In Broadcast - April 2013 - 82


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

WWW.INBROADCAST.COM | ISSUE 18 - APRIL 2013

N E W S

InTECH

Connector Roulette: Density Versus Size
Not too long ago there used to be only one problem an engineer had to consider when thinking about
connectors for a rack installation job, and that was where to source BNCs from. Today the world is a
more complex place with engineers and installers having much more to think about…

By Josh Simons
Technical Director
Argosy
dvancing technology has meant,
for instance, that more router
crosspoints can be squeezed into
a smaller space. Broadcasters have
seized on this as a real benefi t,
because they have more signals
they need to route today. The
problem with high-density routers
and other products is that it means
the engineer has to find space for
more connectors on the already
crowded back panel.
Vendors have come up with
solutions to this challenge, with new
types of connector, which perform
well but are physically smaller. The
bad news is that, whereas there
is just one traditional BNC format,
there are a number of new types of

A

82

connector, and thus the potential
for confusion.
Back in 2008 NVision introduced
the DIN 1.0/2.3 connector to the
broadcast industry as the video
interface on their enterprise routers.
NVision was then acquired by
Miranda, and you will find the Din
1.0/2.3 interface on their current
large routers.
The Din 1.0/2.3 is a small
three-piece crimp connector with
push-pull latching. It uses internal
springs to grip the mating half, in
a mechanical design which is very
similar to some triax connectors. It
is commonly referred to as the “mini
BNC” and although this terminology
was not correct it was not a problem

as it was the only small
footprint connector being
used on routers and other kit,
so the installer knew what the
customer wanted.
But, in 2011, Amphenol
introduced an alternative
connector, again an industry
standard three-piece crimp. But
unlike the Din 1.0/2.3 which is
a push pull, the new Amphenol
connector is fundamentally a
miniature BNC in look and feel, by
using the familiar bayonet locking
ring to secure to the mating half
pips. This product can currently be
found on Harris Broadcast and Utah
Scientific routers.
However, to add to the complexity,
this product was marketed as the
HD BNC – as in high-density not
high-definition.
So to recap, there is a Din 1.0/2.3
being referred to as a miniature BNC,
a miniature BNC referred to as an
HD BNC, and the “common” BNC,
which is an HD BNC because it

BNC family: (Front to back) Amphenol
Din 1.0/2.3–miniature BNC, mini BNC
and the traditional size

comfortably carries high-definition
signals. This is where the potential
for engineers to end up with the
wrong connector lies.
Both “new” connectors are well
suited to their intended applications
and are widely available. My advice
is to use the correct terminology
from your router manufacturer’s
literature when talking with your
component supplier.
Maybe tell them what you want
the connector for and you will have
one less thing to trouble you at the
end of the day.

InTEST

OmniTek Zeros In On PQA And Lip-Sync
ith video compression here to
stay and to feature in future 4K
and UltraHD video systems, the need
for Picture Quality Analysis (PQA)
has never been greater.
The latest version (V3.0) of the
waveform analysis software from
T&M equipment manufacturer
OmniTek sees the addition of picture
quality and audio quality analysis to
the comprehensive facilities offered
on the company’s OTR 1001 and OTR
1003 rasterisers, and the addition of
‘In-Service’ Lip-Sync monitoring both
on the OTR systems and on the OTM
1000 waveform monitor.
The new Picture Quality Analysis
facilities provide real-time
determination of both standard
PQA metrics (PSNR and Macroblock
counts) and proprietary edge and/
or luma-compensated versions of
the standard metrics, along with a
selection of Difference Images and
an Edge Map. The Audio Quality
measurement uses algorithms
detailed in ITU-R BS.1387-1 to
generate parameters associated
with the PEAQ model for assessing
audio quality.
The basic quality assessment

W

technique is to compare the test
signal against a reference copy of
that signal. The comparison can be
made either between two live signals,
or between a live signal and a stored
copy of the same sequence, or
between two copies of the sequence
recorded e.g. using different
equipment. Live-v-Live comparisons
may be used in production testing or
to determine the degradation suffered
at different points in a transmission
path, while Live-v-Play-out can be
used to determine the degradation
caused by passing the signal through
one or more pieces of equipment.
The results can be displayed either in
‘PQA Charts’ or through ‘PQA Meters’
or in the ‘Quality Analysis’ section of
the Status display.
The approach taken and the various
charts and difference images that
are produced will seem very familiar
to anyone who has used OmniTek’s
original standalone PQA system.
Moreover, OmniTek has ensured that
SNMP scripts previously developed
for remote control of the classic PQA
system may be used unchanged.
The key feature of the new InService AV Delay and Lip-Sync

Measurement is that it does away
with using either a dedicated test
sequence or digital watermarking to
determine Audio/Video Delay.
Instead, all the information that
is needed to correlate motion and
scene changes is taken directly from
a derived ‘fingerprint’ of the video
currently being broadcast. The audio
delay measurements made are
accurate to 1/48000 of a second (or
about 20 microseconds). The way
the measurements are carried out
means that the new facility is also

able to measure the total Loop Delay.
Picture Quality Analysis and LipSync monitoring are new performance
measurements, adding to many
other facilities of OmniTek’s OTM
1000 and OTR 1001 which include
measurements of Loudness, True
Peak and Surround Sound levels,
Stereo 3D image registration, colour
matching and depth analysis, Camera
alignment, Multi-space colour-gamut,
Ancillary and Metadata extraction,
Eye pattern and SDI jitter analysis, as
well as the standard waveforms and
vectorscope displays. They can also
capture and generate a wide range
of test patterns and sequences.

Picture difference, PSNR timeline and Quality meters with AV and Lip-Sync delays


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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
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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
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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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