores. This also applies to the cables for the molded connectors, which are offered in standard lengths of 2-, 5- or 10-meters.

"These connectors can turn your network into a veritable data freeway because they all ensure maximum bandwidth. Since they are also extremely robust, they can be used even under the most rugged environmental conditions," said Hiyam Wakeem, product manager.

Kodak’s motion outlines a sale process that is open to all qualified bidders subject to the rules of the bidding procedures. No disclosure of the unsuccessful bidders will be made to other bidders or the public. Only the winning bidder and the amount of the successful bid will be announced publicly at the end of the auction.

“The proposed structure of the auction is tailored to the special nature of the assets,” said Timothy M. Lynch, Kodak Vice President and Chief Intellectual Property Officer. “The bidding procedures are designed to allow bidders to give us their best offers without fear of showing their cards to competitors. In filing these proposed procedures in advance of the June 30 deadline in our lending agreement, we are moving ahead as quickly as possible with the process of monetizing our digital imaging patent portfolio.”

Over the past 12 months, Kodak’s financial advisor, Lazard, has conducted a marketing process for these assets. According to Lazard, 20 parties have signed confidentiality agreements and have been provided access to an electronic data room.

Lynch noted that the two portfolios being sold have different characteristics and may interest different buyers. The Digital Capture Portfolio includes over 700 patents, covering key aspects of image capture, processing, and transmission technologies that are crucial to the design and operation of digital cameras and multi-function devices, including camera-enabled smartphones and tablets. The KISS Portfolio includes over 400 patents that cover technologies including image analysis, manipulation and tagging, and network-based services, including image storage, access, and fulfillment. Since 2001, Kodak has generated more than $3 billion from licensing its digital imaging portfolio to industry leaders, including Samsung, LG, Motorola, and Nokia, and is currently pursuing patent litigation against infringers that include Apple, RIM, and HTC.

Kodak expects the motion to approve bidding procedures to be heard by the Court on July 2, the auction to be held in early August, and the winning bidder to be announced by August 13.

On July 1, 2009, Sharp transferred its LCD panel plant in Sakai City, Osaka Prefecture, to SDP, a wholly-owned subsidiary of Sharp. On December 29, 2009, Sony invested 10 billion yen into SDP in exchange for new shares issued by SDP to Sony (representing 7.04% of the issued shares of SDP) and, as a result, SDP became a joint venture company of Sharp and Sony as of the same date.

In light of the rapidly changing market for LCD panels and LCD televisions, in March 2012 Sharp and Sony agreed to amend the original joint venture agreement to provide that Sony would not make additional capital injections in SDP. Based on this amendment, the companies agreed to study studied the future direction of the joint venture and other potential business relationships between the parties, including with respect to Sony's interest in SDP.

Both the sale of shares and the payment of cash consideration are expected to be completed by the end of June 2012.

– Fostering discussion among content providers, producers, distributors, retailers and manufacturers about 4K and the ways it may be offered to consumers, led by Bryan Burns, vice president, strategic business planning, ESPN, and chair of CEA’s Device, Applications and Content working group;

– Raising awareness and education of 4K among consumers, led by John Taylor, vice president of public affairs and communications, LG Electronics USA, Inc., chair of CEA’s Communications Committee, and past-chair of CEA’s Video Division.

The working group is also expected to work closely with CEA’s video standards committees to improve delivery and presentation of 4K content.

The first 4K working group meeting will take place as a teleconference on Wednesday, June 20, 2012, from 4:00-5:00 p.m. EDT.

3M and Nanosys will work together to commercialize Nanosys’ Quantum Dot Enhancement Film (“QDEF”) technology. QDEF is a drop-in film that LCD manufacturers can integrate with existing production processes. It utilizes the light emitting properties of quantum dots to create an ideal backlight for LCDs — one of the most critical factors in the color and efficiency performance of LCDs.

“Combining the world class-technology and materials expertise of Nanosys with the engineering, design and supply chain capabilities of 3M will unlock a powerful new color viewing experience for consumers,” said Jim Bauman, Vice President of the Optical Systems Division at 3M

According to 3M, current LCDs are limited to displaying 35 percent or less of the visible color spectrum. This means the viewing experience on an LCD is vastly different than what a person sees in the real world. Wide color gamut displays will allow consumers to enjoy more visceral, more immersive and truer to life color.

“We are working together to improve an area of display performance that has been largely neglected for the last decade,” said Jason Hartlove, President and CEO of Nanosys. “Improving color performance for LCDs with drop-in solutions will bring a stunning new visual experience to the consumer and a competitive advantage to the LCD manufacturer against new display technologies such as OLED. Working together with 3M and utilizing their outstanding design and supply chain capabilities will allow our QDEF technology to be widely deployed across all product segments and will ensure availability to all customers.”

A quantum dot, which is 10,000 times smaller than the width of a human hair, can emit light at a very precise wavelength. The ability to control the spectral output of a quantum dot allows QDEF to create an ideal white backlight specifically designed for LCDs. Trillions of these quantum dots are packaged into a thin film that fits inside an LCD backlight unit. QDEF replaces a similar film already found inside LCD backlights, which means that adding QDEF to manufacturing processes requires no new equipment or process changes for the LCD manufacturer.

BMW, Honda, Hyundai Motor Company, Kia Motors and Toyota Motor Sales, Inc. are joining Verizon as the initial members of the Forum. Professor Sanjay Sarma of the Massachusetts Institute of Technology also joins the Forum, providing members a link to track important advancements in related academic research. The group will collaborate and explore ways to deliver connectivity to vehicles of all types, by leveraging open standards and discussing ways to accelerate development of the 4G LTE ecosystem across automotive OEMs, suppliers, device manufacturers, application developers and content publishers.

According to Verizon, telematics is a growing opportunity that integrates telecommunications and information into vehicles to provide functionality to drivers and passengers. The 4G Venture Forum for Connected Cars will help discover ways to increase the value of services, ranging from embedded cloud-connected solutions to mobile applications; help define features and explore safety systems; and encourage third-party developers in this space.

Verizon said it has a strong commitment to collaboration and innovation through its Innovation Program, and through the 4G Venture Forum, which was created in 2009 to identify and support new ideas related to advanced wireless networks and to provide market validation for innovative companies. The 4G Venture Forum for Connected Cars complements and extends the approach of the 4G Venture Forum, focusing exclusively on the automotive space to address the specific needs of this growing market.

"There are many challenges to designing next generation telematics and infotainment solutions, including supporting safe and responsible driving, advancing vehicle-to-vehicle solutions and improving sustainability, among others," said Tami Erwin, chief marketing officer for Verizon Wireless. "As an innovator in the technology industry, Verizon is a natural impetus for this collaboration, which we all expect will include other companies and spur results that will benefit not only the industry, but millions of consumers around the world."

Go to CDSweep.com, enter the amount of discs you're sending, and you'll be emailed a prepaid FedEx label to ship them all for free. Your donation is tax-deductible and benefits the Autism Science Foundation, which provides funding directly to scientists conducting innovative autism research and supports the needs of people with autism and their families.

Donating your old discs to CDSweep will help advance cutting-edge scientific research into the causes and treatment of autism and provide the fast-growing number of affected individuals with the gift of hope. You can even request that your CDs be digitized to MP3s and sent back to you on DVDs for free.

CDs and DVDs are processed by iPodmeister, which ships used discs abroad to countries where they have higher resale value.

"Donating your used music through CDSweep is so simple but it can directly help the millions of Americans challenged by autism," said Alison Singer, president of the Autism Science Foundation. "The increase in new autism cases is shocking and we've made significant new strides in understanding potential causes but there's never been a more important time to help further that research because we're not just talking about numbers, we're talking about real people with real needs today."

According to Corning, Willow Glass will help enable thin, light and cost-efficient applications including today’s slim displays and the smart surfaces of the future. The thinness, strength, and flexibility of the glass has the potential to enable displays to be “wrapped” around a device or structure. As well, Corning Willow Glass can be processed at temperatures up to 500° C. High temperature processing capability is essential for today’s high end displays, and is a processing condition that cannot be supported with polymer films. Corning Willow Glass will enable the industry to pursue high-temperature, continuous “roll-to-roll” processes – similar to how newsprint is produced - that have been impossible until now.

It will support thinner backplanes and color filters for both organic light emitting diodes (OLED) and liquid crystal displays (LCD) in high performance, portable devices such as smartphones, tablets, and notebook computers. This new, ultra-slim flexible glass will also help develop conformable (curved) displays for immersive viewing or mounting on non-flat surfaces.

Corning said Willow Glass is formulated to perform exceptionally well for electronic components such as touch sensors, as well as leveraging glass’s natural hermetic properties as a seal for OLED displays and other moisture and oxygen-sensitive technologies.

“Displays become more pervasive each day and manufacturers strive to make both portable devices and larger displays thinner. Corning Willow Glass provides the substrate performance to maintain device quality in a thin and light form factor,” said Dr. Dipak Chowdhury, division vice president and Willow Glass program director. “Currently manufacturing in a sheet-to-sheet process, we expect Corning Willow Glass to eventually allow customers to switch to high throughput, efficient roll-to-roll processing, a long-awaited industry milestone.”

Although initially being launched as an advanced display substrate, Corning is actively working on other potential applications for its Willow Glass, including use in lighting and flexible solar cells.

Corning is currently shipping samples of its Willow Glass to customers developing new display and touch applications. The company is also collaborating with research institutions, customers, and equipment makers to develop an ecosystem of compatible process equipment, including optimized process design.

According to Millenniata, M-DISC provides permanent storage by literally etching data into a rock-like material. The M-DISC will not degrade over time, is usable on a daily basis and is perfect for music, photos, videos, genealogical records, business records, data loss prevention, permanent file backup, medical imaging, government or archive purposes.

“We are pleased to have RITEK join our M-DISC consortium of global partners who will help create a new data storage category centered on providing permanent storage to the masses,” said Paul Brockbank, Millenniata CEO. “RITEK’s manufacturing strength and expertise will help us meet the growing demand for the M-DISC.”

RITEK will begin manufacturing M-DISCs utilizing the technology and specifications of Millenniata. The RITEK manufactured M-DISCs will be available through Millenniata’s global sales and distribution channels, bringing permanent storage to a growing global user base.

“In a growing digital world, that until now has yet to find a true permanent storage solution, we believe M-DISC will define now and for the future how data will be used and preserved for generations,” said Gordon Yeh, CEO of RITEK Group. “It is an honor to be a manufacturing partner for M-DISC with Millenniata.”

“During a disaster, when the terrestrial infrastructure is unavailable, DACA technologies could provide emergency communications to first responders and possibly civilians” noted David Furth, Acting Chief of the FCC’s Public Safety and Homeland Security Bureau. “Ideally, DACA technologies could be deployed rapidly to the scene of a major disaster and enable immediate and continuous communications using the devices that first responders and other users carry with them everyday until the infrastructure is restored.”

According to the FCC, federal, state, and local governments are constantly working to improve their emergency communications capabilities when a disaster strikes. Yet there remains a gap during the first 72 hours after a catastrophic event when communications may be disrupted or completely disabled due to damaged facilities, widespread power outages, and lack of access by restoration crews into the affected area. DACA could provide temporary emergency communications to emergency management officials, first responders, critical infrastructure industry personnel, and the public to use their day-to-day communications devices seamlessly during and immediately after an emergency. Most significant, the use of DACA to ensure quick restoration of emergency communications could save lives.

In its Notice of Inquiry, the Commission seeks comment on:

• the deployment and operation of DCA technologies;
• the associated costs and benefits;
• coordinating and managing the use of DACA technologies;
• and authorizing the use of spectrum to support their operation.

The Notice of Inquiry also addresses DACA system performance issues, including questions on coverage area, capacity, interference mitigation, and interoperability.

Public comments are due 40 days from publication in the Federal Register, and reply comments are due 60 days from publication.

The TransferJet Consortium (Sony, Canon, Casio Computer, Hitachi, Nikon, Olympus, Panasonic and Toshiba) is set to showcase new devices that wirelessly charge and transfer data simultaneously at the Computex trade show in Taiwan next week. The devices will integrate TransferJet, wireless charging and NFC (near-field communication) features, mainly used for mobile payments.

TransferJet technology, which was developed by Sony for wireless data transfers, can theoritically transmit data at a maximum rate of 560Mbps over a few centimeters.

Last February, Sony announced the commercialization of a new low-power LSI for use in the close proximity wireless transfer technology TransferJet.

Toshiba also showacsed a tablet with TransferJet data transmission technology at the Mobile World Congress in February.

Wireless charging has already appeared in a few devices including HP's Palm smartphones. Samsung's new Galaxy S III smartphone will also come with a wireless charging accessory.

The Wireless Power Consortium has also demonstrated new products and prototypes at the 2012 International Consumer Electronics Show. It's Qi (pronounced "chee") technology wirelessly charges devices placed on a Qi-enabled surface. Qi is backed by a list of over 100 companies.

The Power Matters Alliance is also working on a wireless power specification called Power 2.0 for mobile and stationary devices.

The TransferJet Seminar will be held in Taipei June 7, 2012 at the NanKang Software Park.

While sales continue to grow, the majority of consumers still feel 3D is not a crucial television feature.  According to The NPD Group’s most recent 3D 360 Monitor survey (March 2012), just 14 percent of consumers interested in, or expecting to purchase, a flat-panel television in the next 6 months, say 3D is a “must have” feature while 68 percent say it’s a “nice feature to have they may use in the future.” 

“3D has been a success for the television market from a sales perspective.” said Ben Arnold, director of industry analysis for The NPD Group.  “However, few consumers cite watching content in 3D as a reason for purchasing a TV, indicating that other factors such as screen size, resolution, and Internet connectivity hold more importance.”

As an experiential technology, displays and demos at retail are an important component to raising awareness and adoption of 3D.  In person, many consumers who try 3D rate it positively with nearly three quarters (70 percent) saying they were “impressed” or “amazed” by an in-store 3D demo.

Wearing 3D glasses, the cost of sets and accessories, and access to content remain barriers to adoption.  While 3D sets have become more affordable since entering the market (average prices in April 2010 were 33 percent lower compared to April 2010) glasses-free 3D TVs have yet to enter the market, likely deterring the 80 percent of consumers who consider 3D glasses a drawback to owning the technology. Content availability as an adoption inhibitor is waning, though the absence of a nationwide 3D network or channel makes it difficult for consumers to plan 3D viewing. Among consumers not interested in 3D TV, 14 percent say content availability is a purchase inhibitor, down from 21 percent in May 2011.

“In addition to movies and gaming, sports are essential to growing 3DTV ownership.  Nearly six-in-ten sports fans are interested in watching games and matches in 3D,” said Arnold.  “This summer, manufacturers and content providers can leverage large scale events like the Olympics in London and the Euro 2012 soccer tournament by televising and marketing 3D technology.  Our research suggests ownership of 3D TV doesn’t necessarily mean consumers have adopted the technology.  Getting owners to put on glasses and watch content is the real measure of 3D’s success.”

The quality of television pictures that viewers see has improved dramatically since it was invented in the 1930s. A dim black and white screen in the corner of the room has become the sparkling ‘high definition’ colour picture that we see on today’s large ‘flat panel displays’.

But technology does not stand still. ITU-R Study Group 6 has now agreed a draft new Recommendation on the technical details for ‘Ultra High Definition Television’ or UHDTV which is now being submitted to Administrations for approval.

The ITU-R Recommendation lays out the quality standards for UHDTV in two steps. The advances made with each of these quality steps are roughly similar to the step from the old ‘standard definition television’ to ‘high definition television (HDTV)’. HDTV pictures today have the equivalent of between 1-2 megapixels. The first level of UHDTV picture levels has the equivalent of about 8 megapixels (3 840 x 2 160 image system), and the next level comes with the equivalent of about 32 megapixels (7 680 x 4 320 image system). As a shorthand way of describing them, they are sometimes called the ‘4K’ and ‘8K’ UHDTV systems.

Ultra high definition picture quality is accompanied by improved colour fidelity, and options for higher numbers of pictures per second than for today’s television systems.
ITU Secretary-General Hamadoun Touré praised the work of ITU-R Study Group 6. “UHDTV is an earth-shaking development in the world of television,” Dr Touré said. “Watching UHDTV in the near future will be a breath taking experience, and I look forward to it.”

David Wood, Chairman of ITU-R Working Party 6C (WP 6C), which developed the draft new Recommendation, said, “This is the dawn of a new age for television that will bring unprecedented levels of realism and viewer enjoyment. It’s a historic moment. Some years will pass before we see these systems in our homes, but come they will. The die is now cast, thanks to the untiring efforts of the international experts participating in WP6C.”

Chairman of ITU R Study Group 6 Christoph Dosch added, “This is clearly a major achievement for ITU-R Study Group 6 of which we can be proud. The Recommendation means that organizations around the world can safely begin work to make UHDTV a reality.”

Director of ITU’s Radiocommunication Bureau François Rancy said, “I’ve personally seen the pictures with 8K UHDTV system, and it’s absolutely stunning – the sense of being there is superb. This agreement shows the great and continuing strength of the ITU-R and Study Group 6.”

Seagate has offered Mr. Spruch and his affiliate €4.05 per share in cash, minus a potential adjustment depending on the cash and debt position of LaCie at closing. This price may be increased by a possible price supplement of 3% in the event that the threshold of 95% of the shares and voting rights of LaCie would be reached by Sparrow within 6 months following closing, resulting in a maximum potential price per LaCie share of €4.17. Without the price supplement, the offer currently values LaCie at an approximate €146 million, or $186 million total equity value, including acquired net cash of approximately €49 million, or $65 million, as of March 31, 2012. The €4.05 per share price represents a premium of 29% to LaCie's average closing stock price over the 30 trading days ended May 22, 2012.

According to Seagate, the transaction will combine two highly complementary product and technology portfolios, adding LaCie's line of premium branded consumer storage solutions, network-attached storage solutions and software offerings to Seagate's array of mainstream consumer storage products. The combination will also accelerate Seagate's growth strategy in the expanding consumer storage market, particularly in Europe and Japan, and add strong engineering and software development capabilities, as well as relationships with several key retailers.

The transaction is expected to be neutral to Seagate's fiscal 2013 earnings per share.

"With the proliferation of devices and content being shared and stored today, consumer demand for high-quality branded storage solutions continues to grow," said Philippe Spruch, LaCie's chairman and CEO. "We are excited about the potential for this combination to benefit customers and employees by creating significant scale and opening up new markets. We look forward to making the resources of a much larger company available to our customers around the world."

The transaction is subject to regulatory approval in the United States (antitrust filing), France (approval of foreign investments by the Ministry of Finance) and other jurisdictions (antitrust filing in Germany) and to other customary closing conditions.

Chairman Genachowski said, “The FCC has a vital role in public safety and homeland security. We are fortunate that the new leader of our Public Safety Bureau will be David Turetsky, with his stellar talent and broad experience in and out of government.”

He continued: “I also want to express my appreciation to David Furth for his dedication to the agency’s public safety mission and leadership while serving as Acting Chief of the bureau.”

Mr. Turetsky brings a number of years of senior U.S. government experience, including serving as Deputy Assistant Attorney General for Antitrust in the U.S. Department of Justice; and business experience as a senior lawyer and officer for Teligent, a fixed-wireless telecommunications and broadband services company. He joins the FCC from Dewey & LeBoeuf LLP, where he was partner. At the firm, he focused on a wide range of regulated industries, including telecom, media, satellite, energy, and transportation.
He was twice appointed by federal courts and the FCC as the Management Trustee of rural U.S. mobile wireless businesses required to be divested as a condition of a merger approval. In this role, Mr. Turetsky oversaw all aspects of the businesses, including management, day-to-day operations, strategic planning, and emergency response. During his time in the Clinton Administration Antitrust Division, Mr. Turetsky was deeply involved in the shaping of the Telecommunications Act of 1996. He has also been a member of the State Department Advisory Committee on International Communications and Information Policy, and serves as co-chair of the State Enforcement Committee of the American Bar Association Antitrust Section.

Mr. Turetsky received his B.A. in political science from Amherst College and his J.D. from University of Chicago School of Law. He also studied at the London School of Economics.

Jamie Barnett, Rear Admiral (Retired), Senior Vice President at the Potomac Institute for Policy Studies and former PSHSB Chief said, “Chairman Julius Genachowski made an excellent choice in appointing David Turetsky as the Chief of the Public Safety and Homeland Security Bureau. His proven leadership experience, broad knowledge of the communications landscape, and proven track record of getting things done will serve the agency well. As a member of the public safety community, I look forward to supporting David as he continues to implement the Chairman’s vision for enhancing our nation’s safety and security through advanced communications technologies.”

HDD areal densities measuring data-storage capacities are projected to climb to a maximum 1,800 Gigabits (Gb) per square inch per platter by 2016, up from 744 Gb per square inch in 2011. This means that from 2011 to 2016, the five-year compound annual growth rate (CAGR) for HDD areal densities will be equivalent to 19 percent. For this year, HDD areal densities are estimated to reach 780 Gb per square inch per platter, and then rise to 900 Gb per square inch next year.

Areal density is the amount of data that can be physically stored in a given amount of space on a platter inside an HDD. Higher areal densities mean that data can be packed more tightly onto the surface of a disk, resulting in overall greater storage capacity. Areal density equals bit density, or bits of information per inch of a track (BPI), multiplied by tracks per inch (TPI) on a platter.

This measure of density is distinct from actual HDD capacity. This is because HDDs commonly use multiple platters.

HDD areal density topped the 4-terabyte (TB) mark for the first time in September 2011 with the introduction of an external hard drive from Seagate Technology that was designed for desktop applications. The Seagate HDD had five platters each with an areal density of 625 Gb per square inch, equivalent to more than 1 TB per platter.

Only a year earlier in 2010, the highest areal density that could be achieved for a platter amounted to 550 Gb per square inch. While no forecast is yet available for the newly minted 4-TB hard disk drive segment of the storage industry, the current 4-TB products on the market will surely prove welcome for users hoping to accommodate copious and ever-increasing amounts of data, including storage-intensive formats like gaming, music and videos.

“The rise in areal density will pave the way for continued growth of the HDD industry,” said Fang Zhang, analyst for storage systems at IHS. “Densities will double during the next five years, despite technical difficulties associated with the perpendicular magnetic recording (PMR) technology now used to create higher-areal-density hard disks. In particular, growth opportunities will lie in applications associated with mass enterprise storage requirements, gaming, and in digital video recorders (DVRs) where massive capacity is required to store high-definition video.”

The event will be held at the New Yorker Hotel from 11:00 am to 7:00 pm and will include Blackmagic Design’s complete range of products for broadcast, post production and live events, as well as presentations by Blackmagic Design partners and renowned editors and color artists.

The event, which is free to attend, will include hands on demonstrations and theater presentations of Blackmagic Design’s products, as well as the first demonstrations in New York of the new products announced at NAB 2012, including the Blackmagic Cinema Camera, DaVinci Resolve 9.0, Teranex 2D and 3D Processors, HyperDeck Studio Pro, UltraStudio Express, Universal Videohub Editing Interface and Battery Converters.

Theater presentations and hands on demonstrations will also be offered by Blackmagic Design partners Avid, Adobe, PNY Technology, Magma and PROMISE Technology.

To attend the event visit http://invite.blackmagic-design.com/event2012.

According to Dolby, Blu-ray Discs premastered using Dolby TrueHD with advanced 96k upsampling can now deliver to consumers a full-range high-definition surround sound experience ensuring optimum performance from today's advanced A/V receivers and Blu-ray Disc players. The new Dolby TrueHD coding solution enables facilities to integrate the benefits of 96 kHz playback quality audio into the final master while simultaneously reducing the incidence of digital artifacts introduced during the content-creation process.

"Lossless audio is a key distinguishing feature of Blu-ray content. All things being equal, you cannot improve on the quality of lossless audio coding; however, you can improve on the quality of the source PCM content prior to lossless encoding, and this is precisely what we have achieved with our advanced 96k upsampling technology," said Craig Eggers, Director, Content Creation and Playback, Home Theater Ecosystem, Dolby Laboratories. "A significant amount of Hollywood content has been captured in native 48 kHz. Studios and authoring facilities that implement Dolby TrueHD with advanced 96k upsampling can elevate the quality of PCM audio prior to lossless Dolby TrueHD encoding, ensuring that consumers get the very best audio performance possible from their Blu-ray playback systems."

Besides enabling optimum 96k upsampling, Dolby said this technology features a unique apodizing filter that "masks" the unwanted digital artifacts known as "preringing," which is introduced during the content-capture and content-creation process. These digital artifacts can introduce an unnatural edginess or harshness to the audio. Dolby TrueHD with advanced 96k upsampling restores the natural tonality of the soundtrack. The effect can be subtle or dramatic, depending on the quality of the source material. Content mastered with Dolby TrueHD with advanced upsampling is fully playback compatible with all Dolby TrueHD enabled Blu-ray™ players and A/V receivers. Listeners are assured the highest-quality playback experiences possible through their systems.

Authoring houses and mixing facilities worldwide have recently upgraded to Dolby TrueHD with advanced 96k upsampling within the Dolby Media Producer Encoder v2 to provide customers with the highest-quality audio experience available on Blu-ray. These facilities include United States-based Deluxe Digital Studios, Giant Interactive, Mi Casa Multimedia, POP Sound, and Technicolor; and leading Greater China-based companies Best & Original Production Limited, Hualu Publishing & Media Co., Ltd., and Media Asia Films.

"Deluxe Digital Studios recently installed Dolby TrueHD with advanced 96k upsampling after we conducted a blind test, and everyone agreed the upsampled stream was better than the original," said Roger Fiets, Technical Manager, DVD and Blu-ray Audio, Deluxe Digital Studios. "With the advanced 96k upsampling treatment, the sound was clearer and is especially advantageous for titles that have levels ranging close to 0dBFS, delivering less fatigue for the listener."

NBC said Telemundo will deliver a complete 360° Olympic experience across its multiple platforms including its broadcast network, www.NBCOLYMPICS.COM.com/TELEMUNDO and its cable network mun2, which will offer a daily half-hour special featuring behind-the-scenes from the Games. Also, for the first time in the network’s history, Telemundo will offer live streaming of broadcast coverage together with exclusive digital-only content of Olympic events, news, announcements and information totaling more than 200 hours of digital content.

“In London 2012 we will present the most ambitious Olympic coverage in Telemundo’s history,” said Jorge Hidalgo, Executive Vice President of Sports for Telemundo Media. “The experience gained by covering the Olympic Games since 2004, the caliber of our sports talent, the complete integration with the NBC Olympics team, and our commitment to our audience will make of London an unforgettable sports feast.”

Deportes Telemundo’s Olympic team, headed by sportscaster Andrés Cantor, will include Jessi Losada, Mónica Noguera, Sammy Sadovnik, Edgar Lopez, René Giraldo, Karim Mendiburu, Kaziro Aoyama, Oscar Guzmán, Leti Coo and Verónica Contreras, as well as several former Olympic champions.

Coverage will be live from both London and the network’s studios, bringing the stories of Hispanics participating in the Olympics and the main events both on the field and around the Games to the homes of millions of U.S. Hispanic viewers. With soccer being one of the biggest passion points for U.S. Hispanics, the Olympics’ soccer tournament will represent a major focus of Telemundo’s broadcast, as already-qualified Mexico, Brazil, Uruguay, Spain and Honduras vie for the gold.

NBC also said features and storytelling will be a centerpiece of Telemundo’s Olympic programming, detailing the journey of Hispanic athletes on their quest for Olympic glory. Some of the top Hispanic hopefuls include Mexican diver and 2009 world champion Paola Espinosa, Cuban American multi-medal threat gymnast Daniel Leyva, Mexican American female boxer Marlén Esparza and Argentine NBA basketball player Manu Ginobili.

“Adobe Creative Cloud members receive full access to the entire portfolio of Creative Suite 6 tools, integration with our touch tools, file storage and sharing services and Web hosting – everything they need to go from idea to finished work, at a breakthrough monthly subscription price,“ said David Wadhwani, senior vice president, Digital Media Business, Adobe. “Creative Cloud will allow our product teams to unleash a constant stream of innovation, releasing new features, apps and services as they are developed.”

Adobe said Creative Cloud membership is available to customers in 36 countries and in multiple languages. Pricing for Creative Cloud membership for individuals is $49.99 per month based on annual membership and $74.99 per month for month-to-month membership. A special introductory offer of US$29.99 per month for CS3, CS4, CS5 and CS5.5 individual customers is also available. Education pricing is available.

This change is required by the standards of the International Civil Aviation Organization (ICAO) and the Universal Postal Union (UPU), both of which currently prohibit lithium batteries in mail shipments that are carried on international commercial air transportation.

According to the Postal Service, the change will not apply to packages containing lithium batteries and electronic devices containing lithium batteries when mailed within the United States on domestic commercial air or ground transportation.

International organizations apply different rules to the carriage of lithium batteries in mail shipments carried on commercial aircraft as compared to domestic requirements.
The USPS anticipates that by January 2013, international aviation rules will be changed to allow mailing of lithium batteries when installed in the personal electronic devices they are intended to operate.

USPS said it is working with expert organizations to determine if any new exceptions can be developed prior to January 2013 and further announcements will be made should it be able to accept lithium batteries in certain types of mail shipments as soon as any new options become available.

“Outsourcing is a win-win situation,” says Jim Eller, principal analyst, wireless infrastructure. “Network operators can reduce OPEX, improve service quality, and increase revenues. And network equipment vendors earn higher margins on services than on hardware and software, which is increasingly commoditized.”

The leading vendors in network managed services are the major network equipment vendors: Ericsson, Nokia Siemens Networks (NSN), Huawei, and Alcatel-Lucent. Ericsson has been number one in network managed services since the first offerings in the 1990s. However, NSN has won more managed services contracts than anyone else over the past couple of years and was a close second in terms of 2011 managed services revenues. Alcatel-Lucent, third in network managed services last year, has introduced a lot of innovations in managed services offerings, such as energy managed services for sustainability. Meanwhile, Huawei is fourth but gaining quickly, with successes in emerging markets due to low-cost service offerings.

Aditya Kaul, practice director, mobile networks, sees a fundamental change in network managed services. “It’s not just about reducing operational costs anymore,” says Kaul. “Most operators have already achieved cost savings through outsourcing, so they are now looking for managed services partners who can help them to transform their businesses and increase revenues. We call this new paradigm ‘Managed Services 2.0 (MS 2.0).’”

“Consumers are continuing to spend cautiously in developed regions, especially in countries with high rates of flat panel TV penetration, so price differences can have a strong impact and LCD is expected to continue narrowing the price gap with plasma,” noted Paul Gagnon, Director of North America TV Research for NPD DisplaySearch. Gagnon added, “In addition, many brands are taking a more conservative approach, focusing on profits over volume at all costs, so the rate of price erosion is not expected to be as strong as in previous years, which may have some impact on demand.”

Despite no growth in overall TV shipments for two years running, LCD continues to grow by taking share from both CRT and plasma technologies. LCD TVs are expected to account for more than 88.5% of total TV shipments worldwide in 2012, up from 82.5% in 2011, and rising to more than 90% by next year. By contrast, plasma TV will account for just 5.3% of shipment volume in 2012 after peaking at about 7.4% in 2010. LCD TV shipments will grow 7% to 220M in 2012, and rise to 241M in 2013. Plasma TV shipments will fall 24% in 2012 to 13.1M, dropping to less than 3M by 2015. The newest flat panel TV technology, OLED, will debut in large sizes in 2012, but volume will be very small, just 50K units or less.

In addition to growth in flat panel TV share, larger sizes continue to increase their share, lifting the average size of TVs shipped to almost 35” in 2012 from less than 30” just four years ago. The growing number of larger factories used to produce LCD TV panels has helped the average area price to fall rapidly. In developed markets, this is important because it encourages existing flat panel TV households to trade up to a larger size, driving a new replacement wave, and it also lowers barriers to first-time adoption in emerging markets when converting from CRT TVs.

The share of LED backlight LCD TVs is expected to increase to 70.1% in 2012, compared to just 45.3% in 2011. The primary reason for the higher outlook is the introduction of low-cost direct-LED backlight models, which have smaller premiums over CCFL backlit models. The new direct-lit LED models are bulkier than edge-lit models, but the lower premium will attract the most price-sensitive consumers. Even so, 5 times as many edge-lit LED backlight LCD TV will be shipped than direct-lit models, and the premiums for edge-lit LED LCD TVs are expected to start falling faster later in the year.

Despite a soft start in North America, 3D is proving a popular feature in other regions, helping to drive shipments of more than 24M units in 2011 and an anticipated 90% increase in 2012 to 46M units. Shipment penetration is expected to exceed 25% in both Western Europe and China and 20% in Eastern Europe. While North America is still expected to lag with 19% penetration in 2012, it should be the leading 3D shipment region by 2014, when most large screen sizes will include 3D capability as a standard feature and North America will be the top region for 40”+ TV shipments.

China became the largest overall TV market in 2009 and the largest LCD TV market in 2011. However, with household flat panel TV penetration reaching high levels in urban areas, growth is expected to slow until rural cities start seeing increased adoption. LCD TV shipments are forecast to grow 11% Y/Y in China during 2012, down from 17% Y/Y growth in 2011. Some of the first evidence of this slowdown was seen in recent May Day holiday sales results in China. According to Bing Zhang, Research Director in the China Market for NPD DisplaySearch, “Analysis of sales during the recent May Day holidays in China indicates that sell-through was below expectations with low- to mid-single-digit growth and slightly elevated inventories after the end of the holiday.”

Robust, affordable broadband has become essential to access jobs, education and economic opportunity. For example, more than 80 percent of Fortune 500 companies today – including Wal-Mart and Target – require online job applications. And students with broadband at home have a 7 percent higher graduation rate.

According to a recent study by the Pew Research Center, the top three barriers to broadband adoption include digital literacy, relevancy and cost. Low-income households adopt broadband at much lower rates than the average household, even when access to high-speed Internet is readily available. According to the U.S. Census Bureau, fewer than 36 percent of families with incomes less than $25,000 subscribe to broadband at home, compared to nearly 92 percent of families with incomes over $75,000.

This competition uses $25 million in savings from major reforms earlier this year of the Lifeline program to launch pilot projects across the country to test best practices around issues of cost, digital literacy and relevancy. A Public Notice released today announces criteria for the competition and a deadline of July 2, 2012 for applications. Winners will begin their year-long projects in the fall of this year.

The Pilot will gather high-quality data that will guide long-term efforts to increase broadband adoption among low-income Americans. Applicants must be telecommunications carriers eligible to participate in Lifeline. But they are encouraged to partner with existing broadband adoption programs as well as schools, libraries, state and local governments, non-profits and others. The winners will reflect a diversity of geographic areas (rural, urban), technologies (fixed, mobile), and service plans. At least one project will explore providing support on Tribal lands.

"The results of this survey demonstrate again a significant and growing demand for radio-capable cell phones in the U.S.," said NAB Executive Vice President of Communications Dennis Wharton. "We're hopeful that as demand for this capability becomes more apparent, wireless carriers will voluntarily offer this feature or activate radio chips already in their devices. Radio-enabled cellphones are a standard feature in much of Europe and Asia. From a public safety perspective alone, there is a strong case to be made for wireless carriers to also voluntarily activate radio chips in cellphones in the U.S."

Poll results, as released by the National Association of Broadcasters, are available online and include data from a similar poll conducted by Harris August 31 - September 2, 2010 among 2,587 U.S. adults. Poll findings showed:

• Eighty-one percent of cell phone owners would consider paying a one-time only fee of 30 cents (the approximate cost of a microchip) to access local radio stations through a built-in radio chip, compared to 76 percent in 2010. For cell phone owners with children in the home, the number was 85 percent, up from 79 percent in 2010. The percentage of retirees who favor radio chips in cellphones rose to 76 percent from 66 percent in 2010.

• Local weather and music are the top two reasons survey participants would listen to their local stations on their cell phones.

• Seven out of 10 cell phone owners, 69 percent compared to 73 percent in 2010, indicated that having a radio built into their cell phone, capable of providing local weather and emergency alerts in real-time, would be "very" or "somewhat" important. The number was higher - nearly eight out of 10 adults, 78 percent - for those with children in the home.

• Three-quarters (76 percent) of U.S. adults, would use a radio built into their cell phone, up from 66 percent in 2010. Younger adults are even more likely to use such a feature. Eighty-six percent of 18-34 year olds, as well as 81 percent of single and never-married adults (up from 71 percent and 73 percent respectfully in 2010), indicated they would use a built-in radio to listen to local stations if their phone was equipped to do so without using mobile apps or their wireless provider's data plan.

"Like in 2010, this survey again shows that a strong majority of American cell phone owners would use a radio built into their cell phone," said Regina A. Corso, SVP Harris Poll, Harris Interactive. "Particularly in this day of ever-rising wireless data fees, four in five cell phone owners would pay a small one-time fee to access local radio programming."

The 2012 poll comes on the heels of heightened attention among policymakers who have indicated an interest in exploring the merits of equipping mobile devices with FM receivers. Last month, Rep. Gus Bilirakis (R-Fla.), who chairs the House Subcommittee on Emergency Preparedness, Response and Communications, held a "roundtable" on Capitol Hill with members of the broadcast, cable and wireless industries to discuss how to work together to enhance the current system of alerting and informing the maximum amount of citizens in times of crisis.

Following a rash of severe weather and tornado outbreaks last summer, former FCC Commissioner Michael Copps said, "We share a duty to think creatively about how we can arm consumers with additional ways to communicate during disasters... I think the time is here for a thorough, calm and reasoned discussion about FM chips in handsets."

In February, several members of the Congressional Black Caucus also called on the FCC to hold a hearing to explore the benefits of including radio tuners in mobile phones.

NAB has noted that U.S. wireless carriers seem to prefer offering consumers exclusive bandwidth-consuming contracts with expensive streaming applications and data plans, as opposed to a broadcast radio alternative requiring only a minimal one-time fee. Indeed, even many so-called "free apps," require the use of data to operate on mobile devices. NAB has also pointed out the tendency for cell phone signals to jam during power outages and incidences of severe weather, while it is the robust 'one-to-many' transmission architecture of local broadcasting that keeps listeners and viewers in touch and informed.

Broadcasters are also moving forward with advanced technologies to support the integration of radio chips in mobile devices. At the NAB Show in Las Vegas in April, Emmis Interactive, iBiquity Digital Corporation and Intel announced that they have developed a new energy efficient, affordable, high-processing HD chipset with financial support from NAB Labs. The new technology offers song tagging features and delivers an enhanced HD Radio ad experience, leveraging the power of the HD Radio data capability with a smartphone's data channel to deliver a truly interactive advertising experience.

With the launch of the IEEE P1858 working group, IEEE is building on the CPIQ initiative of the International Imaging Industry Association (I3A), and making a strategic addition to the IEEE Standards Association (IEEE-SA) suite of mobile-video standards designed to improve the customer experience. IEEE has acquired I3A’s CPIQ program and other assets, and the new IEEE effort involves many of the same corporate members that contributed to I3A’s five-year-old groundbreaking activity.

“IEEE is the obvious choice to take CPIQ to the next level,” said Lisa Walker, president of I3A. “The overlap in membership between IEEE and I3A will allow for continuity in work toward a globally relevant CPIQ standard, and the competency that IEEE has built around assessing mobile-video quality provides an opportunity for an easy transition and expansion of the work to important, related areas such as video.”

Though they may possess identical image-resolution capabilities, today’s camera phones produce vastly different quality images. Vendors and consumers lack sufficient standardized metrics to compare one handset to the next. IEEE P1858 is designed to create a CPIQ rating system that will help consumers identify the camera phones that best meet their needs.

“Camera phones are the device of choice with consumers, but they need a more accurate and reliable way to ensure that the camera phones they purchase deliver the image quality they desire—it’s not just about the megapixels,” said George John, ad-interim chair of the IEEE P1858 working group and principal program manager with Microsoft. “This is the need that I3A uniquely identified in 2007, and we believe IEEE provides the ideal environment—tremendous worldwide and technological scope, proven abilities for building consensus and a globally respected standards-development process—for building on I3A’s groundbreaking work.”

I3A successfully identified the fundamental attributes that contribute to CPIQ, as well as existing standards and other useful information related to those attributes. The IEEE P1858 working group intends to continue that effort by defining a standardized suite of objective and subjective test methods for measuring camera-phone image quality, as well as tools and test methods to facilitate standards-based communication and comparison among carriers, handset manufacturers and component vendors.

“We applaud I3A for the crucial work that it accomplished in ushering the CPIQ specifications to where they are today,” said Karen Kenney, senior director, IEEE-SA. “This is an exciting new opportunity for IEEE that fits nicely with many of our other established standards activities. We look forward to driving the CPIQ standard to fruition and supporting its market implementation through a suite of available services, including access to conformity assessment programs.”

IEEE said PC, tablet, smartphone, camera component and sensor manufacturers; application developers; telecom service providers and other interested parties are invited to participate in the IEEE P1858 working group. For more information visit http://standards.ieee.org/develop/wg/CPIQ.html.

According to the charges, from approximately August 2006 until February 2009, HP hosted optical disk drive procurement events in which participants would be awarded varying amounts of optical disk drive supply depending on where their pricing ranked. According to court documents, Yang and co-conspirators participated in a series of conspiracies involving meetings and discussions to predetermine bidding strategies and prices of optical disk drives, resulting in the submission of collusive and noncompetitive bids for HP’s procurement events. Yang and co-conspirators also exchanged information on sales, market share and the pricing of optical disk drives to monitor and enforce adherence to the agreements.

Including Yang, the department has charged four individuals and one company as a result of its ongoing investigation into the optical disk drive industry. On Nov. 8, 2011, HLDS pleaded guilty in the U.S. District Court for the Northern District of California in San Francisco to 14 counts of violating the federal antitrust laws between approximately June 2004 and September 2009. HLDS also pleaded guilty to one count of participating in a scheme to defraud in connection with an April 2009 procurement event. On the same day, HLDS was sentenced to pay a $21.1 million criminal fine and agreed to assist the department in its ongoing investigation into the optical disk drive industry.

“Today’s charges demonstrate the Antitrust Division’s commitment to prosecute and deter conduct that harms American businesses and consumers,” said Acting Assistant Attorney General Joseph Wayland in charge of the Department of Justice’s Antitrust Division. “The division will continue to pursue those who participated in these bid-rigging and price-fixing conspiracies so they are held accountable for their actions.”

“Amazon Studios wants to discover great talent and produce programming that audiences will love,” said Roy Price, director of Amazon Studios. “In the course of developing movies, we’ve heard a lot of interest from content creators who want to develop original series in the comedy and children’s genres. We are excited to bring writers, animators and directors this new opportunity to develop original series.”

Each month, Amazon Studios intends to option one promising new project and add it to the development slate where it will be tested for viability with an audience. If Amazon Studios elects to distribute a full-budget series, the creator will receive a $55,000 payment, up to 5 percent of Amazon’s net receipts from toy and t-shirt licensing, and other royalties and bonuses. Amazon Studios’ production company, the People’s Production Company, is signatory to the Writers Guild of America and to The Animation Guild, Local 839.

To submit, a project must have a five-page description, along with a 22-minute pilot script for comedies, or an 11-minute pilot script for children’s shows. Within 45 days of submission, Amazon Studios will either extend an option on the project for $10,000 or invite the creator to add the project to the Amazon Studios site. If a project is not optioned, creators may remove their idea from the Amazon Studios site or leave it to get community feedback.

Amazon Studios new series development is led by Joe Lewis, previously with 20th Century Fox and Comedy Central, and Tara Sorensen, formerly with National Geographic Kids.

Amazon Studios launched in November 2010. Since then, more than 700 test movies and 7,000 scripts have been submitted and 15 movie projects are currently under development. For more information about Amazon Studios, visit http://studios.amazon.com.

According to DEG’s the First Quarter 2012 Home Entertainment Report, overall consumer spending was up 2.5 percent compared to the first quarter last year, driven by a healthy consumer appetite for Blu-ray. Blu-ray Disc saw continued double digit growth (up 23 percent) in sales over first quarter 2011. Indeed, Blu-ray Disc now accounts for one out of four of all of the physical sell-through dollars spent by consumers compared to less than 15 percent two years ago. The progress in Blu-ray Disc sales is even more significant when viewed as growth off an ever-increasing base.

Highlights for the first quarter include:

– Blu-ray Disc and EST continued their steady gains with consumer spending on Blu-ray jumping 23 percent and EST up 17 percent compared to the same period last year.

– Physical sell-through of theatrical product was up two percent for the quarter, while catalog sales on Blu-ray Disc were up 27 percent, and TV on Blu-ray sales were up 54 percent, underscoring that Blu-ray Disc is the standard for quality home entertainment.

– With most major studios backing UltraViolet, and with the support of major retailers, consumers have embraced UltraViolet’s flexibility and value of ownership by opening nearly two million UltraViolet accounts to access and enjoy their movies and TV shows in the cloud.

– The number of Blu-ray homes continues to climb, with 2.4 million players sold in the first quarter (including BD set-tops, PS3s and HTiBs). Total household penetration of all Blu-ray compatible devices now stands at more than 40.8 million U.S. homes.

– Further, 6.5 million HDTVs were sold to U.S. consumers in the first quarter 2012. HDTV penetration to date is now at more than 77.6 million U.S. households.

To be considered for a 2012 NAB Marconi Radio Award, general managers may nominate their station in the categories of "Station of the Year by Market Size," "Station of the Year by Format," "Personality of the Year by Market Size," "Spanish Format Personality of the Year" and "Legendary Station." Stations may also submit nominations for the category of "Network/Syndicated Personality of the Year."

In an effort to help radio stations build stronger entries, new guidelines have been published.

Nominations must be submitted online and received by May 31. Finalists will be announced in July.

On September 20, the winners will be announced during the NAB Marconi Radio Awards Dinner & Show at the Radio Show, held in Dallas (September 19-21).

The new rules are geared to promote innovation and investment in mobile communications, and help ensure the United States keeps pace with the global wireless revolution. The rules are also designed to help preserve broadcast television as a healthy, viable medium.

Specifically, the Report and Order establishes a framework for how two or more television licensees may voluntarily share a single six MHz channel in conjunction with the auction process:

· While stations will need to retain at least one standard definition programming stream to meet the FCC’s requirement of providing an over-the-air video broadcast at no direct charge to viewers, they will have the flexibility of tailoring their channel sharing agreements to meet their individual programming and economic needs.

· Stations sharing together will employ a single channel and transmission facility but will each continue to be licensed separately, retain its original call sign, retain all the rights pertaining to an FCC license, and remain subject to all of the FCC’s rules, policies, and obligations.

According to the FCC, the new rules apply to full power and Class A television stations, including both commercial and noncommercial educational television stations. The rules neither increase nor decrease the cable and satellite carriage rights currently afforded broadcast licensees. Nor does the Report and Order act on the proposals in the Notice of Proposed Rulemaking to establish fixed and mobile allocations in the U/V bands or to improve TV service on VHF channels. The Commission said it will address the allocation issue in a future rulemaking, and may address the VHF issues at a later date as well.

The LCC said its role is to encourage existing standards organizations to work with the creative industries to use standards technology to identify, organize, communicate and license their rights more effectively. Participants in the project will identify what works, what doesn't work, what exists already and what is yet required. Technical work will be undertaken by experts from across the media industry and recommendations will be made to link the various strands of rights-management data needed for the modern management of online copyright. This approach will benefit business users and consumers trying to find and use material, and will be business-model neutral so will facilitate commercial and non-commercial/cultural use of content.

The Chairman of the LCC Project Board, Christoph Keese, President of Public Affairs at Axel Springer AG said, “Copyright is the cornerstone of the creative sector; the future success of businesses which invest in quality content the world over depend on it working for us online just as it has always worked for publishing books, newspapers, TV channels, films and music. As the internet and mobile platforms operate increasingly in a "machine to machine" environment, driven by data, the management of copyright must not be left behind”.

According to Dolby, Atmos introduces a hybrid approach to mixing and directs sound as dynamic objects that envelop the listener, in combination with channels for playback. Dolby Atmos enables adaptive rendering to ensure that the playback experience is as close as possible to the creator's original vision in any given environment, irrespective of the specific speaker configuration in the playback environment.

"Dolby Atmos is our most significant innovation in years and represents the future for entertainment sound in cinema," said Kevin Yeaman, President and Chief Executive Officer, Dolby Laboratories. "We have leveraged our deep insights into how people hear and experience sound to empower filmmakers, studios, and exhibitors with new technology that transforms storytelling."

Dolby said Atmos is an end-to-end solution that takes into account the entire content pipeline and brings together mixers, studios, and distributors to create dramatic improvements in the audio experience. The Dolby Atmos platform provides content creators with a new creative freedom to tell their stories. It simplifies movie distribution with a single universal package to deliver to audiences the full impact of the artist's intent, regardless of theatre configuration.

With the ability to transmit up to 128 simultaneous and lossless audio inputs (channels or objects), and the ability to render from 5.1 all the way up to 64 discrete speaker feeds, Dolby Atmos introduces a completely new audio capability for exhibitors. The inherent scalability and adaptability of Dolby Atmos allows exhibitors to manage their budgets and upgrade cinemas over time, yet improve the experience for audiences at each step.

To effectively support precise positioning and movement of sound around the theatre, speakers must be individually amplified and support a wide frequency response and dispersion. To help exhibitors with their upgrades, Harman Professional has been working with Dolby to design innovative and optimized solutions to simplify deployment of Dolby Atmos.

"After first previewing Dolby Atmos last year, we immediately recognized the tremendous potential," said Michael MacDonald, Executive Vice President of Sales and Marketing, Harman Professional. "Dolby Atmos is clearly the next-generation audio platform and will provide considerable performance advantages to our customers in the global cinema market."

According to Mitsubishi, the high-output GaN HEMT amplifier features a downsized configuration and a low-loss circuit. Output power is double that of the company's existing GaN HEMT amplifier and quadruple that of Mitsubishi Electric's GaAs amplifier. The new amplifier's ability to perform the tasks of four conventional units represents an important contribution to downsize transmitters to one sixth the size of a GaAs amplifier.

Vital satellite communications require robust systems that must work under adverse conditions, such as during natural disasters. High-power output is required for radio transmission from terrestrial stations to satellites in geostationary orbit 36,000 km above sea level. Also, terrestrial stations must be small enough to be transported by vehicles and installed.

Gallium arsenide (GaAs) amplifiers have been used commonly for satellite communication transmitters, but gallium nitride (GaN) amplifiers have become increasingly popular recently because GaN transistors can handle very high voltage.

In addition to his significant contributions to network email, he played a leading role in developing the first email standards. In 1972, Tomlinson was one of the participants in a meeting to enhance FTP to support email, which was used until 1982 when it was replaced by SMTP. In addition, Tomlinson was a co-author of RFC-561 (September 1973), the first standard for Internet email message formats. RFC 561 defined several of the email fields we still use today (e.g. From, Subject and Date).

Tomlinson's email program brought about a complete revolution, fundamentally changing the way people communicate, including the way businesses, from huge corporations to tiny mom-and-pop shops, operate and the way millions of people shop, bank, and keep in touch with friends and family, whether they are across town or across oceans. Today, tens of millions of email-enabled devices are in use every day. Email remains the most popular application, with over a billion and a half users spanning the globe and communicating across the traditional barriers of time and space.

In 2000, Tomlinson received the George R. Stibitz Computer Pioneer Award from the American Computer Museum. In 2001, he was honored with a Webby Award from the International Academy of Digital Arts and Sciences and was inducted into the Rensselaer Alumni Hall of Fame. In 2002, Discover Magazine awarded him its Innovation Award. In 2004, he earned the Institute of Electrical and Electronics Engineers Internet Award. He was named the Prince of Asturias Award Laureate for Technical and Scientific Research in 2009. In 2011, he was honored with the Eduard Rhein Kulturpreis Cultural Award. He is ranked number four on the MIT list of top 150 innovators and ideas from MIT.

The Internet Hall of Fame is an annual awards program that has been established by the Internet Society to publicly recognize a distinguished and select group of leaders and luminaries who have made significant contributions to the development and advancement of the global Internet.

According to Sony, the new system will deliver superior long-term storage capabilities, which are enabled through the use of media built to withstand changes in temperature and humidity, and is dust and water resistance. The system also provides guaranteed intergenerational compatibility and eliminates the need to re-archive copies of past archive data, offering a more user-friendly and dependable long-term storage solution.

By Fall 2012, Sony will be releasing various optical disc media for archive storage solutions into the market that is compatible with the “ODS-D55U” drive unit equipped with a USB 3.0 interface and storage capacities between 300GB-1.5TB Sony plans to consecutively enhance its product lineup upon this initial release.

Furthermore, in addition to the production of media and drive units, Sony will collaborate with a variety of other manufacturers in related business areas such as storage media, robotics (automated media exchange systems), middleware (hierarchical storage management and control) and application software for media asset management (including media management and search) for the purpose of developing system solutions for media archive applications.

Sony siad it will continue to promote its efforts through Optical Disc Archive Advisory Group activities. The establishment of an open platform so that the valuable video content stored in tape media can be archived and passed on to the next generation in an optimal format will help industry move toward creating a new market for archive solutions.

Smartphones will be the most purchased CE device this year. More than one in five (22 percent) U.S. households say they plan to purchase the device in the next 12 months. HDTVs (17 percent) and digital cameras (15 percent) are next on the list. Mobile computing will continue to be a popular purchase this year as well. Both tablet computers and notebook/laptop computers are expected to be purchased by 14 percent of U.S. households.

Tablet computers were also a leading growth category over the past 12 months. U.S. household penetration levels for tablets increased 14 percentage points from last year and represents the largest increase in the industry. Blu-ray players and digital media players also saw double digit growth in household penetration numbers.

“Consistent with past research and trends we are seeing, tablets and smartphones will continue their dominance in the marketplace over the coming year,” said Chris Ely, CEA’s manager of industry analysis. “As consumers continue to integrate these mobile connected devices into their everyday lifestyles, we expect to see an increase in ownership of all-in-one devices and related content.”

As ownership rates for connected devices increases, more households are subscribing to video rental and streaming services. Nearly 31 million U.S. households (26 percent) will be watching content streamed online and growth will continue this year as nine percent of new households are expected to subscribe to a video rental and steaming service this year.

Televisions remain the most commonly owned CE device, with 99 percent of U.S. households owning at least one TV. The average U.S. household owns 2.9 televisions. Nearly seven in ten (68 percent) U.S. households report owning at least one HDTV. In addition, half (54 percent) of U.S. households report they own at least one LCD TV and approximately one-third (32 percent) report they own at least one plasma TV.

Of the 37 CE devices surveyed, the average U.S. household owns 24, the same number as last year, and spent $961 on consumer electronics over the past 12 months, down more than $200 from last year. The average adult individually reports spending $552 on CE in the past 12 months, down $100.

“The average household continues to own electronics at a high rate, with ownership of all-in-one devices seeing significant growth,” said Ely. “Consumers continue to purchase electronics, but we see a decrease in overall spending as they are buying at a bargain, seeking deals and discounts on the devices they desire, and taking advantage of declining price points for certain product categories.”

According to DTS, the transaction combines two highly complementary product and technology portfolios, bringing together DTS' suite of audio solutions and SRS Labs' range of audio processing technologies. Through the transaction, DTS plans to expand its portfolio of audio-related intellectual property with over 1,000 registered and pending patents and trademarks. The combination is anticipated to fast-track DTS' expansion in the rapidly growing markets for mobile and other network-connected devices as well as current audio solutions ranging from voice processing through audio rendering, and from low bit rate applications to high-quality lossless audio delivery while significant operating, customer and licensing cost efficiencies are expected to be realized.

"This transaction represents an exciting extension of our strategic focus on the compelling long-term opportunities being driven by cloud-based entertainment delivery and the proliferation of connected devices, enabling DTS to accelerate our expansion in the key growth areas of mobile and other network-connected device markets, as well as to drive innovation and create significant near- and long-term value for our shareholders," said Jon Kirchner, DTS' chairman and CEO. "SRS Labs and its strong portfolio of audio processing technologies are a natural strategic fit for DTS, with complementary technologies, robust anticipated customer synergies, and significant economies of scale. This transaction will accelerate DTS' delivery of compelling end-to-end solutions to a broad base of customers, enable even higher levels of service, and provide the Company with a solid platform for continued growth."

"We are pleased to provide our shareholders an attractive premium," said Thomas C.K. Yuen, SRS Labs' chairman, CEO and president. "As consumers increasingly demand higher quality audio experiences everywhere from their mobile devices to their homes, this combination benefits our customers and employees by creating significant scale and penetrating new markets. We look forward to making the collective resources of a larger company available to our customers around the world, who will also benefit from superior customer service."

DTS expects the transaction to be accretive on a GAAP basis by 2013, supported by at least $8 million in estimated annual combined cost synergies. Combined pro forma revenue for the Company for the fiscal year ended December 31, 2011 was $129.8 million.

According to Dolby, the two companies have undertaken the joint project to improve the 3D viewing experience on displays of all sizes, including smartphones, tablets, PCs, and televisions. Dolby 3D is a complete system designed to work throughout the chain to deliver clear glasses-free 3D content that operates over existing distribution systems.

"Philips has a long history in 3D technologies and video innovation, and Dolby has a proven track record of enabling technologies to enhance entertainment experiences. Together, we identified a business need where we could bring a unique offering to the market that improves the end-user experience," said Ruud Peters, Chief Intellectual Property Officer at Philips. "By unveiling Dolby 3D, we introduce a 3D HD format capable of powering glasses-free 3D displays of any size, enabling broadcasters, operators, content aggregators, and device manufacturers to deliver HD-quality 3D on any device."

Ramzi Haidamus, Executive Vice President, Sales and Marketing, Dolby Laboratories, stated: "We believe that Dolby 3D can help drive the adoption of 3D—creating a comfortable, customizable, truly enjoyable glasses-free 3D viewing experience while enhancing 3D display performance. Armed with the innovative glasses-free 3D display technology from Philips, based on years of extensive research and development in the field, we plan to bring the same philosophy to 3D that Dolby has brought to the audio space—integrating our technologies and strengths throughout the entire content chain. Consumers will know that when they see Dolby 3D content on a 3D-enabled device, it will look its very best."

"Dolby and Philips are committed to taking the 3D experience to the next level and delivering a high-quality solution for all 3D display devices, including today's glasses-based devices and tomorrow's glasses-free displays. Working on cutting-edge technology with two leading companies is very exciting, and I'm thrilled to lead this unique joint effort," said Guido Voltolina, General Manager of the joint project.

Dolby said the focus of the project will be to work with original equipment manufacturers of display panels and entertainment devices to enhance the performance of 3D consumer devices to make viewing of 3D content just as convenient and appealing as viewing of 2D content on a high-quality screen is today. This project is uniquely positioned to enable the industry's adoption of 3D by working on standardization and licensing of the technology.

The Dolby 3D experience is intended to integrate into the use cases and viewing patterns of consumers on the go and in the home, making the use of 3D devices an enjoyable daily experience. Content owners and broadcast operators have the opportunity to differentiate their offerings by encoding 3D titles in Dolby 3D for maximum fidelity on Dolby 3D enabled devices while maintaining compatibility with existing 3D products. The system will enable a 3D HD format, including tools for 3D content creation and real-time 3D content conversion.

Dolby 3D is being demonstrated at the NAB Show (April 16—19, 2012) at booth SU1212.

The Recording Industry Association of America (RIAA), National Music Publishers’ Association (NMPA) and Digital Media Association (DiMA) are filing an industry-wide agreement that fully resolves the Copyright Royalty Board (CRB) Rate Proceeding under Section 115 of the Copyright Act.

The settlement provides for the development of new digital music services and business models offering music to consumers by creating new rates and terms under Section 115 for five new categories, which include:

• Mixed service bundles (for example, a locker service, limited interactive service, downloads or ringtones combined with a non-music product such as a mobile phone, consumer electronics device or Internet service)
• Paid locker services (subscription-based locker providing on-demand streaming and downloads)
• Purchased content lockers (a free locker functionally provided to a purchaser of a permanent digital download, ringtone or CD where the music provider and locker have an agreement)
• “Limited offerings” (subscription-based service offering limited genres of music or specialized playlists)
• Music bundles (bundling music products such as CDs, ringtones and permanent digital downloads)

“This is a historic agreement that reflects our mission to make it easier for digital music services to launch cutting-edge business models and streamline the licensing process,” said Cary Sherman, Chairman and CEO, RIAA. “This is a major win for consumers, the music community, and entrepreneurs and investors in new music services.

The 25-page proposed agreement will be submitted to the CRB by the various parties and resolves the pending mechanical royalty rate proceedings without litigation. The agreement covers 2013-2017 and must be formally be approved by the CRB. It establishes a royalty rate category for these new business models and rolls forward, with limited changes, all existing rates and terms for CDs and downloads.

According to the Group, the USB power delivery specification will enable increased power delivery via USB cables and connectors, expanding cable bus power capabilities in USB applications. The specification enables higher voltage and current to deliver power up to 100 Watts. It also enables a switchable source of power delivery without changing cable direction. The specification is compatible with existing cables and connectors and will coexist with the USB Battery Charging 1.2 specification and existing USB bus-powered applications.

The SSIC specification will define a chip-to-chip USB based interconnect optimized for mobile device internal use. The specification will bring the MIPI Alliance’s M-PHY high bandwidth and low power capabilities combined with the performance enhancements of SuperSpeed USB.

“The USB 3.0 Promoter Group continues to develop practical specifications to support more platform types and new use cases, which benefit from SuperSpeed USB,” said Brad Saunders, USB 3.0 Promoter Group Chairman. “The industry reviews for the USB Power Delivery and SSIC specifications have proven successful, and it is exciting to see these specifications come to fruition.”

The USB Power Delivery and SuperSpeed USB Inter-Chip specifications will be discussed during a USB session at the Intel Developer Forum (IDF) being held April 11-12, 2012 in Beijing. The USB 3.0 Promoter Group said it intends to transition the final specifications to the USB Implementers Forum (USB-IF) for publication and establishment of the ecosystems and associated compliance programs by the end of Q2 2012.

The USB 3.0 specification was developed by the USB 3.0 Promoter Group, which consists of Hewlett-Packard Company, Intel Corporation, Microsoft Corporation, Renesas Electronics, ST-Ericsson and Texas Instruments.

Device owners in the U.K. also logged heavy usage for tablets (80%) and smartphones (78%) while watching TV. British daily usage of smartphones or tablets while watching TV rivaled that of the U.S.. Nearly a quarter (24%) of those surveyed claiming to use their device several times a day while watching TV.

Italians and Germans were the least likely to use a device while watching TV. In both countries, 29 percent of users said they never use a tablet and TV together and 34 of Italians and 35 percent of Germans said they don’t use their smartphone while watching TV.

The most frequent tablet or smartphone activity across all countries while also watching TV was checking email — either during a commercial break or during the show. Yet device owners also seem to engage with content related to the TV as well, either by looking up information related to the show or looking for deals and general information on products advertised on TV.

The international market last year accounted for 58.4 percent of the total revenue produced by the Top 100-grossing films in the United States, up from 57.3 percent in 2010. In comparison, the United States saw its share dwindle to 41.6 percent, down from 42.7 percent.

“Growth in international cinema markets is driving up the importance of non-U.S. releases to film studios, and new screen growth in territories like China, Brazil, Russia, Eastern Europe and the Middle East has fundamentally altered the dynamics of a film’s release,” said David Hancock, senior principal analyst for cinema at IHS. “The turning point came in 2003 when international revenues generated more than the American box office for the first time, taking a 50.2 percent share. The international market finally edged past the once-unassailable U.S. position, relegating it to a minority stake with 49.8 percent share. Only a year earlier in 2002, the United States had clung to what was to become its last year of dominance at 53.0 percent, compared to 47.0 percent for the international segment.”

Not surprisingly, some film genres traveled better than others, while those that performed well in the U.S. market could not be counted on to perform as well abroad.

For instance, American sports dramas were culturally predisposed to success in the United States rather than overseas, given the nature of their subject. In 2011, two films in the sample generated 84.8 percent of their revenues in the States, compared to 15.2 percent internationally. Another genre that does not travel well is U.S. comedy, which covers both comedy drama and action comedy flicks. In comparison, romantic comedies fare better, even if they are still slightly weighted toward the U.S. market.

At the other end of the spectrum, a genre that has less trouble navigating success abroad is animation, which took 62.8 percent of revenues in overseas markets. Science fiction in its various forms also travels well, either as sci-fi thrillers at 68.4 percent or sci-fi action at 58.8 percent. Likewise performing credibly in international markets are action films at 57.0 percent and horror titles at 56.9 percent.

"Selling these patents to Intel unlocks some of the substantial and unrealized value of RealNetworks assets," said Thomas Nielsen, RealNetworks President and CEO. "It represents an extraordinary opportunity for us to generate additional capital to boost investments in new businesses and markets while still protecting our existing business.

"RealNetworks is pleased Intel has agreed to acquire our next generation video codec software and team," said Nielsen. "Intel has a strong reputation as a technology innovator, and we believe they are well positioned to build on the development work and investment we've made in this area."

"As the technology industry evolves towards an experience-centric model, users are demanding more media and graphics capabilities in their computing devices. The acquisition of these foundational media patents, additional patents and video codec software expands Intel's diverse and extensive portfolio of intellectual property," said Renée James, Intel senior vice president and general manager of the Software and Services Group. "We believe this agreement enhances our ability to continue to offer richer experiences and innovative solutions to end users across a wide spectrum of devices, including through Ultrabook devices, smartphones and digital media."

In addition to the sale of the patents and next-generation video codec software, RealNetworks and Intel signed a memorandum of understanding to collaborate on future support and development of the next-generation video codec software and related products.

RealNetworks also said it retains certain rights to continue to use the patents in current and future products and does not expect the sale will have any material impact on its businesses.

"We look forward to working with Intel to support the development of the next-generation video codec software and to expanding our relationship into new products and markets," said Nielsen.

The Service to America Leadership Award recognizes individuals and organizations responsible for improving the lives of others through extraordinary public service. Considered NABEF's highest individual honor, the award will be presented during the Celebration of Service to America gala held Monday, June 11, at the Walter E. Washington Convention Center in Washington, D.C.

"Ms. Close is an exceptionally talented actress whose work has entertained millions over the years and she is also a dedicated humanitarian. I applaud her creation of Bring Change 2 Mind and its grassroots efforts to better the lives of everyone affected by mental illness," said NABEF President Marcellus Alexander. "In addition to her work with Bring Change 2 Mind, her charitable efforts stretch from wildlife conservation to support for returning troops. We are proud and honored to present Ms. Close with this prestigious award."

In 2009, Close participated in the launch of Bring Change 2 Mind (BC2M), a not-for-profit organization dedicated to confronting the stigma and discrimination associated with mental illness. The idea that led to the establishment of BC2M evolved from her first-hand observation of battles with mental illness within her family.

The organization was created by Close together with her sister Jessie, her nephew Calen, The Balanced Mind Foundation, Fountain House and Garen and Shari Staglin of IMHRO (International Mental Health Research Organization). BC2M's mission is to emerge as the world's most effective organization working to eradicate the stigma and discrimination surrounding mental illness through widely distributed Public Education Materials based on the latest scientific insights and measured for effectiveness. BC2M also acts as a portal to a broad coalition of organizations that provide service, screening, information, support and treatment of mental illness. For more information about Bring Change 2 Mind, visit bc2m.org.

Consumer confidence in technology reached 88.9, its highest level since setting an all-time high of 93.6 in December 2011. The CEA Index of Consumer Technology Expectations (ICTE), which measures consumer expectations about technology spending, is up more than three points from February and is more than 10 points higher than this time last year.

"New model launches this month, including televisions, smartphones and notably the release of Apple's new iPad, are likely driving the increase in tech spending sentiment," said Shawn DuBravac, CEA's chief economist and senior director of research.

Consumer confidence in the overall economy dropped slightly in March. The CEA Index of Consumer Expectations (ICE) fell a percentage point to 173.6. The ICE, which measures consumer expectations about the broader economy, is up more than 12 points from this time last year.

"Overall consumer sentiment about the economy remains high and consumers are feeling more optimistic than they did throughout 2011," said DuBravac. "However the higher gasoline prices consumers are facing at the pump likely resulted in a slight dip in overall economic sentiment this month."

CCI was formed in September 2011 as part of a collaborative effort between U.S. content creators in the movie and music industries and leading Internet Service Providers (ISPs) to develop a ground breaking Copyright Alert System (“CAS”) and educational framework intended to inform the public about and deter copyright infringement through direct communication with consumers. Lesser will help lead the group in its work with the partner ISPs and content owners to implement the CAS, which is focused on the inadvertent or purposeful unauthorized distribution of copyrighted content through peer-to-peer networks.

“Jill has spent her career solving complex problems at the intersection of technology, copyright and consumer rights,” said Thomas Dailey, Chairman of the Executive Board of the CCI and Vice President and Deputy General Counsel of Verizon Communications, Inc. “CCI’s mission is to implement the most thoughtful and consumer friendly system to-date for promoting the lawful enjoyment of copyrighted material. Jill’s ability to find solutions that work for content creators, ISPs and their customers will be critical to this task.”

Lesser’s background includes serving as the Deputy Director of Public Policy and Director of the Civic Media Project at People for the American Way (“PFAW”) and as Senior Vice President for Domestic Public Policy for AOL Time Warner, Inc. She is also a Board Member of the Center for Democracy and Technology.

“I am excited to lead CCI as it begins this constructive effort to reduce and deter online copyright infringement in a way that is centered on education and deterrence, not punishment.” said Lesser. “This unprecedented collaboration demonstrates that when content providers and distributors work together we can protect copyright and empower consumers at the same time.”

The two patents asserted by HumanEyes—U.S. Patent Nos. 6,665,003 and 7,477,284—are both based on inventions made at the Hebrew University of Jerusalem by Computer Vision expert and HumanEyes co-founder Professor Shmuel Peleg and his students. Professor Peleg and his team discovered a breakthrough new method for generating 3D panoramic images by combining portions of multiple images recorded by an ordinary camera. This discovery makes it possible to bring inexpensive 3D photography to digital cameras and mobile devices and was the basis for founding HumanEyes Technologies.

According to HumanEyes, Sony’s decision to incorporate HumanEyes’ patented technology into its cameras and mobile devices comes after multiple communications between HumanEyes and Sony employees dating back to 2004 and after numerous citations by Sony in its own patents and patent applications to Professor Peleg’s work and the two asserted HumanEyes patents. HumanEyes explained in its ITC complaint that taking legal action to defend its intellectual property rights against Sony is necessary to protect HumanEyes’ own investments in the U.S. market for creating and displaying 3D images.

“HumanEyes remains committed to working with interested camera and other device manufacturers to incorporate HumanEyes’ innovative 3D imaging technology into devices under agreements that respect HumanEyes’ intellectual property rights,” said CEO Vered Levy-Ron.

"This will be a place for the Hollywood production community to share experiences with their peers and help make the transition from 35mm film to digital production as seamless as possible," said Alec Shapiro, PSA senior vice president. "Here, on one stage, filmmakers and other content creators can shoot 4K pictures, process them through a 4K workflow on site at ColorWorks and view the results on a 4K projector."

Shapiro, who is also assuming responsibilities as president of the Sony DMPC, added that the extensive expertise of the professionals on the Sony Pictures Studios lot will be invaluable in launching this breakthrough camera with its unprecedented 8K image sensor.

"Critical to our future success is listening to the industry for their ideas and input to further advance the state of the art in digital production," he said. "This new Center will offer those capabilities on a level unmatched by any other facility in the world."

Several F65 projects are already underway across the industry. The first two movies being shot with the camera are Sony Pictures' recently announced "After Earth," the latest film from the production company Overbrook Entertainment and acclaimed director M. Night Shyamalan, and the Universal movie "Oblivion."

"We're pleased that Sony is making this commitment to the filmmaking community and has chosen Stage 7 as its home," said Gary Martin, President, Production Administration at Sony Pictures. "The Center offers professionals an opportunity to see this exceptional camera in action and learn the best practices for using it."

Curtis Clark, ASC and chairman of the ASC Technology Committee, will play a critical role in directing the educational and training activities provided by the Center.
"The F65 is a sea change for our industry," said Clark. "We can shoot with this camera as we do with film. Since cinematographers and directors have decades of experience with shooting film, they know its capabilities and what they can expect from post finishing. With its 16-bit color and 4K spatial resolution, the F65 expands on these capabilities. This Center will help everyone become familiar with the tremendous potential of this new system and the workflow that supports it."

Sony also plans to make the DMPC available to local rental companies and resellers to conduct training for their respective customers as well as 3rd party workflow partners including: Assimilate, Avid, Blackmagic, Codex, ColorFront, FilmLight, MTI Film and YoYotta.

“In addition to more traditional use cases such as gaming, media entertainment and desktop productivity, it’s been exciting to see companies finding unique ways to implement MHL technology, such as in-dash receivers,”said Tim Wong, president of MHL, LLC. “Hitting the 100 adopter milestone within two years of inception is a remarkable achievement. This is another great validation of the many benefits of MHL technology, such as charging the device while connected and experiencing mobile content on a large screen without lag.”

Using only five wires, MHL technology delivers 1080p uncompressed video with up to eight channels of digital audio while providing charge to the mobile device. Consumers can connect their MHL-enabled devices to the big screen to watch HD videos, play video games or work on business presentations. Consumers are also able to control MHL-enabled mobile devices using the existing DTV remote.

For more information about the MHL Consortium or how to become an adopter, visit http://www.mhltech.org/.

"If companies adopt our final recommendations for best practices – and many of them already have – they will be able to innovate and deliver creative new services that consumers can enjoy without sacrificing their privacy," said Jon Leibowitz, Chairman of the FTC. "We are confident that consumers will have an easy to use and effective Do Not Track option by the end of the year because companies are moving forward expeditiously to make it happen and because lawmakers will want to enact legislation if they don't."

The final privacy report expands on a preliminary staff report the FTC issued in December 2010. The final report calls on companies handling consumer data to implement recommendations for protecting privacy, including:

- Privacy by Design - companies should build in consumers' privacy protections at every stage in developing their products. These include reasonable security for consumer data, limited collection and retention of such data, and reasonable procedures to promote data accuracy;

-Simplified Choice for Businesses and Consumers - companies should give consumers the option to decide what information is shared about them, and with whom. This should include a Do-Not-Track mechanism that would provide a simple, easy way for consumers to control the tracking of their online activities.

-Greater Transparency - companies should disclose details about their collection and use of consumers' information, and provide consumers access to the data collected about them.

The final report notes that the FTC received over 450 comments on the staff's preliminary recommendations. Based on technological advances and industry developments since the December 2010 staff report and in response to the comments, the agency is revising recommendations in three areas:

The final report changes the guidance's scope. The preliminary report recommended that the proposed framework apply to all commercial entities that collect or use consumer data that can be linked to a specific consumer, computer, or other device. Recognizing the potential burden on small businesses, the report concludes that the framework should not apply to companies that collect and do not transfer only non-sensitive data from fewer than 5,000 consumers a year. The report also responds to comments filed by organizations and individuals that, with technological advances, more and more data could be "reasonably linked" to consumers, computers, or devices. The final report concludes that data is not "reasonably linked" if a company takes reasonable measures to de-identify the data, commits not to re-identify it, and prohibits downstream recipients from re-identifying it.

The report refines the guidance for when companies should provide consumers with choice about how their data is used. It states that whether a practice should include choice turns on the extent to which the practice is consistent with the context of the transaction or the consumer's existing relationship with the business or is required or specifically authorized by law. These practices include product fulfillment and fraud prevention.

The report also contains important recommendations regarding data brokers. It notes that data brokers often buy, compile, and sell highly personal information about consumers. Consumers are often unaware of their existence and the purposes to which they use the data. The report makes two recommendations to increase the transparency of such practices. First, it reiterates the Commission's prior support for legislation that would provide consumers with access to information held by data brokers. Second, it calls on data brokers who compile consumer data for marketing purposes to explore creation of a centralized website where consumers could get information about their practices and their options for controlling data use.

While Congress considers privacy legislation, the Commission urges individual companies and self-regulatory bodies to accelerate the adoption of the principles contained in the privacy framework, to the extent they have not already done so. Over the course of the next year, Commission staff will work to encourage consumer privacy protections by focusing on five main action items:
Do-Not-Track - The Commission commends the progress made in this area: browser vendors have developed tools to allow consumers to limit data collection about them, the Digital Advertising Alliance has developed its own icon-based system and also committed to honor the browser tools, and the World Wide Web Consortium standards-setting body is developing standards. "The Commission will work with these groups to complete implementation of an easy-to-use, persistent, and effective Do Not Track system," the report says.

Mobile - The FTC urges companies offering mobile services to work toward improved privacy protections, including disclosures. To that end, it will host a workshop on May 30, 2012 to address how mobile privacy disclosures can be short, effective, and accessible to consumers on small screens.

Data Brokers - The Commission calls on data brokers to make their operations more transparent by creating a centralized website to identify themselves, and to disclose how they collect and use consumer data. In addition, the website should detail the choices that data brokers provide consumers about their own information.

Large Platform Providers - The report cited heightened privacy concerns about the extent to which platforms, such as Internet Service Providers, operating systems, browsers and social media companies, seek to comprehensively track consumers' online activities. The FTC will host a public workshop in the second half of 2012 to explore issues related to comprehensive tracking.

Promoting Enforceable Self-Regulatory Codes - The FTC will work with the Department of Commerce and stakeholders to develop industry-specific codes of conduct. To the extent that strong privacy codes are developed, when companies adhere to these codes, the FTC will take that into account in its law enforcement efforts. If companies do not honor the codes they sign up for, they could be subject to FTC enforcement actions.

The Federal Trade Commission works for consumers to prevent fraudulent, deceptive, and unfair business practices and to provide information to help spot, stop, and avoid them. To file a complaint visit the FTC’s online Complaint Assistant or call 1-877-FTC-HELP (1-877-382-4357).

Sony plans to position digital imaging, game and mobile as the three core pillars of its electronics business, and going forward aims to concentrate its resources in these areas to further reinforce the businesses. Sony also plans to accelerate its efforts to drive innovation and new business creation. Mr. Nemoto will be assigned overall responsibility for technology strategies, and will work together with Tomoyuki Suzuki, Corporate Executive Officer and EVP, who will oversee Sony's core device technologies, to create new businesses and enhance the R&D operations that are the foundations for Sony's next generation of technological innovation. Mr. Nemoto will also implement a process of stringent selection and focus in the area of R&D, to enable the Company to optimize resource allocation. As Officer in charge of the User Experience (“UX”) & Product Strategy and Creative Platform, Kunimasa Suzuki will assume responsibility for planning and design in relation to all consumer related products and services, with the aim of strengthening horizontal integration and enhancing the user experience across Sony's entire product and network service lineup. He will also oversee the mobile business that Sony has identified as one of its core electronics business areas, including smart phones, tablets and PCs.

The Home Entertainment Business, including the TV business (which is continuing to address the challenge of enhancing profitability), will be overseen directly by the CEO, Mr. Hirai, who will also be Corporate Executive Officer in charge of these businesses. The device and semiconductor businesses, an area where Sony is excelling with its industry-leading image sensors and other device technologies, and the core device R&D activities which support these businesses, will now be led by Tomoyuki Suzuki. The area of medical technology is also expected to grow significantly in the future, and Sony's medical-related businesses that had been dispersed across multiple units will now be integrated into a dedicated medical business unit to be overseen by Hiroshi Yoshioka, Corporate Executive Officer and Executive Deputy President.

In the area of sales and marketing, Haruyasu Nagata, currently President of Sony (China) Co., Ltd will be appointed SVP and head of the Global Sales and Marketing Platform, with the aim of strengthening Sony's global sales and marketing activities, particularly within emerging markets where significant market growth is anticipated. Nobuki Kurita, currently President, Sony Marketing (Japan) Inc. will be appointed President, Sony (China) Co., Ltd. Hiroshi Kawano will be appointed President, Sony Marketing (Japan) Inc., while continuing his current role as President, Sony Computer Entertainment Japan.

The changes are effective April 1, 2012.

Smith, 59, joined NAB in November 2009 and oversees the advocacy efforts of thousands of local radio and television stations across America. Prior to being a two-term United States Senator in Oregon (1996-2008) Smith practiced law in New Mexico and Arizona before returning to Weston, Oregon to direct the family-owned Smith Frozen Foods business.

"NAB membership is happy to have Gordon Smith navigating our interests in Washington, and we're delighted that he's agreed to this contract extension," said Karpowicz, president of Meredith Corporation's Local Media Group. "Faced with two potential game-changing issues - the Performance Rights Act for radio and the spectrum bill for television -- Gordon demonstrated uncommon grace, savvy and determination in preserving a bright future for broadcasting."

"I'm thrilled by the vote of confidence by the NAB Board and membership," said Smith. "As president of NAB, I get a first-hand view of the indispensable role that local and network broadcasters play in serving communities every day with news, entertainment and life-saving weather warnings. Broadcasters take seriously our role as stewards of the airwaves, and it is a privilege to represent a diverse membership with a vibrant future."

During his tenure in the U.S. Senate, Smith's committee assignments included the Senate Commerce Committee, the panel that oversees broadcast-related legislation. He also served on the Senate Energy and Natural Resources Committee, the Senate Finance Committee, and the Senate Foreign Relations Committee. He was respected as a pragmatic lawmaker able to successfully reach across party lines. Smith's role on the Commerce Committee and as the Chairman of a Senate High Tech Task Force helped foster his interest in new media and new technology issues.

After leaving the Senate in 2008, Smith joined the law firm of Covington & Burling LLP for 10 months before accepting an offer to head the NAB.

According to Adobe, Photoshop CS6 beta demonstrates Adobe’s focus on huge performance enhancements, imaging magic and creativity tools that offer customers a new experience in digital imaging. Key features include new additions to the Content-Aware tools: Content-Aware Patch allows greater control by letting users select and duplicate an area of an image to fill in or “patch” another, and Content-Aware Move lets users select and magically move an object to a new place in the image.

Upgraded performance is powered by the new Adobe Mercury Graphics Engine, enabling near-instant results from popular editing tools including Liquify, Puppet Warp, Transform and Lighting Effects; and a refined, modern interface featuring dark UI options to make images pop. New and re-engineered design tools make creating designs faster and more efficient. Vector layers allow users to apply dashed lines and gradient strokes, searchable layers quickly zero in on any layer, and new type styles let designers swiftly apply type treatments to their designs.

In addition, the Photoshop CS6 beta offers all the features of Adobe Photoshop CS6 and Adobe Photoshop CS6 Extended, such as new 3D editing features and quantitative imaging analysis capabilities. These features will be included in the shipping version of Photoshop CS6 Extended when it becomes available.

“Photoshop CS6 will be a milestone release that pushes the boundaries of imaging innovation with incredible speed and performance,” said Winston Hendrickson, vice president products, Creative Media Solutions, Adobe. “We couldn’t wait to share this beta of Photoshop CS6 with our customers and are looking forward to hearing from them and seeing the ways they are incorporating the beta into their daily creative workflows.”

The Photoshop CS6 beta is available immediately as a free download in English and Japanese. At installation, users will be required to provide an Adobe ID to complete a one-time login and online product activation. For information on how to install Photoshop CS6 beta, visit www.adobe.com/go/photoshopcs6.

Photoshop CS6 beta is available for the Mac OS and Microsoft Windows platforms. The final release is expected in the first half of 2012.

CSRIC is a federal advisory committee established at the direction of the FCC Chairman to provide recommendations regarding the security, reliability, and interoperability of the nation’s communications system. Currently, CSRIC is composed of more than 50 communications experts from the private sector (including ISPs), public safety, consumer organizations and tribal, local, state and federal governments.

Chairman Genachowski said, “The recommendations approved today identify smart, practical, voluntary solutions that will materially improve the cyber security of commercial networks and bolster the broader endeavors of our federal partners.”

CSRIC Chair and CEO and President of CenturyLink, Glen F. Post, III, said, “I commend the industry for recognizing the importance of these voluntary initiatives and the continued willingness to work cooperatively to seek meaningful solutions.”

Miriam Perlberg, Senior Director for Cybersecurity Policies on the National Security Staff, congratulated the CSRIC on its voluntary, multi-stakeholder and industry-based approach. She stated, “Successfully combating botnets is a whole of government and whole of industry approach. The White House believes, as the CSRIC's recommendations make clear and Commerce’s data supports, a multi-stakeholder approach is needed to notify, educate, remediate and measure botnet threats to consumers.”

Implementing a recommendation of the National Broadband Plan, CSRIC was tasked with developing measures for ISPs to mitigate three major cyber threats: botnet attacks, domain name fraud, and Internet route hijacking. Today, the advisory committee endorsed industry-based recommendations in each of these three areas, including:

- Anti-Bot Code of Conduct: To reduce the threat of botnets in residential networks, CSRIC recommended a voluntary U.S. Anti-Bot Code of Conduct for Internet Service Providers (Anti- Bot Code). Under the Anti-Bot Code, ISPs agree to educate consumers about the botnet threat, take steps to detect botnet activity on their networks, make consumers aware of botnet infections on their computers, offer assistance to consumers whose computers are infected and collaborate with other service providers that have also adopted the Anti-Bot Code.

- DNS Best Practices: CSRIC recommended that ISPs implement best practices to better secure the Domain Name System. DNS works like a telephone book for the Internet, but lack of security for DNS has enabled spoofing, allowing Internet criminals to coax credit card numbers and personal data from users who do not realize they are on an illegitimate website. DNSSEC is a set of secure protocol extensions that prevent such fraudulent activity. This recommendation is a significant first step toward full DNSSEC implementation by ISPs and will allow users, with software applications like browsers, to validate that the destination they are trying to reach is authentic and not a spoofed website.

- IP Route Hijacking Industry Framework: CSRIC recommended an industry framework to prevent Internet route hijacking, which is the erroneous routing of Internet traffic through potentially untrustworthy networks. CSRIC recommended that ISPs work to implement new technologies and practices to reduce the number of these events, thereby ensuring that users in the U.S. can be more confident that their Internet traffic will not be exposed to scrutiny by other networks, foreign or domestic, through misrouting.

Chairman Genachowski strongly reiterated that privacy must not be compromised for the sake of security. He also announced that CSRIC is being tasked with preparing future recommendations to ensure that the best practices endorsed today will protect the privacy of Internet users. Last month, Chairman Genachowski urged the multi-stakeholder Internet community to find industry-led, non-regulatory solutions to secure our nation’s networks.

In response, several of the nation’s largest ISPs participating in CSRIC, including AT&T, CenturyLink, Comcast, Cox, Sprint, Time Warner Cable, and Verizon, pledged today to implement the CSRIC recommendations. Other ISPs, such as T-Mobile, have agreed to implement those recommendations that apply to their network architecture. When fully implemented, these measures will strengthen the security of the networks of the ISPs that provide Internet access to over 50 percent of residential broadband users.

"Betty White is admired by generations of audiences," said NAB President and CEO Gordon Smith. "She has remarkable energy, at age 90, and an incredible ability to connect with viewers. Betty's contributions to television and entertainment as a whole are extraordinary. Our Hall of Fame would be incomplete without her."

White's first comedy series, "Life with Elizabeth," brought her first Emmy Award in 1952, followed by a daily NBC talk/variety show called "The Betty White Show." She was a recurring regular with over 70 appearances on "The Tonight Show with Jack Paar," and appeared on "The Merv Griffin Show" and "The Tonight Show with Johnny Carson." She also subbed as host on all three talk shows. White was a regular with Vicki Lawrence on "Mama's Family," as sister Ellen, a role she created with the rest of the company on "The Carol Burnett Show."

Her recurring role as "Happy Homemaker" Sue Ann Nivens in the classic series "The Mary Tyler Moore Show" brought two Emmys for Best Supporting Actress in 1974-75 and 1975-76. She received her fourth Emmy for Best Daytime Game Show Host for "Just Men." Nominated seven times for Best Actress in a Comedy Series for her role as Rose Nylund in "The Golden Girls," White won the Emmy the first season in 1985, and later appeared in the spin-off "The Golden Palace" for one season. She earned her next Emmy Award as Best Guest Actress in a Comedy Series on "The John Larroquette Show."

White was nominated for an Emmy in 2011 for her portrayal of "Elka," the snarky but lovable caretaker on the TV Land series "Hot in Cleveland," in which she stars alongside Valerie Bertinelli, Jane Leeves and Wendie Malick. Betty also won back-to-back Screen Actors Guild Awards for Outstanding Performance by a Female in a Comedy Series in 2011 and 2012. When she hosted NBC's "Saturday Night Live" in 2010, it was one of the highest-rated episodes in the show's history, and earned her an Emmy Award for Guest Actress in a Comedy Series, bringing White's Emmy total to seven awards. Betty is also Executive Producer and Host of the NBC series Off Their Rockers, which is set to air April 4th.

In addition to charming sports fans with her role in the popular Snickers commercial shown during the 2010 Super Bowl, White has guest-starred on "Ally McBeal," "That '70s Show," "Boston Legal," and received Emmy nominations for guesting on both NBC's "Community" and "The Middle." She was also nominated for an Emmy as a guest actress on "Suddenly Susan."
Her numerous television movies include "Chance of a Lifetime," "Stealing Christmas," "Annie's Point" and "The Lost Valentine," for which she received yet another Emmy nomination. Betty also hosted the New Year's Day Tournament of Roses Parade for 20 years, and the Macy's Thanksgiving Day Parade for 10 years. Her big-screen credits include the Warner Brothers hit "The Proposal," with Sandra Bullock and Ryan Reynolds, as well as "You Again," "Bringing Down the House," "The Story of Us," "Lake Placid" and "Hard Rain."

Previous NAB Broadcasting Hall of Fame television inductees include Bob Newhart, Bob Barker, NBC's" Meet the Press," Regis Philbin, "The Tonight Show," "Saturday Night Live," Ted Koppel, "M*A*S*H," "60 Minutes," "The Today Show" and "Star Trek," among others.

“This announcement marks SpaceX’s first launch contract in Mexico. It is also the second launch contract in Asia that we have signed in the last month,” said Elon Musk, SpaceX CEO and Chief Technology Officer. “Asia and Latin America represent two of the world’s hottest markets for commercial satellite operators. SpaceX is ready to provide them with the solutions they need to add capacity and meet growing demand.”

“We are very pleased to have SpaceX, the world’s fastest growing space launch company, as our launch partner for Satmex 7. Satmex is positioned for a new era of growth with the anticipated launches of Satmex 8 in 2012 and Satmex 7 in late 2014 or early 2015. The addition of Satmex 7 (C and Ku band satellite) will expand our fleet to three satellites covering the Americas. Satmex 7 will be a cornerstone of the Satmex fleet designed to provide direct-to-home (DTH) and data services with increased power levels and improved elevation angles from any location within the coverage. These benefits will provide better performance to deliver media content directly to homes as well as broadband services,” said Patricio Northland, CEO of Satmex.

“Over the past decade, we have seen launch prices increase dramatically, making access to space out of reach for many programs. As one of the fastest growing satellite operators in the world, ABS requires access to space that combines affordability and lift capacity for our future satellite programs,” said Tom Choi, CEO of ABS. “Together with Satmex, our co-launch partner, we embark upon an innovative prospect of dual launching four medium-powered satellites on two launches on the Falcon 9. We are extremely happy to be working with Satmex and SpaceX to dramatically realign the cost structure of space access in order to bring the affordable capacity demanded by our customers.”

SpaceX said it will launch the two companies’ geosynchronous telecommunications satellites on two separate launches from Cape Canaveral, Florida. The launches will take place in late 2014 or early 2015 and the fourth quarter of 2015.

The CEA Index of Consumer Expectations (ICE), which measures consumer expectations about the broader economy, dropped 2.6 points from its all-time high in January to 174.7. This is nearly three points higher than this time last year, when the ICE measured 172.0.

Consumer confidence in technology spending also fell this month, with the CEA Index of Consumer Technology Expectations (ICTE) dipping to 85.6, down 2.4 points. The ICTE, which measures consumer expectations about technology spending, is up nearly 10 points from this time last year.

"February's results suggest that some uncertainty remains for consumers regarding near-term economic prospects," said Shawn DuBravac, CEA's chief economist and director of research. "With that said, indexes are higher than this time last year, which indicates we are moving further along in the path to economic recovery. Despite slight drops in both indexes this month, the trend remains intact - consumer sentiment continues to improve as the underlying economy strengthens."

"As the world's largest media and entertainment event, NAB Show draws attendees and exhibitors from all corners of the globe," said NAB Executive Vice President of Conventions and Business Operations Chris Brown. "Each year, around 30 percent of NAB Show attendees travel from outside the U.S. to this must-see event."

According to NAB, the NAB Show has once again been selected from among all shows by the U.S. Department of Commerce as the most critical business-to-business industry event to attend for this sector. NAB Show is a proud participant of the agency's International Buyer Program, which recruits International Trade Delegations to select U.S. trade shows and facilitates matchmaking services that connect international buyers with U.S. suppliers. Last year the program helped support numerous international attendees representing 153 countries.

In addition to a strong presence of international attendees, NAB Show's Exhibit Hall will host more than 400 international corporations. Companies will showcase cutting-edge technology and services for the electronic media and entertainment industry in each area of the exhibit floor. Many of these companies will be featured in seven international country pavilions, including the U.S. Export Pavilion, Bavarian Pavilion, Belgian Pavilion, Brazil Pavilion, French Pavilion, KOTRA (Korea Trace-Investment Promotion Agency) Pavilion, KBTA (Korea Broadcasting Technology Association) Pavilion and the UK Pavilion c/o Tradefair.

NAB Show also offers a variety of internationally-focused conference sessions as well as an International Trade Center (ITC) that features onsite services for international guests including Commercial Trade Specialists and multi-lingual staff in Spanish, Portuguese, Chinese, Japanese and Korean.

The 2012 NAB Show will be held April 14-19 in Las Vegas, Nevada.

EXCERIA, a combination of "excellent" and "experience" offers cards compliant with the SD Memory Card Standard Ver.3.0 UHS-I, and includes versions offering the world-fastest class data transfer speed.

The SD memory card has emerged as the data storage card of choice in all kinds of personal digital equipment. As the performance of digital equipment has advanced, SD memory cards offering faster data transfer speeds are necessary to support such functions as recording HD movies, continuous image shooting with digital camera and short transfer times when copying data to other devices.

According to Toshiba, the EXCERIA SDXC and SDHC memory cards will offer fast data read and write speeds and full compliance with the SD Memory Card Standard Ver.3.0 UHS-I. The minimum recording speed is compliant with UHS speed class 1 and SD speed class 10. Products will be launched in three series, EXCERIA Type 1, Type 2 and Type HD, each offering three versions with different capacities.

The Type 1 series products integrate new controllers that realize the world-fastest class of data transfers, with a maximum read speed of 95MB per sec and a write speed of 90MB per sec. Type 2 series products offer a maximum read speed of 95MB per sec and a write speed of 60MB per sec, while Type HD products have a maximum read speed of 90 MB per sec and a write speed of 30 MB per sec.

Toshiba said the new products will be launched from April in Japan and will continue to meet market demands by enhancing its line-up of high performance SD memory cards.

"The continuing popularity of music services is pushing consumers to find new ways to enjoy their growing libraries of audio content," said Kurt Scherf, VP, principal analyst, Parks Associates. "Consumers are using products such as smartphones and media tablets for music access and playback, and they want ways to distribute that content around the home. Networked audio products give them the ability to have a high-quality multiroom music experience."

By 2016, over 90 million home audio units, almost 60% of a worldwide market that includes A/V receivers, MP3 speaker docks, sound bars, and home theater systems, will ship with embedded networking solutions such as DLNA and Apple's AirPlay.

Scherf notes that Apple's decision to license its wireless music distribution technology – AirPlay – and DLNA's (Digital Living Network Alliance) uptick in use among vendors are among the key technology trends positively impacting growth. As manufacturers expand their networked audio products to point-to-point solutions such as MP3 speaker docks, lower-cost external speakers, and Internet radios, they will be well-positioned to take advantage of digital music consumption trends.

Powerline networking products are certified by HomePlug Alliance and HD-PLC Alliance for HomePlug AV or HD-PLC technology. By adopting powerline networking into its Interoperability Guidelines, DLNA will enable DLNA Certified® products to be connected anywhere in the home where there is an electrical outlet. These technologies are ideal for connecting DLNA Certified game consoles, network storage devices, TVs and other DLNA Certified® products far from a home router or modem for a high quality entertainment experience.

“Providing users the ability to use wired speeds without running new wires is a logical next step as more and more consumers add second and third TVs, game consoles and other DLNA Certified® products further away from their wireless router,” said Nidhish Parikh, chairman and president of DLNA. “DLNA continues to advance the connected home by allowing consumers to connect and enjoy their favorite content throughout their homes. Adding powerline networking as a DLNA approved solution for connectivity gives consumers expanded flexibility when setting up their home network and confidence they can enjoy their photos, music and videos on DLNA Certified products whether connected using electrical wiring, Wi-Fi, Ethernet or MoCA.”

“Consumers’ desire for high speed device connectivity throughout their home is growing,” said Kurt Scherf, Vice President, Principal Analyst, Parks Associates. “With an already strong deployed base of interoperable HomePlug AV products in the US and Europe and growing demand for connected services in China, including this technology in the DLNA Interoperability Guidelines is a great tool for delivering the Connected Home to consumers.”

“DLNA is carrying high expectations for leading digital media resources sharing in the home network. We are convinced HD-PLC certified products including IEEE 1901 Standard technology contribute a variety of applications and robust network solutions for DLNA.” said Michimasa Aramaki, president and chairman of HD-PLC Alliance.

“HomePlug has experienced exciting growth in 2011 and we are looking forward to a great 2012 as more people realize the benefits of using electrical wiring for device connectivity,” said Rob Ranck, President of HomePlug Alliance. “HomePlug’s inclusion in the DLNA Interoperability Guidelines, is a big win for consumers looking for higher speeds in more locations with no new wiring.”

Chairman Genachowski said, “For nearly two years, Josh Gottheimer has helped focus private and public sector actors on delivering innovative solutions to connect every American with high-speed Internet, drive job creation, and empower consumers. This entrepreneurial approach has delivered major advances in areas such as technology and education, broadband adoption, cybersecurity, and public safety.”

In addition, the Chairman announced that Jordan Usdan will serve as Deputy Director of the Public- Private Initiative. Mr. Usdan will continue to help coordinate the Commission’s public and private partnership efforts on broadband adoption, digital textbooks, cybersecurity, online safety, and broadband performance issues. He joined the Commission in 2009 from Howrey LLP, in Washington, DC, where he practiced after receiving his law degree from Georgetown. Previously at the Commission, Mr. Usdan served as an Advisor in the Wireless Telecommunications Bureau and as a Program Manager for the National Broadband Taskforce, where he focused on implementation, broadband adoption, international policies, and consumer transparency. He also led the development of the FCC’s fixed and mobile broadband speed tests and the Open Internet Apps Challenge.

According to the FCC, the initiative builds on the success of the Commission’s efforts to encourage public-private initiatives to advance the country’s broadband goals, including Connect to Compete, a broadband adoption program with national digital literacy and low-cost broadband offerings; the Digital Textbooks Initiative, between the Department of Education, the education technology industry, and nonprofit organizations; the FCC’s cybersecurity small business initiative, between government experts and private IT and security companies; Jobs4America, an initiative that has committed to bringing more than 100,000 new and repatriated call center jobs to the U.S. by 2013; and a joint effort with mobile carriers on a new nationwide public safety emergency alerting system.

Then:

(1960): 7% of households received cable.

(1990): 56% received cable and 66% owned a VCR.
(2006): 89% of TV content is viewed live.
(2006): DVR usage accounts for 1.6% of our TV time.

Today:

• 98% of homes own a TV and most have some kind of device hooked up to their television.
• 85% of TV content is viewed live.
• DVR usage accounts for 8% of our TV time.

Among the three major devices connected to our TVs (video game consoles, DVRs and DVD players), DVRs account for the greatest percentage of Americans’ watching time.  Since 2006 the percentage of time we watch live TV in the home has fallen from 89 percent to 85 percent.  However, the amount of time each person spends viewing TV content (live or timeshifted) actually increased by 19 minutes year-over-year in the first four weeks of the 2011 season. In short, we’re watching more, but more frequently on our own schedules.

The percent of DVR usage has grown fivefold from a mere 1.6 percent in 2006 to almost 8 percent in 2011, and DVRs are adding time to our TV day by allowing us to watch shows airing at the same time. Leading the trend in DVR usage are females 18-54, who allot almost 10 percent of their TV viewing time to a DVR.
In 2006, only 2.2 percent of people 18-49 tuned in to both American Idol and NCIS, the top two programs that both aired at 8 p.m. on Tuesdays.  However, in 2011, 7 percent of people 18-49 watched Castle and Hawaii Five-O on Mondays at 10 p.m.

While usage of DVD players has decreased across every demographic since 2007, video game consoles have seen a rise. Since 2006, video game console usage has increased almost 40 percent from 2.7 percent to 3.9 percent of total TV time.  The trend in console usage is driven by teens, who spend almost 11 percent of their total TV time engaged with a video game console.

Ethnic viewing trends:


While watching the least TV of any ethnic group at 49 hours and 14 minutes during the first four weeks of the broadcast season (Sept 2011), Asians 18+ substantially increased the amount of time they spent consuming traditional TV (Live TV and DVR playback), adding more than 50 minutes to the 2010 average.  By contrast, African-American and Hispanics 18+ actually spent less time watching TV in 2011 compared to 2010.

Asian homes also allocated the least amount of time to live TV (81% of total viewing) while leading all ethnic groups with the largest percentage of their TV interaction devoted to DVRs and DVD players.  Hispanic homes ruled the game console, however, as they dedicated more than 3 hours and 30 minutes of their TV interaction (5.4%) to a gaming system during the first four weeks of the broadcast season.  African-American homes, despite only spending 3.5 percent of their time utilizing a DVD player, led the way in total usage, devoting almost 3 hours of their 85 total TV hours to DVDs.

According to NAB, consumer desire for media content anywhere and anytime continues to tax telecom wireless networks' ability to deliver video via their one-to-one architecture. As a result, wireless companies are imposing data limits on services that have raised concerns among content providers and consumers. On the other hand, broadcasters' one-to-many architecture has an edge in terms of delivering video to mass audiences with few constraints, an advantage that could serve the industry well in terms of meeting consumer expectations.

Peggy Johnson, who heads global market development for Qualcomm, will deliver the session's keynote address. At Qualcomm, Johnson leads efforts to commercialize new business opportunities, nurture early stage initiatives and develop strategic relationships. In a previous role as executive vice president of Qualcomm's Americas and India division, Johnson played a key role in the global development and adoption of 3G wireless broadband technology and services in those regions.

Moderated by Jim Burger, member, Dow Lohnes PLLC, the session's panel will include Mark Aitken, VP Advanced Technology, Sinclair Broadcast Group; Peter Siebert, executive director, DVB Project Office; Jack Perry, CEO and founder, Syncbak; and Cedric Fernandes, VP technology, MobiTV. Panelists will examine various global technologies and potential business models for future mobile TV use in light of consumer demand. Discussion topics include the effects of data limits put in place by wireless providers, how broadcasters can leverage home grown technologies to their advantage and how the broadcast industry can meet consumers' changing expectations.

The 2012 NAB Show runs April 14 – 19, at the Las Vegas Convention Center, Las Vegas.

Based on the findings of NPD’s “Annual Music Study,” after years of losing buyers, caused by many consumers who simply stopped buying music, the total number of CD buyers increased for the second consecutive year, growing 2 percent to 78 million. There were a variety of reasons consumers cited for purchasing more CDs, including a perceived improvement in the quality and value of the music available, and a greater ability to learn about music prior to purchase. Consumers also now have a wider variety of sources to discover new music -- from traditional AM/FM radio and online services like Pandora, Rhapsody, and Spotify. Even as Apple’s iTunes approaches its tenth anniversary next year, there are still nearly twice as many CD buyers in the U.S. as there are paid digital-music downloaders.

“CDs are the gift that keep giving, which proves that even in an increasingly digital age, consumers will respond to quality content and strong perceived value, even if it comes in a physical package,” said Russ Crupnick, senior vice president of industry analysis at NPD. “The CD still has a powerful attraction for both older, mainstream consumers who listen in their cars, as well as to super fans who enjoy owning the package and assortment of songs from their favorite artists.”

On the digital front, NPD noted healthy growth in the number of paid download buyers, which increased 14 percent in 2011 to 45 million customers. Digital buyers also spent more at iTunes Music Store, Amazon MP3, and other digital music stores in 2011; the average annual expenditure for digital music rose 6 percent in 2011 to $49.

“Despite all of the exciting online radio options, we are still seeing healthy growth in the market for digital-music downloads,” said Crupnick. “This growth is fueled by an increase in mobile devices, and a core base of consumers who want to own the music they listen to, despite all of the emerging radio options.”

In addition to improving economic conditions, and a continued appetite for music, the report also noted a decline in unpaid music acquisition, such as P2P file sharing and trading music on hard drives. NPD estimates that 13 percent of Internet users downloaded music from a P2P site, which is down from a peak of 19 percent in 2006. “Industry efforts to combat illegal file sharing, and increased options for listening and downloading legally, have resulted in a sharp reduction in the number of P2P music downloaders,” said Crupnick.

Along with the leveling off in the decline of CD sales, and the improved report card on digital downloads, NPD reported that the fastest growing form of music listening was online radio. While listening to CDs and AM/FM radio are by far the most popular ways Americans engage with music, online-radio listening has grown from 29 percent two years ago to reach 43 percent of the internet population in 2011.

“As long as consumers want to own digital tracks and continue to have a passion for the physical format and a way to play their CDs, online radio and paid-to-own music will live in harmony,” said Crupnick.

Generally, “jammers” - which include devices commonly called signal blockers, GPS jammers, cell phone jammers, text blockers, etc. - are illegal radio frequency transmitters that are designed to block, jam, or otherwise interfere with authorized radio communications.

A jammer can block all radio communications on any device that operates on radio frequencies within its range (i.e., within a certain radius of the jammer) by emitting radio frequency waves that prevent the targeted device from establishing or maintaining a connection. Jamming technology generally does not discriminate between desirable and undesirable communications. For example, jammers can:

- prevent a cell phone from making or receiving calls, text messages, and emails;
- prevent a Wi-Fi enabled device from connecting to the Internet;
- prevent a GPS unit from receiving correct positioning signals; and
- prevent a first responder from locating people in an emergency.

According to the FCC, jammers do not just weed out noisy or annoying conversations and disable unwanted GPS tracking. Jammers can prevent 9-1-1 and other emergency phone calls from getting through or interfere with police and other law enforcement communications. For example, the recent use of a cell phone jammer in an office building disrupted communications of a nearby Fire Department. When Enforcement Bureau agents investigated the incident, they found that a CPA who apparently did not want to be disturbed during the busy tax season was using a small, inexpensive cell jammer inside his office. But, the jammer was disrupting critical public safety communications outside his building as well.

The Enforcement Advisory states it is:

- Illegal to Operate Jammers in the U.S. Unless you are an authorized federal government user, you may not operate a jammer in the U.S., even on private property. This means that it is illegal to use a jammer on mass transit (e.g., train, bus) or in a residence, vehicle, school, theater, restaurant or in any other public or private place.

- Illegal to Import Jammers into the U.S. If you purchase a jammer online and ship it to the U.S., you have violated federal law. When you buy jammers from outside the U.S.—used or new —you become the “importer” of an illegal device. It does not matter whether you purchased the device from an established business or an individual selling the jammer in an online auction. Jammers imported from overseas are also subject to seizure at the border.

- Illegal to Sell or Advertise Jammers Online or in Stores. You may not sell or advertise jammers to individuals or businesses on online auction or marketplace sites, in retail stores, or even at your local flea market. Selling even a single jammer is illegal. You also are prohibited from shipping a jammer in the U.S.

Monetary Penalties Can Exceed $100,000 per violation. Violations of the jamming prohibition can lead to substantial monetary penalties (up to $112,500 for any single act), seizure of the illegal jammer, and criminal sanctions including imprisonment.

For additional information regarding enforcement of the jamming prohibition, visit www.fcc.gov/eb/jammerenforcement

“This sale is consistent with our objective of focusing Kodak on a core set of businesses in which we can most profitably leverage our technology and brand strengths, and provides a well-proven mechanism for ensuring that Kodak receives maximum value from these assets," said Pradeep Jotwani, President, Consumer Businesses and Chief Marketing Officer. “KODAK Gallery is a unique property, with more than 75 million users, and an ability to attract new members through innovative customer offerings such as its category-leading popular mobile apps.”

Jotwani emphasized that under the agreement, Kodak will work closely with Shutterfly to ensure a smooth transition and that customer photos will continue to be safeguarded throughout the process.

“We appreciate the loyalty of the KODAK Gallery customers in the U.S. and Canada who have entrusted us with their photo memories. We know how much they value their photos, so we will ensure that a transition is smooth and easy for them, and that their images will be preserved and protected,” Jotwani said. “We are pleased that under this stalking horse agreement with Shutterfly, our customers will continue to enjoy a rewarding on-line photo experience.”

Kodak will give customers who do not want their photos transferred to Shutterfly the opportunity to opt out of the transition process. Those customers could then retrieve their images through free downloads or by purchasing DVDs from KODAK Gallery.

Jotwani noted that Kodak is focusing its consumer business on retail and destination photo solutions as well as home printing products. “Those businesses have attractive and growing sales of consumables,” he said. “We are by far the leader in retail print solutions, with an installed base that has grown now to 105,000 picture kiosks, while our consumer inkjet printers offer high-quality, affordable ink.”

Under the terms of the Agreement, Kodak will seek U.S. Bankruptcy Court approval of sale and auction procedures by late March. Under these proposed procedures, other potential buyers may submit alternative bids to Kodak and seek to establish the superiority of their alternative bid. Kodak is targeting completion of the sale process this spring.

A long-time ENERGY STAR partner, LG Electronics increased its U.S. sales of products that earn the ENERGY STAR label, the government-backed symbol of energy efficiency, by nearly 30 percent in 2011. LG's accomplishments will be recognized at the EPA's awards ceremony in Washington, D.C. on March 15, marking the 20th anniversary of ENERGY STAR.

"As we celebrate the 20th anniversary of the ENERGY STAR program, EPA is proud to recognize LG Electronics with the 2012 ENERGY STAR Partner of the Year–Product Manufacturer Award," said EPA Administrator Lisa P. Jackson. "LG and all our ENERGY STAR award winners truly demonstrate how the leadership and commitment from EPA's partners has made a difference in the lives of Americans since 1992 saving them billions of dollars in energy costs and improving the health of our families, the planet and our future."

Underscoring its commitment to the ENERGY STAR program, LG Electronics embarked on nationwide public education and community outreach campaigns, helping empower consumers to make informed choices about their electronics and appliance purchases. Throughout 2011, LG's efforts resulted in billions of impressions through co-marketing and cooperative promotions to support the ENERGY STAR message.

LG said the company has also fully embraced the new, rigorous guidelines set by the ENERGY STAR Most Efficient program, designed to advance energy efficiency by awarding the designation to the top five percent of products in specific categories. Fifteen LG home electronics and appliance products earned this coveted designation in 2011, more than any other manufacturer.

Park explained that LG continues to promote energy efficiency of all kinds throughout its business. In November, the company announced a goal to reduce its greenhouse gas emissions in the U.S. by 50 percent by the end of 2020. As part of these efforts, LG purchases 100 percent green energy for its U.S. headquarters in Englewood Cliffs, N.J.

"LG enacted a company-wide effort to put environmental stewardship into the core of its business principles," said Wayne Park, president and CEO of LG Electronics USA. "We are dedicated to achieving ENERGY STAR ratings on more products, further increasing sales of ENERGY STAR products, continuing to expand sales training and employee engagement programs, and aggressively promoting the benefits of the ENERGY STAR brand to consumers."

The 2012 Partner of the Year Awards are given to manufacturers and retailers that successfully promote and deliver ENERGY STAR qualified products, saving consumers money and reducing greenhouse gas emissions. LG and other honorees were selected from about 20,000 organizations that participate in the ENERGY STAR program. Over the past 20 years, American families and businesses have saved nearly $230 billion on utility bills and prevented greenhouse gas emissions equal to those from more than 350 million vehicles with help from ENERGY STAR.

According to the Group, PREMIER BD offers a worldwide "portfolio" license for Blu-ray ("BD") and DVD patents essential to make, use and sell BD decoders, BD encoders, BD players, BD read-only discs, BD recordable discs, BD drives, BD/DVD hybrid discs, and BD recorders ("BD Products"), including BD Products that incorporate BD functionality. PREMIER BD's licensees benefit from "one-stop shopping" for all such patents that are owned or controlled by PREMIER BD's members.

PREMIER BD's members have authorized Toshiba to act as Licensor in licensing their essential BD and DVD patents as part of this joint licensing program.

Interested parties are free should they choose to negotiate individual license agreements (rather than taking a single portfolio license) with each of the members of PREMIER BD, which have committed to provide such individual licenses on fair, reasonable, and nondiscriminatory terms.

For further information regarding the PREMIER BD licensing program, please visit the PREMIER BD website.

WD also reported that it has agreed, subject to completion of the divestiture transaction, to purchase Toshiba Storage Device (Thailand) Company Limited (TSDT). TSDT manufactured hard drives but has not resumed operations after the recent Thailand flooding. The principal assets of TSDT are its Thailand property, facilities and employees. Subject to completion of the transaction, WD plans to integrate these facilities and employees into its Thailand operations. The financial terms of the two agreements were not disclosed.

According to Western, the closing of the transactions with Toshiba is conditioned on WD's closing of its planned acquisition of HGST, which remains subject to several closing conditions, including the receipt of certain remaining antitrust approvals. Subject to obtaining these approvals, the company is targeting the transactions with Toshiba to close in March 2012.

The UV initiative has made rapid progress since the first UV-enabled DVD and Blu-ray Discs (BD) were sold in October. At the Consumer Electronics Show in January, the Digital Entertainment Content Ecosystem (DECE) UV consortium disclosed that 750,000 U.S. accounts had been established. Since then, the number of UV accounts has expanded by another 50,000, IHS Screen Digest believes. Furthermore, for each account established, consumers have redeemed digital rights to 1.25 titles, meaning US consumers now have added more than 1 million films to their digital film collections via UV-enabled discs.

“One million may not sound like much compared to the 504 million movie discs sold in 2011,” noted Tom Adams, principal analyst and director, U.S. media, for IHS. “However, we have projected that only 19 million digital film files were sold during the entire year of 2011 by electronic sell-through (EST) vendors like iTunes, Xbox Live and Vudu. This suggests that if UV can continue to gain momentum this year, it could encourage consumers to buy more movies. Movie purchasing represents an important priority for movie studios, which have seen their film sales dwindle in the face of growing physical and digital rentals and streaming services like Netflix.”

The rental business has dramatically outperformed the purchasing segment in recent years, with the number of U.S. digital rentals amounting to more than three times the total for digital purchases in 2011.

Consumers spend more per movie watched when purchasing a film than when renting one, on top of which as much as 80 percent of consumer movie purchase spending flows through to studio top-line revenue, whether of physical discs or of digital versions. Retailers and distributors keep the majority of rental and subscription spending, rather than passing it back upstream to studios.

UV is a common file format and digital rights authentication system designed to allow a digital copy of a film or television show bought from any vendor—physical or electronic—to be played on any one of 12 devices owned by up to six members of a household, either via download or streaming from the cloud. The UV ecosystem is designed to allow users to view the content they have purchased – on disc or online – on a growing number of Internet-connected devices, including UV-enabled BD players, TVs and media tablets.

Beyond the large number of accounts achieved in less than four months, the quickening pace of commercial activity around the UV format has heartened studio execs in recent weeks. Recent developments include:

- Flixster–the Warner Bros.—owned web site and iPad app—announced that its UV-enabled movie application will be available on Panasonic’s line of Viera Connect devices, including HDTVs and Blu-ray Disc players later this year.
- Samsung, in conjunction with Flixster and Rovi, announced it would release BD players later this year that will offer consumers the option to put a copy of previously purchased non-UV-enabled BD and DVD programs into their UV collection in the cloud, for a nominal fee to be set by participating studios.
- Amazon announced that it has signed a deal with an unnamed studio to offer electronic sell-through (EST) of UV-enabled movies later this year. Paramount became the first studio to offer EST access to titles in late January, offering a high-quality slice of its catalog, including all three “Mission Impossible,” “Godfather” and “Beverly Hills Cop” movies, plus the most recent “Star Trek.”
- Neustar, the database-management company that developed and operates the digital-rights clearing house underlying UV, showed off its Catalyst white-label UV storefront, with which retailers can quickly put themselves into the business of providing UV streaming and downloading services.

Each of these announcements is a step in addressing one or more of the key challenges facing UV, Adams noted. These challenges include providing living room access, jumpstarting consumers’ UV collections by allowing them to put existing disc-based content into the cloud and expanding retailer support for the format.

According to NEC, the company is the first microwave radio systems provider to introduce 2048QAM, and can deliver up to 40% per-channel capacity increase to its customers, relative to the systems commonly in operation today which employ up to 256QAM. The new design also supports a full sequence of Adaptive Modulation in all steps from 2048QAM down to QPSK. This feature allows scalable addition of capacity without compromising the reach and availability of transmission links deployed in the network.

High modulation is the key component in enabling high capacity and eventually delivering 10Gbps microwave transmission in combination with multiplexing techniques such as XPIC, RTA and MIMO. Microwave capacities are not only comparative to those of optical access technologies, they can also be deployed on-demand, a critical attribute for the economical deployment of backhaul for LTE, digital broadcast, TETRA, and other types of communication networks. Innovation and flexibility are the reasons why network operators maintain their investment in microwave systems as they continue to match ever growing capacity needs.

Atsushi Noro, deputy general manager of NEC's Mobile Wireless Network Division, said: "In recent times we have seen a great deal of innovation in microwave technologies driven by the need to support next generation networks: high capacity, new carrier frequencies, packet transport, QoS aware adaptive modulation, smaller and more power efficient equipment, and others. Many of these technologies were pioneered by NEC thanks to our extensive research and development capabilities proven by years of market leadership. 2048QAM is the latest development from NEC and we are confident we will deliver further innovations."

The company said it will implement 2048 Quadrature Amplitude Modulation (2048QAM) within its iPASOLINK product family in the second half of 2012. NEC will demonstrate the performance of its 2048QAM implementation at the Mobile World Congress 2012 in Barcelona, Spain, from 27th of February to 1st of March, stand 8A125.

Current MVC essential patent holders include Dolby Laboratories Licensing Corporation; Fraunhofer-Gesellschaft zur Foerderung der angewandten Forschung e.V.; Fujitsu Limited; Hewlett-Packard Company; Hitachi Consumer Electronics Co., Ltd.; Koninklijke KPN N.V.; LG Electronics Inc.; Mitsubishi Electric Corporation; Nippon Telegraph and Telephone Corporation (NTT); NTT DOCOMO, Inc.; Panasonic Corporation; Sharp Corporation; Sony Corporation; The Trustees of Columbia University in the City of New York; and Thomson Licensing.

"MPEG LA is proud to play a role in delivering technology that enables consumers to receive the benefits of 3D video," said MPEG LA President and CEO Larry Horn. "This license gives renewed testimony to the ability of the MPEG LA® Licensing Model to address real world market demand for access to standard-essential patents owned by multiple parties through a convenient, fair, and efficient one-stop licensing alternative enabling users to focus their resources on developing new competitive products instead of uncertainty and conflict. We applaud these fifteen patent holders for their exemplary cooperation in coming together for the benefit of the marketplace to forge a voluntary market-based solution that benefits MVC consumers.”

Bill Geary, Vice President of Business Development at MPEG LA, will introduce the MVC patent pool license at the Asia-Pacific 3D Standards & IP Forum to be held on February 24 in Seoul, Korea. Mr. Geary said, “We are honored to introduce an efficient patent licensing solution for 3D MVC video and join a multi-national panel of speakers who will address IP and standards development for 3D applications in entertainment, medicine, and education.”

Copies of the MVC license agreement may be obtained at http://www.mpegla.com/main/programs/MVC/Pages/Agreement.aspx. A summary of the license terms is attached. In addition, MVC products may benefit from coverage under the AVC/H.264 Patent PortfoliLicense offered by MPEG LA. To obtain information about or request a copy of the AVC/H.264 Patent Portfolio License, go to http://www.mpegla.com/main/programs/AVC/Pages/Intro.aspx.

Since its commercialization of the world's first TransferJet LSI in 2009, Sony has promoted an intuitive approach to the high-speed transfer and sharing of high-resolution photos and video images whereby such high speeds are realized by simply bringing different devices, such as digital cameras and PCs, into closer proximity with each other. Meanwhile, the recent proliferation of smartphones and tablet devices has led to a consequential increase in the need for wireless communication LSIs with a lower power consumption and smaller size, together with increased demands from the mobile computing environment for further enhancements in high-speed communications and reception performance.

In order to accommodate these needs, Sony said it has developed the new TransferJet compatible LSI “CXD3271GW”, which achieves both a high transmission speed and the industry's highest receiving sensitivity, in addition to significantly reducing power consumption over previous models to better facilitate its implementation in mobile devices.

This LSI supports high-speed SDIO UHS-I as its host interface and introduces a new device driver design which provides a high-speed communications environment. These design enhancements have improved the new LSI's transmission speed to over 350Mbps, which is close to the theoretical maximum effective speed of 375Mbps based on the TransferJet standard. Furthermore, Sony's high-speed transmission technology and wideband RF-CMOS technology enables stable communications between devices, achieving the sensitivity of -82dBm (when receiving Rate65) which in fact exceeds the standard TransferJet value of -71dBm. Additionally, the RF balun, the RF switch for transmitter/receiver and the LDO and OTP-ROM, which used to be the externally embedded parts are now all pre-embedded into the new LSI, and a dedicated external crystal controlled oscillator will no longer be required by supporting a multi-reference clock. These factors contribute to a reduction in the number of parts implemented in the sets, a smaller footprint, and reductions in power consumption.

Sony said it will provide a software development kit for Android to facilitate the LSI's implementation in Android devices together with the software development kit for Linux which has been provided with the previous models to developers. The company will also continue to actively promote the adoption of its TransferJet LSIs by manufacturers from fast-growing markets such as smartphones.

“Sports, fitness, and well-being applications will be the key engine of growth in the wearable wireless healthcare market as demand for a new wave of devices will be driven not just by growing consumer interest and awareness but also by increased competition and support for a raft of new applications,” says principal analyst Jonathan Collins.

Strong growth will also take place within home monitoring applications for assisted living, remote patient care to help manage chronic conditions, and within hospitals a