Content + Technology ANZ July-August 2017

PP: 255003/06831

VOLUME 14 ISSUE 4 JULY / AUGUST 2017

MEDIA + PRODUCTION + MANAGEMENT + DELIVERY

www.content-technology.com

CONFERENCE & EXHIBITION

PREVIEW ISSUE

NETWORK. AUDIO. VIDEO. CONTROL.

Welcome to Broadcast 3.0 See PAT Team at SMPTE 17 in Hall 3, F14 PAT AUS P: 02 9476 1272 E: sales@proaudiotv.com.au PAT NZ P: +64 0800 002 417 E: sales@proaudiotv.co.nz

ISSN 1448-9554

VOLUME 14 ISSUE 4 JULY / AUGUST 2017

SMPTE17 – Compelling… thought-provoking… insightful…. page 34

REGULARS 02 EDITOR’S WELCOME

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INDUSTRY FOCUS

04 NEWS TEN Group Voluntary Administration,

80 CLASSIFIEDS

Australia’s Freeview Plus Upgrade, Free-to-Air Community TV Goes Dark, Blue Ant Acquires RACAT, Axon Expands APAC Team, Dalet Appointments for Singapore.

18 FEATURES 16 STANDARDS SMPTE Publishes Report on Time Code Standard, VR Headset Standard.

18 ACQUISITION Joffe Films Kenya with Atomos Shogun Inferno 4K, Ross Video CamBots, YI HALO VR Camera, ROVER Smartphone Camera Cage, Cineo MavX in the Spotlight.

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26 SPORTSCASTING Commonwealth Games 2018 Gold Coast Diaries – Chapter 5, Riedel Desktop SmartPanel, Twitter Live Streams Oz E-sports, Instant Media Playout System from ENCO, Alston Elliot Sports Graphics Broadcast with Bluefish444.

63 AUDIO SAE Sydney Connects with PA People for Relocation, DPA Turns 25, Automixing CRESCENDO.

67 RADIO Wheatstone Audio Processing, Nautel Transmitter Monitoring App, Radio Leads Online Audio Consumption.

72 CONTENT DELIVERY Canare 12G Coax Solution, Making OTT Commercially Viable, HEVC Encoding and Multiplexing.

34 SMPTE17 EXHIBITOR LISTING 53 POST-PRODUCTION Shotgun Streaming, TVLogic OLED Monitors, New Radeon Pro Duo.

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

MEDIA IN THE CLOUD Harmonic and EVS Ink OEM Agreement, Object Matrix and Fortium Partner, ReCAP Project Debuts Proof Of Concept AI, Pebble Beach and Blue Lucy Beluga.

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EDITOR’S WELCOME

Navigating the Brave New World

By Phil Sandberg

THE SMPTE17 CONFERENCE & EXHIBITION (July 18-21, 2017, International

based on compatibility

Convention Centre, Darling Harbour, Sydney) will be another chapter in the global

with other manufacturers

content industry’s continuing conversation about the shift from SDI-based

and our control

technology to that based on IP platforms.

mechanism. We’re not

Indeed, there are at least 13 sessions throughout the conference schedule

actually necessarily picking manufacturers

examining the various aspects of this topic, and the presentations couldn’t be

because we really like an ‘X Vision Mixer’ or whatever brand, it’s basically what works in our ecosystem.”

Melbourne which will be largely based on IP technology.

Speaking at a recent SMPTE post-NABshow event, NEP Australia’s Director of Technology, Marc Segar, detailed the project’s progress, the aligning of technology decisions with still-evolving standards (SMPTE 2110), and “trying to drag manufacturers kicking and screaming with us”.

platform for IP routing, processing and multi-viewer functionality. These are

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environment at its Sydney facility. The company has settled on Lawo’s V_matrix 16:00

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In order to “make timelines very aggressive”, NEP has built a temporary test

based around the software-defined virtual modules of the platform. The core IP switching fabric will be based on technology from Arista.

Due largely to the evolving nature of the technical standards behind IP-

ersburg

According to Marc Segar, “I think when this is built it will be the first of its kind, there won’t be anything like this. There will, eventually, be more like this, of course. We have something unique in Australia, though. We have the scale of the country and there’s probably only one other country that’s got the scale that we have, and that’s America. It’d be tougher to do in America because of the fragmentation of the Telcos, so I think this will be a world first.”

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Australia, is in the process of building centralised production hubs in Sydney and

Come March 2018, NEP Australia expects to have its four control rooms in Sydney and three in Melbourne fully operational in time for the start of the NRL and AFL seasons. OB trucks on the ground are likely to be either from the company’s existing stock, but modified to operate under an IP layer, or new, and therefore smaller, IP-native vehicles (the smaller footprint being the result of locating staff and functionality at the centralised hubs). Supported by Telstra’s Digital Production Network (DPN), some 21-odd venues around the country (some as far as 3500km away) will have the connectivity to transport uncompressed HD feeds to the centralised hubs.

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The broadcast production services provider, in conjunction with Fox Sports

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Locally, the highest profile move towards an IP future is that of NEP Australia.

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more timely as major broadcasters strive to divine the path ahead.

based production, other technology choices for NEP are less straightforward,

The conversation continues …

the primary consideration being not one of user-experience, but one of interoperability within the overall environment.

Don’t forget to visit us at SMPTE17 on Booth #G42.

We look forward to seeing you.

“The biggest gaping hole we have with this at the moment is the lack of

Thanks for reading

common discovery protocols, or a lot of the lack of quality control protocol, which

Phil Sandberg – Editor/Publisher

we know is coming, of course. So, we find ourselves booking manufacturers

papers@broadcastpapers.com +61(0)414671811

Moscow

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2017 C+T DEADLINES

Beijing

ASIA EDITION August-September – IBC Preview Editorial Submissions: 25-07-17 Ad Bookings: 01-08-17 Ad Artwork: 08-08-17

Seoul Tokyo

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For more information www.content-technology.com +61-(0)414 671 811

The C+T (Time) Zone.

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ANZ EDITION September-October Editorial Submissions: Ad Bookings: Ad Artwork:

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EDITOR’S WELCOME

ASIA

‘ASIAPAC’

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

TEN Group’s Voluntary Administration a ‘Wake-Up Call’ – Minister AUSTRALIAN MINISTER FOR COMMUNICATIONS, Senator Mitch Fifield, has labelled the move by Network TEN to enter voluntary administration as a “wake-up call” to opponents of media reform.

“That a major Australian media organisation is in such difficulty should be a matter of concern,” said the Minister. “The Turnbull Government and industry leaders have been warning for some time that Australia’s media industry is under pressure and needs reform. While the Government has sought to progress important reforms such as the abolition of the two-out-of-three rule since March 2016, Labor’s response has been to frustrate and delay their passage. They have displayed a callous disregard for the impact their actions are having on an industry that desperately needs reform. Labor’s gamesmanship has limited the options for organisations like TEN.” TEN Network Holdings Limited announced that Mr Mark Korda, Ms Jennifer Nettleton and Mr Jarrod Villani of Korda Mentha had been appointed as voluntary administrators of the Company and each of its subsidiaries by the TEN Group Directors.

The decision followed correspondence received from shareholder companies, Lachlan Murdoch’s Illyria Pty Ltd and Bruce Gordon’s Birketu Pty Ltd, which “… left the Directors with no choice but to appoint administrators”. The two investment companies were acting as guarantors for TEN’s credit facility, but recently confirmed they did not intend to extend or increase their support for those facilities beyond the term of the current facility which expires on 23 December 2017.

According to TEN, the decision to enter voluntary administration comes despite the TEN Group “making significant progress to realise the potential sources of improvements to future earnings identified in the Company’s Directors’ Report contained in its Half Year Financial results announcement.”

This includes: • delivery of the cost and revenue initiatives identified in the transformation process currently underway; • renegotiation of material programming contracts; and • reduction in Federal Government imposed licence fees.

In relation to the transformation process, the Company said it had identified initiatives that are expected to have a positive impact on earnings in the order of at least AUD$50 million in FY18 and potentially more than $80 million per annum

by FY19.

In relation to the renegotiation of programming contracts, the Company has “agreed in principle the vast majority of the commercial terms of replacement volume content supply agreements with its US studio partners, Fox and CBS, although final terms have not yet been formally agreed. The effect of these replacement content agreements, if finalised and implemented, would be to reduce by approximately 50% the Group’s future liabilities for US content, while still allowing TEN access to the best productions of those studios over the medium term”.

In relation to the reduction in Federal Government imposed licence fees, TEN anticipates that after the changes to regulations anticipated to be tabled in

Australian Minister for Communications, Senator Mitch Fifield.

Parliament pass through the Parliamentary process, the reduction in licence costs for TEN in FY17 will be in the order of $22 million and, in FY18, $12 million.

The administrators have advised the Company that they will work closely with management, employees, suppliers and content partners while they undertake a financial and operational assessment of the business. During this period, the Administrators intend to continue operations as much as possible on a business as usual basis.

“The Government’s Media Reform package has the historic and unprecedented support of the entire Australian media industry, yet Labor continues to ignore their pleas,” commented Minister Fifield. “The Government’s reforms are vital measures that will unshackle Australia’s media industry from redundant laws and allow it to respond to increasing international competition. The reforms support Australian jobs, will strengthen local content obligations, and bring our media laws into the digital age.”

The Government’s package includes: • Abolishing broadcasting licence fees and datacasting charges; • Applying a fee for the spectrum that broadcasters use at a level more reflective of the current media landscape; • Further restrictions on gambling advertising in live sporting events across all platforms; • Amending the anti-siphoning scheme and list; • Repealing the two out of three and 75% audience reach media ownership rules; • A broad ranging and comprehensive review of Australian and children’s content; and • Funding to support the broadcasting of women’s and niche sports.

More details about the Broadcast and Content Reform Package are available at: www.communications.gov.au/bcrp Visit www.tencorporate.com.au

Upgrade for Australia’s Freeview Plus FREEVIEW AUSTRALIA has unveiled the new Freeview Plus service designed to make content discovery easier than ever before, offering a simplified user experience, additional features, and a fresh look and feel.

NEWS + PEOPLE

Key to the upgrade has been the implementation of world’s best practice interface design which now features image-based browsing and the introduction of the My TV function. My TV presents the viewer with imagebased carousels including personalised recommendations and viewers’ favourites along with live TV, catch up and genre-based browsing.

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Other Freeview Plus upgrade features include an easy-to-use guide with backwards navigation to catch-up content and a simplified Mini Guide for quick program discovery.

“The Freeview Plus upgrade is a significant one and we are excited to deliver the next level in content discovery and choice for Australia’s free-to-air TV

programming,” said Freeview CEO Elizabeth Ross. “Australian broadcasters are truly leading the world in innovation and providing a complete TV experience.

With this upgrade and our recently launched Freeview FV mobile app, viewers not only have great convenience but also a fantastic choice of how, when and where they watch their favourite content – for free.”

The new Freeview Plus is now available through all Freeview Plus-enabled television receivers, set-top boxes (STB) or personal video recorders. There are now 12 manufacturers including all of the top five providing fully certified Freeview Plus receivers into the market. More than 85% of all smart televisions carry Freeview Plus.

There are currently around 2.2 million TV receivers in Australia that are Freeview Plus-enabled with an 85% connection rate.

Visit www.freeview.com.au

Introducing ATEM Television Studio Pro HD, the live switcher with 8 SDI/HDMI inputs, multiview, DVE, talkback and more!

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The built in control panel features illuminated buttons for switching sources, mixing audio, adding transitions, using keyers and more. You get one touch access to the most important switcher functions so you can work quickly and confidently! When used with the included free soft ware control panel, you can even have multiple people controlling the switcher on the same program!

Connect up to 8 Sources With 4 HDMI and 4 3G-SDI inputs that support all formats up to 1080p60, you can connect up to 8 cameras, game consoles, computers or other sources.

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You get an upstream keyer with full chroma keying for green screen and blue screen shots so you can add weather maps, graphics, and more behind on-screen talent! You also get 2 downstream keyers for adding graphics, logos and bugs from the built in media pool, or you can use input video with fill and key overlay graphics in real time!

ATEM Television Studio Pro HD $3,575

NEWS + PEOPLE Free-to-Air Community TV Goes Dark AUSTRALIA’S COMMUNITY TELEVISION sector has exited the airwaves following the passing of a June 30 deadline from the Federal Government to clear the spectrum for use by other services.

“In the context of the explosion of shopping and racing channels on free-to-air TV,

After an original deadline of December 2015, the sector was given a 12-month extension, then a further six-month reprieve to allow stations to migrate to online platforms.

so readily kicked off free-to-air.

The latest deadline affects Melbourne’s C31, Channel 44 in Adelaide and West TV Perth. Sydney’s TVS and Brisbane’s 31 Digital have already ceased transmissions.

transition. We have been developing our digital platforms, and building our capacity

The Federal Government is yet to announce what plans it has for the spectrum.

Recent spectrum auctions have not met Government revenue expectations, and some bidders, such as telco companies, have been less than enthusiastic.

for online distribution. We will maintain our linear stream channel beyond July 1.

In a message on the C31 Facebook page, General Manager Matthew Field questioned the switch-off.

on the rise.”

“After a three-year battle and two extensions of our transmitter licence we have today received a letter from Minister Fifield confirming his intention to switch off our free-to-air signal on June 30 this year,” he said in the statement.

“As many of you know, we have fought long and hard to convince Minister Fifield and the Department of Communications that our access to spectrum should be aligned to our broadcast licence, awarded by the ACMA until June 2019, based on this organisation’s financial strength and demonstrable commitment to being open access and supporting media diversity.

“The reality is that the spectrum we currently occupy is valuable and there is no doubt that in the future demand for spectrum will be driven by the data and digital economy, but we have not been able to establish why there is such a rushed determination to kick us off air in the absence of any planned alternative use of our spectrum before 2019.

the instability of Network Ten, and concerns around the lack of diverse Australian voices in mainstream media, it is particularly puzzling that Community TV should be “Despite the frustration caused by the decision, C31 has been hard at work on the to support diverse groups of content creators to produce content that is optimised This channel is accessible on our suite of apps for web, mobile, tablets, Apple TVs and Android-enabled Smart TVs, and we are pleased to report that audiences are In support of a sustainable business model, C31 has also launched a production unit offering live webcasting and production services to cultural events and festivals, local sports organisations and councils. This unit is powered by internship and volunteer programs. The organisation is also developing a social enterprise unit - Community Builder - that aims to support the NFP and NGO sector to create digital content that is optimised for online audiences.

“We have also developed a digital offering for our small business community that supports local business owners to capitalise on social media as a marketing platform,” says Field. “Despite the challenges of the last few years, I'm confident that C31 is evolving into a digital media organisation that will retain the values of access, participation and diversity, and that we can continue to support the next generation of content creators for many years to come.”

Marshall Electronics Expands Oz Coverage with Corsair CORSAIR SOLUTIONS HAS ANNOUNCED that it has signed a distribution agreement with Marshall Electronics, the US based manufacturer of professional LCD monitors, HD Mini-POV cameras, IPTV streaming equipment, video switchers, converters and distribution amplifiers.

“We are thrilled to have been considered by Marshall Electronics to represent their products in our region. Corsair Solutions works with channel partners across many market verticals such as corporate, live production, medical and education and believe that Marshall’s products are going to be very well received by our customers”, said Mark Lampard, Managing Director of Corsair Solutions.”

Bernie Keach, Global Sales Manager for Marshall Electronics explained: “We are excited to work with Corsair Solutions to expand our coverage in Australia and New Zealand. Their commitment to working with the channel and strategies to grow sales for Marshall Electronics in their region are very compelling, I expect that we will see great things from the team at Corsair Solutions.”

Corsair Solutions will be exhibiting at the SMPTE (stand D40) and Integrate (stand F10) trade events held in Sydney and Melbourne respectively. Marshall Electronics products will be on display at both events along with many other products from the portfolio.

Visit www.corsairsolutions.com.au

Madison to Distribute Stewart Audio Amps MADISON TECHNOLOGIES, a value-added distributor of Broadcast & AV technologies, has announced an official agreement with Stewart Audio to distribute its range of high quality audio amplifiers throughout Australia and New Zealand.

Madison Technologies’ Broadcast & Audio Visual Business is expanding to include the well- known, US based audio amplifier manufacturer, Stewart Audio.

NEWS + PEOPLE

Since 1982, Stewart Audio’s singular focus has been making a difference in sound reinforcement. Its broad array of compact, standard and network amplifiers spans

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both the analog and digital worlds, providing customers with a unique combination of features from RS232 control to DSP, all in a compact package.

Ken Kyle, General Manager of Madison Technologies Broadcast & AV business commented, “We are pleased to have the opportunity to represent Stewart Audio across the region. The brand has a great reputation based on quality and innovation and feedback from integration partners is most positive. We look forward to a long partnership.”

Visit www.madisontech.com.au

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NEWS + PEOPLE Techtel Spotlights IPTV, Workflows, and Live Production TECHTEL’S BOOTH (C40) AT SMPTE17 will host a range of new products and new releases from some of the company’s long standing business partners.

Techtel will have three key areas of focus on its booth: Techtel’s IPTV partners will exhibit plenty of new tools and new ideas to improve efficiency and maximise returns for service providers and platform operators.

Techtel will be showing compressed video monitoring solutions from Bridge Technologies, while media networks and scheduling expert Net Insight will be on hand to show off its latest turnkey remote production solutions. Edgeware returns to challenge the content delivery network providers by offering a means to build your own CDN. Techtel has developed a custom Appear TV integrated Amino STB solution for a turnkey campus-based IPTV platform with options for integrated Conditional Access from Verimatrix – ask to take a look when you visit the booth!

File-based workflows are fast becoming the dominant means for content distribution, so Techtel will be showing Vidispine’s media discovery tools, designed to be part of a true open-stack media architecture. Aligning

Axon Continues to Expand APAC Team AXON DIGITAL DESIGN has announced the appointment of Dominic Yip as Technical Support Manager for South East Asia.

Working along side the Axon team based in Singapore, Dominic will provide technical, pre-sales and field engineering support for customers across the region.

with Vidispine will be complimentary software micro-services like Venera Technologies who make Pulsar for file-based quality control and Root6 with its ContentAgent for dedicated transcode and workflow automation. Spectra will be showing its cloud-friendly BlackPearl object storage platform which uniquely allows for either cost-effective LTO tape or disc architectures. Masstech Innovations will be on hand with its storage and archive solutions for news and GrayMeta return to exhibit IRIS, a true end-to-end production collaboration solution for TV or feature films. Etere sales and traffic software will also show off its latest MAM and production workflow tools.

Live Production also plays a key role on the booth, with Techtel showing the collection of studio software and hardware elements that formed part of the latest national ABC News technology refresh, including the AP ENPS newsroom software, CueScript teleprompting, Telemetrics robotics, Apantac multiviewers, Lynx Technik terminal gear and Viz Mosart studio automation.

Visit www.techtel.com.au

Quinto Appoints Chris Parnell to Head NZ Operations QUINTO COMMUNICATIONS has announced the appointment of Chris Parnell as National Sales Manager for New Zealand.

An experienced broadcast engineer, having previously worked with Megahertz Ltd, OASYS, Imagine Communications and Vsolutions, he brings to Axon a strong background in integration and project delivery.

Chris has more than 10 years’ experience in the New Zealand digital industry involving a wide cross section of activities from web design to solutions consultancy services, through to a broad range of IT and broadcast customers.

“We’re delighted to continue expanding our team here in APAC,” said Liming Fu, Axon’s Managing Director APAC. “This is a vibrant and important broadcast market for Axon and with the move to 4K and IP we’re in an excellent position to help our customers address the challenges of transitioning their operations to take advantage of the latest technology.”

Tom Pavicic, Chief Executive Officer of Quinto Communications said, “The collective knowledge, expertise and experience that Chris brings to our company, further strengthens and reinforces our position at the forefront of professional broadcast and IT service providers in New Zealand.

Visit www.axon.tv

Visit www.quinto.com.au

Gina Hogan Appointed GM for Perth SCA SOUTHERN CROSS AUSTEREO (SCA) has announced the appointment of Gina Hogan as the General Manager of its Perth Operations.

Gina will oversee the day-to-day operations of Mix 94.5 and Hit 92.9. As part of a team of General Managers led by SCA’s Chief Operating Officer, John Kelly, Gina will lead Perth’s collaboration with SCA’s National Executives implementing the company initiatives at a local market level.

Gina has more than seventeen years’ experience in management and leading corporate sales and content direction for media companies across radio and television. Since 2009 she has been General Manager of SCA’s Cairns and Tablelands

business with prior roles as Station Manager at Seven Network and Prime Radio.

John Kelly, Chief Operating Officer of SCA said, “I am delighted that after her strong performance at our Cairns operation, Gina is now going to take her exemplary management skills to run our metropolitan operations in Perth.”

Gina said, “I’m thrilled to be taking on new challenges in Perth, and I’m certainly looking forward to the move to WA. With family in the region, I am not a complete stranger to the West.”

Visit www.sca.com.au

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NEWS + PEOPLE Richard Herring Appointed Independent Chairman of OzTAM OZTAM HAS ANNOUNCED the appointment of Richard Herring as independent chairman.

Mr Herring has over thirty years’ media industry experience spanning television, radio and outdoor. He has been CEO of APN Outdoor since 2004 and is a board member and past chairman of the Outdoor Media Association and the Australian out-of-home media industry’s measurement system, MOVE. OzTAM’s outgoing independent chairman, Michael Anderson said, “Richard brings exceptional understanding of our highly dynamic media sector and the critical importance of accountable audience measurement to stakeholders.

“OzTAM’s shareholders are delighted Richard has accepted the role of independent chairman. His commercial acumen and extensive industry relationships will be a tremendous asset to the board and management team as OzTAM continues to evolve to capture changing audience behaviour.”

Richard Herring said, “It is a privilege to be joining such a high profile brand with a strong reputation for delivering a high quality product. I am excited to be part of OzTAM’s highly respected team who are dedicated to providing a world’s best

Dalet Key Management Appointments for Singapore DALET DIGITAL MEDIA SYSTEMS has announce two new key management appointments for the Dalet Asia Pacific region: Cesar Camacho to General Manager, and Rosa Pereiro to Director of Sales. Based at the Dalet Singapore office, the new appointments will serve to strengthen Dalet’s presence and support across the region.

Cesar Camacho will be assuming the position of General Manager in the AsiaPacific region, succeeding Raoul Cospen. Cesar will be responsible for Dalet business and operations across the region, overseeing a team of 40-plus Dalet professionals. Having been with Dalet since 2001 and General Manager of Dalet Spain since 2011, Cesar has been instrumental in the company’s growth and has been a key player in the implementation of Dalet systems in broadcast channels worldwide.

Rosa Pereiro has been promoted to Director of Sales, APAC, from her role as Regional Sales Manager. Rosa will be responsible for driving key customer deals, managing accounts and leading business development efforts across all territories in the Asia-Pacific region. Working closely with Cesar, she will develop strategies for expanding Dalet media and entertainment relationships and strengthening existing ones, helping Dalet to increase sales and penetrate new

Brief Moves TONY LYNCH has started a new position as Executive Producer at Goodman Brothers. He was previously Head of Production Services at Special Broadcasting Service (SBS) Australia MATT TOWN commenced a new position as Post Production Supervisor, The Lego Ninjago Movie at Animal Logic where he was Post Production Supervisor for the Lego Batman VR Experience.

SIMON ROEHRS started a new position as Regional Manager at Vizrt. Simon was previously Regional Manager Broadcast Solutions and Applications at Rohde & Schwarz.

NANCY DIAZ CURIEL has started a new position as Regional Manager APAC at Digigram. Nancy was previously Sales Manager APAC at Digigram.

NEWS + PEOPLE

STEVE KILSBY has jumped into a new position as Operations Director at NEP

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Group where he was previously Technical Project Manager.

DAVID CLARK is starting a new position as Director Technology – Customer Operations at Irdeto. David was previously Head of Technology at MediaHub Australia.

audience measurement system.”

Mr Herring’s appointment follows Mr Anderson’s decision to step down as OzTAM chairman to focus on his recent appointment as CEO of MediaWorks New Zealand.

OzTAM’s shareholders – Seven Network (Operations) Limited, Nine Network Australia Pty Limited and Network Ten Pty Limited – thanked Mr Anderson for his five years as independent chairman, commenting: “Michael’s strategic and leadership skills have been invaluable to OzTAM during a period of rapid industry change and intense scrutiny of audience measurement metrics. We thank him for his wisdom and guidance and wish him continued success in future.”

Mr Herring becomes chairman as OzTAM completes its program to expand its metropolitan and national subscription TV panels by 50%. OzTAM now samples more than 10,000 people each day, making OzTAM ratings estimates even more reliable as Australia’s population grows and audiences spread their viewing over new channels.

Visit www.oztam.com.au markets and accounts throughout the region.

“Under the leadership of Raoul Cospen, our Asia-Pacific presence has grown significantly over the past few years, and all who have been involved in this mission have proven their outstanding capabilities in promoting the Dalet brand in this region,” commented Stephane Schlayen, COO of Dalet.

“Available in most of the region’s languages, the Dalet Galaxy platform proves to be particularly well adapted to the current demands of APAC broadcasters.

Customers such as MediaCorp in Singapore, WION/Zee Media Corporation in India and SBS in Australia are implementing Dalet solutions to drive key innovations in broadcast, digital and social media. These new appointments will be instrumental in the continued success of APAC, and I have full confidence that both Cesar and Rosa will continue to successfully drive the company’s expansion across the region.”

Visit www.dalet.com

Mediaproxy Appoints Mark Horchler Senior VP of Marketing MEDIAPROXY HAS ANNOUNCED the appointment of Mark Horchler as Senior Vice President of Marketing. Based at the head office in Melbourne, he will be responsible for Mediaproxy’s global marketing strategy, which will include supporting the broadcast industry’s adoption of software-based IP video infrastructures.

Prior to joining Mediaproxy, Mr Horchler was head of marketing for the EMEA region at Elemental Technologies, now part of AWS. With nearly two decades of experience in IT, telecommunications and video technology, he has also held marketing roles at broadcast suppliers ATEME and Anevia.

“Having worked in the industry for a number of years, I have seen Mediaproxy’s reputation as a premium solution provider take hold amongst the world’s biggest and most exciting media and entertainment brands,” Mr Horchler said. “When it comes to broadcast monitoring, analysis and compliance Mediaproxy leads the way. I am delighted to have been given the opportunity to join this very talented and driven team, and to play a part in the company’s next phase of growth.”

Visit www.mediaproxy.com

Techtel’s Prompter Service Garners Gong from CueScript PROMPTER MANUFACTURER CUESCRIPT used this year's NAB show to prresent APAC distributor Techtel with an Award for Outstanding Sales and Support in 2016.

Pictured L-R] are: Charlotte Latham, CueScript Manager of Sales & Operations, CueScript Director Brian Larter, Techtel GM, Mal Chandler, Techtel Director of Projects, Matt Feeney, and Techtel Head of Marketing & Online Sales, Jenna Clark.

Freeview FV Takes Top Honour at Connie Awards

Freeview FV was awarded the top honour by the international awards that recognise innovation and the emerging best practice from across all sectors of the media landscape around the world.

“These awards are a true honour, particularly given the incredible depth and range of other award entries in the Connies. To be acknowledged at this level on the international stage is once again great testament to successful collaboration,” said Freeview CEO, Elizabeth Ross.

“The vision, design and user experience were developed through great teamwork which brought together the best and brightest digital experts from within our broadcasters and our Freeview staff,” said Ross.

Earlier in the week, Freeview FV was also announced as a finalist for the AIMIA’s 23rd annual AMY Awards in the entertainment and media smart phone or tablet application category and just last month Freeview won the Gold Stevie for innovation in the entertainment apps category at the international Asia-Pacific Stevie Awards.

Launched in November 2016, Freeview FV is available on iOS and Android mobile and tablets. Freeview FV delivers live streaming of 20 free-to-air TV channels and the catch-up content from all broadcasters with just one click.

Available channels include: ABC, SBS, Seven, Channel 9, TEN, ONE, Eleven ABC2/ ABC KIDS, ABC ME, ABC News 24, SBS VICELAND, Food Network, NITV, 7TWO, 7Mate, 7Flix, Racing.com, 9Gem, 9Go! and 9Life. More live channels will be added as they become available.

Visit www.freeview.com.au

NEWS + PEOPLE

FREEVIEW’S WORLD-FIRST Freeview FV mobile app has won the International Grand Prix Award and Best TV/Video Service Update or Launch Award at the Connie Awards, announced recently in London. Freeview was the only Australian company to win an award.

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NEWS + PEOPLE Haddon Joins ARRI Australia as Technical Sales Advisor MOLLY HADDON HAS JOINED the ARRI Australia/New Zealand team in the new role of Technical Sales Advisor. Haddon is a Screen Production major from Macquarie University’s BA (Media) program and is currently completing a Graduate Certificate in Cinematography at the Australian Film Television and Radio School (AFTRS).

related activities while her technical skills will be honed performing function testing for ARRI’s camera, lens and lighting engineers, Rey Adia and Melaney Yeates.

ARRI ANZ General Manager, Brett Smith said, “Molly’s initiative and willingness to learn was clear to the ARRI Australia team when she joined our trainee program earlier this year. As an aspiring cinematographer Molly brings diverse creative and operational experience to a position that calls for both people and technical skills in equal measure. She is an excellent addition to our team.”

In the lead up to SMPTE17 in July, Haddon is also responsible for coordinating ARRI’s international guest speakers at the show, and the company’s joint drinks and networking event with Barbizon on Thursday the 20th of July.

Haddon reports to ARRI Australia’s Sales Manager, Sean Dooley, for all sales-

Visit www.arri.com

George Miller and the Making of a Film Legend MILLER AND MAX is the story of two heroes. One, a leather jacket-clad road warrior whose adventures in a dystopian future have made an indelible imprint on global popular culture. The other, the artist who created him: a softly spoken son of Greek and Turkish migrants, whose life charters a spectacular course from a tiny Queensland town to the highest echelons of Hollywood. In a sense the two men’s personalities could not be more different.

Max Rockatansky is ravaged by personal demons and is intolerant of others: an impetuous, bitter and violent loner. George Miller is patient, collaborative and perfectionist – a filmmaker with big visions and slow, meticulous turn around times. He’s also a qualified doctor with experience working in hospital emergency wards.

George Miller would make his first film, Mad Max, in 1976 after raising $300,000 from family and friends and hiring a no-name actor, Mel Gibson.

Some of his team would be paid in slabs of beer. Edited in his kitchen at home, the film would go on to gross more than $100 million worldwide and become the most profitable film ever made, a title it kept for over two decades. Miller would go on to make three more Mad Max films over three and half decades culminating in Fury Road in 2015, which against all odds won a recordbreaking six Academy Awards, the largest haul of an Australian film in history.

In between times with success and failure in Hollywood, from Babe to Happy Feet and more, Miller’s quiet determination and audacious film-making is never more apparent than in the Mad Max universe.

Written with the cooperation of a role call of cast, crew, family and associates, Miller and Max gets behind the scenes and on set, as well as behind Miller’s sensible-sounding camouflage to reveal what’s really inside the man – which is more than a little Max Rockatansky. Both forces seem to come out of nowhere, both remain to this day huge forces in the zeitgeist and are truly heroes of our time.

Miller and Max, written by Luke Buckmaster, recently launched at the Sydney Film Festival at Sydney Town Hall, with Luke Buckmaster giving a talk about the Mad Max universe, prior to the book’s launch with appearances from some of the cast and crew of the Mad Max films.

Visit www.lukebuckmaster.com

NEWS + PEOPLE

New Appointments at Ross Video Oceania

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ROSS VIDEO HAS ANNOUNCED that Jos Ford has recently joined the company as a full-time Demonstration Artist. Jos, who has been a prominent freelance vision mixer for over two decades, has a lifetime of television experience and has worked with clients such as Television New Zealand, Sky TV NZ, Maori Television and a host of production companies. Having moved to Sydney from New Zealand, Jos will be working with customers all over the Oceania region and bolsters the Sydney-based team.

Ross has also added to its regional Technical Support team with the appointment of Barry Johnston, who is also based at the Sydney office.

Commenting on Jos’s appointment, Amanda Leighton (Director of Sales for Oceania) is looking forward to its impact. “We’re having an incredible 2017 with the opening of our new Sydney office, some key new appointments that really strengthen our presence in the region and the forthcoming SMPTE event in Sydney. Jos helps boost our demonstration capacity and her enthusiasm and professionalism will definitely bring a lot of value to Ross and to our customers,” she said.

On the forthcoming SMPTE event, Amanda is planning a strong showing from Ross. “We’re looking forward to using SMPTE17 in July to introduce the new team members and to highlight the great new products we launched at NAB. It was the strongest NAB I can remember and the new products allow us to reach an even wider range of customers.”

“Ross has always had a great reputation for its customer support, and Ross staff are known for going the extra mile to ensure customers are happy,” noted Amanda. “Barry definitely fits that mould. He’s extremely knowledgeable and has slotted straight into the team.”

Visit www.rossvideo.com

Migration is a matter of survival

For nearly 50 years Magna has been providing a competitive advantage for its customers in the broadcast industry through the timely adoption of innovations with minimal risk of disruption.

Summed up as secure innovation, Magna de-risk a first-mover advantage and safely takes its customers to where their competitors haven’t gone yet. With Magna, you can rest assured that we’ll get you there securely – we owe it to our reputation.

Contact your local Magna office for more information and a free consultation today.

Auckland +64 9520 1582 Hong Kong +852 2563 4453 Jakarta +62 8181 43923 Singapore +65 6282 3613 Sydney +61 2 9417 1111 sales@magnasys.tv www.magnasys.tv

Visit Magna Systems & Engineering at SMPTE 2017 on stands B46 and B53

TAKING STOCK Moves in the business of content + technology

www.content-technology.com/mediabusiness

Blue Ant Media Acquires RACAT Group with more than 250 international awards including Emmy awards and the prestigious Wildscreen Panda. More recently, the production house’s blue chip series Big Pacific, co-produced with partners PBS, CCTV, ZDF Enterprises, Discovery International, Channel 9 and ARTE, premiered in Cannes at MIPDOC in 2017. NHNZ’s roster of partners and buyers also include National Geographic Channels, Animal Planet, and NHK. The company’s team is made up of over 100 filmmakers, craftspeople, media executives, researchers and technicians. The business will continue to be led by Kyle Murdoch, Managing Director

BLUE ANT MEDIA has announced its acquisition of international media organisation, RACAT Group. Included in the purchase are production houses NHNZ (formerly Natural History New Zealand), Beach House Pictures and Northern Pictures, who license their content to digital and traditional channels worldwide. The purchase also includes international children’s nature broadcaster ZooMoo Networks, and Runaway Play, a mobile game developer and publisher. These businesses operate out of Singapore, Dunedin, Sydney, Beijing and Taipei.

“Blue Ant Media is an ambitious company, well positioned to significantly grow its content production, distribution and channel businesses internationally, notably in Asia Pacific which is why this acquisition is so important for our business,” said Michael MacMillan, Co-founder and CEO, Blue Ant Media. “I’ve known RACAT’s CEO, David Haslingden, for many years and he is a seasoned media executive with an impressive history in the industry spanning more than two decades. His expertise will be invaluable as we continue our worldwide expansion.”

“I am delighted that the RACAT companies are now part of the Blue Ant Media family. Our editorial focuses, product lines and territorial presences make us a perfect fit. While the RACAT businesses have achieved a lot in the last five years, there’s no doubt those achievements will be dwarfed by what we get done in the next five as part of Blue Ant Media,” said David Haslingden, CEO, RACAT.

TAKING STOCK

Prior to launching RACAT in 2012, David Haslingden was President and COO of Fox Networks Group, a role he held after serving as CEO of Fox International Channels and National Geographic Channels Worldwide for ten years. Haslingden, who will remain based Sydney, has become a significant shareholder and member of Blue Ant Media’s board of directors and will be a key member of the team devising the company’s ongoing international growth strategy.

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Effective as of the 1st of September, Blue Ant Media will appoint Ward Platt, current RACAT consultant, to a newly created role, CEO, Kids and Global Networks. Platt’s previous leadership roles include COO positions at National Geographic Partners and Fox International Channels and CEO of National Geographic Channels International from 2013-2015. Platt will be responsible for crafting Blue Ant Media’s global linear and streaming video channels strategy outside of Canada and New Zealand. Operating from Los Angeles, Platt will join Blue Ant Media’s executive management team and will report to Raja Khanna, CEO, Television and Digital, Blue Ant Media.

NHNZ, based in Dunedin, New Zealand, with an office in Beijing, has been in operation for 40 years. NHNZ’s storytelling prowess has been recognised

Singapore-based Beach House Pictures is one of Asia’s largest independent production companies, with offices in Beijing and Taipei. The production house has created 600+ hours of international HD, 3D and 4K content specialising in factual and entertainment programming, creating highly-rated series such as Frontier Borneo (Discovery Channel and UKTV), Wild City narrated by David Attenborough (Channel News Asia), Asia’s Next Top Model Season 3 (Starworld), and Machine Impossible (National Geographic). Five other divisions expand Beach House Pictures’ capabilities beyond factual, to children’s content with Beach House Kids which recently produced Teddies (Okto and Channel Nine Australia), Beach House Entertainment for reality formats and general entertainment programs, currently producing Cesar’s Recruit Asia Season 2, Beach House Labs for digital and branded content, Beach House Academy for skills training and education, and Beach House Studios for Virtual Reality, 3D, animation and broadcast design. The company launched in 2005 and was co-founded by Managing Director, Jocelyn Little and Creative Director, Donovan Chan.

Northern Pictures, based in Sydney, Australia, is a producer of original content for both the Australian and international markets. Its factual division delivers large-scale factual television and feature documentaries with a focus on wildlife and social issues. It is known for innovation, priding itself on documentary series underpinned by journalistic values, unique access and cinematic sensibilities. Series include Kakadu (ABC), Secret Life of Pearls (National Geographic), Changing Minds (ABC), Life on the Reef (ABC, PBS, Arte), Outback (PBS, 9), Whiteley and Blue (Transmission Films). In late 2015, Northern Pictures expanded to create Northern Pictures Kids. With over 160 hours of children’s television in production, Northern Pictures Kids is gaining a reputation for its entertaining, nature inspired content that excites and engages young audiences. The company’s founder and Managing Director, Sue Clothier, is recognised as one of Australia’s leading factual production executives and creative producers.

ZooMoo is an interactive, children’s nature broadcaster with television channels available in over 20 territories including Mexico, Latin America, Singapore, Malaysia, Papua New Guinea, the Maldives, Indonesia, Australia and New Zealand. ZooMoo Networks is a joint venture with DirectTV Latin America, an AT+T company, which holds a 30% stake in the company. The business’ television programming is comprised of over 500 hours of original content, combining spectacular wildlife footage with puppetry, animations and narration to create a unique viewing and learning experience for preschool viewers, aged three to six. ZooMoo’s second screen app provides multi-platform, interactive play for kids via iOS and Android devices.

Founded in 2010, Runaway Play is an independent mobile game developer and publisher also based in Dunedin, that builds games inspired by wildlife and nature. The business now owns and operates three mobile games: Flutter, Splash, and Starlight. The team of 25 artists, developers, designers and publishing staff are also in development on virtual reality game concepts.

Visit http://blueantmedia.ca and www.racatgroup.com

Creativity at full throttle

Gain lightning-fast 4K performance with unrivaled flexibility and extensibility with Avid NEXIS and Avid NEXIS | PRO Pushing large volumes of 4K media through production pipelines can feel like pushing boulders through a straw. To meet the demands of producing high-resolution content, creative teams require a high-performance, real-time collaborative storage environment.

Avid NEXIS™ and Avid NEXIS | PRO offer immense high-speed storage capabilities that allow you to create and adapt without disruption or downtime, with up to 28 GB/s of bandwidth and scalable to nearly 3 PB. Get the speed and throughput that your team needs to accelerate finishing and other media-intensive workflows. And now with support for Pro Tools®, new collaborative workflows for professional audio productions are enabled too.

Visit Amber Technology, Stand E14 at SMPTE, July 18-21 International Convention Centre (ICC) Sydney www.ambertech.com.au

© 2017 Avid Technology, Inc. All rights reserved. Avid ,the Avid logo, Pro Tools and Avid NEXIS are either registered trademarks or trademarks of Avid Technology, Inc. in the United States and/or other countries.

TECHNICAL STANDARDS www.content-technology.com/standards

ICVR, LLC Established to Create VR Headset Standard ICVR, LLC HAS BEEN FOUNDED by LG Electronics, Analogix Semiconductor, Tencent, and Dell to develop the Interface for Connected VR (ICVR) standard, which defines how virtual reality source (VRS) devices, such as smartphones, PCs and other consumer electronics, connect and interoperate with head-mounted displays (HMD).

An open industry standard for virtual reality, augmented reality, and mixed reality headset connectivity based on DisplayPort over USB-C, ICVR carries high quality multi-channel audio, high-definition video, and the head tracking measurement data required to render the virtual environment between the VRS and the HMD. Industry standard content protection technology is also available.

Separating the VR source device from the head-mounted display means that the VR HMD has no heavy battery, no warm CPU, and no transmitting radio next to the user’s head. This allows manufacturers to optimise the headset for a highperformance, comfortable and immersive VR experience. The ICVR standard also simplifies mobile device architectures by removing the burden of more expensive screens and sensors required for phone-based VR applications.

“The ICVR connectivity standard allows interoperability between devices from different manufacturers of VR solutions and will give consumers confidence that their VR headsets will work with any ICVR compliant smartphone or PC. That is, a VR source device from one manufacturer will work with a VR or AR headset from another manufacturer,” said Ramchan Woo, Vice President, New Product Development at LG Electronics. “This will drive an increased level of investment in VR products by hardware manufacturers, developers, and content creators, bringing more applications and an improved VR user experience to consumers.”

The universality of USB Type-C eliminates proprietary protocols and connectors, which is beneficial for the entire VR ecosystem.

“VR solutions available in the market today are all proprietary so they don’t interoperate with each other. DisplayPort over USB-C carries the power, data, and

high-definition video/audio needed to drive a high-quality VR headset in a single standard cable,” said Dr. Ning Zhu, Chief Technology Officer for Analogix. “We are going to see a whole new category of innovative high-performance, lightweight, and affordable HMDs come to market powered by a connected VR smartphone or PC. The ICVR connectivity standard allows VR HMD makers to tap into the existing USB Type-C ecosystem, benefiting from mobile devices that already support DisplayPort over USB-C and accessories such as extended cables and adapters to older interfaces.”

The ICVR specification will be available for adopters who join ICVR, LLC in Q3 2017. Organisations interested in learning more about ICVR and how to become an adopter should email adopter@icvrllc.org.

Visit www.icvrllc.org

Qvest Media, PHABRIX, and ProSiebenSat.1 Produktion Join AIMS THE ALLIANCE FOR IP MEDIA SOLUTIONS (AIMS) has welcomed Qvest Media as a full member and two more associate members – PHABRIX Limited and ProSiebenSat.1 Produktion.

Qvest Media is systems architect in the broadcasting and media technology markets, specialising in the television, media, and telecommunications industries. With a spectrum of services consisting of consulting and development, systems integration, and service and support, Qvest Media offers expertise in the design, development, implementation, and operational support of media technology infrastructures.

PHABRIX designs and manufactures test and measurement instruments for broadcast infrastructures, particularly focusing on the transition from composite video to SD-SDI, HD-SDI, 3G-SDI, UHDTV 1/4K, UHDTV2/8K, and IP. PHABRIX won IABM’s Peter Wayne Award in 2008 for the PHABRIX SxA, the

world’s first handheld generator, analyser, and monitor capable of handling SD-SDI, HD-SDI, and 3G-SDI. Today the company’s product range includes the Qx, the first automatic SMPTE-compliance verification instrument for UHDTV1/4K and UHDTV2/8K and supporting SMPTE 2022-6 over 10 GbE for IP. ProSiebenSat.1 Produktion, a division of German media giant ProSiebenSat.1 Media SE, provides internal and external customers with technical innovations and services for the production, archiving, and multimedia distribution of television content. Its portfolio includes studio production and postproduction, cross-company content management, and a full broadcasting service for over 15 TV stations. The company also provides the entire technical infrastructure for ProSiebenSat.1.

Visit http://aimsalliance.org

SMPTE Publishes Key Reports on Time Code Standard

TECHNICAL STANDARDS

SMPTE RECENTLY PUBLISHED two documents: the ‘Time Code Summit Report’ and the ‘Material eXchange Format (MXF) Time Code Study Report’. Both reports offer insights into how the SMPTE Time Code standard (ST 12-1 Time and Control Code) can evolve to serve as a more useful tool in media production.

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The Time Code Summit Report presents the methodology and findings of surveys performed at the Time Code Summit. The report summarises user requirements that must be addressed by any new Time Code standard, particularly the proposed Time Labels standard to address the changes brought about by the industry’s integration of internet protocol, the push to higher and variable frame-rates, and other factors testing the limits of the existing Time Code standard. The report also includes an explanation of the study effort, the survey questions asked and answers provided, and the dialogue that occurred at each summit.

The MXF Time Code Study Report focuses on the current usage of Time Code within the MXF file format. Since the creation of MXF in 2004, Time Code has been stored within MXF files in many ways – sometimes as metadata, and sometimes as actual Time Code values from tape or streaming. This report is the result of two years spent investigating current MXF Time Code practices and findings. The report considers applications that need to write MXF files with Time Code and applications that need to read MXF files containing Time Code.

It examines the three core requirements highlighted by the study group: MXF should be able to store multiple Time Code values per frame, and they should all be identical, store multiple Time Code values per frame, though they may be from different sources and have different values, and include the appropriate Time Code in audio-only files.

Visit www.smpte.org

ACQUISITION ACQUISITION www.content-technology.com/acquisition

Abraham Joffe Films Kenya with Atomos Shogun Inferno 4K FILMING BIG CATS IN KENYA isn’t easy. Unlike actors, these animals don’t follow direction. Catching, focusing and framing your shots is paramount. You really need to see what’s going on.

That’s why Abraham Joffe turned to the Atomos Shogun monitor recorders with their daylight-viewable high brightness screens for his latest project. Every Flame and Inferno series recorder has a seven-inch display with an incredible 1500nits of brightness. “When we are out here in the African bush we are often in pretty strong light. Even without a hood I can see what’s going on on the screen,” Joffe enthuses. “Atomos is the best screen on the market in my opinion, and it’s a piece of kit that would stay in my bag wherever I go around the world.”

Another key feature for him is the peaking function. “Getting focus is critical, so the ability to have a really strong peaking mode with different colours is fantastic,” he said. It’s so good, in fact, that his team “often just rely on the screen, not even looking at the camera’s viewfinder,” he added. In addition to peaking, the recorders also have the ability to magnify the image to check focus.

Lookup tables, or LUTs as they are known, have become a common way of previewing how your finished footage will appear when graded with different looks. Joffe likes to record as flat as possible, so he appreciates the ability to apply a LUT, “which gives you a very good control over your exposure”. The Atomos Inferno and Flame series have a bank where up to eight LUTs can be preloaded for rapid preview. Hundreds more can be loaded at any time if placed on the SSD. Incredible shots like these demand the highest quality recording, something that Joffe is acutely aware of: “The most important feature for me is the recording capabilities. So we shoot on a variety of different cameras and we like to shoot in 4K at least. We run 4K into these screens every single day.”

Joffe makes full use of the higher quality recording offered by the Shogun recorder. “I record in a ProRes 4:2:2 10-bit stream and it records to SSD. What I love about the SSDs is that they are relatively inexpensive and super-fast so we can dump the footage back at camp and it offloads very, very quickly,” he said.

One reason Joffe favours SSDs over proprietary media is that his team can pack a lot of them – they’re never without storage.

makes them even more affordable to filmmakers who want to achieve the best possible results from their cameras – you can now get a 4K recorder for the cost of a HD product.

The Ninja Flame offers HDR monitoring and 4K ProRes recording for popular cameras with HDMI outputs like the Sony a7s, a7sII, a7rII and a6500.

Ninja Inferno is the perfect match for the Panasonic GH5 and other 4K 60 capable HDMI equipped cameras. It offers 10-bit precision direct to ProRes at the higher 60fps frame-rate.

Shogun Flame offers affordable 4K recording over SDI and HDR monitoring from a wide range of professional cameras. FS-RAW from selected Sony cameras (with appropriate FS-RAW upgrade or expansion pack) is also supported up to 2K 120P.

Being able to play back recorded material instantly to show directors, producers and crew is also a key attraction of the Atomos devices for Joffe. “It can be a very bonding and motivating experience to look at footage straight after its shot,” he explains. “It’s an added feature that’s invaluable to me now.”

The flagship Shogun Inferno offers Quadlink SDI connections for cameras like the Sony F55 and Varicam LT. It can also do CDNG RAW and RAW-to-ProRes recording when combined with selected Panasonic Varicam and Sony FS cameras (again with appropriate FS-RAW upgrade or expansion pack). With the Sony FS5 with FS-RAW upgrade you can now achieve 4K 120fps RAW-to-ProRes in a burst.

The recent price drop for the Atomos Flame and Inferno series monitor recorders

Visit www.atomos.com and http://abrahamjoffe.com

Abraham Joffe – Milli Award for Aussie Cinematographer of the Year AT THIS YEAR’S Fujinon Fujifilm Australian Cinematographers Society (ACS) National Awards, the society’s night of nights MC’d by Australian TV celebrity, Ray Martin AM, it was Abraham Joffe (Tales By Light – Darren Jew: Submerged) who was awarded the coveted Milli for Australian Cinematographer of the Year.

ACQUISITION

Joffe, an internationally award-winning Australian cinematographer who has gained a growing reputation for his documentary and nature productions said, “Tonight I had the enormous honour of receiving the Australian Cinematographers

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Society’s Milli award for Cinematographer of the Year. I can honestly say this is one of the biggest highlights of my career to date, and I am incredibly proud and humbled to have won this prestigious award.”

ACS National President, Ron Johanson OAM ACS said, “Abraham is an incredibly worthy winner of the Milli. An experienced underwater cinematographer who started his career shooting for the late filmmaker and adventurer Malcolm Douglas in the far reaches of the Kimberly’s in Western Australia, he was an early adopter of 4K, taking his cameras to all seven continents. Having founded the Untitled Film Works production company in 2000, Abraham is well known and highly regarded for his unique and creative storytelling.”

Visit www.cinematographer.org.au

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Based in Sydney - Serving Australia and New Zealand Tel +61 2 9855 4300 | Email Sean: sdooley@arri.com.au ARRI Australia Pty Ltd, Level 1, Unit 1, 706 Mowbray Road, Lane Cove NSW 2066

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New Amira Multicam Looks and Features THE NEW AMIRA Software Update Package (SUP) 5.0 further refines

the camera’s Multicam mode – a flexible, open interface for multi-camera broadcast applications.

Available for all AMIRA models, the Multicam mode makes the image quality of ARRI’s ALEV III sensor – also used by ALEXA – available to productions within the multicamera broadcast sphere. Through a Multicam setup, the AMIRA’s shallow depth of field, dynamic range and natural colorimetry lend a cinematic look to live broadcasts and other fast-paced, multi-camera productions.

At its core, Multicam is a flexible interface that can be used with virtually any transmission system. It allows the image parameters of multiple AMIRA cameras to be remote controlled using a Sony RCP (Remote Control Panel), including iris setting.

4K Output at 60fps The big Multicam feature being introduced is dual 6G UHD-SDI support, which improves the cameras’ SDI output data rate to allow external 4K UHD recording at frame rates up to 60fps. Many multi-camera broadcast productions prefer to record at 4K, even if the content will be down-converted for transmission. The increased spatial resolution is best shown off by also increasing the temporal resolution.

Pre-Loaded Looks SUP 5.0 will allow creative looks based on 3D LUTs to be loaded into AMIRA and used in Multicam mode. An individual look for a production can be created in advance and loaded to the cameras, while the image parameters can still be fine-tuned with the RCP. Footage shot on location or acquired elsewhere will also become easier to replicate in a live environment. The ARRI Look Library launched with SUP 5.0 will make a catalog of varied looks available to AMIRA Multicam productions.

Any Transmission System To accommodate customers wanting to source as many elements as possible from one vendor, DTS transmission system components that have been optimised for AMIRA Multicam are available directly from ARRI sales centres. The fibre transmission system from DTS is an attractive solution, however, it is not the only transmission system that can be used.

AMIRA Multicam is agnostic when it comes to a transmission pipeline, it will provide the same production benefits no matter which system is used to connect the cameras to the base station or CCU. Visit www.arri.com

Ross Video Adds to CamBot Line ROSS VIDEO HAS ANNOUNCED two new additions to the CamBot line of free roaming pedestals. Leveraging the geometry of the robotic XY base developed for the CamBot 700XY, the new 600XY series offers the same accuracy, repeatability, and reliability as existing CamBots. Both new models feature the mid-range 600PT pan/ tilt head, which combines a 57kg payload capacity with fast, smooth, and accurate movements. Available in two configurations, users now have a choice of three different models.

The 600XY-S2 combines a two-stage lift with the 600PT head, while the mid-range 600XY-S3 leverages the three-stage lift from the 700XY, which provides a 50% increase in elevation range relative to the S2 version. The payload capacity of the 600XY is suited to today’s studio camera rigs, which typically include an ENG/EFP or box camera and lens, prompter and talent monitor, tally light and clock, and other accessories.

The price of the 600XY-S2 offers an attractive alternative to customers looking for a studio robotics solution. As the cost of cameras, lenses and prompters

has dropped, many budget-conscious studios have opted for five or six pan/tilt heads on tripods, unable to afford the higher cost of a free-roaming pedestal.

However, they were forced to sacrifice flexibility and creativity by giving up the floor and elevation movements afforded by fully robotic pedestals, while creating congestion in the studio. With the breakthrough pricing of the CamBot 600XY, the total cost of three camera chains based on 600XY-S2 pedestals will often be less than a comparable setup based on five or six robotic pan/tilt heads on tripods.

“Customers have been looking for a solution that provides a way for them to get back some of the advantages they enjoyed when they still used manual pedestals, such as the flexibility to reposition cameras anywhere in the studio, or the visual appeal of on-air movements”, stated Bruce Takasaki, Ross Robotics Marketing Product Manager.

With accuracy provided by the differential steering technology incorporated in CamBot, the 600XY pedestals are also suitable for virtual studios and augmented reality. Tracking data is included with all three members of the CamBot freeroaming pedestal series, at no extra charge. This makes CamBot one of the central elements of Virtual Solutions packages from Ross Video. As with all Ross Robotics, the CamBot 600XY series integrates tightly with automated production control systems such as Ross Overdrive, as well as other third party systems.

Visit www.rossvideo.com

Convergent Design Support for Panasonic VariCam

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PANASONIC RECENTLY ANNOUNCED a free firmware update that adds a 2K RAW up to 240fps to the VariCam LT. All available RAW outputs will be supported by Convergent Design in the Raw Bundle for Odyssey7Q+ and Odyssey7Q via a free firmware update in June 2017.

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“We are excited to announce our continued support for the Panasonic VariCam LT. The 2K 240fps update fits nicely into the Odyssey Raw Bundle high frame rate support, and adds versatility to the VariCam LT. The Odyssey and VariCam LT are an ideal pairing and we look forward to our joint firmware release,” said

Mike Schell, President of Convergent Design.”

Convergent Design released free firmware during May supporting Avid DNxHD 4:2:2 for the Odyssey7Q+ and Odyssey7Q in single-channel recording, and for Apollo and Apollo Option multicamera HD. This upcoming release will support bit rates of 220Mb and 145Mb up to 60p from HD video sources. Broadcast applications, especially in Apollo multi-camera operation, will enjoy a native Avid workflow.

Visit www.convergent-design.com and www.newmagic.com.au

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See The World Come Alive With the Sony family of system cameras

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With options for HD, 4K, High Frame Rate (HFR), High Dynamic Range (HDR) and ultra-slow motion they are ideal for demanding sporting applications to the simplest studio installation. These cameras combine cutting edge technology with a familiar and consistent operation across the range.

No matter what your requirements there is a Sony system camera to match your needs and budget.

For more information, please visit pro.sony.com.au

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Discover our line-up of live broadcast and studio cameras. Ideal for shooting live events or in the studio, the wide range of cameras are built on Sony’s record of innovation and reliability.

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AZilPix Debuts Virtual Camera System for Live and Streaming DEVELOPED BY A TEAM of academics in Europe in partnership with established national broadcasters and manufacturers, Studio.One employs ultra-high resolution cameras with wide angle and/or fish eye lenses to capture every aspect of a live event from multiple angles. The system is designed to integrate into a traditional or IP broadcast environment and blend with virtual reality video production, making it suitable for remote internet or broadcast live productions.

Studio.One consists of three integrated components: camera, capture server, and processing software. The server ingests the raw, wide-angle video data from the cameras and allows recording and live processing of this data into one or more rectilinear views and a view mosaic. Although framing can be conducted live, a key advantage of this system is that framing can be carried out offline at the viewing or post production stage. Using software-based pan-tilt-zoom ‘virtual camera’ cut-outs, an operator can capture shots from multiple vantage points – something that would normally require the skills of a small army of cameramen. This makes it suited to a range of events including live regional and college sports, where it can capture an entire game with a crew of only one or two members, using three or four static wide-angle high-resolution cameras. Simply adding a camera with a zoom lens on a pan-tilt unit for close up views will provide more immersive action shots.

“By generating multiple ‘virtual’ cameras from a single physical camera and by using wide angle lenses that ensure every aspect of a live event is captured, Studio.One gives programme makers endless creative possibilities when it comes to deciding how they want their programme to look,” said Prof. Dr. Philippe Bekaert, one of the founders and CTO for AZilPix. “The cameras are very small and unobtrusive, which means they can be used in places where you wouldn’t normally put a camera. It’s also possible to automate the system using pre-

programmed camera motions or motion tracking, while our server allows cameras to be shuttered precisely and simultaneously, with frames to be time stamped with SMPTE LTC or other timecode.”

The demand for technology that gives programme makers, especially those on tight budgets, the ability to capture and stream broadcast quality content is growing, and Studio.One satisfies this demand by combining camera and IT hardware and software in a sophisticated and cost effective manner.

Visit www.azilpix.com

Leica Cine MacroLux Family Grows By Two BUILDING ON THE Leica Cine MacroLux +1 diopter success, CW Sonderoptic has introduced two new diopters in the line: a +2 and a +0.5. Utilising the same Leica optics and coatings as the +1, the new Cine MacroLuxes can be stacked or cut together for consistently beautiful and creative images.

trend right now,” said Gerhard Baier, Managing Director of CW Sonderoptic. “There is no easier way to bring that look to a large number of lenses than with the Leica Cine MacroLux +0.5. Plus, the fall off characteristics give a feeling of increased aperture to any lens, even very wide focal lengths.

The +2, +1 and +0.5 optics share the same mechanical housing, meaning that all three are compatible with 95mm front diameter prime, zoom and anamorphic lenses, and that all the diopters can be stacked and combined for new effects. The addition of the Leica Cine MacroLux +2 offers a greater macro effect for table-top and close-up work. The much requested +0.5 provides many more options for use with wide angle lenses.

“Adding the Cine MacroLux +2 was a must for completing this set. Even though all of these diopters can be stacked and combined, our clients doing macro work needed more flexibility. The +2 provides that to them, because optically speaking, combining two +1s does not exactly equal +2.

It’s closer to +1.7.”

Visit http://cw-sonderoptic.com

“Close focus wide angle cinematography is a very popular

Schneider Optics Expands Full and Split Diopter Lineup DUE TO GROWING POPULARITY, Schneider has added new +⅛, +¼, and +¾ strengths to its existing range of +½, +1, +2, and +3, 138mm close-up full and split-field diopter lenses.

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These tools are mainly used to allow sharp focus when too close to a subject for the camera lens to properly focus on its own. Full diopters affect the entire image area. Schneider split diopters are produced by diamond-cutting a full diopter lens in half, then securely mounting it within a precisely machined metal ring. The result is that half the image is magnified and the other portion is unaffected.

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Schneider’s VP of MPTV Filters, Ira Tiffen, explained, “The split-field diopter lens is particularly effective when you need to bring both foreground and background into sharp focus simultaneously, but the primary lens by itself cannot provide sufficient depth-of-field, even with the lens iris closed down fully. It allows for different treatment of foreground and background simultaneously.”

Made of the finest optical glass, Schneider full and split-field diopters utilise a hard, anti-reflective coating on both front and rear surfaces to measurably reduce flare and light-loss so there’s no need for exposure compensation. This also preserves proper colour, contrast, and overall image quality. These drop-in diopter lenses feature rugged black anodised aluminium rings and are protected by a unique mounting technique that ensures structural integrity and consistent performance, even in the harshest production environments over the long term.

Schneider 138mm full and split-field diopters are now available in strengths of +⅛, +¼, +½, +¾, +1, +2, and +3 from top equipment dealers worldwide.

Calculation of strength depends on focal length, focus setting, object distance, and size.

Visit www.schneideroptics.com

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YI Technology and Google Unveil YI HALO YI TECHNOLOGY RECENTLY UNVEILED YI HALO, a next generation virtual reality (VR) camera built with Google’s Jump technology. By combining advanced capture and stitching technology, creators can build vibrant, immersive VR stories and experiences with confidence.

YI HALO is a 360° capture solution for maximum fidelity and immersion.

It consists of 17 camera units including the Jump platform’s only up-view camera. Built by the engineers who created the YI 4K and 4K+ cameras, the YI HALO’s mechanical structure, hardware, firmware and software have been designed to deliver the highest level of imaging technology. Industrial design, electrical, firmware and optical engineering yield a product that generates high quality 8K x 8K, 360º stereoscopic VR video at 30fps, or 5.8K x 5.8K, 360º stereoscopic video at 60fps.

YI HALO is a versatile 360° capture solution allowing creators to shoot easier, longer and from anywhere. It has a 100-minute battery life, pulling only 50 watts, but also works with AC and alternative power sources. It weighs less

Grass Valley’s Next Gen Camera Base Station and Cradle

than 3.4kg, including the battery, and is easy to mount.

It comes with clear, simple Android, Wi-Fi remote controls, previewing and automated Jump stitching.

YI HALO has been designed and tested to be durable, reliable and future-proof. It features a thermal design and a built-in screen system for control of camera settings and functions. It is also modular, making it possible to upgrade or add new components as available.

Visit https://yitechnology.com the new proposed standard ST 2110) or SDI. The new, advanced UXF cradle also features additional 4x MSA compliant SFP+ slots adding fully redundant IP interfacing and 12G SDI through SFP.

GRASS VALLEY IS TAKING the next step towards a full IP live production solution with the XCU Universe UXF camera base station and UXF cradle.

Together, these solutions support the AIMS roadmap and all IP video formats, including high-speed operation and high dynamic range (HDR), providing the flexibility broadcasters need for current workflows and burgeoning IP workflows.

Grass Valley’s XCU Universe UXF base stations are designed to support the extended bandwidth requirements of the LDX 86 and LDX 86N Series highspeed cameras with up to 6X speed operation, 4K capability and 15 F-stops of HDR in 1X speed operation. XCU now provides enormous overall flexibility with the ability to output any format video over IP (including TR-03, TR-04 and

“When broadcasters and networks purchase broadcast solutions they’re looking for reliable investments, not products that will be outdated in just a couple years,” said Shah. “Grass Valley understands that and prioritises flexibility in its solutions, including the XCU Universe UXF and UXF Cradle, so that they not only survive but thrive under the strain of time and innovation.”

As additional support for productions shared over high bandwidth IP networks, the XF Transmission Direct IP Interface eLicense enables a direct IP interface of the complete transmission protocol between the cameras and XCUs over IP networks.

Visit www.grassvalley.com

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MSE to Introduce ROVER – New Smartphone Camera Cage or locks. The design also allows the handles to become a natural extension of the body, and double as easel arms, suitable for low angle shooting, table-top viewing, and editing.

To ensure flexibility, Rover was designed with 16 Points of Freedom which are industry standard ¼-20 screw mounts for customising and accessorising the rig.

Combined with MSE’s MicroGrip hardware it can be mounted to rails, windows, trees, cars – almost anywhere.

The Rover’s key features include: • Strong, lightweight all aluminium construction adapts to popular smartphones.

• Open Rover Cage design accommodates many third-party lens systems.

• 16 points of Freedom ¼-20-inch mounting points.

• Repositionable cold-shoe-mount adaptor for microphones and lights.

MATTHEWS STUDIO EQUIPMENT introduced the ROVER at NAB. The improving resolution and sensitivity of today’s smartphones is propelling them towards becoming an ubiquitous alternative for cinematography. That process has taken a step closer with the new ROVER smartphone camera cage.

The ROVER was conceived to provide a comfortable ergonomic position, so that hands and arms stay relaxed and the camera movement remains smooth and steady. Integrated dual handles connect to the unique ‘Perfect Friction’ mounts that adjust to any point of 360° rotation without additional tension adjustments

• Centre balanced convertible ¼-20-inch and ⅜ tripod mount.

• Compatible with Matthews MicroGrip heads, accessories and car mounts.

• ‘Perfect Friction’ handle mounts adjust to any point of 360° rotation.

• Repositionable and stackable dual textured handles.

• Handles double as easel supports for low-angle shooting, or table-top viewing and editing.

Visit https://mserover.com

Cineo Puts MavX in the Spotlight CINEO LIGHTING DEBUTED its MavX color-tunable mid-power soft light at NAB. Built on the Cineo Maverick line, the MavX provides all the colour rendering and output benefits of Remote Phosphor Technology (RPT), while offering the ability to dynamically colour tune from 2700K to 6500K, with accurate presets at 3200K, 4300K and 5600K. The MavX uses passive thermal management for soundless operation, delivering a volume of light equal to a traditional 1K soft source with no colour shift or flicker.

It is designed for small studio and portable applications and features the optimised output needed for film, video, and still photography. MavX supports Cineo’s photo-accurate dimming, which matches the dimming curve to camera stops. Local control is complimented by both five-pin wired and wireless DMX control.

“Cineo’s RPT has quickly made its mark in the industry and we are happy to enhance our Maverick line with the colour-tunable MavX,” said Rich Pierceall, CEO, Cineo Lighting.

The MavX is also suitable as a portable, battery-powered soft source. Cineo’s SmartPowertechnology provides consistent light output during battery operation, regardless of the charge state of the battery. MavX also protects a battery fleet by providing adjustment to the fixture’s current draw to match

PAG’s Compact Gold Mount Charger and PowerHub

CORE SWX RECENTLY EXHIBITED its new TorchLED Bolt 250 (TL-BT250) at NAB 2017. Making its NAB-debut, the TL-BT250 leverages a newly patented refractory lens technology providing a 250W equivalent light output. It is 40% thinner than its predecessor, the Bolt 220R, and draws 13W of power.

DURING NAB THIS YEAR, PAG launched a new travel charger for the PAGlink Gold Mount System and the new PowerHub for its PAGlink Gold Mount System of compact, lightweight, intelligent linking batteries.

The TL-BT250 features a separate on/off switch as well as an independent knob for colour temperature between tungsten (3200K) and daylight (5600K). This eliminates the need to mix and match between two dials for the most accurate ambient light. It also features 0-100% dimming control with no noticeable colour shift.

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Visit www.cineolighting.com

Core SWX’s TorchLED Bolt 250 Shines

The TL-BT250 offers users wireless control and adjustment of light settings from up to 76 metres (non-line of sight) with its dedicated nine-channel remote control. It also features a magnetic diffusion filter that allows users to control on/off, select colour temperature and adjust light intensity. Users can also bank up to 10 TL-BT250 lights per channel for unified control during a shoot.

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the output capability of the batteries. Other features of the MavX include 150° light spread, silent, passive cooling and built-in LumenRadio wireless DMX control. The included 80/20 slots provide for mounting flexibility, as well as easy removal of the yoke. Accessories for the MavX include AC adapter, V-Lock battery adapter, Gold Mount battery adapter, barn doors, grids, louvers and soft boxes.

The PAGlink Micro Charger is an ultra-compact travel charger. It features a single charging shoe that clips onto Gold Mount battery contacts. The lightweight charger is compatible with both the PL94 and PL150 PAGlink Gold Mount batteries. PAGlink allows up to eight batteries to be linked for simultaneous charging. Three 94Wh PAGlink Gold Mount batteries can be charged overnight (11 hours) without user-intervention. The Micro Charger can also be used to charge Anton Bauer Li-Ion batteries sequentially.

The PAGlink PowerHub provides multiple outputs for 12V camera accessories.

It’s designed to be used between the two PAGlink Gold Mount batteries, powering your camera and accessories simultaneously while retaining hot-swap capability. It’s also compatible with the PL94 and PL150 PAGlink Gold Mount models.

A complete accessory package provides users with a plug-and-play, out-of-thebox solution. The kit includes a ¼-20 Swivel Shoe mount, PowerTap cable for DC powering from a standard 14.4V brick battery, a battery (the light accepts Sony L-series batteries), and a charger kit.

The PowerHub features five ports that accept interchangeable D-Tap, Lemo (two-pin), Hirose (four-pin) and USB connectors. Four D-Taps and a USB (5V 1A) are issued as standard. The low-profile PowerHub is manufactured from a durable, lightweight ABS and occupies a 13mm deep gap between two PAGlink batteries.

Visit www.coreswx.com

Visit www.paguk.com

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Intel to Bring 360°, VR, 5G and Drones to Olympic Games THE INTERNATIONAL OLYMPIC COMMITTEE (IOC) and Intel have announced a long-term technology partnership at an official signing ceremony in New York with IOC President Thomas Bach and Brian Krzanich, Intel’s Chief Executive Officer.

Intel will join “The Olympic Partner” (TOP) worldwide sponsorship programme, becoming a Worldwide TOP Partner through 2024.

According to the two organisations, the partnership will transform the Olympic Games and the Olympic experience. They say the Olympic Games offer an unparalleled global platform to showcase what Intel technology can do to transform the future of sport. The first Olympic Games activation will take place at the Olympic Winter Games PyeongChang 2018, in South Korea, in February 2018, where Intel technology will provide real-time virtual reality viewing of the Olympic Winter Games.

Working with the IOC, Intel’s contributions to the Olympic Movement will include technology developments that will be rolled out as the multiyear partnership evolves. These will include: • Technological and content support for Olympic Broadcasting Services’ host broadcaster operations, as well as for the Olympic Channel, the multi-platform destination where fans can discover, engage and share in the power of sport and the excitement of the Olympic Games all year round.

• Intel’s 5G platforms will be used at the Olympic Games to demonstrate how 5G will transform communications over the next decade. Starting in 2018, Intel will partner on what is expected to be the first 5G showcase, setting the stage for the global deployment of 5G. • Intel TrueVR will offer the first live virtual reality broadcast of the Olympic Winter Games, providing fans the opportunity for a more immersive experience from their own homes.

• Intel drone light show technology will create never seen-before images in the sky.

• Intel 360 Replay Technology will allow fans to experience the greatest, most memorable Olympic moments from every angle at the Olympic venues. In the future, TV viewers at home will be able to experience what it’s like to be at the Olympic Games with a front-row seat, or choose from many different viewing points in the Olympic venues. The power to choose what they want to see and how they want to experience the Olympic Games will be in the hands of the fans.

Thomas Bach, President of the International Olympic Committee, said, “As a result of Olympic Agenda 2020, the IOC is forging ground-breaking partnerships.

Intel is a world-leader in its field and we’re very excited to be working with the Intel team to drive the future of the Olympic Games through cutting-edge

International Olympic Committee President Thomas Bach, right, has the ultimate Intel True VR viewing experience on Samsung Gear VR. (Credit: Associated Press)

technology. The Olympic Games provide a connection between fans and athletes that has inspired people around the world through sport and the Olympic values of excellence, friendship and respect. Thanks to our new innovative global partnership with Intel, fans in the stadium, athletes and audiences around the world will soon experience the magic of the Olympic Games in completely new ways.”

“We are excited to join the Olympic Movement and integrate Intel’s innovative technologies to advance the Olympics Games experience for fans around the world,” Brian Krzanich, Intel CEO said. “Through this close collaboration with the Olympic family, we will accelerate the adoption of technology for the future of sports on the world’s largest athletic stage”.

As a Worldwide TOP Partner, Intel will support the National Olympic Committees and their teams around the world, as well as the IOC and the Organisers of the Olympic Games. Intel’s global activation rights will include the Olympic Winter Games PyeongChang 2018, the Olympic Games Tokyo 2020, the Olympic Winter Games Beijing 2022 and the Olympic Games in 2024 in a city yet to be selected.

Tsunekazu Takeda, the IOC’s Marketing Commission Chair, said, “Our strategic partnership with Intel is a clear demonstration of the enduring appeal of the Olympic Games and the trust the world’s leading companies have in the Olympic Movement. The Olympic Movement is looking forward to working with Intel to achieve its vision of building a better world through sport.”

Visit www.olympic.org and www.intel.com

Network Ten to Broadcast Hyundai A-League and Caltex Socceroos HYUNDAI A-LEAGUE AND CALTEX SOCCEROOS matches will be broadcast live in prime time on free-to-air commercial television under a deal agreed by Football Federation Australia with Network Ten and FOX SPORTS. Network Ten will broadcast the Harvey Norman Saturday Night football Hyundai A-League games and all finals as well as Caltex Socceroos matches after the completion of the current round of World Cup Qualifiers this year.

The new deal, which will come into effect for the 2017/18 Hyundai A-League season, will see FOX SPORTS’ broadcast of the Saturday 7.30pm blockbuster simulcast LIVE on Network Ten’s ONE.

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The commentary team will feature Mark Bosnich, Robbie Slater, Simon Hill, Adam Peacock, Andy Harper and Tara Rushton who will guide fans through the Saturday night match LIVE on FOX SPORTS and ONE.

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major sport,” said Football Federation Australia chief executive David Gallop.

“We will take the biggest matches of the Hyundai A League – such as the Saturday night derbies – into every household in Australia live for the first time.

“It is part of the overall broadcast deal with FOX SPORTS and means that we will be working with them to drive interest and subscriptions to their ‘all games live’ coverage of the Hyundai A-League.”

Network Ten Chief Executive Officer, Paul Anderson, said, “We are very proud to partner with Football Federation Australia and FOX SPORTS to bring the Hyundai A-League to our viewers on ONE and tenplay every Saturday night.

The announcement follows 2016’s six-year agreement which sees LIVE coverage of every Hyundai A-League game, along with Caltex Socceroos, Westfield Matildas, Westfield W-League and Westfield FFA Cup matches remain on FOX SPORTS.

“From October this year, 27 home and away Harvey Norman Saturday Night football matches and five Finals – plus Caltex Socceroos matches from next year – will have a new home on free-to-air television. We will provide a consistent timeslot on ONE for 30 weeks of the year, promoting the Hyundai A-League and its best game each week to all of Australia.”

“This is a win for football fans and an opportunity for us to showcase our game on a commercial network with a recent history of successfully covering

Visit https://tenplay.com.au/corporate www.foxsports.com.au and www.footballaustralia.com.au

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The Gold Coast Diaries – Chapter 5

By Jeff Coleman TUESDAY MAY 23 2017.

ROOFTOP – GOLD COAST CONVENTION AND EXHIBITION CENTRE, BROADBEACH, QUEENSLAND John Galea records a position on the hand-held GPS just as the day’s first light strikes the building façade. ‘JG’, our Host Broadcast Coordinating Venue Technical Manager, and I are surveying the roof of the Gold Coast Convention and Exhibition Centre (GCCEC) as a likely radio frequency receive site during the 2018 Commonwealth Games.

In particular, we’re looking to locate a link platform suitable for our rights holding broadcasters (RHBs) to receive signals from the live site in Surfers Paradise, as well as various other locations around the city. It’s a perfectly still and clear late-autumn morning, and dawn light casts the coastline, city, and hinterland in a soft, almost-too-perfect luminescence. The jaw-dropping view is, of course, among the reasons for choosing this location – along with the fact that the International Broadcast Centre (IBC) will be located just below where we are standing.

The ability to instantly capture and relay material from around the region supports our mission to provide our RHBs more access to, and more inclusive participation in, our Gold Coast 2018 coverage than in previous Commonwealth Games. Not only will this make for flexible and superior TV coverage for the individual broadcasters, it also supports the Commonwealth Games Federation’s aim for the Games to be seen by as many people around the world as possible.

To this aim we’ll offer a number of digital content access and delivery options – both in the lead up to the Games and the competition itself – to give RHBs maximum flexibility in their coverage, whether they are based on site at the IBC or remotely.

For example, the web-based video library in our Media Room will provide preGames access to archival content, Gold Coast 2018 Organising Committee supplied content, and all Host Broadcaster generated pre-Games programming. It will also house daily content from all venues during the competition, with RHBs able to specify content they require for secure delivery.

Building on our successful internet-delivered service for the Glasgow 2014 Games, participating broadcasters will have seven live streams to use on their own digital platforms, encompassing six multi-channels and one Games Channel feed.

Because many broadcasters will be covering the Games from their home countries, our IBC Web Access facility will allow those working remotely to search and download Host Broadcaster video content, including: twice-daily highlights packages and session highlight packages from each of the venues, broader daily content material from which those packages are compiled, and Host Broadcaster news team content.

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As historic material is important to RHBs in presenting their athletes’ stories, those working on site at the IBC will be able to independently search and access Games archive content. Those covering the Games outside the IBC can remotely access available footage via a customised web interface.

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Our survey complete, JG and I part company at street level and I head over to Griffith University for the latest in a series of Master Classes I’ve been giving at various tertiary institutions on the Coast and in Brisbane. My talk is – not surprisingly – about host broadcasting, which has been a big part of my work life since Sydney 2000, and focuses on my most recent historical project at the Rio Games. Other colleagues give their insights on production, support services and

bookings, with the series having become a great success.

Upon finishing my session, a Brazilian student, Roberto, is excited to talk about Brazil and the fact I’ve lived and worked there. All the students seem keen to be part of the Games next year, and our university outreach and the Host Broadcaster Training Program is one way for us to leave a positive legacy.

Back at the Host Broadcast office in Bundall I catch up with Lindy Dobson, Head of Broadcast Services, about the development of individual RHBs’ coverage plans – a follow up to our unilateral discussions with them last month as part of our second World Broadcasters Meeting (WBM).

The Australian broadcaster and our Games production partner, the Seven Network, and other RHBs including the BBC, TVNZ, and several Asian broadcasters, are looking to host their coverage from the IBC. In addition to commenting from the venues, many broadcasters will also set up location studios and stand-up positions at various iconic spots in and around the Gold Coast. Our goal is to help them showcase this unique and beautiful area to the world, and offer opportunities to enhance their coverage like never before.

Events of particular interest to individual broadcasters for their commentary stations are the Opening and Closing Ceremonies, along with track and field, swimming and track cycling. Other sports such as boxing, gymnastics, diving and hockey are also attracting focus.

In addition to television, it was pleasing to see radio rights holders booking commentary positions at various venues. All broadcasters attending the WBM thanked us for the work we’ve done to date and have complimented us on our planning of production and technical elements, broadcast rate card, our Broadcast Information Manual, and the overall organisation and information provided at the WBM. Our understanding of the finer points of our RHBs’ needs was one of many positive outcomes last month. There’s still a lot of work to be done but the broadcasters returned to their home countries with confidence their Gold Coast 2018 plans are in good hands.

Jeff Coleman is Head of Engineering and Technical Operations for NEP Australia, Host Broadcaster of the 2018 Gold Coast Commonwealth Games. This is the fifth in a series of reports for Content+Technology in which Jeff outlines the 26-month project’s objectives, critical path and milestones. The GC2018 Host Broadcaster – led by NEP Host Broadcast with the support of production partners the Seven Network and Sunset+Vine – will deliver the event television and digital broadcast to rights-holding broadcasters around the world – all up some 1,100 hours of live television.

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NETWORK. AUDIO. VIDEO. CONTROL.

Welcome to Broadcast3.0

Broadcast Broadcast Broadcast

3.0

3.0 3.0

broad·cast 3.0 [ˈbrɔːdkæːst 3.0] Broadcast 3.0 is based on the cornerstones of IP transport, software-defined processing, orchestration and seamless control of network resources, and automated workflows. This 3rd generation of broadcast infrastructure solutions raises production capabilities to a new level, enabling more efficient utilization of resources and smarter content creation.

Enjoy our latest Product News

www.lawo.com

SPORTSCASTING

Join us: SMPTE, #F14 IBC, #8.B50

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SPORTSCASTING

Riedel Adds Desktop SmartPanel to Intelligent User Interface Line

The DSP-2312 also

EARLIER THIS YEAR Riedel introduced the newest member of

high-quality mic preamps,

the SmartPanel family of intelligent user interfaces, the DSP-2312 Desktop SmartPanel. The world’s first keypanel designed as a powerful multifunctional user interface, the app-driven SmartPanel is designed to enrich the user experience and change the way users communicate. The new desktop edition offers the same features as the SmartPanel in a small, ergonomic, low-profile device.

three GPIOs, two network

“Our rack-mounted SmartPanels have been widely adopted by broadcasters around the world, so we recognised an outstanding opportunity to introduce a desktop version,” said Dr Karsten Konrad, Product Manager at Riedel. “But we would not be happy with just another desktop panel. The DSP-2312 shows that products can be innovative and functional while still being beautiful.”

the MediorNet Control and

The new desktop SmartPanel features 12 keys, two TFT touch-screen LCD displays, and an integrated power supply. On-board AES67, AVB, and AES3 connectivity allows for direct connections to Riedel’s Artist digital matrix intercom systems without the need for expansion modules.

Pronology Debuts Screener PRONOLOGY HAS INTRODUCED Screener, a multi-channel, file-based production screening device that records universally playable MP4 files.

Specifically aimed at directors, producers and other industry professionals working in studio, mobile, and sporting environments, Screener replaces legacy DVD recorders that have been traditionally used for screening and adds features that are useful for modern production.

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Creating universally playable MP4 files, Screener is unique in that it is not solely a screening device. It can also visually watermark with text or graphics, record a timecode overlay, run on a standard PC, and offers multiple channels per installation. It allows for HD-SDI playback functionality in multiple resolutions

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boasts two exchangeable headset XLR connections,

connections, a four-wire connection, and support for Riedel SmartPanel Apps – including the Intercom Basic and Plus Apps as well as HandsFree Apps.

The Desktop SmartPanel is the smallest fullfunctioning desktop panel available on the market, making it appealing for use in tight production areas. The new SmartPanel also has ¼-20 threads for use with tripods or Magic Arms.

Visit www.riedel.net and can create sub-clips. This allows extraction of timecode-specific portions of a recording that can be viewed and securely shared for review and approval.

Screener enables users to copy clips to network storage paths and removable storage devices, primarily USB thumb-drives. Other features include mobile device support, HD or SD input options and it allows users to internally add burnin timecode from an external LTC source.

While Screener is based on the same basic architecture as mRes, Pronology’s encoder that can record three tiers of video per input channel and provide various file formats. However, Screener is a scaled-down version specifically designed to accommodate MP4 files for low-res viewing and screening applications.

Visit www.pronology.com

SPORTSCASTING

Armchair Quarterbacks of the World Unite!

A NEW ONLINE SERVICE from the U.S. is providing amateur sports commentators with a platform to call, recap or make predictions on the sport of their choice, backed up by real-time scoreboards, on-air motion graphics and augmented reality, and real-time chat.

SportsCastr.live uses adaptive bit-rate technology to produce live HD streams that are shared on existing social network accounts, like FaceBook and Twitter.

Data for the amateur sportscasters is provided by sports data and technology company, STATS. SportsCastr currently offers real-time scoreboards of games from NFL, NBA, NHL, MLB, CFB, CBB, as well as the EPL and WNBA. Founding investors in the service include: David Stern, NBA Commissioner Emeritus, Jim Boeheim, Syracuse University Head Basketball Coach, Donald Schupak, former Managing Partner of the ABA’s Spirits of St. Louis, Vernon Davis, two-time NFL Pro Bowler and Washington Redskins tight end, Andrew Schupak, SGI MB CEO, and Eric Bechtel, IdeaQuest Founder.

The company is led by CEO Kevin April, whose previous credits include SportsBlog, a network of fan-generated blogs. The New York-based company recently completed an undisclosed funding round led by SGI MB. Founding investor Vernon Davis recently used the platform to broadcast his own live media event to discuss his re-signing with the Washington Redskins.

“This platform is a real game-changer, and I’m so excited to be involved,” said Davis.

Twitter Live Streams Oz E-sports TWITTER RECENTLY PARTNERED with video-game publisher, and eSports tournament organiser, Riot Games Oceania to live stream the inaugural League of Legends: League of Origin tournament globally on Twitter and connected devices.

Taking place in early June, at the ESL Studios in Sydney, League of Legends: League of Origin featured an array of esports stars representing New Zealand, Queensland, New South Wales and Victoria.

“Esports is growing at a rapid pace in Australia and globally, and this partnership is a great way to tap into the engaged audience of gamers that

According to David Stern, NBA Commissioner Emeritus, “When it comes to game broadcasts, fans want what they want, on whatever device they want, whenever they want it. Now, SportsCastr.Live adds a whole new dimension by giving viewers another choice: announced by whomever they want, even if it is themselves. This platform will redefine what it means to ‘call a game.’ Think about it: you can stream the game, watch it in VR, get real-time stats and info, etc... Now you can choose your broadcaster and that person has access to all the bells and whistles necessary to deliver a ‘network quality’ broadcast.”

The SportsCastr.Live streaming platform is currently in public beta. Contentdiscovery and search features are under development.

Visit https://sportscastr.live are already using Twitter as a primary source of content,” said Olly Wilton, Head of Sports at Twitter Australia. “By partnering with leading esports competitions like League of Origin, we look forward to bringing the best of esports live video and conversation together on Twitter.”

“Twitter is one of the most engaging platforms for fans of the OPL and OCS esports leagues, so it made sense to team up for League of Origin,” said Daniel Ringland, Head of Esports at Riot Games Oceania. “The livestream on Twitter will be a shortcut for fans in Oceania and around the world, as they can both watch and engage on the platform at the same time.”

Visit https://twitter.com/i/live

Welcome to Broadcast

LAWO V_Matrix

See PAT at SMPTE 2017 Professional Audio & Television Pty Ltd

AUSTRALIA www.proaudiotv.com.au P: 02 9476 1272 E: sales@proaudiotv.com.au

Hall 3

Stand F14

NEW ZEALAND www.proaudiotv.co.nz P: +64 0800 002 417 E: sales@proaudiotv.co.nz

SPORTSCASTING

SOFTWARE-DEFINED IP-ROUTING & PROCESSING PLATFORM

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Alston Elliot Sports Graphics Broadcast with Bluefish444 UK-BASED ALSTON ELLIOT was founded in 1992, has subsidiaries in South Africa, India and Australia, and is the official graphics service provider to the forthcoming ICC Cricket World Cup 2019 and Rugby World Cup 2019. Alston Elliot’s turnkey graphics services have been adopted by broadcasters of football including the English Premier League, FA Cup, Europa League, and WSL. Graphics services to broadcasters of other sports include snooker, golf, motorsports, darts, athletics, tennis, rugby league, hockey, fishing and kabaddi.

Since having established an office in Australia in 2011, Alston Elliot have supplied some of the country’s leading broadcasters including Fox Sports, Network 10, Channel Nine, Channel 7, ABC and SBS. Audiences in Australia have watched Alston Elliot graphics during the KFC Big Bash cricket, ICC World Cup, A-League football, Australian Grand Prix and National Rugby League, the latter with a new broadcast graphics package for augmented reality on Spidercam.

At the heart of graphics creation by Alston Elliot in Australia are products from Bluefish444, Vizrt and ChyronHego. Viz Arena for virtual ads, analysis and image insertion, Viz Trio for character generation, ChyronHego Paint for telestration and analysis, and ChyronHego Virtual Placement for virtual graphics, are all used interoperably with Bluefish444 Epoch SDI video cards.

Alston Elliot use high-quality, low latency, multi-channel fill and key Bluefish444 SDI I/O Epoch video cards within in-truck and in-studio on-air facilities. Ed Lopes, Operations Manager at Alston Elliot Australia, explained “Bluefish444 video cards integrate perfectly with our on-site requirements, and have allowed us to reduce the size of our in-truck footprint.”

Alston Elliot has integrated numerous models of Bluefish444 SDI video cards into its systems. Epoch | Neutron, Epoch | 4K Supernova and Epoch | 4K Supernova S+ are installed in its mobile setups, and used during high-profile event coverage such as the Rugby World Cup, Olympics, NRL, and Formula One. During such demanding telecasts, Bluefish444 was relied upon to deliver live television broadcast and up-to-date scoring, statistics and graphics.

“It’s important that the hardware we use provides a high level of reliability.

We’ve found Bluefish444 Epoch video cards to be of the highest quality, and the support that we receive is sensational and extremely helpful in all respects”, commented Ed Lopes. “This has been a standout feature of investing in Bluefish444 products. I don’t hesitate to recommend them to anyone looking for

quality I/O solutions.”

The Epoch range of video cards allow for a high amount of flexibility, with the bidirectional nature of the BNCs in all products meaning it is quick and easy to switch between having both input and output, input only, or output only.

This functionality helps to streamline Alston Elliot’s process, as the same card can be used in multiple configurations depending on the needs of the current application. The smaller physical size of their installed Epoch | Neutron and Epoch | Supernova S+ video cards also help to keep their installations more compact, while still retaining a high level of performance and interoperability with Vizrt and ChyronHego applications.

With the future of the sports and broadcast industry in general moving more towards IP-based solutions, Alston Elliot continues to work with Bluefish444 to deliver new workflows, such as online video streaming and second screen applications. “Bluefish444 feature heavily in our plans moving forward,” Ed commented. “With the added bonus of Bluefish444 being based in Melbourne, they definitely get my tick of approval to be a core part of our business for the years ahead.”

Visit https://bluefish444.com

Instant Media Playout System from ENCO PLAYOUT AND AUTOMATION SYSTEM SPECIALIST, ENCO, recently revealed its instant media playout solution, ClipFire.

SPORTSCASTING

ClipFire is designed to meet the market demand for an easier and more costeffective playout solution without sacrificing reliability and flexibility.

ClipFire’s streamlined, fully-graphical user interface is optimised for high-speed, touch-screen operation, putting professional media playout right at operators’ fingertips without the need for keyboard or mouse input. The interface offers an array of active buttons, each displaying a visual thumbnail with clip information and ready to fire playback of video, audio or graphics upon a single click or tap.

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ClipFire is suitable for a range of television and live event production applications, from studio-based news broadcasts and visual radio to concerts and sports coverage.

Buttons can be assigned to play individual clips, overlay graphics, send commands to external devices, or trigger multiple clips simultaneously.

Support for multiple pages and layouts enables users to customise their button setup for different productions without limiting the number of available clips.

The robust durability of the ClipFire appliance also makes it well-suited to a variety of demanding environments, including mobile production trucks, stadiums and temporary venues.

ClipFire brings additional value to users through its multi-format flexibility, offering support for SD, HD and UHD resolutions with built-in up, down and cross-conversion. Clips can be played from local storage or across a network, while native support for multiple codecs and file formats eliminates the need to transcode content before playback.

ClipFire supports video compression and container standards including H.264 (AVC), H.265 (HEVC), MPEG-2, MOV, MP4, AVI and more, alongside audio formats such as WAV, MP3 and MP2. ClipFire appliances feature SDI, HDMI and XLR outputs, while support for NewTek’s Network Device Interface (NDI) IP technology for live production workflows enables real-time playout from ClipFire to other NDI-enabled systems over an IP network.

ClipFire also features the same intuitive and powerful library system as ENCO’s automated television playout system, MOM, making it easy for users to manage their media assets. Operators can organise clips by any criteria, modify metadata, and synchronise ClipFire’s library with other ENCO solutions over a network. ENCO provides a user-programmable, bi-directional interface for integration with third-party systems, while built-in ‘as-run’ logging provides details of content playout for program and advertising tracking.

Visit www.enco.com

SPORTSCASTING

2big Dock Thunderboltâ„¢ 3

Store. Dock. Streamline.

2big does it so your laptop doesn't have to.

USB 3.0 Hub

USB 3.1 Port

Dual Thunderbolt 3 Ports

5 years warranty

Up to 20TB

Enterprise Grade HDD

SD Card and CF Card Slots

DisplayPort

5 YEAR

To find out more about this amazing product as well as the whole LaCie product range, please visit our booth #G30 at SMPTE.

SPORTSCASTING

LIMITED

WARRANTY

33

July 18-21, 2017, International Convention Centre, Darling Harbour, Sydney, Australia

PREVIEW

www.content-technology.com/smptedaily

SMPTE17 – Compelling… thought-provoking… insightful…

THE SMPTE17 CONFERENCE AND EXHIBITION returns to Darling Harbour, on July 18-21 at the new International Convention Centre (ICC). Held every two years, this is the pre-eminent event in Australia for content creators, technologists and suppliers in the new media, motion imaging, sound and broadcast industries.

Attendees will come together to see, hear, learn about and discuss the latest technologies and developments.

'Embracing Connective Media' - the SMPTE17 Conference runs for the first three days, offering a huge variety of technical sessions on the industry’s 'hot' issues, providing great opportunity to hear and learn from local and international thought leaders. The new ICC Conference rooms are situated just above the Exhibition floor, allowing attendees quick and easy access to the displays without missing any of the presentations, panel discussions or tutorials.

The SMPTE17 Conference keynote address will be delivered by Michelle Rowland MP, Shadow Minister for Communications, followed by a very full program.

Just some of the topics and sessions include: • High Dynamic Range – closer to the human eye.

• Moving to IP-based systems – the challenges.

• Virtual and augmented reality – new frontiers in vision and sound.

• Cloud technologies – anything, anywhere?

• Leading with diversity – a panel on women in media and technology.

In-depth case studies include 'Delivering Drama for Extreme Screen' with Ben Allan ACS, using IP technology to bring Francis Ford Coppola’s 'live cinema' project to life, and remote TV production for Formula One motor racing.

For the full Conference program, including detail on specific sessions and speakers, and to book online, go to http://smpte.com.au/2017/conference Tickets are available for the full Conference, or in a bundle of six sessions, fully transferable. SMPTE also offer a very special rate for students of media and screen.

The SMPTE17 Conference is an essential event for anyone who needs to keep abreast of the technological revolution that is driving the industry.

Videocraft Automates Live Production at SMPTE IN ITS LARGEST-EVER SMPTE presence Videocraft, will at this year’s show have a full live automated production demonstration (stands B12 and B14).

With no technology expense spared the demo will also include a live streaming interview set on a raised stage will full lighting grid – a first at any SMPTE Australia show. The set will house the very latest in broadcast and studio cameras, EVS, CCU, audio, and the all-new Ross Graphite which includes the pure production power of the Ross Carbonite production switcher and more.

Videocraft MD James Taylor explained, “Our automated live production set will recreate exactly what would be used in any broadcast or studio environment.

There will be a schedule of talks from industry and technology leaders and for those who don’t watch them live at the show, every talk will be live streamed over the web. Or if you are visiting the show watch from the show floor or on one of our many monitors on display throughout the booth showcasing the latest in broadcast and production monitors.”

There will also be dedicated production and postproduction demonstration areas on the Videocraft stand.

The production area will house the very latest in broadcast and studio cameras including the Sony PXW-FS5, PXW-FS7 II, PMW-F5, PMW-F55, PXW-X500 and PXW-X70, Canon C300 II and Blackmagic Ursa Mini Pro. Alongside the cameras will be a full audio setup using the latest equipment from Sony, Sennheiser and Røde.

In the postproduction area visitors will be able to see all the very latest in storage and editing solutions including four daisy-chained Avid Nexis Pro systems networked via customised workstations with Avid Media Composer, Pro Tools, Adobe Premier Pro and Da Vinci.

James Taylor concluded, “The production and post production areas on the stand have two common themes – flexibility and connectivity. As a result of these and the automated live production set, visitors to the Videocraft stand at SMPTE will be able to look, see, touch and feel the very latest in live production and postproduction solutions. This isn’t just a typical tradeshow stand, it’s the real deal.”

Visit www.videocraft.com.au

SMPTE 2017 PREVIEW

RTW Increases Presence

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RTW IS SET TO DISPLAY its well-known products, as well as a new firmware upgrade for its TouchMonitor TM7 and TM9 series at SMPTE17. RTW will be part of the Professional Audio and Television Pty. Ltd. (PAT) stand F14.

space. The TM9 TouchMonitor brings a new level of professional audio metering in terms of precision, performance, efficiency and flexibility, making installation and use easy for any broadcaster.

“We are looking forward to demonstrating the TM7/9 series firmware upgrades at this year’s SMPTE show,” said Ulrike Lauterbach, Director of Sales and Marketing, RTW. “The opportunity to be at PAT’s stand allows RTW to show both hardware and software audio metering solutions. We are excited to increase our presence in the Australian and New Zealand markets and I think our customers will be happy to see our updates to meet the ever-changing demands of the industry.”

Also on display will be RTW’s TM3 TouchMonitor, Mastering and Loudness Tools and the Continuous Loudness Control Software (CLC). The TM3 TouchMonitor is compact and comes with preset control. It is aimed toward all applications with the need of easy readable loudness-complaint level control. Mastering and Loudness Tools is part of RTW’s Masterclass Plug-Ins series and analyses instruments as plug-in and stand-alone applications featuring all relevant formats. The Continuous Loudness Control Software (CLC) is also part of the Masterclass Plug-Ins series and is used for high-quality and unique sophisticated dynamic loudness correction.

RTW’s TM7/TM9 TouchMonitors feature a seven and nine-inch highly flexible screen that provides the user with intuitive control. The TM7 TouchMonitor is an ideal choice when you are dealing with space issues because instruments can be scaled, randomly positioned and combined for optimal use of available screen

Visit www.rtw.com

SMPTE 2017 PREVIEW

SMPTE17 Exhibitors

Scan to see Exhibition Floorplan

Adeal

B30

FPV Australia

K36

RCS Australia Pty Ltd

G14

Adept Turnkey Pty Ltd

A40

G-Technology

A31

Redwood's Technology

H04

Agile Broadcast

G14

GM Labs

F45

RH Bullard

H48

Amber Technology

E14

Harmonic Inc

B10

Riedel Communications Australia Pty Ltd

H14

ARRI Australia Pty Ltd

E51

I.R.T Communications Pty Ltd

G48

Rohde & Schwarz (Australia) Pty Ltd

D52

Aspera Inc

F06

ICP Global

H11

Ross Video Ltd

D04

Australian Cinematographers Society

F51

Intraware

A53

Sennheiser Australia Pty Ltd

F40

Australian Film Television & Radio School

H25

Jands Pty Ltd

G22

Showcache

E52

AV Group Technologies

A30

JCS Technologies

F60

Silicon Memory Technologies

G30

Avid Technology (Australia) Pty Ltd

E04

John Barry Sales

E40

Silver Trak Digital

H22

Barbizon Australia Pty Ltd

C51

JVC Kenwood

H03

Skytech Innovation

E58

Black Box Network Services Australia

D51

Kayell Australia

E39

Sonifex

G04

Blackmagic Design Pty. Ltd.

A03

KVM Australia Pty Ltd

A37

Sony Australia Limited

C14

Blonde Robot Pty Ltd

B22

Lumina Broadcast Systems Australia Pty Ltd F22

ST Video-Film Technology

K10

Bluefish444

C54

Lumina Broadcast Systems Australia Pty Ltd K22

Stagetec MediaGroup

C04

Brightcove Inc

B41

Magna Systems & Engineering

B53

Strong Developer Corporation

G62

C R Kennedy & Co. Pty Ltd (H/O)

B40

Magna Systems & Engineering

B46

Studiotech Australia

A22

C-Cor

D58

Maxxum

F52

Suzy Cue Australia

G46

Canon Australia

D14

Mediaproxy

H40

Switch Media

G40

Civil Aviation Authority

F62

Mediasmiths

B35

Syncrotech Systems Pty Ltd

H47

CombiTel

F48

ML AU

J21

Technocrane

J22

Content + Technology Magazine

G42

Murray Tregonning & Associates

J21

Techtel Pty Ltd

C40

Corsair Solutions Pty Ltd

D40

Nanjing Nagasoft Corporation

J25

TekInsite Video Technologies

B47

OnAir Solutions

C06

The Good Life

H46

J47

J45

Decimator

D05

Optus Satellite

Thinklogical

A46

Down Under Aquatic Imaging

D56

Pacific Live Media

H05

Videocraft Australia

B12

Dragon Image

E61

Panasonic Australia Pty Limited

B08

Videocraft Australia

B14

Editshare

H30

Preferred Media

A54

VIZRT Australia Pty Ltd

D55

Elan Audio

K45

Professional Audio & Television Pty Ltd

F14

vMix

K14

Elemental Technologies, LLC

H34

Prompt-it Teleprompters

G47

Wireless Components Pty Ltd

Eureka Pacific

F45

Protog

B04

Yamaha Music Australia

Flanders Scientific Inc

A17

Quantum Corporation

A14

Flying Features

E46

Quinto Communications Pty Ltd

F30

J40 A23

For the full exhibition floorplan Scan the QR Code or visit http://smpte.com.au/2017/wp-content/uploads/2017/05/SMPTE-Floor-Plan.pdf

SMPTE 2017 PREVIEW

Dalet

35

SMPTE 2017 PREVIEW

A

AGILE BROADCAST G-14

ADDER TECHNOLOGY A-37 Saxon Way Bar Hill, Cambridge, CB23 8SL UK T: +44 (0)333 207 9766, E: adder@adder.com, www.adder.com Adder Technology’s partner company, KVM Australia, will be representing Adder Technology at SMPTE17.

Adder Technology is a high performance KVM (keyboard, video and mouse) connectivity specialist with extensive experience in the broadcast industry. Adder designs and manufactures KVM switching, extension and matrix solutions that are used throughout the broadcast workflow, from content origination and post-production through to control room and even live set environments. These solutions enable the reliable control of local, remote and global IT systems.

Through its range of high performance solutions – both IP-based KVM and direct connect – Adder is able to meet the exacting needs of this dynamic industry in terms of quality, performance and redundancy.Adder's flagship product range, AdderLink Infinity, has been developed specifically to carry video and audio signals in a pure manner without loss of signal quality. Adder also manufactures a broad range of command and control connectivity and interactivity tools for use in studio and production control.

ADEPT TURNKEY A-40 Level 1, 15 Drake St, Osborne Park, WA, 6017 T: +61 (0)8 9242 5411, E: mfimeri@adeptturnkey. com.au, www.adept.net.au COMPANY REPRESENTATIVES:

Mark Goulding, Kevin Dowsey, Phil Taylor

SMPTE 2017 PREVIEW

Adept Turnkey offers ultra-slow motion and point of view cameras to the film/TV market. On display at this year's SMPTE is the new Phantom Flex4K GS from Vision Research, with 4K, 9.4 megapixel 35mm sensor. As an upgrade to the industry standard and award-winning Flex4K, the Flex4K GS offers both rolling shutter and global shutter modes, making the camera even more versatile that its predecessor.

At its full 4096 x 2304 resolution and 938fps, The Flex4K GS captures sharp, detailed images with the capability of enhanced measurements.

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Also on display will be the compact VEO 340S and VEO 640S cameras. Compact, rugged and packed full of features, these cameras offer four-megapixel resolution at speeds up to 1800fps at 1080P resolution. Their size allows them to be placed in tight spaces for those point of view ultra-slomotion shots.

Adept Turnkey will also feature the plasma lighting from Hive Lighting. Flicker free, durable, fullspectrum colour and high output make Hive Lighting ideal for use with the Vision Research Phantom cameras for high speed imaging.

Amber Technology will feature new and revolutionary products that will significantly impact the way the industry is evolving. Catch up with some familiar faces from the Media Systems team and get ready to be wowed by some amazing gear!

What you can expect to see live on Ambers stand this year include:

Unit 2, 3 Dunlop Court, Bayswater VIC 3153 T: +61 (0)3 9001 0823 info@agilebroadcast.com.au www.agilebroadcast.com.au COMPANY REPRESENTATIVES:

Adrian Harper, Ian Thomson, Chris Penny, Deb Sexton, Blythe Sharkie, David Knott, Jay Tyler – Wheatstone, Kelly Parker – Wheatstone, Trevor Harwood – TJH Systems, David Allan – MNC Software, Mike Crothers – RCS, Mark Wayte – CMI, Samuel DeFour – Digigram Agile Broadcast provides equipment distribution and leading technical solutions to the Australian broadcast industry. SMPTE17 will see Agile Broadcast showcasing digital audio mixing and routing solutions for radio and television from Wheatstone Corporation, broadcast transmission equipment from Elenos, telemetry and monitoring solutions from Davicom, network monitoring and reporting from MNC Software, audio over IP solutions for distribution and contribution plus hardware video encoding systems from Digigram, an extensive range of broadcast tools from Deva Broadcast including monitoring, streaming, and RDS encoder products, high quality audio transmission processors for AM and FM from Wheatstone Corporation, telephone hybrids, codecs and complete digital radio solutions from AVT, panels,cables, match-jacks, patch-panels and adaptors from StudioHub, digital audio editing systems from VoxPro, and professional audio and microphones from Tascam and AKG.Manufacturer representatives will be on the stand to discuss new product developments. Agile Broadcast staff will be available to discuss integration, project management and professional services.

AMBER TECHNOLOGY E-14

2 Daydream Street, Unit 1, Warriewood NSW, 2102, Australia T: +61 (0)2 9998 7600, E: broadcast@ambertech. com.au, www.ambertech.com.au COMPANY REPRESENTATIVES:

Peter Amos, Ross Caston, Leon Hart, Sean Frazer, David Thompson, Brett Chambers, Steve Shelley, Rob Heels, Robert Van Der Vlies, Dylan Cameron, Adam McLeod The Media Systems team, together with experts from Amber’s international brand partners, including Ateme, EVS and Vinten will be highlighting Amber Technology's systems integration capability, focussing on virtual platforms, storage and IP workflow.

• EVS’ demonstrations will include the latest XT4K UHD production server, along with the DYVI live video switcher and Xeebra referee multi-camera review system.

• ATEMEs version 4 of TITAN Live pure-software encoding solutions, highlighted by the TITAN software family that can run on any commercial off-the-shelf server, in any environment, removing all infrastructure constraints.

• Vinten pioneering innovation with its latest offering – the new Vantage Compact Robotic Head. From smooth on-air motion to being camera and lens agnostic, this is a clear upgrade from the traditional PTZ head.

• SAMs Kula multi-format production switcher, combining SD, HD and 4K capabilities. Built on the heritage of SAMs Kahuna switcher, Kula uses innovative FormatFusion3 technology to seamlessly mix any format, up to and including 4K, eliminating the need for external conversion equipment.

ARRI AUSTRALIA E-51

Level 1, Unit 1, 706 Mowbray Road, Lane Cove, NSW 2066, Australia T: +61 2 9855 4300, E: info@arri.com.au, www.arri.com.au COMPANY REPRESENTATIVES:

Brett Smith – General Manager; Molly Haddon and Sean Dooley – Sales, Rey Adia – Device Support, Emily Carter and Mike Wagner – ARRI USA, Michael Jonas – ARRI Munich, Kai Yang – ARRI China, and former ARRI trainee Evan Andrews and six students from AFTRS. Where NAB announces, the SMPTE Australia exhibition delivers and ARRI Australia is truly embodying that mantra this year. SMPTE will take place at the ICC Darling Harbour from the 18th to the 21st of July with ARRI taking stand E51. ARRI will have guest presenters including SkyPanel Product Manager, Mike Wagner, from the USA and ALEXA Mini Product Manager, Michael Jonas, from Germany on the stand, and will host a drinks and networking evening with lighting partners Barbizon on Thursday the 20th of July.

At the show, visitors can get up-close and personal with the myriad award-winning products and services ARRI has to offer the industry. ARRI will be delivering a number of important technical

SMPTE SMPTE2017 2017PREVIEW PREVIEW advances to its Australian customers and partners at SMPTE17. ARRI’s ALEXA SXT camera has gone wireless in 2017, therefore becoming the company’s first entirely wireless professional motion picture camera system. Furthermore, ARRI will be delivering software update packages for their AMIRA and ALEXA Mini cameras. There’s also the new ARRI Look Library, an innovative new feature in these updates, which now establishes a standardised repertoire of looks making it easier than ever for cinematographers to work with a variety of looks during production.

ARRI will also present new pro camera accessories at SMPTE17 and ARRI’s lighting range, which has also made great strides in 2017, will be fully represented. The already popular SkyPanel family of LED soft lights with its third major firmware update will be on display along with a new high-speed ballast.

On the conference side, Michael Wagner from ARRI USA will present on 'Calibrated Colour and Software for LED Luminaires', while Michael Jonas of ARRI Germany will deliver a presentation on 'HDR from the perspective of a camera manufacturer'.

ASPERA F-06 9 Changi Business Park Central 1, The IBM Place, 486048, Singapore T: +1 800 418 1000, E: sales@asperasoft.com, asperasoft.com

COMPANY REPRESENTATIVES:

Francois Quereuil During SMPTE17, Aspera will preview a new streaming platform service that can support any streaming provider (live video or data from TCP as well as UDP sources) without modification, and across a variety of clients (browser, mobile and desktop) using Aspera Files and Aspera Transfer Service SaaS platforms. This builds on the Aspera FASPStream technology introduced last year for transporting live broadcast-quality video and data feeds with guaranteed delivery rates independent of network round trip time and packet loss, opening the possibility of streaming over global, commodity internet paths with extraordinary quality.

Aspera has introduced more than 30 new Aspera Files features for its Personal, Business and Enterprise editions. Ideal for the smallest start-up to the largest enterprise, Files provides a complete high-speed file sharing solution, spanning any public cloud or on-premise storage, and is available as either a pay-as-you-go or volume commitment option directly from Aspera Sales and through the Aspera Store. New client options and features are available via Aspera Drive, Aspera Connect, and Aspera Mobile applications to dramatically extend the user collaboration possibilities for desktop, browser and mobile access. Significant advances in the Files API and ATS API allow for easy integration of the platforms into media workflows and third-party platforms that need fast, easy, highperformance transfer.

Aspera Orchestrator 3.0, the highly-anticipated release of the web-based application and SDK platform for automating and orchestrating the Aspera transfer environment, brings a fresh modern interface designed to speed development and ease administration of the scalable process engine. New features support team collaboration during workflow design, and enhancements to the Platform APIs to help customers programmatically monitor and control workflows at a granular level.

AV GROUP TECHNOLOGIES A-30 Unit 39, 378 Parramatta Rd, Homebush, NSW 2140, Australia T: +61 (0)2 97645911, E: sales@avgroup.com.au, www.avgroup.com.au COMPANY REPRESENTATIVES: Adrian Chespy, Noel

Oakes, Kim Tracey, Paul Seiden – Artel, JP Delport – DTC, Colin Tomlin - Videosys Broadcast, Mohamam Azzam - Wohler Technologies, Craig Newbury - Wohler Technologies, Elio Deluca - Axus Pacific, Danny Wilson - Torque Video AV Group Technologies at SMPTE17 will be showcasing emerging solutions from its trusted partners. The Evolving transition to IP presents for AOIP/VOIP Monitoring from TSL and Wohler.

IP/12G/HDR Test and Measurement from Phabrix.

SMPTE2022-6/7 Transport solutions from Artel.

The latest Wireless RF Camera links and control from DTC / Videosys.

Defining the future of Media Entertainment Technology

SE @SME US STA PT E ND A 22

IP-Based Replay System

Dreamcatcher is the most robust, scalable and modern IP-based replay system in the industry today. Intuitive through its touch panel interface and enhanced editing capabilities, it offers fast, simple and reliable live production.

With over 80 global installations of SDVN, Evertz is the leader in the transition to IP with its COTS solutions. The evEdge, EXE/IPX high capacity packet switch fabric, IPGs, and MAGNUM allow customers to switch open-formats like SMPTE2110 & SMPTE2022.

IP. Here and Now

| RF Products – LNBs to IRDs | Fibre transport – IP & Video over fibre | Magnum – Unified control | EVRemote – Remote production | Modular infrastructure – DAs, Switches & Processors | Mediator X – Media Management | Vistalink – Network Management (NMS) | overtureRT LIVE – Integrated Playout

P: +61 2 8911 5100 E: info@studiotechau.com

www.studiotechau.com

SMPTE 2017 PREVIEW

| Master sync | Routers | Multiviewers|

37

SMPTE 2017 PREVIEW The latest field/studio and PTZ cameras from JVC Professional complimented by the unique DMX control PTZ Head from Rushworks.

Axus Pacific will be showing its latest caption solution for insertion/translation and analysis along with SCTE insertion.

Torque Video, the specialist in the management and monitoring of broadcast quality service, will have its latest flagship, DVMON on display.

To compliment all this, AV Group will have new monitors from Konvision and the latest from Decimator, Cobalt and DNF Controls to make interfacing complete

AVID E-04 Northpoint Tower, Level 40, 100 Miller Street, North Sydney NSW, 2060, Australia T: +61 (0)2 9931 6841, www.avid.com COMPANY REPRESENTATIVES: Sean Curran, Randall

Titus, David Woodward, John Sandoval, Pip Warren, Alon Stoerman, Steven Chavez, Drew Parsons, Ozzie Sutherland, Daniel Lovell, Karen Eastmure As the next phase of Avid Everywhere, Avid is extending the Avid MediaCentral Platform to the cloud, showcasing end-to-end 4K/IP workflows, enhancing immersive workflows, and expanding the Alliance Partner ecosystem, with major advancements across all product suites.

Avid has chosen Microsoft Azure as its preferred cloud hosting platform, and will develop and launch

B BLACKMAGIC DESIGN A-03 11 Gateway Court, Port Melbourne VIC, 3207, Australia T: +61 (0)3 9682 4770, E: info@blackmagicdesign. com, www.blackmagicdesign.com Blackmagic Design will showcase its latest product offerings for the feature film, post production and television broadcast industries. Products on display will include URSA Mini Pro 4.6K, DaVinci Resolve 14, innovative new control panels for DaVinci Resolve, Video Assist, ATEM Television Studio HD and ATEM Television Studio Pro HD, HyperDeck Studio Mini, and more.

BRIGHTCOVE B-41 Level 17, 1 Margaret Street, Sydney NSW, 2000, Australia Tel: +61 (0)2 8310 4376, E: anz@brightcove.com, www.brightcove.com Brightcove is a global provider of powerful cloud solutions for delivering and monetising video across connected devices. The company offers a full suite of products and services that reduce the cost and complexity associated with publishing, distributing, measuring and monetising video across devices.

Brightcove has thousands of customers in over 70 countries that rely on the company’s cloud solutions to successfully publish high-quality video experiences to audiences everywhere.

a range of Software-as-a-Service (SaaS) and Platform-as-a-Service (PaaS) offerings powered by the Avid MediaCentral Platform.

Avid NEXIS intelligent media storage enhancements now offer greater bandwidth scalability and extended workflows with Pro Tools, empowering

COMBITEL GROUP O-01 Unit 12, 347 Bay Road, Cheltenham VIC, 3192, Australia T: +61 (0)3 8676 5300 E: info@combitel.com.au, www.combitel.com.au COMPANY REPRESENTATIVES:

Eugene Razbash, Mark Papo Combitel Group will be showcasing the latest in IPbased content delivery and management solutions for broadcast and enterprise markets, including the latest release of its Omniscreen Pilot software.

Omniscreen Pilot incorporates a media server so it supports live and on-demand streaming to commercial smart TV, set-top boxes, PCs and mobile devices. It is an excellent IPTV solution for in-house distribution in broadcast studios and enterprises alike.

It is complemented by Omniscreen Radio streamer, which receives AM/FM/DAB+ stations and streams the audio and graphics over a LAN. This new release now supports live EPG and data acquisition from DAB+ radio stations including ABC and SBS in Australia.

Combitel will also showcase the latest product releases from its vendor partners: Arris, Amino, Axing, Broadstream, Teleste, Teracue, VideoFlow, Verimatrix and others.

CORSAIR SOLUTIONS D-40

and collaboration. Avid brings native Dolby Atmos mixing to Pro Tools|HD and S6. With deep

COMPANY REPRESENTATIVES:

integration of Dolby Atmos in Pro Tools, audio post

Sue Gilks – Business Director, APAC

T: +61 (0)3 9005 9861, E: sales@corsairsolutions. com.au, www.corsairsolutions.com.au

professionals can now create massive multichannel

Broadcast Wireless Systems was founded to provide specialist provision and support of wireless systems to the world-wide broadcast industry.

Mark Lampard, Brad Morton, Mark Hall, Chris Bisset, Donovan Radbourne-Pugh

mixes more easily in the industry’s leading immersive audio format for movies, TV shows, music, and video games.

Avid Artist|DNxIQ accelerates video workflows.

With this new video interface’s extensive format support, from SD to 4K and Universal Mastering, video professionals can quickly and easily respond to changing content demands and deliver to a wider range of channels and device.

SMPTE 2017 PREVIEW

Unit 9, Swanwick Business Centre, Southampton, S031 7GB, UK

C

T: +65 (0)9823 9495, E: sue.gilks@ broadcastwirelesssystems.com, www. broadcastwirelesssystems.com

creative teams with even better speed, efficiency,

38

BROADCAST WIRELESS SYSTEMS K-22

low power consumption of the NanoPRO make it suitable for PoV and UAV/PoV applications as well as more traditional camera mounting use. Optional low power consumption power amplifiers are also available for even greater range capability.

Avid TD Control enables you to manage multiple display surfaces, regardless of aspect ratio, size and shape, or resolution, including Ultra HD. It features a built-in pixel base router that provides accurate mapping to different video walls. You can also display different formats simultaneously across inputs and outputs.

At SMPTE17, Broadcast Wireless Systems will be launching its revolutionary Sapphire Ultra-low delay HEVC/4K codec platform- enabling practical 4K wireless camera operation to be realised for the first time. The Sapphire codec can compress a single 4K UHD or up to four simultaneous HD inputs making it suitable for super slo-mo, aerial relay, as well as multi-camera on-boards. Available in different hardware formats, and when combined with bracket options, you can make use of existing COFDM transmitters, converting legacy SD or HD systems into HEVC HD/4K operation. Alongside the Sapphire will be the popular NanoPRO MPEG-4 COFDM HD transmitter, a slim profile unit with an integrated control panel as well as power, video lock, and RF on indicators. The small size, light-weight and ultra-

Level 1, 108 Johnston Street, Collingwood VIC, 3066, Australia

COMPANY REPRESENTATIVES:

Corsair solutions distributes professional and commercial equipment, and is a trusted partner of integrators and professional video equipment resellers throughout Australia and New Zealand.

Marshall Electronics have a range of Miniature and Compact Full-HD POV/Lipstick Cameras with 3G-SDI outputs perfect for Broadcast applications or where IP ratings are required. Easily control up to 7 cameras with the Touchscreen RCP control. Their cost-effective 'all-in-one' Monitor range encompasses rackmount, Stand-Alone and outdoor camera-top units. Perfect solutions for post-production, broadcasters, and mobile units.

Featuring everything from fibre and SDI inputs to quad and in-monitor displays.

SMPTE SMPTE2017 2017PREVIEW PREVIEW

Metus now offer a valuable option for archiving film, video and historical materials with JPEG2000 codec support in Metus multi-channel Ingest. The company’s MAM, in addition to this, provides a very powerful and scalable media management system and transcoding tool.

Using Comprimato's GPU-based technology, METUS offers faster encoding with the highest image quality. When encoding J2K contained MXF OP1a media files, METUS INGEST can reduce overall workflow processing by as much as 50%. With its competitive price and multi-input function, Metus INGEST is a strong candidate for leading the JPEG2000 encoding market.

Lumens new PTZ models aimed towards the broadcast markets feature high-speed, quiet and precise movements, and are quickly becoming cameras of choice due to their price/performance offering. From models with ethernet, HDMI, and 3G-SDI outputs, to 4K HDMI/HDBaseT with integrated tally lights.

D

E

F

EDITSHARE

FLYING FEATURES E-45

H-30 Garden City Office Park, Bld 6, 2404 Logan Road, Eight Mile Plains, Brisbane, QLD, Australia, 4113

COMPANY REPRESENTATIVES:

com, www.editshare.com

Adam Huddlestone, Peter Davis

EditShare will showcase its 4K, 8K and beyond solutions, including the brand new XStream EFS single-node models designed to support smaller productions, at SMPTE Australia.

XStream EFS storage is a powerful, distributed, scale-out file system combined with a resilient architecture. It supports large-scale workgroups and high-bandwidth, high-volume media ingest, transcoding, online collaborative editing and multiplatform distribution of HD, 2K, 4K and beyond.

The new XStream EFS 200 is a single-node configuration with 12 enterprise-grade HDDs capacity in a 2U space-saving form factor. The XStream EFS 200 is 'EFS Native Client' compatible.

It connects workstations via a lightning-fast, multi-threaded client to achieve 20% performance boost compared to legacy SMB and AFP network protocols.

cost per TB (usable) than is available with XStream

16 Rue Rivay, Levallois-Perret, 92300, France

Equipped with 16 drives, the EFS 300 provides 28,

T: +33 1 4127 6700, E: sales@dalet.com, www. dalet.com

56, 84, 112 or 140 TB of usable capacity in a 3U

COMPANY REPRESENTATIVES:

has additional processor power delivering increased

Workflow specific, task-oriented tools have native access to this central catalogue, facilitating all aspects of content creation, management and distribution: tools to design, manage and share media and metadata, tools to orchestrate the workflow, automate processes and human tasks, integration tools to unify disparate components into a cohesive system, and business intelligence enables customisable reports for full visibility over the performance of operations.

Flying Features offers the very latest aerial camera systems in Australia, together with over 25 years of aerial cinematography experience. The GSS is the most advanced aerial cinema camera platform available, capable of capturing supremely stable and silky smooth UHD, 4K, and 6K imagery in a lightweight carbon-fibre package.

Flying Features’ vast experience in aerial filming, combined with its relationships with trusted film and helicopter pilots enables Flying Features as a full service provider of gyrostabilised imagery – both in the air and on the ground.

G

offering 24, 48, 64, 96 or 128 TB of raw storage

Customers who need greater capacity and lower

Dalet Galaxy is a media asset management and orchestration platform which unifies the content chain by managing assets, metadata, workflows and processes across multiple and diverse production and distribution systems. Tailored for media workflows, this technology platform helps broadcasters and media professionals increase productivity while providing operational and business visibility. A central, unified multimedia content catalog manages rich media assets across an organisation enabling seamless collaboration.

T: +61 (0)416 061 713, E: adam@flyingfeatures. com, www.flyingfeatures.com

T: +61 (0)7 3171 2950, E: sales.asia@editshare.

DALET J-45

Cesar Camacho – General Manager APAC, Rosa Pereiro – Director of Sales APAC

47 Barkly St, Brunswick East VIC, 3057, Australia

EFS 200 can step into the new XStream EFS 300.

chassis. Along with increased capacity, the EFS 300 bandwidth capability and stream counts. The EFS 300 is also 'EFS Native Client' compatible.

The expansive Flow production asset management platform adds an intelligence layer to EditShare storage, offering content indexing, search and automation. It integrates third-party solutions including Quality Control (QC) and file transfer system, connecting production and post processes for greater oversight of important media processes.

The web-based AirFlow and Flow Story power remote workflows. AirFlow allows staff to search, log, edit and play proxies in a web browser from any location. Users can securely download and upload proxy or high-resolution media from on-premise EditShare storage systems from anywhere in the world. With the same remote yet secure access to on-premise EditShare storage, Flow Story lets users assemble content, add voiceovers and collaborate with other NLEs for finishing, delivery or playout.

GRASS VALLEY (MADISON TECHNOLOGIES) C-18 Unit 8, 372 Eastern Valley Way, Chatswood, NSW, 2067, Australia T: +61 (0)2 8467 1600, www.grassvalley.com COMPANY REPRESENTATIVES:

Ward Hansford, Ric Zattera, Bob Terry, Tony Moran, Darren Lowe Grass Valley is completely focused on empowering its clients to create, control and connect content wherever, whenever and however it is consumed. In this ever- changing media landscape, content still remains the most important element. However, the packaging and delivery of that content needs to be adaptable and efficient.

While clients need to continue to support their existing legacy workflows for content creation and delivery through traditional broadcasting, many are seeking new workflows which will facilitate the efficient creation and delivery of their content for Over-The-Top (OTT) and Video-On-Demand (VoD) platforms for delivery onto tablets, PCs and other mobile devices. Grass Valley’s solutions address those needs. GV provides innovative tools and the expertise to help customers improve the efficiency of their operations while providing them the means for telling better stories in order to attract and keep viewers. To better equip professionals for the demands of today’s market, GV provides cutting edge IP solutions based on open standards to help improve broadcasters’ business agility as well as a wide range of 4K capture and workflow solutions capable of telling a story with stunning visuals. Whether HD or 4K, SDI or IP, transitional hybrid workflow or greenfield, Grass Valley delivers solutions that make customers more successful.

This year Grass Valley will partner with its recently appointed platinum re-seller and Belden’s

SMPTE 2017 PREVIEW

The team is excited about the new products from Livestream and will be showing these off at SMPTE17. The Livestream HD550 4K, features 4K encoding, NDI support and hardware acceleration.

The Livestream Mevo camera will be used in a broadcast work ow as a remote camera into Livestream Studio. YouTube Live, 4K recording and 1080p streaming have also been added recently to the camera.

39

SMPTE 2017 PREVIEW distributor, Madison Technologies, to showcase and exhibit a number of products including:

and take a close-up look at some of the latest broadcast-suited products, including:

• LDX Series Cameras – IP, 4K and HDR capable.

Shure Axient Digital – Axient Digital builds on the superior benefits of Shure’s UHF-R, ULX-D, and Axient wireless systems to create the most advanced wireless platform to date, suited for all professional productions and situations. Catering to evolving customer needs – especially in an environment of continued RF spectrum pressure – Axient Digital provides high-performance RF, exceptional audio quality, command and control, and hardware scalability.

• New GV Korona V-Series compact Vision Switcher – 3G & IP capable.

• DynoS Live Replay Solution for 3G, 4K and 3x or 6x slo-mo replay.

• GV Node real-time IP based processing and edge routing system.

Grass Valley and Madison consultants will be on hand to discuss any specific needs you may have.

I IRT COMMUNICATIONS G-48 Unit C1, 15 Narabang Way, Belrose NSW, 2085, Australia T: +61 (0)2 9986 2199, E: sales@ irtcommunications.com, www.irtcommunications.com

Studer Glacier Console – The Studer Glacier Series is a highly customisable broadcast audio solution that provides comprehensive control, flexibility and interoperability for any on-air application.

Two streamlined modules make operation faster and easier by providing essential controls for live broadcast.

Chroma-Q Space Force LED – The Space Force is a cutting-edge variable white LED space light that is a modern replacement for conventional space lights or soft light sources commonly used in film and TV studios around the world. The Space Force benefits from cool running, energy efficiency, lightweight design and minimum

K KAYELL AUSTRALIA E-39 30 Whiting Street, Artarmon, NSW, 2064, Australia T: +61 (0)2 8423 7700, E: info@kayell.com.au, www.kayellaustralia.com.au COMPANY REPRESENTATIVES:

Josh Harvey, Nicki Vinnicombe, Peter Munro, Ross Kanarek – CEO Core SWX The Kayell Australia booth is made up of award winning brands such as SmallHD, Core SWX, Redrock Micro, Westcott, Aputure, Eizo and GoPro's Omni.

Some of the products featured at SMPTE17 include new SmallHD Ultra Bright monitors, new HyperCore Mini 9 batteries, and the fastest V-Mount chargers in the market by Core SWX, various LED lights from Aputure, new gimbal accessories by Redrock Micro, GoPro's Omni 360° VR system, flexible and waterproof LED's by Westcott, and Eizo's Prominence CG3145 HDR monitor.

L

maintenance.

COMPANY REPRESENTATIVES:

Andrew Larkin, John Dinnie, Cameron McKenzie IRT Communications is an Australian designer and manufacturer of electronic cards used in the broadcast and telco industries. Principally ‘glue’ and signal transport applications, IRT Communications include distribution amplifiers, audio embedders and de-embedders, switches, signal converters and fibre links in both Eurocard and openGear formats allowing flexibility in system design.

T: +61 (0)2 9428 4349, E: sales@luminabsa.com.au, www.luminabsa.com

T: +61 (0)2 8878 6600, E: sales@jcstech.com.au,

COMPANY REPRESENTATIVES:

www.jcstech.com.au COMPANY REPRESENTATIVES:

Peter Warren, Lillian Warren, Lindsay Fietz, John Whitfeld, Nick Batton, Peter Swientek

John Okeil, Andrew Kennedy, Michael Vlahakis,

On the Lumina booth this year:

At SMPTE17, IRT Communications will have on display its new 16 channel 3G/HD/SD-SDI/ASI + ethernet fibre link, which is a multi-channel to single fibre device in a 1RU 19-inch rack mount box, available as either a 16Tx, 16Rx, 12Tx+4Rx, 12Rx+4Tx, 8Tx+8Rx, 8Rx+8Tx, 8Tx, 8Rx, 4Tx+4Rx, and 4Rx+4Tx models. This equates to a lot of data transport in a small package. Perfect for where rack space is at a premium or where fibre cores are limited.

cabling solutions for defence, broadcast, enterprise,

J

opticalCON Assembler) partner for Australia,

T: +61 (0)2 9582 0909, www.jands.com.au Jands will be showcasing some exciting new audio, lighting and staging products geared to towards the broadcast industry, notably for studios, portable and installed broadcast, field work, post production and radio broadcasting.

Stop by the stand, have a chat with the Jands staff

PO Box 1693, Lane Cove NSW, 1595, Australia

NSW, 2114, Australia

Major customers include all Australian major broadcasters and telcos, as well as overseas markets in Asia, Europe and the U.S.A.

40 Kent Rd, Mascot, NSW, 2020, Australia

SMPTE 2017 PREVIEW

U1, 5-11 Mellor Street, West Ryde

David Hume, Clive Rae, Duncan Jamieson

JANDS G-22

40

JCS TECHNOLOGIES F-60

LUMINA BROADCAST SYSTEMS F-22 & K22

JCS is an established Australian owned and operated manufacturer and supplier of specialty fibre optic industrial and broadband applications.

Close supply relationships with world leaders in fibre optic hardware and the latest in fibre termination technology enable JCS to provide the latest innovative and rugged industry-standard fibre optic systems servicing the bandwidth-hungry digital broadcast and AV world.

JCS is the Neutrik certified COCA (Certified offering a comprehensive suite of standard and custom Neutrik assemblies, and a rapid-turnaround repair service. The Neutrik opticalCON Advanced DUO and QUAD have become the industry standard optical interconnects, and the high-capacity opticalCON MTP is gaining increasing popularity.

At SMPTE17, JCS introduces two new Neutrik products: the Neutrik opticalCON LITE – a semirugged fibre optic connection which is fully compatible with opticalCON ADVANCED: its lightweight, compact design, robust housing, and high mating cycles provide a safe and cost-effective connection.

NTT – 4K Contribution Encoders and Decoders, Superior quality and performance using singlechip HEVC Encoder LSI Supports 4K/60p 4:2:2 10bit. HEVC and H264 Encoding over IP or ASI, 160Mb maximum transport stream.

VISLINK – HEVC 4K UHD Camera Transmitter. The HCAM is highly flexible and can be mounted to broadcast cameras for sporting events, ENG cameras for news and even prosumer cameras to broaden the market reach. Ultra 4K Encoder/ Decoder for DSNG applications.

Newtec – MXC7000 Broadcast Modulator/ Demodulator in the one frame, DVB-S2 Extensions, IF and RF I/O, ASI and TSoIP GBE interfaces.

COMREX – ACCESS NX the ultimate tool to take advantage of these advances. Designed from the ground up as a platform for CrossLock, Comrex sophisticated custom reliability layer. Opal the IP audio gateway that enables guests to connect to the studio by simply clicking a link. It provides HD quality audio from consumer-grade equipment, like a cellphone or a computer with a microphone.

ETL – The StingRay L-band RF over Fibre, available as single modules or rack mount frames, fibre

TECHNICAL STANDARDS M

SMPTE SMPTE2017 2017PREVIEW PREVIEW

chassis are designed to give compact fibre links

Tedial and Telestream providing the workflow

of up to 10 km (Link budget 4 dB).

management solutions needed to adapt to

Advantech Wireless – SSPA/SSPB’s based on GaN technology the new Ku Band/Ka Band/C Band and X Band BUCs provide high power density in a

MADISON TECHNOLOGIES (GRASS VALLEY) C-18

thewww.content-technology.com/standards changing end platform. There will also be other cutting edge solutions from Appear TV, ChyronHego, Crystal Systems, Ikegami, Mediaware,

Oracle, RTS, and TVU Networks.

AIMS Interop at VidTrans17T: 1800 00 77 80, DPP Guide toNevion, Connectivity Main areas of emphasis include delivering media to XICOM – Rack Mount SuperPowerTM E: avsales@madisontech.com.auServices for Production Shows Viability ofTWTA SMPTE 2110 new platforms and redefining the workflow to suit. compact size.

Amplifier Doubles the power and capacity of

Madison Technologies Broadcast & Audio Visual is UHD solutions will also be (DPP) highlighted as will those existing links.OF the Alliance for IP Media Solutions (AIMS) MEMBERS recentlyvalue added distributor THE DIGITAL PRODUCTION PARTNERSHIP recently an Australian of professional that involve social media, contributed to an interop session, Video published the first ever guide to helpdelivering producerscontent find thetoright kind of OTT ANYWAVE – world leader in the designwhich and was sponsored andby commercial-grade audio visual and broadcast and SVOD. Services Forum (VSF) and concluded at VidTrans17 in Los Angeles, which connectivity for their business.

‘The DPP Survey Report: Connectivity manufacture of broadcast transmission technology products and solutions.

showcased the viability of the draft SMPTE 2110 standard and AMWA Supply to Production’ helps producers to identify the kind of Whether it’s upgrading a broadcast facility, setting IS-04 as a carefully architected IP initiative. connectivity provision appropriate to their needs, with an indication of MEDIAPROXY growing products covering all world broadcast up a commercial facility or live streaming costs andyour type of service.H-40 Leading up to VidTrans17, 19 AIMS members took part in VSF-sponsored equipment. Offering a wide range and ever

standards. From world renowned digital exciters

to the world, Madison Technologies offers interoperability testing at the Fox technical center in message The Woodlands, “Our previous research with production companies has revealed that 1/10 Westall Road, Clayton South VIC, 3169, to full solid TVwas transmitters up to 20kW. unbeatable Texas.

The state testing unprecedented, as it was thean first time a combination of technical many stillexpertise rely on inadequate broadband connections, and don’t always Australia and products for the future integrated significant number ofofparticipants focused in specifically onquality interoperability 2WCOM – manufacturer broadcast products feel of they understand the alternatives,” says DPP Managing Director, Mark T: +61 (0)3 9549 1100, E: sales@mediaproxy.com, of the SMPTE ST-2110 Approximately 19 of whom solutions. the fields of Audio over IP,drafts.

FM, RDS, DAB, DAB+,21 vendors, Harrison. “So, we have conducted some research, and sought the advice www.mediaproxy.com were AIMS members, wereDVB-S/S2 able to successfully and receive from of DPP Member companies, to pull together a user-friendly view of what DVB-S, DVB-S2.

Complete Audio / IP transmit At SMPTE this year Madison Technologies will each other without major adjustments to their equipment or the network. the market offers. ” Satellite System solutions including Encoders, partner with Grass Valley to showcase a number of Modulators andtesting a highlyevent reliable IRD product Following the in Texas, 12 AIMS members theirexhibited products, as well as other The world-leading brands survey report considers the needs of different sizes of production

their draft SMPTE ST-2110 systems in the interoperability session range. such as:

at VidTrans17. The results were on display, and the progress thus far - Belden generated strongly positive consensus between vendors and attendees professional DVB-T/T2 TV broadcasting and - Bittree alike.

TYRO – design, develop, manufacturer and install Digital Radio DAB/DAB+ kit, as well as other

- tests, Studioso Technologies “We’re energized by the success of this latest round of we’re purpose RF & high-technology electronic ready to get back to work with renewed vigor,” said Michael Cronk, - PTZ Optics products.

AIMS board chair. “AIMS members are very active in supporting and

company, and whether the connectivity they need is for general office use, for working with video, or out on location.

The needs of media production companies are unusual when compared to other sectors. The workload can expand and contract dramatically, and this makes for huge variations in the bandwidth required. Video files are also much bigger than the files being transferred by most other COMPANY REPRESENTATIVES: industries.

- ATEN BROADCAST ELECTRONICS – designs andstandard. We are thrilled that Erik Otto, Mark Horchler, Renton Ziegler implementing the draft SMPTE 2110 Sales interoperability consultants from Madison“There Technologies and connectivity suppliers find the media production is no doubt manufactures complete line of excellent radio broadcast testing to datea is both showing progress toward SMPTE17 will see Mediaproxy showcase its Grasswill Valley will be available throughout thedifficult show to serve, community ” says Harrison. provision is getting and providing greattransmitters data for further improvements.

There be future products, including for AM, FM and comprehensive suite“But, for unifying monitoring, better all the time and now might be the right time for producers to to demonstrate products and discuss your upcoming analysis and compliance functions. interoperability eventsautomation and tests, which makes HD Radio and program systems.

BE this an exciting time for all explore the benefits they could get from professional supply. ” who support a common industry standard, much as it was when SDI first project requirements.

LogServer integrates analysis and confidence is the largest radio-only broadcast equipment appeared. Interoperability remain the key, and those who get involved monitoring of traditional linear TV andfifth OTT in sources manufacturer in the Unitedwill States ‘DPP Survey Report: Connectivity Supply to Production’ is the will reap the benefits of new workflows and solutions.” through SDI and TSoIP inputs, as well as ABR the DPP’s Survey Report series, and follows on from the ‘2016 Survey MAGNA SYSTEMS AND ENGINEERING SGL – is a leading provider of content archive and stream sources. Supported television formats Report Connectivity and Production’, which shared eye-opening DPP New additions to the AIMS membership roster include Bridge B-53 AND B-46 storage management software for multiple include SD, HD, and 4K UHD encoded in MPEG-2, research into how production companies their connectivity Technologies, Clear-Com, Solid State Logic, Juniper Networks, Atos, H.264, and HEVC.view LogServer can also be used for business sectors including broadcast, post 2/28 Smith Street, Chatswood services.

Leader, Encompass Digital Media, and sonoVTS. decoding and recording video logs for archiving and production, news & sports. SGL’s solutions are NSW, 2067, Australia compliance reviews.

Visit www.digitalproductionpartnership.co.uk Visitaround http://aimsalliance.org built its Open System philosophy.

T: +61 (0)2 9417 1111, LogPlayer is an advanced HTML5-based multiOn Booth K22, Lumina will play host to Broadcast E: sales@magnasys.tv, www.magnasys.tv channel player for reviewing video compliance.

COMPANY REPRESENTATIVES: Eurofins, Samsung to Develop HbbTV App Test Centre

Wireless Systems (see separate listing) and Nimbus

Monwall is a software based multiviewer offering advanced data monitoring panels for real-time initially build the test centreanalysis at its office in Bristol, UK. This test centre will ASI EUROFINS DIGITAL TESTING has announced it will develop an HbbTV and monitoring of TS sections, ETR290 inc. is an innovative provider of wireless/internet Demmocks, Tim Banner, Jac Clark, Lucas Bohm, Kurt applicationcommunication test centre in co-operation with Samsung Electronics for testing take responsibility for testing and validating HbbTV Applications provided by priority events, OTT streams, DVB subtitles, SCTEmultimedia system, especially Hauselberger, Brett Campbell, Henry Leung, Andrew 35 and SCTE-104ordigital program insertion triggers, HbbTV Applications on HbbTV enabled TVs. app developers (who might be broadcasters other parties) and will work transmitting and receiving 1080p60 full HD King, Jay Patel, Nicholas Tabeta, Val Scharvi as define well as the loudness. with these app developers to scope of the testing required. This ‘HbbTV Applications’ interactive that deliver additional resolution of video andinclude high-quality audio applications over the At this year’s SMPTE 2017 exhibition thethat Magna monitor edge will ensure the HbbTV TSAnalyzer applicationscan conform toCDN the ingest HbbTVand specification functionality such as video-on-demand and are designed to run on TVs air. The company’s WiMi series of system represents server streams in real-time to analyse stream Systems Samsung and Engineering focus squarely compliant with the HbbTV specification. As the lead supporter, will stand andwill function correctly on real, deployed devices from the marketOTT leading near zero delay (within 30ms~80ms) H.264 HD bandwidth usage across all ABR profiles. provide the initial TV platforms for conducting the compatibility tests. These on IP production, workflow, and distribution. brand. encoder /decoder combining themode ubiquity, Aircheck is the industry's first mobile app supporting platforms includesolution an enhanced debug which allows gathering As athe result, its stands B53 and B46 will house The agreement between Samsung and Eurofins allows for the growth flexibility and data simplicity of the latest H.264 codec will also provide technical live multiview monitoring for viewing master of control of additional to diagnose issues.

Samsung demonstrations from some of Magna and the the Test Centre to include more devices in due course – including those from panels on smartphones and tablets.

Aircheck with the radio of 900m at the of sight. to run their applications assistance to coverage the program to assist appline developers industry’s key players in the IP space. is available free fortesting existing Mediaproxy proxy other manufacturers – to further extend the capabilities. on Samsung TVs. Magna’s booth covers all aspects of IP production, customers via the Apple App Store and Google Play Eurofins, which has offices in Belgium, Hong Kong, Poland and Sweden, will Visit www.eurofins-digitaltesting.com and www.hbbtv.org Store. workflow and distribution.

Amongst others are

SMPTE 2017 PREVIEW

Matthew Clemesha, David Blackett, Dave

TECHNICAL STANDARDS

(Company Representative: Joobin Song). Nimbus,

12

41

SMPTE 2017 PREVIEW

O

MEDIAWARE B-46

Level 9, 175 Liverpool Street, Sydney

Brindabella Business Park, Canberra Airport ACT,

ONAIR SOLUTIONS C-06

2609, Australia

Unit 2, 16 Lexington Drive, Bella Vista, NSW, 2153,

T: +65 5 9752 1188, www.ooyala.com

T: +61 (0)2 6163 8700, E: hello@mediaware.com.

Australia

COMPANY REPRESENTATIVES:

au, www.mediaware.com.au

T: +61 (0)2 8882 7766, E: sales@onair.com.au,

Ground Floor, 18 and 20 Brindabella Circuit,

Ren Middleton, Nick MacPherson, Bea Alonso, Mongchee Chang

www.onair.com.au

Garrick Simeon, Shane Angelo, Barry Pegg, Caroline

COMPANY REPRESENTATIVES:

Williams, Keenan Field, Daniel Matos

Paul Dengate, Richard Everitt, Craig Wilson, Max

Mediaware, a leading provider of digital

Healey, Ned Jeffery

deliver personalised video experiences, and

OnAir Solutions is an Australian-based broadcast

build more engaged and profitable audiences.

regionalisation, will demonstrate InStream Splice at SMPTE17.

InStream Splice is a MPEG splicer suitable for multichannel linear ad insertion and transport stream playout. Deployed on off-the-shelf computing hardware, InStream Splice simplifies linear broadcast edge delivery by combining a built-in video server

Ooyala’s comprehensive suite of integrated video platform solutions helps broadcasters, operators and media companies automate video workflows,

distributor and integrator. OnAir Solutions represents a select group of high quality manufacturers. OnAir

and programmatic platform and a media logistics

and advanced product support, with many years of

solution that improves video production workflows.

experience providing robust products and services to

Vudu, Sky Sports, RTL Group, Star India, Viacom18, Sky Sports, and Media Prima are some of Ooyala’s

the media industry.

global customers.

how for HEVC, AVC and MPEG-2.

solutions for IP video up to 4K resolutions.

Users of InStream Splice benefit from rapid

On show will be MobileViewpoint's innovative IP links

deployment and lower costs from up to 40 SD or

for 4K and H.265 live video transmission over bonded

20 HD independently-spliced channels per server.

mobile networks. The Rohde & Schwarz Venice is

control, with broadcast commercial insertion controlled via third party automation or Mediaware's own InStream Play.

InStream Splice demonstration highlights: • Linear ad insertion, content replacement, blackout and TS playout.

• Frame accurate, no live transcode necessary.

• Built in video server.

• SD/HD Ultra HD HEVC, MPEG-4 AVC and MPEG-2.

• Support for multi-channel audio and subtitles.

• Accommodates multi-channel configurations from one to hundreds of channels.

• Multiple triggering options including SCTE 35 for opt-out channels.

• Audio correction options available with Linear Acoustic APTO loudness control. Powered by

business intelligence, Ooyala’s offerings include a premium video platform, a leading ad serving

At SMPTE17 the company will be showcasing

redundancy, multi-channel audio and loudness

Developed with superior analytics capabilities for

focuses on customer needs, technical knowledge,

with Mediaware's unique, seamless splicing know-

Fully integrated functions include input stream

SMPTE 2017 PREVIEW

NSW, 2000, Australia

COMPANY REPRESENTATIVES:

television technologies for playout channels and

42

OOYALA J-33

a versatile ingest and playout platform capable of processing 4K video, alongside the R&S Clipster – the

P PACIFIC LIVE MEDIA H-05 Level 5, 4 Columbia Court, Baulkham Hills, NSW 2153, Australia

RiverSilicia joins OnAir to demonstrate software

T: +61 (0)2 8458 0701, E: sales@pacificlivemedia. com, www.pacificlivemedia.com

solutions for IP video encoding and distribution.

COMPANY REPRESENTATIVES:

gold standard in video mastering for film and TV.

Chris Dredge, Ely Stacy, Luke McCoy, Oded Levanon – LiveU, Kevin Campbell – APT.

Video Over IP requires a good timing solution – Meinberg's world-class NTP, PTP and video sync

Pacific Live Media is excited that SMPTE17 provides the opportunity to display our range of solutions for the TV, Radio and Online Streaming markets.

solution will demonstrate how to achieve common timing in a hybrid IP/SDI facility.

For audio, OnAir has Logitek Jetstream Audio-over-IP engines teamed with the Helix control surface and virtual mixer for radio and TV. Join OnAir as it celebrates 10 years of Logitek Australia.

OnAir will also be debuting the Ecreso Solar FM transmitter and Worldcast Manager control software from Worldcast Systems.

Manufacturers represented: AJA, Audemat, BlackMagic

Linear Acoustic APTO. APTO is designed to

Design, Ecreso, Inovonics, Logitek, Meinberg,

control loudness of audio content within user

MobileViewpoint, NewTek, Panasonic, RiverSilica,

specified parameters, while providing the best

Rohde & Schwarz, Sencore, SI Media, Sonifex, and

listening experience.

WellAV.

OWN THIS SPACE! Get your products on the desks of key industry decision makers in print and online.

Headlined by the leading cellular contribution company LiveU, PLM will have the all new LU600 making its Australian debut along with most of the LiveU range of products.

Also making people sit up and notice is the latest from Pixellot, a world innovator in full field capture and automated production. Pixellot's automated sports production solutions revolutionise traditional video capture, production and distribution processes, enabling sports organisations to affordably capture and distribute their events.

As an Elite Partner of Newtek, PLM will show how NewTek's range of systems provide the most complete set of tools and capabilities for video capture, mixing, recording, streaming, social media

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

SMPTE SMPTE2017 2017PREVIEW PREVIEW publishing, and more. With hundreds of features included, new users and experienced operators can easily produce spectacular video.

4K will be showing their much lauded VariCam’ look,

Fast becoming the industry way, NewTek's NDI is the ideal way to tie your production system together. One of the products in the NDI family is Gnural Nets comprehensive remote guest production system for the professional video industry.

revolutionise your filmmaking.

Call-In Manager is the industry’s ONLY video-based audience call-in production system. No other system in the market provides the same kind of functionality.

show you the benefits of this next generation IP

For radio, PLM is pleased to show the Klotz Graphite TWO Console, and G2 Audio Engine, the latest in the new range of Klotz Equipment.

Industry standard Audio Codecs APT will also be on show with a highlight of their 'Perfect Audio over Imperfect IP' technology SureStream.

PANASONIC B-08

1 Innovation Road, Macquarie Park NSW, 2113, Australia T: +61 (0)2 9491 7400, E: broadcastsales@panasonic.com.au, www.panasonic-broadcast.com.au COMPANY REPRESENTATIVES:

Rob Myers Panasonic will be showcasing its range of current, new, and soon-to-be released products and broadcast solutions.

Following its unveiling at CineGear2017, a mock-up of the new 5.7K Compact Cinema Camera, AU-EVA1, is on display to give a firsthand look at the cameras form factor and build.

Also on display is the revolutionary Lumix GH5 4K digital single lens mirrorless camera, with guest speaker Griffon Hammond giving several presentations each day on the features, images and workflows of this camera powerhouse.

Rounding out the range of handheld cameras are the AG-DVX200, AG-UX180, AG-UX90, HC-X1 and HC-PV100 4K/HD pro camcorders. Offering professional features suited for a wide range of applications.

In a specially built cinema set, cinema cameras such as the VariCam35, VariCam PURE and VariCamLT

how the unique features of these cameras will ENG solution P2 continues to grow with the inclusion of P2SS, the P2 Streaming server.

P2SS links to P2 in-field products and cameras and enhances P2Cast, the cloud based P2 ENG workflow solution. Working demonstrations will ENG workflow.

search and viewing features. Search, share, clip and transcode without the heavy costs of managing your own in-house DAM/MAM. By using MediaPhile you are effectively delegating your management costs to an industry professional with the tools to provide you what you need when you need it. Get back to what you know best and leave the archive and content security to Preferred Media.

Visit Preferred Media and learn more about how MediaPhile can get your content working for you.

See it in action and have the chance to win a GoPro Hero.

For evolving productions, the Panasonic professional PTZ camera range continues to lead the industry with the addition of the AW-HR140.

A strong and robust IP65 camera designed to withstand the many forces of nature, the AWHR140 works with the same controllers and switchers as the AW-HE130, AW-UE70, AW-HE40 and AW-HE2 cameras already in the line-up.

Also on show are the AK-HC5000 (high speed HD) and AK-UC3000 (4K) studio cameras, complete with CCU’s and ROP’s highlighting high speed HD and 4K camera chains and the TH-65EZ1000U 65 4K OLED Pro Technics master display monitor.

PREFERRED MEDIA A-54

1 Chaplin Drive, Lane Cove West NSW, 2066, Australia T: +61 (0)2 9490 7300, E: storeit@preferredmedia. com.au, preferredmedia.com.au COMPANY REPRESENTATIVES:

Rob Gallimore, General Manager, Andrew Temple – Sales Manager Digital Services, Don Goldstein – Operations Manager, Rob Dunn – Technical Services Manager, Phoebe Hill – Communications Coordinator, David Booth – Customer Service Coordinator Preferred Media has been managing client content – film, audio and video – for 30 years. Preferred Media manages over 20 million assets for networks, production, advertising and brands. Its services include: • Archiving of hard media formats.

• Digitisation of legacy content.

• Cloud hosted digital media asset management – with offline or online archive platforms.

Preferred Media’s digital asset management system, MediaPhile, is an end-to-end managed service.

Preferred Media takes care of technology, content, metadata and security, at a fraction of the cost and effort of running your own system. It enables full search capability, transcode, clipping and many other features, all at your fingertips.

MediaPhile puts you in control of your content. You can access your content on-line through strong

PROFESSIONAL AUDIO & TECHNOLOGY F-14 16/8 Leighton Place, Hornsby NSW, 2077, Australia T: +61 (0)2 9476 1272, E: sales@proaudiotv.com. au, www.proaudiotv.com.au COMPANY REPRESENTATIVES:

Patrick Salloch, Keith Prestidge, Adam Langham, Nicholas Brown, Kyle Mayer, Meredith Buckton, Amye Carroll-Scott Professional Audio & Television continues to deliver leading solutions to the Australian and New Zealand Broadcast markets. SMPTE17 offers you the chance to speak to manufacturer representatives from LAWO, RTW, Direct Out Technologies and sonoVTS, and get an in-depth look into the latest technology trends. PAT is showing LAWOs grand production console, the new mc²96 and the newest LAWO ruby radio console and the ruby power core, under the control umbrella of VSM (LAWO’s Virtual Studio Manager). Arista’s Network Infrastructure with embrionix SFP’s, RTW’s metering, Bel Digital’s AES67 and Ravenna monitoring solutions will showcase why PAT’s manufacturers are trailblazers in the industry. DirectOut Technologies will be exhibiting the new MADI.9648 among other new additions.

Also on display is a complete Wisycom RFoF distribution system offering unsurpassed coverage and functionality.

The sonoVTS monitor wall will showcase the latest LCD monitor technology from sonoVTS.

PROMPT-IT TELEPROMPTERS G-47 Unit 10, 192A Kingsgrove Road, Kingsgrove NSW, 2208, Australia T: +61 (0)2 8959 3024, E: storemanager@promptit.com.au, www.prompt-it.com.au COMPANY REPRESENTATIVES:

Richard Farr, Recky Lumanauw, Veronica Castro Come by the Prompt-it Teleprompters booth for a demonstration of the world's number one portable teleprompter. With over 100,000 units sold worldwide, find out how it can help your next on-screen presentation. Meet Richard and Recky, the creators of Prompt-it Teleprompters, and get handy tips and demonstrations. Stop hesitating, start presenting!

SMPTE 2017 PREVIEW

LiveToAir was the industry’s first multi-guest video call-out production system and delivers unmatched features for working with multiple remotely connected guests.

with cinematographer, Con Filippidis, demonstrating

43

SMPTE 2017 PREVIEW

Q

R

on air today. Being showcased are the latest

QUINTO COMMUNICATIONS F-30

R H BULLARD H-48

Smart-telecaster Zao and Zao-S from Soliton

4/7 Salisbury Road, 15 Fox Creek Cct, Castle Hill

systems, makers of the world’s first H.265/HEVC mobile encoder.

H.265 HEVC encoding over multiple bonded 3G/4G

T: +61 (0)2 9894 4244, E: sales@quinto.com.au,

telephone carriers and is not much bigger than an

www.quinto.com.au

iPhone folded in half.

COMPANY REPRESENTATIVES:

Gen21 V10 is the latest version of the complete

Tom Pavicic – CEO, Neville Paterson – Technical Sales

26 Wollong St, Gosford NSW, 2250, Australia

Broadcast Management Solution for content

Manager, Chris Parnell – National Sales Manager

T: +61 (0)2 4324 8700, E: richard@rhbullard.com.au,

management, scheduling, airtimes sales, media

(Quinto NZ), Nick Critelli – Technical Sales Executive,

www.rhbullard.com.au

traffic management with many new features and

Peter Farmakis – Technical Sales Executive, Alan

COMPANY REPRESENTATIVES:

McIlwaine – Executive Chairman

Richard Bullard, Kerri Bullard

for broadcasters.

Quinto Communications will be showcasing a vast

Established in 1994, R H Bullard Custom Timber

File-based QC workflows can be streamlined with

line up of broadcast and AV equipment solutions

Furniture has been creating bespoke furniture

from its key suppliers.

solutions for commercial and residential clients for

Products and solutions on display include: • Abonair – Camera back portable microwave links.

• Autocue and Autoscript Prompting Solutions.

• Black Magic Conversion and Processing Equipment.

• DTL – Multi-channel USB video recorders.

• Elemental/AWS – Streaming, transcoding, CDN and cloud solutions.

• Evertz – IP SDVN routing, transport and distribution solutions.

manual QC because of investment constrains? Take

of joinery, including custom-made broadcast studio

The Mosaic Service Management System from

joinery.

MNC software is an advanced NMS monitoring and control platform whose cutting-edge functionality

REDWOOD'S TECHNOLOGY SOLUTIONS H-04 T: +61 (0)2 9456 0026, E: brad@redwoodstech. com, www.redwoodstech.com

Brio playout servers.

Pulsar’s six-times real–time HD analysis. Still doing a look at Pulsar from Venera Technologies.

15 Lachlan Place, Berowra NSW, 2081, Australia

• Dalet – Amberfin transcoding/QC solutions and

modules to further enhance seamless operations

over 20 years. R H Bullard specialises in all kinds

• AJA – Conversion and processing equipment.

COMPANY REPRESENTATIVES:

Brad Redwood, Genelyn Redwood, Jonathon Morgan – Object Matrix, Desmon Goh – Playbox,

and extensive range of features minimises service outages and maximises revenue with fast and accurate fault detection and resolution.

RIEDEL COMMUNICATIONS H-14 Unit 2/ 38 Morley Avenue, Rosebery NSW, 2018, Australia

Hiroshi Ochiai – Soliton, Vikas Singhal – Venera

T: +61 (0)2 9669 1199, E: press@riedel.net,

Technologies, David Allen – MNC Software, Rajit

www.riedel.net

Sager – Gen21

COMPANY REPRESENTATIVES:

• Hi-Tech – Avita production control solutions.

Stop by RTS’s stand during SMPTE17 to learn about

Cameron O’Neill – Director APAC,

• JVC – Handheld and ENG camera systems.

the company’s premier technology and to meet its

John Bell – GM Australia,

manufacturers:

Espen Brynildsen – Sales Manager Australia, Julian

• Object Matrix.

Hewitt – APAC System Consultant

• PlayBox Technology.

Riedel’s booth with be showing the latest and

• Marshall Electronics – Broadcast monitors and IP camera systems.

• Omnitek – ULTRA series HD/4K test and measurement solutions.

• Providius – Voyager portable IP/ASI/RF/OTT

• MNC Software.

• Soliton Systems.

greatest from Riedel, including how to use MediorNet as a distributed router in your workflows, use of intercom and Smart Panel applications to

• Gen21.

save space and reduce the amount of equipment

• Venera Technologies.

you need to carry, and the award-winning Bolero

Learn why organisations around the globe have

wireless intercom system.

turned to Object Matrix and Digital Content

Riedel will have information on how the company’s

Governance rather than yet-another-plain-storage

systems are applied in world class motorsports,

platform to store and handle petabytes of assets.

sports and live events, helping its customers stage

MatrixStore Vision is a mini-MAM that is changing

some of the most engaging and entertaining

the way the company’s customers work and enables

programs and events across the globe.

representatives from Elemental, Evertz, SAM and

them to generate revenue by offering managed services to their customers.

MediorNet MultiViewer includes powerful scaling,

Vitec – available to discuss and assist with any equipment or project requirements.

PlayBox Technology has over 17,000 channels

analyser and software analytics solutions.

• Snell Advanced Media – KULA vision switcher, routing and modular infrastructure solutions.

• Vitec Video Innovations – Portable H.264 and HEVC encoding/decoding streaming solutions.

• EZ TV – IPTV and digital signage solutions.

Also on hand will be a number of our supplier

SMPTE 2017 PREVIEW

solutions and CloudAir virtual broadcast ecosystem.

Don’t miss ZAO-S a miniature device that provides

NSW, 2154, Australia

44

refinements to the server-based Neo IP/SDI playout

positioning, and graphics tools including multiple on-screen clock widgets that can be referenced to

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

Stay informed. Sign up today.

SMPTE SMPTE2017 2017PREVIEW PREVIEW timecode or system time and up to 20 synchronised and controllable counters. Other widgets include

is waiting for your visit to discuss transmission and studio workflows as well as storage solutions.

At this year's SMPTE event, Ross will be showcasing a range of solutions designed to help customers with their business, technical and creative challenges; solutions that simplify workflows and allow content creators to work faster, be more efficient and save money.

tallies, under-monitor displays, and audio level meters. All these can be easily configured within a single view using drag-and-drop through Riedel or other third-party software.

ROSS VIDEO D-04 B4 15-21 Doody Street, Alexandria, NSW 2015, Australia

ROHDE & SCHWARZ (AUSTRALIA) D-52

T: +61(0) 412 866 700, E: aleighton@rossvideo. com, www.rossvideo.com

Unit 2, 75 Epping Road, North Ryde, NSW, 2113, Australia

COMPANY REPRESENTATIVES:

T: +61 (0)2 8874 5103, www.rohde-schwarz.com.au Rohde & Schwarz will be showing a number of new broadcast and media solutions at this year’s SMPTE show. The award-winning cloud enabled PRISMON Monitoring platform includes multistandard/multi-protocol support with flexible allocation of monitoring capacity.

Headend solutions up to UHD resolution and in HEVC and HDR immersive viewing quality, the SD/ HD/4K video server, VENICE, and the IMF/DCP mastering solution, CLIPSTER 6 will also be on display.

If your interest is in IPTV and OTT solutions, please stop by to discuss gateways, encoders/transcoders for easy creating live streaming services such as TVCaster, CodecCaster and RelayCaster by Motama.

DVB-T/T2 transmission and measurement solutions will be on show with the highly versatile low power transmitter TLU9 and TV Analyser ETL. The Rohde & Schwarz broadcast and media team

S

David Ross, Amanda Leighton, Travis Wigley, Barry Johnston, Stuart Russell, Jos Ford, Nikki Renoit, Bruce Takasaki Passionate about live production, Ross Video designs and manufactures technology and services that power exceptional live video productions seen by billions of viewers around the world every day.

Ross Video’s goal is to make it easy for customers to create compelling news, weather and sports broadcasts, engaging material for sports stadium screens, legislative assemblies, entertainment shows and rock concerts and inspiring content for houses of worship.

SILVER TRAK DIGITAL H-22 10 Addison Road, Marrickville NSW, 2204, Australia T: +61 (0)423 492 998, E: christian@silvertrak.com.au, www.silvertrak.com.au COMPANY REPRESENTATIVES:

Christian Christiansen, Tim Symons For the first time at SMPTE17, Silver Trak will be the only company to present its entire suite of broadcast TV and film services to the industry on a single stand.

Relentlessly innovating, Ross Video delivers the world’s widest range of products and services for augmented reality and virtual sets, mobile live-event solutions, real-time motion graphics, robotic camera systems, social-media management, production switchers, routers, infrastructure products, video servers, newsroom systems, terminal equipment and more.

Silver Trak's hero offering is its Media Room – Australia's first B2B, platform agnostic, smart digital asset management solution. Media Room resides on the Silver Trak Digital cloud, Media Sphere, giving you the ability to remotely access your digital content 24 hours a day, 365 days a year, from your desktop, tablet, or smartphone. You can log on to your Media Room secure web portal to upload, store, search, view and share your content, and

Welcome to Broadcast

See PAT at SMPTE 2017 Professional Audio & Television Pty Ltd

Hall 3

AUSTRALIA www.proaudiotv.com.au P: 02 9476 1272 E: sales@proaudiotv.com.au

Stand F14

NEW ZEALAND www.proaudiotv.co.nz P: +64 0800 002 417 E: sales@proaudiotv.co.nz

SMPTE 2017 PREVIEW

LAWO mc2 96

45

SMPTE 2017 PREVIEW use metadata to enable fast searching and access

demonstrations and meetings throughout the show.

meaningful metadata reports.

Highlights include a live demo of Nautel's award-

Media Room is even more than this, as in practical

winning GV5, the most efficient and intelligent

terms it provides a media gateway to Silver Trak's

FM transmitter in its class, the latest in audio

full suite of services which include broadcast

processing technology from Orban, hands on

duplication, transcoding, QC for TV, film and online,

time with Tieline's new remote ViA codec, and

aggregation to all platforms including iTunes,

the introduction of Inovonics new INOmini DAB+

Netflix and Google Play, VOD and SVOD, authoring

Monitor and Site Streamer products.

and DCP. Also demonstrated will be Media Room's new automated broadcast transcodes and frame-rate conversions as part of a fully customisable workflow – a first in Australia. This unique functionality saves Media Room users a significant amount of time and money, particularly those producing programmes they need to send to multiple destinations. Whereas previously someone had to manually do the

In the Sonifex range will be the AVN-TB10AR, a 10-button advanced AoIP talkback intercom which has RAVENNA at its core and is AES67 compatible.

Also demonstrated will be Sonifex's DHY-04, the world's best quality telephone hybrid – now approved for use in Australia and New Zealand.

A drinks event will be hosted at the Sonifex booth on Wednesday the 19th from 4PM.

delivery method, this can now be fully automated and sent by Aspera download link, from Aspera to Aspera, by Amazon S3 Push or FTP Push.

A full version of Silver Trak Digital's Media Room including its new and automated broadcast

T: +61 (0)2 8011 0500, E: info@stagetec.com.au, www.stagetec.com.au COMPANY REPRESENTATIVES:

SONY AUSTRALIA C-14 Level 3, 165 Walker Street, North Sydney, NSW 2060, Australia T: +61 (0)2 98876666, E: SonyPro.SANZ@sony.

Visit Stagetec Mediagroup for a coffee and chat to find out about all its exciting new ventures. This year Stagetec is showcasing brands such as Stage Tec, Dan Dugan Sound Design, DataMiner, Quicklink and Dante.

com, pro.sony.com.au

SMPTE17 will feature the AURUS console and ON

demonstrated on the Silver Trak stand alongside all

COMPANY REPRESENTATIVES:

AIR flex from Stage Tec. Stage Tec’s key benefits of

Silver Trak's key broadcast services.

Warwick Lang, Kenan Sarac, Jessica Peisajovich,

outstanding sound quality and ultimate reliability

David Green, Anthony Kable

in professional use are available on a large scale through to a compact, cost-effective scale for a

SKYTECH INNOVATION E-58

Sony Australia will showcase a variety of products

41/6 Abbott Road, Seven Hills

applications at SMPTE 2017. These include

DataMiner is the most advanced end-to-end multi-

broadcast television, motion picture, live event

vendor network management and OSS solution

production, ENG/EFP, digital cinematography and

available for the broadcast, satellite, cable, telco and

robotic camera applications.

mobile industry. Stagetec can offer this product as

T: +61 (0)424 242 129, nayan.k@skytechs.com.au, www.skytechs.com.au COMPANY REPRESENTATIVES:

Nayan Kumar, David Liu

for video and audio professional production

On display will be a comprehensive line-up of

broad range of applications.

part of a fully integrated solution, or customised to

cameras from the industry-leading high frame

meet exacting business needs.

rate Super35-based HDC-4800 through to the

Dante, the audio networking standard for the

new 9 compact camera and lenses. There will also

professional AV industry, will also be featured

be displays highlighting HDR imagery capture,

on the Stagetec booth. There are lots of exciting

workflow and display.

developments from Audinate to discuss, including

As the industry moves towards an IP-based

the Dante Domain Manager release.

infrastructure for live production Sony has a

Stagetec Mediagroup Australia is now a distributor

SONIFEX G-04

complete line up of cameras, switchers and servers.

of Quicklink products. Quicklink solutions are the

Designed for smaller productions or education

best available for achieving superb video and audio

12/6 Leighton Place, Hornsby

faculties Sony will also be showing a new compact

quality from low speed connections up to high

NSW, 2077, Australia

switcher solution for simple operation and

speed HD. Optimisation of available bandwidth

T: +61 (0)2 9987 0499, E: karen@sonifex.com.au,

integration.

using advanced software and enhanced codecs

www.sonifex.com.au

For news production, there will be a complete

means that outstanding results can be achieved

package solution on display that has recently

from a variety of networks.

been implemented in the Australian market taking

From mixing consoles through to integrated

advantage of internet contribution and cloud-based

network management solutions and everything

distribution.

in between, Stagetec is constantly evolving and

In addition to live and post produced content Sony

changing to remain at the forefront of technology.

leading international broadcast manufacturers.

will also be showing a new asset management

As well as its high-quality products, the company

Sonifex will be joined this year by representatives

system based on open industry standards. This is

also offers a range of specialised services. The aim

from Nautel, Orban, Sonifex Ltd and Tieline

designed for small to medium sized enterprises and

to is offer clients the most innovative and fully

Technology who will be available for product

can be scaled as required.

integrated technology solutions available.

Skytech Innovation would like to explore futuristic technologies and make them readily available for Australian customers.

Skytech’s product range includes digital camera stabilisers, leading-edge pocket drones, 360° cameras and much more.

COMPANY REPRESENTATIVES:

Karen Olliver, Marcus Brooke – Sonifex (UK), Don Coyle, Kylie Shears, Chuck Kelly – Nautel, Charlie

SMPTE 2017 PREVIEW

NSW, 2015, Australia

transcodes and frame-rate conversions will be

NSW, 2147, Australia

46

Unit 6, 476 Gardeners Road, Alexandria

Treva Head, Mark Lownds, David Holmes

broadcast transcodes and frame-rate conversions for every programme, and then arrange the correct

STAGETEC MEDIAGROUP AUSTRALIA C-04

Gawley – Tieline, Peter Lee – Orban Sonifex will be exhibiting a comprehensive range of audio, video and transmission equipment from many

SMPTE SMPTE2017 2017PREVIEW PREVIEW • Tektronix’s latest innovations in IPvideo test and

workstations with Avid Media Composer, Pro Tools,

STUDIOTECH AUSTRALIA A-22

monitoring including support for ST-2022-6,

Adobe Premier Pro and Da Vinci. The production

ST-2022-7, ST-2110, and precision time protocol

and post-production areas on the stand have two

Unit 18, 45 Leighton Place, Hornsby NSW, 2077, Australia

synchronisation.

common themes – flexibility and connectivity. As a

T: +61 (0)2 8911 5100, info@studiotechau.com, www.studiotechau.com COMPANY REPRESENTATIVES:

Michael Bentsen, Paul Maroni, Tony Antoniou, Hannah Grummett, Joseph Roncon, Mo Goyal Studiotech is occupying a nine by six metre stand to the left of the hall following entrance. On display will be technology from Evertz, G&D, Masterclock, as well as a TBC Console and static displays for AVP and Percon cables.

T TEKINSITE VIDEO TECHNOLOGIES B-47

• Adaptive Bit Rate Monitoring for OTT delivery networks.

result of these and the automated live production set visitors to the Videocraft stand at SMPTE this

• 4K/UHD-TV Monitoring.

year will be able to look, see, touch and feel the

• Aurora, Hydra and AutoFix file validation suite.

very latest in live production and post-production

• Pixel Power’s StreamMaster software-based

solutions.

master control playout with real time graphics for IP Systems, designed to support virtualisation a channel without a box – but can also be supplied with SDI I/O to support hybrid and transitional environments.

VIZRT D-55 & C-40 Suite 2, Level 1, 35 Mitchell Street, McMahons Point NSW, 2060, Australia

corrector/frame synchroniser with features,

T: +61 (0)2 9922 2676, E: jwatson@vizrt.com, www.vizrt.com

specifications, and performance that are far from

COMPANY REPRESENTATIVES:

tiny.

Jonathan Watson, Richard Hewitt

• Ensemble Designs’ world’s smallest time base

V

Viz Story: Journalist-driven Production Vizrts' brand new tool Viz Story, already multi award-winning, will be shown for the first time at

T: +61 (0)2 9533 3085, E: marketing@tekinsite. com.au, www.tekinsite.com.au COMPANY REPRESENTATIVES:

Domenic Pupo, Pamela Pupo, Mike O'Connell – Pixel Power, Klaven Siow – Tektronix TekInsite Video Technologies specialises in supply and distribution of premium quality equipment and technology for video and television from leading suppliers that include: • Tektronix – Video test and monitoring solutions for IP and SDI including waveform monitors, SPG's, file-based QC systems, MPEG test instruments, network delivery monitoring systems.

• Pixel Power – On-air graphics and playout workflow solutions including StreamMaster virtualised master control and play-out system, graphics rendering for file-based workflows, automation systems.

• Ensemble Designs – Signal processing and infrastructure gear including routers, scan converters, frame synchronisers, multiviewers,

SMPTE17. The tool enables journalists to create

148 Highbury Road, Burwood, VIC 3125, Australia

video whilst content is still being ingested, add

T: +61 (0)3 98888511, E: sales@videocraft.com.au www.videocraft.com.au

state-of-the-art 3D graphics and branded maps to

COMPANY REPRESENTATIVES:

other online and social media targets for the fastest

James Taylor In its largest-ever SMPTE presence, Videocraft will at this year’s show have a full live automated production demonstration. With no technology expense spared the demo will also include a live

stories for online and social media. Users can edit

video timelines, and publish directly to Facebook or possible online workflow – all from the same easyto-use web interface.

Viz Opus: Live IP-based Productions Viz Opus, Vizrt's compact control room solution,

streaming interview set on a raised stage will full

provides newscast automation, real-time graphics

lighting grid – a first at any SMPTE Australia show.

and video playout, including playout of commercials,

The set will house the very latest in broadcast and

all in a single cost-effective system. Visit to see

studio cameras, EVS, CCU, audio and the all-new

how Vizrt’s automation solution can open new

Ross Graphite which includes the pure production

opportunities for your content production and

power of the Ross Carbonite production switcher

play-out. With no need for an extensive broadcast

and more. Our automated live production set

infrastructure, you can drive a complete live

will recreate exactly what would be used in any

production for on-air or online.

broadcast or studio environment. There will be a

Viz Libero: Sports Analysis and Replay

schedule of talks from industry and technology leaders and for those who don't watch them live at the show, every talk will be live streamed over the web.

There will also be dedicated production and

Viz Libero is the global leader for 3D virtual sports enhancements. Using only existing TV images, Viz Libero generates the perfect perspective for analysing interesting or controversial scenes.

Viz Arena: Live Sports Enhancements

up/down/cross converters, protection switches,

postproduction demonstration areas on the

SPGs and more.

Videocraft stand. The production area will house

Viz Arena enables broadcasters to place virtual

the very latest in broadcast and studio cameras

3D graphics into live coverage of a sports event.

from Sony, Canon, Panasonic and Blackmagic.

All effects use image-based tracking to be

for digital broadcast and professional video

Alongside the cameras will be a full audio setup

superimposed on the live signal or on instant

production.

using the latest equipment from Sony, Sennheiser

replays, whether it is virtual advertisements,

and Rode. In the postproduction area visitors will

distance measurements, offside lines, player

be able to see all the very latest in storage and

pointers, heat maps, team badges, line-ups etc.

editing solutions including four daisy-chained

Virtual graphics can be applied to every sport event

Avid Nexis Pro systems networked via customised

and under any condition.

• Plura Broadcast – High-performance multifunction LCD video monitors engineered specially

• Quantum Data – Test systems for HDMI, DVI and MHL including generators and analysers.

Products at SMPTE17:

SMPTE 2017 PREVIEW

30 Flora Street, Narwee NSW, 2209, Australia

VIDEOCRAFT AUSTRALIA B-14

47

SMPTE 2017 PREVIEW

SMPTE17 Conference Schedule TUESDAY, JULY 18

WEDNESDAY, JULY 19

THURSDAY, JULY 20

ROOM A

ROOM A

ROOM A

1.A.1: SMPTE: STRENGTHENING THE PILLARS

2.A.1: WORKFLOW AND INFRASTRUCTURE: CHANGES

3.A.1: BIG - SCREENS, PRODUCTIONS, SOUND

++ 09:30 How the television industry can help create

UNDERWAY

++ 09:00 Delivering Drama for Extreme Screen - Ben J Allan, ACS (Main Course Films) ++ 09:30 Designing, Planning and Executing 4K HDR and Immersive Audio for the 2016 Rio Olympics Opening Ceremony - Michael Babbitt (Dolby Laboratories, USA); Chris Seeger (NBCUniversal, LLC, USA) ++ 10:00 Why does cinema sound quality mostly fail to realise its potential? - Glenn Leembruggen (Acoustic Directions and ICE Design Australia); Philip Newell (Consultant, Spain); Brian Vessa (Sony Pictures Entertainment, USA)

motivating online learning experiences for university students - Doug Strable (Inasia KK / Royal Roads University Canada, Japan) ++ 10:00 Arts and Science - Building the Educational Bridge Stuart Pointon (Lemac Film and Digital, Australia) ++ 10:30 OBID: A Revolution in Audience Measurement? Christopher J Lennon (MediAnswers, USA)

ROOM B

++ 09:00 The Automation of the Grouping Process by Group It For Me! - Jason Jamieson (Group It For Me!, Australia) ++ 09:30 BXF: New Horizons and Help For Implementers Christopher J Lennon (MediAnswers, USA) ++ 10:00 System Migration from SDI to ST 2110 - Paul Briscoe (Consultant & SMPTE, IEEE, Canada)

ROOM B 2.B:1 BUSINESS- EVERY EYEBALL EVERYWHERE

new "live cinema" project to life - James Stellpflug (EVS,

++ 09:00 Online Video Workflows for Broadcasters - Richard Hewitt (Vizrt Australia) ++ 09:30 Linear Sales Automation and Data Insight as a Step Towards Programmatic TV - Dong Zheng (ibb Consulting Australia) ++ 10:00 Ooyala Quarterly Video Index / Insights into online video consumption patterns - Steve Davis (General Manager APJ Ooyala, Australia)

The Americas, USA)

ROOM A

1.B.1: BETTER - PICTURES, SOUND AND PRODUCTION ++ 09:30 Pixel size and the effect on performance in 2k,4k, 8k acquisition - Peter G Centen (Grass Valley, The Netherlands) ++ 10:00 Calibrated Colour and Software for LED Luminaires Michael Wagner (ARRI, USA) ++ 10:30 IT-based switching brings Francis Ford Coppola's

ROOMS A & B

2.A.2: IS THE PRIZE IN THE PACKET?

++ 11:30 - 13:00 1.A.2: Conference Opening and Keynote

++ 11:00 Adventures in 4K Video - Stephen H Lampen (Belden, USA) ++ 11:30 12G or IP - David Ross (Ross Video, Canada) ++ 12:00 Synchronization in Hybrid SDI / IP Broadcast and Production Facilities - Paul Briscoe (Consultant & SMPTE,

Presentation - Ms Michelle Rowland MP, the Shadow Minister of Communications.

ROOM A 1.A.3: STORMY WEATHER ++ 14:00 Live streaming broadcast-quality video over commodity Internet networks - Francois Quereuil (Aspera, USA) ++ 14:30 A Lightweight Distributed Media Processing System for UHD Service - Xusheng Zhang, Li Song, Rong Xie and Yanan Zhao (Shanghai Jiao Tong University, P.R. China) ++ 15:00 Dynamic Lifecycle Management of a Data Corpus across multiple Cloud Storage Services - Michael L Palmer (Masstech & MOS Protocol Group, USA)

ROOM B 1.B.3: PRODUCTION WORKFLOW: LIVE AND LOVING IT ++ 14:00 How can automation help the broadcast industry in meeting the demands of digital TV - Bea Alonso (Ooyala, Singapore) ++ 14:30 Re-timing of Live Subtitles - Will Munkara-Kerr (Ericsson & Broadcast and Media Services, Australia); Matt Simpson (Ericsson, UK) ++ 15:00 Content everywhere - Tony Taylor (TMD Ltd., UK)

ROOM A 1.A.4: CLOUD: IT'S RAINING BITS ++ 16:00 Lost in the Clouds? Cloud Storage Fits Into Media Workflows—Just Not Everywhere - Dave Frederick (Quantum, USA) ++ 16:30 The Future of Storage in IP / Cloud Based Broadcast Workflows - Hossein ZiaShakeri (Spectra Logic, USA); Megan Shannon (Spectra Logic Corporation, USA) ++ 17:00 SaaS Based Video Production - Ian Trow (Harmonic, UK)

ROOM B ++ 16:00 1.B.4: Panel Session - To Be Advised

IEEE, Canada)

ROOM B 2.B.2: MONITORING AND QUALITY: POLICING THE PACKETS ++ 11:00 Quality Control & Monitoring in OTT Workflow Ramandeep Sandhu (Interra Systems, India) ++ 11:30 QoE and Video Quality - Operational Challenges and Opportunities - James Chance (Bridge Technologies, Norway) ++ 12:00 File based QC challenges for Linear & VOD deliveries - Vikas Singhal (Venera Technologies, India) ++ 12:30 Synopsis: Improving Operational Efficiency by using Automated File Based Audio Processing - MC Patel (Emotion Systems Ltd, UK)

ROOM A ++ 14:00 2.A.3: Workshop: Migration to IT Infrastructure Matthew S. Goldman (Ericsson, USA) Matthew Goldman leads an in-depth tutorial on IT architectures and provides and industry overview of the state of play.

ROOM B 2.B.3: WORKFLOW: DODGING MID-STREAM SNAGS ++ 14:00 Subtitle Delivery in Automation: Teletext OP-47, IMF, and OTT - Giovanni Galvez (Telestream, USA) ++ 14:30 How to Coordinate the Streamlined Operations for Commercial Purposes Successfully? - Fabio Gattari (Etere pte ltd, Singapore) ++ 15:00 IP and Scalable Video Performance - Will Waters (NewTek, USA)

ROOM A ++ 16:00 - 2.A.4: Leading with Diversity - Women in Media and Technology Join Anna Lockwood from SMPTE and an exceptional panel of women technology and business leaders at a special session in which each panellist will speak on different stages and perspectives of their careers in media.

SMPTE 2017 PREVIEW

ROOM B

48

2.B.4: MICROSERVICES: YOU'RE IN OUR SIGHTS ++ 16:00 Near real time global video processing in the cloud via micro services - Andrew Sinclair (Brightcove, USA) ++ 16:30 Technologies and Practices for Cloud Transformation Of The Media Industry - Mark Cousins (AWS Elemental, Hong Kong) ++ 17:00 Project Suitcase: Using C4, Semantics and NoSQL for Managing Motion Picture Data - Matt Turner (MarkLogic Corporation, USA)

ROOM B 3.B.1: NEW IDEAS IN REMOTE PRODUCTION/ CONTRIBUTION ++ 09:00 LTE Managed Media Contribution - Monique Gleeson (Media Networks & Telstra, Australia) ++ 09:30 Cost Effective Alternative Solutions for Remote and Synchronized Multi-Camera Live Video Production and Social Media Distribution - Ashley Wood (TVU Networks, USA) ++ 10:00 Remote TV production for F1 - Cameron ONeill (Riedel, Australia); John Bell (Riedel Communications Australia)

ROOM A 3.A.2: VIRTUAL REALITY: IMMERSION THERAPY ++ 11:00 Capturing sound for VR and AR - James Waldron (Sennheiser Australia, Australia) ++ 11:30 The AR/VR Opportunity - David Marshall (IBB Consulting Group, Australia) ++ 12:00 Designing Spatial Sound: Adapting Contemporary Sound Design Practices for Virtual Reality - Damian Candusso (Charles Sturt University, Australia) ++ 12:30 Editing and compositing strategies for spherical video (360° VR video) algorithms - John Reid Perkins-Buzo (Southern Illinois University & Lumen Multimedia, USA)

ROOM B 3.B.2: TRANSMISSION: SEND AND DELIVER ++ 11:00 Challenges facing UK public service broadcasters Gregory Bensberg (Digital 3&4 Limited, UK) ++ 11:30 Ambient Noise levels in broadcast radio frequency bands - Charles Kelly, Jr (Nautel, Canada) ++ 12:00 "Taking the UHD Experience to the Next Level: Phase 2" - Nils Ahrens (Rohde & Schwarz Australia) ++ 12:30 Cost Increase due to UHD Video Broadcasting as Compared to HD - Urvashi Pal (Victoria University, Australia)

ROOM A 3.A.3: HDR: RATIOS MATTER ++ 14:00 HDR from the perspective of a camera manufacturer - Michael Jonas (ARRI Cine Technik GmbH & Co KG, Germany) ++ 14:30 HDR production from top to bottom in 60min - James Gardiner (DigitAll Pty Ltd & CineTechGeek, Australia) ++ 15:00 Evaluation of inverse tone mapping operators - Ning Feng and Li Song (Shanghai Jiao Tong University, P.R. China)

ROOM B ++ 14:00 3.B.3: Innovating for Sports Fans - Sports Broadcasting Technology Update ++ This interactive panel session will focus on the latest technology developments in sports broadcasting in Australia.

ROOM A 3.A.4: HDR & UHD: THE DYNAMIC DUO ++ 16:00 A format independent native HDR live production workflow - Klaus Weber (Grass Valley, A Belden Brand, Germany) ++ 16:30 HDR Signalling, Metadata and Chroma Downconversion: Key Additions to a UHD Workflow - Ian Trow (Harmonic, UK) ++ 17:00 Virtualized 4K-HDR Video Solutions - Thomas Dufermont, Yossi Aloni and Pierre Larbier (ATEME, France)

ROOM B 3.B.4: IS IP BROADCAST'S FUTURE? ++ 16:00 What are the blockers to going IP for broadcasters? Paul Broderick (SMPTE Board, Australia)

SAM. Straight Talking: NEWS OPERATIONS www.content-technology.com/newsoperations

Sirius 800 Series Routers

Hybrid routing from 288 x 288 to 1152 x 1152 • More multiviewer inputs & outputs than any other router on the market – with no loss of router capacity • Unique embedding on inputs – no external loopbacks • Frame syncs, processing, delay & more • Clean & quiet switching outputs • 12G-SDI UHD interfaces • 40GbE and 50GbE SMPTE 2110 IP interfaces www.s-a-m.com/sirius800

NEWS OPERATIONS

So flexible.

49

NEWS OPERATIONS www.content-technology.com/newsoperations

Streamz Goes Live with Panasonic PTZ robotic cameras WHEN THE AUSTRALIAN JOURNAL OF PHARMACY (AJP) held its annual Australian Pharmacy Professional Conference and Trade Exhibition (APP2017) on the Gold Coast in May this year, the event reached an audience far beyond the 6000 attendees thanks to ‘virtual conference’ Facebook live broadcasting, managed by Sydney-Based company, Streamz, and in partnership with Pacific Content.

pharmacists in Australia,” said Mike Mckenzie, Creative Director, Stream. “Our

Using Panasonic PTZ cameras, Streamz and Pacific Content worked to bring the virtual conference to life for the online AJP audience, delivering breaking news, keynote addresses from the Health Minister and Shadow Health Minister, interviews, and more.

performance cameras, whatever the angle, location or lighting condition,” said

The APP2017 stage was custom built to include three Panasonic PTZ Cameras (2x AW-HE130K and 1x AW-UE70K) and one roving camera to capture the events and excitement from conference floor. Content was then packaged into short pieces in the Sydney studio and sent back to the Gold Coast where it was rolled into live content from the stage and distributed across social media platforms, including the Facebook Live and to AJP website.

“By creating live content that included conference coverage, conference news, interviews and sponsored content, we were able to expand the dissemination of knowledge beyond the 6,000 conference attendees to the 30,000 registered

experience at APP 2017 is an exciting step forward in the transformation in the traditional conference structure to a more engaging and inclusive virtual conference platform.”

“Live productions depend on sophisticated image production and highMatthew Alexander, Product Marketing Manager, Broadcast and Professional Video, Panasonic. “Panasonic’s range of robotic PTZ cameras have been designed to suit a wide range of live event broadcasts in a very affordable package, enabling businesses of all sizes to create high-quality live broadcasts on minimal budgets.”

Panasonic’s AW-UE70 4K-integrated PTZ Camera is an integrated 4K pan/tilt/ zoom (PTZ) camera suitable for installation in stadiums, conference rooms, lobbies, auditoriums and retail. The AW-HE130, meanwhile, is a full HD camera with integrated pan-tilt and 20x optical zoom. The camera has a number of key functions including video output via 3G-SDI, IP streaming transmission.

Visit www.panasonic-broadcast.com.au and http://streamz.com.au

Adobe Stock Debuts New Editorial Collection and Next Gen Search ADOBE HAS ANNOUNCED it is reinventing one of the most cumbersome, time-consuming tasks – finding the perfect image and video assets for creative projects – with the introduction of Aesthetic Filters. Powered by Adobe Sensei, the company’s artificial intelligence and machine learning framework, Aesthetic Filters allow users to fine-tune search results in Adobe Stock, saving time and improving the final creative product.

Adobe has also announced availability of new collections from Reuters, USA TODAY Sports (coming soon) and Stocksy, bringing its total collection to nearly 90 million assets.

“In the two years since we launched Adobe Stock, we’ve significantly grown our collections and base of contributors, deepened creative workflows, expanded asset types and made it even easier for contributors to sell their work,” said Claude Alexandre, vice president, Adobe Stock. “And now we’re innovating with new advanced search technology, which will help creatives solve their most complex visual and design challenges.”

The new Aesthetic Filters in Adobe Stock leverage Adobe Sensei to let users quickly refine search results by applying filters like Depth of Field and Vivid Color, saving time and improving workflow efficiency. Aesthetic Filters follow the debut of Adobe Stock Visual Search in November 2016, which allows users to perform searches based on a selected image instead of a simple text

entry. When an image is uploaded, Adobe Stock uses machine learning to return images with similar visual and semantic characteristics, which can be further refined with keywords Adobe Stock digital assets, including images, templates, videos and 3D, are all natively integrated into Creative Cloud applications. Earlier this year, Adobe introduced the 500px and Pond5 collections, further expanding the premium and video offering.

The Reuters for Adobe Stock Editorial Collection features 12 million editorial images, including global news, sports and entertainment content. It will also include 26,000 hours of video and one million clips.

The upcoming USA TODAY Sports for Adobe Stock Editorial collection will cover more than 10,000 sporting events annually producing 500,000 images per year, including major league sports coverage from the NFL, NBA, MLB and NHL. Meanwhile, the Stocksy for Adobe Stock Premium collection will expand the Adobe Stock Premium collection with a highly curated collection of royaltyfree stock photography.

Visit www.adobe.com/au/

Ai-Media Unveils Closed Captioning using Facebook Live CAPTIONING COMPANY Ai-Media has announced that it will bring its technology to broadcasters seeking to add closed captions to their Facebook Live broadcasts.

NEWS OPERATIONS

Founded in 2003, Ai-Media is recognised as a leading provider of high quality live and recorded captioning services. Headquartered in Australia, the company employs 250 staff with offices in the U.S., Canada and the UK.

50

Ai-Media’s broadcast captions are seen by millions who tune into Seven, Nine, Foxtel, BBC Worldwide, NBC Universal and Discovery. Its education captioning is provided at over 100 universities and schools around the world. Ai-Media is excited to now be providing closed captioning services to publishers who want to add live captions to Facebook Live broadcasts.

Ai-Media’s unique technology allows people, public figures and Facebook Pages to share live video and add captions to their content, connecting instantly with their followers and friends on Facebook.

Ai-Media’s technology for adding captions to Facebook Live broadcasts is based on a simple interface; users send their live stream directly to Ai-Media, who then

add live captions to the stream and send it back to the user’s page. The service purposefully incorporates a minor delay to the user’s live stream to allow the captions to appear in time with the audio track in easy-to-read caption blocks.

It’s not just deaf and hard-of-hearing people who are set to benefit. The addition of captions not only allows the message to be communicated silently, it also provides valuable metadata about the content of the video for search discovery.

Tony Abrahams, CEO of Ai-Media, said, “Together with Facebook, we’ve designed a solution to provide access to great live content on a truly global scale.”

Over the past year, daily watch time for Facebook Live broadcasts has grown by more than four times, and one in five Facebook videos is a Live broadcast.

Ai-Media’s technology will allow publishers to incorporate captions in their live videos.

Visit www.ai-media.tv

NEWS OPERATIONS

NEWS OPERATIONS

51

NEWS OPERATIONS

Streambox Updates Avenir Line and Cloud STREAMBOX RECENTLY ANNOUNCED new products and solutions for newsgathering, cloud-based video contribution and streaming, and new rackmount upgrades with frame synchroniser and live video stream encryption.

the user is able

As an upgrade to its Avenir line, the Avenir Mini-4. Designed for broadcasters and newsgathering, the Streambox Avenir Mini-4 is a camera-mountable, bonded cellular, mobile encoder. More than an upgrade of Avenir Mini-3, the Mini-4 is powered by Qualcomm mobile hardware with an enhanced ACT-L3 codec and an improved feature set. These improvements provide boosted video encoding and transmission performance while providing extended six to eight hours of battery operation.

in real-time,

Equipped with five 3G/4G/LTE modems with integrated Wi-Fi for streaming, the Mini-4 provides low latency, reliable, HD video streaming. Using 30% less bandwidth than comparable H.264 encoders, the Mini-4 reduces ongoing operating expense costs. The new software with new web interface includes an enhanced ACT-L3 codec that provides improved HD video quality at lower bandwidth. The new UI for the Mini-4 includes optimised settings for bonded network live transmission over any internet connection: cellular, Wi-Fi, BGAN, SNG, and ethernet.

devices, or directly

Broadcasters, both large and small, incorporate Streambox Cloud services as a primary tool to drive workflow and team efficiencies, lowering operating expenses while increasing content generation and sharing. The continued Streambox Cloud Services development provides broadcasters and online video publishers an increasing set of services for content and web video publishing.

supporting ten video channels that can automatically ‘pull’ live video from

Streambox Cloud resides globally on Amazon AWS and Microsoft Azure Cloud which provide a secure video infrastructure and software management system. Streambox Cloud services deliver a broadcast-centric environment for newsgathering, live video contribution, video monitoring, internal/external video distribution, and live transcoding for HD and 360 web video publishing to Twitter/Periscope, YouTube and Facebook.

and advertisement insertion triggers).

With a Cloud package, the user is given free software encoders for Mac, Windows, iOS and Android devices. Using any Streambox software encoder

to stream live HD and 360° videos anywhere in the world, with multi-format video transcoding to web/mobile to Twitter/ Periscope, YouTube and Facebook.

The Streambox NODE is a small, mobile, and low-cost media player device with HDMI output Streambox Cloud or Enterprise Server. The device can also receive live video directly from an encoder for live video playout to connected TVs and monitors.

Rackmount encoders now have improved support for capture, encoding, and vertical ancillary data, V-ANC (non-video information such as closed captions Streambox also offers an AES-128 video encryption add-on for rack-mount encoders/decoders and the MacOS Media Player that encrypts every video, audio, and VANC packet without adding latency to the video stream and ensures only users with an authorised key can play out an encrypted video stream.

Visit www.streambox.com

Ross Announces Frontier Virtual Production Solution AT THIS YEAR’S NAB SHOW, Ross Video announced a new addition to its range of virtual production solutions. Frontier is the latest Virtual Studio Graphics Rendering platform, produced in collaboration with The Future Group, the company behind the ‘Lost in Time’ franchise.

Broadcasters and content creators have increasingly been turning to virtual studios because of the clear commercial and creative benefits. Modest studio spaces can be made to look larger and more impressive, and set design can be quickly and easily changed for different applications. This enables studio spaces to be used more flexibly and profitably.

Frontier offers designers multiple levels of creative freedom combined with hyper-realistic rendering quality that makes virtual sets look much more natural and convincing. Even the most complex graphical elements – from rain drops and fire, to live shadows and reflections, lens flares and dynamic highlights – are created quickly with realism.

At its core, Frontier is a video gaming engine capable of photorealistic scenery, and it has now been optimised by Ross to work in virtual studio broadcast environments.

Frontier uses the Unreal gaming engine from Epic Games as the core render engine, which provides high realism scenery through features such as particle systems, dynamic textures, live reflections, shadows, and even collision detection.

Used for rendering background scenery, or foreground objects, Frontier works alongside XPression motion graphics systems from Ross to provide workflow tools and data connectivity.

This combination with XPression uses the best of both worlds – photorealistic backgrounds and creative freedom, along with data connectivity, visual logic programming, and full support for most virtual studio production workflows.

Visit www.rossvideo.com

NEWS OPERATIONS

Reuters Connect – Content Marketplace

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REUTERS RECENTLY ANNOUNCED the launch of Reuters Connect, a content marketplace featuring all of Reuters multimedia content, as well as an array of content from other media organisations around the world. Reuters Connect is designed to be a faster, more intelligent way for Reuters News Agency customers to source the content they need via a single destination.

Content providers on the platform include BBC, USA TODAY Sports, Omnisport, Variety, Hollywood TV, Jukin Media, Africa24, and more.

Reuters Connect is available via subscription and features a new points-based spending model, Reuters Points, which provides clients with the freedom to access and utilise both Reuters and partner content across multiple topics and multimedia formats. Points are available in quarterly allocations so

clients can optimise their editorial spend in line with the ebb and flow of the news agenda. Clients can also continue to subscribe to unlimited content consumption.

“Reuters Connect was driven by the needs of modern day publishing. It’s a first-of-its-kind, dynamic new platform that provides our customers with access to a richer library of content and more flexibility in the content they can utilise,” said Sue Brooks, Global Head of Product for Reuters News Agency. “Because our vast trove of real-time and archive multimedia content dating back to 1896 is now accessible in one place, our customers can create more compelling, engaging stories than ever before.”

Visit https://agency.reuters.com

POST PRODUCTION www.content-technology.com/postproduction

Timesaving Software Attracts Groupies - and an Emmy Award SEEING AN OPPORTUNITY TO DEVELOP software which would streamline workflows in post-production, screen editor Jason “JJ” Jamieson and Shruti Patel, a former State Manager with Adstream, came together in 2015 to establish Group It For Me. “The traditional post-production workflow is that the media comes in from the field, gets ingested into the post-production software – Avid Media Composer – and then an assistant editor is hired to ingest that media, transcode it into an offline format and then sync it and group it,” says Jason Jamieson. “Having a human do that manually just takes so much time. Just the nature of having a piece of software do it is so much quicker.”

After a few months of beta testing by various post-production companies, the platform was ready for market.

“It was interesting seeing how it spread,” says Jamieson. “We started off with the people that we knew. The nature of post-production contracts is that they would finish off their contracts and then spread out into other companies, and so on, and so on. We had some connections in Los Angeles, we were seeing it happen there. We were seeing it happen in Australia. Somehow, people were finding out about it in Europe and the United Kingdom, and it was just spreading everywhere.”

Not only was the platform spreading, it was garnering some very notable results.

According to the Group It For Me Founder, up to 1500 times quicker than manual handling was just one result coming back from the user base.

“We’ve got the data from someone who has actually sat there manually to do it and then run it through the system and compared those figures. It’s quite impressive,” says Jamieson.

Group It For ME founders Shruti Patel and Jason Jamieson.

application and they got some contacts from us of some of our clients in America, and made some phone calls to validate the legitimacy of what we were saying. Obviously, our clients had some very good things to say about us.”

After adding formal wear to Jamieson’s wardrobe, the two developers flew to the U.S. to accept the Award. Since returning to Australia, they have been plotting their next moves, including a greater focus on the Asian post-production market.

It was then, after 18 months of organic growth, that the pair received an unexpected phone call. It was the Academy of Television Arts & Sciences. Group It For Me was being considered for a Technical Emmy Award.

Jason Jamieson will deliver a detailed presentation on Group It For Me at SMPTE17, Darling Harbour, Sydney, on Wednesday, July 19, at 09:00am in Conference Room A.

According to Jason Jamieson, “They said they were interested in exploring our

Visit www.groupitforme.com

Adobe Acquires Mettle’s SkyBox for 360 Video/VR Post ADOBE SYSTEMS INCORPORATED has acquired all SkyBox technology from Mettle, a global developer of 360-degree and virtual reality software.

The Skybox toolset is designed exclusively for post-production in Adobe Premiere Pro CC and Adobe After Effects CC and complements Adobe Creative Cloud’s existing 360/VR cinematic production technology. Adobe will integrate SkyBox plugin functionality natively into future releases of Premiere Pro and After Effects.

The acquisition comes at a time when increasing numbers of creators, global brands and media and entertainment companies are embracing 360/VR and are looking for seamless, end-to-end workflows for this new, immersive medium.

To further strengthen Adobe’s leadership in 360-degree and virtual reality, Mettle co-founder Chris Bobotis will join Adobe, bringing more than 25 years of production experience to his new role.

“We believe making virtual-reality content should be as easy as possible for creators. The acquisition of Mettle SkyBox technology allows us to deliver a more highly integrated VR editing and effects experience to the film and video community,” said Steven Warner, vice president of digital video and audio, Adobe. “Editing in 360/VR requires specialised technology, and as such, this is a critical area of investment for Adobe, and we’re thrilled Chris Bobotis has joined us to help lead the charge forward.”

Introduced in April 2015, SkyBox was the first plugin to leverage Mettle’s proprietary 3DNAE Technology, and its success quickly led to additional development of 360/VR plugins for Premiere Pro and After Effects. Today, Mettle’s plugins have been widely adopted by leading companies world-wide, such as The New York Times, CNN, HBO, Google, YouTube, Discovery VR, DreamWorks TV, National Geographic, Washington Post, Apple, and Facebook, as well as independent filmmakers and YouTubers.

Vsit www.mettle.com and www.adobe.com

NEW ZEALAND-BASED software developer Kiwa Digital has announced the launch of a new software tool it says is set to disrupt the audio postproduction industry.

“VoiceQ Writer takes an inventive approach that will enable new levels of professionalism in the sector and give content producers more time efficient recording and higher quality overall.”

VoiceQ Writer is a stand-alone software application that systemises the work of scriptwriters, translators and trans-adaptors. The tool improves the efficiency and accuracy of detailed tasks such as splitting lines, marking pauses, and placing cues and lines for each character; enabling users to deliver time and synch perfect scripts every time.

The VoiceQ Writer tool can be used independently of studio hardware, allowing users to work remotely and collaboratively.

“Script preparation is a vital part of the dialog replacement process that is experiencing dramatic growth and change as technology presents new challenges and opportunities,” says Steven Renata CEO of VoiceQ’s developers Kiwa Digital.

The launch of VoiceQ Writer is part of a wider program for Kiwa Digital. The company is developing a localisation and distribution platform that moves the dialogue replacement process well beyond “the technician in the studio”, systemising and taking into the cloud the contribution of script writers, translators, adaptors, voice actors, engineers, studio managers and executives.

Visit https://voiceq.com

POST PRODUCTION

Disrupting Audio Post

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POST PRODUCTION

The 3 Most Interesting Ideas to Come Out of Avidconnect 2017 Opinion by James Taylor, Sales Director, Videocraft FIRSTLY, THIS IS NOT AN AVID PRESS RELEASE! AvidConnect (the annual Avid Customer Association event) is in its fourth year, and while it is a way for Avid to show off some of their new offerings and partnerships, there has always been some really interesting discussions about the industry we work in, and where we are headed. This year was no exception, and I have put together some of my thoughts on what I have seen over the weekend, and how I see this affecting our future. Here are three key points I have taken from AvidConnect2017, feel free to comment!

Artificial intelligence (AI) is going to radically change our world, and fast!

We are all under pressure to produce more for less, and this will only accelerate in the future. However, looking at the tools we are all using, whether it be live production or post production, there are many manual processes in the workflow that are time consuming and expensive. Changes in technology, such as video over IP, 4K, HDR and the like have their own benefits to improve existing workflows, but none of them radically change the way we work. To be honest, changing a video signal that was carried as a stream on a copper video cable across to an IP stream on a fibre cable is no different to updating your car. It may be a bit faster, the interior may be a bit nicer and the phone connects really well, but the interface between yourself and the car is basically the same. It still takes one person to drive it, and it won’t radically change the way you drive to and from the office each day.

There is a massive gorilla just knocking on the door, and it is AI. When you consider the massive amounts of data that exist in the world now, that needs to be mined for the unique information that can be searched, catalogued and analysed. We already see Google and others change the delivery of advertising from analysing our search data, and this type of technology can and will absolutely change the way we do production.

Avid’s newly announced partner for Cloud based platform services was Microsoft, and we were shown some of the promise that is becoming available on the Azure Cloud platform. We were shown their cognitive video indexing platform, Video Breakdown https://www.videobreakdown.com and it was truly impressive.

Being able to automate a number of time consuming aspects of logging media is something that I am always interested in, but we keep coming up with roadblocks, such as ‘how can we convert speech to text automatically, followed with ‘but we need face recognition so we can associate the right person with the speech’, and all of this seemed like something that is a long way away.

POST PRODUCTION

This, from what I had seen was the first time that we had seen something that was able to answer the questions we had been asking. It’s all not there yet, but

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shows a really exciting and interesting future that can help us to find the time to create compelling stories, rather than spend much of the time on repetitive, boring tasks in the production workflow. It is critical that we do everything we can to improve production value, and being able to give some time back to the creative teams to do a better job I think is a positive benefit. It doesn’t take too much forethought to see how machine learning systems can revolutionise live and post produced media.

A great story to connect with your viewers is still the key!

As a person on the technical side of the fence, it is always expected that I will say that you need more pixels, or better pixels, or more immersive audio to make things more compelling to the person watching the content you make. High production values are, and always will be a critical part of the picture in engaging your audience, but 4K HDR video with Dolby Atmos immersive audio is not going to save a bad story! The lessons we have learned from the way we use social media is proof of this, and we all need to be mindful of the story we are telling, and how this will engage our audience. The seemingly insatiable appetite we have for consuming media on all devices won’t stop, and I don’t think that shooting in 4K HDR to tell a story that isn’t relevant to your audience is going to help increase your numbers for views on smart phones. This does not mean that production value is not important, but I think that it works as more of a multiplier to the effect the original story has, so in effect production value can ‘supercharge’ the engagement with your audience.

The cloud is great, but I live in Australia. Help!

There is some great technology that is becoming available, and the increase in cloud offerings from Avid (including even Media Composer in the cloud) was a really interesting thing to see coming up. Storage in the cloud, asset management in the cloud, and almost everything else coming up is really compelling. Now that we can see this, I feel that we are really limited in our ability to leverage these technologies because the connectivity options available to small to medium enterprises especially are in many cases prohibitively expensive, and also the telcos at the lower levels just do not have any understanding of the needs of small to medium media enterprises. For the time being, even with improvements in connectivity I am not so sure that it will still be cost effective to keep your online high res editing assets all stored in the cloud, but I can see that a hybrid of on premise facilities and some cloud hosted facilities will be the best way to move forward. Avid did have some really interesting options in this regard, and I do look forward to looking at their offerings further at NAB when the show opens tomorrow. The idea of being able to seamlessly move files between all of your collaborators in projects all around the world is getting much closer, but it is pretty obvious that connectivity is becoming a new digital divide in the market.

The concept of democratising connectivity, which I assume was one of the ideals of the NBN (but is now ironically being crippled by our democratic system) is something that needs to happen to encourage the use and development of more powerful and useful systems to benefit everyone.

Overall, I found Avid Connect to be a worthwhile experience, and while there is obviously mention of Avid products in the weekend, I don’t think you even need to be an Avid user to take a lot out of the weekend. The speakers were knowledgeable and engaging, and it was this quality of industry professionals sharing their knowledge that will make me come back to Avid Connect in 2018.

Visit www.videocraft.com.au

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POST PRODUCTION

MEDIA STORAGE

MADE SIMPLE

Find out more at: emergingtechsolutions.com/media-entertainment isilonapj@emc.com

POST PRODUCTION

Create, Manage, and Deliver Media Content Edge to Core to Cloud

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POST PRODUCTION

Radeon Pro Duo for Pro Performance AMD HAS ANNOUNCED the world’s first dual-GPU graphics card for professionals, the Radeon Pro Duo, designed to deliver performance and flexibility.

With up to two-times faster performance than the closest competing professional graphics card, the Radeon Pro Duo excels at media and entertainment, broadcast, and design and manufacturing workflows. The card is armed with 32GB of ultra-fast GDDR5 memory to handle larger data sets, more intricate 3D models, higher resolution videos and complex assemblies with ease.

The Radeon Pro Duo is designed to: • Divide: The Radeon Pro Duo’s dual-GPU design gives professionals flexibility to divide and conquer workloads, enabling smooth multi-tasking between applications by committing GPU resources to each. Professionals can maintain creative momentum and get more done faster.

• Accelerate: The Radeon Pro Duo increases performance in today’s popular professional applications through support of multiple GPUs or plug-ins, speeding through tasks with up to two times faster performance compared with the Radeon Pro WX 7100.

• Create: The Radeon Pro Duo’s potent combination of performance and dual-GPU flexibility makes it suitable for today’s workloads, including professional VR content creation. Radeon Pro Duo leverages the power of two GPUs to render out separate images for each eye, increasing VR performance over single GPU solutions by up to 50% in the SteamVR test.

Advantages for professionals: • For Media and Entertainment Workflows: The Radeon Pro Duo enables professionals to power through tasks without fear of slowing down their progress switching between applications. For example, compositing a shot in Nuke while jumping into a 3D application to create assets, exporting back to Nuke to keep compositing then switching to Photoshop or Mari.

• For VR Content Creation: Faced with raw, un-optimised content, VR creators need a lot more horsepower than VR consumers. By leveraging dual GPUs, the Radeon Pro Duo offers increased graphics horsepower and faster rendering in the development of 4K 360 VR content.

• For Design and Engineering Workflows: The Radeon Pro Duo delivers an increase in performance, and incredible geometry throughput of more than 11 billion triangles/second, powering through the largest models and most complex rendering tasks.

• The Radeon Pro Duo is designed to meet the requirements of workstation form factors, comes with 24/7 support and is bolstered by professional-grade drivers certified across leading applications.

Visit www.amd.com

Colorfront Launches QC Player and 2017 Dailies COLORFRONT RECENTLY ANNOUNCED Colorfront QC Player, a new system enabling post and studio facilities to perform quality control tasks on Ultra High Definition and High Dynamic Range content.

Colorfront QC Player runs on Supermicro and HP Z840 workstations, maximising the GPU performance of the latest GeForce 1080Ti and NVIDIA Titan-XP graphics cards, with AJA’s Kona 4 I/O card supporting realtime output up to 4K at 60fps. QC Player’s transport controls include support for external panels from BUF and Tangent.

The software is powered by Colorfront Engine to ensure colour and metadata fidelity, and harnesses powerful monitoring, analysis and validation tools that feature in Colorfront Transkoder.

POST PRODUCTION

Colorfront QC Player delivers real-time support for all major RAW UHD HDR formats from the latest digital cinematography and DSLR cameras. These include: Alexa ARRIRAW – both MXF-wrapped and ARI files, Panasonic VariCam 4K VRAW and Panasonic AVC-Intra, Sony F55 and F65 RAW, XAVC and X-OCN, Blackmagic DNG, Canon RAW, RED R3D, Apple ProRes, plus DPX and TIF sequences from scanned sources. It also supports playback of JPEG 2000 content, including DCPs (2D and stereo, encrypted, with subtitles) and IMF packages, such as lossless/high-bit-rate UHD Dolby Vision mezzanine masters with dynamic metadata and Dolby CMU control.

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For image analysis, QC Player includes waveform, vectorscope, histogram, split-screen, colour gamut and light-level metering. It features framing guide overlays for title/text/logos/graphics safe areas, plus image reframing and burn-in/watermarking tools. QC Player also comes with audio tools supporting embedded audio, WAV files and up to 24-channel audio output.

Colorfront has also released 2017 versions of its Express Dailies and On-Set Dailies systems for UHD and HDR image-processing. Both built on Colorfront Engine which enables on-set look creation, and ensures the colour integrity of

UHD HDR dailies/deliverables, with associated metadata, through the entire camera-to-post chain. Colorfront On-Set Dailies 2017 retains its flexible node pipeline, offering unlimited outputs, while Express Dailies 2017 allows rendering of up to four concurrent deliverables – a key differentiator between the products.

Customers can take advantage of flexible licensing options, which sees Express Dailies 2017 available as a Windows version for the first time on HP Z840 workstations, as well as the latest MacBook Pro platform. Both 2017 systems support Tangent’s Ripple control panel.

Colorfront Express/On-Set Dailies systems deliver real-time support for all major RAW UHD HDR formats from the latest digital cinematography and DSLR cameras from ARRI, Sony, Canon, RED, Panasonic, Go Pro, Blackmagic and Phantom. These are now extended to encompass: Panavision’s DXL 8K large-format camera, RED Weapon/Helium 8K R3D (de-Bayered to 4K or below), plus RED WideGamutRGB and Log3G10 colour options, Canon’s C700 RAW, Cinema Gamut and Log2 options, Panasonic VariCam VRAW, Sony’s X-OCN ST and LT compressed RAW codecs for F5 and F55, ARRI Alexa 65 RAW and Alexa Mini RAW MXF, improved Blackmagic lossless JPEG CinemaDNG, and enhanced 12-bit DPX. Express Dailies and On-Set Dailies 2017 are optimised for fast encoding to the widest range of UHD/HDR dailies, editorial and web deliverables. Output support has been broadened to include: all Avid DNxHD formats, including DNxHR HQX and DNxHR 444, High Efficiency Video Codec (HEVC) in HDR10 with ST-2086 metadata, and HDR output with variable HLG and ST-2084PQ for display calibration using MaxFALL/MaxCLL values, Apple ProRes wrapped in Quicktime, and also MXF, MPEG4 H.264, PIX, DAX, uncompressed DPX, TIFF and OpenEXR formats. Image analysis tools include HDR waveform monitoring, Rec709 and Rec2020-P3 Wide Color Gamut vectorscope.

Visit www.colorfront.com

POST PRODUCTION

Cinedeck Releases Free ProRes Export Plugins CINEDECK HAS ANNOUNCED the availability of two free plugins developed with Avid and Adobe to support file-based insert edit workflows with ProRes files. The plugins allow users to export constant bit-rate ProRes files directly from Avid Media Composer and Adobe Premiere through Media Encoder. Cinedeck also worked with the Auto Desk team to realise direct CBR exports from their Flame, Lustre, Flare and Flame Assist applications. This means content producers that export from these systems can apply audio, video and closed caption insert-edits to their ProRes master files immediately, without any file preparation delays.

File-based Insert Edit is a patent-pending technology that allows users to overwrite new video, audio or closed captions to a flat file without a complete

rewrap or re-render. With more than 80% of master files delivered to studios being ProRes, Cinedeck remains committed to developing tools to expedite ProRes finishing workflows.

CineXtools users also receive some extra perks by using Cinedeck’s ProRes export plugins. Cinedeck’s plugin for Adobe Premiere allows users to export RGB12 Pro Res files, a colour space not natively supported for export with Adobe’s Media Encoder. For Avid Media Composer users, Cinedeck’s AMA plugin means that QuickTime files can be exported with an empty caption track, previously unavailable – then a CAP or SCC file can be inserted using cineXtools.

Visit www.cinedeck.com

New TVLogic Reference 4K and OLED Monitors TVLOGIC HAS

multiple colour gamuts

INTRODUCED new 4K

including Rec.709, DCI,

HDR and OLED monitors

and Rec.2020. Signal I/O

to address the demands of

includes 3G/6G/12G-SDI

broadcast, production, post-

input via one, two, or four

production, and multi-viewer

SDI connections as well as

applications.

HDMI (ver.2.0).

The line-up includes the

VFM-055A

LUM-310R – a 31-inch 4K

The VFM-055A is a 5.5-inch

HDR Reference Master

OLED (organic LED) on-

monitor featuring 2000 nit maximum luminance, the

camera viewfinder monitor

LEM-550R – a 55-inch UHD OLED HDR monitor for broadcast QC and post

with native 1920 × 1080 resolution. It offers cinematic image quality with

production, the VFM-055A – a 5.5-inch HD OLED viewfinder/onboard monitor

deep blacks, wide-gamut colour reproduction, a very wide viewing angle

offering cinematic quality, and the LVM-171S – a 17-inch QC-Grade HD Dual-

and support for multiple video formats via 3G-SDI and HDMI 1.4 inputs.

Channel LCD monitor.

Functions include cinema camera log-to-linear LUT conversion, HDMI-SDI

LUM-310R

cross-converted output, waveform and vector scope, markers, focus assist

The LUM-310R is a 4K HDR Reference Master production monitor with a

and audio level meters.

31-inch wide Super-IPS 4K LCD (4096 x 2160) and a local-dimming backlight

NEW LVM-171S

array designed to reproduce reference HDR content at a maximum luminance

The LVM-171S is TVLogic’s top QC-Grade 17-inch model with a 16.5-inch IPS

of 2,000nits with a simultaneous deep black minimum of 0.002nits.

LCD panel with 1920 × 1080 native resolution, wide-gamut reproduction (up

LEM-550R

to DCI-P3) enhanced contrast ratio and wide viewing angle all unmatched by

The LEM-550R is a QC-Grade HDR monitor for broadcast and post production with a 55-inch OLED panel with UHD resolution of 3840 x 2160. The OLED panel can reproduce a maximum luminance of up to 750nits. the LEM-550R

other LCD monitors. A completely redesigned video processing unit provides powerful dual-channel performance and artefact-free image reproduction.

Support for various cinema camera log-to-linear LUTs, field upgradability and

supports various HDR standards such as SMPTE ST2084, ST2086 and

an array of image processing features are standard.

ST2094 (pending), Hybrid-Log Gamma (HLG), and others. It also supports

Visit www.tvlogicusa.com

Shotgun Media Streaming and Single Sign-On

Shotgun 7.2 highlights include: • Plug-and-Play Integrations: It’s now easier for Shotgun users to connect their content creation tools with Shotgun. New plug-and-play integrations first autodiscover Maya, Nuke, Photoshop, Houdini, 3ds Max, and Flame, and then embed the Shotgun Panel, loader and publisher directly within them without manual configuration.

• Web Streaming in RV: Many Shotgun users work on dispersed teams around the world and might not always have access to the high-res media for reviews in RV.

With the addition of cloud playback support in RV, web-connected artists and supervisors can review shots in context, even when content is not stored on their computers. Shotgun simply recognises if media isn’t available and pulls it into RV from Shotgun on the web.

• New Publisher: A new publisher tool enables tracking of files in Shotgun and can either run in content creation tools or as a standalone application giving users the flexibility to publish files from any content creation tools.

• Single Sign-On: Single sign-on bolsters security in-house by centralising authentication, making it easy for IT department to grant, limit, and revoke access and permissions. Plus, everyone at the studio now has the convenience of only having to remember one set of credentials.

• SDI Functionality in RV: SDI Functionality, previously only available with ‘Super Awesome’ support, is now available to all Shotgun clients.

Shotgun pricing starts at $30 per account/per month with ‘Awesome’ support, or $50 per account/per month with ‘Super Awesome’ support.

Visit www.shotgunsoftware.com

POST PRODUCTION

SHOTGUN SOFTWARE HAS RELEASED Shotgun 7.2, the latest version of its cloud-based review and production tracking software. Strengthening Shotgun’s commitment to simplifying workflows and helping studios of all sizes collaborate, the update transforms integrations with content creation tools. Studios can now take advantage of out-of-the-box integrations with content creation tools to accelerate artist workflows. Updates to RV also make reviewing media from the cloud seamless and includes SDI functionality as standard. The release also builds upon Shotgun's role as a secure foundation for many studios by adding single sign-on to give IT departments centralised control over user access and permissions in Shotgun.

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MEDIA IN THE CLOUD, STORAGE & MAM TVNZ Chooses Telestream Vantage for Transcoding, File Delivery TELESTREAM, THE PROVIDER of digital media tools and workflow solutions, has announced a major order for its Vantage Media Processing Platform from New Zealand’s leading free to air broadcaster, Television New Zealand Limited (TVNZ).

The order sees TVNZ installing multiple nodes of Vantage Transcode Pro Connect with the Advanced Avid option which enables delivery of files and metadata into Avid Interplay. Also, Vantage Array provides peer-to-peer system management with failover and CPU-aware load balancing.

Throughout the project, Telestream is working closely with regional channel partner, Auckland-based Amber Technology.

The system was installed and commissioned in June.

“Our partnership with Telestream sets us up to deliver content faster to our viewers. At TVNZ, we have a range of first generation transcoding equipment from various vendors that are all at the end of their supported life. We needed to seed a new transcoding environment that can grow throughout our operations,” explained Greg Montgomery, GM Technology at TVNZ. “Telestream’s Vantage offers us a cost-effective and elegant solution – one that offers the best architecture for future growth and supports our need to use 10-bit formats such as AVC-Intra.”

The first application of Vantage within TVNZ’s broadcast operations involves its news production workflows.

“Speed is critical in our news operations environment – and that’s where our new technology will give us an edge,” said Greg Montgomery.

Vantage will be used to ingest content from various external sources including field generated content received as files from LiveU enabled cameras, Aspera delivered material from journalist’s phones and agency feeds from Reuters. AP agency feeds will be accommodated in a future integration. Vantage will be used to ingest and transcode this time-critical content and place it as quickly as possible within their Avid Interplay production system.

A key advantage for TVNZ is the integration between Telestream Vantage and Avid workflows.

“The tight integration between Vantage and Avid is important to us,” explained Greg Montgomery. “It allows us to reduce complexity within our ingest process thereby increasing efficiency and saving time in the news production process.”

In addition, it was important to TVNZ that Vantage integrates well with their media asset management (MAM) system. TVNZ employs the VizOne MAM system and, again, Telestream has worked closely with Vizrt on API level integration of the systems.

“TVNZ needed a powerful, future-proof, enterprise-scale transcode solution and this is what Vantage offers,” comments Josh McMahon, Head of Sales, Asia Pacific at Telestream. “Whatever content needs to be ingested, converted or exported, we can say ‘Vantage Does That’. We look forward to working with Greg and his team as we progress together.”

Visit www.telestream.net

MEDIA IN THE CLOUD, STORAGE & MAM

“Harmonic truly understands the bandwidth and processing demands of video, and our customers will greatly benefit from the MediaGrid system’s fully distributed scale-out architecture and simplified approach to managing storage capacity,” said Nicolas Bourdon, Senior Vice President, Marketing, at EVS. “By leveraging MediaGrid technology, our next-generation XStore product provides broadcasters and other media processionals with a highly reliable, scalable, and high-performance media storage solution that meets the complex requirements of live and near-live production.”

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support the entire media asset workflow, including ingest, playout, archive, edit-in-place, transcoding and OTT adaptive bitrate streaming, with a costeffective solution that is simple to deploy, manage and scale. MediaGrid is purpose-built from the ground up to deliver high bandwidth and consistent low latency for video.

“The XStore brand has been trusted in production and sports production markets for many years, and Harmonic looks forward to bringing the powerful capabilities of MediaGrid storage to those EVS customers,” said Shahar Bar, Senior Vice President, Corporate Development, at Harmonic. “Combining the capabilities of XStore and the MediaGrid system is a win-win situation for media professionals working in live and near-live production, as it allows them to do more; scale up or down in capacity instantly, and lower storage-related costs.”

The XStore system will be rolled out in a number of installations including several upcoming major global sporting events in 2018. One of the first public demonstrations of the system will be at IBC2017 where the in-house TV channel, IBC TV, will use it for the production of live content throughout the show.

With MediaGrid technology powering the new XStore platform, EVS can now

Visit www.harmonicinc.com and https://evs.com

Object Matrix and Fortium Partner for Content Security

The solution combines the MatrixStore object storage and Digital Content Governance platform from Object Matrix, which enables immediate, yet secure, access to content with access controls, and Fortium Technology’s MediaSeal,

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XStore is based on a fully redundant and highly scalable architecture, with solutions starting at 28TB in 6RU and scaling up to 500TB when higher capacities are needed. With its high-density form factor, the XStore platform provides users with valuable space-saving benefits.

OBJECT MATRIX AND FORTIUM TECHNOLOGIES have launched a joint solution offering secure media management for digital content archive storage.

It combines security certified solutions from each provider to offer protection of media assets throughout their lifecycle.

M

CMY

Harmonic and EVS Ink OEM Agreement HARMONIC AND EVS HAVE ANNOUNCED a new OEM partnership that simplifies storage deployments in professional media environments. EVS has adopted the Harmonic MediaGrid system as its new near-line storage solution, marketing it under the XStore brand. The new XStore storage solution increases flexibility and scalability for studios, broadcast centres and major broadcasting facilities via its ‘Grow-as-you-Go’ architecture.

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which encrypts all types of media files during the editing and reviewing stages of post-production to help protect against leaks.

The joint solution ensures that media companies can apply access control to all files within their media library to ensure no unauthorised access. Encryption means that should something accidentally be shared with, or accessed by, someone who is not authorised, the media file will be unreadable to that person.

Visit http://object-matrix.com and www.fortiumtech.com

Explore the possibilities at SMPTE17 stand H40

Software-based IP solutions for compliance, monitoring and analysis mediaproxy.com

MEDIA IN THE CLOUD, STORAGE & MAM

MEDIA IN THE CLOUD, STORAGE & MAM

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MEDIA IN THE CLOUD, STORAGE & MAM

Archion Unveil Integrated SSD and HDD Editstor Solutions ARCHION TECHNOLOGIES RECENTLY ANNOUNCED two new ‘All SSD’ EditStor products: Omni Flash and Velo Flash.

Archion offers intelligent, ultra-high performance shared storage that supports collaborative 4K DPX, 8K, visual effects and 360 video workflows.

With functionality that has included standards based PC, Windows and Linux compatibility, Avid project sharing, scalability up to 2.4 Petabytes, dynamic volume and storage expansion and speeds of 8,000MB/sec with only HDDs, among numerous other features, Archion has earned the trust of media enterprises worldwide.

Reuben Lima, CEO of Archion, said “We continue our mission to bring our clients the highest and most reliable performance at a fraction of the cost, while reducing the insane pace of technological obsolescence. We continue to offer our existing Omni and Velo clients an opportunity to increase performance without requiring external appliances and unnecessary forklift upgrades. Media enterprises trust Archion’s advances in network media storage performance, reliability and overall functionality, and our announcement should build on that confidence. Archion is, once again, setting new standards for this rapidly changing industry.”

Archion’s EditStor products’ speeds may only be topped by their integration of the SSD and HDD drives. Now, a standard EditStor expansion chassis can be added to an EditStor ‘Flash’ engine for high density and cost effectiveness, while delivering transparent and blazing active tier performance for challenging workflows. Any and all 4K, 8K and 360 video workflow demands, such as DPX playback, UHD editorial, ingesting, transcoding, rendering and more, can be handled within a single EditStor system. In addition, all media is managed

through Archion’s new user interface, which enables immediate volume and share creation, naming and organisation.

Recognising that editorial facilities and media departments may not have such high performance demands currently, but do desire some ‘future-proofing’ and investment protection, the EditStor HDD to SDD upgrade is also a seamless process. A preconfigured All-Flash array is delivered and ready for a quick and simple deployment. Internal replication features enable a rapid transfer between volume groups for desired media management and file organisation.

Visit www.archion.com

ReCAP Project Debuts Proof Of Concept AI DURING NAB 2017, the Realtime Content Analysis and Processing (ReCAP) project consortium demonstrated a working prototype of its video analysis technology. The ReCAP software platform enables media companies to automatically analyse and extract time-stamped, descriptive, and technical metadata, in real-time from live broadcast-quality video content and to process existing archive content.

ReCAP is the product of a consortium that includes British media technology solutions provider, New Media Research (NMR), and ToolsOnAir, an Austrian developer of applications that integrate broadcast quality ingest, playout, shared storage, and real-time graphics, nablet, a German provider of streaming, codec, muxing, and transcoding solutions, and Austrian nonprofit, Joanneum Research (JRS), which focuses on applied research. The project is partially funded by a €1 million grant from Horizon 2020, a European Union fund that supports making technology commercially available and affordable for small to medium-size enterprises.

MEDIA IN THE CLOUD, STORAGE & MAM

“Customers with live video workflows or existing archived video are never going to have time to watch, analyse, and make decisions on all their content,” explained NMR CEO, Neil Anderson. “ReCAP will provide a range of automatic content-analysis services to form an affordable, scalable, open and flexible platform designed to enhance metadata-driven media workflows and realise the value of content archives.”

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The final ReCAP product will deliver time-stamped, real-time descriptive analysis of video and audio content, including objects, logo, face detection, and content duplication. It will also provide automatic detection of quality impairments, such as lost/frozen video frames, block dropouts, visible macro-blocking, and estimation of sharpness and noise, as well as potentially automatic quality improvement, interpolation of image regions or entire frames, denoising, and block artefact suppression. Additional ReCAP benefits include archive enrichment such as identifying objects, locations, duplicate or similar content, identifying logos and on-screen text (OCR), and automatic speech-to-text (ASR) to search for content.

Broadcast-quality video with real-time metadata streams will be available for instant review in a web browser based timeline, with analysis and further processing in commercial Media Asset Management systems, workflow orchestration tools, and transcoding software by means of open and documented APIs. The ReCAP product will support on-premise, data centre, and cloud deployment models.

A stakeholder board of major broadcasters, news organisations, and content owners is working closely with the project implementation team to provide feedback and check progress.

Visit www.recap-project.com

Telestream Live Capture 2.0 Focuses on Digitising Tape Archives TELESTREAM, THE PROVIDER OF digital media tools and workflow solutions, has announced version 2.0 of Lightspeed Live Capture, its multichannel video capture and processing system.

Although usable as a stand-alone device, Lightspeed Live Capture is part of the

Designed to provide the fastest possible tape ingest workflows, Lightspeed Live Capture now supports high-density log and capture, with the ability to control and digitize four tape decks at once from a single system. Lightspeed Live Capture is a 1RU appliance capable of capturing 4 channels of HD-SDI or 1 channel of 4K/UHD into any high-quality video format required at frame rates up to 60 fps. Its multi-tenant design enables one operator to control four channels, or four operators to each control a single channel, maximizing operational efficiency.

processes to start early, even as files are being captured (growing). Lightspeed

Telestream Vantage ecosystem. Vantage enables automated capture, editing, transcoding, copying, and more, while Vantage Open Workflows allows these Live Capture also functions as an integral part of any enterprise live-to-VOD workflow that includes Lightspeed Live Stream and Vantage.

Telestream’s Vidchecker application can be used to verify video and audio quality, plus legality and correctness for a complete archival workflow. Vidchecker can run directly on the Lightspeed Live server with Live Capture.

Visit www.telestream.net

MEDIA IN THE CLOUD, STORAGE & MAM

JMR Debut ICS Media MASSter 102

ATTO Thunderbolt 3 to Fibre-Channel ThunderLink Devices

JMR ELECTRONICS RECENTLY ANNOUNCED the availability of the ICS Media MASSter 102 for production workflows requiring a rugged, portable system for duplicating digital assets at ultra-high speeds.

ATTO TECHNOLOGY RECENTLY LAUNCHED its new ThunderLink

The Media MASSter 102 is standalone ruggedised unit designed for digital video applications. The unit comes with a built-in monitor, offering a lightweight, portable and cable-less data duplication device capable of copying multiple media devices to multiple SATA drives or other media devices simultaneously at speeds exceeding 20GB per minute. The unit can ingest digital media assets from a variety of media sources (including SD, SDHC, SDXC, MiniSD, MicroSD, T-Flash, RED cards, M.2, and more) and duplicated to multiple hard drives (SATA) or other media devices simultaneously, with no additional hardware required. Multiple copies of a 1TB file can be made in less than 50 minutes and the system has the capability to send an additional copy of data to cloud storage. The Media MASSter 102 can copy, backup, format, hash or wipe data per operator request.

These devices allow customers to take advantage of the increased

Using the unit’s on-the-fly hashing and encryption capabilities, the transferred data is guaranteed to be an exact replica of the original data without modification, re-arrangement or corruption. The native Windows OS allows for installing almost any Windows applications and remote control through any OS X, Windows, iPhone or Android device. The unit’s touchscreen user interface, along with an HDMI port for an additional screen, allows use in both the field and the studio.

The new fibre-channel ThunderLink devices offer:

The ICS Media MASSter 102 is from the ICS operating unit of JMR. ICS has pioneered the disk drive duplication market and is a leader in computer forensic data acquisition.

fibre-channel ThunderLink devices allow the creation of fully redundant

Visit http://jmr.com

Visit www.atto.com

Thunderbolt 3 connectivity devices for both 16Gb/s and 32Gb/s fibre channel. bandwidth of Thunderbolt 3 with speeds of up to 2750MB/s. Featuring ATTO’s proprietary Advanced Data Streaming (ADS) and MultiPath Director technologies, users will continue to enjoy smooth data streaming and failover and load balancing features experienced with previous generations of ThunderLink devices.

The introduction of ATTO’s 3322 Thunderbolt 3 to 32Gb/s fibre channel device and 3162 Thunderbolt 3 to 16Gb/s fibre-channel device also enables users to future-proof their infrastructures, taking advantage of 4K workflows while also benefitting from the latest generation of fibre-channel connectivity.

SFP+ modules are included and have been tested for interoperability.

• A simple configuration tool to manage and monitor Thunderbolt products and ATTO HBAs from a single pane of glass.

• Compatibility with the latest macOS and Windows platforms.

From capture and ingest to backup and archiving, ATTO’s Thunderbolt 3 to connectivity solutions that can take advantage of both Thunderbolt 3 and

COMEVI SI TUSATSMPTE-18-21JULY2017-I CCSYDNEY

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MEDIA IN THE CLOUD, STORAGE & MAM

16Gb/s and 32Gb/s fibre-channel.

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MEDIA IN THE CLOUD, STORAGE & MAM

Facilis Hub Server Unveiled FACILIS TECHNOLOGY recently announced the new Facilis Hub Server, a performance aggregator that can be added to new and existing TerraBlock systems. Also announced as part of version 7 is a new browser-based, mobile compatible web console that delivers enhanced workflow and administration from any connected location.

TerraBlock Hub Server With increasing media file sizes, and 4K, HDR and VR workflows continually putting pressure on facility infrastructure, the Facilis Hub Server is aimed at future-proofing customers’ current storage and offering the most powerful new systems available. The Facilis Hub Server uses a new architecture to optimise drive sets and increase the bandwidth available from standard TerraBlock storage systems. New customers will benefit from customised Hub Server Stacks with enhanced system redundancy and data resiliency – all while delivering near-linear scalability of bandwidth when expanding the network.

New Web Console The new Facilis Web Console increases the efficiency of administrative tasks, and improves the end-user experience. The modernised browser-based and mobile-compatible interface delivers enhanced functionality and removes barriers to creativity. Facilis customers will enjoy dynamic bandwidth monitoring and server performance reporting in a unified system dashboard. Easy client setup, upgraded remote volume management and a more integrated user database are among the additional improvements. The web console also supports Remote Volume Push to remotely mount volumes onto any client workstations.

FastTracker As the number of files and storage continue to increase, organisations are realising they need some type of asset tracking system to aid them in moving and finding files in their workflow. Many hesitate to invest in traditional MAM systems due to complexity, cost, and potential workflow impact.

12Gb/s SAS Although traditional hard disk based servers deliver great value and performance, particularly in conjunction with the new Hub Server, Facilis will also be shipping 12Gb SSD systems that are the fastest shared storage systems in the smallest form factor available.

Visit www.facilis.com

Pebble Beach and Blue Lucy Announce Beluga PEBBLE BEACH SYSTEMS has announced it has partnered with media asset management software developers Blue Lucy to offer Beluga, a new workflow engine, content management and video processing solution. Beluga integrates closely with Pebble’s Marina automation system to offer targeted file delivery, content preparation, and integrated QC workflows without the need to deploy an enterprise MAM solution.

• File Ingest with transcoding and proxy creation.

Beluga’s content management approach focuses on the tasks of preparing content for playout and distribution. Checking segmentation, program content, allowing for conformance editing, performing comprehensive QC and generating reports are all essential steps along the playout pipeline. Beluga also adds transcoding and proxy creation to Marina’s existing toolset. As the number of users grows, Beluga’s web-based interface enables teams to interact with the media dynamically without installation of dedicated client software.

• Vidchecker integrated automatic or manual QC and editorial review.

Beluga is available from Pebble Beach Systems in a number of pre-defined configurations to cater for different workflows, use cases and system sizes, making it flexible and fast to deploy. Designed to handle complex and otherwise time-consuming tasks, it complements the functionality of Marina systems controlling Dolphin and Orca integrated playout devices, or bestof-breed video servers, to deliver a suite of workflow orchestration features including:

• Advanced traffic and schedule workflows.

• Simple drag-and-drop workflow builder.

• Media versioning and replacement.

• Fast cuts-only editing of MXF files.

• Automated or manual file delivery to playout servers, with archive support.

• Metadata synchronisation to and from Marina • Integration with post editing systems such as Adobe Premiere Pro. A complete content management system, Beluga bridges the gap between content preparation, linear playout, and the creation of fast-turnaround VODready media. Its drag and drop workflow builder makes it easy for operators to create and edit workflows on the fly.

Operation is via an HTML5 web interface, and the solution can coexist alongside an existing MAM. Users can configure workflows to suit requirements, and Beluga can support multiple users. Furthermore, a single Beluga system can link to multiple Marina systems, so media can be restored

by Beluga based on the earliest usage time of media across all systems.

Visit www.pebble.tv and www.bluelucy.com

MEDIA IN THE CLOUD, STORAGE & MAM

Vimond Announces Improved Rights Manager Workflow

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VIMOND MEDIA SOLUTIONS has launched an improved version of the Rights Manager module. The solution has been developed in close cooperation with broadcasters, making rights management a fully integrated part of the content management processes, and replacing the manual ad hoc tools that many broadcasters currently use.

Vimond’s Rights Manager organises the cumbersome and fragmented domain of contracts management into a tightly integrated, automated workflow. It saves time and minimises duplication and errors, and therefore reduces the risk of legal havoc for broadcasters.

With Rights Manager, contract managers can track a contract through its full lifecycle. Via the user interface, rights managers can stay on top of the multitude of publishing regions, countries and technical platforms. Based on the contractual rights, the license windows can be exported directly to the Content Manager, and

the content and metadata ingest process can also be fully automated.

New features include simplifying the management of geographic regions in order to control global rights, and allowing synchronisation of all content for a given region via the interface. An improved content rights scheduling workflow visualises when content is made available, and ensures it is in line with contract restrictions.

Finally, the updated content management workflow makes it easy to reuse the same content in other contracts.

Until now, many broadcasters have managed their content rights in external systems, which are not integrated with the video CMS. This results in manual copying of complex data between systems, which is prone to manual error. In addition, it is difficult for rights managers to maintain a full overview over multiple dimensions such as region, country, and technical viewing platform.

Visit www.vimond.com

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www.content-technology.com/audio

SAE Sydney Connects with PA People for Campus Relocation ESTABLISHED IN AUSTRALIA IN 1976 by legendary industry character Tom Misner, SAE Creative Media Institute is now one of the world’s leading educators in creative media. With 53 campuses in 27 countries, there are six SAE campuses located around Australia. Earlier this year the Sydney campus was relocated to Chippendale and, as part of the move, The P.A. People provided AV support for the new fitout.

Located at 39 Regent Street, in the inner-city creative and cultural hub of Chippendale and next to Central Station, the AUD$12 million seven-story campus has been purpose-designed to provide a modern and technically interactive teaching and learning space where students can master their creative skills. Features include a rooftop recreational space for students to relax and network while enjoying 360-degree skyline views across the city.

General Manager of SAE Australia, Lee Aitken, said the new campus was built to accommodate a growing demand for creative media programs in disciplines such as audio, film, animation, games, design and web/mobile.

“The new campus has been fitted out with the best facilities and industrystandard equipment to support hands-on learning in small class environments,” said Aitken.

The new premises comprise a refurbished seven-story building and required a total fitout of studios, classrooms, theatre, smaller meeting rooms and offices.

The main installation consisted of the cabling infrastructure for all studios, live rooms and teaching spaces, including all audio connections such as mic level and line level and speaker ties as well as video connections such as HDMI, SDI and Fibre ties. The P.A. People team custom built, engraved and terminated panels for each room, which detailed all Neutrik connectors.

While SAE supplied and installed their own equipment, the key role for The P.A. People was to ensure the infrastructure in the campus was functional. The P.A. People partnered with Farindon Constructions to complete the project & worked closely with Design Stage Consultancy.

“DesignStage have been involved in several SAE relocations and upgrades to date including Perth, Sydney and San Francisco. In all cases the brief was principally to provide very high quality, comprehensive and flexible cabling

The visual components of the system included projection screens situated in the training rooms, while seminar rooms were fitted with LCD screens. A small AMX touch panel was installed in the theatre to control projection and lighting.

A lighting patch panel was also installed in their largest live space (the ‘wonder room’) for stage lighting requirements.

infrastructure for the live rooms, studios, labs, production and teaching spaces.

“Innovative technologies were employed to resolve acoustically sensitive areas from the building’s concrete structure to create studios with a high level of acoustic comfort. The aesthetics were further enhanced by the introduction of LED feature lighting. These rooms also feature high performance glazing, floating floor systems and have been arranged in a way the corridors become a multi-purpose buffer space between adjacent doors,” said Andrew Holmes, Phillips Smith Conwell, project director and principal architect.

The P.A. People were commissioned to carry out the installation and diligently

In this case we also included AV designs for most of the teaching spaces.

Consistency between venues was an important consideration for SAE as well as comprehensive and intuitive labelling for all of the cabling infrastructure. set about the detailed design of the panels and cabling. Their attention to detail and commitment to this project contributed greatly in delivering a highquality installation despite a compressed programme,” said Phil Viney, Director, DesignStage.

Visit www.papeople.com.au

AoIP Talkback Intercom The AVN-TB10AR is part of the new AVN-TB range designed and manufactured by Sonifex, which are IP audio based talkback intercom units with an advanced feature set, allowing them to be used in multiple applications.

webserver which has a responsive design meaning that it can be used with small screens on smartphones and tablets.

The AVN-TB10AR can also act as a PTP masterclock or slave clock and supports IEEE1588-2008 PTPv2 media and default profiles.

It has a front panel power button and dual power connectors - an IEC mains

As a 10-button intercom, the AVN-TB10AR can define 10 other ‘stations’, one per button, for communication. Comms can be made as a Talk action, a Listen action or a duplex Talk/Listen action to/from each station. Coloured LEDs in the buttons help to show which action is being used and there is also a Callback button for when you’re unavailable to receive a call.

input and a 12V DC input - which allow it to be used for both studio and

The stations can be placed anywhere on the AoIP network and the use of Bonjour Device Discovery means that other stations can be found quickly and automatically.

10 GPIOs (general purpose inputs/outputs) and a programmable relay output

The unit has a built-in webserver which is where the majority of settings and configurations are made. The front panel OLED display can also be used to configure the unit, although more functionality is available by using the

mobile installations. Also, a secondary power source reduces the effect of power down events. The unit also monitors the status of both power sources and displays this on the front panel. can be configured to indicate critical states for the unit, via the 15-way D-type connector, for example, to show loss of DC power, or to show a button press action.

Visit www.sonifex.co.uk

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SONIFEX’S AVN-TB10AR is a 10-button advanced AoIP talkback intercom which has RAVENNA at its core and is AE67 compatible.

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DPA Microphones Celebrates 25th With Limited Edition Kit DPA MICROPHONES is celebrating its 25th anniversary throughout 2017, and has announced that the first of three limited edition 25th Anniversary microphone kits is available. This kit features a d:facto 4018V Vocal Microphone in a nickel finish with a handle that features the 25-year logo. It includes an SL1 adapter for Sony, Lectrosonics, Line6 and Shure wireless systems, also in nickel finish and absolutely free.

Only 250 of these kits were made and 50 of them come in an exclusive suitcase with the 25-year logo engraved. The additional 200 will be delivered in a traditional black zip case.

The anniversary offer also includes the traditional black d:facto 4018V with a free SL1 adapter included.

DPA’s d:facto 4018V Vocal Microphone is entirely modular in that the capsule can be removed and replaced with any other d:facto capsule to suit different recording or performance requirements. Also, using DPA’s adapter system, the microphone can be transformed from a wired version with a handle to a handheld wireless microphone capable of integration with leading wireless solutions such as Sennheiser, Shure, Sony, Wisycom, Lectrosonics and Line6.

Visit www.dpamicrophones.com/25yrs

Midas Compressor Limiter 522 THE MIDAS 500 SERIES compressor/ limiter with dynamic presence control is now available. The 522 brings dynamics control to a compact 500 Series format processor. When used in conjunction with the LEGEND L10, L6, or other standard 500 Series rack-mount chassis, the 522 provides a solution for users seeking the MIDAS sound in a modular format.

Additionally, the 522’s dynamic Presence control enables operators to add ‘air’ to vocals without unwanted noise or pumping effects – and reduces the risk of feedback occurrence during live performance.

Features include: • Compact 500 Series premium compressor/limiter with presence.

• Variable dynamic presence feature preserves high mid-range frequencies.

• Manual envelope controls with linear peak-sensing compression or Auto mode with RMS compression.

• Soft or hard knee compressor response.

• Side-chain high pass filter.

• Electronically balanced input stage with high common-mode rejection.

Visit www.music-group.com

Clear-Com’s LQ Series Broadens Intercom-Over-IP Capabilities CLEAR-COM HAS REVEALED the latest updates to its LQ Series of IP interfaces. The enhanced LQ Series adds SIP capability for telephony and interoperability, connects traditional intercom with Agent-IC mobile application users, and increases the available inputs/outputs ports for HelixNet digital partyline. The platform-agnostic LQ devices simplify connectivity and deployment of communications solutions over IP infrastructures, without compromising on the quality of sound, speed or performance.

LQ Now Hosts Agent-IC Mobile Apps Currently LQ interfaces can link any two-wire partyline and/or four-wire digital solutions over IP networks. With the updated LQ devices that now host ClearCom’s Agent-IC, core users on traditional intercom systems can communicate in full duplex with Intercom Mobile App users on smart devices. All setups and configurations are managed within the browser-based Core Configuration Manager (CCM).

LQ Boosts I/O Ports for HelixNet HelixNet digital networked partyline system receives a six-fold increase in I/O ports with the updated LQ interfaces. LQ will provide up to 24 audio ports assigned to any of the 12/24 intercom channels in HelixNet. These supplement the HelixNet ports for interfacing with two-wire and/or four-wire intercom or audio devices, effectively creating a much higher-density digital partyline intercom system. Signals from any remote devices are routed over IP to the assigned HelixNet end points.

LQ Adds SIP Capability Feature LQ Series offers more connectivity with its SIP interfacing capability. Users on any Clear-Com or third-party intercom systems can make direct calls over SIP-based phone systems cost-effectively over LQ. Visit www.clearcom.com

TSL Announces MPA1 Solo SDI Audio Monitor TSL PRODUCTS RECENTLY ANNOUNCED the immediate availability of the MPA1 Solo SDI audio monitor. Part of the MPA (Monitor Plus Audio) range, the MPA1 Solo SDI provides users with an intuitive yet flexible audio monitoring tool that enables users to view all 16 embedded channels simultaneously while allowing any channel to be selected for monitoring.

At only 1RU high and 100mm deep, the MPA1 Solo SDI is suitable for use in the most confined environments such as outside broadcast vehicles and small flightpacks. The MPA Solo SDI source, channel names and system parameters can be managed remotely over an ethernet network using the built-in web server. Audio levels, signal status and format can all be viewed remotely via the web-based user interface.

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“The prevalence of multi-channel and multi-lingual services among TSL’s customers has led us to develop a product that provides ‘at a glance’ monitoring of all embedded audio, thereby helping our customers maintain consistent production quality,” said Stephen Brownsill, Audio Product Manager at TSL Products. “Furthermore, the most efficient workflow for any production environment can be secured using the web GUI to ‘lock-down’ any MPA Solo SDI, preventing unintentional or unwanted changes to its configuration.”

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The HDMI output provides convenient confidence monitoring of the SDI video source making it suitable for checking lip sync.

Standard Features in the MPA1 Solo SDI include: • 2 x auto-sensing, SD/HD/3G-SDI (23.98, 24, 25, 29.97, 30, 50, 59.94, 60Hz) video input.

• De-embedded audio monitoring from video (SD/HD/3G-SDI) with intuitive ‘scroll to hear’ of all 16 embedded audio channels.

• 2 x balanced analogue inputs on XLR connectors.

• AES3id input on BNC. • Ethernet connection for network connectivity allowing software updates, monitoring and control via a web browser.

• 2 x line level balanced analogue outputs for connection to external loudspeakers.

Line level with selectable mute and -20dB. • Digital peak monitoring bar graph display via front panel display, offering simultaneous display of al 16 embedded audio channels.

• Internal full range loudspeaker system.

• Headphone output with selectable loudspeaker muting behaviour.

Visit www.tslproducts.com

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Exceptional Distance

FreeSpeak II with Integrated Fiber Connections The new FreeSpeak II-Base II Wireless Intercom Base Station and new FSII-SPL Splitter offer built-in fiber connectivity for achieving unprecedented wireless coverage. Two optional SFP fiber connectors provide either native single-mode or multi-mode fiber link between base stations and the new Splitter. The system can cover a large production area with transceivers located up to 20,000 metres from the base station over fiber optic connection.

Contact Jands for a demo today: www.jands.com.au

See it at SMPTE Visit us at stand G22

www.jands.com.au

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Distributed by

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Flexible Embedder/Deembedder for Crystal Vision’s Frame System CRYSTAL VISION HAS ADDED flexible embedding and de-embedding to its new Vision frame system. Working with 3Gb/s, HD and SD sources, TANDEM10-VF is a powerful four group audio embedder/de-embedder with the ability to embed and de-embed a mixture of up to eight external AES stereo pairs and four stereo pairs (or eight mono channels) of external analogue audio – making it equally suited to those who need to embed and de-embed simultaneously or to those who want a single product for use as an embedder or de-embedder. Giving more video outputs than the company’s previous devices, the TANDEM10-VF includes full audio routing, audio and video processing, flexible delay compensation, fibre input/output connectivity and comprehensive signal monitoring.

The unit’s flexibility comes from the ability to fit up to two audio piggybacks to the main card. The 3G-AIP2 piggyback is used to input and the 3G-AOP2 to output external analogue audio – either two stereo pairs or four mono channels per piggyback. Each DIOP4 piggyback is used for inputting or outputting four stereo pairs of external digital audio. Four bi-directional AES ports allow each stereo pair to be independently configured as input or output. It is possible to fit two of the same piggybacks or to fit two different piggybacks to create the product required. TANDEM10-VF includes powerful audio routing, with full shuffling and overwriting. Two routing matrices are used to select which of up to 32 input channels (taken from the incoming video input and input piggybacks) should be embedded into the four audio groups on the output video, and which should be output as external AES or analogue audio. TANDEM10-VF helps budgets go further: the engineer can buy different low-cost piggybacks at a later date to transform the functionality of the product and meet the demands of the current project.

As well as featuring short minimum delays for both the audio and video to help prevent system lip-sync complications, TANDEM10-VF makes it easy to match all the signals – with an adjustable audio delay of up to 400ms and ten frames of video delay which can be used to match any big system delays, such as those created by Dolby E encoding and decoding or transcoding to AC3 and re-embedding. The audio and video can both be optimised, with audio gain adjustments, audio resampling, stereo to mono conversion and a video proc-amp. For those who need to embed or de-embed signals from beyond the local equipment bay, TANDEM10-VF can easily be given integrated fibre input/

output connectivity by fitting the FIP-VF fibre input option, FOP-VF fibre output option or FIO-VF fibre input and output option. Having the fibre integral to the card reduces the need to use additional rack space for separate fibre optic transmitters and receivers, and also brings financial savings.

Explained Crystal Vision’s Managing Director, Philip Scofield said, “TANDEM10-VF brings the ultimate in embedding and de-embedding functionality to the Vision frame system. With its flexible processing of analogue and digital audio within an SDI environment, it is the ideal card to meet your current requirements – while using a frame system that is ready for the future.”

Shipping now, TANDEM10-VF is a space-saving 96 x 325mm card which can be housed in the Vision 3 frame alongside any other interface or IP cards from the Vision range, with up to 20 embedders/de-embedders fitting in 3RU. TANDEM10-VF can be used with three different frame rear modules to access the inputs and outputs and offers the most video outputs yet on a Crystal Vision embedder/de-embedder. When used with 110Ω AES or analogue audio it provides three video outputs (using the VR02 or VR12 rear modules), while those using 75Ω AES will get four video outputs (three BNC plus one fibre) via the VR13 rear module. An extensive list of features can be controlled and monitored using either the integrated control panel on the Vision 3 frame, the VisionPanel remote control panel, complimentary SNMP or the VisionWeb Control web browser software.

Visit www.crystalvision.tv

Stage Tec’s CRESCENDO Platinum Automixes STAGE TEC PRESENTED CRESCENDO Platinum with new audio processing features at the recently held AES Show in Berlin. Some of the new features require the RMDQ board (Platinum DSP) and will be installed with the software release 4.3 from the beginning of June.

CRESCENDO Platinum now includes a Stage Tec developed automixer based on gain sharing. The auto mixer is fully integrated into the console and can be used on every input channel. All input channel processing functions remain fully available without restriction. Four buses are reserved for the automixer function enabling up to four different automix groups to be configured.

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Another highlight is Loudness Metering, according to EBU R 128, which is now

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possible to set blend curves and blend times individually for each channel. This function is one of the most important additions to basic scene automation and

also available in the CRESCENDO Platinum sum and group channels. When the

is particularly popular with theatres. The new scene automation function will

loudness function is in use, no channel capacity is lost and users can access all

be available with the new software release without any requirement to update

processing modules in the channels.

to the RMDQ board.

Following in AURUS’ footsteps, every CRESCENDO Platinum input channel is

The software update also enables another important feature – scene start at a

now equipped with a de-esser as a channel module.

timecode point. Timecode Trigger enables scene events to be called up at will.

CRESCENDO Platinum also offers a new feature in scene automation. It is now

Visit www.stagetec.com.au

Register Now! Conference 14-18 September 2017 Exhibition 15-19 September 2017

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RADIO The original broadcast media

www.content-technology.com/radio

Radio Leads Online Audio Consumption THE AUSTRALIAN INFINITE DIAL STUDY commissioned by Commercial Radio Australia (CRA), Southern Cross Austereo (SCA) and Triton Digital, provides new insights into what Australians are consuming online. The Infinite Dial research for Australia is patterned on the longest-running survey (1998) of digital media consumer behaviour in the USA and provides a profile of the 2017 Australian digital consumer.

“The Infinite Dial Australia explores the penetration of online digital audio and social media in Australia and looks at the technology that Australians are using and it’s interesting to see how Australia compares to the USA,” said Edison President, Larry Rosin.

Key findings indicate in the new digital era, radio continues to be the key driver of audio consumption in Australia. Radio is the leading audio option across multiple platforms in the marketplace, with 85% of people having listened to an AM/FM vis broadcast and online or DAB+ station either via free to air broadcast or online in an average week, compared to Spotify 21% Podcasting 10%, Pandora 8%, Apple Music 6%, Google Play All Access 2%.

CRA Chief Executive Officer, Joan Warner said, “The radio industry continues to innovate across all platforms and this study allows us to start comprehensive trending of our listeners as their audio and platform preferences evolve. We have our Share of Audio study that looks at how much time is spent on online and on free to air audio, this study looks at the percentage of respondents who consume each type of digital platform, as opposed to time spent listening.”

Key Australian Infinite Dial findings include: • Radio is the leading audio platform consumed by Australians with 85% of people having listened to an AM/FM or DAB+ station in an average week, compared to Spotify 21%, Podcasting 10%, Pandora 8%, Apple Music 6%, Google Play All Access 2%.

• Twice as many people are listening to AM/FM radio (on-air and online) than all online audio streaming services each week (85% vs.43%).

• 89% of Australians use AM/FM sometimes when in the car and nearly 50% use an AM/FM radio almost every time they are in the car. With now 36 vehicle brands in Australia including DAB+ digital radio, 10% of people use DAB+ radio almost every time they are in the car.· • Despite new ways to listen to AM/FM/DAB+ radio, 79% of the population have one or more radios in their home.

• 72% of Australians are familiar with podcasting (60% USA) and 29% of

people have listened to a podcast.

• 17% have listened to a podcast in the last month, with 25-54 year olds making up the largest share of monthly podcast listeners. An average of six podcasts are listened to each week by those who are weekly podcast listeners.

• 73% of Australians have used YouTube to watch music videos or listen to music;59% have used YouTube to watch music videos or listen to music in the last month and 44% in the last week.

• 80% of people currently use social media and 9 in 10 of those aged 12-54 years are current users. Facebook awareness is highest (98%), followed

by Twitter (95%), Instagram (94%) and Snapchat (84%). Awareness of all these social media brands is higher in Australia than the USA. • Facebook is more likely to be the most-used social media brand among 12-24s in Australia than the USA (58% vs. 39%), however Snapchat is less chosen as the most-used among this group in Australia than the USA (16% vs. 31%).

• Penetration of smartphones and tablets in Australia is been greater than the USA, however penetration of internet connected TVs is higher in the USA. • 88% of Australians own a smartphone, with ownership highest amongst 12-24 (95%) and 25-54 year olds (95%). Ownership in Australia is 7% higher than the U.S (81% overall).

• 53% of people own an internet-connected TV, with ownership highest amongst 12-24 (71%) and 25-54 year olds (60%).

• Netflix is the most popular on-demand video service, with 35% of Australians having access to a subscription.

The Australian Infinite Dial study was conducted in February and March 2017 and uses a nationally representative survey of 1007 people and is a random probability telephone sample, comprising both mobile phones and landlines, of all Australians aged 12 and older. The study in the USA has become the report card on digital audio and other digital media, and is widely used and quoted by broadcasters, ad agencies, and the financial community.

The Infinite Dial study can be downloaded at www.radioitsalovething.com.au Visit www.commercialradio.com.au

Southern Cross Austereo Powers Scheduling and Playout with RCS SOUTHERN CROSS AUSTEREO will employ two new major software programs from RCS – Zetta and GSelector – on a company-wide basis. Zetta, the advanced playout system along with GSelector, the patented music scheduling platform will integrate into SCA's Australia wide network of metropolitan and regional studios delivering networked and locally created entertainment to SCA listeners.

SCA's Sea FM and 2GO FM on the Central Coast were the first stations to make the switch to the new RCS software. SCA's two Brisbane stations, Hit 105 and Triple M Brisbane and Hit 103.5 and Triple M 99.5 Cairns quickly followed suit.

Steve Adler, National Radio Engineering Manager at Southern Cross Austereo commented, "Zetta and GSelector will revolutionise our radio operations and the way we do business. The switch to RCS is an important part of SCA's future growth."

Keith Williams, RCS Vice President of Asia Pacific, said, "RCS has a long relationship with SCA. We have learned a great deal about radio together over 30 years and I am honoured that RCS will now play such an integral role with our technology as SCA expands the enterprise over the next decade and beyond."

Philippe Generali, President /CEO of RCS added, "Southern Cross Austereo selecting RCS as their vendor of choice for both play out and scheduling is an exciting venture for both companies. SCA will become the largest cluster of terrestrial and streaming stations using the hand-in-glove integration Zetta & GSelector provides."

Visit www.rcsaust.com

RADIO

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RADIO

Audio Processing from Wheatstone WHEATSTONE’S NEW TOP-OF-THE-LINE AirAura X4 audio processor, unveiled at NAB2017, is an FM and HD audio processor featuring an innovative new system where all stages of processing are aware of each other.

“This is a high IQ audio processor,” said Wheatstone Senior Product Development Engineer Jeff Keith, who has been testing the design in the lab and in the field since last summer. “With all the stages of processing working in concert, the need to make loudness compromises is an endangered species.”

In more traditional audio processing designs, the different stages are created to complement each other, but not all information between the stages is shared. The AirAura X4 breaks down that wall and allows the processor to share information between ALL stages.

“The SST and original iAGC algorithms were a doorway into this, where the processor would share information in the front end about who is doing what. In the AirAura X1, that was expanded to include the limiter. Now the iAGC, limiters and clipper all share this information and changes can be made automatically, in real time, in ways never envisioned before,” commented Keith.

The AirAura X4 includes 31-band limiting, but utilises it in a way not seen before.

“As part of the X4 system, the 31-band limiter works directly with the X4 clipper, providing an audio blueprint for how the clipper should behave,” said Mike Erickson, Wheatstone Processing’s Systems and Support Engineer. “In the AirAura X3, the 31-band limiter was placed in the same manner as a traditional limiter, ahead of the clipper. By now incorporating it WITH the X4 clipper, it’s a huge step forward for transparent loudness as our clipper is not just protected by the best limiter design on Earth, but also managed by it.”

The AirAura X4 adds a number of other features, including a redesigned bass processor and enhancement controls in the iAGC that allow users to safely equalize audio for maximum consistency as well as full RDS capabilities.

Wheatstone’s HD/FM audio alignment also makes the jump to the AirAura X4. The system works either with third-party HD/FM modulation monitors or by itself, with the new FM/HD tuner built in to the X4.

AES insert points are also available for customers who wish to insert their ratings encoder into the processing system instead of placing it in front of the processor.

Other features include an improved Multipath Mitigation algorithm, redesigned composite processing with selectable look ahead limiting or clipping, baseband192 composite AES connectivity, and a full set of analysis displays. The X4 features a new look and feel, with an intuitive GUI and dual touch screens on the front panel.

Meanwhile, Wheatstone’s second-generation FM-55 audio processor, the FM55e, includes all the same features the FM-55 for FM processing, but adds enhanced iAGC controls as well as an entirely new bass processing design.

The FM-55e is a multi-band audio processor ideal for FM stations requiring sound consistency across a variety of source material. It includes the popular intelligent five-band AGC technology — or iAGC — coupled to a five-band limiter and stereo generator, plus five-band stereo enhancement and program adaptive L-R control for multipath mitigation.

Like the FM-55, the FM-55e fully supports the WheatNet-IP Intelligent Network, and is equipped with two analog composite outputs, two SCA inputs, balanced analog Left/Right outputs and an AES digital output that can be switched to deliver either discrete Left/Right or baseband192 digital multiplex signal.

The FM-55e comes in a 1RU package with front panel OLED display and GUI navigation.

Existing FM-55 owners will be able to update their current unit with new FM55e software free of charge when it is released later this year.

Visit www.wheatstone.com

Nautel Transmitter Monitoring App NAUTEL HAS ROLLED OUT a controlled release of its AUI Companion, an application for mobile devices that brings critical transmitter parameters directly to the user.

The AUI Companion works in conjunction with a user’s AUI. Key parameters such as power, efficiency and temperature are available at a glance, no matter where the user may be.

The Nautel Advanced User Interface is available for all modern Nautel transmitters. In GV, NV and NX transmitters, the AUI is presented on a 17inch front panel touchscreen; for NVLT and VS Series, the AUI is available via the user’s PC. With web-based access and comprehensive commercialgrade instrumentation, the AUI has proven very popular among broadcasters worldwide. It is now deployed in more than 7,000 Nautel transmitters.

“This product is in its final stages of development, and we are looking for beta testers to help us finalise the details of the interface,” said Matt Herdon, Nautel Product Manager. “Anyone interested in being part of the controlled release should sign up at www.nautel.com/aui-c.”

Visit www.nautel.com

ENCO’s DAD Radio Automation Extends into Production and Content Delivery ENCO HAS ENHANCED its DAD radio automation system that strengthen integration between production and newsroom operations, and diversify options for dissemination of Program Associated Data (PAD).

At NAB2017, ENCO unveiled the iNews MOS Interface, which will allow DAD systems to play out assets from the Avid iNews newsroom computer system.

By adding support for the Media Object Server (MOS)-based protocol used by newsroom computer systems, DAD users can now now manage – add, move, and modify – audio embedded in iNews stories. Changes are automatically synchronised with playlists to keep everything up to date.

RADIO

ENCO has also added MetaPub metadata management to its PADapult program, which integrates with DAD and allows operators to send real-time texts to RDS encoders, web streamers or other locations that accept data.

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With the new built-in MetaPub functionality, PADapult can now get rich metadata from ContentDepot’s MetaPub, which a majority of PRSS programs

use for metadata distribution, including Classical 24, BBC World Service, Morning Edition, and many more. PADapult users can then provide that metadata to listeners for any live PRSS program. PADapault can also be used in automatic or manual mode to get data from a broadcaster’s automation system.

At NAB2017, ENCO demonstrated how its DAD software can be virtualised by pairing it with ENCO1, the company’s virtualized automation system.

ENCO1 allows DAD to run in a virtualised environment by leveraging existing IP audio technologies. Since virtualied stations and studios can be controlled from anywhere via a thin client, broadcasters can save space and operational overhead. It can also facilitate remote access and control of broadcast radio operations, which lays the foundation for more efficient cloud-based operations.

Visit www.enco.com

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Terrestrial, Mobile, Broadband

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CONTENT DELIVERY Terrestrial, Mobile, Broadband

www.content-technology.com/delivery

Netflix Launches Interactive Programming YOU SINK INTO THE SOFA and fire up Netflix. You settle in to watch everyone’s favourite swashbuckling feline Puss in Boots. You chuckle as Puss in Boots finds himself in the story of Goldilocks with the Three Bears staring at him.

And then… you’re asked to make a choice: Should these bears be friends or foes?

In what is the first in a series of collaborations with the likes of DreamWorks Animation Television, American Greetings Entertainment and Stoopid Buddy Stoodios, the Netflix streaming service has launched Puss in Book: Trapped in an Epic Tale, a programme which integrates video content and a series of A-B choice menus which allow viewers, via their device remote control or touchscreen, to decide how the story proceeds and what the protagonist does next.

Part of what Netflix is calling “branching” narrative episodes, Puss in Book: Trapped in an Epic Tale will be followed by Buddy Thunderstruck: The Maybe Pile, and Stretch Armstrong: The Breakout (2018).

According to Carla Engelbrecht Fisher, Director of Product Innovation at Netflix, “The intertwining of our engineers in Silicon Valley and the creative minds in Hollywood has opened up this new world of storytelling possibilities on Netflix.

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“At launch, these titles will be available on most TV experiences as well as iOS devices. The Adventures of Puss in Boots and Buddy Thunderstruck are children’s series that are currently on our service, but these particular interactive adventures we’re announcing are brand new, standalone episodes.”

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tap, touch and swipe at screens,” she says. “They also talk to their screens, as though the characters can hear them. Now, that conversation can be two-way.

“We’ve done extensive research and talked to lots of kids and parents, collecting qualitative data to better understand if this is something viewers will like.

“While we’ve gotten positive feedback - for example, parents like the fact their child has the ability to make decisions and take a seat in the director’s chair, if you will - we’re eager to learn how our members will engage with the experience. Which choices or storylines will be the most popular? Will the mean bears or the friendly bears be more popular? Are members more compelled to re-watch and uncover all of the different storylines?

Engelbrecht Fisher says the children’s programming space was a natural place to launch the interactive format.

“Content creators have a desire to tell non-linear stories like these, and Netflix provides the freedom to roam, try new things and do their best work. Being an internet-based company enables us to innovate new formats, deliver at scale to millions of members all over the world on multiple device types and, most importantly, learn from it.”

“Kids are eager to “play” with their favourite characters and already inclined to

Visit www.netflix.com

EUTELSAT Increases Asia-Pacific Reach

Brightcove Unveils New Video Compression Tech

LAUNCHED ON THE 2nd of June by an Ariane 5 rocket, the EUTELSAT 172B satellite has entered a new phase of its journey into space with the initiation of the ascent to geostationary orbit. The first European high power electric satellite, built by Airbus, will take approximately four months to complete the climb to 172° East, monitored by Eutelsat and Airbus from Toulouse, France, using a dedicated network of stations located around the planet. Eutelsat’s new satellite is scheduled to enter into service in the fourth quarter of this year.

AT ITS RECENT USER CONFERENCE, PLAY, Brightcove announced the beta availability of Context Aware Encoding, a new video compression technology that the company says lowers the total cost of ownership and improves video quality. Context Aware Encoding uses machine learning and deep video analysis to achieve optimum quality for each video with the fewest bits necessary. This approach to transcoding enables Brightcove customers to maximise visual quality while reducing storage and delivery bandwidth requirements by up to 50 percent.

EUTELSAT 172B will deliver increased capacity for fast-growing applications that include in-flight and maritime connectivity, cellular backhaul, corporate networks, video and government services. It will be located at 172° East, a key neighbourhood providing exceptional Asia-Pacific reach over land and sea, from Alaska to Australia. Designed to replace EUTELSAT 172A, it will provide increased capacity, more power and improved coverage via C and Ku-band payloads connected to a range of service areas. Following the transfer of traffic to the new satellite EUTELSAT 172A will continue commercial service at another orbital position.

Brightcove’s Context Aware Encoding analyses each individual video and optimises it for the target device and bandwidth profiles. The technology then optimises video parameters such as resolution and frame-rate, and codec parameters like bitrate, codec profile and level, and creates the appropriate adaptive bitrate (ABR) ladder from this. By contrast, existing content-based approaches perform analysis to choose a more optimal bitrate from an existing ABR ladder.

Since launch, EUTELSAT 172B has undergone a series of critical manoeuvres that include positioning of electric propulsion motors attached to robotic arms in preparation for orbit-raising, and the full deployment of solar panels to generate power during this phase.

Rodolphe Belmer, CEO of Eutelsat, said, “EUTELSAT 172B has passed the critical stages of its deployment before embarking on the ascent to geo. This complex process reflects meticulous preparation by Eutelsat and Airbus teams who have worked hand in hand on a ground-breaking satellite programme customised for Asia-Pacific markets.”

Visit www.eutelsat.com

The release of Context Aware Encoding addresses two mandates in Brightcove’s Manifesto for Transforming the Experience and Economics of Online Video in 2017. The technology improves the user experience publishers can deliver to their viewers by improving video experiences for users in situations where bandwidth is limited. Unlike other encoding solutions, the Brightcove technology takes into account the broader context of the video experience, creating a custom encoding profile tailored to the combination of each individual video’s content complexity and viewing environment. The result for viewers is a higher quality video that starts up faster and buffers less.

Current Brightcove Video Cloud customers interested in participating in the Context Aware Encoding beta program can contact Brightcove.

Visit www.brightcove.com

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12G-SDI and Fibre Mini-Converters AJA VIDEO SYSTEMS recently announced new Mini-Converters designed to resolve interoperability and interconnectivity challenges in modern broadcast and ProAV environments. New products include the 12GDA 12G/3G/SD-SDI Re-clocking Distribution Amplifier, 12GM 12G-SDI to/from 3G-SDI Muxer/DeMuxer, and new Multi-Mode SFP options for its family of FiDO SDI/Optical Fiber Mini-Converters.

distances up to 700M

The 12GDA is a miniature 1×6 12G-SDI re-clocking distribution amplifier. With support for 12G-SDI for 4K/UltraHD single-link workflows, the format-agnostic device features six separately buffered SDI outputs identical to the recovered input. It also offers automatic input detection, re-clocking and cable equalisation, and an LED signal detection indicator, in a compact design.

multi-mode SFPs or

The 12GM is a compact SDI transport converter that enables 12G-SDI to Quad 3G-SDI and Quad 3G-SDI to 12G-SDI conversion. The Muxer/DeMuxer supports 4K and UltraHD workflows and conversions from multi-link SDI signals to single link SDI signals, and vice-versa at 1.5G, 3G, 6G and 12G bit rates.

In addition to FiDO models that support single-mode fibre, new Multi-Mode SFP options for FiDO Mini-Converters support multi-mode fibre optic cable at

(OM4) or 300M (OM3).

The new lineup includes the following model names for ordering with when applicable, optional CWDM SFPs: FiDO-R-X single channel LC fibre to 3G-SDI; FiDO-T-X single channel 3G-SDI to LC fibre; FiDO-TR-X 3G-SDI/LC fibre transceiver; FiDO-2R-X dual channel LC fibre to 3G-SDI; FiDO-2T-X dual channel 3G-SDI to LC fibre; FiDO-4R-X quad channel 3G-SDI to LC fibre and FiDO-4T-X quad channel 3G-SDI to LC fibre.

Visit www.aja.com

12G Coax Solution from Canare CANARE RECENTLY ANNOUNCED a new 12G coax solution for economical

technologies to meet the requirements of the sports production and

transport of 4K UHD television signals.

distribution industry. The L-5.5 CUHD coax cable has enhanced attenuation

4K UHD is fast becoming an industry standard for sports, live events and

characteristics that allow transport of 12G signals at much greater distances

commercial production work, placing increasing demands on teleproduction companies and truck operators to provide a 4K product. Canare’s new line of coaxial cable and connectors are especially optimised for high performance at 12Gbps. With the introduction of Canare’s 12G solution, it is now feasible and

than comparable-sized coax currently available. The new 12G cable and connectors are also ideal for high-performance transport of 3G and 6G video, allowing system designers and integrators to future proof construction of

convenient to transport 4K signals at distances up to 100 meters via copper.

new teleproduction facilities.

Canare’s new 12G cable products employ several unique features and

Visit www.canare.co.jp

Embracing the cloud ¸PRISMON ❙ Multistandard support for unmatched versatility (e.g. AIMS, ASPEN, DASH, ...) ❙ Future-proof, fully software defined solution for innovative monitoring features ❙ Cloud-enabled and orchestration-ready design for dynamic and flexible resource allocation

R&S®PRISMON Monitoring Solutions

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Making OTT Commercially Viable

By Yuval Fisher, CTO MVPD at Imagine Communications OVER-THE-TOP (OTT) DISTRIBUTION is now a firmly established means to deliver content to consumers. All the research – and general experience – points to increasing numbers of consumers who prefer to choose the time and place that they watch entertainment programming. eMarketer, for example, estimates that more than 70% of US consumers now watch OTT content, although that figure is likely skewed by the inclusion of YouTube, which is best-known for short-form and user-generated video. But, it is clear that OTT is now a major force, particularly for on-demand or timeshifted content.

With OTT viewership on the rise, the next step for broadcasters and content distributors is to explore the commercial opportunities associated with the distribution of content to a growing diversity of connected devices. The monetising of OTT-delivered video falls into three primary buckets. The first is transactional: viewers pay a fee for each piece of content they view.

The second is subscription-based: viewers pay a fee to access a library of on-demand (and sometimes linear) content. The 'all you can eat' subscription model is best represented by Netflix, but now also includes offering from an increasing number of content owners and distributors, which often include a mix of linear and on-demand programming.

The third route, and the one which appeals most to traditional players in the media industry, is advertising. This is because advertising has been extremely successful in funding broadcast, and it is easy to transfer those principles to new methods of delivery of the same content.

Advertising is becoming increasingly relevant to OTT content delivery, which is a personalised experience by nature. Consumers choose what they want to watch, when they want to watch it – and increasingly on a personal device.

The personalised and one-to-one characteristic of OTT lends itself to a more targeted form of advertising, based on impressions, rather than ratings.

Though advertisers selling ads in broadcast have been somewhat slow to adapt from a ratings-based approach to selling ads based on impressions, as OTT delivery allows, marketers are increasingly recognising the value of reaching a targeted group of viewers with relevant information.

OTT is a one-to-one, unicast experience. In a well-ordered service, content providers should know something and quite possibly a lot – about each subscriber. Some data will come from registration, but there is the potential to acquire a lot more information from the subscriber’s behaviours. Leveraging the capability of big data analytics, media companies can now build up the profile of each individual, adding significantly more detail to the basic information collected at registration. The key to commercial success with an advertising-based unicast model is to understand viewers as individuals.

After acquiring that knowledge, service providers can target OTT viewers with relevant ads that are personalised to the individual, down to the device on which they are watching, be it smartphones, computers or connected TVs. A typical scenario would include sending an ad for a sleep-aid to someone at the airport consuming video on her mobile device before boarding an overnight flight.

That is why the media industry is now beginning to recognise dynamic ad insertion (DAI) as the holy grail of video monetisation. DAI, as the name suggests, inserts advertising at the time of delivery, so every single stream of a piece of content can be tailored to the tastes and interests of the individual.

Technology to enable this is now in place, and demand is growing.

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In conventional, linear television advertising, commercials are targeted at a broad spectrum of interests likely associated with the content. So, a spot for a high-performance car might be shown during a break in a do-it-yourself programme, but probably not in a wildlife documentary. In addition to interests and demographics, advertising may also be influenced by geographies.

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But, this is targeting at the highest level. Advertisers pay on the basis of the number of broadly relevant viewers of their commercials. The fundamental metric is the cost per thousand (CPM), and broadcasters will attempt to drive up the CPM by demonstrating popular content which reaches the target market of the advertiser.

Targeted advertising using DAI turns this model on its head. The goal is not always to offer large numbers of viewers but rather high-value viewers who closely match the target demographic of the advertiser. Even more powerfully, studies show that consumers who see only commercials that are

relevant to them pay a lot more attention to those commercials. Messages are much more clearly retained, making it more valuable to the advertiser.

Better targeting of ads is beneficial to all parties involved – advertisers, consumers, and content and service providers. DAI helps advertisers advertise more effectively, consumers receive ads they care more about, and service providers and content owners increase their overall revenue.

A key technological requirement for DAI to be acceptable to consumers is that viewers should not be aware that it is happening. Early models for DAI were based on downloading and storing replacement ads in advance on the target device, then switching from the stream to the commercial as required.

This results in freezes and buffering while the display switches from one source to the other, before the commercials and when returning to the programme. There may be a shift in perceived quality if the programme and the commercials use different codecs and bitrates. If the consumer feels that there is an impact on the enjoyment of the content, or that some of the content is lost in this re-buffering, there will be resistance. Software ad blockers will also see the switch and could simply eliminate the advertising altogether.

The success of DAI, then, depends upon delivering a consistent stream to the consumer. It also depends upon making the decision on which commercial to insert into an individual stream at the time of delivery: a spot which was relevant at the time the programme was originally made available may not be relevant during a future viewing, if say an event had passed or a marketing campaign had closed.

In order to replace a stale, general ad with a timely and targeted one in the stream, the location of the original ad must be known precisely. Without access to the detailed playlist from the original automation system, sophisticated discovery technology that recognises and finds all the ads in the video stream is required.

Once the potential ad-placement inventory in any piece of content is known, the DAI system can plan a campaign, and deliver advertising which is targeted to the individual, and which sits inside the OTT stream for a seamless viewing experience. For broadcasters that provide conventional channels and OTT services side-by-side, it is also important that the advertising sales and delivery process is part of a unified advertising management programme, allowing campaigns to be sold over linear and non-linear outputs and across delivery channels, targeted by demographics and by individual data analytics.

The technologies of dynamic advertising insertion are proven and continuing to develop. The ability to deliver targeted, relevant, fresh commercials in both linear and on-demand OTT environments is just the beginning. The future of DAI will be the unification of advertising management around multiple services and applications, including linear, on-demand, and cloud DVRs. The result will be coherent campaign planning and maximised revenues, however the content is delivered.

Visit www.imaginecommunications.com

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HEVC Encoding and Multiplexing Solution

OWN THIS

SPACE! PRINT AND ONLINE OPTIONS AVAILABLE

THE AVHE100 ENCODING and multiplexing solution from Rohde + Schwarz offers high quality video for HEVC-encoded content in HD to UHD resolution.

The integrated HEVC encoder was developed and licensed by the Fraunhofer Heinrich Hertz Institute (HHI). The Fraunhofer HHI was also instrumental in the development of the HEVC standard. The R+S AVHE100 is suitable for replacing existing encoder installations and can also be used in IPTV and cable networks as a large-scale headend system for transmission via satellite or terrestrial networks (DTT).

In Q3 of 2016, during a 4K summit in Seville, Spain, Rohde + Schwarz set up a complete terrestrial broadcast system for demonstration purposes. The core of the system was the statistical multiplexing offered by the R+S AVHE100. It was the first solution to broadcast three UHD services in 2160p50 resolution via a single DVB-T2 signal. The R+S AVHE100 can encode multiple video streams in UHD format and combine them into a statistically multiplexed signal.

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

The R+S AVHE100 also fully supports High Dynamic Range (HDR).

The R+S AVHE100 is a complete software-based platform that runs on standard IT components. Extensions and improvements to coding and broadcast standards are easily added. Optional functions, such as encryption, monitoring and redundancy solutions (R+S CrossFlowIP), are available.

Visit www.rohde-schwarz.com

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TV Analyzer with UHD and HEVC Support ROHDE & SCHWARZ HAS ADDED new functionality to its R&S ETL TV analyzer. Starting immediately, a new version is available with integrated, hardware-based video decoding that also supports HEVC and resolutions up to UHD. This makes the R&S ETL fully compatible with the latest DTV installations, including the DVB-T2 network recently implemented in Germany.

The analyzer also features a new display and a fast SSD. The R&S ETL has been successfully deployed for a number of years during the installation, acceptance testing and maintenance of transmitters and transmitter networks.

The analyzer measures the quality parameters relevant to analog and digital broadcasting. It can also be used to perform coverage measurements in order to optimize networks and identify sources of error that reduce signal quality. With its broad range of T&M options and capabilites, the R&S ETL currently ranks as a benchmark for realtime TV test receivers. Rohde & Schwarz has now enhanced the R&S ETL with audio and video decoding functionality for HEVC and AVS/AVS+. This makes the instrument suitable for use in DTV networks, where it carries out detailed, realtime signal analysis and detects all common video codecs. Transmitted videos are output to the analyzer’s integrated display or via an HDMI interface to an external display.

UHD is also supported.

The R&S ETL is an all-in-one platform that supports a variety of digital and analog TV and radio standards. It combines the functionality of a video and MPEG-2 transport stream analyzer, an FM sound broadcasting signal analyzer and a generator for analog video and sound broadcasting signals and for MPEG-2 transport streams. The instrument also includes a powerful spectrum analyzer.

Its versatile functionality and flexible configuration options make the R&S ETL a universal reference for analyzing TV and sound broadcasting signals. It can be upgraded quickly to meet future requirements, making it a safe investment.

A newly integrated 256 Gbyte SSD and a high-contrast display for better legibility further improve performance.

Visit www.rohde-schwarz.com\

Live Streaming Production with Streamstar STREAMSTAR HAS BROUGHT a host of new features to its live streaming and production software. The company has announced the release of SW 4.0, designed to achieve smarter, faster, easier and more efficient operation, especially in sports streaming.

“Streamstar’s platform has become the standard bearer for serious live stream productions, specifically live sports streaming,” says Radoslav Toth, Streamstar CEO. ”Now, we have raised the bar even higher and included a feature-rich GUI, integrated automated PTZ control of up to six cameras, plus numerous other remarkable and powerful features.”

New features include: • Redesigned GUI – The centrepiece of SW 4.0 is a redesigned GUI that includes significantly larger program out and camera preview windows for improved visual style and easier operation.

• Smart PTZ control – Streamstar’s extremely efficient and flexible multi-camera production just got even easier and more affordable. SW 4.0 integrates automated remote control of up to six JVC PTZ cameras over IP. Multiple camera

presets along with creation of camera groups with group presets, scenes and an intuitive and easy operation will elevate live productions to a whole new level.

• Media editing with IN/OUT points – Now playback in/out points can be set to quickly and non-destructively edit media files from within the Streamstar software. Files are available for playback instantly without transcoding.

• Freeze Frame in Replays – Unique in the industry and a great addition to Streamstar’s replay system, this feature freezes the replay playback and stops the action at the exact frame to highlight a key moment in the game.

• NDI output – Connect the Streamstar output to any NDI enabled device to optimise the existing workflow.

• Multicasting – Simultaneously stream to multiple destinations, like the JVC VIDEOCLOUD, YouTube Facebook, Dally Motion and others.

Visit www.streamstar.com

CONTENT DELIVERY

Harmonic Expands Cloud Capabilities

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HARMONIC, THE PROVIDER OF video delivery infrastructure, has announced that it has added advanced media management and scheduling capabilities to its VOS Cloud platform, further accelerating the time to market for new broadcast and OTT services. Broadcasters and service providers now have the power to seamlessly create schedules and manage assets in real time via Harmonic's VOS Cloud solution thanks to the acquisition of software technology from Chyro, the experts in cloud-based traffic systems. The VOS Cloud solution with these nextgeneration scheduling capabilities has already been successfully deployed by a major U.S. broadcaster for increased OTT delivery efficiency.

is a managed way for moving content, either from point A to point B or from

"A key challenge that broadcasters face today is how to prepare and distribute OTT-ready local channels to MVPDs," said Bart Spriester, senior vice president of video products at Harmonic. "Adding Chyro scheduling functionality to our award-winning VOS Cloud solution provides the broadcast community with an innovative approach to primary distribution — what we call 'Distribution 2.0.' This

affiliate aggregation and distribution solution in the cloud for linear channels and

many sources to many endpoints, over the public internet. Using the cloud as a centralized resource, broadcasters can efficiently aggregate feeds and schedules from hundreds of stations, resolve content rights and decorate the channels with signaling information critical for OTT fulfillment."

This advanced technology streamlines the process of scheduling blackouts and the replacement of ads or programing — a major hurdle that has prevented broadcasters from being competitive in the OTT environment. With this complete schedules, Harmonic continues to lead the industry in enabling video distribution anytime, anywhere, on any device, with exceptional video quality.

Visit www.harmonicinc.com

CONTENT DELIVERY

Leader Video Noise Meter Option for LV5490 4K Monitor LEADER INSTRUMENTS recently announced a new addition to the range of options available for the LV5490 4K/HD/SD waveform monitor. The new LV5490SER10 software module is a direct-digital 4K noise measurement processor. It allows measurement of noise in luminance or RGB component chroma channels. This can be performed in all formats that can be interfaced to the LV5490: IP/12G/3G/UHD/HD/SD. Data obtained from the input SDI signal is converted directly without intermediate analogue processing, allowing accurate and stable measurement.

“This new option makes the LV5490 essential for any serious multi-camera production, whether in a studio, on location or for live outside broadcasting,” said Leader’s European Regional Development Manager, Kevin Salvidge. “It will be particularly useful for checking the noise level of cameras sourcing content for viewing on high dynamic range television receivers.

Occupying a half-rack-width by 4RU high housing, the Leader LV5490 offers 4K, UHD, 3G, HD and SD test and measurement features in a compact portable unit. Waveform, vector, five-bar and picture display can all be viewed at the same time on the instrument’s nine-inch LCD monitor. The monitor is full 1920 x 1080 HD resolution with a wide viewing angle and high colour reproduction. A 1920 x 1080 HD DVI and HD-SDI output is also provided to feed a larger monitor.

Simultaneous viewing of up to four 3Gb/s SDI inputs is possible, including

overlays. The size and location of individual channels can be adjusted on the display using a USB pointer so the user is not limited to fixed-size quadrants.

The new LV5490SER10 software module for Leader’s LV5490 waveform monitor was introduced on the 1st of June at a Broadcast Innovation Day organised

by German systems integrator, Broadcast Solutions GmbH, in cooperation with SVG Europe. Also on show was the new LV5333SER02 HDR measurement option for Leader’s LV5333 waveform and picture monitor. Announced at the 2017 NAB Show in April, this enables the LV5333 to measure HD HDR and 2SI 4K in ITU.BT.2100 Hybrid Log Gamma, Dolby PQ or Sony SLOG-3 protocols.

Visit www.leader.co.jp

Omnitek Ultra TQ Waveform Rasteriser

The Ultra TQ builds on the success of the Ultra platform and is a fully equipped waveform rasteriser for the broadcast market. It inherits functionality from the Ultra 4K Tool Box and the

See us at SMPTE #B10

Ultra XR products, both of which have received a v3.3 software update.

The v3.3 software release for the Ultra family adds audio and loudness monitoring, enhanced high dynamic range analysis and other functionality. This builds on the recent V3.2 release which added Omnitek’s O-Zone false colour display for HDR and SDR material, closed caption/subtitle display and full timecode based logging of events.

Visit www.quinto.com.au and www.omnitek.tv

CONTENT DELIVERY

THE ULTRA TQ LAUNCHED at NAB earlier this year proved popular with broadcasters attending the show. Many were investigating the requirements for HDR production in HD installations, for which the Ultra TQ is suited.

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Fujifilm LTO7 Eco Pack

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Figure 2. IP-based playout.

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CLASSIFIEDS + EVENTS IBC Fosters Truth, Trust and Transformation IBC HAS ANNOUNCED DETAILS of keynote sessions for its forthcoming IBC2017 Conference, which runs from 14-18 September at the RAI in Amsterdam, starting a day ahead of the exhibition. Under this year’s theme of ‘Truth, Trust and Transformation’, keynote sessions will foster debate and seek clarity on the myriad challenges and opportunities facing all content creators and aggregators, both from the traditional media industry and in adjacent markets.

The opening keynote on day one of the conference will explore how the rise of fan and friend power in the media ecosystem is driving new approaches to broadcasting, as well as paving the way for new partnerships and funding models. This keynote session entitled 'Fans, Friends and the Future of Broadcasting' includes Dan Danker, Product Director at Facebook and Jørgen Madsen Lindemann, President & CEO at Modern Times Group. They will ask: as the lines blur between traditional broadcasting and online video, what are the new audiences teaching us and how are some of the biggest players responding?

Brian Sullivan, President & COO, Digital Consumer Group, Fox Networks Group at 21st Century Fox, will take to the stage to deliver insight into the American market and developments of Fox Network’s leading TV Everywhere services, with his talk: View from the USA: What Consumer Power Means for Fox Products and Services.

Balan Nair, Executive Vice President and Chief Technology Officer, Liberty Global will join other key industry leaders for the CTO Roadmap Keynote. With many

What’s On JULY SMPTE Australia 2017 July 18-21, 2017 International Convention Centre Sydney, Australia www.smpte.com.au Siggraph 2017 July 30-August 3, 2017 Los Angeles, California, USA www.siggraph.org

AUGUST BIRTV 2017 23-26 August, 2017 China International Exhibition Center (CIEC) Beijing, China http://birtv.com/birtv/ENGLISH/

SEPTEMBER IBC 2017 15-19 September, 2017 RAI Amsterdam www.ibc.org

OCTOBER Prolight+Sound Shanghai 11-14 October, 2017 Shanghai New International Expo Centre Shanghai, China www.prolightsound-shanghai.com Broadcast India 2017 12-14 October, 2017 Bombay Exhibition Centre www.broadcastindiashow.com National Radio Conference 13-14 October, 2017 Melbourne, Australia www.commercialradio.com.au NAB Show New York 2017 18-19 October, 2017 Javits Convention Center www.nabshowny.com AES New York 2017 18-21 October, 2017 Javits Convention Center http://www.aes.org/events/143/

CTOs certainly facing the same challenges as most executives in the broadcast and media industry, this panel will explore what they see as the biggest challenges and most importantly how they intend to address them.

Delivering the Technology Forward Keynote: What's Happening in VR, AR and Mixed Reality is Rikard Steiber, President, Viveport and SVP Virtual Reality, HTC. IBC has also announced the launch of the Startup Forum, a brand-new initiative for IBC2017 that brings together innovative digital media startups, media houses and investors for a day of keynote presentations, panel sessions, pitching and networking. The event, which runs on 17 September 2017, is held in association with Media Honeypot, organisers of the eponymous international conference that helps media executives identify new business opportunities with emerging technology companies.

Startups and growing businesses with innovative digital media or media business related services such as VR/AR, Social Media, Ad Technology, AI, eCommerce, eSports, Apps or Security, Search Engine Marketing, Conversion Optimisation, AI, Machine Learning, Apps or SEO are invited to apply to take part in the Startup Forum. The Media Honeypot and IBC teams will screen the applicants and handpick approximately 75 companies which they feel are of most interest to media investors, and can therefore reap the most benefits from attending.

For more information and application visit https://show.ibc.org/ibc-startup-forum Visit www.ibc.org SMPTE 2017 Annual Technical Conference & Exhibition 23-26 October, 2017 Hollywood and Highland Complex Los Angeles, California, USA www.smpte.org/smpte2017 Broadcast Indonesia 25-27 October, 2017 Jakarta International Expo www.broadcast-indonesia.com

NOVEMBER CASBAA Convention 2017 6-9 November, 2017 Studio City Macau SAR, China www.casbaaconvention.com Community Broadcasting Association of Australia CBAA Conference 9-12 November, 2017 Gold Coast Convention Centre Broadbeach, Queensland, Australia www.cbaa.org.au/conference

InterBEE 2017 15-17 November, 2017 Makuhari Messe Chiba City, Japan www.inter-bee.com Vietnam International Exhibition for Telecommunication - Broadcasting & Information Technology 23-26 November, 2017 Vietnam National Convention Center Hanoi, Vietnam http://tbivietnam.com/en/ Siggraph Asia 2017 27-30 November 2017 Bitec, Bangkok, Thailand https://sa2017.siggraph.org Asia TV Forum & Market (ATF)/ ScreenSingapore 2017 28 Nov – 1 Dec, 2017 Marina Bay Sands Singapore www.asiatvforum.com

CLASSIFIEDS + EVENTS

Advertiser Index

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AJA …………………………………………………………………..3

Harmonic Inc ……………………………………………77

Ooyala ……………………………………………………….IFC

Seagate ………………………………………………………33

Amber Technology…………………………….……15 ARRI……………………………………....………………………19

IHSE GmbH Asia Pacific……………………………8

Pacific Live Media ………………………………….51

SilverTrak Digital ……………………………………..61

Imagine Communications ……………………11

AV Group Technologies ……………………….17

SMPTE17 …………………………………………………..IBC

IRT Communications ……………………………..41

Professional Audio & Television…………………………………Cover,31,45

Blackmagic Design …………………………………..5

Jands ……………………………………………………………..65

Quantum …………………………………………………OBC

Dejero ………………………………………………………….35

Lawo ……………………………………………………………..29

Quinto Communications ………………………..9

EMC ………………………………………………………………55

Magna Systems & Engineering…………13

Riedel ……………………………………………………………27

StudioTech Australia………………………………37

Fujinon Fijifilm ………………………………….78,79

MediaProxy ……………………………………………….59

Rohde & Schwarz ………………………………….73

Techtel ………………………………………………………….….7

Grass Valley ………………………………………30,71

On Air Solutions……………………………………….69

Ross Video ………………………………………………..25

TSL ………………………………………………………………75

Snell Advanced Media ……………..………….. 49 Sony Australia……………………………………………21