Content+Technology ANZ May-June 2018

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The Remote Production Revolution, page 52.

REGULARS

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02 EDITOR’S WELCOME

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04 NEWS Boost for Australian Film Jobs,

48 EVENTS+CLASSIFIEDS

INDUSTRY FOCUS

Simon Duggan Wins Oz Cinematographer of the Year, New ACMA CEO, Sintras Chief Content Officer for SBS, People Moves.

FEATURES 12 TAKING STOCK Further restructuring for Imagine Communications.

13 ACQUISITION Anthony Littlechild Shoots World with ARRI, NAB Camera Wrap.

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18 SPORTSCASTING Optus Sport Opens Up

Ahead of FIFA, Inside NEP’s Commonwealth Games IBC, The future of sports video with the Seven Network’s Belinda Dunn, Vizrt Unveils Viz Libero AR, Camera Corps Takes SMPTE to the MAX.

26 NEWS OPERATIONS ABC Restructures

News, TVNZ and Getty Images Sign Global Distribution Deal, Sky Uses Cloud to ID Guests at Royal Wedding.

28 POST-PRODUCTION NFSA Restores My Brilliant Career, Avid – Set the Controls for the Heart of the Cloud.

32 MEDIA IN THE CLOUD DPP Highlights Benefits of IMF, MPEG Tackles Networkbased Media Processing, Tata & Primestream Partner on Cloud MAM, Viewing Shifts Create Challenges for Producers.

36 AUDIO NZ’s WhitebaitMedia on the

Road with Calrec, ARX Interfaces with Commonwealth Games, Sound Devices Goes VR with Sennheiser, Jünger Launches New Processing Platform, RØDE 360° surround-sound mic.

40 RADIO SBS Launches Digital Radio

Stations on TV, Best Oz Radio Ad of 2018, Change in the Air for Bathurst Radio, Digigram Turns Blu for Contribution.

42 CONTENT DELIVERY Remote Production Revolution: Behind NEP Andrews Hub and Telstra’s Digital Production Network.

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EDITOR’S WELCOME

Hands Out to the ABC?

By Phil Sandberg WE LIVE IN BLACK AND WHITE TIMES where the most accepted shades of grey are those numbering 50 and feature scenes of softcore S&M.

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“This is not a complaint so much as a statement of reality. A further reality is that our productivity journey must continue, not just because we are stewards of public resources, but also because we face two sets of rising costs.

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Appearing before the Senate, Environment and Communications Legislation Committee, ABC Chief Financial & Strategy Officer Louise Higgins said, “Thirty years ago, the ABC had five platforms and 6000 employees. Today, by contrast, we have six times the platforms but just two-thirds the staff and half the real funding per capita.

“First, like our commercial peers here and abroad, the ABC faces production costs that are escalating faster than inflation, driven by the giant content budgets of Facebook, Apple, Amazon, Netflix and Google.

To further defund and hamstring our national broadcasters is to throw the baby out with the bathwater. They serve audiences and geographies underserved by commercial operators, as well as providing mainstream audiences access to a diversity of views and programming, and they employ local content producers!

Perhaps a structural rethink is needed, but also needed is a coming together of all stakeholders, rather than cheap partisan point-scoring. Otherwise, we may as well watch black and white programming.

“Second, we must maintain traditional broadcast services for our large and loyal audiences, at the same time as modernising our technology platforms so that digital audiences can access ABC content wherever, however and whenever they want it.

ersburg

For its part, the ABC has long attracted the ire of some of its commercial counterparts, particularly in the area of international activities, catch-up services and 24-hour news, but the truth is: Australia’s projection of soft power throughout the region and beyond should be in national, not commercial interests; the innovation of the ABC laid the audience foundation for streaming services at a time when commercial operators were determinedly absent from the market; and 70% of Australians do not subscribe to services carrying 24hour news channels.

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ABC Managing Director Michelle Guthrie has said the impact of the decision cannot be absorbed by efficiency measures alone, as the ABC had already achieved significant productivity gains in response to past budget cuts.

Commenting on the review, SBS Managing Director Michael Ebeid said, “It is difficult to contemplate how a broadcaster the size of SBS that has its commercial operations limited by legislation could be a threat to the business activities of its commercial counterparts, which benefited only recently from changes to media laws and a major reduction of their licence fees.”

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According to the ABC, the Australian Federal Government’s decision to freeze the ABC’s indexation from July 2019 will cost the broadcaster AUD$84 million over three years. This follows some $254 million in cuts imposed since 2014.

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However, it seems that the Australian Broadcasting Corporation and, to a lesser extent, the Special Broadcasting Service are under a scrutiny and pressure not seen for some years.

Also under review is the ‘Competitive Neutrality’ of Australia’s national broadcasters with the Australian Government establishing an Inquiry to examine whether they are operating in a manner consistent with competitive neutrality principles which provide that government business activities should not enjoy competitive advantages simply by virtue of their public sector ownership.

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Polarisation, tribalism, populism, terrorism and technology – all have had their part to play in the fragmentation of audiences and the decline of bi-partisanship. Like everyone else, public broadcasters have affected and been affected by this process.

“No doubt the Government’s foreshadowed efficiency review will give us an opportunity to demonstrate how the ABC’s productivity has improved in recent years, and how it will continue to improve.”

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

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

$140 Million Boost for Australian Film Jobs AUSTRALIA’S FILM AND CREATIVE INDUSTRY will continue to boom under the Turnbull Government’s Location Incentive, and will attract international blockbusters to be made on Australian soil.

from large-scale international screen production across Australia.”

Ausfilm’s recent research, in partnership with PriceWaterhouseCoopers, on The Value of Global Footloose Production documents the trends and policy measures that shows Australia is not alone, footloose production has delivered positive economic growth in every jurisdiction studied.

The $140 million Location Incentive will be delivered over four years from 2019-20 and will bring in over $260 million in new foreign investment to the local economy.

These productions will create over 3000 jobs for Australian cast and crew, and support the services of around 6,000 Australian businesses annually.

“This represents a positive policy change ensuring that Australia continues to attract high quality, large budget feature films which will grow our talent and creative industries. It will also promote Australia as a dynamic, innovative economy and tourist destination,” Minister Bishop said.

“This funding is all about supporting local jobs. It will ensure our film industry remains vibrant and competitive, and gives us the opportunity to showcase our talent both on-screen and behind the scenes to the rest of the world,” Senator Mitch Fifield said.

"This funding is all

“This new funding means more international films will be made here in Australia, and particularly in Queensland, which means more local jobs,” Minister Ciobo added. “The major studios have told us they want to make movies here. This funding makes Australia more competitive and will help secure more major productions that will create and support local jobs.”

our film industry

The Location Incentive will attract large budget international productions to film in Australia using Australia’s highlytalented screen production industry and quality facilities.

showcase our talent

The funding will ensure a pipeline of international production comes to Australian shores, keeping creative talent, actors and film crews at the forefront of the world market. The Budget measure complements the Government’s existing ‘Location Offset’ component of the Australian Screen Production Incentive tax rebate.

about supporting local jobs. It will ensure remains vibrant and competitive, and gives us the opportunity to both on-screen and behind the scenes to the rest of the world"

The Australian Government has created a positive policy change to enable Australia to attract more foreign productions Down Under. Australia can now compete globally with territories like New Zealand, Atlanta, Canada and the UK who have been highly successful in attracting large-scale productions that deliver significant direct foreign investment into their country’s economies, employ thousands of screen production personnel, grow their domestic screen industry and provide investment into technology and infrastructure.

“This will be a tremendous boost to the Australian businesses in the industry and help to secure those same jobs for our crews, technicians and creatives. This will also provide work not just in our screen sector but also across a wide range of sectors in Australia. It will deliver new sources of revenue and innovation. It also contributes to developing skills and training opportunities of Australia’s crews and technicians in businesses like sound and post-production or visual effects. It is a major development opportunity for creative Australian screen talent and will ensure our film and television industry grows in size and expertise like Canada and the UK,” Ausfilm’s Richards said.

Richards added, “We are extremely grateful for the Government’s ongoing support of the Australian screen industry. The last three big-budget international productions that have filmed in Australia made the choice to film here thanks to the Australian Federal Government topping up the Location Offset to 30%. Without this competitive incentive, these films would have gone elsewhere.”

The Location Incentive will effectively provide an increase to the Location Offset rate from 16.5 to 30% for eligible large budget international productions that film in Australia from the 1st of July 2018. This is the first measure of a number of reforms being considered by the Turnbull Government to further support local production.

The South Australian State Government announced in December a state based Post, Digital, Visual Effects (PDV) incentive of 10%, which is yielding results. Clark stated, “We’re already seeing the local incentive bringing new and expanded projects to South Australia and setting the stage for future growth.”

Ausfilm, the peak industry association that represents film and television businesses, welcomed the announcement, with Debra Richards, CEO of Ausfilm, saying, “This is outstanding news for Australia’s crews, technicians, studios, VFX and post-production facilities and any business that benefits

Visit www.minister.communications.gov.au and www.ausfilm.com.au

Productions that receive the location grant will now effectively have access to a combined 40% rebate on visual effects when working with RSP and other South Australian businesses.

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NEWS + PEOPLE Claude Stephan Joins Ross for Oceania

Jennifer Goggin Content Director for PodcastOne

ROSS VIDEO RECENTLY ANNOUNCED that Claude Stephan has joined the company as Regional Sales Manager for the Oceania region.

Jennifer Goggin as Content Director – PodcastOne Australia.

SOUTHERN CROSS AUSTEREO has announced the appointment of As a radio, documentary and podcast producer, Jennifer’s career has spanned podcasting, online, social media, and radio broadcasting.

Claude has over twenty years of experience in the broadcast industry and started his career as a broadcast engineer before transitioning into technical sales and account management. Claude has worked on a variety of system integration projects from both a technical and sales perspective and, having previously worked for one of Ross Video’s partners in Africa, has an excellent working knowledge of the Ross range of solutions.

During her time as a podcast producer with the BBC, Jennifer has been responsible for all elements of podcast production from concept to publishing.

In her new role Jennifer is responsible for the successful execution of PodcastOne Australia’s content strategy. Together with the Head of PodcastOne, Jennifer will be responsible for the selection, commissioning,

Speaking of the new role, Claude said, “Having relocated to Australia I’m very happy to be joining Ross and getting back into the broadcast industry.

I have a great deal of respect for Ross as a company, and you cannot help but be impressed by the way the company’s profile has grown so rapidly in the region.”

and development of new original podcasts. Her broad role includes

“Ross Video’s footprint in the Oceania region has grown steadily with the opening of the new office in Sydney last year, and the addition of dedicated technical support and demo personnel,” noted Amanda Leighton, Ross Video’s newly-promoted Director of Sales for Oceania.

“Claude’s appointment is another step forward for us as we cement our commitment to the region and further development of our position as a trusted advisor to the region’s key content creators.”

the relationship between PodcastOne Australia and PodcastOne US

managing the PodcastOne US and Australian content slate, managing the team of podcast producers, overseeing the PodcastOne digital social lead to create compelling social and digital content to deliver audience reach and engagement, supporting monetisation of the content, and managing content teams.

Of the appointment Jennifer said, “I am delighted to be joining the PodcastOne family. Podcasting has been my passion and obsession for a number of years and I look forward to creating more of the premium, entertaining and engaging output that PodcastOne is already known for.”

Visit www.sca.com.au

Visit www.rossvideo.com

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Switch Names Mark Johns CEO MULTI-SCREEN, LIVE AND ON-DEMAND video platform developer, Switch Media, has appointed former Ericsson Head of Media and Broadcast Technology, Mark Johns, as Chief Executive Officer. Co-founder and current CEO, Christopher Stenhouse, moves to the role of Chief Financial Officer.

Founded 12 years ago, Switch Media focuses on OTT technology solutions and has worked with most major broadcasters, including Seven, Ten, SBS, ABC and Foxtel, developed the Free to Air Broadcast industry apps for Freeview Australia and Freeview New Zealand, and delivers solutions for Federal Parliament and Melbourne’s RMIT. Mark Johns moves to the role of CEO from Head of Sales for Switch Media.

Prior to that he was Head of Media and Broadcast MS Technology with Ericsson having previously served with Switch Media in the position of Product Director.

Johns has also held the positions of General Manager with Dalet Australia, Support Consultant and Project Manager for Dalet in Europe, and Broadcast Systems Coordinator with Emap Radio in the UK. Visit www.switch.tv

ON THE MOVE HEATHER MCCANN has taken on the position of OB Studio Manager 'Dance Boss' with the Seven Network. She was previously Broadcast Venue Manager (Basketball) with Commonwealth Games Host Broadcaster NEP. JAMES FENNESSY has joined Australia’s Federal Department of Communications and the Arts as Digital Project Manager. He previously had the role of Marketing Content Manager with Tabcorp.

ANDREW JANSON has taken on the role of F1 Producer with Sky Sports.

He is also Broadcast Manager with the National Basketball League (NBL).

JON SOBELS-CRAVEN has moved to the position of Broadcast Technology Manager with Deluxe MediaCloud. He was previously Manager, Broadcast Maintenance, at Deluxe Australia.

MATT PHELPS has been appointed Head of Professional Services with Switch Media. He was previously engaged by Vizrt as Head of Operations, Australia.

Jackson TEN’s Head of Govt Affairs experience in the private and public sectors, including 10 years at IBM in Australian and global roles.

Ms Herd said, “Andrew has a wealth of experience and achievement in the political, government, commercial and industry advocacy sectors and I am delighted to welcome him to Ten’s executive team.”

He has also held senior roles in the Federal Department of Communications, Information Technology and the Arts, and the Federal Department of Finance and Administration. For the past four years he ran his own Singapore-based consulting firm, working with a range of multinational companies in Australia and Asia.

Andrew has more than 25 years of government and regulatory

Visit www.networkten.com.au

NEWS + PEOPLE

NETWORK TEN HAS ANNOUNCED the appointment of Andrew Jackson as Head of Government and Regulatory Affairs, effective immediately.

Mr Jackson will report to Network Ten Chief Operating Officer, Annabelle Herd.

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NEWS + PEOPLE Simon Duggan ACS Wins Australian Cinematographer of the Year AT THIS YEAR’S Fujinon Fujifilm Australian Cinematographers Society (ACS) National Awards, held at Brisbane’s Customs House, it was Simon Duggan ACS (Hacksaw Ridge) who took out the coveted Milli award for Australian Cinematographer of the Year.

Syd Wood ACS Local & National News Award of Distinction: Tom Bannigan (NSW) Dark Park

Duggan, who was unable to collect the award in person due to overseas shooting commitments, had already received critical international acclaim for the Mel Gibson-directed Hacksaw Ridge and was truly humbled as he accepted the award by recorded video saying, “I’m very honoured to receive this year’s Milli award for Hacksaw Ridge.

As we know it’s always a collaboration between a great director, cast and crew, to achieve such an amazing result. I’ve always enjoyed the local and international films I’ve shot here in Australia and I’ve managed to have the very best Australian crews behind me over the years. I would like to thank the society and President Ron Johanson OAM ACS along with all the committee members and all the sponsors who have made tonight and so many other ACS events possible.”

Current Affairs Gold Tripod: Aaron Hollett (VIC) Four Corners Highway to Hell; Award of Distinction: Benjamin Foley (NSW) Afghanistan - Taliban at the Gates

ACS National President Ron Johanson OAM ACS said, “Simon is an incredibly talented cinematographer and very worthy winner of the Milli award.”

The national awards, this year hosted by ABC news anchor, Matt Wordsworth, and guest of honour, the legendary Australian actor, Noni Hazlehurst AM, followed a national sponsor IMPRESSIONS Expo and a screening of the new re-imagining of Picnic at Hanging Rock and Q&A with DoP Garry Phillips ACS. The winners of the 2018 47th National ACS Awards for Cinematography include:

NEWS + PEOPLE

CineKids Gold Plaque: Maxim Hussey (NT) Pieizza Promo

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Neil Davis International News Award of Distinction: Matthew Allard ACS (NSW) The Sword Master

Entertainment & TV Magazine Gold Tripod: Ian Peterson ACS (NSW) - Who Do You Think You Are? - Delta Goodrem; Award of Distinction: Robert Hill (NT) - Morocco - Sahara Marathon Corporate & Educational Gold Tripod: Dion Beebe ACS ASC (NSW) Burberry - Tale of Thomas Burberry; Award of Distinction: Joshua Lamont (TAS) - Macq01 Hotel - Stories Behind The Stories (Ep 3) Documentaries Gold Tripod: Abraham Joffe (NSW) Tales By Light - Life and Death; Award of Distinction: Craig Pennington (TAS) The Poachers Pipeline Ron Taylor AM ACS Wildlife & Nature Gold Tripod: Abraham Joffe (NSW) Tales By Light - Misunderstood Predators; Award of Distinction: Abraham Joffe (NSW) Ghosts of the Arctic Advertising - Local & Regional - Gold Tripod: Tim Tregoning (NSW) Go Behind The Scenery; Award of Distinction: Lincoln Williams (QLD) The Kitchens Advertising - National/International Gold Tripod: Dion Beebe ACS ASC (NSW) Guinness: Hammond; Award of Distinction: Ross Giardina ACS (NSW) Australian Defence Force

Student Cinematography Gold Tripod: Nathaniel Kelly (NT) Curriculum

Dramatised Documentaries Gold Tripod: Ross Giardina ACS (NSW) Real Destinations; Award of Distinction: Robert Hill ACS (NT) Tasmania - The Last Survivor

Experimental & Specialised Gold Tripod: Ben Allan ACS (NSW) Wild Squad Adventures; Award of Distinction: Maxim Drygin (NSW) Knox Grammar School - With Me Now

Short Films Gold Tripod: Emilio Abbonizio (NSW) Third World Man; Award of Distinction: Zoe White ACS (NSW) The Passion II

John Bowring ACS TV Station Breaks & Promos Gold Tripod : Tony Luu ACS (QLD) Eurovison Promo; Award of Distinction: Brad Francis (VIC) Mundine Vs Greene

Drama or Comedy Series & Telefeatures Gold Tripod: Geoffrey Hall ACS (SA) Wake In Fright (Ep 2); Award of Distinction: Henry Pierce ACS (NSW) A Place To Call Home (Series 4 - Ep 1)

Music Videos Gold Tripod: Allan Hardy (QLD) Bliss n Eso – Moments; Award of Distinction: Charlie Sarroff (VIC) Fires By Life is Better Blonde

Features Cinema Gold Tripod: Simon Duggan ACS (NSW) Hacksaw Ridge; Award of Distinction: Greig Fraser ACS ASC (VIC) Rogue One: A Star Wars Story

Rona Lewis (left) receiving the Gold Milli Award for Best Australian Cinematographer of the Year on behalf of Simon Duggan ACS from Noni Hazlehurst AM (right).

Bob Miller - ACS Technical & Innovation Achievement Award Tom Waugh & Chris Fox ignite DIGI The Drew Llewelyn ACS Camerimage Scholarship Sissey Reyes The Hall of Fame Ossie Emery ACS; Alan Cole ACS; JoAnne Bouzianis-Sellick Milli Award Australian Cinematographer of the Year - Simon Duggan ACS (NSW) Hacksaw Ridge The ACS-John Leake OAM ACS Emerging Cinematographer Award Ben Cotgrove (QLD) Visit www.fujifilm.com.au and www.cinematographer.org.au

REGISTER AT abeshow.tv

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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).

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.”

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.

REIMAGINE NEWS PRODUCTION

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.

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

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TECHNICAL STANDARDS

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Steve Adler Joins AVC AIMS Interop at VidTrans17 Group Shows Viability of SMPTE 2110 VETERAN BROADCAST TECHNOLOGIST MEMBERS OF the Alliance for IP Media Solutions (AIMS) recently Steve Adler has AVC contributed to anjoined interop session, which was sponsored by Video Group as Forum Engineering and concluded at VidTrans17 in Los Angeles, which Services (VSF) and Support Manager. showcased the viability of the draft SMPTE 2110 standard and AMWA

IS-04previously as a carefully architected IP initiative.

Adler held the role of Radio Engineering Manager with Cross Leading upNational to VidTrans17, 19 AIMS members took partSouthern in VSF-sponsored Austereo for seven years.

Prior totechnical that, he served asThe Director of interoperability testing at the Fox center in Woodlands, Texas. The testing wasRadio unprecedented, as it wasand theBoard first time a Technology with DMG Australia, Director Member of significant ofPty participants on interoperability DMG Radionumber Australia Ltd, and focused as Chief specifically Engineer with FOX FM and of the (Austereo SMPTE ST-2110 drafts. Approximately 21 vendors, 19 of whom SAFM Limited). were AIMS members, were able to successfully transmit and receive from

During his time at Southern Cross Austereo, Steve’s achievements each other without major adjustments to their equipment or the network. included: design, project management, build, commission and relocation Following theSCA testing eventand in Texas, AIMSproject members exhibited of numerous stations sites, 12 design, management, their draft SMPTE ST-2110 systems in the interoperability build, commission and launch of SCAsat Audio Networkingsession System, at VidTrans17.

The results were on display, and the progress thus far project management of SCA Transmitter refurbishment program, and generated positive consensus vendors and attendees design andstrongly project management of thebetween SCA Zetta and G-Selector rollout alike. program.

“We’rewas energized the success this latest round of tests, we’re Steve also a by member of theof Engineering Committee forso Commercial ready to get back to work with renewed vigor, ” said Michael Cronk, Radio Australia, and also served on its Digital Technical Advisory AIMS board chair. “AIMS members are very active in supporting and Committee. implementing the draft SMPTE 2110 standard. We are thrilled that

His new role will involve oversight of AVC’s engineering and support for testing to date is both showing excellent progress toward interoperability the company, as well as bringing a broadcaster’s perspective to sales and providing great data for further improvements. There will be future support.

For Adler, joining Group comes association interoperability events andAVC tests, which makesafter this aanlong exciting time forinall the customer’s seat. who support a common industry standard, much as it was when SDI first

appeared.

Interoperability will remain thethat key, and those who get involved “We were partners in building a system ended up being called will reap” said the benefits newanworkflows and solutions. ” We took it SCAsat, Adler. “Itofwas audio distribution system. from an idea to being a production system that, to this day, Southern New additions to the AIMS membership roster include Bridge Cross AustereoClear-Com, relies on to do State what Logic, they do.

Technologies, Solid Juniper Networks, Atos, “It was aEncompass marvellousDigital relationship in that it was very respectful. We had Leader, Media, and sonoVTS. to work through some pretty serious issues. Ultimately, we got to a Visit http://aimsalliance.org point that no-one has reached since. Now I really have the chance to be part of that sales process where we can offer to others the fruits of those labours.”

ACMA Appoints New CEO

www.content-technology.com/standards

DPP Guide to Connectivity Services for Production

THE AUSTRALIAN FEDERAL GOVERNMENT has announced a number of appointments to the Australian Communications and Media Authority (ACMA). Ms Creina Chapman (pictured) has been appointed as Deputy Chair and CEO, Mr Chris Jose and Ms Fiona Cameron have been appointed as new THE DIGITAL PARTNERSHIP recentlyas a fullfull-time members,PRODUCTION and Mr James Cameron has been(DPP) reappointed timepublished member.the first ever guide to help producers find the right kind of

for their business.

DPP Survey Report: Connectivity Ms connectivity Chapman is currently the Head‘The of Regulatory Affairs and Corporate Supply to Production’ helpsCross producers to identify the kind of Communications at Southern Austereo.

She brings extensive legal connectivity provision appropriatefrom to their needs,senior with an indication of at experience and depth of experience previous leadership roles and type of service.

PBL,costs the Nine Network, and News Corp.

“Our and previous research have with production companies has revealed Mr Jose Ms Cameron been appointed as members for fivethat years many still rely on inadequate broadband connections, and don’t always and Mr Cameron has been reappointed as a member for three years.

feel they understand the alternatives,” says DPP Managing Director, Mark

Mr Jose has extensive experience in public administration and competition “So, wewith havea conducted some research, and sought the advice andHarrison. consumer law, focus on telecommunications.

He is currently a of DPP Member companies, to pull together a user-friendly view of what consultant on competition regulation and trade at Herbert Smith Freehills, the been market offers.” there for 15 years. He was also the principal having a partner regulatory adviser to the Papuathe New Guinea Government reforms The survey report considers needs of different sizesonofmajor production to its information and communications technology sector. company, and whether the connectivity they need is for general office

for working with video, or out on location.

Ms use, Cameron is currently the Chief Operating Officer of Screen Australia. She brings a wealth of knowledge from her experience in executive roles within The needs of media production companies are unusual when compared the communications industry, including in commercial radio and television, to other sectors. The workload can expand and contract dramatically, as a General Manager of DMG Radio Australia and Director of the Australian and this makes for huge variations in the bandwidth required. Video Film Television and Radio School. files are also much bigger than the files being transferred by most other

James Cameron has been in the role of ACMA Deputy Chair since February industries.

2016 during a period of transition for the organisation. Mr Cameron has “There is no doubt connectivity find the media production agreed to continue in this role untilsuppliers Ms Chapman takes up her appointment.

community difficult to serve,” says Harrison. “But, provision is getting better all the time and now might be the right time for producers to explore the benefits they could get from professional supply.”

Visit www.acma.gov.au

SBS Appoints Sintras ‘DPP Survey Report: Connectivity Supply to Production’ is the fifth in Chief Audience andandContent Officer the DPP’s Survey Report series, follows on from the ‘2016 Survey Report Connectivity and Production’, which shared eye-opening DPP

AUSTRALIAN BROADCASTER SBS has announced the appointment of John research into how production companies view their connectivity Sintras as its Chief Audience and Content Officer. A media executive with a services. career spanning three decades, John joins the broadcaster to drive forward content Visitstrategy. www.digitalproductionpartnership.co.uk John brings extensive industry insight and global leadership experience to SBS from diverse roles across Australia and the US. John was most recently based in New York where he was Global President, Business Development and Product Innovation at IPG Mediabrands. Prior to this he was CEO and initially build the test centre at its office in Bristol, UK. This test centre will Chairman at Starcom Mediavest Australia, in addition to overseeing the take responsibility for testing and validating HbbTV Applications provided by network’s global strategy and product offering.

Eurofins, Samsung to Develop HbbTV App Test Centre According to new AVC Group CEO, Justin Hall, “My recent appointment

EUROFINS DIGITAL TESTING has announced it will develop an HbbTV coming on as CEO has signalled AVC’s intention of taking a longer-term

application test centre in co-operation with Samsung Electronics for testing view, and with Steve joining us – the combination of his experience, his HbbTV Applications on HbbTV enabled TVs. approach, and his project management skills – is really part of building

‘HbbTV Applications’ include interactive applications that deliver additional on top of an already strong team. functionality such as video-on-demand and are designed to run on TVs “Also, the factthe that we’respecification. moving downAs the larger projects withwill compliant with HbbTV thepath leadofsupporter, Samsung customers thatTV have a wider for scale, we’re notthe just looking at studio provide the initial platforms conducting compatibility tests. by These studio, we’re looking at networks other emerging platforms include an enhanced debugand mode which allowstechnologies, the gathering Steve’sdata really to help our Samsung leadershipwill team that going ofand additional to going diagnose issues. alsotackle provide technical assistance forward.”to the program to assist app developers to run their applications onVisit Samsung TVs. www.avc-group.net

NEWS + PEOPLE TECHNICAL STANDARDS

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

12 10

app developers (who might be broadcasters or other parties) and will work

SBS Managing Director, Michael Ebeid said, “John is a seasoned and with these app developers to define the scope of the testing required. This respected Australian media leader with a strong track record of inspiring will ensure that the HbbTV applications conform to the HbbTV specification teams to make a purposeful difference – I’m delighted to welcome him to and function correctly on real, deployed devices from the market leading SBS’s executive team.”

brand.

John Sintras said, “I’m excited to be joining the great team at SBS. As the Theofagreement between Samsung Eurofins allows fortothe growth of son Greek immigrant parents, I’mand especially connected SBS’s Charter Test Centre to include devices in due and course – including those from tothe inspire all Australians to more explore, appreciate celebrate our diverse other”manufacturers – to further extend the testing capabilities. world.

Visit www.sbs.com.au

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

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TAKING STOCK Moves in the business of content + technology

www.content-technology.com/mediabusiness

Imagine Comms Restructures Around Ad-Tech and Playout IMAGINE COMMUNICATIONS IS SUBDIVIDING AGAIN with the business organising two verticals – AdTech and Playout and Networking.

CEO Tom Cotney will oversee both business and the ownership structure of the company will remain unchanged.

The move formalises the evolution of the company’s operations. Previous CTO Steve Reynolds will head up playout and networking solutions, while industry veteran Sarah Foss will take on the role of SVP and GM ad tech.

The new ad tech business will include traditional advertising products such as the Landmark platform, as well as Imagine’s OTT offering including non-linear ad insertion.

This year’s NAB show saw Imagine Communications introduce xG Scorecard, an analytics and business intelligence tool designed specifically for the media industry. xG Scorecard provides media professionals with a comprehensive, holistic and highly visualised view of performance and audience data, empowering them to make smarter advertising sales and programming decisions.

The multi-source capabilities of xG Scorecard make it possible to blend data from traditional sales and traffic systems, operational databases, ratings, clickstream and even social networks to build a holistic view of audiences with real-time insights. By bringing together data that is normally stored in silos, xG Scorecard offers a powerful and highly visual way of evaluating and finetuning the performance of your business. The new analytics engine enables media professionals to quickly pull together comprehensive reports that can be customised for executives or other decision makers in a matter of minutes, rather than hours. Reports can also be easily exported to pdf.

According to Imagine Communications CEO, Tom Cotney, the company restructure will evolve throughout 2018, particularly in the Asia-Pacific.

“At a Corporate level,” he says, “we're going to share finance and marketing, but in Asia-Pacific, one of things that we’re finding is that we’ve got more demand than we have resources in the region to serve adequately, so we’re having to address that from a sales perspective.

You can't share that resource a bit on the implementation side, it’s just not possible. In fact, that’s one of the reasons we’re doing the split is that we can come by and focus on the part of the business that’s driving the top and then

Imagine Communications CEO Tom Cotney.

the play out and networking side of the business is really trying to economise.

“We’re making some investments in the APAC region because we’ve got some great clients there and there’s a little more forward thinking of pooling resources in the market among various providers where I think they realise that their secret sauce is not how well they run a broadcast network, it’s what the content is, the value of the inventory for the advertisers and that’s a trend that looks like what you saw in the IT world several years ago. So, we’re very interested in that region. I want to ‘un-Americanise’ it a little bit so we think there’s some good opportunity there.”

Emphasising continuity, Cotney adds that Joe Khodeir will remain at the helm as VP Sales Asia Pacific.

“Yes, absolutely. Until we mature this model a little bit he’s a great example of a resource we’re going to have to share. But, Joe’s one of our most experienced players, so we’re fortunate to have him in a region that’s doing so well.”

Visit www.imaginecommunications.com

Southern Cross Austereo Invests in OVO Mobile SOUTHERN CROSS AUSTEREO (SCA) has taken an AUD$5 million equity stake in media-MVNO (Mobile Virtual Network Operator) telecommunications start-up OVO Mobile and its rapidly expanding digital broadcasting platform, OVOPlay.

OVO purchases the exclusive broadcast rights for Australian sports that have a large grass-roots following, but where fans have little opportunity to engage with the sport outside of attending an event.

TAKING STOCK

A number of sports have signed OVO on as their exclusive digital broadcasting partner including: Gymnastics Australia, Water Polo Australia, Supercheap Auto V8 Supercars team, 400 Thunder Drag Racing and World SuperBikes.

12

stations are available to OVO customers data free.

Since the launch of its first products in August 2016, OVO has more than doubled its customer base quarter-to-quarter, and seen 600% growth since January 2017.

In addition to the SCA deal, OVO has further secured its ongoing relationship with Optus, signing a fresh five-year exclusive mobile contract. As an MVNO, OVO Mobile services operate on the Optus 4G Plus network.

Video and audio content of the major events of these sports are run exclusively on OVOPlay and available data-free to OVO Mobile customers.

OVO also recently signed an exclusive broadcast agreement with the Australian Esports League to create a dedicated eSports channel.

The first year of the agreement will see OVO offer more than 140 hours of exclusive content with expert commentary and analysis produced by AEL. It is expected to reach an audience of 1,000,000 Australians over the 12 months.

In addition, as part of the relationship, SCA’s Triple M and Hit Network

Visit www.sca.com.au www.OVO.com.au and http://play.ovo.com.au

AUGUST 7-9, Darling Island, Pyrmont.

REGISTER AT abeshow.tv

ACQUISITION www.content-technology.com/acquisition

Anthony Littlechild Shoots the World with ARRI AMIRA ACCLAIMED CINEMATOGRAPHER and founder of Creative Head Productions, Anthony Littlechild, was recently commissioned by Mezzanine Films to handle the filming for Photo Number 6, a new and innovative travel show for Australia’s Network Ten. When briefed It was clear to Littlechild that this was a show where camera choice was critical. He promptly decided on the ARRI AMIRA. Littlechild explained, “Shooting a travel show I knew I needed a versatile camera, something that could do everything I needed, and do it quickly. However, it also needed to help me maintain high image quality, making the show not only about travel, but also making it as cinematic as possible when considering the production circumstances.

Fast, efficient and cinematic were the big things I was going for on this show, and the AMIRA ticked all of those boxes.”

Littlechild continued, “It was a show that had many complexities when shooting and the AMIRA handled them all. Firstly its in-built ND filters were a huge plus as there was no time to change normal filters, nor was it possible sometimes. Also, having two memory card slots allowed us to shoot nearly all day without having to worry about changing cards and data wrangling on the go. The high speed on the AMIRA is breathtaking and being able to shoot 2K 200fps without any quality loss is excellent. Some cameras get noisy when you go down in resolution but 200fps looks crisp, clear and sharp on the AMIRA which was vital in the overlay of the show when capturing those extra special moments. Honestly, it felt like I had an ALEXA set up for documentary, and shooting ARRI log everywhere I went made me feel very much at ease.”

Littlechild said he was seriously impressed with the quality and flexibility of the AMIRA, a view he found he shared with many others on the show.

He added, “This camera produces images superior to most cameras on the market but with the versatility to move around the globe in some extreme conditions. Something else I loved was the simple fact that the camera is specifically built to withstand extreme conditions. Most cameras have the fans on the top but the AMIRA has fans on the sides. So when I was in the snow and it was falling all over the crew and the camera, we were still able to roll knowing the camera would be fine.”

Littlechild used his AMIRA in a variety of ways on Photo Number 6. In Block 1 of the shoot it was on a rig and for the bulk of Block 2 on a tripod.

He added, “The AMIRA was easy to manage on the Easyrig 3 as the top handle slides back and forth for weight distribution making that quite simple. For Block 2 I wanted to make the shots more fluid and smoother, hence using a tripod. Pairing the AMIRA with the big 17-120 Canon Cine Zoom made it quite a large setup but it was never a problem.”

To say Littlechild shot the world for Photo Number 6 is no understatement, with the crew having to deal with sub-zero temperatures, snow, mountains, glaciers, hills, cliffs, and vast landscapes from Iceland through to the deserts of Sahara and Namibia, to extreme close-ups of wild animals in South Africa. He also shot the Scottish countryside, the hustle, bustle,

and inner city chaos of London, 45-plus degree temperatures in rural California and along Australia’s great ocean road in Victoria, among many other destinations.

Littlechild continued, “Basically, this camera has been everywhere and we shot extremely wide and close in every location. Super slow-motion was captured wherever possible and the fact that the AMIRA has exceptional quality in usual frame rates and slow-motion was a huge plus. Each episode was shot in a different city, town, and country, but the common factor was that the conditions were never easy. The AMIRA being such a complete camera and not needing too many additional accessories helped me a lot.”

"Shooting a travel show I knew I needed a versatile camera, something that could do everything I needed, and do it quickly. However, it also needed to help me maintain high image quality, making the show not only about travel, but also making it as cinematic as possible when considering the production circumstances"

Apart from owning an ARRI AMIRA, Littlechild also owns many other cameras. Shooting Photo Number 6 gave him a chance to compare his inventory as he explained: “It’s easy for me to compare the AMIRA to my other cameras and for this shoot there was no camera better suited for the job. It felt like the AMIRA was made for it. I loved it, and the show couldn’t have been shot on any other camera. It’s just so versatile with all its ports, plugs, and switches being so easily accessible. If I needed to switch from 25 to 50 frames it’s a switch that could happen instantly. If we got into a dark situation I could click from 800 to 1600 ISO in a second, with no menus needed if it had been preset. That in itself was huge for me. The AMIRA gave me a true cinema camera that was manageable and easy to use in a documentary style situation and it performed well beyond my expectations.”

Visit www.arri.com

ACQUISITION

On Photo Number 6 host, Alan Fletcher, is a photographer on a quest each episode to capture photos that sum up his experiences. At the end of each episode he reviews five of the best photos he takes and chooses one to become Photo Number 6. That photo in turn represents everything he’s experienced about the destination’s culture, people, and geography.

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ACQUISITION

In the Frame at NAB2018

HDR mode for creative flexibility, as well as up to 120fps 1080p slow-motion recording.

SEPTEMBER 2018 MARKS 10 YEARS since the release of the Canon EOS 5D Mark II and the beginning of a process of disruption in the professional video camera market which continues to this day. Canon’s first EOS SLR camera to feature video recording was also the first to redefine footprint, capability and price for a market which has seen both old and new players come and go, feature sets expand, and pricing and margins shrink. This year’s NAB proved that the market is still in flux.

Back in the news (literally), JVC announced the GY-HC900 “CONNECTED CAM” broadcast camcorder, which features three 2/3-inch CMOS image sensors for full HD imagery, as well as enhanced connectivity for a complete news-overIP workflow solution in the field.

When paired directly with the optional ProHD Dockable Bridge or via Wi-Fi with any ProHD Bridge unit, the new GY-HC900 allows on-air talent to conduct a two-way interview with return video while streaming live to air without any external boxes or backpacks.

It is JVC’s first camera featuring a new communications engine that optimises both image processing and IP performance. The engine enables simultaneous recording, low latency streaming, and simultaneous decoding for return video and IFB. Latency can be as low as 500ms for both outgoing and incoming video.

The GY-HC900’s complete IP workflow includes streaming performance up to 20 Mbps and built-in Wi-Fi (2.4Ghz/5GHz) with dual external antennas. The camera also features Zixi error correction with automatic repeat request (ARQ) and SMPTE 2022 forward error correction for reliable transmission.

Beyond ENG, the GY-HC900 is an ideal choice for high-end EFP and studio fiber applications. It works with the FS-900 camera module, which attaches seamlessly to the camera via a 68-pin interface, and feeds 3G-SDI signals, control, audio, sync, and intercom to a base station via fiber.

Equipped with an industry standard B4 lens mount and four-position optical filter, the GY-HC900 delivers excellent sensitivity (F12 at 60Hz, F13 at 50Hz in extended mode) and high 62dB signal-to-noise ratio (in standard mode).

The advanced 2/3-inch CMOS sensors, each with 1920x1080 pixels, combine with an F1.4 prism to produce full HD images. The camera also offers an

The GY-HC900 supports native recording of both MPEG-2 at up to 35 Mbps, which is widely used by broadcasters, and H.264 (.MOV), which provides production quality 10 bit, 1080/60p 4:2:2 footage. Plus, the camcorder records in Sports Exchange Standard formats, so sports organisations can produce HD video with rich metadata that specifically addresses the workflow needs of sports production and video coaching applications.

With dual memory card slots for SDHC/SDXC media, the GY-HC900 offers redundant, relay, and backup recording modes. It also records proxy resolution video clips for off-line editing or online posts. The camera includes a 3.26-inch OLED color viewfinder, as well as a 3.5-inch LCD panel for menu navigation.

An integrated 3G-SDI pool feed input allows the GY-HC900 operator to capture video and stream it live simultaneously. Camera functions can also be controlled via web browser or the JVC RM-LP100 remote camera control. The camera also boasts an IPX2 water resistant rating for operation in challenging conditions. Other features include a genlock input, time code in/out, dual 3G-SDI outputs and an HDMI output, three XLR audio inputs, Ethernet and USB ports, wireless audio module slot, and an additional slot for future expansion.

Visit http://pro.jvc.com BLACKMAGIC DESIGN ANNOUNCED the Blackmagic Pocket Cinema Camera 4K, a handheld digital film camera with full 4/3 HDR sensor, dual native ISO with a maximum ISO of up to 25,600 for low light performance as well as 13 stops of dynamic range. It also eliminates expensive external recorders, as it features a unique new USB-C Expansion Port, which allows customers to record using the internal SD/UHS-II and CFast recorders or directly to the same external disks they will use for editing and colour correction.

The Blackmagic Pocket Cinema Camera 4K features a full size 4/3 HDR sensor with native 4096 x 2160 resolution and 13 stops of dynamic range. The full size of the 4/3 sensor is designed to perfectly match MFT lenses so the crop factor is greatly reduced, giving customers a wider field of view.

The camera features an MFT lens mount, 5-inch touchscreen monitor, 10-bit ProRes and 12-bit RAW recording, 3D LUTs, four built-in microphones, mini XLR audio input with phantom power, Bluetooth wireless camera control, and

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ACQUISITION

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ACQUISITION

HDMI on-set monitoring output.

Designed using a carbon fibre polycarbonate composite, the body of the Blackmagic Pocket Cinema Camera 4K is extremely strong and light. The handheld design features a multi function grip which has logically placed buttons and dials that allow super fast access to essential shooting functions such as recording start/stop, still photos, ISO, shutter, aperture, white balance, power and more.

Fourth generation Blackmagic Design colour science lets customers shoot HDR images in film, video and new extended video modes. The new extended mode combines the latitude of digital film with an optimised video file.

Images can be recorded onto standard SD cards, faster UHS-II Blackmagic Design CEO Grant Petty and the new Pocket Cinema Camera 4K. cards or CFast 2.0 cards in either ProRes or RAW formats. The Blackmagic Pocket Cinema Camera 4K parameters, status, histogram, focus and peaking indicators, and playback can record 4K images at up to 60 frames per second and windowed HD at up controls. In addition, 3D LUTs can be applied for both monitoring and to 120 frames per second. recording.

The Blackmagic Pocket Cinema Camera 4K uses the same MFT (Micro Four Thirds) lens mount as the original Pocket Cinema Camera so customers can use the investment in lenses they already own. The MFT mount is extremely flexible and allows for different lens adapters so customers can also use PL, C, EF and other types of lenses from manufacturers such as Canon, Nikon, Pentax, Leica and even Panavision.

It also uses the same Blackmagic OS as URSA Mini so customers can use simple tap and swipe gestures to adjust settings, add metadata and view recording status. On screen overlays make it easy to see recording

For audio, the Blackmagic Pocket Cinema Camera 4K features multiple built in microphones with an extremely low noise floor, a mini XLR input with 48 volts of phantom power to connect professional lapel and boom mics, and a 3.5mm stereo audio jack for connecting different types of video camera microphones.

The camera also supports remote camera control via Bluetooth, and includes a full licence for DaVinci Resolve Studio editing, colour, visual effects and audio post production.

Visit www.blackmagicdesign.com

Continues p16 >>

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ACQUISITION

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ACQUISITION Continued from p15

IP WORKFLOWS Helping broadcasters and content producers navigate the industry’s latest disruptive transition, a number of manufacturers showcased solutions to assist the move from baseband video infrastructures to IP-based workflows.

HITACHI KOKUSAI SHOWCASED its implementation of the SMPTE ST 2110 suite of standards across its range of broadcast cameras.

Support for SMPTE ST 2110 – which provides standards for Professional Media over Managed IP Networks – is planned for all current-model HITACHI HDTV broadcast cameras when paired with new IP-enabled models in the CU-HD1300 family of camera control units.

HITACHI HDTV camera systems will initially comply with the published ST 2110-10 (System Timing and Definitions), ST 2110-20 (Uncompressed Active Video), ST 2110-30 (PCM Digital Audio) and ST 2110-21 (Traffic Shaping Takao Tsuji, CEO, JVC Kenwood, with the new Connected Camera at NAB2018. and Delivery Timing for Video) standards, as well as the ST 2110-40 specification concerning HDR and 120fps performance and RAW capabilities, featuring an all-new look metadata such as captions, dynamic range and more. Hitachi Kokusai’s IP with a refined picture tone to capture natural highlights, subtle, alluring and well implementation will also comply with the ST 2059-2 PTP (Precision Time rendered facial tones and a softer tonal look emphasising portrayal of a person.

Protocol in Professional Broadcast Applications) and the AMWA NMOS IS-04 (Discovery and Registration) specification.

The company also introduced the flagship PXW-Z280 professional handheld Camera output will be delivered over multicast IP as one channel of uncompressed video with two embedded digital audio channels. For HITACHI cameras equipped with High Dynamic Range (HDR) capabilities, all HDR functionality is available with IP-based transport, continuing Hitachi Kokusai’s leadership in supporting the ITU R.BT.2100 HDR format.

camcorder. Boasting three 1/2-type Exmor R CMOS sensors, the PXW-Z280 delivers high sensitivity of F12 (59.94p), long zoom ratio and deep depth of field, suitable for news gathering. In addition, the 3-chip sensors and 4K 4:2:2 10-bit add vivid imagery and delicate colour gradation. Enhanced network features, versatile formats and interfaces enable direct-to-air workflows.

Beyond the initial SMPTE ST 2110 implementation, Hitachi Kokusai is also working on advanced network management, control, switching, redundancy and content protection schemes for IP-based production infrastructures. These technologies will be rolled out in the company’s next-generation 4K and 8K cameras, slated for use by several Japanese broadcasters at an “upcoming international sporting event”.

Sony also introduced the PXW-Z190, a 4K compact camcorder with enhanced usability to achieve various video expressions. The camcorder’s newly developed three 1/3-type Exmor R CMOS image sensors capture RGB light independently and deliver 4K 50p/60p imagery with high resolution and a wide range of gradation. 4:2:2 10-bit ensures vivid and rich colour content in High Definition.

Equipped with Advanced Face Detection AF functions (Face Priority AF and the newly added Face Only AF), the camcorder ensures that specific object automatically remain in pin-sharp focus.

Hitachi Kokusai also showcased the CU-HD1300F-S1 HDTV camera control unit with 4K, 12G-SDI output, transforms 1080p to Ultra HD with support for High Dynamic Range (HDR). The company also announced an optional firmware upgrade for its SK-UHD4000 4K Ultra HD camera system to enhance simultaneous HDR and Standard Dynamic Range (SDR) acquisition. New optional 12Gbps SDI output capabilities for the accompanying CU-HD4000 CCU have also been added to its existing quad-link SDI interface.

The new CU-HD1300F-S1 combines SMPTE fibre transport and multi-format HDTV support with intercom, teleprompter return, and additional signal connectivity in a space-efficient 2RU unit. The CU-HD1300F-S1 can output natively-acquired 1080p video as 4K/UHD over single-link 12Gbps SDI or quadlink 3G-SDI connectivity.

The 4K output functionality of the CU-HD1300F-S1 is compatible with all fibreequipped, 1080p HITACHI Z-series and SK-series cameras, and supports High Dynamic Range when used with HDR-enabled camera models including the award-winning Z-HD5500 and the SK-HD1300. The new CCU can also be used with interlaced HITACHI camera models for HDTV output.

A second, new CCU, the dual-cable CU-HD1300FT-S1 fibre/triax model, offers similar 4K output capabilities when used with fibre-connected cameras. The CUHD1300FT-S1 offers all of the capabilities of its fibre-only sibling, plus Hitachi Kokusai’s fourth generation digital triax system for long-distance triax transport of HDTV signals.

ACQUISITION

Visit www.hitachi-kokusai.co.jp

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SONY INTRODUCED A NEW CCU – HDCU-3100. Meeting the growing industry demand for IP, the 1.5U size of the compact fibre CCU brings IP capabilities to Sony’s system cameras, ranging from the flagship 4K HDC-4300 with BPU-4000 series, including the new BPU-4500A, through to the HDC-2000 series and HSC fibre system cameras. Combined with a new HKCU-SFP30 option board, the HDCU-3100 is able to support SMPTE ST 2110 professional media over a managed IP Network suite of standards. The essential functionalities required for live production including tally, intercom and return video can all be provided through IP. Support for NMOS IS-04/05 is in the future scope.

Sony also expanded its large format sensor category with the newly introduced FS5 II. Building on the FS5 with default shooting capabilities, the FS5 II adds 4K

Visit https://pro.sony.com.au PANASONIC, MEANWHILE, announced a new UHD/HD Studio Camera which is planned for launch mid-2018. The AK-UC4000 studio cam will boast: • Newly developed 4.4K sensor with B4 2/3-type lens mount • 4K 12G-SDI standard • Variable HDR • Media Over IP output Panasonic also boosted its line-up of remote cameras with the launch of a firmware upgrade so that its entire line-up supports NDI|HX, alongside the introduction of a new PTZ camera, the AW-HE38.

Integration with the Network Device Interface (NDI), enhanced with a new highefficiency mode, allows users to connect Panasonic professional PTZ cameras directly to an NDI network.

All existing Panasonic PTZ cameras (AW-HE40, AW-HE130 and AW-UE70) can be upgraded to support NDI|HX, thanks to a software license sold by NewTek. The PTZ cameras are supported by the AV-HLC100 Live Production Center that combines a 1 ME switcher, remote camera controller (up to eight cameras), graphics overlays, streaming/recording and audio mixer functions to enable easy live streaming with one-person operation.

The HLC100 supports a wide range of both NTSC and PAL video formats, including 3G-SDI video in1080/59.94p and 1080/50p, and enables crossconversation on inputs. Eight total inputs are available with the choice of SDI or HDMI for input 1, SDI for inputs 2-4, and NDI for input 5-8. Alternatively, one can utilise NDI for up to all eight inputs so that a system can be configured to match the production environment. There are two SDI outputs, with associated NDI outputs; Output 1 is the program output. Output 2 can be assigned to program, preview or to an AUX bus. The AUX bus is useful as an independent secondary output for clean recording or alternate feed.

Visit www.panasonic.com.au

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17

SPORTSCASTING Sport coverage worldwide

Optus Sport Opens Up Ahead of FIFA

www.content-technology.com/sportscasting

Putting Sport

to Rights SPORTSCASTING AS EXCITEMENT ABOUT THE 2018 FIFA World Cup intensifies, Optus has announced a new direct-to-consumer subscription option for all Australian viewers to access, Optus Sport, which will be the only place to watch all 64 matches of the 2018 FIFA World Cup.

WE’RE NOT EVEN HALFWAY through 2018 and already it has been a big year for the negotiation of sports broadcasting rights.

Optus Sport will be available for the first time to non-Optus customers and Optus customers who were previously not eligible, for AUD$14.99 per month via Google Play and the Apple App Store.

The AUD$300 million, five-year deal encompasses the Australian Open in Melbourne as well as the lead-up tournaments around Australia – the Hopman Cup in Perth and the Brisbane, Sydney and Hobart Internationals.

All subscribers will be able to access all of Optus Sport’s 2018 FIFA World Cup coverage, including two 24/7 channels, all 64 matches both live and on-demand and Optus Sport’s entire array of dedicated World Cup programming, as well as all other sports programming on Optus Sport.

Nine has acquired all audiovisual rights for broadcast, streaming, mobile, digital and social platforms under the agreement which saw the rights move from the incumbent Seven Network.

According to Tennis Australia CEO Craig Tiley, “Four years ago, we brought the host broadcast for the Australian Open and all our events in-house and this success has allowed us to unlock even more value in our domestic media rights.”

Meanwhile, it was a case of revolving turnstiles at Seven with the free-to-air network scoring Cricket Australia Broadcast Rights alongside pay-TV channel Fox Sports Australia.

The six-year agreement with Seven West Media and Fox Sports Australia sees cricket coverage shift from the Nine Network for the first time in 40 years.

Under the deal, which runs from 2018 through to 2024 Seven West Media’s domestic free-to-air broadcast rights will include: • 43 of the 59 Big Bash League matches, including all marquee matches and finals • All home international tests, including the 2021-22 home Ashes series

Optus has assembled an expert team of analysts who will be based in Russia and Sydney and will produce and deliver five hours of dedicated programming every match day during the tournament. These teams will be led by former Socceroo Mark Schwarzer and Optus Sport’s Richard Bayliss.

• The most prestigious individual prizes in Australian cricket; the Allan Border Medal and Belinda Clark Award.

Through Optus Sport Australian viewers can watch all 64 games live.

Within this, 39 matches will be only available live and exclusive through Optus Sport.

Fox Sports will also exclusively broadcast every home one-day and Twenty20 international the men’s team plays. Fox Sports will also be televising the entirety of the Big Bash League (16 matches exclusively) and simulcasting 23 Women’s Big Bash League matches with the Seven Network.

• Key Women’s Big Bash League and International matches

The annual cash rights cost is AUD$75 million per annum over the six years.

Meanwhile, Fox Sports Australia will simulcast every home test and women’s international in conjunction with the Seven Network.

And in a boon for state cricket, domestic List A and first-class matches will return to television screens, with 13 JLT One-Day Cup matches and the Sheffield Shield Final to be broadcast on Fox Sports.

The Optus Sport App will provide people with greater flexibility to connect with the 2018 FIFA World Cup whether at home or on the go.

Fox Sports will also televise the annual Prime Minister’s XI and Governor-General’s XI matches.

“We’ve optimised the App to be compatible with all major smartphones, as well as web browsers, Apple TV and Chromecast, offering a truly flexible viewing experience. Additional features include Start Over, meaning if you’ve missed the start of a live match you can simply select the start over option and jump straight back to the start of the match.”

Fox Sports has also secured the digital rights to all cricket in partnership with Cricket Australia’s digital arm, Cricket Network, giving fans the chance to stream live matches on any device.

The sporting entertainment doesn’t end at the World Cup, with Optus Sport subscriptions thereafter providing access to all of Optus Sport’s exclusive content, which continues with the start of the 2018/19 Premier League season in August 2018.

This follows the announcement that Optus has extended its relationship for exclusive Australian rights to the Premier League for a further three seasons, commencing in August 2019.

SPORTSCASTING

Early April saw Australia’s Nine Network announce a landmark deal with Tennis Australia to secure exclusive rights to all premium tennis played in Australia for five years, from 2020 to 2024.

Eligible Optus customers will continue to be able to enjoy access to all Optus Sport content.

Optus Sport subscribers will also be able to enjoy live on air content every match-day with pre-game shows, full match coverage and daily highlights produced by the Optus Sport production team.

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In addition to the Optus extension of English Premier League rights, the local industry has seen moves in a range of sporting codes.

This includes exclusive live coverage on Optus Sport for every Premier League match, and full on-demand, replay and short form rights for all 380 matches from 2019 to 2022.

Visit https://sport.optus.com.au

A new channel, Fox Cricket, will be launched will house Super Saturday each weekend and a stable of new shows will be developed.

Meanwhile, in the Land of the Long White Cloud, Sky New Zealand was given the boot when it came to Rugby World Cup rights with 2019 competition rights being awarded to NZ telco and ISP, Spark New Zealand, along with TVNZ. Spark has secured the rights to bring to New Zealanders the Rugby World Cup 2019 (RWC2019 Japan), the Women’s Rugby World Cup 2021, the Rugby World Cup Sevens 2018, and World Rugby U20 Championships 2018 and 2019.

New Zealanders will be able to stream Rugby World Cup 2019 matches and related content live or on-demand over their home broadband or mobile connection.

The service will offer both free and paid content and will be available to all New Zealanders – not just Spark customers.

Spark has entered into an agreement with TVNZ, which will see the Rugby World Cup Sevens 2018, the World Rugby Under 20 Championship 2018 and selected matches from the Rugby World Cup 2019 screen free-to-air on TVNZ. Free-to-air coverage of the Women’s Rugby World Cup 2021 will be confirmed closer to the tournament date.

SPORTSCASTING

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SPORTSCASTING

IBC Takes Broadcast Centre-Stage at Gold Coast Commonwealth Games 2018

by Terry Kee Broadcast coverage of the Gold Coast Commonwealth Games 2018, the biggest sporting event held in Australia this decade, is a significant international event that does not come around often and a grand tour of the International Broadcast Centre (IBC) was thoroughly merited to highlight how it was all put together.

NEP Host Broadcast, GC2018 Host Broadcaster held the responsibility for the design, development and building of the IBC and based its temporary home for the duration of the Games at the Gold Coast Convention & Exhibition Centre in Broadbeach.

NEP Host Broadcast’s other major responsibility was to provide HD multi-camera coverage of all the sporting events including the Opening and Closing Ceremonies for delivery to broadcast rights-holders (RHBs) based on-site at the IBC and around the world. These notably included Australia’s Seven Network, BBC, Astro Arena Malaysia and TVNZ. Setting up a project to broadcast a major sporting event like the Commonwealth Games takes a huge amount of human resources and with the participation of 1450 technical broadcast personnel at the IBC and venues as well as 220 student trainees from Queensland universities and colleges, GC2018 was no different.

With approximately 1340 hours of live television coverage, 17 sporting venues, 18 sport disciplines and a new record of seven para-sport events, more than 140km of cable including coax, fibre and Cat6 was laid to cover the whole event.

At the core of the Commonwealth Games broadcast activity, the IBC directed the flow of video and audio traffic to and from sporting venues not only in the Gold Coast area, but across Queensland where sporting events were held in Brisbane, Townsville and Cairns.

Temporary areas and rooms for the IBC had to be constructed within the Gold Coast Exhibition Centre space and additional power and air conditioning installed where needed.

“All the walls of the temporary structure, electrical wiring, cable trays and chilled water plumbing went in. The base building’s air conditioning is used but where there are enclosed spaces with ceilings, additional air conditioning had to be installed,” said Jeff Coleman, Head of Engineering and Technical Operations at NEP Host Broadcast.

NEP’s design for the IBC also ensured that structural components and hardware used at GC2018 could be recycled for future projects.

“Most of the wall panels are built to be easily dismantled and are completely re-usable and will be used after the Games in other exhibitions.

“Most of the copper cable will also be recycled and the fibre will be pulled out so there is no waste.”

Interfacing of the IBC to telco circuits took place in the Telco Equipment Room (TER) and Telco Integration Room (TIR).

SPORTSCASTING

“TER is located in a room in the basement of the building where all the network fibre terminates and the handover of all the telco circuits coming in from the venues are processed in TIR. The circuits come upstairs to TIR which are then converted back into HD SDI for HB to access,” said Jeff Coleman.

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The nerve centre of the IBC was the Broadcast Equipment Room (BER) where all the communication equipment and servers were housed in a re-locatable metal storage container. The concept of using a storage container for the BER was developed by NEP’s team of engineers and it was brought to life and fully implemented for GC2018.

“Due to the compressed build timeline needed the team came to the conclusion that we build it all in one big container. It’s the heart of the whole system as everything relies on the BER,” said Terry Manley, Chief Engineer at NEP Host Broadcast and head of the IBC engineering project.

First in, last out. NEP’s containerised Broadcast Equipment Room (BER) for GC2018.

With approximately 1340 hours of live television coverage, 17 sporting venues, 18 sport disciplines and a new record of seven para-sport events, more than 140km of cable including coax, fibre and Cat6 was laid to cover the whole event.

“The container was modified by a company that converts shipping containers and we designed it as a proper data centre with cold aisle containment and a raised floor,” said Mark Ahern, Head of Broadcast Infrastructure at NEP Host Broadcast.

“It was designed over a ten month period, built over six months in Sydney and we commissioned it before sending it to the Gold Coast.”

As can be expected at a major event like GC2018 with multi-sport disciplines and a host of different venues, connectivity to the BER could not be underestimated.

“There are around 700 cables servicing the BER with an additional couple of hundred cables running on the corporate switch. We ran, labelled and terminated those cables in less than two weeks,” said Jeff Coleman.

All incoming feeds were fed to the interface patching in the BER and outgoing feeds were delivered to the RHBs that have booked the service. The router, vision mixers, ingest servers, playout servers, communications matrixes and network switches were all mounted in 18 equipment racks located in the BER. For incoming circuits, multi-lateral feeds were frame-synced using video processors.

“They also provide de-multiplexing of the audio for distribution to Commentary Switching Control (CSC) as well as provide idents, main and protect switching,” added Jeff Coleman.

For outgoing circuits, distribution to the RHBs and Host Broadcaster were delivered using DVDA distribution amplifiers.

As far as mains power is concerned, dual generators were installed at the back of the Exhibition side of the complex and there were uninterruptable power supplies (UPS) for redundancy in case of mains power failure.

Continues p22 >>

SPORTSCASTING

Seven West Media – Total Sports, Total Video BELINDA DUNN - Head of Programme Delivery Product & Technology, Premium Sports at Seven West Media says the network has finally bridged the gap between broadcast and and ‘digital’ to serve viewers with a smorgasbord of options – ‘total video’

want ads’. Now as a free-to-air broadcaster, advertising is part of our commercial model.

Despite the internal debate, where some of us would have liked to remove the ads altogether, that just wasn’t going to happen. So, the question is how did we respond to this?

“It may sound super simple,” said Dunn, speaking at a recent Sydney Video technology Meetup, “but this was a definite shift in culture and mindset and one that enabled the company to grow the value of their audiences and engage at scale. By capturing audience data across all screens and platforms, including social, it enabled us to be better informed on what content works and is of most value to the consumers.

“Well, we wanted to acknowledge the feedback and, again, this comes back to companies testing different business models in this very challenging and competitive market. We offered a premium service which was a single transaction, one-offfee per event, where you could pay and then get less interruptions for your content, which essentially meant less ads, not removable ads, but definitely less ads.

“What we did with our OTT products, because television is restricted to tight scheduling, they can’t offer everything on the TV. What we said, is we want to offer as much of the action as possible across our OTT products which meant for Olympic Winter Games, we offered up to seven additional channels at any one time at peak, and for the Commonwealth Games and the Summer of Tennis, we offered up to 16 additional channels.

“The second thing that we did, is we also partnered with Optus, which was a significant partnership for these three events and so Optus offered eligible mobile customers free data streaming of each of these events which, again, added to a compelling proposition in the market.”

“Consumer tastes are changing, we all know that. People are less inclined to follow existing business models. They have a pay-as-you-go mentality. For example, they don’t want to commit themselves to an annual subscription these days, they want to pay for a one-off event that they are particularly interested in.

“At Seven, one of the biggest pieces of feedback that we receive for our OTT products is ‘I don’t

So, according to Seven’s Head of Programme Delivery for Premium Sports, what is the future for sports video?

“The first thing is that standard broadcast models will be challenged by tech companies.

Facebook, Google and Twitter. Historically, TV networks’ broadcasters got exclusive rights for content, but this is being challenged by these tech companies who have deep pockets and can buy this content and offer it for free. We’re likely to see, and they’re already doing it now, partnerships across TV networks and these tech companies. This has already happened with

Twitter offering the Melbourne Cup globally over the last couple of years.

“The other thing is that fans want the ability to share content and comment real-time, and companies like Facebook can actually offer the ability to link viewing habits with like-minded friends. That’s something at the moment broadcasters cannot do.

“The second thing is the growth of eSports.

It’s growing at such a rapid rate. It’s definitely challenging what traditionalists define as sports.

It really is an interesting phenomenon and is now becoming a multi-billion-dollar industry.

“The third thing is, will augmented reality be as expansive as the traditional mobile phone by Tokyo 2020. Seven actually has the rights for the Olympics in 2020 and with augmented reality, it’s the actual immersion of video content along with statistics that keep fans interested and with the innovation that’s happening in that area today, it’s likely to strongly follow suit by 2020.

“And, finally, one other area that I thought worth touching on, is pirated content challenges. The question is how do companies who pay for sports rights, which are incredibly expensive, combat piracy? Well, essentially, fans want access to content as near as live to possible.

So, making this content available at the highest quality globally, and across all platforms at the same time, hopefully, will help us combat this.”

Visit www.sevenwestmedia.com.au and www.meetup.com/en-AU/Sydney-VideoTechnology

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SPORTSCASTING >> Continued from p20

providing production quality assessment of their sporting venues based on the incoming multi-lateral feeds.

“The producers look at the pictures that come in and do their quality control checks on the production which is meticulously planned on how it should look and sound,” said Mark Ahern.

Every workstation in PQC had a touch screen allowing any contributing channel to be monitored along with talkback to each venue.

Four Beauty cameras installed on the Gold Coast were also monitored and controlled in PQC. Beauty camera H.264 compressed video was relayed to the IBC on bi-directional circuits allowing control data to be sent from PQC for controlling camera functions remotely.

“All Beauty cameras are carried either on Optus fibre, a bonded PSTN or microwave solution as H.264 video. All circuits are bidirectional to allow return control data for paint control as well as data for windscreen wiper and washer water,” said Jeff Coleman.

Gold Coast locations of Beauty camera installations included: GC2018 IBC Contribution Distribution Transmission (CDT).

It comes as no surprise that video monitoring screens were in virtually every corner of the IBC. Monitoring video was provided using 32x2 and 16x2 display cards that were connected to thirty 32-inch screens and twenty 55-inch screens installed around the technical areas of the IBC. There were another twenty 55-inch screens connected to the host 40-channel (H.264) CATV system for general monitoring.

In Multi-Channel Services (MCS), NEP Host Broadcast provided six channels of curated video material produced by the Host Broadcaster as high quality television channels and available for RHBs to access and put to air.

“Rights-holders have input on what appears on an MCS channel – for example, requesting to see second field of play where they have a specific interest in the result or a player,” explained Jeff Coleman.

In addition to the six curated TV channels, there was the Commonwealth Games Channel (CGC) that RHBs could also book and then put straight to air.

The Commonwealth Games Channel consisted of ‘ready to go to air’ live sport and video program material pre-produced by the Host Broadcaster.

The MCS on-air control, video channels could be selected, switched and put live to air at the touch of a virtual button on a touch screen integrated to a video and audio matrix. In addition, video from the playout servers and beauty cameras were also available in MCS. NEP specified functions for the touch screen, making it user-friendly for the operators to operate.

“Touch screens are also used in the Commentary Switching Control (CSC) and Contribution Distribution Transmission (CDT) where there are bigger video monitors and everything including the metering can all be seen at once,” explains Andrew Angeli, Head of Commentary Systems at NEP Host Broadcast.

“In the Commentary Switching Centre we can monitor any four-wire circuit or commentary circuit and route it from point A to point B using big virtual buttons on the operators touch screen, instead of using a computer mouse click on a monitor screen with several thousand routes which can be so user-unfriendly.”

NEP also embraced Audio over IP (AoIP) technology for commentary distribution at the Games using Dante. The adoption of AoIP technology also meant that a new approach for commentary service was taken for these Games.

“We have embraced a new model this time around where the commentary is fully IP at the venues using WLAN Dante network,” said Jeff Coleman. “All commentary will come back to the IBC but is also embedded on the multilateral feeds so the host commentary is there for everyone to hear. At the IBC commentary on the network can be monitored, routed and adjusted at any time.

SPORTSCASTING

“We provide full on-site support to the rights-holders but there is no longer a need for a Commentary Control Room (CCR) on site anymore like in previous Games.”

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Monitoring of the entire IBC video network took place in Contribution Distribution Transmission (CDT).

“Everything that comes in and out that can be monitored is seen in this room. The entire network is available for us to see and switch with complete redundancy for every venue incoming to the IBC,” said Jeff Coleman.

Four workstations were located in Production Quality Control (PQC) where coordinating producers along with game time producers were stationed

• Cavill Ave at Surfers Paradise featuring the iconic shot of the ‘Surfers Paradise’ sign on the beach.

• Oskars Restaurant at Burleigh Heads looking back up the coast.

• Gold Coast University looking east over the Games village.

• Roof of the Meriton Hotel at Southport looking across the Sundale Bridge towards Surfers Paradise.

The camera at the Meriton also had the ability to pan north looking across the Broadwater to the Optus Aquatic Centre.

Outside the IBC, other exciting goals were being scored in the deployment of new technology at GC2018. For the very first time at a Commonwealth Games a four-point overhead wired camera system was used at the aquatic events.

The four-point camera systems were deployed at Carrara Stadium and the Optus Aquatic Centre where a camera suspended by four cables is steered and guided around the stadium remotely allowing the viewer to get close to the action.

A Beechcraft 200 aircraft was also flown from Europe to be used for the first time in Australia as a high altitude receive/transmit platform. The plane was equipped with Tracking Antennas to enable nine uplinks planned for marathon race day along with a removable two meter mast equipped with a Tracking Antenna for downlink transmission.

“The plane sat at an altitude of approximately 24,000 feet and flew a figure eight above competition venues for road race, time trials and the marathon. On the day of the marathon, we used five motorcycles, two lead vehicles and two helicopters to cover the three races, all transmitting to the aircraft and down to the receive point,” said Jeff Coleman.

In addition, a huge array of resources and equipment was deployed at GC2018 including: • Twenty-five outside broadcast vehicles and control rooms.

• 325 High Definition cameras.

• Multiple sport-specific specialty cameras.

• Six editing suites for highlights and colour package editing at the IBC with ingest, edit and playout serviced by a 60TB SAN. • 140 2TB drives for archive at the IBC. NEP’s long and successful association with the Commonwealth Games goes back a long time as Andrew Quinn, Director of Major Events at NEP Host Broadcast explained, “This is NEP’s fourth involvement with the Commonwealth Games and we’ve serviced the Commonwealth rights-holders for over 16 years now, so we know the requirements of the rights-holders and we make sure we are delivering the outcomes they require.

“We are servicing them in the same way they would expect to be serviced if they were doing a single day of outside broadcast with us. The same delivery value applies and delivering on behalf of our customers is the same approach we take in doing a host broadcast project like the Commonwealth Games. This attitude does not change which I think is welcomed.

“Rights-holders feel comfortable knowing that NEP is involved and knowing that whatever they need, we will deliver for them. They know who we are and there is a lot of trust between us which is a big bonus.

“We’ve grown up with the Commonwealth Games, seen it grow and it’s a relevant event in the four year cycle of major events and I wish it all the luck in the future as well.”

Visit www.nepgroup.com.au

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SPORTSCASTING

Camera Corps to Launch SIMPLY SMPTE MAX CAMERA CORPS HAS CHOSEN the recently held NAB Show in Las Vegas as the launch platform for SIMPLY SMPTE MAX, a powerful addition to its rental range of television production solutions.

“Developed by our in house engineering team, SIMPLY SMPTE MAX is designed for use in 4K-UHD or multi-camera HD broadcast coverage of live events,” detailed Camera Corps’ Barry Parker. “It’s a compact remote fibre signal transportation system with five 3G feeds to support 4K and superslow-motion applications operated and powered over long distances.

“SIMPLY SMPTE MAX delivers the security and reliability demanded for high-profile sports events where space is at a premium and a neat efficient fibre solution is required. It has already been used with outstanding success at one of the largest events in the winter 2018 sports calendar and now forms part of the Camera Corps rental fleet.” Each system comprises two units, base and remote. Both are compact and highly robust, allowing very

fast installation, configuration and tear-down. They connect via a single SMPTE 311M hybrid cable capable of carrying multichannel video and audio from one or more cameras back to a production control room. The same cable can be used to deliver AC mains power (240V at up to 480W) from base to remote. Two XLR4 sockets, delivering up to a combined total of 50W at 12V, are also available at the remote end.

SIMPLY SMPTE MAX additionally accepts a remote-to-base 3G video feed such as the HD monitor display output from a 4K-UHD camera, typically used to carry camera-settings information. Base-to-remote video is also provided for genlock. Eight bi-directional data channels, 2x RS232 signals, 2x RS422/485, 2x audio and 2x GPI are all fully supported. Two ethernet networking ports (10/100/1,000 Base-T) are also provided plus a base-toremote analogue audio channel for camera control data.

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Vizrt Unveils Viz Libero AR DURING THIS YEAR’S NAB SHOW, Vizrt debuted Viz Libero AR, a broadcast studio tool that combines the analysis power of Viz Libero with augmented reality (AR) graphics. The solution, according to Vizrt, creates a new way for sports presenters to tell the story of the action on the field while engaging sports fans.

Remo Ziegler, Vice President for Product Management Sports, Vizrt, said, “Viz Libero AR brings the pitch into the studio, giving the fans the experience of analysing the most important plays with the experts. The transition between Viz Libero AR and Viz Libero analysis clips allows the viewers to sit in the first row at all times, be it in the studio or on the pitch.”

Viz Libero combines 3D replays and virtual graphics from any sports to provide deeper, multi-angle analysis of moments within the game. The solution is equipped with a photorealistic 3D view, which is based on the original game footage enriched with analysis graphics that are placed as AR elements in front of the sports presenter in the studio.

“Vizrt’s focus is to expand broadcasters’ sports storytelling capabilities with tools that inform and engage audiences,” Ziegler added. “Viz Libero AR adds a new ‘wow’ effect that viewers will remember from the FIFA World Cup or any other sports event beyond. Viz Libero AR brings the pitch into the studio, giving

the fans the experience of analysing the most important plays with the experts.

The transition between Viz Libero AR and Viz Libero analysis clips allows the viewers to sit in the first row at all times, be it in the studio or on the pitch.”

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Adder Technology Unveils Zero U KVM Transmitter ADDER TECHNOLOGY RECENTLY unveiled its Zero U, IP-based ADDERLink INFINITY 100T (ALIF100T) to the US market at NAB 2018. Developed in response to customer demand, as the world’s smallest high performance KVM transmitter, the ALIF100T is suitable for broadcast applications where there’s pressure for rack space and cutting costs in premium, in demand estates.

SPORTSCASTING

The ALIF100T USB powered KVM transmitter forms part of the ADDERLink Infinity solution. It can be easily retrofitted into any existing infrastructure without the need for re-cabling, moving computers or changing racking – reducing the overall cost of migrating from analogue to digital. It can be plugged straight into the back of any computer like a dongle and can hang from the back of the source. It also enables broadcasters to grow systems over time without needing to accommodate further rack space.

24

The benefits also translate directly to OB trucks, as the dongle’s form factor is ideal for mobile trucks which have even less space than larger data centres. The ALIF100T also allows broadcasters to link its OB units together to create a streamlined workspace from just one source.

“One of the most common issues our broadcaster customers face when looking to migrate to digital is the size of transmitters and lack of

space”, commented John Halksworth, Senior Product Manager, Adder Technology. “Consequently, this new product will be especially attractive to those looking to upgrade or update their current KVM systems with the ADDERLink Infinity range, but are hindered by the space issues or the cost of redesigning their current infrastructure.

“Retrofitting high performance KVM into environments designed around legacy, outdated equipment is challenging and expensive, sometimes requiring a complete redesign including recabling. However, with the new transmitter, businesses can easily and cost effectively take advantage of the ADDERLink Infinity solution without this costly step,” added Halksworth.

In addition, the ALIF100T uses only 2W, which means less heat generated and less cooling required, therefore bringing down costs substantially. The device can also be powered directly from USB, meaning there is no need for power distribution units – saving further costs and negating the need for additional space.

The new ADDERLink transmitter adds to the company’s existing product range, and works with the ADDERLink INFINITY Manager (A.I.M.) and ADDERLink INFINITY receivers.

Visit www.adder.com

SPORTSCASTING

SPORTSCASTING

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NEWS OPERATIONS www.content-technology.com/newsoperations

Sky Uses Cloud to ID Guests at Royal Wedding WORRIED YOU WON’T KNOW who’s who at the recent Royal Wedding because you’re not on celebrity gossip websites, watching Entertainment Tonight, or reading glossy magazines in the doctor’s surgery? Or could it be you’re more focused on the final of the F.A. Cup? Well, fear not!

Ahead of the Royal Wedding on Saturday the 19th of May, the UK’s Sky News used pioneering cloud-based machine learning and media services to name guests as they entered the chapel, and enriched the video content with facts about the attendees.

Accessible in the Sky News app or via skynews. com, the ‘Royal Wedding: Who’s Who Live’ functionality is innovative in the way it uses machine learning to enhance the user experience of a livestreamed news event. The additional information associated with the live video went beyond subtitles to provide relevant facts about the guests.

To enable this experience and deliver at scale, Sky News collaborated with Amazon Web Services (AWS) and two AWS technology partners, GrayMeta and UI Centric. As guests made their way into St. George’s Chapel, Windsor, AWS captured live video and sent it to cloud-based AWS Elemental Media Services for multiscreen viewing optimisation. An on-demand video asset, including catch-up functionality, was also generated. In parallel, Sky

combined the GrayMeta data analysis platform with the Amazon Rekognition video and image analysis service for real-time identification of guests and tagging with related information.

Finally, Sky News used the Amazon CloudFront content delivery network to unify the content for rapid distribution to viewers. UI Centric designed and developed the front-end application and video player to enhance the experience and user interface accessed by Sky News viewers. Video content from the application was also made available on demand following the event.

David Gibbs, Director of Digital News and Sports Products said, “Sky continuously searches for ways to innovate and bring better coverage to its customers. This new functionality allows Royal Wedding viewers greater insight into one of the biggest live events of the year, wherever they are. We’re excited by the software’s potential and ability to give audiences new ways of consuming content.”

On top of the ‘Royal Wedding: Who’s Who’ function, those watching on-thego could enjoy all the live coverage as well as live blogs and bespoke video content on the Sky News app. On TV, Sky News was the only broadcaster to cover the Royal Wedding exclusively live in Ultra-HD. Visit www.graymeta.com and www.elemental.com

TVNZ and Getty Images Sign Global Distribution Deal TVNZ HAS SIGNED AN EXCLUSIVE partnership with Getty Images to license and distribute its video clips globally. According to Getty Images, its extensive experience as the guardian of its internationally renowned and historically significant Hulton Archive, as well as distributor to nearly 400 other collections including BBC Worldwide and Japan’s NHK, make the company an ideal partner for TVNZ.

– our people, places and historic moments. This partnership enables us to draw on Getty Images’ expertise in footage licensing and global distribution networks. We know they’re really well set up to provide great service to TVNZ’s existing clients and build our international footage sales.”

TVNZ customers will be able to access the TVNZ Collection through Getty Images’ website. They can expect the same service and price, with a key difference being a stronger and wider sales offering.

Arran Birchenough, Director of Sales, Getty Images New Zealand said, “Getty Images is proud to represent TVNZ’s collection and the rich heritage it encompasses. Getty Images is committed to growing and expanding TVNZ’s video licensing business and we look forward to giving customers around the world unprecedented access to this incredible content.”

Cate Slater, Director of Content, TVNZ said, “We’re delighted to have Getty Images represent our collection, which captures New Zealand’s life and times

Visit www.tvnz.co.nz and www.gettyimages.com

The TVNZ Collection is available from the Getty Images website.

ABC Restructures News THE AUSTRALIAN BROADCASTING CORPORATION has announced a proposal to reshape its eight capital city newsrooms to deliver what it says will be more in-depth coverage and a faster breaking-news service.

Director, News, Analysis and Investigations, Gaven Morris, said the proposed changes would make the newsrooms fully fit for the modern media environment.

NEWS OPERATIONS

“As Australia’s major public broadcaster, the ABC is continuing to provide news on traditional platforms at the same time as developing our digital presence to be as accessible as possible for all Australians,” he said. “While our newsrooms do great work, the current structures do not fully support our people to meet modern audience needs.

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“Reshaping our newsrooms involves challenges. Overall, it is anticipated around 20 positions would become redundant, and we know this would be painful. Against this, new senior editorial roles would be introduced to add to the expertise and skills in the newsroom. At the end of this process we anticipate having the same number of editorial employees.”

• Creating new editorial roles and changing others to better integrate digital and broadcast responsibilities.

• Streamlining workflows to enable local newsrooms to be more responsive to news.

The ABC says the proposed changes respond to changing audience demands.

It says while broadcast audiences have softened, in the past two years the ABC NEWS audience on web and mobile grew by 12% to almost five million Australians a month. The smartphone audience jumped almost 30%.

The proposal is part of a series of initiatives designed to strengthen the ABC’s news and information services: • National reporting has been boosted with the creation of the ABC Investigations team and the Specialist Reporting Team.

• An additional $15.4 million per year has been invested in the creation of up to 80 rural and regional editorial jobs.

Proposed changes include:

• The expansion of local radio streaming services means 42 regional communities can now listen to their local radio stations online and via mobile.

• Reshaping the editorial leadership and newsroom structure.

Visit www.abc.net.au

NEWS OPERATIONS

Grass Valley Debuts Ultimate News Production Platform THOUGH NEWS PRODUCTION CONTINUALLY grows more complex and fastpaced, Grass Valley is adding features to its news production platform to help simplify customers’ workflows. News operations are dealing with an exploding volume of user generated content (UGC) and a viewer expectation of instant availability on any platform, whether broadcast, mobile or social. The newly combined portfolio of Grass Valley and SAM solutions gives news professionals access to the industry’s widest selection of tools and technologies for conquering the news marketplace.

GV STRATUS 6.0 adds enhanced news orchestration capabilities, including integrated social media publishing, monitoring and tracking. In addition, increasing availability of cloud-based tools and virtualisation are having a significant impact on the newsroom, and Grass Valley is embracing this trend across the portfolio.

News solutions recently featured at NAB 2018 include: GV STRATUS 6.0 – boasting a suite of tools including a new web client for access to GV STRATUS from anywhere on any device, and support of the GV I/O SDI ingest server which features a COTS-based engine. Additionally, GV STRATUS has new social media management capabilities that allow users to post, track and delete any asset. To adapt to more UCG, the XRE Transcoder is now built into every GV Render Engine so broadcasters can enable rich transcoding without further hardware.

Ignite 11 – the latest version of this news production automation tool reduces complexity with event builder, increases flexibility with third-party switcher support, features reduced commissioning time and controls the latest T2 UHD for playback and recording in 4K UHD and 1080p.

Momentum – a workflow and media asset management solution, offering management of video, IT and cloud storage through a versatile workflow engine. Momentum is user-configurable via a dedicated drag-and-drop editor and includes an extensible database with search functions.

Go! – a browser-based editor that can be used anywhere with an internet connection on laptops, phones and tablets. Go! utilises an HTML 5-based shot selector/editor and facilitates story creation with simple effects and voice-over functionalities.

Rio – offers Hollywood-style post production and finishing through colour correction and fixing tools. Rio support all standards and colour spaces up to 8K 60p.

EDIUS – now features direct editing on the Amazon AWS platform with EDIUS Cloud and HDR native editing in HLG, PQ, S-Log and other formats. EDIUS 9 enables users to mix SDR and HDR material on the same project, and output in either, while the floating license package gives users the option to expand functionality as needed.

“News production is going to continue to evolve with new channels and new technologies, but the right equipment can transform those wouldbe challenges into opportunities,” said Pete Semerak, Vice President of News, Grass Valley. “News operations need tools that handle content from almost any source, can distribute that content quickly, support a cloudbased workflow to facilitate working from almost anywhere, and offer burst consumption models to deal with the changing ways content is watched.”

Visit www.grassvalley.com

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NEWS OPERATIONS

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POST PRODUCTION www.content-technology.com/postproduction

NFSA Restores Feminist Classic My Brilliant Career MARGARET FINK AND GILLIAN ARMSTRONG’S empowering feminist classic My Brilliant Career has been digitally restored by the National Film and Sound Archive of Australia (NFSA), and is set to premiere at this year’s Sydney Film Festival on Wednesday 13 June.

Director Gillian Armstrong will participate in a special Q&A following the screening.

The 1979 film, based on the novel by Miles Franklin, tells the story of Sybylla Melvin (Judy Davis), a young woman growing up in the Outback who aspires to become a writer despite the objections of family and society. She will have to choose between marriage to a rich landowner (Sam Neill), or pursuing a brilliant career.

Producer Margaret Fink said, “From the moment I read My Brilliant Career back in 1965, I knew I would make a film from Miles’ book. It took a long time to get together the elements, not the least of which was the funding. I was able to gather great talents: Gill Armstrong, Eleanor Witcombe, Jane Scott, Don McAlpine and Lucianna Arrighi. We had luck in finding our leads, Judy Davis and Sam Neill, who subsequently became big stars.

“Thanks to NFSA’s digital restoration My Brilliant Career can, today and into the future, be viewed by many young women who need to know they can have options.”

are wonderful, and Miles Franklin’s message is still sadly just as pertinent today.”

The new digital print was produced as part of NFSA Restores, a program to digitise, restore and preserve, at the highest archival standards, classic and cult Australian films so they can be seen on the big screen in today’s digital cinemas.

We had to do justice to the film.

Following the first assessment of the original materials held in the NFSA collection, it took just under a year of work on both the image and sound files in order to deliver this digital restoration.

Director Gillian Armstrong added, “I am thrilled that our beautiful new digital print is to premiere at my much-loved Sydney Film Festival this June. It is still beautiful to look at; many thanks to the NFSA for their painstaking work and passion for preserving our heritage.

“Margaret Fink’s film launched four little brilliant careers: Judy Davis, Sam Neill, cinematographer Don McAlpine, and my own. They and all the cast

NFSA Chief Curator Gayle Lake said, “We had to do justice to the film. Following the first assessment of the original materials held in the NFSA collection, it took just under a year of work on both the image and sound files in order to deliver this digital restoration. It was a pleasure working with Margaret, Gill, Don, and Editor Nicholas Beauman.”

For NFSA Restores, the NFSA uses the best available original picture and sound materials, from both the NFSA collection and around the world. Restored films are migrated every five years to ensure their format remains contemporary and they are available as Digital Cinema Packages (DCP) for screening in today’s cinemas.

Digital restoration is highly specialised work, with a film costing anywhere from AUD$50,000 to $150,000, depending on its condition.

NFSA Restores relies, in part, on public donations.

You can assist its valuable work by donating via www.everydayhero.com.au/event/NFSA-Support-us See a ‘Before and After’ reel from the My Brilliant Career project at https://youtu.be/PsW7srVnjqc Visit https://www.nfsa.gov.au/about/our-mission/nfsa-restores

POST PRODUCTION

Blackmagic Cintel Scanner 2

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DURING NAB 2018, Blackmagic Design announced Cintel Scanner 2, a secondgeneration model of its real-time film scanner. Cintel Scanner 2 features the speed of Thunderbolt 3 and PCIe host computer connections, as well as a new skid plate for 35 mm HDR film scanning and timecode output. The new Cintel Scanner 2 will be available in June for AU$41,445 from Blackmagic Design resellers worldwide.

dynamic range) film scanning of 35mm film. This makes it possible to meet the growing demand for 4K HDR content. Since the native resolution of 35mm is 4K with high dynamic range, customers can scan their existing film libraries with the Cintel Scanner 2 and recover vibrant 4K high dynamic range images for distribution on the latest streaming services such as Netflix and Apple TV. Support for 16mm HDR scanning will be added in a future update.

The new Cintel Scanner 2 features new high speed interfaces for connecting to Mac and Windows computers. With incredibly fast 40Gb/s Thunderbolt 3 technology, the Cintel Film Scanner 2 can connect to the latest Mac computers for realtime 4K film scanning. In addition, there’s also an external PCIe interface for connecting to Windows and Linux based computers that don’t have Thunderbolt 3.

The HDR scanning features of Cintel Scanner 2 are available through DaVinci Resolve 15 Studio, which will be included with the scanner. DaVinci Resolve 15 Studio features full GPU accelerated colour grading and mastering support for DolbyVision, HLG, HDR and HDR10+. In addition, DaVinci Resolve 15 Studio adds new ResolveFX Revival tools for automatic dirt removal, dust busting, spot patch replacement with smart fill technology, and advanced temporal and spatial noise reduction.

The new bi-phase sync and timecode output connection lets customers sync the Cintel Film Scanner 2 with external equipment. This is ideal for use with devices such as audio followers that playback mag sound track reels in sync with the film and that often don’t have timecode inputs, as they use an electronic tach pulse to follow sync. When used with equipment that supports timecode, the scanner can provide a timecode output to allow the audio device to match both position and sync. The addition of bi-phase sync support makes the Cintel Scanner 2 compatible with a wider range of historical audio devices than ever before.

The Cintel Scanner 2 also features a new skid plate that enables HDR (high

“The combination of Cintel Scanner 2 with DaVinci Resolve 15 Studio gives customers the most advanced film scanning and restoration tools in the world,” said Grant Petty, Blackmagic Design CEO. “The new Cintel Scanner 2 is exciting because it lets customers make their existing film libraries available in Ultra HD for HDR broadcast and streaming through services such as Netflix and Apple TV.” Cintel Scanner 2 will be available in June for AU$41,445 from Blackmagic Design resellers worldwide.

Visit www.blackmagicdesign.com/au

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Workflow of Art 29

POST PRODUCTION

Avid – Set the Controls for the Heart of the Cloud Recently in Australia, Paul Thompson, Avid’s Director of Strategic Solutions sat down with Phil Sandberg to talk MediaCentral and the Cloud.

C+T: Your visit comes on the heels of NAB. For those unable to attend, what were the Avid highlights?

“We made quite a few announcements at NAB. The biggest one is around MediaCentral and our next generation of that, which we’re calling MediaCentral Cloud UX. And with that, we’re kind of moving into the next development of our platform strategy. So, a few years ago we had kind of a bunch of products that didn’t really work well together. They were all kind of built on an individual basis.

We took that and took those products, took the best bits and moved them into a platform which we called MediaCentral. And MediaCentral is kind of positioned as almost like an operating system for the media enterprise. And, that has been deploying around the world very successfully. The next step of MediaCentral is to move it from being an on-premise and something that is deployable in a private data centre but really to move it to the public cloud as well.

“There’s a couple of underlying principles that we’re trying to follow. One is commercial, so making sure that from a customer perspective they have the choice of deploying on a capex basis or deploying on an opex basis. Second is really technical, so from a deployment perspective they can deploy as much on prem, in the traditional way, as the business wants and needs, but also be able to deploy in a cloud basis as much or as little as the business needs.

“We actually see a majority of our customers wanting to adopt a hybrid strategy, so use our existing infrastructure on site maybe to kind of depreciate that and to get the 24x7 use from that, but then to go to the cloud for a couple of reasons.

The first reason being to use services that are only available in the cloud, like artificial intelligence and things like that. Collaboration becomes a lot easier when you’re in the cloud.

“So, one of the things we launched at NAB was what we call Shared Library, which is really another name for collaboration between all those different production silos that exist in organisations. So, be they geographic ones or teams within one facility, wouldn’t it be nice to have the capability that whatever production group or whatever they’re producing, anyone in the enterprise can see what’s being produced and can grab it, re-use it, use it to enrich their story or their production, and then easily share that finished product as well.

That manifests itself by having lots of content sitting within MediaCentral’s on premise in those individual sites, but then pushing to a global or a central or a shared library in the cloud so people can access that shared library from anywhere and they can pull the assets they need across the business as they need it. So that’s the first thing.

“The second aspect of going to the cloud is to use it to drive more efficiency within the existing business. So being able to remove the duplication, so if multiple sites are doing the same type of thing, they can move that workflow perhaps to the cloud and reduce their actual onsite costs as well.”

You describe it as an operating system, but it’s also like an ecosystem?

POST PRODUCTION

“Right. The operating system aspect is from a user perspective, in the same ways we’ve all got a phone with an operating system on it, we’ve all got different applications that we use to do whatever it was we were actually doing in that hour of the day. You could think of MediaCentral UX as a browser-based user experience, but within that user experience, that browser, you can basically have whatever applications that you need to do what you need to do at that moment in time. Perhaps you’re editing or perhaps you’re logging or perhaps you’re publishing to social media. The users, if you go around the enterprise, will all have the same kind of look and feel, but you’ll see kind of different applications running in their screen, depending on what particular thing they’re doing at that particular moment of the day.

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“In terms of ecosystem, what we want to make sure is that the platform is used in an open a way as possible, so every customer has a variety of different suppliers and systems and technologies and some legacy, some new, whatever.

One of the things we’re sharing with MediaCentral is those Avid apps to edit, to browse and to do various things, but there’s also a number of apps that are from our partners, our third-party partners. And there’s apps ranging – kind of everything, right across the workflow from Ingest to management of social news feeds right through to ingesting sports statistics right through to the publish aspect of publishing out to the social networks and to other platforms. It’s a fundamental premise of MediaCentral to make it open, and we see multiple ecosystems.

“An ecosystem like news, as an example, we’ve done a lot of work just understanding what, for instance, the news ecosystem looks like today

compared to five years ago. One of the things especially in news is around the story-centric approach, rather than driving towards the 6 O’Clock news. It’s about watching that story emerge. So, maybe the story breaks on Twitter. Is that a real story? Okay, well let’s use the social research tools to understand if it is real or if it’s fake news. As that story develops, first get that breaking story out as quickly, as efficiently as possible to whatever the consumer base is that the customer is servicing. Is it just social? Is it video? Is it TV? Is it web? Is it everything? Print even. Then use the MediaCentral tools to actually work with that story during the day. How is that story evolving? Does it need some archive material added into it? If so, let’s use the search tools to actually find that archive. Maybe not in my physical facility but maybe in my sister or brother’s facility across the geo. How can I as a journalist find that content more easily?

“That’s kind of where we start thinking about Cognitive Services and artificial intelligence and if we sent a news crew out to shoot some material on site, wouldn’t it be kind of nice if that materials came into the MediaCentral platform, if it was automatically enriched with metadata where all the things that were spoken about were all of a sudden available as metadata, so you can kind of search on that? Wouldn’t it be nice if all the people appearing in that piece of video were automatically tagged and recognised? So, using the power of the cloud, the power of AI to make it easier to make the story better and richer and more engaging.

The cloud component of MediaCentral is in partnership with Microsoft. Is that the same for the AI? “We’re using Azure Cognitive Services. If we take a video clip today, we pass it up to the cloud, the AI services run on it and we grab the metadata back and the metadata is handled as a strata within the MediaCentral platform. Then the user can just go and, using a very simple search bar, they can search on the face, type, text, whatever, even what appears as a name badge, the AI system will pick that up and transcribe that.

“We launched a product bundle called Avid AI, which is a combination of Microsoft’s Azure’s AI, their Cognitive Services, but also our own Illuminate technology, which is very much about phonetic searching, so rather than having to get the spelling correct of something you can basically type in roughly what it sounds like and the phonetic search capability will actually be able to pull back the most positive likelihood of the pieces of media that match that criteria, so it’s tremendously powerful. Another aspect of that technology is a QA tool which we’re calling Illuminate, which is all about caption QA, being able to use that to check the quality of the captions and subtitles and their alignment with the actual spoken word and the actual quality of the captions compared to the actual video itself.”

There were some new announcements around editing as well?

“So, we launched our Avid On Demand portfolio, which has several aspects to it; Shared Library, we talked about earlier, bringing together the multiple geographic sites with a central library, having that available on demand or as a burst capacity.

The second is Editorial Management On Demand, so making almost like remote production available on an on-demand basis. Those will launch later in 2018. It’s very exciting because I think it really moves forward the whole kind of thinking of how production will changed powered by the cloud. It’s becoming more possible, more commercially attractive to be able to shoot a bunch of material on camera in the field and either upload proxy or upload full res depending on your connectivity into the cloud and what is in the cloud. Then, with Editorial Management, be able to edit it in the cloud and then, depending on where you’re distributing it to. If you’re going social today you could basically keep it in the cloud and publish straight to those cloud-centric platforms, or you could push it back on prem and do some further craft work with it or take it to broadcast or whatever. So, it’s going to be an interesting 2018 I think.”

Visit www.ambertech.com.au and www.avid.com

POST PRODUCTION

AJA Introduces KONA HDMI and KONA 1 AJA VIDEO SYSTEMS has unveiled two new KONA cards, and announced Desktop Software v14.2.

KONA HDMI is a PCIe card for multi-channel HD and single-channel 4K HDMI capture for live production, streaming, gaming, VR and post production, while KONA 1 is a PCIe card for single-channel HD/SD 3G-SDI capture/playback. Desktop Software v14.2 adds support for KONA 1 and KONA HDMI, plus new improvements for AJA KONA, Io and T-TAP products.

1 supports 3G-SDI capture, monitoring and/or playback with software applications from AJA, Adobe, Avid, Apple, Telestream and more. KONA 1 enables simultaneous monitoring during capture (pass-through) and includes full size SDI ports supporting 3G-SDI formats, embedded

KONA HDMI

16-channel SDI audio I/O, genlock with reference/LTC input and RS-422.

An HDMI video capture solution, KONA HDMI supports a range of workflows, including live streaming, events, production, broadcast, editorial, VFX, vlogging, video game capture/streaming and more. KONA HDMI is highly flexible, designed for four simultaneous channels of HD capture with streaming and switching applications including Telestream Wirecast and vMix. Additionally, KONA HDMI offers capture of one channel of UltraHD up to 60p over HDMI 2.0 using AJA Control Room software for file compatibility with most NLE and effects packages.

It is also compatible with other popular third-party solutions for live streaming, projection mapping and VR workflows. Developers can take advantage of the platform to build multi-channel HDMI ingest systems and leverage VL42 compatibility on Linux. Features include: four full size HDMI ports, the ability to easily switch between one channel of UltraHD, or four channels of 2K/HD, and embedded HDMI audio in, up to eight embedded channels per input.

Desktop Software v14.2

KONA 1 Designed for broadcast, post production and ProAV, as well as OEM developers, KONA 1 is a cost efficient single-channel 3G-SDI 2K/HD 60p I/O PCIe card. KONA 1 offers serial control and reference/LTC, and features standard application plug-ins, along with AJA SDK support. KONA

Desktop Software v14.2 introduces support for KONA HDMI and KONA 1, in addition to a new SMPTE ST2110 IP video mode for KONA IP with support for AJA Control Room, Adobe Premiere Pro CC, part of the Adobe Creative Cloud, and Avid Media Composer. The free software update also brings 10GigE support for 2K/HD video and audio over IP (uncompressed SMPTE 2022-6/7) to the new Thunderbolt 3-equipped Io IP and Avid DNxIP, as well as additional enhancements to other KONA, Io and T-TAP products, including HDR capture with Io 4K Plus. Io 4K Plus and DNxIV users also benefit from a new feature allowing all eight analogue audio channels to be configured for either output, input or a four-in/four-out mode for 7.1 ingest/monitoring, or I/O for stereo plus VO and discrete tracks.

KONA HDMI will be available June 2018 for $895 US MSRP, and KONA 1 will be available May 2018 for $595 US MSRP, with both available for pre-order now. Desktop Software v14.2 is available as a free download from AJA’s support page.

Visit www.aja.com

Cost-Effective Tedial IMF Markup Tool • 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 not limited by specialised editorial systems.

• Swiftly modify IMPs for the unique delivery of the on-the-fly requirements of OTT providers.

• Provide an interface for localised editorial preparation, including:

Integrated within Tedial’s GUI and workflows, the IMF Markup Tool supports the award-winning Evolution Version Factory, providing a near-line editorlike interface with industry-standard controls.

Cuts-only editorial, addition of language audio tracks, add markers

This feature-set allows users to:

(i.e. blurs, repos, etc.).

• Rapidly spot-check and quality control Interoperable Master Packages (IMPs).

for automatic insertion of localised elements, identify and mark components requiring further downstream localisation processing Visit www.tedial.com

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POST PRODUCTION

TEDIAL CONTINUES ITS IMF MAM development by expanding its platform to include the new IMF Markup Tool, an editor that addresses up to 30% of the versioning requirements typically needed for distribution. The IMF Markup Tool is suitable for audio/subtitle track alignment, the creation of new versions by simple-cut editing on low resolution proxies, and it can mark IMF packages to prepare them for automated insertion/localisation of credits, rolls, insertion of black slugs and colour bars. Designed for fast validation and repair of IMF packages, this tool functions independently of third-party systems

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MEDIA IN THE CLOUD, STORAGE & MAM DPP Highlights Business Benefits of IMF adoption THE INTEROPERABLE MASTERING FORMAT (IMF) is a file-based mastering framework designed to support multiple high-quality content versions of a finished work destined for distribution channels worldwide.

The guide provides an introduction to IMF, explains how IMF works, outlines the problems IMF solves and the benefits it brings, and looks at the path to implementation of the new IMF for Broadcast and Online specification.

To further the cause of IMF, the Digital Production Partnership (DPP) , the media industry’s international business network, has announced the release of a new guide: The Business Benefits of IMF. The guide helps influencers and decision makers from content supply companies to understand the financial and operational benefits of adopting the Interoperable Master Format (IMF) – both in the form of the current Society of Motion Picture and Television Engineers (SMPTE) standard, designed for premium content, and the new IMF for Broadcast and Online specification that is currently being developed by SMPTE and the DPP.

The Business Benefits of IMF is available as a PDF booklet, and also as a presentation deck with handout notes to support the DPP’s broadcaster, supplier and distributor Members in the adoption of IMF for Broadcast & Online.

“The global market for quality content has brought enormous opportunity for media companies, by creating demand for different versions of master material. But that also brings great cost and complexity,” says DPP Managing Director, Mark Harrison. “That’s the problem that IMF solves: it enables faster, cheaper and higher quality versioning. It brings huge financial and operational benefits.”

IMF-related standards work also underway includes:

IMF for Broadcast and Online makes it possible to automate the content supply chain, eliminate the unnecessary creation of multiple versions, enable workflow efficiencies, and reduce QC and archive storage requirements, while maintaining the quality of the original asset. The result is significant cost and time savings.

The Business Benefits of IMF is produced in partnership with DPP Member EditShare and its new QScan Automated Quality Control family of products.

Following the upcoming publication of the new IMF for Broadcast & Online specification by SMPTE, the DPP will launch a compliance testing programme for IMF for Broadcast & Online tools. This will provide buyers and sellers with the confidence that DPP tested tools and IMF packages will be interoperable and can be exchanged internationally.

• A project to extend the use of the Academy Color Encoding Specification (ACES, ST 2065-1) as an application format in the Interoperable Mastering Format.

• IMF Output Profile Lists - Projects are underway to revise IMF Common Image Definitions and Macros, and create new standard Dynamic Metadata for Colour Volume Transform for IMF Applications. There is also a project to amend IMF Common Image Pixel Colour Schemes (published Q4 2017).

• IMF Audio Essence Projects - Projects are underway on IMF Audio Content and Element Kind Definition and an IMF Immersive Audio Bitstream Level 0 Plug-In. Visit www.smpte.org and www.digitalproductionpartnership.co.uk

Tata, Primestream Partner on Cloud MAM TATA COMMUNICATIONS, A LEADING digital infrastructure provider, and Primestream, have joined forces to launch an enterprise-grade Media Asset Management (MAM) solution in the cloud. The new platform enables broadcasters, content owners and enterprises to capture, produce, manage and deliver media content on a global scale.

The solution enhances the efficiency of video production, file sharing, editing and publishing workflows, and makes collaboration between global teams more seamless. This is because it combines a cloud-based version of Primestream’s Xchange MAM solution, with Tata Communications’ cloud storage platform and high – performance Video Connect network. The service also features advanced file acceleration and an expandable object storage solution – ideal for disaster recovery or content archiving - all for a predictable monthly fee.

“Organisations across the world are experiencing rapidly expanding requirements to share content and metadata between sites at various stages of production,” said Claudio Lisman, President and CEO of Primestream. “The joint offering of Tata Communications and Primestream enables a centralised

system that delivers new, efficient metadata-driven workflows to customers across the world. Working closely with Tata Communications is part of our commitment of building the most accessible, powerful and easy to use Dynamic Media Management platform in the cloud.”

“Sports, entertainment and news organisations are under pressure to bring their global audiences more and more content, live, 24/7, across different digital platforms, and in new formats such as UHD and live 360-degrees,” said Brian Morris, Vice President and General Manager, Media & Entertainment, Tata Communications. “In this high-pressure environment, it’s no longer viable for production teams to work in silos, with files scattered around on different hard drives across geographies. Our joint offering with Primestream unifies and simplifies Media Asset Management from capture to distribution, helping to meet audiences’ insatiable appetite for new video content, and more powerful viewing experiences.”

Visit www.tatacommunications.com and www.primestream.com

MEDIA IN THE CLOUD, STORAGE & MAM

MPEG Tackles Network-based Media Processing

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RECENT DEVELOPMENTS IN MULTIMEDIA have brought significant innovation and disruption to the way multimedia content is created and consumed. With the emergence of virtual reality (VR), augmented reality (AR), and mixed reality (MR) applications, users can interact with and navigate within the consumed content along multiple degrees of freedom.

At its 122nd meeting, standards body MPEG has issued a Call for Proposals (CfP) on Network-based Media Processing (MPEG-I part 8). This CfP addresses advanced media processing technologies (e.g., network stitching for VR service, super resolution for enhanced visual quality, transcoding, viewport extraction for 360° video) within the network environment that allows service providers and end users to describe media processing operations that are to be performed by the network.

To achieve this objective, MPEG is working on a NBMP standard that will allow end user devices to offload certain kinds of processing to the network.

NBMP describes the composition of network-based media processing services out of a set of network-based media processing functions and makes these network-based media processing services accessible through Application Programming Interfaces (APIs).

Responses to the NBMP CfP will be evaluated on the weekend prior to and decisions made at the 123rd MPEG meeting in July 2018 (Ljubljana, SIovenia).

Visit https://mpeg.chiariglione.org

MEDIA IN THE CLOUD, STORAGE & MAM

MEDIA IN THE CLOUD, STORAGE & MAM

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MEDIA IN THE CLOUD, STORAGE & MAM

Shifting Video Content Consumption Habits Creating Challenges for Producers

By Ooyala MASSIVE SHIFTS IN VIDEO CONTENT consumption patterns around the world are causing both challenges and opportunities for producers. While demand for content is skyrocketing, changes are needed in the way it is produced, managed and distributed.

Amid this disruptive environment one thing still holds true: content is king. The video producer, broadcaster, publisher or studio with the best content will attract the largest audiences and have the best chance at long-term success.

Indeed, with the fragmentation of the video landscape across linear and digital platforms that has occurred during the past few years, video content has become an even more critical differentiator. It is now accessed on multiple screens, in multiple locations, all the time.

To attract audiences when they have so many options, providers have found they must have their best content available at all times. With the right content in the right place, audiences will deem a service or site one of the select few worthy of their time and money. They will subscribe or commit to it and stay there.

Investing in content If there are any doubts about the importance of high-quality video content, it’s worth considering the amounts of money being invested in the sector. Streaming giant Netflix now spends $US8 billion on original and acquired content each year.

At the same time, HBO spends $2 billion, and Facebook and Apple both spend around $1 billion a year. The fact that so much money is being invested in original content creation and licensing shows just how much of a factor content is in audience satisfaction and market success.

In reality, however, most content providers don’t have multi-billion-dollar budgets to produce or acquire the level of content needed now to attract and keep audiences. They need to be more strategic with their content and what they do with it to make the most of their video investments and stay in the game.

With this unprecedented tidal wave of content and content expenditures in the marketplace, two critical trends have emerged to allow providers of all sizes to compete: • Horizontal platforms, that help companies integrate the data that exists throughout their content supply chain to create better, more targeted content; and • Data-driven automated workflows, that help companies get more content to market faster and more cost-effectively.

Data-driven platforms and workflows enable content providers everywhere to achieve scale and efficiencies cost-effectively, and level the content playing field against larger rivals. Content providers can run their operations strategically, drive digital transformation, and remain in the game. In this dynamic content environment, these capabilities are vital to survival.

How the Ooyala Flex Media Platform can help To assist video content creators, meet these new and evolving challenges, Ooyala has developed the Flex Media Platform. This platform simplifies, streamlines and connects the entire content supply chain, helping teams to plan and manage, curate and archive, orchestrate and automate, distribute and publish, and analyse and monetise their content.

MEDIA IN THE CLOUD, STORAGE & MAM

The Ooyala Flex Media Platform can support companies whether they work in one area or across all of these, and can be completely customised to meet specific needs. Companies can build their best solution with applications from Ooyala or certified third-parties, or create and host their own apps with the builtin API infrastructure.

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With an integrated content supply chain ecosystem in place, companies can harness the metadata that runs throughout any or all of these operations to create and deliver the robust and targeted content that they require.

They can also gain improved efficiencies through automation so more can be done within existing content footprints and budgets. This holds true for all network-connected systems and associated processes however they’re configured.

With the Flex Media Platform, content providers can achieve a single view across content systems so they can optimise workflows to speed up operations, cut costs and lower risks. They are also able to share metadata to integrate disconnected systems, processes and teams.

As well as content production, companies are also able to harness analytics to create more targeted content and deepen business insights while also building a better platform user experience to maximise time and resources.

The four key areas in which the Ooyala Flex Media Platform can deliver value for content providers are: 1. Workflow: The automated workflows of the platform make it easy to connect systems that were previously isolated, regardless of how monolithic, legacy or distributed they might be. One area where this is becoming increasingly critical is with live and video-on-demand workflows, where providers may have a separate workflow for VOD from the one they have for live and linear broadcast.

2. Metadata: Once the superhighway of workflows is in place, the Ooyala Flex Media Platform makes it effortless to integrate those applications and have them share metadata. As a result, tasks that used to be manually-driven (such as working with budget spreadsheets, or re-entering metadata manually when moving between processes) can be automated resulting in time, cost and error reduction.

3. Analytics: With a single platform to administer, automate and monitor a connected supply chain, companies also gain a complete understanding of an asset at every stage of the content life cycle, with a single source of truth along the way. Multi-dimensional analysis of viewing and engagement brings companies up-to-the-minute data across entire libraries or single videos.

4. Platform user experience: The Ooyala Flex Media Platform also simplifies the user experience for teams and individuals who work with the content supply chain. For example, someone who works with Avid’s Interplay Production and the Ooyala Flex Media Platform doesn’t have to spend time going between two separate systems.

A platform for the future The Ooyala Flex Media Platform helps companies everywhere make their content supply chain faster, smarter, more flexible, and more profitable. It has the means to harness metadata to automate workflows, simply and efficiently integrate multiple systems, teams and processes, and help companies build their ideal solutions their own way.

By providing a flexible, expandable and robust production environment, the Ooyala Flex Media Platform puts content providers in the best position to win in the highly competitive video revolution.

Visit www.ooyala.com

MEDIA IN THE CLOUD, STORAGE & MAM

Object Matrix IMF Workflow Support OBJECT MATRIX HAS ANNOUNCED support for Interoperable Master Format (IMF) workflows within its media focused private and hybrid cloud platform built on Digital Content Governance and object storage, MatrixStore.

When IMF components are archived in MatrixStore, the metadata can be viewed and searched on items such as the control panel files. MatrixStore is a media focused private cloud offering that keeps archived content secure, whilst enabling easy and instant access and discoverability of the entire archive.

Enabling IMF support within MatrixStore means the user can more easily control their IMF projects even once archived. The IMF packages can be easily searched within the archive, as well as restored whenever required.

Jonathan Morgan, CEO Object Matrix, commented, “As broadcasters face increasing pressure to distribute to multiple platforms and formats, IMF is becoming critical for making that process simple and efficient. Therefore, ensuring support for IMF is increasingly important for future archiving and restoration.”

Visit http://object-matrix.com

Imagine and StorageDNA Bring Ease of Access to LTO IMAGINE PRODUCTS AND STORAGEDNA recently announced a partnership resulting in a new product.

The companies have collaborated on an integrated solution that enables random access to files on an LTO tape, essentially turning it into a hard drive with dnaLTFS – an LTFS adaptation that was never available before. The results are time savings and easier access to assets.

The joint solution is called myLTOdna.

It is an integration between Imagine Products’ myLTO tape-authoring application and StorageDNA’s HyperTape high performance direct access tape solution powered by dnaLTFS. The result is a user interface with which to administrate HyperTape operating modes manually, or automatically from creative applications such as Imagine Products’ PrimeTranscoder.

“StorageDNA has been dedicated to M+E markets since 2004, and we strive to provide customers with workflow-enhancing solutions that make LTO tape a more usable storage medium. We chose to work with Imagine Products on our HyperTape user interface because the company is known for highly intuitive interfaces and well respected for LTO/LTFS archiving and workflows,” said Tridib Chakravarty, CEO and President of StorageDNA. “By joining forces with Imagine Products and integrating our capabilities, we are providing media professionals with the simplest and fastest LTO workflows available today.” myLTOdna is the Mac-based front-end for HyperTape. It allows users to switch modes of operation and direct HyperTape to train, write, and read to and from LTO tape. With myLTOdna, users can now access files directly on tape without having to restore them for sequential operations such as transcoding, ingest, or QC. Instead, they can drag and drop files to or from tape at the desktop level at

speeds exceeding 300 megabytes per second. These benefits save hundreds of hours in time and resources.

“When StorageDNA contacted us about a partnership, we jumped at the chance to work with another company as highly regarded for its advances in LTO/LTFS workflows. Together, we’ve created a solution unlike any other – a way to access files from an LTO tape like you would a hard drive,” said Michelle Maddox, Marketing Director at Imagine Products. “In doing so, we’re passing our decades of combined knowledge and expertise directly to users. This kind of LTO solution has never been available before.” myLTOdna benefits any segment of the media and entertainment industry where increasing amounts of content regularly exceed spinning-disk storage capacities. It is especially useful for field/camera file offloads, postproduction facilities receiving field/camera files, facilities wanting to manage online storage capacity levels, and those looking to keep files long term.

Those who use myLTOdna with PrimeTranscoder can still archive to LTO tape with standard LTFS (myLTO) and use all the functions of PrimeTranscoder: transcoding files to useable formats, stitching together clips, burning in timecode, performing colour correction, and adding watermarks. myLTOdna and PrimeTranscoder are available from the Imagine Products and StorageDNA websites, while LTO drive licenses for HyperTape powered by dnaLTFS are available through StorageDNA’s reseller channel. Also, through StorageDNA’s website, the company will sell a bundle that pairs myLTOdna, HyperTape powered by dnaLTFS, and PrimeTranscoder with an LTO drive.

Visit www.imagineproducts.com and www.storagedna.com

OOYALA HAS COLLABORATED with Avid to integrate the new Flex Media Platform into Avid MediaCentral. The new Flex Media Platform now provides comprehensive, fully integrated media logistics functionality. With this new integration, Ooyala and Avid now offer a best-of-breed solution to get content to consumers seamlessly, rapidly and in a manner that is truly streamlined to maximise ROI. “Media companies are managing growing inventories of high quality content, and require a solution that eliminates the complexity of the process whilst increasing operational efficiencies,” said Jonathan Huberman, CEO, Ooyala.

“Being an Avid Alliance Partner means customers won’t have to uproot their existing tools and systems in order to have the most comprehensive solution possible. They can now leverage the advanced Media Logistics capabilities of the Flex Media Platform seamlessly within their existing Avid infrastructure.”

Managing video assets is a common challenge for many media companies that handle large amounts of content yet lack efficient metadata

capabilities. Ooyala, a provider of software and services that simplify the complexity of producing, streaming and monetising video, solves this challenge with the Flex Media Platform. It is an open and extensible video production, delivery, and content-supply-chain-optimisation platform that streamlines the process of managing, curating, orchestrating, publishing, measuring and monetising video content. Among other features, the platform can automate the assignment and management of metadata across complex, fast-growing inventories of video assets. The integration empowers customers with advanced metadata modelling using metadata aggregated from a variety of sources. Assets can be transferred from cloudbased storage into existing Avid production environments.

“By integrating the metadata capabilities of the Ooyala Flex Media Platform, we’re powering a best-of-breed solution that provides a ‘single source of truth’ and better overall orchestration of the process,” said Ed Caracappa, Sr. Director Global Alliances at Avid.

Visit www.ooyala.com

MEDIA IN THE CLOUD, STORAGE & MAM

Ooyala / Avid Collaborative MAM

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AUDIO Digital soundwaves

www.content-technology.com/audio

TRC Supply ARX USB Interfaces for Commonwealth Games TRC, THE AUSTRALIAN DISTRIBUTOR for the ARX signal processing product range, have recently supplied Norwest Productions with 20 units of the ARX ‘USB DI’ USB audio interface for use at the recently held Commonwealth Games. As audio contractor to the Commonwealth Games, Norwest Productions specified the ARX USB DI for converting computer audio to balanced analogue signal as required throughout the AV setups across the Games.

New Zealand’s WhitebaitMedia on the Road with Calrec AFTER 36 YEARS IN A STUDIO, the producers of New Zealand’s long-running kids show ‘What Now’, decided to go on the road in 2018 so the programme could reach out to more children around the country, and bring even more dynamism to the format. They’re using Calrec’s high-performance Brio36 compact audio console to do so.

The show airs live at 8AM each Sunday during a non-advertising time in New Zealand on TVNZ 2. It’s also part of Television New Zealand’s South Pacific Service that sees the show broadcast on a number of Pacific Islands. The two hours consist of “fun, mess, games, mess, skits, and more mess” according to Tim Murdoch, Technical Manager at production company WhitebaitMedia.

In front of a live studio audience, the show regularly hosts celebrities and live performances of all types.

Designed to get audio from a computer into a professional audio system easily, the ARX USB DI audio interface is a true plug-and-play 24-bit high resolution digital to analogue interface that removes the need for existing sound card outputs. Featuring full transformer balanced output isolation to eliminate earth loops/ground hum and other extraneous interaction noise or distortion, the ARX USB DI has proven to be a tough and versatile product in live production toolkits around the world.

A major production house, and one of the leading suppliers to the live event industry in Australia, Norwest’s track record includes large outdoor music festivals, community events and major international events, including the Opening and Closing Olympic ceremonies.

Visit www.trc.com.au and www.arx.com.au and www.nwgroup.com.au

Frequency Check Website SOUND TECHNICIANS INSTALLING wireless microphones and in-ear monitors in hospitality, conference halls and live entertainment venues, can now use the JTS frequency check website to select correct JTS products for minimal signal interference, in a specific geographical area.

Murdoch said, “We’ve been producing What Now for 14 years in Christchurch, starting in TVNZ’s studio and moving into our own studios in 2009. When we decided to take the show on the road, we needed to build an OB truck and find equipment that would fit into a small space without compromising quality.”

WhitebaitMedia is a full-service production house, based in Christchurch, and it chose Calrec’s Brio36 compact audio console for its new 26-foot mobile production unit. This is Whitebait’s first purchase of a Brio, and first Calrec purchase. The installation was managed by Australia-based Synchrotech Systems, which installs a range of broadcast equipment across the radio, TV, film, and outside broadcast sectors.

Murdoch continued, “Our current audio console was deemed too big, and it was starting to show its age. Like most people looking for a lower budget compact audio console, I looked at options from the live PA market. However, these lacked the power and flexibility that a show like What Now requires, where no two shows are the same and the script is more a guideline. The Calrec Brio was the logical choice because it was the only console to offer the power and flexibility of a larger broadcast console but at the budget and size of the smaller consoles normally fitted in small-to-medium OB trucks.

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“We were immediately taken with Brio’s features. It has an impressive number of faders, so our operators have access to everything, which is really useful for a show like What Now. The Brio also allows our operators to set up their own user file, as well as show template files. This is a real bonus when using multiple freelance operators.”

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Anthony Harrison, International Sales Manager, Calrec said, “We’ve achieved considerable success over the years in the Antipodes and it’s an important region for us. We’re delighted WhitebaitMedia is taking advantage of the powerful capabilities of our Brio36 console for its new OB truck. We designed Brio with versatility in mind, and to work across myriad broadcast applications, with mobile trucks being a key example of where Brio really shines as a compact yet powerful console.”

Visit www.calrec.com

Wireless microphones and in-ear monitors share the radio frequency spectrum with TV transmitters, meaning interference can occur with some products, depending on channel selection and location.

The new JTS frequency check website allows users to search by location, specific address or map selection to find the ideal JTS products for the area, along with transmitter and channel information.

By following the simple guide via the webpage, the user can learn whether the product’s frequency conflicts with TV transmitters in the area or shares the same channel but will work with no interference.

JTS wireless microphone systems feature advanced technology including phase-locked loop, allowing freedom from radio frequency interference.

Outstanding signal reliability allows a maximised number of wireless systems to be work simultaneously with optimal performance.

Visit www.jtsfrequencyadvisor.com.au and www.ambertech.com.au

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AUDIO

Jünger Audio Launches New Audio Processing Platform JÜNGER AUDIO RECENTLY LAUNCHED an audio processing platform that gives broadcasters the flexibility to choose exactly the right audio processing products for their facilities and projects.

count, or even be allowed to shift licenses between devices. Users who buy a software license are free to decide how many audio programs they want to process and type of processing to be installed.

Unlike previous Jünger Audio processors, the AIXpressor hardware unit is unique because it is not just a single product. Instead it acts as a base for software-defined products that are created using Jünger’s new Flexible Audio Infrastructure flexAI.

During NAB 2018, the AIXpressor was released to the public as the basis for products utilising the flexAI software infrastructure. The 19-inch 1RU device is based on x86 processors and equipped with a range of built-in interfaces, including redundant audio-over-IP with compatibility to AES67 and SMPTE ST2110, USB host and client interfaces, as well as MADI, AES/ EBU and analogue I/Os. The unit also has four slots for optional interfaces, all of which are compatible with Junger Audio’s existing D*AP series of audio processors.

This means that simply buying additional software licenses, broadcasters and post production facilities can customise this audio processing system to suit their demand for processing capabilities and channel count. The necessary hardware, however, scales by the actual demand in processing power. For Jünger, flexAI is nothing less but a revolution as it enables software development on the go, without making compromises due to hardware limitations. The system is equipped to cascade additional AIXpressors or servers whenever more processing power or media interfaces become necessary.

All software products created using flexAI will be licensed flexibly, which means users can incorporate additional functionality, increase channel

In conjunction with the new AIXpressor hardware, Jünger Audio has also developed a new optical connection called tieLight that can transmit up to 1152 audio channels in each direction. TieLight, which has very low delay and compensated latency, is utilised for cascading multiple devices and for setting up larger systems that require several processors. It is an inherent part of the AIXpressor and will be available as a PCIexpress card to be used in Jünger Audio’s upcoming line of servers.

Visit www.jungeraudio.com

Sound Devices Announces VR Partnership with Sennheiser SOUND DEVICES HAS ANNOUNCED a collaboration with Sennheiser to offer the full spatial audio experience for virtual reality (VR) video within Sennheiser’s AMBEO for VR partnership program. With the Sound Devices MixPre-6 and MixPre-10T portable recorders and Sennheiser’s AMBEO VR Mic, VR professionals can record and monitor premium 360° spatial audio for VR video.

As an exclusive new feature to the VR partnership program, the MixPre-6 and MixPre-10T will be the first portable recorders to offer onboard AMBEO to binaural decoding. This allows VR creators to assess and make creative decisions about spatial audio content at time of capture, without needing a post-production workstation.

“Sound Devices recorders have been used for Ambisonics field recording for many years, so it was a natural progression for us to bring our MixPre recorders into the new world of VR 360 recording,” said Matt Anderson, CEO of Sound Devices. “We are happy to partner with Sennheiser to provide a high-quality VR recording and monitoring option for our MixPre-6 and MixPre-10T customers.”

“Sennheiser is excited to have Sound Devices come on board the partnership program,” commented Véronique Larcher, AMBEO Immersive Audio Co-director at Sennheiser. “Offering VR content creators the unique and exciting possibility to directly monitor their spatial recordings exemplifies the spirit of the program:

making immersive audio workflows as simple and straightforward as possible for users.”

Sound Devices will be releasing a free firmware update for the MixPre-6 and MixPre-10T – anticipated spring 2018 – that offers: Record AMBEO VR mic in Ambisonics A-format or B-format with support for any mic orientation (Up, Down, Endfire) Stereo or Binaural headphone monitoring of AMBEO VR mic.

Support for both AmbiX and FuMa B-format standards.

The MixPre-6 and MixPre-10T are lightweight, high-resolution audio recorders with integrated USB audio streaming that offer world-class sound quality combined with extreme durability.

Visit /www.sounddevices.com

World’s First Broadcast-Grade Ambisonic Mic Under $1k RØDE MICROPHONES HAS ANNOUNCED its first broadcastgrade, 360° surround-sound capture microphone and flagship product of a new brand in the RØDE family.

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The first product for the SoundField By RØDE family is a marriage of SoundField’s ambisonic recording technology, and RØDE’s commitment to audio excellence accessible by all creators. Completely designed and made in Australia at RØDE’s Sydney campus, the NT-SF1 is a triumph of innovation and manufacturing quality. Featuring four of RØDE’s all-new ½-inch TF45C capsules in tetrahedral array, the NT-SF1 produces natural, transparent four channel A-format recordings which can be transformed and manipulated in B-Format, courtesy of the soon-to-bereleased SoundField by RØDE plugin.

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“When The Freedman Group acquired SoundField in late2016, the aim was to continue producing the premier 360-degree audio capture loved by the professionals who bring us cinema sound and 7.1 broadcast,” said Freedman

Group CEO, Damien Wilson. “And we are. But, as is the RØDE way, we have brought our manufacturing and design expertise to bear on this new family of microphones. The SoundField By RØDE NT-SF1 is for creators for who the ultra-high-end SoundField products are out of reach, and delivers results unmatched by all but the most expensive ambisonic microphones.”

Head of RØDE’s New Product Development and former Director of New Product at SoundField for 16 years, Pieter Schillebeeckx, said this is the most exciting development in the technology in decades. “Delivering this kind of professional-use technology at a sub-USD$1000 price point is a world first in the ambisonic world. It gives budding VR creators, immersive filmmakers and videogame world builders an accessible and high-quality way to dive into 360-degree-with-height audio capture.”

Visit www.rode.com

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New SmartPanel From Riedel BUILDING UPON THE TECHNOLOGY that powers its SmartPanel app-driven user interfaces, Riedel Communications recently introduced the new 1200 series SmartPanel. Having made its debut at the 2018 NAB Show, the RSP-1232HL represents a quantum leap in workflow flexibility, power, and connectivity. Featuring multiple full-colour multitouch displays, 32 hybrid-lever keys, the ability to leverage apps for multifunctionality, and the ability to adapt to the various workflows in use today, this panel is poised to allow users to work the way they always have while opening up new possibilities.

The two-year research and development effort behind the RSP-1232HL panel involved input from many users and industry pros.

Every aspect of existing panel technology was evaluated, from the spacing of components to their look and feel. The result is a 32-key user interface with each lever key having an integrated rotary encoder that provides control over parameters – in the same location as the key.

The levers have been designed to have the perfect form, weight, comfort, responsiveness, and anti-fatigue qualities to redefine the way an intercom panel should feel.

Connectivity is always a big consideration for Riedel, and it was important that the new panel take advantage of both AES3 digital connectivity along with the SMPTE 211030 (AES67) connectivity.

AES67 connections are two fibre SFPs and two RJ45 connections that create a variety of daisy-chaining and redundancy options.

Other features include stereo, phase-accurate speakers, front-panel mic mute and sidetone adjustments, front/rear USB, Bluetooth and NFC connectivity, GPIO and 4-wire ports, and a light sensor for auto-calibration of screen brightness in changing light environments.

“From the onset we knew we had to do more than just provide lever keys,” said Johan Wadsten, User Interface and User Experience Product Manager for Riedel. “This new SmartPanel is full of smart innovations that will drive user interfaces forward in ways that haven’t been conceived.”

Visit www.riedel.net

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The RSP-1232HL has been designed to support varied workflows. Some comms users prefer ‘Talk and Listen’ workflows where the user chooses what to listen to from an initially silent panel. Other workflows prefer a ‘Talk and Mute’ workflow where users start with a panel that broadcasts everything, with the users selectively choosing which signals to turn off. Users decide which mode they prefer on a per-panel basis.

The IP KVM People

Inventing a panel from scratch also enables new features that greatly aid in making the panel easier to understand for users. Riedel’s ‘Logical Groups’ concept allows users to choose custom colours for either the key labels or the LED rings around each key. Each key label has an eight-character main label, a 16-character sub-label, and user-defined icon labels. Along with that is an icon-based signalling mechanism to tell the user what state each key is in at any point. Open Mic, Muted Key, Incoming Beep, or Port Busy are easy to read and understandable at a glance.

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RADIO The original broadcast media

www.content-technology.com/radio

SBS Launches Digital Radio Stations on TV AUSTRALIA’S SBS RADIO has introduced three 24-hour digital radio stations on digital television platforms.

SBS Radio 3 will broadcast world news and current affairs from the BBC World Service (previously airing on SBS Radio 4 on Digital Radio) and special events coverage. Meanwhile, two new 24-hour music audio channels on digital television include: SBS PopAsia featuring Asian pop from hottest Korean, Japanese and Chinese artists; SBS PopDesi featuring a selection of Indian music hits from bhangra to Bollywood.

Following the introduction of these new digital radio stations, VAST (Viewer Access Satellite Television) audiences will have access to all SBS Radio services – SBS Radio1, SBS Radio2, SBS Radio3, SBS

Arabic24 and music channels SBS PopAsia, SBS PopDesi and SBS Chill.

All Foxtel satellite and cable platform users will have access to SBS Radio 1, SBS Radio 2 and SBS Chill.

SBS Director of Audio and Language Content, Mandi Wicks, said, “SBS continues to explore new ways to connect diverse audiences with our distinctive multiplatform services. With the inclusion on digital television, all the SBS Radio services will now be accessible to our audiences, Australia wide.”

Some viewers may be required to retune their televisions in order to receive the newly launched 24-hour audio channels. Other televisions will automatically detect changes to the channels and retune. Most televisions, set top boxes, personal video recorders or (PC tuner cards) purchased from

2009 onwards will be compatible.

SBS Radio audio channels on Digital TV: • SBS Radio 1 – Ch 37 & 301 • SBS Radio 2 – Ch 38 & 302 • SBS Radio 3 – Ch 303 • SBS Arabic24 – Ch 36 & 304 • SBS PopDesi – Ch 305 • SBS Chill – Ch 39 & 306 • SBS PopAsia – Ch 307 The move follows the launch by ABC and SBS of digital radio (DAB+) services in the Tasmanian capital of Hobart.

Visit www.sbs.com.au

Change in the Air for Bathurst Radio LISTENERS OF BATHURST commercial AM radio service 2BS Gold may soon have to change the dial if a proposal by the station is accepted by the Australian Communications and Media Authority (ACMA).

The proposal would see the station swap its AM frequency to FM, moving from 1503 AM to 95.1 FM. “FM radio provides improved audio quality for listeners in regional areas and can be more cost-effective to operate than AM radio,” said ACMA Chair, Nerida O’Loughlin. “A number of regional commercial radio stations are seeking to convert their services to FM under an industry-led conversion program. ACMA will facilitate a conversion if we are satisfied that audiences in regional areas do not lose important radio services under the proposal.”

Best Australian Radio Ad of 2018 THE BEST AUSTRALIAN RADIO AD of 2018 as judged by the Siren Council, comprised of creative directors and producers from leading advertising and creative agencies and studios across Australia, has gone to Ray Ali and Carlo Mazzarella from Clemenger BBDO Melbourne. The pair won Gold and Silver at the Siren Awards with an ad about anxiety for mental health advocacy group beyondblue.

The ad ‘Sound Booth’, aimed at raising awareness about anxiety and encouraging those with symptoms to seek help, was awarded the prestigious Gold Siren at an event in Sydney and the Silver Siren for best single radio ad.

The ad completed a trifecta by also winning the Client Award, a $5000 cash prize which is judged by a separate panel of clients, rather than agency creative directors.

The Silver Siren for best radio campaign (three or more ads in a campaign) went to Tim Newton and Wilora Keeley from J. Walter Thompson for a powerful campaign for the WA Police Union in support of a 1.5% pay increase for police officers.

Matt Perrott from Uncanny Valley won the Silver Siren in the craft category for production of the ad ‘NSW Water Safety’ for the NSW Government.

RADIO

The 14th annual Siren Awards, run by Commercial Radio Australia, are designed to encourage excellence and creativity in radio advertising.

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Hear the winning ads at www.sirenawards.com.au/gold-silver-winners

1503 2BS Gold describes itself as “a rarity in Australian Commercial Radio”.

The station began broadcasting in Bathurst on the 1st of January, 1937.

Since 1969, Bathurst Broadcasters has been locally owned and operated

by Ron and Stephanie Camplin. A winner of more than 70 Commercial Radio Awards since 1989, 2BS is an adult contemporary talk radio station covering listeners in Bathurst, Blayney, Oberon and surrounds.

2BS’s supplementary licence, 99.3 B-Rock FM began broadcasting on the 2nd of December 1996. 2BS and B-Rock have won 65 Commercial Radio Australia Awards since 1989.

Currently, the 2BS AM service has four FM infill transmitters planned and operating at Blayney, Burraga, Oberon and Sofala. To minimise any potential coverage loss, the licensee proposes to retain these four FM infill transmitters if the service converts to FM. The ACMA is proposing a 28-day simulcast period, where both the 2BS AM (on 1503 kHz) and the converted 2BS FM service (on 95.1 MHz) may operate. This period would allow the licensee to undertake a communications strategy on both services to inform listeners of the change to its radio service. It is expected the AM service would shut down at the end of the simulcast period.

The ACMA says it has formed the preliminary view that the proposal to add new technical specifications to allow for an AM–FM conversion of 2BS Bathurst, in accordance with the AM–FM guidance, is likely to promote the objects of the Broadcasting Services Act. In its consultation paper on the frequency move, the ACMA said, “We have considered the predicted coverage and interference potential of the proposed 2BS FM transmitter in the Bathurst RA1 licence area when assessing the proposed AM–FM conversion of the 2BS Bathurst commercial radio broadcasting service. We consider the proposal for the variation of the Bathurst LAP is an economic and efficient use of spectrum.”

If the ACMA decides to approve the conversion, the timing of the transition would be up to the broadcaster.

Visit www.acma.gov.au

RADIO

Digigram Launches Cloud Contribution Out of the ‘Blu’ AUSTRALIA AND NEW ZEALAND HAVE BECOME one of the first markets outside of Europe to be offered Blu, a new cloud-based service for live contribution from French technology company Digigram.

According to Digigram's Regional Manager, APAC, Nancy Diaz Curiel, the platform is aimed at, “… broadcasters looking at getting any talent, anywhere, remotely connected straight-away in a couple of clicks to the studio.”

Up to six remote contributors, or talk-show participants, can access the service via smart phone, iPad or laptop computer web browser, or a physical SIP codec. Contributions can be made live, or recorded and retrieved later.

“What’s transformative about this,’ says Ian Thomson Business Development Manager with Digigram partner Agile Broadcast, “... is rather than having to coordinate with sending hardware to everybody, anyone who has a web browser can contribute with broadcast quality audio. So, Blu uses Web RTC to generate an instance of a codec in a web browser to actually send back broadcast audio from any web browser enabled device, Smart phones, laptops, whatever that may be.

If someone does it on a hardware codec, it can take that as an input as well and can basically facilitate a broadcast chat show anywhere in the world.

The platform presents studio operators with an email contact list. They can then send the email with a link.

The operator decides on an expiry time for the link (in the case of one-off interviews). The operator will decide who is on air, who is not on air, among the six simultaneous contributors. Hosts and producers can also chat with the talent ‘off-air’ using WeChat from the operator interface.

In addition, individual contributors, and entire programs, can be recorded in the cloud and then sent to the Blu Connect studio hardware box for insertion into live programming. The Blu Connect plugs directly to the Internet and the Blu cloud service.

The operator will decide who is on air, who is not on air, among the six simultaneous contributors. Hosts and producers can also chat with the talent “off-air” using WeChat from the operator interface.

“When you deploy the box, it takes away some of the overheads of management,” says Ian Thomson.

“Because it’s connected to a cloud base service, there’s no firewall rules, there’s no negotiating with your IT Department in order to open up faults, and so on. There is a NAT translation server in the cloud which means that you simply plug it into your Internet at the office and full duplex broadcast quality sound is managed by that NAT traversal server that is hosted as part of the service.

“It has program output as well as mix minus going as well, so you have a mix minus as well as a separate talkback channel through the box as well. You can actually send two streams of content from the box to the cloud and then

via that web interface, it manages talkback to all of the individual contributors, and so on. As well as being a codec and linking system, it’s really a production system as well.

You have a production mixer in the cloud effectively with individual talkback and routing capabilities, so what people listen to at the far end is determined via that cloud-based mixer as well.”

The underlying cloud platform for the service is provided

by French company OVH, which has Points-of-Presence in Sydney and Singapore. OVH has 27 datacenters on four continents, all connected via its own 13Tbps dark fibre network. Unlike other providers, the company produces its own servers in-house and has multiple production lines in France and Canada.

According to Digigram's Nancy Diaz Curiel, the service is available on a subscription basis.

“It goes for either a month that you can renew, or a year, or any defined period of time, can be three months, or six months, but it has to be agreed before subscription,” she says.

“The pricing depends on how many contributors you need and also you can rent or buy the box and we also have a box-less offer.”

Visit https://blu.digigram.com/en/ or www.agilebroadcast.com.au

REGISTER AT abeshow.tv

AUGUST 7-9, Darling Island, Pyrmont.

RADIO

“Broadcasters can coordinate something very quickly by simply sending someone a weblink to the system.

So, the process is, once you have someone’s email address and you know they’re available, you send them a weblink. That opens a webpage on their smart device and then they have a button there to go live. That links them into the cloud mixing service which then creates the link back down to a hardware box in the studio.”

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CONTENT DELIVERY Terrestrial, Mobile, Broadband

www.content-technology.com/delivery

Remote Controllers: The NEP Andrews Production Hubs

By Phil Sandberg

Game-changer, brave new world, paradigm shift – all could describe NEP Australia’s IP-enabled Sydney- and Melbournebased centralised remote production centres which serve as hubs for the most advanced remote media production operation in Australia, if not the world.

AS THEY ARRIVE AT THE COAL-FACE of cutting edge of media production, staff and clients pass a wall display honouring the late Keith Andrews, the man after whom the Sydney and Melbourne Andrews production hubs were named.

Mr Andrews passed away suddenly in April 2017. He held the positions of CEO of NEP Australia, followed by President and Chief Operating Officer of the global NEP Group. Text accompanying his portrait in the Hub describes Keith as having “… had a passion for people and those that could deliver innovation. None more so than the innovation contained within these walls.”

The 12 months following the 2017 NABShow saw that innovation move into high gear. At showtime, the SMPTE ST 2110 suite of standards for Professional Media Over Managed IP Networks was in final draft, but just one month later, May 22nd, NEP Australia had a 2110 test environment running in conjunction with Sony and a small number of manufacturers. It was the only interoperability test outside of a standards body test site.

One of four Sydney Andrews Hub Production Control Rooms.

According to NEP Australia’s Director of Technical Services, Marc Segar, “I don’t think I’m talking out of school when I say there are lots of manufacturers that this time last year didn’t have 2110, didn’t have IP boards, didn’t have an IP roadmap.

“I’d like to think that this project has helped bring some of that forward, that some of the manufacturers started to bring forward 2110 development to be able to get this project going.”

Also key to kick-starting the project was Australian telecommunications company Telstra, which provided the continent-wide connectivity required for the project (see story page 44), and long-time client and partner Fox Sports Australia.

THE HUB The Sydney Andrews Hub is divided into two “hemispheres”, each equipped with two control rooms and associated support rooms. This allows NEP to keep different (and potentially competitive) productions separate while they use the facility at the same time. Staff use programmable swipe cards to access authorised areas.

Signals from the control rooms pass through the Network Operation Centre (NOC) which only NEP staff can access. The NOC also features LCD glass windows which can be set to obscure content from unauthorised view.

Marc Segar describes the NOC as “… a fusion between broadcast and network operations. We have no video cable in here.

“There’s two traditional broadcast monitoring positions, one on the left and one on the far right, the front bench, and in the middle is our network monitoring, For most projects, we’ve got two or three engineers in here, we always have a network engineer.

“There’s two master controller-type positions, one network position in the middle, so one guy here and one guy in Melbourne, of course; both monitoring the same network because we are now connected to Melbourne.

CONTENT DELIVERY

“Again, we’re a network more than we are a broadcaster. What that’s done is introduced new roles. We have broadcast network engineers now on staff which we didn’t have before.

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“I should also mention that the two studios, there are two TV studios, broadcast studios, here. They’re also connected to the hub as if they were venues. So, we no longer need to pull trucks up out the front like we used to, all that sort of stuff; we basically use the control rooms that are in here.”

Also on the NOC backbench are remote control positions for audio and audio comms.

“That’s no longer in-field,” says Marc Segar. “That’s now here because we remote control all the comms, and we remote control all the audio from here. We

Lawo MC96-equipped Audio Suite.

basically have complete remote control of the truck no matter where it is.

“This comes down to the zero latency for the talent on-site. That’s why we do that. They’re very perceptible to a few milliseconds. If they have real-time audio, there’s no reason to complain.”

CONTROL ROOMS If an outside broadcast truck could loosen its belt, not only would it breathe easier, its interior would look a lot like an Andrews Hub control room.

“We’re trying to make clients feel really comfortable,” says Segar. “We’re trying to give them as much flexibility, and the flexibility they don’t have in a fixed truck, by coming in here.

“All four rooms are identical. The only difference is the colour schemes in the room, everything else is the same. Benches are the same, positions are the same, monitors are the same, monitor wall is the same. It doesn’t matter which room you’re in: if you’re a client, you get exactly the same facility. The only thing you need to book is how many EVS channels you’re using, everything else is identical to each other.”

Part of the Hub control room flexibility is a moveable vision mixer panel and moveable monitor wall – the whole monitor wall.

“If you have a director/switcher, one person that’s also mixing the show, they can

CONTENT DELIVERY

move the vision mixer panel, and of course can move the monitor wall. By doing that, you always have that really core sweet spot and so you can always see your programme preview.

needed an IP anyone-anywhere concept, a virtualised concept that says that you can sit anywhere on the network, and we wanted to have multiple sites and multiple trucks to connect over an IP network. So, we didn’t want to go back to SDI and then have latency from upconversion.

“What we’ve done recently is decided to make [control room 2] an A-League room, and [control room 1] the NRL room - for now. So, they don’t even change configuration of vision switchers or anything. The room stays an A-League room - for now. It doesn’t have to, we can recall it under VSM, we can recall it in the switcher configuration if we want to.”

“The timeframe was very aggressive, and Fox Sports had a very aggressive timeframe. Telstra also, because at the end of the day we’ve built this in six months and so did Telstra.”

Telstra’s Distributed Production Network (DPN), connecting sports venues across To support its IP-based production, NEP the country, enters the Andrews Hub CAR Australia acquired 48 Sony HDC-4300 via a 320Gig connection. There are also high frame rate cameras, along with four connections to NEP’s dark fibre network The NEP Sydney Andrews Hub Network Operations Centre. sets of XVS-6000 and six sets of XVS-8000 and Optus, allowing access to other venues switchers, but one notable absence from the outside the DPN. Andrews Hub control rooms is that of camera When it comes to connectivity within the Hub, everything is handled through the control.

CAR’s fibre patch.

“People ask me quite often, what are we doing with CCU, where are the CCU

“So, we’ve created a room that’s a central CCU room, camera shading room. It has two positions: one’s a 16-camera position which mimics what we do in the truck, and one that’s eight cameras which normally mimics what we do when we do a studio show here. So, eventually we could do an OB and a studio show, or two studio shows, or some hybrid of all those things in this space.”

AUDIO Each production room is complemented by a separate audio room. These identical rooms are each built around a Lawo MC96 console. Flexible design philosophy allows for equipment to be moved to suit operators/projects.

“Monitoring in here is all off the same core that everywhere else has, of course, we don’t care what they monitor, and in terms of audio it’s all 5.1 cables,” says Marc Segar. “We have created a sound field in here for surround. It’s not completely correct for Dolby, because when you’re just doing a 5.1 show for sport, it’s not as critical. There are floor plates everywhere in each room, and there are speaker stands and you can put them exactly where you need them for a proper sound field.

“We’ve got audio suppression all over the ceiling and over the back. A lot of work that’s happened in this space is to make sure it’s acoustically correct. We have also options for surround sound.”

In addition to the NOC, four control and audio rooms, the Andrews Sydney Hub features a number of “multi-function rooms”, including two small studio spaces.

“The reason we’ve built these is we don’t centralise commentary at the moment,” says Segar. “That’s all done on-site. But, there’s no reason why commentators can’t be anywhere in the hub. We don’t really care where they are. We’ve built two rooms that are slightly bigger, they’re 30m2, they’ve got a lighting grid and power and DMX, etc., up the top. If we do some augmented reality, a small set, extension, you could make this space look like an arena.”

The other multi-function rooms – two seven-person and two four-person rooms – can be allocated to CCU, overflow EVS, graphics, or other functions as needed.

CENTRAL APPARATUS ROOM Like any central apparatus room in any traditional broadcast facility, the CAR at the Andrews Hub hosts racks of devices, whirring fans and air conditioning. What it doesn’t have, unlike its previous-generation counterparts is kilometres of video cabling. Aside from a tiny SDI layer for multi-view and waveform monitoring, and a video layer for emergencies, the CAR is totally IP. All hardware is connected by fibre, accessible via IP from anywhere in the Hub. Not only has the use of IP infrastructure meant no video cabling, it has also taken months off the timeline for construction of the facility. In its entirety, the Hub took around six months to build. Segar estimates traditional video wiring would have taken six- to eight-months alone.

“I think if we built this site in SDI, we couldn’t have done it.,” he says. ““So, we

“Anything that leaves this room to anywhere else in the building goes on our fibre patch. We don’t patch video signals around, we patch bandwidth. What ports do you need from the core switches and where, we do that here. The production galleries are patched here. This also extends to the two studios, and the NRL bunker.

A key component of the Andrews Hub CAR, and a platform that didn’t exist when the Hubs were being planned, is LAWO’s V matrix. Comprising software-defined virtual modules, the platform handles all IP routing, processing and multi-viewer functionality. In addition, Lawo’s Virtual Studio Manager (VSM) and ‘The WALL’ multi-viewer control provide orchestration and control as well as a common user interface for all operators.

“It’s basically a blade,” says Marc Segar. “It’s software defined, it can be anything.

It’s not pre-defined, and it’s completely virtual. It’s not really a one-thing device, a virtual product can do anything.

“The great thing is when you swap a card, it learns what it was before and it comes up in the same mode. So, if you get a failure, you no longer have to carry a hundred different things."

Also coming to the IP-enabled party was manufacturer Ross Video with its Newt family of point-of-use IP signal converters which were developed in conjunction with NEP to drive video monitoring.

The Newt converters work in a wide range of environments such as Ross DashBoard, NMOS IS-04/IS-05, and EmBER+/RAVENNA. There is also a published JSON API for custom integrations.

NOT THE END OF THE ROAD With the move to remote production reducing the number of personnel needing to travel around the country, does this spell the end for NEP’s fleet of outside broadcast vehicles?

“We won’t change the quantity of trucks because we’ll still have the same problem in terms of places to go to,” says Segar. “We’re not going to suddenly say out of 15 trucks we’re going to have 10; that’s just not going to work. We have upgraded seven big trucks with an IP layer. They’re basically IP trucks almost now.

It’s more likely we’ll go down the path of either putting more hybrid kits together, or building more IP trucks, and then taking the old technology trucks offline. In the future, we have space for a fifth control room here, we have space for a fourth control room in Melbourne, and if we’re doing that, then we need more trucks. So, it’s more likely we’ll build more IP trucks and we’ll get the old trucks out.

“I know everyone’s looking at us at the moment sort of to see if this works, but the truth is, we’ve done 40-odd projects out of here now, and they’ve all been flawless. There’s no real boundaries. It’s about getting your head around that it’s all virtualised. You just tell me what you want, and we can do it.

“We’ve broken the myth that the EVS operator has to be sitting next to the other EVS operator. Now, we’re not doing that right now, but the end state is we’ve decentralised to the point where we just use the people where they live and we don’t fly people, and that means if there’s two people in Adelaide, two people in Melbourne, two people in Sydney, and if they’re all working as part of the same EVS team, then that’s what it’s going to be. No reason we can’t do it today, once we educate people that that’s going to work.”

CONTENT DELIVERY

guys?” says Marc Segar. “At the moment, they’re in the truck because those guys are technical guys for us. They rig all the point-of-view cameras, they do the commentary box, and if we didn’t have them on-site those things wouldn’t get done. But, in the future, we don’t know whether we’re still going to be doing that - we don’t know where the commentators are going to be, we have no idea whether we’re going to put full-time point of view cameras in and we never have to go and rig them again, which could happen.

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CONTENT DELIVERY

The Enabler – Telstra’s Distributed Production Network THE FOUNDATION UPON WHICH NEP Australia’s remote production workflow sits is the Telstra Distributed Production Network (DPN). The DPN is an IP network, which has been custom built for the media industry and customers to produce live broadcasts at a distance from the actual event by sending multiple raw camera feeds, audio and equipment control signals over the network back to centralised production hubs.

Upon full roll-out, the DPN will connect 29 sporting stadiums across regional and metro Australia to NEP’s remote production hubs located in Sydney and Melbourne. With the DPN, Telstra aims to support more than 520 live tier one sporting events each year.

As well as domestic coverage, the DPN has been designed with international connectivity in mind. Late April saw NEP Australia and Telstra Broadcast Services achieve a milestone in broadcast television with the world’s first remote production trial across the Pacific.

The trial as conducted over four days between NEP’s centralised, IP (internet protocol) and multi-format production facility at the Sydney Andrews Hub and Telstra’s Los Angeles datacentre – over 7500 miles (12,000+ km) apart – using ultralow-latency compression technology and Telstra’s DPN. 30 HD camera feeds in LA were linked via diverse and hitless 10 gigabyteper-second circuits on the Telstra DPN, which has recently been extended to Los Angeles, with the production taking place in Sydney, overcoming what until now was considered an insurmountable distance.

The tests confirm that the Andrews Hub control rooms in Sydney can efficiently produce broadcast events held in Los Angeles and, arguably, beyond.

According to Carl Petch, Principal Solutions Architect, Telstra Broadcast Services, “When we were in discussions around what the DPN would look like, we envisaged this as a domestic and international occasional use network, and with the power of IP, that was really possible. With some of the tests that NEP has done in and around international, it certainly allows that vision of anywhere, any time, to happen, and the network is the enabler for that.”

Domestically, the Telstra Distributed Production Network is a 10Gig linked switching network where Telstra programs and switches 10Gig links from a venue to a hub. Metropolitan sites feature 50G or 5 x 10G of a physically diverse A and B nature, and regional sites are 1 x 10G on a physically diverse A and B network. The DPN is bookable using the ScheduALL Connector Cloud (API).

“ANZ Stadium, for example,” says Petch, “is a metropolitan venue with a 50Gig A path and a 50Gig B path. Output from the venue can be delivered to either the Sydney hub or the Melbourne hub and both those hubs have capacities 170Gig and 170Gig on the B path. That allows them to do a huge amount of concurrency.

“Essentially, what we do is we manage the booking and activation of those 10G pipes from the venue all the way to the hub and that allows us to assure and deliver the SLAs that were very high on this network.”

In the unlikely event of a network failure, a radio solution would come into play where, within the NEP truck, a 6Mbit HEVC stream would be created, and sent from a microwave link at the venue to the nearest cellular tower, providing an Internet connection away from the Stadium to deliver programming back to NEP’s client Fox Sports where they can receive it and put to air.

CONTENT DELIVERY

“With the BYO nature of the network,” says Petch, “NEP can come up to a venue, plug in and then we can activate the network for them at whatever time they book it, because it is an occasional user network, and then the hub at the other end can see the vision and start to build their production as you would normally when you’ve got a traditional OB.

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“I don’t think anyone’s really seen the capacities in this scale before. It’s a very large bandwidth network and it’s occasional use, so NEP can be using it one day and another customer can be using it the next day, and I think that’s one of the things that we can drive costs and how we could drive return on investment from our perspective and also allow other people to use the network. “

Carl Petch, Principal Solutions Architect, Telstra Broadcast Services

ON THE EDGE A key component of Telstra’s Distributed Production Network is edge switching technology from Aperi.

“We needed to have a new intelligent edge to allow us to take in anything,” says Carl Petch. “Actually, it could be SDI, it could be IP, but we needed to be able to switch that down these 10Gig pipes and we needed to manage it in an intelligent way.

“We chose an Edge device from Aperi. This gives us low latency, low jitter and low packet loss. We combined this with the network and the geographically "NEP can come up to separate A/B planes that allows for this hitless switching, so we can plug in a venue, plug in and out of the NEP truck, they have an A to then we can activate D path, they plug into the OCIT which is the optical interface at the venue in the network for them an A and a B nature, we then activate at whatever time and we pass through that traffic all the way through to the Sydney hub or the they book it, because Melbourne hub, and then they take it is an occasional that traffic out and they can do that in a hitless nature. user network, and “The Aperi is the chassis that sits at then the hub at the edge. The device can consist of the other end can switching planes, the control plane and the data plane, and anything can see the vision and hand off any type of traffic and we start to build their understand that and we can then program that through the network. production as you Each micro server that plugs into the would normally device has a 10Gig optical connection and this allows us to be plugged into when you’ve got a our universal interface, which is an traditional OB" optical interface not a traditional coaxial interface. The OCIT allows us to interconnect and to basically transport the services from a truck into the OCIT and into the Aperi.

“One of the things that the Aperi box gives us, which is not live in the network at the moment, is Telstra Broadcast Services can start to look at certain flows in the network. We can program the network to bring in certain flows from a venue, so we can do self-assurance on a customer’s behalf.

“So, one of the things that power the network is the configuration and there was a lot of work done with NEP on how we would figure the network and how we would drive it. Fundamentally, it is a straightforward networking element we use and it’s VLAN. We can have different trucks pull up to different venues to allow us to program the network and their product, and because we know which truck goes to which site, we book the right VLAN, everything just works.”

Visit https://www.telstra.com.au/business-enterprise/solutions/ professional-media/telstra-broadcast-services

ACS Awards 2018 photos by Clayton Lloyd. Visit www.flawlessimaging.com

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CLASSIFIEDS + EVENTS CommunicAsia, BroadcastAsia Join Mega Technology Event ConnecTechAsia media sectors respectively for nearly 40 years, the new NXTAsia builds upon this to bring new technologies that are shaping Asia’s increasingly innovation-driven economy. With the advent of the Industry 4.0, ConnecTechAsia will present a holistic ecosystem of infrastructure, technology, and services that businesses and governments in Asia need to thrive in this new era.

CONNECTECHASIA, COMBINING THE STRENGTHS of industry stalwarts CommunicAsia, BroadcastAsia, and newly launched NXTAsia, is the region’s latest Mega Technology event, and will stage its inaugural edition from 26-28 June 2018, in Singapore.

With legacy events CommunicAsia and BroadcastAsia having served the telecommunications and broadcast

At NXTAsia, industry professionals will catch the newest innovations and thought-leadership in areas such as Artificial Intelligence (AI), Augmented and Virtual Reality (AR/VR), Cyber Security, IoT, Robotics, Cloud and Data among others. NXTAsia will host promising start-ups, and the Singapore-leg of renowned startup competition SeedStars, at tech showcase Disrupt+.

CommunicAsia, Asia’s most established international industry event for the telecommunications sector, will focus on Network Infrastructure/FTTx, satellite

communications and telecom software and services – the latest technologies to help companies and governments in Asia prepare for the coming of 5G and maintain a competitive edge in the communications and digital world.

industries and enterprises to enable a digitalised future. The three-day summit comprises three tracks – NetworkComms, BroadcastMedia and EmergingTech – that will drive business growth and sustainability.

With on-demand and streaming services surging in popularity, BroadcastAsia will shine a spotlight on the future of broadcasting, exploring how we have consumed news and entertainment over the past decade, and the challenges and opportunities this creates for traditional broadcasters and OTT players. BroadcastAsia will highlight technologies that are reshaping the value chain, such as the latest innovations in UHD/HDR, IP Broadcasting, Live Production, Content Media Security, OTT and Alternative Content Platforms.

5G, Network Virtualisation, Satellite Communications and Network Slicing will be the main topics in the NetworkComms track, while The Future of Television, Monetisation Strategies, Social Video, IP Broadcasting, 4K, AI and Immersive technologies for broadcasting will feature in the BroadcastMedia track.

Topics of the EmergingTech track will include: Artificial Intelligence/ Machine Learning, Blockchain Technology, Cybersecurity, IoT, Data Analytics, Seamless Commerce/Digital Payments, Connected Industries, IoT, Augmented, Virtual and Mixed Reality, and Smart Cities.

The ConnecTechAsia Summit this year centres on Digital Business Transformation, covering the hottest trends across ICT, broadcasting

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What’s On JUNE

JULY

IABM Training - Broadcast Technology Workflows 5-6 June, 2018 Singapore www.theiabm.org

CASBAA Satellite Industry Forum 2018 25 June, 2018 Four Seasons Hotel Singapore www.casbaa.com

MIP CHINA 6-7 June, 2018 Hanghzou, China www.mip-china.com

BroadcastAsia 2018 26-28 June, 2018 Suntec Singapore www.broadcast-asia.com

AUGUST

NAB Shanghai 11-13 June, 2018 Shanghai New International Expo Center (SNIEC) Shanghai, China http://en.nabshowshanghai.com

CommunicAsia 2018 26-28 June, 2018 Marina Bay Sands Singapore www.communicasia.com

CLASSIFIEDS + EVENTS

Sydney Video Technology Meetup 19 June, 2018 www.meetup.com/en-AU/ Sydney-Video-Technology

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Visit www.connectechasia.com.

GSMA Mobile World Congress Shanghai 27-29, June 2018 Shanghai New International Expo Centre (SNIEC) Shanghai, China www.mwcshanghai.com

IABM Training - IP Multicast for Stream RTP Media 19-20 July, 2018 Singapore www.theiabm.org ABE2018 Empowering Content Production & Delivery Technology 7-9 August, 2018 Doltone House, Darling Island, Pyrmont, Sydney www.abeshow.tv

ABE2018 …………………………..8,12,31,39,48 Ad d e r… … … … … … … … … … … … … … … … … 4 3 Amber Technology ………………………………….9 Blackmagic Design ………………………………..11 BroadcastAsia2018 ……………………………..IBC EMC ………………………………………………………5 Fujinon Fijifilm …………………………….45,46,47 Grass Valley …………………………………………17 IHSE GmbH Asia Pacific ……………………………4 IRT Communications ……………………………..10 Jands………………………………………………..37 Lawo……………………………………………………19 Magna Systems & Engineering …………….IFC Mediaproxy………………………………………….33 MediaHub…………………………………………….3 Ooyala ………………………………………………..OBC Pacific Live Media ……………………………15,27 Professional Audio & Television…Cover,6,21 Riedel …………………………………………………..23 Ross Video ………………………………………….25 Seagate/Lacie ………………………………………29 Studiotech Australia …………………………….14 Techtel ……………………………………………….….7

AUGUST 7-9, Darling Island, Pyrmont.

REGISTER AT abeshow.tv

www.Broadcast-Asia.com

26 – 28 June 2018 Level 3 – 6, Suntec Singapore

CAPTURE THE FUTURE

BROADCAST ASIA

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

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