Archive for the ‘Broadcasting’ Category


Posted by Samuel Eiferman on 30th September 2011 in Space and Aerospace
Story by Hiram Ash, special for the Reporter
The annual AIAA (American Institute of Aeronautics & Astronautics) Space Conference & Exposition was held in Long Beach on Sept. 27-29, 2011. A gathering of scientists, engineers, and space military people, the expo presents a unique meeting and sharing opportunity. In addition to keynotes & an exhibit hall, various scientists and engineers present their research & study in seminars and poster sessions. 

The conference took a different turn this year. In past years, the conference looked forward to future space projects. But this year, with the end of the U.S. manned space programs for the foreseeable future, there was more of a reflection of the past combined with a regret to the end of many projects envisioned last year & in prior years. Highlights of the conference were appearances of the final space shuttle crew, Atlantis, who made a presentation both to the general attendees, and to a special Education Alley expo designed to encourage young children to pursue engineering & science careers. This was emphasized by the appearance of Sandra Magnus, a crew member aboard the last shuttle and in previous shuttles and the International Space Station, who urged girls to pursue their interests in a field which was once the sole domain of men. The appearance of Lt. Gen. Ellen Pawlikowski,  the 3 star commander of the U.S. Air Force Space & Missile Systems Center at El Segundo, California, as a keynote luncheon speaker, was certainly an inspiration to the older “girls.” But again, her speech emphasixed  the new model of private industry satellite development and leasing by the Air Force of  those satellites, rather than ownership.
An aerospace doctor, shuttle commander, and engineer who helped design the space suits, reviewed the problems of the body in space. Another session reviewed the legacy of the space shuttle. Buzz Aldrin, the first with Neal Armstrong to land on the moon, sat in a session on possible use of ice on the moon in future missions, missions which are not even on the drawing board. Significantly was the absence of NASA high officials in the keynotes, unlike past years.
A special presentation was made Wednesday night, by the JPL officials, of the Dawn JPL mission to the asteroid Vesta. Presented as part of the William Pickering lecture series, and open free to the public, it featured the just obtained photos of Vesta and presentations by the designers and mission directors. There was also a presentation of the James Webb Space Telescope which will replace Hubble, not due to be launched until 2018, and fighting for continued funding in the Congress due to higher than originally anticipated costs.
In the end, it was a retrospect of the past and a summary of things in flux. With planned U.S. manned programs cancelled and nothing on the horizon, and several spectacular unmanned programs in flight or soon to be launched, it was a snapshot of national space policy still being reformed, and those who participate in it trying to salvage what they can and create a new future. It will be interesting to see what has evolved when next year’s convention convenes.

BBC College of Journalism is now online

Posted by Samuel Eiferman on 13th April 2011 in Broadcasting

The BBC College of Journalism website is a unique journalismlearning and teaching resource. The site was developed over three years,

the aim to give BBC journalists access to learning that fitted as well as possible with the way 

 they learned, especially for those who were at an early stage of their careers. We

spent a year, before publishing a single word, working to understand, in depth, what

journalists needed to help them learn and how they could best use it.

They told us over and over again: “we learn best from journalists we respect … we

want tips and advice to help us do the next job, solve the next problem … we want

to be surprised, to discover things we didn’t know we wanted to know.”

“We want it to be like we’re on the road with – and learning from – the best BBC

journalists in the business.”

Most importantly, they told us they didn’t want lengthy online courses, complex curricula

or fixed learning journeys. They wanted to learn at their own pace and create

their own journeys through that learning.

These were the guiding principles for the site as we went on to develop learning “for

BBC journalists by BBC journalists”. At first, access to the website was one of the

perks of a BBC journalism job – now journalists and audiences worldwide can experience

that same learning. The website is gold standard, world class journalism learning

– and now, any student or young journalist has the opportunity to share in exactly

the same learning as every BBC journalist.

Understanding 3D Multi-Dimensional Sound

Posted by Samuel Eiferman on 13th April 2011 in Broadcasting


What is 3D sound?

3D sound, or multi-dimensional sound, adds clarity, elevation and depth perception to surround

sound mixes through the specific placement of sound cues, much like 3D movie presentations,

where the third dimension adds immersive and exciting visuals to a movie.

GenAudio’s approach to 3D sound, AstoundSound®, is a software-based system that

incorporates spatial audio cues during audio track mixing to provide a perception of sound

emanating and resonating from all angles and directions, including above and directly behind

the listener. AstoundSurround® is a multi-dimensional professional audio software specifically

created for motion picture theatrical surround sound mixing.

GenAudio’s AstoundSound technology is based on more than 23 years of R&D into how the

human brain actually processes audio information, advanced audio digital signal processing

(DSP) methods, and innovative software engineering. This 3D audio technology introduces

elevation and depth perception into the audio environment, taking the 3D movie experience,

video gaming, and music to the next level.

Creating 3D Multi-Dimensional Movie Sound with AstoundSound – How It Works

AstoundSurround is the integration of the AstoundSound technology in a surround sound audio

mix. AstoundSurround software is used by sound mixers in movie sound tracks to place audio

in every location possible around the listener. Sophisticated software pinpoints sound sources

that emanate from above, below, behind–anywhere within or outside of the speaker field with

incredible accuracy. Processed audio remains in phase, has no tonal colorization, and center

channel imaging and low-end information are not compromised.

With AstoundSurround, the audio engineer can start with either mono or stereo input tracks

within a surround mix session and create a significantly enhanced multi-channel audio

experience using software only. The two channel fold-down from the AstoundSurround mix

maintains the integrity of the localization cue processing including the surround panning

information. Whether listening with multi-channel audio, any stereo speakers, or with

headphones, AstoundSound significantly enhances the listening experience from audiophiles to


No Additional Playback Hardware or Additional Speakers are Needed

A key advantage of using AstoundSound/AstoundSurround is that no additional decoding

hardware or additional speakers are required to enjoy 3D sound. So long as the final audio mix

of a movie, DVD, TV show, TV ad, video game or CD incorporates AstoundSound 3D spatial

audio cues, the multi-dimensional playback experience will come through with a minimum of any

two speakers or headphones.

3D Sound For Consumer Electronics

For the consumer electronics industry, GenAudio provides a software development kit solution

for embedded level integration into every device that has a stereo audio output capability such

as HDTVs, Blu-ray players, car stereo, video game systems and computers. GenAudio’s

product offerings are all software based. Negotiations are in process with top manufacturers of

consumer electronic devices to embed AstoundSound capabilities as a real-time process.

For the advertising industry, AstoundSound’s dimensional sound richness will help TV spots

sound immersive and “louder” than they actually are by allowing television commercials to stand

out while remaining in compliance with pending Congressional action, H.R. 6209, the

Commercial Audio Loudness Mitigation Act that requires TV commercials be played at the same

volume level as programming.


StorerTV Answers Need for Fully-Operational, Cost-Effective Workflow Engine

Posted by Samuel Eiferman on 12th April 2011 in Broadcasting


For years Market-leading media companies have searched

for a workflow solution that is cost-effective, scalable, and operational within their existing framework.

StorerTV answers this need with the CentriX Workflow Engine, a one-of-a-kind, functioning solution

being introduced at the 2011 NAB Show. Operators save time and labor while increasing management

oversight by automating and monitoring any task or process within an entire “media factory.”

Broadcasters are not bound to one system or one brand for every component in their operation because

CentriX integrates seamlessly with any legacy system offered by other manufacturers– significantly

reducing the cost of implementation for a “media factory” of this magnitude. CentriX integrates with any

open system in the organization- acting as the glue that ties each task of each process completed by a

person or technical asset together.

CentriX also incorporates web-based dashboards that can be customized to display the status of any

automated processes across the entire organization. Dashboard modules can include analysis reports,

work queues, specific task alerts, forms, and data profiles.

Chief Operating Officer for StorerTV, Jay Batista spoke about the company’s newest product offering,

“CentriX is field-proven technology that is operating in top markets today, and is seamlessly integrated

with other legacy systems. This solution addresses the problem of functional silos within an organization

and reaches across barriers to unify process and procedures for true return on investment. Broadcasters

are ecstatic that the system actually delivers on what it promises.”

CentriX will be operational and on display during the 2011 NAB Show in booth N329 in the North Hall

of the Las Vegas Convention Center where StorerTV will also be celebrating its 25th year in business this

year during the NAB Show. StorerTV President, Peter Storer Jr., commented, “Listening to not only

customer needs but wants is what we has made StorerTV successful for the past 25 years. Continuing our

legacy and responding with innovative solutions like CentriX will allow us to keep serving the industry

for the next 25 years.”

About StorerTV

For 25 years, StorerTV has been the leading developer of program management software solutions for the

television broadcast and cable industry.

StorerTV continues to contribute new technologies that allow media companies to have complete control

over their business: from connecting metadata with contract rights and media assets, to creating

automated workflows that glue together the entire media factory.

For more information about StorerTV, call (+1) 262.241.9005 or visit




Posted by Samuel Eiferman on 12th April 2011 in Broadcasting

Transvideo, the leading company in electronic design for the film, video and avionics industries, will show its award-winning CineMonitorHD 3DView family of monitors for the first time in the U.S., at NAB 2011 on Booth C3841. In addition Transvideo will present a new generation of RF monitors, and the wireless HD monitor which launched at IBC 2010.

The CineMonitorHD 3DView evolution is an all-in-one monitor for stereographers which includes all the necessary functions to make 3D pictures easily from HD-SDi cameras. The 3DView evolution model includes a patented genlock analyser, and two HDMI and 2 HD-SDI inputs. The CineMonitorHD 3DView “S” includes all the functionality of the evolution model, plus it also synchronizes the HD-SDI or HDMI inputs to make 3D movies with DSLRs or high-speed cameras such as the PhantomHD or the Weisscam. The synchronized signals are available on HD-SDI outputs. The CineMonitorHD 3DView was the recipient of a prestigious cinecAward in 2010, which are awarded for innovative and trendsetting products for motion picture technology.

Another first for the U.S. is a wireless HD monitor. Transvideo’s TitanHD system has the powerful MiMo OFDM technology built in, providing up to 300 feet of clear, interference-free, pristine HD/SD/composite signal. The wireless capability allows directors, ADs, DPs, script supervisors and many others to remain near the camera, rather than tied to a power source away from the action. It is also ideal for live broadcasting and DSNG operations.

In addition Transvideo will showcase the CineMonitorHD RF family, a new generation of RF monitors linked to the TitanHD, the company’s state-of-the-art Digital HD/SD wireless transmission system. The CineMonitorHD RF family, which includes a 3D version, displays HD pictures in real time.


Posted by Samuel Eiferman on 12th April 2011 in Broadcasting

Autoscript, the world’s leading teleprompting company and a Vitec Group brand, today launched CountPlus and CuePlus, two new prompting accessories that will make studio life easier for on-screen talent. CuePlus caters for those with colour vision impairments, while CountPlus provides a very flexible timecode and countdown generator. The products were designed and produced entirely in-house by Autoscript as a direct result of customer feedback.

CuePlus is a tally accessory that provides both a selectable colour range and multiple colour states. The ability to select from a range of colours addresses the needs of talent with colour vision impairments such as colour blindness, which often makes it difficult to distinguish reds and greens. These features also provide a solution for studios where there is a need to display not only the ‘on-air’ and ‘off-air’ state of any camera, but to also pre-tally the camera being cued next. The CuePlus can be mounted on and powered directly from Autoscript’s LED line of prompters.

The new CountPlus is a timecode generator, timecode inserter and up/down count generator designed for use in conjunction with Autoscript’s ClockPlus timecode display. The user can preset and store ten different combinations of start and stop times, addressing the requirement of many live studio presenters to have separate countdowns for programme sections. The CountPlus unit embeds SMPTE/EBU Vertical Interval Timecode (VITC) into the NTSC or PAL prompt video and provides two video outputs which can be distributed to all the prompt monitors and ClockPlus units in a studio. There is also a GPI input on the back which allows the START/STOP function to be triggered remotely.

“Our constant striving for innovation and improvement often lead to the simplest ideas that make a huge difference. CuePlus solves one of the most obvious problems for people that can’t distinguish certain shades of red and green – yet these colours have been used in studios forever. Now those people can choose colours that make more sense for their visual needs,” said Brian Larter, Worldwide Managing Director, Autoscript. “Similarly, CountPlus was devised as a result of a client who simply wanted a visual countdown to the end of a show. We took this as a starting point and added other functionality to make a really useful piece of equipment. And since everything is designed and built in-house, it does exactly what we want it to do and works seamlessly with other Autoscript solutions.”

For more information and to find an authorised Autoscript dealer, please visit


Posted by Samuel Eiferman on 12th April 2011 in Broadcasting

While the Media Communication Department at Taylor University may have began small, its growth in size and curriculum over recent years has made the university quite competitive for broadcast majors with the addition of expert staff and equipment, including Autoscript teleprompting gear. Autoscript, the world’s leading teleprompting company and a Vitec Group brand, is helping Taylor University’s Media Communications majors enter the workforce with experience using state-of-the-art technology.

To kick off the 2010-2011 academic year, Taylor University’s Media Communication Department made the transition to HD in its Rupp Communication Arts building—home to the campus’ television production studio, student-run broadcast radio station, digital audio workstations and sound booth, edit suites, and various other student support spaces. In addition to outfitting its production studio with HD equipment, the Media Communication department added two 15”Autoscript TFT Entry-Level Prompters (ELP15) and a 12” Autoscript LED TFT (LED 12TFT) on-camera prompting system for student use both in the studio and in the field after seeing them on display at NAB.

“We are big believers in NAB and we use it as a time to see what’s out there in the market,” says Josh Taylor, chief engineer for the Media Communication Department at Taylor University. “We were looking for a teleprompting company that’s rooted, has a solid reputation in the industry and has a durable product that can stand up to student use. The design behind Autoscript has been well-thought out and I feel comfortable that it would all stay together based on the durability of the design.”

Inside the Rupp Communication Arts building, the TV control room is interconnected via a single and multilink fibre to the campus chapel, basketball arena, football complex and Kessler Sports Activity Center — allowing the students to bring in cameras and audio feeds from the other campus locations to the Rupp control room via the fibre. Inside the studio, in addition to the LED12TFT and ELP15 on-camera prompters, students have access to four Sony PMW350K cameras with Vinten Pro pedestals and Vinten Vector heads.

In the field, upperclassmen have the option of using the Autoscript 12” LED portable prompting system with a variation of Sony cameras and extra mount connectors. Extremely versatile, the Autoscript LED12TFT is perfect for location-shooting and is equipped with either a tripod or handheld mount, helping to keep setup under 20 minutes for on-location productions.

“As far as the performance goes, the displays themselves are really nice. When we have the portable prompter outside, even in direct sunlight, you can see the LED screen very clearly,” says Taylor. “While we ordered the studio prompters back in July, we had also talked about a 12” LED portable prompter for some time. When students needed one for a client project in October, we ordered it and received it the next day.”

As part of the department’s offerings, students take on actual paying clients to gain real-world experience. According to Taylor, they receive a working budget and must set and achieve goals with the client by the end of the semester. Whether it’s for an award-winning client project or miscellaneous class project, Taylor says the students appreciate the flexibility and ease of use the Autoscript software and equipment bring. In studio, students have access to WinPlus Studio software with a dedicated scroll control, while in the field they use WinPlus Xlite prompting software with a wireless controller and 10” netbook.

“Both Autoscript controllers are really nice. The wireless controllers keep the students from being tied down,” says Taylor. “The students also find the software really easy to use—writing the scripts in Microsoft Word, they find it simple to bring them into the software. Overall, they are impressed with how the system operates.”

For more information and to find an authorised Autoscript dealer, please visit


Posted by Samuel Eiferman on 11th April 2011 in Broadcasting

TVLogic, designer and manufacturer of LCD and OLED High Definition displays, will exhibit 3 new field production monitors and a new dual 9” rack mount model at NAB 2011 that incorporate a host of innovative features for enhanced HD-SLR, digital cinema and broadcast production. TVLogic combines the latest in flat-panel technology with their advanced video processing designs to provide reference displays that meet the demanding requirements of broadcast, production, post-production, digital signage and multi-viewer applications. The 4 new models will join TVLogic’s multi-award winning range of professional video monitoring solutions ranging from quad 4.3” rack mount monitors to 56” 10bit 4K resolution displays and everything in between. VFM-056W/WP VFM-056W/WP 1. NEW VFM-056W/WP – The VFM-056W/WP is available in two configurations and is ideal for HD-SLR production. A 6”x 4”x1” lightweight magnesium-alloy case houses a 5.6” 1280×800 LED backlit LCD display with a full complement of preferred features, including DSLR Scale, Focus Assist, Various Scan Models, Markers, Audio Level Metering with speaker, Time Code Display – and in the WP model – HDMI loop out via HD-SDI (720P), Waveform/Vector Scope, Y Level Check, and Range Error Check. LVM-074W 2. NEW LVM-074W – features a high-resolution (1024×600) 7” LED backlit LCD panel housed in a lightweight (600 grams) yet durable magnesium alloy case. An ideal monitor for the latest compact cinema cameras, the LVM-074W offers a wide range of professional features including: Waveform/Vector Scope, built-in HDMI to HD-SDI conversion output, Horizontal and Vertical Image Flip, Focus Assist, Audio Level Metering/Monitoring and more. A feature unique to the LVM-074W is TVLogic’s new user selectable ColorFast Sensor auto-adjusting color temperature system that measures LCD panel temperature and adjusts luminance and color automatically so that chroma and luma drift does not occur as temperature varies. LVM-091W-M 3. NEW LVM-091W-M – This updated version of our versatile 9” broadcast production monitor features a high contrast (1000:1) 960×540 anti-glare hard-coated LCD panel designed for minimum glare and accurate HD downscaling (exactly ½ 1920×1080). Additional features include Waveform and Vector Scope, Focus Assist, 1:1 Pixel Mode, a full range of selectable frame markers, mattes and colors, Auto-Color Calibration Support, and more. PRM-902Q 4. NEW PRM-902Q – Features two 960×540 (exactly ½ 1920×1080) resolution high contrast (1000:1) LCD panels in a 4RU rack mount with 90° tilt range, 2x HD/SD-SDI Auto switching inputs, Analog Inputs (Composite, S-Video, YPbPr), RGB16.7 million color support, Closed Captioning Support (CEA-608/708), Active Format Description Support, H/V Delay, Markers and Safety, Embedded Audio Metering (8 ch), Timecode display (VITC & LTC), Auto Color Calibration Support, and more. About TV Logic TVLogic designs and manufactures LCD and OLED High Definition displays from 7″ to 56″ designed specifically for broadcast, production, post-production, digital signage and multi-viewer applications. For further information:

Killer Tracks is exhibiting at the 2011 NAB show in Las vegas

Posted by Samuel Eiferman on 11th April 2011 in Broadcasting

Killer Tracks is a leading provider of production music for use in film, television, advertising
and interactive media. The Company was founded in Hollywood, California in 1989 with an
original catalog of 30 CDs. Today, Killer Tracks’ clients enjoy exclusive access to:
Killer Tracks is the only production music company bringing you a new Hip-Hop library from
Chuck D, Reflections of Motown from legendary songwriter Lamont Dozier, R&B Pop from
GRAMMY® winning producers RedZone Entertainment, a new reality library from the composer
for Big Brother and The Amazing Race, epic trailer cues recorded live by the world’s leading
choirs and orchestras, Pop Rock from Miley Cyrus’ writers, Crime Drama cues from the
composer for CSI: Miami, Dramedy from the composer of the Sex and the City theme, scores
from today’s leading film, television and AAA video game composers and so much more!
Killer Tracks provides fast and easy one-stop licensing, on staff music supervisors and account
representatives ready to help you find and license the perfect tracks, and convenient music
access online and on hard drive with comprehensive technical support!
Killer Tracks offers over 2,000 digital albums from 21 global libraries as well as thousands of
quality sound effects and production elements. The catalog is continuously evolving with over
100 new albums produced each year. Whether you’re searching for sweeping orchestral and
epic trailer cues or cutting edge Club, Hip-Hop and Rock music, Killer Tracks has everything
you need to score your scenes with ease!

You can contact them at

Harris Corporation Addresses Broadcast Hybrid Signal Infrastructures with New Multiviewer and Routing Solutions

Posted by Samuel Eiferman on 11th April 2011 in Broadcasting


  • HView™ range of IP and Hybrid multiviewers address baseband, broadband convergence
  • Router integration with multiviewer, processing systems creates high-density solutions
  • Platinum™ router I/O cards, Magellan™ control panels extend routing capabilities


Harris Corporation (NYSE:HRS), an international communications and information technology company, will introduce  a new range of multiviewers and routing system enhancements to address increasing broadcaster requirements for managing hybrid baseband and IP infrastructures at the 2011 NAB Show.

“The convergence of baseband and broadband along with the advancement of multiplatform delivery means that broadcasters and service providers need powerful hybrid signal management tools in their workflows,” said Harris Morris, president, Harris Broadcast Communications.  “Our new multiviewer and routing enhancements address complex, changing requirements while providing overall improvements in reliable signal management.”

Harris will introduce the following new multiviewer and routing solutions at the 2011 NAB Show:

  • HView™ IP multiformat broadband multiviewers and HView™ SX Hybrid multiviewers
  • Matrix expansion of Platinum™ routers to 512×1024
  • MADI interfaces for Platinum and Platinum™ MX routers
  • Magellan™ family of router control panels


The 2011 NAB Show marks the North American debut of the HView IP multiviewer, built for networked environments with compressed video and audio feeds; and the HView SX Hybrid multiviewer, designed for hybrid applications with traditional baseband and IP signals.

The HView IP multiviewer simplifies signal management in facilities working almost purely in the IP environment, including IPTV and cable headends and those streaming directly to the Internet.  HView IP supports multiple compression formats and resolutions and includes support for virtual network control, RSS display and multiformat IP stream decoding with visual alarming.  

The HView Hybrid SX multiviewer combines baseband and broadband monitoring, superior graphics, integrated test and measurement and VNC remote desktop control.  It is available as a standalone multiviewer or as a combination multiviewer/router within the Harris Platinum platform.

The recent integration of Harris multiviewer, frame sync and audio mux/demux capabilities within Platinum routers supports the growing desire to consolidate video and audio processing in the routing frame.  This year, Harris is taking it a step further with new cards that address the quantity and diversity of I/O to enable simple, cost-effective expansion of routing functionality — proving that no other product provides a more integrated routing, processing and multiviewer solution.

Matrix Expansion

The Platinum router’s new matrix expansion functionality supports the integration of large monitor walls and multiviewers by greatly extending output capabilities in Platinum routers.  This addresses the growing need for more outputs than inputs, allowing customers to create a simple matrix that can tie two routing frames together and support a 512×1024 solution.  This new capability supports both coax and fiber connectivity for short and long cable runs, and can support any combination of routing, processing and multiviewer functions across one or two routing frames.

MADI Interfaces

MADI interfaces for Platinum and Platinum MX routers can accept up to 128 signals of mono audio for presentation to a TDM crosspoint.  This means it can effectively connect up to four audio consoles to the router over coax or fiber — quadrupling the number of potential audio signals and creating a much higher-density audio signal routing solution.

Magellan Router Control

NAB also marks the North American debut of the Magellan family of router control panels, representing a fast, powerful and user-friendly way to control both Harris and third-party routing systems.  Designed with an understanding of the physical layout of a typical facility or outside broadcast truck, Magellan is available as a series of 10 programmable hardware panel types in compact 1 and 2RU versions.  Template-driven panels provide intuitive, Web-based configuration for quick and straightforward setup in local and remote operations.  


In broadcast communications, Harris offers products, systems and services that provide interoperable workflow solutions for broadcast, cable, satellite and out-of-home networks.  The Harris ONE™ solution brings together highly integrated and cost-effective products that enable advanced media workflows for emerging content delivery business models.


About Harris Corporation
Harris is an international communications and information technology company serving government and commercial markets in more than 150 countries.  Headquartered in Melbourne, Florida, the company has approximately $6 billion of annual revenue and more than 16,000 employees — including nearly 7,000 engineers and scientists.  Harris is dedicated to developing best-in-class assured communications® products, systems, and services.  Additional information about Harris Corporation is available at