In Broadcast - April 2013 - 58


I N T E R N A T I O N A L

WWW.INBROADCAST.COM | ISSUE 18 - APRIL 2013

N E W S

InMEDIA

DVS Improves On Studio Efficiency
A

58

t NAB, Rohde & Schwarz DVS
will be presenting its studio
broadcast and post-production
solutions packed with numerous
new features. The focus will be on
unparalleled efficiency and user
friendliness.
The VENICE Media Production
Hub product line has been extended
with the new budget-oriented entrylevel solution VENICE Element.
Moreover, VENICE and SpycerBox
have a new GUI while CLIPSTER
offers innovative features supporting
the ground-breaking standards
IMF and AS-02.
The manufacturer of hardware and
software solutions will continue to
focus on workflow efficiency, userfriendliness and product flexibility.
With VENICE Element, the VENICE
product portfolio offers an entrylevel solution that is tailored
specifically to meet the needs of
live studio operation and playout.
Both the VENICE Media
Production Hub and the flexible
storage solution SpycerBox
feature new GUIs. Besides this, key
enhancements for the CLIPSTER DI
workstation include support for the
standards AS-02 and IMF.
The VENICE Media Production Hub
unites video server functionalities
with future-proof features for
file-based studio production. For

VENICE with new GUI at NAB 2013 (Photo: DVS)

NAB, VENICE boasts a new GUI
which has been adapted to meet
the needs of live studio operation
even more closely. With support
for AS-11, VENICE now offers an
additional standardised delivery
format so broadcasters can
exchange content more easily
and significantly accelerate their
production processes. Users are
also able to manage assorted
recording tasks in a simple and
straightforward way with the
innovative Record Scheduler.
The latest version of CLIPSTER
includes a huge array of product

Managing Colour With Filmlight
By Mark Burton
Marketing Director
FilmLight

T

he original purpose of colour
grading was largely to fix
problems. Film processing varied
from day to day, so to achieve
consistency in a movie you had to
subtly alter the colour balance from
shot to shot. This was first done with
light valves in the film printer, and
later electronically in the telecine.
With today’s high-resolution
digital cameras consistency is not
the issue, but directors and DoPs
still see colour grading as a critical
part of their creative toolkit. The
use of colour, light and shade has
become another element in storytelling, providing the viewer with
extra hints to the mood of the scene.
The process starts on set. In theory
a digital cinematography camera
can deliver one massive benefit over
film: you can see what you have just
shot immediately, without waiting for

the film to be processed. In practice,
the output of a high-resolution
camera looks flat and lacking in
contrast on a conventional monitor
without processing.
Some directors live with this and
learn to interpret the flat pictures.
Others prefer to have an idea of
what the finished shot will look
like. And so they have a simple
colour grading system on set, like
Baselight TRANSFER or an on-set
box such as FLIP, which allows the
DIT (Digital Intermediate Technician),
or even one of the colourist team
on a big production, to create a
viewing version.
That look will inevitably be
influenced by the ideas of the
director and the DoP, so can be
regarded as the first step toward
the finished look. And so it makes
sense to capture the metadata and
transfer it to the final colour suite, so
that the lead colourist is not starting
blind but with a good guide to the
director’s intentions.
The other transformation in colour
workflows is that, in the colour suite,
the content sits on a central server,
which creates the opportunity

features for considerably easier
everyday DCI and mezzanine
format mastering. DVS will
also be showcasing further key
developments in the two standards
AS-02 and IMF.
In addition, with the HFR
enhancements for DCP generation,
it is now possible to master cinema
films at up to 96 fps (HFR 3D at 48
fps) in high image quality. The idea
behind the established DCI wizard
has also been implemented for IMF:
the new IMF wizard guides the user
through each required step and
generates the final IMF-compliant

IMP (Interoperable Master Package).
Bernhard Reitz, Head of Product
Management at DVS, said: “Once
again, DVS will be showcasing
one of a kind, future-oriented
broadcast and post production
solutions. For NAB 2013, we’ve
also further enhanced our strategy
of user-friendliness and integrated
this into our products enabling our
users to benefit from increased
workflow efficiency.”
For NAB, DVS has equipped
a version of its flexible storage
solution SpycerBox with SSD
technology which is tailored
perfectly to the needs of TV studio
and post-production workflows
thanks to its low latency and high
performance. It delivers impressive
internal data transfer speeds of up
to 12 GByte/s as well as extremely
quick access times and maximum
fail-safe operation. Furthermore,
users can configure and monitor
data more easily with the new SAN
Remo management GUI.
The central SpycerBox storage
solution, which is available in
multiple versions, integrates into
any storage environment thanks to
its numerous optional interfaces.
Customers with critical workflows
will benefit from the high-availability
feature set in SpycerBox.

to develop
collaborative
workflows
b e t w e e n
the colourist
and
other
departments. In
an effects shot,
for instance,
the colourist
can grade the
background
plate
and
prepare any live
action elements
before handing
them over to the
VFX team. The FLIP allows the colourist team to create a viewing version
colour suite can
also offer trial conforms and grades
and different manufacturers have
while the shot is still being worked
subtle differences in colour gamut.
on in the edit suite.
To ensure consistency, you need to
With random access to the content
be able to calibrate each display you
it is easy to match the look of related
are working with to your reference.
scenes, and to compare the effects
The FilmLight Truelight system is
of different colour treatments to
designed to provide that calibration
ensure that the director’s intention
across devices. It ensures that
is being realised.
all displays start from the same
The final element in the new
colour response.
workflow is the need to ensure
Wherever you are in the workflow,
that you are always working with
you are sure you are seeing the
the same basic colour response.
right colour response and so
Digital projectors have different
can confidently contribute to the
colour curves to LCD monitors,
creative process.


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In Broadcast - April 2013

Table of Contents for the Digital Edition of In Broadcast - April 2013

In Broadcast - April 2013
Contents
InNEWS: Chyron to Merge With Hego Group
InNEWS: Studiovision Lebanon HD OB Truck
InPREVIEW: Nab Show 2013 Keynote Address: Disruptive Media
InREPLY: Harmonic Answers on MPEG DASH
InGEAR: Camp Digital Hits the Road
InVIEW: Hyper-Local TV Channels
InMEDIA: Digital Nirvana’s Cloud Based Anystream IQ
InMEDIA: Keeping One Step Ahead With on Demand Video Streaming Technology
InMEDIA: Understanding Media Asset Management
InTEST: Oversight via Monitoring & Logging
In Broadcast - April 2013 - In Broadcast - April 2013
In Broadcast - April 2013 - Cover2
In Broadcast - April 2013 - Contents
In Broadcast - April 2013 - InNEWS: Chyron to Merge With Hego Group
In Broadcast - April 2013 - 5
In Broadcast - April 2013 - InNEWS: Studiovision Lebanon HD OB Truck
In Broadcast - April 2013 - 7
In Broadcast - April 2013 - 8
In Broadcast - April 2013 - 9
In Broadcast - April 2013 - 10
In Broadcast - April 2013 - 11
In Broadcast - April 2013 - 12
In Broadcast - April 2013 - 13
In Broadcast - April 2013 - 14
In Broadcast - April 2013 - 15
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In Broadcast - April 2013 - 25
In Broadcast - April 2013 - 26
In Broadcast - April 2013 - 27
In Broadcast - April 2013 - 28
In Broadcast - April 2013 - 29
In Broadcast - April 2013 - InPREVIEW: Nab Show 2013 Keynote Address: Disruptive Media
In Broadcast - April 2013 - 31
In Broadcast - April 2013 - 32
In Broadcast - April 2013 - 33
In Broadcast - April 2013 - InREPLY: Harmonic Answers on MPEG DASH
In Broadcast - April 2013 - 35
In Broadcast - April 2013 - 36
In Broadcast - April 2013 - 37
In Broadcast - April 2013 - InGEAR: Camp Digital Hits the Road
In Broadcast - April 2013 - 39
In Broadcast - April 2013 - 40
In Broadcast - April 2013 - 41
In Broadcast - April 2013 - InVIEW: Hyper-Local TV Channels
In Broadcast - April 2013 - 43
In Broadcast - April 2013 - 44
In Broadcast - April 2013 - 45
In Broadcast - April 2013 - 46
In Broadcast - April 2013 - 47
In Broadcast - April 2013 - 48
In Broadcast - April 2013 - 49
In Broadcast - April 2013 - 50
In Broadcast - April 2013 - 51
In Broadcast - April 2013 - 52
In Broadcast - April 2013 - 53
In Broadcast - April 2013 - 54
In Broadcast - April 2013 - 55
In Broadcast - April 2013 - InMEDIA: Digital Nirvana’s Cloud Based Anystream IQ
In Broadcast - April 2013 - 57
In Broadcast - April 2013 - 58
In Broadcast - April 2013 - InMEDIA: Keeping One Step Ahead With on Demand Video Streaming Technology
In Broadcast - April 2013 - 60
In Broadcast - April 2013 - 61
In Broadcast - April 2013 - 62
In Broadcast - April 2013 - 63
In Broadcast - April 2013 - 64
In Broadcast - April 2013 - 65
In Broadcast - April 2013 - 66
In Broadcast - April 2013 - InMEDIA: Understanding Media Asset Management
In Broadcast - April 2013 - 68
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In Broadcast - April 2013 - 87
In Broadcast - April 2013 - InTEST: Oversight via Monitoring & Logging
In Broadcast - April 2013 - 89
In Broadcast - April 2013 - 90
In Broadcast - April 2013 - Cover4
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