Category Archives: Uncategorized

Riedel Names Daniel Channon U.K. Rental Engineer

Daniel Channon.

Daniel Channon has been appointed rental engineer in the U.K offices of Riedel Communications, the company announced today.

His responsibilities will include managing, coordinating and maintaining the company’s rental services. Before joining Riedel, Channon was a project manager at Results Technology services and worked on the Rio and London Olympic and Paralympic Games.

More information is available on the Riedel website.

Sinclair Inks Deal For ATSC 3.0 Chipset Development

ONE Media 3.0, the wholly-owned subsidiary of Sinclair Broadcast Group, today announced it has entered into an agreement with chip maker Saankhya Labs to develop ATSC 3.0 chipsets to power consumer devices capable of receiving next-gen TV.

Saankhya Labs, located in the “Silicon Valley” region of India, specializes in Cognitive Software Defined Radio chipsets, said Mark Aitken, Sinclair VP for Advanced Technology during a telephone interview this afternoon.

“A Cognitive Software Defined Radio chipset can on the fly become a receiver for any of the world’s standards,” he said. “We view this as an opportunity to be a bridging technology chip to allow countries in transformation [of their OTA TV standards] to utilize that chipset.”

The deal calls for the chip maker to develop a 28 nanometer (nm) chipset designed to receive ATSC 3.0 signals as well as ATSC 1 and all of the DVB standards, including those for television and satellite, Aitken said.

ONE Media 3.0 is aiming the chipset at applications where ATSC 3.0 will be received on the go.

“This chipset is being designed with mobile first. The chipsets being manufactured by LG, Samsung and soon by others are designed to operate in environments where power is plentiful,” he said. “Set-top boxes aren’t power-constrained, but mobile devices are.”

Thus, the new chipset will rely on the 28 nm design, which is far less power-hungry, than the 40 nm integrated circuits commonly used in many electronics. The new chipset is envisioned for a variety of devices, including cell phones, tablets, dongles, gateways and cars, as well as TVs, said ONE Media 3.0 in announcing the deal.

Under the agreement, the first step is to set up an incubator for development of the chipset with the goal of full-fledged development. During the incubation phase Saankhya Labs will define chip architecture and identify algorithms together with Sinclair and ONE Media 3.0.

The incubation phase should last about two to three months. The chipset will be bought to market within the next 12 months, he said.

However, before production begins, ONE Media 3.0 intends to approach mobile device makers to ensure that what is being produced meets their needs.

“Chipset development is not the normal work of broadcasters,” said Aitken. “We want to do this right to create a chipset with the broadest appeal before we commit to the millions and millions of dollars to ramp up with the full manpower to bring it to market.”


FCC’s Next-Gen TV Rulemaking Notice Draws Praise

The FCC’s Notice of Proposed Rulemaking to authorize next-generation television released today is garnering favorable reaction from both the Advanced Television Systems Committee and a coalition of major broadcast groups that has worked to advance the ATSC 3.0 standard.

A statement released this morning by ATSC President Mark Richer calls the NPRM “another important step forward for next gen TV.”

“We’ll look forward to seeing how various stakeholders respond to the Commission’s notice, and we’re hopeful that the NPRM process will be completed in a timely manner,” Richer said.

Anne Schelle, managing director of Pearl TV, a coalition of large TV groups that together operate more than 220 TV stations, echoes Richer’s sentiment.

“As broadcasters focused on the development and deployment of new technology, Pearl is pleased that the FCC is poised to launch a rulemaking that would allow the voluntary adoption of next generation TV,” Schelle said.

Dielectric Celebrates 75 Years In Business

Dielectric, situated in the Sebago Lake region of Maine, is celebrating its 75th anniversary in 2017.

Antenna and RF component manufacturer Dielectric is celebrating its 75th anniversary this year and is planning a series of events to commemorate the milestone, the company announced today.

Among the festivities will be an event for customers at the 2017 NAB Show in Las Vegas, April 22-27, and an Employee Appreciation Day.

One of the highlight’s of the Raymond, Maine-based company’s history was its role in helping TV broadcasters transition from analog to digital transmission. At its peak, the company was shipping about 350 antennas per year.

In June 2013, Sinclair Broadcast Group announced the purchase of Dielectric from SPX.

More information is available on the Dielectric website.

Broadcast RF Delivers For Woody Harrelson’s Live Movie

Broadcast RF played a key role last week in Woody Harrelson’s Lost in London one-camera, one-take production beamed to more than 500 U.S. movie theaters and one in London.

Actor, director Woody Harrelson’s ambitious live production, Lost in London, beamed to more than 500 U.S. theaters and one in London last week, required an expensive RF deployment put in place by Broadcast RF.

The company, which this week issued a press release on the project, deployed a Domo HD transmitter in a backpack with four batteries and sound equipment.

Carried by a grip, the backpack was connected via an umbilical cable to an Arri Alexa Mini shooting at 1080.23.98PsF.

Broadcast RF set up receive sites at 14 locations throughout central London. A total of 54 antennas were used. According to the company, the production was the “largest single RF camera job Broadcast RF has ever done,” and that includes events such as Wimbledon and the Ryder Cup combined.

The 100-minute-long Lost in London production was shot with a single camera in a single take.

Readers might also find The Guardian online story, “Lost in London Review: Woody Harrelson’s Live Movie Is A Miraculous Oddity,” quite interesting.

Black Box Bridges Virtual-Machine-KVM Gap

Virtualizing broadcast functions like playout, master control, editing and graphics has received a lot of attention over the past couple of years, especially as high-profile broadcast networks have begun leveraging common off-the-shelf servers and other IT equipment to support their operations.

But what about something a little less sexy? Something like remote keyboard, video and mouse controllers in a virtual environment?

That’s exactly what Black Box says it will be highlighting -along with a 4K solution and other KVM technology implementations next week at the NAB Show New York. InvisaPC “closes the gap” between a traditional KVM and virtual machines, the company said is press release.

More information is available on the Black Box website.

KTLM McAllen Advances ’25 Years Overnight’

Inside KTLM's new control room Ross Video's OverDrive automation system simplifies newscast production. Photo: NBCU-Telemundo.

Inside KTLM’s new control room, Ross Video’s OverDrive automation system simplifies newscast production. Photos: NBCU-Telemundo.

The days of unpredictable power interruptions, local SD production and being forced to adapt to the limitations of a set rather than having the set meet its needs are in the rearview mirror for KTLM, Telemundo 40, in McAllen, Texas.

Since June 25, the station has been operating from its new 23,000-square-foot Telemundo 40 Studios on the second floor of building near downtown McAllen and the community’s city hall.

There, it produces 14 hours of news a week as well as other local programming in 1080i HD from a modern, adaptable set designed by John Casey Production Design in New York City and built by Blackwalnut in Valley Cottage, N.Y., says Jose Flores, president and GM of the station.

The driving force behind the project was NBCUniversal-Telemundo’s acquisition of KTLM in January 2014, he says. The new studio is the fifth state-of-the-art broadcast facility NBCUniversal Owned Television Stations has rolled out since 2013.

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Vermont College Journalism Program Goes HD

Students at Lyndon State College in the studio Vermont Center for Community Journalism

Students at Lyndon State College in the studio Vermont Center for Community Journalism

The Electronic Journalism Arts Department of Lyndon State College has upgraded its Vermont Center for Community Journalism (VCCJ) broadcast facility, News7, to HD production, according to teleprompter provider CueScript.

The HD upgrades include two new Ikegami HC-HD300 equipped with CueScript EMC17 17-inch teleprompter monitors and CSTM19 19-inch prompter talent monitors.

The student-operated VCCJ facility provides a practicum laboratory for training would-be journalists with a 30-minute newscast each weekday. With faculty oversight, students at the sophomore level join News7 rotating between reporter, producer, photographer and editor, and then go on to specialize in one area during their junior and senior years leading to a Bachelor of Science degree in Electronic Journalism Arts at the public college.

More information is available on the CueScript website.

GatesAir Web Resources Offers Broadcasters Help With Repack, ATSC 3.0

The spectrum repack and ATSC 3.0 are the subject of a new informational page GatesAir has published online following its second annual Repack Summit last month.

The page includes links to separate pages devoted to preparing for both the auction and the repack.

Together the pages are a valuable resource for broadcasters who are getting serious about their future.

AES67: Are Two Ships Passing In The Night?

“Ships that pass in the night, and speak each other in passing,
Only a signal shown and a distant voice in the darkness…”
— Henry Wadsworth Longfellow, Tales of a Wayside Inn

A funny thing happened on the way to IP audio interoperability. The Audio Engineering Society committee that developed the AES67 standard for IP audio couldn’t agree on a discovery mechanism, so it included four optional methods, says Aidan Williams, CTO of Audinate, developer of the Dante networking tech used by more than 200 OEMs in products for the professional audio and broadcast markets.

Just to review, AES67 is supposed to provide a way for audio equipment with an IP connection from one manufacturer to hook up to a piece of IP-enabled audio gear from another and communicate.

At a very basic level, before that sort of IP communications can happen, each device needs to know what it’s connected to — a process known as system discovery.

In a pure sense, AES67 provides for interoperability because all a user or vendor has to know is which system discovery options manufacturers have chosen, write some custom code to translate between the different discovery options in use and voila, the devices can communicate.

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