tul Nor II inim FOR TECHNICAL AND ENGINEERING MANAGEMENT · 2019-07-17 · 1\k-1-`. . . kTrue Skee,o1e1e\A6on August 4, 1989 "The IN-500 features stereo and no inputs, stereo subgroups,

$Page 1: tul Nor II inim FOR TECHNICAL AND ENGINEERING MANAGEMENT · 2019-07-17 · 1\k-1-`. . . kTrue Skee,o1e1e\A6on August 4, 1989 "The IN-500 features stereo and no inputs, stereo subgroups,$
tl

mi,

54-1

isisttul001,1: Nor

II inimFOR TECHNICAL AND ENGINEERING MANAGEMENT

AN ACT III PUBLICATIO

DECEMBER 1989$3.00

c=-

CAD \STREAM L I NE SFACILITY DE SI

r' IjhX ee -a

1\k-1-`. . . k True Skee,o1e1e\A6on

August 4, 1989

"The IN -500 featuresstereo

and

no inputs,stereo

subgroups,stereo

ds, twin stereooutputs,

derived

no, and SAP outputs,which

can

Multaneouslyprovide

Mixesfor local

ansmss\on,sate

uplinks and

econdarylanguage

-feeds.And with

GA control,inputs

can be \ICA

rouped,group

muted,or externally

computercontrolld.

Nturally,the

V-500also has the monitor,

intercom

and IF?. capabOesthat can take your

stanotothe nineties.

So profit from Wheatstone's

experience,reputation,

and terrific

supporttearn-call

us todayand learn

More.

e.

r. ry EeparoliniDirector of SalesWheatstone Corporation

Syracuse, NV 13211Parkway

Dear Ray:

isv

Iffeto=1NolyZir=

I am writing just to let you know how thrilled our people arewith the TV -500 audio board. It has exceeded our greatestexpectations.

:

I can remember when we started the planning process for a newbuilding and television facility. We had a good deal of equipment-o replace and a number of goals to reach. One thing we wanted toaccomplish was to build a state-of-the-art control room. One thatwould serve us "for many years to come.

We knew we seeded an audio board that was easy to operate, sothat all of our people would feel comfortable using it. Yet at thesame time, we needed a board with a lot of flexibility for thosetimes when our prcduction people really let their creativity loose.

We needed an audio board we could easily expand, in threeyears our needs ma) change, and I want to be able to grow withouta major investment. The TV -500 audio board accomplished that end.And frankly, when we compared all the boards we looked at to yours:yours came out to be the most competitively priced.

Cur people are delighted with the TV -500 audio board and I'mpleased with your outstanding technical support. It's been apleasure doing business.

M

d/i6ti A.ief Ensineer

FAC/dc

.h.11:717,

VAIL

O

t13.1 doosfon of The New.926'66

1V-346-767,156,3,71,7.mes

sesiguiroo61111110C:=11G

..rte.,.

Peot_soneco7, Sliocue

11\1,

.1.52_11(10_ 315

pOTV,N

-455-774,

672P

COotoon Ponder

3oraco

COCP

GO WITH THE WINNERS. DYNAMAX CTR10 SERIES

"The Dynamax CTR10 Series Ls the mostreliable and cost-effective cartridge

machine available. Five of our stationsty use them and ten more

facilities will be reequippedwith CTR1Os over the next

few years as old gearneeds replacement."

Lindy WilliamsV.P. Engineering

Lotus CommunicationsCorporation

BROADCAST PRODUCTS BY F1DEUPAC

Fidelipac Corporation0 P.O. Box 808

0 Moorestown, NJ 080570 U.S.A.

0 609-235-39000 TELEX: 710-897-0254

0 FAX 609-235-7779

Circle 101 on Reader Service Card.

Genius is the secret of this great

painting-and of the great images from two

remarkable Sony CCD comeras. The BVP-7

and BVP-70.

The heart of both cameras is a CCD sen-

sor that only Sony could design and make:

the 768 HAD (Hole Accumulated Diode).

The 768 HAD is from the industry leader

in CCD technology. So it produces an astonish-

ing, true-to-life image that you won't believe

until you see it.

The BVP-70 uses the FIT version of the

768 HAD sensor, making it the premier cam-

era for critical EFP applications. With a full

700 lines of resolution and an extremely low

signal-to-noise ratio. And almost no fixed -

pattern noise.

Sony's workhorse camera is the BVP-7,

which delivers masterpieces in an enormous

range of EFP situations. It's virtually identical

to the BVP-70, incorporating the IT version of

the 768 HAD sensor.

To see these masterpieces, don't go to a

museum. Just contact your Sony Broadcast

Sales Engineer. Or call (800) 635 -SONY.

Sony Communkatioris Products Company, 1600 Queen Anne Road, Teaneck, NJ 07666.

©1989 Sony Corporotion of Arnerka. Sony is a registered trodemark of Sony.

SONYBROADCAST PRODUCTS

Everythingyou alwayswanted in a tubecamera.

Except tubes.

LDK 910 CCD Studio Camera

What you've always wanted in a tube camera isthe best picture possible. But now you get the best picturein a CCD Camera - the new BTS LDK 910. And you'llnever miss the tubes. Because the LDK 910 meets or beatsthe picture quality of tubecameras with a newCCD sensor thatemploys over 800pixels per line, andover 406,000 totalpicture elements.

In additionto excellent resolu-tion, the LDK 910has a high signal-to-noise ratio, high sensitivity and accurate colorimetry.Along with a few other things you don't get with tubes.Such as BTS's frame -transfer technology, which eliminatessmear. A high dynamic contrast range without bloomingor burn -in. And excellent dynamic resolution enhanced

LDK 91 CCD Portable Camera

by advanced electronic shutter control. It's also ready toshoot when you are - no waiting for warm up.

And here's another reason you won't miss themissing tubes. Not only is the LDK 910 priced competi-tively with tube cameras, but it costs less than you'd prob-ably spend replacing worn out tubes over the life of astudio camera.

But of course, big ideas also come in small pack-ages. The LDK 91, a lightweight, easy -to -handle ENG/EFPcamera, is the LDK 910's portable companion. Singled outby Broadcast Engineering magazine as one of the ten"Pick Hits" of NAB '89, it has the same CCD sensor andthe same top picture quality as the LDK 910.

Together, these fully compatible CCD cameraswill make your old ideas aboutpicture quality go right down thetubes. For complete informationand technical specifications onthe new LDK 910 and LDK 91, The name behindcall BTS at 1800-562-1136, ext. 13. what's ahead.

BTS is Broadcast Television Systems, a joint company of Bosch and Philips. P.O. Box 30816. Salt Lake City, UT 84130-0816.


The

On the cover:Cover design by DonaldKrogman. Art furnished

by Video Design Pro,Las Cruces, NM

40 The 131st SMPTE

BMEFOR TECHNICAL AND ENGINEERING IMA',AL,E ME NT

DECEMBER 1989VOL. 25, NO. 12

Features

22 Facility Construction UsingComputer -Aided DesignThe new home of The Image Group reflects thebenefit of an innovative computer -aided designsystem.

27 Digital Technology: Is the PictureComplete?At ITS, a distinguished panel explored thebenefits and risks of digital video technology.

32 Surviving the StormWhen Hurricane Hugo targeted Charleston, TVstations prepared for the worst and got it.

ao Tough Choices in TechnologyThe 131st SMPTE Convention.

47 Radio Engineering

47 Radio NewsEBS Changes Possible . . . RadioBroadcasters Lobby for LicenseReform, Technical Quality

48 Telephone Audio InterfacingTelephony and broadcasting havebeen close cousins from thebeginning, yet putting telephoneaudio on the air is never easy.

52 Radio '89 Highlights DigitalThe New Orleans conventionillustrated that digital audio is nolonger just a leading -edge frill.

32 Surviving the Storm

BME December 1989 7

_TM

The perfectcartmachinesfor animperfect

orid

11 -?A'

HASE 'MAK 90 PLAYBACK &PHASE TPAK 90 RECORD/PLAYBACK

Do you really need a cartmachine as good as PhaseTrak 90? In a perfect world,perhaps not. After all, there'cbe no tape skew or phaseerror in an ideal universe. So,you wouldn't need the con-tinuous non -encoded phasecorrection circuitry* we devel-oped for Phase Trak 90 cartmachines. This BE -exclusive pro-cess is so effective, it actuallycleans up stereo carts thatsound dull on ordinary ma-chines. while assuring consist-ently c ear mono performanceIn a perfect world, tape for-mulation and performance

_

44144.i.--(

would be consistent from batchto batch and brand to brand.There'd be no need for theRecord/Playback Phase Trak90's Automatic Tape Analysissystem w th Learn Mode.On a fault -free planet, all au-dio formats would be createdequal. Then you wouldn't needPhase Trak 90's superior car-tridge guidance system, PhaseLok V head block and CD -qual-ity sound, ncluding our Dynafexanoise reauction system thataudibly improves stereo sig-nal-to-ncise performance.And of course, in a perfectworld DJs would always treat

cart machines with care andrespect. So you could get bywithout Phase Trak 90's robust,fully modular design featuringa said die-cast front panel,machined 1/2" -thick aluminumdeck plate, cool DC servo mo-tor drive, Hall effect switchesand gdd-to-gold interconnects.Phase Trak 90: Quite simply,the best cart machine evermade for the real world. Ifthat's where you live andwork, call Bob Arnold at(217) 224-9600, or ask yourBroadcast Electronics distribu-tor for more information.

Patert FendingDkncres is a -egistered trademark of Circuit iiiBsearch Labs. no

BROADCASTELECTRONICS INC

4100 Norte 24th Stree- P.O. Box 3606 Quincy, IL 62305Tel: (2 7) 224-9600 Fax: (217) 224-9607 Tlx: 250142


IBMEEditor

EVA J. BLINDERTechnical Editor

WILLIAM A. OWENSManaging Editor

T. GWEN GRIFFITHCopy Editor

JENNIFER L. GREYAudio EditorSKIP PIZZI

Contributing WritersRON BALONIS, HARRY COLE, ROBERT

RIVLIN, PAUL VERDONEEditorial Assistant

ALLAN T. CONYER

Art DirectorDON KROGMAN

Production DirectorNICK TARTAGLIA

Assistant Production ManagerMARK MATEROWSKI

PublisherMICHAEL D. BAILENSON

Northern District Sales ManagerWILLIAM P. DEY

Advertising Sales RepresentativePAMELA S. VAHTER

Western District Sales ManagerDAVID A. DUNAWAY

Advertising Manager for EuropeJIM PARKINSON

Newick East Sussex, EnglandPromotion Manager

STACY AARONAssociate Circulation DirectorMICHAEL J. BORCHETTAAssistant to the Publisher

ANNETTE VIERA

Act III PublishingPresident

PAUL DAVID SCHAEFFERChief Operating OfficerROBERT C. GARDNER

Senior Vice President & Group Publisher,Technical Division

KEVIN J. CONDONSenior Vice President,Operations & Planning

MARTHA LORINIDirector of Editorial Development

PETER CARANICASVice President,

Finance & AdministrationSAM SCHECTER

Director of Marketing& CommunicationsJENNIFER WARE

Director of CirculationS hPREN F. WIGGINTONDirector of Manufacturing

DANIEL CHILLAKAct III Publishing

401 Park Ave. So., New York, NY 10016(212) 545-5100 Telex: 64-4001

Fax: (212) 696-4215Also publishers of:

World Broadcast NewsCorporate Video Decisions

Electronic MusicianMix

ABD BME (ISSN 0005-3201) is published1 monthly by NBB Acquisitions, Inc.

vBpABME is circulated without charge tothose responsible for station operation

and for specifying and authorizing the purchase ofequipment used in broadcast facilities in the U.S. andCanada. These facilities include AM, FM and TVbroadcast stations, CATV systems, ETV stations,network- and studios, audio and video recordingstudios, teleproduction facilities, consultants, etc. Sub-scription prices to others: $36.00 one year, $50.00 twoyears. Fbreign: $50.00 one year, 875.00 two years. AirMail rates on request. Copyright 1989 by NBB Acqui-sitions, hie, New York City. Second class postage paidNew York, NY, and additional mailing offices.

POSTMASTER: send address changes to BME, P.O.Box 6056, Duluth, MN 55806.

Columns & Departments

13 ViewpointIn 1990, BME will retarget its editorial content toserve the specific need of our readers.

14 UpdateNAB Calls on Congress to Regulate Cable . . . MSTto FCC: Clean up TV Interference . . . BME NamesTechnical Editor . . . BME Announces EditorialAdvisory Panel . . . Faroudja Moves Ahead onAdvanced Television . . . Leonard -Duran Bout toAir Via HDTV

18 Tech WatchNew Generation of Microscopes 'Feels' SurfaceFeatures

55 New ProductsBME's expanded product coverage

64 ComputeComputer -Aided STL System Design

66 Spectrum: The RegulatoryEnvironmentA Few Items of Interest (to the FCC)

68 Business BriefsTwo Charleston, SC -area radio broadcasters whosetransmitters were lost in Hurricane Hugo havereceived replacement transmitters from BroadcastElectronics.

69 Advertisers Index

70 Currents: A Guest EditorialDigital can be affordable

68 Newstar goes to college.

BME December 1989 9

More andmorepeopleare liningupfor the PanasonicSVHS Pro Series.

One look is all it takes. And you'll see why more and morepeople are lining up for the Panasonic® SVHS Pro Series.Because anyone in the market for a high -quality professionalvideo production system, simply can't afford not to look atwhat the Pro Series can do for them.

Take Cost -Performance. The Panasonic SVHS Pro Seriesdelivers both. By combining the efficiency and systemsflexibility of half -inch technology with the exceptionalperformance of Y/C component signal processing.

The result. A comprehensive video production systemthat provides two hours of operation on a single cassette.With over 400 lines of horizontal resolution. And signalintegrity through five generations.

By now it should be obvious. The closer you look andthe more you compare the Pro Series to historical videoformats, the sooner you'll line up for the Pro Series.

As a Panasonic SVHS Pro Series user, you'll have directaccess to Panasonic's nationwide network of engineering,service and technical support specialists. And with over300 professionally trained dealers, many of whom areself servicing, you'll always get the most out of yourPro Series equipment.

Finally, a professional video format more and morepeople are lining up for. The Panasonic SVHS Pro Series.

For more information and your local dealer,call your nearest regional office.

Eastern Zone: (201) 348-7620 Central Zone: (312) 981-4826Southern Zone:

Dallas Region: (817) 685-1122 Atlanta Region: (404) 925-6837Western Zone:

Seattle Region: (206) 285-8883 Los Angeles Region: (714) 373-7275

Panasonic

VIP,Presentation

i_e,-ellninnnamdimi ,

744 jliVW oz.Ili re,

To assure excellent quality, support, service andprofessionalism, the Panasonic Pro Series is available

through authorized dealers.

KPanasonicProfessional/Industrial Video


Upgrade with our new VDP-8400 frame store synchronizeror our field -proven VDP-8000.

Lcck up and synchronize noisy satellite and microwavesignals for un rterrupted operation with our two high-pErformance frame store synzhronizers

The new VDP-8400 has :hi: sane -eliable front-endcircuitry as the dependable VDPS000. Anc both comew,th outstanding features to match. Like a processingamplifier to enhance picture gLality even in the freezemode. Clean 'hct switchir g- of nor -synchrDnoussc urces, and a line select thz-- lem you observe indivi-dual lines of video on any waveic rm or pict...re monitor.What's more, a blac<burst outpL.t alows you to use

Line Select lets. yoL observeindrAidua lines of .ideo on anywaveforn or pi:lare nonitor.

VDP-8.100

SYSTEM P -6Y -..E

SOWERH SC SCH

VIDEOTEK

POSITCNNORMAL

BYPASS

each of t-iese uni:s as a stand- abr e sync generatorWant more? How about a price tha:'s thousands lesstian the competition.

What's -eally uplifting about our down -link duotheir freeze-field:frame storage- capabilities. The VDF-8000 lets you sto-e two different 'ields or one fieldcontinuously, wit -lout interr..iption of live video. Whilethe powerful VD' -8400 gives you enhanced storacecapability of up to four fields.

So if ycu want to be in total sync, check out theVDP-8400 and VDP-800C at you- Videotek dealer today.

ivIJIti-storazecapabilities.

STORE

F AAE FRAME RAMES

A 8 AAA

STORE

Circle '05 on Reader Sery ca Card.

WNW 7K

CH/10,44

lk

11lir 7171

WOW,

Display f eldor frame

Processing amplifier controlswhh presets for video gain,peiesta , chroma gain andciroma phase.

MELD FRAME FAMe ROC1.4 AA Ali p., PrM"

DISPLA,

;_iVIDEOTEKINc.Arne -ican-n-ade technoAnd value.

243 Shoenr aker Rc ad, Pottstown,PennsyNar ia 19464 (215) 327-2292TWX 71C -6.3-J'2`- FAX (215) 327-U95

In 1990, BME willretarget its editorial

content to servethe specific needs

of our readers.

VIEWPOINT

hile many view the end of a year-especially the last yearof a decade-as a time for reflection on the past, we at BME see it as anopportunity to move forward. With that in mind, I'd like to bring you, ourreaders, up to date on some significant news at BME.

First of all, I'm pleased to announce the recent formation of an EditorialAdvisory Board. Its members will play an active role in helping to guide oureditorial direction and focus, and in providing feedback, ideas and technicalexpertise. We'll be calling on them from time to time to participate inseminars and roundtables along with other industry chief engineers, and theywill play an active role in judging the third annual Excellence in EngineeringAwards, to be featured in our February 1990 issue. The members of ourEditorial Advisory Board represent a geographically diverse cross section ofleading chief engineers in television and teleproduction. We welcome theirparticipation.

Secondly, it gives me great pleasure to introduce William A. Owens, whohas joined us as technical editor. Bill brings with him more than 20 years ofengineering experience and excellent writing ability, and we look forward tohis contributions. This month's issue includes a feature article written by Bill,"Surviving the Storm," beginning on page 32. For more details about Bill andour Editorial Advisory Board, please see our Update pages.

More changes are in the works for 1990 as we prepare to serve our readersin a more targeted way. Our Radio Engineering section, created a year and ahalf ago at our readers' request, will become a separate publication in 1990. Itwill be devoted strictly to radio, with its own character and focus.

In addition, with the February 1990 issue, BME will be renamed BME'sTelevision Engineering and will be written exclusively for engineers workingin all areas of broadcast and non -broadcast television. We have excitingeditorial calendars planned for both magazines for the coming year, and welook forward to your continued readership as we strive to tailor thesepublications to your specific needs. We welcome your commentsand opinions.

Eva J. BlinderEditor

BME December 1989 13

UPDATENAB Calls on Congress to Regulate Cable...MSTto FCC: Clean Up TV Interference...BME NamesTechnical Editor...BME Announces Editorial Ad-

visory Panel...Faroudja Moves Ahead on ATV...Leonard -Duran Bout to Air Via HDTV

MST to FCC:Clean Up TV Interference

Ttie

Association of Maximum Service Telecasters(MST) has petitioned the Federal Communica-

ons Commission to initiate an inquiry ontelevision interference. The association assertsthat the technical quality of local televisionbroadcasting is being threatened by the en-

croachment of non -television signals into spectrum spacepreviously dedicated to over -the -air television. MST fur-ther claims the FCC has been negligent in the protectionof TV broadcasters, due to its relaxation of standardsrelating to non -television -generated interference withbroadcast television stations.

In its petition, filed October 4, MST, a group ofapproximately 250 large- and small -market televisionstations encompassing commercial and public, networkand independent, VHF and UHF stations, is asking theFCC to investigate several ways in which FCC policiesmay have had a negative impact upon stations.

According to the petition, the FCC has no clear defini-tion of television interference, with the result that inter-ference appears as less of a problem than it really is. Thepetition further asserts that the FCC "considers only theincremental effect of interference" when considering newspectrum users, without looking at the cumulative effectof all potential sources of interference which results.

In addition, MST believes the Commission "lacks acomprehensive and clearly articulated framework formaking decisions" on potential interference, and hasrelied more upon market forces and consumer complaintsthan on clear technical standards.

One of the critical points the petition makes is the effectof FCC -authorized "sharing" of television channels bynon -television services, including such land -mobile trans-missions as police and fire services, cellular telephones,and wireless microphones used in ENG production.

Along the Gulf of Mexico, the recently implementedAutomated Maritime Telecommunications Service(AMTS) is expected to create interference problems forstations on Channels 10 and' 13. John Reece, chiefengineer of WALA-TV, Ch. 10 in Mobile, AL, said he is"well aware of the potential problem," as his broadcast

tower is only 30 miles from a proposed AMTS site.However, Reece has had no viewer complaints aboutinterference directly traceable to the AMTS.

According to Wendell Nelson, chief engineer of WMBB-TV, Ch. 13, in Panama City, FL, his station foughtimplementation of the system, expecting that it couldcause serious problems. The station has no way ofmeasuring what problems have been caused, however, asits tower was demolished when a military jet rammed intoit, WMBB is operating on a temporary tower.

The Commission has also permitted the use of broad-cast television frequencies for field sensor security sys-tems, and has permitted ultrasonic medical diagnosticmachines and variously sized personal computers to emitlow -power, spurious emmissions on broadcast televisionfrequencies. The net effect of all this, according to thepetition, is that broadcasters are faced with potentialinterference from a wide range of sources.

The NAB has announced its full support for theAssociation's efforts to have the FCC improve its regula-tion of existing and proposed uses of the spectrum whichinterfere with the essential public service that televisionprovides.

BME NamesTechnical EditorAct III Publishing hasnamed William A. Owensto the position of technicaleditor for BME magazine.Owens, who will be basedat Act III's New York head-quarters, assumed the full-time editorial position inmid -November.

Before joining Act III,Owens was an engineeringconsultant to WHSE-TV,Ch. 68 in Newark, NJ. Pri-or to that, he spent two

14 BME December 1989

years as director of opera-tions and engineering atMeycom, Inc., of Naples,FL. Meycom is the licenseeof WNPL-TV, Naples, andformerly operated WUXA-TV, Portsmouth, OH. Ow-ens's experience includesover 20 years of engineer-ing and operations work inthe television industry.

"Bill brings to BME the

precise combination of tal-ents we were seeking," saidBME editor Eva J. Blinder."His comprehensive knowl-edge of television engineer-ing and technology, com-bined with his strongwriting skills, make himthe ideal candidate for thisposition."

Owens resides in LittleFalls, NJ.

11111=1111111111

Faroudja MovesAhead onAdvancedTelevisionAdvanced television cameone step closer to reality asYves Faroudja, president ofFaroudja Research Enter-prises, announced thatnine major companies withinterests in broadcasting,engineering and cable tele-vision have agreed to pro-vide funding for productdevelopment and field test-ing of the SuperNTSC en-hanced TV system.

According to Faroudja,the goals of the project arethe development of a sys-tem that will deliver tohome viewers a higher -quality picture with im-proved sound, while alsoproviding minimum dis-ruption of existing distri-bution media, at a reason-able cost to the viewer.

Funding for the projectwill be provided by CapitalCities/ABC, Comcast CableCommunications, Conti-nental Cablevision, Gener-al Instrument, NewhouseBroadcasting, ScientificAtlanta, Tele-Communica-tions Inc., Viacom Interna-tional, Inc. and Westing-

house Broadcasting.The funding will support

product development andtesting for the SuperNTSCsystem, and will permittesting of the system inactual broadcast and cableenvironments. Twelve ca-ble system sites will be uti-lized to demonstrate thequality of the SuperNTSCsystem, provide informa-tion on technical require-ments for widespread intro-duction of the system, andgather market research onconsumer demand.

The SuperNTSC systeminvolves processing at bothtransmission and recep-tion, operating on the stan-dard 6 Mhz channel band-width, with no additionalsubcarrier required. Thesystem includes image en-hancement, noise reductionand line doubling (525 to1050), and is said to pro-vide image quality ap-proaching 35 mm film. It isdesigned to be compatiblewith current broadcast, ca-ble and satellite distribu-tion, as well as existingcable head -end systems,since it provides a signalthat is fully compatiblewith current NTSC trans-mission and receptionequipment.

NAB Calls on Congress toRegulate Cable

In a letter to Sen. Daniel Inouye (D -HI), the chair-man of the Senate Communications Subcommittee,the National Association of Broadcasters has called

on Congress and the FCC to regulate cable televisionsystems as common carriers, rather than under theircurrent "privileged status" according to the 1984 CableAct.

In the letter, NAB president and CEO Edward 0.Fritts asked Inouye to take "a hard look at cable'spresent regulatory treatment" during the subcommit-tee's upcoming hearings on cable carriage issues. Asimilar request was made to Rep. Edward Markey (D-MA), chairman of the House Telecommunications Sub-committee.

Fritts cited American Television and Communica-tions' decision to program a cable channel in Roches-ter, NY, as an independent station, in direct competi-tion with the local broadcast stations in that market.He pointed out that this channel will not require anFCC license, nor will it be subject to the public -interestobligations that apply to broadcast stations under theterms of their licenses.

ATC, owned by Time/Warner, Inc., "even intends togive this channel 'call letters,' that are patterned afterthose used by television stations," Fritts' letter contin-ued. He added that because of cable operators' near-

complete discretion in programming and positioning ofcontent, ATC can give its channel a favored position.

Fritts also noted that while broadcasters are forbid-den by federal law from owning cable systems in theirmarkets, nothing prevents a cable operator from creat-ing a local station equivalent on its system. He warnedthat if ATC is successful in this action, "the cableindustry may transfer these same practices into othermarkets."

Fritts summed up NAB's position by saying, "We seethe specter of cable vertical integration growing to thepoint where it warps the entire relationship betweenour two industries."

In a related develop-ment, Philips ConsumerElectronics has apparentlyreversed its position on En-hanced Definition Televi-sion. Speaking at an engi-neering conference inWashington, DC, companyvice president Peter Bing-ham endorsed a two-stepimplementation of ad-

vanced television, with aninitial move to NTSC-com-patible EDTV, followedwith a later move to "true"widescreen HDTV.

The company had previ-ously maintained that di-rect implementation ofHDTV transmission shouldbe the next step taken bythe industry. In his speech,


No jamming inproblems production

Cassette jammingis one of the biggest

Ti mcrews face. Unlessthey're shooting with Sony Videocassettes. No wonierthe producers of a recent documentary shot inInner Mongolia chose to tape with Sony BCTSeries Betacam® cassettes.

The Sony cassettes didn't jam during theentire three weeks of taping, even whencovering the nomadic people of Mongolia'sgrasslands, where temperatures vary fromextremely hot to extremely cold.

Not that this surprises those of us at Sony ProfessionalVideotape. After all, we've designed all our productsaround one basic premise: durability. To be frank, thedemanding shooting conditions of Mongolia aren't astough on our tape as we are.

on . -

BCT Betacam cassettes,for instance, combinea high -impact ABSanti -static cassette shell

with a base film that's been given Sony'sultrafine carbon -black back coating. All ofwhich ensures more uniform tape transportand superior winding characteristics.Among other things, this kind of runabilityhelps keep Mongolians out of a jam.

No matter which Sony Professional Video-tape you're working with, there's one thing youknow for sure. Its greatest ability is durability.

Whether it Betacam, U-matic® 1" or Digital tape. So takeon the world. With Sony Videotape. In Inner Mongolia orin your own studio you need a tape that tough as Sony.After all, there's no better way toprevent unwanted jam sessions. SONY

THE ONE AND ONLY.

1988 Sony Corporation of America, Sony, Betacam, U-matic and The One and Only are trademarks of Sony. Circle 106 on Reader Service Card.

Bingham effectively re-versed that position, pro-posing industry coopera-tion to introduce ATVreceivers with a minimunof delay, and announcingthat Philips would be ableto bring ATV receivers tothe consumer market "veryquickly."

The Philips proposal fora move to an intermediateATV format prior to imple-mentation of full-scale

BME AnnouncesEditorial Adviso-ry PanelBME has announced theformation of an editorialadvisory board of chief en-gineers at broadcast televi-sion stations and telepro-duction facilities across thecountry. The advisoryboard will play a key rolein setting the editorial di-rection of BME when themagazine becomes BME'sTelevision Engineering inFebruary, 1990.

The board, which willmeet periodically, will par-ticipate in BME-sponsoredseminars and focus groupson industry technology andtrends. Board memberswill advise BME's editorson editorial direction andon technical issues. In ad-dition, board members willassist in judging the annu-al Excellence in Engineer-ing Awards. Award win-ners will be announced inthe February issue.

The 13 members of theadvisory board include:Jim Bartel, chief engineer,Post Effects, Chicago, IL;Richard Edwards, vicepresident/director of engi-

UPDATE

HDTV eliminates the ma-jor difference between Phil-ips' position and that of theSarnoff Research Center.Sarnoff calls for introduc-tion of a NTSC-compatibleACTV-1, with improved de-tail and a wide picture onone television channel, fol-lowed by a later introduc-tion of ACTV-2, a wide -bandwidth HDTV formatrequiring an additionalspectrum.

neering, Guy GannettBroadcasting Services, Mi-ami, FL; Neil Feldman,president, Video Post &Transfer, Dallas, TX; Rob-ert Frey, director of engi-neering, Pacific Video Re-sources, San Francisco, CA;Patrick Howley, president,Post Perfect, New York,NY; Stanley Kronquest,chief engineer, HSN Tele-mation, Seattle, WA; Jo-seph Mahedy, director oftechnical operations andchief engineer, ModernTelecommunications, Inc.,New York, NY; KennethD. Miller, vice president,engineering, Capitol Video,Washington, DC; RobertMurch, vice president, en-gineering, WPIX-TV, NewYork, NY; William Napier,director of engineering,WBTV, Jefferson Pilot Com-munications, Charlotte, NC;Fred Steurer, vice president,engineering, PulitzerBroadcasting Co., St. Louis,MO; Roy Trumbull, assis-tant chief engineer, KRON-TV, San Francisco, CA; andJames Wagner, vice presi-dent, technical and engi-neering operations, JacorCommunications, Inc., Cin-cinnati, OH.

Leonard -DuranBout to Air ViaHDTVAs the struggle to choose aterrestrial HDTV standardcontinues, HDTV is en-countering little conflict inanother kind of contest.HDTV Sports, a joint ven-ture of Platinum SportsNetork and Zbig Vision, isscheduled to present theDecember 7 boxing cham-pionship bout between Sug-ar Ray Leonard and Ro-berto Duran via live closed-circuit HDTV.

The live production isscheduled to originate atthe Mirage Hotel in LasVegas, and to be uplinkedby Hughes Communica-tions, using the MUSE -Etransmission system. Thesatellite transmission willbe downlinked in Miami,Minneapolis, Toronto andNew York City.

According to HDTV Pro-duction's Stuart Samuels,executive producer for theDecember 7 broadcast, theproduction is being fieldedin cooperation with Inter-national Broadcast Consor-tium and NHK EnterprisesUSA. The NHK-suppliedequipment at the Las Ve-gas site will include threedigital HDTV cameras, aChyron HDTV Scribe and aSony 9000 HDTV switcher.HDTV Sports is supplyingcommentators, techniciansand producers.

BME welcomes yourcomments and opinions.Write to us c/o Editor,BME Magazine, 401Park Avenue South,New York, NY 10016.You may also contact uson MCI Mail at ID 326-8115 or on Compuserveat 71630,1236.


TECH WATCH

New Generation of Microscopes`Feels' Surface Features

By Robert Rivlin

ver since Dutch naturalist An-ton von Leeuwenhoek inventedthe microscope in the late seven-

teenth century, scientists have beenanxious to peer closer and closer atthe world around us. Approximately100 years ago, however, the Germanphysicist Ernst Abbe described a fun-damental limitation of any micro-scope using lenses. The Abbe effect,as it came to be known, states thatdiffraction will obscure details small-er than approximately one-half thewavelength of the reflected radiation.In today's science, where biologistsstudy single molecules of protein, ma-terials physicists need to examinetiny flaws in crystals and those layingout structures on microchips some-times work with elements only atomswide, the need is constant to seeobjects smaller than the wavelengthof light.

One solution has been the electronmicroscope. It has several limitations,however. Specimens for study mustbe encased in a conductive materialand then submitted to a powerfulbeam of radiation, often destructiveto the specimen itself.

A new generation of microscopes,invented during the past severalyears, may overcome these inherentlimitations. The new microscopes usetiny probes, sometimes only a singleatom across at their tips, to scan overthe surface of a specimen to "feel out"atomic -scale features on the speci-men's surface. They report the find-ings back to electronic imaging sys-tems that provide images of thesurface features. These scanned probemicroscopes also can detect atomic -scale forces such as magnetism andtemperature variations.

The "great -granddaddy" of the newgeneration of microscopes was invent-ed by Gerd Binnig and HeinrichRohrer of the IBM Zurich Research

Scanned probemicroscopes can detectatomic -scale forces such

as magnetism andtemperature variations.

Laboratory in the early 1980s. (Theyreceived a Nobel Prize for their effortsin 1986.) The scanning tunneling mi-croscope (STM) they invented relieson the ability to position a samplewithin a single nanometer beneaththe tip of a probe. Piezoelectronics-ceramic materials that change sizeminutely when an electrical potentialacross the material is changed-areused to manipulate the sample inthree dimensions.

In the STM, the aperture is a tinytungsten probe whose tip is ground sofine that it may consist of only a

single atom and measure just 0.2 nmin width. Piezoelectric controls movethe tip to within a nanometer or twoof the surface of the conducting speci-men-close enough so the electronclouds of atoms at the tip and of thenearest atoms on the surface of thespecimen overlap. When a small volt-age is applied to the tip, electronstunnel across the gap, creating a tinytunneling current. The strength ofthe current is highly sensitive to thewidth of the gap and typically de-creases by a factor of 10 each time thegap is widened by 0.1 nm, half thediameter of an atom. X and Y piezo-electric controls move the probe backand forth across the specimen surfacein a raster pattern.

If the probe maintained a steadyheight, the tunneling current wouldfluctuate dramatically. Instead, thetip moves up and down to correspondwith the topography. This is accom-plished with a feedback mechanism(error detection/correction loop) thatsenses the changes in tunneling cur-rent and varies the voltage applied to

This is what silicon looks like when viewed by the atomic force microscope.

z


a third, z-axis piezoelectric, whichmoves the probe vertically to stabilizethe current and maintain a consistentgap between the microscope's tip andthe specimen surface. The variationsin voltage applied to the Z piezoelec-tric are then translated into an imageof surface relief. If all parts of thesystem are sufficiently highly tuned,the STM can reveal surface atoms assmall as 2 nm in diameter.

The STM is limited, howev-er, by the need to have thesample be conducting or semi-conducting. Scientists havebeen working on otherscanned probe microscopesthat circumvent this limita-tion.

One of the most successfulhas proven to be the atomicforce microscope (AFM). Thisdevice moves a minute tipmade up of a fragment of dia-mond mounted on a thin stripof foil across the specimen sur-face in a raster pattern. Inplace of tunneling current, theAFM measures the force of repulsionin the electron clouds generated bythe diamond and the specimen atoms.The foil acts as a spring to keep thetip pressed against the surface as it ismoved up and down by the surfaceatoms, an arrangement somewhatlike a phonograph. A tunneling cur-rent flowing between the foil and anSTM tip mounted just above it mea-sures the foil's deflection. A feedbackmechanism responds to variations inthe tunneling current by adjustingthe voltage on a piezoelectric controlthat moves the sample up and down.The voltage variations on this piezo-electric mimic the sample's topogra-phy and are the basis for the image.

Unfortunately, the pressure exert-ed by the AFM's diamond tip-aboutone millionth of a gram-is enough todistort the surface over which it isscanned. Other groups of scientistshave been working to formulate newtypes of microscopes that eliminateproblems arising from both noncon-ducting specimens and destructivepressure from the scanning tip. One

ComputerDisplay

of the most advanced groups is theone working under Kumar Wickera-masinghe at the IBM Thomas J. Wat-son Research Center in YorktownHeights, NY. Looking for new ways tomonitor production quality in micro-electronics manufacturing, Wickera-masinghe has come up with the laserforce microscope (LFM), an instru-ment capable of measuring not onlythe tiny elements used on microcir-

Changes in this oscillation ampli-tude are detected using a very sensi-tive laser interferometer. This infor-mation is then compared with areference signal, which generates anerror signal that is then fed back tothe z-axis piezoelectric on the samplestage. This moves the sample towardor away from the tip in order tomaintain the error signal at zero. Bydoing this, the tip can be scanned over

a surface, maintaining a con-stant gap, while the signalthat is applied to the Z piezo-electric is recorded and used togenerate an image.

The microscope is usedmainly to measure differentphysical properties such ascharges on surfaces, electro-static forces, magnetic forcesand the like.

Another newly invented mi-croscope, the scanning ther-mal microscope, scans forthermal properties of samples.This microscope's probe maybe the world's smallest ther-

mometer, measuring temperaturevariations of a ten -thousandth of adegree. The probe consists of a tung-sten wire whose smallest point is 30nm across. The wire is coated with asecond metal that is separated fromthe tungsten by a layer of insulationeverywhere except at the tip of theproble. The tungsten -nickel junctionacts as a thermocouple, generating avoltage proportional to its tempera-ture.

Wickeramasinghe's research is stillmoving forward. "Right now," hesays, "the images provided byscanned probe microscopes do not tellyou much about the surface composi-tion of the sample. The present focusof my group's research efforts is towork with spectroscopy along withthe images from the LFM in order toreveal the exact nature of the atomsfound on the sample surface."

Atomic Force Microscopes.,pk.

Tungsteni.,,croscope 0114ective Tip

Law Beam

LaserProbe

Plow

T Z Feedback Signal

ti>o,

X V Control

X.Y2Mew

A diagram of the workings of the atomic force microscope.

cuits with a resolution 10 times great-er than the elements themselves, butalso the very properies of magnetismand currents that flow in the circuits.The microscope is also useful for ex-amining atoms of dopands-smallamounts of material used in the cre-ation of the silicon that forms thebasis of microchips.

According to Wickeramasinghe,the LFM is based on measuring thevery weak attractive forces betweenthe tip and the sample surface. As thetip moves to within 100 angstroms ofthe surface, it measures the shift inresonance frequency of a tiny cantile-ver to which the tip is attached.

"Essentially, the forces that are feltby the tip shift the resonance frequen-cy," Wickeramasinghe explains. "Soif you attach the tip to a little piezo-electric crystal that makes the tipvibrate near its own resonance, thenas the sample approaches the tip, theresonance will shift. If you are driv-ing the crystal tip at a fixed frequen-cy, that shift will result in a change inthe oscillation amplitude."

Rivlin is a freelance writer living in Ka-tonah, NY. He was previously editor -in -chief of BME.


Announcing BME'sYOUR Technical

You Asked For ItIn February, 1990 BME will become BME's Television Engineering . . . the technicaltelevision magazine you've been asking for! Our editorial coverage will now be focused100% on your needs-as revealed to us in study after study-in TV broadcast,teleproduction, cable and corporate/institutional environments.

A Focused, Quality Editorial PackageBME's Television Engineering will be the one technical magazine you won't be able to misseach month, packed with essential "must read" articles for engineers in all areas of thetelevision industry. Our 1990 editorial lineup includes:

Four basic editorial themes presented throughout the year: Video Engineering, Post -Production Engineering, RF Engineering and Studio Engineering.

New, timely columns: ATV Watch, which will cover developments in advanced televisionand HDTV as they emerge; Audio for Video, which will focus on new audio technologyand its applications in the television environment; and Currents, guest editorials fromchief engineers.

New Technology Buyer's Guides: Targeted buyer's guides on specific areasof technology, with a focus on recently introduced products.

Regularly featured departments: Including our New Products Section, which nowruns up to 10 pages with a four-color opening spread each month.

A Commitment to Excellence You Can Continue to Count OnFor 25 years, BME has kept pace with the ever-changing television industry.And now, we're entering the next decade as BME's Television Engineering . . .

the technical magazine for the nineties.

An ACT III Publication, 401 Park Avenue South, New York, NY 10016(212) 545-5100, FAX: (212) 696-4215

Television Engineering:Magazine for the Nineties!

FACILITY

CONSTRUCTION

USING

COMPUTER -AIDED

DESIGN

Computer -aided design (CAD) is becomingthe method of choice for designing a

modern teleproduction facility.

In April of this year, The Image Group, a division of Modern Telecom-munications, Inc. (MTI), accomplished an ambitious move of its Compu-graph Designs computer graphics subdivision to brand-new quarters inNew York City. The Image Group, a union of Compugraph Designs andImage Mix, now dwells under a common roof in a digitally integratedfacility that reflects the benefit of an innovative computer -aided design(CAD) system. Designing this facility was the task facingthe design team, for which I acted as draftsman, co -designer and foreman.

When Charles Heuer, director of engineering, projectcoordinator and co -designer, and I set out to design thenew Compugraph Designs facility, we had a good ideawhat equipment we were to include, but few specificguidelines as to how all these devices would interface. Ourinteraction with MTI principals had given us a clearunderstanding of the requirements of the task. We were todesign a digitally integrated plant to accommodate theunion of Compugraph Designs and our other MTI post -production facility, Image Mix. These two subdivisionscomprise The Image Group, which spans two floors inmidtown Manhattan.

By choice, most of my previous design projects had beenaccomplished with traditional pencil and paper. I hadworked with other computer systems that I found to beinadequate to my needs, primarily due to their inability tokeep pace. Once I began working with computer -aideddesign, however, I found this relatively new system

invaluable in aiding me in the process of designing thiscomplex technical installation. The CAD system providesextensive preview tools to abstract, simplify and polishrough system implementation concepts. Properly utilized,CAD can provide all the requisite documentation insubstantially less time, and with a great deal less errorthan I might have made with pencil and paper. The CADsystem is effective at projecting costs and materialsrequired for system construction, upgrade and refinement,which is invaluable in bidding proposals.

Before a single wire was pulled, I spent many monthsworking with the CAD system to preview rack placementand layout, wiring, signal distribution, cooling and powerrequirements and most importantly, the human interface.Concurrently, I began to personalize our CAD system'scollection of semi -integrated software packages: the Auto -

desk AutoCad Release 9, a Progress Runtime Databaseand a collection of Parts Libraries, Autocad menus, dataextraction programs and Database Front End from Video


BY PAUL VERDONE

Design Pro. The hardware consisted of an SIA 20 MHz'386 machine with 5 MB of RAM, a very fast 85 MBControl Data Wren III hard disk drive and a high -resolution color display system with hardware -assistedrealtime zoom from Verticom, Inc.

Everything was occurring simultaneously, of course,which is to be expected in any project of this stature.Material and equipment delivery dates and room place-ment and dimensions were changing on a daily basis.While CAD was helpful in notating these changes, it wasour design team on whom I depended for day-to-day inputand exchange of ideas. The design of anything as complexas a computer graphics facility depends upon the diversetalents of the design team. Our team consisted of ChuckHeuer and myself, along with extensive input from ourCompugraph production team, including creative directorMike Saz and EFX editor Bill Mahler. We worked closelywith architect Alan Garry and his team of contractors,electrical and airconditioning consultants, and withBlaise Scelsi, MTI engineering administrator. All of thework, from concept to implementation, was supervised byPhilip J. Mancino, one of MTI's principals.

When construction finally began, we were prepared.The design team's input enabled me to devise a clear andprecisely detailed set ofschematics and me-chanical drawings anda complete cable data-base, all implementedby the CAD system.Our eight -member pro-fessional wiring crew,consisting of BernieAgbayani, Rod Cata-pano, Joe Chiolo, Wil-liam Frias, Glenn Po-gue, Wayne Reynolds,Corbett Santana andBill Stierhout, went towork.

The basic process ofdesign consists ofdrafting out ground -plans, rack elevationsand, most importantly,schematics. Video De-sign Pro hosts a vast

Opposite: CAD display ofTelevision City earth

station. Top left:Compugraph Designs

wiring schematic. Bottomleft: View from the

Compugraph Designspatch bay. Right: Typical

rendered CAD drawingfrom Video Design Pro.

library of electronic blocks and mechanicals easily insert-ed into a drawing. Unfortunately for us, at the time, theselibraries were designed more for top -100 market televi-sion stations than for New York -market computer graph-ics facilities. This left a rather large drafting project on myshoulders, which worked out surprisingly well for ourunusual, multilayered signal system, despite the unavail-able pictorial elements. Next, exact cabling informationwas drafted right into the schematic view. Cable lengthswere simple to calculate as all plans and elevations are toscale. The computer literally told me how long each wirewas to be. Finally, cabling information was extracteddirectly from these drawings and placed into a database.

The database allowed me easily to control the 14 milesof cable that went into this project. The programs told mehow much wire and how many connectors of each typeshould be ordered and how much it would cost. I was ableto sort on any field and create lists of wiring schedules tobe given directly to the crew. The lists were very detailedas to source and destination equipment, source anddestination racks or rooms, type and length of wire andsignal passing through each wire or set of wires compris-ing each loop. The programs enabled me to print labelswith all of the above information appearing on everycable.

An important aspect of CAD is that data was 100percent consistent among the schematics, elevations,runlists and labels. I could hand out work assignments toone crew to cut, label and bundle a group of cables, andanother group would receive a list of cables to be flown.Others were given individual assignments and specifics

By far the most important contribution of CADis its ability to preview any aspect of a system

long before the alligators start to appear.


FACILITY CONSTRUCTION USINGCOMPUTER -AIDED DESIGNon dressing and connectorizing a particular rack ofequipment with complete confidence of data consistency.Each of these work assignments was generated by data-base sorts. If a worker found a documentation error, it waseasy to trace and correct. A CAD system of this type, in myopinion, reduces errors by at least an order of magnitude.

Another strength of CAD is signal tracing and calculat-ing propagation. The computer was able, with great ease,to show me graphically how a string of devices wasinterconnected. Further, it would accurately print oursignal attenuation and propagation delays in nanoseconds

stand not only the specific strengths and weaknesses ofeach member of the operational staff, but also how thisaffects the methods, style and techniques each person useson a daily basis. The equipment environment must beflexible enough that any image that might be created canbe created expediently, while still allowing ordinaryprocesses to remain simple. Only when video designersare unencumbered by complex technical regimens canthey produce their best work.

To implement an easily utilized machine environment,we immediately decided to use a routing system for all

important signal dis-tribution. Further, tomaintain image quali-ty and consistency, wemade the upper level ofrouting adhere to theD-1 standard, CCIR

601. As most of our new equipment already adhered tothat standard, it became a matter of properly dealing withthe equipment that did not. The lower level of routing hadto be NTSC, as most of our final work leaves the house inthat format. Signals, of course, had to be up- or downcon-verted between these two standards. To minimize consis-tency problems, we implemented a master translatorsystem so all signals being up- or downconverted to orfrom CCIR 601 would always pass through the samesignal processing devices, virtually guaranteeing that alltransformations would match. Since most image creationand manipulation occurs in the "perfect" world of CCIR601, we basically streamlined the signal manipulationpath, simplifying operations as well. We are proud to haveone of the first Grass Valley Group Horizon DHX 601routers on line.

Both our Horizon routers (NTSC and 601) are controlledby common control panels in multiple locations. Theprogramming of each router control panel is highlyspecific to the work done at each location. These routersalso allow us to tie easily into our existing Image Mixfacility on the floor below. Integrating both of our one-inch/D-2 editing suites and both color correction suites atImage Mix with Compugraph Designs was a bit morecomplex than just running a few tie lines. A great deal ofimagery created at Compugraph Designs is generated inour 3D graphics computers, paint systems and motioncontrol animation stand, but occasionally a job comes intothe house that demands nearly the full equipment comple-ment of both floors. Obviously, the ease of switching serialand GPI control systems and control panel lines must beas efficient as routing digital and analog video. Keepingtrack of the myriad permutations is complicated enoughwithout having to remember the intimate details of eachwire, switching and monitoring system. The CAD systemvisually provides this necessary abstraction.

Many of the positive aspects of working with CAD havebeen enumerated in this article. But for those of us whowork with any computer system, it is always frustrating

With CAD, data was consistent among the schematics,elevations, runlists and labels. If a worker found a

documentation error, it was easy to trace and correct.

and degrees of subcarrier. I could even program it to flagcables that might not work because they were too long,such as CCIR 601 cables.

CAD systems generate excellent documentation. It hasproven to be an easy job to familiarize new engineers withthe entire system from a single manual. Troubleshootingis also a breeze with the system manual, or just byglancing at the labels on the cables. If one end of a wire isfound, the other end is immediately known, along with thepurpose of the cable.

By far, the most important contribution of the CADsystem is its ability to preview any aspect of a system longbefore the alligators start to appear. Confidence in thesystem's ability enabled crews to load racks of equipmentwith minimal supervision, and with the assurance thatthe heat load would be evenly distributed, that equipmentlocation would be convenient for servicing and that alloperators would be able to reach all the buttons anddisplays. Incidentally, pictorial information generated bythe CAD system is perfect for presentation to non -engineering personnel to provide essential feedback.

Additionally, the CAD system's preview capabilitiesallowed us to start a crew in our Television City facilitycutting and labeling wire bundles a full month before ourwiring crew was given access to the actual facility, whichup to that time was still under physical construction.When we finally had access to the facility, we were able tofly over 75 percent of the system wiring in just under threedays. It is important to point out that CompugraphDesigns was still on-line at our MTI facility while the newImage Group facility was being built. Over 80 percent ofthe existing equipment complement was moved over tothe new facility in three consecutive weekends without asingle lost day of operation. The equipment was justbrought over and plugged in.

CAD systems alleviate a lot of the mundane andrepetitive chores and permit the designer to concentrateon the real task at hand: a machine environment easilyused by people. It is important for a designer to under -


to deal with the inevitable limitations imposed by anysystem that tries to order the chaotic human mind. Forexample, I have found little use in generating a systemschematic in four or more separate parts. One of the keyelements to any information system is constant access tocomparative data. Working with a pile of drawings ormany drawing files only manages to confuse, not enlight-en. But working with one huge drawing file, even on themost powerful of computers, means waiting for pictures toload, sometimes up to several minutes. And when it's timeto print these drawings, the wait becomes even longer-usually overnight. A color electrostatic plotter that pro-duces E -size drawings at 400 dpi in five minutes isdefinitely something to be considered, but only if there'san extra $50,000 or $60,000 in the budget. Pen plottersare not a good alternative unless the intent is to createhuge wall murals. (Pen plotters cannot print small textwell at all.) Most laser printers can handle only A -sizedrawings, usually without color. Users like myself tend touse fast, wide -carriage color dot matrix printers, whichtypically take all night to rasterize and print drawings ofthe complexity required by a project of this size.

Working with the CAD system, I found that it wasnever quite tailored to my particular application. When Ibegan working on this project, I brought with me aneclectic background of experience in video electronics,operational engineering, systems design, drafting, datasystems management, software programming and generalPC hacking, which all seemed, if not necessary, quitehelpful. In the last year, I have rewritten AutoCad menusand written 50 or more script and batch files, and manypages of AutoLisp routines, to try and automate someprocesses and overcome other limitations. Though it is not

Completed and operational machine room at Image Mix.

database. Once the cable database is generated, thecomputer can create new drawings from an alternateperspective, such as from the patch bay or room orsubsystem. Libraries of components are much more exten-

sive and detailed, andmechanical views ofcomponents are now3D representations.Console preview is amuch more realisticprocess, better suited

for work with the architect or end user.The Compugraph Designs facility project was success-

fully completed and is now operational, and much of thecredit goes to the computer -aided design system. I've goneon to other projects and in each, CAD has been used. PhilMancino and I worked together with the CAD system for adetailed rendering of the mounting system for a newsatellite dish for our Television City facility. Most recent-ly, I used the CAD system with John Martin, director ofstudio operations, in the design of our newest MTI facilityin Stamford, CT. Now that the CAD system has provenitself invaluable, we are looking forward to maintainingleading -edge technology and continuing to utilize our ownand the CAD system's innovative approach to design.

CAD preview capabilities allowed us to startcutting wire bundles a month before our wiring

crew was given access to the actual facility.

inherently complicated, CAD is not necessarily easy touse. What CAD is is a powerful visualization and organi-zational tool, the basics of which can be grasped in a fewdays. Achieving proficiency, however, can take months.

One and a half years have passed since we purchasedthe CAD system, and I have found much in the area ofhardware and software has begun to change. The moresophisticated display systems available now make designfaster, and prices for high -resolution plotters are drop-ping. Also, companies that market CAD systems for videofacilities, such as Video Design Pro, have upgraded theirproducts tremendously. Much more of the design processis now interactive and automated, eliminating some of thenecessity for the customization I had to perform. Attri-butes are now directly assigned to devices and, as connect-ing wires are drawn, this database of attributes automati-cally annotates the drawing and updates the cable

Verdone is staff design engineer for Modern Telecommunications,Inc., New York City.


IntroducingNikon Nikon

ENG/EFF,'Lenses. !

A host of outstanding'features. Th,

Selecting an ENG/EFP lens for your 2/3" CCDcamera is a creative decision. It should belightweight, responsive and zoom smooth as silkat any speed. Its design should utilize Extra -lowDispersion Glass to minimize chromaticaberration. It should include an anti -reflectioncoating for improved spectrum transmission ratio.And it should have an advanced design thatimproves corner resolution and produces a high,flat MTF curve. In short, it should be a Nikon.

But selecting an ENG/EFP lens is also abusiness decision. And on that score we providesomething almost as compelling as Nikon quality -our unique Express Loaner Service. Simplyregister the Warranty, then in the unlikely eventyour lens needs service we'll get you a loanerlens overnight. All your investment in equipment

and crews is more secure than ever before.A service like this is remarkable in itself.

But not quite as remarkable as our lenses.As with all Nikon products, our new ENG/EFP

lenses have all our renowned quality, tradition andtechnology built right in. Our growing line is alsofully accessorized, including adapters that allow theuse of your entire arsenal of Nikkor 35mm SLRcamera lenses for special effects.

To find out more, call Nikon ElectronicImaging at (516) 222-0200 or write for our completebrochure: Nikon Electronic Imaging, Dept. DI.101 Cleveland Avenue, Bayshore, NY 11706.

NikonELECTRONIC IMAGING

© 1989 Nikon Inc.


Digitai At the ITS, a distinguished panelexplored the benefits and

risks of digitalvideo technology.

Technoilogy:IS THE PICTURE COMPLETE?D-1 may currently be too expensive for all but the most critical applications,but that scenario will soon change, according to the panelists at a discussionheld at the recent convention of the International Teleproduction Society(ITS). Nevertheless, teleproduction engineers will face hard choices in digitalvideo for some time to come. Issues of interface and transcoding, recordingformats and the all -digital studio were among the topics raised at the panel,"Digital Technology: Is the Picture Complete?" The provocative comments areexcerpted here.

Panelists included Ed Zirkowski, head of the Interactive ComputingSystems Research Department at Bell Labs, Princeton, NJ; Phil Bennett, vicepresident, engineering, Abekas Video Systems; Peter Dare, vice president,product management for Sony Communication Products Co.; David Scammel,senior product manager for broadcast products, Quantel; Charles Clarke,president, Digital F/X; John Davis, president, Digital Services Corp.; PeterSymes, staff engineer, Grass Valley Group; and Jim Duca, director oftechnology planning for Ampex Corp.'s Video Systems Div. BME editor Eva J.Blinder moderated.

OM& What are the life expectanciesof the formats we're using right now?Let's start with D-1. Is it viable forthe long term in its present form?Darin I think what we have on themarketplace today is the first attemptat producing the D-1 VTR. It is cer-tainly true that it is currently quiteexpensive. I believe that as time goeson, the costs related to D-1 will indeeddecrease. We've all learned that the4:2:2 format as it was defined hadsome shortcomings, insomuch that itdidn't produce a key channel, whichwas so necessary in this particularindustry. I think most manufacturersare looking at the 4:2:2 format anddetermining how we can meet thereal demand in terms of 4:2:2:4. At acouple of trade shows, we have dem-onstrated 4X4 processing in coopera-tion with some other manufacturers,and if you thought 4:2:2 was expen-sive, you should try 4x4.

In terms of the VTR's operation, Ithink most people here recognize thatthe current equipment has limita-tions with respect to slow-motion ca-pability and reverse motion and soforth. We have been able to conceptu-ally demonstrate a machine operat-ing at more or less the same speedrange as a format -C type machine. Ibelieve that in the foreseeable futurethat the costs related to a 4:2:2 imple-mentation will decrease, and certain-ly the operational characteristics ofthe 4:2:2 machine will better emulatethose of a format -C machine.Sommeis I'm sure that Peter's com-ments would be very reassuring to allof those of you who have invested in4:2:2 equipment. I'm not so sure howreassured those of you who investedin the D-2 concept will be. Many ofyou may have considered or may havepurchased that equipment because itwas a cheaper digital. And some of

you may be a little confused by whywe've suddenly got these two formats.deasseeth One of the things we've gotto do is keep in our minds very clearlythe distinction between tape formatsand video formats. We've looked atD-1; Peter addressed it as D-1 andDavid as 4:2:2. At the moment, thoseterms are almost coincident, but cer-tainly not connected. We will nodoubt see tape formats of the futurewhich differ from D-1, but which arecomponent digital recording formats.Until we go faster than 13.5 MHz oruntil we go more than 10 bits, all ofthe existing interface definitions willserve as well, and we may be dealingmerely with, "What sort of tape haveI got?" That admittedly is an area ofconcern for facilities, but it's muchless dramatic than considering thedistinction between analog and digi-tal or between digital component anddigital composite. We've alreadyseen, with the machine proposed by

"The cost toimplement a 4:2:2suite in thefuture will be nomore than 1.2times the costto do a 4fscsuite." Dare


Digital TechnolPanasonic, that we now have a totallydifferent alternative tape format forcomposite digital, but one which con-forms to the same video interface thatis being used for what we all know asD-2.

"When you gofrom D-1 to D-2,you have to remapand it introducesnew artifacts. It'snot transparentjust because it'sdigital." Duca

Dares Let me just comment on the4fsc composite issue for a moment. Ifwe're trying to say that one formatwill exist and one format will notexist, I don't believe we're taking avery practical view of the situation. Ithink that both formats will exist. Inthe case of the 4:2:2 component for-mat, currently the costs of that for-mat are quite high, whether it besignal processing or whether it beVTR& I think within the foreseeablefuture that will change. I think in thecase of 4fsc, or the D-2 format, it willfind its uses in broadcast and pro-gram distribution. And just to raisean eyebrow or two in the audienceperhaps, if indeed NBC is successfulin promoting a compatible ACTV-Esystem, the 4fsc format has the capa-bility of doing that. The 4:2:2 formatdoes not . . . .I think both formatshave a place in the marketplace, and Ithink when you come to discuss digi-tal implementation of an edit suite,the cost to implement a 4:2:2 suite inthe future will be no more than 1.2times the cost to do a 4fsc suite.Duca: The D-2 format was early in-tended to go into the analog compos-ite world, which is not going to goaway. And we don't confuse that withsome inroads which have been madeinto using composite digital in pro-


duction and for layering.But when we're in that

layering domain, the highest qualityis in the component digital domain.

To move all of the support productslike special efx and character genera-tors into the total 4fsc domain wouldbe quite expensive, and using transla-tion boxes is also quite expensive. Onthe one hand, we now have a lot ofnew effects devices which are compo-nent digital. There's no other way tomake those devices. On the otherhand, now that we have 4fsc record-ing media, some say, why shouldn'twe convert everything to D-2 in thestudios? I'm not sure that's the waywe want to approach that.Ilenmeth I'd like to differ slightly onpossible scenarios for D-2. Clearly thereason people are buying D-2 ma-chines for post -production is that it'sjust like a home VHS machine. Pushthe button and it plays. In principle,it's an ideal post -production machine.Now, what I would see driving thetransition toward digital post -produc-tion equipment besides the VTR isgoing to be cost and ease of use. Ithink some of the places in whichthose D-2 machines are going to windup are going to be fairly ugly, interms of the particular uses to whichthey're being put. They're going to be

"It's not too longbefore there willbe practicalintermediate stepsfor 4:4:4:4."

Clarke

used in a non -technical environment.There won't be an engineer to playwith them. So I would say therewould be a very strong demand fordigital post -production equipmentjust because of the plug -and -play fac-tor, rather than because of any realdigital advantage or purely the reli-ability/ease-of-line-up issue. Clearly,those advantages apply in the D-1

environment as well. But the primaryreason for going to an all -digital envi-ronment in D-1 is quality.Suess D-2 is the sort of equipmentwe've seen coming upon us over theyears in many different guises. Firstof all there was analog, then variouskinds of equipment started to appear

"We're seeingmore and more thatfacilities cannotafford to havepeople who arecompetent at thecomponent levelto troubleshoot [theirdigital equipment]."-Symes

that were digital inside, because ei-ther it was the only way to do it, or itwas the most cost-effective way to dothat particular thing. We started get-ting more and more of these digitalblack boxes within the analog studio.You can say that D-2 is anotherexample of that. It's a better, morecost-effective way to do your record-ing function within an analog com-posite suite. However, Phil is abso-lutely right as well. We have comeinto this phase where digital is goingto become the mainstream way ofdoing things . . . .I think not only forTV stations, but in post -productionfacilities, we're seeing more and morethat facilities cannot afford to havepeople who are competent at the com-ponent level to troubleshoot [theirdigital equipment]. This is partly be-cause the machines don't go wrongvery often now, so everything themaintenance staff have learned,they've forgotten by the time they dogo wrong. It's also partly becausethese people are incredibly difficult tofind and incredibly expensive whenyou do find them. So there will be ageneral trend toward equipmentwhich is easier to maintain.

BME: We've brought up 4:4:4:4 brief-ly. What are its advantages and dis-advantages?Clarke: We've built a whole line ofproducts that maintain a 4:4:4:4 com-monality within the system, but al-low input and output to various morepractical recording standards at theinput and output of the system. Sowhy be 4:4:4:4 inside? Well, it givesyou the chance to have the highest -quality common -denominator format,if you wish to call it a format, to allowyou the bandwidth advantage whileyou're working, keying, creating airbrushes and creating graphic ele-ments in 4:4:4:4. Also, by keeping thesampling rates and all the rest clever-ly lining up with existing digitalstandards, it allows you to easilytranscode in and out 4:2:2 and otherformats.

Now, that brings up the question ofhow do you store 4:4:4:4? There arepossibilities, although as Peter haspointed out, the economics of buildinga 4X4 machine are quite prohibitiveat the present time. However, as thecomputer medium catches up, andoptical techniques make it possible torecord masters at those types of reso-lutions, it won't be too long beforethere will be practical intermediatesteps for 4:4:4:4.Davis: I disagree a little bit. The4:2:2:4 standard probably yields verycomparable results. You're going tohave luma and chroma separationanyway, and if the chroma is half thebandwidth, it doesn't have to be sam-pled as fast. In fact, as long as yousample with adequate sampling fre-quency, in theory you can reproduce

"As long as yousample withadequate samplingfrequency, intheory you canreproduce theoriginal image with4:2:2:4." Davis

the original image with 4:2:2:4. Sothe question for a manufacturer is, doyou raise costs by adding additionalmemory and so forth, or do you getthe kind of results the user expects byusing 4:2:2:4?Dennalt: All these things have sig-nificant incremental cost. Everybodyin post has been telling the manufac-turers for a while that they reallywant a key along with the video.Obviously, that's not necessary for allrequirements in post . . . .Lurking be-hind this discussion is the fact thatright now what people are asking foris the key. What they're probably

"There will be avery strong demandfor digitalpost -productionequipment justbecause of theplug -and -playfactor, ratherthan because ofany real digitaladvantage."-Bennett

really going to want is somethingthat encodes Z depth as well as key ascomputer graphics advances . . . . Andif we're talking about 4:4:4:4 datarates, there should be a discussion asto whether we want to use that extrabandwidth for sharper chroma wherewe may or may not need it, or forsomething that might give us moreusage of the Z information.Sainiesek I believe there is greatdanger here of confusing all of you interms of what equipment you pur-chase today. You buy a piece of D-2equipment because it's cheaper now;it's easy to use. You're not going tonecessarily equip a complete editsuite with D-2 or composite equip-ment because not all of that equip-ment is available today in complete

digital format. And then what hap-pens in a year's time when Peter hasactually got his 1.2 -times -the -priceD-1 machine? You're stuck. You'renot going to get the benefit then ofmoving into the D-1 or the 4:2:2 areauntil you actually remove all of thatexisting composite equipment . . .

firmly believe that we have a 4:2:2digital standard. It was very carefullyworked out. There are problems withsome areas of 4:2:2, and we've alreadyheard some of them. But if you lookhard enough, there are also solutionswithin the format. I think we'veproved to you all that the standardworks with eight bits with dynamicrounding. There's no need to suddenlystart talking about having a 10 -bitstandard.Clarke: We are only using 4:4:4:4 asan internal standard, and we arecertainly not proposing to immediate-ly replace 4:2:2 for recording. Weshowed in cooperation with Sony andPacific Video Resources at NAB theability to record a 4:4:4:4 image sometime off in the distant future, wheresuch a bandwidth was available forrecording. As Peter Symes has men-tioned, the key channel by far is thepreferable next step, and we supportthat entirely as an extension to the4:2:2 D-1 recorder. But the 4:2:2 isvery good at the current economicstandard.Symms: I'd like to very briefly ad-dress the issue that was raised oneight or 10 bits. First of all, we do notpropose 10 bits as opposed to dynamicrounding or something else. It is cer-tainly necessary to have some intelli-gent rounding technique when youare going to reduce the number ofbits. And in digital processing, youalways have to reduce the number ofbits. There are no alternatives. Thereason we had proposed using and douse the 10 -bit interface is because itgave us some additional headroom,and because we were able to do so atno cost to the user since that was theway the interface was defined.Dann The 4fsc format is a 10 -bitinterface only. I think the issue thatwe at Sony are trying to address ishow you get the signals around yourplant, not whether it's eight bits or 10bits. Currently the format definitionsall require the use of a 25 -pin connec-


Digital Technologytor on the back of the equipment. AndI believe that in terms of cost reduc-tion, in terms of making a digitalplant practical, that the serial inter-face must be the direction in whichwe go.

litAls That brings up the issue of

transcoding between for-mats. How much do you

lose, for example, when you output4:2:2 from a 4x4 box?Darin I think the first thing you loseis $12,000. (Laughter.)Bennolft I guess the one that peopleare particularly concerned about isthe D -1/D-2, D -2/D-1. I guess mostpeople would agree that D-1 to D-2

Today's finest videorental equipmentcomes

with a valuableaccessory.

Free!

All our rentals come with an addedno -cost PLUS. The expertise, experi-ence and deep involvement of our

dedicated video professionals.They'll help you choose the rightgear for your job. Get it to you ontime. And make sure it's in perfectworking order. They're knowledge-able pros. Factory-trained-so theyknow the equipment inside out.

And do we have equipment! Wecan give you entire video systems.Everything you might need forstudio or location. Video cameras,lighting, grip, audio and much,much, more.

And all the video formats.In short, we have it all.

So, call us. It's the only callyou'll have to make.

The Camera Mart, Inc.SALES SERVICE RENTAL

456 West 55th Street, New York 10019 (212) 757-6977 FAX: (212) 582-2498Regional Offices:Liverpool. New York 13088 Evansville, In. 47715 Miami, Florida 33122 Burbank, Calif, 91506 Las Vein, Nv. 89121

FAX: (315)(315) 457-3703

457.3795(815) 476-6327

FAX'opos) 5991-8880 FAX'w

51-8118 (8 -66418) 843-247818) 8434

FAX: 2:3323103

isn't a problem, but D-2 to D-1 is aproblem, even if you spend $12,000. Idon't think there's going to be anymagic bullet for getting clean pic-tures out of D-2 into D-1.Duces Ampex does make one 4:4:4:4device, the ALEX. The way I think of

"Ray tracing youcan't dopractically todayfor a lot ofapplications, butit will becomevery inexpensive inthe future andmay approachreal time."-Zirkowski

that is RGB . . . .When we go fromRGB to color difference, and 4:2:2's acolor -difference system, you have toremap, and it causes some artifacts.When you go from D-1 to D-2, youalso have to remap, and it also intro-duces new artifacts. It's not transpar-ent just because it's digital.

SINE: How are developments in per-sonal computing affecting video?lionnoth I think what's happening inthe computer workstation business isprobably much more relevant. Com-panies like Silicon Graphics and Sunare coming out with very powerfulprocessors. I don't think they're goingto be making effects devices and videoswitchers obsolete any time in thereal near future. They are gettingvery much faster at rendering andtexture mapping, which is starting toimpact some of the special effectsbusiness. The control interfaces onthem are getting much more sophisti-cated. And the end -user prices arequite reasonable. The problem withthese computers is they do tend togrow obsolete every five minutes.7arkowsids We've been thinking


along another direction. Think of itthis way: Instead of the abstractionbeing a bunch of boxes with cables,think about it as a bunch of softwarepackages all running on the videoequivalent of a DSP. This doesn'tmake manufacturers very happy, be-cause basically what you produce is avideo software industry where an ef-fects system is now a shrink-wrappedpackage. We think that's more in thefuture because the economics workthat way. Processing is expandingtremendously. We also think thatthere's going to be more integrationbetween processing and storage. Go-ing out and building a RAM recorderconnected by cable to a processor isprobably the way it's going to happen,long-term, in the next 10 years. Wethink what AKG has done with theRAM audio workstation shows a lot ofwhat the future of video is.

Also, you're going to see, in terms ofworkstations, parallel processing.AT&T has this unit called the PixelMachine, and they're putting out adevice that uses DSPs. And if youthink about DSPs, they're just veryfast floating-point processors. They

"There areproblems with someareas of 4:2:2.But if you lookhard enough,there are alsosolutions withinthe format."

Scammel

were originally designed to do Touch -Tone coding. It's a very expensivefunction. But DSP can do Touch -Tonedecoding on hundreds of lines simul-taneously. That functionality is verysimilar to what you're going to do forray tracing and graphics and a lot ofother things. Ray tracing you can't dopractically today for a lot of applica-tions, but it will become very inex-

pensive in the future. It may alsoapproach real time; that is, 30 framesa secondScaminel: Just because the cost of aparticular piece of hardware comesdown, there's an awful lot of costinvolved in the software to drivethem. If you want a very simple, veryeasy -to -use control interface, that'snot something that just gets dreamed

up overnight and programmed intoyour PC. An awful lot of softwareeffort and software man-hours go intothat. So I think we need to be a littlebit cautious about the fact that theprocessing power is getting faster andcheaper, because there is a point atwhich it becomes a trade-off againstthe actual time spent to program upthe software.

Need A System?Stucio Mas:er Control Edit TransmissionTape Dupe or Multiformat Mobile Van Satellite Link Stereo Broadcast Mukitrack Audio Recording

and/or Edit ng

One Company.One Source...

For Systems and ServicesGE Broadcast SystemsIrtegration

7111 Ashland Center 1-3

hIcroft, PA 19032-2007Telephone 215 583 6800

Facsimile 215 586 0247

GE Broadcast SystemsIntegration


SURVIVINGTHE

STORMWhen Hurricane Hugo targeted

Charleston, TV stations prepared forthe worst-and got it.

"We have on our hands a degree ofphysical destruction that is unprece-dented in anyone's living memory."The speaker was Joseph P. Riley, theMayor of Charleston, SC; the datewas Friday, September 22, 1989. Theoccasion was a news conference fol-lowing a tour of the city, the morningafter the night Hurricane Hugo hittown. It was a wild night, a night of135 -mph winds, torrential rains, anda 12- to 17 -foot wall of water surgingthrough Charleston's harbor. Hugohad been the tenth -strongest hurri-

cane ever to hit the United States, an"extremely dangerous Category 4storm," according to the NationalHurricane Center in Coral Gables,FL. By now we've all seen the images,the destruction and the pain. As thisarticle is written, the cleanup is wellunderway, but the unwanted visitorwill never be forgotten.

Arbitron ranks Charleston as theone hundred and ninth televisionmarket. The city's four stations servethe area from Beaufort in the south toMyrtle Beach in the north, and inland

WCBD-TV's satellite dishes were bent out of shape by the storm.


to Sumter. The Charleston stationswere all targets of Hurricane Hugo,and each sustained damage as a re-sult.

For all four stations, the week priorto Hugo's arrival was one of waitingand watching. Careful attention waspaid to weather forecasts, with sta-tions relying on their in-house weath-er staffs as well as Accu-Weather andNOAA for updates on Hugo's possibledirection. All four broadcast from stu-dios located within the Charlestonarea, with transmitting towers out-side the city. The Ch. 24 Fox affiliate,WTAT-TV, and the Ch. 2 ABC affili-ate, WCBD-TV, each broadcast fromtheir own separate towers; WCIV-TV,the Ch. 4 NBC affiliate, and WCSC-TV, the Ch. 5 CBS affiliate, share atower and a diplexed antenna. For allof the stations, serving the public,

By William A. Owens

and protecting their people and prop-erty were the most important goals.

Preparations began well before thestorm hit. WCBD-TV's chief engi-neer, Michael Opauski, advised,"Don't take anything for granted.Have a game plan well in advance, soyou don't have to think about whatyou need to do when you need to bedoing it." Good planning was essen-tial to his station's weathering thestorm. WCBD-TV, which is locatednear a major waterway, designed agame plan that included preparationsto broadcast from the transmittersite. Makeshift control rooms and editbays were set up, a portable satellitedish for receiving ABC network pro-gramming was rented, and severaldays' worth of syndicated programswere brought out to the transmittersite. Back at the studio, most equip-

WCIV -TV's staff evacuated under orders; the station was the firstin the Charleston area to "pull the plug."

ment and office areas were protectedwith plastic drops.

WCIV-TV is located on what ismostly marshland, on the causewaylinking Charleston and Sullivan's Is-land via the Ben Sawyer Bridge.Based on predictions from theirweather staff, the station's manage-ment decided that evacuation wouldbe necessary. According to DeniseSimpson, the station's director of com-munity affairs, "We had the warning,and we took it seriously from thebeginning." Under the direction ofchief engineer Carl Shaw, the sta-tion's technical center was stripped ofits most essential gear, with supportitems relocated higher in the station'sequipment racks. Any equipmentthat could be moved was loaded ontorented trucks and moved inland,along with the station's public and

business files.On the Charleston waterfront,

WCSC-TV also made plans to evacu-ate to higher ground. Station man-agement decided to scrap all regularprogramming during the storm and tobroadcast live from the county'sEmergency Command Headquarters.The station's satellite and ENGtrucks would be located there andwould be used as control and editrooms. Rather than raise a micro-wave mast during the storm, thestation's technicians installed a shortpost on the headquarters building,and mounted a spare transmittingantenna aimed at their transmittersite receiver. At the studio, broadcastand office equipment was loaded intorented trucks and moved to the sta-tion's own emergency command cen-ter, almost 20 miles inland at the


Holiday Inn in Summerville, SC.For WTAT-TV, in contrast, prepa-

rations were minimal. Since it islocated further inland than Charles-ton's other stations, the station ap-peared to be in little danger fromwater or the storm surge, and itsconcrete building was assumed to besecure.

With Hugo nearing Charleston, thearea's television broadcasters wereready for the worst, and the worst wason its way. On Highway 703, WCIV-TV was the first to pull the plug. Withthe area under an evacuation order,the station signed off just after4:00 p.m., secured the satellite dishesand cut power to the building. Thefew staff members remaining headedinland.

At 4:00 p.m., WCSC-TV cut over toits live coverage from the EmergencyCommand Headquarters. While thatbroadcast was underway, station staffsecured the waterfront building andcut power to the building at 4:35 p.m.The station remained on the air untiljust after 6:00 p.m., when a lightninghit at the transmitter site caused theaiming motor of the microwave re-ceiving antenna to turn itself duenorth, directly away from the incom-ing signal. Unable to move the receiv-er back to its proper position, thestation was, for all its efforts, off the

air. WCSC's chief engineer, JackBecknell, Jr., considered an attemptto travel to the transmitter site to re -aim the receiver, but weather condi-tions at the time made the trip impos-sible.

Over at WTAT, it was a night ofmostly normal broadcasting. Usingits graphics equipment, the stationcarried weather updates and informa-tion from the Emergency CommandHeadquarters, relayed via a radiolink. At approximately 10:30 p.m.,however, the station experienced aseries of power dumps at the trans-mitter site, and it was decided to shutdown rather than risk damage to thetransmitter. A few minutes later, allpower to the transmitter building waslost.

Broadcasting from its transmitterbuilding, WCBD had shut down thestudio building after losing power atapproximately 10:00 p.m. In anticipa-tion of power problems, the stationwas running on its two generators,but stopped at 11:45 p.m. when thegenerators were swamped by water.

David Bird, chief engineer ofWTAT, sums up the aftermath: "Ev-erybody's in the same fix. Every-body's got damage, everybody's of-fered to help each other, but we're allshort of help." From a business stand-point, WTAT was the worst hit in the

At WCIV, desks washed to theother side of the building

market; its 1667 -foot transmittingtower fell to Hugo's 135 -mph winds.According to Bird, the tower was builtin 1985, and while it met its specifica-tions for wind resistance, it was nomatch for Hugo. The tower fell in thedirection of the winds at approxi-mately 12:15 a.m., as the leadingedge of Hugo's eye was making land-fall. Neighbors a quarter of a milefrom the tower site reported that theyfelt the earth shake from the impactas the tower buried itself into theground from the weight and force ofthe impact. Bird considers his stationlucky that the tower fell in the direc-tion it did, as damage to his transmit-ter building was minimal. The stationwas expecting to be back on the airfrom a 400 -foot tower by the end ofOctober, with a full-size replacementexpected in about eight months.

The loss of WTAT's tower raises theissue of employee safety, particularlywith WCSC's Becknell. "You do whatyou can to maintain an informationsource to the public," Becknell states,"but when it comes to the safety ofyour staff, you need to be ready to`pull the plug and run.' " Becknellconsidered it most dangerous to at-tempt operating from the transmittersite during the storm, as WCBD did."If anyone in operations says to holeup [at the transmitter] under thetower and operate . . . shoot them," hesuggests, adding that conditions onthe leading edge of a hurricane canproduce tornado-like winds that couldtopple any tower. In that kind ofsituation, Becknell points out, "Youmay be digging whoever's there outfrom under a tower."

For Becknell's own station, WCSC-TV, damage was, as expected, exten-sive. Microwave dishes were bent outof shape, as were mounting masts.While the broadcast tower survived,there was damage from vibration ofthe outer anchor plates. Microwaveequipment utilized at the station'srelay site was damaged when therelay building was flooded with sever-al feet of water. In the studio build-ing, according to Becknell, "Half ofthe equipment worked, half didn't."The building had taken water whenHugo's winds lifted off a portion of theroof. The control rooms had almost aninch of water in them, and almosteverything in the building was drip -


ping wet, due either to the rains orthe humidity. The station returned tothe air late Friday morning, using itsgenerator to power the transmitterand using its satellite truck, posi-tioned at the transmitter site, as acontrol room.

You may remember the news pic-tures of the Ben Sawyer Bridge,twisted and impassible. A short dis-tance away, WCIV-TV, sitting onmarshland, had been swamped bywater. "I did not think my desk wouldwash to the other side of the build-ing," Simpson remembers. The build-ing had taken four and a half to fivefeet of water, which ran through itlike a river. The station returned tothe air on Saturday, September 23,broadcasting from the transmittersite using a satellite truck on loanfrom parent Allbritton Communica-tions as a control room. As the clean-up continued at the studio building,rented trailers served as offices, and amakeshift control room was pressedinto service for on -air operations andnews. For non -news production, thestation rented the facilities of WTAT-TV. WCIV expected to return alloperations to its own studio buildingby the end of October.

WCBD-TV returned to the air Fri-day morning, broadcasting from thetransmitter site using a satellitetruck from its sister station in Tam-pa, FL, as a control room and therevived generator for power. At thetransmitter site itself, damage wasevident, including some movement ofthe tower's concrete anchors. The sta-tion's transmission line was found tobe broken at an elbow. Satellite andmicrowave dishes were damaged,with those on the tower- actuallypushed back into the tower due to theforce of Hugo's winds. At the studio, aportion of the roof over the news areaand edit bays was blown off, resultingin extensive water and wind damage.While most of the damage has beencleared up, the station continued tooperate its transmitter on generatorpower through mid -October, and itsnews operation was using rentedtrailers while repairs were made tothe building.

Three of the four Charleston sta-tions are group -owned, and in thedays following Hugo, help arrived inforce. WCBD-TV's parent, Media

General, sent manpower and equip-ment, a satellite truck and a helicop-ter. Allbritton Communications senta satellite truck, technical equip-ment, manpower and food supplies forWCIV's staff. WTAT-TV is owned byAct III Broadcasting, which sent itscorporate director of engineering toCharleston to inspect the damage andto aid in finding a replacement tower.

According to the chief engineers,equipment vendors have been quitesupportive of their needs. WCSC-TV'sBecknell found his vendors "super-drop-shipping rental or loaner gear,all of them have been outstanding,"with some vendors personally drivingreplacement gear to the station.WTAT-TV's David Bird even foundone manufacturer's rep arriving witha "cooler full of pop and a picnicbasket full of food." His advice tothose in a similar situation: "Don't bebaited by vendors calling with low -ball prices. Stay with the ones youknow, the ones who have given youservice all along."

The most dangerous hurricane is aCategory 5 storm, with winds in ex-cess of 155 mph. Only two Category 5storms have hit the U.S. in this centu-ry-a 1935 storm that caused 408deaths in the Florida Keys, and Hur-ricane Camille, which caused 256deaths in Louisiana and Mississippi

in 1969. The most intense hurricanesince 1899 has been Hurricane Gil-bert, a Category 5 storm that struckJamaica and Mexico last year.

Hurricane Hugo was a Category 4storm; in theory, less dangerous. Itwas one of 14 Category 4 storms to hitthe U.S. in this century, and morethan likely not the last one. Fortelevision broadcasters facing thechallenge of surviving this kind ofstorm, the best learning is from expe-rience. For that experience, you needonly listen to the Charleston broad-casters.

WTAT-TV's Bird: "Physically pre-pare your plant and your people.Store water, food and camping sup-plies." WCBD-TV's Opauski: "Have agame plan well in advance, tons ofplastic covers, and fuel for your gen-erators." WCIV-TV's Simpson: "Pro-tect your files, get out what you can,decide what can be sacrificed."WCSC-TV's Becknell: "Plan ahead,provide your crews and facilities withbatteries, radios, flashlights, food,water, fuel and chain saws. Lockdown anything you don't want tomove, and move everything you canto a base of operations you considerdisaster -proof." Words of wisdom,from people who've been there.

Owens is BME's technical editor.

Nearly five feet of water turned WCIV's offices into a veritable swimming pool,as shown by the red tinted area on the wall.


STAFF REPORT

As expected, the 131st Technical Con-ference and Equipment Exhibit of theSociety of Motion Picture and Televi-sion Engineers convened in Los Ange-les last October 21-25. Unexpected,however, was the earthquake thatstruck the Bay Area, 400 miles to thenorth, a few days earlier. Unfortu-nately, that tragic event dominatedconversations at SMPTE and over-shadowed what turned out to be anexhibit lacking the richness of newproducts found in certain shows ofyears past.

Not that too many new products areneeded, however. The biggest prob-lem the industry has now is choosingfrom among the existing --or soon -to -be -made -available --products, formatsand standards. HDTV, of course, pre-sents a dizzying array of choices, andeveryone fears that any pioneers inthat realm will end up with arrows in

their backs.Digital recording is now associated

with dilemmas undreamt of only a

Advanced televisionwas, as usual,

a principal topicof discussion

at SMPTE, bothat the formalpapers and incorridor talk.

few years ago. For high -end usersleaning to D-1, how will that 4:2:2format fare in an emerging 4:4:4:4post -production environment? For D-2 users, will this really be Type C'sreplacement? For the silent majoritythat still waits, will "D-3" becomeirresistibly compelling?

Advanced television was, as usual,a principal topic of discussion atSMPTE, both at the formal papersand in corridor talk. Even before theshow began, Eastman Kodak Co.turned heads with its announcementof a joint development, with RankCintel, of an HDTV telecine thatwould coax the continued use of filmas a production medium for high -definition electronic images. The con-vention itself kicked off with a live,all -digital satellite HDTV transmis-sion from Tokyo to Los Angeles.

There was action on the digital -


recording front as well, with the com-posite digital D-2 format continuingto make headway among broadcast-ers and facilities, and with BTS join-ing Sony, Ampex and Hitachi as amarketer of D-2 VTRs. Ampex con-firmed rumors that it had experi-enced glitches in its D-2 line and saidthose problems are now fully re-solved. Sony announced a major D-2sale of VTRs and library systems toViacom, which will use them at itsLong Island facility and uplink for allfour of its cable networks. Mean-while, Panasonic continued to displayengineering models of its half -inchcomposite digital videocassette sys-tem, informally known as D-3, as wellas a prototype of a D-3 ENGcamcorder.

Other much -bruited topics at theshow were automated camera pedes-tals (with systems from TSM and A.F.Associates drawing good crowds), therole of 4:4:4:4 processing in digitalsystems of the future (the DF/X ex-hibit displayed the power of 4x4 inpost), and certain other high -ticketdigital items that are reliable show -stoppers.

One of the latter was Abekas's A-84digital switcher. Another was GrassValley Group's Kadenza digital videoproduction system. At SMPTE, GrassValley introduced the KURL optionfor its Kaleidoscope digital effectssystem. KURL adds such manipula-tions as page turns and rolls, ripples,slits, size and position modulation,nonlinear transformation, and circu-lar modifications to Kaleidoscope'sconsiderable existing functions. Inaddition, KURL's enhanced light andmodeling give the operator X, Y and Zcontrol of either point or bar lights.By enhancing Kaleidoscope, KURLalso adds to Kadenza's power.

The KURL option, which workswith 5.0 software, replaces an exist-ing board in the Kaleidoscope. Cost tothe user is $13,500.

BME's show report this year focus-es on those areas where the mosttechnical progress was discernableover the year before: the expandingrole of PCs in television equipment,advances in audio for video, and rapidevolution in post -production systems,graphics and effects.

PCs: Where the Action IsAn outsider attending SMPTE for thefirst time would have had the definiteimpression of being in the midst of apersonal computer show, for every-where there was evidence of the com-puter's increasing impact on broad-cast and video equipment of all levelsof sophistication and price. In fact,anyone who didn't already know thatone needs to be computer literate towork in television broadcast or pro-duction these days would certainlyhave been made aware of that fact bythe products at the show.

In the area of technical operations,several companies showed notewor-thy items. ETI Systems, a new compa-ny exhibiting at SMPTE for the firsttime, introduced a PC -based switch-ing system designed to automate testprocedures. The product combinescontrol software with hardware: arack -mount controller, various switchmodules, and control software. An-other company, Video Design Pro,offered a CAD package designed fortelevision and teleproduction. It alsodisplayed a new documentation -maintenance software package calledMasterDOC. Gefen Systems, a distri-buter of sound effects and music li-braries, showed PC control of theSony CD changer, a concept withpotential uses both in audio and videoproduction, as well as at radio sta-tions. It's available in IBM or Macversions.

PCs in post were everywhere. The

By enhancing theKaleidoscope digital

effects system,Grass Valley Group's

new KURL optionalso adds man-

ipulations toKadenza's power.

former Calaway Engineering, nowQuanta Editing Products, introducedthe CE75, a three -machine editor atthe low end of Quanta's line. Offeringoptional CMX- and GVG-compatibleEDL, the CE75 is upgradeable all theway to the top -of -the -line CE200 andcosts under $8000. Like many of thePC -based products, it uses a custom-ized PC and is therefore availableonly as a hardware/software package.

Other post applications: M&R DataServices introduced its Symphony Se-ries, a PC -based video editing systemthat is fully expandable and field-upgradeable. Avid Technologyshowed its Mac II -based video editingsystem (see below). Nesbitt Systemsdemonstrated its NSi Tape LibrarySystem, essentially a database appli-cation for PCs, designed to maintainand classify a library of thousands ofvideotapes. The system was original-ly developed for NBC.

Sharing a booth with Nesbitt, Vid-eo Logic Corp. offered Log Producer,which runs on an IBM-compatiblelaptop. It is designed to enable pro-ducers to keep accurate shot lists.While not an EDL management sys-tem, it does have a hardware inter-face that allows the user to controlthe VTR. Shot lists may be accessedby the Nesbitt Tape Library System.

Corvis Communications showedtwo software -only packages that runon 286 or 386 computers. TheREEList EDL management softwareand EDL Disk R/x are a collection ofEDL utility programs. For thosewithout PCs, Corvis will supply abundled hardware/software packagefor under $15,000 that includes a 286with 640K RAM and 40 MB harddrive, 3.5 -inch and 5.25 -inch floppydrives, a keyboard and a "Multi -board" that provides a serial interfacefor eight -inch CMX drives and soft-ware security.

PC applications in graphics wereevidenced by Aurora, which showed anew high -end paint system, the AU/260, based on a high-performance 33MHz 386 computer. The system has a660 MB hard disk (with optionalconfigurations up to 2 gigabytes ofstorage), 4 MB of RAM, 60 MBstreaming tape drive for backup, anda Weitek coprocessor for maximum


Staff Report: The 131st SMPTE Convention

performance.Symbolics, well-known for high -

end, workstation -based graphics sys-tems, unveiled a desktop 3D anima-tion system built around theMacintosh II platform. It includes aspecial microprocessor chip dubbedIvory, designed by Symbolics, and thesupporting hardware required to per-mit the the Mac to run the Symbolicssoftware. The modification is called"MacIvory." The SMPTE demo of thisproduct was its first. Cost: $59,000;very low for a Symbolics graphicssystem. Normally, they run on SiliconGraphics Iris workstations. Alsoshown was a Macintosh II -based 2Dgraphics system.

Amiga is another system making aplay for the video industry. StudioSpectrum showed a very low-costgraphics system with titling, paintand animation capabilities called theSpectrum Video Graphics Worksta-tion. It's based on a modified Amiga

Everywhere there wasevidence of the

computer's increasingimpact on broadcastand video equipment.

motherboard and has the capability ofincorporating a Targa or Vista boardfor higher -quality video.

Truvision showed its latest Vistaline video cards. These install into aPC to give it full video graphicscapabilities. They're available in twobasic configurations: ATVista, forAT -compatible PCs, and NuVista, forMacintosh II computers. Several vari-ations of each are available. Theseproducts are the basis of several PC -

based graphics systems; they over-come many of the inherent limita-tions of the PC in terms of displayresolution and processing power.

In the area of desktop video, JulianSystems offered The Worx, a Macin-

tosh II -based series of audio and videoproduction systems that include videoediting, audio editing, digital audiorecording, and computer graphics (in-cluding paint, titling and animation).Pinnacle Systems showed its Macin-tosh II -based Video WorkShop, essen-tially a means of producing a story-boardlike display for preproductionplanning and editing of video pro-grams. Software for this system islicensed from Seehorn Technologies.And Magni Systems, known for high -quality T&M gear, showed the VGAProducer, a genlock board allowingPC -produced VGA graphics to be out-put onto videotape.

AUDIO: Now Hear ThisSMPTE reinforced digital's growingrole in the audio domain, an interest-ing counterpoint to the "Gee, we real-ly did like analog after all" tone of theAES show in New York that preceed-ed SMPTE. In particular, there is theincreasing presence of digital audioworkstations, and more digital con-trol of existing analog signal sources.The one unanimous sentiment in thisregard was that there's an increasingdemand for better audio in video andbroadcast applications, and that digi-tal is perceived as being able to deliv-er that quality. Even if all -digitalsystems are presently too expensive,many people feel such systems willdominate the field in the long-term.In the meantime, hybrids of digitaland existing analog equipment areon-line.

Digital audio workstations (DAWs)are becoming more common in broad-cast audio for ADR, Foley and edit-ing. Players in this game includeLexicon's Opus, NED's PostPro,Studer Editech's Dyaxis, AMS's Au-diofile, SSL's ScreenSound (a fullyintegrated Harry -based sound editingsystem), Soundmaster's Syncram sys-tem and Cinedco's Audiflex. Asidefrom the absence of tape noise, thesetapeless systems also offer randomaccess, which provides enhancedspeed over sequentially loaded tapesystems.

Lexicon presented its new Opus/eDigital Audio Editor for its OpusRandom Access system. It's a stand-alone editor which can be upgraded to

a full Opus system at a later point.The Opus system also displayed someenhancements at the show, includingcontrol grouping of multiple chan-nels, multiple EQ grouping, user-

definable groups, and punch in/outimprovements.

The abilities of these systems tofacilitate dialog editing, PSAs, andmusic and effects libraries for instantaccess is luring some of those who canafford these top -shelf, disc -based sys-tems. For instance, the Opus systemruns about $160,000, while the Opus/eeditor is about $100,000. Studer Edi-tech's Dyaxis goes for about a quarterof that price, according to companyVP Gerald Kearby, who adds that theDyaxis was developed with broadcastapplications specifically in mind.

No one disputes the relative costli-ness of digital audio at this time;however, some systems-like theDyaxis and Opus-are component-oriented, allowing entry-level usersto get started without the costs associ-ated with turnkey systems. Also,some systems use existing computersas systems operators. For instance,Dyaxis is Macintosh -oriented.Kearby says the Mac's digital audio -

for -video advantage is clear. "Thewaveform base editing capabilities [ofthe Mac] make it ideal," he says. Macis also the leader in pro audio, al-though-as in video-the Amiga iscoming on strong.

The more digitalestablishes itself,the more priceswill come down

as R&D costsare amortized.

UThe Cinedco Audiflex is geared spe-

cifically for dialog editing. The four -channel system (expandable to eight)sells for $118,000. As with otherDAWs, rerecording of dialog (or any


other source material) remains total-ly in the digital domain, with nogenerational loss along the way.

At AMS, Nigel Branwell said re-gional sales of the Audiofile havebeen "interesting," with the North-west outstripping Los Angeles. Asfilmmakers begin to see the benefitsof digital audio, he expects the L.A.area to become a bumper market.

Digital technology is entering theintercom marketplace as well, al-though the signal there will be analogfor some time to come. As intercomsnow have to deal with more sourcessimultaneously, as well as a widervariety of interfaces, digital control ofthe audio signal is gaining impor-tance and usefulness.

McCurdy's CS9500 integrated com-munication system uses digital con-trol technology in a 50 x 50 expand-able matrix. Its high-speedmicroprocessor can cross -point accesssignals in less than 100 ms, regard-less of system size, and the systemcan be interfaced with a PC for stor-age and retrieval of programs.McCurdy also offers new telephoneand camera interfaces in this model.

Clear-Com's Matrix Plus is anotherdigital system with fully digitized,two-way audio requiring only single -pair, station -to -matrix wiring. An in-ternal memory downloads the mostrecent configuration upon power -up.

Consoles are also functioning digi-tally more and more. Sony's brand-new VSP-8000 is a digital audio mix-er aimed at video editing suites. Itcan be serially controlled by a BVE-9000, and its digital audio input rout-ing switcher is AES/EBU-compatible.Here, as in the digital applications forDAWs and intercoms, automationand disc storage of user information isincreasingly common. Mixer settingscan be stored on a 3.5 -inch floppy,allowing digitally controlled equip-ment like this to recall mixes quicklyand to be, in effect, customized fordifferent users. The Orion News-maker Series consoles are anotherexample of the hybrid of digital con-trol of analog signals. An all -digitaloperator control head connects to ana-log rack -mounted electronics via aserial cable.

What's happening here is that a

number of innovations-especiallydigital control of analog audio andconsole operations and parametercontrol automation-developed forpro audio are migrating to audio -for -video as the demand for greater audioquality increases. Digital is pricey,but it's not unreasonable to expectthat, as with digital signal process-ing, the more digital establishes it-self, the more prices will come downas R&D costs are amortized. The

When the price ofRAM chips finally

begins to come down,that storage and

retrieval technologymay give hard discs arun for their money.

actual componentry in many in-stances is relatively inexpensive. Andlooking long-term, when the price ofRAM chips finally begins to comedown, that storage and retrieval tech-nology may give hard discs a run fortheir money,

Once a technology becomes rela-tively widespread, versions of thattechnology become available insmaller formats. The decrease in bellsand whistles on these versions,though, does not necessarily imply alessening of power. The trend hasbeen taking place in the pro -audioindustry with the proliferation ofhome -based recording systems thatallow small users to record sophisti-cated multitrack masters, increasing-ly in the cassette format. Interfacesare now available for video in theseenvironments. Computer sequencerprograms incorporate both SMPTEand MIDI (Musical Instrument Digi-tal Interface) code capability, thusproviding a digital foundation for theaudio/video interface on an extremelycost-effective basis. Tascam's 688

MIDISTUDIO is an eight -track cas-sette multitrack deck and consoleunit that accepts MIDI Song Pointer(MSP) information. MSP is muchmore powerful than simple FSK syn-chronization, since it allows chaseand lock capabilities with high -reso-lution error correction from anywherein a song. Via the Tascam MIDlizer,the 688 can be locked up to otherMTRs or VCRs with SMPTE.

This puts extremely powerful au-dio -for -video capabilities in the handsof a lot of potential users who mightnot have been there before. It raisessome interesting questions, too; ques-tions that the recording industry isalready pondering: How will the pro-liferation of home -based facilities af-fect larger commercial facilities? It'spossible that the growing number ofcable and LPTV outlets will providemarkets for smaller facilities, whilethe growing demand for high -qualityaudio will keep larger companies andthe networks busy on the upper end ofthe scale.

The week after SMPTE, Dolby Labsannounced the availability of itsDolby S noise -reduction technology, aconsumer version of the company'sprofessional Dolby SR. The announce-ment was to be made in Japan, sincemost consumer audio electronics aremanufactured there. Dolby also dem-onstrated its new Model 500 digitalaudio encoder/decoder, which codestwo audio channels at a data rate of128 kb per second, one -sixth that of16 -bit linear PCM. This compressioncapability is an important step indata rate transmission and storage.

POST -PRODUCTION:Digital Conquers AllTwo random-access digital editingsystems, already seen at NAB, alsodrew crowds at SMPTE. One of them,Avid Technology Inc.'s Avid/1 MediaComposer, is equipped with a Macin-tosh II user interface. The system'schief appeal is its ability to digitizevideo and audio and store them, to-gether with time code, on fast discdrives. Once there, the editor hasinstant access to any part of thesource footage for assembling, rear-ranging, trimming, etc., and can viewthe results instantly. While the video


Staff Report: The 131st SMPTE Convention

is compressed in order to provideample storage capacity, it is capturedat a full 30 fps, allowing to -the -frameediting. Once the edit is complete, thesystem can build a master directly

Two random-accessdigital editing

systems, alreadyseen at NAB,

also drew crowdsat SMPTE exhibits.

from the source tapes, or output anEDL on floppy for on-line. The systemis now available for volume deliveryto satisfy "pent-up demand," accord-ing to Avid. Its base price is $56,000.The other digital nonlinear editor isthe Emc2 from Editing MachinesCorp., which also manipulates imagesand sounds (not tape decks or video-discs), enabling the editor to use pic-tures (not time -code numbers). Thesystem's optical drive stores up tofour hours of time -coded video andaudio as low -resolution video andtime -coded audio. Price: $29,950 withthe four-hour capacity. Additionalfour-hour modules are available for$7950 each, with a maximum of sixper system.

One of the real pioneers in the fieldof random-access editing, Montage,showed the new portable version of itsPicture Processor. Designed as a"workstation on casters," it is a self-contained modular system that can beoperated in its own shipping cases. Itdelivers the long -form editing capa-bilities of a standard Montage SystemII and is meant for electronic editingon location. The five pieces weigh2600 lbs. and can be set up in a halfhour, according to Montage.

Another random-access pioneer,Cinedco, showed its Ediflex systemalongside new Audiflex. While Cin-edco extended its video expertise intoaudio, Amtel Systems Inc. did the

reverse, extending its expertise inaudio editors into the video realm byunveiling its E-Pix random accesseditor, which it calls a Hybrid EditingSystem. The E-Pix integrates video-tape with recordable videodisc tech-nology: tape provides the source me-dium, while disc transports act as a"virtual" recorder, allowing randomaccess to the edited material andproviding the system's nonlinear andrealtime preview capabilities. Stillanother approach to editing could bewitnessed at the Quantel booth,where the company was promoting its"Harry the Editor" concept, wherebythe Harry system is used for fast,efficient editing of complex materialthat requires considerable effectswork.

Quanta Editing Products, a mem-ber of the Dynatech group of compa-nies, showed the new CE25 and CE75edit controllers. The CE25 is a two -VTR, cuts -only device, while theCE75 (see above) can also do ABfunctions with three VTRs.

A video post system shown by Vis-tek Electronics Ltd. is essentially a D-1 switcher. Called the Vision V5001Digital Video Mixer, it debuted earli-er this year in Europe, and is intend-ed for post use in situations wheretransparent operation for multiplepasses is essential. The device's inter-nal operation conforms fully to CCIRRec. 601 (4:2:2). Originally designedby the BBC, it is now manufacturedby Vistek, which has been licensed bythe broadcaster. Prices start at$60,000.

Sony Corp. introduced the BVE-910edit controller, which combines in onepackage the BVE-900 and its BKE-900K enhancement kit. Key featuresinclude 10 programmable macro keysthat can memorize 20 keystrokeseach, and a 998 -event EDL memory.Sony also upgraded software for itsBVE-9000 high -end editor with theBZE-9001/02 package. It expands sys-tem capabilities so that up to 12 videoplayers and two recorders, or a combi-nation of up to eight recorders and sixplayers, can be assigned and activelycontrolled as well as displayed on themain menu monitor.

At the Ampex booth, visitors couldview the new 3.0 version software for

ACE Editors at work. It includesexpanded file input/output control,comments keyboard, swapping sourceand record VTRs, spare VTR port,sync roll, manual modes, and new

The Harry systemis used for fast,efficient editing

of complex materialthat requires consid-erable effects work.

interfaces. A new MIF serial/parallelinterface box will control Sony -type5t VTRs and several parallel audiotransports. For its ESS 5 Still Store,Ampex has unveiled a new network-ing system that allows users to recordand browse through stills on anyother ESS 5 or optical disc on thenetwork.

Also in the still -store area, Asacarevealed its ADS -300, which useserasable optical discs. One double -sided removable disc cartridge canstore up to 1600 frames of color stillimage data. Horizontal and verticalroll of user -defined playlists are possi-ble. Functions include random access,insert, overwrite, record, delete, skip/back and trim/position. Price:$59,000.

Adrienne Electronics Corp. showednew boxes: the AEC -BOX -1, an LTCreader box with RS232 and RS422outputs; the AEC -BOX -14, a VITC-to-LTC translator box; and the AEC -BOX -19, an Ampex/Sony Type C VTRserial protocol converter box. The lat-ter is priced at $600. From ADXSystems Inc. came a new audio syn-chronizer, the ADX-25 TurboLock.The unit controls rack machines froma single keyboard and converts anytime code to any other. Made inAustralia, it costs $6900.

Evertz Microsystems Ltd. showedthe relatively new E2 (Evertz Emula-tor II), described as an intelligent


VCR transport interface "that gradu-ates VHS, S -VHS or U-matic ma-chines to the professional editing en-vironment by communicating withthe edit controller or computer, andproviding transport control at allspeeds."

It basically provides serial controlof parallel machines for a cost as lowas $1395. Skotel Corp., the maker oftime -code products, showed new low-cost, half -rack designs for readers andgenerators.

A slightly bigger -ticket item wasshown by Rank Cintel: the $485,000URSA telecine. Seen for the first timeat SMPTE, URSA is CRT -based withdigital flying -spot scanning and fulldigital color channels.

Rank Cintel was also involved inSMPTE's most show -stopping an-nouncement when on the eve of theevent, it unveiled, jointly with East-man Kodak, a new agreement on ahigh -definition telecine. Under itsterms, Rank will develop, manufac-ture and market a new CCD telecineusing proprietary components andtechnology developed by Kodak. Thedevice is intended to assure film'sfuture as an image -capturing medi-um in a high -definition televisionfuture.

GRAPHICS AND EFFECTS:New Systems, More PowerGrass Valley -owned Dubner Comput-er Systems showed what it calls its"all -in -one" system, the GraphicsFactory, which sports two 4:2:2:4 digi-tal display channels. The GF-30 is thesystem's most basic dual -channelcharacter generator configuration;the GF-40 adds full -color paint; thenewest version, GF-50, also features3-D modeling and rendering.

In the graphics area, Ampexshowed a new keyframe-based anima-tion package for the Alex charactergenerator. It allows users to defineindividual paths or trajectories on thescreen to which characters can beassigned; it also allows color cyclingof any character or group of charac-ters individually through the sys-tem's entire 16.7 -million -color spec-trum. In addition, the Ampex ADO100 low-cost digital effects systemmade its SMPTE debut.

Electrohome Electronics, which an-nounced its entry into the digitaleffects systems market at NAB,showed its JAZZ system, targeted atENG and post applications. It sells for

A video post systemshown by Vistek Elec-

tronics Ltd., theVision V5001 Digital

Video Mixer, is essen-tially a D-1 switcher.

$15,000, and includes video -worksta-tion capabilities with 3-D, machine -control and graphics functions.

Other digital video effects systemsshown included the Pictoris from AltaGroup. The $10,900 device is a videocompressor with variable crop, vari-able position, and special effects.

Meanwhile, new advances ingraphics also came from ColorGra-phics Systems (part of the far-flungDynatech Group), which showed 2-Dand 3-D modeling and animationpackages for the DP4:2:2 paint andanimation system. The new deviceuses 4:4:4:4 internal processing. Alsofrom ColorGraphics: an updated Live -line weather graphics presentationsystem.

From a new company, ElectronicGraphics Inc., came the PasticheGraphics System, already seen in Eu-rope, but new at SMPTE. The high -end system is designed specifically forartists and graphic designers in thepost -production and broadcast mar-kets. It features 2-D paint/animation,with realtime rotation and corner -pinning of cutouts. It also offers anoptional 3-D modeling/animationpackage.

Also in graphics, Symbolics Inc.showed its MacIvory system, charac-terized by a company official as a"high -end device shoe -horned down toworkstation size."

Enhanced capabilities for the Vidi-

font family of character/graphics sys-tems were announced by BTS Inc.Among them: two new types of fontswhich use high -quality, anti-aliasedtypography. These employ an exclu-sive "light -trapping" technique thatprovides edge -smoothing withoutusing a linear keyer, resulting inhigh -quality reproduction irrespec-tive of whether the standard insertkeyer is used upstream or down-stream.

The entire Chyron Group was atSMPTE in full force. Chyron Corp.showed its Scribe iNFiNiT! graphicsand animation system, a recentaddition to its Scribe family-consist-ing of Superscribe, Scribe, Scribe Jr.and Scribe for High Definition.iNFiNiT! offers character and graph-ics capabilities, as well as effectswithin a channel, effects betweenchannels, still store, paint, and 3-Danimation.

Aurora Systems, a company of theChyron group, chose SMPTE as thevenue in which to introduce theAU/260.

DSC, another Chyron Group mem-

Rank Cintel willdevelop, manufacture

and market a newCCD telecine usingproprietary com-ponents and tech-

nology developed byEastman Kodak.

ber, announced full production, fol-lowing beta testing, of its DiSCdigital disc recording system, whichoffers 212 -second recording capa-bility, along with the collage com-positing system for building multi -layered effects and sequences. Thecomposite digital DiSC providesdirect access to D-2 inputs andoutputs.


It's withstood nineteen years of raps,bops, swings and hits.

Reliability. It's what ITC audio cartridge machines are all about.Even after years of playing and pounding. In fact, you'll find many of ouroriginal models still in use today. Like this one from KOMA-AM inOklahoma City.

ITC cart machines have always been engineered to withstandheavy-duty use. That includes our latest models. It's reliability that'smade ITC the undisputed world leader in cart machines.

But our reputation doesn't end there. Engineers say ITC offers thebest support in the business. With toll -free technical advice. Fast turn-around on repairs and parts. And a two-year warranty on factory laborand all parts including motors, heads and solenoids.

No wonder stations buy ITC machines more often than any otherbrand. And keep coming back for more.

There's an ITC cart machine for every need. The 99B MasterRecorder with the patented ELSA cartridge preparation system. TheDELTA series, the most popular cart machinefor the last five years. Andthe economical OMEGA series, offering affordable performance.

To find out more, call International Tapetronics, 3M Broadcast andRelated Products Department at 1-800-447-0414. (In Illinois and Alaska,call collect: 309-828-1381.) Or see one for yourself at these dealers: AlliedBroadcast Equipment; Broadcast Services Co.; Broadcast Supply West.

Tell them you heard about it from a reliable source.

©1989. 3M Company


RADIO ENGINEERINGNUMBER FIFTEEN SPECIAL SECTION DECEMBER 1989

Michigan Stations Evaluate NewEBS Test Format

Broadcasters in the Lansing, MI, area aretesting a new EBS tone format, designed toreduce the length of time that stations broad-cast the EBS attention signal. The test, au-thorized by the FCC, is intended to demon-strate the viability of technical changes

planned to eliminate the "tune -out" effect, where manylisteners change channels or turn off stations broadcast-ing an EBS test.

The new test was prompted by a request from theNational Association of Broadcasters for changes in thecurrent EBS requirements, including changes in theattention signal, test script and monitoring requirements.

According to the NAB, the current EBS transmission ofan initial 20 -second tone burst annoys many listeners andviewers who then tune in to another station, or turn offthe radio or television. Since the purpose of the tone burstis to attract the attention of the audience, the length ofthe burst is self-defeating.

Kelly Williams, NAB staff engineer, said, "The NAB islooking to permit stations to customize the test messageto fit their market requirements. We believe that allow-ing broadcasters to shorten the test tone and customizethe test message can serve the public more effectively,while still meeting the requirements for which the testwas created."

The NAB proposes adoption of the tone format beingtested in Michigan, which is essentially a 10 -second, on -air burst, to be followed by a test script specificallycreated to inform the public of available local emergencyservices. The public would then receive informationwhich would be useful in an actual emergency.

The Michigan test is being carried out in the Lansingand Central Michigan Operational Area, where LarryEstlack, chief engineer of WSYM-TV, is chairman of boththe area and the project. He also serves as chairman forthe Michigan State EBS.

The need for a shorter attention signal became appar-ent in a survey of local broadcasters, Estlack said. Thesurvey covered both radio and television stations, and allof the area's broadcasters are participating in the test.Estlack reported that the stations believe the market hasbecome more competitive.

"Program directors didn't want any reason for listenersto hit the button," he said.

Technically, the proposed changes are simple, accordingto Estlack. His station's TFT 760 took about 15 minutes toalter. Estlack also pointed out that some new receiversare being produced with user -programmable timing cir-cuits. He estimated that it should be easy for station

engineers to modify existing equipment and adopt thenew standards, if the standards are implemented by theFCC.

One of the stations participating in the test is WJIM-AM, a 1 kW full-timer in Lansing, where chief engineerTed Frantz reported that everything was "working realfine." According to Frantz, his TFT EBS receiver waseasily modified to operate with the shorter burst time,and he reported no problem with false trips.

The Michigan test will continue through April 1990,when a final report will be presented to the FCC. Initialreports collected by Estlack indicated that no majorproblems exist, even with monitoring points in Detroitand Grand Rapids.

w

BroadcastersLobby forLicense Reform,Technical QualityCalling radio "a vibrantpart of American life,"three radio broadcasterstestified in Congress on Oc-tober 26. Appearing on be-half of the NAB, RonaldDavenport, CEO and presi-dent of Sheridan Broad-casting Network in Pitts-burgh, PA; John Dille III,president of Federated Me-dia, Inc. in Elkhart, IN; andArt Suberbielle, presidentand general manager ofKANE-AM in New Iberia,LA, testified before theHouse Telecommunicationsand Finance Subcommit-tee, lobbying for two pro -broadcaster bills now be-fore the House.

The two bills, H.R. 1136and H.R. 2714, are consid-ered critical reforms forbroadcasters.

License renewal is thesubject of H.R. 1136. Thebill codifes the FCC's"abuse of process" rulings,

making them permanent.The intent is to eliminatethe practice of "greenmail"payoffs to challengers, bybanning compensation ex-cept for legitimate ex-penses. In addition, the billwould base license renew-als on the actual perfor-mance of the licensee.

Back in the early 1960s,the All -Channel ReceiverBill required all televisionreceivers sold in the U.S. toreceive both VHF and UHFtransmissions. The purposeof H.R. 2714 is to do essen-tially the same for AM ste-reo by requiring that allFM stereos sold in theU.S. be capable of receivingAM stereo as well.

CONTENTSRadio News 47

Telephone AudioInterfacing 48

Radio '89 52


TELEPHONE AUDIOGetting audio from the dialuptelephone network into abroadcast airchain has always

been a challenge. Actually, thatstatement should read "Getting audioto and from the dialup network . . . ,"and therein lies much of the problem.We tend to accept the dialup systemas a fact of life as long as it remains aself-contained, immediately accessi-ble communications instrument. Justpick up the phone and dial (or"touch"), and it works-well, most ofthe time. But when we have to plug itinto another system of communica-tions, we quickly realize its complex-ity, its unique elegance, and its in-compatibility.

Whenever we replace the acousticcoupling to our ear and mouth-which the telephone handset normal-ly provides-with electrical connec-tions to studio equipment, problemswill arise. Besides the obvious issue ofaudio quality limits on the dialupnetwork, there are differences inlevel/impedance, high -voltage dc andout -of -band noise to contend with,plus issues of line seizing, hybridlosses and mix -minus backfeeding.Today's PBX systems add a finallayer of complexity.

For starters, though, the simplestinterconnection style is a one-waypath, either to or from the telephone.The device used for this purpose iscalled a coupler. The old WesternElectric terminology for this part was"QKT," and couplers are still referredto in this way by some. A coupler is asimple, passive matching unit thathooks up directly to the phone lineand provides an audio connection,usually on a quarter -inch unbalancedjack. The coupler blocks dc and pro-vides proper impedance and level forthe studio environment. Convention-al couplers do not seize the line,

INTERFACINGTelephony and broadcasting have been closecousins from the beginning, yet puttingtelephone audio on the air is never easy.

meaning that a telephone instrumentmust be off -hook on that line. Thattelephone's mouthpiece microphoneoutput would then be mixed into theaudio, so such phones are oftenequipped with push -to -talk switcheson their handsets. Some recent cou-pler designs avoid this difficulty byoffering an on -board switchable line -seizing option. Applications for cou-plers include receiving audio phone -feeds or sending audio via phone toother facilities or callers. Some cou-plers include an auto -answer featurewith a timed contact closure to start acart machine or the like, for use onlistener call -in lines.

Couplers, although simple and in-expensive, are not appropriate for usein a proper telephone interviewingformat, such as a newsgathering op-eration or call -in show might imple-ment. For this application, a full, two-way telephone interface is required.The interface provides a full electricalsubstitute for a standard telephoneinstrument, in a bidirectional fash-ion. Audio input and output are pro-vided, generally at + 4 dBm balanced,along with a telephone line connec-

BY SKIP PIZZI

tion. These units always provide line -seizing when activated, and thereforeact to the phone line just as a tele-phone instrument would, their onlydifference from standard telephonesbeing the replacement of the acousti-cal transducers on the handset withaudio connections.

Remember that a telephone instru-ment (or interface) is connected to thetelco exchange's switch on a singlepair of wires. This pair carries bothincoming and outgoing audio, sotransmission and reception is accom-plished on the same circuit. This isreferred to in telco parlance as a "two -wire" path. But audio signals to andfrom the handset transducers to thetelephone instrument's electronicsare carried on two separate circuits,one from the microphone for trans-mit, and one to the earpiece for re-ceive. This signal condition is called"four -wire," and thus the telephoneinstrument (or interface) provides thefunction of "two -wire to four -wire con-version," by which the transmit andreceive signals are properly separatedon the user side, and properly com-bined on the telco side.

There are two general ways of ac-complishing this. One is to use thesimple gating method employed by


speakerphones. In fact, prior to dereg-ulation of the telephone industry,many station engineers took standardWestern Electric speakerphones andmodified them for broadcast use bypadding the speaker output down toline level and bringing it to a patchbay or console input. Although tech-nically illegal at the time, this was acommon practice prior to the 1980s.Some stations still use modifiedspeakerphone hardware today. Themajor drawback of this approach is itsrequirement that only one end of theline is heard at any time (with thestudio side taking precedence). Whenstudio talent speaks, the caller cannotbe heard. Phone line noise is alsogated in and out, often making itmore noticeable than if it were con-tinuously present. In some models,gating release times are a bit slow, socallers' first words after studio talentstops talking may be upcut.

The second (and generally pre-ferred) style of interface involves the"hybrid" circuit, a balanced bridgethat attempts to null transmit audioout of the receive path, such that thestudio audio input (i.e. talent voice) tothe telephone interface can be heardby the caller, but does not appear atthe output of the interface. In thissystem, both ends of a phone conver-sation are always audible, and noline -noise gating is heard.

The ability for the interface to per-form this function in this way (whichis just what a regular telephone in-strument does) is limited by the hy-brid's ability to null; this in turn isdependent on the impedance of thephone line in use, since it appears asthe load on one side of the hybrid. Butbecause the actual load impedance ofeach phone line is different, the null-ing performance of a standard, fixedhybrid will vary with the line in use.Such a hybrid has to have its balanc-ing impedance set somewhere in themiddle of the range of possibilities, sopractically every case is a compro-mise. The measure of a hybrid's per-

formance in this regard is called"trans -hybrid loss," also referred to as"sidetone suppression"; this is a tele-phone interface's primary parameterof operation.

On a regular telephone, someamount of sidetone (the leakage oftransmit audio back into receive) isdesireable, allowing the user of thetelephone to hear his or her own voiceto some degree in the earpiece. Infact, the instrument purposefully per-forms some of this injection of side -tone. A telephone interface's perfor-mance in this area must be farsuperior to this, however, in order toisolate the receive audio, and thusminimize the amount of "telephonic"coloration given to the studio talent'svoice. Short of this, an operator wouldhave to ride gain on the telephoneaudio output, bringing it down everytime talent spoke, and bringing itback up again whenever the callerresponded.

Trans -hybrid loss on standard hy-brid interfaces rarely exceeds10-12 dB. And because impedancevaries with frequency across a line,this trans -hybrid loss will not remainconstant across the spectrum of thephone line's passband.

To improve beyond this level ofperformance requires a relatively re-cent innovation known as the "adap-tive hybrid." Here, the interface mea-sures the impedance of the phone linein use immediately after seizing it,and adjusts the balancing load tomatch. In this way, trans -hybrid lossis optimized for each call, and lossfigures of up to 40 dB are possible.These "smart" systems are of coursemuch more costly, but for the heavytelephone audio user they are worth-while. Their price is roughly equiva-lent to that of a good cartridge record-er or basic reel-to-reel recorder, and ifthey are used for a significant portionof airtime each day (as in a talk -radioformat), this would seem to be areasonable expense. For the occasion-al user, though, they may be a bitpricey. Adaptive hybrids exist in bothanalog (Studer) and digital (Telos,Gentner) forms, the difference beingthe domain in which the actual null-ing process takes place. Audio ins andouts are conventional analog in eithercase.

Another feature found on some in-terfaces is variable gating, allowingspeakerphone -like action (hard gat-ing) at one extreme, to full -duplex

Gentner's Digital Hybrid II, the latest, top -of -the -line interface.


hybrid operation at the other (nogating), with partial "dimming" ofthe caller level in between. Otherdesigns include some measure of au-dio processing built-in; still other de-signs offer a variety of remote controloptions.

An important element in the suc-cessful operation of a telephone inter-face is the makeup of the audio back -

feed that the studio supplies to theinterface's transmit input. It is imper-ative that this backfeed not containany of the interface's own outputsignal, thus avoiding feedback (espe-cially on older designs with lowertrans -hybrid loss) and eliminatingthe possibility of echo to the caller onsatellite -delivered calls. To accom-plish this, a "mix -minus" backfeedmust be created on a console's auxil-iary or "audition" bus, by assigningall console inputs-except the oneused by the telephone interface-tothat bus, then using it to feed theinterface's input. This ensures thatthe studio -originating signals will beisolated and sent out to the caller, butthat the caller's own voice will notreturn to him/her; the hybrid does therest, isolating the caller's voice fromthe backfeed signal as best it can, anddelivering it to the mixing console.The ideal facility will have a mix -

minus backfeed normalled, or easilyactivated, without requiring cumber-some patching and/or assignments foreach instance of use.

Once audio signals are properlyextracted from the telephone, intelli-gibility may be enhanced by audioprocessing. Noise-often unnoticedthrough the band -limited telephoneearpiece, but audible through a wide -

band interface-may be reduced onthe line through the use of static ordynamic filters. Most noise resultsfrom long-distance transmission, butsome can be generated locally in digi-tal PBX switching systems, some ofwhich considerably degrade qualityby adding wideband noise and dis-crete tones; these tones may come and

On the horizon may bethe use of convolutionalfiltering, currently thesole province of high-

tech telephonesurveillance and

security operations suchas the FBI and CIA.

go sporadically during a call. Manydigital switches also produce aliasesor images that are typically low-passfiltered by the handset's earpiece, butwhich again can be heard through anaudio interface. Appropriate filteringshould be permanently installed withany telephone interface used in thesesystems. Alternatively, a few non -

PBX lines may be used strictly for on -

air. In this case, however, the agilityand convenience of the PBX's call -

routing to any interface extensions instudios is lost, and audio -feed callsmust be placed or received on specificlines, with different hardware andphone numbers. For some, this is aworthwhile tradeoff, but for others(such as major news operations,where reporters' calls from overseasmust quickly be transferred from edi-tors to recording facilities) it is toohigh a price, and the audio quality ofthe PBX must be dealt with by engi-neering personnel. Some PBXs de-grade audio less than others, at leastin terms of spurious in -band products;get a demo or references beforebuying.

Variable noise filtering, adjustablefor each call, is another useful fea-ture. Gated systems, such as thoseformerly made by Burwen, or thecurrently available CRL DynafexDX -1 and Symetrix 511A, may behelpful. Again, however, digital

PBXs may get in the way, since thegating action of these systems maymake quantization noise more subjec-tively apparent. Flexible fixed filter-ing such as that found on the soon -to-

be -discontinued UREI 565T filter setis highly recommended. On the hori-zon with the advent of digital signalprocessing (DSP) chips may be theuse of convolutional filtering, cur-rently the sole province of high-techtelephone surveillance and securityoperations such as the FBI and CIA.These systems compare static to dy-namic elements of the signal in thefrequency domain, and within a user-

adjustable time window, removethose elements that do not change(tones and noise), leaving those ele-ments that do (signal). They are typi-cally employed in processing aircraft"black -box" recordings, for example,and if new DSP-based technologymakes them cost-effective, they willbe of great value to telephone process-ing for broadcast.

After filtering, some adjustableequalization for enhanced intelligibil-ity is a must. A simple, octave -bandgraphic equalizer is a good choice,although more complex graphic orparametric designs may also be use-ful. Speed of setup is an importantcriterion here, though; simplicity ispreferable. Every call and caller willhave a different sound, of course, butsome general rules can be inferred,due mainly to the response differ-ences between a reasonably flat audiointerface and the somewhat tailoredresponse of the telephone earpiece.

Subtractive equalization is pre-ferred (i.e., cutting spectral areashaving excessive level, rather thanboosting those that are deficient).This is especially true given the largeamounts of adjustment that are oftenrequired in telephone processing,thus preserving headroom at unitygain in the equalizer and any down-stream devices. The best place to startis about -6 dB at 300 to 400 Hz; oftenanother -2 or -3 dB at 700 to


800 Hz is helpful. Finish off withsmall, narrow boosts at both ends, say+ 3 at 2.5 kHz, and + 2 at 200 Hz. If apreceding filter hasn't done it al-ready, roll off everything above 4 kHzto reduce noise. Some compressionfollowing the EQ is also helpful, espe-cially in matching the apparent loud-ness of the reduced -bandwidth audiofrom a phone line with widebandstudio sources, such as talk -showhosts or music. A simple, single -bandcompressor is all that is required.Beware of excessive compression rais-ing or gating the noise floor of thephone line, however.

When installing a telephone inter-face system, allow for easy insertionof these processing devices betweenthe interface output and console in-put, or via console insert points. Pro-cessing hardware should be placedwhere operators can reach all controls

without moving from the optimummonitoring and board -operating posi-tion. Also consider the easy interfaceof single- or multiline frequency ex-tension hardware (see "Improved R-ENG Using Dial -up Lines," BME,March 1989). And for serious talk -radio applications, a call -screeningarea is a must, with computer termi-nal control and display to hosts ofqueued callers. Easy and reliablemultiline interfacing is requiredhere, typically with 10 or 12 linesswitched into two interfaces, eachfeeding separate console inputs andoperated in A/B fashion on the air.

Telephone audio isn't going to goaway anytime soon. Implementingthe helpful hardware discussed herewill make its aural optimization asefficient and routine as possible.

Pizzi is BME's audio editor.

For More InformationFor more information on telephoneinterfacing (and there's plenty to behad), consult the following:NAB Engineering Handbook, 7thEdition (Supplemented), Chapter 6.4."Understanding Mix Minus," Mix,September 1987."Processing Audio Feeds from Re-mote Sources," 46th Broadcast Engi-neering Conference Proceedings(NAB 1988), pp. 171-175.

Telephone Q&A-1989 Edition, TelosSystems. (An extremely informativeand comprehensive pamphlet avail-able from the manufacturer at 1729Superior Avenue, Cleveland, OH44114, (216) 241-7225. Highly recom-mended.)

The Telos 100 Digital Hybrid. Adapters are available for multiline interfacing.


RADIO '89 HIGHLIGHTSThere were a few interesting ana-log developments at NAB's Ra-dio '89, which drew radio broad-

casters to New Orleans lastSeptember. Target Tuning, the folkswho brought you the credit -card -sized, permanently -tuned -to -your -station "promotional radio" in AMand FM stereo, showed a new SCAversion. Inovonics showed that FMXmay still have some legs with animpressive new encoder boasting20 dB better separation, lower distor-tion, improved metering and provi-sion for up to three SCAs. Cellularphones continue to be applied in newand integrated fashions for on -air andcommunications uses.

But for the rest, digital audio fairlystole the show. The AKG DSE7000workstation continued to win friendsand influence people with its uniqueRAM -based and user-friendly ap-proach. It's fast and flexible, and spot -type production is not disadvantagedby its relatively low on-line storagecapacity. Its $30-40K starting cost isalso relatively attractive in the seri-ous workstation marketplace, and itsIBM AT -style basis is familiar terri-tory to many radio stations. An im-portant future feature, on -board DSP(digital signal processing), will not beimplemented until Release 2.0, ex-pected sometime in 1990. It may beworth waiting for, especially sincethis version should include higherstorage capacities and cost-effective-ness, replacing the current 1 MBRAM chips with 4 MB units (therebyincreasing maximum RAM storage ofthe device to 68 track -minutes).Field -replaceable upgrades to 16 MB -chip RAM boards should be possiblein 1991 or '92, quadrupling storageyet again.

Meanwhile, interest in hard -diskstorage for broadcast is continuing togrow. This is a logical outgrowth ofrecent automation systems, in whichPC -based controllers operated con -

DIGITALRadio '89 illustrated that digital audio isno longer just a leading -edge frill.

Steve Lyman. senior technical officer ofCBC's strategic engineering department.

ventional playback hardware. Now,with hard -disk cost-effectiveness, ca-pacity, access time, and reliabilitybeing what they are, it makes senseto put the audio itself into the com-puter, too, moving away from thehybridized digital-control/analog-storage systems. As before, these sys-tems present themselves with a widevariety of operating schemes, fromlive -assist to full -walkaway. Sophisti-cated digital compression systems are

BY SKIP PIZZI

beginning to show up, thus increasingcapacity and cost-effectiveness. User-friendly control interfaces are anoth-er important design feature, and it'sobvious that much work has beendone by designers in this area. Touch -screen, trackball, mouse andQWERTY-keyboard control are all inevidence across the several systems.

Among vendors, Media Touch Sys-tems had perhaps the largest showingin this area, with its OmniPLAYtouchscreen controller interfacingwith either conventional playbackgear or its own DAMS (Digital AudioMass Storage) hard -disk system. Thelatter uses the ADM (Adaptive DeltaModulation) coding system fromDolby Laboratories, and also can beused as a manually operated, stand-alone storage system. Computerizedrouting and logging systems are alsooffered, providing a radio station withmany options toward total digitalintegration, in either a phased -in or"overnight" transition. Other new en-trants in this field included Digispotand DHK/MacroMedia Design's Au -disk system, each with its own inter-esting wrinkles. The future seemsbright for this technology's growth.

DAT seems to be settling into a"comfort zone." As at previous shows,it was being used by many program-ming and other vendors on the floor(only more so), but without a lot ofhype and hoopla about the format


itself. It seemed to be taken for grant-ed as just another tool, appropriate tothe needs for a presentation. Mean-while, CDs, having already reachedthis no -longer -a -novelty condition,continued to seem de rigueur in theappropriate places. Since small runsof custom CDs have lately becomemore cost-effective, several program-mers are offering their material onCD. But recordable optical technol-ogies (both write -once and erasable)have not yet made their appearance.

Speaking of the digital future, NABScience and Technology held its Sec-ond Digital Radio Station Seminar atthe show, receiving a reception fromits attendees of equal warmth to lastyear's premiere. Among the high-lights were a tutorial on CD -playermaintenance from Laura Tyson ofDenon America and a featured speechfrom Steve Lyman, senior technicalofficer of the Canadian BroadcastingCorp., Montreal. Lyman gave the at -

At the Digital RadioStation Seminar, SteveLyman gave attendeesa bit of future shockwith a look at a truedigital radio studio

CBC is constructing atits Toronto facility.

tendees another bit of future shockwith a look at a true digital radiostudio that the CBC is constructing inits impressive new Toronto facility.

Some stations are already callingtheir facilities "totally digital," when

what they mean is only that they areusing all -digital source material. Ly-man's presentation made it quiteclear that the distinction is more thansemantic. Digitally interfacing thisstudio with others in the plant was aproblem, due to the long lengths of oldcable involved. Most interesting,however, was a variable word -clockdelay the CBC had to build to getdifferent pieces of hardware to prop-erly interface digitally-over andabove the format converters andadapters required. CBC's goal is tohave a facility capable of handlingincoming digital source material froma wide variety of formats, and capableof post -producing it for broadcastcompletely in the digital domain. On-line testing of the facility is takingplace now, and Lyman expects thestudio to be officially completed inearly 1990.

Pizzi is BME's audio editor.

CBC Toronto * Digital Audio Post -Production Suite Concept

VIDEO REFINPUT

COLOR BLACK

WORD CLOCK

7 D 4

DASH

WC

CD

WC

Misc

WC

Lexicon 480 L

AnalogLine Inputs

Outputs

Sto AES andDIF inputs

patchfleldstaken via

AES

DMP7D

WC

DC

AES

SDIFYmha

AES

DCAES

DMP7D

WC

AudloFile

SDIF

Word ClockDelay unit

Lex

SDIF

8

422

TTLINN

eSIXF Line =Inputs TTL

422

DIGITAL&

ANALOGOUTPUTS

FROM SUITE

Ymha

22

Basic block diagram of CBC's Toronto all -digital studio.


This switcherhandlesstandard bandwidth like

it's goingout of style.

1111 IIIIIIIICr:17,1=r= 7 7

TVS/TAS-3000 Distribution Switcher

The new TVS/TAS-3000 video/audio distributionswitcher from BTS handles standard bandwidth switchingin stride. But the fact is, standard bandwidth may not bethe standard much longer. And that's why the TVS/TAS-3000 is not your standard switcher.

With the advent of wide bandwidth video, you'llneed a switcher that can handle the new higher bandwidthsignals. The 3000 will. It provides a video bandwidth ofmore than 50 MHz, measured with a full -amplitude sinewave or video signal. Which makes it upwardly compati-ble with HDTV or computer graphics-no matter whatthe standard.

The TVS/TAS-3000 also delivers the cleanest sig-nal and expands to accommodate any matrix size to meetyour specific needs.

And if high bandwidth capacity isn't a require-

ment, BTS still has you covered with our best-sellingswitcher, the TVS/TAS-2000. The 2000 represents thesame advanced technology and quality as the 3000 in astandard bandwidth switcher. BTS also offers a full -rangeof control panels and distribution amplifiers for a com-plete system designed, tested and guaranteed by onesupplier.

All BTS switchers undergo 100% computerizedfactory testing and are protected with a 5 -year warranty. Inthe unlikely event you do have a problem, simply returnthe board for a free replacement.

Dependable, performingswitchers from BTS. Anything elseis substandard. Call for informa-tion and technical specificationstoday: 1-800-562-1136, ext. 23.

The name behindwhat's ahead:

BTS is Broadcast Television Systems, a joint company of Bosch and Philips. P.O. Box 30816. Salt Lake City. UT 84130-0816.


e.

pr.;ziftid;%

BME's expandedcoverage of the

latest developmentsin new broadcast - -

equipment.

Anton/Bauer Intros NP 13 Plus BatteryThe 13.2 high -voltage design of Anton/Bauer's NP 13Plus battery is designed to eliminate capacity loss, coldtemperature and "memory" problems. The battery fea-tures 24 watt-hours of power and can be charged withmany late -model OEM chargers.Reader Service #200

Electrohome Jazz Video Effects SystemFeatures 14.3 MHz Sampling Rate

Electrohome's Jazz digital video effects system featuresbroadcast -quality video with a 14.3 MHz sampling rate.Other features include 4:2:2 component internal pro-cessing, composite and S -VHS inputs and outputs andmanual or programmable NB video switching. Standardeffects include rotation, flips and tumbles, shrink andzoom, over expansion, drop shadows and picture splits.Reader Service #201

E&M Development Bidirectional MicrowaveSystems Available in Three Formats

E&M Development hasintroduced bidirec-tional microwave sys-tems in three formats:studio -to -transmitter,wideband studio -to -transmitter and full du-plex video and audioteleconferencing. Thefirst offers simplexbroadcast video withduplex audio orderchannel. The second iscompatible with HDTV.Reader Service #202

ARI Premiers Pro-grammable MultimetersAmerican Reliance's AR -3010 and AR -3100 pro-grammable autorangingmultimeters feature fast -dis-play mode; AutoData-holdmode; relative measurementmode; min -max memories;logic monitor modes andrange hold. Basic measure-ment ranges are dc voltage;ac and dBm; dc current; accurrent; continuity; diodejunction; and resistance.Reader Service #203

MANOR .4111bollb m OLCI

rt/4 aa8.814,:ro,

de

AR -3010 AUTO RANGERCIA. Dor .4..

as:.

U20A 40OrnA,

40-.

11111111MINI=1,

Covid 100 MHz RGB Distribution SystemsInclude Distribution Amps, SwitchersCovid has introduced a line of 100 MHz RGB distributionsystems. Its 900 Series distribution amplifiers connectone RGB/computer video source to any number of moni-

tors/projectors. The950 Series switchersroute signals fromany combination ofRGB or compositevideo sources to oneprojector or monitor.Switchers are availablein four, eight, 12, 16,20 and 24 -input mod-els; DAs are availablewith four or eight out-puts. List prices rangefrom $969 to $3950.Reader Service ;6204

Ecs


:;.

3M Premiers DigitalVideocassettes

3M has introduced two digital video-cassettes, the DCS D-2 compositedigital and the DCN 4:2:2 componentdigital. The DCS D-2 features 1500 -

oersted small metal particle tape andmeets SMPTE D-2 specs. It is de-signed for use in commercial play-back and field acquisition. The DCN4:2:2 features 850 -oersted small ox-ide particle tape and meets SMPTED-1 specs. It is designed for graphicsstorage and editing applications.Reader Service #205

Maxell Unveils Betacam Tapes

Maxell's B-10BQ, B-20BQ and B-30BQ tapes have been specificallydesigned for use with Betacam sys-tems. The company says the tapesfeature low noise and high output andthat the conductive backcoating andantistatic cassette shells resist dustand reduce dropouts.Reader Service #206

BT&D's Optical FilterIs Continuously Tunable From 1250-1600 nmBT&D's 0FC1100 optical filter is continuously tunable over the wavelengthrange from 1250 nm to 1600 nm. Spectral performance data is supplied at twopoints in the tuning range-nominally 1300 nm and 1550 nm. Bandwidth isnominally 12 nm. Fiber -to -fiber loss is 4 dB typical.Reader Service #208

Belden Announces Mini -Audio Interconnect Cable

Belden Wire and Cable offers a miniature twisted pair audio interconnect cablein multiple colors for internal and external, TV and radio studio equipment wiringand sound system installations. The 1266A cable is NEC CM rated and haspassed UL 1581 Vertical Tray Flame Test for commercial building installationswithin walls. Available from stock in 1000 -foot put -ups.Reader Service #207

: Great American UnveilsFog Machine

Great American Market's fog machinecontains a two -quart inboard tankand can also be serviced from an ex-ternal supply. The handheld control-ler is equipped with a 30 -foot cord,extendible to 250 feet. Black indus-trial grade hose, four inches in diam-eter, is available in 10-, 15- and 25 -

foot lengths. List price is $1195.Reader Service #209

3M Premiers Library Box3M's TapeCare library box is availablein nine -inch and 101/2 -inch sizesdesigned to store the company's480XST and 479 one -inch videotape.The box features a blow -molded, im-pact -resistant, double -wall plasticconstruction. A special hub supportsystem eliminates cinches by lettingthe reel rotate freely in the case,minimizing tape damage.Reader Service #210


Knox Intros Imagr I GraphicsGeneratorKnox Video's IMAGR I graphics gen-erator includes a 27 µsec bitmap, 16million colors, font/logo compose anda set of graphic effects. The profes-sional version includes encoders forNTSC and Y/C operation and an op-tional downstream mixer/keyer; thebroadcast version includes encodersfor NTSC or component video. Listprices start at $6300.Reader Service #211

Listec Video Premiers A-5000Prompter SystemListec Video's A-5000 prompter sys-tem integrates with newsroom com-puters and includes an interface forremote camera control that providesautomatic shot sequencing from orig-inal prompter text. The system al-so provides hard copy with studioinstructions. Options include colorbackgrounds and internationalcharacters.Reader Service #212

LTM Announces Cinepar 2500LTM's Cinepar 2500 uses a 2500 Wsingle -ended lamp mounted in theoptical axis of a parabolic reflector,providing a very intense light at nar-row beam position. The device comeswith a set of lenses to focus from verynarrow to super wide beam and oper-ates off the LTM MKIII Alimarc 2500W 120 V/60 Hz compact ballast. It

features retractable T -handle.Reader Service #215

Vinten Presents MH55Integrated HeadVinten's integrated MH55 camerahead can carry a payload of up to 55pounds. The head itself is integratedwith its servo drive electronics, allow-ing the cable to the head to be a light-weight data cable. Features includesilent operation, rapid shot -to -shotmovements of 90 degrees/s and highprecision shot repeatability.Reader Service #216

Ventronic Intros Multiplexing DeviceVentronic's MCLM-100 is a fully integrated multiplexing device that transmitsand receives video, audio, data (RS -232 and RS-422/tri-state 485) and 16 relaychannels over a single duplex fiberoptic cable. The system consists of a rack -mounted controller unit that can support up to five individual duplex links andNEMA 12 -approved weatherproof remote site controllers. Systems can be con-figured to monitor any number of remote sites for performance up to 8000meters.Reader Service #213

Bird Announces Water ColumnLoads

Bird Electronics has introduced threenew water column load models forUHF television, 470-820 MHz, eachtuned to optimize VSWR over the ap-propriate 6 MHz band prior to deliv-ery. Three power levels are available.Each load excepts up to 80 psig cool-ant pressure.Reader Service #217

4 Designs' "Son of FX" PutsRackmountable Equipment ina Mobile Workstation4 Designs' Son of FX rack is designedto organize recording, computer andrackmountable equipment in a mo-bile workstation. The unit featurestwo adjustable shelves for multitrackrecorde's, mixing consoles, and MIDIsequencers. It also features 10 unitsof rack space for mounting outboardeffects, power amps, cassette decksor MIDI controllers. The unit mea-sures 39 inches high by 21 incheswide by 16 inches deep.Reader Service #218


Jensen Adds Options to JTK-87 Professional Field Engineer's Kit

Jensen Tools now offers its JTK-87 professional field engineers kit in more than23 case styles and sizes and with a range of options and custom modificationsavailable. All have two removable pallets; the deep model cases feature a gate-swing style for access to tools stored in the bottom of the case.Reader Service #219

Lisand Unveils TripodAdapter PlatePeter Lisand's Model TAI -7995 uni-versal tripod adapter plate can beused for the entire line of Ikegamicameras. Its features include a posi-tive locking system, the ability tomove the camera forward and back-ward to obtain center of gravity, andtwo treaded inserts.Reader Service #220

Kinemetrics OffersNanosecond Timing

Kinemetrics/Truetime has introducedthe Model GPS-DC, designed to pro-vide extremely precise time, trace-able to within ±200 nanoseconds.The unit is synchronized by signalsfrom the satellites of the NaystarGlobal Positioning System and candetermine the geodetic location of itsantenna within 25 meters sphericalerror probability. List price is $12,500.Reader Service #221

Andrew Intros LPTV Antennas

Andrew's ALPine series of LPTV anten-nas feature standard EIA 50 ohm

: flanges as input connections andside mount to tower or other support-

: ing structure. Full-length radomesare provided to protect against rain,

. snow and ice. All mounting hardwareis galvanized or stainless steel.Reader Service #222

Summit Full -Range EqualizerProvides Four PassiveOverlapping Bands

Summit Audio's EQF-100 full -rangevacuum tube equalizer provides fourpassive overlapping bands of sevenfrequencies each, plus high and lowfilter sections. The highest and low-est bands are peaking or shelving.Vacuum tubes are used for gainmakeup, with 990 opamps in the out-put stage. The device features a 105dB dynamic range and variable boostor cut up to 16 dB.Reader Service #223

Ampex Offers New Features for Switcher Family

Ampex has introduced new enhancements and options for Ampex AVC switch-ers, including complete integration of the ADO 100 digital effects system withthe AVC Vista switcher; a rackmountable disk drive for off-line storage ofswitcher and ADO effects; a key switching matrix for the AVC Century switcher;and an upgrade kit for the AVC Standard switcher.Reader Service #224

S

I IMRS MOM

CiP 0 0O a 'allele. efeeec ULM. len a. Ouleet. a13 WIMP row., Flit 0 In TIMM algai

' 8RE o o'

es es

o co:eauea ILrte

C;11 orsolemoleememeileoPelieelein err, crew DM Melo UP. eaL Lem an Re

mumomimiiiiunala ammen

11=1111111111MINON MUM

1011111111111111111=11omman


Valentino Puts Libraries inCD Binders

Valentino, Inc. has released both itsproduction music and sound effectslibraries in a compact disc binder sys-tem. The system holds the more than40 CDs of the music library and themore than 30 CDs of the efx libraryin a paging format within ring bind-ers. The binders are available at noextra charge when purchasing eitherlibrary.Reader Service #225

41.0.0102.3 04 04.344.11.110.24..421001.4441 0440i1L41104

°

14.LIAL6 taOutikut.1,114,20331._._11:914._ _

30,4 /WAX, lb 1.44

. ,.....-

^ ^

' ,_41540 40 574

P. P.... MN.

Wavetek Adds Software to CLM 1000

Wavetek now offers Telecommunications Products Corp.'s CLIDE software withWavetek's CLM 1000 leakage field strength meter. CLIDE is a cable leakagemanagement software program to aid CAN technicians in controlling RF leak-age. The software can also be purchased separately.Reader Service #228

IT'S AIR TIME!

DO YOU KNOW WHERE YOURAUDIO IS ?

Bright -VU LED Audio Level DisplaysSometimes, a VU meter just

doesn't tell you enough. For in-stance, if you're watching inputlevels to a tape or STL, a standardVU meter can't move fast enoughto show sharp audio peaks whichcan saturate your tape or distortyour sound.

Or, if you're trying to watchaudio levels from across theroom, a VU meter does little, ifany, good.

That's when you need aLogitek Bright -VU LED AudioLevel Display.

Bright -VU displays respondalmost instantaneously, so yousee the full extent of every audiopeak. But, if loudness measure-

ment is what you need, don'tworry. A rear panel switch selectseither peak or average response.

And, with its highly visible,color coded LEDs, the Bright -VUcan easily be seen and read acrossa large room, making it perfectfor network and cable controlrooms, duplicating rooms or anyplace where equipment is spreadout beyond arms length.

Balanced bridging inputs makethe Bright -VU a snap to install.And, if space is a problem, ourrack -mount units are only 1 RUtall. Wether you need a rack -mount or stand-alone version,Logitek has a Bright -VU problemsolver for you.

kgitek When it hasto work right!

Call 800-231-5870. (In AK, HI and Canada 713-7824592)

Circle 112 on Reader Se -vice Card

N PRODUCTSE

ISS Satellite Receiver Includes C/Ku-Band Selection

ISS Engineering's GL -5020 commercial IRD satellite receiver has been ap-proved by General Instrument Corp. The unit offers front -panel access to theVideoCipher II address code and allows easy removal of the VideoCipher forreconfiguration. Standard features include C/Ku-band selection, 600 ohm bal-anced stereo output, transponder or direct frequency input, digital subcarriertuning selection and 100 kHz tuning resolution.Reader Service #229

THAT Corp. Offers NoiseReduction Circuit CardsTHAT Corp. has introduced reduced -

cost dbx 321 -Series noise reductioncircuit cards. The 321CS is a 3:1 ra-tio wideband compressor utilizing 20dB of preemphasis. The 321ES is acomplementary 1:3 ratio expanderfor decoding the signal after recep-tion. They are 100 percent compat-ible with existing dbx 321 models.List prices for samples are $150each for either card.Reader Service #230

Crosspoint Latch PresentsPicture Mover

Crosspoint Latch's Model 6063, thePicture Mover, when installed withany of the company's switchers, willpermit the operator to create a pull -

off, pull -on, push -off or push -on. Theeffects may be created using anymanufacturer's TBC with no modifica-tion required. The device is one rackunit high and features a standard GPIinput with five transition rates. Listprice is $1995.Reader Service #231

Advanced Videotech's TechTalk Features Voice Scrambler

Advanced Videotech's Tech Talk is a5 W, four -channel two-way unit thatmeasures 51/4 by 21/2 by 13/4 inches.It incorporates a voice scramblerthat automatically inverts the signalbetween users.

: Reader Service #233

Willow Offers VGA -TV CardWith Genlock

Willow Peripherals has introduced its: VGA -TV GE/0 card. The device is

switchable between eight and 16 bitsand works with video resolutions ashigh as 1024 x 768. The card also

: features full -feature genlocking anda writable key register. Other features

: include the choices of colorkill andnoninterlace mode output in NTSC.Reader Service #234

Digital F/X Unveils Composium Suite

The Composium digital edit suite from Digital F/X allows the user to control allediting functions from a single control station. The workstation processes signalin 4:4:4:4 resolution, based on CCIR 601, but enhanced by double -sampled R -Yand B -Y along with a full -bandwidth key or alpha channel. The system includesthe Image Translator, a component video processor capable of realtime 3D im-age translation, rotation, perspective, defocus and scaling operations, as wellas rendering, paint and compositing.Reader Service #232


Gentner's Digital Hybrid IIAllows Fully Interactive ConversationGentner's Digital Hybrid II incorporates a 16 -bit Motoroladigital signal processor with isolation designed to allowfully interactive conversation without hollow -soundingaudio or system feedback. Switching between mix -mi-nus and mic preamp is accomplished with the press of abutton. List price is $1795.

Reader Service #235

Thomson TH 558 Tetrode Delivers Output of600 kW in LW and MWThomson Tubes Electroniques has introduced the TH558 tetrode, which delivers output powers of 600 kW inlong wave and medium wave and 500 kW in shortwave.

The tube's Pyrobloc grids provide stability, reliability andlong working life, according to the company, as well aspermitting use in PDM and PULSAM techniques. TheHypervapotron cooling system allows safe anode dissi-pation of up to 500 kW.

Reader Service #236

Peerless Premiers Mini -Yoke BracketDesigned for Nine- to 13 -Inch MonitorsPeerless has introduced its mini -yoke mounting bracketdesigned for nine- to 13 -inch monitors. Its width range isnine inches to 15 inches; height range is 91/4 inches to133/8 inches. Four versions are available, designed foruse with structural ceilings, finished ceilings, SJS-pended ceilings and one with a wall support arm.Reader Service #237

Pomona Announces Multimeter Test Leads

Pomona Electronics is offering multimeter test leads asreplacement kits. The banana plug/jack connectorsmate with most Beckman, Amprobe, Simpson, Fluke,Triplett and B&K multimeters. Each kit consists of twoleads, one red, one black. The test probe is a nickel -plated solid brass miniature tip in a nylon barrel.Reader Service #238

BELARKNOWS

EXCELLENTCONCEPT& DESIGN

YIELDS 0.003%PERFORMANCE.

ovot.5'Car -

J

You can measure your transmitter performancewith the best monitor and the most accurate testinstruments.

The FMM-2/FMS-2 series monitors provide aneven greater degree of precision measurementthan ever before... You can measure S/Nbelow 90 dB You can measure crosstalk below85 dB You can measure separations of betterthan 70 db You can measure frequencyresponse to better than 0.25 db You canmeasure distortions to lower than 0.003% andmuch more...

Our uncluttered panels and autorangingvoltmeters make these measurements a dream.

When accuracy of performance counts...count on Belar.

t

-----------------------------

Et IE LAC\ FtELECTRONICS LABORATORY, INCLANCASTER AVENUE AT DORSET. DEVON, PENNSYLVANIA 19333

Call or write for more information on Belar AM, FM, Stereo, SCA and TV monitors.

CALL ARNO MEYER (215) 687-5550


Schneider Premiers CCD Sennheiser Introduces Handheld MicLenses

Schneider Corp. has introduced a lineof high performance lenses for 2/3 -

inch and 1/2 -inch CCD cameras. Thelenses have been color -corrected fornear infrared as well as the visi-ble spectrum, allowing the user in-creased sensitivity of as much astwo F-stops under incandescent lightsources. The lenses include Cine-gons with focal lengths from 4.7 mmto 12 mm; Xenoplans, with focallengths from 17 mm to 35 mm; and aTele-Xenar 70 mm lens.Reader Service #239

Fuji Premiers Professional-Use S -VHS Cassette

Fuji's H471S S -VHS videocassette isdesigned to produce no more thanthree dropouts per minute even underadverse conditions. Other featuresinclude four -layer tape constructionwith polyester base film and special-ly formulated backcoating to reducefriction and ensure stable tape trans-port. Cassettes are available in 30-,60-, and 120 -minute lengths.Reader Service #240

Sennheiser's MD 518 handheld dynamic microphone features a frequency re-sponse of 50-16,000 Hz, cardioid pattern, maximum cancellation of -17 dB at180 degrees, a nominal impedance of 200 ohms and load impedance of 1000ohms. The mic weighs 6.5 ounces.Reader Service #242

LiteFX Announces FlickerGeneratorThe LiteFX flicker generator featuresfour channel control groups with in-dependent flicker rate, dimming leveland flicker amount controls for each.Dim controls and master fade con-trol are operative in all modes. A

Accu-Weather Updates Amiga Graphics System

Accu-Weather has announced enhancements to its Amiga Graphics WeatherSystem. The enhancements include 9600 baud communications; scriptedgraphic downloading; enhanced communication with the company's Front DoorUnit; full -screen display of graphics; fast -frame loops of satellites; and elimina-tion of disk hang-ups and random error problems.Reader Service #241

chase mode features independentspeed control and channel statusindicators.Reader Service #243

HP Intros 34 GHzOscilloscope

Hewlett-Packard has introduced theHP 54123T four -channel, 34 GHzdigitizing oscilloscope with built-in time -domain reflectometer. Otherfeatures include digital feedbacksampling, built-in statistical analysisand histograms and optional trigger-ing to 18 GHz. List price of the54123T is $34,800.Reader Service #244


The standards converter with thesmoothest moving image

of any system.OKI's Digital Television Standards Converter Model

LT2000 achieves True Motion Continuity. Next Genera-tion Technology has produced the "Motion VectorSystem" (MVSTM), making possible the first portablestandards converter to eliminate motiondiscontinuity, or jerkiness, that occurswith high-speed camera panning andfast -action video program material.Other standards converters, using thenow antiquated 2 -and 4 -field inter-polation systems, fail to reduce motiondiscontinuity, and as a result are un-acceptable for the professional market.

MVSTM divides each field of videointo pixel sections for motion vectordetection and measurement, using theInteractive Gradient Method (IGM).IGM, the most advanced method ever

developed for precise and finite motion detection, allowsthe LT 2000 to produce the smoothest moving image ofany system available. MVSTM accomplishes this withoutthe resolution loss common on other high -end standards

converters. The displayed video pictureis not only free from conversion artifacts,but also without interpolation resolutionloss. The end result...a clean, sharppicture with True Motion Continuity!

With the LT2000, your only problemis telling the output from the input! IGM is a development of Kokusai Denshin Denwa Co., Ltd.

Head Office: London Office Local OKI DistributorOverseas Marketing 8. Sales10-3, Shibaura 4-chome,

Ground Floor North 3,Shortlands, Hammersmith SAECO INTERNATIONAL ALEX L. CLARK LTD.

Minato-ku, Tokyo 108, Japan International Centre, 1122 East Chevy Chase Drive, 30 Dorchester AvenueTel: (03) 454-2111 London W6, U.K. Glendale, CA 91205, Toronto, Ontario M8Z 4W6,Fax: (03) 452-5214 Tel: (01) 741-2324 U.S.A. CanadaTelex: J22627 Fax: (01) 741-4122 Tel: (213) 245-7738 Tel: (416) 255-8594Cable: OKIDENKI TOKYO Telex: 927029 OKIDEN G Fax: (818) 241-2691 Fax: (416) 255-9260

TV STANDARDS CONVERTER mm" Elk Wik. Ra''', ,dra aa ma amma a a amammomm ak .ii I__" UUU MI 1311 L.

OKIOki Electric Industry Co., Ltd.Tokyo, Japan


COMPUTE

Computer -AidedSTL System Design

By Ronald F. Balonis

Computer-aided design, or CAD,generally is thought of as anelectronic replacement for a T-square and drafting board orfor a sketchpad, a pencil and aneraser. It has come to mean aspecial kind of computer pro-gram. But many "not so spe-cial" programs running on "not

so special" computers function like CAD systems,too. This month's Compute program lets you to docomputer -aided design of an STL/microwave sys-tem. The program, STLBME.BAS, lets you de-sign the system interactively within either equip-ment or path limitations and constraints.Reliable STL/microwave systems that work allthe time don't just happen.

First, let's review the essentials of STL systemdesign. The main mode of transmission at micro-wave frequencies (above 300 MHz) is the directspace wave. For the space wave, the effectivedistance between the transmit and receive anten-nas is limited to a line -of -sight, or optical, path.Therefore, for a reliable STL system, it is essen-tial to avoid obstacles and to consider the effectsof refraction and reflection caused by the weath-er, the atmosphere and the path clearance.

Under ideal conditions, the path loss for anSTL system should approach the free space trans-mission loss. The ideal seldom exists on earth,however, and several factors affect the signal'spropagation along a path and can cause it to fade.Rain, for example, tends to increase the path lossby an amount that increases as a function of bothfrequency and rate of rainfall (low at 300 MHz,

high at 23 GHz). The atmosphere's dielectricconstant changes with temperature, pressure andhumidity and that causes changes in the atmo-spheric refraction of the wave so that it takes apath that follows a changeable earth curvature(K). The path clearance also affects the path lossin unpredictable ways, since the antenna receivesreflected waves that havevarying phases from thetransmit antenna. All re-flected waves cause fading,but those that fall withinthe first 0.6 fresnel clear-ance zone have the greatesteffect. The STL path mustclear path obstacles by atleast this distance.

A reliable STL/microwave system is achievedby designing in enough excess system gain sothat the receive signal always stays above thenoise level -a "fade margin." The value of fademargin for a given reliability depends to someextent on the system's frequency (losses increasewith frequency), on its equipment (high -powertransmitters, high -gain antennas, low -loss coaxand sensitive receivers improve it), the path'slength (loss increases with distance) and itsphysical location (high is better than low). Basedon broadcast experience for 950 MHz and given a0.6 fresnel zone, the fade margin goal should be20-25 dB for short paths and 15 dB for 5-15 milepaths. For higher frequencies such as 23 GHz, itshould increase to 30-40 dB.

Here's how the program operates: After lines100 to 135 print the input Data header on the

screen, it then loops between lines 150 and550. Lines 150 to 275 calculate and recalcu-late the STL system parameters for theinput data. Lines 300 to 514 form a daisychain of IFs to input data, based on the datatype selection input in line 305.

Line 152 calculates path loss and 153prints it on the screen at location. 154calculates fade margin, which is printed byline 155. Line 156 calculates the 0.6 fresnelzone and 158 prints it.

The program code from line 160 to 188makes the tabular flat earth path profile onthe screen. Line 166 calculates, for 10

STLBME.BAS +++ Computer Aided Design For STL/Microwave Systems +++

-- TX --> Freq. GHz: 0.950 --> RX --Ant. dB( 16.0 Path km/m1( 5.8/ 3.6 Ant. dB: 16.0Line dB, -6.0 LOSS dB: 107.3 Line dB: -4.0TX dBm/Ws 41.5/ 14.0 Fade M. dB: 23.2 RX dB/uv: -67.0/ 100.0

TX Elev. ---> (.6 fresnel 12.8/ 42.1 m/ft CLEAR K.1 Elevation) ---> RX Elev.1 182.9 174.0 170.41 167.81 166.0 164.81 164.2 164.21 164.9 166.7 173.71600.0 571.0 558.9 550.6 544.7 540.7 538.7 538.6 540.9 547.0 570.0

0.0 0.6 1.2 1.7 2.3 2.9 3.5 4.15'811 0.0 0.4 0.7 1.1 1.4 1.8 2.2 2.5 2:91 9:2 3.6

1 0% 1 10% 1 20% 1 309 1 409 1 509 1 609 1 70% 1 809 1 909 1 1009

> DISTANCE (km/mi/i))

DATA <F>req. <P>ath <T>x <R>x <Q>uike

Figure 1. Demo screen for STLBME.BAS.


0 'STLBME.BAS ++ COMPUTER AIDED DESIGN FOR STL SYSTEMS ++5 ' BY Ronald F. Balonis August 25, 198910 '

20 '

30 KM=1.60934:FT=.3048:UV=22400011CLRS=SPACES(14):'--- CLEAR DATA LINE50 TLES="+++ Computer Aided Design For STL/Microwave Systems +++"100 CLS:PRINT 'STLBME.BAS ';TLES:PRINT105 PRINT '-- TX -->";SPACE$(18);"Freg. GHz:";SPACE$(181;'--> RX --110 PRINT 'Ant. dB:";SPACE$(181;"Path km/mi:';SPACE$(18);"Ant. dB:'115 PRINT "Line dB:';SPACES(18);'LOSS dB:";SPACES(18);'Line dB:'

120 PRINT 'TX dBm/W:';SPACE$(18);'Fade M. dB:";SPACES(181;"RX dB/uv:'125 PRINT130 PRINT 'TX Elev, ---> (.6 fresnel =;135 PRINT 'm/ft CLEAR K=1 Elevation) ---> RX Elev.'140150152153154155156158160162164166168170172174176178180182184186188200270275280290300305310312314316317318320322324326328330332334336

IF FRQ=0 OR PATH.° THEN 160;' Need FRQ E. PATH to calculateLOSS.96.6+20*LOG(FRQ)/LOG(10)+20*LOG(PATH)/LOG(10)LOCATE 5,40:PRINT USING'44114.11";LOSS

FMRG=(TANT+RANT+TX)+(TLINE+RLINE+(-LOSS))-RX:' FM=GAIN-LOSS-RSENSLOCATE 6,40:PRINT USING441111.4";FMRG

FE ..6 * 72.1*SQRWPATH/2)-2)/(FRQ*PATH))LOCATE 8,28:PRINT USING"#44.4/111111.11';F2.1"T;FZ: D=PATH

FOR I=1 TO 11:' Make a tabular FLAT EARTH PATH PROFILEJ=I*7-7+1:K.(I-1)/10:CLR.0IF FRQ-0 OR PATH.° THEN 170:'--- skip on 0E13...667*(D*K)*(D-D*K): FZ=.6*72.1*SQRMD*K)*(D-D*K))/(FRQ*D))CLR.(TELV+C(RELVC.TELV)-(RELV>TELV))*ABS(TELV-RELV)*K)-FZ-EBLOCATE 9,J:PRINTLOCATE 10,J:PRINT USING'111###.41";CLR*FTLOCATE 11,J:PRINT USING' 44411.4 ';CLRLOCATE 12,J:PRINTLOCATE 13,J:PRINT USING'18111111.111';PATH*K*KMLOCATE 14,J:PRINT USING' 1#1111.11 ';PATH*KLOCATE 15,J:PRINTLOCATE 16,J:PRINT USING"' ###8 l';K*100LOCATE 17,J:PRINT

NEXT I

PRINT' > > > DISTANCE';PRINT' (km/mi/%) > > >"

PRINT:KR=CSRLIN( The DATA INPUT structure is a daisy chain of IFsLOCATE KR,1:PRINT SPACES(78) :LOCATE ICR,1 :DTYPE$=" :TYPES.'"PRINT DATA <F>req. <P>ath <T>x <R>x <Q>uit: ';:LINE INPUT DTYPESIF DTYPES<>'F' THEN 320:' NOT FreqLOCATE 3,40: PRINT CLRS:LOCATE 3,40:LINE INPUT FROIF FRQS<>"" THEN FRQ=VAL(FRQ$)IF FRQ<.45 OR FRQ>231 THEN FRQ.0:'----Freg between .45 E. 23 GHzLOCATE 3,40:PRINT USING"#11.#1#";FRO

LOCATE KR,1:PRINT SPACES(78):LOCATE KR,1IF DTYPES<>"P' THEN 340:' NOT PathPRINT 'Path in <K>M or <M>I ';:LINE INPUT UNITSIF UNITS<>*K" AND UNITS<>"M' THEN 450IF UNIT$ -'K' THEN K.KM ELSE K=1LOCATE 4,40: PRINT CLRS:LOCATE 4,40:LINE INPUT PATHSIF PATHS<>"" THEN PATH.ABS(VAL(PATH$1)*KIF PATH >100 THEN PATH -0LOCATE 4, 40:PRINT USING' 4111.4/11/11.11';PATH*KM;PATH

Figure 2. STLBME.BAS, a program to design an STL system.

340342344346348350352354360362364366368370372374376378380382400402404406408410412414430450452454456458460462464470472474476478480482484486488490492500502504506508510512514530550

IF DTYPES<>"T" THEN 450:' NOT TXPRINT 'TX <A>nt <L>ine <Pwr <E>ley. ';:LINE INPUT TYPESLOCATE KR,1:PRINT SPACES;78):LOCATE KR,1

IF TYPES<>"A" THEN 360:' NOT TX Ant GAINLOCATE 4,11: PRINT CLR5:..00ATE 4,11: LINE INPUT TANT$IF TANTS<>" THEN TANT.VAL(TANTS)IF TANT>50 OR TANT<0 THEN TANT.0:' TX Ant Gain < 50 db

LOCATE 4,11:PRINT USING"1111114.4";TANTIF TYPE$<>'L' THEN 370:'-- NOT TX Line LOSSLOCATE 5,11: PRINT CLR$,LOCATE 5,11: LINE INPUT TLINE$IF TLINES<>"" THEN TLINC=VAL(TLINES)IF TLINE>0 OR TLINE<-50 THEN TLINE=0:' TX Line LOSS < 50 dbLOCATE 5,11:PRINT USING'$$$$.$';TLINE

IF TYPES<>"P" THEN 400:'-- NOT TX PowerPRINT 'TX POWER IN <D>BM OR <W>ATTS ';:LINE INPUT TPWRSIF TPWRS<>'D' AND TPWR$<>"14' THEN 450LOCATE 6,11: PRINT CLR* :LOCATE 6,11: LINE INPUT TX$IF TX$<>"" THEN TX=VAL(TXS)IF TPWRS="14" THEN TX.10*LOG(TX.1000)/LOG(10)LOCATE 6,11:PRINT USING'411114.11/#11#.11';TX;EXP(TX/10*LOG(10))/1000

IF TYPES<>"E' THEN 450:' NOT TX ElevationPRINT 'TX ANT Elev. in <?>EET or <M>ETERS ';:LINE INPUT UNITSIF UNITS<>"1,' AND UNIT$<,'M' THEN 450IF UNITS='F' THEN UNITWFT':K=1 ELSE UNITS="M'IK=FTLOCATE KR,1:PRINT SPACEu(78):LOCATE KR,1PRINT 'TX ANT Elev. ("ONITS;') : ';: LINE INPUT TELV$IF TELVS<>"' THEN TELV.ABS(VAL(TELVS))/KIP TELV > 5000 THEN TEL7.0

IF DTYPES<>"R' THEN 550:' NOT RXPRINT 'RX <A>nt <L>ine <S>ens. <E>leV. ';:LINE INPUT TYPESLOCATE KR,1:PRINT SPACES(78):LOCATE KR,1IF TYPES<>"A' THEN 470:' NOT RX Ant GainLOCATE 4,67:PRINT CLR$,LOCATE 4,67:LINE INPUT RANT$IF RANT$ <>" THEN RANT.VAL(RANTS)IF RANT>50 OR RANT<0 THEN RANT=0:' RX Ant GAIN < 50 dbLOCATE 4,67:PRINT USING"1111114.11';RANT

IF TYPES<>'L' THEN 480:' NOT RX Line LOSSLOCATE 5,67:PRINT CLR$11,C4CATE 5,67: LINE INPUT RLINE$IF RLINES<>" THEN RLINE=VAL(RLINES)IF RLINE<-50 OR RLINE>0 THEN RLINE=0:' RX Line LOSS < 50 db

LOCATE 5,67:PRINT USING'4#1/11.4";RLINEIF TYPE$<>"S" THEN 500:' NOT SensitivityPRINT 'RX Sens. in <D>BM or <U>V , ';:LINE INPUT RSENSIF RSENS<>"D' AND RSEN$>'U' THEN 500LOCATE 6,67:PRINT CLR$ d..00ATE 6,67: LINE INPUT RX$IF RX$ <> " THEN RX=VAL(RX$)IF RSEN$="U' THEN RX=20*LOG(RX/UV)/LOG(10)LOCATE 6,67:PRINT USING"#11#4.11/114114.11";RX;EXP(RX/20*LOG(10))*Uv

IF TYPES<>"E' THEN 550:' NOT RX ElevationPRINT 'RX ANT Elev. in <F>EET or <M>ETERS ';:LINE INPUT UNITSIF UNITS<>"F' AND UNITS<2"M' THEN 550IF UNITS='F' THEN UNITS...EV:K.1 ELSE UNIT$="14":K.FTLOCATE KR,1:PRINT SPACE$(78):LOCATE KR,1PRINT 'RX ANT Elev. (";BNITS;') ';: LINE INPUT RELVSIP RELVS<>.. THEN RELv.ABS(VAL(RELVS))/KIF RELV > 5000 THEN RELV.0.. Elevation < 5000 ft

IF DTYPES=*Q" THEN STOP ELSE 150,'-- LOOP OR END OF PROGRAM

percent path increments, the earth bulge (atk =1) and the 0.6 fresnel zone. Line 168 thencalculates the elevation of the clear STL path foreach distance increment. Lines 170 through 186print these results on the screen.

The program calculates only with valid valuesof Frequency (in GHz) and Path length (in milesor kilometers), so input them first. You can getpath distance for the system by reading it directlyfrom a topographic map or by using the coordi-nates and calculating it with September's Com-pute program, DISTBRG.BAS.

Next, for both the transmit and receive sites,input the following data: antenna gain (0 to 50dB, from the manufacturer's specifications); lineloss (0 to - 50 dB-use manufacturer's data orAugust's Compute program, COAXATTN.BAS; ifthere are any connector or other losses, add themto the line loss); transmitter power in watts ordBm and receiver sensitivity in dBu or µV; getthese from the equipment manufacturer's specs.

Finally, input the transmit and receive anten-

na elevations. Use the total mean elevation abovesea level.

With all the system data, the program calcu-lates the fade margin and the flat earth pathprofile tabulation for 10 percent increments ofdistance from transmit site to receive site. This isthe clear elevation for a line -of -sight path com-pensated for both the 0.6 fresnel zone and earthbulge. Use the table to check the clearance alongthe path either visually or on a topographic map.

The design of STL/microwave systems is anesoteric topic for the nonexpert. GTE has pub-lished a very readable handbook: CH700, "Engi-neering Considerations for Microwave Communi-cations System," available from GTE,Publications Manager, Dept. 431.1-Tube Sta-tion C-1, 400 N. Wolf Rd., Northlake, IL 60164.

Balonis is CE of WILK, Wilkes-Barre, PA. His Computeprograms are available for download on A/V Sync,Atlanta, (404) 320-6202 and on. Broadcasters ComputerDatabase, Houston, (713) 937-9097.


SPECTRUMTHE REGULATORY ENVIRONMENT

A Few Items of Interest(To The FCC)

By Harry F. Cole

s the year end approaches, wefind ourselves with no develop-ments that warrant an entirecolumn. Accordingly, we offerthe following grab-bag of oddsand ends for you to ponder overthe holidays.

Tape Delays/Monitor Tapes.s we have noted in previous

columns, the FCC appears to be retrenching onits deregulation program in a number of areas,restoring rules, policies and regulations that hadbeen eliminated (or substantially reduced) dur-ing the heyday of deregulation mania in the mid -

to late 1980s. Most prominent on the list of itemsnow the subject of increased Commission concernis the matter of indecency and/or obscenity on theair.

The question of obscenity and/or indecency isprimarily a programming as opposed to an engi-neering matter, of course. You may find yourselfdragged into the fray, however, if the program-ming department determines that it would beappropriate to install a tape delay mechanism inthe studio to provide additional control over thematerial that goes out over the air (especially ifthe station's programming includes telephoneinterviews with listeners). A second, relatedmechanism might be the installation of a moni-tor, or logger, tape system designed to tapeeverything that goes out over the air.

As an initial matter, let's be clear that theFCC does not require that either of thesedevices be used at stations. Even in the olddays, when regulators roamed the earth, nosuch requirement existed. In this sense, it isbest to think of such equipment as a kind ofinsurance, not required by law but r-...ybeworth the trouble and expense in aworst -case scenario.

Needless to say, neither a tape delaynor a tape logger will guarantee alicensee protection from abuses. Themere availability of a delay unit, forexample, will not excuse a stationfrom liability if the station electsnot to use the unit (or uses it

ineffectively) so that obscenity or indecency endsup being transmitted. Indeed, the availability ofsuch technical devices might cause problems inand of themselves. For example, installation of atape delay might be construed as an admission bythe licensee that it is aware of some potentialproblems with its program content; that aware-ness might lead to the conclusion (say, by theFCC or a court) that the licensee, being aware ofa potential problem, should be extra -vigilant toprevent abuses. Alternatively, a licensee thatinstalls and operates a 24 -hour logger tape mightfind itself with concrete evidence of the broadcastof inappropriate material(e.g., obscenity, indecen-cy, slander or copyrightinfringement) that other-wise might not exist.

Of course, if the licens-ee does elect to put suchdevices in place, it willlikely fall on you, the en-gineer, to: install it prop-erly; explain its function-ing to the staff (e.g.,announcers, producers,etc.) who will have to use it; maintain it in goodworking order; and (at least with respect tologger tapes) develop a system for storing andrecycling the tapes. These are not complicateddevices, but if you are going to install them,you should be prepared up front to use themproperly.

Constructing Your Station as Authorized.We have previously mentioned the need tomake sure that any new facilities you con-struct are precisely as authorized in yourconstruction permit. This proposition is

pretty self-evident, or so we thought. InOctober, however, a television station

1111111111PIP

Cole is a partner inBechtel, Borsari, Cole &Paxson, a Washington,DC -based law firm.

in Iowa was found apparently liablefor a $20,000 fine for operating at anunauthorized location. The Commis-

sion's Field Operations Bureaufound out about the site discrepancyand the station was ordered off the

air 24 days after it began oper-

66 BME December 19891.1

ation from the unauthorized site, resulting in aneffective fine of almost $1000 a day. That iscertainly a good reason to double- and triple -check your construction specs.

Of course, the size of the fine may also be areflection of the size of the discrepancy; theantenna tower of the station in question was builtmore than 25 miles from its authorized site. Wedon't know how the licensee attempted to explainthis impressive variance.The moral of this story: Mea-sure twice, construct once.

STAs-A Thing of thePast? Once upon a time, anoperating station (or a per-mittee trying to put its sta-tion on the air) could availitself of a relatively easymeans of getting authority tooperate with facilities some-what different from thosespecified in the station's in-strument of authorization.You just filed a request for a"special temporary authori-zation," or STA, explaining what facilities youneeded and why. The request could be in the formof a letter, could be signed by the licensee'scounsel, and generally was treated as a high -priority item by the processing staff.

Recent reports from the Commission, however,suggest that the STA approach is no longer heldin particularly high regard, at least in someoffices. In fact, the FM processing staff appearsgenerally inclined to ignore, or even reject, STArequests unless they involve situations that aretruly emergencies. If you lose your tower in ahurricane, or if a squirrel shorts out your trans-mitter, the staff probably will be pleased to helpyou out with an STA. They are drawing the line,however, at proposals that appear to be efforts toavoid the growing backlog of pending applica-tions for facilities changes.

A number of enterprising applicants, frustrat-ed at their lack of progress in the processing line,have attempted to leapfrog the roadblock byrequesting STAs that would permit them tooperate with the facilities proposed in still -to -be -processed applications. If successful, the licenseegets, in effect, something equivalent to a tenta-tive grant of its application, without having towait for that application to reach the front of theprocessing line.

Unfortunately for those trying that gambit inthe FM area lately, the staff is simply tooswamped with applications to want to worryabout your STA request. It is projected that an

If the backlog is so greatthat applicants seekalternatives, perhaps

some adjustments to theapplication processingsystem are called for.

application for a new FM station filed todaymight not be designated for hearing for three tofour years. Because of this state of affairs, the FMprocessing staff apparently believes that it can-not afford to allocate personnel and resources toindividual requests that effectively circumventthe normal order of the processing line.

This policy of the FM branch has been largelyunpublicized. While it is a policy that certainly

makes some sense, we won-der whether it is the bestresponse to the situation. Ifthe backlog is so great thatapplicants are forced to seekalternatives, perhaps somefundamental adjustments tothe application processingsystem are called for. Weunderstand that the FederalCommunications Bar Associ-ation is working with thestaff in the hope of coming upwith some steps that mightalleviate the problem. Wewish them luck. In the mean-

time, if you think you need an STA (especially foran FM station), be sure you make the mostconvincing case possible.

AM Improvement. If you think the new Com-mission is ignoring the continuing problem of thedecline in AM listenership, think again. In No-vember, the Commission scheduled a very rare enbane hearing to consider a wide variety of topicsrelating to that problem, including the variousoutstanding rulemaking proceedings looking to-ward revision of a number of AM technicalassignment standards.

En bane hearings such as this-where theCommissioners themselves are the primary audi-ence to whom interested parties direct theirremarks in person-obviously reflect the agen-cy's serious concern about the AM industry.Nevertheless, it is far from clear that any resultsmay be expected in the near term.

Remember, none of the Commissioners is anengineer, much less one of the elite (and arguablyvanishing) breed of AM engineers. As a result,the ultimate usefulness of such an en banehearing is questionable; the time might better bespent in an all -day, roll -up -your -sleeves sessioninvolving interested technicians and FCC engi-neering staff well versed in the rules. But to theextent that this hearing signals the FCC's con-tinuing serious concern about the AM industry, itshould come as a welcome sign. If you have anyquestions about any of these matters, contactyour communications counsel.


4.111111111111111111111Mi

BUSINESS BRIEFS

Two Charleston, SC -area radio broadcast-ers whose transmit-ters were lost inHurricane Hugo havereceived replacementtransmitters fromBroadcast Elec-tronics. WDXZ-FM,

Mt. Pleasant, has taken delivery of a10 kW transmitter; the new unit forWKQB-FM, St. George, is a 35 kWmodel . . . The Alta Group has deliv-ered its one hundredth Pictoris videocompression system to Edityme, amultiformat post facility in Las Ve-gas . . . BTS has sold a DCR-100 D-1VCR to Griffith and Tekushan,Inc., a New York City -based video -graphics facility. This is the firstDCR-100 BTS has delivered to a NewYork production house . . . ShookElectronics USA has delivered a 48 -foot production trailer to JohnCrowe Productions, Houston. Theunit utilizes BTS LDK-6 studio cam-eras, a Grass Valley Group 1680production switcher and an Abekasdigital effects system/still store . . .

NBC News has purchased four Ode -tics news control terminals for use inits New York network news facility;the devices will give NBC's technicaldirectors last -second control over theselection and play of videotape duringnewscasts . . . Rank Cintel has soldan HDTV telecine to Club TheatreNetwork. The 1125/60 flying spottelecine will be used to transfer first -run movies to be shown in 14 HDTVtheaters in the Southeastern U.S.next year . . . WaveFrame Corp. hasdelivered two digital audio produc-tion systems to Real to Reel Stu-dios, Dallas, a commercial produc-tion studio . . . Nova Systems, Inc.began delivery of its Nova 900S superTBC September 1 . . . Film CraftVideo, Farmington Hills, MI, hasacquired a Quantel Paintbox V -Se-ries, the first V -Series model in the

Detroit market . . . Louisiana's firstNeve V Series console has been in-stalled at Studio in the Country,Bogulusa . . . Comark Communica-tions has sold a 60 kW Klystrode-equipped transmitter to WFWA-TV,a PBS affiliate in Fort Wayne, IN . .

Trio Video, Chicago, has purchasednine Sony cameras and four Sonyone -inch machines . . . Radamec EPOrobotic camera controls by A.F. Asso-ciates have been installed at CNN inAtlanta.

Digital F/X has opened a New YorkCity sales and service facility . . .

Steven Bonica, formerly VP of engi-neering at NBC, has been appointedto the new position of VP, audio andvideo planning, at Panasonic Com-munications & Systems Co...MarkC. Gray has been named president ofthe new Sony Peripheral Systems

Co...Paul Mitchel, a founding em-ployee of Charlex, Inc., has left toform Paul Mitchel Systems, Inc.,specializing in designing and install-ing management information sys-tems for post -production facilities . . .

The Winsted Corp. now offers aminimum five-day shipment on its35 -inch and 70 -inch rack cabinets, or,Winsted says, it will pay the freightcharges.

Ampex Magnetic Tape Div., newlyrestructured as Ampex RecordingMedia Corp., celebrated its thirtiethanniversary in October. The companywas founded in 1959 when Ampexpurchased Orr Industries Co . . . TheInternational Teleproduction So-ciety awarded a special Humanitar-ian Achievement Award to ABCTelevision for its work in the field ofclosed captioning.

L. Sanders Smith, president of Dynatech Newstar (right), and R. Dean Mills, deanof the School of Journalism at the University of Missouri, have good reason tosmile. Dynatech Newstar has presented the journalism school with two Newstarsystems valued at more than $200,000. The systems will be installed at the school'sradio and television stations early next year.


ADVERTISERS INDEX

Manufacturer Page Circle Manufacturer Page Circle Manufacturer Page CircleNo. No. No. No. No. No.

Acoustic Systems 69 115 Logitek 59 112 Technics Cvr. III 116Belar Electronics 61 113 Nikon, Inc. 26 107 3M BroadcastBroadcast Electronics,

Inc 8 103OKI ElectronicsPanasonic Industrial

63 114 DivisionVideotek

4612

110105

BTS, Inc 6 102 Co 10-11 104 Ward Beck Systems,BTS, Inc 54 111 Sony Broadcast Ltd. Cvr.IVCamera Mart 30 108 Products Co. 4-5 Wheatstone Corp. Cvr.II 100

Fidelipac Corp 3 101 SonyG.E. Broadcast 31 109 Communications 16 106

CLASSIFIED

Senior Editor-BMEBME's Television Engineering seeks a television en-gineer to fill a challenging, creative position. As amember of the BME editorial team, you will write fea-ture articles, cover trade shows and press confer-ences, and participate in guiding BME into the newdecade. Act Ill publishing offers an excellent work-ing environment along with a highly competitivebenefits package. If you are a television engineerwith comprehensive knowledge of all aspects of stu-dio operations and demonstrated writing skills, youmay be the person we are looking for. We invite youto apply for this position by sending a current re-sume, writing samples and a letter describing yourinterest to: Eva J. Blinder, Editor, BME Magazine,401 Park Avenue South, New York, NY 10016.

FOR SALEBOSCH FDL-60 TELECINE

With Dubner Computer, Lipsner-SmithCF -200 Film Cleaner, Magnatech Dubber,

Cummings Air Knives, Dubner Grain Reducerand Air Compressor

BEST OFFERCONTACT: TED DUNN

(212) 944-9090

AMPEXVIDEO TECHNICAL

INSTRUCTORVideo maintentance engineers-seeking a change?

Ampex, the leading U.S. manufacturer of broadcastand professional video equipment, has opportuni-ties for video maintenance engineers who wish toapply their experience to video technical instruction.

Requires a minimum of 5 years' experience in main-tenance engineering in one or more of the followingareas:

Type C or Betacam Video Recorders Video Production Switchers Digital Effects Systems Video Editing Systems

Ampex offers a challenging environment and out-standing benefits. For immediate consideration,please send your resume to AMPEX Corporation,Attn: L. Kalajian, 401 Broadway, M/S 20-32, Red-wood City, CA 94063-3199. An equal opportunityemployer, m/f/h/v.

SALES OFFICESMICHAEL D. BAILENSON, Pubik.hcr

401 Park Avenue South Ncw York. NY 10016 212-545.5160 Fax -212-696-4215

Eastern States401 Park Avenue SouthNcw York, New York 10016212-545-516.5 5164

Fax: 212-696-4215William F. DeyPamela %ahter

Europe/United Kingdom(082) 572-4k44Fax: 1082) 572-4155

Jim Parkinson

Western States21757 Devonshire Street

Suite 3Chatsworth, CA 91311818-998-5154

Denice Nichols

Japan/Far East5-24 SanbanehoChiyoda-Ku, Tokyo. 102 Japan(81-3) 234-2161 Telex: 128208Fax: (81-3) 234-1143

Takashi KasaiShoichi Maruyama

VOICEOVERBOOTHSAcoustic Systems'Voice Over Boothscombine acousticintegrity with theordering simplicityof standard models.Voice Over Booths,which include elevenBB models, are selfcontained, acousticallyengineered enclosureswith isolated floor

systems. panel construction with predeterminid acoustic performance,sealec cipors, acoustically engineered ventilaion and prewired electricalservice. BB Voice Over Booths provide stations, studios and productionfacilities a fast -track alternative to conventional, standard construction.Designed as modular unitsBB Voice Over Booths can j1jlllll SYSTEMSalso ba disassembled,reloca:ei and reassembledif charges in location occu-.

ACOUSTIC

415 E. St. Elmo Road Austin, TX 78745(800) 531-5412 (512) 444-1961

FAX: 512/444-2282Thomas Register Sweets Catalog 13.0


CURRENTSA GUEST EDITORIAL

Digital Video: Use It Rightand It's Affordable

By Patrick Howley

uch has been said aboutdigital in the last year."It's too expensive," saythose who are shockedby the $160,000 price tagof a D-1 VTR. "It's notgood enough," complainthose who feel limited bythe eight -bit, composite

D-2 format. "We don't need another format; Ihaven't paid for my one -inch VTRs yet," sayskeptics everywhere. Let's take another look atdigital post -production, with emphasis on eco-nomics versus quality.

The two popular digital formats, D-1 and D-2,offer many advantages compared to one -inchType C: They are cassette -based, have four chan-nels of compact -disc quality audio, and maketransparent digital clone copies. Both formats,however, use expensive videotape that costs overtwice as much as one -inch.

D-1 is component digital; it gives the highest -quality recordings possible today; it is the inter-change format for a growing family of 4:2:2devices; and it is an international standardallowing 525/60 or 625/50 record and playback. Italso has disadvantages: The machine is veryexpensive; it lacks output proc amp controls; ithas poor machine ballistics, including variablespeed; it is relatively largeand consumes a lot of power.

D-2 is compact in size andconsumes less power; it isrelatively cheap; it handleswell under editor control, in-cluding variable speed; itmakes an excellent playbackdeck in a cart machine; andit hooks up to a TBC remotesystem. D-2 also drops easilyinto an existing analog editsuite as a high -quality re-placement for one -inch.Compared to one -inch, D-2has better S/N, looks sharp-er, has fewer velocity errorsand no moire. D -2's maindisadvantage is the stretch-

ing of eight bits across the video signal, whichresults in quantizing errors, most noticeably inshallow ramp -type signals.

Let's look at a method of post -producing andbroadcasting a typical 30 -second commercial,taking advantage of each digital format, butusing them in the most economical way possible.

The 35 mm negative is transferred by digitaltelecine directly to D-1, and simultaneously to D-2 by using a digital D -1 -to -D-2 converter. Soundelements are transferred directly to D-2, or re-layed later to the D-2 master. The D-1 material isloaded into a 4:2:2 graphics/compositing suite forretouch or graphics building. When finished, thescenes are output to D-2 through a digital D -1 -to -D -2 converter.

The spot is then edited in a conventional editsuite equipped with D-2 VTRs instead of one -inch. Opticals and titles are added. After anyrevisions, a duplication digital clone is made,from which digital copies are made for distribu-tion to the D-2 cart machines at the broadcaststations.

Following the above scenario, the video andaudio signals that leave the cart machine at thebroadcast station are identical to the editedmaster that the client approved in the editsession. This approach is both economical andhigh -quality. Signals are digital where they have

to be, and post -productiontechniques are similar tothose in standard one -inchediting.

With the price of a D-2VTR decreasing below thecost of a one -inch machine, aD-2 broadcast cart machineis becoming affordable. Thusdigital recording-used eco-nomically-will provide ahigher -quality signal forviewers, without an increasein cost to the client.

Pat Howley is president of PostPerfect, New York, and amember of BME's EditorialAdvisory Board.


oxpa -Imo I

Comregol 101. raves 6t -1.l300

zIonc !Herra ,Mee OveiverVosa 010,a1 RUNSiMple4.-bki Noise SiArprae*III

D 1-116 IEIDEIg0MRC:321,

THE PROFESSIONAL CD PLAYERFORTHE PROFESSIONAL CD PLAYER.

Like all professional CD players,the new Technics SL -P1300 is tech-nologically advanced.

But you don't have to be a techni-cal genius to operate it.

In fact, even if you haven't spentyears in the studio,it will only takeyou a few minutesto figure it out.

You see, the SL -P1300 is ergonom-ically designed togive you greatercontrol over playback than you'veever had before.

Perhaps that's because it's builtlike a recording console. Whichmeans the disc well and all the othercontrols are right at your fingertips.

First, the control panel features along stroke sliding pitch control. It'scontinuously variable with a range of±8%. In addition, it lets you restorequartz lock accuracy at the touch ofa button.

There's also ourtwo -speed searchdial with audiblepause. Whichmakes findingyour in pointextremely easy.

Our profes-sional CD player has other featuresprofessionals enjoy working with.Like one -touch memorization by timecode, A -B repeat, and our exclusiverocker control search buttons. It's thedigital equivalent of dragging your

finger on the edge of a record.A great deal of thinking also went

into things like our balanced outputs(10 dBm nominal into 600 ohms).There's even a port for a wiredremote. And separate power suppliesfor digital and analog circuits. Giventhis, it's rot surprising that its S/Nratio is 112 dB.

If you're a professional CDplayer, chances are you're ready tohear what our professional CD playercan do.

Call your Technics representative.You'll find that our pro CD player isn'tthe only thing from Technics that's apleasure to work with.

TechnicsThe science of sound


MIC s

I CARSMIC

IPH_

Ward -Beck's Beltpackthe mobile link for yourprofessional intercomsystem!Novi total communications has become a reality Beltpack moves q/ality communications vEtwith the rew high-performance WBS Imerphone a -.other step ahead of the rest of the pack ...Behric.ck. a7 -_d at a very at -I -active price!

This superbly designed two -channel, single pairwrrec. zompact unit interfaces with Ward -Beck'sa -Ala -wed four -wire, programmable MicroCOMsystem. It assures studio quality voiceCCNTriunications to your outermost moblelocation. WARD -BECK SYSTEMS

Ward-Becl; Systems Ltd., 841 Frog-ess Avenue, 5catorough, Ontario, Canada M1H 2X4.Tel: (41e) 438-6550. Fax (41e) 438-3865.

Documents

tul Nor II inim FOR TECHNICAL AND ENGINEERING MANAGEMENT · 2019-07-17 · 1\k-1-`. . . kTrue Skee,o1e1e\A6on August 4, 1989 "The IN-500 features stereo and no inputs, stereo subgroups,