In Broadcast - October/November 2011 - 70


WWW.INBROADCAST.COM | OCTOBER/NOVEMBER 2011

InAUDIO

Merging Technologies’ Wide AV Range
Merging Technologies SA is a Swiss manufacturer with over 20 years of experience in developing groundbreaking, professional audio and video products for a wide range of entertainment and media industries. With a dedicated user base in the elite end of the music, film, television, mastering and performances industries, Merging is committed to developing product ranges with unrivalled quality and flexibility, no matter what the application. Best known for the Pyramix audio workstation which for years has led the field in quality and capability, recently Merging has been developing broadcast and post production tools like the VCubeHD family of high definition video player/recorders. This popular system is now available in both hardware and software versions to suit the application and budget. As a further development for broadcasters, MXFix, the MXF Compliance Server is Merging’s new batch-processing wrap tool that performs fully EBU R-128 and ATSC compliant loudness measurement, loudness report generation, loudness level correction, True Peak limiting, Dolby E® decoding & encoding, Dolby E line position correction, audio wrapping, and MXF metadata conformity wrapping all in one watch-folder based offline processor. This powerful faster-than-real-time verification/ correction system is an essential tool for anyone with a file-based archive or playout. Ovation is a media server and sequencer that has applications in broadcast and is just as relevant to theatre, live events and fixed installations in any location. Integrating fully with Pyramix and MassCore DSP, Ovation becomes the heart of the installation with full editing, mixing and routing on a grand scale. VST plug-ins can be added to further customize the installation. Pyramix is so often a part of these systems because of it versatility. Application s p e c i f i c packages can be supplied for post, Merging Technologies Pyramix audio workstation mastering, Horus is a top quality converter music recording and broadcast that can cope with a variety of radio in addition to its partnership sampling rates and I/O formats with VCube and Ovation. The as well as providing first class ability to use VS3 and VST plugmic preamps. This powerful and ins vastly increases the effects cost-effective device can be part and processes that can be of a networked system using accomplished. MassCore provides the industry leading Ravenna IPa phenomenally powerful mix based protocol. Horus is a standengine which coupled with Horus, alone converter so is not limited the latest addition to the product to just Merging products. Other range, provides all the I/O, routing Ravenna compatible devices can and mixing you need. The recent be linked to form a complete audio introduction of Pyramix Native has chain using a standard Ethernet brought the power of Pyramix to a backbone dramatically reducing much broader user base and there the cost and complexity of moving is a Pyramix option to suit all uses and/or routing large number of and budgets. audio channels over any distance.

70

InFORM
DVS Further Enhance CLIPSTER® DI workstation
DVS presented award-winning DI workstation CLIPSTER® with an extended feature set at this year’s IBC. Besides new DCI Mastering functions, CLIPSTER® now also offers Mezzanine Format Mastering for IMF with extended JPEG2000 support. In addition to the new AVC-Ultra codec classes from Panasonic, CLIPSTER® also offers real-time support for JPEG2000 as well as RAW formats of a variety of cameras. When it comes to DCI Mastering, CLIPSTER® users benefit from extended features: The DVS DI workstation makes generating file-based formats including DCPs (Digital Cinema Packages) for digital cinema even easier and faster. Thanks to CLIPSTER’s new IMF Mastering function, users can quickly and cost-effectively generate a digital file-based master comprising various tracks such as video, audio, subtitles and closed caption data. The Interoperable Master Format (IMF) is a mezzanine format that allows rapid versioning of various distribution formats. CLIPSTER’s batchlist function enables independent and automated processing of DCI/IMF and other distribution jobs. With the DI workstation, users can also record directly and losslessly into JPEG2000 file sequences. JPEG2000 has established itself as a high-quality mastering and archiving format. With a bit rate of 500 Mbit/s, CLIPSTER® compresses JPEG2000 files faster than in real time. DVS has increased the number of codecs supported in CLIPSTER® to include AVC-Intra Class 200 that is part of Panasonic’s AVC-Ultra codec group. For the first time, this format is available in the market and extends the DI workstation’s range of distribution formats. Among other benefits, AV C - I n t r a Class 200 d e l i v e r s CLIPSTER® DI workstation high-quality of RAW files from digital cameras 1080p50/p60 compression – on such as ARRI Alexa, RED Epic® top of that, CLIPSTER® can also and models by Phantom and wrap AVC-Intra Class 200 in a P2 Silicon Imaging. Here, CLIPSTER® or OP-1a MXF. creates a single timeline from the CLIPSTER® makes working RAW material and carries out realwith stereoscopic workflows time decoding and demosaicing. much easier and guarantees The DI workstation combines the incredible time savings. The RAW data with other file and video STAN (stereoscopic analyser) formats, offering users a great deal software, which is now integrated of workflow flexibility. in CLIPSTER®, is a correction tool Bernhard Reitz, Head of Product that can be used both manually Management at DVS said: “Fileand automatically. STAN analyses based workflows vary greatly and and corrects the 3D material in real pose a new set of challenges. As time, automatically adjusting the a result, DVS places considerable colour for the left and right eyes, emphasis on offering its customers among other features. flexible, easy-to-integrate and CLIPSTER® accelerates the high-performance solutions … RAW deliverable process and CLIPSTER® can be deployed at enables high-speed processing the heart of any workflow.”


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Table of Contents for the Digital Edition of In Broadcast - October/November 2011

In Broadcast - October/November 2011
Contents
3Ality Digital Acquire Element Technica
RTL Choses Quantel
Studios In Production
MAM Questions Answered
Changing Faces of Post Production
Microphones In Action
New Developments in Audio for Television
Routers and Switchers
Loudness Measuring in Workflows
In Broadcast - October/November 2011 - In Broadcast - October/November 2011
In Broadcast - October/November 2011 - 2
In Broadcast - October/November 2011 - Contents
In Broadcast - October/November 2011 - 3Ality Digital Acquire Element Technica
In Broadcast - October/November 2011 - 5
In Broadcast - October/November 2011 - 6
In Broadcast - October/November 2011 - 7
In Broadcast - October/November 2011 - 8
In Broadcast - October/November 2011 - 9
In Broadcast - October/November 2011 - 10
In Broadcast - October/November 2011 - 11
In Broadcast - October/November 2011 - 12
In Broadcast - October/November 2011 - 13
In Broadcast - October/November 2011 - 14
In Broadcast - October/November 2011 - 15
In Broadcast - October/November 2011 - 16
In Broadcast - October/November 2011 - 17
In Broadcast - October/November 2011 - 18
In Broadcast - October/November 2011 - 19
In Broadcast - October/November 2011 - RTL Choses Quantel
In Broadcast - October/November 2011 - 21
In Broadcast - October/November 2011 - 22
In Broadcast - October/November 2011 - 23
In Broadcast - October/November 2011 - Studios In Production
In Broadcast - October/November 2011 - 25
In Broadcast - October/November 2011 - 26
In Broadcast - October/November 2011 - 27
In Broadcast - October/November 2011 - 28
In Broadcast - October/November 2011 - 29
In Broadcast - October/November 2011 - 30
In Broadcast - October/November 2011 - 31
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In Broadcast - October/November 2011 - 33
In Broadcast - October/November 2011 - 34
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In Broadcast - October/November 2011 - 40
In Broadcast - October/November 2011 - 41
In Broadcast - October/November 2011 - 42
In Broadcast - October/November 2011 - 43
In Broadcast - October/November 2011 - 44
In Broadcast - October/November 2011 - 45
In Broadcast - October/November 2011 - 46
In Broadcast - October/November 2011 - 47
In Broadcast - October/November 2011 - MAM Questions Answered
In Broadcast - October/November 2011 - 49
In Broadcast - October/November 2011 - Changing Faces of Post Production
In Broadcast - October/November 2011 - 51
In Broadcast - October/November 2011 - Microphones In Action
In Broadcast - October/November 2011 - 53
In Broadcast - October/November 2011 - 54
In Broadcast - October/November 2011 - 55
In Broadcast - October/November 2011 - 56
In Broadcast - October/November 2011 - 57
In Broadcast - October/November 2011 - 58
In Broadcast - October/November 2011 - 59
In Broadcast - October/November 2011 - 60
In Broadcast - October/November 2011 - 61
In Broadcast - October/November 2011 - 62
In Broadcast - October/November 2011 - 63
In Broadcast - October/November 2011 - New Developments in Audio for Television
In Broadcast - October/November 2011 - 65
In Broadcast - October/November 2011 - 66
In Broadcast - October/November 2011 - 67
In Broadcast - October/November 2011 - 68
In Broadcast - October/November 2011 - 69
In Broadcast - October/November 2011 - 70
In Broadcast - October/November 2011 - 71
In Broadcast - October/November 2011 - Routers and Switchers
In Broadcast - October/November 2011 - 73
In Broadcast - October/November 2011 - 74
In Broadcast - October/November 2011 - 75
In Broadcast - October/November 2011 - 76
In Broadcast - October/November 2011 - 77
In Broadcast - October/November 2011 - 78
In Broadcast - October/November 2011 - 79
In Broadcast - October/November 2011 - 80
In Broadcast - October/November 2011 - Loudness Measuring in Workflows
In Broadcast - October/November 2011 - 82
In Broadcast - October/November 2011 - 83
In Broadcast - October/November 2011 - 84
In Broadcast - October/November 2011 - 85
In Broadcast - October/November 2011 - 86
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In Broadcast - October/November 2011 - 90
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