Content+Technology ASIA May-June 2019

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Show time 4K, Global Shutter, HFR and HDR The HDC-5500 system camera brings new levels of image quality with Sony’s advanced 2/3-inch 4K CMOS sensor.

Broaden your creative possibilities and achieve exactly the look you want in any shooting situation. Low-key Saturation ensures rich, vibrant colours in low-light areas. Enjoy premium 4K/HD/HDR picture quality – and anticipate tomorrow’s production needs while maintaining full compatibility with today’s workflows and system hardware.

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Move by Yusari: Delivering DCPs Across Malaysia with Signiant Jet ... page 46.

REGULARS 02 EDITOR’S WELCOME 04 NEWS Mediacorp Graphic Artists Pass

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47 PICTURE CUT Players in

Content+Technology caught off-air.

the Test with Vizrt, NEP Australia Delivers IAAF World Relays Coverage from 7800km Away; ABU-China Agreement; PCCW Picks Harmonic; Mediacorp and DTS:X Create Sonic Boom; DTC and Ideal Systems Link CCTV to 4K; New HQ for Techtel Singapore; People Moves.

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FEATURES 10 BROADCASTASIA2019 Preview 18 ACQUISITION Bob Nguyen Wins Oz

Cinematographer of the Year; Ross Video Supports CCTV’s UHD “Mission to The Moon”; Thai Feature ‘Friend Zone’ Scores a First with Sony VENICE; New cameras, lenses and accessories from NAB2019.

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for Indian Premier League; Tieline, CNW Provide Commentary Solution for FINA2019 Swimming; True Bangkok United FC Chooses ChyronHego; IMG Trials Remote Production for Rugby World Cup Japan.

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CONTENT+TECHNOLOGY: ISSN 1448-9554 PP:255003/06831 Broadcastpapers Pty Ltd (ABN 34 095 653 277) PO Box 165 Surry Hills, NSW 2010, Australia www.broadcastpapers.com PUBLISHER: Phil Sandberg Tel +61 (0)2 4368 4569 Mob +61 (0)414 671 811 papers@broadcastpapers.com

Grade with Captain Marvel; Blackmagic Brings Zombies to Life in SingaporeAI; Collaboration and Parallel Workflows; Post@NAB2019.

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AUDIO Hong Kong Broadcasters on Sound Footing with Calrec; Lawo mc²56 Production Console Intros Dual Fader Bay, plus New Wireless Mics.

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RADIO Filipino Radio Powers Up with Dielectric; SCA Launches Addressable Ads for Streamed Radio Channels; ARN Goes IP with AVC and Axia; Commercial DAB+ Expands Down Under; New Options for Audio Over IP and the Cloud.

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CONTENT DELIVERY Thailand’s Mono Plus Upgrades with PlayBox; Globecast Partners with TechTV; CNN Philippines Prepares for Move to ISDB-T; 5G - the Game Changer for the Content Market; Move by Yusari - Delivering DCPs Across Malaysia with Signiant Jet.

21 SPORTSCASTING Lawo Goes in to Bat

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31 POST-PRODUCTION Making the

NEWS OPERATIONS Dalet Accelerates News Delivery for India’s Times Network; NDTV Goes Anywhere, Any Time on Any Device with Grass Valley; plus New ENG solutions.

MEDIA IN THE CLOUD Investment Firm to Take EditShare to Next Level; Qvest Media Launches Qvest.Cloud; plus New Media Management Solutions.

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EDITOR’S WELCOME

When the Platform Falls Far from the Tree Apple is closing down iTunes! The sky is falling! Well, not exactly.

By Phil Sandberg

Recurring revenue models are on the increase. In telecommunications, for example, 2018 saw a growth in revenue from subscriptions of 23% while media subscription revenues grew 11%, and while telecom churn rates have dipped to 26%, media churn remains under 35%.

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Subscription business sales have also grown substantially faster than two key U.S. benchmarks -S&P 500 Sales and U.S. retail sales. Overall, the SEI data reveals that subscription businesses grew revenues about five times faster than S&P 500 company revenues (18.1% versus 3.6%) and U.S. retail sales (18.1% versus 3.8%) from January 1, 2012 to December 31, 2018.

Of course, when it comes to content, “physical stuff” is physical media – Bluerays, DVDs, CDs, retro vinyl, etc. A trend towards smaller dwellings, combined with increased bandwidth and easier, legal ways of accessing content will inevitably lead to a disappearance of the movie/music collection in favour of subscription-based consumption.

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According to the Subscription Economy Index (SEI) published by subscription business platform, Zuora, subscription companies have grown more than 300% in the past seven years, and the Asia-Pacific (APAC) Subscription Economy growth exceeds sales growth in regional stock market indices by a wide margin.

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Which brings us back to the subscription model, originally the preserve of cable and satellite pay TV and now hypercharged via the Internet by the likes of Netflix, iFlix, Viu and, the soon to launch, Disney Plus.

It also found that adults in Japan (75%) and Singapore (71%) are significantly more likely than adults in other countries to wish for less physical ‘stuff’ (compared to 57% in the U.S., 50% in U.K., 58% in Australia, 55% in China, 46% in France, 57% in Germany, 60% in Italy, 47% in the Netherlands, 56% in New Zealand and 53% in Spain).

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For a monthly fee, the new Music app for Mac will feature over 50 million songs, playlists and music videos, and users will have access to their music library, whether they downloaded the songs, purchased them or ripped them from a CD. For those who like to own their music, the iTunes Music Store will be a “click away”. The all-new Apple TV app, meanwhile, features Apple TV channels, personalized recommendations and over 100,000 iTunes movies and TV shows. More critically, for Apple, its Apple TV+, Apple’s original video subscription service, will be available 3Q 2019 in the Apple TV app. And, perhaps, reflecting the nascent nature of podcasting and the sheer volume available, podcasts on the Apple Podcasts app remain free.

(78%), China (77%), Spain (74%), the U.S. and Italy (both 73%) than to adults in the U.K. and Australia (both 67%), France (64%), Germany (58%), Japan (45%) and the Netherlands (53%).

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ASIDE FROM GENERATING A FLURRY of clickbait articles - padded out with screenshots from geek Twitter accounts - the move by Apple to fold iTunes into three new apps in its macOS Catalina operating system release is less apocalypse and more a recognition that subscription models have become the norm for media businesses, and a whole range of industries as well.

While most of us are in the middle of this transformation, Apple iTunes, like many legacy platforms, has reached the point of retirement. The subscription media economy would not be what it is but for Apple, but it recognises that it, too, needs to keep evolving.

Thanks for reading Phil Sandberg – Editor/Publisher

In a complimentary report, The End of Ownership, Zuora found that access to valued content and services is much more intriguing to adults in Singapore

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Mediacorp Graphic Artists Pass the Test with Vizrt SINGAPORE-BASED MEDIA AND ENTERTAINMENT COMPANY, Mediacorp, has announced that eight of its graphic artists are now fully accredited Pro Viz Artist Designers having successfully completed their Vizrt Artist Designer Certification course.

Viz University offers a range of courses, with a popular course being the Viz Artist Designer Certification.

The Viz Artist software package targets all areas of today’s broadcast graphics workflow. It enables designers to build complete virtual sets as well as complex 3D animations. The software even makes simpler tasks, such as building geometry and creating fonts for lower-third graphics, more efficient.

Mediacorp has been a long-time customer of Vizrt, and both companies share a belief that staff training is an integral part of a company’s success.

“We’re very proud of the achievement from our graphic designers as it highlights their skillset and commitment to keeping up to date with the capabilities of Vizrt software,” said Deborah Strafford, Senior Creative Director at Channel NewsAsia.

“This is the highest level of Vizrt design certification,” said Mats Bauge, Designer and Training Specialist at Vizrt. “The eight newly certified designers are a testimony to the skill and experience of the Mediacorp graphic artists.”

“The completed exam confirms that the candidate can develop a project from the idea stage to a set of graphics ready to be controlled by Vizrt’s control applications,” said Bauge. “The candidate must also demonstrate understanding of executing solutions together with a team of designers, programmers and/or technicians.”

“The advanced capabilities of our designers allows us to keep pushing the boundaries with new designs and creative ideas,” added Deborah Strafford.

Viz University is a training resource produced

by Vizrt to help customers acquire and develop skills, and use the software to its full potential.

All candidates interested in taking this Viz University certification course should demonstrate a high level of knowledge and organizational skills using Transition Logic, scripting, technical design and setup.

For more information, https://www.vizrt.com/ community/viz-university/certifications/vizartist-designer-certification

NEWS + PEOPLE

“Completing the certification was no easy task as they did this concurrently with the daily news requirements demanded of them. The assignments were challenging at times, with the added pressure of time constraints, but the designers enjoyed the experience, giving them the chance to demonstrate their creativity and expand their knowledge.”

The certification course contains five assignments, with the customer being given 30 days to complete after purchase.

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NEWS + PEOPLE NEP Australia Delivers IAAF World Relays Coverage from 7800km Away NEP GROUP, ONE OF THE WORLD’S LEADING outsourced technical production partners for premier content producers of live sports and entertainment, has achieved a milestone in sports broadcasting with the successful live, remote production from Sydney of the IAAF World Relays 2019 held in Yokohama, Japan (11-12 May).

On behalf of their clients, NEP’s multidivisional teams delivered two days of live coverage and competition highlights from NEP Australia’s centralised, internet protocol (IP) and multi-format production facility at the NEP Andrews Hub in Sydney, NSW.

holders around the world.

Steve Jenkins, President NEP UK and Ireland, added, “We’ve had a longstanding relationship with ITN and the IAAF, and it has been great to work with them and our colleagues across the NEP Group to offer ground-breaking solutions.

NEP’s full suite of solutions means we can offer ITN and all our clients agile, fit-for-purpose technical services – whether configured from hub, spoke, flypack or truck.

ITN, Telstra, and NEP’s UK, Japan and Australia teams worked in concert, showcasing the use of IP technology and extreme low latency compression.

Soames Treffry, President of NEP Australia, said, “The IAAF World Relays extend the ‘hub and spoke, anyone, anywhere’ concept that NEP’s Andrews Hubs were built on, meaning people can work from any location so long as they’re connected to our network.

“Importantly, our clients can be confident that we have the talent and expertise to combine these services and deliver exactly what, where and how our clients need them. We’re looking forward to further building on these new technologies and our relationship with ITN and IAAF at the World Championships in Doha.”

Production crew and hardware were based at the Sydney Andrews Hub while shading crew were based in Japan. The finished programming was then transmitted from the Hub to broadcast rights

“This milestone project cements the reality of working across multiple geographies and reflects our strategy to deploy permanent facilities in key markets which all share the same resources – both

Visit www.nepgroup.com

ON THE 14TH OF MAY, H.E. Mr. Nie Chenxi Minister of National Radio and Television Administration, People’s Republic of China (PRC), as well as H.E. Mr. Fan Weiping, Vice Minister of National Radio and Television Administration, PRC had an official meeting with Dr.Javad Mottaghi, Secretary General of the Asia Pacific Broadcasting Union, where Mr. Fan Weiping and Dr. Mottaghi signed a Framework Agreement for Cooperation between the National Radio and Television Administration (NRTA) and the ABU.

NEWS + PEOPLE

“It also showcases the breadth and scale of NEP’s client offerings across regions, and we thank IAAF Productions and ITN for their confidence in NEP’s ability to deliver this marquee event via our Andrews Hubs.”

On-location hardware and crews from NEP UK covered the event and 30 high definition (HD) signals - comprising the 17 main cameras, including two Sony HDC4800 cameras in ultra-high frame rate, plus graphics in Yokohama – were linked via diverse and hitless 10 gigabit-per-second circuits on the Telstra Distributed Production Network (DPN) and sent on to Sydney, 7,800km away, using VC 2 ultralow-latency compression technology.

Historic ABU-China Agreement

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human and technical – to meet critical industry needs.

The two organisations agreed to cooperate in a number of important areas including: policy information, news production, programme production, technical exchanges, information sharing, organising of events and human resources development. The two parties also agreed to support radio and television organisations in China in order to conduct co-productions with other ABU members, specifically with regard to documentaries and TV dramas reflecting international cooperation, under such endeavours like the Belt and Road Initiative. They also discussed the planned ABU Song Contest which will be held in Qingdao, Shandong province, China in mid-October 2019.

Visit www.abu.org.my

The success of this event further provides NEP with the momentum to support plans to offer creative productions in locations across the world.

PCCW Picks Harmonic for IPTV, OTT

iflix Partners with Indonesia’s MNC

HARMONIC RECENTLY ANNOUNCED that PCCW Media, an integrated multimedia and entertainment group of PCCW Limited based in Hong Kong, is using Harmonic’s VOS Cluster SaaS for its Now TV, now Player and Now E services. By providing PCCW Media with a unified solution for IPTV and OTT content preparation and delivery, VOS Cluster cloudnative media processing software speeds up the time to market for new services. The Harmonic solution also assures a high-quality viewing experience on every screen for PCCW subscribers.

SOUTHEAST ASIAN STREAMING SERVICE iflix has entered into a strategic partnership with Indonesia’s largest integrated media company, MNC (PT Media Nusantara Citra Tbk). The strategic partnership will significantly enhance iflix content programming mix and further strengthen its Indonesian local content strategy.

“We wanted to simplify the way we prepare and deliver video content for our IPTV and OTT platforms; but even more than that, we wanted a solution to help us migrate to new streaming formats and reduce our storage usage,” said Belinda Chan, Head of Technology at PCCW Media. “Harmonic’s VOS Cluster SaaS transforms traditional video preparation and delivery architectures. Together with the company’s robust 24/7 support, the VOS Cluster SaaS meets all of our requirements for efficiency, agility and cost savings.”

PCCW Media is using Harmonic’s VOS Cluster SaaS for a wide range of functionalities, including VOD transcoding, catch-up TV, live-to-VOD media processing, packaging and origin server capabilities. Unifying the entire media processing chain, from ingest through delivery, the cloud-native application allows PCCW Media to run simpler, leaner operations and offer innovative services with a short turnaround time.

Visit www.harmonicinc.com

The partnership will allow iflix to procure 10,000 hours of content from MNC’s top programs for immediate exclusive streaming on iflix just hours following their television broadcast, bringing the best of Indonesian television online for the first time in full episodes, for online viewing.

MNC, the largest media group in Southeast Asia, has a portfolio that includes four national free-to-air TV stations which account for 46 percent share of Indonesia’s ad-based television, in addition to 20 subscription-based channels, the country’s largest radio network and print media.

All iflix viewers in Indonesia will now have direct access to MNC’s most popular titles, including Dunia Terbalik, Cinta Yang Hilang, and Top Tukang Ojek Pengkolan.

This partnership is further deepened with MNC’s investment in iflix and the appointment of David Fernando Audy, CEO of MNC, to iflix’s Advisory Board.

Visit www.iflix.com

NAGRA Protects Android TV for PT LinkNet Indonesia NAGRA HAS ANNOUNCED that PT LinkNet, a provider of cable television and high-speed broadband internet services in Indonesia, has selected NAGRA Protect cardless content protection technology to secure its new hybrid broadcast and Android TV-based OTT service.

“As a longstanding partner to LinkNet, NAGRA was the natural choice when the time came to evolve our platform to a cardless system,” said Desmond POON, Chief Product and Technology Officer, LinkNet. “This transition enables us to seamlessly deliver new services to our subscribers, by combining the best of our broadcast cable platform and the best of an Android TV OTT service.”

“We’re excited to extend our partnership with LinkNet and help them evolve their systems to a cardless platform fit for hybrid Android TV deployments,” said Stephane Le Dreau, Senior Vice President Sales and Services APAC at NAGRA. “With NAGRA Protect, they are able to benefit from a proven security solution that enables them to address the new needs of their customer base and extend their TV services to any screen while giving them the peace of mind that their premium content remains secure on any device, including Android TV.” NAGRA Protect supports the transition from card-based to cardless systems. It provides an unprecedented level of security for a softwarebased solution, leveraging either NAGRA NOCS (NAGRA on-chip security) or chipset Trusted Execution Environments (TEEs). NAGRA Protect adheres to MovieLabs requirements for Enhanced Content Protection for distributing 4K/HDR or early-release content. NAGRA Protect has the largest certified system-on-chip (SOC) and set-top box partner network enabling more freedom of choice for service providers when selecting the chip and set-top box that best fits their needs.

Visit https://dtv.nagra.com

Media Prima Partners with Grabyo for Social MEDIA PRIMA BERHAD, Malaysia’s largest integrated media group, has partnered with Grabyo to enhance its social video strategy and bolster its dominance in Malaysia’s digital content market.

Grabyo’s cloud video platform will now enable Media Prima to expand and innovate its live and real-time social video strategy around its popular TV channels TV3, 8TV, ntv7 and TV9. Grabyo’s integrated browser-based tools will enable the media group to clip, edit and publish videos from TV channels directly to social media in seconds; combined with a powerful new live video offering using Grabyo’s advanced live streaming platform.

Datuk Kamal bin Khalid, Group Managing Director, Media Prima Berhad commented, “We have seen successful growth in mobile and digital media and it’s important as a Group that we continue to innovate in these areas. Grabyo provides the most powerful solution to enhance our workflows and this new partnership is part of a wider strategy to deliver quality content across digital and social media platforms to the right people at the right time.”

Elliot Renton, Senior Director and Head of APAC at Grabyo, added, “We are excited about this long-term partnership with Media Prima. As a group, they have embraced a robust digital transformation strategy with social media and mobile at the heart of future growth. The teams are doing fantastic work in both linear broadcast and digital media with a real focus on producing innovative content for audiences of all age groups. Grabyo is ideally positioned to help power this consumer-centric, content-focused approach to digital distribution and we look forward to seeing the results from this partnership.”

Visit www.mediaprima.com.my and https://about.grabyo.com

Speedcast System Integration

Experience

YOU CAN TRUST Together with Globecomm, our recent acquisition, we’ve designed groundbreaking projects for many of Asia’s leading media organizations.

We’ll help you get future-ready with innovative technologies for program acquisition, processing, production and distribution.

Meet us at CommunicAsia 2019 Stand 1P3-07

NEWS + PEOPLE

Learn more about Speedcast System Integration at events.speedcast.com/communicasia2019

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NEWS + PEOPLE Mediacorp and DTS:X Create Sonic Boom in Audio Production AMERICAN AUDIOTECH DEVELOPER DTS and Singapore’s media network, Mediacorp, are sounding a collaborative high note, with Mediacorp becoming the only certified DTS:X content production powerhouse in the region.

The two parties affirmed their alliance at a special trade screening at Shaw Theatres’ first DTS:X-capable cinema at Jewel Changi Airport on Wednesday, 29 May 2019. The event exemplifies Mediacorp’s efforts in engaging external creative players in the extended ecosystem, and shines a spotlight on the oft-overlooked technical talent so essential to any entertainment experience.

Bill Neighbors, Senior Vice President and General Manager of Content at DTS parent company Xperi Corporation said, “We’re delighted to engage Mediacorp as the primary DTS:X content production partner in Singapore, and look forward to working with the country’s top transmedia provider to expand the DTS:X experience to audiences in Singapore and the rest of Southeast Asia.”

Added Mr Neighbors, “With the recent handson training session extended to the Mediacorp Audio Post team at our Calabasas, California headquarters in late April, we are confident that Mediacorp is prepared to move quickly with the execution and delivery of even richer DTS:X content.

SonyLIV and QYOU Media Launch ‘The Q India’ QYOU MEDIA INC HAS ANNOUNCED that it has partnered with SonyLIV, India’s leading OTT platform, to bring The Q India’s 24/7 linear stream of digital first content to Indian homes.

QYOU Productions creates and distributes original programs and formats featuring online video creators, influencers and other usergenerated content.

SonyLIV represents one of the fastest growing OTT services in the country with reported 7x consumption growth in the last year. For Q India, this marks another distribution win in the region.

NEWS + PEOPLE

Uday Sodhi, Business Head – Digital, Sony Pictures Networks India said: “Young India forms a critical part of our audience and it’s imperative that our programming offering in line with their consumption habits and programming preferences. Being a leading VOD platform in India, we understand our viewers needs and provide them with a wide array of content across sports, general entertainment, live TV channels, premium English shows, web originals and much more. We are incredibly excited to associate with ‘The Q India’ to bring the most disruptive online video trends to our programming line-up.”

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Sunder Aaron, General Manager and CoFounder of The Q India commented, “We are thrilled that SonyLIV recognises ‘The Q India’ as an important partner who can help them deliver an OTT service that remains relevant to Young Indians by providing them with the very best digital content from the region’s most talented influencers.”

Visit www.sonyliv.com and https://qyoumedia.com

I look forward to growing this mutually beneficial partnership.”

Founded in 1979, Mediacorp Audio Post is a mixing and mastering department dedicated to pioneering professional music and sound effects, as well as song composition and recording for in-house and commissioned projects – a medley of melodies amounting to an annual average output of more than 12 feature films and 1000 hours of television content. Its broad body of work has acquired award-winning acclaim, including recent wins for Best Theme Song and Best Music Composition for period drama ‘The Journey: A Voyage’ at the Asian Television Awards and Apollo Awards respectively.

This sweet sound of success was augmented by the adoption of DTS:X technology in June 2018, earning Mediacorp Audio Post the distinction of being the first DTS:X certified mixing studio in Southeast Asia. The state-of-the-art surround sound format replicates the resonance of realworld audio, and was deployed in the delivery of the Mediacorp Lunar New Year Album 2019, as well as for films like “Killer Not Stupid” (2019), plus the upcoming “Long Long Time Ago 3: Not Too Long Ago” and ‘Scared To Death’ in November 2019 and ‘Ah Boys to Men 5’ in February 2020.

Mediacorp Audio Post’s physical space itself is in sound shape, comprising a Movie-Mixing Studio,

two composition suites and six advanced audio suites souped up with industry-standard Fairlight EVO, Pro Tools, Auro-3D and the aforementioned DTS:X digital software.

Doreen Neo, Chief Content Officer, Mediacorp, said, “The strategic synergy between Mediacorp and DTS:X has boosted our behind-the-reel audio capabilities, the mastery of which is mandatory for suffusing ‘soul’ to any production. By supplying superior sound equipment and expertise to local and regional movie makers, we hope to strengthen our reputation for technical expertise in the international creative industry – and possibly earn Singapore its first Oscar for sound design in the future.”

Visit https://mediacorp-sg and https://dts.com/dtsx

IEEE Clarifies Huawei Ban THE IEEE HAS ISSUED A CLARIFICATION regarding its response to recent additions to the U.S. Export Administration Regulations and what they mean to IEEE members worldwide, including those in China.

On Thursday, May 16, 2019, the U.S. Department of Commerce’s Bureau of Industry and Security (“BIS”), which administers and enforces the U.S. Export Administration Regulations (“EAR”) specifically added Huawei Technology Ltd. and 68 of its affiliates (referred to collectively as “Huawei” in the following paragraphs) to the BIS “Entity List” found in Supplement No. 4 to EAR Part 744. Violations of the EAR carry significant civil or criminal penalties, including fines or prison sentences.

In a statement, the technical body said, “IEEE offers a wide range of activities and benefits for its members, volunteers and the wider technical community, including sponsoring more than 1900 annual conferences and events worldwide and providing access to over 4.8 million publications on IEEE Xplore. These services remain open to all, no matter their employer.

“In providing these services (as a non-political, not-for-profit organization registered in New York) IEEE must comply with its legal obligations under the laws of the United States and other jurisdictions. Compliance with these regulations protects IEEE, our volunteers, and our members.

“IEEE complies with U.S. government regulations which restrict the ability of the listed Huawei companies and their employees to participate in certain activities that are not generally open to the public. This includes certain aspects of the publication peer review and editorial process.

“However, all IEEE members, including those employed by Huawei, can continue to participate in individual membership, corporate membership and voting rights; subscribe to and access IEEE’s digital library and other publication products; submit technical papers for publication; participate in and present at IEEEsponsored meetings and conferences, and may sponsor and accept an IEEE award. Members affiliated with Huawei may also participate in business, logistics, and other meetings including those related to conference planning.

“Huawei and its employees can continue to be a member of the IEEE Standards Association, including earning or exercising the voting rights of membership; attend IEEE standards development meetings, submit new proposals for standards, and participate and comment in public discussions of standards technology proposals.

“Should the U.S. government clarify the application of the EAR with respect to peer review we will further advise the IEEE community.”

Visit www.ieee.org

Network 10 Picks Lotame as Data Partner NETWORK 10 HAS SIGNED a partnership with data management platform Lotame as it continues to accelerate the roll out of its data solutions.

The partnership gives 10 access to Lotame’s extensive third-party data sets, one of the biggest in the world, delivering unrivalled depth in audience targeting.

Network 10’s director of 10 Interactive Christian Williams said: “We’re continuing to invest in our digital platforms, 10 Play and 10 Daily, to attract our key under 50s audience into our ecosystem. We’re seeing audiences across these platforms growing at an exceptional rate.

“Our partnership with Lotame means we can leverage their more than

three billion additional audience profiles with our existing data set, giving advertisers the opportunity to create deeply targeted and relevant campaigns with us, at scale.”

Lotame’s clients include IBM, Ticketek, Annalect, and Omnicom Media Group.

Network 10’s partnership with Lotame follows recently announced partnerships with real-time data customer solutions company Tealium and data technology agency Venntifact.

Visit https://tenplay.com.au and www.lotame.com

Silver Trak Launches Cinema Distribution Platform

The service, currently operational throughout the US, takes the traditional DCP, uploads it to the KenCast secured cloud-based distribution platform and server and automates the forward transmission and download to participant cinemas wherever connected in Australia and New Zealand.

As Silver Trak COO Christian Christiansen explained, “The cost and efficiency advantages of using Cinecastar are significant with the removal of physical HDD delivery and the instant recognition of content delivery.”

Silver Trak Digital’s extensive experience in processing, creating and QC analysis of DCPs plays an integral part in the preparation of the content for satellite transmission and is completely integrated into the delivery service alongside the company’s traditional services including DCP creation, KDM management and HDD delivery.

Christiansen continued, “There are major benefits to distributors and exhibitors including reduced total cost of ownership by providing a secure and efficient end-to-end IP delivery platform. We are also using proven KenCast technology that securely and efficiently delivers content to over 2700 cinemas in the US and reports on delivery of that content.”

IPSTAR also owns the satellite bandwidth and provides a dedicated one-stop-shop service from the satellite down to the earth station that connects it to the company’s data centre in Sydney where DCPs are ingested. Thus, the service is not reliant on the service performance or limits of exhibitors’ individual internet connections.

Silver Trak COO Christian

Christian Christiansen concluded, “With IPSTAR Christiansen. owning and controlling the satellite bandwidth, Cinecastar can immediately scale bandwidth as required to meet demand which means we can always ensure reliability of service. We can also offer excellent disaster recovery as, in the event of cinema site equipment failure, we have a backup system whereby we send HDDs directly to the affected site at no extra cost to any party. In parallel we arrange a service call for the site at no extra cost to exhibitors. In short our Cinecastar system is cheaper and more efficient than the current method of shipping content around the country via couriers which is good news for the vast majority of cinemas in Australia and New Zealand.”

Visit https://silvertrak.com.au

NEWS + PEOPLE

SYDNEY-BASED MEDIA LOGISTICS COMPANY Silver Trak Digital has partnered with broadband and satellite support provider IPSTAR and KenCast to launch Cinecastar, a new method for providing rapid cinema content distribution in Australia and New Zealand.

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NEWS + PEOPLE DTC Broadcast, Ideal Systems Provide CCTV with Link to 4K IN ASSOCIATION WITH ITS HONG KONG-BASED PARTNER, Ideal Systems, DTC Broadcast has announced the sale of 16 complete AEON-TX 4K COFDM digital video transmitters, PRORXD-AEON receivers, antennas and ancillaries to Chinese broadcaster CCTV - DTC’s first major customer in the country.

According to DTC Regional Sales Manager - APAC, Gareth James, “This landmark sale is a major entrée into this vast market, and what better way to enter than with the AEON-TX. It further illustrates the value of having a strong partner in the region, and we’re proud to partner with Ideal Systems.”

DTC Broadcast’s AEON group of products are specifically designed for the 4K market. The AEON 4K encoder makes more efficient use of the HEVC algorithm, which in this case means it can take a 12G signal and compress it to a bitrate that can be managed over an RF link.

The 16 AEON-TX’s are going to be utilised for high profile events. Multiple versions from the AEON transmitter family have become the choice for such events due to their exceptional range, reliability, and robust build quality.

According to James, “Among its many attributes what really caught the eye,

and ultimately made the sale, was AEON’s dual-pedestal capability, which makes it exceptionally reliable at high resolutions, and future proof.”

Picture quality is determined by the number of bits that can be transmitted over RF and still maintain the link. Transmitting fewer bits provides a more reliable link, but results in unacceptable picture quality. AEON-TX, dual pedestal approach gets around this problem by enabling 32 megabits of data to be sent over a 16-QAM channel. For any live broadcast, that’s not just huge in terms of reliability, it’s more than enough to just as reliably transmit 4K – or if preferred, four channels of HD in any format – over a single link.

Moreover, AEON’s dual-pedestal modulation technique is proven to work over long distances, not just a few metres, which is key to any live event.

Ideal Systems expects to take delivery on behalf of CCTV of the first units during Q2 2019.

The CCTV deal follows the sale of four AEON 4K wireless camera systems that include IP-enabled camera control and RF over fibre solutions, to NEP Australia.

Visit www.domobroadcast.tv and www.idealsys.com

Thailand’s True Digital & Media Picks Telaria for Video Management TELARIA, THE SOFTWARE PLATFORM TO MANAGE video advertising for premium publishers, has announced it has been selected by Thailand’s True Digital & Media Platform as the preferred Video Management Platform (VMP) for its live TV and video-on-demand (VOD) content.

Close to 15 million viewers watch video content across TrueID’s more than 100 live video channels and its comprehensive VOD portfolio. Local and international content is available on TrueID across genres including movies, music, TV, sports, travel, and lifestyle. By using Telaria’s VMP, TrueID will gain greater control and insights into its video inventory and demand data across all formats and screens. Additionally, TrueID can make informed decisions based on live reporting and quickly address issues with real time diagnostics.

“Telaria’s made-for-video technology would significantly improve our monetization while at the same time preserving the viewing experience that

Danmon Asia Distributes Ross Video in Vietnam ROSS VIDEO HAS APPOINTED Danmon Asia as Master Distributor for Vietnam. With this agreement, Danmon Asia will sell and support the full range of Ross products including production switchers, routers, motion graphics systems, camera robotics, newsroom systems, virtual sets, augmented reality, workflow management, automated production control, trackers, keyers, and signal processors.

Ross Video Chairman and CEO David Ross (left) presents Platinum Premier Partner Award to Danmon Asia Managing Director Bjarne Pedersen.

NEWS + PEOPLE

Ross APAC Director of Sales Andrew Tan commented, “Danmon Asia is the ideal choice as our Master Distributor in Vietnam given its professional way of doing marketing, approaching customers and delivering post-sale technical support.”

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Danmon Asia Managing Director Bjarne Pedersen added, “Ross Video is a globally recognised brand with products and solutions that fit very well with our portfolio. They combine high quality and competitive pricing and have great potential to increase the daily work efficiency of broadcasters and telecom providers.”

Visit www.danmonasia.com

is fundamental to our success,” said Mr. David Sky, Operations Director at True Digital and Media Platform Co.,Ltd. “We are looking forward to working with Telaria to bring our inventory to more advertisers looking to reach highly engaged audiences across every screen.”

“We’re thrilled to work with TrueID as their video programmatic partner to bring their premium live and on-demand video inventory to advertisers,” said Kevin Smyth, General Manager, SEA at Telaria. “Our partnership with True Digital & Media Platform will create new opportunities for brands to connect with consumers in premium video environments with increased efficiency at scale. Given TrueID’s focus on live TV and our expertise in delivering advertising for this video environment, we are excited to see the results of this collaboration.”

Visit https://telaria.com

ADTH Opens R&D Facility in Taiwan ATLANTA DTH (ADTH), A LEADING SUPPLIER of cable and satellite directto-home communications equipment and systems for IPTV, OTT and DTT, has opened a new research and development facility in Taiwan. This coincides with a major expansion of the ADTH Tolka range of broadcast, OTT and IPTV content protection products which was announced at the April 8th though 11th US National Association of Broadcasters’ Show in Las Vegas.

“The new facility strengthens our engineering resources at a time when the television industry gearing for the transition from HD to 4K and onward to 8K,” comments ADTH CEO Michael Day. “Our aim is to ensure television viewers have the greatest possible choice in what, when and where they choose to watch. One of Tolka’s greatest strengths is its ability to think outside the box, quite literally in the case of our DGI 1012 which we introduced to the US market at NAB. This is a plug-in micro-receiver which allows customers of Tolka network operators to view free-to-air or pay-TV on their mobile phones or tablet computers.”

Located at Taiwan’s capital city, Taipei, the ADTH R&D facility will operate as a centre of excellence with a dedicated engineering team focused on the development of new products and services as well as the enhancement of the existing Tolka product range.

Visit www.ADTH.com

New Engineering VP for Encompass ENCOMPASS APAC HAS HIRED a new Vice President, Engineering & Operations, APAC. Mark Wardle joined the company on 15th April and replaces Aaron Shaw who is moving to Atlanta to lead the Encompass North American Engineering team. Mark brings considerable experience to the business having previously held multiple positions at BT, including being responsible for Technology and Operations in their Media & Broadcast division and being the Programme Director responsible for the London 2012 video network build.

The company also recently announced appointment of Scott Brown (exAkamai) as Chief Technology Officer in North America.

Visit www.encompass.tv

Viacom18 Names COO for Digital VIACOM18, THE JOINT VENTURE between Viacom and Mumbai’s TV18, has appointed Gourav Rakshit as COO - Viacom18 Digital Ventures. He will be reporting to Sudhanshu Vats, Group CEO & MD, Viacom18.

“Our digital foray has grown exponentially since its inception three years back, with the sharply segmented businesses – the ad led model, the international business and the soon-to-be-launched subscription based VOOT Kids service”, said Sudhanshu Vats. “As we unlock business value, Gourav, with an in-depth understanding of digital disruption and a proven track-record of envisioning subscription growth, is the right person to lead our talented teams across the Digital Ventures portfolio.”

A University of Rochester and IIM Ahmedabad alumnus, Gourav was most recently President and CEO of People Group, owner of Shaadi.com. Over the course of 11 years at Shaadi.com, he has been instrumental in building one of India’s most iconic brands and a robust consumer subscription play, while delivering one of the few profitable P&Ls in the Indian internet ecosystem.

Visit www.viacom18.com

New HQ and Manager for Techtel Singapore

Lim will also oversee Techtel S. E. Asia Pte Ltd’s continuing businesses transition into a full-service systems integration resource mirroring more closely with the activities of Techtel Australia.

“I look forward to developing new and existing business relationships and working towards establishing Techtel as the go-to systems

integrator for all broadcast requirements in South East Asia,” said Lim. As part of its transition, Techtel S. E. Asia recently opened the doors to brand new headquarters in Singapore. Located at the heart of Singapore CBD in Henderson Building, Henderson Road, this office is conveniently situated nearby three train stations (Tiong Bahru MRT Station (EW17), Redhill MRT Station (EW18) and Telok Blangah MRT Station (CC28); multiple bus stops and can be accessed via Henderson Road, Jalan Bukit Merah and Ayer Rajah Expressway.

Visit www.techtel.com.sg

NEWS + PEOPLE

TECHTEL HAS ANNOUNCED the appointment of Susan Lim as Territory Manager in charge of its new Singapore office. Susan will be responsible for promoting Techtel’s growing base of partners throughout Singapore, Malaysia and Indonesia in what is the company’s 26th year in operation.

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Broadcast Asia 2019, 18-20 June, Suntec, Singapore

PREVIEW

www.broadcast-asia.com

BroadcastAsia Divines the Future of Broadcast Media Recasting traditional TV’s role in the age of online and mobile entertainment, the real action for those in content production and delivery will be at Suntec Singapore from Wednesday June 19 and Thursday June 20 with the Future of Broadcast Media forum.

WEDNESDAY’S OPENING KEYNOTE with Rohan Tiwary, Head of Broadcast, Media & Entertainment Partnerships – APAC, Google, will cover how Google looks at partnerships with the Broadcast & Video industry and progressive deal models that are emerging both globally and in APAC. The deal models will cover relevant examples for programmers, sports rights owners and Connected TV/ distributors.

Then it’s on to a Tokyo 2020 Olympic preview with Cameron O’Neill, Director – APAC, Riedel Communications; Linda Noverita Wahyudi, Director of Broadcast Department, Indonesia Asian Games Organizing Committee (INASGOC); Sanjog Gupta, Executive Vice President, Head of Production, Star Sports; and Steve Miller, Vice President of Product Strategy, Limelight Networks.

Following on is What’s Next in the OTT Space: Sustainable Growth, Innovation and Monetisation Models with Krishnan Rajagopalan, Director of Payments APAC, Netflix. Hear how the streaming giant tackles consumers’ needs through original content innovation and wider distribution across multiple platforms and screens, revenue models and monetisation strategies.

Then it’s regional case study time with Nicholas Sagau, Group General Manager, Media Prima Labs & Digital Operation, Media Prima Digital, looking at how the Media Prima Group has overtaken global media giants, Google and Facebook as the most popular choice for mobile content among Malaysians.

BROADCAST ASIA

Following up is Archana Anand, Chief Business Officer – Zee5 Global, explaining how ZEE5 pioneered telco partnerships in India as a critical opportunity, and how this remains a core element of its strategy to reach new audiences as it expands across 190+ markets globally.

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Then it’s a Digital-First Dialogue with a panel of experts getting to grips with Reinventing Television’s Ambition for the Modern Age. Panellists include: Anil Nihalani, Head of Digital Products & Technology, Mediacorp; Brick Eksten, CTO, Playout & Networking, Imagine Communications, USA; Markus Fritz, EVP Commercial Development & Strategic Partnerships, Eutelsat; Vishal Dembla, Chief Commercial Officer, HOOQ; William Lee, Head of Digital Products and Innovation, beIN; and Ed Barton, Practice Leader TV & Entertainment, OVUM. After lunch, conference attendees will fire up the gaming consoles with A Dive into AirAsia’s Esports.

Allan Phang, Team Manager, AirAsia Allstars eSports club will share his insights on the best ways for non-endemic brands to enter the space.

The Reality Behind 5G is then examined by Stan Moote, Chief Technology Officer, IABM, who will answer the question, “What is the market trend and what is the road map for the technology changes in broadcast and media arena?”

Sesh Simha, Senior Director Advanced Technology, Sinclair Broadcast Group (SBG) will then examine ATSC 3.0 and 5G as Complementary, Not Competitive, Technologies where adding mobile broadcast tuners to smartphones brings a new paradigm of content distribution, disaster alerting and video offload.

The Forum then tackles the congested space of Traffic & Mobility News with Krishna Kumar, Regional Head of Asia Pacific for traffic data provider Waze. Joining Krishna will be Syed Mohd Latif Syed Abdul Rahim, Traffic Research – Presenter, Astro Radio; and Erwin Dipo, Head of Look and Feel, CNN Indonesia.

Then it’s Targeted TV in the crosshairs with a session discussing how addressable TV can bridge the gap between digital and linear, offering localised ads at scale, and the opportunities and challenges it will bring to the APAC region.

The Evolution of Next-Gen TV Advertising will follow discussing the value chain of TV advertising today and exploring the revenue potential of next-generation advertising approaches. Panellists include: Andreas Vogiatzakis, Chief Executive Officer, Havas Media Group; Fabio Gattari, Director, Etere; Manuel Antonio Ho, Chief Executive Officer, EMO Technologies; Rashmi Paul, Commercial Director, FreeWheel; and Sukesh Singh, Vice President – SEA, Adform.

The spotlight then turns to AI-driven video compression and how it might open up new revenue opportunities and cost savings for service providers. Presented by Stephane Cloirec, Senior Director, Encoding, Transcoding and Distribution Product Lines, Harmonic, this session will explore benefits of AI, along with the history of video compression and future possible evolutions.

Media Microservices are then put “under the microscope” by Brick Eksten, CTO, Playout & Networking Solutions, Imagine Communications.

To compete with the new challengers in media, broadcasters need to adopt software-centric technologies to give them agility and scalability. To deliver these benefits, the underlying architecture should be built on microservices: configurable virtual machines that respond instantly to the demands for functionality, optimizing the efficiency of COTS hardware.

The 5G Saga is then revisited with a panel asking the question, “What Will It Mean for Content, Distribution and Aggregation?” Panellists include: Arun Bhikshesvaran, CMO, Mediakind; Ming Chow, Vice President of Business Development, Converged Video Solution, Huawei; Vinod Joseph, Lead Technologist (CTO Office), VMWare; Nilesh Zaveri, COO/CFO APAC, Vice Media; Kenny Bae, Senior Producer, Korea Broadcasting System; and Mark Hukill, Program Advisor, Pacific Telecommunications Council.

The last session for Wednesday is presented by Roger Harvey, Regional Director, Australia, New Zealand, Irdeto, and asks, “Will We Get Better at Fighting Piracy – The Never-Ending Battle?”

THURSDAY JUNE 20 On Thursday, its’ 4K, HDR and beyond with an update from SMPTE on Broadcast and Media Standards. As the industry migrates to a fully IPoriented environment, it requires interoperability as its foundation. Presented by Barbara Lange, Executive Director, Society of Motion Picture and Television Engineers (SMPTE).

Then it’s back to Japan and new 4K/8K Satellite Broadcasting Services and Technologies.

Presented by Kenji Hiraki, System Engineer, Japan Broadcasting Corporation (NHK), this session will give an overview of the 4K/8K satellite broadcasting service that started on December 1st, 2018 in Japan and illustrate these services with 8K content and a commercially available 4K/8K TV. This is followed by HDR: From Dream to Mainstream. This session will review some basics of HDR from a SMPTE perspective including the so called “Perceptual Quantizer (PQ) curve” (ST 2084) as well as the concept of a “colour volume”.

In addition, a snapshot of the current market status of HDR deployment from cinema to consumer.

Presented by Patrick Griffis, Vice President of Technology, Dolby Laboratories and President, Society of Motion Picture and Television Engineers (SMPTE). continues p13 >>

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NEWS + PEOPLE

CDN, Cloud PVR, Multicast ABR, Multiscreen via Satellite, and Local Video-Caching AT BROADCASTASIA 2019, visitors can hear from Broadpeak’s Android TV Expert, Hervé Creff, on how to take full benefit of Android TV to deliver Pay TV services. Leveraging the platform for a premium end-user experience. Hervé will be speaking at the Innovation Hub, Level 4, Suntec, on Tuesday, June 18th at 13:30 pm.

Meanwhile, on the Broadpeak booth (4H3-01), the company will demonstrate its CDN, Cloud PVR, multicast ABR, multiscreen via satellite, and local videocaching solutions. The company will also showcase ultra-low latency and 5G technologies.

Innovations for Operators Broadpeak will demonstrate how its multicast ABR technology is solving scalability and latency issues for video delivery across all screens, including for Android TV-based OS devices. A range of applications are supported, including: • Cloud PVR: With Broadpeak’s solution, operators have a simple, scalable, and flexible approach to delivering time-shifted TV services, including start-over, catch-up TV, and impulsive recording on all screens.

• Ultra-low latency: New features for the nanoCDN multicast ABR solution will be demonstrated, such as Common Media File Format (CMAF) and chunked transfer encoding, which further decrease latency for OTT live streaming.

• Device synchronisation: Leveraging nanoCDN, operators can synchronize the devices that are receiving live content within a home network in ABR format in order to avoid echo effects that impact the user experience.

Demo of Next-Gen CDNs for 5G Content Delivery At BroadcastAsia2019, Broadpeak will demonstrate how it is actively participating in the definition of 5G standards and developing caching solutions

Grass Valley Delivers Production, IP, Workflow Solutions & Virtualised Playout AT BROADCASTASIA 2019, Grass Valley (stand 4R2-01) will highlight solutions from a range of key application areas including live production, IP infrastructure, advanced workflow solutions and virtualised playout.

Grass Valley will demonstrate how its solutions enable seamless workflows for live and at-home/remote production. Hot from its NAB launch will be Creative Grading (GVCG): this unique solution for camera shaders delivers a fast, perceptive interface that can quickly manage adjustments and transitions. The latest version of Grass Valley’s powerful live highlights and replay system LiveTouch, which integrates 4K UHD slow-motion replay, direct playout and full super slow-motion support will also be on display, as will the smart, cost-efficient 2RU Kula Production Switcher with IP I/O. Being shown for the first time in the Asia Pacific region, GV STRATUS One delivers a comprehensive, all-in-one production platform in a compact 2RU footprint. This solution manages ingest, playout, recording, transcoding, asset management and supports streaming to a web client.

Also on the booth will be Morpheus UX, the completely re-configurable user interface for Grass Valley’s Morpheus Automation and ICE channelin-a-box solutions. This latest toolset allows operators to easily build user-defined panels appropriate for a wide range of playout operations.

Visitors to the Grass Valley booth will also see GV Fabric, a high-speed commercial-off-the-shelf (COTS) IP switch designed to support broadcast and media applications of all sizes; and the GV ION Advanced Media Storage that provides a versatile array of storage solutions, both SAN and NAS technologies.

BROADCAST ASIA

Visit www.grassvalley.com

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Visit us at Suntec Singapore, Level 4, Stand 4U3-03

and tools for optimizing resource management allocation for mobile networks, using either multicast or unicast depending on the popularity of the content.

Multicast ABR for Satellite Broadpeak’s nanoCDN multicast ABR technology is a ready-to-deploy, costeffective solution for OTT delivery. nanoCDN allows operators to address scalable multiscreen streaming with transmission over satellite for live TV, VOD, and catch-up TV content. By leveraging storage available on the receiver, operators can expand their offering to include advanced nonlinear services such as time-shifting or start-over TV for increased monetisation. The solution can be combined with a hybrid broadband network or used without internet access.

Innovations for Content Providers • Reduce CDN Costs with Local Video-Caching Technology. Broadpeak’s BroadCache Box leverages local video-caching technology. Using BroadCache Box, broadcasters can reduce CDN costs while boosting subscribers’ quality of experience by deploying local caches into telecom or cable operators’ networks. Since the content is streamed from a location closer to end users, latency and network congestion are reduced.

• Broadpeak’s umbrellaCDN CDN selector allows content providers to choose the best content delivery networks for streaming their content. Broadpeak will highlight new video-analytics features and CDN Diversity, a feature of umbrellaCDN that allows content providers to dynamically take into account the instantaneous quality of several CDNs as a service, combine their contributions, and deliver the content at a quality level exceeding what would be achievable with the best CDN alone.

Visit www.broadpeak.tv

Zixi Showcases IP Broadcast Solutions ZIXI WILL PRESENT THE LATEST functionalities from its ZEN Master control plane and core Zixi Platform in booth 4Q3-09 at Broadcast Asia 2019.

The Zixi Platform makes it easy and economical for media companies to source, manage, localise, and distribute live events and 24/7 live linear channels in broadcast QoS, securely and at scale, using managed and unmanaged IP networks. More than 50 industry-leading vendors have embedded Zixi into their encoders, decoders, IRDs, production switchers, ENG cameras and broadcast software tools. Over 10+ years, Zixi has developed extensive interoperability with such global leaders as AWS, Azure, Google Cloud, Synamedia, Ateme, Vitec, Kontron, Sencore, Arris, Harmonic, Amagi, Verizon, Telstra and Bitmovin, creating an unparalleled Zixi Enabled Network that provides optimal flexibility for the world’s media organisations and service providers when it comes to seamless video distribution.

Visitors to the Zixi booth will see the latest software version 13, which offers a range of new features including: • ZEN Master with enhanced broadcast workflow visualisation and root cause analysis capabilities to further increase the speed of deployment, ease of implementation at scale while reducing costs.

• Advanced business analytics and AI driven quality scoring, providing a comprehensive view into live video delivery workflows, video and audio health, and enabling real-time decision making.

• Multi-cloud integration – in addition to AWS and AWS MediaConnect integration, Zixi will be demonstrating ZEN Master integration with Microsoft Azure, giving customers the flexibility to deploy in their preferred infrastructure or across hybrid infrastructures.

“These new features and functionalities have been developed largely as a result of feedback from our growing customer base, highlighting our commitment to delivering the capabilities that clients need for their mission critical content delivery,” said Gordon Brooks, Executive Chairman and CEO, Zixi. “We’re excited to bring these new features to the Broadcast Asia audience and to discuss this important market’s evolving content delivery needs.”

Visit https://zixi.com

>> continued from p10 Revolutionising the Video Value Chain with “ABC” (AI, Big Data, and Cloud) is next cab off the rank.

This session will explore how to maximise the value across the video value chain - from content production to distribution to user engagement.

Panellists include: Dr Randolph Nikutta, Head of New Media, Deutsche Telekom; Sven Bolthausen, Senior Vice President NE, Mediakind; Gustavo Fuchs, General Manager - Cloud & Solutions (Asia), Microsoft; Sudharshan Aravamudan, Sales Lead – Media, Google; Dr Shay David, President & GM, Media & Telecom, Kaltura; and Sushant Sharma, Managing Director, QvestMedia.

Christian Christiansen, COO, Silver Trak Digital, will follow with a case study: Lessons Learned and Efficiencies Achieved in Migrating to the Cloud.

Christian will discuss reasons and key lessons from migrating Silver Trak Digital and its MAM SaaS to Aspera on Cloud.

The next session will examine Driving Future NextGen OTT Innovations and Monetisation Strategies and look at how media businesses can prepare for advertising funded models and sustained success.

Digital TV transmission is then again on the receiving end with Tatsuo Kagoshima, Member, Engineering Administration, Japan Broadcasting Corporation (NHK), presenting research on advanced ISDB-T, referencing large-scale experimental environments in Tokyo and Nagoya.

After lunch, its Optimizing IP Technology in Broadcast with Yew-Jin Cheong, Director of Broadcast & Media – APAC, Rohde & Schwarz who will discuss the business and technology drivers behind the adoption of IP in Broadcast, as well as the various industry standards that are being adopted.

Ming Chow, Vice President of Business Development, Converged Video Solution, Huawei, will then examine New Generation IP Video Innovation Transforming Content Delivery Workflows Tomorrow. This presentation aims at

examining the impact of latest IP video innovations, which encompass DASH, CMAF, MABR, JITX, edge computing along with other emerging technologies, on re-defining video service operation with a simplistic workflows and practice to effectively address the complexity of content delivery process today.

Continuing in the smart vein, the following session, a joint presentation by Jackson Chow, Technical Manager, and Teresa Cheung, Managing Director – Hong Kong, of Eurofins Digital Testings, looks at how AI and Voice Assistance technologies (e.g.

Amazon Alexa, Google Assistant, etc.) have come into play in Video Streaming and the Smart Home.

The forum will then look at How Mainstream TV Broadcasters are Adapting to Content Digital Transformation and Online Delivery. Panellists include: Alistar Feehan, Chief Executive Officer, Imparja TV; Edward Benedict Galang, First Vice President of Network Engineering & Operations, Cignal TV, Philippines; Satoshi Uzawa, Deputy Technical Director, News Production & Network Engineering Division, Japan Broadcasting Corporation (NHK); WA Shanthakumara, Director Engeineering, EAP Broadcasting Company; Thierry Fautier, President, Ultra HD Forum & Vice President, Video Strategy, Harmonic; David Burke, Managing Director, PT Visi Media Asia Tbk (VIVA); and Konstantin Knauf, Director – Consulting, QvestMedia.

This is followed by Lincoln Owen, Director of Sales, APAC, Verimatrix, and a case study: Empowering Content Creation with Blockchain.

This session discusses extending the core functionality of blockchain to enable a connected video marketplace, as well as an IoT certification ecosystem.

Data and Analytics will be the focus of a case study in the next session with Matt Lee, Solutions Architect, Bitmovin, providing an overview of key innovations in video delivery, explaining how content owners can stand out from the crowd with an optimum, data-backed consumer experience that will help drive subscribers/audiences.

Audio takes centre stage next with Toni Fiedler, GM Greater China, Fraunhofer IIS, China exploring immersive and interactive content streaming. The presentation explains how content streaming providers can make use of these advanced features in OTT services.

It’s then back home (well, the Smart Home) with Paul Leung, VP Sales Engineering, ARRIS, examining two successful deployments of the new line of Android 4K set-tops to its subscribers in Korea and Australia.

It’s sports next with the Sports TV revolution: How to design future OTT services for next-generation audiences. In this presentation, Will James, VP Asia at Massive Interactive, shares insights from the company’s work with the world’s largest sport operators on how rights holders can maximize fan engagement and reach new audiences through the development of targeted user experiences.

Then it’s a 30k View of the Esports Landscape with Kye Browning, Program Director, XLIVE, who will explore the esports landscape, analysing competitive titles, broadcast platforms, demographics, investors, and brands.

Finally, in the E-sports Arena, it’s Uncovering New Value - What Will Drive The Next Wave of Global Games? Panellists include: Vijai Karthigesu, Founder and CEO, Ubique Networks Inc; Fabian Birgfeld, Co-Founder & CEO, W12, A TCS Interactive Design Studio; Nicholas Khoo, Chairman, Singapore Cybergames and Online Gaming Association; Debbie Lee, Founder and CEO, TechStorm TV; Russell Tan, Head of Marketing & eSports – SEA, Japan, S.Korea, Australia, LaLiga; and Kevin Cottam, Director – Global Sports & Live Events, Ross Video.

Visit https://www.connectechasia.com/summitprogramme

Rohde & Schwarz Showcases Newsroom and Studio Production Workflows

At BroadcastAsia 2019, Rohde and Schwarz will showcase newsroom and studio production workflows in partnership with Aveco and Octopus.

“The requirements of the industry are changing rapidly and we are geared to meet and exceed the expectations of our customers,” commented Yewjin Cheong, Director of Broadcast and Media (Asia Pacific) Rohde and Schwarz. “Be it in the areas of IP technology, newsroom/ studio production workflows, UHD/ HDR capabilities, channel playout and automation, Rohde and Schwarz will be your trusted technology partner, both today and for the future.”

RandS VENICE-S media server can be flexibly adapted to any workflow requirements in live and studio playout environments thanks to its software architecture and scalability. Software applications for ingest and production workflows, plus newly developed capabilities for automation driven channel playout enable the RandS VENICE platform to be deployed across the broadcast

ecosystem. The server system’s flexibility comes from a new RandS VENICE-S microservice core paired with commercial off-the-shelf hardware and a video I/O board designed by Rohde and Schwarz. It uses a standard IT server whose reliability and performance has proven itself a thousand times over in data centres worldwide.

RandS VENICE-S has no single point of failure due to the redundancy of all system-relevant components.

In order to satisfy the demands of today’s media world, storage solutions must fulfil high requirements in terms of scalability and workflow integration, including fast user access to media files. RandS SpycerNode solves these issues and offers an easy-to-use interface, a high performance computing (HPC) file system, market-leading erasure coding mechanisms and many other functions. Users can focus fully on their creative work. To simplify system configuration and maintenance, Rohde and Schwarz has extended the RandS Device Manager for use with the RandS SpycerNode.

RandS CLIPSTER is the gold standard workstation for mastering and distributing feature films and episodic TV. As the industry benchmark for mastering with a versatile set of complete tools for Dolby Atmos and Dolby Vision HDR,

RandS CLIPSTER provides a foundation for post production vendors to build services upon.

Supporting up to 4K120p, from a wide array of professional media file formats or baseband SDI, RandS CLIPSTER can support various stages of post production.

Rohde & Schwarz recently acquired Pixel Power Ltd. The company offers innovative graphics, master control systems and integrated playout systems for broadcasters and playout facilities.

These systems enable dynamic content to be delivered more efficiently for linear TV, mobile, online and OTT/VOD. Pixel Power has consistently developed its portfolio of software-based IP solutions that are virtualisable for the private or public cloud. It also offers new OPEX business models as part of the broadcast technology transformation. With this acquisition, Rohde and Schwarz is executing its plan to expand its broadcast playout offering and taking ownership of a company with significant technological leadership. The subsidiary has been renamed ‘Pixel Power Ltd. – A Rohde and Schwarz Company’. At BroadcastAsia, Pixel Power will present its solutions for the first time at the same booth together with Rohde and Schwarz.

Visit www.rohde-schwarz.com

BROADCAST ASIA

FROM JUNE 18TH TO THE 20TH at BroadcastAsia in Singapore, Rohde and Schwarz will highlight newsroom and studio production solutions, mastering and IP workflow.

For the first time the subsidiary Pixel Power will join Rohde and Schwarz at booth 4T3-01 on Level 4.

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Ideal Systems - from Production to the Cloud Ideal Systems (Booth # 6E3-01) will be bringing state of the art broadcast technology, systems and solutions to Broadcast Asia 2019.

STARTING WITH IDEAL SYSTEMS’ own cloud offering, the company has been working on realising next generation multi-vendor cloud automation and playout solutions for the last couple of years. This solution is now market ready and Ideal will be demonstrating a complete cloud native broadcast ecosystem featuring low latency live signal ingress/egress to the cloud with a secure signal transport solution.

A live feed from the Ideal booth will act as an input feed to a 3rd generation playout & insertion platform which demonstrates parallel “render ahead” workflows. The Media Service Orchestration Platform will also feature business orchestration and asset transformations driven by a BPMN engine. Ideal will also demonstrate how a tightly integrated multi-vendor hybrid solution from Ideal Media Works delivers the most efficient and fault resilient origination platform available.

Next, Ideal will be demonstrating HBBTV with Sofia Digital. Hybrid broadcast broadband TV (HbbTV) is a global standard for combining OTT and DVB services for connected TVs and set-top boxes. Visit www.hbbtv.org Sofia Digital’s HbbTV technology is powering transmissions in many countries throughout Europe and Asia.

Visit https://sofiadigital.com/our-offering/hbbtv/ ---------------------------------------------------------------------------------------Ideal Systems will also be showing the latest IP multiviewer solutions from TAG Video Systems.

TAG specialises in Innovative IP Monitoring & High Quality Multiviewer Solutions. Its software-only solution provides state of the art IP monitoring and analysis tools combined with a high quality Multiviewer available on standard and mobile devices displays.

Visit http://www.tagvs.com ---------------------------------------------------------------------------------------As part of the TAG IP multiviewer demonstration on the booth, Ideal will use Embrionix solutions for signal conversion and switching in and out of SDI and IP. Embrionix provides a selection of products converting SDI to IP as well as other SFP modules with enhanced capabilities for native IP devices. Visit https://www.embrionix. com/solutions/ip-infrastructure

BROADCAST ASIA

Sticking with Ideal’s booth theme of migration to IP from SDI, there will also be Testing & Measurement in SDI, IP and 4K demonstrating a range of products from Phabrix. More info at https://phabrix.com/products

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Meanwhile, Ideal Live, the live sports production division of Ideal Systems with be demonstrating some of the technologies used in the field including Stream Star. The Stream Star solution provides live production and streaming studio that confidently delivers professional, broadcast quality results. The system supports a variety of inputs and offers a full range of professional features including Streamstar’s renowned replays and slo-mo, media playlists, graphics capabilities, internal character generator, live sports graphics templates and their dynamic control, and Streamstar’s intuitive, touch screen user interface.

Visit www.streamstar.com

Also heavily used buy Ideal’s Live department is the Dejero EnGo a HEVC capable compact mobile transmitter for remote contribution, its reliable and simple to use, EnGo is designed for mobile video contribution professionals who require agility, versatility and cost effectivness. Ideal will also be showcasing the Dejero GateWay – a solution that provides mobile connectivity by blending together multiple networks like cellular and satellite and other wireless networks. Also on show is the new Dejero CuePoint return feed server which sends low-latency video with audio, and teleprompting feeds to live broadcast production teams in the field.

Visit www.dejero.com ----------------------------------------------------------------------------------------Also for sports production, Alpha eye is a realtime fisheye lens barrel distortion corrector for HD cameras. The typical use of Alpha Eye is correcting barrel distortion of wide-angle cameras that are frequently used in sports and other applications. The camera can be directly connected over SDI, or via a fibre interface for greater distances to the camera. The Desktop Application Configuration Interface is simple to use. Up to 10 pre-sets can be configured. For each pre-set, a rotation, zoom and strength parameter can be stored.

Visit www.alphaeye.tv ----------------------------------------------------------------------------------------Ideal Systems will also be showcasing a range of audio processing solutions from Emotion Systems, including: • Eff from Emotion Systems – a desktop tool used to measure and correct the loudness of individual files. It is intended for low volume applications and is compliant with standards including EBU R128/ATSC A85/TR-B32. Eff supports MXF, MOV, MPG (PS), LXF, GXF, WAV and AIFF files, as well as Dolby E or Dolby Digital and Dolby Digital Plus encoded audio.

• Engine – includes all the loudness features of Eff, but has much wider capabilities, available as option modules, including Dolby E transcode, channel mapping, Upmix and Downmix, stream and metadata manipulation and more.

• Engine Cloud. A variation on the standard product that is targeted at cloud environments such as Amazon AWS. Visit https://emotion-systems.com ---------------------------------------------------------------------------------------The range of video I/O Cards from Bluefish444.

These high-quality uncompressed 4K SDI, ASI, Video Over IP & HDMI I/O cards for Windows, macOS and Linux operating systems, include the KRONOS range of cards designed for workflows requiring multi-channel Ultra HD, high dynamic range video, SMPTE 2022/2110 Video Over IP. Supporting high frame rates up to 120fps, KRONOS hardware is 8K ready. Visit https:// bluefish444.com From Disk Archive Corporation, Ideal systems will be showing Alto software-defined storage

for archive, big data and security. The Alto G3 Chassis high density storage with 60 Disk Slots gives up to 840TB (Raw) in a 4RU while the ALTO ARX Data Archival Storage comes with 100TB (or 50TB upgradeable to 100TB later) of totally secure, dual-copy of digital storage in 4RU ALTO ARX Chassis. Both systems can scale up to 15PB of storage in 1 standard rack.

Visit https://www.diskarchive.com ----------------------------------------------------------------------------------------Meanwhile, when it comes to the storage, management and protection of unstructured data, Dell EMC Isilon family of scale-out network-attached storage systems are designed for demanding enterprise file workloads. Choose from all-flash, hybrid and archive NAS platforms.

Isilon integrates easily with a choice of cloud services and comes with built-in data analytics support.

Visit https://www.dellemc.com/en-us/storage/ data-storage.htm ----------------------------------------------------------------------------------------Ideal will also be showing low latency, 4K and HD video streaming solutions from Videon.

The EdgeCaster encoder is an edge compute encoding technology that bypasses a layer of cloud-based processing, in turn reducing latency to as little as <4 seconds. The EdgeCaster HD and EdgeCaster 4K encoders eliminate heavy computational processes - transcoding, format repackaging from RTMP to HLS/DASH, and creation of multiple bit rates - in the cloud by handling these tasks efficiently at the network edge. As a result, the Videon encoders offer higher performance and a lower fixed cost per stream.

Visit https://videon-central.com/mediaproducts-services ----------------------------------------------------------------------------------In the area of multiviewers, video walls, extension and signal processing solutions, Ideal will showcase a range of HDMI 2.0 and 4K / UHD solutions from Apantac. Apantac is taking 4K UHD image and signal processing to the next level via HDMI 2.0. On display will be Apantac’s range of convertor products like KVM over IP, HDBaseT extenders, de-embedders, DA’s and more.

Visit www.apantac.com ---------------------------------------------------------------------------------------From TSL Products, Ideal will also be showcasing the PAM2-IP-3G-DNT, capable of monitoring uncompressed Video and Audio Monitoring for SMPTE 2022-6 and SMPTE 2110 networks. The PAM-IP offers functionality such as loudness measurement, configurable metering and multichannel monitoring and Dolby decoding.

Visit www.tslproducts.com ---------------------------------------------------------------------------------------Visit www.idealsys.com

MAGNA SYSTEMS AND ENGINEERING has launched a complete suite of broadcast IP, 4K, remote production, 5G and telco network testing solutions based on its partnerships with and representation of global technology leaders. Many of these solutions will be on display and demonstrated by the company and its partners at BroadcastAsia 2019 on stand 4M2-01 and at CommunicAsia on stand BN3-05.

As Magna Systems Director of Sales and Operations (Asia) Patrick So explained, “Over the last few years Magna has collaborated with some of the world’s leading solutions providers within the broadcast industry. As a result, we have established a comprehensive range of solutions with the clear focus being on adding efficiency and creating value for our clients particularly in IP, 4K and remote production.”

Magna’s BroadcastAsia stand includes demonstrations and solutions from BFE (broadcast control systems and panels), ChyronHego (broadcast graphics creation, playout, and real-time data visualisation for live television, news, weather and sports production), FileCatalyst (fast file transfers), GB Labs (intelligent media storage solutions), TAG VS (IP monitoring and high-quality multi-viewer solutions), Telestream (video transcoding, encoding, quality analysis and QoS solutions) and TVU Networks (IP-based live video solutions) amongst others.

Magna also represents world leaders in in the telco space and brings a wide range of solutions, which are now an integral part of the broadcast industry, to their offering. It’s these solutions and more that will be demonstrated on Magna’s CommunicAsia stand BN3-05.

Demonstrating QoE, end device testing and how to maximise the efficiency of apps will be HeadSpin, a company dedicated to helping developers accelerate the mobile movement around the world through their Mobile Testing Platform.

Also on the Magna CommunicAsia stand will be Enensys demonstrating software for mobile TV over LTE broadcast and MCPTT Mission Critical and Public Safety applications. Enensys’ distributed and scalable virtualised software enables LTE broadcast capability on existing LTE/4G/5G networks.

SIRADEL brings innovative solutions to the Magna CommunicAsia stand encompassing a common 3D repository based on thousands of 3D cities off-the-shelf, aggregated with any geospatial data, along with the Smart City Explorer series, which includes a core platform for interactive 3D visualisation, simulation and smart city planning, and simulation components (S_Products’

expert software components), such as S_5GChannel, S_5GConnect and S_IoT in the field of connectivity.

There will also be solutions from Aukua which help telecom and cable providers deploy new revenue generating services faster and with less risk while ensuring a topMagna Systems Director of Sales and Operations (Asia), Patrick So. quality customer experience. With Aukua, providers can re-create complex network conditions in the lab for testing and troubleshooting as well as accurately sizing their services in order to reduce costs and increase margins.

HaoJin Technologies, the RF experts, will also be on the Magna BN3-05 stand with solutions including RF Shielded Boxes, Programmable Attenuators for MIMO and Phase Shifters for Beamforming tests, all of which will be demonstrated.

Finally, in the world of 5G Magna will be demonstrating comprehensive wireless testing and measurement solutions from Accuver. These are particularly relevant for 5G NR, LTE and NB-IoT network operators, infrastructure vendors, and device and chipset manufacturers.

Patrick So concluded, “With our strong and trusted relationship with key partners chosen for their leading-edge technology and product-based solutions, we have the ideal product portfolio and solution for any company, media organisation, content owner or provider who wants to share content and have it consumed effectively and efficiently. Then by complementing this offering with the telco-related solutions we have in the 5G, QoS and QoE space, it’s fair to say that Magna Systems is uniquely positioned by having our two core business areas of expertise in broadcast and telco merging seamlessly.”

Visit http://magnasys.tv

BROADCAST ASIA

Latest IP, 4K and 5G Network Testing from Magna

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Broadcast Solutions Showcases SI Expertise, Future-Driven Products

Content Matching and OTT Delivery Monitoring from Mediaproxy

BROADCAST SOLUTIONS GMBH, one of Europe’s largest system integrators, will be at Broadcast Asia on stand 4F4-01 showing its full portfolio of system integration solutions and product developments.

MEDIAPROXY WILL SHOW THE LATEST UPDATES to its LogServer compliance, monitoring and analysis package at BroadcastAsia on booth 6R1-06 in the Suntec exhibition centre, Singapore from 18 to 20 June.

Broadcast Solutions draws on more than 15 years’ experience in planning and developing complex broadcast facility projects and OB Vans. With its production of tailor-made OB Vans and pre-engineered Streamline OB Vans the company is Europe’s largest manufacturer of mobile production tools. The company is a trailblazer in the realms of remote production, IP-based broadcasting, UHD, augmented and virtual reality, wireless communication and HDR workflows.

The introduction and growth of OTT services has made broadcasting more complicated, particularly in terms of checking and analysing delivery streams. A major challenge is that playout is no longer the final point for quality control (QC). Modern distribution ecosystems call for a greater degree of management because of more logging and compliance checks needed to cope with CDN edge points, targeted ad-insertion, multilanguage support and event-based channels at different places along the chain.

Visitors of the stand will have the chance to learn more about the futuredriven projects the company has realised recently plus a number of product presentations that again mirror Broadcast Solutions’ innovative approach such as hi, Robycam or Mobile Viewpoint.

A debut in the Asian market, Broadcast Solutions will show its control solution ‘hi’ – human interface. hi is a man-machine link and ushers in a new age in the control of broadcasting and media technology. Using the latest auto-discovery and zero-config technologies, hi reduces the setup and configuration time of broadcast and A/V-media systems dramatically via a user interface that provides easy control and monitoring of complex infrastructures, and resembles those of common smart mobile devices.

A further focus will be the Robycam cable camera system. Robycam is an aerial camera system on the market and is used in national and international sporting events, live shows and TV productions, indoors and outdoors. The system is available on a rental basis with full production support included or for sale.

Broadcast Solutions, with its regional office in Singapore, is the exclusive distributor for the full products portfolio of the Dutch IP-solutions specialist Mobile Viewpoint and will present the latest products at their stand.

During this year’s BroadcastAsia Mediaproxy will demonstrate the concept of exception-based monitoring, which uses IP penalty boxes that allow broadcasters and MSOs (multiple system operators) working at scale to deal with QC and compliance more efficiently.

Another important new outlet alongside OTT is social media. More broadcasters are now exploiting Twitter, Facebook and YouTube to extend their reach. These platforms have different, specific requirements for how material is prepared and Mediaproxy has incorporated dedicated tools for this into LogServer. These include features for cropping the image and altering the aspect ratio to make it better suited to mobile devices, in addition to the capability for inserting ad bumpers.

Among other new features for LogServer that address the needs of network operators running multiple stations and playout streams is a live source comparison tool. This identifies mismatched content in real-time and is able to compare one or more live sources using video material. An alert is sent to operators immediately if irregularities are detected.

Mobile Viewpoint offers portable and fixed encoding devices to enable fast and reliable video contribution with just a click of a button. With the company`s solutions, it becomes easy to go live, edit, stream and share high-quality live video anywhere and anytime.

LogServer also supports SMPTE ST 2110 media over IP formats and Newtek’s NDI (Network Device Interface) technology. By working with both these sources, the software’s compliance recording and monitoring options are enhanced, ensuring complete adherence to standards at all points along the IP chain.

Visit https://broadcast-solutions.de

Visit www.mediaproxy.com

Harmonic’s Video SaaS and UHD for OTT and Broadcast Delivery AT BROADCASTASIA2019, Harmonic will showcase its unified video delivery solutions for all deployment scenarios, including SaaS, cloud, software and appliance environments. Harmonic’s software-based media processing and streaming solutions, with recent advancements in AI, set the benchmark for delivering quality video, increasing simplicity and agility for broadcast and multiscreen video distribution.

BROADCAST ASIA

Stephane Cloirec, Senior Director of Encoding, transcoding and distribution product lines at Harmonic, will deliver a presentation on ‘AI-Driven Video Compression Opens Up New Revenue Opportunities and Cost Savings for Service Providers’ during the ConnecTechAsia2019 Summit, with insights into the benefits of AI for video compression for service providers. The session will take place June 19 at 3 p.m. in Level 3 of the Suntec Singapore Conference and Exhibition Centre.

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Thierry Fautier, Vice President of Video Strategy at Harmonic and president of the Ultra HD Forum, will speak on a panel session on ‘IoT Connect: How Mainstream TV Broadcasters Are Adapting to Content Digital Transformation and Online Delivery?’ during the ConnecTechAsia2019 Summit.

The session will take place June 20th at 1:40pm in Level 3 of the Suntec Singapore Conference and Exhibition Centre.

a service (DRaaS), a unique application for VOS360 SaaS that supports any use case – playout, OTT or broadcast-related. Combining the benefits of a resilient, elastic and secure SaaS offering with a usage-based pricing model, Harmonic’s DRaaS solution is ideal for a variety of applications, including live sports streaming.

Meanwhile on Stand 4S2-01, Harmonic will demonstrate how its VOS360 SaaS solution simultaneously supports unique workflows for OTT and next-gen TV delivery with innovative solutions including HD/UHD channel origination, statmux and disaster recovery scenarios, as well as a CDN-enabled primary distribution solution supported by VOS360 SaaS. Deployed by leading service providers in the region, Harmonic’s VOS360 SaaS is hosted in the public cloud and unifies the entire media processing chain, allowing operators to launch video streaming services faster, be more agile and simplify their operations.

Harmonic will also showcase disaster recovery as

Harmonic will also highlight its new virtualized Spectrum X media server, featuring market-leading performance, channel-in-a-box functionality and software-based UHD playout. The virtualised Spectrum X server supports uncompressed video-over-IP with SMPTE ST 2110 for SD to UHD. Offering flexible deployment options, the virtualised server can run on customer-provided hardware or appliances provided by Harmonic.

At BroadcastAsia2019, Harmonic will demonstrate several innovations for AI-based video compression including Encoding Style (ES), Dynamic Resolution Encoding (DRE), and Dynamic Frame-rate Encoding (DFE). The three techniques combined optimise bandwidth consumption, QoE and encoding density for OTT and broadcast delivery.

Visit www.harmonicinc.com

OTT, VoD, Linear … whatever your mix of channels and business models is, drive efficiencies across your content workflows with a single system, from acquisition and scheduling to distribution across all your services.

• Cross-platform scheduling

• Rights management (including underlying rights and rights out) • Media management

• Revenue share calculations • Sports and eSports

asia@mediagenix.sg - www.mediagenix.sg

Visit us at BroadcastAsia – stand 4P5-03

BROADCAST ASIA

T

STREAMLINE YOUR WORKFLOWS WITH ONE CONTENT-CENTRIC SYSTEM

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ACQUISITION & LIGHTING www.content-technology.com/acquisition

Bob Nguyen Wins Australian Cinematographer of the Year At this year’s Fujinon Fujifilm Australian Cinematographers Society (ACS) National Awards held at Melbourne’s grand 1920s Plaza Ballroom, it was Bob Nguyen who won the prestigious Australian Cinematographer of the Year Millli Award.

NGUYEN ALSO WON A GOLD TRIPOD for his work on the Vietnamese film Song Lang. Directed by Leon Le, Song Lang is set in Saigon in the 1980s.

Linh Phung is a star of a traveling Cai-luong (traditional folk opera) troupe deep in debt to a local loan shark. Dung “thunderbolt” is the enforcer come to collect. After an unlikely bond forms between the two, Linh Phung learns how a lived life is necessary for art and Dung follows art back to a life worth living.

Nguyen, who was on location when he learned of his wins said, “I’m super delighted to have received these awards from the ACS.” Nguyen holds a Bachelor of Film and Television, an MFA in Cinematography, and has been through the Kodak ACS Master Class under Ellery Ryan ACS, Alex McPhee ACS, and Brendan Lavelle ACS. Based in Los Angeles, USA, and Melbourne, Australia, he has worked on over 50 productions using a variety of formats, including: • 35mm: Aatone Penelope, Aaton 35, Panavision G2, Panavision XL2, Arri 353, Arri, 435, Arri 535, Arricam LT, Arri BLs, Moviecam, Kinor 35H • 16mm: Aaton XTR, Aaton Aminima, Arri SR2, Arri SR3, Arri 413 • RED: ONE MX, SCARLET, EPIC, DRAGON • ARRI: Arri Alexa, Arri 21D • Canon C300, Blackmagic, Sony F65, Sony F55, Phantom Gold, Weisscam.

ACS National President Ron Johanson OAM ACS said, “On behalf of the ACS I would like to congratulate Bob on winning the Milli and also all the other

NAB2019 in the Frame The race for higher resolutions and smaller form factors continued at the year’s NAB show in Las Vegas.

ARRI UNVEILED ITS NEW ALEXA Mini LF camera.

Combining the compact size and low weight of the ALEXA Mini with the large-format ALEXA LF sensor, ALEXA Mini LF features three internal motorised FSND filters, 12V power input, extra power outputs, a new Codex Compact Drive, and a new MVF-2 highcontrast HD viewfinder.

ARRI’s large-format camera system is based around a 4.5K version of the ALEXA sensor, which is twice the size and offers twice the resolution of ALEXA cameras in 35 format.

ACQUISITION

ALEXA Mini LF is compatible with almost all ALEXA Mini accessories, but also features extra connectors, including regulated 12 V and 24 V accessory power; a new six-pin audio connector; built-in microphones; and improved Wi-Fi. Six user buttons now adorn the camera’s left side, and the camera and viewfinder each have their own lock button, while user access to the recording media, and VF and TC connectors, has been made easier.

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ALEXA Mini LF allows internal recording of MXF/ ARRIRAW or MXF/Apple ProRes in a variety of formats and aspect ratios, and features the new Compact Drive recording media from Codex, an ARRI technology partner. Small and lightweight, but solidly built, the 1 TB drive offers a reliable, affordable recording solution. With it comes a USB-C Compact Drive Reader that can be used without

award winners for their truly excellent work and commitment to the craft of cinematography. They are an inspiration to us all. I would also like to thank Fujifilm Fujinon and all of our sponsors without whom these awards simply wouldn’t be possible.”

The ACS National Awards weekend also included several other events taking place alongside the awards themselves including the now-annual ‘Meet the Nominees’ get-together, a screening of Ladies in Black and an entertaining Q&A with Peter James ACS ASC. Visit www.cinematographer.org.au

any extra software or licenses on Mac or Windows computers. In addition, a Compact Drive Adapter can be used in any dock that accepts SXR Capture Drives, potentially more than doubling download speeds. Codex High Density Encoding (HDE) uses sophisticated, loss-less encoding to reduce ARRIRAW file sizes by around 40 percent during downloading or later in the workflow.

At the heart of ARRI’s new MVF-2 viewfinder for the ALEXA Mini LF are the same high-contrast HD OLED display, colour science, and ARRICAM eyepiece as in ALEXA LF’s EVF-2 viewfinder, allowing optimal judgement of focus, dynamic range, and colour on set. In addition, the MVF-2 features a large, four-inch flip-out monitor that can display the image or the camera control menu, providing maximum flexibility for different camera configurations. The MVF-2 can be used on either side of the camera and connects via a new, flexible, and reliable CoaXPress VF cable that has a reach of up to 10m for remote camera operations. It features a refined user interface, a built-in eyepiece lens heater for de-fogging, and a built-in headphones connector.

ALEXA Mini LF cameras are scheduled to start shipping from mid-2019.

Visit www.arri.com -------------------------------------------------------------------------------------------GRASS VALLEY UNVEILED Grass Valley Creative Grading (GVCG), Comprised of a new control panel and a companion touchscreen application, GVCG bundles multiple technical operations into intuitive packages. Camera shaders can now

easily and quickly manage adjustments, such as transitions from indoor to outdoor lighting. Shaders can manipulate images thanks to the ultra-fast connection between panel and control and the dynamic adaptation to any format (HDR, WCG, 4K UHD, etc.) in real-time. Using GVCG, camera shaders can even use a WiFi-enabled tablet in the front of house to establish visual matching between physical and digital set elements.

With to GVCG, shaders can quickly take multiple snapshots of how setting changes impact an image, compare them and select the preferred result.

Visit www.grassvalley.com -------------------------------------------------------------------------------------------SONY’S PXW-FS7 AND PXW-FS7 II XDCAM camcorders have been further optimised for news gathering thanks to a new ENG-style build-up kit and a new B4 lens to E mount adapter. The build-up kit, CBK-FS7BK, enables extended shoulder mount usage. Combined with the new lens mount adapter, LA-EB1, both E mount and B4 lens assets can be used on either the FS7 or FS7 II, allowing users to capture images with deep and shallow deep of field (DoF) - all with a single camera.

The CBK-FS7BK build-up kit includes: an extension unit with a wireless audio receiver slot and built-in network capability, providing advanced network operation for broadcast usage, a viewfinder and a cheese plate with enhanced robustness, and an adjustable shoulder plate designed to achieve optimal weight balance. Streaming and file transfers are possible via wireless LAN or 4G/LTE connection. continues p20 >>

ACQUISITION & LIGHTING

Ross Video Supports CCTV’s UHD “Mission to The Moon” EARLIER THIS YEAR, CHINA’S CCTV network broadcast “Mission to The Moon”, a series of five, 30-minute scientific documentaries commissioned to coincide with China’s lunar exploration mission that saw the first soft landing of a spacecraft – the Chang’e 4 – on the far side of the Moon. The series, created

by CCTV-10, examined the structure of our nearest celestial neighbour and analysed the relationship between the Earth and the Moon using some highly innovative and immersive effects. According to CCTV-10, the series also had a number of technical and production goals beyond just thrilling viewers: the program makers set out to create the world’s first UHD Immersive Mixed Reality (IMR) production environment for broadcast television that brought together content, technology, creativity and production.

When commissioning the series, CCTV noted that the field of visual effects production faces unprecedented challenges due to requirements in three areas: creativity, production and technology. Broadcasters are under increasing pressure to be more creative in order to meet audience demand for differentiated content. In terms of production, demands on picture quality are constantly increasing (in terms of visual effects and realism) whereas program production cycles continue to shorten. Technically, UHD has become an irresistible trend in television technology, and UHD/50P/HDR output places new demands on computing, storage and the usage of network resources.

In order to help meet their creative, business and technology challenges, CCTV

partnered with Ross Video who provided a complete UHD 12G workflow solution to support the filming of the series. Key product highlights include the Furio camera motion system, helping the production team get highly dynamic and creative camera moves, the Ultrix-FR5, which handled the routing and AV processing, an Acuity 12G flagship production switcher, Mira Replay Server, and three of Ross Video’s new Voyager graphics rendering engines to help create hyper-realistic and highly immersive graphics on the screen. The whole production was also tied together by the OverDrive production automation system from Ross to ensure consistent and repeatable results.

Andrew Tan, APAC Director of Sales for Ross Video,says he is delighted that Ross was able to support CCTV and enable their team of thirty graphics and special effects experts to realize their vision.

“This has been a ground-breaking achievement by CCTV, and Ross Video is extremely proud to have been so heavily involved. The quality of interaction between the two teams was critical to the success of the project. The end result was not just a visual triumph for the viewers, but we managed to avoid a lot of problems and issues associated with older production methods. An amazing production was realised with less time and greater efficiency; that’s the essence of Ross Video’s High Impact, High Efficiency production approach.”

Visit www.rossvideo.com

Thai Feature ‘Friend Zone’ Scores a First with Sony VENICE THAILAND’S ROLE AS A MOVIE-MAKING HUB in Southeast Asia is growing from strength to strength. Encouraged by generous film grants and a movieloving population, Thai movies are enjoying box-office success, at home and abroad. Thai filmmaker Chayanop Boonprakob or Khun Moo, draws his inspiration for his movies from his very own experiences. His directorial debut, Suckseed (2011) was inspired by his passion for music. This was followed

by May Who?, another box-office hit movie which drew heavily from his love for comics and animation. Buoyed by the success of his films, Khun Moo was ready for bigger things. His latest film, Friend Zone gave him the perfect canvas to push his creative boundaries. The bittersweet romance-comedy which opened on Valentine’s Day in 2019 to rave reviews is also Thailand’s first feature film that is shot entirely on Sony’s breakthrough CineAlta VENICE Full-Frame Digital Motion Picture Camera System.

Produced by GDH 559, one of Thailand’s top film studios, Friend Zone’s use of the VENICE as its principal camera was the result of a collaboration between Sony, SWS Group (Thailand’s authorised distributor for Sony broadcast & professional products), Red Snapper (film equipment rental company) and GDH 559.

DOP Kittiwat Semarat with Sony’s VENICE on a location shoot in Hong Kong for Friend Zone.

“Friend Zone’s storyline and multi-country shooting gave us the perfect opportunity to showcase VENICE’s outstanding capabilities especially in challenging low-light conditions, dynamic range and enhanced workflow,” explained K. Suchart of SWS Group.

For Friend Zone’s Director of Photography Kittiwat Semarat (Khun Pan), working with Sony’s VENICE was a dream come true.

“The VENICE comes with 8 built-in glass ND filters to provide more aperture control. Instead of swapping filters, all I had to do was turn the servocontrolled, optical ND filter wheels to keep up with the ever-changing lighting in ever-changing locations.”

Friend Zone was shot in Thailand as well as in nine countries across Asia including the neon-lit streets of Hong Kong and the majestic Shwedagon Pagoda in Myanmar.

Another key area that VENICE scored highly was its revolutionary colour management system which exceeds the Rec.2020 colour space. This gave GDH’s Post Director Khun Fin unmatched control and flexibility when it came to colour grading.

Instead of using the conventional RAW files for post-production, Khun Fin worked with Sony’s established 16-bit X-OCN codec to achieve the exceptional tonal expressions and colours seen in Friend Zone.

Friend Zone’s Director Chayanop Boonprakob and DOP Kittiwat Semarat with Sony’s VENICE at the Shwedagon Pagoda in Yangon, Myanmar.

Just as VENICE has changed the way movies are made, Sony’s X-OCN codec is changing the world of grading and post-production. This codec reduces transfer times and storage space without sacrificing quality.

“VENICE allowed us to achieve a distinctive look for Friend Zone,” Khun Fin added. “Working with X-OCN certainly helped accelerate our post-production schedule. We released the film in 2K but have saved the master in 6K. From shoot to post-production, VENICE was a star.”

Visit https://pro.sony/en_HK/home and https://pro.sony/en_SG/home

ACQUISITION

Khun Pan also highlighted the camera’s intuitive control panels as well as its versatility in accepting a wide range of lenses. As a full frame, VENICE is compatible with everything from anamorphic and Super 35mm to spherical and full-frame PL mounts. The PL mount can also be changed to support fullframe E-mount lenses.

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ACQUISITION & LIGHTING >> from p18

ARRI’s new ALEXA Mini LF camera.

Fujifilm’s Premista 28-100mm T2.9 zoom lens for highperformance cinema cameras.

Sony’s PXW-FS7 series XDCAM camcorders, optimised for news.

QoS performance streaming is provided through the camcorder’s Dual Link connection, allowing multiplexing of two cellular networks.

broadcast, presently under development, FUJIFILM showcased two new models: the FUJINON UA18×7.6 and the FUJINON UA23×7.6. They are light and compact and have high mobility required for shoulder-type lenses and excellent optical performance needed for 4K.

TELEMETRICS SHOWED new enhancements to the OmniGlideRoving Platform - including an advanced positioning system, the S5 series of servo-controlled pan/tilt heads, the entry-level RCCP-M Remote Camera Control Panel, the Televator series of remote-controlled elevating camera pedestals, and the TG4 TeleGlide Camera Track System.

Whether leveraging special machine-learning algorithms and advanced facial recognition technology, or robust servo-mechanical motors, all of Telemetrics’ products are designed to support myriad workflows by providing ultra-smooth motion, quiet operation, advanced automation features and exceptionally high mechanical precision that is well suited for space-limited automated production studios and virtual set systems.

Visit www.telemetricsinc.com

With the new LA-EB1 mount adapter, B4 lens can be attached to both the FS7 and FS7 II camcorders. The inclusion of B4 lens allows users to shoot deep DoF with the high zoom ratio necessary for traditional news production.

The CBK-FS7BK or FS7 extension unit XDCA-FS7, compatible with the B4 mount’s communication interface, provides power through its DC supply and allows users to record directly with the lens REC button. Further, information such as iris and focus is displayed on the viewfinder of the camera and recorded as metadata, which streamlines postproduction efforts. The adapter also works as a hub for the power zoom of the lens, enabling one-hand operation via the servo zoom.

FUJIFILM also premiered the FUJINON UA125×8 4K-compatible box-type broadcast zoom lens that is under development with the world’s highest zoom ratio of 125×*2. The FUJINON UA125×8 covers a wide range of focal lengths from 8mm in wide angle to 1000mm in telephoto (2000mm with the built-in Extender). It is a multi-purpose high-power zoom lens that can be used in diverse situations.

EGRIPMENT SUPPORT SYSTEMS introduced a new human tracker for its digital line of Remote Systems.

The Egripment Digital Line of Remote Heads just added a new feature making it possible to track moving subjects, such as a talent or sports player and send the position data to the Remote System allowing it to follow it automatically. The real-time data provided by Trackmen ensures that the camera can follow its subjects accurately. Egripment’s Camera Based Tracking System constantly tracks the subject without necessity of calibrating the camera in the real world.

-------------------------------------------------------------------------------------------MILLER SPOTLIGHTED the 1620 75 Sprinter II 2 Stage Carbon Fibre Tripod which brings the stability, torsional strength and reliability of Miller’s wellproven 100mm ball levelling 100 Sprinter II tripod into a new 75mm version. The 75 Sprinter employs Miller’s patented design, which enables the leg stages to be adjusted independently or together via two adjacent leg locks.

The 75 Sprinter II 2 Stage Carbon Fibre Tripod is best suited to be used in conjunction with Miller’s CompassX and range of DS Fluid Heads in ENG and EFP applications, and has a payload capacity of 30kg. Competitively priced, it has a height range of 440-1530mm, a transport length of 700mm and weighs in at 3.2kg. With four spreaders to choose from, the 75 Sprinter is capable of meeting various project needs.

The company also showcased the Heavy Duty Cine (HDC) range of single stage tripods have been designed specifically for cinema shoots and are available in three sizes – tall, standard and short with various mounting platforms, including Mitchell base, 150mm or 100mm, and can be configured with a ground or mid-level spreader. The tripods in this line are designed with alloy construction and have a black coating to minimise reflections off the legs during a shoot.

Miller has also developed new camera plates, which enable additional sliding ranges to suit specific rigs, providing more flexibility for its Air, DS and Compass X Fluid Heads. Available in two versions, 120mm sliding range for larger-format broadcast and production cameras, and a 30mm version for DSLRs. The new 1207 camera plate provides an extended sliding range of 120mm, compared to the standard 1204/5 camera plates range of 60mm. The increased flexibility allows greater versatility in the balancing of various camera rigs. In order to cover various shooting needs, Miller has developed a short camera plate, 1209, that features a sliding range of 30mm, specifically designed to fit smaller cameras most suitable for DSLR’s when used in ‘on tripod video mode’ and handheld photography during the same shoot.

In the UA Series ⅔-inch 4K portable lenses for

Visit https://egripment.com

Visit www.millertripods.com

Other highlights of the CBK-FS7BK build-up kit and LA-EB1 mount adapter include: • Various interface support including genlock/ timecode for multi-camera operation and RAW output.

• Compatible with Sony BP-GL and BP-FL series batteries.

• Newly designed shoulder plate with an extended slide mechanism, allowing users to find the optimum weight balance with their choice of lens.

• ENG-style LCD viewfinder included.

• Exchange lenses on-site with no tools required.

• Image circle is expanded to 13.5mm by magnifying the optical system. F-stop can be as small as 0.6, which can capture bright images.

• ALAC (Auto Lens Aberration Compensation) decreases chromatic aberration caused by the lens.

The ENG-style build-up kit and mount adapter for FS7 and FS7 II will be available in December 2019.

Visit www.sony.com.au and www.sony.co.nz

LENSES

ACQUISITION

FUJIFILM SHOWCASED the 8K lens series and the UA Series of broadcast lenses, which support 4K cameras equipped with a 2/3-inch sensor.

The FUJINON UA46×9.5 portable 4K zoom lens for broadcast application is equipped with a 46× zoom, the world’s highest magnification, broadcast portable lens for 4K video production, and the FUJINON UA107×8.4 zoom lens, which features a 107× zoom, and is optimal for shooting sports and concerts.

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FUJIFILM also featured the Premista 28- 100mm T2.9, the standard zoom lens of the new Premista Series the company announced in April. The Premista 28-100mm T2.9 is a zoom lens for high-performance cinema cameras and supports a large-format sensor. It covers focal lengths of 28 to 100mm. By combining a large-aperture aspherical lens and the newly developed focus/zoom system, the Premista 28-100mm T2.9 has achieved high optical performance from the centre to the edges of the screen, thereby fully unleashing the capacity of the sensor. In addition, a mock-up of the Premista 80- 250mm T2.9-3.5, which covers focal lengths of 80 to 250mm, was also on display.

Visit https://www.fujifilm.com.au ------------------------------------------------------------------------------------------ERNST LEITZ WETZLAR GMBH showcased its latest development, LEITZ PRIMEs and LEITZ ZOOMs, for the first time officially at this year’s NAB. Best known for its prime lenses, SUMMILUX-C, SUMMICRON-C, M 0.8, and THALIA, the company is now expanding with a new family of next-generation optics and is entering new ground with its first set of the premium LEITZ ZOOMs. The new lenses are available with PL- and LPLMount options including metadata interface Cooke /i and ARRI LDS-2.

To improve close focus abilities of LEITZ PRIMEs and ZOOMs, new achromatic diopters MACROLUX 114 have also been added to the product line up. Like MACROLUX 95, the MACROLUX 114 will be available with strengths +0,5, +1 and +2. They will fit lenses with a 114 mm front diameter and are stackable to enhance the effect without adding any chromatic aberration to the lens. Additionally, step down rings to either 110mm or 95mm have been designed to make the diopters usable on these front diameters.

Visit www.leitz-cine.com

CAMERA SUPPORT

SPORTSCASTING Sport coverage worldwide

www.content-technology.com/sportscasting

Tieline, CNW Provide Commentary Solution for FINA2019 Swim Championships

Tieline’s longstanding South Korean representative Coil and Wire (CNW), has been contracted by host broadcaster Munhwa Broadcasting Corporation (MBC), to provide all commentary units and manage all commentary positions, including the Commentary Switching Center at the International Broadcast Center (IBC).

“31 Tieline i-Mix G3 and 19 Commander G3 codecs will be used to cover numerous aquatic sports including swimming, diving, artistic swimming, water polo, open water swimming and high diving at the FINA 2019 Swimming Championships,” said Mr. Hyung-uk Sheen from CNW. “MBC has entrusted CNW to provide commentary systems for this significant FINA 2019 event, because CNW and Tieline have successfully provided rock-solid commentary solutions and comprehensive support for global sporting events such as the 2017 FIFA World Cup, 2014 Asian Games and the Asian Indoor and Martial Arts Games in 2013.”

All commentary positions will stream live audio over IP, with backup audio over ISDN also being provided at each of the six main venues. The codecs can all be fully configured and remotely controlled from the IBC and fail over seamlessly

between IP and ISDN feeds if required.

“The level of remote control, coupled with the support provided

by Tieline, is one of the key reasons why CNW and Tieline were selected for this event,” said Mr.Jung, MBC TV Department Team Leader.

Charlie Gawley, Tieline VP Sales APAC/EMEA. “Tieline has been involved in live sports broadcasts since our inception. The importance of having complete remote control of each commentary unit from the IBC means there is no requirement for a Commentary Control Room at each stadium. This simplifies network configuration and reduces costs substantially for the host broadcaster.”

Visit www.tieline.com

Appear TV’s X-Series Keeps Ball in Play at BroadcastAsia

True Bangkok United FC Chooses ChyronHego’s Coach Paint

APPEAR TV IS SHOWCASING UPDATES to its high-capacity, ultra-low latency X-Series platform at BroadcastAsia (stand 1M2-01). The X10 and X20 further support digital video broadcasting satellite (DVB-S2x) systems and digital satellite news gathering (DSNG) with a new S2x contribution modulator and demodulator. The company will also highlight how its X20 platform has proven reliable and efficient for low-latency video assisted referee (VAR) applications.

CHYRONHEGO HAS ANNOUNCED that True Bangkok United Football Club (F.C.), one of Thailand’s most successful and popular football teams, has adopted ChyronHego’s Coach Paint for its 2019 season. True Bangkok United’s coaching staff is leveraging Coach Paint’s advanced video telestration capabilities to boost the club’s preparation for upcoming matches and enhance player performance.

The X-Series (X10/X20) offers the complete spectrum of encoding codecs, and helps broadcasters adopt the many benefits of an IP-centric operation in their own timeframe and with extreme simplicity. The modulator also has an RF input that can be connected to a backup transponder, which can then be routed to the main output in case of a hardware failure on the main transponder. The X10 and X20 can each output two transponders featuring switchable L-band or Intermediate Frequency (IF) with 72Mbaud bandwidth.

In addition to the new modulator, the X-Series also features a new hardware design for its DVB-S2x contribution demodulator, an advanced platform that supports the DVB-S2x DSNG and professional services profiles. It can demodulate four transponders from four RF inputs, with up to 64MBaud bandwidth, while fixed-key AES-128 and BISS-descrambling are embedded into both the modulator and demodulator.

Video Assisted Referee Solution Appear TV’s X20 is ideal for VAR as it fulfils the highly demanding requirements of this application. With its unique offering of channel density and ability to combine encoding and decoding of multiple contribution formats in the same chassis, the X-Series delivers excellent quality in a redundant architecture to ensure the strongest availability of video. The need for high-quality video with low-latency is crucial for the referees to verify calls made on the field. With the X-Series, content can be sent to the referee monitors immediately following capture, allowing them to make the right call and not hold up game play.

“Coach Paint is an extremely important tool in our club’s preparation processes and pregame workflows, greatly increasing our analytical perspective and the understanding of players and staff. The tool’s high-quality output and ease of use really set it apart,” said Luís Viegas, First Team football match analyst and scout, True Bangkok United F.C. “Coach Paint’s animations and high-impact graphics bring clarity to our presentations and make it easier to explain the strategy for each upcoming game. And the support of the ChyronHego team, which is always available and reachable, makes a huge difference.”

Founded in 1988 as Bangkok University F.C., the club claimed the Thailand Premier League title against all odds in 2006. The club was renamed True Bangkok United F.C. in 2009 and has remained a member of the Thailand Premier League ever since. The club’s current home venue is Thammasat Stadium in the city of Rangsit, Pathum Thani Province.

Appear’s X20 contribution links are currently being deployed in OB vans covering top football leagues throughout Europe and Asia. A single X20 chassis encodes more than 20 signals with low latency before being encapsulated to IP and sent to the video operation room (VOR). At the reception site, the X20 system decodes the signals for further analysis.

Some of these signals are then encoded in the same chassis and sent back to the OB vans. This VAR solution is also future-proofed - for UHD, SDIover-IP and more - and can be adapted to customers’ specific needs.

“Working with True Bangkok United has been a great experience, and their analysis staff has done an outstanding job integrating Coach Paint into their game-prep workflow. They’ve uncovered the benefits of using advanced telestration - using the same tools as live sports broadcasters such as Sky, ESPN, Fox, and more – to engage and inform players and illustrate key coaching points,” said Craig Inness, sports performance and technology specialist, ChyronHego. “At the same time, the team has provided insightful feedback for future product improvements. We look forward to working with True Bangkok United as they continue using Coach Paint in subsequent seasons.”

Visit www.appeartv.com

Visit www.chyronhego.com

SPORTSCASTING

TIELINE, THE DEVELOPER OF solutions for remote audio distribution, has announced that its codecs will be used for live radio and television commentary by the host broadcaster at the 18th FINA World Aquatics Championships held in Gwangju, South Korea in July.

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SPORTSCASTING

Cobalt Digital 4K Solutions for Live Production

Riedel Supports VoIP-Based Comms for eSports

TO ADDRESS THE GROWING NEED For 4K solutions for live production

RIEDEL COMMUNICATIONS HAS ANNOUNCED its support of TechSound, a Shanghai-based company specialising in audio for international eSports teams. TechSound designs and operates advanced player communications systems for China esports clients based on Riedel’s Artist digital matrix intercom system, Performer partyline system, and MAX headsets.

Enabling a cost-saving voice-over-IP (VoIP) remote production workflow for esports events across China, the Riedel gear ensures clear communications not only between players, but also between the remote production staff and on-site referees.

and master control operations, Cobalt Digital will demonstrate several of its 4K products designed for openGear frames at BroadcastAsia 2019 (Booth 6H3-01), which runs June 18th to the 20th at Suntec City, Singapore.

With Cobalt’s 9904-UDX-4K up/down/cross converter and image processor, broadcasters have an economical SDR-to-HDR and HDRto-SDR conversion option for 4K ad HD live sports production. The card allows truck operators to convert legacy cameras, servers, graphics systems, and other SDR sources for HDR productions. As a result, the 9904-UDX-4K reduces the need for new equipment purchases to produce HDR footage, and eliminates the need for separate SDR and HDR cameras and processing paths.

Cobalt’s flexible 9992-ENC series of HEVC/AVC/MPEG-2 encoders offer customised I/O options and extensive audio support. Low-latency 8-bit and 10-bit 4:2:0 encoding is standard, with optional license keys for HEVC and 4:2:2 encoding. Its pay-as-you-go licensing structure means users only pay for required features when needed. The 9992-ENC base model includes one 3G-SDI input, but can be upgraded to support four 3G-SDI (1080p60) signals or one 12G-SDI signal (4Kp60).

Designed to deliver uncomplicated monitoring of asynchronous 4K and HD signals, Cobalt’s 9971 Series of multiviewers accommodate a variety of signals and applications. Up to five 9971 cards can be installed in one 2RU openGear frame – and multiple cards can be included in a cascaded

Founded in 2017, TechSound is a rapidly growing consultancy and systems engineering company serving the expanding Chinese eSports and live event markets. Inspired by the specific demands and requirements of esports, the company takes a fresh, IP-centred approach to intercom and remote production. TechSound has relied on Riedel solutions from the beginning to provide bespoke communications solutions for music, corporate, exhibition, and traditional sporting events alike.

“TechSound and its clients can testify to the value of our Artist-based system for delivering the seamless communications critical to running a smooth international event,” said Gao Jian, General Manager at Riedel China. “The evolving technical requirements of eSports have become a key driver of China’s comms industry, and we’re pleased to be supporting TechSound in addressing these requirements and achieving an agile and efficient production workflow for esports competitions across multiple geographic sites.”

The Riedel Artist system integrates easily with audio routers and consoles in any type of remote broadcast production workflow, and its modular architecture provides a wide range of connectivity options. Participants and the production team can reliably use communications systems from various manufacturers without the need for human interfacing.

resolution allow for economical viewing on consumer-grade 4K monitors.

For a recent international esports event held in northern China, the Riedel solution enabled TechSound team members to seamlessly integrate intercom, wireless, and walkie-talkie systems from different rental vendors and manufacturers into one communications system. TechSound also manages semi-permanently installed season systems, connecting stage referees and players across six Chinese cities back to a centralised production studio.

Visit www.cobaltdigital.com

Visit www.riedel.net

chain to provide multiviewer layouts of up to 64 sources. Users can create and save customised layouts, or use one-button template presets for simple setup. All three models can output ST 2082 12G-SDI for singlewire 4K transport, while up to two HDMI 2.0 outputs at 3840×2160

Lawo Goes in to Bat for Indian Premier League NOW UNDERWAY FOR ITS 2019 SEASON, Indian Premier League (IPL) is the star in cricket’s commercial crown, putting the sport’s best players in front of the largest audiences and paying the highest fees.

The IPL broadcast rights for the season are currently held by Star TV as part of a fiveyear contract, and marks a significant change in the operation but sees a continuation of the longstanding and pioneering use of equipment from German broadcast innovator, Lawo.

SPORTSCASTING

The IPL was founded in 2008 of eight teams representing cities in India – with players drawn from the world’s best. Live, it is the most-attended cricket league in the world and, in 2010, became the first sporting event in the world to be broadcast live on YouTube.

It has an estimated brand value of US$6.3 billion in 2018.

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Described by Star CEO Uday Shankar as “very powerful property”, Star broadcasts IPL matches live online in India via its over-the-top video streaming platform, Hotstar (which also holds the worldwide internet rights) – Star India saw 700 million viewers tune in across its platforms to watch the 2018 tournament, with 200 million of those streaming the action via Hotstar. The tournament final drew a peak

broadcast of the IPL in 5.1 surround in 2015, using Lawo mc²56 digital broadcast consoles with HD Cores. This involvement was expanded to include 11 more mc²56 console and a number of Lawo V__pro8 video processors to provide an 8×8 video matrix, and 384×384 audio matrix, Dolby E encode/decoding, and cost-effective SDI embedding/de-embedding.

Star TV’s provision for broadcasting the IPL includes a new studio. The studio’s audio is centred on a 48-fader Lawo mc²56 audio console ordered towards end 2018 and installed in January 2019.

of 10.3 million viewers – a record for live streaming of any event worldwide.

With the most expensive broadcast rights deal in the history of cricket, the contract with Star TV signifies a change in the IPL OB arrangements. In a move to make operation more efficient, Star TV has now built its own OB kits, enabling it to be less dependent on kits from third-party suppliers and to use the same setup for events other than the IPL. Lawo’s earlier IPL involvement includes the first

The initial installation for Star TV included a Lawo Compact Core routing populated with three DSP cards, a RAVENNA card for IP link to remote Lawo DALLIS interfacing, a Dante card for interfacing with external Dante devices, and a MADI card with AES In/Out for internal and external interconnects such as MADI to V__pro 8.

The studio’s DALLIS I/O frame supports 48 mic/line inputs, 48 line outputs, and 16 AES in/outputs. The setup also uses Lawo’s V__pro 8 video processing toolkit for audio de-embedding/embedding, and also a Dolby-E option for surround production work.

Visit www.lawo.com

SPORTSCASTING

Broadcast Solutions Covers the Field with Robycam Cable Camera AT THE BROADCASTASIA SHOW, taking place from June 18-20 in Singapore, Broadcast Solutions together with its subsidiary Robycam Germany will present the Robycam cable camera system on stand 4F4-01. The Robycam iaerial camera system is used in national and international sporting events, live shows and TV productions, indoors and outdoors. The system is available on a rental basis with full production support included or for sale.

The Robycam system uses four realtime controlled automatic winches and a sophisticated motion control system that allows for millimetre accurate and fast camera movements – up to 8m/s in all axes are possible. The largest system has an operating radius of more than 250m x 250m and operates with full redundancy (UPS units on each computer).

Robycam Compact is a smaller version. Same as its bigger brother, the camera can move freely through space in vertical and horizontal dimensions allowing

Kayo Sports Selects AWS for Majority of Cloud Infrastructure

to shoot spectacular images from all viewing angles Robycam Compact is designed for use in TV studios and small and medium-sized sports venues, for example, basketball or ice-hockey halls and covers an area of up to 80 × 80 m with a top speed of 4m/s.

All systems comply with the German safety standard DGUV 17/18 (formerly BGV-C1) and meet all other important national safety requirements. Defining areas in which the system can fly and those that are blocked is a particular feature of the system that enables use in environments with “blocked” spaces. Even in the event of operating errors, absolute safety is guaranteed for fixed installed obstructions or persons.

The Robycam systems come with native augmented reality integration and can be integrated with all major AR systems to provide accurate tracking data of camera position, orientation and lens parameters.

Visit www.robycam.de

IMG, Grass Valley, Telstra Trial Remote Production for Rugby World Cup GRASS VALLEY RECENTLY TOOK PART IN a breakthrough in remote IP video production. The company announced the successful execution of a remote link from cameras based in the Tokyo office of Australian telco Telstra with an XCU base station in IMG Studios’ London headquarters, using Grass Valley’s DirectIP connectivity solution to deliver uncompressed, ultra-low latency video over a distance of 20,000 kilometres.

Kayo uses AWS Elemental Live encoding on premises, Amazon CloudFront, and other AWS services, to power new kinds of viewing experiences. This includes Kayo SplitView, which offers up to four events or camera angles on one screen on selected devices. The same AWS workflow supports Kayo Key Moments, which captures highlights from matches, so sports fans can get straight to the action they want to watch.

The Kayo online sports service features pause, rewind, and replay functionality delivered by AWS Elemental MediaPackage in Apple HLS and MPEG DASH streams. To help deliver the best possible viewing experience, the end-to-end AWS Elemental live streaming workflow delivers broadcastquality video content with much lower delay than traditional live streaming sports simulcasts.

Kayo’s video infrastructure is architected for availability, scalability, and low latency. Amazon Elastic Compute Cloud (EC2) provides elastic compute capacity based on demand, while AWS Elemental MediaPackage is supported across multiple AWS Availability Zones to reliably repackage and originate content for delivery to Amazon CloudFront.

Storage built on Amazon Elastic Compute Cloud and Amazon Simple Storage Service Glacier (Amazon S3 Glacier) is used to analyse live performance data to support continuous optimisation. AWS Lambda and AWS Step Functions provide a server-less execution of sign-ups and user validation.

Visit https://aws.amazon.com

“This trial is a real breakthrough that has put us in a strong position to extend our remote production capabilities, as demonstrated with the ATP500 series, to events in Asia such as the Rugby World Cup,” said Tim De Marco, Head of Engineering, Live Galleries and Studios at IMG Studios.

“Only needing to bring cameras on-site with us and being able to keep the majority of the heavy lifting in London means we can dramatically improve the economics of world feed production. We also now have a clear, tangible idea of how DirectIP enables effective remote production with greater flexibility and lower cost, while maintaining high broadcast quality. This is a valuable market differentiation for us that we can apply to future live productions.”

The trial demonstrates a robust IP workflow between camera, IP switches and XCU that supports HD, 3G, UHD and SlowMotion feeds over large distances, proving the ability of the DirectIP system to handle uncompressed signal distribution. Signals were transmitted via Telstra’s high-speed fibre-link using the DirectIP configuration from two Grass Valley LDX 86N cameras in Tokyo to an XCU Universe UXF base station, with OCP control panels, in London. The workflow delivers easy setup and maintenance through a centralised control room to ensure the highest performance levels. One of the benefits of DirectIP is that signal availability is not affected, including intercom and return video, allowing the remote site to integrate with the production, regardless of the distance.

The ninth Rugby World Cup is being held in Japan from September 20 to November 2, 2019.

Visit www.grassvalley.com

SPORTSCASTING

KAYO SPORTS, AUSTRALIA’S NEW dedicated multi-sport streaming service, has selected AWS to facilitate reliable, scalable, and personalised live streaming and video catch-up functionality. Powered by FOX SPORTS Australia, ESPN, and beIN SPORTS, Kayo offers more than 50 sports instantly streamed from Australia and other countries for viewing on iOS and Android mobile devices, laptops and PCs, and on TVs with Telstra TV, Apple TV and Chromecast Ultra apps.

According to Grass Valley, it is the only vendor that enables IP communication directly between cameras and XCU. This Tokyo-to-London link, on a Telstra next generation Optical Transport Network (OTN) based ethernet service between Japan and London, marks the longest, true remote IP production connection to date.

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NEWS OPERATIONS www.content-technology.com/newsoperations

Dalet Accelerates News Delivery for India’s Times Network DALET, THE PROVIDER OF SOLUTIONS AND SERVICES for media organisations

and content professionals, has announced that Times Network, India’s leading broadcast network, has deployed the Dalet Galaxy media asset management and workflow orchestration platform to optimize content utilization and accelerate delivery for its 24/7 news channel “Times NOW”. With a global presence across 100 countries, Times Network houses upscale brands including TIMES NOW, ET NOW, Mirror NOW, Movies NOW & Movies NOW HD, MN+, Romedy NOW & Romedy NOW HD, MNX & MNX HD and Zoom.

“Times Network is the leading broadcast network in India,” states K Yegneshwara Iyer, Senior Vice President & Head of Technology, Times Network. “To sustain this momentum and always be the first to break news, we moved to adopt a platform that could digitalize the archives as well as integrate our media silos, ultimately managing the entire media supply chain for the Times Network. Dalet was the best partner for this mission. Their platform allows us to bring all our content into one place and create seamless access for our users, with tools and intelligence to manage multiple workflows across several locations and business units.”

By connecting siloed production and post-production teams and systems across Mumbai and Delhi, Dalet Galaxy enables a comprehensive workflow transformation that gives “Times NOW” a first-to-air breaking news workflow that encompasses the complete story. Key to the transformation was the digitisation and integration of Times Network archives. No longer do staff need to

manually review archive logs, request media from the archivist, and wait for the content to complete the story. Dalet Webspace provides immediate access to all content with tools to assemble stories that contain a mix of freshly shot and archival media.

With archives fully integrated and digitized, the “Times NOW” archivists are freed from manual search and retrieval of taped media. They can focus their time on enriching the digital content with metadata, making it more searchable and accessible across the entire group. This creates a fluid content supply chain that optimises content usage, ultimately helping Times NOW journalist enhance their storytelling.

“More than creating a friction-free workflow for breaking news, Dalet Galaxy is enabling Times Network to move away from a pay-per-month archive digitisation process to a fully owned and managed digital workflow that optimises content utilization. This is a business benefit that enables them to be more systemic in the way they manage and distribute their content across the entire business operation,” states Johann Zemmour, General Manager, Dalet APAC and EMEA. See Dalet at BroadcastAsia 2019 on stand 4T4-01. Attendees can also register for the Dalet BroadcastAsia Executive Breakfast, held on June 20th at the Pan Pacific Hotel.

Visit www.dalet.com.

NDTV Goes Anywhere, Any Time on Any Device with Grass Valley NEW DELHI TELEVISION LTD. (NDTV), the Indian news broadcaster, has selected Grass Valley to optimise its news production workflow for multiplatform content delivery – including mobile. Grass Valley was chosen for its ability to deliver innovative, flexible and future-proof solutions that allow the NDTV team to turn around news stories quickly and get them to viewers anytime, anywhere, on any device. This investment is part of a wider upgrade project and an extension of the innovation-driven collaboration between the two companies.

NEWS OPERATIONS

NDTV has been providing dedicated programming through its three national channels (NDTV 24×7, NDTV India, and NDTV Profit), websites and apps to more than 1 billion viewers across India, Southeast Asia and the Middle East. With Grass Valley’s GV STRATUS suite of production tools, iTX integrated playout platform and the GV Korona K-Frame V-series production switcher, NDTV can evolve flexibly and with agility as consumer demand changes, while consistently delivering strong and compelling stories to its viewers – whenever and wherever they are.

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“The way consumers engage with news content is undeniably changing, and we are continually committed to leading the pack in newsroom innovation,” said Dinesh Singh, Chief Technology Officer, NDTV. “From the beginning, Grass Valley clearly understood our need to meet the demands of today and to be prepared for the future evolution of our business. Grass Valley’s solutions enable us to deliver high-quality content to any platform off a single creative process.”

Grass Valley’s GV STRATUS solution enables NDTV to simplify its workflows, leveraging the intelligent tools and powerful customisation capability to turn stories around rapidly. Grass Valley’s iTX integrated playout enables software-

based playout in any resolution (SD, HD or UHD) with extensive HDR support, creating a clear migration path for the broadcaster. The playout engines support IP (SMPTE 2110, 2022-6 and 2022-2) and SDI or a hybrid of both, bringing additional flexibility. The flexible GV Korona K-Frame V-series production switcher offers high-quality production value in a powerful, compact footprint, enabling operators to work quickly and intuitively to produce compelling content.

“As the premier, independent source of news in India, it is critical that we deliver high-quality and timely stories to our viewers whenever and wherever they want,” said Kawaljit Singh Bedi, Chief Technology and Product Officer, NDTV Group. “As a mission critical operation, there was no room for delay or downtime to make this important upgrade to our system and capability. Grass Valley led us through a smooth and seamless integration with no disruption to our service.”

The Grass Valley solutions integrate with NDTV’s existing Avid iNews system, as well as with its social media delivery platform.

“As consumer viewing habits become more fragmented, news broadcasters have to address a wider range of digital platforms in addition to its traditional linear services,” added Somu Patil, Vice President of Sales, APAC, Grass Valley.

“This need to meet consumer demand for more stories anytime, anywhere, on any device is often expected with no change in resourcing, making it even more critical for newsrooms to invest in optimal tools and technology. We are very proud to have expanded our partnership with NDTV to help evolve operations to meet its needs today and in the future.”

Visit www.grassvalley.com and www.ndtv.com

Visit us at

Join us at booth 4H4-04 for a live demonstration NEWS OPERATIONS

LEVERAGE THE POWER OF WEATHER NEWS IMPROVE RATINGS GENERATE ADDITIONAL REVENUE ENHANCE YOUR BRAND MetraWeather offers a complete weather news broadcast solution. Premium forecast data, knowledgeable support and high-end presentation graphics.

No matter your budget, we have a solution which can generate sponsorship and advertising revenue for your business.

Learn more at www.weatherscape.media

NEWS OPERATIONS

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NEWS OPERATIONS

Newsgathering Innovations from AVIWEST AT BROADCASTASIA2019, AVIWEST will demonstrate the latest innovations in live video contribution and distribution technology. Using AVIWEST’s advanced video contribution platform, broadcasters can capture and deliver live 4K, HD, and SD video over multiple unmanaged IP networks, including bonded 3G/4G/5G cellular, Wi-Fi, ethernet, and satellite links.

AVIWEST will also present its new story-centric vendor-agnostic solution, which streamlines the way video professionals produce and transmit live video. The solution automates the production of video clips and story indexing. Through artificial intelligence components, the solution enables media organisations to better handle, explore, and browse the massive amount of content received every day.

At the heart of the solution are AVIWEST’s Manager and StreamHub transceiver, which automatically assimilate metadata from remote field units to guarantee perfect integration with broadcaster production workflows.

Also on show will be AVIWEST’s HEVC Remote Field Unit, designed to boost video quality and reduce data consumption. The AVIWEST PRO3 Series includes an integrated best-in-class H.265/HEVC hardware encoder in the most compact design enclosure available. Using the HEVC video standard and being 5G-compliant, the PRO3 enables video professionals to deliver high-quality news and event coverage seamlessly.

With up to 12 network links (eight cellular modems, Wi-Fi, and ethernet), a high-efficiency custom antenna array, plus Emmy award-winning AVIWEST SafeStreams Technology, the new PRO3 Series allows broadcasters to deliver better video quality than ever while consuming less data. Providing high versatility, the PRO3 Series is the ideal companion for on-the-go video professionals that need a robust and reliable solution.

New portable uplink system will be demonstrated which simplifies live video production. Featuring a powerful ultra-lightweight design, the AIR Series is

AVIWEST’s HE4000 4K UHD HEVC live encoder, meanwhile, is suited for real-time delivery of UHD and HD content over unmanaged IP networks. The compact, half 1-RU encoder combines 10-bit and 4:2:2 HEVC encoding with the latest generation of SafeStreams Technology for delivery of live video content over IP at low latencies and bit rates.

At BroadcastAsia2019, the HE4000 encoder will be shown with AVIWEST’s recently launched QUAD CellLink, an external 3G/4G LTE cellular transmission solution that embeds four last-generation 3G/4G LTE cellular modems with their SIM cards. The QUAD CellLink can be mounted on a tripod or directly on the roof of a vehicle.

Lastly, AVIWEST’s MOJOPRO application for iOS devices empowers journalists by allowing them to stream live videos flawlessly, edit video files, and forward recorded content from any location over bonded 3G/4G and Wi-Fi connections in just seconds.

The smartphone app includes new features, such as an optimised interface, advanced camera settings (e.g., focus, exposure, white balance, etc.), dynamic resolution, and video quality improvements. Easy-to-use video and audio editing features allow remote journalists to create video stories instantly.

Visit www.aviwest.com

Twitter Search, Aggregation, and Management

DEJERO’S CUEPOINT IS A NEW LOW-LATENCY return feed server that keeps live broadcast production and remote teams synchronised.

BANNISTER LAKE HAS ANNOUNCED that it has augmented and enriched its Chameleon Twitter management tools, providing producers with a highly advanced social media search solution that allows them to easily pinpoint relevant Twitter content and take it to air.

The CuePoint server makes talent cueing and production monitoring easier to manage in the field, as remote talent, field directors, and technicians can see when live shots are about to start and what’s currently on air. Camera operators can use CuePoint to confirm that a remote feed is on air and adjust their camera framing to account for graphics, overlays, and split screens. The server also sends teleprompter feeds to the on-air talent, enabling real-time updates.

NEWS OPERATIONS

The AIR Series combines hardware encoders and supports 5G networks to enable flawless video quality. The uplink system includes up to six network links (four cellular modems, one internal Wi-Fi, and one ethernet), a three-hour internal battery, and AVIWEST’s SafeStreams Technology, allowing broadcasters to stream live videos seamlessly and store and forward recorded content – even during unpredictable and unmanageable network conditions.

Remote Return Video and Teleprompting from Dejero The new rack-mounted return feed server sends low-latency video and audio, alongside teleprompting feeds, to live broadcast production teams in the field to help them create compelling live content. Return video and teleprompting feeds from the broadcast center can be seen in the field by the talent on a tablet or dedicated screen above or below the camera, or on multiple mobile devices by camera operators, field directors and technicians. Dejero makes it simple to scale the number of return feeds needed in the field. The high-performance server delivers return feeds with as little as 250 milliseconds of latency, so that field crews can collaborate with resources from the broadcast centre in real-time.

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suitable for on-the-move broadcasters, providing them with portable, versatile, and affordable solutions.

“In order to create precisely-timed and captivating live content in the field, it’s critical that the central production and remote teams are in sync, whether for talent cueing, production and confidence monitoring, or accessing a teleprompter,” said Yvonne Monterroso, director of product management at Dejero. “Our new CuePoint return feed server empowers these teams so they can all simultaneously access production information with little to no latency.”

Visit www.dejero.com

Chameleon’s Twitter interface offers users a variety of search parameters that go far beyond using hashtags or accounts. Users can identify Tweets from multiple angles: account mentions, key words or phrases, location, or language. By combining different search parameters, producers have various ways to filter and locate specific Tweets and drive editorial content. Producers can then use Chameleon to build, moderate, and customize playlists of Tweets to populate tickers, L-Bars, or full-frame graphics, or to make content available online or on mobile devices.

Unlike conventional Twitter search tools, Chameleon allows users to combine multiple searches into a single topic, providing a broader assortment of topic-related results while still maintaining editorial control over content. In addition, Chameleon supports Twitter’s Trends API to manage and display worldwide trends. Twitter content can be further filtered and managed through Chameleon’s onboard query and RESTful API functions.

“Chameleon’s native Twitter support goes well beyond the competition,” said Georg Hentsch, president, Bannister Lake. “By utilizing all aspects of the Twitter Search API and combining multiple searches into a single topic, Chameleon’s native Twitter support is preeminent. We dramatically improve users’ ability to locate the right content at the right time.”

Chameleon’s Twitter management features also support popular aggregation tools such as Tagboard, Juicer, and Inception Social, creating a powerful social media display solution for broadcast and digital signage applications.

Visit www.bannisterlake.com

NEWS OPERATIONS

VSN NewsConnect to Make News Your Way VSN NEWSCONNECT IS AN HTML5 Plugin for NRCS which is designed allows users to create a news production environment specifically suited to their requirements, complementing and improving the media production workflow at any facility. It simplifies and increases the speed at which news is generated, improves efficiency and productivity by eliminating the need for users to work with, and switch between, different tabs and interfaces. Users can also see in real time how the final stories - including graphics and video - will look.

An add-on for the VSNExplorer platform for media and workflow management, the VSN NewsConnect allows broadcast and media companies to interconnect via MOS any leading NRCS, CG, NLE, studio playout system and video servers, within a single, intuitive, centralised workspace to create a seamless workflow for news production.

“The Plugin’s MOS compatibility means that it is highly interoperable, providing users with the flexibility and freedom of choice demanded in today’s fast-moving broadcast/media environment,” said Jordi Utiel, VSN CEO. “VSN NewsConnect plugin is agnostic to any specific brand and it allows to combine VSNExplorer platform with the best-of-third party systems and bring all of them together into a single, centralised workspace to create a unified workflow for news and live production.”

The web plugin allows users to visualise all the

assets and videos stored in the VSNExplorer MAM/ PAM system within the interface of the large majority of NRCS systems available in the market, and quickly allocate and drag and drop those files into the NRCS stories in order to complete their news pieces.

Similarly, the VSN NewsConnect has been integrated, by using metagraphics, with computer graphics systems to access the CG templates directly from the NRCS interface, as well as to unify these with video for broadcast or publishing, through Wedit, the VSNExplorer proxy video editor. Users can therefore select raw content, edit it, record the voiceover, adjust the audio, assign the graphics and publish the edited story to the studio or web. All these tasks can be carried out within the NRCS system users have opted for.

The fact that this web plugin is based on the MOS open standard means that its compatibility and interoperability with any relevant platform – either today or tomorrow – are guaranteed.

The new VSN NewsConnect also gives users simple, straightforward access to all the advantages and features of VSNExplorer MAM media management – such as fast cataloguing; fast, advanced search of assets and video files; proxy player; retrieval of content and so on directly within the interface of the NRCS system of the user’s choice.

“We call it ‘making news your way’ because that’s exactly what our new VSN NewsConnect enables users to do,” concluded Utiel. “It gives broadcast and media companies the flexibility to choose how they want to produce their news, bringing together all their tools and making them easily and quickly accessible via an intuitive interface.”

Visit www.vsn-tv.com

CuePoint

Visit us at BroadcastAsia Ideal Systems Booth: 6E3-01

Low latency return feed server The Dejero CuePoint 100 return feed server sends low-latency video with audio and teleprompting feeds to live broadcast production teams in the field to help them create compelling live content.

As low as 250 millisecond latency View feeds simultaneously on up to 8 tablets or mobile devices in the field Assign and manage return feeds coming from the broadcast centre going to the remote location-from anywhere Adjust resolution received in the field to best suit the use case and to control costs

Discover how Dejero CuePoint can improve your workflow by providing talent cuing, production and confidence monitoring, and teleprompting.

To learn more about Dejero CuePoint, visit dejero.com/cuepoint

NEWS OPERATIONS

• • • •

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MEDIA IN THE CLOUD, STORAGE & MAM EditShare Takes on Majority Investment from Private Equity Firm of new opportunities to grow their EDITSHARE, THE DEVELOPER businesses,” comments Andy OF intelligent scale-out storage, Liebman, EditShare Co-Founder Automated Quality Control (AQC), and newly appointed Chief Strategy editing and media management Officer. “Our incredibly talented team solutions, has announced it has is dialled into our customers’ needs taken on a majority investment and next steps. They are developing from private equity firm ParkerGale and delivering innovative solutions Capital (ParkerGale). Focused on that facilitate collaboration and profitable founder-owned technology efficiency such as the EditShare Flow companies, ParkerGale’s portfolio is a hybrid media management platform mix of software-oriented businesses [L-R ]New EditShare CEO, Conrad Clemson; Andy Liebman, EditShare Co-Founder and Chief that can cut production time by as that are supported by the firm’s Strategy Officer; and Tara Montford, Co-Founder and EVP Business Development. much as 50% and EFS Shared Storage financial investment and in-house Auditing, an important content security capability that helps mitigate content operating team whose mission is to help portfolio businesses rapidly scale and theft. Our innovations span all aspects of media production from an individual bring to market new innovative products and services. storyteller who is using the Emmy-award winning Lightworks to enterprise EditShare founders, Andy Liebman and Tara Montford, will continue to lead broadcasters automating productions with EditShare’s metadata-driven workflow EditShare innovation and customer success and remain the company’s largest solutions. With ParkerGale’s infusion of capital, EditShare will be able to execute individual shareholders. Industry veteran, Conrad Clemson, will join the leadership much faster on the many more incredible product and workflow ideas we have for team as EditShare CEO. all of our customers.”

“ParkerGale’s deep-seated history of helping profitable companies like ours Leading the company through this next stage of growth is EditShare’s new CEO, achieve their next stage growth goals will enable our team to expand and develop Conrad Clemson, who recently led Cisco’s Video, Mobility, and Cloud organisations. the EditShare product range into even better solutions for our customers in the future,” comments Tara Montford, Co-Founder and Executive Vice President Business Development, EditShare. “EditShare has always been extremely customer-focused and without our customers’ engagement, we would not be where we are today. Riding the momentum of double-digit growth over the last three years, combined with the investment by ParkerGale, we will have the resources at hand to accelerate all our plans and deliver on our innovative roadmap while retaining that personal touchpoint with our customers.”

“We are proud to offer industry-leading solutions that enable our customers to respond to market demands with greater efficiency and ultimately take advantage

MEDIA IN THE CLOUD, STORAGE & MAM

Visit www.editshare.com

Qvest Media Launches Qvest.Cloud

GB Labs Analytics Center

AT NAB, QVEST MEDIA launched the multi-cloud management platform Qvest.Cloud, including Qvest.Cloud Ultimate for enterprise solutions, and Qvest.Cloud Go! which includes ready-to-use packages for media tasks such as live event production, post-production, archiving, disaster recovery or playout. The packages are pre-configured with cloud applications from leading software manufacturers.

GB LABS HAS LAUNCHED A NEW VERSION of its Analytics Center, a dashboard that runs seamlessly in the background of GB Labs’ SPACE, ECHO, and VAULT intelligent storage devices, continuously analysing how data handled by the storage system is being used. It displays an accurate and easy-to-understand overview of network vitals, including real-time speed and data consumption.

Qvest.Cloud is built for companies that want to efficiently orchestrate, manage and monitor their media technology – either on-premise, with a single cloud provider, in a multicloud environment, or using a hybrid model. Furthermore, system resources can be scaled on demand and the cost structure of production processes can be analysed and planned. To perform these tasks, Qvest.Cloud comes with the integrated services of cloud automation, workflow orchestration, user management, monitoring, measuring and billing and cost control.

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“Andy founded EditShare in 2003 when he needed a more flexible and affordable solution for media sharing. His invention of high-performance Network Attached Storage for editing transformed the industry in a way others weren’t imagining at that time,” comments Clemson. “EditShare’s history of leading the industry with groundbreaking innovations and solving customer problems before they even recognize them goes deep, and with this investment, the EditShare team will be even better positioned to continue to deliver transformative solutions to an industry that is in greater demand for it now more than ever.”

Workflows can be designed with an intuitive graphical user interface and linked flexibly with any manufacturer’s application that needs to be integrated. The partner ecosystem, which currently comprises cloud applications from over 40 leading manufacturers from the media and IT industry, is constantly expanding.

The Ultimate solution is the key to complete systems integration in the cloud. Media companies and broadcasters can therefore map their endto-end workflow using Qvest.Cloud Ultimate. With Qvest.Cloud Go!, Qvest Media offers pre-configured, ready-to-use package solutions distributed via a SaaS model, which allows flexible use and scaling. The first Qvest.

Cloud Go! packages include Q.Live (live event production), Q.Create (post-production), Q.Store (archiving), Q.Safe (disaster recovery), and Q.Air (channel playout). More than 30 partner applications are currently already being orchestrated in these products.

Visit https://qvest.cloud

GB Labs CEO-CTO Dominic Harland said, “Investigations of customer usage data have shown that the primary cause of slow read/write speed is a misconfigured internal network, but very often those issues can be difficult to locate and resolve with manual monitoring and intervention. Analytics Center removes that labour-intensive task by automating the analysis process with specially designed algorithms that identify not just potential problems, but precisely where to find and fix them. Moreover, it anticipates and identifies problems that may occur.”

The new version of Analytics Center gives users total visibility into their network, both within current usage and capacity, as well as anticipated usage as much as six months ahead based on historic pattern analysis.

This intelligence provides users with a far better understanding of potential issues related to their network usage and data consumption. The Analytics Center also makes recommendations on how to make usage more efficient.

Harland added, “Instead of hiring and training a systems engineer to understand the detailed characteristics of a storage system, oversee daily usage, monitor individual users, and manually sift through log files, Analytics Center delivers accurate, meaningful, real-time information that highlights issues and enables them to be identified, anticipated, and resolved quickly at a far lower cost.”

Visit https://gblabs.com

MEDIA IN THE CLOUD, STORAGE & MAM

Switch Media Launches MediaHQ SWITCH MEDIA LAUNCHED its product suite, MediaHQ, at NAB2019.

Having successfully delivered complex video solutions for over a decade, Switch Media says it has “… simplified the complexity of online video so that global broadcasters and content owners can deliver a seamless viewing experience within the fastest of turnarounds.”

MediaHQ uses a powerful workflow engine and houses a flexible suite of modular components that integrate with existing systems, which are supported by the company’s in-house technical team to provide assistance 24/7.

MediaHQ provides broadcasters flexibility based on individual requirements.

Users can tailor their workflows selecting any, or all of the components in MediaHQ’s powerful product suite to manage and assist in the delivery of content for both online distribution and traditional broadcast. From

ingest, media management and preparation to distribution and analytics, broadcasters can access everything they need under one roof, on one platform to improve or augment their video workflow.

Delivering solutions for major content owners and live events worldwide, Switch Media says it has simplified the complexity of online video, so that anyone can stream and monetise content, effortlessly.

Bruce Hume, Broadcast Director, Switch Media said, “We understand the requirements to get content online fast using streamlined workflows that automate tasks to increase delivery speed and productivity. MediaHQ’s flexible suite of components fits the needs of every broadcaster worldwide regardless of size or structure.”

Visit www.switch.tv

Media Room Frame Accurate Player

Over the last five years Silver Trak has designed Media Room to be an agnostic content management platform. Developed for aggregating, hosting, searching and delivering media content anywhere in the world, Media Room focuses on three key concepts for content: security, availability and usage.

According to Silver Trak COO Christian Christiansen, “The new Media Room 3 player is unique as it shows proper SMPTE timecode. It also has the ability to set in and out points for clipping, create shot lists and export clips and shot lists with the added ability of transcoding. This is a first.”

Media Room was developed in-house by Silver Trak Digital to not only meet theMediaproxy_Ad_C+T_Asia_2019-02-04.pdf demands of content aggregation,1 usage and delivery, but also to allow their 4 Feb 19 6:03:53 pm customers to take advantage of the economies of scale as it securely hosts

Does any of the above apply to your current broadcast compliance system? If yes, join the hundreds of broadcasters around the globe who rely daily on Mediaproxy’s unified software solutions for monitoring, analysis, multiviewing

multiple clients’ data and provides a affordable alternative to buying or building one-off content management and delivery systems.

Christiansen added, “The new Media Room 3 platform has the ability to overlay a canvas for annotations with the added functionality whereby markers and annotations created by several unique users can be exported as a single file based on timeline or user. In short, more functionality, more efficiency and a far more effective and useful user experience for our clients.”

Media Room, now entering its third development iteration, has proved invaluable to many production and post-production companies across Australia, including sporting enterprises, streaming channels, distribution houses and independent producers and companies.

The development of Media Room continues well into the future targeting and incorporating advanced technology innovations such as live stream capture, voice to text, facial recognition and AI integration.

Visit https://silvertrak.com.au

and capture of live video from broadcast and OTT sources.

Discover the industry’s leading compliance solution at mediaproxy.com/rethink

Explore the possibilities at mediaproxy.com

MEDIA IN THE CLOUD, STORAGE & MAM

DURING THIS YEAR’S NAB SHOW, digital content management, production and distribution specialist, Silver Trak, demonstrated the very latest technological addition to its Media Room solution, a new frame accurate player that now includes clipping, markers and annotations, audio track selection, caption extraction and more.

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MEDIA IN THE CLOUD, STORAGE & MAM

ZOO Digital to Revolutionise Content Localisation ZOO DIGITAL is continuing its mission to revolutionise entertainment localisation services with the launch of its cloudbased ZOOstudio ecosystem. The service ecosystem aims to simplify localisation for content owners, increase vendor collaboration and reduce supply chain wastage.

Designed to address the challenges of OTT distribution, ZOOstudio provides content owners with a centralised system for ordering, tracking and managing all the services required to create localised content packages. ZOO’s collaborative approach sees services such as dubbing, subtitling, metadata localisation and media processing delivered either by ZOO as the end-to-end vendor or in combination with clients’ other preferred global vendors.

The ZOOstudio ecosystem brings together ZOO’s existing, battle-tested platforms. It enables content owners to have all their vendors working together in one cloud system, with assets and reference materials shared between vendor workflows to increase efficiency and reduce duplication. With a single point of order and fulfilment, content owners are no longer required to track projects across multiple vendor-specific systems; ZOOstudio gives full visibility and live consolidated status reporting across all vendor production workflows.

According to ZOO President, Gordon Doran, “The time has come for service

vendors to work together to support content owners to achieve their goals. In ZOOstudio, we have created the single ecosystem that clients need to centralise and manage their end-to-end services across all vendors. Content owners will be able to share reference materials, assets and data across global workflows to simplify and speed up content distribution.

“This is how localisation would have always been done if cloud technology had always been around. Services are centralised, streamlined, collaborative and secure. Duplication of costs and processes is reduced, and content owners have the freedom to choose their preferred services and vendors while managing the entire process all in one place – ZOOstudio.”

Visit www.zoodigital.com

New NVMe Flash Platform from Quantum QUANTUM USED THE RECENT 2019 NAB Show to launch a new NVMe allflash storage platform that is designed to accelerate media workflows. The company also announced general availability of StorNext 6.2, a major new release of the company’s award-winning StorNext scale-out file system.

StorNext 6.2 is now shipping with the latest generation Xcellis appliances, the solution of choice to ingest, edit, share and store media content and provide an improved technical foundation for organisations to run their operations.

enhancing integration with cloud-based workflows and global collaborative environments. With StorNext 6.2 Quantum offers an S3 interface to Xcellis appliances, enabling them to serve as targets for applications designed to write to RESTful interfaces. In addition, enhanced FlexSync replication capabilities enable users to create local or remote replicas of multi-tier file system content and metadata, offering more flexibility to protect a single directory or an entire file system.

As content creators deal with more and more UHD content, emerging storage technologies like NVMe are intended to help customers dramatically improve performance while simplifying their infrastructure. Quantum’s new NVME all-flash appliances combine 100 percent NVMe storage media with a new software defined block storage architecture and StorNext, which is expected to deliver ultra high-performance storage capabilities for the most demanding environments.

The new Xcellis models offer the latest 100 Gb ethernet and 32Gb fibre channel connectivity options, enabling customers to utilise the latest generation networking infrastructure between their clients and storage arrays, thereby accelerating workflows and improving productivity.

Combined with StorNext’s comprehensive and coordinated file accessibility over NAS, SAN, and DLC architectures, the new Xcellis platform offers industry-leading architectural flexibility.

StorNext 6.2 bolsters performance for high resolution video while

Visit www.quantum.com

Signiant Introduces Patent-Pending Intelligent Transport AT NAB 2019, Signiant Inc, a provider of intelligent file transfer solutions, introduced its new patent-pending intelligent transport architecture. The architecture replaces standard TCP with a proprietary UDP-based acceleration protocol or will automatically deploy multiple TCP connections in parallel, depending on network conditions. The technology determines the fastest way to get data through the network utilising a patent-pending mechanism that leverages machine learning to make decisions on the fly. The transport is capable of multiple Gbps transfer speeds for both site-to-site transfers as well as transfers to and from the cloud.

The new architecture is already deployed in two of Signiant’s cloud-native SaaS products:

MEDIA IN THE CLOUD, STORAGE & MAM

• Flight which accelerates file transfers to and from the cloud.

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• Jet for simple, fast, automated system-to-system file transfers.

“As networks evolve and increase in bandwidth, many incorrectly assume that acceleration technology is no longer required,” said Signiant CTO, Ian Hamilton.

“Network bandwidth and network throughput are not the same and Signiant is able to provide even more value on higher bandwidth connections. Our new intelligent architecture supports all types of transfers including site-to-site, site-to-cloud and cloud-to-cloud transfers of both files and streams with no constraints on file size or type.”

In order to take full advantage of available bandwidth, Signiant’s machine learning algorithm examines past history and optimally configures application and transport-level transfer parameters for both file-based and live media transfers. Not only does this ensure the best result without expensive and error prone manual tuning and tooling, but results improve over time as the

system learns. In addition to Signiant’s patent-pending intelligent transport, Signiant’s core UDP-acceleration protocol offers distinct advantages. Signiant isolates different sources of congestion by looking at latency and packet loss, and also by constantly examining the rate of change in these observations. As such it can differentiate between edge and core network congestion and react accordingly.

Visit www.signiant.com

POST PRODUCTION www.content-technology.com/postproduction

Post-Production Reimagined at NAB2019 NAB2019 SAW AVID UNVEIL ITS REIMAGINED Avid Media Composer 2019 video editing software and Avid NEXIS | Cloudspaces SaaS cloud storage solution.

With Media Composer 2019, an editor can go from first cut to delivery without ever leaving the application. Features include: • New User Experience - makers can work at the speed of creativity with a paneled interface that reduces clutter, reimagined bins to find media faster, and task-based workspaces showing only what the user wants and needs to see.

• New Finishing and Delivery Workflows - Now, users can create and deliver higher-quality content with editing, effects, colour, audio, and finishing tools without leaving Media Composer.

Whether working in 8K, 16K, or HDR, Media Composer’s new built-in 32-bit full float colour pipeline can handle it. Additionally, Avid has been working with OTT content providers to help establish future industry standards.

• Customisable Toolset - built for large production teams, the new Media Composer | Enterprise provides administrative control to customise the interface for any role in the organization, whether the user is a craft editor, assistant, logger or journalist. It also offers unparalleled security to lock down content, reducing the chances of unauthorized leaks of sensitive media.

A new member of the Media Composer family is Media Composer | Enterprise, designed for post-production, broadcast, media education and other larger production teams. Media Composer | Enterprise is a role-specific video editing and finishing solution. Large production teams now have the ability to customise the interface and tailor workspaces for different job roles, providing end users access only to the tools and functions they need. Media Composer | Enterprise also integrates with Editorial Management 2019 to deliver collaborative workflow innovation for postproduction and enables creative teams to stay in sync.

Avid also announced Media Composer | Distributed Processing, an add-on option that shortens turnaround times and accelerates post-production by sharing the media processing load. Tasks that previously took hours can now be done in minutes, strengthening post facilities’ competitive edge while delivering high-quality programming. Media Composer | Distributed Processing also offloads

Avid MediaCentral.

complex processing tasks when working in today’s emerging high resolution and HDR media-rich worlds.

MediaCentral | Editorial Management 2019 is an Asset Management platform for post-production that can be accessed by any role, from anywhere.

Users can quickly find, edit and share media from any location, making it easier to manage media, prepare projects and keep everyone in sync. Available in May 2019, the new features in Editorial Management 2019 will enable users to prepare and edit simple sequences, assemble and create group clips to prep multicam shots for Media Composer editors, and use Avid | AI with a new integrated Phonetic Option. Additionally, it is integrated with Avid | FastServe video servers to edit while capturing 23.98fps and multi-camera footage, enabling live studio productions to work faster in real-time.

Avid MediaCentral is now integrated with Maestro Graphics, providing a complete graphics creation and delivery workflow for news, sports, post, and studio production teams. With full Maestro graphics capabilities integrated seamlessly into the MediaCentral ecosystem, anyone can add 2D or 3D graphics to any edit or rundown with the ability to search for and find graphics templates, add custom text, and then overlay on any content from any device. Avid has now integrated the full Maestro graphics line of products with MediaCentral allowing users to leverage video assets in graphics creation and graphics templates from anywhere on the network.

Avid’s new NEXIS | Cloudspaces provides a simple way for post-production, broadcast and sports teams to safely and securely park projects and sync onsite Avid NEXIS workspaces to the cloud for easy offsite backup by bringing the power of the cloud to Avid NEXIS. Making backup easy by autoprovisioning cloud resources, NEXIS | Cloudspaces scales as your needs change. All existing and new Avid NEXIS systems will come with a limited time offer of two terabytes of cloud storage, enabling users to try out the service for free.

Visit www.avid.com

------------------------------------------------------------------------------------------BLACKMAGIC DESIGN ANNOUNCED DAVINCI RESOLVE 16, a major update that adds a new cut page specifically designed for editors that need to work quickly and on tight deadlines. In addition, DaVinci Resolve 16 includes dozens of other new features for professional editors, colourists, VFX artists and sound engineers.

Designed specifically for editors working on high end fast turnaround work such as television commercials and even news cutting, the cut page is designed as an alternate edit page to allow users to work faster. The cut page lets editors import, edit, trim, add transitions, titles, automatically match colour, mix audio and more. The regular edit page is still available so users can switch between edit and cut pages to change editing style right in the middle of a job.

The cut page challenges the traditional way of working with innovative yet familiar concepts such as source tape mode and an A/B trim tool.

Back in the days of tape, to find a clip, editors would spool up and down the tape to see their media and select shots. With source tape mode, users no longer have to waste time hunting through bins to find the clip they need. Simply click on the source tape button and all of the clips in their bin appear in the viewer as a single long “tape”. This makes it easy to scrub through all of the shots, find the parts they want, and quickly edit them to the timeline.

Zooming in and out and scrolling timelines is extremely slow. The new cut page features an innovative dual timeline so users never have to zoom in or out again. The upper timeline shows users the entire program while the lower timeline shows users the current work area. Both timelines are fully functional, allowing users to move and trim clips in whichever timeline is most convenient.

Want to move a clip all the way to the end of a program? Simply pick it up from the lower timeline and drag it to the end of the upper timeline to move it down the edit.

Cut page functions come into their own when used in combination with Blackmagic’s new DaVinci Resolve Editor Keyboard, a new premium keyboard Continues p33>>

POST PRODUCTION

• Next Generation Avid Media Engine - puts more power at a user’s fingertips with features, such as native OP1A, support for more video and audio streams, Live Timeline and background rendering, and a distributed processing add-on option to shorten turnaround times and speed up post production.

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POST PRODUCTION

Making the Grade with Captain Marvel A superhero among colourists, Technicolor’s Doug Delaney spoke to C+T about using Baselight on Captain Marvel

By Phil Sandberg.

WITH CREDITS TO HIS NAME INCLUDING feature films Jumanji: Welcome to the Jungle, Bad Neighbours and the Equalizer, and TV series such as Love, Death & Robots, and The Hot Zone, Technicolor colourist Doug Delaney brought all his 20-plus years’ experience to bear on his first Marvel Studios project, Captain Marvel.

“Technicolor’s done 14 Marvel films so they have a pretty good relationship with Technicolor,” says Delaney. “These films are pretty big films with lots of visual effects so managing the media and the versioning and all of that editorial stuff is a very complex matter so there’s a lot of tools, automation and scripts and things like that that Technicolor’s developed over the years. That makes my job much easier.

“In this particular show, the entire thing was conformed in Baselight and graded in Baselight.

We kept it all native shot-based, sort of an ACES workflow, at the beginning and then we kind of went off on a slightly different workflow.

“I think one of the challenges with a movie like this is the various deliverables and when you have a show this size, while I’m this sort of supervising finisher or colourist, I have a second colourist who’s also helping me and then additional colourists who are doing the stereo versions, the IMAX version and then we do the home video version. Grading the film is one thing, but managing all the versions and the pressure of doing the delivery on a very, very tight deadline and keeping the whole team in sync is, I think, the biggest lift of the process.”

POST PRODUCTION

You’re dealing with multiple effects houses as well.

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“Yes. There were effects vendors all over the world from Animal Logic to ILM in San Francisco and different time zones. The colour management was important and the show LUT was something that was decided and sorted so that everybody is looking at the same thing and CDLs with a company in the VFX so that when they’re reviewing with the directors, Anna [Boden] and Ryan [Fleck], and everyone else, we’re all looking at the same thing. So, by the time it comes into the theatre it’s all pretty sorted and consistent in terms of the VFX are concerned.

Is there any data that comes to you from previous Marvel productions to keep it consistent?

“Within the Marvel cinematic universe as it’s called, there’s an established language in that world and what’s really important is not only making the movie look good but ensuring that the costumes and the various story points that are colour-specfic are accurate, the crew uniforms, the Tesseract, for example, Captain Marvel’s uniform, needs to be a very particular colour so managing that and assuring that that’s consistent throughout the film is a key part of it because that’s definitely part of their identity.

It was a quasi-ACES workflows, so the VFX vendors delivered EXR AP0 and then we went into a different working colour space, so it was kind of an ACES workflow and then we deviated from that.”

Of all the platform options, why was Baselight most suitable?

“Again, it was a native Baselight conform. It was really important to keep it that way. At the beginning of the grading process, you’re doing the 2D version and maybe you have two or three reels that are live - meaning you’re actively working on them. Then, maybe after a couple of weeks, the 3D version starts and then we’re already starting to do the pan and scan for the home video and then we do the EDR version and then we’re - and so all these versions are live and happening at the same time and being actively worked on.

“It’s not a straight, linear process and we’re moving through the film non-linearly based on which reels are the most complete at that given time and then each version is being moved around non-linearly. There’s a lot of moving parts so it was important to keep everything native within the platform and Baselight offers a lot of collaborative workflow tools which became really critical to be able to manage it.”

You mentioned different versions, was HDR a consideration there?

“For sure. We went straight to the EDR, the laser projection version, and, again, therein Baselight’s tool set was really great. The EDR trim was pretty extensive as a matter of fact and a lot of it, I think, not necessarily only in the highlights but also in the low-end, in EDR, really beautiful opening of the shadows and this

really rich black and detail at the low-end that you don’t get in standard projection and so we were seeing things we didn’t really see with the amount of clarity before. Using some of the tools within Baselight and Basegrade, for example, to help address that stuff was really a beautiful thing. But, also visual effects are very specific and have been look-developed for sometimes a year or more and maintaining the look of those in the grade was important but also ensuring that that feeling translates throughout all the deliverables, because in HDR you have the ability to open things up and now you’re seeing all kind of highlight detail you didn’t see before. But, sometimes you don’t want to see additional detail or you want to see an appropriate amount of additional detail and Captain Marvel, her energy and her power-up and some of those glow effects were very specific. And, so, if you’re opening things up in EDR and not managing that properly, it’ll look different and then that breaks some of the visual effects illusion that we’re trying to create.”

What would you say was the most challenging aspect of the production?

“There were a couple of sequences, one was an end-of-day, dusk scene where - not particularly a big visual effects scene necessarily, but just one of those nature tie-in scenes that happens and every colourist deals with at some point or another in the film and maintaining visual consistency of this very emotional scene shot over the course of a number of days with vastly different skies and colour temperatures and just leveraging a lot of the tools within Baselight and grading techniques to even that out.

“Another sequence towards the end where, again, visual effects were very well executed but we found that on the reverses, in the grade we had a little bit of interactive lighting just to stitch the shots together, shot to shot, for visual consistency and that took a bit of work but it was one of those things again on a film like this.

The effects are super well executed and you don’t want to be too heavy-handed in your grade because of the established aesthetic. Yet at the same time, when you have an opportunity or a need to plus the sequence, you need to be able to do that and deliver.”

Visit www.filmlight.ltd.uk

POST PRODUCTION >> Post Reimagined from p31

Optimised for DaVinci Resolve 16, Blackmagic’s new DaVinci Resolve Editor Keyboard.

for DaVinci Resolve that dramatically improves the speed of editing because it allows the use of two hands while editing so transport control and selecting clips can be done while performing edits.

The new DaVinci Resolve Editor Keyboard also includes a revised qwerty key layout that’s been updated using feedback from professional editors. However, users still get all the traditional editing features for both the cut and edit pages in DaVinci Resolve, so the core qwerty part of the keyboard still operates in a familiar way. All the standard edit modes are included on the main keyboard.

But users still get new features in the revised layout, such as a viewer button to allow instant change to full screen view, and it’s even possible to edit from the keyboard in full screen view.

The keyboard includes a search dial which features an integrated electronic clutch that creates end stops when used for shuttle and position, all under software control. With multiple roller bearings, the search dial is very smooth and it can be spun in jog mode to allow a natural timeline scroll. The DaVinci Resolve Editor Keyboard will be available in August.

Meanwhile, the new DaVinci Neural Engine uses state of the art deep neural networks and learning, along with artificial intelligence to power new features such as speed warp motion estimation for retiming, super scale for up-scaling footage, auto colour and colour matching, facial recognition and more. The DaVinci Neural Engine is entirely cross-platform and uses the latest GPU innovations for AI and deep learning to provide unparalleled performance and quality. The DaVinci Neural Engine provides simple tools to solve complex, repetitive and time-consuming problems. For example, it enables facial recognition to automatically sort and organise clips into bins based on people in the shot.

DaVinci Resolve 16 also introduces powerful new features. New adjustment clips let users apply effects and grades to clips on the timeline below, quick export can be used to upload projects to YouTube and Vimeo from anywhere in the application, and new GPU accelerated scopes provide more technical monitoring options than before. The updated Fairlight page adds elastic wave alignment so users can stretch waveforms to precisely sync dialogue replacement with video, immersive 3D audio support, new bus tracks, automation previews, dialogue sweetening tools and even more FairlightFX. DaVinci Resolve Studio 16 also features improvements to existing ResolveFX plug-ins, along with several new plugins that editors and colourists will like. There are new ResolveFX plugins for adding vignettes, drop shadows, removing objects, adding analogue noise and damage, chromatic aberration, stylising video and more. There are also improvements to the scanline, beauty, face refinement, blanking fill, warper, dead pixel fixer and colourspace transformation plugins. Plus, users can now view and edit ResolveFX keyframes from the timeline curve editor on the edit page or from the keyframe panel on the colour page.

With Frame.io in DaVinci Resolve 16 Studio, users will have access to all their Frame.io accounts, teams, and projects right in the DaVinci Resolve Media tab, immediately on sign-in. Any Frame.io clips added to the Media Pool are automatically downloaded for use in the project – it’s even possible to start cutting while the full resolution file is being downloaded in the background.

Resolve will automatically swap the proxy with the full resolution file. Frame. io comments, replies and annotations are automatically synced to the DaVinci Resolve timeline, no import or export necessary. Entire timelines, or just sections, can be rendered, batch uploaded and synced at the same time to Frame.io with ease. Everything happens automatically when exporting the timeline. No further action needed. Visit https://frame.io At NAB 2019, Blackmagic Design also announced Fusion 16 Studio, a major new upgrade that brings all of the improvements made to Fusion built into DaVinci Resolve available to VFX artists using the

Continues p35>>

POST PRODUCTION

Video review and collaboration platform, Frame.io, announced that its collaboration toolset is now natively integrated into DaVinci Resolve 16 Studio, in partnership with Blackmagic Design.

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POST PRODUCTION

Opinion: Time for AI, Collaboration and Parallel Workflows

By Tim Claman, Chief Technology Officer, Avid Technology OVER THE PAST DECADE, the media value chain has been completely transformed. Technology advances have fuelled new consumption patterns and new business models, opening up a truly global marketplace to anyone with a compelling story to tell. These changes have led to increasingly intense competition for viewers, which has profoundly affected the post-production industry upstream of distribution. Postproduction teams must now create more compelling content at higher levels of technical quality with more complex delivery requirements.

Worse yet, they must do all of this within the constraints of compressed schedules and lower budgets.

To thrive in this new landscape, post-production teams need better tools.

OTT content distributors like Netflix, unencumbered by the limitations of legacy infrastructure, continue to raise the bar with respect to technical quality standards. In 2019, tools vendors will respond with new capabilities that make it easier to deliver shows in 4K HDR with immersive audio. And as content customisation and versioning becomes increasingly complex, we will also see broader adoption of standards like the Interoperable Mastering Format (IMF).

While better tools will help, new advancements are emerging to help automate mundane tasks, so creatives can spend more time being creative. In 2019, Artificial Intelligence (AI) will transition from a buzzword to a mainstream technology in post production. In reality TV workflows, for example, AI can index the massive troves of source material captured by a myriad cameras, enabling fast searching for producers and editors.

Interns no longer need to transcribe dailies so they can be searched – AI bots can automatically index all the raw content for you, converting speech to phonemes, so creatives can easily find the material that best tells the story. AI can also accelerate creative editorial, comparing the text in scripts to bins of dailies so editors can easily visualise their coverage for each scene and instantly audition alternate takes.

Beyond adopting new creative tools and technologies, post-production teams are always looking for ways to advance their workflows. In the past, post-production workflows were highly sequential – each step in the

process would need to be completed before the next step could begin, leading to inefficiency and inflexibility.

To cope with the pressure of today’s budgets and schedules, post-production teams need to collaborate, working in parallel, not series. Solutions like shared storage have become essential, enabling real-time access to all collaborators simultaneously.

Media Asset Management systems, once prevalent only in broadcast environments, have now been adopted by postproduction teams to enable all creative stakeholders to access, browse, and search content from anywhere, as well as perform basic logging, review, and shot selection tasks. Cloud deployment patterns will be implemented more broadly by post-production teams, providing secure centralised infrastructure with a pay-as-you-go business model that maps well to post-production projects.

In past years, the rapid evolution of the media value chain caused concern and uncertainty for the post-production industry. But as new business models have matured, content distributors are now commissioning more original content than ever before, sparking new growth opportunities for post-production professionals. Fortunately, new tools, techniques, and technologies are enabling creatives to meet the growing demand for compelling, high-quality content. What an exciting time to be involved in post production!

Visit www.avid.com

EVS Launches Ingest-to-Post Solution AT THE 2019 NAB SHOW, EVS unveiled a new ingest-to-post solution that speeds live multi-camera feed ingest and post-production functions, and provides support for the 24p cinematic frame-rate routinely used in entertainment programming. The new solution leverages EVS’ softwaredefined server technology and microservices architecture for faster, more efficient studio entertainment workflows.

The new offering is based on two new EVS products. XS-NEO is EVS’ first software-defined server, providing simple, efficient ingest for studio and post-production operations. It offers dynamic, concurrent support of multiple formats, codecs and frame-rates. The new server also benefits from EVS’ loop recording technology, which means frames are never missed. Built on EVS’ core VIA platform of modular services and engines and hosted on EVS’ reliable PMR processing module, XS-NEO embraces all of the benefits of IP connectivity, but

also supports SDI-based productions.

The IPD-VIA Ingest app is at the core of the ingest-to-post solution and is one of the first applications presented from EVS’ new VIA platform. Through an intuitive HTML 5 web interface it enables the control and scheduling of live feeds ingested directly into the XS-NEO server. The EVS solution natively writes onto third-party storage as well as Avid’s Interplay production management workflow solution. Content can then be edited in post-production during recording, and as a multi camera sequence. Easy-to-find metadata also reduce editors’ time searching for the right shots and managing content, freeing them to focus on creative tasks.

The new products are founded on the EVS’ VIA platform, which sits at the core of all new EVS solutions and is seeding the future ecosystem of live production.

Visit https://evs.com

FilmLight Introduces ProRes RAW Native Support

POST PRODUCTION

THE LATEST VERSION of the core Baselight software, version 5.2, and Daylight now support native access to the ProRes RAW format. This is one of the first full implementations of the ProRes RAW format from a professional colour grading application. The high-quality ProRes RAW image format is now available on cameras from a wide range of vendors, including Canon, Panasonic and Nikon via Atomos recorders, and directly on the DJI Inspire 2 with a Zenmuse X7 camera.

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“Our philosophy has always been to provide the tools that our users need,” said Wolfgang Lempp, CEO at FilmLight. “Apple ProRes RAW is a powerful, very high quality, standardised way of handling raw camera outputs that is ideal for high-dynamic-range (HDR) content creation, and controlling the colour from set to post is extremely important to production and post pipelines. We naturally wanted to provide native

support as soon as possible.”

Since ProRes RAW directly encodes the Bayer pattern image from the camera sensor, the format provides access to the full high dynamic range imagery in Filmlight software. That means greater control of the contrast and colour but within a compact and manageable file size.

And because support for ProRes RAW is implemented in the core 5.2 software, it is available at every stage of the pipeline. Users can ingest media using FilmLight’s Daylight dailies system, which also produces viewing copies for editorial from the ProRes RAW files, and then continue to work with ProRes RAW in their project on the Baselight colour grading system.

Visit www.filmlight.ltd.uk

POST PRODUCTION

Blackmagic Brings Zombies to Life in Singapore BLACKMAGIC DESIGN’S DAVINCI RESOLVE and DaVinci Resolve Advanced Panel was used for colour correction of Singapore’s first zombie comedy, Zombiepura. The film, which gained international distribution, is the first full length feature directed by internationally known short film filmmaker, Jacen Tan, who also was part of the post production team grading Zombiepura with DaVinci Resolve.

Set in an army conscription camp, Zombiepura tells the story of a strange virus that breaks out and causes lazy soldier Corporal Tan Kayu’s camp mates to turn into ravenous zombies. Completely out of options, the soldiering slacker is forced to team up with his arch rival, the infamously tough Sergeant Lee Siao On, to survive the funniest zombie apocalypse.

The film, which was presented at Cannes in 2018, was recently purchased by Korea’s Contents Panda and GSC Movies, and was shown in Singapore, Malaysia, Brunei and Cambodia. It opened in the Philippines in 2019.

Tan began his work as short filmmaker, gaining international fame after making one of Singapore’s first global viral sensations with a film called Tak Giu. Since then, he has continued to create a number of short films and music videos through his Hosaywood brand, with Zombiepura as his first full length film. In order to get the highest quality look for ‘Zombiepura’ Tan early on decided to use DaVinci Resolve.

“DaVinci Resolve has always been the ‘go to’ system in this region for colour grading for the big screen. For Zombiepura, I was inspired by classic horror and action films from the 80s.

The story is a blend of horror and comedy, so we had to keep a balance between the post-apocalyptic desaturated look, and the bright colours of a comedy,” said Tan. “I was very pleased when I watched it for the first time on a cinema screen. I was especially pleased with how the colours brought out the mood and tone of the story.”

“We did a one-day test shoot before actual production to see how the zombie makeup will appear on the actual camera. It was important for me to know what was possible in camera first and how colour grading can enhance the believability of the zombies. For example, a simple thing like changing the colour/saturation of the fake blood made it look more real,” he continued.

DaVinci Resolve was used during pre-production to create LUTs and dial in camera looks for the various horror and comedy looks that Tan envisioned. Following production, DaVinci Resolve was used for all colour correction, conforms.

“Blackmagic Design’s hardware and software have been reliable and efficient throughout the colour grading process. Because of how intuitive Davinci Resolve was, the test grading sessions with Jacen

Tan and the DP, Amandi Wong, were smooth and productive. LUTs were easily generated for on set use to ensure we got the right exposure for the night scenes,” says Khien, colourist, Zombiepura.

He continued, “Grading a feature film or any other long format project can be tedious, but Davinci Resolve’s Advance Panel cuts that time down significantly. A repetitive task that would take more steps or more fingers to press is conveniently completed by a push of a button. This saves valuable time and I’m able to spend the bulk of the sessions on creatively crafting and exploring different looks for the scenes. DaVinci Resolve is definitely my colour grading system of choice during any zombie apocalypse!”

Visit www.blackmagicdesign.com

>> Post Reimagined from p33

Users get an updated and more modern user interface, along with dramatically faster performance. All 3D operations are GPU accelerated, making Fusion much more responsive and interactive. In addition, there are dozens of GPU accelerated tools such as time effects, dissolves, stereo 3D tools, vector motion blur, corner positioning, colour tools and more. B-spline and bitmap mask operations are accelerated, as are the planar and camera trackers. Improved memory management makes large compositions with high tool counts more reliable, making Fusion 16 dramatically faster and more stable than ever before.

Visit www.blackmagicdesign.com ------------------------------------------------------------------------------------------BORIS FX ANNOUNCED ADDITIONS to its creative visual effects tools - Sapphire, Continuum, and Mocha Pro. Sapphire 2019.5 adds new creative options, including a ParallaxStrips effect, PixelSort transition, and DigitalDamage transition. The Sapphire Builder, Pre-set Browser, and Flare Designer can now access clips directly from a composition or timeline, and each features an updated modern GUI designed for Hi DPI and Retina-enabled monitors. The Builder and Flare Designer continue to improve with new core features such as Broadcast Monitor Support (AJA and Blackmagic).

Boris FX Sapphire will soon be available as an OFX plug-in for Autodesk Flame. Autodesk’s upcoming 2020 release includes new support for OFX plug-ins, marking a significant transition for the advanced 3D VFX and compositing software.

Continuum adds Cinema 4D integration to Title Studio, bringing a new 3D model render engine to applications such as Adobe Premiere, Adobe After Effects, Avid, Blackmagic DaVinci Resolve, and OFX hosts. Title Studio’s enhanced C4D support delivers the best rendering result out of all 3D model rendering plug-ins on any compositing or NLE platform. Title Studio’s custom UI now also supports 4K monitors and adds new Boris FX Sapphire. material shaders.

Particle Illusion adds a Forces feature that includes on-screen UI control for deflectors and attractors and a new customisable sprites feature. Primatte Studio’s Academy Awardnominated keying tech adds a customisable spill control option along with new edge smooth options for heavily compressed source shots. The Transition Unit adds Particle Illusion Dissolve, a new selfanimating, fully-customisable transition. Users can choose any particle emitter to create a transition or pick from dozens of pre-set particle animations.

Particle Illusion, new to Continuum 2019 and the Particles Unit, will be available as a standalone render application. The new 64-bit real-time technology renders particle effects with unrivalled speed. The custom interface allows editors, artists, and game developers to select movie type, codec, frame rate, frame size, and more. The new standalone option paired with the multi-host plug-in options for Adobe, Avid and OFX applications makes Particle Illusion the most versatile, user-friendly

particle and motion graphics generator on the market.

Mocha Pro advances its planar tracking engine with GPU accelerated tools to simplify complex effects and post tasks. Updates will include performance increases, new features, and host support for Blackmagic’s DaVinci Resolve. Mocha’s magnetic spline tools add edge-snapping features to deliver accurate masking with fewer keyframes, and new GPU matte optimisation makes complex Mocha projects more interactive with significantly faster renders.

Other new features include an Area Brush paint tool that defines planar tracking regions with Wacom tablet sensitivity, and a new object removal render option, Mega Clean Plates, which builds larger-thanraster panoramas from moving clips for VFX set extensions, clean plates, and 3D materials.

Visit https://borisfx.com

POST PRODUCTION

stand-alone version of Fusion Studio.

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AUDIO Digital soundwaves

www.content-technology.com/audio

Hong Kong Broadcasters on Sound Footing with Calrec HONG KONG FREE-TO-AIR BROADCASTER ViuTV (as dsictinct from the Viu streaming service) is preparing itself for an audio-over-IP future with the purchase of an Artemis Light console, a Brio12, a Brio36 and AoIP interfaces from Calrec.

ViuTV produces a range of entertainment shows and is especially known for its small-scale live performances and talk shows.

Mike Lau, Assistant Vice President of Production and Facilities at ViuTV, said, “The consoles are incredibly user-friendly, vital when being used by a range of operators across a variety of output. They are very reliable with great sound quality. We also wanted to be able to satisfy our current networking requirements while also preparing ourselves for an IP future as that transition occurs across our wider infrastructure. Calrec’s technology and after-sales service gave us confidence in making this change.”

The Artemis Light is housed in Studio 1, which is used for general entertainment content as well game shows and live performances. The Brio36 is being used for talk shows in Studio 2 with the Brio12 in Studio 1 acting as a backup. MADI and Dante are used by the broadcaster: the former for intercom connectivity and the latter for connection to a live PA mixing console, for multi-track recording and wireless mike connections.

Commissioning, consultation and additional support was handled by Calrec’s official Hong Kong distributor, Jolly Pro Audio.

“As a new customer, ViuTV was looking for a fresh and modern audio setup that will help them transition to an IP-based environment,” said Calrec International Sales Manager Anthony Harrison.

“Helping broadcasters make that transition has been central to our product roadmap for some considerable time. We’re also very pleased that ViuTV recognise the quality of our consoles and the service that we’ve provided, in combination with Jolly Pro Audio.”

Meanwhile, Hong Kong’s largest broadcaster, TVB, is building on its legacy with Calrec with the purchase of a Brio12, its 10th Calrec console purchase to date.

The new Brio joins a fleet of Artemis consoles, including two Artemis Beams and one Artemis Light console that were purchased last year, as part of TVB’s ongoing audio technology upgrade.

Calrec in action at ViuTV’s Studio 2.

The Brio12 is being used as a portable console and was most recently used for live sports events including the 2019 Tissot UCI Track Cycling World Cup held in January, and the SIXDAY Series PRURide cycling event that happened in Hong Kong last month.

TVB is also taking advantage of Calrec’s Hydra2 networking and its additional Dante and MADI I/O cards. Mr. Law Yui Wah, TVB’s 10th Calrec console at work.

Studio Production Department/Assistant official Hong Kong distributor, Jolly Pro Audio.

Manager at TVB Hong Kong explained, “Connecting via fibre, it’s easy to change the I/O “By being able to move the Brio around, TVB Hong cards to accommodate different productions. We’re Kong is taking advantage of the true benefits of using MADI cards for our intercom connection and the Brio’s versatility as a compact console that Dante cards for signal interchanging between a doesn’t compromise on quality. TVB is proving that PA console and the broadcast console. The Brio12 product performance and price point are at the top is small enough for us to use portably yet offers of its purchasing decisions when it comes to audio enough connectivity and power, surpassing other consoles,” said Anthony Harrison, International Sales consoles on the market in this price range. This is Manager, Calrec. what makes Calrec stand out from the competition.”

The commissioning was again handled by Calrec’s

Visit https://calrec.com

Stage Tec Goes IP NAB2019 SAW BERLIN-BASED MANUFACTURER Stage Tec presenting IPbased products and applications for broadcast, theatre, and live sound applications.

AUDIO

AVATUS was the highlight at the Stage Tec booth, with many new functions. The fully IP-based console has a completely new and intuitive operating concept. The clearly structured user interface simplifies operation without sacrificing functionality. AVATUS relies on colour coding for control elements such as encoders and faders as well as user guidance without deep hierarchies. Two 21-inch FHD multi-touch screens per fader module provide the flexible user interface, a rigid central unit is no longer necessary. For the official market launch in June, AVATUS will be available in sizes between 12 and 96 faders and in various hardware versions. Removable PoE-powered metering screens underline the modularity of the AVATUS system and enable optimal adaptation to a range of applications.

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Stage Tec also presented CRESCENDO, a

compact multifunctional talent for broadcast, theatre and live projects. The latest feature is Waves integration. Users can then connect the Waves plugins directly to the scene automation.

Further features CRESCENDO offers are the timecode trigger in scene automation, the extension of the equaliser to eight bands and parallel compression.

NEXUS, the Stage Tec audio network was also on show. It offers interfaces to all standards and also covers the current IP formats with the latest RIF67 and XFIP boards.

In March of this year, a test event organised by the Joint Task Force on Networked Media (JT-NM) in Houston, Texas, in which Stage Tec participated with the XFIP/RIF67 product. JTNM promotes the development of interoperable IP technologies for professional media through standardised test procedures. JT-NM is supported by the European Broadcasting Union (EBU), the Society of Motion Picture and Television Engineers (SMPTE) and the Video Services Forum (VSF).

Stage Tec says the participation of its XFIP/ RIF67 product in the ST2110-30 and ST2022-7 test procedures was a complete success. At the beginning of April at NAB, Stage Tec received the ‘JT-NM Tested’ label.

NEXUS offers two interfaces for AoIP connections: RIF67 for 6RU systems and XFIP for 3-RU systems. Both boards are based on DirectOut’s AES67.IO module and support the AES67/Ravenna protocol. They also comply with ST 2110-30 and 2022-7 standards, which support interoperability in audio networks.

On the control side, NEXUS also offers an Ember+ gateway via the NEXUS XACI board in addition to an in-house system.

The NEXUS XDIP board has been available for Dante AoIP networks since 2012. In Las Vegas, a new firmware for XDIP will be introduced, which enables the Yamaha consoles of the CL/ QI series to be connected to NEXUS via the RIO protocol.

Visit www.stagetec.com

AUDIO

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AUDIO

Pro Tools 2019 Delivers More Power AVID HAS ANNOUNCED the immediate availability of Pro Tools 2019. According to Avid, this latest version of the industry-standard digital audio workstation boosts power and performance for every level of user – from professional music creators and aspiring artists to top-echelon audio post professionals and engineers - enabling them to work faster and more creatively on the most complex projects.

For users working in high track-count environments, such as audio post production, Pro Tools | Ultimate delivers 50 percent more voices/audio tracks than previous versions. In addition to this base voice limit increase to 384, Pro Tools | Ultimate software and HD Native customers will be able to further increase the number of available voices up to 768 per system – on par with a three-card Pro Tools | HDX system – with the addition of native Pro Tools | Ultimate Voice Packs. The ability to scale the number of voices

in Pro Tools | Ultimate software enables a greater degree of flexibility and power to tackle the most demanding work and when working in tandem with high-powered HDX systems.

Additionally, this release of Pro Tools has enhanced playback features that enable more fluid creativity in the software. Users can perform seamless track and timeline interactions during playback – inserting plugins, adding or deleting tracks, changing routing, adjusting loop duration and more. This suite of playback features allows users to work quickly, and therefore more productively, without playback errors disrupting their flow.

For Pro Tools | First users, they can now create and save an unlimited number of projects locally.

Users can selectively sync up to three projects to their complimentary cloud storage for easy access anytime, anywhere.

For facilities and institutions, Avid also announced

The new UWP-D series microphones include a unique ‘NFC SYNC’ feature, which gives audio professionals a simple and fast frequency setting between the transmitter and the receiver. The reduced size and lightweight microphones offer high levels of mobility required for a wide range of applications, including news production, field production, documentaries, sporting events and weddings.

Available from October 2019 onwards, the new UWP-D series will all include the following range of new audio components: • UWP-D21: URX-P40 Portable Receiver and UTX-B40 Bodypack Transmitter.

• UWP-D22: URX-P40 Portable Receiver and UTX-M40 Handheld Wireless Microphone.

AUDIO

• UWP-D26: URX-P40 Portable Receiver and UTX-B40 Bodypack Transmitter and UTX-P40 Plug-on Transmitter.

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The new UWP-D series offers easy integration with Sony XDCAM camcorders, the PXW-Z280 and PXW-Z190, sharing audio information such as RF level meter, audio mute status and a low battery alerts for the transmitters, and display them on the viewfinder. Utilising the SMAD-P5 MI shoe’s versatile feature, it allows audio

Visit avid.com/products/pro-tools-ultimate/ whats-new

Shure TwinPlex Lavalier and Headset Mics

Sony Launches High-Quality Wireless Mic Systems AT NAB 2019, SONY ANNOUNCED a new addition to its UWP-D series wireless microphone systems, offering superior sound quality by supporting Multi Interface Shoe (MI shoe) and a newly added digital audio interface.

The new UWP-D series enables direct digital audio recording and delivers high sound quality with low noise by skipping the D/A and A/D process in combination with a new SMAD-P5 MI shoe adaptor and Sony’s XDCAM camcorders PXW-Z280 and PXW-Z190. The new UWP-D series also achieves advanced integration with the camcorders and show audio information on the viewfinder for enhanced usability in the field.

the immediate availability of Pro Tools Multiseat Network Site Licensing. Multiseat licensing enables easy administration of multiple Pro Tools seats from a single account and local server, eliminating the need for a multitude of physical iLok dongles and cumbersome site management.

signals to be transmitted from the wireless receiver to a connected camera without a cable connection. An additional benefit of this feature is the ability to unify power management, as the wireless receiver is now able to receive power from the camera, whilst the camera is capable of synchronising power on/off with the receiver.

SMAD-P5 is also compatible with selected models of Sony cameras, which have MI shoe with analogue audio interface.

As one-man operation by videographers increases in popularity, simple and quick channel setting for reliable RF transmission is becoming crucial. Delivering enhanced usability, the new and unique ‘SYNC’ feature is designed for easy and fast frequency setting. Simply holding the NFC SYNC button on the receiver for a few seconds, it automatically scans the appropriate frequency. Thereafter, users just need to touch the receiver with the transmitter to transfer the channel for optimum speed and efficiency.

The new UTX-B40 bodypack transmitter has been reduced by approximately 20% compared to the previous model size, and the length of the URX-P04 receiver with the new SMAD-P5 MI shoe adaptor has been drastically shortened, making it easy for use with compact camcorders or smaller digital interchangeable lens cameras.

Visit https://pro.sony/en_HK/home and https://pro.sony/en_SG/home

AT THE 2019 NAB SHOW, Shure unveiled TwinPlex, the Company’s new line of premium subminiature (5mm) omnidirectional lavalier and headset microphones.

Designed to stand up to the toughest conditions, TwinPlex provides natural audio at both high and low frequency when professional vocal performance is a must. The new patent pending capsule technology offers best-in-class sound in an easy-to-conceal package, ideal for quick costume changes or discreetly placed under wardrobe with no impact on sound quality. Developed with input from leading audio professionals, TwinPlex supports the diverse needs of theatre, broadcast, film and television, and corporate presentations to produce high-quality audio production with superior dependability.

TwinPlex consists of four lavaliers (TL45, TL46, TL47, TL48) and an ultra-light, fully-adjustable headset microphone (TH53) in multiple colors with extensive accessories and options. The unique dual-diaphragm omnidirectional design yields extraordinary off-axis consistency and industryleading low self-noise creating lifelike vocal clarity and warmth.

To simulate years of intense use, the ultra-thin, TwinPlex cable was flexed, stretched, and pulled to the absolute limit in internal tests. Available in 1.1mm and 1.6mm options, the paintable cables are immune to kinks and memory effects, resulting in never-before-seen flex performance due to an innovative spiral construction with redundant shielding.

Suitable for unpredictable, high-stakes environments like theatre or reality TV, TwinPlex was pushed to the boundary during development and field testing to ensure flawless audio regardless of the condition it encounters. The superhydrophobic coating and interchangeable sweat-resistant frequency caps keep perspiration and moisture from upstaging the audio, while the medical-grade cable technology flexes to fit the costume design and demanding schedules that often come with associated uses.

Visit www.shure.com

AUDIO

TSL Products’ PAM-IP Audio Monitoring Range THE RECENT NAB SHOW SAW TSL PRODUCTS feature its PAM-IP audio monitoring range, which now fully supports the SMPTE ST-2110 standard.

Following the ratification of ST-2110, TSL can now offer two audio monitors for use in IP infrastructures. Both the PAM1-IP and PAM2-IP audio monitors can be deployed to monitor audio and video content carried as ST-2022-6 and/or ST-2110 flows. With support for 2110-10, -20, -30 and -40, the PAM1-IP and PAM2-IP are quickly becoming the ‘eyes and ears’ for those requiring the best in audio monitoring technology, with over 200 units sold worldwide.

With two 10Gig/E SFP+ ports included on the PAM1-IP and PAM2-IP, users can monitor audio carried within ST2110 and ST2022-6 multicast streams. Both units also display the accompanying video content on the front panel of the unit, providing a full confidence monitoring experience.

Customers can also use PAM1-IP and PAM2-IP to

monitor audio only content such as Dante or AES67 audio flows when connected to a low-cost IP network infrastructure. The PAM-IP also now supports Ember+ protocol for control within IP networks.

TSL Products also unveiled its new SAM-Q audio monitoring platform at the NAB Show.

SAM-Q represents a new approach to audio monitoring, allowing customers to determine how they wish to control and visualise their audio content based on application, environment or simple personal preference. Designed in direct response to customer requirements and feedback, SAM-Q provides a completely new user experience and seeds the next generation of TSL’s audio monitoring range.

realise the benefits of TSL’s new SAM-Q audio platform. Designed for customers operating with SDI infrastructures, the SAM-Q-SDI demonstrates exactly how customers can maximise operational efficiency and reduce operational error simply by choosing their preferred method of interaction.

From the most demanding engineer to the operator who simply needs to listen to their chosen source, the SAM-Q-SDI caters for all.

The SAM-Q-SDI is the first audio monitor to

Visit https://tslproducts.com

Riedel’s Artist-1024 Node Redefines Comms Connectivity AT THE 2019 NAB SHOW, Riedel Communications unveiled the new Artist-1024 node, an expansion to the Artist intercom ecosystem. In what the company described as “the next piece of the puzzle”, this communications node features higher port densities and full SMPTE 2110-30/31 (AES67) compliance.

AT NAB2019, LAWO SHOWCASED a new option for its third-generation mc²56 audio production console: a dual-fader operating surface that increases fader count while keeping console size small.

With this new option, mc²56 can host up to 144 faders within its compact footprint. The dual fader option also incorporates Lawo’s LiveView thumbnail previews of associated video streams directly in the fader strips, enhancing user accuracy in fast-paced production situations.

Lawo’s t generation mc²56 is optimised for today’s complex IP-video production environment. It features native support for SMPTE 2110, AES67 / RAVENNA, DANTE and MADI audio streams. The mc²56 has also adopted the SMPTE 2022-7 standard for Seamless Protecting Switching (SPS), delivering dual-redundant IP-network links to its Nova73 routing engine.

Other features include IP-Share Network Gain Compensation, which prevents unexpected gain changes during simultaneous use of up to eight networked consoles. Each of the console’s fader bays can either be equipped with the new dualfader module or the standard fader module with an extended free control section giving direct access to as many as four global or individual parameter assignments on each channel strip.

The mc²56’s color-coded Button-Glow controls, touch-sensitive encoders and color TFT displays provide clear color-coding of channel strips for enhanced visibility and fast access in low light.

Built-in loudness metering is standard, with

full loudness control adhering to ITU 1770 (EBU/R128 or ATSC/A85) specifications. Peaks and loudness can be monitored together, or separately. mc256 is suited to broadcast applications, with multi-user operation, advanced mix assist systems (AutoMix, upmix, downmix and optional Lawo KICK), Audio-Follow-Video functionality, integrated 3D/immersive mixing tools and parallel compression.

For recording applications, mc256 provides dynamic time-code automation, Lawo-grade mic preamps and processing, DAW remote control and a customisable signal chain with four independent dynamic modules.

Features tailored to the performing arts include Selective Recall, Oversnaps (relative trim-sets), theater automation cue list including multiple triggers (MIDI, GPIO, LTC), Waves SoundGrid and Neumann DMI-8 digital microphone integration, and mirror-console operation.

Available in frames from 16 to 144 faders, mc²56 supports a massive 8,192 x 8,192 crosspoints, with up to 1,024 DSP channels, 192 summing buses and 128 Aux buses at 44.1 – 96kHz operation. With a 96 dual-fader surface suited to most OB vehicle dimensions, a 16-fader stand-alone extender may be added to an mc²56 for subsequent expansion.

Comprehensive local I/O includes 16 Lawograde Mic/Line inputs, 16 Line outputs, eight AES3 inputs and outputs, eight GPIO, and a local MADI port (SFP).

Visit www.lawo.com/products/audioproduction-consoles

The Artist-1024 node boasts 1024 non-blocking ports in just 2RU. This latest addition to the Artist ecosystem introduces a range of technical innovations centred on software-definable Universal Interface Cards (UIC). This new type of interface card combines networking, mixing, and management, and can be configured to act as an AES67 or MADI subscriber card, or as an Artist fibre/router/processor card. Changing the connectivity type is as easy as reconfiguring the UIC with the click of a button in the Director configuration software.

The frame provides ten bays for UICs, with two being reserved solely for routing and networking UICs. The remaining eight bays can be equipped with UICs of various configurations to provide subscriber connectivity. The integral mixer on each subscriber card can be scaled from eight to 128 ports per card and can access all 1,024 ports of the Artist backbone. In addition, four expansion slots are available for various GPIO or synchronisation applications.

Artist-1024 also introduces a new user-friendly, flexible licensing scheme with frame-level licensing instead of connectivity-type licensing. Each node starts with a Virtual Artist Matrix (VAM) license, which includes a defined number of ports (16 to 1,024) that can be freely distributed across the node’s subscriber cards. Besides these node-locked licenses, there are also flexible licenses that allow for a fast reconfiguration of the system by simply moving capacities between nodes.

Riedel’s newest Artist node has been designed with redundancy at its core. By supporting multiple redundancy schemes, including N+1, NIC, and SMPTE 2022-7, it can provide an unprecedented degree of robustness and reliability. All control logic and data links within the frame are redundant, and additional security is provided by two load-sharing PSUs and a fan module with redundant fan units.

Visit www.riedel.net

AUDIO

Lawo mc²56 Production Console Intros Dual Fader Bay

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RADIO The original broadcast media

www.content-technology.com/radio

Australia’s SCA Launches Addressable Ads for Streamed Radio Channels SOUTHERN CROSS AUSTEREO (SCA) has announced InStream – an addressable live radio offering enabling the dynamic insertion of personalised and targeted audio ads into its live streamed radio commercial breaks across all connected devices including SCA websites, apps and smart speakers.

InStream offers SCA’s clients’ access to an addressable live radio streaming environment, in addition to music streaming through the recently announced, exclusive partnership with SoundCloud.

The two will be used in tandem to offer clients addressable digital audio solutions with a combined commercial reach of over three million users in premium and brand safe environments, adding further depth to an already market-leading offering.

The InStream platform delivers a mid-roll audio ad break inserted into Hit and Triple M live streams on both websites and apps. Ads can be submitted to SCA in either .mp3 or .wav file formats with durations of 15 or 30 secs, and all creative is subject to SCA QA approvals.

SCA’s Chief Sales Officer, Brian Gallagher said, “Audio platforms are proliferating and audio as a medium has never been more important in maximising

reach of your target audience.

This scaled development gives buyers the opportunity to rapidly gain reach of targeted consumers wherever they are.

Instream represents the future of audio, available to advertisers now.”

SCA’s InStream product has been in the beta stage for a number of months to ensure that the technology and commercial offering are ready for both clients and listeners.

The InStream launch follows an announcement by SCA and audio platform SoundCloud of an exclusive advertising partnership in Australia. Through the agreement, SCA serves as the single point of contact for advertisers in the market to reach SoundCloud’s audience.

SoundCloud’s audio and video inventory is available programmatically and directly. As a result of the partnership, SCA will be able to offer clients digital audio solutions across SoundCloud, Live Radio Streaming & Catch Up Radio Podcasts with a

Visit www.southerncrossaustereo.com.au

Filipino Radio Powers Up with Dielectric

LISTENERS IN DARWIN, the capital of Australia’s Northern Territory can now tune into commercial radio in digital quality sound, with the official switch on of permanent digital radio broadcasts on DAB+.

DIELECTRIC, THE MANUFACTURER OF BROADCAST ANTENNAS and RF systems for TV and radio, has reported that its Philippines partner, 90 Degrees North, has secured several UHF TV and FM broadcast antenna deals across the country. The projects include high-power FM antennas for a religious radio station run by Far East Broadcasting Company (FEBC), and low-power FM antennas for state-run Philippine Broadcasting Service (PBS).

Low-powered trial DAB+ services have been on air in Darwin since 2010, but permanent installation and higher power transmissions mean consumers can now access the full benefits of digital radio.

Listeners need to purchase a DAB+ radio to enjoy the services, however, 68% of all new cars sold in Australia now come with digital radio factory fitted.

“Darwin listeners can now enjoy the full benefits of DAB+ on par with the services offered to audiences in the six other state capitals,” said Joan Warner, chief executive officer of industry body Commercial Radio Australia.

Alison Cameron, chief executive officer of Grant Broadcasters, said, “We’re pleased the trial services are now permanent, so we can keep improving local radio for listeners and fully utilising the benefits of the technology.”

The Darwin launch follows hot on the heels of Hobart in Tasmania which now boasts three new DAB+ commercial stations - KIX Country, Easy Hits and Triple M Classic Rock.

Southern Cross Austereo chief executive officer, Grant Blackley said, “DAB+ digital radio continues to grow and we’re excited to introduce SCA’s DAB+ stations to Hobart listeners.”

RADIO

SCA’S Chief Sales Officer, Brian Gallagher said, “The partnership with SoundCloud will enhance SCA’s ability to provide advertisers with extraordinary reach in the digital audio space. We are looking forward to bringing real scale to the digital audio marketplace with our combined offering.”

Commercial DAB+ Expands Down Under

The digital radio offering includes three extra DAB+ only commercial stations on air – KIX Country Music, Classic Rock Digital and 4TAB.

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commercial reach of over three million monthly users.

Dielectric will build and ship a total of 15 DCR-T Series FM radio antennas over a six-month period to support the two radio projects. The majority of these antennas will go to PBS - the state-run national radio network operated by the Bureau of Broadcast Services - to replace ageing antennas from another vendor that have declined in performance. The DCR-T is designed for low-to-medium power FM radio stations ranging from 1 to 5kW. In addition to broadband capabilities, the DCR-T can be adjusted in the field to operate on specific frequencies, resulting in greater effective radiated power (ERP).

Far East Broadcasting, which operates an FM radio network across the Philippines, has already taken delivery of a circularly polarized DCRM-FE Series FM antenna. This antenna, which is intended for FEBC’s full-power religious station - DZAS-FM serving Mega Manila - includes fine matcher and broadband capabilities. Since the antenna system can be tuned without the need to add fine matchers, the installation saves time and money.

While it replaces an 8-bay half-spaced antenna, the design of this 6-bay antenna affords higher gain from the same footprint, resulting in greater operational and energy efficiency. Given that it’s being installed on the roof of a building, this Dielectric antenna’s variable bay spacing ensures a significant reduction in downward radiation that could harm those below.

The deals are the latest of many procured by 90 Degrees North, Inc., a video and audio production, broadcast equipment supply and systems integration firm based in Manila.

Digital radio was introduced in Australia’s five major capital cities in 2009.

More than 4.21 million people, or 30% of the population aged 10 and over, listened to DAB+ digital radio each week in the five metro capital cities in 2018. The total number of DAB+ radios in Australia, including those in cars, rose to 4.73 million at the end of 2018.

“Many Filipino radio broadcasters are replacing FM antennas that have been damaged by the region’s numerous typhoons,” said According to John Achilles Denna, CEO/COO of 90 Degrees North, Inc. “Our marketing efforts are also timely because many of these broadcasters are also upgrading to IBOC-compliant FM radio antennas to attain greater power output, operational efficiency and flexibility.”

Visit www.digitalradioplus.com.au

Visit www.dielectric.com

RADIO

ARN Goes IP with AVC and Axia

The first phase has seen its Melbourne stations (including KIIS and Gold FM) upgraded over the summer break of 2018 with 2019 bringing a full studio move for its Brisbane operations to a brandnew facility in the suburb of Milton.

According to ARN Chief Engineer, Greg Hately, the upgrades are part of a workflow and technical standardisation of the broadcaster’s stations across the country, “… so that we have consistent technology from an audio processing point of view, from what faders are on the desks, levels, terminology and labelling, and a complete set of IP addresses and channel numbers, which are in Axia, that are transportable from one city to another.

This is the plan that’s going to enable us to not only have consistency across the network, but we’ll be able to roll out a radio station build a lot quicker than we have before.”

“The Axia platform is a truly audio over internet protocol platform that is completely routable,” adds AVC Group Engineering & Support Manager Steve Adler. “Basically, it’s interfaced in each studio, you’ve got a console that looks like a normal radio console, but it’s just a gigantic keyboard that looks like a console. We have intercom facilities that go along with that so allow your producers to talk directly to their talent. It does what we call ‘the delegation’, which means you can delegate a particular studio to a particular transmission path whether that be FM in Melbourne’s case, or DAB. “All [ARN’s] production studios have an Axia node in them as well so it allows the producers to make commercials or station promotional pieces and the like and, again, the Axia Network can move that audio around the place.”

AXIA also provides for redundancy. In the case of the Melbourne installation, Greg Hately says a decision was made to base redundancy around four core switches.

“The way we designed that technology was based around the four studios,” he says. “The KIIS and GOLD studios and four programme chains where KIIS has got two programme chains and GOLD has got two programme chains. We can, in fact, use a whole switch and just move one studio and one programme chain. It’s all been mapped out so that there’s complete isolation between all the different IP ports and connections in there. At the same time, we’ll stay on air in any form and there’s dual power supplies and the whole lot.”

Another “core” part of the installation is Axia’s Pathfinder Core PRO Routing Control which allows touchscreen control of audio selection, volume

Logitek Introduces mixIT AoIP Console LOGITEK HAS INTRODUCED mixIT, a compact AoIP audio console. mixIT works in conjunction with Logitek’s JetStream Mini and JetStream Plus routers as well as the new Jet-67 AES-67 engine.

Designed for broadcast applications, the mixIT incorporates 12 faders into a tabletop enclosure.

As with Logitek’s Helix consoles, mixIT provides metering, source selection and scene selects via two 7-inch touchscreens above the faders.

controls for producers, intercoms, all integrated into a single screen.

“They’re the kind of things that we’re doing,” says Greg Hately, “and it’s going to help out in the long run so, when we get to Sydney, it’s going to get easier and easier to roll out.

“We’ve already got Axia in Perth and Adelaide and we’ll be bringing some of those features back into those cities later on down the track. This is going to be our way forward, and working with AVC has been fantastic, and they’ve been configuring the new technology for us, the Pathfinder Cores, and it’s been going very well.

“I think the biggest thing that we did was the producers’ integration in KIIS and GOLD, particularly KIIS in Melbourne. They really wanted to emulate all the functionality that they had in Klotz and they had a lot of add-on boxes and other products added to Klotz to try and get all their intercom functionality working. We did absolutely everything inside the Axia world, which required a fair bit of code. So, from touchscreen the intercoms, touchscreen split queue to announcers, headphones, backwards and forwards. They’ve got a screen where they can just press the middle of the desk (icon) and talk to everyone. So, doing all those sorts of functionalities that they’re used to, and they’ve had for a long, long time and we’re now doing it all in one product which is what we wanted to achieve.”

The broadcaster also replaced proprietary, blackbox technology for the networking of national programming within the Axia platform.

“It turned out to be a lot easier than we originally thought,” says the ARN Chief Engineer. “Just by using a few features in Axia, the mixers and the ability to write some coding in Pathfinder Core, we were able to replace that “Broadcast Tools” unit very easily and very simply, and it’s so seamless for them now. We’ll be able to use that same technology back in Sydney when they do their networking out of Sydney back to Melbourne, so when we get to that stage, we can use all that functionality they’ve already designed.”

For “best of” compilations from morning and drivetime shows, Axia also plays a role with its iProfiler automated program archiving software.

“What’s good about iProfiler,” says Greg Hately, “is when the mics are on, it records and when the mics are off, it doesn’t record. We’re recording

On-board router widgets enable easy selection of transmission, recording or codec feeds. Controls are also provided for talkback to Studio / Remote, Monitor (control room, studio and headphone) and the console’s built-in cue speaker. A program meter simplifies operation by providing indicators for ‘too high / too low’, enabling at-a-glance setting of optimum levels.

“The mixIT beautifully complements our Helix line by bringing some of its most popular features to a compact, less expensive form factor,” said Tag Borland, Logitek President. “Users today are

GOLD 104.3FM presenter ‘Whippy’ behind the wheel of ARN’s new Axia networked studio.

individual mic-channels. We’re recording mixes of mic-channels. We’re recording lights and phones and button bars. We’ve got all these combinations which we can record on different tracks inside iProfiler and all the producers can access those instantly as soon as they’re recorded. They’re all topped-and-tailed because they’re following the mics on and off and what’s going on in the studio.

That’s seamless integration. It just works so well.”

Axia also plays a part in video publishing by ARN’s social media team.

“We’ve put the Axia IP driver on their video editing machine,” says Greg Hately, “so all the audio that’s coming out of the studio, the mixes for individual mics is also available for their recordings as well.

That goes and gets mixed with the video. So, it also works in that same sense with the IP driver and just put it on any Windows-based machine, you can pick up any audio on the Network.”

ARN has also connected its archiving and compliance functions to the Axia network.

“We’ve got Flashlog like every other Radio Station,” says Hately. “The other thing we’ve done with Flashlog, which we’ve done in all stations now, is put an IP driver on that as well. We pick up certain recordings where we keep for an extended period of time, we can record the Flashlog. Just another little integration thing, but that’s what we normally use is just Flashlog.

“Moving forward, all our DAB system will be integrated into Axia as well. We plan on using processing inside Axia with the new OMNIA Volts.

It’s looking good. It’ll be one system and everything is going to be connected together.”

Visit www.arn.com.au and www.avc-group.net

completely familiar with control via touchscreen, and those touchscreens bring both intuitive operation and an uncluttered surface to the studio.”

Visit https://logitekaudio.com

RADIO

ARN, THE AUSTRALIAN RADIO NETWORK, is embracing the IP world. After two decades, the company is phasing out antiquated Klotz systems in favour of the Telos Alliance’s Axia platform of networked radio consoles, AOIP interfaces and routers, from local partner, AVC Group.

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RADIO

Broadcast/IT Convergence for Audio over IP GATESAIR HAS UNVEILED Intraplex Ascent, a scalable, multichannel Audio over IP transport solution that addresses the convergence of broadcast operations with IT infrastructure.

Ascent offers a direct connection to traditional digital and analogue audio interfaces, and is compliant with both the AES67 standard and today’s leading AoIP networking solutions (Ravenna, LiveWire+ and Dante). Ascent is available in two form factors: a 1RU server, with configurable options for physical and AES67 channels, and a software-only solution that operates in a virtualised container. Both versions support up to 32 audio channels (AES3, AES67, analogue) and are interoperable with most Intraplex Audio over IP codecs.

The software-defined solution is GatesAir’s first Intraplex system to live on a COTS x86 server, and provides broadcasters with a highly scalable, redundant and cloud-based transport platform for multichannel contribution and distribution. The platform streamlines installation and management by removing the need for many separate codecs and auxiliary hardware components, freeing multiple equipment racks in enterprise-level facilities.

Ascent adds further value by allowing users to manage many Secure Reliable Transport (SRT) streams on a centralised platform – an in Audio over IP networking for broadcasters. SRT is a low-latency open source media streaming protocol which provides packet encryption and retransmission capabilities for reliability and security. To further strengthen stream robustness and reliability, Ascent integrates Dynamic Stream Splicing (DSS), an Intraplex technology that diversifies SRT data across redundant networks. The addition of DSS to SRT will add protection against certain types of packet losses and complete network failures.

Visit www.gatesair.com

SIP-Capable Codec for Broadcast Audio Transport CONTINUING TO EXPAND its audio over IP transport solutions, Barix has introduced its MA400 SIP Opus Codec. It combines the dynamic flexibility and ease of SIP-based link establishment with the quality and efficiency of the Opus compression format.

The MA400 encodes and decodes audio signals using the open standard Opus codec, a royalty-free audio compression format known for quality and reliability in interactive speech and music transmission over the internet. The efficient, low-latency Opus format is also gaining increasing popularity in other audio applications including VoIP, audio conferencing, in-game chat and remote live music performances. The MA400 is Barix’s first encoding and decoding product to incorporate the Opus codec.

The MA400 builds on the Opus codec’s quality, efficiency and low latency with SIP functionality to establish seamless links across SIP-compatible telephone, radio or other communications systems. Ideal for remote contribution applications, the SIP functionality in the MA400 allows the Barix unit to dial another device or phone number and automatically negotiate a transmission link for audio streaming.

RADIO

“Advanced broadcasters are moving away from static setups to SIP-based link establishment, particularly for remote contribution back to the studio such as from sporting events,” said Reto Brader, CEO, Barix. “That’s where the MA400 SIP Opus Codec comes in, establishing the connection through dial-up and then encoding and decoding the audio signal. Our Exstreamer family continues to be the solution of choice for static studio-to-transmitter (STL) applications, but for SIP-based remote broadcast links the MA400 SIP Opus Codec is perfect.”

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Built on Barix’s latest-generation, high-performance IPAM 400 audio module, the MA400 SIP Opus Codec features an analogue, microphone-level input and line-level output. The new units share the same space-efficient form factor and durable build quality as Barix’s Exstreamer 100 product family.

Visit www.barix.com

Dejero and Source Elements Boost Audio Files from the Field DEJERO, A DEVELOPER OF cloud-managed solutions that provide video transport and Internet connectivity while mobile or in remote locations, is joining forces with Source Elements, a high-quality audio software provider allowing users to work remotely and collaborate effectively over the internet. This technology partnership means that broadcast teams can achieve faster remote audio file transfers from the field – using a combination of the Dejero GateWay Smart Blending Technology and Source Elements' SourceConnect ISDN replacement.

The mix of Dejero GateWay and Source Elements’ Source-Connect allows users to reliably send live audio from anywhere in the world to any location of their choosing in real-time. Dejero’s Smart Blending Technology intelligently combines all available network connections, creating a single virtual 'network of networks' that is robust and reliable. This enables Source Elements users to confidently send high-quality live audio broadcasts from remote locations.

"Dejero's Smart Blending Technology gives field production crews greater freedom when producing live remote broadcasts by providing high reliability internet connectivity and flexibly using available IP connectivity," explained Todd Schneider, chief technology officer, Dejero. "Source-Connect runs on a laptop connected to a Dejero GateWay router and the real-time, low-latency, high-quality audio is sent directly to the desired destination."

Dejero GateWay provides field broadcast teams with reliable mobile connectivity by blending together wireless networking technologies from multiple providers, creating higher throughput over a secure connection. With access to reliable Internet connectivity on location, news, sports and live event broadcasters and media production companies can perform more activities remotely.

Source Elements is an industry-standard ISDN replacement with a deep featureset for all remote audio recording and monitoring needs. Portable, high-quality and secure, it allows a user to record and monitor from anywhere in the world, using your professional tools. It has remote-recording solution support for most DAWs and set-up for almost every OSX and Windows system.

Visit www.dejero.com.

ENCO Debuts Studio in a Cloud Strategy ENCO’S SECOND-GENERATION WebDAD platform is a key component of the company’s ‘Studio in a Cloud’ strategy.

WebDAD empowers cloud-based operation through an updated, HTML5enabled user interface. Users have the freedom of a fully-virtualised platform to remotely access and control their studio-based ENCO DAD radio automation systems – a benefit made all the more powerful with the addition of ENCO’s Presenter On-Air interface. This interface further optimises ENCO’s modular, touchscreen design for customising production workflows and providing instant access to media libraries, playlists and more.

“WebDAD has evolved to support a true ‘Studio in the Cloud’ operation that removes the limitation of maintaining an on-premises physical workstation,” said Ken Frommert, President, ENCO. “In addition to reducing operational costs at the station, WebDAD customers have broad control and playout capabilities across on-air presentation, playlist manipulation, voice tracking, and other workflow tasks. With the powerful ENCO Presenter On-Air interface, WebDAD is the most powerful and comprehensive browser-based interface on the market.”

Frommert adds that WebDAD also helps stations work more freely with on-air and production talent around the world by making it easy to bring in part-time, contract, and remote staff to access the playout system from anywhere there is an internet connection.

Visit www.enco.com

CONTENT DELIVERY Terrestrial, Mobile, Broadband

www.content-technology.com/transmission

Thailand’s Mono Plus Upgrades to PlayBox Neo Channel-in-a-Box THAILAND’S MONO PLUS has joined the ranks of television broadcasters upgrading to a Channel-ina-Box playout system from PlayBox Neo. A PlayBox Neo customer since 2016, Mono Plus provides a wide range of content in its Movie Plus, Music Plus and Series Plus strands which are transmitted seven days per week via cable, terrestrial, satellite and IPTV networks.

“The upgraded system includes two HD Channel-ina-Box systems, each with SafeBox Neo configured as main and backup,” adds PlayBox Neo Branch Director, Thailand, Nut Deesamer. “These have integral encoders allowing direct export in XDCAMMXF file format. We also provided refresher training to demonstrate the extra versatility of the latestgeneration software which has won approval from many of our customers.”

Designed for 24/7 unattended operation, PlayBox

Neo Channel-in-a-Box systems can also be operated manually. The latest upgrade adds UHD capabilities to the core content playout system.

New features include a streaming input supporting HTTP, HTTP Secure, UDP, RTMP, MMS, MMSH and YouTube. RTMP Streaming Output improvements have also been added, allowing easy web streaming.

Also added is a virtual output supporting multiple instances. Multi-channel ad insertion systems are available as well. Enhancements have also been made to the clip trimmer and audio level control.

AirBox Neo Channel-in-a-Box systems are designed for 24/7 unattended operation. They can also be operated manually, including the ability to handle live-to-air throughput.

SafeBox Neo replicates remote content to local playout server folders for safe transmission. The latest version implements a new graphic interface

plus new significantly faster processing for moving primary or copied content to the playout and central storage servers. In addition, a new workflow routine protects content being overwritten. Expired daily schedule content is automatically deleted or moved to a predefined folder for manual deletion or archiving. Deletion can be performed automatically or by manual approval of deletion lists. Files can also be assigned specific protection to prevent removal from network sources. SafeBox Neo can be operated in playlist-dependent or stand-alone mode.

The sister TV channel of Mono Group, Mono Plus https://monoplus.mthai.com transmits a wide range of alternative content composed of both Thai and foreign movies and series, variety shows and live sports such as basketball, sepak takraw (kick volleyball) and online game competitions.

Visit www.playboxneo.com

Globecast Partners with TechTV to Launch HD TechStorm

CNN Philippines Prepares for Move to ISDB-T

GLOBECAST HAS PARTNERED WITH TECHTV for the launch of HD

CNN PHILIPPINES (CNN PH), owned and operated by Nine Media Corporation in association with Radio Philippines Network (RPN), has boosted its terrestrial transmission network throughout the Philippines with the help of Dielectric, the manufacturer of broadcast antennas and RF systems, and local partner 90 Degrees North.

The news broadcaster has ordered a new 30 kW TUM panel UHF DTV antenna for an early July installation. Launched in 2015, CNN PH broadcasts 24-hour programming primarily via terrestrial TV towers, supplemented by cable TV, satellite and streaming media services.

According to John Achilles Denna, CEO/COO of 90 Degrees North, Inc., CNN PH is taking proactive steps to transition from its analogue VHF operation to the ISDB-T DTV broadcast standard. This move initially only affects their Mega Manila operation’s move to Channel 19, while the rest of its large station group will continue broadcasting in analogue from terrestrial towers around the nation’s 7000+ islands.

“The number one driver behind this DTV transition is to deliver a cleaner signal over the air while mitigating poor reception issues,” Denna said.

“Going DTV will help them manage their signal quality better and avoid signal interference from neighbouring broadcasters, which will increase viewership throughout the Mega Manila market. Dielectric’s unrivalled engineering and antenna reliability will ensure a smooth transition operationally.”

Since the new TUM panel antenna is wideband and suitable for multiplexing channels, Cory Edwards, global sales for Dielectric, explained that this gives CNN PH the flexibility to lease its spare bandwidth to other broadcasters - or to launch new channels of its own - to help defray its operational and upgrade costs. Having multiple transmitters feeding a single antenna also reduces operating costs.

Visit www.dielectric.com

channel TechStorm, a digital lifestyle channel all about the coolest innovative inventions and stories of entrepreneurs who made them happen. The channel has initially launched on pay-TV in Singapore.

Globecast is providing full playout services, including receiving the playlist and content to build the channel, preparing that content, with editing and compliance carried out if required. The channel is then uplinked by Globecast to MEASAT-3 for distribution.

TechStorm will be increasingly available on pay-TV platforms across Asia, via IPTV, cable, DTH (direct-to-home) and OTT pay-TV services.

Debbie Lee, Founder of TechStorm, said, “We explored the market very carefully in terms of media service suppliers. We are experts in creating and acquiring content and understanding the innate taste and preferences of the Asian audience. Globecast is vastly experienced and completely understands what we need. The Globecast team’s expertise and dedication to the task is admirable, providing a dynamic yet robust suite of services, all from a single supplier.”

Stephen Lee, Head of Permanent Sales, Globecast Asia, commented, “TechStorm is an interesting concept and we’re very pleased to have been chosen as the technical partner for its launch and ongoing success. We are using a wide range of technologies and skills to bring the channel to market, working closely with their team to understand both their needs and the needs of operators across the region.”

Visit www.globecast.com

CONTENT DELIVERY

“Our existing PlayBox Neo system has served us very faithfully,” says Khajohnsak Thanomjit, Assistant Manager of the Broadcasting & Studio Department at Mono Plus. “Our engineering partner, Central Solution, offered to demonstrate the latest version and we were greatly impressed by the extra features it offered, including the ability to expand from HD into 4K UHD transmission as and when that fits into our business plan. Reliable core equipment is essential to our operation, plus the ability to integrate securely with third-party devices.”

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CONTENT DELIVERY

5G - the Game Changer for the Content Market

By Patricio Cummins, Vice President, Asia-Pacific and Japan THE RACE IS ON FOR 5G, the next iteration of wireless networking. South Korea is currently in the leading position by offering the world’s first commercial 5G services – users of Samsung’s Galaxy S10 5G smartphones can now access 5G networks through three of the country’s leading telcos.

In addition, KT, a telco offering 5G commercial services, has also rolled out 5G-based UHD live broadcasting service, providing an enterprise 5G network and 5G mobile news gathering equipment to news broadcaster Seoul Broadcasting System (SBS).

AR & VR Finally Become Mainstream

For the content market, 5G is leading the charge for a next-generation viewing experience. With the bandwidth that it offers, video viewing will truly be seamless as there will no longer be a need to switch between networks. It is seen as a potential replacement for home broadband in general as well as digital terrestrial television (DTT), by offering the same speed and reliability.

When the technology reaches mass adoption, it is likely to launch a new round of cord-cutting as consumers cut their home broadband and give a helping hand to AR & VR technologies, finally allowing lightweight, eyeglass-style wireless headsets. It has tremendous potential to be the next revolution in broadcasting we’ve all been waiting for.

5G will also be a potential rocket that VR and AR can ride on.

The next-generation wireless networks will allow manufacturers to scale back on the size of headsets and eliminate the need to be tethered to a computer. The reason? 5G networks are designed to handle significantly more data than 4G networks and that of most residential Internet services. In addition, live delivery of sporting events has the potential to be better than traditional broadcast or pay-tv delivery, by incorporating more AR elements during games, using high-speed 5G network.

A New Cord-Cutting Craze

Major Driver for Sports Delivery

Some estimates say video could make up as much as 90% of all 5G traffic. For OTT services, that means faster and smoother delivery of video, no buffering, higher resolution and a better, more engaging user experience. This is expected to continue driving growth and opportunities for OTT plays as more consumers migrate away from traditional pay TV.

Mobile is already grabbing a significant share of major sporting events like the World Cup. Mobile views are also growing tremendously – especially to younger, more at-risk audiences that have moved away from traditional delivery. 5G will open a market for content creators looking to focus on mobile, delivering shorter content designed for smaller screens. Live sports events also often place a lot of stress on networks, especially sporting occasions as seen in the 2018 FIFA World Cup in Russia. Data consumption during a match was found to be double the data consumed during the “busy hour” for the remainder of the year. 5G answers to the needs of sports viewers by being able to better support such network-heavy events.

If 5G technology delivers on its promises - the ability to deliver wireless gigabit Internet service, massive bandwidth, incomparable low-latency video and fivenines reliability – it will truly be a game changer.

Both subscription and ad-supported services should flourish. In the case of AVOD, 5G mobile delivery will be capable of providing more data and actionable insights for personalised advertising. For SVOD services, 5G promises a better viewing experience and increased accessibility for consumers.

A Boon for Content Processing and Delivery 5G brings opportunities for storytellers and aggregators to speed up and simplify their uploading needs. A documentary being shot in the field, a content provider who needs to send content to their licensees, the ability to stream news content from the very spot where it’s happening, sports contribution from the venue… The potential for 5G to make it easier than ever to send large volumes of content from removed locations to HQ, be it for production, preparation or distribution, is certainly enticing.

With the numerous opportunities that 5G promises, it is likely to bring a new set of challenges for content owners and distributors. To truly cash-in on this next-generation technology, it is important for them to ensure seamless workflow automation and orchestration from the get-go so that they can bring content to consumers at speed, efficiently and effectively.

Visit www.ooyala.com

Evertz Showcases Virtual IP Media Services EVERTZ MICROSYSTEMS SHOWCASED ITS LATEST Virtualized IP Media Services at NAB 2019. Evertz’s evEDGE Virtual IP Media Services platform enables agile operational workflows with its flexible library of media services and support for agile hardware platforms. New for NAB 2019, evEDGE’s agile hardware platform support has been expanded to Evertz’ SCORPION, Smart Media Processing platform.

CONTENT DELIVERY

Broadcast facilities have been highly dependent on fixed function processing hardware such as video and audio processors, frame synchronisers and up/down/cross converters for day-to-day operational tasks. However, with this approach, operational workflows are limited by the functionality of the equipment that is available. This type of operational architecture, while functional, is not flexible or particularly cost effective in dynamic environments.

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evEDGE virtual IP media services support a selection of processing functions which can be provisioned based on evolving workflow requirements. The flexibility enabled by evEDGE allows highly efficient and adaptable workflows for every application.

Unlike fixed function processing hardware, evEDGE services can be run on agile hardware platforms. Processing functions are no longer permanently coupled to the underlying hardware platform. evEDGE supports virtual IP media services over agile hardware platforms including FPGA compute

blades, x86 COTS servers and the Cloud.

For increased operational flexibility, evEDGE’s agile hardware support now includes the SCORPION smart media processing platform. SCORPION is a high-density signal conversion, routing, aggregation and transport platform which utilises miniature interface modules enabling a customised SCORPION solution for every application.

SCORPION now supports evEDGE IP Media Services with the introduction of a new microservice mini I/O module. This advanced module enables the SCORPION platform to be provisioned with evEDGE services, further expanding its already advanced capabilities and flexibility.

“Having a platform that can be provisioned with IP media services has given broadcasters a new tool to address environments with rapidly changing workflows,” said Nick Knez, Director of Processing and Timing Products at Evertz. “evEDGE, with its comprehensive library of media services and support for agile hardware platforms is the leading virtual IP media platform available today, and its expanded hardware platform support that now includes SCORPION, gives broadcasters even more flexibility with how they adapt to evolving workflow requirements.”

Visit https://evertz.com

CONTENT DELIVERY

Broadpeak Makes a DASH for OTT Delivery VIDEO DELIVERY PLATFORM DEVELOPER Broadpeak says it envisions ‘IPTV DASH’ as the future for pay-TV operators. The concept takes the merging the worlds of traditional TV and connected devices to capitalise on their respective benefits while removing their drawbacks. The use of ABR formats to address all screens and all services (i.e., live, VOD, Cloud PVR) is the cornerstone of this approach. Through the implementation of multicast ABR in MPEG-DASH (or HLS) format, Broadpeak says operators can benefit from the greater flexibility offered by OTT combined with the scalability and low latency offered by IPTV. IPTV DASH supports a wide range of premium applications, including: • Cloud PVR: With Broadpeak’s solution, operators have a simple, scalable, and flexible approach to delivering time-shifted TV services, including start-over, catch-up TV and impulsive recording on all screens, with the possibility of recording and watching seamlessly with any device.

• Ultra-low latency: Broadpeak’s nanoCDN multicast ABR solution enables ultra-low latency on every screen. New features for nanoCDN will be demonstrated at the 2019 NAB Show, such as Common Media File Format and chunked transfer encoding, which further decrease latency for OTT live streaming.

• Device synchronisation: Leveraging nanoCDN, operators can synchronise the devices that are receiving live content within a home network in ABR format in order to avoid echo effects that impact the user experience. This capability is especially useful in bars, restaurants, and common facilities, where several screens display the same content.

• Server-side ad insertion: Operators can quickly boost monetisation by deploying a CDN with first-class multiscreen Server-Side Ad Insertion (SSAI) capabilities, using manifest manipulation techniques that come together with ABR formats. At the 2019 NAB Show, Broadpeak will show how operators can deploy dynamic targeted advertising for live and VOD workflows, and how this technology can be used to deploy Emergency Alert System messages on all screens and on all services (including VOD).

At the recent 2019 NAB Show, Broadpeak demonstrated how it is actively participating in the definition of 5G standards and developing caching solutions and tools for optimising resource management allocation for mobile networks, using either multicast or unicast depending on the popularity of the content.

At the show, Broadpeak and Australian telco Telstra demonstrated an innovative solution that optimises video quality and efficiency over fixed and mobile networks. The joint solution combined Broadpeak’s umbrellaCDN/ BkA100 analytics with Telstra’s intelligence in mobile sports apps and real time network awareness.

The solution dramatically increases video streaming quality and efficiency for telco operators while providing the best possible QoE for end users.

As well as its nanoCDN multicast ABR technology for satellite, the company also highlighted: the BkS350 Origin Server and Packager which improves multiscreen video delivery on managed or open internet networks; BroadCache Box which leverages local video-caching technology by deploying local caches into telecom or cable operators’ networks; and its umbrellaCDN CDN selector which allows content providers to choose the best content delivery networks for streaming their content.

At the 2019 NAB Show, Broadpeak highlighted new video-analytics features and CDN Diversity, a new feature of umbrellaCDN that allows content providers to dynamically take into account the instantaneous quality of several CDNs as a service, combine their contributions, and deliver the content at a quality level exceeding what would be achievable with the best CDN alone.

Visit https://broadpeak.tv

Integrating Globecomm’s world-class hybrid network within our global network backbone, we allow you to transport video and data content from any origination source to any destination — in any format for any platform.

Learn more about Speedcast Media Network at events.speedcast.com/communicasia2019

Meet us at CommunicAsia 2019 Stand 1P3-07

CONTENT DELIVERY

We’ve got solutions that support everything from aggregation and contribution to integrated channel playout, OTT streaming and distribution.

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CONTENT DELIVERY

Move by Yusari: Delivering DCPs Across Malaysia with Signiant Jet Avinash Suresh, Director at Malaysian content distributor Yusari Filem describes how Signiant’s file transfer Saas platform, Jet, has revolutionised feature film delivery throughout the country.

THE RATE OF ADOPTION OF NEW media technologies varies across the globe, and Malaysia has traditionally been on the slower end of the spectrum. For example, it wasn’t until six years ago that the move from 35mm to Digital Cinema fully took hold. While slow at first, once the benefits and improvements in quality became obvious, it was embraced whole heartedly across the country.

or tampered with in some way. If any one of the files are not consistent, the cinema server will refuse to ingest the movie – the use of hard disk drives for DCP distribution poses data corruption challenges due to bad sectors.

Right now, Malaysia is in a similar place with file acceleration technology. And, though is seems like we are behind, there are actually some advantages to our position. After several years on the market, file acceleration technology has matured dramatically, and the industry is currently seeing a second wave of adoption with the rise of cloud-native SaaS solutions. Countries like Malaysia and businesses like Yusari are poised to skip over the first wave, and catch the much more scalable and cost-effective second wave of adoption.

Preparing for the future

Signiant Jet to power Move by Yusari Yusari Filem was established in 1976 as the first subtitling company in Malaysia. We started our business with 35mm subtitles using hot stamping and eventually migrated to a digital worklow to support Digital Cinema Packages (DCPs). After optimizing our backbone infrastructure and bandwidth as much as possible, the move to incorporate file acceleration was a natural progression and we eventually landed on Signiant’s newest product called Jet. Jet is a SaaS solution that makes it easy to automate and accelerate systemto-system file transfers. It also incorporates a new intelligent transport mechanism that utilizes machine learning to optimize transfers. Signiant has another solution called Manager+Agents, which has been around for a long time and is used by the world’s largest Media companies to automate transfers between their global locations and partners, but it wasn’t a fit for our size business. Jet provides a tightly-curated set of the same enterprise capabilities, but scaled to the needs and budgets of smaller companies.

Adopting Jet has enabled us to launch a brand-new service called ‘Move by Yusari,’ which will handle our delivery of Digital Cinema Packages (DCPs) to cinemas throughout Malaysia. To describe the setup, a Yusari Move server will be placed in cinemas and this server will be connected to the local TMS. Once a DCP is ready for distribution, it will be sent via broadband to the respective cinemas using Signiant Jet. After transmission, the Move server will perform a check on the package to ensure that there are no integrity issues. This solution would never have been possible without Signiant Jet’s acceleration, reliability and multi-layered security technology. After many months of R&D and closely working with the team at Signiant, we were able to develop a purpose-built solution for DCP delivery.

CONTENT DELIVERY

Jet Addresses the Pain of DCP Deliveries

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Delivering DCPs is a core aspect of our business. For the past six years, we’ve been sending DCPs to the cinemas via hard disk drives. We typically use courier services for these deliveries, and that comes with a host of issues such as delays, security concerns, and environmental impact.

One of the biggest challenges in distributing DCPs is that there can be no compromise on the integrity of the data. Each DCP contains a Packing List.

All files in the composition are hashed (hash value is the Base64 encoding of the SHA-1 checksum) and their hash is stored in the Packing List. This file is used during ingestion in a digital cinema server to verify if data is corrupted

Signiant Jet not only addresses the challenges, it also provides a more cost effective, easier and greener solution – and, of course, it is a world of difference when it comes to speed.

At the moment, we are piloting Move with Yasuri with five cinemas, and plan to ramp up to 100 sites by the end of the year. However, on a regional front, there remains a lot of work to do. Malaysian Internet speeds (vs. cost) lag way behind some of our neighbours. Working with Signiant allows us to optimize our network conditions and fully utilize the bandwidth we do have. Additionally, as Malaysian Internet speeds improve in the future, Signiant Jet will allow us to take advantage of new opportunities, regionally and globally.

Visit http://yusarifilem.com and www.signiant.com

EDGE Acquires Fleet of Christie’s NextGen Laser Projectors CHRISTIE HAS ANNOUNCED that EDGE Content and Technology, one of Australia’s leading cinema technology integrators, has acquired 52 units of Christie’s next-generation cinema projectors featuring Christie RealLaser illumination for deployment into Event Cinemas’ Gold Class theatres.

Comprising the CP4325-RGB cinema projectors, these state-of-the-art systems deliver 4K visuals, and offer improved colour and contrast for audiences, as well as operational efficiencies for cinema owners. This investment by EDGE Content and Technology is the largest commitment to Christie cinema projectors equipped with RealLaser illumination technology in Australia to date.

Christie’s RealLaser family of cinema projectors, which includes the CP4330-RGB, CP4325-RGB, CP2320-RGB, CP2315-RGB, and the upcoming CP2309-RGB, offers all the advantages of RGB pure laser in a compact all-in-one form. This eliminates the need for sub-ambient external cooling, which further reduces operational cost. Christie RealLaser consistently delivers excellent image quality and brightness above DCI standards throughout the projector’s natural life. All this while providing 30,000-plus hours of operation and without lamp changes.

Since their official launch, Christie’s pure laser CP4325-RGB, CP2315-RGB and CP2320-RGB projectors, based on the Christie RealLaser illumination platform, have been embraced by exhibitors around the world as the best replacements for lamp-based projection systems and new installations.

In Asia, these include China’s Wanda Cinema Line, Taiwan’s Showtime Cinemas, Cinemark Cinema and Taiwan Innovation and Development Corporation, Australia’s HOYTS Cinemas, Thailand’s Major Cineplex, and the Philippines’ SM Cinema.

Visit www.christiedigital.com

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CLASSIFIEDS + EVENTS

ASIA

+ANZ

ASIA

As well as the features below, EVERY ISSUE of Content+Technology contains features on the following:  Image Acquisition

+ANZ ADVERTISER INDEX

 Media in the Cloud

 Content Transmission & Delivery

 News Operations

 Digital Asset Management

 Signal Distribution

 Sportscasting

 Audio

 Command & Control – Automation,

 Post-Production & VFX

 Radio

Monitoring, Systems Management.

C+T AUSTRALIA-NEW ZEALAND FEATURES + DEADLINES 2019 ISSUE

PUBLICATION DATE

EDITORIAL + AD DEADLINES

July-Aug

Editorial Submissions: 17-06-19 Ad Bookings: 19-06-19 Ad Artwork: 24-06-19

1st Week July

Sept-Oct

Editorial Submissions: 09-08-19 Ad Bookings: 16-08-19 Ad Artwork: 23-08-19

Nov-Dec

Editorial Submissions: 17-10-19 Ad Bookings: 23-10-19 Ad Artwork: 01-11-19

PRODUCT ROUND-UP

SHOW COVERAGE

+4 K Acquisition & Delivery Solutions + I P-based Production +C ontent Security

+P review: (SMPTE Australia) Media+Entertainment Tech Expo July 18-20

1st Week September

+ ENG/Newsroom Systems + Compression, Encoding, Transcoding Solutions + Radio Technology

+P review: IBC Amsterdam Sept 12-18 +P review: National Radio Conference

2nd Week November

+C hannel-in-a-Box Solutions +C able & Satellite Delivery +P roduction, Post & Locations round-up

+P review: Screen Forever Conference

C+T ASIA FEATURES + DEADLINES 2019 PUBLICATION DATE

ISSUE

EDITORIAL + AD DEADLINES

Aug-Sept

Editorial Submissions: 24-07-19 Ad Bookings: 31-07-19 Ad Artwork: 14-08-19

3rd Week August

+ Loudness Solutions + Cloud Solutions + Content Security + Compression, Encoding, Transcoding Solutions

+ Preview: BIRTV (Beijing, China) + Preview: IBC Amsterdam Sept 12-18

Oct-Nov

Editorial Submissions: 01-10-19 Ad Bookings: 08-10-19 Ad Artwork: 15-10-19

3rd Week October

+C able & Satellite Delivery +D igital Asset Management Solutions +O TT/IPTV/HbbTV Solutions

+P review: AVIA (CASBAA) Asia Video Summit + Preview:

Broadcast Indonesia

ADAM BUICK

PUBLISHER/EDITOR

ADVERTISING SALES MANAGER

CO-FOUNDER

Adam’s previous role as

Co-founder and

Manager of the SMPTE Australia

Production co-ordinator

technology issues across the Asia-Pacific.

His credits include launching Content+Technology,

LUCY SALMON

Exhibition, along with strong family ties in Australia

Lucy Salmon has worked with

and SE Asia, has given him a unique perspective

Broadcastpapers.com since its inception.

on the broadcast and content creation sector

She also holds a PhD in the field of sports

and 3D-Day (2011) industry conferences.

throughout the region.

medicine.

Contact Phil via +61(0)414 671 811 or

You can contact Adam on +61(0)413 007 144 or

You can reach her via +61(0)412 479 662 or

papers@broadcastpapers.com

adam@broadcastpapers.com

production@broadcastpapers.com

Broadcastpapers.com, the SMPTE Australia Exhibition, Directory, and Cinema Technology Asia-Pacific.

He has also produced the ABE2016, Sportscasting (2014-2016),

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PHIL SANDBERG Phil Sandberg has spent 28 years reporting on

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PRODUCT ROUND-UP

ADVERTISER INDEX BroadcastAsia…………………………………………………..IBC

Ideal Systems……………………………………………………………..3

Met r aWe a t h e r… … … … … … … … … … … … … … … … … … . 2 5

Broadpeak…………………………………………………………11

Lynx Technik…………………………………………………………….15

Riedel……………………………………………………………….37

Dejero……………………………………………………………….27

Magna Systems & Engineering…………………………………OBC

Ross Video…………………………………………………………………..7

EMC………………………………………………………………………33

MediaGenix………………………………………………………17

Sony……………………………………………………………………IFC

GatesAir…………………………………………………………………9

Mediaproxy…………………………………………………………29

Speedcast……………………………………………………….5,45

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