Content+Technology ANZ March-April 2018

PP: 255003/06831

PR EV IE W IS SU E VOLUME 15 ISSUE 2 MARCH / APRIL 2018

MEDIA + PRODUCTION + MANAGEMENT + DELIVERY

www.content-technology.com

NEP+SEVEN

SUNSET+VINE the run to paradise

ISSN 1448-9554

With Telstra Broadcast Services, reach new audiences in Asia and around the world.

Make the most of every minute of your content. Media distribution, management, analytics and monetisation – all delivered over a robust global network reaching audiences on screens big and small.

We deliver millions of hours of content every year. And with ultra-reliable, high-speed turnaround, there’s never been a better time to take your content global.

Telstra Broadcast Services - We’re available 24/7 telstrabroadcastbookings@team.telstra.com +61 2 8258 7900 Telstra.com/broadcastservices

©2017 Telstra Corporation Limited. All rights reserved. The spectrum device is a trade mark of Telstra Corporation Limited. ™ and ® are trade marks and registered trade marks of Telstra Corporation Limited ABN 33 051 775 556. 19117-0217/Telstra

VOLUME 15 ISSUE 2 MARCH / APRIL 2018

SUBSCRIBE FREE

Going for Gold Coast!

Sportscasting at the Commonwealth Games, page 58.

REGULARS

14

02 EDITOR’S WELCOME

62

04 NEWS New Gambling Ad Rules, WIN Back

64 EVENTS+CLASSIFIEDS

with FreeTV, Foxtel/Fox Sports Merger, Blocking Pirate Sites, Sydney Opera House Banks on LAWO, Videocraft Takes Tennis to the Big Screen, New Lifestyle Channel for NZ’s Mediaworks, People Moves.

INDUSTRY FOCUS

FEATURES 12 STANDARDS MPEG Moves on Video

Analysis, Immersive Apps and Distributed Media; HbbTV Spec for Operator Apps.

14 NABSHOW PREVIEW Fill Up That Dance

38

Card for Vegas.

24 ACQUISITION SBS World News Sees

Bright Future with ARRI Lighting, Firmware Upgrade Superpowers Panasonic EVA1, Fujifilm Ultra-Compact Cinema Lenses for X Mount Cameras, NAB Camera Preview.

27 SPORTSCASTING Waiting for the

Starter’s Gun: Commonwealth Games 2018, NEP’s Gold Coast Diaries and more, The PA People Connect Comms in Korea, NBC Avalanche Hits Winter Games.

35 NEWS OPERATIONS NAB NewsTech Previews.

PUBLISHER: Phil Sandberg Tel +61 (0)2 4368 4569 Mob +61 (0)414 671 811 papers@broadcastpapers.com

“Best Ever” Animated TVC for Suzuki, Ultimate Training at NAB’s Post Production World, VoiceQ Integrates with Conformalizer, Colorfront HDR Image Analyzer, Las Vegas Previews.

42 MEDIA IN THE CLOUD Inverleigh Makes Sport the Highlight with Silvertrak, Tedial Tackles Editing of IMF Packages, the Latest in Storage and MAM.

48 AUDIO Studios 301 Gears Up with New Sydney HQ, Keeping an Ear Out for New Solutions.

52 RADIO Oz Digital Rollout at 3.8 Million

DAB+ Radios, Talent to Bubble in SCA’s Hubble, UK Extends Trial of Small-Scale DAB, ABC Preschoolers’ Station, Tuning Into RadioTech at NAB.

56 CONTENT DELIVERY Server-Side Ad

48

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

38 POST-PRODUCTION Jumbla Produces

Insertion, IP Ready for Prime Time at NAB, New Products.

ADVERTISING MANAGER: Adam Buick Mob +61 (0)413 007 144 adam@broadcastpapers.com PRODUCTION MANAGER: Lucy Salmon Mob +61(0)412 479 662 production@broadcastpapers.com DESIGN & LAYOUT Wide Open Media Mob +61 (0)419 225 348 info@wideopenmedia.com.au PRINTING: The SOS Print + Media Group (Aust) Pty Ltd COPYRIGHT NOTICE: All material in Broadcastpapers’

Content+Technology Magazine is protected under Australian Commonwealth Copyright Laws.

No material may be reproduced in part or whole in any manner without prior consent of the Publisher and/or copyright holder.

DISCLAIMER: Broadcastpapers Pty Ltd accepts no responsibility for omissions or mistakes made within, claims made or information provided by advertisers.

EDITOR’S WELCOME

NABShow2018 – a Broad Association of ‘Casters

By Phil Sandberg

And, there have been some remarkable shifts in platform choice.

24:00

23:00

22:00

21:00

20:00

19:00

17:00

18:00

Across all measured devices, including smartphones, tablets, connected TVs and PCs, viewing time for medium- and long-form content grew to over 50% of all content, continuing a trend first reported by Ooyala in 2017.

16:00

15:00

In its recently released Q4 2017 Global Video Index Report, Ooyala (www. ooyala.com) reports that mobile video plays topped 60% globally for the first time in the fourth quarter of 2017 - garnering a 60.3% share of all video start.

One of the biggest viewing shifts occurred on PCs, where time spent watching long-form content dropped to just 37% in Q4 - its lowest point since Q1 2016, when it was 35%. On the other hand, time spent watching short-form content on PCs climbed to 50%, the most of any device. Elsewhere, short-form content was essentially flat year-over-year on smartphones (44%), tablets (26%) and connected TVs (0.7%).

The study also found that:

ersburg

• Smartphone views were more than three times that of tablets; • However, tablets’ share of all video plays at 12.8% represented a 68% increase from Q4 2016; and • Mobile plays could soon reach — and potentially exceed — a 70% market share, driven by more premium sports assets moving online.

According to Jim O’Neill, Ooyala principal analyst, “The primary screen is definitely shifting. All devices are not equal for video viewing. Consumers are as comfortable watching a sporting event, TV show or movie on a smartphone as they are on a connected TV, but not on their PC or tablet.”

What that means for content production and delivery is that “new media” is now simply “media”, that “one to many” is now “one to many platforms” and that the individual is just as important as the mass audience.

For those of you attending NABShow2018, don’t forget the annual AussieKiwi Night which makes its return to the Le Central Bar, Paris Casino, Saturday April 7th from 7.30pm until Late.

03:00

Hopefully, in production now, we acknowledge a broad palette of creation tools, and for delivery, a broad menu of platforms. The choices made should depend on the story being told and the audience’s choice of platform.

02:00

(Hopefully) gone are the days where every year would throw up yet another new technological development that was destined to transform (and save) media businesses, where vendors, customers and conference producers would fry themselves, moth-like, in the blinding lights of a new golden age driven by user-generated content, digital signage, 3DTV, etc., etc., etc.

• Smartphones, at 55%, topped PCs, at 36%, for the percentage of pre-roll ad impressions shown on broadcaster platforms; • Smartphone pre-roll impressions were highest (69%) on publisher platforms; • Publishers saw total impressions soar on smartphones, to 51% of all connected devices; and • Mid-roll ads saw the highest percentage of completions for broadcasters and publisher platforms; broadcasters saw completion rates top 97% for all screens.

The explosion of digital content is helping to drive viewing off of the TV, says the Ooyala report. On average, OTT services doubled their hours of content offerings over the last 12 months, with long-form content increasing 159%.

Medium-form content offerings increased 87% and short-form content increased 112%.

01:00

In 2018, it’s safe to say that many of the emerging technologies of the last decade or so are now fit for prime time. It’s also safe to say that most in the business of content production and delivery now require a broader tech and platform focus when it comes to “attracting eyeballs” (to use an ageing phrase).

Accompanying the gains in viewing on mobile devices was growth in mobile advertising:

00:00

VIDEO-OVER-IP, SMPTE 2110, OTT, VOD, Live Streaming, DAB+, Augmented and Virtual Reality, 3D Audio, Remote Production, Artificial Intelligence, Cyber Security, Podcasting, Filebased workflows, Esports, Game Developers, and of course, cable, satellite and free-to-air radiofrequency broadcasting.

Brought to you under an innovative crowd-sourced sponsorship scheme provided by C+T*, all Aussies, Kiwis and Honorary Types are invited to share a drink and a chinwag.

Be sure to say G’day to either myself or your co-host for the evening, our very own Adam Buick. * i.e., You Buy Your Own Drinks.

Thanks for reading Phil Sandberg – Editor/Publisher papers@broadcastpapers.com +61(0)414 671 811

Moscow

16:00

17:00

18:00

19:00

20:00

21:00

22:00

23:00

24:0

Beijing

ASIA EDITION

Seoul

MAY-JUNE

Tokyo

Tehran Shanghai

Hong Kong Mumbai

Bangkok

2018 C+T DEADLINES

BROADCASTASIA PREVIEW ISSUE

Editorial Submissions: Ad Bookings: Ad Artwork:

‘ASIAPAC’

24-05-18 31-05-18 07-06-18

AUSTRALIA/NEW ZEALAND EDITION Editorial Submissions: Ad Bookings: Ad Artwork:

00

00

0

00

00

00

00

00

00

Email: papers@broadcastpapers.com

0

00

24-04-18 02-05-18 09-05-18

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

The C+T (Time) Zone.

0

00

2

MAY-JUNE

Sydney

00

EDITOR’S WELCOME

ASIA

Jakarta

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

THERE’S MORE TO MEDIAHUB Ideal Systems Buys T HIPKABroadcast N M E ESystems TS THE IDEAL SYSTEMS HAS ANNOUNCED it has acquired Singapore based IPK Broadcast Systems, a systems integrator, distributor and supplier of broadcast, audio-visual and communications equipment. The acquisition will see the staff and daily operations of IPK move to Ideal Systems’ new larger Singapore offices by the 1st of November.

Established in 1982, IPK Broadcast Systems has built up a successful business and reputation providing technology solutions for the radio, television and multimedia industries in the ASEAN region. After the move in November, Peter Tang and Tan Kim Poh, who have run IPK since 1999, will remain for a period of time as advisors to Ideal Systems, ensuring a smooth transition of IPK’s business and to ensure there is no disconnect or disruption to the sales, marketing and support services for IPK’s existing customers, while key IPK staff will join the Ideal team in Singapore.

“This is a highly strategic deal for Ideal Systems in South East Asia as it consolidates our position as the leading Broadcast Systems integrator in Singapore while creating value by catalysing the growth of our new commercial A/V division across the region. We gain some fantastic new experienced staff

SES Video Expands APAC Team TWO NEW SENIOR APPOINTMENTS will bolster SES Video’s growth strategy and enhance support for the evolving needs of video and media customers in the fast-growing Asia-Pacific video market.

In an announcement by SES, SES Video has welcomed to the fold experienced industry professionals Yew Weng Soo as Vice President, Sales & Market Development and John Huddle as Director, Market Development, for Asia-Pacific.

Yew Weng Soo brings more than 25 years of industry experience to his new role at SES Video, driving business strategy, commercial activities, and the creation of new, value-added solutions for customers in Asia-Pacific. Yew

EYE

right when we need them, and also gain access to a number of new technologies which will allow us to serve existing customers better and provides us with some new products, customers, and services,” said Fintan McKiernan, CEO of Ideal Systems South East Asia.

[L-R] Peter Tang, IPK; Fintan Mc Kiernan, Ideal Systems; Kim Poh Tan, IPK. “We have enjoyed running IPK and keeping it profitable and debt-free over the years. We’re delighted that Ideal Systems are incorporating it into their business. With fourteen offices across Asia, Ideal’s larger regional reach will provide stronger support for our existing customers, and their better economies of scale will provide more opportunities to grow the business further,” added Peter Tang, MD of IPK Broadcast Systems.

Visit http://idealsys.com and www.ipk-broadcast.com.sg previously helmed media service provider Globecast’s Asia business, where he assumed responsibility for setting its strategic direction and managing business development. He has held a range of senior sales, marketing and business roles with satellite operators Intelsat and Loral CyberStar, and communications solutions provider Verestar.

John Huddle is tasked with developing new business opportunities across the region and driving strategic relationships and ventures with key stakeholders, including customers, governments, regulatory bodies, vendors and service providers. In a career spanning 15 years, Huddle has led regional market development and driven customer engagement strategy for satellite operator Intelsat and mobile satellite communications company Thuraya.

Visit www.ses.com

Ga me Cha ng er Ne wI PT ec hnol og y L owCos t

Mor e L I VESPORT S

M�l �Ca mFrom ��ingest L i v eto S� or t sP r o d�c �o n MediaHub offers an end-to-end screen and second screen,

L es sCos t

range of services including transcoding, streaming, channel playout, video and data archiving, media asset management and content delivery.

T r yt hes y s t e m Buyt hes y s t e m Orr e ntt hes e r v i c e

FROM VISION TO REALITY

Cont a c ti dea l _ l i v e@i dea l s y s . c om CHANNEL PLAYOUT

LIVE STREAMING

CONTACT US NOW

TRANSCODING

info@mediahubaustralia.com.au

VIDEO & DATA STORAGE

+61 (0)2 8788 4100

CONNECTIVITY

NEWS + PEOPLE

F orT Va ndOTT

3

NEWS + PEOPLE New gambling ad rules introduced GAMBLING ADVERTISEMENTS will be banned during the broadcast of live sports between 5.00 am and 8.30 pm on Australian commercial free-to-air TV, radio and pay TV. The new rules are contained in industry codes which have been registered by the Australian Communications and Media Authority.

“The new restrictions on gambling advertising supplement existing rules about gambling advertising during live sport and significantly enhance community safeguards during times when children are part of the audience,’ said ACMA Chair, Nerida O’Loughlin.

“The new rules will also ensure that broadcasters make clear to audiences, including parents, when gambling advertising is prohibited in live sport programming,” Ms O’Loughlin said.

The successful registration of these codes avoids the need for the ACMA to introduce regulatory standards on these matters.

The new rules will come into effect on the 30th of March 2018. The ACMA will closely monitor their operation and after 12 months will consider whether to conduct a formal review of their effectiveness.

Similar gambling advertising rules are currently proposed for online content service providers. The ACMA will consult with stakeholders about the draft online rules once the required new legislation is passed by Parliament.

The new codes of practice registered with ACMA include those from Free TV Australia.

Free TV CEO Bridget Fair said, "Free TV is focussed on ensuring that our Code of Practice meets community expectations, including in relation to gambling advertising.”

Free TV has amended the Commercial Television Code of Practice to ban gambling ads in live sport broadcasts between 5am-8:30pm, and during a five-minute buffer before and after the event.

"These new restrictions will prevent gambling advertising being broadcast during live sports at times that children are likely to be watching,” Ms Fair said.

“The community expects that these restrictions will apply across all forms of media, including online. It’s very important that the legislation to apply similar restrictions to online players is put in place as quickly as possible,” Ms Fair said.

The Australian Subscription Television and Radio Association (ASTRA) also announced a set of new rules designed to restrict gambling advertising during television coverage of live sport.

Its new rules mean there will be no gambling advertising during game play or during scheduled and unscheduled breaks in play. During all other times, existing gambling advertising restrictions will apply.

The ASTRA Codes include a conditional exemption from the new rules for sports channels with a very low audience share (0.5% of the viewing audience). The ACMA has placed strict limits around this exemption, which will ensure it is only available to the very small sports channels on the platform, and will not apply to any Fox Sports channel or to any nationally significant events. Existing gambling advertising limits will continue to apply to these small channels.

“The new rules will also ensure that broadcasters make clear to audiences, including parents, when gambling advertising is prohibited in live sport programming”

However, the commercial radio industry says it is concerned about an uneven playing field developing as the new rules on gambling ads come into effect due to ongoing delays in imposing similar restrictions for online platforms New rules banning gambling ads during live sports coverage on commercial radio also come into effect on March 30. The new provisions to ban gambling ads during the broadcast of live sporting events between 5am and 8:30pm have been included in the Commercial Radio Code of Practice following a period of community consultation.

The Chief Executive Officer of Commercial Radio Australia, Joan Warner, said the new provisions were developed by the industry in consultation with the Australian Communications and Media Authority (ACMA), as part of the Federal Government’s media reform package.

“The industry has taken community concerns about gambling on board and our members are implementing measures to ensure they comply with the new rules when they come into force on 30 March,” Ms Warner said.

“We are concerned that similar restrictions for online platforms have not yet been put in place. In fact, the legislation that will underpin rules to be developed by the ACMA has not yet been passed by the Parliament. Even after the legislation is passed there will be a period of development by the ACMA and then a period of public consultation. This creates a real risk that gambling advertising will simply be shifted online for the time, possibly some months, during which no rules apply.”

The Federal Government announced in May 2017 that the restrictions on gambling ads would apply to commercial radio, commercial and subscription television, SBS, and online platforms.

Visit www.acma.gov.au

WIN Network Rejoins Free TV FREE TV AUSTRALIA has announced that the WIN Network has rejoined the organisation as a member, effective from the 9th of March 2018.

television which has a unique and important place in both regional and

Free TV Chairman Harold Mitchell said, “I am delighted that WIN has decided to rejoin Free TV. This means Free TV once again represents 100% of commercial television broadcasters. We know we are much stronger together and with WIN back in the fold, Free TV will continue to drive the important outcomes to ensure a strong future for us all.”

WIN Network's Andrew Lancaster said, “We are very pleased to be back as

NEWS + PEOPLE

Free TV CEO Bridget Fair said, “I am looking forward to working with Andrew Lancaster and his team as we continue to represent Australian commercial

4

metropolitan communities.” a member of Free TV. Commercial free-to-air television broadcasters are facing more challenges than ever before and it is important that we work together to ensure that all Australians continue to enjoy the free television services they rely on and value.”

Visit www.freetv.com.au

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

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

MEDIA STORAGE

MADE SIMPLE Create, Manage, Deliver & Measure Media Content Edge to Core to Cloud Enabling new emerging workloads for Media & Entertainment

Find out more at: emergingtechsolutions.com/media-entertainment isilonapj@dell.com

EMCRS0090

TECHNICAL STANDARDS

NEWS + PEOPLE

www.content-technology.com/standards

News Corp and Telstra Sign Off on Foxtel/Fox Sports Merger AIMS Interop at VidTrans17 NEWS CORP AND TELSTRA have announced they have signed definitive agreements combine Foxtel and SPORTS Australia.

ShowstoViability ofFOX SMPTE 2110

Site Blocking Proves Effective in Fight Against Content Piracy DPP Guide to Connectivity PROPONENTS OF SITE BLOCKING in the fight against content theft have Services fornew, Production claimed a victory, with previously unreleased research showing that

The key commercial arrangements include:

court-ordered site blocks, year-on-year, led to a 25% reduction in piracy

• News Corp will have 65% shareholding in the combined entity contributed to an interop session, which was sponsored by Video contributed to an interop session, which was sponsored by Video and Services Forum (VSF) and concluded at VidTrans17 in Los Angeles, which Telstra will have 35%.

overall and a 53% reduction in use of the online pirate sites subject to a

MEMBERS OF the Alliance for IP Media Solutions (AIMS) recently

showcased the viability of the draft SMPTE 2110 standard and AMWA

• News will appoint four directors (including the Chairman) to the IS-04 asCorp a carefully architected IP initiative. combined entity’s board and the senior executives, and Telstra will Leading up to VidTrans17, 19 AIMS members took part in VSF-sponsored appoint two directors.

interoperability testing at the Fox technical center in The Woodlands,

• News Corp will consolidate the combined intofirst its financial Texas.

The testing was unprecedented, as itentity was the time a statements significant number of participants focused specifically on interoperability

of the SMPTE ST-2110 drafts.

Approximately 21 vendors, ofprovide whom According to News Corp and Telstra, the combined company19 will were AIMS members, were able to successfully transmit and receive from Australian viewers with the best possible experiences by:

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

• Putting greater emphasis on live streaming products and an expanded including produced and directed Following thelibrary, testing event inAustralian Texas, 12written, AIMS members exhibited programming; their draft SMPTE ST-2110 systems in the interoperability session

at Delivering VidTrans17.

The results were on display, the progress thus far • new and creative products and and packages across devices generated strongly positive consensus between vendors attendees and platforms, with investment in exclusive content andand technology, alike. including a focus on high quality FOX SPORTS Australia productions;

THE DIGITAL PRODUCTION PARTNERSHIP (DPP) recently published the first ever guide to help producers find the right kind of blocking order. connectivity for their business. ‘The DPP Survey Report: Connectivity On August 2017, a Federal Court ruling by the Hon. Justice Supply to 18, Production’ helps producers to identify the kind of John Nicholas ordered ISPs toappropriate block 42 websites be primarily engaged connectivity provision to their found needs,towith an indication of and type of service. incosts facilitating access to copyright-infringing content (Roadshow Films Pty Ltd & Others). were made that day, in a separate casethat lodged “Our previous Orders research withalso production companies has revealed

many stillinrely inadequate broadband connections, and don’t always by Foxtel the on Federal Court, to block a further 17 infringing websites. feel they understand the alternatives, says DPP Managing Director, Mark Since the first site-blocking orders were” made in Australia in December Harrison.

“So, we Court have conducted research, sought theand advice 2016, the Federal has orderedsome 65 piracy sitesand to be blocked,

of DPP companies, to pull together a user-friendly view of what over 378Member domains. the market offers.”

Incopro’s Australian Site-Blocking Efficacy Report, compiled after the

The survey reportCourt considers thethe needs of different sizes sites of production Australian Federal ordered blocking of 59 pirate in August company, and whether the connectivity they need is for general office use, for working with video, or out on location.

2017, echoes the findings of a UK study by Carnegie-Mellon University

which showed that overall piracy was only significantly reduced when a

The needsnumber of mediaofproduction are unusual when compared substantial sites were companies blocked simultaneously.

to other sectors. The workload can expand and contract dramatically, and this makes for huge variations in the bandwidth required. Video reduction in piracy is exciting news, but that 53% could be 90%. The files are also much bigger than the files being transferred by most other government industries. has shut the front door, but Google is leading people to the

“We’re energized by the success offor thisFoxtel latestand round tests, soAustralia we’re • Expanding distribution channels FOXofSPORTS ready to getalong back to work with renewed vigor, ” said Michael Cronk, products, with developing greater operating efficiencies across AIMS chair.businesses; “AIMS members the board combined and are very active in supporting and

Graham Burke AO, Chairman of Creative Content Australia said, “The

• Leveraging the assets and experience of News Corp in Australia and testing to date is both showing excellent progress toward interoperability around the world.

back door, showing no respect for Australian law or courts let alone any

implementing the draft SMPTE 2110 standard. We are thrilled that

and providing great data for further improvements. There will be future News Corp Chiefevents Executive Thomson said, launch oftime thefor all interoperability andRobert tests, which makes this“The an exciting combined company will mark the dawn of a new era for our Australian who support a common industry standard, much as it was when SDI first business, Foxtel and FOX Australia will together appeared.and Interoperability will SPORTS remain the key, and those who be getainvolved formidable We will be able to use our media platforms will reap theforce. benefits of new workflows andpowerful solutions. ” to promote the unique sports and entertainment assets in the two New additions the AIMS membership roster include Bridge Patrick companies, andto improve services for consumers and advertisers.

Technologies, Clear-Com, Solid State Logic, Juniper Networks, Atos, Delany and his talented team will be absolutely focused on serving Leader, Encompass Digital Media, and sonoVTS. viewers compelling, contemporary Australian content and superlative sports coverage on personalized platforms.”

Visit http://aimsalliance.org Mr Delany will be Chief Executive Officer of the combined company.

“There is no doubt connectivity suppliers find the media production community difficult to serve,” says Harrison. “But, provision is getting criminals running pirate sites are earning giant commissions scamming better all the time and now might be the right time for producers to Australian citizens.” explore the benefits they could get from professional supply.”

regard for the Australian economy and cultural way of life. Meanwhile, the

Creative Content Australia’s (CCA) new consumer campaign – ‘Say No to

‘DPP Survey Report: Connectivity Supply to Production’ is the fifth in the DPP’s Survey Report series, and follows on from the ‘2016 Survey television across Australia.

Report Connectivity and Production’, which shared eye-opening DPP The new campaign on research that view shows 74%connectivity of Australians research into how builds production companies their services. believe piracy is stealing or theft. It highlights some of the best Australian Piracy’ – was recently launched in cinemas and on subscription and FTA

films TV shows of recent years, including excerpts from Red Dog, Visitand www.digitalproductionpartnership.co.uk Hacksaw Ridge, Top of the lake, Paper Planes and Lion.

View the Incopro Australian Site-Blocking Efficacy Report at

The transaction is expected to close during the fourth quarter of the Eurofins, Samsung to Develop HbbTV App Test Centre www.creativecontentaustralia.org.au/research/2017 Australian Fiscal Year 2018, which ends June 30.

Visit www.foxtel.com.au EUROFINS DIGITAL TESTING has announced it will develop an HbbTV application test centre in co-operation with Samsung Electronics for testing HbbTV Applications on HbbTV enabled TVs.

Mediaproxy Expands US Team

‘HbbTV Applications’ include interactive applications that deliver additional AUSTRALIANsuch TECHNOLOGY DEVELOPER Mediaproxy hasto announced functionality as video-on-demand and are designed run on TVsthat it has appointed Mark Rushton as Vice-President of Sales and Solutions, US.will compliant with the HbbTV specification. As the lead supporter, Samsung provide the initial TVwith platforms for conducting compatibility These Mr. Rushton brings him a successful track the record within the tests. broadcast and platforms include an enhanced mode which allows in the gathering telecommunications industries debug with extensive experience building customer of additional to diagnose issues.cloud-based Samsung willworkflows, also provide technical solutions for data compliance monitoring, ATSC broadcast assistance to the program app developersMr. to Rushton run their held applications systems, and IP video.

Priortotoassist joining Mediaproxy, sales roles on SamsungRoundbox/AT+T, TVs. at Verizon, Triveni Digital/LG and PixStream/Cisco Systems.

NEWS + PEOPLE TECHNICAL STANDARDS

“We are very pleased to have Mark joinHong us at Kong, this exciting stage for Eurofins, which has offices in Belgium, Polandgrowth and Sweden, willour

12 6

initially build the test centre at its office in Bristol, UK. This test centre will Visit www.creativecontentaustralia.org.au take responsibility for testing and validating HbbTV Applications provided by app developers (who might be broadcasters or other parties) and will work with these app developers to define the scope of the testing required. This business, ” said CEO of Mediaproxy.

“Having himHbbTV on board underlines will ensure thatErik theOtto, HbbTV applications conform to the specification our commitment to our customers here in the US as we work around the and function correctly on real, deployed devices from the market leading globe. ” brand.

“I am very much looking forward to working as a member of the Mediaproxy

The agreement between Samsung and Eurofins allows for the growth of team to ensure that our customers have the very best software solutions for the Test Centre to include more devicesindustry in due course – including those” said from meeting the evolution of the broadcast to IP based workflows, other manufacturers – to further extend the testing capabilities.

Mark Rushton.

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

Sydney Opera House Banks on LAWO for Theatre Refit PROFESSIONAL AUDIO & TELEVISION (PAT) has announced that it has delivered, configured and commissioned a LAWO NOVA73 and a LAWO crystal console including compact engine for the Joan Sutherland Theatre in the Sydney Opera House via lead integrator The Downer Group.

The LAWO Nova 73 Core has been configured as an mc² Mix Engine. Used as the Central Audio Router for the Joan Sutherland Theatre, the NOVA73 is combining MADI, Ravenna and Dante signals, along with traditional analogue and AES by way of a LAWO DALLIS I/O Frame. LAWO’s powerful mxGUI is used as the primary control interface for the router, allowing users to load snapshots for different room configurations, while also offering users manual adjustments of signal flows and parameters. The system is completed with a VistoolMK2equipped LAWO crystal console, to provide a simplified tactile, or customisable on-screen, mixing surface. This allows for basic use of the JST for situations such as rehearsals or simple presentations. The Crystal engine communicates with the Nova 73 via Ravenna.

Sutherland Theatre an even better venue for hundreds of events per year,” he said. “Over the years we have been able to grow the Lawo footprint in Australia significantly and we have some amazing reference sites here in Australia, but to now also be able to list the Sydney Opera House is something very special. We are honoured to have been chosen for this upgrade and thank the Opera House for their trust in Lawo technology.”

The Sydney Opera House’s Renewal Technology Manager, David Dalton, said, “The LAWO NOVA core has been solid since its install in January and has already seen significant use. We are very satisfied with the Lawo technology and the service their Australian distributor PAT provided to us via the Downer Group.”

LAWO’s CEO, Philipp Lawo, recently visited the facility.

The Joan Sutherland Theatre is the first theatre to undergo a ‘renewal’, next on the agenda will be the refit of the main concert hall planned to begin in 2019.

“I am delighted to see our technology plays an integral part in making the Joan

Visit www.proaudiotv.com.au

Magna Partners with Shotoku MAGNA SYSTEMS AND ENGINEERING has partnered with Shotoku Broadcast Systems, the manufacturer of advanced camera support solutions, and become its new dealer for all products in Australia and New Zealand.

Magna Systems and Engineering CEO Matthew Clemesha said, “Shotoku is unquestionable the leader in advanced camera support products in today’s market. They really are the best of the best and they are also a perfect fit with Magna’s customers and product portfolio. The company is well known to have world-class robotic, AR/VR and manual camera supports so we are looking to a successful partnership and helping supply broadcasters in both Australia and New Zealand with their excellent solutions.”

Australia and New Zealand are important markets for Shotoku, and the new partnership with Magna Systems and Engineering will strengthen the company’s presence in the region according to Shotoku MD James Eddershaw.

Eddershaw added, “We are excited to be working with Magna Systems, a leading technology and services provider across the region. The wellestablished firm has earned an impeccable reputation for furnishing first-rate solutions and support to major broadcasters and government organisations in both countries, and we’re confident that our customers will benefit from their experience generally, and especially in robotic camera systems.”

Visit http://magnasys.tv and www.shotoku.tv/uk

C

M

Y

CM

MY

CY

CMY

NEWS + PEOPLE

K

7

NEWS + PEOPLE Videocraft Takes Australian Open Tennis to the Big Screen THE AUSTRALIAN OPEN TENNIS (AOT) tournament is chronologically the first of the four Grand Slam tennis events of the year – the other three being the French Open, Wimbledon and the US Open. Known for always employing the very latest in technology during the event, this year AOT organisers Tennis Australia wanted to take viewer experiences to the next level both on the web and on the big screen at the tournament. For this they turned to Videocraft.

Videocraft Head of Engineering and Projects Nick Maclean explained, “Videocraft have been working with Tennis Australia for a number of years now and the scope of what Tennis Australia Productions do for the Australian Open Tennis grows with each event. For the 2018 tournament Tennis Australia wanted us to work with them and help boost their web and big screen coverage. In order to do this we developed a workflow design that enabled them to simultaneously leverage and expand the onsite edit facilities and integrate additional infrastructure to connect their edit and asset management systems to the host broadcast and rights holders.”

Part of Videocraft’s success with Tennis Australia and the Australian Open is due to its good working relationships with all of the tournament’s stakeholders.

Maclean added, “This year we were able to implement digital workflows for ingest and conversion of ENG footage and facilitate access to the host broadcast court, press and interview coverage. We also added in a number of Premiere Pro edit suites and an EVS backend and server system for delivery of finished edits, highlights and colour stories to both the local big screen coverage and various digital media platforms.”

In total, Videocraft supplied and installed Premier Pro edit suites, EVS Ingest, transcoding, asset management, playout and delivery systems. They also supplied and installed 10Gb Ethernet Cisco switch infrastructure to tie multiple storage systems and all the servers and components together.

John O’Neill from Tennis Australia added, “With their clever solution Videocraft met all of Tennis Australia and the Australian Open’s technology requirements seamlessly and efficiently. Uniquely they also used and integrated Tennis

Australia’s permanent facilities with the temporary facilities they supplied in order to work within existing boundaries whilst greatly increasing the capabilities of the system. I’m happy to say the Videocraft solution performed very well, editors were able to access media rapidly and turnaround edits for delivery very quickly and efficiently.”

Having worked with Australia’s top sporting bodies for many years Videocraft has honed its unique set of skills and workflow knowledge to meet the high standards and requirements of events such as the Australian Open Tennis.

Nick Maclean concluded, “Videocraft’s bespoke workflow design ensures all of our clients, in this case Tennis Australia, get a tailored workflow solution that meets all the requirements of their brief. Our years of experience help us know what will and won’t work for different situations. At this level and with ever-increasing multi-platform viewing needs, there is not one a one size fits solution so we work with the whole production process from capture, ingest, logging, asset management, edit and delivery to ensure a smooth process all the way through to broadcast.”

Visit www.videocraft.com.au

New Lifestyle Channel for NZ’s Mediaworks LAUNCHING ON APRIL 15TH, ThreeLife is a new channel for New Zealand’s MediaWorks family that will take viewers to a “lighter place” with hit international shows including Married At First Sight USA, Restaurant Revolution and Bondi Vet.

television that they love, and for advertisers to meet Kiwis in their happy place.”

Each night on ThreeLife will be themed, making it easy for Kiwis to tune in to the evenings that feature shows they love. From all things food on Monday, to D.I.Y Thursday, and romance reality on Friday, the channel is designed for its audience to escape the daily grind and embrace your not-so-guilty pleasures with ThreeLife.

“MediaWorks is the 25-54 year-old audience company, and ThreeLife caters to a broad cross-section of preferred content for those viewers,” said Glen.

MediaWorks’ Chief Content Officer, Andrew Szusterman, said ThreeLife is the perfect extension for the Three brand.

ThreeLife will be available from April 15th on Freeview channel 11. Sky and Vodafone channels will be announced in due course. Music channel The Edge is moving up the dial to Freeview channel 14.

“ThreeLife is where Kiwis will come to view programmes that focus on their favourite pastimes. It’s a great opportunity for audiences to binge-watch

Glen Kyne, MediaWorks’ Chief Commercial Officer believes ThreeLife will provide greater performance and optionality for our advertisers.

“We understand the genres, formats and programmes that this key audience loves, and we can leverage these insights across the MediaWorks portfolio of assets.”

Visit www.mediaworks.co.nz

NEWS + PEOPLE

Streamline your broadcast workflow

8

IHSE GmbH - Headquarters Maybachstrasse 11 88094 Oberteuringen  Germany

Draco tera KVM switches connect operators to vital production equipment with no transmission delay or picture degradation.

IHSE GmbH Asia Pacific Pte Ltd 158 Kallang Way  #07-13A Singapore 349245

ICP Global Pty Ltd 603/152 Bunnerong Road Pagewood, NSW 2035  Australia

Tel: +65-6841-4707  info@ihseapac.com

Tel: +61-2-9314-2092  sales@icpglobal.com.au

Māori TV Goes HD, Launches New HQ NEW ZEALAND’S MĀORI TELEVISION has formally opened new premises at 433 East Tāmaki road, South Auckland. The new HQ was launched in a ceremony attended by NZ’s Minister for Māori Development, Hon Te Ururoa Flavell, and other Members of Parliament, iwi, local community representatives, schools and industry partners. The day began with dawn karakia (greetings/prayers) – Te Tā i te Kawa – led by local kaumātua (Māori elders).

Migration is a matter of survival

Chairman of the Māori Television Board, Georgina te Heuheu, says the opening has been an important opportunity to celebrate the new facilities with the south Auckland community - as well as key stakeholders, including the newly formed Te Mātawai organisation which represents iwi (Māori nation/tribe) and Māori interests in the revitalisation of te reo Māori (the Māori language).

“Our role of normalising the Māori language and culture, taking it into the homes of all New Zealanders via multi-platform devices – supports the language revitalisation efforts undertaken by Māori language communities, nationwide,” said Ms te Heuheu.

“Our new building has a modern layout, providing collaborative working spaces for staff. It provides the space and flexibility to encompass new platforms and technologies to support Māori Television’s purpose of revitalising te reo Māori in a fast changing digital environment. The building provides value for money, has access to arterial routes and to the airport and proximity to Māori communities and facilities.”

Māori Television has also launched High Definition transmission as part of its multi-platform strategy. The project is funded by a dedicated Budget 2016 allocation of NZD$10.6m.

platform strategy. We will continue to invest in a range of digital offerings and platforms alongside our traditional linear platform. This ensures that Māori Television is delivering to the needs of all New Zealanders, whenever they want, wherever they are, and by whatever connected device they choose to use,” said Ms te Heuheu.

Grass Valley played an instrumental part in relocating the broadcaster to its new premises.

Māori Television’s Head of Technology and Operations, Mark Bullen, said, “High Definition is part of the evolution for Māori Television. So, if we look at our other free to air broadcasters in TVNZ and Media Works they’ve all been high definition for quite a long time now, so this is an opportunity for Māori to come up to the same level, same playing field.”

Mrs te Heuheu says the upgrade will give viewers a crisper and sharper picture on par with other major New Zealand broadcasters.

Māori Television was first launched on 28th March 2004 in Newmarket,

“This has been an important stepping stone in the progression of our multi-

Visit www.maoritelevision.com

Auckland. Its Māori language channel, Te Reo, was launched in 2008.

For the last 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.

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

Contact Magna today to arrange a meeting with one of our team at NAB 2018

NEWS + PEOPLE

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

9

NEWS + PEOPLE New Appointments at Network Ten For 2018 NETWORK TEN HAS ANNOUNCED that Sandra Sully is taking on the additional role of Managing News Editor at 'ten daily'. Ms Sully will continue as presenter of the Ten Eyewitness News First At Five flagship bulletin in Sydney, and in addition to her editorial direction and management role with 'ten daily', she will contribute to the new website. ‘ten daily’ is Network Ten’s new standalone, mobile-optimised website launching later this year, and will be rich in short-form video content, and offer premium and exclusive news, entertainment, lifestyle, opinion, and sport content.

Ms Sully’s career highlights include 18 years as National Presenter and Senior Editor of Ten Late News With Sports Tonight. During that role, Sandra was the first Australian journalist to break the news of the September 11, 2001, terrorist attacks in the United States.

Network Ten has also announced the appointment of Ross Dagan to the role of Network Director of News Content, effective from early May 2018.

Mr Dagan will be responsible for news content and operations across all distribution platforms, including Ten Eyewitness News First At Five and news content for the 'ten daily' website.

Mr Dagan’s previous roles have included Director of News Brisbane, and Seven Queensland at Seven Network, Head of News and Current Affairs at TVNZ, and Director of News Sydney and Brisbane for Network Ten. Mr Dagan said, “Network Ten’s people are its greatest assets, many of whom I have had the privilege of working alongside before. I am looking forward to returning home to help them build on the strengths of Ten News across all platforms.”

Ten has also announced the appointment of Andrew McKinlay as Network Sport Editor. Mr McKinlay was previously the Editorial Manager/Chief of Production at Fox Sports. He has been at Fox Sports since December 2011, during which time he worked on assignments including the coverage of Lance Armstrong’s doping confession, the passing of Muhammad Ali, and both London and Rio Olympic Games.

Network Ten has also announced the appointment of Mel Cornford as Managing Editor of 'ten daily'. Ms Cornford joins Lisa Wilkinson, who was appointed Executive Editor earlier this year. Ms Wilkinson’s 'ten daily' role is in addition to hosting Network Ten’s news and current affairs program, The Project, as well as hosting The Sunday Project.

Ms Cornford joined Network Ten in 2016 as project lead on 'ten daily' and has played a key role in developing the website. Before she joined Network Ten, Ms Cornford spent over 10 years working in digital editorial production, content, commercial, strategy, and staff management.

Most recently Ms Cornford was Head of Yahoo7’s lifestyle, entertainment and travel division, leading the launch team for Yahoo7’s lifestyle and entertainment platform, Be. She has also held senior editorial roles at News Corp Australia, including online editor of body+soul and Senior Digital Producer at Vogue Australia.

Ms Cornford said, “I’m looking forward to introducing our fresh, new entertainment and news website to Australian audiences and connecting them with our talented team of journalists and contributors.”

Network Ten has also appointed Angela Neville as General Manager, Brisbane, reporting to Chief Operating Officer Annabelle Herd. Ms Neville was previously Network Ten’s Brisbane Commercial Manager. She first joined Network Ten in 1997 and has held several roles with the company, including Group Sales Manager and Brisbane Sales Director.

Ms Herd said, “I’m very pleased to announce this new role for Angela. For many years, Angela has been an integral part of the Ten team in Brisbane and nationally. She knows Ten, she knows Brisbane and South-East Queensland, and she knows what our viewers and business partners want.

“Brisbane and South-East Queensland is a very important market for Network Ten and the home of our award-winning children’s television production unit.

We see a lot of potential for Ten in Queensland, and Angela will make a great leader in that market.”

Ms Neville said, “As a proud Queenslander, I am thrilled to take on the role of General Manager for Network Ten in Brisbane. We have an exceptional team at Ten in Queensland which I am honoured to lead. With our local commitment and expertise, we look forward to further enhancing our relationship with our business partners and the South-East Queensland community.”

Visit https://tenplay.com.au

Chris Parnell Joins Magna as NZ Sales Manager BROADCAST, IP AND IT industry specialist Chris Parnell has joined Magna Systems and Engineering as New Zealand Sales Manager where he will be responsible for promoting and managing all of the company’s broadcast, telecoms, storage, IT and government solutions across the country from his base in Auckland.

NEWS + PEOPLE

An experienced business development manager and account executive with 25 years’ experience in ICT across national and international markets, Parnell brings with him the sales and technical disciplines refined in roles working with companies including Quinto NZ, Renaissance, and Apple Australia.

10

Magna Systems and Engineering CEO Matthew Clemesha said, “Chris is an excellent addition to Magna’s team and the ideal person to help drive our New Zealand business forward. His previous experience sets him up perfectly to manage our traditional broadcast business but also our IP, OTT, QoS, QoE and telecoms solutions. The fact that he was chosen to lead a new engagement strategy for the Renaissance and Apple Australia

Commercial and Government teams which then lead to consistent year-on- year sales growth as a result shows you the high calibre kind of individual he is.”

Chris Parnell added, “Magna Systems and Engineering is a very dynamic company with a clear growth plan and strategy in the Asia Pacific region. They are committed to a successful future in New Zealand and I’m delighted that I’ll be able to play a key role in making sure all of their clients benefit as a result of that continued commitment.”

Visit www.magnasys.tv

Introducing URSA Broadcast.

The professional Ultra HD broadcast camera for less than the price of a DSLR!

The new extended video mode shoots incredible looking images with accurate skin tones, vibrant colors and incredible detail that can go straight to air without extra color correction.

Now you can afford to upgrade to a professional Ultra HD broadcast camera for less than the price of a DSLR!

Learn more at www.blackmagicdesign.com/au

Blackmagic URSA Broadcast

$4,835

Viewfinder, lens and accessories shown are not included.

NEWS + PEOPLE

URSA Broadcast is a flexible new Ultra HD broadcast camera that’s like two cameras in one. It’s an incredible field camera, as well as a professional studio camera. URSA Broadcast works with your existing B4 lenses, shoots HD and Ultra HD, features traditional broadcast controls, built in ND filters, dual SD and CFast recorders, and records in common file formats such as DNxHD 145, DNxHD 220X and ProRes.

11

TECHNICAL STANDARDS www.content-technology.com/standards

MPEG Moves on Video Analysis, Immersive Apps, Distributed Media and Orchestration AT ITS 121ST MEETING, held in Gwangju, Korea, during January, standards body MPEG promoted CDVA (ISO/IEC 15938-15) to Committee Draft (CD) level – the first formal step of the ISO/IEC approval process for a new standard.

This will become a new part of MPEG-7 to support video search and retrieval applications.

full 6 degrees of freedom (6DoF) will be achieved with changes of viewing position over a much larger range. To develop technology in these domains, MPEG has issued two Calls for Test Material in the areas of 3DoF+ and 6DoF, asking owners of image and video material to provide such content for use in developing and testing candidate technologies for standardisation.

Managing and organising the quickly increasing volume of video content is a challenge for many industry sectors, such as media and entertainment or surveillance. One example task is scalable instance search, i.e. finding content containing a specific object instance or location in a very large video database.

This requires video descriptors which can be efficiently extracted, stored and matched. Standardisation enables extracting interoperable descriptors on different devices and using software from different providers, so that only the compact descriptors instead of the much larger source videos can be exchanged for matching or querying. The CDVA standard will specify descriptors that fulfil these needs.

At its 121st meeting, MPEG also issued a Committee Draft (CD) for the Internet of Media Things. With this IoMT CD, MPEG objective is to facilitate the largescale deployment of distributed media systems with interoperable audio/visual data and metadata exchange. This standard specifies APIs providing Media Things (cameras/displays and microphones/loudspeakers, possibly capable of significant processing power) with the capability of being discovered, settingup ad-hoc communication protocols, exposing usage conditions, and providing media and metadata as well as services processing them.

The specification includes the components of the CDVA descriptor, its bitstream representation and the extraction process. The standard will be complemented by conformance guidelines and reference software (ISO/IEC 15938-16). The final standard is expected to be finished in early 2019.

CDVA contains components that are compatible with CDVS (Compact Descriptors for Visual Search, ISO/IEC 15938-13), a standard for images with comparable functionalities, but also uses predictive coding over video segments (e.g., shots). Additionally, CDVA introduces a new descriptor based on features which are output from a Deep Neural Network (DNN). CDVA is robust against viewpoint changes and moderate transformations of the video (e.g., re-encoding, overlays), it supports partial matching and temporal localization of the matching content. The CDVA descriptor has a typical size of 2–4 KBytes per second of video. For typical test cases, it has been demonstrated to reach a correct matching rate of 88% (at 1% false matching rate).

The meeting in Korea also saw MPEG issue Calls for Visual Test Material for Immersive Applications. After achieving the final stage of development for its Omnidirectional Media Format (OMAF) at its 120th meeting, MPEG is working on extending OMAF functionalities to allow the modification of viewing positions, e.g. in case of head movements when using a head-mounted display, or for use with other forms of interactive navigation. Unlike OMAF which only provides 3 degrees of freedom (3DoF) for the user to view the content from a perspective looking outwards from the original camera position, the anticipated extension will also support motion parallax within some limited range which is referred to as 3DoF+. In the future with further enhanced technologies, a

IoMT APIs encompass a large variety of devices, not just connected cameras and displays but also sophisticated devices such as smart glasses, image/ speech analysers and gesture recognisers. IoMT enables the expression of the economic value of resources (media and metadata) and of associated processing in terms of digital tokens leveraged by the use of blockchain technologies.

MEDIA ORCHESTRATION (MORE) STANDARD At its 121st meeting, MPEG promoted its 'Media Orchestration' (MORE) standard to Final Draft International Standard (FDIS), the final stage of development. The specification supports the automated combination of multiple media sources (i.e., cameras, microphones) into a coherent multimedia experience. It also supports rendering multimedia experiences on multiple devices simultaneously, again giving a consistent and coherent experience. The MORE specification contains tools for orchestration in time (synchronisation) and space.

MPEG expects that the Media Orchestration standard to be especially useful in immersive media settings. This applies notably in social virtual reality (VR) applications, where people share a VR experience and are able to communicate about it. Media Orchestration is expected to allow synchronising the media experience for all users, and to give them a spatially consistent experience as it is important for a social VR user to be able to understand when other users are looking at them. MPEG is now working on the reference software and conformance bitstream for MORE which would be available in 2019.

Visit https://mpeg.chiariglione.org

TECHNICAL STANDARDS

HbbTV Spec for Operator Apps

12

THE HBBTV ASSOCIATION HAS FINALISED and published its Operator Applications Specification.

provides a standard foundation that many operators can use, and that can be implemented by many TV manufacturers.

Building on HbbTV 2, the specification allows TV operators, in partnership with TV manufacturers, to provide an operator-branded experience as an application on TVs. This application acts as a 'Virtual Set Top Box', providing effectively all the functionality of a Set Top Box (STB) without the need to install one. An Operator Application (OpApp) can run immediately after the TV is turned on. To the user, the OpApp functions just like any other source on their TV, just like a cable input or an HDMI source. OpApp can be used for any network type supported by a connected TV including Satellite, Cable, Terrestrial and IPTV.

The OpApp specification describes how the HbbTV browser can run both HbbTV broadcaster applications and operator applications at the same time. It specifies how operator applications are discovered, installed and how they can replace the TV’s native UI, including access to the TV’s remote control keys. The OpApp specification assumes that deployment of a certain operator’s application is subject to a bilateral agreement between the operator and the TV manufacturers. Preparations for the OpApp trials are now underway in various countries; the first of these trials are expected to launch early 2018.

Various operators have tried solutions for deploying their user experience straight to connected TVs, but so far, such deployments have been specific to the operator and/or TV manufacturer. The HbbTV OpApp Specification

Visit www.hbbtv.org/resource-library/ specifications/#spec-operator-applications-opapps

TAKING STOCK

Fast. Versatile. Efficient.

Introducing GV STRATUS 6.0 GV STRATUS 6.0 is packed full of rich new features that will take your workflow to the next level including: • Social Media Management. Post, Track, Delete—the first complete, rules-based management tool for all your social media needs.

• GVRE Transcoder. With growing file workflow support, get the video you need to air no matter the format in less than 30 seconds of ingest initiation.

• Virtualization. GV STRATUS 6.0 gives you complete deployment optimization so you can phase in to virtualization based on your timeline.

• Remote Access. With HTML 5 support, you can access GV STRATUS from any where you are via tablet, phone or desktop.

And so much more!

It’s all here and only from Grass Valley. What are you waiting for?

Learn more by visiting grassvalley.com/STRATUS

Belden, Belden Sending All The Right Signals, and the Belden logo are trademarks or registered trademarks of Belden Inc. or its affiliated companies in the United States and other jurisdictions. Grass Valley products listed above are trademarks or registered trademarks of Belden Inc., GVBB Holdings S.A.R.L. or Grass Valley Canada. Belden Inc., GVBB Holdings S.A.R.L., Grass Valley Canada and other parties may also have trademark rights in other terms used herein.

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

TAKING STOCK

Join the conversation

13

2018 PREVIEW Video Streaming Summit to Launch at NAB2018 REFLECTING THE CHANGES in content delivery seen right the industry, the 2018 NAB Show will debut the Streaming Summit, a one-day conference on Wednesday, April 11 at the Westgate Hotel, Las Vegas. The programme, which is co-produced by streaming industry expert Dan Rayburn, will focus on the dynamics of the streaming media business, from advances in technology to monetisation opportunities and content offerings.

The Streaming Summit will also extend to NAB Show New York, October 17-18, 2018 at the Javits Convention Center and will include a Show Floor destination spotlighting the latest in streaming technologies.

The Summit brings together broadcasters, publishers and enterprise organisations to educate and empower those tasked with the creation, monetisation, and delivery of video across all platforms. From OTT to live streaming, the Streaming Summit will address a wide range of topics such as live linear workflows, transcoding, and distribution. Case studies, technical presentations and panel sessions will provide attendees with insight into new business models

Revealing Details at the Global UHD Conference BILLED AS A DEEP DIVE on the latest in the critical, evolving tech sector of UHD (Ultra-High Definition), the Global UHD Conference will take place in the North Hall Meeting Rooms of the LVCC on Saturday, April 7, 2018.

Produced in partnership with ATSC, the Korea Radio Promotion Association (RAPA), the Korean Ministry of Science, ICT and Future Planning and

and technology platforms expected to impact the industry.

“As video streaming services continue to gain immense popularity, media and technology companies must evolve to meet the demand for quality content when and where consumers want it,” said NAB Executive Vice President of Conventions and Business Operations Chris Brown.

“We are pleased to be working with Dan to present the Streaming Summit at NAB Show as a forum for education and industry collaboration around streaming.”

Summit producer Dan Rayburn co-founded one of the first webcasting production companies.

He has served as the global director for a major streaming media corporation, works as an analyst and publishes reports on streaming media technologies.

“The NAB Show has more attendees, vendors, customers and analysts all tied to the video market than any other show in the world,” said Rayburn.

“The Streaming Summit will educate and empower attendees with the information and tools needed to understand and leverage streaming and online video services for the good of their business and the industry as a whole.”

Visit www.nabshow.com

the Korean Telecommunications and Technology Association (TTA), topics covered will include:

• UHD Content and CE Capability Update

• Lessons from World's First ATSC 3.0 Regular Broadcasts in the Republic of Korea

• Guidelines for UHD Production

• UHD Display Progress in the U.S. • Integrating Fixed UHD and Mobile HD Services

• 2018 Winter Olympics Experiences • Challenges from Incremental Release of UHD Elements

• Global UHD Delivery Standards Status

• The Current Stage: Adding HDR/WCG to 4K and 1080p

• U.S. Regulatory Update on UHD Broadcasting

• The Next Step: HFR

• UHD Video Coding Standards Update

• Including NGA in UHD

• UHD Worldwide Service Deployment Update

Visit www.nabshow.com

NAB Show Introduces New Podcasting Conference and Exhibit Area

NAB SHOW 2018 PREVIEW

THE BURGEONING PODCAST MEDIUM will be the focus of a new conference program, show floor pavilion and recording studio at the 2018 NAB Show, April 7-12 at the Las Vegas Convention Center.

14

The new Content Strategies for Podcasting conference, sponsored by The NAB Podcast and held Wednesday, April 11, will include sessions on content creation, distribution tactics, fan engagement and monetisation.

“The Anatomy of a Podcast Hit” session will feature the Tenderfoot TV team behind hit podcasts “Up and Vanished” and “Atlanta Monster.”

Podcast host and co-creator Payne Lindsey, cocreator Donald Albright and producer Meredith Stedman will discuss how they craft each episode

and what challenges must be addressed to develop quality content.

“The Podcasting Boom: Engaging the Mobile Consumer” session, led by Photofocus Director Pamela Berry, will explore what’s driving podcasting’s recent growth and the best strategies for connecting to current and future audiences.

“We have greatly expanded podcasting’s presence at NAB Show to help individuals and businesses understand and implement the latest technologies and content strategies to capitalize on the medium’s growing popularity and potential,” said NAB Executive Vice President of Conventions and Business Operations Chris Brown.

The new Podcasting Pavilion, located in the

South Upper Hall, will feature companies supplying podcasters with the tools necessary to commercialise audio content. Examples of exhibitors include Blubrry, Libsyn, and Voxnest, among others. Also, the pavilion will house an Ask the Expert Area, powered by Podcast Engineering School, where attendees can gain professional insight on audio production, content, marketing, audience growth and monetisation.

New to the lobby of the Central Hall will be the NAB Show Podcast Studio. Attendees will have the opportunity to listen as episodes of well-known podcasts, including 'Vegas Never Sleeps,' are recorded directly from the convention center.

Visit www.nabshow.com

NAB SHOW 2018 PREVIEW

NAB SHOW 2018 PREVIEW

15

NAB SHOW 2018 PREVIEW

Silver Trak Demonstrates Broadcast Firsts at NAB2018 AUSTRALIAN COMPANY Silver Trak Digital will be demonstrating a number of broadcast firsts at NAB 2018 on the Aspera booth #SL5910.

As well as a full demonstration of its Media Room smart asset management solution the company will be showing automated transcodes and frame rate conversions, automated workflows and end-to-end distribution systems.

available. We will demonstrate

Silver Trak COO Christian Christiansen said, “Most Media Room clients will have a uniform mezzanine file format enabling us to prebuild profiles for their main distribution points.

If you have ProRes 422 HQ as your mezzanine file and you want to deliver to a XDCAM HD MXF 50 Mbs to an Australian broadcaster, we can prebuild that transcode and name it as per the destination.

At NAB we will be demonstrating how clients can easily choose the name of the destination they are delivering to and Media Room will do the transcode and deliver the new file there automatically.

Alternatively, users will have the ability to create their own transcodes, including with or without BITC and watermark and save the new output profile. All of this will be on display on our booth.”

file arriving into a Media Room with

examples including where a client receives material from an overseas distributor but prefers a different framerate. A rule is created around

Bluefish444 API for SMPTE 2022 FELLOW AUSTRALIAN DEVELOPER

the attribute of the Video Frame

Bluefish444 will be demonstrating its API

Rate and an output is created to

supporting industry standard 10Gb NICs for

convert the file. The destination is

SMPTE 2022 software de-encapsulation

set to overwrite original file so the client automatically replaces every

of SDI video on stand SL9021 at NAB Show 2018.

a file with the correct framerate. Straightforward,

With the media industry migrating to Video

automated and incredibly efficient.”

Over IP technology, Bluefish444 customers

The 'final first' involves Media Room’s end-to-end

have increasingly asked for additional

distribution system which works in addition to the

access to alternative interfaces from SDI I/O

system’s rule-based automation but where an

provided by Epoch hardware. The IPConnect

output is associated with a distribution list and a person on a distribution list is associated with a preferred delivery method.

Christiansen concluded, “In essence Media Room now with automated and rule-based transcodes and frame rate conversions, workflows and end to

extension for the cross-platform Bluefish444 SDK enables new and existing Bluefish444 customers to access video, audio and ancillary data via the current SMPTE 2022 Video Over IP standard. Access to SMPTE 2022-

end distribution systems is the most unique smart

6 is provided to SDK developers through a

Another first on the Silver Trak Aspera booth will be Media Room’s rule-based automation.

media asset management, delivery and distribution

lightweight, but powerful interface using

Christansen explained, “Media Room clients can set up one or several rules around incoming files which will trigger transcode and framerate conversions.

Several choices for destination of the new file are

solution on the market. NAB visitors can come and

similar architecture to the Bluefish444 SDK

see it working in real time for themselves on Aspera

for Windows, Linux and Mac OS.

booth SL5910.”

Visit https://silvertrak.com.au

Visit https://bluefish444.com

ARRI Launches Large-Format Camera System ARRI HAS UNVEILED A COMPLETE large-format system. Based on a largeformat 4K version of the ALEXA sensor, the system comprises the ALEXA LF camera, ARRI Signature Prime lenses, LPL lens mount, and PL-to-LPL adapter.

It is also compatible with existing lenses, accessories, and workflows.

Featuring a sensor slightly bigger than full frame, ALEXA LF records native 4K with ARRI’s best overall image quality. Filmmakers can explore a large-format aesthetic while retaining the sensor’s natural colourimetry, pleasing skin tones and proven suitability for HDR and WCG workflows. Versatile recording formats, including efficient ProRes and uncompressed, unencrypted ARRIRAW up to 150 fps, provide total flexibility.

NAB SHOW 2018 PREVIEW

“The larger ALEXA LF sensor has the same optimal pixel size as other ALEXAs, resulting in a 4448 x 3096 image,” says Marc Shipman-Mueller, ARRI Product Manager for Camera Systems. “This doesn’t just add definition, it creates a whole new look - one that is truly immersive, with a three-dimensional feel.

The various recording formats and sensor modes make this look available to all productions and satisfy any possible deliverable requirement.”

16

Accompanying the ALEXA LF camera are 16 large-format ARRI Signature Prime lenses, ranging from 12 mm to 280 mm and fitted with the ARRI LPL mount. While the Signature Primes exemplify state-of-the-art optical precision, they render organic, emotionally engaging images, gently softening and texturising the large format. A fast T-stop of T1.8 facilitates shallow depth of field and the smooth focus fall-off gives subjects heightened presence in the frame.

The ARRI Signature Prime lenses are lightweight and robust, due to the magnesium lens barrels, and feature LDS-2, ARRI’s next-generation Lens Data System.

The IP KVM People

Optimised for large-format sensors, the new LPL lens mount has a wider diameter and shorter flange focal depth, allowing the ARRI Signature Primes and all future large-format lenses to be small and lightweight, with a fast T-stop and pleasing bokeh - a combination of features that would not be possible with the PL lens mount. The LPL mount will also be available for other ARRI cameras and is being licensed to third-party lens and camera manufacturers.

Although the camera, lens mount, and lenses are new, full compatibility with existing PL mount lenses and ALEXA accessories is a cornerstone of the system’s design. A PL-to-LPL adapter offers backwards compatibility with all PL mount lenses, whether Super 35 or full frame. The adapter attaches securely to the LPL lens mount without tools, allowing crews to rapidly switch between PL and LPL lenses on set, and offering cinematographers an unlimited lens choice.

Stephan Schenk, Managing Director of ARRI Cine Technik and responsible for the business unit Camera Systems, said, “Providing compatibility with existing lenses, camera accessories, workflows, ARRI Look Files, lens metadata, and software tools makes it easier for crews to work with ALEXA LF on set and for rental houses to incorporate it into their inventories.”

The first ALEXA LF cameras will be shipped at the end of March 2018. The initial set of four Signature Prime lenses (35 mm, 47 mm, 75 mm, and 125 mm) will be shipped in early June 2018. The remaining lenses will be available over the course of the year.

Visit www.arri.com/largeformat

Zero U • Flexible • Scalable

Find out more at www.adder.com

NAB SHOW 2018 PREVIEW

Startups Take on the Challenge of Evolving Media SPROCKIT, the global community that curates, connects and fosters collaboration between market-ready startups and media, entertainment and technology companies, will once again showcase the tech disrupters of tomorrow at the 2018 NAB Show.

The startups will demonstrate their technologies alongside select alumni in the Innovation Pipeline in the North Hall of the Las Vegas Convention Center and will be featured in the new Destination NXT Theater. The companies will also participate in SPROCKIT Sync, a series of private forums throughout the year where industry executives and entrepreneurs meet to collectively discuss new technologies that will advance the industry.

Additionally, the participating startups will have the opportunity to connect with SPROCKIT corporate members, including FOX Networks Group, Google, Hearst Television, Samsung NEXT, TEGNA, Univision and Verizon Digital Media Services.

“SPROCKIT startups continue to distinguish themselves as elite change-makers in media, entertainment and technology,” said SPROCKIT Founder and CEO Harry Glazer. “Our corporate partners understand and appreciate that SPROCKIT startups are highly vetted and market ready with the potential to collaborate immediately to infuse innovation. In fact, many of them are already working with some of the biggest names in the industry.”

The full list of startups will be announced before NAB. The first round of participating startups includes:

• Mobile help brands boost mobile engagement through strategic use of an omni-channel platform. www.starstarmobile.com • AlertMe uses artificial intelligence to drive audience and revenue growth for publications while reducing dependency on Facebook. https://alertme.news • AppTek makes dark data more discoverable, usable and valuable for technology companies. www.apptek.com • Apptimize accelerates data-driven mobile growth through A/B testing and release management. https://apptimize.com • Data+Math is an attribution platform that helps marketers connect business outcomes to advertising impressions. http://dataplusmath.com • Graphika turns network relationships into dynamic maps of social influence, enabling precise targeting and results. www.graphika.com • LiftIgniter is a machine learning interface that helps improve click-through rates, engagement and conversion. /www.liftigniter.com/solutions/lp • Limbik is a data studio that uses predictive analytics to make content recommendations for publishers, brands and agencies. www.limbik.com • Seek is a network that allows a user to discover, share, and experience augmented reality in one social platform. https://seekar.me

• Skreens uses a cloud platform to deliver personalised content and videos to realise new revenue and retention possibilities. www.skreens.com • SocialFlow powers social distribution and revenue solutions for top publishers and media companies. www.socialflow.com • SpherePlay offers a customizable virtual reality media player that is easy to integrate in 8K quality. www.sphereplay.com • SpokenLayer is a leader in voice content on Amazon Alexa, Google Home/Assistant, and soon, Apple’s Siri. www.spokenlayer.com • SureWaves develops media convergence solutions that interweave television, digital displays, mobile and internet platforms. http://surewaves.com • Trint combines a text editor and audio/ video player to quickly generate accurate and searchable transcripts of interviews and speeches. https://trint.com • VideoAmp is an integrated TV operating system for the convergence of the linear TV and digital video advertising ecosystems. www.videoamp.com • Vizbee creates mobile and TV continuity that addresses the distribution, marketing and advertising challenges of over-the-top video. https://vizbee.tv • Wibbitz enables publishers and brands to produce videos for any platform quickly. www.wibbitz.com Visit www.sprockitglory.com

Arista Expands Universal Spine and Leaf Platforms Extended Routing Use Cases Lorem ipsum

3x

Internet Routing Table

AlgoMatch

TM

10x

Access Control Lists

AlgoMatch

TM

100x

High-rate sFlow

NAB SHOW 2018 PREVIEW

FlexRouteTM

17

NAB SHOW 2018 PREVIEW

Users Explore Innovation in Action at Avid Connect 2018

Third Annual #GalsNGear Event NAB SHOW AND WOMEN in Film & Video (WIFV) will co-host the third annual #GalsNGear event at the 2018 NAB Show to enable networking and provide visibility and training for women in technology and content creation. The event will be held in the Central Lobby of the Las Vegas Convention Center on Tuesday, April 10.

Attendees will participate in a networking event starting at 8:30 a.m., followed

AVID, ALONG WITH Avid Customer Association (ACA) leadership, has unveiled the extensive speakers list and full program for the fifth annual Avid Connect conference taking place April 6-8, 2018 in Las Vegas, immediately preceding the 2018 NAB Show.

Now a firm fixture of NABshow week, Avid Connect allows attendees to interact and explore “Innovation in Action” across the global media and entertainment landscape, learning directly from creative, technical and business peers at the forefront of industry innovation and transformation in the digital era.

LIVE,' focusing on innovative trends and tools in media and technology. Influential women from across the spectrum of technical jobs in production and post from Netflix, AR Wall, Sim, Digital Anarchy and other media companies will share

Focused through two learning tracks in answer to the industry’s most pressing needs, Business of Broadcast & Media and Creation of Compelling Content, Avid Connect 2018 ensures valuable exploration and discovery for participants at all levels of the industry – whether they’re a media company executive, part of a production team, or an independent professional or creative artist. Panels and sessions include:

$10,000 in #GNGiveaways, including

their insights on artificial intelligence, unmanned aerial vehicles, virtual reality, post workflows and more. During the broadcast, there will be more than

the latest cameras, lighting, sound design tools, VR viewers and editing software.

“We love the energy at our NAB Show #GalsNGear event. The crowd gets

• The Cloud Revolution: Taking Media Operations to New Heights

an inside look at the latest tools in action, like FoxFury Lighting’s drone-

• Navigate Immersive Viewer Experiences: New Business Prospects, New Potential Content in VR & AR

mount lights, Adobe’s new Sensei technology, and Blackmagic’s URSA Mini Pro 4.6k EF camera,” said #GalsNGear Founder and Co-Host Amy

• Olympic Size Productions – How the Biggest Names in Sports Deliver the Biggest Live Events

DeLouise.

• Creating a Compelling Immersive Audio Mix for VR Content “The Avid Customer Association’s unique mission and proposition to create an inclusive platform for anyone in our industry to collaborate and take action is the key to its record for producing more beneficial gatherings year after year,” said Avid CEO and President Jeff Rosica. “Avid’s proud of what we’ve created in partnership with the ACA leadership and members who are stepping forward to collaboratively address our collective needs. We’re eager for attendees to enjoy the synergy among the gathered thought leaders, business trendsetters, technology innovators and award-winning creative artists from Avid’s preeminent client and user community and beyond.”

Voting Results to be Announced With its broad industry representation, the ACA provides an effective means to keep a finger on the pulse of the future of media and entertainment technology.

Avid Connect will provide the defining moment when the second annual ACA Vote results will be announced. Last year, the ACA Vote prioritised Avid’s year of product releases and innovation and brought to light the membership’s strategic technology priorities spanning IP connectivity, 4K, cloud infrastructure, UHD/4K content creation, and virtual and augmented reality.

Attendees of Avid Connect 2018 will also enjoy ample hands-on opportunity with new technologies from across the vendor community. In the Partner Pavilion spotlight, companies including AMD, Aspera, Dell, Glookast, PACE AntiPiracy, Quantum, and Western Digital will demonstrate their roles in the rich ecosystem made possible by the openness of Avid’s tools and Avid MediaCentral, showcasing their innovative products for users of Avid workflows.

NAB SHOW 2018 PREVIEW

demonstrations broadcast on 'NAB Show

This year’s Avid Connect roster of speakers is larger and more user-focused than ever before, delivering insights and creating an exchange with some of the industry’s most celebrated media companies such as The Discovery Channel, Digital Production Partnership, DigitalFilm Tree, and Sinclair, and technology leaders such as Fortium and Microsoft, as well as industry research and news organisations.

• Master the Workflow: The Clearest Path to Becoming a Feature Film Editor

18

by panel discussions and equipment

“The #GalsNGear event is an excellent opportunity for leading professionals to expand their network, gain valuable skills and increase their visibility”

“The #GalsNGear event is an excellent opportunity for leading professionals to expand their network, gain valuable skills and increase their visibility,” said NAB Executive Vice President of Conventions and Business Operations Chris Brown. “We look forward to providing a platform for WIFV and #GalsNGear to once again empower and educate women in the fields of media, entertainment and technology.”

Last year’s #GalsNGear event at NAB Show drew hundreds of attendees, and the livestream on 'NAB Show LIVE' was seen by thousands.

Additionally, the #GalsNGear hashtag gained nearly two million impressions in just two days.

“WIFV is proud of our commitment to recognising women in all content areas, especially technical expertise, through our #GalsNGear program,” said WIFV President Carletta S. Hurt. “Thanks to NAB for sharing our commitment to gender equity in the media industry and providing a platform for us to showcase such amazing talent.”

WIFV is a non-profit community organisation that supports women in the media industry by promoting equal opportunities, encouraging professional development, serving as an information network and educating the public about women’s creative and technical achievements. #GalsNGear brings professional women in the technical fields of video,

Additionally, Avid will reveal its latest wave of product introductions and enhancements – influenced by the ACA Vote – that empower customers and users to thrive in the digital era. During the Avid Connect general session, Avid’s leadership team will for the first time detail its breakthroughs across post, sports, news, and sound.

film and digital media together with the tools, skills and community to

Industry professionals can register for Avid Connect and immediately start to take full advantage of the Avid Connect App, which enables attendees to connect with other participants in advance to make the most of the three-day event.

• The Science of Sizzle: Social Video, Promos and Demo Reels

Visit www.avidcustomerassociation.com Register for Avid Connect at www.avidconnect2018.com

Visit www.nabshow.com

succeed in their craft.

Other #GalsNGear events include these sessions on the Post|Production Campus:

• Community Mixer: Speed Networking

NAB SHOW 2018 PREVIEW

NAB SHOW 2018 PREVIEW

19

NAB SHOW 2018 PREVIEW

IHSE’s Draco tera UNI Matrix Switch Brings Versatility IHSE (BOOTH SL10216) will be showcasing the Draco tera, a universal matrix switch for making multiple types of format switches in the same frame. The Draco tera compact UNI matrix switch is a hybrid solution that uses modular SFP (small form-factor pluggable) technology. It can support a wide range of pluggable modules to allow any mixture of SDI, HD-SDI, 3G-SDI, USB 3.0, and ultra-high-definition KVM in resolutions up to 4K. Because each port is designed around IHSE’s flex-port technology, users can define any port as an input or output. Available frame sizes include eight, 16, 32, or 48 ports in 1 RU. Each frame includes an internal controller card that can be managed with an array of third-party hardware or software control systems, such as those from DNF, HRS, and Lawo.

The fiber SFP modules come with LC connectors, while the coax SFP modules are available with either transceiver mini BNC or DIN 1.0/2.3 connectors. With the Draco tera compact UNI switch, it’s a breeze to configure individual I/O ports for your specific needs. Similar to the concept of customizing large frames, SFP slots

can be customized so that each port is configured to the desired cabling requirements. It’s possible to share 3G-SDI coax and fiber connections in the same frame simply by adding the appropriate types of SFP modules.

Supporting video sources for ASI, SDI, HD-SDI, and 3G-SDI, the compact hybrid UNI frames allow users to locate broadcast sources alongside KVM sources in the same matrix frame. This capability is especially helpful in workflow-control situations where users must be able to edit and play out video sources in real-time broadcast environments. By using the appropriate coax adapter cable, it’s easy to integrate these frames into an existing copper facility. Users who prefer fiber installations can easily adapt the frame with the 3G-SDI fiber SFP option. Both fiber and coax models comply with SMPTE ST 424, ST 292, and ST 259 standards and with DVB-ASI at 270 Mbps.

The Draco tera compact UNI switch offers instant switching and flex-port technology so that any port can be configured as a CPU (TX) or console (RX) port depending on the connected device.

As its name implies, the compact UNI switch is ideal for the space-constrained work areas found in mobile production, production studios, and command-and-control environments. The switch matrix can be customized to fit an endless combination of DisplayPort, HDMI, DVI, SDI, HDSDI, Dual Link DVI, USB, USB 2.0, USB 3.0, audio and serial interfaces.

The compact UNI switch will also support SuperSpeed USB 3.0 sources with throughput rates of up to 5 Gbps. Using a high-speed fiber SFP module, USB 3.0 can be extended up to 100 meters over OM3 (50/125) multimode fiberoptic cabling via standard duplex LC ports. The UNI-I/O card is a practical solution for switching and extending USB 3.0 in parallel with traditional KVM and SDI signals via the same I/O card. The increased bandwidth makes USB 3.0 ideal for switching postproduction editing software, USB 3.0 cameras, and remote storage devices.

Visit www.ihse.com

EVS Next-Gen XT Server and AI-Driven Solutions BOOTH SL3816 AT THE 2018 NAB Show will see some major additions to EVS’ offering, including the introduction of the next-generation XT live production server and the integration of artificial intelligence (AI) into its video-refereeing system, Xeebra. The developer of live video production technology will also present X-ONE, its award-winning unified production system, and demonstrate its IP flow routing system SCORE MASTER. In addition, the EVS booth will feature dedicated demonstrations for live eSports production and sports venue control rooms.

Next-Generation XT Server

NAB SHOW 2018 PREVIEW

Visitors to the EVS booth during the show will discover the company’s new live production server. The brand new XT series server will come with higher UHD-4K channel density and offer optimised bandwidth (four times more) for any live production workflow – whether in UHD, HD or 1080p. And with its integrated HDR support, the latest XT server is built to meet growing demand from those operating in higher-resolution live production environments.

20

While remaining interoperable with existing EVS workflows, the server will offer SMPTE ST2110 support as well as the opportunity to deploy Super Motion cameras when operating in an IP infrastructure. More importantly, the new XT server will unlock the power of IP deployment by reducing the need for SDI-to-IP gateway devices and enable a seamless transition to the next generation of production infrastructures.

AI-Driven Officiating

IP Routing for Live Production

EVS will also present Xeebra 2.0, the latest version of its multicamera review system, which lets sports officials and on-air analysts review on-field action with speed, accuracy and proven reliability. Users can view up to 16 camera angles that remain entirely in-sync, swiftly select preferred angles on the system’s touchscreen and zoom into the images with a simple touch-and-pinch gesture.

Also, Xeebra’s client/server architecture means that it can be deployed wherever it needs to be, whether on the sidelines, in a venue production control room or further away in a centralised media hub.

EVS will also showcase SCORE MASTER at this year’s NAB show. EVS’ IP flow routing system has been designed for deployment within IP-based live media production workflows and provides central orchestration, flow-based monitoring, bandwidth and latency awareness as well as production control.

At the show, the 2.0 version will feature a new AI integration which automatically calibrates the field of play – time-consuming if done manually.

Unified Production For the first time at NAB, EVS will present its all-in-one live production system X-ONE. The EVS system has been designed for the live coverage of niche sports or events requiring a maximum of six cameras.

With its contextualised user interface, which acts as a built-in production assistant and only shows functionalities that are time relevant, a single operator is able to cut a program with the live camera feeds, control audio, and create replays and graphics that can be easily added to the live program. In the end, content providers are given the opportunity to find the right balance between covering more events and keeping control of production costs.

Dedicated Production Zones The eSports arena will feature solutions tailormade for deployment in one of the fastest growing sectors of live programming. At the show, EVS will present a partnership with one of the world’s largest eSports organisation and detail how EVS technology can be deployed to improve the live storytelling of eSports events to connect to an even wider audience.

At the same time, the in-stadium control room area will demonstrate EVS’ unified stadium alongside key partners in live sports to show how EVS technology can be used to create and distribute the most engaging gameday entertainment. It will feature several partnership demonstrations, including one with ChyronHego for the delivery of in-stadium audio, video, graphics and animations.

A presentation of Trans-Lux’s in-venue LED displays will also be live, showing how EVS’ live production switcher DYVI is used by the New Jersey Devils NHL team to feed live video content to the largest in-arena scoreboard in the world.

Visit https://evs.com

REGISTER AT abeshow.tv

AUGUST 7-9, Darling Island, Pyrmont.

NAB SHOW 2018 PREVIEW

www.lawo.com

NAB SHOW 2018 PREVIEW

NETWORK. AUDIO. VIDEO. CONTROL.

21

NAB SHOW 2018 PREVIEW

Innovative Live Production Solutions from ChyronHego “At the NAB Show, we’re introducing new, innovative solutions for live production running on standardised IT infrastructure – either on-premises or in a remote datacentre – providing all the tools broadcasters need to tell a great story and share it with the widest possible audience, regardless of where and how content is being consumed.”

That’s the word from Marco Lopez, ChyronHego CEO who says, “With an industry in the middle of major transformations, demand for efficient solutions helping our customers to produce more at a lower total cost of ownership is greater than ever before. We’re heading to NAB in Las Vegas with all-software solutions, providing unique flexibility and true scalability in ways that hardwarebased workflows never can provide.”

In today’s highly competitive environment, news and weather producers are not only challenged to deliver breaking news to air first, they’re also under increased pressure to tell stories in new and compelling ways, and to do so as cost-effectively as possible. Powered by ChyronHego’s CAMIO graphic asset management server, the CAMIO Universe is an end-to-end, all-software ecosystem for multiplatform delivery that drives template-based, unified news and weather workflows and places the industry’s most powerful storytelling tools at producers’ fingertips.

At the 2018 NAB Show, ChyronHego will showcase important updates to all existing CAMIO Universe components, as well as all-new solutions, that make producer-driven workflows even more versatile, flexible, and cost-effective.

The centerpiece is CAMIO 4.4, with powerful new features for publishing content straight from the newsroom to Facebook, Twitter, and other social media outlets. And with LUCI5, ChyronHego’s new HTML5-based LUCI plug-in, producers are able to browse, create, and order images and video assets from CAMIO without having to leave the familiar environment of their newsroom computer systems. LUCI5 places powerful content-generation tools at the producer’s fingertips, making creation of reusable graphics, clips, and automated cues fast and easy. While LUCI5 is based on the Media Object Server (MOS) Protocol’s new HTML5 plug-in specification, making it compatible with most current NRCS solutions, the interface also supports some older newsroom computer systems via an ActiveX container.

Also on display will be LyricX 3.2, the next version of ChyronHego’s industryleading graphics creation and playout solution. An all-new, built-in HTML browser within LyricX streamlines integration with ChyronHego’s Live Assist Panels and CAMIO, both of which are HTML-based systems. LyricX 3.2 also includes multiple significant upgrades to the user interface – from performance and usability enhancements to enhanced masking and built-in timer features – making it even easier and more intuitive to use.

ChyronHego will feature PRIME 3.0, the newest version of the company’s 64bit, all-software graphics rendering engine, which includes tighter integration with the CAMIO Universe workflow and the ability to deliver 10-bit hybrid log gamma (HLG) HDR output for productions. Also on display will be the latest version of the Metacast weather graphics system. Visitors will see it in action in a news and weather production workflow driven by the CAMIO Universe.

NAB SHOW 2018 PREVIEW

SOFTWARE-BASED LIVE PRODUCTION

22

For the first time at a major trade show, ChyronHego will present an allsoftware-based live studio show. At the core of the end-to-end production workflow will be the latest version of ChyronHego’s Live Compositor, a scalable, powerful, and intuitive software solution for multicamera production that enables broadcasters to create compelling live video content in an all-software environment. In addition, ChyronHego will incorporate its virtual set and augmented graphics technology into its live presentations for a true end-toend live studio production, all from a unified, scalable, all-software production workflow.

STADIUM AND IN-VENUE PRODUCTION Introduced at last year’s NAB Show, Click Effects PRIME is ChyronHego’s integrated turnkey graphics-authoring solution for live arena- and stadiumbased A/V presentations. Click Effects PRIME unites the advanced authoring, rendering, and data-binding power of ChyronHego’s renowned PRIME graphics ecosystem with industry-leading arena graphics generation and custom digital display controls. At the 2018 NAB Show, ChyronHego will unveil version 3.1 of Click Effects PRIME, with key new features including integrated PRIME

authoring using PRIME Designer, expanded HD-SDI inputs in an HD-SDI workflow, HD-SDI inputs added to the DVI workflow, and HDR output for 4K productions. The capabilities of Click Effects PRIME 3.1 will be demonstrated on an 7.4m² ultra-high-resolution LED wall in the ChyronHego booth.

ChyronHego will also feature NewsTicker 5, a widely used ticker branding solution for creation of ticker displays. NewsTicker is a robust web-based platform for managing all content (automated, manual, and viewer-generated) without the need for scripting. NewsTicker 5 features a modern browser-based interface that supports all browsers and platforms, including mobile devices and tablets. In addition, the solution features tight integration with ChyronHego’s PRIME graphics platform, localised support for multiple languages, and seamless integration with weather alerts and other breaking news data.

For live sports broadcasting, ChyronHego will showcase the latest updates of its solutions for real-time data visualisation. Version 7.4 of Paint, the company’s telestration and analysis solution, now boasts full 4K support including built-in recording in 4K. Also joining Paint’s existing integration with EVS slow-motion replay servers is a new integration with the LiveTouch replay system from Grass Valley. In addition, Paint 7.4 now includes new IP capabilities including support for HTTP H.264 live IP stream recording.

ChyronHego will also highlight improvements to its Virtual Placement product family, including support for 4K, a new auto masking feature, enhanced realtime data integration with the company’s sports tracking solutions, TRACAB and ZXY, as well as integration with third-party, real-time data sources such as NFL NextGen Stats.

Visit www.chyronhego.com

NAB SHOW 2018 PREVIEW

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

4K and HD System Cameras

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

HDC-4800

HSC-300R

HDC-4300

HDC-1700

HXC-FB75

Beyond Definition

NAB SHOW 2018 PREVIEW

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.

23

ACQUISITION www.content-technology.com/acquisition

ACQUISITION

SBS World News Sees Bright Future with ARRI Lighting RECENTLY SBS’ FLAGSHIP World News programme had been scheduled to receive a new set and updated graphics package. As part of the project the opportunity was taken to refresh the look of the studio lighting, clean up the lighting grid and convert the studio to LED fixtures.

For the lighting component of the new studio revamp SBS chose an ARRI fixture package designed and supplied by ARRI’s Australian lighting distributor and systems integrator, Barbizon Australia.

For this unique project Barbizon was tasked with providing a full turnkey solution which included designing, supplying, installing and programming all of the lights.

There were a number of challenges that needed to be overcome before the project and installation could begin with one of the main issues being a requirement to hide or remove clusters of large fluorescent fixtures and tungsten fittings, all of which previously hung in close proximity to the host desk.

As Paul Lewis, Barbizon’s Systems Manager, explained, “The solution naturally lay in the selection of fixtures. We also had to upgrade the existing serial DMX512 control system to an Ethernet based sACN system with DMX distribution throughout the studio. The old lighting system was 36 dimmers with limited LED in the scenery whereas the new total LED fit out by its nature required multiple universes of DMX to be distributed around the studio and the lighting grid to supply data to both the fixture and the extensive LED built into the scenery.”

With Barbizon meeting all of SBS’ technical requirements the broadcaster purchased multiple ARRI SkyPanel lights and fixtures including their S120-C Black Pole Op, S60-C Black Pole Op and S30-C Black Pole Op and multiple L7-C Black Pole Op and L5-C Black Pole Op LED Fresnel lights.

Lewis continued, “SBS also asked us to freshen up and modernise the lighting style so they could utilise the set for multiple programmes and genres. This in turn meant the lighting system had to be particularly flexible in order to adapt as they added workload into the studio.”

He added, “For me as the lighting designer the ARRI SkyPanel and in particular

the S120-C with an intensifier and 30Deg Honeycomb provides a beautiful base source for news desk and panel hosting situations. It is broad and soft with a lovely wrap yet at the same time is defined and easily contained. The light emitted from the SkyPanel with the intensifier also carries further which means I can hang them further out, unlike traditional fluorescent sources which appear to drop off faster and need be placed close in. Using all three models of SkyPanel as my soft sources for base, upstage kicker and fill it was a natural fit to then use the matching ARRI L7-C for key lights and L5-C for backlights.”

Whilst the initial show commissioned was SBS World News, with the studio operating at a consistent 5500K colour temperature to match the monitors and screens built into the set Lewis, the Barbizon team and SBS production are also looking forward to exploring the possibilities of utilising the full colour gamut mixing capabilities of the ARRI L series for future shows.

He explained, “When there is a show that’s booked into the studio where colour in backlights is appropriate this new setup will be ideal. The pole operated option SBS have chosen is also key in this studio given that turnaround times between studio bookings and on-air commitments is very short. The studio also runs as a two-operator automated system so all changes are able to be performed by the technical director without assistance.

“Using the combination of fixtures that we have has allowed the studio to be refurbished leaving a very clean and open lighting grid making it very friendly for wide shots fulfilling one of SBS’ main requirements. LED has also by its very nature increased the reliability of the lighting system and has reduced power consumption by 80 percent.”

Equipment Supplied for the new SBS World News studio included: 2 x ARRI S120-C; 3 x ARRI S60-C; 9 x ARRI S30-C; 7 x ARRI L7-C; and 14 x ARRI L5-C. Visit www.arri.com and www.barbizon.com.au

Firmware Upgrade Superpowers Panasonic EVA1 PANASONIC HAS ANNOUNCED a firmware upgrade to its AU-EVA1 compact cinema camera that, among many improvements, will see the camera capable of recording ALL-I codecs and outputting RAW. The free upgrade, available for download from the end of March 2018, means the super 35mm sensor camera will now support Panasonic ALLIntra codecs, RAW output, time lapse recording as well as a new HD 422 interlaced codec, for TV applications.

Remote operation is now possible using third party wired controllers, allowing focus and iris control for diverse lens options, as well as zoom control for Canon compact cine servo zoom. Additionally, six Sigma ART lenses are also newly supported.

ACQUISITION

LCD signal cloning to HDMI, as well as additional home screen indicators improve monitoring in the camera. To enhance workflow, Panasonic has added the capability to output ancillary data for RAW such as time code, RAC flag and also VANC metadata on SDI.

24

Featuring a native EF and optional third-party PL mount, the EVA1’s small form factor makes it suitable for gimbal and drone applications, while the colour science and dual native ISO adopted from the VariCam makes it a suitable B camera for bigger productions utilising the VariCam.

The updated camera will also see an improved range of codecs, including: • ALL-Intra codecs 422 10bits - 4K/UHD up to 30p @400Mbps; 2K/HD up to 60p @200Mbps; and 2K / HD up to 30p @100Mbps.

• ALL-Intra codecs for High Frame rate - 4K/UHD～30p @400Mbps; and 2K/ HD～120p @400Mbps.

• RAW output on 6G SDI will support the following resolution and frame rates - 5.7K RAW up to 30p; CROP 4K RAW up to 60p; and CROP 2K RAW up to 120p.

• Interlaced Recording Format - FHD (1920×1080) – ALL-Intra 100Mbps 10-bit 422 @59.94i/50i; and FHD (1920×1080) – LongGOP 50Mbps 10bit 422 @59.94i/50i.

Additional Sigma ART Lenses supported include: 12-24 F4 DG HSM; 24-70 F2.8 DG OS HSM; 14mm F1.8 DG HSM; 30mm F1.4 DC HSM; 85mm F1.4 DG HSM; and 135mm F1.8 DG HSM. The firmware will be available for download from the Panasonic Broadcast global support page at https://pro-av.panasonic.net/en Visit www.panasonic.com/au

ACQUISITION

Fujifilm Ultra-Compact Cinema Lenses for X Mount Cameras FUJIFILM HAS ANNOUNCED the launch of FUJINON MKX18-55mm T2.9 and FUJINON MKX50-135mm T2.9 cinema lenses for X Mount, new additions to the X Series line of interchangeable lenses.

Available in June 2018, they cover 18-135mm – the most frequently used focal length in video production – and achieve a constant T2.9 aperture across the entire zoom range, enabling a shallow depth of field and beautiful bokeh effect.

The MKX18-55mm and MKX50-135mm suppress focus shifts while zooming and reduce lens breathing, ensuring continuous sharp output.

The MKX18-55mm and MKX50-135mm are lightweight and compact, achieving advanced optical performance utilising the short flange focal distance of X Mount. Achieving T2.9 aperture, they facilitate the bokeh effect with shallow depth-of-field eliminating the need to readjust lighting. Further adding to its high-quality output, contact with an X Series camera corrects distortion, colour, brightness and achieves Fujifilm’s various Film Simulation modes.

The MKX18-55mm and MKX50-135mm feature three fully manual rings for independent adjustment of focus, zoom and aperture, allowing for intuitive operation. The focus ring offers a rotation of a full 200degrees to facilitate precise focusing even when shooting with a shallow depth-of-field where a high degree of precision is required. Further, all operation rings have a gear pitch of 0.8m, allowing the use of all standard third-party accessories. With an iris that supports seamless adjustment, precise and silent exposure is achieved while preventing camera shake caused by clicking.

The gears for all three rings are positioned in the same place eliminating the need to re-position accessories when switching lenses. Only one matte box with an 85mm front diameter and one filter size with a filter thread of 82mm are needed between the two lenses. They are also equipped with a macro function that allows shooting close-ups.

The MKX18-55mmT2.9 and MKX50-135mmT2.9 lenses are compatible with all FUJIFILM X Series interchangeable system cameras. They each weigh 1080g with external dimensions (maximum diameter x length) of 87mm x 206.6mm.

They both achieve a maximum aperture of F2.8 and minimum aperture of F22 for close-up shots.

The MKX18-55mmT2.9 is comprised of 22 glass elements in 17 groups with six super extra low dispersion lens elements and two extra low dispersion lens elements. It has a focus range of 0.85m/2ft 9-inch with wide macro function and 0.38m/1ft 2.9-inch at wide end and angle of view at 76.5° – 29.0°.

The MKX50-135mmT2.9, meanwhile, is comprised of 22 glass elements in 17 groups with two extra low dispersion lens elements and two super extra low dispersion lens elements. Its focus range is 1.2 m/3 ft. 11-inch with wide macro function and 0.85 m/2 ft. 9” at wide end and angle of view at 31.7° – 12.0°.

Accessories Included with Both Lenses include: Tripod collar foot; Support foot; Zoom lever; Lens cap; Lens rear cap; Lens hood; and Wrapping cloth.

Visit www.fujifilm.com.au

ACQUISITION

The optical and mechanical approach employed in these new MKX lenses allows for elimination of time lag that is usually experienced with electrical control systems. Manufacturing technology developed for conventional FUJINON cinema lenses was applied to control the optical axis shift while zooming. The front inner-focusing system controls lens breathing, allowing for smooth focus over an entire scene. Additionally, when zooming, focus shift is suppressed by independently driving the front focusing group and zooming group of lens elements away from each other.

25

ACQUISITION

Prompt Performance from Autoscript and Autocue AUTOSCRIPT WILL HIGHLIGHT its all-new Intelligent Prompting family featuring the EPIC-IP19XL teleprompter with integrated 24-inch talent monitor and WinPlus-IP prompting software. The IP range is now delivering to broadcasters worldwide and will be extended with new controllers and additional monitors at the 2018 NAB Show.

Intelligent Prompting is a completely IP-enabled teleprompting solution.

Intelligent Prompting reinvents prompting workflows so that devices can be located anywhere, delivering the ease of use and foolproof redundancy that modern broadcast operations need. The inclusion of video outputs/inputs allows users to transition to IP at their own pace, while significant hardware improvements further enhance the solution. Since Intelligent Prompting units require no counterbalance in most situations, they are up to 50% lighter than prompting solutions that do require counterbalance. Combined with increased stability, this weight reduction eases payload issues for camera supports and makes the on-camera teleprompters ideal for robotic installations.

At the 2018 NAB Show, Autocue will showcase its complete range of broadcast teleprompters, ranging from iPad solutions to the company’s Master Series of both 17-inch and 20-inch teleprompters. Autocue will also feature the new QBox v6 intelligent scroll engine. Designed for the company’s QMaster prompting software, QBox v6 offers dual HD-SDI outputs for delivering video to the prompter monitor.

Visit www.autoscript.tv

Core SWX Unveils Battery for Panasonic Cameras CORE SWX, A DEVELOPER of battery and charging solutions, has announced its newest cine battery, the Nano-VBR98, exclusively designed for Panasonic cameras. With a capacity of 98wh and weighing in at 0.4kg, the Nano-VBR98 is a 7.4V battery pack with a 12V power tap (2A max load).

“The on-board 12V power tap is a key element in production, allowing you to power on-camera accessories, such as transmitters and monitors from companies like Teradek, SmallHD and Zacuto,” said David Isaacs, Strategic Channel Sales, Core SWX. The Nano-VBR98 is designed for select Panasonic cameras, such as the Panasonic AU-EVA1. The pack is equipped with a four-stage LED power gauge and a power tap. The Nano-VBR98 has a typical runtime of five hours off of Panasonic EVA1 draw and charges on Panasonic chargers.

“We recognise that a large segment of filmmakers is utilising ‘small form’ cine cameras, yet they’re relying on battery packs that are intended for the consumer market, or being forced to rig their cameras to use V-mount or Gold Mount battery power when powering accessories,” said Ross Kanarek, CEO, Core SWX. “We’re taking our Nano brick battery technology and repurposing it into a smaller form to address that segment of cine cameras. Utilising the premier lithium ion cells in the market from Panasonic, insures this product will withstand the demands of video production.”

ACQUISITION

The Nano-VBR98 is the first battery pack to offer Core’s patent-pending SmartTap protocol. This will allow future integration with devices to utilise the smart battery data in the pack, another feature that until now, was only offered in premium brick battery packs.

26

Additional Nano-M batteries, including the Nano-U98, designed for Sony will be available in late February, and a Canon model will be available in April. The complete line of Nano-M series batteries will premiere at Core SWX’s booth (C5633) at NAB 2018.

Visit www.coreswx.com

CyanView to Showcase Mini-Camera System AT NAB 2018, FIRST TIME EXHIBITOR CyanView (booth C.8530) will be showcasing its Cy-Stem universal mini-camera control system.

Based exclusively on IP technology, the Cy-Stem range comprises an RCP control panel and a series of small hardware modules that address three key areas in broadcast production: control, image quality and content transport of outside/live broadcasting such as sports events, reality TV and game shows.

Live demonstrations at NAB of Cy-Stem’s remote-control capabilities will see the CyanView stand connected via RF with the Silvus Technologies (Booth C.11735). Silvus is a provider of multi-antenna MIMO mesh / MANET technology for wireless communications in harsh conditions.

Also featured will be demonstrations of the most recent drone application.

At the heart of CyanView’s IP-based Cy-Stem product range is the CyRCP, a universal remote-control panel that enables the control of multiple cameras. It is supported by the Cy-CI0 which enables control over IP of most cameras, lenses and other accessories via a range of protocols.

The range also includes the Cy-GWY gateway which features the open Ember+ control protocol, and provides an interface to a VSM (Virtual Studio Manager) and video processors such as the Lawo V__pro8. Its WAN capability enables remote production.

The fourth product in the range and on display at NAB is the Cy-VP4 video processor, which supports four 3G HD (50/60) cameras or a single 4K (25/50/60) camera. The Cy-VP4 provides advanced chroma correction and performs like a powerful CCU by enabling image processing of primary and secondary colours to any mini-camera within the production workflow.

Visit www.cyanview.com

Sachtler and Vinten Go with the Flow AT THE 2018 NAB SHOW, Sachtler and Vinten will showcase the flowtech 75 tripod – based on new camera tripod technology with quick-release brakes and easy-adjust levers that enable camera operators to set up and begin using the tripod in an instant. flowtech’s design offers a set of two-stage carbon-fibre tripod legs with an easy-to-remove midlevel spreader, rubber feet, and a payload capacity of 20 kilograms. Quick-release brakes located at the top of the tripod enable all the legs to be deployed simultaneously and to adjust automatically to the ground’s surface. A unique hinge-lock mechanism allows users to capture extremely low, ground-level shots, removing the need to bring a second set of ‘baby legs’ to each shoot. The exceptional torsional stiffness of flowtech ensures that the tripod will not twist during camera-panning movements, an extremely important consideration in all motion picture productions.

Sachtler and Vinten will feature two optional accessories for flowtech 75: a detachable carry handle and a compact and lightweight dolly. The flowtech 75 dolly features an integral carry handle and foot-operated brakes for smooth and easy operation, while its foldable design allows it to collapse to a compact and easy-to-transport unit. Weighing in at just 4.7 kilograms, the dolly can support a payload of 40 kilograms and a build radius of 53 centimetres.

The new flowtech 75 carry handle allows customers to carry the flowtech system securely in one hand, and it attaches easily to one of the three flowtech accessory docks, making the tripod even more versatile and portable than ever.

Visit www.sachtler.com and www.vinten.com

SPORTSCASTING Sport coverage worldwide

www.content-technology.com/sportscasting

No Business Like Snow Business for PA People at Winter Games THE CRUCIAL ROLE OF PROVIDING venue communications for the recent Winter Olympics held in Korea was undertaken by veteran Australian company The PA People. Despite only being awarded the tender in October of 2017, the company, along with local partner OneUp Solutions, delivered as promised for the Games’ 15 locations with a mixture of technology from Clear-Com. Clear-Com’s Eclipse HX matrix served as a central system, with FOR-22 module cards used for two-way– radio interfacing, an LQ-R4W8 IP interface was used for eight rings of audio interface to HelixNet, HelixNet digital partyline Main Stations, and a FreeSpeak II Base Station or E-QUE card.

“Tthere was basically a three and a half-week period from when the systems arrived to having them deployed and operational for the Games,” says PA People Managing Director Chris Dodds. “The way the Games operated in PyeongChang, is there were two national clusters.

“One constant cluster consisted of four effectively co-located venues in Olympic precincts, and then a fifth venue was within a few kilometres away, which was the second hockey venue. So, the primary cluster, the coastal venues, were hockey, skating, short track skating and curling, so it’s a collection of five out of 14 venues there.

“Then you had what they call ‘The mountain cluster’ which is PyeongChang itself. You had the balance of the nine venues, plus the Medals Plaza and the Main Olympic Plaza, and those venues, the majority of them were quite close to PyeongChang, but not walkable, and then there’s a couple that were further away, but obviously they’re dictated by where the mountains are or where the snow falls. So, the entire nine alpine venues, effectively things like ski jumping, all the different skiers, and the local, and the half pipe, and all of the other snow venues, were all in the mountain cluster. So, there’s a total of 14 sports venues, plus the Medals Ceremonies venue, which was the 15th system.”

Three Clear-Com’s matrix systems were co-located at Phoenix Park and physically interconnected via fibre cards. The Clear-Com matrix systems interfaced with the two-way radios and interfaced to the Korean LTE pushto-talk telephone system.

“It had the capacity to record a number of channels,” says Dodds. “It then had studio technology announcer stations, so four announcer stations per system, for local ground announcements or audience participation announcements. What else was attached to that? So I think pretty much that’s the ISB’s for MCs, so all the analogue stuff’s basically connected to the plain analogue and then there was a partyline system, which consisted of Clear-Com Helixnet, which was configured for eight rings of partyline and that was interfaced back to the matrix via what they call an “LQ box”, which is analogue to IP, which connects back to the matrix as IP. “The third component in every system was a comprehensive FreeSpeak system, so that’s for the full duplex wireless, which was connected via what is called an E-QUE card, also in the matrix frame. So, the matrix is the hub of all the analogue stuff and then you’ve got IP, via an LQ box, to the Helix desk,

and then you’ve got also key stations, IP directly off the matrix frame.”

While snow and cold weather are a given for any Winter Olympics, the conditions in Korea were particularly brutal in the lead up to the Games with even OB truck engines being affected.

“It was certainly very challenging on the bump in,” says The PA People’s Chris Dodds. “For most of the bump-in period temperatures were hovering around minus 20 degrees C, which by anybody’s standards is not an ideal environment when you take your gloves off, and you’re plugging connectors in. By the time you got to the Games it had settled down, around zero, so there were certainly some challenges. And, not by our standards either, the Koreans were telling us how cold it was.”

“For most of the bump-in period temperatures were hovering around minus 20 degrees C, which by anybody’s standards is not an ideal environment when you take your gloves off, and you’re plugging connectors in"

Following the Winter Olympics, The PA People turned its attention to the Winter Paralympics which required some system reconfiguration due to three venues being used with multiple sports in each venue.

According to Dodds, “The sports presentation part doesn’t necessarily change so much - the razzamatazz and the announcers - but with the requirements for every sport you’ve got to recognise that the Olympics is a group of sports federations that each do their own thing in the way.

The way they run the sport is nothing is orchestrated in terms of everybody doingthe same thing. So, every sport has their own requirements and if you’ve got two sports or three sports in the venue, then you need to change the configuration of the system to match the requirements of each of those sports.

“Next in term of international work, we’re off to the Asian Games in Jakarta, which is August and September, so we’ll work on the ceremonies there, but right now we’re in the midst of the F1 Grand Prix in Melbourne, which is not an insignificant project.”

Visit www.papeople.com.au

SPORTSCASTING

In the field, 400 FreeSpeak II wireless intercom beltpacks and headsets (for mobile users) were used, along with 115 FreeSpeak II transceivers and 30 splitters, 180 V-Series Lever keypanels, 440 HelixNet digital beltpacks, 100 CC110 lightweight headsets, 100 CC200 lightweight headsets, 500 CC300 headsets, and 300 CC400 headsets.

27

SPORTSCASTING

The Gold Coast Diaries – Chapter 9

By Jeff Coleman 11.30AM, WEDNESDAY 21 FEBRUARY 2018 – GOLD COAST CONVENTION AND EXHIBITION CENTRE, BROADBEACH, QLD Crossing the exhibition hall that will soon house the 2018 Commonwealth Games International Broadcasting Centre (IBC) and Main Press Centre (MPC), I bump into Broadcast Integration Manager, Mark Ahern, and Commentary Systems Manager, Andrew Angeli. I’ve hardly seen them in the past two days as they’ve been immersed in ensuring that designated work areas and cabling plans will accommodate the needs of international rights holding broadcasters (RHBs) – the first of "There is a huge list whom arrives barely two weeks from of protocols to follow today.

Our Host Broadcast team has only just gained access to the IBC for cabling in the past 48 hours amid a tightly-staged handover of the space – reflecting the fact that the Gold Coast Convention and Exhibition Centre is being ‘lent’ to us for the Games period, and on either side of that is heavily booked for other conferences and events.

in the event of any foreseeable and unforeseeable incident that might disrupt our Host Broadcast services – both during the Games and in the lead up. This includes natural and manmade emergencies, including weather, fire, accidents, equipment failure and – alas terrorism"

Our delivery timeline is down to the hour, with no fat in the schedule whatsoever. We first gained access to the Convention Centre the week before last so we could land the broadcast equipment room (BER), which along with the Broadcast Technical Operation Centre (BTOC) equipment racks had been built and commissioned off-site at NEP’s warehouse in Homebush, Sydney, before being shipped to the Gold Coast. It was an exciting day two weeks ago when containers holding the satellite operators control room and BTOC racks arrived.

Andrew and Mark briefly catch me up on their latest: cabling the RHB section of the IBC begins on Monday (immediately following a two-day window on Saturday and Sunday for GOLDOC Technology) and they are finalising systems integration arrangements for our incoming client broadcasters. We’re allowing five to six days to install some 700 cables – roughly one day per RHB area to start. While RHBs will retain their own third parties for implementation and operation, our team will make sure delivery matches the specification.

While many of the RHBs will have a presence at the venues, our comprehensive coverage arrangements mean there are no RHB satellite studios outside the IBC, and none has felt the need to request unilateral cabled camera bookings from the venues, either.

Not surprisingly, the home broadcaster, Seven Network, will have the largest onthe-ground presence, with news and production teams working in and around the Gold Coast in the weeks leading up to the competition and throughout the Games period. A satellite truck dedicated to Seven will move between the Main Stadium (venue for the Opening and Closing ceremonies, and Athletics) and the Gold Coast Aquatic Centre (swimming and diving), which will give them maximum flexibility to cover the action and provide on-the-moment updates: for example, live crosses to their programming throughout the day.

SPORTSCASTING

Heading out of the IBC main entrance I detour by Café Catalina at the Aquatic Centre to pick up a quick lunch, and then make the short drive back to our increasingly quiet office at Bundall – ‘quiet’ only in the sense that many of our team are at the IBC and venues for much of the day.

28

Come Games time we’ll maintain this space for a handful of staff who have IBC or venue-based work yet need access to the share drive and printer, as well as hot desks for others who need them. There won’t be any PCs or monitors though, so it will look like an empty office with a printer –

basically a ghost office waiting for action!

In the event of an ‘IBC-down’ scenario – something we plan for though certainly don’t expect – Bundall will house departments that have not relocated to the Main Stadium, where we have back-up arrangements in place.

In fact, disaster recovery and an Incident Management Team meeting is what brings me back to the office this afternoon. There is a huge list of protocols to follow in the event of any foreseeable and un-foreseeable incident that might disrupt our Host Broadcast services – both during the Games and in the lead up. This includes natural and man-made emergencies, including weather, fire, accidents, equipment failure and – alas – terrorism.

We’ve devised a comprehensive plan for an IBC-down scenario, and also a venue-related disaster recovery schedule that covers off potential loss of production facilities onsite. The Key Management Team – comprising our Project Director, Caroline Ramsay, and the heads of Broadcast Services (Lindy Dobson); Broadcast Venue Management (Yvonne Briggs); Broadcast Information (Allison Haigh); Engineering and Technical Operations (myself); the IBC (Ben Taylor); Production (Ian Hirst); Support Services (Lisa Fenley); and Ben Steendyk, our Business Manager, has been regularly reviewing these plans, with input from our Executive Director, Andrew Quinn.

To put our plans to the test, earlier this month we spent two days participating in Cross Partner Exercise #2 (or, ‘CPX 2’), which brought together every functional area under GOLDOC’s purview along with the Queensland police and other government agencies, as various scenarios were presented to us to respond to. It was a valuable look at Games time communication protocols across all functional areas, and a hands-on run through on how we would handle a range of potential incidents.

READ THE COMPLETE DIARIES! Read the complete Gold Coast Diaries online by scanning this QR code or visiting www.content-technology.com/sportscasting/?page_id=1431 Continues page 31 >>

SPORTSCASTING Visit us Booth C4337

THIS IS STATE-OF-THE-ART WIRELESS COMMUNICATION

• • • • • • • • • • •

Up to 10 beltpacks per antenna 100 antenna, 100 beltpack system capacity Best-in-class voice clarity “Touch&Go” beltpack registration 6-channel beltpack plus dedicated REPLY button Built-in microphone and speaker for Walkie-Talkie mode Smartphone integration via Bluetooth Ergonomic, robust beltpack design Sunlight-readable display with Gorilla Glass™ Decentralized AES67 IP networked antennas Seamless integration into RIEDEL‘S ARTIST intercom matrix

www.riedel.net

SPORTSCASTING

BOLERO WIRELESS INTERCOM

29

SPORTSCASTING

NEP Taps Caton and Digistor to Connect Venues Over IP AS PART OF PROVIDING IBC and venue facilities for Commonwealth Games 2018 Australian Rights Holder, the Seven Network, NEP turned to local mediatech provider Digistor and Caton, a leading developer of video encoding and Open Internet data transmission technology, for a solution to transport multiple live HD signals over IP connections between various venues and the IBC. As Digistor MD Andrew Mooney explained, “NEP was looking for a technology solution to transmit live camera signals from multiple stadiums and sports fields to the International Broadcast Centre (IBC) for production of the Games’ broadcast. The solution needed to be robust, flexible, quick and easy to install. We presented them with a variety of possible solutions but the Caton option was the clear winner.”

NEP’s requirements were to send 10 HD SDI video along with up to 8 audio channels from multiple remote venues back to the IBC whilst simultaneously sending HD SDI video and audio channels back from the IBC to each of the remote locations.

Caton Vice President, Asia Pacific and Japan Gerald Wong added, “We had a 100Mb connection for each of these bi-directional circuits to work with. The conversion to digital video and transmission of HD high constant bitrate video and audio streams from the sport stadiums and sports fields to the IBC is critical for the production of the Games’ broadcast. The transmission must be in real time without delay and in a video format suitable for fast moving sports action.

We also had the challenge of transmitting over long distances on fibre and Internet networks.”

To meet NEP’s strict requirements Digistor designed an efficient, high performance solution using Caton’s Integrated Video Processor (IVP) which is able to encode and decode high bitrate and high framerate HD streams with very low latency. The Caton Engine powered by R2TP technology also ensured transmission would be successful over any distance and even over challenging networks.

Mooney added, “Caton, from the very first conversation, were extremely enthusiastic about the project and helped us perform a proof of concept (POC) with NEP. The POC was successful and we then worked with Caton on the logistics.”

In total, Digistor will be suppling NEP with 20 Caton IVP-3000 video processors, each one fitted with a 422 H264 encoder and a 422 H264 decoder as well as the required SMIP Caton Engine module.

Wong continued, “This particular solution was chosen by NEP because the high performance Caton Engine ensures the quality and availability of the video stream from the stadiums reaches the IBC in realtime. The excellent monitoring tools employed, willingness of Caton and Digistor to support the project and the

ability to easily scale the solution up for the Games and scale down afterwards as required also played a big part.”

According to Mooney and Wong, it’s not just the technology that’s critical when providing a solution of this complexity, pre-planning and onsite support are also key.

Mooney said, “Our Networking Engineer, Edward Shen, undertook extensive in-house testing of the Caton units to ensure they met NEP’s high standards and requirements. As well as undertaking the POC with NEP both Digistor and Caton will also be sending engineers to the Gold Coast to assist with the installation, setup and configuration of the units and we will also provide support throughout the Games.”

The fact that GC2018 will be one of the biggest sporting events of the year and that all eyes will be on how well the technology performs is a fact not lost on Wong who commented, “What’s interesting is that the IT and broadcast landscapes are ever-converging and we can see that here where the HD signals are being delivered over traditional IP circuits, not broadcast special links such as microwave or dedicated video circuits. Technology requirements are changing and in this instance being met by quick setup times, low bandwidth requirements, HD transmission and proactive monitoring.

“The edge here is that lower cost IP circuits can be used with Caton encoders and decoders to provide very high quality yet cost-effective means of delivering real time HD signals. This provides NEP and GC2018 with a truly high-performance solution for broadcast transmission that is scalable and efficient from any, and to any, location.”

Visit www.catontechnology.com and www.digistor.com.au and www.nepgroup.com.au

GC2018 : the Ultimate Work Experience Gig THE CHALLENGE OF ATTRACTING good people to broadcast technology roles at every level of the industry is well understood. That’s made Gold Coast 2018 a unique, large-scale opportunity for NEP Host Broadcast to get close to Queensland universities and TAFEs through the Host Broadcast Training Program (HBTP). In providing integrated learning opportunities for students and graduates who aspire to television careers, the program creates real-life exposure to a major live broadcasting event.

SPORTSCASTING

Of 240 young people representing 10 tertiary institutions, 220 are working alongside the Host Broadcaster, and a further 20 are in roles with broadcast rights holders (RHBs). For the past 12-18 months trainees (who are roughly 50/50 male/female) have attended master classes presented by NEP staff, learning about the role of the Host Broadcaster and responsibilities of each department: production planning, engineering, broadcast venue management, broadcast services, support services and broadcast information.

30

operations: CCU, camera assist/cable hands, broadcast technical assistants, broadcast information assistants, runners, loggers, camera operators at media conferences and audio technicians.

On average, trainees will work around 100 hours on the events, with training ramping up to ensure participants are Games-ready for the Opening Ceremony.

In addition to workshops and training for specific operations roles, graduates and students also attended NEP outside broadcasts and were given hands-on opportunities to participate under the supervision of NEP and skilled freelance staff on location.

Head of Broadcast Training, Gerry O’Leary says, “We want young people embarking on their careers to know about the interesting and challenging world of live broadcasting, the changes that are occurring, and how their skills as young, enthusiastic adopters of technology will provide the opportunities they seek. In promoting gender equality and enriching the local skills base, the HBTP will leave a lasting legacy from the Games.”

Trainee roles during the Games span the gamut of Host Broadcast

Visit www.nepgroup.com.au

SPORTSCASTING >> from page 28 The goal of course is to maintain uninterrupted Host Broadcast services, safeguard our equipment and property, and most importantly keep people safe while providing clear and timely information to the Organising Committee and RHBs in the event of an incident.

Returning to the IBC, I walk through the Convention Centre main entrance to the sound of laughter and animated conversation of approximately 60 broadcast trainees, who are working with the Host Broadcaster to deliver the Games (see related story, page 30). This is the first time these members of the 240-strong group have toured the IBC and their excitement is palpable. I’ve appreciated the help of two trainees in pre-rigging the Gold Coast Sports and Leisure Centre (venue for badminton, wrestling and weightlifting) and another in the uniform and accreditation centre as a logistics assistant. Head of the Broadcast Training Program, Gerry O’Leary, is introducing the Host Broadcast team, orienting the trainees on the IBC and Main Press Centre layouts and key events between today and go-live. Having met a number of these young people over the past 18 months when I’ve been to their colleges and unis to present, it’s fabulous to be at this stage and particularly rewarding to see the excitement on our up-and-coming colleagues’ faces.

As the trainees head off for a tour of the complex my regular 5.30pm “where are you, dad, are you coming home for a surf?” call lobs in from my son. So it’s out the door for an hour of family time ahead of a catch up back at Bundall with Caroline Ramsay and Ben Taylor on our progress over the past two days and expectations for the next two. Having worked together for so long, the trust level is extraordinary, to the point that Caroline, Ben and I can virtually read one another’s minds. Accordingly, our discussions are usually efficient and I expect to be home for dinner by 8pm.

Just before logging off for the day I have phone call with Andrew Quinn – currently at head office in Sydney – over where we are in the build phase, and whether there is anything in particular he needs to be aware of. I also update him on the latest IMT developments, and a quick rundown on the HBTP trainees’ visit.

HOST BROADCAST BY THE NUMBERS: GOLD COAST 2018 CONTENT • Approximately 1340 hours of live television coverage

• Four beauty cameras located around the Gold Coast

• 1600 hours of video archive material

• 76 EVS replay machines

• 17 venues (Gold Coast, Brisbane, Cairns and Townsville)

• Two helicopters and one light plane

• 18 sports disciplines and a record seven para-sports events

• Two lead vehicle, two boatmounted and five motorbikemounted cameras

• Daily media conference coverage

• More than 140km of cable laid

• Two daily highlights packages and edited previews

• 121-week project schedule (February 2016 - May 2018)

• Commonwealth Games channel

PEOPLE

• Six long-form sport multi-channels TECHNICAL • 28 outside broadcast vehicles and flyaway kits • 325 High Definition cameras • Multiple sport-specific specialty cameras • Two four-point overhead wired camera systems

• 1450 broadcast technical and operational experts • 240 graduate and student trainees from Queensland universities and colleges • 69 commentators and sports experts • 3500 international media

T-minus six weeks to the Opening Ceremony and counting down – quickly!

SPORTSCASTING

Jeff Coleman is Head of Engineering and Technical Operations for NEP Australia, Host Broadcaster of the 2018 Gold Coast Commonwealth Games. This is the ninth 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 from April 4-15, 2018: all up more than 1300 hours of live television.

31

SPORTSCASTING

NBC Avalanche Hits Winter Games to support NBC’s production of the PyeongChang Games. The team included 15 broadcast engineers and technical support staff, plus 17 team members to provide long-term planning, operations management and technical consultation at NBC Olympics’ production facility inside the International Broadcast Center.

For content creation and media management workflows, NBC Olympics selected Avid MediaCentral to accelerate and streamline production for the PyeongChang Games.

“Over the years, MediaCentral has become an integral component to our workflow. MediaCentral allows our team members in multiple locations, across several continents, to collaborate in real time. Having that ability, provides us with the capacity to create high-quality content quickly and efficiently, and ensure we can meet the productions demands of the Winter Olympics,” said Darryl Jefferson, VP of Post Operations and Digital Workflow at NBC Sports and Olympics.

COME SUN, RAIN, HAIL OR SNOW, U.S. broadcaster NBC’s Olympic unit can be relied on to have the largest presence at any Olympic Games, and PyeongChang is no exception.

The 2018 Winter Olympics marks the first time NBC’s primetime show was broadcast live across the U.S. Its coverage included the availability of 4K High Dynamic Range (HDR) content to cable, satellite, telco providers, and other partners.

Some key metrics about NBC Olympics’ coverage of the PyeongChang Winter Games include: • 72,000+ square feet of space inside the NBC Olympics compound at the International Broadcast Center in PyeongChang.

• 2000 employees working in PyeongChang.

• 2400+ hours of coverage from PyeongChang, most ever for a Winter Olympics.

• 2200 Terabytes of video disk storage (8.5 years’ worth of time) in PyeongChang.

• 1800+ hours of live streaming coverage, most-ever for a Winter Olympics.

• 1600 colour broadcast monitors in NBC Olympics’ facilities in PyeongChang.

• 750 employees working in NBC Sports Group’s International Broadcast Center in Stamford, Conn.

• 550 total cameras used for the OBS host feed.

• 156 additional cameras used by NBC Olympics.

• 204km of cable to be used by NBC Olympics in PyeongChang.

• 126+ NBCUniversal’s coverage hours per day.

• 108 HD feeds going from PyeongChang to the United States.

• 99 sea containers shipped to PyeongChang by NBC Olympics.

• 89 NBC Olympics commentators.

• 29 edit suites located in the NBC Olympics compound in the International Broadcast Center and venues in PyeongChang.

• 17 studios and control rooms used for NBC Olympics coverage (three studios and two control rooms in PyeongChang; five studios and seven control rooms in Stamford).

• 10 days of 24-hour Olympic event programming.

• 2 helicopters providing aerial footage.

• 900+ Million Dollars generated in national ad sales for PyeongChang 2018, a Winter Games record.

SPORTSCASTING

Continuing a 30-year relationship, NBC Olympics selected NEP Group to provide mobile broadcasting, engineering consultation and technical support for its production of the XXIII Olympic Winter Games

32

NEP provided outside broadcast units NCP8 A and B, Iridium, and Zinc, as well as associated gear and technical support, for live coverage of the Opening ceremony at PyeongChang Olympic Stadium, figure skating and short track speed skating events at Gangneung Ice Arena, and Ice Hockey games at Gangneung Hockey Centre.

NEP and its Bexel division provided a combined team of more than 30 specialists

NBC Olympics relied on Avid’s comprehensive tools and workflow solutions throughout all PyeongChang Games venues, including alpine, figure skating, and speed skating. MediaCentral | Production Management allowed NBC Olympics to manage content creation, automate workflows, and facilitate collaboration between the venues and the IBC, while MediaCentral | Asset Management enabled teams to quickly and easily locate media assets, streamline production operations, and maximise content creation capabilities.

NBC Olympics also deployed Avid NEXIS software-defined storage platform as the linchpin of its production pipeline, connected to dozens of editing suites with Media Composer non-linear video editing systems.

Harmonic’s MediaGrid shared storage systems and Spectrum MediaDeck integrated media servers were used by NBC Olympics for production applications, including broadcast, on-demand, digital, news operations and longterm archive. Harmonic Spectrum MediaDeck media servers enabled on-the-fly capture and proxy generation for all incoming materials. Harmonic MediaGrid shared storage systems located inside NBC’s studios at the International Broadcast Center in PyeongChang, as well as at NBC Olympics’ headquarters in Stamford, Connecticut, provided centralised shared storage.

For production workflow at NBC Olympics, Harmonic MediaDeck media servers simultaneously recorded as many as 60 incoming venue feeds, giving NBC personnel at the Stamford facility independent control over 60 additional channels of ingest for locally produced Olympic content. Each recording’s proxy was replicated in real time on a Harmonic MediaGrid storage system connected via two 10Gigabit circuits to a second MediaGrid installed at the Stamford facility.

In less than a minute, high-res content created on the PyeongChang MediaGrid system could be replicated on the Stamford MediaGrid system for immediate use in streaming, VOD and traditional broadcast editing.

NBC Olympics chose FileCatalyst to transfer event footage as well as facilitate remote production workflows for its production of the XXIII Olympic Winter Games.

FileCatalyst Central is a web-based monitoring and administration tool that allows complete control over a global FileCatalyst deployment, including all FileCatalyst Direct server and client applications, will also be leveraged.

FileCatalyst Direct allows operators to edit transfers that are ongoing, even if there are hundreds of concurrent transfers taking place. Users have the ability to select files that are queued, and prioritise their position in the transfer queue without interrupting other mission critical transfers.

NBC Olympics used FileCatalyst technology to move data over a 5Gbps link between NBC Olympics’ headquarters in Stamford, Connecticut, and the NBC Olympics compound at the International Broadcast Center in PyeongChang.

FileCatalyst also helped accelerate transfers between a number of interconnected Winter Games sites and event venues.

The number of concurrent file transfers was in the hundreds during peak periods, amounting a total data volume of approximately 10TB per day. The files consisted of both high- and low-resolution videos, many of which were transferred while the events are still in progress and the videos still being encoded. The ability to handle the dynamic nature of these files and the massive levels of concurrency was a key factor in selecting FileCatalyst. Timely delivery of the content was critical to the production workflow, as it enabled remote logging and editing in near real time. Archived footage was also moved from Stamford to Pyeongchang, as required for editorial purposes.

Grass Valley supplied NBC Olympics with its SME-1901 Streaming Encoder which provided multiformat video/audio over IP using 3G/HD/SD SDI inputs. This enabled the NBC Olympics production team to view video feeds from any camera directly, as well as edit low- and high-resolution content from their desktop or laptop computers.

SPORTSCASTING

Visualisation of NBC Olympics’ PyeongChang Games IBC Rooftop Winter Lodge Set. Credit: NBC Sports Group.

NBC Olympics also used Grass Valley’s iControl customised facility monitoring and control system which enabled the team to build an integrated monitoring and control surface for QC operators, consolidating multiple key functions into a single interface, such as control of XVP-3901, monitoring of WFM feed and control of the QC router. iControl also improved the flow by allowing operators to select feeds that they wish to pay more attention to.

Other solutions provided Grass Valley to NBC Olympics included: • Densité Remote Control Panel for Densité cards.

• Three NVISION 8500 HYBRID routers.

• NVISION Compact CQX router providing clean and quiet outputs for 3G/HD/SD signals and six auxiliary outputs for preview or monitoring.

• LUMO Series High Density Fiber Converter to streamline cabling for the production with a 1RU frame and 36 SFP-based fibre converters.

• 34 Kaleido-IP Multiviewers for monitoring both IP and SDI sources on one monitor.

• Three NVISION 8500 HYBRID routers and Kaleido multiviewers, solutions for deployment with flypacks.

Calrec Audio supplied a Summa console for the prime-time audio control room in NBC’s production compound at the International Broadcast Centre in PyeongChang. NBC used the 56-fader Artemis Ray as its primary console at the sliding venues in the mountain resort of Alpensia for coverage of bobsled and luge events. A 72-fader Artemis Ray, meanwhile, served as the primary console at the speed-skating venue and indoor venues at the coastal city of Gangneung.

In addition, a Calrec RP1 remote production system and a compact Brio console supported operations at the coastal studio, giving NBC Olympics the ability to control the production remotely from multiple control rooms in its headquarters in Stamford, Connecticut.

According to Karl Malone, Director, Sound Design, NBC Olympics. “We continue to take full advantage of the new Calrec technologies, having used Calrec AoIP modular cards in Brazil, and now Calrec ‘Waves’ modular cards in South Korea.

We are very fortunate to also have Calrec’s latest Brio and RP1 systems to facilitate NBC’s production.”

In the area of graphics, NBC Olympics selected ChyronHego’s Lyric graphics creation and playout solution, Live Compositor, and PRIME Clips.

NBC Olympics used 30 Lyric systems to cover the Winter Games, with about half deployed at its headquarters in Stamford, Connecticut, and the remaining used at NBC Olympics’ production facility at the International Broadcast Center in PyeongChang. In addition, multiple ChyronHego Live Compositor systems were used for producing additional programming and digital content.

NBC Olympics selected Lawo to provide VSM (Virtual Studio Manager) broadcast control and monitoring solutions, as well as IP commentary systems, for its production of the XXIII Olympic Winter Games, which take place in PyeongChang.

The announcement was made by Timothy Canary, Vice President of Engineering, NBC Sports Group, and Jeffrey Stroessner, Head of Sales, Lawo.

The VSM system used at NBC Olympics’ production facility at the International Broadcast Center provided the overall control system for NBC Olympics’ core routing and tally management, connecting to multiple third-party devices on an IP backbone. NBC significantly increased the number of GUI-based VSM Panels which are accessed from various monitors and tablets provided throughout NBC Olympics’ various production facilities. VSM also provided remote Tally information between the IBC in South Korea and NBC Sports Group’s headquarters in Stamford, CT. NBC Olympics also deployed an enhanced Lawo audio-over-IP Commentary System along with several Lawo V__pro8 video processors to manage their coverage from Stamford. Lawo worked with NBC to develop an enhanced version of the LCU (Lawo Commentary Unit) to meet NBC’s production goals. The V__ pro8s received video feeds from South Korea, de-embedded the audio and then inserted into RAVENNA and MADI Streams that fed the Lawo LCU commentary system.

New for this year’s production, NBC used the Commentary System at the IBC and remotely at the Ski Jump and Curling venues, forming a fully cohesive commentary workflow. Additionally, several Games venues in South Korea were connected to the NBC Olympics compound within the International Broadcast Center, through Lawo’s V__remote4 units, which provided connectivity and processing for network audio and video signals delivered via IP-connections from the remote sites.

NBC Olympics selected Ericsson to provide video contribution solutions for its production of the XXIII Olympic Winter Games. Ericsson provided a range of encoding and satellite receiver technologies to support NBC Olympics video distribution to millions of viewers. Ericsson’s specialist engineers assisted with the equipment and system set up, and multi-site support throughout the event.

The Ericsson media processing platform delivered HD content over a combination of both fibre and satellite. The Ericsson solution included its AVP 2000 contribution encoders and its RX8200 Advanced Modular Receivers.

SPORTSCASTING

The SME-1901 accepts any video format and provides two H.264 streams, one high resolution and one low resolution, and is housed in the Densité 3+ FR4 frame alongside the XVP-3901, which handles all essential video, audio and metadata signal processing functions on a single module. The XVP-3901 offers up/down/cross conversion, colour space conversion, frame synchronisation, audio embedding and de-embedding and supports fibre optical I/O.

33

SPORTSCASTING

LiveU Provides 4K HEVC Live Coverage for Winter Games LIVEU PROVIDED 4K HEVC live video coverage for the first time at a major event at the Winter Games in PyeongChang, South Korea. LiveU supported global broadcasters from over 40 countries with a record number of bonded cellular units and a dedicated team on the ground throughout the duration of the games.

We’ll be ensuring the best possible TV and online coverage for viewers worldwide.”

LiveU’s LU600 portable transmission solution with the 4K HEVC Pro card offers high video performance in live streaming for global news and sports coverage. The solution allows professional broadcasters and content creators to benefit from high video performance with extreme bandwidth efficiency – using one of the smallest portable cellular bonding units.

Ronen Artman, LiveU’s VP Marketing, said, “Over the last 10 years LiveU has supported broadcasters at every Winter and Summer Games, and this time is no exception. Demand for units has been higher than expected with bookings from broadcasters across five continents. We’re thrilled that we can offer our customers the latest 4K HEVC transmission technology so they can follow the athletes’ progress and offer behind-the-scenes coverage around the stadiums, arenas and slopes with unmatched quality and reliability.

LiveU first covered the Summer Games in Beijing in 2008 and has been providing live video coverage at every major international sports event since. This summer, LiveU will also be supporting the 2018 FIFA World Cup Russia, forecast to be the largest live event ever covered in 4K. Visit www.liveu.tv

Panasonic Showcases Sports Spectator Solution for the Disabled THE PANASONIC GROUP RECENTLY conducted a demonstration experiment of its sports spectator solutions at 'BEYOND STADIUM', organised on January 28, 2018, by the Tokyo Metropolitan Government at the Aoyama Gakuin University Memorial Hall. The solutions feature a "multi-video streaming system" that combines audio and video streaming to enhance and enliven spectator experience for people with disabilities.

The Tokyo Metropolitan Government has launched an initiative that supports para sports, 'TEAM BEYOND,' and on the day of this event, announced more than 1 million registered project members. 'BEYOND STADIUM' was an event organised as part of the 'TEAM BEYOND' initiative that offered people an opportunity to watch two para sports, Boccia and five-a-side football (blind football).

At the event venue, Panasonic provided its ‘multi-video streaming system’, which enabled spectators to enjoy the game while listening to the audio and/or watching the video on their smartphones and tablets. Three channels – video + audio, audio only, and video only – were available, and on the audio only channel, Panasonic offered more detailed commentary, providing a service for visually impaired spectators.

Of the around 700 spectators at the event, approximately 200 used the service. In addition to video streaming, with 'Boccia', the system offered audio commentary with more detailed information than stadium announcements.

For blind football, two types of commentary were provided, one was by a guest sports journalist, Tetsuo Nakanishi, and the other that described what was happening on the pitch in great detail for visually impaired spectators to enhance their spectator experience.

Based on the data gathered through this demonstration experiment, Panasonic will make further improvements in preparation for the 2020 Tokyo Olympics.

Olympic Test for Leader 4K HDR Instruments LEADER ELECTRONICS CORPORATION announced that 70 of its test instruments were chosen to perform signal monitoring at the 2018 Winter Olympics via Leader’s UK-based rental channel partner Presteigne Broadcast Hire.

The instruments chosen comprised 32 LV5490 waveform monitors and 38 LV5770A 3G/HD/SD multi-monitors.

Leader’s LV5490 offers 4K, UHD, 3G, HD and SD test and measurement features in a half-rack-width by 4U portable unit with a full high-definition 9-inch front-panel monitor. It provides all the capabilities needed to implement the full potential of high-dynamic-range in both HD and UHD.

SPORTSCASTING

Signal displays such as video waveform, chroma levels, colour vectors, bargraphs, noise, video patterns, quad-3G phase, data tables, camera picture output, colour chart, multichannel audio levels and surround-sound vectors can be freely integrated into a combined display. If a specific element requires detailed attention, this can be selected quickly for viewing at higher resolution or full-screen.

34

The Leader CINELITE HDR toolset also comes as a standard feature of the LV5490, allowing easy assessment of relative exposure and overall luminance during production. A focus-assist option allows highly accurate on-set adjustment of camera focus to match the ability of 4K and UHD formats to handle very precise image detail.

Supplementing its front-panel display, the LV5490 provides 1920 x 1080 HD DVI and HD-SDI feeds for connection to external monitors. Simultaneous viewing of up to four 3 gigabit/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. Operators can select the size and position of the measuring area as well as the Y/G/B/R component channel. An alarm can be set to alert operators if the noise level exceeds a predefined threshold. An integral low-pass filter allows elements of the high frequency band to be removed at the time of noise measurement.

Leader’s LV5770A multi-SDI monitor, meanwhile, can monitor two 3G/HD/ SD-SDI sources simultaneously and display picture, waveform, vector, 5-bar, CINELITE II, and status individually or in two or four split screen displays.

Eye pattern and jitter measurement capabilities (option SER09A) are available for evaluating the condition of SDI feeds. Optional digital and analog audio I/O provide for built-in de-embedding and digital-to-analogue audio conversion.

Audio facilities such as dual channel loudness logging, true-peak metering, lip-sync timing measurement and surround monitoring are also included. An integral USB port allows the use of a flash drive for storing captured screens, presets and software/firmware updates.

Visit www.leader.co.jp

NEWS OPERATIONS www.content-technology.com/newsoperations

TVK Cambodia Selects LiveU to Enhance Daily News TVK, THE NATIONAL TELEVISION OF KAMPUCHEA in Cambodia, has selected LiveU for its daily newsgathering after using the company’s LU600 HEVC solution to cover last month’s threeday Water Festival (Bon Om Touk). The deal is being managed by LiveU’s Thai partner DSC which provided on-site support at the event.

Using LiveU units, TVK’s camera crew creatively captured the carnival atmosphere of the festival, one of the biggest events in Cambodia which attracts millions of people every year. Firework displays were held at the river and more than 400 boats took part in the annual boat race.

“We were really impressed by the LU600 HEVC’s video performance as well as the bandwidth efficiency. We were getting bandwidth at around 10Mbps, and even when we capped the bandwidth at 5Mbps, the video quality stayed the same” said Mr Khim Vuthy, Director General of National Television of Cambodia (TVK). “At previous water festivals, we used satellite

TVK Cambodia using LiveU's LU600 HEVC solution to cover the annual Water Festival.

OB vans which restricted our mobility. With LiveU’s cellular bonding technology, we had no such limitations and were free to go live wherever we wanted, including on boats to cover the races and from the top of a building when the King arrived.

We’re now planning to use multiple LiveU units for our daily newsgathering and event coverage.”

Mr Yaal Eshel, VP Sales at LiveU, said, “We were excited to support TVK’s coverage of the water festival which provided an excellent use case for our HEVC solution. The new LU600 H.265 has been proven by our customers to enable live video transmission in extreme conditions from ultra HD quality to very low bandwidth.”

Visit www.liveu.tv and www.tvk.gov.kh

Brainstorm Releases InfinitySet 3 and Aston 3 BRAINSTORM HAS ANNOUNCED the release of the production version of InfinitySet 3 and Aston 3, along with eStudio 15, the company’s core render engine and basis for the whole product range. This release represents a major update of the company’s best-selling products, headed by eStudio which now provides even more advanced features which assures its position as the benchmark render engine for realtime 3D broadcast graphics and virtual studios.

With Version 3, InfinitySet and Aston gain a number of major features which greatly improve the products’ capabilities to easily create high-quality content, no matter if it is for real-time graphics, virtual sets or augmented reality for broadcast and beyond, preparing the ground for the upcoming 4K and even 8K broadcast worlds.

InfinitySet has always featured a virtual set toolkit, including industry-first technologies such as 3D Presenter, TeleTransporter, HandsTracking and FreeWalking, all of them taking advantage of Brainstorm’s TrackFree technology.

InfinitySet 3 now benefits from a number of new features that improve the product’s Augmented Reality features, such as VideoGate and VideoCAVE. The VideoGate feature allows for the seamless integration of the presenter not only in the virtual set but also inside additional content within it, so the talent in the

virtual world can be tele-transported to any video with full broadcast continuity.

Another optional feature for InfinitySet is the Combined Render Engine which, as the name suggests, combines the Brainstorm eStudio render engine with the Unreal Engine from Epic Games.

This allows InfinitySet 3 to control Unreal Engine’s parameters in real time to include excellently rendered and realistic background scenes. And as it is integrated with eStudio, it also allows for the inclusion of realtime graphics elements such as 3D motion graphics, stats, pie charts, etc., allowing for the creation of amazing, hyper-realistic Augmented Reality content.

Version 3 also provides enhanced integration between InfinitySet and Aston which allows InfinitySet 3 to take full advantage of the Aston graphics creation and editing toolset, so it can manage and create 2D/3D Aston motion graphics when required and all within the same application, improving the speed, accuracy and realism of the result. Therefore, the creation, management and use of Aston graphics content is greatly enhanced which in turn improves workflow and throughput. Furthermore, a single control system can simultaneously playout the graphics from Aston and InfinitySet alike.

Visit www.brainstorm3d.com

IBM Introduces Watson Captioning

Watson Captioning provides a seamless user experience with tools like Machine Generated Captions, Embedded Smart Layout, Watson Caption Editor, and Live Captioning. The product is customisable, giving each company the option to input a unique glossary of words and phrases for proper context and accuracy. Looking ahead, Watson-generated captions will deliver sound/ audio descriptions that can be edited and formatted in real-time. From there, adapting captions to meet compliance standards is far easier. Live Captioning provides broadcasters with the ability to cover content ranging from nightly news, to live sporting events – bringing reliable captioning to viewers in near real-time.

With a host of user-friendly features, Watson Captioning gives companies

the ability to customise and control all aspects of the captioning process.

A custom glossary enables companies to create a glossary of words or proprietary terminology, specific to their offerings or industry, increasing recognition and accuracy rates and reducing the need for manual intervention.

With the Caption Editor tool, users can edit captions in real-time within the interface, and thanks to embedded Smart Layout, lines within captions are automatically separated based on natural pauses in speech or by punctuation.

Watson-generated captions are backed by AI and machine learning, and increase in accuracy and efficiency over time.

The regulatory environment surrounding compliant video content is often variable, with the rules differing based on industry, geographic location, and delivery medium. With Watson Captioning, companies can take automaticallygenerated captions and easily alter them to their specific compliance needs.

This solution not only addresses regulations surrounding captioning, but can aid in compliance for video content at large. By adding a layer of searchable, textual data to video libraries, flagging content that includes profanity, violence, or flagged content is made simpler.

Visit www.ibm.com/watson

NEWS OPERATIONS

IBM HAS INTRODUCED Watson Captioning which leverages AI to automate the captioning process, while ensuring increased accuracy over time through its machine learning capabilities. In turn, this saves businesses both time and money, and delivers a scalable solution. Watson Captioning is a customisable offering that provides flexibility and productivity, can be easily managed across compliance standards, and has the potential to transform industries beyond media and entertainment.

35

NEWS OPERATIONS

AVIWEST Empowering Mobile Journalism AT THE 2018 NAB SHOW, AVIWEST will demonstrate the latest enhancements to its live video contribution and distribution systems.

AVIWEST’s video contribution platform enables broadcasters to capture and deliver live 4K, HD, or SD video over multiple unmanaged IP networks, including bonded 4G/3G cellular, Wi-Fi, ethernet, and satellite links.

StreamHub Transceiver Platform Provides Broadcasters With Versatility AVIWEST will demonstrate an enhanced version of its StreamHub receiver, decoder, and distribution platform. Now HEVC-compliant, StreamHub can be deployed on-premises or operated as a cloud-based solution implementing an IP bonding stack known as SafeStreams v3, which ensures latency (down to 300ms).

Vizrt Tells the Story at NAB AT NAB VIZRT WILL BE EXHIBITING its visual storytelling tools and how media companies share their stories on-air, online, and to OTT platforms with efficient workflows. Vizrt’s visual storytelling tools present a way to create live productions for any platform. See Vizrt at NAB 2018 on stand SL2416.

On-Air, Online, OTT, and Cloud Vizrt’s story creation, media asset management and live production tools allow you to share your content everywhere, reaching any audience. Vizrt’s live production system is easy to use and requires a single operator to drive a live production that can be streamed on-air, online, and to OTT platforms. Vizrt will also demonstrate the latest version of Viz Story with a cloud-based workflow for journalists to search, edit, and publish media anywhere.

Uplink System Benchmarks for Live Video Production AVIWEST’s new AIR Series will be a highlight at NAB. Featuring an ultralightweight design, the video uplink systems are suited to on-the-go video professionals, providing portable, versatile, and affordable solutions.

Integrated hardware encoders include HD and SD encoding. Featuring up to six network links (four cellular modems, one internal Wi-Fi, and one ethernet), a three-hour internal battery, and AVIWEST’s SafeStreams technology, the AIR series allows broadcasters to stream live videos, store, and forward recorded content, even during unpredictable and unmanaged network conditions.

4K and Multi-HD Video Encoding and Distribution AVIWEST’s HE4000 4K Ultra HD (UHD) HEVC live encoder is aimed toward real-time delivery of UHD and HD content over unmanaged IP networks.

The compact, half 1RU encoder combines 10-bit and 4:2:2 HEVC encoding with the latest generation of SafeStreams technology for delivery of live video content over IP at low latencies and bit-rates.

The HE4000 will be demonstrated with the latest version of the StreamHub transceiver and decoder platform, offering integrated 4K UHD HEVC recording and decoding functions.

Empowering Mobile Journalist Creativity with MOJOPRO Series AVIWEST has enhanced its MOJOPRO Series, the mobile journalism solution, which is available on mobile devices (iOS and Android) and MacBook Pro. It allows video professionals to stream live videos, edit video files, and forward content from any location over bonded 3G/4G and Wi-Fi connections in seconds.

The MOJOPRO app for iOS gives broadcasters an edge by enabling them to stream video content in seconds. The smartphone app features an optimised interface, advanced camera settings, dynamic resolution, and video-quality improvements.

Visit www.aviwest.com

Telling Stories with Video Walls and AR Graphics Tell complex stories clearly using video walls and augmented reality graphics.

Vizrt’s live production tools make it easy to control all screens in the studio and drive AR graphics that engage audiences.

The Big AR Show is back with a new 2018 edition. The not-to-miss show of NAB 2018, takes live studio production a leap forward with next-generation AR storytelling.

Engaging Sports Fans and Monetising Content Captivate sports fans with high-quality analysis that allows creation of more content with your sports rights. Vizrt will also demonstrate a sports analysis system integrated with Viz Libero AR in the studio, giving presenters a new way to report the action. Vizrt’s sports production tools also provide new revenue streams by creating regionalised and targeted ads on the field with AR graphics, and with virtual field-side advertising replacements.

Visit www.vizrt.com

Octopus 8.1 Newsroom System OCTOPUS NEWSROOM WILL DEBUT version 8.1 of its newsroom computer system to the American broadcast market at the NAB Show. Exhibiting on booth SL7627, the company will be represented

by Gene Sudduth (National Sales Director for North America), Gianluca Bertuzzi (Sales Manager for Latin America) and management teams from Europe and Asia.

NEWS OPERATIONS

Announced at IBC in September, the Octopus version 8.1 release adds a number of new features and improvements. Version 8.1 is now available to all new customers and as a free upgrade for existing customers with an active support contract.

36

Features designed to increase newsroom efficiency include: • Enhanced assignment sorting and grouping.

• Advanced clip and rundown management.

• Rules-based archiving of social media content.

• Live on-air insertion of social media posts.

• Fast conform of rundown timing after a rehearsal.

The Journalist app can now record audio clips for attachment to stories.

Social media integration is enhanced with the ability to handle Facebook comments. Twitter posting now allows 280 characters, and video can be posted directly from Octopus to Twitter.

Other new features include detachable notification widgets, the ability to display all named rundowns in the main menu, a default custom print form per menu item, and the addition of user rights for MOS devices.

• Fast story editing.

• Fast clip insertion/replacement.

• Custom shortcuts allowing new slugs in a rundown to be created faster.

Version 8.1 also introduces drag-and-drop of emails to Topic from desktop email clients. Main menu items can be colour-coded on a customisable basis and repeatable assignments are now supported.

Compatible with Octopus 8.1, Octopus 8 and recent versions of Octopus 7, the Octopus Mobile app offers journalists full news production capabilities on tablets and phones running iOS or Android.

Reporters and editors working remotely gain instant access to all wires, rundowns and assignments.

They can also edit stories within a rundown, preview prompter text, and create wires and reports in the field.

Visit www.octopus-news.com

NEWS OPERATIONS

TVU Networks to Showcase HEVC Advancements

“At this year’s NAB Show, we’ll introduce new solutions and product updates that have been developed after working closely with our customers and identifying how we can further simplify and improve their production workflows,” said Paul Shen, CEO, TVU Networks.

“With the transition from digital to IP firmly underway with broadcasters, we continue to round out our IP offerings even as we look to the next workflow disruptive technology. We look forward to demonstrating our complete line of efficient and cost-effective live video products in the Central Hall at NAB Show.”

TVU Networks is expanding its remote production offerings with TVU Timelock, which enables entire remote events to be produced from a control room in a separate location. With the solution, multiple TVU Transmitters can synchronise together at a set latency, allowing mobile and wireless At-home/REMI productions without being tethered. TVU Timelock enables broadcasters to do more live video production at a fraction of the cost of traditional on-location multi-camera production, which typically requires far more equipment and personnel. Joining TVU RPS in the company’s remote

production offerings, the TVU Timelock was first introduced at the 2017 NAB Show in New York, and will now make its Las Vegas NAB Show debut.

Another solution set to make its NAB debut is TVU Transcriber – an AI-based audio-to-text transcribing service that uses voice recognition technology. TVU Transcriber provides the option to output text to a file format from an audio input source for auditing purposes, or to embed text into a video stream for closed or open captioning.

The new service can be purchased standalone or added as an option to existing TVU Transceivers.

TVU Networks will also introduce improvements to its current line of IP video workflow solutions, with enhancements for its video acquisition, transmission, production, distribution, and management technologies. New feature and function updates for the company’s TVU One mobile IP newsgathering transmitter, TVU Anywhere app, TVU Router virtual internet cable, TVU Grid video switching, routing, and distribution system, TVU Producer cloud-based production tool, TVU Command Center centralised remote management solution, and TVU Voice, will be announced at a later date. Additionally, new workflow-based solutions will be unveiled for the first time at NAB. Already in use by broadcast organisations around the world, the TVU Networks family of IP transmission solutions give broadcasters and organisations a tool to distribute live video content to broadcast, online, and mobile platforms.

Visit www.tvunetworks.com

NEWS OPERATIONS

TVU NETWORKS WILL SHOWCASE a variety of new and updated IP based products and technologies at the upcoming NAB Show. The company will continue its advancements to HEVC, and will show its entire HEVC solution set integrated with the company’s proprietary video transmission technology, Inverse StatMux Plus (IS+).

37

POST PRODUCTION www.content-technology.com/postproduction

Jumbla Produces “Best Ever” Animated TVC for Suzuki Australia MELBOURNE ANIMATION AND MOTION graphics studio Jumbla has bolstered its industry standing after producing Suzuki Australia’s ‘best ever’ television commercial (TVC).

Working in partnership with creative advertising agency The Sanford Partnership, Jumbla brought the brief to life with a stunning 3D animation depicting the Suzuki Swift Sport Hatch emerging from piping hot metal.

Suzuki Australia General Manager – Automobiles, Michael Pachota, said the car giant was delighted with the result.

“The first reaction everyone was blown away. We’ve never done something like this before,” Mr Pachota said.

“The feedback from our dealer network and audiences alike has been that it’s probably the best television commercial that we’ve ever produced for Suzuki Australia.”

The challenge, according to Jumbla Creative Director Oz Smith, was getting the TVC’s lava to flow in a visually-appealing way.

“Real molten metal is quite watery and runny, but we wanted something with sentience. We settled on a thicker, honey-like consistency, which is more believable and controlled,” he said.

“We tried to create something that not only looked interesting, but also formed the car quickly in a lifelike, visually-satisfying way.

“The team used Real Flow to create the bulk of the molten metal shots,

which involved a lot of experimentation with different viscosity of the liquid.”

Mr Pachota said that animation was the only way a TVC like this could be developed.

“We were fortunate enough to have technology like this at our fingertips.

Jumbla and the The Sanford Partnership helped us create exactly what we wanted to see by using CGI,” he said. “I think it was amazing.”

The TVC, which was broadcast across Australian domestic television networks, remains as the hero video on the Suzuki Australia web page.

Watch the TVC at www.jumbla.com/work/advertising/suzuki Visit www.jumbla.com

VFX Studios Iloura and Method Finally Merge AFTER INTEGRATING operationally over the last year, Deluxe sister VFX companies Iloura and Method have taken the final step in joining forces, unifying under a single brand; Method Studios. Now with a team across Melbourne, Sydney, Vancouver, Los Angeles, New York, Pune, Chicago and Atlanta, Method is positioning itself as a global VFX force, with one of the industry’s deepest talent pools.

Method President and GM Ed Ulbrich said, “We’ve been quietly building something new here; bringing together the best of what each studio has developed around the world – whether it’s production processes, artistry, sales and marketing, technology or culture. We’re now one of the biggest VFX studios in the world. Our ability to take on larger and more meaningful pieces of big features, to act as sole or co-lead vendor, choose our projects, and produce the stunning work these teams are creating doesn’t come from one studio or brand alone. It’s a combination of the best of everything we have to offer.”

Iloura brings to Method a 30-year legacy of creative passion and stand-out VFX and animation work, teams that earned a 2016 VFX Emmy for work on Game of Thrones, and VFX Oscar nominations for Mad Max: Fury Road, and

Deepwater Horizon. Key talent led by award-winning VFX Supervisor Glenn Melenhorst and VFX Producer and EP Ineke Majoor in Melbourne, and by GM Jeanette Manifold in Sydney, will bring their teams’ artistry to an expanding set of clients through Method. Simon Rosenthal, now Method Head of VFX, Australia, continues his 20+ year leadership of the newly-branded teams.

Iloura recently completed work on Jumanji: Welcome to the Jungle and Bright, and earlier, Game of Thrones Season 7 ‘The Spoils of War’ and Thor: Ragnarok.

Founded in 1998, Method has grown from a boutique Los Angeles VFX studio to a global powerhouse. Method’s experienced group of 30 VFX Supervisors and creative leads delivers stunning design, VFX, and immersive artistry.

Recent features include Thor: Ragnarok, Okja and the VFX-Oscar-nominated Guardians of the Galaxy: Vol. 2, with Black Panther, Aquaman, A Wrinkle in Time, Ant Man and the Wasp, Avengers: Infinity War, Christopher Robin, The New Mutants, Fantastic Beasts: The Crimes of Grindlewald, Godzilla: King of the Monsters and Untitled Deadpool Sequel among the features it has in production.

Visit www.methodstudios.com

Ultimate Training at Post Production World POST PRODUCTION WORLD runs from the 7th of April to the 12 of April at NAB 2018. The programme is focused on production and post-production technologies, trends and workflows. A must-attend for content creators and designers including TV, film and video editors, producers, directors, graphic artists, motion graphics designers and new media specialists.

POST PRODUCTION

Sessions will be presented by experts in video editing, motion graphics, cinematography, VR, colour correction, project management, content distribution, and more. Speakers include:

38

• Steve Martin, Owner, Ripple Training – Steve Martin is the creative force behind Ripple Training and has been using and teaching Final Cut Pro since 1999. Steve’s sessions include 360/VR Workflows in Final Cut Pro X and Sound Editing in Final Cut Pro X. • Cheryl Ottenritter, Senior Mixer, Founder of Ott House Audio – Cheryl has over twenty years of audio and has worked on projects for PBS, National Geographic, Smithsonian Channel, Discovery Channel, and more. Cheryl’s sessions include Audio in VR From Production to Post, and Sound and

Story: What Producers and Editors Need to Know From Production (copresented with Amy DeLouise).

• Chris Do, Founder and CEO of Blind – Chris is an Emmy award winning designer, founder and CEO of Blind, where he oversees the creative and strategic direction of the company. Chris’ sessions include How To Bid and Overcome Pricing Objections, and Stop Pitching and Win Creative Projects.

• Christine Steele, Director, Producer and Lead Editor at Steele Pictures Studios – Christine provides production and post-production services for clients all over the world. She has worked for ABC, BBC, FOX, Disney, Paramount, Warner, Showtime, Frontline, Electronic Arts, VH1 and PBS. Christine’s sessions include Producing and Directing Non-Fiction Content, and Short-Form Editing with Premiere Pro (Commercials, Trailers, PSAs, and Promos).

Visit www.nabshow.com Continues P39 >>

POST PRODUCTION

Limited Time Offer AVID ISIS STORAGE TRADE IN Intelligent storage for real-time media production Avid NEXIS™ is the world’s first and only software-defined storage platform that enables true storage virtualisation for any media application, delivering unmatched flexibility, scalability, control, and extensibility.

Avid and Amber Technology are pleased to offer the following bundle for NEXIS enterprise storage upgrades Trade in your existing ISIS storage platform and receive the following: •

Extra discount on the purchase price of NEXIS storage

•

Included is system design, workflow analysis, installation and data migration between storage platforms

•

First year of support with advanced hardware replacement

•

Two post launch system health checks

Contact Amber Technology TODAY to discuss your upgrade roadmap and how to qualify for a discount

Distributed in Australia by Amber Technology ambertech.com.au 1800 251 367 broadcast@ambertech.com.au

POST PRODUCTION

This promotion applies to orders received prior to 15th June 2018.

Final pricing and configuration will be provided upon completion of consultation.

39

POST PRODUCTION

VoiceQ Integrates with Conformalizer KIWA DIGITAL, DEVELOPER OF VOICEQ post-production software, has announced a collaboration with The Cargo Cult, developer of the audio postproduction tool Conformalizer.

VoiceQ is a systemised software solution that automates dialogue replacement in the post-production stage of film and television production.

Conformalizer is an audio post-production tool that allows sound editors to automatically conform and rebalance audio data to match a changed picture cut. It works by comparing picture EDLs, XML, cutlists or change notes and creating a new 'change EDL' which reflects the difference between two versions of the picture. Conformalizer can then automatically conform Pro Tools sessions, databases and mix automation to match the new version of the cut.

The new VoiceQ release integrates Conformalizer into the VoiceQ workflow, allowing studio engineers to quickly make large script and media changes, a common requirement in post.

Other efficiency tools in the new VoiceQ release include global search tools, and drag-and-drop video and script. New collaboration features include the ability to use import and export to share language projects with multiple users.

“The industry is calling for global collaboration and efficiencies and this

Visit www.voiceq.com and www.thecargocult.nz/conformalizer

Colorfront HDR Image Analyzer SHOWN IN PREVIEW at the recent HPA Tech Retreat in Palm Springs, Colorfront HDR Image Analyzer software delivers a comprehensive array of tools for the effective analysis of the latest HDR standards – including HLG (Hybrid Log-Gamma), PQ (Perceptual Quantizer) and Rec.2020 – on 4K/UHD content. Running on commodity hardware, Colorfront HDR Image Analyzer provides powerful new tools and eliminates the need for excessively expensive hardware-based video analyser solutions.

Included in Colorfront HDR Image Analyzer’s toolsets are waveform, histogram and vectorscope monitoring, plus a host of essential image analysis features such as: nit light level meter; error logging; pixel picker; framestore with split-screen; line mode, which can focus the region of interest onto a single horizontal or vertical line; out-of-gamut false colour, and audio phase metering.

Additionally, Colorfront has integrated full HDR Image Analyzer functionality to the second head-monitor output of its new QC Player and flagship Transkoder software, effectively augmenting these products with a full set of critical HDR analysis tools, but without the need for any separate investment.

“Colorfront HDR Image Analyzer is one of a new-generation of costcompetitive tools from Colorfront aimed at post production facilities, studios, QC and mastering houses, who have to perform crucial quality control on Ultra High Definition (UHD), High Dynamic Range (HDR), Wide Color Gamut (WCG)

Version 6.6 for R+S CLIPSTER

POST PRODUCTION

R+S CLIPSTER IS A workstation for mastering and distributing feature films and episodic TV. R+S CLIPSTER provides a foundation for post-production vendors to build services upon. Supporting up to 4K120p, from a wide array of professional media file formats or baseband SDI, R+S CLIPSTER can support various stages of post-production with its built-in tools. R+S CLIPSTER can perform conforming, VTR Emulation, Non-linear editing, realtime video processing, advanced colour format transformations, and even guide operators towards a reliable delivery with output wizards to a myriad of professional formats. Create Digital Cinema Packages, Interoperable Mastering Format Packages (IMF), AS11, and AS02 packages with quality, reliability and performance in R+S CLIPSTER. In addition to the creation of files, R+S CLIPSTER also provides rock solid video playback for QC, review and approval, or playout to tape via SDI, Displayport, and HDMI with 16 channels of embedded SDI audio or 16 channels of AES/EBU.

40

can only be achieved by integrating best in breed studio and cloud tools,” says Steven Renata CEO of VoiceQ. “Our focus with this latest development has been on taking the best that technology can offer, while still retaining the precision of studio based audio post-production.”

material,” said Aron Jaszberenyi, managing director of Colorfront. “HDR Image Analyzer’s intuitive, easyto-use toolset has already been appreciated as ‘the future of the scope’.

It’s highly-affordable and a must-have appliance for any facility doing HDR delivery to OTTs, as well as colorists, editorial teams and QC ops working with materials such as HLG, SMPTE ST 2084 PQ and Rec.2020.”

Colorfront HDR Image Analyzer runs on a 1RU form factor server and leverages the GPU performance of the very latest NVidia Quadro Pascal architecture graphics cards for monitoring, with AJA’s Kona 4 HD-SDI I/O card supporting real-time input up to 4K/UHD@60.

Currently in beta test at major Hollywood post-production facilities, Colorfront HDR Image Analyzer is on course for release at NAB 2018 in April.

Visit www.colorfront.com

Boris FX Particle Illusion and App Manager BORIS FX WILL BE SHOWCASING major new versions of its plug-ins – Continuum, Sapphire, and Mocha – in connection with the new 2018 Boris FX App Manager at NAB 2018 on booth SL7620.

Boris FX Suite 2018 and App Manager: Sapphire, Continuum, and Mocha Pro will be bundled together on one license with cost effective pricing and subscription options. The Boris FX App Manager will be a new utility that unifies licensing and application management for all Boris products.

At NAB, Rohde and Schwarz is preview version 6.6 of R+S CLIPSTER, demonstrating a continuous stream of new software developments and hardware configurations which continue to offer efficiency enhancements to R+S CLIPSTER owners now and long into the future.

Particle Illusion: The motion graphics and particle animation system Boris FX acquired from GenArts, is being relaunched with an updated user interface, additional new emitter libraries, and blazing fast GPU speeds.

Original founder, Alan Lorence, joins the Boris FX team as the Product Manager. Particle Illusion will be part of Continuum 12 and the Continuum Particle Unit to be released later this year.

At NAB, Rohde and Schwarz will also highlight its IBM Spectrum Scale file system which centres on the R+S SpycerBox multi-user shared storage system. Using the IBM Spectrum Scale file system solution with Rohde and Schwarz storage solutions ensures more efficient storage capacity utilisation. The new file system software for R+S SpycerBox Cell and R+S SpycerBox Ultra TL simplifies the storage workflow and makes it more cost-effective.

Mocha 2018: Tools found in Mocha Pro, Mocha VR, Sapphire, and Continuum will feature a new Essential Interface Mode to help editors and VFX artists solve tracking and masking challenges in less time. Mocha Pro and Mocha VR will be updated in 2018 with an improved interface, new tools for rotoscoping and mask creation, and speed improvements in object removal and clean plating.

Visit www.rohde-schwarz.com

Visit https://borisfx.com

POST PRODUCTION

Editing with Your MAM? VSN IS BRINGING A MORE POWERFUL version of its Media Asset Management (MAM) software, VSNExplorer MAM, to NAB Show 2018 (booth SL 8006) which now incorporates the 100% web-based editing tool Wedit with brand-new functionalities such as voiceover capability. Wedit’s features are also fully available in the cloud to ensure maximum flexibility for users.

Launched in its first version at NAB Show 2017, Wedit is a tool developed in HTML5 that allows journalists and editors to edit videos and prepare them for broadcast from a single and unique interface, without having to switch to another nonlinear editing system (NLE). Now, advanced editing and voiceover capabilities are included in the Wedit tool for the first time. That means users are able to record voiceover tracks straight to the timeline, while previewing the sequence proxy video with frame accuracy, removing the need to switch to another NLE and enabling users to complete their videos solely from the Wedit interface. Even so, the user can optionally download the EDL with the recorded voiceover track to be exported to the NLE. With this latest Wedit version, it is also possible to drag and drop any existing audio asset into the timeline and show the waveform pics of each audio track to improve the user experience. As a result, users will save time when editing their final news and videos, thereby becoming more efficient and being able to meet tight deadlines.

The possibility of including voiceover and audio tracks makes this tool much more practical for editors and journalists.

VSNExplorer MAM now offers its features under a pay per use model (SaaS model) in the cloud for additional speed, flexibility and costs reduction. Users can manage and control all their media files anytime, anywhere and be more efficient when cataloguing and archiving their media files effectively and securely, managing the files, searching and retrieving content, and even when delivering these files to playout, quality check or any tool for content analytics’ extraction. Moreover, VSNExplorer MAM also offers the possibility of scaling the system as much as needed to suit the company’s needs. This in turn simplifies the overall process and reduces the time it takes to access, manage and create better and higher quality content.

As well as the Wedit tool and cloud capabilities, VSNExplorer platform for Media & Business Process management includes many other

functionalities such as a business intelligence layer (VSNExplorer BI) to transform any data source information of any existing broadcast system (including the MAM software) into meaningful information for business analytics. A specific module for streamlining and speeding-up processes in production environments (VSNExplorer PAM), and another module for optimizing workflow automation (VSNExplorer BPM). Integration with third-party systems is very straightforward thanks to the open architecture, an adaptive player to automatically select the quality that best adapts to the available link speed, and even full quality control through the integration of the VSNQC quality check module.

VSN will be also showcasing its latest cloud-based Playout solution at NAB this year, following the implementation of four VSN systems in the cloud (VSNOneTV, VSNCreaTV, VSNExplorer and VSNWebTV). In this way the technology company allows broadcast and media companies to manage and broadcast all their content and files anywhere and anytime, just by having an Internet connection available. Users are provided with broader access to all types of daily tasks, from programming scheduling to media recovery and its automated delivery to the video servers until its broadcast through multiple screens – all in the cloud.

Visit www.vsn-tv.com/en/

EditShare Mitigates Cybercrime, Costly QC Delivery, Expands Tiered Storage

EditShare’s EFS XStream Auditing – the industry’s first purpose-built scale out storage solution with auditing designed for the media and entertainment market.

This revolutionary product provides comprehensive auditing and reporting of all file system activity, including file creation, deletion, modification, opens and reads as well as general media space access. EditShare auditing capabilities are designed to deter cyber criminals by providing system administrators with a complete digital footprint of all file interactions.

Unique to this solution is the XStream EFS Auditing Dashboard that provides administrators a high-level view of activity with the ability to drill down to individual users and files.

Meanwhile, the XStream EFS 40NL delivers the performance and economics of traditional near-line storage with the scalability, fault-tolerance and ease of use of the proven EditShare EFS shared storage solution. Administrators can easily add one or more EFS 40NL nodes of cost-optimised storage to an existing XStream EFS storage cluster as well as configure the EFS 40NL as an independent storage cluster for disaster recovery or media backup purposes.

QUALES Automated Quality Check and File Verification Now AMWA-compliant for AS-11 UK DPP, the EditShare team is paving the way for easy compliance at the the click of a button. The unique QUALES user interface is designed for the creative, giving an instant visual presentation of the quality-checked file. Flow users, which include producers, post supervisors, editors and other non-engineer staff, will have an intuitive visual aid to spotcheck content. With QC offered as a core capability within the EditShare Flow media asset management platform, users will be able to systematically QC content at any point across the workflow saving countless hours of production and post-production time. Stay tuned for a QC product lineup launch on the NAB Show floor.

Lastly, EditShare’s Flow will be available as a storage-agnostic software solution and will work with industry-standard storage solutions, providing a layer of content creation, media management and workflow automation that optimises the entire production workflow. Search, find and retrieve valuable assets quickly and efficiently, while getting content directly into your favorite NLE. Visit www.editshare.com

POST PRODUCTION

EDITSHARE HAS ANNOUNCED it will be showcasing new capabilities across its XStream EFS scale out storage, Flow media asset management, QUALES automated quality check and file verification, and XStream EFS 40NL near-line storage solutions at NAB 2018 (booth SL8620). Attendees to the EditShare booth will see first hand how the new XStream EFS Auditing Dashboard mitigates potential hacking and content theft, as well as how XStream EFS 40NL enhances tiered storage workflows. EditShare media experts will also demonstrate QUALES AQC capabilities as integrated with Flow Media Asset Management, revealing new workflows that lower costs and meet the demands of evolving delivery requirements for popular OTT platforms. Finally, EditShare will be showcasing for the first time how the brand new, software-defined Flow media asset management platform expands remote workflow opportunities and collaboration.

41

MEDIA IN THE CLOUD, STORAGE & MAM Tedial Tackles Editing of IMF Packages TEDIAL, THE MAM TECHNOLOGY SOLUTIONS specialist, has expanded its HYPER IMF end-to-end MAM platform to include the new IMF Markup Tool, a simple-to-use editor that addresses the versioning requirements typically needed for distribution.

Designed for fast validation and repair of IMF packages, this intuitive tool functions independently of expensive third-party systems, making it an extremely cost-effective solution and easy-to operate for users.

According to Jérôme Wauthoz, Tedial VP Products, “This tool dovetails nicely into the Just-in-Time manufacturing nature of IMF being embraced by both vendors and users within the digital supply chain.

It’s really efficient since it’s native to the system and won’t require a ‘round-up’ to a third-party system.”

The IMF Markup Tool is seamlessly integrated within Tedial’s GUI and workflows and supports the award-winning Evolution Version Factory. It provides a near-line editor-like interface with industry-standard controls, and incorporates a feature-set that can rapidly spot-check and quality control Interoperable Master Packages (IMPs); make dynamic editorial adjustments to picture, audio, or subtitles natively within the Evolution ecosystem; quickly and accurately update IMPs late in the digital supply chain; provide a web-based, proxy media-centric workflow without the need for specialised editorial systems; and rapidly modify IMPs for unique delivery of the “on the fly” requirements of OTT providers. This intuitive interface provides an editor, the addition of language audio/subtitle tracks and markers for automatic insertion of localised elements, and the ability to Identify and mark components requiring further downstream localisation processing (i.e. blurs, repos, etc.).

The IMF Markup Tool is suitable for audio track alignment, the creation of new versions by editing on low resolution proxies, and most importantly, it can mark IMF packages to prepare them for automated sequence assembly, including insertion/localisation of open credits, end credits, pre-, mid-, and post-rolls, insertion of black slugs and colour bars, etc. IMF markers

are stored on the proxy where they can be managed by Evolution Version Factory for automated assembly distribution. In other words, the IMF marker points can be stored as 'patterns' to be reused repeatedly to stitch thousands of different versions through the Version Factory workflow.

At NAB 2018 Tedial will highlight HYPER IMF, the industry’s leading endto-end IMF MAM. HYPER IMF leverages IMF methodologies to save users up to 25% – or more – in storage, delivery and versioning costs. A true IMF solution, HYPER IMF supports IMP and supplemental file ingests and the creation of unique CPLs for archive, versioning and delivery.

Tedial’s 2018 IMF innovations include new user interfaces to allow more user control when adjusting package delivery to services like HULU, iTunes and Netflix, or international destinations where versioned media and international language track management requires series and episodic adjustments to automate the flow and provide faster, more efficient distribution.

Visit www.tedial.com

Inverleigh Makes Sport the Highlight with Silvertrak’s Media Room

MEDIA IN THE CLOUD, STORAGE & MAM

AS ONE OF AUSTRALIA’S LARGEST independent producer of sports highlight packages Inverleigh loves the story of sport. It’s at the heart of everything they do. Inverleigh leads the field when it comes to premium sports content production and distribution with hundreds of broadcasters airing thousands of hours of their high-value content solutions. The way their content is now managed and in particular distributed is changing rapidly. Recently, in order to embrace technology and lead the way in delivery innovation, Inverleigh selected Silver Trak Digital’s Media Room smart media asset management solution as the backbone of its delivery system.

42

According to Inverleigh Chief Executive Officer, Peter Wraith, “Inverleigh produces and distributes premium sports entertainment and lifestyle programming, including weekly news and magazine programs, timeless catalogue and major event preview content for traditional and digital broadcast platforms. With operations in Melbourne, London and Miami we currently supply programming to hundreds of broadcasters globally. Our global distribution team understands the market and the needs of our ever-expanding clients, many of whom are looking to migrate to a file-based delivery platform.

Thus, the partnership with Silver Trak and Media Room was born.”

Wraith went on to say, “Our clients are looking for more efficient and flexible content delivery solutions. Clients want their workflows to be simple, robust and convenient. By using Media Room we can integrate a far more coherent workflow for delivering master program files to clients worldwide. After detailed consultation, Silver Trak has tailored their Media Room backend to

facilitate our clients’ needs.”

According to Inverleigh’s Technical Director, Mark Swift, the company chose Silver Trak and Media Room based on their ability to truly understand the requirements of Inverleigh, the content management and delivery market and the willingness to further develop Media Room’s functionality to accommodate their needs were key.

Silver Trak COO, Christian Christiansen said, “Currently Inverleigh use Media Room as part of a hybrid delivery system. This means they can use traditional satellite-based solutions or use Media Room to manage and deliver content in a 100 percent file-based manner via Aspera and S3 Push, thereby satisfying all of their clients’ requirements. The way Media Room has been designed it is totally customisable and can be used on an ad-hoc basis. What we are now implementing is a 100 percent automated and rule-based workflow which means each uploaded file’s attributes will be checked and if all are OK then transcoding and frame-rate conversions will be completed as required before the file is automatically sent to the end user via the delivery method of their choice. All of this with one simple click of a mouse.”

Peter Wraith concluded, saying, “Media Room provides Inverleigh with a onestop shop for the automation of media formats, content management, quick file conversions and delivery.”

Visit https://inverleigh.com and https://silvertrak.com.au

MEDIA IN THE CLOUD, STORAGE & MAM

MEDIA IN THE CLOUD, STORAGE & MAM

43

MEDIA IN THE CLOUD, STORAGE & MAM

Sonnet Revels Thunderbolt and GPU Connectivity Thunderbolt 3 External Graphics (eGPU) Solutions AT THE 2018 NAB SHOW, Sonnet will showcase its new eGFX Breakaway Box 650, a Thunderbolt 3 to eGPU PCI Express (PCIe) card expansion system designed and qualified specifically for large, power-hungry GPU cards, including the AMD Radeon RX Vega 64, Radeon Pro WX 9100, 9100 SSG, and overclocked NVIDIA GeForce GTX 10 series cards. The 650 model enables the use of all GPU cards that support connecting to a computer over Thunderbolt – such as AMD Radeon R9, RX, RX Vega, and Pro WX models and NVIDIA GeForce GTX 9 and 10 series, Titan X and Xp, and Quadro models – with Thunderbolt 3-equipped computers. Mac and Windows compatible, the new Sonnet system is the coolest and quietest eGFX box on the market, with a built-in, variablespeed, temperature-controlled fan that quietly cools installed cards.

Sonnet will also display two new external graphics solutions: the eGFX Breakaway Puck Radeon 560 and eGFX Breakaway Puck Radeon 570. These integrated Thunderbolt 3 external graphics processing systems are portable and offer users improved graphics performance when used with thin and light laptops.

Thunderbolt 3 Editions in Echo Express Family Sonnet will showcase new Thunderbolt 3 editions of its award-winning Echo Express Thunderbolt-to-PCI Express (PCIe) card expansion systems.

Sonnet’s Echo Express III-D and Echo Express III-R 2RU systems support the installation of up to three full-length, full-height PCIe cards, and connects to the computer through a single cable. Both systems enable users of Mac and Windows computers equipped with 40Gbps Thunderbolt 3 (USB-C) ports to take advantage of Thunderbolt 3’s 2,750MB/s of PCIe bandwidth to support demanding, highest-performance adapter cards. Both systems feature a 300W power supply with a 75W auxiliary power connector for installed cards, plus two large, quiet, temperature-controlled cooling fans.

1TB Fusion Thunderbolt 3 PCIe Flash Drive Sonnet will showcase the new 1TB version of its popular Fusion Thunderbolt 3 PCIe Flash Drive. The pocket-sized, solid-state drive storage device features NVMe flash storage and leverages the 40Gbps bandwidth of its Thunderbolt 3 interface to deliver data transfer speeds up to 2,600MB/s. The Fusion Flash Drive is bus-powered and features an aluminium enclosure that cools the SSD and eliminates the need for a fan.

SF3 Series Pro Card Readers Sonnet will show its new line of SF3 Series dual-slot Thunderbolt 3 pro media readers. Each SF3 Series reader features a compact, rugged aluminium

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

10 Gigabit Ethernet Solutions At the 2018 NAB Show, Sonnet will feature its range of 10 gigabit ethernet (10GbE) Thunderbolt adapters and Presto line of PCI Express (PCIe) cards, including Thunderbolt 3 adapters. Sonnet’s 10GbE solutions enable users to connect their computers via copper or optical cables to high-speed network infrastructure and storage systems using the 10GbE standard. The company’s adapters add lightning-fast 10GbE network connectivity to any compatible Mac or Windows computer with Thunderbolt 2 or Thunderbolt 3 ports. Their performance, compact size, easy setup, and quiet operation make Sonnet’s adapters suitable for use in a variety of workflows and environments. Sonnet’s Presto cards work with Mac Pro towers, Windows PCs, Linux servers, and Mac and Windows computers with Thunderbolt ports via Thunderbolt-to-PCIe expansion systems. xMac Pro Server At the 2018 NAB Show, Sonnet will feature the Avid-qualified xMac Pro Server, its rack-mount solution with built-in Thunderbolt 2 to PCI Express (PCIe) card expansion for the Mac Pro computer. The xMac Pro Server securely mounts the computer horizontally inside a specially designed, 4RU modular enclosure, connects three PCIe 2.0 slots via Thunderbolt technology; and provides space to install additional equipment in two 5.25-inch mobile rack bays. By supporting every Thunderbolt 2-compatible PCIe card available, the xMac Pro Server enables audio/video professionals to use the high-performance expansion cards they need with the latest Mac Pro computers. Through the installation of optional Mobile Rack Device Mounting Kits into the xMac Pro Server, users can easily connect hard drives, SSDs, and other devices to the Mac Pro computer.

Visit www.sonnettech.com

Facilis Declares War on Network Attached Storage DURING NAB FACILIS TECHNOLOGY will compare generic NAS to the custom-built shared file system in the latest version of its shared storage network.

Facilis Technology version 7.1 will be shipping for NAB 2018, and the new version adds features that can’t be found in generic NAS systems, including:

MEDIA IN THE CLOUD, STORAGE & MAM

• Automatic multi-connectivity failover (including fibre channel to ethernet) with no manual client or server-side configuration.

44

• Automatic Load balancing of clients across multiple server IP addresses, also with no manual configuration requirement.

• Historical and dynamic client and volume bandwidth tracking, as well as overall server load monitoring.

• Changeable volume ownership for multi-server environments, enabling data on older storage enclosures to be shared more efficiently.

• Simplified remote client deployment, enabling software update of every workstation from any connected browser.

• Local shared file system mounting changes the nature of the volume at the client operating system from network drive to local drive appearance and functionality.

• Dynamic routing of client workstations on any server connection, per volume.

In addition, optimisations in the shared file system have resulted in 15-20 percent better speeds across each connection method, load balanced across any number of server uplinks, without teaming or bonding. In addition, dynamic ownership and RAID51 features ensure no single point of failure in multi-server environments.

Visit www.facilis.com

MEDIA IN THE CLOUD, STORAGE & MAM

Masstech Showcase FlashNet and MassStore AT THE 2018 NAB SHOW, Masstech will feature its FlashNet media object storage application and MassStore media services framework, two solutions that enable flexible, efficient media and storage management on-premise, in the cloud, and in hybrid configurations. The company’s solutions offer unparalleled support for cloud vendors including Amazon, Wasabi, Cloudian, and MS Azure and for all MAM, PAM, NRCS, automation, video server, and library solutions. Masstech also will focus on the flexibility of FlashNet and MassStore in delivering disaster recovery (DR) solutions optimised for any price point and DR strategy. For media companies concerned about maintaining the ongoing security of their archived content, Masstech will demonstrate the ease with which Oracle DIVA archives can be migrated to a Masstech solution, without disruption of services or constraints on content access.

Masstech will showcase its FlashNet media object storage application, a highly scalable and secure cross-platform content management system that integrates seamlessly with leading MAM, PAM, NRCS, automation, video server, and library systems to improve media organisations’ workflow efficiency. Rules-based media management allows for automated optimisation. FlashNet ensures that content is always stored in the most costeffective and operationally efficient location.

FlashNet can be deployed on-premise, in the cloud, or in a hybrid configuration, supporting disk- and tape-based storage independently or in combination. A hardware-agnostic solution built on an open system architecture, FlashNet adapts to growing and changing organisational and business requirements.

Scalable and customisable to individual customers, FlashNet is available in solutions ranging from a single server to an enterprise-scale system. FlashNet features automated failover and built-in redundancy, and its support for LTFS allows tapes to be mounted on a Windows file system for emergency file access.

During this year’s NAB Show, Masstech will highlight its MassStore media services framework for advanced applications. Featuring a collection of services that provide powerful media management functions, this Masstech solution provides a standardised service orchestration layer to facilitate interaction between MAM, PAM, DAM, and NRCS solutions and stored media objects. Built-in integration management simplifies accommodation of disparate systems from multiple vendors.

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

Visit www.masstech.com

MEDIA IN THE CLOUD, STORAGE & MAM

“This will be the first NAB Show since Masstech and SGL became a single entity, and we look forward to highlighting the many benefits this merger brings to current and prospective customers,” said Mike Palmer, CTO at Masstech. “Our flagship solutions, MassStore and FlashNet, boast successful track records with media companies around the globe, and we’ll highlight their unique ability to automate and streamline content storage and management both in the cloud and on-premise. We’re proud to offer competitively priced solutions that integrate seamlessly with existing systems, scale to fit all organisation types and budgets, and come with class-leading, broadcast standard 24×7 support.”

45

MEDIA IN THE CLOUD, STORAGE & MAM

Quantum Scales Out Storage Workflows AT THE 2018 NAB SHOW, Quantum will present its latest innovations for demanding storage workflows, including major new enhancements for its Xcellis workflow storage family and the StorNext shared file system and data management platform.

environment. As a result, content owners can get all the content access and visibility benefits provided by StorNext, protect their investments in a cloud-based archive and reduce the cost and complexity of cloud storage administration.

• FlexSpace Shared Archive – Addressing the challenges of global 'always-on' production workflows, the new FlexSpace feature allows multiple instances of StorNext, located anywhere in the world, to share a common content repository. As a result, any user within a StorNext environment can access, browse and pull files from the shared workspace. With this game-changing new capability, a creative team member working in one city can create content that is automatically stored to the common repository and make it immediately available for further work by team members in other cities.

• FlexSync Multisite Synchronisation – FlexSync is a powerful new capability that provides a fast, flexible and simple way to synchronise content between multiple StorNext systems. FlexSync supports one-to-one, one-to-many and many-to-one file-replication scenarios, and can be configured to operate on specific files, specific folders or entire file systems. By leveraging enhancements in file-system metadata monitoring, FlexSync recognises changes instantly and can immediately begin reflecting those changes on another system located anywhere in the world.

Quantum will showcase its new Xcellis Scale-out NAS solution, which delivers the highest levels of storage performance and scalability in a cost-effective, Ethernet-based appliance. Powered by Quantum’s StorNext shared storage and data management platform, the multiprotocol, multiclient Xcellis Scale-out NAS appliance unites robust media and metadata management with industryleading scalability and unmatched performance to support content creators’ most demanding collaborative workflows and ease their transition to IP-based infrastructure.

A single Xcellis Scale-out NAS system performs up to three times better than that of the market’s next best NAS offering. An Xcellis NAS cluster can scale performance and capacity together or independently to reach hundreds of petabytes in capacity and more than a terabyte per second in performance, while costing a fraction of a comparable Fibre Channel SAN solution.

Quantum says its StorNext 6 software demonstrates an ongoing leadership in workflow storage – with a particular focus on extending collaboration globally and providing new data management options. StorNext 6 highlights include the following: • FlexTier Public and Private Cloud Access – The new FlexTier cloud-access feature for StorNext makes it easy to integrate existing public-cloud storage accounts and third-party object storage (private cloud) into a StorNext

At the 2018 NAB Show, Quantum will also feature Xcellis Foundation, its high-performance, entry-level workflow storage system specifically designed to address the technical and budgetary requirements of small- to mediumsized postproduction facilities and corporate video departments. Powered

by StorNext, the new system delivers the benefits of enterprise-class Xcellis storage, including high performance and scalability, in a NAS appliance, Xcellis Foundation is suitable for smaller video production facilities that need the benefits of a collaborative workflow but have limited budgets.

Meanwhile, aiWARE for Xcellis is a new hybrid on-premises and cloud version of the best-in-class artificial intelligence (AI) platform from Veritone. This solution allows users to leverage the power of Veritone’s best-of-breed cognitive analytics – in areas such as object recognition, optical character recognition and transcription – to extract hidden value from their video and audio content stored on Quantum appliances.

During the 2018 NAB Show, Quantum will also feature ClarityNow for Xcellis, a powerful integration of DataFrameworks’ ClarityNow data management system with Xcellis workflow storage. Together these technologies allow users not only to look at the physical nature of their storage environment, but also to establish policies so that files are moved in a way that yields the most capacity.

By scanning content in near-real time, building an index of that content and then grouping similar content into collections, the integrated solution makes it easier to attach exact costs to storage related to specific content and projects.

As a result, studios and other content creators can keep specific groups of content in the most economical and appropriate storage medium.

Visit www.quantum.com

MEDIA IN THE CLOUD, STORAGE & MAM

Wazee Takes Video Global with Digital Media Hub

46

DURING THE 2018 NAB SHOW (at the Wynn Hotel, Encore Salon Suite), Wazee Digital will highlight Digital Media Hub, a powerful, centralised, software-as-a-service (SaaS) based solution that allows video content to be captured and made immediately available for global access. Through Digital Media Hub’s user interface, customers can acquire, distribute, enhance, license, and publish metadata-enriched media gleaned from production, postproduction, marketing, and even live-event environments. Digital Media Hub is powered by Core, Wazee Digital’s enterprise SaaS asset management platform built specifically for the cloud, through which users can search, manage, and monetize digital content. Content is captured and ingested directly into Core in near-real time, and once the content enters Core, rights holders can begin working with it in Digital Media Hub immediately and/or make it available externally through permission-based access.

The seamless connection between Core and Digital Media Hub allows users to collect, store, and distribute creative assets through a full-fledged media asset management system rather than having to pull from a hierarchy of folders on the server based on someone else’s environment. This type of capability allows rights holders and content owners to take complete control of their content.

Wazee Digital gives rights holders and content owners the ease of centralised online access, security, and reliability necessary for sustaining a strong relationship with their stakeholders, including news media.

Wazee Digital Commerce is a portal designed to help rights holders maximize the value of their premium content by connecting with customers

who need video. Buyers such as filmmakers, documentarians, producers, and advertising agencies go to Commerce to search for and purchase clips to use in their projects. Commerce is powered by Wazee Digital Core, Wazee Digital’s media asset management system built specifically for the cloud, which is the foundation of all Wazee Digital products and services.

Commerce gives users the ability to transcode and fulfill HD and 4K content automatically. Having direct access to 4K video allows buyers to use some of the highest-quality content for their films, documentaries, and other projects, which improves the overall quality of the productions and shortens the time it takes to complete them.

Visit www.wazeedigital.com

AUDIO

Travel light. Leave your laptop behind.

Our most innovative portable hard drive yet equips photographers and filmmakers with a built-in SD card slot, USB port, and status screen to capture, view, and manage footage—without a laptop.

Copy files via SD card slot.

Status screen alerts you once file transfer is complete.

Includes Rescue Data Recovery Services

Splash, crush, drop resistant AUDIO

Includes 1-month membership to Adobe® Creative Cloud® All Apps Plan

Or, plug directly into your USB devices.

AVAILABLE FROM APRIL 2018

WHERE TO BUY

WHERETOBUY.LACIE.COM

47

AUDIO Digital soundwaves

www.content-technology.com/audio

Studios 301 Gears Up for New Sydney HQ STUDIOS 301, AUSTRALIA’S LONGEST running professional recording studio, is open for business at its new multi-million dollar complex in the Sydney suburb of Alexandria. Located at Ellis Avenue, between the CBD and Sydney Airport, Studios 301 was forced to move from its previous facility across from Sydney Technology Park at the end of 2016 when its interim owners sold the building.

At that point, SAE founder Dr Tom Misner, who had owned and rebuilt Studios 301 in the late 1990s before divesting his Australian business interests in 2011, came back onto the scene and reacquired the business with the sole purpose of saving it. Misner committed to a multi-million dollar ground-up reconstruction and relocation project that took 16 months and 134,000 hours of labour to complete. The result is a top-tier studio that now ranks as one of the top five in the world.

The design of the new complex is a collaboration between master acoustician, Jochen Veith, and Misner. As well as incorporating many of the offerings clients have come to love – such as the classic Neve 88R and SSL K series consoles and a legendary complement of vintage outboard equipment and microphones – Studios 301 also has new additions such as an API console and an Avid S6 in the purpose built 5.1 mixdown suite.

5.1 mixing in Studio 3.

“The Australian music industry is at a crucial junction,” said Studios 301’s General Manager, Ron Haryanto. “For the first time in decades we are seeing increasing industry revenues albeit across a more diverse base. Studios 301 is unbelievably fortunate to be in a position to rebuild and reposition a facility of this magnitude to service the needs of the industry as they stand today, and well into the future.”

When Studios 301 decided to upgrade its Pro Tools systems as part of the new facility, it brought in local solutions provider Videocraft.

As Videocraft post-production and pro audio sales manager Ian Parish explained, “Studios 301 brought us in at the early stages of this project because of Videocraft’s history in delivering Pro Tools HD systems and our extensive experience working with AVID solutions. There aren’t a lot of studios of this size that are being built from the ground up these days, and to be a part of that is unique in itself.”

From the initial consultation, the discussion expanded to include an AVID Pro Tools S6 modular control surface in a multi-purpose surround mix room and, as Videocraft had already installed multiple S6 consoles around Australia, the team at Studios 301 sought their advice on how best to make this a reality.

Parish continued, “This was a very large project as they were building an entirely new facility from the ground up with five control rooms, three mastering rooms, digitising facilities and vinyl pressing capabilities. Videocraft’s role would be to supply and support all of the AVID hardware and software and the associated peripherals to make those systems work.”

As the project plan developed, the brief included 64 channels of analogue IO for the client’s Neve console in Studio One, 48 channels of IO for their SSL console in Studio Two and 32 Channels of IO plus an AVID S6-M40 for Studio Three. Master clocking was to be provided by an Antelope unit and Apogee Symphonies would provide AD/DA conversion.

As a result of Videocraft’s system consultancy and design, Studios 301 installed a new AVID S6 M40 32 Channel console. The console was in a fully populated 5ft frame and has the addition of the master joystick module for surround panning.

As Parish explained, “This means that there is one more module than the console can accommodate. However, the logic here was that, due to the multi-purpose nature of the room, the console could now either be configured as a classic 32-channel mix console or for post or surround music work with a spill zone and locked master faders and stem metering. The changeover time from one layout to the other is only 15 minutes, so it can easily be done in between sessions.”

AUDIO

Whilst the AVID S6 M40 console might be viewed as the headline act just as compelling are the Pro Tools rigs.

48

Parish added, “The backbone of each studio is HDX2 cards in a Sonnet Echo Express chassis, with Apogee Symphony Mk II interfaces handling the AD/DA conversion. AVID SYNC HDs act as loop sync masters and communicate with the automation computers of the analogue consoles whilst being fed word clock from Antelope Pure 2 Master Clocks. The exciting part about all this is the scale of these systems, the track counts and processing resources available.

There’s also the fact that we have been able to selectively choose products from different manufacturers that are the best at their chosen role.”

Dr Tom Misner is the new Studios 301.

MONITORING To ensure the best possible audio reproduction at its new multi-million dollar complex, Studios 301 installed PMC loudspeakers in all but one of its new recording, mixing and mastering rooms.

The studios chose QB1-A monitors for its new Control Room One, making this the first facility in the Southern hemisphere to install PMC’s flagship monitoring system, which already has pride of place at Capitol Studios in Los Angeles and Metropolis Studios in London.

"The backbone of each studio is HDX2 cards in a Sonnet Echo Express chassis, with Apogee Symphony Mk II interfaces handling the AD/DA

According to Dr Tom Misner, “I chose conversion" PMC’s QB1-A monitors for our main studio because they are currently the best studio monitors on the market, especially when they are installed in a room that has been purpose built to house them. Their performance is amazing, and they are very smooth, which tends to allow you to turn up the volume. To achieve these exceptional sonic results, we built the room for the speakers rather than trying to fit the speakers to the existing acoustics of the room.”

Alongside the QB1-A monitors, Studios 301 has opted for PMC’s MB3 XBD-A monitors for Control Rooms Two and Three and Mastering Rooms Two and Three. Specifically designed for critical music creation and production, these monitors have been installed in stereo configurations in all rooms except Control Room Three where they are part of a 5.1 surround sound set-up, in conjunction with a PMC MB3-A centre speaker and MB2S passives for the rear surrounds.

Studio 301’s remaining control rooms (Four and Five), and three production suites are all equipped with PMC twotwo monitors.

Visit www.videocraft.com.au and http://pmc-speakers.com and https://studios301.com

480MHz

490MHz

500MHz

510MHz

520MHz

530MHz

540MHzAUDIO

550MHz

INTRODUCING AXIENT ® DIGITAL

SOLVE THE SPECTRUM SQUEEZE.

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

Learn more at shure.com/axientdigital

www.jands.com.au

AUDIO

Distributed by

49

AUDIO

NUGEN Audio Showcases New Dolby E Module NUGEN AUDIO WILL DISPLAY the AMB Dolby E Module, the latest option for the AMB Audio Management Batch processor modular software, at NAB 2018 (booth SL8230).

AMB is designed to improve workflow efficiency for a range of different tasks. By using AMB Loudness, DynApt or Upmix modules with the new AMB Dolby E Module, post-production facilities can natively batch process Dolby E files, reducing delivery times considerably for loudness measurement and correction, dynamics processing and upmixing. The ability to decode the Dolby E format to linear PCM wave files further supports workflow versatility.

The AMB Dolby E Module also provides full support for Dolby Metadata and Dolby E Program configurations.

AMB offers scalability, allowing post-production facilities of all sizes to add the precise processing modules they need and tailor the system to their exact requirements. AMB offers threaded algorithm processing and multiple processing threads that are addressable for simultaneous parallel handling of files and queues.

A growing number of module options for AMB are enabling customers to carry out a greater range of audio processing tasks than before: AMB Upmix Module: By leveraging core technologies from NUGEN Audio’s acclaimed Halo Upmix plug-in, automatic upmixing to 5.1 and

AMB DynApt Module: NUGEN Audio’s awardwinning DynApt technology for loudness-range targeting and content repurposing respects dialog levels within the original material to ensure dialog intelligibility. Already widely accepted for LRA targeting worldwide, DynApt won a commendation at a recent IBC Innovation Awards.

NEW AMB Dolby E Module: The latest AMB module allows users to natively batch process Dolby E for loudness, upmix or dynamics processing.

The module provides full support for both Dolby Metadata and Dolby E program configurations and

converts Dolby formats to linear PCM wave files.

AMB MXF and ProRes Modules: These extension modules enable users to carry out native processing of the audio essence within MXF wrappers or ProRes files.

AMB comes standard with two watch folders/ processing queues. If users need extra power and speed, the AMB Queue Expansion provides additional watch folders/processing queues. A total of up to 16 AMB Queue Expansions can be added. As standard, the base AMB module also includes two independent processing threads that optimise workflows by allowing two simultaneous processes to run in parallel. For even greater speed and efficiency, users can add the AMB Thread Expansion to activate up to 16 additional processing threads.

Visit www.nugenaudio.com

Legacy Equipment Networked with Dante AVIO Adapters

AoD Output Module

ORBAN, THE AUDIO PROCESSING developer, will conduct technology demonstrations of OPTICLOUD Any Content | Any Device at NAB. This technology addresses the problem of voice intelligibility in the home as well as stereo/multichannel imaging for users who view content on mobile devices.

DANTE AVIO ARE ENDPOINT adapters that enable audio professionals to easily connect legacy analogue and digital audio equipment to Dante networks.

output module ahead of NAB 2018 (booth

The Dante AVIO series features six new adapters including line-in and line-out analogue adapters, a bi-directional AES3/EBU adapter and a bi-directional stereo USB adapter.

network, the AoD Output Module features

OPTICLOUD Any Content | Any Device is a file-based process that can deal with any sort of content ranging from stereo to 10.1, cleanly separating the centre channel so that dialogue can be boosted – or even replaced with a different language. The technology then creates a hemispherical downmix, including 3D immersive audio, for the stream going to each user. Even legacy stereo content can be processed by OPTICLOUD ACAD.

AUDIO

AMB Loudness Module: NUGEN Audio’s industry-leading loudness analysis and correction processes are provided in the AMB Loudness Module. The module offers multiple target loudness criteria and repurposing of audio to multiple targets from a single file, along with sophisticated logging, reporting and graphing capabilities.

Orban Addresses Multi-Device Speech Intelligibility

No matter what type of program, if the dialogue is unintelligible, much of the meaning of the video content is lost. Audiences are increasingly watching TV and video content on smartphones and other devices, which presents a challenge for providers. Viewers are often in noisy environments, using earbuds for audio, and frequently complain about not being able to hear dialogue or sports announcers.

50

7.1 from stereo and multichannel sources, with exact downmix compatibility, is now available for batch file processing.

The Dante AVIO Analogue adapters are available as dedicated inputs or outputs with one or two channels of audio. Analogue input adapters allow mixers, mic preamps, stage DIs and more to connect to a Dante audio network, while analogue output adapters are suitable for driving amplifiers, powered speakers or recorders.

The Dante AVIO USB adapter connects any computer to a Dante audio network without additional software, providing class-complaint stereo input and output that can be used by any audio application. The Dante AVIO USB adapter may be passed between computers without altering networked audio connections.

Orban will conduct private demonstrations of this technology at NAB booth N2024.

The Dante AVIO AES3 adapter provides stereo input and output, preserving investments in AES3-connected DSPs, mixers, compressors, preamps and more. Any AES3 device may be fully connected to any Dante network with no degradation of signal due to extraneous D/A and A/D conversion.

Visit www.orban.com

Visit https://audinate.com

PROCO SOUND IS NOW SHIPPING its AoD C2322). Designed to ensure studio-quality, low-latency audio transport over any Dante a Dante audio input and two channels of analogue output from a rugged aluminium extrusion housing.

Its design allows AoD Output Modules to asily connect with any Dante network. The module comes equipped with hand soldered, threefoot analogue audio tails and two analogue audio outputs, including one RJ45 Dante input and using two Neutrik NC3MXX series XLR analogue outputs.

The AoD output modules support a 44.1, 48 and 96kHz sample rate, and up to 24-bit. The modules use power over ethernet (PoE), with power sourced through standard ethernet cable via a PoE capable network switch.

The free Dante Controller software provides accurate configuration of device names, channel labels, signal routing, sample rates and latency.

Visit http://procosound.com

AUDIO

Calrec Boosts Remote Audio Production filter and 4-band EQ, expander and gate facilities, compressor and sidechain EQ facilities, direct output for all remote faders (up to 5.1 wide), and remote auxes via Calrec Assist.

The new software also provides VCA master control from the host console and pairing of transmission and remote faders so that any fader/cut changes are applied to both TX and IFB paths on to remote faders and remote auxes. A new “blocking” mode prevents the RP1 unit from affecting the paired transmission faders, while the “independent” mode ensures the RP1 can operate independently of the host when required.

Calrec Audio will also make its U.S. debut of Brio 12, a compact 12-fader audio mixer, at the 2018 NAB Show. Brio 12 has the same powerful feature set and mix capabilities as its larger sibling, Brio36.

RP1 consists of a 2U core that contains integrated FPGA-based DSP, enabling a console surface at another facility to control all mixing functionality.

The RP1 core manages all the processing for IFB routing and remote monitor mixes, and it does so locally with no latency. This level of integration and remote control makes it simple for any remote mix engineer to set up IFB mixes and eradicates any delay for remote listeners or presenters.

The RP1 core quickly embeds audio into existing video-transport mechanisms, while its modular I/O backbone accepts any of Calrec’s I/O cards. This versatility means the RP1 can connect via analogue, AES, MADI, SDI, and the latest AoIP solutions such as AES67, Ravenna, and Dante.

At the 2018 NAB Show, Calrec will show a suite of new features on the RP1. These include a 2-band

Brio 12 is suitable for small-scale productions, or as a sub-mixer or backup mixer for larger productions.

With 12 physical dual-layer faders for mixing live sources during broadcast, Brio 12 provides extra virtual faders via its user-friendly UI. With 48 input channels and the same buss count as the popular Brio36, the console has plenty of capacity for submixes and VCA slaves. These capabilities also make it suitable for production environments requiring automated control over every fader.

Visit http://calrec.com

Video Over IP Solu ons

AUDIO

CALREC’S RP1 REMOTE PRODUCTION UNIT is a live-broadcast product that directly addresses an increasingly prevalent requirement for high-quality content from remote locations. Remote production offers the ability to capture a broader range of live events, such as sports, news, or regional music festivals. Broadcasters cannot always justify the time or expense of sending a dedicated outside broadcast truck and a team of skilled on-site operators for these niche events, but they must always ensure that the same high broadcast standards are met.

Brio 12 meets the demand for a broadcast mixer that can be used in very tight spaces like small vans and compact control rooms, and at under 450mm or 18 inches wide, it is slim enough to fit into standard racks or to be stowed out of the way when not in use.

51

RADIO The original broadcast media

www.content-technology.com/radio

Digital Rollout Continues with 3.8 Million DAB+ Radios THE NUMBER OF DAB+ digital radios in Australia climbed to 3.8 million in 2017, up 24 percent over the past 12 months, according to figures released by radio industry body Commercial Radio Australia.

Permanent digital radio services are being switched on in Canberra, Darwin and Hobart this year.

Commercial radio broadcasters have identified another 13 regional centres as priority markets for rollout within the next five years, including Newcastle, Dubbo, Goulburn and Albury.

The number of DAB+ portable and home radio receivers in market totalled 2.37 million at the end of the calendar year, with another 1.42 million in cars.

CRA Chief Executive Officer, Joan Warner said the large increase in DAB+ devices was expected to continue in 2018, with digital radio now standard in 47% of all new vehicles being sold.

“More than 560,000 of the new cars sold in 2017 were fitted with DAB+ radio.

The adoption in cars is ahead of forecast, which is great news as it means more listeners are able to discover digital radio and the new digital-only stations on offer,” she said.

Ms Warner said 43% of listeners in the five major capitals of Sydney, Melbourne, Brisbane, Adelaide and Perth now have access to DAB+ digital radio at home, at work or in the car.

Listening figures for the new DAB+ only radio stations will, from March, be released on the same day as the regular metropolitan radio surveys eight times a year, to provide the market with immediate audience data for all stations.

Visit www.digitalradioplus.com.au

Entries Open for Radio Awards’ 30th Year

IN AN AUSTRALIAN INDUSTRY FIRST, Southern Cross Austereo (SCA) has launched its own dedicated talent development unit to be known as Hubble.

RADIO BROADCASTERS from around Australia will celebrate 30 years of the Australian Commercial Radio Awards (ACRAs) at the Melbourne Convention and Exhibition Centre on Saturday the 20th of October.

“Hubble is set to revolutionise the way we discover, develop and deploy talent for our networks,” said Grant Blackley, CEO of SCA. “We are excited to pioneer a new approach to the discovery and development of future audio and radio personalities, provide an increased number of opportunities to talent, and create exciting new content for our listeners,” Mr Blackley said.

Guy Dobson, Chief Content Officer, SCA commented, “We know there are many talented people right across Australia, eager to break into this increasingly competitive industry, and we are thrilled to be able to provide a foot-in-the-door with Hubble.”

“Entertainment is a fast-paced landscape and it can be difficult to discover and keep track of who’s out there, and then align talent with audiences; this system will change all that,” said Dobson.

After twelve months in development, Hubble has created its own worldfirst internal software platform, designed to database talent and track development.

Hubble’s first success story, promising duo Lewis Spears and Luke Kidgell, will start soon on Sunday nights on Melbourne’s Fox FM. Nurtured through SCA’s new talent development initiative, the stand-up comics made their debut into radio on Triple M Modern Digital with their daily show ‘Luke and Lewis’, and are now moving onto bigger audiences. Hubble will unveil another two development shows in the coming weeks, with plans to open up many more opportunities throughout 2018.

In coming months, Hubble will also launch an external website to accept applications from anyone, anywhere, eager to put himself or herself forward as potential talent, and will establish a national masterclass series inviting prospective talent to learn from some of the best producers and content directors in the country.

RADIO

Radio ratings figures by GfK show an average of 3.77 million people in the five metropolitan markets, or 28% of the available audience, listened to DAB+ each week in 2017.

Talent to Bubble in SCA’s Hubble

Hubble is designed to discover the next generation of audio personalities, invite new talent into the company and create more opportunities than ever before across radio, podcasting and digital properties.

52

Ms Warner said broadcasters are working with the Australian Communications and Media Authority and the Department of Communications on planning and regulatory processes.

Visit www.southerncrossaustereo.com.au

The ACRAs are a highlight of the radio industry’s yearly calendar with the Awards attracting the industry’s stars, personalities and media executives from around Australia.

Chief Executive Officer of Commercial Radio Australia, Joan Warner said, “The awards are a celebration of talent behind the mic and behind the scenes across the Australian radio industry. Last year’s awards attracted outstanding entries making it very difficult for our panel of judges.”

Organised by Commercial Radio Australia, on behalf of the radio industry, the national Awards include 33 categories, which cover all areas of radio broadcasting including news, talk, sport, music and entertainment. The ACRAs are peer judged with judging panels comprised of industry members across networks and associated industries. Winners are announced in each category across three areas: metropolitan, provincial and country commercial radio stations.

Other winners from last year included: 3AW’s Neil Mitchell winning the prestigious Brian White Award for Radio Journalism, Best Current Affairs presenter won by 2GB’s Ben Fordham, Hit Network’s Hamish and Andy (Hamish Blake and Andy Lee), won the Best Station Produced Comedy Segment and Best Station Promotion, Smallzy (Kent Small) host of Nova’s Smallzy’s Surgery was awarded the ACRA for Best Music or Entertainment Presenter and 2GB sports presenter, Erin Molan won the Best Newcomer On-Air award.

Last year’s ACRAs were held in Melbourne and hosted by Chris Taylor and Andrew Hansen and more than 1000 people attended. The announcement of this year’s host, presenters and entertainment will follow in the coming months.

A highlight of the awards each year is the Hall of Fame, which acknowledges a lifelong commitment to the Australian radio industry. Last year’s inductees were WSFM Breakfast co-host Amanda Keller and 2GB’s Ray Hadley. Previous inductees have included; Nova Entertainment CEO, Cathy O’Connor Jeremy Cordeaux Peter Harvie, Derryn Hinch, Neil Mitchell, John Laws, Tony Pilkington, Graham Mott, Frank Hyde, Rod Muir, Bob Rogers, Paul Thompson and Kevin Blyton. Hall of Fame recipients are nominated by industry colleagues and decided by an industry wide senior executive panel.

Entries for this year’s Awards close on the 18th of May 2018.

Visit www.acras.com.au

RADIO

ENCO Controls the Radio Station from Anywhere AT THE 2018 NAB SHOW, ENCO says it will once again transform the possibilities around remote control of automated studio workflows with the second generation of WebDAD, the cloud-based solution that now allows broadcasters to take full, native control of the radio station from any networked location. Part of ENCO’s enCloud family, WebDAD provides users with a fully virtualised platform to remotely access and control their studiobased ENCO DAD radio automation systems.

New for NAB, ENCO will unveil WebDAD’s second-generation user interface, fully redesigned and optimised through an HTML5 architecture. The open, flexible nature of HTML5 programming ensures that broadcasters are no longer limited to specific web browsers, enabling complete native-level control from any workstation or mobile device.

“The benefits of web-based control of radio automation have long been understood and requested by broadcasters, but until WebDAD the interfaces have been limited to the simplest playback tasks,” said Ken Frommert, President, ENCO. “WebDAD changed this by introducing the ability to manage and drive on-air presentation, playlist manipulation, voice tracking, and other critical production tasks across the end-to-end workflow. With our HTML5based re-design, WebDAD becomes the most powerful and comprehensive browser-based interface yet, giving broadcasters and production teams a direct line to DAD and complete control of the one-air interface over IP via any standard web browser.”

WebDAD introduces new operational efficiencies for full-time station personnel, and also allows part-time, contract, and remote staff to access the playout system from a laptop, tablet, smartphone or other connected device.

Radio stations and networks can quickly establish a decentralised work force,

and allow talent to be heard in several markets with the ability to voice track from anywhere. This moves broadcasters further in the direction of a fully virtualised broadcast and production environment, since the board operator no longer needs to be physically at the radio station to control and playout a live radio show.

WebDAD expands the enCloud product line, which includes popular tools for mobile journalism and remote voice tracking. ENCO will demonstrate WebDAD and the entire enCloud suite at the 2018 NAB Show, taking place April 9-12 at the Las Vegas Convention Center. ENCO will exhibit at Booth N3824.

Visit www.enco.com

ABC Launches Preschoolers’ Digital Radio Station and App THE AUSTRALIAN BROADCASTING CORPORATION has announced the launch of ABC KIDS listen, a dedicated kids digital radio station and app for preschoolers and their families.

ABC KIDS listen provides children ages 0-5 and their families with a safe space to access trusted, educational and entertaining audio programs that feature music and stories from their favourite ABC KIDS characters.

ABC KIDS listen is aligned with the Early Years Learning Framework for Australia, the national early childhood curriculum for childhood educators, that encourages children to learn through play. ABC KIDS listen aims to enhance learning, imagination, cognitive and physical activity, creativity and family experiences, which will assist parents and caregivers to bridge the gap between home and child-care.

Available through DAB+ radios and a live radio stream online, families can enjoy fourteen regular weekly audio programs from 6:00am every day. The programs are themed and designed to suit a child’s daily routine, encouraging children to explore, learn, play, and later wind down, rest, and sleep.

Listeners can select programs on demand to suit their child’s changing needs. Listeners can also download a full program within the ABC KIDS listen app allowing families seven days to listen to their selected program anytime and anywhere without an internet connection.

ABC KIDS listen is available on DAB+ radios (scan for the station named ABC KIDS listen), to stream at www.abc.net.au/kidslisten, or by downloading the app free on the Apple App Store and Google Play.

UK Regulator Further Extends Trial of Small-Scale DAB IN 2015, UK REGULATOR OFCOM licensed and co-ordinated a trial with a new approach to DAB radio broadcasting which it called small-scale DAB.

licence in the same area has been awarded and the service is ready to launch.

During this period, no new trial licences will be awarded.

Ten trial licences were awarded to parties in different areas of the UK who wanted to operate a small-scale DAB multiplex. The trial multiplexes covered a relatively small geographical area compared to local and national DAB multiplexes. The small-scale DAB trials keep costs low by making use of relatively inexpensive transmission equipment and the freely available ‘opensource’ software.

The extension to 2020 is the second granted by Ofcom following its 2016 report into small-scale DAB. In that report, the UK regulator concluded that the trials had successfully achieved all three of its aims:

While the current trial small-scale DAB multiplex licences will eventually be replaced by competitively awarded licences under a new licensing framework, Ofcom proposes to extend the trial licences until 31 March 2020, but with the option to terminate the licences at an earlier date in the event that a non-trial

• Coordination between service providers had generally been very effective.

Across the ten trial areas, nearly 70 unique radio stations were carried, the majority of which were new to DAB. • The ten trial operators gained extensive practical experience of small-scale DAB and shared their experiences and technical knowledge with each other.

Some operators were also directly involved in innovating further technical enhancements to the small-scale concept, with the trials have prompting wider market interest.

Ofcom also looked at the availability of frequencies for small-scale DAB and concluded that “… when added to the spectrum available amongst the UK’s existing licensed DAB multiplexes, there is sufficient spectrum to support at least one small-scale multiplex in most parts of the UK.” Visit www.ofcom.org.uk

RADIO

Ofcom has proposed to further extend the licences of the ten trial small-scale DAB multiplexes. The regulator says the trials “… have proved to be successful.

There are currently around 150 community and small commercial radio services broadcasting digitally on the ten trial multiplexes. By further extending the trials, these radio services will continue to be available to listeners.

Ofcom will also be able to continue gathering useful information from the trials, to help inform the development of a framework to enable small-scale DAB multiplexes and services to be licensed throughout the UK under a new licensing regime, on a non-trial basis.”

• The technology used generally worked well and reliably, and technical problems identified were resolved.

53

RADIO

Antenna for Low-Power FM and HD Radio AT THE 2018 NAB SHOW, Dielectric, the manufacturer of purpose-engineered antennas and RF systems for TV and radio broadcasters, will display its proven Powerlite DCR-T ring style antenna adapted for the directional signal control now required by an increasing number of lower power FM and FM translator stations.

The antenna is provided with proof of performance documentation. Dielectric will exhibit the DCR-T alongside its portfolio of TV and FM antennas and filters at Booth C2613 in the Las Vegas Convention Center (April 9-12).

The circularly polarised DCR-T directional antenna is offered as a costeffective solution for low-to-medium power FM and translator stations, which traditionally required a far more expensive antenna in designs typical of higher power operations, to meet directional pattern requirements.

Dielectric’s solution reduces antenna costs and production lead times, and with most FM translator directional antenna requirements, significantly reduces the

price of the FCC proof of performance. This is made possible through the use of Dielectric’s specialised software that provides the proof of performance data required to confirm directional pattern compliance, as opposed to the traditional method of verifying patterns with physical scale models.

The DCR-T is the latest in the Dielectric ringstyle antenna product line, offering a fieldproven design that optimises engineering quality and flexibility. Its broadband capability offers plenty of bandwidth to accommodate HD Radio signals alongside analogue FM, with simple, in-field channel adjustments should channels change. As with all Dielectric antennas, the DCR-T is also lightweight with a robust structure and low windload, thus increasing long term reliability, simplifying maintenance, and reducing stress on tower and/ or building structures. The DCR-T is offered with an optional radome for use in climates with snow and ice.

Visit www.dielectric.com

Audio-Over-IP Studio-to-Transmitter Link

IP Intercom for Radio

AT THE 2018 NAB SHOW, IP audio and control developer Barix will show the final shipping version of Redundix, its cost-effective solution that automatically corrects glitches and failures on IP STL connections. Barix will demonstrate Redundix alongside its Audio over IP codec solutions for broadcast at the 2018 NAB Show, which takes place April 9-12 at the Las Vegas Convention Center. Barix will exhibit at Booth C1139.

THE TELOS ALLIANCE, developer of broadcast radio and TV technology, and parent company to Telos, Omnia, Axia, Linear Acoustic, 25-Seven, and Minnetonka, has announced that it will introduce the Telos Infinity IP Intercom to the radio market at NAB 2018, April 7–12, in booth N6531 at the Las Vegas Convention Center.

Redundix adds resilience to IP-based transport by either time-delaying two streams on the same network, and/or sending a redundant stream over a separate path. On the receiving side, Redundix repairs lost packets in the stream caused by transport network imperfections using the time or path redundant streams. The result is better audio quality because lost packets are repaired, and audible imperfections are significantly reduced.

“Broadcast professionals in the TV market have quickly embraced our recently introduced Telos Infinity IP Intercom solution, which unleashes the full potential of a distributed IP audio infrastructure,” says Marty Sacks, VP of Sales, Support, and Marketing at Telos Alliance. “When we invented AoIP for broadcast, we revolutionized the radio industry. We’re excited to apply that same AoIP functionality to matrix-free intercom with the goal of providing broadcasters everywhere fully integrated AoIP environments.”

At NAB, Barix will unveil its latest Redundix design, which now features two Ethernet interfaces and can be connected to almost every network topography. This is due to the fact that it can be used as a standalone device connected to a switch, or as a bridging device when no switch is available. This versatility and interoperability with any existing industry codec makes Redundix a cost-effective and easy to implement solution for radio broadcasters and studio administrators.

Telos Infinity IP Intercom is the first in a new series of Telos Infinity solutions. More than just a talkback system, Telos Infinity IP Intercom converges voice communication and contribution audio on a single IT backbone. Infinity employs the latest standards-based VoIP and Livewire+ AES67 AoIP to replace outmoded matrix technology with an advanced, distributed IP network solution that provides superior functionality in a simplified, more elegant form. Upon its introduction at IBC 2017, the Telos Infinity IP Intercom received a Best of Show award from a panel of media industry experts.

Visit www.barix.com

Visit www.telosalliance.com/Telos/Telos-Infinity

RADIO

AES67 Interoperability for Audio-Over-IP Signal Transport

54

GATESAIR, THE DEVELOPER of wireless, over-the-air content delivery solutions for radio and TV broadcasters, says it has made significant strides in interoperable audio networking with the introduction of the Intraplex IP Link 200A, the company’s first AES67-compliant Audio over IP codec. To be unveiled at the 2018 NAB Show (April 9-12, Las Vegas Convention Center), the IP Link 200A allows broadcasters to seamlessly interconnect studios and remote locations, including transmitter sites, using the AES67 standard and any of today’s encoding algorithms across wide-area IP networks. GatesAir will exhibit at Booth N3713.

and Analog/AES3 as desired. In any scenario, the IP Link 200A simplifies the cabling and removes limitations on location of the codec.

The IP Link 200A is a hybrid model that interconnects AES67 and Analog/AES3 signals simultaneously, and enables conversion between the two formats. With dedicated channels for both, users still operating in Analog or AES3 mode have a futureproof path to an industry-adopted Audio over IP standard. Additionally, those operating in mixed mode can seamlessly convert between the AES67

The IP Link 200A will be demonstrated alongside other recent Intraplex innovations, including the ultra-bandwidth-efficient Intraplex IP Link MPXp for digital (AES 192) and analog FM MPX transport; and the Intraplex IPConnect for rock-solid data transport across IP networks.

As with other IP Link codecs, the IP Link 200A integrates GatesAir’s Dynamic Stream Splicing software, which mitigates IP packet loss and eliminates off-air time through multiple redundant streams. Dynamic Stream Splicing borrows data from these redundant streams, which can live on the same network or separate paths. GatesAir’s integration of a firewall and advanced packet filtering capabilities strengthen network security, protecting against outside intrusions to ensure rock-solid, on-air signal protection.

Visit www.gatesair.com

RADIO

Comrex Polishes Up Opal IP Gateway

Logitek Adds Management to JetLink Remote Audio System

COMREX HAS RELEASED a new firmware version for Opal, its IP audio

LOGITEK (NAB 2018, BOOTH C1633) has introduced JetConnect, an easy-to-use management system for the company’s JetLink remote audio software.

gateway. Opal firmware 1.1 includes native Safari support for macOS and iOS11.

Once installed, Opal serves a web page to anyone who accesses it through an Internet browser on any device with a microphone and speaker. This web page allows a user to click a button and broadcast from their computer or phone in high fidelity. High quality return audio is also provided to the guest.

Prior to the release of Opal 1.1, Opal was only compatible with Chrome, Opera, Edge, and Firefox browsers. Now, Opal users can connect using Safari, making it even easier to operate for Apple users.

“Up until this point,” said Tom Hartnett, Comrex Technical Director, “we could support iPhone users with an app. But as simple as we made it, there was still a concern that even this step was too much for some guests. Now users can connect in studio quality from their iPhone without installing anything at all.”

Opal is ideal for users who need to coordinate “studio quality” call-ins with non-technical remote guests – guests can simply click a link, and connect instantly. Opal establishes the link using the Opus encoder, for

JetLink enables sending and receiving of broadcast quality audio from computer to computer.

Using a high bitrate Opus software codec, JetLink has been proven to keep a solid, low latency connection on corporate LAN connections, DSL lines, WiFi, and 4G LTE connections. Logitek has been running a free beta program for JetLink since last fall; the feature set of the beta program has been renamed JetLink Free and will remain available at no charge.

Soon to be available via a subscription service is JetConnect. This PC application makes it easy to click and connect to other computers and includes firewall transversal so users can easily access remote computers without the inconvenience of port forwarding. With JetConnect, users set up a master account for their station/company and then assign clients to the account. Clients can have easily-identifiable names such as studio, site name or call letters. Within the JetConnect sofware, users can then select which sites to use for connection rather than having to type in an IP address or port. Because licenses are managed through a cloud service, users can easily change assignments of computers for JetLink, making the system both versatile and more secure. Licenses may be managed either corporate-wide or by market.

JetLink and JetConnect are easy to integrate with an Audio-over-IP console system, using the system’s soundcard replacement drivers.

website .

“With JetLink and JetConnect, it’s easier than ever to manage remotes or to set up a backup STL for your station, with full fidelity audio and extremely low latency,” said Tag Borland, Logitek President. “We will soon be expanding the abilities of JetConnect even further, and we’re excited about the opportunities these technologies will bring to the Radio market.”

Visit www.comrex.com/support/opal/#firmware

Visit www.logitekaudio.com

excellent fidelity and low delay.

Opal users can download firmware v.1.1 for free from the Comrex

WorldDAB, EBU and EDRA call for Receiver Legislation WORLDDAB HAS JOINED WITH the European Broadcasting Union (EBU) and the European Digital Radio Alliance (EDRA) to call upon EU decision makers to introduce measures to encourage the interoperability of radio receivers across the EU. Such an initiative would require new radio receivers (consumer and automotive) to be capable of receiving both analogue and digital transmissions.

by technology giants, radio needs a digital pathway which allows the

Patrick Hannon, President, WorldDAB, said: “In a world increasingly dominated

Visit www.worlddab.org

medium to remain free-to air, compelling to listeners and reliable in times of emergencies. A requirement for radio devices to be capable of receiving both analogue and digital transmissions is critical to achieving this goal.”

Frontier Digital Radio Sales Exceed 45 Million FRONTIER SMART TECHNOLOGIES, the supplier of digital audio solutions, has announced that lifetime sales of the Group’s digital radio chips and modules now exceed 45 million units. Following a record year in 2017, cumulative sales achieved this new peak in the opening weeks of 2018.

receivers in France to have digital capability.

Sales in 2017 benefited from strong growth across Europe – not only with the switch-off of FM in Norway, but also with significant advances in Germany, The Netherlands, France, Italy, Denmark and Belgium.

Switzerland is the next country to switch off its FM broadcasts, a process which starts in 2020. In the UK, 2018 is likely to see digital platforms account for 50% of radio listening, a figure which the Government has confirmed will prompt a review of the UK’s long term digital radio plans.

In October, the European Parliament published an amendment in favour of radio receiver regulation.

In December, Italy passed a law requiring all new radio receivers from the 1st of January 2020 to have digital capability.

In January, the French regulator confirmed DAB+ coverage is expected to exceed 20% of the population – triggering a legal requirement for new

Anthony Sethill, Chief Executive Officer, Frontier Smart Technologies, said: "The achievement of this milestone reflects both sustained growth in the digital radio market and Frontier’s strong leadership position in this sector.

We expect to exceed 50 million units during 2018 – and, with Switzerland starting its FM switch-off in 2020 and growing interest in receiver regulation, prospects for further growth in volumes over the next three years are promising.”

Visit www.frontiersmart.com

RADIO

The 45 million milestone has been achieved at a time when support in Europe for regulation requiring radio receivers to have both analogue and digital capability is growing:

In Germany, the Bundesrat (the Länder) has called on the EU to revise the European Electronic Communications Code – effectively requiring radio receivers to offer digital capability.

55

CONTENT DELIVERY Terrestrial, Mobile, Broadband

www.content-technology.com/delivery

Ad Insertion – Serving Yourself Right!

THE ISSUE OF MONETISING CATCH-UP and live streaming services has long been a challenge for traditional media organisations whose business model is predicated on advertising support. With connectivity on the improve, the ability of content providers to effectively employ Server-Side Ad Insertion (SSAI) has increased greatly, bringing with it greater accuracy in reporting, more quality control over advertising content and an improved experience for the viewer.

Yospace is a developer of content distribution technology specialising in server-side dynamic ad insertion in live and on-demand streaming. The company's core platform yospaceCDS was launched in 2008, with serverside VOD ad insertion launched in 2010. The company's dynamic adinsertion technology for live streaming, demonstrating user-addressable, frame accurate and seamless ad insertion was launched at IBC 2011.

Locally, the platform has been most recently employed by the Australia’s Seven Network with Yospace and Seven entering into a long-term agreement for enabling Dynamic Ad Insertion into live OTT channels at scale.

The system was used by Seven for the 2017 Australian Open (part of the Summer of 7Tennis season), during which ad breaks were editorially triggered. There has since been a full integration between Yospace’s platform and the Imagine D Series automation system that drives the broadcaster’s linear TV channels, meaning that DAI can be applied 24/7.

According to David Springall, CTO of Yospace, it has taken a while for the industry to cotton on to Server-Side Ad Insertion (SSAI).

“Its benefits are that it certainly provides a more uniform user experience, but for live content, it’s kind of the only way you can do it,” he says. “You can try and do it client-side with live, but it really looks pretty bad. So, we find a lot of our customers are using us for live sports, and by the end of February 2018, we delivered over a billion ad impressions, unlocking about US$10 million of revenues broadcasted with rights.

“The online broadcaster’s ability to monetise is actually an existential challenge. If you don’t monetise your live content or even your VOD content, you’re going to face a lot of competition for very well-funded, internet-based companies that will. Programmatic, buyer-centric ad sales will be the core of online advertising in the future, and so getting programmatic right is going to be absolutely key to driving that success.

“Now, online broadcasters want to monetise their content effectively, but they also demand – and it’s expected from their brand, from their user base – that they deliver a very high-quality user experience. The challenge is to combine the safety of inserting stuff from a programmatic network that you don’t have direct control of, the user experience, and getting as many ads as possible into your streams so you make as much money as possible.”

CONTENT DELIVERY

Yospace emphasises a server-side stitching approach to ad insertion where a single stream is delivered, with ads already stitched in, across multiple platforms/devices, as opposed to client-side solutions that can require inapp development for each operating system, especially whenever an OS is upgraded.

56

In a basic workflow for SSAI, ads are delivered, and the creative undergoes a transcoding process to normalise the ads, audio levels, etc., and place the ad files on the same CDN where programme content resides, so it delivers it at the same speed and is compatible, in a branding sense, with the content being streamed.

“It matters because you have the ability to fully control what you’re putting in the stream,” says Springall. “You don’t want anything that’s come from the ad tech ecosystem from breaking your user experience, especially if it’s live. So, having an on the fly approach to transcoding, new creative, ie, as we see new creative we can transcode the things as we see it. It’s great, could

work for 24/7-type streaming but if you’ve got a big event, you’ve got only a certain number of ad breaks where you’re going to have a large number of people watching. That’s not the time to be discovering a new ad creative, and not being able to deliver it.”

Muddying the waters, according to the YoSpace CTO, is a lack of standardisation among ad exhanges in the management of ad files, but the key to this already exists, he says, and it comes in the form of the Ad Copy Management Systems (ACMS) used by TVC delivery companies “We already have processes and companies that specialise in normalising ads, in checking QA and content, compliance checking it, making it available for delivery.

“There already are vendors like Ad Stream, Extreme Reach and so on and so forth that provide a delivery point for media buyers, the creative agencies to put their content to ensure that it then gets there – the chain of custody for that media is fully trackable and can be used.

“What we are proposing, and what we’re doing is working with these ad-hoc copy management companies is to start thinking using these technologies, these platforms, these workflows to improve on the online operation and to deliver a number of benefits.

"The online broadcaster’s ability to monetise is actually an existential challenge. If you don’t monetise your live content or even your

“The idea is when a campaign is live, the media can be obtained proactively. The flighting of campaigns is loaded up, metadata updates and the chain of custody updates are made available to all of the parties in this ecosystem, from the demand side to the supply side and the after-decision existence, as well as the consumption side.

“We are working with the IAB Tech Lab to establish the need VOD content, you’re for standardisation in this area. going to face a lot of Agencies obviously choose different ACMS providers when competition for very wellthey traffic ads and they must specify the ID to specify the funded, internet-based source. So, for example, in VAST 4.0 (Video Ad Serving Template), companies that will" there is a universal ad ID node which identifies the media, and the universal ad ID has a ID registry. So, rather than trafficking 5 or .mpeg4 traffic, in the case of the UK, this would probably be a clock number or it could be an ad copy management specific ID. But, the creative comes from a finite number of these ACMS’s, and you can traffic by token or by reference rather than by actual file, which will massively improve the safety and delivery.

“There are a finite number of these ads created but everyone’s got their own copy of them. Why do we need that? There’s already a place that are handling these files, so why don’t we use that? So, a standardised approach to ad copy management through trusted third parties has to be the way forward in terms of safety, user experience, efficiency, etc. etc. It does require a significant change in the way that all of this works. I know that this is not going to be overnight, but this is just the start. Somebody’s got to start having these ideas.”

Visit http://www.yospace.com

CONTENT DELIVERY

REGISTER AT abeshow.tv

AUGUST 7-9, Darling Island, Pyrmont.

Hear from industry experts on hot topics such as IP production and delivery, 4K, HDR, HEVC, OTT, VR, cloud broadcasting and more.

See the latest solutions to empower production and delivery of your content. Register now for updates & notifications on speakers and attendees.

2018 ABESHOW Exhibitors include 4Amber Technology 4Panasonic 4Aspera

4Quantum

4Blonde Robot

4Rohde & Schwarz

4Ericsson

4Ross Video

4Imagine Communications

4Sony

4Magna Systems & Engineering 4Onair Solutions

4Techtel 4Tekinsite 4VizRT



Video Technologies PMS 356

PMS Cool Gray 8

MEDIA PARTNER

CONTENT DELIVERY

The 2018 Exhibition, Conference and Workshops are the second to be held at Doltone House, Darling Island, Pyrmont, from August 7–9.

57

CONTENT DELIVERY

Rohde and Schwarz Fills Content Delivery Gaps AT NAB 2018, ROHDE AND SCHWARZ will showcase its new R+S TLU9 GapFiller, a rebroadcasting product that makes it possible to extend the coverage of main transmitters (high-power and medium-power stations) in specific topologies that cause shadowing effects, such as steep valleys without the need for an additional fully equipped transmitter site.

Many current gap fillers are complex to configure.

They only work well for specific reception scenarios and cannot handle changing echo characteristics.

The R+S TLU9 GapFiller addresses all these limitations. It offers gap filler operators the optimum combination of top signal quality, best reliability and minimal operational costs. Furthermore, it is the first gap filler to feature R+S smartEC, a built-in intelligent echo cancellation mechanism for self-configuration and automatic adaptation to changing echo characteristics.

R+S smartEC takes the R+S TLU9 GapFiller to the level of performance and reputation of a low-power transmitter. It handles complex echo scenarios, significantly minimizes MER degradation, provides self-configuration capabilities and self-adapts to changing echo characteristics. Finally, it saves costs since an engineer does not have to regularly, manually reconfigure the echo cancellation parameters in the field.

INGEST AND PLAYOUT With its open architecture, R+S VENICE is a playout and ingest platform that enables broadcasters to deliver content in the most appropriate manner by merging SDI and Video-over-IP technologies, empowering the user to migrate to IP-based production at a time and speed that best suits their situation, and provides a single platform covering live production, studio production and channel playout applications. R+S VENICE offers interoperability with third party solutions by web-services and softwareoriented architecture. It seamlessly ingests and plays out resolutions ranging from SD to UHD whilst its advanced transform functionality allows transforming into all supported formats.

At NAB, Rohde and Schwarz will demonstrate how its new R+S VENICE platform is ideally suited to live and studio applications. At the same time, R+S VENICE is the ideal solution for Channel Playout applications. The server is scalable in terms of channels, capacity and bandwidth and offers 24/7 reliability with seamless failover mechanisms.

ENCODING AND MULTIPLEXING Another Rohde and Schwarz focus at NAB 2018 will be its R+S AVHE100 system solution for encoding and multiplexing. A compact, yet flexible and scalable transcoding, encoding and multiplexing solution, it offers best in class video quality for premium content distribution, including for today’s most advanced video coding standard HEVC – for over-the-top (OTT) and broadcast applications. It also fully supports high dynamic range (HDR) video transmission.

SDI/IP Hybrid Routing

CONTENT DELIVERY

AT THE 2018 NAB SHOW, Utah Scientific will demonstrate its new 400 Series hybrid digital router, a platform designed to accommodate next-generation IP signals along with today’s high-density SDI. All within a common frame, the 400 Series can handle any number of IP and SDI signal formats along with audio and data. The new SMPTE ST 2110 and SMPTE ST 2022-6/7 IP formats are supported, along with 3G-SDI, analogue, HD, SD, and audio signals including analogue, digital AES3, MADI, TDM, and AES67.

58

Additionally, an SDI/IP hybrid ‘pass-through’ card will be available only in the 400 Series. The pass-through card will change how broadcasters look at the SDI/IP transition. The router also handles all major digital and analogue audio formats, and features advanced signal processing for embedding and deembedding.

The Utah Scientific 400 Series Hybrid Router integrates with the SynView 4K and IP multiviewer. SynView from Axon is a powerful, modular multiviewer that can handle both 4K and IP video formats. SynView is the industry’s only singlefield latency multiviewer system to offer external looping for an unlimited number of input channels.

The new R+S TLU9 GapFiller.

The platform provides COTS-based encoding and multiplexing. Its IP-based system workflow provides advanced redundancy options. At NAB, Rohde and Schwarz will demonstrate how the video headend solution integrates seamlessly with the company’s R+S PRISMON monitoring solution to ensure efficient monitoring of all streams received and generated, thereby minimising customer stress in multi-signal environments that are commonly found in today’s broadcast solutions.

MONITORING AND MULTIVIEWERS Another focus for Rohde and Schwarz at NAB 2018 is advanced content monitoring for broadcast and streaming media services featuring its award winning R+S PRISMON multiviewer. As part of the AIMS NAB 2018 interoperability showcase, R+S PRISMON running interoperable implementations of the latest drafts for SMPTE 2110 and AMWA IS-04 in a live environment.

Rohde and Schwarz will demonstrate how R+S PRISMON is applicable to the broadest range of scenarios including Playout, Production, Contribution, Distribution and Cloud environments. Reporting is another key focus with combined data rates, stream types and resolution reporting, thereby reducing management complexity in modern media operations.

CONTRIBUTION Also at NAB, Rohde and Schwarz will showcase R+S RelayCaster for live contribution over public internet services. With R+S RelayCaster, reliability of contributing and distributing live content via unmanaged networks is significantly improved, as packet loss issues are efficiently resolved.

R+S RelayCaster enables the replacement of expensive satellite links or contracts with CDN service providers. In contrast to these services, RelayCaster is not limited to certain regions or data-centres. RelayCaster enables distribution of content across any distance, to any place that is reachable by Internet infrastructure. With optional encryption, data streams will be protected between all senders and receivers (AES).

Visit www.rohde-schwarz.com

Utah Scientific will also feature its UHD-12G digital routing switcher. The UHD-12G is an enterprise-class router which enables distribution of a full range of SDI video signals, from SD data rates up to 2160p60, in a single-link interconnect. Suitable for live acquisition of UHDTV content, the UHD-12G simplifies installations, reduces the rack space and cables needed to process 4K signals, and lowers operating expense. Suitable for enterprise broadcasters that need to meet growing consumer demand for UHDTV content, the UHD12G is able to receive, route, and distribute SDI signals up to the latest 4K/60 standards on a single cable. The router is fully compliant with SMPTE ST 2081 and ST 2082 standards for SDI video and compatible with the full line of Utah Scientific products. In addition, the UHD-12G can be controlled by any version of Utah Scientific’s current family of routing control systems, including the SC4, SC-40, and SC-400.

Also on show is Cerebrum software, designed to make the control and monitoring of a traditional or IP broadcast infrastructure easier, more efficient, and cost-effective than ever. Cerebrum provides comprehensive tools with which to configure, control, monitor, and maintain products from any manufacturer within and beyond the broadcasting industry.

Visit http://utahscientific.com

CONTENT DELIVERY

Telestream Tackles Content Delivery Lifecycle VISITORS TO THE TELESTREAM BOOTH at NAB 2018 (SL3316), will see how the company’s iQ solutions deliver actionable intelligence at every level of the content delivery lifecycle. iQ solutions ensure audience expectations for video quality are met, validating delivery against service level agreements and compliance obligations. With actionable information and metrics for optimising traffic and cost, Telestream iQ solutions help ensure a good viewing experience, protecting the brand reputations of service, network and content providers.

New at NAB: a quality assurance solution for multiscreen and OTT video streaming that reaches into the last mile of the adaptive bit rate (ABR) delivery network, monitoring mobile and Wi-Fi access points. Enhancements such as a simplified user interface (UI) and new workflow help users quickly pinpoint the location of quality issues, minimising the time between detection and resolution.

Wirecast, the cross-platform, live production software for streaming to Facebook, YouTube, Twitter and many other destinations, will also be on display. Wirecast offers professional multi-camera production, built-in live conferencing with its Rendezvous built-in peer-to-peer conferencing, and live graphics and social comment display. Unveiled at NAB, two new cloud-based services for Wirecast, restreaming and ASR live captioning. Restreaming allows users to publish to multiple destinations from a single Wirecast upload stream, saving uplink bandwidth and compute power on the ground. ASR live captioning analyses audio from your stream on-the-fly and embeds live captions in the output stream. Telestream will also demonstrate new Wirecast integrations with X-Keys and MIDI control surface interfaces for faster, more intuitive operation.

Vantage, the Avid MediaCentral Monitor enables users to manage files in their Avid Interplay or MediaCentral | Production Management systems from within Vantage. Media Composer editors no longer need to spend time exporting

sequences out of Media Composer for Vantage to utilise them.

Vantage workflow orchestration and media processing can run on-premises or in the cloud. With Elastic Domain, Vantage has new deployment and licensing options to support rapid scaling. New integration of the Pathfire Automation Connect Protocol allows for TrafficManager support of long form content, while Brightcove dynamic upload integration has been added for Vantage Social.

Lightspeed Live Capture provides flexible, scalable IP and baseband capture with growing file support. Featuring support for industry leading codecs with simultaneous proxy generation, Lightspeed Live Capture is the entry-point for all live media into any capture workflow or to the Vantage Media Processing Platform, where it becomes an even more powerful ingest solution. At NAB, visitors will be able to see the new web-based GUI and automation and propagation/insertion of metadata variables for any capture workflow. Avid Interplay/MediaCentral support, file segmentation and chunking, plus filestitching for tape-based media are all supported in the latest version.

For multiscreen live encoding and packaging at scale, Lightspeed Live Stream is Telestream’s premiere live encoder for broadcasters and content aggregators.

Stream conditioning technology allows Lightspeed Live Stream to prepare live content for frame-accurate ad insertion and content replacement, avoiding the need for downstream re-encoding. Now shipping with HDR support and CMAF packaging, as well as live digital caption encoding.

Telestream also offers a portal for its cloud services that provides access to a number of digital media processing capabilities in a Software as a Service model. New at NAB 2018, Telestream Cloud services now include autotranscription and file-based quality control in addition to the existing Flip transcoding and Workflow services.

Visit www.telestream.net

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

Stay informed. Sign up today.

Embracing the cloud ¸PRISMON The convergent monitoring solution for broadcast and streaming media R&S®PRISMON is designed from the ground up to allow broadcast and media service providers to successfully solve challenges. ❙ Multistandard support for unmatched versatility (e.g. AIMS /SMPTE 2110, ASPEN, DASH, ...) ❙ Future-proof, fully software defined solution for innovative monitoring features ❙ Cloud-enabled and orchestration-ready design for dynamic and flexible resource allocation

www.rohde-schwarz.com/ad/prismon sales.australia@rohde-schwarz.com

CONTENT DELIVERY

Available on scalable IT hardware platforms and for cloud deployments.

59

CONTENT DELIVERY

IP Showcase at NAB to Feature IP’s Readiness for Prime Time WITH THE FIRST DOCUMENTS in the SMPTE ST 2110 suite of standards having been approved and published, the industry is forging ahead with its move to real-time IP signal flows. Reflecting this step change, the IP Showcase at 2018 NAB Show will be dedicated to educating NAB Show visitors about the considerable potential of internet protocol (IP) as a foundation for a more flexible, efficient, and creative broadcasting industry.

Located in the Las Vegas Convention Center’s Central Hall in booth C12634, the IP Showcase is positioned to be the largest and most advanced demonstration of real-time professional media over IP interoperability yet. More than 50 manufacturers and eight of the industry’s premier standards bodies and trade organisations will come together and demonstrate the benefits and practicality of transitioning to IP workflows using the SMPTE ST 2110 suite of standards, AES67 and AMWA NMOS specifications.

Visitors to the IP Showcase will have the opportunity to interact with equipment and see how real-time IP offers many valuable operational benefits, which include the following:

• Plug-and-play connection management.

• A broad choice of interoperable audio equipment.

The showcase also will offer guidance in making a seamless transition from SDI to hybrid IP/SDI systems and on to all-IP; designing deterministic systems; and using new tools for automatic alignment of signals. The IP Showcase also will feature information on a host of IP reference deployments so that visitors can measure their expectations against real-world IP installations. A live all-IP studio within the IP Showcase will provide visitors with a firsthand look at live program production and output using SMPTE ST 2110.

Rounding out the IP experience, the integrated IP Showcase Theater, curated by IABM, will provide educational opportunities through continuous presentations covering the full gamut of knowledge about real-time IP production and intra-facility distribution.

• Format flexibility and efficient cabling.

Companies that wish to participate in the 2018 NAB Show IP Showcase are required to attend a pre-stage event to demonstrate interoperability between SMPTE ST 2110 devices. The success rate at previous qualifying events has been very high.

• Resiliency and data-loss protection.

Visit www.smpte.org/st-2110

Quality, Integrity, Compliance from Tektronix AT NAB2018, TEKTRONIX will showcase solutions that ensure content quality, signal integrity, and regulatory compliance as the transition to next generation networks, workflows, and delivery mechanisms accelerates. On the Tektronix booth at SU5006, visitors will see the latest advances in: • Hybrid IP and SDI media analysis solutions.

• 4K/UHD with HDR video monitoring solutions.

• Quality assurance in a virtual or cloud environment.

Tektronix PRISM offers broadcast engineers and IT professionals connectivity, monitoring and analysis for ST 2110 (-20 (video), -30 (audio) and -40 (metadata)), ST 2022-6 and ST 2022-7. With a broad range of measurements and trend graphs and session displays, PRISM gives engineers visibility into network or content issues including intermittent loss of video, audio, or data content. In addition to the new ST 2110 capability, Tektronix has extended its Precision Time Protocol (PTP) timing analysis to include ST2022-7 timing for system setup and maintenance. PRISM can perform IP and SDI (12G/3G/HD/SD) measurements and offers simple ways to switch between either type of input.

A fundamental requirement of a hybrid IP and SDI infrastructure is the ability to synchronise the facility in a mixed packet and frame-accurate environment. Tektronix SPG8000A master sync and PTP grandmaster clock generator offers PTP support for such a hybrid IP and SDI media infrastructure. Using the SPG8000A with the Tektronix ECO8000 series of change over units enables designers to build highly reliable timing solutions for both IP and SDI networks.

CONTENT DELIVERY

For 4K/Ultra High Definition (UHD), High Dynamic Range (HDR) content and the use of Wide Colour Gamut (WCG), the PRISM platform enables shaders and operators to set up cameras for Live HDR using a proprietary STOP waveform and automated conversion support for a wide selection of camera log curves adopted by various camera manufacturers including S-Log, S-Log 2, S-Log 3, C-Log and Log-C. The platform also supports both SMPTE ST 2084 standard and Hybrid Log Gamma (HLG) as per the ARIB ST B-67 standard. In post-production, colourists and editors can master their content to different standards and across different colour spaces such as REC 709, ST 2020 using Tektronix measurement tools regardless of content type.

60

To protect the investment customers have already made in Tektronix products, graticules specifically designed for set up of 18 percent grey (20NITS) and 90 percent reflective white (100NITS) for easy adjustments to correct grey and white points in HDR applications have been added to both the WFM8000 series and WFM5200 series waveform monitors. The WFM8000 series offers support for 4K and the use of WCG. The WFM5200 addresses the needs of those working with HD-HDR. Both products support a wide range of camera log curves and HDR gammas.

These HDR capabilities can easily be added to existing WFM/WVR8000 and WFM5200 series products with the purchase of Option PROD (a field upgradeable software-only option). Customers with valid software option

key license for PROD can upgrade their instruments free-of-charge with the new firmware.

For streamed or OTT content, Tektronix Aurora file-based QC tools and Sentry monitoring tools now provide the visibility and control needed by content providers in virtual and cloud environments. Sentry is the scalable monitoring solution that can measure the Quality of Experience (QoE) experienced by viewers. These measurements look at the actual content being provided to ensure there are no major quality issues (blocking, audio drop out, frozen frames) and that the content meets regulatory compliance requirements (SCTE35 Type testing, Closed Caption and Loudness testing).

With Digital Rights Management (DRM) support, Sentry ABR can decrypt each program applying DRM and can view and report on the content seen by subscribers.

Aurora, which supports the latest IMF standards and has expanded AWS workflow compatibility and S3 storage support, can be set up to automatically perform a wide range of fundamental content quality tests including TekMOS picture quality, video analysis, and format compliance.

TekMOS is a non-reference picture quality analysis algorithm that provides a Mean Opinion Score (MOS) that has a high correlation to how viewers would rate the quality of the content. Using graphical displays, TekMOS provides actionable reason codes for quality measurements enabling providers to take corrective action. EBP measurements will ensure that switches between streamed profiles will be seamless and not impact the viewers quality of experience.

Visit www.tek.com

CONTENT DELIVERY

Appear Offers Encoding Options with Enhanced Latency APPEAR WILL DEMONSTRATE the complete spectrum of encoding codecs available within its X10/20 platform for the first time at NAB 2018 (booth SU6110). The updated low latency encoding includes TICO, JPEG2000 and HEVC all within a single chassis. This full spectrum of codecs covers the gamut for bitrate and latency applications from distribution to contribution compression, supplying operators with a full range of compression capabilities for the entire broadcast chain.

Appear continues to develop its product offerings to support the implementation of both current and future video standards. Current encoding options allow for the conversion of uncompressed video between legacy SDI and to/from SDI over IP, with options to perform ‘light’

compression/decompression using intra-codecs such as TICO and JPEG2000 or full encoding/ decoding using HEVC. By unifying ultra-low latency modes within one chassis, video processing is streamlined for the majority of video applications. The modes achieve latency of less than 5ms with TICO, 200ms with JPEG2000 and 160ms with HEVC. Compression ratio options cover the entire spectrum; 1:1 uncompressed, ~1:4 with TICO, ~1:10 with JPEG2000 and <1:1000 with HEVC. The operator is free to define the optimal codec/network tradeoff – from high capacity fibre to satellite.

Visit www.appeartv.com

Cinegy Says Yes to Flexible IP CINEGY HAS ANNOUNCED it will launch its Channel-in-the-Cloud solution bundle, consisting of its Cinegy Air PRO playout and automation solution and Multiviewer system at NAB on booth SL12116.

ever produced. With Cinegy Multiviewer, broadcasters and production houses can locally and remotely monitor streams from satellites, camera feeds, playout devices, and many other sources.

Channel-in-the-Cloud provides automation, playout, branding, master control, analytics and alarms, all in one ready-to-go cloud instance with payas-you-go hourly pricing. It is now available on Amazon Web Services and Azure Marketplace, providing a vastly simplified way to get single or multiple channels of SD, HD and/or Ultra HD 4K playout running in the cloud in minutes.

Cinegy Managing Director, Daniella Weigner said, “Detailed signal inspection and big data analytics make other multiviewer solutions look like relics from the dark ages compared to Cinegy Multiviewer.”

Cinegy Air PRO was developed to answer all of the playout challenges broadcasters face today. Whether SD, HD, and/or 4K HDR playout is needed – locally in the studio, in the field, in the cloud, in combination – or SDI, IP, or streaming – Cinegy Air PRO handles it all. Combined with flexible financial models, ranging from outright purchase to pay-as-you-use, Cinegy Air PRO is a compelling playout option.

Cinegy Multiviewer is believed to be the most flexible and versatile multiviewer

Multiple feature enhancements in Cinegy Multiviewer for NAB include enhanced Dolby decoding, reactive PPM, loudness measurement, extended telemetry, advanced stream metadata, and all major captioning formats with teletext decoding.

Cinegy Multiviewer is also available in the cloud, and Cinegy Air PRO and Cinegy Multiviewer are available in the cloud as a ready-to-launch power bundle on both AWS and Azure, enabling broadcasters, corporations, or anyone with a valid credit card to launch a multi-channel TV station in minutes.

Visit www.cinegy.com

All New Lineup for Cobalt Digital

9904-UDX-4K-12G UHD 12G/3G/HD/SD-SDI Up/Down/Cross-converter

H.265 Streaming Encoder for openGear. The platform supports Quad 3G-SDI and 12G-SDI inputs and couples Cobalt’s HEVC videoencoding technology with the company’s range of uncompressed audio and video processing features including frame synching, noise reduction, and advanced audio processing.

Presentation: ‘A Study of Protocols for Low-Latency Video Transport Over the Internet’

9992-ENC-4K-HEVC H.265 UHD Streaming Encoder

As part of the Broadcast Engineering and Information Technology Conference, Cobalt Digital Director of Technology Ciro Noronha will present a paper titled 'A Study of Protocols for Low-Latency Video Transport Over the Internet’. The session will be most useful for broadcasters that are considering the internet as a low-cost contribution link but are concerned with latency and reliability. The paper investigates Selective Retransmission (also known as ARQ) and SMPTE-2022 FEC, two common protocols for dealing with the issue of packet loss and the tradeoff between latency and reliability. Using an encoder/decoder pair, Noronha will present results of lab tests using a network simulator specifically designed to analyse the two protocols, as well as results from an internet link between locations in California and Illinois. Noronha will also offer guidelines for implementation.

The 20-minute presentation will take place in North Hall Meeting Room N256.

The 2018 NAB Show will be the stage for Cobalt’s new 9992-ENC-4K-HEVC

Visit www.cobaltdigital.com

Cobalt will demonstrate the 9904-UDX-4K-12G UHD 12G/3G/HD/SD-SDI up/down/cross-converter. The 9904-UDX-4K is Cobalt’s latest generation of image and audio processors for the openGear platform. The base card provides quad 3G-SDI and 12G-SDI I/O with SDI muxing and demuxing and up/down/cross-conversion. Options include RGB colour correction and SDRto-HDR up-mapping via Technicolor’s HDR Intelligent Tone Management (ITM) processing.

9971-MV18-4K Multiviewer Also on display will be Cobalt’s new 9971-MV18-4K series of openGear multiviewers. These multiviewers support the latest signal types with a high-density modular design that can be expanded as required. The MV18 is equipped with 18 4K 12G-SDI auto-detect inputs, which can be scaled as needed across a full 3840 x 2160 UHD raster output.

CONTENT DELIVERY

IN ITS NEW LOCATION in the South Lower Hall at NAB Show, Cobalt Digital will be exhibiting multiple new entries across its product range.

Now available is the 9904-UDX-4K up/down/cross-converter for 4K production and broadcast applications, and for flypacks and compact system designs, there’s the OG-PC x86 computer on an openGear card. Cobalt’s compression products division will introduce the new 9992-ENC-4K-HEVC H.265 Streaming Encoder with quad 3G-SDI and 12G-SDI inputs.

61

>> BABY BUICK >>

002

>> ABU DBS 2018 >>

>> ABU DBS 2018 >>

006

>> ABU DBS 2018 >>

007

>> ARRI ALEXA LF LAUNCH >>

008

>> ARRI ALEXA LF LAUNCH >>

010

>> ARRI ALEXA LF LAUNCH >>

011

>> ARRI ALEXA LF LAUNCH >>

012

>> ARRI ALEXA LF LAUNCH >>

013

>> ARRI ALEXA LF LAUNCH >>

001

005

INDUSTRY FOCUS

009

62

>> ARRI ALEXA LF LAUNCH >>

003

014

>> ABU DBS 2018 >>

>> ARRI ALEXA LF LAUNCH >>

004 >> ABU DBS 2018 >>

INDUSTRY FOCUS

>> ARRI ALEXA LF LAUNCH >>

017001 PATABU OFFICE DBSOPENING 2017 >> >> >> >>

020

022

016

>> PAT OFFICE OPENING >>

018 002 PATABU OFFICE DBSOPENING 2017 >>>> >>>>

019

>> PAT OFFICE OPENING >>

021

>> PAT OFFICE OPENING >>

029

>> PAT OFFICE OPENING >>

>> PAT OFFICE OPENING >>

023

025

>> PAT OFFICE OPENING >>

>> PAT OFFICE OPENING >>

>> PAT OFFICE OPENING >>

INDUSTRY FOCUS

015

63

CLASSIFIEDS + EVENTS POSITIONS VACANT

Now create ATTENTION SALESPEOPLE – WORK WITH THE BEST! Digistor is seeking Senior, Mid-Level and Junior Salespeople now.

Join our team to work with the best and most knowledgeable colleagues, the best and broadest range of vendors and products and the best “A List” clients from across the Film, TV, Broadcast, Post Production and broader Digital Media markets.

You'll build your career at a company with over 25 years’ experience partnering with our customers to provide the very best solutions and support to ensure they can get on with the job of creating and delivering!

We are looking to build on our already exceptional sales team with Senior, Mid-Level and Junior Salespeople, with the following attributes/experience:

• the ability to think laterally and demonstrate strong problem solving, time management and organisational skills

• demonstrated sales competency with at least two years’ experience in selling IT and/or technical solutions

Apart from a competitive remuneration package, including a base salary plus uncapped commission and all the support you need to achieve your best, there is also a huge opportunity for advancement, training, exposure to the best state-of- the-art products, attendance at industry events, national and international trade shows, plus much more.

• experience and/or a demonstrated interest in broadcast, post production and/or 3D/VFX workflows • ability to conceive and apply technological solutions • exceptional communication and interpersonal skills

Interested? … it’s as simple as forwarding your details, including your resume, to staffing@digistor.com.au

What’s On APRIL

MAY

JUNE

NAB Show 2018 7th April-12th April 2018 Las Vegas Convention Center Las Vegas, USA www.nabshow.com

PALM EXPO 2018 31st May-2nd June 2018 BEC, Mumbai, India www.palmexpo.in

BroadcastAsia 2018 26th June-28th June 2018 Suntec Singapore www.broadcast-asia.com

Cinegear Expo 2018 31st May-2nd June 2018 The Studios at Paramount Hollywood, USA www.cinegearexpo.com

CommunicAsia 2018 26th June-28th June 2018 Marina Bay Sands Singapore www.communicasia.com

JUNE

GSMA Mobile World Congress Shanghai 27th June-29th June 2018 Shanghai New International Expo Centre (SNIEC) Shanghai, China www.mwcshanghai.com

MIPTV 2018 9th April-12th April 2018 Palais des Festivals, Cannes, France www.miptv.com Broadband Forum Asia 24th April-25th April 2018 AVANI Riverside Hotel, Bangkok, Thailand https://tmt.knect365.com/broadband-forum-asia/

MIP CHINA 6 & 7 June 2018 Hanghzou, China www.mip-china.com NAB Shanghai 11th June-13th June 2018 Shanghai New International Expo Center (SNIEC) Shanghai, China http://en.nabshowshanghai.com

REGISTER AT abeshow.tv

AUGUST 7-9, Darling Island, Pyrmont.

ADVERTISER INDEX ABE2018 ……………………..……………………………… 57 Adder…………………………………………………………… 16

CLASSIFIEDS + EVENTS

Amber Technology…………………………………………39

64

Blackmagic Design……………………………………….. 11 BroadcastAsia2018…………………………………….. IBC EMC ……………………………………………………………… 5

IRT Communications …………………………………….. 6

Riedel…………………………………………………….. 29

Jands …………………………………………………………..49

Rohde & Schwarz……………………………………59

Lawo ……………………………………………………………21

Ross Video …………………………………………….19

Magna Systems & Engineering ………………………9 Mediaproxy ………………………………………………….43 MediaHub……………………………………………………….3 Ooyala…………………………………………………………..15

Seagate …………………………………………………47 Silvertrak Digital …………………………………….45 Sony Australia ………………………………………23

Pacific Live Media ……………………………………25,37

Stagetec ………………………………………………..51

Grass Valley ………………………………………………… 13

Professional Audio & Television………Cover,17,31

Techtel ………………………………………………….….7

IHSE GmbH Asia Pacific ………………………………… 8

Quantum ………………………………………………….. OBC

Telstra Broadcast Services…………………….. IFC

Fujinon Fijifilm………………………………………… 62,63

www.Broadcast-Asia.com

26 â&#x20AC;&#x201C; 28 June 2018 Level 3 â&#x20AC;&#x201C; 6, Suntec Singapore

CAPTURE THE FUTURE Imagine a future where game-changing possibilities for broadcasting are limitless. A world where innovative technologies like virtual reality and augmented reality are impacting the way you view content.

Embark on a journey of discovery at BroadcastAsia2018! Discover the latest innovations that are reshaping how content is created, managed, delivered and consumed, engage in networking opportunities and exchange valuable insights from industry experts.

Featured Techzones:

Highlighting latest solutions from:

UHD / HDR

IP Broadcasting

Live Production

Content Media Security

OTT and Alternative Content Platform

Skip the queue! Register your visit online now at www.Broadcast-Asia.com/visitor-registration

A part of:

Held alongside:

Organised by :

Held in: