Content+Technology ANZ April 2019

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V0LUME 16 ISSUE 2 APRIL 2019

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50 YEARS OF INNOVATION. STRONG PARTNERSHIPS. SUCCESSFUL SOLUTIONS. LASTING RELATIONSHIPS. For the last 50 years we have been safely navigating our clients through an ever-changing landscape of broadcast media and telco technology. From analogue through digital to the cloud, we’ve stayed ahead of and embraced these changes, gathering the knowledge and expertise required to provide the very best solutions and positive outcomes for our clients.

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Cover Story – Network 10’s Bold New Look... page 23.

REGULARS 02 EDITOR’S WELCOME 04 NEWS NZ Racing Board Tightens the Reins with Lawo’s VSM, Network 10 Scores with Rugby World Cup, Story Match – Tinder for Journos, People Moves.

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46 INDUSTRY FOCUS 48

DATES AND RATES FOR 2019

10 FEATURES 10 NABSHOW2019 Preview 14 ACQUISITION ARRI Looms Large, Alpha I Takes on Wide Angle Distortion, plus new cameras, lenses and accessories from Fujinon, Cooke, Leica, Atomos and more.

35 AUDIO BirdDog Releases World’s First

NDI Audio Intercom Solution, NUGEN Audio Updates Halo Downmix with Netflix Preset, plus New Audio Software and Hardware.

40 RADIO Australian Radio Network

Undertakes Studio Refurb with AVC Group and Telos, Factum Radioscape Powers Australian DAB+ Expansion, New Radio Tech.

18 SPORTSCASTING Grass Valley in Remote Production Trial for Rugby World Cup, Kayo Sports Selects AWS, Telstra Provides Broadcast Distribution for Lagardere and AFC Asian Cup, Sportscasting Tech at NAB.

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NEWS OPERATIONS Network 10

reboots news, AFP Launches Content API, Newsgathering Kit on the NAB Floor.

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CONTENT DELIVERY NZ 5G on Track for 2020, Second Phase of DVB-T2 Trial in QLD, PSSI and Sydney Teleport Services Launch New Gateway.

28 POST-PRODUCTION SAE Goes Virtual,

Red Giant Expands Universe and Trapcode Suite, Maxon Upgrades Cinebench CPU Tester, Frame by Frame HDR to SDR Conversion, and more.

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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 Silver Trak Takes Sony BVM-HX310 Monitor for 4K HDR QC, Linius Tests World’s First Virtual-Video Blockchain, plus New Media Management Solutions.

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EDITOR’S WELCOME

Failbook – Why Do We Bother?

The appalling, senseless killing of innocent people during worship in Christchurch, New Zealand, has highlighted the toxic nature of social media.

By Phil Sandberg

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The ACMA’s investigation will focus on any content of the perpetrator-filmed, live streamed footage of the shootings that was broadcast on Australian television.

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The Australian Communications and Media Authority (ACMA) has commenced a formal investigation into whether content broadcast by commercial, national and subscription broadcasters of the terrorist attack in Christchurch breached current rules.

The ACMA is also concerned about content made available or linked to on broadcasters’ websites. While this is currently beyond its regulatory remit, the ACMA says it is in close contact with the Australian Press Council as it reviews its members’ coverage of the attack.

In the first instance, ACMA Chair Nerida O’Loughlin will write to the CEOs of the commercial, national and subscription broadcasters requesting urgent information on the nature, extent and timing of the broadcast of content relating to the shootings, in particular from the day of the attack.

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“With SKY NZ’s agreement, we took the pre-emptive and precautionary step to switch our live news feed to sports coverage early [that] Friday evening to ensure any live coverage or commentary taking place in Australia, outside of the NZ jurisdiction, does not impact the unfolding events in NZ. “On Friday, in line with other Australian broadcasters, we ran heavily-edited and carefully selected video that featured no vision from inside the mosque, no shootings and no victims. At no stage did we feature the live vision.

“Sky News Australia acted responsibly and prudently to replace the live news service in NZ as soon as we were able to.”

Of course, that didn’t stop individuals outside of New Zealand posting footage online, or reposting the original livestream – and that brings us back to social media, and Facebook.

Something has to change. The hate has to stop. The world is better than this.

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Of course, traditional media outlets have much to answer for as well, as they have for a long time, but they are forced to operate under an established regulatory framework. There is accountability.

According to CEO Paul Whittaker, “As the live events began to unfold, we contacted our colleagues at SKY in NZ to alert them to the risks of broadcasting coverage from Australia and its potential to compromise the NZ investigations and legal process.

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It is simply not good enough for them to throw up their hands as they have done over privacy, over negative impacts on businesses, over paying their fair share of taxation.

For its part, Sky News has claimed to have acted responsibly during the Christchurch massacre.

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The genie is out of the bottle, but like the ride sharing and food delivery platforms incubated via the Internet, social media networks need to be brought to account. If the technology exists for traditional media rights holders to rapidly track down pirated programme streams and close them down, social media platforms should and must lift their game to deny hate a voice.

Among the outlets to be put to this scrutiny will, undoubtedly, be the various mastheads of News Corporation. Even the most impartial observer would have to conclude that Newscorp’s papers and electronic outlets, notably “Sky News After Dark”, have given a platform (and therefore encouragement) for views that would not have seen the mainstream light of day 20 years ago (because enough people still remembered why we fought Nazism during WWII).

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FACEBOOK, IN PARTICULAR, has become a cesspool for incivility at one end, and a springboard for hate at the other. After numerous data breaches, the undermining of businesses within its eco-system, and the live-streaming of people being killed, one has to ask does it, and other social media platforms, deserve a place in our lives?

------------------------------------------------------------------------On a brighter note, it’s that time of year again – NABShow time. If you’re journeying to Vegas, by all means feel free to join us at the Aussie/Kiwi night on Saturday April 6 from 7.00pm at ‘Le Central Bar’ in the Paris Casino.

Longue vie!

Thanks for reading

The ACMA will also request urgent meetings with the peak industry organisations – Free TV Australia and the Australian Subscription Television and Radio Association – to discuss whether current rules are providing adequate protections for Australian audiences.

Phil Sandberg – Editor/Publisher papers@broadcastpapers.com +61(0)414671811

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NZ Racing Board Tightens the Reins with Lawo’s VSM HAVING DEVISED ITS VISION CAPTURE PROJECT to move beyond established broadcast workflows and OB in 2017, the New Zealand Racing Board (NZRB) recently called on solutions from German broadcast developer Lawo to further revise and streamline its production model. Now operating four OBs instead of six, with three Mercedes Sprinter vans and a fixed site to cover metropolitan race events from a central control room, using Lawo’s Virtual Studio Manager (VSM) provides integrated control.

NZRB handles New Zealand’s Totalisator Agency Board (TAB) operation for thoroughbred, harness and greyhound racing, scheduling daily racing and selling racing and sports bets through a retail network, online and telephony channels.

NZRB is also behind the broadcast of racing on two national television channels and Trackside Radio.

In 2017, and with OB trucks that were close on a decade of very hard use, the NZRB faced 1100 OB days racing across the country each year – the number of events and variety of scale bringing into question its previous production standards and raising the opportunity of mixed OB and Remote Production.

Following moving to an IP Layer 3 network, Phase 2 of the project saw the NZRB team work with Sony on four HD-capable and scalable OB trucks to cover its existing and very demanding nationwide OB workflow. As part of this design the NZRB team identified VSM as integral to achieving the same flexibility and scalability as seen in the Remote Production model, allowing the shared use of ‘Expansion’ vehicles to seamlessly enhance capability such as extra workspaces and camera count.

VSM provides operators with overarching control over their systems in an extremely adaptable way – user panels and interfaces can be configured without limitation in order to meet the requirements of different workflows and applications, with the whole system under redundant control.

“One of the key selling points of VSM was the portfolio of support and compatibility for third-party protocols, in addition to Lawo’s own products with Ember+. This was key given the wide range of products used in the design of the HD OBs, without compromising on capability,” says NZRB Broadcast Engineer, Michael Tompkins.

As Lawo regional representative, Professional Audio & Television (PAT) was instrumental in the successful application of the advanced technology underlying the migration.

“Initially, we had several whiteboard sessions that gave us confidence we had a solid idea that could work,” says NZRB’s Vision Capture Project SME, Jamie Annan. “PAT had the knowledge and expertise to assist in design, configure and

The OB design had to maintain the NZRB’s ability to cover the full extent of its racing, but be physically smaller in size, while also providing greater cost efficiencies across the production. Internally, the trucks had to provide costefficient yet scalable industry-standard capabilities – requiring VSM to provide integrated control of switchers, routers and a replay server as well as the connecting network. The basic daily OB setup for a truck covers running up to ten system cameras, with capacity for 12 and other SDI, Commentary, Presentation area and roaming interviews, on a typical day internal crew is Director/Vision switcher, Sound Op, Replay op, Engineer and a Vision Control op – all operating from within the truck.

VSM supports all of these requirements, with the capacity to adapt to any future changes or expansion of the NZRB broadcast operation.

Visit www.lawo.com and http://proaudiotv.com.au

Corsair to Represent Magewell in Oceania

AUSTRALIA’S NETWORK 10 will be the free-to-air home of the 2019 Rugby World Cup after securing broadcast and digital rights, including live streaming and catch-up, to the biggest games of the tournament.

CORSAIR SOLUTIONS, the Australian distributor of professional and commercial audio visual products, recently announced it has signed an agreement with Nanjing Magewell Electronics Co, the China based manufacturer of professional capture, conversion and encoding devices.

The 2019 Rugby World Cup will be played in Japan from Friday the 20th of September until Saturday the 2nd of November. It is the first time the tournament will be played in Japan.

Network 10’s Head of Sport, Matt White said, “It’s fantastic for the game and for fans to see the Rugby World Cup expand into a new emerging market like Japan. And for Australian fans, the great thing is that matches will be played in a country with a similar time-zone. The tournament fits perfectly into our schedule, complementing other major sporting events in our calendar. We can’t wait to bring the best games of the tournament to Australians across all of our platforms.”

NEWS + PEOPLE

Using the 1Gbps Layer 3 network between remote site and control room, and 10Gbps Layer 3 between control rooms, the new model uses a mix of J2K, SMPTE 2022-6, and AES67/Ravenna to provide video and audio between each layer of production under a VSM control system run from two separate locations, ensuring geographical redundancy.

Network 10 Scores with 2019 Rugby World Cup

As part of the agreement, Australians can enjoy 10 of the very best games from the Rugby World Cup live and free on Network 10 and 10 Play including every Wallabies game right up to and including the final.

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troubleshoot a system using the equipment they sold, rather than being there just to sell a product.”

The 2019 Rugby World Cup joins other major sporting events on 10 in 2019 including the Supercars Championship, the MotoGP, the Australian Formula 1, The Rugby Championship, the Bledisloe Cup and the Melbourne Cup Carnival.

Visit https://tenplay.com.au

“We are really excited about working with Magewell and formalising their channel distribution in the Oceania region,” says Mark Lampard, Managing Director of Corsair Solutions. “Magewell has been a capability and innovation leader in the video capture space over the last seven years, and their expansion into encoding devices really shows that they understand the needs of our customers and the industry as a whole”.

“I look forward to working with Corsair Solutions and bringing Magewell products to customers across a number of untapped vertical markets in Australia, New Zealand and the wider Oceania region” said Johnny Liang, Account Manager of the Oceania region for Magewell. “Magewell is continuing to expand its innovative offerings into new product categories such as the Pro Convert and Flex IO lines, and we believe that the team at Corsair Solutions is the right partner to bring these products to market”.

Visit www.corsairsolutions.com.au and www.magewell.com

Stream broadcast quality live events instantly over the internet with ATEM Television Studio HD and Blackmagic Web Presenter!

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ATEM Television Studio HD is a true professional live production switcher with 4 SDI and 4 HDMI inputs. Simply connect cameras, gaming consoles and computers, then start cutting your show live and in realtime using transitions such as dissolves, dips, wipes, custom graphics, logos and more. You even get a built in DVE so you can create exciting picture in picture effects for use with interviews and live commentators!

The output of the switcher can then be connected to Blackmagic Web Presenter, which has a built in broadcast quality down converter for easy encodes of the video for

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streaming. The video is sent to your computer via USB, just like a webcam, so it works with any software. Stream live using services such as YouTube and Facebook Live using software such as Open Broadcaster or XSplit Broadcaster. It even works with Skype for professional remote presentations.

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ATEM Television Studio HD .................... $1,515 Blackmagic Web Presenter ...................... $755

NEWS + PEOPLE “Tinder for Journalists” Provides a Story Match LOOKING TO MATCH UP BRANDS and public relations firms with journalists, Australian PR veteran Dionne Taylor has launched Story Match, an app which does just that. Yes, it’s Tinder for journalists.

According to Taylor, owner of comms agency Polkadot Communications, the processes for pitching journalists and news organisations used by brands and PR firms are now “quite antiquated”.

“We’re still implementing the same communication methods as we were ten, 15, 20 years ago,” she says. “I have also been a journalist, so I’ve sat on both sides of the fence and, in my experience, journalists just want the story. They just want to know what the hook is and the angle, and they don’t want to receive unnecessary pictures. At the same time, a PR person only wants to issue out a pitch that’s going to be relevant to media.

“Now, we rely on third-party resources to download databases, those databases are not accurate. Media move around all the time and we also want to improve our efficiencies in the way that we pitch stories for journalists. So, I thought the next technology in multiple industry sectors is via an app and how can I improve the efficiencies between the communication on both sides of the marketplace?”

Launching in April, Story Match is a mobile and desktop platform that journalists to set up a profile by creating industry tags that are only of interest to them. They can also choose the location of where these stories come from, so it can be state and territory specific or it can just be the whole country. They can also link their LinkedIn, Twitter and Instagram handles and embellish information a little bit more about themselves. Once a journalist has set up their profile, they then open the app and get notifications if a story matches their interests.

“On the other side of the platform,” says Taylor, “the other user base being a brand or a PR person, if they want to pump out a story suggestion to a journalist instead of writing a press release that goes back and forth between the clients and the agency, multiple rounds of changes, agency hours costing the client lots of money – they are able to pump out a pitch which is a very abbreviated version of what a traditional press release would be.

“Basically, the PR person or the brand can add a story headline – which is 150 characters – and then can add the story – which is 500 characters.

They then can embellish it with images or videos that are low res, just to peak the interest of the journo. Then, this is where the magic happens, they

add industry sectors to their story. So, if it’s a story that’s tech-related, they would hit the tech industry tag. If it’s news, they hit news, etc. It would set the location based on where the story is relevant to.

“The story then, you have the option of setting the expiration period, so it can either expire in seven days, 24 hours or 30 days and then it goes live onto the platform. If the journalist and the story being posted match on industry sectors, the journalist will see the story. If they don’t like the story, they swipe left or they hit the cross button. If they do like the story, they swipe write or hit the tick button.”

Following the April launch, Taylor says the next development on the app’s roadmap will allow journalists to put out calls to agencies and brands for leads/content suitable for stories they might be working on. Initially targeting the Australian market, Taylor says the platform will eventually roll-out internationally.

Visit www.storymatch.com.au

Zattera Takes on Biz Dev at Pacific Live Media INDUSTRY VETERAN RIC ZATTERA has been appointed to the role of Business Development Manager with Pacific Live Media.

Business Development role for some time. To be able to fill that need with

Ric’s previous roles include technical positions with the Overseas Telecommunications Commisssion (OTC) and Network TEN, and sales engineering positions with AMPEX and AMtech Australia. He was most recently Sales Manager – Broadcast Solutions with Grass Valley.

Live Media, and I’m excited about what the future holds working together”.

In his new role with Pacific Live Media, Ric will be responsible for driving sales and customer engagement primarily on their expanding product lines including Ross Video, ABonAir, VideoFlow, OBE, Cobalt, T21 and SoloCam.

NEWS + PEOPLE

According to Chris Dredge, MD at Pacific Live Media, “With an expanding product line up, we have had a need to add the right person into this

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someone of Ric’s experience and skills is an exciting step in the life of Pacific Ric Zattera added “I’m also excited to help grow Pacific Live Media. With the increasing demand for live productions and with Pacific Live Media’s background in providing solutions for small to medium-sized production companies and a strong doctrine for customer success, I strongly believe this is the right time for them to be expanding their business.”

Ric can be contacted at ric@pacificlivemedia.com Visit www.pacificlivemedia.com

Welcome to

Broadcast 3.0

Network 10 Picks Lotame as Data Partner

NETWORK. AUDIO. VIDEO. CONTROL. three billion additional audience profiles with our existing data set, giving

NETWORK 10 HAS SIGNED a partnership with data management platform Lotame as it continues to accelerate the roll out of its data solutions.

The partnership gives 10 access to Lotame’s extensive third-party data sets, one of the biggest in the world, delivering unrivalled depth in audience targeting.

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advertisers the opportunity to create deeply targeted and relevant campaigns with us, at scale.”

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Network 10’s director of 10 Interactive Christian Williams said: “We’re continuing to invest in our digital platforms, 10 Play and 10 Daily, to attract our key under 50s audience into our ecosystem. We’re seeing audiences across these platforms growing at an exceptional rate.

Lotame’s clients include IBM, Ticketek, Annalect, and Omnicom Media Group.

Network 10’s partnership with Lotame follows recently announced partnerships with real-time data customer solutions company Tealium and data technology agency Venntifact.

Visit https://tenplay.com.au and www.lotame.com

“Our partnership with Lotame means we can leverage their more than

Silver Trak Launches Cinema Distribution Platform SYDNEY-BASED MEDIA LOGISTICS COMPANY Silver Trak Digital has partnered with broadband and satellite support provider IPSTAR and KenCast to launch Cinecastar, a new method for providing rapid cinema content distribution in Australia and New Zealand.

The service, currently operational throughout the US, takes the traditional DCP, uploads it to the KenCast secured cloud-based distribution platform and server and automates the forward transmission and download to participant cinemas wherever connected in Australia and New Zealand.

As Silver Trak COO Christian Christiansen explained, “The cost and efficiency advantages of using Cinecastar are significant with the removal of physical HDD delivery and the instant recognition of content delivery.”

Silver Trak Digital’s extensive experience in processing, creating and QC analysis of DCPs plays an integral part in the preparation of the content for satellite transmission and is completely integrated into the delivery service alongside the company’s traditional services including DCP creation, KDM management and HDD delivery.

Christiansen continued, “There are major benefits to distributors and exhibitors including reduced total cost of ownership by providing a secure and efficient end-to-end IP delivery platform. We are also using proven KenCast technology that securely and efficiently delivers content to over 2700 cinemas in the US and reports on delivery of that content.”

RETHINK AUDIO

IPSTAR also owns the satellite bandwidth and provides a dedicated one-stop-shop service from the satellite down to the earth station that connects it to the company’s data centre in Sydney where DCPs are ingested. Thus, the service is not reliant on the service performance or limits of exhibitors’ individual internet connections.

A__UHD Core Ultra-high Density IP DSP Engine

RETHINK CONTRIBUTION Silver Trak COO Christian

Christian Christiansen concluded, “With IPSTAR Christiansen. owning and controlling the satellite bandwidth, Cinecastar can immediately scale bandwidth as required to meet demand which means we can always ensure reliability of service. We can also offer excellent disaster recovery as, in the event of cinema site equipment failure, we have a backup system whereby we send HDDs directly to the affected site at no extra cost to any party. In parallel we arrange a service call for the site at no extra cost to exhibitors. In short our Cinecastar system is cheaper and more efficient than the current method of shipping content around the country via couriers which is good news for the vast majority of cinemas in Australia and New Zealand.”

A__line & V__line WAN-capable IP Audio and Video I/O

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NAB #N2503 www.lawo.com

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NEWS + PEOPLE Jane Eastgate Transforms Foxtel’s Data Analytics Systems FOXTEL’S CHIEF DATA and Analytics Officer, Jane Eastgate, has taken on the strategically critical role of transforming Foxtel’s data and analytics foundation.

She was appointed to the role late last year and has developed her team to explore customer insights and data analytics in order to identify key areas where Foxtel can optimise subscriber benefits while maximising business outcomes.

Jane has also taken on the lead role of working with, and developing, Multi Channel Network’s data and analytics function and driving its leading Multiview research, insights and analytics platform alongside the company’s data strategy. Working in collaboration with MCN’s Advanced Advertising team, Jane is building longer term data partnership with clients allowing them greater insight into how to engage and reach audiences by leveraging the data capabilities across both MCN and Foxtel.

Craig McMurtrie Appointed ABC Editorial Director

Prior to joining Foxtel, Jane implemented and led advanced analytics for flybuys and the Coles group of companies, which involved optimising and automating business decisions, maximising investment value and personalising the customer shopping experience through offers and direct customer outreach.

CRAIG MCMURTRIE, one of the ABC’s most experienced journalists and senior news executives, has been appointed as Editorial Director of the ABC. McMurtrie takes over from Alan Sunderland, who is retiring after a long and distinguished career with the national public broadcaster.

Her 20 year career in customer analytics has spanned retail, FMCG, loyalty and one-to-one communications, which she has now brought to bear in driving new approaches to Foxtel’s data analytics systems.

Acting ABC Managing Director David Anderson paid tribute to Sunderland and welcomed McMurtrie to the crucial role.

James Marsh, Foxtel CFO said, “Data analytics is a key priority for Foxtel as we look to identify the key customer insights that enable us to constantly improve our service for subscribers, while also informing the critical decisions we need to make every day. Over the past few months, Jane has established an incredible foundation to advance our analytics strategy. We’re lucky to have a person of her talent leading this team and we look forward to her ongoing success as she continues to build on her achievements.”

Mark Frain, MCN CEO, said, “The work Jane and the team are building will further amplify MCN’s ability to provide powerful data connectivity to our agency partners and advertisers. We are now directly aligned to a rich data source that will add enormous value to brands looking to target high value consumers, especially when coupled with our other insights from Multiview and MCN Location. We’re thrilled to have an executive of Jane’s calibre working across the MCN network.”

Jane Eastgate added, “Joining Foxtel to expand the foundations of its data analytics transformation has been an exciting move as we are bringing about a step-change in Foxtel’s strategic use of data to ensure we’re delivering the best experiences for our customers and outcomes for Foxtel’s business.”

Visit www.foxtel.com.au

“We’ve been incredibly fortunate to have a person of the calibre of Alan Sunderland holding this position at the ABC in recent years,” Anderson said. “I’m delighted to announce as his successor, Craig McMurtrie, a distinguished journalist and one of the ABC’s most respected editorial leaders.”

McMurtrie said, “The ABC’s role as Australia’s trusted national voice is more vital than ever, and it’s an honour, and also humbling, to be given such a responsibility.

“My most important task is to support and defend fearless, independent public interest journalism and conversations, and freedom of expression, as well as ensuring all ABC output is consistent with our high editorial standards.”

Craig McMurtrie has been a journalist for almost four decades, starting as a cadet on Radio New Zealand in 1980. He has worked for the ABC since 1991, with his roles including daily news and current affairs reporting based in Sydney and two stints in the Canberra Press Gallery, with more than five years as Parliament House Bureau Chief.

Visit www.abc.net.au

Ita Buttrose Appointed ABC Chair THE AUSTRALIAN BROADCASTING CORPORATION has welcomed the appointment of Ita Buttrose AO OBE as the Corporation’s new Chair.

Australian Prime Minister Scott Morrison has announced that the Government will recommend Ms Buttrose’s appointment to the Governor-General.

Ms Buttrose said, “The ABC is one of the most important cultural and information organisations in Australia and I am honoured to be given the opportunity to lead it.”

Acting ABC Managing Director David Anderson said Ms Buttrose would provide valuable strategic leadership at an important time for the national public broadcaster.

NEWS + PEOPLE

“I join with all ABC employees in welcoming Ita Buttrose to this important role,” Mr Anderson said. “Ms Buttrose is an eminent Australian with vast experience as an editor and media executive. Her leadership of the ABC, a highly valued and trusted cultural institution, is welcomed.

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looked forward to working with Ms Buttrose.

“In an era of globalised commercial media, a strong independent ABC is vital.

We remain committed to outstanding news and current affairs, hosting conversations that inform the public, and delivering compelling content that is distinctive, high-quality, and Australian.

“Ita Buttrose is one of the greats of Australian media – and an iconic, widely admired Australian,” Dr Ferguson said. “She will bring valuable experience to the ABC Board at a time when we will need to make significant strategic and leadership decisions, including the appointment of the new Managing Director, in coming months.

“I would also like to take this opportunity to thank Dr Kirstin Ferguson for her strong commitment to an independent ABC and the ongoing leadership and governance she has provided during her tenure as Acting Chair.”

“I am honoured to work with her in my capacity as Deputy Chair and I know the entire board looks forward to working with Ms Buttrose on critical issues facing the ABC.”

Dr Kirstin Ferguson, who will continue as Deputy Chair, said the ABC Board

Visit www.abc.net.au

Leadership Reshuffle at Seven West Media SEVEN WEST MEDIA has announced a series of changes to its senior leadership team.

Clive Dickens has resigned his position as Chief Digital Officer to take up an external role.

Darren Kerry, current Digital Director, Technology and OTT, has been appointed Director of Digital Product and Technology. As Director of Product and Technology, Mr Kerry will be responsible for designing and implementing SWM’s digital product road map across the group. He will report to new CTIO Rainer Rhedey.

James Bayes, current Digital Sales Director OTT Video, has been appointed Network Digital Sales Director. As Network Digital Sales Director, Mr Bayes will be responsible for driving digital revenue across the group. He will report to SWM’s Chief Revenue Officer Kurt Burnette.

Brook Hall, currently Seven Network’s Head of Scheduling, has been appointed Director of Content Scheduling. As Director of Content Scheduling, Mr Hall will have responsibility for content, promotion and marketing strategy across Seven’s digital platforms including 7plus. He retains responsibility for program scheduling across Seven’s broadcast network and will continue to report to Seven’s programming chief Angus Ross.

Will Hedberg, current Commercial Manager, Digital, has been appointed Head of Digital Finance. As Head of Digital Finance Mr Hedberg will be responsible for ensuring SWM achieves its digital financial and commercial targets. He will report to SWM Chief Financial Officer Warwick Lynch.

Visit www.sevenwestmedia.com.au

PEOPLE ON THE MOVE

AFTRS HAS APPOINTED Christina Alvarez as Director of Partnerships and Development. Ms Alvarez comes into the role with 25 years of extensive senior leadership experience in the screen industry having previously been the CEO of Metro Screen, General Manager of FBi Radio and Deputy GM of the Community Broadcasting Association of Australia. Christina was AFTRS Engagement Manager from July 2016 and, more recently, has been Acting Director of Partnerships and Development.

The position is responsible for skills development programs that cover industry training, corporate, outreach and schools.

-----------------------------MARTIN CAYZER has been appointed Chair of the ARRI Rental Advisory Board. He mostly recently served as CEO of the ARRI Global Rental Group. He was previously Managing Director of Panavision Asia Pacific.

-----------------------------ANDREW MCKINNON has taken on the role of Director – Studio at FOX SPORTS Australia. He holds the same role at Optus, and is Director/Producer with Blue Garage Broadcast + Productions.

-----------------------------JOHN ROBERTSON has been appointed Building Services Manager for TVNZ. He is responsible for the TVNZ building facilities throughout New Zealand.

The appointment follows 25 years as TVNZ’s Production Operations -----------------------------MARK HAMILL (no, not that one) is now Account Manager at Amazon Web Services (AWS) in Australia. He was formerly Sales Recruiter with AWS and, prior to that, Senior Sales Recruitment Specialist with Michael Page.Manager.

NEWS + PEOPLE

FOXTEL HAS ANNOUNCED that leading media executive Wendy Moore has been appointed as the new General Manager of Foxtel’s Lifestyle group. Wendy will be responsible for overseeing all aspects of Foxtel’s Lifestyle brand including Lifestyle, Lifestyle HOME and Lifestyle FOOD and will guide the current and future direction and commercialisation of the brands across streaming, broadcast and digital. Wendy arrives at Foxtel following a 12-year tenure with Pacific Magazines..

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2019 PREVIEWSTANDARDS TECHNICAL www.content-technology.com/standards

AIMS Interop at VidTrans17 DPP Guide to Connectivity ShowsEcosystem Viability of SMPTE 2110at NABShow2019 Services for Production Digital Flourishes While North American terrestrial TV Solutions broadcasters theDIGITAL latest iteration of thePARTNERSHIP ATSC digital TV(DPP) standard, MEMBERS OF the Alliance for IP Media (AIMS) continue recently to negotiate THE PRODUCTION recentlythere willcontributed plenty oftodevelopments atwhich this year’s NAB Show (April 6-11, Las Vegas Convention Center). an interop session, was sponsored

by Video published the first ever guide to help producers find the right kind of Services Forum (VSF) and at VidTrans17 inthe Los Angeles, which connectivity DPP Survey Report: Connectivity Las Vegas Convention Center.

Visit www.for their business.

Vehicle ‘The Experience sessions will address media FOR EVERYONE ACROSS THEconcluded MEDIA ECOSYSTEM, showcased the viability draft SMPTE 2110 standard and AMWA Supply to Production’ helps producers identify the kind of nabstreamingsummit.com display options,tovoice-activation technology, audio including: advertising tech, of appthe development, IS-04intelligence, as a carefully architected IP initiative. connectivity needs, with an indication design andto HDtheir radio, among others.

Also, Audiofand artificial audio, augmented reality, Meanwhile, the “Esports Experience” is a newprovision appropriate type Xperi will provide live, in-car demonstrations of the broadcast, cloud solutions, cybersecurity, exhibit floor destination locatedcosts in theand North Hallof service.

Leading cable, up to VidTrans17, 19 AIMS members took part in VSF-sponsored latest technologies driving content delivery and theWoodlands, LVCC. The interactive area“Our features exhibits, digital video, digitaltesting signage, esports,center inof interoperability ateLearning, the Fox technical The previous research with production companies has revealed that a theatre and educational programming that consumer engagement. film, game development, government and military, Texas. The testing was unprecedented, as it was the first time a many still rely on inadequate broadband connections, and don’t always showcase the latest online gaming trends and houses of worship, in-vehicle entertainment, NAB Show is also launching the new Influencer significant number of participants focusedIOT, specifically on interoperability feel theywill understand content delivery technologies. Sessions examine the alternatives,” says DPP Managing Director, Mark IT, live events, mixed reality,drafts. mobile, online video, 21 vendors, Series: Sports and Entertainment.

The the Influencer of the SMPTE ST-2110 Approximately 19 of whom Harrison.popular “So, welive have conducted some research, and sought advice the overall landscape of the increasingly podcasting, post-production, retail, social transmit Series explores various aspects of sports were AIMS members, wereradio, able to successfully andindustry. receive from of DPP Member companies, to pull together a user-friendly view of what gaming Additionally, NAB Show will feature media, sports, streaming, system integration, programming and promotion, with emphasis each other without major adjustments to their equipment the network. a MainorStage session titled “Thethe Esports Evolution: market offers.” television, virtual reality, 5G and more. on soccer and the Olympic games. Additional What’s Next in Gaming” on Wednesday, April 10.

Following testing event in Texas, 12 AIMS members exhibited participants include NBC Sports Los Angeles The survey report considers the needs of different sizesGroup; of production NAB Show, inthe association with Streaming Summit NAB Show is also introducing the “In-Vehicle Football Club; NBCUniversal Telemundo Enterprises; their draftChairman SMPTE ST-2110 systems in the interoperability session Conference Dan Rayburn, will again company, and whether the connectivity they need is for general office Experience,” a new exhibit floor destination located the Football at VidTrans17. results on on display, thusNorth far Hall. The area produce a two-dayThe event withwere a focus the and the progress use, working with video, or out onAssociation; location. and Facebook. in the LVCC’s willfor showcase strongly consensus anddevelopment, attendees delivery and monetization OTTgenerated video industry.

Thepositive Streaming Summitbetween vendors For more, visit www.nabshow.com content Thevehicles. needs ofIn-media production companies arewww.content-technology/nab unusual when compared willalike. take place April 8-9 in the North Hall of opportunities related to connected Daily show news, visit to other sectors. The workload can expand and contract dramatically, “We’re energized by the success of this latest round of tests, so we’re and this makes for huge variations in the bandwidth required. Video ready to get back to work with renewed vigor,” said Michael Cronk, files are also much bigger than the files being transferred by most other AIMS board chair. “AIMS members are very active in supporting and industries. cloud TO HELP MEDIA COMPANIES across the During two tech talk sessions at NAB Show, constraints with virtual workstations, implementing the draft SMPTE 2110 standard. We are thrilled that rendering, and storage for content creation. world elevate the viewing experience for Bruce Devlin, CEO at Mr MXF and SMPTE “There is no doubt connectivity suppliers find the media production testing to date isAmazon both showing excellent interoperability their audiences, Web Services willprogress toward Standards VP, and Dan Germain, Sr. Product • Content Distribution – Increase video quality community difficult to serve, ” saysatHarrison.

“But, is getting and providingadvances great datainfor further improvements. There will be future demonstrate content creation, Manager AWS, dive intoprovision what Interoperable while reducing bandwidth and storage better all the time and now might be the right time for producers interoperability events andchain, tests,and which makes this an exciting time fortoalldeliver a high-resolution, lowdistribution, media supply AI during Master Format (IMF) is, how studios and to requirements explore the benefits they could get use fromIMF professional supply.and ” simplify the Showa 2019.

AWS will feature a fullmuch as it was distributors to reduce costs whoNAB support common industry standard, when SDI first latency experience at scale, around the world, range of cloud and on-premises videothe solutions workflows, and how to make the IMF format a wide range of consumer devices. appeared.

Interoperability will remain key, and those to who get involved ‘DPP Survey Report: Connectivity Supplyneeds. to Production’ is the to produce, process, deliver, and enrich work for specific AWS Tech Talksfifth takein willingest, reap the benefits of new workflows and solutions.• ” Supply Chain & Asset Management – Learn the DPP’s Survey Report series, and follows on from the ‘2016 Survey media content at NAB Show. place on AWS booth SU2202 from 10 to 11 a.m. how to build scalable content and data Report Connectivity andonProduction’ , which shared eye-opening Tuesday, April 9 and Wednesday, April DPP 10.

New additions todemonstrations the AIMS membership roster include Bridge Visitors can view of advanced lakes using serverless workflows, including research into companies Technologies,media Clear-Com, Solid State Logic, Juniper Networks, Atos, media supply chains cloud-based and machine learning AWS will also hostview twotheir days connectivity of hands-on automated using AI how production services.

Leader, Encompass andcontent sonoVTS. services supporting Digital contentMedia, creation, labs and workshops during NAB Show 2019. services.

Hands-on Workshops for Media Experts from AWS

distribution, and access to a robust media supply Visit http://aimsalliance.org chain, including: • Content Creation – See how Studio in the Cloud eliminates geographic and capacity

Registered NAB attendees will learn how to build • AI and Analytics – Streamline tasks such Visit www.digitalproductionpartnership.co.uk media workflows in the cloud from AWS experts. as content redaction, highlight creation, Visit https://aws.amazon.com/blogs/media/awsvideo clipping, live subtitling, and metadata extraction with cloud-based ML functions. at-nab-show-2019

Eurofins, Samsung to Develop HbbTV App Test Centre EUROFINS DIGITAL TESTING has announced it will develop an HbbTV

initially build the test centre at its office in Bristol, UK. This test centre will

IMT Vislink, Valley and Electronics NEP Present Capture Maximum Slo-Mo application test centreGrass in co-operation with Samsung for testing Hi-Speed take responsibility for testing for and validating HbbTV Applications provided by HbbTV Applications on HbbTV developers be broadcasters other parties) will work “IMT Vislink, Grass Valley andapp NEP recently (who mightproduct IMT VISLINK (Booth C6008) willenabled present TVs. a joint manager, or Grass Valley; andand William Norris, partnered develop a wireless system paper with Grass Valley and NEP at a Broadcast of RF,the NEP Group, proposes the employment withcamera these app developershead to define scope of the testing required.

This ‘HbbTV Applications’ include interactive applications that deliver to additional thattocombines enhanced story-telling Engineering Information Technology and are designed frame ratesconform of up toto 150fps acrossspecification timewill ensurewith thatthe the HbbTVofapplications the HbbTV functionalityand such as video-on-demand run on TVs flexibility, camera resource efficiency and innovative Conference session during NAB 2019 on interleaved infrastructure, while also exploring compliant with the HbbTV specification. As the lead supporter, Samsung will function correctly on real, deployedUHD devices from the market leading production values that comeand from using wireless Wednesday, April 10 from 9:40 a.m. to 10 a.m. PDT the deployment and operational affordability of provide the initial TV platforms for conducting the compatibility tests.

These video,brand. cameras for immersive ” says David Edwards, in room N260. The paper, entitled “High-Speed implementing a high frame rate, slow motion HD platforms includeforanMaximum enhancedSlow-Motion debug modeImpact which allows the gathering product manager, IMT Vislink. “We first trialled Content Capture system that slow-motion effectsof in The agreement between Samsung andenables Eurofinsfull allows for the growth additional data to diagnose issues.

Samsung provide technical this solution in the UK at Cheltenham Racecourse -ofSet Free from Cables, ” describes the impact of will also conjunction with real-time video presentation. the Test Centre to include more devices in due course – including those from are excited to share our findings during the assistancespatial to theand program to assist developers to and run their applications balancing temporal clarityapp alongside speaking session at NAB.” other manufacturers – to further extend the/nab19.mapyourshow.com/8_0/ testing capabilities.

Register at https:/ on Samsung TVs. dynamic range (HDR) and also the rollout of high considers the limitations of data bandwidth. sessions/session-details.cfm?scheduleid=56 The joint paper written by Edwards; Bart van Dijk, NAB SHOW STANDARDS 2019 PREVIEW TECHNICAL

Eurofins, which has offices in Belgium, Hong Kong, Poland and Sweden, will

12 10

Visit www.eurofins-digitaltesting.com and www.hbbtv.org

DVB to Make the Case for Standards-Based OTT AT THE 2019 NAB SHOW, DVB, an industry consortium that develops open interoperable technical specifications for the delivery of digital media, will demonstrate how it is enabling an open standards-based approach to OTT and broadband television, as well as Low Latency DASH (LL-DASH) and Multicast Adaptive Bit Rate (mABR) for video streaming applications. This marks the first time DVB has exhibited at the NAB Show since 2010.

“Broadcast TV works. It just works. You turn it on, and it’s there. It works because of open standards and reliable, robust delivery methods,” said Peter MacAvock, Chair of DVB. “We believe that OTT should work just as well, if not better.

If you agree, then come and talk to us at the NAB Show about how we can collaborate on standards to ensure TV continues to work flawlessly, even when it’s not on a TV.” DVB will highlight the following during NAB: New DVB-I Specs Ensure High QoS, Robust Delivery, and Interoperability for OTT DVB will showcase DVB-I, a new suite of specifications that will make OTT delivery just as user-friendly and robust as classical delivery solutions such as DVB-S/C/T and IPTV. Taking advantage of the internet as a distribution platform, DVB-I will bring the best features of broadcast TV into the world of broadband

delivery, including integrated channel lists, interactive content guides, and simple lean-back channel selection. As a standardised solution, DVB-I will provide significant advantages related to scalability and cost savings.

‘’Broadcast TV works. It just works.

Low Latency DASH and mABR Also highlighted will be Low Latency DASH (LLDASH) and Multicast Adaptive Bit Rate (mABR) standards that are currently under development

by DVB. LL-DASH will ensure that the zapping experience for OTT channels is the equivalent to broadcast, while mABR will allow broadcasters and network operators to work together to optimise IP-based delivery to large numbers of receivers simultaneously.

You turn it on, and it’s there.

It works because of open

standards and reliable, robust delivery methods.

experience is heading and how operators can

Executive Presentations

succeed in building compelling platforms and

In the Connected Media|IP debate theatre on Monday the 8th from 12 to 12:40pm, Peter MacAvock, DVB Chairman and Head of Delivery, Platforms and Services in the EBU’s Technology and Innovation Department, will participate in a panel called ‘Winning Hearts and Minds to Compete in the TV Battleground’.

The panel will examine content discovery, recommendation, and personalisation trends.

Challenging questions around the readiness of key technologies and standards will be answered, with insights provided about where the user

engaged viewers.

Also on Monday 8th from 4:40 to 5pm in the Connected Media|IP presentation theatre, MacAvock will give a presentation called ‘Evolving Linear TV in an OTT World’. During this session attendees will learn about how the DVB Project is delivering new specifications to enable a standards-based approach to OTT, whether in the context of hybrid broadcast platforms or as a standalone proposition.

Visit www.dvb.org

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NAB SHOW 2019 PREVIEW

Filmmaker Todd Douglas Miller to Present Keynote at SMPTE/NAB SMPTE RECENTLY ANNOUNCED that Todd Douglas Miller, the filmmaker behind the critically acclaimed Apollo 11 moon landing documentary, will present the keynote at the 2019 NAB Show’s Future of Cinema Conference (FoCC), produced in partnership with SMPTE. NAB Show’s FoCC, ‘Now, Next, and Beyond the Yellow Brick Road’, will take place on the 6th to the 7th of April in Las Vegas. Scheduled for 9:10am on Saturday the 6th, Miller’s keynote will describe the process of making Apollo 11, which premiered at the Sundance Film Festival where it received the Special Grand Jury Prize for Editing.

“Our intention with Apollo 11 was to make an art film out of all of the archival materials that we had available, and in the end, we created a direct, flyon-the-wall cinema experience,” said Miller. “Both the art and science of working with images and sound were critical throughout this project, and I look forward to discussing how they came together during the process of making Apollo 11 a reality.”

Working with pristine, unprocessed, never-beforeseen 65mm footage recently discovered in the National Archives and Records Administration (NARA), as well as 11,000 hours of uncatalogued NASA audio recordings, Miller and his colleagues

first digitised and restored the film. Next, the team created an 8K transfer that represents the highestresolution, highest-quality digital collection of Apollo 11 footage. The 93-minute motion picture, which was cut from this transfer, revives the historic 1969 moon landing by Apollo 11 mission commander Neil Armstrong and pilot Buzz Aldrin with breathtaking clarity.

Critics have called Apollo 11 astonishing, with Variety saying the film “images channel… the wonder of the unprecedented…a dream made real”. The film opens exclusively in IMAX theatres on the 1st of March, and everywhere from the 8th of March, and is being distributed by NEON/CNN Films.

“Todd and his colleagues undertook a monumental challenge in making Apollo 11,” said FoCC Program Committee Chair and 30 Ninjas CEO Julina Tatlock,

who is also an award-winning writer-producer, virtual reality (VR) director, and social TV specialist. “In addition to creating an astounding cinematic experience, they restored, digitised, and catalogued a wealth of audio and video representing one of the United States’ greatest achievements. We’re excited to be giving FoCC attendees the opportunity to hear this remarkable story, especially given this is the 50th anniversary of the first lunar landing.”

Miller’s work also includes the Emmy Awardwinning Dinosaur 13, which premiered at the 2014 Sundance Film Festival and was acquired by Lionsgate and CNN Films. His other films include Gahanna Bill, Scaring the Fish, and The Last Steps.

Miller’s company, Statement Pictures, based in Brooklyn New York, produces feature-length films, documentaries, and large-format/IMAX films for science centres and museums. His short-form work has won numerous international and national awards, including the CINE Golden Eagle, Telly, Aurora, and AXIEM Award.

Visit www.smpte.org

NAB Show Offers New Curated Exhibit Tours NAB SHOW HAS REVAMPED its exhibit floor tour program to help attendees navigate the world’s largest convention encompassing the convergence of media, entertainment and technology. Individuals and groups can now schedule planned and custom VIP tours Monday the 8th of April through to Wednesday the 10th during the 2019 NAB Show in Las Vegas.

• Live Production and News Production Workflow.

Attendees also have the option of working with a NAB Show representative to develop a custom tour led by a personal guide.

• Future Technology and Innovative New Products.

“The NAB Show exhibit floor spans more than one million square feet and hosts over 1,700 of the world’s most innovative companies,” said NAB Executive Vice President of Conventions and Business Operations, Chris Brown. “The new tour program is designed to help attendees navigate the show while highlighting a diverse array of breakthrough products and solutions.”

• Film and Episodic TV Production Workflow.

Tours are developed in partnership with

Specially curated tours were designed based on input from attendees and focus on the following areas:

CIM Tours, which produces event curation opportunities for a variety of companies and professional events around the world.

“CIM Tours is thrilled to partner with NAB Show to provide attendees with a program created and developed based on their feedback,” said CIM Tours Founder and CEO, Daniel Hodges.

Additionally, attendees can schedule tours of the M.E.T. 360 Studio, from which the convention’s official live stream broadcast ‘NAB Show LIVE’ is produced. Tours include access to the studio’s master control room and views of the program’s production and workflow.

Visit www.nabshow.com

NAB SHOW 2019 PREVIEW

Future of Cinema Conference Embraces Next-Gen Tech

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SMPTE HAS ANNOUNCED the title and theme for the 2019 NAB Show’s Future of Cinema Conference (FoCC). The FoCC, ‘Now, Next, and Beyond the Yellow Brick Road’, will take place April 6th and 7th in Las Vegas in conjunction with the 2019 NAB Show.

Julina Tatlock, who is CEO of award-winning immersive-entertainment company 30 Ninjas, is serving as chair of the FoCC program committee.

In her work as an interactive story creator, a digital strategist, a game designer, and a writer

and producer, Tatlock uses new technology and platforms to transform content creation and consumption. Her keynote presentation at the SMPTE 2018 Annual Technical Conference and Exhibition focused on how leading-edge creatives are working with next-gen technologies to redefine the nature of media and entertainment.

“Each year, the Future of Cinema Conference maps the path toward the technology horizon, and we’re thrilled to have Julina bringing her knowledge and experience to the creation of this year’s program,”

said SMPTE Education Vice President Sara Kudrle, who is also Product Marketing Manager at Imagine Communications. “The conference will include the technical depth you expect from SMPTE and a broad, global perspective incorporating diverse planes of thought. We’re looking forward to exciting, thought-provoking sessions with the experts who are changing the very foundation of the media and entertainment industry.”

Visit www.smpte.org

SPROCKIT Starts Up the Startups at NAB SPROCKIT RECENTLY ANNOUNCED the first round of companies to participate in the program at the 2019 NAB Show. The emerging companies will exhibit alongside select alumni in the new Innovation Pipeline, located in the North Hall of the Las Vegas Convention Center. The companies will showcase their technologies in the Innovation Pipeline Theater. Also, companies will participate in SPROCKIT Sync events, a series of private forums throughout the year where industry executives and entrepreneurs meet to collectively discuss new technologies and ways they can collaborate together to advance the industry. Among the attendees are SPROCKIT corporate innovator members, including Comcast, FOX Networks Group, Google, Hearst Television, Public Media Venture Group, Samsung NEXT, TEGNA, Univision, and Verizon.

• Countable – Provides a platform for audience engagement and retention, bringing Facebook-like features and functionality directly to properties and audience. Visit www.countableaction.com

“SPROCKIT’s elite network of emerging companies have raised nearly $1 billion since 2013, a true testament of their market-proven ability to solve industry pain-points,” said Harry M. Glazer, founder and CEO, SPROCKIT. “Witnessing both our emerging and corporate members successfully collaborate to move the industry and their businesses forward is a truly rewarding experience.”

• Mira Technology Inc. – Enables businesses to display, update and manage content and applications across multiple screens from the cloud with a secure HDMI stick. Visit www.getmira.com

• 6Connex – Provides global cloud-based software and services for enterprise online events. Visit www.6connex.com • Applicaster – Allows users to quickly develop high-quality media apps at scale through a SaaS platform. Visit www.applicaster.com • Anzu.io – Integrates ads into gameplay in an intuitive manner. Visit https://anzu.io • Centriply – Combines digital audience data and location-based linear TV analytics, allowing for maximum KPI value when planning and selling ad time. Visit www.centriply.com • Cerebri AI – Analyses consumer experience and quantifies brand commitment. Visit www.cerebriai.com

• Cut2It – Helps content owners acquire new multi-generation subscribers using patented synchronised engagement with virtually selected media clips. Visit www.cut2it.com • FLOWICS – Provides an audience participation platform for broadcasters and media professionals to attract, retain and monetise audiences on all digital environments. Visit www.flowics.com

• Moonlighting – Provides an on-demand marketplace for freelancers, entrepreneurs and recruiters to find talent. Visit www.moonlighting.com • NGD Systems – Solves the issue of managing data growth, analytics and content delivery by creating a computational storage solution. Visit www. ngdsystems.com • Pickaxe – Automates data science and AI-powered data analytics from various leadig sources while providing business insights. Visit www. pickaxe.ai • SSIMWAVE Inc. – Provides real-time monitoring of the quality of every video stream over any type of network. Visit www.ssimwave.com • Tru Optik – Provides a platform that allows customers the ability to monetise and engage target audiences across OTT in a privacy compliant manner. Visit https://truoptik.com Visit http://sprockitglory.com

NAB SHOW 2019 PREVIEW

The first round of participating startups includes:

• Crystal – Makes all ad inventory addressable by communicating frameaccurate timing signals and content metadata from a TV network to select cable, satellite and OTT operators. Visit https://crystalcc.com

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ACQUISITION www.content-technology.com/acquisition

ACQUISITION

ARRI Australia General Manager, Brett Smith.

ARRI Looms Large

2019 is shaping up to be a large year ARRI – Large Format, that is. Launched in 2018, ARRI’s large-format camera system consists of the ALEXA LF camera, ARRI Signature Prime lenses, LPL lens mount and PL-to-LPL Adapter.

Featuring a sensor slightly larger than full frame, the ALEXA LF camera records native 4.5K. ACCORDING TO ARRI AUSTRALIA General Manager, Brett Smith, the camera is “… being well and truly used in feature films”.

“There’s been about 10 large format cameras in the [ANZ] market,” he says, “either through Panavision or directly through rental houses, like Cinoptix in Australia, Imagezone and Southern Cross Cameras. We’ve had LFs on Mulan being shot [by Mandy Walker ACS] in Kumeu Studios in Auckland. We’ve had LFs on Dora the Explorer, and so most of the feature films shot last year were using the LF as well as a combination of either the ARRI Alexa 65, the 65-mm format, or our traditional Super 35 ALEXA XTs and ALEXA Minis.

“On the commercial side, the LF has been fantastic because it offers a very cinematic look in terms of the sensor size and the depth of feel. Asahi of Japan shot an amazing commercial in Australia using the LF, which tends to show why you would use a different sensor size and format of lenses to get a different look. So, they’re out there and on major films and commercials and everybody loves them. It’s just a matter of more people understanding when they would use them and why and having a larger resource pool of lenses available because it is a new format and so not all standard spherical lenses for Super 35 fit the range of the new sensor.

“It’s a change of the guard in terms of lenses, the look people want and understanding what that look is, and that’s got to come from the creative cinematography side. It can’t be us manufacturers telling someone how something looks. It really has to be seen through the lens by a cinematographer, who then refers back to a rental house and says this is what I like and so this is what we want in terms of the new technology.”

What about workflow aspects, like metadata and so forth?

ACQUISITION

“There’s not a lot of lens metadata used on most feature films in Australia, but when something becomes VFX intensive, it becomes a lot more of a tail wagging the dog, and that is the FX guys are insisting that there is a metadata chain or workflow that’s established from day one. And, with ARRI, with our LDS and our LDS2 lens data system, which works through our cameras natively and also through our wireless remotes like WCU-4 focus control, it’s becoming more and more relevant to have lens metadata used for creating plates for VFX and also working backwards. So, if the storyboarding on the VFX is already in place when you’re on set, you know that the lens data is going to match what the VFX guys are looking for.

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“And, certainly with workflow in terms of actual bits, Australia has never been really known as a RAW country. ProRes is the preferred format for general production from features to commercials to television, and that is changing slowly. But, managing data is still a big issue on set. So, the higher the resolution, the higher the quality or the lack of compression to RAW, still creates issues on set in Australia where there isn’t a great deal of high-end capture, or even the staff on set to manage higher data rates. It’s interesting, it’s kind of like the resources available on set take the

format you shoot in as well as obviously the end use, whether it’s cinematic delivery or TV delivery, your 4K, but it’s almost a more practical decision when it comes to who’s on set and how much wrangling is able to be done in virtual real time so the video village will get all the information they need and you’re managing the amount of media that’s required, because media isn’t cheap, even though it’s obviously cheaper than film, it’s still a cost of production. And if you quadruple the amount of media cards you need, it’s a real cost on set, not just in wrangling it but in the actual cost of renting that media from the rental house.

“It’s interesting. Quality is a great aspirational position when you talk about RAW, but it has to get down to a practical necessity on set as who can manage it, how quickly you can record it, disseminate it and then what your final delivery medium or media are.”

Where does ARRI stand with broadcast production at the moment?

“With our Amira camera, which is our documentary camera, it was the best candidate to work in multi-cam. Since its release, we’ve got European and Chinese TV networks using a combination of our camera, DTS, a British fibre encoder company and Sony RCP, so all the control is from a standard Sony CCU panel, and so that is working. We’re looking this year to bring a system out to [ANZ] to demo it, but we really wanted to make sure we had a bulletproof solution.

“It’s still though, in the minds of producers, the system where they might want a cinematic look for a music video or a live event, because the Amira or the ARRI LF3 sensor is still seen as giving a cinematic look. But, what we want to do is give them the cinematic look but make sure that the integration into a well-known workflow from a Sony or a Grass is there, so there’s no real hurdle to swapping an ARRI camera knowing that the workflow is in place, and we’ve spent the last year nailing it down just to give it a bit more integrity and ability to slot it. We don’t just want to be seen as the cinematic option, but certainly a cost-effective way to produce highend images in traditional television or OB environments.”

Finally, are you privy to anything coming up at NAB? “There’s been a lot of rumours flying around and the best way to answer that is most of them are reasonably true. We’re certainly looking to NAB to talk about a couple of new products, for sure. That’s as much as I can say now because, as you probably know too, there’s hardware and there’s software, and sometimes features are often only discussed once everyone agrees that they’ve got the resources to make sure the software is ready when the hardware’s ready. We’re hoping all the ducks are in a row for NAB to make some pretty good announcements and that should continue throughout 2019. That’s as much as I can say.“ Visit www.arri.com.au

ACQUISITION

Atomos Shinobi 5-inch 1920x1080 HDMI monitor ATOMOS SHINOBI is a high brightness 1000nit 5-inch HDMI monitor suitable for vloggers, creatives and photographers. When shooting video on mirrorless cameras and DSLRs, the Shinobi is small and light enough to take anywhere – weighing in at 200g. Shinobi shares the same HDR 1920x1080 display and colour processing found in the Atomos Ninja V monitor/recorder. With a professional 1000nit brightness screen it can be seen clearly, even in daylight. It has a pixel density of 427 PPI (pixels per inch) and is factory calibrated for colour accuracy.

The polycarbonate body is lightweight and durable.

It has ¼” - 20 mount points on the top and bottom to allow flexible mounting. A headphone jack on the side allows users to monitor audio from most cameras even those without a built-in jack. Clear onscreen audio level meters give users confidence that their audio is set correctly.

Shinobi can run for up to six hours on a single Sony NP-F750 type battery. A clear on-screen battery gauge shows the status of the battery and when it is running low. The central position of the battery mount on the rear of the Shinobi ensures good balance when mounted to mirrorless cameras.

The Shinobi has the latest monitoring features of AtomOS 10, allowing users to quickly and easily check and adjust image settings. In moments, they can magnify the image or engage peaking to check focus, pull up false colour, a histogram, zebras or waveform to gauge exposure, or add guides or markers to aid composition. The interface has clear, yet unobtrusive icons which allow the image to be the focus of attention – and with a simple swipe all the menus go away for a totally clear view. These features allow the user to really concentrate on their shot and its framing. Vloggers will especially value the flipscreen function which mirrors the image when they are filming themselves.

For broad compatibility the Shinobi’s HDMI port can accept signals up to 4K (4096x2160) at 30fps, or HD video up to 60fps. The screen can also perfectly display 10+ stops of dynamic range when being used with Log or HLG HDR outputs. Atomos’ advanced colour science gives a complete range of in-built gamma pre-sets to match popular cameras when shooting Log or HLG. Creative users who want to see their Log or flat images with a creative

look applied can easily load LUTs directly into the Shinobi’s built-in memory. Simply place a compatible LUT onto a SD card and pop it into the Shinobi, then load it into one of Shinobi’s eight internal pre-set LUT memories. Once done any of the eight LUTs can be recalled immediately for speedy comparison. In addition, countless more LUTs can be kept on the SD card and loaded in when needed. The same SD card slot can also be used to install any future firmware updates.

For more advanced uses the Shinobi features a new multi-tool Analysis view that simultaneously shows the image, plus waveform, histogram, vectorscope and audio-level meters. In addition, there are multiple options inside each of these tools. This give the operator a complete picture of what is going on in the image at any time.

Although the Shinobi is designed primarily for smaller cameras, its features mean that users of larger cine cameras, traditional camcorders or other Atomos monitor/recorders may also find it an excellent additional monitor for their needs. It also enables operators on multi-camera shoots to have the same high quality HDR monitoring on additional cameras.

If shooting Log or HLG HDR the Shinobi features the Atomos HDR engine that allows the operator to see more dynamic range on screen at once. Users simply engage a dedicated pre-set for their camera and around 10 stops of dynamic range are shown, giving an accurate representation of the image in HDR while shooting. It can also be used to give a much better indication of what the image can look like after post production. You can also connect the Shinobi to your Mac or PC for use as an extra monitor while editing – even in the field.

A major benefit of Shinobi is that it can be properly colour-calibrated using free Atomos software and the X-rite i1Display Pro probe. All monitors’ colours drift over time and routine calibration ensures that the colours remain as accurate as when they originally left the factory.

Visit www.atomos.com

HDBaseT Receiver MARSHALL ELECTRONICS’ HDBaseT receiver converts an HDBaseT signal to HDMI 1.4, supplying 48V power and allowing control via RS-485/232.

such as cameras or monitors, to create a simple and effective way to connect with HDMI equipment over long distances.

“The VAC-HT48-PoE-R provides optimal compatibility and fluidity when paired with Marshall cameras or any other HDBaseT equipment,” says Tod Musgrave, Director of Cameras at Marshall Electronics. “This powerful new receiver was designed to offer users a simple but direct solution in the form of a single cable, converting HDBaseT into a controllable power supply.”

The VAC-HT48-PoE-R supports DTS-HD Master Audio and Dolby TrueHD Audio in eight channels and passes HDCP and EDID. With easy wall mounting ability, the VAC-HT48-PoE-R can be positioned and even concealed for any kind of custom installation application. For connecting pieces of equipment over long distances using HDBaseT, the VAC-HT48-PoE offers a straight-forward solution.

Receiving uncompressed video up to 4K30 through a single CAT 6a/7 cable at 4:4:4 8-bit, 4K60 at 4:2:0 8-bit, and full HD resolutions of 1080p, 1080i and 720p, the VAC-HT48-PoE-R can be used with HDBaseT equipment,

Visit www.marshall-usa.com

Fujinon Cabrio 20-120mm Zoom Lens without Servo

The Cabrio 20-120mm is now available with or without an attached servo unit. The servo drive on other Cabrio Series lenses is interchangeable on the 20-120mm, if the 20-120 is purchased without a drive unit.

Designed to be convertible between the video production and cinema markets, the Cabrio 20-120 features a flat T3.5 from end-to-end, with no ramping. It covers a S35-sized sensor (Super 35 format). Without the servo drive, it can easily accept industry-standard cine motors and matte boxes.

Just as third-party manufacturers developed accessories for the FUJINON MK lenses, camera and lens support providers are offering solutions to benefit

users of the Cabrio 20-120mm without a servo. Among them, Chrosziel and Heden have designed lighter weight servo zoom motor solutions for the 20-120mm. In reality TV, camera operators often need to hold the camera for 8-10 hours a day. Saving a 20 percent of the weight of the lens is a big deal to an operator and operator and these lightweight third-party drives integrate seamlessly with Sony’s FS series zoom controllable hand grip.

On the mount side, Duclos Lenses and IBE offer EF mount and multi-mount kits for the 20-120mm.

The Cabrio 20-120mm is fitted with a nine-blade iris to capture the most natural looking imagery and most beautiful bokeh possible. The zoom’s barrel markings are luminous for visibility in dark shooting situations, and distances are listed in feet or meters.

Visit www.fujifilm.com

ACQUISITION

FUJIFILM’S FUJINON XK6x20 zoom (better known as the Cabrio 20-120mm) is available in a version without the servo drive motor. The Cabrio 20-120mm without drive can be operated as a fully manual, parfocal, cinema zoom lens.

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ACQUISITION

Leica M10-P ASC 100 Edition: The M for Cinematographers LEICA CAMERA HAS CREATED a fitting tribute to the world of cinema with the new release of the Leica M10-P ASC 100 Edition, celebrating the 100th anniversary of the American Society of Cinematographers. Comprised of a Leica M10-P camera and a Leica Summicron-M 35 f/2 ASPH. lens, the memorable set offers two specially tailored Cine Look modes built into the camera’s software that make it a focused professional tool for cinematographers and filmmakers. The set also includes a Leica Visoflex electronic viewfinder and a Leica M-PL-Mount Adapter that allows the use of almost all PL mount cine lenses available on the market.

In collaboration with some of the world’s most influential cinematographers and members of the ASC, Leica has developed the new Cine Look feature, which provides directors an exceptional visual experience. The ‘ASC Cine Classic’ mode simulates a classic, analogue 35mm motion-picture film look, while the ‘ASC Contemporary’ mode delivers the current digital style of contemporary movies. Additionally, aspect ratios that are used in cinematography can also be selected from the camera’s menu. Once activated the selected aspect ratio is displayed as a bright-line frame in Live View mode. The Leica M10-P ASC 100 Edition offers cinematographers and directors the freedom to view and assess scenes with any desired lens before filming even begins.

Founded in 1919, the American Society of Cinematographers is the world’s longest-standing artistic, technical and professional organisation dedicated

to the advancement of cinematography. Just like Leica, this extraordinary society has influenced and shaped how people of all cultures see the world for more than 100 years.

This limited-edition release is a modern take on Oskar Barnack’s original vision of the Ur-Leica prototype camera as an aid to cinematography, now reiterated in the unique design of the Leica M10-P ASC 100 Edition. Reduced simply to the essentials, blackedout engravings on its black chrome surface accentuates the camera’s minimalistic feel which is further emphasised with the body leathering, similar to that of the Leica SL. The gold-coloured anodised finish of the Leica Summicron-M 35 f/2 ASPH lens reinterprets the brass lens of the original Ur-Leica in a contemporary way. The unique aesthetic of the Leica M10-P ASC 100 Edition is also complemented by the ASC logo on the top plate.

The combination of the included electronic viewfinder, M-PL-Mount Adapter, Cine Look pre-sets and aspect ratio options enables the use of the camera as a director’s viewfinder, making it an extraordinarily versatile and useful tool for filmmakers. And together with the Leica FOTOS App, location scouting can be made much easier, as results can be shared and discussed immediately with everyone involved in the filming project.

The Leica M10-P ASC 100 Edition will be available in Q3 2019.

Visit www.leicacamerausa.com

Cooke Rounds Out S7/i, Panchro/i Classic and Anamorphic/i Full Frame Plus Ranges COOKE OPTICS WILL PRESENT some never-before-seen lenses from its S7/i, Panchro/i Classic and Anamorphic/i Full Frame Plus ranges on stand C6333 during NAB 2019. The lens manufacturer will also present some new developments for /i3, the latest version of its /i Technology metadata system that provides detailed lens data to VFX and post-production teams.

The new Anamorphic/i Full Frame Plus range has been designed to meet the growing appetite for large format production, while offering the popular anamorphic characteristics including flare and oval bokeh. The 40, 50, 75 and 100mm focal lengths are in production, scheduled to start shipping in limited quantities from April 2019, and will be available for demonstration on stand C6333. The additional lenses in the full range: 32, 135, and 180mm, as well as a surprise or two, should be shipping by the end of the year. This range is also available with Cooke’s SF Special Flair coating, which enables an exaggerated flare that gives yet more choice to cinematographers.

The complete set of Panchro/i Classic lenses is also scheduled to start shipping by NAB 2019, including the recently announced 65mm Macro lens – a 2-1 Macro – which also covers full frame, and the 21, 27, 135, and 152mm – designed to cover the S/35 image area. Visitors to stand C6333 will see these lenses for the first time outside Europe.

In addition, the 18, 27, and 180mm lenses from the S7/i full frame spherical range will be featured on the Cooke stand, slated to be going into production over the coming months.

ACQUISITION

“The manufacturing team in our Leicester factory continues to work flat out to round out these nascent lens ranges, which are all made entirely by hand,” said Les Zellan, Chairman, Cooke Optics.

“With nine lens ranges in the Cooke family we have certainly set ourselves a challenge to meet the ever increasing demand, but we are proud to offer cinematographers such a wide choice of looks that help them tell their stories.”

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Cooke will also present /i3 (/i Cubed), the latest version of its /i Technology metadata system that provides detailed lens data to VFX and post-production teams. /i3 firmware now provides distortion mapping – not just a theoretical measurement of spherical lenses of a particular focal length, but of the specific lens in use. Sony is currently working to integrate /i3 into the Sony Venice large format camera.

Cooke lenses will also be presented on a number of camera manufacturer and reseller stands at the show.

Visit www.cookeoptics.com

ACQUISITION

Hitachi Upgrades 1080p and 1080i Compact Box Cameras HITACHI KOKUSAI IS HEADING to the upcoming 2019 NAB Show with updates for two of its high-definition, compact box cameras for point-of-view (POV) and remote observation applications. New firmware for the DK-H200 1080p camera adds High Dynamic Range (HDR) support, while an update to the 1080i DK-Z50 further enhances its exceptional quality.

The DK-H200 delivers native, full frame-rate 1080p video acquisition in a space-efficient form factor, making high-performance, progressive capture affordable and accessible for more applications than ever before. The DK-H200’s 2.6 million pixel, 2/3-inch MOS sensors deliver sharp, clear images and combine with advanced digital signal processing to provide superior picture quality with low noise, faithful colour reproduction and remarkable sensitivity. Meanwhile, the multi-purpose DK-Z50 combines 2/3-inch CCDs with 14-bit analogue-todigital conversion to provide outstanding performance and quality for 1080i and standard-definition workflows at an economical price point. The small and lightweight nature of the two cameras also makes them ideal for robotic operation and discreet installations.

Hitachi Kokusai has been in the vanguard in evangelising the visual advantages of High Dynamic Range video and implementing HDR support in its broadcast camera line. The new DK-H200 update brings the benefits of HDR to the box camera format, enabling visibly superior HDTV productions with increased contrast, expanded mid-tones and greater detail in dark and bright picture regions – improving viewing experiences without the higher costs and workflow overhead of Ultra HD. The new firmware supports HDR specifications including HLG (Hybrid Log-Gamma) and HPQ, which is compatible with the HDR10 open standard for consumer TVs. The DK-Z50 also gets a significant upgrade of its own. While the DK-Z50 is already known for its outstanding visual reproduction, the update improves its image quality even further, enabling closer picture matching with Hitachi Kokusai’s popular Z-HD5000 broadcast studio and field production camera. The new firmware increases the DK-Z50’s signal-to-noise ratio to greater than 60dB while also enhancing its detail functions and characteristics.

The new DK-H200 and DK-Z50 firmware updates are slated to be released in Q2.

Visit www.hitachikokusai.com

ARRI WVR-1s Small Video Receiver IN NOVEMBER OF 2018 Vitec, with its brand Teradek the market leader in wireless video transmission systems for the motion picture industry, acquired Amimon, the supplier of the video transmission technology inside the Teradek Bolt and ARRI Wireless Video System (WVS). In a joint statement with ARRI, Vitec has declared its continued commitment to the ARRI WVS product line, which is being expanded with its latest addition, the ARRI WVR-1s, a compact and lightweight wireless video receiver.

The WVR-1s is part of ARRI’s comprehensive WVS range, which includes both integrated and external transmitters, receivers, monitors, and a wide variety of associated accessories. The first shipments of the new compact receiver WVR-1s are expected in May 2019.

Visit www.arri.com

ACQUISITION

The ARRI Wireless Video Receiver WVR-1s is designed primarily to allow focus-pullers and directors to remotely monitor footage as it is being captured. A smaller, lighter-weight counterpart to ARRI’s long-range WVR-1, the WVR-1s can be quickly paired with the ARRI WVS transmitter and has an operational range of up to 150 metres/500 feet. The WVR-1s is built to ARRI’s high standards with a robust milled aluminum casing. To increase hand held flexibility and reduce overall weight, it has integrated antennas, battery adapters for micro batteries, and an extra power out for a monitor. With the backing of ARRI’s global network of service centers, any downtime will be reduced to a minimum, and as the ARRI WVS is fully certified, operators can be confident they are always in compliance with local transmission regulations.

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SPORTSCASTING Sport coverage worldwide

www.content-technology.com/sportscasting

Grass Valley in Remote Production Trial for Rugby World Cup

SPORTSCASTING

GRASS VALLEY RECENTLY took part in a breakthrough in remote IP video production. The company announced the successful execution of a remote link from cameras based in Telstra’s Tokyo office with an XCU base station in IMG Studios’ London headquarters, using Grass Valley’s DirectIP connectivity solution to deliver uncompressed, ultra-low latency video over a distance of 20,000 kilometres.

Grass Valley is the only vendor that enables IP communication directly between cameras and XCU. This Tokyo-to-London link, on a Telstra next generation Optical Transport Network (OTN) based ethernet service between Japan and London, marks the longest, true remote IP production connection to date.

“This trial is a real breakthrough that has put us in a strong position to extend our remote production capabilities, as demonstrated with the ATP500 series, to events in Asia such as the Rugby World Cup,” said Tim De Marco, Head of Engineering, Live Galleries and Studios at IMG Studios. “Only needing to bring cameras on-site with us and being able to keep the majority of the heavy lifting in London means we can dramatically improve the economics of world feed production. We also now have a clear, tangible idea of how DirectIP enables effective remote production with greater flexibility and lower cost, while maintaining high broadcast quality. This is a valuable market differentiation for us that we can apply to future live productions.”

resolution and speed are not a barrier to remote production. Getting signals from one side of the world to the other with low latency and assured quality over the Telstra network is now a reality. The transmission of remote signals via the Telstra network over such long distances between Grass Valley’s cameras and the production centre is a real game-changer that will enable productions and workflows not previously possible.”

The trial demonstrates a robust IP workflow between camera, IP switches and XCU that supports HD, 3G, UHD and SlowMotion feeds over large distances, proving the ability of the DirectIP system to handle uncompressed signal distribution. Signals were transmitted via Telstra’s high-speed fibre-link using the DirectIP configuration from two Grass Valley LDX 86N cameras in Tokyo to an XCU Universe UXF base station, with OCP control panels, in London. The workflow delivers easy set-up and maintenance through a centralised control room to ensure the highest performance levels. One of the benefits of DirectIP is that signal availability is not affected, including intercom and return video, allowing the remote site to integrate with the production, regardless of the distance.

“IP-based remote production is a great way to address the cost pressures of live productions as they strive to meet the growing demand for first class content and immersive viewing experiences,” said Mark Hilton, Vice President of Live Production, Grass Valley. “This unique real-life field test strongly underscores the unmatched capability of Grass Valley’s DirectIP workflow. As the only camera manufacturer that delivers all-IP communication between a camera head and its base station, our customers can achieve enormous savings on time, budget and resources by only sending camera heads to on-site production venues. This model maximises equipment usage at their production facilities for a higher return on investment, while still supporting high end productions – it really is a major win for them, and with that, a win for the whole industry.”

Trevor Boal, Head of Telstra Broadcast Services said, “This trial confirms that

Visit www.grassvalley.com

Kayo Sports Selects AWS for Majority of Cloud Infrastructure AMAZON WEB SERVICES RECENTLY ANNOUNCED Kayo Sports, Australia’s new dedicated multi-sport streaming service, has selected AWS to facilitate reliable, scalable, and personalised live streaming and video catch-up functionality. Powered by FOX SPORTS Australia, ESPN, and beIN SPORTS, Kayo offers more than 50 sports instantly streamed from Australia and other countries for viewing on iOS and Android mobile devices, laptops and PCs, and on TVs with Telstra TV, Apple TV and Chromecast Ultra apps.

SPORTSCASTING

Kayo uses AWS Elemental Live encoding on premises, Amazon CloudFront, and other AWS services, to power new kinds of viewing experiences. This includes Kayo SplitView, which offers up to four events or camera angles on one screen on selected devices. The same AWS workflow supports Kayo Key Moments, which captures highlights from matches, so sports fans can get straight to the action they want to watch.

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Enabling viewers to watch how and when they want, the Kayo online sports service features pause, rewind, and replay functionality delivered by AWS Elemental MediaPackage in Apple HLS and MPEG DASH streams. To help deliver the best possible viewing experience, the end-to-end AWS Elemental live streaming workflow delivers broadcast-quality video content with much lower delay than traditional live streaming sports simulcasts.

Kayo’s video infrastructure is architected for availability, scalability, and low

latency. Amazon Elastic Compute Cloud (EC2) provides elastic compute capacity based on demand, while AWS Elemental MediaPackage is supported across multiple AWS Availability Zones to reliably repackage and originate content for delivery to Amazon CloudFront.

Storage built on Amazon Elastic Compute Cloud and Amazon Simple Storage Service Glacier (Amazon S3 Glacier) is used to analyse live performance data to support continuous optimisation. AWS Lambda and AWS Step Functions provide a server-less execution of sign-ups and user validation.

Thomas Kaurin, Director of Technology at Kayo Sports, said, “Kayo provides a new way for Australians to experience sport. With over 30,000 hours of content and game-changing features, it’s critical we deliver the best possible experience to sports-loving Aussies. AWS helps Kayo do this through its fast pace of innovation, with constantly evolving tools that help us deliver a world class experience.”

Paul Migliorini, Managing Director ANZ at AWS said, “The time-critical nature of sports puts a premium on performance that goes beyond any other type of content streaming. AWS means broadcasters can have full confidence of an outstanding live user experience while providing the compelling library of sports that consumers expect.”

Visit https://aws.amazon.com

SPORTSCASTING

LiveTouch 4K No one offers more speed and flexibility in replay

LiveTouch 4K – the only replay & highlights system that truly takes your HD sports workflows into 4K! Includes instant 4K editing/ production collaboration without copying or moving files: • Intuitive and simple touchscreen control panel for fast highlights selection, playlist editing and live playout control • Enjoy an instant collaboration experience that remains the same with one server or multiple servers • Integrated graphics, craft editing and advanced replay tools that can publish straight to social media

Join the conversation Copyright © 2019 Grass Valley Canada. All rights reserved.

Specifications subject to change without notice.

SPORTSCASTING

• Mix freely between HD and UHD 4K in mixed resolution productions

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SPORTSCASTING

MultiDyne to Launch Next-Gen SilverBack Series MULTIDYNE FIBER OPTIC SOLUTIONS will refresh its SilverBack series of camera-mounted fibre transport solutions at the 2019 NAB Show with three additions to serve live production needs across all budgets. The updated series, anchored by the now-shipping, IP-enabled SilverBack V, includes the global debut of two models that extend MultiDyne’s reach into new production verticals.

MultiDyne will demonstrate all three systems at booth C5013 at the Las Vegas Convention Center.

The SilverBack V broke ground in the convergence of fiber and IP-based production workflows upon its introduction in 2018. The industry’s first 12G- and 4K-capable camera-back system to incorporate an IP output, the SilverBack V offers a gateway to multipoint IP networks, enabling users to move field-acquired content to many destinations. Broadcasters and content producers can send video, audio and data captured on location to studios, post houses and mobile production trucks at once, for example.

The SilverBack V remains the high-end option for broadcast and digital cinema customers working with Ultra HD resolutions. Its optimised bandwidth efficiency reliably accommodates the high data rates that live 4K and 8K productions require – a substantial benefit for live sports, concerts, and motion picture productions.

New for NAB, MultiDyne has added power management capabilities to the SilverBack V that eliminates the need for external power supplies. This will prove especially valuable for camera operators and cinematographers for powering focus, iris and zoom directly from the unit without risk of power supply failure. The compact, lightweight design also supports two camera heads that are configurable to today’s leading cameras, with a common, integrated multiviewer to monitor both cameras.

MultiDyne will additionally introduce the SilverBack HP, a re-imagined version of the popular SilverBack II fibre transceiver that adds two-channel intercom and ethernet alongside video, audio, and data. Like its predecessor, the SilverBack HP provides robust, full bandwidth fibre-optic links for 3G, HD and SDI signals from the field to a truck, control room or other receive point along with genlock, tally and audio.

MultiDyne will also extend the operational benefits of SilverBack to commercial AV and smaller event productions for the first time with SilverBack Pro. The SilverBack Pro offers the same engineering innovation, live production benefits and ease of use associated with all SilverBack products at a much lower cost. This provides worship facilities, corporations and K-12/higher education systems with a highly configurable camera-back fibre transport system to cover live performances, presentations, lectures and high school/college sports at an affordable price point.

SPORTSCASTING

MultiDyne President Frank Jachetta notes that the popularity of the SilverBack line inspired the company to diversify the product line, with specific models and price points that can serve a much broader customer base.

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“All three of our next-generation SilverBack systems integrate the same user-friendly features, interfaces and menus, with just the right amount of signal density and networking capabilities to serve each price point,” said Jachetta. “Whether the customer is using SilverBack for professional AV applications, cinematography, or the largest, mission-critical live broadcasts, the model that suits their needs will offer the same flexible, project-to-project configurability for their signal acquisition goals in the field.”

Visit www.multidyne.com

FingerWorks Telestrators Showcase Latest VR Software

FINGERWORKS TELESTRATORS, the leading live telestrator for professional sports and e-sports broadcasters, will unveil its new FingerWorks VR 2.0 at NAB 2019 (South Lower Hall, booth 6412). The updated software features live stats integration, live preview, improved masking and a streamlined multi-camera VR setup.

“Similar to our legacy FingerWorks products, the latest FingerWorks VR 2.0 is ideal for any application in which a wide-angle, stereoscopic or 360° camera is implemented, including live sports productions and tournament-style e-sport/ gaming competitions,” says Bryan McKoen, owner, FingerWorks Telestrators. “FingerWorks VR 2.0 provides preview technology, which enables users to view the footage in a headset prior to setting up a Content Delivery Network (CDN) and affords them an undistorted view of the final VR output that will be seen by home viewers.”

FingerWorks VR is a real-time 3D telestration software and graphics engine for live virtual reality and augmented reality applications.

FingerWorks VR supports all popular VR geometry and stereo formats in addition to supplying a flattened user interface that makes it simple for analysts and operators to place graphics in the VR space. A recall feature enables users to preset camera positioning and graphic placement for instant recall based on which VR camera is on air. The software supports traditional SDI and IP workflows, as well as NDI streaming for resolutions up to stereoscopic 4K 60p. This allows content creators to incorporate graphics to any VR broadcast in real-time without diminishing quality.

Using a unique three-step approach, the FingerWorks VR will un-distort a 180° or 360° feed to an easy-to-manipulate view, in which graphics operators or live analysts can place assets. The software will then output this flattened, undistorted view and associated graphics to a traditional 2D broadcast allowing broadcasters to add VR cameras with pan and zoom controls without the need for headsets.

The software will then subsequently render the cameras back to original view, with the new assets incorporated for the headset stream and its associated viewers. The system is compatible with all FingerWorks Telestration tools, such as auto rosters and also allows for importing custom tools.

FingerWorks VR 2.0 will be available beginning in the second quarter of 2019. Current users of the FingerWorks VR software will be upgraded to the latest version at that time.

Visit https://telestrator.com

SPORTSCASTING

Future-Proof Technologies / Reliable Solutions / Safe Investment / PA People Give Sydney FC ‘Carte Blanche’ for Audio THE P.A. PEOPLE HAS RECREATED its iconic ‘Speaker Carts’ which are designed to provide quality sound reinforcement in stadiums. This significantly expands the company’s inventory of Bose ShowMatch Delta-Q cabinets and Linea Research amplification.

range solution with exceptionally even coverage both vertically and horizontally. Array cabinets and subs can be added to the ‘Carts’ to achieve appropriate vertical coverage and sound pressure levels for entertainment applications.

“Shortly after Visit weusdeployed our first Bose ShowMatch system for the HALL 8, BOOTH D28 Sydney Kings [basketballBOOTH team]C6537 in Qudos Bank Arena in October, we were approached by Sydney FC [soccer team] to look at providing a system for their home matches at Jubilee Oval in Kogarah and Leichardt Oval over the next three years. We were very happy with the sound of the ShowMatch system for the Kings, so we set about working out the best way to deploy a system around a football field on a weekly basis. The end result is a reimagining of the Speaker Carts that we built for SuperLeague over twenty years ago,” commented Chris Dodds, Managing Director of The P.A. People.

Mechanically the Bose ‘Carts’ ride on four turf tyres and feature a front retractable draw bar and a concealed rear hitch enabling the units to be towed in a line. These are towed into place behind a Kubota diesel UTV which forms part of The P.A. People ‘Cart’ package. Each unit is 2400 long, 800mm wide and sits at around 900mm high, and comes complete with a full set of 75mm sports grade padding to the rear and ends, to reduce the risk of player injury.

&

Each Bose ‘Cart’ is designed to house an array of ShowMatch cabinets flanked by two SMS118 18” subwoofers. Under the rear sub cabinet is an amplifier sleeve that houses a Linea Research 44M20 four channel amplifier and a network switch. Under the front sub is the steering axle, while the space behind the array cabinets houses a flip up panel concealing the mains and signal connector panels.

The ‘Carts’ leverage ShowMatch’s unique Delta-Q array technology. In its standard configuration each ‘Cart’ array comprises a SM20 20degree, SM10 10 degree and an SM5 5-degree cabinet. As the vertical coverage decreases the output of each cabinet increases, providing a natural gradient of SPL without having to shade the power applied to each box. Coupled with the selection of wave guides the ShowMatch system is able to provide a high-power full

Both of The P.A. People’s ShowMatch systems are powered by Dante enabled Linea Research 44M20 amplifiers, each capable of developing 20kW of power over four channels in a 2ru high chassis. As you would expect, the amps feature a comprehensive DSP based signal processing and management chain and their own control application.

The P.A. People have again opted for an entirely Dante based signal distribution system for the Cart system. Each unit is interconnected with a loom comprising a 32A Ceeform mains cable and a single mode OpticalCon four core fibre cable. Optical interconnection was chosen for electrical safety, eliminating the possibility of earth loops from different mains sources, as well as providing a second fibre path that can be utilised for video or comms applications.

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Visit www.papeople.com.au

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SPORTSCASTING

Telstra Provides Broadcast Distribution for Lagardere and AFC Asian Cup THE 2019 AFC ASIAN CUP, held from 5 January to 1 February 2019, saw Telstra Broadcast Services design, deliver, and operate the event’s live contribution media network.

Contracted by Lagardere Sports – the commercial partner of the Asian Football Confederation (AFC) – Telstra built a professional overlay media network to deliver all audio, video and data services from the eight world class stadiums in the UAE to the International Broadcasting Centre (IBC) at Zayed Sports City Stadium in Abu Dhabi.

The network carried stadium camera and production feeds along with data and communications between the stadiums and the IBC, including the video and audio feeds required for the video assistant referee (VAR) to ensure each game was officiated to the highest standards.

Telstra also provided Lagardere Sports with the international fibre and satellite teleport network to deliver the World Feed from the IBC to AFC Asian Cup UAE 2019 rights holding broadcasters around the world. It also provided unilateral international contribution feeds to beIN Sports and Al Kass Sports, which allowed these broadcasters to create unique content and programming on their channels.

Andreas Eriksson, Acting Head of Telstra Broadcast Services, said the collaboration marked a significant milestone in the way football content was produced in the UAE. “This was the first time that a full fibre contribution network of this type had ever been deployed in the UAE,” he said. “The AFC Asian Cup is one of the most prestigious football tournaments in the world and we were delighted to deliver not only essential

game day video and data but help millions of fans around the world enjoy the competition. With 51 matches, 24 teams, eight stadiums and four host cities, our broadcast services ensured every pass, goal and celebration was not missed.”

Telstra Broadcast Services brings to its customers high performance media networks, teleport and satellite services, online video and cloud platforms, and 24/7 bookings, operations and engineering support. The Telstra Broadcast Operations Centre manages over 400 video, satellite and data services for leading Australian and international media and sports companies, facilitating over three million permanent channel hours and 20,000 event bookings every year.

Visit www.telstra.com

UHD Multiviewers from Cobalt Digital COBALT DIGITAL WILL DEMONSTRATE its new 9971 Series of UHD multiviewers for the openGear platform at the 2019 NAB Show (Booth SL9111). The new cards support a variety of asynchronous signals and offer HDMI outputs for economical monitoring on consumer-grade 4K monitors.

Three models – the 9971-MV18-4K with 18 SDI inputs, 9971-MV6-4K with six SDI inputs, and 971-MV6-4H-4K with six SDI and four HDMI 2.0 inputs – are designed to accommodate a variety of signals and applications. The 9971 Series supports 12G/6G/3G/HD/SD-SDI and UHD1 3820×2160 square division (SDQS) or twosample interleave (2SI) quad 3G-SDI formats as I/O. Each model can output ST 2082 12G-SDI for

single-wire 4K transport, while up to two HDMI 2.0 outputs at 3840×2160 resolution allow 4K video monitoring of the mosaic image output.

Using 12G-SDI “single wire” inputs, the 9971-MV18-4K supports up to 18 asynchronous discrete PiP images, and can downconvert 12G and quad UHD using 12G-SDI and quad 3G-SDI inputs, while the 9971-MV6-4K supports up to six discrete PiP images. The 9971-MV6-4H-4K displays up to 10 sources, including a mix of computer and video sources, and also works directly with commercial or consumer HDMI signals as I/O without the use of additional converter boxes.

Up to five 9971 cards can be installed in one 2 RU openGear frame. Multiple cards can be included

in a cascaded chain that provides multiviewer layouts of up to 64 sources (8×8), with lowlatency processing to prevent significant accumulated delays within the chain.

Setup is simplified with one-button template presets, but users can also create and save fully customizable layouts. Real-time changes to template and custom layouts can be made on the fly without an external setup or layout program. The 9971 cards also include text “burnin” insertions and other graphic overlay features.

Card control and monitoring are available via the DashBoard user interface, integrated HTML5 web interface, SNMP, or Cobalt’s RESTful-based Reflex protocol.

Visit www.cobaltdigital.com

Tedial Scores with SMARTLIVE and Spotlights Version Factory TEDIAL’S NEWS FOR NAB 2019 is that SMARTLIVE, its automated live sports solution, is shipping and will vbe demonstrated on Booth SU 1924.

According to Tedial, SMARTLIVE not only delivers better sports storytelling, it does it automatically.

Featuring AI tools, SMARTLIVE leverages its metadata engine to automate highlight creation and distribution - including tight integration with digital platforms and social media.

SPORTSCASTING

SMARTLIVE automates the event metadata ingest process, automatically provisions a production environment for the production team, manages multi-venue feeds, and automatically generates personalised content of one or multiple games, or even season highlights, and feed campaigns to social media platforms.

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SMARTLIVE also allows the production team to create more content than ever before leading to increased fan engagement and additional revenue, and permits quicker access to content allowing a shift to more affordable digital models.

Also on show will be Tedial’s HYPER IMF endto-end IMF workflow MAM platform which

now supports 2018 SMPTE IMF standards, including Apple ProRes wrapped in MXF. Tedial has incorporated Business Cases that apply to IMF processes, so content can be efficiently managed and MAM-workflow orchestrations can be easily supported, such as attaching late deliveries of forensic watermarked components to previously distributed media, detecting and managing duplicates, and waiting for master assets. Assembly of completely new IMF packages is accomplished using low-resolution proxies and a Web-based GUI. Powerful dashboards have been added for real-time monitoring of operations and platform capacity. HYPER IMF has an agnostic infrastructure, it can be deployed on-premises, in the cloud, and in hybrid infrastructures.

Tedial will also highlight its Version Factory which automates thousands of OTT and VOD versioning tasks. Tedial Version Factory 2019 features upgrades that include: managing ‘on-the-fly’ assembly of unique versions, including pre, post and mid-roll insertions, matching contractual distribution requirements for timely deliveries, enabling IMF-compliant low-resolution proxy edits

on media and templates so seasons of episodes can be managed with a single configuration.

Using Version Factory and HYPER IMF, Tedial can support existing and new platforms, delivering content in the correct format with audio tracks and subtitles in the correct language, as well as any additional components required (artwork/trailers etc.).

Lastly, Evolution aSTORM is the company’s cost-effective content management solution that changes the storage paradigm from the traditional HSM approach to a true multi-tier, multi-site object-based storage environment. aSTORM transparently manages various storage tiers across departments and continents. aSTORM has been upgraded with numerous features, including: Optimising transfers between sites for reduced transfer costs, and improved tape migration workflows between technologies for increased resource efficiency resulting in lower migration costs. aSTORM also now supports Oracle cloud storage.

Visit www.tedial.com

NEWS OPERATIONS www.content-technology.com/newsoperations

On the new 10 News First set.

[L-R] Matt Burke, Sydney sports presenter; newsreader Sandra Sully; Ross Dagan, 10 network director of news content; and weather presenter Tim Bailey.

New Set for 10 News Network 10 has unveiled a new news set. Based in the atrium of 10’s Sydney headquarters, the set stretches 36m and features a 9m x 2.4m screen with a 1.5mm pixel pitch, the largest of its kind in the country.

Network 10’s director of news content Ross Dagan said, “Delivering first-class news, information and discussion to audiences when and how they want it continues to be our most important focus. Our new set gives us the tools to do that in far more dynamic and contemporary ways.

“We have some of the best journalists, presenters and graphic designers here at 10. Now, coupled with our new news set, we can connect and engage with audiences more directly than ever before. From sitting behind a desk, to a couch discussion, to a panel setting to a stand-up introduction, the new set is flexible. We are able to instantly transform program segments and can deliver news and information in any scenario easily, depending on the need and topic.

“With the biggest news LED screen of this resolution, we’re also able to present higher-impact visuals and graphics to better tell the stories audiences care about.”

The set’s perimeter also includes five visual stripes, including a high-resolution ticker-type screen that can be fed with pictures and graphics to instantly change the theme or pass on breaking news information.

The new news set follows the rebrand of 10’s evening news program from Ten Eyewitness News to 10 News First, and the appointment of key journalists into key roles including Kerri-Anne Kennerley as Studio 10 presenter, Peter van Onselen as network political editor, Hugh Riminton as national affairs editor and Chris Bath as weekend news presenter.

Multiplay fits into “the three-legged stool project”.

“What that means is,” he says, “Channel 10 was already a customer for our Viz Pilot newsroom graphics system., and this is the template newsroom system that allows journalists to enter in content through the template, through their Active X, through the newsroom system and push it to a rundown, and Channel 10 was already a customer with our Viz Mosart, which is the automation solution which takes the content and the rundowns and drives in their system. It just so happens that the Viz Multiplay fits … and switched over for the chat show format. in quite nicely in that workflow, and that’s what we presented to them as the bigger picture, the bigger solution for their needs.

“It’s very easy to get technology out there that can get graphics onto a video wall or multiple video walls through a multiplex or matrixes, or whatever you want to use, but to have a solution like Viz Multiplay that fits in with existing Vizrt workflows is one of the reasons they were very, very keen.”

The use of Viz Multiplay also enables Network 10 to instantly reconfigure the news set for particular segments, as well as other programmes.

“The branding of that set can be changed at the flip of a switch in moments,” says Watson. “So, really, the creativity is back with the designer to start having multiple show brands ready to play out and work with these videowall technologies and, at the same time, still interact with the existing workflows of the Pilot newsroom system, the Mosart, and even a little bit of the Viz One clip elements.

The new set was designed in partnership with the 10’s graphics team, led by David Bernstein and The Exposure Group’s Vi Hermens.

“One of the great ideas about videowalls overall is that, depending on the scale and what you want to do with it, most of your show branding can be on the videowalls and you can switch from, say, a magazine show to a news show quite easily. You can even start sub-segmenting for different blocks.

For a breaking news situation, you could hit a trigger and all the graphics flip to a very energetic red breaking news situation and the whole set becomes a breaking news set, or to a sports set, and the branding is all being rendered in real time on the videowalls.

The software driving the screens is Vizrt’s Multiplay, a solution which allows users to push content to one, or more, video walls. Content can include video clips, live sources, or Viz generated graphics.

Following the Sydney roll-out, Network 10 plans to also rebuild its news sets in Melbourne, Brisbane, Adelaide and Perth to reflect the design of the new Sydney set.

According to Vizrt Regional Sales Manager, Jonathan Watson, the use of

Visit htps://tenplay.com.au and www.vizrt.com

Mr Dagan continued, “We’ve had some incredible momentum with our news assets over the last few months, which is really encouraging. The new set is an important milestone in our long-term strategy and I’m really excited to be part of a team changing the way we deliver news and information to audiences.”

NEWS OPERATIONS

THE NEW SET WILL BE HOME to 10 News First, Studio 10 and Sports Tonight and used by other 10 assets such as The Loop, RPM and 10 Daily.

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NEWS OPERATIONS

ChyronHego Accelerating Producer-Driven News Workflows STAYING ON TOP in today’s competitive and rapidly changing broadcast world is an ongoing challenge for news producers. The key success factor is the ability to produce more stories faster and as cost-effectively as possible, with robust and easy-to-use tools that don’t require specialised staff. ChyronHego’s solution is the CAMIO Universe, an all-software ecosystem for multiplatform news delivery. The CAMIO Universe drives template-based news workflows and places storytelling tools at producers’ fingertips. The heart of the CAMIO Universe is ChyronHego’s CAMIO graphic asset management system. At NAB 2019, ChyronHego will highlight CAMIO’s versatility and flexibility for news producers, with a focus on its integration with virtually any newsroom computer system (NRCS) in the world.

Designed specifically for OTT content creation and publishing, ChyronHego’s new Vidigo News will make its North American debut at the 2019 NAB Show. Vidigo News is an all-in-one newsroom production solution for templated, producer-driven OTT workflows that operate alongside linear productions. Vidigo News packages ChyronHego’s Vidigo Live Compositor for live multicamera production with the company’s GFX solutions, the Live Assist production automation system, and a Live Assist Panels user interface. This gives news producers a solution for expanding their presence with new-media audiences and delivering content faster than before.

NEWS OPERATIONS

Also on display will be PRIME Graphics 3.5, the latest version of ChyronHego’s graphics platform.

Driven by ChyronHego’s rendering engine, PRIME Graphics provides a single 4K and IP-ready graphics design and playout platform – whether producers are looking to deliver a simple lower third or news ticker, a sophisticated and eyecatching video wall, or a touch screen reporters can use to illustrate the story. At NAB ChyronHego will highlight new GPU capabilities that enable PRIME to drive a virtually unlimited number of pixels and synchronise multiple outputs for video walls of any screen size and shape. ChyronHego will also unveil new HDR capabilities in PRIME for creating native HDR graphics and outputting them to an HDR channel.

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ChyronHego will showcase recent developments for its family of augmented reality graphics and virtual set solutions, all designed to make these technologies accessible and affordable to news operations of all sizes. With ChyronHego’s Hybrid AR solutions, news producers and journalists can create and drive AR graphics with no more effort than it takes to create a lower third, all managed

from the same NRCS rundown. Another key AR focus will be the new integration with Epic Games’ Unreal Engine. With Unreal’s rendering and realtime special effects tools, news producers are now able to add photorealistic and hyper-realistic elements to virtual sets and speed up the process of delivering AR graphics.

ChyronHego’s Virtual Placement adds robust, tied-to-surface virtual graphics to live productions without the need for a specialist operator, expensive camera sensors, or lengthy calibration processes. At NAB, ChyronHego will highlight new capabilities for maximising revenue opportunities in Virtual Placement 7.1.

Effective Channel Branding

Another new Virtual Placement 7.1 capability is remote graphics placement for international rights holders. Now, with a local Virtual Placement system on their premises, broadcasters can insert a virtual graphic into the clean feed downstream of the broadcast venue, with no additional calibration needed to make the graphic track realistically on the field. They can avoid the expense and logistical challenges of deploying on-site production teams and equipment at the venue.

Effective and compelling channel branding is important for news producers, not only to reinforce a station’s brand identity, but also to open the door to new revenue opportunities. At NAB, ChyronHego will feature the latest channel branding capabilities built into its NewsTicker 5 and PRIME Graphics solutions.

In use by 85% of the North American broadcast market, NewsTicker 5 is a robust, web-based platform for creation of on-screen ticker displays.

Through integration with the PRIME Graphics platform, NewsTicker 5 is able to exploit all of PRIME Graphics’ data management capabilities for delivering localised channel branding and support for multiple languages, with display of weather alerts and other breaking news data. A new HTML 5-based user interface allows producers to control shows remotely from laptops or tablets.

Supercharging Broadcast Sports Sophisticated on-screen graphics for highlighting sports plays and illuminating the action are now a fixture of sports broadcasting. Broadcasters need tools that make generating these graphics quickly. Designed with revenue generation in mind, ChyronHego’s Paint and Virtual Placement solutions for real-time data visualisation will be highlighted at NAB. With the Paint telestration and analysis tool, broadcasters can generate Illustrated Replays by visually analysing game-play and graphically highlighting the video to be replayed. In addition to 4K support and integration with EVS and Grass Valley replay systems, Version 7.5 of Paint includes tools for automatic publishing of the telestrated replay clips to social media.

Enhancing the Stadium/Venue Experience For sports teams and arenas, delivering more exciting and captivating in-venue experience is key to drawing fans away from their TVs and into the stadium. LED screens are bigger, more sophisticated, and more complex than ever, with advanced technologies such as HDR making the on-screen presentation almost as exciting as what’s actually happening on the field.

ChyronHego’s Click Effects PRIME is a set of highly integrated and turnkey graphics-authoring tools that make delivering these live arena and stadium AV presentations almost as easy as ‘click-effect’.

With Click Effects PRIME, stadiums can deliver AV presentations to any canvas size and any number of outputs in any resolution. At NAB, ChyronHego will demonstrate new features that make the product more versatile. While stadiums were previously limited to HD-SDI resolutions to synchronise outputs, Click Effects PRIME now includes native GPU-based technology for driving multiple screens at UHD resolutions and delivering a higher number of pixels per physical output.

With GPU power, Click Effects PRIME users can synchronise multiple outputs in native resolutions and across multiple physical servers, unleashing an almost infinite range of creative possibilities.

Visit https://chyronhego.com

NEWS OPERATIONS

NEWS OPERATIONS

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NEWS OPERATIONS

TVU Networks Introduce Updates to Media Supply Chain Platform TVU NETWORKS WILL DEMONSTRATE the newest product updates for TVU MediaMind, its media supply chain platform, in the company’s booth (C1707) at the annual NAB Show in April. TVU MediaMind’s story-centric workflow approach simplifies content creation, production and distribution while incorporating the latest integration and support for automation, AI, streaming, 4K, and 5G. “With the many, different ways media content is consumed today by viewers, broadcasters can no longer acquire, produce and distribute media for just TV. In fact, the way programs are created must completely change,” said Paul Shen, CEO, TVU Networks. “By automating and optimising the media supply chain process, broadcasters can realise the benefits of taking raw content and re-using it across many platforms, programs, and even organisations. TVU MediaMind allows anyone to create stories, wherever and however they want efficiently, effectively and without limits.”

For example, within content acquisition, the company will showcase a new 4K version of its TVU One mobile transmitter, which is the first cellular mobile unit with the ability to transmit Ultra-HD/4Kp60 HEVC content. “UHD/4Kp60 is a much more technically challenging resolution to achieve in a cellular mobile unit,” explained Shen. “However, using our patented IS+ transmission algorithm and advanced FEC technology, we were able to overcome these challenges and transmit video in full UHD/4K at 60 frames per second. The TVU One 4K and our entire family of portable and rack-mount transmitters are also now 5G ready.”

Other TVU solutions receiving enhancements and updates that will be demonstrated at NAB include: • TVU One TM1000, TVU’s flag-ship HEVC cellular 4G/LTE mobile transmitter.

• TVU Anywhere, an app for capturing and streaming live video from anywhere.

• TVU CAS (Contribution Automation Solution) with new automated workflow integration.

• TVU Command Center for cloud-based centralised management of TVU devices and services.

• TVU Grid, an IP-based video switching, routing and distribution solution

NEWS OPERATIONS

• TVU Producer for full-featured cloud-based live video production.

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• TVU Receivers and Transceivers for video decoding, distribution and management of TVU and IP video sources.

• TVU Remote Production System, a cost-effective solution for live remote synchronised multi-camera production for news and sports.

• TVU Router, a portable broadband Internet access point providing up to 200Mbps of untethered internet connectivity.

Visit www.tvunetworks.com

AFP Launches Content API THE INTERNATIONAL NEWS AGENCY AFP, which has 201 bureaus in 151 countries, has launched its new API. AFP Content API simplifies access to AFP’s real-time production and allows developers to innovate by creating their own custom-made applications.

Media, pure-players and businesses can now integrate AFP’s new API directly into their content production and editing tools, or their mobile applications, in order to access one of the world’s biggest sources of content.

AFP produces 5000 text and multimedia dispatches, 3000 photos, 100 videos, 80 infographics and video graphics daily, enriched with 640,000 pieces of metadata, all accessible via AFP Content API in the Agency’s six languages of production.

AFP says its Content API will reduce technical costs and development time for clients. Features include a simple and easily integrated RESTful API that is compatible with XML and JSON, and a reliable service that requires fewer resources for development, integration, configuration, security and maintenance.

AFP says its Content API offers a better user experience, including: • Automated requests, downloads and publication.

• Meta data-rich content and a powerful search engine.

• Faster editing and publishing on the client’s platform.

Go to https://developers.afp.com/en/ to test the API, download the technical specifications and request a free trial. AFP says it will offer long term free access to incubators and start-ups.

Visit www.afp.com

Hardware-Based HEVC from LiveU WITH THE LAUNCH OF the super robust, compact LU300 HEVC field unit and the LU600 4K HEVC solution, LiveU has created a new standard for video quality and performance.

Product Demos and Stage Presentations at NAB At this year’s NAB, LiveU will showcase its full hardware-based HEVC product suite with enhancements such as 4K SDI offerings, built-in global roaming capabilities for hassle-free local and global operation, and video return.

LiveU Matrix will take centre stage in the booth with daily demonstrations of the next-generation IP cloud video management platform. Alternative sports productions featuring HEVC and At-Home Production will also be featured in stage presentations throughout the week.

Formula Race Car Parked on the LiveU Booth LiveU will showcase its collaboration with G1 Formula racing manufacturer, Griiip, displaying the original G1 entry-level Formula race car with LiveU’s LU300 onboard. Learn how LiveU technology powered the highest speed multi-camera live stream ever and gave fans the ability to select from feeds of the whole race or an individual driver’s car.

LiveU Studio Once again, LiveU will be hosting dynamic, interactive content in its NAB booth. This year, industry insiders Philip Nelson of Nelco Media and Stream Geeks will take over the LiveU Studio and host daily live shows featuring broadcasters, sports teams, content producers, and NAB exhibitors covering hot topics such as HEVC, wireless at-home production, 5G, AI, and social media live streaming – all in front of a live studio audience. The live shows will be produced using a streamlined mobile production set up – powered by LiveU, PTZOptics, and NewTek. Experience LiveU Solo in the Facebook Live Pavilion See the latest enhancements to LiveU Solo, the plug-and-play live streaming solution for online and social media streaming in the Facebook Live Pavilion located in the South Hall Upper Lobby. Learn how you can take your streams to the next level with the Solo Cloud Graphics suite and new features in the Solo portal.

Visit www.liveu.tv

MEDIA IN THE CLOUD, STORAGE & MEDIA ASSET MANAGEMENT

Virtual high performance workstations Smart archives with artificial intelligence Multi-cloud platform solutions powered by VMware Networking for media workflows Broadcast application virtualization Live 4K sports production on Isilon Collaborative editing 4K, 8K UHD displays

Empowering media workflows for the digital age Join us in NAB booth #SL8011 to see how Dell Technologies is transforming storytelling with solutions that span media workflows.

Learn more at: https://dellemcevents.com/event/nab-2019Â

MEDIA IN THE CLOUD, STORAGE & MEDIA ASSET MANAGEMENT

Integrated content security

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POST PRODUCTION www.content-technology.com/postproduction

SAE Launches Augmented and Virtual Reality Diploma AUGMENTED REALITY (AR) and virtual reality (VR) technologies are rapidly being adopted by consumers and business alike with industry projections estimating growth to US $21 billion by 2022.

and it demonstrates SAE’s commitment to delivering programs relevant to emerging jobs, technologies and industry needs,” Mr Aitken said.

To meet the jobs growth, SAE Creative Media Institute, working with Liminal VR, has introduced a Diploma of Augmented and Virtual Reality to its programme offering.

“The ultimate aim is to enhance employability skills and help students carve successful careers, and through this initiative we’ve already assisted 12 of our students to gain work placement with Liminal VR.”

Liminal VR develops apps that treat human centric issues such as anxiety and depression, and cofounder and CEO Damien Moratti says SAE were one of the company’s first educational partners.

According to Mr Moratti, “SAE’s students are producing really high quality and impressive work and It is great to see because the industry needs passionate and excited individuals to fill the multitude of new roles the sector requires.”

General Manager of SAE Australasia, Lee Aitken says he’s proud to have worked in partnership with industry to develop the course, as the only Australian provider to offer an AR/VR education at a Diploma level.

“This is very exciting news for aspiring creatives

T aking advantage of this key industry partnership, one student has also gained full-time employment with Liminal after completing a successful work placement.

According to Mr Aitken, the Diploma of Augmented and Virtual Reality allows students to build expertise in technical workflows associated with common augmented and virtual reality platforms.

“The program develops students’ skills and knowledge in consumer level VR/AR hardware and software to produce immersive interactive experiences that are applicable to a wide range of industry roles in areas such as health, tourism,

medical, defence and entertainment as well as extensive gaming uses,” he said.

Key areas of content covered by the program include: • Augmented reality (AR) technology use • Virtual reality (VR) technology use • Mixed reality (MR) technology use • Haptic technologies • Human-computer interaction (HCI) • Rapid prototyping Students can enrol in The Diploma of Augmented and Virtual Reality at SAE campuses in Brisbane and Sydney. Applications are open for May 2019.

Visit www.sae.edu.au

SGO Pre-Releases Mistika Boutique Software-Only Solution for Windows, Mac OS A PRE-RELEASE OF MISTIKA BOUTIQUE, an allnew full-finishing software solution for Windows and MacOs, is now officially available.

enabling the option to change parameters at any moment and providing finishing artists with much greater control and flexibility.

Mistika Boutique offers an extensive spectrum of fully-integrated finishing tools, essential for creating first-class content, including colour grading, VFX, Stereo 3D and VR/360º.

Leading plug-in developer, Boris FX supports the Mistika Boutique Open Beta Program by providing all testers with a one month fully working license of the Boris FX bundle: industry standard plug-ins for creative look development, title design, planar tracking, and more – Sapphire, Continuum and Mocha Pro.

“Everyone can take part in the Open Beta program and help us shape Mistika Boutique software by test-driving pre-release versions and letting us know what they think,” said Geoff Mills, Managing Director at SGO, adding that participating in the Mistika Boutique Beta program is completely free of charge and open to all.

Mistika Boutique integrates VFX and colour grading tools into the same, unified environment,

“VFX artists and colourists using Mistika Boutique have powerful new options for postproduction and finishing,” says Boris Yamnitsky, founder of Boris FX. “We are pleased to work with SGO to ensure that our most popular OFX plug-ins; Sapphire, Continuum and Mocha Pro all support this new host.

Mistika Boutique offers a professional immersive reality toolset for working with 360º media.

Being natively integrated and fully compatible with stitching software Mistika VR allows a highly efficient workflow by just sharing project metadata which eliminates the need of intermediate rendering.

After the period of beta testing, Mistika Boutique will be exclusively available through the SGO shop based on a pay-per-use business model.

Creatives and facilities will get to choose between Personal, Immersive and Professional Mistika Boutique Edition, adapting features and functionality priced according to their needs.

Mistika Boutique demos will be available on the SGO NAB2019 booth, #SL3805.

Visit www.sgo.es

SGO Integrates AJA KONA 5 into Mistika Ultima Systems for 8K Production

POST PRODUCTION

AJA VIDEO SYSTEMS has announced that postproduction software developer SGO has integrated AJA KONA 5 audio and video I/O cards into its full finishing and workflow solution Mistika Ultima, providing simplified and optimized 8K production for broadcast clients.

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Already deployed for live 8K broadcasts in Asia, the new Mistika Ultima 8K System provides a real-time finishing workflow for 8K Full UHD at 60p, even with uncompressed formats. It comprises an AJA KONA 5 card with 12G-SDI I/O connectivity, Mistika Ultima software, an HP Z8 workstation, a high performance SGO storage solution and other industry-standard hardware.

“We are delighted that broadcasters and other facilities in Japan have embraced Mistika Technology to produce content all the way up to 8K,” explains Shinpei Takoshima, Senior Systems Engineer at Kyoshin Communications. “Our clients using the latest Mistika Ultima 8K System with the new AJA KONA 5 are aware that deploying this technology puts them at the forefront of production and that dependable and high performing solutions like the KONA 5 are a must.”

“8K production is complex and demanding, so we strive to equip our customers with the best technology out there; KONA 5 meets this requirement and was a natural choice for our Mistika Ultima 8K system. The card is durable and versatile,

and its four 12G-SDI ports minimize cabling,” said Geoff Mills, Managing Director at SGO. “We’ve been thoroughly impressed by the support that AJA’s development team has provided us to achieve a new 8K workflow and look forward to integrating KONA 5 cards across our complete line of finishing systems.”

KONA 5 is a high-performance 8-lane PCIe 3.0 capture and output card featuring 12G-SDI I/O and HDMI 2.0 output. KONA 5 enables simultaneous capture with signal pass through when using 12G-SDI, and offers HDMI 2.0 output as well as deep-colour and multi-format HDR support.

Visit www.aja.com and www.sgo.es

POST PRODUCTION

Red Giant Expands Universe and Trapcode Suite RED GIANT HAS RELEASED UNIVERSE 3.0, a major update to its video effects and transitions plugins for motion graphics artists and editors.

With this update, users can enjoy an enhanced user experience thanks to the brand new Universe Dashboard, a dockable control board for Adobe Premiere Pro and Adobe After Effects that makes it simple to add effects and presets. Five new, customisable text generation effects give users even more ways to add a unique flair or specific look to their work. Red Giant Universe 3.0 features over 75 tools supported across 8 host-applications.

In Adobe Premiere Pro and After Effects, the dockable Universe Dashboard keeps tools at users’ fingertips, making it simple to explore and apply Universe’s entire library of effects and presets.

Users can now save effects as favorites and easily find recently used effects and transitions – a top request from Universe users. A modified version of the Dashboard is also available for other applications outside of Adobe Creative Cloud, and is a convenient and easy way to explore the effects and presets in the Universe library.

Trapcode Form.

Red Giant Universe 3.0 now includes five new customizable text effects including a multitude of presets to help users get started: • Type Cast: Easily animate text properties like color, opacity, size, position and rotation – by the word or character.

• Type On: Quickly create computer terminalstyle type reveals. Includes tons of options for customisation and randomisation.

• Screen Text: Fill your screen with scrolling code to create the look of an old-school or modern computer terminal. Get started with Screen Text.

• Hacker Text: Easily create computer hacker-style scrambled text animations. Simulate encrypting or decrypting text with many options for randomisation and look.

In Red Giant Universe 3.0, every tool comes with presets that can be explored via the new Dashboard. In addition, there is now a ‘Save Preset’ button for every Universe effect that lets users save presets to the Dashboard (Adobe Creative Cloud apps) or the preset browser (nonAdobe Creative Cloud apps), depending on which application is being used.

Red Giant has also released Trapcode Suite 15.1 – a free update for Trapcode Suite 15, the company’s set of tools for creating 3D motion graphics and visual effects in Adobe After Effects. This update includes new text and mask-based particle systems as well as advanced shadowlet features in both Trapcode Particular 4.1 and Form 4.1. In addition, to take advantage of these new features, the Designer has been updated and over 40 new presets have been added. This update comes just a few months after the launch of Trapcode Suite 15, which includes the brand-new Dynamic Fluids physics engine for creating particle systems that interact, swirl, and mix in a realistic fluid environment.

The Trapcode Suite includes Trapcode Particular, Trapcode Form, Trapcode Mir, Trapcode Tao, and Trapcode Shine.

New in Trapcode Suite is Trapcode Particular 4.1, which allows users to create organic 3D particle effects, complex motion graphics elements and more.

Red Giant Universe 3 Presets.

New Features in Particular 4.1 Include:

and 3D particle objects in After Effects.

• Text Emitters – Use text as an emitter, speeding up the creation process dramatically from previous versions. No precomping required. Create write-on effects by controlling the reveal of particles along text paths.

New Features in Form 4.1 Include:

• Mask Emitters – Use masks as an emitter, making it simple to create uniquely shaped emitters or to use parts of an image as the source of particle emissions. No precomping required.

Create write-on effects by controlling the reveal of particles along mask paths.

• Updated Designer – New in this version is support for text and masks, making it possible to create text and mask path-based effects directly in the Designer.

• Shadowlet particle type matching – Match the shadowlet shape to the particle type for shadowing that matches the source. Previously, all shadowlets were circular.

• Shadowlet softness – Control the softness of your shadowlet.

• Presets – 21 new presets have been added to give you instant results and help you get started with new features. There are now over 355 presets included with Particular.

Also new in Trapcode Suite is Trapcode Form 4.1, which enables users to create immortal particle grids

• Text Forms – Use text as a base form, speeding up the creation process dramatically from previous versions. No precomping required. Also includes options for write-on effects that control where along the text paths particles are created.

• Mask Forms – Use masks as a base form, making it simple to create forms with the After Effects mask/path tools, or to use parts of an image as the source of the form. No precomping required.

Create write-on effects by controlling the reveal of particles along mask paths.

• Updated Designer – New in this version is support for text and masks, making it possible to create text and mask path-based effects directly in the Designer.

• Shadowlet particle type matching – Match the shadowlet shape to the particle type for shadowing that matches the source. Previously, all shadowlets were circular.

• Shadowlet softness – Control the softness of your shadowlet.

• Presets – 21 new presets have been added to give you instant results and help you get started with new features. There are now over 170 presets included with Form.

Visit www.redgiant.com

POST PRODUCTION

• Text Tile: Generate multiple columns full of random data for use in motion graphics and computer terminal effects. Displayed information can be static or animated.

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POST PRODUCTION

Maxon Upgrades Cinebench CPU Tester MAXON, THE DEVELOPER OF professional 3D modelling, animation, and rendering solutions, has announced the availability of Cinebench Release 20, a modernised version of its industrystandard, cross-platform tool to benchmark computer hardware capabilities. Cinebench R20 leverages the same powerful 3D engine in Cinema 4D Release 20 to evaluate CPU rendering performance. It is offered free-of-charge.

8x the computational power and 4x the memory needed to render it.

Cinebench R20 features include:

• Cinebench R20 incorporates the latest rendering architectures, including integration of Intel’s Embree raytracing technology and advanced features on modern CPUs from AMD and Intel that allow users to render the same scene on the same hardware twice as fast as previously.

• Cinebench R20 uses a much larger and more complex test scene than R15 requiring about

• Cinebench R20 provides benchmarks for current and next generation CPUs to test if a

Cinebench uses advanced algorithms to generate a three-dimensional scene on a computer. Cinebench scores are used by system administrators to help make purchase decisions, manufacturers to optimise their latest products, as well as end users to evaluate individual systems.

machine runs stable on a high CPU load, if the cooling solution of a computer is sufficient for longer running tasks, and if a machine is able to handle demanding real-life 3D tasks.

Visit www.maxon.net

Frame HDR to SDR Conversion AT THIS YEAR’S NAB, on booth N2827, LYNX Technik AG will introduce HDR Evie, an enhanced video image engine powered by the company’s greenMachine multi-purpose processing platform.

HDR Evie allows broadcasters and media professionals to implement HDR solutions into their workflows to not only deliver enhanced content to the new HDR equipped displays, but also provide equally stunning content to the vast installed base of standard SDR displays.

HDR Evie uses advanced algorithms which automatically analyse and apply optimal corrections in real time on a frame by frame basis.

POST PRODUCTION

Typically, HDR to SDR conversion is achieved using a single static correction for the entire production, which can be accomplished with LYNX Technik’s greenMachine HDR Static Conversion

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solution. This is effective for fixed, predicable applications such as TV studio production.

However, for more dynamically demanding and unpredictable content, such as live sports or news broadcasts, the analysis and corrections must be adapted on a frame by frame basis to cope with challenging lighting conditions, brightness levels and image composition. Until now ‘frame-byframe’ corrections were only possible by manually applying correction metadata to each frame which is then utilised during live playback; a non-real-time process, both time consuming and expensive.

HDR Evie is powered by LYNX Technik’s greenMachine titan platform, a compact selfcontained AV processing appliance. Along with dynamic HDR conversions, greenMachine is also equipped with integrated frame synchronisation, up/down cross conversion and a suite of audio

processing capabilities. greenMachine HDR Evie supports single channel 12G SDI 4K/UHD conversions or can be configured as a four-channel device for 3G (HD) applications.

4K Quad 2SI inputs and optional 12G fibre I/O connectivity makes it compatible with almost any system. A wide array of conversion possibilities are supported including: 4K HDR to 4K SDR, 4K HDR to HD SDR and even conversion between HDR standards. HDR Evie supports a range of open standards for conversion, tone mapping and colour gamut including HLG, PQ, SDR and SLog3.

On the LYNX Technik NAB 2019 booth N2827, visitors will have the opportunity to evaluate the performance of HDR Evie image processing using an HDR camera capturing live content.

Visit http://lynx-usa.com

FrameFormer Motion-Compensated Standards Converter Plug-in for Adobe Premiere Pro

Cinema-Grade High Dynamic Range

AT THE 2019 NAB SHOW, InSync (Booth SL7412), a specialist in motion compensated frame rate conversion, will demonstrate the conversion capabilities of its FrameFormer software. FrameFormer is designed for situations where content assets aren’t in the format or frame rate needed for an application, such as in international content distribution or repurposing of material for new projects.

NEVION HAS ADDED SUPPORT for cinema-grade High Dynamic Range (HDR) 4:4:4 12-bit JPEG 2000 compression to its flagship software defined media node, Virtuoso. The product already supports HDR for 4:2:2 10-bit content.

At the 2019 NAB Show, InSync will demonstrate a new plug-in version of FrameFormer for Adobe Premiere Pro macOS. Adding to the existing FrameFormer Windows plug-in for Adobe Premiere Pro, the new Mac version enables simple and repeatable repurposing of material for international distribution, reformatting of movies for TV broadcast, and conversion of assets for web and mobile delivery.

On InSync Booth, visitors can see results of the FrameFormer software motion compensated standards converter converting

a variety of UHD content between different frame rates. The demonstrations will allow customers to see up close FrameFormer’s ability to handle a wide range of material, including content produced with High Dynamic Range (HDR).

InSync is also presenting two papers at the Broadcast Engineering Information Technology Conference (BEITC), which runs alongside the 2019 NAB Show. Visitors are invited to top up their technical knowledge by attending these interesting and informative presentations.

On Sunday, April 7, at 10:40am in Room N260E, Paola Hobson, Managing Director of InSync Technology, will discuss intelligent cloud-based standards conversion.

Nevion equipment is widely used in movie postproduction for remote review and colour grading – in fact, for many the process is known as a ‘T-VIPS session’ named after a company which has been part of Nevion since 2013. By enabling the transport of colour-accurate video in real-time over IP networks, Virtuoso allows people involved in the production to work collaboratively over any distance.

On Wednesday, April 10, at 9am in Room N260, James Shepherd, Chief Technology Officer at InSync Technology, will present a paper on 3D LUT interpolation for HDR conversions.

With high-end HDR increasingly being adopted in the movie industry to provide greater colour depth and augment the viewer’s experience, Nevion is enhancing Virtuoso, to enable post-production houses to work in 4:4:4 12-bit HDR for various colour spaces (RGB and XYZ, as well as YCbCr) and formats (including 2K, 4K and stereoscopic). A single Virtuoso unit can handle, for example, up to eight 2K HDR streams, two 4K HDR streams, or one 4K HDR stereoscopic stream.

Visit www.insync.tv

Visit https://nevion.com/solutions/post-production

MEDIA IN THE CLOUD, STORAGE & MAM Silver Trak Takes Sony BVM-HX310 Monitor for 4K HDR QC SILVER TRAK DIGITAL has purchased one of Australia’s first Sony BVM-HX310 reference grade 4K HDR monitors from Mojo Media Solutions. Silver Trak says the purchase is a real coup as its business in 4K HDR (High Dynamic Range) content QC is growing at a rapid pace.

As Silver Trak CEO Tim Creswell explained, “There is an increasing amount of overseas high value content being created in 4K HDR. The main reason we purchased this monitor is so we can accurately provide QC services for major streaming services and high-end broadcasters who will be launching more and more HDR content over the coming months.

There are also fast-growing local requirements for 4K HDR QC.” The BVM-HX310 TRIMASTER HX Professional Master Monitor is designed for 4K HDR picture quality, accuracy and consistency, and is suitable for on-set, studio and post-production applications, including 4K digital cinematography.

Silver Trak’s Creswell added, “In order to service the ever-increasing amount of 4K HDR content QC we required a Grade 1 Reference 4K HDR monitor, with a minimum 1000 nits, to ensure footage is being watched exactly as the director who shot it and our client who gave it to us intended when being QC’d. The monitor also needed to be able to accept 12G, Quad 3G, and HDMI inputs at 4K HDR and the Sony BVM- Silver Trak’s new Sony BVM-HX310 4K HDR monitor in action.

HX310 fulfils all of those requirements.”

As well as QC-ing original 4K HDR content for overseas streaming services and tier-one broadcasters, Creswell also sees the local market growing in this space.

He concluded, “The Australian market is very switched on and developing quickly. That said, whether our clients are in Australia or from overseas we move just as quickly and use only the latest equipment. Our workflow is particularly efficient. 4K

HDR files are delivered to us in ProRes, DCP or IMF and played back on our 4K platforms for QC in our dedicated 4K QC suite. Now by using the BVMHX310 monitor, we are without question seeing the best results and providing our clients with the very best service possible in 4K HDR QC.” Visit www.mojomediasolutions.com www.sony.com.au and www.silvertrak.com.au

Linius Tests World’s First Virtual-Video Blockchain AUSTRALIAN DEVELOPER Linius Technologies Limited has validated its previously announced blockchain strategy by successfully testing its blockchain technology.

Linius has successfully validated this capability, that virtual video may be embedded in a blockchain, and smart contracts used to control the transactions associated with video files.

• Anti-piracy: Video assets and viewers can be validated prior to playing the video, eliminating improper play-out of the video.

• Auditability: Content owners, such as studios, can have complete visibility and control across the entire distribution chain, maintained automatically, removing intermediaries and expanding margins.

“Linius aims to fulfil the promise of blockchain and move beyond cryptocurrencies,” said Linius CEO, Chris Richardson. “We feel this is the natural evolution of our anti-piracy strategy and we aim to use blockchain to protect, distribute and monetise the video itself.”

• New revenues: Users are sharing content right now, often illegally. Current anti-piracy actions attempt to stop this behaviour. The Linius Blockchain accepts this behaviour but ensures content owners are paid for it.

On the 20th of December, 2017, Linius announced plans to deliver the world’s first video blockchain, publishing its Linius Blockchain Strategy.

• Linius virtualised several videos of different sizes, stored in the cloud on Amazon S3.

The company remains committed to delivering the benefits of blockchain to the video industry.

Potential benefits include:

The details of the successful test were as follows:

• On a private instance of Ethereum (a world leading, blockchain based distributed computing platform), Linius generated a smart contract to control transactions against the virtual video.

• Linius then successfully uploaded the virtual video into the blockchain, executed the smart contract transaction (with associated mining), and successfully retrieved a copy of the virtual video based on the criteria of the contract.

• That retrieved virtual video was then validated with ISOviewer.

“The company believes that this represents a major step forward, in that it validates Linius’ initial thesis regarding virtual video on blockchain,” said Richardson. “With traditional video, a blockchain would be impossibly big. And, the internet standard video format MP4 does not work in blockchain. Virtual videos are ideally suited to digital assets, which can be recorded, transferred and managed by a blockchain.”

In the near future, Linius intends to have the virtual video playing on a blockchain-aware player.

Visit www.linius.com

GB Labs to Unveil New Core Operating Systems Included as standard in Core.4 is GB Labs’ Mosaic asset organisation software, created to improve asset organisation and accessibility for intensive, media-centric workflows.

The new Core.4 is a high-performance, custom OS specifically designed to serve media files with an additional intelligence layer that delivers ultimate stability and quality of service for every user.

Moreover, its power-saving intelligence means that Core.4 ensures consistent, reliable performance while using the least number of disks. Its expanded range of demonstrably useful features, plus an improved user interface, are all engineered to further enhance users’ ability to manage and enhance online workflows.

The Mosaic software can automatically scour all inbuilt metadata and integrate with AI tagging systems that, with Spotlight, provides users with the kind of power they need to find what they are looking for swiftly and economically.

The streamlined but no less powerful Core.4 Lite software now available for GB Labs’ FastNAS, F-16, and F-16 Nitro storage systems provides dynamic bandwidth control and equally dynamic expansion capability. Core.4 Lite also supports user capacity quotas and bandwidth control offering greater user

control. It also includes Mosaic software.

GB Labs CEO-CTO Dominic Harland, said, “Building on the success of Core.3, Core.4 provides a wide range of advanced, highly intelligent benefits that accelerate, protect, and support the storage and organization of users’ assets now and into the foreseeable future.”

All users who purchased GB Labs products from the start of Q4/2018 will receive Core.4 for free, with expected shipment during NAB 2019. Current users of Core.3 will be able to purchase an upgrade from mid-2019.

Visit www.gblabs.com

MEDIA IN THE CLOUD, STORAGE & MAM

DEVELOPER OF INTELLIGENT STORAGE SOLUTIONS, GB Labs, will launch its latest operating systems, Core.4 and Core.4 Lite, at NAB 2019 (booth SL5324).

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MEDIA IN THE CLOUD, STORAGE & MAM

Not drowning, paddling furiously… what’s the outlook for the Australian content market in 2019?

WITH 2019 WELL UNDERWAY, there’s no shortage of pundits ready to weigh in on how this year will see their industry fare in the market. On the content front in Australia, Ooyala’s principal analyst, Jim O’Neill, is not expecting seismic upsets.

What he does anticipate is the continuation of a number of trends. They’re changing the way Australians consume electronic content and causing the industry to become more fragmented, challenging and dynamic as a result.

Here are a few of them.

Going down the tube – television watching will continue to wane Sunday night movie anyone? In many Aussie households this familiar family ritual has been supplanted by on-demand viewing of a recent release, sans ads, or a binge on the latest Netflix series. Or both, given the average household now owns 6.6 screens for viewing video content, according to Nielsen’s Australian Video Viewing Report.

Australians spend a third of their time with the set doing something other than watching television and this shift away from traditional viewing is likely to continue in 2019, particularly among the millennial cohort. They’re already enthusiastic consumers of online video via an array of screens and devices, consuming more than 30 hours a month of the stuff.

Multi-cloud makes sense Mass migration to the cloud is in full swing, with content creators no longer asking ‘why’ but ‘when’ the as-a-service model will be adopted across their enterprise. 2019 is shaping up to be the year “polycloud” becomes the operating model of choice. It already is in Australia’s tech-progressive banking sector. Institutions such as NAB have revealed plans to avoid concentration risk, prevent single vendor lock-in and avail themselves of the unique strengths of several cloud providers simultaneously. Their logic is likely to resonate in the content market, with local players seeking out custom polycloud solutions which allow them to leverage the strengths of multiple providers.

Let’s get together – consolidation set to continue Last year saw consolidation in the Australian media and entertainment space, most notably in the form of the Nine Fairfax merger. Content is key to every successful deal in this sector. The promise of increased control over the supply chain and the ability to on-sell output to others will likely motivate more Australian organisations to join forces with partners and competitors in 2019.

Amazon alert – the digital advertising duopoly is over Digital advertising has historically been a two-team competition. Between them, Google and Facebook control the lion’s share of the market globally – just shy of 60%, according to eMarketer. That may change in 2019 as fellow digital behemoth Amazon continues its quest to cut in on the action. With its extensive and long-standing customer relationships and the accumulated browsing and purchasing data they generate, it’s well positioned to become

a bigger player, whose market share could increase from the current four per cent to as high as 20% by 2020.

AI gets serious In common with their counterparts in other industries, Australian content companies are awake to the potential of artificial Ooyala principal analyst, Jim O’Neill. intelligence and 2019 is likely to see them spending up big to try to realise it.

This should lead to a slew of productivity improvements across the advertising, content development and content delivery sectors, courtesy of the insights and opportunities improved data management and mining abilities can generate.

Digital advertising that’s become more meaningful and targeted in recent times will be even more carefully honed and the production, processing and delivery of content will become significantly more efficient.

OTT – keep watching this space Netflix, Stan, 9Now … the delivery of film and television content directly to viewers via the internet has become big business in Australia in recent years. The Over The Top (OTT) market is certainly crowded but is it saturated, as some pundits suggest? Not at all. The medium will continue to expand and evolve in 2019, as discerning Australian audiences seek out streaming services which can provide a winning combination of content and innovation. AI is likely to be a not-so-secret weapon for many; the means by which they’ll ‘mine’ viewers for their niche content offerings.

Too much streamed sport is never enough Cricket, rugby, tennis, soccer…or all of the above? Australia is a nation of sports lovers – which means online streaming of games and matches is a big business that’s only likely to get bigger this year. There’s a growing number of dedicated apps – Kayo, Optus Sport, NRL Live Pass, et al – available for phones and devices and 2019 will be the year we see teams, leagues and conferences go OTT, en masse, in a collective bid to maximise the number of eyeballs they’re able to attract.

Visit www.ooyala.com

MEDIA IN THE CLOUD, STORAGE & MAM

PixStor Storage Expands for Cloud and Security-Focused Workflows

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PIXIT MEDIA, the developer of software-defined storage and datamanagement solutions for the Media and Entertainment industry, has announced the launch of PixStor 5, the latest version of its leading scale-out data-driven storage platform. This release offers significant enhancements to creative environments with greater integration of cloud workflows, TPNaccredited security services, and enhanced search and analytics capabilities.

PixStor 5 is an enterprise-class scale-out NAS platform delivering guaranteed 99% performance for all types of workflow and a single global namespace across multiple storage tiers – from on-prem to the Cloud.

New PixStor 5 highlights include: • Secure container services – this new feature unlocks true multi-tenancy from a single storage fabric. PixStor 5 enables creative studios to deploy secure media environments without crippling productivity and creativity and aligns with TPN security accreditation standards to attract A-List clients.

• Cloud workflow flexibility - PixStor 5 expands your workflows cost-

effectively into the cloud with fully-automated seamless deployment to cloud marketplaces, enabling hybrid workflows for burst render and cloudfirst workflows for global collaboration. PixStor 5 will soon be available in the Google Cloud Platform marketplace, followed shortly by AWS and Azure.

• Enhanced search capabilities – using the latest machine learning and artificial intelligence cloud-based tools to drive powerful media indexing and search capabilities, PixStor 5 users can perform fast, easy and accurate content searches across their entire global namespace.

• Deep granular analytics – with ‘single pane of glass management’ and user-friendly dashboards, PixStor 5 provides a holistic view of the entire filesystem and delivers business-relevant metrics to reinforce storage strategies.

PixStor 5 will be unveiled at NAB Show, 8-11 April, on booth SL5724.

Visit www.pixitmedia.com.

MEDIA IN THE CLOUD, STORAGE & MAM

Masstech Harnesses the Power of Hybrid Cloud

Masstech will show how FlashNet, its video-centric storage management solution, combines the true flexibility of hybrid cloud with intelligent, content aware workflows to power the next-generation of optimised tiered storage environments. Whether broadcasters are looking to the cloud as a logical next-step in expanding their existing storage, or want to break free from the restrictive cloud options of a current archive provider, Masstech says it offers highly-efficient cloud or hybrid cloud storage and the flexible pricing that will help them achieve operational and business targets.

“Masstech is the only storage management vendor that provides a single control layer for an entire hybrid cloud storage ecosystem,” said Mike Palmer, CTO, Masstech. “Our FlashNet and MassStore solutions can intelligently store your assets in a private cloud, multiple public clouds, or a hybrid configuration that incorporates existing on-premise storage technologies, such as disk, flash, ODA and LTO. “Allowing the integration of multiple private and public clouds into a single name-space, with the option to include existing or new on-premise storage, provides the highest degrees of flexibility, durability, efficiency, and costsavings. Compare this to siloed storage systems with independent buckets and disparate control layers which are not capable of these efficiencies. Masstech solves this issue, homogenising multiple technologies and service providers into a single object storage name-space, transparent to the MAM, PAM or other management system.”

“At Masstech we’ve always been proud of our agnosticism,” said Joe French, CEO, Masstech. “This philosophy continues with our hybrid cloud object store solutions; this is true object storage, without ties to specific hardware or cloud vendors. Our support of multiple private cloud systems, such as Cloudian or Caringo, and all major public clouds (Amazon AWS, Google, Microsoft Azure, Wasabi etc) provide genuine freedom of choice of storage.”

Masstech will also be showing enhanced workflow and lifecycle management viaMediaproxy_Ad_C+T_Asia_2019-02-04.pdf MassStore, its advanced Media Services Framework that allows users to 1 4 Feb 19 6:03:53 pm create simple, smart workflows to ensure that content is always in the right

Does any of the above apply to your current broadcast compliance system? If yes, join the hundreds of broadcasters around the globe who rely daily on Mediaproxy’s unified software solutions for monitoring, analysis, multiviewing

place, in the right time, and in the correct format.

MassStore features a fully customisable workflow engine, including environmentspecific workflows for news, sports, production, cinema, houses of worship, education and other segments.

MassStore’s powerful, integrated transcoding, deep enrichment of metadata and optimised lifecycle management allow users to automate complex and time-consuming tasks, realising improved operational efficiency and associated financial benefits.

Also on show will be MassStore for News – specific integrations of the MassStore Media Services Framework into the industry’s most advanced NRCS systems, such as AP ENPS, Avid iNews, Octopus Newsroom and Ross Inception. Video is automatically saved and linked with scripts, enabling video search from the NRCS. Work-in-progress stories and media can be moved between newsrooms with simple drag and drop, accessed from any connected system, and automatically stored, retrieved and distributed from within the NRCS interface.

Visit https://masstech.com

and capture of live video from broadcast and OTT sources.

Discover the industry’s leading compliance solution at mediaproxy.com/rethink

Explore the possibilities at mediaproxy.com

MEDIA IN THE CLOUD, STORAGE & MAM

MASSTECH, THE DEVELOPER OF intelligent content storage and lifecycle management solutions, will be at NAB 2019 demonstrating its full range of highly optimised cloud and hybrid cloud storage and asset lifecycle solutions.

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MEDIA IN THE CLOUD, STORAGE & MAM

ATTO Brings Networking and Connectivity ATTO TECHNOLOGY, INC. will showcase two new products plus an industry-first driver set at the 2019 NAB Show in Las Vegas, Nevada.

Located in the South Hall, Lower Level, at booth SL7624 in the Las Vegas Convention Center, ATTO will exhibit their extensive line of network and storage connectivity products and present workflow demonstrations.

The in-booth demonstrations this year include the new ATTO ThunderLink NS 3252 Thunderbolt 3 to 25Gb ethernet adapter, an 8K editing workflow featuring ATTO Celerity 32Gb Fibre Channel HBAs, and ATTO FastFrame 40Gb NICs with ThunderLink powering Avid NEXIS connectivity.

One new product being shown at NAB is ATTO XstreamCORE ET 8200 accelerated protocol

converters. XstreamCORE ET 8200 is a top-of-rack 1U storage controller that connects any external SAS device, such as a JBOD of HDDs or SSDs, a RAID array or external tape devices, and presents them on an Ethernet SAN fabric. Connect up to 16 SAS LTO-6,7 or 8 tape drives to up to 64 hosts using hardware accelerated iSCSI and iSCSI over RDMA (iSER).

Another new product is ATTO ThunderLink NS 3252 Thunderbolt 3 to 25Gb ethernet adapters.

Providing the most flexible and scalable connectivity for today’s high-bandwidth content creation environments, ThunderLink 25GbE adapters offer driver support for Windows 10 and macOS. It’s a single connectivity solution for users with heterogeneous operating system environments.

ATTO is also unveiling macOS driver support for its

latest generation ethernet products, FastFrame 3 10/25/40/50/100GbE network adapters. This is the industry’s first macOS driver to support the latest 25/50/100GbE standard.

ATTO has announced Viking Enterprise Solutions and Infortrend Technology as its booth partners for this year’s NAB Show.

Viking Enterprise Solutions (VES) designs, manufactures, and sells leading edge off-the-shelf and customised server and storage platforms for data-centres and enterprise markets. Infortrend Technology is a global enterprise data storage solution provider with over 600,000 redundant rack-mounted systems installed worldwide.

Visit www.atto.com

Sonnet Thunderbolt 3 to PCIe Expansion Systems AT THE 2019 NAB SHOW, Sonnet will showcase its dual lines of Thunderbolt-to-PCI Express (PCIe) card expansion systems, devices that house PCIe adapter cards that add connectivity options and processing power to computers without card slots, and connect them to the computer through a single Thunderbolt cable.

high-speed network infrastructure and storage

Sonnet will demonstrate multi-GPU support for the Mac enabled by eGFX Breakaway Boxes.

These systems were designed and qualified specifically for large power-hungry video graphics processing unit (GPU) cards, which many pro video editing, rendering, colour grading, animation, and special effects applications rely on to do heavy computational work. Harnessing the power of GPUs – including the latest GPU cards from both NVIDIA and AMD – Breakaway Boxes can significantly accelerate video production workflows.

dual Thunderbolt 3 ports, the reader can

MEDIA IN THE CLOUD, STORAGE & MAM

Enabling workflows in ways not possible otherwise, Echo Express systems – available with one, two, or three card slots, and accommodating from low-profile to full-height, full-length cards – support high-performance non-GPU cards, including pro audio I/O and DSP cards, pro video capture and transcoding cards, network and storage interface cards, and other high-performance PCIe cards.

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Sonnet will also demonstrate its two Applequalified all-in-one external graphics solutions (eGPU), the eGFX Breakaway Puck Radeon RX 560 and eGFX Breakaway Puck Radeon RX 570. Compact and powerful, these integrated

systems using the 10GbE standard.

Sonnet will also show its line of SF3 Series dual-slot Thunderbolt 3 pro media readers, showcasing the soon-to-ship SF3 Series – Sonnet RED MINI-MAG Card Reader. Featuring support a bus-powered device (such as the SF3 Series – CFast 2.0 Pro Card Reader) and can simultaneously ingest files from two RED MINI-MAG cards at their maximum supported data transfer speeds. Each SF3 Series reader, including the SF3 Series – SxS Pro Card Reader, Thunderbolt 3 external graphics processing unit systems are highly portable and offer users tremendously improved graphics performance – on the computer’s primary screen or on an externally connected display – when used with thin and light laptops, mini desktops, and all-in-one computers.

At the 2019 NAB Show, Sonnet also will feature its line of 10 Gigabit ethernet (10GbE) adapters and cards: Solo10G single-port and Twin10G dual-port 10GbE Thunderbolt adapters, plus Solo10G single-port and Presto 10GbE dual-port 10GbE PCI Express (PCIe) cards, including allnew low-cost 10GbE optical adapters. Sonnet’s 10GbE solutions enable users to connect their computers easily via copper or optical cables to

features a compact rugged aluminium enclosure designed for stacking multiple readers and can simultaneously ingest files from two cards at their maximum supported data transfer speeds.

Depending on media type, concurrent data transfer speeds up to 1,000+ MB/s from two cards are supported, while daisy-chained SF3 Series readers can leverage Thunderbolt 3’s 2,750MB/s bandwidth.

At the 2019 NAB show, Sonnet will also demonstrate a companion to its popular Echo 11 Thunderbolt 3 Dock, revealing an all-new rugged and powerful Thunderbolt 3 Pro Dock designed specifically for pro video and audio industry users.

Visit www.sonnettech.com

Telestream to Unveil Vantage Cloud Port AT NAB 2019, Telestream will unveil Vantage Cloud Port, a new approach to media processing workflows whether in the cloud, on premises or both. Available in April 2019, Vantage Cloud Port will be shown publicly for the first time at NAB where attendees will be able to see first-hand how the powerful Vantage Media Processing Platform can seamlessly create hybrid cloud-based deployments with predictable, SaaS pricing.

Vantage Cloud Port allows seamless cloud

existing or new Vantage installation can seamlessly

provider of choice. Existing Vantage users also gain access to cloud-capable actions even if those actions are unlicensed in their on-premises Vantage system. Most significantly, Vantage logic is configured to decide if processing is to be done onpremises or in the cloud based on media location and/or domain utilisation.

transfer specific processes to/from the cloud

Visit www.telestream.net

execution of Vantage processing actions using containerised micro-services with engines identical to on-premises services. These modular, orchestrated building blocks can optimise both brownfield and greenfield deployments. Any

AUDIO Digital soundwaves

www.content-technology.com/audio

Gearhouse Picks Clear-com for Supercars THE AUSTRALIAN ARM of Gearhouse Broadcast (owned by Gravity Media), and Triple Eight Race Engineering Australia have entered into a four-year service partnership for communications systems, with Clear-Com’s FreeSpeak II digital wireless intercom system providing communications between car controllers and their support staff.

Both Gearhouse and Clear-Com are the Official Communications Partner to Triple Eight Race Engineering, competing as the Red Bull Holden Racing Team in their pursuit of Supercars Championship success.

“It was very clear to us that using FreeSpeak II is the best possible solution for the Supercars Championship,” said Triple Eight Team Manager Mark Dutton. “The tunability of the system to suit and support our needs is truly next level, no other system in the past has come close to the functions, features, and clarity of the system. FreeSpeak II is

II belt packs roaming between four FreeSpeak II transceivers. Gearhouse will also supply other communications equipment, including custom designed high noise headsets (modified for FreeSpeak II), equipment racks and solid-state recorders.

a high-performance system which has allowed to communicate in high pressure situations in a way we only dreamed of in the past.”

As part of the agreement, Gearhouse will supply, service and install Clear-Com solutions for Triple Eight. This includes an Eclipse-HX based system with nine 12 key panels and with 15 FreeSpeak

Sennheiser Opens Flagship Store in Sydney AUDIO SPECIALIST SENNHEISER has opened the doors to its newest flagship store in the heart of Sydney at 5 Martin Place. Commonly known as the ‘Money Box’, this heritage-listed building will provide a dramatic venue for music and sound lovers seeking to immerse themselves in the world of Sennheiser and experience the future of audio.

The new Sennheiser store will provide the opportunity to test and purchase a wide range of consumer, gaming, business and professional

“The Australian Supercars Championship requires that teams have superb communications regardless of the track, its conditions or anything else that would impede communications,” said Mitchell Lockyer-Lane, Business Development Manager for Gearhouse Australia. “The communications systems that we’ve put together for Triple Eight, based on FreeSpeak II and the Eclipse HX Delta assures the teams that their intercom system is something they won’t have to worry about.”

Visit www.gearhousebroadcast.com and www.clearcom.com

QBIT Names PAT Reseller for ANZ GERMANY-BASED SPECIALIST for audio transport solutions, QBIT GmbH and Professional Audio and Television have announced a cooperative agreement for Australia and New Zealand.

QBIT GmbH is known for its audio codecs, encoders, decoders, transcoders, audio receivers for Sat, DAB+, FM and Internet streaming, as well as its newly launched QARION – RAVENNA Tools.

QBIT’s recently unveiled QARION RAVENNA (AES67) interface series offers straight forward ingress, egress and monitoring of RAVENNA/AES67 streams in audio networks and plug-and-play integration of legacy audio equipment to RAVENNA/AES67 networks.

QBIT’s Sales Director Berry Eskes enthused, “We have been watching PAT for a while now and believe the projects they are delivering in Australia and New Zealand are perfectly suited to our products and the synergy with Wireless earphones, which set new standards in audio fidelity for true their current product portfolio will expand the QBIT footprint in Australia wireless ear buds. In addition, a premium Experience Room offering and New Zealand significantly.”

PREMIUM STEREO MICROPHONE audio products, including new products such as the MOMENTUM True

MV88+ VIDEO KIT

A CREATION FOR CREATORS. at AU$80,000.

Professional Audio and Television’s Managing Director Patrick Salloch continued, “QBIT seem to share PAT’s vision when it comes to the deployment of IP-based audio infrastructure projects and it is vital for our continued growth to align ourselves with the right partners for the future.

I believe QBIT will be able to add technical expertise and value to our customer projects and their products will enable PAT to offer even better turn-key solutions.”

Visit https://en-au.sennheiser.com

Visit www.proaudiotv.com.au

personalised listening sessions will give visitors the chance to engage

in an immersive experience with the new Sennheiser AMBEO Soundbar incorporating AMBEO 3D technology. The Experience Room will also be home to the Sennheiser HE1 high-end headphones valued

JUST ADD PHONE. New AKG Digital Wireless Systems

Just add your phone and you’ve got superior sound, all the accessories

for intuitive operation, with push-button channel AKG DMS digital wireless systems combine you need, plus a choice of creative set ups to pick from. pairing and color-coding for easy identification.

2.4GHz operation with signature AKG sound Adaptive channel selection takes the guesswork quality to deliver crisp, studio-quality sound with Flawless Audio. Anywhere. Anytime. out of locating available wireless channels, and advanced security features, extended battery life DMS300 features a high-resolution front-panel and ease-of-use. The eight-channel DMS300 LCD screen that allows for easy setup, monitoring and four-channel DMS100 are available in two and control. Up to four DMS100 and up to eight configurations: a high-quality, AKG handheld DMS300 systems can be synced and used Distributed or byan instrument- or headset-ready microphone simultaneously. body pack. DMS digital wireless systems deliver www.jands.com.au DMS handheld transmitters feature an authentic 24-bit/48 kHz uncompressed audio coding, ultra-

AKG microphone capsule and acoustical engineering, and both the handheld transmitter and body pack offer 24-bit, 48kHz resolution and a linear frequency response. The body pack is instrument ready or can be used with optional AKG headsets or clip-on mics.

AKG DMS digital wireless systems operate in the 2.4GHz band, a global license-free space, avoiding the interference found in traditional shure.com analogue wireless systems. Built-in advanced AES 256-bit #MadewithMOTIV encryption protects the signal and keeps wireless © 2019 Shure Incorporated audio communications private.

Visit www.akg.com

SRH1540 Premium Closed-Back Headphones Sold Seperately

AUDIO

HARMAN PROFESSIONAL SOLUTIONS has low latency and signal security provided by AES Professional sound for Vloggers, Filmmakers, Musicians & Podcasters.

256-bit encryption. announced the new AKG DMS100 and DMS300 professional digital wireless systems.

DMS systems were designed from the ground up

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AUDIO Digital soundwaves

www.content-technology.com/audio

NUGEN Audio Updates Halo Downmix with Netflix Preset NUGEN AUDIO HAS UPDATED its Halo Downmix with new ranges for downmix coefficients and a Netflix preset.

The new version of Halo Downmix also adds a new LFE enable control and LFE filter cutoff control. Halo Downmix provides precise downmixing of feature-film and 5.1 mixes to stereo, delivering accurate downmixes that are no longer limited to typical in-the-box processes. It allows for flexible adjustment and provides visual controls for relative levels, timing and direct vs. ambient sound balance.

NUGEN Audio also offers an optional 3D Immersive Extension, which adds capability for downmixing 7.1.2 Dolby Atmos bed tracks to 7.1, 5.1 and stereo.

NUGEN Audio has also released an Audio Management Batch processor extension (AMB) and Loudness Toolkit 2.8. The AMB Enterprise extension expands the features required for larger businesses with automated networked systems, and helps customers integrate the solution more deeply into

BirdDog Releases World’s First NDI Audio Intercom Solution AUSTRALIAN-BASED BIRDDOG has announced the immediate availability of Comms Lite which, according to the company, the World’s First NDI Audio Intercom system, via free download.

automated production workflows.

AMB is a powerful audio management batch-processing technology with numerous options for high-speed audio loudness measurement and correction, upmixing, dynamics control, decoding and file handling.

Loudness Toolkit 2.8, meanwhile, provides an updated loudness parameter, Dialogue LRA as well as an added flexibility to simultaneously monitor multiple integrated measures. The Loudness Toolkit works within the recent loudness guidelines, such as the Netflix best practice document. It includes the VisLM loudness meter, ISL limiter and LM-Correct quick fix tool, supports native 7.1.2 audio processing and loudness parameters for advanced loudness control and dialog consistency. The enhanced toolkit also now includes the DynApt extension.

Visit nugenaudio.com

Multifunction Audio Processor DIRECTOUT’S NEW PRODIGY.MP multifunction audio processor follows in the footsteps of its sister product, the PRODIGY.MC – a modular audio converter that spearheaded the recent introduction of the PRODIGY Series.

BirdDog Comms Lite is an Audio Intercom System that integrates live video camera feeds by harnessing the power of NDI and is free for all BirdDog customers. Comms Lite enhances the already powerful NDI hardware solutions and further reduces the amount of equipment needed for a live production.

PRODIGY.MP is a multifunction audio processor that shares its 2U-high compact mainframe and modular design with the PRODIGY.MC, but adds FPGA-based DSP for EQ, delays and summing matrices. This addition also offers greater flexibility in heterogenous systems and independent clocking by adding SRC capabilities.

According to Dan Miall, BirdDog Co-Founder and CEO, “We are on a mission to reduce the amount of equipment you need to purchase in order to produce a high-quality live production and now with Comms Lite our users have Video, Audio, Tally, and Audio Intercom all down a single Ethernet cable.”

The unit has four converter slots for analog line-level, microphone input and AES3 option modules, providing up to 32 local inputs and outputs.

The hardware also supports two MADI and two Network Audio options.

The MADI slots are available as BNC, SC optical and SFP modules, while two optional Network Audio boards can be equipped with Dante, RAVENNA (AES67) or SoundGrid, increasing maximum channel capability to 416 inputs/420 outputs.

Comms Lite also integrates a number of features to further streamline audio communications over NDI, including: • Live Video: Comms Lite automatically detects all your BirdDog compatible devices and shows live video previews.

• Push to Talk: BirdDog Comms Lite fully supports Push To Talk (PTT) function with any 4 pole TRRS headset.

• Touch: In the fast-paced world of live production, every second counts.

With Comms Lite, a Windows-enabled touchscreen tablet empowers show directors with complete lines of communication to the camera operators at their finger-tips.

Visit www.bird-dog.tv

Both PRODIGY.MP and MC can be controlled locally via a 5-inch touchscreen on the front panel, or via globcon, a unified remote-control platform that allows all DirectOut devices to be managed simultaneously.

In addition, PRODIGY.MP can be accessed via its integrated web server, with remote access via HTML and JavaScript-based user interface.

Third-party remote-control protocols may also be added for increased system integration and signal management capabilities.

Visit www.directout.eu

USB-C Audio Interfaces

AUDIO

PRESONUS HAS UNVEILED its Studio Series USB-C 24-bit, 192 kHz audio interfaces, with five models: the Studio 24c, Studio 26c, Studio 68c, Studio 1810c, and Studio 1824c. These complete, all-in-one recording solutions update and replace PreSonus’ first-generation Studio series and feature a USB-C connector. All but the Studio 24c include DC-coupled outputs for sending control voltages, and all five models offer MIDI I/O. USB-C to USB-C and USB-C to USB-A cables are provided for compatibility with most computers.

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Studio Series USB-C audio interfaces come with PreSonus’ Studio One Artist music production software for macOS and Windows. Studio One integrates tightly with PreSonus interfaces, configuring automatically – no need to map inputs and outputs. Users also get the Studio Magic Plug-in Suite, a carefully selected plug-in collection from the leading names in virtual instruments and effects.

Suitable for home recording, mobile musicians, guitarists, podcasters, and live streaming, the buspowered Studio 24c 2-in, two-out audio interface features two front-panel combo mic/line/instrument inputs with PreSonus XMAX-L solid-state mic preamps, two rear-panel line outputs, and onboard direct monitoring control.

Designed for DJs, mobile musicians, and electronic musicians who don’t want to sacrifice build and sound quality for portability, the bus-powered Studio 26c 2-in, four-out audio interface presents two front-panel combo mic/line/instrument inputs with XMAX-L solid-state mic preamps, four rear-panel line outputs, and a Cue Mix A/B button.

Suitable for small bands, producers, and small studios, the Studio 68c six-in, six-out audio interface

offers 4 XMAX preamps – two mic/line/instrument on the front, and two mic/line on the back – as well as S/PDIF I/O. Built for producers and small bands who want to record from a wide range of sources, the Studio 1810c records up to 18 simultaneous inputs and sports eight outputs and four microphone inputs with XMAX Class A mic preamps.

The Studio 1824c audio interface is aimed project studios, and especially for recording full bands, including multi-channel drums. It records up to 18 simultaneous inputs and features eight microphone inputs with XMAX Class A mic preamps. Its 20 outputs offer flexible routing with zero-latency DSP-based monitor mixing and control-room integration with included Studio One Artist and UC Surface software.

Visit www.presonus.com

AUDIO

CLOSED DYNAMIC HEADPHONE

Monitoring. Editing. Mixing.

AUDIO

In the Studio. At Home. On the Road.

Discover the NDH 20 – the first Neumann headphone: NDH20.neumann.com

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AUDIO

Calrec Audio Showcases the Route to IP CALREC AUDIO IS DEDICATED to excellence in audio mixing for on-air and live production.

Increasingly, consoles are integral components on facility-wide networks, giving rise to adaptable workflows, shareable resources and the ability to easily expand. At NAB on booth C7408, Calrec will showcase its native IP consoles – ImPulse and Type R – along with its upgrade solutions.

panels that can be tailored to operator needs. It provides simple customisation across established networks, open control protocols and surface personalisation.

Type R offers a simple 2RU core with integrated I/O resources to get customers up and running immediately. A single core can power up to three independent mixing environments, with no sharing of DSP resources. Combined with the flexibility of an AES67 compatible network, Type R provides enough flexibility to keep pace with radio’s continually changing requirements.

ImPulse core Calrec’s ImPulse core is an audio processing and routing engine with AES67 and SMPTE 2110 connectivity. The ImPulse core is compatible with current Apollo and Artemis control surfaces, providing a simple upgrade path for existing Calrec customers. In addition, future scalable expansion will allow up to four 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 next generation audio applications, and has an integral AoIP router, which fully supports NMOS discovery and connection management, as well as mDNS/Ravenna discovery.

IP Gateway Calrec is committed to assisting broadcasters with their chosen route to IP integration. Calrec’s H2/ IP Gateway links Hydra2 to the IP domain allowing signals and control to pass in both directions.

Hydra2 I/O Upgrades Type R Type R is a modular, expandable, IP-based radio system, which utilises standard networking technology and combines it with configurable soft

Modular I/O frames can be upgraded with a new switchable controller card that allows them to sit on either a Hydra2 or IP network, with a future option to upgrade existing fixed format boxes.

Visit https://calrec.com

Barix Introduces Silence Monitor with Cloud Service BARIX WILL UNVEIL the company’s new Silence Monitor solution at the 2019 NAB Show. Silence Monitor is a web-accessible, analogue-input audio monitoring device that delivers high levels of quality assurance, monitoring audio streams 24/7, and sending real-time alerts when an outage or silence is detected. Barix will showcase the new product in booth C1139 during the event.

Unlike other solutions, Silence Monitor does more than just detect silence – it also captures and sends a 10-second pre-alarm audio clip that users can listen to and analyse to determine what might have happened before the error occurred. In addition, Silence Monitor offers optional LTE 4G/3G/NB-IoT transmission for RF out-of-band connectivity. This backup

monitor broadcast streams continuously, sending immediate alerts to the user’s email or mobile device via SMS. Once users receive a notification they can click on the link provided in the message to automatically stream the last audio transmission.

communication link ensures alarm detection signals are transmitted, even in the event of an IP network outage. Silence Monitor allows the use of both local and out-of-band connection technology simultaneously.

Users can also monitor the status of the network and transmission online through a cloud-based management portal. Silence Monitor devices and alarms can be easily managed through the portal, and a full overview history of logs and audio clips is available for all connected sites. Additionally, users can listen live to the audio at each monitoring site through the web-based interface, with specific location designations identifying points quickly and easily.

Silence Monitor can check transmission and

Visit www.barix.com

DaySequerra and Psy(x) Research Demonstrate 3D Immersive Audio

AUDIO

DAYSEQUERRA WILL DEMONSTRATE 3D Immersive Audio technologies from Psy(x) Research in the Orban booth, N4120, at NAB 2019. Psy(x) is an innovator in psychoacoustics, pre-processing, post-processing and surroundsound, delivering a range of technologies, products and services. Many of these technologies are being implemented by DaySequerra to further advance the art of immersive audio in broadcast.

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“In the same way that stereo broadcasting was a huge advance decades ago, 3D Immersive Audio is the next leap in listener engagement,” said David Day, DaySequerra President. “These technologies from Psy(x) engulf listeners in phenomenal audio that seems to be coming from everywhere, with unmatched spatial resolution.”

Psy(x) down-rendering produces a broadcastable, universal stereo downmix (LuRu), making multichannel, immersive broadcasting easy for stations to implement. The 3D positional information is contained in the LuRu waveform, eliminating the need for metadata or having to deal with many discrete channels at once. LuRu is compatible with all playback formats, with, retains near-perfect up-rendering discreteness into any format, from stereo to 3.1 to 5.1 to 7.1 to 7.1.4, etc.

The Psy(x) line of advanced immersive audio tools includes patented 3D down-rendering, 3D up-rendering, and 3D visual analysis, capable of accepting any number of input channels and rendering any number of output channels – including headphones. “Our 3D rendering

system delivers best in class image stability and discreteness, and is available as a standalone box, openGear card, or cloud based solution,” said Mark Reasinger, CEO of Psyx Research, Inc. Psy(x) will also demonstrate 3DAR, a visual immersion analyser that tracks image position and relative magnitude for every element within a stereo source. A real-time, colour-coded representation of the 3D information contained along the entire audible frequency range is displayed. Monitoring through Psy(x) Hemiphone will also be shown. This immersive/3D headphone monitoring system allows customers to mix and monitor any content in 3D, delivering immersive experiences without the concerns of metadata or expensive integration costs.

Visit www.daysequerra.com

AUDIO

BITTREE WILL BRING WHAT IT SAYS is the world’s first Dante audio patchbay to market in time for the 2019 NAB Show. The company will demonstrate its innovation at Booth SU6221 in the Las Vegas Convention Center during April.

Bittree’s Dante patchbay eliminates the complexity of analogue and Dante audio patching in the broadcast infrastructure. It provides a ramp to instantly move 16 channels of analogue audio on and off of Dante networks, and serves as a bridge to unite legacy audio equipment with IP systems. Beyond broadcast, the Dante patchbay provides connectivity solutions to recording studios, post-production facilities and commercial AV environments (houses of worship, live event and performance venues, and large corporate and higher education campuses).

Consultants and systems integrators benefit from reduced labour and integration costs by removing the need to hard-wire devices into the patching systems. This eliminating extraneous cabling and conversion equipment – and the costs that come with it.

The Bittree Dante patchbay will interface with Dante Virtual Soundcard, countless Dante devices, and almost any analogue component in the same system, including audio distribution equipment, digital audio workstations (DAWs), digital signal processors (DSPs), mixing consoles, multi-track recorders and video routers. The compact standalone or rack-mounted 1.5RU powder-coat enclosure carefully incorporates TT patching for audio I/O (16×16), redundant DC power in, external word clock I/O, network status, and audio VU multi-level LED metering.

Bittree’s Dante patchbay supports a wide variety of audio sample rates ranging from 24-bit 44.1 to 192kHz. The design integrates balanced TT connections to Dante analogue and digital conversions, maintaining signal integrity and audio quality without requiring specialised patchbay circuit programming. Settings will be configurable using Dante Controller, including sample rates and channel assignments to and from Dante networks.

Visit www.bittree.com

Sound Utility and Boom Operator Hip Pack K-TEK HAS INTRODUCED a hip pack designed by and for sound utility and boom operators. The Stingray Utility Hip Pack provides two spacious compartments, one with a builtin organiser, and offers places to hold equipment, accessories, tools, a mobile phone and whatever is needed to be close at hand and easy to find.

Comfortable to handle, with a unique soft corner curved design, this versatile carrier is equally useful on-set and off. Its adjustable wide fabric waistband and padded exterior lets it be worn in a number of ways: holster style with the stay-in-place resizable and removable thigh-strap, as a fanny-pack, or even cross shoulder.

Two sections offer wrap-around zippers for easy access. The main compartment measures 25 x 25 x 8cm while the front compartment is an ample 18 x 35cm. Each features soft orange lining with smartly detailed advantages like velour and mesh pockets, a view-through vinyl-backed mesh section, and elasticised fabric pouches. From the easy-grab zipper tabs to the elastic tool organiser, it is built to go to work.

An everyday piece of work-wear, the black KSUHP1 is large enough to fit a Sound Devices MixPro-3 or MixPre-6 for stealth recording. Small elastic pouches within are sized to fit Stingray KSLP1 Lav pouches, and a host of handy goods like cables, adapters, tape, pens, and cleaning kits. The sound department is just the start: the Utility Hip Pack can facilitate various roles in other on-set departments like lighting, grip, camera, make-up, still photography and script.

Visit https://ktekpro.com

Video Over IP Solu ons

AUDIO

Dante Patchbay from Bittree

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RADIO The original broadcast media

www.content-technology.com/radio

ARN Goes IP with AVC and Axia ARN, the Australian Radio Network, is embracing the IP world. After two decades, the company is phasing out antiquated Klotz systems in favour of the Telos Alliance’s Axia platform of networked radio consoles, AOIP interfaces and routers, from local partner, AVC Group.

THE FIRST PHASE HAS SEEN its Melbourne stations (including KIIS and Gold FM) upgraded over the summer break of 2018 with 2019 bringing a full studio move for its Brisbane operations to a brand-new facility in the suburb of Milton.

According to ARN Chief Engineer, Greg Hately, the upgrades are part of a workflow and technical standardisation of the broadcaster’s stations across the country, “… so that we have consistent technology from an audio processing point of view, from what faders are on the desks, levels, terminology and labelling, and a complete set of IP addresses and channel numbers, which are in Axia, that are transportable from one city to another.

This is the plan that’s going to enable us to not only have consistency across the network, but we’ll be able to roll out a radio station build a lot quicker than we have before.”

“The Axia platform is a truly audio over internet protocol platform that is completely routable,” adds AVC Group Engineering & Support Manager Steve Adler. “Basically, it’s interfaced in each studio, you’ve got a console that looks like a normal radio console, but it’s just a gigantic keyboard that looks like a console. We have intercom facilities that go along with that so allow your producers to talk directly to their talent. It does what we call ‘the delegation’, which means you can delegate a particular studio to a particular transmission path whether that be FM in Melbourne’s case, or DAB. “All [ARN’s] production studios have an Axia node in them as well so it allows the producers to make commercials or station promotional pieces and the like and, again, the Axia Network can move that audio around the place.”

AXIA also provides for redundancy. In the case of the Melbourne installation, Greg Hately says a decision was made to base redundancy around four core switches.

“The way we designed that technology was based around the four studios,” he says. “The KIIS and GOLD studios and four programme chains where KIIS has got two programme chains and GOLD has got two programme chains. We can, in fact, use a whole switch and just move one studio and one programme chain. It’s all been mapped out so that there’s complete isolation between all the different IP ports and connections in there. At the same time, we’ll stay on air in any form and there’s dual power supplies and the whole lot.”

Another “core” part of the installation is Axia’s Pathfinder Core PRO Routing Control which allows touchscreen control of audio selection, volume controls for producers, intercoms, all integrated into a single screen.

“They’re the kind of things that we’re doing,” says Greg Hately, “and it’s going to help out in the long run so, when we get to Sydney, it’s going to get easier and easier to roll out.

“We’ve already got Axia in Perth and Adelaide and we’ll be bringing some of those features back into those cities later on down the track. This is going to be our way forward, and working with AVC has been fantastic, and they’ve been configuring the new technology for us, the Pathfinder Cores, and it’s been going very well.

“I think the biggest thing that we did was the producers’ integration in KIIS and GOLD, particularly KIIS in Melbourne. They really wanted to emulate all the functionality that they had in Klotz and they had a lot of add-on boxes and other products added to Klotz to try and get all their intercom functionality working. We did absolutely everything inside the Axia world, which required a fair bit of code. So, from touchscreen the intercoms, touchscreen split queue to announcers, headphones, backwards and forwards. They’ve got a screen where they can just press the middle of the desk (icon) and talk to everyone. So, doing all those sorts of functionalities that they’re used to, and they’ve had for a long, long time and we’re now doing it all in one product which is what we wanted to achieve.”

RADIO

The broadcaster also replaced proprietary, black-box technology for the networking of national programming within the Axia platform.

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“It turned out to be a lot easier than we originally thought,” says the ARN Chief Engineer. “Just by using a few features in Axia, the mixers and the ability to write some coding in Pathfinder Core, we were able to replace that “Broadcast Tools” unit very easily and very simply, and it’s so seamless for them now.

We’ll be able to use that same technology back in Sydney when they do their

GOLD 104.3FM presenter ‘Whippy’ behind the wheel of ARN’s new Axia networked studio.

networking out of Sydney back to Melbourne, so when we get to that stage, we can use all that functionality they’ve already designed.”

For “best of” compilations from morning and drivetime shows, Axia also plays a role with its iProfiler automated program archiving software.

“What’s good about iProfiler,” says Greg Hately, “is when the mics are on, it records and when the mics are off, it doesn’t record. We’re recording individual mic-channels. We’re recording mixes of mic-channels. We’re recording lights and phones and button bars. We’ve got all these combinations which we can record on different tracks inside iProfiler and all the producers can access those instantly as soon as they’re recorded. They’re all topped-and-tailed because they’re following the mics on and off and what’s going on in the studio. That’s seamless integration. It just works so well.”

Axia also plays a part in video publishing by ARN’s social media team.

“We’ve put the Axia IP driver on their video editing machine,” says Greg Hately, “so all the audio that’s coming out of the studio, the mixes for individual mics is also available for their recordings as well. That goes and gets mixed with the video. So, it also works in that same sense with the IP driver and just put it on any Windows-based machine, you can pick up any audio on the Network.”

ARN has also connected its archiving and compliance functions to the Axia network.

“We’ve got Flashlog like every other Radio Station,” says Hately. “The other thing we’ve done with Flashlog, which we’ve done in all stations now, is put an IP driver on that as well. We pick up certain recordings where we keep for an extended period of time, we can record the Flashlog. Just another little integration thing, but that’s what we normally use is just Flashlog.

“Moving forward, all our DAB system will be integrated into Axia as well. We plan on using processing inside Axia with the new OMNIA Volts. It’s looking good. It’ll be one system and everything is going to be connected together.”

Visit www.arn.com.au and www.avc-group.net

RADIO

Factum Radioscape Powers Australian DAB+ Expansion FACTUM RADIOSCAPE’S ENMUXA (DAB encoding + multiplexing) and OBSERVA (DAB monitoring) products will soon be deployed in Hobart, Darwin and Canberra as Australia expands its digital radio broadcast coverage.

In collaboration with multiple service providers, ENMUXA’s versatility is being utilised to its full extent with a variety of setups and configurations.

These include a range of audio input sources from AES/EBU to AES67

Comrex To Debut ACCESS NX Rack COMREX WILL SOON RELEASE ACCESS NX Rack, a new rackmount IP audio codec. Release is planned for the beginning of 2019.

Since it was released in 2005, the Comrex ACCESS Rackmount has become

(AoIP) to web streams.

an industry standard. Now, it’s been updated to incorporate the technical

Via an intuitive web interface, broadcasters will have service multiplexing

advances from the last decade. ACCESS NX Rack features completely new

privileges, enabling them to configure their allocated portion of the ensemble multiplexer independent of their counterparts.

All installation and commissioning will be executed remotely with the entire broadcast chain being monitored and validated by Factum

hardware, allowing for AES67, AES3 or analogue audio I/O. ACCESS NX Rack can connect to Wi-fi and 4G modems, and supports a wide arrange of connection protocols and audio encoders. It’s driven via a new HTML5-based web user interface. ACCESS NX Rack is compatible with all Comrex IP audio

Radioscape’s unrivalled OBSERVA monitoring range.

codecs as well as the Comrex FieldTap smartphone app.

Factum Radioscape’s Managing Director, Thomas Durkin, said, “Factum

ACCESS NX Rack also includes Comrex CrossLock technology, a proprietary

Radioscape are proud to further their relationship with Australian

suite of tools that solidify connections over IP networks. By sending two

broadcasters. Their vision and implementation of DAB in Australia is a

identical streams through two separate networks (redundancy mode),

blueprint for success and it’s great to be a part of it. We look forward to

CrossLock provides a fail-safe in the event that the primary network falters.

working with all participants of this project in the coming weeks.”

ACCESS NX Rack also includes HotSwap, a new function included with the

In addition, Global Sales Manager, Andy Joseph said, “After recently

latest version of ACCESS firmware. HotSwap allows users to designate one

securing a support contract to update current Metro deployments, to have

network as a backup that will only engage when the primary network has

the opportunity to work on three new regions is a project our whole team is excited for. We look forward, in conjunction with our Australian partners, Rae Air, to begin installation.”

Visit www.factumradioscape.com

failed. Fall-over to backup happens in a matter of seconds, and fallback is seamless.

ACCESS NX Rack will be on display at NAB 2019 at Comrex’s booth, C2330.

Visit www.comrex.com

With an engineering and technical sales team of 27, and with our choice of the best AoIP products available, we are passionate about providing integrated solutions for broadcasters that transform audience experiences.

We call this 360° Broadcast.

As the distributor for these ground-breaking companies, we offer a deep integration between products and tailored technical solutions. But we don’t stop there - we also develop our own products to extend the value of the brands we represent, enabling customised work flows which maximise your investment whether you are the largest or smallest organisation.

The AVC crew will be at The Hard Rock Café, Darling Harbour, Sydney Tuesday 16th to Friday 19th July. With us we’ll have business and technology leaders from our key Partners so come and meet us and, of course, enjoy the hospitality of the Hard Rock Café at the same time, our shout.

Please contact sales@avc-group.net for more information or to arrange a meeting.

RADIO

www.avc-group.net

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RADIO

Orban Adds Bass Impact Engine to FM Processors ORBAN NOW OFFERS a way for FM broadcasters to deliver powerful bass response while ensuring optimal musicality of program material. The Bass Impact Engine is included in all new OPTIMOD 8600Si, 8600 FM/HD and 8700i units, and is also available as a free firmware upgrade for existing owners of these products.

“Orban processors have, for many years, used a bass clipper embedded in the multiband crossover, which rolls off higher-frequency clipping products at 6dB/octave and introduces a certain amount of non-optimal phase shift,” said Bob Orban. “This was done to prevent intermodulation between bass and other program material. The new Bass Impact Engine replaces this older technology with a limiter that generates carefully time-aligned, bandwidth-controlled harmonics that minimise the peak level of the bass so that very low frequencies can actually exceed 100% modulation. It does so without adding objectionable distortion in the upper mid-bass and lower midrange frequencies.”

“Our goal is not to blow doors off cars or knock out windows with the low end,” said David Day, Orban President. “Rather, we want to make sure a station’s bass consistently sounds great, regardless of the material being played, and brings the proper ‘punch’ to music without objectionable artefacts.

That’s why we’re adding the Bass Impact Engine at no extra cost to our high-end processors.”

Orban has also announced the availability of XPNAM, a new way to manage audio processing for AM stations.

XPN-AM is the result of over five years of research

by Orban. It exploits a psychoacoustic model to maximise the reach and intelligibility of AM

transmissions while lowering distortion and reducing listening fatigue.

“AM broadcasters have been fighting RF noise at listener locations for decades,” said Day. “An appropriate solution to counteract noise from lighting or computers is to adjust audio processing for more apparent loudness. All audio processors produce more distortion when they do this, which ultimately limits stations’ potential coverage. XPNAM substantially improves this loudness/distortion tradeoff, maximising the number of listeners who can receive entertainment-quality service.”

At NAB, Bob Orban will conduct a demonstration of XPN-AM versus other current AM processors, utilising a Nautel J1000 AM transmitter to most accurately show real-world conditions. As Orban switches between the processors, attendees will be able to hear the differences in both loudness and distortion.

XPN-AM will also be demonstrated in the Nautel booth on an NX-5 transmitter running Modulation Dependent Carrier Level (MDCL). “This demonstration will show in real time the power savings that can be obtained with the combination

of XPN-AM and MDCL,” said Day. “In 2010, Orban first introduced its disruptive MX limiter technology in Optimod-FM 8600,” said Bob Orban. ”The MX limiter uses a psychoacoustic model to significantly lower distortion, increase transient punch, and improve high frequency power handling capability. Orban’s XPN-AM now brings this same limiter technology to AM radio, providing an unprecedented combination of loudness, cleanliness, crispness, speech intelligibility, and coverage. Additionally, XPN-AM’s design is informed by everything we have learned in our 42 years of AM processing experience, starting with the original Optimod-AM 9000 in 1977.”

“AM is most definitely not dead,” said Day. “Some of the top billing radio stations in the USA are AM operations. We have been testing XPN-AM for the past year with broadcasters around the world and they have been enthusiastic about the results. Now that XPN-AM is shipping, AM stations everywhere can claim their rightful place as leaders on the dial.”

Visit www.orban.com

StreamGuys Adds Audience-Empowering Live Stream Rewind THE UPCOMING NAB SHOW will mark the North American debut of SGrewind, the latest module in the SGrecast live stream repurposing and workflow management system from StreamGuys. Automatically retaining a rolling window of replayable content, SGrewind lets radio broadcasters give their listeners network DVR-like abilities to rewind, pause, or restart a live stream from the beginning of a program. StreamGuys will demonstrate the new feature in booth N2524, where the SaaS-based streaming solutions provider will co-exhibit with technology partner ENCO.

RADIO

The cloud-based SGrecast platform lets broadcasters record, repurpose, replay and rewind their live streams to improve audience experiences and effortlessly create revenue-expanding side channels and podcasts. SGrewind gives listeners greater control of their live-streamed audio, letting them pause and resume streams without missing any content, rewind to hear something they missed, or start the stream at a specific segment.

For example, mobile consumers can pause a live radio stream when passing through areas with poor connectivity.

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SGrewind-enabled live stream control is available in StreamGuys’ managed, embeddable SGplayer, while SGrewind-generated URL parameters

enable developers to integrate SGrewind support into their own custom players and mobile apps.

SGrewind’s live audio DVR capabilities are processed at the server rather than client-side, enabling broadcasters to integrate multiple players and apps with the same stream while avoiding the need to use storage on listeners’ devices.

SGrewind integrates with StreamGuys’ SGreports logging and analytics service to provide details of rewound content within in-depth listener metrics.

SGrewind can leverage SGrecast’s blackout capabilities to prohibit rewinding during rightsrestricted content, while upcoming functionality will allow users to selectively purge previouslyrecorded snippets to prevent replaying of unexpected offensive or legally-sensitive content.

“We continue to add new SGrecast features that help broadcasters easily, efficiently, and inexpensively repurpose their content, improve audience engagement, and deliver more value to their advertisers and sponsors,” said Jason Osburn, Executive Vice President, StreamGuys. “Enabling listeners to rewind live streams means they can hear more of the station’s content that they might have otherwise, benefiting the broadcaster and its advertisers, while giving consumers the convenience of not having to wait until the end of the current program for an archived recording to be published.”

The SGrewind feature of SGrecast is available immediately.

Visit www.streamguys.com

CONTENT DELIVERY Terrestrial, Mobile, Broadband

www.content-technology.com/delivery

NZ 5G on Track for 2020 As Broadband Uptake Hits 50% NEW ZEALAND’S MINISTER of Broadcasting, Communications and Digital Media, Hon Kris Faafoi, has announced New Zealand’s first allocation of 5G spectrum will be the 3.5GHz band, with national rights to this portion of the spectrum expected to be auctioned early in 2020.

National spectrum rights in the 3.5GHz band will be available to use from November 2022 when the existing rights in this band expire. With the agreement of the existing rights holder, an operator may be able to use the rights earlier. Interested parties will be able to have their say on the auction process for the 3.5GHz band through consultation, expected in the second half of 2019.

“Spectrum in this band will also be available to regional wireless broadband service providers. In the

Second Phase of DVB-T2 Trial Commences in Queensland TX AUSTRALIA, Broadcast Australia and Free TV have announced that the second phase of the Queensland trial of a next generation broadcast technology, DVB-T2, is to be undertaken in Brisbane and on the Gold Coast from March through to April. The trial builds upon trials conducted in Sydney and on the Gold Coast in 2018 to assess the performance of next generation DVB-T2 technology in the Australian environment.

The trial will originate from the Gold Coast Translators owned and TX Australia managed transmission site located at Mount Tamborine on the Gold Coast and the TX Australia managed transmission site on Mt Coot-tha in Brisbane. The transmissions will be on Channel 28. It will be operating in a new mode of digital television technology called ‘extended single frequency’. Results will be analysed to determine the service threshold in the target coverage area in extended SFN (single frequency network) mode.

DVB-T2 is being considered as a technology which could replace the current DVB-T standard for television which has been in operation since 2001.

When combined with new compression technologies, DVB-T2 will have the potential to allow 4K TV reception with four times the picture quality of the current high definition standard.

The trial is a collaboration between TX Australia, Broadcast Australia, and Free TV Australia. GatesAir, Rohde & Schwarz and Enensys Networks have loaned equipment for the trial.

Visit www.txaustralia.com.au and www.freetv.com.au and www.broadcastaustralia.com.au

future, national spectrum rights will open the door to higher connection speeds and greater network capacity, while regional providers will be key to helping rural communities access higher quality wireless broadband,” said Mr Faafoi. “The government’s next priority is allocation of other segments of the spectrum for 5G in the millimetre wave bands, and details on that will be shared later this year.

“Currently about half of New Zealand homes and businesses have connected to faster, more reliable broadband across the 121 centres where ultra-fast broadband (UFB) is available,” added Mr Faafoi. “That’s 714,258 end-users who are enjoying the benefits of

ultra-fast broadband in their homes and businesses.

This government programme is about 77% complete, with over 1.4 million users now able to connect to the network. When the UFB infrastructure is fully deployed by the end of 2022, people in more than 390 towns and cities will be able to connect to the country’s fibre network.”

The latest UFB progress report shows 15 towns have uptake rates above 50%: Auckland, Blenheim, Cambridge, Dunedin, Hamilton, Nelson, New Plymouth, Pukekohe, Rotorua, Tauranga, Te Awamutu, Tīmaru, Waipu, Waiuku and Whāngārei.

Visit www.beehive.govt.nz

PSSI and Sydney Teleport Services Launch New Gateway PSSI GLOBAL SERVICES and Sydney Teleport Services (STS) have collaborated to establish a gateway between PSSI International Teleport (PIT) in Pittsburgh, Pennsylvania, and the STS teleport in Sydney, Australia. This connection expands both companies’ broadcast footprints to cover the U.S., Europe, and Asia-Pacific regions.

The gateway between the two teleports

This new bidirectional connection means PSSI Global Services customers now have unique access to Asia-Pacific satellite fleets, as well as STS’s expansive fibre network, which reaches from the U.S. to Australia and the U.K. Meanwhile, STS customers gain access to PIT’s 50-plus antennas – which support transmissions throughout the Americas – and production services at the PSSI Pittsburgh Videotech Center.

“With this new circuit, we are able to offer

“Partnering with top-tier service providers like STS allows PSSI Global Services to deliver even more seamless, efficient, cost-effective solutions for our ever-growing global client base,” said Jason Land, Vice President of PSSI Global Services’ Strategic Television division.

“This new connectivity gives us the ability to offer our clients instant, scalable solutions for international distribution.”

transmission services for the UFC 23w4

leverages PIT’s dual 10Gbps AT+T Global Video Services connectivity. This high-capacity fibre network connects PIT to STS’s point of presence (POP) in Los Angeles, California – and Nimbra units at both ends allow for fully programmable ASI and data connections. our clients a breadth of exciting broadcasting options that weren’t possible before,” said Scott Jenkins, Managing Director at STS. “We are proud to be partnering with a trusted industry leader like PSSI Global Services, and we look forward to continuing to innovate together.”

PSSI Global Services and STS deployed the gateway in time to provide successful pay-per-view on the 10th of February. The broadcast originated in Melbourne, Australia, and several pathways were carried between PIT and STS for distribution to international viewers.

Visit www.pssiglobal.com and www. sydneyteleport.com.au

CONTENT DELIVERY

“We are on track and keeping pace with other countries. With the spectrum being progressively allocated, companies can start rolling out 5G from 2020,” said Mr Faafoi. “While spectrum allocations occur, we will concurrently be working with Māori to address the radio spectrum-related Treaty of Waitangi issues. Until this work has been completed, we will not be able to provide details of the 3.5GHz spectrum that will be available for auction.”

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CONTENT DELIVERY

Magewell Showcases Robust Production and Distribution Solutions MAGEWELL CONTINUES TO EXPAND its offerings into new product categories, bringing its quality, reliability, and price/performance value deeper into professional media workflows. At NAB, the company will demonstrate its latest tools spanning key steps in the content production chain. From capture and conversion, to playout and streaming.

Magewell will exhibit in booth SU5724.

Convert Highlighted will be the Pro Convert family of standalone NDI converters. Making the transition from traditional video architectures to IP-based workflows more affordable, Pro Convert devices let users bring HDMI or SDI sources into live, IP production networks using NewTek’s NDI technology. Available in 4K and 1080p60 models with a choice of input interfaces, the devices automatically detect the input signal format to cost-effectively connect existing equipment into next-gen IP media infrastructures.

For users of Magewell capture products or who prefer a software-based solution, the company will also demonstrate its new Magewell Bridge software for NDI. Magewell Bridge allows video and audio from any Magewell ingest device to appear as a live source to any other NDI-enabled software and systems on the network.

Capture Magewell’s array of capture devices continues to grow. Featured products will include the USB Capture Plus family of external USB 3.0 capture devices, the Eco Capture series of M.2 cards, and the company’s flagship Pro Capture line of PCIe cards. The newest release, the Pro Capture Dual SDI 4K Plus, simultaneously captures two channels of 4K video at 60 frames per second with 4:4:4 chroma sampling over single-link 12G-SDI, dual-link 6G-SDI or quad-link 3G-SDI connections.

Stream Magewell’s Ultra Stream HDMI standalone streaming encoder lets users record or stream high-quality video with one click using on-device buttons or a smartphone app. Users can stream to services such as YouTube, Facebook Live, or Twitch, or to a custom-specified server, and can record video to a USB drive or a smartphone. The compact device encodes video up to 1080p60 from an HDMI input and also supports 4K sources, downconverting them automatically to HD.

Playout Flex I/O PCIe input-output cards combine Magewell’s video capture benefits with highquality playout capabilities. Available with SDI or HDMI interfaces, the first two Flex I/O models each feature four input channels and two outputs, all of which can be used simultaneously with independent resolution, frame rate and processing settings for maximum flexibility.

Visit www.magewell.com

Artel Shifts to Hybrid IP/SDI

One-click Video Channel Creation System

CONTENT DELIVERY

AT NAB 2019, Telestream will introduce OptiQ, a new one-click channel creation solution for cloud environments. OptiQ transforms the new channel creation task from a process that took weeks, to one that takes minutes. Once created, new video channels exhibit considerable sophistication.

As standard they feature integrated monitoring throughout, and the ability to switch between multiple sources (live or file-based). A pay-asyou-go business model offers the flexibility to accommodate unforeseen fluctuations in demand while aligning such costs to revenues – no need to pre-spend to ensure demand is met.

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OptiQ targets a number of applications. It facilitates new revenue streams for content providers looking to accelerate time to market for new channels, and for broadcasters and service providers by enabling short-term (premium and non-premium) channels/events, or additional content such as highlight reels, player bios and event histories alongside premium content.

Visit www.telestream.net

AT THIS YEAR’S NAB SHOW, Artel will exhibit solutions that simplify broadcasters’ shift to hybrid IP/SDI and all-IP operations and address content providers’ requirements for reliable media delivery. The company will demonstrate its SMART Media Delivery Platform with a focus on new features and capabilities that enhance operational simplicity, flexibility, and scalability.

Artel’s booth exhibit will also showcase the company’s Quarra IP PTP switches, ARQ Reliable Internet Streaming Transport (RIST) for OTT streaming, and FiberLink family of media transport products.

SMART Media Delivery Platform Artel’s SMART Media Delivery Platform is a carrier-grade, four-channel auto-sense 3G/HD/ SD-SDI-over-IP multifunction gateway with integrated nonblocking Layer 2/3 switching and routing. The software-enabled solution features four video ports for transport of video, audio, ancillary data, and four GigE data ports bridged to one or two 10G interfaces. Designed to attach to IP networks without requiring external network elements, the SMART platform supports SMPTE ST 2022: 1, 2, 5, 6, and 7 hitless switching, QoS, VLAN tagging, and traffic management.

New SDI/SMPTE ST 2110 encapsulation/ de-encapsulation capabilities allow users to bridge legacy SDI signals into an ST 2110 framework and workflow, and the addition of SMPTE ST 2110/ST 2022 transcoding facilitates conversion of ST 2110 streams to ST 2022 for transport beyond the LAN. When additional capacity is needed, a new software-defined SMART SuperNode feature for SMART modules facilitates high-capacity

on-boarding or adaptation of media over IP up to 100Gbps of switching throughput.

Quarra PTP Ethernet Switches Designed for audio/video broadcast, defence and security, finance, utilities, telecom, and enterprise IT applications in which accurate timing and control are required, Artel’s Quarra family of PTP-aware managed IP switches offers accurate IEEE 1588-compliant timing and synchronisation. The switches support SMPTE ST 2110 and ST 2059-2, permitting interoperable use of IP-based media equipment with conventional gen-locked SDI equipment.

They are RAVENNA AES67-approved and Dante- and QSC-tested.

ARQ IP Streaming System The ARQ IP Streaming System serves Reliable Internet Streaming Transport (RIST) for OTT video applications. The ARQ system is simple to configure for distribution of high-quality video over unconditioned IP networks, including wireless, internet, and satellite. The solution is scalable in single-stream increments, allowing broadcasters to add ARQ licenses quickly to deliver multiple UDP unicast and multicast services.

FiberLink Family Supporting nearly every type of video, audio, and data signal, Artel’s FiberLink products bring flexibility to broadcast or corporate studios, OB vans, point-of-view cameras, rental and staging, stadiums, auditoriums and theatres, transportation hubs, and other pro A/V environments.

Visit www.artel.com

CONTENT DELIVERY

Qligent Testing – File to Last Mile QLIGENT’S VISION-VOD enables comprehensive, virtualised assessment and verification of file-based content throughout the video-on-demand experience, right to the last mile. Vision-VOD will be demonstrated on booth N4215 at the 2019 NAB Show.

Designed for flexibility and scalability, Vision-VOD allows users to determine the scope of the testing they need to perform, which specific VOD parameters they want to evaluate, and at what point in the chain they wish to monitor. At the front end of the content delivery chain, files can be analysed and verified for such attributes as media container conformance, detailed quality of experience (QoE) of video, audio, and content metadata, and captions, loudness, and other regulatory compliance. At the back-end, Vision-VOD analyses VOD parameters such as manifest verification, adaptive bitrate (ABR) compliance, download rates, lost segments, and latency negatively impacting the viewer experience.

“The key to Vision-VOD is our unique deployment of virtual probes that extend monitoring and analysis out to the last mile,” said Ted Korte, CTO of Qligent. “These probes serve as virtual end-users that access and play selected files at various points across global IP networks and markets.

By sampling the video in different places, these virtualised probes gather data that informs content owners about file defects and network performance issues that could affect viewability, as well as other metrics which impact the audience engagement for that video.”

While a media file may be fine at its origination point, many things can happen to it once it is made available to viewers – online or through OTT services.

The typical process of multi-profile transcoding, packaging, and distribution to CDNs and through edge servers out to end-users is prone to many issues.

Even if all goes well to that point, consumers could have been precluded from accessing the file due to high network load. There could also have been issues with consistency and reliability of certain CDNs, ISPs, and gateways along the path the packets travel, or instances of rebuffering, stuttering, and other latency impeding a smooth viewing experience. This broad scope of possible issues makes location-specific and time-based monitoring critical in uncovering these situation-based problems.

Vision-VOD probes file access the same way – and in the same place a user

would access the content. The solution’s analytics engines then process that data-set into detailed reports projecting a clearer picture of the likely user experience for that file at the time of testing.

“Consider a scenario where a program is made available for on-demand viewing, and initial metrics show a certain number of people watched that content,” explained Korte. “But what if a thousand more people had tried to view that same content but gave up due to network performance issues they encountered? Vision-VOD gives providers a level of technical insight about their VOD user experience that they wouldn’t otherwise have even with viewer feedback. Then, armed with this actionable information, they can then take proactive steps to protect their revenue streams, preserve customer loyalty, and ensure an optimal viewing experience worthy of their brand.”

Automated and highly scalable, Vision-VOD is available as a standalone on-premise solution, or distributed SaaS-based offering with a choice of payas-you-go pricing models for deployment in the cloud, on virtual machines, or hosted by a third-party. Vision-VOD also has a powerful API for third-party integration.

Visit www.qligent.com

The ¸VENICE – Your centre of excellence for live, studio and channel playout applications

Versatility Reliability Scalability

The ¸VENICE platform to handle your media workflows pushes limits even further through virtualisation to provide a future proof solution for whatever comes your way today and tomorrow. www.rohde-schwarz.com/ad/venice sales.australia@rohde-schwarz.com COTS hardware

Virtual Storage Access

Future Proof IS-04 / 05

Channel Playout

SMPTE 2110

UHD

MOS

Live Production

Studio Production

PTP

FIMS

SDI / IP

HDR

VDCP

CONTENT DELIVERY

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See more photos at www.facebook.com/phil.sandberg

INDUSTRY FOCUS

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PICTURE CUT

ASIA

+ANZ

ASIA

As well as the features below, EVERY ISSUE of Content+Technology contains features on the following:  Image Acquisition  News Operations  Sportscasting  Post-Production & VFX

 Media in the Cloud  Digital Asset Management  Audio  Radio

+ANZ

 Content Transmission & Delivery  Signal Distribution  Command & Control – Automation, Monitoring, Systems Management.

C+T AUSTRALIA-NEW ZEALAND FEATURES + DEADLINES 2019 ISSUE

EDITORIAL + AD DEADLINES

PUBLICATION DATE

PRODUCT ROUND-UP

SHOW COVERAGE

May-June

Editorial Submissions: 24-04-19 Ad Bookings: 02-05-19 Ad Artwork: 09-05-19

3rd Week May

+S ports Production Solutions +D rones & UAVs +O TT/IPTV/VOD Solutions

+P review: BroadcastAsia /ConnectAsia 2019 June 18-20, Singapore

July-Aug

Editorial Submissions: 17-06-19 Ad Bookings: 19-06-19 Ad Artwork: 24-06-19

1st Week July

+4 K Acquisition & Delivery Solutions + I P-based Production +C ontent Security

+P review: (SMPTE Australia) Media+Entertainment Tech Expo July 18-20

Sept-Oct

Editorial Submissions: 09-08-19 Ad Bookings: 16-08-19 Ad Artwork: 23-08-19

1st Week September

+ ENG/Newsroom Systems + Compression, Encoding, Transcoding Solutions + Radio Technology

+P review: IBC Amsterdam Sept 12-18 +P review: National Radio Conference

Nov-Dec

Editorial Submissions: 17-10-19 Ad Bookings: 23-10-19 Ad Artwork: 01-11-19

2nd Week November

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

+P review: Screen Forever Conference

C+T ASIA FEATURES + DEADLINES 2019 PUBLICATION DATE

ISSUE

EDITORIAL + AD DEADLINES

PRODUCT ROUND-UP

SHOW COVERAGE

May-June

Editorial Submissions: 24-05-19 Ad Bookings: 31-05-19 Ad Artwork: 03-06-19

2nd Week June

+C hannel-in-a-Box Solutions +O TT/IPTV/VOD Solutions +S ports Production Solutions + Production, Post & Locations round-up

+P review: BroadcastAsia /ConnectAsia 2019 June 18-20, Singapore

Aug-Sept

Editorial Submissions: 24-07-19 Ad Bookings: 31-07-19 Ad Artwork: 14-08-19

3rd Week August

+L oudness Solutions +C loud Solutions +C ontent Security +C ompression, Encoding, Transcoding Solutions

+P review: BIRTV (Beijing, China) +P review: IBC Amsterdam Sept 12-18

Oct-Nov

Editorial Submissions: 01-10-19 Ad Bookings: 08-10-19 Ad Artwork: 15-10-19

3rd Week October

+C able & Satellite Delivery +D igital Asset Management Solutions +O TT/IPTV/HbbTV Solutions

+P review: AVIA (CASBAA) Asia Video Summit + 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.

Grass Valley…………………………………19

Mediaproxy……………………………33

Rohde & Schwarz………………………45

AVC- G ro u p … … … … … … … … … … . . 4 1

IRT Communications…………………..10

Neumann……………………………….37

Ross Video………………………………….25

Blackmagic Design………………………..5

Jands………………………………………..35

Pacific Live Media…………………….9,17

Stagetec…………………………..39

BroadcastAsia…………………..IBC

Lab Space………………………………………6

Techtel……………………………….….11

Dell EMC……………………………………..27

Lawo…………………………………………7

Professional Audio & Television ……………………………………… Cover,3,13

Fujinon Fijifilm……………………….46,47

Magna Systems & Engineering….IFC

Riedel………………………………………..21

PICTURE CUT

ADVERTISER INDEX Amber Technology…………………….OBC

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Creativity at full throttle

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