Content+Technology ANZ September-October 2018

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VOLUME 15 ISSUE 5 SEPTEMBER / OCTOBER 2018

MEDIA + PRODUCTION + MANAGEMENT + DELIVERY

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THE FUTURE

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Bondi Films Takes Sony on ‘The Ultimate Ride’, page 8.

REGULARS 02 EDITOR’S WELCOME

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INDUSTRY FOCUS

04 NEWS October Launch for Foxtel 4K,

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DATES & DEADLINES

Foreign Media Ownership Rules, MediaKind and Digicel Double TV Channels for PNG, Bondi Films Takes Sony on ‘The Ultimate Ride’, New Animal Logic Production Company & Exec Team, People on the Move.

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FEATURES 12 IBC2018 Highlights 16 ACQUISITION Target Shoots First Oz ALEXA LF TVC, Gearhouse Focuses on Fujinon 4K Lenses.

20 SPORTSCASTING PA People Open

Asian Games with a Bang - and Deliver for City2Surf, Victoria Racing Club and Network Ten Sign ‘Landmark Rights Deal', Nine Partners with The NBL, Strong Debut for Melbourne Esports Open.

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36 AUDIO Audio for OTT, Content Protection with Audio Watermarking, Advances in Dante.

40 RADIO Nova Entertainment and the Studio of the Future.

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CONTENT DELIVERY Regional Tests for UHD 4K transmission, New Delivery Technology.

NEWS OPERATIONS Going Solo with Dejero, Newstag Deploys Linius Video Search Technology.

28 POST-PRODUCTION Australian and

Korean Teams Take Pipeline Awards at SIGGRAPH, Victoria University First for DaVinci Certification, New Post Tech.

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CONTENT+TECHNOLOGY: ISSN 1448-9554 PP:255003/06831 Broadcastpapers Pty Ltd (ABN 34 095 653 277) PO Box 259, Darlinghurst, NSW 1300 Australia www.broadcastpapers.com PUBLISHER: Phil Sandberg Tel +61 (0)2 4368 4569 Mob +61 (0)414 671 811 papers@broadcastpapers.com

MEDIA IN THE CLOUD NEP Selects Techtel to Provide DR Solution for Fox Sports, Qvest Media Introduces Qvest.Cloud, New Cloud and Storage Solutions.

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EDITOR’S WELCOME

The Shift from the Set-Top

By Phil Sandberg

While challenges remain, this year’s research brings into focus the six key innovation areas in the industry:

- The next wave of aggregation – super aggregators: This model, where companies offer a range of content and services via a single subscription, is seen as a way of simplifying a fragmented marketplace for consumers, while also offering additional growth opportunities for well-established operators.

- Converging pay-TV / OTT offerings: Most traditional pay-TV providers are now looking to offer converged pay-TV/OTT services. As a result, the pay-TV market is transitioning into a paid-for-video market.

- Moving beyond the set-top box: Many industry executives believe that network infrastructure and billing relationships – rather than proprietary settop boxes – are now the gateway to the customer.

- Growing focus on diversification, particularly connectivity: Fixed and mobile broadband services are expected to grow in importance in future as providers pursue bundling strategies to deliver better value and improve stickiness.

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The findings of the 2018 Pay-TV Innovation Forum are available via https://dtv.nagra.com 02:00

Content piracy remains a concern, with executives agreeing that the industry is experiencing a significant threat to the longterm sustainability of pay-TV and OTT businesses. 47 percent of 2018 respondents believe that piracy will lead to greater pressures on the industry over the next five years, in line with 2017 findings.

- More diverse multiscreen pay-TV propositions: 77 percent of executives surveyed believe that pay-TV bundles will evolve substantially over the next five years, catering to the needs of different customer groups, and 89 percent agree that delivering a seamless and personal consumer experience will be key.

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The research highlights how the pay-TV industry is converging towards a platform-agnostic model, and, as a result, is transitioning into a paid-for-video market, spanning a variety of offerings including standalone OTT and directto-consumer services. This shift is another reason why 77 percent of pay-TV executives consider innovation to be one of the top three strategic priorities for the industry.

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The 2018 programme highlights that 84 percent of pay-TV executives expect competition for paid-for video services to increase dramatically over the next five years. While participants are optimistic they can continue to appeal to paying consumers, an increasing number – 90 percent of executives – believe that pay-TV providers will have to innovate strongly to remain competitive and relevant, up from 85 percent in 2017.

primarily focusing on the core pay-TV proposition as they deploy nextgeneration set-top boxes that support advanced functionalities such as thirdparty apps, personalised content recommendations, and 4K.

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CONTENT PROTECTION PROVIDER NAGRA, in partnership with research firm MTM, recently published the global findings of the 2018 Pay-TV Innovation Forum. In its third year, the programme seeks to identify how innovation is driving opportunities for content owners and service providers around the world as they face a disrupted market. The findings are based on extensive regional research conducted in Europe, North America, with a special focus on the United States, Asia-Pacific and Latin America.

Thanks for reading Phil Sandberg – Editor/Publisher

- Continued investment in next-generation pay-TV services: Most pay-TV providers (65 percent) have improved their portfolios in the last 12 months,

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NEWS + PEOPLE For the latest news visit www.content-technology.com

October Launch for Foxtel 4K Channel via Satellite FOXTEL HAS ANNOUNCED THE LAUNCH of a new, satellite-delivered, 4K live channel, Foxtel in 4K, which will launch in October on channel 444 and will come as part of a Foxtel Platinum HD or Foxtel Sports HD subscription for customers with an iQ4. At launch, the channel will start previewing 4K content – including live sport, documentaries, concerts and more, and over the next 12 months, Foxtel will continue to expand the selection of 4K content to its subscribers.

The news comes as Foxtel announces the arrival of its new iQ4 set top box.

The iQ4 is Foxtel’s most advanced streaming set top and is designed to be continually upgraded with newer, smarter features that make finding and streaming your favourite Foxtel programming easier, while delivering the best in live television via Foxtel’s satellite service.

The new iQ4 will also enable subscribers with a compatible 4K TV to access Foxtel’s new 4K channel and enjoy Australia’s ultimate entertainment and

sports service in HD and 4K UHD. Foxtel in 4K arrives just in time for the November 4, Australia v. South Africa, Cricket ODI, which will kick off Foxtel’s sports coverage in 4K. The iQ4 combines satellite delivery; 4K programming via the 4K channel, along with a host of other linear channels, alongside a library of TV and movies to stream On Demand via the internet.

Patrick Delany, Foxtel CEO, said, “Innovation is in Foxtel’s DNA and we have continuously redefined entertainment for Australia putting us at the centre of connecting subscribers with the sports and the shows they love. “[This] news is just the first step into a 4K future – this incredible experience will continue to expand as we bring even more sport and entertainment programming to life in guaranteed 4K, making the most of today’s ultramodern 4K TVs. It’s TV like never before.”

Visit www.foxtel.com.au/shop/foxtel-iq.html

New Foreign Media Owner Requirements AS OF 1 SEPTEMBER 2018, a foreign person with company interests of 2.5% or more (a foreign stakeholder) in an Australian media company is required to notify the Australian Communications and Media Authority (ACMA) of that interest.

The requirement follows the passing of the Broadcasting Legislation Amendment (Foreign Media Ownership, Community Radio and Other Measures) Act 2018 on 22 August 2018, and is designed to allow increased scrutiny of foreign investment in Australian media companies and increased

transparency as to the levels and sources of foreign investment in such companies.

The new requirements include existing foreign stakeholders making initial disclosure notifications by 28 February 2019, timings for notification of changes of foreign stakeholder status and reporting at the end of each financial year. The new provisions also apply to persons acting on behalf of foreign stakeholders, such as executors, administrators and liquidators.

Visit www.acma.gov.au

MediaKind and Digicel Double TV Channels for PNG MEDIAKIND, THE NEW IDENTITY FOR ERICSSON’S MEDIA SOLUTIONS business, is supporting Digicel, a leading communications provider in Asia Pacific, to evolve its digital TV service, adding 48 new channels through deploying MediaKind’s award-winning compression headend technology and expanded transmitter infrastructure.

Digicel is the leading provider of digital TV services in Papua New Guinea (PNG).

To deliver more immersive content experiences and a wider range of content to viewers in the region, Digicel enlisted MediaKind to enhance its current system with an additional 48 SD MPEG4 channels to Digicel’s PNG platform. The extension brings Digicel’s coverage to 92 channels broadcast over satellite DTH and DVB-T2 networks.

MediaKind will deploy two of its next generation AVP 4000 Encoder Systems and modulation to feed two new satellite transponders. To support the largest number of users, the first expansion for the DVB-T2 VHF terrestrial transmitters takes place at Burn’s Peak site in Port Moresby that will be

integrated by Techtel with MediaKind providing a three-year headend support as part of the deal managed from Sydney, Australia.

Alan Constant, CTO of Digicel Media Ventures Ltd said, “We are always looking for ways to enhance the services we offer to our customers in Papua New Guinea. This extension is helping us to deliver a wider range of high-quality content to our viewers. We have been working alongside MediaKind for many years and trust its ability to deliver the highest quality content with leading technologies and support.”

The AVP 4000 System Encoder efficiently delivers high-quality content while helping operators to satisfy consumer demand for greater content choice and accessibility on all devices. AVP 4000 System Encoders offer a futureproof modular architecture that permits on-site upgrades with no hassle or interruption. The AVP 4000 system encoders handle MPEG-2, MPEG-4 AVC and HEVC, with a smooth upgrade path to 4K UHDTV. Visit www.mediakind.com

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NEWS + PEOPLE Winners Shine at Content+Technology ABE Awards This year’s ABE Conference & Exhibition played host to the 2018 C+T/ABE Awards recognising innovation in content production and delivery. For more show news and resources, visit www.abeshow.com

NEP AUSTRALIA – ANDREWS REMOTE PRODUCTION HUBS Category: Content Delivery Mark Segar of NEP (pictured), along with his team including Leander Serrao and Peter Mills have turned the concept of remote IP production, based on SMPTE ST2110 technology, into reality in what is arguably the most significant broadcast technology roll-out since the introduction of digital television. Backgrounder: www.content-technology.com/ sportscasting/?p=3609

LOGITEK JETLINK Category: Technology Development Developed in Australia by the Logitek AU dev team (part of OnAir Solutions) under Paul Dengate (pictured), JetLink is a software audio link for Windows, with cloud-based control system, an open-source audio codec for better audio quality/latency without expensive licensing. It is already in use with beta testers in Australia, US and Europe.

Visit https://jetlink.co

SYDNEY VIDEO TECHNOLOGY MEETUP GROUP Category: Outstanding Industry Contribution With around 2000 online members and regular meetings exploring issues around streaming, OTT, file-based workflows and more, the Sydney Video Technology Meetup Group, led by Amy Prosser and Jeremy Brown (pictured), along with Damian McNamara, Matt Voerman and Carissa Mills have provided a fresh focus for all things video.

GEARHOUSE BROADCAST – AUSTRALIAN OPEN REMOTE PRODUCTION Category: Sportscasting The 2018 Australian Open tennis championship saw Gearhouse Broadcast and the Seven Network take a compact approach to remote production using Net Insight’s Nimbra 688 encoding and decoding frames, supported by Techtel, via a diverse fibre ring between venues. Backgrounder: http://www.content-technology.com/sportscasting/?p=3489

BROADCAST AUSTRALIA - DVB-S2X ROLLOUT FOR ABC & SBS SATELLITE DISTRIBUTION

ENHANCETV (BY SCREENRIGHTS) Category: Education EnhanceTV, a subsidiary of Screenrights, is a subscription-based service providing educators with licensed television and film video content for use in the classroom.

Using the Ooyala platform, Screenrights built a video portal allowing users to search and discover content, and contributors to manage and publish content using an automated and scalable process.

Visit www.enhancetv.com.au

Category: Infrastructure Using an Evertz modular solution, supported by Studiotech, Broadcast Australia was able to engineer rollout and remote switchover from DVB-S to DVB-S2X multi-stream for the satellite distribution of ABC and SBS FTA services across Australia, providing cost saving and efficiency. Backgrounder: http://www. studiotechau.com/abc-and-sbs-move-to-dvb-s2x-for-nation-wide-distribution-oftransmission-services/

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NEWS + PEOPLE Bondi Films Takes Sony on ‘The Ultimate Ride’ EARLIER THIS YEAR EDGARD FERREIRA, Managing Director of Bondi Films, undertook an amazing project called The Ultimate Ride that would see a motorcycle team travel to Lake Gairdner in South Australia on the search for speed records and adventure. What was produced as a result was a doco shot primarily on the Sony FS7 II and A7s and which is being shown on Qantas Qstream.

As Edgard explained, “The great news is that Elliott Motorcycles has broken the land speed record on their division and they now have the fastest Harley Davidson Softail in the world. The documentary was filmed on Sony FS7 II and A7s cameras and its these amazing cameras that helped and continue to help me tell incredible stories.”

From the moment Edgard engaged with the project he had one big challenge to manage – expectation versus budget.

He said, “I knew from the beginning that I would have to work with a very small crew if not just myself and my co-director. I had big ideas for this project as it’s not every day that you have the opportunity to spend five days on the salt flats in Lake Gairdner with a custom-made Elliott Motorcycles Harley Davidson and the amazing Elliott Andrews riding the bike at such dangerous speeds. My problem revolved around how to bring this project together with only me as a DP being responsible for filming, sound recording and directing.”

According to Edgard this is where the Sony cameras, in particular the FS7 II really came into play.

He continued, “I knew I needed a camera that was easy to work with, something that I could pick up and start filming within seconds and on top of that give me amazing pictures. I also needed something that would allow me to record good quality sound – a camera that would allow me to set up radio mics and a shotgun mic while running and gunning. This camera was obviously the Sony FS7 II.” Lake Gairdner is a special place and the Bondi Films crew were planning on telling an amazing story, a story whose importance was not lost on Edgard.

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He said, “Dramatising part of this story was a really important thing, so being able to capture high-quality slow motion without buffer was a key point. Also, after seeing some images from the salt flats it was clear to me that I needed a camera that could handle high dynamic range. This is the kind of place where humans cannot spend more than a few minutes without sunglasses. In the middle of the harsh desert of Australia, we were going to be racing on a crystal clear, salty white surface which would intensify the brightness of the sunlight.

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With all that in mind, using the Sony FS7 II for this project was a no-brainer.

This camera covered all our technical requirements and more.”

Edgard faced some very challenging situations whilst he was on the salt plains, not least of which was the amount of ground and footage he and his co-director had to cover.

He continued, “The scenarios changed all the time and there wasn’t much warning as to when things were going to happen. Quite often I would be running around going from one location to another, filming from inside of a car to filming on the ground, with the camera handheld most of the time.

As I was filming a documentary where I didn’t have much control over the changing environment, I needed to be highly adaptable. I had to always be ready for things to happen and so did my camera.

There was no chance for second takes and having a camera like the FS7 II that felt good on my shoulder for 16 hours a day made all the difference.”

It wasn’t just the ergonomics of the FS7 II that impressed Edgard, he also enjoyed its reliability and functionality adding, “I was amazed with the performance of the Sony FS7 II under such harsh, hot weather. I’m pleased to say that this camera did not stop working once. It just powered through the entire project, capturing important moments that otherwise would not be possible.”

Being a single DoP on a documentary project of this size and not having the luxury of having a second shooter can be quite challenging. There are so many angles to cover, so being quick between shots, changing angles from low to eye level and quickly adjusting exposure within seconds was very important for Edgard.

Edgard Ferreira concluded, “Quite often I see DPs having to reduce the speed at which they work to match the camera’s capabilities, but with the FS7 II I was able to work at a fast pace as the camera adapted to my workflow.

One of the highlights of this camera is no doubt the variable ND filter. I was constantly faced with situations like going from dark scenarios to full bright sun. Being able to change my exposure using the variable ND filter instead of ND hard stops tweaking my F-Stop and not compromising the depth of field of my shot was truly remarkable. The results I had from five days filming on the salt flats of Lake Gairdner with the FS7 II were unique. Having the flexibility in post from shooting in s-log was really important to the story as my goal was to show the viewer the amazing true colours that this place offers.”

Visit https://pro.sony.com.au or http://pro.sony.co.nz

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TECHNICAL STANDARDS

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Animal Logic Announces Production Company, New Exec Team ANIMAL LOGIC CEO ZAREH NALBANDIAN has announced the launch of a new production company, Truant Pictures, which will develop and produce live-action genre films in Australia.

AIMS Interop at VidTrans17 Shows Viability of SMPTE 2110

OFathe Allianceoffor IP Media Solutions (AIMS) recently TheMEMBERS new company, subsidiary Animal contributed to an interopand session, which was sponsored by Video Logic, will primarily develop produce theServices films in collaboration emerging at VidTrans17 in Los Angeles, which Forum (VSF) with and concluded andshowcased establishedthe Australian viabilitytalent. of theWherever draft SMPTE 2110 standard and AMWA possible will be produced in IS-04the as afilms carefully architected IP initiative.

Australia for a worldwide market.

Leading up to VidTrans17, 19 AIMS members took part in VSF-sponsored

Zareh Nalbandian will produce while Nalbandian GregWoodlands, Schmidt will interoperability testing at the FoxToby technical centerand in The serve as VPs of Development and Production.

Texas. The testing was unprecedented, as it was the first time a

“Animal Logic has had great success developing and producing four quadrant, significant number of participants focused specifically on interoperability major studio filmsST-2110 in Australia, ” saidApproximately Zareh. “I am excited about expanding our of the SMPTE drafts.

21 vendors, 19 of whom focus through Truant Pictures to a new slate of genre projects with an incredibly were AIMS members, were able to successfully transmit and receive from talented pool of filmmakers down under.”

each other without major adjustments to their equipment or the network.

“Truant was born from our passion to cultivate, nurture and promote Australian Following the testing Texas, 12 AIMS members talent internationally, ” saidevent Toby.in “Working in this space allowsexhibited us to engage their draft SMPTE systems in the interoperability session with a diverse range ofST-2110 talent that will represent some unique and often times at VidTrans17. points The results were underrepresented of view. ” on display, and the progress thus far

generated strongly positive consensus between vendors and told attendees “Some of the most important and relevant stories today are being through alike. genre, ” said Greg. “We’re thrilled to be producing thought-provoking genre films out of Australia that have commercial appeal in the global marketplace.”

“We’re energized by the success of this latest round of tests, so we’re

Truant Pictures at Animal Logic’s ready to getwill backbetoheadquartered work with renewed vigor, ” saidSydney-based Michael Cronk,studios

AIMS board chair. “AIMS members are very active in supporting and implementing the draft SMPTE 2110 standard. We are thrilled that testing to date is both showing excellent progress toward interoperability and providing great data for further improvements. be future THE SOLOMON ISLANDS Broadcasting CorporationThere boardwill of directors interoperability events andto tests, whichChief makes this an exciting time for all and staff have bid farewell outgoing Executive Officer, ASHLEY who supportMra common standard, much as it2013, was when SDI first WICKHAM. Wickham,industry who was SIBC’s CEO since has handed appeared.

Interoperability will remain the key, and those who get involved the reins of the organisation to new General Manager, RONALD BUOAKO. will reap the benefits of new workflows and solutions.”

PEOPLE ON THE MOVE

DARREN FARNHAM has been promoted to Manager - Broadcast Technology andto Operations Special Broadcasting Service (SBS) New additions the AIMS at membership roster include Bridge Technologies, Clear-Com, Solid State Logic, JuniperOperations, Networks, Atos, Australia.

He was previously ManagerBroadcast Project Leader, Encompass Digital and sonoVTS. Delivery Sponsor SBS MAMMedia, Project.

BRAD HANRAHAN has been appointed Global Strategic Partnerships Visit http://aimsalliance.org Manager at Sony Electronics. He previously served as Group Manager Business Solutions with Sony Australia.

and will also operate out of its Los Angeles offices alongside sister company Animal Logic Entertainment.

DPP Guide to Connectivity Services for Meanwhile, Production Animal Logic recently announced a

new appointment to the Group Executive Team,

naming Darin Grant Chief Technology Officer. Grant THE DIGITAL PRODUCTION PARTNERSHIP (DPP) recently

Co-Founder and Chief Executive Officer, Zareh published the first everjoins guide to help producers find the right kind of Nalbandian, Officer,Connectivity Sharon Taylor and connectivity for their business.

‘TheChief DPPOperating Survey Report: Chief Business Officer, Robert Norton. The Executive Supply to Production’ helps producers to identify the kind of Team will oversee all three locations – Sydney, connectivity provision appropriate to their needs, with an indication of Vancouver and Los Angeles. costs and type of service.

Grant has over 20 years’ experience in the industry, “Our aprevious research with production companies has revealed that holding variety of senior positions as a technologist including Head of Production Technology at DreamWorks Animation and more recently as the many still rely on inadequate broadband connections, and don’t always Global Digital Domain Method Studios where he droveDirector, innovation and feelCTO theyatunderstand theand alternatives, ” says DPP Managing Mark operational excellence across engineering and operations.

Harrison. “So, we have conducted some research, and sought the advice Forof over 10Member years, Taylor has been central figureato the Animal Logic DPP companies, to apull together user-friendly view Group, of what most therecently marketmanaging offers.” the successful start-up and rapid growth of the Vancouver studio.

The is survey report for considers the needs of different sizes of production Norton responsible the financial operations of the company and all company, and whether connectivity theyHis need is forspans general business matters of Animalthe Logic Entertainment. career overoffice 30 years as an executive in thewith business-side of filmmaking. use, for working video, or out on location.

“Darin’s appointment rounds off an incredibly talented and experienced executive The needs of media production companies are unusual when compared team who will continue to drive Animal Logic’s commitment to creative and to other sectors.”The can expand and contract dramatically, technical innovation, saidworkload Nalbandian.

and this makes for huge variations in the bandwidth required. Video files are also much bigger than the files being transferred by most other industries.

Visit www.animallogic.com

Stephen Rue Newsuppliers CEOfind oftheNBN Co “There is no doubt connectivity media production

community difficult to serve, ” says Harrison. “But, is getting STEPHEN RUE HAS TAKEN UP the appointment ofprovision Chief Executive Officer better all the time and now might be the right time for producers to of NBN Co, the company building and operating Australia’s broadband network. explore the benefits they could get from professional supply.”

Mr Rue succeeds Bill Morrow as Chief Executive who announced his ‘DPP Survey Report: Connectivity Supply to Production’ is the fifth in intention to step down last April.

the DPP’s Survey Report series, and follows on from the ‘2016 Survey

Mr Rue joined NBN Coand in July 2014 as,Chief Officer. He has been Report Connectivity Production’ whichFinancial shared eye-opening DPP responsible for all research into how production companies view their connectivity financial aspects services. of the company, as wellwww.digitalproductionpartnership.co.uk as driving Visit key operational enhancements across the business, and in partnership with industry. initially build the test centre at its office in Bristol, UK. This test centre will

Eurofins, Develop HbbTV LEYLA SOHI hasSamsung taken over the roleto of Cloud Sales Manager, ANZ, with App Test Centre Palo Alto Networks. She was previously Principal Solution Specialist Data and AI, Intelligent Cloud with Microsoft.

EUROFINS DIGITAL TESTING has announced it will develop an HbbTV application test centre in co-operation with Samsung Electronics for testing PHIL Applications VINCENT hason a new position as Post HbbTV HbbTV enabled TVs. Technical Producer at Eureka Productions. His new role will involve looking after technical delivery of

‘HbbTV Applications’ include interactive applications that deliver additional Eureka's slate of shows. functionality such as video-on-demand and are designed to run on TVs BELINDA FITHIE has taken up the role As of Post Production Supervisor atwill compliant with the HbbTV specification. the lead supporter, Samsung Princess has recently been working on The Blake tests.

Mysteries provide thePictures. initial TVShe platforms for conducting the compatibility These – Telemovie (Seven Network and December Media) as Post platforms include an enhanced debug mode which allows theProduction gathering Conform Editor. ofSupervisor/Online additional data toand diagnose issues.

Samsung will also provide technical assistance to the program assist appSenior developers to run their applications GLEN BRITTEN has beentoappointed Business Development onManage Samsung TVs. NSW with Vocus Group Limited. He previously held the – Govt

NEWS + PEOPLE TECHNICAL STANDARDS

role of Strategic – Satellite withPoland SingTeland Optus.

Eurofins, which hasAccount offices Manager in Belgium, Hong Kong, Sweden, will

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Prior to joining NBN take responsibility for testing and validating HbbTV Applications provided by Co, Mr Rue spent app developers (who might be broadcasters or other parties) and will work 17 years in various with these app developers to define the scope of the testing required. This leadership roles, will ensure athat the HbbTV conform to theCorp HbbTV specification including decade as Chiefapplications Financial Officer, at News Australia.

He and function correctly on real, deployed devices from the market leading has also served as a Director on a number of boards including Foxtel, brand.

REA Group and Australian Associated Press, as well as Chairman of the Melbourne Storm Rugby League Club.

The agreement between Samsung and Eurofins allows for the growth of Mr Rue will receive compensation made up of AUD$1.8m in base pay and the Test Centre to include more devices in due course – including those from 50% annual incentive should key milestones be achieved as reflected in other manufacturers – toapproved further extend testing capabilities. the balanced scorecard by thethe Board.

Visitwww.eurofins-digitaltesting.com www.nbnco.com.au Visit and www.hbbtv.org

New Blackmagic Pocket Cinema Camera 4K! Next generation digital film camera with dual native ISO, 4/3 sensor and USB-C recording!

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IBC 2018 PREVIEW IBC Conference Keynotes – Amazon, Viacom, Wonderhood IBC2018 HAS ANNOUNCED three new keynote speakers from renowned media and entertainment powerhouses. The addition of executives from Amazon, Viacom, and Wonderhood Studios adds to the big-name line-up of thought provoking and informative sessions and speakers already announced

by IBC. Taking to the stage on the first day of the conference on Thursday the 13th of September, to deliver the keynote session entitled ‘Give Your Vision a Voice’ is Max Amordeluso, EU Lead Evangelist Amazon Alexa, Amazon. As voice assistants such as Amazon Alexa are transforming the way audiences discover content and control devices, Amordeluso’s presentation will explore a variety of avenues including: how to build a voice strategy with Alexa, why voice experiences are now a crucial part of any multi-platform content business, how to implement an engaging voice strategy for content products and generate new revenues with Alexa Voice Service and Alexa Skills Kit. As Lead Evangelist for Amazon Alexa Skills Kit (ASK) in Europe, Amordeluso’s focus is to introduce Alexa to European developers and demonstrate how they can build natural voice experiences for customers.

On Friday the 14th, Channel 4’s Ex-Chief Executive and Founder of the recently launched Wonderhood Studios, David Abraham, will deliver theNew Platforms Keynote entitled ‘Content Creation and Funding Embraces the Multiplatform World’. The appetite for premium content has never been higher across so many platforms, both online and on TV. With YouTube, Facebook, Snapchat, Netflix, and Amazon all vying for content, it is boom time for talent both on and behind the screen.

Wonderhood Studios is a new player on the scene headed up by the seasoned

media executive who has run both a major broadcaster, pay TV companies, and worked in the creative and commercial side of advertising.

Abraham’s Keynote session will explore the new content consumption landscape and threats and opportunities of the big tech players, as well as advise on the best creative commissioning and funding strategies going forward.

“The past 12 months have shown that delivering premium content is crucial for media enterprise to succeed. As the rapidly changing media landscape continues to evolve, forums such as IBC are vital as we explore new business models and opportunities,” said Abraham.

Tying in with the IBC Conference’s major themes for 2018, which include exploring social, mobile audiences, audience engagement, OTT and branded entertainment, Kelly Day, President of Viacom Digital Studios, will keynote her session dubbed ‘Get Shorty: How Iconic TV Brands Can be Re-cast for Social and Mobile-first Audiences’. As the media and entertainment industry continues to evolve, there’s no disputing younger audiences are watching video in different ways. In this session, Day will share her insights into how the newly launched Viacom Digital Studios is leveraging Viacom’s brands to create unique content for a new generation of digital audiences.

Day is the driving force behind Viacom’s first concerted investment and accelerated push into original premium digital programming to engage fans wherever and whenever they’re consuming content. Taking to the stage on Saturday the 15th, visitors are encouraged to come and hear how one of the biggest global media players is re-thinking content for over 850 million social media fans.

Visit https://show.ibc.org

IBC Best Conference Paper Award Recognises AI IN A YEAR WHEN ARTIFICIAL INTELLIGENCE and machine learning became a hot topic, the IBC Best Conference Paper Award goes to a team from BBC research and development. The award is made to the technical paper which, according to the team of peer reviewers, delivers not just the most significant new research, but does so in an accessible way.

IBC 2018 PREVIEW

The paper, ‘AI in Production: Video Analysis and Machine Learning for Expanded Live Events Coverage’, will be presented at midday on Sunday the 16th as part of a new initiative at IBC2018 – ‘Tech Talks’. ‘Tech Talks’ ensures the highly respected technical papers remain an integral part of the IBC conference.

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In the paper a team of BBC researchers covering a range of skills, under project lead Mike Evans, discuss a project known as ‘Ed’. This prototype system is used to create near-live content with minimal crew. An example might be a set of three unmanned 4K cameras, from which ‘Ed’ would produce a number of properly framed HD pictures, cutting between them as appropriate.

“The point of the work is to allow coverage of more events, to reach places we otherwise could not reach,” Mike Evans said. “With conventional production we cover only about six of the nearly 100 places music is performed at the Glastonbury Festival, for example, or just a tiny fraction of the 50,000 performances in 300 venues at the Edinburgh Fringe.”

“But with ‘Ed’ we can reach many more of these and do so with production techniques which are much less intrusive for the event itself,” he explained.

“This technology will be suitable not just for major production companies like like the the BBC, BBC, but but for for aa whole whole range range of of use use cases. cases.””

Dr Paul Paul Entwistle, Entwistle, Chair Chair of of the the IBC IBC Technical Technical Papers Papers Committee Committee which which Dr provides provides careful careful peer peer review review of of the the many many papers papers proposed proposed for for IBC, IBC, said, said, “The detail in this paper is absolutely fascinating. The team has developed “The detail in this paper is absolutely fascinating. The team has developed an artificial intelligence system that understands the rhythms and cadences an artificial intelligence system that understands the rhythms and cadences that make for professional video production. This was validated by research that make for professional video production. This was validated by research to see how well ‘Ed’ performs compared with a real director, and how the to see how well ‘Ed’the performs with audience perceived viewingcompared experience. ” a real director, and how the audience perceived the viewing experience.”

The authors winning this year’s IBC Best Conference Paper are Craig Wright The winning thisit year’s Best Conference Paper are Craig Wright (whoauthors will be presenting at IBC),IBC Jack Allnut, Rosie Campbell, Michael (who will be presenting it at IBC), Jack Stephen Allnut, Rosie Michael Evans, Ronan Forman, James Gibson, Jolly,Campbell, Lianne Kerlin, Zuzanna Evans, Forman, James Stephen Jolly,allLianne Kerlin, Zuzanna Lechelt,Ronan Graeme Phillipson andGibson, Matthew Shotton, from BBC research Lechelt, Graeme Phillipson Matthew Shotton, fromasBBC and development.

They willand be presented with the all award partresearch of the IBC Awards Ceremony,They on Sunday 16th ofthe September 18:30. and development. will beevening, presented with award asatpart of the IBC Awards Ceremony, on Sunday evening, 16th of September at 18:30. the The ceremony will see the presentation of all IBC’s awards, including International Excellence.

Attendance is free for all IBC visitors.

The ceremonyHonour will seefor the presentation of all IBC’s awards, including the International Honour for Excellence. Attendance is free for all IBC visitors.

Visit https://show.ibc.org Visit https://show.ibc.org

IBC 2018 PREVIEW

IBC 2018 PREVIEW

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IBC 2018 PREVIEW

IABM to Run Future Trends Theatre – IBC Future Zone IABM RECENTLY ANNOUNCED that it is curating the theatre in the IBC Future Zone at the IBC2018 Show. Open to all visitors to the show, the IABM Future Trends Theatre will host a packed programme of presentations that explore up-and-coming technology and business trends and how they will segue from today’s environment. The Future Trends Theatre is designed to give attendees an understanding of how new technologies can enable business plans now, rather than being dismissed as way-out ideas and possible hype waiting to find practical use cases. The Future Trends Theatre also looks beyond the horizon at new technologies that are not yet even on the broadcast and media radar.

IABM is calling for submissions from individuals and companies for consideration for inclusion in the programme. As well as way-out-ahead topics, the programme will cover all the current hot trends, including: • Artificial intelligence.

• The new media content chain.

• The potential of VR. • Leveraging social media.

• Virtualisation.

• Applications for blockchain.

• Targeted advertising.

• Microservices.

• Multi-platform publishing and delivery.

• New business models unlocked by the cloud and other enabling technologies.

The Future Trends Theatre will feature programme tracks to enable attendees to select the most appropriate sessions to align with their current needs, answering questions as to whether these new trends should be in

their 2019 business plans and beyond.

“IBC is excited to be working closely with the IABM on the Future Trends Theatre within the IBC Future Zone. IABM’s extensive business intelligence and content skills will ensure that our attendees are able to learn more on all the hot topics,” said IBC CEO, Mike Crimp.

“Technologies such as AI, AR/VR, machine learning and blockchain, are all impacting our industry. IBC and IABM will help you identify the opportunities and threats through a daily schedule of informative sessions. It’s all on the show floor and it’s all free to attend.”

The Future Trends Theatre is designed to give attendees an understanding of how new technologies can enable business plans now, rather than being dismissed as way-out ideas and possible hype waiting to find practical use cases.

“Drawing on the breadth of knowledge of our membership, our in-house technology experts, and our close relationship with the demand side of the industry and other trade bodies, IABM is perfectly placed to deliver a business-enhancing experience for visitors to the IABM Future Trends Theatre at IBC – preparing them for what’s coming in both technology and business models,” said Peter White, IABM CEO. “We already have considerable experience in this field, having run the theatres within the IP Showcases at NAB, IBC, and other events for the last couple of years, helping to prepare the industry for what has now become very much the present. Moving on to the Future Trends Theatre is a natural next step for us as we continue in our mission to help drive the future success of the broadcast and media industry.”

Visit www.theiabm.org

IP Showcase Returns to IBC MAJOR TECHNICAL AND STANDARDS organisations within the broadcast industry: Audio Engineering Society (AES), Alliance for IP Media Solutions (AIMS), Advanced Media Workflow Association (AMWA), European Broadcasting Union (EBU), Society of Motion Picture and Television Engineers (SMPTE), and Video Services Forum (VSF) – recently announced they will again host the IP Showcase at the annual IBC show in Amsterdam. At the IP Showcase during the conference, industry-leading vendors and broadcasters will provide instructional and case study presentations and an array of IPbased product demonstrations highlighting the benefits of, and momentum behind, the broadcast industry’s move to standards-based IP infrastructure for real-time professional media applications.

The event has been a feature at major industry trade shows since IBC2016 and has been instrumental in helping the industry to galvanise behind the standards-based approach to IP. This is the first IBC show since the publication of documents within the SMPTE ST 2110 Professional Media Over Managed IP Networks suite of standards, the foundational standards for essence-based transmission of video, audio, and metadata.

“The broadcast industry reached a crossroads when it faced the choice of pursuing a standards-based approach to IP or pursuing multiple alternatives and directions,” said Brad Gilmer, Executive Director of the IP Showcase.

“Almost unanimously, the industry chose the standards-based approach, uniting behind SMPTE ST 2110/ST 2059, AES67, and AMWA IS-04/IS-05. As we move from watching the progress of the early adopters into seeing how the industry as a whole will move into the IP transition, the IP Showcase is more important than ever.”

IBC 2018 PREVIEW

The IP Showcase will feature equipment displays and product demonstrations

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that emphasise everything industry vendors have achieved in support of IP standards and specifications. The displays will showcase the benefits IP can bring to an operation and will comprise equipment from an estimated 50 vendors – one of the most massive assemblies of interoperable IP products ever.

Displays will highlight the benefits of IP signal transport and focus on SMPTE ST 211010/20/21/30/31/40, the SMPTE ST 2059 Broadcast Profile for IEEE 1588 Precision Time Protocol (PTP), AES67, and AMWA IS-04/ IS-05.

The IP Showcase will feature equipment displays and product demonstrations that emphasise everything industry vendors have achieved in support of IP standards and specifications.

Meanwhile, the IP Showcase Theatre will be the destination for education, a vital element as the industry progresses through the phases of IP adoption.

Vendors, broadcasters, service providers and integrators alike will highlight their solutions to technical challenges related to the transition from SDI to IP. Choosing from a full slate of presentations on IP technology and installations, professionals ranging from broadcast/IT engineers and CEOs to TV producers can learn how to unlock the full potential of using IP for real-time professional media.

The IP Showcase will take place in rooms E106 and E107 at RAI Amsterdam during IBC2018.

Visit www.ipshowcase.org

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IBC 2018 PREVIEW

IBC Keynote Explores Empowering Content Creators Through Blockchain DELIVERING THIS YEAR’S IBC CONVENTION KEYNOTE SESSION is Kim Jackson, film producer, Co-Founder and President of Entertainment of SingularDTV, a blockchain entertainment studio, whose presentation, ‘Blockchain: Empowering Content Creators’, will explore the impact blockchain technology is having on the media and entertainment industry by bringing transparency to the way we create, manage and/or distribute entertainment content in the future.

Jackson will address how blockchain can be used to manage rights/revenue automatically using smart contracts, and explore the tools and systems required to support creatives in this emerging, dynamic and empowering ecosystem.

Jackson will be joined on stage by the Amsterdam-based director/producer of the sci-fi comedy Space Beers to discuss how he launched a campaign using Tokit, one of SingularDTV’s blockchain apps.

Jackson’s career has seen her work with Universal Pictures for Steven Spielberg on Munich, and on Spike Lee’s Inside Man before she founded Streetwise Pictures. Her critically acclaimed production, Blue Caprice, premiered at Sundance and was the opening night film at New Directors/New Films at MoMA. She received a Spirit Award nomination for producing the film. Jackson co-founded SingularDTV in 2016. She produced Alex Winter’s feature-length documentary Trust Machine: The Story of Blockchain, which has a US theatrical release this fall.

She just finished shooting The Happy Worker by Duwayne Dunham, executiveproduced by David Lynch, starring Josh Whitehouse, Thomas Haden Church, Colm Meaney and Meagan Holder.

“In the two years since we founded SingularDTV, I’ve seen blockchain skyrocket into the public consciousness,” said Kim Jackson. “We are one of the first companies to bring transparency to the entertainment industry and I am very honoured that IBC asked me to share our vision with its impressive roster of high-profile global participants. Having a head start on most other blockchain companies means we are building on our experiences of actually putting that vision into practice.”

innovative, new and challenging ideas from top industry leaders across the media, entertainment and technology industry. We’ve made it our mission to seek out and showcase rare talent, which is why we’re thrilled Kim Jackson – a trailblazer in the use of blockchain in the entertainment industry, is our highly coveted Convention Keynote.

We look forward to hearing from Kim and Maurice about the impact blockchain and cryptocurrencies on the media and entertainment industry and the far-reaching repercussions this has on how producers create and distribute content.”

Open to all IBC2018 attendees, this free-toattend session will be held on the morning of Friday 14, September.

Visit https://show.ibc. org and www. singularDTV. com

Jaisica Lapsiwala, IBC Head of Content, said, “IBC2018 is the event to hear

Sesame Workshop Co-Founder to Receive IBC International Honour for Excellence THE IBC2018 INTERNATIONAL HONOUR FOR EXCELLENCE, IBC’s highest award, this year goes to Joan Ganz Cooney. Mrs. Cooney cofounded Children’s Television Workshop, now Sesame Workshop, in 1968.

The show Sesame Street first appeared on TV in the United States in November 1969.

Mrs. Cooney had a revelation when she recognised that children all over America were singing the words from beer commercials. She realised that television was reaching children, and wondered if it was possible to use that powerful media platform to teach. The result was Sesame Street.

Today, Sesame Street is seen in 150 countries worldwide, and localised versions have been made in more than 20 countries, including Mexico (46 years), Germany (45 years), and the Netherlands (42 years).

The award will be presented as part of the IBC Awards Ceremony on Sunday 16 September at 18:30. Accepting the award will be President of Media & Education and COO of Sesame Workshop, Steve Youngwood. He will be accompanied on stage by a very special guest from Sesame Street.

Devoncroft Executive Summit SINCE ITS INCEPTION IN 2012, the Devoncroft Executive Summit Series has grown to become recognised as one of the most important events for media technology thought leaders.

The Summit focuses on the commercial issues affecting the business models of all participants in the media technology ecosystem. It is one event where senior decision makers come together to discuss, debate, and explain their strategic plan success in an environment where industry economics and business drivers are changing in real-time.

The Summit is scheduled for Thursday September 13, 2018, from 12PM to 6PM at the Okura Hotel Amsterdam. It will feature a line-up of thoughtleading speakers and panellists from across the media technology sector.

This event is intended for senior executives from media technology buyers, end-users, and technology suppliers. There will be ample time for networking during the event, and during the cocktail hour that starts at 5pm.

Visit https://devoncroft.com/AMS18-devoncroft-summit/

The Future of DVB?

This special conference session (Friday 14 September, 11:30-12:45, room G102/103) is open to all IBC attendees, and will consider DVB’s legacy and discuss how it can best help the media industry to address the challenges of OTT and IP delivery. Following a keynote from Wilfried Urner, CEO of MX1 (media services subsidiary of SES), a high-level panel, featuring a representative from each of DVB’s four member constituencies, will tease out the future challenges

for the industry and the role that DVB can play.

The keynote for the session, ‘DVB and SES Astra – A Common Success Story’ will be delivered by Wilfried Urner, CEO of MX1. Panellists will include: Wolfgang Elsässer, Head of Business Unit TV, Deutsche Telekom; Markus Zumkeller, Director of Technology and Engineering, Sony Europe; and Simon Terrington, Director of Content Policy, Ofcom.

The session will be chaired by Helmut Stein, out-going chair of the DVB Promotion and Communications Module. Peter MacAvock, Chair of the DVB Project, will moderate the panel discussion.

The session will be followed by refreshments, served immediately outside the conference, courtesy of DVB. Visit https://www.dvb.org

IBC 2018 PREVIEW

THE DVB GROUP CREATED THE TECHNICAL SPECIFICATIONS that ushered in the age of digital television. Those who contributed to the work of the DVB Project can be rightly proud of all that has been achieved in the 25 years since its foundation. While it is arguably the most successful organisation of its kind, DVB operates now in a much-changed landscape for technology standardisation, with a multitude of other bodies creating specifications for media delivery. Does DVB still have a contribution to make? And, if so, what should it be?

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ACQUISITION www.content-technology.com/acquisition

ACQUISITION OTarget Shoots First ALEXA LF TVC in Australia

THE FIRST AUSTRALIAN TVC SHOT ON AN ALEXA LF with new Signature Prime lenses has been shot in the rainforests of Byron Shire by DoP Stefan Duscio (Upgrade, Jungle) and directed by Jessie Oldfield and Adam Murfet for Target Australia.

Explaining his choice of camera and lenses Duscio said, “I’d seen test images online of the ALEXA LF matched with the ARRI Signature Primes and believed it would be a perfect fit for fashion and beauty work. I think the introduction of larger sensor cameras like the ALEXA LF and ALEXA 65 go some way to achieving that beautiful three-dimensional rendering of medium format stills cameras that I also love to shoot on.”

Duscio’s technology partners on the Target TVC shoot were leading Australian rental house, Cinoptix.

“Thankfully Cinoptix were fortunate and progressive enough to have one of the first ALEXA LF and Signature Prime packages in the world. Co-directors Adam Murfet and Jessie Oldfield regularly shoot on the ALEXA and were as Steadicam Operator Justin Besser on the Target TVC shoot with ARRI ALEXA LF. excited as me to try out the latest addition to the ARRI family. playful and clever, transporting our talent from location to location. The ALEXA The naturalism of the ALEXA sensor combined with the smoothness of the LF and Signature Primes handled all of this flawlessly.”

Signature Primes were an easy sell and we were all thrilled with the results,” said Duscio Duscio and his crew scouted farms, creeks, beaches and forests throughout New South Wales and Queensland before settling on the Byron Shire for the It wasn’t just Duscio and the directors who welcomed the familiar feel of working an ARRI ALEXA, albeit one with a larger sensor, the wider crew also TVC, a location that solved an interesting final conundrum for the shoot where took to the new camera with great ease. the ALEXA LF and Signature Primes also played their part.

He continued, “The size and handling fit into our camera department He concluded, “Shooting a spring and summer campaign in winter is a regular seamlessly as it felt very similar to working with an ALEXA SXT body. I was also problem in advertising, so we opted to shoot in a warmer, greener part of lucky enough to work with a regular collaborator and extremely fit Steadicam Australia that could pass for warmer seasons. Adam, Jesse and their producer operator, Justin Besser, as he guided the camera relentlessly through uneven Kate Menzies are wonderful collaborators and they included me in early scouts hillsides, forests and creek sides.” to help guide the visual story in the commercials. This combined with the Duscio, the directors and many crew members commented on not just how ALEXA LF and Signature Primes elevated the visuals of this commercial to seamlessly the ALEXA LF fitted into their regular production methods, but also another level. This amazing camera gave us sublime natural colour and these how the Signature Primes provided the very high-quality icing on the cake. smooth soft lenses were just perfect for a TVC featuring fashion work of this He said, “We adored the 47mm Signature Prime as it rendered the world and nature.” our cast very realistically and beautifully for portraiture work. It also afforded To view the Target TVC shot by Stefan Duscio on the ALEXA LF with Signature us the depth of field of a longer lens, though with a much wider field of view Primes, visit https://vimeo.com/287955992 than you’d come to expect on a length such as a 47mm. We tried to move the Visit www.arri.com camera dynamically whenever possible. We also wanted our transitions to be

Pond5 Announces Premium RED Footage Collection GLOBAL CONTENT MARKETPLACE POND5 has announced a plan to create the world’s most compelling collection of royalty-free licensable video content shot exclusively on RED Digital Cinema professional cameras.

ACQUISITION

Filmmakers currently working with RED cameras or who fully own footage shot on RED are encouraged to apply to become a part of the program now at http://pond5.com/red-cameras. Those selected for the launch of the collection will have their work promoted to a global audience and will also become eligible to receive free footage preparation services from the Pond5 team.

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“The quality of the footage captured on RED cameras is really incredible, and it deserves to be spotlighted in its own channel,” said Pond5 CEO Jason Teichman. “Filmmakers using these cameras are some of the best in the world, and they’re making a significant investment in their craft, whether they’re committing to the purchase of a RED camera or just negotiating access to one for a shoot. This collection offers them a way to get exponentially more eyes on that work, while getting the opportunity to see an additional return on that investment.”

The Pond5 RED initiative follows the recent launch of Pond5’s DJI collection, continuing the brand’s recognition of the gear and technology

manufacturers that enable cinematographers to create their most captivating work and fully realise their creative visions. It also offers the opportunity to repurpose the footage that didn’t make the final cut on a particular project, giving it new life as creative content for other high-profile productions.

“Creating a special collection exclusively for RED footage on Pond5 is a perfect extension of our own ‘Shot on RED’ campaign, which includes a huge cross-section of major theatrical and broadcast releases,” said RED President Jarred Land. “We’re excited to collaborate with the Pond5 team to help promote artists working with our cameras and provide them with a new way to earn revenue from their work.”

All applications received via the form now online at http://pond5.com/redcameras will be considered for the launch of the new RED collection on Pond5, currently planned for later in 2018. Artists submitting will be asked to provide a link to their work along with details on which RED camera they shoot with. Both pre-existing work and new work will be considered, as long as the artist fully owns the copyright. Submissions will be judged on quality, creativity and category demand in the Pond5 marketplace.

Visit www.red.com .and www.pond5.com

The No.1 in Networking

ACQUISITION

IP-Enhanced Camera-Back Fibre Transport MULTIDYNE FIBER OPTIC SOLUTIONS’ SilverBack V is a 12G- and 4K-capable camera-back system incorporating an IP output. The SilverBack V enables the convergence of fibre and IP-based production workflows while building on the flexibility of the SilverBack family. MultiDyne will demonstrate the SilverBack V at IBC2018 at stand 11.D40.

In addition to its future-friendly IP capabilities, SilverBack V also brings new features and benefits to fibre users in markets ranging from electronic newsgathering (ENG) and live sports coverage to motion picture productions and other remote contribution applications. SilverBack V supports both singlelink 12G and quad-link 3G SDI connectivity, maximising 4K Ultra HD signal interface flexibility.

The SilverBack V base station supports two camera heads simultaneously, enabling exceptional cost-effectiveness and space savings. A built-in multiviewer provides live monitoring of both camera feeds, with audio monitoring available as an option.

The space-efficiency of the dual-camera base station is paralleled by the reduced width of the SilverBack V camera-back unit, which makes it the most compact unit in the SilverBack family to date. The significantly narrower design enables a much lighter camera-back load and eases operator mobility while still ensuring proper overall weight balance between the camera-

back, body and lens.

MultiDyne is also working closely with camera vendors including Sony, Panasonic, Canon, JVC and more to develop specific SilverBack V designs tailored to the connection points, colour, texture and ergonomics of each camera.

In addition to supporting 12Gbp/s and 3Gbp/s connections, SilverBack V also combines 1.5Gb/s video, audio, intercom, camera control, tally, data and power onto a single tactical cable, SMPTE hybrid fibre cable, and/or IP network connection. Integrated expansion slots support a variety of interchangeable I/O connectivity modules for frictionless interoperability with other MultiDyne fiber transport systems and third-party products.

Visit www.multidyne.com

OConnor Camera Assistant Bag OCONNOR HAS INTRODUCED its all-new Camera Assistant bag, which will making its official European debut at IBC2018 on The Vitec Group’s Stand, 12.E65. Featuring a water- and dust-resistant liner with stuff pocket, the bag is designed without any internal seams and features a hinged lid that can be left open on set without putting sensitive equipment at risk.

The Camera Assistant bag is constructed of highquality, water-resistant materials and features a tough, wipeable outer fabric and a double-skin lining.

For heavier loads D-ring fixing points on the front and back enable users to carry the bag Sherpa-style using the leather strap provided, which spreads the weight of the bag

over the carrier’s back rather than concentrating it on the shoulders.

The Camera Assistant bag fits into a standard Pelicase 1620 travel case.

On the inside, the Camera Assistant bag includes seven heavyduty dividers with double-sided fastening strips, designed to secure all OConnor heads and accessories. Additional fixing points hold accessories such as pan bars and camera plates, and durable clear-mesh pockets offer storage for additional gear. The Camera Assistant bag also includes an extra pouch that can be carried on the user’s belt or fixed externally to the main bag.

Visit www.ocon.com

UHD and 4K Cameras from Marshall Electronics MARSHALL ELECTRONICS IS ADDING to its miniature and compact camera offerings with its new ultra-high-definition (UHD) compact camera, the Marshall CV380-CS, which will premiere at IBC2018 (booth 12.D20). The CV380-CS uses an 8.5-Megapixel, 1/2.5-inch sensor, to capture detailed video images, and outputs in 6G/3G/HD-SDI and HDMI 1.4.

The CV380-CS is designed for any point-of-view (POV) camera application where a small, miniature camera can fit into unique locations for compelling angles and viewpoints. The CV380-CS has a varifocal or fixed CS/C lens mount with DC Auto-Iris capability and can accept a range of interchangeable lenses for enhanced customisation.

The Marshall CV420-CS has outputs of 12G/6G/3G/ HD-SDI and HDMI 2.0, and it has a Varifocal or Fixed CS/C lens mount capability with DC Auto-Iris plug-in for custom lens adaptions.

• Progressive HD (1080p and 720p) at 50, 59.94, 25, 29.97, and 24 fps.

• Progressive HD (1080p and 720p) at 50, 59.94, 25, 29.97, and 24 fps.

• Interlaced HD (1080i) at 50, 59.94, and 60 fps.

Remote control for the CV420-CS is operated by RS485 (Visca) or OSD menu joystick, and a wide range of picture adjustment settings are available such as Paint (Red/Blue), White Balance, Gain, Pedestal (blacks), Gamma, Shutter and more. The CV420-CS can capture detailed shots while maintaining a discrete presence and can be used as a fixed ‘e-PTZ’ camera, where select windows of the image can be zoomed and panned within the frame.

The CV380-CS features professional picture settings including white balance, gamma, gain, pedestal and digital zoom, and can be remotely and adjusted using RS485 (Visca). The CV380-CS is targeted for or matched contact the Sydney office on +61 2 8467 1600 use in broadcast, live sports, reality television, as well as Pro AV applications including education, corporate communications, presentations and more.

Also new, the Marshall CV420-CS, built around a 12.4-Megapixel, 1/1.7inch sensor, delivers crisp, clear 4096x2160p video with vibrant colours and fast frame rates.

Copyright © 2018 Grass Valley Canada. All rights reserved. Specifications subject to change without notice.

Visit www.marshall-usa.com

ACQUISITION

Reliable, Advanced NETWORKING We make the complex simple, with the Marshall Electronics’ CV380-CS UHD compact camera.

The CV380-CS is among the first additions to Marshall’s latest generation industry’s most deployed solution set of compact and miniature cameras utilising a fully redesigned body style The CV420-CS offers the following and formon factor.open Special attention has been given to enhance durability based standards and COTS ITin resolution modes and frame rate settings (industry standard for U.S. the field with the addition of new structural ‘wings’, designed to give greater broadcast, PAL, NTSC and cinematic 24 fps): switches.

Easily transition protection to rear connectors during use. to standards-based, • True 4K (4096x2160p) at 50, 59.94, 60, 25, 29.97, 30, and 24 fps.

The CV380-CS offers three resolution modes with the following frame rate end-to-end IP for OB trucks, on-site studios • UHD (3840x2160p) at 50, 59.94, 60, 25, 29.97, 30, and 24 fps. settings: or• remote productions at24afps.pace that suits you.• Interlaced HD (1920x1080i) at 50, 59.94, and 60 fps.

UHD (3840x2160p) at 25, 29.97, and

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ACQUISITION

Ikegami Sets HDR at Centre Stage IKEGAMI WILL INTRODUCE ITS LATEST HDR-compatible range of camera systems and an expanded range of monitors at IBC 2018 in Amsterdam.

Exhibiting on stand 12.A31, Ikegami will be represented by senior managers from the company’s global network of sales and support offices.

“The 2018 summer of sport encouraged many production companies to invest in High Dynamic Range which enables them to capture images with a much wider dynamic range than previously possible,” commented Michael Lätzsch, Broadcast and Professional Video Division Manager at Ikegami Electronics (Europe) GmbH. Ikegami HDK-99 Full Digital 3-CMOS Full-HD 1080p HDR Camera The HDK-99 succeeds Ikegami’s HDK-95C in the Unicam HD series. A docking-style camera for portable and studio applications, it employs three 2.6 megapixel CMOS image sensors delivering HDR at Full-HD 1920 x 1080 resolution with progressive-scan.

Processed 4K can be sourced from the camera control unit.

HLG mode maintains the high contrast required for HDR and conforms to the ITU-R BT.2100 international standard. Noise is less than -62dB and sensitivity is a high F12. The sensors natively support 1080i /59.94, 1080i/50, 720p/59.94, 720p/50, 1080p/29.97, 1080p/25 and 1080p/23.98.

Also supported are 1080p/59.94, 1080p/50, 1080i/119.88, and 1080i/100 3G HDTV formats. Integral to the HDK-99 is the Ikegami AXII processor which allows fast and precise colour matching for live multi-camera applications. A Lens Aberration Correction function minimises resolution loss and coloured edging caused by lens deviation.

Quick EZ Focus Assist provides distinct enhancement to the viewfinder signal, enabling the camera operator to make critical focus adjustments. Area size, area colour, edge colour and display time on the viewfinder are all adjustable from the camera menu.

Ikegami HDK-73 3-CMOS 1080i HDR Camera The Ikegami HDK-73 is a dockable 1080i high-definition camera designed for SDR and HDR broadcast production. It is available as complete system including CCU, connecting fibre, viewfinder and remote control. Image capture is to ⅔-inch 2.6 megapixel CMOS sensors, each capable of capturing Full-HD 1920 x 1080 resolution images with a dynamic range of 600% in normal mode and 1200% in HLG mode, high sensitivity (F13 at 50Hz) and high signalto-noise ratio. The sensors natively support 1080i/59.94 and 1080i/50, as well as 720p/59.94 and 720p/50 scan formats.

The HDK-73 includes full digital signal processing, advanced digital detail correction with independent horizontal and vertical correction of red, green and blue signals, and optional anti-moiré filtering. Hybrid log gamma processing is operator-selectable for HDR picture origination, enabling high-contrast scenes to be televised with full picture detail across the entire brightness range from highlights, mid-range to shaded areas.

ACQUISITION

The HDK-73’s dockable structure allows studio configuration with fibre base stations as well as self-contained operation with a camera adapter for wireless or onsite recording. A fibre adapter can be attached directly to the camera head without need for external cables. External devices such as wireless transmission or a solid-state recorder can be attached for standalone operation.

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Ikegami HQLM Series and HEM Series Monitors The HQLM-3125X HDR broadcast master monitor employs a 4,096 x 2,160 pixel 10-bit resolution LED-backlit double-LCD panel with a 1,000,000:1 contrast ratio and a panel brightness of 1,000 candela per square metre.

Compliant with BT.2020 wide colour gamut, the HQLM-3125X incorporates single-channel 12G-SDI x 2, 3G-SDI x 5, 3G/ HD-SDI and HDMI inputs as standard features. Squaredivision and two-sample interleave sources can be connected to the monitor via 3G-SDI x 4. Viewing angle for critical image evaluation is a wide 178° (horizontal/ vertical). In addition to its picture monitoring role, the HQLM-3125X can operate as a waveform monitor and vectorscope. It can also display vertical-interval timecode, eight channel SDI-embedded audio level and closed-caption subtitles.

The HQLM-3120W is a 31-inch 4K/HD production monitor equipped with two 12G-SDI input channels as standard for efficient configuration with 4K equipment such as cameras and switchers. 3G-SDI, HD-SDI and HDMI inputs are also provided as standard. It employs a 4096 x 2160 pixel UHD LCD panel using LED backlight and can reproduce 4K and 2K images.

Model HQLM-1720WR is a compact UHD HDR monitor equipped with two 12G-SDI input channels as standard for efficient configuration with 4K equipment such as cameras and switchers. 3G-SDI, HD-SDI and HDMI inputs are also provided as standard. It employs a 16.5-inch 3840 x 2160 pixel UHD LCD panel using LED backlight and can reproduce 4K and 2K images.

The HLM-2460W is a 24-inch Full-HD monitor with a 1920 x 1200 pixel 400 candela per square metre 10-bit resolution LCD panel. It offers very narrow front-to-back dimensions, light weight and low power consumption.

Multi-format SDI. 3G-SDI, HDMI, ethernet and VBS inputs are provided as standard. The HLM-2460W achieves real pixel allocation without resizing.

Its gradation characteristics also make it ideal for a wide range of broadcast applications, including use in monitor walls. A smaller version with similar features, the HLM-1760WR has a 17-inch display (with a Full-HD 1920 x 1080 pixel 450 candela per square metre 10-bit resolution LCD panel).

The Ikegami HLM-960WR is a compact multi-format LCD monitor with a nine-inch Full HD 1920 x 1080 pixel 400 candela per square metre 8-bit resolution LCD panel. This models offer very narrow front-to-back dimensions, light weight and low power consumption. The HLM-960WR is economical in power consumption (AC or DC). An optional battery bracket is available. The monitor has a USB connector on the front panel, allowing setup file storage and recall, as well as control-menu navigation via a plugin pointing device.

Visit www.ikegami.de

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ACQUISITION

Gearhouse Focuses on Fujinon 4K Lenses Quelch continued, “The current set of FUJINON lenses were purchased to increase our current 4K stock offering to customers and as a result of the growing global demand we’re seeing for 4K and UHD content acquisition.

The UA14s and UA24s are lighter in weight than many of the other 4K UHD lenses on the market and better suit the handheld and RF camera set ups we offer. The UA46 lenses will also ensure that Gearhouse continues to achieve its goal of always being able to supply our clients with the latest and best products on the market.”

He added, “These lenses will be used in production of live or near-live content along with pre-recorded studio shows. Their delivery comes in time for some of this year’s largest live events which Gearhouse Broadcast is facilitating. Gearhouse constantly strives to invest in the best equipment and as such have chosen to purchase these FUJINON 4K lenses to provide our global customer base with highest image quality and productions.”

GEARHOUSE BROADCAST HAS CONTINUED ITS COMMITMENT to enhancing its lens inventory with another purchase of FUJINON 4K lenses.

These include a significant number of new UA107x8.4BESM lenses, the latest UA14x4.5BERD lenses, multiple UA24x7.8BERD lenses – the longest and lightest 4K lens for its size in its class – and several of the newly released UA46x9.5BERD lens with its 46x zoom ratio and OS-TECH image stabiliser.

As Gearhouse Broadcast’s Ben Quelch explained, “The FUJINON UA14s and UA24s went through extensive testing to ensure they reach the highest standards expected by our customers. This was carried out both in our workshop and in the field. The UA46s will go through the same rigorous testing process.”

FUJINON national sales manager for optical devices Simon Becker said, “We are delighted that Gearhouse are continuing their commitment to and use of FUJINON lenses. They truly are a global leader in their field and the fact that our lenses play such an important part within their overall offering is very positive for both companies.”

This isn’t Gearhouse’s first major purchase of FUJINON 4K lenses. The company has been investing in these lenses for some time.

Not only are the new FUJINON lenses are a fit with Gearhouse’s production standards and values, but their specs are also something Quelch sees as worth highlighting as a major advantage.

He said, “The UA24x7.8BERD is world’s smallest and lightest broadcast lens supporting 4K and the UA46x9.5BERD with its newly designed OS-TECH image stabiliser provides the most advanced image stabilisation for a lens in this class. It also offers the longest zoom of any lens in this category and is a big advancement on the previous 42x HD version, bringing many benefits not only in image quality but zoom range to our customers who are looking to use this format.”

With Gearhouse now using a majority of FUJINON lenses worldwide Ben Quelch sees the technology partnership not only moving forward but growing as he concluded, “FUJINON and Gearhouse have built a great relationship, which enables us to bring the best selection of lenses to our clients in the growing 4K UHD market we are seeing globally. FUJINON’s commitment to producing only the very highest quality products is something Gearhouse customers will enjoy for some considerable time to come.”

Visit www.fujifilm.com.au and www.gearhousebroadcast.com

+612 9906 1488 for a demonstration

techtel.tv for technology partners & projects

@TechtelAuNZ for latest news

ACQUISITION

Integrated digital media & broadcast systems

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www.content-technology.com/sportscasting

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PA People Open Asian Games with a Bang!

THE 18TH ASIAN GAMES JAKARTA PALEMBANG 2018 opened on Saturday August 18 with a spectacular Ceremony as Indonesia welcomed Asia’s top athletes to Jakarta and Palembang.

At the capital’s Gelora Bung Karno Stadium, 40,000 spectators were entertained by an opening ceremony that featured cultural performances and pyrotechnics on what is understood to be the largest scenic built for an opening ceremony; a 120m-long stage in the shape of a towering mountain with a waterfall and a simulated volcanic eruption.

Featuring in its second Asian Games, Sydney’s The P. A. People supplied the Communications Systems under the watchful eye of U.S.-based production company, FiveCurrents.

The opening sequence of the Ceremony showed a video of President Joko 'Jokowi' Widodo on his way to the opening ceremony. The President was seen to be stuck in traffic, but he got out of the car and took a motorcycle to get through the traffic.

On the way to the stadium, the President weaved the motorbike through Jakarta’s small roads. As he reached the stadium he waved to the audience and then moments later appeared in the VIP box.

“We have been in Jakarta since early June, and the opening sequence of the show depicts a scene which is commonplace,” said PAP Head of Department and Project Manager Campbell Waller. “The traffic is something that does take some getting used to,” Jakarta also has a notoriously busy RF environment, with the stadium being in the heart of 9 million

people. RF was very busy and challenging. With The P.A. People’s wealth of experience and RF filter design the company worked with FiveCurrents and the local regulator to provide a high quality solution with very limited frequency separation. The system design included 24 half duplex base radios and 24 simplex base radios interfaced to the matrix intercom frame, along with 600 portables with a wide range of accessories The P.A. People provided an extensive ClearCom IP-based wired communications system for the Ceremony. The system featured a pair of Eclipse HX Omega matrix frames with both native Dante and MADI connectivity, and around eighty V series lever and rotary Key Stations. The matrix system was supplemented with ClearCom Helixnet digital partyline beltpacs for follow spots and mechanical operators in the mountain, and an integrated ClearCom FreeSpeak II system to support the stage management team.

The full duplex FreeSpeak system provides full stadium coverage, including all vomitories and selected back house areas, as well as coverage for an additional 15 packs in the rehearsal venue 500 meters from the stadium For this project (and for the Venue Intercom Systems at Pyeongchang earlier in this year), the team have been trialling the new V1.5 firmware release for the FreeSpeak II system.

“The coverage in this environment is amazing,” commented Campbell. “It is a great improvement”.

Another aspect of the system was the Cast In Ear Monitor system. Given the RF environment a decision

was taken early to use an out of (commercial) FM band solution. The P.A. People supplied 5 channels of transmitter 6000 receivers, and 12,000 earpieces for the cast.

The P.A. People supplied a significant Event IT solution to assist the FiveCurrents team with the delivery of the event. The team supplied and deployed: • 35 x WiFi Access Points distributed across the site including BOH areas such as Props and Catering • 40 x network switches and a high availability network core • 5km of fibre-optic cable • 17 x UPS systems for backup and protection • 1 x 60 GHz link to rehearsal venue The P.A. People’s solution in Jakarta was rounded out with a 10-camera EyeCue CCTV system. Ten Bosch and HikVision full HD cameras, six additional inputs from broadcast, the rehearsal venue and a weather station, as well as Lenovo 21-inch all-in-one monitors and an Exacq server package provided technical operators and stage management with the vision they needed to provide safe and accurate decisions.

“The team from The P.A. People have again acquitted themselves well on a show that could not support all the bells and whistles. The team and system has been in integral part in assisting FiveCurrents deliver another spectacular Ceremony”, noted Nick Eltis, the show’s Technical Producer. “We look forward to working with them on another project soon.”

Visit www.papeople.com.au

…and Deliver for City2Surf

SPORTSCASTING

MOVING 80,000 RUNNERS AND SPECTATORS in and out of Sydney’s CBD and the iconic Bondi Beach tourist location, has its logistical issues and again this year, The Sun-Herald City2Surf presented by Westpac, the world’s largest fun-run, was an event with some interesting challenges.

The P.A. People was a small, but integral part of that substantial exercise.

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As in previous years, the company’s role was a mix of crowd control announcement systems, spectator entertainment PA’s and a site-wide emergency radio paging system. The P.A. People provided PA for all start positions as well as a VIP viewing area and worked closely with event producers and suppliers, delivering a production

package to support the event for the competitors, sponsors, broadcasters and other stakeholders.

This included provision of five integrated PA systems for the start-line portion of the event as well as interfacing between broadcast elements and other contractors to deliver audio and some vision/image elements to all parts of the start area in Hyde Park and Macquarie St. The Finish line included nine PA systems spread over the event ‘village’ and finish line area at Bondi Beach.

The P.A. People’s PAs delivered race commentary, announcements and entertainment throughout the site.

communications systems; one each at the event start and finish lines and a comms link between ‘show callers’ at both locations to enable constant contact.

The company provided two bespoke

Visit www.papeople.com.au

© Photo by Salty Dingo 2018

SPORTSCASTING

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SPORTSCASTING

Victoria Racing Club and Network Ten Sign ‘Landmark Rights Deal’ THE VICTORIA RACING CLUB (VRC) AND NETWORK TEN have announced what they are calling “a landmark media rights partnership deal” which they say will revolutionise the way the Melbourne Cup Carnival will be broadcast to audiences.

The AUD$100 million, five-year agreement effective from 2019 to 2023 is the biggest in the history of the VRC, and one of the biggest in racing globally.

Network Ten previously held the television rights to the Melbourne Cup Carnival from 1978 until 2001.

VRC Chief Executive Officer Neil Wilson said the Club is delighted Cup Week will return to Network Ten. “During the comprehensive tender process Network Ten proved themselves to

It entitles Network Ten to broadcast live the four days of the Melbourne Cup Carnival – AAMI Victoria Derby Day, Lexus Melbourne Cup Day, Kennedy Oaks Day, and Seppelt Wines Stakes Day.

be the best partner to take us into the future,” said Mr Wilson. “This partnership

The agreement comprises a suite of Melbourne Cup Carnival media rights, including free-to-air TV, internet, social media, mobile, OTT (Over-The-Top) and HbbTV (Hybrid Broadcast Broadband TV) within Australia. Network Ten has also agreed terms with Racing.com to provide live coverage of all races across the Melbourne Cup Carnival on its channels and the Racing.com app. The live vision streaming rights for Wagering Service Providers are excluded from the deal with Network Ten.

engage new and growing audiences to our Carnival and to the sport of racing.”

Nine Announces Partnership Deal with The NBL AUSTRALIA’S NINE ENTERTAINMENT CO has announced it will become an official Australian broadcast partner for the National Basketball League, with the Hungry Jack’s NBL 2018/19 season to tip off on Thursday, October 11.

The new three year sport rights deal will be a revenue sharing arrangement with an agreement to air two games per round on Nine multichannel 9GO!.

The deal also covers digital rights and will include a live simulcast of the games aired on 9GO!, along with catch-up rights to all NBL games throughout the season following their conclusion, regardless of the network the game has aired on.

Under the deal, Nine and the NBL will work together to commercialise the advertising inventory and broadcast monetisation of all matches across the regular season and finals series.

Tom Malone, Nine’s Director of Sport said, “This signals yet another innovation in sports rights, where the value of Nine’s spectrum has been recognised in lieu of a rights fee and production costs, while Nine has secured exclusive rights to commercialise the broadcast and sponsorship opportunities within and around the game day production, for distribution on Nine, Fox Sports and NBL.”

will extend the Melbourne Cup Carnival to be visible across the network, across platforms and across the full year. In addition, it gives us the opportunity to The Seven Network will remain the VRC’s broadcast partner for the 2018 Melbourne Cup Carnival. Outside Melbourne Cup Carnival, Group 1 racing from Flemington can continue to be viewed on the Seven Network until at least the end of June 2020.

Visit www.vrc.net.au and www.networkten.com.au

Sky NZ Offers eSports Pop-Up Channel SKY NEW ZEALAND IS OFFERING A GINX ESPORTS TV Pop-up channel as part of the SKY Starter package. The three-month pop-up will bring GINX Esports TV, the first and largest esports TV network in the world, to SKY Starter customers at no additional cost.

Currently available in 55+ million homes, across more than 50 territories in 10 languages, GINX Esports TV aims to extend the reach of esports into mainstream sports audiences.

GINX Esports TV Pop-up features esports tournaments together with news, lifestyle, documentary and presenter-led live shows filmed and produced at its London headquarters.

SKY TV, Director of Strategy, George MacFarlane said, “We’re extremely excited to launch GINX Esports Pop-up and give SKY customers’ access to this hugely popular content. The worldwide esports market is growing at a phenomenal rate and it is now at a stage where we think it makes sense

“We have also structured a commercial partnership beyond the broadcast, to build a business relationship between the NBL and Nine to achieve maximum return for both sporting body and broadcaster in the years ahead.”

for SKY to get involved. With medal events in the 2022 Asian Games and

Visit www.nineentertainmentco.com.au

Visit www.sky.co.nz

serious discussions happening to include esports in the 2024 Summer Olympics, esports will only continue to grow.”

Strong Debut for Melbourne Esports Open THE DEBUT OF THE MELBOURNE ESPORTS OPEN saw over 12,000 avid esports fans flock to Melbourne Park over the weekend of 1-2 September. The event saw fans of all ages turn up to watch, play and compete in the biggest number of live esports tournaments ever held at an event in Australia. There was also large online interest with fans viewing content from the Melbourne Esports Open over 12 million times across Twitter, Facebook and Reddit.

SPORTSCASTING

Co-promoter, TEG’s CEO Geoff Jones said the success of this year’s Melbourne Esports Open proved that esports has a bright future on Australia’s major events calendar.

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“We see in Europe, Asia and North America that major esports tournaments attract live audiences of 40,000 to 50,000 fans and millions online,” said Jones.

“There is no reason to doubt that Australia can follow that trend and make the Melbourne Esports Open a huge live event and a significant global esports competition.

“I commend the TEG Live team and our co-promoters for producing a

spectacular live event that has set a new benchmark in Australia’s esports landscape, but we now have the challenge to make it bigger and better in 2019.”

The League of Legends’ Oceanic Pro League Grand Final was the main event on Sunday 2 September, on the Rod Laver Arena main stage. Meanwhile, Margaret Court Arena was transformed into the ESL Tournament Zone – a multi-tournament venue, featuring Forza, Overwatch, CS:GO, Pokemon and headlined by global sensation Fortnite. Outside of Rod Laver Arena and Margaret Court Arena, thousands of fans packed into the JB Hi-Fi Game On Zone, to free play some of the hottest games along with first to play access to some of the biggest upcoming games including Marvel’s Spider-Man, Tom Clancy’s The Division and Assassin’s Creed Odyssey.

The Melbourne Esports Open was co-promoted by ESL, TEG Live and Fairfax Events with the support of Visit Victoria, Victoria’s tourism and events agency.

Visit www.eslgaming.com

SPORTSCASTING

See us at IBC booth 10.A31

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SPORTSCASTING

NEP Australia Expands 4K Capabilities with Sony NEP AUSTRALIA’S HAS UNDERTAKEN A SIGNIFICANT EXPANSION of its 4K inventory, equipment and services in partnership with Sony Australia.

The Sony products will be used for all NEP’s sports productions in Australia across its mobile fleet and at its world-leading all-IP Andrews Hubs, starting with NEP’s live ultra-high definition (UHD-4K) cricket coverage for FOX SPORTS on November 4.

Director of Technology for NEP Australia Marc Segar explained: “From November, Australian cricket fans will be able to view live matches in greater clarity than ever before on Foxtel’s new dedicated 4K channel, which will broadcast selected cricket matches in ultra high definition for the first time. We are working closely with Sony to deploy this new 4K infrastructure in time for the FOX SPORTS’ first live UHD-4K cricket match.”

As part of this new 4K project, NEP has purchased multiple Sony XVS9000 high-end switchers (the first delivered in any market internationally), XVS8000 switchers with significant upgrades to 100Gb and IP, HDC4300 camera chains, HDCP43 box camera chains, BRC-X1000 remote PTZ cameras, HDC4800 super slo-mo cameras, BVM-X300 OLED monitors, BVM-E171 OLED critical reference monitors, additional HDCU4300 CCU in 4K IP configuration for NEP’s IP trucks, and 4K software upgrades for existing cameras.

Segar added: “We have a high degree of confidence in Sony, having worked closely together on technology for NEP’s all-IP Andrews Hubs – both in

Sony’s XVS9000 high-end switcher.

deployment and product development. The results are testament to what’s possible when partnering with a true technology leader such as Sony.”

Anthony Kable, Content Creation Group Manager for Sony Australia said: “This purchase of 4K equipment yet again demonstrates NEP’s forwardthinking innovation, and their commitment to producing the very best quality productions and images. Sony Australia has had a long and successful partnership with NEP, most recently collaborating to bring the incredible Andrews Hubs to fruition. We look forward to continuing our partnership for many years to come.”

NEP Australia will begin taking delivery of the new Sony 4K equipment in October 2018.

Visit http://pro.sony.com.au

Australian Open and Infosys in Strategic Technology Partnership CONSULTING, TECHNOLOGY AND NEXT-GENERATION services company, Infosys, has announced a strategic three-year partnership with the Australian Open.

connections with our fans, players, coaches and the rest of the tennis community and we look forward to working with Infosys to change the way we all experience our great sport in the future.”

The Australian Open, one of the world’s most popular sports and entertainment events, has continued to evolve its digital experiences in recent years. Infosys, as the Official Digital Innovation Partner of the Australian Open, will leverage its expertise in emerging technologies like Big Data & Analytics, Artificial Intelligence as well as Virtual & Augmented Reality, to provide unique, innovative and engaging experiences for fans.

Salil Parekh, CEO and Managing Director, Infosys, said, “This partnership is about creating new ways of experiencing the Australian Open. We’re really excited about the opportunity to showcase how digital technologies can enhance the boundaries of this tournament, to change the way the Australian Open is watched, analysed and played. This association with Tennis Australia also reaffirms our strategic commitment to the region where we partner with some of the leading enterprises in driving their digital transformation agenda.”

Craig Tiley, Tournament Director, Australian Open, said, “Partnering with Infosys is an exciting next step in our ongoing quest to innovate the Australian Open and engage new audiences across the world. We have long understood the importance of using data and insights to improve

Visit www.infosys.com and www.ausopen.com

Viz Engine Goes Full Throttle with HDR, AR and Motion Capture VIZRT'S RENDER ENGINE NOW ALLOWS producers to bring their graphics to a new quality level by rendering in the full HDR colour range, using the latest IP streaming technologies, adding new levels of motion capture for augmented reality (AR).

Vizrt’s Big AR Show at IBC2008 features new bone and skin-based mesh deformation tools as well as real-time motion capture and photorealistic rendering - powered by Viz Engine. With the introduction of bones and skinbased mesh deformation, along with physical based rendering, Viz Engine/Viz Artist 3.11 allows for complex storytelling with a new degree of interactivity.

Three-dimensional models can be imported with predefined animations, but can also be driven by live motion capture streamed to Viz Engine.

SPORTSCASTING

Motion capture for The Big AR Show is provided by Motion Analysis Corp. as a live stream from their stand (Hall 7.B60). Motion Analysis is the sole provider of robust real-time retargeted skeleton data directly into the Viz Engine. The results will be a fully interactive AR 3D model interacting with the presenter during the presentation.

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At IBC 2018 Vizrt is partnering with tracking company Ncam Technologies and Unreal Engine. During the Big AR Show, Vizrt will demonstrate the latest version of NcamAR for Unreal Engine 4 (UE4) integrated with Viz Engine. The new architecture enables Vizrt customers to combine template-based graphics and texts with Unreal Engine game assets for enhanced storytelling within live productions.

High Dynamic Range (HDR) is gaining momentum among high-end film productions, live music concerts and sporting events due to its advanced colour rendition attributes. Vizrt has developed and implemented HDR in Viz Engine supporting the HLG and PQ HDR formats, and will now show full compatibility with the S-Log3 HDR format developed by Sony.

At IBC, Vizrt, which supports all flavours of video over IP, will show the continued advancement of its product portfolio for SMPTE 2110 IP-based production and distribution environments. At the core of these workflows is Viz Engine, providing graphics rendering, clip players, audio, downstream keyers and DVEs. The system is format agnostic, giving media companies the flexibility to move forward with quickly evolving IP standards. In addition, this ensures video, audio and graphics systems will continue to perform regardless of the choice of house format.

As part of this company-wide IP initiative, Vizrt is integrating the Matrox X.mio5 Q25 SMPTE ST 2110 NIC card with multi-channel 4K support over 25GbE, making Viz Engine ready for a wide variety of IP-based productions.

With compositing NDI and SDI inputs, streaming via WebRTC and support for up to 16 RTP stream inputs, Viz Engine defines a new level of possibilities on any IP-based workflow.

Visit www.vizrt.com

NEWS OPERATIONS www.content-technology.com/newsoperations

Money Today Media Streams with Matrox MONEY TODAY MEDIA GROUP is one of the fastest-growing media organisations in South Korea. Specialising in financial and economic news, the group comprises 20 subsidiaries and media channels – the prime among them being Money Today Networks (MTN). MTN broadcasts global and local financial market analyses and metrics through cable TV, IPTV, and the web. The network streams video around the clock to provide its viewers with the most up to date financial news. Primarily targeted towards individual investors, MTN reaches 15 million households.

For close to eight years, MTN used a combination of hardware and software to live stream and record broadcasts for video on demand (VOD). This setup required the use of bulky computer equipment, which demanded a lot of time and resources to ensure they were operating correctly. Looking to minimize equipment and system maintenance, while improving video quality, MTN decided to upgrade its entire system setup.

TaenamDVI, an A/V integrator, worked closely with MTN to help improve its workflow, and recommended the Matrox Monarch HDX dual-channel streaming and recording appliance. Monarch HDX was easy to install, took up little real estate to store – reducing unnecessary clutter and wiring – and required less staff to manage than the previous setup. MTN tested other options at the same time, but none could match Monarch HDX in terms of performance, stability, usability, and scalability.

MTN’s studio is equipped with six Monarch HDX H.264 encoder appliances – two for live streaming, three dedicated to VOD, and the sixth is used to stream and record simultaneously.

Using a Sony camera, 1080 video is transmitted to Monarch HDX, while sound is captured with a CRESTAUDIO audio mixer via Monarch HDX’s analogue audio input. The two Monarch HDX appliances dedicated to live streaming each use both their encoding channels to transmit high-quality 1080p 30fps webcasts at 5 Mbps, and lower quality 480p 30fps webcasts at 1 Mbps. Streams are then sent to GABIA (a Korean CDN), YouTube, and Wowza Streaming Engine, as well as MTN’s own Flash Player to be viewed directly from its website.

Simultaneously, each day’s broadcasts are set to record for VOD at a higher quality than the streams. For redundancy, three Monarch HDX devices record 1080p 30fps at 10Mbps throughout the day. The Monarch appliances back up the recordings to the network attached storage (NAS) every 30 minutes to an hour using the Monarch HDX’s split file feature, but video can also be saved to an SD card or USB. This feature ensures that the majority of content will be preserved in the case of an unexpected event, such as a power failure.

Entire programs are sometimes uploaded for VOD, but primarily viewers are only interested in a specific news segment or stock update. To shorten news

items for VOD, an MTN editor copies the files stored on the NAS, and edits them into individual segments using Adobe Premiere. MTN then uses its own content management system, which was developed using Monarch’s API found in Monarch HDX’s Dev Tools, to upload the videos to GABIA and YouTube.

The MTN management application keeps operations on all the devices running smoothly. Through the application, administrators can take advantage of all the functionality built into the Monarch software such as view the status of all Monarch HDX devices, receive mobile notification status alerts, and schedule the devices to automatically reboot or start and stop recording at specified times.

Since introducing Monarch HDX to MTN’s workflow, video quality has improved significantly resulting in positive feedback from the network’s viewership.

Dual-channel streaming at different bitrates and to different destinations gives thousands of simultaneous viewers the ability to watch in the best quality possible based on their network bandwidth, viewing device, and chosen viewing platform. Due to Monarch HDX’s small footprint, IT administrators are able to manage and maintain the appliance with ease, especially when compared to the previous setup.

Though the Monarch HDX appliances are in operation almost round the clock – about 23 hours and 30 minutes every day – their performance has been exceptionally stable and reliable throughout. In the future, MTN plans to begin using Monarch HD and Monarch HDX to webcast in high definition from outdoor venues, or while on the go.

“Monarch HDX had it all: Highly-Customisable streaming and recording options, simple-to-install and easy-to-maintain design, and a very attractive price point,” said Hyok Kim, head developer, Money Today Media Group.

“Furthermore, space was saved and management tasks were reduced significantly. Needless to say, Monarch HDX made the upgrade project absolutely seamless, going above and beyond all our expectations.”

Visit www.matrox.com

Dejero Unveils Its Most Powerful EnGo Mobile Transmitter DEJERO IS INTRODUCING ITS MOST POWERFUl version of the EnGo mobile transmitter at the IBC2018, stand 11.C15. The latest EnGo is designed to give a picture quality advantage to broadcasters, especially when capturing high-motion news and sports content.

supports 1080p 50/60 for shots requiring the highest picture quality – features ideal for broadcasters covering sports and other high-motion events.

Broadcasters will benefit from the EnGo transmitter’s increased processing power and enhanced implementation of the HEVC compression standard.

Combined with Dejero’s industry leading auto-transport and adaptive bitrate encoding technology, this results in higher picture quality across a broader range of bitrates.

The additional processing power has paved the way for a new dynamic content adaptation feature that intelligently adjusts the encoding process based on the amount of motion detected within content that is being captured.

This allows broadcasters to automatically and seamlessly transition from a talking-head shot with limited motion to high-motion content without any softening of the picture or introduction of compression artefacts.

Reliable and simple to use, EnGo is designed for mobile video contribution professionals who require agility and versatility. The EnGo is a compact mobile transmitter that encodes high-quality video and transmits over multiple IP networks to reliably deliver exceptional picture quality with extremely low latency – even in challenging network conditions. It can be mounted on a camera or in a vehicle and worn in a backpack.

The new and improved Dejero EnGo can encode up to 20Mb/s and now

Visit www.dejero.com

NEWS OPERATIONS

“As the broadcast industry shifts towards the HEVC video compression standard to efficiently transport high-quality video from the field, the latest Dejero EnGo is equipped with increased processing power to boost overall performance and deliver enhanced picture quality to those shooting fast-paced highmotion video in the field,” said Kevin Fernandes, Vice President of Sales at Dejero.

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NEWS OPERATIONS www.content-technology.com/newsoperations

Going Solo with Dejero Weekend Today, Weekend Sunrise, and ABC News 24. It’s so much faster than ingesting into my laptop, finding best shots, exporting, then uploading.

“Another example is a job for Ten News Sydney where I shot an interview and overlay on my own with a tight deadline as their news is at 5pm. I actually had a had to pick up my daughter from school straight after the shoot, so the content was literally feeding through my Dejero EnGo in the school carpark while I went to meet her outside her classroom. Without Dejero, I couldn’t have taken the job and the newsroom wouldn’t have got their story up.”

Harris says his work is a mix of live crosses and recording material to then send out later. His biggest challenges he faces as a stringer are finding out about fast breaking news situations, covering a huge area with some remote coastal and bush locations, and working solo in sometimes challenging situations, including bushfires and floods.

CAREY HARRIS IS A FREELANCE DP/LIGHTING CAMERAMAN with over 25 years’ experience in a diverse range of media applications, including TV Commercials, corporate videos, web videos, and news and current affairs.

A member of the Australian Cinematographers Society, he has garnered both State and National ACS Awards. In recent years, he has turned to Dejero technology to aid in his newsgathering work. “[Recently] we had a big court story here in Newcastle [NSW],” he says.

“Working for Channel Nine, I did three live crosses for early news bulletins on the Today Show from 5:30am. After shooting the court arrivals and departures, I used my Dejero EnGo to feed this recorded content out quickly. With my Channel Nine Adelaide-based reporter, Ben Avery, we went on to do four more live crosses starting with the 11am morning news then finishing with the 'flagship’ 6pm bulletin. In total, seven live crosses plus the usual feeds during the day to make up the actual ‘package’. Having an EnGo meant I could feed the voice-over live to the newsroom rather than having to record, then send.

Saving even five minutes in the day actually means a lot, especially when it’s the lead story.

“I shot a serious house fire where there had been an explosion. At 5:30am I was able to start feeding via my Dejero EnGo so content could be edited for

“I had been tossing up the idea of taking the leap into the world of Dejero for several years,” says Harris. “Earlier this year the demand for live crosses and the fact that two of the big networks decommissioned their link points made the decision easy for me. Choosing to go with Dejero was a no-brainer for me as it’s the industry standard here in Australia.

“It was easy to get started with my Dejero EnGo as I had used a local network’s Dejero GoBox many times. I see guys setting up satellite trucks for a live cross.

They spend valuable time setting everything up, checking which way their dish is facing, dialing in, etc. I just push a button and the Dejero EnGo is ready to go live with around the same latency as a satellite truck.

“Dejero lets me get my vision out much quicker and easier than ever before.

Gone are the days of patching into DVN points at racetracks, etc. A major bonus is the fact that my material is being ingested in real-time rather than my clients needing to download a large FTP file.”

“Dejero EnGo has meant I’m now getting jobs I would never have been in the running for previously. It’s widely known that there have been some serious cutbacks in Australian media in the past five year, but by investing in a Dejero EnGo, it has made a huge difference for me. I am a one-man band, so it’s great to be able to future proof myself with this type of technology. When I started shooting over 30 years ago, I would never have dreamed that I’d end up being able to send out live content from a box on the back of my camera.

Newstag Deploys Linius Video Search Technology LINIUS TECHNOLOGIES, the Australian developer of a patented Video Virtualization Engine, has reached an agreement with Stockholm-based video news service Newstag to provide video search technology for the Swedish company’s news aggregation platform.

NEWS OPERATIONS

Newstag’s platform that aggregates content for more than 20 broadcasters and agencies around the world, including AP, AFP, CNN and Bloomberg. It has users in more than 150 countries.

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virtualised and US$40 per thousand videos assembled (discounted to US$10 per thousand until a future commercial deal is signed).

"Linius is in the commercialisation phase of our business and is targeting market leaders in the news, sports, education and corporate communications sectors, with our video hyper-personalization capability," said Linius CEO Chris Richardson.

In the first instance, Newstag will deploy the Linius Search Solution across the Newstag site, allowing users to search news archives and generate their own personalised news experience, creating value through Newstag's Infinite Heart Program.

Once deployed, Linius and Newstag will work together to sell the capability to the thousands of news broadcasters and news content providers around the world, including but not limited to existing Newstag clients. Planning for the second phase rollout has already commenced.

Linius technology will also be deployed to Newstag workflows providing both improved efficiency and enhanced personalisation to news feeds currently being provided to broadcasters around the world.

Separately, Linius intends to appoint the chairperson of Newstag, Ph.D Camilla Dahlin-Andersson, to the Company's Advisory Board to facilitate the combined go-to-market plan.

Linius will receive monthly license fees, in addition to US$1 per video

Visit www.linius.com.

NEWS OPERATIONS

Cuescript Management Console to Launch THE CUESCRIPT MANAGEMENT CONSOLE will launch at IBC 2018, while several additional teleprompting products from CueScript make their European debut at the show.

The CueScript Management Console (CMC) offers a simple and efficient way to manage and monitor all CueScript prompting resources on a network, regardless of location. Every CueiT prompting application will be able to report all of its capabilities to the CMC, including settings, options, titles of each setting, resources available (i.e. prompters and controllers) and more. The CMC takes this data and renders it, offering the information in a very simple interface. The CMC will be an open API, allowing other third party broadcast network control systems the ability to configure, manage and monitor CueScript prompting systems via control profiles.

CueScript will also present the European debut of the CueB openGear card at IBC 2018. An alternative to the CueB product that forms the hub of the CueScript teleprompting setup and supporting identical connectivity, the CueB openGear card brings new levels of integration to studio builds and reduces

physical footprint. Studios can now deploy up to 10 prompting channels in just 2U of rack space, with all of the other advantages of power and connectivity that this brings. CueScript also has a roadmap that will see a number of software options for future connectivity with network management systems.

In addition, CueScript will also demonstrate the CueiT Messaging Centre. This new function of the user-friendly CueiT prompting software allows messages to be fully configurable within the Styles Menu, giving operators the ability to define the message size, position on screen, font, colours and formatting.

The messages are displayed on the prompter outputs as overlay, single or multiple messages. In addition to text messaging, operators can provide time information both in the form of a clock – sourced from a local PC clock or internal/external NTP server – and a timer via the MasterClock RC600 device.

The CMC, CueB openGear card and CueiT Messaging Centre, together with a range of CueScript’s range of IP-ready prompter units and accessories, will be available for demonstration on Stand 12.F41 at IBC 2018.

Visit www.cuescript.tv

LiveU Roams Globally 2018 HAS BEEN A MILESTONE FOR LIVEU with its LU600 4K HEVC

LiveU Matrix

solution offering quality and reliability, taking live sports and news coverage

LiveU will be showing LiveU Matrix, its platform for live contribution over IP, enabling broadcasters to view, manage and distribute live content. The dynamic cloud platform makes it simple to curate content through one interface. Users can search, filter, preview, and distribute live feeds to one station, multiple stations, or thousands of end points within their entire affiliate network.

to a new level.

LiveU will be presenting the latest product enhancements, including: • 4K SDI offerings – LiveU’s HEVC 4K-SDI card presents an additional 4K product offering within the LU600 suite. The LU600 4K-SDI solution facilitates 4Kp50/60 streaming, supporting VR and 360 applications.

• Built-in global roaming capabilities – The LU600 solution now offers an integrated hybrid roaming solution for local and global operation. With the dual-SIM modem configured with roaming SIMs, every LU600 can be a local and global unit without needing to replace or obtain local SIMs. Combining three key elements – dual-SIMs, global modems, and roaming software – the LiveU units are ready to roam instantly.

• Video return – targeted for professional broadcasters, this key product enhancement enables field crews to see what’s currently on-air and receive teleprompt information during live sessions.

LiveU’s LU600 solution with the HEVC Pro card offers video performance for live streaming in global newsgathering. Combined with the 4K HEVC Pro

LiveU Solo LiveU will be demonstrating the latest additions to Solo, LiveU’s highquality, plug-and-play live streaming device for the online media, including: • Newly enhanced Solo Studio Cloud Graphics suite. The suite provides customers with the ability to send a stream and insert innovative graphics in real-time in the cloud.

• New Solo app – the simplest way to get started with live content, the Solo app combines cellular and Wi-Fi connections for more reliable streaming than smartphones.

Built on LiveU’s bonding technology, Solo is a streaming solution of choice for major online media companies, and is easy enough for anyone to use.

Solo allows users to live stream directly to Facebook Live, Twitter, YouTube Live and other social media and online video providers.

Card, the LU600 allows broadcasters and content creators to benefit from

Full product demonstrations will be available at stand 3.B62.

high video performance and bandwidth efficiency.

Visit www.liveu.tv

Wisycom to Showcase Two-Channel MPR52-ENG Receiver WISYCOM, DESIGNER AND BUILDER OF RF solutions for broadcast, film and live production, will highlight its MPR52-ENG Dual Channel Diversity Receiver at IBC2018 (stand 8.D78). With two built-in diversity receivers with both analogue and digital outputs, the MPR52 is best-suited for professional ENG applications.

The receiver also boasts an extreme low-noise voltage-controlled oscillator (VCO) with automatic and ultrafast spectrum scanning, which works via infrared technology and can be controlled via USB with the Wisycom Manager Software. The MPR52-ENG is also DSP-based for extreme flexibility and multicompanding operations.

As one of the latest additions to Wisycom’s range of products, the MPR52ENG has up to 790MHz bandwidth in the 470/1260MHz range and features next-generation multiband front-end filtering. Country specific Surface Acoustic Wave (SAW) filters are also available (USA: 935-960MHz and Japan: 1240-1260MHz). This feature, combined with software selectable wideband and narrowband DSP-FM operation, gives users options to suit the needs of any production.

Matching the MPR30-ENG receiver offered by Wisycom, the MPR52-ENG features a dual diversity configuration with two whip antennas, along with convenient function buttons, such as a dedicated frequency scan option.

Battery management is flexible and conducted via standard alkaline batteries or lithium battery packs that can be charged with the dedicated charger or through the micro USB connector.

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NEWS OPERATIONS

Visit https://wisycom.com

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POST PRODUCTION www.content-technology.com/postproduction

Victoria University First for DaVinci Certification VICTORIA UNIVERSITY IN MELBOURNE has become the first Australian university to achieve DaVinci Resolve Trainer Certification with Blackmagic Design. The University will also be using DaVinci Resolve as its main post production software for its Screen Media degree.

The Screen Media degree at Victoria University makes full use of the campus’ facilities, which include state-of-the-art Mac labs, a multi-camera television studio, radio studio, green-screens, along with a range of production cameras and equipment. Dr Marc C-Scott, Course Chair for the Bachelor of Screen Media, chose to use DaVinci Resolve as the primary post-production software for the programme.

As part of the Screen Media degree’s continual improvements, Dr C-Scott and his staff became part of Australia’s first university to be certified as Blackmagic

Design Certified Trainers for DaVinci Resolve.

“Victoria University is always looking to explore and improve on degrees and adding Resolve to the curriculum is a big step forward,” said Dr C-Scott. “We are adding Resolve-specific classes throughout the degree, which will include all parts of Davinci Resolve. From there, we hope our students will use the software as part of their future studies and professionally.”

As part of the University’s installation of DaVinci Resolve, its two new postproduction Mac labs, each with capacity for 20 students, will be equipped with DaVinci Resolve. The new studio and lab join Victoria University’s recently developed television studio.

Visit www.blackmagicdesign.com

Australian and Korean Teams Take Pipeline Awards at SIGGRAPH AT THIS YEAR’S SIGGRAPH IN VANCOUVER, Shotgun Software, an Autodesk company, announced the winners of its annual Pipeline Awards, honouring outstanding achievement in pipeline tool development. This year’s winners highlight the best pipeline innovation around the world, with teams from the UK, Australia, South Korea, and the Netherlands all showing their workflow ingenuity.

have everything they need to manage the structure of a project on disk at their fingertips.

Zoho Studio for Shotgun Slate (Rotterdam, Netherlands): Acting as a digital slate, this tool records on-set data during shoots and pulls shot data from Shotgun to efficiently fill out the slate with key information like camera type, lens, and focal length. The slate itself runs on an iPad and is captured for each plate shot, and then stored within Shotgun. Shotgun Slate offers an effective way to manage many plates, significantly speeding up the process on set.

This year’s Pipeline Award winners are: UTS Animal Logic Academy for Turret (Sydney, Australia): Turret connects Shotgun and Pixar’s Universal Scene Descriptions (USD) to create a lightweight file resolver architecture that works across a range of content creation applications. Turret has been the cornerstone of the studio’s USD-based system plugin and has transformed overall workflow by pushing the latest data out automatically rather than requiring artists pull data manually.

By assembling their scenes using Pixar USD with Shotgun to handle file abstraction and versioning, this educational facility has combined learning about cutting edge pipeline technology with building a system that allows them to rapidly author content and track it in Shotgun.

4th Creative Party for LAEL (Busan, South Korea): LAEL is a dashboard where artists, production teams, TDs, and support staff can manage data associated with the projects they are working on. It provides artists an incontext view into the work that’s assigned to them, as well as easy access to associated files and metadata they need to do their job well. Production and support teams have access to a rich set of functionalities that provides a simple, robust way to manage file ingestion and client deliveries, and TDs

Territory Studio for Territory Toolkit (London, UK): Territory Toolkit is a set of plugins for Adobe Creative Suite and Cinema 4D, giving Territory’s motion graphics artists a Shotgun-based structure and level of control directly within their chosen application. While VFX applications like Maya and Nuke are already supported by Shotgun, this proprietary tool bridges the gap between Territory’s VFX and motion graphics teams, allowing for smooth transition between all of the DCC apps the studio uses, and eliminating problematic and time-consuming manual data-entry.

“Pipelines are game changers for our clients. These toolsets not only automate repetitive tasks to maximise artist’s creative time, they actually help artists reach beyond what they could do on their own before – literally giving them the ability to contribute more and better creative to a project,” said Don Parker, VP/GM for the Shotgun family, Autodesk.

Visit https://shotgunsoftware.com

dft Adds to Film Scanning Range

POST PRODUCTION

DFT WILL BE UNVEILING A NUMBER OF NEW technological advances for its flagship Scanity HDR film scanner at IBC.

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New options for Scanity HDR include the addition of Resonances, an image sound track scanning system, as well as a new operating platform. Alongside Scanity HDR, dft will also be revealing it latest Sondor Audio system with a new graphical user interface that provides greater intuitive control.

Scanity HDR is a versatile, high speed film scanner that can manage a wide variety of film gauges and conditions, and its touchless design ensures that even the most delicate or damaged film can be handled with ease. At IBC we will be showing Scanity HDR with improved WetGate technology, enhanced drier performance now provides a faster delivery for those wishing to solve difficult historical film transfer issues – such as dust and scratch removal.

New for Scanity HDR is the option to include Resonances, an image soundtrack scanning system. Previously only available for Sondor systems, the new option enables Scanity HDR to manage the removal of defects on the film from within the soundtrack at the time of transfer, before they are converted to audio files.

Scanity HDR will also be demonstrating its new operating platform, UBUNTU, an extremely flexible and stable platform which can provide users with access to a greater range of third-party plug-ins and codecs.

Alongside Scanity HDR, dft will also be showing a new graphical user interface for the Sondor audio scanner. The GUI enables intuitive remote operation of the Sondor sound system, unlike the existing push button approach, giving users more control over the machine’s performance.

Visit www.dft-film.com

POST PRODUCTION

POST PRODUCTION

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POST PRODUCTION

VEGAS Pro 16 – More Creative Freedom VEGAS CREATIVE SOFTWARE has delivered its nextgeneration video editing platform with the release of VEGAS Pro 16.

New features include: • Motion Tracking – A native motion tracking tool enables the user to track the movement of an object through the video frame and edit it with a range of options. This allows VEGAS users to apply spot colour grading, pixelisation, or isolated colour grading and correction to moving objects. Also, it is possible to ‘pin’ titles to the tracked object so that text automatically follows movement. The new motion tracking opens a variety of new possibilities for projects, especially in combination with the Bézier Masking tools, filters, and effects.

• Video Stabilisation – Faster, more efficient, and more accurate stabilisation then in previous versions of VEGAS, even with 4K media. The redesigned video stabilisation is an essential tool for modern handheld production techniques and offers speed, simplicity, and a nondestructive workflow with flexible settings to achieve precise results. It’s also been designed to take advantage of newer multicore processors, so owners of high-powered, modern PCs can enjoy speed and precision.

• Dynamic Storyboarding – Can be used to easily assemble rough cuts and alternate sequences so multiple ideas can be compared quickly. Thanks to the interconnected storyboard and timeline, any edits made on the main storyboard are directly reflected in the project timeline, while multiple additional storyboards allow for experimental edits and cuts.

software. The workflow allows you to render 360º video files including Scene Rotation or the Tiny Planet effect.

• Comprehensive file backup options – VEGAS Pro 16 offers the flexibility of multiple options when it comes to backing up projects, so if a user is working on a complex project, or one that is pushing the very limits of their PC, they can enjoy complete peace of mind. Users can back their work up after a set time which can be determined in minutes and hours, as well as daily backups. Projects can be saved and backed up automatically after every edit. All backups can be saved to the same folder as the project file, a temporary location, or any user-defined location.

VEGAS Pro 16 is available in four versions:

• Additional Workflow Enhancements – A further improved Hover Scrub feature makes it easy to locate specific video frames using a mouse with a thumbnail of the project in the Media Window. Project Media thumbnails can now be adjusted in size, enabling finer Hover Scrubbing and more accurate location of specific video frames. Users can now drag a bin to the timeline, including all of the media in storyboard bins, in order to add video events into the project timeline simultaneously rather than having to add files individually.

• VEGAS Pro 16 Edit is the base option, but still offers the complete VEGAS Pro feature set including all the new features such as motion tracking, video stabilisation, and HDR Support.

• Full HDR Support – All aspects of the HDR workflow are covered including import, real-time HDR preview, HDR-aware video scopes, render to HDR with metadata, and even integrated, one-click HDR publishing directly to YouTube.

• VEGAS Pro 16 Suite includes the FXhome HitFilm Ignite Pro bundle’s 180 plug-ins, the proDAD VitaScene V3 PRO package of around 700 effects, and the Boris FX Sapphire Lighting Unit set of natural and synthetic lighting effects.

• Complete 360° Compatibility – VEGAS Pro 16 includes support to meet the growing demands of the 360º video market. It includes templates for many of the most popular cameras such as the Samsung Gear 360, LG 360° cam, and Ricoh Theta. Users have the option to match their project properties to their 360º footage. VEGAS Pro 16 can stitch together dual-fisheye video and import 360 video stitched by cameras or other

• VEGAS Pro 16 is the standard version with additional software including Boris FX Continuum Lights Unit plug-in for lighting effects, proDAD VitaScene V3 LE with 100 video effects, and VEGAS DVD Architect for professional DVD and Blu-ray authoring.

• VEGAS Pro 365 users get all the functionality of the regular VEGAS Pro 16, but enjoy future updates immediately upon release, full support, plus the VEGAS Pro 365 exclusive plug-in FXhome HitFilm Ignite 360 Toolkit, all for a monthly fee.

Visit www.vegascreativesoftware.com

Bluefish444 Demonstrating KRONOS, IngeSTore Server 3G

POST PRODUCTION

BLUEFISH444 WILL BE DEMONSTRATING KRONOS SDI and SMPTE 2110 playout from Adobe Premiere Pro CC including Edit-While-Record, remote multi-channel capture with IngeSTore Server 3G, SDI to NDI conversion with IngeSTream, and 12-bit 4K quality control with Marquise Technologies ICE during IBC2018.

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Also on demonstration will be the upcoming KRONOS Optikos video card, outputting SDI from Adobe Premiere Pro CC, with a simultaneous SMPTE 2110 uncompressed IP stream via 10Gb ethernet to a second KRONOS integrated broadcast graphics system. This workflow during live events and broadcast allows for channel branding, statistics, or other graphic overlays to be applied to live a video feed. Media from IngeSTore server 3G, recorded to the SNS Network Shared Storage, will be accessed by Adobe Premiere Pro while recording continues for a live Edit-While-Record workflow made possible via the growing file support of Bluefish444 IngeSTore software and Adobe Premiere Pro.

Bluefish444 has been working with industry partners on remote control functionality of IngeSTore software, and will demonstrate this for the first time at IBC. The IngeSTore Server 3G will be controlled from another manufacturer’s system via a newly developed IngeSTore RESTful API. This integration shows how easily a third-party can create their own user interface, or custom integration of IngeSTore software and its multi channel ingest functionality into their ecosystem.

With support for NewTek’s NDI protocol, RTP, and SMPTE 2022/2110 streaming protocols, Bluefish444 will be demonstrating the forthcoming IngeSTream multi-channel streaming solution. IngeSTream provides multichannel SDI to IP-based protocols, and will be demonstrated streaming from a live 4K SDI camera to the NewTek TriCaster Mini via 1Gb ethernet and the NDI protocol.

Bluefish444 will be demonstrating on stand 7.B44.

Visit www.bluefish444.com

POST PRODUCTION

Frame.io Showcases High-Speed Real-Time Video Collaboration FRAME.IO WILL BE SHOWCASING THE ALL NEW Frame.io at IBC2018 (stand 5.C48), on the heels of an influx of new features and advancements made to the review and collaboration platform since April. Now, Frame.io offers enterprise-grade security features, having recently received SOC2 Type 1 and GDPR compliance, support for new formats and high-resolution images via Image Review tool, and up to 100X faster uploading speeds thanks to Watch Folders for macOS, among other new features and capabilities.

Security Features for Enterprise Video Teams This past July, Frame.io received SOC2 TYPE 1 compliance, after an audit process that evaluated Frame.io against service controls derived from three key trust principles of SOC2: security, availability, and confidentiality. That means all customers can rest assured their valuable media assets are protected from security threats today and well into the future.

In addition, Frame.io now includes two new security features: Visual Watermarking and Asset Lifecycle Management, which expand security management to front-line workflows. Thanks to Visual Watermarking, admins and team managers can customise watermarks and have them automatically embedded onto any media their users upload to Frame.io, helping deter unauthorised sharing of their team’s content.

uploading overnight, on a flight, at a cafe, or on location, enabling creatives to work under the toughest deadlines and security. The companion app supports multi-gigabit upload speeds, allowing users to upload 100GB of media in 13.3 minutes – folder structure intact. Upload any file type and preview over 150 formats.

With Asset Lifecycle Management, Frame.io will automatically delete old assets on a defined cadence. Admins and team managers can set a limit on the number of days a given asset will remain in Frame.io. Developed in coordination with Turner Broadcasting, this tool was built for the enterprise admin who finds themselves removing assets from Frame.io constantly, whether for security, for better organisation, or for increased storage capacity.

Frame.io sets a new standard with a never-before-seen set of collaboration tools for content creators. Used by all types of creatives – from freelancers working with individual clients to small internal teams and massive distributed organisations – the latest enhancements to Frame.io offers both professional and enterprise solutions to meet the needs of anyone creating video. New features to be shown at IBC include:

GDPR Compliant Frame.io is committed to helping video professionals collaborate and build content. To support growth, and ensure Frame.io and its customers remain compliant with changes to the EU data protection law (General Data Protection Regulation, or ‘GDPR’), a number of updates and improvements to privacy practices, policies, and agreements have been made.

Watch Folders – A New Way to Move Media Frame.io’s new Watch Folders for macOS delivers indestructible uploading, enabling creatives to send raw assets, dailies, and in-progress edits to Frame.io for feedback and approval while preserving folder structure. The macOS menu bar app allows users to pair a local folder with a Frame.io destination folder, then render files from Apple Final Cut Pro X, Adobe Premiere Pro, Adobe After Effects, Adobe Media Encoder, DaVinci Resolve, Avid Media Composer, On-Set Dailies and Assimilate Scratch.

Frame.io Watch Folders ensure assets are securely uploaded, whether you’re

Plus, Image Review, Presence, View History, and Asset Search

Image Review – Frame.io’s advanced Image Review tool super-charges creative workflows by bringing all of the platform’s powerful review and collaboration capabilities to more types of visual media. The new Image Review tool supports high-res images rendering up to 8K resolution previews with the ability to pan, zoom, loupe, and annotate.

Asset Search – The Frame.io search bar now supports project and asset search. Find recent files you’ve been working on or dig up older projects.

View History – Now users don’t have to wonder whether their team has seen the latest upload. See who’s viewed an asset and when. Get more details about an asset’s view history by clicking into the team member profile images.

Presence – Frame.io users can have a real-time indication of when a teammate is viewing the same asset – another step towards a more collaborative and connected feedback experience.

Visit https://frame.io

FilmLight Boosts Collaboration for Editing, VFX and Compositing use the same architecture, each of the plugins can watch a live Baselight scene or a branch as required.

The Baselight Editions plugins ensure operators always see the latest colour grade without waiting for images to be rendered, and can make non-destructive and trackable changes to the grade. And now with BLG for Flame, Flame artists can also utilise a metadata-only workflow, allowing fast application of the latest grade and avoiding complex version management.

Baselight Editions v5 provides tools to boost productivity, including Gamut Compression, Boost Contrast, Texture Equaliser and filters for Denoise and Deflicker. It also includes improved Layer View for stack visualisation and selection.

FilmLight will demonstrate how creatives can work simultaneously on the same scene. Rather than requiring individual shots to be locked, operators can work on parallel branches that can be merged together to obtain the final result. As BLG for Flame, Baselight for Avid, and Baselight for NUKE all

v5 of Baselight for NUKE includes multiple platform-specific enhancements, such as new and improved format handling, which allows the v5 BLG file to store format and mapping information so Baselight for NUKE can combine elements using exactly the same grades and transforms, regardless of source. v5 also enables Baselight to act as a multi-input node in NUKE so BLG files can refer to multiple input images and OpenEXR channels.

Visit www.filmlight.ltd.uk

POST PRODUCTION

AT IBC FILMLIGHT WILL BE SHOWING the new features of Baselight v5 for Avid and NUKE, along with BLG for Flame, the latest product in the Baselight Editions range. The plugins bring sophisticated colour control and creativity to Avid editors, NUKE compositors and Flame artists.

Baselight for Avid v5 offers additional features designed to enhance the Avid experience, including sophisticated copy and paste, real-time client monitoring, and streamlined access to shots and metadata, giving editors visualisation of all Baselight effects within the Avid track.

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MEDIA IN THE CLOUD, STORAGE & MAM Qvest Media Introduces Qvest.Cloud AT THIS YEAR’S IBC in Amsterdam (stand 3.B40), Qvest Media will be showcasing its latest product development, Qvest.Cloud, in a pre-launch presentation. Qvest.Cloud is an advanced management platform that enables third-party cloud applications to be networked into one integrated end-to-end workflow and used and monitored via a central user interface.

Integral components of the platform that has been designed as cloud native application are cross-application functions such as workflow orchestration, cloud automation, user management with single sign-on, access management, monitoring, measuring and billing and comprehensive IT security.

Qvest.Cloud is designed to make it easier than ever to integrate and operate media services and applications using modern web technologies. Qvest.Cloud breaks down the barriers between installations in local data centres, private clouds and public clouds – such as Amazon Web Services (AWS), Microsoft Azure or Google Cloud. Based on an open interface design, third-party IT and media applications can be easily aggregated with Qvest.Cloud, merged together and used without having to deal with the hurdles of as many user and administration interfaces: Qvest.Cloud gives users direct access to all functions enabled for them.

This benefits not only traditional media companies, but all companies wishing to efficiently manage, edit, distribute and monetise media assets along their digital media supply chain. With Qvest.Cloud, almost all business processes and media workflows can be accelerated and made agile in order to be able to react flexibly to changing market conditions and production requirements at any time. Vertical and horizontal scalability of the Qvest.Cloud platform allow for the short-term and temporary addition of required services and additional computing power. Load peaks of on-premise applications can be

automatically scaled using cloud resources as a hybrid solution, eliminating the need for the technically complex and costintensive expansion of locally operated infrastructures.

Contract management is also radically simplified, as only one usage contract is concluded with Qvest Media.

Qvest Media offers its new product for applications of all sizes: from payas-you-go models and bundles for traditional media production to tailored corporate solutions and enterprise installations that can be used to integrate the infrastructural requirements of large companies.

“After a multi-stage evaluation process, we made the decision in autumn 2017 to realise Qvest.Cloud. The acquisition of the software specialist HMS media solutions was subsequently completed and we entered into development. Qvest.Cloud will be fully market-ready at the NAB show next year,” said Peter Nöthen, CEO of Qvest Media Group. “The pre-launch at IBC is an important milestone on this development path. Here we will get to know first-hand what business and technological aspects can play an additional role for Qvest.Cloud. Moreover, the trade show offers the best opportunity to win further manufacturers and partners for the Qvest.Cloud ecosystem.”

Visit www.qvestmedia.com

Exception-based Monitoring and Content Matching from Mediaproxy MEDIAPROXY, A LEADING PROVIDER of software-based IP broadcast solutions, has announced that its new source comparison feature for real-time identification of mismatched content, will make its European debut on stand 7.B44 at IBC 2018, 14 – 18 September at the RAI Amsterdam.

This new engine enables network operators, managing multiple stations and playout facilities, to compare video content from one or more live sources and provides real-time alerts when there is not a match.

At IBC 2018, Mediaproxy will also demonstrate its new AI engine that has been added to LogServer to detect advertisers’ logos, parental guidance and viewer warnings, offering operators multiple monitoring and competitive analysis options.

LogServer supports Newtek NDI and both SMPTE 2022-6 and SMPTE 2110 media over IP formats, enhancing the input matrix into its compliance recording and monitoring solutions. Through capturing uncompressed IP sources, including metadata, LogServer enables broadcasters to be fully compliant during their IP deployment.

In addition, LogServer offers full compliance support for the logging and monitoring of radio stations, including Internet radio, AM, FM, and DAB+ RF

digital radio alongside video sources.

Also featuring will be Monwall, Mediaproxy’s interactive multiviewer software with new and fully customisable penalty boxes, enabling operators to monitor events by exception through configurable threshold for various video, audio and metadata events.

Finally, Mediaproxy will demonstrate the latest version of LogPlayer. This leading-edge HTML5-based platform allows access to recorded content from anywhere in the world and includes automated workflows, enabling instant publishing to social media channels.

Erik Otto, CEO Mediaproxy said, “Broadcasters are managing a number of live content streams for television and OTT platforms. Video streams and metadata require effective monitoring, especially given the increase in feature requirements such as closed captioning, multiple languages, and ad insertion.

We have enhanced the software to include exception-based monitoring within workflows to provide both compliance and quality control and are looking forward to demonstrating such capabilities on our stand.”

Visit www.mediaproxy.com

MEDIA IN THE CLOUD, STORAGE & MAM

NEP Selects Techtel to Provide DR Solution for Fox Sports Oz

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NEP GROUP RECENTLY CHOSE Techtel to provide a disaster recovery solution for Fox Sports Australia to protect its content and preserve business continuity of the leading sports broadcaster, as the production industry moves towards remote production.

Throughout the course of the partnership, Techtel is providing terminal equipment consisting of Net Insight VA 225 encoders and decoders at two newly established remote production centres, connecting to 11 OB Trucks via a secured private IP network. The solution also includes a comprehensive Network Management System (NMS) and a set of professional services consisting of commissioning, testing and training. The robustness of this design allows for efficient backup of up to three concurrent events across 29 sporting venues throughout Australia.

“Techtel is excited to contribute to NEP’s HUB remote production facility

with the leading contribution over the internet platform from Net Insight.

This novel combination of coding, decoding and transmission processes are powering the creation of a highly robust network the entire production can depend on,” said Mal Chandler, CEO of Techtel.

“In a remote production environment for sports broadcasting, where tolerance for content and data loss is zero, it is imperative that a robust, reliable and efficient disaster recovery plan is in place. We are confident that Techtel is the ideal broadcast systems specialist to provide a comprehensive back-up service to protect vital content and enable reliable remote production for our customer,” said Marc Segar, Director of Technology at NEP. Visit www.nepgroup.com and www.techtel.com.au

POST PRODUCTION

POST PRODUCTION

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MEDIA IN THE CLOUD, STORAGE & MAM

Masstech Innovations Solving Modern Content Storage Challenges MASSTECH INNOVATIONS HAS ANNOUNCED that its presence at IBC2018 will focus on showcasing a number initiatives designed to help video-centric organisations to create optimised storage solutions, utilising the latest cloud and hybrid technologies.

Using the industry’s flagship storage and workflow management solutions, FlashNet and MassStore, these initiatives emphasise Masstech’s position as the only truly agnostic M+E storage vendor, offering independent and unbiased solution advice that addresses customer requirements.

cloud, or in a hybrid configuration.

The system’s flexibility allows M&E organisations to implement storage environments that remain secure and optimised for all asset types.

Also on display will be MassStore, Masstech’s media services framework for advanced applications. MassStore features a collection of services that together provides powerful media management functions and workflow automation. Built-in integration management also simplifies accommodation of disparate systems from multiple vendors.

Demonstrations on stand 7.C55 will centre on FlashNet, Masstech’s muchtrusted media object storage application that adapts readily to growing and changing organisational and business requirements. A highly scalable and secure cross-platform content management system, FlashNet integrates seamlessly with leading MAM, PAM, NRCS, automation, video server, and library systems to improve the efficiency of media organisations’ storage.

FlashNet optimises content management, using programmable, rulesbased movement workflows that ensure that content is always stored in the most cost-effective and operationally efficient location.

The MassStore media services framework allows for rapid deployment of customisable workflows. Integrated transcoding capabilities and support for major wrappers and codecs allow for flexible generation and management of proxies, metadata, and thumbnails.

FlashNet is an agnostic solution that can be deployed on-premise, in the

Visit https://masstech.com

The flexibility and power of MassStore can be seen in the Masstech News workflow. By integrating with common NRCS and PAM systems, MassStore automates the archive process, attaches rich metadata to news assets, and enables users to search and view their video archives directly from their NRCS user interface.

EditShare Accelerates Workflows EDITSHARE IS PROMOTING SEVERAL KEY THEMES including important media and entertainment initiatives around content security and compliance, highly sought performance capabilities that improve production and post-production workflows, and content repurposing at the upcoming IBC2018 exhibition.

Secure, Real-time 4K, 8K, and Beyond Enterprise Storage Video Playback In addition to new XStream EFS File Auditing technology, advanced content security capabilities that mitigate cyber attacks and content theft, EditShare will be showing in-demand real-time 4K, 8K and beyond EFS scale out storage video playback. A unique capability for enterprise storage performance, XStream EFS delivers the best of both worlds in terms of IT and media performance.

The XStream EFS scale-out shared storage solution product family includes the single-node EFS 200 and EFS 300 solutions for small to mid-size facilities, multi-node XStream EFS 450 solutions for enterprise workflows and the SSDbased EFS storage node options for clients requiring ultimate high-resolution real-time playback. For those facilities who have online storage space as a premium, the EFS 40NL parking storage nodes are designed to optimise content use by allowing them to park content whilst not in use.

Automated QC for IMF Testing EditShare will show its support for IMF in its new QScan Automated Quality Control (AQC) products, powered by QUALES QC engine. The Interoperable

Mastering Format, known as IMF, aims to solve the pain points of mass international file delivery, allowing facilities to meet the growing demand for content all over the world. Key to the initiative, and especially important for OTT content providers, is that packages are properly run through QC prior to delivery. QScan detects the existence of the corresponding XML files (CPL, PKL, OPL, AssetMap, Volume Index) reading the contents and providing information about the structure of the entire IMF package (IMPs), identifying any errors that may be present. The timeline view of the CPL, where all essence files are described, helps users better understand the structure of IMP. Smarter Storage with Flow – Now in Public Beta The new software-defined Flow, which is now in public beta, has been reengineered for non-EditShare storage environments such as Avid NEXIS, StorageDNA and Amazon S3. Bringing critical search, browse, and retrieve capabilities as well as tools to assemble media to static media storage, the new software-defined MAM platform maximises the value of customers’ existing storage infrastructure by adding an intelligent media management layer that can manage millions of assets across multiple storage tiers in different locations.

Visit www.editshare.com

MEDIA IN THE CLOUD, STORAGE & MAM

Object Matrix Launches Updates to MatrixStore Vision

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2018 MARKS THE 15TH YEAR ANNIVERSARY for Object Matrix and it will be celebrating this milestone during IBC. The founders of Object Matrix are amongst the original pioneers of Object storage technology and have seen the market change dramatically. The team will also be honouring people who have helped with the company’s progression over the years.

IBC2018 will see Object Matrix demonstrating its technology and solutions throughout the show – sharing updates to the Vision interface. Vision from Object Matrix is a web-based media management application that gives users instant and easy access to files contained within the MatrixStore object storage platform.

The latest version includes a number of enhancements requested by the Object Matrix customer community, including Process-in-Place IMF integration. This enables users to ingest files in IMF (Interoperable Master Format) and automatically extract the associated IMF metadata. This makes IMF files as discoverable within Vision as other file types, whilst keeping them

housed within the archive.

Vision has also been integrated with move2, an HSM application from Object Matrix. move2 provides policy driven data management from MatrixStore object storage to deep archive storage or public cloud storage platforms. Full integration with Vision means users have the option to control that easily, with a simple right click from within the tool.

Object Matrix will be demonstrating on booth C.628 throughout IBC2018.

Visit http://object-matrix.com

MEDIA IN THE CLOUD, STORAGE & MAM

Sonnet Technologies eGFX Breakaway Box 650 AT IBC2018 SONNET WILL SHOWCASE ITS NEW eGFX Breakaway Box 650, a Thunderbolt 3 to GPU card expansion system designed and qualified specifically for large, power-hungry graphics cards, including the AMD Radeon RX Vega 64, Radeon Pro WX 9100, 9100 SSG and overclocked NVIDIA GeForce GTX 10 series-based cards. The 650 model enables the use of all GPU cards that support connecting to a computer over Thunderbolt such as AMD Radeon R9, RX, RX Vega, and Pro WX models, and NVIDIA GeForce GTX 9 and 10 series, Titan X and Xp, and Quadro models – with Thunderbolt 3-equipped computers. Mac and Windows compatible, the new Sonnet system is the coolest and quietest eGFX box on the market, with a built-in, variable-speed, temperature-controlled fan.

Sonnet will also display two new external graphics solutions, the eGFX Breakaway Puck Radeon RX 560 and eGFX Breakaway Puck Radeon RX 570. These integrated Thunderbolt 3 external graphics processing unit (eGPU) systems are portable and offer users improved graphics performance when used with laptops Solo10G 10 Gigabit Ethernet Adapters Sonnet will showcase its new Solo10G Thunderbolt 3 Edition adapter and Solo10G PCIe Card, the latest products in the company’s line of 10 gigabit ethernet (10GbE) solutions. The Solo10G Thunderbolt 3 Edition adds 10GbE network connectivity to any Mac or Windows computer with a Thunderbolt 3 port, enabling users to connect their computers via copper cables to high-speed network infrastructure and storage systems. Its performance, diminutive size, simple setup, and silent operation make this Sonnet adapter suited for use in a variety of workflows and environments. The Solo10G PCIe Card adds 10GbE network connectivity to any Mac, Windows, or Linux computer with PCIe slots.

Thunderbolt 3 Editions in Echo Express Family Sonnet will showcase new Thunderbolt 3 editions of its Echo Express Thunderbolt-to-PCIe card expansion systems. Sonnet’s Echo Express III-D (desktop) and Echo Express III-R (2RU) systems support the installation of up to three full-length, full-height PCIe cards, and connect them to the computer via a single cable. Both systems enable users of Mac and Windows computers equipped with 40Gbps Thunderbolt 3 (USB-C) ports to take advantage of Thunderbolt 3’s 2,750 MB/s of PCIe bandwidth.

Both systems feature a built-in, universal 300W power supply with a 75W auxiliary power connector for installed cards, plus two large, quiet, temperature-controlled cooling fans.

1TB and 2TB Fusion Thunderbolt 3 PCIe Flash Drives Complementing its 1TB model, Sonnet will showcase the new 2TB Fusion Thunderbolt 3 PCIe Flash Drive. The pocket-sized SSD device features NVMe flash storage and leverages the 40Gbps bandwidth of its Thunderbolt 3

interface to deliver data transfer speeds up to 2,600 MB/s. The Fusion Flash Drive is bus-powered and features a rugged aluminium enclosure that cools the SSD and eliminates the need for a fan. The Fusion Thunderbolt 3 PCIe Flash Drive connects to any compatible Mac or Windows computer with its 0.5-meter Thunderbolt 3 cable.

SF3 Series Pro Card Readers Sonnet will show its line of SF3 Series dual-slot Thunderbolt 3 media readers. Each SF3 Series reader features a compact, rugged aluminium enclosure designed for stacking multiple readers. The SF3 Series CFast 2.0 Pro Card Reader is bus-powered with no power adapter required, and can ingest files from two cards at concurrent data transfer speeds up to 1,000 MB/s. The SF3 Series SxS Pro Card Reader features dual Thunderbolt 3 ports, can support a bus-powered device (such as the CFast 2.0 reader), and can simultaneously ingest files from two SxS cards at their maximum supported data transfer speeds.

Sonnet will also preview the newest member of the family, the SF3 Series – Sonnet RED MINI-MAG Card Reader. Featuring dual Thunderbolt 3 ports, the reader can support a bus-powered device (such as the CFast 2.0 reader), and can simultaneously ingest files from two RED MINI-MAG cards at their maximum supported data transfer speeds.

Visit www.sonnettech.com

All Aboard at Cinegy Platform One

Cinegy Platform One with XenData marks the company’s first appliance product offering. Cinegy software is pre-installed on the server platform and ready for configuration with the assistance of Cinegy Professional Solutions.

As Cinegy Head of Product Management, Lewis Kirkaldie explains: “For many organisations the sheer volume of video files creates considerable challenges associated with storing, organising, finding, and reusing their media assets. The conventional approach is to install shared disk storage, a MAM server, and an archive server, all of which bring their own challenges when it comes to getting these components to work harmoniously. Cinegy Platform One integrates all these of elements on a single server.”

The Cinegy Platform One is managed with Cinegy MAM software, which includes the scalable and open architecture Cinegy Archive solution for digitising tape-based archives and metadata collection for each step of a production workflow.

Production is looked after with Cinegy Desktop, a universal production tool that provides real-time access to media in Cinegy Archive. Cinegy Desktop also includes a powerful suite of tools for logging and editing, and an almost limitless ability to import and export media to third-party non-linear editing and automation systems.

Transcoding is effortless with Cinegy Convert, the transcoding and batch processing service, which functions like a network-based print server that can be used to perform repetitive export and conversion tasks by ‘printing’ material to predefined formats and destinations.

The Cinegy Platform One system will be available with either 24, 34, or 44 disks. Two disks are configured as hot spares and the remaining disks are configured in RAID60 for reliability and ultra-high performance optimised for video streaming and 4K-plus workflows.

Cinegy Platform One and other Cinegy products and services can be explored at IBC2018 on stand 7.AO1.

Visit www.cinegy.com

Join over 9,000 industry professionals who receive our weekly e-newsletter. Sign up at www.content-technology.com

Stay informed. Sign up today.

MEDIA IN THE CLOUD, STORAGE & MAM

CINEGY RECENTLY ANNOUNCED THE INTRODUCTION OF Cinegy Platform One, a 2RU integrated MAM and storage server optimised for video applications.

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AUDIO Digital soundwaves

www.content-technology.com/audio

SMPTE Standards for Binding IDs to Assets – Audio Watermarking SMPTE HAS PUBLISHED STANDARDS for binding Ad-IDs to commercials and Entertainment ID Registry (EIDR) codes to programming content. The standards specify use of Kantar Media’s audio watermarking technology, an open solution available for licensing.

In addition to enhanced tracking of assets and improved workflow efficiency, an open standard for ID-to-asset binding can deliver a wide array of capabilities, including:

The SMPTE 24TB Open Binding of IDs Drafting Group created and published two new sets of standards and recommended practices: ST 2112-10 and RP 2112-11 for the Open Binding of Content Identifiers (OBID), and ST 2112-20 and RP 2112-21 for the Open Binding of Distribution Channel IDs and timestamps. The availability of these standards for persistent binding of identifiers into advertising and programming content establishes a fundamental building block for the advancement of full cross-platform measurement and content integration.

• Better second-screen integration and improved multiscreen content discovery.

“This standard has been called the media industry’s equivalent of the Universal Product Code (UPC) code,” said Jane Clarke, CEO and Managing Director of the Coalition for Innovative Media Measurement (CIMM). “Similar to the standardised ID that improved accuracy and efficiency for the retail consumer packaged-goods industry, Ad-ID and EIDR will enable advertising and content identifiers to remain embedded throughout the media distribution ecosystem.”

Supporting real-time identification of a piece of content or an ad – whether on a TV set, in a set-top box, or outside of the set using a metering device or smartphone app, the standards will help mitigate numerous inefficiencies in the cross-platform video distribution and measurement workflow, including time-consuming, legacy processes for matching program and ad names back to the time of airing and the distributor.

The ability to embed standardised identifiers throughout the media ecosystem will have a significant impact on the efficiency of cross-media workflows for ad agencies, media companies, and marketers. Television networks and digital content publishers will also be better equipped to create integrated multiscreen experiences.

By facilitating faster reporting for ad verification and audience measurement, the use of standardised identifiers will eventually enable marketers to better optimise live and on-demand advertising much as they now optimise online advertising.

• Reduced barriers to deployment of cross-platform dynamic ad insertion.

• Enhanced automated content recognition and detection.

• Accelerated digital content locker adoption and complete long-tail content monetisation.

• An enhanced ability to trigger surveys, quizzes, or coupons on mobile devices.

Kantar Media’s audio watermarking technology was recommended as the standard by a SMPTE Standards Drafting Group, supported by Ad-ID, a joint venture of the Association of National Advertisers (ANA) and the American Association of Advertising Agencies (4As); EIDR, an industry association operating a registry of over a million unique, global identifiers for digital entertainment assets, including motion pictures and television content; and CIMM, whose members represent leading content owners, large advertisers, and media buying agencies.

This joint initiative, known as Trackable Asset Cross-Platform Identification (TAXI) Complete, was launched by CIMM in 2013 to standardise video asset identification. The effort is now being spearheaded by Kantar Media, whose audio watermarking technology enables tracking of advertising and programming content across platforms seamlessly and automatically, in effect making those solutions more complete.

Kantar Media is a global leader in media intelligence and audience measurement. Deployed by hundreds of broadcast networks across the world, the company’s audio watermarking technology is an industry-leading solution for content detection.

The new SMPTE standards are available for purchase from the SMPTE digital library.

Visit www.smpte.or

Jands Become Distribution Partner for Bosch JANDS RECENTLY ANNOUNCED THAT BOSCH has entered into a distribution partnership with Jands Pty Ltd, Australia’s largest audio distributor.

Jands will provide sales and support for a select range of Bosch’s Prosound installation audio products from Dynacord and Electro-Voice, including the new IPX Multi-Channel Installation DSP Power Amplifiers, EVID and EVC Series loudspeakers, and the EV Innovations range.

“Bosch is well known for our commitment to excellent service and support, and by entering into partnership with a strategic national distributor like Jands, who have the expertise to support the needs of the customer, we will continue to provide the quality products and services that people expect when they buy Dynacord and Electro-Voice. Our Prosound team is excited by this alliance, and we look forward to a prosperous long term relationship,” said Chris Dellenty, General Manager – Oceania, Bosch Security and Safety Systems “Following Jands’ resignation late last year of several audio lines, I am pleased to once again be in a position to provide contracting style

loudspeakers and amplifiers to our customers. As Jands restructured our product offering, around our strengths in corporate, government and education, our contracting customers made it clear they wanted to be able to source a complete solution from us.

When we saw the new product offering from EV and Dynacord at Infocomm, we quickly realised Bosch represented the perfect partner for Jands.,” said Paul Mulholland, Managing Director, Jands Visit www.jands.com.au

AES Guidance on OTT and Online Audio

AUDIO

THE AUDIO ENGINEERING SOCIETY has released AES71-2018: Recommended Practice Loudness Guidelines for Over-the-Top Television and Online Video Distribution.

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This AES Recommended Practice (RP) describes the many issues related to online audio Loudness variations. It provides comprehensive recommendations documenting effective guidelines for managing audio loudness of soundtracks of television and video content available to consumers by over-the-top (OTT)

and by online video distributors (OVD).

When followed, these guidelines will provide consistent loudness, appropriate playback loudness range, reduce audio quality degradation from excessive limiting, preserve the original artistic intent, and improve the listening experience. The document does not provide specific recommendations about target playback loudness or dynamic range.

Visit www.aes.org

480MHz

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540MHzAUDIO

550MHz

INTRODUCING AXIENT ® DIGITAL

SOLVE THE SPECTRUM SQUEEZE.

Don’t let the limits of the spectrum define the size of the sound. Axient Digital delivers 184MHz of tuning bandwidth, Quadversity™ antenna diversity, and up to 47 active channels per 6-MHz TV band, for impeccable audio every time.

Learn more at shure.com/axientdigital

www.jands.com.au

AUDIO

Distributed by

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AUDIO

Calrec Wants You to Act on Impulse AT IBC2018 (STAND 8.C61), CALREC WILL PREVIEW its new Impulse core, its next generation audio processing platform. The Impulse core is an audio processing and routing engine with AES67 and SMPTE 2110 connectivity. The Impulse core is compatible with existing Apollo and Artemis control surfaces, providing a simple upgrade path for existing Calrec customers.

“Impulse is a robust and scalable DSP platform that illustrates a clear direction for Calrec’s future development, giving our customers a fully defined upgrade path as they transfer to IP infrastructures,” said Dave Letson, Calrec’s VP of Sales. “In addition, future scalable expansion will allow up to three DSP mix engines and control systems to run independently on a single core at the same time, providing the ability to use multiple large-format mixers simultaneously in an extremely cost-effective and compact footprint.”

Impulse provides 3D immersive path widths and panning for NGA (nextgeneration audio) applications, 5.1, 5.1.2, 5.1.4, 7.1, 7.1.2 and 7.1.4 input channels, busses, monitoring and metering are available. Height and 3D pan controls are provided, and paths of all widths can co-exist within a mix and be routed to/from each other with flexible panning and downmixing built in.

“The signal processing capacity of the Impulse core is unlike anything else available and is the most powerful DSP engine on the planet,” continued Letson. “It utilises the next generation of Calrec’s award-winning Bluefin DSP technology – Blu3fin – with five user-upgradable DSP packs, all of which will be available from launch and range from 256 input channels in the XS Pack to 1,122 in the XL Pack. In fact, Impulse provides more than 400 independent busses; 192x mains/groups, 48x auxes, 96x tracks, with 3x AFL and 3x PFL immersive busses.”

Impulse has an integral AoIP router, which supports NMOS discovery and connection management, as well as mDNS/Ravenna discovery. Up to four router cards can be fitted, each with a 4096 x 4096 audio routing matrix, and can operate at 1 or 10Gbps. Two 5RU Impulse cores can be combined to provide full redundancy and can be physically remote from each other for disaster recovery.

Visit www.calrec.com

Audinate Releases New Dante Domain Manager DEMONSTRATING ITS COMMITMENT to providing systems integrators and end-users with the strongest network technologies for secure, interoperable, high-performing AV systems, Audinate has introduced an update to Dante Domain Manager. This version provides advances in diagnostics and usability, extended auto discovery for legacy devices, and increased support for larger networks.

Commenting on the update, Joshua Rush, Senior Vice President of Marketing and Products, Audinate stated: “Since its introduction to the market earlier this year, Dante Domain Manager has been extremely well received by OEMs, integrators, and end customers. These new enhancements make Dante Domain Manager that much more valuable by providing additional features that enhance the scalability and ease of use of the platform.”

Dante Domain Manager now supports over 1000 devices. For larger Dante installations, customers can purchase expansion packs for the Platinum Edition to support up to 1050 devices per instance.

DDM now features automatic discovery for legacy devices. The automatic device discovery service has now been extended to legacy (pre-v4.0) devices. This makes it easier to for products with and without the 4.0 firmware to co-exist in Dante Domain Manager.

A Network Diagnostics Report, designed to accelerate setup, configuration and troubleshooting, provides instant visibility of basic network configuration via connectivity, DHCP, DNS and Internet reachability tests.

Available in the Network and Security settings, it is now just a single click to quickly establish if there are any fundamental configuration errors on the network.

And, with Editable Domain Names, users can now rename Dante domains without having to delete and recreate them.

Visit www.audinate.com

Dante/AES67 Routing with Sample Rate Conversion

AUDIO

AD/DA/DD CONVERTER AND AUDIO-ROUTING DEVICES BY NTP come with support for 64 channels of Dante IP Audio out of the box, but in an effort to meet demand for a higher channel count, the company has introduced an optional expansion card that adds another 128 channels to the digital audiorouting matrix. With eight slots available for expansion cards, users could ultimately have up to 1088 Dante/AES67 channels, including the 64 channels that comes as standard, at 48kHz. The new expansion card also offers sample rate conversion on all channels as well as dual redundancy network ports in order to maximise reliability.

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The card also introduces per-channel sample-rate conversion, which by using more cards allows several independent audio networks that run on individual clocks and sample-rates to be connected to and unified in a single DAD AX32 or Penta 720 unit.This unleashes a wealth of possibilities for distributing audio across sources and destinations on highly complex setups that involve, for example, sending a feed to an OB truck while recording at a different sample rate and sending another feed to a FOH console or an in-ear monitoring system.

“Simply adding more Dante channels may sound trivial, but once you start to think about the actual problems that this amount of channels, in combination with independent sample-rate conversion is capable of solving.

It’s a significant improvement of the overall system,” said Mikael Vest, Sales Director of DAD’s mother company, NTP Technology.

“For instance, the new Dante card will be able to solve real-world challenges in regard to high channel counts when working with Dolby Atmos Mastering Suite, as well as in recording studios where Dante based monitoring systems are used. But there is a need to record at a different sample-rate or in live applications where there Dante networks have to be kept physically separated when operating on different clocks.”

The internal sample rate converters on the new Dante cards have been developed by NTP Technology/DAD. NTP Technology will bring the new Dante expansion card to IBC in Amsterdam this September, and can be previewed in Hall 8 on booth B52.

Visit www.ntp.dk or www.digitalaudio.dk

AUDIO

DPA Microphones Emphasises Superior Sound Quality MICROPHONE SOLUTIONS ALLOWING BROADCASTERS to capture studio quality live sound will be on show at DPA Microphones’ IBC 2018 booth in Hall 8, stand D70.

In conjunction with its Dutch distributor, Amptec, DPA will demonstrate a range of microphones that reflect the company’s core values of clarity, durability and consistency. With these tools, broadcast engineers can confidently capture sound across the entire dynamic range.

A highlight of the show will be DPA’s recently launched CORE by DPA amplifier technology that powers its d:screet miniature microphones. Apart from being used as lavallière mics, these are also suited to applications where microphones need to be hidden so that they are not visible to audiences.

Visitors to the booth can enjoy demonstrations from DPA experts showing how to conceal these microphones without detrimental effect on sound quality.

Since its introduction, CORE by DPA has been eagerly embraced by users in the broadcast, film, music, pro audio and theatre, because it lowers overall distortion and expands dynamic range, ensuring an even clearer sound.

DPA customers are extolling the benefits of DPA’s CORE d:screet 4061 Miniature Microphones, citing their ability to deliver an open and organic sound.

Producer, songwriter, musician and audio engineer, Mat Mitchell, said: “I like using a lot of room mics when I mix drums and the d:screet CORE 4061 mics sound so open and natural, and add a nice clarity to the drum mix. In addition, I tend to listen to tracks loud and the CORE technology gives me lower distortion and maintains the mics’ warmth and clarity even at high SPLs. If I want the sound of a room, I use my d:screet CORE 4061’s. Their flat response makes me feel like I’m in the room.”

The most recent addition to the CORE by DPA range is the d:vote CORE 4099 Instrument Microphone, which is designed for use with woodwind and acoustical instruments such as guitar, violin, cello and trumpet/saxophone.

Known for its discreet size and versatile mounting/clip options, the d:vote 4099 mic is ideal for a variety of applications ranging from the studio and theatre to live performances during primetime broadcasts.

To satisfy content makers such as live and mobile journalists, DPA will also be showing its pocket-sized MMA-A Digital Audio Interface, a two-channel

preamp and A/D converter that offers unprecedented audio quality across mono, dual, and stereo applications. The MMA-A works with any iOS device, Mac or PC computer, making it easy to broadcast directly or record sound anywhere. The MMA-A comes with interchangeable Lightning and USB cables for connectivity and MicroDot inputs that allow it to be connected to all DPA capsules, including the d:screet Miniature, d:fine Headset, d:vote Instrument.

It can also be connected to d:dicate Recording microphones, including shotgun microphones, via an optional MMP-G preamp. The MMA-A Digital Audio Interface will also be demonstrated at IBC. Visit www.dpamicrophones.com

AUDIO

Video Over IP Solu ons

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RADIO The original broadcast media

www.content-technology.com/radio

NOVA Looks to the Future with LAWO, ARISTA and PAT “WE THINK WHAT WE’LL END UP IMPLEMENTING is very much industry leading in terms of the way it all comes together and the way it will all be designed.”

That’s the word from Matt Steadman, NOVA Entertainment’s Head of Technology, on the audio, video and IP-based strategy the radio network has dubbed, the ‘Future Studios Project’.

It is a project that will take the broadcaster to a new level of production and delivery flexibility.

According to Steadman, “The project originally started as ‘how do we replace the existing on-air equipment and keep us still on air?’, that built up to what the company needs to do in the next 10 years, and it got even broader than that, so that’s when we engaged all of our internal stakeholders to start having a think about what the future should look like for a radio network.”

RADIO

That future not only features traditional radio broadcasting, but audio and video across a variety of platforms produced by collaborative teams situated anywhere in the country.

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key and party line assignments, drawing down pooled video and KVM resources, changing branding logo screens and the lighting profile to reflect the associated brand, and also connect remote talent affiliated with the show from anywhere else in the country.

“Our on-air audio routing will be handled by the Lawo systems now,” says Matt Steadman. “The advantage of that, and I’m not here to sell Lawo products, but one of the many things that we will be able to do is we can have a fully redundant audio network, so we can literally have two simultaneous audioover-IP networks running side by side, which obviously gives us a large degree of fault tolerance because we can take one of them down for maintenance or we can have a fault on one, and we have a completely identical audio network sitting next to it, which is something I don’t think any other radio network is doing, certainly in this country. So, Lawo is absolutely the key to it all in terms of getting our audio to air.”

The system is using AES67 as the primary audio connection medium including 256 channels of hitless protection on each LAWO Power Core.

LAWO Virtual Patch Bay (LAWO VPB) is also used for all virtual sound card applications as well as on board virtual mixers within the LAWO VPB instances.

Connecting all the frames together are up to 4 x ARISTA 7050TX2-128 switches per site with full IGMP and PTPv2 support built in. Each site is expected to have upwards of 8000 multicast audio streams.

“For radio nowadays, radio is becoming audio and audio is becoming video,” says Steadman, “so we knew we wanted to have out of the box some really useful video production tools, which isn’t traditionally what you’d expect to find in a radio studio. And, the other NOVA Entertainment Head of Technology, Matt Steadman. key feature that we were trying From a control perspective, the system to design into it was the ability to achieves such a dynamic workflow by dividing it into three logical core layers. delineate between where people physically are and where they broadcast to, The base level utilises LAWO’s Power Core frames with their internal logic so we came up with this concept called Any Studio Anywhere, which means our engines and audio mixing capabilities, paired with LAWO Vistool instances for talent really should be able to walk into any Nova network facility and with one touchscreen control interfaces to perform all day to day site operations such as swipe of their security pass, the whole facility should customise around their putting a show on air. needs and get them to air wherever they want to be.

From a video routing point of view, NOVA is employing Riedel’s MediorNet “Previously that sort of stuff was really a manual process, so our technologists video routing product which will be responsible for all video routing, both within would have to go in and plug this line into that studio and get the interstate and between each radio station. lines all hooked up and email someone to sort out some video feeds and those “If we have a breakfast host who is travelling,” explains Matt Steadman,” and sorts of things. We really just wanted to automate all of that.” we want to broadcast one of our Melbourne talent who’s based in Adelaide for To enable this vision of the future, NOVA turned to Professional Audio & the day. The ability for those guys to see each other and actually have full video Television. PAT will supply the FM network with LAWO radio technologies to capability between them is really becoming critical for us now. We’ll certainly replace and improve the ageing studio and MCR infrastructure for all of NOVA’s be looking at the Riedel platform to make all of that automated and a whole lot capital city radio stations, as well as On-Air audio infrastructure, AoIP Network better than it currently is in a manual setup.

Switches, and System Control and Scheduling.

“As we move down a video path, we want more configurable displays around Leveraging the arsenal of tools available, including LAWO Power Cores, LAWO the studios, so the screens that the operators look at to play the music, for Vistool, LAWO Virtual Studio Manager and DSA Volgmann Line Scheduler, example, at the moment that’s limited just to one screen in the studio. That’s Professional Audio & Television, LAWO and NOVA Entertainment have designed the screen that you look at and away you go. Whereas, down the track, we the new national Nova Network allowing for unprecedented levels of softwarewant that to be completely flexible, so each of our on-air teams could have defined control and redundancy. The system has been designed in such a way their own screen layout and they can show on each screen what they want to to allow 100 percent control for operational staff by presenting them with show. simple user interfaces driving a dynamic national platform. For operators, it can “There’ll be a pile of screens around the perimeter of the studio that we use be as simple as swiping an RFID card when they enter a studio, triggering the both for internal use, so if we have interstate shows we can put video images recall of personal pre-sets into the LAWO Ruby, changing Riedel Artist talkback

RADIO of interstate talent on the screens, we can put the station logos and advertise things up there. There’s a lot of new functionality that we really wanted to design into the whole thing.

“The other technology platforms we’ll be deploying, as well as the pure videos, the SDI video, we’re also implementing a whole pile of computer KVM routers, so if we want to put the output of any of our specific studio computers on any screen anywhere in the country, we need to be able to route that HDMI signal or SDI signal around the group. There’s an IHSE series of routers that are being installed specifically for computer signals. And the intent will be, so regardless of whether the image originates from a computer, or whether it originates as a video camera or a video source, it’s all just completely routable in the flat matrix. So, ultimately it will be fairly format independent to the operator.

“The last piece of the puzzle is VSM, Virtual Studio Manager, to effectively pull all that together. We’ve got two or three large routers that operate in their own domain and then we’ll be using the VSM software to control all of that and make it appear to the operators, and even to the first layer of technology, one complete system rather than three separate systems that we need to route around.

That’s obviously both within the facility and also across the country. When it’s all said and done, hopefully if we have a video camera sitting in Adelaide pointed at someone, it will be available pretty much anywhere around the group to display on any screen we might need or record anywhere.”

The role of the VSM is to interface these third-party devices into the LAWO Vistool interface allowing these devices to be both controlled in real time as well as captured as a part of snapshots taken for each show. Further, while saving snapshots specific to a single room is nothing new, LAWO Vistool, in combination with LAWO Virtual Studio Manager, can save a snapshot in any room and then go and recall that in any other room nationally – regardless of the room type or features available in the room. This is a feature which in the past has been available within LAWO’s Virtual Studio Manager for Television applications known as ‘Boxing’ and is now also available for Radio facilities.

Sitting above all national sites is the final layer of the system being DSA’s Line Scheduler acting as the national control and scheduling system. Line Scheduler can schedule events anywhere across the network, can manage permanent inter-site audio tielines as well as control all APT and Tieline audio codecs for external connections. The system nationally controls not only the audio infrastructure but every component allowing for extremely powerful templates to be captured for automating operations. Dynamic connections can also be instantaneously established using 2 linked templates and the swipe of RFID cards; particularly powerful in linking remote talent and producers to shows panelled from a remote site without prior configuration. Due to the deep integration, these dynamic connections create pathways for not only audio, but for video, comms and control as well, anywhere across the NOVA Entertainment network.

The overall design of the system was developed in close cooperation between DSA Volgmann (LAWO’s Radio R&D company), LAWO AG, NOVA Entertainment

Lawo’s newest radio console, Ruby, is the industry’s first to incorporate SMPTE 2022-7.

and Professional Audio & Television.

As the head contractor, PAT will be responsible for configuring, commissioning and delivering each national site over the next three years.

According to PAT’s Managing Director Patrick Salloch, “It is a tremendous honour to be involved with this project, having been selected as one of the key solutions providers. Our manufacturers, my team and I are looking forward to delivering what is without a doubt the most sophisticated national radio system in the country! The cooperation between all key stakeholders has been unsurpassed and the common goal of delivering something truly game changing has inspired everyone involved.”

LAWO CEO & President, Philipp Lawo, congratulated NOVA on their technology decision, “I would like to thank NOVA Entertainment for their continued support and belief in LAWO technology. After having delivered the Brisbane DAB+ and Streaming router for Coles Radio in 2014, it is great to see that we continue our strong relationship to deliver the most technologically advanced national radio system in Australia.”

“I guess, in some ways, this is fairly adventurous for the radio network,” says Matt Steadman, “because when we looked at what our programming teams wanted to try and achieve in the future, it was quite a challenge to look and see how we wanted to design it. What started as an equipment update and lifecycle project really turned into something a whole lot bigger as we explored what a radio network should look like in 2018 and beyond.”

PAT, LAWO and DSA are currently configuring the Sydney system, which will be followed by Melbourne, Perth, Adelaide and Brisbane. The completion of the overall rollout is scheduled for 2020.

Visit www.novaentertainment.com.au www.lawo.com and www.proaudiotv.com.au

RADIO

A LAWO Virtual Studio Manager cluster will be deployed at each site allowing deep integration between site level third-party devices including, but not limited to, the Riedel Artist Intercom System, Riedel MediorNet video routing platform, IHSE Draco KVM matrix router, ELC DMX lighting interfaces, Bright Sign digital signage players and even SIP VoIP routers.

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CONTENT DELIVERY Terrestrial, Mobile, Broadband

www.content-technology.com/delivery

UHD 4K on Trial Throughout ANZ THE MOMENTUM FOR TERRESTRIAL 4K UHD TELEVISION is building throughout Australian and New Zealand with the completion of trial broadcasts on both sides of the Tasman.

Broadcast Australia and Free TV, in partnership with ABC, SBS, have given the broadcast industry a taste of the future, transmitting Ultra High Definition 4K content live over the terrestrial platform.

The demonstration took place at July’s Next Generation Television Industry Showcase event and marked the first ever live transmission of 4K content over the terrestrial platform in Australia.

The live 4K content broadcast was a curation of local Australian stories and sport content from national and commercial broadcasters.

The showcase was held to celebrate the successful completion of the next generation DVB-T2 trials that were conducted over the past six months. The trials were undertaken to assess the performance and potential of DVB-T2 technology as a possible replacement for the DVB-T standard for digital terrestrial television delivery.

Attendees from across the political, broadcast and content communities, heard how the broadcast industry had come together to demonstrate what was possible on the television platform.

“The digital terrestrial television platform was launched in 2001 for the delivery of multi-channel surround sound and high-definition television content for Australian audiences,” said Free TV Director of Engineering, Roger Bunch.

“Seventeen years on, technology has now transformed the way our audiences are consuming content with platforms like Netflix and Amazon offering more 4k content than ever before, which the existing terrestrial platform doesn't have the ability to deliver.

“Over the last six months, the broadcast industry has been collaborating to trial next-generation television technologies in the Australian environment.

“DVB-T2 has the potential to replace the current DVB-T standard for television is capable of delivering 4K television pictures and immersive sound, meaning four times the picture quality of what we have today and cinema quality sound, significantly enhancing the viewer experiences as well as allowing greater programming opportunities for free-to-air broadcasters.”

CONTENT DELIVERY

According to Broadcast Australia CTO, Stephen Farrugia, “In March and April, we conducted lab trials to test transmission system equipment and consumer equipment comparability. This was followed by on-air trials from three transmission sites across Sydney – Gore Hill, Kings Cross and North Head. The trial was established to assess if the technologies can perform in the Australian environment and we can achieve significant greater capacity and performance than our existing digital services. The trial has demonstrated the capability our industry has when we work together to achieve ambitious goals.”

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Meanwhile, across the Tasman, transmission service provider Kordia has successfully carried out what it believes is New Zealand’s first 4K Ultra High Definition TV broadcast, beaming a range of 4K content in real-time to its Kordia TV channel (Freeview channel 201).

The official launch broadcast was held in front of key industry players at the Media Pacific Conference, which took place in Auckland on Wednesday 1 August 2018.

According to Dean Brain, Head of Media at Kordia, the successful demonstration proves that 4K broadcasting is here and that it’s a viable option for broadcasters.

“4K is already being enjoyed by a significant number of TV viewers via Netflix and Amazon. Our ultimate hope is that local broadcasters will get as excited as we are about 4K technology; and that they will move faster to bring 4K content to their viewers.

“Best of all, we’ve proven that we can do it right here, right now using existing Digital Terrestrial Technology (DTT), which we believe is the most reliable option when delivering 4K content,” Brain adds.

The demonstration is part of a wider initiative by the company to drive interest in 4K broadcasting. Kordia will feature a range of 4K content on its Kordia TV channel (Freeview channel 201), enabling industry players, interested parties and consumers with 4K capable TVs to enjoy premium quality content over the next three months.

“Seeing is believing, so we hope that by giving people a taste of just how incredible the 4K viewing experience is, it will help move things along a bit faster,” said Brain.

Content featured as part of the demo included a range of documentaries from Blue Ant Media (owners of Choice TV in New Zealand), as well as a range of other 4K lifestyle content.

Kordia TV 4K content will be viewable by most homes in Auckland provided they have a Freeview UHF antenna and TV or set top box that can receive a DVB-T2 and a HEVC signal.

Samsung New Zealand is just one of the companies supporting the initiative by Kordia.

“4K broadcasting is already rolling out in the UK and US with great success, so we’re very pleased to see progress being made locally. New Zealanders are already embracing the enhanced viewing experience 4K content provides on streaming platforms. In 2018 over 75% of Samsung TV sales are UHD, the time is right for the next innovation in broadcast to happen in this country,” said Jens Anders, Director of Samsung New Zealand’s Consumer Electronics division.

“For anyone who loves watching live sport, the prospect of 4K broadcasting is really exciting – finally New Zealand consumers will be able to experience all the energy of a live match in incredible definition, even if they’re watching a large screen 4K TV,” concluded Anders.

Visit www.broadcastaustralia.com, www.freetv.com.au and www.kordia.co.nz

CONTENT DELIVERY

VSN Launches Cloud-based Traffic and Scheduling Software VSN IS INTRODUCING VSNCREA, an HTML5 and cloud-based version of its previous VSNCreaTV software, at IBC2018 in Amsterdam (booth 7.B19).

Visitors will be able to see a first version of the new VSN software for TV, radio, and second-screen traffic and scheduling throughout the event, and discover how it enables the management of a company’s content production catalog, either owned or acquired from third parties, as well as its advertising, production workflows, programming and broadcast planning – all from a unique user interface.

Toni Vilalta, Product Manager at VSN, said, “We are very excited to be able to showcase the first version of our new cloud-based traffic and scheduling software at IBC this year. VSNCrea has been completely redesigned to offer broadcasters a brand-new, modern and user-friendly web interface that allows them to make quick and accurate decisions about when to broadcast a certain piece of content, thanks to its unified functionalities and workflows with a single interface. It will also provides useful extra information such as analytical data about the actual profitability of the content.”

In addition to a more intuitive interface, the new HTML5 version allows for greater customisation of the software, which can be adapted to meet the specific needs of each client through customised metadata and integration with third-party products and services.

Oriol Egea, Solutions Architect at VSN, said, “One of the direct user benefits, and, without a doubt, the major improvement compared to the previous VSNCreaTV, is that this new HTML5 version will be accessible anytime, anywhere, from any web browser and device by multiple users simultaneously. Also, the possibility of running this software in the cloud will enhance the ability of users and departments to work together on a more collaborative basis.”

The system, that will become available to customers in 2019, can be used specifically within TV channels, radio stations, or web TV platforms for traffic and scheduling, programming planning, advertising management and control of third-party TV rights acquired for broadcast, among others.

Other features will include the ability to change language within the user interface, the consolidation of the final broadcast and the analysis of the programming and content return on investment through analytical reports.

Overall, VSNCrea is being designed to improve the efficiency and flexibility of broadcast professionals, allowing them to organise and control their channel’s programming at all times.

Show attendees interested in discovering more about VSNCrea can visit the company’s demonstrations on booth 7.B19.

Visit www.vsn-tv.com

Managing live content and distribution where it is unmanaged.

RelayCaster We understand that moving content and real time media can be tough in live environments. Discover the RelayCaster – changing the protocol for distribution of live content over IP: ❙ Optimized Quality of Service in unmanaged IP networks ❙ Low delay times even over long distance Internet links ❙ Field proven transmission quality – can fix packet loss and jitter issues ❙ A Cost effective alternative for satellite links and CDN contracts ❙ Integrated encryption and monitoring for peace of mind

CONTENT DELIVERY

Learn more at www.rohde-schwarz.com/relaycaster sales.australia@rohde-schwarz.com

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CONTENT DELIVERY

Imagine Showcases Business Transformation Strategies IMAGINE COMMUNICATIONS INVITES ATTENDEES at IBC 2018 to visit its stand at the Amtrium, 4.A01. Industry experts will be on hand to demonstrate practical innovation and migration strategies that enable media companies to personalise the path and pace of their transition to next-generation architectures and business models.

IBC attendees are invited to bring their technical, operational and business questions to Imagine experts who can share insight on key industry issues from how SMPTE ST 2110 actually works in the real world, to how value can be extracted from remnant advertising inventory, to when it makes sense to virtualise playout operations or transition content origination and distribution to a public cloud.

“The end goal of an all-IP environment is now widely agreed upon across the industry, but the journey will be unique to every customer,” said Imagine CEO, Tom Cotney. “The timing and availability of capital will be different for every customer. And there are various schools of thought about when to buy into the maturity curve of new technology. Our goal is to serve our customers regardless of how the variables converge for them and help them meet their goals.”

Cotney continued, “With their businesses in transition, our customers need partners, not vendors. Partners need to have a complete understanding of how a media company makes money today and where capital is being applied to enable them to compete – and be ready with a solution that matches their strategy. People come to Imagine because we can take a 360-degree view of their business and present them with a new technology solution or the migration strategy that is right for them.”

At IBC 2018, Imagine Communications will demonstrate practical innovation and strategies for making a gradual, managed transition to next-gen architectures and business models across three major solution pillars.

Ad Tech Visitors to the Imagine stand can explore a unique portfolio of integrated inventory management and optimisation, data analytics and targeted delivery solutions designed to help media companies increase revenue and decrease costs across multichannel, multiplatform and multimarket operations.

Highlights include the worldwide debut of xG Scorecard, a business intelligence solution that provides at-a-glance, real-time insights and precise knowledge of how spots drive sales for advertisers. The first-of-its-kind reporting tool blends data from traditional sales and traffic systems, operational databases, ratings,

clickstream and even social networks into a single view that can be customised to meet the needs of specific users. By bringing together data that is normally siloed, xG Scorecard simplifies the process of discovering trends and spotting correlations vital to growing a media company’s business.

Live Imagine will showcase its latest innovations for live production, including industry-first, high-capacity 100GbE network links, an intuitive live sports control panel that provides enhanced automation break manipulation, and SMPTE ST 2110-capable processing for HD, UHD and IP. Highlights include a demonstration of Imagine’s ward-winning Selenio Network Processor and UHD-ready EPIC MV multiviewer working together to efficiently monitor the signals of multiple dedicated screens, with inputs and monitor outputs all in IP. To address the enormous bandwidth challenge associated with monitoring uncompressed UHD signals, SNP makes a proxy signal from every UHD signal that it touches in both directions. EPIC MV uses these proxy signals – which are full-colour, full-frame-rate, and typically HD resolution – rather than the UHD original, resulting in a significant reduction in overall system cost.

Playout Visitors to Imagine can get hands-on experience with proven, nextgeneration playout innovation, such as Versio Platform, the first cloud-native, microservices-based playout ecosystem, Versio IOX, the only high-availability, parity stack, multi-petabyte storage solution designed from the ground up for the reliability and performance demands of broadcast; and Nexio+ AMP, the industry’s highest-density media server with hybrid SDI/IP and H.265 capability.

Imagine will also demonstrate various transition scenarios for migrating from traditional to next-generation playout operations at a pace that works for each individual customer. For example, media companies using Imagine’s ADC and D-Series automation can continue on their platform of choice, while layering in new features and capabilities that the Versio playout engine offers. As customers seek more flexibility in deployment platforms, move to standard commercial off-the-shelf (COTS) infrastructure, or consider datacenterbased or cloud-ready operations, Imagine offers multiple transition paths for seamlessly migrating ADC, D-Series and Nexio+ customers to Versio Platform.

Visit Imagine Communications at IBC 2018 at the Amtrium, stand 4.A01.

Visit www.imaginecommunications.com

Agama Offers Containerised Solutions for Video Monitoring and Analytics AGAMA TECHNOLOGIES RECENTLY ANNOUNCED the launch of a fully containerised solution for monitoring, analytics and customer insights. This new functionality will be showcased at IBC 2018.

The continuous evolution of OTT and other video services increase demand for flexible deployments and operations. Agama’s solutions now offer full support for cloud-based and containerised services throughout the operator’s production environment. These cover virtualised in-house

“We are proud to introduce container-based support for our products that enable operators to efficiently and quickly deploy systems in any

Visit http://www.agama.tv

“Today’s market requires any vendor to be at the forefront of cloud and virtualisation” said Johan Görsjö, Agama Director of Product Management.

CONTENT DELIVERY

Containers allow for efficient use of computational resources. They provide fine-grained scaling and deployment of services instead of monoliths, as well as reduce dependencies between components. This lowers cost, reduces risks and increases operational agility for DevOps teams.

All Agama software has the possibility to deploy in container environments, such as Docker. The solution has extensive automation features, enabling systems to be automatically deployed and configured using the orchestration tool of the operator’s choice, such as Ansible or Chef – all to fully realise the potential that containers give.

deployments as well as public cloud environments, such as AWS and GCE.

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environment: cloud, on-premises, or any combination, to support customers wherever their video services are created and consumed.”

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FOR OUR ADVERTISING RATES AND OPTIONS Contact Adam Buick adam@broadcastpapers.com or +61(0)413 007 144

CONTENT DELIVERY

Appear TV Provides Optimal Experience for Any Device

Edgeware’s Glitch-Free Ad Insertion and Anti-Piracy Content Delivery

TODAY’S VIEWERS WATCH CONTENT ACROSS MYRIAD DEVICES. As part of Appear TV’s OTT software portfolio, the Adaptive Bitrate Linear Packager (ABR) provides different resolutions and video streams depending on the type of device being used, while maintaining quality video. It adapts video quality to changing network conditions dynamically, providing optimal user experience according to bandwidth. Appear will showcase the ABR Packager at IBC2018 on booth 1.C61.

EDGEWARE WILL SHOWCASE demonstrations of several technology applications at this year’s IBC Show. These include its forensic watermarking anti-piracy solution and server-side OTT ad personalisation.

ABR is more than a packager. It is a video segmentation engine that provides high-performance storage with internal and external options, justin-time packager/DRM engine, origin server and optional offline encoding/ transcoding. The software complements an encoder to produce streamable content and can adapt to varying workflows without affecting the end-user.

In a typical workflow, the ABR Packager is connected to a Digital Rights Management (DRM) system that provides security of the content, while working with content management systems and middleware systems for delivery to the end-user. The ABR Packager offers an unlimited ability to store recordings ranging in length from seven days to 100 days, and more.

Scalable to the user’s requirements, the ABR Packager can fit into small installations while also managing upwards of 1,000 channels.

In addition to programmatic television and VOD, the ABR Packager can also act as an efficient web publishing system for highlights and clips – live TV news, weather, and sports.

When using Appear’s ABR, providers can make on-demand content viewable immediately, with no lag from when a program is broadcasted on traditional TV to its availability as a VOD. The software also has blackout functionality allowing users to filter out programs that are not ready for VOD or web. This ensures only approved content is available and viewable to the end-user.

Another feature of Appear’s ABR is its ability to save and promote ad markers, which can be used by a third-party system to replace ads in the program to target relevant user groups. This ad tagging opens the door for additional revenue streams within content.

The packager is easy to integrate into an overall service infrastructure with a complete set of REST-based APIs that allow full control over functionality.

The goal of ABR is to simplify operational environments through great redundancy features.

Visit www.appeartv.com

On stand 14.F20, Edgeware will be presenting its Ad Enabler solution which allows for the personalisation of ads during live OTT, live-to-VoD and timeshift TV services. It supports HLS, for delivery to Apple devices, and MPEGDASH for Android devices – making Edgeware one of the first to support live server-side, OTT ad insertion to the operating system.

Ad Enabler uses frame-accurate segmentation to pinpoint exact moments within TV programming. Edgeware’s ad stitching solution detects these markers, and through an integration with Yospace and a VAST-compatible ad decision server, fetches the personalised ad and stitches it into the content stream. The TV programming and the ad is then streamed from Edgeware’s TV server to viewers.

Also on the stand, Edgeware’s TV Watermarker will show content distributors how to protect their TV programming. With internet-delivered services continuing to draw viewers away from traditional broadcasts, anti-piracy measures are becoming increasingly important. TV Watermarker uses a bitstream-based solution which can be used on-the-fly by Edgeware’s TV servers while streaming.

The demonstration will show how the solution encodes a visual code into the program’s image which is unique to each viewer and therefore much harder for pirates to identify and alter. If a stream is illegally redistributed by an unauthorised source, TV Watermarker can identify the pirate within 15 seconds.

Commenting on the technology presentations, Edgeware’s Richard Brandon said, “Demonstrations of our anti-piracy measures always gain a lot of attention throughout these industry events, and it’s easy to see why. We’re showing a powerful, real-world solution that lets content distributors identify pirates who are illegally redistributing expensive programming. And ad personalisation is a great additional opportunity for revenue for many of our customers. Now they can deliver it glitch-free to any device.”

These technology demos are part of the beyond broadcast experience that Edgeware is presenting at IBC2018. With more people than ever choosing non-broadcast services for reasons of convenience or higher-quality, content owners and distributors need to deploy a distribution workflow that enables them to take advantage of internet-delivery to deliver an experience surpassing traditional broadcast.

Visit www.edgeware.tv

PEBBLE BEACH SYSTEMS WILL BE DEMONSTRATING interoperability with a range of solutions across multiple IP standards in an ‘IP in Action’ feature on stand 8.B68 during IBC2018.

Pebble’s IP Playout Pod is the latest initiative from the automation, workflow and playout specialist. The company will showcase SMPTE 2022-6/7, SMPTE 2110, NDI, and the NMOS suite of standards in a playout chain designed especially for IBC featuring vendors including Arista, Embrionix, AJA, Vizrt, Tektronix, Newtek, Matrox, Atos, and Suitcase TV. As part of the IP playout demonstration, Pebble Beach will be demonstrating a new open standard ‘Event and Tally’ protocol for signalling events in real-time.

Under development as part of the AMWA initiative, this is a vendor-agnostic protocol which allows for the exchange of signals across a network, much as GPI triggers have traditionally been used. For the broadcaster this offers interoperability between systems built using COTS hardware in a softwarebased IP/NMOS environment, with tally indicators signalling when a state is changed or in response to user actions.

In addition to the IP Playout Pod, Pebble Beach technology will be on display in interoperability demos on the Cisco and Arista stands, and Pebble Beach will once again be participating in the IP Showcase in room E106.

Visit www.pebble.tv

CONTENT DELIVERY

Pebble Beach Showcases ‘IP in Action’

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ASIA ASIA +ANZ +ANZ

C+T AUSTRALIA-NEW ZEALAND FEATURES + DEADLINES 2018 ISSUE Nov-Dec

EDITORIAL + AD DEADLINES

PUBLICATION DATE

Editorial Submissions: 17-10-18 Ad Bookings: 23-10-18 Ad Artwork: 01-11-18

2nd Week November

PRODUCT ROUND-UP +C hannel-in-a-Box Solutions +C able & Satellite Delivery +P roduction, Post & Locations round-up

SHOW COVERAGE + Preview: Screen Forever Conference

C+T ASIA FEATURES + DEADLINES 2018 ISSUE

EDITORIAL + AD DEADLINES

Oct-Nov

Editorial Submissions: 01-10-18 Ad Bookings: 08-10-18 Ad Artwork: 15-10-18

PUBLICATION DATE

3rd Week October

PRODUCT ROUND-UP + Cable & Satellite Delivery + Digital Asset Management Solutions + OTT/IPTV/HbbTV Solutions

SHOW COVERAGE + Preview: CASBAA (Cable& Satellite Broadcasting Assoc of Asia) + Preview: Broadcast Indonesia

PHIL SANDBERG

ADAM BUICK

LUCY SALMON

PUBLISHER/EDITOR

ADVERTISING SALES MANAGER

CO-FOUNDER

He has also produced the ABE2016, Sportscasting (2014-2016), and 3D-Day (2011) industry conferences.

Adam’s previous role as Manager of the SMPTE Australia Exhibition, along with strong family ties in Australia and SE Asia, has given him a unique perspective on the broadcast and content creation sector throughout the region.

Co-founder and Production co-ordinator Lucy Salmon has worked with Broadcastpapers.com since its inception.

She also holds a PhD in the field of sports medicine.

Contact Phil via +61(0)414 671 811 or papers@broadcastpapers.com

You can contact Adam on +61(0)413 007 144 or adam@broadcastpapers.com

You can reach her via +61(0)412 479 662 or production@broadcastpapers.com

Phil Sandberg has spent 28 years reporting on technology issues across the Asia-Pacific.

His credits include launching Content+Technology, Broadcastpapers.com, the SMPTE Australia Exhibition, Directory, and Cinema Technology Asia-Pacific.

What’s On SEPTEMBER InfoComm India 18-20 September Bombay Exhibition Centre Mumbai, India www.infocomm-india.com News Technology Summit Hilton Baltimore BWI Airport 25-26 September Linthicum Heights Maryland, USA www.newstechnologysummit.com OCTOBER IEEE Broadcast Symposium 9 -11 October Key Bridge Marriott Arlington Virginia, USA https://bts.ieee.org/ broadcastsymposium Prolight + Sound Shanghai 2018 10-13 October Shanghai New International Expo Centre https://prolight-sound-shanghai. hk.messefrankfurt.com

NAB Show New York 2018 AES New York 2018 17-18 October Jacob K. Javits Convention Center New York, USA www.nabshowny.com www.aes.org

Asia Video Summit (Formerly CASBAA Convention) 29 October-1 November Hong Kong www.casbaa.com

Advertiser Index

NOVEMBER

Chinamedia.TV…………………….…………….IBC

Radio Alive 2018 19 October 2018 Melbourne Convention & Exhibition Centre Melbourne, Australia www.commercialradio.com.au

CBAA Conference 8-10 November Gold Coast Convention Centre Queensland, Australia www.cbaa.org.au/conference

EMC…………………………………….………………5

SMPTE 2018 Annual Technical Conference & Exhibition (SMPTE 2018) 22-25 October Westin Bonaventure Los Angeles, USA www.smpte2018.org Broadcast Indonesia 24-26 October Jakarta International Expo Indonesia www.broadcast-indonesia.com Broadcast India 25-27 October Bombay Exhibition Centre Goregaon, Mumbai, India www.broadcastindiashow.com/

InterBEE 2018 14-16 November Makuhari Messe Chiba, Japan www.inter-bee.com/en/ Screen Forever 20-22 November Crown Conference Centre Melbourne, Australia http://screenforever.org.au

Amber Technology……………….………………….9 Blackmagic Design………………….……………..11 Central Audiovisual……………….………………..4

Fujinon Fijifilm………………………………….46,47 Grass Valley…………………………………….……17 IHSE GmbH Asia Pacific………………….………6 IRT Communications…………………….………..10 Jands………………………….………………………..37 Lawo………………………….…………….…………21 Magna Systems & Engineering…………….IFC MediaHub…………………………….……………….3 Mediaproxy……………………………………….…33 Ooyala……………………………….………………..13 Professional Audio & Television……Cover,7 Riedel………………………………….……………..23 Rohde & Schwarz……………….……………….43 Ross Video………………………….…………………25 Seagate/Lacie……………………….……………29 Stagetec……………………….……………………..39 Superloop……………………………….…………OBC Techtel………………………………….………….….19

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