SUBJECT: Supply Tender for the Design, Supply, Delivery, Installation, Testing
and Commissioning of a Complete Digital HD Virtual Television Studio and Editing
Facilities at the MCAST Institute of Art and Design, Misraħ l-Għonoq, Mosta, Malta
Tender Document: CT2649/08
Operational Programme I – Cohesion Policy 2007-2013
Investing in Competitiveness for a Better Quality of Life
Tender part-financed by the European Union
European Regional Development Fund (ERDF)
Co-financing rate: 85% EU funds; 15% National Funds
Investing in your future
DIPARTIMENT TAL-KUNTRATTI
DEPARTMENT OF CONTRACTS
Notre Dame Ravelin
Floriana VLT 2000 – MALTA
Notre Dame Ravelin
Floriana VLT 2000 – MALTA
Telephone:
(0356) 2122 0212
(0356) 2122 0313
www.contracts.gov.mt
1
Fax:
(0356) 2124 7681
e-Mail:
info.contracts@gov.mt
ANNEX II: TECHNICAL SPECIFICATIONS
1
2
3
4
5
GENERAL INFORMATION ABOUT MCAST
SCOPE OF WORK AND GENERAL FEATURES
THE GENERAL UTILITY NEEDS
MAIN STUDIO 1
4.1
Video Equipment
4.2
Audio Equipment
4.3
Lighting Equipment
4.4
Infinity Background
4.5
Rubber Base Flooring
POST PRODUCTION AND GRAPHICS SUITES
An overview
Production Solution
Ingest and Playout
5.1
2.GR.1 - EDITING STATIONS FOR STUDENTS – Quantity 24
5.2
2.GR.2 - EDITING STATION FOR TUTOR – Quantity 1
5.3
2.GR.3 - SELECTION OF LICENSED VERSION SOFTWARE
PACKAGES ON EACH EDITING SUITE
6
5.4
2.GR.4 - CRAFT EDITING SUITES - Quantity 5
5.5
2.GR.5 - AUDIO POST PRODUCTION SUITES
5.6
2.GR.6 – ASSET MANAGEMENT
5.7
2.GR.7 – STORAGE
5.8
2.GR.8 - COMMUNICATION, NETWORKING AND CONTROL
ADDITIONAL INFORMATION
6.1
SERVICES, SUPPORT AND TRAINING
6.2
PROJECT SCHEDULE
6.3
INSPECTION AND COMMISSIONING
6.4
SYSTEM DRAWINGS
6.5
TECHNICAL DOCUMENTATION
2
SPECIFICATIONS
1. General Information about MCAST
An important role of the MCAST Institute of Art and Design is to raise the profile of training in the creative
industries with an aim to achieving their full economic potential. The project is concerned with one specific
area of creative application, viz., Multimedia. Let it be said that multimedia includes film and television but is
not exclusively concerned with these.
MCAST can act as a catalyst and as an educational keystone in the development of Multimedia training.
The institute of Art and Design is planning to set up this new area of study. This will complement existing
courses and may provide upgrades to the existing Graphic Design and 3D Design programmes. The
Institute is already committed with the provision of internationally recognized vocational qualifications. It is
envisaged that the Institute will start offering a range Multimedia courses in various levels of study as from
September 2009. There will also be an opportunity for people working in the trade to join evening sessions
and courses that may be offered accordingly to demand.
The Institute also envisages starting other courses relating to Digital TV productions editing and sound
engineering, among others. Such qualifications must stand up to expectations, particularly with regard to
international equivalence. The Institute must at the same time widen its activity base while strengthening its
links with foreign vocational Colleges offering similar qualifications and the European film and TV industry.
These courses will be targeted towards both national and international students.
2. Scope of Work and General Features
MCAST would like proposals for the design, supply, delivery, installation, testing, and commissioning of a
complete digital HD Virtual Television studio and editing teaching facilities.
The system must be based on modular architecture, scalable and highly reliable for tutorial and live
situations.
The tender will be divided into two sections:
a) Main TV Studio equipment
b) Post production, graphics equipment and software
All equipment is to be interconnected and compatible. Users are to be able to collaborate on the same
media from the shared storage system simultaneously throughout the whole system.
The offered system is to provide complete integrated video production work-flow.
The solution is to include simple and integrated control applications for the ingest and playout of the video
content both from the studio and the video editing stations.
The system shall work in a multi-tasking environment and should therefore be based on common user
interface style across all editing applications.
All supplied offers are to be offered according to latest technology available at time of tendering/contracting.
3
All equipment is to be compliant with the European Directive on the Restriction of the use of certain
Hazardous Substances in Electrical and Electronic Equipment also known as the WEEE (Waste Electrical
and Electric Equipment) and RoHS (Restriction of Hazardous Substances) directives.
Equipment is to have a low energy consumption and should preferably be manufactured using recyclable
material, all equipment however has to be brand new.
3. The General Utility Needs
The area which can be seen in the attached plan A may need to be upgraded to accommodate the new
installation.

Tenderer is to install and commission all the necessary electrical system for the Main TV Studio, the TV
Control Room and the Audio Room as indicated in the attached plan. The installed electrical system
should not interfere with the audio and visual signals within the area.

Systems offered are to keep power consumptions low, and are to include green designs which
will reduce power consumption and air-conditioning needs.

Designs are to introduce the energy saving concept to the students as one of the modern
essential key-points in the trade.

Tenderer is to quote for the supply and installation of all audio, video, network cabling requirements to
cover the needs for the Main Studio, TV Control Room, Audio Room and links to and between all
facilities which will comprise of the Main TV Studio, the TV Control Room, Audio Room, 7 Editing Suites
room and the Graphics Lab. Supply and install all broadcast installations, including patch panels, and
AV connectors are to be included in the quote.
Tenderer is to quote for the supply and installation of a ups system which is to provide abundant battery
backup power, which is to allow for non-stop work through medium and extended length power outages. It is
to safeguard equipment from damaging surges and spikes that travel along utility, phone and network lines.
It is to have automatic voltage regulation. In the event of an extended power outage it is to be able to
shutdown software automatically and powers down all equipment systems within the TV Main studio, the TV
Control room and Audio Room.
4
4. MAIN STUDIO 1
1.
The Main Studio 1 will consist of a TV Studio, Control Room and Audio Visual Room.
2.
The Main Studio which is to be housed in an existing premises as shown on the attached plan requires
the following, equipment and installations:
 Video Equipment (Clause 4.1)
 Audio Equipment (Clause 4.2)
 Lighting Equipment (Clause 4.3)
 Infinity background (Clause 4.4)
 Rubber base flooring (Clause 4.5)
All equipment and installations are to be designed, supplied, installed and commissioned.
4.1 Video Equipment
Design, supply, installation and commissioning of video section, including:
1.V.1
Multi-format HD Camera Kits
1.V.2
Multi-format vision switcher and processor
1.V.3
Virtual Studio Hardware and Software
1.V.4
Studio Tripods with Sensors
1.V.5
HD tapeless Camcorder kit
1.V.6
Camera Crane with Sensor
1.V.7
Ancillary Equipment
1.V.7.1
Video & Audio Distribution Amplifiers
1.V.7.2
Digital to Analogue Converters and Vice Versa
1.V.7.3
Multi-View Video Wall for Monitoring Purposes
1.V.7.4
HD Broadcast Monitors
1.V.7.5
Character Generator with HD Capability
1.V.7.6
HD-SDI Video and Audio routers
1.V.7.7
TBC and SPG’s with automatic changeover
1.V.7.8
Talkback System
1.V.7.9
Waveform Monitors (supplier to indicate quantity needed)
1.V.7.10
Vector Scopes (supplier to indicate quantity needed)
1.V.7.11
Teleprompters complete with Software
1.V.7.12
17” Precision Studio HD Monitor
1.V.7.13
20” Precision Studio HD Monitor
1.V.8
1.V.9
1.V.10
HD Video Cassette Recorder
HDV/DV Video Cassette Recorder
Digital Tape less VTR
5
4.1.1
- 1.V.1 – MULTI-FORMAT HD CAMERA KITS - Quantity 3
The Multi-format HD Camera consists of:
a)
b)
c)
d)
e)
Qty 3 - HD Camera
Qty 3 - Camera Control Unit
Qty 3 - Compact HD Studio Lenses
Qty 3 - Multi-format HD Colour LCD Viewfinder
Qty 3 - Remote Control Panel (Joystick Type)
General Features:
o Three 2/3-inch type 2.2-megapixel HD progressive CCD
o High-sensitivity of F10
o Signal-to-noise ratio of 54 dB
o Capturing modes - 1080/50i, 1080/60i, 1080/24P, 1080/25P, 1080/30P, 720/50P, 720/60P
o 14-bit A/D conversion
o DSP LSI
o Ergonomic design
o Compact and lightweight
o Optical fiber digital transmission
o Interfaces: two HD-SDI outputs, one digitally down-converted SD-SDI output
o Ability to store camera setup parameters
o Servo-controlled ND and CC filters
4.1.1.1
HD CAMERA
Main Features:
o
o
o
o
o
o
o
o
o
o
o
o
o
o
3-CCD 2/3-inch type 16:9 Pickup device
Effective picture elements (H x V) 1920 x 1080
Colour separation or spectrum system F1.4 prism system
Built-in filters 1: Clear, 2: 1/4ND, 3: 1/8ND, 4: 1/16ND, 5: 1/64ND, A: CROSS, B: 3200K, C:
4300K, D: 6300K, E: 8000K
Servo filter control
Bayonet lens mount
Sensitivity F10 at 2000 lx (3200K, 89.9% reflectance)
Minimum illumination 10 lx (F1.4, +12 dB gain up)
Signal-to-noise ratio 54 dB (typical)
Horizontal resolution 1000 TV lines
Dynamic range (1080/60i mode) 600%
Registration Within 0.02% (all zones, without lens)
Shutter speed selection 1/100, 1/125, 1/250, 1/500, 1/1000, 1/2000 s (1080/60i mode), 1/60,
1/125, 1/250, 1/500, 1/1000, 1/2000 s (1080/50i mode)
Modulation depth 45% or more horizontally (800 TV lines at centre, 27.5 MHz, with typical
lens)
Input connectors
o Audio in (CH-1) XLR-3-31 type (1, female), mic or line selectable
o Audio in (CH-2) XLR-3-31 type (1, female), AES/EBU or mic or line selectable
6
o
o
o
Mic in (front) XLR-3-31 type (1, female)
Return control 6-pin (1)
DC in XLR-4-pin type (1)
Output connectors
o Test out BNC type (1), 1.0 Vp-p, 75½
o HD SDI out BNC type (1)
o Earphone out Mini-jack (1), 8½
o DC out 4-pin (1), 10.5 to 17 V max. 1.5 A
Input/output connectors
o CCU Optical fibre connector
o Lens 12-pin
o Viewfinder 20-pin
o Remote 8-pin
o Prompter BNC type (1), 1.0 Vp-p, 75 ½
o Tracker 10-pin: Tracker R/T, R/G Tally, unregulated 12 V
o Crane 12-pin, Y/Pb/Pr, Trunk data I/O, Serial Data
o Intercom XLR-5-pin (2, female)
4.1.1.2
CAMERA CONTROL UNIT
Main Features:
o
o
o
o
o
o
o
o
o
High power supply capability
Three HD-SDI or SD-SDI outputs
Up to eight additional HD-SDI or SD-SDI outputs
Three HD-SDI, SD-SDI, or analogue composite return video inputs
Built-in down-converted analogue composite output
Remote Control Unit attach capability on the front panel
One channel teleprompter input Built-in Ethernet interface (100Base-T)
Two-channel data trunk line (RS-422A/RS-232C) for easy data transmission
Two-channel microphone output (two XLR connectors)
General Features
o Power requirements AC 100 to 240 V, 50/60 Hz
o Maximum current consumption 4 A (at 100 V AC, entire system active)
o Operating temperature -10 to +40 °C (+14 to +104 °F)
HD inputs/outputs
o HD SDI output (*1)BNC type (2), SMPTE 292M, 1080/50i, 60i, 30P, 25P, 24P, 720/60P,
50P HD SDI/SDI selectable
o HD monitor output (*2) BNC type (1), SMPTE 292M, 1080/50i, 60i, 30P, 25P, 24P,
720/60P, 50P HD SDI/SD SDI selectable
o HD SDI return input BNC type (3), SMPTE 292M, 1080/50i, 60i, 30P, 25P, 24P,
720/60P, 50P HD SDI/SD SDI/VBS selectable
SD inputs/outputs
o SDI output (*1) BNC type (2), SMPTE 259M,
7
o
o
o
Serial digital component HD SDI/SD SDI selectable
SDI monitor output (*2) BNC type (1), SMPTE 259M, Serial digital component, 480/576lines HD SDI/SD SDI selectable
Analogue composite monitor output BNC type (1), Monitor/Sync selectable, character
on/off selectable
SDI return input BNC type (3), SMPTE 259M, Serial digital component HD SDI/SD
SDI/VBS selectable
VBS return input BNC type (3), NTSC/PAL HD SDI/SD SDI/VBS selectable
o
o
Reference input BNC type (1, with loop-through), HD tri-level sync or SD black burst
Sync output BNC type (1), HD tri-level sync or SD sync Sync/Monitor selectable
o
o
Sync
Intercom/Tally/PGM
o Intercom PD & ENG D-sub 25-pin (1), 4W/RTS/CC selectable
o PGM1/PGM2 0/-20 dBu selectable
o R-Tally/G-Tally 24 V power in/make contact
o Audio MIC1/MIC2 outputXLR-3-31 type (2, female), 0/-20 dBu selectable
o Digital audio output (AES/EBU) Embedded audio
o Embedded audio to HD SDI/SD SDI
Prompter
o
Prompter in BNC type (1, with loop-through), Analogue, NTSC/PAL/HD-Y
o
RCP/MSU/CNU interface 8-pin (1), Camera Command Network Protocol (for entire
camera system control)
Ethernet RJ-45 (1), 10BASE-T/100BASE-TX
Mic remote D-sub 15-pin
WF mode 4-pin (1), Stair step (for SD composite Waveform monitor)
WF control -sub 15-pin (1), GPI for SDI component WF control)
WF control/mic remote selectable
Others
o
o
o
o
o
System expansion I/O
o Trunk line 12-pin (round type connector),
o RS-232C/422 (remote line for CHU equipment)
4.1.1.3
COMPACT HD STUDIO LENSES
The lens is to provide higher optical performance compared with the portable lenses and at the same time
offer higher versatility when used with a portable camera as opposed to the large box type lenses.
Operation
The lens is to operate with an encoder Servo System, with the following servo speeds: Zoom: 0.5sec, Focus:
1.5sec. This system is to enable the lens to be easily integrated into virtual studio applications.
8
Functions
The lens is to be equipped with an informational display, which will enable the operator to use diverse digital
functions, easily and precisely.
High Optical Performance
The lens is to offer higher contrast and resolution compared with portable lenses and at the same time,
reduces the Focus Breathing to a zero level.
Compact Size & Light Weight
In order to realize the best capabilities from the camera/lens combination, the lens is to be specifically
designed to be as compact and light as possible.
Constant Angle Focusing System
The lens is to have a ZERO zooming effect of focus. By memorizing any two focal lengths, the lens is to be
able to automatically “shuttle” between the two points, moving in either direction. A specific zoom speed
could be preset in memory and it would be possible to repeat the zoom speed by pushing a simple button.
An angle of view could be preset in either of two memories and the lens is to zoom to that position by
pushing a simple button. During a performance, framing preset will reproduce the zoom position decided
upon at the rehearsal.
Zoom and Demand Controls
The lens is to be supplied with Digital Zoom & Focus Demand Controls.
General Specifications
o
o
o
o
o
o
o
4.1.1.4
Zoom Ratio should not be less than 22X
It is to have a built-in Extender of at least 2.0x
Minimum range of Focal length 7.3~161mm (With Extender - 14.6~322mm)
Maximum Relative Aperture (with Extender) 1:1.8 at 7.3~111.5m 1:2.6 at 161mm 1:3.6
at 14.6~223mm (2.0x) 1:5.2 at 322mm)
It is to have a wide range of angular field of view with 4:3 Aspect Ratio and 16:9 Aspect
Ratio
Minimum object distance is to be 0.8 (19mm with Macro) or better
It is to have macro option and built in optical stabilizer.
MULTI-FORMAT HD COLOUR LCD VIEWFINDER
Main Features:
o
o
o
o
High quality 6.3-inch type TFT color LCD panel with a high resolution of more than 500
TV lines
Accommodates multiple frame rates
Compact design to allow large panning and tilting angles
Very low power consumption
Supplied Accessories
o Monitor hood ( x1)
9
o
o
o
o
o
o
Number plate (x1)
Operation manual (x1)
V-shaped shoe attachment (x1)
Hexagonal key (x1)
Hexagonal socket head screws (x4)
Connecting cable (x1)
General Features
o
o
o
o
o
o
o
o
o
o
o
o
4.1.1.5
Power supply: DC 10.5 to 17.0 V (to be supplied by the camera)
Power consumption: 14 W
Operating temperature: To be between 0 °C to 45 °C (32 °F to 113 °F)
Storage temperature: To be between- 20 °C to 60 °C (- 4 °F to 140 °F)
LCD type: Not less than 6.3-inch type color TFT
Image display area dimensions:129 x 73 mm (16:9 aspect ratio)
Brightness:230 cd/m2 or better
Resolution:500 or more lines
Supported
formats:
Effective
scanning
lines/Format/Horizontal
scanning
frequency/Vertical scanning frequencies:
1080/23.98PsF/26.97 kHz/47.95 Hz
1080/24PsF/27 kHz/48 Hz
1080/25PsF/28.13 kHz/50 Hz
1080/29.97PsF/33.72 kHz/59.94 Hz
1080/30PsF/33.75 kHz/60 Hz
1080/50i/28.13 kHz/50 Hz
1080/59.94i/33.72 kHz/59.94 Hz
1080/60i/33.75 kHz/60 Hz
Color temperature:6500 K
Input signals: Pb, Pr: 0.7 Vp-p, asynchronous, 75 ½ terminated Y: 1.0 Vp-p,
synchronous, 75 ½ terminated
Connectors CAMERA connector: Round type 20-pin
REMOTE CONTROL PANEL (JOYSTICK TYPE)
Main Features:
o
o
o
o
Touch Control Colour LCD display for easy access to comprehensive Menu System
Small size with full paint control
Memory facility for storage of settings
Parallel control function
General Specifications
o Power requirements: DC 10.5 to 35 V
o Power consumption:4 W max.
o Maximum cable length:200 m (656 feet) with CCU/HDCU connected
o Operating temperature:5°C to 40 °C (41°F to 104°F)
10
Input/Output
o
o
o
4.1.2
Remote:CCU/CNU: 8-pin x 1
AUX : 8-pin x 1
EXT I/O:9-pin x 1
- 1.V.2 – MULTI-FORMAT VISION SWITCHER & PROCESSOR – Quantity 1
Main Features:
o
o
o
o
o
o
o
o
o
o
High performance compact multi-format switcher
It is to support both multi-format and standard definition configurations
The standard definition configuration can be upgraded to a multi-format system with
minimal cost by upgrading the software
Preset effect patterns are to be provided as preset wipes and DME wipe patterns
The control panel is to enable operations such as Macro, M/E and Effect Snapshot
Colour touch-screen LCD panel
Serial and parallel tally outputs
Both the control panel and switcher processor can be fitted with redundant power supply
units
An option for 2-channel DME capable of 2D/3D linear and non-linear effects with a
variety of preset effects are to be included
A frame memory capable of storing at least 435 frames of HD images or 2184 frames of
SD images.
Minimum Supplied Accessories
o AC power cord (1)
o Operation manual (1)
General Features
o
o
o
o
Power requirements: AC 100 V to 240 V 610% 50/60 Hz
Power consumption: 4.5 to 2.1 A (fully loaded)
Operating temperature: 5 °C to 40 °C (41 °F to 104 °F)
Storage temperature -20 °C to +60 °C (-4 °F to +140 °F)
Input/output connectors
o Primary inputs: 16, BNC x 1 each SMPTE292M (HDTV), SMPTE259-C (SDTV)
o SDI video outputs: 8, BNC x 2 each SMPTE292M (HDTV), SMPTE259-C(SDTV)
o Reference inputs: BNC x 2, 75½ with loop-through
o HDTV system: HD tri-level sync, Analogue black burst, or analogue sync
o SDTV system: Analogue black burst or analogue sync
o Reference output: BNC x 1, 75 ½
Control signals
o
o
o
o
o
o
Switcher interface: Control LAN: RJ-45 x 1, 100BASE-TX
DME interface: Control LAN: RJ-45 x 1, 100BASE-TX
Data LAN: RJ-45 x 1, 100BASE-TX
GPI:D-sub 25-pin (female) x 1, TTL level
Inputs x 8,
Relay contact outputs x 4, Open collector outputs x 4
11
o
o
4.1.2.1
Tally:D-sub 25-pin (female) x 1, Relay contact outputs x 4, Open collector outputs x 4
Serial tally:D-sub 9-pin (female) x 1, RS-422A
1.5 M/E CONTROL PANEL FOR VISION SWITCHER
The 1.5 M/E Control Panel is to be 19 inches in width and offers 12-crosspoint buttons. Its control panel is to
be equipped with colour LCD buttons that indicate assigned functions to give users extremely intuitive
operation. An easy-to-use colour touch-screen LCD panel to provide users with an effective and
straightforward menu control.
General Features for the 1.5M/E control panel for vision switcher
o
Operating Power consumption:1.0 to 0.5 A
o
Operating temperature:5 °C to 40 °C (41 °F to 104 °F)
o
Storage temperature:-20 °C to +60 °C (-4 °F to +140 °F)
o
Operation humidity:10% to 90% RH
Input/output connectors
o Reference inputs BNC type x 2, 75 ½ with loop-through
o HDTV system: HD tri-level sync, Analogue black burst, or analogue sync
o SDTV system: Analogue black burst or analogue sync
o Ext display output: Mini D-sub 15-pin x 1, Analogue RGB interface
Control signals
o
o
o
o
o
o
4.1.3
Control LAN: RJ-45 x 1, 100BASE-TX
Data LAN: RJ-45 x 1, 100BASE-TX
Peripheral LAN: RJ-45 x 1, 100BASE-TX
Device: USB type A x 1, compliance with USB 1.1
Remote:BNC connector x 1, S-BUS
GPI:D-sub 25-pin (female) x 1, TTL level inputs x 8, Relay contact outputs x 4, Open
collector outputs x 4
- 1.V.3 - VIRTUAL STUDIO HARDWARE & SOFTWARE – Quantity 1
Supply of a high-end HD/SD virtual set system, for any type of virtual set production. Virtual sets are first
designed using modeling software such as 3D Studio Max, Maya or equivalent 3D design modeling software,
then utilizing the system’s importing capabilities, the models along with their respective geometry, textures
and animations are to be imported directly into the system. The video graphics rendering platform is to be
equipped with rendering power that allows even the most complex virtual set to run in real-time. Up to 8 full
scene anti-aliasing samples and other sets of graphic features, to ensure stunning photo-realistic results.
An extremely accurate camera tracking system to ensure a perfect match between the real and the virtual
objects. It is to be able to utilize either a Pattern Recognition tracking system, or mechanical sensor tracking
systems. The system is to support all types of broadcast cameras, lenses and tripods. Multiple camera
configurations are to be easily integrated with no reliance on 3rd party technologies. The system is to offer a
360-degree shooting range and by utilizing an infrared tracking system both handheld and crane mounted
cameras are supported for total freedom within the virtual set.
The system is to be a rundown based application allowing users to create sequential lists of items, group
them together, and send them to air. It is to have 2 working modes: design mode, in which rundowns are
created, and production mode in which the rundown items are sent to air. Additionally, it is to include a set of
tools that addresses the specific needs of virtual studio productions such as positioning the virtual set
12
graphics in the studio.
The system is to be extremely easy to operate; graphics rundowns will be created by simply dragging and
dropping graphics items into a playlist. It is to offer a local preview for the next graphics being sent to air.
The operator may view the entire page including its animations, before sending these graphics to air.
Furthermore, the system is to be capable of receiving camera tracking information from the studio camera
and thus allowing the operator to view the preview from the exact position of the relevant studio camera.
The system is to be designed to address the dynamic needs of today's production. It is to be capable of
loading multiple sets, which can be switched with a click of a button.
The system is to have an efficient graphics-rendering platform, and is to be equipped with broadcast quality
linear keyers, which support both HD and SD formats. An internal video delay will be provided as well and a
special LED display that verifies system status and performance. To increase system reliability, the system is
to run on a Linux operating system (or equivalent) and is to have a dual power supply thus ensuring that
even in the event of power loss the system will continue its regular operation.
A key factor in the virtual set production will be the ability to integrate live streams of video into the virtual set.
The system is to be capable of at least 12 video insertions in Standard Definition mode or up to 6 video
insertions when configured in High Definition. Mixing between HD and SD inputs will be allowed and all HD
formats are to be supported.
In addition to the keyed virtual set, the system is to incorporate support for dynamic foreground graphical
elements. Foreground graphics in the form of tickers, supers, crawls or even tracked 3D graphics that can be
inserted into the studio. A single operator will be able to control both foreground and background graphics
from the same application.
Features
o
o
o
o
o
o
o
o
o
o
o
o
Seamlessly integrates with all tracking systems including infrared tracking solutions,
Pattern Recognition and Mechanical sensors
Seamless integration between virtual set and on-air graphics both controlled from the
same application
Free camera movement including dolly, handheld and crane
Should not require any special 3rd party add-ons
Compatible with all HD and SD formats
Up to 6 full resolution HD video inputs and up to 12 SD inputs
2 video analog outputs
360 degrees shooting range with sensor or infrared based tracking
Minimal setup time and calibration
Minimal video delay
Can operate as a standalone system or as part of a larger solution
Easy interfacing to external databases
The 3D rendering platform is to have the following features, including; being based on standard high-quality
PC components; allowing quick adoption of new developments in that field; having a reliable, real-time
operating system environment; and enabling the SDI video output and graphics to be synchronized and
locked in the same house sync.
In addition, the graphics performance and quality must match current developments in the 3D graphics
domain, include graphics-to-video conversion with all necessary filters, support SD and HD standards
(simultaneously) and contain a dual-channel output for preview and program purpose. The rendering
platform must also contain multiple SDI video inputs which can be freely manipulated and mapped on any
3D objects as if they were ordinary pictures; have clip playout with the ability to play multiple video clips
created in any resolution, any frame rate (independent from the video output rate) and with any codec; have
a built-in linear key supporting pre-multiplied graphics and be equipped with e2e bypass (the mechanical
13
bypass for Master Control Room and Channel Branding), a “soft bypass” automatically entering the bypass
in case system components (CPU, memory, software) fail; redundant power supply; and RAID1 for system
disk.
Finally, the rendering platform must contain a built-in video delay for Virtual Sets, Virtual Advertising and
Sport Enhancement graphics; an embedded audio, especially for Master Control Room and Channel
Branding - and all in one compact rack-mount box.
Rendering Platform features
o
o
o
o
Based on standard, high-quality PC components
RAID1 for system disk
Linux operating system (or equivalent)
Standard Definition standards:
-
o
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o
o
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PAL (CCIR 601/625)
- NTSC (CCIR 601/525)
High Definition standards:
-
SMPTE 274M (1920x1080)
-
SMPTE 295M (1920x1080)
-
SMPTE 296M (1280x720)
- SMPTE 260M (1920x1035)
Genlock: digital, black burst, tri-level sync
Dual-channel output (fill+key each), available both in SD and HD
Analog monitoring outputs (working in HD or SD)
Swaplocked high calibre graphics with original drivers
Scalable graphics: Processors can be cascaded for increased performance
Direct graphics-to-video connection, thus eliminating costly read back operations
Graphics-to-video filtration, which can be controlled frame-accurately in real-time depending
on the graphic contents
Up to 12 simultaneous SD video inputs to video textures, up to 5 HD video textures (in 60Hz
HD standards) or up to 6 HD video textures (in 50Hz HD standards)
Possibility to mix HD and SD standards (SD inputs to the system configured in HD or vice
versa)
Input and output video routing
Allows the use of multiple simultaneous video clips as animated textures. Clips can be in any
resolution, any frame rate (which does not have to match the video output rate) and long list
of codecs
Plays audio clips
Built-in linear key supporting pre-multiplied graphics. When working in dual-channel, two
independent linear keys are available
2e and soft bypass
Built-in video delay of 20+ frames
16-channel (8 stereo pairs) embedded audio; each channel support 3-source audio mixing
3RU box with redundant power supply
Analog output for monitoring
Works with GPI protocol
Other features are to include:
o
Visually stunning yet simple to control intelligent graphics templates with controllable data
entry points. Internal connections between graphics elements and math functions, allowing
the reduction of the number of data entry points
14
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o
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o
Templates can be composed of multiple layers, each with its own view Virtual Channels:
multiple templates can be displayed at the same time and controlled independently, each
having its own display priority and from control software standpoint behaving like an
independent playout box. Different logical elements of the screen composition can be
assigned to different Virtual Channels: station bug, ticker, lower third, over-the-shoulder, fullscreen graphics
Mapping video clips and live video inputs on any 3D objects. Clips can be pre-rolled for
frame-accurate start
Shaders to control the appearance of the textures (such as bump mapping, displacement
mapping) can be applied to video textures and clips in real-time
Transitions between consecutive templates
Real-time depth of field effect for virtual studio, controlled by the camera’s zoom and focus
Real-time, high-quality texts with rich decorations generated in real-time. Texts fully support
Unicode and language scripts
Multiple tickers running in any direction (not just horizontal and vertical), allowing 3D
animated objects, animated textures, clips and video inside .
Mechanical Sensors
The Sensor heads are to be extremely precise and high accurate resolution answer for fixed camera position
shot. The Sensor heads solution is aimed for fixed position camera shots. The Sensor heads retrieves the
pan, tilt zoom and focus parameters of the camera and hence provides 360 degree shooting range. The
smooth fluid motion, the precision control and the counter balance system of the tripods are to remain
unchanged. The sensors will be integrated into the body of the tripod’s assembly unobtrusively, and the high
encoder resolution will provide a precise and accurate reading of camera position.
The sensor technology is to be able to utilize the camera audio channel to send the sensor data to the
rendering platform. Combined with the Pattern recognition tracking solution the calibration is to be quick and
easy to a point that the operator can move the sensor camera between shots to a new position.
4.1.4
4.1.4.1
- 1.V.4 - STUDIO TRIPODS WITH SENSORS – Quantity 3
The Pan & Tilt Head
The pan & tilt head should utilize a Thin Film (TF) drag system, which will provide constant drag and
consistent performance over an extended temperature range from -40°C to +60°C.
The head is to also have a digital counterbalance readout, backlit drag controls and an illuminated level
bubble, to give the camera operator the quickest and easiest set-up, particularly in low-light conditions.
It is to also have a twin balancing mechanism so that it can be easily adjusted to perfectly balance any
camera and lens combination up to 33 kg.
Main Features
o
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o
o
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o
Weight Flat base (complete with pan bar) Minimum 6.0 kg
Ball base (complete with pan bar and bowl clamp) Between 6.25kg to 6.40kg
Height to mounting face Ball base- Between 170 - 175 mm
Length – Between 157 -150 mm
Width – Between 244 and 247 mm
Typical payload (Approximately - 25 kg_
Tilt range ±90°
15
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4.1.4.2
Pan range 360°
Pedestal/tripod fixing 100/150 mm ball
Four-hole flat base
The Tripod
Main Features
A 150 mm bowl EFP tripod, designed to offer maximum stability and robustness, ideal for demanding field
and studio applications where a longer lens and heavier viewfinder are used.
The tripod is to have a lock cam-operated clamping system requiring low effort with a 90° turn from on to off,
providing the user with a positive indication that the tripod is securely locked. The profile of the knob is to
ensure that camera cables cannot snag.
Dolly
A lightweight and compact folding dolly is required for studio operation. It is to have fast-action foot-operated
brakes, fitted with adjustable cable guards and with track locks to provide tricycle steering.
The Tripod
a) It is to be Lightweight
b) It is to have Foot-operated brakes
c) Can Fold for easy transportation and storage
4.1.5
- 1.V.5 - HD TAPELESS CAMCORDER KIT – Quantity 1
The HD Tapeless Camcorder Kit consists of:
o Qty 1 - HD Tapeless Camcorder
o Qty 1 – ENG Lens
o Qty 1 – ENG Tripod
4.1.5.1
HD Tapeless Camcorder
The HD Tapeless Camcorder is to have the following features:
o
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o
o
o
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MPEG HD (35/25/18 Mb/s) DV switchable recording
12-bit A/D conversion
High-performance digital signal processing
1/2-inch type HD Power HAD EX CCD
Long recording time; MPEG HD(*1) at 35 Mb/s: 69 min., 25 Mb/s: 92 min.,18 Mb/s: 122
min., DV: 85 min.
Shock and dust resistant disc drive
3.5-inch type colour LCD screen
2/3-inch-type lens can be used via the optional adaptor
2.0-inch monochrome viewfinder supplied as standard.
Thumbnail Search operation
Expand function
Scene Selection operation
16
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4.1.5.2
Proxy AV (low-resolution audio and video) Data recording Metadata recording including
essence mark, UMID, Extended UMID
Progressive mode: 29.97P, 25P and native 23.98P
Slow & Quick Motion function (MPEG HD Only)
Selectable gamma curves (five types)
Picture cache recording function (up to 12 seconds)
Interval recording function (MPEG HD Only)
Slow shutter function
Turbo gain function (max. 48 dB)
Auto Tracing White Balance (ATW) capability
HD-SDI output, SD analogue composite output and i.LINK (DV OUT and File Access
Mode) as standard
Down-conversion output via the SD composite, or i.LINK (DV OUT) connector
Four assignable buttons
A wireless microphone receiver can be easily attached to the camcorder via an optional
adaptor
Removable memory to store camera setup parameters
Intelligent light system powered from the camcorder's battery
Built-in optical filter wheel: Clear, 1/4ND, 1/16ND, 1/64ND
Remote Camera control
Simple Remote Commander unit to be supplied
Compact and lightweight
Have low power consumption of 32 W
ENG HD Lens
The ENG HD Lens is to have the following features:
o
o
o
o
o
o
o
Zoom Ratio – 17X or better
Built-in Extender 2.0x or better
Range of Focal Length – 7.6 – 130mm (with Extender 15.2 – 260mm (2.0x)
Maximum Relative Aperture – 1:1.8 at 7.6 – 97.5mm - 1:2.4 at 130mm (with Extender
1:3.6 at 15.2-195mm (2.0x) - 1:4.8 at 260mm (2.0x)
Angular Field of View – 4:3 Aspect Ration (8.8 x 6.6mm) with extender 16:9 Aspect
Ratio (9.6 x 5.4mm)
Minimum Object Distance – 0.56m (10mm with Macro)
It is to have macro possibilities
Other Accessories:
o 2.0-inch Monochrome Viewfinder
o Electret condenser stereo microphone
o Wind screen
o Lens mount cap
o Shoulder belt
o F-range focal length adjustment test chart
o IR Remote Commander unit
o Operation manual
o Proxy browsing software
o Proxy viewer software
o VCT-U14 Tripod Adaptor
17
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4.1.5.3
Rechargeable Lithium-ion Battery Pack
AC Adaptor/Charger
UHF Synthesized Diversity wireless Microphone system
Soft Carrying Case
The ENG Tripod
The pan & tilt head should utilize a Thin Film (TF) drag system, which will provide constant drag and
consistent performance over an extended temperature range from -40°C to +60°C. The head is to also have
a digital counterbalance readout, backlit drag controls and an illuminated level bubble, to give the camera
operator the quickest and easiest set-up, particularly in low-light conditions. It is to also have a twin
balancing mechanism so that it can be easily adjusted to perfectly balance any camera and lens combination
up to 33 kg. (S
The pan & tilt head is to have the following features:
o
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Weight Flat base (complete with pan bar) 6.05 kg
Ball base (complete with pan bar and bowl clamp) 6.39 kg
Height to mounting face Ball base 171 mm
Length 159 mm
Width 244 mm
Typical payload 25 kg
Tilt range ±90°
Pan range 360°
Pedestal/tripod fixing 100/150 mm ball
Four-hole flat base
A 150 mm bowl EFP tripod, designed to offer maximum stability and robustness, ideal for demanding field
and studio applications where a longer lens and heavier viewfinder are used.
The tripod is to have a lock cam-operated clamping system requiring low effort with a 90° turn from on to off,
providing the user with a positive indication that the tripod is securely locked. The profile of the knob is to
ensure that camera cables cannot snag.
A lightweight and compact folding skid is required for ENG operation.
4.1.6
- 1.V.6 - CAMERA CRANE WITH SENSOR – Quantity 1
The system is to be easily transportable, facilitated by a single case with wheels or alternatively carrying
bags. The crane is to weigh not more than 31kg at longest configuration, and it is to have a maximum length
of 11m. The crane is to be able to bear a maximum payload of 25kg. The crane with a remote head is to be
easily carried and operated by one person, and in its shorter configurations could also be used as a jib arm.
It is to have a well-engineered anchoring construction to assure maximum stability.
The Camera Crane is to have the following features:
o
o
o
o
weight approx 31 kg
maximum length 8 m
maximum payload of up to 25 kg
It is to be extremely stable
18
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4.1.7
Jib Arm option
Have horizontal and vertical friction brakes
Can be easily easy set up by single person
- 1.V.7 – ANCILLARY EQUIPMENT
The above equipment is to be housed and supplied with all the necessary racks and cabling. The supplier is
to identify placement of such equipment on proposed set-up drawing. Other ancillary equipment necessary
to make the above equipment function as a TV Production workflow are to also be included in the offer.
Other equipment is to include:
1.V.7.1
Video & Audio Distribution Amplifiers
1.V.7.2
Digital to Analogue Converters and vice versa
1.V.7.3
A Multi-view video wall for monitoring purposes (Quantity 2)
1.V.7.4
HD Broadcast Monitors (Quantity 4)
1.V.7.5
Character Generator with HD capability
1.V.7.6
HD-SDI Video and Audio routers
1.V.7.7
TBC and SPG’s with automatic changeover
1.V.7.8
Talkback System
1.V.7.9
Waveform Monitors (Quantity needed is to be stated in the offer)
1.V.7.10
Vector scopes (Quantity needed is to be stated in the offer)
1.V.7.11
Teleprompter complete with software
1.V.7.12
17” Precision Studio HD Monitor
1.V.7.13
20” Precision Studio HD Monitor
4.1.8
- 1.V.8 - HD VIDEO CASSETTE RECORDER – Quantity 1
The HD Video Cassette Recorder is to have the following main features:
o
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High picture quality using HD format
Legacy playback for Digital Betacam, MPEG IMX, Betacam SX, Betacam SP and
Betacam tapes
Built-in up and down converters
1080/59.94i, 1080/50i, 1080/23.98PsF, 1080/24PsF, 1080/25PsF, 1080/29.97PsF
record and playback
Long recording time of up to 124 minutes at 1080/59.94i or 149 minutes at 1080/50i on
an L-size cassette
Versatile interfaces: HD SDI input/output, SDI output, analogue component output,
analogue composite (NTSC/PAL) output, digital audio (AES/EBU) input/output, analogue
audio input/output and audio monitor output(2-ch, analogue)
Frame-accurate editing
Pre-read editing
High speed colour picture search
Dynamic Tracking playback
Digital jog sound
Audio cross fade function
Dynamic Motion Control (DMC) playback
1080/1035 line conversion
Shot mark handling
19
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Selectable picture modes: Squeeze, letter box, and edge crop modes •Dolby-E/Dolby
AC-3 support
Digital audio and ancillary-data recording
User-friendly control panel
Other features:
o
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o
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o
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o
Power requirements: 100 to 240 V, 50/60 Hz
Operating temperature: +5 to +40 °C (+41 to +104 °F)
Humidity: 25 to 80% (relative humidity)
Tape Speed : 96.7 mm/s (59.94 Hz), 80.6 mm/s (50 Hz), 64.5 mm/s (59.94 Hz), 53.8
mm/s (50 Hz)59.6 mm/s, 118.6 mm/s (59.94 Hz), 101.5 mm (50 Hz)
Max. Digital recording/playback time: 124 minutes
Variable mode :-1 to +3 times normal speed playback
Jog mode: Still to 61 times normal speed playback
Servo lock time: 0.5 s or less (from standby on)
Load/unload time: 6 s or less
Inputs/outputs
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HD-SDI input: BNC (1), Serial Digital 1.485 Gb/s, SMPTE 292M
Reference video input: BNC (2), (with a loop-through), Tri-level sync, 0.6 Vp-p, 75 ½,
sync negative or black burst
Digital audio input (CH 1/2, 3/4): BNC (2), AES/EBU
Analogue audio input (CH 1/2/3/4/Cue): BNC (2)(with loop-through), AES/EBU XLR 3pin type, female (5)
Low off: -60 dBu, high impedance, balanced
High off: +4 dBu, high impedance, balanced
High on: +4 dBm, 600 ½ termination, balanced
Time code input:
XLR 3-pin type, female (1), 0.5 to 18 Vp-p, 10 k½, balanced
HD-SDI output: BNC (3) (SMPTE 292M including one character out), Serial Digital
(1.485 Gb/s)
SDI output: BNC (3) (SMPTE 259M including one character out), Serial Digital (270
Mb/s)
Analogue composite output: BNC (3) (RS-170A, including one character out, one WFM
out) Y: 1.0 Vp-p, sync negative, R-Y/B-Y: 0.7 Vp-p, 75 ½
Analogue component output: BNC (3, for 1 set) 1.0 Vp-p, 75 ½, sync
negative
Digital audio output (CH1/2, 3/4): BNC (2), AES/EBU
Analogue audio output (CH1/2/3/4): XLR 3-pin type, (5), male, +4 dBm (600 ½ load), low
impedance, balanced
Time code output: XLR 3-pin type, male (1) (2.2 Vp-p, low impedance balanced)
Monitor output (L/R): XLR 3-pin type, male, (2) (+4 dBm at 600 ½ load, low impedance,
balanced)
Headphones: JM-60 stereo phone jack (-` to -12 dBu at 8 ½ load, unbalanced)
Remote 1 input: D-sub 9-pin remote interface
Remote 1 output: D-sub 9-pin remote interface
RS-232C: D-sub 9-pin
Remote 2 Parallel I/O: D-sub 50-pin
Video control: D-sub 9-pin, D-sub 15-pin
Control panel: D-sub 10-pin, control panel I/O
20
Processor adjustment range
o Video level: 63 dB/` to +3 dB, selectable
o Chroma level: 63 dB/` to +3 dB, selectable
o Set up/black level: 63 IRE
o Chroma phase/hue: 630°
o System sync phase: 615 μs
o System SC phase: 6200 ns
o Y/C delay: 6100 ns
Digital video performance
o Sampling frequency: Y: 74.25 MHz, R-Y/B-Y: 37.125 MHz
o Quantization: 10 bits/sample (compression 8 bits/sample)
o Compression: Coefficient recording system
o Channel coding: S-I-NRZI PR-IV
o Error correction: Reed-Solomon code
Analogue component output performance
o Bandwidth: Y: 0 to 5.75 MHz +0.5 dB/-2.0 dB, R-Y/B-Y: 0 to 2.75 MHz +0.5 dB/-2.0 dB
o S/N ratio: 56 dB or more
o K-factor (2T pulse): 1% or less
Analogue composite output performance
o Bandwidth: Y: 0 to 5.75 MHz +0.5 dB/-2.0 dB, R-Y/B-Y: 0 to 2.75 MHz +0.5 dB/-2.0 dB
o S/N ratio: 53 dB or more
o Differential gain: 2% or less
o Differential phase: 2% or less
o Y/C delay: 20 ns or less
o K-factor (2T pulse): 1% or less Output SCH phase: Based upon RS-170A/CCIR R.624-3
Digital audio performance
o Sampling frequency: 48 kHz (synchronized with video)
o Quantization: 20 bits/sample
o Wow and flutter: Below measurable level
o Headrooms: 20 dB (or 18 dB selectable)
o Emphasis (on/off selectable in REC mode): T1 = 50 μs, T2 = 15 μs
Analogue audio output performance
o A/D quantization: 20 bits/sample
o D/A quantization: 20 bits/sample
o Frequency response: 20 Hz to 20 kHz, +0.5 dB/-1.0 dB (0 dB at 1 kHz)
o Dynamic range: More than 95 dB (at 1 kHz emphasis on)
o Distortion: Less than 0.05% (at 1 kHz, emphasis on, reference level)
o Crosstalk: Less than -80 dB (at 1 kHz, between any two channels)
Cue track
o
o
Sampling frequency: 100 Hz to 12 kHz 63 dB
S/N ratio: More than 45 dB (at 3% distortion level)
21
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4.1.9
Distortion: Less than 2% (T.H.D at 1 kHz reference level)
Wow and flutter: Less than 0.2% rms
Erase ratio: More than 60 dB
- 1.V.9 - HDV/DV VIDEO CASSETTE RECORDER – Quantity 2
Compact, desktop recorder player, offering both DV and HDV recording, with HD sdi output which accepts
both MiniDV and full-size DV cassettes. It operates in HD and SD as a source deck for an NLE system, as a
tapearchiving recorder and, with its HDMI port, as an HD presentation deck.
In HD mode it plays and records in both 50Hz and 60Hz, plus various different cross-conversion facilities are
built-in, including output of 1080i and 720p. A flexible multi-format video machine for professional
HD systems.
The HDV/DV Video Cassette Recorder is to have the following features:
o DV and HDV recording and playback
o Multi-format output with cross-conversion function
o HD 50Hz / 60Hz compatibility
o Standard DV / Mini DV compatible cassette mechanism
o DVCAM(tm) Playback capability in SD mode
o Auto Error correction system
o HDMI output
o HD SDI output
o RS-422A interface
o IEEE 1394 interface
Other Additional Features:
o Component, YC and composite input / output
o Audio indicator
o High speed time code search & blank search
o Continuous loop recording
o Recording formats: 720p/24, 720p/25, 720p/30, 576p/50, 576p/25, 576i/50, 1080i/50
o VIDEO HDV
o Video signal recording format: HDV720p format, 8-bit, 19.7 Mbps
o Compression: MPEG-2 video (profile & level: MP@H-14) DV
o Video signal recording format: DV format, 8-bit, 25 Mbps
o Compression: DV compression 4:2:0
o AUDIO: HDV
o Audio signal recording format: MPEG1 Audio Layer II DV
o Audio signal recording format: 16-bit (locked audio), 48 kHz PCM for 2 channels
o Cassette type: Standard DV and Mini DV tape cassettes
o Tape speed: 18.8 mm/sec.
o Record/play time: 276 minutes, 63 minutesCONNECTORS :o Video inputs: DV
o Analogue composite: 1.0 V (p-p), 75 ohms (BNC)
o Analogue Y/C: Y: 1.0 V (p-p), 75 ohms
o C: 0.286 V (NTSC)/0.3 V (PAL) (p-p), 75 ohms (4-pin)
o Video output: HDV
o Analogue component: Y: 1.0 V (p-p), 75 ohms (BNC)
22
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4.1.10
PB/PR: 0.7 V (p-p), 75 ohms (BNC) DV
Analogue composite: 1.0 V (p-p), 75 ohms (BNC)
Analogue Y/C: Y: 1.0 V (p-p), 75 ohms 0.3 V (p-p), 75 ohms (4-pin)
Analogue component: Y: 1.0 V (p-p), 75 ohms (BNC) PB/PR: 0.7 V (p-p), 75 ohms (BNC)
Audio input: Line: -8 dBs, 10 kohms, unbalanced (RCA)
Audio output: Line: -8 dBs, 1 k-ohm, unbalanced (RCA)
Headphones: -∞ to -15 dBs (8 ohms) (Stereo mini jack)
HDMI output: 19-pin
IEEE 1394 interface: 6-pin
RS-422 interface: D-sub 9-pin
Serial remote interface: Mini jack
- 1.V.10 - DIGITAL TAPELESS VTR – Quantity 1
The Digital tapeless VTR is to have the following features:
o MPEG HD recording at 35, 25 and 18 Mb/s via HD-SDI, HD analogue component and RGB
input
o Also records MXF files (in both MPEG HD and DVCAM formats) via i.LINK (File Access
Mode) or Ethernet interface.
o Playback of MPEG HD and DVCAM material
o Proxy AV (low-resolution audio and video) Data recording
o Long recording/playback time; MPEG HD at 35 Mb/s: 69 min., 25 Mb/s: 92 min.,18 Mb/s:
122 min.
o Up-conversion recording : Input from SD-SDI or SD composite connectors can be recorded
in the MPEG HD format.
o Down-conversion output: MPEG HD playback can be converted to SD signals and output via
the SD-SDI, SD composite and i.LINK (DV OUT)
o connectors.
o Up-conversion output: DVCAM playback can be converted to 1080i HD signals and output
via HD connectors.
o Thumbnail Search operation
o Expand function
o Scene Selection operation
o Search speed (in colour) - JOG: -1 ~ +2 times normal speed, Variable:
o -1 ~ +2 times normal speed, Shuttle: ±20 times normal speed
o 3.5-inch(*3) type colour LCD screen
o Repeat playback function
o Simple Remote Commander unit
o Gigabit Ethernet capability
o Input and output of 25 Mb/s HDV stream (MPEG-2 TS)
o Ability to write EDL data (Clip List) back onto disc
o Metadata recording
o A wide variety of video interfaces including HD-SDI I/O, HD analogue component output,
RGB output, SD-SDI output, SD analogue composite output, i.LINK (DV OUT and File
Access Mode) as standard
o Compact and lightweight design; can be placed either horizontally or vertically
Other Features:
o Power requirements: 100 V to 240 V AC, 50/60 Hz
23
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Operating temperature: +5 to +40 °C (+41 to +104 °F)
Humidity: 20 to 90% (relative humidity)
Recording format
Video: MPEG HD (MPEG-2 MP@HL): HQ mode (VBR, maximum bit rate : 35 Mb/s), SP
mode (CBR, 25 Mb/s), LP mode (VBR, maximum bit rate : 18 Mb/s)
Proxy Video: MPEG-4
Audio:
MPEG HD: 4 ch or 2 ch, 16 bits/48 kHz
Proxy Audio: A-law (4 ch / 2 ch, 8 bit, 8 kHz)
Playback format
Video: MPEG HD (MPEG-2 MP@HL): HQ mode (VBR, maximum bit rate : 35 Mb/s), SP
mode (CBR, 25 Mb/s), LP mode (VBR, maximum bit rate : 18 Mb/s)
Proxy Video:
MPEG-4
Audio:
MPEG HD: 4 ch or 2 ch, 16 bits/48 kHz
DVCAM: 4 ch, 16 bit/48 kHz
Proxy Audio: A-law (4 ch / 2 ch, 8 bit, 8 kHz)
Recording/playback time
MPEG HD (HQ mode):
Audio 2ch : approx. 69 min.,
Audio 4ch : approx. 66 min.
MPEG HD (SP mode):
Audio 2ch : approx. 92 min.,
Audio 4ch : approx. 87 min.
MPEG HD (LP mode):
Audio 2ch : approx. 122 min.,
Audio 4ch : approx. 113 min.
DVCAM:
Approx. 85 min. (playback only)
Search speed (in colour)
Jog mode: -1 ~ +2 times normal speed
Variable mode: -1 ~ +2 times normal speed
Shuttle mode: ±20 times normal speed
Signal inputs
o Analogue reference input: BNCx2 (including loop through), HD Tri-level sync or SD
composite sync (0.3 Vp-p/75 ½/sync negative)
o Analogue composite input: BNC x1
o Analogue HD component input : BNC x4, Y/Pb/Pr/(Sync) or G/B/R/(Sync)
o HD-SDI input: BNCx1, SMPTE 292M
o SD-SDI: BNCx1, SMPTE 259M
o Analogue audio input: XLR x2 (channel selectable), +4/0/-3/-6 dBu (selectable), 10 k½,
balanced
o Digital audio input: AES/EBU, BNCx2, 4 channels
o Timecode input: BNCx1, SMPTE Time code
24
Signal outputs
o Analogue composite video output: BNCx1, (1.0 Vp-p/75 ½/sync negative), RCA-pinx1,(1.0
Vp-p/75 ½/sync negative)
o Monitor output: D-sub 15-pin (G/B/R or Y/Pb/Pr)
o Built-in display: 3.5-inch type colour LCD monitor
o HD-SDI output: BNCx2, SMPTE 292M
o SD-SDI output: BNCx1, SMPTE 259M
o Analogue audio output: XLRx2 (channel selectable), +4/0/-3/-6 dBu (selectable), 600 ½ load,
balanced
o Audio monitor output: RCAx2 (L, R, Mix), -6dBu, 47 k½, unbalanced
o Headphone output: Stereo phone jack, -14dBu, 8 ½, unbalanced
o Digital audio output: AES/EBU, BNCx2, 4 channels
o Timecode output: BNCx1, SMPTE Timecode
Other inputs/outputs
o i.LINK: IEEE1394, 6-pin x1, AV/C (DV stream output) or File Access Mode
o i.LINK(HDV 1080i) : IEEE1394, 6-pin x1, HDV 1080i IN/OUT
o Ethernet : 1000Base-T (RJ-45)
o RS-422A: D-sub 9-pin x 1
o RS-232C: D-sub 9-pin x 1
o CONTROL: Mini-jack 4-pin
Video performance
o Sampling frequency: Y: 74.25MHz, R-Y/B-Y: 37.125MHz
o Quantization: 8 bits/sample
4.2
Audio Equipment
Design, supply, installation and commissioning of audio section, including:
1.A.1
1.A.2
1.A.3
1.A.4
1.A.5
1.A.6
1.A.7
1.A.8
1.A.9
1.A.10
1.A.11
Digital Audio Mixer
Studio Speakers (2 pairs)
Near Field Monitors
Stage boxes
Cabling
Cordless Handheld Microphones
Cordless Lapel Beltpack Microphones
Selection of Ambience Microphones and other Audio Equipment for Studio
Communication System
Headsets
CD Decks
25
4.2.1
- 1.A.1 - DIGITAL AUDIO MIXER - Quantity 1
Minimum Features:
Input Channels
24 input channels, including 16 built-in analog inputs (with +48V phantom powering on 12 channels), plus
8 optional digital inputs (ADAT, TSCAM, AES/EBU formats available).
Outputs
4 freely assignable analog outputs, plus expansion options for 4 additional analog outputs, or 8
assignable digital outputs.
Expansion Slot
Digital I/O expansion slot for optional multi track recorder interface card (ADAT, TSCAM, AES/EBU
format options), plus other card options.
Coaxial-Type Digital Stereo Input and Output
Coaxial-type digital stereo input and output, and balanced XLR-type stereo outputs.
Panel Controls
Centrally located, dedicated panel controls for the four bands of EQ and a dedicated pan control.
Multi-Effects Processors
Two internal stereo multi-effects processors and an effects library with 42 preset programs and 57 user
programs.
Input/Output Delays
Input Delays of up to 250ms and output delays of up to 300ms.
Dynamics Processors
22 dynamics processors permitting individual dynamics processing, and a dynamics library with 40 preset
programs and 40 user programs.
Scene Memory
99 scene memories for instant recall of mixer settings at the touch of a button, or recall via MIDI program
change messages.
Data Copy and Swapping
Channel data copy and swapping, flexible effect routing, dedicated controls for EQ and pan, and
dedicated effect return signal control section.
MIDI
Comprehensive MIDI implementation which permits automated mixing via program change, control
change and system exclusive messages received from an external sequencer, plus MMC capability and
user definable remote control options.
LCD
A large 320 x 80 dot LCD for visual feedback of mixer status, with an LED on each panel button light to
indicate which parameter is currently selected.
26
Control Panel
Channel and Stereo Master control with dedicated ON buttons let you select only what the operator wants
to hear. Pressing a SEL (Select) button is to display channel or Master status in the LCD, and each
channel is to have a dedicated SOLO button for singling out a specific track for aural scrutiny. Access to
channel pan position, as well as EQ settings, effect send levels and dynamics settings should also be
possible with dedicated buttons which the operator can press to display the respective settings in the
LCD.
Flexible Input/Output Configuration and Signal Routing
The mixer is to be capable of flexible configuration of inputs and outputs and signal routing to make it
suitable for a wide range of recording, main mixing, submixing and even live mixing applications. The
console is to have at least 12 analog input channels and 2 stereo inputs - making a total of 16 inputs - plus
4 "Omni" outputs which is to be freely assignable, along with a main stereo mix bus and stereo monitor
outputs.
Inputs
All analog inputs is to be equipped with latest generation 20-bit AD and DA converters, to achieve over
105dB dynamic range from analog input to output. There is to be also stereo 2-track inputs and outputs for
direct connection to an analog 2-track recorder for master mixes, and even coaxial-type digital stereo
input and output for direct connection to a digital 2-track recorder such as DAT or MD.
Individual Channel PEQ
The mixer is to have parametric equalizers and onboard dynamics processors to provide professional
quality signal processing 32-bit DSP.
Storage
The console is to be capable of storing comprehensive libraries of preset EQ and dynamics settings and
plenty of user programs.
EQ Bands
The mixer is to comprise also 26 four-band parametric EQs which is to be made available for all 16
individual channel inputs, the 2 onboard stereo effects returns, the 4 aux sends, and main stereo outputs.
Each of the four EQ bands is to have a range from 20 Hz to 20kHz which can be adjusted in 1/12 octave
steps, and a 0.1-10 Q range.
High and Low
High and low EQ bands can be configured as shelving or peaking, with the high band capable of being
configured as LPF, and the low band as HPF. EQ gain settings range from -18 to +18dB. EQ settings can
also be copied between channels via the equalizer library.
Library
The EQ library's collection of 40 preset EQ programs is to include specific settings which can be applied
to everything from acoustic and electronic instruments to percussion to vocals. Including the 40 memories
for storing your EQ settings, a total of 80 EQ programs is to be available for instant recall.
Dynamics Processors
The mixer is to have 22 onboard dynamics processors for 16 individual channels, 4 aux sends, and main
stereo outs which provide a choice of compressor, expander, gate, ducker and compander functions to
apply to individual channel as well as stereo inputs. Any input channel (1-16 or Stereo input) can be used
as a key trigger.
27
2 Onboard Effects
The console is to have two of its 6 aux sends are "hot-wired" directly to the onboard 32-bit effects
processors. It is to also have 42 basic preset effects to make up a library of various reverb, delay, echo,
chorus, flange, pitch shifting and other effect types to choose from, as well as freeze (sampling) and guitar
amp simulation effects.
4 Omni Outputs
Besides the 2 onboard effects, the 4 Omni outputs could be used as additional auxiliary sends. Thus, the
mixer is to be capable of submixing applications with as many as 6 effects available for signal processing.
It is to also feature channel input delays of up to 250ms which are useful for microphone-placement
compensation for live recording and video editing.
60 mm Motorized Faders with Channel Pairing
The mixer is to have quick-response 60mm motorized faders to serve multiple functions. Besides their role
as conventional mixer faders to adjust channel output signal levels, they are to also function as auxiliary
send level controls for each of the 4 aux sends and onboard effects aux send level controls. When a
scene memory is recalled, the faders are to automatically position themselves to the levels stored; when
an aux or effects function is selected, they are to position themselves precisely at the send level settings.
Fader Grouping
The mixer is to also have a channel Group function to let the operator configure 3 separate fader groups
and 3 separate mute groups to work independently to build up complicated mixes quickly. The movement
of one fader within a group is to automatically adjust the other faders in the group by the same relative
amount. Similarly, pressing one ON button in a mute group is to automatically turn the other channels in
the group on or off.
Stereo Pairing
A stereo pairing function is to be available for linking adjacent odd/even number channels, with panning
either independent or "ganged". When channels are paired, moving either channel fader is to
automatically adjust the other channel level by the same amount. The 4 aux sends and 4 bus outs are to
also have the same capability.
Comprehensive MIDI Functions
The mixer is to also feature MIDI IN, OUT and THRU terminals which permit control of all parameters in
real-time using MIDI Control Change and System Exclusive messages, providing Dynamic Automation via
MIDI. The operator is to be able to "record" all fader movements, channel on/off selections, scene
selections, effect selections, panning, EQ and other parameter adjustments to an external MIDI
sequencer, then have the sequencer "play" them back in order to create an automated mixdown.
MIDI Bulk Dump
The operator is to be able to perform MIDI bulk dump operations to a MIDI data filer or MIDI sequencer to
save your scene data, as well as user EQ, dynamics and effects programs. The mixer’s faders and user
definable buttons in the menu could be used to control other MIDI devices such as digital audio recorders
and processors via MMC (MIDI Machine Control) commands.
User-Definable Remote Control
The console is to also feature a MIDI remote to allow the motorized faders to remotely control the internal
levels in a digital audio workstation, and then - at the press of a button - the faders can be used to edit the
internal parameters of an external effects processor.
TO HOST
Host (RS422) port is to be available to permit direct connection to a personal computer without a MIDI
interface.
28
General Specifications:
Sampling Frequency - Internal: 44.1 kHz; External: 44.1 kHz(-10%) to 48 kHz (+6%)
Signal Delay - Less than 2.5 ms at fs = 44.1 kHz, CH INPUT to ST OUT
Fader - 15 x 60 mm motorized
Fader Resolution - 0 to -72, -infinity dB (128 steps, 60 mm) master faders except ST OUT; +6 to -72, infinity dB (128 steps, 60 mm) other faders; 0 to -96, - infinity dB (128 steps, 60 mm) ST SaOUT fader
Total Harmonic Distortion (Input Gain = Min.) - Less than 0.1% 20 Hz to 20 kHz, at +14 dB into 600 ohm;
Less than 0.02% 1 kHz, at + 18 dB into 600 ohm, CH IN to ST OUT
Frequency Response - +1, -3 dB 20 Hz to 20 kHz, at +4 dB into 600 ohm
Dynamic Range (maximum level to noise level) - 110 dB typ. DA converter (ST OUT); 105 dB typ. AD +
DA (to ST OUT)
Hum and Noise - (20 Hz to 20 kHz) Rs = 150 ohm, Input gain = Max, Input pad=0 dB, Input sensitivity = 60dB; Measured with a 6dB/oct filter at 12.7 kHz; equivalent to a 20kHz filter with an infinite dB/oct
attenuation; -128 dB Equivalent input noise; -94 dB Residual output noise, ST OUT, ST OUT off; -94 dB (98
dB S/N) ST OUT, ST fader at nominal level and all CH IN faders at minimum level; -64 dB (68 dB S/N) ST
OUT, ST fader at nominal level and one CH IN fader at nominal level
Maximum Voltage Gain - 70 dB CH IN (CH 1-12) to ST OUT/OMNI (BUS) OUT; 70 dB CH IN (CH 1-12) to
OMNI (AUX) OUT (via pre input fader); 36 dB CH IN (CH 13-16) to ST OUT; 76 dB CH IN (CH 1-12) to
MONITOR OUT (via ST bus)
Crosstalk (at 1 kHz) - -70 dB adjacent input channels (CH 1-12); -60 dB adjacent input channels (CH 1316); -70 dB input to output
Memory/Libraries - Scene:99; EQ: 80(40 preset, 40 user); Effects: 99 (42 preset, 57 user); Dynamics: 80
(40 preset, 40 user)
Analog Controls - INPUT (1-12): PAD (0/26), GAIN (-16 to -60), PHANTOM + 48 V switch (simultaneously
supplied to CH 1-6, 7-12); INPUT (13-14): GAIN (+10 to - 20); INPUT (15-16): GAIN (+10 to -20), INPUT
SELECT (15-16, 2TR IN); OUTPUT: MONITOR SELECT (2TR IN, MONITOR), MONITOR LEVEL
CONTROL, PHONES LEVEL CONTROL
Digital Section ON and SEL Keys - CH 1-12, CH 13-14, CH 15-16, STEREO/MASTER (AUX 1-4, EFFECT
1-2), RETURN 1,2
Digital FADERS - CH 1-12, CH 13-14, CH 15-16, STEREO/MASTER (AUX 1-4, EFFECT 1,2)
Digital ENCODERS - RETURN 1,2
Digital SOLO Keys - HOME, EFFECT 1, EFFECT 2, OPTION I/O, REMOTE, AUX 1, AUX2, AUX3, AUX4
Digital FADER MODE Keys - HOME, EFFECT 1, EFFECT 2, OPTION I/O, REMOTE, AUX 1, AUX2, AUX3,
AUX4v
Digital SELECTED CHANNEL EQ Keys ENCODERS - HIGH, HI-MID, LO-MID, LOW, PAN, F (EQ), G(EQ)
Digital INPUT CONTROL Keys - EQ/ATT, 0/DELAY, DYNAMICS, PAN/ROUTING, VIEW
Digital SET UP Keys - UTILITY, MIDI, SETUP, MEMORY
Digital DATA ENTRY ENCODER Keys - PARAMETER (24 detents/rotation); +1/INC, -1/DEC, ENTER
(push to fix parameter)
Digital CURSOR Keys - LEFT, RIGHT, UP, DOWN
Display - LCD: 320 x 80 dots, Graphic LCD w/backlight and contrast control pot; LEDs: ST OUT meter, 12
elements x 2, SOLO mode LED
4.2.2
- 1.A.2 - STUDIO SPEAKERS - Quantity 2 (2 Pairs)
The speaker required is to be an active, wide dispersion 2 way sound reinforcement speaker. It is to
integrate a high power 400 Watt amplifier, with a complete electronic processor section and precision low
distortion, high power transducers. The result should compact, high power accurate system, for linearity and
vocal intelligibility.
29
The speaker is to comprise a 12” inch woofer with a fast and accurate reproduction of the midbass frequency
range and tight deep bass and a compression driver that uses a 0.05 mm pure titanium dome featuring a
complex geometry suspension and Direct Drive coil.
The 2 step class H TAED amplifier design is to be able to power the low frequencies and the compression
driver amplifier is to be of class AB design.
The input section is to comprise an XLR and Jack input connector that is to be switchable from microphone
to line levels, a master volume knob and an XLR loop-through link . The processor section is to include an
active crossover, system equalization, transducer phase alignment, limiter and protection functions. The
system is to be visually monitored from 4 status LEDs.
All components are to be housed in a strong, lightweight, polypropylene composite enclosure. Woofer and
compression driver throat is to be protected from a strong, powder coated, metal grille. The cabinet is to also
feature four M10 threaded fly points, a 35 mm pole mount adaptor, two side handles and an ergonomic top
handle.
Minimum requirements
Frequency response - 45-20Khz
Max SPL – 128dB
Coverage angle – 90 x 60
Type of compression driver – neo2”
Woofer – 12”
Input Section
Input signal- Impedance - bal/unbal
Input connector - jack/xlr
Output signal connector – xlr
Input sensitivity - 0dBu
Mic. input sensitivity - -40dB
Processor Section
Crossover frequencies - 1200Hz
Protections - DC/short cir.
Limiter – fast limiter
Have master volume function
Have Music and voice equilizer
Have remote control options
Amplifier
Nominal power – 400Watt
High frequencies – ab/50 Watt
Low frequencies – H350 Watt
Cooling type – Convection
30
4.2.3
- 1.A.3 - NEAR FIELD MONITOR - Quantity 6
The speaker required is to be a powerful bi-amplified nearfield monitor system with enclosure rounded edges
and a gently curved front and sides to achieve a very smooth frequency response and superb imaging
qualities with minimized cabinet edge diffraction.
The speaker is to also feature an advanced flow-optimized reflex port design, optimized die-cast aluminium
structure with extremely durable semi-matt finish and acoustically optimized metal grilles. Low distortion
drivers are to be driven by dedicated amplifiers after sophisticated filtering. Magnetic shielding, overload
protection circuitry and versatile room response controls are to be standard. The versatile mounting features
are to include integrated rear support points for wall and floor stands plus a further 3/8" thread for mounting
on the cabinet base.
Each monitor is to come with a mounting stand, which allows the system to perform in either the vertical or
horizontal position. It also should enable the acoustic axis of the monitor to be aimed at the listener, while
acoustically and mechanically decoupling the monitor from the surface it is resting on.
4.2.4
- 1.A.4 - STAGE BOXES – Quantity 6
Stage boxes with minimum 8 inputs on 10 metre cable in a compact housing. 15m.
4.2.5
- 1.A.5 - CABLING
Appropriate cabling is to be supplied and installed to have the whole audio system work in a seamless
manner and linked to the TV main studio.
4.2.6
- 1.A.6 - CORDLESS HANDHELD MICROPHONES – Quantity 6
The cordless handheld microphone is to consist of a handheld microphone and a tuner module.
4.2.6.1
Handheld Microphone
Main Features:
o
o
o
o
o
o
o
o
o
Suitable for use in PA systems
Tuner modules can be installed (a maximum of six modules) in a tuner base unit
The microphone and tuner module is to operate over a wide 24 MHz frequency band within
the range of 798 MHz to 822 MHz
The uni-directional, dynamic microphone is to incorporate selectable RF-output level (5 mW
or 30 mW), and adjustable audio-attenuator level
The tuner module is to incorporate a space diversity reception system and an RF squelch
function
Approx. six hours of continuous operation with two AA-size (LR6) alkaline batteries on the
microphone
An internal LCD screen on the microphone to provide extensive information: operating
channel/frequency, attenuator level, RF-output level setting (Low/High), audio-input status,
RF-output status, transmitter-battery status and accumulated operating time
An LCD screen on the tuner to provide extensive information: operating
channel/frequency, audio-output status and RF-input level
31
Supplied Accessories
o Microphone holder (1 for each)
o Screw adaptor (for use in combination with the microphone holder) (1 for each)
o Windshield for each
o ID-caps for handheld transmitters
General Features:
o Oscillator: Crystal-controlled PLL synthesizer
o Type of emission: F3E
o Carrier frequencies: 798 MHz to 822 MHz (TV channels 62 to 64)
o RF power output: 30 mW or 5 mW (selectable)
o Antenna: 1/4 l wave length wire
o Pilot tone signal: 32 kHz
o System frequency response: 100 Hz to 18 kHz (typical)
o Reference deviation: ±5 kHz (94 dB SPL, 1kHz input)
o System signal-to-noise ratio: 60 dB or more (±5 kHz deviation at 1 kHz modulation, Aweighted)
o Microphone capsule: Dynamic capsule (uni-directional)
o Audio attenuator adjustable range: 0 to 21 dB (in 3 dB steps)
o Max. input sound pressure level:151 dB SPL (at 21 dB attenuator level) Indicators
o LCD: Operating channel number/frequency, attenuator level, RF-output level (High/Low),
audio input status, RF-output status, transmitter battery status, and accumulated operating
time
o LED: Power status
o Power requirements: DC 3.0 V (with two AA-size alkaline (LR6) batteries)
o Battery life: Approx. 6 hours with AA-size alkaline (LR6) batteries at 25 °C (77 °F) at 30 mW
output
o Dimensions: 52 dia. x 240 mm
o Mass: Approx. 300 g (10.6 oz) including batteries
4.2.6.2
Tuner Module
Features
o
o
o
o
o
o
o
o
o
o
o
o
o
o
Oscillator: Crystal-controlled PLL synthesizer
Type of reception: Space diversity
Receiving frequencies: 798 MHz to 822 MHz (TV channels 62 to 64)
Antenna: 1/4 l wave length wire
Pilot-tone signal:32 kHz
RF squelch level: 25 dBμ
System frequency response: 100 Hz to 18 kHz (typical)
Reference deviation: ±5 kHz (at 1kHz modulation)
System signal-to-noise ratio: 60 dB or more (±5 kHz deviation at 1 kHz
modulation, A-weighted)
Indicators
LCD: Operating channel number/frequency,audio-output status, RF-input level
LED: RF-input status
Power requirements: DC 9.0 V
32
o
o
o
o
o
o
o
o
o
o
o
o
o
o
o
o
o
o
o
o
4.2.7
Dimensions: 56.6 (W) x 25.5 (H) x 121.0 (D) mm
Mass: Approx. 150 g
UHF Tuner Base Unit (798 MHz to 822 MHz)
Modular design, 1U height 19-inch rack
Accommodates up to six tuner modules for up to six simultaneous
channels of operation
Balanced XLR output connectors for each tuner and mix output
RF input attenuator switch (10 dB/0 dB)
Selectable output level: -58 dBm (for MIC) or -20 dBm (for LINE) at 65 kHz deviation at 1kHz
modulation
Auto channel assignment of additional receiver modules for instant programming of
interference-free multi-channel operation. Automatically
skips unusable channels and assigns clear channels.
Supplied passive antennas for rear mounting (with provision for front mounting)
Receiving frequency range: 798 MHz to 822 MHz
Audio output level: -20 dBm/-58 dBm at reference deviation
Audio output connector: XLR-3-32 (x 7, balanced)
Antenna attenuator level: 0 dB or 10 dB
Antenna connector: BNC-R type (x 2), 50½
Power requirements: AC 230, 50/60 Hz
Power consumption: 30 W when accommodating six tuner modules
Power supply for antenna boosters: DC 9 V (max. 100 mA)
- 1.A.7 - CORDLESS LAPEL BELTPACK MICROPHONES - Quantity 6
Consists of a uni-directional Lavalier microphone, bodypack transmitter and tuner module.
Main Features:
o
o
o
o
o
o
o
o
o
o
Suitable for use in PA systems
Tuner modules can be installed(a maximum of six modules) in a tuner base unit
The microphone and tuner module is to operate over a wide 24 MHz frequency band within
the range of 798 MHz to 822 MHz
The uni-directional, dynamic microphone is to incorporate selectable RF-output level (5 mW
or 30 mW), and adjustable audio-attenuator level
The tuner module is to incorporate a space diversity reception system and an RF squelch
function
Approx. six hours of continuous operation with two AA-size (LR6) alkaline batteries on the
microphone
An internal LCD screen on the microphone to provide extensive information: operating
channel/frequency, attenuator level, RF-output level setting (Low/High), audio-input status,
RF-output status, transmitter-battery status and accumulated operating time
An LCD screen on the tuner to provide extensive information: operating
channel/frequency, audio-output status and RF-input level
The bodypack transmitter is to be equipped with a 3.5 mm dia., 3-pole mini-jack input
connector with a lock mechanism, which accepts the output of any lavalier microphone
equipped with a 3.5 mm dia. mini plug, as well as the output of the supplied lavalier
microphone
33
Accessories
o
o
o
4.2.7.1
Windscreen
Microphone holder Clip(1)
Belt Clip
Lapel Microphone
Features
o
o
o
o
o
o
o
o
o
o
o
o
o
o
o
o
o
o
4.2.7.2
Oscillator: Crystal-controlled PLL synthesizer
Type of emission: F3E
Carrier frequencies: 798 MHz to 822 MHz (TV channels 62 to 64)
RF power output: 30 mW or 5 mW (selectable)
Antenna: 1/4 l wave length wire
Pilot tone signal: 32 kHz
System frequency response: 100 Hz to 18 kHz (typical)
Reference deviation: ±5 kHz (94 dB SPL, 1kHz input)
System signal-to-noise ratio: 60 dB or more (±5 kHz deviation at 1 kHz
modulation, A-weighted)
Microphone capsule: Dynamic capsule (uni-directional)
Audio attenuator adjustable range: 0 to 21 dB (in 3 dB steps)
Max. input sound pressure level:151 dB SPL (at 21 dB attenuator level)
Indicators
LCD: Operating channel number/frequency, attenuator level, RF-output level (High/Low),
audio input status, RF-output status, transmitter battery status, and accumulated operating
time
LED: Power status
Power requirements:DC 3.0 V (with two AA-size alkaline (LR6) batteries)
Battery life: Approx. 6 hours with AA-size alkaline (LR6) batteries at 25 °C (77 °F) at 30 mW
output
Tuner Module
Main Features
o
o
o
o
o
o
o
o
o
o
Oscillator: Crystal-controlled PLL synthesizer
Type of reception: Space diversity
Receiving frequencies: 798 MHz to 822 MHz (TV channels 62 to 64)
Antenna: 1/4 l wave length wire
Pilot-tone signal:32 kHz
RF squelch level: 25 dBμ
System frequency response: 100 Hz to 18 kHz (typical)
Reference deviation: ±5 kHz (at 1kHz modulation)
System signal-to-noise ratio: 60 dB or more (±5 kHz deviation at 1 kHz
modulation, A-weighted)
34
o
o
o
o
o
Indicators
LCD: Operating channel number/frequency,audio-output status, RF-input level
LED: RF-input status
Power requirements: DC 9.0 V
UHF Tuner Base Unit (798 MHz to 822 MHz)
Other Features
o
o
o
o
o
o
o
o
o
o
o
o
o
o
o
o
o
4.2.8
1.A.8.1
1.A.8.2
1.A.8.3
1.A.8.4
1.A.8.5
1.A.8.6
1.A.8.7
1.A.8.8
4.2.9
Modular design, 1U height 19-inch rack
Accommodates up to six tuner modules for up to six simultaneous
channels of operation
Balanced XLR output connectors for each tuner and mix output
RF input attenuator switch (10 dB/0 dB)
Selectable output level: -58 dBm (for MIC) or -20 dBm (for LINE) at 65 kHz deviation at 1kHz
modulation
Auto channel assignment of additional receiver modules for instant programming of
interference-free multi-channel operation. Automatically
skips unusable channels and assigns clear channels.
Supplied passive antennas for rear mounting (with provision for front mounting)
Receiving frequency range: 798 MHz to 822 MHz
Audio output level: -20 dBm/-58 dBm at reference deviation
Audio output connector: XLR-3-32 (x 7, balanced)
Antenna attenuator level: 0 dB or 10 dB
Antenna connector: BNC-R type (x 2), 50½
Power requirements: AC 230, 50/60 Hz
Power consumption: 30 W when accommodating six tuner modules
Power supply for antenna boosters: DC 9 V (max. 100 mA)
1.A.8 EQUIPMENT
SELECTION
OF
AMBIENCE
MICROPHONES
AND
OTHER
AUDIO
Cordless Lavalier Microphones, UHF band, more than 15 selectable presets – Quantity 4
Cordless Handheld Microphones, UHF band, more than 15 selectable presets – Quantity 4
Shot-Gun Microphone - Quantity 1
Microphone for Vocals, c/w holder - Quantity 2
Microphone for Instruments, c/w holder/clips – Quantity 3
Microphone stand assortment for the above microphones - Quantity 6
Audio fold-back self-amplifier speaker, 150W, c/w bracket - Quantity 2
Audio Floor Monitor Self-Amp, 200W – Quantity 1
- 1.A.9 - COMMUNICATION SYSTEM – Quantity 1
Design, supply and install a talkback system within the Main studio area, which consists of the TV studio, the
video control room and the audio room. The system is to be versatile, can have up to 128 users and 16 key
panels.
35
4.2.10
- 1.A.10 - HEADSETS
Medium-weight noise reduction headsets with dynamic microphones. Headband design are to be
comfortable and are to distribute pressure evenly. The headset is to have high quality moleskin cushions
and offers a 21 dB noise reduction rating. It is to be easily portable and able to fold into an extremely
compact shape.
4.2.11
- 1.A.11 - CD DECKS - Quantity 2
The CD Decks are to have the following features:
o
o
o
o
o
o
o
o
o
o
4.3
Multiple DSP effects with direct access including reverse
Saves up to 3,000 cue points in memory, transferable to compatible units
±6, 12, 25 and 100% pitch control
2 complete seamless loops with 3 hot stutter starts
High speed rotary track access with sequence programming
Adjustable startup and braking speeds
CDR compatible
Recessed rear panel, fader/remote start and relay
48 seconds of buffer memory for Anti-Shock
Transport bay illumination light, all-rubber buttons
Lighting Equipment
Design, supply, installation and commissioning of lighting section, including:
1.L.1 Lighting grid
1.L.2 General House lights system
1.L.3 Light solutions with low consumption cool type TV lights robotically controlled lights and dimmer
packs
4.3.1
- 1.L.1 – LIGHTING GRID
Design, supply, installation and commissioning of lighting grid.
A modular lighting grid is to be constructed all over the studio floor area. The installation of the grid is divided
into the mechanical part and the electrical part.
Mechanical
o
o
o
o
o
o
o
Adequately spaced from the ceiling to provide easy hanging of luminaires, fittings and temporary
cabling.
Adequately raised from the floor, such that no luminaire is visible on a long-shot from the
extreme end of the studio.
Modules are to be uniformly adjusted on a square-metre basis, such that the grid provides
multiplicity of suspension positions, uniformly sited across the studio in all directions.
Constructed from round tubular pipes
Be well secured and suspended, for full loading.
Damped from any low and high frequency vibrations and sounds.
Facilitate the temporary addition of a lighting/set support.
36
Electrical
o
o
o
o
o
o
o
o
o
o
4.3.2
The grid is to be electrically earthed from two points.
It is to be loaded with 36 dimmable industrial 16A 1phase sockets, 12 non-dimmable industrial 16A 1
phase
These sockets are to be well distributed across the grid modules to facilitate lighting of the
cyclorama, and studio area.
A further 12 dimmable industrial 16A sockets and 12 non-dimmable industrial 16A sockets are to be
distributed along the sides of the studio and mounted 30cm above the studio floor. All sockets to be
in single phase.
Cable ducts are to be metal.
All cable ducts are to be run over the grid, and are not to reduce any mounting space on the same
grid.
All sockets are to be well secured to enable safe repeated plugging and unplugging of luminaire
plugs.
A DMX chain shall run on the studio grid, with various breaking points, to facilitate additional selfdimmed luminaries. DMX connections are to be 5-pin XLRs.
Cable ducts are to be well earthed and bonded between each other.
The design are to be also include a thick free running copper conductor of adequate size to keep all
ducts bounded together.
- 1.L.2 – GENERAL HOUSE LIGHTS SYSTEM
Design, Supply, Installation and commissioning of a general house lights system.
The house light system shall consist of two circuits.
o
o
o
o
o
4.3.3
First circuit is to be used for very short periods. This is to be of an immediate start to enable quick
visibility in the studio from a black-out. The lights distribution are to be sufficient to enable safe
walking around the studio. This circuit is intended for use by security personnel, for short-access to
the studio, and in situations until the second circuit is fully lit.
The second circuit is to be used as the working lights. This is to be composed of a number of
distributed high-energy saving fittings, which are to provide adequate and evenly distributed
illumination for all preparation works in the studio.
Both circuits are to have an over-ride command in the lights control-area.
All doors are to bear a sustained (battery backed up) ‘EXIT’ light, which is never switched-off. Such
fittings shall indicate clearly the exit points in a case of emergency or lack of lighting situations, and
shall not interfere with the set-lighting.
Any necessary step-lights are to be provided.
– 1.L.3 – LIGHT SOLUTION WITH LOW CONSUMPTION COOL TYPE TV LIGHTS ROBOTICALLY
CONTROLLED LIGHTS AND DIMMER PACKS
Design, supply, installation and commissioning of lighting solution with general cool type TV lights
and robotically controlled lights and the required dimmer packs.
The lighting solution shall be worked out with the requirements below.
Dimmer Section
o
o
o
o
48 dimmer channels with 10A 230/240V per channel
Each channel is to have an MCB ,100% duty cycle, Preheat facility
DMX addressable per channel
Temperature control with low-noise forced cooling system
37
o
o
o
3-phase balanced loading of circuits
The dimmers shall be capable of dimming resistive and inductive loads, and dimmable electronic
transformers
Capability to hold the last lighting state in the event of DMX loss
Control Section
o
o
o
o
o
o
o
o
48 faders for generic dimming control
additional DMX control channels
submasters
Minimum of 4 memories
Colour, position and beamshape palettes
Moving Lights control
Software Control & SVGA Screen Assistance
Backup & Restore facility of selected memories
Robotic Lights
o
o
o
o
o
o
o
o
o
o
o
A minimum of 4 fixtures are required
500W or greater
Iris and strobe control
Colour and effects wheel
Colour temperature correctors
Fixed and rotating gobos
Pan, Tilt, Zoom and focus with fine controls
5-pin XLR DMX control
Super-silent operation and cooling
Safety and thermal features
Matte black finish
Conventional Light Fixtures
o
o
o
o
o
o
o
8 x all colour LED cyclorama TV lights, safety chain
3 x TV Soft-box Lights, c/w clamps, pole-op, safety gauze, safety chain, 2.5kW per fitting
3 x TV 2kW Fresnel Fitting, c/w clamps, pole-op, safety chain, barn doors, 2kW per fitting
6 x TV 1kW Fresnel Fittings, c/w clamps, pole operation, safety chain, 1kW per fitting
All fixtures are to have the necessary electrical connections, on-board on/off switch, safety
features, independent pole operation pan & tilt, and easy lamp maintenance, matte black finish
Nominal Working voltage is 1 phase 230/240V
Colour Temperature is to be 3200K
Scissor Lift
o
o
o
o
o
scissor lift is to be adequate for lights hoisting, setup and maintenance
Electrically operated, from platform or from ground
Rubber Tyres
Anti-toppling features and braking system
Emergency stop and motion alarm
Other Accessories
o
o
o
o
o
o
o
2 x Red Gelatine Filter Reels, high density
2 x Green Gelatine Filter Reels, high density
2 x Blue Gelatine Filter Reels, high density
2 x Yellow Gelatine Filter Reels, high density
2 x Flame Returdant Full Spun
2 x Flame Returdant Half Spun
1 x Digital Lux Meter, with separate light sensor
38
..
4.4 Infinity Background
Design, supply and install of infinity background section for virtual studio within the main studio
The main studio finish is to be for the virtual studio while a cyclorama shall be used for conventional sets.
Chroma Section




Blue seamless screen/finish for chromakey
Durable chroma-coloured coves to remove all boundary shadows
Blue chroma-colour is to provide high luminance values and colour saturation for perfect keying
effects
All material is to be flame-retardant
Cyclorama



Seamless cyclorama, 270 degrees, grey
cyclorama railing, 360 degrees, c/w accessories
additional railing, 360 degrees, c/w accessories
4.5 Rubber Base Flooring
Design, supply and install of rubber base flooring for camera sensor measurement
Approx. 13m x 10.5m





Leveling of flooring of the whole area
Special linoleum-type durable floor covering with embedded code for virtual-studio positioning
sensors
Full covering of virtual area, without any seems or joints
The flooring is to withstand the normal studio activities, camera support and light virtual props
without any impairment
A different camera floor positioning solution will be considered from details supplied by the
tenderer.
39
5. POST PRODUCTION AND GRAPHICS SUITES
1. The Post Production suites will consists of a new Graphics laboratory and an Editing suite
2. The Post Production and Graphics suites which are to be housed in existing premises as shown in the
attached plan require the following installations:
2.GR.1
Twenty four Editing stations for students (Clause 5.1)
2.GR.2
One Editing station for the lecturer (Clause 5.2)
2.GR.3
Selection of licensed version software packages on each editing suite
2.GR.4
Craft Editing suites (Clause 5.4)
2.GR.5
Audio Post Production suites (Clause 5.5)
2.GR.6
Asset Management (Clause 5.6)
2.GR.7
Storage system (Clause 5.7)
2.GR.8
Communication, networking and control (Clause 5.8)
(Clause 5.3)
All equipment and installations are to be designed, supplied, installed and commissioned.
3. An overview
The bidder is requested to design, supply and install a complete system consisting of a video and audio
server, studio and Production solution.
This is an Educational Institution providing high-quality training and development on Post Production of
programmes and studio output. Therefore it is extremely essential that the provided system will be based on
the latest technology available in the field.
4. Production Solution
The system will be a shared-use training facility with an emphasis on versatility, flexibility and scalability.
A non-linear fully integrated tapeless solution is required. The whole Production and Classroom Production
environments are to integrate seamlessly with the studio and shared storage and provide the highest degree
of reliability and flexibility in operation.
It is envisaged that the core resolution for the Facility shall be High Definition at least 720p/50.
A total of 24 editing training workstations, plus 1 tutor station and 5 High quality Craft editing suites, and one
audio suite will be provided using a mix of standard tools, favouring those most commonly used in the
region.
5. Ingest and Playout
Ingest & Playout requirement as follows:
o Three ingest channel s recording studio outputs and incoming feeds from the router
o Recording of HD-SDI sources (1080i/59.94, 720p/59.94, and 720p/50) onto the shared
storage ever been.
o High Definition Video must conform to the SMPTE 292M HD-SDI Specifications
o Simple application to enable record of studio outputs to central storage via a one button
selection
o Ability to synchronize multiple studio/camera outputs and record simultaneously
40
o
o
o
o
o
o
o
o
o
5.1
Automatic creation of a Thumbnail reference frame for each clip captured, viewable in the
media management
The ability to commence editing whilst recording is still in progress
At least 4 audio channels per video channel required – AES/EBU audio embedded or
separate.
Support for Gbit Ethernet, video component and composite, digital and analog audio,
external time code, and RS422.
one HD playout channel controlled by basic automation with playlist control
Ability to select recorded timecode or in house timecode
Playout controlled from desktop workstation with playlist control
Items to be played back manually, triggered via GPI, linked with other clips to block play, or
automatically played based on the timecode.
This basic automation must provide intuitive colour coded visual tools, including clocks,
channel assignments for easy identification of transmission paths, and status indicators (ie
cued, play next, media not available).
2.GR.1- EDITING STATIONS FOR STUDENTS – Quantity 24
A total of 24 editing stations are required for the students. Each to be equipped with the following:
o high end Unix system to the recommended suppliers specifications with at least 4GM RAM
o Hi-speed connectivity to the Shared storage
o Frame accurate in and out point of every video clip
o All user settings to be set via log-in. (ie when moving from one editor position to another all
shortcuts, keyboard and screen customization are retained.)
o Dual high resolution displays 19” or larger
o One high resolution sdi video monitor
o Audio monitoring
o Edit multiple SD and HD formats in real time
o Effects required: Color Correction, slow motion, ability to use third party effects plug-ins
(provide list)
On-screen timecode display
o An existing stand-alone editing system will need to be added to the system and exchange
files and media.
The following
station:
o
o
o
o
o
o
o
o
licensed version software packages or equivalent have to be installed on each editing
a) Adobe Creative Suite (Master Collection) – Latest Version or equivalent
b) Autodesk-Conbustion and 3D Studio Max or equivalent
c) Adobe Director - Latest Version or equivalent
d) Photo database software – Lightroom, Aperture or equivalent
e) Final Cut Pro studio (latest version or equivalent)
f) Microsoft Office for Mac (latest version or equivalent)
g) iWorks Suite for Mac (latest version or equivalent)
h) Toaster Titanium (latest version or equivalent)
41
5.2
2.GR.2- EDITING STATION FOR TUTOR – Quantity 1
One editing station is required for the tutor. It is to be equipped with the following:
o high end Unix system to the recommended suppliers specifications (or equivalent) with at
least 4GM RAM
o Hi-speed connectivity to the Shared storage
o Frame accurate in and out point of every video clip
o All user settings to be set via log-in. (ie when moving from one editor position to another all
shortcuts, keyboard and screen customization are retained.)
o Dual high resolution displays 19” or larger
o One high resolution sdi video monitor
o Audio monitoring
o Edit multiple SD and HD formats in real time
o Effects required: Color Correction, slow motion, ability to use third party effects plug-ins
(provide list)
o On-screen timecode display
o An existing stand-alone editing system will need to be added to the system and exchange
files and media.
5.3 2.GR.3 - Selection of licensed version software packages on each editing suite
The following licensed version software packages have to be installed on each editing station:
o a) Adobe Creative Suite (Master Collection) – Latest Version or equivalent
o b) Autodesk-Conbustion and 3D Studio Max or equivalent
o c) Adobe Director - Latest Version or equivalent
o d) Photo database software – Lightroom, Aperture or equivalent
o e) Final Cut Pro studio (latest version or equivalent)
o f) Microsoft Office for Mac (latest version or equivalent)
o g) iWorks Suite for Mac (latest version or equivalent)
o h) Toaster Titanium (latest version or equivalent)
The tutor editing station is to have access to the main router with all the source available to him/her from the
main studio.
It is requested that the tutor shall be capable of overseeing and analyzing all the editing stations from his/her
position. He/she can also monitor any Mac/pc in the editing facility.
5.4
2.GR.4 - CRAFT EDITING SUITES – Quantity 5
Quantity five, non-linear editing suites - all must be able to share projects over the video server. The main
system hardware and software comprising of:
o
High resolution real time video editing attached to central storage
o
HD-SDI I/O - ability to ingest HD media locally via the existing matrix or VTRs
o
Media ingested locally to be available on shared storage to provide collaborative workflow
for all the editors
o
support for a wide range of HD codecs, (provide list) including HDV, XDCAM-HD, XDCAMEX, DVCPRO HD
o
Transfer P2 and XDCAM files directly from disk or card
42
o
o
o
o
o
o
o
o
o
o
o
o
o
o
5.5
Edit multiple SD and HD formats in real time
Effects required: Color Correction, slow motion, ability to use third party effects plug-ins
(bidder is to provide list)
On-screen timecode display
At least one of the units shall have film grading and colour correction facilities standards
used internationally in the film industry. This might be a different system sitting on the same
computer switchable on demand.
Direct edit from tape to timeline
Each to be equipped with high end PC to the recommended suppliers specifications
Hi Resolution Dual 19” flat screen monitor
Hi Resolution full 17” HD broadcast monitor
Keyboard, mouse
Audio monitoring
A full digital Audio editing suite
DV / Mini dv video tape recorder (VTR)
direct integration of XDCAM and P2 formats and hard disk based HDV formats
MXF support
2.GR.5 - AUDIO POST PRODUCTION SUITES
Audio Post-Production software must be installed on all systems so that dedicated audio post-production
lectures can be delivered. Therefore, the bidders are to supply the required hardware and software.
The following
station:
o
o
o
o
o
o
o
5.6
licensed version software packages or equivalent have to be installed on each editing
a) Adobe Creative Suite (Master Collection) – Latest Version or equivalent
b) Adobe Director - Latest Version or equivalent
c) Photo database software – Lightroom, Aperture or equivalent
d) Microsoft Office for Mac (latest version or equivalent)
e) iWorks Suite for Mac (latest version or equivalent)
f) Toaster CD/DVD Burning Software (latest version or equivalent)
g) Avid Editing Programmes (composer or better or equivalent)
2.GR.6 – ASSET MANAGEMENT
A shared usage facility control of physical systems and digital assets will play a key role in the operational
success and a reliable and accurate media management system is required.
A Flexible database is preferred using high security, priority level and friendly user interface. It is essential in
our training environment that we have an intuitive search engine accessible by all operators and user-rights
setting capabilities for our administrators and students.
5.7
2.GR.7– STORAGE SYSTEM
Online – server-based storage system capable of accessing, storing, recording and restoring from and to all
media sources within the system and interfacing with external systems for publishing. High capacity storage
required (approx 40TB) optimized for large media files. Instant access of material for all attached
simultaneous users.
43
The storage system is to support a "main" and "backup" system configuration and is to provide a "protection"
strategy on all critical components. It should utilize a Windows or UNIX based Operating System (or
equivalent) and be a RAID based system.
Hot Swappable Redundant Power Supply and Fans must be supported.
The server system must support High Definition media (up to 120Mbps). The system must be fully
expandable in terms of storage, I/O and workstations.
5.8
2.GR.8- COMMUNICATION, NETWORKING AND CONTROL
RS422 Protocol - VDCP must be supported. The system is to support LAN protocols, either Industry
Standard or Proprietary and is to also support 100BT, 1000BT, and FC.
Central management and monitoring of all storage and control devices must be available. Remote file
transfer via LAN or WAN must be supported.
6
6.1
ADDITIONAL INFORMATION
SERVICES, SUPPORT AND TRAINING
Acceptance is envisaged as a 2-stage process with as many elements as possible being tested at the
System Integrator’s (SI’s) staging facility. Final Acceptance testing will be carried out after installation at the
education facility. SI’s will be expected to provide full co-operation and assistance during all stages of
Acceptance Testing.
A full installation is required with all cabling to be provided by the Contractor’s System Integrator.
Racks and power feeds to the racks are to be provided by the Contractor’s System Integrator.
On-site Technical and operation training on all equipment to be included as part of the equipment pricing and
will be started after system acceptance.
We would prefer a train the trainer approach whereby our tutors or administrators are trained to a high level
user standard enabling them to then train students as required. A minimum of 5 members of staff are to be
trained in the modules enlisted hereunder. Training is to be provided over a period of one week.
Training may be divided into the following several modules:
a. System Administration and management training for access and user rights, deletion,
archiving, etc.
b. Training on all aspects of ingest, routing, play out, archiving, etc.
c. Maintenance & operation training for technical personnel only to include system
configuration & redundancy, troubleshooting, diagnostics, automation, basic customization
of software, upgrading capability.
d. Camera and edit suite utilization training.
e. Training on craft editing system.
f. Play out and automation operational training.
Annual Support is to be offered.
44
6.2
PROJECT SCHEDULE
All bidders are to propose a project schedule (in Gantt Chart format) indicating the stages from installation to
commissioning of the project. This is to be submitted in the proposal as a preliminary indication. The
successful bidder, upon award, is to produce a more precise schedule not later than fifteen calendar days
before actual installation work starts.
6.3
INSPECTION AND COMMISSIONING
The system will be subjected to inspection and full tests. The successful bidder will therefore be required to
make available the offered system for inspection. All the parameters claimed by the firm in the tender will be
checked for authenticity. Any particular requirement not meeting the specifications /requirements may not be
accepted. Independent Engineers will inspect each of the following equipment. The firm will be required to
furnish at least two sets of full factory test data with the delivery of the equipment.
a. All servers and its associated management software
b. The Editing Systems
c. The studio equipment and infrastructural installation
Two sets of the final Acceptance Test Report for each piece of equipment and an overall System
Performance Report will be required to be submitted upon completion of the final testing and commissioning.
This will be the essential part of the final acceptance of the system.
6.4
SYSTEM DRAWINGS
The bidder is required to provide the schematics of system drawings of the offered system showing the main
and redundant components of servers, switches, fiber ports and networking, gigabit, Ethernet, video paths,
audio paths, sync, SDl and its networking, etc. The diagrams must indicate the workflow of the system
offered including the exact route taken from ingest of external feeds and lines right up to play out and the
infrastructure used for each type of signal. Bidders will be disqualified if diagrams do not have enough details
to show an understanding of the whole system and/or due diligence on the part of the tenderers. The bidders
are to also give the detailed schematics of individual blocks like the video and audio and lighting edit suites,
Ingest, Networking, and Play out etc. for better understanding of the whole system.
6.5
TECHNICAL DOCUMENTATION
A descriptive printed technical documentation in English on system architecture and philosophy of design is
to accompany the drawings. A detailed printed documentation in English on each software is to also be
provided. A full set of cable layout and marking drawing shall be made after the system has been installed
and shall be left on site when the tendered has finished its commissioning.
45