Content+Technology Asia March-April 2017

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ASIA MARCH/APRIL 2017

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Acquisition, page 18.

REGULARS 02 EDITOR’S WELCOME

48 DATES RATES & FEATURES

04 NEWS Domo Broadcast on Track with

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Mumbai Marathon, HK Announces Spectrum Release Plan, Elevate Broadcast Rises from Advanced Broadcast Solutions, Lawo in the Mix at Doordarshan, RTV Bangladesh Migrates to HD with Benchmark.

FEATURES 12 STANDARDS ITU Goes Beyond HEVC, HDMI Supports Dynamic HDR, AIMS Adopts IS-04, HbbTV Streaming Reference App.

14 ABU DIGITAL BROADCASTING SYMPOSIUM PREVIEW 16 ACQUISITION ARRI Korean HDR Workshop,

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Blackmagic URSA – the “Commercial” choice, Panasonic 4K Broadcast Cameras and 4K/HD Recorder, DPP Location Workflow Guide, DJI Flying Cameras, ARRI Accessories for Canon EOS C700.

23 SPORTSCASTING Japan’s Express Co Adds Riedel for 4K-Capable OB Van, SuperSoccer Selects Harmonic for Live Streaming, Alibaba to Bring Olympic Channel to China, Commonwealth Games 2018 – the Gold Coast Diaries.

26 NEWS OPERATIONS WION India Goes

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Global with Dalet, Hai Duong TV Serves Surge in News with Sony, Q&A with Dejero’s Mark Moore.

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29 MEDIA IN THE CLOUD India’s APB News Picks Masstech for MAM, Metro TV Jakarta Complies with Mediaproxy, Alibaba Cloud Doubles HK Capacity, Automated TV Programmes with Ooyala, Protecting the Content Value Chain.

35 POST-PRODUCTION Animal Logic Academy Underway, Asian Animation Festival, Pacific Island Workflow with Bear Grylls, EditShare Lands at Beach House Pictures

38 AUDIO Audinate Kicks Goals with Dante, NAMM2017 in Review.

41 RADIO ABC Radio Ceases Shortwave Transmissions, Oz Digital Radio to Expand, WorldDAB Revises DAB Standard, Radio Free Asia Launches Mobile App, Klotz Ships Consoles to Radio Guangdong.

44 CONTENT DELIVERY World-First 10Gbps Fibre Network for NZ, Fantastic TV to Launch in Hong Kong.

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EDITOR’S WELCOME

The Metrics System

By Phil Sandberg IT’S NO REVELATION that free-to-air broadcasting has been under

Meanwhile, advertising sales company, Multi Channel Network (MCN) is

increasing pressure since the widespread adoption of IP technology. Youtube, social media, OTT, IPTV, you name it – all have been dragging eyeballs away from appointment television.

establishing what it calls “a new benchmark for highly targeted and efficient

But, it’s not just that audiences are spending time away from traditional media, it’s also, from a marketer’s point of view, that new media comes with new, seemingly more accurate ways of measuring audience habits. (I say ‘seemingly’ following Facebook’s admission that for two years it overestimated the time users spent watching videos because it counted views of more than three seconds, not whether they watched content in its entirety).

the model across Network TEN’s channels at the end of 2016.

Still, online platforms are capable of providing advertisers with more detailed audience demographics than, say, the old ratings diary, and a large part of this comes down to collecting registration data as new users join a service.

campaign delivery. The rollout will progress over 2017 with selected partners.

This latest technical evolution for MCN and Network TEN’s partnership follows the latter’s move to Imagine Communications’ Landmark system in May 2016. It means MCN will now offer advertisers the opportunity to trade audiences rather than just airtime across Network TEN, helping improve targeting and audience

changes in viewing behaviour, in turn, optimising campaign placement. In 2016 MCN demonstrated the success of this Dynamic Trading model by meeting the end-of-year goal to deliver 60 per cent of all Foxtel advertising campaigns through Dynamic Trading. The achievement reflected the market’s enthusiasm MCN Chief Sales and Marketing officer, Mark Frain, said, “As the industry landscape becomes increasingly more complex, sophisticated and automated

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with greater ease, flexibility and efficiency. This is the future of the television

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The rationale behind this move is to close the loop between free-to-air audiences and advertisers with the offering of targeted programmatic TV advertising. The network is launching 9Galaxy, a programmatic platform integrating media analysis software from consultancy Landsberry & James and Imagine Communications’ Landmark ad sales and commercial scheduling system.

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around dynamic trading, as well as MCN’s ability to deliver results.

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Australia’s Nine Network, for example, introduced a sign-up process to its catch-up service, 9Now, in 2016. The live streaming and on-demand viewing platform hit a total of 2.2 million subscribers in just 10 months. Other free-to-air broadcasters have followed suit.

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Trading model on Network TEN. The announcement follows a successful trial of

MCN’s trading product uses up-to-date audience predictions to respond to

Which is where VOD catch up TV and standards like HbbTV come in. Having adopted HbbTV as a standard, proved the workflows involved and introduced services to audiences, free-to-air broadcasters are now starting to go deeper in the collection of data about their viewers.

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television trading on Australian free-to-air channels” by offering its Dynamic

industry, and we’re excited to be the first to deliver it on free-to-air in Australia in partnership with Network TEN.” With these developments, along with the release of standards such as HbbTV

According to Michael Stephenson, Chief Sales Officer of Nine, “9Galaxy will change the way our clients and our agency partners buy television,” said Mr Stephenson. “It will completely automate the transaction of airtime between buyer and seller, delivering greater efficiencies and more effective advertising as a result of a new range of new investment models.

2 providing new functionality in HbbTV terminalss, including enhanced dynamic

“We already trade 80 per cent of our digital inventory programmatically. I expect that over 50 per cent of our television inventory will be traded programmatically

by June.”

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

ad insertion support, cross-device viewing and Ultra HD delivery with HEVC, perhaps the “off-site meeting” of catch-up VOD will ease the pressure on appointment TV operators.

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Domo Broadcast on Track with Mumbai Marathon DOMO TACTICAL COMMUNICATIONS (DTC), Domo Broadcast has announced its SOLO HD transmitters and PRORXD 8-Way Diversity RF system was used for coverage of the 2017 Standard Chartered Mumbai Marathon on the 15th of January.

Domo technology was deployed by RF equipment hire specialist, Broadcast RF, which set up and managed the complex wireless camera coverage over the highly diverse terrain of the 42km marathon route. The marathon started opposite Chhatrapati Shivaji Terminus Mumbai, and subsequently passed many of the city’s iconic locations such as Flora Fountain, Marine Drive, Chowpatty, Haji Ali, Mahim Church, and the Bandra–Worli Sea Link.

Domo SOLO HD transmitters were fitted to live chase motorbikes and multiple ground bases throughout the course. Ground-based terrestrial receive set-ups are essential for such events as the option to engage relay aircraft in cities such as Mumbai is often unavailable. Live video transmission from multiple city sites can be difficult due to numerous high-rise buildings, underpasses, and sometimes dense foliage. Coastal areas can be equally challenging due to lowrise structures and limited reflective surfaces. The Mumbai Marathon includes both, but despite those obstacles, Broadcast RF’s setup achieved flawless video coverage.

Broadcast RF Project Manager, Paul Wolff said, “Despite numerous physical obstacles, with Domo’s transmitter and receivers we achieved 95% coverage,

which is remarkable given the numerous physical obstructions throughout the race route. However, the placement of the Domo receive points and the robust nature of the technology enabled us to capture far more than had previously been possible.”

To do this, a main switching hub and final decode station was established on Mumbai’s Trident Hotel so Broadcast RF’s intelligent auto-switching technology could receive signals from two other high-rise receive points along the marathon route, taking live footage from roaming camera’s equipped with Domo HD transmitters and forwarded to the main OB site in Azad Maidan – here the footage was mixed and sent to air. Domo’s PRORXD 8-Way Diversity RF system, a multi-way COFDM receiver, was central to Broadcast RF’s ability ensure that transmitted video was free from distortions typically associated with fading and multipath interference.

“We do a lot of events such as the Mumbai Marathon, which is why we choose Domo for projects that require widespread, shall we say, mission-critical diversity,” Wolff added.

Visit www.domotactical.com and http://broadcastrf.com

NEWS + PEOPLE

The Standard Chartered Mumbai Marathon is an annual international marathon held in Mumbai, India, on the third Sunday of January every year. It is the largest marathon in Asia as well as the largest mass participation sporting event on the continent. It is also the richest race in India with a prize pool of USD $350,000.

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NEWS + PEOPLE

Elevate Broadcast Rises from Advanced Broadcast Solutions AFTER TWO AND A HALF YEARS of significant growth in the APAC

in Myanmar to launch new studio facilities and automated news and sports

region, integration specialist Advanced Broadcast Solutions Asia has transformed into Elevate Broadcast. With offices now in Singapore, Myanmar, and Malaysia, the company has changed its name to better reflect its corporate vision and focus.

production facilities.

So far in 2017, Elevate Broadcast moved into a new corporate headquarters office in Singapore, continued staff expansion in all regional offices, and selected additional manufacturers to the list of companies it represents and resells to customers.

Within the past year, Elevate Broadcast has been busy with consulting projects, system integration and product sales in Macau, Myanmar, Philippines, Singapore, Thailand, and Malaysia. Most recently, Elevate worked with the Forever Group

According to Dennis Breckenridge, CEO of Elevate Broadcast, the deep relationships fostered within the region’s broadcast industry over the years has contributed significantly to its growth.

“We’ve been able to harness our relationships with customers and suppliers, which has quickened the pace of our expansion,” said Breckenridge. “We’re seen as being innovative in design, with a comprehensive understanding of the Asian region. Our depth in understanding the challenges facing these emerging markets has definitely propelled us forward.”

Visit http://elevatebroadcast.com

Hong Kong Announces Spectrum Release Plan HONG KONG’S Communications Authority (CA) has published its Spectrum Release Plan (SRP) for 2017 – 2019 following consultation with the industry through the Radio Spectrum and Technical Standards Advisory Committee of the Office of the Communications Authority (OFCA).

According to a spokesperson for the Communications Authority, spectrum is a scarce public resource and its supply is not limitless. Currently, all the 552MHz of spectrum which is available and is subject to competitive demand has been assigned to mobile network operators. As to the 34.6MHz of spectrum in the 2GHz band which is held in reserve, it can be released to the market upon expression of interest by industry.

Though the latest SRP has not identified any new spectrum for public mobile services between 2017 and 2019, the CA and OFCA have been working on availability of spectrum to the industry to cope with the development of public mobile services.

There will be several sources of supply of new spectrum, both in low frequency and high frequency bands, for the provision of public mobile services including 5G. The first working target of the HK Government is to switch off analogue terrestrial television services by 2020, with a review to be conducted in 2017/18. Upon completion of analogue switch-off, and frequency

coordination with the Mainland authorities to avoid cross-boundary interference, the CA will release spectrum in the 700MHz band for the provision of public mobile services.

Meanwhile, OFCA says it will also be exploring with the industry on the technical feasibility of using spectrum in the 3.5GHz band, which is currently allocated to fixed satellite services (FSS) in Hong Kong for use by public mobile services. In view of the potential interference problems between public mobile services within the 3.5GHz band and FSS, OFCA says it will be cautious to minimise adverse impacts on the current FSS users, including the thousands of households receiving satellite television services.

Lastly, the International Telecommunication Union (ITU) is spearheading efforts on spectrum harmonisation in higher frequency bands for the provision of 5G services. The World Radiocommunication Conference (WRC) held in November 2015 decided that the global allocation of frequency bands between 24.25GHz and 86GHz for 5G services would be determined at the next WRC to be held in 2019. OFCA is an active participant of the WRC, and says it is keeping abreast of regional developments. OFCA is also planning for clearance of a number of candidate frequency bands in order to ensure timely release of the necessary spectrum upon completion of global allocation.

Visit www.coms-auth.hk

WBU Technical Committee Elected SIMON FELL, Director of the European Broadcasting Union Technology and Innovation Department, has been elected to Chair the World Broadcasting Unions (WBU) Technical Committee. He will serve a two-year term in the role (2017-18).

Fell will be joined by Amal Punchihewa, Asia-Pacific Broadcasting Union Technical Director (Director of Technology and Innovation, ABU), and John Lee, Chairman of the North American Broadcasting Association Technical Committee – both will serve as Vice-Chairs.

The WBU-TC takes action in areas of common interest to all broadcasters throughout the world. For example, it carried out a campaign in 2014-15 to secure access to radio and television signals over-the-air using radio frequencies until the next WRC meeting. WBU-TC advocates and promotes common worldwide systems for television, radio, and online delivery wherever possible.

Visit www.abu.org.my

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Choose what you need for great SDI flexibility and fiber cable runs of up to 10 kilometers, all connected directly to the FS4 without the need for separate fiber to SDI conversion.

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ASIAPACIFIC NEWS CHINA THE GRAMMY MUSEUM, The Recording Academy, Beijing SEEC Culture Media Co., Ltd., Sanya Municipal People’s Government, and China Music Vision recently announced a partnership to develop the first-ever GRAMMY Museum in China, expected to open within the next three years. The announcement was made during a ceremony in Beijing that was attended by GRAMMY Museum Executive Director, Bob Santelli, Deputy Executive Director, Rita George, and the Mayor of Sanya, Mr. Wu Yanjun.

AFGHANISTAN SPEEDCAST INTERNATIONAL has been awarded a multi-year service agreement by Afghanistan’s telecommunications provider, Roshan, to upgrade its cellular backhaul network to support 3G services over satellite in Zabul province. Roshan has more than 6.5 million active subscribers across 287 districts and cities in all 34 provinces of Afghanistan.

THAILAND THAICOM PUBLIC COMPANY LIMITED

INDIA AMAZON HAS LAUNCHED Prime Video for India, offering users a large selection of new release Bollywood and regional Indian blockbusters, Hollywood movies and day-after-broadcast US TV shows, kids programming, and available for the first time in India, Amazon Original Series. Amazon has

has signed a contract with iSAT Africa – a broadcasting, data and internet service provider with teleports in Africa and Europe – to expand its C-band Multi Channel Per Carrier (MCPC) broadcast platform and service into Africa. The service will facilitate distribution of TV channels on the THAICOM 6 satellite.

The MCPC broadcast platform enables Thaicom to expand its broadcast services in Africa from the THAICOM 5 to the THAICOM 6 satellite at the company’s 78.5° East prime video neighbourhood.

started production of new Indian Amazon Original Series featuring top Indian talent and filmmakers, which will also be available exclusively for Prime members.

HONG KONG ASIASAT HAS REACHED an agreement with Globecast to deliver Deutsche Welle’s Englishlanguage program in HD to the Asia-Pacific region. DW in HD is an additional offering to the existing TV channel in SD and radio services on AsiaSat 7. DW’s German-language program will continue its service across Asia

NEWS + PEOPLE

via AsiaSat 5.

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JAPAN THE ALLIANCE FOR IP MEDIA SOLUTIONS (AIMS) has launched a Japan subgroup focused on conducting AIMS marketing activities in Japan. The AIMS Japan subgroup will work with the AIMS marketing working group to ensure that their messages are aligned before determining the best ways to reach the Japanese broadcast market.

KOREA MARVEL STUDIOS has commenced production on ‘Black Panther’, the latest spin-off from the Marvel superhero universe, with production taking place in the U.S. city of Atlanta and the South Korean port city of Busan.

Ryan Coogler (Creed, Fruitvale Station) is directing ‘Black Panther’ from a screenplay he co-wrote with Joe Robert Cole. The film is scheduled to open in U.S. theatres on the 18th of February, 2018. South Korean company, Mr Romance, will provide production services during shooting in Busan.

TIMOR-LESTE O3B NETWORKS HAS SIGNED with Timor Telecom to continue providing highthroughput, low-latency connectivity over O3b’s satellite-enabled network. The O3b connection provides Timor Telecom with

AUSTRALIA

fibre-equivalent internet performance, which has allowed the company to provide a

THE AUSTRALIAN COMMUNICATIONS AND MEDIA AUTHORITY is inviting

differentiated 3G service to customers across the country.

applications from prospective participants in in the 700MHz band. Australia’s Minister for

NEW ZEALAND

Communications, Senator Mitch Fifield, has

NEW ZEALAND’S MEDIAWORKS has

directed the Australian Communications and

launched a new digital audio streaming platform, rova. The platform brings MediaWorks’ radio entertainment stations into one app, offering New Zealanders a streamlined way to access their favourite Kiwi radio content in a digital environment.

Media Authority (ACMA) to set a reserve price of AUD$1.25 per MHz, per head of population covered. This is the equivalent of the 2013 ‘digital dividend’ auction reserve price, adjusted for a shorter licence term.

NEWS + PEOPLE

the April 2017 auction of spectrum licences

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NEWS + PEOPLE New Singapore, Sydney Offices for Ross Video ROSS VIDEO HAS EXPANDED its Asia-Pacific reach with the opening of new offices in Singapore and Sydney.

Opened by Ross Video CEO, David Ross, the new Singapore facility is housed over four floors and features demo and training areas, as well as offices for sales and support under APAC director of sales, Andrew Tan. The Sydney office meanwhile, opened by Ross Video EMEA/Oceania Marketing Manager, Stuart Russell, will also play host to regular product demonstrations

and customer training, as well as additional on-theground staff.

“We’re really pleased about it,” says Russell. “It’s a great move for the company. I’m completely convinced it’s going to pay its way in a short period of time and it’s just a really nice move on from where we’ve been.”

The Ross Video Singapore office is located at: 3 Ang Mo Kio Street 62, Link@AMK #01-63 Singapore 569139 Tel: +65-9668 3347

Visit www.rossvideo.com

Cable TV HK Expands Audio with Calrec CABLE TV HONG KONG, a division of iCable Communications Ltd. and one of Hong Kong’s largest providers of cable television services, has gone live with another Calrec Audio Artemis digital audio console. The 40-fader Artemis is installed in Cable TV’s News Studio 3 and is the fifth Artemis in the network’s audio desk lineup.

Jolly Pro Audio, a Hong Kong-based systems integrator, pro audio specialist, and Calrec’s regional distributor, has handled system installation and testing for Cable TV’s entire Calrec deployment.

“As Hong Kong’s most-watched pay-TV service, Cable TV is committed to building one of the world’s most advanced facilities for covering sports, entertainment, and news,” said Andy Leung, executive director, Jolly Pro Audio.

“After rigorous evaluation and testing, they chose the Artemis because it offers the reliability and usability they require to achieve that goal. The Cable TV team also reports that, of the audio networks they’ve worked with, the Hydra2 network is by far the most powerful, flexible, and easiest to expand after initial installation.”

Cable TV offers subscribers a broad schedule of news, sports, and entertainment programming through more than 100 channels, 54 of which offer the network’s own locally produced shows. Cable TV installed its first Calrec console, a 40-fader Artemis for sports programming, in June 2012.

In addition to the latest installation for News Studio 3, Cable TV has also

deployed a 48-fader Artemis in its main news studio, ST1, and 40-fader Artemis consoles in both its ST2 (news) and ST9 (entertainment) studios.

Central to the Cable TV Hydra2 network is a 16-port Calrec router core.

Hydra2 provides extensive control of, and access to, all of Cable TV’s networked audio resources. A Waves Sound Grid interface module provides a direct connection between Hydra 2 and Cable TV’s Waves Sound Grid network, giving the audio mixers full control over Waves software applications from the integrated touch display on the Artemis surface.

Visit www.calrec.com

Shares, Performance Targets in Avid China Partnership AVID (Nasdaq: AVID) has announced that it has entered into a ‘go-tomarket’ commercial partnership for the Greater China market with Beijing Jetsen Technology Co. Ltd (Jetsen), a long-time channel partner of Avid in China. The alliance will expand Avid’s presence in the strategically important Greater China market, and offer the company a strong platform to accelerate growth of its cloud-enabled Avid Everywhere platform and solution suites.

NEWS + PEOPLE

Founded in 2006 and headquartered in Beijing, China, Beijing Jetsen Technology designs, develops and implements integrated audio and video solutions to the radio, film, television, defence, research, government and education industries. It provides media asset management systems, information security systems, non-linear editing systems, integrated network solutions, and station monitoring and surveillance solutions. It is the No. 1 new media content IP trading provider and one of the biggest film and TV content production companies in China. Its businesses include creative investment in film and television production, TV show production, digital content distribution, media services, advertising, etc. It has over 1400 employees and is listed on the Shenzhen Stock Exchange (stock code 300182).

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The agreement makes Jetsen the exclusive (master) distributor in Greater China of Avid’s comprehensive tools and workflow solutions for creating, distributing and optimizing media. As part of the exclusive distributor agreement, Avid receives minimum annual performance guarantees for Greater China, delivering double-digit (15%) annual growth for Greater China in both revenues and cash, and represents a total contract value of greater

than US$75 million for the initial three years. Under the agreement, Jetsen will take over responsibility for Avid’s operations in the Greater China region.

All existing reseller agreements with current channel partners of Avid in Greater China will also be transferred to Jetsen, and these partners will be able to continue to represent the Avid portfolio as they do today, but will purchase directly from Jetsen going forward.

Jetsen will distribute all Avid products and solutions in Greater China, including mainland China, Hong Kong, Macau and Taiwan, continuing to work closely and directly with Avid’s existing reseller network in the region.

Supporting Avid’s strategies for the Greater China market, the agreement with Jetsen enables Avid to deliver on its commitment to providing its client community the most flexible deployment models, licensing options and commercial structures with future cloud and enterprise offerings for the region, as well as more localised and tailored solutions.

As part of the arrangement, Jetsen will also invest $18.1 million in Avid in a private placement transaction in return for a minority stake in the company of between 5.0% and 9.9%, which is dependent on the company’s share price performance leading up to the closing of the investment. A Jetsen representative will also take on the position of “Observer” on the Avid Board.

The investment by Jetsen in Avid is subject to customary closing conditions, including regulatory approvals.

Visit www.jetsen.com.cn and www.avid.com

RTV Bangladesh Migrating to HD Workflow with Benchmark RTV BANGLADESH HAS CHOSEN Benchmark Broadcast as the systems integrator for the integration and commissioning of its HD migration and automation project. The system being installed and commissioned by Benchmark Broadcast will include the following features and capabilities:

them for production. Pebble Beach Automation integrates the devices in the

• Fully HD capable platform.

eliminate tape-based workflow, achieve faster media access and provide an

• File-based workflow supporting HD formats.

environment capable of new distribution and acquisition formats.

• Automation of channel playout.

Mr. Swapan Dhar, DGM Broadcast Operations and Engineering, said, “We

• Central storage for HD with archival and retrieve capabilities.

wanted to get an experienced SI who can work with our current setup and

• Multi-path video converter and frame sync for external feeds.

The HD system has a Nevion 3G router with backup cross-points, S-A-M video and audio distribution, and an additional talkback facility to cover studio and production floors. The video format conversion and frame synchronisation ability help the station to get external feeds of different formats and handle

master control room as well as content preparation from Ingest to archival.

Archive and restore based on LTO6 tape storage is managed with Xendata HSM. The new facilities will help RTV to improve the video quality and also

migrate a running channel based on our priorities.”

The migration will occur while the current SD broadcast facilities are fully operational. The new facilities will migrate RTV to the next generation broadcast platform and provide a richer viewer experience.

Visit http://benchmarkbroadcast.com

Lawo in the Mix at Doordarshan Central Production Centre AS INDIA’S LARGEST broadcast operation, Doordarshan (DD) reaches around 92% of the population and 81% of its territory. Government-funded, it is also the largest terrestrial network in the world, and among the largest in terms of studios and transmitters with more than 90 studios and relay stations spread across the Indian subcontinent.

As part of the new Doordarshan Central Production Centre (CPC) project, systems integrator Sun Broadcast introduced the Indian national broadcaster to Lawo mixing technology as a solution for the TV news studio upgrade at its New Delhi broadcast center.

According to Tan Boon Siong, Lawo Sales Director for SE Asia, the company has supplied Doordarshan with a 40-fader mc²36 with 96+96 DSP channels – the first mc² series mixing console at DD.

Planning for the work began in mid-2015, with the contract awarded 12 months later. The console order was placed with Lawo in October 2016. Presently, the installation is well underway with completion of commissioning set for the end of March 2017.

Providing national, regional and local programming, Doordarshan currently operates around 21 channels including DD News, DD National, DD Sport and DD Bharati.

The refurbished studio will provide fully integrated operation with new and more advanced technology for DD News than DD has previously has at its disposal.

Visit www.lawo.com

RGB to Distribute Canford in India signed an agreement with RGB Broadcasting to distribute Canford-brand products into the Indian market place.

pleasure to work with the Canford team, their professional approach and quality products will help to make this a successful partnership.”

The agreement comes in response to increased demand for Canford’s OEM product in India and forms an important part of the company’s strategic plan to increase its export business. The Canford range of products includes audio, video and electrical connectors, interfaces and termination panels.

Canford Sales Director, Chas Luchford, added, “We have been working with RGB Broadcasting for a number of years on a project by project basis, their technology knowledge and ability to successfully provide ‘Leading Edge’ solutions to a changing market provides Canford confidence we are working with the best distribution partner in the Indian broadcast industry.”

RGB Broadcasting is an established broadcast solution provider who has served major broadcasters and media brands such as Star Sports India, Mathrubhumi News and Janam TV.

The Canford distribution agreement is effective with immediate effect and will see RGB Broadcasting maintaining a stock holding locally in order to quickly and efficiently fulfil orders.

Shiju George, Director Sales, RGB Broadcasting, said, “It gives us immense

Visit www.canford.co.uk and www.rgbbroadcasting.com

NEWS + PEOPLE

UK-BASED MANUFACTURER AND DISTRIBUTOR, Canford has

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NEWS + PEOPLE

Turner Announces New SE Asia Organisation and GM TURNER ASIA PACIFIC has announced the establishment of a new Southeast Asia organisation and appointment of a new regional lead to be based in Singapore.

Vishal Dembla has been named Vice President and General Manager of Turner Southeast Asia. In this new role, he has been tasked with growing all Turner’s commercial and channel operations within this increasingly important region, as well as the day-to-day management of its kids and entertainment businesses in Southeast Asia.

“For the first time, we have aligned all our Southeast Asia efforts under one executive and these changes will enable Turner to better develop its growing business in this region,” commented Phil Nelson, Turner’s Managing Director of Southeast Asia Pacific and North Asia. “Vishal has been an integral member of our senior management team – forging new initiatives and driving growth – and is well-positioned for this new role.”

New East Asia MD for Radio Free Asia RADIO FREE ASIA (RFA) has hired veteran journalist, Min Lee Mitchell, as its new Managing Director for East Asia. Mitchell will oversee RFA’s four language services for Chinese audiences (Mandarin, Tibetan, Cantonese, and Uyghur) and its Korean Service, broadcasting into North Korea.

In addition to overseeing all commercial lines including ad-sales and content sales, Mr. Dembla will lead the region’s programming, creative services and marketing departments for all of Turner’s kids and entertainment brands. The team will also handle the network distribution side of the business – focusing on further expanding the reach of brands including CNN International, Warner TV, Oh!K, Cartoon Network and Boomerang in Southeast Asia.

Vishal Dembla.

In his previous capacity, Mr. Dembla was responsible for Turner’s distribution and content sales in Hong Kong, Thailand, Vietnam and the Philippines. His expanded geographical remit now also includes Singapore, Malaysia and Indonesia.

Visit www.turner.com

TMD Adds T Vimalanathan to Strengthen SE Asia Ops TRANSMEDIA DYNAMICS (TMD) has announced that it has appointed T Vimalanathan as Regional Manager to its growing Asia Pacific operation.

“Min brings a great range of broadcasting expertise from her well-respected career as a reporter with Phoenix Television and Taiwanese media,” said Libby Liu, President of RFA. “She’ll be a strong addition to RFA’s news team, leading our China and North Korea services. We are thrilled to have Min on board.”

Nathan is a highly respected and accomplished industry veteran with solid

“I’m proud to join Radio Free Asia’s talented team of journalists, who do great work in some of the world’s most challenging media environments,” Mitchell said. “I look forward to working for an organisation with such a critical mandate of bringing free press to closed societies across Asia.”

He will lead the local sales and support effort to identify, implement and

As Managing Director for East Asia, Mitchell will work closely with the directors of five language services to manage the daily and long-term operations of RFA Mandarin, Tibetan, Cantonese, Uyghur, and Korean. She will focus on expanding the operations of these services to meet audience needs. Min reports to RFA’s Vice President of Programming, Parameswaran Ponnudurai.

ties to Asia Pacific’s broadcast and archive communities.

In his new position, Nathan will serve TMD’s existing customers, including the Asian Film Archive in Singapore and broadcaster Astro in Malaysia. maintain asset and workflow management systems in the region to drive forward the company’s growing position as a leading provider of digital asset management solutions in the region.

Prior to joining TMD, Nathan was CTO of Orange County Sdn Bhd, where he was responsible for the technical implementation and workflow of a system to photo-realistically create a digital representation of a deceased actor. He has also been a sought-after technical consultant to a number of businesses, and this brought him into contact with TMD.

Prior to becoming RFA’s Managing Director, Mitchell covered U.S. politics and global affairs as the Washington- and New York-based correspondent and news anchor for several major Chinese-language news organisations, including Hong Kong’s Phoenix Satellite Television and Taiwan Television, where she served as the organisation’s D.C. Bureau Chief, and as a stringer for BBC Chinese News. In Taiwan, Mitchell also worked for Ming Sheng Daily News and as RFA’s Taipei stringer, providing daily headline coverage of news events. A native of Taiwan, Mitchell received a BA in Russian language and literature from National Chengchi University in Taipei. Mitchell holds a master’s degree in journalism from the University of Texas in Austin.

According to TMD’s CEO, Carlton Smith, who is also based in APAC, “We

Visit www.rfa.org

Visit www.tmd.tv

first came into contact with Nathan when he was working on a major audiovisual archive project in the region. It was clear from the start that he really understood the issues, and had a passion to get the absolute best solution for the end client.”

Nathan holds a Diploma in Electrical and Electronic Engineering from Ngee Ann Polytechnic in Singapore. He resides in Malaysia and can be reached at vimal@tmd.tv.

NEWS + PEOPLE

ChyronHego Appoints Dae Yung Choe

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CHYRONHEGO HAS ANNOUNCED the appointment of Dae Yung Choe as Vice President of Sales, Asia Pacific. Dae will manage the company’s APAC team and take responsibility for all of ChyronHego’s sales, marketing, and business operations initiatives in the region. He reports to Kathy Power, ChyronHego’s President, Americas and Asia Pacific.

Director of Product Marketing for both Avid’s

“We are very honoured to welcome Dae to our team. With more than two decades of management and vice-president-level experience, he’s an accomplished and highly regarded veteran of the APAC broadcast industry,” said Power. “We look forward to working with Dae to build the ChyronHego brand in the region, measured by progressive sales growth and a truly superior customer experience.”

the San Francisco Bay Area.

Prior to joining ChyronHego, Dae served for more than nine years as Vice President, Asia Pacific/Oceania at Ross Video Ltd. He also previously served as

awareness and market share for these solutions in the Asia Pacific region.”

APAC division and for Pinnacle Systems Asia.

Earlier in his career, Dae was a senior systems engineer for SONY Broadcast and a field engineer for Alamar Automation, with both positions in “I am thrilled to be joining the dynamic team at ChyronHego, which is producing some really cool and innovative technologies to help broadcast customers make a smooth and cost-effective transition to IP-based workflows,” Dae said. “It will be a pleasure to help our team expand

Visit http://chyronhego.com

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NEWS + PEOPLE

TECHNICAL STANDARDS www.content-technology.com/standards

ITU Exploring Beyond HEVC ITU-T STUDY GROUP 16 (SG16) and the ISO/IEC Moving Pictures Expert Group (MPEG) are inviting experts to submit evidence supporting the case for a future video coding standard beyond today’s ‘High Efficiency Video Coding’ (HEVC, published as ITU-T H.265 | ISO/IEC 23008-2). Such future standardisation could take the form of additional extension(s) of HEVC or an entirely new standard.

The ‘Preliminary Joint Call for Evidence on Video Compression with Capability beyond HEVC’ is in search of advances in video coding with potential to drive the development of a standard with double the video compression capability of HEVC. Should the ‘Call for Evidence’ support a strong case for the development of a future video coding standard, SG16 and MPEG will issue a ‘Call for Proposals’ to fuel the new standardization project, targeting the completion of this project by late 2020.

The SG16-MPEG Joint Video Exploration Team (JVET) is studying the feasibility of the project and evaluating candidate technology designs. JVET is reporting roughly 30 per cent improvement in compression capability relative to HEVC with its preliminary ‘Joint Exploration Model’, with the qualification that this improvement comes with high computational complexity. This work is considering a wide variety of video source content, including new types of content such as high dynamic range video and virtual-reality/360° omnidirectional video.

The preliminary ‘Call for Evidence’ will be followed by a final ‘Call for Evidence’ on 7 April 2017. Responses to these calls will be evaluated by a meeting of JVET in Turin, Italy, 14-21 July 2017.

Visit https://itu.int/en/ITU-T/studygroups/2017-2020/16/ Documents/201701/Video-CfE-SG16R1-AnnexH.pdf

AIMS Adopts IS-04 Specification THE ALLIANCE FOR IP MEDIA SOLUTIONS (AIMS) has announced that it has added the IS-04 specification to its roadmap. IS-04 will bring critical uniformity to the use of video, audio, and ancillary data on a network of devices. The specification is important because it defines how IP-enabled devices can discover each other and connect compatible IP streams as part of a workflow. Furthermore, IS-04 automates that process, making discovery and connection more fluid than in a conventional SDI environment.

TECHNICAL STANDARDS

“IS-04 provides the next level of interoperability beyond transporting data. By adding it to our roadmap, AIMS is not just advocating for protocols related to video, audio, and data transport, but for protocols that determine how multivendor solutions can create seamless interoperable environments,” said Michael Cronk, AIMS board Chair. “The membership agreed that a common approach to managing discovery and registration was important, as such an approach provides a clearly defined way for SMPTE 2022-6- and SMPTE 2110-compliant devices to find and connect to each other. This allows us to leverage the benefits of IT and networking technologies to create a more flexible and scalable solution than conventional SDI routing systems will allow.”

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Visit http://aimsalliance.org

HDMI to Support Higher Video Resolutions, Dynamic HDR THE HDMI FORUM, INC. used CES2017 to announce the upcoming release of Version 2.1 of the HDMI Specification. This latest HDMI Specification supports a range of Higher Video Resolutions and refresh rates including 8K60 and 4K120, Dynamic HDR, and increased bandwidth with a new 48G cable.

Version 2.1 of the HDMI Specification is backward compatible with earlier versions of the Specification, and was developed by the HDMI Forum’s Technical Working Group.

HDMI Specification 2.1 Features Include: • Higher Video Resolutions support a range of higher resolutions and faster refresh rates including 8K60Hz and 4K120Hz for immersive viewing and smooth fast-action detail.

• Dynamic HDR ensures every moment of a video is displayed at its ideal values for depth, detail, brightness, contrast, and wider colour gamuts—on a scene-by-scene or even a frame-by-frame basis.

• 48G cables enable up to 48Gbps bandwidth for uncompressed HDMI 2.1 feature support including 8K video with HDR. The cable is backwards compatible with earlier versions of the HDMI Specification and can be used with existing HDMI devices.

• eARC supports the most advanced audio formats such as objectbased audio, and enables advanced audio signal control capabilities including device auto-detect.

• Game Mode VRR features variable refresh rate, which enables a 3D graphics processor to display the image at the moment it is rendered for more fluid and better detailed gameplay, and for reducing or eliminating lag, stutter, and frame tearing.

The new specification will be available to all HDMI 2.0 Adopters and they will be notified when it is released early in Q2 2017.

Visit www.hdmi.org

HbbTV Reference App for Online Streaming THE HBBTV ASSOCIATION has announced a Request for Proposals (RfP) for the creation of a reference application for online streaming of DRM protected video to HbbTV televisions and set-top boxes.

Through this initiative, HbbTV aims to make it easier for broadcasters and content providers to monetise content in the HbbTV ecosystem by providing a known working application with content that they can use as a model for their own services. The HbbTV Association has approached DRM suppliers for support on this project, as it does not include specific DRM systems in its specifications.

The installed base of HbbTV TVs and STBs now reaches 46 million, of which a large majority support DASH and DRM. The commissioned reference application will work on as much of this installed base as possible, as well as on HbbTV 2 products entering the market in 2017.

Visit www.hbbtv.org

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PREVIEW 6 – 9 M a r c h 2 0 1 7 , T h e R o y a l e C h u l a n , Ku a l a L u m p u r

ABU DBS 2017 Embraces Digital Technologies THE ASIA-PACIFIC BROADCASTING UNION’S annual Digital

colleagues, discuss advancing technologies and today’s content approach. The

Broadcasting Symposium (DBS) will be held from the 6 to 9 March at The Royale

DB Symposium, now a prominent event within the industry calendar, provides

Chulan Hotel in Kuala Lumpur. The international conference and workshops

international and regional exposure to our members and industry partners.

are set to address wide ranging topics covering the entire gamut of radio and TV broadcasting and issues pertaining to the current media industry. Specially topics focused on embracing digital throughout the complete media chain from acquisition, post-production, its delivery and to archiving and media

Industry leaders, eminent speakers and experts will be presenting at the conference and workshops. Some of the key areas of discussions at the upcoming symposium include:

management will be discussed by distinguished experts within the industry.

• Production Technologies for HD and UHD

The 2017 symposium, with the theme “Digitise, Digitalise & Dominate” will

• Enhancements in Workflow and Media Management

focus on the importance of embracing and implementing digital technologies in every aspect of the broadcast and media value chain to succeed and become a

• Media on the Cloud and Cyber Security

dominant player in the current market space.

• Towards the IP Ready Broadcast Chain

The four-day composite event with its international conference, industry

• Immersive Media Experience and Evolving Business

exhibition and focused workshops will showcase and present advanced

• Evolving Platforms and business Opportunities

technologies, content strategies, and effective business ideas and solutions to address current and future challenges within the industry. With the industry’s

• Moving on to OTT, IBB and other content delivery networks

leading solution providers and experts, the symposium will provide a platform

• Effective interaction and second screen experience

to share expertise, learn from experiences and network with like-minded

Visit www.abu.org.my/dbsymposium

ABU 2017 PREVIEW

DIGITISE, DIGITALISE & DOMINATE

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ABU 2016 PREVIEW

ABU-DBS2017 – EXHITIBITION HIGHLIGHTS www.adder.com Adder Technology, the high performance KVM (keyboard, video, mouse) specialist, will be demonstrating the power and performance of IP-based KVM and its benefits for the broadcast market at the ABU Digital Broadcasting Symposium.

Included in the line-up are a number of recent product releases specifically developed for use throughout the broadcast workflow, from studio and galley control, to post production and the outside broadcast. The new AdderLink XDIP extender is one such product — a high performance AV extender that offers USB and audio over a single CatX cable, the AdderLink XDIP enables remote access to critical computing, while flexibly extending the desktop experience.

Visit Adder on booth 62 to find out more about High Performance KVM and what it can do for your workflow.

AVID BOOTH 9–10 www.avid.com Today’s multiplatform world requires media organisations to get more out of each asset quickly and less expensively. This underscores the need for organisations to rapidly create, access, distribute, and monetise content at lower cost. To do this effectively, they need to ensure that assets are protected, are immediately available when needed, and can be repurposed easily and efficiently.

Avid offers a solution for every graphic need, enabling broadcasters to create, manage, distribute, and play out stunning, real-time visual content for news, elections, sports events, weather segments, business reports, and more.

With its modular architecture, Avid’s graphic solutions can be customised for a wide variety of media environments, and integrate \ with solutions across the Avid MediaCentral Platform.

Create, manage, and play out stunning, real-time 3D graphics and video with Maestro, an on-air graphics suite that integrates with Avid and third-party news and editing applications. Now with Maestro 7, you can boost efficiency, expand production possibilities, and create complex content more easily.

Engage viewers and offer visual

insight into a game’s flow, key plays, and controversial calls.

Designed for small to mid-size broadcasters, Spark is an all-in-one sports telestration, video recording/ playout, and 3D graphics rendering solution that enables you to draw graphics on live video and control replays.

To learn more about platform-based integratedsolutions for graphics, sports and news, join Avid at Conference Session 6, ‘Immersive Media and Future of TV Experience’ on Wednesday the 8th of March, 11:15-13:00.

CANARA LIGHTING BOOTH 37-38

www.canaralighting.com Canara Lighting is showcasing its unique solution for the broadcast industry. Canara manufacture specialised lighting equipment used in TV and film studios, auditoriums and theatre, architectural lighting, stadium lighting and other special lighting applications. Customers a serviced with concept to commissioning for lighting requirement from a single source. Canara’s solution includes consultancy, designing, manufacturing, installation, commissioning, testing, training, and after sales service. Product ranges include hi-tech LED and other lighting fixtures, rigging equipment, cabling and networking, dimming and lighting consoles. Canara’s products adhere to international standard and are CE certified. Over 800 installations are using their equipment satisfactorily.

Canara’s world class manufacturing facility is located in India, with its products exported to Asian countries including China, Middle East, African and European countries.

In order to provide a total turnkey studio lighting solution, close cooperation with the customer is paramount. This starts with customers providing requirements, encompassing style of programming such as news, entertainment, talk shows, sports etc. Customer can stipulate detailed briefing regarding requirements such as number of sets, number of presenters on each set, number. of cameras, studio colour temperature etc. Based on this briefing a bespoke lighting system is designed.

CATON TECHNOLOGY BOOTH 36

www.catontechnology.com Caton Technology’s third generation of NVP Video Encoder and Decoder

will be on show at ABU 2017. The NVP family supports up to three independent encoding outputs for multi-screen applications. The NVP family integrates H.264 decoding with simultaneous digital and analogue output to provide a versatile media delivery solution over any IP network.

• 1080p60 H.264 encoding/ decoding.

• HD-SDI, HDMI, analogue AV for video and audio input.

• Multi-bit rate single-channel encoding with up to three independent encoding outputs for multi-screen applications.

• Seamless connectivity to streaming media servers via RTMP PUSH, TS over HTTP, TS over UDP IP. • Customisable on screen display.

• Simultaneous high bit-rate file recoding to SD cards.

• Integrated H.264 decoding with simultaneous HD-SDI, HDMI and analogue video output • Internal Wi-Fi hot-spot for web control via PC, Android, and iOS. Caton is a leading manufacturer of advance video encoding and Open Internet data transmission solutions.

Reliable Real-Time Transport Protocol (R2TP) and Fast Files Transfer Protocol (F2TP) technologies enable secure, robust and easy-to-use data.

DELL EMC BOOTH 1-2

www.emc.com For the first time in Asia, and to kick off your 2017 event schedule, come and engage with Dell EMC – now the world’s largest privately controlled technology company. Dell’s focus is to assist the digital transformation of your media and broadcasting business.

Dell has a strong presence and pedigree in Asia and a large workforce covering sales, support manufacturing and R&D in Malaysia.

Dell sees a range of microeconomic markets within Asia, all in tune with global consumer and industry trends.

Adoption and development of UHD technology is more advanced than global markets. The availability of all-IP media technology based on virtualised infrastructure is an evolution already embraced by APAC broadcasters.

Great content is the key to attracting viewer interest. However, viewers are quickly lost by poor quality delivery.

Through great engineering it is possible to build solutions designed to cost-efficiently address broadcast and streaming content delivery using

shared infrastructure.

Join Dell EMC on Tuesday the 7th of March for the following sessions: Conference Session 2 11:30 – 13:00 ‘A Quick Change – Accelerate and Simplify your Media Workflow’ Storage and networking infrastructure is getting faster and more compact as the introduction of new-gen media solutions based on Flash technology emerge. Learn how Flash technology can accelerate your workflow and simplify your operations.

Workshop Session 1 – 14:00 – 15:30 ‘Create, Manage, Deliver & Measure – Advanced Media Infrastructure Architecture’ Join Chief Technology Officer, Charles Sevior, for an in-depth workshop on the architecture of a cost-optimised solution to delivers on the promise of an all-IP infrastructure.

DRM BOOTH 33 www.drm.org DRM Consortium’s objective is to make the DRM standard not only respected and accepted, but also widely known, and taken on board at regional, national and international levels.

The Consortium makes a concerted effort to earn receiver manufacturers’ interest and get in the market for the benefit of listeners.

The DRM Consortium (Digital Radio Mondiale) is an international not-for-profit organisation composed of broadcasters, network providers, transmitter and receiver manufacturers, universities, broadcasting unions, and research institutes.

DRM is the only global, open, energy efficient digital radio standard for all FM/VHF and AM broadcast frequencies, and will host a special DRM digital radio workshop. The workshop, presented by specialists from the UK, Germany and Indonesia will focus on: ‘DRM – For Full and Efficient Country Coverage’ on Wednesday the 7th of March, 2017 – 16:15 – 17:30.

The venue will be the Taming Sari 3 Conference Room, The Royale Chulan, Kuala Lumpur, Malaysia. Here you’ll have the opportunity to experience DRM quality broadcast from Babcock International. Of course, DRM experts will be on hand to answer your digital radio questions.

ABU 2017 PREVIEW

ADDER TECHNOLOGY BOOTH 62

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ABU 2016 PREVIEW

ELEVATE BROADCAST BOOTH 46 & 47 www.elevatebroadcast.com Elevate Broadcast Pte Ltd is headquartered in Singapore with local offices in Malaysia and Myanmar and servicing projects throughout Asia. Elevate Broadcast provides services in three areas: Consulting, Systems Integration and Product Supply. Each customer is unique and has a specific set of challenges from startups to established broadcasters, Elevate Consulting services can help customers with personalized solutions to align requirements with technologies in areas such as workflow, production and infrastructure. Elevate Broadcast turnkey Project Integration services from concept through commissioning.

Product supply from top manufactures and specialized products. Elevate Broadcast is able to support any size operation.

FACTUM RADIOSCAPE BOOTH G30/G31 www.factumradioscape.com At the ABU DBS Exhibition, Factum Radioscape will be offering visitors industry development information and guidance on implementing DAB+ encoding, multiplexing and monitoring.

This will include options for all-in-one and virtualised server systems for small, medium and large Digital Radio networks.

Factum Radioscape has been supporting the deployment of Digital Audio Broadcasting in the Asia Pacific region for more than 10 years with multiplexer installations in Australia, South Korea and China.

The company says its experience and recent innovations give it the flexibility to provide reliable and economical encoding, multiplexing and monitoring systems. This works to support the increasing interest in DAB+ in the Asia Pacific region, covering trials, small-scale and large DAB+ networks for both public and commercial broadcasters.

IABM BOOTH 30

ABU 2017 PREVIEW

www.theiabm.org

16

The International Association of Broadcast Manufacturers (IABM) will have a presence at ABU-DBS this year with the Tom McGann Memorial Summit and a speaking slot at the conference.

The Tom McGann Memorial Summit will examine “Tackling Skills Shortages in the Broadcast & Media Industry on March 5th & 6th at The Royale Chulan, Kuala Lumpur.

Organised by IABM Educational Foundation, in conjunction with ABU and AIBD, the summit draws together representatives and leaders from across the broadcast and media ecosystem and the government, training and educational institutes who give people the skills needed to enter and be effective in this sector.

The summit is not about presentations from the stage. It’s about working with representatives and leaders first to identify what people and skills shortages they struggle with in their sector and geography, then more importantly what initiatives and changes are needed and what organisations and businesses present can do to bridge that gap.

On Thursday March 9, Session 9 of the ABU-DBS Conference will see Peter Bruce, Director, IABM APAC present on “The changing trends of the broadcast and media industry“.

Peter will review the worldwide Broadcast and Media industry trends.

As the industry moves to UHD and IP solutions with viewing habits changing from linear to VOD and OTT. The presentation will highlight the findings of several surveys that the IABM carries out. These include the Global Market Valuation report (in partnership with Devoncroft Partners), End user survey and Benchmark report. The presentation covers the changes in the Broadcast and Media industries focusing on the significant changes to the composition of the underlying product revenues and reflecting the ever-changing industry.

The end users’ business model is adapting with new opportunities for the TV stations and the survey reports the results adoption of IP, Cloud and sources of revenue incomes.

Additional focus on the viewing habits of the customers and why people are choosing VOD and OTT services.

IDEAL SYSTEMS BOOTH 57 & 60 www.idealsys.com Ideal Systems will be showcasing the Nokia OZO 360 VR Camera on their booth in Malaysia for the first time and have already engaged with a Malaysian broadcaster for some VR trials .

They will also have a strong IP and cloud theme on the booth with IP solutions from Evertz, Grass Valley and NewTek and cloud control of remote news and sports transmission with Dejero, which is very telling of the way the industry is starting to move. Ideal Systems recently won a large contract with an International Broadcaster in Singapore to build a hybrid IP routing and monitoring

solution based on multiple GV Node’s on a Cisco core backbone which provides vertical accurate switching for combined IP and SDI in the one platform reinforcing the point, this IP shift is gaining momentum..

On Display at ABU 2017 will be:

JAA SYSTEMS BOOTH 45 & 48

LS TELCOM BOOTH 54

www.jaasys.com At the booth, JAA Systems will be presenting Junger Audio system, Calrec’s mixer such as Summa and Brio mixers, Prodys, Orban and Klotz mixer.

Junger Audio’s Peter Poers will be presenting Workshop 4, entitled Smart Audio, on 8th March (Wed) at 11.15 am.

To ensure that viewers receive a consistent and clear audio experience in a live broadcast situation, the answer is to utilise real time processing algorithms that are both intelligent and adaptive - that is Smart Audio.

KATHREIN BOOTH 55 www.kathrein.com/de Kathrein is an international enterprise active in antenna and communications technology. Since 1919 the group of companies has been developing, producing and marketing a wide range of antenna systems and signal processing products. Remaining one step ahead in technology has ensured Kathrein is among the leading companies in the world market.

The Kathrein Group is active in the following product categories:

• Transmitting and reception antennas for FM, TV, DTV, DVB and DAB. • Antennas for mobile communication networks.

• KATHREIN Smart Monitoring System.

• UHF Cavity Slot Antennas.

• Radio and TV Combiners.

www.lstelcom.com LS telcom is a supplier of planning, design and implementation solutions for broadcast networks. The company’s comprehensive product portfolio consists of:

• Multi-Standard Software Solutions, e.g. frequency engineering tools for digital broadcast services such as DVB-T/2, ATSC/3.0, T-DAB/+, DRM/+ and analogue services such as FM, TV, AM, such as the company’s CHIRplus_BC. • Consulting services and training such as assistance in DSO process, planning, coordination and optimisation of networks, bid planning and business case analysis.

• Engineering services such as. simple coverage plot calculations, solution of complex interference scenarios, design and optimisation of country-wide SFN networks.

• Drone RF measurement services using UAVs, unmanned aircraft vehicles via its subsidiary, Colibrex.

LS telcom is headquartered in Lichtenau/Germany and presents worldwide, with subsidiaries in France, Canada, UK, USA, South Africa, Hungary, China and Oman.

• Combiners and amplifiers for mobile communication networks.

MEDIAGENIX BOOTH 43

• Satellite and terrestrial reception systems.

www.mediagenix.sg

• CATV & HFC nets and headends.

• Test Equipment.

• Mobile radio antennas and reception systems.

• Ground-to-Air antenna systems for communication and navigation.

• Car antennas and electronics.

• RFID systems.

Offering over 4,500 different products covering many different fields of telecommunication technology, Kathrein is the largest and oldest manufacturer of antennas

worldwide.

MediaGeniX develops and implements WHATS’On, a market leading Broadcast Management System that is the backbone for media companies such as broadcasters, on-demand service providers, platform and telco operators.

With this integrated software suite, MediaGeniX guarantees customers a state-of-the-art solution for:

• VOD & Linear Scheduling • Contracts & Rights Management for VOD/linear • Content (Lifecycle) Management • Promotion & Interstitial Management • Media (Metadata) Management

ABU 2016 PREVIEW

into their own hands, while keeping

• Compliance

this process as clean and time

• Analytics & Finance

efficient as possible.

WHATS’On not only enables content providers to easily schedule content in line with strategic, editorial, budgetary, operational and regulatory requirements, it provides them with the central hub they need to streamline workflows and optimise core processes.

On Tuesday 7 March at 11:30am, MediaGeniX co-founder Michel Beke will present on “Conquering the complexity of VOD, from rights to material management”.

MSA FOCUS BOOTH 56 www.msafocus.com In a world of multiple revenue sources, more adaptable, intelligent and extensible systems are required to accommodate the varied revenue generation possibilities now available to a broadcast, VOD, or streaming operation. Similarly, the oft used moniker of ‘Broadcast Management System’ frequently fails to include or recognise the importance of the many delivery methods, platforms and models that are now the mainstream.

These developments in television delivery and the business practices and technologies both behind and alongside them, have driven the design and development of ForeTV Pulse.

Along with a forward thinking design capable of coping with new and emerging platforms in the broadcasting sector, the features and capabilities for dealing with traditional linear broadcast techniques have been improved, streamlined and evolved to provide a complete, scalable and efficient management package.

ForeTV Pulse is an ‘all-in-one’ system, providing a comprehensive technological solution for multiplatform content delivery, sales and inventory management.

PLAYBOX TECHNOLOGY BOOTH 61 https://playboxtechnology.com PlayBox Technology provides broadcast performance, powering over 17,000 playout and branding channels. PlayBox delivers efficient and future-proof solutions on whatever business basis customers prefer: on-site systems, IP-controlled remote servers, or software-as-aservice.

CloudAir Playout Neo supports UHD, HD and SD playout from a virtualised instance using public or hybrid clouds infrastructure. It is designed for 24/7 unattended operation and can also be operated manually, including the ability to handle live-to-air throughput.

New additions include streaming input compatibility with HTTP(S), UDP, RTMP, MMS(H) and YouTube, plus streaming output support for UDP, RTSP and ATSC. The TitleBox Neo on-air graphics and character generator expands the versatility of PlayBox’s Cloud based playout, and ensures rich graphics are added to the final output. Also added is support for the NewTek Tricaster NDI protocol and an API plugin for Blackmagic DeckLink audio/video capture and playback cards.

ProductionAirBox Neo is a media manipulation and delivery system with the near-zero latency required for broadcast news, sports and live production. New features include MOS protocol for NRCS systems, enhanced playlist performance, XKeys control compatibility and NDI protocol compatibility.

The PlayBox Technology CloudAir CMS cloud-based software-as-a-service is enhanced with a new transcoder capable of handling multiple file containers and formats including MPEG PS/TS, MXF, QT, AVI, MP4, GXF, MPG2, H.264, ProRes, DNX HD and MJPEG.

The different tasks and information types in the scheduling and transmission timeline are organised into modules within ForeTV Pulse.

These modules contain either a number of information libraries or task oriented tools for specific stages in the transmission process. These modules and toolsets can be user restricted to ensure that the security and integrity of your business and its data is maintained.

MSA Focus aims to deliver complete control of its clients’ content output

SKYLINE COMMUNICATIONS BOOTH 12 http://skyline.be The media landscape is changing rapidly. Broadcast production is still transitioning to support a vast set of formats for any screen, but is already preparing for UHDTV and HDR. The complexity of processing different formats, each with their own methods for dynamic ad insertion and content protection, results in complex multivendor infrastructures. Initiatives like AIMS and NMOS motivate vendors

to build interoperable solutions on the data plane. Technology suppliers respond by creating scalable processing functions running as virtualised software. But boxes, data centres and software functions alone don’t provide the operational environment required by media and service provider companies.

At ABU 2017, Skyline Communications introduces DataMiner 9.5. The latest version of the multivendor DataMiner NMS/OSS comes with an unprecedented suite of service management workflows.

DataMiner 9.5 innovations enable operators to set up live and file workflows. Reliable resource management maximises the utilisation of bandwidth and resources. Upfront job management and transactional automation across any technology make life simpler for operators. News gathering, remote sports production, studio setup, MCR and Tx room management, OTT and satellite distribution – DataMiner orchestrates services end-to-end.

Recent DataMiner innovations include the DataMiner Virtualization Engine, providing vendor-agnostic virtualisation of system resources, the DataMiner Service & Resource Manager, allowing easy and intuitive deployment of the complex services, the new DataMiner Cloud Platform, the DataMiner OSS Gateway, DataMiner Advanced Analytics, the DataMiner Key Quality Index Manager, the all-new next-gen DataMiner Reports & Dashboards solution, and much more.

SOFIA DIGITAL BOOTH 22 & 23 www.sofiadigital.com Sofia Digital is a Digital TV solution specialist offering services for the TV Apps creation and Digital TV broadcasting services. Company special area is HbbTV and Smart TV Apps for any TV device having Digital Television development experience since year 2000, the foundation of Sofia Digital. Currently having successful deliveries for more than 40 countries from lab trials to full DVBnetwork deployment.

At ABU DBS 2017 Sofia is presenting real-life case examples from Europe, Malaysia and Singapore, made with Sofia Backstage products. Mr. Mika Kanerva, the company’s COO will be speaking about “New hybrid digital TV services in Singapore and Malaysia” at Thursday 9th March afternoon in session 11 IBB. Sofia Digital has been providing the HbbTV solutions for Malaysian RTM and Media Prima. The systems consist

of Sofia Backstage HbbTV Platform with Sofia Backstage Author together with integration into Broadcasters’ back-end services. The core of Sofia Digital HbbTV application suite include Red-Button interactivity, The Service App Menu, Rich Electronic TV guide, Video-on demand services, Digital Radio and Digital News and Weather services.

SONY BOOTH: 53 & 64 https://pro.sony-asia.com At ABU’s Digital Broadcast Symposium 2017, Sony will highlight the most advanced technologies and solutions for broadcast and production industries including the rugged 4K XDCAM camcorders that are suitable for field applications as well as the scalable Optical Disc Archive solutions.

In addition, James Thia, Principal Consultant, Content Creation Solutions Marketing, Professional Solutions Company (PSAP), Sony Electronics Asia Pacific, will also be presenting at Conference Session 2 on Enhancements in Workflow and Media Management. The session will focus on Sony’s robust, long-term archiving solutions that feature maximised flexibility, scalability, reliability, and performance.

STAGETEC ASIA BOOTH 58 & 59 www.stagetec.com Stagetec Asia is a direct subsidiary of Stage Tec Gmbh, the Berlin – based developer and manufacturer of digital audio equipment and a local partner with other equipment manufacturer such as DHD, Zenon Media, Linear Acoustic, Minnetonka, Mobile Viewpoint, Riedel, AVT, Sonifex, RTW, Merging and ADAM Audio is representing: 1) ‘Excellence Audio’ is the Stage Tec’s slogan, claiming that we develop high-quality audio equipment ranging from Audio Console ‘Aurus Platinum’, ‘Crescendo Platinum’, ‘On-Air Flex’ and Audio Router ‘Nexus’.

2) Dante Audio Network Created for Modern Broadcasters- DHD & Zenon Media: Dante able to integrate media and control for your entire system over a single, standard IP network for a simple, and cost saving solution. Stagetec Asia will be showcasing current radio workflow that are using Dante network ‘DHD’ & ‘Zenon Media’ 3) ‘Any signal everywhere’ – Riedel Mediornet is a system that integrates transport, routing and processing of SD/HD/3G-SDI video, audio, intercom and data via fibre into one single network.

ABU 2017 PREVIEW

• Material Workflow Management

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ACQUISITION www.content-technology.com/acquisition

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ARRI Exports Experts for Korean HDR Event

WHEN ARRI KOREA’S Carlos Chu needed a team of industry experts to bring the Korean TV and movie industry up to speed on HDR, he turned to ARRI Australia’s Brett Smith.

Smith explained: “The ‘Top Creative Skill Training for 4K Broadcast Professionals’ event was the result of a Korean government initiative. They wanted the very best experts and speakers. Having discussed the event with Carlos I realised this couldn’t be a one-person event, so I got in touch with DOP and AFTRS lecturer, Richard Wilmot, to see what kind of team we could put together.”

Smith and Wilmot quickly realised that in order to do the topic of HDR justice they would need a DOP, gaffer, grip, and a lighting expert.

Wilmot said, “We already had ARRI’s Middle East GM and resident DIT, Phillip Chudalla in place. Alongside Philip we got in David Burr ACS (Mad Max: Fury Road, San Andreas), as the event required a DOP with a recognised Hollywood presence, Grant Wilson as our gaffer, Glen Bielenberg as our lighting expert, and myself as a second DOP and team coordinator.”

With the team in place, Wilmot and Smith set about preparing a comprehensive agenda and presentation that included film clips, links to media, content hardware, and full facilities in just two weeks.

As the four-day workshop kicked off in Gangham’s Dae Yoo Studios, it became clear to Wilmot and the team that the level of presentation had to be first class.

Wilmot added: “It was a good job we’d done our homework and got the cream of Australian talent for this event, as the attendees were interested in all aspects of HDR. We used ARRI ALEXA SXT cameras and ARRI Master Primes for show

and tell style presentations, and ARRI SkyPanels, LED ribbon lights and a Grand MA2 console for the lighting sessions. On day four we all came together for a DIT presentation that covered all the disciplines.”

Wilmot and the team also shot and recorded footage at the studio so they could then discuss different techniques and approaches that best suit HDR in realtime.

The discussions also extended to post-production which meant the use of highend LG and Canon HDR monitors as part of the demonstrations.

Wilmot continued: “The number of attendees grew each day, as did the level and depth of their interest and interactivity. This was a very serious event. As a result we set up and tested many different scenarios using all the ARRI cameras and lighting equipment. No creative stone was left unturned. As a result these cameramen and lighting operators from Korea’s best broadcasting crews walked away with a far better understanding of HDR and the dynamic range of ARRI cameras. That combined with a broader knowledge of how creative lighting can enhance shooting with HDR made the event a huge success.”

Visit www.arri.com.au

Cinema Lenses for the Prosumer FUJIFILM HAS LAUNCHED the new MK series of cinema lenses specifically designed for consumer and prosumer videographers and emerging cinematographers, which boast advanced optical performance, ultra-compact and lightweight design and excellent cost performance.

The FUJINON MK18-55mm T2.9 (MK18-55mm), a standard zoom lens with the focal length of 1855mm is the first MK lens to be released in early March 2017. This will be followed by the launch of the FUJINON MK50-135mm T2.9 (MK50-135mm), a telephoto zoom lens offering the focal length of 50-135mm, thus together covering the most frequently-used range of focal lengths from 18mm to 135mm.

ACQUISITION

Cinema lenses are the optimal choice to achieve a shallow depth-of- field and a beautiful bokeh.

However, since they are typically large, heavy and expensive, those involved in online and other lower cost movie production often opt for interchangeable lenses for digital cameras, which are more affordable and mobile.

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The problem is that interchangeable lenses for digital cameras are designed primarily for shooting still images, and therefore prone to focus shift and optical axis shift while zooming, and so on. In

response, Fujifilm has been working on developing new cinema lenses that offer advanced optical performance with compact size and operability to meet the needs of creative emerging cinematographers.

The MK lenses inherit the FUJINON cine lenses’ advanced edge-to-edge optical performance and low distortion, and yet boast a compact and lightweight design.

The MK series offers fast lenses with T2.9 speed across the entire zoom range, enabling a shallow depth-of- field as well what is described as a beautiful bokeh effect. The lenses will be compatible with E-mount cameras with the Super 35mm/APS-C sensor and the X Mount used in Fujifilm’s “X Series” of digital cameras (APS-C sensor). They achieve advanced optical performance despite their compact and lightweight body by incorporating the benefits of short flange focal distance into optical design to the maximum extent. The use of optical and mechanical design optimised for dedicated movie lenses minimises focal shift and optical axis shift while zooming, and lens breathing (change of angle of view during focusing) that are typically observed in interchangeable lenses for digital cameras. The lenses feature three rings to enable

manual and independent adjustment of focus, zoom and iris (aperture), all with the gear pitch of 0.8M (module). The focus ring can rotate fully up to 200 degrees to facilitate precise focusing.

Fujifilm will firstly release the MK18-55mm (focal length of 18-55mm) for the E Mount in early March, followed by the MK50-135mm (focal length of 50-135mm), also in the E-mount this winter. Their X Mount versions (focal lengths of 18-55mm and 50-135mm) are being developed for launch by the end of 2017.

Visit www.fujifilm.com

ACQUISITION

URSA Mini 4K the “Commercial” Choice BLACKMAGIC DESIGN recently announced that URSA Mini 4K was used to shoot popular Japanese fashion company and retailer nano•universe’s ‘Anti Soaked’ TV commercial. Colour correction for the commercial was also done with Blackmagic’s DaVinci Resolve. nano•universe is a Japanese clothing shop which sells original brand clothing alongside selected items, and has a number of shops throughout Japan and an online store. nano•universe is a rare apparel company in that it runs its own video team for movie and web productions in house. Its online site contains not only its fashion items, but also original ‘lifestyle’ content for customers.

The new commercials shot on the URSA Mini 4K are for the company’s new ‘Anti Soaked’ sweat-stain-proof T-shirts. Shuichiro Makino, an in-house creative at the company’s web/visual group, directed, edited and colour corrected the commercial. He picked freelancer, Shohei Namitani, as DP for the project, and Keigo Nakamura, a cameraman from the nano•universe production team.

“In the past, we had been mainly shot with DSLR, but

On the set of the ‘Anti Soaked’ TV commercial for Japanese fashion company, nano•universe.

after a couple of tests with Blackmagic cameras from a rental house we were convinced it was way better than

skincare products of Shanghai Jahwa United Co Ltd, one of China’s oldest

other cameras. From there we decided to purchase URSA Mini 4K as our main

chemical companies.

camera so most of the movies we produce are now shot with this camera.”

Inspired by the science fiction trilogy ‘Remembrance of Earth’s Past’ (a.k.a. ‘The

For the ‘Anti Soaked’ production, the URSA Mini 4K was used with a 30mm–

Three Body Problem’) by Chinese writer, Liu Cixin (in which the alien Trisolarans

105mm Canon lens, as well as with other prime lenses. Namitani added: “30mm-

evolve to be able to hydrate and dehydrate their bodies on a planet with three

105mm is quite large lens, but the URSA Mini is so well built that it provides

suns), Chinese social creative company, Verawom, designed the commercials to

steadiness even holding such large lens. Also, it’s so easy to use that it can be

highlight GF’s ability to retain moisture. Verawom trusted director Yu Gang with

customised based on the shooting circumstance. For this project, I mounted the

this project.

camera on a RONIN on location, and mounted on a DC slider to use like a crane

The series of commercials for GF were shot with Yu Gang’s own URSA Mini

a top handle, to make it as light as possible and used just the camera itself.”

Namitani continued: “There are scenes shot in a studio and on a beach in the commercial. Most of scenes were shot in high speed. I also used a Black Promist filter, which is often used for film shooting to make the light source look softer, which gave more cinematic effect.”

4.6K, with which he also shot promos for the popular Chinese cosmetics brand Herborist, and the fashion brand, Erdos.

“Before this project, my cinematographer hadn’t used the URSA Mini 4.6K camera. But by the the middle of the production he had found its latitude was so great that he didn’t have to worry about the possibility of blown out highlights.

After the production he and the assistant director who often shoot car

The footage was sent to nano•universe for post production, where they

commercials, were convinced the URSA Mini 4.6K is a great camera for high-end

used DaVinci Resolve Studio for colour correction. “I didn’t want it to look too

TVC projects,” said Yu.

advertising like, so I decided to keep the tone down for this commercial to make it less splashy. More like a European film. So, I did not do too much heavy grading.

Rather, I took advantage of the camera’s original tone and did simple colour corrections,” said Makino.

“We also shot in log, which gave us more freedom for colour correction, however we could still pursue the colour we aimed at with minimum colour correction. Not only for this commercial, in general we tend to prefer less a saturated look. So I like the look of original footage from the camera,” added Nakamura.

Nakamura continued: “Blackmagic Cameras are easier to use as they have simple setting menus. After the new OS update, Blackmagic’s camera are now even better. Other cameras have too many settings, which is troublesome for us to deal with on set.”

Not all Video Production is Created Equally Blackmagic Design has also announced that its Blackmagic URSA Mini 4.6K

All footage was recorded to 4:1 RAW. “I like the URSA Mini’s ability to record 4:1 RAW because it gives you great quality and more freedom in post-production.

The footage looks clean without too much noise. If you want it even cleaner, a pass of temporal noise reduction in Resolve helps. The combination of the URSA Mini and the included DaVinci Resolve Studio is another strength of the camera,” said Yu. Speaking of the URSA Mini and DaVinci Resolve Studio bundle, Yu went on to add: “The slate feature in the URSA Mini is great for shot logging, which makes take selection very quick in post because you can do it when you do transcoding and rough edits in Resolve. It makes the editor’s life much easier. For long form projects, the more information you log, the more organised you are in post.”

In the spots there is a scene where the character floats in a spaceship in zero gravity. It was recorded at 50fps in 4:1 RAW to simulate the absence of weight.

“We didn’t have to use lower recording quality for high frame-rate recording so

camera was used by director Yu Gang to shoot a series of ‘Three Body Problem’

the image quality is the same as that of other scenes,” Yu said.

themed web commercials starring Chinese actor, Feng Shaofeng, for the GF

Visit www.blackmagicdesign.com

ACQUISITION

shot in the studio. In such situations, I removed most of the accessories, such as

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Panasonic Developing 4K/HD Portable Recorder PANASONIC IS DEVELOPING the professional AG-UMR20 HD/4K Memory Card Portable Recorder and optional AG-UCK20 Compact Camera Head. Both are scheduled for release in early 2017.

Panasonic has offered the AG-HMR10A HD Portable Recorder since 2009. The AG-UMR20 being developed as a successor model, links with IP networks and combines with optional AG-UCK20 Compact Camera Head to form a 4K image production system in addition to high-resolution HD images.

As a standalone recorder, the AG-UMR20 enables HD (1080/59.94p) acquisition from 3G-SDI input (with 23.98PsF compatibility). The AG-UMR20 features double SD memory-card slots for SDXC memory cards, to allow extended, nonstop relay recording. A newly equipped LAN terminal allows IP connection for external remote control and network streaming. It is also capable of linking to Panasonic remote camera systems. In addition, a range of functions including HDMI output and mic/line input are equipped on the lightweight (650g) recorder.

The use of an optional AG-UCK20 Compact Camera Head also enables 4K

(2160/29.97p) acquisition.

The AG-UCK20 Compact Camera Head features a wide-angle, 20x zoom, 16-axis independent colour correction, five-axis hybrid image stabiliser, infrared shooting, and ND filter setting. Camera remote operation from the AG-UMR20 is possible by connection with an optional 20-meter cable. In addition to record start/stop and zoom operation using the remote terminal, focusing and iris adjustment are also possible by fingertip control.

Main features • Compact, lightweight, free-style shooting inherited from the first generation POVCAM. • Network operation through IP remote and IP streaming.

• 4K image production when used in combination with the optional Compact Camera Head.

Visit www.panasonic.com

Page Layout Tool Designed Specifically for Storyboards MEKAJIKI HAS RELEASED its first commercial software application,

Boardfish’s features include:

Boardfish, a stand-alone page layout application designed specifically for

• Drag and drop images to instantly create boards.

storyboarding. Boardfish instantly assembles panels into a professional

• Up to four captions per panel can be positioned on any side of the image.

storyboard layout with the flexibility to edit and customise layouts.

Developed as an in-house tool at San Francisco-based design and production company, Swordfish, Boardfish is the first tool productised through Mekajiki, Swordfish’s sister company. “Since we started up Swordfish we have created numerous tools to help solve our production problems,” said Matt Silverman, Executive Creative Director/CEO, Mekajiki/Swordfish. “Most of our projects require boards of some sort, and I have always been frustrated by the inefficient toolsets found in off-the-shelf software. Over the past decade I’ve helped design and develop storyboard plug-ins and scripts for After Effects

• Complete control of page size/orientation, panel layout, panel spacing, fonts, and colours.

• Panel labels for panel numbers and scene/shot numbers.

• Ability to import corporate logos for title page and headers/footers.

• Custom layouts can be saved into preset templates.

• Export to PDF or print directly from Boardfish.

• Native OS X Application.

decided the only way to do it right was to build a full-blown OS X application.

Visit http://boardfish.io

DTL BROADCAST’S new multi-channel Buzz-USB Recorder – a high definition 1RU video recorder that enables users to record HD-SDI or SD-SDI video with embedded audio directly to a USB drive.

Designed to provide an efficient way of capturing HD video and embedded audio to MPEG4 files, the modular design of the Buzz-USB means users can start with a single USB recorder and add up to four additional USB channels. This enables users to make up to five copies, or five different versions of a recording onto five USB drives.

Being flexible with industry applications such as streaming, compliance recordings and even security applications, Buzz-USB is aimed toward sports production.

Operators just have to press the record buttons to record five different versions of a feed, such as a clean feed, a dirty feed, a directors feed, a coaches feed, and an official’s feed.

ACQUISITION

reflowing.

and InDesign, but nothing completely solved my production problems. I finally

High Definition USB Video Recorder

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• Panels can be rearranged, deleted or hidden with automatic animated

Buzz-USB is a complete recording system with an optional monitoring bridge that provides five 2.8-inch high-quality, picture monitors, each of which can display signal format and audio meters. In addition, a UMD and tally option is available which has fixed UMD source identification and dynamic red and green tally lights.

New DPP Guide Helps Bring Best Practice to Location Working THE DIGITAL PRODUCTION PARTNERSHIP (DPP) has published its ‘Ten Things You Need To Know About Location Workflows’ guide. It is now around 10 years since production teams began to work with file-based content, yet production companies still report that location workflows are a source of confusion. The new guide seeks to address this.

“The move to file-base shooting has brought many benefits,” said DPP Managing Director, Mark Harrison. “But the lack of standardisation of location workflows and technologies, combined with the inherent pressure of being on the road, has meant many of the challenges that emerged a decade ago are still here today.”

The guide was created following a DPP event on location workflows, with input from Blast Films, the BBC, The Farm, Mission Digital, and freelancer Jonathan Smiles. The impact of UHD, connectivity, the role of the DIT and data wrangler, as well as approaches to planning and testing, are just some of the subjects explored in the guide.

The X-Y switcher option has eight input signals and four outputs allowing users to do individual recordings or multiple copies.

The new guide is the fifth in the ‘Ten Things Guide’ series of DPP reports. The

Visit www.dtl-broadcast.com

Visit www.digitalproductionpartnership.co.uk

guides are available free of charge to all DPP Members.

ACQUISITION

Panasonic Strengthens 4K Broadcast Camera Range PANASONIC HAS EXPANDED its 4K camera range with a new 4K

Panasonic has also introduced two new professional 4K camcorders, with the UX

production camera and two high-power zoom, integrated lens camcorders.

Series – successor to the company’s AVCCAM Series of AVCHD camcorders. The

The multi-purpose AK-UB300 camera is a 4K box camera equipped with a B4 mount. It’s aimed at sports, remote studios, live concerts and aerial shooting, and provides 4K output and HD-SDI output simultaneously.

AG-UX180 model is equipped with a one-inch MOS sensor, optical 20x zoom,

The AK-UB300 is equipped with a one-inch MOS sensor that outputs a UHD signal up to 3840 × 2160/50p, with the ability to simultaneously output HD up to 1080/504p.

UHD 30p recording and 24.5mm lens.

The camera uses existing 2/3-inch lenses and features high sensitivity (F10/2000lx), low noise (S/N 60dB) and dynamic range measured at 600 percent (-6dB36dB). The UB300 is compatible with Panasonic’s line of indoor/outdoor pan-tilt systems, and using IP live remote monitoring, up to ten cameras can be both viewed and controlled simultaneously from a web browser.

DJI Introduces New Flying Cameras DJI HAS INTRODUCED two new drones: Inspire 2, the ready-to-fly platform for high-end film and video creators, and Phantom 4 Pro. Inspire 2 offers a powerful feature set and is easy to operate. It has a top speed of 108km/h and takes four seconds to accelerate to 80km/h. With a dual battery system, flight time is up to 27 minutes. A forward-facing camera offers the pilot the best flight view for operating the master controller, while the camera operator receives a separate feed from the Zenmuse camera mounted on the main gimbal. The Inspire 2 supports the Zenmuse X4S and X5S cameras and will support additional cameras in the future.

A new image processing system, CineCore 2.0, is embedded into the airframe, which allows for faster of processing large files. Inspire 2 captures 5.2K video at 4.2Gbps for Adobe CinemaDNG RAW videos and leverages a newlydesigned, fast CINESSD storage. A variety of video compression formats are supported by CineCore 2.0, including Adobe CinemaDNG, Apple ProRes 422 HQ (5.2K, 4K) and ProRes 4444 XQ (4K), H.264, and H.265. When recording 4K

UHD 60p recording, and a Leica Dicomar 4K compact lens with a wide 24mm angle. The standard AG-UX90 features a one-inch MOS sensor, optical 15x zoom, The AG-UX180 supports Cinema 4K (4096 x 2160) at 24p, 4K (3840 x 2160) at 50p/60p, dual 4K and FHD (via dual SD cards), infrared, and HD super slowmotion (120fps 60Hz/100fps 50Hz). Both models offer two SD memory card slots supporting relay/simultaneous/backup recording, and also support UHD/ FHD dual codec recording.

Visit http://pro-av.panasonic.net/en controller range now extends to 100m and users can switch between 2.4GHz and 5.8GHz frequencies.

DJI is enhancing the imaging potential of the Inspire 2 by expanding its line of Zenmuse cameras, designed for aerial imaging and communicate directly with the aircraft’s gimbal and flight controllers. For situations that require a balance between weight and image quality, the Zenmuse X4S has a oneinch, 20-megapixel sensor with 11.6 stops of dynamic range and a 24mm equivalent focal length. The Zenmuse X4S offers aperture control (f2.8-11) and a mechanical shutter that cancels rolling shutter distortion. The Zenmuse X5S has a larger Micro Four Thirds sensor with 20.8 megapixels and 12.8 stops of dynamic range.

Phantom 4 Pro offers a powerful imaging system for professional photo and video creators as well as non-professionals. The camera packs a one-inch 20-megapixel sensor, and almost 12 stops of dynamic range. Its mechanical shutter eliminates rolling shutter distortion in fast-moving scenes. Phantom 4 Pro can capture slow-motion 4K video up to 60fps at a maximum bitrate of

video in H.264 and H.265, the bitrate is up to 100Mbps.

100mbps.

The dual-battery system ensures that if one battery fails, the other will allow

Phantom 4 Pro’s compact remote controller comes with an optional high

a safe return. Stereo vision sensors are included on the front and bottom for

luminance display, providing an HD view from the main camera. The aircraft

obstacle detection, and upward facing infrared sensors add protection when

will automatically choose between 2.4GHz and 5.8GHz once powering on to

flying in enclosed spaces.

gain a clear signal in areas with high radio interference. The new controller has

The propulsion system can carry Inspire 2 through vertical camera moves,

a built-in GPS, compass, Micro-SD card slot and HDMI port.

climbing at 6m/second and descending at 9.1m/second. The master and slave

Visit www.dji.com

ARRI Pro Camera Accessories for the Canon EOS C700 ARRI HAS ANNOUNCED its range of pro camera Accessories for the Canon

and viewfinder mounts. It offers accessory threads at the most convenient,

EOS C700, equipping the camera with professional on-set functionality and

versatile positions, as well as interfaces for most ARRI handles. The original Canon

rugged durability. The accessory sets have been endorsed by Canon and will feature in the company’s upcoming official camera presentations.

accessories, such as the handle and microphone bracket, are also compatible with this top plate.

ARRI Plate for Canon C700 This hybrid base plate adapts to documentary-style setups as well as traditional rental configurations. It allows precise balancing of the camera on the shoulder and features a comfortable non-slip shoulder pad for effective handheld operating, even with a studio bridge plate attached.

ARRI Viewfinder Bracket for Canon EVF This viewfinder adapter sits permanently in place of the original EVF mechanical interface. The bracket offers a quick release system, as well as compatibility with all current viewfinder mounting brackets in the ARRI camera range.

This lightweight low-mode support features built-in rod support for lens motors

Visit www.arri.com

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ARRI Top Plate for Canon C700

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SONY Expands FS Series with New FS7 II Camcorder SONY IS EXPANDING its Super 35mm FS series with the FS7 II camcorder. This model builds on the original FS7 by adding features including Electronic Variable ND technology, a lever lock type E-mount, and a new mechanical design. The FS7 II also supports Sony’s mount system.

Sony’s FS7 II camcorder’s Electronic Variable ND filter system, combined with its large sensor, delivers greater exposure control with the option of preset or variable operation modes. Variable ND mode allows users to adjust the density of the ND filter during shooting and achieve seamless transitions between steps.

The camcorder’s expanded ND operations enable fine exposure adjustment by relegating iris to set depth-of-field, preventing soft focus caused by diffraction, and colour shift caused by stacking multiple external ND filters. The FS7 II can compensate for exposure fluctuation caused by iris control while adjusting depth-offield.

Sony is also introducing a new E-mount, Super 35mm lens designed for documentary and motion picture production. The new lens, model E PZ 18-110mm f/4 G OSS, covers Super 35mm and APSC sensors. The lens uses a mechanical/servo zoom switchable system, capable of snap zooms entirely devoid of lag. The focal range is also optimised for Super 35 and APS-C sensors.

Visit http://pro.sony-asia.com

AJA Ki Pro Ultra v2 Firmware Supports Avid DNxHD

THE PANAVISION MILLENNIUM DXL was developed through a

AJA VIDEO SYSTEMS recently released v2.0 firmware for Ki Pro Ultra,

collaboration of four companies, bringing together large-format optics and modular accessories from Panavision, an 8K sensor from RED, wireless synchronisation and metadata distribution from Ambient Recording, and new colour science and optimised workflow from Light Iron.

adding Avid DNxHD support to the portable file-based 4K/UltraHD/2K/HD

• Proprietary high-resolution, large-format camera with 8K RED sensor.

• Optimised for Panavision large format lenses.

• Delivers 21 megapixels of 4K anamorphotic images.

• New Light Iron colour science at sensor level.

• Optimised 8K and 4K workflows embedded into the camera.

• Open file architecture.

• Built-in ACN wireless synchronisation and metadata system.

Ambient Communication and Synchronisation Network

video recorder and playback device. Available as a free software download, Ki Pro Ultra v2.0 enables users to record and playback Avid DNxHD .mov files, expanding production workflows.

Supported Avid DNxHD codecs: • DNxHD HQX (220x) • DNxHD SQ (145) • DNxHD LB (36) Supported video frame-rates: • 1080p 23.98, 24, 25, 29.97 • 1080i 25, 29.97 • 1080PsF 23.98, 24, 25, 29.97 • 720p 50, 59.94

The ACN provides a metadata collection/management system and distribution which enables a smooth workflow from set through to post.

Additionally, Ki Pro Ultra, Ki Pro Rack and Ki Pro Quad now include Ki Protect,

The integrated ACN chip of the Millenium DXL enables the camera to directly interact with the wireless Ambient Communication and Synchronisation network (ACN). This delivers line-accurate syncing of all production cameras while syncing picture with sound. Furthermore, the camera automatically communicates the most important metadata to script, continuity, and DIT. No additional cables are required.

removed or loses power mid recording. Ki Protect automatically pre-allocates

Visit http://ambient.de

Visit www.aja.com

a feature to helps ensure data integrity if a media drive is accidentally recording space on the media drive for video, audio, and timecode when the record button is pressed. While recording, the file header is continuously updated every time new data is written, minimising potential data loss if operations are interrupted. Frames already recorded will be preserved and are recoverable.

Odyssey7Q+ to Support Sony FS7 II

yield a higher quality image than is available directly from the camera. The Odyssey

THE ODYSSEY7Q+ and Odyssey7Q already support more RAW camera signals

including several exposure compensation LUTs.

than any other device. Convergent Design recently announced that RAW support will also include the new Sony FS7 II camera. Support for the camera will be included in the Odyssey RAW Bundle at no additional charge.

ACQUISITION

With the E-mount (lever lock type), Sony’s FS7 II allows the change of lenses by rotating the locking collar rather than the lens.

Panavision Millenium DXL with Ambient ACN

The DXL features:

22

Preset mode allows users to assign three ND settings to the filter turret – useful when selecting an appropriate filtration range in changing light conditions.

Auto ND mode is also available, allowing exposure to stay at a fixed level while adjusting depth-of-field with iris control.

Convergent Design’s Odyssey7Q+ offers more support for the Sony FS-series cameras than any other device. The FS7 II will offer RAW data output with the addition of the XDCA-FS7 Extension Unit. RAW data formats include DCI 4K (4096 x 2160) up to 60p, and DCI 2K (2048 x 1080) up to 240p. All frame rate and resolution combinations are supported by the Odyssey RAW Bundle, with recording in CinemaDNG or Apple ProRes (HQ/422/LT/Proxy). Cropped recording of the DCI 4K and DCI 2K signals to UHD and HD are available in Apple ProRes. Convergent Design’s proprietary SuperSampling of the DCI 4K signal to either 2K or HD in Apple ProRes will

LUT system supports both Sony S-Log2 and S-Log3 output from the camera, The FS7 II 4K RAW output is also supported by the new Titan HD Extract option for the Odyssey7Q+ and Odyssey7Q. Titan will take the 4K RAW signal from the camera, SuperSample the full frame to HD, as well as extract up to two HD pixel-for-pixel windows from the 4K resolution. The result is three HD frames, a wide and two tights, from a single camera source. The three HD frames are all recorded in Apple ProRes, and a fourth recording of a Live-Switch (cuts and dissolves) between the three frames is also available. The two window extractions can be moved smoothly via finger-drag within the larger field of view. The RAW Bundle and the Titan HD Extract are available separately and one is not required for the other.

Visit https://convergent-design.com

SPORTSCASTING Sport coverage worldwide

www.content-technology.com/sportscasting

SuperSoccer Selects Harmonic’s VOS 360 for Soccer League Live Streaming HARMONIC, THE DEVELOPER OF video delivery infrastructure, has announced that SuperSoccer, an Indonesian sports aggregator, has chosen Harmonic’s VOS 360 professional cloud media processing service to stream live soccer matches, including Serie A Italian league games, over the web to subscribers in Indonesia. Using the software-as-a-service (SaaS) solution, hosted in the public cloud and maintained and monitored by Harmonic, SuperSoccer is able to leverage speed, flexibility and agility for its OTT service. SuperSoccer currently streams over 60 live soccer games a month in HD video quality.

“Being a relatively new OTT operator, we were looking for a video infrastructure solution with little to no CAPEX investment. Video quality and ease-of-use were also key priorities,” said Mirwan Suwarso, Director at SuperSoccer. “The VOS 360 cloud service handles the entire workflow for our live OTT service – including ingest, transcoding, packaging and delivery – enabling our technical staff to focus on improving the app delivery experience for audiences. We especially love the flexibility that the VOS 360 service provides, in terms of allowing us to control multiple profile bit rates and video quality to ensure the best possible live streaming experience for our customers.”

As one of the first professional-grade, cloud-native media processing services in the

industry, the VOS 360 service is maintained and operated by Harmonic 24-hours-aday, ensuring quality of experience and service availability. Built upon leading public cloud infrastructure platforms, the VOS 360 service makes it easy for SuperSoccer to prepare and deliver content from anywhere, with total geographic redundancy and operational resiliency. Configuration, deployment and management is easy for the operator through VOS 360’s automated video formation technology, which uses standard IT deployment templates to simplify setup and unlock media processing and delivery workflows. Based upon a pay-per-use model, the VOS 360 service is affordable and allows SuperSoccer to scale up or down as needed.

“As a pure OTT player in the Indonesian market focusing on sports content, SuperSoccer needed to work with a trusted video infrastructure provider experienced in cloud and OTT deployments,” said Tony Berthaud, Vice President of Sales, APAC, at Harmonic. “The VOS 360 cloud solution is the perfect fit for SuperSoccer, enabling the operator to enhance the quality of its live streaming service quickly, without making a large upfront investment that is traditionally required for hardware-based workflows.

The VOS 360 service allows SuperSoccer to deliver exceptional video quality and support advanced features like live TV and catch-up TV for increased monetisation.”

Visit www.vos360.tv and http://supersoccer.tv

Japan’s Express Co Adds Riedel for 4K-Capable OB Van JAPANESE OUTSIDE BROADCAST PROVIDER Express Co, Ltd has installed a Riedel Communications MediorNet Compact real-time media network – the 1500th MediorNet Compact frame deployed worldwide – along with an Artist digital matrix intercom system and Performer partyline system in the company’s first 4K production truck. Express Co adopted Riedel signal distribution and communications technology for the OB van, which will equip the company to address rising demand for 4K production and broadcast.

MediorNet Compact is a modern stage-box that provides the flexibility of a true real-time media network at the cost of simple multiplexing point-to-point products.

Enabling cost-effective fibre signal transport for 3G/HD/SD-SDI video, audio, data, and intercom, MediorNet Compact streamlines the infrastructure of any mobile production while opening the door to 4K production. Integrated signal-processing capabilities, including frame synchronisation, frame store, and embedding/de-

MP & Silva Extends Global Partnership With Badminton Asia MP & SILVA HAS RENEWED its partnership with Badminton Asia, also known as the Badminton Asia Confederation. Both parties have signed a four-year extension that means MP & Silva will be responsible for distributing Badminton Asia’s worldwide media rights for its full calendar of events.

Badminton continues to be a top draw in Asia where its popularity ranks highly across many countries in the region. MP & Silva will play a major role in the development of Badminton in Asia over the next four years from 2017 to 2020, creating new revenue streams that will provide growth platforms for the sport and take the game to the next level across the region.

Since its partnership three years ago, MP & Silva has expanded the visibility of Badminton Asia’s events, reinforcing its broadcast footprint across major badminton countries such as China, Japan, India, Malaysia, Taiwan, Thailand and

embedding, help to reduce the number, weight, and cost of required components within the truck.

Riedel’s Artist serves as an advanced modular communications platform with the power and versatility to address the varying demands of modern intercom applications. The Artist’s fibre-based network provides a decentralised infrastructure that can simplify the distribution of audio while ensuring crisp, reliable intercom communications.

Visit www.riedel.net Singapore, as well as showcasing the events in new territories through its global network. The extended deal continues MP & Silva’s role in distributing the media rights of Badminton Asia’s calendar of events, covering all media platforms and devices, including online and mobile, as well as betting and in-flight rights.

MP & Silva’s CEO, Jochen Lösch said, “The ultimate goal of the partnership is to elevate Badminton in Asia, both on and off the court. We are very proud of this partnership and this extension recognises our leadership and expertise in the sports media rights market. We look forward to continue building the profile of the sport with our global experience and local knowledge.”

Badminton Asia’s events include the region’s premium international tournament in the Badminton Asia Championships, as well as the Badminton Asia Team Championships, Mixed Team Championships, the Junior Under-19, Under-17 and Under-15 Championships.

Visit http://mpsilva.com

SPORTSCASTING

Riedel uses a fibre-based networked approach and tight integration between products to facilitate smooth installation and management of MediorNet, Artist, and Performer systems into both fixed and mobile facilities. For the new Express Co OB van, the Riedel systems enable fast, simple setup and configuration while minimising cabling.

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SPORTSCASTING

The Gold Coast Diaries – Chapter 2

by Jeff Coleman THURSDAY DECEMBER 15 2016.

BUNDALL QUEENSLAND. I arrive at the office after my morning swim and run along Broadwater just as Coordinating Producer Mario Silvestri, and broadcast engineers Neil Smith and John Galea, head out to the Nerang State Forest to survey the proposed mountain bike course.

With over 1,000 trails, Nerang is renowned for its world-class cycling routes. The wealth of options is partly why the final bike course for the 2018 Commonwealth Games has not yet been signed off. This is making production plans, and therefore a broadcast engineering solution, difficult to confirm. This morning’s objective is to survey a particularly challenging stage of the course that we know will be included, and determine what, if anything, can be seen from a helicopter given the thick forest canopy. To that end, Neil will fly a drone and video Mario cycling the route wearing a high-vis vest, with John handling logistics and making sure they capture everything. Shooting conditions are ideal, and we agree to view the footage this afternoon.

It’s a spectacular summer day on the Gold Coast. The temperature is already 25°, the humidity is not as fierce as usual and a fine day is forecast. It’s good timing, as our Host Broadcast team Christmas party is at the Currumbin Surf Club today, which we’re all looking forward to.

The festivities will cap off an intense period for everyone. Venue surveys have been frequent during the past few months, and a number of the sites, such as the Anna Meares Velodrome, look fantastic. Another tick off the list was our second survey of the Oxenford Studios – the venue for boxing, squash, and table tennis. Our first visit was in March, and access since has been difficult due to

the Gold Coast Aquatics Centre, Carrara Stadium – venue for the Opening and Closing ceremonies, and the Athletics and Velodrome. The broadcasters clearly enjoyed the Gold Coast, with a lot of interest in potential locations that show off the coastline. Evening brought RHBs, the Host Broadcast team and GOLDOC together for a drink and a meal – helping develop relationships.

movie production at the complex. It’s the first time Mark Corser, the Coordinating

Fourth quarter activity followed a major milestone month in September; our Host

Technical Manager responsible for the engineering plans for Oxenford, has seen

Broadcast website launch. The site provides a central communications and news

the venue. It’s possibly the only time he gets in there until 2018. However, Mark

channel for staff, freelancers, RHBs, vendors and student trainees. In September

is confident he has the details he needs and is well advanced on the engineering

we also submitted updated telecommunications services plans, our revised initial

solution.

The October-December period has also been about issuing expressions of interest to suppliers from around the world: outside broadcasting facilitators, specialty cameras, power for the International Broadcasting Centre (IBC), helicopters and aircraft, and lead vehicle camera rigs. In anticipation of the Games’ telco partner being announced, the Host Broadcast team has spent considerable

production plan along with updated camera and commentary positions, and Broadcast Venue Plan No.1 to GOLDOC. I bury myself in emails and don’t realise I’ve missed lunch until Mario, John and Neil return from Nerang. We review the drone footage and decide a helicopter-mounted camera can see enough of the course to warrant the investment. The route is split

time researching system designs and equipment. Required broadcast signal

into east and west sides, with varying degrees of visibility. But coupled with an

cable quantities have been calculated, and with that comes planning for cable

overhead view of the start and finish area the helicopter shots will be fabulous,

installation and containment designs.

especially with the Gold Coast skyline and Coral Sea as a backdrop. We quietly ask

The biggest single event in the last quarter has been preparing for, and then

the broadcast gods for a day like today.

hosting the first Rights Holding Broadcasters (RHBs) briefing in October. For the

That settled, we join the Host Broadcast team and head to Currumbin Surf Club

gathering we’ve chosen the Red Zone at Griffith University, a Games sponsor

for our Christmas party. I’m proud of the progress we’ve made. It’s been hectic but

and a participant in our Host Broadcast Training Program. Assisting us on the day

extremely satisfying. 463 days to go – bring on 2017!

and in the lead up are two students who are part of our training program, Rachel

SPORTSCASTING

Shapiro and Chelsea Lahra from Griffith University. Both interned with NEP during

24

our facilitation of the Seven Network’s Rio Games coverage: Rachel as a media

Jeff Coleman is Head of Engineering and Technical Operations for NEP

assistant and Chelsea as production assistant. The experience has given them

Australia, Host Broadcaster of the 2018 Gold Coast Commonwealth Games.

meaningful perspective for the RHB briefings, and they’ve been a great help.

This is the second in a series of reports for Content+Technology in which

We were able to update RHBs on the IBC building design and operations plan

Jeff will outline the 26-month project’s objectives and milestones. The

submitted to the Commonwealth Games Federation. Our rate card for services was

GC2018 Host Broadcaster – led by NEP Host Broadcast with the support of

available in September so they’ve had the opportunity for consideration before the

production partners Seven Network and Sunset+Vine – will deliver the event

briefing, and they still have time before further confirmation.

television and digital broadcast to rights-holding broadcasters around the

Following the briefing, RHBs tour the Gold Coast Convention and Exhibition Centre,

world – all up some 1,100 hours of live television.

SPORTSCASTING

Seven Goes Over and Above with OTT Tennis AUSTRALIA’S SEVEN NETWORK recently rolled-out an updated OTT product experience for its 7Tennis coverage of the Australian Open. Building on the success of Seven’s 2016 Australian Open coverage, Seven expanded its integrated coverage across broadcast television, online, and mobile. This complemented a further expansion in Seven’s coverage of The Australian Open and The Summer of Tennis across Seven, 7TWO and 7mate.

Across the Open and Seven’s Summer of 7Tennis, all Australians were able to watch live on-air, online and on mobile, via Apple iOS and Android devices.

The cornerstone for Seven’s expanding coverage was the updated 7Tennis mobile app with over 2000 hours of live, catch-up and on-demand short-form highlights. Seven also introduced a freemium offering of The Australian Open

allowing tennis fans to upgrade their experience with over 600 matches live streamed in HD. The Seven Network also moved into 2017 with a new long-term partnership with the Australian Football League, and a portfolio of major sports events across 2017-2018 including the AFL Grand Final, the Melbourne Cup, the Rugby League World Cup in Australia, New Zealand and Papua New Guinea, the Australian Open in 2018, the XXIII Olympic Winter Games in Pyeongchang in 2018 and the XXI Commonwealth Games on the Gold Coast in April 2018.

Seven is also the network of the Games of the XXXII Olympiad in Tokyo in 2020.

Visit www.sevenwestmedia.com.au

Alibaba to Bring Olympic Channel to Chinese Audiences THE INTERNATIONAL OLYMPIC COMMITTEE (IOC) and Alibaba Group have announced a long-term partnership through 2028. Joining The Olympic Partner worldwide sponsorship programme, Alibaba will become the official ‘Cloud Services’ and ‘E-Commerce Platform Services’ Partner, as well as being a Founding Partner of the Olympic Channel.

The partnership was announced at the World Economic Forum in Davos, Switzerland, with IOC President Thomas Bach, Alibaba Group Founder and Executive Chairman, Jack Ma, and Alibaba Group Chief Executive Officer, Daniel Zhang.

Olympic Games operate more efficiently, effectively and securely, including supporting big data analytics requirements.

• The creation of a global e-commerce platform for Olympic stakeholders to engage and connect with fans seeking official Olympic licensed products manufactured by the Olympic parties’ official licensees, and selected sports products on a worldwide basis.

• Leveraging Alibaba’s leading digital media technologies and know-how to develop and customise the Olympic Channel for a Chinese audience.

Thomas Bach, President of the IOC, said, “In this new digital world, Alibaba is uniquely positioned to help the IOC achieve a variety of key objectives outlined in Olympic Agenda 2020, while positively shaping the future of the Olympic Movement. This is a ground-breaking, innovative alliance, and will help drive efficiencies in the organisation of the Olympic Games through 2028, whilst also supporting the global development of digital opportunities including the Olympic Channel.”

Alibaba is the first company to make a long-term commitment to the IOC through

Through this partnership, Alibaba’s contributions to the Olympic Movement will include:

Beijing 2022, and the Olympic and Olympic Winter Games in 2024, 2026,

• Best-in-class cloud computing infrastructure and cloud services to help the

Visit www.alizila.com and www.olympic.org

2028, and the first Chinese company to commit to the Olympic Winter Games Beijing 2022. Alibaba will support the organisers of each edition of the Olympic Games around the world.

Alibaba’s global activation rights will include the Olympic Winter Games PyeongChang 2018, the Olympic Games Tokyo 2020, the Olympic Winter Games and 2028.

La Liga Complies with Mediaproxy MEDIAPROXY, in conjunction with its partner, Unitecnic, has implemented a

native MPEG transport streams are being ingested in real-time and made

new workflow for services provided to the LFP (Liga Futbol Professional) and beIN Sports in Spain.

available via its intuitive user interfaces, enabling users to extract and process

“Mediaproxy’s versatile solutions were an ideal fit for this requirement,” said Xavier Verd, CTO, Unitecnic. “Both our engineering teams have worked closely to provide Mediapro with a robust, yet cost-effective software-based solution.”

The solution allows Barcelona-based media services provider Mediapro to quickly turn around clips from current football matches in broadcast quality for compliance broadcasting certification. Using Mediaproxy’s software solution,

clips immediately. With increased pressure to rapidly deliver broadcasted contents, the solution has greatly streamlined this process for Mediapro.

With offices in Barcelona and Madrid, Mediapro produces and distributes audio-visual content, administers and distributes sporting events, is a film and interactive content producer, and a supplier of post-production services.

Visit www.mediaproxy.com

Clear-Com’s Agent-IC Goes the Distance For China’s Great Wall Marathon CLEAR-COM WAS RECENTLY CHOSEN as a Communications Technology Supporter for television relay service of China’s 2016 Great Wall Marathon, with thousands of athletes taking on 45.2 kilometres of the landmark during October, 2016. Coverage of the Great Wall Marathon was streamed live to the world by the Chinese media company, Sina.

The Clear-Com intercom equipment was provisioned and managed by the

Clear-Com supplied an Eclipse HX digital intercom matrix to connect the production team. Via the IVC-32-HX frame card, Clear-Com’s Agent-IC app for iOS devices were deployed for the production team to use on site via their Apple iPhones. The Agent-IC app turns an iOS device into a two-way duplex intercom, connecting users into the main intercom system and with other users on the IP-based V-Series control panels.

The system even connected motorcycle-mounted camera operators back to the

Beijing Longway Broadcast Technology Company, one of the technical support companies for the Great Wall Marathon relay race. The IP-based system connected the Eclipse HX at the Beijing production facility to 20 personnel

production centre in Beijing.

Yang Xiang, Longway’s Production Director, was so impressed by Clear-Com’s intercom system that the company will use it to cover all outdoor events in 2017.

Visit www.clearcom.com and www.langway.com

SPORTSCASTING

with Agent-IC loaded smartphones at the marathon’s starting and finish lines.

25

NEWS OPERATIONS www.content-technology.com/newsoperations

WION India Goes Global with Dalet DALET DIGITAL MEDIA SYSTEMS, a provider of software-based solutions for media organisations, has announced that World Is One News (WION), the youngest venture of India’s Zee Media Corporation, launched WION underpinned by Dalet Unified News Operations. The Dalet solution is powering and supporting the international news channel with comprehensive media logistics, newsroom computer system and news production workflow facilitated by the Dalet Galaxy Media Asset Management (MAM) and orchestration platform – with full ingest and playout operations relying on Dalet Brio video servers.

WION delivers path-breaking news coverage from across the globe with a South Asian perspective to international audiences across the web, mobile devices and TV. Operated by Zee Media Corporation with headquarters in India and bureaus in 37 global locations, WION is the first India-based network to have a presence in the U.K., U.S., China, Russia, and Africa, making it South Asia’s first truly convergent, multi-media English news network.

A critical aspect of the installation for WION was to enable journalists and producers to upload content from the field directly to the broadcaster’s customised content management system, an action that automatically creates planning events thanks to the Dalet Unified News Operations collaborative workflow.

“Our philosophy of ‘being one with the world’ holds that news is the common thread that binds us all together and makes critical the ability to deliver news in the moment, from anywhere to any channel,” says WION Editor-in-Chief, Mr. Rohit Gandhi. “We sought and found a partner in Dalet to provide the backbone to our network-wide news infrastructure. The solution not only accelerates time to air but enables better collaboration with a highly efficient and agile set of tools – from remote content creation to centralised content curation and onwards to publication on the digital and TV platforms our audiences are choosing.”

Easy-to-use production tools via web-based Dalet WebSpace and relevant story content are readily available to every user in the newsroom, and in the field.

When WION journalists receive a notification about an assignment, they can search, browse and access every asset in the Dalet platform from their desktop, laptop or mobile device.

Beyond the walls of the newsroom, WION journalists use the Dalet On-the-Go mobile app to check assignments and create packages, exporting content to the CMS as well as to YouTube, Facebook, and Twitter. Video and scripts can be logged and edited within Dalet OneCut, or sent to Adobe Premiere via Dalet Xtend for craft editing.

Media and associated metadata are tracked and managed by Dalet Galaxy every step of the way, including playlist export and import to and from the CMS. Once approved by a producer, final content is available for use in the built-in production control-room automation and exported to the CMS as a multimedia story object.

Beyond the set of tools and services natively built into Dalet Galaxy, the webservices API integrates and unifies the entire ecosystem of technologies and in-house tools used at Zee WION, including the custom CMS based on Kentico that drives workflows within the Dalet solution. Other integrations include WINBDL teleprompter, WASP graphics system and Quantum SNFS with NetApp E series storage.

Visit www.dalet.com

Hai Duong TV Serves Surge in News with Sony ESTABLISHED IN 1957, Hai Duong Television (HDTV) operates as an

together with the PMW-320 shoulder-mount camcorder was specifically

official press agency to promote the policies and values of the Vietnamese

chosen to team up with the MVS-3000A multi-format switcher in HDTV’s OB

Communist Party through a range of cultural, art and entertainment

van – used extensively for its outdoor and live events productions. The station

programmes to Hai Duong and its neighbouring provinces.

also plans to increase the number of OB vans it operates.

While its role today is very much the same, the station has evolved and found innovative ways to fulfil the task of promoting the Government’s policies, as well as the potential of Hai Duong province to a wider audience. These new

at 50Mbps, and offers exceptional performance, operational versatility and

as televising its productions through its own online TV and a network of Pay-

workflow efficiency. It is also the first handheld camera in its class to be

TV stations such as MyTV, SCTV, Viettel, AVG and RTB. It is also collaborating

equipped with three large, newly developed 1/2-inch Exmor CMOS sensors.

with local and national TV stations across Vietnam.

“Hai Duong TV is gearing up for HD broadcasts in 2017, said Pham Tien

Another area where innovation is clearly evident is the station’s significant

Binh, Technical Manager at HDTV. “Our new Sony multi-format cameras and

definition (SD) and high definition (HD).

Although the station has targeted 2017 for HD broadcasts, it began its

NEWS OPERATIONS

invested in the PMW-200 camcorder. This camcorder records in full HD 422

initiatives include a whole new range of original content programmes, as well

investment in broadcast equipment that is capable of handling both standard

26

To handle the surge in its news programmes production, the station also

upgrade programme in earnest during 2015. Sony equipment the station has acquired includes the HSC-100R digital triax system camera, the PMW-320

switchers will help us deliver high quality programmes to our viewers. They also complement our existing equipment and formats. We expect our new investments to give us many years of outstanding performance, which is to be expected with Sony products.”

XDCAM camcorder, the PMW-200 camcorder and the MVS-3000A multi-

With innovation as its mantra, HDTV is certainly not slowing down in its

format switcher.

efforts to bring high quality HD programmes to its viewers.

Considered the workhorse camera by many TV stations, the HSC-100R,

Visit http://pro.sony-asia.com and www.haiduongtv.com.vn

NEWS OPERATIONS

Development Kit for User-Generated Content BROADCASTERS and programme-makers can now easily incorporate user generated content into their edits and on social media with a new software development kit available on the Forscene cloud video platform.

Dubbed Camera SDK, Camera SDK will allow Forscene clients to integrate Forscene’s Mobile Upload app into their existing applications – so that content recorded on mobile devices can be transcoded, uploaded to the cloud and made available in targeted projects on the cloud video platform. In this way, high quality user-generated content can be gathered at speed, reviewed by team members anywhere in the world and included in edits or published to social media directly from Forscene.

Camera SDK recently saw its first commercial implementation by UK-based Licklemor Productions to increase audience engagement on its Sky 1 youth magazine show, ‘What’s Up TV’.

Licklemor Productions incorporated Forscene into What’s Up TV’s workflow late in 2016, primarily as a tool for producers to create rough cuts of inserts before the formal edit. After experimenting with Forscene’s Mobile Upload App

to incorporate behind-the-scenes footage into their stories, the producers saw the potential for using an app to increase audience engagement. This led to the decision to create MYapp – an Android app that will use Forscene’s Camera SDK to gather content from the What’s Up TV audience. Initially user generated content will be featured on What’s Up TV’s social channels – giving the audience an opportunity to share their thoughts and experiences relating to topics raised in the broadcast.

Visit www.forscene.com

Dejero to Bring Remote Broadcasting and Fast Data Transfer to NAB DEJERO IS ATTENDING the 2017 NAB show (booth C1307) to

are now available in addition to a fully customised, unlimited use package for

showcase its latest developments in the field of IP connectivity for electronic

multipoint-to-multipoint content sharing scenarios.

newsgathering (ENG) and remote broadcasting.

Visitors to the booth will also see a demonstration of the new capabilities

Making its official debut at NAB, the LIVE+ Gateway solution enables news

of Dejero’s LIVE+ Control cloud-based management system. LIVE+ Control

crews to access media assets, research stories, and transfer large files by

enables the management of transmitters, gateway devices, servers, and

providing fast, reliable, and secure access to the public internet and private

content from a web browser. Users can geolocate and remotely control

networks in the field. Leveraging patented network bonding technologies,

transmitters, configure broadcast and cloud servers, view performance data

the solution creates a virtual network of multiple IP connections with

and detailed analytics, preview low-latency feeds, and route live or recorded

the necessary bandwidth and reliability to enable bi-directional data

content to playout and online delivery workflows.

transfers from newsroom and production systems. The complete Gateway

January saw Dejero setting up camp in Washington D.C. to support its

management, and support.

New capabilities of Dejero’s highly flexible LIVE+ EnGo mobile transmitter will also be showcased at the Dejero booth. EnGo can be camera mounted or carried in a sling bag or the new ergonomic backpack. Key features include a user-accessible SIM module, global roaming packages, and the ability to transmit multichannel audio. EnGo encodes high-quality video and transmits it over multiple IP networks to reliably deliver exceptional picture quality with extremely low latency in the most challenging cellular network environments.

Dejero will also showcase the recent enhancements to its LIVE+ Multipoint

domestic and international customers as they broadcast the 2017 Inauguration of U.S. President Donald Trump.

NHK, ABC7 Los Angeles, CTV and Australia’s Nine Network were among the news crews who employed Dejero’s LIVE+ range of IP newsgathering equipment, including the EnGo and GoBox mobile transmitters.

Dejero deployed a number of private Wi-Fi hotspots for the Inauguration to ensure its customers could broadcast live in key locations surrounding the White House, including the parade route, the South Lawn, the center of the National Mall, the North Lawn, and the Korean War Veterans Memorial.

cloud service. Broadcasters and media organisations can now share live HD

Broadcasters covering the event used Dejero’s cloud management tool, LIVE+

content simultaneously across multiple locations and between different

Control, to monitor and route feeds and remotely manage the equipment in

entities anywhere in the world. New capabilities include multichannel audio

the field.

and closed captioning. Group and single event point-to-multipoint packages

Visit www.dejero.com

NEWS OPERATIONS

solution includes in-vehicle equipment, cellular connectivity services, cloud

27

NEWS OPERATIONS

Dejero – Increasing Contributions Dejero’s Director of Sales for APAC, Mark Moore, talks cellular bonding and the cloud with Phil Sandberg.

What’s been happening with Dejero since you were appointed late last year?

“For me, Dejero is a young company. It’s been around for eight years and they’ve had some tremendous growth, so for me to come on board at this time as part of the growth where they’ve got some customer base, but now they’ve at the point where they actually have to start growing. Putting some investment into it. So not only myself. I’ve come on for APAC, but we’ve also got a field service engineer that we’ve put in in Malaysia who’s covering the region.

“We have competition and they’ve been in it a little bit longer than we have, so what I’m facing when I’m travelling around to visit customers is they’re always asking, ‘How do you compare to these guys and these guys?’ So, we’ve got some work to do but I think being new in the industry is also good because people want to have a fresh look at something. And, we have a little bit more in Australia. Dejero started working with [Australian distributor] Digistor sometime back and we have a really good presence there. But, some of the other Asian countries, we’re just kind of getting into it.”

And what about Ideal Systems' rental scheme throughout Southeast Asia?

will look at the SIM performance as well, so you have six SIMs in a unit. We’ll

For those who are unfamiliar, where does the Dejero portfolio currently stand?

how do you distribute it?

“So, the transceiver will take in the signal and also put out a signal, so you have a network where you’re bringing in content and you want to send it off somewhere else. And the VSET is mainly for truck application and its modular, so you could have just the SIM’s, the bonded SIM’s or you could have connectivity to satellite, things like that.

“Then, in terms of connectivity, pretty much anything from microwave, satellite, Ethernet, of course, all your mobile Wi-Fi medium, so we’re really, I think, the only company that can bond all those signals together. So, it’s not just about video over bonded SIM’s, but it’s connectivity of all these different types of interfaces.”

So, some data be sent through a mobile network and other data through Wi-Fi and then it’s all combined at the end?

“Oh yes. Even from the same stream, from the same video. Or audio.

NEWS OPERATIONS

where you want to decode those. It does dual location and things like that. It

“I think, obviously, rental is good. I think where Ideal Systems has an advantage is it’s not just one country. They’re throughout the whole South East Asia region, so it’s like a one-stop-shop. They have a pool of resources and they can rent in Singapore today and Malaysia the next or India. I think it also helps them grow their business, too, because I think a lot of their rental customers turn to customers in the end and actually buy their own stock eventually.”

“We always talk about this as a platform. So, we have capture, connect, manage, distribute. All of our capture devices would be anything from our cameramountable EnGo or a GoBox which is an Appalachian case, a little bit more sturdy. We also have the IOS app so basically for an iPhone or a News Book, so it’s the same thing on the computer. And then we have a transceiver, a VSET.

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as well, so you can take source signals and then allocate them to your servers

actually show you how all those SIM’s are performing and it allows you to track usage and things like that as well so you can sort of on the management, the business management side of the operation you can also work on that as well.

And once you’ve captured the signal and transmitted it,

“We have a server product which has two outputs. You could have two units in the field and it will support those if you want more. Of course, you just add more servers. And we just came out at IBC with an IP out on that as well. So originally it was SDI. Now we have SDI or IP so we can plug it straight into an IP infrastructure.

“We also have Cloud services. If you want to go straight into, say, CDN or Facebook Live, YouTube, we can provide that as well. They would transmit straight into the Cloud and then straight into the live streaming application.

Then, on top of that, we have multipoint, where you can take, choose the number of inputs or sources and the destination. So, if you want to send one source to 10 or 100 destinations, you can do that. It’s all done – it’s all managed in there in our portal as well.”

Is newsgathering still the strongest end-user segment for Dejero?

“I think we see it changing very quickly. There’s so many applications now that we’re seeing opportunities for this technology. For example, if you’ve got

Okay, and then we’re onto management.

sporting events going on or something’s trending, they’re using the data out

“So, what we do is we manage everything in the Cloud. Our customers have access to what we call the portal or LIVE+ control. It’s web-based, and what we do is we actually take metadata from signals that we’re sending out and we’re able to do things like provide a multi-viewer view on the web of what their signals are - sort of low-res proxies. They’re able to manage that content

of the stadium. Something’s trending and they can quickly get someone to go and get that content, so there’s more and more of that content that’s coming in.

There’s a lot more uses for this kind of technology."

Visit www.dejero.com and www.idealsys.com

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MEDIA IN THE CLOUD, STORAGE & MAM India’s APB News Network Picks Masstech for Multi-Site MAM MASSTECH RECENTLY ANNOUNCED that respected Indian news broadcaster, ABP News Network (ABP), has selected Masstech MAM solutions to modernise and streamline its media workflows. Continuing the rapid adoption of Masstech’s MAM systems in newsrooms around the globe, the ABP order spans all of the broadcaster’s channels and represents Masstech’s largest sale to an Indiabased news organisation to date.

Owned by Anand Baazar Patrika, one of the largest media conglomerates in India, ABP News Network delivers news in multiple Indian languages across four television channels – ABP News, APB Ananda, ABP Majha and ABP Asmita – ABP channels rank consistently among the most-watched regional news channels in the country, and are distributed internationally through carriers including Comcast and DirecTV in the United States, ATN in Canada, and Sky in the UK and Ireland.

Spanning ABP’s headquarters in Noida and sites in Ahmedabad, Kolkata and

Mumbai, the new deployment enables fully-automated workflows that maximise ABP’s efficiency and interface seamlessly with ABP’s existing production systems.

This advanced workflow flexibility and deep third-party integration combine with Masstech’s intuitive, HTML5 browser-based MAM interface and native transcoding to make it dramatically faster and easier for ABP to preserve, access, move and manage its valuable content across its news production, promotions and archiving operations.

“Masstech MAM solutions are delivering tangible productivity benefits and superior ROI to all types of premium media organisations worldwide, and we’re excited to bring these advantages to one of India’s leading news companies,” said Joe French, President and CEO of Masstech. “We are honoured that ABP has chosen us for their important MAM initiative, and we look forward to working closely with them as they grow and evolve.”

Visit https://masstech.com

Metro TV Jakarta Complies with Mediaproxy

Etere MAM Supports the Burmese Alphabet

MEDIAPROXY RECENTLY ANNOUNCED that Metro TV in Jakarta has

ETERE HAS ANNOUNCED that its MAM system now supports the

selected its LogServer platform for its next generation compliance system.

Initially recording and monitoring eight channels, the solution will be installed and supported by Ideal Systems, Indonesia.

Mediaproxy’s LogServer platform provides 24/7 SD and HD multichannel recording and live monitoring of video, audio and real-time data sources from one place. Contents may be reviewed and managed long after the event for legal and commercial compliance requirements and competitive analysis. A feature set built around monitoring closed caption data allows for accurate reconstitution ‘as broadcast’ and enables quick export with optional burn-in for verification.

“Being able to access compliance, monitoring and analysis functions from one place, Mediaproxy’s unified solution provides our customers with a powerful and cost effective set of tools,” said Awan Setiawan, Ideal’s Operations

Burmese Alphabet.

The company says the latest enhancement of Burmese Alphabet support has enabled its customers and partners to roll-out Etere training initiatives in Myanmar’s main language and to adapt Etere systems with full flexibility and versatility across the country.

Etere’s modular solutions is able to connect and manage the end-to-end media lifecycle of any broadcast or media company. Its modules include Media Asset Management, Ad Insertion, Newsroom, Censorship, IT Playout, Executive Scheduling etc.

Etere system future-proofs investment with an integrated modular system that allows users to build and customise a system that not only suits their business requirements, but is also able to scale according to your future needs.

Its full flexibility also enables seamless integration with third party tools and solutions for advanced interoperability.

languages, provides seamless interaction for all users.”

Additionally, Etere systems are designed with a distributed system that ensures system redundancy and resilience for a reliable performance at every stage of the workflow. Etere systems also come with free upgrades.

Visit www.metrotvnews.com and www.mediaproxy.com

Visit www.etere.com

Manager in Indonesia. “Having all user interfaces available in our local

AFTER LAUNCHING new data centres in Japan, Germany, the Middle East and

companies have come to realize the importance of changing their traditional IT mind-

Australia in 2016, Alibaba Cloud, the cloud computing arm of e-commerce giant

set to embrace the new data technology.”

Alibaba Group, has announced it has more than doubled the capacity of its data

The Hong Kong data center offers solutions to industries including financial services,

center in Hong Kong to address increasing demand for cloud services in the Asia

retail, hospitality and media. In August, 2016, Alibaba Cloud launched cloud-based

Pacific region. The Hong Kong expansion is part of Alibaba Cloud’s strategy to

Anti-DDoS (distributed denial-of-service) security products together with PCCW

expand its global network coverage, according to the company.

Global, the international operating division of Hong Kong telecommunications service

Additional capacity in the regional financial hub of Hong Kong is expected to boost

provider, HKT.

Alibaba Cloud’s ability to meet demand for high availability and disaster recovery

“We are confident that the expanded data center facility, together with our scalable

cloud services, as well as data storage and analytics, enterprise-level middleware, and

and secure cloud offering, will better meet the needs of the digital transformation in

cloud security services.

key local sectors such as hospitality and financial services,” Yu said.

“Since our entry into Hong Kong in 2014, Alibaba Cloud has become one of the

Alibaba Cloud has operations in 14 global economic centers including mainland China,

largest public cloud providers in the market in less than two years,” said Ethan Yu,

Singapore and the U.S.

vice president of Alibaba Group and general manager of Alibaba Cloud Global. “More

Visit https://intl.aliyun.com

MEDIA IN THE CLOUD, STORAGE & MAM

Alibaba Cloud Doubles Capacity of HK Data Centre

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MEDIA IN THE CLOUD, STORAGE & MAM

Pay-TV Content Protection: Protecting the Content Value Chain

By Christopher Schouten, Senior Product Marketing Director, NAGRA CONTENT IS NOW MORE AVAILABLE than ever before. Video consumption

Earlier this year, U.S. providers

is at its highest level in history. As the amount of video content grows to

DISH and TVB, alongside Chinese

meet demand, so does the threat of piracy. With the growth of broadband

broadcaster CCTV, filed a lawsuit

and advanced consumer devices, the threat to the premium video value chain

against HTV, which had allegedly

is also evolving. Today, content protection is no longer only about protecting

set up a pirate broadcasting

the broadcast signal and the set-top box, it’s also about having an effective

network to capture programmes

strategy for protecting the service, the device, and the content.

and distribute online. However, in

The Impact of Piracy

the long term, the best way to fight

A global threat, piracy takes place in every country that watches television.

According to a report by Sycamore Research, over half (61%) of the Singaporean adult population (16-64 year olds) stated they had participated in movie and TV or music piracy. And contrary to the view of piracy as a victimless crime, its impact is hardly small. For instance, a 2015 study by the Indonesia Film Producers Association (Aprofi) found that the Indonesian film industry loses Rp 437.5 billion ($30.3 million) annually to piracy.

The estimated global cost of peer-to-peer piracy to content owners and distributors is US$90 billion dollars annually.

The Evolving Threat

the threat of content sharing is to insert an imperceptible watermark in the video or audio, enabling the rights owner to pursue the leak directly and halt it at the source.

Forensic watermarking is also a key part of the MovieLabs Enhanced Content Protection requirements, and will be required by most Hollywood studios for the licensing of 4K and HD HDR content. While visible fingerprinting was often used in the past, this both disrupts the experience and gives pirates the opportunity to remove or cover

Although service piracy such as smart card cloning still presents a threat to

up the fingerprint. That’s why Kudelski Group acquired Civolution’s NexGuard

pay-TV operators, it occurs primarily when using older conditional access (CA)

technology.

technologies rather than state-of-the-art systems. Better CA technology,

Technologies like NexGuard’s watermarking solutions represent a leap forward

together with the ubiquity of high-speed broadband has driven pirates

in the fight against piracy, as they are resistant to attempts of tampering.

online. Today, pirates record the output of the STB or even use high-quality

Using a watermark enables companies like NAGRA to scan the internet

cameras to film the image on the screen before distributing it via the internet

and pirate streaming services for illegally redistributed content. When such

– and becomming increasingly sophisticated at doing so. Many illegitimate content streaming services are now so well packaged and advertised that they strongly resemble legitimate pay-TV and OTT services. One illegitimate service offers 2,000 streamed pay-TV channels from the largest content providers around the world for only €130 per year, which equates with the price for a single month of triple-play service in the United States. Another pirate IPTV provider even created an 18-minute American-style infomercial with stars from the music industry endorsing the product. It’s no wonder some consumers buy these services without knowing they’re illegal.

content is identified, it empowers the rights owner to take steps toward stopping the illegal flow of content, helping to keep the value of content in the legitimate value chain. When integrated with CA and DRM systems, watermarking and the associated detection services will ultimately form a closed-loop solution, protecting content for delivery to any device. Ultimately, illegally-distributed content can then be automatically detected and shut down, offering 360° content protection and a fast and effective response to content theft. Through the tight integration of these important technologies and services, the Kudelski Group continues to play a leading role in the holistic

Finding a Solution

protection of the premium video value chain.

There are several ways to attack this threat. The legal route is one option.

Visit www.nagra.com

Seagate Launches New Backup Plus Hub

MEDIA IN THE CLOUD, STORAGE & MAM

SEAGATE TECHNOLOGY recently announced that its Seagate Backup Plus Hub is now available in Australia. Based on Seagate’s Backup Plus Desktop, Seagate Backup Plus Hub is an external storage hub providing a complete backup solution, while also acting as a desktop organiser.

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For typical computer users, this drive provides up to 8TB capacity to better manage data, rather than juggle that data across multiple USB storage devices.

Its intelligent two-port USB hub also makes the Backup Plus Hub a charging station. The integrated USB slots allow users to charge two USB-connected devices at any time, even if their computer is not powered on. Users can also connect their devices directly to the Backup Plus Hub for data transfers and access two USB-connected devices as if they were plugged directly into the computer. With the Backup Plus Hub, Android and iOS device users are able to easily backup photos and videos, and free up their mobile device memory.

Seagate Backup Plus Hub includes the Seagate Dashboard software with two free years of 200GB Microsoft OneDrive cloud storage so users can back up, access, and share their files from any device or location.

The product is now available in Australia. The RRP for the 4TB Backup Plus Hub is AU$229 and AU$419 for the 8TB Backup Plus Hub. Visit www.seagate.com

MEDIA IN THE CLOUD, STORAGE & MAM

MEDIA IN THE CLOUD, STORAGE & MAM

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MEDIA IN THE CLOUD, STORAGE & MAM

This TV Program is Brought to you by Automation

By Barry Hartman, Product Director of Media Logistics, Ooyala.

CONSUMERS AND PRODUCERS BOTH WANT more video content.

requirements of the increased demand creates a ripple effect felt throughout the

Viewers are dying to see another season of Game of Thrones, up-to-the-

entire organisation.

minute clips from their favourite team’s game, or the next episode of the local drama series they're following. Content producers are motivated to create more

Not all Video Production is Created Equally

programming in order to capture the hearts, minds, and wallets of viewers. As

So, can automation do for original content and complex programming what is

a result, we’ve recently seen producers ‘pump up the content’. This past year

does for repackaged videos? Well, yes – and no. Production of original content is

Netflix promised to double content production, and Amazon committed to

generally more creative, nuanced and involved than repackaged video production.

tripling the number of its original shows. Pundits believe the uptick will continue,

Particularly when that programming is licensed to scores of outlets requiring

predicting that by 2017, output could reach more than 500 scripted shows.

fast turnaround and delivery. Given this complexity, it’s unrealistic to think that

While it’s exciting to be part of a growth industry, in reality it’s neither easy or

automation could help original content producers to the extent it's helping

straightforward for content producers, broadcasters or VOD service providers to keep pace with increasing demand for video. Some are saying this massive

scriptwriting in West Wing.

increase in programming – coined ‘Peak TV’ – is unsustainable, and that producers

However, technology can be employed for other creative processes. For

may simply run out of resources.

example, tasks that require human input, such as collaboration on a script, can

Today’s content producers need to produce great shows amidst increasing competition across a scarce supply of talent, such as writers, actors and crew members. These challenges are compounded when content must meet the

large chunks of time and the byzantine logistics required – a production can speed up reviews and conduct more in total.

Of course, there are many non-creative aspects of original programming

variations, technical standards, and more – often without budget increases.

production that producers can automate, including quality control (QC), versioning, standards and format adherence, ingestion, packaging, delivery,

are sure where to turn for solutions.

content commissioning and pre-production workflows.

Some producers are hoping to meet these increasing demands, while

Automation Increases More than Volume

simultaneously reducing costs and manpower requirements through use of technologies that automate various aspects of production. The National Basketball Association, for example, uses a software application that generates game highlight clips that are customised to individual fan preferences, and then delivers those clips following games or during games in near real-time.

These technologies hold promise for the production of content that already exists, but what about automation to help with the production of original content? Original content producers would welcome assistance with both non-creative and creative parts of production – but is automation the answer?

How far will producers go with automation – and do they even know enough to decide?

By automating production, producers can eliminate many manual tasks and shorten production cycles, in turn reducing errors and increasing productivity.

One Ooyala customer reported that automation technology reduced the length of its average job from 90 minutes to just 10 minutes. Another commented that automation allowed them to on-board new clients or launch new services in a fraction of the time, making them significantly more agile.

Automation can also provide content producers with increased control over a production, eliminating waste and saving money. These savings allow organisations to do more work with the same budget, or to accomplish the same work at a lower cost. The savings can be reinvested, for example, to hire star-quality on-screen talent, better producers, or better directors. The visibility

The Long Road from Creation to Distribution

afforded by automation can also be invaluable in risk assessment and growth

When ‘pumping up the content’, producers must consider every facet of

partners without adding resources.

management, which can help an organisation determine if it can add distribution

production, from concept development to scriptwriting and editing, through to delivery, and often must customise those processes for dozens of partners.

MEDIA IN THE CLOUD, STORAGE & MAM

be orchestrated with automation. By removing the barriers to collaboration – the

needs of different delivery platforms, devices, syndicate partners, regional Organisations across the industry are struggling to meet this challenge, and few

32

repackaged content producers. It won’t take the place of Aaron Sorkin’s stellar

For all its many benefits, automation will never be a complete substitute for human creativity – the subtleties of plot development, nuances of language,

Consider this example; a production company signed a contract with a distributor

and artistic flair required in design, staging and lighting – but it can significantly

to produce over 10 animated cartoon series based on characters in its films. To

augment creative processes such as collaboration, and perform a good share of

meet this demand the company needs to find animators, writers, and production

the non-creative tasks such as ingestion. All told, automation technology saves

studios, then deliver each show in multiple languages with various versions

time and frees up resources needed to add creative cycles that can improve the

and subtitles – obligations that often required script changes. Additionally, the

quality of programming, and to realise greater overall efficiency and cost savings.

company has to package the content to meet distributor’s preferences.

And yes, automation can also help organisations ‘pump up the content’ to meet

All these steps have to be completed for each episode in the series, on a

the demand for ‘Peak TV’ – an outcome that will please both viewers and content

schedule calling for production of roughly one episode per day. Scaling is a major

producers.

concern, and the management of existing day-to-day needs, combined with the

Visit www.ooyala.com

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SGL Broadcast Reveals Latest FlashNet AT NAB 2017, SGL will showcase the latest version of its flagship FlashNet content management system, which includes the following features: • Enhanced Disaster Recovery: SGL is introducing new tools to enable multiple sites to stay in sync with each other, even when every site is running its own production processes.

• Integrated Amazon Cloud Archiving: Amazon’s S3 and Glacier platforms can now be used as archiving destinations. FlashNet’s life-cycle rules engine easily moves assets between each platform.

• Support for Sony Ci: SGL supports Ci, Sony’s cloud-based service that allows media professionals to collaborate on the creation and sharing of high quality, high resolution content. Both workspaces and archive destinations are supported.

• FlashNet Infinity User Interface: SGL will highlight the latest developments to its FlashNet Infinity User Interface. Providing media companies with a dashboard that simplifies the management of media archives, Infinity delivers a toolset for archive and restore functionality, system health, monitoring, analysis and more. New features include: A Navigator tool to explore the entire set of archived assets in their original folder format, support for watch folder projects, advanced metadata support, and capacity analysis. FlashNet is available as a free upgrade to all SGL FlashNet users covered by a current support contract who are running FlashNet 6.6 or later.

• A Major Revision to the FlashNet Watch Folder Service: The Watch Folder Service now manages projects, offers efficient Incremental Archiving, monitors vast numbers of watch folder files and supports Mac and camera storage workflows.

• Full Support for Sony’s latest Optical Disk System – ODS 2: FlashNet’s ODS 2 support provides speeds that approach 2Gb/sec writing and 1Gb/sec reading.

• Support for AXF: FlashNet can read and process AXF objects providing greater flexibility for customers, ensuring long term availability of content in the future regardless of technology evolution.

SGL’s new entry-level archive FlashNet Lite comes in four configurations: FL Disk, FL Tape, FL Hybrid and FL Optical Disk, providing options for content storage that is disk only, tape only, optical disk, or a combination of disk and tape. FL Hybrid is upgradeable to 50TB of disk support, two tape drives and 100 slots with one server. This provides nearly 600TB capacity with LTO7 tapes. Running on a single server node, FlashNet Lite can grow as the customer’s archive expands. FlashNet Lite includes important FlashNet tools including: integration with a wide range of partner solutions and storage devices, business storage rules, partial file restore, and SGL’s sophisticated Infinity user interface.

SGL is also highlighting: • Pre-defined drives for specific archive roles: FlashNet allows customers to allocate a pre-defined number of drives within their library for a specific role, such as archiving Avid jobs only, or restoring/archiving material at a certain time of day.

• Support for DPX Format: FlashNet supports DPX-format assets – a standard format for cinema-oriented media. DPX media has one file per frame. Support includes partial file restore.

Visit www.sglbroadcast.com

Facilis Unveils Version 7 of Shared File System

Through the use of drive set aggregation and offload of some server processes, this newly announced technology places Facilis systems into a new category of performance. With speeds over 4GB/sec available from a single volume, these systems offer industry-leading capability. Customers will also benefit from enhanced system redundancy and data resiliency, all while receiving near-linear scalability of bandwidth when expanding the network.

“We have never announced such a leap in performance with a single release,” said

James McKenna, VP at Facilis Technology. “Through the use of technology currently in development, existing customers will be able to substantially increase the effective bandwidth of their systems.”

Facilis is also developing tools that increase the efficiency of administrative tasks, and improve the end-user experience. Newly-designed server and workstation monitoring interfaces, remote volume management console and a more integrated user database will be among the many improvements.

Also showing at NAB will be a new version (v.1.5) of the Facilis FastTracker, an application for cataloging, searching and viewing any media type within the Facilis TerraBlock network shared storage system.

Visit http://facilis.com

SGL has an established history serving the archive needs of broadcast facilities around the world.

SGL works with Sony Ci and S3 via Aspera & Expedat to enable quick and easy transfer of content to the cloud.

Visit SGL at NAB booth SL5306 and discover our cloud integrations, new FlashNet Infinity and entry level FlashNet Lite.

T: +61 415088619 | E: sales@sglbroadcast.com | W: sglbroadcast.com

Global leaders in Archive & Storage Management

MEDIA IN THE CLOUD, STORAGE & MAM

NAB 2017 WILL SEE FACILIS (booth SL7920) introduce version 7.0 of its TerraBlock shared storage system, and showcase changes that offer significant performance gains for both new and installed TerraBlock storage networks. The newest storage products from Facilis are aimed at future-proofing its customers’ current storage, and offering the most powerful new systems to date.

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MEDIA IN THE CLOUD, STORAGE & MAM

EditShare Asset Management Solutions Take on 4K EDITSHARE IS INVITING NAB 2017 attendees to get hands-on with EditShare’s latest media management solutions for 4K, UHD, HDR, VR, and remote productions. Newly enhanced flagship products on display will include the scale-out, distributed media storage solution, XStream EFS, with the integrated advanced production asset management solution, Flow.

indexing layer across EditShare and third-party storage and archives. The Flow Automation module lets facilities simplify complex processes such as transcoding, QC and file delivery, while extensive codec support, including the newly added Apple ProRes along with the full range of industry-standard Avid MXF formats.

The flagship XStream EFS storage platform is a distributed scale-out file system developed for media intensive workflows. The failsafe infrastructure ensures there is never a single point of failure. XStream EFS delivers fast and reliable SAN performance in a flexible scale-out NAS design.

Flow facilitates advanced automated workflows with Interra Baton, Vidcheck, Amazon S3 and Aspera. Flow Automation now has the option to add third-party archive capabilities to control external long-term storage solutions by providing integration with SGL’s FlashNet content management platform.

XStream EFS is the first storage system to allow users to dynamically define the combination of storage technology (HD/SSD) and file protection that is applied to media and project spaces. This capability allows users to optimise storage technology and file protection for each step in their workflow, all on a single storage platform with a single media namespace.

EditShare Flow features tools to manage ingest, log, search, retrieve, edit and distribute content and associated metadata, serving as a control and

For remote workflows, Flow includes the web-based AirFlow and Flow Story applications. AirFlow allows staff to search, log, edit and play proxies in a web browser from any location. Users can securely download and upload proxy or high-resolution media from on-premise EditShare storage systems from anywhere in the world.

Visit www.editshare.com

Symply Brings Innovative Storage to NAB AT THE 2017 NAB SHOW, Symply will be demonstrating a range of digital storage solutions for media and content creators, from the single editor to an entire facility.

SymplySTOR offers a Thunderbolt 3 enabled storage solution for individual content creators. SymplySTOR is expandable up to 64TB of RAID storage with combinations of HDD and SSDs.

SymplyPRO is a collaborative storage workspace. Built on a modern storage platform, RAID storage, and a blending of fibre channel and ethernet sharing, SymplyPRO can be adapted as users’ needs and workflow changes – all monitored and managed with SymplyGO software. The solution is aimed toward 4K, 8K, high frame rate, and HDR workflows. Built on a Linux RAID core with embedded StorNext 5 and integrated metadata storage, each SymplyPRO system comes with 24 drives and 192TB, expandable up to 768TB with expansion systems, as well as a quad 16Gb fibre channel, and dual 10GbE IP ports per controller supporting macOS, Windows, and Linux clients.

Developed with Promise Technology, the Pegasus3 Symply Edition RAID storage system will also be shown at NAB. Featuring 40Gb/s Thunderbolt 3 performance, full RAID protection, and the SymplyGO storage management suite, the desktop RAID solution is suited to creative professionals generating high-resolution video and rich media content on Mac and Windows systems.

SymplySHARE provides shared storage for small workgroup settings. Users can connect up to eight Thunderbolt workstations and 20 10GbE IP users to SymplySHARE, configure their environment, and share up to 128TB of disk storage or combination of hard disk and solid-state disk.

SymplySHARE is powered by StorNext 5, and uses SymplySTOR RAID units.

It’s aimed toward 4K and higher definition editing and finishing, and includes Symply’s management and monitoring suite for macOS, Windows, iOS, and watchOS. SymplyRAID is a RAID storage system with low latency and capacity for largescale workflows. Aimed toward facilities with existing infrastructure, including Xsan and StorNext workflows, SymplyRAID supports 4K and greater without the increased complexity and costs typically associated with adding capacity.

SymplyRAID is available in 3RU 16-drive and 4RU 24-drive configurations.

Symply will show next-generation network connectivity for Thunderbolt 3 Macs. The SANLink3 F2 was designed to provide the performance needed for demanding media workflows and creative applications. It connects 40Gb/s Thunderbolt 3 to Dual 16G fibre channel ports. SanLink3 F2 features the fastest, most reliable, and affordable Thunderbolt 3 to SAN connection available. A Thunderbolt 3 cable is also included (USB Type-C). This is a complete out-of-the-box solution – users simply plug their SANLink3 F2 into a Thunderbolt 3 port and the fibre channel network – there are no drivers or software to install.

The SANLink3 T1 with Thunderbolt 3 technology improves how creative professionals connect Thunderbolt 3 computers to existing ethernet networks. High-speed NBASE-T technology is designed to maximise the available line rate of Thunderbolt 3. The SANLink3 T1 provides portable and desktop systems with high-speed ethernet connectivity, while improving connectivity for power users via an ethernet cable. Also, an out-of-thebox solution – simply plug the SANLink3 into a Thunderbolt 3 port and the ethernet network.

Visit https://gosymply.com

MEDIA IN THE CLOUD, STORAGE & MAM

New MAM Enhancements from TMD

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TMD IS INTRODUCING additional software bolt-on to its media service applications at NAB 2017. These are built on the Mediaflex-UMS (Unified Media Services) architecture, a solution for all aspects of software-defined workflow management.

For example, MediaPackages can now enhance the functionality of OnPoint to

Three new bolt-ons can be added to any of the current media service applications.

MediaPackages provides complete workflow management for the creation and delivery of packages to non-linear/OTT platforms. MediaMiSR provides integration with third-party scheduling systems, automatically raises workflows based on those schedules, reports on missing content, and manages cache storage for transmissionready content for playout systems. MediaLines also provides management for the scheduled recording of live feeds.

management from your program schedules.

These bolt-ons add functionality to the existing range of media service applications.

Visit www.tmd.tv

deliver non-liner packages directly from post production. MediaPackages can also now be added to Paragon+ to provide complete workflow management for non-linear delivery. MediaMiSR can be added to Paragon+, to drive workflow Also new is the introduction of TMD’s new media service application for media logistics. It provides tools that allow you to manage your production supply chain from commissioning and ordering through to program delivery. TMD will also show Mediaflex-UMS Analytics which are fast-reporting, workflow-data dashboards with real-time analytics to monitor operational efficiency and identify bottlenecks quickly.

POST PRODUCTION www.content-technology.com/postproduction

SyncBac PRO Slashes Post Time for ‘The Island With Bear Grylls’ TIMECODE SYSTEMS has revealed postproduction time on the current series of “The Island With Bear Grylls” was reduced massively by using the SyncBac PRO to timecode-sync all GoPro HERO4 cameras. This is expected to result in significant cost savings in media management and postproduction.

The show, now in its fourth series, features a cast of very ordinary British people attempting to survive on a remote, uninhabited Pacific Island. Left completely alone, the show is recorded entirely by the castaways themselves. A handful of the islanders are trained camera operators, but a large volume of content is captured via GoPro cameras attached to the contestants. Synchronising huge volumes of GoPro footage has historically added significant time and costs to the edit process for earlier series of “The Island.”

“It previously took a phenomenally long time for us to sync GoPro media without timecode; using SyncBac PROs has reduced this to seconds per clip,” said Toby Robertson, technical operations manager, Princess Productions. “Using the SyncBac PRO to embed timecode into the GoPro camera media has completely streamlined our workflow. It’s saved us a huge amount of time, and by extension, money, and we wouldn’t hesitate to use them again. Now that we know this solution just works out of the box, we plan on implementing it on other shows that we edit such as ‘Hunted’.”

Using timecode to synchronise footage at the point of shooting offers massive benefits, especially for production teams working on tight budgets or operating with short turnaround times.

“Deciding to create a series that was completely self-shot by contestants is an example of the groundbreaking approach this production team takes to creating

unique, exciting, and engaging television,” said Paul Scurrell, CEO of Timecode Systems Limited. “Filming using GoPros puts the audience for ‘The Island’ right where they want to be — in the middle of the action, peeking over a castaway’s shoulder. We’re thrilled to be able to provide a workflow solution that not only supports their ambitious vision for the show, but also allows them to achieve cost savings along the way.”

Visit www.timecodesystems.com and www.syncbac.com

Asian Animation Summit Back in Australia THE SIXTH-ANNUAL Asian Animation Summit will once again take place in Brisbane, Australia this year from the 29th of November to the 1st of December.

An initiative of KOCCA (Korea), MDeC (Malaysia) and SIPA/DITP (Thailand), AAS 2017 is owned and produced by Kidscreen, hosted by Screen Queensland and Brisbane Marketing, and supported by AINAKI (Animation and Content Industry Association of Indonesia). Its organisers are anticipating that 200 to 250 attendees will take part in this year’s event, which is designed to attract producers of animation who are interested in co-producing projects with partners in Asia-Pacific, as well as broadcasters, distributors and investors from the region.

Over the course of the three-day event, more than 20 projects from Australia, Korea, Malaysia, Thailand, Indonesia and elsewhere in Asia-Pacific that are new to the market and looking for financing and partners will be presented.

Each day will begin with a panel discussion or presentation that explores new

market trends, business models or creative techniques relevant to AsianPacific producers.

“Speaking on behalf of all of our AAS partners, we are very proud to provide this platform for supporting and promoting the impressive animation talent pool in Asia-Pacific,” says Kidscreen VP and Publisher Jocelyn Christie. “To know that so many projects have made the financing connections and partnerships needed to get off the ground at the Asian Animation Summit is incredibly gratifying.”

Screen Queenland CEO, Tracey Vieira, welcomed the AAS animation producers, distributors and broadcasters to Brisbane for a second time.

“Following last year’s successful event, Screen Queensland looks forward to the AAS returning in 2017,” she said. “Screen Queensland is perfectly positioned to play a role in partnering with Asian-region animation projects for television, subscription video-on-demand (SVOD) and the internet.”

Visit http://aas.kidscreen.com

Students in the Pipeline at Animal Logic Academy

Announced in 2016, the UTS ALA is located at UTS in the heart of Sydney in a professional studio setting that emulates the working environment of studios like Animal Logic.

The Master of Animation and Visualisation program is designed to foster the development of Australian creative talent in the animation and visualisation industries.

To aid with his tuition fees for the Master of Animation and Visualisation, Animal Logic digital artist, Alejandro Garrido, received the Animal Logic UTS ALA scholarship.

Visit www.animallogicacademy.uts.edu

POST PRODUCTION

BOLSTERING AUSTRALIA’S VFX talent pool, the first cohort of students has commenced its Masters of Animation and Visualisation (MAV) at the UTS Animal Logic Academy (UTS ALA).

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POST PRODUCTION

EditShare Lands at Beach House Pictures SINGAPORE-HEADQUARTERED Beach House is a global production and post production media power house with locations in Australia, China, Taiwan and the United States. Beach House Pictures (BHP) has produced such highly rated series as the David Attenborough narrated Wild City (CNA), China from Above (Nat Geo), Asia’s Next Top Model Season 3 (Starworld), Nomad Chef (Discovery) and Hiccup & Sneeze (Okto).

BHP has produced over 500 hours of HD and UHD content and growing, across a wide array of genres – from travel to science, kids to reality formats and food to wildlife. Since 2014, BHP expanded its capabilities and brand by launching four new divisions – Beach House Kids (children’s content), Beach House Entertainment (drama, formats), Beach House Studios (animation, VR/ AR) and Beach House Labs (Digital, Branded). BHP is a multiple international awards winner and was recently voted into Realscreen’s Global 100 of the world’s most innovative and influential production companies. BHP recently launched a brand new global series Machine Impossible (Nat Geo) and the third season of Photo Face Off (History). It is currently in production on a 10part series on Borneo for Discovery, as well as close to 100 new episodes of kids’ content for Okto and Australia’s Channel Nine.

Beach House Pictures Singapore recently upgraded its legacy media infrastructure with EditShare media management solutions: EditShare Flow media asset management (MAM), 235 TB EditShare EFS XStream shared storage and EditShare Ark tape-based archiving.

Replacing the existing attached storage units with a MAM-enabled tiered storage environment provides Beach House with a media infrastructure and control layer that supports production and post activities from ingest to archive.

Steve Pelluet, head of technology for Beach House, commented on the evolution of the team and its operation, as well as the pain points they experience, saying, “Beach House Pictures now employs up to 100 people who work on an ever-growing range of content. The established ‘sneakernet’ workflow of drives being passed from one stage to another is just not conducive to the demands of the industry anymore.

“In any given project, we can log up to 50 terabytes of rushes and transcoded files, stored on attached drives which are shared among the various producers, transcribers, editors and other creatives. Swapping drives from one docking station to another to share and access content was fine when we were much smaller and delivering more traditional broadcast content, but today it simply does not work. We needed a logical way to centralize content and make it easily accessible to users in the way best suited to their needs.”

Under the previous workflow, Beach House Pictures production and post production staff would copy content from one drive to another to share media, requiring an enormous amount of attached drives and a manual cataloging system via Microsoft Excel to track media assets.

“We have been wanting something like EditShare for quite some time,” commented Jocelyn Little, Managing Director of Beach House Pictures. “With the support of the Info-communications Media Development Authority, we are able to implement a state-of-the-art media infrastructure that will not only make us more productive, it will give younger staff more time to learn the more creative aspect of editing content and weaving together a story.”

POST PRODUCTION

The Beach House Pictures installation features EditShare’s most advanced storage platform, XStream EFS. The distributed architecture is designed to manage large media volumes and workgroups with a fault-tolerant design that ensures no work is ever lost. The XStream EFS is fully integrated with the tape-based archiving system EditShare Ark, with Flow MAM serving as global media governance across the facility.

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“EditShare will make content readily available across the facility without the headache of tracking down drives or resources to navigate complex systems,” stated Peter Lambert, Head of Sales for EditShare. “Producers and directors can log into Flow from any laptop or system on the EditShare network, search the EditShare main storage system or archives and pull up their project. No more copying content from one drive to the next or waiting in an edit bay for someone to be available. They can call up a project, view the proxies,

storyboard or make notes and send back to the editor. It’s really a game changer for how they will manage their productions going forward.”

In addition to the fast search and production tools, EditShare Flow offers key automation capabilities for a wide range of media processes, including transcoding the many formats Beach House Pictures must deal with. Under the new workflow and infrastructure, the Beach House Pictures team can freely share assets, collaborate on stories and repurpose content for trailers, commercials and even vignettes for social media quickly and easily.

“EditShare really helps us eliminate inefficiencies and a lot of the risks that we had in the siloed workflow,” added Beach House’s Steve Pelluet. “Previously we had at least ten media copying steps, which meant there was more chance of the wrong media or sequence going to the next person in the chain.

“We do not have this with EditShare. There are only three file copying steps now, including the final export. At every stage, we know exactly where the media is, which project to open and the right sequence to use.

“The toolset in EditShare is fantastic because it has really taken into consideration the actual user, which makes it a much easier transition for the team from a traditional to digital workflow.”

Beach House plans to move all of its existing content from the various attached drives onto the EditShare Ark, making past programs searchable through the Flow database.

Visit www.editshare.com

POST PRODUCTION

AJA VIDEO SYSTEMS has commenced shipping its ROI-SDI scan converter.

Wrapping ‘region-of-interest’ (ROI) controls for SDI sources into a portable miniconverter form factor, it includes a 3G-SDI input and simultaneous 3G-SDI and HDMI outputs, and facilitates high quality image scaling in addition to image rotation at a range of resolutions and frame-rates.

ROI-SDI addresses a growing demand for customisable video signals to meet a range of display and workflow requirements. It features extensive aspect ratio conversion and audio functionality, and allows users to rotate source signals, define a portion of an image, or reframe the source image from any 3G-SDI signal. Paired with free AJA Mini-Config software, ROI-SDI makes it easy to select a region-of-interest in realtime and on screen with complete control over how that region is scaled to the output resolution.

ROI-SDI feature highlights include: • 1x 3G-SDI BNC input.

• 2x mirrored processed outputs (1x 3G-SDI BNC and 1x HDMI).

• 1x clean 3G-SDI BNC loop out.

• 1x USB port for device configuration via free AJA Mini-Config software – macOS or Windows.

• Support for a range of video formats.

• Two-channel analogue RCA audio outputs, embedded eight-channel SDI audio, and two-channel or eight-channel embedded HDMI audio.

Visit www.aja.com

EDIUS 8.3 Upgrade

Firmware Upgrade for SmallHD Production and Studio Monitors SMALLHD HAS ANNOUNCED a free firmware update, adding features to increase the functionality of its line of 13-, 17-, 24-, and 32-inch production monitors, including HDR displays.

Firmware update 1.3 adds ‘De-Interlacer’ to view interlaced video in progressive mode. It also adds V-Log, S-Log 3, DeLOG and HDR Preview support. A new ‘Color Picker’ tool has been added to view specific colour values of a selected pixel of the video signal displayed.

The upgrade also supports a ‘Studio Mode’ for SmallHD’s 1303HDR 13inch monitor, which provides a brightness setting engineered for studio environments. Additionally, the multi-view function has been simplified to allow viewing of two video outputs only for A/B camera setups, and repeated pressing of the input button now cycles through all available inputs.

The free firmware upgrade can be installed on the following models: 1303 Studio, 1303 HDR, 1703 Studio, 1703 HDR, 2403 Studio, 2403 HDR and 3203 HDR. Visit www.smallhd.com

NewBlue Launches Titler Pro 5 NEWBLUE RECENTLY ANNOUNCED the latest version of its flagship titling tool, Titler Pro 5. The tool accelerates titling with an easy-to-learn and familiar workflow alongside a range of pre-built templates and animations, compatible with top non-linear video editing programs.

“Our goal was to build the fastest and most efficient titling solution for any editor.

We felt it was important to show editors that creating beautiful titles could be easy, and didn’t require a large investment of their time,” said Todor Fay, CEO of NewBlue.

WITH VERSION 8.3 of EDIUS Pro and EDIUS Workgroup, Grass Valley has

Features include:

introduced a number of features to make video editing more productive and creative. The new version brings high-quality slow-motion, more DVD/Blu-ray burning options, and other improvements to all EDIUS Pro and Workgroup 8 users.

• Faster titling and animation creation.

“Our customers choose EDIUS because they know that it’s a smart investment that will keep up with their needs as technology advances,” said Steve Wise, Director of Product Marketing, Grass Valley. “We are constantly adding features and improving performance in response to feedback from users, which means the software never falls behind the needs of the market.

And, the permanent license structure is such that existing users have access to the incremental upgrades within a version at no additional charge.”

Specific improvements for EDIUS Pro 8.3 and EDIUS Workgroup 8.3 include: • High-quality slow-motion using optical flow interpolation.

• Bin now shows timecode information.

• Many more burn-to-disc options for DVD and Blu-ray.

• More proxy resolution options.

• GV Browser improvements.

• GUI improvements.

• F-Log (Fujifilm) colour space.

EDIUS 8 supports more formats and more resolutions in real-time than its competitors, with more creative options and real-time, no-render editing of all popular SD, HD and 4K formats.

EDIUS is available in two versions: EDIUS Pro 8 is targeted at the professional production user, while EDIUS Workgroup 8 is aimed at editors working within a broadcast-based, collaborative editing environment that may require GV STRATUS or third-party MAM connectivity, or to edit-in-place on K2 server/ storage.

Visit www.grassvalley.com

• Over 100 customisable animated templates.

• Create a title then apply animation to grow, slide, bend, or rotate.

• Bulk edit numerous titles.

• Integrated multi-title management system to quickly edit text, colour, and more.

Titler Pro 5 mirrors many of the familiar controls in popular NLE platforms. Titler Pro 5 is compatible with professional video editing tools including Adobe Premiere Pro, Adobe After Effects, Apple Final Cut Pro, Avid Media Composer, Black Magic DaVinci Resolve, Grass Valley Edius, HitFilm Pro, and Sony Vegas Pro. Visit www.newbluefx.com

Flanders DM Series Monitors With HDR Preview Modes ALL DM SERIES Flanders Scientific monitors now feature three selectable HDR Preview modes. FSI CEO/GM, Bram Desmet, had this to say about the new features, “Our aim with these new HDR monitoring modes is to allow users to leverage current technology for High Dynamic Range signal monitoring in production and quality control applications. While not intended for HDR mastering, these modes do provide a simple and cost effective way to monitor PQ or HLG signals.”

Three monitoring modes are available: • Hybrid Log Gamma (HLG).

• ST2084 clipping at approximately 300nits.

• ST2084 with a highlight roll – allows operators to visually distinguish all code values in a PQ signal.

Visit www.flandersscientific.com

POST PRODUCTION

ROI-SDI Scan Converter from AJA

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AUDIO Digital soundwaves

www.content-technology.com/audio

Dante Integrated in Over 1000 Products AUDINATE, developer of the Dante media networking technology, has celebrated an adoption milestone in 2017 with over 350 manufacturers having now licensed Dante, an increase of 75 in the last year.

Recent licensees span a broad spectrum of markets, including installed sound, live sound, broadcast, transportation and CEDIA, and include notable brands such as Beyerdynamic, Clear-Com, JBL, Lawo, Panasonic, Riedel, Sony, ARX Systems, and many more.

“The continued adoption of Dante by AV manufacturers such as these shows that Dante truly has become the market leader in audio networking,” stated Lee Ellison, CEO of Audinate. “Manufacturers are responding to market demand and recognising that they need to offer Dante to remain competitive.”

The seeds of the company were sown in Sydney, Australia, where a small team of engineers was designing new technologies for Motorola Research Labs. Motorola shuttered the facility in 2003, but a few members of the team stayed together, securing backing from the National Information and Communications Technology of Australia (NICTA), a government research institute whose goal is to spawn innovative technology to benefit the growth of industry in Australia.

The company, which was established in 2003 by a group of Sydney-based, exMotorola engineers, has also announced that there are now over 1000 different commercially available products on the market, including interface cards, that have integrated Dante.

“For five years, we have been tracking the adoption of audio networking technology by both OEMs and customers,” notes Roland Hemming, Principal at RH Consulting. “Our research has shown us that the top criteria customers look for when selecting an audio networking technology is the number of products available on the market. By passing the 1000-product milestone, Dante has more products available on the market than all of the other audio networking technologies combined, and has cemented their position as the market leader.”

Audinate recently unveiled its new Dante Domain Manager platform, a complete network management solution bringing enterprise-grade system administration to the AV world. According to Audinate, Dante Domain Manager makes audio networking more secure, more scalable and more manageable than ever before.

Dante Domain Manager allows administrators to secure their audio networks from unwanted changes and modifications, and provides the ability to scale and segment audio networks regardless of the physical constraints of the network. With Dante Domain Manager, integrators can define specific AV device groupings, by room, building and site, allowing for the creation of independent Dante Domains and enabling a single Dante Domain to encompass multiple IP subnets.

Dante Domain Manager provides robust security for IT departments and AV managers, including user authentication and control, role administration, and integration with Active Directory. System managers gain complete visibility and accountability through a suite of user-defined dashboards, audit trails, alerts, and messages.

Visit www.audinate.com

Richard Cabot to Manage AES Standards THE AUDIO ENGINEERING SOCIETY has announced that Dr. Richard C. Cabot will be assuming the duties of Standards Manager. A former President of the AES, Dr. Cabot has been involved with AES Standards since its early years, having chaired the development of the AES17 standard on digital audio measurement. He was one of the founders of Audio Precision and developed its digital audio measurement technology. In addition to his standards work, Dr. Cabot's company, XFRM, Inc., designs professional audio equipment, consults on Intellectual Property patentability and infringement issues, and evaluates technology to guide companies in their investment decisions.

The announcement follows that of a new Society President in the form of Alex Case who currently serves as an Associate Professor of Sound Recording Technology at the University of Massachusetts Lowell.

President Case has dedicated his professional life to the study of aesthetics, perception, signal processing, electro-acoustics and room acoustics for the creation and enjoyment of recorded music.

Bringing a wealth of knowledge and hands-on experience to his pursuits as an audio engineer Richard Cabot. and as an educator, Case’s background has served him well in his roles as a Fellow of the Audio Engineering Society and Co-Chair of the Membership Committee, also serving on the Education Committee (past chair) and the Technical Committee for Recording Technology and Practice.

Visit www.aes.org.

AUDIO

JBL 7 Series Powered Master Reference Monitors

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JBL PROFESSIONAL RECENTLY ANNOUNCED the new JBL 7 Series Powered studio monitors. Featuring patented driver and waveguide technologies developed for the JBL M2 Master Reference Monitor, the new 705P five-inch and 708P eight-inch monitors deliver high output, detail and accuracy for postproduction, broadcast and music recording facilities.

to 35kHz. These proprietary drivers allow the 7 Series to deliver two to three times the output of existing studio monitors.

Patented and patent-pending driver and acoustic technologies provide greater output, dynamic range and detailed imaging to help professionals work from greater distances and overcome less-than-ideal placement. Proprietary JBL waveguide technology delivers neutral response and room-to-room consistency, while onboard room EQ solves low frequency problems.

Inside each monitor is a built-in dual amplification system that’s optimised for the high-output drivers. A 120W amp powers the 2409H high-frequency transducer, while a 250W amp is dedicated to the 725G and 728G low-frequency transducers.

Both models feature the 2409H high-frequency compression driver, which incorporates a low-mass annular diaphragm to deliver low distortion, with response beyond 36kHz.

Both models feature analogue and AES/EBU digital inputs at sample rates of up to 192kHz. Internal sample rate converters can be enabled to allow the monitors to receive digital signals of uncommon sample rates.

The 725G five-inch low-frequency transducer used in the 705P model provide 14mm peak-to-peak excursion with greater linearity, delivering low-frequency output down to 39Hz. The 728G eight-inch low-frequency transducer inside the 708P leverages JBL Differential Drive technology to reduce power compression and provide greater sustained output and extended, linear low-frequency performance

A compact two-way design minimises interference with video displays and sight lines, while providing output comparable to larger speakers. The reinforced enclosure includes bottom and rear mounting points allowing wall and ceiling mounting in either vertical or horizontal orientations.

Both the 705P and 708P feature the JBL patent-pending Image Control Waveguide that provides an acoustically seamless transition between the woofer and high-frequency transducer, and a wide sweet-spot with increased sonic detail.

Onboard DSP-based room equalisation compensates for acoustic issues in any room, delivering the most accurate sound reproduction.

Visit www.jbl.com

AUDIO

2017 Winter NAMM Anaheim, California THE 2017 WINTER NAMM SHOW in Anaheim, California covered anything and everything in the world of creating and projecting music and audio to the world. Countless demonstration booths covered the Anaheim Convention Center, with preeminent names in the pro audio world popping up all over the show floor. Peter Asher, Tom and Chris Lord-Alge, Mark Frink, the Talking Heads' Jerry Harrison, Australia’s own Orianthi and Richie Sambora, among many others, were all there to enjoy the world’s biggest professional audio show. Amongst the guitars, drums and plug-ins there were the latest incarnations of professional audio production tools. Here’s just a few highlights of the industry’s latest innovations.

The Aurora features an I/O platform that can be configured using different modules. The first three of these modules will include a preamp, an analogue summing module, and digital (AES3+ADAT) module to be released in 2017. New features and capabilities will be added periodically via firmware updates. All units include an onboard micro SD player/recorder capable of up to 32 channels of direct recording and playback.

The Antelope Audio Orion32 HD delivers 64 channels via HDX or USB3, and is compatible with any DAW. It also delivers Antelope Audio's clocking technology and field programmable gate array real-time effects modelling. With HDX, USB3, MADI, ADAT and S/PDIF connectivity and 32-in/32-out analogue input via DB25, the Orion32 HD covers a variety of installation scenarios.

The Orion32 HD includes Antelope’s 64-bit ‘Acoustically Focused Clocking’ jitter management, two wordclock or Loopsync Outs allowing the Orion to serve as the wordclock centrepiece, and also features mastering-grade monitor outputs borrowed from Antelope’s Pure2 Mastering Converter.

Again with the concept of modularity, MOTU introduced three new audio interfaces – the M64, 8D and LP32 – intended for routing digital audio streams in live performance systems, AVB/TSN network installations or recording studios.

The interfaces offer complementary digital audio I/O configurations and include low-latency USB drivers, flexible internal routing, 48-channel mixing, DSP effects and Wi-Fi control.

Housed in half-rack enclosures, the M64, 8D and LP32 can be mixed and matched for custom configurations. The M64 provides one bank of optical MADI I/O, plus a second bank of coaxial MADI I/O on BNC connectors. The 8D provides two stereo pairs of AES3 I/O and two stereo pairs of RCA S/PDIF I/O, while the LP32 provides four banks of eight-channel ADAT optical Lightpipe I/O for 32 channels at 44.1/48kHz or 16 channels of SMUX at 88.2/96kHz. Crane Song revealed that its entire line of digital hardware products has been upgraded to take advantage of the company's proprietary fifth generation digital to analogue converter technology. The Egret eight-channel D/A converter and summing mixer joins the Avocet monitor controller, HEDD 192 AD/DA and Solaris standalone D>A converter to complete Crane Song’s products to be equipped with Crane Song’s Quantum DAC. The Quantum DAC uses a 32-bit converter and asynchronous sample rate conversion for jitter reduction with up-sampling to 211kHz. The reference clock uses a proprietary reconstruction filter for accurate time domain response. Crane Song claim jitter is less than 1pS. Digico celebrated its 15th anniversary by unveiling the new SD12 console, which it says is encapsulates the best features of both the SD and S Series. The SD12 features 72 input channels, 36 aux/group busses, a 12 x 8 matrix, LR/LCR buss – all with full processing – along with 12 stereo FX units, 16 Graphic EQs, 119 Dynamic EQs, and 119 multiband compressors. The SD12 includes SD Series Stealth Core 2 software, making it compatible with all other SD Series sessions.

JoeCo released the BBWR24B, the latest of the company’s range of BlueBox workstation interface recorders. Offering 24 balanced line inputs, 16 ADAT Lightpipe inputs with SMUXII support and 24 balanced outs, the BBWR24B is able to back-up all of a users source recordings, providing a safeguard against

unexpected DAW freeze and failure. Each BBWR24B can carry up to 24 channels of 24-bit/96kHz audio in both directions simultaneously over USB 2.0.

On the analogue front, Brent Averill Engineering revealed two new products: the 500C FET lunchbox compressor and the R53 three-slot horizontal 500 series rack with linking. The 500C represents two firsts for the company; it’s both BAE’s first FET compressor and its first 500 series format compressor.

API released two new microphone preamps: the 3124V and 3124MV. The 3124V is essentially the same as the company’s current 3124+, while the 3124MV is the same unit as the 3124mb+, but both share additional features.

Firstly, both units offer front panel variable output level (oh joy), and secondly, the new models add a switchable 3:1 output transformer selection.

Rupert Neve Designs announced two new products: the R10 ten-space 500 series rack, replacing the R6 introduced in 2015, and the SwiftMix MC5 Master Control module for the company’s 5088 consoles outfitted with SwiftMix moving fader automation.

Control room monitoring saw many additions to the near- and mid-field market, with many manufacturers incorporating adjustable DSP into their monitor designs. Neumann announced the launch of the KH 80 DSP, its first DSP nearfield studio monitor. This two-way active loudspeaker features a DSP engine with network control. Available for Mac, Windows, iOS, and Android platforms, the Neumann Control app lets you control the KH 80 DSP via a standard IP network so you can calibrate them to your listening environment.

Dynaudio provided details of the latest addition to its LYD studio monitor range.

The new LYD 48 features a three-way speaker design, coupling an eight-inch and a four-inch driver, joined by a one-inch tweeter. Each of the woofers and the tweeter are powered by a Class D amplifier, delivering 80/50/50W of power per monitor. The amp features a 96kHz/24bit signal path and selectable input sensitivity.

ADAM Audio announced its new flagship line of nearfield, midfield and main studio monitors – the S Series. Set to ship in February, the S Series is comprised of five models: the S2V, S3H, S3V and the largest-of-the-range – S5V and S5H. All feature new long throw ELE (Extended Linear Excursion) woofers and a one-piece DCH dome/cone hybrid mid-range driver. There’s also a high-power DSP engine based on the latest SHARC chips. The DSP optimises the loudspeaker crossovers to create linear responses for the entire range, as well as providing user equalisation and in-room tuning/voicing functions.

Finnish manufacturer, Amphion, announced the availability of MobileOne12, a mobile studio monitor system. The portable studio monitor system features the One12 studio monitors along with a pair of Amp100 mono block amplifiers and Amphion’s bespoke speaker cables, all housed in a sturdy wooden padded travelcase. MobileOne12 is aimed toward home studios, small post production edit bays and mobile trucks.

PMC announced two additions to its Main Monitor range of transmission line monitors. Like their predecessors, the MB3 and BB6 feature a hand-built 34mm soft-dome tweeter and 75mm fabric midrange driver, coupled with the latest generation of the Radial low-frequency driver built specifically for use with PMC's ATL designs. The amplifier modules incorporate DSP which optimises the drivers and crossovers, and provides shelving EQ for in-room tuning. [continues P40]

AUDIO

Lynx Studio Technology introduced its latest Aurora line of A/D and D/A converters. The initial fourteen models will include some offering up to 32 channels with connectivity options to include Thunderbolt, USB, Dante and ProTools | HD.

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AUDIO [continued from P39]

DPA Microphones showcased its range of modular microphones and accessories.

JBL Professional announced its 7 Series powered monitors featuring driver and waveguide technologies developed for the JBL M2 Master Reference Monitor. The 705P five-inch and 708P eight-inch monitors deliver high output and accuracy for post-production, broadcast and music recording. Both models feature the 2409H high-frequency compression driver delivering response beyond 36kHz.

DPA’s booth was guest to Colorado bluegrass band, Trout Steak Revival. The

Both models feature analogue and AES/EBU digital inputs allowing connectivity to a range of production hardware with sample rates of up to 192kHz, while internal sample rate converters allow the monitors to receive digital signals of uncommon sample rates.

Mount being the latest additions to the instrument mounts for the d:vote 4099

In the audio capture arena, Sennheiser introduced its XS Wireless 1 series of six wireless microphone sets designed for the budget-conscious user. Sennheiser also previewed XS Wireless 2, available later in 2017 to 'take the benefits of XSW 1 further’. Sennheiser also presented its AMBEO VR Mic, an Ambisonics microphone designed for the VR community. The AMBEO stand area also showcased the company’s AMBEO Music Blueprint microphones – namely the Neumann KU 100 dummy head – along with the Sennheiser MKH 800 Twin.

winners of the 41st Telluride Bluegrass Band Competition were demonstrating DPA mics during their booth performances.

DPA displayed the company’s instrument microphones and accessories, with the new AC4099 Clip for the accordion, SM4099 Stand Mount and CM4099 Clamp mic.

DPA also featured its handheld microphone range – entirely modular and including the 4018VL Linear Vocal Mic. The capsule can be removed and replaced with any other DPA capsule to suit different requirements. Also, using DPA’s adapter system, the microphone can be transformed from a wired version with a handle, to a handheld wireless microphone capable of integration with all other wireless systems.

At the virtual end of the scale, Eventide announced its new plug-in technology, ‘Structural Effects’. Structural Effects apparently splits a sound into its tonal and

Beyerdynamic debuted its TG 500 wireless system. Envisioned as the successor to the Opus 600 series, the new system focuses on modern features and can be used licence-free almost all over the world – depending on the frequency band selected.

transient components, then each of the components can be individually processed

The TG 500 system has an operating range of up to 120 meters. The switching bandwidth is up to 40MHz, and when all four frequency bands are used (518-548, 606-636, 794-832 and 1.780-1.810MHz), up to 72 channels (18 compatible frequencies per band) can be operated simultaneously. Each of the five TG 500 sets is available for use in one of four frequency bands, so there are 20 different sets in all.

MasterCheck Pro lets producers hear and visualise what music streaming services

Shure announced two of its digital wireless systems are now available in the VHF spectrum. The ULX-D and QLX-D VHF systems have the same features the UHF systems offered.

before being recombined for output.

NUGEN Audio presented its latest mix, mastering, and post-production software, with the spotlight on MasterCheck Pro, a codec and loudness auditioning plug-in. do with their mix – including the playout encoding and loudness matching in use by Spotify, Apple Music, YouTube, digital radio, and a plethora of others.

NUGEN also introduced ISL DSP for Avid Venue S6L, a new addition to the ISL True-Peak Limiter product line. The update for ISL DSP introduces support for Avid Venue S6L live systems.

At the nick-knack end of the pro audio world were Telefunken’s new direct boxes, which include mono and dual models of both active FET and passive designs.

The ULX-D offers efficient RF performance, networked control, Dante digital audio (on ULXD4D and ULXD4Q dual and quad receivers), and AES-256 encryption, with the QLX-D delivering 24-bit digital audio.

The Telefunken TDA-1 (mono) and TDA-2 (dual) are active FET units employing

Also, a variety of VHF-ready accessories are available with the VHF versions of ULX-D and QLX-D units, including the UA844+V antenna distribution system, UA834V in-line amplifier, UA874V active directional antenna, and the UA860V passive, ground-referenced omnidirectional antenna. The UA845UWB antenna distribution system is switchable for UHF/VHF.

components with rugged construction. The circuits are housed in a 'virtually

discrete Class-A FET circuitry coupled with a high quality transformer. The TD-1 and TD-2 are passive transformer designs that combine premium quality indestructible' extruded aluminium enclosures. They’re so rugged, in fact, that the ‘Telefunken scientists’ attempted multiple forms of destruction on the units – such as driving trucks over them, dropping them off really high cherry pickers and dousing them in beer (German of course).

Superior Audio via Bonded Transport ‘QUANTUM’ SERIES BONDED MOBILE TECHNOLOGY from Prodys

audio recording and FTP transfer. Included with this is a rechargeable lithium

transmits audio by bonding up to four 3G/4G sim cards, one Wi-Fi and two

battery life of over five hours and superior audio quality up to 384Kb.

Ethernet links back to a 1RU or 3RU base unit. Field units range from a

The Quantum XL is a powerful portable IP audio codec with built-in audio

5-channel mic/line mixer configuration to a 20kHz stereo handheld reporter’s

mixer, has automatic jitter buffer, adaptive bit rate, and bonding of up to 7 IP

model. Features include SIP diversity enabling (Ethernet) connections from

links (Ethernet, 3G/4G, WiFi) for secure audio streaming with the best possible

Quantum portable units into the existing Prontonet IP codecs widely used in

audio quality. Up to three Stereo Audio Inputs (five mic/line mono inputs) are

Australia. Dante/AES67 options have also been added for the connection of

available to be mixed, encoded and streamed in stereo mode. As an option,

the 5 audio inputs into an audio matrix or mixing console.

it is possible to replace the audio inputs for a Dante/AES67 interface. The

The Quantum Lite handheld audio codec enables reliable field audio

Quantum W is the smaller version of Quantum XL, with three microphone/line

AUDIO

contributions over wireless networks by means of the concurrent use of two

40

inputs instead of five, but with all the power of its bigger brother.

UMTS /LTE (3G/4G) network connections, or the Quantum Lite can combine

V-Quantum is a powerful portable unit that includes everything needed for

up to 4 uplink connections: 2x 3G/4G Sim cards, 1x Ethernet & 1x Wi-Fi for

conducting a successful audio contribution in any scenario. With two modes

any scenario. One of the main drawbacks of SIP communications until now

of operation the V-Quantum doubles as a commentary unit, allowing the

has been the impossibility of combining several transmission interfaces in a

connection of any audio input to the audio infrastructure present at a chosen

single communication. With BRAVE protocol it is possible to use Bonding and

venue using audio over IP protocols, Dante or AES67. In codec mode, it acts

Diversity strategies with Ethernet, Wi-Fi and 3G/4G connections. Diversity is

as an audio mixer, encoder and transmitter, allowing you to send two of the

also possible in SIP communications allowing reliable audio transmissions over

stereo programs directly to the studio via IP networks, both fixed and by

IP, especially for those that use less sturdy media such as wireless networks.

wireless (Wi-Fi or LTE/3G/4G).

The Quantum Lite also turns off-line jobs into easy tasks with its embedded

Visit www.prodys.net

RADIO The original broadcast media

www.content-technology.com/radio

ABC Ceases Shortwave Transmission CITING HIGH COSTS and low audience numbers, the Australian Broadcasting

The ABC will also supply a VAST satellite system unit to all Royal Flying Doctor

Corporation has ceased shortwave transmission service to international audiences, as well as its domestic audience in the Northern Territory.

Service bases and some 4WD Radio club bases in the affected region, allowing

The ABC has not broadcast domestic shortwave outside the NT for many decades, including areas with parallel challenges of isolation and distance.

According to the ABC, shortwave technology is expensive to maintain and complex for audiences to use – involving a change in frequency depending on the time of day.

satellite service is used across other large parts of the remote Australian

“It now serves a very small audience, which we estimate to be in the hundreds rather than thousands of people,” said the national broadcaster.

serves a very limited audience. The ABC is seeking efficiencies and will instead

ABC International’s shortwave services are currently broadcast to PNG and the Pacific. Savings realised through decommissioning this service will be reinvested in a more robust FM transmitter network and an expanded content offering for the region that will include English and in-language audio content.

The ABC, working alongside SBS, is planning to extend its digital radio services

International listeners can continue to access ABC international services via:

overall reach of ABC digital radio to 60% of the Australian population.

• a web stream at: www.radioaustralia.net.au/international/listen

ABC Radio says it is also investigating transmission improvements to address

• in-country FM transmitters, see Radio Australia’s ‘Ways to Listen’ at: www. radioaustralia.net.au/international/radio/waystolisten/fiji

reception gaps in the existing five DAB+ markets. It aims to ensure a resilient

• the Australia Plus expats app (available in both iOS and Android)

necessary.

• partner websites and apps such as www.tunein.com and www.vtuner.com.

“Extending our DAB+ offer will allow audiences in every capital city in Australia

Northern Territory listeners will be able to access ABC services via AM and FM. Additionally, all ABC radio and digital radio services are available on the VAST satellite service.

equal access to our digital radio offering, as well as representing an ongoing

them to rebroadcast emergency or warning messages as required. The VAST outback where there are no shortwave broadcasts – such as in parts of the NT, all of WA, SA, QLD, and NSW. Michael Mason, ABC’s Director of Radio, said, “While shortwave technology has served audiences well for many decades, it is now nearly a century old and service this audience through modern technology.” in Darwin and Hobart, and to make permanent its current digital radio trial in Canberra. Extending DAB+ into the nation’s eight capital cities will ensure ABC digital radio services can reach an additional 700,000 people, increasing the

DAB+ service in every capital city, with enhanced bitrates and infill where

broadcast cost saving owing to lower transmission costs,” added Michael Mason.

Visit www.abc.net.au

WorldDAB at ABU Digital Broadcasting Symposium WORLDDAB HAS ANNOUNCED it will be participating in the Asia-Pacific

covered include: international update on DAB+, including Norway’s digital

Broadcasting Union’s 2017 Digital Broadcasting Symposium being held from

switchover from FM to DAB+, hybrid radio, DAB+ in smartphones, commercial

6th – 9th March in Kuala Lumpur, Malaysia.

radio business case for DAB+, and a Q&A session on regulation, technical

WorldDAB will present a DAB+ pavilion in collaboration with DAB+ supply

aspects and content on DAB+.

chain companies with a footprint in the Asia Pacific region – Connects2, Factum Radioscape, GatesAir, IZT, Paneda and RadioDNS. Attendees are invited to meet experts who can provide information and advice on implementing DAB+ digital radio.

WorldDAB will also take part in a workshop entitled, DAB+ expansion in the Asia Pacific, on Monday the 6th of March from 14:00 – 17:30. Topics to be

DAB+ will also feature throughout the main conference programme, including DAB+ technology enhancements, spectrum efficiencies, opportunities for new content on DAB+, hybrid radio, DAB+ digital infrastructure, and cost savings.

Visit www.worlddab.org

DIGITAL RADIO SERVICES are expanding across Australia with trials in

plans for Canberra, Darwin, Hobart and the Gold Coast. These plans will make

Canberra and Darwin to transition to permanent services, and digital radio to be

frequencies available to broadcasters wishing to provide ongoing digital radio

added to Hobart in Tasmania and Queensland’s Gold Coast over the next two to

services in those areas. Details of the timing of commencement of digital radio in

three years.

these markets will be determined by the broadcasters.

The Australian Communications and Media Authority, in consultation with the

The Australian Government has asked the ACMA to facilitate the rollout of digital

Digital Radio Planning Committee, has prepared a package of planning papers for

radio in regional areas where licensees make the commercial decision that they

the future development of DAB+ digital radio across Australia.

wish to offer the service.

“The commercial radio industry has indicated there are a significant number of

“Agreeing to the planning principles and settling the initial rollout markets

regional licensees that have expressed interest in offering digital radio services

represents a significant milestone in the work of the committee. It’s a credit to

in the next three to five years,” said acting ACMA Chairman, Richard Bean. “The

the members who have worked collaboratively to resolve complex technical,

ABC has also announced its intention to commence new services in Darwin and

policy and regulatory issues around the planning of regional digital radio

Hobart.”

services,” Richard Bean added.

The ACMA is facilitating the digital radio rollout by preparing digital radio channel

Visit www.acma.gov.au

RADIO

Australian Digital Radio Coverage to Expand

41

RADIO

WorldDAB Revises DAB Standard WORLDDAB HAS COMPLETED completed a comprehensive review and

Summary of Changes

revision of the DAB standard (EN 300 401), identifying obsolete features, clarifying the description of features for interoperability, and updating features.

This was undertaken by the WorldDAB Technical Committee’s ‘Task Force Clean’ to ensure the standard is ‘fit for the future’.

Transmission modes

WorldDAB says for many broadcasters the changes will have little impact. This is because the aim of Task Force Clean was to ensure changes were compatible with the way that DAB is used. However, to make the system work better, some changes were made to the multiplexing equipment of all broadcasters, while other changes are only needed if certain features are used.

Essential Updates Broadcasters do not need to make changes in regard to transmission mode, audio coding or PAD (including dynamic label).

Some updates to multiplexing equipment are required for all broadcasters because of changes to the FIC – especially those that regularly use reconfiguration – although most of these changes are needed following the publication of TS 103 176 V1.2.1 in May 2016 which included the definition of FIG 0/20 and rules on the use of FIG 0/8 and FIG 1/4 to help receivers manage service lists..

The new EN 300 401 introduces clearer rules on MCI repetition. Reconfiguration signalling has also been simplified so all broadcasters need to update multiplexing equipment. The changes are backwards compatible. Manufacturers are aware of the changes to TS 103 176 and EN 300 401, and are working on software updates. Broadcasters should talk to their equipment manufacturer about availability.

Programme Associated Data • F-PAD type "10" removed as obsolete • Dynamic label editorially revised to incorporate the requirements for commands (including DL Plus commands), but with no technical changes Packet mode • FEC for packet mode made mandatory for transmission • Data Group CRC made mandatory for transmission • Auxiliary Information Channel (AIC) removed as obsolete Fast Information Channel (FIC) • MCI signalling procedure and reconfiguration process clarified • FIG repetition rates provided for all FIGs • FIG 0/0 (Ensemble information): description of function of Alarm flag clarified and use of change flags for reconfigurations simplified • FIG 0/6 (Service linking): description clarified in line with TS 103 176 • FIG 0/7 (Configuration information): additional MCI FIG for fast configuration checking • FIG 0/8 (SCIdS): usage defined for primary service components containing data applications (and value fixed as 0) and for all secondary components

The signalling of user applications requires the provision of FIG 0/13. This FIG has moved from SI to

• FIC 0/12 (FIC redirection): removed as AIC is removed

MCI with the new EN 300 401. Providing the FIG 0/13 is already signalled in conformance with EN 300 401 V1.4.1 (i.e. the X-PAD field is provided for user applications in PAD) then in many cases the move from SI to MCI does not make much difference. However, given that some updates are in any case needed for changes to MCI signalling, this change should also be requested from multiplexer manufacturers.

• FIG 0/16 (Programme Number): removed as obsolete

Some features have been updated or removed. Broadcasters may wish to review their use of Programme Type (FIG 0/17) in order to conform to the new rules.

This means not using the language field and providing only one PTy, which is chosen as either static or dynamic – previously both were permitted. The use of the complementary code is withdrawn.

If announcements are used, it should be noted that in the announcement support the alarm bit cannot be set any longer because of the new definition and operation of the Alarm flag in FIG 0/0.

For packet mode sub-channels, the use of additional FEC is now mandatory. This is not expected to require any changes as this was already routinely applied. The mandatory use of the Data Group CRC flag means that data applications should be checked for correct encoding settings.

The generation of Frequency Information (FIG 0/21) should be checked, but it is unlikely that any changes will affect current broadcasters.

The signalling of removed FIGs should also be checked: Programme Number (FIG 0/16), TII database (FIG 0/22), Region definition (FIG 0/11, FIG 1/3) and FIDC (Paging, TMC, EWS).

RADIO

• The text describes the two audio coding methods, DAB audio and DAB+ audio. DAB audio coding is moved into TS 103 466, including annexes, but no technical changes have been made. The ASCTy definition is moved to the Registered Tables (TS 101 756).

FIG 0/7, a new MCI FIG, has been introduced. With agreement from manufacturers it has been decided to use the transmission of FIG 0/7 as an indication that the ensemble is compatible with the revised EN 300 401 V2.1.1.

This will allow receiver algorithms to be tailored to take advantage of more precise rules of behaviour specified in the new version of the DAB standard.

When all aspects of the ensemble encoding are in line with EN 300 401 V2.1.1, the transmission of FIG 0/7 should begin.

Other Updates

42

• Only Transmission mode I is retained; the other modes are obsoleteAudio

Broadcasters with services from different countries using SIds with different country codes may be using the extension field in FIG 0/9 to indicate different ECCs. The simplification of this FIG is unlikely to have any impact.

• FIG 0/9 (ECC and LTO): extension field simplified by removal of per service LTO; SIV use removed • FIG 0/10 (date and time): long form made mandatory for transmission • FIG 0/11 (Region definition): removed as obsolete • FIG 0/13 (User application information): changed from SI to MCI • FIG 0/17 (Programme Type): language field removed as feature provided by FIG 0/5; second code removed; static/dynamic use clarified • FIG 0/18 (Announcement Support): SIV use removed • FIG 0/20 (Service Component Information): additional SI FIG for managing service lists (definition moved from TS 103 176) • FIG 0/21 (Frequency information): Region Id and transmission mode signalling removed; DRM+ frequency signalling added • FIG 0/22 (TII database): removed as obsolete; note that TII in the null symbol is unaffected • FIG 0/25 (OE Announcement Support): new definition separating OE announcement feature from tuned ensemble announcement feature • FIG 0/26 (OE Announcement Switching): new definition separating OE announcement feature from tuned ensemble announcement feature • FIG 0/27 (FM Announcement Support): removed as obsolete • FIG 0/28 (FM Announcement Switching): removed as obsolete • FIG 1/3 (Region label): removed as obsolete • FIG 1/4 (Service component label): restricted to secondary components only • FIG 2/x (Extended labels): user defined character coding removed, maximum byte count reduced from 64 to 32, maximum segment count reduced from 8 to 2 • FIG 5/x (FIDC applications: Paging, TMC, EWS): removed as obsolete; note that TMC is carried in TPEG, EWS is supported by clearer Alarm Announcement functionality The new standards are available for download from http://www.etsi.org/ technologies-clusters/technologies/broadcast/dab

RADIO

Radio Free Asia Launches Mobile Streamer App U.S. GOVERNMENT-BACKED BROADCASTER, Radio Free Asia, and AudioNow, a developer of mobile platforms for broadcasters, have announced RFA Mobile Streamer – a new mobile app designed to expand the reach of RFA’s global audio content.

Available via the Google Play store and iTunes, the app delivers programming by RFA in Cantonese, Khmer (Cambodian), Korean, Lao, Mandarin, Myanmar, Tibetan, Uyghur, and Vietnamese.

“RFA’s mission is to bring reliable, accurate news and information to people living in closed Asian countries,” said Rohit Mahajan, RFA’s Director of Public Affairs and Digital Strategy. “This app, which RFA is proud to launch with AudioNow, provides a great way for people in Asia to access RFA’s programming and audio content through their mobile phones and devices such as iPads and tablets.”

Headquartered in Washington, D.C. since 2008, AudioNow has become a leading developer of in-language apps for global broadcasters designed around listener engagement unique to communities and broadcaster genres.

• Share audio content by e-mail, Twitter, Facebook, Google+ and other social media services.

• Download podcasts, allowing listeners to access programs offline.

• Submit ‘Citizen Journalist’ content to RFA (allowing users to send text, photos, audio files, or video).

In addition to RFA, AudioNow app partners include VOA, BBC, ESPN 980, WTOP, Radio America, Multimedios, CCTV, Radio Television Caraibes, United Nations, and apps in over 50 languages.

• Choose between listening to audio over a phone cellular connection or data connection to save money and/or bandwidth.

Apps from AudioNow Digital are designed for a two-way engagement experience between the station and its audience. Features include: video programming, live and recorded content, one-touch call-to-listen, user control of bandwidth size to manage data costs, sharing through social media, ‘Radio Reporter’ for on-theground reporting, push notifications, and next generation advertising integrating external businesses including money transfer services.

• Save on data costs with the Low-Bandwidth Mode in the settings.

Visit www.audionow.com and www.rfa.org

RFA Mobile Streamer includes features that enable users to: • Listen to dozens of radio news programs in all of RFA’s nine languages on demand.

Klotz Ships First DC 3 Consoles to Radio Guangdong KLOTZ COMMUNICATIONS has delivered its first DC 3 consoles to Radio

tool which combines traditional radio production control with the processing of

Guangdong, one of China’s leading broadcasters.

visual content, social media, internet communications, and control of 3rd party

Radio Guangdong has been using a fully integrated Klotz VADIS system since 2002, which includes 8 On Air studios, a main and standby router, an integrated transmission path monitoring system, and a transmission routing system that is connected to the main broadcast building via fibre link.

equipment, in one single unit.

The 12-fader and 16-fader DC 3 consoles will be used to replace two of the existing DC 2 consoles in the on-air studios. Designed using the same measurements as the hugely successful DC 2 console series, the DC 3 consoles can be seamlessly integrated into the existing studio furniture.

provided the end-user with the best possible reliability. The integration of the DC

The DC 3 comes in sizes from 4 to 32 faders and features an ultra slim table top design. Based on the experience of more than 1000 DC 2 consoles in the field, the DC 3 delivers many new features to match the requirements of today’s broadcasting environment and beyond.

The integrated Touchstone module turns the console into a broadcast production

“We are very proud that Radio Guangdong put their trust in Klotz Communications to supply them with the next generation Klotz products. The VADIS installation at Radio Guangdong has been working faultlessly over the last 14 years and has 3 consoles into the existing VADIS network means that Radio Guangdong, and any other DC 2 user for that matter, can upgrade their existing equipment stepby-step and with minimal interruption to their daily operations,” commented Andre Sauer, Partner and General Manager of Klotz Communications.

The DC 3 consoles were supplied to Radio Guangdong via Klotz Communications distributor Hangzhou Linker Digital Technology Co. Visit www.klotzcommunications.com

Comrex To Unveil Opal and ACCESS NX COMREX CORPORATION will display its latest product, Opal, at NAB 2017.

Opal, short for Opus Portal, is an IP audio gateway, and will be available for demo at the Comrex booth, C1633.

Opal allows remote guests to deliver ‘studio quality’ sound without the need for any special equipment on their end. Opal is aimed toward users who need to coordinate call-ins with non-technical remote guests – guests can simply click a link and connect instantly. Opal establishes the link using the Opus encoder for excellent fidelity and low delay.

Opal can support two connections at once, and provides two independent professional audio I/O ports to the studio. Opal occupies 1/2RU of rack space, and two can fit side-by-side in a 19-inch rack shelf. Connections to Opal can only be made from browsers that support WebRTC (Chrome and Firefox at this time).

Comrex will also introduce ACCESS NX, the latest portable audio IP codec in its

ACCESS line during NAB. ACCESS NX builds on the ten-year legacy of the original ACCESS Portable, but adds an audio channel, a larger touch screen and a digital mixing stage. ACCESS NX will also be available for demo at the Comrex NAB 2017 booth.

New features include a five-inch capacitive touch screen that doesn’t require a stylus, which simplifies set up and operation. ACCESS NX includes a dedicated stereo line input, in addition to a pair of XLR switchable audio inputs. ACCESS NX will also be compatible with an ACCESS clip-on channel mixer, a new accessory which adds four mic/line inputs and headphone outputs.

ACCESS NX incorporates CrossLock, Comrex’s custom reliability layer that enables both powerful error correction and network bonding. CrossLock intelligently monitors network connections and adjusts data allotment in real-time.

Visit www.comrex.com

RADIO

Comrex Opal creates a studio internet audio portal. Once installed, Opal serves a web page to anyone who accesses it through a computer or Android device (with a microphone, earpiece, and browser). This web page will allow a user to click a button and broadcast from their computer or phone in high fidelity. High quality return audio is also provided to the guest.

43

CONTENT DELIVERY Terrestrial, Mobile, Broadband

www.content-technology.com/delivery

World First 10Gbps Fibre Service for New Zealand CALIX, INC., THE DEVELOPER OF Subscriber Driven Intelligent Access

marketplace stimulated by the New Zealand Government’s second phase of its

solutions, has announced that NG-PON2 (Next-Generation Passive Optical Network 2) has made the leap from promising technology to reality with the world’s first NG-PON2 demonstration in a live network. New Zealand’s Northpower Fibre leveraged the same E7-2 Modular Access System that it is deploying throughout its network to deliver 10 gigabits per second (Gbps) speeds over multiple wavelengths to 812NG GigaHubs located in a business premises and residential home in Whangarei.

UFB programme.

NG-PON2 (Next-Generation Passive Optical Network 2) is a 2015 telecommunications network standard for a passive optical network (PON). The standard was developed by ITU and details an architecture capable of total network throughput of 40 Gbit/s, corresponding to up to 10 Gbit/s symmetric upstream/downstream speeds available at each subscriber.

Calix Inc. says the demonstration ushers in a new era for service providers, “as they begin to fully leverage the true potential of fibre for both an unmatched subscriber experience as well as for business transformation”.

As Northpower Fibre begins in the future to deploy more widely NG-PON2 enabled systems armed with Calix AXOS Software Defined Access (SDA) architecture, the company can begin to drive down its OPEX and CAPEX profile by further converging disparate business, residential, and backhaul services onto one simple-to-operate network. In time, NG-PON2 will enable Northpower Fibre to continue to truly differentiate itself in a growing Ultra-Fast Broadband (UFB)

“New Zealand is undergoing a major broadband vitalisation effort, and we see the emergence of NG-PON2 technology as a major enabler going forward,” said Darren Mason, CEO of Northpower Fibre. “As attention in the second phase of UFB shifts from the cities to bring fiber broadband to more rural areas, Northpower Fibre will be leading the way having committed to connect 12 new towns to fiber within the next four years. With Calix as our partner and the AXOS E7-2 supporting the deployment, we have been amazed by how quickly we had jaw-dropping speeds and services up and running. We’ve shown the world that NG-PON2 is real, and we are excited for all of the new efficiencies and opportunities NG-PON2 will bring to our future business.”

NG-PON2 provides Northpower Fibre with new business efficiencies in their open access model. Multiple wavelengths on a single fibre can be divided up for use by different service providers, instead of each service provider requiring a separate PON. NG-PON2 enables the isolation of services between the providers, allowing one to make service updates and changes, with no impact on the other providers. In addition, with the AXOS “always on” capability, Northpower Fibre can make its own live upgrades without service disruption or impact to the multiple service providers utilising their fibre infrastructure.

Visit www.calix.com and www.northpowerfibre.co.nz

Hong Kong’s Fantastic TV to Launch Via Fixed Network AT THE REQUEST OF of Fantastic Television Limited (Fantastic TV), the Hong Kong Communications Authority (CA) has put a hold on the processing of Fantastic TV’s application for using spectrum, on top of fixed network, as an additional means of transmission for the delivery of its domestic free television until such a time when Fantastic TV is ready to resume its discussions with the CA. Instead, Fantastic TV will, as per its free TV licence, launch its free TV service by the 30th of May, 2017, by means of a fixed network.

Fantastic TV will produce two channels of programming – one Englishlanguage, one Chinese-language.

Fantastic TV will make use of HKCTV’s fixed network to deliver its licensed free TV service upon service launch by 30 May 2017. According to Fantastic TV, residents of buildings with the in-building coaxial cable distribution system installed by HKCTV can receive the signals of Fantastic TV. For buildings with their own communal aerial broadcast distribution (CABD) systems, their building management offices (BMOs) or incorporated owners (IOs) need to engage contractors to interconnect their buildings’ CABD systems with HKCTV’s fixed network. Residents of the buildings would be

able to receive Fantastic TV’s service via their TV sets and digital terrestrial television set-top boxes upon completion of the said interconnection.

In June 2016, Fantastic TV applied to the CA under its free TV licence to use spectrum, on top of a fixed network, to transmit its licensed free TV service.

In line with requirements imposed on Hong Kong’s other two spectrum-based free TV licensees, namely, Television Broadcasts Limited and HK Television Entertainment Company Limited (HKTVE), the CA advised Fantastic TV of such similar requirements with which it should comply in order to ensure that, Fantastic TV, if permitted by the CA to use spectrum as an additional transmission means, would operate on a level playing field as the other spectrum-based free TV licensees. The CA adopted the same approach in handling the application of HKTVE to use spectrum, on top of fixed network, as an additional transmission means in early 2016.

After rounds of exchanges with the CA, Fantastic TV indicated in its latest submission in January 2017 that its current focus was to launch the free TV service by using a fixed network and that the discussion with the CA on the Application would only resume after the service launch.

Visit www.coms-auth.hk

CONTENT DELIVERY

AsiaSat Extends Occasional Use with Globecast

44

ASIA SATELLITE Telecommunications Company Limited (AsiaSat), has extended

in a single beam. The service provides Globecast unmatched coverage of live sports

an occasional use (OU) service agreement with Globecast.

including the AFC soccer events, golf tournaments, Asian Beach Games, Baseball

As a longtime customer of AsiaSat, Globecast’s affiliates in Asia, Europe and from

World Cup as well as broadcasting live news events such as the ASEAN summit.

around the world use the C and Ku-band capacity across AsiaSat’s fleet for the

AsiaSat has maintained a close partnership with Globecast for over 15 years, with

distribution of news content and sports events for their clients who are major

AsiaSat 5 providing a primarily HD delivery of OU service to its customers, alongside

international broadcast networks and premium sports right holders.

transmission solutions from Globecast such as its one-stop service that offers global

AsiaSat 5’s penetration into the Asian TV market and wide global C-band footprint

coverage for SNG and turnaround capabilities for TV distribution service.

make it a popular satellite for OU service in the region, serving the entire Asia-Pacific

Visit www.asiasat.com and www.globecast.com

CONTENT DELIVERY

Video Clarity at the 2017 NAB Show DURING THE 2017 NAB SHOW, Video Clarity will demonstrate ClearView IP, the newest member of its ClearView line of video quality analysers and an all-new product category for IP infrastructure use. The ClearView IP system allows users to play, record, and test quality of video that travels over IP networks according to new video-transport standards, and gives them the option to mix SDI functions in the same system.

Visitors to Video Clarity’s booth at the 2017 NAB Show will be among the first to see the new ClearView Player IP, a high-capacity server with record and playback functions for uncompressed video using IP-related video transport standards. ClearView Player IP represents a new category of playback servers specifically designed for use in IP infrastructures.

ClearView Player IP is built for product manufacturers that need a reliable system to record one channel and play back up to two channels of uncompressed video programming into a SMPTE 2022-6/7-compliant network. Manufacturers and programmers rely on the system to subjectively view video for quality, or feed the output to a processing engine for newly developed product version testing and encoder pre-qualification testing. ClearView Player IP systems can also be deployed for broadcast- or venue-based playback when an uncompressed video source is required in an all-IP environment.

Also making its debut at the 2017 NAB Show will be the ClearView Venue Player, a video server that automatically plays multiple uncompressed segments

of content to multiple screens in precise timing and sequence. Video Clarity’s first product in the entertainment-playback market, the ClearView Venue Player is designed for broadcast, theme parks, live events, staged shows, and other environments that rely on repeated, synchronised video playback for entertainment and display. The ClearView Venue Player offers up to eight terabytes of storage and up to eight HD outputs or two UHD outputs in a 1RU size.

Video Clarity’s MultiPlayer software, included with Venue Player, is what makes synchronised playback possible, as it can automatically and interactively select sequences for playback in multiple video formats on up to eight screens at once.

It lets Venue Player users program segments to play from multiple Venue Players according to specific timing and order of recall, and synchronised with devices and effects.

The Venue Player also contains new control functionality courtesy of MultiPlayer Manager, an application that enables browser-based control over configuration and playback. All Venue Players now provide a web server for browser-based control on a networked computer or tablet. Venue Player users can set up, jog, shuttle, play, rewind, and queue the output of each system from anywhere with an internet or internal facility network connection to one or multiple Venue Players. Browser-based control gives users in both venues and broadcast test labs an easier way to manage playback on multiple screens.

Visit http://videoclarity.com

Verizon Digital Media

Visionary Solutions

Services on Show

Brings Video to Dante

AT THIS YEAR’S NAB SHOW, Verizon Digital Media Services will

VISIONARY SOLUTIONS recently introduced PacketAV Duet, the first

feature its Live Streaming Solution and the enhancement of the company’s

platform to deliver Dante connectivity for video.

Volicon Media Intelligence service through the integration of Verizon’s Slicer

For AV professionals, the impact of Dante connectivity has enabled fast, easy, and economical digital networking of multi-channel audio over IP. Now, Visionary Solutions’ PacketAV Duet brings Dante to video, allowing you to route video using Dante Controller.

application, part of the Uplynk Video Streaming service.

The Live Streaming Solution features a cloud-based scheduler and an operator dashboard for provisioning encoders, managing live feeds, inserting ad-breaks and pushing slates in the Verizon’s Uplynk Video Streaming service. To simplify the syndication of content to internal or third-party content management systems and apps, the solution allows users to publish a single live-stream URL that transitions seamlessly between pre-event, live, post event and video-on-demand content. Realtime health monitoring and failover support for the Uplynk Video Streaming service’s Slicer application can run on site at the venue, or at the point of origination. Intelligence and insights enable users to correlate viewing

Visionary Solutions’ PacketAV Duet Encoder and Decoder deliver visually lossless, ultra-low latency 4K UHD video and Dante over gigabit ethernet, bypassing the constraints of traditional switch matrix systems by harnessing the flexibility and scalability of converged IP networks.

“Audio professionals have long understood the power, control, and expandability of the Dante platform for digital audio,” remarked Scott Freshman, Visionary Solutions Chief Operating Officer. “Now PacketAV Duet delivers that same connectivity for UHD video, enabling you to route video using Dante Controller. This is video for audio pros. If you know how to use Dante for audio, you know how to use PacketAV Duet for video. This really does change everything.”

Volicon hardware infrastructure.

With Visionary’s PacketTV and PacketAV products, 4K UHD, as well as full 1080p HD and lower resolution content can be deployed to a virtually limitless number of screens over any standard GbE network, even sharing space on existing enterprise networks using standard network protocols and devices. A single network can carry audio, video, and data. Installation requires no need for proprietary components or 10GbE switches.

Distributed displays and multi-component video walls are easily configured, and controllers from Crestron, AMX, and other third parties are supported.

Visit www.verizondigitalmedia.com

Visit www.vsicam.com

analytics with network performance.

Verizon will also showcase the integration of its Slicer application, a software element of the Uplynk Video Streaming service, into the company’s Volicon Media Intelligence service. This integration makes it easy to launch over-the-top (OTT) offerings efficiently by leveraging existing

CONTENT DELIVERY

ClearView IP plays or records up to two channels of uncompressed video programming from a high-capacity testing server into a SMPTE 2022-6/7-compliant network. ClearView IP can apply the new IP standards and can play while recording in the IP domain – important features for being able to perform quality testing in an IP world. Through either automation or straightforward desktop controls, video engineers can perform recording, alignment, and highly accurate quality measurements correlated to human perception.

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CONTENT DELIVERY

Instant Media Playout System from ENCO PLAYOUT AND AUTOMATION system specialist, ENCO, says at NAB2017 (Booth N2024) it plans to “unleash” its robust instant media playout solution, ClipFire, an all-in-one appliance for playback applications

Crystal Vision’s Frame System and IP Gateways BOOTH N3010 AT THE 2017 NAB SHOW will be home to Crystal Vision’s Vision frame system – suitable for SDI, IP and 4K – which is now shipping, along with its core interface cards including up and down converters, synchronisers, fibre optic transmitters and receivers, audio embedders/de-embedders, and distribution amplifiers for analogue and digital video and audio. Crystal Vision will be discussing its

in studio and mobile environments.

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

ClipFire’s streamlined, fully-graphical user interface is optimized for highspeed, touch-screen operation, putting professional media playout right at operators’ fingertips without the need for keyboard or mouse input.

The interface offers an array of active buttons, each displaying a visual thumbnail with clip information and ready to fire playback of video, audio or graphics upon a single click or tap.

ClipFire is suitable for a wide range of television and live event production applications, from studio-based news broadcasts and visual radio to concerts and sports coverage. Buttons can be assigned to play individual clips, overlay graphics, send commands to external devices, or trigger multiple clips simultaneously. Support for multiple pages and layouts enables users to customize their button setup for different productions without limiting the number of available clips.

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

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

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

ClipFire also features the same intuitive and powerful library system as ENCO’s Automated Television Playout system, MOM, making it easy for users to manage their media assets. Operators can organize clips by any criteria, modify metadata, and synchronize ClipFire’s library with other

CONTENT DELIVERY

ENCO solutions over a network. ENCO provides a user-programmable,

46

bi-directional interface for integration with third-party systems, while built-in ‘as-run’ logging provides details of content playout for program and advertising tracking.

Visit www.enco.com

future-proof IP gateways. Initially supporting the SMPTE 2022-6 and SMPTE 2022-7 protocols and including PTP as a timing source option, they can be reconfigured via a software upgrade for newer emerging standards. Crystal Vision will also be showing its Indigo frame system with its chroma keyers, logo keyers, video delays and fail-safe routing switches.

The Vision frame system is designed for broadcast engineers planning installations that will include IP and 4K, or for those that would benefit from the extra Vision features on their SDI products. With the ability to handle high bandwidth signals including 10GbE IP and 4K (as well as SDI), the Vision 3 frame offers a high packing density with the ability to house 20 vertical cards in 3RU. The Vision cards provide more outputs than Crystal Vision has offered before, giving more signals to use and cutting down the requirement for distribution amplifiers. The Vision 3 frame also includes a common dual reference distributed to every card – resulting in easier wiring and extra outputs, a reduction in system cost, and a backup syncs feed which can be automatically switched to should the main syncs fail. Other useful features include complimentary SNMP, remote backup and restore of all card settings and presets, and two 1Gb/s ethernet connections to the outside world for control and file transfer.

The initial 12 interface products from the Vision frame system will be available for demonstration on booth N3010. The UP-DOWN-A-VF, UP-DOWN-ATX-VF, UPDOWN-AS-VF and UP-DOWN-ATXS-VF up and down converters can perform two different conversions between SD, 720p, 1080i and 1080p simultaneously, while offering features such as four group embedded audio handling, AFD insertion and reading, audio routing, timecode conversion, teletext and closed captions handling, and downstream video synchronisers. Working with 3Gb/s, HD and SD sources and both AES and analogue audio, SYNNER-VF combines a video synchroniser, tracking audio delay and embedder/de-embedder. TANDEM10-VF is an audio embedder/ de-embedder with the ability to embed and de-embed a mixture of up to four groups of AES and two groups of analogue audio simultaneously. The FTX-VF dual channel 3G/HD/SD to fibre transmitter and FRX-VF dual channel fibre to 3G/HD/SD receiver are suitable for transporting 3Gb/s, HD, SD and DVB-ASI signals over large distances.

Finally the Vision frame system includes four distribution amplifiers for the distribution of digital video (the 3GDA-VF), analogue video (the VDA-VF), digital audio (the DADAVF) and analogue audio (the AADA-VF).

Crystal Vision’s range of IP gateway products embrace the correct approach to integrating SDI into an IP environment. Housed in the Vision 3 frame, the modular gateways include all the required features, can be connected to a range of other manufacturers’ equipment, and can be upgraded with software. The company avoids future hardware limitations with a software based approach to processing SDI to IP, IP to SDI and IP to IP. The products will launch shortly featuring initial support for the SMPTE 2022-6 and SMPTE 2022-7 protocols, with their flexible platform allowing them to be reconfigured (via software) for new standards as they emerge. The SDI6IP-VF converts six HD/SD or three 3Gb/s input connections to one output 10GbE link.

The IP-SDI6-VF converts one 10GbE link to up to six HD/SD or three 3Gb/s output connections.

Visit www.crystalvision.tv

CONTENT DELIVERY

CONTENT DELIVERY

DIGITISE, DIGITALISE & DOMINATE

47

CLASSIFIEDS + EVENTS

ASIA

+ANZ

C+T AUSTRALIA-NEW ZEALAND FEATURES + DEADLINES 2017 ISSUE

EDITORIAL + AD DEADLINES

February

Mar-April

May-June

July-Aug

Sept-Oct

Nov-Dec

Editorial Submissions: 23-01-17 Ad Bookings:

30-01-17

Ad Artwork:

06-02-17

Editorial Submissions: 15-03-17 Ad Bookings:

22-03-17

Ad Artwork:

31-03-17

Editorial Submissions: 09-05-17 Ad Bookings:

16-05-17

Ad Artwork:

31-05-17

Editorial Submissions: 16-06-17 Ad Bookings:

23-06-17

Ad Artwork:

30-06-17

Editorial Submissions: 14-08-17 Ad Bookings:

21-08-17

Ad Artwork:

28-08-17

Editorial Submissions: 17-10-17 Ad Bookings:

23-10-17

Ad Artwork:

01-11-17

PUBLICATION DATE

PRODUCT ROUND-UP

SHOW COVERAGE

2nd Week February

+ Broadband & HbbTV + Multi-screen Delivery + Social Media + Studio/Facilities Directory

+R eview: CES 2017

1st Week April

+ Digital Asset Management Solutions + Content Delivery – RF, Fibre, Wireless and more.

+P review: NABshow17 (April 22-27, Las Vegas)

1st Week June

+S ports Production Solutions +D rones & UAVs +O TT/IPTV/VOD Solutions

+R eview: NABshow17

1st Week July

+4 K Acquisition & Delivery Solutions + I P-based Production +C ontent Security

+P review: SMPTE Australia 2017 (July18-21. Sydney)

1st Week September

+ ENG/Newsroom Systems + Compression, Encoding, Transcoding Solutions + Radio Technology

+P review: IBC Amsterdam (Sept 15-19) +P review: National Radio Conference (13-14 October, Melbourne)

2nd Week November

+C hannel-in-a-Box Solutions +C able & Satellite Delivery +E ducation & Training

C+T ASIA FEATURES + DEADLINES 2017 ISSUE

EDITORIAL + AD DEADLINES

Mar-April

Editorial Submissions: 06-02-17

May-June

Aug-Sept

Oct-Nov

Ad Bookings:

13-02-17

Ad Artwork:

20-02-17

Editorial Submissions: 10-04-17 Ad Bookings:

10-04-17

Ad Artwork:

17-04-17

Editorial Submissions: 25-07-17 Ad Bookings:

01-08-17

Ad Artwork:

08-08-17

Editorial Submissions: 29-09-17 Ad Bookings:

02-10-17

Ad Artwork:

09-10-17

PUBLICATION DATE

PRODUCT ROUND-UP

4th Week February

+H DTV & Beyond +B roadband & HbbTV +C loud Technologies +D igital Asset Management Solutions + Content Delivery – RF, Fibre, Wireless and more.

+P review: ABU Digital Broadcast Symposium (March 6-9, Kuala Lumpur) + Preview: NABshow17 (April 22-27, Las Vegas)

2nd Week May

+C hannel-in-a-Box Solutions +O TT/IPTV/VOD Solutions +S ports Production Solutions +S ocial Media

+P review: BroadcastAsia/ CommunicAsia 2017 (May 23-25, Singapore)

3rd Week August

+L oudness Solutions +C loud Solutions +C ontent Security +C ompression, Encoding, Transcoding Solutions

+ Preview: BIRTV (Beijing, China) + Preview: IBC Amsterdam (Sept 15-19)

3rd Week October

+ Cable & Satellite Delivery + Digital Asset Management Solutions + OTT/IPTV/HbbTV Solutions + Multi-screen Delivery

+ Preview: CASBAA (Cable& Satellite Broadcasting Assoc of Asia) + Preview: Broadcast Indonesia (Oct 25-27)

Advertiser Index PUBLISHING ADVERTISING CONTACTS PUBLISHING ++ ADVERTISING CONTACTS Brainstorm……………………………….31 Advanced Broadcast Solutions….5

PUBLISHER: PHIL SANDBERG ABU Digital papers@broadcastpapers.com or +61 (0)414 671 811 +61-2-9211 8205.

CLASSIFIEDS + EVENTS

Symposium............... IBC

48

Advertiser Index ABU DBS2015 ………………………… 47 AJA ……………………………………………… 5

SHOW COVERAGE

Calrec………………………………..39 CASBAA…………………………………..19

EMC………………………………………..OBC

For artwork Ideal Systems………………………………3

ADVERTISING ADAM BUICK specifications CO-FOUNDER:MANAGER: LUCY SALMON Dejero……………………………………13 HSE GmbH Asia Pacific……………4 For artwork specifications visit visit adam@broadcastpapers.com production@broadcastpapers.com DVB Asia…………………………………..33 LiveU……………………………………….9 www.content-technology.com www.content-technology.com or +61 (0)413 007 144 +61-2-9211 8205.

Broadcast Asia……………………………IFC

Mediagenix …………………………………… 9

Ideal System ……………………………… 3

Mediaproxy ………………………………… 31

IHSE

… … ……………………………………… 4

Ooyala ………………………………………… 11

Magna Systems & Engineering…IFC

Quantum …………………………………… OBC

S-A-M ………………………………………… 13 SGL Broadcast …………………………… 33