Content+Technology ANZ September-October 2017

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VOLUME 14 ISSUE 5 SEPTEMBER / OCTOBER 2017

MEDIA + PRODUCTION + MANAGEMENT + DELIVERY

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ACQUISITION

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*IBC Previews *Sportscasting *Mediacorp’s New HQ

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Acquisition… page 20

REGULARS 02 EDITOR’S WELCOME

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04 NEWS CBS Acquires Network Ten,

64 CLASSIFIEDS

Sydney’s Bite-Sized Netflix, Foxtel Now on PS4, TVNZ Chromecasts with Brightcove, Māori TV Goes HD, Magna Appoints David Blackett as GM.

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FEATURES 14 IBC2017 PREVIEW 20 ACQUISITION David Mirabella in Cruise

Mode, Dale Bremner Captures Outback Australia, Jim Frater ACS Tackles History, IBC Camera Tech.

24 SPORTSCASTING Foxtel Merges with Fox Sports, The Gold Coast Diaries – Chapter 6, EVS Guides Smart IP Transition.

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INDUSTRY FOCUS

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NEWS OPERATIONS Wagga Wagga Streaming, Dejero Blends with Intelsat, LiveU LU600 HEVC Solution, Virtual Brainstorm in 3D, AVIWEST Uplink Live and Remote, Facebook Live with Rascula.

37 POST-PRODUCTION Animal Logic Open Source, HyperActive Broadcast Launches in Oz, Siggraph Immersed in VR, Cinema 4D Turns 19, Conductor Cloud Rendering, Blackmagic’s Audio and KeyKode Scanning.

42 MEDIA IN THE CLOUD Videocraft

Spices Up Workflow with Mint, Mayweather vs. McGregor Illegal, Media Management Nirvana, Glyph Atom Storage, Avioon FLICS and JOBS, Object Matrix Process in Place, Facilis Scales Up.

47 AUDIO Gearhouse Rolls Out Axient

Digital Radio Mics, Orban Covers all Angles, Net Insight Partners with Calrec, New Dante Solutions

51 RADIO World’s Largest DRM Project,

Auto Industry Embraces DAB+, Agile Move for 6PR Perth, SBS Enhances Mobile, IP Data Protection, Podcast Ad Insertion.

55 CONTENT DELIVERY The Mediacorp

Experience, Enensys OneBeam V2, Crystal Vision’s IP Gateway, Inverse Tone Mapping with Ericsson, Cinegy TV Pack, VITEC Solves Streaming.

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EDITOR’S WELCOME

Diving Into Immersion

By Phil Sandberg

EARLIER THIS YEAR, we covered covered Hong Kong-based PCCW's collaboration with regional integrator Ideal Systems and Nokia to deliver 360° coverage of the Hong Kong Rugby Sevens Tournament.

Earlier this year, we covered PCCW’s collaboration with Ideal Systems and Nokia to deliver 360° coverage of the Hong Kong Rugby Sevens Tournament. That collaboration involved Ideal Systems delivering the content acquisition using a number of pitch-side Nokia OZO 360° cameras. These cameras provided a UHD IP signal which was delivered over HKT fibre to Nokia servers in the control room, to facilitate live stitching from each of the cameras’ eight 2K lenses to create multiple stitched 3D UHD streams.

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MPEG has also issued Draft Requirements to develop a standard to define a scene representation media container suitable for interchange of content for authoring and rendering rich immersive experiences. The objective of the potential new standard to be called Hybrid Natural/Synthetic Scene (HNSS) data container, is to define a scene graph data representation and the associated container for media that can be rendered to deliver photorealistic hybrid scenes, including scenes that obey the natural flows of light, energy propagation and physical kinematic operations. The container will support various types of media that can be rendered together, including volumetric media that is computer generated or captured from the real world.

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Then there are the standards that are rapidly forming around these new platforms. Following a ‘Call for Evidence’ (CfE) issued by MPEG jointly with ITU-T Q6/16 VCEG, evidence was evaluated at the recent 119th MPEG meeting to show that video coding technology has been developed with a compression capability that significantly exceeds that of the HEVC standard and its current extensions. The categories were standard dynamic range (SDR), high dynamic range (HDR), and 360° omnidirectional video. Two responses were received in the SDR category, two responses in the HDR category, and four in the 360° category. Demonstrating that bandwidth is rapidly becoming a non-issue, substantial benefit shown for several 360° video test cases.

As a consequence, preparations have proceeded toward issuing a formal Call for Proposals (expected to be issued in October 2017), with responses expected to be evaluated at the MPEG meeting in April 2018.

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Another favourable factor for immersive technologies is their application is not limited to entertainment. Thanks to local distributor Techtel, I recently had the opportunity to virtually inspect a transmitter from Spanish manufacturer Egatel. After donning a hygienic under-mask and Oculus Rift headset, I took a ‘stroll’ around the transmitter, inspected the panels and was even able to stick my head inside the unit. It is this type of non-entertainment application that will also add to VRs adoption and longevity 16:00

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What gives such projects more long-term viability than broadcast TV’s failed flirtation with 3D is the availability, proliferation and comparative inexpensiveness of the viewing technology. In the case of the PCCW broadcast, the UHD VR content was delivered to consumers on a variety of devices, including PCs, smartphones and Samsung Gear VR head-mounted devices (HMDs).

While immersive experiences are unlikely to replace traditional 2D content delivery in the short to medium term – and while business models are still evolving – there is no doubt that the foundations being laid for immersive content experiences will prove to be stronger than those of 3DTV.

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

iflix Secures US$133M Funding, Launches Cambodian Service

iflix Co-founder and Group CEO Mark Britt said, “We are thrilled to welcome Hearst President and CEO Steven Swartz and Hearst Entertainment and Syndication President Neeraj Khemlani to the iflix family. As iflix continues to grow and pioneer new ways for consumers to enjoy entertainment on their terms, we were looking for a partner who could bring additional expertise and knowledge to our business.”

President of Hearst Entertainment and Syndication, Neeraj Khemlani said, “iflix is riding the wave of exponential growth of the middle class in emerging markets that want more access to premium regional, local and Western content. We look forward to working with our new partners Sky, Liberty Global, Evolution Media and Catcha Group, as well as emerging market telcos, to support iflix’s innovative founders and management team in their rapid expansion plans.”

Founding shareholders Evolution Media and Catcha Group have participated in all preceding capital raisings and further increased their support this round.

Evolution Media Founder and Co-Managing Partner, Rick Hess said, “As a founding partner of iflix, Evolution Media, along with Catcha Group and Mark, we’re inspired by the opportunity to reach the ‘next’ one billion consumers. The phenomenal growth of iflix has challenged many of the preconceptions we have in Hollywood about how entertainment is consumed in emerging markets around the world. It’s fascinating to see iflix learn, scale and forge this new path.”

Over the last 12 months, the service has expanded from four markets to 19 across Asia, the Middle East and Africa. The company has also signed distribution partnerships with 27 telecommunications operators to bundle the iflix service with customers’ mobile and data subscriptions, all sponsored by the telecommunications provider.

The new round brings total funding raised by iflix this calendar year to an excess of US$220 million. Proceeds from the round will be used to invest in its local content strategy. iflix recently unveiled its first exclusive original production, Oi Jaga Mulut, a stand-up comedy series which debuted in Malaysia. iflix has additionally commissioned the comedy series in both Philippines and Indonesia; Huy! Bibig Mo (Philippines) and Oi! Jaga Lambe (Indonesia), will be hosted by Ramon Bautista and Ananda Omesh, respectively.

Partnering with TVOne, iflix also launched live premiere football streaming, available for the first time in Indonesia. Meanwhile, iflix Philippines has announced a collaboration with the Philippines’ Queen of All Media, Kris Aquino, to commission an original drama series. iflix has also announced the launch of its service in Cambodia. Consumers can now sign up for a one-month free trial via iflix’s website, or by downloading the app to their phone or tablet from Google Play or the Apple App Store.

The Company additionally announced a three-year exclusive partnership with Cambodian mobile operator Smart Axiata (Smart), giving all Smart customers up to three months unlimited access to iflix’s service sponsored by Smart. Smart also introduced new weekly and monthly iflix data plans, Smart StreamOn 2 and Smart StreamOn 8. These allow customers to enjoy the streaming service, inclusive of a voice, SMS and data bundle.

Visit https://www.iflix.com

NEWS + PEOPLE

STREAMING SERVICE iflix has announced it has completed a US$133 million funding round which was led by Hearst, one of America’s largest diversified media, information and services companies, and also included additional new investors Singapore-based EDBI and clients of DBS private bank. Existing shareholders Evolution Media, Sky PLC, Catcha Group, Liberty Global, Jungle Ventures and PLDT Inc. also increased their investments.

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

www.content-technology.com/standards

TEN Purchase Adds to Streaming Competition AIMS Interop at VidTrans17 Shows Viability of SMPTE 2110

DPP Guide to Connectivity Services for Production

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

THE DIGITAL PRODUCTION PARTNERSHIP (DPP) recently published the first ever guide to help producers find the right kind of connectivity for their business. ‘The DPP Survey Report: Connectivity Supply to Production’ helps producers to identify the kind of connectivity provision appropriate to their needs, with an indication of costs and type of service.

US-BASED CBS CORPORATION’S acquisition of Australia’s Network Ten will include TEN’s core linear channel TEN, digital terrestrial television channel (DTT) ELEVEN (in which CBS already owns a 33 per cent stake), the DTT channel ONE and Network Ten’s rapidly growing digital platform, TENPLAY. By leveraging Network Ten’s linear and digital assets, it will also allow CBS to contributed to an interop session, which was sponsored by Video launch CBS All Access, the Company’s digital subscription video on-demand Services Forum (VSF) and concluded at VidTrans17 Los Angeles, which service, in the Australian market.

In the U.S., the serviceinoffers access to CBS showcased the viability of theprogramming, draft SMPTE 2110 standard and AMWA Original and third-party episodic as well as streamed live TV IS-04 as a TV, carefully architected IP initiative. across Apple Android devices, Google Chromecast, fireTV, iPad, iPhone, Sony PS4, Roku, 10,19 andAIMS XBoxmembers platforms.

In addition to the Australian Leading up to Windows VidTrans17, took part in VSF-sponsored launch, the Company recently unveiled plans tocenter make in theThe service available in interoperability testing at the Fox technical Woodlands, Canada next year.

Texas. The testing was unprecedented, as it was the first time a

“Network Ten number is a prime asset with over halfon a century of significant ofbroadcasting participants focused specifically interoperability experience and brand equitydrafts. in Australia, ” said Leslie Chairman of the SMPTE ST-2110 Approximately 21 Moonves, vendors, 19 of whomand CEO, CBSAIMS Corporation. have been able to acquire it at a and valuation that gives were members,“We were able to successfully transmit receive from us confidence we will grow this asset by applying our programming expertise in each other without major adjustments to their equipment or the network. a market with which we are already familiar.”

thecontemplates testing event an in Texas, 12 AIMS members exhibited TheFollowing Transaction acquisition of the Company

by CBS, which draft SMPTE ST-2110 systems the interoperability willtheir be effected by way of a refinance of in existing secured debt session arrangements at VidTrans17.

The results were on in display, and the progress thus far (including shareholder guarantor fees) full and a Deed of Company Arrangement (‘DOCA’) that will consensus be put to creditors atvendors the second generated strongly positive between andcreditors attendees meeting. alike. Further details on the expected return to creditors and timing of the second creditors meeting will be provided in due course. The Transaction is “We’re energized by limited the success of thisincluding latest round of tests, so we’re only subject to certain conditions Foreign Investment Review ready to get back to work withtransfer renewed ” said Michael Cronk, Board approval, and compulsory of vigor, shares in Ten to CBS through a AIMS444GA board chair.

“AIMS members are very active inSecurities supporting and section process (which will require Australian and Investment Commission reliefthe to draft permitSMPTE the transfer and an order by the Court under implementing 2110 standard.

We made are thrilled that section 444GA of the Corporations Act). testing to date is both showing excellent progress toward interoperability and providing greatVillani data of forKordaMentha further improvements.

There will be“The future Administrator Jarrod Restructuring stated, Receivers and Administrators work closely together ensuretime that for all interoperability events and will tests, which makes this antoexciting operations continue uninterrupted the transaction is finalised.

As first part who support a common industrywhile standard, much as it was when SDI of the agreement to purchased Network TENand business, CBS get will involved provide appeared.

Interoperability willthe remain the key, those who immediate support to ensure continuity of operations ahead of the will reap financial the benefits of new workflows and solutions. ” upcoming meeting of creditors.”

New additions to the AIMS membership roster include Bridge Visit www.tencorporate.com.au

Technologies, Clear-Com, Solid State Logic, Juniper Networks, Atos, Leader, Encompass Digital Media, and sonoVTS.

“Our previous research with production companies has revealed that many still rely on inadequate broadband connections, and don’t always feel they understand the alternatives,” says DPP Managing Director, Mark Harrison. “So, we have conducted some research, and sought the advice of DPP Member companies, to pull together a user-friendly view of what the market offers.”

The survey report considers the needs of different sizes of production company, and whether the connectivity they need is for general office use, for working with video, or out on location.

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

“There is no doubt connectivity suppliers find the media production 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.”

‘DPP Survey Report: Connectivity Supply to Production’ is the fifth in the DPP’s Survey Report series, and follows on from the ‘2016 Survey Report Connectivity and Production’, which shared eye-opening DPP research into how production companies view their connectivity services.

Sydney’s Bite-Sized Netflix Shoots for San Francisco Visit www.digitalproductionpartnership.co.uk Visit http://aimsalliance.org SYDNEY-BASED COMPANY SNACKABLETV is aiming to follow in the footsteps of Netflix, Uber and Spotify after being selected to be a tenant at San Francisco’s global innovation hub RocketSpace as part of a startup Landing Pad program.

without the support from Jobs for NSW and NSW Trade and Investment.

“We were lucky enough to receive a loan from Jobs for NSW, who then

Eurofins, Samsung to Develop HbbTV App Test Centre introduced us to NSW Trade and Investment. We discussed all our growth EUROFINS DIGITAL TESTING hasthat announced will develop an HbbTV SNACKABLETV is a digital platform delivers it“snack-sized” content to a

application test centre co-operation with Samsung Electronics for testing youth audience.

Thereinare no subscriptions fees or pre-roll advertising.

HbbTV Applications on HbbTV enabled TVs. From 22 January 2018, SNACKABLETV, which received a AUD$300,000

‘HbbTV Applications’ interactive applications thatwill deliver additional loan from the NSW include Government-backed Jobs for NSW, spend 90 days functionality such and as video-on-demand and arepartners designed to run on TVs in San Francisco have access to industry including Goodyear, Samsung andthe AT+T, as well as RocketSpace’s network Samsung which compliant with HbbTV specification.

As thealumni lead supporter, will includes Weeblyfor andconducting Supercell. the compatibility tests. These provide theUber, initialSpotify, TV platforms platforms anKate enhanced debug mode which allows thecreate gathering Founderinclude and CEO, Edwards, came up with the idea to a Netflix offor additional data towhile diagnose issues. Samsung young people on maternity leave andwill willalso nowprovide take hertechnical idea to the US thankstotothe support from NSW assistance program to the assist appGovernment. developers to run their applications onEdwards Samsungsaid TVs. the credentials and criteria to get into RocketSpace were phenomenal and that she would not have come across this opportunity

NEWS + PEOPLE TECHNICAL STANDARDS

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

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plans which included looking to the US.

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

“NSW Trade and Investment were able to provide us with some really great take responsibility for testing and validating HbbTV Applications provided by advice on how to enter the US market and connected us with people on app developers mightwhich be broadcasters or other parties) and willand work ground in LA and(who San Fran lead to an introduction to Austrade the with these app developers to define the scope of the testing required.

This Landing Pads program.

will ensure that conform to and the HbbTV specification “We think we willthe be HbbTV the firstapplications fully Australian-owned independent and function correctly on real, deployed devices from the market leading company that has embarked on this journey in the entertainment space. brand.

We have found a massive audience – now it’s time to kick over into the next iteration of SNACKABLETV. The only way we win is to continue to create The agreement between Samsung EurofinsOur allows for the growth of best in breed original content, much and like Netflix. intention is to use the the Test Centre to include more devices in due course – including those from learnings of Netflix and create episodic content that’s high quality and highly other manufacturers – to further extend the testing capabilities. engaging. ” Visit http://snackabletv.tv and www.industry.nsw.gov.au

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

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Š 2016 Avid Technology, Inc. All rights reserved. Avid, the Avid logo, and MediaCentral are either registered trademarks or trademarks of Avid Technology, Inc. in the United States and/or other countries.

NEWS + PEOPLE TVNZ Partners with Brightcove to Launch on Chromecast BRIGHTCOVE HAS ANNOUNCED it has enabled TVNZ, New Zealand’s free-to-air broadcaster, to launch its video streaming service on Google Chromecast.

Leveraging Brightcove’s server-side ad insertion technology (SSAI), TVNZ can now deliver a superior, TV-like experience for its TVNZ app through Google Chromecast. Use of SSAI means TVNZ can integrate content and ads into the video stream, delivering a premium viewing experience without buffering or disruptions.

The release of Chromecast compatibility builds upon TVNZ’s and Brightcove’s existing relationship, with Brightcove technology underpinning TVNZ’s video offering for Android, iOS, Playstation, Xbox, and Samsung Smart TVs. Brightcove was also behind the relaunch and enhanced device support for TVNZ’s ondemand service in 2015.

“There has been a big spike in adoption of OTT devices in the last few years.

Users are turning to smart TVs, gaming consoles, and other connected devices like Chromecast in unprecedented numbers. Brightcove’s SSAI technology

opens up a new commercial opportunity on these platforms, while also allowing TVNZ to give their users great access to content they love on the device of their choice,” said Mark Stanton, Vice President of Australia and New Zealand at Brightcove. “With the expansion of TVNZ’s compatibility to Chromecast, Brightcove’s SSAI solution is now used across all AVOD broadcasters in New Zealand. It’s great to see SSAI gaining such wide adoption in the industry.”

Brightcove is continuing to work with TVNZ to develop better video streaming solutions. TVNZ’s next focus will be launching an Apple TV app later this year.

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

Foxtel Now on PlayStation 4 and TiVo Renews IP Deal FOXTEL RECENTLY ANNOUNCED that PlayStation 4 owners can now download the Foxtel Now app from PlayStation Store and subscribe to Foxtel Now. Foxtel Now is the company’s newly revamped, internet delivered subscription TV service, enabling users to stream Foxtel programming.

Additional devices will continue to be updated in the coming months, until then, other devices, including PlayStation 3, Xbox One and select Smart TVs are able to stream Foxtel content in SD via the Foxtel Play app.

In other news, TiVo Corporation has announced that Foxtel has signed a multi-year intellectual property license renewal. This agreement offers Foxtel ongoing access to TiVo’s entertainment discovery patent portfolios.

“Our relationship with Foxtel demonstrates how pay-TV providers around the world use TiVo’s intellectual property to reach consumers in more innovative ways,” said Samir Armaly, Executive Vice President, Intellectual Property and Licensing, Rovi Corporation, a TiVo company. “We are proud to continue working with Foxtel, one of Australia’s most innovative media companies, to enable the next-generation of entertainment discovery.”

Visit www.foxtel.com.au and https://business.tivo.com

Brief Moves SEAN BOON KIAH has started a new position as Sales Manager - SEA at IDEAL Systems Group. He was previously Senior Director at Digistar Holdings Sdn Bhd. DIOGO CORDES ANICETO MARTINS has started a new position as Program Manager - Mediacorp Creators Network (Bloomr.SG) at Mediacorp. He was previously Transmedia Producer - Non-Linear Production, Studios Division at Mediacorp.

NEWS + PEOPLE

ANDIKA FIRMANSYAH has started a new position as Video Content at Qureta. He was previously administrasi umum at PT. Bangunbina Persada.

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MARY JANE GOZUM has started a new position as Account Executive at Nera Philippines, Inc. She was previously Sales Engineer at Media Convergence Inc. IVAN TAN has started a new position as Regional Sales Manager for APAC, CAE ASIA GROUP - S2CEB. He was previously Senior Manager - Broadcast & Digital / BD (Regional) at Cine Equipment Pte Ltd FRANCIS XAVIER MICHAEL has started a new position as Executive MCR Engineer at Globecast, Singapore. He was previously Executive Operations Engineer at GlobeCast.

ALAN YIP has started a new position as Project and Support Engineer at Megahertz Ltd.

MALCOLM HOUSE has started a new position as VP Sales Asia at Bluefish444. He was previously VP Sales SEA, Hong Kong, Taiwan and Korea at Brainstorm.

JOHARI MOHD SAHARUDIN has started a new position as Site Engineer at APEX Communications Sdn Bhd. He was previously Broadcast Engineer (Broadcast, IPTV, Project) at Digistar Holdings.

NICK MORGAN has started a new position as Director of Sales APAC at VSN Innovation & Media Solutions. He was previously GM Asia at General Dynamics Mediaware.

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.”

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.

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

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

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

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

Māori Television was first launched on 28th March 2004 in Newmarket, Auckland. Its Māori language channel, Te Reo, was launched in 2008.

Visit www.maoritelevision.com

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NEWS + PEOPLE Ross Targets 12G, IP and APAC Expansion

By Phil Sandberg THESE LAST FEW YEARS have seen tremendous expansion for Canada-based Ross Video, not only in terms of product offering, but also company acquisitions, and regional offices. In the Asia-Pacific, the last 12 months has seen the company establish facilities in both Singapore and Sydney “We also expanded our office in London, England,” says Ross Video CEO, David Ross, “which I know is outside of your geographic area, but let me tell you - my CFO noticed that we opened three major offices in one year.”

What is the reasoning for that, as opposed to leaving it to dealer channels?

“Well, even with all the bids and tenders and everything else – the formalities that can go on in any region – in the end people are buying from people, people are developing trust, they want relationships.

They want to be able to pick up the phone and know that somebody’s in their time zone, they want to be able to look somebody in the eye and say, ‘Will this work? Can you deliver this?’, and go directly to the manufacturer that’s ultimately supplying the gear.

“So, we’re not doing this to cut out, in any way, our business partners.

They’re absolutely critical to help me do business in Asia, but it’s really showing that we’re here to make those relationships, to be able to look them in the eye and support them, and it’s also a really good sign of just how much business we’re now doing in Asia.

“It’s also giving us a place for our tech support people to work out of, it’s a place for us to keep some spare parts, and just a great place to meet up with our customers and our business partners. One thing that’s interesting about this is, you could argue whether we did it the right or the wrong way, we built these facilities because we had the business already to support it. We had so much business that it was a no-brainer actually to build these facilities.

So, you have Sydney and Singapore offices. I’m wondering about North Asia, China specifically.

“We have a number of employees in China now and we did listen to our CFO this time and we decided to make the China office next heading into our next financial year, which starts in November, so we’re already planning out the next facility, the bricks and mortar for China, which will be in Beijing.

Will there be similar functions to the other offices?

“It will be sales, tech support, demonstration area, spare parts, working with both our business partners as well as our customers. It’s a pretty good combination.”

And, mostly local staff?

“All local staff. We don’t parachute in a Canadian.”

Are there any particular challenges about that market that you’re anticipating?

NEWS + PEOPLE

“In some ways there’s unique challenges, in other ways there aren’t.

I mean, there’s pressures for discount, there’s people that care more about what the discount is than the final price. That seems to happen a bit in China, and we’re still a one pricelist company. I know some people have gotten around that by coming up with the Asia pricelist and then just give you a 50% discount right off the bat. We don’t do that.

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“From the point of view of technology, in China there is more local technology than there is anywhere else that you don’t see anywhere else, and suddenly you come up against a Chinese newsroom system or a Chinese character generator and it’s like, ‘Oh that’s interesting’, and they don’t follow marks, and they don’t follow some protocols. So, integrating with some of these devices and working through with the

David Ross, CEO of Ross Video.

new technical partnerships, that’s a little bit new because it is a little bit of a different world in China.”

At SMPTE17 in Sydney, you gave a presentation entitled, ‘12G or IP?’ What were you trying to encapsulate in that question?

“There’s a lot of confusion that’s going on in the industry, especially ‘Should I go IP?’, but if your concern is being future-proofed then well what are you being future-proofed from? Usually, it’s going 4K. So, if you’re really worried about 4K, then UHD, 12 gig will get you there and still be compatible with everything you do today, whether its 1080P or 1080I. “One of the things I was trying to get to was, ‘where’s the breaking point where its economically or technically required to start considering IP versus ‘you’re crazy to do IP, it’s easier to do it in SDI.’ “I went through the technology background on that, but also started comparing something like [Ross’] Ultrix router, which can do 72-in and 72-out and also do a Multi-viewer – it’s a processing router and also doing audio. Then saying, ‘Well, if we’re trying to do that in [SMPTE] 2110, you need an outboard multi-viewing box, you need outboard audio processing, but you wouldn’t have to do the dis-embedding/reembedding because IP sends them in separate streams. So, you get a savings over there but at the same time you have so many signals that are coming from originating devices that you don’t want to connect directly into the core switch or you’re going to be wasting a whole lot of bandwidth. So, you want to aggregate, which means that now you need top-of-racks. Well, how many top-of-racks are equivalent to an Ultrix?

“So, I went through that and showed that it turned out to five $20,000 top-of-racks going into a core switch before you even got to do any functionality - and then you have Ultrix and 2RU. “I was able to show that for fly-packs and smaller installations you can do it for a fraction of the price in UHD in 12G SDI, but when you’ve got a multi-studio, large infrastructure, a major television facility, you just can’t get there with the UHD system and a traditional SDI router.

It’s kind of interesting to show both and it’s also useful for customers to see that Ross is investing heavily in both, because you could argue that there’s lots of money in big facilities, but there’s also a lot of small fly-packs, lots of small churches, legislatures, you name it, and there’s a market for both areas and I think people have extremely different needs.”

Visit www.rossvideo.com

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NEWS + PEOPLE Dendy Partners with Foxtel on Feature Film Distribution CINEMA CHAIN DENDY and pay TV operator Foxtel will be launching a new

Australia Day is the perfect title to lead our expanded Foxtel Store offering,

route to market for Australian and international film content by combining

making a great Australian feature available to homes around the country

theatrical and premium on demand channels of distribution. This new model

one week after cinema. Australia Day joins thousands of movie titles

is aimed at creating a more sustainable distribution strategy for niche

available on Foxtel Store across IQ2+ and HD boxes.”

feature and documentary films.

This innovative route to market provides a national footprint achieved through a theatrical season at Dendy Cinemas and partnering exhibitors, followed by a near simultaneous premium on demand season on Dendy Direct and Foxtel Store that launches one week after the theatrical release.

Following its world premiere at the Sydney Film Festival, ‘Australia Day’, a Hoodlum production for Foxtel, will be released under this new model in cinemas on the 21st of September, and then available one week later ‘Express from Cinema’ in Foxtel Store and on Dendy Direct on the 27th of September. Icon Film Distribution is proud to be partnering with Dendy and Foxtel to give audiences access to the latest feature from Red Dog Director, Kriv Stenders.

“Dendy is the only vertically integrated business in Australia offering both exhibition and on demand. It is therefore uniquely positioned to entertain a wider audience by combining the big screen experience of Dendy Cinemas and the national reach of our online movie platform Dendy Direct. This business model which we are branding Dendy Marquee will offer consumers more choice, accessibility, and immediacy in the consumption of quality

This innovative distribution model will contribute to the growth and sustainability of the Australian film industry by providing platform agnostic access for consumers to discover great Australian stories and ensuring these voices continue to resonate with the broadest possible audience.

Screen Queensland CEO, Tracey Vieira said, “It’s exciting that Australia Day will take the lead with Dendy and Foxtel’s new model in bringing films to market. Australia Day, filmed exclusively in Brisbane with Screen Queensland investment, promises to be a popular choice for Australian audiences and should be a successful launchpad for the new Dendy Marquee.”

“Screen Queensland is passionate about embracing new models to reach audiences and is thrilled to see a Queensland film launch this way,” Ms Vieira added.

Shot entirely in Brisbane, and produced by Brisbane-based Hoodlum productions from Stephen M Irwin’s (Secrets and Lies) script, Australia Day stars Bryan Brown in his third collaboration with Director, Kriv Stenders, alongside Australian talent including Matthew Le Nevez (TV’s The Kettering

specialty content,” said Greg Hughes, CEO, Dendy/Icon.

Incident and Offspring), Shari Sebbens (The Sapphires, TV’s The Gods of

The growth of digital adoption provides a significant opportunity for on

Wheat Street), Sean Keenan (TV’s Glitch and Puberty Blues), Daniel Webber

demand delivery to add real and sustainable value to the content ecosystem for filmmakers, exhibitors and consumers, whilst maintaining theatrical

(TV’s The Punisher), Elias Anton (TV’s Barracuda), Jenny Wu (TV’s Top Of The Lake: China Girl), Miah Madden (The Sapphires, TV’s Redfern Now), Isabelle

exhibition as the ‘gold standard’.

Cornish (TV’s Puberty Blues), Phoenix Raei (Indefinite) and Ernie Dingo.

“We are always looking to make our cinema program compelling and

“It’s a real thrill and honour to be a part of this exciting and hopefully

eclectic. The Marquee initiative allows us to screen films for our patrons that

precedent setting distribution platform. I believe the future of niche

would otherwise not be available,” said Eddie Tamir, Owner – Classic, Lido,

Australian film distribution has finally arrived, and truly hope that other local

Cameo Cinemas.

filmmakers, distributors, broadcasters and exhibitors will be able to continue

Foxtel’s Director of Content Ross Crowley said, “Foxtel is excited to be part

to build and expand upon the innovative template that Foxtel, Icon and

of this initiative to bring selected movies into Australian homes even sooner.

Dendy have now created,” said Stenders.

We love going to the movies, and we love when the movies come to us.

Visit www.australiadaymovie.com

NEWS + PEOPLE

ACMA Renews 148 Community Broadcasting Licences

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THE AUSTRALIAN COMMUNICATIONS and Media Authority reports it has renewed 148 of 150 community broadcasting licences assessed in the last financial year. Community broadcasting licences must be renewed every five years and the number assessed in the last year represents more than 40 per cent of the total 360 long-term licences in Australia.

The 2VTR licence, held by Hawkesbury Radio Communications Cooperative Society Ltd, was not renewed following 2VTR’s continued non-compliance with the community participation licence condition. The compliance issues went unresolved despite informal and formal enforcement action taken by the ACMA over a lengthy period.

To ensure that community licensees operate as intended, they must comply with legislation that requires them to involve members of their licence area community in the operations of the service and in the selection and provision of programs. On rare occasions, licences will not be renewed.

The ACMA also declined to renew the 4MIG licence, held by Mount Isa Christian Broadcasters Association Inc. 4MIG was unable to muster the resources to meet the needs of the community in its licence area.

Two of 150 renewal applications received in the last financial year were declined by the ACMA:

These licences expire at the end of their current terms: 11 September 2017 in the case of 4MIG and 3 October 2017 for 2VTR.

• 2VTR in the Windsor area of New South Wales; and

Both licences will then be available for temporary community broadcasting.

• 4MIG in Mount Isa, Queensland

Visit www.acma.gov.au

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Vale Mark Parlett THE ASIA-PACIFIC BROADCAST SECTOR has been saddened by the recent, sudden passing of industry veteran Mark Parlett.

Over the past 11 years, Mark headed up his own consultancy, Hong Kongbased Detail Solutions, providing high level technology consulting and training to broadcast media organisations. Prior to that, he held the position of Managing Director with Snell & Wilcox Asia Pacific. He also served as Managing Director of Quantel Asia Pacific, Engineering Director with Quantel Japan, and Research Engineer with Quantel in the UK.

Mark originally joined Quantel in 1980, after graduating with a Bsc Hons in Physics from London’s Imperial College. He worked on a number of leadingedge developments including Synchronisers, DVEs, Decoders and Paint systems. His work on decoders was awarded two patents.

C+T’s thoughts are with his family, friends and colleagues.

Brief Moves Raoul Cospen has started a new position as Business Development Director, Cloud and Saas at Dalet Digital Media Systems. He was previously GM, APAC, with Dalet.

Robert Pitman has started a new position as Technical Suport Engineer (Post Production & Technology) at WTFN. He was previously Coordinator, Post Production and Technology Workflows at Deakin University.

Joe Hammer has started a new position as Managing Director at Ground Zero Pro Audio. He previously held the position of Product Support Specialist at Blackmagic Design.

Craig Wilson has started a new position as Editor - Family Food Fight at Endemol Shine Australia. He was previously Editor - Married at First Sight Series 4 Episode 7, 15 & 21 at Endemol Shine Australia.

Paul Whybrow has started a new position as Secretary Sydney Chapter Member Global Entertainment Committee at VR AR Association. He was previously Director, Creative Industries and Industry Practice Lead, Media & Entertainment, at Capgemini.

Richard Lord has started a new position as Editor - 'Murder is Forever' (TV Series) at Stephen David Entertainment / M Forever Ltd. He was previously Editor - 'Cliffs of Freedom' (feat. film) 2017 at Directed by Van Ling, Creative Hyphenates NZ Ltd. Cedric Robertson has started a new position as Operations Manager at The Time-lapse Company. He previously instructed Certification Courses for Apple Products at Labspace - an Apple Authorised Training Centre.

Mark Darnay has started a new position as Senior Services Engineer at Imagine Communications. He was previously Operations Support Technician at Cutting Edge.

Kirsten McGregor has started a new position as Business Analyst at UNSW. She was previously Broadcast Operations Manager at Australian Broadcasting Corporation.

Steve Weaver has started a new position as Director of Research, Insights & Education at ThinkTV Australia. He was previously Group Director, Audience Science & Analytics at Nine Entertainment Co.

Ben Morrell has started a new position as Acting General Manager, Asia at Brightcove. He was previously Technical Director, Asia, at Brightcove.

Pete Fullerton has started a new position as Senior Account Manager, Broadcast & Audio Visual at Madison Technologies. He was previously National Sales Manager - New Zealand at Quinto Communications (NZ) Ltd.

Tomer Azenkot has started a new position as Vice President, Sales, Americas at Brightcove. He was previously Vice President, Asia, at Brightcove.

Brendan O'Shaughnessy has started a new position as as Head of Media & Entertainment - APAC at FPT Information Systems. He was previously APAC Head of Media & Entertainment at Amazon Web Services.

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NEWS + PEOPLE

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NEWS + PEOPLE Magna Appoints David Blackett Group GM BROADCAST INDUSTRY SI SPECIALIST, David Blackett, has joined Magna Systems and Engineering as Group General Manager. David brings with him a wealth of experience having most recently completed a successful tenure with Telstra where, as Consulting Technical Specialist, he was involved in several significant projects including The NRL Bunker, remote production and several large government projects. Prior to Telstra David was Vice President of Gencom Technology Australia where he coordinated projects and management of day to day business. Before that, he was engineering manager at Fox Sports.

His new role at Magna Systems is a key one at a time when the company is experiencing significant growth across the Asia Pacific region. As Group GM on the sales side, Blackett will strategically lead and drive the company’s sales process across all market sectors, from instigation to delivery. He will also manage and grow strong and positive long-term relationships with Magna’s partners and suppliers. The engineering side of his new role sees Blackett responsible for identifying new technologies that are a fit for current and future Magna capabilities and managing all of Magna’s engineering and technical operations groups across the region.

David Blackett said, “I’m delighted to be joining Magna in the role of group GM at such an exciting and critical time. The company is growing, recruiting and expanding rapidly and it’s a great opportunity to be a part of that. The future for Magna Systems is looking very promising indeed.”

Magna Systems Group CEO Matthew Clemesha added, “David’s vision and experience in the broadcast and SI fields is second to none. He is a great asset and addition to our team and will form an integral part of Magna’s growth and success moving forward.”

Visit www.magnasys.tv

Jan Müller New CEO for National Film and Sound Archive THE AUSTRALIAN FEDERAL GOVERNMENT has welcomed the appointment of Mr Jan Müller as the new Chief Executive Officer (CEO) of the National Film and Sound Archive (NFSA) for a four-year term.

“This requires re-invention of our physical presence and public engagement and a substantial ongoing investment in digitisation. Jan’s experience will be invaluable in leading us through this evolution.”

Mr Müller is a highly experienced CEO and leader in the digital heritage and culture sector internationally. Since 2009, Mr Müller has been the CEO of the Netherlands Institute for Sound and Vision, which comprises one of the largest audio visual collections in Europe and Chair of the Europeana Foundation since 2015. The Europeana Foundation is an online collection of over 50 million digitised items from museums, libraries, archives and collections.

Mr Müller said he was delighted to be joining the NFSA, an internationally regarded institution, to contribute to the next phase of its development.

Prior to turning to the cultural sector, Mr Müller had over 20 years working in the advertising industry including as CEO of Saatchi & Saatchi Amsterdam and as a member of the board of the agency in Europe. He was President of the International Federation of Television Archives from 2012-2016 and is the Chair of the Dutch Media Literacy program and the Dutch National Coalition for Digital Preservation and Sustainability.

Chair of the NFSA, Ms Gabrielle Trainor AO, said Mr Müller’s appointment heralded an exciting new stage for the NFSA. “We are in transition from an archive whose visitation and use has been limited by our physical footprint and outreach effort, to a collection which also can be accessed for research, education and enjoyment by exponentially more people, from their devices, online.

“The NFSA has a great history and committed staff and stakeholders. I welcome the opportunity to help maximise its relevance to the community it serves and the industries it celebrates,” he said.

Mr Müller will commence the role in October. Ms Meg Labrum, NFSA Collection General Manager, will continue as Acting CEO until that time.

In addition to Mr Müller’s appointment, the Government has also reappointed two members to the NFSA Board for three year terms.

Ms Toni Cody is a highly experienced marketing and business consultant with over 20 years’ industry experience in strategic planning and change management. Ms Cody is also the Chair of the NFSA Board’s Funding and Stakeholder Development Committee.

Mr Peter Rose is a digital media consultant who has held a number of senior management positions in the film and television industry, most recently as the Director of Foxtel Movies.

Visit www.nfsa.gov.au

Ooyala Names Jeremy Cath VP Services for APAC, Japan OOYALA HAS ANNOUNCED the appointment of Jeremy Cath as Vice President, Services, Asia Pacific and Japan.

Based in Sydney, Cath will be responsible for ensuring successful customer deployments of Ooyala IVP (Integrated Video Platform) solutions, including OVP (online video platform), media asset management, and video advertising technology, throughout the Asia Pacific region.

NEWS + PEOPLE

Cath joins Ooyala with more than 25 years’ experience in software development and consulting roles within the media, entertainment and advertising industry sectors.

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Prior to joining Ooyala, Cath was based in the US for more than ten years during which time he worked for both Microsoft and Amazon in various roles, including Solutions Architect and Senior Technical Evangelist.

Within these positions he led international solution architect teams focused in the media and entertainment space and was responsible for ensuring seamless communication between the application developers to ultimately deliver great customer experiences.

During this time he worked with many household names including NBC Sunday Night Football, the Olympics, HBO, Hulu, Showtime, Netflix, PBS and ABC in the world of online media.

Cath has also worked as Technical Director for several broadcasters including Endemol Southern Star and rushTV, as well as niche, leading software companies such as Sterling Software and KnowledgeWare.

“I am looking forward to working with our customers and helping them launch and run a successful and profitable video business,” said Jeremy.

“The Asia Pacific and Japan region has always been willing to experiment, take risks, and explore new technologies so I can’t imagine a better place to be as Ooyala grows and further enhances its solid foundations with existing and new partners.”

Visit www.ooyala.com

IBC 2017 PREVIEW

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IBC 2017 PREVIEW

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IBC 2017 PREVIEW IBC a Showcase for IP Technology THE IP SHOWCASE is set to be a major destination for visitors to IBC2017 – demonstrating to the broadcast and media world that real-time IP production is a practical, flexible, efficient reality that is rapidly taking hold in mainstream operations. IP is no longer a “future” — it is here and now.

• The practical steps to take to unlock the benefits of using IP networks for real-time media • The knowledge, skills, and resources required

The partners behind the IP Showcase - AES, AIMS, AMWA, EBU, IABM, MNA, SMPTE, and VSF - have come together with IBC to deliver a one-stop destination where everyone from broadcast/IT engineers and CEOs to TV producers can learn everything they need to know to unlock the full potential of using IP for real-time media.

• How others are already leveraging IP in real-world broadcaster applications • An understanding of the SMPTE ST 2110 suite of professional media over IP networks standards

More than 40 vendors will work together to demonstrate real-world IP interoperability based on SMPTE ST 2110 final draft standards and AMWA NMOS specifications — a single set of common IP interop standards and specifications that are unleashing the flexibility and efficiency of IP in real-time media. To prove ease of use as well as interoperability, the demonstrations are divided into logical application pods — live production signal flows, contribution and playout signal flows, etc. — all shown under the control of familiar user interfaces.

• What the future holds – including NMOS IS-05 Connection Management for IP-based media systems

Visitors to the IP Showcase will learn:

The integrated IP Showcase theatre, curated by IABM, will be running a nonstop series of presentations covering the full gamut of knowledge for realtime IP production and intra-facility distribution. Visitors will hear about the rapidly increasing number of real-world IP deployments from broadcasters who have already embraced IP signal flows. They will also learn about the business and creative benefits of IP, and how these benefits can be applied to their own operations.

• The business, technical, and creative benefits of IP workflows

Visit https://show.ibc.org

Transforming the User Experience VISITORS TO IBC2017 will be able to immerse themselves in a world of technologies, with a host of opportunities to learn about the accelerating trends that are enhancing, customising, or otherwise transforming the user experience (UX).

Media and broadcast professionals should not miss the Business Transformation conference session entitled ‘Broadcast is about to be transformed’, with speakers from Google, Freeview Australia, DMC and DTG discussing the myriad disruptions currently facing broadcast on all fronts. With IP-only delivery, on demand consumption, and personalised user experiences, what can broadcasters do today to make the most of these transformations?

The series of Tech Talks on Sunday 17 September features several must-see sessions that step further into the future. ‘Inventing the Future – Decoding the Unknown’ promises to be a wide-ranging discussion with experts envisioning the technologies and applications that are likely to materialise in the near and distant future, and the impacts they might have on humanity. The panel includes senior executives from organisations including BBC R&D, NHK, 21Million, Nuance Communications and Disney Research.

as the Next Battleground for Consumer’ signals that ‘The Big Bot Battle’ surrounding Chatbots as an interface and service has begun, but there are still many challenges for this nascent platform – including functionality, adoption, monetisation, UX and payment integration. Panellists from organisations including Al Jazeera Media Network, The Bot Platform and TurnUp Music will debate emerging opportunities, challenges and winning applications for the media industry.

In the Platform Futures strand, Arash Pendari, founder of Vionlabs and tech evangelist for UX presents ‘Future User Experience: Mathematics or Art?’, a visual and information driven session with personalisation of content at its heart.

‘Artificial Intelligence – Driving the Next Wave of Innovation’ looks at the potential for AI, which is still largely uncharted territory. Attendees will hear from tech pioneers including Alex Zhukov, CTO at Videogorillas and Yoav Oz, Co-founder of Spotad, about the latest developments in AI, how to harness them and how they might affect companies and consumers.

The Auditorium will host a Big Screen Experience entitled ‘Future Camera and Presentation Technologies and Applications leading to AR/VR, Immersive Media, and Holography’ featuring legendary cinematographer, visual effects supervisor and author, David Stump ASC, and light-field visionary, production executive, and motion-picture technology innovator, Jon Karafin.

In conversation with Julian Pinn, Managing Director of Julian Pinn Ltd, they will discuss the latest technologies that are destined to revolutionise how we capture images and volumetric light-fields, and how to empower content creators to explore and display their own free-viewpoint creations of both liveaction and computer-generated content within augmented and virtual reality immersive media playback environments, including future holographic displays.

The session ‘In Conversation with…Bots: Messaging and Voice Platforms

Visit https://show.ibc.org

IBC 2017 PREVIEW

Looking to Invest in Media Tech Startups?

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ARE YOU A MEDIA EXECUTIVE or VC looking to invest in media tech startups? Then look no further. The IBC Startup Forum has been specifically created and launched to connect media executives, VCs and investors with startup and scale up companies.

• A Startup Forum Pitching competition will see five finalists battle it out on stage in front of industry experts.

On Sunday the 17th of September, 2017, the Startup Forum will take place where companies involved in Ad technology: social media monetisation, VR/ AR, streaming, 360, video, machine learning, artificial intelligence, analytics, data, entertainment, security will be seeking investment.

• A networking dinner and drinks reception the night before will focus on bringing together high-level attendees, including partners and sponsors, in an informal setting to network before the main event.

Features of the event include: • All startup/scale-ups are pre-qualified.

• There is a match-making tool on the APP to set up meetings at the Startup Forum in advance of the event.

• Attendees can network with like-minded professionals, including 75+ Startups, innovators, speakers and entrepreneurs.

• The Deal Room attendees are involved in facilitated meetings which will be scheduled every 20-minutes in a ‘speed-meeting’ style.

• The Conference Theatre hosts a full day of content including keynote speakers, partner and sponsor sessions.

Visit https://show.ibc.org

IBC 2017 PREVIEW

Platform Futures and Sports for IBC Conference THE WORLDS OF TECHNOLOGY AND SPORT are increasingly

Sports Business and the Consumer Keynote: 09:45 – 10:30

entwined. The 2017 IBC Conference will explore impacts stemming from the rise in alternative sports, the importance of fan engagement, and the

How to make sure your production meets the needs of fans at home, the ways fans engage with sports content, and how a global brand can create new revenue streams.

predictions for e-sports in the future.

Disruption has increased cordcutting as consumers abandon TV screens. It has also increased opportunities for rights holders and broadcasters to provide meaningful interaction for the modern sports fan. The importance of developing a connection between a sport and its fans cannot be underestimated.

IBC will investigate how sports and media rights can be exploited using tools available now. From the broadcasting of events to the evolution of alternative formats for traditional sports, IBC’s panellists will engage the crowd with their expertise in fan engagement.

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time zones, and devices. Content teams need to be sure they meet the needs of a range of viewers.

Next generation TV formats are designed to give sports fans a home experience at that trumps a seat in the stands.

As sports broadcasters come to terms with the multi-platform consumption of content by both hard-core fans and casual viewers, the market will place a premium on desirable content and ubiquity of access. CEO of Eurosport, Peter Hutton, will describe Eurosport’s transformation and its ability to transform the market, alongside the company’s culture and business model.

Beyond Live: New Tech Pushing the Boundaries: 10:30 – 11:15 Sporting events are distributed globally to multiple cultures,

27/08/2017

3:16 pm

Engagement Beats Reach Any Day and Twice on (Any Given) Sunday:11:15 – 12:00 Engagement has supplanted reach as the measure of brand and campaign value, or has it? Sports leagues, teams, and platforms need to create opportunities for fans to interact often – on game day and otherwise. The panel will discuss how to craft these opportunities, promote and monetise them.

Border Crossings: How Alternative Thinking is Taking Sports into New Formats, Sponsorships, Audiences and Countries: 12:00 – 12:45

Despite their appeal to tradition the pace at which some sporting events unfold challenges the patience of even die-hard fans.

It’s rare that anyone has time to watch a five-day cricket test.

Enter alternative sports. Whether it’s Twenty20 Cricket, Rugby 7s, X-Games, or MMA, all have captured the hearts of fans and the cash from sponsors. IBC will talk to the people and broadcasters behind these sports, and the sponsors getting behind them. eSports Demonstration: 12:45 – 1:00 eSports was once the sport nobody over 25 had heard of. Now with a global market estimated in 2016 to top $463M, the power of eSports is unquestionable. To give the audience a sense of what eSports is, IBC will have two of the leading eSport champions competing (remotely) on the big screen.

Visit https://show.ibc.org

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IBC 2017 PREVIEW

TV Globo’s Approach to Big Data Takes IBC Conference Prize IN ITS 50TH YEAR, the IBC Conference is still built around the technical papers programme, with the most influential paper in the programme winning the IBC Conference Prize. This year, the award goes to Marcelo Souza and his colleagues Joāo Castellani, Daniel Monteiro and Carlos Octávio Quieroz from Brazilian broadcaster, TV Globo, for their paper entitled ‘Big Data for Data Journalism, Enhanced Business Analytics and Video Recommendation at Globo’.

TV Globo has moved to bring data analytics into the core operations of the business and revolutionise its working practices. The paper details three ways in which the company is processing massive amounts of data to achieve business goals. Using data hosting and processing in the Amazon Web Services cloud, the solutions demonstrate real operational advantages and introduce new skills into operational areas to manage these analytics.

All papers proposed for the technical section of the IBC Conference are subject to vigorous peer review by a team of experts led by Dr Paul Entwistle.

All papers selected for presentation represent original thinking on relevant technologies. Of these, the most significant and engaging is selected to win the Conference Prize.

“A lot of people are talking about the potential of big data applications in the media industry, but TV Globo has actually done it and is reaping real benefits,” said Dr Paul Entwistle. “What makes the paper particularly interesting is that the authors talk about three very different applications: using public data to drive the news agenda, using business analytics to understand audiences, and using machine learning to recommend content to consumers.

on artificial intelligence, on Saturday the 16th of September at 08.30.

The award will be handed over as part of the IBC Awards Ceremony at 18.30 on Sunday the 17th in the Auditorium. This entertaining show is free for all

The TV Globo paper will be presented at the conference as part of a session

Visit https://show.ibc.org

IBC visitors.

IP Showcase Returns THE 2017 IP SHOWCASE at IBC builds on the successful IP Interoperability Zone at IBC2016, with more companies demonstrating IP products and advances made from formalising and adopting the SMPTE ST 2110 suite of real-time IP signal flow standards.

The IP Showcase is set to be a major destination for IBC visitors – demonstrating that real-time IP production is a practical, flexible and efficient reality that is taking hold in mainstream operations.

Partners behind the IP Showcase – AES, AIMS, AMWA, EBU, IABM, MNA, SMPTE, and VSF – have joined IBC to deliver a one-stop destination where broadcast/IT engineers, CEOs and TV producers can learn everything they need to unlock the potential of IP.

• Leveraging IP in real-world broadcast applications.

• Understanding of the SMPTE ST 2110.

• What the future holds – including NMOS IS-05 Connection Management for IP-based media systems.

The integrated IP Showcase theatre, curated by IABM, will be running a nonstop series of presentations. Visitors will hear about the increasing number of IP deployments from broadcasters who have embraced IP signal flows.

They will also learn about the creative benefits of IP and how these can be applied to their own operations.

• Business, technical, and creative benefits of IP workflows.

With no direct sales agenda, the IP Showcase is dedicated to educating and energising IBC visitors to embrace change, plan effectively, and ultimately

• Practical steps to unlock benefits of using IP networks for real-time media.

Visit www.theiabm.org and https://show.ibc.org

Visitors to the IP Showcase will learn:

build a more flexible, more efficient and more creative broadcasting industry.

VR and AR Examined from All Angles VIRTUAL, AUGMENTED, AND MIXED REALITY will come under scrutiny at IBC with opportunities throughout the show to learn more about these new technologies – from current placement in the market to the opportunities offered, as well as examining technological challenges and user experiences.

IBC 2017 PREVIEW

Rikard Steiber, President Viveport and SVP Virtual Reality at HTC Vive will give a conference keynote presentation looking at the road ahead for VR. The session will look at the emergence of consumer devices and services such as the Viveport VR app store, as well as showcasing successful VR experiences.

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While revenue forecasts for VR and AR over the next three years run into the billions, many companies are still hesitant to invest. The panel discussion ‘Leaving the Hype Behind: Next Frontier in VR, AR, MR and Other Realities in Between’ on the 17th of September, promises an illuminating session on the realities of the field. Presentations taking place will include success stories, insight into the projects in research and development, and a discussion about what it will take for VR and AR technologies to reach potential will feature.

Also taking place on the 17th of September, the Startup Forum offers an invaluable day for established media houses, startups and investors working in VR to share opinions on the future for these technologies. Speakers include

Marco DeMiroz, Co-Founder of The Venture Reality Fund, a company that invests in early-stage VR, AR and MR startups.

IBC has also curated a selection of conference papers on this topic in a session entitled ‘VR and AR – The Production, The Potential and The Pitfalls’.

Speakers will share some of the lessons learned so far, along with discussing the potential of live-action VR captured with camera arrays, and how to avoid the potentially adverse effects of VR. In addition, the IBC Future Zone is set to deliver the latest ideas and innovations from a selected group of companies showcasing technologies including mixed reality, 3D audio, and holographic projection, with a focus on multi-sensory virtual worlds and imagery of the future.

The IBC Future Zone is also home to the IBC Future Reality Theatre. Free to attend for all attendees, the theatre looks beyond current technology, identifying state-of-the-art concepts and inventions and helping to map future applications and market sectors. Confirmed companies speaking include, Adobe, Live Planet, Nokia, V-Nova and Mettle.

Visit https://show.ibc.org

IBC 2017 PREVIEW

IBC 2017 PREVIEW

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IBC 2017 PREVIEW

Cyber Security Forum – Technological Threats and Opportunities IBC HAS ANNOUNCED THE LAUNCH of the C-Tech Forum, a series of exclusive invitation-only micro events held over two days for C-level executives within media and broadcasting. Designed to reflect the changing nature of the media and entertainment industry and its converging markets, the events will facilitate peer-to-peer discussions around key industry disruption. The topics to be covered at the inaugural C-Tech Forum are Cyber Security and the advent of 5G. With the rapid progression of OTT services and digital broadcasting, the risk of cyber threats and hacking is accelerating. Following recent high-profile breaches, content creators and broadcasters are coming to terms with their exposure and how much is at stake. The Cyber Security Forum will bring together CTOs, CIOs, CIOSs and CDOs to have a candid conversation on what the cyberwar means for content owners and distributors, how to anticipate the next cyber threat and how to manage a breach.

Confirmed speakers include Latha Maripuri, Global CISO and Deputy CTO, News Corp (USA), Elaine Bucknor, Group Director, Strategy, Security and Governance, Sky (UK), Paul Lynch, Director Technology Management Office, ITV (UK), and Andreas Schneider, CISO, SRG SSR (Switzerland).

The C-Tech Forum on 5G: Finding Opportunity in Disruption looks at the myriad possibilities offered by 5G, from super-fast mobile networks and

10 Gigabit data download and streaming rates, to VR and AR holographic bi-directional download and upload. However, there is still much to assess and decide in terms of standards, alliances, competing technologies, infrastructure roll-outs, regulation and other issues. With a strategic agenda, thought-provoking speakers and unique insights, this programme examines the facts about the development and technology behind 5G, and asks what needs to be done to make 5G a success in the broadcasting industry.

Michael Crimp, CEO at IBC said, “As new technologies continue to drive the industry forward it’s important we appreciate both the benefits and risks associated with them. The C-Tech sessions will deepen our understanding about these topical issues, which in turn enables us to be better prepared against the serious threat posed by cyber-crime, and better informed to grasp the opportunities presented by 5G.” As well as practical and actionable guidance, both events offer executives an open environment for candid discussion with open floor debates and networking sessions.

The C-Tech Forum takes place at IBC on the 15th and 16th of September at the RAI, Amsterdam.

Visit https://show.ibc.org

Speaker Line Up for Audiences and Advertising Conference Stream IBC HAS ANNOUNCED the programme for the ‘Audiences and Advertising Conference Stream’, which will be held on Saturday the 16th of September.

With broadcasters and media companies operating in an increasingly fragmented multi-platform TV market, the stream will explore where and how audiences are moving and the latest innovations in viewing and advertising technologies.

This stream will feature high-profile speakers including:

• Ashwin Navin, CEO Samba TV, will be talking about latest developments in TV advertising – addressable, cross platform, data driven, dynamic, and realtime.

• Vaughn McKenzie-Landell, Founder Jaak, and a panel of innovative new businesses will be speaking about the merits and uses of block-chain across the broadcasting and entertainment industries.

• Jeff Binder, CEO Layer3 TV and Tom Pickett, CEO Ellation, who will be talking about the disruption of the US broadcasting industry.

Jon Watts, Executive Producer and Managing Partner at MTM said,

• Orpheus Warr, CTO of C4 and Adrian Drury, Director of Technology Strategy and Insight, Liberty Global who will be sharing their views on the most exciting new technologies and devices transforming the TV market.

We’ve got a diverse range of speakers from some of the world’s largest media

• Christopher Mead, Senior Director of Partnerships EMEA Twitch, who will be joining a panel to discuss the new online video ecosystem. Who’s watching and what makes it one of the fastest growing sectors in TV, and what broadcasters can learn from new video players.

“The Audiences and Advertising Stream this year is the best yet. businesses, leading technology providers and most exciting start-ups – and will be exploring some of the most important developments in the broadcasting world. We’ve got demos of next-generation TV features and advertising, visions of the future, showcases and debates.”

Visit https://show.ibc.org

Satellite Interference Reduction Group to Hold Masterclasses THE SATELLITE Interference Reduction Group (IRG) has announced it will hold a series of Masterclasses, as well as a champagne networking reception in partnership with ETL Systems at IBC. The core subject of the masterclasses will be Carrier ID (CID), the FCC, and regulation. As of September the 3rd this year, an FCC regulatory deadline may enforce a ruling, meaning broadcasters will be required to include CID in all video transmissions within the USA. This ensures satellite operators can quickly identify the source of any problem transmissions and lessen any disruption caused.

IBC 2017 PREVIEW

• Advise how best to prepare for the deadline.

• Mitigation technology tools and products.

• Using machine learning techniques, and more.

The IRG Masterclass will be held daily during IBC show at a time and place to be confirmed. Please visit the IBC website to register interest.

The aims of the masterclasses are to:

Alongside the CID Masterclass at IBC, IRG will also be co-hosting a champagne reception in partnership with group member, ETL Systems.

The networking reception will be held at 4PM, on Saturday the 16th of September at ETL Systems’ stand, 1.A33. Along with champagne, attendees will be served English scones with jam and cream. IRG and ETL Systems happily invite industry professionals and members of the media to attend.

• Outline the importance of adopting Carrier ID for video transmissions.

Visit http://satirg.org

IRG recognises the difficulty of preparing for the regulatory deadline and aims to provide clarification and support to broadcasters during its CID Masterclass.

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• Clarify what exactly the FCC Regulation requires of broadcasters.

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

Stay informed. Sign up today.

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David Mirabella Drives Jaguar Shoot with Sony DAVID MIRABELLA, a Melbourne-based cameraman with over 30 years experience, started out in news and current affairs at the Nine Network in the early 1980s and has been freelancing since 1995. One of his favourite cameras is the Sony Super 35 4K PXW-FS5.

Recently Mirabella was engaged by Executive Producer Maurice Parker to shoot a unique segment with his FS5 for Channel TEN’s Cruise Mode Show.

Mirabella added, “This segment was shot at Lorbek Luxury Motors in Melbourne and the team there were very busy. Again the FS5 was a big help and worked extremely well with such tight timelines as we used the SDI out for the director’s monitor and hard-wired the audio as this meant that the sound recordist could minimise the amount of radio microphones required.

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“With the mix of artificial and natural light constantly changing during the shoot, being able to “The Cruise Mode loves a make adjustments Jaguar segment involved quickly was a major me using my Sony FS5 on bonus as when I was a jib with a remote pan-tilt not happy with the head,” says Mirabella. “The Auto White Balance I could simply dial in reason for this was simple. my preferred colour When people sit down to temperature. Having watch a car show now, the FS5 pre-rigged on they are already used to the gimbal on standby watching particular shows was another timesaving with massive budgets plus as I could just and very cleverly, the FS5 pick it up and go. The and an affordable jib and Sony engineers who designed the camera remote head set-up gives were clever in the way a very professional look.” they positioned various On this shoot Mirabella industry standard had to get footage of threads around the several cars and again camera body and this is particularly useful when the FS5 proved to be the mounting the FS5 on a perfect camera for the job.

David Mirabella and his Sony PXW-FS5 on the Cruise Mode loves a Jaguar shoot. gimbal as we did on this “The economics of using the shoot.”

FS5 for this style of B roll footage made complete sense here,” he says. “We In terms of workflow for the Cruise Mode loves a Jaguar shoot, Mirabella allocated one hour per car and used the FS5 to get high shots, low shots, recorded to both SD cards in the FS5 for “great for peace of mind”, adding, static shots, moving shots, branding shots, interior shots, exterior shots “For Cruise Mode, the production unit was in Sydney, so I was transferring and anything else the director could think of. The compact FS5 was ideal footage from all cameras to a portable HDD using Catalyst Prepare and as, particularly with car interiors and engine bays, you would never get a big sending it off by courier. I backed everything up again in my studio and kept the files until I received an e-mail from the post production department that camera in there. By using the FS5 we got all the shots with one camera and I was clear to format the original camera cards. This was, and is, a simple, one operator.” safe and efficient workflow.

Mirabella is a big fan of his Sony FS5 and much of his enthusiasm for the “For the Cruise Mode loves a Jaguar segment it was important that we did camera comes from its flexibility. not obstruct Lorbek Luxury Motors’ daily business and by using the FS5 “For the setup on this shoot I used the 18-105 kit lens,” he says. “I removed and its small footprint we were able to achieve that. For this shoot it wasn’t possible to use a big set up or to lay power cables. So, by utilising available the handgrip from the camera and connected a two metre LANC extension light and the latest generation of battery operated LED lights, the FS5 to it then repositioned the handgrip close to my left hand. This meant camera performed beautifully. I also set up a couple of the Picture Profiles I had the FS5’s main iris, zoom and record controls close by for speedy to match other cameras and I love how simply I could change these settings adjustment. I also had one after-market servo motor for the focus and this on the FS5 for this shoot. I also like the layout of the buttons, switches and too had its controller near my left hand. While shooting these cars with the dials on the side of the FS5. I am so familiar with the side of the camera now FS5, I also experimented with the autofocus of the 18-105 Sony kit lens I can make many of the adjustments without looking. and it worked quite well. For example it would lock in on the gaps in the car “Sometimes, as on the Cruise Mode loves a Jaguar shoot, to obtain the doors, the front grill or the car’s badge. At f4 some might say the 18-105 client’s trust, the external LCD screen plays a big role as, when I took the kit lens doesn’t offer shallow enough depth of field but when shooting cars shot, review was so easy with the I prefer deeper focus as you get to see the full length of the car’s lines. This thumbnails. Using the FS5 on the Cruise Mode loves a Jaguar shoot just is also another example of why being able to relocate the LCD screen on the reinforced what I already knew – this is a great, flexible and very high quality FS5 is so convenient as on this shoot it was in my peripheral vision, while I camera.” was mainly using an external viewfinder.”

To see the Cruise Mode loves a Jaguar David Mirabella shot with

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On the Cruise Mode loves a Jaguar shoot Mirabella used a Sony PXW-FS5, Sony PMW-F5, two Sachtler tripods, various bi colour LED lights, a director’s monitor, a MōVI M5 3-axis stabiliser and an iFootage Shark Slider.

his Sony FS5 segment goto: http://www.miraimage.com.au/ production-2/2017/4/19/specialised Visit pro.sony.com.au and pro.sony.co.nz

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BR Remote’s Camball3 Cameras with 24-bit Positioning BR REMOTE LTD will show a new set of mini cameras in the Camball3 family at IBC. These new models feature greater precision remote control, completely smooth movement, and links to a computer. The new cameras have 20x optical zoom and use a Sony Exmor 2.4 megapixel sensor. They all provide full HD images at 50 and 60Hz frame-rates.

BR Remote has added an LCD display to the side of the cameras, which gives the operator pages of status information to aid setup and fault diagnosis. Many of these are automatically dealt with by the unit on a ‘best fit’ basis.

same control and automation as large broadcasters.

The Camball3-XM also provides a continuous ‘Free D’ metadata output for VR and AR.

There are now three new cameras in the family: Camball3-S, Camball3-X and Camball3-XM, which all have different positioning and control features.

Camball3-S is the standard camera with the latest sensor.

Both the

Camball3-X is for stage shows and concert tours. It is a 16-bit DMX controlled camera with infra-red mode for low light, and eight DMX channels for pan, tilt, zoom and focus, and iris. Paint can be done as usual via the Bradley standard system. The camera can be integrated with a master show computer.

can be used for auto-tracking to follow a particular artist, and an inbuilt

Camball3-XM is built for automation in TV production. This camera offers accurate motion control using Bradley M or ‘Free D’ 24-bit control for pan, tilt, zoom and focus, iris and paint. This system can be controlled by computer and enables more exact matching to a computer generated background or CGI. This camera will interest smaller studios that want the

Camball3-X and the Camball3-XM Predictive Move Smoothing (PMS) feature ensures natural movement. With both models, the operator can also take over and control the camera by a joystick to correct a position, and then allow the camera to revert to DMX control.

BR Remote will also show ‘Proteân’ – a large L-shaped pan and tilt camera head with similar software and motion control.

Visit www.br-remote.com

MSE’s MyWay Grip MATTHEWS STUDIO EQUIPMENT will feature its new rigging system, MyWay Grip, at IBC2017 on booth 12-G71.

“Today stage and location setups are becoming more complicated and creative, often stressing out grips that are hampered by support equipment,” said Tyler Phillips, VP of Marketing and Product Development at Matthews Studio Equipment. “Sometimes there isn’t enough space in the truck for what’s needed, or the budget is too restrictive. Even more challenging, creatives often change their minds on a whim and then expect a new setup in minutes, unaware of the limits of available equipment.”

MyWay Grip rigging system was designed to eliminate these challenges.

Geared to everyone from big-budget motion picture or television grips and gaffers, to the fledgling or independent content creator, MyWay Grip is a

customisable set up with unlimited possibilities.

Based on a two-part interchangeable rigging system, MyWay Grip uses industry standard pins, receiver and clamps, with custom connectors which attach to secure collars mounted on plates and clamps.

This allows a reduction in the dedicated rigging required, saving space, weight and setup time. Because it’s modular, the only restriction is the user’s creativity. The system permits unique rigging arrangements to meet various on-set challenges, all with minimal hardware. You can also make quick on-set modifications of installed rigging to accommodate common on-the-fly changes in lighting and camera configurations.

Visit www.msegrip.com

Capture Full-HD with Marshall’s CV225 IP67 MARSHALL ELECTRONICS CV225 IP67 lipstick camera will make its IBC debut this year at the Marshall stand 12.D20.

The CV225 utilises the latest light sensor technology in a compact weatherproof design, while maintaining broadcast video standards. The CV225 is suitable for professional broadcast television applications including sporting events, reality television, broadcast trucks, and weather vehicles.

integrators to improve the first generation CV200 lipstick

Marshall worked closely with professional video and systems

Visit www.marshall-usa.com

camera. The second generation CV225 IP67 lipstick camera incorporates those improvements, offering greater image clarity, enriched colours, enhanced low light performance and the added ability to remotely adjust without reliance on-screen display menus.

Miller’s Skyline 90 Makes its Debut

The Skyline 90 is the result of combined innovations from Miller and Ronford Baker Engineering. With a continuous counterbalance control that ranges from zero to 75kg at 30cm above the centre tilt axis and 15+0 selectable fluid pan-tilt drag positions, the Skyline 90 ensures optimum drag for any focal length. It has a sliding platform featuring 300mm of range that glides smoothly with a full payload and easily

balances heavy camera loads.

The Skyline 90 also comes with an auto safety lock to ensure a secure horizontal position when loading or dismantling heavy box lenses. Two bubble levels located at either side of the head allow for levelling. The floating calliper pan and tilt locks with large metal levers and can be operated simultaneously with one hand without causing picture disturbance. Optional features include a quick release wedge plate for sturdy camera mounting and heavy duty telescopic pan handles.

Visit www.millertripods.com

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MILLER FLUID HEADS Heads will be featuring the Skyline 90 Fluid Head at IBC2017 on stand 12.D30. Designed to meet the challenging conditions of outside broadcast, the Skyline 90 supports payloads of up to 75kg and features robust, all-alloy, heavy duty construction.

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Cooke Optics Reveal Latest Lens Innovations COOKE OPTICS will bring its latest lens developments to stand 12.D10 at IBC2017, including the S7/i and Panchro/i Classic ranges as well as two true front anamorphic zoom lenses for the Anamorphic/i series.

The S7/i Full Frame Plus prime lens range is designed to cover the emergent fullframe cinema camera sensors, up to the full sensor area (46.31mm image circle) of the RED Weapon 8K. The new lenses, like all Cooke lenses, feature the beloved ‘Cooke Look’, and are available in 18, 25, 32, 40, 50, 75, 100 and 135mm. All Cooke S7/i Primes have a true T2.0 aperture and cover 35/Super 35mm, Full Frame and beyond. They have a common fixed front diameter of 110mm, with a focus drive gear of 140T x 0.8 mod and an iris drive gear of 134T x 0.8. A nine-leaf linear module iris assembly is fitted into the Cooke S7/i lenses. The average weight of an S7/i lens is approximately 3.5kg. Test footage from the new lenses can be viewed at Cooke’s website.

The Panchro/i Classic range is a modern redesign achieving the same look and feel as the original Speed Panchros. With newly designed housing and PL mounts, the Panchro/i Classic lenses are lightweight, making them suitable for handheld, drone, and Steadicam work. Test footage from the Panchro/i Classic range can be viewed at Cooke’s website.

Cooke will also present its front Anamorphic/i zoom lenses. The 45-450mm Anamorphic/i zoom lens has specifications featuring 10x zoom front anamorphic, T4.5-22, 5’10” MOD from image plane and 3’11” close focus from the front of

the lens. The 35-140mm Anamorphic/i zoom offers a unique combination of attributes allowing shooting from very wide angle to telephoto with a 4x zoom ratio and 2x anamorphic squeeze.

It features T3.1-22 aperture and anamorphic oval bokeh.

The colour and depth of field characteristics of both zooms are matched to the rest of the Anamorphic/i prime range.

Visitors to the Cooke booth will also see the Anamorphic/i SF lens range, featuring a coating that gives cinematographers even more options for anamorphic character with enhanced flares and other aberrations, and still retaining the oval bokeh.

Cooke will also present lenses from its Anamorphic/i, 5/i, S4/i and miniS4/i ranges, and the Sony E and micro 4/3 mounts for miniS4/i and Panchro/i Classic lenses that enable users of these cameras to benefit from the ‘Cooke Look’.

Visit https://cookeoptics.com

DTC to Launch AEON-TX Wireless 4K Transmitter AT IBC2017, DTC Domo Broadcast (DTC) will launch AEON-TX, a new HEVC transmitter for wireless 4K UHD video.

the most exciting product being launched at IBC, and a perfect addition to DTC’s wireless camera system portfolio.”

DTC Domo Broadcast Sales Director, JP Delport said, “It is exciting to watch the development and possibilities of POV cameras for live broadcast: UAV use, virtual and augmented reality, 360 camera viewing, and IP delivery. However, it is the increasing adoption of UHD and HDR on a global scale that is really compelling.

DTC will also show its miniature Broadcast Nano HD transmitter for the first time in Europe. Broadcast Nano now incorporates a control panel, robust broadcast-standard connectors, and forced cooling that provides improved thermal performance. These improvements enable production teams to capture high definition POV images in camera situations not previously possible due to equipment size and battery run-time limitations.

“At IBC we will launch a UHD solution that makes it possible to wirelessly transmit 4K video. We believe broadcasters will be excited about AEON-TX, not for just its UHD and HDR capabilities, but also its ability to take advantage of next-generation HEVC compression technology. The new transmitter and decoder can handle significantly higher bit-rates than we have seen before, making wireless 4K transmission possible for the first time. We expect it to be

DTC’s camera back OBTX and multi-functioning PRORXD will also feature at IBC, with added benefits including dual pedestal DVB-T for high bit-rate studio applications.

Visit www.domotactical.com

Vislink Showcase HEVC 4K UHD Wireless Camera Transmitter XG TECHNOLOGY RECENTLY announced that its Vislink business will showcase its new HCAM, an HEVC 4K UHD camera transmitter at IBC2017. HCAM will be among the products for broadcast, sports and entertainment being jointly presented by Vislink and IMT at stand 1.A69.

HCAM represents the next generation of HEVC 4K UHD on-camera wireless transmitters for broadcast, ENG and prosumer cameras due to its highly flexible and configurable mounting options and intuitive video interfaces. HCAM permits 4K UHD wireless video with a 70ms latency via Vislink’s RF modulation.

“We are excited to showcase HCAM to the European market at IBC2017,” said James Walton, President of IMT. “In releasing HCAM, Vislink has created an optimum solution that makes 4K UHD wireless transmission an attainable option.

With user-interchangeable RF modules and a range of software options, HCAM continues the line of innovative, high-performance wireless camera systems from IMT and Vislink.”

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HCAM features interchangeable dual SFP modules supporting quad 3/6/12G SDI/ HDMI/fibre-optic/SMPTE 2022-6 HD-SDI over IP interfaces. It’s also designed with Wi-Fi and Bluetooth control via an Android or iOS app. In addition, the unit

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features integrated camera control with Vislink FocalPoint compatibility and directdocking V-Lock and Anton/Bauer battery plates with integral power feed through.

It is also compatible with Vislink’s L1750 range of transmitter modules.

“With the broadcast industry moving more and more towards 4K UHD programming, HCAM fills the need for reliable HEVC transmission,” added Walton. “HEVC allows for better compression without sacrificing quality, especially when working with data-intensive 4K content. Broadcasters will now be able to go places and do things never before thought possible when out in the field as well as when covering live broadcast events.”

Visit www.vislink.com

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Dale Bremner Captures Spirit of Central Australia with ARRI A WINNER OF THE ACS Emerging Cinematographer Award and a Gold Tripod in ARRI’s music category back in 2013, Dale Bremner recently undertook one of his toughest shoots in Australia’s Red Centre. For this production he chose the ARRI AMIRA and a set of ARRI master primes.

Bremner explained, “The AMIRA was primarily chosen based on the shoot’s deliverables, requirements and predicted hurdles which included having 4K output integrated into a 3D dome experience for the Seven Sisters Uluru exhibition in the National Museum of Australia.”

Plates were shot for the dome along with a short 2D narrative film, narrated by an indigenous elder, to accompany the story. According to Bremner the AMIRA was an obvious choice for the project.

He continued, “Firstly, the camera’s reliability factor played a big part as the fact that we were shooting seven hours out of Alice Springs in such a remote and harsh environment gave us no backup should the camera fail or suffer media corruption. In other words camera reliability was paramount - there was no plan B in case something went wrong. I had taken the AMIRA on previous longform jobs before and it has never skipped a beat, even in scorching temperatures.”

Bremner also highlighted the camera’s features and usability adding, “The AMIRA’s internal NDs are a big plus as the Australian sun is harsh and unforgiving, especially in the desert. Dust and filters are not always the best combination and keeping the filtering inside the camera was not only completely logical it was extremely practical under those exposed conditions.

Some of our setups were on the side of cliffs and on uneven terrain, places where you don't want to be swapping out filters.”

The AMIRA’s form factor also played a big part in the shoot as did its power consumption and ease of use as Bremner continued, “The weight and balance of handheld solo operation with the AMIRA was excellent. Considering we were hiking and climbing to obtain shots, the camera was often carried and shot straight from the shoulder and the weight and balance of the camera was perfect for long hours in such conditions. Also, next to reliability, power was key. Along with the standard ALEXA and ALEXA Mini, the AMIRA is the best in terms of power consumption.

With base camp only having generator power, every battery had to count. Finally having Chris Braga as my one and only trusted and experienced AC and such a huge scale I was often operating completely on my own and the AMIRA dominates as the doco solo op setup camera.”

To pay homage to the vastness of the outback and tranquillity of such a spiritual realm the majority of the project was shot using the ARRI 12mm Master Prime lens.

Bremner explained, “A lot of 100mm macro shots were integrated into the project as well, dancing at both ends of the spectrum. The spiritual indigenous dreamtime stories are told through the land and history of the indigenous arts and I wanted the camera to be as unobtrusive and to have as little influence on the look as possible. I didn't feel it was right to add an artistic style or visual signature of my own to the story and the footage conveys results we got as the proof is in the pudding.”

Outside of the plates to be integrated into the project dome piece, the narrative was shot at varied frame rates - predominantly 60fps off a 4ft slider. Bremner and his small crew shot in a multitude of conditions at dusk, dawn, night and direct daylight both inside and outside a sacred cave.

He added, “Magic hour is predictable and safe, however through the intense daytime, the contrast from the cave and the full blooded indigenous elders’ skin tone against the desert sun was unlike anything I had faced before. This presented some fascinating challenges and gave the AMIRA a chance to ultimately flex its dynamic range. I’m delighted to say it passed with flying colours.”

Visit www.arri.com.au

A Focus on History for Jim Frater ACS WHEN CINEMATOGRAPHER JIM FRATER ACS got the job to shoot a major historical documentary for Radiant Entertainment, a shoot that would take six months and cover multiple continents, he decided on using FUJINON MK 18-55mm cinema lenses.

Frater explained, “I knew I needed a small, light zoom lens that wasn’t a still camera zoom lens. I also wanted a lens that could cover most of our demands without having to do a lot of lens changes.”

Frater undertook the shoot with B camera operator Ben Berkhous and as the shoot progressed so did their admiration for the new lens.

Frater comes from a television background so he is very familiar with FUJINON ENG lenses. This familiarity is paying dividends with the new MK lenses as he explained, “These new cine lenses are very similar. The fact that they are parafocal and have the macro ability puts them streets ahead of what else is on the market at the moment. I have yet to see anything that

Jim Frater ACS and Ben Berkhous on location.

comes close. From the first time we mounted them to the camera and saw the results, the decision was made, it was that simple. The image is very pleasing, the lenses are versatile and light and they also match quite well with the Sony G series 70-200mm we are also using. I must also say that while the MK lenses are light they are strong, well made and robust.”

Visit www.fujifilm.com.au

ACQUISITION

He continued, “Both Ben and I are loving this lens. We are working really quickly and anything that can save us time and is simple to use is a bonus.

The size of the lens and weight, or should I say lack of it is amazing and the 200-degree barrel rotation is just right of single handed focus pulls. It also has an in-built macro option and adjustable back focus. We are shooting with Sony FS 7 Mk II camera so the native E mount is rock solid. The 18mm55mm range is a great length and we are lucky that we are acquiring in 1080p which means we can centre crop our sensor and the MK lens covers most situations.”

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SPORTSCASTING Sport coverage worldwide

www.content-technology.com/sportscasting

Foxtel Merges With Fox Sports Australia

SPORTSCASTING

TELSTRA AND NEWS CORP have announced the intention to combine Foxtel and Fox Sports Australia into a new company. Subject to the conclusion of definitive agreements, regulatory review and satisfaction of certain other conditions, News Corp will have a 65% shareholding in the new company and Telstra will hold 35%. News Corp will appoint the chairman, the majority of the board and senior executives, while Telstra will appoint the remaining directors.

Newscorp and Telstra say the new company will be positioned to meet the needs of Australian viewers and create greater choice than ever before by: • Investing in Australian written, produced and directed programming.

• Delivering a wider range of new and innovative products and packages across devices and platforms.

• Continuing to invest in premium content and technology to meet growing consumer demand.

• Expanding distribution channels for the sale of Foxtel and Fox Sports products, and developing greater operating efficiencies across the combined businesses, including distribution.

The proposed arrangements will better position the new company for an initial public offering in the future, with News Corp having a majority stake. If the transaction is concluded on the proposed terms, News Corp expects to consolidate the new company into its financial statements.

Telstra CEO, Andy Penn, said, “Our strategically significant investment in the new company will be an important part of Telstra’s media strategy. Under this arrangement Telstra will continue to support the company with our broadcast reseller arrangements which is a major strategic component for us.”

News Corp Chief Executive, Robert Thomson said, “The proposed restructuring of

Foxtel and Fox Sports will unlock value for News Corp shareholders and provide a clearer vision into the depth and strength of our Australian assets. The new structure will simplify management control and ensure that the company is best placed to leverage the skills of its talented Australian employees and programme makers.”

At this stage certain key commercial terms of the proposed transaction have been agreed on a non-binding basis. Telstra and News Corp have signed a binding process agreement under which they will prepare long form agreements to give legal effect to the commercial principles.

Telstra and News Corp will work to finalise the transaction, including obtaining regulatory approval, to be completed in the first half of 2018.

Visit www.foxtel.com.au and www.newscorpaustralia.com

Foxtel Sports Fans Take the Action With Them FOXTEL HAS ANNOUNCED that Foxtel subscribers whose subscription includes the Sports pack, now have access to sports programming via the beIN SPORTS CONNECT app, as part of their existing subscription at no extra cost.

the Fox Sports app and WatchESPN, maximises the value of a Foxtel sports subscription and keeps fans in the game regardless of whether they’re in the living room, on vacation, or taking a sneaky look during their lunch break.” beIN SPORTS CONNECT complements Foxtel’s three beIN SPORTS channels and brings subscribers 24/7 access to live streaming of the beIN SPORTS TV channels, plus more catch up games and highlights shows. Subscribers can download it from the Apple App Store or Google Play.

The news means Foxtel subscribers have another way to keep up with all the live sporting action and sports commentary from beIN SPORTS’ magazine shows on smartphones, tablets, PC and Mac. The beIN SPORTS CONNECT app offers linear streams of beIN SPORTS 1, beIN SPORTS 2 and beIN SPORTS 3 channels, plus access to additional games not available on the beIN SPORTS channels including every game of the UEFA Champions League, every LaLiga game, every UEFA Europa League game, Serie A, Bundesliga and L igue 1.

Leah O’Gorman, Foxtel’s General Manager, Sport Partnerships, said, “Sport fans are becoming increasingly mobile and take their love of the game with them to enjoy wherever and whenever they want. The addition of beIN SPORTS CONNECT to our existing sports app line up, including

WatchESPN streams the best of international sport to your tablet, smart-phone or PC offering access to a range of live international sports, online only events and matches simulcast with ESPN television including NFL, NBA, MLB ESPN Films and more.

The FOX SPORTS app features news, fast scores, live match stats and more, including additional camera feeds of Supercars, Formula 1 and MotoGP events, NRL, Super Rugby and A-League matches on demand, plus magazine shows including AFL 360, Back Page, and others.

Visit www.foxtel.com.au

BWS to Showcase Sapphire 4K Codex System

SPORTSCASTING

BROADCAST WIRELESS SYSTEMS (BWS) has announced it will feature the BWS Sapphire 4K Codec System at IBC2017. The ultra-low latency Sapphire enables 4K wireless camera systems to be used on productions in exactly the same way as current ‘standard’ HD systems.

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According to BWS Managing Director Stuart Brown, “Although some 4K wireless systems have been available previously, the long latency inherent in such systems meant they were relegated for use on long range aerial shots because they cannot be inter-cut with cabled cameras. Sapphire changes all that with the ability to offer true 4K coverage rather than having to up-convert images from standard HD wireless cameras.”

Sapphire can encode UHD signals at up to 50/59 frame-rate in 4:20/4:2:2

8-bit and 10-bit. In addition to 4K encoding, Sapphire can also encode four simultaneous ‘standard’ HD 1080p50/59 signals, which is useful for wireless slo-mo, multi-camera and aerial downlink applications.

Its compact size of only 125 x 60mm enables it to be attached to a range of camera types. Low power consumption enables long battery run times and requires minimal cooling. This keeps the overall size and weight much lower.

Sapphire uses the same board for encoding and decoding which means the unit can change functions at the flick of a switch, enabling operators to maximise utilisation and re-coup capital investment sooner.

Visit www.broadcastwirelesssystems.com

SPORTSCASTING

SPORTSCASTING

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SPORTSCASTING

The Gold Coast Diaries – Chapter 6

By Jeff Coleman WEDNESDAY JUNE 13 2017.

GOLD COAST AQUATIC CENTRE, QUEENSLAND. Coordinating Venue Technical Manager, Peter Slater, puts down his iPhone and confirms the day’s final lighting support pole height reading as the sun dips below Mount Tamborine. For much of the day we’ve been surveying two of the most important Gold Coast Commonwealth Games venues: the Aquatic Centre and the Main Stadium. We’ve been working to get our lighting, audio, and camera positions perfect so the host broadcaster can bring television audiences as close to the action as possible, providing unique perspectives on the competition.

In tandem with this process we have been in lengthy and constructive discussions with the Australian Communications and Media Authority (ACMA) about RF management for outside races including the marathon and cycling – particularly in regard to up-linking to the aircraft. Spearheading that effort are Christian Letford and John ‘JG’ Galea, two of our Coordinating Venue Technical Managers. JG is also a qualified pilot and experienced RF engineer, so invaluable in this role. It’s no surprise he was my first hire on the Gold Coast project.

As the Aquatics Centre has no roof we’ve devised an alternative to the standard roof-mounted track to capture action in the pool and diving tank. The mobile aerial camera system we’ve selected will move seamlessly from whole-of-play vistas to close-up overhead shots. Using a robotic camera suspended from a cable-driven computerised transport system, the stabilised camera system can ‘fly’ anywhere within the venue’s airspace to capture action at any spot during the event.

We’re also deploying in-built obstacle avoidance software, which manoeuvres the camera around fixed objects. Not only is this important for obvious safety reasons, it also means camera capture isn’t interrupted by hitting any of those obstacles – not a good look! To be extra thorough, Peter will come back to the Aquatics Centre tomorrow to recalculate distances and support pole heights. The eighth and final pole won’t be installed until closer to Games time – we plan to sling re-direct pulleys across all eight poles to maximise coverage across both pools.

We’ve also finalised the specialist aerial cinematographic equipment we’ll be using, including minicams, railcams, and cineflex units (mobile camera facilities) for both our lead ground vehicles as well as the helicopters. That inventory is being worked into our aerial radio frequency (RF) service planning. We’ll be drawing on the expertise of our NEP colleagues in Finland, along with technology developed in Europe specifically for events that take place over long distances and varied terrains (think Tour de France and other European championship cycling). It combines robust modulation and coding for high quality, stable images, even in tough environmental conditions, using RF signals relayed to pressurised aircraft.

Sky activity will be busy, with mobile links on five motorbikes, two lead vehicles and two helicopters, and RF communications to a Beechcraft 200 (the aircraft used in Europe on cycling races) flying at between 6,700 and 7,600 metres. We are also planning workarounds in the event we face restrictions getting the plane or helicopters airborne due to weather or sky traffic congestion. Operating close to Coolangatta Airport we are under the jurisdiction of Air Services Australia, and their word on vicinity airspace use is obviously final.

On the subject of spectrum and telecoms, workshops are underway with Optus, who has designed a bespoke dark-fibre network to transport video and audio

Continues p31

SPORTSCASTING

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SPORTSCASTING

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SPORTSCASTING

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SPORTSCASTING

EVS to Present New Innovations AT IBC2017, EVS will showcase the latest in live production technology through three key themes: IP4Live, connected and creative live ecosystem technology, and live production innovations.

IP4LIVE – Guiding a Smart Transition to IP EVS’ IP-enabled UHD-4K live production servers – the XT4K and XS4K – will be demonstrated with expanded capabilities. The servers provide a solution for any production infrastructure whether SDI or native IP. New updates will natively support SMPTE 2110 IP standard.

Also on display will be EVS’ new Broadcast Controller for IP – a software platform that lets users orchestrate live flows within an IP infrastructure. Users can manage a production’s integrated end-points to guarantee bandwidth and provide monitoring and probing of flows, as well as secure the IP fabrics for nextgeneration facilities.

Highlighting the possibilities enabled by IP, stand 8.B90 will also showcase previews of live production workflows using models borrowed from IT data centres.

Thanks to the adoption of virtualised infrastructures, tomorrow’s production workflows are becoming more flexible and able to support optimised business models.

Connected and Creative Live Ecosystem EVS’ Connected Live will be on display showcasing EVS’ infrastructure technology and solutions including the new C-Next and C-Agent applications – designed to facilitate reliable collaborative live production. By deploying EVS’ Connected Live technology users can break down the traditional barriers of production and bring together people at different sites to create effective remote live production workflows.

Visitors will also see demonstrations of EVS’ Creative Live tool-sets and models for faster and better live storytelling. With new plugin tools such as IPLink for Adobe and Avid, editors and post production teams can create more engaging content, faster and more effectively thanks to collaboration between teams. All new solutions presented at IBC2017 natively support UHD-4K and HDR workflows.

With applying a data centre approach to live production switching, DYVI’s

scalable, software-defined architecture uses Connected Live models to deliver more Creative Live programming. With its software-defined architecture, DYVI is challenging the market’s traditional switchers with elastic scaling while engaging the next generation of technical directors and live video operators.

Technology and Live Production Innovation A new area on stand 8.B90 will demonstrate EVS’ research and development with innovations and proof-of-concepts previously deployed at some of the biggest events in the sporting calendar. On display for a hands-on demonstration will be EVS’ new 360° motion replay system. Operators are given spatial and temporal control of 360° camera feeds which they can use to create and output slow motion replays from any number of virtually-created camera angles.

AI-powered auto-framing and social media publishing functions incorporating machine-learning technology will also be demonstrated. The artificially intelligent system automatically adapts the frame-view within live content and can also post near-live video content directly to an operator’s social media channels.

EVS will be introducing a new production solution designed specifically for smaller productions of up to six cameras. Built with EVS’ software-defined foundation, a single operator is able to cut together live feeds, coordinate replays, overlay graphics and playout live content, all from a single configurable touchscreen.

Visit https://evs.com

Suitcase TV to Showcase Iphrame Production System DURING IBC2017 SUITCASE TV will feature Iphrame Flyaway, a portable production system that enables content publishers to produce more live events using the same budget.

Iphrame is a low-cost method of providing frame accurate switching in the cloud, or can be used as an add-on service for host broadcasters that want to offer remote stream selection to clients, without the need for expensive equipment and on-site staff.

Iphrame’s software-based remote architecture framework combines IP, ASI, and SDI signals for real-time, ultra-low latency production on-the-fly. Iphrame handles video, audio, and graphics

on standard IT hardware or VMs, eliminating the need to acquire and ship the majority of traditional hardware.

The Iphrame system includes Suitcase’s proprietary TimeLock functionality, which uses PTP reference clocks to ensure all sources and processes are accurately timestamped on site, making it unnecessary to return sources for this function.

Packaged in a rigid, waterproof case, Iphrame requires nothing more than connecting SDI cameras/feeds and audio sources to a broadcast centre over a standard IP link.

Visit www.suitcasetv.com

Slomo.tv Showcases Server-based Sports and Live TV

SPORTSCASTING

AT IBC ON BOOTH 8.B40, slomo.tv will showcase a range of enhanced and extended server-based products designed to meet the requirements of sports and live TV. All products are currently being used by broadcasters throughout Europe and Asia.

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Slomo.tv will provide the first European showcase of videoReferee V – the latest addition to the company’s sports video judging family which is designed to meet video refereeing applications in soccer, handball, basketball, ice hockey and athletics. With 24 channels this 4RU server supports 3G and HD formats, and has four graphics outputs for monitors of up to 4K resolution displaying GUI, multiviewer and referee’s interfaces. It’s designed to provide immediate file transfer into the sports arena network for easy

decision making during in-play incidents.

First introduced at last year’s IBC, slomo.tv’s Simple RII compact production server has already attracted attention from broadcasters thanks to its advanced functionality and affordable price. At IBC2017 the company debuts an enhanced version, complete with extended 3G SDI support, six recording channels, search capabilities on all six channels and two playback channels with transition effects.

Slomo.tv will also offer an eight-channel 3G video refereeing option.

A focus of the booth will be its Dominator AT/3G server, which was launched at NAB and now features an enhanced AVC Intra encoder option which makes it compatible with Panasonic AVC Intra and Sony XAVC media formats.

Another development is an integrated solution for remote broadcast based on slomo.tv’s Dominator AT/3G server and Production MAM by industry newcomer, HTS (booth 8.A82). This combination enables users to remotely create summaries and special playlists as well as event logging and pre-editing during live recording.

Visit http://slomo.tv

SPORTSCASTING

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SPORTSCASTING

Media Links’ ‘Go-Anywhere’ IP Gateway Encoder/Decoder MEDIA LINKS HAS ANNOUNCED it will launch its MDP3020, an IP media gateway edge device, designed for remote production and IP content delivery at IBC2017 on booth 1.C31.

“Live events continue to appeal to viewers, bucking the general trend for the overall decline in audience figures for pre-recorded content.

As a result, broadcasters recognise the value of producing live content from a variety of environments,” confirmed John Smith, Managing Director, Media Links EMEA. “However, broadcasters also need to minimise the cost of live production.

Therefore, we are excited to launch the new MDP3020 at this year’s IBC. “This tiny workhorse addresses the universal need for a network protected IP transport that is highly portable, rapid to deploy, and remotely configurable,” continued Smith. “The MDP3020 uses standards including 2022-6/7, TR-01 to process ever-increasing amounts of media information over IP networks, existing broadcast networks, as well as point-to-point fibre networks offering a cost effective and convenient solution to applications such as remote production over IP. “Media Links specifically developed the MDP3020 for the broadcast media market where economical IP media conversion is a must-have. It will be of particular interest for sports broadcasters,” explained Smith. “It can be used in three primary configurations, either separately or in combination due to its multichannel capability. Firstly, for contribution applications, as an edge device, secondly, for distribution applications, as a remote video playout device, and thirdly, for point-to-point local video and distribution

applications, when used in pairs to offer secure and simultaneous video, audio, and data services.

“One key benefit to the MDP3020 is that it’s compact and portable,” Smith continued. “It is so small, it fits into a standard briefcase and can be carried in an overhead locker as hand luggage. This means connectivity can be achieved economically over long distances without the associated shipping costs of heavier equipment.

Potentially, more live events can be covered, appealing to new audiences.

One broadcaster has already indicated to us they anticipate offsetting the entire cost of the investment in the new equipment against the shipping costs of the kit they have been using.” The MDP3020 incorporates a high capacity – 1GbE or 10GbE – trunk interface and multi-format support, including 3G/HD/DVB-ASI/ SD-SDI with both SDI and HDMI output interfaces. The solution has been designed with upgradable functionality to ensure broadcasters’ investments are future-proofed whenever changes in workflow are required during the transition to IP based infrastructures. Smith concluded: “If you are interested in taking advantage of our solutions for economical IP media conversion, please come and talk to us at IBC. We can help you really maximise available bandwidth and talk about the potential advantages of implementing new IP workflows, whether your aim is to move media simply to the next room or across the globe.”

Visit http://medialinks.com

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SPORTSCASTING

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SPORTSCASTING Continued from p26 planning meetings (PPMs) are taking place with TV directors of various sports, who provide input into all aspects of the process. They review our production plan as it stands and wherever possible visit venues. Occasionally that results in a change of camera position or, budget permitting, an additional camera. For instance, with the Opening and Closing ceremonies, TV director Simon Francis has met with the production company creating the events to discuss their show plan and how our TV coverage can be adapted to suit. As Athletics and the ceremonies are sharing the Main Stadium venue our camera locations will shift to accommodate both.

As I head back to our Host Broadcast office I make some notes about today’s surveys to reference in the integrated design process (IDP). Dictated by GOLDOC (the Games Organising Committee), the IDP is a huge exercise in which GOLDOC looks to capture every single Games activity, then match dates and times to logistics and venue use agreements across various functional areas. Given the number of events, staff, and pieces of gear moving about the precinct during the competition, this can be somewhat mind-bending. Our involvement in the IDP process is being led by Head of Broadcast Venue Management, Yvonne Briggs, supported by Coordinating Broadcast Venue Managers Bernie Smith, Fausto Pighin, and John Downie. Having worked with all four in various countries over the past 18 years, I know they are accounting for everything GOLDOC expects from us.

Today also provided clarity for several aspects of production planning at the Aquatics Centre and Main Stadium. With less than a year to go, production

Being dark now, and having had my usual swim this morning, I head to the gym. I look forward to the work out and a quick dinner before my weekly conference call with the NEP worldwide group. As Games time gets closer the international team is increasingly invested in the project. We’re drawing on input from colleagues in Singapore, Finland, the UK, Ireland, and the US, meaning these calls take place at odd hours. Fortunately for me tonight’s cal is on UK time meaning an 8pm phone hook-up – plenty of time to compile my to-dos from the call to add to my list for tomorrow.

Jeff Coleman is Head of Engineering and Technical Operations for NEP Australia, Host Broadcaster of the 2018 Gold Coast Commonwealth Games. This is the sixth in a series of reports for Content+Technology in which Jeff outlines the 26-month project’s objectives, critical path, and milestones. The GC2018 Host Broadcaster – led by NEP Host Broadcast with the support of production partners the Seven Network and Sunset+Vine – will deliver the event television and digital broadcast to rights-holding broadcasters around the world from the 4th to the 15th of April, 2018 – all up some 1,100 hours of live television.

SPORTSCASTING

services, including commentary from 15 competition venues plus the Athletes Village. Optus is also delivering connectivity for telephony, internet, and cloud services across all competition sites. All up there are 27 multilateral feeds from competition venues, as several have multiple fields of play and therefore more than one multilateral feed. Led by Mark Ahern, our Head of Broadcast Infrastructure, and Andrew Angeli, Head of Commentary Systems, we’re holding weekly meetings to work through the fine detail of the network Optus has designed to carry broadcast traffic and data. Come Games time up to 100 Optus technicians will be working across the various locations.

As I sit down at my desk, confirmation that the build of our Broadcast Technical Operation Centre (BTOC) equipment racks is complete lobs into my in-box.

As NEP did for Glasgow 2014 and Delhi 2010, the BTOC racks, along with all the broadcast equipment room components, are being built at our brand new warehouse facility in Homebush, Sydney, where they will be commissioned before being shipped by container to the Gold Coast in early February for deployment in early March. We have also constructed a data centre for the International Broadcasting Centre inside a shipping container. It’s currently in Newcastle being fitted with racks, doors, cable containment and switchboard prior to shipping in August.

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NEWS OPERATIONS www.content-technology.com/newsoperations

National Plans for Regional TV Streaming Service RIVERINA-BASED ONLINE TELEVISION service WaggaWagga.tv is aiming to develop a national network of regional live streaming stations to fill the void left by the withdrawal of local TV crews from the bush.

Deputy Premier and minister for Regional NSW, Skills and Small Business, John Barilaro, said WaggaWagga.tv has received a $15,000 Minimum Viable Product grant from NSW Government-backed Jobs for NSW to develop an app to expand its Wagga Wagga online streaming service to regional areas across the country.

“Wagga Wagga TV streams a live web-based daily news bulletin, a weekend sports broadcast, original shows and local events. It has produced more than 700 videos since 2015 and its weekend sports broadcast draws 20,000 views per match,” Mr Barilaro said.

“Company founder Adam Drummond has built the company from scratch with an innovative model that gives local advertisers a chance to reach their audience.

“This is a fantastic example of an entrepreneurial country company taking advantage of advances in technology which are driving more viewers online.”

Mr Drummond said his ultimate goal was to have regional outlets across Australia providing a strong network to promote local news, events and businesses.

“As we move more into the online media space my feeling is we will move away from advertising being the main source of revenue,” he said. “This means there will be fewer places for local businesses to promote themselves so we want

to be the online media vehicle for that.”

Mr Drummond has developed an app which demonstrates his proposed network called ‘reech.tv’ and its potential to be franchised initially in locations including Orange, Dubbo, Griffith, Townsville, Forster, Mount Gambier and Broken Hill.

He hopes to offer franchises to production companies and local TV news crews with training to replicate the successful WaggaWagga.tv model.

“We’ve seen production people made redundant at regional TV stations like WIN and Prime and with online technology it’s well and truly in their reach to become their own bosses.

“We are tapping into a problem that will become more evident when terrestrial broadcast media migrates to an online app-based environment and we’re riding the wave of a tsunami that hasn’t hit yet.

“I think when it all evolves over the next five years we will be ahead of the curve.”

Visit www.industry.nsw.gov.au and http://waggawagga.tv

Dejero CellSat Blends Cellular and Satellite Connectivity On-Demand DEJERO HAS ANNOUNCED a partnership with Intelsat. The collaboration provides broadcasters with a new blended cellular and Ku-band IP solution for live television coverage from remote locations.

Dejero CellSat leverages Dejero’s network blending technology to combine cellular connectivity from multiple mobile network carriers with Ku-band IP connectivity provided by Intelsat. This gives CellSat users the required bandwidth and greater confidence to go live from virtually anywhere. If the bandwidth available from cellular connections dips due to network congestion or other factors, CellSat automatically blends in Ku-band IP satellite connectivity to boost bandwidth to the requested level for the live shot.

“We are addressing the dilemma that broadcasters face about which video transport assets to deploy to a news story or live event,” explained Bogdan Frusina, founder of Dejero. “By taking advantage of cellular and satellite connectivity, CellSat offers high reliability to our customers, with the convenience of procurement, network management, billing, and support from a single vendor. This is a package that is currently unmatched in the

marketplace and we are thrilled to be working with Intelsat to make this possible.”

The Dejero CellSat solution communicates with the satellite terminal autoacquire system to simplify the satellite connection process. There is no need to schedule satellite time, saving crews valuable time and removing the constraint of broadcasting within a certain time window. In addition to managing the fluctuating bandwidth of individual cellular connections, CellSat software dynamically allocates satellite bandwidth for optimal performance.

The Dejero CellSat solution includes pre-certified encoding and receiving equipment, network blending software, connectivity services to the CellSat network, cloud management, and 24/7 technical support. Most satellite vehicles with existing Ka-band or Ku-band satellite equipment can be upgraded for compatibility with Dejero CellSat. Dejero CellSat is available in the United States and Canada, with rollout to other regions planned for 2018.

Visit www.dejero.com and www.intelsat.com

Telestream Announces Auto-Transcription Platform TELESTREAM HAS ANNOUNCED Timed Text Speech, a new file-based auto-transcription service for subtitling and captioning workflows. Using speech-to-text technology, artificial intelligence, and the speed of cloudbased processing, Timed Text Speech instantly creates a text transcript of a video and populates it directly into a captioning project with the correct timing so that each phrase is displayed at the right time.

NEWS OPERATIONS

To be shown for the first time at IBC2017 on stand 7.B26, Timed Text Speech dramatically saves transcription time by allowing operators to review the instantaneous transcription results while the speech engine is processing the rest of the video program.

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Timed Text Speech is suitable for content creators who need to produce captions and subtitles for time-sensitive content that must be aired on TV or the Internet with short turnaround times, as well as short-form content such as promos that require captioning. It also offers a time-efficient solution for captioning service companies looking for new tools to speed up their service, and a cost-effective and easy-to-use automated transcription option for

corporations, government organisations and educational institutions wishing to bring captioning in-house.

“With Timed Text Speech, users can easily upload media files directly to the services portal. Because they only pay by the transcription minute, there is no wasted expense for idle transcription resources. When combined with the Telestream MacCaption/CaptionMaker closed captioning software, Timed Text Speech becomes part of an all-in-one transcription and subtitling/captioning tool that allows users to easily transcribe, transcode, convert, troubleshoot, modify, and deploy caption data alongside video – regardless of the delivery platform,” explained Giovanni Galvez, Product Manager for Captioning and Subtitling at Telestream.

Available in early October from Telestream and its global network of resellers, Timed Text Speech currently works with English, French, Brazilian Portuguese, and Spanish language video content; Arabic, Japanese and Mandarin are planned for a later release.

Visit www.telestream.net

NEWS OPERATIONS

ChyronHego at IBC2017 AT IBC2017 CHYRONHEGO will showcase its latest product innovations enabling an all-software workflows for both news and sports production.

ChyronHego will continue to push the envelope on all-software production workflows running in a standard IT infrastructure such as the VPX Virtual Production Server. ChyronHego will also highlight its latest developments in cooperation with Cisco that showcase live production running in virtualised environments.

Reimagine everything

Graphic Asset Management: CAMIO 4.3

At IBC2017, ChyronHego will showcase CAMIO 4.3, the latest update of ChyronHego’s graphic asset management server. With this version, CAMIO brings new editing, file distribution, and virtualisation capabilities to the CAMIO Universe, ChyronHego’s software-based newsroom production ecosystem. CAMIO 4.3 includes new graphic scheduling capabilities for LUCI5, the company’s HTML5-based, modular user interface for newsroom producers. With LUCI5, producers are now able to browse, create, and order images and video assets from CAMIO and then schedule graphic playback for their automation systems.

CAMIO 4.3 also includes HubDrive, a Dropbox-like folder synchronisation and file distribution system that enables art departments to distribute CAMIO content automatically to a network of playout devices. CAMIO is now able to run in virtualised environments such as ChyronHego’s VPX Virtual Production Server platform as well as cloud-based services.

Virtual Production Server: VPX For the first time in Europe, ChyronHego will showcase its new VPX Virtual Production Server, a virtual server platform for hosting live production workflows. By enabling broadcast news operations to run entire content creation and playout workflows in a virtualised, IT-based environment, VPX powers efficient production operations for news, sports, and other programs. At IBC2017, ChyronHego will introduce new capabilities for VPX including an optional multi-channel SDI bridge for integration with traditional, hybrid, and IT-based infrastructures.

Graphics Creation and Playout: LyricX 3.2 ChyronHego will unveil LyricX 3.2, the latest version of its LyricX 64-bit graphics creation and playout platform. With the new release, LyricX features tighter integration with the CAMIO graphic asset management server to drive the template-based newsroom graphics workflows, and support for the SMPTE ST 2110 IP protocol. LyricX 3.2 also includes an enhanced display matrix that gives users the ability to work with multiple video inputs, as well as new 3D modelling features and enhancements to Live Assist Panels, the user interface and control panel creation tool in ChyronHego’s Live Assist playout automation system family.

High-Performance Graphics Platform: PRIME 2.6 At IBC ChyronHego will present the latest version of PRIME, its resolutionagnostic, software-based rendering engine that leverages 64-bit GPUand CPU-based technologies. The latest version of PRIME includes features for interactive graphics rendering such as touch screen capability, as well as functionality for shaders and deepened support for LUA scripting. PRIME now supports 16-bit colour space with 10-bit I/O as well as the SMPTE ST 2110 IP standard.

Visit http://chyronhego.com

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

NEWS OPERATIONS

avid.com/ibc

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NEWS OPERATIONS

Virtual Brainstorm at IBC IBC2017 WILL SEE BRAINSTORM exhibiting its latest virtual sets and motion graphics solutions. For the first time in Europe, the company will be introducing VisualMedia, a 3D real-time graphics visualisation product based on social media feeds, alongside new graphics management solutions.

Brainstorm’s InfinitySet 3 now incorporates the Aston graphics creation toolset so it can edit, manage and create high-end 2D and 3D motion graphics. Along with advanced rendering features such as PBR and HDR, InfinitySet 3 also supports the Unreal gaming engine, which can be combined with the Brainstorm eStudio engine to create output with endless possibilities. This Combined Render Engine feature simplifies setup as it does not require additional hardware such as studio mixers, and can be integrated into any broadcaster’s existing installation.

InfinitySet 3 will also reveal new augmented reality features such as the VirtualGate capability, which integrates the presenter not only in the virtual set, but also inside additional content within the set, and VideoCAVE, a mixed reality application using monitors in a real set performing as a CAVE multiple window. Also, thanks to the TrackFree technology and its TeleTransporter feature, InfinitySet 3 can interchangeably use real, live input, or pre-recorded footage as the background environment for chroma-keyed talent. This functionality permits the talent to become a virtual traveller and be tele-transported to any remote location while interacting with real and virtual elements – thanks to the 3D Presenter feature which transforms the talent into a full 3D object.

VisualMedia provides real-time 3D graphics visualisation based on social media feeds and second screen data. The joint solution created by Brainstorm and never.no allows for real-time representation of structured social media information by means of data-driven 3D motion graphics.

VisualMedia is one of the results of both companies’ partnership in ‘Project VisualMedia’ developed from the Europe 2020 Horizon platform, and will be shown in its final configuration prior to its commercial in debut in January 2018.

Brainstorm will also release SmartSet, a template-based playout solution designed for small and local TV stations, which provides advanced virtual set and augmented reality applications without the need to create the sets themselves. Brainstorm’s template solutions play out content to air which has been created by using predefined or purpose-built templates designed on Brainstorm applications.

Depending on the complexity, sophistication and flexibility of the template, this in turn dictates how ‘smart’ the set can be.

Brainstorm will introduce a new integrated MOS-based template-based system that allows for complex graphics integration not only in the newsroom, but also in most common broadcast workflows. This solution builds on the experience gained with BrainNews which is the company’s graphics for news application, and now transcends the newsroom to become a MOS-compatible on-air graphics control system that enables the integration of Brainstorm’s real-time 3D graphics engine into the broadcast workflow, without the need for input from designers.

Visit www.brainstorm3d.com

LiveU LU600 HEVC Solution LIVEU IS DRIVING the live video, providing live video streaming for TV, mobile, online and social media on stand 3.B62. For the first time at IBC, LiveU will demonstrate its LU600 portable transmission solution with the HEVC Pro card.

Integrating the LU600 with the new 4K HEVC/H.265 hardware-based encoder allows broadcasters and content creators to benefit from high video performance with bandwidth efficiency. The LU600 is set to offer the fastest file transfer, lowest delay and a high-speed bonded internet connection.

LiveU will feature its new at-home remote production solution enabling an exclusive live studio in collaboration with BeTerrific.tv. The wireless at-home production solution enables broadcasters to reduce costs by producing live shows from a centralised studio control room instead of on-site production and satellite trucks.

LiveU’s IBC studio set will consist of three cameras to capture live interviews with special guests discussing the latest technology disrupting the industry and how this impacts business. In addition there will be two roaming cameras where hosts will interview exhibitors and showcase their products. Each of these cameras will be connected to LiveU’s LU600 HEVC units. The live feeds will transmit back to the BeTerrific production studio in New Jersey where the production will be controlled

remotely, switching between feeds and producing the show in real-time.

LiveU will also feature original programming streamed straight to Facebook Live.

Also showcased will be LiveU’s live streaming device for the online media market, LiveU Solo. Solo allows users to live-stream directly to Facebook Live, Twitter, YouTube Live and other popular social media and online video providers. Solo is simple to manage and control remotely via a web interface or smart device. LiveU will also present its Solo cloud production suite of services for cloud graphics insertion.

Visit www.liveu.tv

Mobile Encoder to be Shown by Quicklink

NEWS OPERATIONS

AT IBC2017, QUICKLINK will showcase its Quicklink Mobile Encoder solution on stand 3.B30. The Mobile Encoder is designed for performance and portability, and transmits broadcast quality, low latency live video over IP from challenging network locations.

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The Mobile Encoder bonds multiple internet connections to improve speed and reliability of the overall connection. The encoder can simultaneously bond 15+ connections, including Wi-Fi, USB and satellite to create a consistent and reliable connection.

The Mobile Encoder has recently been used by Geo

News for UK Election 2017 coverage. The encoder was used to broadcast live from London, United Kingdom to their head-office in Karachi, Pakistan. While filming in London Geo News experienced challenging weather and heavy rain. However, this did not affect the live transmission and the Mobile Encoder worked flawlessly.

Along with the Mobile Encoder, Quicklink will also be showing the new Remote Communicator, Quicklink TX and Quicklink Playout Servers.

Visit http://quicklink.tv

NEWS OPERATIONS

ChyronHego at IBC2017

Graphic Asset Management: CAMIO 4.3 At IBC2017, ChyronHego will showcase CAMIO 4.3, the latest update of ChyronHego’s graphic asset management server. With this version, CAMIO brings new editing, file distribution, and virtualisation capabilities to the CAMIO Universe, ChyronHego’s software-based newsroom production ecosystem. CAMIO 4.3 includes new graphic scheduling capabilities for LUCI5, the company’s HTML5-based, modular user interface for newsroom producers. With LUCI5, producers are now able to browse, create, and order images and video assets from CAMIO and then schedule graphic playback for their automation systems.

CAMIO 4.3 also includes HubDrive, a Dropbox-like folder synchronisation and file distribution system that enables art departments to distribute CAMIO content automatically to a network of playout devices. CAMIO is now able to run in virtualised environments such as ChyronHego’s VPX Virtual Production Server platform as well as cloud-based services.

Virtual Production Server: VPX For the first time in Europe, ChyronHego will showcase its new VPX Virtual Production Server, a virtual server platform for hosting live production workflows. By enabling broadcast news operations to run entire content creation and playout workflows in a virtualised, IT-based environment, VPX powers efficient production operations for news, sports, and other programs. At IBC2017, ChyronHego will introduce new capabilities for VPX including an optional multi-channel SDI bridge for integration with traditional, hybrid, and IT-based infrastructures.

See us at IBC2017 in booth 1.B20

Graphics Creation and Playout: LyricX 3.2 ChyronHego will unveil LyricX 3.2, the latest version of its LyricX 64-bit graphics creation and playout platform. With the new release, LyricX features tighter integration with the CAMIO graphic asset management server to drive the template-based newsroom graphics workflows, and support for the SMPTE ST 2110 IP protocol. LyricX 3.2 also includes an enhanced display matrix that gives users the ability to work with multiple video inputs, as well as new 3D modelling features and enhancements to Live Assist Panels, the user interface and control panel creation tool in ChyronHego’s Live Assist playout automation system family.

High-Performance Graphics Platform: PRIME 2.6 At IBC ChyronHego will present the latest version of PRIME, its resolutionagnostic, software-based rendering engine that leverages 64-bit GPUand CPU-based technologies. The latest version of PRIME includes features for interactive graphics rendering such as touch screen capability, as well as functionality for shaders and deepened support for LUA scripting. PRIME now supports 16-bit colour space with 10-bit I/O as well as the SMPTE ST 2110 IP standard.

Visit http://chyronhego.com

NEWS OPERATIONS

AT IBC2017 CHYRONHEGO will showcase its latest product innovations enabling an all-software workflows for both news and sports production.

ChyronHego will continue to push the envelope on all-software production workflows running in a standard IT infrastructure such as the VPX Virtual Production Server. ChyronHego will also highlight its latest developments in cooperation with Cisco that showcase live production running in virtualised environments.

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NEWS OPERATIONS

AVIWEST Uplink for Live Remote Production AVIWEST IS EXHIBITING at IBC2017 (Stand 2.B31) to showcase the latest developments in its digital mobile newsgathering ecosystem.

The extended capabilities of AVIWEST’s cloud solution will be showcased at IBC2017. By supporting both point-to-point and point-tomultipoint distribution scenarios, the platform offers broadcasters the flexibility to stream live video content to any CDN and streaming platform. The platform includes a SIP-based IFB application, providing broadcasters with an efficient way to coordinate with crew via audio conferences or one-to-one. On the field, eligible AVIWEST devices are connected to the Manager in just seconds, and conferences can be started without configuration.

A key highlight will be the transition to the HEVC video compression standard. AVIWEST’s live IP video solutions support HEVC, allowing broadcasters to deliver superior video quality at lower bit rates.

AVIWEST also will showcase AIR300 and AIR320, the two first products in its AIR series of lightweight video uplink systems. Integrating H.265/HEVC hardware encoders, the series enables HD and SD encoding and exceptional video quality delivery. Featuring up to four cellular connections, an internal Wi-Fi modem, internal battery, and AVIWEST’s SafeStreams technology, the AIR series allows broadcasters to stream live videos, store and forward recorded content even during unpredictable and unmanaged network conditions.

AVIWEST’s HE4000 4K Ultra HD (UHD) HEVC live encoder is aimed toward real-time delivery of live UHD or HD content over unmanaged networks. The half 1RU encoder combines 10-bit and 4:2:2 HEVC encoding with the latest generation of SafeStreams technology for delivery of live video content over IP at low latencies and bit-rates.

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

AVIWEST’s live IP contribution system includes the StreamHub transceiver and the Manager management system. The system operates in virtualised mode to deliver the economic benefits of the cloud without compromising performance.

AVIWEST has enhanced its Mobile Journalism (MOJO) solution, which includes the Laptop MacBook application and the iOS and Android applications. The new version of the APP smartphone application for live streaming, store, and forward of video features an optimised interface, advanced camera settings, dynamic resolution, and video-quality improvements, with the capability to transmit video over bonded 3G/4G and Wi-Fi connections.

AVIWEST’s PRO video uplink series has been extended with the new PRO180+.

PRO180+ supports most of the cellular networks deployed in the world, including Europe, the Middle East, Africa, the United States, Canada, Latin America, and most of Asia. The versatility of this version gives broadcasters and video professionals the flexibility to travel anywhere in the world with a single unit – without needing to replace internal or external cellular modems.

Visit www.aviwest.com

Stream Directly to Facebook Live SOFTWARE DESIGNERS RASCULAR create PCbased video playout control and media management systems. Bespoke or off-the-shelf, its applications work across SDI and IP technologies. This allows media companies control and management across hybrid playout environments. User-defined screen layouts provide precision access to on-air and off-air thirdparty technologies. This gives operators crucial touchof-a-button control of manual and automated media preparation and channel playout, be that IP or SDI. At IBC2017, Rascular is highlighting its ability to provide direct control of streaming content to Facebook Live using its master control platform Helm. This can be achieved via Helm on a PC or via associated, device-independent web panels. This allows integration for broadcasters and playout providers between broadcast devices and streaming content. Operators can control both the streaming encoder and Facebook Live from a single screen. Helm communicates with Facebook using the latter’s Graph API.

Providing the flexibility required in modern broadcast facilities, Rascular is also showing its new web panel capabilities at IBC 2017. Alongside the flexibility that device independence provides, they also allow tight integration with live broadcasting to social media e.g. Facebook Live. Panels can be used in all modern browsers on mobile and desktop platforms. They also facilitate the remote control of services and equipment for pop-up and OTT channels and are ideal for integration with cloud-based encoding technologies.

For existing Helm users, already created panel designs can be easily converted to Web Panels. Helm’s familiar drag and drop designer allows the easy creation of new panels to the user’s specification.

Rascular has also created a cost-effective solution to provide automated time-of-day router switching using a self-contained, PC-based router control panel, which provides both manual and automated time-of-day switching.

Visit www.rascular.com

IP-Enabled LED Monitors

NEWS OPERATIONS

CUESCRIPT WILL PRESENT the European debut of a range of IP-enabled CSM LED monitors on stand 12.F41 during IBC2017. The new range can be integrated into an IP workflow today, but also works with the HD-SDI and composite video inputs that many studios currently use. The CSM LED monitors are available in 15, 17 and 19-inch sizes.

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CueScript’s IP-enabled prompting system runs on CueiT prompting software – designed and built on feedback from today’s broadcasters, offering greater flexibility, ease of use, and a shareware style that allows CueiT to be loaded onto every laptop/PC in a facility. The ‘CueB’ engine offers connection via ethernet or USB and the connectivity of near limitless scroll controllers that can also be connected over IP. The CueB produces a true HD-SDI prompting signal as well as a composite video signal.

Multiple CueB’s can run independently or simultaneously, and can be rack mounted in the C.A.R or anywhere in a studio complex.

Visit www.cuescript.tv

POST PRODUCTION www.content-technology.com/postproduction

Animal Logic Launches USDMAYA Plugin as Open Source ANIMAL LOGIC HAS ANNOUNCED the open source release of its USDMaya plugin (known as ‘AL_USDMaya’). The plugin enables efficient authoring and editing of 3D graphics data using Pixar’s Universal Scene Description (USD) in Autodesk Maya.

AL_USDMaya builds upon Pixar’s USD technology, which was released as open source in 2016. USD supports the interchange of 3D graphics data through various digital content creation tools, providing an effective and scalable solution for the complex workflows of CG film and game industry studios.

When Pixar confirmed that it would open source USD earlier this year, Animal Logic became an early adopter of the technology and decided to use it as the backbone of its new animation pipeline. As Maya is used extensively at Animal Logic it was important to have a sophisticated integration of USD into Maya. During this time, Animal Logic was developing its own common scene description format based on technology from its inhouse renderer, Glimpse, and since then the AL_USDMaya plugin has been in development within Animal Logic’s research and development team.

The goal of the plugin is to leverage the strengths of both Maya and USD and use each one to represent the data it is most suited to. Animal Logic

uses AL_USDMaya to allow native Maya entities such as complex Maya Rigs loaded as references, and other assets not easily represented in USD to be embedded in USD scenes and imported into Maya natively. The plugin maintains a ‘live’ connection between the USD and Maya scene, and can respond to various events, keeping the Maya and USD scenes in sync. This affords a dynamic user experience allowing artists to swap in and out different representations of objects in their scene, including Rigs for geometry caches and different levels of detail. Additionally, heavyweight scene elements such as sets and crowds can be represented in OpenGL in the Maya viewport, and manipulated either with USD or Maya tools and UI components.

Prior to the open source release, a number of studios and vendors including Pixar, Autodesk, Luma Pictures and MPC, assisted in evaluating the plugin, which is currently in use on Peter Rabbit, the Hybrid CG/Live-Action feature film currently in production at Animal Logic.

Visit www.animallogic.com

HyperActive Broadcast Launches in Australia HYPERACTIVE BROADCAST, one of the UK’s largest post production solution providers, and part of the Gravity Media Group that includes Gearhouse Broadcast, has officially launched in Australia.

Headed up by long-term industry specialist, Andy Liell, the company has already made significant strides into the Australian market.

provide a range of I/O hardware options and control surfaces. We always take the time to work out the most appropriate solution for our customers, and that includes carrying a wide range of storage solutions. This includes scalable Avid ISIS and Nexis systems and a range of NAS and directly-attached storage options.”

Liell explained, “Hyperactive Australia rents Avid and Adobe edit suites, Pro Tools and DaVinci suites, storage solutions, asset management and archive solutions for post – either dry hire or with various levels of support for sports, live production, drama and reality TV. We also specialise in turnkey EVS workflow integrations between live broadcast and post production. We provide the highest level of service and quality of equipment in the market. We can handle anything from workstation rental, a single edit suite or block of storage, through to the largest on site multi-suite edit facility with OB integration and full engineering and operational support.

With several large projects already booked for 2017 and more on the horizon Liell is optimistic about the future of Australia’s production and post production industries concluding, “There’s a lot of work out there if you know how to approach it. Our team of experienced engineers have extensive experience in integrating EVS and post production workflows to enable fast turnaround production. Hyperactive Broadcast has already supplied edit suites, storage and integration for the Australian Open Tennis tournament and we have several other large sporting productions that will be happening in the near future, so 2017 looks very promising.”

“HyperActive’s hardware offering spans both Mac and PC platforms and we

Visit www.hyperactivebroadcast.com.au

UTS and Animal Logic Academy Animation Scholarship

Animal Logic is sponsoring the ‘Master of Animation and Visualisation’ scholarship, and is calliing for applicants who have a passion for visual communication grounded in the principles of animation, visual effects and computer generated imagery - and have the imagination and vision to look

to the future for the application of those skills.

As a post graduate level degree you will need to bring existing skills to the table. You will need to demonstrate your level of skill and/or experience in animation, visualisation, or related technologies. A portfolio of work or providing documentation of your skills and experience in digital content production is essential. You do not need to have an undergraduate degree.

This fully funded scholarship position is open for applications by Australian citizens and permanent residents only. You will need to be available for one year of full time study at the UTS Sydney campus in 2018.

Visit https://animallogicacademy.uts.edu.au

POST PRODUCTION

THE MASTER OF ANIMATION AND VISUALISATION (MAV) at Sydney’s University of Technology (UTS) is an opportunity for artists, software developers and technical professionals to develop their specialist creative skills. The degree has been co-designed and developed as part of the University of Technology Animal Logic Academy, a collaboration between UTS and Animal Logic. It is designed to respond to the increasing industry demand for graduates with expertise in the field.

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POST PRODUCTION

Siggraph Immersed in AR and VR Solutions design visualisation artists and generalists, 3ds Max interactive, a VR engine that simplifies the creation of immersive and interactive architectural visualisations, and additional UX and UV unwrap improvements. It is available to check out in a 3ds Max to VR Workflow demo.

Flame Family 2018.2 - Flame Family 2018.2 introduces new creative tools that enhance artist productivity and expand pipeline integration possibilities. Some new features in Flame 2018.2 are Pybox, a python scriptable software handler for processing images via external renderers, projector functionality, map inputs and a contextual menu in action, smart merge for the connected conform workflow, and the ability to drive the batch environment via scriptable commands.

Visit www.autodesk.com.au AUTODESK SAYS THE CONTINUED GROWTH of AR and VR, and steady flow of new productions from Netflix, Amazon and others, mean animation and VFX houses are in more demand than ever.

The company used Siggraph17 to release a series of updates for its media and entertainment tools, including Autodesk Media and Entertainment Collection, Autodesk Maya, Shotgun, Arnold, Autodesk 3ds Max, and Autodesk Flame.

Engineered to streamline and accelerate production on films, TV shows, games and immersive experiences, the new releases included improvements and userrequested enhancements that connect creative workflows and teams.

The new releases included: Autodesk Media and Entertainment Collection – To build on the value, flexibility and simplicity the collection provides customers, new subscription benefits will be added including Cloud Rights and SketchBook for Enterprise. Additionally, Media and Entertainment Collection subscribers can take advantage of an Arnold 5-Pack promotion.

Arnold Packs – Immediate access to rendering power. Starting September the 7th, 2017, new Media and Entertainment Collection subscribers will get an Arnold 5-Pack promotion at no additional cost. For more information about Arnold renderer, visit SolidAngle.com.

its wide-area VR tracking at SIGGRAPH 2017. These advancements mark a leap forward in both the quality of the experiences and also the usability for single and multi-site deployments of out-of-home VR. Full-Body Motion Tracking – Designed to deliver accurately moving avatars for each of the participants in a multiplayer VR game, the latest release from OptiTrack delivers a low latency, real-time stream of every player’s position, orientation and skeletal pose in the entire playing area. Now participants will see other players through their VR HMDs. OptiTrack Active ‘pucks’ are attached to the hands and feet of each participant, delivering real time animation for each player present in the experience. The pucks are small (97 x 97mm) and lightweight (85g), powered with a rechargeable battery and are designed for the rigours of VR Arcades.

Self Calibrating Tracking Systems – Reduce the day to day operational complexity, as well as the staffing expertise required to run large VR arcades, OptiTrack’s continuous calibration removes the need for the ‘wand wave’ that has been a daily component of motion capture and tracking systems. No calibration maintenance is required following initial installation, and there is no longer a deterioration of the

SketchBook for Enterprise – Autodesk’s popular drawing tool, SketchBook for Enterprise, moves into the collection and provides artists with more options and flexibility for content creation.

Visit http://optitrack.com

Shotgun - Continuing the commitment of making media collaboration easier, faster, and more secure for studios of all sizes, Shotgun has introduced features to simplify workflows, make it easier to integrate creation tools with Shotgun, and strengthen security. Shotgun 7.2 introduced plug-and-play integrations to accelerate artist work-flows, updates to RV, and new single sign-on. The latest updates in Shotgun 7.3 continue to build on Shotgun’s secure and reliable foundation for studios by adding improvements that make it easier for site administrators to run and manage Shotgun. Shotgun 7.3 features include smart data retention for improved site performance and community-driven enhancements including improved action menu items (AMIs) and the ability to restart your own site.

POST PRODUCTION

as plug-and-play as possible, OptiTrack showcased two key advancements in

Cloud Rights – Subscribers can take advantage of on-demand compute resources on the cloud and easily scale their rendering pipelines.

Maya 2018 - Maya 2018 offers additional character creation, motion graphics, and rendering functionality. Improvements have made character creation easier, faster, and fun. The motion graphics tool-set now includes dynamics and new instancing capabilities. Maya 2018 is available with the latest version of Arnold, including new features and core architecture improvements. These Maya 2018 updates empower artists to create content and to tell compelling stories through lifelike characters and environments and dynamic motion graphics.

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Continuing its commitment to make motion tracking for immersive VR experiences

Arnold v5.0.1 - Arnold 5.0.1 builds on the strengths of the recent 5.0 release, and includes new functionality like AOV shaders for cryptomatte workflows, thin film for standard surface shader and additional updates and optimisations. Arnold 5.0.1 is available with the latest versions of Maya and 3ds Max or as a plugin for additional DCC applications. Arnold is now available for free to educational institutions through the Autodesk Education Portal.

3ds Max 2018.1 - The newest update to 3ds Max adds VR authoring tools for

calibration over time.

At SIGGRAPH 2017, Shotgun Software announced the winners of its fourth annual Pipeline Awards recognising outstanding achievement in pipeline tool development.

This year’s winners are: • DreamWorks Animation for the DWATV Credits Tool: Originally designed to streamline credits by tracking and spell checking the names and titles of thousands of people who work across DreamWorks Animation, this tool grew to also track approvals and revision history, and connects to Shotgun.

• Visual Concepts for the NBA 2K17 Facial Animation Pipeline: Visual Concepts’ facial animation pipeline saves time by automating previously manual tasks including tracking video, solving data, converting data to the proper format for the game, generating review material, and notifying supervisors for review and approval. The new automated pipeline handles thousands of tasks each day, saving time for artists and allowing them to complete the vast majority of facial animation in-house, giving them greater control over the final product.

• Psyop for Cryptomatte: Cryptomatte automatically creates ID mattes using information already available at render time including names, object namespaces, and material names. It also supports motion blur, transparency, and depth of field. Recently Psyop’s ‘Cryptomatte Committee’ expanded the tool to the wider community by making an open standard Cryptomatte that integrates with Nuke, and AIShaders for Arnold.

Visit https://shotgunsoftware.com

POST PRODUCTION PRODUCTION POST

MEDIA STORAGE

MADE SIMPLE

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

POST PRODUCTION

Create, Manage, and Deliver Media Content Edge to Core to Cloud

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POST PRODUCTION

Cinema 4D Release 19 Announced MAXON HAS ANNOUNCED Cinema 4D Release 19. This next generation of MAXON’s professional 3D application delivers enhancements artists can put to use immediately and provides a peek into the foundations for the future.

Powerful developments have been made to viewport performance, a new Sound Effector, and additional features for Voronoi Fracturing have been added to the MoGraph toolset, a new Spherical Camera introduced, the integration of AMD’s ProRender technology and more.

Designed to serve individual artists as well as large studio environments, Release 19 offers a stable and streamlined workflow to meet today’s challenges in the content creation markets – especially general design, motion graphics, VFX, VR/AR, and all types of visualisation.

With Cinema 4D Release 19, MAXON also introduces a number of reengineered foundational technologies, which the company will continue to develop and bring to maturity in future versions. These include core software modernisation efforts, a new modelling core, integrated GPU Rendering

for Windows and Mac, OpenGL capabilities in BodyPaint 3D, and MAXON’s professional paint and texturing toolset.

Visit www.maxon.net

Audio and KeyKode Reader for Cintel Film Scanners BLACKMAGIC DESIGN RECENTLY announced the new Cintel Audio and KeyKode Reader accessory for its Cintel Film Scanner, which enables customers to scan audio and KeyKode information along with images from the scanner in real-time.

best possible audio capture. The capstan encoder

The Cintel Audio and KeyKode reader lets customers capture high quality audio along with KeyKode information directly from their film as they’re scanning. The reader features a magnetic audio head or deep red LED illumination supporting 16/35mm cyan, high magenta dye, silver optical or 16mm magnetic audio tracks, with advanced optics, electro formed slits, and precision mechanical adjustments for azimuth to deliver the

scan KeyKode from their film. KeyKode numbers

automatically corrects wow and flutter, allowing accurate audio capture, even when the scanner speed changes.

The new reader also gives customers the ability to provide a way to identify each unique film frame, making it easier to correlate the film frames with their corresponding video frames after scanning is complete. This simplifies post production workflows, especially when cutting or re-cutting previously edited material from different rolls of film.

Visit www.blackmagicdesign.com/au

Cloud Rendering Platform stress about how to render millions of core hours in the final weeks before delivery, or pay for idle nodes.”

Conductor is able to offload regular workloads and burst renders in whatever configuration works best for a particular pipeline or project. It has been used to render complex visuals for studios including Vrtul, Riot Games, Atomic Fiction and Magnopus. To ensure maximum data security, Conductor adheres to MPAA guidelines, and receives routine third-party audits and verification through ISE.

POST PRODUCTION

CONDUCTOR TECHNOLOGIES has announced the general availability release of its Conductor cloud rendering platform. Scalable and secure, Conductor can cut rendering costs up to half by allowing studios to only pay for render resources as required. Fine-tuned through an extensive beta development cycle, Conductor has already enabled productions to scale to more than 36K simultaneous cores and render over 30 million core hours for major studio feature films including ‘Deadpool’, ‘Star Trek Beyond’, ‘Transformers: The Last Knight’, ‘Pirates of the Caribbean: Dead Men Tell No Tales’, and ‘The Walk’.

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“Local infrastructure is expensive and inflexible, which is a major drain for most studios. When they aren’t maxing out their render farms they’re paying for resources they aren’t using. When they’re maxing things out it’s a drain in other ways, since artists end up waiting for a long time to get results back,” said Kevin Baillie, CEO of Conductor Technologies. “With Conductor, studios have the ability to scale at a moment’s notice, and automatically take the farm down to literally zero when it isn’t needed.

There’s no reason to turn away lucrative jobs due to render farm capacity,

“Conductor can be deployed studio-wide very quickly, while providing instant progress and budget snapshots through easily accessible data analytics. Conductor is built as a cloud-agnostic platform, initially backed

by Google Cloud Platform. Support for Microsoft Azure with its GPU offerings is in private preview and will be released to the public later this year. We’ve designed Conductor as a platform, rather than simply a tool. We’re really excited about offering access to any number of cloud providers through the same interface and API, totally avoiding the danger of provider lock-in,” said CEO, Kevin Baillie. “For studios that prefer to customise applications, Conductor’s flexible API allows for tailored integrations, whether controlling jobs, creating custom integrations, tools and reports, or hooking into an existing render queue or project management tools.

“The prevailing sentiment in the entertainment industry is that the cloud is the future of infrastructure,” said Baillie. ”Some of the biggest companies in VFX and animation are already shifting their infrastructure budgets from capex to opex, so the shift isn’t only inevitable, it’s already happening.

Conductor is here to help people make the shift quickly, and make sure nobody misses the boat.”

Visit www.conductortech.com

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MEDIA IN THE CLOUD, STORAGE & MAM Videocraft Spices Up Workflow for Mint Pictures with Avid ORIGINALLY FOUNDED as North One Australia in 2007, Mint Pictures has produced content for all the major free-to-air networks – Nine, Ten, ABC, SBS and NITV – as well as Foxtel and Fox Sports, and overseas broadcasters, including the BBC. They have also produced content for some of Australia’s leading sporting organisations including Cricket Australia, Tennis Australia and Football Federation Australia. Recently, the innovative production company decided to upgrade their in-house storage solution and for this they chose the Avis Nexis platform which they purchased from Videocraft.

Mint Pictures Managing Director, Head of Programming Adam Kay explained, “We had been running for many years with Avid Media Composer, Symphony and an old Avid Unity Storage system. Around two years ago, Videocraft who have been supporting us for well over 10 years, upgraded all of our edit workstations. So, when we decided to upgrade our storage solution we also turned to them for their help and guidance.”

After discussions and consultations with Videocraft Mint purchased an Avid Nexis E2 chassis with 60TB of storage and also installed a new Dell switch to support their infrastructure.

true storage virtualisation for any media application. Mint’s new Nexis system delivers significant media performance, scalability, and reliability to accelerate production in their most media-intensive broadcast and video post environments. It also offers them greater bandwidth to accelerate 4K/ UHD and finishing workflows, plus new support for Pro Tools collaboration.

Kay continued, “Nexis is a cost effective option for a company of Mint Pictures’ size. Its storage abilities and continued use and expansion on the Isis system that preceded it allows us to easily manage workspaces, which is another big plus. As always Videocraft made some key recommendations and walked us through the and pros and cons of choosing different configurations for our specific needs at Mint Pictures. Their explanations and breakdowns were very useful in making our decision.”

With their new Nexis in place and running smoothly Adam Kay took the time to reflect on the performance of the new system and how pleased the team at Mint Pictures were with their choice concluding, “Firstly it gives us fast access to media.

Then there’s also plenty of space to be able to cut at high res, without having to work with proxy files and we can efficiently organise workspaces according to our needs and the needs of individual productions we have in-house at any given

Kay continued, “The Unity system we were on was very outdated and was holding us back in a variety of areas. It had little storage, ran hot and was not compatible with many modern computers and connections. So staying within the Avid line-up, Nexis was an excellent choice as an upgrade.”

moment. In other words the Nexis performs very well and does what it’s meant to. We’re also very grateful to Videocraft for their help with this purchase and their ever-constant and professional advice.”

Avid NEXIS is the world’s first software-defined storage platform that enables

Visit www.videocraft.com.au

Over 200 Illegal Streams Detected for Mayweather vs. McGregor

MEDIA IN THE CLOUD, STORAGE & MAM

THE RECENT FLOYD MAYWEATHER vs. Conor McGregor boxing match was not the only competition generating attention. New data from Irdeto indicates that piracy continues to be a tough contender. Irdeto identified 239 streams that illegally redistributed the Mayweather vs. McGregor boxing match. Of those streams, only 67 were provided via traditional pirate streaming websites.

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Underscoring the growth of streaming capabilities on social media, Irdeto also found that pirates exploited multiple channels, including Facebook, YouTube, Periscope, Twitch and others to illegally redistribute this premier boxing event. Irdeto found that 165 social media streams offered the Mayweather vs. McGregor fight illegally. The company also found six streams available via illicit streaming plugins for the popular media player platform, Kodi. These 239 streams are estimated to have reached approximately 2,930,598 viewers. With both boxing and UFC fans eager to see this matchup, pirates capitalised on consumer demand to provide multiple illegal viewing options for this premier live sports event and reap the profit for themselves.

so unknowingly. Irdeto’s recent Global Consumer Piracy Survey of more than 25,000 adults across 30 countries found that 52% of consumers around the globe knowingly watch pirated video content. With operators and content owners charging as much as $99.95 to watch the match in the US, compared to only £19.95 in the UK and €24.95 in McGregor’s home country of Ireland, these piracy numbers clearly indicate that consumers may seek illegal means to watch marquee events like Mayweather vs. McGregor without paying.

With pirates functioning more like full-fledged businesses, criminals are doing market research and are aware that consumers are craving this type of live sports content. In just one day in the week leading up to the bout, Irdeto identified 42 advertisements for illicit streaming devices offering Mayweather vs. McGregor on e-commerce websites, including Amazon, eBay and Alibaba. This clearly points to how business savvy pirates have become, creating a formidable foe for legitimate service providers.

What made this fight unique was that it was the first of its kind to be available to stream live online and it combined two huge viewer audiences: boxing and UFC. While content availability is key, it may have also inadvertently caused some consumers to choose an illegal service over a legitimate service due to confusion and clever marketing. Irdeto says it has seen an increase in pirates creating professional websites, technology and services, fooling some consumers into thinking they are accessing a legal service.

“Live sports are a cornerstone of global piracy, with thousands of sites providing illegal content attracting millions of viewers,” said Rory O’Connor, Senior Vice President of Cybersecurity Services, Irdeto. “When combatting live sports piracy, speed in disrupting piracy is essential. This is especially the case with premium events like this past weekend’s Mayweather vs.

McGregor boxing match. The most effective strategy is an intelligencedriven approach with a 360-degree view of piracy. By identifying and stopping pirate streams in real-time through specialized knowledge and technology, content owners and operators are able to protect revenue and deliver a greater user experience.”

However, not all of the consumers who chose an illegal viewing option did

Visit www.irdeto.com.

MEDIA IN THE CLOUD, STORAGE & MEDIA ASSET MANAGEMENT

ATTO Addresses 4K/8K Content Needs DURING IBC2017 on booth 7.F41, ATTO will offer opportunities to learn about the technologies that drive high-performance workflows. The industry’s top manufacturers have partnered with ATTO, and many exhibitors will include ATTO products within their demonstrations, highlighting the role ATTO plays in enabling performance-driven infrastructure. ATTO is the only company that can meet the needs of 4K and 8K video content creation across all connectivity types, including SAN, NAS, and direct-attached storage for mobile workstations, desktop workstations and servers.

ATTO demonstrations will include: Low-cost shared storage for mobile workstations running Avid Media Composer and Pro Tools; ATTO Thunderbolt 3 and 2 to 40GbE

and 10GbE solutions via ThunderLink; ThunderLink as an external Thunderbolt to fibre-channel, SAS, or ethernet adapter; Official certification and Thunderbolt 3 connectivity with Avid NEXIS; Fibre-channel SAN using Gen 6 Celerity and Thunderbolt 3 to 32Gb fibre channel; How to achieve 8K file editing throughput rates; Celerity 32Gb Gen 6 fibre-channel host bus adapters and Thunderbolt 3 connectivity; Shared workflow using multiple workstations to stream and edit Adobe Premier Pro footage stored on Facilis storage via a Brocade 32Gb fibrechannel switch; and MultiPath Director for failover/failback and load balancing across multiple links.

Visit https://www.atto.com

AWS Elemental Production, Distribution and Asset Management AWS ELEMENTAL WILL SPOTLIGHT innovations in video production, distribution and asset management at IBC2017 on stand 5.C80. The company will share insights into the future of the video ecosystem across a series of conference sessions and demonstrations to help content providers take advantage of next-gen processing and delivery workflows.

Demonstrations of workflows and technologies running in-cloud and onpremises will include: • High Dynamic Range – Broadcast of HDR 10 and HLG channels using any combination of HLG, HDR 10 and SDR source content with AWS Elemental Live, enabling broadcasters to launch HDR channels with a mix of existing SDR and HDR content.

• Live Channel Playout – A software approach to linear 24/7 broadcast channel creation reducing video workflow complexity, improved resiliency and lower operational costs.

• Managing massive VOD libraries – Spotlighting management of massive VOD content libraries as a single AWS Elemental Delta node manages

Mediaproxy_Ad_Content_Plus_Technology_ANZ_September_01.pdf 1 17 Aug 17 3:58:28 pm

one million VOD assets, stored in Amazon S3, and each associated with thumbnails and metadata.

• Frame accurate live-to-VOD functionality – Frame accurate live-to-VOD clipping will show how content providers can create broadcast quality assets from a live stream, achieve immediate availability of catch-up and clipped assets, and save time and cost by only transcoding assets as needed with AWS Elemental software and Amazon Rekognition.

• Cloud-based ingest – A range of integrations with cloud-based solutions for ingest, including AVC and HEVC codecs, using RTMP and RTP with forward error correction, alongside integrations designed to promote J2K TR-01 contribution, allowing standard contribution sources to be ingested into cloud services.

The company will also unveil updates to cloud migration and workflow support as well as delivering augmented and virtual reality experiences.

Visit www.elemental.com

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MEDIA IN THE CLOUD, STORAGE & MAM

Avioon Launches FLICS Transcoding and JOBS Orchestration Tool SOFTWARE MANUFACTURER AVIOON will present its FLICS video transcoding and JOBS file workflow solutions at the IBC2017 (booth 5.B06).

Global media consumption drives and fuels rapid growth of video content processing. The media industry faces a tremendous increase in the volume of video that needs to be ingested, processed and distributed. From production to delivery, video files and live streams must be reach the viewers faster than before.

The FLICS transcoding solution can be deployed to cloud or on-premise platforms for hybrid operation, and offers the unique capabilities of dynamic scaling and allocation of video transcoding across infrastructures. JOBS workflow orchestration enables production system engineering with metadata analysis and rule-based decisions for automated movement of video files.

Visit http://avioon.com

Glyph Atom SSD and Atom RAID Storage GLYPH PRODUCTION TECHNOLOGIES (IBC2017 stand 7.J31) has added the new ATOM SSD and ATOM RAID to its series of portable data transport and storage devices. These external drives couple reliability with fast transfer speeds.

For those requiring greater speed and capacity, the Atom RAID SSD is Glyph’s fastest solid-state drive. It combines a capacity up to 2TB with speeds reaching 860MB/s. It also easily fits into the user’s pocket. Available in 1TB or 2TB, every unit features two RAID-0 SSDs.

Machine ready. All Atom SSDs and Atom RAIDs come with both a USB-C to USB-C (3.1) cable, and a USB-C to USB 3.0 cable. They feature Glyph’s unique ‘3-2-1 Warranty’ which includes full replacement for three years with overnight replacement in the first year, ‘Level One Data Recovery’ for two years, and ‘Advanced Data Recovery’ for the first year.

Glyph Atom drives come pre formatted with HFS+ – Journaling and Time

Visit www.glyphtech.com

The new Atom drives are compatible with Mac OS X 10.4+ and Windows Vista+. They feature USB-C connection and are backward compatible with USB 3.0 and Thunderbolt 3. The solid-state drives also provide fan-less heat dissipation. Each comes in a choice of black, grey, gold or silver, and includes a rubber composite shell for extra protection. Users can choose from 275GB, 525GB, or a full terabyte with transfer rates up to 480MB/s.

Media Management Platform DIGITAL NIRVANA’S SERVICES provide an integrated, automated workflow for sports clipping, closed captioning, subtitling, caption synchronisation, video logging, repeat audio detection, and metadata creation. Its media management platform and suite of broadcast monitoring products establish a simple set-up for content creation, capture, repurpose and delivery, while monitoring video and audio for quality and compliance.

MEDIA IN THE CLOUD, STORAGE & MAM

Being introduced at IBC (stand P25) is the ability to automatically generate sports highlight reels through Digital Nirvana’s automated sports clipping service. The clips automatically selected will represent a collection of highlights from a designated period or for the entire game. Digital Nirvana’s sports clipping automatically analyses sports broadcasts in real-time and generates ready-to-publish clips. It can also generate images and GIFs for customers’ social media promotions. This service offers automated clipping with metadata and caption synchronisation simultaneously, as well as an option for manually cleaning up caption text for accuracy and meeting compliance requirements.

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Another launch from the services side of the company will be the introduction of the AVID Interplay Connector, enabling video content owners working with AVID Media Central to transfer data securely to the cloud for generation of logs/ metadata/transcripts with time-codes, and receive them directly within the user’s workflow.

Other service highlights will include demonstrations of the company’s cloud-based closed captioning solutions, subtitling and video logging services. Digital Nirvana’s cloud-based Caption Synchronization service uses audio fingerprinting to automate near-live synchronisation of live broadcast captions – with text revision. The company offers caption generation for all pre-recorded and online video content through an automated process over the cloud, with options to create multiple formats and integrate directly to the user’s video platform. Automated speech-totext conversion reduces the time and cost to publish, provides better search engine discoverability – while complying with broadcast guidelines.

Online video providers (OVD’s) and Subscription video on demand (SVOD) services can benefit from Digital Nirvana’s Subtitling Service by utilising its automated speech-to-text capabilities for efficiency and high-volume handling, along with

its capacity to deliver multi-format or customised versions that can be integrated directly into their workflows. With Digital Nirvana’s video logging service, media production houses and producers with large amounts of footage can improve editing efficiency, as well as organise content and the discoverability within their data centres.

On the product side, Digital Nirvana will showcase its Monitor IQ Media Management platform, CAR/TS (Capture, Analyse, Replay – Transport Stream) transport stream recorder, AnyStream IQ for OTT monitoring, and MediaPro for content repurposing.

The latest version of MonitorIQ media management platform delivers a range of multi-channel signal monitoring, repurposing, logging, compliance and archiving functions. Version 5.0 features cloud-based recording and OTT stream monitoring functions with a user-friendly interface. It also includes HTML5 and HTTP live streaming (HLS) support, and the ability to record from Matrox’s Monarch HDX streaming appliance.

CAR/TS records and monitors the transport stream and provides alerts on noncompliance, allowing users to cut and export sections of the transport stream for detailed analysis. It also offers time-shifted playout for multiple time zone broadcasts and a disaster recovery solution for keeping a broadcaster’s signal onair with recorded content.

Visit www.digital-nirvana.com

MEDIA IN THE CLOUD, STORAGE & MAM

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Object Matrix to Showcase Process in Place OBJECT MATRIX WILL BE showcasing its extended ‘Process in Place’ (PiP) solution, along with other innovations, at IBC2017(stand 6.C28).

Process in Place is a content aware feature developed by Object Matrix that reduces the processing needed to index and access content.

Traditional approaches require either manual intervention or for content to be moved around internal or external networks. These steps can often be broken or inefficient. A MatrixStore object storage cluster allows PiP to take place and removes this need, as it provides a self-managing digital preservation platform that allows the content to be processed where it resides.

In addition to demonstrating PiP, Object Matrix will be launching its new management API software, which enables access to audit and monitoring information. It will also launch Trashcan, working like the trashcan on your PC – this means when content is accidentally deleted it can be stored on the system and recovered instead of being removed entirely.

“We are noticing the rapid increasing of file sizes and the number of platforms for content provision. The constant changing of distribution methods means

that it’s more important than ever for broadcasters to be able to easily access their content and be sure that it won’t be damaged or lost,” commented Nicholas PearceTomenius, Sales and Marketing Director, Object Matrix. “This means that we need to be able to store content in a secure, easily accessible and future-proof manner. The bottom line is content is extremely important in the industry, and our solutions are aimed at helping providers generate the highest value from it.”

Visit http://object-matrix.com

Facilis Technology Debuts New Scale-up Options AT IBC2017, FACILIS (booth 7.B40) will showcase new Version 7.0 Shared Storage features for the first time in Europe. Included within Version 7.0 are the new Facilis Hub Server, a performance aggregator that can be added to new and existing TerraBlock systems, Open Storage Attachment that promotes generic storage partitions to Facilis Shared File System volumes, and a new browser-based, mobile compatible Web Console that delivers enhanced workflow and administration.

Facilis Technology is focusing on those broadcasters and facilities that are seeking to grow their content-creation infrastructure on a limited capex budget. The Facilis Hub Server is aimed at protecting customers’ current storage investment and providing the most future-proof new systems available. The Hub Server architecture optimises drive sets and increases the bandwidth available from standard TerraBlock storage systems. Facilis is also shipping SSD and hybrid systems with 12Gb/s components that are the fastest shared storage systems in the smallest form factor available.

The new Facilis Web Console increases facility control, and improves access to administrative functions. The modernised browser-based and mobilecompatible interface delivers enhanced functionality and removes barriers to creativity. With dynamic bandwidth monitoring, remote volume mount control, and auto connectivity failover, Facilis has advanced customers’ expectations of shared storage systems.

The latest enhancements to Facilis’ FastTracker software are also being shown at IBC. FastTracker is designed for cataloging, searching and accessing media on all attached storage. New features include preview clip generation and global indexing for automatic cataloging of all media assets.

Visit www.facilis.com

MEDIA IN THE CLOUD, STORAGE & MEDIA ASSET MANAGEMENT

Imagine Products at IBC2017

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AT IBC2017, IMAGINE PRODUCTS will make its European debut of ShotPut Pro 6 for Windows alongside the Mac version released last year. ShotPut Pro 6 for Windows offers a new user interface, faster media offloading, and many other new or improved features that give users more control over offloads.

ShotPut Pro 6 is designed for digital imaging technicians (DITs), data wranglers, post-production professionals, and anyone else needing to offload media files quickly and securely with checksums. ShotPut Pro 6 boasts increased offload speeds over its predecessor. The software now offers desktop notifications in addition to email and text notifications, the ability to pause and resume offloads even when hard drives have been detached for multiple hours, and the capability to cancel all or some offloads.

New reporting features include the addition of detailed PDF reports with four thumbnails from more than 20 different camera formats, robust naming conventions, and the ability to create and nest multiple folders within that naming structure – features that work with any digital files to copy them securely whether they are small or large. In addition, Imagine Products has improved the process of offloading multiple files to multiple locations and bundling offloads from different locations to one destination. With the offload sequence feature, ShotPut Pro 6 offers a choice between having all offloads working at once or working one at a time.

PrimeTranscoder is a transcoding application that allows users to convert multiple files to different formats at once. It recognises and converts more than 20 HD, 4K, and RAW camera formats, including ARRI, Blackmagic, Canon, GoPro, Panasonic, RED, Sony, and many more. While that’s happening, it can also create editable or sharable files, including AVID DNxHD and H.264.

Many clips can be combined into one while maintaining individual timecode or combining all into one timecode.

Imagine Products’ PrimeTranscoder will also make its European debut at IBC.

Visit www.imagineproducts.com

AUDIO Digital soundwaves

www.content-technology.com/audio

Gearhouse Event Comms Rolls Out Axient Digital Radio Mic Platform GEARHOUSE BROADCAST’S EVENT COMMUNICATIONS DIVISION has scored a world first by deploying the new Shure Axient Digital Radio Microphone Platform in Australia. The system has already been adopted by the Australian Football League (AFL) for use at all of its games across the country.

According to Jason Owen, Manager of Gearhouse Event Communications, “Shure and their Australian dealer, Jands, approached us to discuss how they could further assist our already rapid growth in Australia. It began with us signing an exclusive R&D partnership which gives us direct access to their product road map and input on future feature sets and product design. At that point, having seen the success of our SportsCom custom intercom solution in the market, they also offered Gearhouse Event Comms the opportunity to become the world’s first user of their incredible Axient Digital Radio Microphone Platform.”

Shure’s Axient Digital incorporates innovative wireless audio technology and provides signal stability and audio clarity, plus flexible hardware options, advanced connectivity, and comprehensive control. Both of Shure’s AD series and ADX series transmitters are compatible with a shared Axient Digital receiver platform and this scalable wireless system includes a ground-breaking micro-bodypack and provides incomparable sound for a wide range of applications and settings.

“Axient digital is perfect for sporting bodies, large venues and production companies so we immediately approached the AFL and suggested they use the system at all remaining games this year,” said Owen. “I have long been a fan of Shure kit in the live production space, however when I saw and heard Axient Digital I knew it was a game changer. It really stands head and shoulders above other systems for many reasons. Its outstanding RF performance in even the most complex, crowded environments ensures maximum stability, improved range even in high noise-floor venues. There’s also dual and quad receiver options that open the gateway to the full range of features, from highperformance RF and transparent digital audio to software control.”

Shure, Jands and Gearhouse perfected the Axient Digital system for the Australian market by working in close collaboration for several months.

With Gearhouse providing the custom communications solutions, Shure the strategic technology input and Jands comprehensive product support, Gearhouse presented the radio and event comms solution to the AFL and other sporting bodies.

According to Owen, the Axient Digital solution is “... a smarter RF management solution for radio microphones and significantly improves the RF and audio performance in comparison to any other product on the market. Axient Digital also works efficiently and reliably at much lower RF levels than any other system I have ever seen. This means more reliable coverage for the product and its true diversity, quadveristy and high-density mode means more channels can operate in one space than ever before.

“Production companies and large venues are also very keen to use it as it’s clear that both AD and ADX will become the world standard for touring acts simply because of the RF performance and audio quality. When you add in ADX’s bi-directional capability Axient Digital stands alone in the market in terms of flexibility and interference-free RF. “The Axient Digital world first came about because Shure saw what we had achieved by developing and implementing our SportsCom solution.

When talking to customers they quickly saw SportsCom provides a new and innovative way for sporting bodies to deliver their match day technology and adjudication platforms. We are truly offering class-leading technology here with SportsCom now also incorporating the Axient Digital platform. In addition to all the other benefits, we will roll out ADX in early 2018 which can re-tune radio mic frequencies on the fly with no interruption to audio services.”

To arrange an appointment with Jason Owen at IBC 2017 on Gearhouse Broadcast stand 10.B39 please call Jason on +61 428 003 663 or e-mail him on jowen@gearhousebroadcast.com.au To see the new Axient Digital system in use at an AFL game at Etihad Stadium go to: https://vimeo.com/ofiproductions/review/229216822/79e3f05c1f Visit http://www.gearhousebroadcast.com/au/event-communications

Surround Audio Decoder

Orban’s new iMix 257 uses a patented DSX Surround algorithm for upmixing stereo audio to 5.1 and 7.1 surround for gaming, film, live sports and television productions. By combining several technologies including frequency- and time-domain energy distribution and the latest psychoacoustic models, the DSX Surround algorithm provides artifact-free, stable surround stems with complete downmix compatibility.

The DSX 257 Surround algorithm processes true stereo signals (LR) to create a pleasing surround sound image and well-centered dialog.

Completely compatible with matrix-encoded stereo signals (LtRt) including Dolby ProLogic, Dolby ProLogic II, and SRS Circle Surround, the DSX 257 Surround algorithm upmixes matrixed LtRt content to a coherent, spatially accurate 5.1 or 7.1 surround sound mix. Previously down-mixed DSX Surround and

on this breakthrough, new psychoacoustic algorithm for over four years.

In that time we’ve benchmarked every upmixer out there and we are supremely confident our DSX Surround 257 algorithm has no peer. Orban’s new iMix 257 Decoder is another example of how Orban is innovating solutions for a wide range of audio issues faced by today’s TV, live sports and film post-production professionals.”

The Orban iMix 257 can be used as a stand-alone unit to decode stereo LtRt in production environments or to upmix stereo content for TV commercials and film trailers. It can also be used in tandem with Orban’s new iMix 5.1 Monitor-DownMix as a complete 5.1 transport solution.

DTS Neural Surround (LtRt) content is completely restored to the original discrete 5.1 stems using DSX Surround.

“Our iMix 257 outperforms all other surround decoders in channel discreteness, envelopment, and original spatial location,” said Peter Lee, Orban’s Vice President of Global Sales and European Operations. “It’s a radical new approach to upmixing that not only provides the complete downmix compatibility needed for TV surround production, but also provides the range of control necessary to upmix stereo and 5.1 up to 7.1 for those applications that require a more immersive, cinematic sound experience.”

David Day, Orban President said, “Our engineering team has been working

Visit www.orban.com

AUDIO

AUDIO PROCESSOR MANUFACTURER ORBAN has announced the launch of its iMix 257 Surround Audio Decoder to debut at the upcoming IBC show in Amsterdam (Stand 8D93).

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AUDIO

Studio Technologies Dante Master Clock STUDIO TECHNOLOGIES HAS RELEASED the Model 5401 Dante Master Clock.

The Model 5401 provides precise timing signals for applications that utilise Dante media networking technology. The unit implements an IEEE 1588 precision time protocol (PTP) server, compatible with the requirements of Dante and capable of simultaneously supporting the timing needs of up to hundreds of Dante-compatible devices.

The Model 5401 provides PTP v1 compatibility, as well as supporting PTP v2 for AES67 applications. In addition, the unit generates up to eight sine-wave audio tones on Dante transmit channels. A clock input allows the Model 5401 to synchronise with a variety of timing reference signals.

“While an inherent strength of Dante networking is its carefully implemented use of IEEE 1588 to ensure that all connected devices maintain a common timing reference, the actual performance can vary widely depending on the specific Dante devices in use and the overall number of devices on a network,” says Gordon Kapes, President of Studio Technologies. “There are many Dante-compatible devices that can provide adequate basic performance as a master clock, but with the Model 5401, networked audio systems get the benefits of a high-performance ‘grandmaster’ PTP server, along with additional unique capabilities. The feature set, along with the associated internal hardware and software, were designed to provide optimum performance, flexibility, and system integrity.”

The Model 5401’s master clock performance uses its accurate and stable internal oscillator, which is temperature-controlled and exceeds the performance of standard Dante devices. The Model 5401 can also be locked to a variety of

external signals for integration into facilities that include a master timing reference.

Compatible signals include word clock, video sync, and 10MHz sine-wave.

Word clock, typically 48kHz, is often used in audio-only facilities and is compatible with the Model 5401’s sync input. The Model 5401 supports the mostcommon video format/ rate combinations including ‘black burst’, bi- and tri-level HD, and several that are specific for 4K applications. Industrial and commercial facilities often utilise a GPSdisciplined source of 10MHz as a timing reference. This sine-wave signal is directly compatible with the unit’s sync input.

The Model 5401 is capable of generating eight separate sine-wave tones, each configurable in level and frequency. The tones are digitally-generated in hardware that is separate from that associated with the unit’s PTP functionality. This allows the Model 5401, unlike a general-purpose Dante-enabled device, to perform its timing tasks without risk of interruption due to conflicting resource demands.

Dual gigabit ethernet (GigE) network interfaces allow the Model 5401 to support switched, redundant, and split Dante operation. An integral web server allows monitoring and configuration of the unit’s clock, audio tone, and general Dante performance. Front-panel indicators, LCD display, and pushbutton switches provide personnel with direct access to key operating parameters. The Model 5401 can be powered by AC mains or 12 volt DC. When both are connected, redundant power operation is supported.

Visit www.studio-tech.com

Orban Mono2Stereo Synthesiser ORBAN HAS ANNOUNCED announced the launch of its iMix Mono2Stereo synthesiser which uses a proprietary DSX Technologies algorithm developed to produce an artefactfree, wide soundstage with natural, spectrally balanced stereo from mono content. Mono content is synthesised into stereo with width and depth information, creating a convincing stereo soundfield often indistinguishable from original stereo content.

presents a number of problems for engineers who are working to deliver quality

It has four discrete AES channels with unbalanced mono inputs and stereo outputs on 75Ω BNC connectors. The Mono2Stereo’s optional balanced analogue I/O delivers exceptional audio performance with 24-bit over-sampling A>D and D>A converters, providing 105dB SNR and 0.0015% THD+N.

the four-channel feature gives sound engineers more control of their mono

“Dealing with mono content in today’s live sports surround sound environment

Visit www.orban.com

5.1 surround mixes in real-time,” said David Day, Orban President. “Our iMix Mono2Stereo provides four channels of all the solutions they need in only 1RU.” “We designed this solution with the remote sports mixer in mind,” said Peter Lee, Orban’s Vice President of Global Sales and European Operations. “Not only does it deliver on quality of sound and performance, but generated content by providing a better stereo image and 5.1 mix overall.”

See Orban at IBC in stand 8D93 to hear the new iMix Mono2Stereo in action.

Dante Format Converters from Ferrofish FERROFISH HAS ANNOUNCED the shipping of the Ferrofish Verto 32, Verto 64, and Verto MX Dante format converters.

The Ferrofish Verto series can be remotely controlled via the Dante network. If all devices are connected via MIDI, the Verto converts all Dante audio streams to ADAT or MADI and the control commands are sent over Dante using MIDI remote control messages. Instead of a separate MIDI port, MIDI messages are extracted from the MIDI-over-MADI port.

For recording studio applications, the Verto 32 and Verto 64 are suitable for converting both ADAT and MADI to the Dante format, while the Verto MX is suited to broadcast environments where 64 MADI channels can be converted and placed on a Dante network. The Verto 32 and Verto 64 models support

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sampling frequencies from 44.1kHz to 96kHz, while the Verto MX supports

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44.1kHz to 192kHz. Channel count varies depending upon the sampling frequency selected.

The Verto 32 supports 32 channels at 48kHz or 16 channels at 96kHz. By contrast, the Verto 64 supports 64 channels at 48kHz or 32 at 96kHz, while the Verto MX supports 64 channels at 48kHz, 32 at 96kHz, or 16 channels at 192kHz. All three Ferrofish Verto devices offer one five-pin MIDI port each for input and output. Similarly, all three models provide one BNC word clock input and one BNC word clock output for synchronisation purposes.

Visit https://ferrofish.com

AUDIO

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AUDIO

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AUDIO

Mobile Studio-Quality Audio DPA’S NEW D:VICE MMA-A Digital Audio Interface will be on show at IBC2017 (booth 8.D70), giving European broadcasters their first opportunity to experience the audio quality offered by this preamp. Aimed at content makers such as live and mobile journalists, the d:vice MMA Digital Audio Interface

works with any iOS device, Mac or PC computer.

Journalists already use smartphones to capture the news and to a large extent this works well as today’s phones can take high-quality pictures and videos.

However, until now the missing component was high-quality audio – vital for news broadcasts where audio quality must match or exceed the video for the message to be understood. This is the challenge that the d:vice solves.

When used with a DPA microphone it can capture or stream audio in quality previously only available in the studio.

The d:vice MMA-A Digital Audio Interface is a two-channel microphone preamp and A/D converter offering mono, dual and stereo capabilities. This flexibility allows a journalist to use the equipment for any unexpected situation. Whether it be a two-channel interview situation or a session of recording ambience sound in stereo, the d:vice makes it easy for journalists to do their job.

Furthermore, the d:vice is the only small form-factor two-channel device on the market that allows users to set individual gain for two channels in an iOS environment.

The d:vice comes with interchangeable lightning and USB cables. Its MicroDot inputs allow the d:vice to be connected to all DPA capsules via the optional MMP-G preamp – all of which will be on show at IBC. The d:vice Digital Audio Interface easily fits in the users’ pocket and is controlled through a remote application on any iOS device. A DPA app is available for download from the Apple App store. The app allows users to store gain settings and low-cut filters for ongoing use in dedicated presets. For security the DPA app allows settings to be locked.

Visit www.dpamicrophones.com

Net Insight Partners With Calrec Audio NET INSIGHT HAS ANNOUNCED a strategic partnership with Calrec Audio to simplify the challenges broadcasters are facing in deploying remote live productions. A key aspect of the partnership will see Net Insight’s Nimbra platform integrated with Calrec’s RP1 Remote Production unit to provide simple connectivity, quality assured transport and precise control of audio mixes from any location.

The companies have worked together to optimise Calrec’s Hydra2 audio and control protocols with the Nimbra platform, and enable connectivity on-site with no synchronisation issues. RP1 provides a variety of interface formats, including SDI and AES67, which can be transported alongside control data

across the Nimbra platform.

The integration provides immediate workflow efficiency advantages for Net Insight customers in the field and will be offered as a turnkey solution for new customers.

The versatility of the solution means productions can connect via analogue, AES, MADI, SDI, and the latest AoIP solutions from AES67, and SMPTE 2022 and transport remotely over IP. With all DSP processing for monitor mixes enabled on-site, the transmission console at base can concentrate on the main mix.

Visit https://netinsight.net and http://calrec.com

Wohler a Class Monitor WOHLER TECHNOLOGIES will be highlighting its latest audio and video monitoring, metering and IP solutions at IBC2017 (stand 8.A54). Wohler will have its entire range at the show, including the iAM Series of IP-based audio and video monitors.

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The iAM Series monitors, including iAM-Audio, iAM-MIX and iAM-Video, incorporate high-quality hardware with upgradable software components combined with an on-board web-server. This allows multiple units on the same network to be monitored, controlled and updated via a browser-based interface and via API calls from third-party connected devices. The iAM Series uses small form-factor pluggable (SFP) slots to enable adaptation of interfaces and a selection of signal I/O. The overall variety of audio and video metering options supported includes analogue, AES3 and MADI inputs, and options for video over IP formats (MPEG2 TS and SMPTE 2022), AoIP formats (Dante, Ravenna, AES67), 3G/HD/SD-SDI, as well as a growing range of I/O options via its SFP interface.

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Wohler’s iAM-MIX features an intuitive front-panel control surface for multichannel mixing and monitoring, which is suitable for non-technical operators.

It allows users to monitor a MADI stream with 64 audio channels through one device. iAM-AUDIO’s touch-panel interface allows command and control of the unit and new I/O options, including Dante and Ravenna, combined with data displays and Wohler’s audio monitoring. iAM-VIDEO adds extensive video monitoring including MPEG2 TSoIP, MPEG2 TSoASI, SMPTE 2022-6 and more.

Wohler will also showcase its low cost audio monitoring solutions, including its AMP1-8-M, AMP1-2SDA, and new modules for its AMP2-216V Series.

The AMP1-8-M offers fast, intuitive operation for monitoring SDI audio in demanding production applications at an aggressive price-point. Suitable for in-studio or remote productions, the AMP1-8-M provides instantaneous selection and summing of any four SDI audio pairs.

For those looking for essential monitoring capabilities in environments such as OB trucks and network/station facilities, the AMP1-2SDA offers audio monitoring in a 1RU two-channel version. Its design offers the capability to monitor any available channel pair.

The latest AoIP modules, including Dante and Ravenna/AES67, for the AMP216V Series add audio-over-IP monitoring functionality. It is a 16-channel, 2RU A/V workstation with a suite of tools for analysing and managing audio quality, level and loudness, metadata and more. These modules allow existing users to begin monitoring audio using Dante or Ravenna/AES67 without a significant additional investment and without changing their existing workflows.

Visit www.wohler.com

RADIO The original broadcast media

www.content-technology.com/radio

India Adds Transmitters to World’s Largest DRM Project NAUTEL LIMITED HAS SHIPPED six additional high-power DRM-enabled MW transmitters for deployment at All India Radio, the largest digital broadcasting system in the world. Four 100kW NX100 and two 200kW NX200 transmitters were shipped to India in July for installation in six cities. The transmitters will be commissioned by Nautel’s in-country partner, Comcon, in association with India’s Prasar Bharati.

The project has the goal of bringing digital radio to nearly a billion residents of the country. The new transmitters will be installed at All India Radio (AIR) facilities in Hyderabad, Jagdalpur, Vishakhapatnam, Bhawanipatna, Jeypore, and Sambalpur. All 33 transmitters in the AIR project are configured for DRM30 operation.

Nautel NX high power transmitters occupy a very small footprint and offer the industry’s highest efficiency (90%) along with AM pre-correction, unmatched linearity and Nautel’s exclusive advanced user interface which provides commercial grade instrumentation, spectrum analyser, logging, presets, local and remote

transmitter control, email notifications, and enhanced support services.

“Nautel is excited to partner with Comcon and Prasar Bharati on this extensive project,” said Kevin Rodgers, Nautel President and CEO. “With this system fully deployed in all parts of India, AIR is uniquely positioned to serve the different dialects and regional needs of its billion listeners. It’s a shining example of the capabilities digital broadcasting can provide throughout the world.”

Nautel MW and FM transmitters will be demonstrated at the IBC2017 show in Amsterdam on stand 8.C49.

Visit www.nautel.com

Automotive Industry Embraces DAB+ Radio AT THE RECENTLY HELD 2017 WorldDAB Automotive event in Munich, speakers from automotive manufacturers, regulators, and the broadcast industry, gathered to discuss the growing adoption of DAB radio in the car.

The event also saw the results from research WorldDAB and its members have undertaken into the digital radio user experience in cars – a first of its kind study.

The Adoption of DAB Radio in Cars In 2016, 4.6 million new cars were sold with DAB across Germany, France, the UK, Italy, the Netherlands, Norway, Switzerland, Denmark and Australia – up nearly 40% on 2015.

In Norway 98% of new cars are fitted with DAB as standard, with the UK at 87% and Switzerland at 66% – all three markets are leading the push for drivers to go digital. In the second wave of European markets, Denmark, France, Germany, Italy and the Netherlands, DAB is fitted as a standard feature in a growing number of vehicles.

“With Norway in the process of switching off national FM services and Switzerland starting its Digital Switchover in 2020, it’s more important than ever for the automotive industry to fully embrace DAB radio,” said Patrick Hannon, President, WorldDAB. “Our message to the automotive industry today is that all cars should have both FM and digital radio capabilities, delivering the best experience for drivers across the continent.”

Across Europe there is a growing recognition by national and European policymakers, media regulators, and public and commercial broadcasters that DAB digital radio is the future core platform for radio.

Speaking on behalf of the European Digital Radio Association, Helwin Lesch, EDRA Board Member said, “Drivers should be able to listen to their favourite stations on the move and across borders. Our members represent over 300 stations that reach more than 130 million people each day, and it’s clear that DAB digital radio is the core future platform for radio. Our members and the automotive industry continue to work together on delivering the best

possible experience to drivers across Europe.

As DAB becomes the natural choice for consumers we want Europe to embrace it and manufacturers to offer DAB alongside FM in sets and vehicles, just as they did for AM and FM, and at a price which is attractive to the consumer.”

German Highlights The event saw a particular focus on developments in Germany. Population coverage has now hit 96% and in February 2017, Dorothee Bär, Parliamentary State Secretary to the Federal Minister for Transport and Digital Infrastructure, published the Digital Radio Action Plan. There will now be a series of discussions with the individual states (Länder), led by Rhineland-Palatinate (Heike Raab) and the BMVI (Dorothee Bär). A second national commercial multiplex has just been awarded and a major DAB+ marketing campaign from ARD and Deutschlandradio is running across the country.

Siegfried Schneider, President of the Landesmedienanstalten (DLM), the Director’s Conference of the German Media Authorities, said, “In my opinion, DAB+ is an absolute must, for private broadcasters as well as thepublic.

German car manufacturers should take this on board and offer DAB+ radios as a standard feature in their cars.”

Nathalie Wappler Hagen, Chair of the ARD Radio Committee said, “It is an exciting time for digital radio in Germany, one which brings many new opportunities for broadcasters. ARD is working closely with industry partners in Germany as part of the significant DAB+ marketing campaign, and an essential part of digital radio’s successful rollout will be in ensuring both new and existing cars have DAB fitted.”

Other speakers included Audi,BBC, BMW, Clarion and the EBU, with presentations available via WorldDAB following the event.

Visit www.worlddab.org

WBU-TC Digital Radio Guide Comments and suggestions on the completeness of the Radio Guide are welcome. They should be sent to the Dr Amal Punchihewa, WBU-TC’s ViceChairman, at amal@abu.org.my. The text will be reviewed and a Version 2 will be published in June 2018.

Visit www.abu.org.my

RADIO

TO AID BROADCASTERS and administrations in deciding on policy for the transition from analogue to digital radio, the World Broadcasting Unions (WBU), a collective organisation of the World’s eight broadcasting unions, has released a new Radio Guide, where the WBU Technical Committee (WBU-TC) has assembled information on the alternative systems currently used. The guide is available via https://apb-news.com.

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RADIO

GatesAir Strengthens IP Data Protection for Radio GATESAIR WILL UNVEIL new enhancements to two recently-introduced Intraplex intelligent networking solutions at IBC2017. The two products, Intraplex IPConnect software and the IP Link MPXp codec, will receive their international debuts at the show at stand 8.C30. Intraplex IPConnect is a software application designed to fortify data transport across IP networks.

Available as an option in most Intraplex IP Link codecs, IPConnect solves the problem of reliable transport across complex networks that traditionally suffer data loss through dropped packets. GatesAir will demonstrate how IPConnect provides an added layer of reliability for DAB/DAB+ and DRM IP streams by employing a combination of packet protection schemes with network/time diversity and packet-level forward error correction. Additionally, IPConnect can now bridge LAN segments across wide-area networks with tunnelling to enhance reliability of program and signal transport across large geographical regions with multiple receiving and transmitting sites. IPConnect’s software data gateway provides extra protection through packet encapsulation, which encloses the external IP data packets in a GatesAir protocol wrapper as it moves across IP networks. Unlike many similar applications, IPConnect provides this protection for studio-generated data, as well as IP data from external sources. While the former might include RDS data or SNMP control signals to trigger a command at the transmitter site, the latter may incorporate program or control data coming from a network operations centre, satellite feed or advertising service. As the next-generation GatesAir Intraplex IP Link codec, the

Intraplex IP Link MPXp leverages the strengths of previous IP Link codecs and adds new efficiencies. This includes GatesAir’s unique Dynamic Stream Splicing technology to mitigate IP packet loss and eliminate off-air time, forward error correction, and a trio of network interfaces for stream reliability, while empowering broadcasters with more signal transport options from a single box at low bitrates. While the initial release in April cut the bandwidth consumption for uncompressed AES192 digital composite signal transport in half, the latest release further reduces those bitrates from the already low 1.8Mb/s to a more efficient 1.65Mb/s. The Intraplex IP Link MPXp is the first FM MPX IP codec to support – separately or together – AES192 digital and analogue composite signals over a secure and reliable digital IP path from a single codec.

Its flexible dual-domain capability allows the broadcaster to install a newer audio processor supporting AES192 and have it interoperate with an exciter supporting only analogue composite signal interface. This not only provides a transitional path for a future digital exciter upgrade, but also enhances signal quality by keeping it in the digital domain across the IP path. The Intraplex IP Link MPXp codec also simplifies network architectures and maintenance to reduce capital and operational expense. As wide-area network pipes grow larger, the Intraplex IP Link MPXp codec enables broadcasters to aggregate all FM processing equipment at the head-end. Advanced security measures ensure signal protection thanks to the codec’s integrated firewall.

Visit www.gatesair.com

Agile Move for 6PR Perth AGILE BROADCAST RECENTLY undertook a rebuild of radio station 6PR’s studios for Macquarie Media Limited. The project involved the supply and fit-out of an entire, new MCR, two on-air studios, two production studios, one vocal booth, one interstate contribution studio, a producer’s area, a newsroom and a news booth. It was a turnkey project with Agile supplying an integrated Wheatstone system which incorporated LXE console surfaces.

me, are the most accomplished and experienced broadcast integration

Agile were able to keep the fader count down and therefore allowing for a smaller console footprint. Agile utilised Screenbuilder software for the news booth, producer’s area and edit stations. Q-Sys was chosen as the platform for intercom and talkback routing due to the ability for it to be customised to the needs of Macquarie.

present only the most important and relevant functions as tactile

A big challenge within this concept was maintaining continuity of broadcast whilst implementing the changes that were needed.

Aaron Alphonso, CTO of Macquarie Media Ltd said “Agile Broadcast to

providers and technical project managers in the market today. With 6PR, Agile have delivered very accurately on the request to minimise the clutter and the sea of buttons in the studio, to abstract the commonly used and labour-intense console functionality and relegate it to a glass surface as well as to automate tasks where possible, and controls to the operator, thereby allowing them to concentrate on the task of making great radio!

“I am extremely happy with how our studio relocation in Perth has been completed, especially in relation to the seamless cut-over of services and studios, and look forward to working with Agile again in the future.”

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

SBS Radio Brings Listeners Enhanced Mobile App Experience AUSTRALIAN MULTICULTURAL BROADCASTER SBS has updated the design of its SBS Radio app, putting on-demand content at the forefront and making the app easier to use and discover live streams, podcasts, music, news and information.

Other key features include: • Checking the language setting in a user’s phone and presenting navigation and text in language.

• Users can now pick their favourite content and display it in their own tailored playlist.

• Switching stations is now easier in the live radio menu.

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• In-app alerts to notify about new podcast episodes or any favourite content about to expire.

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• Use the new ‘Explore’ screen to find any new shows to add to the favourite list.

• Set a sleep-timer for automatic switch-off after a period of time or when a program ends.

SBS Director of Audio and Language Content, Mandi Wicks said, “SBS Radio recognises that our audiences expect a more on demand content experience, on the device of their choice. With the new and improved functionality, the SBS Radio app caters to our listeners with a personalised experience tailored to their content and language preferences.”

Existing users of the SBS PopDesi and SBS Chill app will be directed to download the new SBS Radio app to continue listening to their favourite channels. As a new feature, listeners of SBS PopDesi, SBS Chill and SBS PopAsia can now see a track list played in the past seven days and purchase them for offline listening.

The free SBS Radio App is available now at the iTunes App Store and Google Play.

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

RADIO

I3 OCTOBER MELBOURNE ALIVE WITH IDEAS Radio Alive 2017 (formerly the National Radio Conference) is the radio industry’s annual national conference and will be held in Melbourne on 13 October. Each year the conference provides a forum for robust discussion on the radio industry and attracts key industry speakers that set the industry agenda, challenge the status quo and tackle the industry issues head on.

HEADLINE SPEAKERS

VIRGINIA TRIOLI

HUGH MARKS

JANE CARO

Co-presenter, ABC News Breakfast

CEO, Nine Entertainment Co.

Author, Journalist, Broadcaster, Advertising Writer & Commentator

ANDREW KNOTT

MICHELLE GUTHRIE

SENATOR THE HON MITCH FIFIELD

Chief Marketing Officer, NAB

Managing Director, ABC

Minister for Communications & Minister for the Arts

MICHAEL MILLER

GERALDINE DAVYS

Executive Chairman, News Corp Australasia

Chief Marketing Officer, iSelect

ERIN MOLAN

PETER HORGAN

Television & Radio Presenter & Sports Commentator

CEO, Omnicom Media Group

RAIN SUMMIT PART OF RADIO ALIVE 20I7 Commercial Radio Australia has partnered with US-based RAIN (Radio, Audio, Internet News) to bring the first RAIN Summit to Australia as part of the industry’s Radio Alive 2017 conference.

Register today – commercialradio.com.au

Proudly brought to you by

RADIO

RAIN, which holds events for the radio and online industry across the US and UK/Europe, will implement a three-hour stream at Radio Alive 2017 featuring expert speakers exploring podcasting, streaming, and other aspects of digital radio.

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RADIO

GatesAir’s IP-Enabled VHF Transmitter for DAB Radio GATESAIR HAS PAVED THE ROAD for DAB/DAB+ radio over-the-air networks with Maxiva VAXTE, a high-density transmitter supporting all DAB radio modulations and VHF television. GatesAir will demonstrate the VAXTE at IBC2017 show at stand 8.C30.

IBC marks the debut of VAXTE as a DAB transmitter. Able to support the largest national DAB radio deployments, the VAXTE is available in 2RU and 4RU single-chassis models driving power levels from 15W to 1.2kW, with larger configurations available for single-rack solutions up to 9.2kW. The Maxiva VAXTE offers input connections for both EDI and ETI protocols, which support IP and legacy audio contribution and distribution across large DAB networks.

In VHF television, the VAXTE supports power levels up to 25.6kW in multicabinet configurations. All VAXTE transmitters integrate the Maxiva XTE exciter platform, enabling support of all OFDM (DVB-T, DVB-T2/Lite, ISDB-T, ATSC 3.0) and DAB radio (DAB, DAB+, T-DMB) modulations.

Capable of storing two modulations, the XTE also improves digital signal processing power by four times its predecessor, and features GatesAir RTAC software for digital signal correction at amplification stage.

VAXTE transmitters also provide IP-based monitoring and control to simplify oversight of all signal performance and transmitter parameters across DAB

and TV networks including single-frequency networks.

Like the Maxiva UHF series of air-cooled (UAXTE) and liquid-cooled (ULXTE) transmitters, the VAXTE series is built on GatesAir’s latest power amplifiers, which increase peak power capacity for all OFDM and ATSC waveforms. Based on GatesAir’s PowerSmart Plus architecture, the VAXTE slims footprint and weight through its high power density, and returns rack space, reduces energy consumption, and minimises internal parts.

Redundant front-access power supplies are integrated separately from power amplifiers to enhance modularity and reduce spare parts costs and management. All PA modules and their dedicated power supplies are hotswappable to further simplify labor.

Visit www.gatesair.com

Dynamic Ad-Insertion Builds Podcast Revenue AT THE UPCOMING IBC2017 SHOW, StreamGuys will demonstrate how it helps broadcasters maximise the scope and effectiveness of their monetisation efforts for dynamic ad insertion within on-demand content such as podcasts. Complementing StreamGuys’ dynamic pre-roll and midroll advertising capabilities for live streams and part of its evolving SaaS toolset, the on-demand functions use advances in targeting technologies to deliver advertisements most likely to resonate with consumers, while keeping ads timely and relevant for consumers downloading ‘long-tail’ evergreen content.

Less-effective approaches to advertising in podcasts insert ads into the downloadable media when the files are initially published. As a result the audience receives the same ads, regardless of location or interests – someone downloading the content years later would still consume the outdated advertisement.

StreamGuys’ dynamic advertising capabilities insert ads into the on-demand files only when content is requested, leveraging information about the listener – from geographic location to other demographic or behavioural data.

Embedded within the StreamGuys SGrecast system for podcast and side channel creation, StreamGuys’ AdsWizz-enabled, server-side ad insertion tools enable publishers to deliver advertising to listeners across an array of platforms without requiring specialised client software for each targeted device. The service takes advantage of ongoing improvements in location

accuracy, such as latitude and longitude available through mobile apps and modern web browsers, to target ads by country, state, metropolitan area or even more granularly. Support for third-party ad integration enables content providers to fill spots outside their primary area with ads relevant to those geographies.

StreamGuys’ browser-based audio editing and ad tagging tools also improve workflows, avoiding the need for additional software. Fast file access and waveform generation enables users to quickly load on-demand assets, mark points for dynamic mid-roll ad insertion, and re-save the file, all without performance delays.

Dynamic ad insertion is a key component of StreamGuys’ SaaS platform and toolset for producing, managing, monetising and delivering live and on-demand streaming media. For podcasters, the targeted advertising capabilities combine with SGrecast and StreamGuys’ cloud-based delivery infrastructure to offer publishers a unified solution spanning content creation through to distribution.

Visit www.streamguys.com

multiCAM Systems Powers ‘Visual Radio’

RADIO

MULTICAM SYSTEMS HAS EXPANDED the feature set of the Application Programming Interface (API) for its video production systems. Providing third-party application developers the tools to integrate their products with multiCAM’s solutions, the API also lets integrators and customers with inhouse software development capabilities create their own interfaces to control multiCAM’s systems and customise their workflows. multiCAM Systems will showcase the new API capabilities on stand 12.E56 during IBC2017.

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The enhanced API supports all multiCAM broadcast and professional AV solutions, including the Multicam Radio Visual Radio platform for broadcasters – and the Multicam e-Learning, Multicam Tracking and Multicam Conf systems, which enable educational institutions, corporate enterprises and other AV environments to easily produce and stream lectures, presentations and live events.

Based on the Representational State Transfer (REST) protocol, the API allows

every aspect of the systems, including configuring PTZ camera presets, switching, recording, streaming, and applying different scenes and titles, to be controlled remotely. Many third-party hardware and software solutions, from automation and playout systems to dedicated control surfaces, are already compatible with the REST-based API, enabling multiCAM solutions to be easily integrated into existing workflows with minor configuration effort on the controlling devices.

Multicam Radio helps broadcasters leverage Visual Radio to expand and engage digital audiences. The system combines server and switching hardware with software that brings together artificial intelligence (AI) for PTZ camera shot selection, speaker detection, automated graphics, and live streaming and podcasting capabilities.

Visit www.multicam-systems.com

CONTENT DELIVERY Terrestrial, Mobile, Broadband

www.content-technology.com/delivery production completely separated, etc. We wanted to provide a centralised platform and centralised common resources, such as a central transcoding, central storage and central archive production, across all broadcast areas.

“By doing so we implemented an abstraction layer to integrate each and every sub-system together, that each department can exchange media, exchange content and if they have access, if they are allowed by the user rights to get from each department new material.

“With this idea, we actually created different technology area blocks from the contribution and central ingest, news ingest, over all the central, as well with the compliance recording, the central archive, subtitling, system monitoring, as well as scheduling.

“All the production areas for the new studios, the TV studios, the big theatre, were supported by central post-production plus some additional news production, which also integrated with the production system overall.”

The production system would feed linear play out, the OTT Toggle platform and as well Out-of-Home digital signage around Singapore.

The combined Mediacorp newsroom.

In approaching approach this huge project, Qvest Media broke it up into a

The Mediacorp Experience

“In the first phase,” says Constantin Rolshoven, “we started with the

Designed by award-winning Japanese architect Maki & Associates, the Mediacorp Campus features 80,000m2 of floorspace over 13 levels, housing eight TV channels and 12 radio channels, 73 production and news studios, a large stage theatre and 40 radio studios, as well as nearly 100 editing stations for news production or central post-production, as well as admin and corporate IT. The ‘content zone’ of Mediacorp’s new HQ begins in the basement (above two floors of parking) with make-up/wardrobe and creative services (audio and video editing). On Level 1, rising to the height of Level 3, are two large production studios, Studio One and Studio Two. A separate wing on the same level houses the stage theatre.

requirement gathering to actually understand and define all the needs Mediacorp wanted to have in their new environment, which ended up in an SOW (Statement of Work) specification document with over 530 pages, just to define the function areas and the specifications.

“Based on this document, Qvest Media created different tender packages over 60 at the end - and did the technical evaluation of the tenders. Mediacorp took care of the financial proposals and biddings by the different vendors.”

From there, Qvest and Mediacorp embarked on detailed system design.

According to Constantin Rolshoven, “With the detailed system design we actually started the second phase of the implementation phase, including the procurement, the system integration, the commissioning, acceptance and, at the end, the on-air phase.

“During the commissioning of the system integration I need to say that we had

Meanwhile, Level 4 houses the central ingest and audio post-production, as well as two radio control rooms, while Level 5 hosts the play-out centre, central apparatus room (including broadcast servers and corporate IT data centre), and some post-production.

parallel runs before we actually implemented one system. We had, at the old

Next is the combined space of Levels 6 and 7 which houses a large, cross platform newsroom and news studio overlooked by a pedestrian/observation mezzanine and radio, video editing and production studios. Arranged in ‘concentric’ semi-circular rows of hot-desks, the journalist workstations in the newsroom are lit in colours which reflect their news outlet – Channel NewsAsia, other Mediacorp channels, etc.

in the beginning in the middle of 2013, and now we’re in the middle of 2017, so

Level 8 is the ‘mechanical room’ catering to power and other infrastructure, while Levels 9-12 provide collaborative working areas for the corporate IT department, financial department and other admin functions.

In 2013, Mediacorp engaged German company, Qvest Media, to handle broadcast integration for the new campus. Qvest’s responsibilities included requirement gathering, system design, tender specification, detailed design, workflow and interface definition, supply and management, configuration of wiring, commissioning and testing of systems, as well as training, service and support.

“Qvest Media was responsible for all broadcast-related technology areas within Mediacorp,” says Constantin Rolshoven, Solution Architect with Qvest Media.

“We wanted to get away and get rid of separated department infrastructure, which is still quite prominent in a lot of broadcast stations, where you’re having your news department completely separated from everything else, your OTT

facilities, a staging system, including some of the centralised vendors for the new project to start development of the workflows we were going to have.

“Overall the ratio of the project was 48 months, so we were awarded as I said and we are now with everything live so we can say, four years of hard work to accomplish this huge migration and this huge project.”

VITAL STATISTICS • 80,000 square metres of working space, including 250 rooms dedicated to broadcast functions. These 250 rooms include 549 racks and desks hosting broadcast equipment additional to that in the Central Operation Room.

• More than 1500 different specification requirements • Over 60 tenders met by 42 different vendors from 20 different countries.

• More than 1000 detailed plans created and over 100 workflows specified.

• Over 850km of cable laid, including the remote cables, internet cables, video cables, audio cables, and so on.

• Overall item list for the new campus of 21,000 items, including 1900 items migrated from the old facility.

• More than 500 pallets of new equipment delivered by the different vendors.

• Qvest Media provided over 70 people in the facilities undertaking commissioning, cabling, labouring, and supplying.

Continues p56

CONTENT DELIVERY

SOME 80 YEARS AFTER the first radio studios and transmitters were erected at Singapore’s Caldecott Hill, Mediacorp is firmly ensconced in its new campus on One North Avenue, part of the city state’s Mediapolis precinct.

requirements gathering and tendering phase, and an implementation phase.

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CONTENT DELIVERY Continued from p55

VENDOR/SOLUTION ROLLCALL CONTRIBUTION/INGEST • Central Ingest (CMX): Dalet • News Ingest (NMX): EVS • Radio Ingest: RCS; NETIA • Upload Platform: IBM • Subtitle Creation: Grass Valley • File Delivery: Aspera

• Compliance Recording: Actus

NEWS PRODUCTION

• In-House IPTV: Tripleplay

• Newsroom System: Octopus

• KVM: ISHE; Adder; Raritan

• News PAM: EVS

• AV-Core Infrastructure: Grass Valley; Lawo

• Graphics & Studio Automation: VizRT

• IT-Core Infrastructure: Dell; Hewlett-Packard; Cisco

• News Editing: Adobe

• BIT Network: Cisco • Linear Playout: Grass Valley • OOH: Imagine Communication

POST PODUCTION • Central Post Production: Avid • Audio Post Production: Avid; Fairlight • Censorship, Editing: Adobe

CENTRAL SYSTEMS

• In-/Outgest: Axon

• Orchestration: Aspera

• Various AV-Glue: Axon; Grass Valley

• Colour Grading: Autodesk; Blackmagic Design

• Asset Management: Dalet

NEWS & TV STUDIOS

RADIO PRODUCTION

• Quality Check: Baton

• Vision Mixers, Studio Cameras: Sony; SAM

• Radio News Production: Netia

• Transcoding: Harmonic; Telestream

• Audio mixing & BCS: Lawo

• Music Stations: RCS

• Storage: Harmonic; Hitachi; IBM

• Various AV-Glue: Grass Valley

• Audio Craft Editing: Avid

• Archive HSM: Oracle

• CR Furniture: Lund-Halsey

• Traffic Watch: Mediacorp

Massive Lawo System at new Singapore MediaCorp Campus MEDIACORP HAS CHOSEN and installed a large amount of Lawo equipment for its two new TV Production Studios, three TV News Studios, and a Radio MCR. Additionally, Lawo’s VSM (Virtual Studio Manager) Control and Monitoring System provides the overall control layer across the newly built TV and radio facility.

In all, the media company’s new facility houses five Lawo mc²56 audio production consoles and an mc²36 audio console, one Nova73 HD router, two Nova73 Compact core routers, a large VSM Control System, and other hardware.

The benefits of pairing the Lawo systems with VSM include Distributed Studio Networking (DSN) and easy handling of workflows in the studios. Where many central resources are shared – telephone hybrids, de-embedders, RX Lines etc – each studio has access to these in addition to its own local resources.

Leveraging all of these resources provides greater operating flexibility and efficiency – all accessed and operated intuitively via VSM using simple keystrokes.

The MediaCorp news area uses this approach but with some enhancements.

The news editing area comprises four FlashCam positions covering the four main languages spoken in Singapore (Tamil, Malay, Chinese and English), and is equipped with Lawo A__mic8 audio-to-IP units that support up to eight microphones and four return lines. These four positions can be freely assigned to any of the studios or SCRs.

CONTENT DELIVERY

The TV production complex comprises two studios – one large and one medium-sized – equipped with Lawo mc²56 audio consoles. The large studio houses an mc²56 with 64 faders, 16 line in/outs and eight AES in/outs, eight GPIOs as well as four Compact IO units. The medium-sized studio houses an mc²56 with 48 faders, 16 line in/outputs, eight GPIOs and three Compact I/O units. Each Compact I/O provides 32 Mic/line in, 32 Line outputs, eight AES in/ outputs, and eight GPIO. Both mc²56 consoles are accompanied by a Compact Core with 270 DSP channels and three Ravenna 4 port cards.

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The signals from the mc²56 consoles are routed to a central NOVA73 HD, each with 256-channel tie-line capacity. The Nova73 HD is located in the studio equipment room and serves as the central router for I/Os across all of the studios, as well as providing control of signal distribution, and is equipped with a redundant control system, 128 AES in/outs, and 16 MADI and 16 RAVENNA ports. Connection to the intercom system, HDD recorders and auxiliary equipment is provided via the Nova73 Compact in the medium sized studio.

For the large studio, the Nova73 HD located in the Studio Equipment Room is in charge, using three MADI ports. In addition, a Lawo V__pro 8 is used for embedding/de-embedding audio from HD/SDI signals, and is addressed from the router. Four MADI links connect the Toggle Studio to the Nova73 HD core – Toggle is the MediaCorp VOD service that streams additional content and accompanying broadcasts.

A further aspect of the new campus encompasses MediaCorp’s TV News

Studios, with three dedicated facilities connected to the NOVA73 HD router (using a redundant dual-star architecture) in the central studio equipment room.

Studio 1 is served by a 48-fader mc²56 console with 16 line outputs, eight AES in/outs and eight GPIOs, with DALLIS and Nova73 compact I/O, and four A_mic 8 that use RAVENNA interconnects for audio sharing. Studio 2’s mixing console is a 32-fader mc256 with16 line outputs, eight AES in/outputs and eight GPIOs, with a DALLIS (Digital Audio Line Level Interface System) interface, Nova73 compact I/O. In Studio 3 is a 32-fader mc²56 console with 16 line outputs, eight AES in/outputs and eight GPIOs, with two DALLIS units, Nova73 compact I/O. For the FlashCam Studio, there is a 16-fader mc²36 console with 32 mic/lines, 32 line outputs, eight AES in/outputs, eight GPIOs, and headphone monitoring.

All of the Lawo audio equipment and intercom systems in the news TV studios is connected via MADI, except for the FlashCam Studio, which uses Ravenna.

While all audio signals within the new facility are controlled using Lawo’s VSM control system, the Lawo consoles can also be managed remotely using Vizrt Mosart broadcast automation. Each system has its own dedicated conference resources (hybrids, Skype codecs etc) but, for greater flexibility and efficiency, there is a pool of shared resources which are physically connected to the central router and can easily and quickly be assigned to each of the consoles via the VSM. Further, the four FlashCam positions in the news offices can be assigned flexibly and easily to each of the four mixing consoles.

The Radio MCR is equipped with two NOVA73 compact audio routers, six Nova17 I/O breakout boxes with redundant master cards with MADI connections, where one master card is connected to Nova73-1 and the redundant master card is connected to Nova73-2. Redundancy is fully automated, and will operate when silence is detected in any part of the station broadcast chain. In addition, a Nova17 router is used as the TX router – all studio outputs are routed from Nova73-1 and from Nova73-2 via AES to this Nova17 TX. Depending on the active router, the corresponding studio outputs are routed to the transmission line. If silence is detected on a studio output, VSM triggers switching to the redundant card if there is a valid audio signal.

Working on a TCP/IP backbone, VSM provides the overall control system with access to all relevant equipment and parameters. Using different protocols (including MONPL to control the Nova HD), VSM has direct access to all crosspoints and parameters. The sophisticated redundancy concept that is part of the Nova routers is also used for the VSM, which runs on two redundant servers with Mother-Mother configuration. For intuitive operation, four LBP 17 and one LBP 50e pushbutton panels are employed for the VSM system.

Visit www.lawo.com

CONTENT DELIVERY

Digital Terrestrial via Satellite AT THIS YEAR’S IBC SHOW, Enensys will be showing V2 of its OneBeam technology. This system provides the ability to use a standard satellite DTH network to also distribute services to DVB-T/T2 or ISDB-T transmitter sites, saving very significant operator costs.

V2 allows customers to benefit from two important upgrades. It’s a unified version that supports both DVB-T and DVB-T2 networks, and it also provides the ability to create a terrestrial mux from multiple rather than a single satellite.

The first upgrade is important for networks moving from DVB-T to T2 where there’s simulcasting using the two standards, as migration occurs from one to the other. Using OneBeam V2 allows both DVB-T and DVB-T2 terrestrial services to be created from the satellite feeds.

Operators can now also create the terrestrial mux from multiple satellites.

Content can be taken from different transponders to create the terrestrial service. It’s often the case that national services are delivered from one satellite to the transmitter site and regional services from another – OneBeam V2 is designed to handle this.

AdsEdge solution, which provides targeted local content insertion in DTT and cable networks – typically ads, news, weather – has been upgraded and now includes Campaign Manager.

AdsEdge is a combination of server and splicer and is placed at the edge of networks (Tx sites, cable POP) to be able to provide dedicated targeted content insertion based on geographical location. Campaign Manager is a central server application that interfaces with the automation system (receiving playlists), with the content and advertising providers (ad agencies), and with AdsEgde to ensure that the right content is received correctly and is supplied to the splicer in the correct timeframe. It makes the necessary links between all the elements in the delivery chain. It also provides complete reporting capabilities to clearly and precisely show what has been broadcast and when.

Enensys is also highlighting significant upgrades to its IPGuardV2. This is a transparent IP switch that provides complete network and equipment

redundancy of any digital TV standard product and delivery network. It works across standards and formats and is vital in maintaining service. It benefits from dedicated features and switching criteria for TS (DVB-T, ATSC), BTS (ISDB-T) and T2-MI (DVB-T2).

IPGuard V2 is now using SMPTE 2022-7 to expand its capabilities beyond analysis of the video transport stream inside the overall UDP stream. It can view and check the RTP header and synchronise and switch according to that. This allows additional switching capabilities, analysing any service that’s delivered over RTP. For example, this could be OTT or SDI-over-IP services/ technology, which are likely to be the two main applications. It is scalable from one to six modules in 1RU with daisy chaining options, and is capable of managing 396 IP Streams in 1RU. Visit www.enensys.com

Embracing the cloud ¸PRISMON The convergent monitoring solution for broadcast and streaming media R&S®PRISMON is designed from the ground up to allow broadcast and media service providers to successfully solve challenges. ❙ Multistandard support for unmatched versatility (e.g. AIMS /SMPTE 2110, ASPEN, DASH, ...) ❙ Future-proof, fully software defined solution for innovative monitoring features ❙ Cloud-enabled and orchestration-ready design for dynamic and flexible resource allocation Available on scalable IT hardware platforms and for cloud deployments.

CONTENT DELIVERY

www.rohde-schwarz.com/ad/prismon sales.australia@rohde-schwarz.com

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CONTENT DELIVERY

IP Gateways from Crystal Vision STAND 2.C28 AT IBC2017 will see the formal release of Crystal Vision’s IP gateways, which combine purpose-built video over IP hardware with software-based processing. With features including status monitoring, clean switching, sophisticated synchronising (including PTP support), delays and IP traffic shaping, the gateways initially support the SMPTE 2022-6 and SMPTE 2022-7 protocols and can be reconfigured via a software upgrade to support SMPTE 2110 essence-based protocols.

The introduction of the Vision 1 1RU frame brings further flexibility to the Vision frame system, providing housing for up to four cards and incorporating numerous signal outputs, dual reference syncs distributed from the frame, and the ability to be used with higher bandwidth signals such as IP and 4K. The Safire 3 real-time chroma keyer also gets improved live operation from the VisionPanel control panel.

Crystal Vision’s IP gateways are for integrating SDI into an IP environment, combining video over IP hardware with software-based processing and features including clean switching between flows, sophisticated synchronising (including PTP support), unicast and multicast transmission support, signal status monitoring, up to ten frames of video delay, and IP traffic shaping. The SDI6-IP-VF encapsulates baseband SDI to IP to allow the transport of uncompressed video over 10GbE IP networks. It converts up to six HD/SD or three 3Gb/s SDI input connections and allows assignment of the converted flows to either of the two output 10GbE links.

Alternatively, the second 10GbE link can be configured for SMPTE 2022-7 redundant streaming.

The IP-SDI6-VF de-encapsulates baseband SDI from 10GbE IP networks. It converts to six HD/SD or three 3Gb/s SDI output connections, with flexible assignment of the converted flows from either of the two input 10GbE links.

Alternatively, the second 10GbE link can be configured for SMPTE 2022-7 redundant input streaming.

Broadcasters are discovering they have all sorts of new issues to solve using IP, and the unique IP-IP-VF IP to IP translator – which features four bidirectional 10GbE IP network interfaces – is suitable for applications where network settings need to be changed, such as network address, multicast to unicast and protocol translation.

Initially supporting the SMPTE 2022-6 and SMPTE 2022-7 protocols which are suitable for long-haul and pass-through applications, their flexible platform means that the IP gateways and IP to IP translator can be reconfigured via a software upgrade for new standards as they emerge, including essence-based SMPTE 2110.

Visit www.crystalvision.tv

Ericsson Accelerates HDR Deployment AT IBC2017, ERICSSON is launching a new standard dynamic range (SDR) to high dynamic range (HDR) conversion toolset that enables broadcasters to meet the requirements of delivering a high quality HDR live TV service.

Relying on the television to switch between HDR to SDR to HDR in response to a transmitted signalling has significant quality risks as the television may take time to switch, or fail to switch at all (if there is a missing or incorrect signal). This is especially risky with multiple SDR and HDR changeover points happening in rapid succession.

It is this uncertainty over switching which becomes an issue for the reputation of the HDR channel with consumers and also causes issues with the HDR content owners.

The Ericsson solution is introduced during encoding in the head-end and uses a process known as inverse tone mapping (ITM), which rebalances the chroma and luma of the SDR content so it can be shown back to back with HDR content, without any need for the HDR TV to switch.

Using Ericsson’s ITM algorithm in the head-end encoders means HDR service providers have full control over displaying both SDR and HDR. This approach empowers service providers rather than relying on TV vendors and is less disruptive than having to deploy a completely new generation of third-party set-top boxes.

Visit www.ericsson.com

All-in-One Live Production and Playout AT IBC2017, CINEGY will showcase the new Cinegy TV Pack, the latest version of Cinegy Capture PRO, and an advanced Cinegy Multiviewer, the most efficient multiviewer the company has ever produced.

Cinegy TV Pack is an all-in-one live production and playout package that provides everything needed to get a pixel-perfect TV channel on air at an affordable price.

Whether purchased outright or with an annual subscription, Cinegy TV Pack does everything in a software-only environment. The pack includes Cinegy Air PRO plus Cinegy Type for real-time playout and multi-channel automation, including channel branding and CG, basic Cinegy Capture PRO for real-time ingest, Cinegy Multiviewer for multi-channel video monitoring, Cinegy Live for mixing and cutting, and Cinegy Convert for transcoding and batch processing.

CONTENT DELIVERY

New Cinegy Multiviewer software couples OTT servers with mid-range NVIDIA graphics cards to decode up to 24 channels of HD. This is because of the multiviewer software’s ability to offload most processing onto the NVIDIA GPU.

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This is paralleled with improvements to Cinegy Desktop, a production tool that

Cinegy Multiviewer can also share RAM with all relevant Cinegy software running on the same machine, creating a machine-wide frame buffer that can share output with any Cinegy software application running on the same system.

provides real-time access to media in Cinegy Archive, along with a suite of tools

Cinegy Capture PRO is multi-channel, multi-format real-time ingest software that enables real-time content streams to be recorded and made accessible quickly. Cinegy Capture PRO now includes native ProRes support, Dolby Digital and Dolby E decoding, DANIEL2 codec support and many other enhancements.

Cinegy Desktop now includes upgrades to the effects available to the timeline

for logging and editing, and the ability to import and export media to third-party non-linear editing and automation systems. sub-system, along with a new GUI and native x64 support.

Visit www.cinegy.com

CONTENT DELIVERY

VITEC Solves Streaming Hurdles

VITEC will showcase its point-to-point HEVC streaming solution – the MGW Ace. The encoder and decoder is an entirely portable, hardware-based 4:2:2 10-bit HEVC encode/decode solution. Using VITEC’s proprietary secondgeneration HEVC codec (Gen2), the powerful yet compact MGW Ace encoder provides an unmatched level of video quality. In addition to offering HEVC bandwidth compression, the MGW Ace solution provides H.264 encoding/ decoding capabilities to ensure a smooth transition to the HEVC world.

Offering a selection of I/Os and low power consumption using VITEC’s HEVC compression chip, it’s a solution for streaming video, audio, and KLV metadata while in the field or on the move. For point-to-point applications, when paired with MGW Ace decoder the solution delivers bandwidth-efficient, error-free video streaming over any network, including the internet, with embedded ProMPEG FEC or Zixi stream protection technologies.

In addition, VITEC will demonstrate its 4K HEVC encoding and decoding solution. Using the latest HEVC compression, the MGW Vision delivers an UHD IPTV contribution solution for several markets, including broadcast, in-house IPTV, and enterprise – anywhere UHD is critical. This IPTV encoder is designed with support for 4:2:2 10-bits.

VITEC will also display its EZ TV IPTV and Digital Signage Platform, a streaming solution for a range of organisations and applications. Most recently, it was selected as the platform of choice for a growing number of sports arenas as well as enterprise facilities, including Notre Dame’s Campus Crossroads Project, the Kansas City Royals, the Pro Football Hall of Fame, and the European Space Agency.

VITEC’s EZ TV allows any organisation to centrally manage IPTV and signage content from a single interface, and automate video streaming workflows and signage campaigns over existing IP infrastructures. VITEC’s hardware-based IPTV and signage end-points benefit users by providing low-latency playback, real-time updating of the electronic program guide, video-on-demand content with new assets updating while events take place, time-shifted TV, live video access from PCs and mobile devices, and user-controlled mosaic viewing of multiple channels. The digital signage features offer easy signage authoring, administration, and analytics.

During IBC2017 attendees will also see VITEC’s PX Media Library, a metasolution that enables media professionals to tag, edit, manage, organise, and share media files. PX Media Library streamlines media management and allows users to take advantage of proven solutions for sports, content distribution, broadcast, film festival, scientific institute, and government applications.

Visit www.vitec.com

CONTENT DELIVERY

DURING IBC2017, on stand 7.G23, VITEC will showcase its new generation of the HEVC Gen2 codec for the MGW Ace 4:2:2 10-bit HEVC encoder and MGW Ace decoder solution, the 4K HEVC MGW Vision encoder, the broadcast-grade IPTV and digital signage platform, EZ TV, and the PX Media Library media management solution.

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CLASSIFIEDS + EVENTS Some say that the future is uncertain. But with Magna, it couldn’t be clearer. For almost 50 years, Magna has been Asia Pacific’s leading systems integrator for Broadcast Media, Pay TV and Service Providers. With Magna, you’ll always know what’s beyond the horizon. We’ll get you there securely – we owe it to our reputation.

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POSITIONS VACANT

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You will also understand the content supply chain from production through distribution and be able to demonstrate significant experience in selling consultation and professional services, broadcast services, OTT, MAM and enterprise level media services.

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If all of this sounds like you and you want to join one of the most well established and fastest growing companies in the broadcast industry email DBlackett@magnasys.tv with the subject line

• Establish sales objectives and quotas (forecasting and developing annual sales quotas) • Employ strategic selling including on-the-fly needs analysis • Develop new business In terms of professional experience and qualifications, Magna’s offerings are

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LOOKING role in the broadcast and media PMS 356 FOR AN EXCITING PMS Cooland Graychallenging 8 industry? Techtel is a well-respected provider of solutions in this space and we are currently looking for staff in three key disciplines as we expand our operations in Australia, New Zealand and SE Asia: • Sales

Apart from a competitive remuneration package, including a base salary plus uncapped commission and all the support you need to achieve your best, there is also a huge opportunity for advancement, training, exposure to the best state-of- the-art products, attendance at industry events, national and international trade shows, plus much more.

If you have the necessary skills and drive, and are interested to pursue a career in this vibrant industry please call us on 02 9906 1488 or send your CV to greatjobopportunities@techtel.com.au.

• Support

Techtel Pty Ltd, 26 Whiting Street,

• Software Integration

Artarmon, NSW 2064, Australia

CLASSIFIEDS + EVENTS

Advertiser Index

64

AJA…………………...………………………..3 Amber Technology…...……………………….5 AV Group Technologies…………….15, 59 Avid Technology…..………………………...33 Blackmagic Design…………………………..9 Dejero…………………………………….11 EMC…...…………………………………39

Fujinon Fijifilm……………….60,61,62,63 Grass Valley………………………………17,31 Harmonic Inc…………………………………35 IBC Show………………………………………IBC IHSE GmbH Asia Pacific…………………26 IRT Communications………………………..4 Jands………………………………………..49

Lawo………………………………………..29 Magna Systems & Engineering…......13 MediaProxy..…………………………….43 Ooyala………………………………………IFC Professional Audio & Television.....FC,6,30 Quantum…......…………………………OBC Radio Alive……………………………………53

Riedel…………………………………………27 Rohde & Schwarz.....……………………….57 Ross Video...…………………………………..25 Seagate…..…………………………………45 Snell Advanced Media...…………………41 Sony Australia..………………………………19 Techtel...………………………………….….7

Register Now! Conference 14-18 September 2017 Exhibition 15-19 September 2017

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