International Datacasting and Sensio Technologies Join Forces to Offer Integrated 3D Digital Cinema Broadcast Solutions

"International Datacasting Corporation and Sensio Technologies announced today that they have signed a letter of intent to jointly develop and offer complete end-to-end integrated broadcast solutions for 3D digital and e-cinema.

The strategic agreement combines and builds on the complementary leading-edge technologies and products of the two companies. Under the agreement, Sensio will be providing their expertise in 3D digital content encoding and decoding and IDC will be providing their broadband satellite distribution networks expertise. The companies intend to offer their integrated solution for broadcasting live 3D sporting and cultural events and also for the distribution of movie files to the emerging international digital and e-cinema market.

Sensio’s 3D technology, originally developed for the consumer 3D entertainment market, transforms stereoscopic high-definition video (e.g. from dual HD cameras) into a format that can be efficiently distributed over standard infrastructure intended for 2D broadband using existing protocols and then transforms the content back into 3D video for direct digital projection. The technology features visually loss-less stereoscopic compression and is compatible with all existing and future 3D projection technologies for 2D or 3D viewing. The Sensio 3D Live! Encoder was first introduced at the National Association of Broadcasters (NAB) annual convention in Las Vegas earlier this year and the companion Sensio Cinema Decoder has been launched at IBC.

IDC’s SuperFlex technology, along with their Datacast XD content management and distribution software, is a family of products and systems solutions for the implementation of secure broadband satellite broadcasting networks using Internet Protocol (IP) and the industry’s Digital Video Broadcasting (DVB) standard. The company’s DVB-IP systems are in use worldwide for a variety of multimedia point-to-multipoint distribution applications including IPTV, syndicated TV, broadcast radio, news/financial information services and digital cinema. The technology features open standards for content connectivity, a variety of standard encryption and conditional access options, proven network management and a suite of advanced application-specific satellite receivers that are interoperable with terrestrial IP networks including the Internet."

Source: Digital Cinema Info

Xilinx and Barco Announce Single-chip JPEG2000 Implementation

"Xilinx, the world’s leading supplier of programmable solutions, and Barco Silex, the leading center of micro-electronics of Barco, announced the joint development of single chip JPEG2000 encoder and decoder solutions. Based on the successful implementation of Barco Silex JPEG2000 cores on Xilinx Virtex-5 FPGAs, the solutions significantly reduce the cost of broadcast and Digital Cinema Initiative (DCI) archiving, post-production, distribution and server systems.

The encoder chip solution allows the creation of a single board capable of real-time encoding, performance that previously required a cluster of PCs or Application Specific Standard Products (ASSPs). The encoder and decoder solutions sustain the high encoding requirements of DCI (Digital Cinema Initiative) formats including 2048 x 1080 and 4096 x 2160 resolutions with up to 48 frames per second and broadcast formats including 1080i and 1080p. The decoder chip solution replaces up to twelve separate ASSP chips. System developers further benefit from the capacity and flexibility of Xilinx Virtex-5 FPGAs with the ability to add encryption or watermarking functionality.

Barco Silex has developed and implemented JPEG2000 hardware cores since 2002. For enhanced security, Barco Silex’ IP portfolio also includes crypto cores such as Advanced Encryption Standard (AES) and Public Key Crypto Engines. As a custom electronic design house, Barco Silex can also provide integration design support as well as chip and board solutions.

The Barco Silex JPEG2000 hardware cores are immediately available for third party licensing."

Source: Digital Cinema Info

DVidea Introduces its Innovative Theater Management System for Digital Cinema Exhibitors

"DVidea, the company focused on developing tools to meet the challenges of digital asset management for theater owners, today unveiled its state-of-the-art Theater Management System (TMS) at IBC 2007. Designed to meet the needs of digital cinema exhibitors, the TMS was developed with the cooperation of industry partners and end-users to provide the most comprehensive tools for media management and automation.

DVidea’s Theater Management System offers a comprehensive set of easy-to-use tools to manage each aspect of the new digital workflows involved in theater exhibition. Intuitive interfaces for each task are easy to learn and use, and adaptable to a range of workflows. The DVidea TMS system is built on open standards for straight-forward installation, easy administration and reliable third-party integration. The benefits of the DVidea TMS are significant for small independents as well as larger network theater operators.

Key Features of DVidea TMS :
Library – Easy manual or automated ingest of features, pre-shows, local productions to the Library, your Central Content Catalogue.
File and KDM Management – DVidea automatically handles your internal and external transfers and tracks the progress.
Scheduling – Programming made simple; build or import pre-shows and ad blocks. Total flexibility for current and future scheduling as well as updating shows in-progress.
Monitor – Real-time status of all devices and multiple viewing screens; built-in alerts.
Equipment Automation – Pre-set controls for sound, lights, cinema servers, projectors and third party automation systems.
Exchange – Automated data transfers of playlists, logs, financial information with booking, ticketing, point-of sales and network operating centers.

A wide range of additional features designed to improve workflow is included in DVidea Theater Management System.

DVidea Technology :
DVidea’s Theater Management System is based on open technology standards. Built on proven, non-proprietary platforms, DVidea’s TMS integrates easily with industry-standard operating systems and hardware, including third-party automation systems. The system is DCI compliant, handles multiple formats and includes security protections with full control of the workflow processes."

Source: DCinemaToday

DVS Upgrades 4K to 60p

"With the development of a 4K 60p player, DVS opens up new possibilities in digital cinema. Instead of the customary 24p or 30p, the new DVS player Cine4K achieves up to 60 progressive frames per second. 60p for 4K can thus be displayed at a resolution of 3820 x 2160, which is four times the resolution of HD.

Beyond the usual industry standards, DVS is capable of fulfilling the extreme requirements of presenting 4K material in 60p at full resolution.

Cine4K is the optimal feeder for high-end 4K projectors. The data-intensive presentation is ideal for large projectors or for digital cinema. The new DVS player is multi-device capable - that is, more than one of these systems can be linked together to fill very large screens or to create 3D projections in 4K.

With the frame rate of 60p, motion in film is lifelike, fluid and optimally presented, such as for so-called “motion rides”. In them, viewers can perceive not only perspective, but also depth in movement.

It is also possible to use Cine4K to create a stereo effect, e.g. one image in 30p for each eye in the highest resolution 4K. This too is an all-new sensation in the cinema and TV world."

Source: BroadcastBuyer

Codex New Portable Unleashes HD 2K - 4K Production

"Codex Digital used IBC to launch a lightweight, high-resolution portable field recorder that will unleash revolutionary potential for HD, 2K and 4K broadcast television and motion picture production.

With cutting-edge design, and packed with today’s most advanced technology, the new Codex Portable is the first lightweight disk recorder to record any high-end digital camera - from HD to 4K, at cinema quality - and to seamlessly deliver the material to any post-production workflow.

As a rugged, self-contained unit, no larger than a toaster, it can be used for ‘run and gun’ broadcast production, and be easily carried anywhere – around a set, up a mountain or into a field. However, the Codex Portable also creates new opportunities for multi-camera production.

Using visually-lossless compression, it has the unique ability to record from two 4:4:4 cameras simultaneously – either independently for A and B camera shoots, or locked together for 3D stereoscopic projects. It is the first to record from four 4:2:2 cameras simultaneously, and even allows the synchronisation of multiple recorders. With this feature, six synchronised Codex Portables can act as a 24-track video, 48-track audio-recorder – enough to record an entire concert, sporting event, or TV drama at higher-than-broadcast quality.

The Codex Portable is packed with technical capabilities that take production workflow to new levels. Via its multiple high-speed networking interfaces, it will deliver the seamless transfer of shots to all post-production workflows. Direct outputs include H.264 (MP4) over a secure Wi-Fi link, allowing unique remote wireless monitoring and immediate transfer into editing systems.

After recording, the Codex Portable’s DiskPacks can be plugged directly into a matching Codex Transfer Station, which copies and backs-up the material (much faster than real-time), and then delivers it, plus the associated metadata, across local or worldwide networks.

In conjunction with the Transfer Station, the Codex Portable can deliver shots in all industry-standard formats, including DPX, MXF, QuickTime, AVI, JPEG, BMP, and BWF (WAV) files. It can even provide native-mode files that editing-systems can use with no importing at all.

Flexible I/O configurations mean it can record from virtually every digital camera available today – including all HD cameras in video mode, plus data-mode from cameras such as the ARRI D-20 and DALSA’s Origin. It can also record Red Digital Cinema’s RED ONE camera in 4K data-mode, when this becomes available.

Recording is made to hot-swappable, shock-mounted RAID DiskPacks that can hold up to three hours of continuous recording at the system’s highest quality – the first portable recorder (disk or tape) to offer such capability and capacity.

The compression method used is JPEG2000, a wavelet-based system that forms the basis of the DCI standard for cinema delivery. The compression is visually indistinguishable from the original and is comparable to the highest-quality mode of HDCAM-SR tape.

Constructed from carbon fibre and with rubber-sealed connections, the Codex Portable is weather-resistant, and weighs only 9 lb / 4 Kg. It is powered from any standard camera battery and can be carried on an operator’s shoulder, or secured to camera equipment such as dollies and cranes. The Codex Portable is always ready-to-record, and near-silent operation lets it get close to the action.

When used in the field the Codex Portable delivers immediate full-frame playback and review of footage on a daylight-readable touchscreen. A unique feature is a secure wireless system, which enables instant shot logging, or remote-control of the system, from any networked computer or PDA. The Codex Portable even features a special “Mutter Track” microphone input, which allows the user to add comments during a take for shot-logging and notes.

The Codex Portable is priced at £22,500 (GBP), €33,000 Euros, $44,500 (USD). Codex Digital expects to ship the first production-ready units at the end of 2007."

Source: Broadcast Buyer

Panasonic Introduces 32GB Solid-State P2 Memory Card

"Panasonic introduces a 32GB P2 solid-state memory card for its popular line of P2 HD and P2 solid-state camcorders and decks. With the availability of the 32GB P2 card in November, Panasonic will have quadrupled the storage capacity of its solid-state memory card in just this year, providing HD recording time greater than most tape-based and disc-based systems.

The 32GB P2 card, model AJ-P2C032RG, will have a suggested list price of $1,650 and is scheduled for initial deliveries in November. The new 32 P2 card will be offered in addition to the 16GB P2 card that has been shipping since May.

Camcorders equipped with the new 32GB P2 card will offer greater recording capacity than tape-based and disc-based systems, and offer the proven benefits of no-moving-parts reliability and fast IT file-based workflow. With five 32GB P2 cards installed, the AJ-HPX3000 and HPX2000 P2 HD camcorders can record for up to 2.5 hours (over 3 hours in 24p) in AVC-Intra 100 or DVCPRO HD and 5 hours (over 6.5 hours in 24p) in AVC-Intra 50 or DVCPRO 50.

Panasonic’s P2 card is based on ultra-reliable, solid-state memory, consisting of four SD cards, like those now used in digital still cameras, packaged in a rugged, die-cast frame that weighs only 0.099 lbs (45 grams). This convenient card has four times the capacity and four times the transfer speed of a single SD card. The P2 card is reusable and connects instantly with laptops and major non-linear editing systems to eliminate the time-consuming task of digitizing.

The P2 card is resistant to impact (up to 1,500G), vibration (up to 15G), shock, dust and environmental extremes including temperature changes. It operates in temperatures from -4° to 176°F (-20 to 60°C), and can be stored in temperatures from -40° to 176°F (-40 to 80°C). Unlike tapes and discs, the P2 card has no rotating or contact parts. The solid-state P2 memory card can transfer data at speeds up to 640Mbps to provide the professional user with fast, easy operation. Compared to tape or disc, P2 acquisition requires no media consumption, resulting in tremendous savings in media costs as well as environmental benefits.

The new 32GB card is fully compatible with the current 16GB P2 card, so users who’ve upgraded their P2 product(s) and computer system for 16GB operation are ready for 32GB operation. For P2 users who haven’t completed this upgrade, it is a requirement to take advantage of 32GB operation."

Source: Broadcast Equipment Guide

Inlet Technologies Announces Digital Watermarking For Extended Security During Encoding Process

"Inlet Technologies, the leader in advanced encoding solutions for new media, announced today that the company has partnered with Thomson, the world leader in digital video technologies, to enhance content security during the encoding and production process. Inlet’s Fathom encoding solution will feature Thomson’s underlying digital watermarking technology, adding an important layer of traceable security to complement traditional digital rights management (DRM) controlling access to content.

Digital watermarking has become a hot topic of discussion among content creators, specifically studios and post-production houses. In the case of leaked programming or content, this digital “trace” allows producers to determine where and when a breach occurred, helping them take corrective action and prevent future leaks. Such security breaches can cause devastating financial losses to content owners. Watermarking pairs well with current DRM solutions, with DRM preventing the content from being played and digital watermarking allowing content creators to determine where the content is from."

Source: Broadcast Equipment Guide

Quantel Launches Stereoscopic 3D Post Production Systems

"At IBC Quantel is launching a range of Stereoscopic 3D post production systems to provide a true real time end to end 3D post process. There are many challenges in Stereo 3D post. The first is how to see exactly what you are doing while you are doing it. If you can't see what you are doing or have to use inaccurate preview modes, or move media to playout servers, everything becomes less interactive and therefore takes much longer. Another challenge is handling at least twice the data as a conventional post session. That places heavy demands on rendering, media movement and disc management. The third challenge is handling Stereo 3D specific issues like scene to scene convergence, effect strength and flutter.

The new Quantel 3D systems overcome all these challenges by providing the right combination of toolset and horsepower to finish the most demanding stereo projects on time and on budget. Colorimetry, sync, editorial and imaging errors can all be fixed in context. Other special 3D features include a comparison mode (50/50 mix, left/right eye, difference map) and the ability to see when left/right eye link is broken. All of these deliver a true WYSIWYG experience for the operator and, most importantly, the client.

The new Stereo 3D toolset is available as an option on all new Pablo 4K, iQ4 and Max 4K systems. Additionally all existing Pablo 4K or iQ systems can upgrade to Stereoscopic 3D, providing a 'start to finish' Stereo workflow including previsualisation, editing, VFX, colour correction, trailers and mastering. Stereo projects can now take place 'in context' without the need for guesswork. The Quantel Stereoscopic 3D Option for Pablo iQ and Max has the ability to playout and manipulate two simultaneous streams of HD or 2K in sync and without rendering.

To address the needs of more cost sensitive post houses Quantel is also launching a brand new dedicated stereoscopic post production workstation - Sid. Sid comes in two configurations - as a full Stereo online system and also as a straightforward viewing, conform and mastering system.

All Quantel's Stereo 3D products are available after IBC."

Source: Broadcast Equipment Guide

Livewire Digital Launches JATS File Transfer Software Package

"Livewire Digital has launched its new Java Automated Transfer System (JATS) software package.

The software allows companies to benefit from fast, automated and efficient transfer of large files, between remotely located offices.

JATS is of particular value to broadcasters, whilst also being suitable for companies with a requirement for the transfer of large media, or corporate files. It can be easily integrated with a company's existing software and reduces transmission times from hours to minutes using optimised transfer protocols. JATS offers throughput optimisation and firewall traversal, is capable of sending and receiving files from other JATS based systems, and can be inter-operated with Livewire Digital M-Link products.

As with the entire M-Link Broadcasters suite of products, JATS incorporates automatic retry and auto append if a network connection is unreliable. Alert messages, statistics reporting, and easy accessible logging make it the most capable, configurable and easy-to-use automated file transfer system.

Livewire Digital's M-Link Broadcasters systems can be fully integrated with BGAN terminals and relevant support peripherals for broadcasting from remote locations."

Source: BroadcastBuyer

Aspera to Acquire DigiDelivery Product Line

"Aspera announced an agreement with Avid Technology, under which Aspera will acquire DigiDelivery, a secure digital file-exchange system developed by Avid’s Digidesign audio division. Aspera is recognized as a worldwide leader in the development of high-speed file transfer technology. Under the terms of the agreement, Aspera will assume the development, manufacturing, sales, and support responsibilities of the DigiDelivery product line, continuing to enhance the technology that is integrated within Avid’s flagship Pro Tools system and Media Composer applications. Avid and Digidesign will continue to distribute DigiDelivery worldwide, both directly and through existing reseller channels.

Emeryville, CA-based Aspera is a privately held company that develops innovative, high-performance data transport technologies. Aspera’s Fasp 2.0 software transport platform provides maximum speed, complete security, and breakthrough bandwidth control at global distances. With several thousand endpoint and server licenses installed worldwide, its Fasp software products are becoming an industry standard for high-speed transfer of digital content. Fasp software is currently deployed in hundreds of major Hollywood studios and service companies, post-production houses, broadcast studios, satellite and on-demand media networks, as well computer game and software development companies."

Source: Aspera

Harmonic Supports Video Content Acquisition from Virtually any Source with Integrated On-Demand Software

"Harmonic has introduced MediaPrism, a powerful suite of integrated content preparation tools ideal for creation of on-demand video assets from any source (tapes, DVD, live broadcast, Web or user-generated content).

Bringing together Harmonic's CLEARcut offline storage encoding, LIVEcut scheduler, Rhozet Carbon Coder universal transcoding solution and Ingest Gateway, MediaPrism offers operators a powerful, unique and easy to manage solution for video-on-demand (VOD) content preparation.

In order to provide consumers with a compelling VOD service, cable, telco and satellite operators need to continuously add to the library of available video assets. Furthermore, as the video landscape continues to shift toward anytime viewing on any device, they must also expand the types of VOD assets to encompass not only the movies and TV shows generally available today, but also programming created for Web delivery and user-generated content.

In conjunction with Harmonic's market-leading DiviCom encoders, CLEARcut converts tape and DVD-based content into professional VOD assets and prepares the relevant metadata. Linear broadcast channels are captured using the LIVEcut scheduler, in conjunction with Harmonic's ProStream 1000 with Mentor re-encoding technology for conversion of variable bit-rate content to constant bit-rate format required for unicast service delivery. LIVEcut's advanced rule-based scheduling engine provides operators with the most compact, integrated and flexible solution available today for capture of hundreds of broadcast channels for anytime on-demand viewing. The Rhozet Carbon Coder software also makes it possible for traditional service providers to add user-generated content to the lineup with its highly versatile transcoding capabilities. The video assets are processed for ingestion to the on-demand server by Harmonic's Ingest Gateway."

Source: BroadcastBuyer

Agreement on a First Common Standard for Audio Contribution using IP

"Manufacturers and broadcasters from N/ACIP, the European Broadcasting Union's technical project group, have reached an agreement on the release of a common standard providing interoperability between audio over IP contribution equipment for radio and TV.

The agreed interoperability standard is based on open IETF standards such as RTP and SIP and can be seen as an extension of the Voice over IP standard to accommodate wideband high quality audio codecs. One of the advantages of using the IETF standard is that it has already been implemented in many markets other than broadcasting and that equipment already exists.

"Network systems and formats such as ISDN, E1, X.21 currently used for audio contribution will tend to become very expensive and disappear. It is therefore necessary to find replacement solutions. In the context of a converged telecommunication world, IP seems the natural choice." says Lars Jonsson, Chairman of the EBU's technical N/ACIP project group.

There are different solutions for audio over IP but, until today, there hasn't been a common framework and consequently no interoperability between equipment. Interoperability is instead crucial for broadcasters as they exchange lots of content. The benefits of this agreement are not evident only for broadcasters but also for manufactures as it will mean increased sales for compatible products.

Created in the beginning of 2006, the N/ACIP group deals with the different aspects of audio contribution over IP. In this group, manufacturers and members of the EBU are working together. The EBU technical group decided to meet manufacturers during IBC 2006 in order to discuss a common interoperability framework standard. Last year's meeting with 15 manufacturers turned out to be a great success and many of them have already started to implement the proposal, making improvements to the common standard. Early interoperability tests have already been carried out successfully."

Source: BroadcastBuyer

Harmonic Introduces Rhozet Carbon Coder 3.0 Transcoding Solution at IBC

"Harmonic has introduced Rhozet Carbon Coder 3.0, the latest version of its universal video transcoding solution.

This new version of Carbon Coder features distributed transcoding across multiple machines, new Adobe Flash and VC-1 format support, server failover for fault-tolerant performance, and an automated quality assurance (QA) module to ensure the highest quality video output.

Carbon Coder's new multi-machine transcoding capability tackles the increasing demands of video transcoding by allowing a single transcoding job to be distributed over multiple computers in a transcoding farm. This feature is especially useful for processor intensive formats such as Flash, VC-1, and MPEG-2. Long transcoding tasks are split into segments which are distributed to multiple machines for processing and then spliced together to create the final output. This greatly accelerates the process of, for example, creating very high-quality VC-1 content for high-definition optical discs. Even on a single computer, transcoding tasks are accelerated by running across multiple CPU cores.

In addition to speeding up the transcoding workflow, Rhozet has also implemented fault tolerance and quality assurance features to increase reliability. Carbon Server's fault tolerance feature allows multiple Carbon Servers to manage the same farm in a redundant configuration. If one machine goes down, another is automatically assigned to take over control with no loss of information or transcoding time. Carbon Coder's new quality assurance module helps identify possible problems in encoded material and flag them for analysis. This can greatly reduce the amount of human interaction with transcoded output, thereby saving substantial time and money."

Source: BroadcastBuyer

BT & Signiant Power Digital Media Workflow

"Signiant has announced a groundbreaking agreement with BT’s Media and Broadcast division that will transform the way content is managed, processed and distributed globally.

By combining BT’s networked workflow, media processing and content management technology with Signiant’s widely deployed Digital Media Distribution Management Suite (DMDMS), customers can now dramatically speed the processing, management and distribution of their media files around the world and throughout their supply chain. BT will initially be using the software to speed the process of capturing video files from rights owners into its content processing platform for IPTV. BT will also offer Signiant technology to its customers as a core component of their media workflow and digital media service framework.

Signiant’s technology will manage the movement of file-based content throughout BT’s digital media network and beyond, ensuring that the right content gets to the right place at the right time. The combined capabilities from BT and Signiant will ensure secure, accelerated delivery across the digital media supply chain, supporting customers workflow from ingest to distribution. In addition, it is the only solution able to integrate four critical capabilities: centralized distribution management, accelerated transfers, automation of repetitive workflows and enterprise level security.

The acceleration technology in DMDMS enables the fast and efficient transport of large files globally. By combining BT’s media workflow management and Signiant’s distribution management technology, the solution greatly reduces the man power associated with coordinating many files across multiple locations, processes and time critical deadlines. The BT and Signiant solution offers unique control that is critical in making the transition to file based work flows."

Source: BroadcastBuyer

Telestream Episode adds Avid & Leading Broadcast Server Support to Apple Digital Media Workflows

"Telestream has expanded its Episode Series media encoding applications for the Mac to simplify a greater number of specific digital media workflows for Apple professionals.

Episode Engine, the ultra-fast server encoding solution now provides faster than real-time HD encoding directly to leading broadcast servers. Avid integration now automates file transfer between Avid editorial environments and Episode, enabling optimized encoding for multiple new media distribution outlets. A new Image Sequence Importer now imports large film sequence files into Episode for encoding to virtually any format for editing, review and approval, or distribution.

Since Telestream's introduction of Episode Series one year ago, the desktop and server-based applications have been recognized by industry experts for extensive format support, speed, quality and ease of use. Episode Series offers scalability from a single desktop to a fully-automated, multi-node server cluster with distributed encoding for high-volume and time-critical workflows. Episode Engine now extends these powerful workflows outside the production department to enable direct file exchange with leading broadcast servers. Initial server support includes Harris Nexio, Omneon Spectrum and Grass Valley K2 servers.

New, Avid integration provides automated monitoring and file transfer between Avid workstations, Avid Unity or Avid Isis shared network storage systems and Episode applications. The integration enables Avid users to send jobs directly into an Episode workflow from within the Avid interface. This new capability makes it easy for Avid users to quickly encode high-quality media for distribution to any platform, including web, mobile, podcast, broadcast and more.

Episode now imports DPX, tif and targa image sequences directly into Episode for encoding to a wide range of formats, including Apple's ProRes format for editing, review-and-approval or distribution. The import feature automatically monitors, submits and wraps thousands of huge media files. Users simply drop files into the Episode watch folder for automated wrapping, processing and file transfer.

Additional new Episode features include improved H.264 support as well as automated monitoring and file transfer from FTP folders. An optimized settings template enables video and audio encoding for Apple's iPhone. Plus, support has been added for MPEG-2 transport streams and Alpha channels."

Source: BroadcastBuyer

Telestream Pipeline Network-Accessible Encoder Now Available

"Telestream has announced availability of Pipeline, the company's new network-accessible single-channel hardware encoding product.

Pipeline is an industry-first bi-directional encoding and playout device that provides SDI ingest into Telestream's FlipFactory and Episode applications as well as 3rd party products, including Apple's Final Cut Pro. The encoder is accessible to multiple users over the network, providing a more reliable and cost-effective alternative to traditional PC capture card solutions.

A single Pipeline device provides user-selectable real-time, frame-accurate video encoding to multiple formats, including DV25, IMX 30/40/50 and MPEG-2 I-frame (PAL & NTSC). Shared network access and RS-422 deck control enable access to the tape deck by multiple users. Pipeline is software-upgradeable to easily add new features and formats as they become available from Telestream.

Pipeline provides more flexibility than conventional video capture solutions. For Final Cut users, Pipeline intelligently detects and delivers formats required by the project bin. Plus, external rendering frees up the editing workstation for other tasks. Integration with Telestream products provides a fast, efficient means to capture and ingest media from tape or live sources. Transcoding into proxy or other formats happens simultaneously during the encode process, greatly improving overall workflow throughput.

Pipeline applications include batch ingest from an EDL file which allows users to encode multiple clips from a single tape. It streamlines digitization of tape for ingest into archives, online libraries and digital asset management workflows. Since Pipeline is bi-directional, it can also be used to print clips to tape for sharing with clients and colleagues. A complete Software Development Kit (SDK) provides easy integration with 3rd party products and destination applications.

Telestream's shared network resource approach provides significant advantages over capture card solutions. Pipeline eliminates operating system and driver incompatibilities as well as host processor bottlenecks. It also removes the need to use an expensive broadcast server channel to ingest media into file-based workflows."

Source: BroadcastBuyer

Dolby Incorporates Philips Watermarking Technology For Digital Cinema

"Dolby Laboratories, a reputable and trusted partner in cinema product and services, has incorporated Philips CineFence in its digital system for storing, managing and playback of digital movies. New cinema releases shown via Dolby’s digital cinema solution can be embedded with Philips CineFence forensic watermark, thus allowing the content to be traced and protected.

The movie industry faces an increasing problem of video piracy. Illegal camcorder copying has been identified as one of the major and most difficult to track forms of digital content piracy. With Philips CineFence, the watermark pinpoints the specific location, time and date the illegal camcorder recording took place. Thus the implementation of Philips CineFence not only allows for the tracking of pirated digital content, it also acts as a severe disincentive to those engaged in this illegal activity.

The CineFence watermarks are imperceptible to cinema audiences, but maintain their integrity in the copied material, even after severe quality degradation such as cropping, compression and scaling. Furthermore, Philips watermarks remain detectable after camcorder recordings are compressed into formats such as VCD, DivX, and MPEG4, thus closing a loophole frequently used by content pirates. Philips CineFence is fully compliant with DCI specifications and is implemented by thousands of digital cinemas."

Source: BroadcastBuyer

Snell & Wilcox to Launch Alchemist IP Software-Based Standards Converter

"Snell & Wilcox has released its Alchemist IP file-based frame-rate standards conversion software, which runs on standard PC infrastructure hardware, allowing content owners and producers to take advantage of sophisticated standards conversion as part of a file-based workflow.

The Alchemist IP uses similar algorithmic expertise that has allowed Snell & Wilcox's leading frame-rate standards conversion products to set the bar for quality and performance. Offering a radically improved approach to file-based international program exchange, the Alchemist IP delivers transparent conversion of file-based video, audio, and metadata between the 625/50 (PAL) and 525/60 (NTSC) video standards, and vice versa.

Using off the shelf PC hardware, users can leverage Ph.C motion compensated conversion within the file-based domain to produce clear and crisp outputs from a wide range of video input material. Without the need to decode to baseband, convert media through a hardware-based system, and re-ingest it once again, users can dramatically reduce the time and cost required to deliver top-quality content in the appropriate broadcast standard.

Alchemist IP is a true plug-and-play system, requiring little user setup and providing simple drag-and-drop or automated operation enabling rapid integration into file-based workflow processes. Because this conversion system runs on standard IT hardware, it offers post-production and duplication facilities a low cost of entry into high-end standards conversion, and a valuable tool for the shift toward fully file-based operations.

For those users requiring more comprehensive conversion and processing capabilities, Alchemist IP is also available as an option within the iCR content repurposing platform."

Source: BroadcastBuyer

Snell & Wilcox Introduces iCR Version 2.5 at IBC2007

"In a significant upgrade to its industrial content mastering and repurposing workstation, Snell & Wilcox today announced iCR 2.5, which further enhances file-based workflows to deliver the industry's highest image quality at the lowest cost per deliverable.

iCR 2.5 enables users to create high-quality, error-free digital masters of their content and then repurpose these for distribution on multiple, revenue generating platforms. The new version of iCR being introduced at IBC2007, offers a wide range of significant enhancements, including :

- Expanded and enhanced automated real-time quality control (QC) functionality for a wide range of third-party file types and videotape ingest.

- Comprehensive QC review tools that generate detailed error reports and allow operators to review and annotate QC alarms.

- Support for uncompressed video and a wide range of codecs including DV, DVCPRO, and QuickTime, offering streamlined repurposing support for new devices like Apple TV, iPhone, Xbox 360, and Web applications using QuickTime and Flash video.

- Up to a 30 percent increase in overall repurposing speed.

- Optional built-in Alchemist IP file-based standards conversion for MPEG-2 files, offering 525/625 motion-compensated conversion in the software domain.

- Support for the AMWA-sponsored MXF Master File format adopted by major content providers and equipment manufacturers.

- Real-time MPEG-1, WM9 and QuickTime proxies with burn-in timecode, creating a more efficient workflow without the need for a separate proxy generation system.

With as much as 40 percent of a customer's content needing to be re-encoded due to QC issues, quality control has emerged as one important aspect of content mastering and repurposing. Unfortunately, it can also be very time-consuming and costly. This is because most customers manually perform QC tasks by reviewing content in real-time.

iCR 2.5 changes this by automating QC functionality for baseband video as well as a wide range of files, including MPEG-2, DV, DVCPRO, QuickTime, and WM9/VC-1. During ingest, iCR's QC tools monitor problems with videotapes or the VTR itself, as well as sound levels, timecode, and compression performance. iCR's QC review tools allow the operator to review and annotate alarms in order to generate an error report.

Enhanced automated QC monitoring is integrated into each step of the iCR workflow. This streamlines QC by enabling operators to pinpoint errors rapidly. Going far beyond monitoring the technical characteristics of the video, the QC functionality in iCR 2.5 can also evaluate the quality and makeup of the video, audio, and metadata content within the signal.

iCR 2.5 is the only content repurposing system available that allows the operator to view QC clips on a broadcast monitor in real-time with audio. This allows not only automated QC verification, but simultaneous real-time manual verification of video and sound on a video monitor."

Source: BroadcastBuyer

Dolby Ships DP600 Program Optimizer

"Dolby Laboratories has announced market availability of the highly anticipated Dolby DP600 Program Optimizer. The DP600 is an innovative solution to audio and loudness concerns for cable, satellite, IPTV, and terrestrial TV broadcasters working in a file-based environment.

Compatible with many of the broadcast and video-on-demand (VOD) media file formats currently in use, this innovative and flexible system offers an automated file-based loudness analysis and correction. The DP600-C version additionally offers faster-than-real-time encoding and decoding of Dolby Digital, Dolby Digital Plus, Dolby E, and MPEG-1 Layer II content, as well as enabling transcoding between any of these formats.

The Dolby DP600 ensures consistency in the delivery of broadcast media and audio files. Applications include broadcast media file quality control, automatic loudness correction (including commercial spots), broadcast media file transcoding, automated digital program insertion (DPI), and VOD file analysis and loudness correction.

The Dolby DP600 and DP600-C Program Optimizer are now available worldwide through Dolby's dealers and distributors for a manufacturer's suggested retail price of $17,500 and $26,000, respectively."

Source: BroadcastBuyer