Content+Technology ANZ November-December 2023

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Cont actust odi s cus sourr angeoft echni cal s uppor t Vi deocr a f t03927 37 500 s er v i cesf ory ours y s t ems . Di gi s t or02943 16000 ISSN 1448-9554

November 15-16, 2023 Royal Randwick Racecourse Sydney Australia



Cover Story... page 18. REGULARS 02 EDITOR’S WELCOME 04 NEWS+PEOPLE Pedestrian TV Streams

Chaos on 9Now; Nine Launches AI-Powered Self-Serve SME Ad Platform; Paramount Unveils ‘Shoppable TV’ with Oz Survivor; Blackmagic the Main Course for Australian Unis; People on the Move.




Sony Adds BURANO Camera to CineAlta Family; Videocraft Takes Australia’s First FUJINON Duvo 25-1000 Lens; Canon EOS RF-Mount Cinema Prime Lenses; Blackmagic Covers All Screens with New Camera Releases; Canon 4K PTZ Camera & Remote Camera Controller; Cooke Optics SP3 Prime Lenses.



Cricket Australia Launches Dedicated FAST Channel; IOC to Create ‘Olympic Esports Games’; Gravity and JAMTV to Deliver Challenger PGA Tour; Gravity and Supercars Deliver Bathurst 1000’s Biggest Ever Production; Clearing Live HDR Hurdles for Paris 2024 with Imagine Communications; Gravity Delivers Global eSports Coverage for Intel Extreme Masters; Riot Games Rolls Out ‘Win Probability’ Stats.


UK-based GB News Picks MediaHub Australia for Playout; Seven’s New Sydney News Studio; Viz Pilot Edge 3; Chyron Weather 2.0.


38 CONTENT+TECHNOLOGY ISSN 1448-9554 PP:255003/06831 Broadcastpapers Pty Ltd (ABN 34 095 653 277) PO Box 165 Surry Hills, NSW 2010, Australia PUBLISHER: Phil Sandberg Tel +61 (0)2 4368 4569 Mob +61 (0)414 671 811


The Official Guide for Content Live 2023 the Free Conference & Exhibition. November 15-16, Randwick Racecourse, Sydney.

ADVERTISING MANAGER: Adam Buick Mob +61 (0)413 007 144 PRODUCTION MANAGER: Lucy Salmon Mob +61(0)412 479 662 DESIGN & LAYOUT Wide Open Media Mob +61 (0)419 225 348 PRINTING: SOS Printing, Sydney


Generative AI Brings the Competition; SiggraphAsia2023; Adobe Delivers an AIPowered Creative Cloud; Performance Boost Across Maxon One.


EditShare Merges with Shift Media; Sony’s Ci Media Cloud Enhances Service Offering with NAGRA; Remote Collaboration with ELEMENTS Cloud Workspaces; How AI is becoming a vital part of the intelligent transport workflow; Hedge Rebadges Camera Media App as OffShoot; Vizrt Completes AWS FTR Process for Viz One.


‘Elvis’ Soundtrack Engineer Lachlan Carrick Monitors with Neumann; DPA Location Sound Kit; Lawo’s New Crystal Broadcast Console; DHD Boosts XD3 IP Core with Quad-Core CPU.


MediaHub Australia and Ateme Build New Headend for WIN TV; How Does Video Consumption Contribute to the Global Carbon Footprint?; MediaKind ‘BEAM’ Shines on Distribution; Interra BATON 9.0; LYNX Technik Bi-Directional 12G Single to QuadLink Converter.

COPYRIGHT NOTICE: All material in Broadcastpapers’ Content+Technology Magazine is protected under Australian Commonwealth Copyright Laws. No material may be reproduced in part or whole in any manner without prior consent of the Publisher and/or copyright holder. DISCLAIMER: Broadcastpapers Pty Ltd accepts no responsibility for omissions or mistakes made within, claims made or information provided by advertisers.


• Seven’s Phoenix total TV trading system, as well as data and insights partnerships with View Media Group and Raiz Invest, to strengthen its audience intelligence platform 7REDiQ; • SBS’ opt-out preferences which allow viewers to filter out advertising of undesirable products/services; • SBS’ SBS Measure which, in partnership with Experian, verifies the path to purchase of a campaign; and • SBS’ Solus Impact, a product that eliminates all but one sponsored ad in a show.












• Paramount’s Interactive Attribution to identify the impact of CTV interactive advertising • Paramount’s Brand Lift Study which tracks digital campaigns on 10 Play across all devices • Paramount’s Data Collaboration (in partnership with LiveRamp) to help advertisers to understand the role of Paramount within their broader media mix.

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• Paramount’s Shoppable TV which allows viewers to purchase products during programming.






One of the big stars for 2024, of course, will be Virtual Australia (VOZ), an alliance between Nine, Seven, Paramount and measurement company OzTAM which, through VOZ Streaming, will allow advertisers to manage reach and frequency across broadcaster video on-demand (BVOD) platforms with a common trading dataset. Advertisers will be able to manage programmatic campaigns across 9Now, 7Plus and 10 Play incorporating co-viewing, and creating Total TV measurement with all of their FTA channels. VOZ Streaming will work alongside broadcasters’ existing trading capabilities, allowing for more options

• Nine’s AI-Powered Self Serve Ad Platform for SMEs 16:00


AS WE COME OUT of “Up-Front” season for Australian media companies, the number of technology announcements have been just as significant as those around content offerings for the coming year. Never mind who survives that explosion in the season finale of Neighbours/Home and Away, or that there’s a large-scale sporting event due to take place somewhere in the world, the real stars of 2024 will include the following: • Interactive ads for 9Now, brand integrations into the 9Now home screen experience and advertising solutions in the new Live-Stream start-over feature.


By Phil Sandberg


By Any Measure?


• Seven’s partnership with Databricks to use AI to drive contextual, relevant advertising experiences for its audiences, building on the launch of its personalisation engine, built with AWS to provide customised recommendations and enhanced content discovery to 7plus users;

for advertisers to reach their target audiences. According to the group, VOZ Streaming will use “one of the most advanced TV measurement methodologies in the world to understand cross-platform viewership and assign a universal ID to every viewer behind a device, used to optimise frequency on BVOD and measure deduplicated reach and frequency (R&F) with linear TV. “The privacy-first solution transforms current industry practices limited to anonymous device level frequency management, and sets the gold standard for Total TV trading now and into the future. “For the first time, the Australian industry will have a seamless way to post-analyse the BVOD impressions and TV spot schedule for a campaign to measure the incremental reach that BVOD delivers to broadcast television, using the VOZ database.” Ever walking to the beat of a different drummer, Foxtel Media unveiled a new partnership with US-based, media measurement and optimisation software company, VideoAmp, to develop “a new measurement system” that will accurately capture viewing data from across Foxtel Group services. Despite revealing that the Foxtel Group had reached a digital tipping point in viewership, with 66% (3.1 million subscribers) of the company’s customer base coming from its streaming services, Foxtel Media CEO Mark Frain asserted that existing ratings methodologies were struggling to keep pace with the rapid shift in viewership to digital streaming platforms. The Foxtel Group says it holds extensive viewership data for over four million subscribers. Under its FoxTest initiative, the new measurement system aims to support brands with advertiser appetite moving away from small


• Paramount’s dynamic videopowered BrandBOOST ad product suite which integrates data triggers such as time of day, day of week, weather, and location, to automatically generate personalised, real-time creative content.

measurement panels towards the utilisation of premium and scaled data sets in order to deliver better business outcomes. Foxtel Media and VideoAmp intend to stand up a proof of concept for streaming and linear measurement and currency in 2024 and will work with agencies and brands to define their next phase of work in 2025. Foxtel Media has also engaged Kantar Media to deliver a new audience measurement service, ingesting data collected from Foxtel subscribers’ set top boxes using return path data technology. Foxtel Media says it will access the data using AdvantEdge software from Kantar Media’s TechEdge software unit. The solution incorporates data validation, processing, demographic mapping, capping (adjusting long viewing sessions into realistic viewing levels) and quality control. Foxtel Media anticipates the service will be available to clients from 1 December 2023, and will also include viewing data from the past two years. This announcement has been met with consternation from OzTAM with the measurement company stating, “... the introduction of a Foxtel-only audience measurement system poses the risk of confusion in the market. Introducing a new measurement service is expected to raise questions regarding reliability, comparability and integration into agencies’ buying systems. The industry has clearly stated that it wants one service to measure Total TV and that is what OzTAM provides.” All of this, unlike who survives that end of season explosion, will matter little to the viewer. Whether or not they pay for their streaming, they will still be the product. All the best for 2024. Phil Sandberg – Editor/Publisher +61(0)414671811


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Pedestrian TV Streams Chaos on 9Now PEDESTRIAN GROUP has announced the launch of PEDESTRIAN TELEVISION, Australia’s only youth-focused TV channel and video on demand (VOD) destination, streaming chaos 24/7 on 9Now. The first of its kind in the Australian VOD market, PEDESTRIAN TELEVISION is a mix of content, both created or curated, by Pedestrian Group. Licensing deals with Sony Pictures, Australian Independent Record labels (AIR), OUTtv, Eternal Family, Robot Army and others have carefully selected an eclectic mix of comedy, reality, music, movies, and weird web stuff that unearths both new and neo-nostalgic hits. PEDESTRIAN TELEVISION’s programming base will be layered with original news and culture content from Pedestrian Group’s brands, particularly PEDESTRIAN.TV, VICE, Refinery29 and The Chainsaw, as well as a collaboration with The Betoota Advocate.

CEO of Pedestrian Group, Matt Rowley said, “The obvious opportunity is that there’s no TV or streaming service out there dedicated solely to 18-35 year old Australians. What’s even more exciting is the way PEDESTRIAN TELEVISION will be rewriting the rule book to create chaotic good TV. Our unique programming will combine the pace and energy of social media, with the curated voice of a TV channel to end streaming decision paralysis for young Aussies.” James McManus, Executive Creative Director at Pedestrian Group said, “This channel will plug young Aussies into what’s going on like no other. We’ll be converging our trusted brand voices in one place to tell the news, give gig guides and hit the streets for opinion in untraditional, lo-fi, fast formats – meaning any viewer can keep up to speed by tuning in for

just a few hours a week. Importantly we’ll also lean heavily into supporting fresh Aussie music, showcasing the diverse talent our country has to offer.” Streamed via 9Now on connected TV, app and web, PEDESTRIAN TELEVISION is free and ad supported. The company says the ad load will be dramatically lighter to give curated brand partners the ultimate cut through with the channel’s sought after audience. Visit

Nine Launches AI-Powered Self-Serve SME Ad Platform NINE AD MANAGER, a groundbreaking tech platform utilising Artificial Intelligence that will give Australian small to medium size businesses the ability to buy postcode targeted video advertising on 9Now, is officially live, Nine has announced. The product, allows Australia’s 2.5 million small to medium size businesses to build a targeted ad campaign with video creative generated by AI, is a game changer for businesses wanting to target a hyperlocal audience. It was first announced at Nine’s Upfront in September and has since created significant interest from SMBs. It is the first time in Australia that SMBs can target audiences by postcode or interest using Nine’s 20 million signed in users in programming on 9Now such as The Block, Married At First Sight, Lego Masters, 9News, 60

Minutes, the Australian Open and NRL. Ben Campbell, Nine’s Director of Data and Digital Advertising Product, said: “The launch of Nine Ad Manager is a real milestone, opening up the possibility for Australian small and medium businesses to advertise on streaming TV for the very first time. Through the power of TV, SMBs can now turn their business into a household name within their local area.” With the ability to precisely target audiences using age and sex demographics, household location down to individual postcodes, interests and behaviours or TV show and genre, SMBs can now reach their target audience with zero wastage. The barrier of small to medium businesses not having a TV commercial is also solved by Nine Ad Manager. Businesses can create an ad using AI simply by entering their website URL into a creative builder in

the platform. The platform collates images, text, branding and colour palettes from the business’s website, creating a scripted video with AI-generated voice-over – all produced in a few minutes. Rose, Director of Sales – Nine Plus said: “Most small businesses across Australia would love the opportunity to advertise on television, but until now, it has been cost prohibitive. SMBs want to see their brand appearing alongside Nine’s premium content, but often to a highly targeted, local audience – not an entire city. They have smaller budgets, and they need to be able to measure the effectiveness of every pound spent. Nine Ad Manager was built to deliver against all of these objectives.” Visit

Paramount Unveils ‘Shoppable TV’ with Oz Survivor PARAMOUNT GLOBAL has selected Paramount Australia as the pilot market for a Shoppable TV initiative that provides a seamless consumer experience for viewers to purchase products during their favourite show, straight from their connected TV screen.


The advertising innovation was crafted in close collaboration with technology partner KERV and will not only be a first for Paramount globally, but also a first for the Australian market.


Lee Sears, Executive Vice President, Head of International Advertising Sales and Integrated Marketing, Paramount Global said: “We’re thrilled to be deepening our global partnership with KERV and Paramount Australia has played a key role in extending this collaboration with the Shoppable TV proof of concept.

“The local expertise of the Paramount Australia Sales team, combined with an advanced and bold Australian advertising industry that leans into innovation, provides the ideal market to trial new technologies like Shoppable TV that have the potential to influence our global strategy,” added Lee. Shoppable TV will integrate KERV’s technology, providing consumers with an engaging and convenient shopping experience via their remote-control allowing viewers to seamlessly watch, pause, browse, select and shop brands and products they have just viewed. Viewers will receive an on-screen message inviting them to pause content and explore Survivor merchandise available in the Paramount Shop. Once paused a feature

product carousel will appear showcasing available products and a ‘Shop Now’ call to action. After selecting a product, a shoppable screen will expand providing detailed product information and a QR code directing viewers to ‘Shop Now’. The Shoppable TV pilot during Australian Survivor will provide valuable insights on the technology before rolling out to other international markets in Paramount’s global business. Paramount Australia is inviting clients and agencies to register their interest in Shoppable TV with the pilot due to be completed by March 2024. Visit

Get high end broadcast camera features on your iPhone! Blackmagic Camera unlocks the power of your iPhone by adding Blackmagic’s high end broadcast camera features and image processing! You can adjust settings such as frame rate, shutter angle, white balance and ISO all in a single tap. Recording to Blackmagic Cloud Storage lets you collaborate on DaVinci Resolve projects with editors anywhere in the world, all at the same time!

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Blackmagic the Main Course for Australian Unis BLACKMAGIC DESIGN has announced that the University of Melbourne has adopted Blackmagic Studio Camera 4K Pro, ATEM Mini Extreme ISO and ATEM Television Studio Pro 4K live production switchers and HyperDeck Studio 4K Pro broadcast decks as part of its communication and amplification of academic research and expertise. The move reflects a growing trend of universities around the world utilising top tier video equipment to increase academic, student and community engagement using Blackmagic Design hardware and software. The University of Melbourne has set up a full service video production team and studio with the primary aim of enhancing the reach of academic research and enriching course content for students. The studio has already become an integral part of the university’s communication strategy, producing diverse content spanning various fields, both in house and on location. The studio’s pivotal role was cemented during the pandemic, as it swiftly adapted to a live streaming format, facilitating discussions with notable guests including Anthony Fauci, former chief medical adviser to the President of the United States, and Dame Sally Davies, former chief medical officer for England. The University of Melbourne is using ATEM Mini Extreme ISO and ATEM Television Studio Pro 4K for live streaming and multi camera switching of a variety of university events and classroom streams, HyperDeck Studio 4K Pro for recording and playback, and Blackmagic Studio Camera 4K Pros as the main studio cameras. These are also used with Blackmagic Design Micro Converter HDMI to SDI 3Gs.


University of Melbourne Immersive Media Coordinator Ben Loveridge spoke about the impact of the initiative, saying, “The response has been overwhelmingly positive. The public video content we’ve produced has positioned us as a hub for high quality academic discourse. Our faculty members are increasingly harnessing the studio’s capabilities to enhance their courses and internal communications. Through the use of an efficient and professional video setup, we’re able keep the process as simple as possible for our staff to get their messages across. With a script and a presenter, we can promptly handle the rest. When everyone is time poor, that’s a crucial advantage, especially in today’s video centric world.”


The University of Melbourne’s studio reflects the growing trend of educational institutions leveraging professional video equipment to expand academic outreach. Other Australian universities, such as Curtin University and Deakin University, have also embraced Blackmagic Design technology, highlighting a key growth sector for Blackmagic Design amid

University of Melbourne Blackmagic-equipped control room.

increasing adoption of video in both external and internal communications. Deakin Uni Enlists Blackmagic for Film, TV and Animation Meanwhile, Australia’s Deakin University is powering its Bachelor of Film, Television and Animation programme with a suite of Blackmagic Design products, including ATEM live production switchers, URSA Broadcast G2 cameras and DaVinci Resolve editing, grading, visual effects (VFX) and audio post-production software. The three-year programme is designed to train the next generation of Australian creative professionals. This includes students getting the unique opportunity to produce live broadcasts of Women’s National Basketball League games that are streamed on Fox Sport and Kayo and Victorian Football League games streamed on Seven Plus. For these games, students work alongside trained professionals in Deakin University’s own OB van, which incorporates Blackmagic Design technology to create a professional production environment. Students develop real-world experience on high-quality industry equipment including URSA Broadcast G2s equipped with URSA Studio Viewfinders, Pocket Cinema Camera 6K G2 digital film cameras, ATEM Camera Control Panel, ATEM Television Studio Pro 4K and ATEM 2 M/E Production Studio 4K live production switchers, HyperDeck Studio Mini broadcast decks, SmartView Duo 2 monitors and Micro Converters SDI to HDMI. The Deakin University team began its Blackmagic Design journey more than a decade ago when the team began to utilise Davinci Resolve to create digital screening packages. Dr Simon Wilmot, head of group, film, animation and performing arts, said: “What makes our course different is our focus on developing real-world skills, using technology that our students will encounter in a professional setting. We pride ourselves on fully integrating our students into the workflow of a real, valuable product: operating cameras, auto cues, EVS, floor managing, assisting with audio and lighting, etc. The relationships the students are able to develop with professional crew have

Students from Deakin University’s Bachelor of Film, Television and Animation programme.

created pathways for many of them to gain paid employment in the broadcast industry.” The quality and pricing of Blackmagic Design’s products and the ongoing development of the DaVinci Resolve platform gave the team the confidence to invest in Blackmagic Design technology. “The menus and layout of the cameras make them very accessible and easy to use in teaching compared to other cameras,” said Dr Wilmot. He continued, “We are always interested in supporting a local company. Over several years we have purchased Blackmagic Design equipment to do specific tasks, such as the HyperDeck. But the development of DaVinci Resolve really cemented the company in our minds as the ideal platform for our students to learn professional-level skills. This became a key part of our workflows, and the rest of the technology stack has come together from there.” Dr Wilmot concluded, “The URSA was an ideal camera for us to create a class set of production cameras to develop intermedia skills on. The cost was such that we were able to purchase eight cameras and kit them up for production. The Pocket Cinema Cameras were an ideal camera to develop an introductory class set to introduce students to cinematographic concepts, including changing lenses. When we developed the OB van, once again, Blackmagic’s quality and pricing was hard to beat.” Visit

Phil Goulden Appointed BDM at D2N INDUSTRY VETERAN Phil Goulden is joining D2N – Technology Solutions as Business Development Manager, furthering the company’s continued expansion and commitment to the Australian market. With over forty years of experience in broadcast television across the globe, Goulden has worked on some of the world’s largest and most prestigious productions including the Olympic Games, FIFA World Cup, AFL Grand Finals, NRL Grand Finals, Survivor, Big Brother, and more. At D2N – Technology Solutions, Goulden will be identifying new customers and income streams.

[L-R] D2N - Technology Solutions Business Development Manager, Phil Goulden and MD, Jason Owen

Skilled in broadcast engineering and television production with the ability to work with multiple stakeholders delivering mutually beneficial proposals, his goal is to drive sustainable financial growth through boosting sales and forging strong relationships with clients. D2N – Technology Solutions MD Jason Owen said, “Having worked alongside Phil for over twenty years, I am really excited about him joining the D2N team. His passion for excellence and customer service fit perfectly with both my own and our company’s values. As D2N continues to grow, having someone with Phil’s experience

onboard adds a whole new layer of engineering and operational expertise for our broadcast, production and audio-visual customers.” Phil Goulden said, “D2N – Technology Solutions is one of the best, most innovative and fastestgrowing companies in our industry. Joining them now is a great move for me and I’m very excited at what the future will bring.” Phil Goulden can be contacted at D2N – Technology Solutions on (02) 9837 6748 or at



TV AUDIENCE measurement provider OzTAM has announced Karen Halligan as its new CEO. She joins OzTAM from KPMG where she has spent almost six years and is Partner – KPMG Customer specialising in marketing, martech and media advisory. Halligan replaces interim CEO, Dorus van den Biezenbos. Visit ----------------------------------------------------------NINE HAS ANNOUNCED the appointment of Garry Bentlin as its new Group Director of Cybersecurity. Bentlin was most recently a Partner with PwC Australia, with previous roles including Chief Information Security Officer at TransGrid, National Cybersecurity Director at Deloitte, and various security positions at IBM.

He is also currently a member of the Executive Advisory Board for Cyber (EABC) at Deakin University. Visit Oliver-Taylor. ----------------------------------------------------------JOLT, the advertising-funded digital-out-ofhome and electric vehicle charging network, has announced the appointment of Stuart Moffatt as its new General Manager – Commercial. Moffatt was most recently Commercial Director for JCDecaux’s Victorian, South Australian and West Australian operations. He has also held Development Director roles at APN Outdoor and Adshel. Visit


THE AUSTRALIAN Federal Government has appointed Ms Nicolette Maury and Ms Louise McElvogue as non-executive Directors to the ABC Board for five-year terms. Ms Maury is the CEO of Avani Solutions. She has a strong background in business across real estate, banking and ecommerce, having spent more than 15 years working in digital organisations in Australia and overseas. Ms McElvogue has an extensive background in journalism, communications, marketing and board governance in Australia and internationally. She also has significant business experience leading digital projects for brands like McDonald’s and building the UK’s first video streaming services for the BBC and Channel 4.




Sony Adds BURANO Camera to CineAlta Family SONY HAS LAUNCHED the new BURANO camera as part of its CineAlta digital cinema camera lineup. The BURANO features a sensor that matches the colour science of the VENICE 2 and is designed for single-camera operators and small crews. According to Sony, it is the world’s first digital cinema camera with a PLMount to feature in-body image stabilisation. The compact housing includes both a thinnerthan-before electronically variable ND filter structure alongside the optical image stabilisation mechanism. When removing the PL lens mount, the camera can be used with E-mount lenses and supports fast hybrid AF and subject recognition AF, even perfect for fast-moving subjects. Using the colour science of the VENICE cameras, BURANO features an 8.6K full-frame sensor that shares most of the VENICE 2 specifications enabling it to work alongside that camera in all types of productions. The sensor features dual base ISO of 800 and 3200 and 16 stops of latitude. Like all Sony’s full-frame Cinema Line, BURANO will have the ability to shoot at full-frame, Super 35, and also features a desqueeze function for anamorphic lenses. It can film at frame rates including up to 8K at 30 frames per second, 6K at 60 frames per second or 4K at 120 frames per second. BURANO features a compact and lightweight body for high mobility, approximately 32mm shorter and 1.4kg lighter than the VENICE 2 camera. BURANO is housed in a rugged magnesium chassis. BURANO is the world’s first digital cinema camera with PL-mount to support in-body image stabilisation. With a newly developed image stabilisation mechanism and control algorithm that leverages the advanced image stabilisation technology cultivated in the Alpha series of mirrorless interchangeable-lens cameras, unwanted camera shake, such as movement from shooting handheld or walking, can be corrected when shooting with an E-mount or PL-mount lens.


BURANO is equipped with an electronic variable ND filter from 0.6 to 2.1, enabling easy adjustments in various lighting conditions. In addition, the electronic variable ND filter allows control of the depth of field with the iris and adjusts to the optimum exposure without changing the depth of field.


More than 70 E-mount lenses can use the excellent image stabilisation function cultivated with Alpha, as well as Fast Hybrid AF that combines the benefits of phase detection and contrast detection method and are also compatible with high-precision Subject Recognition AF using AI. Using an E-mount lens further reduces the weight and size of the camera.

BURANO also includes design improvements based on feedback from the filmmaking community. All menu buttons are positioned on the camera operator’s side. Tally lamps are placed in three locations to make it easier for the surrounding crew to check the shooting status. The 3.5-inch multi-function LCD monitor can be used as a viewfinder, for touch focus, or menu control. There is also an optional robust T-handle, viewfinder arm, two 3-pin XLR audio inputs, and a headphone terminal (stereo minijack), convenient for solo operation. The BURANO can record from HD to 8K depending on the resolution, aspect ratio and codec. BURANO supports multiple internal recording formats, such as the new XAVC H for 8K, which uses the MPEG-H HEVC/H.265 high compression efficiency codec. Other recording formats include XAVC and X-OCN LT. X-OCN is Sony’s original compressed RAW format that can capture information shot with 16-bit linear data. X-OCN LT can reduce file transfer time and storage size load, making post-production workflows more efficient than standard versions of RAW data. BURANO is also equipped with two new CF express Type B memory card slots and supports VPG400, which can sustain high bitrate writing of video data, including X-OCN LT 8K. Sony will also be releasing in early 2024 new compatible CFexpress Type B memory cards, CEB-G1920T (1920 GB)/ CEB-G960T (960 GB). BURANO supports various log recording modes including S-Gamut3 and S-Gamut3.Cine, which are colour spaces that cover a colour gamut exceeding BT.2020 and DCI-P3. BURANO can reproduce the same colour as all cameras in Sony’s Cinema Line, including the VENICE 2. This allows filmmakers to match cameras within the line. BURANO comes with four new cinematic looks: Warm, Cool, Vintage, Teal and Orange, in addition to supporting industry standard s709 and 709 (800%) Look Up Tables (LUTs). BURANO can also be used for virtual production using large screen LED displays such as Sony’s Crystal LED VERONA. The camera also features gen-lock. Sony will be releasing separately the GP-VR100 Grip remote control for the BURANO’s main

unit, to control the zoom lever and recording start/stop button, particularly useful in solo shooting set-ups. BURANO will support the S700 protocol over ethernet and a 1.5x de-squeeze display function when using anamorphic lens by summer 2024. Further updates will be rolled out in the future. The Burano can be used with Sony’s Monitor & Control mobile app, part of the Sony Creators’ Cloud. The app, designed with visual creators in mind, enables wireless video monitoring, support for exposure determination using false colour and waveform monitors, and focus operation of compatible cameras, via smartphone or tablet. The BURANO and new GP-VR100 Grip Remote Control (sold separately), CFexpress Type B memory cards, CEB-G1920T (1920 GB)/ CEBG960T (960 GB) will be available in Australia & New Zealand from early 2024. Visit

At the Motel HIGHLY ACCLAIMED and Milli Award-winning cinematographer, Stefan Duscio, ACS, (The Dry, Shantaram, The Invisible Man) has produced a film entitled At the Motel with the BURANO. The film was written, directed and starred Australian actor Sam Corlett (The Dry, Vikings: Valhalla). Both the film and behind the scenes footage can be found on the Sony Cinema Line playlist on YouTube. Scan the QR code or visit


Videocraft Takes Australia’s First FUJINON Duvo 25-1000 Lens VIDEOCRAFT HAS BECOME Australia’s first company to order the new FUJINON Duvo HZK25-1000mmF2.8-5.0 CineBox PL Lens (Duvo 25-1000).. According to Videocraft sales director James Taylor, “Live production with large sensor cameras has been something that we have always been passionate about, and for a number of years, we have been looking for a box lens that worked with our large sensor cameras. When the Duvo 25-1000 was announced, we were very excited about this lens coming through, as we feel that this is a real game changer for large sensor live production. The new Duvo 25-1000 lens is the most exciting lens that has come onto the market in the last twenty years, in my opinion.” The Duvo 25-1000 utilises innovative optical design technology to achieve a maximum aperture of F2.8 and 40x zoom ratio. This ultrahigh zoom ratio lens is compatible with the large sensors of digital cinema cameras yet provides a brightness of F2.8 at a wide angle. Not only does it enable filming in low-light environments such as indoor concerts or night-time events, but the shallow depth of field creates the bokeh that delivers the highly sought-after cinematic look. Videocraft’s requirements were for a unit that was much faster than existing long focal length

zoom lenses and had image stabilisation and full servo control so its technicians would not have to spend additional time adding motors and calibrating the system. Taylor continued, “When the Duvo 25-1000 was released, this was the first lens that truly met our needs. The 25mm focal length at the wide end means we can easily get the wide shot of the stage, but then going to 1000mm we can get the tight shot as well, so it becomes the lens that does everything. Even more importantly, the image stabiliser makes the long focal length usable through the range. So, whilst we already have lenses in our inventory that go to 1000mm, the lack of an image stabiliser makes it very hard to use at focal lengths past 600mm, but when we use the Duvo 25-1000, we can use the full range. Secondly, the Duvo 25-1000 is much faster than

anything else that gets to 1000mm, so we get so much more control over depth of field with this amazing new lens. “As part of our major lens refresh, we have purchased FUJINON UA46x and UA125x UHD B4 mount zooms, as well as bolstering our FUJINON Cabrio 19-90 and 25-300 zoom lens range. The new Duvo 25-1000 is really the jewel in the crown of our lens fleet, though, and we are very excited about this particular investment.” Visit and

Canon’s First EOS RF-Mount Cinema Prime Lenses CANON HAS INTRODUCED the company’s first RF-Mount Cinema Prime Lenses for the Cinema EOS System. The new lenses combine high optical performance for 4K and 8K shooting, cinemastyle operability, and RF mount communications. The seven Canon CN-R lenses, with focal lengths and T stops of 14mm T3.1, 20mm T1.5, 24mm T1.5, 35mm T1.5, 50mm T1.3,

85mm T1.3, and 135mm T2.2, are compatible with the two existing RF-Mount Canon Cinema Cameras, the EOS C70 and EOS R5 C. These lenses will allow for RF mount protocol transmission, and just like the EF-Mount Cinema Prime Lenses, operators can control magnification, chromatic aberration correction, peripheral light correction, and a dual-pixel focus guide via camera body operations. In addition, the new

lenses also feature lens distortion correction. These features support efficient video production during on-location recording and post-production workflow. ew lenses are able to achieve high optical performance suitable for use with 4K and 8K cameras by optimally positioning large-diameter aspherical lens elements and lens elements with anomalous dispersion glass. Their

compatibility with the full-frame large-format sensor, bright T stop values1, and 11-blade iris helps produce a shallow depth of field for subjects, natural round blurring, and soft image expressions. In addition, unified Cinema EOS colour balance throughout the series helps provide consistent colour, even when changing lenses. Visit

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Blackmagic Covers All Screens with New Camera Releases This year’s IBC show saw Blackmagic unleash a tsunami of camera options with the launch of two 4K studio cameras, a 6K cinema camera and a digital film camera control app for the Apple iPhone. TOUTED AS THE WORLD’S SMALLEST Ultra HD live production camera with upgraded 4K sensor and 12G-SDI, the Blackmagic Micro Studio Camera 4K G2 retains the compact design of the original model, but is now upgraded with a 4K digital film sensor with 13 stops of dynamic range and dual native ISO up to 25,600 for low light performance. In addition, Blackmagic Micro Studio Camera 4K G2 adds 12G-SDI for operation up to 2160p60, and a new USB-C expansion port for recording Blackmagic RAW to external disks as well as network control via Ethernet adapters. Blackmagic Micro Studio Camera 4K G2 is the perfect solution for placing cameras on set when customers don’t have space for regular sized cameras. It includes the popular MFT lens mount, very low light 4K image sensor and cinematic colour science. So it’s small, but has the features of a full sized studio camera. Customers also get 12G-SDI for HD and Ultra HD operation up to 2160p60. It’s also possible to control the built-in colour corrector and lens using the SDI and HDMI connections. It can even record Blackmagic RAW to USB disks. The Blackmagic Micro Studio Camera 4K also includes log gamma, allowing customers to create cinematic colour corrected looks, all in camera. Also updated is the Blackmagic Studio Camera 4K Plus G2 which adds 12G-SDI allowing customers to connect it to SDI based switchers such as ATEM Constellation. The new model also adds support for remote camera control over networks via REST APIs and talkback on 3.5mm headsets. Blackmagic Studio Camera 4K Plus G2 retains the same amazing 4K digital film sensor with 13 stops of dynamic range, MFT lens mount and compact all-in-one design of the previous model. Blackmagic Studio Cameras have the same features as large studio cameras, miniaturised into a single compact and portable design. Plus with digital film camera dynamic range and colour science, the cameras can handle extremely difficult lighting conditions while producing cinematic looking images. The sensor features an ISO up to 25,600 so customers can create amazing images even in dimly lit venues. Advanced features include talkback, tally, camera control, built in colour corrector, Blackmagic RAW recording to USB disks, live streaming and more. Blackmagic Studio Camera 4K Plus G2 features include: • Designed specifically for live production. • Native 4K sensor with 13 stops of dynamic range. • Compatible with a wide range of popular MFT lenses.


• Talkback via 3.5mm headsets.


• USB-C port for recording to external disks or remote camera control over a network. • Large 7 inch high brightness viewfinder. • Includes 12G-SDI and HDMI connections. • Optional focus and zoom demands for lens control.

Blackmagic Cinema Camera 6K Blackmagic Design has also announced the Blackmagic Cinema Camera 6K, a new high end digital film camera with a full frame 6K sensor, 13 stops of dynamic range, L-Mount lens mount and dual native ISO up to 25,600 for incredible low light performance and recording to CFexpress cards. This new model features a 24 x 36mm 6K sensor, allowing for large format cinema camera image quality in a portable, lightweight body. Blackmagic Cinema Camera 6K also uses an L-Mount for lenses which works with a wide range of new and vintage lenses for a wider range of creative choices. The new Blackmagic Cinema Camera 6K is an extremely high end digital film camera that produces precise skin tones and rich organic colours. The camera features a massive full frame 24 x 36mm 6K sensor with wide dynamic range, a very flexible L-Mount for lenses and a built-in optical low pass filter that’s custom designed to match the sensor. Customers also get fast CFexpress media and the camera can even use Pocket Cinema Camera accessories. When users are doing cloud and mobile work, the camera records both deep bit depth Blackmagic RAW and H.264 proxies at the same time. Blackmagic Cinema Camera 6K features include: • 36 x 24mm full frame 6K 6048 x 4032 sensor. • Open gate 3:2, full height 6:5 anamorphic and Super 35 for creating cinematic content. • L-Mount compatible with a wide range of still photography and cinema lenses. • Records full resolution up to 36 fps or 120 fps windowed. • Extremely fast CFexpress card recording. • Adjustable, HDR 1500 nit LCD screen. • Optional Blackmagic Pocket Cinema Camera Pro EVF. • Larger NP-F570 battery, optional Blackmagic Pocket Camera Battery Pro Grip. Blackmagic Camera for iPhone Blackmagic Design also announced Blackmagic Camera, which adds digital film camera controls to the Apple iPhone. Based on the same operating system as Blackmagic Design’s digital film cameras, these professional features give iPhone content creators the same tools used in feature films, television and documentaries. Support for Blackmagic Cloud allows creators to collaborate and share media

Blackmagic Cinema Camera 6K.

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with multiple editors and colourists around the world instantly. Blackmagic Camera Features include: • Shoot in 16:9 or vertical aspect ratios. • Stealth mode for shooting 16:9 while holding phone vertically. • Capture in Apple ProRes, HEVC and H.264 with auto proxy generation. • Frame rate, shutter speed, exposure, white balance, tint and colour space camera controls. • Focus assist, zebra, frame guides, histogram, 3D LUT monitoring. • Time of day or run time, timecode recording. • PCM, IEEE Float or AAC audio recording, 44.1 or 48 kHz sample rate. • VU or PPM audio meters. • Thumbnail view of all recorded clips in media tab. • Preview clips with scrubber, duration, timecode and file name display. • Fully integrated with Blackmagic Cloud and DaVinci Resolve. • Record to iPhone, select recorded clips to share via Blackmagic Cloud or sync automatically. Blackmagic Camera is now available from the Apple App Store, free of charge. Visit


Canon Unveils 4K PTZ Camera and Remote Camera Controller CANON HAS ANNOUNCED the CR-N100 4K PTZ camera, designed for indoor use, and the RC-IP1000, a high-end remote camera controller designed for professional systems. As a free download, Canon will also release the Multi-Camera Management Application that streamlines the configuration and management of supported Canon PTZ, professional video, and cinema cameras. The CR-N100 showcases key features that leverage Canon’s history of professional camera technology development, including a 1/2.3” CMOS sensor and a DIGIC DV6 image processor platform that helps to produce 4K/30P highimage-quality video capture. In addition, the camera is equipped with a 20x optical zoom lens with a focal length of 29.3mmー 601mm, supporting image capture ranging from wide-angle to telephoto scenarios. The camera also includes four “scene modes” — Portrait, Sports, Low-light, and Spotlight — which users can choose to create their content based on the subject.

Users can build a complete, versatile production environment with CR-N100’s support for a variety of video interfaces and IP streaming protocols. The CR-N100 supports NDI|HX for high-quality – low latency video and control, SRT for secure high-quality video streaming over public networks, and RTP/RTSP/RTMP(s) for live streaming over popular social networks. The CR-N100 also supports Canon’s XC protocol for integration into new and existing Canon production environments. The CR-N100 also supports HDMI and the USB Video Class (UVC) transmission standard. UVC allows the CR-N100 to be used as a camera for web conference systems simply by connecting it to a PC via USB. To help with the initial configuration of supported Canon PTZ, professional video, and cinema cameras, Canon is also releasing the Multi-Camera Management Application (MCMA). MCMA enables users to batchconfigure initial camera settings as well as manage cameras.

With the Multi-Camera Management Application (MCMA), up to 200 individual camera units can be managed for use in large-scale camera systems. The MCMA streamlines the registration of usernames, passwords, and IP addresses to a camera and the registration of cameras to the RC-IP1000 by executing these procedures all at once, instead of individually. Canon RC-IP1000 Remote Camera Controller The Canon RC-IP1000, meanwhile, is a high-end controller that provides multiple functions and easy operation required for professional remote video production workflows, meeting the needs of various environments, including broadcast, house of worship, and live event streaming. The RC-IP1000 was designed with ease-of-use in mind and features direct functional buttons and dials ideally positioned and angled for simple operation, as well as an easily visible 7” touch-panel. The controller supports both IP and serial control, and can remotely

perform Pan, Tilt, and Zoom (PTZ) movements, and the user can configure and change settings, including focus, exposure, and image settings. The RC-IP1000 is compatible with popular broadcast industry 12G-SDI input for 4K/60P, as well as visual input via IP and HDMI video output. The touch panel can display live video of cameras in single, 2x2, and 3x3 page layouts from cameras via IP, enabling simultaneous operation of multiple camera units. Visit

Cooke Optics’ SP3 Prime Lenses COOKE OPTICS has launched the SP3 range of full-frame prime lenses for mirrorless cameras. Aimed at the pro-video market, the T2.4 range features five focal lengths, a choice of userchangeable mounts and is of small, lightweight yet robust construction. The Cooke SP3 full-frame prime lens series is based on the Cooke Speed Panchro, with a new design optimised optically and mechanically for mirrorless

cameras. It offers outstanding definition and resolution yet features fall-off towards the edge of frame, which is a key factor in the famous cinematic look achieved by the legendary Speed Panchro lenses together with the trademark dimensionality and contrast performance that renders faces with remarkable skin tone and character, known as ‘The Cooke Look’. The SP3s also feature specialised cinematic optical coatings that ensure control of excessive flare.

The SP3 range offers 25mm, 32mm, 50mm, 75mm and 100mm focal lengths. Lenses come with E-Mount installed, and RF-Mounts will be available soon. L-Mount is available now as an accessory part and M-Mount will be introduced in early 2024. The SP3s are Cooke’s lightest lenses, weighing in at between 500g/1.10lbs and 690g/1.52lbs

including lens mount. They feature a dual focus scale, and the focus and iris mechanics are aligned across the set to allow for fast lens changes while maintaining focus and iris motor positions. Visit


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SPORTSCASTING Cricket Australia Launches Dedicated FAST Channel CRICKET AUSTRALIA HAS ANNOUNCED the launch of its own dedicated FAST channel, Cricket Gold, on Samsung TV Plus, Samsung’s free ad-supported streaming TV (FAST) service. According to Cricket Australia, “in- and around-the-game” content rights that were previously unused have opened up a potential new revenue stream and untapped viewership opportunities within Samsung’s free streaming TV environment. Sporting bodies have become increasingly aware of the commercial value of their content in recent years. Australia’s major broadcasters now pay more than AUD$1 billion a year for the rights to live matches across AFL, NRL, cricket and tennis, and a review of regulations may lead to subscription streaming services competing for big sporting events. While the anti-siphoning debate continues, Samsung TV Plus has seen a rise in sporting bodies seeking innovative ways to monetise the content they already own – from game highlights and player stories to archive

footage and docuseries – to reach a new group of fans. Offering hours of archive footage, including classic matches and compilation programming, Cricket Gold follows other sporting bodies that have turned to the alternative distribution model. FIFA+ and the PGA TOUR channel launched dedicated channels on Samsung TV Plus earlier this year, offering viewers premium ‘around the game’ streamed content. Richard Ostroff, CA Head of Broadcast and Production explained, “Cricket Gold on Samsung TV Plus will provide a fantastic opportunity to showcase our archive on a platform that has a growing reach in established and new cricket markets. Our video archives provide a rich source of Australian Cricket history. We’ve invested heavily over the past few years digitising and cataloguing these precious assets

so they can be made available to cricket fans around the world in the best possible condition. We’re pleased to work with Samsung Electronics as the first distributor of Cricket Gold and look forward to providing an outstanding experience for viewers. Access to our video archives for cricket fans will continue to expand as we look to enhance access for fans and celebrate cricket’s unique heritage.”

IOC to Create ‘Olympic Esports Games’ THE INTERNATIONAL OLYMPIC COMMITTEE (IOC) is exploring plans for the creation of Olympic Esports Games.

them are under the age of 34,” said Bach. “I have asked our new IOC Esports Commission to study the creation of Olympic Esports Games.”

According to IOC President Thomas Bach there are three billion people playing esports and gaming around the world. It is estimated that over 500 million of them are interested specifically in esports, which includes virtual sports and sport simulations.

The first engagement of the IOC with the esports community was the organisation of the Esports Forum in 2018 in Lausanne, followed by the set-up of an Esports Liaison Group to have a platform to engage with all the esports stakeholders. In 2021, the IOC developed the Olympic Virtual Series. It was the IOC’s first pilot

“What is even more relevant to us: a majority of

venture in esports. The Olympic Esports Week held in Singapore earlier this year saw over 130 players from across the globe come together to compete in 10 mixedgender category events. As well as a full house of fans in Singapore, the action streamed online with more than 6 million views of live action over all channels, with 75 percent of views from people aged 13-34. Visit

Gravity and JAMTV to Deliver Challenger PGA Tour GRAVITY MEDIA AND JAMTV have announced a partnership to produce television coverage of the Challenger PGA Tour of Australasia and co-sanctioned events with the WPGA Tour of Australasia. JAMTV is one of Australia’s leading independent producers of live sport and the production partner of the PGA of Australia. This is the fifth season for Gravity Media Australia’s broadcast facilities collaboration with JAMTV which produces the PGATV coverage across Foxtel and Kayo Sports in Australia and also for broadcast in New Zealand.


Gravity Media Australia’s state-of-the-art cameras, satellite and uplink facilities and crews are working closely with JAMTV’s production team as they cover 15 tournaments for Foxtel and Kayo Sports during this season’s summer of golf.


In addition, Gravity Media Australia’s collaboration with JAMTV on the production of the Fortinet Australian PGA Championship in November will be broadcast domestically on Foxtel Kayo Sports, Nine and 9Now, and internationally via the DP World Tour to around

135 countries. Gravity Media Australia, in conjunction with JAMTV, has developed new broadcast innovations for this year’s coverage including the introduction of Gravity Media Australia’s proprietary CelBo technology that delivers highly mobile cellular broadcast cameras and cloud-based technology linking to the Gravity Media Production Centre in Melbourne to streamline and enhance JAMTV’s production of the PGA and WPGA Tour of Australasia tournaments. CelBo is Gravity Media Australia’s new live stream technology that allows remote production of events through cellular and cloud-based solutions which deliver individual camera and audio feed coverage to Gravity Media Australia’s Production Centres in Sydney and Melbourne to create, direct and deliver a complete broadcast production, including on-screen graphics and multiple camera replay capabilities. Gravity Media Australia and JAMTV have also detailed new ball-tracking technology developed by Gravity Media Australia in

partnership with TrackMan, as part of the expanding broadcast partnership. Working in partnership with TrackMan, Gravity Media Australia has developed new cellular technology solutions that allow the seamless integration of TrackMan golf ball tracking technology with Gravity Media Australia’s proprietary CelBo broadcast production solution. The integration of TrackMan with Gravity Media’s CelBo cellular remote broadcast capabilities is a first for Australian television. Working closely with TrackMan, Gravity Media Australia’s technology and engineering teams have developed a system that encodes TrackMan’s radar systems with Gravity Media’s CelBo cellular broadcast-enabled cameras that allows Gravity Media Australia and JAMTV to access TrackMan radar systems and deliver its ball tracking lines direct to Gravity Media’s Production Centre in Melbourne.


Gravity and Supercars Deliver Bathurst 1000’s Biggest Ever Production 2023 MARKS THE ELEVENTH YEAR of a broadcast facilities and technology collaboration between Supercars Media and Gravity Media Australia have collaborated to produce television coverage of the iconic Australian motor race, the Repco Bathurst 1000. It is also the 60th anniversary of The Great Race at Bathurst. Gravity Media Australia and Supercars Media captured every moment on Fox Sports and the Seven Network across 5-8 October. In addition, coverage of this year’s Repco Bathurst 1000 was broadcast around the world via Supercars’ international broadcast partners. Coverage of the Repco Bathurst 1000 has expanded dramatically over the years. The first race saw three television cameras cover the event in 1963. The first “live” in-car camera coverage was delivered in 1979. This year saw Gravity and Supercars deliver the race’s biggest production yet. It included: • Ten production trucks, including four highdefinition outside broadcast trucks driving the overall television production; • More than 175 cameras across the track, in the pits, in and across cars, on driver helmets, mounted in race walls and track kerbs, including portable and speciality extreme super slo-mo cameras, live helicopter coverage and a “DACTYL CAM” camera on a wire covering 700 metres across Conrod Straight and The Chase;

• 52+ kilometres of television production cable and fibre, enough to lap the circuit more than eight times; and • A broadcast and production team circa 250+ across Gravity Media and Supercars Media. Gravity Media also has a long partnership with Supercars Media in the television production of each of the rounds in the Repco Supercars Championship, including Gravity Media’s acknowledged speciality and in-car camera technologies. In addition to this partnership with Supercars Media, Gravity Media also provides the technology and systems for Supercars’ team radios, along with isolated camera coverage for the Gravity Media Australia developed and bespoke Gravity Review System, used by the motorsports judiciary and race control in the management of every on-track moment in the Repco Bathurst 1000 and across every race in the Repco Supercars Championship. David Tunnicliffe, Supercars Head of Broadcast, said: “We are excited to continue our relationship with Gravity Media Australia into its 11th year. The Repco Bathurst 1000 is the biggest broadcast event of our year and one of the most prestigious events in Australian sport, and we are eagerly


looking forward to working with our partners in Gravity Media Australia once again at the 60th anniversary of the Repco Bathurst 1000.” Ben Madgwick, Director, Media Services and Facilities at Gravity Media, said: “Gravity Media Australia is once again pleased to be working with Supercars Media as the technical partner for the Repco Bathurst 1000. “We take great pride in our relationship with Supercars. Gravity Media Australia is a leader in specialised broadcast services and Supercars is driven by innovation. We are both committed to ongoing developments in the coverage of Supercars and the Bathurst 1000, and how we continue to evolve and develop our broadcast technologies and production capabilities that take audiences closer to the action.” Visit






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Clearing Live HDR Hurdles for Paris 2024 By John Mailhot, CTO of Infrastructure, Imagine Communications DUE TO ITS SIGNIFICANT advancement in picture quality, HD video was instrumental in helping broadcasters captivate and retain audiences during the late ‘90s and early ‘00s. Fast forward to today, and High Dynamic Range (HDR) is playing a similar role, offering superior visual quality even to a casual viewer’s eye. But despite the introduction of HDR-capable televisions as early as 2016, the mass adoption of live HDR broadcasting has been slow to materialise. One significant factor in the hold-up was the COVID-19 pandemic. Amid lockdowns, the focus for broadcasters shifted toward adapting workflows to fully remote setups, effectively putting HDR on the backburner.

quantisation (PQ) formats. These formats are both documented in ITU-R BT.2100 but were created by two groups that approached the issue from different perspectives. The HLG group concentrated on the scene light, focusing on the image’s brightness and its transformation into the representation on the wire. The team behind PQ took a reverse approach. They began with a reference display and examined what the human visual system could comprehend in terms of detail at varying brightness levels. Both formats are widely utilised, with HLG typically being employed during shooting and production

However, with the return of in-person operations, the industry has once again set its sights on delivering more impressive programming with HDR technology. And despite facing multiple hurdles, the progress toward this goal has been substantial. Shedding Some Light


HDR broadcasting tries to deliver a very large range of brightness to the viewer. In the real world, we encounter an enormous spectrum of brightness, extending from the darkest shadow in a corner to the overwhelming brilliance of the sun. In traditional “Standard” Dynamic Range (SDR) — utilised by the industry for the past seven decades — the output range of cameras was quite restricted, with the variance between darkness and light capped at approximately nine f-stops, which was also about the limit for the best CRT (and early flat-panel) TVs.


particularly for shooting an event that must deliver both HDR and SDR versions to the client enabling a production workflow that can be replicated with ease across different shows and live events. To better grasp the issue, it’s useful to again reflect on the switch to HD. When the industry first began the migration from SD, two separate trucks were used: one for each format. In a similar vein, the initial test HDR productions required separate trucks, crews, and cameras. In both cases, it quickly became apparent that for economic reasons, broadcasters needed to consolidate their operations into a one-truck setup that would produce both HDR and SDR versions. If executed well, the SDR version would also offer better image quality than it previously did. This approach is known as a single-master workflow, and every broadcaster recognises it as their ultimate goal.

Modern CCD sensors, LEDs, and other active display technologies offer a far more expansive range, which the HDR system is designed to support. However, this leap in brightness range introduced a significant problem — transporting the increased signal range through the existing television production and distribution infrastructure, particularly the ubiquitous 10-bit signal processing pipelines.

Over the past few years, one of the more significant advancements in HDR has been the publication of a singlemaster workflow by NBCUniversal, which they IOC President Thomas Bach gets a taste of Paris 2024 one year utilise for before the Olympic Games. Credit - ©IOC/Greg Martin. high-profile and PQ more commonly used events. The set of documents for during distribution. Distribution this workflow is freely available at systems such as HDR10 and Dolby Vision are based on the PQ NBCUniversal-UHD-HDR-SDRstandard. Single-Master-ProductionFinal Hurdles Workflow-Recommendation-LUTs

As with many problems in the broadcast industry, two technologies were developed to tackle the same issue: the hybrid log-gamma (HLG) and perceptual

Another challenge on the road to widespread live HDR productions has been the absence of standardised workflows that ensure consistent results -

A final hurdle in live HDR production involves delivering content seamlessly to viewers. While a majority of TVs sold in the past few years are both UHD

and HDR-compatible, terrestrial television delivery of HDR (ATSC-3 and DVB-T2) is still in the trials phase. For cable and satellite operators, HDR content can be delivered to consumers’ homes, but it requires specialised set-top boxes and enough consumer interest to offer them as a service. Over-the-top (OTT) delivery services like Amazon Prime and AppleTV+ are in the best position to deliver HDR content. This is due to their ability to separately deliver HDR and SDR signals via the internet, without incurring significant additional costs. Conversely, satellite and cable operators would need to allocate separate transponder bandwidth for those two signals. In addition, OTT services can offer VOD-based HDR content for consumers to select from. Ready for Showtime With the advances that have taken place since the pandemic, the 2024 Paris Summer Games have the potential to be a watershed moment for live HDR productions. As broadcasters strive to deliver more modern and interesting content, the upcoming games represent a crucial opportunity to demonstrate the capabilities of this technology. UHD and HDR signals for certain events will be available from the host, and each rights-holder is considering how to integrate HDR and UHD into its operations. UHD and HDR features are readily available in current-generation video processing equipment. In addition, most cameras sold in the last two or three years come equipped with an HDR feature, which can be easily activated by purchasing a license. Everything is in place for the Paris games to mark a pivotal point in HDR’s journey, potentially sparking the consumer’s demand for more HDR content delivery in the future. Visit https://


Gravity Delivers Global eSports Coverage for Intel Extreme Masters GRAVITY MEDIA FRANCE and Gravity Media Australia recently joined forces to support ESL, an ESL FACEIT Group brand, in delivering the global production for the esports event Intel Extreme Masters Sydney 2023. The Intel Extreme Masters (IEM) is the longest-running global professional esports tournament circuit in the world. Started in 2006 by Intel and ESL, the competition features the world’s best gamers in Counter-Strike and other esport titles. Approaching two decades of history and many recordbreaking events in terms of viewership and stadium attendance, IEM is widely Photo - Helena Kristiansson considered one of the most prestigious and traditional esports tournaments in esports tournament held at the ICC in Sydney. the world. On site, the team deployed Outside Broadcast trucks HD 7 and RoVa to capture the allThis year, IEM returned to Sydney for the fourth important action. time in history and for the first time since 2019. Commencing 16th October, 2023, 16 top Ben Madgwick – Director, Media Services and Counter-Strike teams faced off for the lion’s Facilities at Gravity Media Australia: “Gravity share of the US$250,000 total prize pool and Media Australia is delighted to have worked one of six spots in the Playoffs which took place with our colleagues at Gravity Media France to live at the Aware Super Theatre at ICC Sydney. bring ESL and Intel Extreme Masters Sydney to Eventually, it was FaZe Clan who secured a global audience. We are thrilled to have played the coveted title and became the first ever a key role in Gravity Media France’s delivery of Champions of Tier 1 Counter-Strike 2 – the new a state-of-the-art esports event production in game iteration of the widely popular CounterSydney that meets ESL FACEIT Group’s complex Strike franchise. and flexible requirements worldwide.” The Gravity Media team from France joined

Riot Games Rolls Out ‘Win Probability’ Stat RIOT GAMES, the developer behind League of Legends (LoL), in collaboration with Amazon Web Services (AWS) introduced ‘Win Probability’ to the 2023 League of Legends World Championship broadcast. Analysing key data points throughout gameplay, the ‘Win Probability’ stat is designed to harness in-game data to make real-time predictions using Amazon SageMaker, a fully managed machine learning service. The first test of the ‘Win Probability’ stat was during the 2023 Mid-Season Invitational (MSI 2023) in May. Working with the AWS Professional Services team, Riot created a self-serve machine learning workflow that Riot data scientists can use to create new esports stats. This lets the Riot team focus on data exploration, modelling, and experimentation, and rapidly deploy models securely into production-ready environments. Now, with a framework in place that scales insights accurately and reliably, Riot can deploy new stats in as few as six weeks, and apply the core principles of the workflow to other games. ‘Win Probability’ is a real-time stat that visualises how various aspects of the competition impact a team’s chances of winning. For accuracy, the model behind the ‘Win Probability’ stat generates a new prediction for every second of gameplay. Development of the ‘Win Probability’ stat started with data from LoL Live Stats, a source

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that continually streams data from every game in the tournament as it is broadcast. To train the model, Riot leveraged a variety of data points to track performance across each of the five individual players on two opposing teams, as well as overall team progress. A dozen gameplay data points were tracked for the initial deployment of the ‘Win Probability’ stat. A unique challenge for the project was determining how to create time-aware metrics in an offline manner to train the model, then generate those metrics in real-time. That required the creation of a platform and the offline feature store it enabled. In Amazon SageMaker, the AWS team created an online feature store to use the same elements for inference. Then, to display the data live during the broadcast, the AWS team assisted in the system build that makes the data accessible for use by Riot to generate win probability stat graphics. To keep the Win Probability stat relevant as the game evolves, Riot continues to train the model with current data in the offline database. Additionally, Amazon SageMaker includes a tool to help identify and compensate for data drift that may impact predictions over time. Visit

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Green-Go digital intercom systems are a scalable IP based communications system, with extensive interface capability and versatility.


NEWS OPERTAIONS OPERATIONS UK-based GB News Picks MediaHub Australia for Playout MEDIAHUB AUSTRALIA has announced it is now managing the entire playout for GB News, an Ofcom regulated news channel based in the UK As MediaHub Australia CEO Alan Sweeney explained, “GB News released a playout RFP to the market and MediaHub’s response to the RFP won the tender process. After contract signing, MHA had just two months to bring and make the full television service operational for GB News, which I’m very pleased to say we did.” This win for MediaHub is particularly significant for the company and for all broadcasters and content providers around the world as it proves that playout can now be seamlessly managed from Australia no matter where they are based across the globe. Sweeney continued, “We had been discussing the technical possibilities of managing GB News’ playout with their CEO Angelos Frangopoulos for some time. Angelos was keen to recreate the playout solution we provided him with when he was Sky News Australia chief and we just had to prove it was possible.” Frangopoulos’ and GB News’ requirements were for three linear channels - FTA, OTT and radio - to be delivered to various third parties. This included automated commercial insertion driven by the GB News studio in London. MediaHub Australia chief digital and information officer Simon Scott added, “GB News has very high production values and is one of the UK’s premier news channels. With this in mind the playout solution we provided them had to be 100% efficient and seamless. MediaHub fulfilled all of GB News’ requirements by using our extensive experience in managing live linear channels to build a new set of infrastructure for them. All the live video feeds are SRT encrypted streams on-passed by GB News’ telco partner Arqiva, these feeds are then sent over discreet public internet and private cloud connections for ultimate efficiency, reliability and security.” MHA takes all of GB News’ content including live-to-camera, pre-recorded, TVCs and promos

and uses their proven workflow including MediaHub’s FibreHub Webconnect managed connectivity, ArkHub storage and archive and PresHub 24×7 multichannel linear broadcast playout services to distribute the content back to the UK as a linear channel. Scott continued, “The GB News studio is fed to MHA via redundant SRT IP streams and all promo and commercial content is delivered to MHA’s ArkHub storage. MHA’s playout system then generates the channel, including overlaying a live ticker (Vizrt Flowics) and other elements. SCTE triggers are inserted for the various providers downstream of MHA. The playout outputs then go to our Ateme Titan Edge encoding platform and that generates a number of renditions for the various GB News destinations, as well as return feeds back to GB News for confidence monitoring.” When asked how MHA manages to execute this global workflow and keep the latency down, Scott explained, “MediaHub has been providing these types of services to many clients for many years. What may appear complex to others has been refined by MHA into a very efficient workflow and operation. That and the incredible progression of the power of the internet combined with low latency encoding and decoding using SRT connections enables the overall latency of feeds between the UK and Australia to remain ultra-low for any live

presentation environment.” As a result of their many years’ experience in developing and providing high level playout solutions, MediaHub has delivered a complex set of requirements in an extremely tight deadline for GB News. Alan Sweeney concluded, “This workflow and playout solution we have provided GB News with is a global game changer. It is a culmination of MediaHub’s ten-year vision that has resulted in any content anywhere in the world now being able to be fully managed and played out from MediaHub’s HQ and data centres in Australia. As we did for Angelos at Sky News Australia and we continue to do for all of our clients across the world MediaHub provides all of our services with a guarantee of up to 99.999% reliability. We use the very latest cloud and data technology to provide any broadcaster across the globe with the most reliable and robust playout service possible. In short and in the world of playout, the tyranny of distance no longer exists as MediaHub has replaced it with a low-cost, seamless, reliable and ultra-efficient solution.” Visit

Viz Pilot Edge 3 VIZRT HAS ANNOUNCED the release of Viz Pilot Edge 3.0 featuring a completely new, sleek user interface for newsroom graphics creation.


At the core of the redesign is improved navigation for users and enhanced functionality written using modern web technology (Vue, TypeScript), making Viz Pilot Edge more userfriendly, more responsive, and with a start-up time that is now up to 3x faster.


While the new user interface promotes speed and agility in the newsroom, it was built to still feel familiar to users. The layout has been streamlined and is optimised for different screen sizes so users can better focus on creating graphics. Navigation is also smoother, making it easier

to locate templates and elements, with dropdowns and tabs for faster access to regularly used features. The search function now contains multiple tag filtering to further narrow down search results. Additionally, the preview window can be undocked, which is especially useful when working with multi-field advanced templates. The interface update also includes the ability to drag and drop multiple elements into a story slug, radio buttons in templates, improved crop functionality, and faster editing of tables. Live data input gets a boost with the addition of feed browser RSS feed support. Requesting and managing images has been made easier with the new Mayam Order Management integration. Journalists can

prep their templates with the relevant text and/or data and send an order directly to the Creative Department via Viz Pilot Edge. This new process provides an overview of the media orders for transparency and efficient management. Incorporating AR/VR into an automated rundown has been simplified with the ability to host the Viz Arc MOS plugin. Users can control AR/VR graphics in one unified interface and playout with a studio automation application such as Viz Mosart. Furthermore, despite the extensive interface change, any template created in previous versions will continue to work seamlessly. Visit


Chyron Weather 2.0 CHYRON HAS ANNOUNCED the new Chyron Weather 2.0 platform, which leverages more than 20 years of industry expertise and innovations derived from two successful acquisitions to simplify data-driven weather visualisation from end to end. Chyron Weather provides visually rich map-based graphics, custom forecast elements, dynamic global analysis, and realistic 3D panoramas, with exceptionally intuitive graphic design and live presentation. In addition, the platform offers new features including an elegant dark look UI, CAMIO newsroom integration, secure data retrieval, and support for the latest Windows versions.

weather data providers – utilising powerful visual scripting tools to shape them as needed to suit specific presentation requirements. Accessible design tools make it easy to customise the look of weather visualisations or create dynamic custom forecast graphics/charts based on select data. With a central hub for managing real-time playout and rapid rendering across multiple servers, Chyron Weather intelligently delivers content across on-air, web, and social media channels through simple automated workflows.

“Chyron Weather 2.0 provides a complete, easy-to-use tool set to tell the weather story. Specialised tools support every aspect of setting up data flows and connectivity, graphic design, on-air presentation, real-time playout, and render management,” said Michael Harter, Weather Product Manager at Chyron. “Smart custom created elements enable the user to focus on the weather programme with maximum flexibility and efficiency while still covering the basics. Fully data-driven high-end weather graphics ensure that the latest forecast can get to air in an instant. With intuitive interfaces even new users can start building engaging weather presentations in no time.”

Chyron Weather’s Presenter interface is also embracing the Chyron Dark look and User Experience thus bringing more cohesiveness and alignment with the Chyron portfolio. The straightforward building-block interface gives users simple, recognisable tools for preparing and presenting live to air. After dragging and dropping various scene types into the playlist interface, users can assemble a show and use a timeline-based editor to apply keyframe custom animations and forecast effects over weather graphics with precision. Finally, taking the show live on-air with predictable trigger control or automated playout timing.

A true data-provider-agnostic platform, Chyron Weather 2.0 facilitates the creation of rich weather visualisations from any unique stack of public meteorological data sources or private

Integration of Chyron Weather 2.0 with Chyron’s MOS-connected CAMIO newsroom graphics management solution enables a straightforward workflow for managing and introducing weather content into day-to-day news programming.

From their familiar newsroom computer system (NRCS), a journalist or producer can access a full library of their station’s unique weather graphics templates, select regions of interest, customise forecast displays, get a preview of the asset, and add the data-powered graphic to their show rundown. When it’s time to go on-air, Chyron Weather generates the requested graphic and delivers it for playout. Driving customisable weather content from the newsroom is a great way to enhance day-to-day news programmes with important meteorological insights. Chyron Weather 2.0’s support for Secure File Transfer Protocol (sFTP) ensures access and retrieval of connected meteorological data within the Chyron Weather Platform – through encrypted communications and server-client authentication. In addition, a new API-request node functionality provides the opportunity for customers to pull data sets into their production directly from weather data provider APIs.






Seven Breathes New Life Into News at Eveleigh After 19 years of broadcasting from Martin Place in the centre of Sydney, the Seven Network’s new state-of-the-art newsroom and studios were recently opened in South Eveleigh. PURPOSE-BUILT ACROSS TWO FLOORS of Seven’s head office, the new home of the network’s Sydney and national news operations - including 7NEWS, Sunrise, The Morning Show, The Latest, 7NEWS Spotlight and - features studio space some five times larger than Martin Place and allows for permanent sets for all programs, with two complete control rooms and more than 40 square metres of LED screens. The new facility brings together Seven’s Sydney-based broadcast and operational staff for the first time in four decades. According to Andrew Anderson, Director of Broadcast Operations at Seven West Media, “We moved into Martin Place in 2004. The vision then was a city-based Sunrise with a live interaction with the streetscape, very much like the NBC Rockefeller Center operation, which was a great vision. The original plan was also to have News and Sunrise there, which was the bookends at each end of the broadcast day.” Before long, however, the demands on the Martin Place facility grew in terms of the number of programmes being produced as well as the move to High Definition. “Martin Place was shoehorned into an old banking facility,” says Anderson. “To do a whole day of network programming out of there was tough. It was an extremely busy facility, and a difficult facility to operate and support.” In 2021, in the midst of COVID, the Network began designing and planning the new facilities at Eveleigh and the move from the Sydney CBD. Seven West Media’s sale of Pacific Magazines had freed up floor space in the building and while there was existing studio space, it was underutilised and had no infrastructure around it, other than on the studio floor itself.


“At Seven we always start with the functional approach, not a technology approach,” says Anderson. “There was no marked step change in the way we were going to work from a workflow point of view. It was more about the fact that we were going to move into an IP-based television facility, but at the same time, we were going to operate in the same file-based nonlinear approach that we have been using now for many years.


“We took advantage of any new ways as well, particularly around, functionality, where people were sitting, and also the approach to how we set up an operator’s workstation. We’ve taken the view, and it’s much easier in the IP-based world, where a workstation for a television operator can be the same basic devices, an intercom, keyboard mouse screen, two, or three screens, and a multiviewer that is so highly configurable

Newsreader Ann Sanders in Seven’s Sydney news studio.

that you can use a workstation for a master control operation for three hours and then flip it to become a line producer for a remote news broadcast in 10 minutes, which means that we have a much more flexible technical facility. Certainly better than at Martin Place and in some of our older traditional broadcast stations. “The other thing that makes us different from other broadcasters is that we insource our design and construct. Myself and our head of broadcast engineering, John Albiston, tend to lead all projects internally, and we do vendor negotiations and acquisitions. We bring in resources on top of what we currently have such as wiremen and install crew, but we’ve found is that because we do it internally, we end up with better engagement from our people who support the operation because they’re part of the build, part of the debug and part of making it all work properly. It’s much easier to transition into the businessas-usual operation.” THE STUDIO Measuring some 750 square metres and with sets designed by Mark Dyson, the studio at Eveleigh has been divided into separate Sunrise and Seven News areas via a doublelayered acoustic curtain. “We’ve equipped it with enough cameras to allow two control rooms to operate on the same floor,” says Anderson, “and there’s appropriate acoustic separation to allow a presenter at one end to be reading a script, rehearsing or even recording a segment while the other television show is on air at the other end of the studio. “We can operate more than one production on the studio floor. And that’s been the single step forward that we’ve had in terms of our studio operations. The cameras are a combination of 6 robotic pedestals on the floor, a manual jib and manual Steadicam. You would not notice on television that we’re

operating Sunrise or the Morning Show any differently to the way we were operating before. The Vinten robotic systems carry Sony HSC-300 cameras equipped with FUJINON UA14x4.5BERD-S10, UA18x5.5BERD-S10 and UA23x7.6BERD-S10 4K lenses, and CueScript prompting. Studio comms are handled via RTS. Each studio area features P1.8 millimetre pitch LED screens powered by NovaStar processors. Wall graphics are driven by Viz Multiplay. These provide a light source in addition to a Jands lighting grid with ARRI SkyPanels and ARRI Fresnels also in use. “We light the studio in daylight colour temperature,” says Anderson, “which we did at Martin Place because we had to, because it had daylight coming in, but we’ve kept daylight because it really is better from a colorimetry or colour rendition perspective. There’s many things that we can be very proud of with the facility that we’ve built, but the lighting is just beautiful. It really does sparkle on television, which is the whole idea.” CONTROL ROOMS Reflecting the different production needs of the dual-use studio, Eveleigh features two control rooms. “Control B is automated and designed for our programming beyond 11.30,” says Andrew Anderson. “So, 11.30 news, 4pm news for Sydney, 6pm news for Sydney, and The Latest. The control room is not designed as a manual operation. “Control A is the large production control room, with a front row which has a large Grass Valley Vision Mixer, VizRT for graphics, and Viz Mosart for playback and clip control. The front row includes a director, a switcher, director’s assistant and graphics operator. The row behind is four producer positions or, for a sports program, EVS positions. And


petabytes now spinning in AWS and effectively what I’d call a Google for television content available to every desktop in the Seven Network. “Stories come in and then we’ve got our news floor with producers’ desks near the chief of staff’s desk, then various journalist and edit stations. There’s also a live presenter stand-up position as well. “The 16 edit stations are all in one area, divided between 10 Quantel and six Avid. The six Avids are used to produce the Spotlight current affairs magazine show which os more long form editing. All story cuts are done on Quantel for the news programming and for Sunrise and The Morning Show. And that can range from just a simple overlay cut all the way through to a three minute package. At the same time, every workstation has a Quantel simple edit system available to it. So producers and journalists can preview and do cuts or shot selection.”

Seven News Sydney producers’ position.

then behind a layer of glass, there is a central technical area for both of the control rooms. That includes the lighting system, full camera control units, but split between the two control rooms, robotic systems, again, split between the two control rooms and other support equipment. “That’s an interesting step change for us, because the traditional control rooms, in our other stations, each has a separate technical director area. We’ve combined the one area to service both. Again, part of the study that we did on functionality and workflow revealed that direction to us.” SMPTE 2110 The studio’s SMPTE 2110 architecture employs SDNO (Software Defined Network Orchestration) from Imagine Communications for router control, Cisco switching, EVS Cerebrum for some orchestration, Imagine Epic Multiviewers, as well as Selenio Network Processors (SMP), also from Imagine which handle conversion between SDI and 2110. The latter powers an IPTV system to every desk for monitoring internal and external sources.

it’s quite difficult. Every vendor needs to be on board with the same approach so that you get good interfacing between all of the different devices. And that’s the biggest hurdle, to make sure that when you, for example, choose a Calrec audio mixer in that has an IP interface, that its IP interface is as compliant as it needs to be so that other devices can operate, so that the interoperability is exactly what we’re looking for. “We’ve had to address some issues along the way. And all of those either have been addressed or are being addressed or are being worked around until they are addressed. Otherwise, we wouldn’t be on the air. But it is a new science and has required some very, very smart people, much smarter than me in our organisation, to learn very, very quickly about how to not only design and implement a system, but to be able to maintain it and support it ongoing. WORKFLOW

According to Anderson, the decision to take the SMPTE 2110 path was something the Network had to do.

While Seven still employs some linear ingest such as from bureaus in London and LA via fiber or satellite, or locally via TVU Networks and LiveU bonded cellular technology, Andrew Anderson says the Network is very file centric across its workflows, including our longer form programming.

“I don’t really think there’s much choice,” he says. “I wouldn’t say it’s because it’s easier, because it’s not. Certainly, it is from a cabling point of view, it’s much easier but, from a control and from an underlying integration point of view,

“In fact, we prefer that,” he says. “We’ve also, in parallel with this project, completely transitioned our entire program and short form archive to a Viz One content management system, including cloud storage. We have 12

Meanwhile, content for is clipped with Viz Story and published to YouTube and other social media. This is complemented by a “digital studio”, equipped with a camera and equipment for smaller presentations purely for The floor also features a podcast studio. While the exchange of stories between Seven Network stations in different states has been commonplace since the early 2000s, Andrew Anderson says, “We have infrastructure and fast networks in place now where we don’t do the traditional old news transfers like we used to. We used to exchange stories between each station every night between 5 and 6pm and they were all linear transfers. You had to coordinate each one, make sure everybody is recording, then roll the story and then stop and check. We still do some of that for very late story. But everything else is file transferred and it’s file transferred at great speed. All of our iNews systems are interconnected. We operate like one big television station, not like seven separate television stations, which is a much better way to operate. “I’ve been working at Eveleigh for the last two years on this project, and Eveleigh, without the real television part of television was just an office building with a little bit of television, which was our promos and design department, corporate and, of course, the Studio 3 Home and Away operation. To arrive there on the very first day at four o’clock in the morning and have this fleet of taxis arriving with both the presenters and crew of the first show on the air in the morning, the early morning news, followed by Sunrise was just remarkable because the whole place was abuzz. It was very, very cool.”


Seven Eveleigh’s Control Room A.



November 15-16, 2023 Royal Randwick Racecourse Sydney Australia

On Track with Content Live

Content + Technology proudly presents Content Live, the Technology Show for Sportscasting, Newscasting & Live Events to be held from November 15-16, 2023, at Randwick Racecourse, Sydney, Australia.

Conference Schedule

CONTENT LIVE proudly presents Content Live, the Technology Show for Sportscasting, Newscasting & Live Events to be held from November 15-16, 2023, at Randwick Racecourse, Sydney, Australia


–––––––––––––––––––––––––––––––––––––––––––––––––––– WEDNESDAY NOVEMBER 15

Content Live brings together the most innovative technologies and practitioners in sportscasting, newscasting, and live event production. The free conference and exhibition will feature keynote speakers, panel discussions, and hands-on demonstrations from industry leaders in sports, news, and live events technology. Content Live Attendees will have the opportunity to learn from industry experts, see the latest technologies and products, and network with peers from around the world. We’ll also be hosting a special reception for the Content+Technology Awards. Our Exhibitors Supporting The Inaugural Content Live Conference & Exhibition Is A Tier 1 Line-Up Of Technology providers, including: AI-Media; Amagi ; AV Group Technologies; Blackmagic Design; Blonde Robot; Canon; Event Communications; FujiFilm; Gencom Technology; Global Advance; Grabyo; Jands; Kayell Australia ; Layercake; LiveU ; Magna Systems and Engineering; Miller; Panansonic; Riedel Communications; Rohde & Schwarz; SipRadius LLC; SMPTE; Techtel; Videndum; and Videocraft. See page 22 for exhibition listings. Our Venue | Queen Elizabeth II Grandstand, Royal Randwick Racecourse The Jewel In The Crown Of Sydney’s Sporting Venues, The Royal Randwick Racecourse Is Nestled Amongst Randwick, Kensington And Centennial Park In Sydney Eastern Suburbs.


The Content Live Conference & Exhibition Will Be Held In The Ample Surroundings Of The Kensington Room on the Ground Floor of the Queen Elizabeth II Grandstand.


Entry to the Racecourse is via Gate 1 on Alison Road, opposite the Royal Randwick Light Rail stop. As well as the Light Rail, regular bus services, and taxi/Uber facilities, there is plenty of free and low-cost parking on site.

09:30 \ Day 1 - Exhibition Open; Event Check-In 10:00 \ Bringing the Olympics Home In conversation with Nine. Guest speaker: Lewis Evans, Product Director for Streaming (TV & Radio) at Nine.

C+T Awards THE END OF DAY 1 of Content Live, will see Content+Technology announce its first post-COVID Awards at a cocktail reception in Royal Randwick’s Maltshovel Taphouse. Judged by a panel of industry experts, the C+T Awards will recognise excellence in content creation and delivery throughout the region. CATEGORIES INCLUDE: Goal Scorers • Innovation In Sports Production Delivery • Innovation In Sports Production Technology Newsbreakers • Innovation In News Production Delivery • Innovation In News Production Technology Livewires • Innovation In Live Event Delivery • Innovation In Live Event Technology

10:30 \ Behind the Broadcast: FIFA Women’s World Cup. Guest speaker John Downie, Host Broadcast Manager AUS (JD Production Services) 11:00 \ Pacific Games - LiveU 11:30 \ 5G Broadcast vs. DVB-T/T2 - Rohde & Schwarz (Firewalls and SDN) -Magna Systems & Engineering 12:00 \ Lunch and Exhibition Time 13:00 \ AI in the Newsroom - Techtel 13:30 \ Accelerating the News with FAST (Free Ad-Supported Streaming TV) - AMAGI 14:00 \ AI in Live Production - AI-Media 14:30 \ Mentoring & Gender Diversity in Media & Broadcast with AI? Presented by Rise 15:00 \ Coffee Break 15:30 \ Chyron 16:00 \ Grabyo 16:30 \ Augmented reality (AR), virtual studios (VS), and extended reality (XR) - Zero Density 17:00 \ Exhibition Time 17:30 \ Exhibition Time 18:00 \ End of Day 1 Content+Technology Awards and Networking Drinks ––––––––––––––––––––––––––––––––––––––––––––––––––––

Hall Of Fame


• For Outstanding Career Achievement In Sports, News Or Live Event Production

10:00 \ Layer Cake

09:30 \ Day 2 - Exhibition Open; Event Check-In

Debut Performers

10:30 \ Ross - Live and Virtual Production

• Recognising Outstanding Individual And Startup Newcomers

11:00 \ Live Action, Cinema Production Quality - RED, FujiFilm, Videocraft

To register Visit

11:30 \ Coffee Break 12:00 \ Live Content capture/Onset workflows and Remote production - RED, AJA, and Jonathan Sea, VizRT 13:00 \ Lunch and Exhibition Time 16:00 \ End of Day 2 ––––––––––––––––––––––––––––––––––––––––––––––––––––


Magna demonstrates the latest in sports and live event production at

Contribution and distribution Low latency, remote production Secure and reliable

Real-time virtual studio production Augmented reality Extended reality

Cloud native live production Broadcast-grade graphics Cut and mix live video and audio

Industry leader for over 40 years SMPTE ST-2110 capability Quality, reliability and scalability

Magna will be demonstrating its unique IPconneX contribution, distribution and delivery solution, a full Zero Density virtual studio and live green screen production, the Chyron Live cloud-based production platform and the latest live demo from digital talkback specialists, RTS.

empowering innovation Australia | Hong Kong | Indonesia | New Zealand | Singapore


To book a demo for any of the above email today. Stand 2, Randwick Racecourse, 15 to 16 November 2023.



––––––––––––––––––––––––––– AI-MEDIA Global Leader In Sports and Broadcast Captioning Stand No. 1 Founded in Australia in 2003, AI-Media has accumulated 20 years’ experience to become the global leader in live and recorded captioning, transcription and translation solutions. AI-Media’s vertically integrated solutions, enable the world’s leading broadcasters, sportscasters, event producers and more, to deliver high accuracy, secure and cost-effective captioning to their audiences. Offering solutions and workflows to suit both cloud and hardware workflows, AI-Media uses its iCap Cloud Network – the world’s largest, most secure caption delivery network, to distribute captions and translations across the globe. The recent launch of LEXI 3.0, the upgraded version of its flagship live automatic captioning solution shook the industry to become the world’s most accurate and advanced automatic captioning solution, delivering results that rival human captions at a fraction of the cost. LEXI is an affordable on demand solution perfect for live captioning a wide range of content types – from linear TV broadcast, OTT, to Live Sports, live streams and more.


Their line of Alta encoder solutions offers virtual caption encoding for next-generation workflows that are softwaredriven, fully virtualizable and native IP. Or add captions to any live stream with Falcon, their virtual live streaming caption encoder. For those utilising hardware, AI-Media offers a comprehensive range of SDI caption encoders empowered by their state-of-the-art EEG technology. Regardless of the workflow, this innovative suite of caption encoders caters to diverse captioning requirements, providing cutting-edge solutions for a wide array of applications, and all of which interface with both LEXI automatic captioning and human captioning solutions.


AI-Media has a long history of captioning and translating global sports content; providing solutions for the largest sporting event on earth, multiple teams and franchises in sports such

as basketball, baseball, football, cricket leagues and more; and has become the trusted captioning partner for sports broadcasters and OTT providers globally. If you need to caption live or recorded content, go with the provider you can trust… AIMedia. Visit us at Stand #1 at Content Live Technology Show, 15-16 Nov at Randwick Racecourse, Sydney, Australia, or contact us at ––––––––––––––––––––––––––– AMAGI Stand No.11 Today, broadcasters are eagerly exploring an Over-the-Top (OTT) strategy in addition to traditional cable distribution and delivery to keep pace with the industry trends and maximise their ROI. As broadcasters embrace cloud migration, a unified workflow to cater to multiple distribution platforms is critical, especially for live events where achieving a cable-like viewing experience is non-negotiable. Amagi LIVE (available with Amagi CLOUDPORT) enables users to remotely manage and dynamically produce live events, such as news, sports, and entertainment, for linear TV, thereby maximising revenue potential. Cloud-based single live events are a popular trend, becoming a viable alternative to expensive live production and playout systems. With single live events, cloud infrastructure can be spun up for the duration of the event and terminated when the event ends without any upfront investment and lock-in of hardware infrastructure. Amagi DYNAMIC, a live production and playout system, helps launch pop-up channels for single live events. It enables rights owners and holders to maximise their content library, create multiple parallel live events, and distribute them to D2C apps and other platforms. This helps add new viewers, increase ad revenues, and demonstrate immediate ROIs. Additionally, FAST (Free Ad-supported Streaming TV) is gaining popularity among enterprise-level TV networks, content owners, studios, and video delivery platforms. It provides an excellent

opportunity to leverage existing cloud infrastructure and create new revenue streams. Amagi NOW, a one-stop, modular SaaS platform, allows managing, delivering, and distributing FAST channels to multiple linear and VOD platforms. Visit us at Stand #11 to explore how we MakeMove-Monetize your content seamlessly.

industry, making them a mustvisit exhibitor at Content Live 2023. –––––––––––––––––––––––––––

––––––––––––––––––––––––––– AV GROUP TECHNOLOGIES Stand No.14 AV Group Technologies is gearing up to revolutionise the content creation landscape at Content Live 2023, with a spotlight on remote production solutions. Recognizing the industry’s shifting demands, AV Group Technologies is set to unveil cutting-edge innovations designed to streamline and enhance remote production workflows. At the heart of their exhibition will be a showcase of advanced remote production tools and technologies. This includes the launch of Domo Broadcast System Quartz Connect, combining three of Domo’s superior technologies : HEVC Encoding, COFDM and IP Mesh, this is a suite of products specifically designed for innovative wireless solutions for Broadcast. We will also have the Latest Test and measurement from Phabrix, the QxP a new form factor for Portable Waveform monitoring Fully Featured 25G ST 2110 and 12G-SDI Generation, Analysis & Monitoring with Battery Power The latest Audio Monitors from Wohler Technologies, Solutions from Cobalt Digital and For-A. Through these showcases, AV Group Technologies aims to illustrate how their solutions empower content creators to collaborate, edit, and produce content efficiently and effectively, irrespective of where team members are located. By concentrating on remote production, AV Group Technologies aims to equip attendees with the knowledge and tools needed to navigate the evolving landscape of content creation. Through their innovative solutions, they emphasise the importance of flexibility, efficiency, and creativity in the modern media

BLACKMAGIC DESIGN Stand No. 53 https://www.blackmagicdesign. com Blackmagic Cinema Camera 6K is a new high end digital film camera with a full frame 6K sensor with OLPF, 13 stops of dynamic range and dual native ISO up to 25,600 for incredible low light performance and recording to CFexpress cards. It also uses an L-Mount for lenses which works with a wide range of new and vintage lenses for a wider range of creative choices. Blackmagic Cinema Camera 6K also features a massive 24 x 36mm 6K sensor, allowing for large format cinema camera image quality in a portable, lightweight body. Also, when customers are doing cloud and mobile work, the camera records both deep bit depth Blackmagic RAW and H.264 proxies at the same time. No other camera includes this level of technology, image quality and portability. The new camera is an extremely high end digital film camera that produces precise skin tones and rich organic colors. It features a massive full frame sensor with a native resolution of 6048 x 4032, which is almost three times larger than a Super 35 sensor and allows customers to shoot with a shallow depth of field or to use anamorphic lenses uncropped for a true cinematic look. Whether users are shooting in bright sunlight or in almost no light at all, the 13 stops of dynamic range with dual native ISO up to 25,600 provide stunning low noise images in all lighting conditions. Plus customers can shoot up to 36 fps at full sensor resolution or 120 fps windowed.


Hybrid Powerhouse

XVS-G1 Switcher Processor

Meet the next-generation HD and 4K platform in Live Production Switchers. The new Sony XVS-G1 with its hybrid architecture and all-new 4RU processor is designed to deliver high-speed realtime processing. And with its new web-based application you can now enjoy remote access to a powerhouse of features with a PC, laptop or tablet.

ICP-X1124/X1224 Control Panel

For more information, please visit


• 4 new control panels with 1 M/E or 2 M/E configurations and up to 16 or 24 source button layouts • Up to 4M/E, 48 inputs and 24 outputs in HD/1080p mode or 2M/E, 24 inputs and 12 outputs in 4K(UHD) mode can be configured by adding optional I/O boards • Optional graphics processing unit provides built-in clip player, 3D digital multi-effects, extra still logo keys and new multi-viewer functionality • Up to 16 web browsers connected simultaneously for multi-menu, multi access setup or remote operation



We sell the cool stuff! Booth #39



Blonde Robot unlocks the ability to produce dynamic & engaging content from capture to signal distribution in the most efficient & seamless manner possible. The RED range of cameras including Raptor, Raptor XL and the new Komodo X provide high-end capture for broadcast and cinema production. While enterprise level solutions from VizRT provide either on-prem or in the cloud switching options. REMI workflows from AJA and remote collaborative storage workflows from Studio Network Solutions round out Blonde Robot’s offering at Content LIVE 2023. One more thing! Witness a ground-breaking showcase of MRMC’s (Mark Roberts Motion Control) cutting-edge Broadcast technology. The QRS system, featuring the high-response AFC-100 head promises to revolutionise your broadcast productions. It takes care of motorised camera travel on rails with unparalleled precision & control and the high-response AFC-100 head will allow a heavy payload for more camera/lens packages. Content LIVE will be the best place to have all your questions answered and watch in-depth demonstrations on MRMC technology and the rest of Blonde Robot’s cool stuff. You’ll leave with a better understanding of how these tools can optimise and automate your workflows. ––––––––––––––––––––––––––– CANON AUSTRALIA Stand No.21 Building A, The Park Estate, 5 Talavera Rd, Macquarie Park NSW 2113, Australia professional ––––––––––––––––––––––––––– EVENT COMMUNICATIONS AUSTRALIA Stand No.13 Contact: Rod McKinnon Tel: 0412 908 432


Event Communications Australia are a specialised technology

importer and distributor, supporting our dealers and partners with products and solutions for entertainment, broadcast and production industries. Priding ourselves in supporting practical, effective tools and solutions, assisting users to achieve the best outcomes for their services. Brands Represented: GREEN-GO DIGITAL INTERCOM SYSTEMS Green-Go communications intercom systems are a scalable IP based communications system, with extensive interface capability and versatility. Used worldwide in a multitude of different applications, users’ have found the clarity and reliability of the system to be outstanding. Please visit https://manual. getting-started/ to start your journey with Green-GO Intercom. BroaMan Broadcast Manufacturer – Fibre Routing, media conversion and multiplexing BroaMan is the company behind high quality products, made in Germany, that are designed for broadcasters as well as production companies, sport facilities, professional AV integrators and many more applications. The company offers customised solutions as well as standard “off the shelf” but configurable devices, for every application that requires SD/HD/3G video transport or routing – whether it’s a large and complex system for broadcast studio or OB Van, or a simple point to point for a small church, conference hall, etc. Please visit https://www. to find out more Li.LAC – UV-C disinfection The Li.LAC MD-01 resembles a futuristic sandwich grill in a robust, road-ready 19” 3U rackmount unit. You simply place the microphones on the stainless steel grille, close the drawer, and press start. The Li.LAC can accommodate up to three handheld mics at a time and can also disinfect headsets and lapel mics. The Li.LAC is laboratory certified to kill 99.99% of viruses and bacteria. Please visit for more information.

For more information visit or scan the QR Code.


HZK25-1000mmF2.8-5 PL Cinema Box Lens • Native PL Mount • Dual Format Expander Maintains Image Quality in S35 and Large Format • Beautiful Bokeh Brings a Cinematic Look to Live Multi-Cam Production • Compatible with select wireless FIZ units

FUJIFILM AUSTRALIA Stand No. 15 Fujifilm has been engaged in the development and production of TV Lenses for over 50 years. FUJINON TV Lenses have supported image creation throughout the world with our own unique technologies such as optical design development, advanced manufacturing capabilities and exceptional quality. All FUJINON lenses are intentionally designed keeping in mind the optical, mechanical and electronic requirements of visual creators. Making use of our highly accurate design, manufacturing and assembly skills, Fujifilm will continue to develop unique products and answer the diverse needs of videographers worldwide. Making its Content Live debut at the FUJIFILM Booth is FUJINON Duvo HZK25-1000mm F2.8 CineBox PL lens. A totally new category of lens, HZK251000 is a native PL-mount box lens that combines broadcast functionality with beautiful bokeh, delivering a cinematic look to live and scripted productions. Duvo 25-1000 will be shown on the Sony F5500 with traditional broadcast zoom and focus controllers. Also on show will be our FUJINON UA125 box and UA23 portable broadcast lenses, as well FUJINON Premista, Cabrio and MK cinema lenses.

GENCOM TECHNOLOGY Stand No.18 Gencom Technology, Oceania’s leading provider of integrated technology solutions and professional services for the media industry, are showcasing products from Ross Video and Cartoni, among other suppliers. As a global leader in video production technology, Ross Video presents cutting-edge advancements in production technology. At the heart of this showcase are three key products that will redefine possibilities in various production environments, including Sports, Broadcast, Corporate, and Live events. • XPression Production Graphics: a powerful solution with real-time 3D graphics capabilities and a state-ofthe-art rendering engine, promising to transform content presentation in real-time broadcasts. • Graphite All-in-One Production System: a versatile, spaceefficient solution that seamlessly integrates a graphics engine, switcher, audio mixer, and clip player. Its adaptability, whether on-premises or in the cloud, simplifies production workflows. • Ross PTZ Compact Camera: a compact, and portable camera, with precision control, that is a perfect choice for a wide range of applications, from live event coverage to studio productions. The Cartoni Lifto 25 Motorized Elevation Column, specifically designed for PTZ cameras, adds enhanced creativity to productions with extremely smooth on-air quality vertical moves. The increasing need for robotics in small studios, newsrooms, talk shows, education, and houses of worship, make the Lifto 25 a must-have for studio productions or live events. With wired and optional Bluetooth wireless




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Event Communications Australia Jands






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Space Only Riedel Communications

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Australia Pty Ltd



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November 15-16, 2023 Royal Randwick Racecourse Sydney Australia

List of Exhibitors EVENT NAME: Company | Stand Number FLOOR Content live





15 & 16th November 2023 -



ABE -011


Rob J



Octanorm White




31/10/2023 ROBMagna J white 2 per 9SipRadius Sqm AI-Media............................1 Grabyo..............................6 Systems &Engineering...2 LLC.................47 ORGANISER: EVENT LOCATION: Canon.............................21 APPROVED FASCIA: POWER: SCALE: - Randwick GroundEvent Floor Grandstand ABE ( Content &Technology) Amagi...............................11 Communications.......13 Jands..............................10 MillerBY: Camera Support......16 SMPTE.............................35 NO Black On White 1 per 9 Sqm AV Group Technologies.....14 FujiFilm...........................15 Kayell Australia................33 Panansonic......................4 Videocraft.......................52 Blackmagic Design...........53 Gencom...........................18 Layercake ........................45 Riedel Communications...50 Techtel..........................43 Blonde Robot...................39 Global Advance.................42 LiveU..........................19 Rohde & Schwarz..............12 Videndum......................30

PO BOX 709 BROOKVALE, NSW 2100 AUSTRALIA Fax. (02) 9982 9899 Ph. (02) 9982 5511


Our Venue | Queen Elizabeth II Grandstand, Royal Randwick Racecourse THE CONTENT LIVE Conference & Exhibition will be held in the ample surroundings of the Kensington Room on the Ground Floor of the

Queen Elizabeth II Grandstand.

stop. As well as the Light Rail, regular bus services, and taxi/Uber facilities, there is plenty of free and low-cost parking on site.

Entry to the Racecourse is via Gate 1 on Alison Road, opposite the Royal Randwick Light Rail






Pedestrian Tunnel



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Grandview Room & Lounge  The Chairman’s Club & Lounge  Directors’ Room


Level 2

Royal Randwick Ballroom Corporate Suites 1 - 6


Level 3

Centennial Room Skyline Room 

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Corporate Suites 7 - 24 The Stables 








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Ground Level Kensington Room 


e Escalators Toilets Food Outlet Bar First Aid



Ground Level Owners & Trainers Lounge Level 1

The Press Room Doncaster Room  Champagne Bar  Villiers Room 



Members Concierge Taxi Rank Bus Stop

L Light Rail Stop GATE


P | 1300 729 668 E |

Entrance/ Exit

Members areas

Designated Smoking Area Emergency Assembly Area






control, a height range of 57250cm and 25kg payload, the Lifto 25 is a highly versatile addition to any automated production setup. Add a Cartoni smart deployment tripod and dolly for even more versatility! –––––––––––––––––––––––––––


GLOBAL ADVANCE PRODUCTION SERVICES Stand No.42 au/ Global Advance Pty Ltd (GA) was established in 2020 to service the Media Broadcast Services industry. The company began operations in 2021 covering the launch of the A Leagues Men and A Leagues Women’s Australian football season for the Australian Professional Leagues (APL). That year, GA provided production personnel and our advanced technology equipment for more than 240 games of football broadcast on Network TEN, BOLD and Paramount + in Australia, SKY Sports in New Zealand and a range of broadcasters globally. Since then, GA has delivered more than 1,000 hours of live content for a range of customers. And we look forward to doing more as our reputation for an efficient, no fuss, not entitled, entirely customer product and storytelling focus amplifies. Global Advance, in conjunction with Grass Valley and Telstra, built the world’s most advanced remote production facility at our Randwick playout centre integrating broadcast coming from our Mobile Productions Units located across Australia. Since the company’s inception, it has also delivered services to The Seven Network, Racing NSW and The Australian Turf Club Global Advance aims to collaborate with industry partners in order to tackle a chronic skill shortage through the launch of a fully funded training Academy. Cadets will receive innovative training in new operational roles and technology, which addresses the heavy cost of transmitting outside broadcasts, particularly in sports coverage. They will learn real-life industry roles gaining critical thinking, and hands-on practical and

technical skills. Becoming equipped with knowledge of the industry’s dramatic technology changes as the broadcast industry rapidly heads towards a 5G future. ––––––––––––––––––––––––––– GRABYO Stand No. 6 Grabyo is cloud-native, fully managed video production and distribution platform. A modern, lightweight and powerful SaaS solution with all the tools needed for live broadcasting, events and monetization. The service can scale from single operator digital streams to multi-camera productions with a larger remote team, combined with integrated live clipping, editing, publishing and monetization tools. Grabyo’s fully managed service means production environments can be spun up in minutes with no engineering resource needed and offers customers the comfort of a single price per hour. A collaborative workspace, accessed via a web browser, Grabyo removes the need to deploy large teams onsite and in-studio, reducing production costs, enabling teams to focus on creating high-quality, broadcastgrade live productions. The service supports video delivery in all aspect ratios across all platforms, from social media to FAST/OTT platforms and other digital destinations as well as linear TV. Join us for a live demo on Stand 6. –––––––––––––––––––––––––––

delivers world-class solutions in audio, video, lighting, control, broadcasting, and staging. Our dedicated team of over 100 professionals adheres to the highest standards of excellence, integrity, and professionalism. At Content LIVE, attendees can anticipate a diverse range of innovative products from: Shure: Featuring microphones like the SM7B and VP64, as well as the ADX5D portable receiver, complemented by transmitters such as the ADX1 and ADX2. A hands-on comparison of the KSM series microphones will also be available. Clear-Com: Showcasing the LQ range for remote communications and the AgentIC app, enabling seamless comms over the internet. RGBlink: Presenting video solutions including the MiniMX, Vue PTZ 20x-2 camera, AURA UHD 32 monitor, and MSP 305 SDI to HDMI converter. Robe and ETC Lighting: With a range of high end, production lighting including the Robe T-Series and the ETC Source Four. Chroma-Q: Chroma-Q’s awardwinning entertainment lighting products have been setting new standards in performance and broadcasting. Join us at booths 9 & 10 to explore these leading technologies and discover how Jands can tailor solutions to your unique needs and budgetary considerations. Your future in world-class AV technology awaits with Jands. ––––––––––––––––––––––––––– KAYELL AUSTRALIA Stand No.33 https://www.kayellaustralia.

JANDS Stands No.9 & 10 Jands, an industry leader in audio-visual technology for over half a century, is thrilled to announce its participation in the Content LIVE Technology Show on the 15th and 16th of November 2023 at the Randwick Royal Racecourse. Occupying Booths 9 & 10, Jands will provide a unique experience for all attendees. Based in Mascot, Sydney, with a presence across Australia and New Zealand, Jands consistently

Kayell Australia is a leading name in the photography and videography industry, offering a comprehensive range of sales, service, and repair solutions for professionals and enthusiasts alike. With a rich history spanning over five decades, Kayell Australia has firmly established itself as a trusted source for high-quality equipment and services. In our extensive portfolio, we proudly showcase top-tier brands like Teradek, SmallHD, Wooden Camera, Aputure lighting and Inovativ carts that set the industry standard. Beyond cameras, our inventory includes a wide range of accessories,

lighting equipment, and studio gear with all the tools required to keep the show on the road. Kayell Australia is not just a distributor and retailer; we are committed to providing exceptional customer service and support. Our team is on hand to offer guidance, answer questions, and provide technical assistance, ensuring that our customers receive the personalised attention they deserve. Additionally, our inhouse repair centre means we can repair all the brands that we represent right here in Australia, reducing downtime and keeping creative projects on track. With showrooms in Sydney and Melbourne, at Kayell Australia, we are dedicated to fuelling the passions of the visual arts community through our premium product offerings, reliable servicing, or expert guidance. –––––––––––––––––––––––––––

LAYERCAKE Stand No.45 Layercake blends strategic thinking with deep technical expertise, to solve your complex business challenges. We apply the power of digital strategy, cloud agnostic technologies, data and digital engineering to enable your vision and drive meaningful outcomes. We have designed, developed, delivered and operated world-first, business-critical solutions for our clients in media and entertainment, but our experience spans all sectors. Our ability to deliver at scale, rapidly mobilising teams of subject matter experts from across the globe is game-changing and ensures we achieve the best outcome for our clients. Layercake’s innovation ability has inspired the development of world-class media management and orchestration products that are facilitating a whole new world of streaming and commercial possibilities. Streamcake is Layercake’s proprietary Media Orchestration Platform (MOP). Streamcake makes streaming from your own Cloud/Technology easy and cost effective. The browser-based user interface does all the heavy lifting; starting and stopping infrastructure, overlaying graphics and bugs, DVR, vision switching, trimming,


5G multi-cam LU800 and the powerful-yet-compact HD/4K LU300S with 5G capabilities. 2. Innovative cloud solutions including: • LiveU Matrix, IP cloud video management and distribution service. • LiveU Ingest, automatic recording and story metadata tagging solution. • LiveU Studio, first 100% cloud IP live video production service to natively support LRT™ Our experienced team will be ready to greet you and provide a guided tour of our EcoSystem on Stand 19. ––––––––––––––––––––––––––– MAGNA SYSTEMS & ENGINEERING

and slo-mo, all specifically aimed at content creators, tier 2 sports and college sports. Chyron Live is a desktop production solution that gives users full production quality via any browser and can be easily used for overflow events by major sports broadcasters. Finally, there will be the latest live demo from talkback specialists RTS that features the highly scalable ODIN Digital intercom system, their new DSK4, KP5032 and KP4016 key panels, ROAMEO wireless intercom system and new digital beltpacks. To book a demo for any of the above email ––––––––––––––––––––––––

Stand No.2

LIVEU Stand No.19 LiveU will present its advanced EcoSystem at Content LiVE, with its suite of IP-video solutions and cloud workflows for sports, news and other live productions. The LiveU EcoSystem spans the video production chain, from contribution and production to distribution, bringing greater efficiencies to live productions and shortening the time to air. LiveU will show how content creators can produce impactful and engaging live broadcasts with far less effort, time and importantly in today’s environment, cost. All LiveU IP-video solutions are built on LiveU’s field-proven LRT™ (LiveU Reliable Transport) protocol for low latency, highquality, and rock-solid resiliency. These include its flexible remote and on-site production solutions, using IP bonding and cloud workflows to replace traditional production hurdles with easy-touse, high-quality, and low-cost solutions. Innovative collaborations with other industry leaders will also be on display, showing the openness and interoperability of LiveU’s IP architecture. Show highlights include: 1. Dynamic content contribution solutions with LiveU’s powerful, reliable and flexible field units on show LiveU will be highlighting its industry-leading field units – the

Magna Systems will be demonstrating the latest in sports and live event production at Content Live across four key areas. The first is the launch of its unique IPconneX contribution, distribution and delivery solution. Built on the success of a proven system it designed and implemented earlier this year, IPconneX is an end-toend, low latency acquisition to delivery solution with reduced dependency on hardware. IPconneX leverages awardwinning technologies from Magna’s partners and brings together Magna’s expertise in encoding, IP streaming, monitoring and cloud distribution. This, in turn, enables professional broadcast companies including TV broadcasters, TV operators, teleports and content providers to broadcast live with confidence. Magna will also have a full Zero Density virtual studio and live green screen production set-up and demonstration on their stand. The Zero Density demo will use the latest Panasonic PTZ camera and Zero Density’s new Traxis Talent Tracking system inside a 3D virtual environment to showcase a complete virtual studio production. The third demo on the Magna stand will be the Chyron Live cloud-based production platform featuring its latest AI component. This demo will show how you can have a control room in the cloud that will handle multi-camera live remote production, CGs, replays

MILLER CAMERA SUPPORT EQUIPMENT Stand No.16 Miller is set to captivate audiences at the Content Creation Show with an impressive showcase of their products, offering a glimpse into the future of videography and professional camera support. The focal point of our presence will be the CinX 9, a fluid head that redefines precision and control, offering exceptional performance for smooth and effortless camera movements. This fluid head is designed to cater to the needs of professionals who require utmost accuracy and finesse in their shots. In addition to the CiNX 9, Miller will also be featuring the Air V, an innovative tripod system designed to meet the demands of new content creators, videographers, and filmmakers. The Air V brings unparalleled stability and versatility to any shooting scenario, making it an indispensable tool for those who seek perfection in their craft. The Skyline 90, another star of Miller’s presentation, is a heavyduty tripod system that ensures remarkable stability and support for larger camera setups. It’s the ideal choice for cinematic and broadcast productions that demand uncompromising quality. Lastly, Miller will showcase the ArrowX 5 head fluid, a versatile and robust solution for camera support. Its remarkable fluid technology offers impeccable

pan and tilt movements, making it a reliable choice for videographers across various fields. Miller’s presentation promises to be a visual and tactile experience, allowing attendees to witness firsthand the exceptional craftsmanship and innovation that goes into their products. These represent a commitment to what’s possible in the world of camera support, and visitors can be inspired by the future of videography. ––––––––––––––––––––––––

PANASONIC CONNECT Stand No. 4 au/ Panasonic Connect will be showcasing the latest in media and entertainment technology for broadcasters and live producers alike. A selection of the latest generation of broadcast cameras, PTZ cameras, vision mixers and LUMIX cameras will be on display including the newest products to the family. You will see the award-winning AW-UE160 4K Integrated PTZ, the first to feature an ST2110 out along with its extensive lineup of features, functions and outputs, the AW-UR100GJ 4K Outdoor Integrated PTZ camera with amazing image stabilisation, the multi-award-winning AK-PLV100 4K PL Mount Studio Camera, that elegantly combines a ‘Cine’ look with the convenience and robustness of Panasonic’s studio camera family, and the AV-HSW10 Compact Live Vision Switcher that effortlessly combines SDI/HDMI and SRT/ NDI inputs & outputs for modern hybrid working environments. LUMIX cameras the HC-X2, HCX2000, DC-S5M2 and DC-GH5M2 will also be on display. To see these, and more, make sure to visit us at Content Live. The Panasonic Connect team look forward to meeting you and discussing your needs. –––––––––––––––––––––––– RIEDEL COMMUNICATIONS Stand No.50 Riedel will be highlighting the MediorNet HorizoN distributed video network which blurs the


VOD generation, publishing, integrations, distribution and more. Mediacake is Layercake’s, Media Display and Commercialisation Platform. It provides a portal in the cloud with an easy-to-use interface that delivers an empowered experience for the presentation and commercialisation of media assets, including high- resolution photos. Ready to unlock the transformational power of digital technology for your business? Or just looking for more information? Get in touch! www. –––––––––––––––––––––––––––




boundary between traditional SDI- based and ST 2110 infrastructures with its dense array of SDI-IP gateways and offers an incredible amount of video processing capabilities such as up/down/cross, SDR-HDR conversion and colour correction. Within a single rack unit, 16 independent and individually configurable processing engines allow up to 128 channels of SDI-ST 2110, up to 32 channels of SDR-HDR or up to 16 up down/ cross conversions. SFP-based baseband video I/O completes the package, making it an extremely versatile solution that can handle even the toughest challenges in a modern production environment. –––––––––––––––––––––––– ROHDE & SCHWARZ AUSTRALIA PTY LTD Stand No. 12 https://www.rohde-schwarz.


The R&S®TH1is a liquid-cooled high power transmitter, with software-defined operation and the ability to work across all bands of UHF transmission. The design philosophy is to support the three critical challenges and opportunities for broadcast network operators: to reduce energy costs and carbon footprint; to increase operational efficiency and resilience; and to unlock new broadcast applications, thereby creating new revenue opportunities for the operator. The improved power amplifier design delivers a dramatic increase in energy efficiency, representing a 15% reduction in power consumption over even the most efficient of current designs, with a consequent reduction in carbon emissions. The sophisticated liquid cooling concept, allowing more than 90% of all heat generated to be dispersed to the outside atmosphere, further reduces the energy requirements and total cost of ownership of an installation. Internally, the design eliminates all single points of failure making the transmitter highly resilient, and enables self-repairing and remote monitoring, reducing the cost of routine maintenance, another significant saving in cost as well as boosting reliability. The R&S®TH1 is ideally placed to deliver new services which are best handled by broadcast rather than mobile streaming. 5G Broadcast is a powerful solution for content to large numbers of concurrent users on mobile

devices, either on a wide area basis or as a pop-up service, for example around sporting events or music festivals. 5G Broadcast is also the route to deliver timely data to IoT applications: for example, updated mapping and traffic information to autonomous cars. –––––––––––––––––––––––– SIPRADIUS Stand No.47 At Content Live in November, SipRadius will be presenting Coral Gateway, a secure ultra-low latency IP encoding, transport and routing gateway with WebRTC playback based on CoralOS, a military-grade secure operating system greatly optimised for highvalue broadcast applications. As well as being early adopters of open-source software building on the technical scrutiny and diligence of community engagement, SipRadius has at the core of its business ethos an unprecedented commitment to high-quality media processing and delivery while maintaining exceptional flexibility and versatility. This has led to the culmination of the supremely secure Coral Gateway suite of products consisting of CoralCoder – a transcoding engine, CoralPipe – an error correcting transport solution, and CoralEdge – a standalone media server, all available to seamlessly operate in the broadcaster’s own datacenter, in the public cloud, or a hybrid combination of the two. With an end-to-end latency of less than half a second, the Coral Gateway supports ingest and egress in RIST, SRT, RTMP, HLS, WebRTC, as well as many more formats. Its patent pending multi-bitrate encoding empowers collaborative working through the low latency AV1 encoder with WebRTC playback to accommodate different network conditions. SipRadius is a pioneer of the RIST open-source secure transport protocol designed specifically for broadcasters. The development of CoralOS, an ultra-secure operating system at the core of the Coral Gateway has been compiled and tested from the source code by SipRadius and is continuously being security validated by US military providers and major US broadcasters including NBC, CBS, Sinclair Broadcast Group.

creation market.

TECHTEL IN THE FLO AT CONTENT LIVE Stand No.43 Inflo will take centre stage at Content Live, a video content management solution built by Techtel for our local customers. Inflo will have a range of new features to show off including live editing during ingest, metadata engine, granular user permissions and AI transcription to name a few. While you are on the stand don’t forget to ask about Wasabi hot cloud storage! Bridge Technologies uncompressed video monitoring using their revolutionary VB440 has fast become the benchmark for ST2110 networks; be sure to ask for a demonstration of the latest Dolby audio support. Associated Press are set to revolutionise newsroom planning with their Playbook cloud hosted service; even if you don’t have ENPS you can still spin up some time in Playbook and increase efficiency to a new level. Net Insight’s Nimbra Edge, is the solution that you are looking for to organise, plan and provision all your SRT live video feeds. Grass Valley have the most advanced studio and field live production cameras and switchers in the market offering UHD over IP networks with unparalleled performance. If you need fully cloud hosted live broadcast graphics then ask us at the show about RT Software. Complementing our web-based offerings we also plan to show the latest LXM series TV Logic LCD monitors, Cuescript’s unique and popular PTZ prompter and rounding out the hardware you’ll see our Haivision cellular live broadcast solution called Air. We’re here to make your visit worth it. –––––––––––––––––––––––– VIDENDUM MEDIA DISTRIBUTION AUSTRALIA Stand No.30 https://www. videndummediadistribution. Videndum is a leading global provider of premium branded hardware products and software solutions to the growing content

Our customers include broadcasters, film studios, production and rental companies, photographers, independent content creators (“ICCs”), vloggers, influencers, professional sound crews and enterprises. Our brands are leaders in the markets we serve, both in terms of premium products and market share. Our products typically attach to, or support, a camera - primarily for broadcast, cinematic, video, photographic and smartphone applications. Our products serve a wide range of end users and are offered as a cohesive package. We design, manufacture, and distribute high performance products and solutions, including camera supports and stabilisers, video transmission systems and monitors, live streaming solutions, smartphone accessories, robotic camera systems, prompters, LED lighting, mobile power, carrying solutions, backgrounds, audio capture and noise reduction equipment. Enabling the capture and sharing of exceptional content is our key driving force. The power of images to communicate, to influence and to create, is immeasurable. Our products are behind every picture; empowering professionals and individuals to capture and share exceptional content. Videndum supports the image-taker, freeing up eye and mind by providing exceptional equipment that can be trusted when it matters. We design and manufacture everything that goes around the camera, into the shoot and behind the scenes. Because the content is what matters. Videndum is a publicly listed company on the London stock exchange. We currently employ around 1,700 people in 11 different countries across the world. –––––––––––––––––––––––– VIDEOCRAFT Stand No. 52 MELBOURNE 03 9273 7500 148 Highbury Road Burwood, VIC 3125 SYDNEY 02 9462 8600 1/78 Reserve Road Artarmon, NSW 2064



SMPTE 2110 & NDI Virtualized and Cloud environments


Broadcast Monitoring and OTT Analysis


POST PRODUCTION Runway AI Video Ramps Up the Competition RUNWAY STUDIOS, the entertainment and production division of Runway, the developer of generative AI video tools Gen-1 and Gen-2, has announced the winner of its inaugural GEN:48 two-day short film competition, sponsored by Coca-Cola. Entrants were asked to create a 1-4 minute video that used Runway tools to create at least 75% of the total video. Some 65 finalists were selected with the public asked to vote on a winner. The Grand Prix Winner for the 1st Edition of GEN:48 was ‘2026’ by Dan Hammill and Jeff Wood, a tonguein-cheek vlogger ‘post’ set in a post-apocalyptic near future. Hammill also goes under the name of Greenskull, a YouTuber with a passion for artificial intelligence, and lists Stable Diffusion, Runway Gen-2, Gen-1, DALL-E 2, Midjourney, among the tools he uses to generate AI images and AI videos. “There were some incredible films made by really talented people,” said Hammill. “I am immensely proud of what we made. I think it’s really awesome. I just had a lot of fun doing this.” Canva on the Runway Runway has also announced that its

Gen-2 technology is now available within Australian online graphic design platform Canva. Gen-2 will be accessible directly in Canva with its new Magic Media app, providing direct access to Runway’s AI video generation model for Canva’s 150 million monthly users. “We are excited to expand access to cutting-edge AI models to a broader audience of teams, creators, artists and individuals seeking new ways to bring their ideas to life visually,” said Cristóbal Valenzuela, co-founder and CEO of RunwayML. “Runway’s mission is to ensure that anyone anywhere can tell their stories, just as Canva aims to empower the world to design. We believe that deep learning techniques applied to audiovisual content will forever change art, creativity, and design tools. This partnership is an exciting step toward furthering that mission by putting Gen-2 into the hands of Canva users so they can add the power of video to their designs.” Runway Acceleration Program Runway has also recently introduced the Runway Acceleration Program to help software engineers become ML practitioners.

WInner of the Runway Studio’s GEN:48 two-day short film competition,

“We’re starting this program because we have seen first-hand how people from non-traditional backgrounds can contribute successfully to AI projects when given the opportunity,” said Anastasis Germanidis, co-founder and CTO at Runway. “At a time where the state-of-the-art techniques and models in AI are evolving so rapidly, we believe that strong technical skills, the ability to learn fast, and the courage to dive into unfamiliar territories and technologies, are far more important than a formal education in the field.”

Acceleration Program, participants will gain hands-on experience by contributing to Runway’s ongoing projects. They will collaborate with the company’s interdisciplinary team of researchers, engineers, and artists to build new AI systems and creative tools. At the same time, they will receive continuous mentorship from experienced researchers in the organisation.

During the 3-month paid

Learn more about the Runway Acceleration Program and apply at: acceleration-program See finalist videos from the GEN:48 competition at

Vale Diana Giorgiutti Visual Effects Producer THE GLOBAL VFX COMMUNITY is mourning the recent passing of pioneering Australian visual effects producer Diana Giorgiutti.


Giorgiutti contributed to Academy Award-winning films like The Matrix and Babe, as well to many Marvel Studios features including Thor, Captain America: The First Avenger, Thor: The Dark World, Ant-Man, Captain America: Civil War, Doctor Strange, Guardians of the Galaxy Vol. 2, and Spider-Man: Homecoming.


Born in Sydney, Australia, Giorgiutti was inspired to get into visual effects by Star Wars. Seeing the incredible visual effects of that movie led Giorgiutti to pursue a career in visual effects, starting as a tape operator at VideoLab before quickly rising from telecine coordinator to digital effects producer. “Diana was a fantastic producer,

and what struck me then and since was how supportive she was of everyone she worked with.” Danielle Costa, vice president of visual effects, added, “She was the most kind-hearted, wonderful lady. Diana was just a lovely person, who was so focused on the people she worked with and who made every project she was on better.”

someone who understood what needed to be done to make every shot great,” said Kevin Feige, Marvel Studios president and producer. “She will be dearly missed not only at Marvel Studios, but across the industry.” Marvel Studios head of streaming Brad Winderbaum recalls of Giorgiutti, “Diana was such a beautiful, warm, nurturing person. I first worked with her on Ant-Man

Alaric McAusland, Managing Director of DNEG Australia said: “The passing of an Australian VFX industry pioneer and remarkable human has deeply affected all of us in our industry who had the privilege of working with Di. I am truly grateful to have had the opportunity to know her as both a colleague and a friend. She was a constant source of inspiration for me and countless others. Her legacy is unmatched, and it is heartbreaking that she left us too soon, with so much more to give.”

Jennie Zeiher, President of RSP, added: “Di was a lovely human both inside and out. She was who all of us who work in production aspired to be. Not only that, but she mentored us to get there, whether you worked for her in production or as a vendor.” Across her decades-long career, Giorgiutti won a Satellite Award for Visual Effects for Australia and was nominated for an HPA Award for Outstanding Visual Effects for Disney’s live-action Mulan. Giorgiutti is survived by her longterm partner Greg Johnson, her three sisters, and her parents. Before her passing, Giorgiutti requested that donations to the Australian Cancer Research Foundation be made in her memory. Visit


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Adobe Delivers an AI-Powered Creative Cloud ACCORDING TO ADOBE, it has introduced over 100 innovations and updates across its Creative Cloud platform that it says will dramatically advance power and precision for creative professionals. Drawing on Adobe Firefly and other AI-powered features, the company is aiming to transform Creative Cloud applications including Adobe Illustrator, Adobe Photoshop, Adobe Lightroom, Adobe Premiere Pro, Adobe After Effects, and Adobe Stock. Building on the commercial release of Generative Fill in Photoshop, Adobe is introducing new Firefly-powered workflows in Illustrator with Text to Vector Graphic and in Adobe Express with Generative Fill and Text to Template. Additional innovations across Creative Cloud include new tools in Illustrator, such as Mockup and Retype; AI-powered advancements to Lightroom including Lens Blur as well as a new streamlined editing experience in Lightroom mobile. Adobe also announced the general availability of Photoshop on the web, AI-powered Text-Based Editing in Premiere Pro and Roto Brush in After Effects, plus dozens of other new innovations across Creative Cloud apps. According to Adobe, AI is most powerful when deeply integrated into the core of creative workflows, and these innovations are released alongside new Adobe Firefly Image 2 Model, Adobe Firefly Vector Model and Adobe Firefly Design Model generative AI technologies, designed to generate content safe for commercial use.


Adobe Firefly


Firefly Image 2 Model is Adobe’s next generation of generative AI for imaging, significantly advancing Firefly creative control and image quality, and designed to be safe for commercial use. Firefly Vector Model is the world’s first generative AI model for vector graphics and expands Firefly into the next media type, powering new Text to Vector Graphic in Illustrator. Firefly Design Model, the industry’s first model of its kind, powers instant generation of amazing quality template designs with Text to Template capability that are fully editable in Adobe

Express. Additional new generative AIpowered Text to Image capabilities in the Firefly web application include Generative Match to apply the style of a reference image to generate new images at scale; Photo Settings, empowering users with new creative controls over image generation; Prompt Guidance for suggestions on improved prompts, inspiring new creations; and Share from Firefly and Save to Libraries to facilitate collaboration and cross-app workflows. Adobe Illustrator All-new Firefly-powered Text to Vector Graphic in Illustrator generates editable, high-quality vector graphics, including a wide array of icons, scenes, and patterns quickly and easily from simple text prompts. Additional new innovations include updates to Retype, to turn static text into editable text by quickly identifying similar fonts from Adobe Fonts;

Mockup, to quickly transform images and graphics into realisticlooking product and branding mockups; along with updates to Share for Review that make collaborating and exchanging feedback faster.

the web is also available on Google Chromebook Plus devices. Adobe Lightroom New AI-powered innovations make workflows more seamless and editing more intuitive for everyone, on any device, including Lens Blur that makes it easier than ever to add an aesthetic blur effect to any part of a photograph without requiring an expensive camera lens. The all-new mobileoptimised editing experience streamlines the Lightroom mobile toolbar to prioritise the popular features while making it faster and more intuitive to edit photos on your phone. Additional new innovations across the Lightroom ecosystem include HDR Optimisation, enabling anyone capturing photos to edit and export their photos with brighter highlights, deeper shadows, and more vivid colours, as seen in real life; Point Colour helping photographers make precise, accurate and detailed

colour refinements; along with empowering users with Content Credentials support for new file types to continue Adobe’s commitment to transparency across digital content.

Adobe Photoshop

Adobe Premiere Pro, Adobe After Effects and

According to Adobe, Fireflypowered Generative Fill in Photoshop has seen a 10X adoption rate compared to past releases with users generating over 3 billion images since its beta launch in March. The general availability of Photoshop on the web with Firefly-powered innovations brings the power and precision of Photoshop to web browsers. Now available to all Photoshop subscribers as part of their subscription, Photoshop on

Premiere Pro users can now publish videos directly to Facebook, YouTube, and TikTok. Premiere Pro includes new templates to quickly set up projects for publishing in the most popular sizes and layouts for social media, allowing users to create, edit, and publish videos directly to social media platforms. Create posts, add captions, hashtags, and keywords, and then upload them directly from Premiere Pro

without compromising quality or ranking. AI-powered TextBased Editing improvements in Premiere Pro and Roto brush in After Effects are now generally available, putting more creative power in the hands of users to experiment, ideate, and create in new ways. The debut of Share for Review with in Adobe’s digital video and audio tools where Premiere Pro’s “Share” button will now intuitively introduce Premiere users to with the click of a button for faster content sharing and collaboration. Additional innovations include a massive 5x timeline performance advancement in Premiere Pro for faster and smoother editing, new colour preferences and improved tone mapping to make it easier to get great colour in addition to dozens of other requests from the creative community. Adobe Stock New Firefly-powered workflows streamline the image editing process to create beautiful images in a few clicks including Text to Image to transform concepts into captivating visuals with simple text prompts and Expand Image to extend image backgrounds and aspect ratios in a few clicks. Adobe Stock builds on its vast marketplace with Video templates, a rich new video template collection that brings together Adobe Premiere Pro, After Effects and Motion Graphics templates. Over 355 million high-quality, royaltyfree assets are now available in the Stock collection, including videos, music tracks, photos, illustrations, vectors, video and graphics templates as well as 3D assets. Generative AI-Powered, ObjectAware Editing If all that weren’t enough Adobe also used its recent Adobe MAX conference to unveil Project Stardust, a new object-aware editing engine that uses generative AI to revolutionise image editing. Project Stardust enables users to easily select, edit, and even delete complex elements in any image, making image editing more intuitive, accessible, and


Also highlighted was Project See Through, an AI-powered tool that makes it simple to remove reflections from photos. Glass reflections are an annoyance that everyone is familiar with in photos, obscuring the subject of the image, and often making it unusable. Though it’s difficult if not impossible to remove reflections using existing software, See Through is designed to dramatically simplify the process. New Video & Audio Tools Project Fast Fill, meanwhile, brings the power of Firefly generative AI to video for the first time. Leveraging Generative Fill technology – which Adobe Photoshop already uses to ease the addition, removal, or expansion of content in images with simple Firefly-powered text prompts – Project Fast Fill offers an early look at what human-prompted generative AI could enable inside Adobe video editing tools including Premiere Pro and After Effects. On the audio side, Project Dub Dub Dub automates the video dubbing process, making a historically labour- and costintensive process as easy as clicking a button. Thanks to Project Dub Dub Dub’s AI capabilities, a recording or audio track of a video can be automatically translated to all supported languages while preserving the voice of the original speaker, temporally aligned with the original dialogue, and ready to publish. Project Scene Change makes it easy for video editors to composite a subject and scene, from two separate videos captured with different camera trajectories, into a scene with synchronised camera motion. Project Res Up is a tool that easily converts video from low- to high-resolution using diffusion-based upsampling technology.

3D & Design Project Poseable represents what Adobe says is a breakthrough in AI-based image generation models, making it easy for the image generator to seamlessly interact with large 3D objects, including poses from photos of real people. The prototype is integrated with Project Poseable which can create a 3D rendering from text input, take depth and perspective into consideration, and re-align the object. While creating 3D scenes with traditional skeletal systems is technically complex and timeconsuming, Project Poseable offers an effortless alternative that makes it possible for anyone to expand their creative horizons. Project Neo enables creators to incorporate 3D shapes in their 2D designs – all without requiring technical expertise in 3D creation tools. Today, creators of 2D designs such as infographics, posters, or logos are often limited in their ability to incorporate 3D elements given the complexity of those workflows, which can require years of experience. Project Neo enables creators to embrace simplified 3D design within 2D tools and methods. Other Adobe innovations previewed at Adobe Max included: Project Primrose, a flexible textile display in the form of an interactive dress which can display content created with Adobe Firefly, After Effects, Stock, and Illustrator. Project Glyph Ease which, beginning with a hand-drawn letter shape, uses AI to automatically generate an entire set of glyphs matching the input lettering style. Users can then easily edit the generated glyphs in Illustrator. Project Draw & Delight, a suite of generative AI tools that transforms initial ideas – often represented as rough doodles or scribbles – into polished and refined sketches, allowing experimentation with colour palettes, style variations, and different backgrounds. Visit

MAXON, THE DEVELOPER OF professional software solutions for editors, filmmakers, motion designers, visual effects artists and creators, has announced improvements for a range of its Maxon One products. New Cinema 4D users may now use render-ready starter scenes to kickstart their journey into the software, while all users of the award-winning MoGraph toolset benefit from speed gains around Effectors and Multi-instance Cloners. Redshift also receives a boost with a new Undersampling for RT feature, that enhances performance when moving the camera through a scene. In addition, numerous new Capsules offer artists more possibilities to use expertly crafted materials for their scenes. Cinema 4D 2024.1 continues to build upon performance improvements introduced in September. This latest update brings substantial speed enhancements to MoGraph tools, particularly focusing on Effectors and Multi-instance Cloners. Additionally, Maxon has introduced a collection of fully stylised and render-ready scenes designed to serve as a starting point for newcomers to Cinema 4D, providing them with a strong foundation for embarking on their creative endeavours. New Cinema 4D users are now being welcomed by a preconfigured, render-ready starter scene. Motion graphics artists benefit from speed enhancements to MoGraph tools, especially on Effectors and Multi-instance Cloners. High priority bug fixes in all parts of Cinema 4D. Redshift 3.5.20 The latest update for Redshift brings bug fixes for all DCCs, enhances the quality and camera navigation speed when navigating a scene in Redshift RT and improves pixel-based displacement mapping performance and quality. Moving the camera through a scene no longer reduces the render preview to a low-res, noisy scramble. With the new undersampling technique for RT, the camera navigation speed is boosted and maintains a specified level of quality. When working with high-density meshes and doing close-up renders, per-pixel displacement in RT exhibits improved performance when compared to earlier versions

of Redshift. RT also now supports texture compression, which reduces the amount of VRAM that is being used by textures. The Distorter shader in Redshift now supports 3D distortions and the MatCap shader shines with new parameters. Magic Bullet 2024.1 A new update to Magic Bullet includes important hotfixes, meticulously addressing multiple bugs for a smoother and more reliable experience: • Rectified an issue with the Red Giant analytics library, which was inaccurately logging session data. • Fixed a bug where tool strength would reset when moving tools within the Toolchain. • Bug fixes for localisation including fixes for saving presets in the Colorista workflow. Cineware An updated Cineware for Adobe Illustrator plugin establishes compatibility between the latest releases of Adobe Illustrator 2023 and Cinema 4D 2024.1, allowing users to add and edit 3D objects directly within Adobe Illustrator. Capsules The new capsules drop includes 54 new plants from Laubwerk, 26 Redshift stone wall materials by Fuchs & Vogel, over 30 example projects, and the fantastic Pulse Spline Modifier by Rocket Lasso. The newly introduced Pulse Spline Modifier from Rocket Lasso simplifies the animation of spline growth and unveiling. It can be seamlessly integrated with the Electric Spline Modifier to generate dynamic surges of energy. When applied to a Text Spline, it effortlessly produces text writeon effects. Additionally, it offers support for splines with field-driven weight maps, enabling the erasure and unveiling of sections within intricate splines, ideal for creating motion graphics effects. Elevate digital landscapes to new heights with a diverse collection of meticulously crafted, hyperrealistic plants from Laubwerk. Transform a 3D world with the elegance of 26 exquisite Redshift Stone Wall Materials, expertly crafted by Fuchs & Vogel. These meticulously crafted textures will breathe life into architectural renders, gaming environments, and visualisations. Visit


time-efficient for any user. For example, Project Stardust lets users select persons in a photograph, move them to a different place in the composition, and fill in the background where they were previously standing. Users can also change elements like the colour of a person’s clothing or the position in which they’re standing – treating any flat images like a file with layers.

Performance Boost Across Maxon One Family


MEDIA IN THE CLOUD EditShare Merges with Shift Media EDITSHARE, the provider of solutions for collaborative media workflows, has entered into a definitive agreement to merge with Shift Media, a cloud-native video solution provider specialising in aiding creators manage, present, and collaborate on high-value projects. The amalgamated entity is retaining the name EditShare, incorporating Shift Media’s range of products – MediaSilo, Wiredrive, and Screeners. com – under the EditShare corporate umbrella. According to the two companies, the synergy of EditShare and Shift Media promises a holistic, open solution, equipping creative teams and content creators with the tools to effortlessly store, edit, collaborate, and disseminate their content, be it on-premise, cloud-based, or a hybrid of the two. EditShare’s product suite, tailored for highperformance workflows, encompasses EFS media-optimised shared storage and FLOW intelligent media management. In 2022, the company introduced EditShare FLEX on AWS, ensuring that professional production and post-production entities can craft remote and collaborative workflows tailored to their creative and commercial aspirations. Shift Media’s cloud-native, SaaS solutions include MediaSilo, Wiredrive, and Screeners.


Ramu Potarazu, Shift Media’s CEO, will lead the combined company under the EditShare banner following the close of the transaction; current EditShare CEO Conrad Clemson will leave the business to pursue other opportunities. “The tireless work of Conrad and the EditShare team has put us in a position of strength for the future,” Potarazu said. “Shift Media was built on the principle that video workflow technology should be completely intuitive and customer friendly. EditShare and Shift Media are highly complementary businesses with market leading products and services and shared commitment

to putting the power of video production in the hands of creators. As a combined company, we will create a one-stop shop with a more comprehensive range of products and global network of channel partners, enabling us to better meet our customer needs around the world.” ParkerGale Capital and Marlin Equity Partners, investors in EditShare and Shift respectively, will retain their roles as primary investors and board members in the merged entity. Visit and

Sony’s Ci Media Cloud Enhances Service Offering with NAGRA

Remote Collaboration with ELEMENTS Cloud Workspaces

NAGRA, the provider of content protection and media and entertainment solutions, has announced that NAGRA NexGuard forensic watermarking is integrated into Sony’s Ci Media Cloud media management and collaboration platform, to enhance the security of prerelease content during review and collaboration in production and post-production workflows.

HIGH-PERFORMANCE media storage specialist ELEMENTS will use its presence at IBC2023 to showcase its comprehensive cloud solution, designed to make remote and collaborative workflows seamless and intuitive. Workspaces are where content is stored on ELEMENTS Solutions. They allow users to organise, access, and share content based on permissions, and with the ELEMENTS Client, users mount the workspaces with a single click. ELEMENTS allows the creation of Cloud Workspaces with the same intuitive user experience as local on-premise storage. From the ELEMENTS Client, users can also easily mount and securely access the Cloud Workspaces with a single click. With the ELEMENTS design, the usual complexities of working with Cloud storage are removed from the user experience. Cloud Workspaces, like local disk drives, appear in MacOS Finder or Windows Explorer. The result is quick and seamless access to the right content on any workstation. Two-factor authentication and the ELEMENTS permissions

“Our integration with the NAGRA NexGuard solution allows customers to seamlessly expand their usage of Ci into their most sensitive workflows which demand a heightened level of security,” said David Rosen, Vice President of Cloud Applications and Services, Sony Electronics.


com. MediaSilo functions as a video collaboration hub, aiding prominent media entities in expediting project approvals. Wiredrive facilitates commercial production companies and agencies in crafting custom pitch materials and showreels swiftly., meanwhile, enables virtual screening experiences, catering to press reviews and sales opportunities for highvalue pre-release content.

Serving creative professionals and organisations around the globe, Ci is a cloudbased solution that allows users to capture, backup, review, transform and run streamlined media workflows without moving or copying content. With functionalities

that save users time and money, the new integration with NAGRA NexGuard Forensic Watermarking provides enhanced security and collaboration, while simple web and mobile apps enable additional power and accessibility. NAGRA NexGuard forensic watermarking uniquely watermarks content delivered using Ci’s MediaBox share-link tool. Unlike visual watermarking also available in Ci, forensically watermarked files can be played back without any visual obstruction. Natively integrated with Ci, NexGuard Watermarking safeguards shots, clips, and files from leaks before, during, and after production. NAGRA NexGuard forensic watermarking is an optional add-on security feature available to Company Network plans and above. Visit and

management scheme ensure content and information security. Global and granular policies can be set for content access, deletion and sharing. Users only see the content they are permitted to access. The ELEMENTS platform enables users to build architectures from different cloud services simultaneously, seamlessly integrated with on-premise storage where required. For very high performance, customers will need a service like AWS Elastic Block Store, which, in an ELEMENTS architecture, will deliver the performance previously only available with top-end cloudbased storage. At the same time, they can integrate long-term, lowcost archive storage like AWS S3 or Backblaze B2. The addition of ELEMENTS Cloud Workspaces offers flexibility to busy post-production and broadcast companies. It enables them to create agile and cost-effective architectures tailored precisely to operational needs and workflow pressures. Visit


How AI is becoming a vital part of the intelligent transport workflow By Ian Hamilton, Chief Technology Officer, Signiant rate, write rate, optimal block sizes, type of storage and protocol support) and sizes of files in the dataset. Signiant implements a transportlayer protocol deployed on top of UDP that outperforms TCP on long-distance high-bandwidth networks. Whether to use Signiant UDP or TCP is one key parameter impacting performance in different environments. On top of transportlayer optimisations, Signiant uses

leveraging operating environment instrumentation. The advantages of AI The main benefit in using AI tools lies in the elimination of timeconsuming manual testing and tuning. The possible combinations and permutations of transfer configurations are practically unlimited. Running enough test transfers to cover appropriate combinations and eliminate runto-run variability is time consuming

Machine learning systems learn and adapt using statistical models to make inferences from data. These systems take a set of inputs and make predictions for corresponding outputs; trained on examples, they can predict outputs for inputs they haven’t seen before. More data drives better predictions and, as a multi-tenant SaaS vendor, Signiant aggregates a lot of data that can be anonymised and analysed for the benefit of all our customers. With file transfer systems, many parameters can be adjusted to increase (or decrease) the resulting transfer rate, which ultimately depends on a series of interactions with the operating environment. The operating environment encompasses factors like dataset composition, storage capabilities, computational resources, and network conditions. Given an operating environment and a resulting transfer rate as inputs, an ML system can be trained to predict transfer parameters used to achieve the rate, but this on its own isn’t useful for maximising the transfer rate. By adding another input representing transfer rate quality, a form of contrastive learning (using positive and negative examples) can be applied to predict transfer parameters to create a model to drive high-quality transfer rates. This approach relies on labelling the transfer rate quality of the examples used to train the model, which can be driven algorithmically. Changing parameters Operating environment variables impacting the speed of file transfer include: networking factors (available bandwidth, latency, loss and jitter), compute factors (number and speed of CPUs and GPUs or other hardware offload capabilities), storage factors (read

adjustment of transfer parameters was frequently required to achieve transfer rates above 5 Gbps. With our ML-based tuning approach, we regularly see rates over 15 Gbps with no manual tuning. The current and future state of play Signiant has one issued patent (USPTO No. 16,909,382) and one pending patent on our “CloudBased Authority to Enhance Point-to-Point Data Transfer with Machine Learning”. Signiant has fourteen total issued patents, with two pending patents, covering a broad range of the underlying technologies we use to provide efficient global access to media. At the risk of oversimplifying, the claims of patent 16,909,382 cover aspects of how we collect and process the information necessary to train a model and how we apply the results of that model to new transfers. We are in active use with our Jet product. Jet is used for automated system-to-system transfers, which tends to benefit most from this type of optimisation.

an HTTP-based parallel stream application-layer transfer protocol. Multiple streams facilitate scaling out the transfer across multiple servers, among other benefits. Large files can be split across multiple streams or multiple small files can be sent on a single stream. At the application-layer, the version of the HTTP protocol, the number of streams used, and the amount of data sent over each stream are adjustable parameters. As mentioned previously, defining a “good” transfer is a key part of the system. At the simplest level, a good transfer rate is a rate that is as close as possible to the available end-to-end bandwidth of the environment. The real available bandwidth isn’t necessarily known, but it can be estimated with reasonable accuracy

and wasteful when contrasted with looking at real world transfer data obtained under similar conditions. ML just provides an effective and well understood mechanism for analysing this data. To quantify success, we look at the percentage of transfers achieving good transfer rates before and after applying the model. Given the objective of the system is to maximise this, a significant improvement in this metric (based on a given classification method) shouldn’t be surprising. It’s also somewhat self-referential. A perhaps better measure of success that can be translated into a business benefit is the portion of transfers that still benefit from manual performance tuning. This has dropped to effectively zero. Prior to introducing our intelligent transport capability, manual

As for where we are heading, a challenge for continued refinement is ongoing collection of training data. We need to make sure we aren’t just implementing a positive feedback loop that reinforces already established patterns. Additionally, while the initial configuration determined by this system plays a critical role, there is also the opportunity to adjust transfer parameters over the duration of the transfers. For example, like our transportlayer protocol adjusts to the operating environment in real time through its flow and congestion control mechanisms, there is an opportunity to also adjust application-layer parameters during the transfer to optimise for variability in operating conditions. Visit


THE USE OF AI at all levels in the broadcast chain has increased with dizzying speed as 2023 has gone on. But while the likes of ChatGPT and its generative AI cousins have stolen much of the limelight when it comes to assessing the technology’s impact on the industry, in truth there is likely more work being done in other areas. AI has been part of the fabric of the industry for several years now, and at Signiant, this has become a vital component of what can be referred to as an intelligent transport workflow.

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Hedge Rebadges Camera Media App as OffShoot MEDIA WORKFLOW SOLUTIONS company Hedge has rebadged its ‘Hedge’ camera media management app as OffShoot and is making the software available in several versions: OffShoot Solo (for iPadOS), OffShoot, and OffShoot Pro. This means users will be able to choose the version with the features that best suit their needs. OffShoot Solo takes advantage of the latest updates in iPadOS 17 for increased speeds, OffShoot features an updated UI and new integrations, whilst the Pro version adds support for AWS S3 cloud storage, support for scripting/API, and Codex Device Manager 7, which introduces compatibility for the latest ARRI Alexa camera formats. OffShoot Solo is aimed at filmmakers, photographers and creators using mobile devices for capture. Meanwhile, OffShoot, the application formally known as Hedge, contains all of the core copy engine technology that has been developed over the last seven years that provides the functionality required to copy files fast and securely. OffShoot is targeted at a broad range of creatives who require accelerated data transfers and use verification to ensure each copy is secure. The organisation functionality can dial out further issues down the line by helping define folder structure, renaming and integrating with other applications within a user’s workflows. With an easy-to-use interface, Offshoot transfers are easy to set up and also provide verification of the transfer as proof of work. Finally, OffShoot Pro has been designed to support specialised tools and advanced workflows. OffShoot Pro features Amazon S3 integration so that users can

link their offload workflow directly to the cloud. This allows users to utilise the efficiency benefits of cloud workflows while providing a verified copy to cloud functionality as if it were a local disk. Alongside support for AWS S3 storage, the connection to cloud can be utilised with other cloud storage vendors that support the S3 architecture. OffShoot and OffShoot Pro both offer integration with iconik, the hybrid cloud asset management solution from Backlight. With OffShoot, users can copy cards and send media straight to iconik’s Storage Gateway to catalogue, archive, and share with their team. OffShoot Pro also includes additional metadata options to further deepen the integration with iconik. OffShoot and OffShoot Pro also offer opportunities to upload files to via a dedicated watch folder. Connect 3 further expands Hedge’s push notification system. Currently, notifications are app-based, which is inherently limited. The company says it has developed a cloud platform that will eventually allow it to add notifications wherever needed across its entire product line. Connect 3 adds support for Android and iOS devices on 16.4 and above. Users can use the web interface to monitor transfer status on every instance of OffShoot you manage, wherever it is located. With the introduction of OffShoot, Hedge has transitioned its licensing system to floating licenses. This offers the convenience of installing OffShoot on any number of machines while granting users the freedom to deactivate licenses from machines that are not currently in use. If users require concurrent usage

on multiple machines, they can easily add extra activations as needed. For existing customers with active support for the current Hedge application, OffShoot will be made available as a complimentary update. Canister Hedge has also released version 23.3 of its LTO management system, Canister, which includes support for Windows, Connect 3.0 functionality, and more. Canister enhances tape management by minimising wear and tear during data retrieval. Catalogs are automatically created for every tape, enabling users to browse without the need for mounting. Canister also includes built-in Duplicate Detection for seamless incremental backups. Additionally, Canister simplifies record-keeping with detailed logs, including Transfer Logs and Manifests. Whether for long-term project management or data integrity assurance, Canister for Windows 23.2 equips Windows users with essential LTO archiving tools. The initial release of Canister for Windows 23.2 includes support for IBM-based LTO drives, facilitating compatibility with a wide range of

LTO hardware. Canister continues to offer true drag-and-drop archiving, making it easy to create and manage multiple tape archives. Canister users can also now enjoy the convenience of remotely monitoring their tape transfers. With the availability of the Connect function on both the Mac and Windows versions of Canister, users can easily track transfer status using a web interface. Canister 23.2 for Mac also leverages NanoPure media certification from LTO manufacturer MagStor. The NanoPure process cleans, tests, and calibrates every new cartridge before first use. Starting from version 23.2, Canister for Mac has the capability to provide a “system health” score by comparing drive head performance stats with the factory tape profile. For added assurance, the resulting score is recorded in each Transfer Log. This feature eliminates uncertainties when utilising LTO technology in archival environments, providing users with a clear assessment of their system’s performance and reliability. Visit


Vizrt Completes AWS FTR Process for Viz One

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VIZRT IS BRINGING MAM to the cloud with the announcement it has completed the AWS FTR process for Viz One. The company says achieving FTR status provides broadcasters further reassurance that its centralised and scalable media asset management platform can be safely migrated to the cloud. The FTR program helps AWS Partners, like Vizrt, to establish good architectural habits, eliminate risk, and to demonstrate

specific best practices around security, reliability, and operational excellence as defined by the AWS Well-Architected Framework. All of this is designed to ensure software runs smoothly on AWS cloud platforms, providing customers with the best possible experience. Completing Viz One’s FTR process solidifies Vizrt and AWS’s close partnership. It follows last year’s successful FTR completion of the Vizrt Live Production Solution, and

Vizrt’s recent acceptance onto the highly selective AWS Independent Software Vendor (ISV) Accelerate Program. Viz One makes it simple and easy to ingest, manage, edit, and deliver content effortlessly and cost-effectively. Hosting it in the cloud offers scalability, flexibility, and redundancy otherwise unachievable with traditional on-premises solutions, providing broadcasters with a media workflow solution that scales as

needed. Major broadcasters benefit from moving their MAM system to the cloud. For example, New Zealand public broadcaster TVNZ migrated its entire Viz One archive to replace its ageing tape archive, and the PGA TOUR moved its entire Viz One system, over 18 petabytes of historical and current content, spanning more than a century, to AWS. Visit


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‘Elvis’ Soundtrack Engineer Lachlan Carrick Monitors with Neumann AUSTRALIAN MUSIC and film industry veteran, Lachlan Carrick has been recording, mixing, and mastering records for the past two decades, from working with Australian music legends like Paul Kelly and Missy Higgins, to most recently mastering the GRAMMYnominated soundtrack for Baz Luhrmann’s Elvis. Throughout his journey, Lachlan has consistently relied on the dependable and poised audio quality delivered by Neumann studio equipment. Lachlan’s introduction to the world of music production occurred during his early teens, thanks to his jazz pianist father, John. Lachlan was immediately fascinated by the technical side of music production. From there his interest in music production became a driving force, and Lachlan seized every opportunity to learn the intricacies of audio engineering. Not long after completing high school, Lachlan was working professionally having scored a job at the Canberra Theatre in his hometown. This is where Lachlan’s introduction to Neumann gear transpired,

he says, “the Dolby Audio Room Design Tool (DARDT) was very handy. It allowed me to input my studio’s parameters, including ceiling height and monitor angles, to align with Dolby’s recommendations.” Selecting Neumann gear for its reliability and guaranteed audio quality, Lachlan’s studio is home to three KH 150 and eight KH 80 DSP Neumann studio monitors, working in perfect harmony with the Neumann KH 870 G subwoofer. “Neumann ticked all the boxes with their wide range of options

regularly with composers David Hirschfelder (The Dressmaker, Ride Like a Girl, Escape from Pretoria) and Nigel Westlake (Blueback, Ali’s Wedding, Paper Planes). Recent Atmos music projects include mixing Melbournebased composer/pianist Luke Howard’s new work for Birmingham Royal Ballet, remixing Emma Donovan & The Putbacks’ “Under These Streets” album for NAIDOC week and mastering the “Lost at Sea” album from Rob Grant, featuring his daughter Lana


Following an esteemed collection of studio mixing credits, by 2023 Lachlan has established a niche specialising in mastering immersive formats, the latest disruptor to the recording industry. Nestled in Melbourne’s north, Lachlan has recently built his own state-of-the-art studio that is fitted for Dolby Atmos featuring a carefully selected array of Neumann studio monitors. “When planning my Atmos setup,”

Engineer Lachlan Carrick

“I never thought I’d have the chance to work on an Eminem or Doja Cat track. The Elvis project was certainly both rewarding and challenging. Some tracks came from the best mix engineers in the world, and others were from relatively up-and-coming artists. Then of course there was the iconic original Elvis material. It was an intense and fun experience to bring it all together, along with my friend and colleague Francois Tetaz,” shares Lachlan.

“The Canberra Theatre had this crazy mic cabinet including five or six U 89s, which was really fun. I may have even borrowed a pair from time to time to sneak into the studio. Using classic Neumann microphones in multiple contexts gave me a great appreciation for their exceptional performance.” Over the years, Lachlan honed his skills and established himself as a respected engineer, working in recording studios across the country. During this journey, he developed a deep admiration for Neumann’s renowned production quality. Lachlan first purchased his own Neumann microphone 15 years ago, the TLM 67, and hasn’t looked back since. Recently, he added to his collection “a bucket list mic, the U 67 reissue, which has been one of my go-to choices for recording vocals over the years.”

Grammy-nominated Mastering

that are all very well voicematched,” Lachlan explains. “What I appreciate most about Neumann is their commitment to maintaining high specification standards with their speakers, akin to their microphone production philosophy. They’re also great value,” making Neumann the ideal choice for his Atmos facility. Speaking to sonic performance, Lachlan explains that “the imaging of the KH series is such an asset for an Atmos setup. With objectbased production you really need to hear solid phantom imaging. I want to hear an object sitting between a pair of speakers, so it creates a believable position and fluidity of movement. The strength of imaging on Neumann speakers was a big selling point for me.” Part of Lachlan’s regular work sees him mixing in immersive formats. On the film side, he works

Del Rey. Lachlan has found his Neumann Immersive 7.1.4 Atmos System invaluable on many of these projects, and notes that his productions are translating well into mix theatres and Airpods alike. Recently, Lachlan’s talents extended to mastering the soundtrack album of the highly anticipated Elvis feature film, directed by fellow Australian and film director, Baz Luhrmann. “Compilation albums can be the trickiest records to master,” says Carrick, “because they’re often a huge mashup of genres and files are being shared by numerous teams. It’s a big challenge with mastering to make sure that this very diverse collection of songs still feels cohesive as a record.” Reflecting on this remarkable project, Lachlan expressed his gratitude for the opportunities it brought.

The ELVIS (Original Motion Picture Soundtrack) featured 37 songs and 200+ of Lachlan’s mastering hours, followed by a DELUXE EDITION being released just eight months later with a massive 52 songs. Lachlan is one of the many artists who breathed new life to the music of Elvis Presley, with the soundtrack being nominated for two GRAMMY Awards, including Best Compilation Soundtrack for Visual Media and Best Rap Performance (“Vegas”). Extending beyond just microphones and studio monitors, Lachlan has been using Neumann’s recently launched NDH 30 openbacked headphones in the studio. Designed for the most demanding mixing and mastering applications in both stereo and immersive formats, the NDH 30 have quickly captured Lachlan’s attention for what they bring to the table. “It was a surprise at first just how unhyped these headphones are and that’s a major plus for me. They’re great for another perspective on mixes and are comfortable to wear. The build quality also seems very serious.” Visit and


DPA on the Move with New Location Sound Kit DPA MICROPHONES’ new DLS4000 Location Sound Kit features an array of the brand’s condenser microphones, along with more than 20 accessories. The kit was built to provide the most crucial solutions for any TV/film recording application. Each microphone has been chosen based on input from professional sound engineers working within the film and broadcast industries to create the most comprehensive solution possible. Designed with durability and versatility at the top of its requirements, the DLS4000 Location Sound Kit fills a vital role for sound professionals. Included in the kit are two DPA 4097 CORE Micro Shotguns and one 4098 CORE Supercardioid Microphone. Lightweight, easy to use and extremely multipurpose, the 4097 fulfils several roles for broadcast professionals, including discreet mic planting, interviewing and voice over work, and its water-repellent housing handles inclement weather with ease. With a variety of arrangement options available, the 4098 gooseneck is perfect for live interview applications, such as on podiums or other conferencing situations. Featuring a very low noise and high sensitivity, the 4098 offers transparent, natural sound and high speech intelligibility no matter the environment. Both mics also boast highly directional pickup patterns that limit intrusive background noises.

I T ’ S A L L I N W H E AT N E T- I P

For boom miking applications, DPA has included two 4017B Shotgun and two 4018C Compact Supercardioid Microphones. The 4017 produces impressive accuracy and clarity not only for booming in broadcast and ENG, but also when used with camera systems and in fixed positions at sports facilities or studio environments. Designed for a broad range of long-distance miking applications for both film and ENG, the 4018 has a highly directional pickup pattern with a smooth and uniform offaxis frequency response. Thanks to the variety of available accessories, both solutions offer superb flexibility to meet any need. The DLS4000 also has a selection of solutions from DPA’s 4060 Series of Miniature Omnidirectional Microphones, including two each of the 4060, 4061 and 4071 CORE Omnidirectional Microphones, as well as one 4661 CORE Heavy Duty Omnidirectional Microphone for the most rugged environments with high-intensity sound. With each mic tailored towards a specific application, a professional sound engineer is afforded an optimised and unobtrusive solution for any sensitivity, voltage or placement requirement they may encounter. A range of lavaliers for close miking talent are also included, with four 6061 CORE Omnidirectional Subminiature Microphones (two each in beige and black) and two white 6060 CORE Omnidirectional Subminiature

Microphones. At just 3 mm in size, these microphones pack the award-winning DPA audio into a discreet housing fit to blend into any environment. Each mic offers the clarity, consistency and durability necessary for any broadcast application, and comes with a variety of accessories to allow for unobtrusive placement on the speaker or as a plant microphone when applicable. In addition to the microphones, the DLS4000 Location Sound Kit contains nearly two-dozen accessories, including extra cables, mic holders, concealers, adapters, clips and more. This ensures that any sound professional will be ready to go at a moment’s notice. Visit


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Lawo Unveils New Crystal Broadcast Console LAWO HAS UNVEILED its new crystal versatile broadcast console for broadcast applications. This IP-native mixing system is based on the open RAVENNA/ AES67 Audio-over-IP networking standards and complies with SMPTE ST2110-30/-31 for audio, and ST2022-7 for redundancy. Powered by the Lawo Power Core Engine, crystal supports expandable I/O, accommodating AES67, MADI, analogue, AES3 as well as Dante audio sources and destinations. Available with 6, 8 and 14 faders, and with two distinct modes of operation — Power Core and Controller — crystal is the perfect companion for a variety of broadcast applications that straddle radio and a variety of audio production workflows: small to mid-sized on-air studios; regional studios; news and commentary suites; smaller production studios; MCR control and OB vehicles; podcast recording studios; remote production applications; backup and disaster recovery sites; DAW control and integration as well as workflow standardisation. Firmly rooted in Lawo’s diamond philosophy, crystal’s design feels instantly familiar and straightforward, giving professionals a highly intuitive mixing console. The new crystal is the combination of physical and virtual operation with intelligent, context-sensitive controls that fall naturally to hand. crystal allows users to summon the power of diamond from a more compact and cost-effective package and leverage Lawo’s high-quality audio and workflow expertise. The IP-native crystal is available in both a light and a dark finish. Both versions offer a wealth of shades and hues that allow users to tailor the desk to their exacting

needs. Adding optional Virtual Extensions increases the availability of immediate information for every function. Silent, motorised faders inspired by Lawo’s acclaimed mc² audio production consoles and precise encoders permit flawless integration with program automation and playout systems — perfect for multiple-layer operations involving voice tracking, remote production, or DAW control. Programmable, colour-coded LED button and encoder lighting highlights common control functions. Much more than helpful meter bridges, optional Virtual Extension modules feature fullHD TFT displays for extended information and touch control. Ember+ and HTML5 integration enables control of third-party hardware and software. Like diamond, crystal features Lawo’s LUX user interface that puts users first with a familiar and consistent interface across the entire Lawo product portfolio. crystal employs smart algorithms that speed up production workflows. A host of assistive mixing technologies enable operators to produce compelling, engaging programming. The AutoMix function automatically maintains the balance of multimic productions, and AutoMix Grouping allows this intelligent automatic mixing to be applied to multiple independent source groups. AutoGain, an automatic gain setting function, optimises guest and host mic levels with a single button press.

Thanks to an unlimited number of snapshots and DSP profiles that can be stored and recalled from any networked console, individual talent profiles or customised show setups are available anywhere — even to operators working remotely from home studios, OB setups, etc. Shared user rights and snapshot management across all studios involving crystal/diamond/virtual interfaces is also available. Crystal’s Power Core mode allows operators to use the console in combination with a Power Core engine, Lawo’s software-defined, high-density DSP mixing engine and modular I/O device. In this mode, crystal supports the Power Core Compact licence for single 6-fader or extended 14-fader setups, and the Power Core MAX licence. Accommodating up to four consoles, one Power Core with the MAX licence allows four studios to share its processing power and business logic in a variety of configurations. Controller mode caters to requests for a small IP-native extension panel for mc² audio production consoles. A crystal Main or Fader module can be used as a control panel for an mc²/A__UHD Core-based backend. In Controller mode, crystal is the perfect tool for second-row/

grams mixer applications, as a dedicated control surface for an otherwise headless system, and for leveraging the shared processing options of a single A__UHD Core via a Pooling 4/8/16/32 licence. This opens up new possibilities in distributed production workflows, or for backup purposes. When used as a companion in an mc² system, literally any console strip can be mapped to the crystal surface. A sophisticated rightsmanagement system gives engineers the power to tailor access to console features based on multiple user groups, or on a user-by-user basis. Crystal also integrates with HOME, Lawo’s management platform for IP-based media infrastructures. HOME helps connect, manage and secure all aspects of live production environments, providing centralised microservices for swift, effective interaction of engineers with their tools. HOME turns an array of devices, setups, sites, hubs and data centres into a powerful, agile network — quickly and in a secure way. Visit

DHD Boosts XD3 IP Core with Quad-Core CPU


DHD AUDIO has released a high capacity quad-core version of its established XD3 IP Core. The quad-core-equipped XD3 IP Core is designed for use with mixing systems incorporating up to 96 stereo audio faders in broadcast studio environments, plus 10,240 x 12,288 channel routing.


Cores form the heart of every DHD system by processing all the audio as well as connecting control surfaces. They also perform input/ output routing and interfacing with the outside world. IP audio feeds

as well as IP-connected remote device control can be closely integrated. Automated workflows and product virtualisation are also supported. XD3 IP Core connectivity options available include Audinate Dante, AES67/ RAVENNA, AES3/EBU, Gigabit Audio, APC, MADI and analogue. XD3 IP Core processors can be operated individually or as a fully synchronous main and standby pair including seamless switching between power sources. Occupying just 1U of rack space,

the XD3 IP Core provides full support for Thimeo’s Stereo Tool software-based audio dynamics optimiser. Stereo Tool incorporates a wide range of production tools, including the ability to repair audio distortion, an MPEG2/MP3 file enhancer, hum remover, dynamics filters and enhancers, FM multipath protection, audio dynamics processing and IP streaming. The quad-core-equipped XD3 IP Core is capable of running Stereo Tool as a fully integrated stereo

HD audio processor controlled via DHD Web Apps. It is included as a demo version within DHD’s latestgeneration Version 10.2 firmware. Three modules are available in the XD3 range: a 12K router; controller and IP core; and DSP extension. Supporting accessories include a headphone potentiometer unit, 19-inch rack mounting panels, a table mounting kit plus a choice of power supply units and cables. Visit


Automated Metadata Management for StreamGuys Contribution Network STREAMING AND PODCAST solutions provider StreamGuys has unveiled new automated metadata management features for its StreamGuys Contribution Network, an enterprise-level streaming media ecosystem that helps customers move self-produced, locally originated, and/or third-party media content onto the public internet for end user consumption. The updates include an extension of audio ad triggers to expand monetisation opportunities beyond the preroll stage, and new metadata source switching capabilities for content localisation. Beginning at the origination point, the StreamGuys Contribution Network offers an efficient on-ramp to reliably move content onto CDN streaming services or social media platforms, manage bitrates and protocols, and republish or rebroadcast content in new places and new forms. The StreamGuys Contribution Network solution brings proven StreamGuys streaming and SaaS toolsets together to achieve these goals, including recently announced workflow conversion tools that convert video streams to audio and vice versa. That includes the ability to identify and preserve SCTE-35 ad markers from HLS (HTTP Live Streaming) streams, and convert them to ID3 metadata markers for server-side audio midroll insertions. StreamGuys has enabled the continuation of ID3 metadata further downstream to support server-side midroll insertions.

“This simplifies the production workflow that traditional TV broadcasters use to automatically create and repurpose audio-only feeds of live TV programming for web streams and podcasts by removing manual conversion stages and auxiliary hardware further downstream,” said Eduardo Martinez, Vice President of Technology for StreamGuys. “It also raises our value proposition for stream monetisation by applying our proven midroll insertion capabilities for radio broadcasters to our Contribution Network Service, which caters to a wider variety of media and entertainment companies including TV and OTT broadcasters, sports networks and publishing businesses.” Timothy Labelle, Broadcast Streaming Specialist at StreamGuys, says that strengthening ad insertion capabilities in the Contribution Network Service provides customers with a reliable way to standardise their ad triggers in diverse metadata scenarios. “Organisations that broadcast both audio and video content experience greater consistency and reliability across when it comes to automatically identifying their SCTE-35 and ID3 metadata markers without the need for separate encoders,” he said.

Labelle adds that StreamGuys has also incorporated stronger content localisation capabilities into its Contribution Network Service, including geo-targeting and geo-location services that media and entertainment companies increasingly require for access control. Both services are part of StreamGuys’ SGcontrol solution, which offloads complex stream management and access control functions from broadcasters. Specifically, the geo-targeting applications allow users to deliver appropriate regionalised stream variants based on audience location, while geo-restriction services prevent audience members outside defined regions from accessing content. Visit

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MediaHub Australia and Ateme Build New Headend for WIN TV When WIN TV’s broadcast compression system had reached its usable lifespan, it required an excessive amount of compute power to function and didn’t support the latest features needed for WIN’s broadcast over the next few years, so they turned to long-term technology partner MediaHub Australia for a new solution. AS MEDIAHUB AUSTRALIA Chief Digital & Information Officer Simon Scott explained, “WIN were seeking a full outsource of their headend and looking for a ‘headend-as-aservice’ offering. Their requirements were substantial, for 158 channels of compression encoding, Statmux, and Muxing from SMPTE 2022-6 IP source playout streams. They also wanted a fully redundant system included that has the backup system hosted in another datacentre.” MediaHub partnered with Ateme to provide a solution that met all of WIN’s requirements. This includes using Ateme Titan Live and Ateme Titan Mux software running on Commercial Off The Shelf (COTS) compute servers. MediaHub CEO Alan Sweeney said, “We have been using Ateme’s technology for a number of years, as the foundation for the Imparja channel and SCA VAST News systems and have seen them come on leaps and bounds to meet the needs of the largest broadcasters in Australia. Ateme and MediaHub work extremely well together as both organisations continue to push the latest technologies to allow our clients to meet changing consumer demands.” As well as the Ateme Titan Live and Ateme Titan Mux software running on COTS equipment, the solution MediaHub provided for the new WIN TV headend includes using MediaHub’s FibreHub services for inter-datacentre connectivity of over 200Gbps, to connect both the main and backup system across the two datacentres. In addition, Nvidia, Dell, EVS Nureon’s, Worldcast Kybio, Packetlight, Meinberg, Birddog, Barrowa, AppearTV, Actus and TAGVS products were used in the project and Ateme’s local team were involved in the custom design and implementation of the solution.


Full SI services were provided by Magna Systems for the physical deployment across the two sites.


WIN TV’s GM Television Operations Stevan Djokic said, “The WIN network transitioned onto its new Ateme headend and we have been very impressed with the ease with which we have been able to change transmission formats. The industry is pushing hard to move to full MPEG4 with a mix of HD and SD and more focus on having as many channels as possible in HD. So far, we are very happy with the picture output and look forward to pushing boundaries further in order to give regional Australia even higher quality pictures by using our new MediaHub Ateme headend to its full capabilities.” Ateme’s software underpins the overall headend solution, providing an industry-leading compression system with high picture quality to

deliver services for WIN and ultimately the viewer at home. Technology such as AI-assisted encoding and Statmux assists in getting the highest quality in the final encode. In addition, Ateme’s flexible licensing model allows WIN to pick and choose the codecs and formats they want as required, which further assists in the migration of SD services across to HD. Scott added, “MediaHub and WIN had a number of key performance requirements for the new headend system, including low power usage, and reduced equipment footprint, both of which Ateme’s solution met and exceeded.” The Ateme compression system has been onair for several months with no issues despite running 24×7 across all of the markets that WIN TV broadcasts into. Djokic added, “We are able to switch seamlessly between main and backup compression systems across datacentres at multiple levels such as input, encode and mux with no impact to air, which has drastically simplified testing and maintenance.” WIN’s 158 Channels are ingested as SMPTE 2022-6 IP streams by Ateme Titan Live and compressed into the various renditions needed for each market as MPEG or h264. This is done using the latest Dell/AMD server technology where the system can encode over 60 channels in a single CPU server regardless of HD or SD. These compressed streams are then picked up by Ateme Titan Mux servers, that create the various MPTS for each market and these are then on passed to the rest of the equipment in the transmission path as MPTS IP Streams (2022-2) for delivery by the distribution network to the transmitters around Australia. Since the system has gone live, WIN has migrated WIN GEM from SD to HD with quick and simple software configuration changes performed by MediaHub’s Digital Services Team. Alan Sweeney concluded, “Ateme’s system provided the opportunity to leap WIN to the next generation of technology powered by AMD servers and Ateme’s unique software product line. MediaHub ran the project and delivered

the solution within a tight budget, despite the problematic IT supply chain issues of recent years. Critically, MediaHub also leveraged our close relationships with vendors such as Magna Systems, Dell, Nvidia and Ateme to be able to deliver the system before the required deadline. As a result, the new system is housed in just one single IT rack, which provides not only a footprint reduction, but also savings and efficiencies in power and cooling. Whilst improving the quality and flexibility we can offer WIN going forward. Ateme’s advanced technology and unparalleled solution also helps exceed MediaHub Australia’s internal sustainability targets and this in turn ultimately leads to lower costs for WIN TV.” and

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How Does Video Consumption Contribute to the Global Carbon Footprint? By Philippe Wetzel, CEO and founder of VITEC AS VIDEO TRAFFIC flowing over public internet and corporate information technology (IT) networks explode at exponential rates, the technology community is coming to grips with the environmental implications of this resource-intensive category of traffic. The internet contributes more than 3.7% of global greenhouse gas emissions. Within that, video represents over 80% of the traffic that flows through this global network which is growing rapidly at about 25% per year. A similar dynamic is taking place over enterprise networks, especially in the wake of the COVID-19 pandemic. A tremendous amount of video traffic is being managed by IT departments. This is why tracking the impact of digital video consumption across the business ecosystem is becoming increasingly important. Meanwhile, the number of screens consumers use — at home and work — is also multiplying at an astonishing rate. With all these devices, there is an increase in video and encoders to handle the exploding demand for video content, driven by the growth of video-heavy social applications — TikTok and WhatsApp, to name but a few. These factors drive high demand for encoders and decoders. It is in this context that it is important to focus on the details of video technology.


Encoders, for instance, consume significantly more energy than decoders – sometimes as much as 5 to 10 times as much energy, in comparison. In the past, there was an asynchronous relationship between these two categories of technology. Most video content was created — and encoded — by a much smaller percentage of the population compared to those who consumed – and therefore decoded video. Today, the gap between these two groups has narrowed significantly.


User-generated video content for professional and personal purposes has skyrocketed. As a result, we not only have more traffic flowing through public and private networks, but we also have much more original content generation taking place. This is significantly elevating the carbon footprint of the video sector. As a result, industry executives are re-evaluating how to balance sustainability with the evergrowing corporate and consumer demand for video content. This is why we — together as a video

streaming community — must take responsible steps to initiate an effort to reduce the carbon footprint on the entire value chain of this industry. Industry-Wide Effort Required to Reduce Energy Consumption Carbon footprint assessment must encompass all direct and indirect emissions within the value chain. This should include everything from the extraction of raw materials, design, manufacturing, transportation, and even the final recycling of the devices. All key players will need to actively participate in reducing energy consumption across their stage of the ecosystem. Optimising the energy consumption of each key player — and their products — can positively impact the planet. It can also be a good business practice, if done correctly, because it reduces costs for the key players in the long run. This makes it a win-win for everyone involved. In today’s market — across a growing number of geographic regions — environmentally Pic - DALL·E optimised products and services are also more competitive. They has integrated eco-friendly reduce the raw material needed requirements into their design for production and consume less control process and architecture. electricity upon deployment. This has had a major impact on VITEC has taken a leadership hardware and software designs. position in introducing a wella. Software, for instance, developed methodology, named is responsible for power GreenPEG, to move forward management. Dynamically in a sustainable, measurable, switching off — or into sleep and accountable manner. This mode — all hardware functions involves the implementation of a when not in use, can significantly comprehensive strategy made up reduce the impact on the overall of five specific Initiatives. energy consumption of products 1) Modern Facilities. In 2021, once they have been deployed VITEC invested in photovoltaic into the market. One example is panels and batteries to generate the VITEC SmartLink function for electricity for its manufacturing ChannelLink IP Gateways. This needs in three separate facilities: feature can monitor video streams 1 in Germany and 2 in the US and detect if one is no longer (California and Georgia). In 2022, being used. When this happens, they built a facility in France the IP stream will automatically that is up to the latest standards stop transmitting to save in energy efficiency. In 2023, power. This showcases how to the company has been working embrace energy-efficient design on upgrading their facilities principles and illustrates how in Scotland to include highintelligent, sustainable software performance heat pumps. design directly impacts power 2) Streamlining Logistics. In 2022, consumption. VITEC moved its U.S. logistics b. On the hardware front, VITEC center from the West Coast to selects the least-consuming the East Coast to consolidate and components and designs for reduce the surface area of their optimal power. This leads to supply chain. This means fewer more compact products, fewer trucks have to travel fewer miles raw materials, and less weight, to meet logistical needs. By the reducing production and end of 2023, they plan to achieve transportation costs. a similar outcome in Europe by moving to a single logistics center. 4) Product recycling. Whenever 3) Embracing energy-efficient design principles. VITEC

possible, VITEC uses raw materials with the best carbon footprints

to ensure that the packaging and components on all products are easily recyclable. 5) Implementing real-time energy monitoring and controls. VITEC will begin integrating real-time energy monitoring and reporting on any future products. This will allow customers to assess their products’ overall power consumption and therefore be able to select the best mode for any specific application. These steps have contributed significantly to VITEC’s ability to minimise its carbon footprint. The rest have been offset by financing United Nations-approved projects. More, however, needs to be done. It is not enough for a single company to engage in sustainability initiatives. An industry-wide effort is required. That is why VITEC is enlisting their key stakeholders, partner organisations, and even competitors to join them in creating sustainability initiatives across the entire ecosystem. The next step is to help guide the next video compression standard to ensure it is more eco-friendly and fast-enabled. To do so, VITEC has assembled a consortium of industrial and academic partners. They want to extend an open invitation to any other organisation willing to join them. Visit


MediaKind ‘BEAM’ Shines on Distribution THE DESIRE FOR live events and instant news coverage is fuelling the growth of live content acquisition and the complexity driven by its distribution at scale. This expansion requires operational simplicity, high configurability, and native integration with cloud production workflows while preserving the high video quality with low latency. To meet these requirements, MediaKind has introduced Beam. Built from a modular software architecture that addresses traditional

contribution and distribution blueprints, it adds the necessary IP connectivity to transmit live video from the ground to the cloud and vice versa. Beam combines MediaKind’s cloud-native media software stack with high-efficiency processing appliances boasting optimised form factors, density flexibility, hardware acceleration, low energy footprint, and comprehensive connectivity.

be repurposed to handle various workflows, cutting down on cloud processing expenses. This versatility extends from managing multiple video contribution feeds to executing edge transcoding and facilitating regionalised content distribution. Beam’s adaptability to suit workflow requirements, particularly for sports and event venues, allows users to consolidate their video connectivity into fewer configurable units linked within their cloud production infrastructure.

With Beam’s edge cloud architecture, units can


With BATON 9.0, the platform has received a complete platform stack upgrade. A migration from Python 2.x to Python 3.x results in a more responsive interface, increased scalability, and service and resource optimisation, while a new Postgres DB and Django web framework simplifies database management. BATON 9.0 also offers performance enhancements for QC and analysis of UHD content, optimised IMF analysis, and optimised reading and downloads from S3 cloud.

and checks for the Dolby Atmos ecosystem — including Atmos storage formats, native Dolby Atmos, and cloud support for Atmos formats — and subtitles and transport stream formats. BATON 9.0 also features enhancements in audio quality checks, like Audio Silence, and improved support for formats including REDCODE audio, DPX, and TIFF.

Interra BATON 9.0 INTERRA SYSTEMS, the provider of content QC, monitoring, and analysis solutions to the digital media industry, has debuted the latest version of its AI-/ML-enabled automated QC platform, BATON 9.0. BATON 9.0 features a new engine for enhanced performance, while offering support for new checks, formats, and features. To complement these upgrades, Interra Systems’ BATON Media Player has also received performance and usability upgrades. Interra Systems’ BATON provides comprehensive quality and compliance checks for VOD content — in the cloud, on-premises, or as a hybrid solution — for linear and streaming workflows.

In addition, enhanced video quality checks in BATON 9.0 enable the detection and decoding of QR codes, video dropout, black bar, logo detection, burnt-in-text recognition, and more. The enhanced platform offers complete support

The upgraded BATON Media Player, which allows media professionals to play, inspect, and verify audio and video content, now enables optimised playback of 4K content and further support for Dolby Atmos storage formats like AXS-R7, REDCODE audio, “.dng”, and more options to review errors. Visit

Bi-Directional 12G Single to Quad-Link Converter LYNX TECHNIK, provider of modular signal processing interfaces, announces a new yellobrik, the CQS 1462, a bi-directional singlelink/quad-link converter. The CQS 1462 replaces the CQS 1441 yellobrik and is a bridge between single link 12G SDI and quad 3G SDI signals. Typical applications include the conversion between legacy quad 3G 4K transport systems (SQD or 2SI) into single link 12G SDI signals. Conversion modes supported include: Single 12G-SDI to Quad 3G-SDI Level A Single 6G-SDI to Quad 1.5G-SDI; Quad 3G-SDI Level A to Single 12G-SDI; Quad 1.5G-SDI to Single

6G-SDI; and Distribution Amplifier mode (1×4) 12G, 6G, 3G, 1.5G. This new yellobrik supports both Square Division (SQD) and Two Sample Interleave (2SI) input pixel mapping. The optional fibre I/O allows for additional connectivity possibilities, which include CWDM options. This compact yellobrik includes local controls on the module itself, removing the need for a PC to make basic settings. It is also compatible with the yelloGUI and LynxCentraal software, which gives users access to a host of adjustments, configuration, and monitoring features. yelloGUI and LynxCentraal are complementary to all yellobrik users.

For larger integrated system solutions, the CQS 1462 yellobrik can be rack mounted in the RFR 1000-1 or RFR 1200 rack frames. Adding the RCT 1012 Rack Controller connected to a network allows the RCT 1012 to automatically discover the connected yellobriks and display them in the LynxCentraal control software. Further integration is achieved by adding the SVR 1000 Server module to the system which allows an unlimited number of workstations access to the system for configuration and monitoring. The SVR 1000 module also facilitates integration with third-party SNMP automation systems. Visit

Next Generation Video I/O with Streaming DMA

Designed from the ground up to support next-generation AI and AR workflows, KONA X is a 4-lane, PCIe 3.0 video I/O card with two full-size, bidirectional 12G-SDI BNC connections and two full-size HDMI 2.0 connections, one for input and one for output.

Video I/O for AI/AR Medical Devices

KONA X lets users achieve as low as sub-frame latencies with Streaming DMA (Direct Memory Access), which enables powerful real time workflows with no perceptible delay on I/O and processing crucial for implementations such as live sports and virtual production*. KONA Xpand, an optional PCIe card that expands the connectivity on KONA X and connects to KONA X over internal ribbon cable. *Application dependent


Cutting Edge Connectivity

KONA XM represents a new generation of I/O technology from AJA that allows medical OEM developers to ensure ultra-low latency for the most mission-critical video applications, including surgical and medical video hardware devices. Questions? Shoot us an email.

KONA XM is designed and certified to be the heart of the next generation medical video technology solutions. Available in Active (with fan) and Passive (fanless).






























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CLASSIFIED + EVENTS that are relevant to the computer graphics or interactive techniques community, celebrating, connecting, and enabling new collaborations. Business & Innovation Symposium

The 16th ACM SIGGRAPH Conference and Exhibition on Computer Graphics and Interactive Techniques in Asia will be held at ICC Sydney, Australia. Conference 12 – 15 December 2023. Exhibition 13 – 15 December 2023. Highlights include: Art Gallery Art Gallery is a juried exhibition within the Experience Hall. The Art Gallery theme at SIGGRAPH Asia 2023 is “In Unruly Times.” This theme encompasses a diverse range of works spanning art, science, and technology, including data visualisation, 3D printing, XR, robotics, AI, sound, performance, NFTs, and interactive installations. “Unruly” here signifies a wild, experimental, and uncontrollable quality, reflecting turbulent moments in history, such as conflicts, climate crises, pandemics, inequality, surveillance, and financial and biosystem collapses. Art Paper The Art Paper theme at SIGGRAPH Asia 2023 is “Crossing Thresholds. The theme explores the impact of computer graphics and interactive technology on our stories, memories, challenges, and dreams as we navigate transitions and boundaries in our lives. Birds of A Feather Birds of a Feather (BOF) sessions at SIGGRAPH Asia 2023 are graphicsrelated, attendee-organised, informational discussions of shared interests, goals, technologies, arts and/or backgrounds. These sessions will focus on topics

The SIGGRAPH Asia 2023 Business & Innovation Symposium unveils the theme ‘Powering Business Transformation with Generative AI,’ a captivating event uniting top-tier business executives, seasoned professionals, researchers, and production trailblazers. Computer Animation Festival A world-wide collection of the year’s best computer animation works. From short films to scientific visualisations to AI-enhanced deep fakes, this year’s festival promises its most expansive and compelling program ever. Watch highly anticipated screenings at the Electronic Theater and Animation Theater. Courses The SIGGRAPH Asia 2023 Courses program aims to help push the boundaries of Computer Graphics and Interactive Techniques by providing short or half day master classes led by leading international experts from academia and industry. Diversity, Equity and Inclusion SIGGRAPH Asia prioritises conversations and industry contributions that spotlight how diversity makes our communities, industries, and teams stronger. Events in the DEI program provide a safe place to grow, discuss, and learn from one another and to bridge boundaries with the goal of making our community more inclusive and accessible to all. Demoscene The Demoscene is an international computer art subculture focused on producing demos: self-contained, sometimes extremely small, computer programs that produce audio-visual presentations. Doctoral Consortium The SIGGRAPH Asia Doctoral Consortium carries the theme “Connecting Stories: You are not alone”, offers a platform for PhD students to connect and share their research.

Educator’s Forum The Educator’s Forum invites people from both academia and the industry to present innovative research, methods and developments related to the teaching of computer graphics and interactive techniques and application of computer graphics and interactive techniques. Emerging Technologies Emerging Technologies is a juried exhibition within the Experience Hall that showcases the latest emerging and innovative Technologies that aim to improve our lives. Featured Sessions The Featured Sessions program casts a spotlight on major breakthroughs, techniques, arts in the field of Computer Graphics and Interactive Techniques. Keynotes At SIGGRAPH Asia, the Keynote sessions will offer insights into ground-breaking areas in the field of computer graphics and interactive techniques. Meet Jun Murai and Joe Letteri, SIGGRAPH Asia 2023’s Keynote Speakers. Posters The Posters program provides an interactive forum for innovative ideas that are not yet fully polished, for high-impact practical contributions, for behind-thescenes views of new commercial and artistic work, and for solutions that help solve challenging problems. Real-Time Live! Watch as the best in real-time graphics and interactive techniques come alive in an accessible and entertaining live showcase and competition - from rendering tools to game worlds, from virtual production drama to astrophysics simulation. Talks Talks present new techniques, novel applications of existing techniques, and other developments with broad interest to practitioners of computer graphics and interactive techniques.

that are still in progress. Leading international experts in academia and industry will present new and thought-provoking ideas, valuable know-how from production work, and new applications that are interdisciplinary, at the intersections of graphics with vision, image, video, visualisation, AI, HCI, AR, VR, CAD, and many others. Technical Papers The Technical Papers program is the premier international forum for disseminating new scholarly work in computer graphics and interactive techniques. Technical Papers are published as a special issue of ACM Transactions on Graphics. A two-hour preview session of all Technical Papers will also be held on the first day of the event where the author(s) of each paper get less than a minute to wow the attendees with a brief overview of their work. XR The Extended Reality (XR) program is a juried exhibition within the Experience Hall that showcases Virtual Reality (VR), Augmented Reality (AR), and Mixed Reality (MR) prototype systems and/or innovative content with offthe-shelf consumer products and software. Something new this year will be the XR Theater, where immersive cinematic and storytelling experiences can be viewed in a VR display theatre-like setting. Visit

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Technical Communications The Technical Communications program is SIGGRAPH Asia’s forum for presenting novel works




B l a c k m a g i c Agile Broadcast………………………………………………39,41 AV Group Technologies….........……………………………….7 Blackmagic Design……….....…………………………………..5 Blonde Robot...........................................……….9,11,45 Content LiVE.....………………………………………………..IBC Event Communications....…………………………………….15

Jands……………………………………………………………….. 25 LAWO………………………………………………………………..3 LiveU……………………………………………………………….17 Magna Systems & Engineering......………………………..21 Riedel………………………………………………………………13 Rohde & Schwarz...…………………………………………..OBC

SiggraphAsia2023…………………………………………..31 SMPTE…………………………………………………………..IBC Sony Australia......……………………………………………….23 Stem Media......…………………………………………………….3 Studiotech…………………………………………………………43 Videocraft………………………………………………………OFC

Tailored to your requirements


▷ Software defined playout solution ▷ COTS,VM, Cloud ▷ SDI or IP/IO ▷ Flexible redundancy models ▷ High scalability ▷ Workflows for VOD delivery ▷ Broadcast graphics ▷ Available as CAPEX or OPEX See us at Content LiVE!

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