Content+Technology ANZ February 2022

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VOLUME 19/ISSUE 1

MEDIA + PRODUCTION + MANAGEMENT + DELIVERY www.content-technology.com

THE FUTURE OF

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VOLUME 19/ISSUE 1

FEBRUARY 2022

News Operations... page 15.

REGULARS 02 EDITOR’S WELCOME 30 INDUSTRY FOCUS 32 CLASSIFIEDS

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FEATURES 04 COVER STORY - the Future of Broadcasting 08 ACQUISITION Erika Addis New ACS National

President as Ron Johanson Steps Down; Panasonic PTZ Cameras; Blackmagic Camera 7.7 Update; Heavy-duty Sachtler aktiv Fluid Heads; Canon’s EOS R5 C 8K Cinema Camera.

12 SPORTSCASTING Cloud Brings Beijing to

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the World; Sky NZ Preserves 23K Hours of Sport with DAMsmart; Ross Enhances Virtual Solutions; Telstra Scores Distribution for US National Hockey League; Spiideo Live Tagging and Player Tracking; STAN Partners with Australian Racing Group.

15 NEWS OPERATIONS Techtel Brings

HDR Screens to ABC News; Guinness World Record for 7NEWS Newsreaders; Avid Includes Photoshop, After Effects in Broadcast and Production Workflows; Chyron PRIME VSAR 1.7 Supports Unreal Engine; Stringr Targets Creators with ‘Iconiq’.

17 MEDIA IN THE CLOUD The Environmental

Impact of Data Storage; AVIA Names Cheetham GM ofCoalition Against Piracy; Customisable Metadata, RAW Support, and Spanning for LTO from Hedge; Blackbird Achieves AWS Technology Partner Status; Cinedeck Launches Software-Based Ingest Solution; MEDIAGENIX, Vuulr Partner on Monetisation; MASV, iconik Accelerate Cloud MAM.

20 POST-PRODUCTION Rising Sun Pictures

Expands Brisbane Studio; LWKS Introduces New Plans with Lightworks 2022; Real-Time Data Streaming from Maya to Unreal Engine; Free Particle Illusion Standalone App.

23 AUDIO, RADIO, PODCASTING TRed

Road Immersive Makes Magic with Nugen; AES Welcomes Josh Reiss as President; Neumann Miniature Clip Mic System; RØDE Updates Wireless GO II and RØDE Central; TASCAM Revives Analogue with 424 Studio Master Cassette; Nugen’s Paragon of Reverbs; TASCAM Boosts Model 12 Integrated Production Suite.

27 CONTENT DELIVERY Create Engage

Streams with Kiloview and Digistor; MPEG LA Patent Pool Licence for Versatile Video Coding (VVC); 5G and Future Opportunities in Video Services; JPEG XS for Imagine’s Selenio; Matrox Simplifies AV-over-IP.

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

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EDITOR’S WELCOME

The Rise of the Machines

By Phil Sandberg

As we move further into the era of deep-fakes, remote production, ubiquitous stock footage and even lower barriers to entry, this trend will only accelerate, particularly in the area of artificial intelligence (AI) in media.

Senior Broadcast Systems Engineer Professional Audio & Television Pty Ltd Hornsby, Northern Suburb of Sydney

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Meanwhile, the company says the use of AI transcription has risen 886%. Speech-to-text AI technology is available in more languages and has made transcriptions very affordable and fast – “each spoken word becomes searchable.”

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“This year, the data demonstrates that accessibility of content for remote work and global collaboration continues to be important.

Organisations are storing 144 percent more of their media content in the cloud.

“Usage of visual AI analysis has risen 298%.

Auto-tagging media with visual AI has been an easy win for many organisations that want more searchable data. However, many users are still not using this technology. We believe that visual AI needs to improve so that it can be trained to the needs of each organisation. Current pricing models are also not favourable for large media archives.

The report has been collated from user behaviour stats in 2021 and explores the trends within 149 million assets and 52.6 petabytes of data.

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POSITION VACANT

“The instant availability of media encourages more internal and external collaboration as seen in the 77 percent rise in asset sharing.

To increase the visibility of media, AI services like visual AI analysis and voice-to-text transcriptions, are being utilised.

iconik, a cloud-native, SaaS media management solution, has released its annual media stats report detailing trends within its user-base for SaaS media management and video. This year’s report shows a dramatic increase in the use of AI services for media management, such as visual AI analysis and voice-to-text transcriptions. It also demonstrates further transition to cloudbased tools that enable a “remote-first creator workforce”.

According to the company, “The pandemic has accelerated both the urgent need for remote access to assets, as well as the demand for video content. Online video consumption has grown 15-fold in the last five years. Video creation has become an important development area for all types of companies, reaching beyond the traditional media and entertainment sector.

Whether targeting consumers or internal staff, more organisations are choosing video to convey their message and maximise engagement.

manage the increase in media content, more organisations are adopting cloud-native media management solutions.

Interestingly, the Iconik report also highlights the shift in video formats among its user base with some 71% of video on the platform being MPEG-4/H.264. This label includes all MPEG-4 video and AVC in MOV and MXF containers. This includes formats like MP4, M4V, MKV, MOV, and certain MXF videos. In second place, is ProRes at 17.8%, followed by XD-CAM at 4.2% and a variety of legacy formats making up the remainder.

“A combination of the adoption of cloud-native solutions and remote collaboration, accelerated by the pandemic, have created even more favourable conditions for media growth. To easily

You can find the full report at https://www.iconik.io/blog/2022-media-stats

PAT HAS A VACANCY for a Senior Broadcast Systems Engineer based in the north of Sydney. We are an authorised reseller and solutions provider for brands such as ARISTA, LAWO, Densitron IDS, TSL Products, Meinberg, Mobile Viewpoint, ENCO, Boland, RTW, CyanView, Boland Communications, Genelec, Qbit, StudioHub, DSA Volgman, AngryAudio, DreamChip, NVIDIA and other leading brands.

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OVER THE YEARS, the Internet and software, more generally, have made many of processes of content production and delivery easier.

Some platforms have made those working in the industry more productive, while others have made them redundant.

Keep safe, thanks for reading, and look after each other, Phil Sandberg – Editor/Publisher papers@broadcastpapers.com +61(0)414671811

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TV Transmission Options Under Microscope with Oz Govt Green Paper Response AUSTRALIA’S DEPARTMENT of Infrastructure, Transport, Regional Development and Communications has published a Media Policy Statement entitled “Green Paper Response and Next Steps” following an industry consultation process aimed at formulating a single, harmonised policy framework for all content providers in light of the structural changes the industry has undergone with the advent of the Internet, streaming and other online services.

The Government’s green paper received 110 submissions to the public consultation process, which closed in May 2021. Extensive consultation was also undertaken with relevant stakeholders, including two Australian content roundtables on content matters raised in the green paper.

According to the statement, new settings must reflect important public policy objectives, including: • contributing to national identity and sense of a shared experience through the • production, distribution and consumption of Australian content; • informing citizens and underpinning democratic institutions; • employing Australians and driving economic growth; • providing a voice for diverse communities and minority groups; and • supporting Australia’s national interests.

The Government has organised its response into three themes: • Theme 1 – developing the pathway to modernise Australia’s free-to-air television market • Theme 2 – supporting Australian content across devices and platforms • Theme 3 – enhancing regional news services

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Under Theme 1, the Government says it will establish and manage a Future of Broadcasting Working Group across Government and industry.

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The Working Group will inform the development of a pathway to modernise free-to-air television services. It will provide a forum for industry to work collaboratively on future technology standards and broadcasting planning issues.

The Working Group will include free-to-air broadcasters, infrastructure providers, television receiver manufacturers and Government representatives.

Its focus will be on “settling technical issues to inform a future technology end-state.”

Evolution to DVB-T2/HEVC? A key plank of the Government’s original Green Paper involved broadcasters electing to release 84MHz of broadcast spectrum in the 600 MHz band in 2022, with an auction of that spectrum to take place in 2025 and reassignment of the spectrum for the provision of 5G/broadband services to occur in 2026 and beyond.

This would have involved broadcasters using three shared multiplexes and migrating all services to MPEG-4 compression, something Free TV says would result in broadcasters having to either cut services or dramatically reduce picture quality. It would also adversely impact wireless audio users in the current UHF band (520694MHz).

According to the latest Media Policy Statement, “The green paper process highlighted a significant degree of uncertainty regarding the technology future for television services in Australia. Free TV and its members advocated for retaining a transition pathway to DVB-T2, but the industry has not committed to a transition, citing a number of uncertainties surrounding spectrum planning and consumer impacts.”

Consumer electronics manufacturers also expressed a preference to transition to DVB-T2.

DVB-T2 is a more spectrumefficient transmission standard, and would enable broadcasters to deliver a larger number of HD streams, as well as Ultra HD (UHD) services.

However, a report undertaken by transmission services provider Kordia highlighted a number of uncertainties associated with DVB-T2, including “significant and costly upgrades to existing infrastructure” for broadcasters, and the need for large number of households to upgrade their television receivers.

The Future of Broadcasting Working Group will be established

in early 2022 and it is expected that consideration of technology futures will be finalised by late 2023, although “the Working Group will ultimately determine the timing itself.”

According to the Media Policy statement, “The Working Group may also choose to progress the areas of further work highlighted in Kordia’s report, including finalising receiver standards and examining technical implications of the proposed new licensing model. It may also choose to test the viability of wide-area single frequency networks, which would require collaboration between Government and industry.”

In the meantime, the Government says it will retain the Commercial Broadcasting Tax and extend transitional support for eligible regional broadcasters until 30 June 2024. As work on the future technology path for the industry progresses, the Government says it will consider when there is an appropriate point at which to reflect that work in a recalibrated regulatory framework, in turn enabling industry participants to evolve their delivery models should they choose to do so.

The Government says it also expects that the Future of Broadcasting Working Group will “… examine the question of the ‘prominence’, or availability, of free-to-air and subscription broadcasting services regulated under the Broadcasting Services Act 1992 (BSA), on connected television devices.”

To complement this process, the Government says it will also commission research through a Television Futures Research Program which will be designed to “… provide an evidence base to support the Working Group’s deliberations and future policy development. This will include research into the technical capabilities, consumer usage and market supply of Australia’s television population; a survey to

capture consumer preferences and trends in relation to content consumed on connected televisions; and complementary technical research by the Australian Communications and Media Authority (ACMA).”

Australian Content and Supporting Journalism Under Theme 2 of its Media Policy Statement, Supporting Australian content across devices and platforms, the Government has announced a number of measures to bring regulatory uniformity to both free-to-air and streaming operators. These include: • The establishment of a Streaming Services Reporting and Investment Scheme designed to “set clear expectations on large SVOD services on their investment in new Australian content, and require reporting on investment and efforts to make Australian content discoverable to Australian audiences.”

• A National Broadcasters Reporting Framework for Australian Content to provide the Government and the public with transparent information about how the ABC and SBS contribute to the availability of Australian stories on viewers’ screens.

• A “recalibrated drama expenditure requirement” for subscription television broadcasters to reduce the “regulatory burden on an industry sector in transition and provide for a more consistent application of obligations across the industry.”

Continues p6 >>

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In concert with the release of its Media Policy Statement, the Government is releasing a Streaming Services Reporting and Investment Scheme Discussion Paper to facilitate discussions with stakeholders on key design elements of the Scheme. Consultations will close in April 2022.

Under its third theme, Enhancing regional news services, the Government has announced it will provide AUD$10 million over two years ($5 million per annum) for a Journalist Fund designed to support eligible regional media organisations to hire cadet journalists and to upskill existing journalists.

Cadet journalists will be funded for two years, with funding to be provided in the form of a partial contribution towards a cadet journalist’s salary, travel and training costs.

Successful cadet journalists will be required to be based in the local community for the duration of the program.

The Fund will also support training activities for journalists. Funding for up-skilling staff will cover the costs directly related to the relevant training, such as course materials, travel and accommodation. Relevant training is likely to target identified gaps for regional journalists, including digital literacy. Training activities organised to support cadets could also be transferrable for use to upskill an organisation’s existing journalists.

Visit https://www.infrastructure.gov.au/ media-communications-arts/

PEOPLE ON THE MOVE The Community Broadcasting Association of Australia (CBAA) has announced the appointment of Jana Gibson as Head of Program Delivery.

Jana has been working for APRA AMCOS for the past 18 years in a number of roles, including shaping the APRA Awards programs as Events Manager, to leading the Communications & Events teams, delivering member-led programming as Director of Writer Services, and leadership of the Member Services Division. She has previously held Board positions with MusicNSW and the Australian Music Centre, and currently sits on the Board of Nordoff-Robbins Music Therapy.

Visit https://www.cbaa.org.au ---------------------------------------------------------------------------------------------------------------------------------------------------------------------------------------Satellite communications infrastructure and services provider Av-Comm has announced Adrian Potter as Business Development Director.

The role, based in Sydney, covers all divisions of the organisation and reports to Michael Cratt, Managing Director, and Garry Cratt, Technical Director and Founder. Potter has spent over three decades in the telecommunications, satellite and broadcast industries in a variety of roles, most recently as Deputy CTO of Kacific Broadband Satellites for Asia-Pacific.

Visit https://www.avcomm.com.au -----------------------------------------------------------------------------------------------------------------------------------------------------------------------BAI Communications Australia has announced Nick Gurney as its new Director of Telecommunications. Before joining BAI, he

New ABC, SBS Funding Announced AUSTRALIAN GOVERNMENT-OWNED broadcasters ABC and SBS are to receive AUD$4.2 billion across the 2022-23 to 2024-25 triennium.

According to a statement issued by the Department of Infrastructure, Transport, Regional Development and Communications, the announcement represents “… an increase in funding for both national broadcasters against the 2016-19 and 2019-22 triennia, and is a total funding increase in real terms.

The ABC will receive AUD$3,284.9 million over three years. This includes $45.8 million for the Enhanced News Gathering program to strengthen local public interest journalism outside the major city centres.

was based in Luxembourg as Vice President at Syniverse, a software and services company.

He previously undertook various senior roles at IBM, including Managing Director for IBM’s Telstra account.

Visit https://www.baicommunications.com ---------------------------------------------------------------------------------------------------------------------------------------------------------------------------------------Rowan Woods has today been elected as President of the Australian Director’s Guild while Nadia Tass has been re-elected to the ADG Board as Vice President – Feature Films, and Jonathan Brough re-elected for a further term as Vice President – Television. New to the ADG Board is longstanding member, Sydney-based film writer and director Partho Sen Gupta. Out-going ADG President Samantha Lang, steps down after serving 12 years on the ADG board and six years in the role of president.

Visit https://www.adg.org.au ---------------------------------------------------------------------------------------------------------------------------------------------------------------------------------------Free TV has appointed Natasha Eves as Regulatory Affairs Manager. Ms Eves joins Free TV from SBS where she was the External Affairs Manager. Prior to joining SBS, Ms Eves held senior roles at the International Federation of Arts Councils and Culture Agencies. She holds a Masters Degree in Media Practice, a Bachelor Degree in Government and International Relations, and a Certificate in Disruptive Strategy from Harvard Business School.

Visit www.freetv.com.au

2022-23 to 2024-25 Triennium ABC base operational and transmission funding Enhanced News Gathering

2022-23 $m

2023-24 $m

2024-25 $m

Total $m

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1,078.0

1,096.4

3,236.1

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The ABC will also see a Audio Description 1.0 1.0 1.0 3.0 return of indexation on base operational funding as Total ABC funding 1,077.7 1,094.2 1,113.0 3,284.9 outlined in previous Budget SBS base operational and transmission funding 304.7 310.6 316.9 932.2 estimates.

Extension of non-English language services 9.2 9.4 0.0 18.5 (Decision on further extension due 2024/25 budget) The SBS will receive $953.7 million over three years, Audio Description 1.0 1.0 1.0 3.0 including an additional Total SBS funding 314.9 321.0 317.9 953.7 $37.5 million in ongoing Total appropriation 1,392.6 1,415.2 1,430.8 4,238.7 funding to support its longterm sustainability. to the Australian Communications and Media Additional funding will be provided to ensure the continuation and Authority (ACMA) on their provision of, and expansion of audio description by the national expenditure on, Australian content in line with broadcasters over the next three years. the reporting obligations currently in place for The ABC and SBS will also be asked to report commercial television broadcasting licensees.

Streaming Services Discussion Paper

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THE AUSTRALIAN GOVERNMENT SAYS it intends to introduce a Streaming Services Reporting and Investment Scheme to support the provision of Australian content to Australian audiences and the viability of the Australian screen production sector over the long term.

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According to a statement, “The proposed Scheme is a key component of the Government’s media reform program, designed to modernise media regulations towards an end-state of a platform neutral framework covering both online and offline delivery of media content to Australian consumers.”

The Scheme will require large Subscription

Video on Demand (SVOD) services to report annually on their expenditure on, and provision of, Australian content, and the steps they are taking to make Australian content prominent and discoverable on their services.

“If a service were to invest less than 5 per cent of their gross Australian revenue on Australian content, the Scheme would enable the Minister for Communications to impose a formal investment requirement on these services.”

The Government has released a discussion paper for the proposed Scheme outlined which has been developed following extensive consultation with stakeholders through the Media Reform

Green Paper and, prior to that, the Supporting Australian Stories on our Screen options paper.

The discussion paper outlines the proposed design of the Scheme and seeks stakeholder comment on key regulatory design decisions including definitions, services in scope, and implementation timeframes. The Government says it will use this feedback to develop the legislation necessary to implement the Scheme.

The deadline for comment is 5.00pm, 24 April, 2022.

Visit https://www.infrastructure.gov.au/haveyour-say/streaming-services-reporting-andinvestment-scheme

SCA CHIEF CONTENT OFFICER, Dave Cameron, has announced two senior promotions in its content team with newly created roles and responsibilities which he says will provide a focus and strategic direction to Hit Network national shows and Hit and Triple M key regional centres.

Mitch Secrett, Innovation Product Manager with SCA.

Sonder Novak-Booth, currently Executive Producer of Hit Network’s Carrie and Tommy Drive show joins the important ranks of SCA’s Content Directors nationally and is promoted to a new role as Content Director – National Shows.

Novak-Booth will work closely with Cameron and the soon to be appointed Head of Metro Content and oversee the strategic content direction, audience growth and client integration of SCA’s national shows, talent, and teams.

Meanwhile, Mickey Maher, currently Head of Music for SCA across the Hit and Triple M networks, will extend his responsibilities to also become Group Content Director – Provincial, working closely with the local Content Directors in SCA’s key Gold Coast, Newcastle, Hobart, and Canberra markets.

SCA has also announced the appointment of Mitch Secrett as Innovation Product Manager, joining the Digital Product team to help the company meet its digital growth ambitions.

In the role, Secrett will work closely with SCA’s investments in the audio technology space, including Frequency, the US-based dynamic creative optimisation company working with SCA on LiSTNR and its radio brands.

Secrett is an audio specialist with more than a decade of experience in audio production and audio technology. He played a pivotal role in taking audio management software company, Omny Studio, from a start-up to a global leader in the space in his six and a half years with the company.

Before Omny Studio, Secrett worked in audio production, and was nominated for best Metropolitan Audio Producer at the Australian Commercial Radio Awards (ACRAs) in 2015. He has also worked at SCA as an audio producer.

A strong believer in the power of combining storytelling and technology, Secrett has also created his own geo-triggered audio tour of Melbourne, his home town.

Visit https://www.southerncrossaustereo.com.au/

Heard Joins PAT as Senior Solutions Architect PROFESSIONAL udio and Television has appointed Mike Heard as Senior Solutions Architect for ANZ. Based in Auckland, Heard will bridge the gap between engineering and sales for the company as Senior Solutions Architect, while also being involved in project management and guiding the company’s technology decisions. Heard, who has delivered cutting edge projects and solutions throughout his 25 year career in broadcast – has been instrumental in delivering one of the largest ST2110 projects in New Zealand.

According to PAT MD Patrick Salloch, “I have worked with Mike for years and know him as a dedicated and exceptional individual, who can take a concept and turn it into reality while engaging stakeholders and leading project teams to achieve the desired outcome and deliver state of the art projects. Mike will add exceptional value to the PAT team and I am looking forward to working with him throughout Australia and New Zealand.”

“I have worked with the PAT team for a number of years now, and know them as an incredibly skilled group of technical staff with amazing administration behind them,” says Heard. They are passionate about what they do, represent some of the biggest global brands in broadcast, enjoy a good laugh, have fun while they work and fight hard to be the best. New Zealand is a growing market and Kiwis deserve a bit of that PAT love, on the ground in Aotearoa. I am very much looking forward to evolving with the NZ and Australian media sector as we expand into more IP and Cloud based technologies – it is a very exciting time to be alive in our industry!”

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Clifton Departs ABC ABC CHIEF DIGITAL & Information Officer Helen Clifton has announced she will leave the national broadcaster to take up the role of Executive Director of Product Delivery for NHS Digital (part of the National Health Service), based in London, UK. Ms Clifton has been an ABC Director since 2017, leading the ABC Product & Content Technology division as it drives the organisation’s transition from a traditional broadcaster to the nation’s most highly trusted, valued and leading digital content provider. The ABC now has 18 million active users each week enjoying a range of digital experiences across websites, apps and other products and services.

ABC Head of Content Management Rebecca Matthews will become ABC Chief Digital & Information Officer in an acting capacity in the interim while a recruitment process for Ms Clifton’s role is underway.

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Erika Addis New ACS National President as Ron Johanson Steps Down ERIKA ADDIS’ life as a cinematographer had its beginnings when she worked as a lighting assistant on The Fourth Wish and clapper loader on Stormboy for the South Australian Film Corporation. Those first steps were quickly followed by three intense years studying cinematography under Bill Constable at the Australian Film and Television School in Sydney. She fell in love with documentary at that time and pursued that path for much of her career which includes work such as Serious Undertakings, My Own Flesh and Blood, For All the World to See, Emily’s Eyes, Father’s Footsteps, Brazen Hussies, For Love Not Money, The Tightrope Dancer amongst many others.

On nominating for and having been elected ACS national president Addis said, “The time feels right, both for me in my career trajectory and for the ACS in its history.

I am proud and humbled to be charged with the responsibility of leading the ACS. The purpose of the ACS is to nurture the knowledge and understanding of cinematography and all those who practice it. I look forward to working closely with all the ACS team and especially Ron Johanson OAM ACS, to further this work.

I acknowledge Ron’s considerable legacy and support, that has enabled me to take on this role. 2022 is the tenth anniversary of the formation of the ACS Women’s Advisory Panel, and throughout those ten years Ron steadily worked to ensure the integration of the WAP into the fabric of the ACS. The Society can all rightly be proud that the WAP recently evolved into the Diversity, Inclusion and Reconciliation working panel in 2021.”

Throughout the last decade Addis has, indeed, been closely involved with the evolution of the ACS from being a white, male dominated organisation to one which is working towards being a more inclusive and diverse society.

CAMERAS & LIGHTING

She continued, “One of the figures that shows that change is the number of accredited women in the ACS - accreditation being the highest recognition the ACS bestows. Between 1958 - 2012, six women out of hundreds attained accreditation. Between 2012 - 2021, twelve more women have achieved that recognition.

Visibility of women in the ACS has increased

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“Visibility of women in the ACS has increased greatly in this decade, and that creates a richer and more inclusive New ACS national president Erika Addis

environment, particularly for young emerging cinematographers. greatly in this decade, and that creates a richer and more inclusive environment, particularly for young emerging cinematographers.”

It’s clear that Addis will Former ACS national president Ron Johanson OAM ACS embrace the role of national president with the same great passion and commitment that Erika Addis concluded, “I very much want Johanson did as she explained, “The ACS is to build on Ron Johanson’s achievements, full of amazing creative members who make particularly that of putting the ACS onto extraordinary work and share it and how the world stage by successfully joining ACS they did it in a heartbeat. That professional into IMAGO, the international association of camaraderie is exceptional and rare. The cinematography societies. I also want to grow collected knowledge and expertise of the ACS’ online presence with increasing depth our membership is second to none of any and variety of content on the website and in cinematography society in the world and social media, grow the diversity and inclusivity the excitement about the future of the ACS of the ACS and ensure good governance is in amongst the members is palpable.” place.”

Commenting on her vision of the ACS’ future Visit www.cinematographer.org.au

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4K image quality is delivered through a 1/2.5-

inch 4K sensor combined with 4K zoom lens, including optical/optical-electronic image stabilisation. The wide-angle lens increases to over 74o (H) with 24x optical zoom that works flawlessly with i.ZOOM. This results in an effective HD zoom range of 36x, making these cameras suitable for both small and large spaces.

The lens and sensor sit within a compact dome housing incorporating a newly-developed proprietary Direct-Drive motor system that delivers the quietest (NC25 or less) movements yet. The added stability minimises blurring, and improvements to positional, speed and dynamic accuracy combine to make the AW-UE40, AW-UE50 and AW-UE80 the perfect solution for pre-set triggered shots, tracing shots and operated shots.

The new PTZ cameras are also packed with protocols, SRT, RTSP and RTMPS streaming.

Either built-in or through purchasing a software licence, depending on the model you select, there is high bandwidth HD NDI or NDI/HX available. The AW-UE80 joins the existing AW-UE100 and AW-UE150 cameras with FreeD protocol built-in, making it one of the most straightforward PTZ cameras to integrate into compatible VR, AR, or MR systems.

production studio specialists

Visit https://business.panasonic.com.au

Blackmagic Camera 7.7 Update BLACKMAGIC DESIGN recently announced Blackmagic Camera 7.7 update which further enhances sensor performance for Blackmagic URSA Mini Pro 12K. This update refines the sensor’s technology with fine adjustments to the demosaic algorithm, leading to a more neutral colour balance and enhanced sharpness of shadow details for better overall image quality.

soft highlight rolloff of film which customers enjoy from URSA Mini Pro 12K. In addition, the incidence of moire has been reduced when capturing ultra-high resolution scenes with very high frequency fabrics or architectural textures.

Blackmagic Camera 7.7 update is now available as a free download from the Blackmagic Design website.

• Improved demosaic for better shadow detail MTF.

Blackmagic Camera 7.7 update for URSA Mini Pro 12K optimises the 12K sensor by further improving the clarity of fine detail in shadow regions. It also provides a more neutral color balance with a more accurate starting point for better skin tones, while still retaining the natural

Your

Blackmagic Camera 7.7 Update Features:

The modern media production studio needs to be flexible, efficient and functional. With over 50 years of experience and partnering with the industry’s best-of-breed studio technology vendors, Magna has the expertise and building blocks to provide quality turnkey studio solutions to meet all your production needs.

• Improved colour balance.

• Improved demosaic to reduce moire effects on fine patterns.

• USB-C connection improvements.

• Improved compatibility with ExAscend U.2 disks on URSA Mini Recorder.

Visit https://www.blackmagicdesign.com

SACHTLER’S new aktiv10T, aktiv12T and aktiv14T 100mm fluid heads bring the speed and control benefits of aktiv to camera operators with heavier payloads up to 16kg.

The heads are compatible with all Sachtler 100mm tripods (except for HotPod) and all feature the Sachtler ‘Touch & Go’ camera plate to quickly attach and release a camera. The three new models support up to 12kg for the aktiv10T, 14kg for the aktiv12T and 16kg for the aktiv14T and all feature 15 steps of counterbalance and seven steps of drag.

Just like the existing 75mm aktiv fluid heads, the 100mm aktiv heads feature Sachtler’s

SpeedLevel technology - which replaces timeconsuming bowl clamps - allowing operators to release, level, and lock their head tightly into the perfect position by simply lifting a lever never missing a second of action. With no bowl clamp required, aktiv heads, combined with flowtech tripods, can go flat to the ground for the perfect low-angle shot. Clear confirmation that the camera is level comes from the illuminated PrismBubble visible both from above and the side.

With the aktiv system’s SpeedSwap feature, operators can quickly switch their camera between a tripod or a slider in seconds.

Visit https://www.sachtler.com

CAMERAS & LIGHTING

Sachtler Gets Heavy with New aktiv Fluid Heads

empowering innovation sales@magnasys.tv www.magnasys.tv

Australia | Hong Kong | Indonesia | New Zealand | Singapore9

CAMERAS & LIGHTING

Full Frame, 8K Cinema EOS Camera from Canon CANON HAS ANNOUNCED the EOS R5 C, a hybrid cinema camera which combines the professional filmmaking features of the Cinema EOS range with the EOS R System’s photo capabilities. Underpinned by a high-resolution, full frame CMOS sensor, DIGIC X processor and the RF Mount, these three elements enable high fidelity 8K capture, and 45 megapixel still photo capture at burst speeds up to 20 frames per second, all in a single body.

EOS R5 C enables 4K and Full HD recording with exceptional clarity, colour and low noise through internal oversampling.

This also facilitates recording of High Frame Rate content at 4K 120p resolution, without cropping the angle of view and maintaining auto focus functionality.

Further enhancing the Cinema EOS line-up, Canon is also announcing an upgrade to the EOS C70 via a firmware update. This will improve on its Cinema EOS capabilities with the addition of 12-bit Cinema RAW Light recording, amongst other features.

Equipped with RF mount, which features a short flange focal distance as well as a 12-pin connection for faster communication between the camera body and lens, the EOS R5 C can be used with lenses from across Canon’s EF, RF and cinema lens line-up.

As demands for VR content increase, the combination of 8K video with Canon’s new RF 5.2mm F2.8L Dual Fisheye Lens, simplifies the production of immersive VR footage from capture to editing. As well as the flexibility of lenses, this camera has the same MultiFunction Accessory Shoe found on the EOS R3 and XF605 for directly connecting and powering accessories such as Canon’s DM-E1D Stereo Microphone and TASCAM’s CAXLR2d Audio XLR Adapter.

The EOS R5 C is capable of internal 8K 30p RAW recording and up to 60p (when using an external power source). Thanks to an internal active cooling system, content creators can enjoy hours of filming in high-quality 8K. With HDR support via PQ and HLG, as well as Canon’s Canon Log 3 gamma, filmmakers can capture true-to-life video.

Featuring Canon’s Dual Pixel CMOS AF system, the camera offers Eye AF and EOS iTR AF X, ensuring precise focus. This advanced auto focus technology tracks people’s eyes in real time and can even follow their head as they look away from the camera. Working in combination with the Optical IS in compatible lenses, the camera features electronic image stabilisation with coordinated control that mitigates the effects of shaking when shooting hand-held, for smooth footage and sharp imagery.

CAMERAS & LIGHTING

Thanks to the 45-megapixel sensor and DIGIC X processor, the EOS R5 C features high-quality still image performance and fast burst rates up to 20 frames per second. The DIGIC X processor also enables noise processing capabilities that enable sensitivity as high as 51,200 ISO – suitable for shooting in low-light environments, such as at indoor sporting events. 10-bit HEIF images can be captured with extended dynamic range and colour gamut. Additional options are available with the interval timer enabling the capture of high-resolution time-lapse content.

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The EOS R5 C records Cinema RAW Light internally, to sustain high fidelity 12-bit footage with a wide dynamic range and colour gamut, all in a manageable file size. Canon has also introduced three newly developed variations of RAW, including RAW HQ (High Quality), RAW ST (Standard Quality), and RAW LT (Light Quality), so users can select the mode based on their shooting needs and production process. Two card slots – a CFexpress 2.0 Type B and UHS-II SD card slot – allow for advanced simultaneous recording options where different formats, resolutions and bit depths can be recorded to each card at the same time for flexible workflow options. This includes audio recording when shooting at 4K 120p.

Along with 12-bit Cinema RAW Light, the EOS R5 C supports Canon’s 10-bit XF-AVC format up to 810Mbps and highly versatile MP4 options. Using its full frame 8K sensor, the

The EOS R5 C has also been fitted with a dedicated Timecode In/Out terminal for integrating into a professional multi-camera solution. With advanced connectivity, users can make use of Apple Content Transfer Mobile3 application for FTP transfers and the editing of ML-G2 metadata – suitable for news gathering and solo shooters.

The EOS R5 C has two separate menus for stills and video – the EOS R system and Cinema EOS interface. Controlled by a 3-position power dial, users can seamlessly switch between modes and access the relevant settings. With 13 assignable buttons and a range of professional video features, the EOS R5 C allows for a range of customisation. It also features a 0.5-inch high-resolution OLED viewfinder with 5.76 million dots for accurate image analysis, a dotmatrix display on the top for quickly checking camera settings and a bright articulating 3.2inch HD LCD monitor for convenient viewing from multiple angles during the day or night.

Designed with solo shooters in mind, the EOS R5 C employs an ultra-lightweight 680g chassis – making it the smallest and lightest Cinema EOS camera to date. While compact in nature, this camera features a durable magnesium alloy body with dust and weather sealing, thanks to an intuitive design that separates airflow from the electrical components.

EOS C70 Firmware Update The latest C70 firmware update unlocks advanced capabilities including an added Cinema RAW Light LT 4K recording option, and XF-AVC proxy recording function to support this. Creators can realise all new creative opportunities and enhanced image quality from the EOS C70, thanks to Cinema RAW Light LT and new Frame and Interval recording options, such as stop frame animation and time lapse video. With the firmware released in December 2021, users can also enjoy greater compatibility with 12 further lenses4 when using the EF-EOS R 0.71x Mount Adaptor, with full optical correction, metadata and auto focus support, giving filmmakers enhanced flexibility of lens choice.

The latest EOS C70 firmware will be available to download from late March, 2022 via https:// www.canon.com.au/support/support-news/ firmware-updates/eos-c70-firmware-updateversion-1-0-2-1 Visit https://www.canon.com.au

CAMERAS & LIGHTING

CAMERAS & LIGHTING

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SPORTSCASTING Sky NZ Preserves 23,000 Hours of Sport with DAMsmart WHEN SKY TV in New Zealand, the country’s leading pay TV broadcaster, had the requirement to digitise over 23,000 hours of sports footage from its archive of material accumulated over 30 years of broadcasting, it turned to DAMsmart, a Silver Trak Digital company and one of the Southern Hemisphere’s most experienced and trusted media digitisation organisations whose service is, uniquely, now also available through the AWS Marketplace.

DAMsmart NZ GM David Elder explained, “Sky didn’t just hold an extensive archive of All Blacks games and Warriors matches, but a significant collection of rugby, league, netball, cricket and a vast library of games from virtually every other sporting code that had been broadcast for many years. That is a lot of very valuable footage and we knew this was going to be a big job.”

Sky prioritised and asked DAMsmart to digitise just over 15,000 broadcast master videotapes, which constituted over 23,000 hours of content. The majority of footage came on Digital Betacam and HDCam tapes.

Elder continued, “For the best and most efficient service, all tapes were encoded and upconverted to an XDCamHD profile. Then all files underwent detailed QC and analysis before being delivered to Sky’s AWS S3 environment using multiple 80TB Amazon Snowball appliances.”

SPORTSCASTING

Sky’s Head of Media Core Jim Newbould said, “DAMsmart and Silver Trak Digital provided us with a professional service. Everything was supplied exactly as promised, on time and on budget and according to our specifications and requirements. In short, they gave us what we asked for, when we asked for it seamlessly, efficiently and with absolutely no surprises or hassles.”

Whilst tapes were stored at DAMsmart for the duration of the project, Sky was still able

to access the collection for transmission when required. Urgent content requests from Sky were delivered the same day through prioritised encoding of the required tapes or segments and delivery using Silver Trak’s highly acclaimed Media Room 3.0 digital and media asset management system.

David Elder concluded, “Sky’s library holds some of the most valuable national treasures in New Zealand. It took all of our extensive knowledge and expertise, not only of the technical issues of dealing with legacy tape formats, but also of the relative importance of each piece of content itself, to provide them with the most reliable and efficient service and highest success rate.”

Visit http://www.damsmart.com.au

Cloud Brings Beijing to the World

Ross Enhances Virtual Solutions

AS THE BEIJING 2022 Games move into high gear, it is cloud computing that is helping make the world’s largest winter sporting event more inclusive.

XR VIRTUAL LED STUDIO is the latest and fastest growing trend in virtual solutions, and

Even though the coronavirus pandemic prevents fans from attending the Games in person, digital connections mean that roughly three-quarters of the world’s population are expected to tune into the blockbuster event.

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DAMsmart has an impeccable record when it comes to recovery and digitisation of very large videotape-based archives for broadcasters and over 99.9% of all tapes delivered for the project were fully recovered, encoded and digitised without issues.

Image Copyright IOC.

Big or small broadcasters with varying resources can manage the production process remotely.

“There’s nothing that’s more inclusive than the Olympic Games,” said Joe Tsai, Executive Vice Chairman with Alibaba Group, the infrastructure cloud supplier to the Olympics.

Alibaba’s cloud computing unit, Alibaba Cloud, and the Olympic Broadcasting Services have teamed up to enable rights holders to access the cloud with lower latency and bolstered security measures.

Broadcasters, keen to cut costs and avoid the hassle of flights and navigating quarantine procedures, have tapped into the cloud to access the sights and sounds of the Games from their home country.

Alibaba Cloud also enables athletes to create recordings in 3D of their movements during training or a competition. This seamless mix of physical and virtual realities means that fans can experience the Games from all angles while sat at home.

Traditionally, broadcasters have driven in trucks laden with equipment and lodged their production people onsite to produce content.

“It basically has democratised the broadcasting process,” said Tsai.

Meanwhile, athletes can study these recordings to improve their performances.

“That makes the Olympic Games much, much more inclusive,” said Tsai.

Ross has announced updates to two of its products - the Voyager graphics rendering solution and Lucid Studio control solution for VS/AR and XR Virtual LED Studio production environments.

Launched in 2019, Voyager is Ross Video’s photo-realistic graphics rendering solution that has been used to power some of the world’s most impressive VS/AR and XR Virtual LED Studio productions.

Based on the Unreal engine from Epic Games, the latest version of Voyager (4.27) includes new configuration tools to calibrate camera lenses and LED videowalls, as well as improved configuration of RossTalk and Datalinq and support for embedded audio out on video outputs.

Additionally, the inclusion of Epic’s nDisplay technology

allows people to seamlessly synchronise multiple LED displays for XR productions.

These improvements all simplify and accelerate system set-up.

Lucid Studio is the primary control interface for VS/AR and XR Virtual LED Studio applications from Ross, and the updated version (6.3) introduces an enhanced web browser that offers better performance and enables 3rd party web UI to be part of Lucid’s control panel. An improved web API (using SSL for encrypted communication) enables secure integration with 3rd parties. Enhanced integration with mobile devices opens up the possibility of event control from a mobile phone or tablet, even using a QR code! This latest version also includes support for the Elgato Streamdeck device, offering a more tactile control experience for Lucid users.

Visit https://www.rossvideo.com

SPORTSCASTING

Live Tagging and Player Tracking SPIIDEO Spiideo has introduced AutoData which adds automated live tagging and player tracking to its Perform video analysis platform.

Using leading edge AI technology AutoData automatically generates live data from live video; empowering Spiideo Perform users to effortlessly extract clips, data, stats, events, and insights to drive opposition analysis, tactical planning and player development.

These advancements to Spiideo’s player tracking technology means that with a Spiideo camera system installed, users can now automatically capture game event data and individual player tracking data live and continuously throughout soccer matches.

Deliver multi-cam live productions on-demand

As the game unfolds, the player tracking technology captures a range of data, including game events such as goals, shots, corners, or cards; individual player statistics such as distance covered, high-intensity runs, and run speeds; as well as precise positional data.

Spiideo Perform subscribers, regardless of their subscription level, can now purchase AutoData breakdowns for any soccer game recorded using Spiideo.

With the entire data capture process handled by the Spiideo, there is no need for additional hardware such as GPS tracking vests. Unlike GPS data systems, also the opposition player data and video is captured e.g for future opposition scouting and analysis.

Customers can also choose to enable player tracking & game breakdown after the final whistle sounds simply by ordering it through their Spiideo Perform account.

Visit https://www.spiideo.com

Telstra Scores Distribution for US National Hockey League TELSTRA and the National Hockey League (NHL) have signed a five-year agreement to distribute up to 1400 games per year to viewers around the world using Telstra’s Global Media Network (GMN). The deal will see Telstra deliver NHL games to rights-holders in Europe, the Middle East and Africa, with plans to expand to other markets worldwide.

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Telstra’s GMN is a purpose-built video contribution and distribution network supporting permanent and occasional use services for point-topoint and point-to-multipoint on a consumptive-based business model across traditional broadcast, IP video standards and cloud connectivity.

The National Hockey League (NHL), founded in 1917, consists of 32 Member Clubs. Every year, the NHL entertains more than 670 million fans in-arena and through its partners on national television and radio; more than 191 million followers - league, team and player accounts combined - across Facebook, Twitter, Instagram, Snapchat, TikTok, and YouTube; and more than 100 million fans online at NHL.com. The League broadcasts games in more than 160 countries and territories through its rightsholders including ESPN, Turner Sports and NHL NetworkMC in the U.S.; Sportsnet and TVA Sports in Canada; Viaplay in the Nordic Region; Yandex in Russia; and CCTV and Tencent in China; and reaches fans worldwide with games available to stream in every country.

Dan Kim, NHL Senior Vice President, Media and International Distribution and Strategy said: “With their Global Media Network, Telstra offers a level of flexibility, creativity and commitment that allow us to provide tailored, custom delivery solutions on a market-by-market basis. We will continue to share the excitement of live hockey with avid fans around the world and look forward to building audiences in new markets this season and beyond.”

Adam Day, Telstra Americas Vice President of Enterprise, Technology and Broadcast Sales, said: “This exciting new partnership coincides perfectly with Telstra’s ongoing commitment to invest in its networks and offer new, innovative content delivery and distribution solutions to customers around the world. We look forward to helping the NHL expand its reach and showcase the spirit and excitement of the game to more sports fans globally.”

Visit www.telstra.com/americas

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SPORTSCASTING

Telstra will support the delivery of the NHL content through its Broadcast Operations Centres in Pittsburgh, Sydney and London. These centres provide 24/7 monitoring of Telstra’s Global Media Network, ensuring continuous stable and reliable connectivity.

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SPORTSCASTING

STAN Partners with Australian Racing Group STAN SPORT and the Australian Racing Group (ARG) have announced a new partnership that will provide coverage of the brand-new ARG SpeedSeries and key Australian motorsport events, including two major events at Australia’s Motorsport capital, Bathurst.

Every race from every round of SpeedSeries will be streamed ad-free, live and on demand only on Stan Sport.

The new partnership will deliver an increased focus on world class Australian Motorsport, including: • National seven round SpeedSeries in 2022 from February to November with every race across six racing categories streaming adfree, live and on demand only on Stan Sport • The SpeedSeries consists of six racing categories – TCR Australia, S5000, GT World Challenge, Trans Am, Touring Car Masters (TCM) and the Australian V8 Touring Car Series • Exclusive coverage of Supercheap Auto TCR Australia Series racing • Exclusive coverage of two iconic events at the famous Mount Panorama circuit in Bathurst – the Hi-Tec Oils Bathurst 6 Hour and Supercheap Auto Bathurst International • The SpeedSeries includes the upcoming AWC Race Tasmania event, the Hi-Tec Oils Bathurst 6 Hour and the Supercheap Auto Bathurst International.

Highlights of every event and SpeedSeries round will also air on the 9Network in the week following each round.

Australian Racing Group CEO Matt Braid said, “This is a major partnership for the Australian

Racing Group, our categories, events and partners that will take us to a new level. This partnership with Stan Sport comes at a time when they are growing rapidly and are becoming the destination for Motorsport viewers in Australia. The combined audience reach, engagement and promotional opportunities across Stan Sport and the wider Nine business offers an unrivalled level of coverage our motorsport categories and events have never had before.”

bringing premium content to Stan Sport customers all year round. This partnership will see the SpeedSeries become the cornerstone Australian Motorsport content on Stan Sport, in addition to our recently secured international lineup including INDYCAR, WEC, WRC and Formula E. The SpeedSeries is Aussie motor racing at its best, and we are thrilled to be partnering with ARG in an exciting new chapter.”

STAN Acting Chief Executive Officer Martin Kugeler said, “The SpeedSeries is a fantastic addition to our growing lineup of exclusive Motorsport and highlights our approach to

Visit https://www.australianracinggroup.com and https://www.stan.com.au

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SPORTSCASTING

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NEWS OPERTAIONS OPERATIONS Guinness World Record for 7NEWS Duo

Rick and Susannah’s record was officially recognised by Guinness after a lengthy trip down memory lane to provide video proof of every year they have read together.

The previous record was a US duo that was together for 32 years.

“I’m humbled to be part of a news team Perth has watched for decades, and equally as excited about presenting the news with Sue into the future,” Rick said.

“What a fabulous journey it’s been and continues to be. Seven have the best news team, I’ve got the best reading partner and I love our relationship with the people of Perth. How lucky am I!” Susannah said.

The duo’s first live broadcast into the homes of West Australians took place on 24 January 1985.

Rick originally joined Seven in 1978 as a news journalist and attributes a large part of his success to his grounding in news as an on-theroad reporter. Susannah began her career in

media in 1974 as a radio announcer after studying Law and Arts at the University of Western Australia, she later became the first female TV newsreader for the ABC in Perth.

Seven West Media WA CEO, Maryna Fewster, said: “Rick and Susannah are very much part of Perth’s identity, and with their longevity comes trust and credibility, which is paramount to our audience.

“There are West Australians who can’t remember a time that Rick and Susannah weren’t bringing them their nightly news. That relationship with our viewers is invaluable.

I congratulate them on their well-deserved recognition and join with the wider Seven West Media team and broader community in celebrating their continued success.”

Craig McPherson, said: “Now into their fourth decade together, presenting more than 8,000 7NEWS nightly bulletins to the people of Western Australia, Rick and Susannah are not only the longest running news presenting team but also the most successful anywhere in the world. Hearty congratulations to Rick and Susannah from all your colleagues at Seven on a phenomenal achievement that continues to power on.”

Seven’s Director of News and Public Affairs,

Visit www.sevenwestmedia.com.au

Avid Brings Photoshop, After Effects into Broadcast and Production Workflows TV NEWSROOMS and production workflow teams can now bring graphic designers directly into their Avid MediaCentral production workflows through the MediaCentral panel, which now includes support for Adobe Photoshop and After Effects. The lightweight software plugin erases the frustrating manual steps graphic designers need to take in order to contribute to large-scale production projects and keep track of their content. Adobe Photoshop and After Effects users can store their photos, clips, graphical elements and other content for access anywhere, anytime on the open Avid MediaCentral platform.

With access to Avid NEXIS storage through the MediaCentral panel, graphic designers can store their assets and projects and catalogue them, enabling teams to easily access, edit on-the-fly and send back content into Avid production workflows. This allows teams to instantly locate individual design elements in archived content, eliminating productivity drains, and having to save files on a separate storage platform.

“Until now, graphic designers have been kept at the periphery of news and post production teams. With support for Photoshop and After Effects, the MediaCentral panel opens the

door to bring them right into the mix and make them part of the production workflow,” said Raúl Alba, Director of Solutions Marketing, Media and Cloud, Avid. “With continuous third-party integrations coming for the open MediaCentral platform, media enterprises will continue to widen their circle of collaboration and contribution with a lot less complexity to generate content faster, increasing production output and efficiency.”

In addition, Media Composer and Adobe Premier Pro editors can take advantage of MediaCentral’s capabilities to integrate within existing workflows, providing a seamless editing experience. This offers increased flexibility by opening workflows directly into the production environment, providing an unprecedented level of access and realtime collaborative power. Creatives can also preview MediaCentral-managed assets directly in Adobe Photoshop and After Effects without having to import media.

Avid’s MediaCentral panel with support for Adobe Photoshop and After Effects is available now.

Visit https://www.avid.com/products/ mediacentral

Techtel Brings HDR Screens to ABC News FOLLOWING installations in Melbourne and Sydney, integration company Techtel recently fitted out ABC Adelaide’s news set with LED screens.

According to Alex Harradine, Business Development Manager – Live Production with Techtel, “The cabinets are fine pixel pitch cabinets by Retop, P1.9 and feature HDR and low signal delay. Signal processing is performed, for this install, using NovaPro UHD JR units. This unit is capable of up to 12G-SDI and all our installs use processors genlocked to the station clock, ensuring the LED is timed with the cameras to provide the best picture quality.”

Following Adelaide, Techtel will move onto ABC studios in Hobart, Canberra, and Darwin.

Visit http://www.techtel.tv

NEWS OPERATIONS

CHANNEL 7 PERTH’S beloved weeknight anchors, Rick Ardon and Susannah Carr, have been certified by the Guinness World Records as the longest serving television news anchor duo, with an official record of 36 years and 247 days.

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NEWS OPERATIONS

Chyron PRIME VSAR 1.7 Unreal Engine Support CHYRON HAS ANNOUNCED announced the release of PRIME VSAR 1.7 virtual and augmented reality platform, a significant step forward in the company’s mission to help broadcasters maximise and monetise the content they can generate with Unreal-driven virtual sets and augmented reality.

This latest release implements Unreal Engine 4.26, increases cameras per PRIME VSAR engine, and adds a host of template-based tools to simplify the process of creating and managing a broadcast-grade virtual set. Chyron says PRIME VSAR 1.7 will make it easier for designers to create compelling virtual graphics, and puts power in the hands of producers and journalists to leverage

these assets across different channels and programs.

On top of PRIME VSAR’s library of procedural primitives that simplify creation of custom data-driven graphics, Version 1.7 introduces a weather forecast template that is automatically controllable from a connected data source, as well as a virtual screen template that can act as an easy-to-manage video wall within a virtual set.

“Not only do these tools streamline the creation process for designers, but all of these elements are directly editable and controllable by journalists and producers within any industry-standard NRCS via Chyron’s CAMIO MOS-integration and template-management

system,” said Dan MacDonald, senior product marketing manager at Chyron. “Now virtually the entire newsroom staff can take advantage of these incredible Unreal graphics and treat them just like they would any common news graphic, such as a lower third.”

The PRIME VSAR engine itself is also receiving powerful upgrades, now allowing two cameras to connect to a single system and thereby greatly reducing expenses in multi-camera deployments. Additionally, users can now dedicate an engine for real-time SDI previews of VSAR scenes for confidence monitoring of every take in their show.

Visit https://chyron.com

Stringr Targets Creators with ‘Iconiq’ STRINGR, the news footage video SaaS platform, has launched a new creator-focused video sourcing and production platform, Iconiq. Marketers, brands, creatives, and entertainment companies can now source and produce original video content with the same speed and ease previously only available to broadcast news organisations.

Iconiq empowers these organisations with 1 14/01/2022 08:53 the same tools and services that are used daily by the world’s leading news media companies - including Stringr’s proprietary, hand-curated network of more than 120,000

C&TVB440r2.pdf

videographers. Until now, creatives have had only two methods of gathering footage: they can source video themselves on-location, often at tremendous cost, or purchase generic stock footage that homogenizes their brand or story. With Iconiq, video content creators now have a better option. In a single platform, companies and creatives can source original video footage from anywhere - in a matter of hours, not days or weeks.

Additionally, from the same interface, creative professionals can edit, collaborate with teams, livestream, share straight to social,

and organize years of proprietary video content in minutes - dramatically streamlining workflow. Marketers can also take advantage of built-in professional video tools like instant transcription and translation, caption editing, and even Dolby audio enhancements. To optimise Iconiq for brands and creators, Stringr drew from previous experience with corporations like Google and Zillow, as well as consumer-facing media companies like Warner Media and MGM. Visit http://www.iconiq.video

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NEWS OPERATIONS

NEW FEATURES - HDR , JPEG XS & AUDIO METERS

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MEDIA IN THE CLOUD Lack of Awareness of the impact of Data Storage on the Environment FUJIFILM has released the results of a global environmental awareness survey that found that while the majority (83%) of respondents cite Information, Communications and Technology (ICT) services and equipment as a sustainability priority, more than one-third (38%) of U.S. business leaders are either unaware or unsure of how inefficient data storage can negatively impact the environment.

THE STUDY, titled Awareness Survey on Environmental Issues in the Digital Domain, surveyed 1200 C-suite executives in four countries: Japan, the United States, Germany and China. While there is a sense of growing awareness around broader environmental issues among corporate leaders, the findings highlight a gap in education that must be bridged to address inefficient energy consumption in ICT operations. For example, while the majority of U.S. respondents believe sustainability improvements in ICT services and equipment can positively impact a changing climate, 40% indicated that they did not know or were unsure if data storage can have a negative environmental impact and increase the cost of doing business.

The need for large-scale data storage is on the rise and is expected to reach more than 11 zettabytes (or 11 trillion gigabytes) by 2025, according to a recent whitepaper by IDC. As demand rises, so too does the need for energy efficient data storage. The environmental impact of the energy required to support this volume of storage is vastly underestimated, as are the subsequent carbon emissions. In fact, when asked in the survey what barriers exist for those who have not considered more eco-friendly data storage options, globally more than one-third (34%) and 31% in the U.S. cited a lack of awareness or understanding of the issue.

Additional findings among U.S. respondents

include: • While most respondents indicated that sustainability plays an important role in decision-making, 16% said that it did not and 22% of those surveyed shared that their companies do not take any measures toward reducing carbon emissions.

• More than half (51%) of participants said that their companies are using renewable energy to reduce carbon emissions, while 22% said they are doing so via climate protection projects and 13% through carbon offsets.

• Manufacturing (21%) and supply chain/ transportation (21%) were perceived as the business areas that contributed the most to carbon emissions, versus 12% for data storage/management.

• There was also a knowledge gap pertaining to frequently accessed “hot” data and less frequently accessed “cold” data, with more than one-third (36%) of respondents saying they either don’t or are unsure if they differentiate between the two. And 35% don’t realise that differentiating between hot and cold data can impact sustainability, affordability and security.

• The vast majority of U.S. respondents (84%) indicated ICT Services and equipment as priority areas for their organisation to positively impact climate change, followed by recycling/waste (80%), facilities energy

consumption (78%), and employee and customer awareness (78%).

• When asked about barriers to adopting more sustainable data storage strategies, respondents cited lack of awareness (31%) as the top reason for not making a change, followed by too much work (30%) and budget (26%).

• Additionally, a clear majority of respondents (81%) noted that they would consider an alternative data storage option that is more sustainable and affordable.

The survey is the latest initiative from Fujifilm supporting the environmental benefits of tape storage. In September 2021, the company announced the launch of its LTO Ultrium 9 Data Cartridge, providing long-term data storage and increased capacity while continuing to help reduce CO2 emissions. This was followed by the October launch of the Sustainable Data Storage Initiative, focusing on the benefits of tape technology to decrease energy use and CO2 emissions from data storage.

For example, alternative options for storage include LTO data tape. Migrating cold data from Hard Disk Drive (HDD) to tape can reduce data centres’ CO2 emissions by 43.7% by 2030, avoiding 664 M metric tons of CO2 cumulatively, according to IDC. Visit https://www.fujifilm.com.au

THE ASIA VIDEO INDUSTRY ASSOCIATION has appointed Matthew Cheetham as General Manager of the Coalition Against Piracy (CAP).

have been effected. And yet the problem remains the single biggest impediment to the growth of the legitimate content creation industry and ecosystem.

Over the last four years CAP has made real inroads into the systemic problems of video piracy faced by the broadcast and streaming video industry in Asia Pacific. The blocking of pirate sites is becoming more common in many markets, laws have been introduced to limit access to infringing set-top devices, constructive relationships have been forged with intermediaries to limit access to pirate services and investigations and prosecutions

As the General Manager of CAP, Cheetham will take over from Aaron Herps and build on the accomplishments achieved by CAP to date, with the aim of creating a stronger and healthier environment in which the video industry can prosper.

Asia-Pacific (APAC) for some of the largest content producers in the world. Prior to taking up his role at CAP, Cheetham was the Premier League’s Head of Business Affairs, Asia Pacific. In this role, Cheetham opened and headed up the Premier League’s APAC office in Singapore, the Premier League’s first office outside the UK, and oversaw all enforcement, policy and outreach efforts for the Premier League in APAC.

Cheetham is a qualified lawyer specializing in intellectual property, more specifically copyright protection, with over 20 years’ experience working in

Prior to working for the Premier League, Cheetham spent ten years as the Motion Picture Association’s (MPA) Regional Legal Counsel and Assistant

Policy Officer for APAC following which he was the Managing Director of the MPA’s New Zealand office, the New Zealand Screen Association (NZSA) that oversaw all enforcement, policy and outreach efforts for MPA member companies in New Zealand.

Visit https://www.avia.org

MEDIA IN THE CLOUD

AVIA Names Cheetham GM of Coalition Against Piracy

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MEDIA IN THE CLOUD

Customisable Metadata, RAW Support, and Spanning for LTO NETHERLANDS-BASED start-up Hedge has released three product updates to its suite of tools for filmmakers and video professionals: Hedge Elements, EditReady RAW, and Canister Spanning.

Driven by customer demand for new features, these latest updates address common challenges today’s modern video editor faces: • Dealing with unorganized media that requires custom-built metadata fields; • RAW transcoding; and • Ensuring individual media archives can span multiple LTO tapes.

Hedge Elements ‘Elements’ is Hedge’s term for the varied and customisable metadata that users can now associate (and keep) with a file to clarify the role of that file to other creative and technical professionals later in the workflow.

Crucially, people who receive files can now specify what elements of information they need to organise and process those files. They do this by creating a pre-set that they send to Hedge operators during the data transfer. As Hedge moves data from camera cards and other storage sources, a “review” panel will pop up to prompt the operator to insert the required data.

Pre-sets are a way for future recipients to communicate with those responsible for sending the data to them. They ensure that files are correctly labelled. Elements can include user-inputted information and “intrinsic” data like date, etc.

EditReady RAW EditReady is a transcoding application that now supports RAW video, including ARRI RAW, Codex HDE, ProRes RAW, and RED R3D, and Blackmagic RAW. EditReady quickly and reliably converts camera RAW footage into the Log format native to the camera manufacturer.

For NLEs that don’t support a particular flavor of RAW, film and videomakers can convert, for example, Blackmagic RAW to Apple ProRes, quickly and accurately.

Canister Spanning, Preflight Checks LTO is an advanced storage technology that’s scalable to hold vast amounts of data. It is an ideal medium for individual filmmakers, production companies and post-production facilities to archive valuable footage.

Canister is an easy-to-use, drag-and-drop interface and cataloguer for LTO which now supports Spanning - the ability to span file transfers across multiple tapes.

Until now, LTO users have had to carefully assess whether their archive material will fit onto individual tapes. Canister takes the friction out of the process by automatically assigning files to multiple tapes.

Canister prompts users to insert a new LTO tape when needed and keeps a catalogue of the tapes and files so that when the material has to

be retrieved, the user can insert the LTO tapes required to restore the archive. This removes an entire layer of complexity from the archive process and is a step towards making LTO a universal archive medium for filmmakers and post-production facilities.

Canister doesn’t use a proprietary database to track files on LTO tapes. Software that requires a database limits the users’ ability to restore LTO tapes on other manufacturers’ systems. Instead, Canister creates a catalog of files, which becomes part of the host computer’s file system – so it’s universally available and frees up stored files from proprietary lock-ins.

Also in the new release is Preflight Checks.

LTO users can find it hard to keep up with OS, interconnects, and firmware revisions. Preflight Checks helps to ensure that everything is set up and fully functional.

Visit https://hedge.video

Blackbird Achieves AWS Technology Partner Status BLACKBIRD PLC, the technology licensor, developer and seller of cloud-native video editing platform, Blackbird, has announced that Blackbird has achieved Amazon Web Services (AWS) Technology Partner status and completed the Foundational Technical Review (FTR) of Blackbird Edge to accelerate AWS engagement.

The AWS FTR enables AWS Partners to identify and remediate risks in their products

or solutions. The FTR is led by an AWS Partner Solutions Architect (PSA) who reviews AWS Partner products and solutions against a specific set of requirements based around security, reliability and operational excellence as defined by the AWS WellArchitected Framework. Adhering to FTR guidelines, Blackbird can review projects against FTR requirements to select best practices to follow ensuring the best possible client experience.

As an AWS Technology Partner, Blackbird offers any company creating video at scale, access to rapid, efficient cloud content production. Browser based Blackbird is a fast, powerful browser-based professional cloud native video editing platform that provides instant access to video content for the easy creation of clips, highlights and long form content for rapid publishing to multiple channels.

production, removing the need to travel to a facility or event and also eliminates the need to transit material to and from multiple local storage environments. Proven to reduce carbon emissions by up to 91% compared to traditional video editing workflows, Blackbird also reduces infrastructure costs by up to 75% due to its cloud native architecture.

Blackbird enables remote

Visit https://www.blackbird.video

MEDIA IN THE CLOUD

Cinedeck Launches Software-Based Ingest Solution

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CINEDECK HAS LAUNCHED CD2, a software-only version of its ingest servers. CD2 shares the same features as the full range of Cinedeck Ingest Servers in a pure software solution.

Cinedeck CD2 makes it quick and easy for broadcasters and content producers to ingest raw footage ready for editing and distribution.

Users can ingest using CD2 and distribute live thanks to Edit While Record and Playout While Record features. For non-live, ingested content can be scheduled using the Cinedeck multi-channel control app.

CD2 enables multi-camera ingest and supports a wide range of input formats, including JPEG2000,

XAVC, ProRes, DNxHR, 4K Multicam, and Cinedeck recorders.

It also supports all major input sources, such as SRT, NDI, 3G/12G and IP-2110.

as an overlay on the user interface and the SDI video output and/or as a burn-in to the encoded video with fully adjustable position, size and colour.

CD2 provides a broad selection of text metadata elements that can be burned into the video image of a file while its recording. It also provides control of character out

A fully customisable RESTful API makes it simple to integrate with other parts of the production and post-production workflow.

Visit https://cinedeck.com/cd2/

MEDIA IN THE CLOUD

MEDIAGENIX, Vuulr Partner on Monetisation VUULR, the online content marketplace for film and TV rights connecting buyers and rights holders worldwide, has announced a partnership with MEDIAGENIX, the provider of content supply chain solutions and the WHATS’ON Media Business Management Platform.

Through the partnership and seamless integration, WHATS’ON clients can now directly publish their content to the Vuulr platform, with both content metadata and avails automatically synced between WHATS’ON and Vuulr.

Their content will be listed on Vuulr’s marketplace, which has over 14,000 vetted and approved users, and on the MEDIAGENIX Branded Marketplace that will feature content from WHATS’ON clients, providing strong transactional monetisation opportunities.

In addition, WHATS’ON clients will also be provided with a white-labelled version of the Vuulr platform, with their own branding and showing exclusively their content.

“MEDIAGENIX is at the forefront of digital transformation across the media and entertainment space with its Media Business Management Platform,” Vuulr CEO Ian McKee said. “We are delighted that MEDIAGENIX selected Vuulr as a partner to provide media

companies with an integrated and frictionless way to monetize all the available rights across their entire catalogue.”

“Vuulr has pioneered a market leading digital content marketplace providing a best-in-class capability for rights holders to transact deals online,” MEDIAGENIX CEO Fabrice Maquignon said. “Now, our clients can take advantage of Vuulr’s platform to explore large catalogues, view screeners in Branded Screening Rooms, check avails and submit licensing offers 24/7 directly via WHATS’ON. By working together, we are able to provide our clients with a new way to monetize their content and to generate significant incremental content licensing revenue at marginal incremental cost.”

With the MEDIAGENIX Branded Marketplace, WHATS’ON further enriches a lean content supply chain that revolves around one sourceof-truth, actionable content intelligence and touchless operations. It enables media companies to drive operational efficiencies and achieve maximum Content ROI. Visit https://www.vuulr.com and https://www.mediagenix.tv

MASV, iconik Accelerate Cloud MAM MASV, THE PLATFORM for transferring large (20GB+) files, has announced an integration with iconik, the cloud-native solution that gathers and organises media securely from anywhere.

The integration streamlines media ingest for remote collaborators, making it faster and easier to ingest enormous media files to iconik.

This eliminates the time-consuming step of downloading files before re-uploading into iconik.

The MASV-iconik integration also provides enhanced security and increased IT efficiency.

Using MASV Portals, iconik customers can securely receive unlimited media files from clients and include occasional collaborators, without granting access to an iconik account or reconfiguring firewalls or VPNs. “The MASV integration with iconik solves a real problem for our customers who frequently collaborate with contracted production companies,” said Mike Szumlinski, Chief

Commercial Officer at iconik. “Our customers can now securely receive files without the need to share iconik credentials.”

“The pandemic accelerated the shift from physical onsite crews to nearly fully remote collaboration - and video production workflows have continued to evolve rapidly over the past 20 months,” said Greg Wood, CEO at MASV. “MASV’s simplicity and unbeatable transfer speed are helping a growing number of solution providers build highly performant, reliable and secure video workflows in the cloud.”

Your storage and

archive

specialists

With the exponential growth of media assets globally, media companies require innovative solutions to intelligently manage content storage. Magna partners with leaders in content management harnessing the latest technologies such as AI and cognitive services to transform asset movement across cloud and other storage tiers to ensure optimal operational efficiency for content creators, producers and distributors.

MASV recently announced the completion of a Trusted Partner Network (TPN) security assessment; the global, industry-wide film and television content protection initiative. MASV is the first pay-as-you-go file transfer application to receive TPN status, making Hollywood-grade content security accessible to productions of all budgets.

Visit https://massive.io

Etere Announces Windows 11 Compatibility Like all Etere software updates, the upgrade is complimentary for all Etere users on a support contract. According to the company, the update brings enhancements that improve system performance, interoperability, and reliability including: • Improved multi-monitor support • Enhanced touchscreen interactions • AI-Powered Widgets: New widgets in Windows 11 are well-connected to the

system with an easy navigation interface • Supports the creation of individual and customizable desktops • Snap layouts: Have an unlimited number of windows on your screen concurrently • Introduction of Snap Groups: Snap Groups are open windows saved in Snap Layouts.

Users can minimize or maximize them as a group • Android apps on Windows 11: Supports android apps and remote control for smartphone Visit https://www.etere.com

MEDIA IN THE CLOUD

ETERE HAS ANNOUNCED that its Etere 32.1 media platform is fully compatible with Windows 11, the latest release of the Microsoft operating system.

empowering innovation sales@magnasys.tv www.magnasys.tv

19 19 Australia | Hong Kong | Indonesia | New Zealand | Singapore

POST PRODUCTION Rising Sun Pictures Expands Brisbane Studio New South Bank production site, with space for 60 artists, will help the studio keep pace with its rising VFX workload and serve productions based in Queensland.

FOLLOWING THE OPENING of a visual effects production studio in Brisbane in mid-2021 under the leadership of Visual Effects Supervisor Marc Varisco, Compositing Supervisor Matt Greig and Visual Effects Producer Jayne Herrmann, Rising Sun Pictures’ Queensland operations are expanding with a move into a larger studio located in South Bank, the city’s arts and entertainment district in the coming months.

The new facility, which will be linked to RSP’s head studio in Adelaide via secure technology, has the resources to support 60 artists. In addition to workspace for dozens of artists, the facility features rooms for meetings, review sessions and client use.

Plans call for the construction of a 4K screening room later this year. The studio will have direct, high-speed links to RSP’s pipeline in Adelaide and operate in full compliance with TPN protocols.

RSP Brisbane currently has a full slate of feature film and series projects in-house and expects demand to continue rising throughout the new year. Having a physical presence in Queensland allows RSP to better serve film and series productions shooting in the state.

POST PRODUCTION

“There is an abundance of wonderful film and series projects out there at the moment and opportunities to do great work,” says Rising Sun Pictures Managing Director Tony Clark. “To take advantage of those opportunities, we need really good people. We’ve worked with some wonderful artists who are based in Brisbane, so it made good sense to build a facility around those people. It also puts us adjacent to a very popular global filmmaking destination.”

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RSP expects to staff the new studio by hiring experienced local artists and others eager to move to Brisbane as a lifestyle choice.

“There are a lot of very good artists who are originally from Brisbane and want to move back.

Other artists want to plant new

roots there. Brisbane appeals to people for quality-of-life reasons, especially those with young families,” says Head of Business Development, Jennie Zeiher.

Zeiher adds that RSP is focused on hiring artists with exceptional creative and technical skills, that are culturally a good fit.

“We’re looking for people whose values reflect ours,” she says. “Marc Varisco, Matt Greig and Jayne Herrmann are very much RSP people, and we want to keep that going. Our commitment to excellence and service is very important to us.”

RSP also plans to provide visual effects training in Brisbane.

The studio operates a program of undergraduate and graduate certificate training in partnership with the University of South Australia (UniSA). Its graduates are in high demand as junior artists at studios across Australia and beyond. Many have moved directly into jobs at RSP. It is expected that RSP will commence its educational offerings in the new studio from mid this year. It is an important philosophy that RSP builds capability, particularly in the areas in which it operates.

Both Varisco and Greig have a history of working with RSP in staff and freelance capacities.

Varisco recently served as the studio’s Visual Effects Supervisor on the Netflix series Cowboy Bebop, performing that work remotely from his home studio in Brisbane. His more than three dozen film and television credits as a supervisor also includes The Mandalorian, Star Wars: Episode IX – The Rise of Skywalker¸ Peter Rabbit and Electric Dreams. Greig served as RSP’s Compositing Supervisor on Jungle Cruise and Ford v Ferrari. His experience as a compositor spans more than 15 years and includes posts with Animal Logic and Fuel VFX. “When RSP approached me about launching a studio in Brisbane, I

couldn’t sign up quick enough,” says Varisco. “Supervising the type of quality work that RSP produces from Queensland is a gamechanger. Artists can reach our studio by a short commute, spend their days producing great work, and return home to have dinner with their families. It couldn’t be any better.”

Grieg was similarly enthusiastic about establishing an RSP presence in Brisbane.

“I was excited about bringing world-class visual effects to my hometown,” he says. “I now look forward to expanding our existing strong team and contributing to the fantastic productions which have filled our slate.”

New to RSP, Herrmann has been a visual effects professional for 15 years and brings deep ties to the Brisbane production community. She previously served as VFX Producer at Cutting Edge, Brisbane and has held staff posts with Weta Digital, Method Studios, Bazmark Films and Animal Logic.

“It’s been my dream to produce for RSP and to do so in Brisbane, is fantastic,” she observes. “Brisbane is the perfect location for a facility like this.”

The new facility,

We’ll have CG review rooms, comp review rooms and, eventually a large screening theatre,” she says.

“It’s located at the hub of the local arts community with theaters, museums and restaurants nearby.

It’s also close to the airport and the Gold Coast where the Village Roadshow Studios are located.”

which will be

linked to RSP’s head studio in Adelaide via secure

technology, has the resources to support 60 artists.

With demand for content at an alltime high, Clark says there couldn’t be a better time or a better place for RSP to expand.

Herrmann expects the new Brisbane studio to be up and running early this year and fully staffed by mid-year.

“This studio represents a substantial commitment to Queensland and to artists living there,” says Clark. “We look forward to being in Brisbane for a long time and producing lots of great work there.”

“It’s going to be a cracking space.

Visit https://www.rsp.com.au

POST PRODUCTION

LWKS Introduces New Plans with Lightworks 2022 LWKS HAS LAUNCHED Lightworks 2022 with the new launch offering three different plans to fit different needs for different content creators.

4K export as standard as well as in-built social publishing, users will be able to collaborate on projects and share content instantly.

For over a decade, Lightworks offered a free plan to get aspiring editors started and a Pro version for more skilled video pros. After 14-months of working closely with users, the company says it has come up with a new set of features, powerful functionalities and more integrations than ever before.

Lightworks Create has over 800 new customisable title and motion graphic effects to help improve users content engagement.

Features include: efficient file handling; drag and drop timeline, sophisticated trimming tools; in-built effects; colour-correction; audio tools; third-party stock media integration; proxyediting; background rendering; and intelligent auto-save.

Lightworks 2022 offers editing solutions to every content creator out there, from beginners to professionals or social media experts, to marketers, who all have the same purpose creating engaging content.

Lightworks Free includes: Ready-Made Titles & Transitions; Access to Lightworks Forum; Cloud Storage Access; Local Backup & Archive; Powerful Editing Timeline; No Watermarks on Export; All Import Formats; and 720p Export Only.

Previously, Lightworks Free users had a 7-day rolling licence. This has been replaced with a 3-month renewable activation period, which allows new users to have more time navigating the software before requiring a log-in.

Lightworks Create, meanwhile, is a new plan for Lightworks 2022, designed specifically for content creators, marketers, filmmakers and government and education creators offering

Create offers wide format support and a variety of import/export options, including 4K, with dedicated output pre-sets for popular social media platforms: Facebook, TikTok, Snapchat, Twitter and Instagram.

Create’s flexible architecture enables source clips to played at their native frame rate, in their native shape. Once clips are inserted into a sequence, they are automatically/dynamically reframed and retimed to fit the sequence output format and frame-rate.

Lastly, Lightworks Pro has been improved with over 300 new essential effects to enhance and correct footage. From removing image noise and flash to fixing distortion and fine-tuning luminance, this creative post-production suite has everything video professionals need to bring their video to life.

Lightworks Pro in Lightworks 2022 now has a completely new open plugin architecture which allows users to freely integrate the video and audio plugins they love directly into their edit.

Plugins built on OpenFX, VST3, AU and LADSPA frameworks such as those from NewBlueFX, BorisFX, Maxon, Waves, Sonnox and Accusonus will all be supported.

Premium features include: support for pro media formats; efficient file handling; flexible timeline, a full suite of trimming tools; proxy-editing; stereoscopic; multicam; advanced background processing; smart auto-save; hardware support; custom sequence output formats; custom metadata; and broad interoperability.

For teams, Lightworks Pro also includes industry-leading Project Sharing - true real time collaboration - Share media, bins and edits in real time with full control over which user has read/write access.

Visit https://lwks.com

LESS WORK MORE FLOW Avid solutions can be tailored to handle everything – from reality TV, independent documentaries and web series, to big-budget Hollywood films.

Whether you’re looking at an Avid environment or to integrate Avid editorial and postproduction with existing tools, equipment and cloud services, Digistor will help every step of the way.

ELITE RESELLER

Call 02 9431 6000 or visit www.digistor.com.au/avid

POST PRODUCTION

Now create

Maximise efficiency and minimise the time, cost, and stress of today’s demanding content production. Do less work and get more flow.

21

POST PRODUCTION

Real-Time Data Streaming from Maya to Unreal Engine AUTODESK, , in collaboration with Epic Games, has released a new Unreal Live Link for Autodesk Maya plugin, enabling seamless real-time animation data streaming from Maya to Epic’s Unreal Engine. Suitable for virtual production, game development, and pre-visualisation workflows, the Live Link plugin allows artists to easily create and edit character assets in Maya, while simultaneously seeing live previews in Unreal. Effortless data transfer between Maya and Unreal speeds production workflows by enabling artists to produce more iterations and view changes in real-time to make more informed decisions, ultimately resulting in expedited project delivery.

“The pandemic helped evolve virtual production from an emerging technique to a necessary workflow for reducing on-site staff and accelerating post pipelines,” said Maurice Patel, Senior Director, M&E Business Strategy, Autodesk. “Powerful tools like Unreal Live Link for Maya that support the highest quality imagery, coupled with the rise of more affordable performance capture technology, are making virtual production accessible to a wider range of production budgets, helping teams of all sizes meet increasing demands for content.”

“We are in the midst of a really exciting era for entertainment production where film, animation and games workflows are blending to empower users of all levels. Maya and Unreal Engine are both best in class, industry-leading tools, and being able to use them together unlocks new possibilities,” said Jordan Thistlewood, Product Management Director, Virtual Production for Epic Games. “Artists have never had so much feedback at their fingertips, enabling them to put so much of their time into their creativity. It is exciting to imagine the range of great stories and experiences we will see made with the

new Maya and Unreal Engine Live Link plugins.”

Originally developed by Epic Games, Live Link is comprised of separate Maya and Unreal plugins that work in tandem to allow artists to stream data seamlessly between the two applications. In support of open standards and building more robust workflows between Unreal and Autodesk’s portfolio of creative tools, Autodesk partnered with Epic Games to advance the Maya plugin and extend the tool’s functionality to better meet the needs of artists and studios. The updated Live Link plugin features a simplified installation experience to link Maya and Unreal assets, allowing artists to get up-and-running in a matter of minutes.

Once set up, artists can animate, keyframe, and modify keyframes for character assets in Maya, while simultaneously viewing character updates in-context and in real time in Unreal. Key features and tool highlights include: • A streamlined user experience that expedites workflows by making it easier to connect Maya and Unreal and make live changes to assets.

• Joint hierarchy transforms can be connected allowing for character-to-character streaming.

• Blend shapes are supported, enabling artists to make changes to characters – like facial

expressions and lip syncs – and view incontext changes in Unreal.

• Camera attributes including transforms, angle of view, focal length, film gate, camera aperture, film aspect ratio, depth of field, focus distance, and fStop are supported.

• Lighting adjustments including colour, intensity, cone angle and penumbra angle work are supported.

• Scene timecode is streamed to Unreal, allowing play head synchronization between Maya and Unreal.

• Back version support enables the Live Link plugin to be used with Maya 2018 through 2022, for users working with older versions of Maya.

The Unreal Live Link for Maya plugin is now available as a free download on the Autodesk App Store.

Visit https://apps.autodesk.com/en

Free Particle Illusion Standalone App CONTENT CREATORS creators looking to add high-end 3D particle animations to projects have a new toolkit in the update to Boris FX’s Particle Illusion standalone application. The particle generator allows users to easily create animations to use as visual effects, motion design backgrounds, titles, and more — for free.

POST PRODUCTION

The Particle Illusion standalone app features a user-friendly workflow with thousands of professionally designed pre-sets. Its extensive Emitter Library includes photorealistic effects such as fire, smoke, dust, snow, fireworks, and abstract organic elements. Users can drag and drop pre-sets as-is or create complex custom animations with intuitive node-based navigation.

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Advanced features include 3D particle emission using the integrated 3D camera, forces, deflectors, lines, turbulence, fluid dynamics (new), motion blur, depth of field, and direct rendering to ProRes and H.264.

New features include: Fluid Dynamics — A simple one-click feature that brings particle animations to life with the beauty of photorealistic organic movement. Fluid Dynamics allows users to transform any existing emitter (or create their own) that flows and swirls as it would in the real world. Includes 20+ new professionally designed pre-sets.

Expanded Libraries — Users can now create complex animations with multiple emitters, forces, deflectors, fluids, and even position data and save it as a single pre-set called a “Scene” within the expansive Emitter Library.

Native M1 Support — Users on Apple M1supported Macs will experience significant performance speed increases.

Upgrade Options Particle Illusion is also available as a plugin directly inside Adobe After Effects, Adobe Premiere Pro, Avid Media Composer,

Blackmagic Resolve, Foundry Nuke, and VEGAS Pro. Users can choose from three purchasing options - Particle Illusion multihost plugin; Continuum Particles Unit; and Continuum (full suite).

The plugin version gives users access to a more streamlined workflow that includes the ability to composite particle animations directly over source footage inside preferred host applications, track and mask with integrated Mocha, drive animations to music with the built-in Beat Reactor, and more.

Visit https://borisfx.com/

AUDIO,RADIO RADIO,PODCAST PODCAST AUDO Red Road Immersive Makes Magic with Nugen AS DOLBY ATMOS CONTINUES to become a dominant force in the audio industry, studios like Melbourne-based Red Road Immersive are pushing the boundaries with sound design, bringing unparalleled audio experiences to listeners. Red Road Owner Angus Davidson has been in the music business for four decades. After designing and building Australia’s biggest studio, Sing Sing; working in LA studios; and touring with Crowded House and Supertramp in the 1980s, Davidson was inclined to build his own mixing and mastering studio.

Over the years, he’s witnessed the evolution of Dolby Atmos and its benefits. When he decided to concentrate solely on an immersive audio room at his production and mastering studio, he transformed it into Australia’s first officially certified Dolby Atmos Music studio and equipped it with a full suite of NUGEN Audio software for use on film and music projects.

“Paragon is a great reverb for everything, but I found it particularly helpful for small spaces,” he says. “It has the most amazing algorithms for things, like compact rooms and inside of cars. It also has very well-defined and dense algorithms that allow you to create sympathetic environments really easily, say, if you’re looking at something where you want to match a room tone or a particular space. It is, far and away, the best in terms of recreating and matching spaces.”

Davidson goes on to explain that the film was initially produced several years ago, and therefore some of the original dialogue was lost. There are several scenes in which the male leads were in a car, and the original dialogue wasn’t usable, so they had to use ADR. Though the acoustics of the car would normally be very difficult to replicate, NUGEN’s Paragon was especially helpful in matching the sound.

“I found that using the Paragon for that purpose was flawless; it was such a good plug-in for that application,” he says. “If it wasn’t for Paragon, I don’t think we would have been able to recreate the dialogue. I tried all the tricks in the book and Paragon was clearly the only reverb that could create the kinds of close ambience that we needed in order to seamlessly recreate the internals

Red Road Immersive Owner, Angus Davidson.

in that car.”

Davidson was also pleased with how NUGEN’s Halo Upmix software performed when it came time for working on the film’s music. “One of the biggest challenges is creating surround from mono, stereo or 5.1 sources,” he explains “We actually went out and re-recorded a lot of ambisonics room tones and Atmos on-location where the film had been shot several years ago. But there was also a lot of old music that we could only get as stereo, and I wanted to really try and make that sound bigger, fuller and more immersive. That’s where Halo Upmix came in.”

Davidson recalls that the opening scene starts with the protagonist of the film driving in a car and you can hear an old Olivia Newton John song playing, so they “cured it” to sound like it was playing through a little car radio. As the scene develops, that sound morphs into a surround sound that Davidson says they were only able to achieve thanks to Halo Upmix.

“I just love Halo Upmix, I think it’s a super clever tool; it’s my go-to,” he adds. “I’ve got lots of toys, and most stay in the box, but this one is always out being played with; it’s a really lovely piece of my kit.”

As for LM-Correct, Davidson says it is important for delivering final Dolby Atmos masters, as well as 5.1 versions and up, depending on the project’s requirements.

“For me, LM-Correct was just such a quick and accurate tool to be able to do those re-renders and get them up to the ITU standard, which is obviously super important these days, as are control and standards for deliverables,” he continues.

Davidson has also used LM-Correct and VisLM for his musical work with the band Rufus Du Sol, for which the latest live album began streaming on Apple Music. When

working to meet Apple loudness standards, Davidson says, it is important to have everything just right.

“I just love Halo Upmix, I think it’s a super clever tool;

“VisLM was critical during that process because, with Dolby Atmos Music, you’ve got to be absolutely fastidious with making sure that your levels are correct,” he says. “If you’re even pulling 1 dB out, Apple will just say, ‘no, we don’t want it.’ It’ll be rejected. Knowing that we could monitor the mix and then go back and look at the time code points, see if we had overs and then go back and make corrections was so helpful.

VisLM has a great workflow, which saves an enormous amount of time and gives you a very clear picture of whether or not you’re in the right place.”

it’s my go-to. I’ve

got lots of toys, and most stay in the

box, but this one is always out being

played with; it’s a

really lovely piece of my kit.

Visit https://www.nugenaudio.com and https://redroadimmersive.com

AUDIO, RADIO, PODCAST

Most recently, Davidson deployed NUGEN Post, which includes Paragon, VisLM, LM-Correct, Halo Upmix, Stereoizer and ISL, among others, for his work on Little Tornadoes, a feature film that premiered at the 2021 Melbourne International Film Festival. The film was one of the first Dolby Atmos projects on which Davidson used Paragon reverb, NUGEN’s newest software plug-in. He was pleased with how well it helped him meet the challenge of creating large audio spaces quickly and easily, while still retaining the original sonic properties.

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AUDIO, RADIO, PODCAST

Miniature Clip Mic System from Neumann GERMAN MICROPHONE specialist Neumann.

Berlin has announced its first product range designed especially for close miking instruments, the Miniature Clip Mic System.

Featuring improved electret technology, the new KK 14 capsule is able to capture detailed sound without any of the production tolerances that have been associated with electret solutions to date. The system’s modular construction has been designed to ensure stability and long service life for live and stage performances. The system

includes nine mounting solutions for reliable attachment to brass, string and stringed instruments, pianos, drums and percussion. These make it possible to find the optimum positioning for acoustics while simultaneously protecting the instrument.

modular and rugged. Neumann assembles the KK 14 capsules by hand and encapsulates them in a titanium housing. The capsule can be easily unscrewed from the gooseneck connector whenever necessary. All the other components are also easy to replace.

With minimised self-noise and an extremely high maximum sound level of 152dB, the KK 14 delivers excellent results for both very quiet and very loud instruments.

Thanks to connection cables with either a 3.5 mm jack, Lemo, MicroDot or 4-pin mini XLR connectors, the system is compatible with all standard bodypacks for wireless setups.

In addition, the Miniature Clip Mic System is

Visit www.neumann.com

RØDE Updates Wireless GO II and RØDE Central RØDE RECENTLY released a new update for the Wireless GO II dual-channel wireless microphone system and RØDE Central companion app, which introduces several new features that deliver a more streamlined workflow, with better file management, improved recording navigation and new export options.

New features include: Batch export – multiple recording files can now be exported simultaneously.

Exporting selections – sections of recordings can now be exported individually via manual selection, rather than users having to export the entire file.

Marker indexing – user markers that have been manually dropped in a recording are now indexed in a drop-down menu, making

specific sections of a recording easy to access and export.

Colour-coded markers – to make it easier to differentiate between dropout markers and user markers in a recording file, these are now colour-coded red and green.

Dropout regions – if several dropouts occur within 10 seconds of each other, these will now be displayed as a “dropout region” rather than there being multiple dropout markers clumped together. This can then be exported as an individual section.

‘Jump-to Marker’ button – a ‘Jump-to Marker’ button has been added, which makes it even easier to locate and export dropouts, dropout regions and user markers.

Naming recordings – the names of recordings can now be manually edited in RØDE Central.

TASCAM Revives Analogue with 424 Studio Master Cassette HARKING BACK rto the ‘good old days’ of tape, TASCAM has introduced the TASCAM 424 Studio Master High Bias Type II Cassette tape – specifically designed for use with the company’s Portastudio series cassette recorders.

AUDIO, RADIO, PODCAST

The 424 Studio Master C-60 was developed for the 50th anniversary of TASCAM as a tribute to the rich heritage of its 144 Portastudio. Launched in 1979, it was the world’s first portable home studio integrating a mixer and multi-track recorder, revolutionising home recording for the masses, and an infinite number of artists and musicians.

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The new TASCAM 424 cassette was developed in close coordination with National Audio Company, Inc. of Springfield, MO, the world’s largest manufacturer of quality cassette tape and the world’s largest duplicator of recorded music cassettes. The TASCAM 424 cassette employs a hand assembled shell manufactured using traditional injection moulding and 3-D printing to re-create the original TEAC shell with miniature gold reels from the early 1980s – in many ways, making the cassette a modern collector’s item. The cassette packaging will read ‘TASCAM 424 Studio Master C-60’.

The 424 Studio Master C-60 Cassette is part of TASCAM’s 50th anniversary celebration and offered as a limited-edition product.

Visit https://tascam.com/us

Improved recording navigation – a mini-nav bar has been added to the top of each recording, which allows users to quickly jump to a region rather than having to scrub through the whole file. A zoom function has also been added to the main recording waveform. Both of these features are particularly handy for navigating through longer recordings.

Visit https://rode.com

AES Welcomes Josh Reiss as President for 2022 THE AUDIO Engineering Society has welcomed Josh Reiss as the Society’s president for 2022.

Reiss’s involvement in the Audio Engineering Society spans over 15 years, including being vice-chair of the Publications Policy Committee, co-chair of the Technical Committee on Highresolution Audio, and a former Governor of the Society. He has also served on the organisational team for several AES International Conventions.

Reiss has published over 150 scientific papers, including more than 70 in AES publications, authored the book Working with the Web Audio API and co-authored the books Intelligent Music Production and Audio Effects: Theory, Implementation and Application. As coordinator of the EASAIER project, he led an international consortium working to improve access to sound archives in museums, libraries and cultural heritage institutions. He is co-founder of the start-up company LandR, providing intelligent tools for audio production, and Tonz, providing neural network-based audio effects. Another start-up based on his team’s research, Nemisindo, has recently launched an online service for procedural sound design and the Nemisindo Action Pack of fully procedural audio plugins for sound effect creation in Epic Game’s Unreal

Engine.

Reiss is currently a Professor with the Centre for Digital Music at Queen Mary University of London, where he teaches Digital Audio Effects and Sound Design, and leads the audio engineering research team. He received the AES Board of Governors Award (2009 and 2010) and the AES Fellowship Award in 2019 for contributions to, and for encouraging and guiding the next generation of researchers in, the development of audio and musical signal processing.

“The AES understands and embraces the need to adapt to ever-evolving audio technologies and to change in the world at large,” says Reiss. “My immediate predecessors have faced unprecedented challenges over the past two years with courage and vision. The AES is on a firm footing to continue to advance the science of audio and its application while improving inclusivity and diversity in our community and industry by encouraging talent, creativity and innovation.”

Visit https://aes2.org/

SUPERIOR. PORTABLE. WIRELESS. AUDIO, RADIO, PODCAST

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Industry-setting Axient ® Digital sound and performance. Now available to audio professionals in film & portable broadcast. shure.com/ADX5D

AUDIO, RADIO, PODCAST

On location. In the field. Or at the studio. Wherever production takes you, the ADX5D lets you capture clean, clear audio with standard slot-in portability.

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AUDIO, RADIO, PODCAST

TASCAM Boosts Model 12 Integrated Production Suite TASCAM recently announced the Version 1.30 firmware update for the Model 12 Integrated Production Suite. As a desktop tool for music and multimedia creation, the Model 12 incorporates a mixer with I/O and analoguestyle controls, multitrack recorder, a USB audio/MIDI interface, DAW control functions, and a wealth of podcasting capabilities including mix-minus and smartphone input capability. With the new V1.30 firmware update, this versatile production tool gains additional functions that further enhance its ability.

The V1.30 firmware update increases the Model 12’s DAW control surface integration.

This latest update adds Studio One from PreSonus, Reaper from Cockos, Inc., and Cubasis 3.3 from Steinberg. This is in addition to existing support for Avid’s Pro Tools, Apple Logic, MOTU (Mark of the Unicorn) Digital Performer, Steinberg Cubase, Ableton Live, and Cakewalk by BandLab. Supported functions include basic external DAW control (Faders, Mutes, Pans, Solos, Record arm, Play, Record, Stop, FF/REW, and Jog) using integrated HUI/MCU protocol emulation for tactile control.

The Model 12’s dual headphone jacks have previously facilitated monitoring of two discrete headphone mixes simultaneously.

With the V1.30 update, this capability has been expanded to include Main Mix Pre to Phone Source selection in addition to Main Mix Post. Prior to V1.30, when working with headphones only, without producing sound from the speakers with Main Mix Post, the

sound of the headphone output was muted when Main Mix was muted.

When working on podcasts or other streaming media projects, the ability to have clean, accurate sound delivered through one’s computer speakers is of paramount importance. The V1.30 firmware update also adds a level attenuation function with a range of 0-40dB for the Model 12’s Main and Sub outputs. Whereas a small PC speaker could easily be overloaded resulting in distorted sound without raising the Master fader much at all, V1.30 corrects this situation.

For Model 12 owners who have not updated their systems in a while, two important previous updates should be noted. For streaming media applications, an Output Delay for Synchronized Audio/Video Streaming was added in V1.20. The output delay (adjustable from 0 – 2000ms) creates stable sync between streamed audio and video for all networks and video systems. This easy to set-up function enables dual Audio Delay for both the USB and Main outputs (Main

output can be selected On/Off). In addition, it is possible to monitor the output delay signal by headphones if the Main output on has been selected.

Equally noteworthy, a VAMP playback function was added with the V1.11 firmware update. The VAMP playback function provides seamless loop playback between two selected points in a song. In addition to being a valuable tool for individual practice or ensemble rehearsals, it can be used during live playback for extended solos/jams, or repeated playback of a selected track only. As many as ten VAMP points can be specified for an individual song.

Visit www.tascam.com

Nugen’s Paragon of Reverbs NUGEN AUDIO’S 3D-compatible convolution reverb, Paragon, is designed for the broadcast/ film audio market and offersing full control of the decay, room size and brightness via re-synthesis modelled on 3D recordings of real spaces. Paragon provides an unprecedented level of tweak-ability, with zero timestretching – meaning no artefacts.

AUDIO, RADIO, PODCAST

Using technology developed alongside the University of York’s Dr. Jez Wells, Paragon features spectral analysis and precise EQ of the Impulse Responses (IR), which are analysed, decomposed and re-synthesised to create new authentic spaces. This ensures a small digital footprint for the IR library and makes it possible to configure limitless combinations of spaces with just a few adjustments to the settings. Further, it features individually configurable crosstalk per channel; unique technology for re-synthesis of authentic IRs, HPF and LPF per channel; and switchable LFE.

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“With purity of sound at the forefront of this plug-in, Paragon operates in up to 7.1.2 channels of audio, making it perfect for surround applications, including Dolby Atmos, as well as for producing reverb in mono and stereo formats,” says NUGEN Audio Product Specialist Freddy Vinehill-Cliffe. “Unlike traditional convolution reverb, Paragon does not use static IR, which provides a wider scope

to transparently transform the sound of a space. It is ideal for re-creating authentic sounds of real spaces and manipulating IRs while still maintaining true convolution characteristics.”

Following the initial launch of Paragon, NUGEN added new pre-sets and an improved browser, with ‘search’, ‘tagging’ and ‘favourite’ functions. These added elements are especially important to people working on movies and TV shows with exterior scenes, which are found in nearly every production. Additionally, the new pre-set browser makes it easier for users to organise their pre-sets, which further expedites the creative process.

Most recently, the company released Paragon ST, a mono/stereo-only version of the software and, along with it, came a series of further updates to Paragon surround. This included new stereo width controls, which provide instant stereo enhancement with the assurance of superb mono compatibility and no unwanted artefacts. Additionally, the new mic distance control adjusts the level of the early reverb reflections, giving the impression that the affected sound is either closer to or further away from the listener, without adjusting the characteristics of the space itself. Lastly, the added modulation function gives users a greater level of creativity and a

dynamic character to the reverb.

NUGEN has also focused on updating several of its products, including Halo Downmix, which now has a broadened channel count support to address less common output formats. With this update, Halo Downmix is capable of downmixing from 7.1 and 5.1 to any of the following configurations: 7.0, 6.1, 6.0, 5.1, 5.0 and 4.0, as well as LCR and stereo.

The optional 3D extension also supports downmixing from 7.1.2.

Halo Downmix can now support all of the same channel arrangements as Halo Upmix, which allows users to fill in the audio gaps by taking productions from Netflix-compliant 7.1.2 Dolby Atmos formats fully down to lower channel counts.

Included in both the NUGEN Post bundle and Surround Suite packages, Halo Downmix enables precise surround balancing, mix monitoring and stereo fold-down.

Visit www.nugenaudio.com

CONTENT DELIVERY Create Engage Streams with Kiloview and Digistor WITH OVER 25 years collective experience in live events and streaming, Create Engage is a small team of event professionals specialising in providing online event and production solutions.

It has successfully executed numerous online campaigns and events for its clients by increasing engagement, audience reach, revenue and awareness for their branded content through tailored technology solutions. The group’s mission is to enhance physical and online event engagement through digital and internetbased solutions. Recently, when Create Engage had a requirement for cutting-edge streaming technology, it turned to Digistor and Kiloview.

As Create Engage director Luke Hammonds explained, “We’re passionate about digital video technology and the impact that it has on business and brand communication. We had heard of Kiloview as a quality player in the market. They were offering these small devices that could send and receive video in pretty much every format we could ever need all over LAN and WAN. They were also rack mountable and hot-swappable, so we needed to try them out as the need for such solutions increased ten-fold due to COVID-19. At that point we contacted Digistor.”

Digistor is Create Engage’s primary technology, products and solutions provider.

Hammonds continued, “Our starting point for gear like Kiloview is Digistor and of course they stocked it, so we just filled in the online cart and hit the buy button.

Digistor have been in the game for as long as I care to remember so, to

me, they are a trusted reseller as I’ve used them a lot in the past whether it be for products for pure video production or live IP-based broadcasting.”

Digistor supplies Create Engage with Kiloview products for live streaming video production whether its onsite for hybrid events, studiobased events or in control hubs for fully virtual events and for linking remote presenters and remote live sites together using IP-based video codecs.

In recent months Create Engage has purchased Kiloview REN-1 Cards, RD-300 Cards, 1RU Cradles and 3RU Cradles.

Hammonds explained, “Kiloview fits our equipment build ethos perfectly. We design our encoder racks to be mobile, modular, turn-key systems that can be tweaked to any spec, up or down, per event and only require onsite power to be fully operational.

Kiloview rack-mountable cards and cradles are perfectly designed for this approach. We can slide in whatever size cradle and card combo is needed for the project into a rack system and get it onsite, all pre-configured and ready to go.

Kiloview is reliable and feels like it’s designed for 24/7 operation so we know we can rely on it.”

As Kiloview products are rack mountable and the cards are hot swappable, Create Engage truly customise their streaming racks to custom-suit each individual project.

Hammonds added, “A common set up is to use a REN-1 card to stream to a primary streaming player on our platform as well as outputting

broadcast PGM over the LAN via NDI|HX for viewing in another part of the venue or in multi-view and using a second REN-1 card to stream to a backup streaming player. Quite often we will use the above-mentioned solution as well as adding an RD-300 card to a live feed from a remote site as well as another REN-1 card to send a feed back to that remote site via SRT. We access and control the Kiloview GUI mainly via Raspberry PIs which frees up our laptop stock for other duties.”

As far as Hammonds is concerned the winning combination for Create Engage is the seamless integration they have with Kiloview products and Digistor’s service and support.

He concluded, “Digistor stocks all the brands that we use in-house and they can provide amazing technical support for those items.

They also have their finger on the pulse for all the new tech in the space so they can provide suggestions on new products that streamline projects we are working on or provide a solution to a technical roadblock we might be facing. I have been using Digistor for many years with good reason. When I started the Digital and Webcasting Department at Staging Connections (now Encore Technology) back in 2009, Digistor consulted on the original edit suite build and I have continued purchasing equipment from them ever since. Digistor have a great curation of brands, the sales team have excellent technical knowledge of the products they sell and their service and support is second to none.”

Visit www.digistor.com.au

STANDARDS ORGANISATION MPEG LA, LLC has announced the availability of the VVC Patent Portfolio Licence (“VVC Licence” or “Licence”). The joint licence includes patents that are essential to the Versatile Video Coding (VVC, also known as H.266 and MPEG-I Part 3) standard.

products that encode and decode video for Internet, television and mobile transmission, reception and use. VVC is capable of delivering 4K to 8K and higher resolution with High-Definition Television (HDTV), Ultra-High-Definition Television (UHD), High Dynamic Range (HDR) and omnidirectional 360° video.

VVC provides increased compression with significant bitrate reduction, giving consumers enhanced speed and efficiency in

The initial patent owners to MPEG LA’s VVC Licence are b<>com; British Broadcasting Corporation; Digital Insights Inc.; FG Innovation

Company Limited; Hanwha Techwin Co., Ltd.; Koninklijke KPN N.V.; Nippon Hoso Kyokai; Orange; Siemens Corp.; Tagivan II LLC; and Vidyo, Inc. “We commend these patent owners for stepping up in such a short time to establish this important licence embracing all manner of VVC applications with a simplicity that the market can understand, and we welcome all VVC essential patent owners to join them,” said Larry

Horn, President and CEO of MPEG LA. “Once again, MPEG LA’s VVC Licence demonstrates MPEG LA’s continued commitment to striking a balance between patent holders and implementers to make VVC widely available to everyone on the same reasonable, transparent and evenly applied terms consistent with what the market has come to expect of us.”

Visit https://www.mpegla.com/ programs/vvc/license-agreement/

CONTENT DELIVERY

MPEG LA Patent Pool Licence for Versatile Video Coding (VVC)

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CONTENT DELIVERY

The 5G State-of-Play and Future Opportunities in Video Services Mobile connectivity is continuing to take significant steps forward after a period of unprecedented change in the 21st century.

By Alexandre Arnodin, VP Delivery Solutions, ATEME and provides the responsiveness and interactivity that viewers have become accustomed to on other platforms.

Exploring the Elastic CDN, Open Caching and Public Cloud Part of the 5G and edge opportunity is the benefits made possible by an elastic content delivery network (CDN), which is able to expand and shrink in accordance with audience demands. This helps to maintain a high-quality viewing experience even during peak traffic, by quickly adding extra cache nodes to meet the temporary demand, and then removing them instantly once that demand is over. This greater flexibility eliminates the need for building overcapacity, thereby helping to achieve cost and energy savings.

JUST OVER TEN YEARS since the launch of 4G, 5G is now being activated around the world.

It’s an exciting development, with telecom operators, broadcasters and content providers able to expand their video services, improve the experience for the viewer, and diversify their product offerings. Improved video and audio quality is no doubt an exciting prospect brought by 5G technology, but the possibilities can go even further, and organisations will need to understand where these new opportunities lie in order to capitalise on them.

Breaking forward with improved bandwidth At the core of the opportunities presented by 5G technology is the enhancements it can make to bandwidth, benefitting both mobile operators and broadcasters, with one gigabit per second streaming capabilities. With these new speeds now possible, organisations are better able to provide 4K streams on top of existing HD streams, and even pave the way for 8K resolution, creating an enhanced viewer experience. For audio, new innovations such as MPEG-H and AC4 with Dolby Atmos rendering capabilities become possible, meaning support for multiple simultaneous channels and spatial sound effect, even on stereo sound systems.

CONTENT DELIVERY

Taking technology to the edge

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5G also brings Multi-Access Edge Computing (MEC) into the frame, and this is where the opportunities can really move to the next level for video services. Storage and processing capabilities can be pushed further down the network and used in smaller data centers or other infrastructure, spread out closer to the viewers.

MEC even enables tailored content to be added into the workflow right before it reaches the viewer, meaning that different content genres can be distributed to different end users.

One obvious application of this is dynamic ad insertion (DAI), where advertisements are targeted to specific viewers, enhancing their value to advertisers and increasing monetisation opportunities.

The same technology can be applied to create personalised channels. This means that channels can be tailored to specific viewers’ tastes, thereby increasing their value and enabling them to be offered as part of a premium service.

Bringing emerging technology into the present There has been a lack of uptake so far of virtual reality (VR) in the industry. The 360-degree experience offered with VR headsets has failed to match viewer expectations. In addition, the demands placed by the real-time processing needed for VR are huge. 5G could be transformative in the uptake of this technology, as the subsequent increase in video quality is likely to encourage a greater number of users to invest in headsets.

5G could have a significant impact on VR in the context of an edge setup that’s located in a sports stadium. With the high bandwidth and low latency brought about by 5G, sports fans could use their mobile devices to directly view different live camera angles. Moreover, augmented reality (AR) capabilities could be added, allowing for real-time player statistics such as passes completed or goals scored in a soccer match. This would enhance the live experience for fans attending events.

Then there are the advantages made possible due to lower latency. Whether viewers are taking advantage of the VR and AR capabilities on a device while in the stadium or watching an event from home, a much richer experience awaits them. The content watched can be linked with social media, retail and the wider community,

An elastic CDN, which is based on a distributed cloud-native architecture, also allows orchestration of different functions to use the CDN infrastructure for a range of different tasks during times of lower demand. For example, for file transcoding of ads or VOD content, to create a library of assets for delivering personalised video experiences.

The partnership of both elastic CDN principles and Open Caching provides another new opportunity for streaming service providers.

The CDN can be leased to content providers, enabling increased Quality of Experience for video services due to the content being cached physically closer to end users. This is also a potentially lower investment than the costs that are currently incurred to use public CDN services.

As 5G continues to grow, public cloud services are also pushing virtualisation environments, allowing for MEC infrastructure to be leveraged.

Telecom operators and content providers can benefit from this by using the same software technologies in the cloud and in the 5G network, making it easier to handle global operations and deploy new services quickly.

A look to the future While 5G will no doubt make it easier for viewers to benefit from hugely enhanced video and audio quality, the industry also needs to be aware of the technologies it will help to support as it’s more widely adopted. But how much of an impact it will make will truly depend on the future relationship between broadcasters and telecom operators, and whether a shared broadcast infrastructure will be created.

4G LTE broadcast compliant devices failed to take off in the industry, but it’s encouraging that the broadcast industry is taking early steps to explore the 5G opportunity in this area. With no definite confirmation of this so far, broadcasters and the wider industry are likely to be keeping tabs on how the 5G landscape evolves over the next few months.

Visit https://www.ateme.com

CONTENT DELIVERY

JPEG XS for Imagine’s Selenio to SNP’s capabilities.

This offers four layers of keying and supports UHD/4K and HDR, using external and internal keys. The feature supports graphics sequencing and animations, and it uses SNP core functionality to allow mixed IP and SDI inputs and outputs. Coupled with the ability to make A/B transitions and leveraging SNP’s existing dual-UHD conversion personality, the result is a powerful master control switcher with the ability to up- and down-convert mixed format content into a consistent UHD presentation with UHD graphics.

The latest SNP release adds support for up to 16 audio channels within each audio stream (across all personalities). Imagine has also upgraded the SNP’s audio shuffling and remapping capabilities to allow more complex audio channel mapping amongst the MADI, embedded, and IP inputs and outputs.

In addition, the latest release brings significant enhancements to the SNP-MV production multiviewer personality, including caption/ subtitle rendering and a large set of new onscreen indicators and alarms.

Each 1RU SNP contains four independent processing chains, which can run completely separate features or can be ganged to add capacity: the SNP-MV multiviewer, for example, can put nine PiPs on two UHD screens using one chain, or up to 36 PiPs across two UHD screens (portrait or landscape) by combining the chains.

Visit https://www.imaginecommunications.com

Matrox Simplifies AV-over-IP MATROX VIDEO has introduced the ConvertIP Series, a family of standards-based IP devices that deliver a simple approach to SMPTE ST 2110 and IPMX-ready networks. These devices enable broadcast and Pro AV professionals to transform standard and existing infrastructures into interoperable, cost-efficient, and scalable 1 GbE, 2.5 GbE, or 10/25 GbE networks to support a wide range of compressed and uncompressed 4K AV-over-IP applications and workflows.

In tandem with the launch of ConvertIP is the new ConductIP signal routing software.

Designed to simplify content distribution in AV networks of any size, the industry’s first IPMX-ready signal routing platform features a customizable, 360-degree view of all devices and media flows to discover, monitor, and route any NMOS-enabled ST 2110 and IPMXready audio, video, and ancillary signal on the network.

ConvertIP transmitters and receivers are built on ST 2110, the NMOS suite of open APIs, and IPMX-ready industry-standards-based technologies, and combined with Pro AV, JPEG XS, and uncompressed codec support, make them the most flexible and interoperable IP devices in the market today. This versatility

Your media

infrastructure specialists

The transition from traditional baseband video infrastructure to an all IP media infrastructure brings many challenges to media companies. It’s important to partner with a company that prides itself on representing the best-of-breed media entertainment technology manufacturers and thoroughly understands the workflow requirements for the efficient creation and distribution of rich content.

allows broadcast and Pro AV professionals to use existing 12G-SDI, HDMI, and HDBaseT hardware to deliver lightly compressed and uncompressed 4K AV-over-IP transport with sub-frame to zero latency performance.

ConvertIP supports both copper and fiber networks, while their compact form factor and fanless design make them ideal for a variety of monitor- and rack-mount installations.

ConvertIP Series includes an intuitive, web-based command center that allows users to access, control, and operate all ConvertIP devices from any location. Also included with ConvertIP is the ConvertIP Manager application, which features a dashboard view for multi-unit setup/ maintenance and routing operations. Lastly, the ConductIP standards-based signal routing platform enables multi-vendor interoperability by allowing users to discover, monitor, and distribute all ConvertIP signals, any other SMPTE ST 2110 signals compatible with the NMOS suite of APIs, and IPMX-ready signals from any third-party manufacturer.

Visit https://www.matrox.com

CONTENT DELIVERY

IMAGINE COMMUNICATIONS’ Selenio Network Processor (SNP) now has an array of new software features. The latest major software releases add several important new software capabilities, including JPEG XS encoding and decoding; an automated changeover switch (ACO); an advanced keyer (DSK); and additional audio management capabilities. These can be enabled on any SNP in the field, and all take advantage of the core processing of the SNP, including the ability to easily combine HD and UHD, SDR and HDR, and SDI and IP connectivity.

JPEG XS is a transformational codec, offering visually lossless production and contribution quality, at very low latency (less than a frame), and typical compression ratios between 5:1 and 20:1. The result is an ideal means of communicating between facilities or between remote production sites and a broadcast centre; it can also be used as an on-ramp and off-ramp to cloud-based production, with significant savings in bandwidth cost.

The JPEG XS codec will be available as an SNP software personality at resolutions up to UHD/4K (and HDR). The user can tailor the bits-per-pixel (coding rate) for the specifics of the application; Imagine is also working with leading cloud providers to create ground-tocloud connections.

Available in the latest SNP release is an automatic changeover switch (ACO), which uses content-aware metrics to determine the health of each feed, in terms of video presence and quality, caption presence, and audio presence, audio levels, and more. The ACO function switches seamlessly between A and B feeds to maintain a consistent on-air output. As well as automated operation, users can take manual control of changeovers. With the Imagine CCSP protocol, which is supported by every control system in the industry, this ACO functionality can be integrated into any project straight away.

A downstream keyer (DSK) is also being added

empowering innovation sales@magnasys.tv www.magnasys.tv

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TV Pioneers pics by Nigel Felangue.

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

INDUSTRY FOCUS

http://www.tvpioneers.org

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POSITIONSCLASSIFIED VACANT

System Consultant Riedel Communications Australia Pty Ltd Rosebery, NSW We are looking for someone to join our technical team working on system design and commissioning across a number of exciting broadcast, event and venue installation projects. If you know your way around broadcast/event technology and have a knack for IP networks, please get in touch.

Responsibilities: • Full responsibility for System design and delivery • Design systems or assist customers, system integrators and Riedel sales staff with system designs, combining technical and commercial aspects • Manage customer projects • Representing the company at trade shows and events • Active participation in special projects, including major MT projects • Configuration of systems and demo equipment incl. commissioning, programming, updates of soft- and firmware & managing demo stock • Coordination and performance of on-site service, demo and trainings • Troubleshooting The successful candidate will have: • 2+ years of proven technology deployment experience in a relevant market field, ideally broadcast and/or entertainment.

• Knowledge of communication, audio and video technology • Good working knowledge of IP Networking technology • Team player whose personality and basic attitude fit into an international, strongly mediumsized company • Ability to think across divisions and willingness to work closely with other divisions To apply, visit https://bit.ly/3BYEy5n

+ EVENTS

On-Air Presentation Coordinator

Master Control Operator

NPC Media is the leading industry Content Management and Playout Centre.

About the role As an On-Air Presentation Coordinator (Television Transmission Controller), you will work with the latest television transmission automation technology and contribute towards seamless broadcast to audiences all around Australia. You will liaise with broadcast clients to ensure schedules and playlists are accurate, content is appropriate and transmission of content to air runs smoothly.

Duties • Operate playout automation systems, such as Imagine Communications’ D-Series, and incorporate VIZ graphic elements.

• Prepare, check and run multiple transmission playlists.

• Accurately execute daily presentation schedules.

• Liaise with live studios (news, sport, and entertainment).

• Work as part of a 24/7 rotating shift roster.

Skills & experience • Experience with playout automation systems, such as Imagine D-Series Device Automation and VIZ graphics.

• Understanding of the Code of Practices for Television Broadcasters and Closed Captioning legislation.

• Experience working within an agile team environment.

• Ability to prioritise work to meet tight deadlines.

• Attention to detail.

• Strong communication skills.

To apply, Submit a copy of your resume to careers@npcmedia.com.au

About the role You will provide operational support to NPC Media by monitoring and maintaining the integrity of the contribution and emission signaling.

This includes national studio and sporting event contributions, and multi market/channel emissions to a national transmission/streaming network.

Duties • Control the connectivity and coordination of television and related signals throughout NPC Media.

• Operate the broadcast equipment that process and correct television signals.

• Fault find and restore the continuity of terrestrial and satellite services during failure of transmission.

• Set up and control vision, audio and communication signals to provide external connectivity including outside broadcasts.

• Book any broadcast requirements including adds, movement and changes.

• Report broadcast irregularities including post incident analysis.

Skills & experience • Ability to operate ASI, SDI & IP video signal switching equipment, waveform monitors, DTT & OTT encoders and associated control systems, DVB & DAB+ transmission equipment and NMS, and VoIP Intercom systems.

• Ability to fault find within transmission networks and initiate procedures to bypass faulty equipment or paths.

• Ability to work under pressure and prioritise workload.

• Strong communication and computer skills.

• Experience in a TV broadcast environment and understanding of the Code of Practices for Television Broadcasters are desirable.

To apply, Submit a copy of your resume to careers@npcmedia.com.au

Technical Commissioning Specialist - Oceania This role is expected to work closely with the Sales and Services team in Oceania to ensure that our customers receive excellent service delivery from Ross Video.

Technical Commissioning • Perform commissioning at the customer’s location.

• Prepare and test all commissioned gear prior to product training sessions.

• Troubleshoot technical/systems issues at customer facilities.

• Respond to technical support calls and follow documentation policies.

• Provide support to the implementation team, as required.

Training • Perform on-site, online/remote customer technical training.

• Provide internal training for Ross Video’s employees.

• Maintain training equipment, assist with set-up and prepare/ test gear prior to training sessions.

Technical Support • Research, diagnose, troubleshoot, and identify solutions to resolve customer issues.

• Provide prompt and accurate feedback to customers.

• Ensure proper recording and closure of all issues through Zendesk.

• Escalate unresolved issues to appropriate internal teams.

• Prepare accurate and timely reports, as needed.

• Document knowledge in the form of knowledge based technical notes and articles.

• Expedite returned material from the field for service reasons.

• Must possess a valid driver’s license and passport • International/Domestic Travel required 50% of the time To apply visit https://bit.ly/3JeBGV7

CLASSIFIED + EVENTS

ADVERTISER INDEX ADVERTISER INDEX

32

B l --------------------------------------------------------------------------------a c k m a g i Digistor 21c

35 Jands-----------------------------------------------------------------------------Magna Systems & Engineering------------------------------7,9,19,29

Professional Audio & Television Techtel 16------------------------------------------------------------------------------------

Pacific Live Media 7,9,11 Magna Systems & Engineering -----------------------------------------------------------------------------------------------13,14

Ross Video-------------------------------------------------------------------------19

Design ---------------------------------------------------------------FujiFilm Australia------------------------------------------------------------ 30,315

METexpo 39 LAWO -----------------------------------------------------------------------------------------------------------------------------------------IBC

Digistor----------------------------------------------------------------- 27 Hollyland ----------------------------------------------------------------------------11

Professional Audio & Television-----------------------------------FC,3 23 METexpo --------------------------------------------------------------------------

D2N Technology Solutions-------------------------------------------------Grass Valley-----------------------------------------------------------------------OBC6

Grass Valley Jands 25 ----------------------------------------------------------------------OBC -----------------------------------------------------------------------------

Sony 5 21,25 PacificAustralia Live Media -------------------------------------------------------------------------

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,8 - - - - - - ------------------------------------------------------------------------------ - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - F C , 3IFC Telstra SilverTrak Digital------------------------------------------------------------------31 Sony--------------------------------------------------------------------------------13

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