IABM 40 Year Publication

Index:

IABM, 3 Bredon Court, Brockeridge Park, Twyning,

Tewkesbury, Gloucestershire, GL20 6FF, United Kingdom.

Telephone: +44 (0)1684 450030

Email: [email protected]

Web: www.theiabm.org Twitter:@TheIABM

Chairman of the Board – James Gilbert

Chief Executive – Peter White

Technical Task Group Chair – Simon Auty

IABM Team – Andrew Jones, Ben Dales, Caryn Cohen, Darren Whitehead, Elaine Bukiej, Hassan Ghoul, Joe Zaller, John Ive, Lisa Collins, Lucinda Meek, Lorenzo Zanni,Peter Bruce, Peter White, Sonali Nair, Stan Moote, Yoshiro Sawa.

IABM Investments Ltd Chairman – Derek Owen

Copyright 2016 IABM.A company limited by guarantee.

Disclaimer: The views presented in the Journal are those of the individual contributors and are not necessarily those of IABM.

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3S U P P O R T I N G T H E I N D U S T R Y F O R 4 0 Y E A R S

40 years may be less than a nanosecond measuredagainst the history clock of our planet, but our worldhas seen incredible change in that short time – and no more so than in the broadcast and mediatechnology industry. 40 years ago broadcastproduction was almost entirely analogue, and thepinnacle of media technology was a 2” tape machine,early ENG cameras, and the first digital effectssystems which could do incredible things withimages – such as resize and reposition them onscreen! At the consumer end of the business, thelatest in media technology was colour CRT televisions– albeit with a very limited choice of viewing, thetransistor radio, the newly introduced VHS videorecorder and the direct-drive transcription turntableplaying 33rpm records through valve amplifiers, whata change from today’s solid state digital world.

40 years ago, IABM was also formed. Initially its principal role was to provide a central voice formanufacturers to lobby exhibition organizers toprovide more appropriate, effective and cost-efficientshows. With success in this, it soon became apparentthat such an organisation could offer much more toits members. In response, IABM has grown over the intervening years into the multi-facetedorganization that it is today. While exhibitions remainan important part of the Association’s remit, thetraining, market intelligence, technology liaison,

representing the industry at government level and ahost of other services now offered by IABM add up tocomprehensive business support package for IABMmembers.

This book marks those 40 incredible years by looking at some of the fantastic technology ourmembers have brought to the industry and the way it is evolving. There’s no better way of showing thisthan by showcasing IABM award winners, and they,and their brilliant technological breakthroughs, are at the heart of this book.

As the changing nature of the award winners clearlyshows, we are moving from being very much ahardware-based business to a new virtual, software-defined world. In this new media technologyecosystem, IT and broadcast technologies aremelding together to enable our customers to keep ahead of the rapidly changing multi-medialandscape, where our customers’ business modelsare quickly changing from CAPEX to OPEX andcollaboration is all.

IABM is of course nothing without its members,which range from the very smallest start-ups to our Platinum and Gold members, some of whom are also celebrated in this book.

The rate of change in technology is exponential and we can expect the same amount of change in the next few years as over the last 40! So whilecelebrating the past, at IABM we are also alwayslooking to the future – how we can best help ourmembers to continue to succeed in this rapidlychanging world. That way, we can all look back onanother successful 40 years in 2056; I’m alreadylooking forward to reading the book!

Peter WhiteCEO, IABM

Celebrating supporting the industry for 40 years

IABM History for 40 years 4

IABM Summary of Services 11

IABM – Award Winning Training 12

IABM Exhibitions 13

IABM Awards 14

2015 IABM Award Winners 15–43

Award Winners through the years 44–66

About our IABM Awards 67–69

IABM Members 70–73

Platinum Members 74–78

About our IABM Awards 79–94

In 1985, times were tough. Worse was in store; IABM setup an HDTV Standards Committee with the EBU. We'restill waiting! A Committee minute acknowledged thatthey couldn't agree to a definition of broadcasting sothey put it off to the next meeting. At the nextCommittee meeting they set up a sub-Committee.We're still working on it – and that’s because‘broadcasting’ is an ever-changing entity; the actualoutcome has been that the IABM has expanded itshorizons to encompass every aspect of the mediatechnology supply industry that we have today.

Talking of tough times, UK readers will remember thedreadful storm of October 1987, dismissed with “Don’tworry!” before it hit by BBC weather forecaster, MichaelFish – who shortly afterwards was guest speaker at theIABM’s first networking event!

In 1990, Peter Wayne, who had been Deputy Chairmanfor several years, passed away and the IABM PeterWayne Award for Design and Innovation was establishedin his honor. At that time the Technical team weretackling EMC issues.

1992 saw the first IBC in Amsterdam and the beginningof the end of the Montreux show that had so dominatedIABM activities in the 1980s. In 1994, IBC became anannual event, and 1995 saw the final Montreux show;manufacturers and visitors had voted with their feet and chosen IBC – a vindication of the IABM’s toughcampaigning over many years.

In 1995 Graham Roe pioneered IABM emailcommunication with members; something you've allgrown to know and love!

Since its first show in 1967, IBC had been managed bythe UK’s IEE (now the IET). In 1998 we saw the creationof the IBC partnership, with IABM becoming one of sixstakeholders in IBC – which has led us to where we aretoday, and giving IBC the freedom and industry supportit needed to grow into the truly international event it istoday. IABM has grown a bit since 1976 too; we nowhave 425 members and we're active around the world,representing and serving the broadcast and mediatechnology suppliers across a broad spectrum of issues and activities.

5S U P P O R T I N G T H E I N D U S T R Y F O R 4 0 Y E A R S4

From modest beginnings in 1976 and with much hardwork from a lot of people, IABM has become aninfluential agent for change in the broadcast andmedia technology sector and has grown into themulti-faceted, member-driven organization it is today.

Our Association was born as the result of an RTSmeeting in 1976 where a number of delegatesdiscovered they shared a growing dissatisfaction with the biennial Montreux International TelevisionSymposium, which took place in alternate years to thebiennial IBC, then held in Brighton in the UK. Putsimply, the industry was outgrowing what Montreux orBrighton could offer to both exhibitors and visitors,and it was becoming clear that change was needed.Tom McGann and Peter Wayne founded theAssociation to provide a collective voice and front forcompeting manufacturers who shared a powerfulcommon interest – high quality exhibitions for Europewhich could match the burgeoning annual NABexhibition in the USA.

At first everything was done by the voluntary efforts of the honorary officers and committee. Thiscommitted band of IABM pioneers included the lateBob van der Leeden, Corney Webster, John Etheridgeand John Wilson, as well as Brian Asbee, David Bryan,Claude Guillaume, Alan Pywell and David MacGregor,with Brenda White and Ken Walker initially providingthe part-time secretariat, followed by Derek Owen,Martin Salter, Alan Brill, David Kirk, John Andrews,Debbie Benson and then Elaine Bukiej, whosubsequently took on the role full-time when thepermanent secretariat was established.

IABM History for 40 years

industry, over an extended period of time. HonoraryMemberships have been awarded to14 individuals. More canbe seen on page 67.

2006 also saw the firstiteration of the GlobalMarket Valuation andStrategy report which isnow into its 7th year.

During 2009 Peter Whitewas appointed ChiefExecutive and we reached asignificant milestone of 300members. In response to demand from ourmembers, the Assoiation launched the IABMBusiness Standard. As our industry changed and theindividual demands of our customers increased,there was a growing need for assurancessurrounding the ways in which vendors conduct theirbusiness relationships. The IABM Business Standardsets out eight criteria to which members mustsubscribe to demonstrate that they want to engagefully in the industry. This commitment indicates thatmember companies are reliable and responsiblebusiness partners.

IABM undertook a research and investigationprogram in 2010 to gain an understanding of theproblems and to identify skills issues relating totechnologists and engineers in the sector. Theconclusions raised fundamental issues about thepoor performance of the industry generally in

technical workforce. The investigation highlightedrequirements for induction training for new recruitsand continuing professional development forengineers and technical experts as they progresstheir careers and new technologies emerge.

To tackle these issues, IABM launched a majoreducation and training initiative, now called the IABM Training Academy, whichdelivers a variety of coursesworldwide both in theclassroom, at members’premises and online.

In 2012 to support the Association’s increasingglobal influence IABM opened its first office inNorth America.

2013 saw the launch of the IABM GameChanger Awards which are now presentedannually at NAB. All winners, along withthe Design and Innovation Award Winners,are automatically selected as a finalist forthe Peter Wayne Award which is nowpresented at the IABM Annual InternationalBusiness Conference and Awards.

76

Training Academy

Storage AudioContent & communication

infrastructure

Playout & delivery systemsTest, quality

control & monitoringAcquisition & production

System automation & controlPost production Services

IABM History for 40 years

Tom McGann is one of a handful of names that isassociated with a lifetime dedicated to the broadcastingindustry. From the very beginning, he led the IABM. Hisvision, energy, charisma and determination set anexample for everyone to follow. He built long-termrelationships with individuals and organizations rightaround the globe. Following Tom’s retirement from theIABM in 1999, the association established its StudentAwards as well as the Tom McGann Training Bursary andadded to this in 2014 with the staging of the first TomMcGann Memorial Summit. This was to further supportTom’s long held desire to help provide the training that isso essential in the fast developing world of broadcast andmedia technology.

The 30th Anniversary of IABM was celebrated in 2006 andto mark this anniversary the IABM Board decided tointroduce a new class of membership. HonoraryMembership recognizes those who have made anexceptional personal contribution to IABM, or to thesupply-side of broadcasting and media technology

GLOBAL

MARKET VALUATION

& STRATEGY

REPORT

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IABM DCDIGITAL MEDIA MARKET INTELLIGENCE

Tom McGann and Peter Wayne

Game Changer Award Winners 2015

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Industry News Comment

Interactive Polling Online Networking

Video Footage Give Opinions

2013 also saw the establishment of IABM’s new MarketIntelligence division which reflects the Association’soverall strategy to become the authoritative voice of theindustry and further improve the quality and quantity ofmarket and business intelligence for members. In thisyear the IABM Educational Foundation was establishedand a joint venture created with Devoncroft, IABM DC, togrow and enhance the Global Market Valuation andStrategy Report.

Following external research conducted by IABM on itsown position within the industry and in order to remainboth relevant to our existing members and an essentialassociation for the industry, IABM significantlyaccelerated its development during 2014 and 2015. Tofacilitate global engagement, we appointed regionaldirectors in APAC, North America and the MENAregions, we opened an office in Singapore and welaunched our Regional Councils.

Like the parent body, the aim of the IABM RegionalCouncils is to promote, represent and supportthe broadcast and media technology supplyindustry but to do so at regional level, dealing withregional issues and representation.

Member Lounges have been established at mostshows around the world,a new dealer databasehas been created, IABM TVand the IABM APP were

launched, and The IABM EducationalFoundation launched its industry-wideinternational skills certification scheme.

Perhaps one of the most visible developmentswas the move to a new membership structure,where we opened the door to all supportbusinesses in the value chain through our new bronze category of membership.

40 years on, we’d like to think that ourfounding fathers would be proud of what wehave built over the years, inspired by theiroriginal vision. The strength of IABM is the product of its membership and this will always be the case; we remain dedicated torepresenting and promoting our industry andinforming and supporting our members.

9S U P P O R T I N G T H E I N D U S T R Y F O R 4 0 Y E A R S8 S U P P O R T I N G T H E I N D U S T R Y F O R 4 0 Y E A R S

Platinum Member

Gold Member

Silver Member

Bronze MemberProvider of broadcast and media technology content

PRACTITIONERCertBMTpracCE

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OADCAST & MEDIA TECHNOLOGIST

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IABM History for 40 years IABM Summary of 40 years

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IABM DCDIGITAL MEDIA MARKET INTELLIGENCEMarket Intelligence

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1 1S U P P O R T I N G T H E I N D U S T R Y F O R 4 0 Y E A R S

IABM ANNUAL REVIEW 2015

GLOBAL MARKET VALUATION

& STRATEGY REPORT

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IABM Summary of Services

IABM Sponsored EventsIABM has a strategic partnershipwith the event organizers andrecognizes the event as anindustry leading event in its regionor on a global basis. These eventsare recommended to IABMmembers as a leading event andIABM has a public presence at the show to support members.The current IABM Sponsored Events are: n IBC, Amsterdamn IBC Content Everywheren NAB Show, Las Vegas

IABM works closely with the key event organizers to ensure the shows remain relevant, as wellas minimizing the costs associated with exhibiting to maximize the returns. IABM does thisthrough a program of support for industry events, as well as regular surveys to gather members'views. IABM works with key event organizers on different levels to represent the interests of its members. There are two levels of support: Sponsored and Supported.

IBC

IABM Supported EventsIABM undertakes regular audits of these shows and recommendsthem to members as credible events. The current IABM SupportedEvents are:

n ABU, Malaysia

n BIRTV, Beijing

n BroadcastAsia, Singapore

n Broadcast India, Mumbai

n BVE, London

n CABSAT, Dubai

n CCBN, Beijing

n CSTB, Moscow

n Inter BEE, Tokyo

n NAB Show, New York

n NATexpo, Moscow

n SET Expo, Brazil

2016

INNOVATING DIGITAL CONNECTIONS29 FEBRUARY – 3 MARCH 2016


IABM Exhibitions

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A W A R D W I N N E R S

A selection of our 2015

Design & Innovation and

Game Changer award

winners share the story

of their success

Game Changer Awards The IABM Game ChangerAwards are presented at theNAB Show each year.Nominations are invited fromcompanies launching andshowcasing their new product orservice for the very first time atthe show.

Entries are broken into nineindustry segments andcompanies large and small,specialist and non-specialist allhave a great opportunity toreceive well deservedrecognition for their outstandingproducts or services.

All three shortlistednominations in each categorywill be publicised, listed on theIABM website and announcedtogether with the categorywinners at the awardsceremony. All nine winners areautomatically put forward for theprestigious Peter Wayne Awardwhich is presented later in the year.

Peter Wayne Award forDesign & InnovationThe Peter WayneAward for Design &Innovation wasinaugurated by IABMin 1990 in memory of aformer Deputy Chairmanof the association. Judged by apanel of renowned specialists,the award is presented to onecompany and entries are madeup of our Game Changer AwardWinners from NAB and ourDesign & Innovation AwardWinners from IBC. The awardhas become highly sought afteras recognition of outstandingtechnical achievement.

Annual IABM AwardsPresented at our AnnualConference in December, theseawards include IABM HonoraryMember Award, Broadcast andMedia Technology Woman of the Year, YoungPerson of the Yearand InternationalAward for Exellencein Sustainability.

Design & InnovationAwards The IABM Awardsfor Design &Innovation arepresented at the IBCexhibition inAmsterdam each year andrecognize products that offersignificant solutions or newopportunities to the broadcastsupply industry.

Nominations are invited for nineindustry segments – companieslarge and small, specialist andnon-specialist all have a greatopportunity to receive welldeserved recognition for theiroutstanding products orservices.

Three shortlisted nominations ineach category will be publicised,listed on the IABM website andannounced together with thecategory winners at the awardsceremony. All nine winners areautomatically put forward for theprestigious Peter Wayne Awardwhich is presented later in the year.

IABM Awards

1 4

BLT SportTouch is an innovativeintegrated production suite aimedat live and sports productionwhich consists of a BLTVideoServer, the main unit foracquisition and playout (includingall features needed for liveslowmotion), the control panel andthe innovative tablet-based RUS-TAB, that redefines the productionworkflow, introducing for the firsttime the use of everyday gestures inmanagement and control ofcontribution material in TV programproduction.

As soon as the announcement wasmade, the news spread on socialmedia and was published online bybloggers such as @broadcastbeatand @ProradioTv. The message alsoreached far beyond the broadcastindustry landing on Twitterhashtags usually oriented to

consumer and general purposemarkets like #italiansdoitbetter.

This award gave BLT theopportunity to reach a wideaudience through social mediaexposure, and thus receivecomments and contacts fromcountries all over the world.It also boosted product awarenessand at IBC2015 BLT SportTouch wasagain recognized as the ‘Best of theShow 2015’ by TVBEurope.

One step behindBLT Italia is a “young” start-upestablished in 1959 by LeonardoBartelletti, CEO and founder of thecompany. Since the early days,company activity has been thefocussed on television industryalways bearing in mind a “GameChanger” vision.

During the years the companyswitched to new technologiesfollowing the vision that the gamewas changing: in the 1960s it wasan early adopter of transistortechnology to replace vacuumtubes, in the 1970-1980 decade

microelectronics was entering the television industry and BLTpioneered the use of digitaltechnology making the bravedecision to stop R&D in the analogarea. In the 1990s the rise of DSPtechnology called for anotherchange in technology and nowadaysthe broadcast industry is more and more driven by IT with videoover IP networks.

The changing stepBLT attitude has been to try toeither set better rules for theexisting game or change the game.It was game changer idea thatinspired BLT and led to the releaseof SportTouch which was given theprestigious IABM Game ChangerAward in the “Acquisition andproduction” category at NAB 2015. The introduction or better invasionof tablets and smartphones in ourevery day life made touchscreensand touch gestures commonplaceand BLT innovative idea has been toadd these technologies in theproduction chain of live TVprograms.

A simple but not so easyto implement idea!

The basic idea is to integrateseamlessly all commontablet features in aprofessional videoproduction workflow. BLTSportTouch is based on BLTVideo Server and featureslive capture recordingacquisition with playback at full quality with asimulcasting proxy qualitychannel for the tabletdevice. “Tablet touchscreengestures are a natural way to get a lot of things done”:operation and control ofVideo Server content usingthe tablet device becomesthus extremely intuitive.

SportTouch represents the “tip of the iceberg”application in the hands ofthe on-air talent who duringa live event can check, verify,prepare, edit and go on-airwith its own material for theshow. For show enrichmentand better storytellingSportTouch comes with a setof graphics drawing toolslike zoom and telestratorthat can be used by the on-air talent, the producer orthe slomo operator.

The next step … it will be a surprise for 2016!


GAM

E CHANGER 2015

1 6 S U P P O R T I N G T H E I N D U S T R Y F O R 4 0 Y E A R S

… and the winner is “SportTouch of BLT Italia...”: with these words atNAB 2015 the“IABM Game Changer Award” was given to BLT in the“Acquisition and Production” category, to honor the company for itsefforts in bringing innovation at the NAB exhibition.

Game Changer Award 2015 – Acquisition and Production


GAM

E CHANGER 2015


During the latest edition of the NABShow in Las Vegas, BrainstormMultimedia’s Infinity Set wasselected as one of the winners ofthe the IABM Game ChangerAwards. Its ground-breaking andinnovative technology was believedto change the way in which virtualset programs will be produced. Thisrevolutionary technology refers tofeatures such as the videoTeletransporter, the TrackFree and the 3D Presenter.

The IABM Game Changer Awardgranted Brainstorm Multimediafurther visibility and prestige, andhas been a cornerstone of ourmarketing efforts ever since. “It is a great privilege for us to have thisaward,” says Amaya Gonzalez,Brainstorm’s Marketing Director.“While this is not the first big awardwe’ve been granted, it has beencertainly the most critical from asales perspective. IABM’s GameChanger Award has opened newdoors for us, allowing Brainstorm to further boost its overall brandrecognition in the broadcast sector.”

IABM’s Game Changer Award hasbeen prominently featured inBrainstorm’s marketing efforts andis currently part of Infinity Set’spush marketing campaign. It hasbeen a mainstay for trade shows as well, allowing Brainstorm toenhance its eye-catching theaterpresentations with the IABM GameChanger Award statue at IBC 2015in Amsterdam, SMPTE in Sydney,Broadcast India in Mumbai andCCW in New York, among others. Brainstorm’s unique videoTeletransporter – also called ‘virtualtraveler’ functionality – allows theincorporation of external post-production tracking hardware andsoftware data along with real-timetracking data, combining both withany object or set on the scene. Also,external tracking data coming fromreal cameras or third-party trackingsoftware can be included asmetadata in live feeds or pre-recorded videos, and immediatelybe transferred and applied to thevirtual camera’s parameters. Thismeans that the user can seamlesslycombine 3D virtual sets with real

characters and pre-recorded videofeeds, all moving accordingly withprecise perspective match. Itenables users to perform real-timeinsertions of live characters in a live event happening at a remotelocation; real-time insertions of the live character in an event thathappened in the past, and real-timeinsertions of a pre-recordedcharacter in an event set to happen in the future.

Equally impressive is Brainstorm’spatented TrackFree technology that,combining tracked and tracklessproductions for maximum flexibility,creativity and visual impact, has the capability to detect the exactlocation of the presenter andensures the correct positioning ofthe talent within the 3D scene. It is a totally new, patented andrevolutionary approach to virtual set production developed byBrainstorm. It is a camera-trackingindependent technology, whichcombines in a single virtual camerathe precision and higher quality ofthe most complex camera trackingsystem with the flexibility, freedomand ease of use of moderntrackless systems. TrackFree alsoallows the usage of both internalchroma keying and external chroma key hardware in the same production.

The third patented feature of InfinitySet refers to the 3D presenter thatcreates a 3D representation of thelive character coming from a videofeed, generating a real-time 3Dvolume which is continuouslyregenerated, repositioned andremapped based on the shootingcamera parameters. This patentedtechnology also allows the characterto cast real shadows over synthetic3D elements while interacting withany element on the scene. InfinitySet advanced compositing featuresallow designers and producers tocreate fully realistic real-time 3Dscenes where the different elementsbehave like those of the real world,not like video layers or dumbstickers over a background.On top of that, Infinity Set is acomplete real-time 3D Graphicstool, as it can seamlessly integrateAston 3D – Brainstorm’s graphicscreation solution – projects withinthe virtual set environment, as apart of the set or as full-screenmaterial. Infinity Set integrates 3Dobjects and StormLogic animation,even including external data sourcesfor data-driven graphics such asbars, pies, charts, statistics andmany more. Also, these graphicscan be animated within Infinity Setto create complete productions andshows, and played out directly fromInfinity Set or controlled by externalOnDemand licences.

Infinity Set is fully compatible withBrainstorm’s Virtual Camera

Controller, external hardware thatcontrols the Production Mixer Mode.This hardware, also used by otherBrainstorm solutions, is designed tofurther enhance the live productioncapabilities of the Infinity Set,allowing full control of cameras,transitions, actions and objects.

All the features explained above arethe main reasons why Infinity Setwon the IABM Game ChangerAward. Thanks to this Prize “we are sure that our strategy ofinvesting in R&D is ensuring greatachievements and that we ought tokeep moving towards that direction,”said Brainstorm’s Product Manager,Thierry Gonzalo.

Brainstorm Multimedia's Infinity Set virtual studio application was thewinner of an IABM Game Changer Award in 2015. Key features that set itapart for the judges were its video Teletransporter & TrackFree capability.

About BrainstormMultimedia:Established in 1993, BrainstormMultimedia provides industry-leading virtual sets and real-time 3D interactive graphicssolutions for all broadcastgraphics types and workflows aswell as for feature filmproduction and 3D real-timepresentations. Brainstorm’scustomer list includes many ofthe world’s leading broadcastersplus a large number of smalland regional stations. For moreinformation visitwww.brainstorm.es

Game Changer Award 2015 – Post Production

Only 4:2:0 goes below 10GE andhigher bandwidth (ie 25GE, 40GE,100GE) ports are still too expensive fora large adoption. Broadcasters needreal 4K 60fps at 4:2:2 or 4:4:4.

SMPTE 2022 5/6 and related IPstandards are evolving rapidly. Up tonow, it was used for point to point IPtransmission of uncompressed HDand 3G-SDI. But today, it aims toenable Live IP Production capabilitywith independent essence mappingunder specification, thanks to aneffort conducted by the JT-NMVSF/SMPTE/EBU.

Reducing the bandwidth of 4KMoving to 4K/8K requires an expensivehardware upgrade, a heavy renewal ofinfrastructure and will increase powerconsumption. Lightly compressedstorage and transmission remainsaffordable and manageable withinsystems and infrastructures. Itinvolves a low cost hardware upgrade and reduces the renewal ofinfrastructures for the same powerconsumption.

Extending the Life of SDI WorkflowsExisting 3G-SDI infrastructures can bescaled with “Lightly compressed” 4K.It requires a small compression whichcan be easily implemented in existinginfrastructure and FPGAs and easesupgrade in the field. It also requiresideally that the compressed 4K stream fit on a single 3G-SDI. Thecompression needs also to meet thekey requirements to operate in live

production infrastructures. It isimportant not to lose the advantagesof current point-to-point, SDI-basedsystems in terms of familiar workflow,operational practice andinteroperability.

Moving to IP“Lightly compressed” 4K is needed to fit in a single 10GE cable. For thelegacy deployed infrastructure, thecompression has to be capable ofleveraging already deployed SMPTE2022 5/6 equipment and put 3 x 4Kstreams on the 3G-SDI mapped on10GE. It is also positive if thecompression can go up tomathematically lossless compressionfor a single 4K stream over a 10GElink. It is strongly required to get acompression with a low software and hardware complexity to cover allneeds of the 4K over IP workflows.

TICO compression intoPIX TICO is a light-weightmezzanine compression codec that has been specifically studied toachieve near lossless quality at very

low compression ratios and for a very low complexity and cost.

Mapping SDI and IPinfrastructuresTICO guarantees low complexity of implementation with a lowcompression ratio, with nocompromise to latency and visualquality to transport UHDTV 4K over IP.It is matching the requirements to becarried across both SDI and IPinfrastructure. Here is a smalloverview in the case of a mapping inSDI and SMPTE 2022 5/6 standards.

Conclusion The AV industry faces heavyinvestments to enable the transport of UHD video in a regular way in Liveproduction workflows.

Using TICO light-weight videocompression, over IP Networks orthrough SDI mapping is a smartupgrade path to manage UHDTV,frame rates and number of streamsassures visual quality and very lowhardware complexity and cost.


GAM

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4K Video over IP Workflows – an IABM Game ChangerAward for the new TICO Light-weight compression.

TICO, Game Changer"intoPIX TICO Lightweight compression for Live 4K overIP is the Winner in the Content and CommunicationInfrastructure category for the IABM Game ChangerAwards 2015.”

Receiving an award such as the IABM Game ChangerAward is not only a great recognition from the industryfor intoPIX and TICO technology. It is also the recognitionfor all the collective efforts produced by intoPIX peopleand partners during the past years to answer efficientlythe constantly evolving Broadcast industry. The Awardreflects the deep knowledge and understanding oftoday’s and tomorrow’s challenges faced by our industryand the creativity of a team to find an efficient andoptimal answer to it.

intoPIX has been 100% devoted to bring the best-in-classJPEG2000 implementation to address Digital Cinema andBroadcast needs and has learnt a lot from working in avery close relationship with the user needs, also applyingthe Agile Methodology of development over the last sevenyears. As many companies, we have seen how importantthe convergence with the IT world, and the move tosoftware and IP-based workflow are for the future of theBroadcast industry. We have been constantly investing inour competences in cryptography and video compressionto contribute to and serve this evolution.

The judging panel has identified intoPIX TICOcompression technology as one of the leading productsto be exhibited at NAB Show 2015. The IABM GameChanger Awards honor this effort and the forward-looking solutions it yields.

Considering the necessarybandwidth for the next generationof television with UHDTV resolution video and higher frame rates, live uncompressedtransport across 10GB Ethernetnetwork or existing SDIinfrastructure is not possible anymore. Indeed, uncompressed 4K video at 60fps 4:2:2 requires 12Gbps or more for 4:4:4.

The light-weight compression TICO is visually losslessguaranteeing compression at very low compression ratiowith only few pixel lines of latency, a small FPGA cost ofimplementation, with a high efficiency in CPU. Moreover itenables a perfect mapping 4K streams over 3G-SDI linksand 10GbE networks. In December 2014, this compressionhas been submitted for a SMPTE Registered DisclosureDocument (RDD).

UHD production over IP transitionIn the transition to 4K and to IP in broadcast, threeimportant facts have to be considered:

n UHDTV needs more video bandwidth: that’s not for free

n Broadcast industry lives in a SDI world: and massively invested in 3G-SDI

n Broadcast facilities move to IP: 4K/8K does not fit into a single 10GE port.

Today 1GE & 10GE, are the obvious affordable ports.Compared to SDI it enables a reduction of cost, size, andnumber of cables. The cost of a 10GE port from anEthernet switch goes significantly down and is expected tobe more affordable than a 3G-SDI in a near future.However, 4K cannot fit in 10GE Ethernet (11 880 Mbps).

Game Changer Award 2015 – Content and Communication Infrastructure

Chris Brown, NAB & Jean-Baptiste Lorent, intoPIX

Given the rapid growth in OTT,foreign distribution, the number of broadcast channels, and thenumber of consumer platforms,media assets are becoming evermore complex – especially on aninternational level, where thecomplexity is often compounded by 20 or more different languagetracks. It's an operational challengeto ensure media is distributed in the correct languages along withthe correct captions and videodescription all timed properly. As an added pressure, captionregulations are becomingincreasingly stringent around theworld, where closed captioning,video description, andmultilanguage support are morecritical than ever. Traditionalverification methods rely onhumans, which is time-consumingand costly. In today’s environment,manual verification is no longer aviable option for media operators.

Nexidia developed its Illuminateproduct, an evolution of Nexidia QCproducts, to address those verychallenges. As a result, it hasautomated the labor-intensivemanual processes in closedcaptioning workflows.

Like all Nexidia Media &Entertainment products, NexidiaIlluminate has its origin in thecompany’s patented and EmmyAward-winning phonetic-basedsearch technology, which analyzesthe individual sounds that make uphuman speech. Because phonetic-based search technology relies on those distinct units of soundrather than individual words, it can locate and verify speech withunprecedented speed and accuracy.Nexidia was incorporated in 2000,formed the Nexidia Media &Entertainment business unit in2005, and then began licensing thetechnology to third parties. As such,many users were first exposed tothe technology that would evolveinto Nexidia Illuminate when usingAvid ScriptSync, a script-basedediting software option for the AvidMedia Composer® family of video-editing products.

Meanwhile, the phonetic-basedtechnology went on a paralleljourney and eventually developedinto Nexidia Dialogue Search.Turner Broadcasting was one of the first customers, and as such, Nexidia and Turner met regularly todiscuss roadmap and technology

capabilities. As part one of thosediscussions, Nexidia mentioned that the technology could apply to caption verification, captionalignment, and languageverification. Around that time,Turner was actively collaboratingwith the FCC on rules aroundcaption quality, so Turner issuedNexidia a challenge: create the firstautomated, broadcast – and IP –specific compliance system tomonitor caption quality, determinethe presence of video description,and enable language verification on the audio.

And Nexidia QC was born.

Nexidia QC software uses theaforementioned patented speechanalytics technology to verify thatvideo description content wasactually aired, which automatesverification and logging for legalcompliance. It also verifies that the


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captions aired match the programbroadcast and determines the level of caption coverage for theprogram. Eventually Nexidia addedautomated caption retiming torepair misaligned caption files forsubsequent use and frame-rateconversion. Nexidia QC wasdesigned for seamless integrationinto other workflow and QCapplications.

After Nexidia QC’s successfuldeployment at both TurnerBroadcasting and CNN, and after itwon an IABM Design and InnovationAward in 2013 and an IABM GameChanger Award in 2015, the productevolved yet again.

In the spring of 2015, Nexidiaintroduced Nexidia Illuminate, a new product family thatencompasses Nexidia QC andbuilds on the technology behind it.With Nexidia Illuminate, Nexidianow offers three different software-based products targeted fordifferent applications – Nexidia QCfor caption quality control, NexidiaComply for broadcast compliance,and Nexidia Align for automatedcaption retiming. Align is availableas an option for both Nexidia QCand Nexidia Comply.

Unlike many of the existingproducts on the market that onlyperform metadata checks, theNexidia Illuminate products actuallyinspect the essence of the media to

perform their analysis. In addition,the solutions can process mediaover 40 times faster than real timeusing just a single processing core,and can run multiple files in parallelacross all available cores. Thiscapability means users can monitormore than 100 channels at a timefrom a single Nexidia Complyserver, or QC tens of thousands ofhours of media per day from asingle Nexidia QC server.

Nexidia Comply works inconjunction with VoliconObserver, Tektronix Sentry, andTriveni Digital Stream Scope.Alternatively, customers canuse Nexidia Comply’s REST APIto implement their ownsolutions. Nexidia QC can workas a stand-alone solution andwith existing integrations –including Telestream Vantage,Dalet AmberFin UQC, AsperaOrchestrator, and EvertzMediator – and it can also beintegrated into other third-partytools using Nexidia Comply’sREST API. Nexidia Align worksas a stand-alone solution, aspart of Nexidia QC via REST API,or via one of the Nexidia Complyand Nexidia QC integrations.

With Nexidia Illuminate,broadcasters can now automatesomething that could previouslyonly be done manually, not onlyrelieving QC and compliance

operators from the tedious work of checking these aspects of theirmedia, but also reducing costs,increasing throughput, andimproving quality, particularly for the hearing impaired, mobile users, and alternative viewingenvironments, such as restaurants.

Game Changer Award 2015 – Test, Quality Control & Monitoring


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DCIT, the renowned broadcastmanagement company, member ofIABM, and owner of Provys, is nowready to embark upon the next stageof its expansion which will be theestablishment of a subsidiary whoseprincipal objective will be thedevelopment and roll out of theaward winning Stream-Circle.Captains of the media industry willrecall that Provys won theprestigious IABM Game ChangerAward at NAB 2015 and the purposeof this article is to give you anupdate of the rapid developmentssince then. Massive interest wasshown by visitors and exhibitors atboth NAB 2015 and IBC 2015 andcomment and feedback from allsectors of the industry has beenanalysed and utilised forimprovements to the original

concept. Contributions, suggestionsand feedback from the media sectorare gratefully acknowledged.

Stream-Circle is an easy-to-usecloud service for mediaorganisations or companies whichbroadcast video content online in ascheduled manner. In simple words,with Stream-Circle, you caninstantly run your own linear TVchannels on the web. This perfectand inexpensive solution allows TVoperators to increase the number oftheir channels, corporations to runtheir own TV, or store chains todeliver advertisements from onepoint. It greatly helps filmdistributors, universities, sportclubs, associations, churches orunions to communicate moreeffectively with their targetaudience.

This pioneering concept consists ofthe following components: full HDcapable video playout and CGautomation engine (video streamcomposition), video, CG and social-cast planning (play-list editing),content management, internetmedia streaming, internet socialmedia casting (Facebook, Twitter,Google+), and a web browser basedcontrol application. Solution usershave secure access to their contentuploaded in the cloud storage, andto their on line CG playoutschedules and playout control.

Stream-Circle is a smart add-on tostandard streaming and VODservices where viewers activelysearch and play the content. TheStream-Circle service builds on topof this concept and gives operatorscontrol of what will be presentedand when it will be seen by theviewers. It combines traditionallinear broadcast planning withInternet delivery at an extremely low cost.

In making the presentation for theaward, Mr. Chris Brown, NAB VicePresident of Conventions, and JohnIve, IABM Director of Technology,said “There are several issues thatlimit innovation in services today.Stream-Circle permits easyexperimentation in new serviceswithout major capital requirements

or the operation of expensiveequipment. It will help change howTV stations or video providers workwith new media distribution. Itprovides the completeness of whatis needed without too muchcomplexity. The OPEX model is theswing point. Stream-Circle is theGame Changer.”

The new company will beestablished at the end of 2015 andwill have the same name: Stream-Circle. It will enjoy joint stock statusand a proportion of the equity will beavailable for interested investorswho recognise the great potential ofthis ground-breaking technology.The first investment tranche willcome from the parent company,DCIT, in the sum of Euro 750thousand.

The development of the Stream-Circle service has been very fast sofar. A commercial prototype wasshowcased at NAB this year andlater presented at local broadcast

conferences. At IBC 2015, the ready Stream-Circle solution waslaunched and scored a greatsuccess. The improvementspresented at IBC included: fullintegration with Provys broadcastscheduling, finalisation of acomprehensive documentation forusers, and live event supportingfunctions. Straight after IBC, onemajor broadcaster started a pilotproject to replace the legacysystems used for their internet“movie” channel using their ownstorage infrastructure. Another mid-sized broadcasting network askedfor a Stream-Circle proof of conceptto extend a number of their existingthematic channels. These two initialprojects with broadcasters werefollowed by a requirement from alarge publishing house which foundStream-Circle as a perfect tool tomove into the modern electronicmedia world of moving pictures.

The Stream-Circle developers areworking hard to secure highavailability for a large number ofviewers. One of the first serviceproviders on the compliance list wasAmazon Cloud and the number ofother compatible world CDNservices continues to grow. Anotherpriority for the developers is a widerange of usable video formats. Justrecently, they have confirmedcompatibility with 4K (UHD) togetherwith many different coded HD andSD media.

Since winning their award at NAB2015, the Stream-Circle staff havebeen continuously growing. Thetechnical team has been reinforcedby three testers and IT consultants.The extended business developmentteam have prepared a clearbusiness plan containing a detailedthree year budget and a businessmodel for partners. Followingcompletion of this thoroughpreparation, the spin-off companywill be soon established obtainingcapital from DCIT as the firsttranche. At the same time, the firstcommercial clients will be runningthe service.

Special thanks must go to theindependent jury of the GameChanger Award whose professionaljudgement helped to launch thisoriginally embryonic idea on thepath to successful maturity.

Stream-Circle Start Up is Game Changing

Game Changer Award 2015 – Services


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The company’s solutions also arebeing embraced by a growingnumber of users across the sportsvideo and corporate contentmarkets.

Building on its long-standingleadership in storage for complexworkflows, Quantum has beenexpanding and refining its workflowoptimized storage to help customers— including top studios, majorbroadcasters and cutting-edgecontent creators — address theindustry’s most demanding mediastorage and managementchallenges. The company’ssolutions also are being embracedby a growing number of usersacross the sports video andcorporate content markets.

Broad interest in Quantum sharedstorage solutions is being driven bythe fact that any organization thatproduces, stores and delivers mediacontent faces challenges in terms ofproduction, especially withsignificant jumps in video resolution,

and in terms of archive. Over thepast few years, Quantum hasintroduced solutions with a uniqueability to solve both of thoseproblems within a single storageenvironment.

The company’s StorNext 5 workflowstorage platform powers modernmedia workflows by enablingseamless, real-time collaborationand keeping content readilyaccessible for future use and re-monetization. Specifically designedto enable the newest digitalworkflows and much greater levelsof productivity and efficiency,StorNext 5 provides unmatchedperformance for online operationsand automation for contentmovement and retention across allworkflow stages including high-resolution content ranging from HDto 4K and beyond.

With more than 100,000 StorNextclient licenses deployed, customershave trusted Quantum to help themdeploy flexible, high-performance

Introduced in October 2015,Xcellis is a next-generation, high-performance, end-to-end sharedworkflow storage solution thatempowers users to boost theirefficiency, productivity andcreativity in delivering theproducts and services that drivetheir business. Consolidatingmedia and metadatamanagement, extendingconnectivity options for bothFibre Channel and Ethernetclients, and supporting hostedapplications, the new Quantumsystem greatly enhancesproductivity in collaborativemedia environments byintegrating the most importantcomponents of workflow storageinto a single easy-to-manage,fully scalable hardware solution.This solution supports onlinework in process, ingest anddelivery, and archive throughQuantum’s portfolio of Lattusobject storage, LTO tape and Q-Cloud services, all running onStorNext 5.

Shortly after unveiling Xcellis,Quantum launched the newest ofits Q-Cloud services, Q-CloudVault. Fully integrated as a tierwithin workflows powered byStorNext 5.3, Q-Cloud Vaultprovides low-cost, Quantum-

managed “cold storage” in thepublic cloud (Amazon Glacier).The Q-Cloud Vault servicefacilitates automated, policy-based movement of media to thecloud, without the need foradditional hardware, separateapplications or programming.Media remains secure at alltimes, thanks to end-to-endencryption, and the usermaintains full control overencryption keys and data access.Q-Cloud Vault complementsQuantum’s award-winning Q-Cloud Archive service whichleverages Amazon S3 as astorage tier.

Quantum customers also haveleveraged new additions to theQuantum StorNext Pro Solutionsproduct line, which offerssolutions that enable mediafacilities to manage assets fromingest to delivery to archive atany scale, and adapt as theirworkflows evolve. The NFL’sBaltimore Ravens deployed aStorNext Pro Studio solution tosupport its transition toworkflow-optimized tapelessstorage, and a San Franciscomotion design firm deployed theStorNext Pro Foundation toestablish a high-performancestorage infrastructure that would

enable it to compete with muchlarger studios.

The rapidly growing range ofcustomers – both large andsmall – choosing Quantumsolutions also includes one of thelargest video game companiesand a top online video streamingprovider, a major newspaperpublisher that adopted StorNextPro 4K and two state universitiesthat needed to refresh their AppleXsan environments for managingvideo.

“While we are all in a challengingmarket environment, demand forworkflow-optimized storagesolutions remains very strong,” adds Grossman. “Coupled withthe explosive growth in contentarchives, this demand is drivingcustomers to look for the kind ofend-to-end solutions thatQuantum delivers. Our uniquecombination of highestperformance for the mostdemanding parts of the workflowand the lowest possible cost forlong-term content archivesenables Quantum to givecustomers the best of bothworlds, all powered by StorNext.”

Building on its long-standing leadership in storage for complex workflows,Quantum has been expanding and refining its workflow optimized storageto help customers – including top studios, major broadcasters andcutting-edge content creators – address the industry’s most demandingmedia storage and management challenges.

Game Changer Award 2015 – Storageend-to-end storage pipelinestailored to the requirements oftheir workflows, from ingestthrough finishing and into deliveryand long-term preservation.Quantum’s StorNext 5 platformand the company’s Lattusextended online storage systemshave been deployed by customerssuch as AOL Huffington Post,Calgary Police Service, PBS, TVCultura, the University of NorthCarolina, BBC Sport, MLBNetwork and UFC to enable more cost-effective storageinfrastructure; faster, easieraccess to older media content;and seamless extension of theonline work in process operationswith private cloud.

“As more and more customersare realizing, no other vendor canprovide the combination of highperformance, low cost andintelligent, end-to-end datamanagement across sites and the cloud that we offer withStorNext and Lattus,” says AlexGrossman, Vice President, Mediaand Entertainment at Quantum.“Now, with the recent release ofour new Xcellis shared workflowstorage solution, we’ve taken thepower of StorNext and Lattus to a new level, driving greaterefficiency and easierdeployment.”


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2 8

In 2013 a problem was highlighted toSonifex by a sound engineer at aLondon TV station, which needed a real-world solution. When TV presenters arereading script/autocue, as well as thecomms, count-downs and talkbackmessages coming from the productiongallery, they also hear their own voice indelay at a high level in their ear-piece,which can be very disconcerting andconfusing. The reason for the delay is that when a studio presenter’smicrophone signal is played out through a monitor speaker in thecontrol room/production gallery, it can be picked up by the control roommicrophone(s) and returned to thepresenter’s earpiece as an undesirable echo.

Much like during a conference callconfiguration between two rooms, eachroom has a microphone and speaker to conduct a conversation. When anoccupant of one room speaks, it takes a certain length of time before it isreceived in the second room. Without asuitable solution this ‘delayed’ signal

can then be captured by the microphonein the second room and returned backto the first room as an echo.

In circumstances where green screenvideo processing is taking place, thedelay can be greater than 200ms.Additionally, the dimensions, occupancyand distance between mouth andmicrophone can further influence the echo. In the particular example of TV production, as well as theprocessing/transmission delay, soundreflections from the control roommonitor speaker into the control roommicrophone(s) cause the studioearpiece to suffer further delay. Thesound reflections in the control roomvary with the contents of the roomincluding any personnel present. Also,different frequencies produce varyingreflections across various types ofsurfaces and magnitudes within theroom. For example, a 15m distancebetween speaker and microphone thedelay is as much as 40ms

.Whilst presenters tend to get used to this effect with practice, it’s not

always so easy for

Game Changer Winner 2013 – Audio

S U P P O R T I N G T H E I N D U S T R Y F O R 4 0 Y E A R S

The RB-AEC can also beused in another applicationwhich is where a caller isphoning in to a TVprogramme which is beingbroadcast live in a TVstudio in front of anaudience. Whilst the callercan be heard clearly for theTV broadcast, the calleraudio is picked up by themicrophones in the studioaudience and fed back tothe caller as adisconcerting echo ofthemselves in their ear-piece. So to make the callerexperience easier, thisecho can also be removedusing the RB-AEC.

The RB-AEC is undergoingtrials in a number of TVstudios and is making apositive difference to thepresenters’ live experience.Additionally the echocancellation algorithmsused in the product arebeing migrated to otherSonifex talkback/intercomproducts.

For further information onthe product, please go theSonifex website at:http://www.sonifex.co.uk/redbox/rbaec_ld.shtml orcontact Sonifex sales on+44 (0)1933 650 700 [email protected].

interviewees who are given a lapelmicrophone, an ear-piece and thenhave the same delay problem. Thiscan cause problems where theinterviewee then sounds hesitantand loses the thread of their topicbecause of the confusion caused bythe delay. There are already acoustic echocancellation devices on the market(like noise cancelling headphones,for example), but these tend to be fortelephony applications, so have a lowaudio bandwidth. Also, acousticreflections in the control room causemultiple delays to be produced whichare harder to remove.

The Redbox Acoustic Echo Canceller(RB-AEC) is a DSP solution whichcan dynamically compensate forvarying delay configurations and isdesigned to produce superior qualitycancellation. It takes an audio feedfrom the presenter’s microphone(s)and dynamically removes thepresenter’s voice from the delayedaudio, which is then sent to thepresenter’s ear-piece as a cleansignal. The high reduction of theirown voice in their ear-piece is enough to make other sounds, such as a producer’s comments,much more comprehensible.

At NAB 2015, Tedial, the leadingindependent MAM technologysolutions specialist, unleashedTedial Evolution™, an enhancedversion of its Media IT platform. Thelaunch was a great success and theshow culminated in Tedial winningthe IABM Game Changer Award inthe System Automation and Controlcategory. The awards werepresented to companies whosesolutions or products representoutstanding achievement acrossnine categories and winners wereannounced at a reception at theIABM Member Lounge, Las VegasConvention Centre, during the show.

Since NAB, Tedial Evolution hasgone from strength-to-strength,garnering significant industryinterest and a further industryaccolade at IBC 2015. TVB Europepresented Tedial with a Best ofShow Award recognising TedialEvolution’s ability to providebroadcasters and content ownerswith advanced Media IT tools formulti-site Enterprise MAM andBusiness Process Workflow. Asignificant number of entries were

submitted prior to the showopening, and it was the task of an independent panel of judges to examine and evaluate eachnominated product on the basis ofdesign, features, cost-efficiency, and performance in serving industry professionals.

Since the launch at NAB Tedial isexperiencing a record number ofupgrade requests from its currentcustomers who want to move fromtheir existing version of its softwareto the Evolution platform. Thecompany has also seen a 25 per cent increase in bookings year-on-year.

With all this success what is it thatsets Tedial Evolution apart fromother media IT platforms? Thelaunch of Evolution has drivenmedia management to a new levelby presenting a suite of scalable andflexible Media IT software modulesthat automates the preparation,movement and distribution of mediainternally and externally. Built as amodern workflow engine with aworld class MAM tightly coupled to

it, Evolution makes media ’workflowaware’, enabling customers to cost-effectively increase their mediathroughput to meet the needs of the market where the consumptionof content is growing at anunprecedented speed thanks tomainstream take up of anytime,anywhere content.

Providing advanced, high-performance search and indexingtools as standard, Tedial Evolutionusers can easily surf and explorearchives. They also benefit fromimproved integration between third-party business systems, drivingworkflow for linear, VoD and OTTservices via a collaborative workingenvironment.

The platform incorporates new GUIcontrols for any surface: MAC or PCbrowser, tablet or smartphone, anddramatically speeds up both manualand automated workflows. The newHTML5-based GUI keeps frequentlyused tools accessible to easilymanage tasks, validate media ormonitor workflow status remotely.


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A true Object-based Datamodelmanages group entities with amulti-level classification schemabased on dynamic, changingrelations. Entities are logged asassets and categorised asmembers of multiple entities,according to user needs.

Day-to-day, Tedial’s clients areable to continuously expand andeasily re-configure their coremedia IT to improve their overallmedia business performance.They are adding multi-siteworking and continuously tuningtheir media workflows usingopen industry standard BPMtools. Working with Tedial,customers are rapidly takingcontrol to proactively manageworkloads that are increasinglyfocused on content enrichmentand the media throughput that isrequired to drive their multi-platform packaging for multi-screen distribution and success.

Tedial continues to embraceglobal industry trends withsupport for media initiatives suchas the UK Digital ProductionPartnership (DPP). TedialEvolution ensures thatcustomers can advance anddevelop their media businessesby evolving with the changes in

media consumption andproviding real operationalefficiency and bottom linesavings.

To maximise the capabilities ofthe modern broadcast facility, it’sessential for MAM technologyproviders to apply precise ITtechnologies to broadcast andmedia. By selecting the correctmedia IT solutions architecture,broadcasters can integrate theirentire business from acquisitionand production through topackaging and delivery, enablingfar more efficient and cost-effective operations.Broadcasters and global mediacompanies worldwide rely onTedial's unique media ITsolutions to manage their entiremedia workflow and to cost-effectively reach new audienceson every screen.

2015 has been a successful yearfor Tedial and the company looksforward to continuing thissuccess into 2016 and beyond.

Tedial’s customers’ problems are often complex, however, itsapproach is simple: Find IT,Enrich IT, Manage IT and Publish IT.

Tedial Evolution takes centre stageEsther MesasChief Operations Officer, Tedial

Game Changer Award 2015 – System Automation and Control The interface is fully customisablefor individual preferences or workassignments, including metadataviews and screen configurations,with an integrated activity monitorand unified view of archives,workflows and businessprocesses.

Evolution’s Search/Indexingengine organises and searchesmedia collections and otherobject related entities, andindexes sizable databases usingshared indexes. Descriptivemetadata is tagged automaticallyand keywords are autocompleted.It offers new methods to surf theMAM through ‘departments’ using‘Amazon.com’ style functionality.

Efficient content management isalso key for handling the differentmedia formats, versions andvariations required for newconsumption models in all linearand non-linear platforms. TedialMediaset provides a logical viewof all related components (audio languages, subtitles,attachments) that can easily bedelivered using profiles in IMF,which define the elements (CPL,Composition PlayList) andtransformations (Output Profile List) required for each platform.

Going forward from the IABM AwardFrench company Aaton Digital wasawarded the IABM Design andInnovation award in the audiocategory at IBC 2015 for its newCantarX3 digital 24 track locationaudio recorder.

Since then the CantarX3 has beenvery much in demand. Many soundrecordists worldwide who pre-ordered were overjoyed to receivethem, as Billy Quinn and PhilippeMouisset were recently. Therecorder has already been veryinvolved in the making of topmovies, television programmes andother recordings. It has been underthe spotlight at international tradeshows like Broadcast India,Camerimage and Inter BEE, whereits outstanding appearance andimpressive feature list have made ita centre of attention.

The CantarX3 is now the ultimatelocation recorder for the motionpicture industry and for otherrecording applications such asdrama and orchestral work. TheAaton and Cantar names alreadyheld a reputation for outstandingquality, practicality and reliability.Following with the CantarX3, Aaton

Digital applied new digitaltechnology and new manufacturingtechniques to create an outstanding,highly featured and flexible tool forprofessional audio recording foryears to come. The recorderembodies the very latest audio and mechanical design advancescoupled with a clever intuitiveinterface, a great display, andfinished with stunning French style and design.

The recorder’s multi track capabilityhas been created for the changingdemands of top level movie andprofessional recording, where it isbecoming normal to have manyradio microphones where in the pasta single boom mic may have beenused. The increasing use of highlevel music and effects demands a very high quality ‘dry’ voicerecording as a starting point so thatin the final production the speechwill be perfectly clear above theeffects and music.

Aaton Digital’s sister companyTransvideo has been designing andbuilding electronics products over a 30 year period. Over the years, ithas adopted new design andmanufacturing techniques and

has had great success in themanufacture of high end referencevideo monitors and monitor-recorders widely used by thebroadcast and motion pictureindustries, products highlyrespected for their accuracy andreliability. Transvideo’s holdingcompany Ithaki acquired AatonDigital in 2013 and joint CEOJacques Delacoux has beenconsolidating design andmanufacture between the twocompanies, with more integrationplanned during 2016. Transvideo has brought its core technologiesand manufacturing skills to AatonDigital. Transvideo is also active inavionics with several products used in Airbus aircraft.

Since the award both companieshave presented, and are deliveringnew products incorporating latesttechnologies for the motion pictureand broadcast industries.

Aaton Digital has introduced newaccessories for the CantarX3. TheCANTAREM 2 is a brilliant,innovative optional USB-connectedmixer panel to quickly add 12 moreassignable mixer faders whenoperating a high track count, with 4 assignable buttons for specialfunctions.


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Transvideo have brought a strong,state of the art line-up of monitor-recorders.

The StarliteRF is a 5” 3G-SDI OLEDtouch screen wireless monitor-recorder with a built-in wirelessreceiver. With supported resolutionsof 720p, 1080p, 1080i and 1080psf, itoperates on the 5.8Ghz ISM band,has a top mounted antenna, and aSony prosumer battery at the back.The wireless video connectivity iswithout latency, with low loss andwithout any transmission delay.Robust wireless connection is made

possible by a TitanHD2 tx within arange of 200 meters LOS. It has ahigh brightness display of 380 Nits,and the ability to record dailies inH264 onto an SD card.

Small and lightweight, free ofcables, and with all the reliability,accuracy and fine engineering that

Transvideo build into their products,it is the perfect choice for directors,assistant directors, focus pullersand DOPs in various configurations:aerials cinematography, motionpicture and Broadcast.

The StargateFHD is the first of anew generation of 7" high-endrecorder-monitors, 3G HD/SD SDILCD, with full HD 1920x1080 highbrightness 1000 Nits displaycompatible with 4K- 6G. Processingis fast path with no latency involving‘Immediate display’ technology,ideal for shooting situations whereno delay is acceptable. It includesthe ability to record dailies (H264 –> MP4/MKV) to SD cards.

It has a host of invaluable tools suchas Focus Helper, Peaking, Markers,Zoom, Job-Oriented Views, 3D LUTs,and Tally.

It is the perfect tool for directors,DOPs, focus pullers in every type ofproduction – cinematography,broadcast, documentaries, sport,studio, location, video village.

A collaboration with top cameramanufacturer ARRI to adapt theTransvideo StarliteHD recorder-monitor to control the ARRI ALEXAMini and the ARRI AMIRA camerashas resulted in the popularStarliteHD5 ARRImonitor, offeringa superb practical display and manyanalytical features as well as inbuiltrecording and playback capabilities.

Also new, the CineMultiTrack, areliable focus-puller’s assistant. Itmeasures distance on set, with amain display unit and 3 Tags to beconcealed on the actors. Tags aresmall concealable units whichinclude the measurement systemand a rechargeable LiPo battery via USB.

Aaton Digital and Transvideo areproud to be members of the highlyregarded IABM organisation and toparticipate and collaborate to shareknowledge and ideas asopportunities arise.

http://www.transvideo.euhttp://www.aaton.comFrench Technologies for MotionPicture, Broadcast and DigitalCinematography

Aaton Digital – Transvideo

Design & Innovation Award 2015 – Audio

The features and experiences thatsubscribers demand today – TVAnywhere, HD recordings, hugelibraries – are costly, timeconsuming, and not very scalableor resilient when deployed withtraditional architectures.

The Ericsson Video Storage andProcessing Platform (VSPP) offersa unique, proven infrastructurethat allows for seamlessaugmentation and replacement oflegacy television services withnew cloud based solutions. Thisscale-out, software based storageand computing platform, builtusing the converged cloudarchitecture resources principle,provides outstandingperformance gains and greatlysimplifies the architecture,allowing operators to avoid manyof the complexities and costsassociated with these newservices.

The platform integrates andvirtualizes the storage andprocessing capabilities of asmany COTS servers as needed to create a unified, highperformance infrastructure.

Optimized for media, it can scale-out to support hundreds of petabytes of video storage and it’s ideal for time-shifted TV services like:

n Massive video archive and playout

n Scalable Origin and Edge servers

n Cloud DVR (private and/or shared copy)

n Start over TV

n Pause Live TV

FlexibilityIn addition to supporting any mix of x86 generic server, theplatform easily integrates intoback office systems, evensupporting ad insertion. Serviceproviders get the freedom toconfigure the hardware to matchtheir workload, with no vendorlock in.

It supports most Digital RightsManagement (DRM), ContentManagement Systems (CMS), andSession Resource Management(SRM) applications.


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Ericisson – By enabling the Networked Society, we make a real difference to people’s lives, and the world we live in.

Solid ReliabilityThe high availability and 100%resiliency of the solution greatlybenefits time-shifted TV. Content isstriped across the entire cluster with“Cross-Server” RAID parity at theapplication level. This makes thesystem resilient against both disk ANDserver failure and allows for servicecontinuity during maintenance.

With this solution, the videos recordedwill always be available, immediately. Italso provides a high quality of servicewith very low latency ensuring theviewer will get instant reaction to allrequests (stop, play, pause) with a goodquality stream. The platform is built forcontinuous operations:n Redundancy without duplication

requirementsn Auto recovery, fast rebuildn No downtime for updates, h/w

replacementn Comprehensive Diagnostics

Suite. Enables tracking issues as they occur in production

In a recent update, new features havealso been added including support forsubtitling of over-the-top (OTT) content,full support for Ultra HD (4K)/HEVCservices enabling streaming of highquality video at lower bitrates andincreased cost-savings, as well as CDNassisted delivery of RTSP (real-timestreaming protocol) and CBR (constantbit-rate) content.

Real World ExperienceEricsson is the demonstrable market leader inimplementing cloud-based TV solutions. Itcurrently powers over 50 percent of the world’scloud DVR deployments, including the first andlargest private copy Cloud DVR deployment withover 100 PB of data. It is repeatedly chosen topower VOD expansion, time-shifting, and cloudDVR offerings for operators worldwide.

Ericsson recently announced that Swisscom has deployed the Video Storage and ProcessingPlatform to power all of the time-shifted andcloud DVR features of its TV 2.0 offering.

Swisscom has leveraged the highly scalablefunctionality of the Ericsson solution to offer aTV service that includes 7-day replay on over 250 channels, an archive and the ability forconsumers to record any numbers of programsin parallel, while ensuring continuousoperations. The flexible platform allowsSwisscom to deliver its TV 2.0 service across not only televisions but also as a multi-screenservice to smart phones, laptops, tablets and PCs.

As the leader in Cloud DVR and time shifted TV, we are continuing to offer operators thetechnology they can count on to get their uniqueservice offerings to market quickly and reliably.Real world experience enables great innovation.Just in time transcoding will reduce serverrequirements even more, and virtualization willhelp some operators scale up and get startedquickly, bringing VSPP to the edge will reducelatency and provide more flexible deploymentoptions. We continue to provide the best solutionfor the seamless experience today’s subscribersexpect in time-shifted TV.

Cost Effective Scale-outFor all next generation TVapplications, scalability andcapacity efficiency is critical.Ericsson leverages severalelements to enable a cost effectivedeployment. First, the platform ishardware agnostic. Operators arefree to choose their own genericx86 servers, even mixing brands.This eliminates the need forexpensive appliances or vendorlock-in.

Second, by combining compute and storage into the same stack,packaging, transcoding,streaming, and ad insertion are allintegrated. In fact, the stack isoptimized for media workflow.There is no need for “silos” or adedicated stack for streaming, onefor encoding, etc. This dramaticallyreduces the server requirementsand in turn OPEX.

Peak Performance – AlwaysThe characteristics and nuances of video have been carefullyconsidered. For both read andwrite, the platform sustains veryhigh recording and playoutconcurrency, which is critical forCloud DVR. This helps compensatefor the potential 30-40% recordingconcurrency at peak times, likeprime time, or during popularprograms.

Design & Innovation Award 2015 – Storage


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Mobile content in live sportdelivered to the SEA Games by EVS’ C-Cast

SINGSOC, EVS and NETCO SPORTSdesigned the first ever multisportmobile app offering live and near-live replays and highlightsAt this year’s IABM Design andInnovation awards, EVS wasrecognised for its innovation incontent and communicationinfrastructure for theimplementation of its C-Casttechnology at the 28th SEA Games.The cloud-based platform was usedto deliver content to fans throughthe official SEA Games TV app,designed for the games by NETCO SPORTS.

EVS partnered with SingaporeSoutheast Asian Games OrganisingCommittee (SINGSOC) for thegames which were held inSingapore in June this year. The appwas designed and implemented tomake the games as engaging aspossible and took advantage of amultimedia-rich mobile app whichwas the first of its kind for a multi-sport tournament. EVS’ C-Casttechnology was the platform that

delivered live and near-livemulticamera angles, replays andhighlights packages directly toconsumers through the SEA Games TV app.

The app featured content from all 36sports at the SEA Games includingswimming, boxing, rugby, cyclingand table tennis.

EVS was a key component supplierto the games and its solutions were

used across the entire liveproduction chain. Two C-CastAgents were placed at the GamesHeadquarters and were thenconnected to the on-site productionfacilities. This was integrated withthe industry-leading XT3 liveproduction servers and IPDirectorsuites which ingested and managedall of the tournament’s content forthe broadcast feed.

The C-Cast Workspace operatorreviewed content ingested,selected the best angles andtagged them with theappropriate metadata todescribe the action. The cloud-based platform then quicklyupdated the SEA Games TV app with the latest clips andhighlights for viewers toconsume on their mobiledevices.

The overall C-Castinfrastructure was supported byfive IPDirector suites operatedin parallel by five operators.This meant content from fivedifferent sports could be editedon-the-fly at any one time andmade ready for delivery by C-Cast. The efficiency of theplatform enabled SINGSOC to deliver a fast infrastructurewhich was able to easily publish content, allowing it toengage with audiences via the mobile app.

EVS operators were required todeliver a high volume of videocontent from five competitions

at any given time, on up to 20 productions a day for 15straight days. Constantscheduling changes also meant that operators andinfrastructures had to beflexible in order to work quickly,efficiently and without error.

The SEA Games’ EVSinfrastructure allowed thedesign and implementation of amobile delivery infrastructurethat enabled a total of 317,618users to access the app overthe two-week period of thegames across both Android and iOS devices.

Over the course of thetournament, users generatedmore than 37 million sessionsof video and data consumptionthrough the app. 90% of theapplications’ users returnedafter their first use and 50% of activity was from Singaporewhile the rest of the worldshared the other half. Thisproves that C-Cast is the keyplatform that provides thedelivery of live content to sports

fans who want it. The platformis now becoming hugelyimportant to broadcastinfrastructures so media rightslicencees can deliver this levelof live content to audiences in a compelling fashion.

EVS’ svp marketing, NicolasBourdon said “We were veryexcited to win the IABM’sDesign and Innovation award for content andcommunications infrastructure.The success of the SEA Gamesplatform highlights thereliability that all of oursolutions show under thepressure of delivering contentfor multiple sporting events at once. C-Cast has quicklybecome as key to thesebroadcast infrastructures asour live production servers andis driving the latest trend ofallowing audiences to accesslive content in new, unique ways.”

Design & Innovation Award 2015 - Content and Communication Infrastructure Design & Innovation Award 2015 – Content and Communication Infrastructure

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Net Insight is a public companybased in Sweden and listed on theNASDAQ OMX, Stockholm. Foundedin 1997 the company has beenoperating in the media industry foralmost 20 years and now serves more than 500 of the leading mediaoperators worldwide, spanning 60countries. The company was formedunder the premise that the Internet is the future of television and this hasbeen guiding its vision, innovationand business decisions ever since. The company’s Nimbra product linehas evolved to become a leadingplatform for live, high-quality mediatransport, and has been deployed atsome of the most prestigious globalsporting events including numerousOlympic Games and FIFA World Cups,among others. The platform is at theheart of many of the world’s largestbroadcasters’ and service providers’video transport operations, enablingthem to introduce everything fromefficient 4K media transport andremote production techniques for liveevents, through to high quality videocontent acquisition and contribution

over both managed and unmanagedIP networks. The success of theNimbra technology is uniquely basedaround a Service Aware MediaNetwork (SAMN) solution, whichoffers efficient video transport over IP without loss of quality. The SAMNalso enhances the performance of IPnetworks for media traffic by creatinga service aware media network thatdelivers the highest possible qualityvideo transport and end-to-endservice integrity.

Leading up to IBC 2015, Net Insightundertook a complete rebrandingexercise to define more clearly itsposition and reputation in the market, as well as its vision andphilosophy of acting as a true partnerto customers, its innovative approachto developing new industry-leadingsolutions, and emphasizing furtherthe company’s knowledge andexpertise in the industry. In addition,Net Insight has created a new“Activate Your Audience” concept,which underpins everything thecompany does to help bringengagement to the TV experience,efficient production workflows and

new opportunities for rewards. Thisincludes rewards for broadcasters,content owners and service providers,right through to end users, enabling a quality of experience (QoE)consumers want to pay for, live and local content that makesbroadcasters and service providers a part of their audience’s world, andcompelling interactive experiencesthat television consumers want to be a part of.

Since Net Insight’s IABM Design &Innovation Award was presented atIBC 2015 for its unique customerprovisioned network (CPN) solution,the company has solidified these newbrand concepts and married themwith the company’s vision to enablelive and interactive media experiencesfor anyone on earth. This includesenhancing television audienceengagement with media content andone another, as well as creating aglobal media marketplace wherecontent can be exchanged andresources and transmission capacityscheduled in real time, on-demandanytime, anywhere. In line with thisand its award-winning CPN offering,Net Insight announced the acquisition

of ScheduALL, the U.S Florida-basedprovider of Enterprise ResourcesManagement (ERM) software formedia, broadcast and transmissionbusinesses, in a US$14m deal. Thismove bolstered the company’s CPNproposition, bringing it closer toenabling its vision of a global mediamarketplace, as highlighted above,where service orchestration is key todelivering the most efficient mediatransport, scheduling capabilities and capacity usage available to media players operating across the entire media ecosystem.

Adding to Net Insight’s success andmomentum in 2015 the companyceremoniously entered a new marketwith the launch of a game changing,new true live Over-the-Top (OTT)solution, which it spent several yearsinnovating and developing. Thesolution, launched in November 2015,represents a major investment in thefuture of the company and will, for thefirst time ever, enable the delivery oflive OTT TV in total harmony acrossall devices, in sync with live lineartelevision, with low and predictabledelay. This opens up a raft of newbusiness opportunities for media

operators that have previously beenleft out of the OTT value chain toenter this space in new and excitingways, and also fixes the brokenpromise around the second screenand real-time social interactivity thatOTT TV promised, but failed deliver.Closely following this launch NetInsight also announced the globaltelecommunications service providerTATA Communications as its firstcustomer using the solution.

Overall 2015 has been an amazingyear for Net Insight. The company has seen steady growth under CEOFredrik Tumegård and reinforced itscredentials as a leading company thatis constantly evolving and innovatingto meet the growing demands oftoday’s television audiences andhelping to shape the future of themedia and broadcast industry.

Design & Innovation Award 2015 – System Automation Control

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LiveIP is one of the many projectshosted in the VRT ‘Sandbox’environment, a VRT initiativesupported by the EBU and theBelgium technology acceleratoriMinds, to accelerate innovation andfoster co-creation. VRT ‘Sandbox’brings technology companies intothe eco-system of the broadcaster,by means of short-term innovativecollaborations (typically 3 to 4 months).

Why LiveIP?Many broadcast technology vendorshave started to offer IP technologytoday. But how well the user canintegrate components from thedifferent vendors still needs to besorted out. The best way to moveforward and achieve this level ofinteroperability is to bring thevendors together to build a realsystem.

As a broadcaster and contentprovider, the VRT is confronted withthe digital shift. Almost everyonehas their own mobile device on

which content is consumed, and people are moving awayfrom linear TV. For manybroadcasters, importantdecisions on future infra-structure have to be taken in the next few years. To do so,they need answers on thematurity of the technology i.e.the feasibility of using IP forbusiness, critical applications,and new workflows.

The digital shift calls for a shiftin content production as well.Content must now be producedin a quick and flexible way.Public service broadcasters canno longer do everythingthemselves. Instead, they willhave to do it together withpeople and partner companies.The LiveIP project is a practicalimplementation where we canstart learning to use the newtechnology, evaluate its benefitsand feedback to vendors so theycan improve their products andensure interoperability.

How is LiveIP built?The high level architectureconsists of the studio floor, thecontrol room and the datacenter, all connected by only afew glass fibers. Thisarchitecture is the foundationfor remote and distributedproduction: spanning fromdistributed resources within a

single building to differentgeographical locations. This set up enables the sharingand repurposing of resources.There is no longer the need toscale up studio gear to handlethe most demanding productionthat is happening only every sooften. The distribution ofresources can also supportredundant infrastructure anddisaster recovery scenarios.And with some automation, all of the provisioning andmanagement of theinfrastructure can be easy to use and reconfigure asrequired. First walk, and then run!

Project phases To achieve the LiveIP project’sambitious objectives in a shorttimeframe, we’ve chosen apractical multi-phase approach.In Phase 1, we built a simple,single camera studio to reachthe necessary interoperability toproduce content in an IPenvironment. The threelocations are interconnectedwith only 3 fiber cables and thestudio was accepted by ouroperational team. We are nolonger using one big SDI router,but are using distributed routingover the network.

At the time of writing thisarticle, we are proceeding with

Phase 2. We have expanded thesystem to four cameras andintroduced new partners to theproject. Since we are producinga 4 camera talk show in a realTV-set with a lot of screens, therequired bandwidth is higherand the network will becomemore complex.

In early 2016, we hope to startPhase 3 which aims to see anuninterrupted programmeproduction of 45 minutes withlive streaming on the internet.

The futureThere is still work to be done to make live IP productionwidespread. We need morecomplete implementations ofstandards like PTP/SMPTE2059. We also needimprovements to otherstandards i.e. the separationand synchronization betweenvideo and audio. It is also ahuge challenge for the user tolearn how to use IP networksfor critical applications.

But together we are gettingthere and this project is animportant showcase of whatcan be done when publicservice broadcasterscollaborate. Stop by the VRT to see the set up or visit our project webpage for more information:sandbox.vrt.be/liveip

Design & Innovation Award 2015 – Special Recognition

What is LiveIP?Awarded special recognition at theIABM awards at IBC 2015, LiveIPshows that IP for live TV productionis finally becoming a reality. Butwhat is it really? The LiveIP projectis handled in a pragmatic way. Itsmission is to build and operate alive TV production studio usingstandard IP-based and IT-centrichardware and software.

It is a collaboration of the FlemishPublic Service Broadcaster, VRT, the EBU and a group of broadcasttechnology partners: Axon,Dwesam, EVS, Genelec, GrassValley, Lawo, LSB, Nevion,Tektronix and Trilogy. Togetherwe’ve built this studio, based onopen standards (SMPTE 2022-6 for video, AES67 for audio, PTP fortiming and OpenFlow 1.3 SDN fornetwork control), to show theinteroperability that is availabletoday on IP. Once built, The LiveIPstudio is operated by VRT’soperation and production crews inorder to validate the useability ofthese IP technologies for Live TVproduction and to provide themuch needed end-user feedbackthat is valuable to participants.


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thirty independent specialists chairedby John Ive, Director of Technology &Strategic Insight, IABM, and winnerswere announced at the IABMreception and awards ceremony at IBC 2015 in Amsterdam.

The judging panel said of iphrameVision Remote, “This product is highlyinnovative and enables vastly newworkflows offering flexibility andOPEX savings over conventionalmethods. Saving time and travelallows people to collaborate withgreater ease.”

During talks with ITN, the news giantadvised us that they were setting up a trial of a range of solutions fromdifferent suppliers. This was going to be a perfect opportunity to putiphrame Vision Remote through its paces.

ITN was televising the Labour andConservative Party Conferences inBrighton and Manchester. At thishigh profile event, iphrame VisionRemote was used alongsideconventional broadcast equipment to provide a live stream that could be viewed online across multipleplatforms. Iphrame Vision serverswere deployed at each of the eventsites, and operators at ITN’spremises were equipped with PCsloaded with iphrame Vision clients.As part of the setup, we also suppliedan iphrame IP bridge server toprovide secure connectivity betweentwo networks. This was a usefuldemonstration of how such a server

might be used to act as a gateway incertain architectures, or to bridgesecure networks.

We worked closely with Avid toprovide direct connectivity betweeniphrame Vision and Avid Isis/Interplay, with the result that Avidoperators could edit directly on theiphrame stream. Suitcase has alwaysmade a point of understanding howcustomers use the products of othersuppliers, so this particular area ofinteroperability is seen as crucial.

Since receiving the IABM award, wehave continued to add new modulesto the iphrame suite. IphramePublish, for example, is set toradically transform linear channelplayout so that it can be treated inmuch the same way as publishing for

VOD. A solution for the complete pre-rendering of playout channels,Iphrame Publish was born out of therealisation that the majority of today’schannels are non-reactive andschedules are known well in advanceof transmission. Iphrame Publishsignificantly reduces the riskassociated with the reliance on real-time processing currently found inplayout whilst maintaining the abilityto handle last minute changes toprogramming and commercialcontent.

Additional iphrame modules will bedeveloped over the coming months,and we are confident that these areset to make an impact on thebroadcast industry.

We are proud to have received the2015 IABM Design & InnovationAward in the category of Acquisitionand Production for our iphrameVision Remote solution.

Iphrame Vision Remote is just onepart of the iphrame suite ofproducts, a range of solutionsenabling combined SDI and IP-based operations. Suitcase TV takesthe approach that the move to IPneeds to offer broadcast operations more than simply replacing SDI intraditional architectures.

One module of the iphrame suite isiphrame Vision Solo, a distributedsoftware defined production systemthat offers a radical alternative tothe way outside broadcasts areplanned and implemented. Becauseit is 100% software, only utilisingdedicated hardware when SDIconnectivity is required, iphrameVision Solo can drastically reduce the cost of broadcasting largeinternational events, hence why ithas been used at the likes ofGlastonbury Festival, The Queen’sBaton Relay, and T in the Park.

Developers at Suitcase TVdramatically enhanced the capability of iphrame Vision with the introduction of iphrame VisionRemote, which exploits thesolution’s ability to be monitoredand controlled from anywhere in the world without needing high-bandwidth links to bring back high-res feeds to a central location. As aresult, fewer staff are needed on-site and events can be remotelyproduced using lower bandwidthlinks which is great news for your budget.

Iphrame Vision Remote works byconsolidating all SDI and IP sourcesat an event within a server deployedat the event site. The server buffers these streams, generatessynchronised proxies of them andpushes them up into the cloud.From there an operator can use aniphrame Vision client to view theproxy streams frame-accurately and make switching decisions whichare passed back to the remote site.The iphrame Vision Engine thengenerates a high-bit-rate, high-quality output, ready for lightning-fast transmission to multipleplatforms across the globe.The shortlisted entries for the IABMAwards were judged by a panel of

Design & Innovation Award 2015 – Acquisition and Production


With solutions that support everystage of the production chain, Sonyhas long been a leader in broadcasttechnology. Dedication to imagequality has always been combinedwith a strong focus on workflowefficiency, ultimately delivering toolswhich underpin and enhance thework of broadcasters and broadcastproducers.

2012 saw the launch of IABM’s‘Game Changer’ Awards, and it was fitting that the inaugural awardwent to Sony for its HDC-2500system camera.

Launched at IBC in 2011, the HDC-2500 was Sony’s flagship live production camera, capable of recording in multiple formatsfrom 1080/100i to 1080/24p. Still a leading camera in live productiontoday, the camera incorporatesSony’s advanced studiotechnologies, including a 2/3-inchCCD sensor and Digital SignalProcessing (DSP) technology.

The end result is stunning picturequality with very little noise andHigh Dynamic Range.

The HDC-2500 quickly became amainstay for the world’s biggestmedia firms and production houses,who were attracted to its flexibility,ease-of-use and multi-formatcapability. Sony built on the successof the HDC-2500 to build its newgame-changer for the 4K/UHDgeneration – the HDC-4300, capableof both HD and 4K production,which was announced in April 2015.

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Game Changer Award 2012 – HDC-2500 system camera

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Look back at a selection of

our previous award winners,

who have all contributed

positively to the industry

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In 2007, Sony launched its BVM-L230 flat screenmonitor, which quickly gained a reputation as a “CRT killer”. At a time when systems engineers wereconcerned by the lack of replacement for rapidlydisappearing CRT monitors, the BVM-L230 was theperfect demonstration of a cutting-edge productwhich answered a pressing and specific marketneed.

Relying on Sony’s ground-breaking TRIMASTERtechnology, this 23-inch, true HD monitor deliveredaccurate colour reproduction, precision imaging, and absolute picture consistency, thanks to acombination of three factors: a customised LCDpanel, precision high-purity LED backlight, andsophisticated display engine.

With the BVM-L230, Sony set the standard forprofessional media display in the post-CRT world,combining operational flexibility with lowerownership and operating costs. The technologyintroduced in this model is now a mainstay of Sony’sindustry-leading range of monitors, including itsinnovative picture and picture-blend modes, andpixel zoom function.

In 2003, Sony’s Professional Optical Disc won the PeterWayne Award for Design and Innovation. Combiningoutstanding recording capacity with true high-definitionpicture quality, Professional Disc™ unlocked all theadvantages of non-linear production for ultra-efficientfilmmaking and news reporting.

At a time when digital media and broadcast was still in its infancy, Sony’s Professional Optical Disc wasrecognised as being one of the technologies thatblazed a trail for the convergence of IT and broadcast technology.

The subsequent product range is still going strongtoday, with Professional Disc technology underpinningsome of Sony’s most popular products, such as thePDW-850 camera. Supported by reliable recording andeasy-to-share media, this professional ENG line upcontinues to provide high quality pictures which caneasily be fed into digital workflows and archives alike.

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Peter Wayne Award 2003 – Sony Professional Optical Disc

Peter Wayne Award 2007 – BVM-L230 LCD display

Sony scooped the IABM Award for Design andInnovation once again with its BVM-E250 monitor,which put Organic Light-Emitting Diode (OLED)technology and signals processing centre stage.

The BVM-E250 combined Sony’s highly sophisticatedTRIMASTER EL technology with the intrinsic benefitsof OLED to deliver the next generation of colourproduction and picture performance. By incorporatingSuper Top Emission technology, the monitor furtherenhanced OLED’s benefits, resulting in outstandingblack reproduction, virtually no motion blur, and awide colour gamut. It also featured a new 12-bitoutput digital signal processing engine that deliveredexcellent picture quality consistency, smoother-than-ever gamma performance, and picture uniformity.

Sony’s flagship 4K reference monitor – the BVM-X300– draws on the TRIMASTER EL OLED technology firstshown in the BVM-E250 to deliver an industry-leadingdisplay for today’s 4K and High Dynamic Rangecontent.

Before the broadcast industry as a whole had truly begun to appreciate the inevitableconvergence of broadcast and IT technologies,Sony unveiled its IP Live Production Unit – the NXL-IP55.

Enabling multiple video data streams to betransmitted over an IP Local AreaNetwork (LAN), theNXL-IP55 made multi-camera shoots withup to four different video streams possible overIP. This made the technology perfect for large,multi-camera events that required broadcastquality video transmissions, such as majorsports events. As a result, veteran broadcasterNBC deployed the NXL-IP55 to support withmanaging and streamlining the creation anddistribution of a record amount of content atthe 2012 Winter Olympics.

The capabilities of Sony’s NXL-IP55 wererecognised at the 2012 IABM Awards, wherethe technology picked up yet another Design &Innovation Award for the company. The unitalso led the way for Sony’s latest IP solution,the IP Live Production System – announced atIBC 2015 and supported by 36 industry-leadingcompanies – which enables 4K and HD liveproduction over IP technology.

Design & Innovation Award / Peter WayneAward 2011 – BVM-E250 OLED display

Design & Innovation Award 2012 – NXL-IP55 IP Live Production unit

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featuring Live Guide®, a first-of-its-kind visual tuning interface thatdisplays local stations with real-time album art or custom schedule content. Other excitingenhancements included astreamlined navigation drawer thatputs all user options in one easy-to-find place as well as in-app tutorialsshowing listeners how to interactwith their local stations, a behaviorchange that can grow radio’sposition in the exploding mobile ad business. Dynamically-drivenrelated content “cards” thataccompany station songs andprogramming events to provide the listener with more informationabout the live broadcast whileproviding the station with extendedadvertiser and promotion options.These may include upcomingconcerts, record release dates,recently played, next up on-air,

and more. Improved frequencylocating accuracy was also includedin version two.

In February 2015, NextRadiolaunched a national awarenesscampaign to promote the activationof FM chips within all smartphonesand NextRadio. This has been anindustry-wide marketing effort,supported by the NAB. Since thelaunch of the campaign (as ofNovember 5, 2015), 1.3 million users had visitedwww.freeradioonmyphone.org tolearn about FM radio in theirsmartphones and 500,000 peoplehave taken action and reached outto their wireless carrier, Apple, theFCC and Congress urging for theactivation of the FM chip in theirsmartphone. This effort led toconversations with all majorwireless carriers and an agreementwith AT&T for the activation of theFM chip within smartphones. It also increased downloads by 30%+each month.

In March, 2015, Allstate, the nation’slargest publicly held personal linesinsurer became the first-to-marketadvertiser on NextRadio in a multi-city advertising campaign. A multi-city campaign test spanned over sixmonths and proved to be verysuccessful. The enhancedadvertisement within the NextRadioapp had an overall response rate of2.28% compared to the norm CTRfor digital of 0.060% and the norm

CTR for mobile of 0.020%. On June 29, 2015, NextRadiobecame available for downloadthrough the Amazon App store,allowing consumers another avenueto download and utilize the app. On September 22, 2015, NextRadioannounced results from artworkoverlay beta tests ran on selectradio stations gauging theinteractivity response rate within theapp. The results showed an averageof 6.65% interactivity rate, compared to industry norm of .060%(DoubleClick 2015 industry normdata). NextRadio tested howinteractive a listener was with whatwas playing and what they wereseeing on the NextRadio app screen.The interactivity being measuredconsisted of tracking whatNextRadio buttons the listenertapped on: buy link on artworkscreen, buy song, dislike, like, share and save. The data wasbroken down further, uncovering a norm purchase intent response rate of 4% across the artists.

In 2016, NextRadio will be availableon 60 million smartphones. AT&Tand T-Mobile will soon haveNextRadio available for all Androiddevice customers. NextRadio willalso soon provide broadcasters withreal time reporting, prior day’sreporting not available today inradio. Plus much more to come. “isovideo” journey. Please visithttp://isovideo.com for moreinformation.

NextRadio latest booth design

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NextRadio started as a preload forSprint customers on August 15,2013. Since the launch, NextRadiohas been preloaded on 48smartphones and four tablets forSprint, Boost Mobile and VirginMobile customers. HTC andMotorola’s G and E phones areavailable for NextRadio download onall major wireless carriers.Currently, there are over 4.5 millionactivated users and growing quicklyby 400,000 users each month. NextRadio is the smartphone appthat allows listeners to see, hearand interact with live local FM radio.NextRadio began as a radio industryinitiative supported by the NationalAssociation of Broadcasters, RadioAdvertising Bureau and most of theradio industry’s major owners and

operators. It was designed tocreate a new unified radiolistening experience on mobilephones providing consumers witha new way to listen to traditionalradio using the FM Chip.

TagStation is the cloud-basedservice that is the programmingand sales content engine behindNextRadio, powering the interactiveexperience. It allows radio stationsto synchronize their radiobroadcasts with album artwork,images, text and interactive touchpoints for visual display in NextRadio. Over 12,000 FMstations have been tuned to through NextRadio and on average5,040 stations are tuned to each day.The average time spent listening to

NextRadio is 20 minutes which isdouble the ATSL of 10 minutes spent on traditional radio. Onaverage, unique listeners arelistening to NextRadio eight hourseach month. NextRadio now ranksin the top 10 free music apps on the Google Play Store.

On September 11, 2014, TagStationannounced a joint venture withiBiquity Digital (now DTS) to developan integrated automotive platformthat combines their technologiesand services. The combinationblends the best of broadcasttechnology and IP delivered servicesto enhance the in-car userexperience and unlock the fullpotential of connected service.In October, 2014, NextRadiolaunched version two of the app

Game Changer Award 2013

Paul Brenner, President speaking at CTIA in September

Live Guide and Now Play screens on the app


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scaled, and reinterlaced), while alsopreserving timing! The Blu-ray wasreleased in November, 2014.

Besides several more film projects,including “Love & mercy”, theacclaimed American biographicalfilm about Brian Wilson, anddirected by Academy Award®

nominated producer Bill Pohlad, wehave been focusing on further Viarteadvancements in order to move ontothe Cloud.

n Viarte noise reduction technologycan now handle challenging HDRmaterial. We have demonstrated that, while preserving subtle image detail, Viarte noise reduction can 1) reduce HEVC/AVC file size by up to 80%, 2) yield PSNR improvements of upto 10dB, 3) speed up encoding

by upto 100%, and 4) enhance theHDR viewing experience. Results show that gains from Viarte denoising can easily exceed whatmay be achieved with the next generation of encoders. The image above is processed from the Fox HDR “FirePit” clip.

n Viarte splitting technology has advanced to achieve very efficientscalability, allowing massiveserver parallelism (and huge throughput increases) on top of speed gains from GPU. Thisenables cinema quality conversion/encoding with lowest bit-rate and highest throughputpossible in the Cloud.

n Viarte technology has been recently extended to perform higher precision pipelined HDR

processing, combining excellent picture quality, bandwidth savings, and display-independentprocessing in a single encoded HDR stream. Viarte features 16-bit HDR video I/O, 32-bit processing, and up to 10 bit HEVC/AVC encoding, with 12-bit HEVC coming soon. Viarte canperform HDR conversions between BBC HLG, PQ, and our own very versatile mlog system.

We would like to take thisopportunity to sincerely thank theIABM, NAB, and associates for theirrecognition in the “Game Changer”Award, and for their continuedsupport while we continue the“isovideo” journey. Please visithttp://isovideo.com for moreinformation.

isovideo is an innovative start-upmedia and technology and servicingcompany located in Beaverton,Oregon, USA. isovideo's Viarte washonored to receive the prestigiousIABM “Game Changer” award in2013. From the “iso” (equal) prefix in our name, our goal is to provide“equal high quality video”processing for all types of content:new or legacy, SD, HD or UHD, HDRor SDR, HFR (180p) or 24p, as wellas any scan type: interlaced,progressive, telecine, or mixedcadence. As the media industrytransitions to IP production andworkflow with emergingHDR/WCG/UHD/HFR standards, wewant to be part of this exciting, andever changing media landscape.isovideo provides cinema quality,flexible, fast, cost effective andeasily accessible media conversion,digital re-mastering, and encodingservices, with a clear path to Clouddeployment. We are progressingsteadily and would like to inviteanyone to join or share our journey.We would also like to share some“milestones”.

After receiving the award, we wereexcited and honored to work on RonHoward's documentary “Made In

America”, competing with other wellknown solutions (hardware andsoftware). The goal was to convertall 59.94i interlaced concertmaterial (over 650 clips), and frame-rate convert them to 24p. Thisprocess had never previously beenpart of film post-production, asdeinterlacing to film quality anddown-conversion without visualartifacts or motion judder is verydifficult to do well.

Luckily, we were able to apply ournewly developed state-of-the-art,100% vertical resolution passthrough MC deinterlacing, combinedwith our MC frame rate conversiontechnology with the ability to addaccurate simulated motion blur forjudder reduction. Processing of allthe clips was initiated with a singlecommand, and even with extremeconcert lighting, results werereturned within 48 hours withoutany redos. The Film was WorldPremiered at TIFF that year, andthen released later on Blu-Ray.

Another milestone project was the feature-length documentary“Finding the Gold Within”, byaward – winning filmmaker KarinaEpperlein. While searching forbetter conversion quality at low

frame-rates (1080p29.97 to1080p23.976), she found, tested and trusted isovideo's solution toconvert her whole film. This projectwas also challenging, with fastmotion, including drumming, andsports. The converted film wasworld premiered at the Mill ValleyFilm Festival in 2014, and has sincebeen shown at several film festivals.It also received the “John MichaelsAward” from the Big Muddy FilmFestival in 2015.

In developing Viarte for digitalremastering, one of the challengeshas been up-converting noisy andmixed-type legacy content for biggerand brighter displays. In particular,we have been perfecting our highquality inverse telecine and MCnoise reduction. Noise not onlydegrades the viewing experience,but also contributes significantly tocompressed file sizes – an importantcost factor in HDR/SDR OTT delivery.

We were excited to digitallyremaster Metallica’s “Some Kind ofMonster” feature documentary fromSD 59.94i to HD 59.94i. Thechallenge here was mixed content,containing interlaced, progressive(PsF) and telecined segments. Theyall needed to be properly handled(deinterlaced/inversetelecined/noised-reduced/up-



as it was before the VB288 – seemedall wrong to us. QoE testing as aconcept arose in the telecomsindustry, as a way of evaluating whatkind of audio quality phone userswould consider acceptable from atelco. Panels of phone users wereassembled to provide the data bylistening to standardised messagesover phone lines and offering theirsubjective opinion of the soundquality; and market researchmethods were used to massage theresults into a form telcos could workwith. When QoE began to be mootedas a tool for assessing digital videoservices, these methods – and thepanel of ‘users’ – were simulatedalgorithmically, and presented asdata giving a useful indication ofsubscriber satisfaction ordissatisfaction.

This seemed a case of theemperor’s new clothes. Nobodyneeds to invest in a system thatalgorithmically simulates thecollected opinions of users; withdigital video, it’s quite clear whaterrors cause lower service quality,and the technology exists to trackand report every one of those errors.Hard, empirical data can replace,woolly, imprecise, simulated‘opinion’. Objective results replacesubjective ‘opinions’ from ‘users’that were in fact nothing more thanan algorithm.

As well as providing the initialplatform for Objective QoE, the

VB288 has been developed since itslaunch to become a virtual ‘flightdeck' of monitoring instruments.The key advantage of the end-to-endapproach to monitoring is that it canintegrate and correlate informationfrom every single technologyinvolved in getting the sound andpictures to the subscriber, so itmakes sense to see all thatinformation together in a form thatsuits the operator’s uniquerequirements. The great innovationwith the VB288 is that technical staffcan arrange their own collection ofdata-display instruments on theVB288’s virtual remote data wall to

provide instant visual correlationbetween any chosen set of points inthe operator’s network – anythingbetween the satellite ingest at thehead-end and the HLS stream onthe viewer’s smartphone.

Awards, of course, encourage the manufacturer too. For BridgeTechnologies, 2015 was the year we launched perhaps our mostfundamental game-changingdevelopments to date. In thisindustry, it’s essential to thinkoutside the box every step of the way.

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It’s commonly said by theatricalprofessionals and writers thatwinning awards means nothing….unless you never win any. And for atechnology company, the effect of anaward is intangible in terms of anydirect linkage to sales. A customeris unlikely to state as the reason forpurchasing Company A’s latest 1-RUgizmo that what swung the decisionwas the ‘Best of Show’ rosette onthe packaging. But as anyone knows who has dashed into a winemerchant in a hurry for somethingto take to a dinner party, a gold orsilver medal on the label is never adisincentive to buy the bottle.

Customers in our industry don’tdash anywhere when buying kit, andthey are usually pretty well informedwith a list of must-have features,but the subtle effect of the awards a product has picked up must surelybe influential. Especially whenproducts or technologies are insome way breaking the mould ordefining a new category, they can be difficult for potential buyers toassess against known yardsticks. Aninnovative product sometimes needsthe rosy glow of peer approvalbefore buyers deem it worthunderstanding.

In every area of human behaviourthere are many who prefer thesecurity of habit, and a few who tryto shake things up and find a betterway. The innovators alwaysencounter resistance at first, anduntil enough people see the lightand the bandwagon starts to roll,every bit of confidence-buildingendorsement from high-profile earlyadopters and industry awards helpsthe wider market understand thatthe game is changing.

So we’ve been fortunate to berecognised by IABM for two of our mould-breaking products insuccessive years – PocketProbe in2013, and the VB288 Objective QoEContent Extractor in 2014. Both ofthese products embodied ourtendency to problem-solve by going back to first principles, andquestioning the underpinnings ofexisting solutions. We look for abetter way to crack the nut.

The PocketProbe is part of oursolution for ensuring high qualitystandards in OTT services. SinceOTT is now such a vital addition forbroadcasters in the competition for audience share, the need foreffective OTT monitoring tools isurgent. By launching it as an app

that runs on smartphones andtablets, we made it simple toanalyse OTT data on the devicestypically used to consume OTTservices. We also wanted to allowengineers to be able to use thephones in their pockets as asophisticated addition to theirtoolkit. And if it helped somereluctant broadcast engineers get a little closer to the technology their audiences now seem to preferto the TV set, that wasn’t a bad thing either.

Our 2014 game-changer wasperhaps a little more controversialin that the VB288 was a directchallenge to the status quo, becauseQuality of Experience monitoring –

Game Changer Award 2013 and 2014

Simen Frostad – Bridge Technologies

In 2014 Axon Digital Design, leadingsupplier of broadcast infrastructuresolutions, was presented the IABMPeter Wayne Award for Design andInnovation for its Neuron networkedlive production system. With thisnew technology, Axon was one of thefirst companies to implement IEEEAudio Video Bridging (AVB),demonstrating multiple Ethernetswitches and interfaces to thirdparty products.

A year on from winning thisprestigious award and as thebroadcast industry continues itssteady transition to video overEthernet, Jan Eveleens, Axon’s CEOdiscusses the company’s continuedwork in this area, the developmentof open standards and the pathahead.

Neuron technology has evolvedIn 2013, Axon launched Neuron, ournetworked live media productionsystem based on open standardEthernet AVB. Using the massivebackbone speed of modern IT basedEthernet equipment, Neuronrevolutionizes the way video and/oraudio live production infrastructuresare built, enabling the design andrealization of very powerful

networked infrastructures forbroadcast applications – makingthem highly flexible and easy toreconfigure.

It employs IEEE standards, many of which Axon has been activelyinvolved in creating (most notablythe definition of the video transportformat in the IEEE1722 standard).Over the last 18 months and with no less than seven industry awardsincluding the IABM Game Changerand Peter Wayne Awards, we havesuccessfully evolved Neurontechnology from a single SD streamto multi-stream, multi-hop, multi-vendor transport of UHD video andassociated audio.

As the broadcast industry exploresthe possibilities offered by the nextgeneration of standards, Neuronremains at the centre of ourapproach as we help organisationsprepare for the transition from SDIinfrastructures to IT Networking.We are now proactively developingsolutions using both AVB, S2022-6and beyond to be able to convert toand from SDI, cross-convert anddemonstrate how these standardscan shape production workflows inthe future.


Support for S2022-6 & beyond Whilst we have a strong belief in thecapabilities and technical merits ofAVB, we retain an agnostic approachand continue to innovate in order tosupport other relevant emergingtechnologies – not least SMPTE S2022-6, which defines a unidirectional IP-based protocol for the transport ofreal-time video, audio and ancillarysignals.

To this end, this year we were delighted to collaborate with TheEuropean Broadcasting Union (EBU)and a group of innovative industrypartners to implement the world’s first live IP production studio forBelgian public broadcasting companyVRT. The acclaimed Sandbox+ LiveIPproject uses state-of-the-art IT-centric hardware and software,including Axon’s Synapse basednetworked multiviewer technology, toenable broadcasters to produceprogrammes quickly, efficiently andcost effectively.

Whether the endgame for video overEthernet will be based on AVB orS2022-6 (given the format’s substantiallimitations) remains to be seen. Thereis already growing momentum behindnew standards, including VSF TR03 forvideo and AES-67 for stable audio overIP. As a conversion company, Axon willcontinue to play a proactive role in thedevelopment of standards, focusing on solutions that will enable ourcustomers to upgrade to IP, withoutthe need to replace their completeinfrastructure.

The path ahead is hybrid It is early days for video and audio overEthernet and the majority of broadcastequipment is still SDI. We expecthybrid systems (a mix of SDI andEthernet/IP) to emerge and remain foryears to come whilst demand grows fora more future-proof format. With thisin mind, we will continue to helporganisations prepare for the transitionfrom SDI by developing conversionsolutions using both AVB, S2022-6 andother formats, to be able convert toand from SDI and cross-convert. Ourrange of Synapse signal-processingcards are already fitted with both coaxand Ethernet connectors, so that theycan eventually be upgraded to acceptEthernet/IP, protecting the initialinvestment. In 2016, we will also beginto ship a new range of SDI-Ethernetcards to help those customers who are ready to make the transition.

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Whilst AVB has madesignificant in-roads intoindustrial and automotivemarkets, and in a more limitedway into pro-audio, its need fornew switching equipment isfelt by some to have held backmass-adoption. But at Axonwe believe that AVB still hasgreat potential – not least insports broadcast, where itsrobust and reliable capabilities lend themselves to the requirements of livevideo over Ethernet. AVBmakes it possible to set-upand change a network veryquickly; it really is plug-and-play. It removes the need tomanage and reconfigure anSDN; if there is insufficientbandwidth you will be warnedand will not be allowed tomake that connection. Insituations where thingschange and you need flexibility, AVB can deliver.

Game Changer Award 2014 and Peter Wayne Award 2014 AVB delivers self-managingstabilityLast year, we unveiled ourprogress on the Audio/VideoBridging (AVB) standards project– also known as Time SensitiveNetworking (TSN) – with anEthernet AVB-based proof ofconcept at IBC 2015. Using thissystem, we demonstrated aninherently stable and self-managing infrastructure gearedtowards the demands of dynamiclive production, successfullymanaging 216 HD streamsdistributed over IT switchers. New devices were automaticallydetected in the network andstreams were transferred fromone switch to another – withoutcall for a Software DefinedNetwork (SDN). Audio was sentseparately over the same networkwithout the need to embed it.With Clock reference streamsembedded in AVB, our solutionhighlighted the need for separatereference distribution. Our teamwas able to clearly demonstratehow AVB delivers the latency andreliability, providing criticalelements such as synchronisationand bandwidth management. Itmade easy work of heavy traffic:we loaded the network more than90% and it still worked reliably.


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One of the major station groups in America, Sinclair, is using GV STRATUS Playout forregionalization. The group has SSP cards in a number of its localstations which can be controlledfrom a central point, enabling it toprovide alternate commercials orlocal live content at specific times of the day.

A major broadcaster in Canada isusing GV STRATUS Playout fordisaster recovery. The companyrecently commissioned an offsiteDR facility, and because it is basedon completely different technologythan its primary playout system and

is cloud-based, it givesthem total separationand a high degree ofresiliency. Thebroadcaster completeda successful trial of thesystem by ordering itsstaff to evacuate thebuilding without noticeand continue operationsfrom the offsite location.The exercise was verysuccessful with noimpact to on-airoperations.

At Grass Valley, we are continuing to develop thetechnology and aremigrating moreproducts into cloud-based systems.

We also are developing newsolutions that bridge the gapbetween public and private datacenters, giving customersmaximum flexibility and choice over how much of theirinfrastructure they want to move into the cloud.

For information about Grass Valley solutions and services, please visitgrassvalley.com.


GV STRATUS Playout is part of asystem that includes Grass Valley’sDensité SSP-3801 solid stateplayout (SSP) card installed at theedge to handle HD/SD contentplayout. Switching and probing aremanaged by the GV STRATUSproduction platform. The SSP cardshave no moving parts and integratewith the system using open-standard web service protocols.Ideal for broadcasters whose effortsto regionalize programming havebeen compromised by the highcosts of providing content variationvia conventional satellite or cabledistribution, GV STRATUS Playoutprovides a high degree of flexibilityto insert local content at the edge,creating localized programmingwithout requiring an expensiveadditional satellite feed. It alsoprovides the ability to add localgraphics and branding, and replaceboth short- and long-formprogramming.

Within the overall architecture of a typical GV STRATUS Playoutinstallation, schedule managementand control are provided by theservice, and media called for bylocal schedule variations is movedto the network edge. There, the SSPplayout cards are used to insert the

content into the main channel feed before it is passed to thedownstream system as a basebandfeed for encoding and broadcast.Each SSP card runs a playlist andthe cards can be configured as mainand backup channel pairs, or as asingle-threaded playout chain. Local material playback can becontrolled by the times in theschedules, manual interventionfrom the central facility or by breaktriggers inserted in the channelfeed. In cases where the localchannel is played out entirely fromthe edge, the channel feed is notrequired.

The monitoring included within GV STRATUS Playout providescomprehensive status informationfor all connected playout devicesand playlist status including reportsof missing primary and secondarymedia. Depending on the IPnetwork configuration, it is alsopossible to display confidencestreams from the remote devices atthe GV STRATUS Playout operator’sposition. In cases that require“monitoring by exception” to allow a high density of channels to behandled by a single operator, GVSTRATUS Playout acts as a gatewayto remote devices for a controlsystem to be integrated into theoverall solution.

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Grass Valley, a Belden Brand, keepsbroadcasters, content owners andservice providers Future-Ready as they navigate the changinglandscape of television.

Selected as an IABM Game ChangerAward winner in 2014, GV STRATUSPlayout from Grass Valley, a BeldenBrand, is a scalable cloud-basedSoftware as a Service (Saas)solution for unprecedented controland monitoring of channel playoutfrom any location that’s equippedwith an Internet connection. It usesthe power of the cloud to house thecontrols of the playout system whileproviding the enormous advantageof allowing content owners tomaintain full control over theircontent.

A major advantage of the solution is that it employs a hybrid cloudapproach, giving the customer full control of the location andmovement of their broadcast media.Elements such as mediapreparation and asset managementcan remain on-site rather than inthe cloud, which eliminates not onlythe potential security concerns ofrelinquishing control of valuableassets, but also the huge potentialcosts of moving content to/fromcloud-based storage.

Since winning the IABM GameChanger Award, GV STRATUS Playouthas been implemented with manycustomers using it in a variety of ways.

Some examples include:

A major playout center in Asia is usingit as a way of rapidly launching newlower cost services for its clients. Theability to rapidly spin up channels ondemand is ideal for this situationwhere customers often don't want tocommit to long term contracts for newservices. They are also using the factthat this is a cloud-based system toseparate the operators who are in onelocation from the playout equipmentwhich is in another.


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Glensound is very glad that theydecided to put forward a product forthe Design & Innovation Award in2012, as they ended up a verygrateful winner!

The Rise of HD Voice and theGS-MPI004HD Broadcasters’Mobile PhoneThe GS-MPI004HD is a veryimportant product for Glensound.As the core market for Glensound iscommentator operated outside

broadcast equipment for news andsport reporting, a new technologywas required for voice reporting, tofill the gap as the ISDN marketslowed down.

In 2011, the GS-MPI004HD waslaunched, exploiting the rise of theHD Voice system being adopted bymobile phone operators around theworld. HD Voice offered 7kHz audiolinks using only the voice circuit on3G mobile phones, but it did notrequire a data service. This offered

broadcasters a high quality linkoption in highly congested areas,such as sports stadiums, whereaccess to high speed data serviceshas always been challenging.

The ease of use and high qualityaudio, that is reliably available incompatible countries around theworld, found the GS-MPI004HD alegion of broadcast fans. The systemwas used in many key projects,including major BBC events. In 2012multiple GS-MPI004HD systemsprovided daily, non vision TV audio,and radio coverage of the OlympicTorch Relay for the BBC. Also in2012, the audio coverage from themany boats on the Thames duringthe Queens Jubilee, was providedback to the BBC by the GS-MPI004HD. The boats on theThames had been a particulartechnical challenge that was easilysolved with the GS-MPI004HD’s HDVoice system.

Award SuccessesIt was in September 2012 at the IBCshow in Amsterdam, that Glensoundwon the IABM Award for Design &Innovation, and this really validatedGlensound’s commitment to the useof HD Voice systems for mobilereporting. This brought the GS-MPI004HD and the Glensound HDVoice units to a much wideraudience. Enquiries and demand

in overseas territories increased as the product had been given industrywide validation.

It is a strange fact that howeverunique, successful, or widely used a product is, there will always bebroadcasters that just haven’t heardof it. Making broadcasters aware of what your company does is aconstant exercise and this is wherean IABM award can really help tointroduce new audiences.

Design & Innovation Award 2012

At IBC 2012, Glensound also wonTVB Europe’s award for the ‘Best Of Show’ with the GS-MPI004HD.Success breeds success, and atthe NAB Show 2015 GlensoundRadio World awarded Glensoundwith a Best Of Show for their GS-HA014 headphone amp.

Expanding HD VoiceThe GS-MPI004HD was the coreproduct of the HD Voice range, asthe portable OB unit. Since the IABM award, demand in productsfeaturing HD Voice haveincreased, and the Glensound HD Voice range has more thantripled in size. Also during thistime, sales of the GS-MPI004HDunits have increased by over 400%.

In October 2011 there were 32operators in the world offeringHD Voice. Today there are 145,with all European territories nowcovered. The market potentialhas continued to increase andthe ability for the GS-MPI004HDto offer broadcasters’ costeffective remote broadcasts,exploiting the technology growthof HD Voice, has become evermore popular.

The next generation Glensoundunit offering 4G LTE connections,the Expedition, launches inDecember 2015 and it has verybig boots to fill after the awardwinning GS-MPI004HD.

Project SuccessesAbout a year after the IABM award,towards the end of 2012, Rai Radioin Italy published a requirement for portable OB equipment forjournalist reporting. Glensoundwon the project with the GS-MPI004HD system and Rai Radioinstantly created a very powerfulHD Voice network which allows7kHz audio links throughout Italy.There are 40 Glensound HD Voicesystems now delivering HD Voiceincluding 20 of the GS-MPI004HD.

In 2012 the state broadcaster inIndonesia RRI, launched a tender to supply portable reporting unitsthroughout the country. The GS-MPI004HD system won the tenderand in December 2013, 77 unitswere delivered that now supply thepeople of Indonesia with its audio reports.

IABMAs an award winner Glensounduses the IABM logo on its websiteand on its emails to showcustomers they arecommunicating with amanufacturer that places highimportance on the functions ofdesign and innovation.

The IABM award is a very welcome addition in the Glensoundboardroom. Glensound’s awardwas over three years ago, but thekudos will continue for many years ahead.


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TRIMARAN is a French computergraphics studio specialized in motiondesign, visual effects and on-airgraphics real-time. The companyhas its own R&D team who developinnovative graphics software fortelevision and sports. For instance,TRIMARAN has for more than 12years produced the 3D precomputedanimations of the route and stages ofthe cycling Tour de France for ASO.

For several years, TRIMARAN hasdeveloped its own sport productnamed GEORACING, an innovativeGPS tracking and virtualvisualization system for outdoorsports, able to manage live GPS dataand produce virtual timing, ghostvisualization, virtual reality, ranking,distances, speeds and several moreinformation necessary for a betterunderstanding of the competition.

Each participant is equipped with aGPS tracker which sends in real timelocation data to GEORACING’s cloudwhere they are analyzed andconverted into 2D and/or 3D graphic representations.

In 2014, the company won an IABMDesign & Innovation Award at IBC,within the acquisition and productioncategory, for its outstandingGEORACING system deployed, in real

time, during the WRC Rallye deFrance-Alsace 2014 on Canal+, apremium French cable televisionchannel.

During each stage, the system'sghost visualisation system provided3D representation of the rivals'positions in real time, creating thefeeling that the cars all left thestarting line simultaneously. Inaddition, leveraging the virtual timingcapability, Canal+ was able todemonstrate the virtual differencesbetween cars at a precision of 1/10thof a second. Using this innovativesolution, the broadcaster hasdramatically improved the live audiocommentaries and the TV viewingexperience, and was highly satisfiedby the system.

François-Charles Bideaux, head ofsports programs at Canal+ said that“TRIMARAN’s GEORACING systemdramatically improves our ability todeliver live audio commentary aboutthe race, giving viewers a livecomparison of the drivers in additionto a variety of other important stats.By allowing us to deliver in-depthsports information and statistics,above and beyond what is traditionallyoffered by broadcasters, GEORACINGboosts our viewer satisfaction.”

Since winning the award, theenterprise continues to undertakenew projects and to extend the rangeof sport covered by its GEORACINGsystem. Widely deployed around theworld for live sport coverage, thesystem has been used successfullyfor a variety of international eventssuch as the WRC Tour de Corse2015, the FAI Sailplane Grand PrixFinal, and for sailing, the BullittGC32 Racing Tour, the Tour deFrance à la Voile, the Red BullFoiling Generation...

Available for car racing, sailing,cycling, gliding, rowing, powerboat,jet ski, kitesurfing... GEORACING iscompatible with all devices (TV,Large screens, Pc, Mac, tablets andsmartphones). It’s the only solutionon the market that relies on a varietyof tracking systems, such assatellite, GPRS, and RF to enhancemedia coverage of any type of sport,whether at sea, on land, or in the air,making it truly versatile.

GEORACING includes a 2D offering,available on the GeoRacing portaland on apps for tablets andsmartphones, and a 3D solution thatis capable of producing a videostream produced from Trimaran’scontrol room located in Paris, or onthe spot for an event with livebroadcasting video facilities. WithGEORACING, each participant during

a sports event is equipped with aGPS tracker, which delivers real-time location data to the cloud. Datais analyzed and converted into 2Dand/or 3D graphic representations,which are instantly transmitted tomultiple end user devices andavailable via GEORACING apps.

Intuitive and easy to use,GEORACING dramatically simplifiesbroadcast media coverage of sportsevents. No dedicated software orplug-ins are needed. Themultiscreen system worksseamlessly via simple Internetconnection on any device.

This year, TRIMARAN announcedthat the company become OfficialGPS Partner of the Bullitt GC32

Racing Tour for 2 years and hasbroadcasted all the 5 Europeanstages of the Tour 2015 thanks to itsGEORACING tracking andvisualization system. Furthermore,the company has signed long termcontracts with the Tour de France àla Voile, the Genève-Rolle-Genèvesailing race and other events.

Most recently, the company wonrecently a tender for the coverage ofthe Vendée Globe 2016, a famousoffshore sailing race around theworld. GEORACING will provide its3D technologies for the TV programsand its interactive 2D/3D players forthe digital market (web and apps formobiles phones and tablets).

In the short term, the enterprise

plans to release an upgradedversion of its interactive web playersand to launch new professionaloffers for clubs and leagues and an amateur offer for individuals,running on a mobile phone app.

Otherwise, after a first successfulexperimentation of its 3Dvisualization for ASO during the Tourde France cycling this summer, thecompany aims also to supply itsGEORACING technologies to othercycling events and obviously, toproduce its 3D visualization for theTour de France cycling 2016, live onTV this time…

Further information about:TRIMARAN on www.trimaran.comGEORACING on www.georacing.com


When Peter IJkhoutfounded VidiGo in 2000,he was far ahead of histime. Leveraging histwin passions, radiotechnology andcomputerprogramming, IJkhouthad a vision to bringsoftware-basedautomation solutionsto television production. Over hisprevious career in radio engineering,he had witnessed a 180-degreeturnaround in radio operations –from the era of bulky hardware that required highly specializedtechnicians and a significant capitaloutlay, to the easy-to-use, IT-basedautomation systems that run mostradio stations today. IJkhout sawpowerful potential for this approachin television, but it wasn’t until 2006that VidiGo systems began to get aserious look by the industry.

As far-fetched as IJkhout’s visionmight have seemed to TVbroadcasters in 2000, his hunchturned out to be right. Commoditycomputer platforms and operatingsystems have grown exponentially inboth power and stability, paving theway for broadcasters to migrate away

from proprietary hardware. Now thatIT-based systems can provide notonly the horsepower to power high-resolution video but also thereliability to drive a high-stakes livetelevision environment, broadcastersare accelerating the move to all-software operations. Another driveris the explosion in multiplatform andOTT video delivery services over IPnetworks, which presents compellingnew opportunities for broadcastersworldwide.

While technology advances and therise of IP video are the big drivers inthe adoption of software automationin TV broadcasting, IJkhout believesthat cultural shifts are also playing arole. “There’s a saying that it’s notdifficult to introduce new ideas, but itis difficult to overcome old ones. Onlya few years ago, we’d still hearpeople say things like ‘Wow, yourtechnology’s great but we can nevermake a TV program with a PC,’” hesaid. “But a new, more technicallycreative generation of youngerengineers is entering the industry.They believe software-basedautomation tools can help themshow off their creative abilities in away that the old hardware paradigmsnever could.”


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These trends havepropelled VidiGo’sgrowth, and thecompany is riding a wave of broadcasttransformation that is completely re-defining thetelevisionoperations of todayand tomorrow. VidiGohas built a global customer base of broadcast and video productionorganizations by providing tools thatare easy to learn and simple to use. By focusing on usability andautomation, the VidiGo productfamily minimizes the need forspecialized technical staff and helpslower production costs.

Very recently, VidiGo has passed twoimportant milestones. The first wasin September 2014, when the VidiGoStudio Automation solution toppedfinalists AVID and Imagen to receivean IABM Design & Innovation Awardin the system automation andcontrol category. Studio Automationis an all-in-one software solution formulti-camera live production andautomation, including integrationoptions with newsroom systems.The VidiGo Studio Automationworkflow allows broadcasters tofully automate their live (newscast)productions.

“In ChyronHego, we’ve found anideal partner who shares ourvision and passion for empoweringtoday’s broadcast operationsthrough advanced, IT-basedautomation solutions,” Krouwelsnoted. “The acquisition will giveour customers access to a vastarray of the industry’s mostsophisticated graphics creationand playout solutions.”

Added IJkhout, “Not only doesChyronHego bring some of the industry’s most powerfulbroadcast graphics solutions tothe table, but the company has a software-centric technologystrategy that is extremelycompatible with our own. WithChyronHego’s resources andmarketing strength on our side,VidiGo is poised to grow evenfaster than ever.”

With the belief that broadcastingshould be fun, easy, and cost-effective, VidiGo is continuing to expand its portfolio ofbroadcasting workflows and

solutions for live production.VidiGo products are equally usefulfor automating a newscast,creating a high-quality visual radioexperience, or boost stadiumexperiences. The company’sclients include industry-leadingbroadcasters, commercial andpublic radio stations, sportsarenas, and video productioncompanies all around the world.

“In the end, television is all about creating content, but today’s industry demands thatbroadcasters produce a lot morecontent without expanding theirworkforce,” IJkhout said. “AtVidiGo, we’ve taken our cue fromconsumer devices that make ittremendously easy to create andshare content with friends andfamily members. With a 100-percent software environment, it’s possible to make broadcastworkflows every bit as easy andintuitive. We’re convinced this isthe future of broadcasting.”


Peter IJkhout VidiGo Founder

Hans KrouwelsVidiGo’s CEO

“The IABM award was powerfulacknowledgement from the industryand proof that broadcasters areshifting to software-based workflowsand solutions,” said Hans Krouwels,VidiGo’s CEO. “Borne out by thesuccesses of our global customers,the industry is now seriously open tosoftware solutions and is sayinggoodbye to complicated andexpensive hardware setups.”

The second milestone occurredearlier this year when VidiGo wasacquired by broadcast graphicspowerhouse ChyronHego. With theVidiGo product family, ChyronHego iswell-positioned to take advantage ofnew and emerging opportunities inbroadcast news, sports, andnontraditional markets such ascorporate and public-sector videoproduction. The VidiGo technologyoffers an ideal complement andextension to ChyronHego’s BlueNetgraphics creation and playoutworkflow system, delivering to jointcustomers a true end-to-end, IT-based production solution.


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There is no doubt that in 2008,winning the IABM’s Peter WayneAward for Innovation marked amilestone in the story ofPHABRIX. In many ways itprovided the kudos that thecompany needed to have both itsname and product recognised bythe industry.

Wind back to 2005 when thecompany was founded. PhillipAdams, former Technical Director of Oxtel, became bored with a lifemany might envy following thesuccessful sale of that company toMiranda Technologies. He wasbored with breeding pigs, mowingthe lawn, fixing the cloches on theorganic smallholding – all thoseactivities many would associate with success. However if you’re anelectronics designer, then you’renever far away from a good idea. Sowas formed PHABRIX, a companychallenged with the remit to developtechnologies relevant to thebroadcast market based upon many years of industry experience.

With no direct route to market orexperience in selling and marketingproducts, the decision was mademid-2007 to pool the technologiesthus developed into a demonstrable

handheld product targeted at theemerging requirement to test 3G-SDI infrastructures. An earlyprototype was demonstrated at IBC 2007 and to our surprise thedemand was strong. Armed withfeedback we quickly firmed up onthe specifications and the PHABRIXSx, a handheld generator, analyserand monitor was born. The industryhad an appetite for a highly specifiedengineer’s toolset, in a portableplatform, at a third the price ofequivalent desktop bound test andmeasurement instruments from the incumbents in the marketsupporting SD-SDI, HD-SDI and 3G-SDI.

It was at this time that PHABRIXentered the Peter Wayne Award.There was stiff competition withmany of the industry’s premierbrands also up for this prestigiousaward. The judging was rigorousand thorough and there was neverany indication that we were in with a chance. We arrived at thepresentation evening at IBC thatyear happy to be surrounded by our fellow manufacturers and a freedrink. As the nominations were readout, it seemed inevitable that theaward would go to the one of the big

players. The shock of hearing the PHABRIX named stunned usinitially, but then our small crewerupted in a tremendous shoutuncouth of such an occasion.

The sense of elation didn’t stop forthe next month. IABM was quick tosupport us with press releases andpublications and a very warm spiritof support from the organisationhelped spread the word about thePHABRIX SxA. The award itselfalthough without any monetaryprize, did have such recognition inthe industry that many began to takethe PHABRIX SxA seriously as analternative to their usual T&M

supplier. With support for SMPTEstandards for both generation ofaudio and video and analysis, theinstrument found a ready audience –globally. With our own promotionmachine in action, we used theaward on all our marketingmaterial. Following the presentationof the award we began to contactdistributors world-wide, the award

adding prestige to the product indiscussions with our new partners.

Within a year we had signed up 16distributors and most importantly, a tier one distributor for America.As we reach 2016, the company hasgrown to 35 with global distributionin every continent in the world. ThePHABRIX Sx hand held has becomea range of highly successfulproducts which can be found in just about every broadcaster andbroadcast manufacturer around theglobe. We recently did a survey tosee where each of our products wasbeing used and quite literally theworld lit up with little flags.

However time does not stand stilland the technologies of 2008 are not the same as 2015. This year wehave released a new generation ofproduct designed to support thetesting and monitoring of UHDTVand IP infrastructures. ThePHABRIX Qx is that new platformdeveloped to address the needs ofthe industry as it moves towardsnew infrastructures and methods ofbroadcasting. The new SMPTEstandards associated with UHDTVrequire a powerful new technologyand with it more innovation and thisis where PHABRIX has been able tomake a significant difference. ThePHABRIX Qx incorporates a unique12 Gbps eye and jitter toolsetfeaturing real-time multi-ratephysical layer analysis with

automatic measurements requiredto confirm SMPTE compliance. Inaddition there is support for IPnetworks also providing a truehybrid IP/SDI solution. We considerthe new Qx platform to be a real‘game changer’ for the industry.

PHABRIX continues to promoteusing the IABM Peter Wayne Award

in every advert and although it isone of now 14 awards the companyhas achieved during the ensuingyears, it is still the one we associatewith the aspirational company of fivein those early days. For anyone with a great product that needsunbiased support, we would highlyrecommend submitting your product for the IABM awards.

Peter Wayne Award 2008


n Graham Roen John Wilsonn Lyle Keys

IABM Honorary MembersHonorary Membership was introduced in2005 to recognize the outstandingpersonal contribution made to thesupplier side of the industry, or IABMitself, normally over an extended period.

The knowledge, experience and contacts of the Honorary Members is invaluable andas a thank you IABM provides them with an annual dinner and complementary fulldelegate passes to its Annual InternationalBusiness Conference and Awards.

Some of our Honorary Members help run The IABM Educational Foundation isrun on a voluntary basis.

2015 Award – Clyde Smith

“I am very pleased and honoured toaccept this award. I am also very humbledto join the ranks of the distinguished pastrecipients, whom I have long admired andrespected for their accomplishments.”Clyde Smith

Honorary membership has been awarded to:

n Clyde Smith

n John Ross

n Peter Owen

n Martin Salter

n Roger Crumpton

n Derek Owen

n Lawrence Kaplan

n David MacGregor

n Roderick Snell

About our IABM Awards

6 6 S U P P O R T I N G T H E I N D U S T R Y F O R 4 0 Y E A R SDESIGN &

INNOVATION 2

014Design & Innovation Award 2014

Receiving the IABM Design andInnovation award represented animportant landmark in the evolutionof our company. We started ourjourney as a small software company delivering bespoke videomanagement solutions for corporateand public sector clients – includingthe MOD and BBC. In 2012 weembarked on a bold move toproductise our software – inparticular to adopt and takeadvantage of the benefits of cloudbased technology – to bring mediaasset management to a wider rangeof organisations and users. In 2014we entered the Design andInnovations award and arrived at IBCwith what we believed was a worldclass product.

Turning our back on project work and embarking on a lengthy period of development to productise oursoftware had been a challengetechnically and commercially, but thehard work and patience had clearlypaid off. The IABM judges had clearlyunderstood the value of our solution –we had developed a powerful mediamanagement platform that wasenormously scalable – it could beused by small businesses orproduction companies right throughto national broadcasters – forpreserving, navigating and searchingtheir media assets through an online

website. It could be rapidly deployedand was easy to customise and brand– customers could set up an onlineVOD service, or a clip licensingplatform in minutes. The system canbe configured to suit all kinds ofbusiness models.

Harnessing the affordability, powerand elasticity of cloud computingIABM had clearly recognised thepotential for the solution whencommenting on the award. John Ivesaid “our judges said this solutionneatly packages a collection offeatures to allow broadcasters toeasily redistribute linear output ontonon linear platforms with minimalmanual intervention and without anyonsite infrastructure leveraging acloud based concept”.

Over a year has passed since we wonthe award - and so many good thingshave happened to us since. Toemphasise our belief in our awardwinning enterprise video platform,we've even renamed the companyafter our product – we’re now ImagenLtd (formerly Cambridge ImagingSystems). We’ve also gone on to winmore awards – including theStreaming Media European Readers’Choice Awards 2015 for Media AssetManagement and the Frost andSullivan Global Digital AssetManagement EntrepreneurialCompany of the Year 2015.

The IABM award however, was ourfirst major tech award and for thatreason the event will beremembered as an importantmoment in the company's history.It gave us credibility and theconfidence to take our platform to a wider customer base. We nowfirmly believe that the media and broadcast sector have a greatdeal of expertise to offer otherindustries who are now faced withthe challenge of managing largeamounts of video data.

We are about to enter ‘the goldenage of video’ according to MarkZuckerberg. As the world continuesto generate and consume a tidalwave of new media – all kinds oforganisations will come toexperience the same challengesthat broadcasters and mediacompanies have been facing for the last decade. Innovative techvendors in the media and broadcastindustry have devised newstrategies for managing, indexingand delivering vast amounts ofvaluable digital media. Otherindustries can learn a great dealfrom this – not just in the way wehave utilised cloud basedtechnologies to reduce costs andimprove efficiencies – but also inthe recognition that content needsto be stored securely with a range of access controls fordifferent audiences.

n Mike Martin

n Alan Brill

Clyde Smith & Peter White


W I N N E R

IABMINTERNATIONAL AWARD

FOR EXCELLENCE IN SUSTAINABILITY 2015

International Award for Excellence in Sustainability

The judges look for specific initiatives that demonstrate a commitment to environmental responsibility and sustainability.

International Award for Excellence inSustainability – 2014 – Elemental Technologies

IABM International Award forExcellence in Sustainability – 2015 –Coronation Street/ITV Studios

2015 – Coronation Street/ITV Studios

When long-running Britishserial drama CoronationStreet relocated its productionsite to MediaCityUK in 2014, itpledged to deliver ‘televisiondrama of the highest qualitywith the lowest possibleenvironmental impact’.

“Coronation Street/ITV Studioshas provided a blueprint forsustainable televisionproduction,” said John Ive,IABM Director of Technologyand Strategic Insight.

“They have assessed andminimised the environmentalimpact of every element of theproduction from renewableenergy to power the site, to electronic scripts and‘paperwork’, recycling andminimising waste across theentire production chain.”

"Coronation Street is verypleased to receive this Awardfrom IABM. We have workedextremely hard in championing

sustainable TV production andhave no doubt this award willhelp us further our goals.” – Robbie Sandison, Head of Production, Coronation Street

In addition, GENELEC washighly commended in thiscategory for its 30-yearcommitment to sustainability,which it regards as a core partof its business values.

About our IABM AwardsAbout our IABM Awards

Broadcast &Media Technology Woman of the Year“The high calibre of all the shortlisted candidates for thisyear’s Woman of the Year Award clearly demonstrates thatour industry is moving on from its male-dominated past”said Peter White.

This year’s winner, CEO andCo-Founder of Aspera,Michelle Munson, has notonly led the business in astellar, profitable growthpath culminating in its recentacquisition by IBM, she hasalso played a key role as co-inventor of the company’sFASP® high-speed datatransport technology,transforming the way bigdata is ingested, processed,managed, distributed and delivered today.

“Just to be recognizedamongst such an esteemedgroup of talented women inour industry is a great honour

for which I am very grateful. I’dlike to thank IABM and ourpeers in this industry for thisaward and the tremendoussupport of the digital mediaand broadcast industry inencouraging innovation andentrepreneurship.” -Michelle Munson

Broadcast & Media TechnologyWoman of the Year – 2014 – Naomi Climer

Young Person of the YearEncouraging the flow of young talent into theindustry is vital for its continuing developmentand success. IABM recognizes this throughits extensive training activities under theauspices of The IABM Education Foundation.

2015 – Ludovic MichaudA graduate of Valenciennes University inFrance, this year’s winner of the IABM YoungPerson of the Year Award is Ludovic Michaud.“Ludovic Michaud has demonstrated a strongunderstanding of transmission, compressionand workflows and how they can be betterapplied to meet the challenges of deliveringcontent everywhere,”said IABM CEO, PeterWhite. “Our challenge is to ensure that thebroadcast and mediatechnology businesscontinues to attract thebrightest talent; Ludovic Michauddemonstrates that we can.”

Young Person of the Year– 2014 – Adam Plowden

Peter Owen, Robbie Sandison, Llio Fflur & Peter White

Mark Horchler, Jigna Chandaria & Nigel Burt

Peter White, Michelle Munson & Wenbing Yao

Naomi Climer & Lucinda Meek

Peter White & Ludovic Michaud

Adam Plowden & Steve Warner

EEcalpemos TechnologiesEditshareEKTElemental TechnologiesELEMENTS | syslinkEMCEmotion SystemsEMSEnsemble DesignsEnvivioEricsson TelevisionETL SystemseuNetworksEurofins Digital TestingEvertz MicrosystemsEVS Broadcast EquipmentExhibition FreightingEyeheight

FFacilis TechnologyFarmers WifeFileCatalystFOR-AForscene

GGatesAirGB LabsGEA & AssociatesGearhouse BroadcastGenelecGeneral DynamicsMediawareGiga Communications

GigawaveGill Craig ConsultingGlensound ElectronicsGlobal DistributionGlobecastGlobecomm SystemsGlookastGrass ValleyGrusGsoftGuntermann & Drunck

HHaivisionHarmonicHewlett PackardHHB CommunicationsHi Tech SystemsHILTRONHitachi Kokusai ElectricHTSHUAWEI TechnologiesHybridTV

IIBISIBMIdeal Systems Asia PacificIdeasUnlimited.tvIEWCIHSEIkegami ElectronicsImagenImagine CommunicationsImagine Products

IMC TechnologiesI-MOVIXInBroadcastIntel CorporationInterfacioInterra SystemsInterxionintoPIXioGatesIPEIPVIRDETO

JJump

KK2E TekpointK5600 LightingKane Consulting

LL2TEKLawoLeader Instruments CorporationLEMOLightstarLimelight NetworkLinear AcousticLSI ProjectsLund HalseyLYNX Technik

MMACOMMaloobaManor Marketing Marquis BroadcastMasstech InnovationsMaster MediaMatroxMBCMedia Asset CapitalMedia ExcelMedia LinksMediaBridge Capital AdvisorsMediaGeniXMediaGuruMediatradeMegahertzMemnon Archiving ServicesMetaglueMeteoGroup DeutschlandMicrosoftMiller TripodsMISTVMKM Marketing CommunicationsMode-ALMOG TechnologiesMRCMRMCMultiCast ConsultancyMultiDyne Video & FiberOptic Systems


A

AA Media GroupAaton DigitalAbekasActus DigitalAdder TechnologyAdvanced Broadcast ServicesAdvanced Broadcast SolutionsAframeAgama TechnologiesAgility LogisticsAkamaiAlphatron Broadcast ElectronicsAmagi Media LabsAmos – SpacecomANNOVA SystemsAnvatoAP ENPSApantacAppear TVaQ BroadcastArchimediaARG ElectroDesignArgosyArion TechnologyARRIartec technologiesarvato Systems S4MAsia Pacific BroadcastingAspen MediaAspera, an IBM companyAstec SolutionsATEMEATG Danmon

AtomosAtosAudio-TechnicaAVECOAvidAVT Audio Video TechnologiesAxinomAxon Digital Design

BBabcock InternationalBCEBeijing United VictoryBelden Wire & CableBenchmark BroadcastSystemsBFE Studio und MedienSystemeBlack Box Network ServicesBlackmagic DesignBLTBlue Lucy MediaBluebell OpticomBluefish444BMSBoris FX / ImagineerBowens InternationalBoxer SystemsBPL BroadcastBradley EngineeringBrainstorm MultimediaBRIDGE TechnologiesBrightcoveBroadcast ConnexionsBroadcast Magazine

Broadcast NetworksBroadcast PixBroadcast Traffic SystemsBroadcastAsiaBroadStream SolutionsBroaManBrocadeBryant UnlimitedBT Media & BroadcastBubble & Squeak CommunicationsBurli SoftwareBVE Show

CCalrec AudioCanara LightingCanareCanford AudioCanonCartoniCASTWINCavena Image ProductsSub-CouncilCEDAR AudioChristieChristy Media SolutionsChyronHegoCinegyCiscoCJP Broadcast Service SolutionsClear-Com

Clyde Broadcast ProductsCobalt DigitalCogent Technologies

ConaxCP CasesCreateLEDCryptoGuardCrystal VisionCUBA BroadcastCueScript Limited

DDalet Digital Media SystemsDan TechnologiesDanmon Asia LtdDanmon DanmarkDanmon NorgeDanmon SvenskaDanmon Systems GroupDatavideo TechnologiesDatos Media TechnologiesDAVID SystemsdB BroadcastDDP (DynamicDrivePool)Dega Broadcast SystemsDejero LabsDekTec Digital VideoDeltacastDEV SystemtechnikDIGISPOT SystemDigital Garage GroupDimetisDisk Archive CorporationDLP-Digital TechDolbyDot Hill SystemsDoteck Digital TechnologiesDynamic Broadcast


IABM Members IABM Members

VVeale AssociatesVectorBoxVerimatrixVesetViaccess-OrcaViaLite by PPMVidcheckVideo ClarityVideostarVidiGoViewQwestVILLAGE IslandVisio LightVislinkVITECVitec GroupVitec Imaging - AvengerVitec Imaging - Gitzo S.A.Vitec Imaging - KATA BagsVitec Imaging - ManfrottoVitec Services - BexelVitec Videocom - Anton/BauerVitec Videocom - AutocueGroupVitec Videocom - AutoscriptVitec Videocom - CameraCorpsVitec Videocom - LitepanelsVitec Videocom - Manfrotto DistributionVitec Videocom - OConnorVitec Videocom - Petrol Bags

Vitec Videocom - SachtlerVitec Videocom - TheCamera StoreVitec Videocom - VintenVitec Videocom - Vinten RadamecVizrtV-NovaVocas Sales & ServicesVoliconVSC DesignVSN

WWall Street CommunicationsWalton De-IceWASP3D / Beehive SystemsWaterside MediaWheatstone CorporationWhiteoaksWire: BroadcastWohler TechnologiesWowza Media Systems

XXilinxXPresso CommunicationsXylostream TechnologyXytech Systems

Z

Zylight


NAGRANativNautelNEP GroupNEP - Avi-dromeNEP - Bow Tie TVNEP - DutchViewNEP - Faber AudiovisualsNEP - InfostradaNEP - Mediatec BroadcastNEP - Mediatec SolutionsNEP - ObserveNEP - Outside BroadcastNEP - TEAM ENGNet InsightNetAppNETIAnever.noNevionNewsBossNewtecNewTekNexidiaNikonNTP TechnologyNTT ElectronicsNUGEN

OObject MatrixOctopus NewsroomOmniTekOracle CorporationORAD Hi-Tec SystemsORBANOsprey Video

PPeak CommunicationsPebble Beach SystemsPESAPHABRIXphoenix7Pixel PowerPlayBox TechnologyPluraPolecamPortapromptPrime Focus TechnologiesPROVYSPTS

QQbitQ'ligentQuantum Corporation

RRadio Frequency SystemsRadome Media ConsultancyRascular TechnologyRed Lorry Yellow LorryRiedel CommunicationsRipple NetworksRohde & SchwarzRoot6 LimitedRoss VideoRotolightRT SoftwareRTS Intercom SystemsRTSSRTW

SS.T.PS3 SatcomSAMSandRun ConsultantsSatServiceScheduALLSCISYS DeutschlandScreen SystemsSDNsquareSeaChange InternationalSematronSEMTECHSENCORESennheiserSESSGLSGTShotokuShure IncorporatedSigniantSIS LIVESkyline CommunicationsSmartCart SVXSoftNI CorporationSoftron Media ServicesSoftvalleeSolid State LogicSonifexSonySpectra LogicSquared PaperStarfish TechnologiesStorageDNASTREAM LabsStuder Professional AudioSuitcase TV

SWIT ElectronicsSyrp

TTAGTC ElectronicTedialTektronixTelemetricsTelestreamThales AngenieuxThe Broadcast BridgeThinklogicalThomson Video NetworksTiffen InternationalTiger TechnologyTimecode SystemsTMDTradefairTransvideoTrilogy CommunicationsTSL Professional ProductsTSL Systemstv-bay / KitPlusTVLogictvONETVTTVU NetworksTXAUUnited Broadcast & MediaSolutionsUtah Scientific

72 S U P P O R T I N G T H E I N D U S T R Y F O R 4 0 Y E A R S

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As at end December 2015.

IABM Members IABM Members


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Huawei is headquartered inShenzhen, China and employs170,000 employees around the world,76,000 of whom are engaged in R&D-focused work. Huawei’s products canbe found in over 170 countries,serving more than a third of theworld’s population and we have threecore operating divisions: CarrierNetwork, Enterprise, and Consumerbusiness groups.

Huawei is at the forefront oftechnological developmentsupporting growth of HD and4K/UHD as broadcast and mediaindustries move to file-basedproduction, cloud services, andvirtualised solutions. Our Omnimediasolutions give access to any content,anytime, anywhere. Consumers nowexpect movies, TV, gaming, andsocial media at the speed of light.They want interactive, mobile, andon-demand access from any device.Huawei helps make that happen.

Our cutting-edge technologiesstreamline the creative process formedia and entertainment industrycustomers in:n Broadcastingn Production and post-productionn Digital feature film and

animation n Advertisingn Media agencies

Huawei’s solutions for videoproduction platforms, diversifieddistribution channels, and innovativemedia asset management andstorage are powerful and helpcustomers generate more revenuetoday, as well as in the future.

We opened our first office in the UKin 2001 and won the first major UKcontract, with British Telecom (BT),in 2005. In a little over a decadesince, we’ve grown from a tele-communications provider to a fullyintegrated ICT supplier, helping toroll out parts of the UK’s broadband,telecom, and broadcast networks.

Our partnership with companies likeBT remains an on-going one,presently focused on the provision ofSuperfast Broadband, and, inaddition, the company is involved inpartnerships with other householdnames, including EE’s 4G roll-outand Vodafone’s ‘Project Spring.’ Oneof our 15 workplaces situated in theUK is our headquarters, in Reading,which employs over 1,000 people.As one of China’s largest outwardinvestors, Huawei plays an importantrole in investing in the nextgeneration of computer scientistsand engineers, their skills andresearch and development. This isdemonstrated through thecompany’s support of

undergraduates around the world,and through partnership projects likethe Huawei Innovation ResearchProgramme (HIRP), through whichwe have established partnershipswith 120 universities as well asresearch and consulting institutesthroughout Europe.

Huawei is working with universitiesto identify exceptional young talent toparticipate in our “Seeds for theFuture” programme, to put them ona more certain path to success.

So far Huawei has invited more than1,500 outstanding students from over150 universities worldwide to ourfacilities in Shenzhen, where theybecome familiar with our cutting-edge technologies and the latesttrends in the industry. Training fromour experts and hands-on experiencein our most advanced labs broadenstheir horizons and readies them forleadership in developing the nextstage of our information society.During the last five years, over 500students from 23 European countrieshave been included in thisprogramme.

The company describes our vision asbeing, “to build a better connectedworld and enrich life throughcommunication.”http://www.huawei.com/uk

Huawei is a leading multi-national Information and Communications Technology (ICT) solutionsprovider and a Fortune Global 500 company.

74 S U P P O R T I N G T H E I N D U S T R Y F O R 4 0 Y E A R S

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Our IABM Platinum

members are making a

statement, clearly

identifying themselves

as a 'thought leader' and

trailblazer in the

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company’s cloud-based, all-software integrated playoutsolution is being used bybroadcasters in live productionenvironments on multiplecontinents.

Imagine Communications is aglobal leader in multiscreenprocessing and delivery solutions.By leveraging the latestinnovations in both media and IT disciplines, the company isaccelerating the transition fromtraditional baseband broadcastingto flexible IP-based workflows –enabling efficient delivery ofrevenue-generating contentwherever and whenever audiencesare consuming media.

By moving operations out ofdedicated hardware and intovirtualized environments, mediacompanies are able to accomplishobjectives critical to futuresuccess, including deliveringservices faster and moreefficiently than ever before. Asoftware-based infrastructureprovides broadcasters with theagility, for example, to launch so-called pop-up channels – short-term services around specialevents that can be launched andripped down in a matter ofminutes.

A pioneer and leading advocate ofa graceful and customer-paced

transition of media operations to more agile and flexible production, playout and deliveryenvironments, ImagineCommunications has investedmillions toward researching anddeveloping innovations that enableprecisely timed features andfunctions, which traditionallyrequired dedicated hardware, tobe performed entirely in softwarerunning on generic computingresources – withoutcompromising performance orquality. Precise and sophisticatedtechnical functions, includingframe sync, color correction and master control, are now being executed in virtualizedenvironments by mediacompanies working closely withImagine Communications.

Similarly, the company is astaunch proponent of openstandards and multivendorinteroperability. It is working withinfluential industry associations,such as SMPTE and the VideoServices Forum (VSF), toaccelerate the definition ofcommon procedures andpractices for moving, managingand manipulating video signals inan IP-based realm. ImagineCommunications is tackling manyof the performance andresponsiveness shortcomings ofIP environments, which are

nondeterministic by nature,through standards that now spanboth the media and IT domains,such as SDN.

Imagine Communications is alsocollaborating closely with leadingcomputing and networkingleaders of the IT industry,including Arista, Brocade, IBM,HP, Microsoft and others, tobetter condition IT environmentsfor the execution of media-oriented operations. ImagineCommunications is working withIT leaders to incorporate control-and data-plane modifications intoIP-based switches and servers tobetter meet the exactingrequirements of video productionand playout environments.

Imagine Communications iscombining its rich legacy in thebroadcast industry with itsvisionary focus on the futurerequirements of media companiesaround the world to provide ameasured and graceful transitionto next-gen environments. Bysupporting hybrid environmentsthat enable media companies toleverage existing investments inbaseband technology, ImagineCommunications is enablingmedia companies to advance theirbusinesses at a pace and along apath that is precisely aligned withtheir economic and competitiverequirements.

With a legacy in the broadcastindustry of more than fivedecades, the company suppliesproducts, solutions and servicesto all segments of the media andentertainment ecosystem. Nearlyhalf of the world’s videochannels traverse more thanthree million ImagineCommunications productsdeployed in 180 countries.

Imagine Communication is aninfluential force in the gracefulevolution of broadcasttechnology and provides themost complete end-to-end videosolutions and advanced IP,cloud-enabled, software-definednetworking (SDN) and workflowmanagement solutions in theworld. Its technologies andservices enable the world’sleading media companies to

rapidly introduce new businessmodels and fulfill the evolvingand expanding videoconsumption expectations oftheir customers. The descendentof a corporate entity founded in1922, Imagine Communicationscarries forward a heritage tightlyentwined with the establishment,expansion and overall history ofradio and television media.

The company holds dozens ofactive patents and has receivedmore than 50 awards fortechnical innovation, including 10 Emmy® Awards from theNational Academy of TelevisionArts and Sciences. ImagineCommunications’ advertisingmanagement solutions overseenearly $50 billion in annual adsales as of the end of 2015.

The company providestechnology that stretches theentire length of the video contentcreation and delivery lifecycle,from ingest to end user devices. Its solution portfolioencompasses live production,advertising management,

channel playout and multiscreen delivery.

Imagine Communicationsdelivers uniquely integrated,future-proof solutions thatenable fixed and mobileproduction companies toefficiently prepare and transportlive content for multiple viewingplatforms and ready theiroperations for emergingtechnologies such as Ultra HD and IP.

Its advertising managementportfolio provides softwaresolutions that enable some ofthe largest media companies inthe world to efficiently monetizecontent across multipleconsumer viewing platforms and optimize the value of media inventory.

Its channel playout solutions,among the most advancedavailable, enable mediacompanies to prepare, processand playout content for multiplechannels and distributionplatforms, while providing anevolutionary path to IP and


Imagine Communications is a global leader in video and advertising solutions,empowering the media and entertainment industry through transformational technology innovation.

Charle VogtCEO, ImagineCommunications


About Grass ValleyWith the most comprehensivecollection of workflow solutions inthe industry, Grass Valley deliversend-to-end television productionand content distribution workflows,combined with expert consultationand insight that lead to sustainablesuccess. Grass Valley,headquartered in Montreal, is partof St. Louis-based Belden Inc.Belden delivers a comprehensiveproduct portfolio designed to meet

the mission-critical networkinfrastructure needs of industrial,enterprise and broadcast markets.With innovative solutions targeted atreliable and secure transmission ofrapidly growing amounts of data,audio and video needed for today'sapplications, Belden is at the centerof the global transformation to aconnected world. For moreinformation visit www.belden.com.

Belden, Belden Sending All TheRight Signals and the Belden logo

are trademarks or registeredtrademarks of Belden Inc. or itsaffiliated companies in the UnitedStates and other jurisdictions.Grass Valley, GV STRATUS Playout,and Densité are trademarks orregistered trademarks of GrassValley. Belden Inc., Grass Valley, and other parties may also havetrademark rights in other termsused herein.

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Grass Valley, a Belden Brand, keeps broadcasters, content owners and service providersFuture-Ready as they navigate the changing landscape of television.

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With the largest pool of resourcesavailable, our worldwide networkincludes:

n Over 120 HD OBs, HD flypacks, satellite uplink trucks, smaller camera systems and other audiovisual packages

n Specialty and wireless cameras

n Post-production facilities in Dublin, Oslo, Helsinki, Zurich, Munich, Leuven and Hilversum

n Studio facilities in Los Angeles, New York, Connecticut, London, Sydney, Melbourne, Oslo, Helsinki, Brussels and Hilversum

n Innovative solutions for media management, workflow, content delivery and monitoring

n Thousands of plasma, LED, and projection video display solutions

n A fleet of mobile LED trucks across North America and Europe

n An industry-leading team of engineers and technical experts

Like our equipment, ourproductions are backed by theexperience and knowledge of anextensive network of experts fromacross the globe that maintains thehighest standards. Working withNEP means tapping into the highestquality and most comprehensiveservice available, with access tomore than 2,000 of the mosttalented and innovative problemsolvers the industry has to offer. Ourengineers, technicians and supportstaff anticipate problems and arequick to find solutions.

Whenever and wherever you needus, you can rely on NEP to be yourpartner in success.

NEP provides the technology and know-how to enable clientsto produce the world’s biggest live and broadcast eventsaround the globe.

We are the leading worldwide providerof outsourced production solutionsoffering technical services for remoteproduction, studio production, videodisplay, host broadcasting, postproduction, smart asset / mediamanagement, multi-screen deliveryand end-to-end OTT solutions.

NEP’s team of more than 2,000employees is driven by passion and afocus on technical innovation, andtogether we have supportedproductions in over 65 countries on allseven continents. Headquartered inthe United States, NEP has offices inCanada, the United Kingdom, Ireland,the Netherlands, Sweden, Norway,Denmark, Germany, Finland,Switzerland, Belgium, the United Arab Emirates and Australia.

SS-CBS is the newest addition to NEP’s fleet. It features an IP-basedrouting system that makes it flexible, scalable, and 4K ready.


With solutions that support every stage of the productionchain, Sony has long been a leader in broadcast technology.

Dedication to image quality hasalways been combined with a strong focus on workflow efficiency,ultimately delivering tools whichunderpin and enhance the work ofbroadcasters and broadcastproducers.

As a result, Sony has beenrecognised by IABM on severaloccasions for the formative role itstechnology has played in the evolving world of modernbroadcasting.

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L-Series Fresnels and the newSkyPanel soft lights with theirunique color tuneability feature,which have rapidly been embracedby the industry. Daylight fixtures arealso at the forefront of technology;ARRI’s M-Series encompasses thecompany’s most innovative,Academy Award-winning daylightproducts, featuring the unique,patented MAX reflector. MAXTechnology enables lensless,focusable lampheads that unify theadvantages of a PAR and a Fresnel,providing maximum light output.

The Academy of Motion Picture Artsand Sciences has recognized ARRI'sengineers and their technicalcontributions with 18 Scientific andEngineering Awards. Most recently,the developers of the ARRILASERfilm recorder were honored with theAcademy Award of Merit® (OscarStatuette®).

ARRI Rental, with its worldwidenetwork of subsidiaries, can providean unrivalled range of cutting-edgeequipment wherever a productionmight be shooting. Facilities in theU.S., U.K. and mainland Europe, aswell as over 40 global partners,mean that productions are nevertoo far from world-class ARRIservice and support.

On the postproduction side, ARRIMedia has a number of facilities inGermany that provide state-of-the-art image and sound services,including VFX. From the uniquelywell-equipped one-stop-shop inMunich to Europe's biggest DIgrading suite in Berlin, ARRI's post houses carry the vision offilmmakers through the final stepsof the creative journey. ARRI Media

is also involved in film productionand world sales.

In 2013 ARRI Medical was foundedto utilize ARRI's core imagingtechnology and know-how formedical applications. Drawingexpertise from all over the ARRIgroup, ARRI Medical has developedthe ARRISCOPE, a unique, fullydigital 3D surgical microscope. Inaddition, the Surgical Imagingservice allows medical proceduresto be filmed in unprecedentedquality, using camera technologythat has been used in multipleOscar®-winning movies.

A third-generation privately heldcompany, ARRI is owned by theStahl family, who are descendantsof co-founder Robert Richter. TheManaging Directors are FranzKraus and Dr. Joerg Pohlman.

Today ARRI is a leading provider of professional motion pictureequipment and services, with over1,200 highly-trained employeesspread between subsidiaries inEurope, the U.S., Asia and Australia.

Throughout its 98-year history,ARRI has been associated withconstant innovation in all of its corebusinesses. The company isinvolved in every technical aspect ofprofessional film production, fromthe engineering, design andmanufacture of camera systems,lighting fixtures, film scanners andfilm recorders, to studio lightingsolutions. Services offered by ARRIinclude worldwide equipmentrental, as well as picture and soundpostproduction in Germany.

Manufactured products include theubiquitous ARRI ALEXA – easily themost successful professional digitalmotion picture camera system evermade. Members of the evolvingALEXA family include the newALEXA SXT models, the compactand lightweight ALEXA Mini, and theflagship ALEXA 65 – suppliedexclusively through ARRI Rental to

prestigious productions such asRogue One: A Star Wars Story, Warfor the Planet of the Apes and TheGreat Wall. Common to all ALEXAcameras is a unique combination ofthe best overall image quality andeasy, efficient workflows, deliveringunsurpassed production value.Since ALEXA's entry into the filmindustry in 2010, every movie tohave won the Oscar® forCinematography has been shot withthe camera system.

Launched as a documentary-stylecamera due to its single-userergonomics, the versatile ARRIAMIRA has fast become thepreferred option for an increasinglydiverse range of production typesthat want cinematic image quality insituations where crews are small,time is short and budgets areconstrained. Application areasinclude TV and internet shows,sports, music videos, brandedcontent, independent films,commercials, nature films anddocumentaries.

Among ARRI’s exceptionally widerange of cine lenses are the Master

Anamorphic, Master Prime andUltra Prime series, which are the result of ARRI’s long-standingtechnical partnership with Zeiss.Other ARRI lenses include theremarkable Ultra Wide Zoom andthe Alura zooms.

ARRI Pro Camera Accessoriescome in two strands: firstly thereare the mechanical accessories, arange of film-style matte boxes,follow focus units and supportsystems that bring legendary ARRIquality and reliability to almost alltypes of digital cameras. Secondlythere is the Electronic ControlSystem (ECS), a complete, modulartoolset for wireless remote controlof any camera and any lens; it alsoprovides valuable lens data fortasks both on set and inpostproduction.

Preservation of the world’scinematic heritage is another areawhere ARRI is leading the field, withits Archive Technologies. Offeringthe most versatile, upgradable andhigh-quality digital scanningoptions on the market forrestoration facilities and filmarchives, the ARRISCAN and itsvarious accessories are increasinglyrelied upon for delicate restorationsof classic movies.

ARRI lights include ground-breaking LED fixtures such as the


Headquartered in Munich, Germany, ARRI was founded in1917 by August Arnold and Robert Richter, who combinedthe first two letters of their surnames to create thefamous acronym.


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BEROn the other hand, there’s a

widespread feeling that poorthird-party integration,metadata issues and a lack ofprocess improvement impedesthe success of MAM systems.67% stated poor integrationwith broadcasting systems asan important pain point.

That links into the fourthissue, which is that mediaenterprises are keen to movetowards vertical integration oftheir management systems,and ultimately a move towardsbusiness process outsourcing(BPO). They recognize that theMAM system is a critical linkbetween core activities –creating, managing anddelivering engaging content –and BPO.

The final key finding from the report concerns futurecontent. Half of thosesurveyed felt that by 2020 –just four years away – theircontent inventory will haveincreased in value by a factorof five.

There’s also the considerationthat some of that new contentwill be in new, and perhaps asyet unidentified, formats.Executives surveyed expectaround 5% of their totalcontent to be 4K or 8K, butUltra HD is still being defined.

ConclusionsToday, MAM is widely seen as a fundamentalcomponent of any mediaenterprise, and users areconfident about its ability to deliver a return oninvestment.

MAM is proven to solve keybusiness and operationalchallenges which manymedia organizations facetoday. However, to achieve a successful outcome, MAMshould be designed andimplemented in closecollaboration with thecustomer. Understandingtheir needs at every stage,from design through toimplementation, andbeyond, is imperative.

In conjunction, the MAMsystem needs to be futureproof to meet whatever new challenges in mediaformats and creativity mediaorganizations will face in thefuture. Therefore, flexibility,extendibility and thescalability to addressspecific business oroperational needs areparamount requirements ofa MAM system, especially iftotal media enterprisetransformation is theultimate goal.

In today’s media environment,enterprises are under intensepressure to improve contentmonetization and maximizeoperational efficiency. They’reexpected to do more – to createmore content for more platformsand deliver it to more people – sothey have to find new ways tosecure revenues and differentiateservices to earn audience loyalty,and deliver all these services at alower cost.

One of the key routes to achievingthis goal is through media assetmanagement (MAM). Originally,asset management was seen as alow-level function, a means ofkeeping track of content.

Today, the MAM system is seen as akey strategic investment. It provideswide-scale access to content, and itcan take an active role in identifyingand promoting content that has arevenue opportunity attached to it.And as the repository of metadata,it’s seen as the heart of workflowprocesses and automation. MAMshould today be seen as theworkflow engine, driving automatedprocesses as much as possible, andthereby reducing costs as well asserving more markets and outlets.

67% of respondents identified poor integration with existingbroadcasting systems as the most likely reason for MAMimplementations to fail to deliverthe predicted benefits.

The real benefits of a modern MAM system come in the ability to store, update and maintaincomprehensive metadata, and to use this to drive automatedworkflows. This can only happen in an organization that has reviewed all its processes andconsidered how best they can beaccomplished in the future.

Key findingsThere was widespread agreementthat MAM streamlines workgroupcollaboration and multiplatformdistribution – two-thirds ofrespondents stated that as animportant factor. Half of the seniorexecutives surveyed stated thatMAM facilitates real-timeworkgroup collaboration acrossmultiple locations.

That can be linked to a second keyfinding: vital KPIs are not justmultiplatform distribution costs,but perhaps even more important,reduced lead time for new digitalservice launches. If you have a newidea, you want it on air or online asquickly as possible to stay ahead ofthe competition.


Media asset management: the key to business success

To determine today’s attitudestowards MAM, Avid commissionedinternational research companyOvum Consulting to surveybusiness leaders on their views.Ovum spoke to 125 individuals –mainly at C or board level – in 21countries.

Operational efficiencyThe ability to increase operationalefficiency is highly valued. 66% ofrespondents felt that their MAMsystem had lowered theirmultiplatform distribution costs,50% said it had improved real-timecollaboration between creativemedia professionals and astaggering 82% of executivesbelieve that MAM delivers a returnon investment of 10% or better.

IntegrationIt was clear from the survey though,that MAM cannot deliver benefits onits own. It has to be part of a widelyintegrated system that providesseamless and, where practical,automated workflows acrossmultiple vendors’ solutions. MAMmay be the heart of the system, but if it doesn’t interwork withperipherals, a lot of its value is lost.


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Danmon marked its 25thanniversary with a well-attendedcelebration held in Amsterdamduring the InternationalBroadcasting Convention (IBC).

In 2008, Danmon Group acquiredDigital Audio Denmark, world-famed for its flagship AX24 eight-channel digital/analogue/digitalaudio converter which is used bymany of the world’s leading recording studios, broadcasters,orchestras and opera houses. Thecombined skills of the NTP andDAD design and sales teams havemade the two companies amongthe strongest in the entire audiobusiness sector, resulting inoutstandingly successful productssuch as the 24-channel AX32 andits sister DX32 digital networkingrouter.

Also in 2008, Danmon Groupextended into the area of satellitecommunications technology byacquiring Hiltron GmbH. Locatedat Backnang, 30 km northeast ofStuttgart, Hiltron is one ofEurope's leading transmission-

system integrators and bestknown for its HCS3 universalsatcom controller. As part of theDanmon Group, Hiltron hasgreatly expanded its productdevelopment and manufacturingcapability while remaining strongin the SI sector. In Q3 2015,Hiltron introduced SORBAS. Thisis a complete family of productsdesigned to form the heart ofcustomised satellitecommunication systems.

In January 2013 Danmonannounced the opening of a newcompany in Vietnam.Headquartered in Hanoi, DanmonAsia Ltd extended the group'spresence into Indo-China. At IBCduring the same year, Danmonannounced the formation of DatosMedia Technologies which provedan almost instant success withmany broadcast system sales inSpain and Portugal.

Just two years later, 2015, DatosMedia negotiated the acquisitionof Vantec, a leading Portugesesystems integrator with over 20

years of experience in designingand integrating virtual studios,robotic cameras, and real-time3D graphics.

The most recent addition to theDanmon Group portfolio isMarquis Broadcast with provenexpertise in broadcast contentworkflow and media integrationsoftware. Marquis' Edit Bridgewon IABM's Design & InnovationAward in the Post Productioncategory at IBC2015.

The ongoing success of theDanmon Group is a tribute to theexperience and dedication of itsstaff, building and retaining thetrust and confidence of customersnot just for the duration of aproject but on a sustained long-term basis. Broadcasting and thewider multimedia market havealways been rapidly-evolvingmarkets so everyone in thesesectors is accustomed to fasttechnical progress. Never has that progress moved faster than today.

The Danmon Group(www.danmon.com) is a long-established broadcast and mediasolutions provider combining in-depth experience with the ability toimplement new technology quicklyand efficiently. Danmon distributesa wide choice of products from theworld’s leading hardware andsoftware producers. It also offersbespoke systems encompassingcomplete turnkey television andradio studios, newsrooms, post-production suites, master controlrooms, media archives, playoutcentres, outside-broadcastvehicles and business solutions aswell as high-end audio interfaces,IP infrastructure, telecoms andsatellite communications.

Over four decades, Danmon has developed a reputation forunerring quality and attention todetail, implementing mission-critical projects for broadcasters,media companies and serviceproviders worldwide.Understanding tomorrow'stechnology needs, we supportcustomers’ investment throughclose co-operation. We believe in developing long-termrelationships, built on making the

right technologicalchoices anddelivering value.

Danmon began in 1981 ascollaborationbetween twoDanishentrepreneurs,Ole Clausen and HenningBrønnum. Ole Clausen took theposition of CEO, a position he stillholds today. They developed andmarketed professional videomonitors under the Danmon brandname. The company graduallyprogressed into the supply ofbroadcast systems on a widerscale and, in 1987, was awarded a contract for the delivery ofequipment to the Odenseheadquarters and Copenhagenstudios of TV2/DANMARK. Thisproject was achieved inpartnership with the US-basedAmpex Corporation.

Expanding from its Danish head office at Gentofte nearCopenhagen, Danmon establishedDanmon Svenska AB in 1987 and,the following year, Danmon Norge.Soundware Denmark, SoundwareNorway and Soundware Sweden

were also established in thisperiod to focus on professionalaudio products and systems forapplications such as broadcasting,studio recording, theatre soundsupport and education.

The Danmon Group's business inthe broadcast sector grew stronglythroughout the Scandinavianregion. Partnership agreementswere signed with an increasingnumber of major suppliers whorecognised the advantage of havingan experienced distributor able tosupply strong support throughoutthe sales process and beyond.

A landmark event in Danmon'stransition into a global businesswas the securement, in 2000, of acontract to design and integrate acomplete television station atThanh Hoa in Vietnam.

In 2003, Danmon Group reactivatedits role as a manufacturer with theacquisition of NTP Technologywhich develops and producesadvanced digital audio routingsolutions for the majorinternational radio and televisionbroadcasters.

Three years on, Danmon Groupacquired ATG Broadcast, a leadingUK-based broadcast systemsintegrator. That same year, 2006,


The Danmon Group: We Think Globally and Act Locally

Ole ClausenCEO – Danmon

Group


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media server systems set the industrystandard by providing a uniquecombination of efficient compressionand outstanding video quality, as wellas rock-solid reliability, and theMediaGrid system – winner of theIABM’s prestigious Peter WayneAward – firmly established Harmonicin the realm of efficient, scalablehigh-performance shared storage viaEthernet. In 2012 the company’sSpectrum ChannelPort integratedchannel playout system combinedchannel branding and master controlswitching with clip playout to simplifythe task of bringing new services toair quickly and affordably.

Harmonic’s early and consistent focuson forward-looking media technologyhelped the company to earn furtherawards, including a 2012 EmmyAward that recognized the company’sdevelopment and commercializationof (IP-based) digital infrastructure forlocal cable ad insertion. A thirdTechnology and Engineering EmmyAward win in 2015 honored thecompany’s achievements in IP-basedclosed-loop statistical multiplexing ofgeographically distributed encoders,made possible with its DiviTrackIP™statmux technology.

In the intervening years, Harmonicdemonstrated its industry leadershipby powering the first public DASH trialat the 2012 London Olympics and by performing the first HEVCdemonstration. Harmonic became theoutright industry leader in IPTVheadends and went on to introduce its

IPTV 2.0 solution for unified all-HTTPadaptive bit rate (ABR) deliveryarchitecture.

It was at this time that Harmonic wasthe first to introduce a fully virtualizedvideo production and deliveryarchitecture with its groundbreakingvirtualized IP-based media processingplatform, VOS™. VOS facilitatesorigination of channels for delivery viabroadcast and direct over the Internetto consumers with all the reliabilityand functionality of today’s broadcastinfrastructure —but fully virtualizedand deployable in a private or public cloud.

Today, the Electra XVM virtualizedmedia processor and Electra Xadvanced media processor sit at theheart of Harmonic's IP-basedheadend architecture. The ElectraXVM is part of Harmonic's VOS family,consisting of both pure software andappliance-based products, Electra X2for SD, HD and multiscreen mediaprocessing applications and X3 forUHD processing. Addressing growingdemand for software-based,virtualized system deployments on IP-based server infrastructure —including support for the SMPTE2022-6 standard for baseband overIP – Electra X and other Harmonicsolutions enable customers to goend-to-end in IP, from camera toconsumer display.

The Harmonic Video Network (HVN)(www.hvn.tv), an OTT video streamingservice launched in 2015, uses

Harmonic solutions to demonstratethe efficiency gains, dramaticreduction in TCO and superior videoquality that can be realized withunified playout, encoding and deliveryin a fully virtualized environment.Electra X3, the industry's firstconverged media processor for UHDcontent, powers NASA TV UHD, thefirst consumer UHD channel in NorthAmerica. Leveraging an end-to-endUHD delivery system built onHarmonic solutions, NASA's ambientvideo channel provides gorgeous2160p60 video content from the space program.

Winner of a 2015 IABM Design &Innovation Award, the HarmonicSpectrum X media server alsosupports emerging UHD applicationsand services. In addition to enablingdirect ingest and output of IP feeds,supporting lightly compressed anduncompressed workflows, thissolution gives users the freedom tomove from HD channel-in-a-box(CIAB) playout with graphics andbranding to UHD playout.

Through ongoing innovation, fromproduction to distribution, Harmonicgives its customers the agility tonavigate a rapidly evolving videoeconomy. The company’s productshelp production, media, broadcast,cable, satellite, telecom, terrestrialand new media service companiesrespond to the challenges of thedigital video revolution while reapingits benefits.

Today, the company enables thedelivery of amazing video experiencesthrough its commitment to superiorinnovation, world-class service andcompelling total cost of ownership(TCO).

Harmonic video infrastructuresolutions power everything from HEVC (High Efficiency Video Coding)compression of Ultra HD video, toblazing-fast transcoding of over-the-top (OTT) video content, to high-speeddata, video and voice delivery viainnovative cable edge systems. Fromterrestrial broadcast, cable andsatellite delivery to adaptive bitratestreaming, Harmonic solutions simplifyworkflows and give content creators,broadcasters and service providers thepower to deliver superior-quality digitalvideo in real time and on demand, toevery type of screen.

Innovation has been Harmonic’shallmark from the start. The firstproducts shipped by Harmonic broughtfiber optics to the cable industry, andthe company’s subsequent innovationssupported various transmissiontechnologies. By 1999 Harmonic had expanded into video encodingtechnology, which it refined andleveraged over time to facilitate theindustry’s migration from analog todigital and from SD to all variety offormats. The following year Harmonicbegan its history of IP innovation withthe launch of the industry’s first IPedgeQAM solution, and just two yearslater it introduced the first all-IP TVheadend and all-AVC headend.

Continuing its launch of industry-firstsolutions, Harmonic released the Ion in 2004, the first broadcast encoderequipped only with an IP output. Thenext year Harmonic put itself at theforefront of adoption of IP-basedinterfacing in compressed headends,which enabled broadcast interfacessuch as MPEG transport stream over ASI to be replaced by morecommonplace IP interfacing, in turnpaving the way for all-IP infrastructureand virtualization of the media deliverychain. The same year Harmoniclaunched the industry’s firstmultichannel, multiservice HD H.264encoder. The acquisition of Entone’s

VOD unit brought video-on-demandand asset solutions into the technology mix.

An Emmy® Award win in 2007recognized the use of Harmonic’s Ionencoding technology by Time WarnerCable to generate IP-based ingeststreams. The same year, theacquisition of Rhozet added high-speeduniversal transcoding technology intothe Harmonic portfolio. The company’sintroduction of FLEX® technology,incorporated into its Electra and Ionproducts, enabled the universalvideo/audio decoding necessary tosupport the all-IP headend. Thesubsequent acquisition of Scopusbrought Harmonic valuablecontribution and distributiontechnology. Harmonic’s furtherrefinement of stream processingsolutions yielded the first IP headend in a box, with integrated multiplexing,scrambling and transcoding. By 2010,Harmonic ProStream® streamprocessing technology had beendeployed to power Comcast MediaCenter’s nationwide all-IP platform for content distribution.

The acquisition of Omneon in 2010fueled further innovation in high-speedworkflows, as well as the game-changing strategy of broadcast functionintegration. The Spectrum family of

Since its founding in 1988,Harmonic has grown tobecome the worldwideleader in video deliveryinfrastructure, and the firstto provide broadcasters,service providers and other media companies withemerging video capabilities that are ready to deploy on aglobal scale.


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21st Century Fox-owned STAR TV,Warner Bros. Television Studios,CBS Television Studios, 20thCentury Fox Television Studios,Legendary Pictures, Starz Media,Lionsgate, A&E TV Network, CrownMedia Family Networks, FXNetworks, Hearst International, IFC and many more.

PFT’s 2015 “DIGITAL NEXT”offerings including Media ERPaddresses the changing media &entertainment landscape andunderpins what content enterprisesmust do to survive and succeed.These offerings are tailored toaddress what we call ‘Digital Next’realities – volume, discovery,platforms, devices, speed,monetization and everything digitalwhich is the new normal. DIGITALNEXT offerings help meet thedemands of the digital consumer,with a focus on building aconnected enterprise and digitalecosystem, over-the-top solutions,distribution and 4K.

One of the DIGITAL NEXT realities isthat consumers are not only cuttingcord by choosing from variety ofstreaming services like Netflix, Huluand Amazon Plus, they are also notsigning up for traditional TV servicewhen they move out on their own.With growing numbers of digitaloutlets globally, content enterprisesmust embrace the cloud to meetthe increased demands for volume

and speed. They need to do thatwith lowest total cost of delivery and make it discoverable for theconsumers quickly. PFT’s CLEAROperations Cloud helps do just that – not just store and transcode,but perform end-to-end contentoperations on the cloud. Our award-winning, pioneeringtechnology, talent pool, scale &innovative business models makesus the partner of choice for theMedia industry. The successes thatcame our way in the recent past –be it strategic acquisitions, keyclient wins, award winning projects,and product innovations, give usconfidence to be bold and daring to think BIG.

The media & entertainment sectorhas got to think transformation, tochange the way they traditionallywork, question the status quo and reinvent. In this time oftransformation, PFT remainscommitted to advancing thetechnological capabilities of themedia & entertainment industry tomeet the demands of consumers.

For more information, visitwww.primefocustechnologies.com.

agility and driving operationalefficiencies. CLEAR breaks free fromisolated islands of automation andbrings content to the center ofbusiness helping drive creativeenablement, enhancing efficienciesand aiding the realization of newmonetization opportunities.Since its formation in 2008, PFT hasexperienced rapid growth as a cloudsolutions provider with a uniquecombination of media and IT,addressing the challenges faced bycontent enterprises in fulfilling theneeds of today’s hyper digitalconsumers. CLEAR, PFT’s flagshipoffering, was first beta tested in 2008and deployed in 2009.

2011 became a year of transformationfor PFT – where Media ERP, a SaaSoffering was born. CLEAR blossomedinto a full-fledged Media ERP suitewith solutions across the content value chain – from content creation,transformation, distribution, exhibitionand archiving.

Since then, CLEAR has expanded tofive modules – Cloud MAM, OperationsCloud, Broadcast Cloud, ProductionCloud and Distribution Cloud, cateringto different verticals includingBroadcasters, Studios, Brands, Sportsand Digital companies across thecontent value chain. Expanding itsfootprint in the U.S., PFT acquired bothDAX, the creators of the PrimetimeEmmy® Award-winning DigitalDailies® and Academy® Award-winning Lowry Digital.

The media and entertainmentindustry is experiencing rapidchanges in the way content isconsumed, evidenced by more than800 million iTunes users, 60 millionNetflix subscribers, 6 billion hoursof video being watched per monthon YouTube, and 19 percent U.S. Millennials using Amazon Prime. As a result, there is a need for new technologies to advance thecapabilities of content enterprisesand adapt to meet currentdemands, increasing margins anddriving creative enablement.

Prime Focus Technologies (PFT),the technology arm of Prime Focus,the global leader in media andentertainment services, foresawthis change. PFT’s revolutionaryproduct CLEAR , offers hybrid cloudenabled ERP solution unlike anyother single point solution provider,ready to meet the needs of thismargin-pressed industry that lacksthe digital infrastructure and agilityneeded to meet content demands.

Standalone on-premise media asset management serves theneeds of broadcast operations andengineering departments but

production, marketing and otherfunctions of a broadcast enterpriseare left to invest in their ownrespective storage and processingsystems, leading to inefficienciesand high cost of ownership.

Enterprises need to think digitallyand move from islands ofautomation to build a connectedenterprise and a digital ecosystem.

Learning from IT across sectorssuch as manufacturing andbanking, media & entertainmentcompanies also need a singleenterprise-wide software, an ERPsystem, tailored specifically for their industry to include mediaasset management, workfloworchestration and applications towork across the enterprise andsupply chain for both linear anddigital businesses.

CLEAR Media ERP Suite virtualizesthe content supply chain, facilitating

Prime Focus Technologies: Pioneering ERP for the Mediaand Entertainment industry


TM


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comprise product excellence,innovation, integrity,customer focus andcollaboration. We set thehighest standards of technicalperformance and aftercare,designing solutions that doprecisely what image-makersneed them to do. All ouractivities reflect ourcommitment to quality.

We are constantly looking tobreak new ground. We believein learning fast and lookingfor new ways to support ourcustomers and their needs.To stay ahead of the game, weapply our creativity to everyaspect of our business, notjust our products. Ourpassion, flair and willingnessto ask “why not?” are at theheart of everything we do. Ourfocus, however, is always onthe customer. Within eachspecialty, each of our brandsis known for developingindustry-leading technologythat allows our customers tocapture the moment incritical situations where thedifference between successand failure can be a fractionof a second. We believe that ifwe embrace our customers'creative expertise, they willembrace our commitment toexcellence.

Vitec is continually adapting to theexciting changes in ourmarketplace by creating powerfulproducts and solutions that attractstrategic partners into our diverseand premium portfolio. The bestminds in the industry also chooseVitec for its continued promise ofinnovation. By attracting andretaining exceptional talent knownfor driving execution forbreakthrough results, Vitec hasmaintained its position as theindustry leader in research &development, analytics, creativityand technology, embracing a futurefull of optimism and promise.

Capture the MomentAccording to Vitec Group ChiefExecutive Stephen Bird, “capturingthe moment is the essence of Vitec.It is our passion, our philosophy,our way of life. It is what drives us”.

Vitec’s purpose is to support the capturing and sharing ofexceptional images that inspire,

educate, inform and entertainviewers on every continent, everyday. Our products encompass avariety of technologies and arecarefully designed to ensure that,whatever the conditions, the imagetaker has the best equipment to

“capture the moment”. Thesetechnologies range from traditionalmechanical engineered products to electronics and software. At our collective best, our usersunderstand the power of ourproducts in helping them use their images to create, inform and impact the world.

Our commitment to our customersand the industry at large is foundedon a set of core values that form the

For over 100 years, The Vitec Group (an internationalcompany headquartered in London) has embraced anentrepreneurial spirit throughout its businesses, creating an organisation where passion and excellence serve as thefoundation for continued success. Around the world, Vitec is known for building meaningful relationships by servingcustomers in the Broadcast and Photographic markets.



As the global leader inContent Delivery Network(CDN) services, Akamaimakes the Internet fast,reliable and secure for itscustomers. The company'sadvanced web performance,mobile performance, cloudsecurity and media deliverysolutions are revolutionizinghow businesses optimize

consumer, enterprise andentertainment experiences forany device, anywhere. To learnhow Akamai solutions and itsteam of Internet experts arehelping businesses movefaster forward, please visitwww.akamai.com orblogs.akamai.com, and follow@Akamai on Twitter.

As the global leader in Content Delivery Network(CDN) services, Akamai makes the Internet fast,reliable and secure for its customers.

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CIABM 2016. A company limited by guarantee.

IABM – Head Office

3 Bredon Court, Brockeridge Park

Twyning, Tewkesbury, Gloucestershire GL20 6FF

United Kingdom

T: +44 (0)1684 450030

F: +44 (0)1684 450024

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Portland, OR 97281-0187

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Visit our website to find out more: www.theiabm.org

Documents

IABM 40 Year Publication