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IBC2017 – Amsterdam RAI Exhibition and Convention Centre…. page 12.

REGULARS 02 EDITOR’S WELCOME

48 SOCIAL PAGES

03 NEWS iflix Secures US$133M Funding,

Changes at the Top for Media Prima, Joe Welch Named Chairman of CASBAA Board, Ross Targets 12G, IP and APAC Expansion, Gearhouse Brings Global Perspective to Systems Integration

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FEATURES 10 TAKING STOCK Blue Ant Media Acquires RACAT Group

11 STANDARDS SMPTE Publishes Report on Time Code Standard, VR Headset Standard.

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32 POST-PRODUCTION Disrupting Audio

16 ACQUISITION Joffe Films Kenya

36 AUDIO Flexible Embedder/De-embedder

Beautiful at Europe’s Biggest Broadcast Conference and Exhibition.

with Atomos Shogun Inferno 4K, TV Tokyo Uses Blackmagic, Ross Video CamBots, New Amira Multicam, Leica Cine MacroLux Family Grows By Two, Convergent Design Support for Panasonic VariCam. the Spotlight, Intel to Bring 360° VR, 5G and Drones to Olympic Games, EVS – Guiding a Smart Transition to IP, The Gold Coast Diaries – Chapter 5.

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Server Unveiled, Archion Unveil Integrated SSD and HDD Editstor Solutions, ReCAP Project Debuts Proof Of Concept AI, Pebble Beach and Blue Lucy Beluga.

12 IBC PREVIEW The Bold and the

20 SPORTSCASTING Cineo Puts MavX in

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28 MEDIA IN THE CLOUD Facilis Hub

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Post, New Radeon Pro Duo, TVLogic OLED Monitors.

for Crystal Vision’s Frame System, Riedel Does the Bolero.

40 RADIO India Adds Transmitters to

World’s Largest DRM Project, Automotive Industry Embraces DAB+ Radio, Nautel Transmitter Monitoring App.

42 CONTENT DELIVERY The Mediacorp

Experience, Talking the Talk – The Entertainment Brain of Conversational Search, Making OTT Viable.

NEWS OPERATIONS ChyronHego CAMIO 4.3 Graphic Asset Management, Reuters Connect – Content Marketplace, Ross Video Frontier Virtual Production.

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EDITOR’S WELCOME

Diving Into Immersion

By Phil Sandberg

SHAPING UP TO BE more than a fad, there is growing momentum behind so-called immersive technologies such as Virtual Reality, Augmented Reality, 360° video, etc.

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 APAC-based 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 nonentertainment application that will also add to VRs adoption and longevity.

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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 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. 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

NOW Y OUKNOW WHOT OCONT ACT

NEWS + PEOPLE

WANTT ODOOTTL I VEBROADCAS TI N4K360°3DVR?

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NEWS + PEOPLE PlayBox AirBox Neo Powers Top TV gives us the opportunity to add extra facilities or extra channels very easily if or when required in the future. And we can also expand into HD or UHD at any time. Central Solution has provided excellent support from pre-sale demonstrations right through to post-installation training. Post-sale support is just a phone call away, augmented by online support from PlayBox Technology itself.”

THAI TELEVISION BROADCASTER E-San Banhouw has chosen a PlayBox Technology AirBox Neo as the core playout system for a new channel, Top TV, transmitting on the Thaicom satellite. Top TV will focus primarily on music programmes by performers in Thailand’s north-eastern region. It will air on PSI channel 140. The system was configured and integrated by Central Solution, one of Thailand’s leading broadcast systems integrators.

“We were looking for a compact channel-in-a-box solution that could be used on a largely automated basis while retaining the ability to over-ride with live content whenever that facility was needed,” commented E-San Banhouw Technical Manager, Watit Touggern. “The selected system also needed to be easy to learn and, once learnt, efficient to operate. AirBox Neo from PlayBox Technology matched our requirements exactly. Being essentially modular, it

“The system supplied for Top TV includes TitleBox Neo graphics and titling,” added Central Solution Project Manager Apichart Prugtayanon. “This allows the production team to overlay titles, credits and text across the video content or crawl text in a dedicated sub-window. Operators can also produce still or animated graphics such as logos and position these where or when required.”

Supporting UHD, HD and SD playout, AirBox Neo is designed for 24/7 unattended operation and can also be operated manually, including the ability to handle live-to-air throughput. Parallel outputs enable the running of two or more SDI or IP streaming SD/HD feeds simultaneously. Changes to the playlist can be made during an on-air session. Clips in the playlist, except the one which is currently playing, can be trimmed, edited or repositioned. Playback order can be performed seamlessly without stopping the current playout session. Live productions are facilitated by a live show clipboard which allows insertion and/ or execution of various events or live streams.

Visit https://playboxtechnology.com and www.centralsolution.co.th

Vale Mark Parlett THE ASIA-PACIFIC broadcast sector has been saddened by the recent, sudden

Mark originally joined Quantel in 1980, after

passing of industry veteran Mark Parlett.

graduating with a Bsc Hons in Physics from

Over the past 11 years, Mark headed up his own consultancy, Hong Kong-based

London’s Imperial College. He worked on a

Detail Solutions, providing high level technology consulting and training to broadcast media organisations. Prior to that, he held the position of Managing

number of leading-edge developments including Synchronisers, DVEs, Decoders and Paint systems.

Director with Snell & Wilcox Asia Pacific. He also served as Managing Director

His work on decoders was awarded two patents.

of Quantel Asia Pacific, Engineering Director with Quantel Japan, and Research

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

Engineer with Quantel in the UK.

colleagues.

ANM Kolkata Chooses Brainstorm InfinitySet BRAINSTORM, the provider of real-time 3D graphics and virtual set solutions, recently announced the installation of a new InfinitySet virtual studio system in ANM News TV station in Kolkata, as part of its ongoing expansion into the region.

ANM News will employ InfinitySet’s unmatched versatility and unique features to produce high quality News and Sports coverage programs without having to invest in costly physical sets. InfinitySet is the most advanced virtual set and augmented reality solution, and the first product taking advantage of the new and patented TrackFree technology, which allows for industry-first features

such as 3D Presenter, TeleTransporter or HandsTracking. InfinitySet’s advanced features have been awarded with IABM’s Game Changer Award and many other recognitions.

“This installation reinforces Brainstorm’s commitment on expanding into the Indian market”, said David Alexander, Brainstorm’s Commercial Director.

“Together with our trusted partner AGIV India, Brainstorm will keep up the good work in the area and ensure that both InfinitySet and Aston, the designer’s choice for 3G graphics and CG, will become a staple in the region.”

Visit www.brainstorm3d.com

Masstech and SGL have joined forces to become the broadcast and media industry’s most powerful global provider of solutions for managing valuable media assets.

NEWS + PEOPLE

BOOTH 7.J15T

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Join us at IBC Show booth 7.J15T and discover the evolution of SGL’s FlashNet content management system and Masstech’s MassStore media management and workflow platform.

Masstech: Masstech: T: +1 T: +1 5905 5905 946 946 5700 5700 | E: | info@masstech.com E: info@masstech.com SGL:SGL: T: +1 T:513 +61618 415088619 6108 | E:| sales@sglbroadcast.com E: sales@sglbroadcast.com

HELO: Stream, Record and Deliver Open Up a New World of H.264 Streaming Workflows HELO is AJA’s new H.264 streaming and recording stand-alone appliance bringing both SDI and HDMI I/O into a single device. Simultaneously stream out to a content delivery network (CDN) as well as encode and record high quality H.264 files to SD cards, USB drives or network based storage.

HELO offers a range of professional workflow options with both 3G-SDI and HDMI inputs and outputs, and the power to handle up to 1080p 60 recording formats. Small and portable, HELO offers dedicated record and stream buttons, and a web-based user interface for easy configuration.

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Live means now. Live means pressure.

Top performance. Top results.

A USB connection and robust web browser based UI allows easy, advance setup of a CDN connection.

HELO offers a dedicated record button right on the front of the device for immediate recording.

HELO encodes to H.264/MPEG-4 ensuring bandwidth efficiencies with support for a wide range of file types.

When you’re ready to stream, press one button and deliver media with flexible support options.

Plug in an NTFS 3.1 or FAT32 formatted USB drive, SD card or connected network storage, and you’re good to go.

Wide ranging compatibility: from tablets to smartphones or desktops, no translation necessary.

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NEWS + PEOPLE

Changes at the Top for Media Prima MALAYSIA’S MEDIA PRIMA BERHAD has seen a changing of the guard with Dato’ Sri Amrin Awaluddin ending his tenure as Group Managing Director of the company, and Encik Mohamad Ariff Ibrahim stepping down from his position as Group Chief Financial Officer.

Following the resignations, Media Prima has announced the appointment of Datuk Kamal Khalid, Group Chief Operating Officer (and Group Managing Director-Designate), Media Prima Berhad, and Puan Farnida Ngah, Group Chief Financial Officer – Designate, Media Prima Berhad.

Dato’ Sri Amrin remains on the Board of Media Prima in the role of Executive Director to ensure a smooth leadership transition for the Group.

Mr Ibrahim, meanwhile, remains with Media Prima as Director at the Group Managing Director’s Office until the 31st of December 2017.

Media Prima Berhad has also announced the resignation of Datuk Seri FD Iskandar as Independent Non-Executive Group Chairman of Media Prima.

The announcement follows Iskandar’s decision to step down to focus on other business obligations.

Dato’ Sri Amrin was appointed as the Group Managing Director in 2009.

He had served in several key positions including Chief Financial Officer of Sistem Televisyen Malaysia Berhad (STMB) in 2001, Group Chief Financial Officer of Media Prima Berhad in 2003, Chief Executive Officer of Natseven TV Sdn Bhd in 2006 and Chief Executive Officer of STMB in January 2008.

Encik Mohamad Ariff, meanwhile, had been an integral member of Media Prima’s Senior Management team since 2009.

Following Iskandar’s announcement, Media Prima has named Tan Sri Dato’ Sri Ismee Haji Ismail as Independent Non-Executive Chairman of Media Prima effective as of August 2017. Tan Sri Ismee is formerly the Group Managing Director and Chief Executive Officer of the Lembaga Tabung Haji pilgrims fund board. He is also a former chairman of Malaysia’s first Islamic television station, TV AlHijrah.

Visit www.mediaprima.com.my

Joe Welch Named Chairman of CASBAA Board THE CABLE AND SATELLITE Broadcasting Association of Asia (CASBAA) has announced that Joe Welch has been named Chairman of its Board of Directors.

Joe Welch is 21st Century Fox’s Senior Vice President of Government Relations for the Asia Pacific region. He is responsible for supporting the public policy and regulatory advocacy efforts of 21st Century Fox’s business units across the region. Previously, Welch served as MCI WorldCom’s Asia Director of Government Affairs and earlier was an attorney at the U.S. Federal Communications Commission in Washington, D.C.

“I’m thankful to be taking on this role at a time when we have a set of positive options at hand, many now in progress, that will make CASBAA sustainable and relevant for the long term,” Welch said. “For some time now, CASBAA has been moving to secure the ability to deliver ‘twin pillar’ services for members: advocacy and anti-piracy. I look forward to working together with the Board and the Executive Office in driving an effective delivery of these pillars while continuing our mission to inform and connect our members.”

Welch replaces outgoing Director Jonathan Spink of HBO Asia.

Visit www.casbaa.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.

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

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.

NEWS + PEOPLE

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NEWS + PEOPLE

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

Gearhouse Brings Global Perspective to Systems Integration

Its service offering includes outside broadcasts, flyaway equipment, rental, and systems integration and direct sales. Headquartered in the UK, the company has offices in Australia (and a fleet of OB vehicles), Doha, Paris, and Los Angeles.

Speaking to C+T at this year’s BroadcastAsia show, Gearhouse’s Systems Integration Manager, Martin Paskin said, “About four years ago, we built the studio facilities at ASTRO in Kuala Lumpur, so we’re here promoting ourselves, systems integration, building studios, outside broadcast vehicles, play-out centres, media asset management workflows, and IP. “We’re working quite heavily with a number of manufacturers to do proof of concepts with various IP products and getting experience on, not just the manufacturers’ products, but also how to manage and orchestrate IPs, IT switchers, IP switchers, and controlling them properly.

“At the moment, a lot of our in-house facility is predominantly traditional SDI-based, that’s because we have the fly-pack equipment, but we do have quite a lot of IP experience in delivery. One of the companies we’re working with is called Perry and they’ve built a virtualised platform, so you have the hardware and then you put on the processing that you need as and when you need it, and they’re one of the leading companies at the moment with virtualised processing. In the UK, we’re doing a lot of proof concepts and demonstrating this to a number of companies who are very interested in it and we’re looking at how we can roll that out as part of the systems integration globally.”

When it comes to the logistics of regional projects, Paskin says being headquartered in the UK actually has advantages in that the company’s technical team is in close proximity to manufacturers supplying equipment for those projects.

“We can get good technical support to pre-build in our facility in Watford in the UK, and then ship out locally and work with local people.”

“We draw upon the experience of both the main companies and from local where we need to, and bring that together. In terms of logistics around the world, we have to meet very tight sporting Martin Paskin, Systems Integration Manager, deadlines for many of our Gearhouse Broadcast. flyaway OB businesses all around the world, so we have a fantastic logistics department, a fantastic taxation department, and they make sure that we get things where they’re needed, when they’re needed, and that helps the Systems Integration team.

“We are currently building a studio facility in South Africa, so we’re able to part-build and then take that facility out and build it in where it’s going to end up.

“We’re a large global organisation, we have systems integration but, equally, we are actually a broadcaster in that we help broadcasters with productions.

Because we understand broadcast, we can put that into our systems integration. We’ve got specialists who are out using certain bits of video kit, certain bits of audio kit, that are actually out in the field in the US, in Australia, and in the UK, so we can draw upon that to help.”

Visit www.gearhousebroadcast.com.

NEWS + PEOPLE

LOOKING TO BUILD upon projects such as studio facilities for Malaysian pay operator ASTRO and Australia’s Hillsong Church, international services provider Gearhouse Broadcast is boosting its presence in the Asia-Pacific.

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TAKING STOCK Moves in the business of content + technology

www.content-technology.com/mediabusiness

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

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

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

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

TAKING STOCK

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

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Effective as of the 1st of September, Blue Ant Media will appoint Ward Platt, current RACAT consultant, to a newly created role, CEO, Kids and Global Networks. Platt’s previous leadership roles include COO positions at National Geographic Partners and Fox International Channels and CEO of National Geographic Channels International from 2013-2015.

Platt will be responsible for crafting Blue Ant Media’s global linear and streaming video channels strategy outside of Canada and New Zealand.

Operating from Los Angeles, Platt will join Blue Ant Media’s executive management team and will report to Raja Khanna, CEO, Television and Digital, Blue Ant Media.

NHNZ, based in Dunedin, New Zealand, with an office in Beijing, has been in operation for 40 years. NHNZ’s storytelling prowess has been recognised with more than 250 international awards including

Singapore-based Beach House Pictures is one of Asia’s largest independent production companies, with offices in Beijing and Taipei.

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

The company launched in 2005 and was co-founded by Managing Director, Jocelyn Little and Creative Director, Donovan Chan.

Northern Pictures, based in Sydney, Australia, is a producer of original content for both the Australian and international markets.

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

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

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

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

TECHNICAL STANDARDS www.content-technology.com/standards

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

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

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

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

The universality of USB Type-C eliminates proprietary protocols and

connectors, which is beneficial for the entire VR ecosystem.

“VR solutions available in the market today are all proprietary so they don’t interoperate with each other. DisplayPort over USB-C carries the power, data, and high-definition video/audio needed to drive a high-quality VR headset in a single standard cable,” said Dr. Ning Zhu, Chief Technology Officer for Analogix.

“We are going to see a whole new category of innovative high-performance, lightweight, and affordable HMDs come to market powered by a connected VR smartphone or PC. The ICVR connectivity standard allows VR HMD makers to tap into the existing USB Type-C ecosystem, benefiting from mobile devices that already support DisplayPort over USB-C and accessories such as extended cables and adapters to older interfaces.”

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

Visit www.icvrllc.org

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

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

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

of handling SD-SDI, HD-SDI, and 3G-SDI. Today the company’s product range includes the Qx, the first automatic SMPTE-compliance verification instrument for UHDTV1/4K and UHDTV2/8K and supporting SMPTE 20226 over 10 GbE for IP. ProSiebenSat.1 Produktion, a division of German media giant ProSiebenSat.1 Media SE, provides internal and external customers with technical innovations and services for the production, archiving, and multimedia distribution of television content. Its portfolio includes studio production and postproduction, cross-company content management, and a full broadcasting service for over 15 TV stations. The company also provides the entire technical infrastructure for ProSiebenSat.1.

Visit http://aimsalliance.org

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

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

The MXF Time Code Study Report focuses on the current usage of Time Code within the MXF file format. Since the creation of MXF in 2004, Time Code has been stored within MXF files in many ways – sometimes as metadata, and sometimes as actual Time Code values from tape or streaming. This report is the result of two years spent investigating current MXF Time Code practices and findings. The report considers applications that need to write MXF files with Time Code and applications that need to read MXF files containing Time Code. It examines the three core requirements highlighted by the study group: MXF should be able to store multiple Time Code values per frame, and they should all be identical, store multiple Time Code values per frame, though they may be from different sources and have different values, and include the appropriate Time Code in audio-only files.

Visit www.smpte.org

TECHNICAL STANDARDS

SMPTE Publishes Key Reports on Time Code Standard

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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.

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,

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

CONFERENCE 27 – 30 November 2017 EXHIBITION 28 – 30 November 2017 BITEC, Bangkok, Thailand

THE CELEBRATION OF LIFE & TECHNOLOGY The 10th ACM SIGGRAPH Conference and Exhibition on Computer Graphics and Interactive Techniques in Asia

SA2017.SIGGRAPH.ORG/REGISTRATION

20% Organized by

Sponsored by

SA2017.SIGGRAPH.ORG

IBC 2017 PREVIEW

Register online by 15 October 2017, & enjoy early bird discounts of up to

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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.

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

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.

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

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.

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ACQUISITION

ACQUISITION

www.content-technology.com/acquisition

TV Tokyo Uses URSA Mini 4.6K, Resolve 14 and Resolve Mini Panel

BLACKMAGIC DESIGN RECENTLY announced that TV Tokyo’s new drama series ‘Izakaya Fuji’, which began airing this July, was shot using two Blackmagic URSA Mini 4.6Ks as the A and B cameras, as well as Blackmagic’s Video Assist and Video Assist 4K, and SmartView 4K. On-set and final grading for the series was done using DaVinci Resolve Studio 14 and the DaVinci Resolve Mini Panel.

project I made an LUT at the test shoot so that the shooting team could use it on-set. We knew we would use DaVinci Resolve for grading so it was beneficial to make a look for the project using the DaVinci Resolve and camera filters on set, so the DP and the colourist could share the same goal of how the picture would look. It was also a big advantage that we could apply the LUT to URSA Mini directly.”

The drama series is based on the novel depicting the life of a man named Oyaji who ran the Izakaya Fuji, a Japanese style tapas restaurant in Tokyo and who passed away in 2014. Kento Nagayama stars as young actor, Eiichi Nishio, while many well known actors lend cameo appearances as regular customers of ‘Izakaya Fuji’. For every episode the producers cast a new and famous guest actor, such as Ryoko Shinohara or Ren Osugi. The story depicts Eiich as he struggles to pursue his dream of becoming an actor by virtue of meeting those celebrity customers and hearing the story of Oyaji.

Imai continued, “By applying the LUT, if you send the camera output to monitor you can see an image that’s very close to the final look. I can disable the LUT on the viewfinder while other monitors show the image with the LUT, so it is very flexible. It was easier for the lighting staff to adjust lighting as he could check with the look and see it is close to final grade.

The drama had been available via Amazon Prime Video a week before the official TV Tokyo on-air date. Director of photography for the series, Takahiro Imai said. “We had to deliver the master for Amazon Prime Video as Ultra HD 4K, so we needed something that could shoot more than 4K resolution. Most of the cameras on the market in that category cannot shoot RAW inside the camera so it usually requires a recorder. We were looking for a camera with good picture quality and that was easy to handle, and we wanted to use two of them. With limited budget the URSA Mini 4.6K was the only choice that met our requirements.”

ACQUISITION

For the production each URSA Mini 4.6K was equipped with URSA Mini Viewfinders and Shoulder Mount Kits, as well as Video Assist for use as external monitor for camera-A. The SmartView 4K was used to monitor the A-camera’s output, with the Video Assist 4K used to monitor the B-camera’s output.

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Imai added, “We made the set look very similar to the interior of the actual ‘Fuji’. It is so small that you probably can fit about 10 people. The URSA Mini was very handy as it could be taken into this very small space. We also had a couple of shoots with a gimbal. As the camera was already compact and easy to mount on the gimbal we did not have to bring other small cameras for those shoots.”

When test shooting a dedicated LUT was made for the series and used during the shooting. Genta Tamaki, data manager, online editor and colourist for the drama ‘Interceptor’ said, “As we did not have a DIT for this

“With base ISO set to 800 I could shoot very clean images. Even though it was in a studio shoot, most of lighting sources are from the regular lights used on the set, not film shooting lights. So being able to capture clean image with ISO800 was a big help for our shoot. We fully used the cameras for a month and never had trouble. It was amazing what a camera with a price of $6000 can do.”

For grading, DaVinci Resolve 14 and DaVinci Mini Panel were used. Genta Tamaki added, “We had to deliver the Ultra HD ProRes master for Amazon Prime, so the performance speed of Resolve 14 was a big help for me.

The smoothness of playback of Ultra HD 30P timeline could not compare with the older version. I made a collaboration system with two Macs and a Linux machine. My assistant used one Mac and I mainly used Linux because it’s more powerful. Another Mac was used for rendering ProRes files or for me to use Mac only software. It was very effective how I could leave rendering to one machine while I was working on a new episode.

“I also had my assistant to use Fusion via Fusion Connect. It was to erase phone numbers on some shots which we could not show, and to draw complicated masks which were quicker and easier to track in Fusion.

“As we used DaVinci Resolve throughout the project, from shooting to post production, we did not worry that the look would change. We spent a lot of time to make the look on-set, so in post we did not have to spend extra time doing that and were able to concentrate on matching shots in a timeline and adjusting contrast. Also, by using the Mini Panel, I could control the RAW setting with physical knob controls. It was easy to use,” Tamaki concluded.

Visit www.blackmagicdesign.com

ACQUISITION

New Amira Multicam Looks and Features THE NEW AMIRA Software Update Package (SUP) 5.0 further refines the camera’s Multicam mode – a flexible, open interface for multi-camera broadcast applications.

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

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

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

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

Any Transmission System To accommodate customers wanting to source as many elements as possible from one vendor, DTS transmission system components that have been optimised for AMIRA Multicam are available directly from ARRI sales centres.

The fibre transmission system from DTS is an attractive solution, however, it is not the only transmission system that can be used.

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

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

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

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

prompters has dropped, many budget-conscious studios have opted for five or six pan/tilt heads on tripods, unable to afford the higher cost of a free-roaming pedestal. However, they were forced to sacrifice flexibility and creativity by giving up the floor and elevation movements afforded by fully robotic pedestals, while creating congestion in the studio. With the breakthrough pricing of the CamBot 600XY, the total cost of three camera chains based on 600XY-S2 pedestals will often be less than a comparable setup based on five or six robotic pan/tilt heads on tripods.

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

With accuracy provided by the differential steering technology incorporated in CamBot, the 600XY pedestals are also suitable for virtual studios and augmented reality. Tracking data is included with all three members of the CamBot free-roaming pedestal series, at no extra charge. This makes CamBot one of the central elements of Virtual Solutions packages from Ross Video.

As with all Ross Robotics, the CamBot 600XY series integrates tightly with automated production control systems such as Ross Overdrive, as well as other third party systems.

Visit www.rossvideo.com

Convergent Design Support for Panasonic VariCam

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

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

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

ACQUISITION

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

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ACQUISITION

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

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

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

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

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

Visit www.azilpix.com

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

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

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

“Adding the Cine MacroLux +2 was a must for completing this set. Even though all of these diopters can be stacked and combined, our clients doing macro work needed more flexibility. The +2 provides that to them, because optically speaking, combining two +1s does not exactly equal +2. It’s closer to +1.7.”

Visit http://cw-sonderoptic.com

“Close focus wide angle cinematography is a very popular

ACQUISITION

Schneider Optics Expands Full and Split Diopter Lineup

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

Made of the finest optical glass, Schneider full and split-field diopters utilise

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

also preserves proper colour, contrast, and overall image quality. These drop-in

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

a hard, anti-reflective coating on both front and rear surfaces to measurably reduce flare and light-loss so there’s no need for exposure compensation. This diopter lenses feature rugged black anodised aluminium rings and are protected by a unique mounting technique that ensures structural integrity and consistent performance, even in the harshest production environments over the long term.

Schneider 138mm full and split-field diopters are now available in strengths of +⅛, +¼, +½, +¾, +1, +2, and +3 from top equipment dealers worldwide. Calculation of strength depends on focal length, focus setting, object distance, and size.

Visit www.schneideroptics.com

ACQUISITION

MSE to Introduce ROVER – New Smartphone Camera Cage body, and double as easel arms, suitable for low angle shooting, table-top viewing, and editing.

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

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

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

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

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

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

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

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

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

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

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

• Repositionable and stackable dual textured handles.

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

Visit https://mserover.com

Cineo Puts MavX in the Spotlight

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

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

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

Visit www.cineolighting.com

Core SWX’s TorchLED Bolt 250 Shines

PAG’s Compact Gold Mount Charger and PowerHub

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

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

The TL-BT250 offers users wireless control and adjustment of light settings from up to 76 metres (non-line of sight) with its dedicated nine-channel remote control.

It also features a magnetic diffusion filter that allows users to control on/off, select colour temperature and adjust light intensity. Users can also bank up to 10 TL-BT250 lights per channel for unified control during a shoot.

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

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

The PAGlink PowerHub provides multiple outputs for 12V camera accessories. It’s designed to be used between the two PAGlink Gold Mount batteries, powering your camera and accessories simultaneously while retaining hot-swap capability. It’s also compatible with the PL94 and PL150 PAGlink Gold Mount models.

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

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

Visit www.coreswx.com

Visit www.paguk.com

ACQUISITION

CINEO LIGHTING DEBUTED its MavX color-tunable mid-power soft light at NAB. Built on the Cineo Maverick line, the MavX provides all the colour rendering and output benefits of Remote Phosphor Technology (RPT), while offering the ability to dynamically colour tune from 2700K to 6500K, with accurate presets at 3200K, 4300K and 5600K. The MavX uses passive thermal management for soundless operation, delivering a volume of light equal to a traditional 1K soft source with no colour shift or flicker. It is designed for small studio and portable applications and features the optimised output needed for film, video, and still photography. MavX supports Cineo’s photo-accurate dimming, which matches the dimming curve to camera stops. Local control is complimented by both fivepin wired and wireless DMX control.

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SPORTSCASTING Sport coverage worldwide

www.content-technology.com/sportscasting

Intel to Bring 360°, VR, 5G and Drones to Olympic Games

SPORTSCASTING

THE INTERNATIONAL OLYMPIC COMMITTEE (IOC) and Intel have announced a long-term technology partnership at an official signing ceremony in New York with IOC President Thomas Bach and Brian Krzanich, Intel’s Chief Executive Officer.

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

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

Working with the IOC, Intel’s contributions to the Olympic Movement will include technology developments that will be rolled out as the multiyear partnership evolves. These will include:

• Technological and content support for Olympic Broadcasting Services’ host broadcaster operations, as well as for the Olympic Channel, the multi-platform destination where fans can discover, engage and share in the power of sport and the excitement of the Olympic Games all year round.

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

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

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

Thomas Bach, President of the International Olympic Committee, said, “As a result of Olympic Agenda 2020, the IOC is forging ground-breaking partnerships. Intel is a world-leader in its field and we’re very excited to be working with the Intel team to drive the future of the Olympic Games through cutting-edge technology. The

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

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

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

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

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

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

Taiwan’s CTS Delivers Live HD and UHD Sports with Harmonic

SPORTSCASTING

HARMONIC ANNOUNCED THAT Taiwan’s Chinese Television System (CTS) used a video contribution and distribution (C+D) solution from Harmonic during August’s 29th Summer Universiade in Taipei, Taiwan. The Universiade is organised by the International University Sports Federation (FISU) as a worldwide multi-sports event for university athletes. Harmonic is providing CTS with a complete solution for transmitting live HD video content, as well as HEVC-encoded UHD during the grand opening and closing ceremonies, from the various sports stadiums and facilities in Taipei back to its international broadcast centre for IP network distribution to television stations, with ultra-low latency transmission.

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“The Universiade is one of the highest-profile international sporting events.

Given the extensiveness of the event, in terms of number of competitions and participating countries, it is imperative that we have a reliable solution for delivering high-quality live video coverage,” said Joe Lee, deputy manager at CTS. “Harmonic’s solutions support our entire workflow – from content reception and decoding to encoding and delivery over IP networks – ensuring pristine video quality and no delay.”

Globally, UHD TVs are tipped to reach 102.8 million units by 2020, with Asia-

Pacific representing the largest market, according to Global Industry Analysts.

Harmonic’s C+D solution enables CTS to capture crystal-clear video at the front end of the broadcast chain and deliver an immersive UHD experience with highresolution and high-frame rate technology. CTS used a complete C+D workflow solution from Harmonic that includes ViBE CP3000 contribution encoders, ViBE CP6000 contribution platforms, ViBE 4K UHD encoders, and ProView integrated receiver-decoders (IRDs). Harmonic’s solution supports HEVC UHD and AVC HD 4:2:2 10-bit compression and decompression, resulting in a low-latency/low delay contribution workflow for CTS, with nearly lossless video quality.

“Delivering live sports events in UHD transforms the viewing experience, keeping consumers happy and watching longer,” said Tony Berthaud, Vice President of Sales, APAC, at Harmonic. “Harmonic provides the most complete and innovative solution for contribution and distribution, enabling Chinese Television System to provide an unrivalled user experience by delivering lowlatency coverage of the Universiade in stunning HD and UHD formats.”

Harmonic will showcase its portfolio of video delivery solutions at IBC in Amsterdam on stand 1B20.

Visit www.harmonicinc.com

SPORTSCASTING

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SPORTSCASTING

The Gold Coast Diaries – Chapter 5

By Jeff Coleman TUESDAY MAY 23 2017.

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

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

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

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

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

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

SPORTSCASTING

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

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

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

Rio Games. Other colleagues give their insights on production, support services and bookings, with the series having become a great success.

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

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

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

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

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

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

SPORTSCASTING

SAM. Straight Talking:

Sirius 800 Series Routers

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

SPORTSCASTING

See us at IBC in the SAM hall!

(9.A01)

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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

NEWS OPERATIONS www.content-technology.com/newsoperations

News TV Indonesia Takes ChyronHego Virtual Placement MAGNA SYSTEMS & ENGINEERING has provided the ChyronHego Virtual Placement solution for Indonesia News TV (iNews TV), the national terrestrial private television station in Indonesia founded by Media Nusantara Citra (MNC).

Virtual Placement from ChyronHego turns the complex art of placing virtual graphics within live video into a quick and simple process. With no need to add any specialist camera encoders or lengthy calibration processes, virtual graphics can be placed into a scene within minutes of setup, ready for use in a multitude of applications. The system can be used in virtually any live broadcast scenario, from augmenting physical studio-sets with virtual objects or live broadcast graphics and video feeds, to much larger scenes such as sports arenas, race-tracks or landscapes.

Placement has many advantages for iNews TV because as we all know, ads produce revenue. Apart from ad spots, ad logos, time check or even in-programme advertisements, Virtual Placement offers additional revenue generators. As part of presenting this solution, we did a series of live demos and a shootout for the iNews TV production and ad sales teams. Both were a great success and as a result, iNews TV decided to commit to this exciting technology.”

Part of Virtual Placement’s appeal to iNews TV is the fact that it enables users to overlay commercial video into a programme without any tracking system or hardware calibration requirements.

With Virtual Placement iNews TV is now able to overlay commercials in TV programmes that include drama, music, entertainment and sports and they have already successfully used the system during this year’s Djarum Badminton event and the elections for Governor of Jakarta.

So added, “iNews TV looked to us for ways of creating more advertisements and thus generating more revenue. ChyronHego’s Virtual Placement was an easy choice as it has been specifically designed for that purpose. As the system is very easy to use with no need for any calibration, iNews TV needs only design the graphics using ChyronHego’s Graffiti and then simply overlay the video in any kind of live event.”

According to Magna Systems Director of Asia Operations, Patrick So, “Virtual

Visit www.magnasys.tv

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

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

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

The new Aesthetic Filters in Adobe Stock leverage Adobe Sensei to let users quickly refine search results by applying filters like Depth of Field and Vivid Color, saving time and improving workflow efficiency. Aesthetic Filters follow the debut of Adobe Stock Visual Search in November 2016, which

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

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

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

Visit www.adobe.com/au/

Ai-Media Unveils Closed Captioning using Facebook Live

Founded in 2003, Ai-Media is recognised as a leading provider of high quality live and recorded captioning services. Headquartered in Australia, the company employs 250 staff with offices in the U.S., Canada and the UK. Ai-Media’s broadcast captions are seen by millions who tune into Seven, Nine, Foxtel, BBC Worldwide, NBC Universal and Discovery. Its education captioning is provided at over 100 universities and schools around the world. Ai-Media is excited to now be providing closed captioning services to publishers who want to add live captions to Facebook Live broadcasts.

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

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

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

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

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

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

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

Visit www.ai-media.tv

NEWS OPERATIONS

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

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NEWS OPERATIONS

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

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

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

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

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

With a Cloud package, the user is given free software encoders for Mac,

Windows, iOS and Android devices. Using any Streambox software encoder the user is able to stream live HD and 360° videos in real-time, anywhere in the world, with multi-format video transcoding to web/mobile devices, or directly to Twitter/Periscope, YouTube and Facebook.

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

Rackmount encoders now have improved support for capture, encoding, and vertical ancillary data, V-ANC (non-video information such as closed captions and advertisement insertion triggers).

Streambox also offers an AES-128 video encryption add-on for rack-mount encoders/decoders and the MacOS Media Player that encrypts every video, audio, and VANC packet without adding latency to the video stream and ensures only users with an authorised key can play out an encrypted video stream.

Visit www.streambox.com

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

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

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

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

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

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

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

Visit www.rossvideo.com

NEWS OPERATIONS

Reuters Connect – Content Marketplace

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REUTERS RECENTLY ANNOUNCED the launch of Reuters Connect, a content marketplace featuring all of Reuters multimedia content, as well as an array of content from other media organisations around the world.

Reuters Connect is designed to be a faster, more intelligent way for Reuters News Agency customers to source the content they need via a single destination. Content providers on the platform include BBC, USA TODAY Sports, Omnisport, Variety, Hollywood TV, Jukin Media, Africa24, and more.

and flow of the news agenda. Clients can also continue to subscribe to

Reuters Connect is available via subscription and features a new pointsbased spending model, Reuters Points, which provides clients with the freedom to access and utilise both Reuters and partner content across multiple topics and multimedia formats. Points are available in quarterly allocations so clients can optimise their editorial spend in line with the ebb

Agency. “Because our vast trove of real-time and archive multimedia

unlimited content consumption.

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

Visit https://agency.reuters.com

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.

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

Reliably transport video from remote locations with ease EnGo Mobile Transmitter

Camera-mounted, vehicle-mounted, or wearable in a sling bag or backpack, the EnGo is ideal for news, sports coverage, and live event broadcasting from remote locations, and while in motion.

The EnGo Vehicle Mount Kit with integrated signal booster also now available.

Discover why the world’s top broadcasters rely on EnGo and Dejero’s network blending technology to reliably transport video from the field. www.dejero.com/engo

Visit us at IBC2017 Hall 12 Stand B42

NEWS OPERATIONS

Blending cellular and other available IP connections, the Dejero EnGo reliably delivers exceptional picture quality with extremely low latency–even in challenging network conditions.

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MEDIA IN THE CLOUD, STORAGE & MAM TVNZ Chooses Telestream Vantage for Transcoding, and File Delivery TELESTREAM, THE PROVIDER of digital media tools and workflow solutions, has announced a major order for its Vantage Media Processing Platform from New Zealand’s leading free to air broadcaster, Television New Zealand Limited (TVNZ).

The order sees TVNZ installing multiple nodes of Vantage Transcode Pro Connect with the Advanced Avid option which enables delivery of files and metadata into Avid Interplay. Also, Vantage Array provides peer-to-peer system management with fail-over and CPU-aware load balancing.

Throughout the project, Telestream is working closely with regional channel partner, Auckland-based Amber Technology.

The system was installed and commissioned in June.

“Our partnership with Telestream sets us up to deliver content faster to our viewers. At TVNZ, we have a range of first generation transcoding equipment from various vendors that are all at the end of their supported life. We needed to seed a new transcoding environment that can grow throughout our operations,” explained Greg Montgomery, GM Technology at TVNZ. “Telestream’s Vantage offers us a cost-effective and elegant solution – one that offers the best architecture for future growth and supports our need to use 10-bit formats such as AVC-Intra.”

The first application of Vantage within TVNZ’s broadcast operations involves its news production workflows.

“Speed is critical in our news operations environment – and that’s where our new technology will give us an edge,” said Greg Montgomery.

Vantage will be used to ingest content from various external sources including field generated content received as files from LiveU enabled cameras, Aspera delivered material from journalist’s phones and agency feeds from Reuters. AP agency feeds will be accommodated in a future integration. Vantage will be used to ingest and transcode this time-critical content and place it as quickly as possible within their Avid Interplay production system.

A key advantage for TVNZ is the integration between Telestream Vantage and Avid workflows.

“The tight integration between Vantage and Avid is important to us,” explained Greg Montgomery. “It allows us to reduce complexity within our ingest process thereby increasing efficiency and saving time in the news production process.”

In addition, it was important to TVNZ that Vantage integrates well with their media asset management (MAM) system. TVNZ employs the VizOne MAM system and, again, Telestream has worked closely with Vizrt on API level integration of the systems.

“TVNZ needed a powerful, future-proof, enterprise-scale transcode solution and this is what Vantage offers,” comments Josh McMahon, Head of Sales, Asia Pacific at Telestream. “Whatever content needs to be ingested, converted or exported, we can say ‘Vantage Does That’. We look forward to working with Greg and his team as we progress together.”

Visit www.telestream.net

Harmonic and EVS Ink OEM Agreement HARMONIC AND EVS HAVE ANNOUNCED a new OEM partnership that simplifies storage deployments in professional media environments. EVS has adopted the Harmonic MediaGrid system as its new near-line storage solution, marketing it under the XStore brand. The new XStore storage solution increases flexibility and scalability for studios, broadcast centres and major broadcasting facilities via its ‘Grow-as-you-Go’ architecture.

MEDIA IN THE CLOUD, STORAGE & MAM

“Harmonic truly understands the bandwidth and processing demands of video, and our customers will greatly benefit from the MediaGrid system’s fully distributed scale-out architecture and simplified approach to managing storage capacity,” said Nicolas Bourdon, Senior Vice President, Marketing, at EVS. “By leveraging MediaGrid technology, our next-generation XStore product provides broadcasters and other media processionals with a highly reliable, scalable, and high-performance media storage solution that meets the complex requirements of live and near-live production.”

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support the entire media asset workflow, including ingest, playout, archive, edit-in-place, transcoding and OTT adaptive bitrate streaming, with a costeffective solution that is simple to deploy, manage and scale. MediaGrid is purpose-built from the ground up to deliver high bandwidth and consistent low latency for video.

“The XStore brand has been trusted in production and sports production markets for many years, and Harmonic looks forward to bringing the powerful capabilities of MediaGrid storage to those EVS customers,” said Shahar Bar, Senior Vice President, Corporate Development, at Harmonic.

“Combining the capabilities of XStore and the MediaGrid system is a win-win situation for media professionals working in live and near-live production, as it allows them to do more; scale up or down in capacity instantly, and lower storage-related costs.”

XStore is based on a fully redundant and highly scalable architecture, with solutions starting at 28TB in 6RU and scaling up to 500TB when higher capacities are needed. With its high-density form factor, the XStore platform provides users with valuable space-saving benefits.

The XStore system will be rolled out in a number of installations including several upcoming major global sporting events in 2018. One of the first public demonstrations of the system will be at IBC2017 where the in-house TV channel, IBC TV, will use it for the production of live content throughout the show.

With MediaGrid technology powering the new XStore platform, EVS can now

Visit www.harmonicinc.com and https://evs.com

Object Matrix and Fortium Partner for Content Security OBJECT MATRIX AND FORTIUM Technologies have launched a joint solution offering secure media management for digital content archive storage. It combines security certified solutions from each provider to offer protection of media assets throughout their lifecycle.

The solution combines the MatrixStore object storage and Digital Content Governance platform from Object Matrix, which enables immediate, yet secure, access to content with access controls, and Fortium Technology’s MediaSeal, which encrypts all types of media files during the editing and reviewing stages

of post-production to help protect against leaks.

The joint solution ensures that media companies can apply access control to all files within their media library to ensure no unauthorised access. Encryption means that should something accidentally be shared with, or accessed by, someone who is not authorised, the media file will be unreadable to that person.

Visit http://object-matrix.com and www.fortiumtech.com

MEDIA IN THE CLOUD, STORAGE & MEDIA ASSET MANAGEMENT

MEDIA STORAGE

MADE SIMPLE Post-Production | Content Delivery | Broadcast Audience Analysis | Visual Effects | OTT Delivery Find out more at: emergingtechsolutions.com/media-entertainment isilonapj@emc.com

MEDIA IN THE CLOUD, STORAGE & MEDIA ASSET MANAGEMENT

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

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MEDIA IN THE CLOUD, STORAGE & MAM

Facilis Hub Server Unveiled FACILIS TECHNOLOGY recently announced the new Facilis Hub Server, a performance aggregator that can be added to new and existing TerraBlock systems. Also announced as part of version 7 is a new browser-based, mobile compatible web console that delivers enhanced workflow and administration from any connected location.

TerraBlock Hub Server With increasing media file sizes, and 4K, HDR and VR workflows continually putting pressure on facility infrastructure, the Facilis Hub Server is aimed at future-proofing customers’ current storage and offering the most powerful new systems available. The Facilis Hub Server uses a new architecture to optimise drive sets and increase the bandwidth available from standard TerraBlock storage systems. New customers will benefit from customised Hub Server Stacks with enhanced system redundancy and data resiliency – all while delivering near-linear scalability of bandwidth when expanding the network.

New Web Console The new Facilis Web Console increases the efficiency of administrative tasks, and improves the end-user experience. The modernised browserbased and mobile-compatible interface delivers enhanced functionality and removes barriers to creativity. Facilis customers will enjoy dynamic bandwidth monitoring and server performance reporting in a unified system dashboard.

Easy client setup, upgraded remote volume management and a more integrated user database are among the additional improvements. The web console also supports Remote Volume Push to remotely mount volumes onto any client workstations.

FastTracker As the number of files and storage continue to increase, organisations are realising they need some type of asset tracking system to aid them in moving and finding files in their workflow. Many hesitate to invest in traditional MAM systems due to complexity, cost, and potential workflow impact.

12Gb/s SAS Although traditional hard disk based servers deliver great value and performance, particularly in conjunction with the new Hub Server, Facilis will also be shipping 12Gb SSD systems that are the fastest shared storage systems in the smallest form factor available.

Visit www.facilis.com

Pebble Beach and Blue Lucy Announce Beluga PEBBLE BEACH SYSTEMS has announced it has partnered with media asset management software developers Blue Lucy to offer Beluga, a new workflow engine, content management and video processing solution. Beluga integrates closely with Pebble’s Marina automation system to offer targeted file delivery, content preparation, and integrated QC workflows without the need to deploy an enterprise MAM solution.

• File Ingest with transcoding and proxy creation.

Beluga’s content management approach focuses on the tasks of preparing content for playout and distribution. Checking segmentation, program content, allowing for conformance editing, performing comprehensive QC and generating reports are all essential steps along the playout pipeline. Beluga also adds transcoding and proxy creation to Marina’s existing toolset. As the number of users grows, Beluga’s web-based interface enables teams to interact with the media dynamically without installation of dedicated client software.

• Vidchecker integrated automatic or manual QC and editorial review.

Beluga is available from Pebble Beach Systems in a number of pre-defined configurations to cater for different workflows, use cases and system sizes, making it flexible and fast to deploy. Designed to handle complex and otherwise time-consuming tasks, it complements the functionality of Marina systems controlling Dolphin and Orca integrated playout devices, or bestof-breed video servers, to deliver a suite of workflow orchestration features including:

• Advanced traffic and schedule workflows.

• Simple drag-and-drop workflow builder.

• Media versioning and replacement.

• Fast cuts-only editing of MXF files.

• Automated or manual file delivery to playout servers, with archive support.

• Metadata synchronisation to and from Marina • Integration with post editing systems such as Adobe Premiere Pro. A complete content management system, Beluga bridges the gap between content preparation, linear playout, and the creation of fast-turnaround VODready media. Its drag and drop workflow builder makes it easy for operators to create and edit workflows on the fly.

Operation is via an HTML5 web interface, and the solution can coexist alongside an existing MAM. Users can configure workflows to suit requirements, and Beluga can support multiple users. Furthermore, a single Beluga system can link to multiple Marina systems, so media can be restored

by Beluga based on the earliest usage time of media across all systems.

Visit www.pebble.tv and www.bluelucy.com

MEDIA IN THE CLOUD, STORAGE & MAM

Vimond Announces Improved Rights Manager Workflow

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VIMOND MEDIA SOLUTIONS has launched an improved version of the Rights Manager module. The solution has been developed in close cooperation with broadcasters, making rights management a fully integrated part of the content management processes, and replacing the manual ad hoc tools that many broadcasters currently use.

Vimond’s Rights Manager organises the cumbersome and fragmented domain of contracts management into a tightly integrated, automated workflow. It saves time and minimises duplication and errors, and therefore reduces the risk of legal havoc for broadcasters.

With Rights Manager, contract managers can track a contract through its full lifecycle. Via the user interface, rights managers can stay on top of the multitude of publishing regions, countries and technical platforms. Based on the contractual rights, the license windows can be exported directly to the Content Manager, and

the content and metadata ingest process can also be fully automated.

New features include simplifying the management of geographic regions in order to control global rights, and allowing synchronisation of all content for a given region via the interface. An improved content rights scheduling workflow visualises when content is made available, and ensures it is in line with contract restrictions. Finally, the updated content management workflow makes it easy to reuse the same content in other contracts.

Until now, many broadcasters have managed their content rights in external systems, which are not integrated with the video CMS. This results in manual copying of complex data between systems, which is prone to manual error.

In addition, it is difficult for rights managers to maintain a full overview over multiple dimensions such as region, country, and technical viewing platform.

Visit www.vimond.com

MEDIA IN THE CLOUD, STORAGE & MAM

Archion Unveil Integrated SSD and HDD Editstor Solutions ARCHION TECHNOLOGIES RECENTLY ANNOUNCED two new ‘All SSD’

EditStor products: Omni Flash and Velo Flash.

Archion offers intelligent, ultra-high performance shared storage that supports collaborative 4K DPX, 8K, visual effects and 360 video workflows.

With functionality that has included standards based PC, Windows and Linux compatibility, Avid project sharing, scalability up to 2.4 Petabytes, dynamic volume and storage expansion and speeds of 8,000MB/sec with only HDDs, among numerous other features, Archion has earned the trust of media enterprises worldwide.

Reuben Lima, CEO of Archion, said “We continue our mission to bring our clients the highest and most reliable performance at a fraction of the cost, while reducing the insane pace of technological obsolescence. We continue to offer our existing Omni and Velo clients an opportunity to increase performance without requiring external appliances and unnecessary forklift upgrades. Media enterprises trust Archion’s advances in network media storage performance, reliability and overall functionality, and our announcement should build on that confidence. Archion is, once again, setting new standards for this rapidly changing industry.”

Archion’s EditStor products’ speeds may only be topped by their integration of the SSD and HDD drives. Now, a standard EditStor expansion chassis can be added to an EditStor ‘Flash’ engine for high density and cost effectiveness, while delivering transparent and blazing active tier performance for challenging workflows. Any and all 4K, 8K and 360 video workflow demands, such as DPX playback, UHD editorial, ingesting, transcoding, rendering and more, can

be handled within a single EditStor system. In addition, all media is managed through Archion’s new user interface, which enables immediate volume and share creation, naming and organisation.

Recognising that editorial facilities and media departments may not have such high performance demands currently, but do desire some ‘future-proofing’ and investment protection, the EditStor HDD to SDD upgrade is also a seamless process. A preconfigured All-Flash array is delivered and ready for a quick and simple deployment. Internal replication features enable a rapid transfer between volume groups for desired media management and file organisation.

Visit www.archion.com

ReCAP Project Debuts Proof Of Concept AI

ReCAP is the product of a consortium that includes British media technology solutions provider, New Media Research (NMR), and ToolsOnAir, an Austrian developer of applications that integrate broadcast quality ingest, playout, shared storage, and real-time graphics, nablet, a German provider of streaming, codec, muxing, and transcoding solutions, and Austrian nonprofit, Joanneum Research (JRS), which focuses on applied research. The project is partially funded by a €1 million grant from Horizon 2020, a European Union fund that supports making technology commercially available and affordable for small to medium-size enterprises.

“Customers with live video workflows or existing archived video are never going to have time to watch, analyse, and make decisions on all their content,” explained NMR CEO, Neil Anderson. “ReCAP will provide a range of automatic content-analysis services to form an affordable, scalable, open and flexible platform designed to enhance metadata-driven media workflows and realise the value of content archives.”

The final ReCAP product will deliver time-stamped, real-time descriptive analysis of video and audio content, including objects, logo, face detection, and content duplication. It will also provide automatic detection of quality impairments, such as lost/frozen video frames, block dropouts, visible macro-blocking, and estimation of sharpness and noise, as well as potentially automatic quality improvement, interpolation of image regions or entire frames, denoising, and block artefact suppression. Additional ReCAP benefits include archive enrichment such as identifying objects, locations, duplicate or similar content, identifying logos and on-screen text (OCR), and automatic speech-to-text (ASR) to search for content.

Broadcast-quality video with real-time metadata streams will be available for instant review in a web browser based timeline, with analysis and further processing in commercial Media Asset Management systems, workflow orchestration tools, and transcoding software by means of open and documented APIs. The ReCAP product will support on-premise, data centre, and cloud deployment models.

A stakeholder board of major broadcasters, news organisations, and content owners is working closely with the project implementation team to provide feedback and check progress.

Visit www.recap-project.com

Telestream Live Capture 2.0 Focuses on Digitising Tape Archives TELESTREAM, THE PROVIDER OF digital media tools and workflow solutions, has announced version 2.0 of Lightspeed Live Capture, its multichannel video capture and processing system.

Although usable as a stand-alone device, Lightspeed Live Capture is part of the

Designed to provide the fastest possible tape ingest workflows, Lightspeed Live Capture now supports high-density log and capture, with the ability to control and digitise four tape decks at once from a single system. Lightspeed Live Capture is a 1RU appliance capable of capturing 4 channels of HD-SDI or 1 channel of 4K/UHD into any high-quality video format required at frame rates up to 60 fps. Its multi-tenant design enables one operator to control four channels, or four operators to each control a single channel, maximizing operational efficiency.

processes to start early, even as files are being captured (growing). Lightspeed

Telestream Vantage ecosystem. Vantage enables automated capture, editing, transcoding, copying, and more, while Vantage Open Workflows allows these Live Capture also functions as an integral part of any enterprise live-to-VOD workflow that includes Lightspeed Live Stream and Vantage.

Telestream’s Vidchecker application can be used to verify video and audio quality, plus legality and correctness for a complete archival workflow.

Vidchecker can run directly on the Lightspeed Live server with Live Capture.

Visit www.telestream.net

MEDIA IN THE CLOUD, STORAGE & MAM

DURING NAB 2017, the Realtime Content Analysis and Processing (ReCAP) project consortium demonstrated a working prototype of its video analysis technology. The ReCAP software platform enables media companies to automatically analyse and extract time-stamped, descriptive, and technical metadata, in real-time from live broadcast-quality video content and to process existing archive content.

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POST PRODUCTION www.content-technology.com/postproduction

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

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

“It was interesting seeing how it spread,” says Jamieson. “We started off with the people that we knew. The nature of post-production contracts is that they would finish off their contracts and then spread out into other companies, and so on, and so on. We had some connections in Los Angeles, we were seeing it happen there.

We were seeing it happen in Australia. Somehow, people were finding out about it in Europe and the United Kingdom, and it was just spreading everywhere.”

Group It For ME founders Shruti Patel and Jason Jamieson.

unexpected phone call. It was the Academy of Television Arts & Sciences. Group It For Me was being considered for a Technical Emmy Award.

According to the Group It For Me Founder, up to 1500 times quicker than manual handling was just one result coming back from the user base.

According to Jason Jamieson, “They said they were interested in exploring our application and they got some contacts from us of some of our clients in America, and made some phone calls to validate the legitimacy of what we were saying.

Obviously, our clients had some very good things to say about us.”

“We’ve got the data from someone who has actually sat there manually to do it and then run it through the system and compared those figures. It’s quite impressive,” says Jamieson.

After adding formal wear to Jamieson’s wardrobe, the two developers flew to the U.S. to accept the Award. Since returning to Australia, they have been plotting their next moves, including a greater focus on the Asian post-production market.

It was then, after 18 months of organic growth, that the pair received an

Visit www.groupitforme.com

Not only was the platform spreading, it was garnering some very notable results.

Adobe Acquires Mettle’s SkyBox for 360 Video/VR Post ADOBE SYSTEMS INCORPORATED has acquired all SkyBox technology from Mettle, a global developer of 360° and virtual reality software. The Skybox toolset is designed exclusively for post-production in Adobe Premiere Pro CC and Adobe After Effects CC and complements Adobe Creative Cloud’s existing 360/VR cinematic production technology. Adobe will integrate SkyBox plugin functionality natively into future releases of Premiere Pro and After Effects.

The acquisition comes at a time when increasing numbers of creators, global brands and media and entertainment companies are embracing 360/VR and are looking for seamless, end-to-end workflows for this new, immersive medium.

To further strengthen Adobe’s leadership in 360° and virtual reality, Mettle co-founder Chris Bobotis will join Adobe, bringing more than 25 years of production experience to his new role.

“We believe making virtual-reality content should be as easy as possible for creators. The acquisition of Mettle SkyBox technology allows us to deliver a more highly integrated VR editing and effects experience to the film and video community,” said Steven Warner, vice president of digital video and audio, Adobe. “Editing in 360/VR requires specialised technology, and as such, this is a critical area of investment for Adobe, and we’re thrilled Chris Bobotis has joined us to help lead the charge forward.”

Introduced in April 2015, SkyBox was the first plugin to leverage Mettle’s proprietary 3DNAE Technology, and its success quickly led to additional development of 360/VR plugins for Premiere Pro and After Effects. Today, Mettle’s plugins have been widely adopted by leading companies world-wide, such as The New York Times, CNN, HBO, Google, YouTube, Discovery VR, DreamWorks TV, National Geographic, Washington Post, Apple, and Facebook, as well as independent filmmakers and YouTubers.

Vsit www.mettle.com and www.adobe.com

POST PRODUCTION

Disrupting Audio Post

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NEW ZEALAND-BASED software developer Kiwa Digital has announced the launch of a new software tool it says is set to disrupt the audio postproduction industry.

“VoiceQ Writer takes an inventive approach that will enable new levels of professionalism in the sector and give content producers more time efficient recording and higher quality overall.”

VoiceQ Writer is a stand-alone software application that systemises the work of scriptwriters, translators and trans-adaptors. The tool improves the efficiency and accuracy of detailed tasks such as splitting lines, marking pauses, and placing cues and lines for each character; enabling users to deliver time and synch perfect scripts every time.

The VoiceQ Writer tool can be used independently of studio hardware, allowing users to work remotely and collaboratively.

“Script preparation is a vital part of the dialog replacement process that is experiencing dramatic growth and change as technology presents new challenges and opportunities,” says Steven Renata CEO of VoiceQ’s developers Kiwa Digital.

The launch of VoiceQ Writer is part of a wider program for Kiwa Digital.

The company is developing a localisation and distribution platform that moves the dialogue replacement process well beyond “the technician in the studio”, systemising and taking into the cloud the contribution of script writers, translators, adaptors, voice actors, engineers, studio managers and executives.

Visit https://voiceq.com

POST PRODUCTION

#broadcastindo2017

Organiser:

Aldo Prakoso PT. Pamerindo Indonesia Jakarta, Indonesia Tel : +62 (0) 21 2525 320 Fax : +62 (0) 21 2525 032 Email: bci@pamerindo.com

SES

Calvin Koh UBM SES Singapore Tel : +65 6233 6638 Fax : +65 6233 6633 Email: enquiry@broadcast-indonesia.com

POST PRODUCTION

Dewan Teknologi Informasi dan Komunikasi Nasional

Natasha Godbold UBM Allworld London, United Kingdom Tel : +44 (0) 20 7840 2123 Fax : +44 (0) 20 7560 4338 Email: natasha.godbold@ubm.com

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POST PRODUCTION

Radeon Pro Duo for Pro Performance AMD HAS ANNOUNCED the world’s first dual-GPU graphics card for professionals, the Radeon Pro Duo, designed to deliver performance and flexibility.

With up to two-times faster performance than the closest competing professional graphics card, the Radeon Pro Duo excels at media and entertainment, broadcast, and design and manufacturing workflows. The card is armed with 32GB of ultra-fast GDDR5 memory to handle larger data sets, more intricate 3D models, higher resolution videos and complex assemblies with ease.

The Radeon Pro Duo is designed to: • Divide: The Radeon Pro Duo’s dual-GPU design gives professionals flexibility to divide and conquer workloads, enabling smooth multi-tasking between applications by committing GPU resources to each. Professionals can maintain creative momentum and get more done faster.

• Accelerate: The Radeon Pro Duo increases performance in today’s popular professional applications through support of multiple GPUs or plug-ins, speeding through tasks with up to two times faster performance compared with the Radeon Pro WX 7100.

• Create: The Radeon Pro Duo’s potent combination of performance and dualGPU flexibility makes it suitable for today’s workloads, including professional VR content creation. Radeon Pro Duo leverages the power of two GPUs to render out separate images for each eye, increasing VR performance over single GPU solutions by up to 50% in the SteamVR test.

Advantages for professionals: • For Media and Entertainment Workflows: The Radeon Pro Duo enables professionals to power through tasks without fear of slowing down their progress switching between applications. For example, compositing a shot in Nuke while jumping into a 3D application to create assets, exporting back to Nuke to keep compositing then switching to Photoshop or Mari.

• For VR Content Creation: Faced with raw, un-optimised content, VR creators need a lot more horsepower than VR consumers. By leveraging dual GPUs, the Radeon Pro Duo offers increased graphics horsepower and faster rendering in the development of 4K 360 VR content.

• For Design and Engineering Workflows: The Radeon Pro Duo delivers an increase in performance, and incredible geometry throughput of more than 11 billion triangles/second, powering through the largest models and most complex rendering tasks.

• The Radeon Pro Duo is designed to meet the requirements of workstation form factors, comes with 24/7 support and is bolstered by professionalgrade drivers certified across leading applications.

Visit www.amd.com

Colorfront Launches QC Player and 2017 Dailies COLORFRONT RECENTLY ANNOUNCED Colorfront QC Player, a new system enabling post and studio facilities to perform quality control tasks on Ultra High Definition and High Dynamic Range content.

Colorfront QC Player runs on Supermicro and HP Z840 workstations, maximising the GPU performance of the latest GeForce 1080Ti and NVIDIA Titan-XP graphics cards, with AJA’s Kona 4 I/O card supporting realtime output up to 4K at 60fps. QC Player’s transport controls include support for external panels from BUF and Tangent.

The software is powered by Colorfront Engine to ensure colour and metadata fidelity, and harnesses powerful monitoring, analysis and validation tools that feature in Colorfront Transkoder.

POST PRODUCTION

Colorfront QC Player delivers real-time support for all major RAW UHD HDR formats from the latest digital cinematography and DSLR cameras. These include: Alexa ARRIRAW – both MXF-wrapped and ARI files, Panasonic VariCam 4K VRAW and Panasonic AVC-Intra, Sony F55 and F65 RAW, XAVC and X-OCN, Blackmagic DNG, Canon RAW, RED R3D, Apple ProRes, plus DPX and TIF sequences from scanned sources. It also supports playback of JPEG 2000 content, including DCPs (2D and stereo, encrypted, with subtitles) and IMF packages, such as lossless/high-bit-rate UHD Dolby Vision mezzanine masters with dynamic metadata and Dolby CMU control.

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For image analysis, QC Player includes waveform, vectorscope, histogram, split-screen, colour gamut and light-level metering. It features framing guide overlays for title/text/logos/graphics safe areas, plus image reframing and burn-in/watermarking tools. QC Player also comes with audio tools supporting embedded audio, WAV files and up to 24-channel audio output.

Colorfront has also released 2017 versions of its Express Dailies and On-Set Dailies systems for UHD and HDR image-processing. Both built on Colorfront Engine which enables on-set look creation, and ensures the colour integrity of UHD HDR dailies/deliverables, with associated metadata,

through the entire camera-to-post chain. Colorfront On-Set Dailies 2017 retains its flexible node pipeline, offering unlimited outputs, while Express Dailies 2017 allows rendering of up to four concurrent deliverables – a key differentiator between the products.

Customers can take advantage of flexible licensing options, which sees Express Dailies 2017 available as a Windows version for the first time on HP Z840 workstations, as well as the latest MacBook Pro platform. Both 2017 systems support Tangent’s Ripple control panel.

Colorfront Express/On-Set Dailies systems deliver real-time support for all major RAW UHD HDR formats from the latest digital cinematography and DSLR cameras from ARRI, Sony, Canon, RED, Panasonic, Go Pro, Blackmagic and Phantom. These are now extended to encompass: Panavision’s DXL 8K large-format camera, RED Weapon/Helium 8K R3D (de-Bayered to 4K or below), plus RED WideGamutRGB and Log3G10 colour options, Canon’s C700 RAW, Cinema Gamut and Log2 options, Panasonic VariCam VRAW, Sony’s X-OCN ST and LT compressed RAW codecs for F5 and F55, ARRI Alexa 65 RAW and Alexa Mini RAW MXF, improved Blackmagic lossless JPEG CinemaDNG, and enhanced 12-bit DPX. Express Dailies and On-Set Dailies 2017 are optimised for fast encoding to the widest range of UHD/HDR dailies, editorial and web deliverables.

Output support has been broadened to include: all Avid DNxHD formats, including DNxHR HQX and DNxHR 444, High Efficiency Video Codec (HEVC) in HDR10 with ST-2086 metadata, and HDR output with variable HLG and ST-2084PQ for display calibration using MaxFALL/MaxCLL values, Apple ProRes wrapped in Quicktime, and also MXF, MPEG4 H.264, PIX, DAX, uncompressed DPX, TIFF and OpenEXR formats. Image analysis tools include HDR waveform monitoring, Rec709 and Rec2020-P3 Wide Color Gamut vectorscope.

Visit www.colorfront.com

POST PRODUCTION

Cinedeck Releases Free ProRes Export Plugins CINEDECK HAS ANNOUNCED the availability of two free plugins developed with Avid and Adobe to support file-based insert edit workflows with ProRes files. The plugins allow users to export constant bit-rate ProRes files directly from Avid Media Composer and Adobe Premiere through Media Encoder.

Cinedeck also worked with the Auto Desk team to realise direct CBR exports from their Flame, Lustre, Flare and Flame Assist applications. This means content producers that export from these systems can apply audio, video and closed caption insert-edits to their ProRes master files immediately, without any file preparation delays.

File-based Insert Edit is a patent-pending technology that allows users to overwrite new video, audio or closed captions to a flat file without a complete

rewrap or re-render. With more than 80% of master files delivered to studios being ProRes, Cinedeck remains committed to developing tools to expedite ProRes finishing workflows.

CineXtools users also receive some extra perks by using Cinedeck’s ProRes export plugins. Cinedeck’s plugin for Adobe Premiere allows users to export RGB12 Pro Res files, a colour space not natively supported for export with Adobe’s Media Encoder. For Avid Media Composer users, Cinedeck’s AMA plugin means that QuickTime files can be exported with an empty caption track, previously unavailable – then a CAP or SCC file can be inserted using cineXtools.

Visit www.cinedeck.com

New TVLogic Reference 4K and OLED Monitors TVLOGIC HAS INTRODUCED new 4K

ST2084, ST2086 and

HDR and OLED monitors

Log Gamma (HLG), and

to address the demands

others. It also supports

of broadcast, production,

multiple colour gamuts

post-production, and multi-

including Rec.709, DCI,

viewer applications.

and Rec.2020. Signal I/O includes 3G/6G/12G-SDI input via one, two, or four SDI connections as well as HDMI (ver.2.0).

ST2094 (pending), Hybrid-

The line-up includes the LUM-310R – a 31-inch 4K HDR Reference Master monitor featuring 2000 nit maximum luminance, the LEM-550R – a 55-inch UHD OLED HDR monitor for broadcast QC and post production, the VFM-055A – a 5.5-inch HD OLED viewfinder/onboard monitor offering cinematic quality, and the LVM-171S – a 17-inch QC-Grade HD Dual-Channel LCD monitor.

LUM-310R The LUM-310R is a 4K HDR Reference Master production monitor with

VFM-055A The VFM-055A is a 5.5-inch OLED (organic LED) on-camera viewfinder monitor with native 1920 × 1080 resolution. It offers cinematic image quality with deep blacks, wide-gamut colour reproduction, a very wide viewing angle and support for multiple video formats via 3G-SDI and HDMI 1.4 inputs. Functions include cinema camera log-to-linear LUT conversion, HDMI-SDI cross-converted output, waveform and vector scope, markers, focus assist and audio level meters.

a 31-inch wide Super-IPS 4K LCD (4096 x 2160) and a local-dimming

NEW LVM-171S

backlight array designed to reproduce reference HDR content at a maximum

2160. The OLED panel can reproduce a maximum luminance of up to

The LVM-171S is TVLogic’s top QC-Grade 17-inch model with a 16.5inch IPS LCD panel with 1920 × 1080 native resolution, wide-gamut reproduction (up to DCI-P3) enhanced contrast ratio and wide viewing angle all unmatched by other LCD monitors. A completely redesigned video processing unit provides powerful dual-channel performance and artefactfree image reproduction. Support for various cinema camera log-to-linear LUTs, field upgradability and an array of image processing features are standard.

750nits. the LEM-550R supports various HDR standards such as SMPTE

Visit www.tvlogicusa.com

luminance of 2,000nits with a simultaneous deep black minimum of 0.002nits.

LEM-550R The LEM-550R is a QC-Grade HDR monitor for broadcast and post production with a 55-inch OLED panel with UHD resolution of 3840 x

Shotgun Media Streaming and Single Sign-On

Shotgun 7.2 highlights include:

• Plug-and-Play Integrations: It’s now easier for Shotgun users to connect their content creation tools with Shotgun. New plug-and-play integrations first auto-discover Maya, Nuke, Photoshop, Houdini, 3ds Max, and Flame, and then embed the Shotgun Panel, loader and publisher directly within them without manual configuration.

• Web Streaming in RV: Many Shotgun users work on dispersed teams around the world and might not always have access to the high-res media

for reviews in RV. With the addition of cloud playback support in RV, webconnected artists and supervisors can review shots in context, even when content is not stored on their computers. Shotgun simply recognises if media isn’t available and pulls it into RV from Shotgun on the web.

• New Publisher: A new publisher tool enables tracking of files in Shotgun and can either run in content creation tools or as a standalone application giving users the flexibility to publish files from any content creation tools.

• Single Sign-On: Single sign-on bolsters security in-house by centralising authentication, making it easy for IT department to grant, limit, and revoke access and permissions. Plus, everyone at the studio now has the convenience of only having to remember one set of credentials.

• SDI Functionality in RV: SDI Functionality, previously only available with ‘Super Awesome’ support, is now available to all Shotgun clients.

Shotgun pricing starts at $30 per account/per month with ‘Awesome’ support, or $50 per account/per month with ‘Super Awesome’ support.

Visit www.shotgunsoftware.com

POST PRODUCTION

SHOTGUN SOFTWARE HAS RELEASED Shotgun 7.2, the latest version of its cloud-based review and production tracking software. Strengthening Shotgun’s commitment to simplifying workflows and helping studios of all sizes collaborate, the update transforms integrations with content creation tools. Studios can now take advantage of out-of-the-box integrations with content creation tools to accelerate artist workflows. Updates to RV also make reviewing media from the cloud seamless and includes SDI functionality as standard. The release also builds upon Shotgun's role as a secure foundation for many studios by adding single sign-on to give IT departments centralised control over user access and permissions in Shotgun.

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AUDIO Digital soundwaves

www.content-technology.com/audio

Zhejiang TV Picks Lawo for Broadcast Centre and OB Trucks SITUATED IN the city of Hangzhou, some 170km south-west of Shanghai (the capital of Zhejiang province), Zhejiang Radio and TV Group (ZRTG) has established a new production facility–the Zhejiang International TV Center. The center’s 42-storey main building houses several TV studios, and additional studios for music and film production. Central to the studios’ audio infrastructure are Lawo mc²36 and mc²66 digital mixing consoles, along with Lawo DALLIS stageboxes, Nova37 and Nova73 central routers. ZRTG already has several Lawo systems in operation in its downtown facilities.

The facility’s audio relies on a RAVENNA digital network, controlled and monitored by Lawo’s Virtual Studio Manager (VSM), making this the first full networking of broadcast studios in China, with central routers distributing every signal required to be accessed by all of the studios within the centre.

Owned by the local Government, ZRTG operates 12 television channels and eight radio channels, providing a total of 450 broadcast hours each day.

Its satellite channel is one of the most successful in China, airing popular programmes including ‘Sing China!’ and ‘Running Man’.

The ZRTG International TV Center has two studio networks that are already in use. The main studio network comprises four large studios of 2,500m², 1,200m², 600m² (A), and 600m² (B). All studios are interconnected via centrally installed Lawo Nova73 routing system and video routing systems controlled and monitored by VSM – each audio and video signal can be shared and distributed to the control room where it is required. The audio network is designed using a Nova73 central router and four 56-fader mc²66 consoles in each control room. The studio control rooms have access to ten centrally installed DALLIS stageboxes that are connected redundantly to a Nova73

router via RAVENNA, which makes signal sharing extremely convenient with no local stageboxes required.

The Studio A 600m² control room also serves as the control room for the smaller 200m² studio, where bands are mixed using a Pro Tools HDX and Pyramix DAWs. The 56-fader mc²66 can control the virtual faders of both DAWs simultaneously. There is also a Waves SoundGrid system at the Studio A control room, which is designed to be mobile so that it can be used in any of the other three studios if required.

For the production of ‘Sing China!’, the broadcaster uses one control room for multitrack recording and final mixing, another control room for live music mixing, and the third control room for full backup. Using this setup, the Nova73 router also provides microphone management – there is a GUI in each mc²66 to define which console has the control rights for mic preamps on each card.

The broadcaster’s Home Shopping Channel uses the other two studios (600m² and 250m²), each of which is equipped with a 40-fader mc²36 console.

There is also a Nova37 router in between to share the wireless mics and dembedded signals. Operating in this way, the shopping channel not only saves the cost for dembedded signal distribution but can also make use of all the wireless mics for one studio.

Aside from the Lawo audio infrastructure, ZRTG has also invested in consoles from Lawo for its new 4k OB Van and Audio Truck. One mc²66 and two mc²56 mixing desks will be installed in the vehicles, whose coachwork is presently under construction in Netherlands. The OB trucks are scheduled to enter service in summer 2018.

Visit www.lawo.com

Calrec’s Summa Delivers Retail Therapy in Korea CJ O SHOPPING LTD., Korea’s first home shopping network, has installed a new Calrec Summa digital audio console in its newly renovated Studio E. The Summa joins three existing Calrec Omega consoles, which have been installed in CJ O’s other studios since 2010.

“For our new studio upgrade, we needed a cost-effective console that would provide ultimate stability and ease of use while also providing top-quality output. We also wanted to go with a brand we could trust,” said Mr. Cho Byeong-Uk, Engineer, CJ O Shopping. “After our many years of experience with Calrec desks and the great Calrec team, we knew the Summa would be the perfect choice.”

Founded in 1995, CJ O Shopping broadcasts one of Korea’s most widely viewed home shopping channels in addition to a global multimedia shopping network that also includes T-commerce, internet shopping, and catalogue/ecatalogue services. Installed in CJ O Shopping’s main Studio E, the new Summa

offers features such as path pre-sets that make producing the multi-host TV-shopping show easier than ever before.

“Many of our engineers are younger-generation, and they’re used to working with mobile devices. The Summa console GUI is perfect for them – it’s so easy to use that it sometimes seems just as simple as operating a mobile device,” Mr. Cho Byeong-Uk added. “For our operators, ease of use is one of the best features of the Summa.”

Visit http://calrec.com

Mahajak and Studer’s Got Talent THIS IS THE second time the AXN Network programme, hosted by judges Jay Park, Anggun and David Foster, has used the Studer Vista 5.

AUDIO

Visit http://mahajaktrio.com

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Ready to go for the Asia's Got Talent Season 2 auditions at Pinewood Iskandar Studios in Malaysia, the crew from Mahajak Trio Electronic Sdn Bhd display Harman’s Studer Vista 5 which is used for the broadcast and recording desk.

GOING THE DISTANCE. TAKE YOUR CONSOLE ANYWHERE WITH RP1.

AUDIO

Mix live to air with no boundaries or borders, reduce production costs and increase content output.

Calrec’s remote production unit gives broadcasters the ability to capture a wider range of live events, such as regional sports, news or music festivals, and mix them in a remote facility thousands of miles away.

RP1 takes your favourite Calrec console anywhere in the world without ever leaving the studio.

Call 661-877-9775, remoteproduction@calrec.com #goingthedistance

AUDIO

calrec.com

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AUDIO

Riedel Does the Bolero RIEDEL COMMUNICATIONS recently introduce Bolero, a new wireless intercom solution. Bolero is an expandable, full-roaming, DECT-based intercom system in the license-free 1.9GHz frequency range. Fully integrated into Riedel’s Artist digital matrix intercom platform, Bolero offers features and connectivity that can be applied three ways: as a wireless beltpack, as a wireless keypanel, and as a walkietalkie radio.

Bolero runs over an AES67 IP network. Decentralised antennas connect to AES67 switches and then to Artist frames equipped with AES67 client cards, providing an integrated point-to-point intercom ecosystem with roaming capabilities. To the system the beltpacks appear as Riedel panels, but are in fact wireless.

The Bolero voice codec provides higher speech intelligibility and more efficient use of RF spectrum, supporting twice the number of beltpacks per antenna for the same audio bandwidth as other DECT-based systems. The codec has exceptional latency characteristics while being efficient with processing power, providing excellent beltpack battery life, and saving DSP processing power for other functions.

Bolero features Riedel-exclusive ADR (Advanced DECT Receiver) technology, a diversity receiver technology designed to reduce sensitivity to multipath RF reflections, making the system useable in challenging RF environments.

The beltpacks support Bluetooth 4.1, allowing either a Bluetooth headset or a smartphone to be connected. When a smartphone is connected, the beltpack can act like a car’s ‘hands free’ setup so the user can receive calls on their phone and

talk and listen via their beltpack headset. Users can also make calls and then connect that person into the intercom matrix, eliminating the need for a telephone hybrid.

The beltpack itself features six buttons for each of the six intercom channels, plus a separate ‘Reply’ button that facilitates a reply to the last channel that called. The beltpack can also be used without a headset like a walkie-talkie radio utilising an integrated mic and speaker.

“Bolero is a category-changer for wireless intercom systems,” said Thomas Riedel, CEO at Riedel. “A lot of time and effort has gone into every phase of Bolero’s development, a true ground-up development touching all aspects of design.”

Visit www.riedel.net

Stage Tec’s Mixing Console Concept: AVATUS STAGE TEC RECENTLY REVEALED AVATUS. The new mixing console concept incorporates an IP-based large mixing console with 21-inch multi-touch displays. Control elements and interfaces are connected through standard ethernet. The console control surface and other elements communicate via IP, enabling remote production.

The operating philosophy is less technical, and Stage Tec has equipped the AVATUS mixing console concept with workflow oriented controls. For example, the touch displays provide context related functions. Another feature is the colour coding of functional units for more intuitive operation.

The device view function also ensures efficient working. Instead of needing to switch each crosspoint separately, this is now achieved via device lists.

AVATUS console concept configurations are context-dependent and can be set on all displays.

The control surface will initially consist of three panel types. There are no central panels in the AVATUS mixing console concept. This enables multiple users to operate a console from different locations. The approach is supported by multi-touch displays which provide access to all parameters and central functions. The console interface can be split since the displays can be relocated as required.

The AVATUS console concept provides more than 800 input channels and 128 summing buses. Channel formats range from mono to 7.1. Features such as the de-esser, implemented as an audio module, loudness metering, multiband compressor, and the Stage Tec automixer are all integrated.

Control surface sizes range between 12 and 96 channel strips.

Visit www.stagetec.com

Calrec Goes Full Throttle with V8 CALREC AUDIO ANNOUNCED its latest V8 software features, together with new Brio enhancements, at the recently held 2017 NAB Show.

available with single- or three-band options on all channels, groups, and mains.

V8 introduces a number of developments across the range including improved RP1 support, switchable 96kHz or 48kHz sample rates, and further integration of Calrec’s AoIP interface. In addition, the new V8 software integrates Brio on the Hydra2 network, allowing the console’s on-board resources to be available to all other networked resources.

with a selectable side-chain source that allows the gain reduction to be keyed

Brio also receives new features. Users gain stereo- and 5.1-path spill leg access and independence controls. A second compressor/limiter is also

The expander/gate in the dynamics section now includes a ducker, complete from audio on any other mono path on the surface.

Brio can now operate at multiple sample rates too, with options of 44.1, 48, 88.2, or 96 kHz – all without DSP sacrifice. Brio’s processing capacity remains the same at any sample rate.

Visit http://calrec.com

DPA Microphones Introduces 4-Way d:screet Mic Clip

AUDIO

POPULAR AMONG broadcast journalists, churches, television and film productions, DPA Microphones’ d:screet microphone series is suitable for any situation where you need a completely hidden microphone. DPA d:screet Lavallière Microphones can be paired with the new SCM0013-B four-way clip, which was on display at the recently held NAB show.

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The new four-way clip offers fast and secure mounting – upwards, downwards, left and right – and has multiple cable management mounting options. The clip offers three points for cable attachment, providing the user with the flexibility they need to move around. The four-way clip is compatible with the d:screet 4060 series, Slim series, as well as 4071

omnidirectional microphones.

“This new clip helps broadcasters expand their mobility and complements the flexibility of the omnidirectional lavallière microphones,” said Christopher Spahr, Vice President of Sales and Marketing, DPA Microphones. “We like to create accessories that are innovative and have diverse applications.

Our mics are used by a variety of industry professionals and it is important that we provide our customers with new and unique accessories to further simplify their microphone needs.”

Visit www.dpamicrophones.com

AUDIO

From the manufacturer who brought you AUDIO

Flexible Embedder/De-embedder for Crystal Vision’s Frame System

The Official IP Audio Codec of Summer

The unit’s flexibility comes from the ability to fit up to two audio piggybacks to the main card. The 3G-AIP2 piggyback is used to input and the 3G-AOP2 to output external analogue audio – either two stereo pairs or four mono channels per piggyback. Each DIOP4 piggyback is used for inputting or outputting four stereo pairs of external digital audio. Four bi-directional AES ports allow each stereo pair to be independently configured as input or output. It is possible to fit two of the same piggybacks or to fit two different piggybacks to create the product required. TANDEM10-VF includes powerful audio routing, with full shuffling and overwriting. Two routing matrices are used to select which of up to 32 input channels (taken from the incoming video input and input piggybacks) should be embedded into the four audio groups on the output video, and which should be output as external AES or analogue audio. TANDEM10-VF helps budgets go further: the engineer can buy different low-cost piggybacks at a later date to transform the functionality of the product and meet the demands of the current project.

As well as featuring short minimum delays for both the audio and video to help prevent system lip-sync complications, TANDEM10-VF makes it easy to match all the signals – with an adjustable audio delay of up to 400ms and ten frames of video delay which

can be used to match any big system delays, such as those created by Dolby E encoding and decoding or transcoding to AC3 and re-embedding. The audio and video can both be optimised, with audio gain adjustments, audio resampling, stereo to mono conversion and a video proc-amp. For those who need to embed or de-embed signals from beyond the local equipment bay, TANDEM10-VF can easily be given integrated fibre input/output connectivity by fitting the FIP-VF fibre input option, FOP-VF fibre output option or FIO-VF fibre input and output option.

Having the fibre integral to the card reduces the need to use additional rack space for separate fibre optic transmitters and receivers, and also brings financial savings.

Explained Crystal Vision’s Managing Director, Philip Scofield said, “TANDEM10-VF brings the ultimate in embedding and de-embedding functionality to the Vision frame system. With its flexible processing of analogue and digital audio within an SDI environment, it is the ideal card to meet your current requirements – while using a frame system that is ready for the future.”

Shipping now, TANDEM10-VF is a space-saving 96 x 325mm card which can be housed in the Vision 3 frame alongside any other interface or IP cards from the Vision range, with up to 20 embedders/ de-embedders fitting in 3RU. TANDEM10-VF can be used with three different frame rear modules to access the inputs and outputs and offers the most video outputs yet on a Crystal Vision embedder/deembedder. When used with 110Ω AES or analogue audio it provides three video outputs (using the VR02 or VR12 rear modules), while those using 75Ω AES will get four video outputs (three BNC plus one fibre) via the VR13 rear module. An extensive list of features can be controlled and monitored using either the integrated control panel on the Vision 3 frame, the VisionPanel remote control panel, complimentary SNMP or the VisionWeb Control web browser software.

Visit www.crystalvision.tv

Contact Us Today to Learn More 1-800-237-1776 www.comrex.com AUDIO

CRYSTAL VISION HAS ADDED flexible embedding and de-embedding to its new Vision frame system.

Working with 3Gb/s, HD and SD sources, TANDEM10VF is a powerful four group audio embedder/deembedder with the ability to embed and de-embed a mixture of up to eight external AES stereo pairs and four stereo pairs (or eight mono channels) of external analogue audio – making it equally suited to those who need to embed and de-embed simultaneously or to those who want a single product for use as an embedder or de-embedder. Giving more video outputs than the company’s previous devices, the TANDEM10-VF includes full audio routing, audio and video processing, flexible delay compensation, fibre input/output connectivity and comprehensive signal monitoring.

American-made for America’s favorite pastime.

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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

RADIO

WBU-TC Digital Radio Guide

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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.

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

Audio Processing from Wheatstone WHEATSTONE’S NEW TOP-OF-THE-LINE AirAura X4 audio processor, unveiled at NAB2017, is an FM and HD audio processor featuring an innovative new system where all stages of processing are aware of each other.

“This is a high IQ audio processor,” said Wheatstone Senior Product Development Engineer Jeff Keith, who has been testing the design in the lab and in the field since last summer.

“With all the stages of processing working in concert, the need to make loudness compromises is an endangered species.”

In more traditional audio processing designs, the different stages are created to complement each other, but not all information between the stages is shared. The AirAura X4 breaks down that wall and allows the processor to share information between ALL stages.

“The SST and original iAGC algorithms were a doorway into this, where the processor would share information in the front end about who is doing what. In the AirAura X1, that was expanded to include the limiter. Now the iAGC, limiters and clipper all share this information and changes can be made automatically, in real time, in ways never envisioned before,” commented Keith.

The AirAura X4 includes 31-band limiting, but utilises it in a way not seen before.

“As part of the X4 system, the 31-band limiter works directly with the X4 clipper, providing an audio blueprint for how the clipper should behave,” said Mike Erickson, Wheatstone Processing’s Systems and Support Engineer.

“In the AirAura X3, the 31-band limiter was placed in the same manner as a traditional limiter, ahead of the clipper. By now incorporating it WITH the X4 clipper, it’s a huge step forward for transparent loudness as our clipper is not just protected by the best limiter design on Earth, but also managed by it.”

The AirAura X4 adds a number of other features, including a redesigned bass processor and enhancement controls in the iAGC that allow users to safely equalize audio for maximum consistency as well as full RDS capabilities.

Wheatstone’s HD/FM audio alignment also makes the jump to the AirAura X4. The system works either with third-party HD/FM modulation monitors or by itself, with the new FM/HD tuner built in to the X4.

AES insert points are also available for customers who wish to insert their ratings encoder into the processing system instead of placing it in front of the processor.

Other features include an improved Multipath Mitigation algorithm, redesigned composite processing with selectable look ahead limiting or clipping, baseband192 composite AES connectivity, and a full set of analysis displays. The X4 features a new look and feel, with an intuitive GUI and dual touch screens on the front panel.

Meanwhile, Wheatstone’s second-generation FM-55 audio processor, the FM-55e, includes all the same features the FM-55 for FM processing, but adds enhanced iAGC controls as well as an entirely new bass processing design.

The FM-55e is a multi-band audio processor ideal for FM stations requiring sound consistency across a variety of source material. It includes the popular intelligent five-band AGC technology — or iAGC — coupled to a five-band limiter and stereo generator, plus five-band stereo enhancement and program adaptive L-R control for multipath mitigation.

Like the FM-55, the FM-55e fully supports the WheatNet-IP Intelligent Network, and is equipped with two analog composite outputs, two SCA inputs, balanced analog Left/Right outputs and an AES digital output that can be switched to deliver either discrete Left/Right or baseband192 digital multiplex signal.

The FM-55e comes in a 1RU package with front panel OLED display and GUI navigation.

Existing FM-55 owners will be able to update their current unit with new FM-55e software free of charge when it is released later this year.

Visit www.wheatstone.com

Nautel Transmitter Monitoring App NAUTEL HAS ROLLED OUT a controlled release of its AUI Companion, an application for mobile devices that brings critical transmitter parameters directly to the user.

The AUI Companion works in conjunction with a user’s AUI. Key parameters such as power, efficiency and temperature are available at a glance, no matter where the user may be.

The Nautel Advanced User Interface is available for all modern Nautel transmitters. In GV, NV and NX transmitters, the AUI is presented on a 17-inch front panel touchscreen; for NVLT and VS Series, the AUI is available via the user’s PC. With web-based access and comprehensive commercial-grade instrumentation, the AUI has proven very popular among broadcasters worldwide. It is now deployed in more than 7,000 Nautel transmitters.

“This product is in its final stages of development, and we are looking for beta testers to help us finalise the details of the interface,” said Matt Herdon, Nautel Product Manager. “Anyone interested in being part of the controlled release should sign up at www.nautel.com/aui-c.”

Visit www.nautel.com

ENCO’s DAD Radio Automation Extends into Production and Content Delivery

At NAB2017, ENCO unveiled the iNews MOS Interface, which will allow DAD systems to play out assets from the Avid iNews newsroom computer system.

By adding support for the Media Object Server (MOS)-based protocol used by newsroom computer systems, DAD users can now now manage – add, move, and modify – audio embedded in iNews stories. Changes are automatically synchronised with playlists to keep everything up to date.

ENCO has also added MetaPub metadata management to its PADapult program, which integrates with DAD and allows operators to send real-time texts to RDS encoders, web streamers or other locations that accept data.

With the new built-in MetaPub functionality, PADapult can now get rich metadata from ContentDepot’s MetaPub, which a majority of PRSS programs

use for metadata distribution, including Classical 24, BBC World Service, Morning Edition, and many more. PADapult users can then provide that metadata to listeners for any live PRSS program. PADapault can also be used in automatic or manual mode to get data from a broadcaster’s automation system.

At NAB2017, ENCO demonstrated how its DAD software can be virtualised by pairing it with ENCO1, the company’s virtualised automation system.

ENCO1 allows DAD to run in a virtualised environment by leveraging existing IP audio technologies. Since virtualied stations and studios can be controlled from anywhere via a thin client, broadcasters can save space and operational overhead. It can also facilitate remote access and control of broadcast radio operations, which lays the foundation for more efficient cloud-based operations.

Visit www.enco.com

RADIO

ENCO HAS ENHANCED its DAD radio automation system that strengthen integration between production and newsroom operations, and diversify options for dissemination of Program Associated Data (PAD).

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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

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.

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.

CONTENT DELIVERY

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.

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requirements gathering and tendering phase, and an implementation phase.

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 p44

CONTENT DELIVERY

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CONTENT DELIVERY

It’s all in the numbers

43

CONTENT DELIVERY Continued from p42

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

Talking the Talk – The Entertainment Brain of Conversational Search The TV industry should take a long, hard listen to voice-based search and recommendation.

By Sue Couto, Senior Vice President, APAC Sales, TiVo. FOR MANY YEARS, effective voice-based search technologies have eluded businesses that have tried to bring next-generation input methods to customers. Command-based speech systems have been perceived as ineffective and hard for viewers to use. However, the widespread adoption of smartphones and tablets, and their minimised keyboards, has led to a renewed interest in this genre of technology. For example, Apple’s Siri and Amazon’s Alexa have progressed beyond basic menu navigation functions. In fact, any device with a microphone has potential for speech-based commands, and can become an intelligent discovery system that uses a sophisticated entertainment brain to understand customer desires.

This technology is important and under-explored by the TV industry, which often appears to have been left behind in terms of intuitive discovery functionality. For content providers, voice-based search and recommendation should be a core part of their customer service provision to provide customers with accessibility to their favourite shows and genres.

In the context of TV, most consumers have viewing patterns that can be mapped to provide highly personalised results to searches. This is more accurate than user-based profile creation or ‘thumbs up/down’ ratings that are both error-prone and do not automatically take into account users’ changing tastes and preferences over time. The ability to make personalisation precise and extremely relevant – what the industry is now terming hyperpersonalisation – is correlated to the knowledge graph’s semantic capabilities.

At its core, a quality conversational search engine should include the following aspects: a) Knowledge graph - this graph maps search results to intent, and prioritises those results based on the weight of their connection and should be able to: • Look at named entities in media, entertainment and geography and extract, deduplicate and disambiguate the entities across sources

SPEAKING THE VIEWER’S LANGUAGE

• Recognise similarities and build relationships between entities

With the chaos of content available today, consumers have preferred selections and considerations across cast, plot and genre. Conversational interfaces simulate natural communication qualities and remove the need to conform to hierarchical menu structures. Most importantly, the technology must understand when a user is drilling into a particular genre in detail, or when they have lost interest and have completely switched topics.

• Identify a multidimensional view of popularity and how audience interest in the entities shift over time

To be successful, natural language search needs to encompass a variety of different points, each crucial to success: • Disambiguation: Natural language technology must understand and interpret the user’s intent. For example, the phonetic sound “Kroos” can be interpreted to apply to Tom Cruise or Penelope Cruz, and the system should be able to understand what the user is looking for in relation to the original query.

• Statefulness: During a dialogue with a user, the system should be able to maintain context, and understand that people change their minds quickly. For example, the user could say that they are “in a mood for thrillers,” then jump to “Bond” and then to “old ones”. Ideally, the system should understand these requests, and serve up a series of older James Bond films for the viewer to select from.

• Personalisation: Conversational systems need to understand their users on an individual basis. For example, the system should learn that a user based in New Zealand who asks “when is the game tonight” wants to know about their local team, and if they say, “when is the Blacks game” they mean the rugby team All Blacks.

TAKING UNDERSTANDING TO THE NEXT LEVEL Behind successful natural language technology lies excellent search capabilities. New technologies such as graph, have introduced high-quality and relevant search results to consumers everywhere, setting a benchmark across industries. Unlike a traditional database, a graph is much more scalable and flexible because it allows the connection of all sorts of information to records, without the reliance on "tables."

• Generate a large vocabulary such as keywords and sub-genres to help search systems identify relevant content b) Personal graph - crucial to true conversational systems, the personal graph tunes the conversational system to individuals to enable natural conversations around the user’s preferences and context. The personal graph is: • Based on statistical machine learning • Able to learn individual behavioural patterns and interests • Learns how time and device affect recommendations At the front end of the system, the conversational query engine is required to bind all aspects together. This brings together key algorithms to map and learn linguistic features and provide content discovery features to customers.

INTUITIVE SEARCH AND RECOMMENDATION Natural language technology backed with knowledge graphs can provide a revolution in TV search and recommendation. Based on excellent metadata that covers actors and actresses, content synopsis and even famous quotations from films, TV providers can create a second to none entertainment brain that offers customers speedy and accurate access to their favourite shows, and similar content that they might enjoy. Voice-based discovery around knowledge graphs is no gimmick – it is set to change the way that people interact with their TV sets – as long as service providers make it personalised, intuitive and natural.

Visit https://business.tivo.com/products-solutions/personalization/ conversation-services.html

Mediacorp Gets Immersive with Audio Studio

Designed by world renowned audio engineer and studio designer, David Hawkins, and fitted with a Barco Cinema projector, 43 high-end Quested speakers and Fairlight EVO digital workstation, the 70 square metre MMS can produce any digital audio format, including surround sound in 5.1, 7.1, and 3D immersive sound in Auro 11.1 and AuroMax 26.1, and is the most advanced of the seven sound mixing studios owned by Audio Post, a unit of Mediacorp specialising in music and sound mixing.

Doreen Neo, Mediacorp Head of Studios said, “Audio mixing is a highly valued component in the television and movie production process. Since 1979, Audio Post has been producing music and sound effects for local

television, moving on to sound-mixing services for the local and regional film industries in the 1980s.

“With the first certified Auro3D and Auromax Movie Mixing Studio (MMS) in Southeast Asia, we can now provide the highest possible audio standard, sound design, music composing services all under one roof. In short, a one-stop shop for audio post production services for our business partners.”

Visit www.mediacorp.sg

CONTENT DELIVERY

ALSO AT THE MEDIACORP CAMPUS in one-north is Mediacorp’s new Movie-Mixing Studio (MMS), the first certified Auro3D and Auromax mixing studio in Southeast Asia.

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CONTENT DELIVERY

Making OTT Commercially Viable

By Yuval Fisher, CTO MVPD at Imagine Communications OVER-THE-TOP (OTT) DISTRIBUTION is now a firmly established means to deliver content to consumers. All the research – and general experience – points to increasing numbers of consumers who prefer to choose the time and place that they watch entertainment programming. eMarketer, for example, estimates that more than 70% of US consumers now watch OTT content, although that figure is likely skewed by the inclusion of YouTube, which is best-known for short-form and user-generated video. But, it is clear that OTT is now a major force, particularly for on-demand or time-shifted content.

With OTT viewership on the rise, the next step for broadcasters and content distributors is to explore the commercial opportunities associated with the distribution of content to a growing diversity of connected devices. The monetising of OTT-delivered video falls into three primary buckets. The first is transactional: viewers pay a fee for each piece of content they view. The second is subscription-based: viewers pay a fee to access a library of on-demand (and sometimes linear) content. The 'all you can eat' subscription model is best represented by Netflix, but now also includes offering from an increasing number of content owners and distributors, which often include a mix of linear and ondemand programming.

The third route, and the one which appeals most to traditional players in the media industry, is advertising. This is because advertising has been extremely successful in funding broadcast, and it is easy to transfer those principles to new methods of delivery of the same content.

Advertising is becoming increasingly relevant to OTT content delivery, which is a personalised experience by nature. Consumers choose what they want to watch, when they want to watch it – and increasingly on a personal device.

The personalised and one-to-one characteristic of OTT lends itself to a more targeted form of advertising, based on impressions, rather than ratings. Though advertisers selling ads in broadcast have been somewhat slow to adapt from a ratings-based approach to selling ads based on impressions, as OTT delivery allows, marketers are increasingly recognising the value of reaching a targeted group of viewers with relevant information.

OTT is a one-to-one, unicast experience. In a well-ordered service, content providers should know something and quite possibly a lot – about each subscriber. Some data will come from registration, but there is the potential to acquire a lot more information from the subscriber’s behaviours. Leveraging the capability of big data analytics, media companies can now build up the profile of each individual, adding significantly more detail to the basic information collected at registration. The key to commercial success with an advertising-based unicast model is to understand viewers as individuals.

CONTENT DELIVERY

After acquiring that knowledge, service providers can target OTT viewers with relevant ads that are personalised to the individual, down to the device on which they are watching, be it smartphones, computers or connected TVs. A typical scenario would include sending an ad for a sleep-aid to someone at the airport consuming video on her mobile device before boarding an overnight flight.

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broad spectrum of interests likely associated with the content. So, a spot for a high-performance car might be shown during a break in a do-it-yourself programme, but probably not in a wildlife documentary. In addition to interests and demographics, advertising may also be influenced by geographies.

But, this is targeting at the highest level. Advertisers pay on the basis of the number of broadly relevant viewers of their commercials. The fundamental metric is the cost per thousand (CPM), and broadcasters will attempt to drive up the CPM by demonstrating popular content which reaches the target market of the advertiser.

Targeted advertising using DAI turns this model on its head. The goal is not always to offer large numbers of viewers but rather high-value viewers who closely match the target demographic of the advertiser. Even more powerfully, studies show that consumers who see only commercials that are relevant to them pay a lot more attention to those commercials. Messages are much more clearly retained, making it more valuable to the advertiser.

Better targeting of ads is beneficial to all parties involved – advertisers, consumers, and content and service providers. DAI helps advertisers advertise more effectively, consumers receive ads they care more about, and service providers and content owners increase their overall revenue.

A key technological requirement for DAI to be acceptable to consumers is that viewers should not be aware that it is happening. Early models for DAI were based on downloading and storing replacement ads in advance on the target device, then switching from the stream to the commercial as required.

This results in freezes and buffering while the display switches from one source to the other, before the commercials and when returning to the programme.

There may be a shift in perceived quality if the programme and the commercials use different codecs and bitrates. If the consumer feels that there is an impact on the enjoyment of the content, or that some of the content is lost in this rebuffering, there will be resistance. Software ad blockers will also see the switch and could simply eliminate the advertising altogether.

The success of DAI, then, depends upon delivering a consistent stream to the consumer. It also depends upon making the decision on which commercial to insert into an individual stream at the time of delivery: a spot which was relevant at the time the programme was originally made available may not be relevant during a future viewing, if say an event had passed or a marketing campaign had closed.

In order to replace a stale, general ad with a timely and targeted one in the stream, the location of the original ad must be known precisely. Without access to the detailed playlist from the original automation system, sophisticated discovery technology that recognises and finds all the ads in the video stream is required.

Once the potential ad-placement inventory in any piece of content is known, the DAI system can plan a campaign, and deliver advertising which is targeted to the individual, and which sits inside the OTT stream for a seamless viewing experience. For broadcasters that provide conventional channels and OTT services side-by-side, it is also important that the advertising sales and delivery process is part of a unified advertising management programme, allowing campaigns to be sold over linear and non-linear outputs and across delivery channels, targeted by demographics and by individual data analytics

That is why the media industry is now beginning to recognise dynamic ad insertion (DAI) as the holy grail of video monetisation. DAI, as the name suggests, inserts advertising at the time of delivery, so every single stream of a piece of content can be tailored to the tastes and interests of the individual. Technology to enable this is now in place, and demand is growing.

The technologies of dynamic advertising insertion are proven and continuing to develop. The ability to deliver targeted, relevant, fresh commercials in both linear and on-demand OTT environments is just the beginning. The future of DAI will be the unification of advertising management around multiple services and applications, including linear, on-demand, and cloud DVRs. The result will be coherent campaign planning and maximised revenues, however the content is delivered.

In conventional, linear television advertising, commercials are targeted at a

Visit www.imaginecommunications.com

Advertiser Index

Calrec..........................................................37

Ideal Systems................................................03

CASBAA – Philippines in View..................43

IHSE.......................................................06

Comrex.....................................................39

Logitek Asia.....................................................09

Dejero......................................................27

Magna Systems & Engineering..........IFC

EMC.......................................................29

Ooyala........................................................07

AJA Video Systems........................................05 Asia Television Forum.................................IBC Broadcast Indonesia....................................33

Quantum....................................................OBC Riedel Communications.............................21 Snell Advanced Media (SAM).................23 Siggraph Asia.................................................13

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MARINA BAY SANDS, SINGAPORE

28 Nov 2017

ATF Leaders’ Summit

29 Nov - 1 Dec 2017

Market. Conference. Networking Events

ASIA’S LEADING ENTERTAINMENT CONTENT MARKET, YOUR GATEWAY TO RISING ASIA

Online Database & Recommendation Tools

Top-Level Conference Sessions

Networking Events

JOIN US NOW www.asiatvforum.com

@ asiatvforum

Held in conjunction with:

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+65 8726 3196 | meenyi.phua@reedexpo.com.sg

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